Amelia’s Magazine | Climate Camp 2010: Twitter Backfires… or does it?

Climate Camp 2010-serving dinner
Climate Camp 2010-nature doesnt
All photography by Amelia Gregory unless otherwise stated.

Over the past few years I have become increasingly embedded in the process of Climate Camp, web so I am well aware that the run up to this year’s Climate Camp has been more fraught with difficulties than ever – but as a spectacularly open grassroots non-heirarchical direct action organisation we would be the first to acknowledge this fact. We argued long and hard about whether RBS was an appropriate target for this year’s activities, case and we picked our spot without really checking in with Scottish activists who were not present at the meeting, website like this thereby alienating some of our allies… so it’s a testament to the movement we’ve created that I left the Edinburgh camp feeling that Climate Camp, whatever nebulous thing that might be, is stronger than ever. We may not have grown in numbers but there has been a definite increase in the quality of active participation and we are slowly becoming more diverse too – there was a notable improvement in our age, class and racial make up this year, though we still have a long way to go.

Climate Camp 2010-camp life
Climate Camp 2010-scene

And we were successful – we didn’t for one moment imagine that we would make the same kind of splash in the national media as we have in other more southern based years (journalists are notoriously bad at travelling for any kind of story: witness the lack of press surrounding our extremely successful Ratcliffe on Soar action in October 2009) but we certainly made big news in the Scottish press, we did loads of outreach and best of all WE GOT IN THE WAY. We shut shit down and generally made a nuisance of ourselves that served to highlight climate and community wrecking investments in tar sands, open cast coal and biofuels. We’ve cost RBS and the companies it funds a certain amount of money and reputation, and we’ve got people talking.

Climate Camp 2010-welcome
Climate Camp 2010-setting up site
Setting up site.

So, back to the beginning. I was part of the initial Land Grab on Wednesday evening…. which meant taking two days to get up to Scotland and not at any point giving away our whereabouts. On arrival at our destination we scrambled through fields in search of the huge seven tonne truck that transports our big marquee poles, already parked in the middle of the manicured lands that belong to the RBS HQ. From there I walked into the adjoining field and marvelled at our audacity, for we’ve never been this close to our target before. There it was, the HQ lit up like a giant christmas tree well into the night, rumoured to be so large that it supports its very own supermarket. It seemed almost impossible that with only a hundred people we might take this second field too, but take it we did because soon people were trundling around with wheelbarrows full of tat (an all encompassing word to describe all the stuff we need to run a camp). From the top of the man made mound we could see right into the glass walled HQ, where bored workers were no doubt entertained by us for a few days before RBS decreed they should work from home.

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By the time I got up the next morning the site was already humming with activity and new campers who had joined us over the course of the night when they heard about our location via text and twitter. This year’s site, as well as being the cheekiest we have ever taken was also the most beautiful, and abundant with wildlife: mice, frogs and lots and lots of slugs. It’s long layout did however put paid to the permaculture plans we have adhered to in previous years, and necessitated a long walk from one end to the other.

Climate Camp 2010-set up

My role at Climate Camp has settled into a bit of a routine – taking photos, video and twittering. It leaves precious little time for physical work around site and I’m usually to be found in the media tent or rushing around on an action. We had incredibly bad reception on this site, and I soon became friendly with the Comms tent which was sited on the top of the hill and had a better 3G signal. For those of you who don’t know what I’m wittering on about, Comms refers to our defence and communications system which works by collating information from people on all the gates around site. It’s a 24 hour a day job and this year it was skill shared in a most impressive way for the first time.

Climate Camp 2010-media team
Some of the media team.

I think we’d all been fearful that this camp would be much less well attended than previous ones, but by Friday I estimate that there were almost 1000 people on site, and it felt as though they were all there for a purpose. At Blackheath last year we really focused on outreach and both that and our location ensured rather a lot of sightseeing which unfortunately meant that direct action took a major back seat to workshops. This time the workshops timetable was slimmer, and from early on there was a notable amount of small affinity groups planning direct action in the tall grass. This I think is a good development. And take direct action we did – every day. Here are some of the best actions I took part in:

Climate Camp 2010-refugee camp

1. Taking the land, obviously.
The biggest direct action of them all – it’s hard not to be nervous with an action like this on which the rest of Climate Camp depends. We stopped in at some charity shops for entertaining cut price CDs on our way northwards, and as we drove towards our swooping point we played the Star Wars theme tune at top volume. Despite our huge truck and noisy scrambling it took the police at least half an hour to arrive, by which time we were able to hold the space and had started erecting tents by torchlight. It did, however, mean that the advertised swoop the next day was a bit of a damp squib, and some of the participants must have felt a bit left out of all the excitement.

Climate Camp 2010-site take
Erecting the first marquees on site by torchlight.

2. Raising a Ruckus
On Friday we held a merry little dance parade around the RBS offices, culminating in an incursion into a conveniently open entrance where we jumped up and down in the doorway whilst security looked bemused and staff gazed down from the floors above. At the same time, unbeknownst to us, a lone activist had infiltrated the offices as a banker and stuck herself to a reception desk, where she berated RBS for agreeing to fund Vedanta’s mining activities on the sacred lands of the Dongria Kondh tribe in India. We later learnt that she had changed her name to Dongria Kondh by deed poll the week before, declaring that she would only change it back if RBS retracted funding. Fortunately it was announced this week that India has blocked the mining operation. Though I quite like Dongria Kondh as a name….

Climate Camp rouser
Climate Camp rouser door
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3. A Lady Gaga tribute: the Dirty Oil dance action
Conscious of Climate Camp’s decision to descend on Scotland without much forethought about how we could support local struggles I volunteered to attend the solidarity demo against a new coal mine at Cousland, but then I was reminded that I had also promised to document my Green Kite Midnight friends’ musical action. Lady Gaga won out in the end. Standing inside a small candy striped marquee we learnt new lyrics to Poker Face, featuring the immortal lines:

It’s getting hot, the planet’s nearly shot
We’ll make them stop, we’re putting up a block

Tar sands is dirty oil
Can’t use my, can’t use my taxes no
To invest in dirty oil

Climate Camp 2010-gaga rehearsal
Climate Camp 2010-Dirty Oil
Rehearsing dance moves and getting ready to leave.

By midday we were ready to take our act to the streets of Edinburgh. With black bin bag bows in hair and fluorescent waistcoats we marched with resolve towards the biggest branch of RBS on St Andrews Square…. to find it already closed. Closed by the threat of song and dance. Score! We then set off on a tour through the town centre, jumping an RBS fringe stage for a special ten minute non-sponsored rendition. You can watch this here. We taught some onlookers the dance moves, bumped into the Greenwash Guerillas en route and handed out loads of leaflets.

Climate Camp 2010-Dirty Oil Gaga
Climate Camp 2010-Dirty Oil Gaga-on steps
Climate Camp 2010-Dirty Oil Gaga-fringe stage
Crowds watch us at the Fringe
Climate Camp 2010-fringe audience
and the Greenwash Guerillas…
Climate Camp 2010-Greenwash Guerillas

4. Sunday site incursion
I knew there were plans afoot but I wasn’t quite prepared for the huge mass of people dancing towards me in white paper boiler suits. And then they carried on dancing their way over the bridge to RBS, pushing the police back with ease and racing around the corner towards an unguarded part of the RBS HQ. When I got there it became apparent that they had completely taken the police by surprise and several windows had been smashed as the morass propelled forward. For a short moment chaos reigned as the police tried and failed to contain the seething crowd (who needs Black Bloc when you’ve got White Bloc, as one twitterer noted) and they were successfully able to de-arrest several people.

RBS site incursion march
RBS site incursion
RBS site invasion tussle
RBS Sunday invasion

Unfortunately this short point of panic enabled the police to gain the upper hand, and if the intention had been to get in and hold the building we had lost the head start. After two arrests there was a brief stand off with police at the bridge and the action petered out, the white garbed frontline on the bridge replaced by a large white fluffy bunny. I kid thee not.

Climate Camp 2010-white bunny

At our evening plenary a dampener was put on the situation almost immediately. Unfortunately the action had been badly timed to coincide with a speech from our visiting tar sands activists, who had felt seriously disrespected by the disruption to their workshop. They were also uncomfortable with the apparent violence of smashing windows, as were a few others. Through skilful facilitation we were able to talk through these issues, with many good points being made that Climate Camp comprises a diverse range of people who use different tactics, and whilst we would never ever condone physical violence against people, corporate property is another matter altogether. All successful direct action campaigns have attacked physical infrastructure, from the Suffragettes to the 1990s road protest movement. Causing infrastructure damage hits a company where it hurts: their pockets.

Climate Camp 2010-meeting
An early site-wide meeting.

We’ve always been very careful with our language, although the media often insists on referring to us as “peaceful” or NVDA (Non Violent Direct Action). In another twist seasoned activists have levelled many criticisms at us over the past few years with regards to us being too media friendly. For many this action proved that we really are capable of doing more than the media stunts and banner drops of recent times. It was also acknowledged that whilst we could sympathise with the feelings of First Nations activists it could not dictate the way that Climate Camp works, and indeed whilst we should work hard at international bonds we should not deify indigenous peoples above our local communities. We finished the meeting with a euphoric group hug that seemed to express: Yes! We are powerful together! We can break through police lines and inflict serious physical damage to a building! With a bit more intent we could have got into the HQ and dug in for the duration: of that I have no doubt.

5. The RBS Trojan Pig leaking molasses outside Cairn Energy offices
At just past 9am I dropped my half drunk tea and ran full tilt out of the cafe where I had been sitting on Lothian Road. Ahead of me a group of people in black ceremoniously carried a large pink pig – eyes painted with the RBS logo – up the impressive granite steps of the offices for Cairn Energy, who received £117 million in loans from RBS last year, some of which helped them to start drilling for oil off the coast of Greenland. Two activists sprayed molasses against the side of the building in decorative swirls as more molasses seeped out of the pig and down the steps. A security guard briefly looked on, but never moved the large pink carcass which was reported later that day as forlornly pushed aside on the steps. Ironically it is only because of climate change and melting ice that Cairn Energy are able to drill in the polar regions as new oil reserves are revealed. By coincidence a Greenpeace ship reached the drill rig on our day of action, where it was met by a Danish warship. It is hoped that lots of activists will join Crude Awakening, a day of mass action against oil supported by Climate Camp on Saturday October 16th in London.

Cairn Trojan Pig parade
Cairn Trojan Pig molasses
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6. Shutting down Nicolson Street branch of RBS
The weather was not kind to us on our main day of action, and getting lost en route to my next destination didn’t help. By just after 10am I was soaked through to the skin. Across the entrance to Nicolson Street RBS three of my friends glued themselves together with green posters pinned to their fronts that said “Ask me why I won’t bank with RBS“. As customers arrived they engaged them in conversation and then let them duck under their arms. With musicians and a small gaggle of Lady Gaga impersonators I went inside to be greeted by an old man grumbling bad-temperedly at the counter. He then proceeded to watch several reprises of the Dirty Oil song and dance routine, by now familiar to all. Next up was a reinvigorated version of the Gloria Gaynor classic I Will Survive, and as we moved outside the police finally arrived. I went to upload some tweets and when I returned journalists and photographers were out in force and the branch had been closed. Later that day another bunch of activists dressed in bin bags and dripping in molasses closed down the same branch.

Climate Camp 2010-Nicholson-RBS
Climate Camp 2010-Nicholson-RBS 2

7. We’ve built a Rhino Siege Tower!
Yes really. At the top of the hill above RBS what looked like a watch tower had risen during the course of the camp, gaining painted corrugated metal sides and a roof. And perhaps best of all a huge paper mache Rhino head attached to it’s derriere. I got back from the mornings actions to find a huge gaggle of people surrounding the tower, all dressed in wonderful outfits, inspired by medieval battle, clowns, animals and pagan dress. And then we waited…. and waited… and joked about slow action being the new slow food movement. Finally, we were ready to roll. The siege tower was on wheels. And with people guiding it via a series of ropes and pulleys it began to inch it’s way around the wind break and down the hill as we all held our breath and prayed that it didn’t topple into the bank of photographers waiting below. This process took about four hours, by which time I’d long since stopped worrying that I would miss anything crucial every time I went to recharge my damn iphone again. Over at the bridge a series of mollassapaults were fired onto the HQ by black clad activists. And then as we finally crawled towards the gate the rain really set in. Dancing animals met lines of riot police and squirted silly string over their heads as the Siege Tower finally cleared a low hanging branch and the rhino headbutted a police van.

Climate Camp Rhino Seige Tower
Climate Camp 2010-scary clown
Climate Camp 2010-Seige Rhino-hits van

I don’t think I’ve ever seen a line of riot cops so bemused. What the hell were we doing? On the side of the tower There Is No Planet B had been painted over at some point during the long journey to say There Is No Plan. My camera decided to complain about the incessant rain. It packed up. I decided to call it a day, and soon so did many soggy others. The Guardian’s live blog had long since stopped reporting on our actions of the day since most of them were done in the morning – including a very brilliant banner drop off the roof of Forth Energy in Leith in protest of a new and huge biomass scheme that would require the mass importation of vast quantities of wood chip.

Climate Camp 2010-Seige Rhino-frontline
Climate Camp 2010-Seige Rhino-sillystring
mollassapault tim morozzo
The mollassapault. Photography by Tim Morozzo.

And so, we didn’t give the mainstream media the huge action they might have liked. Instead we gave them lots of small and effective affinity group actions across Edinburgh and beyond, as planned. Topped off with the most surreal action of them all – a Rhino Siege Tower that effectively closed down the RBS HQ merely through creative farce and the power of suggestion. Sometimes my heart is so full of love for the thing that is Climate Camp that it feels fit to burst.

Climate Camp 2010-Seige Rhino

Other highlights of this years’ camp included a storming ceilidh (apologies to the Scottish for making this word our own) with my band Green Kite Midnight, spoken word from Harry Giles, visits from Fringe comedians Albie Philbin Bowman and Josie Long, and dancing long into the night after our day of action. Despite all the trials and tribulations of being so involved with Climate Camp I can’t wait to see what we come up with next. Even if we didn’t Break the Banks you’ve got to admit it was a damn good slogan, and we’ve successfully managed to highlight the investment of our money in fossil fuels to a far wider public. Now we just need to change the system that encourages wanton consumption of fossil fuels to the wide scale detriment of the only planet we have to live on. Who’s up for helping out?

You can watch lots more of the videos that I took on my Qik channel here.

Climate Camp 2010-Albie Philbin Bowman
Albie Philbin Bowman performs for us.

Many other inspiring actions happened across the course of the camp, but these did not include the supposed oil spill on the A8 on Monday morning, as press released by the police. Our targets have always been corporations and the government not innocent people, but isn’t it somehow predictable that the press picked up on the “oil spill” so relentlessly – happy to reel it off as fact without adequate research or proof. More on how the press have related to this year’s Climate Camp in my next blog post.

Climate Camp 2010-compost loos
A beautiful painted compost loo.
Climate Camp 2010-anarchist baby
Climate Camp 2010-RBS bridge
Climate Camp 2010-bunny

Back in 2007, approved experimental hip hop pioneer Flying Lotus released the Reset EP, remedy which was met with critical acclaim largely due to the outstanding track Tea Leaf Dancers. The stunning fusion of glitchy hip hop and progressive soul remains the LA producer’s most popular song to date, thanks in no small part to a stunning vocal accompaniment that gave the track a melancholy, love-ridden feel. Those sultry, elegiac vocals were provided by London born singer-songwriter Andreya Triana and this year marks the release of her exceptional debut album Lost Where I Belong.
Triana began her musical journey at the age of fourteen when her family moved from south east London to the West Midlands, a move that that left her feeling cut off from society. “I grew up in Brixton,” begins the singer. “It was so culturally diverse, and then I moved to a predominantly white, middle class area so I felt quite isolated. I just started spending a lot of time in my room, writing poetry and making songs.”
After years of honing her song writing abilities, good fortune shone down on Triana when she was selected from thousands of applicants to attend the prestigious Red Bull Music Academy. “I became obsessed with getting in,” says Triana, with wide eyed excitement that suggests she is still in mild disbelief that she was chosen. “When I found out I got in I screamed the house down!”

It was here that Triana met up with Flying Lotus and the duo created what would become Tea Leaf Dancers, even though she had no idea who she was actually working with at the time. “I didn’t really know anything about his music,” admits Triana. “It’s crazy thinking about it all of these years later. There were about thirty of us collaborating and that was only one of hundreds of collaborations.”
Despite the success of Tea Leaf Dancers, Triana would not get the opportunity to prove her worth as a solo artist until several years later when a chance meeting with downtempo trip hop artist Bonobo changed her life forever. “Bonobo and I had a lot of mutual friends,” says the singer, now residing in Brighton. “I heard that he needed a singer for one of his tracks, I came on board and it just developed from there. I wasn’t really that familiar with his music.”
The result was The Keeper, a beautifully laid back soul classic that is reminiscent of Jill Scott at her most poignant. This collaboration would develop into a beautiful working relationship where the pair would bounce ideas off one another until each lovingly-crafted track on Triana’s debut album was complete. “I wrote the songs with a guitar and I would come up with the harmonies,” she advises. “With Bonobo, it’s like I brought the bare bones and he brought them to life. It was really fun.”
Even though Triana has been fortunate enough to work with two of the world’s leading electronic music producers, she is adamant that both happened as a result of good luck. “None of it was pre-determined,” states Triana. “I didn’t work with Bonobo because he is a massive producer. It was because he was a good friend and I feel really comfortable with him.”

In person, Triana is every bit as captivating and endearing as the music she creates. Taking a break from signing promotional copies of Lost Where I Belong in the Ninja Tune headquarters, the singer advises: “The whole time I was doing the album, I was just praying that it would touch people. It’s nice when people come up to me and tell me that they really felt a certain song.”
Triana’s breathtaking brand of neo soul seems destined to captivate audiences in dimly lit, basement jazz bars throughout the world and her abstract lyricism means that her music has the ability to take on many different meanings. With over nine thousand followers on Myspace, Triana has over double the amount of fans as label mate and 2009 Mercury Prize winner Speech Debelle, and this is before her album has even been released. This beautiful lady seems to be on the verge of a cult phenomenon.
Lost Where I Belong is out now via Ninja Tune.

Climate Camp 2010-nature doesnt
All photography by Amelia Gregory unless otherwise stated.

Over the past few years I have become increasingly embedded in the process of Climate Camp, page so I am well aware that the run up to this year’s Climate Camp has been more fraught with difficulties than ever – but as a spectacularly open grassroots non-heirarchical direct action organisation we would be the first to acknowledge this fact. We argued long and hard about whether RBS was an appropriate target for this year’s activities, pharmacy and we picked our spot without really checking in with Scottish activists who were not present at the meeting, nurse thereby alienating some of our allies… so it’s a testament to the movement we’ve created that I left the Edinburgh camp feeling that Climate Camp, whatever nebulous thing that might be, is stronger than ever. We may not have grown in numbers but there has been a definite increase in the quality of active participation and we are slowly becoming more diverse too – there was a notable improvement in our age, class and racial make up this year, though we still have a long way to go.

Climate Camp 2010-camp life
Climate Camp 2010-scene

And we were successful – we didn’t for one moment imagine that we would make the same kind of splash in the national media as we have in other more southern based years (journalists are notoriously bad at travelling for any kind of story: witness the lack of press surrounding our extremely successful Ratcliffe on Soar action in October 2009) but we certainly made big news in the Scottish press, we did loads of outreach and best of all WE GOT IN THE WAY. We shut shit down and generally made a nuisance of ourselves that served to highlight climate and community wrecking investments in tar sands, open cast coal and biofuels. We’ve cost RBS and the companies it funds a certain amount of money and reputation, and we’ve got people talking.

Climate Camp 2010-welcome
Climate Camp 2010-setting up site
Setting up site.

So, back to the beginning. I was part of the initial Land Grab on Wednesday evening…. which meant taking two days to get up to Scotland and not at any point giving away our whereabouts. On arrival at our destination we scrambled through fields in search of the huge seven tonne truck that transports our big marquee poles, already parked in the middle of the manicured lands that belong to the RBS HQ. From there I walked into the adjoining field and marvelled at our audacity, for we’ve never been this close to our target before. There it was, the HQ lit up like a giant christmas tree well into the night, rumoured to be so large that it supports its very own supermarket. It seemed almost impossible that with only a hundred people we might take this second field too, but take it we did because soon people were trundling around with wheelbarrows full of tat (an all encompassing word to describe all the stuff we need to run a camp). From the top of the man made mound we could see right into the glass walled HQ, where bored workers were no doubt entertained by us for a few days before RBS decreed they should work from home.

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By the time I got up the next morning the site was already humming with activity and new campers who had joined us over the course of the night when they heard about our location via text and twitter. This year’s site, as well as being the cheekiest we have ever taken was also the most beautiful, and abundant with wildlife: mice, frogs and lots and lots of slugs. It’s long layout did however put paid to the permaculture plans we have adhered to in previous years, and necessitated a long walk from one end to the other.

Climate Camp 2010-set up

My role at Climate Camp has settled into a bit of a routine – taking photos, video and twittering. It leaves precious little time for physical work around site and I’m usually to be found in the media tent or rushing around on an action. We had incredibly bad reception on this site, and I soon became friendly with the Comms tent which was sited on the top of the hill and had a better 3G signal. For those of you who don’t know what I’m wittering on about, Comms refers to our defence and communications system which works by collating information from people on all the gates around site. It’s a 24 hour a day job and this year it was skill shared in a most impressive way for the first time.

Climate Camp 2010-media team
Some of the media team.

I think we’d all been fearful that this camp would be much less well attended than previous ones, but by Friday I estimate that there were almost 1000 people on site, and it felt as though they were all there for a purpose. At Blackheath last year we really focused on outreach and both that and our location ensured rather a lot of sightseeing which unfortunately meant that direct action took a major back seat to workshops. This time the workshops timetable was slimmer, and from early on there was a notable amount of small affinity groups planning direct action in the tall grass. This I think is a good development. And take direct action we did – every day. Here are some of the best actions I took part in:

Climate Camp 2010-refugee camp

1. Taking the land, obviously.
The biggest direct action of them all – it’s hard not to be nervous with an action like this on which the rest of Climate Camp depends. We stopped in at some charity shops for entertaining cut price CDs on our way northwards, and as we drove towards our swooping point we played the Star Wars theme tune at top volume. Despite our huge truck and noisy scrambling it took the police at least half an hour to arrive, by which time we were able to hold the space and had started erecting tents by torchlight. It did, however, mean that the advertised swoop the next day was a bit of a damp squib, and some of the participants must have felt a bit left out of all the excitement.

Climate Camp 2010-site take
Erecting the first marquees on site by torchlight.

2. Raising a Ruckus
On Friday we held a merry little dance parade around the RBS offices, culminating in an incursion into a conveniently open entrance where we jumped up and down in the doorway whilst security looked bemused and staff gazed down from the floors above. At the same time, unbeknownst to us, a lone activist had infiltrated the offices as a banker and stuck herself to a reception desk, where she berated RBS for agreeing to fund Vedanta’s mining activities on the sacred lands of the Dongria Kondh tribe in India. We later learnt that she had changed her name to Dongria Kondh by deed poll the week before, declaring that she would only change it back if RBS retracted funding. Fortunately it was announced this week that India has blocked the mining operation. Though I quite like Dongria Kondh as a name….

Climate Camp rouser
Climate Camp rouser door
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3. A Lady Gaga tribute: the Dirty Oil dance action
Conscious of Climate Camp’s decision to descend on Scotland without much forethought about how we could support local struggles I volunteered to attend the solidarity demo against a new coal mine at Cousland, but then I was reminded that I had also promised to document my Green Kite Midnight friends’ musical action. Lady Gaga won out in the end. Standing inside a small candy striped marquee we learnt new lyrics to Poker Face, featuring the immortal lines:

It’s getting hot, the planet’s nearly shot
We’ll make them stop, we’re putting up a block

Tar sands is dirty oil
Can’t use my, can’t use my taxes no
To invest in dirty oil

Climate Camp 2010-gaga rehearsal
Climate Camp 2010-Dirty Oil
Rehearsing dance moves and getting ready to leave.

By midday we were ready to take our act to the streets of Edinburgh. With black bin bag bows in hair and fluorescent waistcoats we marched with resolve towards the biggest branch of RBS on St Andrews Square…. to find it already closed. Closed by the threat of song and dance. Score! We then set off on a tour through the town centre, jumping an RBS fringe stage for a special ten minute non-sponsored rendition. You can watch this here. We taught some onlookers the dance moves, bumped into the Greenwash Guerillas en route and handed out loads of leaflets.

Climate Camp 2010-Dirty Oil Gaga
Climate Camp 2010-Dirty Oil Gaga-on steps
Climate Camp 2010-Dirty Oil Gaga-fringe stage
Crowds watch us at the Fringe
Climate Camp 2010-fringe audience
and the Greenwash Guerillas…
Climate Camp 2010-Greenwash Guerillas

4. Sunday site incursion
I knew there were plans afoot but I wasn’t quite prepared for the huge mass of people dancing towards me in white paper boiler suits. And then they carried on dancing their way over the bridge to RBS, pushing the police back with ease and racing around the corner towards an unguarded part of the RBS HQ. When I got there it became apparent that they had completely taken the police by surprise and several windows had been smashed as the morass propelled forward. For a short moment chaos reigned as the police tried and failed to contain the seething crowd (who needs Black Bloc when you’ve got White Bloc, as one twitterer noted) and they were successfully able to de-arrest several people.

RBS site incursion march
RBS site incursion
RBS site invasion tussle
RBS Sunday invasion

Unfortunately this short point of panic enabled the police to gain the upper hand, and if the intention had been to get in and hold the building we had lost the head start. After two arrests there was a brief stand off with police at the bridge and the action petered out, the white garbed frontline on the bridge replaced by a large white fluffy bunny. I kid thee not.

Climate Camp 2010-white bunny

At our evening plenary a dampener was put on the situation almost immediately. Unfortunately the action had been badly timed to coincide with a speech from our visiting tar sands activists, who had felt seriously disrespected by the disruption to their workshop. They were also uncomfortable with the apparent violence of smashing windows, as were a few others. Through skilful facilitation we were able to talk through these issues, with many good points being made that Climate Camp comprises a diverse range of people who use different tactics, and whilst we would never ever condone physical violence against people, corporate property is another matter altogether. All successful direct action campaigns have attacked physical infrastructure, from the Suffragettes to the 1990s road protest movement. Causing infrastructure damage hits a company where it hurts: their pockets.

Climate Camp 2010-meeting
An early site-wide meeting.

We’ve always been very careful with our language, although the media often insists on referring to us as “peaceful” or NVDA (Non Violent Direct Action). In another twist seasoned activists have levelled many criticisms at us over the past few years with regards to us being too media friendly. For many this action proved that we really are capable of doing more than the media stunts and banner drops of recent times. It was also acknowledged that whilst we could sympathise with the feelings of First Nations activists it could not dictate the way that Climate Camp works, and indeed whilst we should work hard at international bonds we should not deify indigenous peoples above our local communities. We finished the meeting with a euphoric group hug that seemed to express: Yes! We are powerful together! We can break through police lines and inflict serious physical damage to a building! With a bit more intent we could have got into the HQ and dug in for the duration: of that I have no doubt.

Climate Camp 2010-serving dinner
Serving dinner at the South Coast neighbourhood.

5. The RBS Trojan Pig leaking molasses outside Cairn Energy offices
At just past 9am I dropped my half drunk tea and ran full tilt out of the cafe where I had been sitting on Lothian Road. Ahead of me a group of people in black ceremoniously carried a large pink pig – eyes painted with the RBS logo – up the impressive granite steps of the offices for Cairn Energy, who received £117 million in loans from RBS last year, some of which helped them to start drilling for oil off the coast of Greenland. Two activists sprayed molasses against the side of the building in decorative swirls as more molasses seeped out of the pig and down the steps. A security guard briefly looked on, but never moved the large pink carcass which was reported later that day as forlornly pushed aside on the steps. Ironically it is only because of climate change and melting ice that Cairn Energy are able to drill in the polar regions as new oil reserves are revealed. By coincidence a Greenpeace ship reached the drill rig on our day of action, where it was met by a Danish warship. It is hoped that lots of activists will join Crude Awakening, a day of mass action against oil supported by Climate Camp on Saturday October 16th in London.

Cairn Trojan Pig parade
Cairn Trojan Pig molasses
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6. Shutting down Nicolson Street branch of RBS
The weather was not kind to us on our main day of action, and getting lost en route to my next destination didn’t help. By just after 10am I was soaked through to the skin. Across the entrance to Nicolson Street RBS three of my friends glued themselves together with green posters pinned to their fronts that said “Ask me why I won’t bank with RBS“. As customers arrived they engaged them in conversation and then let them duck under their arms. With musicians and a small gaggle of Lady Gaga impersonators I went inside to be greeted by an old man grumbling bad-temperedly at the counter. He then proceeded to watch several reprises of the Dirty Oil song and dance routine, by now familiar to all. Next up was a reinvigorated version of the Gloria Gaynor classic I Will Survive, and as we moved outside the police finally arrived. I went to upload some tweets and when I returned journalists and photographers were out in force and the branch had been closed. Later that day another bunch of activists dressed in bin bags and dripping in molasses closed down the same branch.

Climate Camp 2010-Nicholson-RBS
Climate Camp 2010-Nicholson-RBS 2

7. We’ve built a Rhino Siege Tower!
Yes really. At the top of the hill above RBS what looked like a watch tower had risen during the course of the camp, gaining painted corrugated metal sides and a roof. And perhaps best of all a huge paper mache Rhino head attached to it’s derriere. I got back from the mornings actions to find a huge gaggle of people surrounding the tower, all dressed in wonderful outfits, inspired by medieval battle, clowns, animals and pagan dress. And then we waited…. and waited… and joked about slow action being the new slow food movement. Finally, we were ready to roll. The siege tower was on wheels. And with people guiding it via a series of ropes and pulleys it began to inch it’s way around the wind break and down the hill as we all held our breath and prayed that it didn’t topple into the bank of photographers waiting below. This process took about four hours, by which time I’d long since stopped worrying that I would miss anything crucial every time I went to recharge my damn iphone again. Over at the bridge a series of mollassapaults were fired onto the HQ by black clad activists. And then as we finally crawled towards the gate the rain really set in. Dancing animals met lines of riot police and squirted silly string over their heads as the Siege Tower finally cleared a low hanging branch and the rhino headbutted a police van.

Climate Camp Rhino Seige Tower
Climate Camp 2010-scary clown
Climate Camp 2010-Seige Rhino-hits van

I don’t think I’ve ever seen a line of riot cops so bemused. What the hell were we doing? On the side of the tower There Is No Planet B had been painted over at some point during the long journey to say There Is No Plan. My camera decided to complain about the incessant rain. It packed up. I decided to call it a day, and soon so did many soggy others. The Guardian’s live blog had long since stopped reporting on our actions of the day since most of them were done in the morning – including a very brilliant banner drop off the roof of Forth Energy in Leith in protest of a new and huge biomass scheme that would require the mass importation of vast quantities of wood chip.

Climate Camp 2010-Seige Rhino-frontline
Climate Camp 2010-Seige Rhino-sillystring
mollassapault tim morozzo
The mollassapault. Photography by Tim Morozzo.

And so, we didn’t give the mainstream media the huge action they might have liked. Instead we gave them lots of small and effective affinity group actions across Edinburgh and beyond, as planned. Topped off with the most surreal action of them all – a Rhino Siege Tower that effectively closed down the RBS HQ merely through creative farce and the power of suggestion. Sometimes my heart is so full of love for the thing that is Climate Camp that it feels fit to burst.

Climate Camp 2010-Seige Rhino

Other highlights of this years’ camp included a storming ceilidh (apologies to the Scottish for making this word our own) with my band Green Kite Midnight, spoken word from Harry Giles, visits from Fringe comedians Albie Philbin Bowman and Josie Long, and dancing long into the night after our day of action. Despite all the trials and tribulations of being so involved with Climate Camp I can’t wait to see what we come up with next. Even if we didn’t Break the Banks you’ve got to admit it was a damn good slogan, and we’ve successfully managed to highlight the investment of our money in fossil fuels to a far wider public. Now we just need to change the system that encourages wanton consumption of fossil fuels to the wide scale detriment of the only planet we have to live on. Who’s up for helping out?

You can watch lots more of the videos that I took on my Qik channel here.

Climate Camp 2010-Albie Philbin Bowman
Albie Philbin Bowman performs for us.

Many other inspiring actions happened across the course of the camp, but these did not include the supposed oil spill on the A8 on Monday morning, as press released by the police. Our targets have always been corporations and the government not innocent people, but isn’t it somehow predictable that the press picked up on the “oil spill” so relentlessly – happy to reel it off as fact without adequate research or proof. More on how the press have related to this year’s Climate Camp in my next blog post.

Climate Camp 2010-compost loos
A beautiful painted compost loo.
Climate Camp 2010-anarchist baby
Climate Camp 2010-RBS bridge
Climate Camp 2010-bunny

Climate Camp 2010-media
Our best 3G signal for getting onto the internet was found at the top of the rise. All photography by Amelia Gregory.

Since I’ve returned from Climate Camp in Edinburgh the media backlash against us has began. Perhaps we have grown complacent about our cosy relationship with the mainstream media over the past few years? Thwarted in their desire for juicy riot porn the Guardian instead turned to the trouble I had been experiencing on twitter since the start of camp, buy information pills when one troll turned into two, which then turned into a whole host of the little critters. Because trolls always have friends and they know how to find each other. And once they do they like to have a feeding frenzy.

Climate Camp 2010-mediateam
The media team: small but very hard working.

So how did this all start? Well, unfortunately I feel very much to blame and I’ve learnt my lesson. At the start of this year I went on an anti EDL march in London, and whilst there I picked up a follower of the EDL sympathising persuasion. Now, I’ve never followed him, but we did engage in conversation every now and again on twitter. He’s a very persistent sort of chap, and I thought “ow, bless, he’s sadly misguided but essentially a sweet man despite his extreme right wing nationalistic views – maybe he’ll learn something if he follows me.” He even offered to help out with my website. Well, that was my biggest mistake: EDL sympathisers are not for the turning. So, he knew about the #climatecamp hashtag from me, and he made it his personal business to stalk me on it throughout Climate Camp – describing me as his #twittercrush and Climate Camp Vamp on @replies to my personal twitter feed, loitering on the perimeter of the campsite and offering me lifts home from Edinburgh in his “gun metal Aston” when I tweeted about waiting for the bus… and posting offensive tweets to all and sundry through the #climatecamp hashtag which only served to attract even more horrible little trolls from far and wide. Anthropogenic global warming denialists, fascists, homophobes, racists, sexists – you name it, they all came running.

Climate Camp 2010-all ages
People of all ages come to Climate Camp.

I managed to ignore these trolls – because what else can you do? Like a greedy little pug, if you feed them they just keep coming back for more. It looked like things might die down as the camp started to wind up. And then. James Randerson on the Guardian environment blog saw fit to publish an article featuring some tweets from these trolls – “Twitter Backfires” screeched the headline. As if a few trolls would stop interested people and Climate Camp supporters from going straight to the Climate Camp twitter feed (wow, what a novel idea!) or reading through to the interesting and relevant tweets in the #climatecamp stream rather than fatuous fake retweets reinforcing every known stereotype of “hippy activist”. We are all posh, anarchist, crybaby, smelly, student, lentil chomping, yurt dwelling, marxists. Wow! I’d really love to meet someone who embodies all of those things in one person!

Climate Camp 2010-child
Climate Camp 2010-girl
Just some of the very happy well-adjusted children on Climate Camp.

The outcome of the Guardian blog? It fed the trolls a huge amount of publicity and unwittingly condoned their actions… and by default their opinions. This on the environment blog of a left leaning newspaper – which supposedly supports our actions. And here it was saying our protest was a failure purely because we didn’t “own” the twittersphere. Sour grapes because we didn’t provide them with the exciting coverage the mainstream media demands of us? Seems like it to me. And utter bullshit. Because at the end of the day most people on Climate Camp don’t use twitter – and have no idea of this storm on a Tweetdeck. They couldn’t care less – they were on camp, taking direct action together, on the site of the HQ, in an RBS branch in Edinburgh, handing out leaflets about tarsands, marching with locals on the proposed site of a huge new open cast coal mine or teaching subversive lyrics at an impromptu performance on a Fringe stage. There are so many other ways to reach people, and twitter is but one tool in the outreach box.

Climate Camp 2010-compost loos change
Changing the straw bales in the loos.

Suddenly the trolls were back in business. And so I’ve spent the past few days doing my best blocking irrelevant trolls and aborting the #climatecamp hashtag amongst supportive followers. It’s been a swift learning curve. But one big thing I’ve realised is this: you can’t change some people. I should have blocked my troll the minute he started following me. I still think he’s a sad misguided individual – one with an awful lot of lonely time on his hands to spend a whole week trolling on the #climatecamp hashtag – but he’s also a massive arse to take such pleasure out of petty nastiness. The fact that he claims to care about the environment “I plant trees” – big woop-de-doo – makes his actions particularly noxious. What’s more he’s a passive aggressive EDL sympathiser with far right leanings who rather scarily knows an awful lot about me and The Guardian has given him and his ilk a legitimacy that is far from worthy. But to equate a problem on twitter with a wholesale failure of the camp is just ridiculous; whilst this whole episode may personally have made my life quite unpleasant, none of this will affect those who are committed to taking direct action as part of Climate Camp. So in the end a big old #fail for the trolls. I’d like to believe they are even now scuttling back into their little troll homes… but I doubt they will be able to stop their fingers from itching towards the keyboard.

Climate Camp 2010-set up boards
Now, where do these go?
Climate Camp 2010-wheelchair
Climate Camp is accessible to all.

Trolls: a few words. This blog is moderated and you aren’t welcome on here. I wholly reserve the right to delete you. You’ve been warned.

You can read about all the actions we took on Climate Camp at the RBS HQ in Edinburgh on my blog here.

Categories ,AGW, ,Climate Camp, ,Climate Camp Vamp, ,Direct Action, ,edinburgh, ,EDL, ,Hashtags, ,Media, ,RBS, ,Trolls, ,twitter, ,Twittercrush

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Amelia’s Magazine | Climate Camp 2010: Twitter Backfires… or does it?

Climate Camp 2010-serving dinner
Climate Camp 2010-nature doesnt
All photography by Amelia Gregory unless otherwise stated.

Over the past few years I have become increasingly embedded in the process of Climate Camp, web so I am well aware that the run up to this year’s Climate Camp has been more fraught with difficulties than ever – but as a spectacularly open grassroots non-heirarchical direct action organisation we would be the first to acknowledge this fact. We argued long and hard about whether RBS was an appropriate target for this year’s activities, case and we picked our spot without really checking in with Scottish activists who were not present at the meeting, website like this thereby alienating some of our allies… so it’s a testament to the movement we’ve created that I left the Edinburgh camp feeling that Climate Camp, whatever nebulous thing that might be, is stronger than ever. We may not have grown in numbers but there has been a definite increase in the quality of active participation and we are slowly becoming more diverse too – there was a notable improvement in our age, class and racial make up this year, though we still have a long way to go.

Climate Camp 2010-camp life
Climate Camp 2010-scene

And we were successful – we didn’t for one moment imagine that we would make the same kind of splash in the national media as we have in other more southern based years (journalists are notoriously bad at travelling for any kind of story: witness the lack of press surrounding our extremely successful Ratcliffe on Soar action in October 2009) but we certainly made big news in the Scottish press, we did loads of outreach and best of all WE GOT IN THE WAY. We shut shit down and generally made a nuisance of ourselves that served to highlight climate and community wrecking investments in tar sands, open cast coal and biofuels. We’ve cost RBS and the companies it funds a certain amount of money and reputation, and we’ve got people talking.

Climate Camp 2010-welcome
Climate Camp 2010-setting up site
Setting up site.

So, back to the beginning. I was part of the initial Land Grab on Wednesday evening…. which meant taking two days to get up to Scotland and not at any point giving away our whereabouts. On arrival at our destination we scrambled through fields in search of the huge seven tonne truck that transports our big marquee poles, already parked in the middle of the manicured lands that belong to the RBS HQ. From there I walked into the adjoining field and marvelled at our audacity, for we’ve never been this close to our target before. There it was, the HQ lit up like a giant christmas tree well into the night, rumoured to be so large that it supports its very own supermarket. It seemed almost impossible that with only a hundred people we might take this second field too, but take it we did because soon people were trundling around with wheelbarrows full of tat (an all encompassing word to describe all the stuff we need to run a camp). From the top of the man made mound we could see right into the glass walled HQ, where bored workers were no doubt entertained by us for a few days before RBS decreed they should work from home.

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By the time I got up the next morning the site was already humming with activity and new campers who had joined us over the course of the night when they heard about our location via text and twitter. This year’s site, as well as being the cheekiest we have ever taken was also the most beautiful, and abundant with wildlife: mice, frogs and lots and lots of slugs. It’s long layout did however put paid to the permaculture plans we have adhered to in previous years, and necessitated a long walk from one end to the other.

Climate Camp 2010-set up

My role at Climate Camp has settled into a bit of a routine – taking photos, video and twittering. It leaves precious little time for physical work around site and I’m usually to be found in the media tent or rushing around on an action. We had incredibly bad reception on this site, and I soon became friendly with the Comms tent which was sited on the top of the hill and had a better 3G signal. For those of you who don’t know what I’m wittering on about, Comms refers to our defence and communications system which works by collating information from people on all the gates around site. It’s a 24 hour a day job and this year it was skill shared in a most impressive way for the first time.

Climate Camp 2010-media team
Some of the media team.

I think we’d all been fearful that this camp would be much less well attended than previous ones, but by Friday I estimate that there were almost 1000 people on site, and it felt as though they were all there for a purpose. At Blackheath last year we really focused on outreach and both that and our location ensured rather a lot of sightseeing which unfortunately meant that direct action took a major back seat to workshops. This time the workshops timetable was slimmer, and from early on there was a notable amount of small affinity groups planning direct action in the tall grass. This I think is a good development. And take direct action we did – every day. Here are some of the best actions I took part in:

Climate Camp 2010-refugee camp

1. Taking the land, obviously.
The biggest direct action of them all – it’s hard not to be nervous with an action like this on which the rest of Climate Camp depends. We stopped in at some charity shops for entertaining cut price CDs on our way northwards, and as we drove towards our swooping point we played the Star Wars theme tune at top volume. Despite our huge truck and noisy scrambling it took the police at least half an hour to arrive, by which time we were able to hold the space and had started erecting tents by torchlight. It did, however, mean that the advertised swoop the next day was a bit of a damp squib, and some of the participants must have felt a bit left out of all the excitement.

Climate Camp 2010-site take
Erecting the first marquees on site by torchlight.

2. Raising a Ruckus
On Friday we held a merry little dance parade around the RBS offices, culminating in an incursion into a conveniently open entrance where we jumped up and down in the doorway whilst security looked bemused and staff gazed down from the floors above. At the same time, unbeknownst to us, a lone activist had infiltrated the offices as a banker and stuck herself to a reception desk, where she berated RBS for agreeing to fund Vedanta’s mining activities on the sacred lands of the Dongria Kondh tribe in India. We later learnt that she had changed her name to Dongria Kondh by deed poll the week before, declaring that she would only change it back if RBS retracted funding. Fortunately it was announced this week that India has blocked the mining operation. Though I quite like Dongria Kondh as a name….

Climate Camp rouser
Climate Camp rouser door
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3. A Lady Gaga tribute: the Dirty Oil dance action
Conscious of Climate Camp’s decision to descend on Scotland without much forethought about how we could support local struggles I volunteered to attend the solidarity demo against a new coal mine at Cousland, but then I was reminded that I had also promised to document my Green Kite Midnight friends’ musical action. Lady Gaga won out in the end. Standing inside a small candy striped marquee we learnt new lyrics to Poker Face, featuring the immortal lines:

It’s getting hot, the planet’s nearly shot
We’ll make them stop, we’re putting up a block

Tar sands is dirty oil
Can’t use my, can’t use my taxes no
To invest in dirty oil

Climate Camp 2010-gaga rehearsal
Climate Camp 2010-Dirty Oil
Rehearsing dance moves and getting ready to leave.

By midday we were ready to take our act to the streets of Edinburgh. With black bin bag bows in hair and fluorescent waistcoats we marched with resolve towards the biggest branch of RBS on St Andrews Square…. to find it already closed. Closed by the threat of song and dance. Score! We then set off on a tour through the town centre, jumping an RBS fringe stage for a special ten minute non-sponsored rendition. You can watch this here. We taught some onlookers the dance moves, bumped into the Greenwash Guerillas en route and handed out loads of leaflets.

Climate Camp 2010-Dirty Oil Gaga
Climate Camp 2010-Dirty Oil Gaga-on steps
Climate Camp 2010-Dirty Oil Gaga-fringe stage
Crowds watch us at the Fringe
Climate Camp 2010-fringe audience
and the Greenwash Guerillas…
Climate Camp 2010-Greenwash Guerillas

4. Sunday site incursion
I knew there were plans afoot but I wasn’t quite prepared for the huge mass of people dancing towards me in white paper boiler suits. And then they carried on dancing their way over the bridge to RBS, pushing the police back with ease and racing around the corner towards an unguarded part of the RBS HQ. When I got there it became apparent that they had completely taken the police by surprise and several windows had been smashed as the morass propelled forward. For a short moment chaos reigned as the police tried and failed to contain the seething crowd (who needs Black Bloc when you’ve got White Bloc, as one twitterer noted) and they were successfully able to de-arrest several people.

RBS site incursion march
RBS site incursion
RBS site invasion tussle
RBS Sunday invasion

Unfortunately this short point of panic enabled the police to gain the upper hand, and if the intention had been to get in and hold the building we had lost the head start. After two arrests there was a brief stand off with police at the bridge and the action petered out, the white garbed frontline on the bridge replaced by a large white fluffy bunny. I kid thee not.

Climate Camp 2010-white bunny

At our evening plenary a dampener was put on the situation almost immediately. Unfortunately the action had been badly timed to coincide with a speech from our visiting tar sands activists, who had felt seriously disrespected by the disruption to their workshop. They were also uncomfortable with the apparent violence of smashing windows, as were a few others. Through skilful facilitation we were able to talk through these issues, with many good points being made that Climate Camp comprises a diverse range of people who use different tactics, and whilst we would never ever condone physical violence against people, corporate property is another matter altogether. All successful direct action campaigns have attacked physical infrastructure, from the Suffragettes to the 1990s road protest movement. Causing infrastructure damage hits a company where it hurts: their pockets.

Climate Camp 2010-meeting
An early site-wide meeting.

We’ve always been very careful with our language, although the media often insists on referring to us as “peaceful” or NVDA (Non Violent Direct Action). In another twist seasoned activists have levelled many criticisms at us over the past few years with regards to us being too media friendly. For many this action proved that we really are capable of doing more than the media stunts and banner drops of recent times. It was also acknowledged that whilst we could sympathise with the feelings of First Nations activists it could not dictate the way that Climate Camp works, and indeed whilst we should work hard at international bonds we should not deify indigenous peoples above our local communities. We finished the meeting with a euphoric group hug that seemed to express: Yes! We are powerful together! We can break through police lines and inflict serious physical damage to a building! With a bit more intent we could have got into the HQ and dug in for the duration: of that I have no doubt.

5. The RBS Trojan Pig leaking molasses outside Cairn Energy offices
At just past 9am I dropped my half drunk tea and ran full tilt out of the cafe where I had been sitting on Lothian Road. Ahead of me a group of people in black ceremoniously carried a large pink pig – eyes painted with the RBS logo – up the impressive granite steps of the offices for Cairn Energy, who received £117 million in loans from RBS last year, some of which helped them to start drilling for oil off the coast of Greenland. Two activists sprayed molasses against the side of the building in decorative swirls as more molasses seeped out of the pig and down the steps. A security guard briefly looked on, but never moved the large pink carcass which was reported later that day as forlornly pushed aside on the steps. Ironically it is only because of climate change and melting ice that Cairn Energy are able to drill in the polar regions as new oil reserves are revealed. By coincidence a Greenpeace ship reached the drill rig on our day of action, where it was met by a Danish warship. It is hoped that lots of activists will join Crude Awakening, a day of mass action against oil supported by Climate Camp on Saturday October 16th in London.

Cairn Trojan Pig parade
Cairn Trojan Pig molasses
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6. Shutting down Nicolson Street branch of RBS
The weather was not kind to us on our main day of action, and getting lost en route to my next destination didn’t help. By just after 10am I was soaked through to the skin. Across the entrance to Nicolson Street RBS three of my friends glued themselves together with green posters pinned to their fronts that said “Ask me why I won’t bank with RBS“. As customers arrived they engaged them in conversation and then let them duck under their arms. With musicians and a small gaggle of Lady Gaga impersonators I went inside to be greeted by an old man grumbling bad-temperedly at the counter. He then proceeded to watch several reprises of the Dirty Oil song and dance routine, by now familiar to all. Next up was a reinvigorated version of the Gloria Gaynor classic I Will Survive, and as we moved outside the police finally arrived. I went to upload some tweets and when I returned journalists and photographers were out in force and the branch had been closed. Later that day another bunch of activists dressed in bin bags and dripping in molasses closed down the same branch.

Climate Camp 2010-Nicholson-RBS
Climate Camp 2010-Nicholson-RBS 2

7. We’ve built a Rhino Siege Tower!
Yes really. At the top of the hill above RBS what looked like a watch tower had risen during the course of the camp, gaining painted corrugated metal sides and a roof. And perhaps best of all a huge paper mache Rhino head attached to it’s derriere. I got back from the mornings actions to find a huge gaggle of people surrounding the tower, all dressed in wonderful outfits, inspired by medieval battle, clowns, animals and pagan dress. And then we waited…. and waited… and joked about slow action being the new slow food movement. Finally, we were ready to roll. The siege tower was on wheels. And with people guiding it via a series of ropes and pulleys it began to inch it’s way around the wind break and down the hill as we all held our breath and prayed that it didn’t topple into the bank of photographers waiting below. This process took about four hours, by which time I’d long since stopped worrying that I would miss anything crucial every time I went to recharge my damn iphone again. Over at the bridge a series of mollassapaults were fired onto the HQ by black clad activists. And then as we finally crawled towards the gate the rain really set in. Dancing animals met lines of riot police and squirted silly string over their heads as the Siege Tower finally cleared a low hanging branch and the rhino headbutted a police van.

Climate Camp Rhino Seige Tower
Climate Camp 2010-scary clown
Climate Camp 2010-Seige Rhino-hits van

I don’t think I’ve ever seen a line of riot cops so bemused. What the hell were we doing? On the side of the tower There Is No Planet B had been painted over at some point during the long journey to say There Is No Plan. My camera decided to complain about the incessant rain. It packed up. I decided to call it a day, and soon so did many soggy others. The Guardian’s live blog had long since stopped reporting on our actions of the day since most of them were done in the morning – including a very brilliant banner drop off the roof of Forth Energy in Leith in protest of a new and huge biomass scheme that would require the mass importation of vast quantities of wood chip.

Climate Camp 2010-Seige Rhino-frontline
Climate Camp 2010-Seige Rhino-sillystring
mollassapault tim morozzo
The mollassapault. Photography by Tim Morozzo.

And so, we didn’t give the mainstream media the huge action they might have liked. Instead we gave them lots of small and effective affinity group actions across Edinburgh and beyond, as planned. Topped off with the most surreal action of them all – a Rhino Siege Tower that effectively closed down the RBS HQ merely through creative farce and the power of suggestion. Sometimes my heart is so full of love for the thing that is Climate Camp that it feels fit to burst.

Climate Camp 2010-Seige Rhino

Other highlights of this years’ camp included a storming ceilidh (apologies to the Scottish for making this word our own) with my band Green Kite Midnight, spoken word from Harry Giles, visits from Fringe comedians Albie Philbin Bowman and Josie Long, and dancing long into the night after our day of action. Despite all the trials and tribulations of being so involved with Climate Camp I can’t wait to see what we come up with next. Even if we didn’t Break the Banks you’ve got to admit it was a damn good slogan, and we’ve successfully managed to highlight the investment of our money in fossil fuels to a far wider public. Now we just need to change the system that encourages wanton consumption of fossil fuels to the wide scale detriment of the only planet we have to live on. Who’s up for helping out?

You can watch lots more of the videos that I took on my Qik channel here.

Climate Camp 2010-Albie Philbin Bowman
Albie Philbin Bowman performs for us.

Many other inspiring actions happened across the course of the camp, but these did not include the supposed oil spill on the A8 on Monday morning, as press released by the police. Our targets have always been corporations and the government not innocent people, but isn’t it somehow predictable that the press picked up on the “oil spill” so relentlessly – happy to reel it off as fact without adequate research or proof. More on how the press have related to this year’s Climate Camp in my next blog post.

Climate Camp 2010-compost loos
A beautiful painted compost loo.
Climate Camp 2010-anarchist baby
Climate Camp 2010-RBS bridge
Climate Camp 2010-bunny

Back in 2007, approved experimental hip hop pioneer Flying Lotus released the Reset EP, remedy which was met with critical acclaim largely due to the outstanding track Tea Leaf Dancers. The stunning fusion of glitchy hip hop and progressive soul remains the LA producer’s most popular song to date, thanks in no small part to a stunning vocal accompaniment that gave the track a melancholy, love-ridden feel. Those sultry, elegiac vocals were provided by London born singer-songwriter Andreya Triana and this year marks the release of her exceptional debut album Lost Where I Belong.
Triana began her musical journey at the age of fourteen when her family moved from south east London to the West Midlands, a move that that left her feeling cut off from society. “I grew up in Brixton,” begins the singer. “It was so culturally diverse, and then I moved to a predominantly white, middle class area so I felt quite isolated. I just started spending a lot of time in my room, writing poetry and making songs.”
After years of honing her song writing abilities, good fortune shone down on Triana when she was selected from thousands of applicants to attend the prestigious Red Bull Music Academy. “I became obsessed with getting in,” says Triana, with wide eyed excitement that suggests she is still in mild disbelief that she was chosen. “When I found out I got in I screamed the house down!”

It was here that Triana met up with Flying Lotus and the duo created what would become Tea Leaf Dancers, even though she had no idea who she was actually working with at the time. “I didn’t really know anything about his music,” admits Triana. “It’s crazy thinking about it all of these years later. There were about thirty of us collaborating and that was only one of hundreds of collaborations.”
Despite the success of Tea Leaf Dancers, Triana would not get the opportunity to prove her worth as a solo artist until several years later when a chance meeting with downtempo trip hop artist Bonobo changed her life forever. “Bonobo and I had a lot of mutual friends,” says the singer, now residing in Brighton. “I heard that he needed a singer for one of his tracks, I came on board and it just developed from there. I wasn’t really that familiar with his music.”
The result was The Keeper, a beautifully laid back soul classic that is reminiscent of Jill Scott at her most poignant. This collaboration would develop into a beautiful working relationship where the pair would bounce ideas off one another until each lovingly-crafted track on Triana’s debut album was complete. “I wrote the songs with a guitar and I would come up with the harmonies,” she advises. “With Bonobo, it’s like I brought the bare bones and he brought them to life. It was really fun.”
Even though Triana has been fortunate enough to work with two of the world’s leading electronic music producers, she is adamant that both happened as a result of good luck. “None of it was pre-determined,” states Triana. “I didn’t work with Bonobo because he is a massive producer. It was because he was a good friend and I feel really comfortable with him.”

In person, Triana is every bit as captivating and endearing as the music she creates. Taking a break from signing promotional copies of Lost Where I Belong in the Ninja Tune headquarters, the singer advises: “The whole time I was doing the album, I was just praying that it would touch people. It’s nice when people come up to me and tell me that they really felt a certain song.”
Triana’s breathtaking brand of neo soul seems destined to captivate audiences in dimly lit, basement jazz bars throughout the world and her abstract lyricism means that her music has the ability to take on many different meanings. With over nine thousand followers on Myspace, Triana has over double the amount of fans as label mate and 2009 Mercury Prize winner Speech Debelle, and this is before her album has even been released. This beautiful lady seems to be on the verge of a cult phenomenon.
Lost Where I Belong is out now via Ninja Tune.

Climate Camp 2010-nature doesnt
All photography by Amelia Gregory unless otherwise stated.

Over the past few years I have become increasingly embedded in the process of Climate Camp, page so I am well aware that the run up to this year’s Climate Camp has been more fraught with difficulties than ever – but as a spectacularly open grassroots non-heirarchical direct action organisation we would be the first to acknowledge this fact. We argued long and hard about whether RBS was an appropriate target for this year’s activities, pharmacy and we picked our spot without really checking in with Scottish activists who were not present at the meeting, nurse thereby alienating some of our allies… so it’s a testament to the movement we’ve created that I left the Edinburgh camp feeling that Climate Camp, whatever nebulous thing that might be, is stronger than ever. We may not have grown in numbers but there has been a definite increase in the quality of active participation and we are slowly becoming more diverse too – there was a notable improvement in our age, class and racial make up this year, though we still have a long way to go.

Climate Camp 2010-camp life
Climate Camp 2010-scene

And we were successful – we didn’t for one moment imagine that we would make the same kind of splash in the national media as we have in other more southern based years (journalists are notoriously bad at travelling for any kind of story: witness the lack of press surrounding our extremely successful Ratcliffe on Soar action in October 2009) but we certainly made big news in the Scottish press, we did loads of outreach and best of all WE GOT IN THE WAY. We shut shit down and generally made a nuisance of ourselves that served to highlight climate and community wrecking investments in tar sands, open cast coal and biofuels. We’ve cost RBS and the companies it funds a certain amount of money and reputation, and we’ve got people talking.

Climate Camp 2010-welcome
Climate Camp 2010-setting up site
Setting up site.

So, back to the beginning. I was part of the initial Land Grab on Wednesday evening…. which meant taking two days to get up to Scotland and not at any point giving away our whereabouts. On arrival at our destination we scrambled through fields in search of the huge seven tonne truck that transports our big marquee poles, already parked in the middle of the manicured lands that belong to the RBS HQ. From there I walked into the adjoining field and marvelled at our audacity, for we’ve never been this close to our target before. There it was, the HQ lit up like a giant christmas tree well into the night, rumoured to be so large that it supports its very own supermarket. It seemed almost impossible that with only a hundred people we might take this second field too, but take it we did because soon people were trundling around with wheelbarrows full of tat (an all encompassing word to describe all the stuff we need to run a camp). From the top of the man made mound we could see right into the glass walled HQ, where bored workers were no doubt entertained by us for a few days before RBS decreed they should work from home.

YouTube Preview Image

By the time I got up the next morning the site was already humming with activity and new campers who had joined us over the course of the night when they heard about our location via text and twitter. This year’s site, as well as being the cheekiest we have ever taken was also the most beautiful, and abundant with wildlife: mice, frogs and lots and lots of slugs. It’s long layout did however put paid to the permaculture plans we have adhered to in previous years, and necessitated a long walk from one end to the other.

Climate Camp 2010-set up

My role at Climate Camp has settled into a bit of a routine – taking photos, video and twittering. It leaves precious little time for physical work around site and I’m usually to be found in the media tent or rushing around on an action. We had incredibly bad reception on this site, and I soon became friendly with the Comms tent which was sited on the top of the hill and had a better 3G signal. For those of you who don’t know what I’m wittering on about, Comms refers to our defence and communications system which works by collating information from people on all the gates around site. It’s a 24 hour a day job and this year it was skill shared in a most impressive way for the first time.

Climate Camp 2010-media team
Some of the media team.

I think we’d all been fearful that this camp would be much less well attended than previous ones, but by Friday I estimate that there were almost 1000 people on site, and it felt as though they were all there for a purpose. At Blackheath last year we really focused on outreach and both that and our location ensured rather a lot of sightseeing which unfortunately meant that direct action took a major back seat to workshops. This time the workshops timetable was slimmer, and from early on there was a notable amount of small affinity groups planning direct action in the tall grass. This I think is a good development. And take direct action we did – every day. Here are some of the best actions I took part in:

Climate Camp 2010-refugee camp

1. Taking the land, obviously.
The biggest direct action of them all – it’s hard not to be nervous with an action like this on which the rest of Climate Camp depends. We stopped in at some charity shops for entertaining cut price CDs on our way northwards, and as we drove towards our swooping point we played the Star Wars theme tune at top volume. Despite our huge truck and noisy scrambling it took the police at least half an hour to arrive, by which time we were able to hold the space and had started erecting tents by torchlight. It did, however, mean that the advertised swoop the next day was a bit of a damp squib, and some of the participants must have felt a bit left out of all the excitement.

Climate Camp 2010-site take
Erecting the first marquees on site by torchlight.

2. Raising a Ruckus
On Friday we held a merry little dance parade around the RBS offices, culminating in an incursion into a conveniently open entrance where we jumped up and down in the doorway whilst security looked bemused and staff gazed down from the floors above. At the same time, unbeknownst to us, a lone activist had infiltrated the offices as a banker and stuck herself to a reception desk, where she berated RBS for agreeing to fund Vedanta’s mining activities on the sacred lands of the Dongria Kondh tribe in India. We later learnt that she had changed her name to Dongria Kondh by deed poll the week before, declaring that she would only change it back if RBS retracted funding. Fortunately it was announced this week that India has blocked the mining operation. Though I quite like Dongria Kondh as a name….

Climate Camp rouser
Climate Camp rouser door
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3. A Lady Gaga tribute: the Dirty Oil dance action
Conscious of Climate Camp’s decision to descend on Scotland without much forethought about how we could support local struggles I volunteered to attend the solidarity demo against a new coal mine at Cousland, but then I was reminded that I had also promised to document my Green Kite Midnight friends’ musical action. Lady Gaga won out in the end. Standing inside a small candy striped marquee we learnt new lyrics to Poker Face, featuring the immortal lines:

It’s getting hot, the planet’s nearly shot
We’ll make them stop, we’re putting up a block

Tar sands is dirty oil
Can’t use my, can’t use my taxes no
To invest in dirty oil

Climate Camp 2010-gaga rehearsal
Climate Camp 2010-Dirty Oil
Rehearsing dance moves and getting ready to leave.

By midday we were ready to take our act to the streets of Edinburgh. With black bin bag bows in hair and fluorescent waistcoats we marched with resolve towards the biggest branch of RBS on St Andrews Square…. to find it already closed. Closed by the threat of song and dance. Score! We then set off on a tour through the town centre, jumping an RBS fringe stage for a special ten minute non-sponsored rendition. You can watch this here. We taught some onlookers the dance moves, bumped into the Greenwash Guerillas en route and handed out loads of leaflets.

Climate Camp 2010-Dirty Oil Gaga
Climate Camp 2010-Dirty Oil Gaga-on steps
Climate Camp 2010-Dirty Oil Gaga-fringe stage
Crowds watch us at the Fringe
Climate Camp 2010-fringe audience
and the Greenwash Guerillas…
Climate Camp 2010-Greenwash Guerillas

4. Sunday site incursion
I knew there were plans afoot but I wasn’t quite prepared for the huge mass of people dancing towards me in white paper boiler suits. And then they carried on dancing their way over the bridge to RBS, pushing the police back with ease and racing around the corner towards an unguarded part of the RBS HQ. When I got there it became apparent that they had completely taken the police by surprise and several windows had been smashed as the morass propelled forward. For a short moment chaos reigned as the police tried and failed to contain the seething crowd (who needs Black Bloc when you’ve got White Bloc, as one twitterer noted) and they were successfully able to de-arrest several people.

RBS site incursion march
RBS site incursion
RBS site invasion tussle
RBS Sunday invasion

Unfortunately this short point of panic enabled the police to gain the upper hand, and if the intention had been to get in and hold the building we had lost the head start. After two arrests there was a brief stand off with police at the bridge and the action petered out, the white garbed frontline on the bridge replaced by a large white fluffy bunny. I kid thee not.

Climate Camp 2010-white bunny

At our evening plenary a dampener was put on the situation almost immediately. Unfortunately the action had been badly timed to coincide with a speech from our visiting tar sands activists, who had felt seriously disrespected by the disruption to their workshop. They were also uncomfortable with the apparent violence of smashing windows, as were a few others. Through skilful facilitation we were able to talk through these issues, with many good points being made that Climate Camp comprises a diverse range of people who use different tactics, and whilst we would never ever condone physical violence against people, corporate property is another matter altogether. All successful direct action campaigns have attacked physical infrastructure, from the Suffragettes to the 1990s road protest movement. Causing infrastructure damage hits a company where it hurts: their pockets.

Climate Camp 2010-meeting
An early site-wide meeting.

We’ve always been very careful with our language, although the media often insists on referring to us as “peaceful” or NVDA (Non Violent Direct Action). In another twist seasoned activists have levelled many criticisms at us over the past few years with regards to us being too media friendly. For many this action proved that we really are capable of doing more than the media stunts and banner drops of recent times. It was also acknowledged that whilst we could sympathise with the feelings of First Nations activists it could not dictate the way that Climate Camp works, and indeed whilst we should work hard at international bonds we should not deify indigenous peoples above our local communities. We finished the meeting with a euphoric group hug that seemed to express: Yes! We are powerful together! We can break through police lines and inflict serious physical damage to a building! With a bit more intent we could have got into the HQ and dug in for the duration: of that I have no doubt.

Climate Camp 2010-serving dinner
Serving dinner at the South Coast neighbourhood.

5. The RBS Trojan Pig leaking molasses outside Cairn Energy offices
At just past 9am I dropped my half drunk tea and ran full tilt out of the cafe where I had been sitting on Lothian Road. Ahead of me a group of people in black ceremoniously carried a large pink pig – eyes painted with the RBS logo – up the impressive granite steps of the offices for Cairn Energy, who received £117 million in loans from RBS last year, some of which helped them to start drilling for oil off the coast of Greenland. Two activists sprayed molasses against the side of the building in decorative swirls as more molasses seeped out of the pig and down the steps. A security guard briefly looked on, but never moved the large pink carcass which was reported later that day as forlornly pushed aside on the steps. Ironically it is only because of climate change and melting ice that Cairn Energy are able to drill in the polar regions as new oil reserves are revealed. By coincidence a Greenpeace ship reached the drill rig on our day of action, where it was met by a Danish warship. It is hoped that lots of activists will join Crude Awakening, a day of mass action against oil supported by Climate Camp on Saturday October 16th in London.

Cairn Trojan Pig parade
Cairn Trojan Pig molasses
YouTube Preview Image

6. Shutting down Nicolson Street branch of RBS
The weather was not kind to us on our main day of action, and getting lost en route to my next destination didn’t help. By just after 10am I was soaked through to the skin. Across the entrance to Nicolson Street RBS three of my friends glued themselves together with green posters pinned to their fronts that said “Ask me why I won’t bank with RBS“. As customers arrived they engaged them in conversation and then let them duck under their arms. With musicians and a small gaggle of Lady Gaga impersonators I went inside to be greeted by an old man grumbling bad-temperedly at the counter. He then proceeded to watch several reprises of the Dirty Oil song and dance routine, by now familiar to all. Next up was a reinvigorated version of the Gloria Gaynor classic I Will Survive, and as we moved outside the police finally arrived. I went to upload some tweets and when I returned journalists and photographers were out in force and the branch had been closed. Later that day another bunch of activists dressed in bin bags and dripping in molasses closed down the same branch.

Climate Camp 2010-Nicholson-RBS
Climate Camp 2010-Nicholson-RBS 2

7. We’ve built a Rhino Siege Tower!
Yes really. At the top of the hill above RBS what looked like a watch tower had risen during the course of the camp, gaining painted corrugated metal sides and a roof. And perhaps best of all a huge paper mache Rhino head attached to it’s derriere. I got back from the mornings actions to find a huge gaggle of people surrounding the tower, all dressed in wonderful outfits, inspired by medieval battle, clowns, animals and pagan dress. And then we waited…. and waited… and joked about slow action being the new slow food movement. Finally, we were ready to roll. The siege tower was on wheels. And with people guiding it via a series of ropes and pulleys it began to inch it’s way around the wind break and down the hill as we all held our breath and prayed that it didn’t topple into the bank of photographers waiting below. This process took about four hours, by which time I’d long since stopped worrying that I would miss anything crucial every time I went to recharge my damn iphone again. Over at the bridge a series of mollassapaults were fired onto the HQ by black clad activists. And then as we finally crawled towards the gate the rain really set in. Dancing animals met lines of riot police and squirted silly string over their heads as the Siege Tower finally cleared a low hanging branch and the rhino headbutted a police van.

Climate Camp Rhino Seige Tower
Climate Camp 2010-scary clown
Climate Camp 2010-Seige Rhino-hits van

I don’t think I’ve ever seen a line of riot cops so bemused. What the hell were we doing? On the side of the tower There Is No Planet B had been painted over at some point during the long journey to say There Is No Plan. My camera decided to complain about the incessant rain. It packed up. I decided to call it a day, and soon so did many soggy others. The Guardian’s live blog had long since stopped reporting on our actions of the day since most of them were done in the morning – including a very brilliant banner drop off the roof of Forth Energy in Leith in protest of a new and huge biomass scheme that would require the mass importation of vast quantities of wood chip.

Climate Camp 2010-Seige Rhino-frontline
Climate Camp 2010-Seige Rhino-sillystring
mollassapault tim morozzo
The mollassapault. Photography by Tim Morozzo.

And so, we didn’t give the mainstream media the huge action they might have liked. Instead we gave them lots of small and effective affinity group actions across Edinburgh and beyond, as planned. Topped off with the most surreal action of them all – a Rhino Siege Tower that effectively closed down the RBS HQ merely through creative farce and the power of suggestion. Sometimes my heart is so full of love for the thing that is Climate Camp that it feels fit to burst.

Climate Camp 2010-Seige Rhino

Other highlights of this years’ camp included a storming ceilidh (apologies to the Scottish for making this word our own) with my band Green Kite Midnight, spoken word from Harry Giles, visits from Fringe comedians Albie Philbin Bowman and Josie Long, and dancing long into the night after our day of action. Despite all the trials and tribulations of being so involved with Climate Camp I can’t wait to see what we come up with next. Even if we didn’t Break the Banks you’ve got to admit it was a damn good slogan, and we’ve successfully managed to highlight the investment of our money in fossil fuels to a far wider public. Now we just need to change the system that encourages wanton consumption of fossil fuels to the wide scale detriment of the only planet we have to live on. Who’s up for helping out?

You can watch lots more of the videos that I took on my Qik channel here.

Climate Camp 2010-Albie Philbin Bowman
Albie Philbin Bowman performs for us.

Many other inspiring actions happened across the course of the camp, but these did not include the supposed oil spill on the A8 on Monday morning, as press released by the police. Our targets have always been corporations and the government not innocent people, but isn’t it somehow predictable that the press picked up on the “oil spill” so relentlessly – happy to reel it off as fact without adequate research or proof. More on how the press have related to this year’s Climate Camp in my next blog post.

Climate Camp 2010-compost loos
A beautiful painted compost loo.
Climate Camp 2010-anarchist baby
Climate Camp 2010-RBS bridge
Climate Camp 2010-bunny

Climate Camp 2010-media
Our best 3G signal for getting onto the internet was found at the top of the rise. All photography by Amelia Gregory.

Since I’ve returned from Climate Camp in Edinburgh the media backlash against us has began. Perhaps we have grown complacent about our cosy relationship with the mainstream media over the past few years? Thwarted in their desire for juicy riot porn the Guardian instead turned to the trouble I had been experiencing on twitter since the start of camp, buy information pills when one troll turned into two, which then turned into a whole host of the little critters. Because trolls always have friends and they know how to find each other. And once they do they like to have a feeding frenzy.

Climate Camp 2010-mediateam
The media team: small but very hard working.

So how did this all start? Well, unfortunately I feel very much to blame and I’ve learnt my lesson. At the start of this year I went on an anti EDL march in London, and whilst there I picked up a follower of the EDL sympathising persuasion. Now, I’ve never followed him, but we did engage in conversation every now and again on twitter. He’s a very persistent sort of chap, and I thought “ow, bless, he’s sadly misguided but essentially a sweet man despite his extreme right wing nationalistic views – maybe he’ll learn something if he follows me.” He even offered to help out with my website. Well, that was my biggest mistake: EDL sympathisers are not for the turning. So, he knew about the #climatecamp hashtag from me, and he made it his personal business to stalk me on it throughout Climate Camp – describing me as his #twittercrush and Climate Camp Vamp on @replies to my personal twitter feed, loitering on the perimeter of the campsite and offering me lifts home from Edinburgh in his “gun metal Aston” when I tweeted about waiting for the bus… and posting offensive tweets to all and sundry through the #climatecamp hashtag which only served to attract even more horrible little trolls from far and wide. Anthropogenic global warming denialists, fascists, homophobes, racists, sexists – you name it, they all came running.

Climate Camp 2010-all ages
People of all ages come to Climate Camp.

I managed to ignore these trolls – because what else can you do? Like a greedy little pug, if you feed them they just keep coming back for more. It looked like things might die down as the camp started to wind up. And then. James Randerson on the Guardian environment blog saw fit to publish an article featuring some tweets from these trolls – “Twitter Backfires” screeched the headline. As if a few trolls would stop interested people and Climate Camp supporters from going straight to the Climate Camp twitter feed (wow, what a novel idea!) or reading through to the interesting and relevant tweets in the #climatecamp stream rather than fatuous fake retweets reinforcing every known stereotype of “hippy activist”. We are all posh, anarchist, crybaby, smelly, student, lentil chomping, yurt dwelling, marxists. Wow! I’d really love to meet someone who embodies all of those things in one person!

Climate Camp 2010-child
Climate Camp 2010-girl
Just some of the very happy well-adjusted children on Climate Camp.

The outcome of the Guardian blog? It fed the trolls a huge amount of publicity and unwittingly condoned their actions… and by default their opinions. This on the environment blog of a left leaning newspaper – which supposedly supports our actions. And here it was saying our protest was a failure purely because we didn’t “own” the twittersphere. Sour grapes because we didn’t provide them with the exciting coverage the mainstream media demands of us? Seems like it to me. And utter bullshit. Because at the end of the day most people on Climate Camp don’t use twitter – and have no idea of this storm on a Tweetdeck. They couldn’t care less – they were on camp, taking direct action together, on the site of the HQ, in an RBS branch in Edinburgh, handing out leaflets about tarsands, marching with locals on the proposed site of a huge new open cast coal mine or teaching subversive lyrics at an impromptu performance on a Fringe stage. There are so many other ways to reach people, and twitter is but one tool in the outreach box.

Climate Camp 2010-compost loos change
Changing the straw bales in the loos.

Suddenly the trolls were back in business. And so I’ve spent the past few days doing my best blocking irrelevant trolls and aborting the #climatecamp hashtag amongst supportive followers. It’s been a swift learning curve. But one big thing I’ve realised is this: you can’t change some people. I should have blocked my troll the minute he started following me. I still think he’s a sad misguided individual – one with an awful lot of lonely time on his hands to spend a whole week trolling on the #climatecamp hashtag – but he’s also a massive arse to take such pleasure out of petty nastiness. The fact that he claims to care about the environment “I plant trees” – big woop-de-doo – makes his actions particularly noxious. What’s more he’s a passive aggressive EDL sympathiser with far right leanings who rather scarily knows an awful lot about me and The Guardian has given him and his ilk a legitimacy that is far from worthy. But to equate a problem on twitter with a wholesale failure of the camp is just ridiculous; whilst this whole episode may personally have made my life quite unpleasant, none of this will affect those who are committed to taking direct action as part of Climate Camp. So in the end a big old #fail for the trolls. I’d like to believe they are even now scuttling back into their little troll homes… but I doubt they will be able to stop their fingers from itching towards the keyboard.

Climate Camp 2010-set up boards
Now, where do these go?
Climate Camp 2010-wheelchair
Climate Camp is accessible to all.

Trolls: a few words. This blog is moderated and you aren’t welcome on here. I wholly reserve the right to delete you. You’ve been warned.

You can read about all the actions we took on Climate Camp at the RBS HQ in Edinburgh on my blog here.

Categories ,AGW, ,Climate Camp, ,Climate Camp Vamp, ,Direct Action, ,edinburgh, ,EDL, ,Hashtags, ,Media, ,RBS, ,Trolls, ,twitter, ,Twittercrush

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Amelia’s Magazine | Dirty Oil: Marina Pepper reviews the new film about the horror of the Canadian Tar Sands

Illustration by Daniel Almeroth.
Illustration by Daniel Almeroth.

Back in the days when climate change was a vague notion – something for the 22nd century, order a problematical J curve for academics to ponder over – I thought nothing of hopping on a short haul from LA to Las Vegas, online hiring a chevvy and heading out towards Monument Valley, decease cool desert and home of the Navaho. On the way I  would pass the Grand Canyon, a journey that forced me to redefine my concept of size. For this thing, this hole in the ground was absolutely gi-fucking-normous. It just kept on going.  No matter how long you drove, you came round a bend and there it was. Still. So huge was this new huge I even had to redefine my sense of how big infinite space might actually be. At the time is was as mind blowing as taking acid. It changed me forever.

Now I’m not saying the film Dirty Oil has changed me forever. But it has affected my mood. For now I discover a bigger huge. Tar Sands in Alberta, Canada. It is – or was – the biggest unspoilt forest in the world.  But just underground it’s the second biggest oil reserve in the world after Saudi Arabia. It’s bigger than Florida. Bigger than England. And it is the single biggest emitter of climate change gases in the world. If the oil industry gets the $379 billion investment it’s demanding we’ll get a rise of between 9 and 15 billion parts per million of C02 in the atmosphere. And you know what that means? It means the tipping point of runaway climate change. It can do this all on its own without any help from us leaving lights on or driving short journeys to Tesco.

Illustration by Daniel Almeroth.
Illustration by Daniel Almeroth.

This film though isn’t content to be another film about climate change. It brings you the human story of the Beaver Lake Kree – who are having their ancestral lands torn up, their rivers and lakes polluted and their health destroyed. Thanks to the arsenic in their fishstocks, the Kree are 30 % more likely to get cancer, including rare ones,  than other populations. And why are they subjected to this? So that America gets cheap oil without having to bully – er bother –  the Arabs for a decade. That’s it. A decade of cheapish growth. I could weep – except the film left me emotionally stunned. The problem here is capitalism. An unadulterated free market economy where the bottom line profit – the false prophet indeed – over rides all other considerations, including the survival of life on this planet itself, spews  unchecked in Alberta. It’s not just a local pollution issue, it’s a global one. The Co-op, which hosted this week’s screenings across the UK, wants us all to petition companies like RBS and BP through our pension plans. But is that enough? Is it even worth having a pension when the future is governed by this ginormous scrag-heap of crap? “It’s time to start blowing things up,” says a comrade as we leave the cinema a little stunned. “How big?” I jest.

But there is a minute sliver of hope here. They don’t raise this in the film, but it was the Cree Indians who predicted that a time would come when we discovered that we can’t eat our money. I think we’re getting there. And a Cree woman called Eyes of Fire fortold: “A time when trees fall, the rivers are black, fish die in the rivers and birds fall from the sky…

“And when it does a tribe will gather from all the cultures ?of the World who believe in deed and not words. ?They will work to heal it…  they will be known as the “Warriors of the Rainbow.”
Cree Indian Proverb

I assume that’s us. For anyone calling themselves an activist – if we don’t get together and stop Tar Sands, while forcefully overcoming ignorance to promote alternative ways of running economies and energy supplies, we’re doomed. And doomed is just too huge a deal to imagine.

You can read our preview here and find out where to see the film over the next few weeks here.

Categories ,Alberta, ,BP, ,canada, ,coal, ,Cree Indian Proverb, ,Daniel Almeroth, ,Grand Canyon, ,Indian Proverb, ,Las Vegas, ,Los Angeles, ,Monument Valley, ,oil, ,Oil Sands, ,RBS, ,Tar Sands

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Amelia’s Magazine | Earth Listings: 16th – 22nd November 2009

Cindy Crawford shoesHALL OF FAME EXHIBITION
10-18 NOVEMBER
BURLINGTON ARCADE, diagnosis PICCADILLY, online W1
FREE ENTRY
Essential for all fashion fanatics who’ve ever wanted to get a peek into the wardrobes of the rich and famous– now is your chance. Celebrities such as Kylie Minogue, Kevin Spacey, Yasmin Le Bon and Cindy Crawford have donated their shoes to the Macmillan Cancer Trust ahead of the ‘In Their Shoes’ fundraising ball taking place next week.
To book tickets call 020 7840 4800 to book or alternatively visit the website to bid on your favourite pair of shoes.

exhibitors handmade in britainHANDMADE IN BRITAIN 09
11-14 NOVEMBER (11-6PM)
CHELSEA OLD TOWN HALL, 253 KING’S ROAD, SW3
£5 DAY ENTRY, £3 CONCESSIONS
Now in its third year, Handmade in Britain returns to London showcasing the brightest and most innovative talent in contemporary eco design. Whether you love fashion, textiles, jewellery, ceramics or furniture there is something for everyone with over 50 of the UK’s top designers and brands showcasing.

PF-penny-bazaar_1409880cM&S PENNY BAZAAR
13 NOVEMBER (9-8PM)
458 OXFORD STREET, W1
FREE ENTRY
Back by popular demand the M&S penny bazaar returns especially for Christmas. Marking the end of 2009’s 125th birthday celebrations the lovely chaps at M&S are reducing up to 15 items in stores across the UK. With all proceeds going to local charities this is a great day to stock up on treats including: Christmas socks, card games, children’s puzzles, handkerchiefs, money boxes, tea towels, mugs, notebooks, ties, knickers, key rings, chocolates and Christmas Yule logs.

header_gladragsGLADRAGS AND HANDBAGS FASHION SALE
13-15 NOVEMBER (FRI: 9-7PM, SAT: 10-5PM, SUN: 11-4PM)
MUSIC ROOMS, SOUTH MOLTON LANE, W1
£2 ENTRY
Held in conjunction with the Kids Company Charity this three day fashion extravaganza is a great place to pick up some bargains. With an array of clothes and accessories from some of fashion’s biggest names, including: Vivienne Westwood, Alexander McQueen, Chanel, Christian Dior, Dolce & Gabbana, Stella McCartney, Chloe and Luella this sounds like an unmissable event.

jimmychoo684x410JIMMY CHOO FOR H&M LAUNCH
14 NOVEMBER
FLAGSHIP STORES (10-8PM)
PRICES START AT £17.99 (ACCESSORIES), £49.99 (SHOES), £29.99 (CLOTHING)
This Saturday sees the launch of the highly anticipated Jimmy Choo diffusion line for High Street retailer H&M. The multi-faceted collection features iconic shoes and 80’s inspired womenswear in addition to sleek and sophisticated men’s suits.
Flagship stores selling the collection are: London; Regent St, Long Acre, Bond St, Brent Cross, High Street Kensington, Knightsbridge, Oxford Circus and White City. Other UK participating stores are located in: Birmingham, Kent, Brighton, Cardiff, Glasgow, Manchester and Newcastle.

CELEBRITY CAR BOOT SALE
15 NOVEMBER (12-4PM)
1ST FLOOR, SELFRIDGES CAR PARK, OXFORD STREET, W1
£5 ENTRY, UNDER 12’S GO FREE
For the first time ever Selfridges are hosting a celebrity car boot sale in conjunction with Mothers4Children this Sunday. Charity patrons such as Liz Hurley, Claudia Schiffer, Yasmin Le Bon, Trinny Woodall and Louise Redknapp have enlisted their celebrity friends to not only donate their wares for this great cause but also to act as stall holders for the duration of the event. With 100% of profits going to the Mothers4Children charity this is a great way to donate and do some A-list celebrity spotting at the same time.
Cindy Crawford shoes

Image courtesy of ‘Hall of Fame’.

HALL OF FAME EXHIBITION
10-18 NOVEMBER
BURLINGTON ARCADE, cialis 40mg PICCADILLY, pilule W1
FREE ENTRY
Essential for all fashion fanatics who’ve ever wanted to get a peek into the wardrobes of the rich and famous– now is your chance. Celebrities such as Kylie Minogue, Kevin Spacey, Yasmin Le Bon and Cindy Crawford have donated their shoes to the Macmillan Cancer Trust ahead of the ‘In Their Shoes’ fundraising ball taking place next week.
To book tickets call 020 7840 4800 to book or alternatively visit the website to bid on your favourite pair of shoes.

exhibitors handmade in britainImage courtesy of  Handmade in Britain.

HANDMADE IN BRITAIN 09
11-14 NOVEMBER (11-6PM)
CHELSEA OLD TOWN HALL, 253 KING’S ROAD, SW3
£5 DAY ENTRY, £3 CONCESSIONS
Now in its third year, Handmade in Britain returns to London showcasing the brightest and most innovative talent in contemporary eco design. Whether you love fashion, textiles, jewellery, ceramics or furniture there is something for everyone with over 50 of the UK’s top designers and brands showcasing.

PF-penny-bazaar_1409880cImage courtesy of Marks & Spencer.

M&S PENNY BAZAAR
13 NOVEMBER (9-8PM)
458 OXFORD STREET, W1
FREE ENTRY
Back by popular demand the M&S penny bazaar returns especially for Christmas. Marking the end of 2009’s 125th birthday celebrations the lovely chaps at M&S are reducing up to 15 items in stores across the UK. With all proceeds going to local charities this is a great day to stock up on treats including: Christmas socks, card games, children’s puzzles, handkerchiefs, money boxes, tea towels, mugs, notebooks, ties, knickers, key rings, chocolates and Christmas Yule logs.

header_gladragsImage courtesy of Gladrags and Handbags.

GLADRAGS AND HANDBAGS FASHION SALE
13-15 NOVEMBER (FRI: 9-7PM, SAT: 10-5PM, SUN: 11-4PM)
MUSIC ROOMS, SOUTH MOLTON LANE, W1
£2 ENTRY
Held in conjunction with the Kids Company Charity this three day fashion extravaganza is a great place to pick up some bargains. With an array of clothes and accessories from some of fashion’s biggest names, including: Vivienne Westwood, Alexander McQueen, Chanel, Christian Dior, Dolce & Gabbana, Stella McCartney, Chloe and Luella this sounds like an unmissable event.

jimmychoo684x410Image courtesy of H&M.

JIMMY CHOO FOR H&M LAUNCH
14 NOVEMBER
FLAGSHIP STORES (10-8PM)
PRICES START AT £17.99 (ACCESSORIES), £49.99 (SHOES), £29.99 (CLOTHING)
This Saturday sees the launch of the highly anticipated Jimmy Choo diffusion line for High Street retailer H&M. The multi-faceted collection features iconic shoes and 80’s inspired womenswear in addition to sleek and sophisticated men’s suits.
Flagship stores selling the collection are: London; Regent St, Long Acre, Bond St, Brent Cross, High Street Kensington, Knightsbridge, Oxford Circus and White City. Other UK participating stores are located in: Birmingham, Kent, Brighton, Cardiff, Glasgow, Manchester and Newcastle.

Selfridges charity saleImage courtesy of Selfridges.

CELEBRITY CAR BOOT SALE
15 NOVEMBER (12-4PM)
1ST FLOOR, SELFRIDGES CAR PARK, OXFORD STREET, W1
£5 ENTRY, UNDER 12’S GO FREE
For the first time ever Selfridges are hosting a celebrity car boot sale in conjunction with Mothers4Children this Sunday. Charity patrons such as Liz Hurley, Claudia Schiffer, Yasmin Le Bon, Trinny Woodall and Louise Redknapp have enlisted their celebrity friends to not only donate their wares for this great cause but also to act as stall holders for the duration of the event. With 100% of profits going to the Mothers4Children charity this is a great way to donate and do some A-list celebrity spotting at the same time.
Cindy Crawford shoes

Image courtesy of ‘Hall of Fame’.

HALL OF FAME EXHIBITION
10-18 NOVEMBER
BURLINGTON ARCADE, sale PICCADILLY, cialis 40mg W1
FREE ENTRY
Essential for all fashion fanatics who’ve ever wanted to get a peek into the wardrobes of the rich and famous– now is your chance. Celebrities such as Kylie Minogue, Kevin Spacey, Yasmin Le Bon and Cindy Crawford have donated their shoes to the Macmillan Cancer Trust ahead of the ‘In Their Shoes’ fundraising ball taking place next week.
To book tickets call 020 7840 4800 to book or alternatively visit the website to bid on your favourite pair of shoes.

exhibitors handmade in britain  Image courtesy of  Handmade in Britain.

HANDMADE IN BRITAIN 09
11-14 NOVEMBER (11-6PM)
CHELSEA OLD TOWN HALL, 253 KING’S ROAD, SW3
£5 DAY ENTRY, £3 CONCESSIONS
Now in its third year, Handmade in Britain returns to London showcasing the brightest and most innovative talent in contemporary eco design. Whether you love fashion, textiles, jewellery, ceramics or furniture there is something for everyone with over 50 of the UK’s top designers and brands showcasing.

PF-penny-bazaar_1409880cImage courtesy of Marks & Spencer.

M&S PENNY BAZAAR
13 NOVEMBER (9-8PM)
458 OXFORD STREET, W1
FREE ENTRY
Back by popular demand the M&S penny bazaar returns especially for Christmas. Marking the end of 2009’s 125th birthday celebrations the lovely chaps at M&S are reducing up to 15 items in stores across the UK. With all proceeds going to local charities this is a great day to stock up on treats including: Christmas socks, card games, children’s puzzles, handkerchiefs, money boxes, tea towels, mugs, notebooks, ties, knickers, key rings, chocolates and Christmas Yule logs.

header_gladragsImage courtesy of Gladrags and Handbags.

GLADRAGS AND HANDBAGS FASHION SALE
13-15 NOVEMBER (FRI: 9-7PM, SAT: 10-5PM, SUN: 11-4PM)
MUSIC ROOMS, SOUTH MOLTON LANE, W1
£2 ENTRY
Held in conjunction with the Kids Company Charity this three day fashion extravaganza is a great place to pick up some bargains. With an array of clothes and accessories from some of fashion’s biggest names, including: Vivienne Westwood, Alexander McQueen, Chanel, Christian Dior, Dolce & Gabbana, Stella McCartney, Chloe and Luella this sounds like an unmissable event.

jimmychoo684x410Image courtesy of H&M.

JIMMY CHOO FOR H&M LAUNCH
14 NOVEMBER
FLAGSHIP STORES (10-8PM)
PRICES START AT £17.99 (ACCESSORIES), £49.99 (SHOES), £29.99 (CLOTHING)
This Saturday sees the launch of the highly anticipated Jimmy Choo diffusion line for High Street retailer H&M. The multi-faceted collection features iconic shoes and 80’s inspired womenswear in addition to sleek and sophisticated men’s suits.
Flagship stores selling the collection are: London; Regent St, Long Acre, Bond St, Brent Cross, High Street Kensington, Knightsbridge, Oxford Circus and White City. Other UK participating stores are located in: Birmingham, Kent, Brighton, Cardiff, Glasgow, Manchester and Newcastle.

Selfridges charity saleImage courtesy of Selfridges.

CELEBRITY CAR BOOT SALE
15 NOVEMBER (12-4PM)
1ST FLOOR, SELFRIDGES CAR PARK, OXFORD STREET, W1
£5 ENTRY, UNDER 12’S GO FREE
For the first time ever Selfridges are hosting a celebrity car boot sale in conjunction with Mothers4Children this Sunday. Charity patrons such as Liz Hurley, Claudia Schiffer, Yasmin Le Bon, Trinny Woodall and Louise Redknapp have enlisted their celebrity friends to not only donate their wares for this great cause but also to act as stall holders for the duration of the event. With 100% of profits going to the Mothers4Children charity this is a great way to donate and do some A-list celebrity spotting at the same time.
Time to put some pressure on RBS, cheap start preparing for Copenhagen and get engaged with some of the most important issues of our time!

RBS Tar Sands Action
Tuesday 17th November 2009

EL

Representatives from First Nation communities are coming all the way from Canada to hand RBS executives a letter to ask them to STOP financing tar sands. Show solidarity with the indigenous people of Canada by joining them to take action against the Royal Bank of Scotland.
Meeting outside Liverpool Street tube Station at 2pm. Bring old tights, store and clothes you don’t mind getting a little messy. Fake blood a plenty apparently!

Simon Hughes is also hosting a meeting with the First Nation activists in the Houses of Parliament at 10:00 am. All are welcome. Please come, viagra 40mg and email your MP through www.writetothem.com asking them to meet you there.

Time: 2pm
Venue: Liverpool Street Tube
Website: http://www.facebook.com/event

Age of Stupid screening
Tuesday 17th November 2009

el2

The Campaign against Climate Change in association with Amnesty International present a screening of the film The Age of Stupid at The Human Rights Action Centre. The screening will be followed by a panel discussion with speakers including Phil Thornhill and Abi Edgar from the Campaign against Climate Change.
Tickets must be booked through the Amnesty International website.

Time: 6:30pm
Venue: The Human Rights Action Centre, 17-25 New Inn Yard, Shoreditch, London EC2A 3EA
Contacts: Paul Eagle
Website: www.amnesty.org.uk/eventsdetails.asp?ID=1353

Earthwatch debate: From Tsunami to Drought
Thursday 19 November 2009

el4

Chaired by award-winning broadcaster and radio and television presenter, Andrea Catherwood, four enterprising speakers will outline their ingenious solutions to a looming crisis, before being interrogated Dragon’s Den style by a panel of experts. Entry is by ticket only. Free to students and current Earthwatch donors; otherwise a donation will be requested on the door. The debate will be followed by an optional buffet supper with wine, £25.

?Time: 7pm-9pm
Venue: Royal Geographical Society, 1 Kensington Gore, London SW7 2AR
Website: www.earthwatch.org/europe

Copenhagen Benefit Party
Thursday 19th November 2009

This Thursday a night of Dj’s are putting on some tunes at Passing Clouds, This event hopes to raise money to fund Activism Costs whilst out there so we can ensure each and everyone of us is able to come together and unite in Copenhagen. £5 on the door
Time: 8pm
Venue: Passing Clouds, 440 Kingsland Road, Dalston, London E8

Shared Planet
Saturday 20th-22nd November 2009

el3

Join hundreds of young people to get informed, learn skills and share ideas to tackle the problems facing our generation. The evnent offers the chance to come together with young people from all over the UK. Learn skills, find positive solutions and hold our leaders to account for a just and sustainable future for our generation. There will also be speakers, workshops, debates, films and stalls.

Venue: University of Manchester & Manchester Metropolitan
Website: http://peopleandplanet.org/

Operation Bike Block opens
Tuesday 17th – Sun 22 November 2009

The Laboratory of Insurrectionary Imagination and Climate Camp are plotting together to design and build a new tool of civil disobedience for the RECLAIM POWER mobilisations taking place in Copenhagen, during the UN climate summit in December. Made from hundreds of recycled bikes, The Bike Bloc will merge device of mass transportation and pedal powered resistance machine, postcapitalist bike gang and art bike carnival. The Laboratory of Insurrectionary Imagination’s installation is open throughout the week in preparation for the following week’s workshops. Visitors are invited to start imagining their own rebel bike contraptions and leave their plans and sketches in the space.

Time 10am – 6pm
Venue: Arnolfini 16 Narrow Quay, Bristol BS1 4QA
Website: http://www.arnolfini.org.uk/

Categories ,Age of Stupid, ,Amnesty International, ,arnolfini, ,bike bloc, ,Climate Camp, ,Climate Change, ,community, ,copenhagen, ,Earthwatch, ,First nation, ,listings, ,passing clouds, ,RBS, ,shared planet, ,The Laboratory of Insurrectionary Imagination

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Amelia’s Magazine | Climate Camp at Glastonbury 2010: Line up information

Glastonbury-June-2009-Climate Camp
Can it really be a year since the last Glastonbury? In 2009, try for the first time, for sale Climate Camp was given it’s very own space in the Dragon Field just above the Craft Field as you wend your way down to Shangri La. This year we’re back to once again educate and entertain festival goers at our beautiful site only a few minutes walk from the Old Railway Line.

Glastonbury-June-2009-Climate Camp workshop
Glastonbury-June-2009-Climate Camp paddling pool
Glastonbury-June-2009-First Aid Kit
Workshops, illness at play, and First Aid Kit playing at the Climate Camp Tripod Stage in 2009.

In 2010 Climate Camp is targeting the Royal Bank of Scotland, which has been bailed out with £50 billion of public money that is now being used to finance the extraction of fossil fuels across the world, with no regard for climate change or the destruction of communities that it causes. We will be camping near the RBS global headquarters in Edinburgh, Scotland, between 19th-25th August, but in the meantime to find out more about why we decided to focus on RBS this year come along and take a look at our exhibition at Glastonbury, then pick up a copy of our Never Mind The Bankers newspaper to peruse over a cup of tea or share with friends. We will be running DIY screenprinting workshops where you can learn how to screenprint your clothing with an anti RBS slogan. Simply bring your own or print onto one of our tshirts or bags. A great activity for kids! There will also be a chance to take part in Tripod Training: Tripods are used to blockade and secure a space on a direct action protest; come find out how to put them up and climb them safely. Good fun, and no previous experience or skills required.

Glastonbury-June-2009-tripod training
Glastonbury-June-2009-tripod training
Tripod Training.

Then of course there is our fabulous music, poetry and comedy line up, put together by yours truly. Read on to find out who will be gracing our Tripod Stage…. Pyramid Stage eat your heart out, this is where the real talent is.

Green-Kite-Midnight
Green Kite Midnight.

When I wrote up about the Climate Camp presence at Glastonbury in 2009 in my blog I talked about my hope that my band Green Kite Midnight would be able to play as the Climate Camp house band in 2010, so I’m very excited to report that we will be doing daily gigs this year. Five years ago I co-founded the barndance troupe Cutashine out of a desire to make traditional collective dancing more fun: after all, what’s better than a dance where you get to meet other people and really work up a sweat?

YouTube Preview Image

With Cutashine I played at gigs all over Glastonbury for several years, then left to start Green Kite Midnight through my contacts in Climate Camp; a band that supports and plays at direct action protests. Our first gig was at the Climate Camp in Bishopsgate during the G20 in April last year, we played to 800 people at the Blackheath Climate Camp in August 2009, and more recently we went on a 10 day solidarity bike ride together to play gigs to support the struggle against the Shell gas pipeline at Rossport in Ireland. With myself as emcee (I’m a gobby shite, so turn your mind away from those boring barn dances you might have attended as a child) we can teach anyone how to barn dance, so please come and join us.

And now for the rest of our fabulous line-up:

anna log
Anna Log
My Luminaries
My Luminaries, photography by James Dean White.

On Thursday we kick off four days of renewably powered music with a fabulous folky female. Anna Log – singer with pop folk band We Aeronauts – will be doing a solo set accompanied by her trusty uke. After our first ceilidh Glastonbury Emerging Talent winners My Luminaries round the evening off with a special semi-acoustic set of their epic indie rock.

Kirsty Almeida
Kirsty Almeida
Danny and the Champions of the World
Danny and the Champions of the World

On Friday Kirsty Almeida opens for us with her bass heavy soulful Bayou blues, then we’re pleased to welcome the epic musical dreamscapes of Newislands, described as Pink Floyd meets Depeche Mode. After that it’s time for some other Climate Camp regulars, Danny Chivers, Claire Fauset and Merrick, to grace the stage with their “triple-headed tag team political poetry extravaganza”. They’re all friends of mine that I’ve seen perform before so I highly recommend their set, which will be repeated on Sunday afternoon. As a closer we have the country-tinged big band folk of Danny and the Champions of the World.

kyla la grange
Kyla la Grange
Patch William
Patch William
The Federals
The Federals
Dry the River
Dry the River

To kick the day off on Saturday we welcome an exclusive Glastonbury appearance from a talented newcomer with a stunning voice; Kyla La Grange creates soaring melodies and is nearing completion of her debut album. Then comes Patch William – the dreamy lovechild of Nick Drake and Jimi Hendrix, who are followed by the scuzzy rock sound of York boys The Federals, described as a cross between the White Stripes and The Beatles. Then, time for a very special guest. Following my interview with Robin Ince a few weeks he very kindly promised to come by and do us a *special secret set* which will be a must see for all comedy fans at the festival. Tell all your friends! And come on by for a very intimate set from this well known comedian. Dry the River end the day with their beautiful melodic folk, singing songs of religion, history and community to rival those of Fleet Foxes and Mumford & Sons.

Pete the Temp
Pete the Temp
Pete Lawrie
Pete Lawrie
Get Cape. Wear Cape. Fly.
Get Cape. Wear Cape. Fly.
Robinson
Robinson

On Sunday we’ve got another packed day to end the festival. Pete the Temp returns to wow us with his comedic eco-political music and spoken word, then we look forward to hearing the bittersweet gospel blues of latecomer Pete Lawrie, who confirmed just as our flyer had gone to print. I am particularly pleased to welcome Get Cape. Wear Cape. Fly. the official moniker of singer songwriter Sam Duckworth. He will be showcasing music from his new album due for release later this year, and I’ve got a soft spot for him because he appeared in the print version of Amelia’s Magazine. Robinson will play a gypsy cajun folk set before we round off the festival with our GRAND RAFFLE. If you see our outreach team out and about please give generously to support Climate Camp and come along to our grand prize giving, which will be hosted by the inimitable Danny Chivers.

Glastonbury-June-2009-Grand Raffle presented by Danny Chivers
The Grand Raffle presented by Danny Chivers in 2009.

Don’t forget to follow myself and Climate Camp on twitter to find out how the festival is going; we can always live in hope that 3G reception will be better than it was last year! But most of all, don’t forget to come and visit us… and bring your friends along with you. I will of course write up a full report on my return. For a reminder of what to expect read my blog from last year here.

For a map and full timing information for all bands and workshops see this listings page.

Categories ,Anna Log, ,blues, ,Climate Camp, ,Danny and the Champions of the World, ,Danny Chivers, ,Depeche Mode, ,Direct Action, ,diy, ,Dry the River, ,Fleet Foxes, ,folk, ,g20, ,Get Cape. Wear Cape. Fly., ,glastonbury, ,Green Fields, ,Green Kite Midnight, ,Jimi Hendrix, ,Kirsty Almeida, ,Kyla la Grange, ,Mumford and Sons, ,Newislands, ,Nick Cave, ,Patch William, ,Pete Lawrie, ,Pete the Temp, ,Pink Floyd, ,Pyramid Stage, ,RBS, ,Robin Ince, ,Robinson, ,Rossport, ,screenprinting, ,Shangri La, ,Shell, ,soul, ,the beatles, ,The Federals, ,Tripod Stage, ,Tripod Training, ,twitter, ,We Aeronauts, ,White Stripes

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Amelia’s Magazine | Climate Camp Tripod Stage at Glastonbury 2010: How did it all go?

thumbnail Kirsty

Photograph by Hannah Kinver Miles

There is nothing generic about Kirsty Almeida; she was not artificially created from a record labels wish-list, site nor manufactured during an X Factor audition. Navigating her own path, pharmacy she is very much the modern Renaissance Woman: artist, this web experimenter and a true creative. Before meeting Kirsty to chat about her new album Pure Blue Green – a rich tapestry of blues, folk and jazzy pop – I watched video clips of her performances. Singing live, she is mesmerizing, a powerhouse! Free spirited and alive, at times she is an enigmatic chanteuse, and other times she is a ringleader to a raucous vaudeville troupe. She sings with a passion that leaves us in no doubt that her music come from an honest and heartfelt place. Her voice is tender with sparkles of underlying inquisitiveness and humour and it only takes a minutes listening to see that her life, thoughts and loves are entwined within her lyrics, revealing an existence lived to the full and one that is continuously questioned. So it comes as no surprise that our conversation becomes an all-encompassing discourse that occasionally touches on her album and then soars off in the direction of magic, art, self-development, women’s rights and the dubious ethics of the music industry….

I love how visual your shows are…..
I love the big show thing, I think that people want to be entertained; because music is so accessible, and more downloadable now, people really like going out to live shows. I like to do something thats entertaining, but I also love the little live acoustic shows, those are some of my favourite gigs to do. I’m doing a gig soon that will be just me with a guitar and a girl called Lucinda Bell on harp. I’ve had a six foot bird cage designed and built for me, and we’re going to do a series of exhibitions and art galleries where I will play sat in the cage that will be suspended from the ceiling!

There is a lot of creativity in your performance…
Truthfully I am a visual artist, so I can’t help but look at things and go “well if you just stuck a massive big flower there, and that was attached to an umbrella with a bath chain and then water came out of it…. ” (laughs) and thats just how my mind works; it’s really visual and my work is really visual, I can’t help it!

What do you see first?
When I’m writing a song, I always see colours. I see music in colours and textures. so the first thing that will happen will be that I will be playing guitar and then the colours will come together and at that point I will know that it’s right and then I just have to close my eyes and wait and then the lyrics come.

So the song arrives together?
Always!

Do the visuals come at the same time?
No, when I write, it is just about the song and being a channel of creativity. I try and let the song happen, and then afterwards when it’s on loop I get the visuals.


Photograph by Hannah Kinver Miles

Where does your inspiration come from?
I’m inspired by a day, every day there is a million things that inspire me. I’m inspired by clothes, people, situations, conversations that I hear from other people, situations that I get into, trouble, butterflies, birds, nature, trees….. everything!

Do you paint?
Yeah, I paint a lot. But, (sighs) there is never enough time. I also run a collective called Odbod. I set it up in Manchester where there’s a very strong support network of artists, musicians and composers who work together but because you don’t normally get paid to do original music, you have to call in a lot of favours, and in the Manchester scene there are a LOT of favours, people calling each other all the time and helping each other out on each others projects, but there is no set network so there is no way of getting funding or help and I realised that a lot of the artists needed support and advice and people were coming to me for advice, so I thought if we had a collective, we can all get together and say to each other, ‘what do you need, how can I help?’

It’s a genius idea! Would you consider expanding the Odbod’s collective to London?
I would love to! It’s hard to contain it, there are so many people who want to be involved and to everyone who wants to get involved, I just say, come along, support us and we will support you. Hopefully none of the Odbods will be there in a year, they will have flown the nest and it will be time for the next lot of artists to come in. I’m also managing an Irish singer called Rioghnach Connolly, she’s amazing, that girl blows my mind! I’ve watched her and given her advice along the way; I’m quite good at keeping peoples motivation up and helping them to see where they are messing up, and where they are putting in energy where they don’t need to be putting energy in. The whole psychology of being an artist is quite self destructive and I really recognize that so I’m good at pulling someone out.

Do you have that self destructive side to you?
Yeah, there is an element of that in all of us. To be an artist you have to stare at yourself in the mirror every day and to be a true artist you have to get to a place where you actually see what’s not in the mirror, and then separate that from yourself and that’s really hard. You judge yourself very harshly and artists are especially hard on themselves. I have a lot of issues with balance, so I spend most of my time trying to achieve that balance in my life.

If there are particular issues that are bothering you, do you ever find the answers in your songs ?
Definitely! I usually find out what’s going on in my life when I write a song, I have no idea otherwise! Most of the time I don’t know what day it is!

Are you on the road a lot?
Not as much as I would like to be. I would really like to go around the whole world, that would be great…

You are quite a wondering spirit (born in the UK, brought up in Gibraltar, Kirsty grew up travelling the four corners of the globe) Do you feel like an outsider, or can you fit in anywhere?
I empathize with people, I find it easy to talk to anyone or any culture; I’m just fascinated by people. I never felt like I didn’t fit in, it was only as I got older that I thought, I don’t fit in anywhere, I’m the wrong shape for everything! And it took me a long time to work that one out.

How did you reconcile that?
By being really honest with myself. I did a course called The Artists Way. One of the tasks that you have to do is write every morning; first thing you do is write all of your thoughts, and you write out your negativity, all those thoughts that say “I’m not good enough, I’m not happy…” and at the end of that you rip up the paper and throw it away and after a few months you notice that what you write is more creative; you are writing more positive thoughts. You cease the negative voices, and those are the words that say that you don’t fit in. And through that and meditation, I just kind of found out who I was and realised, you know, I am different, and everyone is different, and that is something to be celebrated.


Photograph by Hannah Kinver Miles

I read you saying that the future of women worries you, can you explain that? What specifically concerns you?
We still have so many issues in our sexist world, we still have so many places where men are in charge of things that women should be in charge of, and that concerns me. I am most concerned by the fact that magazines and newspapers are airbrushing us out of existence, and airbrushing us into mental hospitals! I’m really worried about the next generation of girls and how they will deal with this; their idols aren’t real – they are not real human beings! They don’t have curves, they don’t exist, you can’t women who look like what they think these women look like. It’s a unreal ideal. I’m really worried about the music industry too – especially what Simon Cowell has done to it! When I go to someone’s house and there is a TV on and they have X Factor or Idol, and I go, “is this what people are watching?” It’s a mind numbing existence for people who should be out living rather than watching.

And the music industry certainly has some interesting ideas about how to market their female artists!
There are a lot of issues and struggles; it is incredibly difficult for women in the record industry; it drives me mad! No matter how good you are, you are solely competing with say, KT Tunstall, Corrine Bailey Rae, Amy Winehouse, Imelda May; the labels always pit us up against each other and say “You have to be the new….” You are not out there and being celebrated as a good musician. If people can’t pigeonhole you, you are seen as a bit of an oddity. Had I been a man in this industry I would have been dealt with differently; I would have been celebrated for the way that I handle myself, but if you are a female, and you have opinions then you are seen as being difficult.

It must be hard to maintain your confidence, and sanity and creativity, whilst these obstacles come your way.
If you realise that creativity, well this is my perception of it; that creativity comes from creation, and that it’s all already there and you just have to become the channel and keep that as your focus and centre. Then none of that other stuff can touch you.


Photograph by Hannah Kinver Miles

There is nothing generic about Kirsty Almeida; she was not artificially created from a record labels wish-list, malady nor manufactured during an X Factor audition. Navigating her own path, generic she is very much the modern Renaissance Woman: artist, experimenter and a true creative. Before meeting Kirsty to chat about her new album Pure Blue Green – a rich tapestry of blues, folk and jazzy pop – I watched video clips of her performances. Singing live, she is mesmerizing, a powerhouse! Free spirited and alive, at times she is an enigmatic chanteuse, and other times she is a ringleader to a raucous vaudeville troupe. She sings with a passion that leaves us in no doubt that her music come from an honest and heartfelt place. Her voice is tender with sparkles of underlying inquisitiveness and humour and it only takes a minutes listening to see that her life, thoughts and loves are entwined within her lyrics, revealing an existence lived to the full and one that is continuously questioned. So it comes as no surprise that our conversation becomes an all-encompassing discourse that occasionally touches on her album and then soars off in the direction of magic, art, self-development, women’s rights and the dubious ethics of the music industry….

I love how visual your shows are…..
I love the big show thing, I think that people want to be entertained; because music is so accessible, and more downloadable now, people really like going out to live shows. I like to do something thats entertaining, but I also love the little live acoustic shows, those are some of my favourite gigs to do. I’m doing a gig soon that will be just me with a guitar and a girl called Lucinda Bell on harp. I’ve had a six foot bird cage designed and built for me, and we’re going to do a series of exhibitions and art galleries where I will play sat in the cage that will be suspended from the ceiling!

There is a lot of creativity in your performance…
Truthfully I am a visual artist, so I can’t help but look at things and go “well if you just stuck a massive big flower there, and that was attached to an umbrella with a bath chain and then water came out of it…. ” (laughs) and thats just how my mind works; it’s really visual and my work is really visual, I can’t help it!

What do you see first?
When I’m writing a song, I always see colours. I see music in colours and textures. so the first thing that will happen will be that I will be playing guitar and then the colours will come together and at that point I will know that it’s right and then I just have to close my eyes and wait and then the lyrics come.

So the song arrives together?
Always!

Do the visuals come at the same time?
No, when I write, it is just about the song and being a channel of creativity. I try and let the song happen, and then afterwards when it’s on loop I get the visuals.


Photograph by Hannah Kinver Miles

Where does your inspiration come from?
I’m inspired by a day, every day there is a million things that inspire me. I’m inspired by clothes, people, situations, conversations that I hear from other people, situations that I get into, trouble, butterflies, birds, nature, trees….. everything!

Do you paint?
Yeah, I paint a lot. But, (sighs) there is never enough time. I also run a collective called Odbod. I set it up in Manchester where there’s a very strong support network of artists, musicians and composers who work together but because you don’t normally get paid to do original music, you have to call in a lot of favours, and in the Manchester scene there are a LOT of favours, people calling each other all the time and helping each other out on each others projects, but there is no set network so there is no way of getting funding or help and I realised that a lot of the artists needed support and advice and people were coming to me for advice, so I thought if we had a collective, we can all get together and say to each other, ‘what do you need, how can I help?’

It’s a genius idea! Would you consider expanding the Odbod’s collective to London?
I would love to! It’s hard to contain it, there are so many people who want to be involved and to everyone who wants to get involved, I just say, come along, support us and we will support you. Hopefully none of the Odbods will be there in a year, they will have flown the nest and it will be time for the next lot of artists to come in. I’m also managing an Irish singer called Rioghnach Connolly, she’s amazing, that girl blows my mind! I’ve watched her and given her advice along the way; I’m quite good at keeping peoples motivation up and helping them to see where they are messing up, and where they are putting in energy where they don’t need to be putting energy in. The whole psychology of being an artist is quite self destructive and I really recognize that so I’m good at pulling someone out.

Do you have that self destructive side to you?
Yeah, there is an element of that in all of us. To be an artist you have to stare at yourself in the mirror every day and to be a true artist you have to get to a place where you actually see what’s not in the mirror, and then separate that from yourself and that’s really hard. You judge yourself very harshly and artists are especially hard on themselves. I have a lot of issues with balance, so I spend most of my time trying to achieve that balance in my life.

If there are particular issues that are bothering you, do you ever find the answers in your songs ?
Definitely! I usually find out what’s going on in my life when I write a song, I have no idea otherwise! Most of the time I don’t know what day it is!

Are you on the road a lot?
Not as much as I would like to be. I would really like to go around the whole world, that would be great…

You are quite a wondering spirit (born in the UK, brought up in Gibraltar, Kirsty grew up travelling the four corners of the globe) Do you feel like an outsider, or can you fit in anywhere?
I empathize with people, I find it easy to talk to anyone or any culture; I’m just fascinated by people. I never felt like I didn’t fit in, it was only as I got older that I thought, I don’t fit in anywhere, I’m the wrong shape for everything! And it took me a long time to work that one out.

How did you reconcile that?
By being really honest with myself. I did a course called The Artists Way. One of the tasks that you have to do is write every morning; first thing you do is write all of your thoughts, and you write out your negativity, all those thoughts that say “I’m not good enough, I’m not happy…” and at the end of that you rip up the paper and throw it away and after a few months you notice that what you write is more creative; you are writing more positive thoughts. You cease the negative voices, and those are the words that say that you don’t fit in. And through that and meditation, I just kind of found out who I was and realised, you know, I am different, and everyone is different, and that is something to be celebrated.


Photograph by Hannah Kinver Miles

I read you saying that the future of women worries you, can you explain that? What specifically concerns you?
We still have so many issues in our sexist world, we still have so many places where men are in charge of things that women should be in charge of, and that concerns me. I am most concerned by the fact that magazines and newspapers are airbrushing us out of existence, and airbrushing us into mental hospitals! I’m really worried about the next generation of girls and how they will deal with this; their idols aren’t real – they are not real human beings! They don’t have curves, they don’t exist, you can’t women who look like what they think these women look like. It’s a unreal ideal. I’m really worried about the music industry too – especially what Simon Cowell has done to it! When I go to someone’s house and there is a TV on and they have X Factor or Idol, and I go, “is this what people are watching?” It’s a mind numbing existence for people who should be out living rather than watching.

And the music industry certainly has some interesting ideas about how to market their female artists!
There are a lot of issues and struggles; it is incredibly difficult for women in the record industry; it drives me mad! No matter how good you are, you are solely competing with say, KT Tunstall, Corrine Bailey Rae, Amy Winehouse, Imelda May; the labels always pit us up against each other and say “You have to be the new….” You are not out there and being celebrated as a good musician. If people can’t pigeonhole you, you are seen as a bit of an oddity. Had I been a man in this industry I would have been dealt with differently; I would have been celebrated for the way that I handle myself, but if you are a female, and you have opinions then you are seen as being difficult.

It must be hard to maintain your confidence, and sanity and creativity, whilst these obstacles come your way.
If you realise that creativity, well this is my perception of it; that creativity comes from creation, and that it’s all already there and you just have to become the channel and keep that as your focus and centre. Then none of that other stuff can touch you.


Photograph by Hannah Kinver Miles

There is nothing generic about Kirsty Almeida; she was not artificially created from a record labels wish-list, shop nor manufactured during an X Factor audition. Navigating her own path, order she is very much the modern Renaissance Woman: artist, experimenter and a true creative. Before meeting Kirsty to chat about her new album Pure Blue Green – a rich tapestry of blues, folk and jazzy pop – I watched video clips of her performances. Singing live, she is mesmerizing, a powerhouse! Free spirited and alive, at times she is an enigmatic chanteuse, and other times she is a ringleader to a raucous vaudeville troupe. She sings with a passion that leaves us in no doubt that her music come from an honest and heartfelt place. Her voice is tender with sparkles of underlying inquisitiveness and humour and it only takes a minutes listening to see that her life, thoughts and loves are entwined within her lyrics, revealing an existence lived to the full and one that is continuously questioned. So it comes as no surprise that our conversation becomes an all-encompassing discourse that occasionally touches on her album and then soars off in the direction of magic, art, self-development, women’s rights and the dubious ethics of the music industry….

I love how visual your shows are…..
I love the big show thing, I think that people want to be entertained; because music is so accessible, and more downloadable now, people really like going out to live shows. I like to do something thats entertaining, but I also love the little live acoustic shows, those are some of my favourite gigs to do. I’m doing a gig soon that will be just me with a guitar and a girl called Lucinda Bell on harp. I’ve had a six foot bird cage designed and built for me, and we’re going to do a series of exhibitions and art galleries where I will play sat in the cage that will be suspended from the ceiling!

There is a lot of creativity in your performance…
Truthfully I am a visual artist, so I can’t help but look at things and go “well if you just stuck a massive big flower there, and that was attached to an umbrella with a bath chain and then water came out of it…. ” (laughs) and thats just how my mind works; it’s really visual and my work is really visual, I can’t help it!

What do you see first?
When I’m writing a song, I always see colours. I see music in colours and textures. so the first thing that will happen will be that I will be playing guitar and then the colours will come together and at that point I will know that it’s right and then I just have to close my eyes and wait and then the lyrics come.

So the song arrives together?
Always!

Do the visuals come at the same time?
No, when I write, it is just about the song and being a channel of creativity. I try and let the song happen, and then afterwards when it’s on loop I get the visuals.


Photograph by Hannah Kinver Miles

Where does your inspiration come from?
I’m inspired by a day, every day there is a million things that inspire me. I’m inspired by clothes, people, situations, conversations that I hear from other people, situations that I get into, trouble, butterflies, birds, nature, trees….. everything!

Do you paint?
Yeah, I paint a lot. But, (sighs) there is never enough time. I also run a collective called Odbod. I set it up in Manchester where there’s a very strong support network of artists, musicians and composers who work together but because you don’t normally get paid to do original music, you have to call in a lot of favours, and in the Manchester scene there are a LOT of favours, people calling each other all the time and helping each other out on each others projects, but there is no set network so there is no way of getting funding or help and I realised that a lot of the artists needed support and advice and people were coming to me for advice, so I thought if we had a collective, we can all get together and say to each other, ‘what do you need, how can I help?’

It’s a genius idea! Would you consider expanding the Odbod’s collective to London?
I would love to! It’s hard to contain it, there are so many people who want to be involved and to everyone who wants to get involved, I just say, come along, support us and we will support you. Hopefully none of the Odbods will be there in a year, they will have flown the nest and it will be time for the next lot of artists to come in. I’m also managing an Irish singer called Rioghnach Connolly, she’s amazing, that girl blows my mind! I’ve watched her and given her advice along the way; I’m quite good at keeping peoples motivation up and helping them to see where they are messing up, and where they are putting in energy where they don’t need to be putting energy in. The whole psychology of being an artist is quite self destructive and I really recognize that so I’m good at pulling someone out.

Do you have that self destructive side to you?
Yeah, there is an element of that in all of us. To be an artist you have to stare at yourself in the mirror every day and to be a true artist you have to get to a place where you actually see what’s not in the mirror, and then separate that from yourself and that’s really hard. You judge yourself very harshly and artists are especially hard on themselves. I have a lot of issues with balance, so I spend most of my time trying to achieve that balance in my life.

If there are particular issues that are bothering you, do you ever find the answers in your songs ?
Definitely! I usually find out what’s going on in my life when I write a song, I have no idea otherwise! Most of the time I don’t know what day it is!

Are you on the road a lot?
Not as much as I would like to be. I would really like to go around the whole world, that would be great…

You are quite a wondering spirit (born in the UK, brought up in Gibraltar, Kirsty grew up travelling the four corners of the globe) Do you feel like an outsider, or can you fit in anywhere?
I empathize with people, I find it easy to talk to anyone or any culture; I’m just fascinated by people. I never felt like I didn’t fit in, it was only as I got older that I thought, I don’t fit in anywhere, I’m the wrong shape for everything! And it took me a long time to work that one out.

How did you reconcile that?
By being really honest with myself. I did a course called The Artists Way. One of the tasks that you have to do is write every morning; first thing you do is write all of your thoughts, and you write out your negativity, all those thoughts that say “I’m not good enough, I’m not happy…” and at the end of that you rip up the paper and throw it away and after a few months you notice that what you write is more creative; you are writing more positive thoughts. You cease the negative voices, and those are the words that say that you don’t fit in. And through that and meditation, I just kind of found out who I was and realised, you know, I am different, and everyone is different, and that is something to be celebrated.


Photograph by Hannah Kinver Miles

I read you saying that the future of women worries you, can you explain that? What specifically concerns you?
We still have so many issues in our sexist world, we still have so many places where men are in charge of things that women should be in charge of, and that concerns me. I am most concerned by the fact that magazines and newspapers are airbrushing us out of existence, and airbrushing us into mental hospitals! I’m really worried about the next generation of girls and how they will deal with this; their idols aren’t real – they are not real human beings! They don’t have curves, they don’t exist, you can’t women who look like what they think these women look like. It’s a unreal ideal. I’m really worried about the music industry too – especially what Simon Cowell has done to it! When I go to someone’s house and there is a TV on and they have X Factor or Idol, and I go, “is this what people are watching?” It’s a mind numbing existence for people who should be out living rather than watching.

And the music industry certainly has some interesting ideas about how to market their female artists!
There are a lot of issues and struggles; it is incredibly difficult for women in the record industry; it drives me mad! No matter how good you are, you are solely competing with say, KT Tunstall, Corrine Bailey Rae, Amy Winehouse, Imelda May; the labels always pit us up against each other and say “You have to be the new….” You are not out there and being celebrated as a good musician. If people can’t pigeonhole you, you are seen as a bit of an oddity. Had I been a man in this industry I would have been dealt with differently; I would have been celebrated for the way that I handle myself, but if you are a female, and you have opinions then you are seen as being difficult.

It must be hard to maintain your confidence, and sanity and creativity, whilst these obstacles come your way.
If you realise that creativity, well this is my perception of it; that creativity comes from creation, and that it’s all already there and you just have to become the channel and keep that as your focus and centre. Then none of that other stuff can touch you.


Photograph by Hannah Kinver Miles

There is nothing generic about Kirsty Almeida; she was not artificially created from a record labels wish-list, information pills nor manufactured during an X Factor audition. Navigating her own path, cheapest she is very much the modern Renaissance Woman: artist, experimenter and a true creative. Before meeting Kirsty to chat about her new album Pure Blue Green – a rich tapestry of blues, folk and jazzy pop – I watched video clips of her performances. Singing live, she is mesmerizing, a powerhouse! Free spirited and alive, at times she is an enigmatic chanteuse, and other times she is a ringleader to a raucous vaudeville troupe. She sings with a passion that leaves us in no doubt that her music come from an honest and heartfelt place. Her voice is tender with sparkles of underlying inquisitiveness and humour and it only takes a minutes listening to see that her life, thoughts and loves are entwined within her lyrics, revealing an existence lived to the full and one that is continuously questioned. So it comes as no surprise that our conversation becomes an all-encompassing discourse that occasionally touches on her album and then soars off in the direction of magic, art, self-development, women’s rights and the dubious ethics of the music industry….

I love how visual your shows are…..
I love the big show thing, I think that people want to be entertained; because music is so accessible, and more downloadable now, people really like going out to live shows. I like to do something thats entertaining, but I also love the little live acoustic shows, those are some of my favourite gigs to do. I’m doing a gig soon that will be just me with a guitar and a girl called Lucinda Bell on harp. I’ve had a six foot bird cage designed and built for me, and we’re going to do a series of exhibitions and art galleries where I will play sat in the cage that will be suspended from the ceiling!

There is a lot of creativity in your performance…
Truthfully I am a visual artist, so I can’t help but look at things and go “well if you just stuck a massive big flower there, and that was attached to an umbrella with a bath chain and then water came out of it…. ” (laughs) and thats just how my mind works; it’s really visual and my work is really visual, I can’t help it!

What do you see first?
When I’m writing a song, I always see colours. I see music in colours and textures. so the first thing that will happen will be that I will be playing guitar and then the colours will come together and at that point I will know that it’s right and then I just have to close my eyes and wait and then the lyrics come.

So the song arrives together?
Always!

Do the visuals come at the same time?
No, when I write, it is just about the song and being a channel of creativity. I try and let the song happen, and then afterwards when it’s on loop I get the visuals.


Photograph by Hannah Kinver Miles

Where does your inspiration come from?
I’m inspired by a day, every day there is a million things that inspire me. I’m inspired by clothes, people, situations, conversations that I hear from other people, situations that I get into, trouble, butterflies, birds, nature, trees….. everything!

Do you paint?
Yeah, I paint a lot. But, (sighs) there is never enough time. I also run a collective called Odbod. I set it up in Manchester where there’s a very strong support network of artists, musicians and composers who work together but because you don’t normally get paid to do original music, you have to call in a lot of favours, and in the Manchester scene there are a LOT of favours, people calling each other all the time and helping each other out on each others projects, but there is no set network so there is no way of getting funding or help and I realised that a lot of the artists needed support and advice and people were coming to me for advice, so I thought if we had a collective, we can all get together and say to each other, ‘what do you need, how can I help?’

It’s a genius idea! Would you consider expanding the Odbod’s collective to London?
I would love to! It’s hard to contain it, there are so many people who want to be involved and to everyone who wants to get involved, I just say, come along, support us and we will support you. Hopefully none of the Odbods will be there in a year, they will have flown the nest and it will be time for the next lot of artists to come in. I’m also managing an Irish singer called Rioghnach Connolly, she’s amazing, that girl blows my mind! I’ve watched her and given her advice along the way; I’m quite good at keeping peoples motivation up and helping them to see where they are messing up, and where they are putting in energy where they don’t need to be putting energy in. The whole psychology of being an artist is quite self destructive and I really recognize that so I’m good at pulling someone out.

Do you have that self destructive side to you?
Yeah, there is an element of that in all of us. To be an artist you have to stare at yourself in the mirror every day and to be a true artist you have to get to a place where you actually see what’s not in the mirror, and then separate that from yourself and that’s really hard. You judge yourself very harshly and artists are especially hard on themselves. I have a lot of issues with balance, so I spend most of my time trying to achieve that balance in my life.

If there are particular issues that are bothering you, do you ever find the answers in your songs ?
Definitely! I usually find out what’s going on in my life when I write a song, I have no idea otherwise! Most of the time I don’t know what day it is!

Are you on the road a lot?
Not as much as I would like to be. I would really like to go around the whole world, that would be great…

You are quite a wondering spirit (born in the UK, brought up in Gibraltar, Kirsty grew up travelling the four corners of the globe) Do you feel like an outsider, or can you fit in anywhere?
I empathize with people, I find it easy to talk to anyone or any culture; I’m just fascinated by people. I never felt like I didn’t fit in, it was only as I got older that I thought, I don’t fit in anywhere, I’m the wrong shape for everything! And it took me a long time to work that one out.

How did you reconcile that?
By being really honest with myself. I did a course called The Artists Way. One of the tasks that you have to do is write every morning; first thing you do is write all of your thoughts, and you write out your negativity, all those thoughts that say “I’m not good enough, I’m not happy…” and at the end of that you rip up the paper and throw it away and after a few months you notice that what you write is more creative; you are writing more positive thoughts. You cease the negative voices, and those are the words that say that you don’t fit in. And through that and meditation, I just kind of found out who I was and realised, you know, I am different, and everyone is different, and that is something to be celebrated.


Photograph by Hannah Kinver Miles

I read you saying that the future of women worries you, can you explain that? What specifically concerns you?
We still have so many issues in our sexist world, we still have so many places where men are in charge of things that women should be in charge of, and that concerns me. I am most concerned by the fact that magazines and newspapers are airbrushing us out of existence, and airbrushing us into mental hospitals! I’m really worried about the next generation of girls and how they will deal with this; their idols aren’t real – they are not real human beings! They don’t have curves, they don’t exist, you can’t women who look like what they think these women look like. It’s a unreal ideal. I’m really worried about the music industry too – especially what Simon Cowell has done to it! When I go to someone’s house and there is a TV on and they have X Factor or Idol, and I go, “is this what people are watching?” It’s a mind numbing existence for people who should be out living rather than watching.

And the music industry certainly has some interesting ideas about how to market their female artists!
There are a lot of issues and struggles; it is incredibly difficult for women in the record industry; it drives me mad! No matter how good you are, you are solely competing with say, KT Tunstall, Corrine Bailey Rae, Amy Winehouse, Imelda May; the labels always pit us up against each other and say “You have to be the new….” You are not out there and being celebrated as a good musician. If people can’t pigeonhole you, you are seen as a bit of an oddity. Had I been a man in this industry I would have been dealt with differently; I would have been celebrated for the way that I handle myself, but if you are a female, and you have opinions then you are seen as being difficult.

It must be hard to maintain your confidence, and sanity and creativity, whilst these obstacles come your way.
If you realise that creativity, well this is my perception of it; that creativity comes from creation, and that it’s all already there and you just have to become the channel and keep that as your focus and centre. Then none of that other stuff can touch you.

june-chanoomidole-jon-young art of mentoring
Jon Young by June Chanpoomidole.

Next week I am away yet again, what is ed this time on the Art of Mentoring course being run for the very first time in the UK by tracker Jon Young, look founder of the Wilderness Awareness School. Jon Young was personally mentored by the American wilderness guru Tom Brown, information pills Jr. and is an expert in bird language, alongside an old friend of mine Alex Travers (known as Feathers) who will also be on the course.

For the past 25 years Jon Young has taught groups and individuals how to create a positive vision for the future through a deeper sense of community and connection to nature. To say I am excited about the opportunity to spend a week learning mentoring skills from Jon Young alongside fellow teachers, Mark Morey and Evan McGown, (a nature based poet and musician who co-authored The Coyote’s Guide to Connecting With Nature with Jon Young) would be an understatement.

june-chanpoomidole-jon-young gerry brady
Jon Young plays the bones with Gerry Brady, by June Chanpoomidole.

I got to meet the sparkly eyed Jon Young – who like me is a big fan of barn dancing as a way of bringing people together – when he visited London a few months ago to give a talk in a darkened room at the top of a pub in north london.

The evening was an informal occasion peppered with frequent anecdotes from Jon’s Native American friend Paul Raphael, Peacemaker of the Odawa tribe, and finishing with some acapella singing accompanied on the “bones” by long lost Irish friend Gerry Brady.

june-chanpoomidole-jon-young maeve gavin
Organiser Maeve Gavin with Paul Raphael, by June Chanpoomidole.

Here is what I learnt…

Nature connection works best in a community setting.
Many of us have lost touch with animals and the earth but it’s easy to trigger subconscious feelings of connection. This is not about passing an ecology literacy test because everyone loves trees on an energetic level… but the woods can be scary so we need people with us along the way. How can we recreate these communities?

Greetings customs and rituals matter.
Greetings have been profoundly important for many eons of humanity – sometimes being so elaborate they could take days. Even though you are lucky if you get much of a greeting in New Jersey they have become more careful, sincere and authentic since 9/1, even from those you might expect to be grumpy. Everyone feels that needs to be welcomed and able to express themselves without pressure.

WillaGebbie_baggyclothes
Illustration by Willa Gebbie.

It is possible to create new rituals to suit us today.
The youth today carry the subconscious weight of their woes in over-sized clothes, but Jon has mentored both privileged and deprived children and all of them thrive when given space to express themselves. He recounts the story of a scholar from the best family and school in town, forever struggling to stay the best in his class, and thoroughly depressed as a result. After a few months of mentorship with Jon he tearfully declared that he was finally able to be himself and went on to became a mentor to the younger kids. Greeting customs can forge strong bonds and that is why the elaborate bonding rituals of gangs are so successful.

Everyone needs to feel recognised and blessed, at every age.
Young people need affirmation but so do their parents, many of whom will have missed out on it themselves as youngsters. If all generations are not cared for there are likely to be cultural gaps that can cause problems; for example a whole generation can feel threatened or alienated, and the worst outcome of this could be the sabotaging of change.

Maple Syrup as teacher.
When Paul’s family makes maple syrup they thank the trees with a special ceremony before boiling up the sap. This is a delicate operation that takes 2-3 whole days of pan-watching, for if the sap burns it will spoil, which is tantamount to violating the laws of nature. If this happens it will haunt you, but you will learn. As such it is an ideal teaching tool, especially for young men.

WillaGebbie_Paul Raphael
Paul Raphael as mushroom picker by Willa Gebbie.

Remember to leave the seeds behind when picking morel mushrooms.
Paul lives life by the seasons, and has just two short weeks to pick morel mushrooms from a special place in the woods – unfortunately it’s impossible to keep his spot secret in a small community. He carries the mushrooms home in knitted orange bags that allow the seeds to fall to the ground; that way ensuring a crop for the following year. So much ancestral knowledge has been lost that some of the kids make huge amounts of noise crashing through the wilderness. Even in Paul’s community there is much disconnection from nature, and he spends much of his time finding ways to empower the elders.

The government can learn from Hurricane Iniki, which hit Hawaii in 1992.
This huge hurricane stripped houses from their foundations and denuded vegetation, yet only six people died. It took the government nine days to get aid out to Hawaii, but instead of panic officials were met by people at the docks who did not want to fix things too quickly, because then they would have to return to work. Everyone was relaxing, taking it easy, having BBQs and helping each other. Because of interwoven cultural relations present before the storm there was a built in community resilience that meant the people responded collectively as one living organism, instead of separate units. Here is a lesson in how to cope during disasters.

Jon was taught to play the bones twenty years ago when he last met Gerry (then working as a labourer on the East Coast), and has since taught Paul how to play the bones too. Here’s a video of the three of them singing together. Cross generational and cultural mentoring in action!

YouTube Preview Image

You can read another account of the night here. I am looking forward to learning so much more next week. See you on the other side.
Glastonbury 2010 Climate Camp
Glastonbury 2010 Climate Camp

Okay, side effects so as a few of you are probably aware, online this year I volunteered to put together and run the Tripod Stage for Climate Camp. Although I have pulled together bands to perform at launch parties for various editions of Amelia’s Magazine and I found the bands to perform for us at Glastonbury in 2009, recipe I have never stage managed a full event like this before. But hey! I like a challenge, and after the success of First Aid Kit and Six Day Riot last year I felt I had to give it a shot… or we might have become a music free zone… at a music festival…

Glastonbury 2010 Climate Camp outreach
Glastonbury 2010 Climate Camp animal outreach
Outreach in animal masks.
Glastonbury 2010 Climate Camp the kitchen area
The kitchen area.

Although it didn’t take long to contact music PRs and pull the bands together I may not quite have anticipated just how much work all this would be on the ground. If you’re hoping to read a review of the main stage highlights at Glastonbury 2010 then go look elsewhere because I didn’t leave the Climate Camp field (apart from to visit the local long-drops) until 9 or 10pm every day. Not even to wiggle up the road one hundred metres to the Green Fields. This was hardcore devotion to the cause.

Glastonbury 2010 Climate Camp
Glastonbury 2010 Climate Camp tripods

Climate Camp is run along non-hierarchical principles, but events like Glastonbury really highlight how hard it is to run along such lines without proper working groups. Although I am sure that (most) people were there with the best of intentions, festivals just offer too many other distractions – and this, along with a fairly disorganised anarchistic approach, meant that a few very committed and adept people worked far harder than most others. I certainly hadn’t considered that I would be glued to the camp for 12 hour stretches every day, but certainly harder still was dealing with the weight of responsibility in making the music a success, both for us and for the performers who so kindly agreed to come and play the Tripod Stage.

Glastonbury 2010 Climate Camp kitchen
Glastonbury 2010 Climate Camp naked lady
Classic Glastonbury – a naked lady takes a look at our exhibition.

Unfortunately I was the only person who really felt this responsibility, and there were times where I found myself onsite with just a few other Climate Campers who were otherwise engaged (making tasty food, manning the solar sound system), desperately trying to get the band sorted whilst also standing on the entrance inviting people to come in and watch them. Let me tell you, being in two places at once is a trick that I have yet to perfect.

Glastonbury 2010 Climate Camp fundraising
Fundraising.
Glastonbury 2010 Climate Camp morning meeting
Glastonbury 2010 Climate Camp morning meeting
Morning meetings.
Glastonbury 2010 Climate Camp pedal powered smoothies
Pedal powered smoothies.

This year the Dragon Field was given over to crew camping for the first time, and our little corner was the only part of it that hosted anything of interest to the punters. There are perks to being totally off the radar – it’s nice to feel that we’re a bit separate, a bit renegade, and that people might chance upon us as a lovely surprise… but it also makes it extremely hard to get people to come and see us when there is so much else to see and we aren’t even listed in the programme.

Glastonbury 2010 Climate Camp megaphone
Standing on the Craft Field junction with a megaphone.
Glastonbury 2010 Climate Camp Lulu and the Lampshades
The Tripod Stage with Lulu and the Lampshades.

We were super busy all through Thursday, when the main stages have yet to hit their stride and people are wandering around, taking it all in. But other than that there didn’t seem to be much rhyme or reason to the times when we were busy or not – we were up against such random variables as the weather (so much sunshine can be extremely enervating), the acts on other stages, the football (what a waste of time that was), whether anyone had heard of the band we were hosting, and whether anyone bothered to stand on the intersection up in the Craft Field or outside our entrance to haul people in. It was a pretty tricky one.

Lesley Barnes Climate Camp design
Glastonbury 2010 Climate Camp screenprinting
Screenprinting one of the lovely designs made by Lesley Barnes.

I won’t pretend I found it easy; before the festival I created stickers for this year’s action against RBS in collaboration with the wonderful Lesley Barnes and finalised the line up for an accompanying flyer. Before I even got to Glastonbury I had already spent two weeks of my time sorting stuff out for Climate Camp and not concentrating 100% on Amelia’s Magazine. Then over the course of the festival I did 6 gigs with my barndancing band Green Kite Midnight, took huge amounts of photos to document everything, twittered about all the bands playing on our stage and ran a screenprinting workshop every morning at just about the same time I needed to okay the day’s line up of bands. I felt totally overwhelmed. I think we need to collectively clarify what we most want to achieve at Glastonbury and other festivals, and in what way music is important to our aims… although I personally think we should provide some kind of entertainment to draw people in (and especially when a popular entertainer then goes on to endorse our actions), I can easily see how others might think it’s a distraction.

Glastonbury 2010 Climate Camp Green Kite Midnight Ceilidh
Glastonbury 2010 Climate Camp Green Kite Midnight Ceilidh
Green Kite Midnight Ceilidh

Having said all of this, the calibre of musicians that we hosted on the Tripod Stage definitely made my part in organising it massively worthwhile. Although I saw nothing of the rest of the festival (until night fell), I did get to see some of the best new bands perform especially for us. And of course the weather was out of this world. Would I do it again? Well, if anyone would like me to curate a solar powered Amelia’s Magazine stage at a festival next year (and would be willing to provide me with the right resources to ensure I don’t go mad in the process) do get in touch. For Climate Camp again? Not unless I felt massively reassured that we had proper working groups in place beforehand and a presence on the main programme.

Glastonbury 2010 Climate Camp fundraising

But enough of my quibbles: coming up, my review of the Tripod Stage at Glastonbury – act by act – accompanied by fab illustrations of course.

Glastonbury 2010 Climate Camp RBS

Categories ,Barndancing, ,ceilidh, ,Climate Camp, ,Craft Field, ,Dragon Field, ,First Aid Kit, ,glastonbury, ,Green Kite Midnight, ,Lesley Barnes, ,Lulu and the Lampshades, ,RBS, ,screenprinting, ,Six Day Riot, ,Tripod Stage, ,Worldcup

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Amelia’s Magazine | Climate Camp Tripod Stage at Glastonbury 2010: How did it all go?

thumbnail Kirsty

Photograph by Hannah Kinver Miles

There is nothing generic about Kirsty Almeida; she was not artificially created from a record labels wish-list, site nor manufactured during an X Factor audition. Navigating her own path, pharmacy she is very much the modern Renaissance Woman: artist, this web experimenter and a true creative. Before meeting Kirsty to chat about her new album Pure Blue Green – a rich tapestry of blues, folk and jazzy pop – I watched video clips of her performances. Singing live, she is mesmerizing, a powerhouse! Free spirited and alive, at times she is an enigmatic chanteuse, and other times she is a ringleader to a raucous vaudeville troupe. She sings with a passion that leaves us in no doubt that her music come from an honest and heartfelt place. Her voice is tender with sparkles of underlying inquisitiveness and humour and it only takes a minutes listening to see that her life, thoughts and loves are entwined within her lyrics, revealing an existence lived to the full and one that is continuously questioned. So it comes as no surprise that our conversation becomes an all-encompassing discourse that occasionally touches on her album and then soars off in the direction of magic, art, self-development, women’s rights and the dubious ethics of the music industry….

I love how visual your shows are…..
I love the big show thing, I think that people want to be entertained; because music is so accessible, and more downloadable now, people really like going out to live shows. I like to do something thats entertaining, but I also love the little live acoustic shows, those are some of my favourite gigs to do. I’m doing a gig soon that will be just me with a guitar and a girl called Lucinda Bell on harp. I’ve had a six foot bird cage designed and built for me, and we’re going to do a series of exhibitions and art galleries where I will play sat in the cage that will be suspended from the ceiling!

There is a lot of creativity in your performance…
Truthfully I am a visual artist, so I can’t help but look at things and go “well if you just stuck a massive big flower there, and that was attached to an umbrella with a bath chain and then water came out of it…. ” (laughs) and thats just how my mind works; it’s really visual and my work is really visual, I can’t help it!

What do you see first?
When I’m writing a song, I always see colours. I see music in colours and textures. so the first thing that will happen will be that I will be playing guitar and then the colours will come together and at that point I will know that it’s right and then I just have to close my eyes and wait and then the lyrics come.

So the song arrives together?
Always!

Do the visuals come at the same time?
No, when I write, it is just about the song and being a channel of creativity. I try and let the song happen, and then afterwards when it’s on loop I get the visuals.


Photograph by Hannah Kinver Miles

Where does your inspiration come from?
I’m inspired by a day, every day there is a million things that inspire me. I’m inspired by clothes, people, situations, conversations that I hear from other people, situations that I get into, trouble, butterflies, birds, nature, trees….. everything!

Do you paint?
Yeah, I paint a lot. But, (sighs) there is never enough time. I also run a collective called Odbod. I set it up in Manchester where there’s a very strong support network of artists, musicians and composers who work together but because you don’t normally get paid to do original music, you have to call in a lot of favours, and in the Manchester scene there are a LOT of favours, people calling each other all the time and helping each other out on each others projects, but there is no set network so there is no way of getting funding or help and I realised that a lot of the artists needed support and advice and people were coming to me for advice, so I thought if we had a collective, we can all get together and say to each other, ‘what do you need, how can I help?’

It’s a genius idea! Would you consider expanding the Odbod’s collective to London?
I would love to! It’s hard to contain it, there are so many people who want to be involved and to everyone who wants to get involved, I just say, come along, support us and we will support you. Hopefully none of the Odbods will be there in a year, they will have flown the nest and it will be time for the next lot of artists to come in. I’m also managing an Irish singer called Rioghnach Connolly, she’s amazing, that girl blows my mind! I’ve watched her and given her advice along the way; I’m quite good at keeping peoples motivation up and helping them to see where they are messing up, and where they are putting in energy where they don’t need to be putting energy in. The whole psychology of being an artist is quite self destructive and I really recognize that so I’m good at pulling someone out.

Do you have that self destructive side to you?
Yeah, there is an element of that in all of us. To be an artist you have to stare at yourself in the mirror every day and to be a true artist you have to get to a place where you actually see what’s not in the mirror, and then separate that from yourself and that’s really hard. You judge yourself very harshly and artists are especially hard on themselves. I have a lot of issues with balance, so I spend most of my time trying to achieve that balance in my life.

If there are particular issues that are bothering you, do you ever find the answers in your songs ?
Definitely! I usually find out what’s going on in my life when I write a song, I have no idea otherwise! Most of the time I don’t know what day it is!

Are you on the road a lot?
Not as much as I would like to be. I would really like to go around the whole world, that would be great…

You are quite a wondering spirit (born in the UK, brought up in Gibraltar, Kirsty grew up travelling the four corners of the globe) Do you feel like an outsider, or can you fit in anywhere?
I empathize with people, I find it easy to talk to anyone or any culture; I’m just fascinated by people. I never felt like I didn’t fit in, it was only as I got older that I thought, I don’t fit in anywhere, I’m the wrong shape for everything! And it took me a long time to work that one out.

How did you reconcile that?
By being really honest with myself. I did a course called The Artists Way. One of the tasks that you have to do is write every morning; first thing you do is write all of your thoughts, and you write out your negativity, all those thoughts that say “I’m not good enough, I’m not happy…” and at the end of that you rip up the paper and throw it away and after a few months you notice that what you write is more creative; you are writing more positive thoughts. You cease the negative voices, and those are the words that say that you don’t fit in. And through that and meditation, I just kind of found out who I was and realised, you know, I am different, and everyone is different, and that is something to be celebrated.


Photograph by Hannah Kinver Miles

I read you saying that the future of women worries you, can you explain that? What specifically concerns you?
We still have so many issues in our sexist world, we still have so many places where men are in charge of things that women should be in charge of, and that concerns me. I am most concerned by the fact that magazines and newspapers are airbrushing us out of existence, and airbrushing us into mental hospitals! I’m really worried about the next generation of girls and how they will deal with this; their idols aren’t real – they are not real human beings! They don’t have curves, they don’t exist, you can’t women who look like what they think these women look like. It’s a unreal ideal. I’m really worried about the music industry too – especially what Simon Cowell has done to it! When I go to someone’s house and there is a TV on and they have X Factor or Idol, and I go, “is this what people are watching?” It’s a mind numbing existence for people who should be out living rather than watching.

And the music industry certainly has some interesting ideas about how to market their female artists!
There are a lot of issues and struggles; it is incredibly difficult for women in the record industry; it drives me mad! No matter how good you are, you are solely competing with say, KT Tunstall, Corrine Bailey Rae, Amy Winehouse, Imelda May; the labels always pit us up against each other and say “You have to be the new….” You are not out there and being celebrated as a good musician. If people can’t pigeonhole you, you are seen as a bit of an oddity. Had I been a man in this industry I would have been dealt with differently; I would have been celebrated for the way that I handle myself, but if you are a female, and you have opinions then you are seen as being difficult.

It must be hard to maintain your confidence, and sanity and creativity, whilst these obstacles come your way.
If you realise that creativity, well this is my perception of it; that creativity comes from creation, and that it’s all already there and you just have to become the channel and keep that as your focus and centre. Then none of that other stuff can touch you.


Photograph by Hannah Kinver Miles

There is nothing generic about Kirsty Almeida; she was not artificially created from a record labels wish-list, malady nor manufactured during an X Factor audition. Navigating her own path, generic she is very much the modern Renaissance Woman: artist, experimenter and a true creative. Before meeting Kirsty to chat about her new album Pure Blue Green – a rich tapestry of blues, folk and jazzy pop – I watched video clips of her performances. Singing live, she is mesmerizing, a powerhouse! Free spirited and alive, at times she is an enigmatic chanteuse, and other times she is a ringleader to a raucous vaudeville troupe. She sings with a passion that leaves us in no doubt that her music come from an honest and heartfelt place. Her voice is tender with sparkles of underlying inquisitiveness and humour and it only takes a minutes listening to see that her life, thoughts and loves are entwined within her lyrics, revealing an existence lived to the full and one that is continuously questioned. So it comes as no surprise that our conversation becomes an all-encompassing discourse that occasionally touches on her album and then soars off in the direction of magic, art, self-development, women’s rights and the dubious ethics of the music industry….

I love how visual your shows are…..
I love the big show thing, I think that people want to be entertained; because music is so accessible, and more downloadable now, people really like going out to live shows. I like to do something thats entertaining, but I also love the little live acoustic shows, those are some of my favourite gigs to do. I’m doing a gig soon that will be just me with a guitar and a girl called Lucinda Bell on harp. I’ve had a six foot bird cage designed and built for me, and we’re going to do a series of exhibitions and art galleries where I will play sat in the cage that will be suspended from the ceiling!

There is a lot of creativity in your performance…
Truthfully I am a visual artist, so I can’t help but look at things and go “well if you just stuck a massive big flower there, and that was attached to an umbrella with a bath chain and then water came out of it…. ” (laughs) and thats just how my mind works; it’s really visual and my work is really visual, I can’t help it!

What do you see first?
When I’m writing a song, I always see colours. I see music in colours and textures. so the first thing that will happen will be that I will be playing guitar and then the colours will come together and at that point I will know that it’s right and then I just have to close my eyes and wait and then the lyrics come.

So the song arrives together?
Always!

Do the visuals come at the same time?
No, when I write, it is just about the song and being a channel of creativity. I try and let the song happen, and then afterwards when it’s on loop I get the visuals.


Photograph by Hannah Kinver Miles

Where does your inspiration come from?
I’m inspired by a day, every day there is a million things that inspire me. I’m inspired by clothes, people, situations, conversations that I hear from other people, situations that I get into, trouble, butterflies, birds, nature, trees….. everything!

Do you paint?
Yeah, I paint a lot. But, (sighs) there is never enough time. I also run a collective called Odbod. I set it up in Manchester where there’s a very strong support network of artists, musicians and composers who work together but because you don’t normally get paid to do original music, you have to call in a lot of favours, and in the Manchester scene there are a LOT of favours, people calling each other all the time and helping each other out on each others projects, but there is no set network so there is no way of getting funding or help and I realised that a lot of the artists needed support and advice and people were coming to me for advice, so I thought if we had a collective, we can all get together and say to each other, ‘what do you need, how can I help?’

It’s a genius idea! Would you consider expanding the Odbod’s collective to London?
I would love to! It’s hard to contain it, there are so many people who want to be involved and to everyone who wants to get involved, I just say, come along, support us and we will support you. Hopefully none of the Odbods will be there in a year, they will have flown the nest and it will be time for the next lot of artists to come in. I’m also managing an Irish singer called Rioghnach Connolly, she’s amazing, that girl blows my mind! I’ve watched her and given her advice along the way; I’m quite good at keeping peoples motivation up and helping them to see where they are messing up, and where they are putting in energy where they don’t need to be putting energy in. The whole psychology of being an artist is quite self destructive and I really recognize that so I’m good at pulling someone out.

Do you have that self destructive side to you?
Yeah, there is an element of that in all of us. To be an artist you have to stare at yourself in the mirror every day and to be a true artist you have to get to a place where you actually see what’s not in the mirror, and then separate that from yourself and that’s really hard. You judge yourself very harshly and artists are especially hard on themselves. I have a lot of issues with balance, so I spend most of my time trying to achieve that balance in my life.

If there are particular issues that are bothering you, do you ever find the answers in your songs ?
Definitely! I usually find out what’s going on in my life when I write a song, I have no idea otherwise! Most of the time I don’t know what day it is!

Are you on the road a lot?
Not as much as I would like to be. I would really like to go around the whole world, that would be great…

You are quite a wondering spirit (born in the UK, brought up in Gibraltar, Kirsty grew up travelling the four corners of the globe) Do you feel like an outsider, or can you fit in anywhere?
I empathize with people, I find it easy to talk to anyone or any culture; I’m just fascinated by people. I never felt like I didn’t fit in, it was only as I got older that I thought, I don’t fit in anywhere, I’m the wrong shape for everything! And it took me a long time to work that one out.

How did you reconcile that?
By being really honest with myself. I did a course called The Artists Way. One of the tasks that you have to do is write every morning; first thing you do is write all of your thoughts, and you write out your negativity, all those thoughts that say “I’m not good enough, I’m not happy…” and at the end of that you rip up the paper and throw it away and after a few months you notice that what you write is more creative; you are writing more positive thoughts. You cease the negative voices, and those are the words that say that you don’t fit in. And through that and meditation, I just kind of found out who I was and realised, you know, I am different, and everyone is different, and that is something to be celebrated.


Photograph by Hannah Kinver Miles

I read you saying that the future of women worries you, can you explain that? What specifically concerns you?
We still have so many issues in our sexist world, we still have so many places where men are in charge of things that women should be in charge of, and that concerns me. I am most concerned by the fact that magazines and newspapers are airbrushing us out of existence, and airbrushing us into mental hospitals! I’m really worried about the next generation of girls and how they will deal with this; their idols aren’t real – they are not real human beings! They don’t have curves, they don’t exist, you can’t women who look like what they think these women look like. It’s a unreal ideal. I’m really worried about the music industry too – especially what Simon Cowell has done to it! When I go to someone’s house and there is a TV on and they have X Factor or Idol, and I go, “is this what people are watching?” It’s a mind numbing existence for people who should be out living rather than watching.

And the music industry certainly has some interesting ideas about how to market their female artists!
There are a lot of issues and struggles; it is incredibly difficult for women in the record industry; it drives me mad! No matter how good you are, you are solely competing with say, KT Tunstall, Corrine Bailey Rae, Amy Winehouse, Imelda May; the labels always pit us up against each other and say “You have to be the new….” You are not out there and being celebrated as a good musician. If people can’t pigeonhole you, you are seen as a bit of an oddity. Had I been a man in this industry I would have been dealt with differently; I would have been celebrated for the way that I handle myself, but if you are a female, and you have opinions then you are seen as being difficult.

It must be hard to maintain your confidence, and sanity and creativity, whilst these obstacles come your way.
If you realise that creativity, well this is my perception of it; that creativity comes from creation, and that it’s all already there and you just have to become the channel and keep that as your focus and centre. Then none of that other stuff can touch you.


Photograph by Hannah Kinver Miles

There is nothing generic about Kirsty Almeida; she was not artificially created from a record labels wish-list, shop nor manufactured during an X Factor audition. Navigating her own path, order she is very much the modern Renaissance Woman: artist, experimenter and a true creative. Before meeting Kirsty to chat about her new album Pure Blue Green – a rich tapestry of blues, folk and jazzy pop – I watched video clips of her performances. Singing live, she is mesmerizing, a powerhouse! Free spirited and alive, at times she is an enigmatic chanteuse, and other times she is a ringleader to a raucous vaudeville troupe. She sings with a passion that leaves us in no doubt that her music come from an honest and heartfelt place. Her voice is tender with sparkles of underlying inquisitiveness and humour and it only takes a minutes listening to see that her life, thoughts and loves are entwined within her lyrics, revealing an existence lived to the full and one that is continuously questioned. So it comes as no surprise that our conversation becomes an all-encompassing discourse that occasionally touches on her album and then soars off in the direction of magic, art, self-development, women’s rights and the dubious ethics of the music industry….

I love how visual your shows are…..
I love the big show thing, I think that people want to be entertained; because music is so accessible, and more downloadable now, people really like going out to live shows. I like to do something thats entertaining, but I also love the little live acoustic shows, those are some of my favourite gigs to do. I’m doing a gig soon that will be just me with a guitar and a girl called Lucinda Bell on harp. I’ve had a six foot bird cage designed and built for me, and we’re going to do a series of exhibitions and art galleries where I will play sat in the cage that will be suspended from the ceiling!

There is a lot of creativity in your performance…
Truthfully I am a visual artist, so I can’t help but look at things and go “well if you just stuck a massive big flower there, and that was attached to an umbrella with a bath chain and then water came out of it…. ” (laughs) and thats just how my mind works; it’s really visual and my work is really visual, I can’t help it!

What do you see first?
When I’m writing a song, I always see colours. I see music in colours and textures. so the first thing that will happen will be that I will be playing guitar and then the colours will come together and at that point I will know that it’s right and then I just have to close my eyes and wait and then the lyrics come.

So the song arrives together?
Always!

Do the visuals come at the same time?
No, when I write, it is just about the song and being a channel of creativity. I try and let the song happen, and then afterwards when it’s on loop I get the visuals.


Photograph by Hannah Kinver Miles

Where does your inspiration come from?
I’m inspired by a day, every day there is a million things that inspire me. I’m inspired by clothes, people, situations, conversations that I hear from other people, situations that I get into, trouble, butterflies, birds, nature, trees….. everything!

Do you paint?
Yeah, I paint a lot. But, (sighs) there is never enough time. I also run a collective called Odbod. I set it up in Manchester where there’s a very strong support network of artists, musicians and composers who work together but because you don’t normally get paid to do original music, you have to call in a lot of favours, and in the Manchester scene there are a LOT of favours, people calling each other all the time and helping each other out on each others projects, but there is no set network so there is no way of getting funding or help and I realised that a lot of the artists needed support and advice and people were coming to me for advice, so I thought if we had a collective, we can all get together and say to each other, ‘what do you need, how can I help?’

It’s a genius idea! Would you consider expanding the Odbod’s collective to London?
I would love to! It’s hard to contain it, there are so many people who want to be involved and to everyone who wants to get involved, I just say, come along, support us and we will support you. Hopefully none of the Odbods will be there in a year, they will have flown the nest and it will be time for the next lot of artists to come in. I’m also managing an Irish singer called Rioghnach Connolly, she’s amazing, that girl blows my mind! I’ve watched her and given her advice along the way; I’m quite good at keeping peoples motivation up and helping them to see where they are messing up, and where they are putting in energy where they don’t need to be putting energy in. The whole psychology of being an artist is quite self destructive and I really recognize that so I’m good at pulling someone out.

Do you have that self destructive side to you?
Yeah, there is an element of that in all of us. To be an artist you have to stare at yourself in the mirror every day and to be a true artist you have to get to a place where you actually see what’s not in the mirror, and then separate that from yourself and that’s really hard. You judge yourself very harshly and artists are especially hard on themselves. I have a lot of issues with balance, so I spend most of my time trying to achieve that balance in my life.

If there are particular issues that are bothering you, do you ever find the answers in your songs ?
Definitely! I usually find out what’s going on in my life when I write a song, I have no idea otherwise! Most of the time I don’t know what day it is!

Are you on the road a lot?
Not as much as I would like to be. I would really like to go around the whole world, that would be great…

You are quite a wondering spirit (born in the UK, brought up in Gibraltar, Kirsty grew up travelling the four corners of the globe) Do you feel like an outsider, or can you fit in anywhere?
I empathize with people, I find it easy to talk to anyone or any culture; I’m just fascinated by people. I never felt like I didn’t fit in, it was only as I got older that I thought, I don’t fit in anywhere, I’m the wrong shape for everything! And it took me a long time to work that one out.

How did you reconcile that?
By being really honest with myself. I did a course called The Artists Way. One of the tasks that you have to do is write every morning; first thing you do is write all of your thoughts, and you write out your negativity, all those thoughts that say “I’m not good enough, I’m not happy…” and at the end of that you rip up the paper and throw it away and after a few months you notice that what you write is more creative; you are writing more positive thoughts. You cease the negative voices, and those are the words that say that you don’t fit in. And through that and meditation, I just kind of found out who I was and realised, you know, I am different, and everyone is different, and that is something to be celebrated.


Photograph by Hannah Kinver Miles

I read you saying that the future of women worries you, can you explain that? What specifically concerns you?
We still have so many issues in our sexist world, we still have so many places where men are in charge of things that women should be in charge of, and that concerns me. I am most concerned by the fact that magazines and newspapers are airbrushing us out of existence, and airbrushing us into mental hospitals! I’m really worried about the next generation of girls and how they will deal with this; their idols aren’t real – they are not real human beings! They don’t have curves, they don’t exist, you can’t women who look like what they think these women look like. It’s a unreal ideal. I’m really worried about the music industry too – especially what Simon Cowell has done to it! When I go to someone’s house and there is a TV on and they have X Factor or Idol, and I go, “is this what people are watching?” It’s a mind numbing existence for people who should be out living rather than watching.

And the music industry certainly has some interesting ideas about how to market their female artists!
There are a lot of issues and struggles; it is incredibly difficult for women in the record industry; it drives me mad! No matter how good you are, you are solely competing with say, KT Tunstall, Corrine Bailey Rae, Amy Winehouse, Imelda May; the labels always pit us up against each other and say “You have to be the new….” You are not out there and being celebrated as a good musician. If people can’t pigeonhole you, you are seen as a bit of an oddity. Had I been a man in this industry I would have been dealt with differently; I would have been celebrated for the way that I handle myself, but if you are a female, and you have opinions then you are seen as being difficult.

It must be hard to maintain your confidence, and sanity and creativity, whilst these obstacles come your way.
If you realise that creativity, well this is my perception of it; that creativity comes from creation, and that it’s all already there and you just have to become the channel and keep that as your focus and centre. Then none of that other stuff can touch you.


Photograph by Hannah Kinver Miles

There is nothing generic about Kirsty Almeida; she was not artificially created from a record labels wish-list, information pills nor manufactured during an X Factor audition. Navigating her own path, cheapest she is very much the modern Renaissance Woman: artist, experimenter and a true creative. Before meeting Kirsty to chat about her new album Pure Blue Green – a rich tapestry of blues, folk and jazzy pop – I watched video clips of her performances. Singing live, she is mesmerizing, a powerhouse! Free spirited and alive, at times she is an enigmatic chanteuse, and other times she is a ringleader to a raucous vaudeville troupe. She sings with a passion that leaves us in no doubt that her music come from an honest and heartfelt place. Her voice is tender with sparkles of underlying inquisitiveness and humour and it only takes a minutes listening to see that her life, thoughts and loves are entwined within her lyrics, revealing an existence lived to the full and one that is continuously questioned. So it comes as no surprise that our conversation becomes an all-encompassing discourse that occasionally touches on her album and then soars off in the direction of magic, art, self-development, women’s rights and the dubious ethics of the music industry….

I love how visual your shows are…..
I love the big show thing, I think that people want to be entertained; because music is so accessible, and more downloadable now, people really like going out to live shows. I like to do something thats entertaining, but I also love the little live acoustic shows, those are some of my favourite gigs to do. I’m doing a gig soon that will be just me with a guitar and a girl called Lucinda Bell on harp. I’ve had a six foot bird cage designed and built for me, and we’re going to do a series of exhibitions and art galleries where I will play sat in the cage that will be suspended from the ceiling!

There is a lot of creativity in your performance…
Truthfully I am a visual artist, so I can’t help but look at things and go “well if you just stuck a massive big flower there, and that was attached to an umbrella with a bath chain and then water came out of it…. ” (laughs) and thats just how my mind works; it’s really visual and my work is really visual, I can’t help it!

What do you see first?
When I’m writing a song, I always see colours. I see music in colours and textures. so the first thing that will happen will be that I will be playing guitar and then the colours will come together and at that point I will know that it’s right and then I just have to close my eyes and wait and then the lyrics come.

So the song arrives together?
Always!

Do the visuals come at the same time?
No, when I write, it is just about the song and being a channel of creativity. I try and let the song happen, and then afterwards when it’s on loop I get the visuals.


Photograph by Hannah Kinver Miles

Where does your inspiration come from?
I’m inspired by a day, every day there is a million things that inspire me. I’m inspired by clothes, people, situations, conversations that I hear from other people, situations that I get into, trouble, butterflies, birds, nature, trees….. everything!

Do you paint?
Yeah, I paint a lot. But, (sighs) there is never enough time. I also run a collective called Odbod. I set it up in Manchester where there’s a very strong support network of artists, musicians and composers who work together but because you don’t normally get paid to do original music, you have to call in a lot of favours, and in the Manchester scene there are a LOT of favours, people calling each other all the time and helping each other out on each others projects, but there is no set network so there is no way of getting funding or help and I realised that a lot of the artists needed support and advice and people were coming to me for advice, so I thought if we had a collective, we can all get together and say to each other, ‘what do you need, how can I help?’

It’s a genius idea! Would you consider expanding the Odbod’s collective to London?
I would love to! It’s hard to contain it, there are so many people who want to be involved and to everyone who wants to get involved, I just say, come along, support us and we will support you. Hopefully none of the Odbods will be there in a year, they will have flown the nest and it will be time for the next lot of artists to come in. I’m also managing an Irish singer called Rioghnach Connolly, she’s amazing, that girl blows my mind! I’ve watched her and given her advice along the way; I’m quite good at keeping peoples motivation up and helping them to see where they are messing up, and where they are putting in energy where they don’t need to be putting energy in. The whole psychology of being an artist is quite self destructive and I really recognize that so I’m good at pulling someone out.

Do you have that self destructive side to you?
Yeah, there is an element of that in all of us. To be an artist you have to stare at yourself in the mirror every day and to be a true artist you have to get to a place where you actually see what’s not in the mirror, and then separate that from yourself and that’s really hard. You judge yourself very harshly and artists are especially hard on themselves. I have a lot of issues with balance, so I spend most of my time trying to achieve that balance in my life.

If there are particular issues that are bothering you, do you ever find the answers in your songs ?
Definitely! I usually find out what’s going on in my life when I write a song, I have no idea otherwise! Most of the time I don’t know what day it is!

Are you on the road a lot?
Not as much as I would like to be. I would really like to go around the whole world, that would be great…

You are quite a wondering spirit (born in the UK, brought up in Gibraltar, Kirsty grew up travelling the four corners of the globe) Do you feel like an outsider, or can you fit in anywhere?
I empathize with people, I find it easy to talk to anyone or any culture; I’m just fascinated by people. I never felt like I didn’t fit in, it was only as I got older that I thought, I don’t fit in anywhere, I’m the wrong shape for everything! And it took me a long time to work that one out.

How did you reconcile that?
By being really honest with myself. I did a course called The Artists Way. One of the tasks that you have to do is write every morning; first thing you do is write all of your thoughts, and you write out your negativity, all those thoughts that say “I’m not good enough, I’m not happy…” and at the end of that you rip up the paper and throw it away and after a few months you notice that what you write is more creative; you are writing more positive thoughts. You cease the negative voices, and those are the words that say that you don’t fit in. And through that and meditation, I just kind of found out who I was and realised, you know, I am different, and everyone is different, and that is something to be celebrated.


Photograph by Hannah Kinver Miles

I read you saying that the future of women worries you, can you explain that? What specifically concerns you?
We still have so many issues in our sexist world, we still have so many places where men are in charge of things that women should be in charge of, and that concerns me. I am most concerned by the fact that magazines and newspapers are airbrushing us out of existence, and airbrushing us into mental hospitals! I’m really worried about the next generation of girls and how they will deal with this; their idols aren’t real – they are not real human beings! They don’t have curves, they don’t exist, you can’t women who look like what they think these women look like. It’s a unreal ideal. I’m really worried about the music industry too – especially what Simon Cowell has done to it! When I go to someone’s house and there is a TV on and they have X Factor or Idol, and I go, “is this what people are watching?” It’s a mind numbing existence for people who should be out living rather than watching.

And the music industry certainly has some interesting ideas about how to market their female artists!
There are a lot of issues and struggles; it is incredibly difficult for women in the record industry; it drives me mad! No matter how good you are, you are solely competing with say, KT Tunstall, Corrine Bailey Rae, Amy Winehouse, Imelda May; the labels always pit us up against each other and say “You have to be the new….” You are not out there and being celebrated as a good musician. If people can’t pigeonhole you, you are seen as a bit of an oddity. Had I been a man in this industry I would have been dealt with differently; I would have been celebrated for the way that I handle myself, but if you are a female, and you have opinions then you are seen as being difficult.

It must be hard to maintain your confidence, and sanity and creativity, whilst these obstacles come your way.
If you realise that creativity, well this is my perception of it; that creativity comes from creation, and that it’s all already there and you just have to become the channel and keep that as your focus and centre. Then none of that other stuff can touch you.

june-chanoomidole-jon-young art of mentoring
Jon Young by June Chanpoomidole.

Next week I am away yet again, what is ed this time on the Art of Mentoring course being run for the very first time in the UK by tracker Jon Young, look founder of the Wilderness Awareness School. Jon Young was personally mentored by the American wilderness guru Tom Brown, information pills Jr. and is an expert in bird language, alongside an old friend of mine Alex Travers (known as Feathers) who will also be on the course.

For the past 25 years Jon Young has taught groups and individuals how to create a positive vision for the future through a deeper sense of community and connection to nature. To say I am excited about the opportunity to spend a week learning mentoring skills from Jon Young alongside fellow teachers, Mark Morey and Evan McGown, (a nature based poet and musician who co-authored The Coyote’s Guide to Connecting With Nature with Jon Young) would be an understatement.

june-chanpoomidole-jon-young gerry brady
Jon Young plays the bones with Gerry Brady, by June Chanpoomidole.

I got to meet the sparkly eyed Jon Young – who like me is a big fan of barn dancing as a way of bringing people together – when he visited London a few months ago to give a talk in a darkened room at the top of a pub in north london.

The evening was an informal occasion peppered with frequent anecdotes from Jon’s Native American friend Paul Raphael, Peacemaker of the Odawa tribe, and finishing with some acapella singing accompanied on the “bones” by long lost Irish friend Gerry Brady.

june-chanpoomidole-jon-young maeve gavin
Organiser Maeve Gavin with Paul Raphael, by June Chanpoomidole.

Here is what I learnt…

Nature connection works best in a community setting.
Many of us have lost touch with animals and the earth but it’s easy to trigger subconscious feelings of connection. This is not about passing an ecology literacy test because everyone loves trees on an energetic level… but the woods can be scary so we need people with us along the way. How can we recreate these communities?

Greetings customs and rituals matter.
Greetings have been profoundly important for many eons of humanity – sometimes being so elaborate they could take days. Even though you are lucky if you get much of a greeting in New Jersey they have become more careful, sincere and authentic since 9/1, even from those you might expect to be grumpy. Everyone feels that needs to be welcomed and able to express themselves without pressure.

WillaGebbie_baggyclothes
Illustration by Willa Gebbie.

It is possible to create new rituals to suit us today.
The youth today carry the subconscious weight of their woes in over-sized clothes, but Jon has mentored both privileged and deprived children and all of them thrive when given space to express themselves. He recounts the story of a scholar from the best family and school in town, forever struggling to stay the best in his class, and thoroughly depressed as a result. After a few months of mentorship with Jon he tearfully declared that he was finally able to be himself and went on to became a mentor to the younger kids. Greeting customs can forge strong bonds and that is why the elaborate bonding rituals of gangs are so successful.

Everyone needs to feel recognised and blessed, at every age.
Young people need affirmation but so do their parents, many of whom will have missed out on it themselves as youngsters. If all generations are not cared for there are likely to be cultural gaps that can cause problems; for example a whole generation can feel threatened or alienated, and the worst outcome of this could be the sabotaging of change.

Maple Syrup as teacher.
When Paul’s family makes maple syrup they thank the trees with a special ceremony before boiling up the sap. This is a delicate operation that takes 2-3 whole days of pan-watching, for if the sap burns it will spoil, which is tantamount to violating the laws of nature. If this happens it will haunt you, but you will learn. As such it is an ideal teaching tool, especially for young men.

WillaGebbie_Paul Raphael
Paul Raphael as mushroom picker by Willa Gebbie.

Remember to leave the seeds behind when picking morel mushrooms.
Paul lives life by the seasons, and has just two short weeks to pick morel mushrooms from a special place in the woods – unfortunately it’s impossible to keep his spot secret in a small community. He carries the mushrooms home in knitted orange bags that allow the seeds to fall to the ground; that way ensuring a crop for the following year. So much ancestral knowledge has been lost that some of the kids make huge amounts of noise crashing through the wilderness. Even in Paul’s community there is much disconnection from nature, and he spends much of his time finding ways to empower the elders.

The government can learn from Hurricane Iniki, which hit Hawaii in 1992.
This huge hurricane stripped houses from their foundations and denuded vegetation, yet only six people died. It took the government nine days to get aid out to Hawaii, but instead of panic officials were met by people at the docks who did not want to fix things too quickly, because then they would have to return to work. Everyone was relaxing, taking it easy, having BBQs and helping each other. Because of interwoven cultural relations present before the storm there was a built in community resilience that meant the people responded collectively as one living organism, instead of separate units. Here is a lesson in how to cope during disasters.

Jon was taught to play the bones twenty years ago when he last met Gerry (then working as a labourer on the East Coast), and has since taught Paul how to play the bones too. Here’s a video of the three of them singing together. Cross generational and cultural mentoring in action!

YouTube Preview Image

You can read another account of the night here. I am looking forward to learning so much more next week. See you on the other side.
Glastonbury 2010 Climate Camp
Glastonbury 2010 Climate Camp

Okay, side effects so as a few of you are probably aware, online this year I volunteered to put together and run the Tripod Stage for Climate Camp. Although I have pulled together bands to perform at launch parties for various editions of Amelia’s Magazine and I found the bands to perform for us at Glastonbury in 2009, recipe I have never stage managed a full event like this before. But hey! I like a challenge, and after the success of First Aid Kit and Six Day Riot last year I felt I had to give it a shot… or we might have become a music free zone… at a music festival…

Glastonbury 2010 Climate Camp outreach
Glastonbury 2010 Climate Camp animal outreach
Outreach in animal masks.
Glastonbury 2010 Climate Camp the kitchen area
The kitchen area.

Although it didn’t take long to contact music PRs and pull the bands together I may not quite have anticipated just how much work all this would be on the ground. If you’re hoping to read a review of the main stage highlights at Glastonbury 2010 then go look elsewhere because I didn’t leave the Climate Camp field (apart from to visit the local long-drops) until 9 or 10pm every day. Not even to wiggle up the road one hundred metres to the Green Fields. This was hardcore devotion to the cause.

Glastonbury 2010 Climate Camp
Glastonbury 2010 Climate Camp tripods

Climate Camp is run along non-hierarchical principles, but events like Glastonbury really highlight how hard it is to run along such lines without proper working groups. Although I am sure that (most) people were there with the best of intentions, festivals just offer too many other distractions – and this, along with a fairly disorganised anarchistic approach, meant that a few very committed and adept people worked far harder than most others. I certainly hadn’t considered that I would be glued to the camp for 12 hour stretches every day, but certainly harder still was dealing with the weight of responsibility in making the music a success, both for us and for the performers who so kindly agreed to come and play the Tripod Stage.

Glastonbury 2010 Climate Camp kitchen
Glastonbury 2010 Climate Camp naked lady
Classic Glastonbury – a naked lady takes a look at our exhibition.

Unfortunately I was the only person who really felt this responsibility, and there were times where I found myself onsite with just a few other Climate Campers who were otherwise engaged (making tasty food, manning the solar sound system), desperately trying to get the band sorted whilst also standing on the entrance inviting people to come in and watch them. Let me tell you, being in two places at once is a trick that I have yet to perfect.

Glastonbury 2010 Climate Camp fundraising
Fundraising.
Glastonbury 2010 Climate Camp morning meeting
Glastonbury 2010 Climate Camp morning meeting
Morning meetings.
Glastonbury 2010 Climate Camp pedal powered smoothies
Pedal powered smoothies.

This year the Dragon Field was given over to crew camping for the first time, and our little corner was the only part of it that hosted anything of interest to the punters. There are perks to being totally off the radar – it’s nice to feel that we’re a bit separate, a bit renegade, and that people might chance upon us as a lovely surprise… but it also makes it extremely hard to get people to come and see us when there is so much else to see and we aren’t even listed in the programme.

Glastonbury 2010 Climate Camp megaphone
Standing on the Craft Field junction with a megaphone.
Glastonbury 2010 Climate Camp Lulu and the Lampshades
The Tripod Stage with Lulu and the Lampshades.

We were super busy all through Thursday, when the main stages have yet to hit their stride and people are wandering around, taking it all in. But other than that there didn’t seem to be much rhyme or reason to the times when we were busy or not – we were up against such random variables as the weather (so much sunshine can be extremely enervating), the acts on other stages, the football (what a waste of time that was), whether anyone had heard of the band we were hosting, and whether anyone bothered to stand on the intersection up in the Craft Field or outside our entrance to haul people in. It was a pretty tricky one.

Lesley Barnes Climate Camp design
Glastonbury 2010 Climate Camp screenprinting
Screenprinting one of the lovely designs made by Lesley Barnes.

I won’t pretend I found it easy; before the festival I created stickers for this year’s action against RBS in collaboration with the wonderful Lesley Barnes and finalised the line up for an accompanying flyer. Before I even got to Glastonbury I had already spent two weeks of my time sorting stuff out for Climate Camp and not concentrating 100% on Amelia’s Magazine. Then over the course of the festival I did 6 gigs with my barndancing band Green Kite Midnight, took huge amounts of photos to document everything, twittered about all the bands playing on our stage and ran a screenprinting workshop every morning at just about the same time I needed to okay the day’s line up of bands. I felt totally overwhelmed. I think we need to collectively clarify what we most want to achieve at Glastonbury and other festivals, and in what way music is important to our aims… although I personally think we should provide some kind of entertainment to draw people in (and especially when a popular entertainer then goes on to endorse our actions), I can easily see how others might think it’s a distraction.

Glastonbury 2010 Climate Camp Green Kite Midnight Ceilidh
Glastonbury 2010 Climate Camp Green Kite Midnight Ceilidh
Green Kite Midnight Ceilidh

Having said all of this, the calibre of musicians that we hosted on the Tripod Stage definitely made my part in organising it massively worthwhile. Although I saw nothing of the rest of the festival (until night fell), I did get to see some of the best new bands perform especially for us. And of course the weather was out of this world. Would I do it again? Well, if anyone would like me to curate a solar powered Amelia’s Magazine stage at a festival next year (and would be willing to provide me with the right resources to ensure I don’t go mad in the process) do get in touch. For Climate Camp again? Not unless I felt massively reassured that we had proper working groups in place beforehand and a presence on the main programme.

Glastonbury 2010 Climate Camp fundraising

But enough of my quibbles: coming up, my review of the Tripod Stage at Glastonbury – act by act – accompanied by fab illustrations of course.

Glastonbury 2010 Climate Camp RBS

Categories ,Barndancing, ,ceilidh, ,Climate Camp, ,Craft Field, ,Dragon Field, ,First Aid Kit, ,glastonbury, ,Green Kite Midnight, ,Lesley Barnes, ,Lulu and the Lampshades, ,RBS, ,screenprinting, ,Six Day Riot, ,Tripod Stage, ,Worldcup

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