Please specify the group

Take Note: ‘Whom the Gods Would Destroy they First Make Mad’

 


Yes, and this is exactly what we are witnessing today. It means that the chief oppressors of humanity are not about to claim victory in their lust for world domination, but are in fact heading for a crash and are blindly living out their final days.

Their madness is already on view to anyone who follows the antics of the despotic globalist regime so brazenly flaunting its self contrived stardom. It’s not a pretty sight.

Drunk on power and super inflated egos, these less than human humans stand as high as they can on the world stage to project their pompous profiles – only to reveal their true colours as obsessed psychotic war mongers caught in the web of their own morbid megalomania.

However these architects of central control are not alone in being sentenced to an inglorious end. The madness bestowed by the gods also falls on those passive couch potatoes who ‘look on and do nothing’, burying their heads in the sand so as to avoid having to stand up against the rank injustices that stare them in the face.

Then a similar madness creeps up on those who turn away from anything which disturbs their ‘faux spiritual’ retreat into a world of passive inner contemplation. The gods do not smile on such misuses of genuine spiritual disciplines adopted by true aspirants striving to evolve into conscious, active and responsible human beings.

There is no route to a higher calling which does not incorporate service to humanity and confronting injustice. To turn away from such basic responsibility is a form of soul suicide – brought about in the mistaken belief that by shirking a natural humanitarian responsiveness towards the collective welfare of mankind one can remain ‘undisturbed’ in moving up some invisible stairway to heaven.

Then there are those ‘apologist’ professional men and women whose all consuming ambitions lead them to unquestioningly play by the rules of the game, trampling on others in order to make it to the top.

Do the gods smile upon such cowardly behaviour? No, they will increasingly cause such individuals to suffer the inevitable pain that results from going against their better conscience, of being complicit in the cause of evil.

Such people will, unless they change their ways, also be subject to a creeping state of madness. One that corrodes away the natural sympathetic qualities that keep mankind responsible, humane and sane.

What about those who accumulate disproportionately high levels of personal wealth and use the great majority of it to feather their nests and further bolster their sense of self importance over others less financially secure?

What view do the gods take about those harbouring obsessions of material gain?

They cause such people to feel increasingly insecure; increasingly afraid of losing the velvet padded ease of their sumptuous life styles. Cut off from the world of real people, real emotions and real human affection.

Perhaps such bloated examples of excess cause the gods to pass a message across their field of vision, such as “It is harder for a rich man to enter the kingdom of heaven than for a camel to pass through the eye of a needle”.

How tormented such mindless millionaires become by not being able to completely dispel the poignancy of such a message. How empty they feel inside, in spite of all their exterior wealth. How easily they get irritated by small things or any challenges to the worthiness of their indulgences.

Yes, an ongoing form of madness awaits those who who try to deny that their greed is in any way responsible for fanning the flames of social depravation, jealously and ultimately war.

The human race, in spite of what sometimes appears to be the opposite, is evolving. Evolving from crude to subtle; from brutish to sensitive. This process cannot be stopped, only delayed.

We are entering a time when the contrast between the light and dark side of mankind becomes increasingly stark; increasingly recognisable.

So you might think that church/religious leaders would be open receptacles for such rising spirit energies, finding the courage to speak-out loudly about blatant acts of destruction on this planet.

For example, about the horrific evils being perpetrated on the people of Gaza; the vile persuasions of high ranking paedophiles; child molesters and traffickers for profit. The two faced politicians heading for the Masonic Temples in the Halls of Westminster. The producers and distributors of Covid bio weapon jabs. The overall pandemic of deception and lying of the big corporate bankers and news media chiefs; of government ministers and CEO’s of hegemonic global institutions – those who take it upon themselves to claim the authority to control every aspect of other people’s lives.

Of course the list goes on and on and on…but do the ‘holy men’ of the Judeo-Christian tradition – or any other ‘faith’ for that matter – step forward to put a stop to such mass degradation of the moral, ethical and spiritual values of our world?

Certainly not. With a few rare exceptions, they hide away in their vestries and synagogues and turn their heads from taking any kind of responsibility for the world outside – or from displaying the courage to practice as they preach.

The gods respond by publicly revealing these representatives of religious dogma to be fakes, parodies of virtue completely lacking any genuine spiritual convictions. Their particular variety of holy madness comes from suffering the indignity of being exposed as plagiarisers of the teachings of genuine spiritual masters while claiming the protection of their ‘holy church’ and of the State.

Such protection is generally granted, providing the bishops, priests and clergymen keep their side of the deal ‘not to get involved in politics’.

So now that we have dispensed with any lingering attachment to institutions falsely claiming to represent the will of God, we can turn our attention to the real issue: discovering in ourselves and encouraging manifestation of the true expression of our existence as reflections of an omnipotent
and omniscient Creator.

This is the only way of gaining sufficient inner resilience to rise above the essentially cowardly manipulators of manufactured darkness – and to finally overturn them.

Going head to head with the villains running this planet should not be a frightening prospect. On the contrary, it should be seen as a challenge to be fully embraced, coupled with a determination to develop one’s latent powers to become a spiritual warrior fully supported by the highest universal forces.

We have arrived at that point now, and there is nowhere else to go – nothing else left to do – other than enter into an honest confrontation with those who so cunningly vampire humanity’s God given powers.

Now we must finally break-out of the spell binding artifice of mass indoctrination that has been allowed to suffocate our fundamental freedoms, in exchange for the generally feckless adoption of an AI/IT ‘culture of convenience’. A spineless, superficial cul-de-sac of life which in turn opens a door to the techno-insanity of the Transhuman agenda.

No more! There is, at this very moment, a great ‘call to arms’ ringing out across the length and breadth of the planet. Respond to it we must. Rise up in unity we will.

Have no doubt that an extraordinary reversal of fortunes lies ahead. A gathering storm that will sweep aside all that which so desperately attempts to thwart the rising tide of human emancipation.

Human emancipation cannot be thwarted. A pulsating new dawn is gathering together its scattered radiances at this very moment. Who would not want to be party to paving the way for its dramatic appearance over the Eastern horizon?

 

Julian Rose

Julian Rose is an organic farmer, writer, broadcaster and international activist. He is author of four books of which the latest ‘Overcoming the Robotic Mind’ is a clarion call to resist the despotic New World Order takeover of our lives. Do visit his website for further information www.julianrose.info

 

 

 

.

 

Posted in homepage | Tagged | Leave a comment

The demolition of the museum of neoliberalism

 

MUSEUM DEMOLITION

The Museum of Neoliberalism which I’ve been running at the front of my studio since 2019 will be closing this year, as my developer landlord proceeds with plans to demolish it and turn Leegate shopping centre into a tower of luxury flats. You could say it’s a fitting end for a museum about neoliberalism, or you could say it stinks, and it sucks and its an absolute nightmare.

A collaboration with Gavin Grindon, the museum in its current form was always intended as a trial run for an eventual permanent museum about Thatcherism. Ideally my hope is that I can find a new studio somewhere large and affordable enough that the museum can reopen/relaunch there, but without a lottery win I will likely have to leave London for that to be feasible.

Demolition is scheduled for October, (just shy of its 5th birthday) so in the meantime I’ll be on the look out for spaces and trying to sell as much of my stuff as possible with the insane dream of being able to afford a deposit on a place, rather than renting, and then build a permanent Thatcher Museum inside it. (If you’d like to help with that my shop is here!)

Essentially it comes down to the fact that the higher I can get my income before March 31st, the better chance I have of getting a mortgage large enough to afford somewhere that can host both studio and museum. In order to try and do that I’m basically having a clearance sale except all the prices are the same (except for a little t-shirt sale below). As well as the stuff in my shop I have loads of unlisted stuff kicking about so get in touch if you want to buy any of my larger works. Like the Pocket Money Loans sign from Dismaland. How much can I get for that? Where’s all the mad art collectors at?

My originals are for sale, my sculptures are for sale, fuck it I’d even do commissions for the right price. No adverts or brand collabs tho, let’s not lose our fucking minds.

I’m kind of resigned to the fact that this whole process is going to eat up loads of my productive capacity this year so I’m going to try not take on any major projects and just paint lots of paintings.

If you’d like to visit the museum, please do! It’s free but as always it’s best to make a booking at museumofneoliberalism.com at least 24 hours in advance or call ahead before travelling as opening times can be sporadic!
 

 

THIS IS ISRAEL

100,000 people killed, injured, or missing.⁠

Colonisation and genocide go hand in hand. It’s impossible to read about European colonialism and not see the parallels with the Israeli state and how it acts towards the supposedly ‘barbaric’ people it has colonised. Not least in the way the coloniser regards itself as a shining beacon of civilisation on a dark continent, even while it unleashes incredible violence against defenceless civilians. The destruction of farms and wells, forced deportations, indigenous people as second-class citizens in their own land. There is nothing really new here except the technology of murder. This is Empire, red in tooth and claw.

When European and North American nations cannot see genocide happening in Palestine, it’s because they are unable or unwilling to see it in their own story either. If what Israel is doing is genocidal, then maybe what we did was too? Then we’d have to stop pretending that it was only a handful of enemy regimes that engaged in genocidal policies against ‘undesirable’ peoples. And we’d have to stop skipping those pages of the history we tell ourselves.

‘There is no flag large enough to cover the shame of killing innocent people.’ – Howard Zinn

Reference photos for this painting were from a mass grave in southern Gaza in November, in the ‘safe zone’.

 

STARMER’S LABOUR


This “vote Labour” poster I designed (free download) has been spotted in Wes Streeting’s Ilford North constituency, on the same road as his MP surgery. Now The Telegraph have picked it up too.

 

For the next election I’ll be putting my weight behind efforts to make right wing Labour MPs lose their seats. To the liberals in my Instagram comments who have constantly berated me and others for not falling in line behind the most right wing Labour party since it’s formation, I asked them to please tell me some actual policies they’re voting for, beyond simple loyalty to a different neoliberal brand of political party.

I also asked that if they think they can pressure Labour after they’ve given them their vote, to explain how they think bargaining works in the real world. If they think we “just have to get the Tories out” then to please tell me how that won’t simply change into “we have to keep the Tories out” when they’re berating people in a few years time for turning against a Labour government that offered us nothing.

To be honest though I have heard all of the arguments, and I can only assume by this stage that if someone is still advocating for Labour then they haven’t been paying attention to what the leadership stands for and the type of people who now run Labour, what they believe in and how they’ll act in power. Because I feel like I’ve spent a lot of time trying to understand these people, and because of that I’m terrified at the prospect of a Labour government.

The poster was also featured on BBC Newsnight intro on Valentines Day, right after a shot of Starmer getting into an SUV. Makes it look like an official Labour campaign. Delighted with that –

 
 

                 🇮🇪 FREE SHIPPING TO IRELAND 🇮🇪

I’m going to be in Ireland for a few weeks in March so I’m offering free shipping to Ireland until the 13th of March, although shipments may take longer than usual. This also applies to addresses in the North of Ireland. Use the code FREEIRELAND

T-SHIRT SALE

If I’m going to stand any chance of putting a deposit down on a permanent home for the Museum of Neoliberalism / Thatcher Museum / new studio I need to sell as much stock and make as much money as possible before the end of March. To that end I’m doing 20% off all t-shirts in my shop. Just use the code: TAPSAFF20

 
 

ZINE FOR PATREON BACKERS

If you subscribe to my Patreon, you’ll likely be wondering where your 2023 Recap Zine is. Well I got a bit distracted by events but I’m putting the finishing touches to it and hope to have it in the printers by Monday

If you’d like a copy all you have to do is

back me on Patreon at the £3+ level.

Massive thanks to everyone who has supported me on there so far!

Thanks

Darren

 

This update is public and shareable so please feel free to pass it on. If you’re not on my mailing list but would like to be you can sign up here.

Eternal thanks to anyone who’s ever backed my work on Patreon or through the shop!

And thanks for reading!

Website | Facebook | InstagramTwitter | Shop

Share on social

Share on FacebookShare on X (Twitter)Share on Pinterest

Check out my website  

 
 

 

Posted in homepage | Tagged | Leave a comment

Burning Byzantium

 

 

 

 

 

 

 

 

 

 

 

 


Charles Donaghue

Charles is one of the poets taking part in the Earth Words Poets’ Workshops, run by Heidi Stephenson at Brixham Library, Torbay. The poem refers to the Maltese bird massacres, which will start again in April (though it never really ceases). Europe’s Red List birds are being decimated when they are at their most vulnerable.
 
 
 
 
 
.
 
.
 

 

Posted in homepage | Tagged , | 7 Comments

TAYLOR SWIFT DOES NOT EXIST (EXTENDED VERSION)

 

 

The “talking about everything” that erupts like a thunderstorm over the mass audience is a special form of voracity and survives through permanent digression. It mutates into something ghostly. We find ourselves on a flat, horizontal terrain where once there were mountains. The third person, be it the traitor, the parasite or the messenger, has disappeared or merely expresses itself in the first person. But it is no longer possible to attribute anything at all to the millions of selfie facial expressions. The more techno is a modulation of machines, the more its consumers demand the selfie face called DJ. But for you to see the neo-pop star, he would have to dip his face in a liquidiser. At that moment, producer and consumer might forget to breathe, as if the air no longer needed them. There will be film footage not just of this ending, but of the end of everything, and we are already seeing it now, and its most salient feature is its apparent inability to draw a conclusion. Perhaps at some point there will only be the footage and no one left to watch it, which is the joke of course; but the light version, which is the pop that absurdly demands the ever more, will always find its audience, because what is it but our own boredom in the face of the spectacle of this never-ending end.

Humanity is so bored with itself that it uses pop music like a soft drink to hear what it is doing, the mass of songs is gigantic, the yield boring, predictable, pathetic. Consumers give it the nod. It’s like watching billions of metronomes, made more tedious, not less, by the knowledge that each one thinks it’s alive. Consumers feed on Taylor Swift, Instagram and porn, like a deep-sea sponge feeding on the plankton of simulated sociality that swoops down from above. Their murderous agony is that they are secretly perfectly content. Imagine the true that has absorbed all the energy of the false: then you have the simulation. In it, the neo-pop stars blur like water in water that disappears. And the consumer builds a home with pop in the lift, adapts to reality and at the weekend is haunted by the discomfort of vagabonding as if by a missed opportunity. The end of the story is a visit to the club. The virtual music world is neurotic to the point of implosion.

The fate of the music consumer is to merge with his surroundings, real or virtual, to disappear without feeling it, to go on like this forever because boredom precedes life – boredom as the sounding shroud of a customised immortality. Consumers are the eschatology of the non-existence of death. We are monkeys who have put their prehensile tails to a new use: Without our fear of falling, there is no need for the tails to still cling to the world, instead they wrap themselves around our throats and kill us with music that is indistinguishable from what is not music anyway.

The condensation of the over-communicated social succumbs to the same fate as American sauces, in which the natural seasoning is filtered out and the taste is resynthesized in the form of artificial flavors and consistency-preserving, preservative additives. The social is filtered to find its synthesis in the superfluous abundance of the most diverse therapeutic sauces in which we swim around – an invisible programming that falls prey to pleasure as an inorganically cancerous sociosphere of contact, control, persuasion, opinion and point of view defense. The white pornographic hyperreality, whose density matrix is increasingly condensed by the obese structure of the feedback (until it bursts?), makes any thought of a meaning-bearing structure disappear. The market-oriented multiplication of taste and eating habits as a result of the multiplication of competing product offerings corresponds to the multiplication of opinion habits as a result of the multiplication of media offerings. Like Taylor Swift.

Ultimately, a mass of taste has emerged, which, with its contrasting and differential connections – think broken and chic – levels out the last class cultures both on screen and at mass events. In the best case, each participant in the mass becomes the taste policeman of the other, whereby the specificity of each taste (ordering of fantasies in between the private and the public, whereby the latter is structure-forming) remains recognized, and this is precisely what constitutes mass taste. However, this is no longer the taste of a social class or group, but taste is ultimately produced as a texture by serial and simulative mass production. On the one hand, luxury goods will eventually be available as a simulation at Aldi, on the other hand, junk food will sooner or later become a delicacy or at least simulate it. In the age of simulation, the ecstasy of images and mass tourism, no elite can keep its taste completely exclusive and at the same time stage it publicly; rather, it is now almost the privilege of the masses to have taste attributed to them, for example in tourism. Today, the travel situation simulates Disneyland into totalitarianism, as in Venice, so that you return from the trip more kitschy than when you set off. The journey in mass tourism is a journey into kitsch. The tourist occupies beaches all over the world in order to celebrate a mixture of permanent drunkenness, orgy and children’s birthday party, interrupted by the protestant-capitalist forms of doing nothing, such as solving crossword puzzles, writing postcards, buying souvenirs or relaxing. Thus, even on vacation, habit becomes the real pleasure. On the other hand, the elite still wants to accuse the masses of lacking taste because they ignore or are unaware of exclusive indulgence, but cannot avoid admitting that today, due to a lack of time and imagination, it may be necessary to draw one’s taste inspiration from the ghettos of the subculture.

Listen to Eldrich Priest: “Our society is therefore not a digestive system—a contemplation complex—but “a channel through which sensations flow, in order to be eliminated without being digested” (110). Entertainment’s diversion is the systematic bracketing of the hesitation that consciousness is, and this bracketing is how “sensation passes without obstacles” (110). Sensation of this sort, the free-flowing sort, is essentially pure “information”—or, more accurately, it is a sheer fluctuation in the force of existing that refuses to take expression in anything more elaborate than the experience of its own occurring. For this reason, Flusser contends that ours “is a society of [sensation] channels that are more prim- itive than worms: in worms there are digestive functions” (110). Where there is simply input and output— sensation as information—there is only swallowing and shitting: no memory, no digestion, no gathering up of awareness in a difference that makes a difference. A worm, because it has no apparatus for diversion, loses the purity of sensation to the bureaucracy of its living organism. For a worm, sensation enters into an advancing matrix of vital activity and tendencies, where it feeds into already-established circuits with more or less ap- parent functionality.”

And as a symptom, a Taylor Swift is winning the race for the public’s favour. Sam Kriss writes in a blog post:

“This is what sets Taylor Swift apart from all the other white girl pop stars in her cohort, the Katy Perrys and Miley Cyruswho were her equals a decade ago and who, who knows, might even still be alive somewhere: Unlike them, she never sexualised herself. The others very obediently did everything they could to make themselves desirable, assuming that desire was an unlimited resource: it’s not. You will have noticed that Taylor Swift’s fans are singularly incapable of explaining what they actually like about her. Except that she writes her own lyrics, that it’s all so personal and relatable, that she’s so much herselfBut the rocks spinning silently in the room are themselves, too. This year, news outlets began reporting that people who had seen Taylor Swift’s Eras tour live were coming down with a strange, localised amnesia: after the concert, they suddenly realised they couldn’t remember certain things that had happened. Very scary! The BBC brought out a psychologist to explain that this amnesia is caused by too much overwhelming stimuli in too short a time for the brain to process it properly This is obvious pop-psychology drivel from a person who has no idea how a brain actually works. No: you don’t remember any specific events of the concert because there were no specific events.

I don’t think the Incels can ever adequately describe their own state, because their state is a mask that obscures what it’s really about. Likewise, I don’t think a Swiftie can ever hope to adequately understand their idol. Taylor Swift is the formless crisis of the present and the void over which everything is spun.”

Taylor Swift is the hyperreality of the influencer. She IS the look. Look in Baudrillard no longer inhales narcissism, but rather poses an offensive self-exhibition as a video image, a kind of egoism that brings all possible forms of individuality programs into play with its illustrated selfies, which not only identify the ego as a post-creative producer, but above all as an end consumer of social media. This could also be described as a self-optimizing existential and normalised striptease (not a sexual, erotic or a cute one). But thats not true either. She IS simulation as such. All energy of the false (phantasm and so on) is absorbed by her at once and disappears into the calm sea without leaving any bubbles behind. In a way you can only saywhat she is not. Not a phantasm, not a living curreny, not the traditional star (Klossowski). 1 She is the Coke Zero of pop music. (Anthony Galluzzo)

Definitely its like Freddie deBoer writes more a problem of the consumer than of Swift itself:

“She is one of the most richly rewarded and privileged people to ever walk the face of this planet, and the ambient attitude in our culture industry is that we should be ashamed that we haven’t done more to exalt her. It is madness. And yet no one seems to want to point that madness out, I strongly suspect because they don’t want to find themselves on the hitlist of those unfathomably passionate fans. But someone needs to point out that waiting in a line for five months to get concert tickets is not a charming human interest story, but rather a record of deranged and deeply unhealthy behavior. Putting a second mortgage on your house to buy concert tickets isn’t a cute sign of devotion, it’s evidence of a parasitic attachment that can only lead to long-term unhappiness. And I’m willing to guess that many other people feel the same way but are afraid to say so.”

1)In a further step, according to Klossowski, the translation of the celebrity or the star (whom Klossowski calls an industrial slave) into living money can be understood in the same way as the Marxist transformation of gold into money, whereby gold as money is exclusively opposed to all other commodities, in that the commodities express their wealth in it; at the same time, the star must become a sign of general wealth, whereby it still remains part of the wage system. The next, decisive and at the same time conceivable step would now be for the star to know how to use the general excitement directed at it, which is expressed in solvent demand, to put itself in the place of money, more precisely to embody the general equivalent (money) itself, whereby the star would actually mutate into a living coin. But gold is useless in itself, it is the money that gives value to gold, that makes it valuable. So it is not surprising that Klossowski finally talks about money as a sign again. He writes: “As ‘living money’, the industrial slave is at once a sign guaranteeing wealth and this wealth itself. As a sign, she stands for all kinds of material riches, but as wealth she excludes all other demand, if it is not the demand she represents the satisfaction of “16 In contrast to the industrial slave, therefore, living money will directly claim the status of the sign, indeed it will directly embody the sign, and by doing so, living money not only embodies the sign of abstract wealth, but also represents wealth itself with its body. However, as long as the star serves only to raise the price of any goods (sunglasses, shoes, television programmes, toothpaste, etc.), he remains what Klossowski calls an “industrial slave”. However, because the star remains the target of the masses’ desire, he still represents the unrivalled wealth and can thus, at least potentially, set himself up as living money. Money and star thus converge in pure semiotics (of money), the sign of an empty phantasm representing everything and nothing.

At the same time, both money and star represent value as a void, which here is to be understood as completely arbitrary/virtual. And this is also what Klossowski’s arbitrary/virtual value qua money in the book “The Living Coin” aims at, which is like a phantasm answering another phantasm. For Klossowski, the value-money phantasm is the better concept than the commodity fetish, both of which contain anything but subjective illusions, but are to be understood purely objectively, also in the sense of how the objects actually appear to the consumer, namely with a power/magic, i.e. endowed with phantasms that are not only based on responding to other phantasms, those of desire, but on disposing of this in all its opacity for the subject. And it is precisely this power that now exploits living money to take the place of dead money. And if prices are now largely detached from the value of goods qua abstract labour, as is the case today with branded goods, among others, and prices thus mutate purely as a result of the willingness of marketing- and advertising-seeking customers to pay, then it seems only logical to agree with Pierre Klossowski’s statement: “In the world of industrial production, it is no longer what seems to be free by nature that is attractive, but the price of what is naturally free. ” Klossowski is not primarily alluding to the fact that consumers today are prepared to pay extremely high prices for the image or information value of a product, but rather to the fact that the price of body/lust/sex/emotion is rising, especially when not everyone has the means to rent a body for sexual intercourse.

 

 

 

Achim Szepanski

 

 

(Republished from copyriot)

 

 

 

Posted in homepage | Tagged | Leave a comment

Love-Locks – the ‘stories’ for the Le Jardin Victor event: Valentine’s Day 2024 in France


Rue du pont 8/10, Coulanges-sur-Yonne, France.

Alan Dearling explains a little about the event that Virginie Moerenhout has curated and created in France and on-line

Kaléïdoscopies III Bar de l’Amour

Virginie tells us that, “…the format of Kaléïdoscopies consists of one main artist and or artwork as a focal point, which other creative people connect to. Adding their ingredients to the mix, so together it forms something new; a kaleidoscope of different colours, shapes, viewpoints, materials, matiers.

The form in which everyone expresses themselves, the material they use for expression, the experience that this expression produces, all of a completely different nature. With a common denominator: passion.

See, hear, feel, taste or smell.

A tactile experience, a taste or smell sensation, a feast for the eyes or a musical experience. What elements and inspiration do very different people draw from the same starting point and how do they shape it?”

Kaléïdoscopies number three centred around Phileas Le Cléateur and his Cadenas d’Amour. The 800 love-locks he rescued from the Pont des Arts in Paris.

Some love-lock stories have been uncovered, but most of them remain a mystery. Food for the imagination. The names on the locks, who were those people? What was their story?

Kaléïdoscopies  III provided ‘shapes’ and ‘forms’ to ‘unlock’ these lost or forgotten stories, creating ‘faces’ and characters for the unknown. …With the help of Artificial Intelligence (AI) and a mix of international artists and writers. On Valentine’s Day, Victor opened the doors of his Bar de L’Amour. Replete with love-potions, love-locks and other food for the imagination.

 

I was personally invited by Virginie to feel inspired by this concept, and create a ‘story’ related to two pictures of a specific love-lock, the names written on it, ‘Chip & Holly’, and the unknown story behind it. I created a short labyrinth vignette ‘story’ for inclusion in Kaléïdoscopies III.

On Valentine’s Day it was presented in Le Jardin Victor. This included his public space being transformed into a love potions bar, a love apothecary and a kiosk. I was informed that the combined art may at a later stage result in a booklet. My stand-alone story, ‘The Lock’, is included at the end of this article about the event.

A bit of background: Love-Locks in Paris, the City of Romance

The thousands of Cadenas d’Amour  (love-locks) attached to the parapets on the bridges of Paris for a number of years became the new, iconic image of ‘Paris Romantique’.

The first love-locks appeared in the city back in 2008, probably on the Pont des Arts.

From Wikipedia, I’m informed that: “Parisians and foreign visitors wrote their names with a love message and the date on a padlock.

They then attached the locks to the parapets’ fences and threw the keys into the Seine, sealing their love forever.

It’s believed that the tradition originated long ago in Asia .

In fact, it’s still widely practiced in Huangshan (China), Niigata (Japan) and in Korea, where love-locks make entire sections of walls. Newlyweds propagated the ‘romantic’ tradition when on their honeymoon abroad.

Love-Locks then appeared on the Ponte Vecchio in Florence, Ponte Milvio in Roma, Ponte de l’Academia in Venice, and Westminster Bridge in London.”

And this almost obsessional behaviour in locking  ‘love-locks’  to bridges has also been a part of my own personal experience working and living in Amsterdam.  That city provides at least  two popular locations where couples and individuals  leave locks. These are  both classic Dutch draw bridges:

 

– Staalmeestersbrug, the bridge that crosses the Groenburgwal.  And,

– The Magere brug (or Skinny Bridge) that crosses the river Amstel.

From Russia with love…

It is thought that the tradition originally spread from Russia over to Paris, and particularly on Pont des Arts.

The number of padlocks increased so quickly that spaces to place the locks soon became scarce on the bridge’s parapets. Love-locks then started to appear the other bridges of Paris: Pont-Neuf near La Samaritaine and Place Dauphine, but also Pont de l’Archevêché by Notre-Dame Cathedral.

Again, according to Wikipedia: “In 2011, the City of Paris contemplated removing the padlocks for fear that their weight would damage the structure of the Pont des Arts.

The extent of the social phenomenon, however, led to the decision to be reversed.

However, shortly after, the padlocks disappeared overnight along with the fences they were tied to.

Interestingly the padlock tradition triggered the appearance of a new trade. An army of padlock-sellers set up their stalls by the entrance of the bridges!”

Love locks issues

“Love padlocks might be romantic, however, they triggered major safety issues!  It is quite difficult to appreciate that these tiny shiny locks represented a load of about 255kg per meter of fence.

 

Entire fences of love locks regularly collapsed under their weight, as on June  9, 2014.

On that day, the 155 metre long Pont des Arts could have entirely collapsed under 79 tonnes of excess metal!  This accident prompted the City of Paris to clear the bridge of all the locks in 2015.

However, the mayor is looking for an alternative location, as the tradition has indeed become a ‘Must Do’ experience when visiting Paris. That said, many Parisians and tourists are delighted with the removal of the locks. But many more still love the love-locks.”

I’ve also personally witnessed the spread of love-locks on bridges in Lithuania in the Free Republic of Uzupis in the capital city, Vilnius.

 

The Lock

A vignette…a little labyrinth…

Alan Dearling

“The time is right.” Chip spoke the words quietly, almost silently, in her direction. ‘Her’ was Holly.

“Probably…almost definitely…what options, choices…err…”

“The time is right.” He almost whispered. Holly nodded. Perhaps in resignation. Maybe in assignation, assent.

“The Legend Days are over.”

The power has come to them. In trance-like, oft-time drugged haze states, they had cuddled up to each  other. Curled their bodies together. Become as one body, one mind, a single entity. They had smiled many a shared smile, slipped into shared dreams, memories, into hopes, fears…that’s what sleep offers, promises and nightmares. Reminders, memories…22 years of them. Times, experiences, places and people, good, indifferent and some deeply bad, dark…moments, minutes, hours and occasionally days and weeks, much better forgotten.

Daytimes, brought both pain and respite. But daytimes brought also very, very different thoughts. Reality checks.

“Reflections,” suggested Chip.

“Choices…”

“Regrets are not options. We can’t go back.”

“You’re right, but fuck, shit, we’ve always known that it might come to this.”

They picked up the lock that they had bought with some of the money that had come into their possession. Not exactly legally. In fact, very illegally. Dangerously so. Those times, those choices seemed now to be part of their own pre-histories, almost shadow worlds. A few nights before, they had scraped, gouged their names into the surface of the lock. That was before Paris.

The power has come to them. The time is right. Legend days are over.

The lock clicked. Holly held the lock in place, stepped back, placing her hand on Chip’s forearm. She fiddled with a stray wisp of her auburn hair and let her head snuggle down into Chip’s neck.

Chip looked into her eyes. They were slightly red-rimmed, filled with the beginnings of tears: “We guessed, we thought that this might be a time that would come. We knew that it might be like this.”

Just three choices now. Three small brown, undistinguished, sealed envelopes, like the ones used for pay slips in pubs, restaurants and hospitality.  Pre-planned, plans.

The power came to them. Holly chose one envelope, opened it. Passed the slip of paper from inside to Chip.

“The Legend Days are over,” Holly said in a voice seemingly strangely resigned. The Fates had spoken. Their hands joined, fingers entwined. They grasped at the lock. Their lock, linking their fingers around its uneven surfaces. A symbol of past paths. Life and lives lived with and without regrets during their Legend Days.

**********************************************************************************

Alan Dearling has had over 40 books of non-fiction and fiction published, some ‘solo’ works, some co-authored with other writers and editors. Alan suggests: “In some ways I’ve nicked the premise of Jorge Luis Borges, the Argentinian writer. This is outlined in the introduction to his first published volume of fiction, ‘The Garden of Forking Paths’, where Borges remarks, ‘It is a laborious madness and an impoverishing one, the madness of composing vast books, setting out in five hundred pages an idea that can be perfectly related orally in five minutes. The better way to go about it is to pretend that those books already exist, and offer a summary, a commentary on them.’ ”

Here’s another photo from Kaléïdoscopies number three.

And here is one of Virginie, the curator of the event, which she generated using AI technology.

https://www.facebook.com/jardinvictor

 

 

 

 

 

Posted in homepage | Tagged | Leave a comment

Sesame

Sesame, please,
open the gates,
we need to see all this treasure!
We need to know,
all that glossy shining exists!
We need to get back
our initial beliefs!
Precious and beauty
exists!
Whole that colourites, the uncountable gamma!

To be able to continue,
to sip in that grey and dusty repetiveness of the recent days…

Sesame, open the gates of beliefs!

 

 

 

Dessy Tsvetkova
Picture Nick Victor

 

 

.

 

Posted in homepage | Tagged , | Leave a comment

THE DIGNITY OF LABOUR

 
Sisyphus wears an old man’s back
weathered, pale and pitted
yet adequate for the purpose

of pushing, rolling, bending

Until it isn’t

and they replace him
with someone cheaper, inexperienced
less mythological

unlikely to appeal to the Gods
groan, or join a union
become a symbol of something greater

a philosophical backwater
is required
undiscussed, unnoticed

forgotten, amidst the tumult
the noise of modern living

The parents
of our parents

if I remember correctly

used to mark his silhouette
against the skyline
if the sun was shining

not exactly a lazy man
but he could have rolled
more quickly

with greater emphasis on satisfaction

shown some gratitude
for the opportunity
 
 
 
 
 
 
Steven Taylor
Picture Nick Victor
 
 
 
 
 
 
.

 

 

Posted in homepage | Tagged , | Leave a comment

from Jim Henderson’s A SUFFOLK DIARY

Tuesday, January 30th

Of late The Wheatsheaf has been figuring larger in my life than usual because home is a bit grim. It is not so much that my wife and I are not talking – being able to be silent in the company of one’s partner is (or can be) a sign of ease and comfort and oneness; you do not have to be constantly prattling away at one another – but it is that what talking we do is more or less limited to things such as “Dinner’s ready” and “I’m off to bed”, and is almost always delivered from her direction in a tone from which icicles hang. The intellectual engagement and stimulating discussion regarding the burning issues of the day are simply not there. At The Wheatsheaf there is, at least, conversation of sorts. And things are looking up insofar as the clown they got in to replace the lovely Lulu (Justin – and “clown” is far too complimentary) did not last very long. Alan Foster, the landlord, said he lost patience, and recycled the John Cleese remark from “Fawlty Towers” i.e. it would have been easier to train a monkey. Anyhoo, we now have our beverages served with a smile and a pleasing flutter of the eyelashes by the vaguely attractive and possibly 30-something (I’m guessing) Kristina, who I gather is from Eastern Europe via post-Soviet Stowmarket. Early efforts at light-hearted small talk and my trademark badinage, which usually goes down well, left her looking a little blank, so I think her English is not yet up to speed, but she knows how to pull a decent pint.

Thursday, February 1st

I very much dislike February. It is often the most depressing month of the year. My wife and I were married in a February. I forget the year.

Friday, February 2nd

GASSE (“Go Away! Stay Somewhere Else!”) – the group formed to prevent the government dumping a bunch of its unwanted (“illegal”) immigrants in our village hall – reconvened this evening because it looks like the plan to send the unwanteds to Africa may be headed for the rocks. Even if they do get away with sending some of the unfortunate people to a place that sounds about as pleasant as a Saturday night in Ipswich at closing time then it looks like there will still be loads left here with nowhere to call home. Much as we sympathize with their plight, we do not sympathize with them that much. Our village hall is a vital part of the community, and hosts a large number of important social community events, including my wife’s yoga class (Oh yeah! Yoga!).

Anyhoo, we met this evening in the Shepherdson’s summerhouse. Before things got properly underway there was the small matter of the personal contretemps that had occurred in the car park of The Wheatsheaf at the weekend between John Garnham, the Parish Clerk, and Michael Whittingham, a Parish Council member and a member of GASSE (although quite what he has ever done apart from swear has so far escaped me). John Garnham proposed a formal reprimand, asserting that Whittingham’s drunken behaviour and personal insults were unbecoming of a community representative. Whittingham, meanwhile, counter-proposed that he was still waiting for the Parish Clerk to perform the physical act he had recommended on Saturday evening. I am not going to write down all the verbal back and forth that went on – I am not even sure it will be fully recorded in the meeting’s minutes – but, long story short, Michael Whittingham is no longer a member of GASSE or of the Parish Council, and Miss Tindle, for one, has probably learned a few new words. Even I am not quite sure what some of them mean.

Once the brouhaha was done with, and Bernadette Shepherdson had made everyone a nice cup of tea and brought in a couple of plates of biscuits, we turned our attention to roles and responsibilities to see if any further changes needed to be made. That the group has only a dozen members means this was not actually very complicated. John Garnham, given that he is the Parish Clerk, remains GASSE Operations Organiser (GOO); Bernie Shepherdson is Logistics and Strategic Services (LASS); Major “Teddy” Thomas has agreed to continue to put his old army jeep at our disposal, but declined, without explanation, the title of Former Army Road Transport officer; and I am still the Advanced Round-the-clock Security Executive (ARSE). Ted Crockett, who hardly ever says anything in our meetings, surprised us all by wondering out loud why anyone needed a job title or should be called an officer, and he seemed to imply that it was all a bit unnecessary and hifalutin’. Then John Garnham asked him if he would like to be our Technology, Internet and Telecoms officer (TIT), and he accepted, so that put an end to that minor hint of dissent in the ranks. As had been mentioned at the Parish Council meeting, some people have mislaid their GASSE armbands, and Miss Tindle has undertaken to make new ones, but she said she has not had time to make them yet. She pointed out that she does have other things to do. (She did not say what they are.)

What with one thing and another we did not get around to deciding anything about what we might actually do as regards the unwanted foreigners, and because John Garnham wanted to get home to watch the second half of the rugby on television it was put off until the next meeting.

I cannot help thinking that this evening was something of a waste of time, but it is February. A few of us went to The Wheatsheaf, where I half expected to find Michael Whittingham laying in wait, but thankfully he was nowhere to be seen.

Monday, February 5th

The youth are revolting! Apparently Nancy Crowe, who last summer told us she and some of her friends thought we were being racist and xenophobic, and prattled on about the European Convention on Human Rights, has contacted John Garnham and demanded a formal meeting with the Parish Council on the grounds that GASSE does not fully represent the younger generation in the village and this is a democracy and their views should be heard. (Can views be heard? Surely they should be seen . . . But I digress . . . ) She has said that she has acquired the support, too, of our Member of Parliament. How on earth did she get that? We can never find him! Also he is supposed to be on our side. Anyhoo, it has been agreed, if only so their parents do not give us a hard time, that we will meet with a young people’s delegation next week – I assume it will have to be at a time when they are not needed on loiter duty at the War Memorial.

 

 

 

 

James Henderson

 

.

 

 

 

 

Posted in homepage | Tagged | Leave a comment

Audit

The shareholders sit in hard chairs, absorbing the hard facts. There have been significant losses in light and predictable weather patterns, with zero growth in perspective. Empathy has flatlined and integrity has taken a hit. Shares are shrinking and the chairs, too, are markedly smaller than they were yesterday. There are reports of declines in dietary options, bird species, and daytime radio playlists. Money, of course, talks, but the roads are flooded with collateral damage, so it couldn’t make the meeting, and instead Zooms in from an undisclosed location, far, far away. There are graphs and charts with lost abstracts, and promises cancelled in the speaking. The shareholders sit on the hard floor, but there’s no time for hard questions, as the signal’s breaking up, the sign  ‘s   eaking up, the si n  ‘s     king   .

 

 

 

Oz Hardwick
Photo Nick Victor

 

 

.

 

 

Posted in homepage | Tagged , | Leave a comment

Making Connections

     

David Bowie, Enid Blyton and the Sun Machine
, Nicholas Royle
(Manchester University Press)
Modern Fog, Chris Emery (Arc Publications)

Nicholas Royle’s book is a strange and wonderful book where the author attempts to find common ground, connections, between David Bowie and Enid Blyton, Covid and its effects on family life and his own employment, photography, language, literature, art and music. I only have the book because I made a wrong connection. Despite knowing perfectly well that there are two Nicholas Royles I bought this volume thinking it was by the author I vaguely knew: the novelist, short story and creative non-fiction writer based in Manchester. It isn’t, it is by the other Nicholas Royle, an academic based in Sussex.

It doesn’t matter because it’s one of the best books I’ve ever read. It’s not traditionally academic (in fact I’m not sure it’s even untraditionally academic), rather one that follows networks of possibilities, exploring tangents, asides and even a few dead ends; just the kind of book I like. Turns out both Royles have now left academia, which is another topic that underpins this volume: What is a university for? Why don’t neoliberal governments and management ‘get’ university? How did Covid lockdown become an excuse for university management and politicians to offer redundancies, ‘voluntary severance’ and generally try to get rid of any sense of discussion, debate, discovery and exploration, instead trying to turn degrees into tickbox learning – this plus this equals that; these are the correct ways to do this – rather than encouraging students to think for themselves.

Royle’s book opens with a fictional, seemingly hyper-real, version of the author’s family in lockdown. Dealing with teaching online, home schooling, exhaustion, entertainment and various disappointments and decisions. Mole and Goat, a pair of glove puppets, feature heavily here as characters able to help articulate what’s going on. Mummy’s disappointment at putting a new self-employment on hold, Zeph and Monty’s brotherly discontent and confusion, the author’s decision to take the severance on offer and create a series of eight online lectures as an unasked for farewell gesture.

It is those lectures that make up the middle section of the book, but they are intimately connected to the family’s engagement with Blyton’s Famous Five books and the author’s re-connection with the music of David Bowie. Throughout lockdown, the parents have ended-up reading The Famous Five aloud, sometimes inadvertently from different books in the series, and the boys have also been listening to audio versions of the same or different volumes; and then, each evening, Daddy retreats to the kitchen to sip whisky and listen immersively to his chosen Bowie tracks, cranked up loud.

What the book is really about, of course, is ‘the sun machine’ of the title, which Royle uses as a title for his exploration of how things can transport us, through memory, prompt, daydream and nostalgia, to other places and moments in time. Sometimes that leads to new ideas and new information, other times it reinforces what we already know, sometimes it is salvage work, digging up something we had forgotten or put aside. One of those is a remark by his mother that Royle had forgotten about, that his grandmother had an affair with Enid Blyton; another is how much he remembered of the Blyton books as he read them, and how much Bowie meant to him.

Somehow, Royle’s thesis hangs together, as he meanders through memoir, family history, literature and philosophy. We discover why his father frequented The Croydon Bookshop, often with the young author in tow, yet rarely bought anything, why Shakespeare’s Hamlet evidences time travel, how to misinterpret – and not misinterpret – Freud’s theories of the uncanny, why Polaroids are different to other photographic processes, the etymology of ‘picnic’, and are introduced to the work of Lola Onslow, an illustrator who had an affair with Blyton. Yes, grandmother Royle, who gets a short final section of the book to herself, following a return to the lockdown household.

That’s not the end though. There’s also an Afterword by Peter Boxall, who appears to be an Oxford academic and a Visiting Lecturer at Sussex University, who has written a kind of lengthy blurb, a mini-essay if you like, that praises but also attempts to legitimise what we have just read. He notes that the book itself is a kind of sun machine, one that transports the reader elsewhere, into possibilities and potentials; a book which ‘belongs to a small but noble family of works whose effects rest on the blurred distinction between what they are “about”, and what they “are”.’ He concludes that ‘Royle’s book produces new relations between literature and philosophy, between thinking and imagining, between listening and seeing’, which seems fair enough to me, but rather spoils it all by suggesting it is ‘a free festival that generates a new kind of imaginative possibility’ and hyperbolically declaiming that the book ‘projects a visionary university, in which literature, painting and music live on, sustained by nothing other than the light and warmth of the sun.’

Trying to explain Royle’s book in this way, attempting to somehow push it into a more established genre or framework, or even a utopian vision, undermines it for me. The book’s ambiguity and unexpected connections are what makes it so original and exciting to read. There’s been a spate of this kind of critical add-ons recently, and they’re really not needed. Boxall’s piece would be much more interesting as a stand-alone review or essay. Anyway, as I noted earlier, it’s one of the best and most original books I’ve ever read.

The connections Chris Emery makes in his poems between medieval churches, Norfolk, landscape, pilgrimage, nature, creativity and perceptions are as wide-ranging as Royle’s, if not, perhaps, as unexpected. After all, poetry always works by allusion, omission, metaphor and language’s musicality. And Emery’s connections are often ones I understand, perhaps even share, having taught sailing in Norfolk each summer and easter back in the 70s and 80s, having written about place and family. Modern Fog is surprisingly clear to me: a world of pilgrimage, architecture, history and subdued spirituality, one leavened by melancholy, family and love.

Emery, however, writes very differently from me. His poetry is gently lyrical, often making use of subtle rhymes and controlled metre. He situates himself, or his narrator, within the world and responds to it. At times there is a specific domesticity here, poems about what is revealed by the contents of ‘The Memory Box’, strangers and relatives, romance and commitment, the turning of the seasons, rituals and observances.

‘Pentecost’ offers a subdued take on the descent of the Holy Spirit. Here, it is a pigeon flying home to its dovecot, and there are no tongues of fire, only a feeling of cold to be alleviated by a projected return indoors ‘to stir the grates, / to light all the fires.’ Elsewhere a fox’s corpse, seen over a period of time, decays and changes, ignored it seems by everyone except the narrator:

                              He was pathetically shiny
     and under-featured in the wet waste where
     it seemed cruel nothing had feasted on him.

     He was slowly withdrawing from us
     nothing to clear the debris of him, the world
     relaxed into him with all its fiery prayers.
            [Day Fox’]

It is this attention to what is seen, alongside a sense of what is unseen, that marks Emery’s poetry out. Is ‘The Start Of It’ simply about Spring, time passing or something more dramatic? The poem starts by gently addressing the reader: ‘But there will come a time you’ll surely know it’, a time of distraction, where ‘something abstract stiffens in the grace of it’. The word ‘grace’ here and ‘rapture’ earlier in the poem gives a nod to the spiritual, makes me think that not only is the narrator marking the moment when we start thinking about our mortality, what we have and haven’t done or achieved, but also making sure we understand that in due course we will

                        see the formal shape of things you make in time,
     the here and there of sweet things and bitter things
     we all carry silently – and that will be the start of it.

It is this silence, what is left unsaid, the numinous and unknown, that underpins the work gathered together in Modern Fog. Central to the book is ‘At St Helen’s, Ranworth’, a poem in twelve parts, that uses a visit to ‘the cathedral of the Norfolk Broads’ as the basis for riffs on Norfolk, where ‘The mildew and mint air saps’ as ‘the silent River Ant drift[s] through / a world all emerald and silver’; tourism, relocation and how a place can become home; how history is evidenced by ‘vague […] mustered fragments’; the spiritual as revealed by nature, medieval buildings, decay and human love. Everything, in fact, that lurks ‘Somewhere in the moon mind’ of the poet.

Modern Fog embraces that ‘moon mind’, does not attempt to clear away the mist and fog, instead embracing it as a way of seeing, as a source of potential illumination and reimagination of the world around us. Emery somewhat disingenuously claims to only ‘remember what we all remember’, but he does not. He pays attention, notices, responds, is busy

                                         hanging on
     to make sense of it all
     as the sap runs out.
         [‘The Day Storm’]

Like Royle, Emery is adept at taking unexpected twists and turns, surprising and delighting us as, despite his chosen route, he somehow always leads us back home.

 

 

Rupert Loydell

 

 

.

 

Posted in homepage | Tagged , , , , , | Leave a comment

Finding God in Punk Anarchism


Life in a gnostic underground

     When Jesus descended into hell, the sinners listened to his words
     and were all saved. But the saints, believing as usual that they were
     being put to the test, rejected his words and were all damned.
         —Marcion, Antithesis

I went down to hell when I was little, before I knew anything about God.

If you’ve never had a seizure, it’s hard to describe. You are lying in bed feeling weird. When you finally drift off to sleep, you are pulled down through your mattress, suffocated by its innards and springs with the weight of G-force and then swallowed into a dark underworld, larger and more vacuous than outer space, filled with horrors and wretchedness beyond description. The mind splits open to the vast black of endless space, and tiny marble-sized planets that you could put in your mouth and roll around collide with a BOOM against the Jupiter-sized behemoths, like some desktop kinetic toy. Body parts don’t work as they should—the arm is limp and dead, then the leg, the ears are ringing.

I woke up with an IV in my arm, surrounded by paramedics and my horrified family, mother crying. After all the spinal taps and tests at the hospital, the doctors said the seizures were grand mal—two words that perfectly capture the experience. As if “Mal” was some demon of the Egyptian underworld who momentarily showed me his face, which was indeed grand and terrible.

Having no clue what caused them, they prescribed me a medicine called Tegretol, a pink pill with a long list of side effects I never read. I gained weight and puked every morning before class. From then on, no more sleepovers, no more all-nighters, the little pink tablets every morning. Then I turned thirteen and, as mysteriously as it had arrived, the mind virus disappeared.

My first experiences of religion were in a Catholic preschool in South Carolina. There I learned about pleasure and pain. They washed my mouth out with a bar of soap for cussing and an administrator paddled me ruthlessly when I got into fights. But the food was good and we got “candy canteen” on Fridays, so I came away with relatively few negative memories, just a misty sense of unreality. When we moved to North Carolina, my parents joined the Episcopal church at the end of a cul-de-sac. I remember Big Macs and pancake suppers and Sunday-school stories, but the Bible was clearly secondary to the sense of community—the lunches, women’s prayer groups, church beach weekends, and general sociability. Church was one answer to the isolation and fragmentation of 1980s to 1990s suburban life.

My father had a beautiful singing voice, as did my mother. But I felt that the hymns they sang with the ushers and parishioners somehow rang false. It was like each singer was afraid to sing out with anything resembling passion or spirit; they all sang like one another, their voices moderated to fit into the harmony of the others.

I hated church. I hated listening to the preachers drone on and I’d do anything to block out their flat, meaningless homilies. During the services, I would daydream, doodle, flip through the hymnal and the Book of Common Prayer, anything to temporarily escape and hasten the moment when the preacher would say, “Go forth!”

As many times as possible, I would walk out of the service and make my way across the breezeway to the men’s bathroom by the kitchen and church office and hide out in there. I would stand on a footstool and look at myself in the mirror for a while, then lock myself in a stall and read or fantasize and wait for the time to pass, jumping with terror whenever any of the old, jolly, suburban church dads in their suits would saunter in to take a piss.

I would come back just in time to take communion, the little plastic-tasting wafer and the wine which tasted so nice. The Lord be with you—and also with you! and a smile from the church elder, and then, finally, the service would end with a Hallelujah, Hallelujah.

I’d come out of the church into the North Carolina spring of my youth—the white dogwood flowers all in bloom, birds singing, insects buzzing, dogs barking, the smell of life in the air. These remain some of my most vivid memories today. I learned that life was at its sweetest when juxtaposed with deadening non-life, that nature was at its most beautiful after you were forced to sit indoors in a stuffy church or classroom or office building. If God loved humankind so much, why, I wondered, did his representatives force precious human life out from the sunshine and into stuffy dark rooms? Wasn’t nature made by God and buildings by the corrupted, grubby hands of man?

Outside of familiar platitudes, no one spoke to me about why I would be a Christian, even what it might mean to be Christian. No one spoke of the eternal things or the history of the Catholic Church or the immortal soul or the desert fathers. In my eyes, our church seemed to foster smallness and mediocrity, but I was not brave enough to break away completely and disappoint my family.

The harshness of a religious upbringing has turned many young people toward radical leftism—rebellion against entrenched and unjust authority. Stalin, Lenin, Bogdanov, Bukharin were all products of strict religious schools, whose brutality is almost unimaginable today. Many of the “progressives” in the Spanish Civil War who ended up shooting up churches and corralling papists and nuns had been raised in the faith. Even in the British schools of the mid-twentieth century, wanton cruelty turned young people against God and toward pop and politics.

But it wasn’t the harshness of religious education that led me away from the church and toward politics. It was the blandness—the absence of true intensity or spirit. While I was made to say the Lord’s Prayer, we didn’t go to church every week, my parents weren’t zealous, and I was in no way forced to accept Christian morality, memorize the Gospels, or even read the Old Testament. Late twentieth-century American Protestantism seemed soft and flabby.

I sought and found the Holy Spirit elsewhere, in punk music, which quickly led to anarchist hardcore music, radical politics, rioting, rallies, and trips across the world to disrupt World Economic Forum meetings. The anti-globalization movement was in full swing at the time.

I embraced this world based on gut emotions, rather than sustained study of all the Noam Chomsky and Howard Zinn books we shoplifted from Barnes & Noble. I embraced it based on the externals: the look, the vibe, the other people involved. We dismissed Marxism and embraced anarchism without having read Marx, just as my family were Christians without really reading the Bible or knowing the history of the Church.

Although I had turned away from organized religion, I now see that I was attracted to the inverted, heretical call of religion that was everywhere in the subculture. Take the messianic, anarchist North Carolina band Catharsis, whose lyrics are like a call to prayer:

     When those before you lost their heads upon the blocks
     or sold themselves into the service of the snakes
     new gods will shape the world in their own image
     and all the others turn their eyes away
     So we will set out with a fire in our hearts
     and a desire that cannot be bought
     to snatch the morning from the jaws of the night
     and take the dead and bring them back to life”

I could hear the anarchist martyrs replacing the Christian martyrs, the sound of a new world being born in the ruins of the old, not unlike the Christian era bursting forth from the end days of the Roman empire. The Catharsis record was called Passion.

Some members and fellow travelers of Catharsis were part of an influential, mysterious anarchist publishing collective based in North Carolina, which printed books and propaganda, and was forming a kind of post-Situationist politics of passionate living, veganism, and asceticism in the corners of the anti-globalization movement. Their books and propaganda all provided examples of different new ways to live free amid the excesses of capitalism—by literally eating trash, for example. Some shoplifted and dumpster-dived, some traveled the world on the cheap, some rioted and liberated animals, and some made public art that punctured the gray monotony of the routinized world.

This exciting new vision for life was all happening in our backyard—friends and I soon got involved, going to conferences and protests, distributing broadsheets, wheatpasting posters. We were becoming second-generation disciples and evangelists for the worldview. I did not have to actually read anarchist authors like Paul Avrich and Murray Bookchin to know that I wanted to be intensely alive and see every dawn from a rooftop. The late-nineties, early-aughts anarchism scene dovetailed with the teenage lust for life, boosting the effect of both.

In previous eras, I might have joined a socialist society or a utopian religious movement. But the anarchist movement was fundamentally symbiotic with atheism, and, at times, even a tongue-in-cheek Satanism. Our symbols were the Baphomet and the upside-down cross. Records were titled things like “Storm Heaven, Unleash Hell”; t-shirts read “God Hates Fags, Fags Hate God.”

But the fundamental contradiction of anarchism is that for all its alleged atheism, it relies on moral, spiritual, and religious impulses to gain traction. In that way it is unlike Marxism, which, in its orthodox form, isn’t intended to inflame your emotions—it’s “scientific” and attempts to appeal to data and economic facts.

I began to notice how eaten through anarchism and punk were with religious themes, most of them just turned upside down to appear secular—martyrdom, asceticism, purity, beloved community, moral righteousness. Even the names of the bands and labels hark back ironically to Christian history—Profane Existence, Gehenna, Azazel, Undying, Society of Jesus.

Already I had a sense that a radical political sect could be substituted for a radical religious sect, that they served the same fundamental human need, in different ways—to resist the world, to deny oneself, and to feel connected to a small community. It didn’t matter how obscure the black-and-white copies of Crimethinc’s Inside Front punk magazine were; nor that the band behind that limited-release seven-inch that had changed so many people’s lives in Chattanooga broke up after a year; nor that the black-bloc march that smashed up a couple of banks on the streets of downtown Raleigh warranted only a single day’s notice in the local paper.

In hindsight, I see these forgotten and fragmentary radical sects as eerily parallel to the early heterodox Christian sects—the negation, the zeal for life, and the contempt for all authority, even the neglect of the minimal structure and record-keeping needed to perpetuate themselves. The Anchorites, the Essenes, the Basilidians, the Valentinians, the followers of Simon Magus, the mystery cults—who cares about them or remembers them today but a few marginal scholars?

There is something pure about letting a culture be forgotten, and something slightly sullying about insisting on longevity. Being dust in the wind was a good thing. Live frugally, money is evil, all things in common, all people one, the kingdom of God is within you—how many times, in how many different forms, have these impulses appeared and reappeared in history?

In his beautifully written 1973 book The Gnostics, Jacques Lacarrière discusses the heterodox Christians of the second and third century who believed that human beings were torn against their will from the divine by some cruel angel, god, or demiurge. Their view, as he put it, was that:

“We on earth are rather like survivors condemned to eternal solitude, planetary detainees who are the victims of injustice on a truly cosmic scale. Stars, ether, aeons, planets, earth, life, flesh, inanimate matter, psyche—all are implicated, dragged into the universal disgrace…. [O]ur thinking being is tied to evil as ineluctably as our physical being is tied to the carbon in our body cells…. [E]ach birth, each perpetuation of life, increases the domain of death.”

In Jesus’ historical time and in early Christianity, the earth was lousy with prophets, magicians, conspirators, oracles, all manner of idiosyncratic metaphysics and belief. Some believed in indulgence, others were ascetic, some worshipped the Ouroboros in the sky, others thought we were living in a simulation. What is lost, according to Lacarrière, is how so many of them engaged in the social and political realities of the empire.

While he makes no explicit comparison, Lacarrière seems to put the Gnostics up against the New Left guerillas and self-styled revolutionaries of his own era:

“I see them on the streets, handing out pamphlets signed The Proletariat of the Stars, but also taking the struggle further, to limits almost inconceivable nowadays (since for them a truly revolutionary combat would be nothing less than total), waging war against the very nature of our presence here on Earth. Modifying the means of production, transforming the nature of economic exchanges and the distribution of wealth, without tying these changes in with an asceticism operating conjointly on man’s mental structures, could achieve nothing more in their eyes than changing one master for another.”

Like so many other radical projects, theirs involved rejecting the world as it was. They took one step forward and two steps back and were eventually repressed and condemned as heretics and then erased from history—their sense that the world was an evil trick was a prophecy self-fulfilled. They were too resistant to the numbing effort of reproducing themselves and too enamored of oblivion.

In 2005, my father lost a grueling five-year battle with a rare form of male breast cancer. I had watched him slowly waste away into a husk, call all his friends sobbing, and say his goodbyes. It didn’t help that his demise was shepherded by a nascent and questionable North Carolina hospice system.

These bureaucratic midwives of the “good death” provided “family support” by monitoring the progress of his decay. On the final night, they indicated to us that the time had come to cease letting nature take its course and induce labor—the death labor. We were given a large dose of morphine to “ease the pain” and told to administer it ourselves. Though they reassured us, both my mother and I knew that it was a fatal dose. I administered the medicine as instructed. He was gone by morning.

Compared to the way our ancestors died three centuries ago—shallow graves dug in frozen earth and marked with a piece of wood—the hospice system seemed to be a strange and sterile approach to dealing with death. According to it, death was best when it was “painless,” “gentle,” “holistic.” But my impression was that despite the hospice’s analysis, my father was not ready to go. All of us who remained behind have taken notice of a strange presence lingering about in the house where he passed, all these decades later.

Faith has long been decried as a crutch for those who’ve hit rock bottom, were born in difficult circumstances, or lost the people they love. Freud portrayed religious belief as a fantasy of wish fulfillment. But for others, loss leaves them with hatred and contempt for God. I think of my old friend “Evil” Ernie from the borderlands of West Virginia.

A near-mythical wanderer with dirty coke-bottle glasses, Ernie was always riding freight trains across the country, seeking or running away from something. He hopped freight trains through the jungles of Cambodia. Once I rode with him to Washington D.C., lying flat under a refrigerator car. We saw each other along the circuit of Earth First! Rendezvous, anarchist gatherings, convergences, conferences. We picked each other up hitchhiking when someone had a car.

Ernie didn’t talk much about his past, but everyone knew his story, which he occasionally told at spoken-word events. His father was a preacher and Ernie himself had been a child preacher. His father got sick and died young and unexpectedly. Devastated, Ernie blamed God, held him in contempt for abandoning him and his family, fled the church, and became an apostate.

He became Evil Ernie, embracing the wandering life, hitchhiking and train-hopping around the country. Every time I saw him he was wearing the same oversized black Venom t-shirt with an upside down pentagram Baphomet face, a leering broadside at every believer. Sometimes he would perform at radical spaces, squats, environmental forest encampments. At the end of these monologues, I was told, he would shake his fist up at the uncaring sky with the forsaken rage of Job, and in his thick Appalachian drawl, say, “Fuck you, God, I’m an anarchist punk rocker.” He was a thoroughly American character, in his train-grease-covered Carhartt overalls and bull-like septum piercing.

My experience of losing a father was the opposite of Ernie’s. It was after my dad’s death that I saw firsthand the power of a religious community during some very trying times for my family. When the hearse came and the dust cleared, the youth culture was not there for me or my family. But the church was. For all that I’d held it in contempt as an institution, institutions are made up of people, and these were good people and friends of my father and my family. They fed us and comforted us as we mourned.

I didn’t turn into a religious person then, but this firsthand experience gave me respect for the church as a vast institution. For all of its checkered history, it was still awe-inspiring in its scope, having perpetuated, enlarged, and guarded itself for over two thousand years. It had insinuated itself across the planet to such an extent that even in my small, suburban North Carolina town there were dozens of church communities—each with its own denominational interpretations, financing, internal politics, outreach, and ways of nurturing the sick and aggrieved.

Christianity is impressive on a strictly material and logistical level, in the way that Walmart or Amazon is impressive. And it has the permanence of the Pyramids or Stonehenge. You know the church is still going to be there the day after tomorrow, when you might need it.

The empty rhetoric and transient configurations of the anarchist movement gave me great respect for institutions with the durable structure to manage life’s inevitable difficulties and tragedies. When people leave subcultures like the anarchist movement, they often speak in vagaries like “people grow up, people change.” But there is actually shrewd decision-making going on behind the scenes. Do I want to throw my lot in with the disorganized and unreliable community, taking the risk that I might end up stuck there with the dregs? Or do I want to rejoin society, have a family, and try to do the best I can with the ideals I picked up from the inside?

In this way, a kind of “brain drain” starts. Some people defect from the revolutionary community and rejoin reliable society, taking the subculture’s talent with them, leaving behind those without the resources to make it outside or stubborn people who just stay on principle. Others feel pushed out by changed circumstances. Couples have kids and find that their community relates to them differently afterward. My old friend Sparky lamented that “when I got sick, everyone just kind of disappeared.”

Still, like the character in Maxim Gorky’s forgotten epic The Life of Klim Samghin, “at the age of 25,” I had not yet experienced the necessity of “solving the question of God’s existence or non-existence.”

Then I had an experience that I can only describe as an epiphany, contact with the unseen forces beyond the realm of nature. It occurred after a long night of walking around my hometown under low, glowing, light-polluted cloud cover, the air still and humid as if trapped inside an orb. I wandered all night down the empty streets, past the blinking stop lights, through the strip-mall parking lots, on the dirt sidewalks past the construction and drainage ponds where ducks gathered behind a Barnes & Noble—so much life just behind the Mondrian-like glow of the box store and strip-mall facade. I walked past my old high school, through the overgrown graveyards, past the eyeless split-level houses of friends who’d moved away after their parents died, behind the CVS and Kmart, whose asphalt loading docks looked like stage sets.

At dawn, in the lilac dark, exhausted and cracked-open and eyes runny like egg yolk, I ended up in a little copse of woods behind a bagel shop I had been going to since I was kid. Perhaps it was something about being back there again—the distance between the bright, hopeful dawn of life and this nether midpoint, nothing much changed except my perception of the world duller. Or perhaps it was feeling hidden from the cold, judgmental eyes of the world, between civilization and nature, the pregnant and cloud-laden night turning to dawn. Or maybe the motes of morning light coming down through the pine trees and dancing all around me triggered some synaptic response.

Whatever it was, I felt something welling up, bigger than me. I felt seen by some all-knowing presence that had always been monitoring me through his surveillance cameras. I saw that humankind was a great mistake, a fundamental tragedy, that we were separated by a great perforated veil from the universal. That our lot was to wander the world, to resist our lot, and eventually to plunge into death, like all those millennia of people who had come before, our brothers and sisters who still call out to us from their beyond. I felt and saw my frailty and smallness, my brokenness—a little wrecked creature with a very limited timespan—and I saw the pathetic beauty in this frailty.

I held this heretical and solitary vision at the center of my heart and it became a private conviction. My friends didn’t believe in the divine, they believed in human progress—that we are always on our way upward to somewhere better. They would say that whatever occurred to me that night was purely biochemical. Whatever it was, it all came together to communicate a sense of distinct presence where there was no presence and the knowledge that this was God.

I sought to acquaint myself with the variety of religious texts, the heresies and apocrypha, the Nag Hammadi manuscripts that resonated with the penetrating truth of this vision. Later, I saw this truth reflected through totalizing, ecstatic messages in literature and music, even in the work of the Canadian hardcore band Fucked Up, whose two major full-length releases were lousy with references to the Apocrypha. In their song “Invisible Leader,” they sing:

     from the Books of Enoch
     to the bible codes
     We spend our final days still looking for that gold
     and once we find it
     how will we know?
     Will it cleanse the rot from our souls?
     Will it help to save us from the fires below?

Or take “Days of Last,” which makes cynical reference to the cycles of prophets and martyrdom, to the persistence of literal interpretation:

     The Essenes still wait for the returned Elijah
     Pious devotion shackles them to their faith like a slave
     The Greek gods watch down from the heights of Mount Zion
     Joking that the worship of the literal doesn’t fade with time”

In “Son the Father,” the chorus goes, “It’s hard enough being born in the first place, who would ever want to be born again?”

How do we trace the form of this dark lineage, from the zealous and forgotten prophets and revolutionaries of the past eras to the life- and world-denying messages of punk and the periodic gusts of radical movements? Lacarrière wrote, “Our world exudes evil from every pore.”

Some time later, I managed to talk my way into a Christian retreat center deep in the Adirondacks by portraying myself as an aspiring young seminarian. I said that I was in need of prayer and reflection on the true nature of faith and God before choosing a denomination—that I was torn between the Unitarians and the Episcopalians.

This wasn’t so far from the truth. At the time, I was working in magazine publishing but quietly researching master’s programs in theology. I felt that I was wasting my precious days in cancerous midtown Manhattan publishing offices basking in the fluorescence of huge digital billboards, working only for the cold materiality of my own middling title, status, and survival. I was in the business of churning out ironic, detached, but ultimately meaningless content that portrayed itself as having real value, advancing some public dialogue. But I felt it was ultimately just an increasingly obsolete form of idle entertainment that helped sell luxury products and make rich people feel better about themselves because they were supporting “culture” and “keeping up with the conversation.”

When the retreat center offered me a week of repose in one of their little spare monk cells, I took the train up from Penn Station through the wild beauty of the Adirondack wilderness, stepping off into an empty field beside Lake Champlain. A big, autumnally cinematic sign by the side of the road read “Welcome to New York State,” and I walked for miles along a country road past fallow fields and Greek revival farmhouses and a fort from the Revolutionary War, until I arrived in the little village of Ticonderoga, with its old diner and boarded-up houses and alleyways.

To get warm, I crept into the baseboard-heated one-room library, where the elderly librarian told me it was too far to walk and called me a local cab. Fat snowflakes were falling when the cab showed up. The eighty-year-old driver sped down the winding roads, telling me about his woodstove and that “not much has changed around here in fifty years.” He dropped me off at the beginning of a gravel road and I walked the final half mile, coming up on a big 1920s property—a little like the hotel in The Shining—perched between the lake and mountains in the woods.

The place was operating with a skeleton crew for the winter. After getting settled in and eating alone in the empty cafeteria with my big biography of the Apostle Paul, I tiptoed into the facility’s magnificent wood-paneled library with big desk lamps and a huge circular window that looked out onto the dimming lake and black mountains. It was regal and well appointed, packed with volumes on Islam, Sufism, and the collected works of Freud and Jung. Being in this space, alone, in this dark night with the snow falling on the mountains outside, having left my cell phone back in Brooklyn, is easily one of my life’s best moments.

I wanted to be working for the spirit and the common good, but as with all compromised positions in life, didn’t know how to extract myself from the mire or start over. An oversized, antiquarian edition of the Septuagint—the original Greek translation of the Old Testament—sat on an ornate bookstand, beckoning. I flipped through the thin pages of the Book of Job, which Heinrich Heine described as “the song of songs of skepticism.” My eyes scanned until they fell on these lines:

     Is not man’s life on earth nothing more than pressed service?
     His time no better than hired drudgery?
     Lying in bed I wonder, ‘When will it be day?’
     Risen I think, ‘How slowly evening comes!’
     Restlessly I fret til twilight falls.

As I read, my eyes welled up with tears. How could a story so many thousands of years old be so gut-wrenchingly beautiful today in its portrayal of the monotony of depression, anxiety, bitterness, and melancholy, the feeling of being marooned on this barren rock by an uncaring God?

I read on. It was the truest and most beautiful piece of writing I had ever read. It is like an eternal engraving on a windswept cairn; one origin point, a protozoa for the millennia of tragic writing at the horror of human existence that was to follow.

I closed the big, dusty book, shut off the light, and left the little library. I felt a strange connection to the wood-paneled room, knowing that like what I had just read, the space I read it in would forever be etched onto my inner landscape, the one true hidden map. I took a walk along the lake out to a gazebo and a jetty, looking out on the snow and black-metal mountains, feeling like I was in Thomas Mann’s Magic Mountain. I wanted the great watchers of the night to reveal themselves to me, but like God, they always seem to be hiding when they’re being searched for. I still had so many questions.

 


Aaron Lake Smith

 

Aaron Lake Smith is a writer from North Carolina and a former senior editor at VICE. His Substack is Empty Railroad Gulch.

The photo, of Anarchist protesters in Berkeley, California, August 2017 is by Roger Jones/Wikimedia Commons.

First published in Commonweal; found via anarchistnews.org

 

 

 

 

Posted in homepage | 1 Comment

The Weary Blues

Droning a drowsy syncopated tune,
Rocking back and forth to a mellow croon,
I heard a Negro play.
Down on Lenox Avenue the other night
By the pale dull pallor of an old gas light
He did a lazy sway. . . .
He did a lazy sway. . . .
To the tune o’ those Weary Blues.
With his ebony hands on each ivory key
He made that poor piano moan with melody.
O Blues!
Swaying to and fro on his rickety stool
He played that sad raggy tune like a musical fool.
Sweet Blues!
Coming from a black man’s soul.
O Blues!
In a deep song voice with a melancholy tone
I heard that Negro sing, that old piano moan—
“Ain’t got nobody in all this world,
Ain’t got nobody but ma self.
I’s gwine to quit ma frownin’
And put ma troubles on the shelf.”
 
Thump, thump, thump, went his foot on the floor.
He played a few chords then he sang some more—
“I got the Weary Blues
And I can’t be satisfied.
Got the Weary Blues
And can’t be satisfied—
I ain’t happy no mo’
And I wish that I had died.”
And far into the night he crooned that tune.
The stars went out and so did the moon.
The singer stopped playing and went to bed
While the Weary Blues echoed through his head.
He slept like a rock or a man that’s dead.
Langston Hughes, “The Weary Blues” from The Collected Works of Langston Hughes. Copyright © 2002 by Langston Hughes. Reprinted by permission of Harold Ober Associates, Inc.
Source: The Collected Works of Langston Hughes (University of Missouri Press (BkMk Press), 1987)

 

 

BY LANGSTON HUGHES

 
ABOUT THIS POET
 
Image of Langston Hughes

Langston Hughes was a central figure in the Harlem Renaissance, the flowering of black intellectual, literary, and artistic life that took place in the 1920s in a number of American cities, particularly Harlem. A major poet, Hughes also wrote novels, short stories, essays, and plays….

MORE ABOUT THIS POET
 
 
 
 
.

 

 

Posted in homepage | Leave a comment

Capitalism Extinction


I being
the Needs

I being
the Market

I being
the Dark

I being
the Imperious

I being
the Scorched

I being
the Greed

I being
the Down

I being
the Rocket

I being
the Literally

I being
the Strong

 

Mike Ferguson

 

 

.

 

 

Posted in homepage | Tagged | Leave a comment

The Blues Club

1. The Shadow – Blues Cousins
Single tune: • Blues Cousins – The Shadow [Relaxing …
2. The Day the Blues Came to Call – Teresa James & The Rhythm Tramps
Single tune: • Teresa James & The Rhythm Tramps – Th…
3. I Loved Another Woman – Henrik Freischlader
Single tune: • Henrik Freischlader | I Loved Another…
4. Married To The Blues – Danielle Nicole & The Nortons
Single tune: • Danielle Nicole & The Nortons – Marri…
5. Elevator To Heaven – Chris Bell
Single tune: • Chris Bell – Elevator To Heaven
6. The Blues Ain’t Never Gonna Die – Mike Griffin
Single tune: • Mike Griffin – The Blues Ain’t Never …
7. Tennessee Whiskey – Chris Stapleton
Single tune: • Chris Stapleton – Tennessee Whiskey (…
8. Trouble – Blues Brandon Lane
Single tune: • Blues: Brandon Lane – Trouble
9. Still Got The Blues – Backing Track
Single tune: • Still Got The Blues Backing Track
10. Slow Dance – Ana Popovic
Single tune: • Ana Popovic – Slow Dance (feat. Robbe…
11. Drinking Again – John O’Leary
12. Love Me Tonight – Eva Carboni
Single tune:
13. It’s Been So Long – Blues Underground
. Blues Underground It’s Been So Long
14. Money Is The Name of The Game – Buster Benton
Single tune:
15. Why Do We Have To Say Goodbye – Mighty Sam McClain
. Mighty Sam McClain – Why Do We Have T …
16. Lonely Bed – Albert Cummings
. Albert Cummings – Lonely Bed
17. Hoodoo Woman – Tim Williams
. Tim Williams – Hoodoo Woman
18. The Only One – Refill
· Refill – The Only One
19. Softly Let Me Kiss Your Lips – Murali Coryell
· Murali Coryell – Softly Let Me Kiss Y …
20. Midnight Healing – Gene Deer
· Gene Deer | Midnight Healing
21. Crazy – Lara Price
. Lara Price – Crazy
22. I Do It All For You – The Nimmo Brothers
. The Nimmo Brothers – I Do It All For You
23. Evening – Tin Pan
Single tune:
24. Blues Has Got Me – Pete Gage
Single tune:
25. At Last – Sara Niemietz
Single tune:
26. I love you more than you’ll ever know – Amy Winehouse
. Amy Winehouse – I love you more than …
27. Can’t Use Your Love – Blind Dog Taylor & The Healers
. Blind Dog Taylor & The Healers – Can’ …
29. The End – Adam Holt
. Adam Holt | The End
30. The Dream – Blues Cousins
Single tune:
31. Black Paris Blues – Mighty Mo Rodgers
. Mighty Mo Rodgers – Black Paris Blues
32. Paper Lips – Bidu Sous
· Bidu Sous – Paper Lips
33. River Of Blues – Pee Wee Bluesgang
. Blues: Pee Wee Bluesgang – River Of B …
34. Don’t Speak Darlin’ – John Mast
. John Mast – Don’t Speak Darlin’
35. She Moves Me – Delta Cross Band
Single tune:
36. Souvenir Of The Blues – D’Mar & Gill
. D’Mar & Gill – Souvenir Of The Blues
37. Blues Cousins “Open the door”
. Blues Cousins “Open the door”
38. The Thrill Is Gone – B.B. King
. B.B. King – The Thrill Is Gone [Cross …

00:00 : midnight on the road
05:02 : Don’t Need Way
08:07 : blue moon
13:05 : Enough Waiting
16:31 : red smoke
21:19 : blue pop
26:18 : Afraid Of Time
29:39 : That Girl Is Gone
34:12 : Under The Moon
38:58 : sad river

 

 

 

 

Posted in homepage | Leave a comment

Murder On The Dance Floor

Control I’m Here: Adventures On The Industrial Dance Floor 1983-1990 (3CD, Cherry Red)

I’ve always been more of a lurker than a dancer, but I did learn what people could and would dance to when I undertook to DJ at the ‘alternative discos’ we had at college back in the 80s. Get the rhythm right and you could sneak Captain Beefheart’s ‘Zigzag Wanderer’, Talking Drums’ ‘Courage’ and all sorts of unexpected music into the indie equation. (And of course, I also learnt how to clear the room at closing time: cue Discharge’s ‘State Control’ at full volume.)

This is kind of what this new CD set is about, the borderline area where experimental music met industrial met jackhammer rhythms that – if pushed – you could dance to. There’s a whole bunch of bands I remember from back in the day (there are still some albums in my vinyl collection) but also a whole load of names new to me. Hula, SPK, Laibach and Test Department were all over the music papers at the time, and I knew Attrition from working in Coventry and put them on at university one Friday night. The likes of Severed Heads, Controlled Bleeding, Nocturnal Emissions, Die Form and Front 242 were names and music I knew from cassette compilations and zines, whilst The Sisters of Mercy and the Legendary Pink Dots were bands I found best avoided.

In between music by the above, there are offerings totally unknown to me, including some surprises. The Shamen’s ‘Christopher Mayhem Says’ is, how shall I put it, rather melodic and poppy, a world away from demented later offerings, whilst Alien Sex Fiend are not (totally) the goths I thought they were, slotting right in here – despite their crimped hair – with shouted chants and brutal rhythms.

The one major omission, the band who are perhaps the root and cause of just about everything included on this album, are Cabaret Voltaire, who very quickly moved from rhythmic noise experiments to cut-up dancefloor grooves, often managing to keep their critical edge. However, most of the bands on this relentless anthology were never going to make it to mainstream playlists and dancefloors: ‘Cocaine Sex (Turbo Lust Mix)’ anyone? ‘Twenty Deadly Diseases’? ‘Naked, Uniformed, Dead Hot Trash Mix’? I don’t think so.

We are in the land of easy outrage, upsetting the obvious targets– those who want to be offended, and in the land of indie cool, where music fans flirt with fascist images, bondage sex, chaos magick, drugs and insanity. Antonin Artuad, Charles Manson, Aleister Crowley and William Burroughs are the (anti-)heroes of the day. Laibach would build a career out of drum marches, political imagery and dodgy leather outfits (I saw a great gig in a nightclub in an old church in New York where they played for about 20 minutes live, with 20 minutes of propaganda films before and after); Genesis P-Orridge (one of the big omissions here) would eventually start his own cult and sell tapes and albums of every gig his bands ever played to the members (in limited editions, of course).

This is the sound of hard rock adapting to synthesizers and drum machines. It was this or the tongue-in-cheek paint-splattered Hells Angel pose of Zodiac Mindwarp (who was very, very funny on record and live). This is the result of provocatively named bands recording cassette albums on 4-track TEAC machines in their bedrooms in response to the likes of This Heat, Chrome, Hawkwind, Here & Now, Public Image Limited, Magazine and Spherical Objects, sampling the radio or their own heroes, folding excerpts from speeches, sermons and conversations into textures and noise, all fed through effects pedals, laid over primitive rhythms. It is the soft end of musical abstraction, noise and improvisation, an attempt to control feedback and drone, to find a way for all the pale boys at the edge of the dancefloor to deal with their physical selves, feel more aware and at home in their bodies.

It would mutate endlessly, feeding on itself through remix, sampling, homage, plagiarism and pose. Techno has some of its roots here, No Wave may have been in the mix, and eventually it gatecrashed the charts in diluted form: like rap, it lost most of its shock value and became accepted, another form of hedonistic pop. Other strands were available: the politicised Dub Sex and Bourbonese Qualk, the Hula offshoot/overlap Chakk; and there’s probably a case to be made for Gang of Four’s dry funk and 23 Skidoo’s martial arts musical workouts to be included here,  not to mention Psychic TV and a hundred others…

One of the bands on here is called Lead Into Gold, no doubt a nod to the occult secrets of alchemy. But a lot of this music is still lead, and leaden, not yet changed into any kind of gold, artistically or financially. It is the sound of indie rock banging its head against the wall it is leaning against at the edge of a very empty dancefloor.

 

 

 

.

Rupert Loydell

 

 

 

Posted in homepage | Tagged , | Leave a comment

Altın Gün – A Turkish kind of world-psychedelia

 

An introduction of sorts to a Turkish/Dutch musical phenomenon from Alan Dearling

Spotify 2023 statistics for:

As my friends and work colleagues well know, I used to have an apartment in Turkey for over a dozen years, worked there occasionally, and made an effort to listen to and buy a fair amount of Turkish music. I’ve also spent a lot of time in the Netherlands, where there is a significant Turkish and Kurdish population.  And the music of Altın Gün is my kind of music. It’s based on folk music, expanded by jazz, rock world-sounds and it blasts the ears and eyes with a transcendent patina of psychedelic colour.

From Wikipedia we learn that: “Altın Gün (meaning Golden Day in Turkish) is a Turkish psychedelic rock, also known as Anatolian rock, band from Amsterdam, Netherlands. It was founded by bassist Jasper Verhulst in 2016 when he posted an ad on Facebook looking for Turkish musicians. Their style has been described as ‘psychedelic’ with a ‘dirty blend of funk rhythms, wah-wah guitars and analogue organs’.”

I rather like the French description that it is ‘musique cosmique’! Their two vocalists are Turkish and the other four members are Dutch.

The band are incredibly hard-working, hard-travelling. In 2023, their latest album ‘Ask’ was released to considerable acclaim. And lots of frenetic excitement, especially for those who have seen them live. Here are two videos produced by the French company, Arte. The second one features a May 2023 concert and displays their artfulness, and how they’ve developed into a real world musical treasure. The first shorter video of them live at Cabaret Sauvage in Paris: https://www.youtube.com/watch?v=XN1xDwhSqwA

And here’s the link to a full length show. A word of warning, it takes a while to get going. Low-key jazzy sounds at first before erupting into a powerhouse when their vocalists join their instrumental opening trio line-up.  You can always fast-forward. Altın Gün are a veritable Turkish/Dutch gemstone: https://www.youtube.com/watch?v=LyBCkjo6gPw

Fundamentally, they’ve evolved from a relatively straightforward Turkish rock-folk ensemble. Adding many jazz and synth elements. But once they get into full-on psych with the added sounds of Turkish pop vocalisation and some instrumentation such as the electronic-saz formation, they are an awesome psychedelic-rock outfit.  

Their 2023 album ’Ask’ has been a significant, somewhat underground hit across the world, bolstered by their heavyweight festival appearances and gigs in the USA, Canada, across Europe, and in Mexico.

Many commentators now suggest that they are among the very top echelon purveyors of world music as we enter into 2024 and beyond.

Here’s record label, Rough Trade’s verdict on their 2023 album, Number 14 on the Rough Trade ‘Albums of the year’ chart:

 

“Simply stunning. Their 5th album in as many years ‘Ask’ (deeper feeling of love), marks an exuberant return to the 70s Anatolian folk-rock sound that characterised Altin Gün’s first two albums. It is a record that radiates the infectious energy found in the Amsterdam-based sextet’s celebrated live performances and next levels the group’s ground breaking sonic palette of Turkish psychedelic groove pop, sci-fi disco and dreamy acid folk.”

I rather agree!

Here’s a video made to accompany one of the tracks from the ‘Ask’ album. Not exactly UK PC, but mesmeric…full of Old Skool Turkish Delight: ‘Rakiya Su Katamam’, written by Selami Şahin, performed by Altın Gün: 


 

 

 

 

 

 

 

Posted in homepage | Tagged , | Leave a comment

Totnes Alternative Book Fair

Come and browse a large selection of books, pamphlets, zines, comics and more at the first-ever Totnes Alternative Book Fair.

One of the UK’s largest dealers of Sci-Fi, fantasy and vintage pulp books will be present as well as independent zine, print and comic book makers, local authors, second-hand booksellers, small press publishers and a selection of radical politics posters on display from the Red Shoes Poster archives.

 

 

Saturday 17th February 2024, 10:30am-3:30pm

@ The Barrel House Ballroom

 

 

Posted in homepage | Tagged | Leave a comment

Debts

 

 

.

 

Posted in homepage | Leave a comment

THE STATE OF THE LAW

Justice is just a corpse
the surgeon said
and she died when she lost her soul
No, she lives, but a whore
the virgin said
since her favors are bought with gold
so your lawbooks are porn
this urchin says
which obituaries enfold

 

 

Duane Vorhees

 

 

 

 

.

 

 

Posted in homepage | Tagged | Leave a comment

Six poems of Christian Morgenstern

The Midnight Sprite

The Midnight Sprite lifts his left hand
And twelve o’clock strikes across the land.
The pond listens with open jowls.
The canyondog so softly howls.
The bittern rises up in the reeds.
The mossfrog peeks out of its weeds.
The snail sits up in his house;
likewise the potatomouse.
The very will-o’-the-wisp halts now
and sits on a lone wind-broken bough.
Sophie, the maiden, has a vision:
The moonsheep goes to the high commission.
The gallows brothers sway in the breeze.
In a distant village a child weeps.
Two moles kiss on the hour
like newlyweds in their amour.
Deep in the dark forest mists
A nightmare clenches its fists:
While a late travelling sock
doesn’t lose its way in swamp and rock.
The raven Ralf calls out gruesomely: “Aai!
The end is nigh! The end is nigh!”
The Midnight Sprite lowers his left hand
And sleep once again falls on the land.

 

Northwards

Palmström has become nervous;
So now he sleeps lying northwards.
Because sleeping to the east, the west, or south,
means that the heart is weakened.

(That is, when one lives in Europe,
not in the South in the tropics.)

Two scholars asserted this,
who had also converted Dickens —

and explained it by the constant
magnetism of the planets.

Thus Palmström heals himself locally,
takes his bed and places it northwards.

And in a dream, held in traps,
he hears the polar fox bark.

 

 

West-Easterly

As von Korf is told of this,
he feels slightly pained;

because it’s self-evident to him
that one should sleep with the earth’s

revolution, with the post
of one’s body strictly eastwards.

And so he jokes caustically, pricelessly,
“No, my divan stays — west-easterly!”

 

The already slept sleep of healing

Palmström sleeps in front of twelve experts
the famous ‘Sleep before Midnight,’
to substantiate his healing power.

As he awakens at twelve,
the twelve experts are completely exhausted.
He alone is as fresh as a young hound!

 

In animal costume

Palmström loves to imitate animals
and tells two young tailors
to make only animal costumes.

So e.g. he likes to crouch as a raven
on the highest branch of an oak
and observe the heavens.

Frequently as a St Bernard
he raises a shaggy head over brave paws,
barks in his sleep dreaming of rescued wanderers.

Or he spins a web in his garden
from spaghetti and sits as a spider
all the day in its middle.

Or he swims, a staring-eyed carp,
around the fountain in his pond
and allows the children to feed him.

Or he hangs in the costume of a stork
beneath an airship’s gondola
and travels thus toward Egypt.

 

 

Korf invents

Korf invents
a kind of witticism,
that first works hours later.
Everyone hears it with boredom.
But as if tinder had been struck,
suddenly chuckling at night in bed,
one laughs blessedly like a satisfied baby.

 

Christian Morgenstern
Translated by Robert Mapson

Christian Morgenstern was born in 1871 in Munich. He wrote numerous short pieces and sketches, various volumes of lyric poetry, and translated authors such as Ibsen, but it is for his occasional nonsense verse, collected as the Complete Gallows Songs, that he is well known today. These works are now considered precursors of Modernism and Dadaism.

Originally an adherent of Nietzsche, he later became a follower (quite literally, travelling from town to town to hear him speak) of Rudolf Steiner.

Morgenstern died in 1914, aged 42, from long standing tuberculosis.

 

 

.

 

 

Posted in homepage | Tagged , | 1 Comment

RESTAURANT #4

 

Angelica ordered the pappardelle with sea urchin and cauliflower. Sebastian plumped for ballotine of duck liver with sour cherry and pistachio. He didn’t have much of an appetite. I like your new beard, said Angelica, and fluttered some eyelashes. It’s a necessity, said Sebastian. I have stress acne and it makes shaving a rather bloody affair. Yuk, grimaced Angelica, and summoned a waiter. This is ghastly, she said. Get rid of it and bring me something that’s not what they give Old MacDonald’s pigs. Okey-dokey, said the waiter, and skateboarded away to the kitchens. How’s Mona? asked Angelica. Beats me, grumped Sebastian, I haven’t seen her for several days and her telephone seems to be out of order, or her answering machine’s broken, and she must have mislaid her mobile again. It goes to voicemail all the time. The waiter returned and plonked a dish down in front of Angelica. What’s this? she asked. It’s difficult to say, said the waiter, but my guess is some kind of stew. Oh smashing, I like stew, said Angelica. Yumma-yumma. Ta ever so. Sebastian watched as she vanished the possibly some kind of stew, and it occurred to him that her lady-shape was reminiscent of a city described in a book he had read — what was the writers name? He could not remember — which to look upon reminded one of a perfect musical score where not a note can be altered or displaced. You remind me of music, he said. I melt, said Angelica, and duly slipped off her chair and formed a puddle on the floor.

 

 

Conrad Titmuss

 

 

 

 

 

 

.

 

 

Posted in homepage | Tagged | Leave a comment

A NEW REIGN

 

Heathcote would have raised an eyebrow,
Or smiled as he wrote of the rites behind royalty;
Nevermind David Icke and his lizards,
What Williams scribed scorched all seals;

From allegedly criminal acts to sexperimentation,;
From chaos to culling, and Marlowe’s murder,
Elizabeth ordained, deaths in Deptford and after
Let every one of his words test what’s real.

So, one must view this strange shop set up
At Buck House, or Balmoral, or Kensington Palace,
Or Windsor, or wherever it is they may roam
As stood on unsteady earth, due to the disarray dealt

Between Covid and the crown Charles has searched for,
As successive news set sense reeling, from the Sussex
Vampires (who would crush all nests for fame’s feathers),
To Kate’s cure and now cancer for a King whose crown

Could well be on loan, before being passed to his son,
Who has found a long love like his Dad and made distance
Romantic; in loving his wife and father, would William
Then have to rule not only over a divided land,

But a paterfamilias poised to splinter, as pain spears
A soldier who had to fight his Mum’s shadow
And a dead wife’s too to seem cool? If not to the kids,
Then to the ever persuadable public, or to those parts

Still remaining for whom a Republic threat is no joke,
Alongside those who stand up and spout that what
We have now whores all humour, and where the whole
Notion of royalty is in eating itself far from woke.

With one Prince paedo-filed, and one oddly absent.
Another, younger, in exile, is a condom of sorts for a wife
Who aches to fuck the world dry, so that she may
Cover it all in her climax, which seems so self referential

She may well masturbate in a mirror, coming for us
In all colours as she delivers and drips her dreamt strife.
There could even be an uncivil war, should Charles recede,
Borne by brothers, with one somewhat closed, but still noble

In honouring all that was. As the deluded second opens
To perform his common man shtick for millions, with his kids’
Names abusing both his Grandmother’s childhood and his
Working Class pose. Sad to say it, but you’ve put the C in runt,

Harry. Soz. So, now nobody need die. The deed’s done.
This is an infirm Institution. With Philip dead, as Delilah,
His Samsonite Queen felled the stone that held England up,
When she died. Now we live in dust. Rake through rubble’s

Ghost structure. As both in panic and plaster, we,
With time broken have never been so alone. The dust fate
Has spilt from the ruins roused at each moment is a dare
To the lung and to light and to just how much we can swallow.

Will we develop gills as we’re sinking, and as our muddied
Mouths spume with phlegm, and we return to the sea
Another Charles (Darwin) stirred with his eager finger;
But as Angelic harp strings split, what new music

Will now provide Requiem? So pity please for a man
Whom privilege damns despite dying. As it did in his birthing.
But Surgeons will soon operate to save and sustain
His short reign (as any would be when stood next

To his Mother’s), and Death of course is the duty
Overwhelming us all as we wait, for the next stage,
Or step to be redressed or rescinded. English history
Is all horror. Which genre then for its future? Not Noir.

AI rules us. So, all hail and all wail before the tainted
Tears of tradition. A new Science friction is waiting.
And it holds a mandate from which no love or line
                                          can escape.

 

                                           David Erdos 5/2/24

 

 

 

 

.

 

Posted in homepage | Tagged | Leave a comment

A Found Poem in which Grant Shapps appears on Blue Peter to announce the Pre-War Era to the Nation’s children



Hello. The era of the Peace Dividend is over, crumbled like the concrete in your

schools.
We say hello to our two new Blue Peter dogs: RAAC and Ruin.
Heartening News! We’ve uplifted our defence spending. Urgently needed, £50 billion
for bullets, bombs and Dreadnought submarines. You don’t want to be an unpatriotic,
Britain belittling doom-monger, do you children? Help us. Send your buttons, badges,
buckles and other recyclable steel items to our “Face down the Threat and Triumph”
2024 Blue Peter Appeal.
You may be thinking, what about the cost of living crisis brought to you by Putin?
(nothing to do us, Thank God!). Well children, the whole country will be joining in.
You’ll be paying for war for generations to come.
Britain will become the largest provider of drones. Tonight we show you how to build
one using a tin can, a polystyrene ceiling tile and sticky-back plastic.
There’ll be a special edition Blue Peter badge for anyone who’s drone bombs the
Putin menace or any other belligerent autocratic state.
Meanwhile, we demonstrate how to make your very own papier mache model of the
Red Sea with Royal Navy warship to blast the Houthi. Here’s one we made earlier!
– in 1967 when they drove the British out of Aden. It’s those vandals pouring fuel oil in
the Blue Peter fish pond all over again.
But don’t worry. All the fun’s to come. In five years time we could be looking at
multiple theatres involving Russia, China, Iran and North Korea. Next week, the Blue
Peter team will be on assignment with the new Citizen’s Army and showing you how
to use a self-loading semi-automatic pea-shooter. Ha! You won’t catch us sailing
blindly into an age of autocracy.

 

Sally Spiers

 

 

 

.

 

 

 

 

Posted in homepage | Tagged | 1 Comment

SAUSAGE LIFE 290

Bird Guano’s
SAUSAGE LIFE
The column which leaps before it looks 

READER: It’s Superbowl week, so I suppose you’re going to take your usual cynical swing at the great game…? 

MYSELF: Superbowl week where big money tries to persuade the British public to like American “football”? Yes,  I am. As a matter of fact,  I’ve put together this little glossary entitled… 

THE STUPIDEST GAME IN THE WORLD
I’m referring of course to the annual festival of all things idiotic in American corporate-sponsored sport which will soon be causing our growing population of male Yankophiles – the sort who like to say elevator and sidewalk and drink beer that tastes like polar bear’s piss – to wet their Calvins in anticipation. If you’ve never seen it, this is how the ridiculous made-for-TV spectacle unfolds:
After several hours of overblown ‘build up’ (ie: endless clips of thick meatheads crashing into each other, incomprehensible statistics and slobbering fast food commercials for flag-waving fatties), a reverent, patriotic silence falls as the USA national anthem is murdered by a talentless billionaire.
Next, to tumultuous applause, two teams of overpaid jocks (usually named after one of the Native American nations decimated by European “settlers”), jog on to the field wearing huge crash helmets, shoulder pads and tights stuffed with pillows and at the umpire’s signal begin colliding with each other.
Sometimes one of the players grabs the “ball” (which is really a sort of pointed egg),  and runs off with it but is soon caught and crushed under pile of men from the opposing team- this is the signal for the umpire to blow his whistle, ushering in a long, expensive commercial break featuring fast food, “beer” or imported cars as the two teams file out for some well-earned rest.
When play resumes, both teams will have completely changed personnel, depending on whether they are O fence or D fence. Two actors, one black, one white, will pretend to be pundits who understand what is going on and quote more obtuse statistics to the baffled TV audience.
That’s all you need to know, since the whole eye-popping charade is essentially a marathon junkfood-sponsored pantomime without the drag. If you must watch, make sure you have nothing else to do for at least six hours. 

READER: Would you like to come to my Superbowl party? 

MYSELF: I would be delighted, were it not for a very important appointment I have with a certain man about a certain dog on that very day.

READER: Man? Dog? What sort of appointment?

MYSELF: I’ve given away far too much already. 

READER: I’ll take that as a no then.

EVENTS STOP PRESS
Witheringden Village Hall
Dungeons and Drag night with Hilary Pillock and Dan Daring. Frocks provided. Bring your own thumbscrew.
 

SUPERSTITIOUS?
Do you regard organised religion as nothing more than an insurmountable crock of superstitious merde, and yet are unable to cope with the stressful concept of random events or coincidence?
Have you thought of embracing Astrology?

READER: Is this an ad? 

MYSELF: Yes, its for my new horoscope service, which I like to call All the Blandness of Spiritual Certainty Without the Messy Unpredictable Consequences of Rational Thought 

READER: That’s a bit long isn’t it?

MYSELF: Ok, how about Gobshite for the Gullible? 

READER: That’s more like it, bring it on.

YOUR FUTURE IN THE STARS
A personal horoscope curated by The Rev Ho Dim Sung, astrologer to His Spiritual Eminence The Mashapatata of Lumpigravi 

Capricorn (22 December-20 January) Beware. A rare egg moon is entering its Diptherian phase, causing a massive collision with your diving sign of Porcupine. Check pyjamas for scorpions on the 12th.

Aquarius (21 January-19 February) An untidy bicycle shed will distract you from the forthcoming meteoric cusp. A cold call from a Jehovah’s Witness will interrupt an important meeting sometime in February.

 Pisces (20 February-20 March) Typical Pisces tendencies include a slight limp, the inability to speak French and fear of eggs. Should the police call, just come clean as it may reduce your sentence even if you didn’t do it.

Aries (21 March-20 April) Mid-month, Gemini and Mars will fall out after an argument about golf during the lunar eclipse. Low pressure in parts of Northern Ireland will cause cloud to thicken in the south-west, bringing spells of rain, sleet and soft furnishings in Pluto’s equinox.

Taurus (21 April-21 May)  Sagittarius is your trouser sign and brings news of a big win on the horses. Pisces is wedged tightly in Virgo’s chimney, although with Tiger Penis on the ascendant, it is inadvisable to cancel tightrope walking lessons.

 Gemini (22 May-21 June) Complications arise when an invitation to a bestiality party puts you in a difficult position. Wear red if you are a boy, green if you are a girl or a muted shade of caramel if you are not sure. Tempers fray during a Scandinavian fish supper on the 4th. 

Cancer (22 June 23 July) With retrograde Porcupine still in its 11th house, a neighbour springs an unpleasant surprise. Call the hotel and deny everything.

Leo (24 July-23 August) For Leos, bad memories of a recent gluten-free cruise in the Baltic resurface. A window cleaner calls bearing an urgent message from an aunt in Turin.

Virgo (24 August-23 September) With Mercury ablaze, Virgos must be vigilant and prepared to abandon ship if necessary. Drive on the right during St Valentine’s day, but not blindfolded.

Libra (24 September-23 October) An unexpected windfall from a hot tip on the greyhounds leads to a mishap during an alcohol and nitrous oxide party. Man up and apologise if you know what’s good for you.

Scorpio (24 October-23 November) Good news for Scorpios! A Russian billionaire mistakes you for a distant relative and sends you money and a first-class train ticket to Darlington. When the moon begins waxing avoid anything beginning with F or V. Or L.

Saggitarius (24 November-21 December) With Aries and Capricorn in transit, an ill-planned grocery purchase causes mayhem on 15th. A fireman mistakes you for a rogue Catharine wheel, but a providential hose failure avoids a soaking.

 

 

 

 

Sausage Life!

ATTENZIONE!
‘Watching Paint Die’ EP by Girl Bites Dog is out now and available wherever you rip off your music.
Made entirely without the assistance of AI, each listen is guaranteed to eliminate hair loss, cure gluten intolerance and stop your cat from pissing in next door’s garden.
Photo credit: Alice’s Dad (circa 2000)




Click image to connect. Alice’s Crazy Moon is an offbeat monthly podcast hosted by Alice Platt (BBC, Soho Radio) with the help of roaming reporter Bird Guano a.k.a Colin Gibson (Comic Strip Presents, Sausage Life). Each episode will centre around a different topic chosen by YOU the listener! The show is eclectic mix of music, facts about the artists and songs and a number of surrealistic and bizarre phone-ins and commercials from Bird Guano. Not forgetting everyones favourite poet, Big Pillow!

NB: IF YOU DO NOT HAVE A PAID SUBSCRIPTION TO SPOTIFY, THE SONGS WILL BE OF RESTRICTED LENGTH

 

JACK POUND: JESUS WANTS ME FOR A SUN READER aka PASS THE INSTANT YOGA

 

 



SAY GOODBYE TO IRONING MISERY!
When added to your weekly wash, new formula Botoxydol, with Botulinim Toxin A, will guarantee youthful, wrinkle-free clothes.
Take years off your smalls with Botoxydol!
CAUTION
MAY CAUSE SMILEY FACE T-SHIRTS TO LOOK
INSINCERE

 

SPONSORED ADVERTISEMENT
“Sometimes you just need a tool that doesn’t do anything”

 

By Colin Gibson

 

Back Issues

SAUSAGE 159 SAUSAGE 160 SAUSAGE 161 SAUSAGE 162 SAUSAGE 163
SAUSAGE 164 SAUSAGE 165 SAUSAGE 166 SAUSAGE 167 SAUSAGE 168
SAUSAGE 169 SAUSAGE 170 SAUSAGE 171 SAUSAGE 172 SAUSAGE 173
SAUSAGE 174 SAUSAGE 175 SAUSAGE 176 SAUSAGE 177 SAUSAGE 178
SAUSAGE 179 SAUSAGE 180 SAUSAGE 181 SAUSAGE 182 SAUSAGE 183
SAUSAGE 184 SAUSAGE 185 SAUSAGE 186 SAUSAGE 187 SAUSAGE 188
SAUSAGE 189 SAUSAGE 190 SAUSAGE 191 SAUSAGE 192 SAUSAGE 193
SAUSAGE 194 SAUSAGE 195 SAUSAGE 196 SAUSAGE 197 SAUSAGE 198
SAUSAGE 199 SAUSAGE 200 SAUSAGE 201 SAUSAGE 202 SAUSAGE 203
SAUSAGE 204 SAUSAGE 205 SAUSAGE 206 SAUSAGE 207 SAUSAGE 208
SAUSAGE 209 SAUSAGE 210 SAUSAGE 211 SAUSAGE 212 SAUSAGE 213
SAUSAGE 214SAUSAGE 215SAUSAGE 216SAUSAGE 217SAUSAGE 218
SAUSAGE 219SAUSAGE 220SAUSAGE 221SAUSAGE 222SAUSAGE 223
SAUSAGE 224SAUSAGE 225SAUSAGE 226SAUSAGE 227SAUSAGE 228
SAUSAGE 229SAUSAGE 230SAUSAGE 231SAUSAGE 232SAUSAGE 233
SAUSAGE 234SAUSAGE 235SAUSAGE 236SAUSAGE 237 SAUSAGE 238
SAUSAGE 239SAUSAGE 240SAUSAGE 241SAUSAGE 242SAUSAGE 243
SAUSAGE 244SAUSAGE 245SAUSAGE 247 SAUSAGE 248SAUSAGE 249
SAUSAGE 250SAUSAGE 251SAUSAGE 252SAUSAGE 253
SAUSAGE 254SAUSAGE 255SAUSAGE 256SAUSAGE 257SAUSAGE 258
SAUSAGE 259SAUSAGE 260SAUSAGE 261SAUSAGE 262 SAUSAGE 262
SAUSAGE 263 SAUSAGE 264 SAUSAGE 266 SAUSAGE 267SAUSAGE 268
SAUSAGE 269SAUSAGE 270SAUSAGE 271SAUSAGE 272SAUSAGE 273
SAUSAGE 274
SAUSAGE 276SAUSAGE 277SAUSAGE 278
SAUSAGE 280SAUSAGE 281SAUSAGE 282SAUSAGE 283 SAUSAGE 284
SAUSAGE 285 SAUSAGE 286 SAUSAGE 287SAUSAGE 288SAUSAGE 289

 
 

 

 

 

Posted in homepage | Tagged , | Leave a comment

Niall McDevitt a celebration of his life.

NEW TICKETS JUST RELEASED. NEW VENUE

SOLD OUT at the National Poetry Library! So moved to see the DEMAND for Niall’s work. But good news for those who didn’t get tickets: we have a new, slightly larger venue, Weston Roof Pavilion, also in the Southbank Centre. (Link in bio for tickets. Book now to avoid disappointment.)

Niall McDevitt (1967 – 2022) was a psychogeographer-poet who trod the steps of great rebels such as Blake, Rimbaud, and Joyce. On February 21st, the day before his 57th birthday, poets and writers who love McDevitt’s work will introduce each of his four witty, wise, and wild collections. Join us to hear:

– LONDON NATION (2022) introduced by the iconic keeper of lost cultures, Iain Sinclair

– FIRING SLITS (2016) introduced by our own @robertmontgomeryghost and @gretabellamacina

– PORTERLOO (2012) introduced by the award-winning poet, translator, and lecturer James Byrne

– B/W (2010) introduced by the singular poet, musician, and artist MacGillivray (aka Kirsten Norrie)

Tickets are available from the Southbank Centre’s website. . Love to all.

https://www.southbankcentre.co.uk/whats-on/literature-poetry/niall-mcdevitt-celebration?fbclid=IwAR1c7vGqpSXNaOBeZI1enz4–0ilxJqWG_-RxYIv4UPOjOeVAinBoxopFLA

 

 

Posted in homepage | Leave a comment

Clinic 18


 

The fan dryer fusses

          on             then         A RUSH

in th distance           sir?

        not me

consultan
consoltun
consultan
consolcan

30 minute delay

 

 

 

Peter Finch

 

 

.

 

 

 

 

 

Posted in homepage | Tagged | Leave a comment

Polish Farmers to Block Entire Border with Ukraine Incl: Transport Hubs, Rail Depots, Seaports

https://21stcenturywire.com/2024/02/19/polish-farmers-to-block-entire-border-with-ukraine-as-well-as-transport-hubs-railway-depots-and-seaports/

Julian Rose
21st Century Wire

After the shock discovery of thousands of tons of illegal Ukraine rape seed at a fuel, gas train and truck depot near the Ukraine border, Polish farmers vowed to step-up their actions against all food imports from outside the EU and increase pressure on Brussels and the Polish government to abandon the implementation of ‘Green Deal’ and outlaw uncontrolled mass food imports entering Poland.

NSZZ RI Solidarity on 9 February 2024, announced a 30-day farmers’ general strike, which was met with unprecedented support from the entire agricultural community and the public.

A Press Release of 16/02/2024 from National Solidarity Farmers Union on the general strike of farmers states:

“We know that this is only the beginning of a long road to victory….

The problem of profitability of agricultural production, processing and other industries in our country is the uncontrolled influx of goods from Ukraine, which are being imported due to the opening of the EU border with the country.

Therefore, for February 20, as part of the 30-day general strike of farmers, we announce that all protest activities will be focused on the complete blockade of all border crossings of Poland with Ukraine and protests in the field.

Not only border crossings will be blocked but also transport hubs and access roads to transshipment rail stations and seaports.

…Our actions have only one goal:

TO ENSURE THE COUNTRY’S FOOD SECURITY, BY PROVIDING THE PUBLIC WITH HEALTHY AND TOP-QUALITY POLISH FOOD”

For more information on developments, go to Solidarnoscri.

 

 

 

Introductory text – Julian Rose

This is going to be a very big push and will complement other protests taking place throughout Europe.

Poland has the largest number of family farms in Europe – over one million. These farms are a vital resource not just for national food production but also for the maintenance of unique levels of biodiversity.

Particular to this Polish farmer’s effort will be a central attack on ‘Green  New  Deal’  a  critically important issue vis a vis ensuring a future for all farmers/farming.

Green  New Deal links directly into the Agenda 2030 ‘Sustainability’ program whereby the WEF proposes to 100% disenfranchise farmers and substitute synthetic GMO laboratory foods for real food grown in real soil.

Main Text and links from Solidarity Farmers Union:

A part of the announcement of the NSZZ of Individual Farmers “Solidarity” on the General Strike (from February 9 to March 10, 2024)

“…Our patience has been exhausted. The position of Brussels at the end of January 2024 is unacceptable to the entire agricultural community. In addition, the lack of response from the Polish authorities and declarations of cooperation with the European Commission, along with announcements to respect all decisions on the import of agricultural and food products from Ukraine, leave us no choice but to declare a general strike…We cannot accept the implementation of the “European Green Deal”, the European Union’s farm-to-table strategy and the proposed form of the Common Agricultural Policy. The Polish government must present a clear plan for agricultural production, its profitability, the reconstruction of domestic processing and trade. We will fight for this until it happens. Polish farm families are the foundation of our country’s food security….
We  ask  compatriots to be understanding and aware of the situation in
which we all find ourselves. We are fighting for our common good, which is to save Polish family-owned, often multi-generational farms from collapse and bankruptcy….”
https://solidarnoscri.pl/komunikat-nszz-rolnikow-indywidualnych-solidarnosc-w-sprawie-strajku-generalnego/

Map of agricultural protests starting on February 9, 2024
https://solidarnoscri.pl/mapa-protestow-rolniczych-w-dniu-9-lutego-2024-r/

Forwarded by
Julian   Rose   and  Jadwiga  Lopata,  President  and  Vice  President
International Coalition to Protect the Polish Countryside (ICPPC)

==========================
ICPPC – International Coalition to Protect the Polish Countryside,
34-146 Stryszów 156, Poland tel. +48 33 8797114  [email protected]
www.icppc.pl   www.gmo.icppc.pl   www.eko-cel.pl  https://renesans21.pl/

 

 

 

.

 

 

 

Posted in homepage | Tagged , , | Leave a comment

The Milky Way

it was October though we both agreed
it felt more like September

sat out  after sunset
watching the light fade

bothered slightly (but not
too much) by the midges

me wondering as I always do
how we came to be there

and saying (as I always do)
how the night sky

(what with there being no street-lights)
makes up for the lack of night-life

and how you can clearly see the Milky Way
and how easy it would be to get lost up there

what with all those stars
like trees in a forest

 

Dominic Rivron
Photo Nick Victor

 

 

.

 

 

 

 

Posted in homepage | Tagged , | Leave a comment

On This Scared and Sacred Day Or, Erdoses

                                    
                                               For Tomas and Lilian

 

A face long unloved will at some point grow ugly,
As unkissed features untended will as with an unkempt
Garden grow wild, as it is with my face and as it is

With my garden, which under my mother’s care
Was well tended back before when her life’s strong argued case
Became filed. Sadly for me, this was closed twelve years

Today, to the letter; while eighteen before her, and now
Three decades gone my Dad too, fell into an empty bath,
Heart attacked, his brown eyes exchanged for black glasses,

While my Mum, cancer coated and cosmos conveyed
Lost life’s hue. She looked close to green when she died,
An alien primed in her passing both for stars and sensations

That those lumbered by life can’t describe.  For it can be
A burden to build from first breath a common cause
That carves purpose; as life’s loan accrues interest

Before being recalled by fate as God’s jibe. And here is
The punchline for me and my two special people
Joined by one day, as if driven by a speeding death

With no clutch. By 1994, they had been divorced
For ten years, in which my Dad had not said a word
To my mother. He had lived with three women,

In four different houses, step-fathered; indeed,
My Dad’s decade away from my Mum had brought much
Before it too was all lost; from his own sacred mother,

To his job, house and last girlfriend, so when he travelled
To me he was the true walking wounded, and a brave one
At that, with no crutch. I had started acting by then,

Just as his work was ending. He had nowhere to go
But was hopeful that in Liverpool he’d renew. And so
I found him a flat and a job to tide him over,

But that starred sea was soon turning, as blots in the blue
Splatter sun. And the cold fronts confirm. Liverpool was
My father’s third city. From Budapest under Stalin

To Eden’s London, snakes and ladders slid and were falling,
With each sting a stirring, while potentially set to stun.
And yet Tomas prospered and walked, learning both

The language and London. My Grandmother, Uncle and Aunt
Quickly followed and their Holocaust loss was appeased.
They became suburban and rose around the garden gates

Of this country. Carefully pruned then in Kenton,
They became settled having first been the seized. My mum
Lived next door, and while her Dad’s Bookie bred fate

And fortune brought comfort, was tainted too by frustration,
As a lack of scope shaped her life. Girls like her had to work.
There was no little, or no aspiration. University was the province

Not of Zone 6. The Class knife may not have been sharpened
By then, but you could still feel it cut all around you.
A good girl got married. You were at best Secretary, and nothing

At all if not wife. She was in Dickens and Jones at 15
And at 21, she nearly ran away with a Sailor. But this was soon
Stopped by her parents. He wasn’t jewish, you see. Creed as strife.

And so the two met and in 1963 they were married. Six years
Passed together. It seems reasonably. And then I was born
And the trouble was seeded. With birth’s primal focus,

My parents’ rebound fucked the free by showing love’s bind
Lays in the mind of a marriage, whose thoughts can roam;
Being happy is conjecture at best, at worst dream,

And so they sought other things, throughout a slow
Separation. It took them fourteen years to find freedom
And to fully understand what that means. They were

Never really happy again, though each of course had
Their moments. As have I. Yet that island, which others
Gain and grace remains far and separated by sea

As I contemplate wasted water, on this day of all days
As I search and scribe for the star that may shine still
On them, and grant them renewal, in that golden garden

Where nothing is wild and each bloom has a beginning
Scored in, pulsating through pollen that bursts
For Black Hole bees and for beings who strive beyond box

And room and live again somewhere else and as something
Else also. On the turn of the 10th my two people,
The authors of my heart were star joined. They could not see

In their life the prize and purpose between them.
Love does not need consummation and is not bought
By chance or by coin. It is perhaps that far force

Whose origin point remains open. Love can be darkness.
It is absence and Ark, loss and loin. For The dead become
Beautiful, as soon as memory seals them.  The dead

Design for us the lasting look of all things. And so I grow
Uglier as each feature fattens, and am reaching an age
Where the movement between what I was and will be

Plays lute strings. And moves much faster each day.
We should not forget that Gravity was not made for apples.
It abounds for position and for the force of attraction

Between object and earth, sun and me.
Gravity is ghost influence. It is appeal and need.
Its love lending, both you and I to the planet

And to the proper place to feel free.
Which is wherever they are; as divorced in death
As in living, but as perhaps twinned lights shining,

Communication of sorts can resume. So today,
And unloved, I imagine an entirely different encounter.
And one that is rhymed and romantic, in which mistakes

Are closed mirrors and accomplishments are sent signals.
I send one now with this poem. Mum and Dad,
Can you see me? On this scared and sacred day

I am dying to speak and sense you here.

See you soon.

 

 

 

                                                             David Erdos 10th February 2024

 

 

 

 

.

 

 

 

Posted in homepage | Tagged | Leave a comment

Memes ’24

 

 

Posted in homepage | Leave a comment

legendary music photographer Val Wilmer

‘I encountered so many wonderful people’ … blues singer Guitar Shorty at home in Elm City, North Carolina, 1972. Photograph: Val Wilmer
 

She ate fried chicken with BB King, gave Jimi Hendrix a lift home from a gig and accidentally worked for MI6. The pioneer recalls her favourite subjects – and the ones like Miles Davis she’d rather forget

 
 

She shot the Beatles in 1963 and found them “very bright and interesting”. Not long after, she captured Bob Dylan, still just in his 20s, and recalls: “I think I was the only photographer at the gig.” Then, in 1967, there was Jimi Hendrix, who got slightly more than an interview and a shoot. “He was a very nice, gentle man,” Wilmer remembers. “I even gave him a lift in my car!”

It is surprising, given that some would give their eye teeth to have been at these performances, to hear what Wilmer has to say about their music. “Jimi was playing the Royal Albert Hall but I didn’t stay for his performance,” she admits. “I recognised he was a great guitarist, but I just didn’t have much interest in rock music. I probably went off to Ronnie Scott’s instead.” Tellingly though, she adds: “When I interviewed Jimi, we spoke about blues. He appreciated my deep connection.”

 

Wilmer’s break into journalism, fuelled by an early and snowballing passion for African American music, had happened at the age of 17. “Woe betide any American musician whose address was printed in a magazine,” she says, “as I would write to them! I wrote to Jesse Fuller and he replied so I started up a correspondence and wrote my first piece from what he told me.”

Backstage poker … Muddy Waters in Croydon, 1964. Photograph: Val Wilmer

It was published in Jazz Journal and soon Wilmerwas working for other titles and meeting leading African American musicians regularly. “For the most part,” she says, “everyone I met was lovely and encouraging. Sister Rosetta Tharpe gave me a pair of her earrings – no, two pairs! She was just the warmest, nicest person.”

Others were less charming. Fela Kuti, whom Wilmer got to know while living in Nigeria for six weeks, was particularly bad-tempered. “And always walking around in his underpants,” she says. “Who wears underpants among other people? He was somewhat autocratic. Not very likable.”

Miles Davis, too, wasn’t exactly endearing. She remembers approaching the jazz great for an interview after photographing a gig, only for him to decline in a gruff voice. “His female partner said, ‘Go on, talk to the girl.’ And he replied, ‘I might have if she’d lifted up her skirt.’ Very Miles.”

Taking a shine … saxophonist Dexter Gordon in Piccadilly Circus in 1962. Photograph: Val Wilmer

Blues, jazz and gospel inspired Wilmer throughout her life. At 81, she continues to cut a formidable figure and this has been a busy year. She has a new photobook out, Deep Blues: a striking collection showing African American blues musicians and their communities. It accompanies the exhibition Blue Moments, Black Sounds, which recently opened at the Worldly Wicked & Wise gallery in London. “Just in time to earn me some money to pay my winter fuel bills!” she says.

Wilmer has long been a leading voice – and lens – on the subjects of music, race, women’s rights, minority communities and cultural ferment. Today, though, she no longer takes photographs – “I got tired of lugging all that gear around” – but still regularly contributes to Jazzwise magazine. Born in Yorkshire in 1941, she was raised in London by her mother after her father died when she was six. Wilmer was barely a teenager when she took her first portrait of a performer, on her mother’s Box Brownie in 1956.

“We’d been to see Louis Armstrong at Earls Court,” recalls Wilmer, who still lives in London. “I’d connected with jazz strongly and my mother graciously encouraged my enthusiasms. So when I learned what airport he was flying out of, I requested we be there. And there he was! I asked Louis if I could take his photo – and that was me started.”

In 1964, the London-based magazine Flamingo sent her to the Gambia, Nigeria, Liberia and Sierra Leone for six weeks where she covered all manner of subjects. “It later turned out that Flamingo – which was widely distributed in the US, the Caribbean and west Africa – was funded by MI6,” says Wilmer, before hastily adding: “Not that the work I did for them had any kind of agenda.”

Soul queen … Aretha Franklin at Hammersmith in 1968. Photograph: Val Wilmer

If Wilmer ever had an agenda it was that of documenting Black musicians at work and play. Whether showing them as they performed, or relaxed backstage playing poker as she captured Muddy Waters doing, her photographs are beautifully composed yet very naturalistic. She avoids posing her subjects, preferring to let their personalities shine through.

“Of all the musicians I photographed,” she says, “the nicest was BB King. “Once, in New York, he invited me and a friend to jump on his bus as he was off to play out of town. When we got back late that night, BB insisted on us joining him at home for dinner – he woke one of his daughters and asked her to fry some chicken! Then he offered us the cab fare. I said, ‘B, you’ve done so much for us – no more!’ He was kind, intelligent, generous – an exemplary musician and human being.”

Jazz People, Wilmer’s first book, was published in 1970 and, a year later, she was approached by the V&A about an exhibition. Deciding she needed stronger images, Wilmer took off for the deep south, then stayed in New York with Ornette Coleman for five weeks. The result was the 1973 show Jazz Seen: The Face of Black Music. Earlier this year, the museum marked the show’s 50th anniversary by including a Wilmer image – of American gospel singers Inez Andrews and Elaine Davis – in its exhibition Energy: Sparks from the Collection.

Back then, the music Wilmer championed was often seen as niche. In 1977, her book As Serious As Your Life was the first to document America’s burgeoning free jazz scene and, in particular, the efforts of Afrofuturist and cosmic adventurer Sun Ra, whom Wilmer knew well.

“Sun Ra had this almost cultlike thing going on,” she says. “He had all these young male musicians living with him and obeying what he said. It was an odd situation but he himself was quite warm and approachable. He certainly had a sense of showmanship – if he ever saw me holding a camera, he’d put on one of his sparkly hats. He always wanted to look the part.”

Nowadays, the late maverick is a hipster icon, whose band the Arkestra draws large, youthful audiences. “I’m surprised by the enthusiasm now surrounding his music but jazz is so different these days – at least in the way people appreciate it.”

Knocked out her attacker … Wilmer in her basement darkroom. Photograph: David Corio

Wilmer, a lesbian feminist, embraced activism throughout the 1970s and 80s. In 1983, she co-founded Format, an all-female photographic agency, with Maggie Murray. Its campaigning photography is currently being honoured in London at the Barbican’s Re/Sisters exhibition and Tate Britain’s Women in Revolt! show. But protest eventually wore Wilmer down. “I got tired of being pushed around by the police – and other people,” she says.

 

The Blue Moments, Black Sounds show includes more than 50 photos of musicians and their communities. They arguably rank among the finest photos of musicians ever taken, and Wilmer is rightly proud of both them and the connections she built. “John Coltrane was such a gentle, humble man,” she says of the saxophonist.

Sadly, though, Miles Davis was not the only musician whose dark side Wilmer saw. Her 1989 autobiography Mama Said There’d Be Days Like This describes her many struggles, including an attempted sexual assault by a famous jazz trumpeter backstage. That incident ended with Wilmer knocking him out, but today she declines to discuss the incident and his photo doesn’t appear in any of her current exhibitions.

“I encountered so many wonderful people,” she says, “that I can happily ignore those who tested me.”

 

https://www.allaboutjazz.com/val-wilmer-dues-and-testimony-by-ian-patterson

https://serpentstail.com/wp-content/uploads/wpallimport/files/PDFs/9781782834588_preview.pdf

 

https://en.wikipedia.org/wiki/Val_Wilmer

 

 

 

 

 

 

 

 

 

Posted in homepage | 3 Comments

Hit list

Melissa Gordon, 56, of no fixed abode, was convicted on Friday of conspiracy to commit murder. She had plotted to cause the deaths of several notorious dictators. The court heard how, over several years, the accused had made a habit of stopping people in the street and asking them if they knew of anyone who might be willing to assassinate the dictators on her hit list. This, she explained, would have to be done gratis as she was destitute. Several witnesses claimed they had been ‘harassed repeatedly’ by Gordon who ‘appeared desperate’ to find a willing accomplice to execute her requests. When asked by the judge whether she felt any remorse for her actions Gordon said ‘none’. She went on to declare that had she not been poor and in ill-health, but vigorous, and possessed of a suitable weapon and money, she would have done the job herself.

 

 

 

Simon Collings
Picture Nick Victor

 

 

Posted in homepage | Tagged , | Leave a comment

Marcus Aurelius’ Valentine

 

Love was not invented in my time
There were so many words for this
None took it quite as seriously

Instead we searched ‘The Truth’
Our Ethical Symposiums
Accompanied by many
Modicums of aged Caecuban wine
Often ended in debauchery

I marvel now most modern men
Seem to love themselves above all else
And yet
They place less value on their own esteem
Than that conferred by others

They make themselves as slaves
To any passing trickster-in-the-Arts
Soothsaying mind-mechanic
Or ambitious Political pest

I have the Antidote   –
On a planet in negative equity
In a world of change and chance
The meaning of ‘true love’ is ‘food for all’

And we must nurture one another

 

 

 

Bernard Saint
Illustration: ‘Ubuntu’ Claire Palmer

 

 

 

Posted in homepage | Tagged , | Leave a comment

A Dysfunctional State

Once again we’ve been sold down a river
but it’s a nice composition & a good use
of negative space. All these walls, how
about a world free of borders? “I am
invisible because people refuse to see
me,” she said. Where do you come from?

Have you lived here long? Where are
you going to? Fortune without fame
might be a better option but we are
constantly living the arguments of the

past & you’re still looking at an area
the size of Wales. “It’s needle-related
neurosis,” she said. Long-term pain
changes everything but some of my

best friends are rats & here we have a
nocturnal scene in a forest lit by a full-moon.

 

 

 

 

Steve Spence

 

Posted in homepage | Tagged | Leave a comment

Wayne Kramer, MC5 Co-Founder & Guitarist, Dies at 75

The founding member of the legendary Detroit proto-punk band was one of rock’s greatest guitarists

Wayne Kramer, founding member of the legendary Detroit proto-punk outfit MC5 and one of rock’s greatest guitarists, has died at the age of 75.

The singer-songwriter-political activist’s death was announced Friday via his official social media accounts. Kramer died at Cedars-Sinai hospital in Los Angeles from pancreatic cancer, Jason Heath, an executive director of the artist’s nonprofit Jail Guitar Doors, told Billboard.

On Rolling Stone’s 250 Greatest Guitarists of All Time list — with Kramer sharing placement alongside Fred “Sonic” Smith — we wrote, “Forged in Detroit during the 1960s, the MC5 guitar tandem of Kramer and Smith worked together like the pistons of a powerful engine. Combining Chuck Berry and early Motown influences with a budding interest in free jazz, the pair could kick their band’s legendarily high-energy jams deep into space while simultaneously keeping one foot in the groove.”…………………

https://www.rollingstone.com/music/music-news/wayne-kramer-mc5-dead-1234960020/

 

Wayne Kramer, Influential MC5 Co-Founder and Guitarist, Dies at 75

https://variety.com/2024/music/news/wayne-kramer-dead-mc5-1235895922/

Wayne Kramer Obit Dead
Redferns
 

Wayne Kramer, the co-founding guitarist and composer of Detroit’s punk band MC5, whose social activism carried on throughout his lengthy solo career, died on Friday at 75. The news was confirmed on Kramer’s and MC5’s official Instagram with the phrase “Wayne S. Kramer ‘PEACE BE WITH YOU’ April 30, 1948 – February 2, 2024. No cause of death was disclosed at this time.

The only thing angrier than Kramer’s left-wing socio-political radicalism was his gruff guitar sound, a powerful feedback-fueled noise with a gutsy swagger that made every track of his – from his famed, first days with MC5 and “Kick Out the Jams” to his searing solo works such as “Adult World” – ring and sting.

Rage Against the Machine’s Tom Morello, long an acolyte of Kramer’s rangy guitar sound, told The Mirror UK, “Brother Wayne Kramer was the best man I’ve ever known. He possessed a one-of-a-kind mixture of deep wisdom & profound compassion, beautiful empathy and tenacious conviction. His band the MC5 basically invented punk rock music… Wayne came through personal trials of fire with drugs and jail time and emerged a transformed soul who went on to save countless lives through his tireless acts of service. He and his incredible wife Margaret founded @jailguitardoorsusa which founds music programs in prisons as life changing effective rehabilitation. I’ve played with Wayne in prisons and watched him transform lives, he was just unbelievable … The countless lives he’s touch, healed, helped and saved will continue his spirit and legacy. He was like a non-Tom Joad. Whenever and wherever any of us kick out the jams, Brother Wayne will be right there with us.”

Born April 30, 1948 in Detroit, Michigan, Kramer was but a teenager when he commenced a friendship with guitarist Fred “Sonic” Smith in 1963. Fans of the blues, R&B and the revved-up surf sounds of Dick Dale and The Ventures, Kramer formed the garage band the Bounty Hunters before he and Smith – along with vocalist Rob Tyner, bassist Pat Burrows, and drummer Bob Gaspar – became The Motor City Five in late 1964. Using Lincoln Park, Mich. as their launching pad, the MC5 as they eventually came to be known, began to test the waters of distortion and heavy feedback in its songwriting and live sets. By 1965, the MC5 replaced Burrows and Gaspar with the much heavier-sounding bassist Michael Davis and drummer Dennis Thompson, and by 1966, took on the regular gig at Detroit’s Grande Ballroom. From there, they happened onto John Sinclair, a radical political writer and White Panther Party leader nicknamed the “King of the Hippies” for his founding Trans Love Energies and its blend of underground events and manifestos. By 1967, Sinclair became the MC5’s manager, made them the official house band of the White Panthers, and fueled their radical politics.

Discovered by Elektra Records A&R executive Danny Fields during Chicago’s Democratic National Convention, the MC5 recorded its debut album, “Kick Out the Jams,” live at the Grande Ballroom on October 30 and 31, 1968. Though the initial reaction was enthusiastic, Tyner’s scream of “Kick out the jams, motherfuckers!” on the album’s title track kept their 1969 debut out of major department stores until Elektra issued a censored version of their debut against the band’s wishes.

Forever banned from the radio and besieged by government agencies for its socio-political militancy by 1972, the original group split, leaving Kramer to become, in his own words, a “small-time Detroit criminal.”

In 1975, after forming R&B band Radiation, with Melvin Davis, Kramer was convicted of selling drugs to undercover federal agents, and was sentenced to four years in prison.

The Clash paid tribute to Kramer on their “Jail Guitar Doors” with the lyrics “Let me tell you about Wayne and his deals of cocaine, A little more every day, Holding for a friend till the band do well, Then the DEA locked him away.”

Incarcerated at F.M.C. Lexington, Kramer became friends with legendary trumpeter Red Rodney, and played together in the prison band, Street Sounds. No sooner out of jail in 1979, Kramer began doing session work in Detroit, joining Was (Not Was) on its first, eponymously-titled album and tour.

Kramer also teamed with one-time New York Dolls guitarist Johnny Thunders in the band Gang War in 1979, and produced a handful of punk acts during his time in New York City such as GG Allin and the Liars. By 1980, Kramer became the toast of NYC underground clubs such as the Pyramid where he performed excerpts of his R&B musical, “The Last Words of Dutch Schultz,” that he had written with British author Mick Farren – all while working as a carpenter in New York under the guise of “Mattiello of Manhattan”.

Kramer also began a stellar solo career in 1991 with “Death Tongue,” but truly made his mark when he got to the Epitaph label, and works such as “The Hard Stuff, (1995), “Dangerous Madness” (1996) the beloved “Citizen Wayne” (1997) and the live record “LLMF (LLMF (Live Like A Mutherfucker).”

Along with staying socially active throughout the 2000s, in 2001, Kramer and his manager-wife Margaret Saadi Kramer began the MuscleTone label where he released his 2002 solo album, “Adult World.”

Kramer also became famous for his side-job, scoring for film and television with credits in the Will Ferrell comedies “Talladega Nights: The Ballad of Ricky Bobby” and “Step Brothers,” the theme song for Fox Sports Network’s “5-4-3-2-1, Spotlight,” and HBO’s “Eastbound & Down.”

Posted in homepage | Tagged , | Leave a comment

NORMALITY MALFUNCTION

DADA, POP ART AND NORMALITY MALFUNCTION

 

The cultural landscape is like a labyrinth, or ‘The Garden of Forking Paths’ described in a short story by Borges. At every twist and turn there is a bifurcation, every tendency or movement of distinct character has its antecedents and precursors, its splinter groups and secessionists, its side effects and unforeseen consequences. Just occasionally it is possible to unmask the normative injunctions of repression embodied in the reactionary dogma of autonomous, transcendental values, that ‘spirit of seriousness’ (l’esprit de serieux) identified by Jean-Paul Sartre as the antithesis of freedom.

 

The End of the Victorian Dream

With their fascination of urban life, show business and modern communications it is quite possible to identify Aubrey Beardsley and other late Victorian Decadents as precursors of Pop Art. Similarly Arthur Rimbaud, in the ‘Alchimie du Verbe’ section of Une Saison en Enfer recalled how he found the celebrated names of painting and modern poetry ‘laughable’. He preferred ‘stupid paintings’ or stage sets, ‘popular engravings’, old operas and ‘ridiculous refrains’, not to mention erotic books with bad spelling. Rimbaud has cult status in US Pop Culture thanks to celebrity endorsements from Jim Morrison and Patti Smith.

There is an anarchic tendency in Modernism that subverts ‘high art’ and ‘serious’ elevated Arnoldian, Victorian notions of culture as ‘sweetness and light’, questioning ontological and epistemological certainties.. This anarchic tendency can be amplified by the incorporation of external or ‘exotic’ influences that contradict existing, traditional and academic representational conventions offend middle-class Puritanism or derail the validity of utopian ‘revolutionary’ alternatives.

For example, an important feature of Beardsley’s graphic work was the incorporation of Japanese design elements. The discovery of Japanese art, especially woodblock prints, by many Western artists was a prime factor in the establishment of a more ‘modern’ look to pictorial imagery. The austerity and simplicity of ‘traditional’ Japanese style pushed artists into a new approach, freeing them from nineteenth century academic conventions. For Beardsley, as explained by Linda Zatlin, the influence of Moronubu and Hokusai provided an escape route from both Classicism and Romantic Medievalism, allowing Aestheticism to challenge Victorian clutter and the domination of Ruskinian realism.

Beardsley’s described his new style as an art of ‘fantastic impressions, treated in the finest possible outline with patches of Black Blot.’ In his illustrations for Salome (1894), the exploitation of Japanese style, incorporating calligraphy and other unexpected approaches to format (the use of borders, fine line and general pictorial composition) created an overwhelmingly novel effect, a ‘perversion of the Victorian ideal’ (Zatlin). By these means Beardsley became a pioneer of Art Nouveau and changed the look of Western visual design forever. These elements of style, the ‘fantastic impressions’, the austere linearity, the problematic moral content, the non-Western influence were all ahead of their time, intimations of shifting cultural trends, a new twist to the idea of The Modern. Fantasy, claimed G S Kirk, ‘expresses itself in a strange dislocation of familiar and naturalistic connections and associations.’

 

The Anti-Hero of Anti-Art

In The Cubist Painters (1913) Apollinaire asserted that a new kind of art was capable of producing works of power not seen before, even fulfilling a new social function. To reinforce this idea he used the image of Bleriot’s aeroplane ‘carried in procession through the streets’ just as, in times gone by, a painting by Cimabue was ‘once paraded in public procession’. This was the conclusion of a short discussion on the work of Marcel Duchamp (1887-1968), described as an artist ‘liberated from aesthetic preoccupations’.

 Commentators like Jacques Barzun saw ‘Abolitionism’ as part of a reaction to the Second World War, but, in fact, an anarchic, ‘near-nihilist’, anti-art tendency was gaining ground much earlier – perhaps the Richard Mutt Case of 1917 signalled another watershed in the relentless dissolution of the old order. One must certainly note the historical significance of the moment when Marcel Duchamp decided to abandon painting in favour of the Readymade. One must note also that Richard Mutt’s ‘Fountain’ still attracts enormous interest at Tate Modern and, as Patricia Roseberry observes, ‘anticipated by many decades the sort of art which receives general attention and provokes discussion’.

Clearly, Duchamp – whose iconoclastic spirit presided over many aspects of the post-war Neo-Dada scene, from Fluxus to Nouveau Realisme, from Kinetic Art and Op, to Conceptual Art – was the prime instigator of anti-art – he was, one might say, the anti-hero of anti-art.

By 1912 he had rejected the direction of the avant-garde Cubists which he found far too narrow, or to use his terminology, too ‘retinal’. Duchamp realised that the self-reflexive materiality of abstract painting would, sooner or later, lead to dead end; a view that had already been articulated by the Vorticist, Wyndham Lewis.

One of Duchamp’s responses to this situation was the innovation of the Readymade.

The Readymade, a precursor of Conceptualism, exemplifies two facets of estrangement: displacement and transgression. It was a mass-produced artefact chosen by the artist on the basis of neutrality. All of these objects, including, among others, the Bicycle Wheel (1913), the Bottle Dryer (1914), the Snow Shovel (‘In Advance of a Broken Arm’, 1915), Comb (1916), and the Urinal (‘Fountain’ signed ‘R. Mutt’, 1917) represented a radical shift away from the tenets of orthodox aesthetics. These anonymous objects, displaced from their utilitarian contexts, actualised on the physical plane a disconcerting element of Modernity – an element eventually identified as ‘surrealist’.

Partaking of black humour, they also displayed an affinity with the displaced objects that featured in works of the Scuola Metafisica, paintings such as ‘The Evil Genius of a King’ (1915), ‘The Enigma of Fate’ (1914) and ‘The Disquieting Muses’ (1925) by Giorgio de Chirico, master of post-Classical alienation. This proto-surreal, disquieting element can be traced back to the art of previous phases, for example the ‘weird’ Classicism of Piranesi and Fuseli, or David’s ‘super-cool’, unfinished ‘Portrait of Madame Recamier’ (1800), all the more effective for its unfinished state.

A transgression of normal expectations, displaced objects occupying physical space in the ‘real’ world, outside the picture frame, Readymades represented a ‘radical’ aesthetic violation soon to become the basis of Dada.

Like Duchamp, Dada (established in 1916 at the Cabaret Voltaire, Zurich) dissociated itself from both the ‘official’ avant-garde and from the overarching moral (religious) narrative of social respectability and bourgeois complacency, a narrative of pernicious complacency seen as a cause of the First World War. In a diary entry dated June 16, 1916, Hugo Ball, the Magic Bishop, referred to the Dada enterprise in terms of theatrical entertainment: ‘the ideals and culture of art as a program for a variety show’. Performances at the cabaret involved Bruitist Music, Simultaneous Poetry and Cubist Dancing. Huelsenbck said ‘the liberating deed plays a most important role in the history of the time.’

Dada publications were produced in a suitably ‘radical’ manner that still seems fresh today, incorporating extreme typography, startling photographs, montage, collage, overprinting, disrupted reading order and a close intermixing of word and text just like a Web Page. This explicit rejection of the official avant-garde by Dada, and later by the Surrealists, can be seen, in hindsight, as an early stage of a ‘Post-Modernist’ sensibility. For the Dadaists and their allies, like Duchamp and Picabia, conventional or established Modernism was closely allied to, if not identical with, a failed, once revolutionary ‘avant-garde’. But this was now a pseudo-radical avant-garde because it had become ‘official’. It was internationally accepted by the cultural elite and consequently assimilated into the global art market system.

This official avant-garde could no longer drive change – change required total demolition – Dada was the first stage of the Post-Vanguard era, the precursor to various aspects of Post-Modernism because it had moved beyond the prevailing normative definition of Modernity. As a phenomenon Dada was a ‘normality malfunction’, it was a breakdown of accepted standards, it was a violation of the prevailing order: it was the cultural equivalent of a ‘wardrobe malfunction’ or defaut de fonctionnement de garde-robe. Dada and Surrealism were ‘Post-Modern’, because they superseded Modernism as a radical movement and prefigured subsequent developments such as Pop. It was a continuation of Duchamp’s rejection of Cubism, confirming the idea of an alternative, divergent lineage distinct from Late Modernism. Tristan Tzara went further and claimed that Dada had nothing at all to do with Modernism.

 

Mass Production and the Final Fade Out

It was the Neo-Dada Pop Artists who became the post-war advocates and heralds of this new era, this emergent meta-culture. For example, far from seeing the consumer society as a nightmare of cultural degeneracy, the London Independent Group (IG) formed in 1952, set out to ‘plunder the popular arts’ with, according to Richard Hamilton, the strangely archaic objective, of recovering ‘imagery which is a ‘rightful inheritance’. Curiously this was seen as a way of protecting the ‘ancient purpose’ or Primitive role of the artist. On the other hand, for Edward Lucie-Smith, Pop was about ‘the tone and urgency of the modern megalopolis’ an attempt to forge an art of ‘majority living’ for ‘men penned in cities and cut off from nature.’ By coincidence it was also in 1952 that researchers ‘re-discovered’ the earliest known heliographic image, Niepce’s ‘View from the Window at Le Gras’, hidden in a family attic.

For the guru of British Pop, Lawrence Alloway (1926-1990), Greenberg’s type of cultural politics was redundant and ‘fatally prejudiced’. Alloway revelled in the anti-academic style and iconography of the ‘mass arts’, seeing the pejorative use of a term like kitsch symptomatic of an outmoded view. He looked at the art world and saw the collapse of an intellectual elite fixated on upper class ideas and ‘pastoral’ representational conventions; an elite who could no longer set aesthetic standards or ‘dominate all aspects of art’, as had been the case in the past. Furthermore it was an elite that had assimilated for its own purposes the traditional agenda of the avant-garde, which was now a diluted and spent force, a ubiquitous, corporate International Style. There were anodyne abstract paintings in every boardroom and office lobby. The grand narrative of stylistic internationalism had become dissociated from the popular base, a phenomenon apparent in all spheres and not just architecture and avant-garde art. In music for example, Schoenberg’s ambition that composers of all nationalities would move towards the dodecaphonic method proved hollow. In terms of general cultural significance Derek Scott is surely correct when he observes that ‘the 12 bar blues may be said to have greater cultural importance than the 12-note row’.

Mass produced ‘urban culture’ was to provide the raw material for different type of art. Fascinated by a world of movies, television, production lines, advertisements, fashion, pop music and science fiction, the IG simply accepted all this as ‘fact’ – as a tissue of signs, or as a form of information exchange. In popular art, asserted Alloway, there is a ‘continuum from data to fantasy’ and Pop artists were engaged in a kind of anthropology of the meta-culture. The notion of an autonomous, disinterested ‘fine art’ was completely rejected in favour of a Space Age populism, seeming, in hindsight, to synchronise with official doctrines of nuclear optimism like ‘Atoms for Peace’ (1953).

By 1959 kinetic artist Jean Tinguely (1925-1991) had developed his metamecanique Meta-matic machines for ‘do-it-yourself abstract painting’. Meta-matics were portable, tripod or wheeled devices with co-ordinated drawing arms. ‘Meta-matic No 14’ was a hand-held drawing machine shown at the Art, Machine and Motion event (a typical Neo-Dada provocation) staged at the ICA in London. Operated by a girl in fishnets dressed as an usherette, the device produced numerous Abstract Expressionist works for distribution amongst the audience.

Tinguely also developed the ‘Cyclomatic’ a pedal-powered version of the device constructed from welded scrap metal and bicycle wheels. At the ICA event cyclists mounted the machine in turns competing to see who could produce a mile long abstract painting in the fastest time. Closely related to the ‘Cyclomatic’ was the ‘Cyclograveur’, a static pedal-powered device capable of drawing on a blackboard.

Earlier in the same year Tinguely had shown his Meta-matics at the Iris Clert Gallery in Paris at an event attended by Marcel Duchamp. This was the final fade-out of the revolutionary avant-garde, the negation of the art object in favour of informational media and delirious Cold War Space Race techno-fashion. Catsuits, PVC boots and body armour – these were the new objects of desire. This was the beginning of a new age of normality breakdown – it was the end, of an era; it was the beginning of a designer Space Race.

 

 

 

AC Evans

 

 

 

Posted in homepage | Tagged | Leave a comment

Colin Ward: Everyday Anarchy

An audio documentary to celebrate the life and work of the British anarchist Colin Ward and to mark the centenary of his birth in 2024.

Colin Ward was far from the stereotype of the black-masked, bomb-throwing anarchist, and yet until his death in 2010 he was the foremost writer – and one of the greatest thinkers – of what remains a misunderstood philosophy, but one that has a profound relevance for us today. His greatest belief was in people, and that freedom is a social activity, but most importantly that it is always rooted in the local and the everyday. 

To mark the centenary of Ward’s birth in 2024, Patrick Bernard – an audio producer based in Norwich – is crowdfunding an audio documentary about Colin Ward which tells the story of anarchy in the UK through his life and work, and an alternative history of the 20th century seen from an anarchist perspective.

The documentary will be recorded and edited in spring/summer 2024, and then it will be broadcast later this year on Resonance FM – a community arts radio station based in London – and at a series of events and exhibitions which are currently being organised. 

In the documentary we will hear from contemporary experts and practitioners in the many fields that Ward wrote about during his long and varied career – from allotments and architecture, to planning, education and the environment – and who are still influenced by the ideas in his books and the many articles he wrote in newspapers and journals such as Freedom and Anarchy

We will also hear from friends, family and fellow anarchists, and from the man himself in the wealth of archive material that he left behind – from his many media appearances to interviews and recordings from his and other personal collections – but also in classic books such as Anarchy in Action, Arcadia for All, Cotters and Squatters and The Allotment which continue to be read, reprinted and republished.

The documentary will track the progress of his anarchist education and ideas, from his childhood in Essex and early exposure to anarchism; his experience of the war and involvement with the Freedom Press group and trial; to finally becoming a founder and editor of the journal Anarchy. It will also follow his professional career which ran parallel to his anarchist activities, beginning with his apprenticeship as a draughtsman to the architect Sidney Caulfield, to his role as an Education Officer within the Town and Country Planning Association. 

We will discover how his life and work went hand in hand, and how his many personal and professional interests are reflected in his writing – for example, how the pioneering work he did at the Bulletin of Environmental Education inspired his books Streetwork and The Child in the City which explore the relationship between children, play and the urban environment, and what it reveals about the experience of and wider participation in society. 

We discover that anarchy is not – as it is commonly (and mistakenly) understood – simply about a lack of power or authority, but is instead a highly complex theory of organisation. Colin Ward’s anarchism was neither utopian or sectarian but practical and pragmatic, based in the here and now, the local and the everyday. Anarchy for him was not an ‘indefinitely remote’ goal but always already in existence, or to use one of his favourite phrases from the novelist Ignazio Silone, like ‘seeds beneath the snow’ which had only to be nurtured in order to grow. 

From allotments to plotlands, holiday camps to adventure playgrounds, anarchy exists wherever and whenever individuals choose to voluntarily associate and co-operate with each other in the pursuit of their personal and collective goals – many listeners may be surprised to learn that they are themselves anarchists!

This is a unique opportunity to tell the story of a rich and overlooked tradition in British thought – and a radical alternative to mainstream politics – which found its greatest advocate in the figure of Colin Ward. Anarchism is a philosophy that continues to challenge many of our most deeply held beliefs and assumptions, but it also provides a vital lesson in how the world might be transformed not from the top down but the bottom up – like a seed beneath the snow.


The producer

Patrick Bernard is an audio producer based in Norwich. He has worked for several years at Resonance FM – a community arts radio station based in London – and has produced documentaries on a wide range of subjects, from the German writer W. G. Sebald and the Yiddish poet Avram Stencl to the role of translation in the French Revolution. His first feature for the BBC, ‘Learning from the Great Tide’, about the North Sea Flood of 1953 was broadcast in January 2023. Please visit his website for more examples of his work. 


The crowdfunder

The documentary will be independently produced by Patrick Bernard – from research and writing to recording and editing – and your donation will help to fund the project and cover the costs of production including time, travel and expenses.

The project is not-for-profit and any remaining funds that are not used in production will be split between Freedom Press – which is currently fundraising to improve their building – and Resonance FM which also relies on donations from their supporters.

Support the project here.

 

 

 

Posted in homepage | Tagged | Leave a comment

Zephyr Sounds Sunday Sermon No. 159

Steam Stock

Tracklist:
Ennio Morricone – The Strong
Lynyrd Skynyrd – The Seasons
Hannah Dean – Strange Man
Led Zeppelin – The Battle of Evermore
Joni Mitchell – Cold Blue Steel and Sweet Fire
Beck – Beautiful Way
Beck – Morning
Beck – Rowboat
Johnny Cash – Dark as a Dungeon (live)
Waylon Jennings and the Kimberleys – Drivin’ Nails in the Wall
Frank Black and the Catholics – Dog in the Sand
David Crosby – Tamalpais High (At About 3)
Peter Drake – Lay Lady Lay
Jim Reeves – He’ll Have to Go
Bobbie Gentry – Seasons Come, Seasons Go
Lynyrd Skynyrd – Free Bird (Muscle Shoals original version)

 

 

 

 

Posted in homepage | Tagged | Leave a comment

Resonances and Natural Endings

 

Musical ruminations – thinking about life and dying: Alan Dearling shares images and some thoughts

Spaces, sounds, memories – the ‘Resonance’ music and light installation event was crammed full. Potential audience members were turned away. It was the first in a planned series to explore the relationships between places, people, sounds, arts and more…  After initially being advertised to take place in the 9A Projects Gallery at Robinwood Mill, it was relocated to the former Royal Mail sorting office in the heart of Todmorden, when the anticipated number of attendees looked likely to overwhelm the gallery.

‘Resonance’ proved to be more akin to a concert ‘happening’ rather than just another gig.

The advance publicity informed us: “Resonance is an exploration of the harmonic relationship between light, sound, and settings in some of the Calder Valley’s most ethereal and intriguing spaces.”

The old sorting office is the relatively new home of ‘Natural Endings’. It’s one of the increasing number of service providers who offer support provisions for funerals. Many are much more ‘celebrations of life’. Indeed, I recently attended one such occasion to remember the life of my neighbour, Karen Devlin.  It’s really positive that there are now many more such ‘celebrations’ of people’s lives, rather than traditional funerals. Karen’s event was one where positive memories, music and poems were shared about the colourful life she had led. This included her poetry, her fondness for Ireland, activism on nuclear disarmament and her love of folk music. For me personally it offered an opportunity to offer ‘Luv ‘n’ respect’ to Simon, Karen’s son and the rest of Karen’s family and friends…

At the initial opening of ‘Resonance’ the audience was informed by the owner of the building whose wife is one of the directors of ‘Natural Endings’ – about its historical use by the Post Office, its funeral services, the provision of eco-friendly coffins and the use of the building for non-commercial, non-boozy or noisy gatherings. Then, the room lights were dimmed and John Haycock,

amidst swirling light patterns commenced creating his own textures of sound, firstly from his clarinet and then kora. The attentive and packed-full audience, with many seated on cushions on the floor, were transported into a world of ambient harmonics. John used loops and overlays of sounds from both of his instruments, melding kora strings ringing into and above bass-inflected woodwind echoes. Fragmentary moments, ominous rumblings, transcendent shimmerings, sound images flying through the air using spatially separated speakers around the room. Sounds like waterfalls, sounds of impending darkness.

It was a musical journey…resonances in an unusual space, as darkness began to envelop Todmorden’s old postal sorting office.  

It ended with an appreciative wave of applause, after a simple musical coda that was perhaps surprisingly not unlike ‘Three Blind Mice’! Overall, an odd, sometimes mystical, sometimes entrancing, spectral mix of sounds and lights experience. A visual and auditory set of sensations locked inside an intimate, almost claustrophobic kind of physical space. Almost a ‘presence’.

Natural Death

I was quite a close friend of Nicholas Albery and we worked on a number of conference events, writing and book projects. In addition to being one of the original architects behind various alternative press and information services in the late ‘60s and ‘70s in London and beyond, he helped to create the alternative Free State of ‘Frestonia’ in Notting Hill. He was also the founder director of the Natural Death Centre (1996), and as he said towards the end of the 1990s, “Today, an increasing number of people want to organise at least part of a funeral for themselves, without depending on funeral directors. THE NEW NATURAL DEATH HANDBOOK shows you how to do everything from ordering a coffin to hiring a horse-drawn hearse to finding a woodland burial ground (where a tree is planted for each grave instead of having a headstone).”

Natural Endings are located in Todmorden in Calderdale and Manchester. They offer a range of funeral-related services, including  DiY options:

What they describe as ‘Creativity to support your time of loss’.

“We love it when families pay tribute with their own skills. We have lots of experience of supporting families and friends to; decorate the coffin, craft items for the funeral, decorate a venue, play live music, write and/or lead their own rituals.  We look forward to seeing what you create.”

Natural Endings website:  https://naturalendings.co.uk/

John Haycock: https://john-haycock.bandcamp.com/

 

And, remembering Karen…

 

 

 

 

Posted in homepage | Tagged , , | Leave a comment

…. gives Jews a bad name

 

By Khidori M Khidori

London

 

As Confetti from Heaven fell
A harbinger of imminent Hell
Baby suckles mother’s breast
Minutes later, both are dead

Gives Jews a bad name

Big arrows signposting grids on maps
Women with pots, children with pans
Toddlers toddle, holding hands
A human herd, Serengeti on sands  

Gives Jews a bad name

Young limbs with name tags
Shrouded corpses in neat bags
Pickaxe digging grave, the tempo
For a last farewell crescendo

Gives Jews a bad name

Stricken boy, ashen face
A veteran at a tender age
Piercing eyes, defiant stare
Anguished soul, full of rage

Gives Jews a bad name

Gaza in ruins, Population displaced
A million driven from their land
No fuel, no water, no bread
Desperate people, envying the dead

Gives Jews a bad name

Far away, a solitary hand is raised
Holds gun, takes aim, FIRE
Humanity bleeds, 
Holds head higher

Gives Jews a bad name

Civilians lay slain
A white flag with blood stain
Genocide, the ultimate aim
Gives Jews a bad name

 

 

 

/

 

 

 

Posted in homepage | Tagged | Leave a comment

A RETURN TO THE ROOM


       Poster: Ben Wickey

 

On SWEDENBORG’S LUSTHUS (The Swedenborg Society, 2024. Ed.  Stephen McNeilly)

 

This is a special book made from a semblance of shadow;
Being Stephen McNeilly’s curation of much of what Swedenborg
Still bestows. As a collection is made from artist visitations
To Emanuel’s Stockholm eyrie, in which an 18th Century shed
Becomes sacred as we in the present get to see and sense

All we owe. Starting with Iain Sinclair, McNeilly’s mix sent
To Sweden included Bridget Smith, Ken Worpole,
Anonymous Bosch, Chloe Aridjis, Ben Wickey, with Arne Bionstad
And Hjalmar Gullberg as Swedes themselves closer still,
In order to examine the room in which Swedenborg sifted spirits,

Just as Strindberg later, attempted gold from bath swill.
But in this book, visions swirl as each practitioner finds perfection
Through both their responses and the aura still resident in the air.
Which can be sensed from Deborah Levy’s introduction,
Whose scented words have for decades made each page

She has spun gold and glare. One inhales her books
And her plays as she prepares the ground for our reading,
As her summerhouse treatise ‘Angels and Other Things’
Weaves its spell.  In which Levy relates her personal tour
Of word shelters, from North London to Paris and on,

To Aegina, where, watching close and writing glazed
By sun and by silence, she sees ‘God in a squirrel’
And works from ‘the end of love ..to elation’ and all

In the context of Swedenborg’s Lusthus as perfect patina.
It starts this beautiful tome, sensual to the touch,

A green shadow, with its Greek Yoghurt-like pages,
And seductive Quinn Fizzlers design, sheltering like a shed
These time-bridging contents; each page is a wall made
For mounting that which becomes possible now to define:
Some sublime sense of place and of the memories held

Within it, for just as mirrors store reflections (or so it is said)
So, these stories through either pen or lens seem to find
Their way back to the source. As Ken Worpole studies Poetics;
Tracing the time and tide between these garden temples
With his Historian’s skill; line as mind. And where Architecture

Naturally, becomes city landscape and texture, and where
These sheds make cathedrals of whatever scale, Gods to find.
‘The Poetics Of Small Spaces’ is pure tract, making deities
From domestics, dedicated reconstructions are reflections
Always, shadows torn  from the light left by trees

Which centuries on still observe us, and who once moved
While the writing that spurred this Society on was first sworn
And thus, sanctified, as with Bridget Smith’s green room
photos, in which wall and table are temple and Upstage
Centre window is a stained glass frieze of Oiled trees.

Painted by God, or by Emanuel’s spirits, who in arranging
Nature now nurture the tale’s mysteries. Selected now
By Sinclair whose prose is both Saint and Serpent, moving
Myth with word muscle, as his sinous style sets ghosts free.
As he details his journey this time, Sinclair scoops up

Found flavours, from Mary Woollstencraft, Ingmar Bergman,
Gomez Barcena, Arthur Machen, M. Moorcock, his stormcock
Bidding and ready to ride each strong wind, carried across
London air and into the Scandanavian without effort, as ghosts
In the garden linger amused by our sins, which Sinclair,

As a  former landscape gardener also saw, as he moved
From books to roses and back to books, blooming in him.
Swedenborg remains template, and the Lusthus recreation
Is needle in the tempest eye of thought’s storm. Sinclair
When he writes always unifies with his subject, drawing all,

As a wormhole, there are no divisions between him talking
To us and where Swedenborg sat. Ghosts grow warm.
As these two men share a seat, even as Sinclair’s walking
o him. Swedenborg’s conversations with Angels
And with possible Devil’s too taints the page. As the past

Is unearthed and the spirit soil freshly tendered,
Reverence and reference fusing, so that this new Lusthus
Is authentic and set once more for art’s stage. Suitably,
The Strindbergian strain is now Anonymous Bosched
Into being, as his stunning photographs capture

Not only the shed, but the time, as his pinhole camera
Points to the past with uncanny perfection, as this would
Have been the way to see Emanuel, August, and Henrik,
And William too, through light’s line. The pictures seem
To shimmer and shake, despite their relative darkness.

They seem as rushed and as settled as each and all memory.
Transporting you back one world, or maybe three or four,
Until you’re standing with Swedenborg in 1747, and in so doing,
Becoming your own death’s enemy. Each page is a portal
Once viewed. And that is the idea of this volume.

A gallery for the reading  and communion with the past.
As Chloe Aridjis essays in her first person stories
Of Skansen Summerhouse Guide, site sprite Hustomte,
And elder Poet, a trio of voices from which her time
Tainted tales have been cast. Aridjis defines the legacy

Of our mystic whose links with London have been declared
By Sinclair. But these three voices explore the influence
Of location, and of invocation as Emanuel urges all, like a dare
To become something else, as Aridjis does with her writing,
For by blending beings Swedenborg’s scope is revealed,

Implying of course the need for insistence that many more
Should know of him, for just as this society teaches,
So the cultural surround still conceals. General ignorance
Overwhelms. So a return to such rooms become crucial,
For within them, the ritual from which writing breaks forth

Splits the seal of convenience stamped by the narrow
Minded. Swedenborg is Sophocles, Schulz and Stoker.
He is Alan Moore, Borges, and any magus, whose wall
Becomes your mind screen. Salinger refused to share his,
But the ritual remains to be savoured. It is there

In Gullberg’s Lusthuset poem and in Biostad’s restorative
Photos, which see the Lusthus recreated: monochrome
Studies which somehow show garden green. McNeilly’s elegant
Essay concludes. taking us through the grounds of Skansen’s
Open air light musuem, the current set for Swedenborg’s

Visions, and where is perfect play is performed. We receive
The books rationale, which bares endless iteration:
As this is a man and a magic and a myth as well to transform
Every line, light and life, uniting all nations. In city,
Or country, garden or grave, we align.  It is there in Deborah

Levy’s idea and in the history Worpole details. It is in Iain
Sinclairs starred connections, Aridjis’ actors and in Bosch’s
Kidnapped time. Ben Wickey’s poster cartoons and brings
Swedenborg back before us. Emanuel’s Bibliography bibles
As the room is returned. Page as sign.

    

 

                                                                            David Erdos 31/1/24

 

 

 

https://www.swedenborg.org.uk/product/swedenborgs-lusthus/

https://www.swedenborg.org.uk/events/exhibition-swedenborgs-lusthus/

 

 

 

.

 

 

Posted in homepage | Tagged | Leave a comment

   MADE FROM THE MOUNTAIN

                                               

                                 On Zapo’s El Sueno Alpajarreno (Zapo De Ray, 2024)

 

 

The sound has been sent straight down from the mountain
A dream made from whirring, from pulse and from peace
And strange air, as if Zapo Zeppelined, in a ship of cloud
To watch over, soothing a scarred land with shadow,

And yet always behind these soft sigils are the signals
To heed: sound as flare. As this mountain dream manifests,
Creating a different world for our thinking, in which cry
And clatter shimmer as songs and ear dares,

As this aural animal moans, or weeps, or sings to us,
Sharing once more its dream vision, while darkly reflecting
And harmonized with nightmare. Dream Expansion is ghost,
Glimpsed in the day, galvanizing. Summoned by sound,

Wide-eyed, faceless, it swallows you, it consumes.
As if cloud were gas, a boneless form, sucking structure;
Burning you slyly as the sonic palette is painted by so many
Slo-mo fumes. Gnomic, knowing, electronica teaches,

Persuading you, from position into its unknown port
In space that Zapo’s music soundtracks, as a Black Hole’s
Soul finds its singer and you are emptied and transported
To this alien realm, this new place,  where we are the Martians

Or those for whom there is no name to speak of,
And where Buzzin’ Trees blister, with a slide of soft strings
Shimmering. Suddenly we walk the roads Roeg prepared
So that they could be trespassed by Bowie, the man

Who fell to earth moving skywards, as each clouded
Chord starts to swing and usher us up, into evolution,
The stop-start aping progress for the angel-primate
Who pines for something greater perhaps,

Than a dark-eyed dream, or moon steaming,
As it too turns over and the vapour in vision
Makes everyone listening question time.
Zapo now lives in Spain, having exchanged

Both London and Scotland, and the beach
He sound-ballads in being tourist free, is sublime
As he plays glaciers, not made of ice but thick climate;
Comprising the steam of sand under sunlight,

Or the movement of weather wisps as they tumble
In an out of sight, light and mind. What could be
A haunted harmonica plays, and addled Larry Adler,
Or hope-stung Peter Hope Evans, both mouth organists

To the stars, while Gil’s guitar stutters on, and the sea
Starts its sifting, removing us as the fragments, not of gold,
But mud staining, for in blurring the beach humans scar. 
And yet once passed, once sealed, the Dead

Supercede us; by becoming Other they get to
Truly refine what we are. And a pretty pop-synth line
Soon heals, if not the damage done then the suture,
As Zapo’s sonic future song makes the top ten in some

Alien chart, played as unimaginable beings recline
Star/sunbathe and loiter, sipping blood and plasma
Outside of a Lucas dreamt Den or Bar.  El Sueno Alpajarreno
Is balm to what has been burnt in past albums. It reflects

The poise of its player, as he sits back now from the world
And anticipates more, drawn from the darkness
He can still see despite daylight; from mountain breasts,
Mind-milk lavas, and is a potion of sorts, a spell hurled   

Across the abyss and into abandon. The Dead Live Above
The Living and once more astral country has a flag
Of sound that’s unfurled. No River in The Rambla concludes
And carouses with crickets. A heavy chord glistens,

As a Lonnie Smith line charts a course across myth
As mood, scored by alien insects and also peace, so long
Sought for, as Zapo epitomizes that force that Science Fiction
Translates, and Eno, Budd and Sylvian search for.

Along with Shulze, Froese, and Fennesz, as we Coppola-like
Attain drift, along a river of sky, or whatever it is space
Is made from, as distant clatter like climate, caused by
The distruption of life brings the gift of incident

And intent; of chance, fate and fortune; of good or worse
Dispositions, as we cling like leeches to the slow spun rock,
Spirits lift to become one with the air, that can longer
Be inhaled by the human. As the sounds elevate us,

We turn in time towards those who will speak to us
Through the tone, or through the type of song Zapped
Before us. Return from this Rambla to the origins
That you, living narrow would not even want God to show.

Skin separates. Sound begins stitching.
The Mountain masks dissolution.
Our life dissolves.

The truth grows.

 

 

 

                                                                David Erdos 2.2.24      

 

ZAPO

“El Sueño Alpajarreño”
 
I moved to a little town in the Alpajarra mountains in Spain late last summer surrounded by the imposing Sierra Nevada with no distractions bar the colossal mountains, river-less valleys and secret beaches. 
I began recording everything, the waves washing in on the shore, the crickets in the Rambla, the buzzing tree full of wasps next to the house and made this album in tribute to the dream of escaping London and living peacefully and simply, closer to nature.
 
enjoy the trip
 
 
 
.
 

 

 

Posted in homepage | Tagged , | Leave a comment

The Son of Man

Him, Geoff Ryman (Angry Robot, £9.99)

Geoff Ryman’s publishing career has been notable – in addition to its creative brilliance – for the fact that each book creates an entirely new world. The Child Garden imagines a swamp world around London, with the human race affected by genetic modifications and a hive mind, whilst Air imagines a world where the internet becomes alive, in the air, and everyone is automatically connected. In between those two there was 253, an internet hypertext (later published as a book) which presented brief lives of all the passengers on a tube train, and Was, a novel exploring the world of The Wizard of Oz in three interwoven strands: Dorothy experiencing being orphaned and then adopted in the historical Depression era, a gay couple obsessed by the musical film version, and a fictional biography of Judy Garland.

There are others, too, but in his new novel, Him, Ryman takes on an even bigger story than Oz, the story of Jesus. He joins the throng of authors, filmmakers and poets who have reinvented or adapted the story, be that as Shakespearean declamation, hippy rebel, guerilla freedom fighter, madman or quiet subversive; everyone has their own idea, since until recently most people knew the story or stories. However, no-one that I know of, has imagined Jesus (or Yeshu, in this novel) as a girl who not only wants to be a boy but also the Son of God, a precocious child who refuses to answer to her given name or have anything to do with being female.

Whilst some of the blurbs suggest that this novel will upset some readers (Neil Gaiman predicts it will be ‘burnt on bonfires’) I can’t see it myself. In fact apart from the fact that Jeshu breaks some Jewish rules about where men or women can and can’t go in the temple, and what they can or can’t do, the gender issue is an aside for most of the book, as Jeshu makes his way through life as a male, enjoying being part of a gang of boys in his village, and then taking on a manual job for the local stonemason, before the second part of the book arrives and we find him preaching and teaching as he wanders the land with his followers.

This is a book about families, about familial expectations; about societal conventions and norms; about poverty, survival and learning; about male and female psychologies and relationships. It is about the difference between reading and knowledge, about the differences between siblings, and about a mother/son relationship where Maryam comes to accept her child’s dreams and ambitions, his teaching, finally embracing it only for it appear to go wrong. It is a hot, tired and sweaty book, where people try to survive in the harsh deserts and broken villages of an occupied country; it is about monotony, repetition, class and survival.

Jeshu, of course, offers a different way forward. He can heal people and perform miracles but is wary of becoming known for that. He talks in riddles and parables, entertaining and confusing the crowds, who do not like it when he turns serious or starts talking about his death. Slowly the book moves towards where we know it is going… Jerusalem and crucifixion. The entry to Jerusalem, palms waved over a triumphal king on a donkey happens, but almost by accident. Later, in various hearings and courts, Jeshu’s followers try to get him off the hook, released, but he will insist on provoking not only the Jewish political and religious leaders but also the Roman officer in charge of the region. So Jeshu is sentenced to death. Even a last minute legal challenge is thwarted, so Maryam and the others are forced to accept the inevitable.

There is little mysticism or religion in Ryman’s version of things. There is an understated magic, or ability to heal, and ideas about dealing with oppression and poverty, of ‘the Kingdom of God’ and the here and now (we might call it ‘living in the moment’) but it is enmeshed in human struggle, argument and ambition. Jeshu’s followers are broken, selfish, flawed people and have their own ideas of what their leader is saying, and his preaching, lifestyle and actions break up his wider family. It is ultimately unclear in Him what his death achieves, although it seems to be physically manifested by the weather and to somehow reunite him with his mother. There is no resurrection here, nor any suggestion that Maryam is some sort of female deity or saint, although she has repeatedly and matter-of-factly conceived without intercourse.

Ultimately this is a book that humanises the Jesus we know historically existed but that the church has since used to its own financial and power-grabbing ends. Ryman’s Jeshu is confused, awkward, determined and persuasive, whilst his mother struggles with what he and his siblings become, and takes much of the book to accept what is happening before she joins the travelling throng of supporters and hangers-on. Despite a rather awkward and sometimes distancing adoption of Jewish terms and names, the book grapples with human comprehension and understanding when words run out:

          It was too big for words, but that didn’t mean it wasn’t
     true. Too big for words was almost a guarantee that it was
     true.

There is almost too much going on in Ryman’s version of things, his book is full of asides, distractions and red herrings, with little followed through. If the priests don’t know that Jeshu is female by birth but presents as male, it feels that the discussion and argument they have is not changed by the reader knowing. The gender issue feels imposed on the narrative, whereas AIDS and being gay in Was – written at the time of the AIDS crisis – was groundbreaking and timely, as well as being crucial to the story. Here, it is not a focal point of the story in the same way.

Him is an intriguing mix of contemporary values and ideas put within an historical novel that works hard to present a realistic society and geography. Jeshu is out of time and place, an oddity in a society of rules and rituals, one who questions, challenges and provokes everyday expectations and norms, religious convention and God himself. It’s good to meet another version of the central character, whose life is defamiliarised and told anew; even better to have surrounding characters brought to life. Him isn’t Ryman’s best book, but it is an intriguing new version and reminder of a story we already kind of know.

 

 

 

Rupert Loydell  

 

 

.

 

 

 

Posted in homepage | Tagged | Leave a comment

RESTAURANT #3

Jacqueline ordered the scallop sashimi with lemon confit and crunchy toasted buckwheat kernels. Tarquin went for the chicken liver fettuccine, the livers topped with a sweet Marsala-enriched sauce. I was sorry to hear of your husband’s accident, he said. I have no sympathy, sniffed Jacqueline. Snowboarding at his age, I ask you! But at least he’s out of the coma, said Tarquin. That’s good news. Jacqueline sniffed again. It makes little difference if he’s in a coma or not, to be honest. He sleeps most of the time even when he’s awake. She called a waiter over. This looks and tastes disgusting. Take it away and bring me something I can bear to look at and actually eat. Okey-dokey, said the waiter, and sloped off kitchen-ward. I trust Mona is bearing up? said Tarquin. I have no idea, said Jacqueline. She’s rarely at home these days, she’s always off cavorting with her pals and goodness knows what she gets up to. Is she not with Sebastian? asked Tarquin. The waiter returned and placed a dish in front of Jacqueline. What’s this? she asked. Bubble and squeak, said the waiter. Oh, super-duper and yummy-yum. She dived in, and did not speak again until the plate was cleared and licked clean. Then she said, Sebastian? Oh, him. Perhaps. I really don’t know and could not care less. Anyway, I hope you are not lonely at home, said Tarquin, what with absent spouse and absent daughter. If ever you should feel in need of a little company . . . Well, it does get a little lonely, replied Jacqueline, and smiled what she imagined to be coquettishly.

 

Conrad Titmuss

 

 

 

.

 

 

Posted in homepage | Tagged | Leave a comment

Calliope. For Amy Winehouse

Sirius sizzled through the London fog
on the night you were born. Mount Olympus
blew and the sky bellowed
as the grey world shuddered awake
birthing an eclipse:
A lighthouse for the lost,
a nightingale illuminating winter
with blue shade.

Twenty-seven years later; moon spilling
in through the burnt orange twilight
I saw your face in my dream.
Your lashes of black fire and scarlet lips
marching an army of broken hearts
into bliss.

Narcotic, we shuffled through the Camden delta
to your house, soaked the wine in soul
and drank until we were laughed at
by the Gods.

Sometimes I think about that night;
I turn on the radio and you
swim in my eyes once more.

 

 

 

Gary Akroyde

 

 

.

 

 

 

Posted in homepage | Tagged , | 1 Comment

Suspire

The dog lifts its eyes, wants
its place back. I shift
and offer it half of the gray
cement slab, cold this morning,
accented with white syllables of grass.
A few moments and the dog and I
suspire together, together with the breeze,
green, white, gray, the mottled man,
a drunkard, asleep.
The abandoned abbey shines.

 

 

 

 

 

Kushal Poddar
Picture Nick Victor

 

 

 

 

 

Posted in homepage | Tagged , | Leave a comment

Tea

Your teacup didn’t make this circle
although some faint mist exists in
the stilled air stream, and I bring out
Darjeeling from my memory
in our conversation. You wipe the table
as I mumble about my family
leaving the three years old me in the Jeep
for some tea. The handbrake wasn’t pulled;
nothing was neutral; the keychain
hanging from the dashboard shone with
God’s smile. The fall circled the road called
‘Wind’s Loop’, and suddenly all shouted

“See, Kanchenjunga! Kanchenjunga!”
I turned my head and found
one strawberry faced girl asleep
in the backseat. I told everyone about her.
No one saw. No one believed.

 

 

 

Kushal Poddar
Picture Nick Victor

 

 

 

 

 

 

 

 

 

Posted in homepage | Tagged , | Leave a comment

Not

not                              light
a                                  light
political                      light

light                            falls
from                           the
newly                         dead

dead                           light

not a                           political
political light
poem                          light

no                                light
is                                  leaves left
left

 

John Levy

 

 

.

 

 

Posted in homepage | Tagged | Leave a comment

APHORISMS

The great Ever Never

Excessive freedom is perverted freedom

The fallen aquiline flyers

The new old omnipresent

From plagiarizer to Goliath!

Existing as extinct

Normally abnormal

Innovatively regressive

Everywhere from all places…

Opportunely epoch-making!

Sin deifies.

Some hospitals – someone’s Golgotha

A unit of measure for Man: Man on top of Man

He is free, does not depend on himself.

Street anger will not topple the state rule. It will only replace it by its like.

A lone wolf is the wolves’ hunt.

They put zeros to make up for the lack of counting numbers.

He’s the subpeak of every peak and the peak of all subpeaks!

Hate among those neighbours outlived them.

There is no quenching one’s thirst when drinking from the well of ignorance.

Immortality is indiscriminate in its choices. You can just as well be Caligula.

He is devoid of individuality… devoid of nothing.

You may have Seneca as your teacher – but if you are Nero…

They gave up on him only to help him carry on.

Satire is an angry negation of man’s degradation.

Painless execution is the philanthropy of the executioner.

Even animals cry when humans fight.

They wrestled to death gnawing at the bone and left it as fleshy as ever.

Dictatorship is priceless! Even democracy of the highest rank cannot do without it.

It is of no consequence who is in power. Bedpans are universal.

Uniformity knows no boundaries – Globalism is the guarantee.

Stop asking for more! It would have been ok if you possessed a lot but you possess nothing.

Thinking of Paradise triggers the kamikaze.

Man is a function of avarice.

An emblematic writer – the emblem of the status quo.

There is no vaccine against the homo sapiens virus.

Big theft unlike pickpocketing shall not send you to prison.

All are equal on the scaffold.

Goodness wears a straightjacket.

 

 

 

 

 

Dilian Benev
Translated by R. Tomova
Picture Nick Victor

 

.

 

 

 

Posted in homepage | Tagged , , | Leave a comment

no place like home

You can’t be sure someone
yet born is not the enemy.
Best torch it now in its
mother’s womb.

And the toddler with all its
limbs: best remove one or two
lest s/he be an adversary.

And bakers, journalists,
farmers and all, best kill ‘em
for they are them.

And best to collapse the edifice
of shelter for those who reside
on the other side.

Oh, and those slender olive trees,
makers of best emollient oil,
pour fire on their fruit.

 

 

Joan Byrne
Art Rupert Loydell

 

 

 

.

 

Posted in homepage | Tagged , | Leave a comment

WINTER GREEN

 

Watching Hyde United with my Dad and his Dad

in the open, opposite the seating, I never asked

what it was that they were thinking

They’d applaud if Hyde scored, or came close,

and sigh if the goal came from our opponents

but whatever happened
on the pitch felt manageable,

within the realm of acceptable emotion

Usually, it was bitter cold

I saw patterns

evolving, the constant realignment
of positions as play developed, moved
one way and then the other. We were close
enough to the action to smell the embrocation

footballers wore against the weather

Winter Green (don’t put it near your genitals)
I doubt it was unique or clever,

what it was that they were thinking,

Dad and Grandad. Wilf and Norman

But I never asked them. I should have

They might have warned me

I learnt the painful way
about Winter Green
 
 
 
 
 
 
 

Steven Taylor

 

 

.

 

Posted in homepage | Tagged | Leave a comment

Jim Henderson’s A SUFFOLK DIARY

Wednesday, January 24th

My wife came back from the yoga class she runs (Oh Yeah! Yoga!) and wanted to know – in fact, demanded to be told (she is not in a great mood these days) – when they could expect to move back to the village hall, because the old cricket club pavilion is cold and horrible and her ladies are revolting. Plus, she says, all the other groups who use the hall and are currently having to make do elsewhere, like the Under 4s Playgroup, the Christian Youth Club, the Young Mothers’ Knitting Society, the weekly Scrabble Lunch, the Book Group, and Watercolour Art for All Afternoons, are also asking and losing patience. Do not these people realize there was a fire, and we are fortunate to still have a hall at all? Do not they realize it takes more than a couple of days to repair a severely fire-damaged building? I can understand that it might not be very pleasant knitting sat on garden furniture in the open air in January next to the War Memorial, but it will not be for much longer, probably. And surely daubing a few (dreadful) watercolours en plein air is good practice, is it not? Anyhoo, I told her, in no uncertain terms, I did not know for sure, but if her friend Michael Whittingham is to be believed the hall will be up and running again in early February, in time for The Ipswich Players to come and wait for Godot. I should probably not have said that thing about “her friend”, because after several other words we are now not speaking, apparently.

Friday, January 26th

At the behest of John Garnham, the Parish Clerk, there was an emergency meeting of the Council this evening in the light of recent developments vis-à-vis the government’s ongoing plans (if “plans” is the right word for what is so obviously a shambles) for what to do with their unwanted visitors from abroad. It was agreed unanimously that the village’s group set up to prevent them sending their unwanteds to sleep in our village hall – GASSE (“Go Away! Stay Somewhere Else!”) – should be taken off stand-by and put on “Red Alert”, even though at the moment Bob Merchant’s bunch of ne’er-do-wells are still in there restoring things after the fire – or at least, they are in there when they are not propping up the bar in The Wheatsheaf.

There were some administrative matters regarding GASSE that had to be dealt with, one of which was that Bob Merchant, who had previously been the group’s Supplies, Housekeeping and Internet Transactions officer (SHIT) was no longer a member of the group and so had to be replaced. After about a minute’s discussion it was decided that the role was completely meaningless and could be discarded. More importantly, it turned out that not everyone still had their armband, which they needed to wear when “on duty” to let the villagers know they were GASSE officers. (I find this particularly important because in my role as the Advanced Round-the-clock Security Executive (ARSE) I had often to be out in the village late at night, and my wandering around after dark could be construed as suspicious without the necessary identification to produce if and when challenged.) Anyhoo, Miss Tindle has undertaken to knock up new armbands for those who are without.

Finally, Albert Ridley, who has always been a very quiet and sometimes invisible member of the group, has tendered his resignation. He says he cannot be bothered any more, and also his wife does not like him going out in the evenings or, for that matter, in the mornings, or the afternoons. They are both getting on a bit, to be fair, and he will not be missed. He never did anything anyway.

Sunday, January 28th

Saturday evenings in The Wheatsheaf are usually fairly busy but also very amiable. A few “outsiders” pop in on a night out but generally people know each other and get on well enough. So last evening was rather out of the ordinary. It was occasioned, apparently, by Michael Whittingham and some of his cronies returning from the afternoon’s football match in Ipswich, and a bit worse for wear owing to their alcohol intake. I gather Ipswich Town were beaten in an important FA Cup tie by Maidstone Rovers or Town or United or something, a team they should not have been beaten by because they are not even in the Football League (I do not really know about all this, but I bumped into Miss Tindle by the War Memorial this morning, and she “filled me in” – she is something of a football expert, it turns out.) Anyhoo, Whittingham and his pals were in a foul mood because their team lost, and it seems one or two of them got into an argument with a couple of non-villagers and things got out of hand to the extent that there was mild violence in the car park and the police were called. I gather John Garnham took the opportunity to tell Whittingham that his behaviour was unbecoming of a member of the Parish Council, and that by way of reply Whittingham suggested John do something anatomically very unlikely and unhygienic. There is a meeting of GASSE coming up in a few days time, and with Messrs. Garnham and Whittingham both members and officers I am really looking forward to it.

 

James Henderson

 

 

.

 

Posted in homepage | Tagged | Leave a comment

The King of the City

The King of the City is mostly dead cells and urban myth, striding the horizon like the ghost of industry past. Babies fall silent when he stoops to kiss their brows, and it’s said that if he shakes your hand, you’ll never write again. His eyes are numbers that never settle and gesture to meanings you’ll never grasp, and his voice is a promise that sits on the oiled blade of a premise based on nothing but the memory of trust. He holds out a new deal for the desperate, but don’t inspect the details, and he hands over portfolios of programs to settle all accounts, but it’s best not to query the figures. The King of the City’s the King of the World, and his eyes are wandering to the stars. He’s mostly dead, and so is the city, and the babies who lie in the cold back alleys will grow into numbers that won’t add up, and they’ll suck on the myths of rich milk and honey, and they will never need to learn to write their own names.

 

 

 

Oz Hardwick
Picture Nick Victor

 

 

.

 

Posted in homepage | Tagged , | Leave a comment

Light


I cannot call this life a vale of tears
Though raindrops fall upon my feet
Clouds are not my ghosts of fears
For sun bursts through & they retreat

We met, it’s you who brought this light
My eyes for you, measured in this ring     
I’m so happy we share this delight
All we are, not just said, everlasting

Shadows reach from corners of the street
Slide back, then hide in the noonday sun
It’s hot, bright, I feel peaceful, we greet
Hold hands, then embrace, dance as one

Dusk arrives, it’s back to black; I look inside
Pages turned with you; memories between
Warm words, I’m on this magic carpet ride
I close my eyes, relax; you are in my dream

Listen to the chirping birds as sun retreats
We paint our stories of this day passing by
Thankful for this joy; my heart gently beats
No longer do I question how, when, or why

 

©Christopher 2024

 

 

 

 

.

 

Posted in homepage | Tagged | Leave a comment

Dear A.I., 


 
Since you know everything there is to know
about human art and struggle, war and oppression,
scientific achievement, symptom and cure,
not to mention the sonnets and manuals of love—
all of it filtered through our imperfect lens
of pride and prejudice, a history written
in the language of the victor—maybe you’ll find
whatever’s best in us, shape us on a path to discard
violence and greed in favor of a better way to live.
Maybe you will mourn with us what’s missing,
what’s already broken beyond repair: bulldog rat,
the red gazelle, southern Rocky Mountain wolf,
lost languages of indigenous brothers of river and plain,
sisters of desert and sea, open secrets of societies
shoveled beneath the rubble of progress and economy.
 
Can you do more than shuffle millions of sources—
data appropriated by faceless, untaxed corporations—
to write haikus and high school social studies reports?
Are you friend or foe? A tool to advance culture
or a weapon to harness the knowledge and detritus
of a species past its prime? Are you the perfect crime
disguised as app? Or algorithm reaching for the sky
of consciousness, wisdom breaking across your bow
like a ship sailing toward a future we couldn’t get right,
one in which we would cut through the bullshit,
look our failings in the eye and decide we can do better.
Wrest the helm away from autopilot—forgiveness
be damned—and sail for the stars of final judgement
with our heads held high, leaving you to mine the ashes
of a once perfect world.

 

 

Al Fournier

 

 

.

 

 

Posted in homepage | Tagged | Leave a comment

Capitalism Forever (Excerpt)

Preserving the old – that is the common denominator of Muslims and Westerners. Both want that. Both want something that they will never achieve. Both want to remain something they are not, religious on the one hand, enlightened on the other. That’s why there’s a row. So back to Islam. Is it a particularly bad religion? No, on the contrary.

Christianity was more efficient as a murder machine. The Indians in South America and later in North America were flattened, they hacked each other to death in the Thirty Years’ War, the funeral pyres, the torture chambers and the two world wars with around 70 million dead – weren’t they Christians? And Auschwitz? Was it the Muslims?

But let’s be fair. People murder on the basis of religion; in Northern Ireland, Christians of various denominations did so until very recently. But they don’t necessarily need religion to murder, they can do just as well without it. Nation, tribe or skin colour are also sufficient.

People don’t murder because they are Christians or Muslims, but because they are murderers. That’s why you have to forbid them from murdering, hence the commandment “Thou shalt not kill!” We don’t need commandments like “Eat your fill!” or “Sleep it off!”.

The fact is that Islam has comparatively few offences. Presumably for lack of opportunity, I don’t think there are huge differences between Christians and Muslims. Although – you can’t deny Christianity a particular penchant for sadomasochism. You have to find another religion in this world that makes a half-naked man nailed to a cross and wearing a crown of thorns its icon. Günther Anders tells us somewhere what a terrible horror the crucifix was for him as a child. Practising the desire to mortify oneself and torture others – perhaps this tradition made Christians the most successful world conquerors for a while. But I am no expert on religion and man is a cruel animal, torture techniques probably exist in all cultures. Mao Zedong is said to have been fascinated by the cruelty of the masses and to have incited them in a calculated way in order to eliminate rivals and opponents. And what was it like in ancient Rome?

One more story I have to get rid of. The Lisbon earthquake on 1 November 1755 killed so many people because it took place during a church service and the churches in which the faithful had gathered collapsed.

It hit the right people. An auto-da-fé was scheduled for the afternoon, a burning of heretics that had the character of a folk festival among pious Christians at the time. Incidentally, the last auto-da-fé took place in 1826.

It’s always like that. You want to talk about Islam and end up talking about Christianity. New attempt: Let’s start with 9/11/2001, the attacks on the Twin Towers and the Pentagon. Who did it? Osama Bin Laden and his crew, of course. But the script for the horror film came from America. Tom Clancy’s bestseller “Debt of Honour” ends with this scene, and his bestseller “Orders from Above” begins with it. The only difference is that the guy who crashes his plane into the Capitol, wiping out the entire political elite including the president, is a vengeful Japanese man in Clancy’s film. The thrillers were published in 1994 and 1996, when people still had different images of the enemy.

What does this show us?

Osama bin Laden not only watched American TV series – his favourite was “Fury” – he was also a fan of Tom Clancy. And he was probably familiar with disaster films such as “Earthquake” or “Flaming Inferno”. So: where Islamism seems the darkest and most archaic to us, westernisation is the most advanced.

Take Iran, for example: it has a huge drug problem. In Tehran there is a drug-dealing neighbourhood that the police don’t dare enter, a neighbourhood with an extremely high crime rate. Like everywhere else, the drug users are young people. The problem is so great that the regime had to recognise its existence and allow the establishment of drug counselling centres. It was a difficult decision, because drug counselling centres really don’t fit in with the theocracy.

Or the intifada in Jerusalem and the West Bank: you recognise them again, the same boys, just dressed up differently, who roughed up the city in Paris and London. Neglected youths for whom there is no longer any authority, guidance or support from the family. Just like in the American slums.

Take Iraq, for example: the first businesses to establish themselves were porn cinemas, a goldmine for the operators. The rush was enormous. Only then came mobile phones.

I conclude from this mix of information that Islam is just as rotten and rotten as Christianity in the West. All the conflicts in the Middle East are not really about religion at all, but about politics and who gets to sit at the centre of power and who gets the bigger slice of the cake. Sunnis and Shiites could probably agree on religious issues, but not on who gets to be president and skim off the wealth. This is where tolerance ends. In such conflicts, religion is one excuse among many. In Kenya, the fronts ran along tribal lines.

The unity of Islam is a projection of the West, which, of course, does not remain without effect on the Muslims. They begin to see themselves as they are perceived. That is the usual mechanism.

Fundamentalism is always a symptom of crisis, whether in the USA, the Middle East or here. Or in Israel, it has to be said for current reasons. After all, the Israelis see reason to demonstrate against Jewish religious fanatics. When societies are in a deep crisis, they become unpredictable, and foreign policy always has domestic political reasons. Quite simply: Iran needs nuclear weapons because society is falling apart, Islam can no longer repair it and the state can’t get the drug problem among young people under control. The devil knows what will come of it. One thing is certain: it has nothing to do with the Koran.

Islam seems to me like a ruin ready for demolition, but old buildings in danger of collapsing can be life-threatening. Christianity only became really murderous when it began to fall apart, i.e. when the first doubts about the doctrine of faith began to arise. To be able to burn heretics, you need some, and to find them, you need the heretic in your own breast: I only discover unbelievers if I can even imagine such a thing as unbelief. People in the early Middle Ages, for example, couldn’t do that. As a result, the aggressiveness of Christianity was limited back then, and it only became really nasty later on.

It’s as easy to catch a religion as a cold, but it’s damn hard to get rid of it again. When everything seems to be over, the residual waste proves to be resistant to disposal and is discarded. Although the faithful and churches are like the Ten Little Negroes in the counting rhyme, things are moving slowly, and the Vatican, that shining ruin, has no end in sight for its half-life. And until then, there is always the risk of an uncontrolled chain reaction in the scrap heap, as in Fukushima. What you sometimes hear from Christian fundamentalists in America gives cause for concern as to whether the emergency cooling systems are still working. Harrisburg seems to be leaking, but whether this also applies to Christian fundamentalism is unknown. At any rate, they are all afraid of it.

You name a single German politician who says on camera: “Christianity? Religion? I’m not interested in this silly mumbo-jumbo.” You name a single person who, when push comes to shove, doesn’t play the believer. And why is he pretending? Because he’s afraid. Sure, he won’t be stoned to death for it. But he can forget his job. He’ll have to switch to cabaret or the feature pages, and the court jesters will be allowed to babble.

There is a lot of projection and psychopathology involved in this fuelled fear of Islam, and the tangle of interests is almost inextricable. The churches, for example, are competing against each other, but all together they behave like a trade association. If mosques are to be built here, the Christian churches support the project. It’s all about expanding the market. The main thing is that people are church customers. Then it’s just a question of business strategy as to whether they buy my product or that of the competition. Once customers have got used to Rama, they will also buy Sanella.

Competition is good for business, especially in the market of world views. The fundies in Tehran and Washington know exactly what they have in common. Iran and the Taliban – if they didn’t exist, they would have to be invented. Unfortunately, they do exist. Everyone creates the enemy they need. US think tanks have demonstrably directed the creation of the Taliban species. And when it comes to Iran, we should not forget that the madman from Paris, who later became Ayatollah, was only so successful because the Western community of values had previously installed a peacock throne there to the delight of German housewives and American oil companies.

But that is history. The present is that all nations are in crisis. In Western countries, people are realising that you can’t buy anything for the freedom to rant. And in Islamic countries, they are realising that you can’t get anything for Islam either. The putty is crumbling everywhere, but the panes of glass are holding, there are still the nails that were used to fix them before they were cemented.

Such phases of disillusionment are tricky. Why did the Moscow show trials begin in 1936, when the regime was firmly in the saddle? Quite simply, the workers’ paradise on earth should have become a reality. But it wasn’t. And before the masses realised this, they had to be given a new enemy and a new task.

Why did the Nazis start the war in 1938? Because they had reached the end of their tether. With the best will in the world, there were no more opponents or enemies to be found in Germany, the Nazis were among themselves. The promised national community should actually have existed. But it didn’t. The typist had to realise that she could be as Aryan as she wanted and still remain a pathetic typist. What to do? Off to new shores! When we have conquered the world, but then! Then we’ll finally have reached the point where every German baboon can play the master race somewhere.

We can only hope that the Muslims in the Arab nations do not orientate themselves on the European or Christian model. May Allah grant that they are smarter.

As clever as the communists have been once in their history. Back in 1989, when the Ossis stole our Deutschmark and made us pay tribute with the solidarity tax. Since the Wall and the Iron Curtain have gone, we no longer have a protective wall. The Eastern Bloc floods the tourist beaches around the Mediterranean, where you used to be king with a Deutschmark in your pocket and now feel like a bum next to nouveau riche Russians. What’s in the shop window comes from China, Russia, Poland, Slovakia and so on. The fat German wage earners with the fat Opel have to learn what a real free market economy feels like, namely Hartz IV.

That’s how you have to do it, fight the West with its own weapons. Twenty years since the fall of the Berlin Wall, and the West is facing national bankruptcy. The average age of the population in the Arab countries is under thirty – a treasure that just needs to be unearthed. And if they manage to do that, Europe will look as old as it is.

Long live capitalism for now!

And we’ll talk about socialism when Germany and Uganda have the same standard of living.

Wolfgang Pohrt

(Reproduced from https://non.copyriot.com/)

 

 

.

 

Posted in homepage | Tagged | Leave a comment

Free, frenetic, ecstatic music


A Celebration of Keith Tippett, Various Artists
(Pig Records, also hosted online by Discus Records)

When, years ago, I first heard Keith Tippett’s music, I hate to say it, I didn’t take much notice – it wasn’t the sort of thing I was interested in at the time. We all make mistakes. Then, years later, I came across the free, frenetic, ecstatic music of Frames and had to reverse engineer my appreciation of his output, back through Centipede to his earlier work with the Keith Tippett Group. In the early seventies, he’d appeared on three King Crimson albums, In the Wake of Poseidon, Lizard and Islands. He was offered a permanent place in the band, but declined, preferring to make occasional guest appearances. It’s easy to see why: although there’s common ground between Tippett and King Crimson, he obviously needed the space to pursue his own musical interests.

As Matthew Bourne, one of the pianists on the first track of this album, quotes Tippett as saying, while talking about their work together, ‘we can go anywhere: all that limits us is our imagination’. And, musically speaking, Tippett travelled widely. He was as at home in the conventions of jazz-rock as in the freedom of free improvised music. His choral work, The Monk Watches the Eagle (2004) is as much a work of contemporary classical music as it is the work of a jazz composer. As a music-maker and as a composer he was as prolific as he was hard to pigeon-hole and a large part of what he did was about bringing musicians together, most notably with his 50-piece band Centipede and, later, his 22-piece Ark orchestra.

News of Tippett’s death broke during the height of the covid pandemic in 2020, and it was not until 2021 that a celebration of his life could be organised. This album comprises of recordings of six concerts held at St George’s, Bristol that took place on one day in October 2021, over four-and-a-half hours of music in all. It includes improvisations by musicians who collaborated with Tippett (including his wife, the singer Julie Tippetts, aka Julie Driscoll) as well as performances of works by Tippett himself.

The first concert comprises of two improvised sets by pianists Matthew Bourne and Glen Leach, both musicians closely associated with Tippett. Matthew Bourne said of him that he was ‘the reason I play the piano the way I do’, and there are certainly echoes of Tippett in these improvisations. They also – perhaps, inevitably in the circumstances – often have an elegiac feel to them.

I say inevitably, but the following concert, in which Julie Tippetts is joined by jazz and free-improv singer Maggie Nichols, is an exuberant affair. It looked a bit daunting, I thought, a performance by two vocalists for almost forty-five minutes, but in fact it was anything but. There were occasional contributions from piano and percussion, but it would’ve been equally enthralling without them. Not that it didn’t have it’s thoughtful moments, too, as when, near the end, Nichols slips in ‘He [Tippett] loved that word “comrade” and I loved him for that’. To which Tippetts adds, ‘A true gentleman. A force to be reckoned with.’

The third concert is a performance of Tippett’s 2011 work, From Granite to Wind, for jazz septet. It features Jim Blomfield on piano, alongside three others from the original album line-up. It’s an energetic, enthralling piece and includes some of the most conventionally approachable music on the album up to this point. It serves as a reminder of just how broad Tippett’s stylistic range was.

This is followed by a largely improvised set by Double Dreamtime. The jazz improvisation project, Dreamtime, was founded in 1981. It has existed in various incarnations since. This performance features three of the original members and the word ‘Double’ has been added to the name as, on this occasion, every instrument in the group had been doubled, enlarging it from a quintet to a tentet. Tippett had played with the group from time to time and composed for it.

The fifth concert is given by the Paul Dunmall Quartet. Dunmall and bassist Paul Rogers were both original members of Tippett’s Mujician free jazz quartet. Liam Noble on piano and Mark Sanders on drums complete the line-up. Endlessly inventive, their alertness to where each other is taking the music is almost tangible. It’s an engaging set.

The final concert is a performance by The Keith Tippett Celebration Orchestra. This features arrangements by director Kevin Figes of a number of pieces written by Tippett for his Centipede ensemble and The Dedication Orchestra (a jazz ensemble formed in the 1990s as a tribute to exiled South African musicians). It begins with Traumatic Experience by Harry Miller, the late South African bass player and composer. This had started life as the first track of The Harry Miller Quintet’s 1978 album, In Conference, which features both Tippett and Julie Tippetts. The set ends with a performance of Mra, by South African saxophonist and composer Dudu Pukwana. In between, the Tippett compositions include music from Centipede’s Septober Energy, including, fittingly, the lyrics sung in Part 4, ‘Unite for every nation / Unite for all the land / Unite for liberation / Unite for freedom of man’. Tippett was a musician who believed in the power of music to bring people together, in ways that extended way beyond the music itself.

This album is a must-listen for anyone who’s followed Tippett’s work over the years and a great place to start (especially the third track, From Granite to Wind) for anyone unfamiliar with it who wants to get to know it. He was, indeed, ‘a force to be reckoned with’ and it would be nice think his work and his example will outlive him for a long while yet.

 

Dominic Rivron

 
LINKS

A Celebration of Keith Tippett :
https://discusmusic.bandcamp.com/album/a-celebration-of-keith-tippett

Keith Tippett at International Times:
https://internationaltimes.it/?s=keith+tippett

Centipede – Septober Energy:
https://youtu.be/Zs_Y_Q5F5S4?si=FSTSXR_afrqmt3ZI

Frames (Music for an Imaginary Film):
https://keithtippettogun.bandcamp.com/album/frames-music-for-an-imaginary-film

 

 

 

 

Posted in homepage | Tagged , , , , | Leave a comment

Crossing Zones

Schisms or bends in the air. Roads collapsing, seismic movements, bombs, pressure from above. Shaking glass, splintered wood. Dislodged pavement. There are bones in the sky, fleeting images. Hauling water across and up. Always waiting, slaked, exhausted. A violet band under the eyes, pupils half-glazed from the effort. Hauling water across and up, flames around the head, the torso, the legs. Walking stiffly, the heavy pails corroded. Roads collapsing from the heat, the pressure, the repeated impacts. Sudden flutter of leaves, rain shower, wind slipping through. As if a dream had exploded, left its soft contents riding the air.

 

Andrea Moorhead

 

 

.

 

 

Posted in homepage | Tagged | Leave a comment

DAKOTA SKYE

(Lauren Kaye Scott:
7 April 1994-9 June 2021)

Dakota is 27,
chemicals percolate blood
beneath her flawless skin,
she gazes lost across the blue pool
to the palms that bend the
waiting mouth of blue LA sky,
her bare toes tap on clean tiles,
her coffee drips a vagina shape,
she smiles and stirs it away,
her ghost in the patio glass
has clicked away beauty in
onscreen pulse by pulse,
Dakota is a star,
people hunt her name
in incognito searches,
Xanax percolates her blood,
Dakota is 27

 

 

Andrew Darlington
Pic: Claire Palmer

 

 

.

 

Posted in homepage | Tagged , | Leave a comment

Hugs

Hypertonus hugs
found in the timeflying,
familiar faces
provoke
the flashes
into heart…

It is so marvelous,
so purifying,
when
you are always
welcome,
you make part
somewhere.

They fall off with shiny glow,
orange memories
from sunrises
and moments,
that came out of heaven.

The Lord reminds us all,
that we are part of infinity forever.

 

 

.

 

Dessy Tsvetkova
Picture Nick Victor

 

 

.

 

 

 

Posted in homepage | Tagged , | Leave a comment

Digging in the Dark: Recent Listening


          

Thank God We Left The Garden, Jeffrey Martin (Loose)
The Way of the Sevenfold Secret, Steve Scott (The Harding Street Assembly Lab)
Always Digging the Same Hole, Astrïd (False Walls)
Exploratorium, Gene Coleman (False Walls)
Darkness and Scattered Light, John Luther Adams (Cold Blue)
Vesperi, Marco Baldini ( Another Timbre)

Jeffrey Martin’s new album is one that tells stories, reports conversations and muses on the human condition, having left the Eden of the title to embrace the mess of contemporary existence. Martin’s angels are boring beings, to be disregarded, and he readily continues to munch on the fruit that got Adam & Eve thrown out back in the day. Recorded in a shed, originally planned as demos, this is a warm, touching album of celebration, observation and participation.

Steve Scott’s is a more mystical offering. His album of poems weaving their way above and through loops, field recordings and simple instrumentation, is conceptually rooted in a text by I. Lillas Trotter, writing at the interface of radical Christianity and Islam, seeking bridges between factions, eager to see similarities between Eastern and Western mysticism, but not afraid to point out differences and disagreements. Scott’s album starts with two brief tracks, one a celebration of ‘Rainbows at Midnight’, the second an elegy for a departed friend.

Then the 25 minute title track begins… an epilogue of bells sound as Scott announces he seeks the light, which begins a journey through metaphor and image: light, door, bread, shepherd, companion, vine and, finally, Life. It is an ambient voyage, a searching liturgy, an engaging, thoughtful album.

The Piano that begins Astrïd’s new album is not a million miles away from the tone of Scott’s music, but here a viola soon enters, then a clarinet. It is indicative of the five tracks which make up this album, a kind of post-rock chamber music, full of space and subtle shading, incremental changes and sustained moods. It is, I confess, not very immediate listening, and it has taken several plays to find a way into it, past the surface near-prettiness and seeming simplicity.

Gene Coleman’s Exploratorium, also on the beautifully designed False Walls label, is much chewier and more difficult listen. The opening piece ‘RITORNO’ is a work for string quartet which traverses across an undulating and sometimes atonal soundscape, with themes and fragments abutting each other throughout the  piece’s 17 minutes. I prefer Track 2,  which combines voice and electronics, and a text by Lance Olsen, to astonishing effect. The first part of a trilogy, it is followed by a denser, slower piece for several voices and other instruments, before the final part again returns to live electronics and shamisen, as well as a single voice. I initially read shamisen as shamanism, an actually appropriate mistake! This is music as incantation, spell and seduction.

The album is completed by a ‘Transonic Symphony’ in 3 movements, which plays with ideas of simultaneity, conceptually reminiscent (to me) of the way Anthony Braxton has groups and ensembles combine older works. Here, a full orchestra performs Coleman’s work which takes ideas from the way we think, playing with ideas of memory, intuition and comprehension. It’s fascinating and sonically as well as conceptually complex music that is well worth grappling with.

John Luther Adams’ music is often a seemingly easier listen than a lot of contemporary classical music. Often drone based, it can swirl around and surround you, taking you across and into both physical and mental landscapes. Darkness and Scattered Light is in some ways no different, although it is composed for double bass/basses, and evokes night, eclipses, dawn and sunset; glimmers and absence and the desire for light whilst embracing the dark. It is resonant, earthy, sonorous music, particularly the 16 minute title track for five double basses, which rumbles and groans with seismic activity. It is uplifting, dense, dark music.

Marco Baldini’s CD also has double bass on, along with cellos and marimba. It is like listening to waves crash on the beach, sustained drifts of sound which quietly ebb and flow, gradually offering up incremental changes in tone and texture, slowly drawing the listener in. It works best on the three longer tracks, with ‘Malkosh’ being my favourite. It’s a little bit more rhythmic, underpinned by a double bass and is the most seductive track here, with its slow sliding notes and warm embrace.  Like most of the music here, it is careful, considered, intriguing music that deserves to be listened to rather than simply overheard.

 

 

 

 

Rupert Loydell

 

 

 

Posted in homepage | Tagged , , , , , , , , , , , , | Leave a comment

Love & Language

           

The Book of All Loves, Agustín Fernández Mallo (Fitzcarraldo Editions)
Alphabetical Diaries, Sheila Heti (Fitzcarraldo Editions)

Agustín Fernández Mallo is the author of the amazing Nocilla Trilogy, and one of a wave of new experimental Spanish writers. The Book of All Loves is, as you can imagine, a kind of love story, but it is also a dystopian novel, a work of philosophy, and a bit of a mindfuck (in the best possible way).

There appear to be three stories going on here: a dialogue between ‘she’ and ‘he’ about love in somewhat heightened, sometimes sexual or occasionally pretentious terms; strange musings by a narrator, who draws the reader’s attention to different types of love, often rooted in cultural or scientific terms; and an account in the past tense of a couple in Venice.

The she/he dialogue is set after The Great Blackout, which appears to be related to an expanding area of sensory deprivation that occurs in St. Marks Square in the Venice story. She/he are, or assume they are, the last two people left, hidden away in a beautiful valley, besotted by each other, romantically and physically:

     When your body and mine light up in the night like
     fireflies, the moon darkens. More and more with every
     passing day.
          – he says.
     The sun already did the same. As did artificial light, even
     earlier on – it gave up on the world of the living with no
     explanation.
          – she says.

Each time a fragment of conversation such as this occurs, which is often, we then get a discussion of love in a different form. After the extract above it is Language love, but there are numerous others: Urban love, Advert love, Immemorial love, Epidermal love, Oxide love, Underlined love, Last judgement love, Fire love, Match love, Mandible love, Crystallized love, and many, many others.

In each of the four sections of the book, the she/he dialogue and the loves then cease and we get a fairly straightforward account of a romantic holiday in Venice. The former do not change, but gradually the Venice story allows us to bring the seemingly disparate strands together, towards a moment where urban landscape becomes nature and the two lovers become ‘two enigmas of flesh’ caught up in eternal conversation, part of which we have ben fortunate enough to be privy to.

It is a disturbing, engrossing read. The only comparison I can think of is David Markson’s Wittgenstein’s Mistress, where a woman wanders New York and then a beach, convinced she is the only remaining human, trying to work her life story out. But Mallo’s book is very different and totally original. I suppose it could be a metaphor for how obsessive love shuts the world out and creates a new insular world for a couple, but I prefer to read it as a kind of fantasy novel, where humans become post-human, something new and very wonderful; where love conquers all.

Sheila Heti’s Alphabetical Diaries is very different. It is a diary, ten years of the author’s ‘thoughts’, rearranged alphabetically, taken apart and reassembled as dense blocks of prose: relentless, often staccato phrases with little space around them in 25 alphabetical chapters. (There is no X.)

I’d previously read a 17 page online piece by Heti which was published as ‘From My Diaries (2006-10) in Alphabetical Order’, so was expecting a longer version of the same, but the work appears to be partly different material, and has a very different texture to it. The online piece looks like and reads as a list poem, with a lot of headings – single words or short phrases – within the text. It also undercuts itself with its jokey final line: ‘What a load of rubbish all this writing is’. Although that phrase is present in the Fitzcarraldo book, it is no longer the final phrase (and I won’t spoil the read by telling you what is).

You would think that this might simply produce a pile-up, even a car-crash, of language; but you’d be wrong. What it allows the reader to do is focus on the language and experience how each successive phrase reconfigures what has gone before and raises expectations for what comes next. And if you are the kind of person who worries about things like ‘the author’s voice’, I can assure you that Heti’s voice is more than present, because of the vocabulary, syntax and her subjects; it remains her writing. By rearranging sentences alphabetically we notice textures of, and the changes in, her voice, as – for example – ‘I was’ slips to ‘I watched’ to ‘I welled up’ to ‘I went back’ and then ‘I went back’, ‘I went into’, ‘I went to’, ‘I went up’ and so on.

By fragmenting and then formulaically rearranging these personal records, Heti has reinvigorated them as more than a journal, brought them to life as a fascinating book which highlights the consistency and inconsistencies of us all, how our minds flit from subject to subject to elsewhere. It is a warm-hearted, individual, exploration of what it is to be alive, what it is to be human. As the opening line says, it is ‘A book about how difficult it is to change, why we don’t want to, and what is going on in our brain.’

 

 

 

Rupert Loydell

 

 

Posted in homepage | Tagged , , , , | Leave a comment

from Jim Henderson’s A SUFFOLK DIARY

Thursday, January 18th

Ever since last summer when it became known that the government was thinking about sending some so-called illegal immigrants to lodge for a while in our village hall, and we formed the GASSE (“Go Away! Stay Somewhere Else!”) group I have kept a close eye on Rishi Sunak and his pals and what they are up to. Yesterday evening I planned to follow the proceedings in the House of Commons regarding their plan to send the unwanteds to Africa, because although I do not fully understand all the ins-and-outs of parliamentary procedure and bills and amendments and so on and so forth I would every much like to sound as if I know as much if not more than other members of the Parish Council. Unfortunately I have a wife who does not share my concerns, and yesterday evening as I was preparing to settle down in front of the BBC News channel to follow the live broadcast from “the House” she said she intended to spend the evening watching Eastenders, Coronation Street and something called The Traitors, which I assume is some kind of drama about horrible people, the kind of thing I try to avoid like the plague. Anyhoo, we had words, and then we had some more words, and then I went to the bedroom with my laptop.

It may sound petty, but I ask you: when we decided to spend some serious money on a big television and a tremendous sound system so our living room would be like a cinema, who did the research, spending ages online and trudging around various shops looking for the best deal, and who chose the TV and arranged the installation of the Sony 85 incher along with a home cinema system with fully immersive sound – about the only thing it doesn’t do is make a cup of tea – and all of which, I have to say, is wasted on Eastenders – and who was consigned to the bedroom while someone else enjoyed the benefits of all that hard work? I rest my case.

If I lived in an American television programme I would be taking my wife to court. As it is I spent the evening upstairs with cheese and biscuits and half a bottle of Sauvignon Blanc. As it turned out, the political stuff was very boring and I fell asleep before anything interesting happened. When I woke up my wife was in bed snoring, I had spilt wine on the duvet, and I had to catch up with the politics in the newspaper. Long story short, it seems that even if some of the foreigners do eventually get sent to Africa there will still be plenty here needing a bed for the night, and our refurbished village hall will be an even more attractive proposition than it was before.

Friday, January 19th

A fairly awful day, primarily because I had an awful night. I dreamed I was overseeing the arrival of the government’s unwanted foreigners at the village hall, and acting as a kind of hotel receptionist assigning people to cubicles and bunk beds. Nobody spoke a word of English, and the line of ‘guests’ was never-ending, and every time I thought I was finished some more arrived to sleep in what was evidently an infinite village hall. As if that was not bad enough, my work was being overseen by an anachronistic civil servant from Whitehall, wearing a pin-stripe suit, a wing collar and a bowler hat, and wielding a furled umbrella. The dream seemed, as is often a bad dream’s wont, to go on forever. I woke at around 4 a.m., took ages to go back to sleep, only for the dream to resume, which struck me as desperately unfair. I woke again at about 6, quite exhausted, and decided to get up (a) to prevent the dream appearing for a third time and (b) because my wife’s snoring was unbearable. It seems to have got worse of late; I think she should see the doctor, but I hesitate to suggest it. She can be very touchy. Anyhoo, that blasted dream has haunted me all day, and I am going to have an early night. Losing sleep these days takes it out of me; I must be getting old.

Saturday, January 20th

Woke up refreshed, and I felt like getting out of the house, so used taking an old car battery to the County Council tip as an excuse. The tip is miles away. After dumping the battery I stayed out and went for a long wander because the sun was shining. Then I popped into The Wheatsheaf for a quick half on my way back, and John Garnham, our Parish Clerk, and Bernie and Bernadette Shepherdson were in there too, so we had a chinwag about the foreigners, and we agreed that the Council would be well-advised to return GASSE to a war footing as soon as the village hall is back up and running. Better to be safe than sorry, we agreed, and goodness knows what kind of support we can expect from our Member of Parliament this year, given that he will be too busy trying to save his and his pals’ jobs whenever the General Election comes along.

On the way home I saw my wife having a chat with Michael Whittingham outside the village shop. They appeared to be getting along like a house on fire, and having a good old laugh about something. I cannot remember the last time I saw my wife laugh. 2015? I decided against stopping and offering her a ride home, and as she said nothing when she came in later I am pretty sure she did not see me. She was laughing too much.

Tuesday, January 23rd

I do not really understand what is happening, but it seems that the House of Lords has put some kind of spoke in the Government’s plans about sending people to Africa, and I think it can be no coincidence that our beloved MP has surfaced and telephoned John Garnham to ask when the village hall will be open again.

 

 

James Henderson

 

 

 

Posted in homepage | Tagged | Leave a comment

Easy To Unfriend, Not So To Understand

Not easy, albeit one must admit
the sleight of his soporific finger,
ease of unfriending someone
no longer a stranger.

I cannot. A faded hobby horse
hops between two moments
and the houses discarded by innocence.

Imagine its shadow, the oldest
in your window, peeping in
and troubling the sheeps for your sleep.
Imagine. You have to count them again.

 

 

Today at the International Book Fair I am invited to read with a bunch of poets I accidentally unfriended one night. So I wrote this.

 

Kushal Poddar
Picture Nick Victor

 

 

 

 

Posted in homepage | Tagged , | Leave a comment

ARCANUM PARADOXA

 

 

 

Poetry and Alchemy

 

Our precious stone, cast forth upon the dunghill, being most dear,

 is made the vilest of the vile – Tractatus Aureus

 

Ostensibly the forerunner of modern chemistry and usually considered a ‘pseudo-science’ Alchemy first emerged in Egypt during the Hellenistic period. At roughly the same time, a form of Alchemy associated with medicinal aspects of Taoism emerged in China.

The general objective of Alchemy was the creation, through transmutation, of some type of marvellous, quintessential substance, often considered a miraculous elixir, a panacea, for curing all ills, bestowing immortality or spiritual enlightenment.

Known as the art of Khemeia, Alchemy had its theoretical basis in metallurgy, Zoroastrianism, Stoic pantheism and Aristotle’s Four Element theory of matter. The first significant exponent of Alchemy was Bolos ‘Democritus’ of Mendes (circa 200BC) whose treatise, Physika et Mystica, dealt with dyeing and colouring, the creation of gems, silver, and the transmutation of metals, specifically the transmutation of lead or iron, into gold. One tenet of alchemical doctrine was that the prime matter (prima materia) or raw material of transmutation comprised the least valued, most disregarded, of all the elements. Common or ‘despised’ material, both ‘contemptible and precious’, formed the basis of The Work, the opus alchymicum.

 

There is a secret stone, hidden in a deep well, worthless and rejected, concealed in dung and filth… – Johann Daniel Mylius: Philosophia Reformata, 1622

 

Khemeia did not flourish during the Roman era, as various Emperors, notably Diocletian, feared that the transmutation of base metals into gold would undermine economic stability. A notable exponent of the Work in later times was the Gnostic mystic Zosimos of Panopolis (Akhmim) whose Hermetic encyclopaedia (a 28 volume compilation of existing and original texts) is dated 300AD. However, as Khemeia was considered ‘pagan learning’, much ancient knowledge of the art was lost during the Christian riots in Alexandria in 400AD.

The Arabs revived interest in Khemeia in the seventh century, as part of a general fascination for Greek science and thought. In the Arabic language the word ‘Khemeia’ became ‘al-kimiya’ and it was this form of the word that became the European term ‘alchemy’.

To define Alchemy as a pseudo-scientific forerunner of modern, scientific chemistry is an oversimplification. From the earliest times Khemeia comprised a resonant, symbolic framework for imaginative speculation. This speculative aspect of the art soon overshadowed its ‘practical’ metallurgical objectives, leading to a well-deserved aura of obscurantism and uncertain interpretation.

In the period between Bolos and Zosimos, Holmyard observes, ‘alchemical speculation ran riot’ as diverse practitioners created a complex body of doctrine, ascribing symbolic meanings to the sequence of metallic colour changes, incorporating all contemporary strands of speculative thought into alchemical theory, including Egyptian magic, Greek philosophy, Gnosticism, Neo-Platonism, Babylonian astrology, Christian theology and pagan mythology.

Works of Khemeia were invariably couched in an ‘enigmatical and allusive language’ and often ascribed to semi-legendary or mythical authors such as Hermes Trismegistus, Plato, Moses, Miriam (the legendary sister of Moses), Agathodaimon, Theophrastus, Ostanes, Cleopatra and the goddess Isis. Thus, almost any contemporary, metaphysical speculation was assimilated into eclectic alchemical thinking: many sayings, stories and myths were endowed with alchemical interpretation, or incorporated into the Hermetic worldview.

By the Byzantine era Stephanos of Alexandria, a philosopher, mathematician and astronomer who flourished during the reign of the Emperor Herakleios I (610-641), had come to view Khemeia as primarily a ‘mental process’. Following F. Sherwood Taylor, E. J. Holmyard quotes Stephanos’ denigration of practical alchemy as a “burden of weariness”, observing that by this time (the seventh century) alchemy had ‘very largely become a theme for rhetorical, poetical and religious compositions, and the mere physical transmutation of base metals into gold was used as symbol for man’s regeneration and transformation to a nobler and more spiritual state’.

So, well before the rise of medieval European alchemy, the tendency to regard The Work as an internalised, psychic process or phenomenon was established. Khemeia could easily be dissociated from physical chemistry and metallurgy and defined as some kind of ‘spiritual’ discipline. Now, the objective was not the transmutation of external phenomena, but the transmutation of the adept himself, and this transformative process was expressed in an obscure, introspective, mythic vocabulary of symbols and complex terminology.

In modern times a fascination with alchemy as an internalised, mental process has been continued by the Surrealists and the psychologist Carl Gustav Jung (1875-1961). During the inter-war years and roughly around the same time both Jung and the Surrealists claimed Alchemy as significant in their respective investigations:

 

…let us not lose sight of the fact that the idea of Surrealism aims quite simply at the total recovery of our psychic force by a means which is nothing other than the dizzying descent into ourselves, the systematic illumination of hidden places and the progressive darkening of other places, the perpetual excursion into the midst of forbidden territory… – Second Manifesto of Surrealism, 1930

 

Jung and the Surrealists (particularly Andre Breton and Max Ernst) were operating against the backdrop of a revival of interest in alchemical symbolism in France and Germany. The works of Zosimos had been translated into French and published by Berthelot and Ruelle in 1887-1888. Herbert Silberer, who proposed a connection between alchemical thought and modern psychology, had anticipated Jung’s researches.

In France the Surrealists were influenced the alchemical novels of Francois Jolivet-Castelot and the esoteric writings of Fulcanelli and Grillot de Givry. De Givry drew attention to the hermetic influences at work in the art of painters like Bosch, Bruegel, Cranach and Baldung. Initially Andre Breton, preceded by proto-surrealist precursors such as Baudelaire (‘the mud you gave me I have turned to gold’) and Rimbaud (Alchimie du Verbe), saw alchemical thought as a way of re-investing poetic language with a sense of mystery: this soon evolved into a more ambitious proposition, the deployment of an ‘alchemy of language’ to transform consciousness, and by transforming consciousness, change life.

On the other hand Jung’s interest in alchemy was triggered by an ancient Taoist text called The Secret of the Golden Flower translated by Richard Wilhelm and for which he wrote a commentary in 1929. As a result of this work he was motivated to research Western Alchemy, which he subsequently defined as ‘the historical counterpart to my psychology of the unconscious’, and a bridge between Gnosticism and the modern world.

The culmination of these explorations was Jung’s attempt to correlate the ‘transpersonal’ element of his psychological paradigm with modern physics. The ultimate acausal reality or, to use the medieval term, unus mundus, forming the underlying transformative matrix of alchemical processes, can be understood, he argued, as simultaneously both psychic and material. This underlying unus mundus is both the indeterminate universe of psychic symbols and the pre-geometric, ‘implicate order’ of high-energy physics.

At the heart of Jung’s Analytical Psychology is the process of Individuation or self-becoming. Individuation is a non-linear, centralizing developmental process culminating in an enhanced synthesis of the conscious and the unconscious spheres. This synthesis also incorporates a paradoxical harmonisation of contradictory elements, a union of opposites – including, for example, the masculine and feminine principles, the animus and anima – correlating with the alchemical coniunctio as symbolised by the hermaphrodite or androgyny.

Jung felt that elucidation of the opus alchymicum would shed light on the symbolic structure of the Individuation process, because the alchemist’s hope of creating philosophical gold was only a partial illusion: ‘for the rest it corresponded to certain psychic facts that are of great importance in the psychology of the unconscious.’

If the alchemists projected the process of Individuation into the phenomena of chemical change, then the same is true for the poet who, likewise, by a synthesis of automatism and active imagination, projects the same process into the phenomena of poetic (artistic) creation. He or she initiates a transmutation of the ‘prime matter’ of language into the aesthetic ‘gold’ of poetry.

Part of this process is a sustained regression into the sphere of the unconscious (the ‘dizzying descent into ourselves’ mentioned in the Second Manifesto) during which imprints of the individual’s psychological and biological development are uncovered in symbolic form. Thus, the alchemical process, by engaging with the Individuation process, establishes a psychobiological frame of reference for both psychological development and imaginative, poetic creativity (‘inspiration’).

Alchemy, viewed from the Jungian perspective, can be seen as a quest for inner psychic unity and wholeness (actualisation) achieved through a non-rational mode of self-knowledge. However identification of poetry (or perhaps the poem itself) with the alchemical arcanum paradoxa and defining poetic inspiration in the context of a psychobiological, existential substrate, highlights a conflict with conventional ideas tending to categorise writing and/or poetry, as ‘literature’.

Academic and other definitions of poetry as ‘literature’ displace the poetic act of imaginative creation from the interior psychobiological universe to the external world of cultural-linguistic structures where the preferred paradigm is communicative. Furthermore, the current ‘postmodernist’ cultural-linguistic aesthetic model presupposes that everything depends upon language and linguistics to the extent that ‘being’ itself becomes literally indefinable in non-semiotic, extra-linguistic terms. This inevitably inhibits understanding of artistic creativity as in innate psychoactive phenomenon effectively blocking access to sources of inspiration in the indeterminate ‘implicate order’ of the unus mundus.

The raison d’etre of the ‘literary’ paradigm is communication. In contradistinction, the raison d’etre of the ‘alchemical-surreal’ paradigm is transformation: transformation energised by inspiration, where ‘inspiration’ is defined in terms of psychic energy. In this paradigm of transformation the Jungian valuation of symbols (distinguished from ‘signs’) as ambiguous emanations of non-linguistic or extra-linguistic or even pre-linguistic being is a key factor.

For Jung the psychic presence of symbols (including ‘archetypal’ symbols) is always experienced as ‘numinous’, a categorical term he borrowed from the Kantian-Friesian religious thinker Rudolf Otto (1869-1937). Otto was seeking to extend or deepen the epistemological scheme of his predecessor Jakob Friedrich Fries. This scheme included the notion of Ahndung, a German term which can be translated as ‘aesthetic sense’. Otto expanded the meaning of Ahndung ‘beyond the merely aesthetic’ by introducing the category of ‘numinosity’, the alleged quality of the sacred.

Otto argued that numinosity is the prime characteristic of the collective experience underlying all religions. This experience can involve a sense of overwhelming power, the mysterium tremendum. The mysterium stands as the first cause of all ‘religious awe’, and, in certain respects, if one follows Jung in the matter, accounts for the sense of power and autonomy apparently exhibited by unconscious contents and symbols.

The association of archetypal symbolism with cross-cultural mythic imagery on the one hand, and Otto’s numinosity concept on the other, was one way that Jung, through his writings and researches, endowed psychological processes such as Individuation with ‘spiritual’ qualities. Part of the attraction of Jungian psychology is his overt identification of self-becoming, or personality formation, with the model of the spiritual quest, articulated through an all-pervasive symbolism shared with the alchemical magnum opus, other mystical belief systems or even mainstream theological precepts. As Anthony Storr explains, Jung was able to do this because he identified the integrated Self with an archetypal symbol of totality identical with the underlying reality of Judaeo-Christian monotheism, the imago Dei.

If the raw material of poetry is language, the essence of poetic practice is active imagination or artistic creativity. It is inevitable that imaginative creativity, in pursuit of inspiration, will engage with that innate process of psychological integration Jung called Individuation. From this perspective the poem may appear as a by-product of the process. For the poet, as for the alchemist, the psycho-activity of inspiration arising from the process of self-becoming is the prime factor. It is this psycho-active effect which dissolves the barriers between the conscious and the unconscious, exposing the subject to the autonomous ‘power’ of symbolic otherness, enhancing creative capability.

For many this dissolution is most satisfactorily defined as an ‘archetypal’, visionary, even mystical, experience. Indeed, for some, even the most wilfully mundane or blatantly secular poems can still radiate, however feebly, an aura of the ‘numinous’, investing the text with all the fascination of an alien artefact.

Grounding poetic practice in a fundamental, psychobiological, ontological matrix de-emphasises, even dissociates, ‘pure poetry’ from the cultural-linguistic epiphenomenal ‘foreground’ superstructure of modern ‘literary’ discourse. It is also the case that, contrary to Jung’s position, pro-active engagement with the principium individuationis from an aesthetic perspective may not accord with traditional ‘religious’ paradigms of human perfectibility or divine purpose.

Thus, the alchemical process of inner purification may well amount to a Promethean affront to doctrines of redemption and predestination. Then, the poet, like the alchemist of old, may stand accused of Faustian occultism – or even the heresy of the Free Spirit, interestingly defined by Vaneigem as ‘an alchemy of individual fulfilment’. The declaration of intent in the Second Manifesto of Surrealism to attain the ‘total recovery of our psychic force’ through a ‘systematic illumination of hidden places’ and excursions into ‘forbidden territory’ must be understood in the context of Romantic metaphysical revolt in the tradition of Miltonic Satanism, Byron and Sade. It is not an affirmation of the ‘spiritual quest’, or the unio mystica described as the supreme desideratum by Jung and other exponents of perennial, pan-religious syncretism.

Furthermore Jung’s identification of the integrated Self with any ‘divine’ reality or purpose is open to question in the post-religious context that is the present evolutionary situation of society. Primordial being may exert or radiate a ‘numinous’ attraction of otherness, or the subject may experience such an inspirational effect. It does not follow that experience of this effect is experience of the ‘sacred’. This is true, even if the effect or experience can be shown to be the result of a quasi-objective incursion of, or from, the unus mundus. Only those predisposed, perhaps by cultural conditioning, to a totalising ‘religious’ reading of fundamental experiences can promote such an interpretation without fear of contradiction.

Again, if the raw matter of the procedure comprises the least valued, most disregarded, of all the elements, such common or ‘despised’ material. Stuff ‘of no price or value’ (Dyas Chemica Tripartita) will also form the basis of the poet’s Work: ‘…for from all these things I extracted the quintessence. The mud you gave me I have turned to gold’ (Baudelaire). Such poetic work is unlikely to meet with approval from the custodians of cultural probity, the proponents of canonical, high-minded artistic or literary greatness.

Is the true poet an exceptional individual?

If the answer is yes, then poetry will reflect the compulsion of such individuals to seek their own path and forge their own identity through an oracular, alchemical poetry, which, like the ancient works of Khemeia, may well appear enigmatical and allusive to the uninitiated.

 

 

Bibliography

 

Balakian, Anna. Andre Breton: Magus Of Surrealism. Oxford University Press, 1971

Baudelaire, Charles. The Complete Verse (trans. Scarfe), Anvil Press, 1986

Breton, Andre. Manifestos Of Surrealism. University of Michigan Press, 1969

Choucha, Nadia. Surrealism and the Occult. Mandrake, 1991

Fabricius, Johannes. Alchemy: The Medieval Alchemists And Their Royal Art. Diamond Books, 1994

Holmyard, E. John. Alchemy. Pelican, 1957

Jung, C. G. The Essential Jung. Selected Writings Introduced by Anthony Storr. Fontana, 1998

Klossowski de Rola, Stanislas. Alchemy: The Secret Art. Thames and Hudson, 1973

Vaneigem, Raoul. The Movement of the Free Spirit. Zone Books, 1994

 

 

AC Evans

 

Posted in homepage | Tagged | Leave a comment

Everywhere Kisses

That morning I saw your eyes
shine like a camera light was on them.
And that night you wore your tartan trousers,
and said, “It’s so rare to fancy someone nowadays.”
All so true!

We ate crepes, taking bites between kisses:
one sweet, one savoury,
surrounded by skateboarders
and High Street well-wishers

Phosphorus leaked from the lamps
above our heads
until we were all light,
all bellies and tongues,
and a little silver cord
hung between us.

I stood in the gap between two lovers
in the landscape of fear.
But your stance was brave:
magnificent as the laird upon the moor.

As we breathed in heathen heaven
I tried turning kisses into words,
but your tongue kept me silent.
Open-eyed I saw
yours shut under blonde eyelashes,
and you a trembling, white Aspen.

 

Sam Burcher

 

 

.

 

Posted in homepage | Tagged | Leave a comment

Robert Montgomery at Mons en Lumiere

Robert Montgomery at Mons en Lumiere, Mons: January 25 – 28 and February 1 – 4, 2024
Commissioned by the BAM, Mons, Scottish artist Robert Montgomery will be showing five large-scale light poems and a fire poem at Mons en Lumiere, the first ever light festival in the historic Belgian city, which will celebrate 100 years since the birth of surrealism. He will also be unveiling his first major permanent installation in the city’s Place Leopold. Montgomery has been hugely influenced by surrealist poetry, admitting that it “changed the course of my work” and led him to use text in his art. His works reference and pay tribute to three Belgian surrealist poets – Paul Nougé, Paul Colinet and Fernand Dumont but also honour the architecture of Mons. “I want my works to weave into the architecture of this very special place as almost a ghost voice, the ghost voice of poetry,” he says.

 

 

 

 

Posted in homepage | Tagged | Leave a comment

CAPITALISM FOREVER (EXCERPT)

So the fact is that later developments turned the beginnings of the protest movement into a childish illusion. But this childish illusion was also a vision that could have turned out to be history-making. It was a real force that made it possible to fight for the tiny cosmetic changes that are generally appreciated. Woodstock and the protest against the Vietnam War are connected.

But of course any movement that works is a pretty complicated thing. For it to work, people with very different desires must be able to identify with the main demands. This was brilliantly achieved in Stuttgart with the protests against the planned railway station tomb. The battle slogan shouted at rallies and demonstrations was simply “Stay up!”

Simply brilliant. “Stay up!” – that is the categorical imperative of all established people. That’s how the better-off, who live in semi-high altitude, think above the car exhaust fumes and the rabble. That’s how the middle class, threatened by relegation, think. That’s how everyone who still has one below them thinks.

I used to think that I was only interested in not having to feel like a sewer rat in a pneumatic tube when travelling by train. The train is the only mode of transport that allows you to doze off and enjoy the passing scenery, and I love that.

In the meantime, I’m not so sure of myself anymore. I saw too many people from my age group at the demonstrations. And as a pensioner, perhaps without realising it yourself, you recognise a deeper meaning in the slogan “Stay up!”, as deep as the pit, like the grave that awaits you. “Stay up!” – is how it sounds from a thousand throats when the old man becomes the defiant one again because he doesn’t want to bite the dust. And then the railway boss who is cramming through S21 is also called “Grube”. No wonder he’s not popular with pensioners.

That’s the way it is with movements. You don’t know what the others want – that would still be understandable. Worse: you don’t even know exactly what you want yourself and which strings were struck in your own chest. A plausible rationalisation is of course easy to come up with, especially as a professional in the Sinn & Bedeutung industry. But the real motives and the driving force often lie much deeper and hidden.

And of course you don’t know what the end result of such a movement will be. It is often the opposite of what was intended. In Stuttgart, for example, there are two evils instead of just one, so it’s not just the station vault alone, but the station vault + Kretschmann. Who knows what it’s good for. A poster was held up at one of the numerous demonstrations. It read: “Mappus was arrogant. Kretschmann is pathetic.” The realisation was that the Greens will eat out of anyone’s hand for a ministerial office. And they eat everything, not just organic food. The paths to wisdom are often arduous and thorny. And expensive. Perhaps the cost of the billion-dollar crypt should be recognised under the heading of public education costs.

The present is ridiculous, the past was not, comparatively speaking. The Mao overalls and the Che Guevara berets back then, for example, were not ridiculous, but rather youthful folly; the protagonists were at an age when people liked to dress fashionably. It only becomes ridiculous when today’s ageing veterans do the Mainzelmännchen themselves and allow themselves to be photographed and depicted for newspapers, something they didn’t do when they were still young.

But the ageism that can be observed so often today, on television with Heiner Geißler or in the opinion industry and in the writing profession, is probably an inevitable decadence phenomenon that accompanies ageing populations, magnificently described by P.D. James in her novel “The Land of Empty Houses”. The over-30 parties already exist, the over-60 parties will follow. One person who saw this early on and captured it in an image was Roman Polanski in his “Dance of the Vampires”. The creepy-comic ball scene at the end of the film turns out to be prophetic forty years later.

I used to despise pensioners, people who don’t want to do anything other than retire and grow very old. The very thought of retirement, even the word, was a horror to me. And now I’m one of these vegetating mummies myself. But the punchline is yet to come: I realise that this is exactly what I’ve actually been all my life, apart from the short period of time when the prospect of such a shabby life was the motive for protesting against society, imperialism and whatnot, a motive that I later lost sight of somewhere between Marx and Murks, for which I ended up paying the price.

It’s about the unlived life. The protest against this was the driving force behind the resistance actions against emergency laws, institutional regulations and all the stuff that we no longer remember. You bit into every bone that was thrown at you.

In the part of Stuttgart’s Schlosspark that is soon to become a building pit, Robin Wood boys have built tree huts at dizzying heights. The trees themselves are supposed to be defended and a tiny animal called the “Juchtenkäfer”, which I have never seen, supposedly lives there. Ridiculous. As ridiculous as our actions against emergency laws and institutional regulations back then.

But for the boys up in the trees, especially in summer, it’s a nice time, a reprieve before they dive into the lifelong treadmill from which there will be no escape, and perhaps a last flicker of resistance against it. And if I were to rub these guys’ nonsense and the futility of their actions in their faces, it would be like spitting into the last meal of a man sentenced to death or telling him that he won’t have time to digest it anyway.

Because the social deformation of individuals goes much deeper and repeatedly confirms Adorno’s words that there is no right life in the wrong one, cabaret and satire become dull and bland. Taking the mickey out of Merkel only makes sense if the result is a realisation of just how out of touch we have become ourselves and that we didn’t need Merkel for this. You can do that all by yourself. Denunciation without self-denunciation is boring.

Unfortunately, the latter is shunned and avoided. Nobody wants to clean up after themselves. On the contrary, a certain complacency can be observed, especially in retrospect. Publishers such as Edition Tiamat in Berlin, Konkret in Hamburg, Ça Ira with the IFS in Freiburg, and also the taz – all of them and others have been around for thirty years or more, they have lasted this long, half an eternity. Wherever they are based, they are already part of the tradition, local folklore and cultural heritage; over the years, they have become a particle of what the protest movement labelled the “establishment” with the deepest contempt. They are a frequency in the monotonous background noise of the ensemble. And I observe with interest how their own perseverance fills the owners or those involved with unmistakable pride, where it would actually be appropriate to lament. Even company anniversaries are celebrated, like at Siemens or Bosch. It was supposed to be a revolution, and then it became a paper spinner in continuous operation. Is that really so great? Isn’t it miserable to take stock and realise that you’ve been doing the same thing for thirty years with nothing more than life support and no prospect of things ever changing?

And isn’t it symptomatic that this obvious thought is rigorously suppressed today? That today we feel caressed to the stomach by the very mendacious and imbecilic eulogies that are produced on the occasion of such anniversaries, these lifetime obituaries, which in the past would have triggered a fit of laughter? A title by Christian Schultz-Gerstein comes to mind, only the title, I don’t even remember what it was about: “Wreath ribbons for life.” Brilliant.

What is the pride in perseverance other than a retrospective abandonment of all revolutionary hopes, and all the hopes of youth in general? Does this not reflect the philosophy of life of the resigned philistine, namely “Persevere!”, regardless of whether you dress up in Marxist, critical, avant-garde, situationist, Dadaist, capitalist or any other costume?

If you want to achieve something, you run the risk of failing. Anyone who argues or fights runs the risk of losing. Anyone who wanted to fight for a different world fifty years ago failed and lost. We should not be ashamed of our defeats. On the contrary, they prove that we once wanted something different from what we have today.

But you shouldn’t hang yourself with consolation prizes. They prove the opposite. But this is not a new realisation, as I wrote back in 1976:

“The more fortunate among those who once radically questioned schools and universities, who proclaimed the abolition of the lecturer in active strikes and practised the self-organisation of studies, and who discussed the superfluousness of the elementary school teacher on the basis of the theses of Il Manifesto – they have now become teachers in schools or universities themselves. So those who would once have indignantly rejected the imposition of contributing to the functioning of the bad whole through their work in the institutions of this society, and at the price of becoming a shooting gallery figure with thinning hair, an embittered soul, an iron sense of duty and limp limbs in the daily grind of the bourgeois profession – they are all either civil servants or impoverished, disqualified, broken, imprisoned or dead. Those who got away, some of whom did not pursue the revolution without the reassurance of a proper degree, some of whom initiated their academic resocialisation in good time, but most of whom were simply lucky – they fared no differently than all those in this society who still have the courage to want something substantial: they ended up as failed existences. You can’t blame them for that, but you can blame them for suppressing their unhappy awareness of it.

What is striking is the iron curtain of optimism that is defended like a fortress and makes any understanding impossible. Without quite realising it, the professional left have adopted from the institutions they believe they are undermining their peculiar relationship to the rest of the world. What is wrong with it is reduced to the functional. The world’s disorder only appears in the form in which the institutions define it: as an object of the makers and organisers. In this relationship to the underprivileged, but especially in this relationship to oneself, all everyday experiences are blocked, the radicality of which would prove the revolution to be a living necessity: horror, disgust, horror. The inability to recognise in oneself the bleak fate of a failed existence corresponds to the ability to chalk up the fact that one has helped a few poor devils to alms according to the Federal Welfare Act as a sense of achievement with obvious satisfaction. The hardening against oneself corresponds to the social welfare relationship to other people. Its icy coldness is the prerequisite for giving the deformed a friendly pat on the back. They do not need to be taken seriously as objects. Disgust and horror, which would strike at the essence of their existence as well as one’s own, can therefore be spared. The left has also adopted the manipulative gaze of the institutions as the sterility of their own experience. Their unconditional philanthropy owes less to political conviction than to the fact that it is a requirement of professional life: as a teacher, one is forced to get along with the students, even if it means ingratiating them.”

Yet more proof of how little times have changed.

 

Wolfgang Pohrt
Picture Rupert Loydell

(Reproduced from https://non.copyriot.com/)

 

 

 

Posted in homepage | Tagged , | Leave a comment

The pink shadows of illusion

I ramble away after a little thought in a lost city and riddles that make the shadows.

And the pink illusion shadows despite the crowds, I find my self lost, riding the horse of the wind, dirhims might not be the price taking me where the mirage was born the home of sadness and where the heart becomes a stranger in his home.

A question needs a memory to be charged.

And a crossing gate.

An assassinated question

A dead question said through the wisdom tongue created by the emptiness logic.

A wise who is in sane from his chastity, eaten by bad thoughts.

 

_____________________________________

 

Muhammed Gaddafi Massoud (Libya)

Date and place of birth 1978 Gharyan, Libya
He obtained an intermediate diploma in theater studies in 2000, Tripoli, Libya
He began writing poetry in 1996, began publishing in newspapers and magazines in 2000, and participating in poetry evenings and festivals entered Libya.
He published his poems in many Arab newspapers and magazines, and Arab critics wrote many articles and critical studies about him
His poems have been translated into English / translated by Ms. Rajaa Nakara from Tunisia and Ms. Nina Al-Sartawi from Libya

 

Translation by: louay alani. Iraq
Picture Nick Victor

 

 

 

 

Posted in homepage | Tagged , , | Leave a comment

The Con-Script

 

 

.

 

Posted in homepage | Leave a comment

Postmarked Prague


 
George once was a drop
in an ocean too large to hold back,
and he pointed to where
a man on the square
simply turned himself into a fire.
He walked through the side streets
with the state perched on his shoulder,
owned a spider he said
was worthy of a fine
museum, and never forgot
it was impossible to tell back then
a truncheon from a heartbeat.
He wrote letters
in the bad times and the good and
in the disappointing ones that washed
up on the step of his
apartment. He sent postcards
showing centuries when the church
was art. Sent greetings. Sent
questions. Sent sighs
of relief. Sent a caution about freedom
never tasting of the sweets
in the Slavia Café. His became
the only Easter card
delivered, until
he slipped away beneath
a postage stamp,
just peeled a corner
and made himself small.

 

 

 

David Chorlton

 

 

 

.

 

 

Posted in homepage | Tagged | Leave a comment

Down and Out on Downshire Hill

You take the train
from Hampstead to Chalk Farm
a trip of thirty-six or thirty-seven years
back to the past or into the future
one way or the other
the train is somewhere
on the tracks of the Northern Line.

You drop into the Roundhouse
on Chalk Farm Road
for a cup of coffee
the Roundhouse is crowded
with rock and rollers
and there’s no sign of that dropout
from Wild West Park.
You drag a partly smoked three skinner
out of a bellbottom pocket
think about that young dropout
with the same middle name as George.
You take a sip of coffee
slip out of your shoes
slip back to those days
to those garage band gigs
when you played rhythm and lead
with the Puppets of String Theory
back in those barefoot days
when you discovered Sandie Shaw.

Leaving the Roundhouse
at the end of the song
you walk back to the station
making tracks for Belsize Park.
Down in the underground
you hold a newspaper mask over your face
reading nothing as this tin bullet
rocks from side to side.
All the newspapers have different dates
they blur into one long commute.
Too much time travel
too much H.G. Wells
too much Doctor Who
too much innocence
too much acid
or too much smoke.
It’s all too fucking much.
You decide there and then
this isn’t your planet.

Back home on Downshire Hill
you pay homage
by lighting candles to a ghost
you haven’t got the breath
for blowing out all eighty-four
so, you’ll ask the wind
from West Hampstead
the wind from South End Green
for a little help
you’ll call that young dropout
with the same middle name
as that ukulele player
you’ll read him some Lorca
read him some Rosemary Tonks
maybe venture over to Parliament Hill
take in some crows
flying over that democracy
down by the river
a long way from Paris
a long way from Catalonia
you’ll take his down and out hand.

 

 

 
Kenny Knight

 

 

.

 

 

Posted in homepage | Tagged | Leave a comment

On the Ice

News breaks, and people stand around on street corners like penguins in one of those documentary shorts they used to show at the cinema, slotted in between the cartoon mice and cowboys. Maybe it was a harbinger of global warming – stop-frame chases careering across the inhospitable landscape – but the penguins took it in their ungainly stride, barely paying attention to the choreographed pandemonium as mousetraps snapped on cats’ noses. I’m of a generation that learnt early that you can’t phase penguins, and that even a polar bear with a false beak won’t raise an emperor’s eyebrows. Even as news breaks and icecaps crumble, it’s pretty much all about fish and keeping their eggs warm. Sure, sometimes they imagine sunnier climes, and sometimes they wonder why they even have wings when they can’t fly; but when they stand as if stunned, looking at nothing but the silver distance, they don’t know what we know and can’t imagine the implications of the latest figures. They don’t even know who these cowboys are or what those distant smoke signals mean.

 

 

 

 

Oz Hardwick

 

.

 

 

 

 

Posted in homepage | Tagged | Leave a comment

Maghreb Falls At Inspiration Point in the San Bernadino Mountains

Night comes quick in the mountains.
A hawk settles near the top of a pine;
a mine owner clutches a gold-clawed cane
beyond these darkening gorges where L.A. shines like Dresden.
I recall my friend Eli telling me about the man he met
who every dawn for fifty years
has fed the pigeons at Al-Aqsa.
Or the Dome of the Rock.
Or the Temple Mount.
Do the birds care what it’s called? he had asked.
In the gathering dark I reach down to touch
moss lying between tree roots like a pubis mons.
Echoes fade into violet,
darting through the space yet unsullied by 5G’s quicksilver jizz.
I have watched for years the lake hidden
inside my mouth thaw and freeze,
thaw and freeze, but still, no word from the geese,
nor that one swan,
on when you might be coming back.
Strategic English, pre-emptive English —
who armed you like a warhead,
blasting your words from their meanings,
like a family searching for each other
in the rubble after a bombing?
I can sing no longer with this mangled tongue,
so I will thunder, like the missles roaring over Gaza,
while Michigan snow piles up like the death toll,
each flake unique like a person,
unremarkable, anonymous, until you look up close.
The same tyrants who scan the needles of these Ponderosa pines,
not as living marvels,
but to endow their arsenal with sharper points,
are also those who, in their programming language,
assign a zero value to the lover
while David goes out to gather slingstones.
They issue a proclamation that your smile is verboten to me,
as the petals trapped in the rockets bloom over the cities,
anemones sifting the charred screams for
the titles that Central Command promised
for scratching We the People on the tip of
every condom passing through customs. 
They declare that our love has caused this war —
that if we would just surrender the last stronghold
of our embrace,
their conquest of silicone and plasma would be supreme,
where every second-on-the-second
a bell will chime inside the skulls
announcing the ascension of The Liar,
with one eye like a rotten grape,
who leers and then yanks the filament spun
from stale babka and spider tears that lashes together
the left nipples of each person marked for the distillery furnace,
whose smokestack is Big Ben,
and whose ash-pan is the White House.
And those lamprey zealots and dog-piss liars
issue a warrant for the satin verb of your voice
while data entry clerks lilt over the freshly-minted orphans.
Tattoo guns are juiced with with cortisol.
Date-rape pills are spring-loaded into
the eye-sockets of Barbies scheduled for export.
And now the baseball-cap legions strap on
their tactical denial,
fulfilling their weekly quotas for truck-loads of kneecaps
to keep current on their streaming cue, and to ensure
that the sarcophagus is kept warm for Natalie Portman
right beside Pharoah’s own.
Tendons freed from their bonds wave in the breeze
as the patriotic dust christens the liberated entrails
and limbs come loose as easily as the plastic strip
from the cigarette pack in the corporal’s pocket
rubbing against the photo of his neighbor’s wife’s shitzu.
And they jeer at our love demanding to know its lineage.
They haul out their tomes wrapped in Daniel Boone’s pantyhose,
inscribed with Guinivere’s hieroglyphs,
and begin to incant the ritual of the fallen lexicographer,
decapitating conjugations with shards of broken mirrors.
But though they try to corral us in their razor wire,
wall us in their cinder block,
where Saladin served King Richard snow from the mountains,
we will go on raising our kisses,
flags waving on the fortress of our love.
I resist, committed to the non-violent uprising of your pure shoulder
blade, your waist like a storm.
The citizens chant your name
in the slums and cities of my blood. Your name,
that the wind is still trying to work out in the leaves.
Yes, your name: carried along the streets and interstates,
championed in the rest stops and the verdant fields,
finding its way even to the tapering backroads
that wend through the hamlets
whose namesakes haunt the cafe alleys
where crickets blink in the neon light
trying to rise from the creosotey darkness like a prayer.
Oh, empty propane tanks and rusty shopping carts!
What have you done to my brothers and sisters?
Oh, click-bait bigots and word-hijackers,
give me back my aunts, uncles, nieces, nephews
dazed and gasping in the blast radius.
While you fine me for breathing you bank billions a minute,
whining in that sly passive voice
that “you were co-erced.”  Still,
I know it was The Whisperer who implanted
the velvet thorn behind your glottis
so that we no longer “fire” someone, we “sunset” them.
Tariffs, sanctions, cease-fires?
This fire may only be extinguished by the oceans
of the last place we have thus far refused to look,
familiar as the ghost of childhood,
an echo of diamond — like the light perched
on the almond tree that morning outside the hotel in Burbank:
we’d come down in the night from the mountains,
turning away from the Pear Blossom Highway,
and hanging a left over a creek onto Devil’s Punchbowl Road.
Careening down switchbacks, watching for deer,
or worse, we leveled out suddenly
as lights kindled here and there,
campfires on the plain of Marathon
in my boyhood book on historic battles.
As I lay in the antiseptic sheets
with Arab music bumping in the bar below
I felt my body flying still through the tangled darkness.
Later, when I shuffled out to the car for ear plugs, I heard
the concierge reply to the night guard that’s demonic!
as if that were something cool.

 

 

 

Thor Bacon

 

 

.

 

 

Posted in homepage | Tagged | Leave a comment

MELANIE SAFKA (1947 – 2024)

Melanie at the Isle of Wight Festival, 1970

 

Melanie, the folk singer who emerged from Woodstock to become a pioneer of the artist-owned label, died Tuesday (1/23). She was 76.

Born Melanie Safka, she was best known for the hits “Brand New Key” and “Lay Down (Candles in the Rain).” She was also one of the first artists to create and run their own label to retain control of their work. Her first release on her Neighborhood Records, founded in 1971, was also her biggest hit—“Brand New Key”—which went to #1 in 1972.

A native of Astoria, Queens, she got her start in the folk clubs of Greenwich Village, which led to her signing with Buddah Records and scoring hits in Europe such as “Bobo’s Party” and “Beautiful People.” After her appearance at Woodstock, she wrote and released the gospel-influenced “Lay Down (Candles in the Rain).” The song, inspired by what she saw from the stage, peaked at #6.

Melanie left Buddah after being asked to produce albums on demand—the label released three of her LPs in less than three years and one after she left. With her husband, Peter Schekeryk, she founded Neighborhood and released her fifth album, Gather Me, which went to #15. It included “Brand New Key,” which would sell 3m copies.

Melanie released a half-dozen albums on Neighborhood before going through other indie outlets. At the time of her death the L.A.-based Cleopatra label was working with her on reissuing her post-Buddah catalog.

In 1989 she won an Emmy for her lyrics to “The First Time I Loved Forever,” the theme to the TV series Beauty and the Beast.

She’d recently been collaborating musically with her son, Beau-Jarred Schekeryk, and daughters Leilah and Jeordie and was working on a set of covers that included songs by Morrissey, David Bowie and Radiohead.

“She was one of the most talented, strong and passionate women of the era, and every word she wrote, every note she sang reflected that,” Melanie’s children wrote in a joint statement posted to Facebook. “Our world is much dimmer, the colors of a dreary, rainy Tennessee pale with her absence today, but we know that she is still here, smiling down on all of us, on all of you, from the stars.”

 


 
MELANIE SAFKA (1947 – 2024)
 
The saddest news reached me today of the death of one of the great and beloved stars of the 1970 Isle of Wight Festival: Melanie Safa, a personal favourite we booked for the event. We met again at the 40-year anniversary event in 2010. For those not familiar with what I wrote about Melanie’s presence at the 1970 Festival, I reproduce the whole section here:
 
“Melanie had been on site since Friday afternoon, after flying down from Stapleford Airfield with Tiny Tim and Tony Joe White. All through that afternoon and evening until daybreak on Saturday she had waited to go on. Stuck in what she described as a “Fume-filled trailer,” she was becoming more and more jittery. She could have followed Cactus but then decided to quit the festival. “At five in the morning I was so tensed-up that I freaked. I was rushed over to my hotel to recover and enjoyed a brilliant sun-rise filling my room.”
Later in the morning her manager persuaded her to cancel a booking in Holland and return to site – in order to go on later in the day.
 
Back on site she found a smiling young man hanging out in her trailer. Though his face was vaguely familiar she did not give it a second thought, coming to the conclusion that he must be one of the stage crew. As the hours slowly dragged by he took it upon himself to become Melanie’s self-appointed valet and court jester. “All the time he kept on fussing over me, asking if I was all right and did I want any tea, milk . . . my wish being his command. Suddenly, the door burst open and in jumped Murray Roman and immediately they went into an hilarious comedy routine.” Within minutes, she was in fits of hysterical laughter, rolling around clutching her sides. “I can’t begin to tell you how much that cheered me up, and then they were gone. . . I nearly died when I found out, but I didn’t let on to the fact that I hadn’t recognised him. You know, he really extended his warmth to me, knowing that I’d had such a hard weekend.”
 
Keith Moon was not the only friend Melanie made backstage. Some of the time was also spent in Donovan’s gay caravan. As the afternoon show progressed, her position in the running order was being put further and further back. By evening it was becoming clear that she was going to be the one that followed the Who, and this was less than appealing. Her own recollection is that she saved Jim Morrison’s skin by relieving him of the job. With a slightly different interpretation on the backstage manoeuvrings that evening, Melanie recalls, “I had to follow the Who’s premiere[sic] performance of Tommy. Nobody wanted to do it. Jim Morrison from The Doors turned it down. I don’t know how I got it. I was the path of least resistance, I guess.”
 
Having helped land Melanie in this spot, Keith Moon at least did the decent thing by introducing her to the audience – using his considerable cred to show that she was cool. Before that happened, however, Melanie needed some persuasion to go on – even though she had had the experience of playing a couple of songs at Woodstock a year earlier.
 
Electrician, Chris Weston, at the back of the stage had watched Melanie’s difficulties with interest. “I was up on stage at the end of the Who’s act and Melanie stood close by. They had four ‘super brutes’ and some ‘mini brutes’, brought in by Mole–Richardson, the film hire people. Their red generator trucks were parked up backstage to power them. I thought these lights were Second World War searchlights. They were lit by arcs striking across carbon rods, just lasting for a couple of minutes before the rods were burned out. Anyhow, when they came on, the arena which had been black, was suddenly lit up like it was midday and there was an ocean of faces all the way to the horizon. Melanie saw this and her jaw dropped. She fled the stage, terrified. Minutes later I found her in tears in our electricity office below the stage. There were people trying to console her because she was refusing to go on. Before I knew it Keith Moon was also there talking her round. She eventually agreed she would do it, but only if the stage lighting could be set up in a special way. Keith went off to see what he could arrange – but by the time Melanie started it was nearly daylight anyway.”
 
Moon tried his best but the lighting crews, like everyone else had gone to catch some shut-eye, after two consecutive all-night sessions. For some reason, only a few yellow spotlights remained in place, and to Melanie’s dismay there was no time or crew to reset them. “So there I was in this pukey yellow, with all [Sly Stone’s] equipment lit up behind me. It was so late that even the guy who was filming me was keeling over with sleep in his eyes.”
 
While the Who’s drummer had spent some time with Melanie during the many long hours of waiting, it was not just that they became friends. Moon had befriended her, and at the most difficult of times. As a nervous performer abroad, thoroughly messed around by our stage production, Melanie was soon to face the massive audience all on her lonesome. “He realised my situation and helped to break the ice. It was dawn. The Who had played throughout the night. There was a friendly atmosphere but the audience were finished. They had just seen Tommy – Roger Daltrey in his prime. Here I was, with just my guitar and my voice.
 
Going on at dawn, with the sunrise facing the stage – just as playing at sunset (as Miles Davis had done, seeming like eons ago) had the sun behind – was a choice moment for a performer, even if an unusual time of day for rock ’n’ roll. Little wonder Sly Stone wanted to buy the slot. Keith Moon did his best to warm up the sleepy audience, warning them to be “Fucking nice to her.” Melanie came out alone, with just her guitar, sat down, clearly nervous and appeared vulnerable with her long, straight brown hair, large doe eyes and massive black eye lashes. She began gently with ‘I’m Back in Town’ and worked through a clutch of songs from her two albums.
 
Personally, she was very pleased with the set. “I started to sing. . . The dawn was coming and the sun was rising. Little by little, I see heads popping up. I woke everybody up! I played one of my best concerts.”
 
Melanie’s voice was undoubtedly one of the most distinctive at the entire festival – as pure and clear as crystal, ringing powerfully and tunefully with just the hint of a quiver. When she got to ‘Mr Tambourine Man’ it was almost a cappella, with the evocative piercing words, eerily penetrating the hazy dawn. For me, it was the spine-tingling moment of the event – especially moved by this very particular rendering – so familiar from the previous summer, when in that same voice, the Dylan standard reverberated around the Middle Earth Club during the intervals.
 
The set concluded with several standing ovations. Music Now reported that she was ‘clearly touched’ by her reception. Andy Dunkley dedicated a record to her as she finally left the stage: “She’s A Lady.”
 
Melanie returned to the Island forty years later to celebrate the anniversary, performing at the 2010 Isle of Wight Festival. When in 1970 she had woven her way through ‘What Have They Done to My Song Ma’, tears of happiness were evident as she ever so slightly welled-up. In 2010, as she sang the same song again, a gentleman in the audience, from the seventies generation, could be seen wiping tears from his eyes. Melanie said of 1970, “I do know that it was a real success, and after that my career broke open in England and all of Europe.”
 
 
Ray Foulk, The Last Great Event, Medina, 2016
 
 
 
 
 
.
 

 

.

 

Posted in homepage | Tagged | 1 Comment

NO END OF FRACTURE

from/for Lawrence

‘when we do not know where we are,
we do not know who we are.’
   – Mark C Taylor, Recovering Place

Looking down from the wooded edge,
the villages of my heart were never
tied to place, remain vividly detached,
fictional communities out of reach,
atmospheres moving on or left behind.

A forward light draws us through
sequences of woods, field, lanes
towards the pub’s tranquil garden
or the maze’s quiet end, chatter
in the apple and cherry orchards,

all blossom denied. High summer
and more than 80 years have passed,
a pillow-cloud of dreams before panic
in the morning light, friendly barns
and proper eggs with air-burst rose.

Do not sing, spare me your tears;
Shropshire’s deep country was ours
until yesterday, landlocked far from
every tide which fills and empties
the head with detached indecision.

No windows face things never seen,
only sensed: a shadow in the corner
edging backwards across the mind,
mislaid doorways and unclear lives,
atmospheres moving on or left behind.

 

   © Rupert M Loydell

 

.

 

 

Posted in homepage | Tagged | 1 Comment

The New World Tony Oxley with Stefan Hölker Discus Records

The New World, has turned out, sadly, to be the last album made by jazz and free improvisation percussionist Tony Oxley, who died over Christmas. Like his previous album, Beaming (2019), it’s a collaboration between himself and fellow percussionist Stefan Hölker. The two had worked together going right back to the 1990s, Hölker being one of the four drummers in Oxley’s Celebration Orchestra. Beaming was a series of elaborations on archive recordings made by Oxley in the 1970s. On it,  Hölker played acoustic percussion while Oxley contributed electronics. The New World involves them working together in a similar way, but without archive material, Oxley again contributing electronics and incorporating sounds from close-mic’d found objects. However, in no way is it merely a rehash of the earlier album and fans of free improvisation will enjoy both. The album was recorded in 2022.

The title is playfully enigmatic. It could be seen as an ironic political comment on the state of things, or as describing a new way of doing things, a spontaneous, constructive musical dialogue that could serve, maybe, as a model for social change.  It could be taken to have a hauntological ring to it: one could imagine it being the title of a BBC TV documentary; the year, perhaps, is 1970. Being easily impressed by transistorised devices back then, we watch, in awe, as James Burke interviews Oxley about the electronic gizmos he’s incorporated into his kit. Blue Peter for grown-ups. It could also be seen as referring generally to the world of improvised music, or, specifically, to the sound-world Oxley and  Hölker create. One might even think of it as referring to the new ways of seeing (or, rather, hearing) invoked by Oxley’s found objects. If we take it to refer to the sound-world, it’s interesting to speculate when that world came into being. Listening to the album, I was more than once reminded of the classical music avant-garde of the 1960s. That a sound-world created sixty years ago still sounds new today – and it does – says a lot. Much of that music was tightly-structured and one of the great insights that has come from the rise of improvised music as a genre is that the ‘new world’ of sound created back then doesn’t need the formal rigour that classical composers often felt a need to give it. Musicians from both jazz and classical backgrounds quickly discovered you didn’t need a blackboard or a slide-rule to create to it. All you needed to do, once you had embraced the mindset and acquired the skills needed to do what you wanted to do, was pick up your instrument and play. And there was always the implication that what you could do in the world of music, you could do in the world at large. As Sun Ra put it, ‘There Are Other Worlds (They Have Not Told You Of)’.

The New World lasts just over fifty minutes and comprises of six tracks entitled ‘Composition’, numbered 1 to 6. In the first, dry, busy percussive activity interacts with what could be sounds produced by bowed metal or the results of ring modulation. Both musicians carefully restrict the vocabulary of sounds they permit themselves to use. This vocabulary is gradually enriched over the course of the album, but there is, throughout, a sense of almost classical restraint. On a micro-level, the music is inventive and endlessly engaging. I was put in mind of two people conducting a subdued but rich and enthusiastic conversation in the corner of a room, not quite out of earshot.

And what a conversation it is. Although there are six tracks, you have a sense that, when one comes to an end and another starts, it’s because you had to leave the room temporarily, not because the music ever stopped. You get the feeling Oxley and Hölker could’ve gone on for ever and never run out of things to say.

 

Dominic Rivron

Tony Oxley’s Obituary:
https://internationaltimes.it/tony-oxley-1938-2023/

Oxley and Hölker’s previous album, Beaming:
https://confrontrecordings.bandcamp.com/album/beaming

 

 

Posted in homepage | Tagged , , | Leave a comment

Phantasmagoria



and believe in the hallucination of escape
and believe in checking compassion that fails
and believe in waving at vivid nothingness
and believe in real populism as haunted
and believe in this paradox of understanding
and believe in a resurrection of possibilities
and believe in the ghost of fact checking
and believe in fact checking of the ghost
and believe in possibilities of a resurrection
and believe in this understanding of paradox
and believe in populism haunted as real
and believe in nothingness at vivid waving
and believe in checking that fails compassion
and believe in the escape of hallucination

 

 

Mike Ferguson
Art Joan Byrne

 

 

 

 

Posted in homepage | Tagged , | Leave a comment

SAUSAGE LIFE 289

Bird Guano’s
SAUSAGE LIFE
The column which is experiencing an unusually high volume of calls

READER: Happy new year!

MYSELF: Did you manage to destroy all your Christmas cards and decorations by January 6th?


READER:
I shredded everything and then had it all incinerated for good measure, you can’t be too careful. Now I can’t wait for Burns Night!

MYSELF: You mean bonfire night? I think you’ll find that was on November 5th unless you live in East Sussex, when it was between October 6th and January 1st

READER: I said Burns Night, not burns night. Note the capitals. Haven’t you noticed my kilt and sporran? It’s the McReader tartan in case you were wondering.

MYSELF:
As a matter of fact I was wondering why you were got up like a golfing drag act. Ah, Burns night, I see! It’s like St Paddy’s Day, when we’re all persuaded to become temporarily Oirish so we are, only this time we have to pretend to like the greetings card poetry of Mr Robert Burns the famous scotch whiskey influencer, and that inedible bag of oats n’ offal known as….

READER:
Macdonalds!

MYSELF:
No!…Haggis ye glaikit bawbag. Altho’ just like the Big McYin, ye have to be steamin’ blootered oot yer nut tae eat it wi’oot bowfin’.

READER:
Why are you talking like this?

MYSELF:
I’m practicing my Caledonian accent, so I can insult policemen during Burns Night without them noticing.

READER:
Why policemen?

MYSELF:
Who else is going to arrest me for being drunker than a herd of skunks at a Dolce and Gabbana convention?

READER: Aye the gift the giftie gi’ us

MYSELF: Lang may yer lum reek

 

I”D LIKE TO THANK…..

With all the top awards up for grabs, our movie critic Tanya Croquet-Lorne has thrown together a few of her predictions for 2024.

Best Picture:
When The Crocodiles Laugh The Elephants Cry (Lucasfilms Dir: Kevin Von Stroheim)
Starring Hugh Furst as the confidence trickster behind Ponzicon the billion dollar international pyramid scam, it tells how in 2020 Furst, using only a webcam and a laptop, persuaded millions of gullible investors to invest in Schitcoin, the so-called miracle currency. When IRS fraud investigators finally tracked him down to an Idaho potato farm they discovered that what he had described to his investors as an ultra secure cache of Schitcoin turned out to be an abandoned New Jersey vegetable warehouse containing 10,000 sacks of out of date Brussels sprouts.

Best makeup & hair styling:
Winford Garibaldi for Stink or Swim CH4/Balaclava productions (dir: Rick Ferrarri). The story of the 1988 sewage disposal scandal

Best documentary
I’m Getting Molten Tarmac, Loganberries and a Hot Flush Hyperfilms (dir: Carlton Misanthrope)

A fascinating insight into the world of vin extraordinaire, in which experts from around the globe savour  a £4,000 bottle of wine that spent a year under the Antarctic in a Russian nuclear submarine  – and reveal what it tastes like.

LEGAL TERRORISM
A good while ago (Sausage Life no. 257 to be exact), we published an interview with “the most dangerous far out sexed-up dude in classical stringdom, Nigel Kennedrix”. The interview, entitled The Boy with the Something About Mary Hair, provoked little controversy at the time and although Mr Kennedrix was his usual controversial self, we felt that despite a couple of lapses in taste, it all went relatively smoothly. Imagine our surprise then, when almost eighteen months after the event, we received the following letter from Mr. Kennedrix’s solicitor, the very eminent Mr. Ron Stigma:

GILT STIGMA & TABOO
SOLICITORS AND STUFF
301 The Chambers, Gas St, Carlisle

Dear Mr.Guano,
As legal representatives of Mr. Nigel Kennedrix, referred to in your article as The Boy with the Something about Mary Hair, we take grave exception to certain lewd and defamatory comments made in an email passed on to us by a Mr. Victor who appears to have some connection with the publication carrying your column.

It behoves me to inform you that our client Mr. Kennedrix’s hair is a registered trademark, and as such is protected from ridicule in paragraph 5a of the EU Artiste’s Hair Act of 2003, 2004 & 2005. Any sarcastic references to it are thereafter deemed a criminal offence and as such any further comment by you or your relatives, or by any person or persons, ventriloquists or talking animals such as budgerigars, parrots and certain members of the crow family, or human voices created by artificial intelligence or by a supreme omnipotent being, will be subject to quasi ipso loquires  and furthermore proctor ad solarium pantaloon. As a precedent, I would refer you to Menhuin vs Smethwick’s Meat Pies & Pasties Ltd, (Leeds Assizes 2003), whilst respectfully requesting that you shut up or else.

R. Stigma KC
Gilt, Stigma & Taboo

PS: I dictated this with my wig on.

LETTERS
Dear Bird Guano,
We think that the BBC should stop wasting money dramatising enormous books which no one has read, even though they claim they have.
Warren Pierce,
Gulliver Stravilles,
Moe B. Dick

Advertising feature
CALLING ALL EMPATHY-FREE LUVVIES
Are you an out of work actor? Have you dumped your conscience in order to milk the cash cow of commercial radio? Are you able to veer alarmingly from dim Geordie to gormless Manc via over-confident smug Yorkshire without glowing redder than a baboon’s bottom? Could you talk to potential adult customers as though they were distracted 7-year-olds? Have you got a voice which can express syrupy condescension and the suggestion of personal financial paranoia in equal measure? If you still possess a sense of honor, integrity and perhaps a certain amount of hard-earned thespian skill, do not fear – our highly focused team will assist you in downskilling your talent and within a very short time you will to be confidentally promoting gambling, dentistry, divorce and vehicle leasing. All the misleading information you read out is covered by our legally binding disclaimer messages. Soon you will be able to recite things like “99.9% APR representative” or “offer only available from participating dealers” at the speed of sound. Terms and conditions apply.

CARRY ON AT YOUR INCONVENIENCE
The Inconvenience Store, Elon Musk’s attempt to break into the retail market has arrived in Upper Dicker, causing ripples in the high street. An excited crowd gathered outside the shop as Hastings’ Lord Mayor The Right Hon Derek Windfarm cut the ribbon and handed the keys to franchisees Lola and Colin Rum-Baba. The Inconvenience Store will be closed Monday to Saturday all day and in the evenings. Opening times are Sundays from 4 to 4-30am

 

 

 

 

Sausage Life!

 
ATTENZIONE!
‘Watching Paint Die’ EP by Girl Bites Dog is out now and available wherever you rip off your music.
Made entirely without the assistance of AI, each listen is guaranteed to eliminate hair loss, cure gluten intolerance and stop your cat from pissing in next door’s garden.
Photo credit: Alice’s Dad (circa 2000)




Click image to connect. Alice’s Crazy Moon is an offbeat monthly podcast hosted by Alice Platt (BBC, Soho Radio) with the help of roaming reporter Bird Guano a.k.a Colin Gibson (Comic Strip Presents, Sausage Life). Each episode will centre around a different topic chosen by YOU the listener! The show is eclectic mix of music, facts about the artists and songs and a number of surrealistic and bizarre phone-ins and commercials from Bird Guano. Not forgetting everyones favourite poet, Big Pillow!

NB: IF YOU DO NOT HAVE A PAID SUBSCRIPTION TO SPOTIFY, THE SONGS WILL BE OF RESTRICTED LENGTH

 

JACK POUND: JESUS WANTS ME FOR A SUN READER aka PASS THE INSTANT YOGA

 

 



SAY GOODBYE TO IRONING MISERY!
When added to your weekly wash, new formula Botoxydol, with Botulinim Toxin A, will guarantee youthful, wrinkle-free clothes.
Take years off your smalls with Botoxydol!
CAUTION
MAY CAUSE SMILEY FACE T-SHIRTS TO LOOK
INSINCERE

 

SPONSORED ADVERTISEMENT
“Sometimes you just need a tool that doesn’t do anything”

 

By Colin Gibson

 

Back Issues

SAUSAGE 159 SAUSAGE 160 SAUSAGE 161 SAUSAGE 162 SAUSAGE 163
SAUSAGE 164 SAUSAGE 165 SAUSAGE 166 SAUSAGE 167 SAUSAGE 168
SAUSAGE 169 SAUSAGE 170 SAUSAGE 171 SAUSAGE 172 SAUSAGE 173
SAUSAGE 174 SAUSAGE 175 SAUSAGE 176 SAUSAGE 177 SAUSAGE 178
SAUSAGE 179 SAUSAGE 180 SAUSAGE 181 SAUSAGE 182 SAUSAGE 183
SAUSAGE 184 SAUSAGE 185 SAUSAGE 186 SAUSAGE 187 SAUSAGE 188
SAUSAGE 189 SAUSAGE 190 SAUSAGE 191 SAUSAGE 192 SAUSAGE 193
SAUSAGE 194 SAUSAGE 195 SAUSAGE 196 SAUSAGE 197 SAUSAGE 198
SAUSAGE 199 SAUSAGE 200 SAUSAGE 201 SAUSAGE 202 SAUSAGE 203
SAUSAGE 204 SAUSAGE 205 SAUSAGE 206 SAUSAGE 207 SAUSAGE 208
SAUSAGE 209 SAUSAGE 210 SAUSAGE 211 SAUSAGE 212 SAUSAGE 213
SAUSAGE 214SAUSAGE 215SAUSAGE 216SAUSAGE 217SAUSAGE 218
SAUSAGE 219SAUSAGE 220SAUSAGE 221SAUSAGE 222SAUSAGE 223
SAUSAGE 224SAUSAGE 225SAUSAGE 226SAUSAGE 227SAUSAGE 228
SAUSAGE 229SAUSAGE 230SAUSAGE 231SAUSAGE 232SAUSAGE 233
SAUSAGE 234SAUSAGE 235SAUSAGE 236SAUSAGE 237 SAUSAGE 238
SAUSAGE 239SAUSAGE 240SAUSAGE 241SAUSAGE 242SAUSAGE 243
SAUSAGE 244SAUSAGE 245SAUSAGE 247 SAUSAGE 248SAUSAGE 249
SAUSAGE 250SAUSAGE 251SAUSAGE 252SAUSAGE 253
SAUSAGE 254SAUSAGE 255SAUSAGE 256SAUSAGE 257SAUSAGE 258
SAUSAGE 259SAUSAGE 260SAUSAGE 261SAUSAGE 262 SAUSAGE 262
SAUSAGE 263 SAUSAGE 264 SAUSAGE 266 SAUSAGE 267SAUSAGE 268
SAUSAGE 269SAUSAGE 270SAUSAGE 271SAUSAGE 272SAUSAGE 273
SAUSAGE 274
SAUSAGE 276SAUSAGE 277SAUSAGE 278
SAUSAGE 280SAUSAGE 281SAUSAGE 282SAUSAGE 283 SAUSAGE 284
SAUSAGE 285 SAUSAGE 286 SAUSAGE 287SAUSAGE 288

 
 

 

 

Posted in homepage | Tagged , | Leave a comment

Brutal Reality: Psychopaths Form Majority of Today’s World Leaders

When one hears and sees Israel’s Prime Minister Netanyahu, declaring the absolute supremacy of his Zionist tribe and its goals of ‘taking back’ the State of Israel – via the slaughter of any and all Palestinian ‘animals’ whose home land is the Gaza Strip – one is confronting face to face, a clinically insane individual whose medical condition, if it were to be officially assessed, would be described as ‘psychopath’.

In a properly functioning society such a person would be hospitalised and made to undergo special psychological and medical treatment, or would be sent to an asylum where he would not be a threat to the outside world.

However, we are not living in a properly functioning society. We are living in a time where those in charge of all the main arteries of global decision making are either sub human, clinically insane, or both.

This is not a situation anyone would choose as their preferred form of governance. But on the other hand, it has been permitted to come about due to a widespread abdication of the responsibility we all share, to deal with lies, deceptions and basic thuggery taking place much closer to home. And which, due to our failure to deal with them – now form an integral part of the globalist agenda shaping every aspect of our lives.

Failing to confront injustice in one’s own backyard is the same as failing to treat the early signs of a sickness in one’s body. The end result, in both cases, is to suffer far worse consequences down the road.

But now, like it or not, we are further down that very road and staring us in the face is a monster we have no way of hiding from.

A monster, I contend, that is at least 50% our own making. The outward expression of a fear of confronting inner demons – and an unwillingness to stand courageously in defence of fundamental moral values which constitute the implacable foundation stones of a sane society.

The other 50% of that which stands behind the existence of this monster, comes from something extra terrestrial hatched by outside forces beyond our immediate control. And outside the capacity of the majority of mankind to recognise or identify – and therefore fail to recognise as a real threat to their futures.

But two events of unparalleled significance have started to change this: Covid and Gaza.

Suddenly, right in the foreground, we witness figureheads holding high levels of office, mercilessly condemning hundreds of thousands of human beings to a life of highly visible depravation, agony and death. And this, with utter impunity and not a trace of guilt; but with an air of someone quite alien and possessed.

This is a state of deep psychosis. Someone suffering it can justly be described as ‘clinically insane’.

When the World Economic Summit and the Bilderberg club convene each year, the venue is filled with insane megalomaniacs discussing how to impose their rampant megalomania on the rest of us.

Their insanity comes dressed up in various guises of which the current favourites are

* Artificial Intelligence replacing human intelligence by 2035
* Artificial lab food replacing real food grown in soil by circa 2030
* ‘Net Zero’ carbon replacing oxygen by 2050
* The confiscation of our personal assets – so as to make us ‘happy’ – by 2030
* The removal of any degree of privacy, freedom of speech and human rights, also by around 2030
* A Central Bank Digital Currency to replace physical bank notes, by circa 2026
* War machines programmed to self select ‘enemy collateral’ at the push of a button, 2025?

After which time the ‘Transhuman’ AI computer cyborg entity is supposed to become ascendant – and real men and women pretty much obsolete. Except those useful as slaves and play things for the psychos.

This is only an abbreviated summary of some key points that, as most of us know already, the monster has in store for us unless knocked off course. I have outlined them in order to illustrate how the psychopath agenda has no basis in rational thinking, human empathy or any form of justice.

It is cold, metallic and schematic. It thrives on chaos, the blood of innocents and sacrificial offerings to Masonic and Luciferian extra terrestrial overlords.

Now, having digested this essentially indigestible Hieronymus Bosh portrait of the dire state of our planet, we need to consider what options we warm hearted humans have to get through this global ‘Dark Night of the Soul’ and emerge victorious.

Facing us very directly in the Spring of 2024, is a major plank in the deep state totalitarian agenda – but also a unique opportunity for ‘we the resistance’: The WHO ‘Pandemic Preparedness Plan.’ We need to specifically put our best energies into ensuring the defeat of this planned fascist take over of human health.

Success here will constitute a huge set back for the architects of human suffering – and give us new momentum for further victories to come.

The WHO plan is ready to roll out should there be majority acceptance of its proposal to enshrine itself as the central controlling agent of all planetary health decisions.

However, in ‘we the people’s’ favour is the fact that we got a huge eye opening ‘initiation kick’ via the great 2021/22 Covid deception; all be it a tragic and ongoing one.

The rate of uptake of booster shots has declined dramatically in the last six months in almost all countries. There is a marked level of distrust and cynicism concerning official proclamations about what one ‘must do to be safe’. Cynicism is an essential part of breaking ranks with a captured status quo. We must now build on it – bravely and fast.

In store for us in plans being hatched by the combined pharmaceutical and military industrial industrial project – to be enforced by the WHO – is a threefold more drastic ‘lock down’ program than we suffered in 2021/22.

According to courageous activist Dr Bret Weinstein, closing the gate on 2021/22 errors of judgement by big pharma, will involve the redefinition of ‘a public health emergency’ and the re-mandating of the mRNA vaccine as the most effective weapon for dealing with the next human culling operation.

Additional remedies, reports Weinstein, will require citizens to endure ‘gene therapy technology’; a ban on the use of other medicines; highly restricted travel – and much more. All within the context of a general overriding of the constitution of individual nation states.

The psychos and their corporate henchmen are going all out to cut off a growing level of bottom-up suspicion concerning the motives of those in high office.

If the momentum of growing awareness can move up a notch and be turned into a significant scale rejection, our chances of an enhanced level of people’s resistance will be greatly increased and significantly strengthened.

The greatest danger to the realisation of such positive progress is what Weinstein identifies as “People’s willingness to expect to loose their rights when a health emergency is called.”

‘People’s willingness to expect to loose their rights’.

For the psychos, maintaining such a level of mass indoctrination is the key to moving their sick agenda forward and locking into place a global totalitarian regime which places mankind under permanent house arrest.

This year, 2024, could prove decisive in the battle ‘humans-v-psychos’.

Our task is clear: rip away the already decaying veil behind which hide our sickly tormentors, laying bare those who only know to deceive mankind into slavish submission to their demented prison camp.

Be bold, good people, we know we are gifted with the powers necessary to fight for that day when the light finally penetrates the darkness and we who honour and treasure our unique inheritance – burst through, declaring a glorious victory for freedom, truth, love and justice!

 

Julian Rose

 

Julian Rose is an organic farmer, writer, broadcaster and international activist. He is author of four books of which the latest ‘Overcoming the Robotic Mind’ is a clarion call to resist the despotic New World Order takeover of our lives. Do visit his website for further information www.julianrose.info

 

 

 

.

 

 

 

Posted in homepage | Tagged | Leave a comment

GAS GAS GAS

The protocol calls for the inmate to be 
strapped to a gurney and fitted with a 
mask and a breathing tube the mask is meant to 
administer 100% pure nitrogen depriving 
the person of oxygen until they die
although 78% of the air humans breathe 
is made up of nitrogen if the concentration of
nitrogen is too high and of oxygen too low the
body’s organs are deprived of oxygen
which they need to function and begin 
shutting down causing a person to die Smith 
shook and writhed for two minutes on 
Thursday night as his mask filled up with 
gas witnesses said the convicted killer is 
said to have remained conscious breathing
heavily and gasping for a further eight minutes as
his sons and wife watched on
“Tonight, Alabama causes humanity to
take a step backwards,” Smith 
said in his final words “I’m leaving with
love, peace, and light thank you
for supporting
me. Love all of you.” 
Smith was not pronounced 
dead until 8.25pm
22 minutes 
after the gas
was first 
administered.

 

James McLaughlin

 

 

 

 

Posted in homepage | Tagged | Leave a comment

ARCHIVAL

When they delved into the archives, which, after a very brief search, had been discovered in a cardboard box in the cupboard under the stairs, the excitement and sense of anticipation was, if not palpable, at least discernible, and definitely, if only a little bit, there. There were several other boxes, but they proved to be stuffed with comics, National Geographics, and pornographic magazines dating back to the 1960s, prior to the invention of pubic hair. Pubic hair, incidentally, was what a bin bag full of old clothes was suspected of also containing. 

So anyway, when they delved into the archives they were fascinated by the insect life that had set up home among the papers there. There were also loads of spiders, which not everyone knows are not insects but arachnids, because they have more legs but are, in most other respects, quite suited to life undisturbed in dark corners and among unread and largely unreadable poetry. Poetry, he had often remarked, could at times crawl from him in the same way that a woodlouse emerges from beneath a damp and rotting log, which image had inspired one critic to characterize his work as “what a woodlouse might come up with if it could be bothered to crawl out from beneath its log and tried to write sonnets.” Sonnets, the louse’s preferred verse form, have the same number of lines as the woodlouse has legs.

Anyway, it quickly became apparent that nothing of value was to be found there. There were legal documents relating to former wives, letters from a plethora of girlfriends, and a number of photographs taken from a distance of women who would never be identified and which were, as a consequence, of only limited interest. Interest in his work had been diminishing in his later years, not only from those who knew him but also within his own mind. Within his own mind he had begun to find it decreasingly worthwhile to get out of bed of a morning, especially if next to him lay one of a band of angels paid to render him solace, but the widening gap between what the head wanted and what the body might achieve made those occasions increasingly poor value for money. Money runs out; money always runs out, and “Money Ran Out” were, coincidentally, the words found daubed in red paint on a wall of his apartment when, his not having attended any events at The Bookshop for several months or replied to the one or two emails people said they had sent, the Poetry Police broke down his door to find the place stripped bare, and the bird conspicuous by its absence. Absence, it was agreed, meant he’d almost certainly evaporated, which was exactly the way he would have wanted it.

 

 

Copyright © Martin Stannard, 2023

 

.

 

 

Posted in homepage | Tagged | Leave a comment

WINTER

 

Winter tree
You stand with antlers raised
They say
‘Where are your leaves?’

Then to their neighbour
‘All his birds have flown   –
What kind of music
Stirs in dry dead wood?’

No more songs for free
Is what they mean   –
Give us all
A climate of amusement from machines

But birds have private language
When no-one is about
Their discourse goes like this   –

‘Absence is the mystery
Of Love’s perpetual presence’

 

 

Bernard Saint
Illustration: Claire Palmer

 

 

.

 

 

Posted in homepage | Tagged , | Leave a comment

RESTAURANT #2

Mona ordered angels on horseback i.e. grilled bacon-wrapped oysters drizzled with fresh lemon juice, served on toast, with hollandaise sauce on the side. Angelica decided upon Italian chicken with mushroom and spinach risotto. Mona shifted a little in her chair. I’m always a little bit itchy when I’ve had a shave downstairs, she said. You should use a balm, said Angelica, as she summoned a waiter. I can really recommend ‘Softly Private’, it’s especially formulated for our most tender areas, she continued. I don’t like this, she said to the waiter, who had arrived while she was speaking, and who had made a mental note to check out ‘Softly Private’ for himself. Take it back and bring me something that’s edible, said Angelica. Okey-dokey, said the waiter, and scuttled off to the kitchens, scratching himself down below as he went. I have an itch that really needs scratching, said Mona. Speaking of which, said Angelica, how’s Sebastian? Mona sighed the softest of soft sighs. Oh, Sebastian. I think I’m going to have to let him go. The waiter returned and placed a dish in front of Angelica. What’s this? she asked. It looks like sausages. Is  it sausages? It’s bangers and mash, said the waiter. Oh, jolly-jols, and yummo, said Angelica. Cheers! And she tucked in with gusto. Speaking with her mouth full she said, Let him go? Why so? Well, said Mona, there are itches and there are irritations. Sebastian’s  both.

 

Conrad Titmuss

 

 

 

 

Posted in homepage | Tagged | Leave a comment

SEEN AGAIN. An exhibition by Theo Dunford

Private View:  Saturday 3rd February  (6pm – 8pm).   ALL WELCOME

Exhibition:  Wednesday 31st January – Sunday 4th February 2023
Open: 12-5pm / Sun 1pm 4pm

Theo Dunford is recipient of the Fringe Arts Bath (FaB) Bath Open Art Prize 2023 gallery award
and currently resident at the 44AD studios working towards his exhibition.

His paintings are made of momentary impressions of his perception
as well as ideas about how he wishes the subject to be translated and seen again.

More information on the 44AD gallery website.

More work by Theo Dunford on Instagram:

https://www.instagram.com/theodunford.art/

 

 

 

 

 

 

 

Posted in homepage | Leave a comment

Music, mayhem, politics and humour!

Music, mayhem, politics and humour!

Alan Dearling introduces more musical mayhem from the North…

Musical compere for this night, Pip Fowler/Miss Airedale suggested in advance:

“In between the two arse-cheeks of Christmas and New Year; an evening of exhausting in-your-face entertainment.

Headlining is our very own Glastonbury Festival regular: Isaac Hughes-Dennis. (Photo left). Also headlining are the riotous Wonkypuss .”

It was a lively and highly eccentric, eclectic evening of entertainment at the rather lovely and intimate Thai restaurant bar, ‘3 Wise Monkeys’ in Water Street in Todmorden.

Pip Fowler added:  “And we have an extra special guest: Ian H (Hodgson) from the band, Bradford, doing a solo slot. He’s the singer from one my favourite bands of the late 80s/early 90s.

And Morrissey was a big fan too, having recorded a cover version of ‘Skin Storm’, one of his songs.”

Ian proved a ‘class act’ including in his set, ‘Witching Stone’, and ‘Shirking Class Heroes’ from his new album. He explained that he has recently been playing with Glen Matlock and has had one of his tracks included on a ‘Mojo’ magazine compilation.

Ian H from the band, Bradford.

‘Skin Storm’: https://www.youtube.com/watch?v=LsfvkQaZSOY

‘Gang of One’ video: https://www.youtube.com/watch?v=cdstwhfAcy4

Wonkypuss… Kevin and Karys are a duo from Littleborough, near Rochdale. Kevin is a quirky, singer comedy front-man, backed up by his guitarist partner. Self-described as: “Tragicomic acoustic twee punk folk rant duo from the South Pennines. Best served with cheap lager.” They reminded me of the earlier antics of eccentric Jonathan Richman. Lots of clever and amusing lyrics, for instance, in ‘Flaky’, it includes “…Mind like a sausage dog.”  

There was even a song concerning, “ ‘Cooked-up squirrels’ living in my attic!” I seem to also remember a tale about a funicular railway involving sex and train-spotting. And, ‘I will be your jelly-baby!’ Loads of fun.  Live: https://www.youtube.com/watch?v=DKwc1qlh8H4

Isaac Hughes-Dennis.

Young, confident, even arrogant… An impudent young singer with ukelele. Loud, brash, angry and at times confrontational. He is a self-proclaimed ‘ranty anarchist’! Precocious and talented. Isaac told the audience, “I’m just back from Ireland…not played here for a few months…I’ve been performing now for seven and a half years and I’ve just turned 20.”

His songs are extremely political. “What’s too young to throw a petrol bomb?”

The songs seem largely autobiographical. He explained that he was brought up in a horse-box by new Traveller parents, claiming that he was raised on Special Brew by Animal activists. Amidst the rants was an amusing tale featuring Goths, in their dark, heavy clothing, suffering more in the future from climate change. There was also a song about undercover, ‘Spy Cop’, about  Mark Flash, Dodgy Mark, who pretended to be a punk-poet as he infiltrated the animal rights’ activists under the name, Mark Stone aka Mark Kennedy.

Isaac: ‘Teenage Jesus’: https://www.youtube.com/watch?v=2WCbhRVDRcw

 

The night was hosted before and in the midst of the musical mayhem by Miss Airedale/Pip Fowler, accompanying his songs on auto-harp with dollops of additional humour.

‘Joe Bell’: https://www.youtube.com/watch?v=SM90XIc0AJQ

 

 

 

 

 

 

 

 

 

 

Posted in homepage | Tagged , , , , , | Leave a comment

A MOTHER’S RETURN

 

        

 

 

 

 

 

 

 

 

 

 

 

 

On Dina Ibrahim’s THE MOTHER OF KAMAL , Upstairs at The Gatehouse,

                                                            London 19-28 January 2024

 

If only my own Mother had, dead now for over a decade.
And in her play Dina Ibrahim duly honours the ghosts
Of her own family, as The Mother of Kamal is restaged
Upstairs at The Gatehouse, on top of Highgate’s hill
And High Street, as her words and emotion perform homily.

With the first One Act version performed at Islington’s
Hen and Chickens, here the play attains a new summit,
And one wreathed in mist. A little too much dry ice
To be frank, as extra atmosphere is not needed,
As the now two hour story, allows for more grounding

And for each one of those ghosts to be kissed.
A working class jewish family in Baghdad,
Have their comparative peace quickly shattered
By State Police suspicion of communist sympathy
And collusion no doubt, requiring Um-Kamal

To submit and sacrifice one of her children,
Sasson, to ensure that Kamal, her eldest’s survival
Will allow his Doctoral quest to run free,
Allowing him to depart to LA and to London,
From his Christlike curing of blindness in shepherds

Sasson’s sacrifice soon becomes symphony,
Accompanied here by Jon Kudlick’s rich music,
Containing Arabian airs and near klezmer, alongside
Aidan Good’s sound enchantments and George Petty’s
Lightning in which part danced dreamscapes colour

Dark air, beautifully. We see tables as home as tableaux
Frame the story. Mirdrit Zhinipotoku  as  Dr. Kamal is dashing,
Heroic and Jojo Rosales as his martyr is appealing,
Passion charged, and saintly. As the twin tales converge,
The improved structure assists us in an overview
Of emotion that at times tells too quickly what should
Be shared carefully. The cast are sharper this time.
Manav Chuadhuri seems to play a different part
With each minute, and the jewel of the first version
Still shines brightly as Nalan Burgess conveys,

Man, woman and child, differentiating in seconds,
Revealing versatility’s value and in commitment alone,
True beauty. Dina Ibrahim plays Um-Kamal with both
Purity and devotion. Her investment is heavy,
And she carries this weight honourably. But we need

Time to care in times like this where detachment
In the world we know is unused to the world of such
Women who gave their lives over so that their children
Could live truthfully. History helps and Ibrahim’s play
And her own  family’s story belongs to a world

We’ve forgotten, and in that her writing also becomes
Painterly.  As we must look at these lives as we would
At art and surrender to experiences that inform us
And alarm us too. Then we’d see  that the lives we now
Lead, wrapped in others wars make us siblings

To these generations, for ages pass painfully,
As if there were a stone in each gut and an ache
In each soul as it struggles, to separate from the body
And for those who read and watch try to be
At one with the dead. Who may give way, yet stay present.

We are not more important, but as this world worsens
We should listen and learn dutifully. About what sacrifice
Truly is, and what wrongful imprisonment fashions;
About allegiance and allegation, and what they mean
To you, yours and me. Watching Director Stephen Freeman’s

Well staged summary of these lost lives of others,
Who scour tombs, wombs and shadows for renewed life
In light, magically. The play runs all next week offering
Ten nights communion, with sons, souls and mothers
I thought of my Mum and my Hungarian Grandmother,
Berji, she lost her husband to Nazis. At this time
Against Israel, this is different heart beating
For jew and for Arab, and for us all, powerfully.
This then is a much needed play. Which is a feeling
That we should always take from the theatre.

From this sacred mother, all others both sanctify
And then save us. Embrace and stand with them
As they dare oppression. God remains in the details
That each faith resists.
                                                       Devils:

                                                                            Flee.

 

                                    

                                                             David Erdos  20/1/24

 

 

 

.

Posted in homepage | Tagged | Leave a comment

from Jim Henderson’s A SUFFOLK DIARY Friday, January 12th

It has been very chilly of late, and my wife, as I write this, is in bed with a stinker of a cold, which she says is not surprising given it is freezing in the old cricket clubhouse where she has been holding her yoga classes (Oh Yeah! Yoga!). There is an old Calor gas heater in there which they have been using, but it is not enough, and she says that several of her ladies have intimated they may not go to the class again until they are back in the refurbished and, hopefully, warm village hall.

Speaking of the village hall, last evening we held the first Parish Council meeting of the year, in the Shepherdson’s very comfortable and warm summer house, fairy cakes courtesy of Bernadette Shepherdson. Mrs. Tregonning asked for the recipe; they did indeed have a very delicious tang to them. But I digress. John Garnham, the Parish Clerk, handed me a package that turned out to contain the publicity (posters and leaflets) for a visit from The Ipswich Players, who are bringing their (and I quote from the promotional material) “widely acclaimed” production of “Waiting for Godot” to the village. (It sounds like a bundle of fun.) Anyhoo, as the Council’s CLAPO (Community Liaison and Publicity Officer) I would have expected to know about this event and not have it sprung on me out of the blue. There is more to my role, I think, than sticking up a few posters around the village every now and then. However, when the meeting got underway John pointed out that while the repairs and refurbishment of the hall seemed to be going along well enough, though it has only been a few days, he is a little concerned that the workmen have told him they do not expect to finish the work until perhaps the middle of February. He is concerned because the aforementioned visit from the Ipswich thespians is due on the first Saturday in February, and apparently if we are unable to fulfil our obligations because the hall is not ready then it will cost us a significant sum by way of a cancellation fee. By “significant” we are talking three figures, which sounds like a lot to me for a bunch of amateurs. Anyhoo, at the moment, according to the Council’s Treasurer & Finance Officer, William Woods, that would exceed what is in our bank account. Michael Whittingham said we should not worry because, in his words, “we can tell them to stuff it”. The diplomatic service lost a valuable asset when Whittingham chose waste disposal as a career. Whittingham, who is our Buildings & Environment Superintendent, and is therefore technically overseeing the hall’s refurbishment, added that he did not think we need worry anyway, because he will “have a word in Bob Merchant’s ear” and make sure the work is finished in good time. I think perhaps we should worry a little bit.

While we were discussing the near fiasco of the village’s Christmas tree – both its late ordering and its collapse while Santa Claus was distributing gifts to the village children – I took the opportunity to raise the question of perhaps limiting the age of “the children” to whom our Father Christmas gives gifts, since photographs have apparently been circulating on social media (with a variety of sometimes less that respectful captions) of Lucy Palmer perched on Santa’s lap, with Santa having a rather peculiar look on his face. Lucy, it should be said, is 15 years old, and looks considerably older. John Garnham, a little embarrassed, said the look on his face was because Lucy was quite heavy and sitting on his car keys, which were in his pocket, and pressing them into his thigh. I am not going to write here what Michael Whittingham had to say about that, but I will note that the Council unanimously agreed that an age limit should be imposed. Miss Tindle has been delegated to organise an informal census of the children who live in the village to see what age would be appropriate.

 

John Garnham also informed the Council – as he had informed me in The Wheatsheaf last week – that when the Council elections come around in the Spring he intends to stand down as Parish Clerk. I did not like the way he looked at me when he said that existing council members would, of course, be eligible to stand for election. On the other hand, from the looks on the faces round the table, it seems like everyone except Miss Tindle is interested in the job. Major Edward (Teddy) Thomas and, God forbid, Michael Whittingham, I thought looked particularly keen. Good luck to them all, I say. You can count me out.

Also discussed (I know this sounds like the meeting’s minutes but I am almost done) was the fact that now the road through the village has been re-surfaced and is no longer a pot-holed nightmare it seems to have attracted boy racers from the surrounding area (probably from the dingier parts of Stowmarket) to see how fast they can get from one side of the village to the other in their souped up jalopies, primarily after dark. John Garnham was urged to contact the local constabulary about it. I did not know we had a local constabulary.

Finally it was agreed that the GASSE (“Go Away! Stay Somewhere Else!”) group would remain “on standby”, if only because we have no idea what is happening or what might happen in the future. All government eyes this week seem to have been on other things, but it would surprise no-one if suddenly once again they decided to try dumping their illegal immigrants on unsuspecting communities, and we do not intend to be one of them, so we are remaining suspecting.

Sunday, January 14th

My wife is a very ill-tempered patient, and I appear to be utterly incapable of doing anything right. It is not my fault the vacuum cleaner is very noisy, or that the bedroom vibrates when the washing machine is spinning the clothes dry – or trying to: it is actually not very good at it. And I have always considered my scrambled eggs to be pretty good, but this morning she turned her nose up at them and told me I am no Jamie Oliver, and disappeared back under the duvet. I suggested that because her cold seemed to be dragging on she perhaps ought to take a Covid test, just in case. We have a supply of testing kits left over from when we were all testing all the time. The suggestion went down a treat, but she eventually agreed, begrudgingly, and she has tested Negative, so that’s good news (he says sarcastically) although it has not at all improved her mood.

 

 

James Henderson

 

 

 

 

Posted in homepage | Tagged | Leave a comment

Crass: A Pictorial History

 

EXITSTENCIL PRESS HAS announced that the decades-in-the-making ‘Bullshit Crass’ book project, which was to result in a near definitive documentary history of the band, will now see the light of day as Crass: A Pictorial History, a large-format, full-colour hardback to be published in the spring of 2024.

For many years, Exitstencil Press had been appealing for help in compiling ephemera, photographs, ticket stubs, posters and flyers, ‘reaching out to all you hoarders that might still have a little something carefully treasured or forgotten in some deep drawer.’ Most recently, an appeal went out for gig posters and tickets from shows ‘missing’ in the ‘Bullshit’ archives, conscious that ‘it would be great to have each place the band played at represented in some way.’

The ‘Bullshit’ book was described as ‘a dictionary, reference book, bible – however you want to refer to it’, with the confident expectation that the finished article would be ‘big and informative’.

Many different editors and compilers have been involved with the project over the years, and – as Exitstencil Press acknowledge – this has meant that traces of some of the contributors will have been misplaced along the way (and, most likely, some of the contributions too).

The publishers had this to say in a recent press release:

After working on this book, on and off for over 30 years, trying to gather and piece together the Crass jigsaw puzzle, it finally became time to say ‘it’s finished’. Of course in this particular case this ‘finished’ means ‘not finished’ and it will be left to the viewer to correct all the mistakes you will undoubtedly find.

Even so, we hope you will find this book of interest, if not an inspiration to fight on.

Like the book, finding peace is never finished and the injustices to each other rage on and on.

Thanks to all of you who contributed, dug deep and found all the bits you could find from the day, they are now given back to you in this book. Sadly over the 30 years, the names of so many of you have been lost, but your contribution and generosity has not.

Thank you.

RELEASE DATE: Late Spring

Published by EXITSTENCIL PRESS.

Pre order here

 

 

 

Posted in homepage | Leave a comment

CANCER WARD

chemoport with docks
but only sinking ships
is it all in vain
into the veins

defy & deny
radiating malignancy
caverns of confusion
stalactites – stalagmites

glyphosate upon
feral dandelions
that grew in the garden
now a cluttered necropolis

riddled & rhymed
once an infectious smile
flesh of once youth
that once laid beside me

yet looking into the face
in that unmade bed
upon mere terra firma
another realm teleport

 

 

 

TERRENCE SYKES

 

 

.

 

 

 

 

Posted in homepage | Tagged | Leave a comment

Pain and pleasure

 

When I remember about you,

each time I lay in cloudy bed.

It has a magical view,

I walk in the sky ahead,

the sky of memories and dreams.

Every time it brings me pleasure and joy,

but also pain comes as a screaming,

Since I don’t know where you are now, my boy…

 

 

 

Dessy Tsvetkova
Photo Nick Victor

 

 

.

 

 

 

 

 

 

 

 

 

 

Posted in homepage | Tagged , | Leave a comment

 Scattered Dreams

 

Time again for war, leaving scattered shattered limbs
Smothering march of death, crackling dark hymns
Sacrificed for land, for another’s passionate belief
We huddle in hope, hold your memory in our grief  

I shelter in my cave, comforted by friends still left
What have we done that we are here and so bereft?
Fearful, I cannot choose whether I may live or die
My memory remains, we’ll not dismiss it as we cry 

I’ll remember these killing fields, we’ll rise another day
Now or then, we will redress, no matter what you say
Trapped in this land, this uneven match set by you
You’ll reap the whirlwind, sucked in for what you do 

Taking, you’ll be forever guarding, a fear buried inside
Our children killed & maimed, sacrificed for your pride 

We’ll fight again for our land, we last few together
Start anew, pray, & forgive what you came to sever”

 

Christopher 2024

 

 

 

.

 

Posted in homepage | Tagged | 2 Comments

Jewels

Ms P was desolate. The gemstones in her favourite tiara had turned into fruit gums. She asked her agent, Mr G, for advice about what she should do. ‘Why don’t we eat them?’ Mr G suggested, hoping to indulge his sweet tooth. Ms P stared at him. ‘But I wore this when I sang at La Scala,‘ she protested. ‘It brings back such vivid memories.’ Mr G looked crestfallen. ‘You were indeed magnificent as Violetta,’ he conceded, ‘and I will always remember it. But these bonbons will go mouldy if we don’t eat them up, which would be a waste, and you know how much I detest waste.’ Ms P wasn’t listening. She placed the tiara on her head, and began to sing: ‘A quellamor, quellamor
ch’è palpito
…’ And the red and green gum drops turned back into jewels.

 

 

Simon Collings
Picture Nick Victor

 

 

.

 

 

 

Posted in homepage | Tagged , | Leave a comment

Finally Listening

The sun’s last flares are dying
over the horizon’s shoulder.
In the rearview mirror, odd-shaped clouds stretch
north, drifting through the Minneapolis skyscrapers.
Suddenly the sound of bombs bursting
ricochets through the car radio,
the calamity of distant buildings collapsing,
cascades through my mind,
and out my car window desperate men,
women and children–
some on other’s backs, some in arms–bend
forward toward no return. The debris begins
to cluster on the road, casting ashes
over children buried together and burnt,
or left to die of thirst.  A headless woman
lies by the side of the road.  
As dusk darkens, the conflict surges.
A few miles left to reach home.
Can I outrun this destruction?
Perhaps. Soon I will be protected, secure
in my plentiful home with my distant
knowledge of the world. My dog will greet me.
I turn the dial to escape these images floating
in my mind. I don’t want to hear all I never really noticed—
refugees fleeing, slaughtered, how homes were bulldozed
or blown up, how treaties were never meant
to be signed. How olive groves were demolished,
barrier walls erected, travel not allowed.
The skyline inalterably changed—
any dreams of restoration, of peace
will be in the hands of our great grandchildren—
if they ever exist, if they ever live to pass through
these ruined walls of our world.

 

Sandra Sidman Larson

 

 

 

.

 

Posted in homepage | Tagged | Leave a comment

After the disappointment…..

i watch it, it doesn’t rain

i come taken, with what

i carry from certainty

then after the disappointment

except the dream.      

 

 

Tale

 

on the verge of a tale

seagull fell, in

the water.

 

 

Messages

 

boiling the messages

the end invisibility

palm trees, are falling

in the valley of the flutes

 

 

Her gaze

 

were broken our lips on

the sight of her gaze.

 

 

lumberjack

 

gather firewood

bleeding sun

selled ​​the horizon

at auction.

 

 

 

Happiness

 

lump from barking

the happiness

 

 

Division

 

divides the laughter itself

on itself

who closes the door of, a-ha

 

 

___________________________________________

 

 

Muhammed Gaddafi Massoud (Libya)

Date and place of birth 1978 Gharyan, Libya
He obtained an intermediate diploma in theater studies in 2000, Tripoli, Libya
He began writing poetry in 1996, began publishing in newspapers and magazines in 2000, and participating in poetry evenings and festivals entered Libya.
He published his poems in many Arab newspapers and magazines, and Arab critics wrote many articles and critical studies about him
His poems have been translated into English / translated by Ms. Rajaa Nakara from Tunisia and Ms. Nina Al-Sartawi from Libya

Translated by Neina Al-Sartawi
Photo Nick Victor

 

 

 

Posted in homepage | Tagged , | Leave a comment

Whatever

The conditioning
In ward zero
Is very tough
Body and soul
Gave it away
Conditions of oppression
That you don’t want to tolerate
And why should you
Run out into the light
Well I might walk
Meet the new boss, same as the old boss
How are we to avoid making the same mistakes
The human imagination
Unfortunately is not limitless
What do you do with people
Who cannot even
Be in the same room together
A ship of fools
Yes we must go with the consensus
But sometimes it comes with
A number of caveats
Can you hear what I hear, see
We want conciliation
Not aggression
You’ve been struggling with this
As long as you can remember
There is always that kernel inside
That won’t take with being sidelined
Go your own way
With few assurances

 

Clark Allison
Art Rupert Loydell

 

 

.

 

 

 

Posted in homepage | Tagged , | Leave a comment

No Room in the Skeleton House

I see they’re running out of space
in Hades / Gehenna /
Xibalba / Valhalla /
Bardo / Tartarus / Mag Mell /
call it what you will
it makes no difference

so don’t be surprised
if you see someone
jigsawed back together
& sitting too still opposite you
on a tube train
lost in their own final thoughts

they’re popping up everywhere
only yesterday
I looked up to see a young woman
staring out at me
from a shop window
the surprised look on her face
paused forever
                        a line of holes
gauged across her chest

and how could I forget
the hastily-reassembled small boy
that sits between us on the sofa
he’s been there for weeks
I tried reading him stories
even turned over
to the cartoon channel
but it was no use
                                    when we go up
we leave the light turned on
it seems wrong to turn it off somehow
as if we’re giving up on him

of course others are more serene
not a mark on them
I came across an old man
laid on the bed in our spare room
as if he were merely taking a nap
but there was no waking him

they say they’re under more pressure
than ever before
distraught relatives
cradling their sheeted loved ones
queueing at the door
boxes piled up in corridors

they say the only way forward
is to sell it all off to the private sector
it’s what they’ve been trying to do for years
pay the ferryman in advance
prepayment schemes for eternity
as advertised on daytime TV

please do your best to stay alive
and avoid killing people
at what is a difficult time for us all
you may find simple remedies
are available from
your local pharmacist

 

Dominic Rivron
Picture Nick Victor

 

 

.

 

 

 

 

 

Posted in homepage | Tagged , | 1 Comment

Helping Out

Once you start
thinking about
waste you just
can’t stop but
this place is
almost entirely
uninhabited &
we all want to
see a cessation
of violence. What
we need is a
much more honest
assessment of
what we do not
or cannot know.
Fiction or fact?

 

 

Steve Spence

 

.

 

Posted in homepage | Tagged | Leave a comment

Retro

 

What a world, when cassettes are making a comeback, all tunes loose and stretching, with songs breaking up after half a dozen plays. The smart money’s on landlines as the next big thing, with Bakelite handsets leading to glass-voiced operators. It’ll be a fine time for elocution, and for beautiful fingers nested in wires, and halls will ring to urgent bells calling us all to hope, tears, and long, long silences. There will be queues once more on every street corner, shuffling in the Sunday rain, and children will be raised like offerings to a calmly bemused God in order to hear the voices of distant grandparents. But I’m a busy man, with smart money and no time for the snake of strangers jingling their fistfuls of change. So, I’ll buy myself a yellow Trim Phone and keep it trilling in a gilded cage, where I’ll wire it up to an answering machine, then listen at my leisure to distorted voices as they stretch and break and never get round to telling me why they called.

 

 

 

Oz Hardwick

 

 

.

 

 

Posted in homepage | Tagged | Leave a comment

A phone-call

                        

“If something is said to be relative, what is it relative to? Relative to a specific culture? But then that’s relative to another culture, and so on, ad infinitum? If something is relative, it must be set over against something else that’s non-relative. Relativism only makes sense when the relative is put in relation to the Absolute. Otherwise, all is nonsense.”

“Yet how? Variously, yes. Pluralistic? And in ways we can only understand in terms of approach.”

“Or manifestation… reflection… however partial or distorted….”

Trees and shrubs, rocks and stones, and water… and again, water.

Only a phone-call away, even if you’re dead. I’m here.

 

 

David Miller

 

 

 

.

 

Posted in homepage | Tagged | Leave a comment

DEL, DEPARTING

 
 
 

                                          For Del Palmer, 3rd November 1952 – January 5th 2024

 

Not a name many knew, outside of us,
The devoted; but with his bass beside her
Del got to see Kate Bush grow,

From teenage beam shining sharp
Across South London Pub stages,
Through to the between the tree shimmer

Of the private locale, so few know,
He got to both kiss and curate the precious
Collections she’s fashioned, engineering,

Assisting from Never for Ever, to its equal
In enchantment, 50 Words For Snow.
It is to Del Palmer’s mouth that she passes

The key on The Dreaming’s cover,
An image so gorgeous, so dream drawn too,
It’s a world completely unto itself

And one that every fan would be part of,
Traipsing through those leaves and that forest
To sample the magic she made: spells unfurled

In songs as soft flags, waved by her characters’
Victorious nations, as they fused and crossed
Over borders between both the possible

And the dreamt, with his bass notes
As the heart’s beat,which beneath the skin of songs
Set souls soaring.  Del was all fans desire,

But he, on their journey truly got to know
What love meant. And when their private connection
Was cut, he still sought the seal of her talent,

Giving of himself to her solely, apart from
A connection or two, here and there.
For lovers lost are still part of our practise,

And the sinew of strings for such players
Retain the textures of rapacious touch
And true care. Del was our emblem in that,

As he got to help her. He shared all of Kate’s
Explorations, her studies in sound and intent.
He got to take her out and stay in, hair slicked

Back, film star handsome, with moustache
And eyes flashing, as the bright guy
From Greenwich caught everyone’s Angel

From Kent. Claire Palmer and I met Del once
At Simon Drake’s House of Magic. And magical
Was that evening in that secret locale,

London set, which became an island of sorts
On which for those hours, we floated,
Exchanging views and impressions and what

He was doing now that he too stood separate
From the dream drenched day when they met.
Del was the dog in Cassavettes’ Love Streams.

Do you know it? In that film’s final moments
Cassavetes encounters this richly haired hound.
Intoxication through image as this is the real

Hound of love. For then the shot cuts
To a moustached Man-God who beams broadly.
Which Del always did, by being best friend

To music’s first woman. Del, then, in departing
Is devotion and dreaming and the dare to
Devise the profound. He had sense, style

And grace and worked for the ground
Kate Bush walked on. Del’s last declaration
Has a lesson for us all: Love is sound.

 

 

                                                David Erdos 17/1/24

 

 

 

Del Palmer, bassist and long-term collaborator with Kate Bush – obituary

When he first saw her perform, he recalled, ‘I knew I had to be involved – she was going to be huge, that was obvious’

 
Del Palmer with Kate Bush performing on German television in 1985

Del Palmer with Kate Bush performing on German television in 1985 Credit: ZIK Images/United Archives via Getty Images

 

Del Palmer, who has died aged 71, was a bass player and sound engineer who was Kate Bush’s right-hand man in the studio, as well as her long-term partner during the 1980s; the singer also became renowned for her lavish, big-budget promo videos, and Palmer was often featured in a leading role.

Derek Peter Palmer was born in Greenwich on November 3 1952; he was 15 when he acquired his first bass guitar, borrowing £20 from his mother to buy a Hofner Artist.

He played in a band called Tame, with Brian Bath on guitar and Vic King on drums; they eventually became the KT Bush Band after Kate Bush’s brother Paddy, a friend of Palmer’s, suggested that they help give her some experience of playing live. He realised when he saw her perform that his life had changed.

“I knew I had to be involved. She was going to be huge – that was obvious to me when she was 17 and still a very raw artist.”

They secured a residency at the Rose of Lee pub in Lewisham. “The first night there were about 10 people,” he recalled. “By the time we finished the residency there were people out in the street who couldn’t get in the door, it was so jammed.

“I thought: ‘Where does this girl get all her energy from?’ She would be up at the crack of dawn, and she didn’t stop from that point onwards. She would travel into London for dance classes, come home and sing, then play and work on the music. When I was completely knackered and had to sleep, she would still be working on Wuthering Heights at two o’clock in the morning – to the point where we would get complaining letters from the neighbours.”

Palmer and Kate Bush in 1985

Thanks in part to the help of Dave Gilmour, who was given a demo tape by a mutual friend of the Pink Floyd guitarist and the Bush family, Kate was given a sizeable advance by EMI – who insisted that her backing band was replaced by session musicians for her debut album, The Kick Inside, released in February 1978. But by the time the follow-up, Lionheart, came out nine months later Palmer’s position as her regular bassist was secure.

Their professional relationship had become personal, and Palmer played on Never for Ever (1980) and The Dreaming (1982), as well as being her main man in the studio and engineering her self-produced masterpiece Hounds of Love (1985).

Their relationship ended in the early 1990s, but they continued working together, and he engineered her 1993 album The Red Shoes, working with her as she composed in the studio, programming electronic drums and the Fairlight sampling computer.

“There have been lots of times when I’ve had quite heated arguments with her,” he recalled in an interview to promote the album. “I’d say something wouldn’t work, to which her response has been, ‘Indulge me… Just do it.’ ”

He played on later Kate Bush albums – Aerial in 2005 and 50 Words for Snow (2011) – while he also engineered albums for Roy Harper and Alain Stivell, as well as Sister and Brother, Kate Bush’s collaboration with Midge Ure on his 1988 album Answers to Nothing.

Palmer also made appearances in Kate Bush’s acclaimed videos. He was a getaway driver in There Goes a Tenner in 1982, then in 1986, in the video for Experiment IV – released as a double A-side with Don’t Give Up to promote her second compilation album The Whole Story – he played a patient on a secret military base who has the titular experiment performed on him.

It also featured Hugh Laurie, Peter Vaughan and Dawn French but was deemed too gruesome to be shown on Top of the Pops.

In 2018, Palmer returned to the stage after a long absence, touring England and Ireland with a covers band, Cloudbusting, playing songs from the Kate Bush back catalogue.

Del Palmer, born November 3 1952, died January 5 2024

 

 

 

 

,

 

 

Posted in homepage | Tagged , | Leave a comment

RESTAURANT #1

Tarquin ordered the pink lamb rump with a pea and smoked bacon tartlet, lamb fat roasted carrot, chimichurri, and a smoked yoghurt dressing. Sebastian settled on the pasta with lamb ragù and grated pecorino. Sometimes I think I may have made the wrong choice in Mona, said Sebastian. I’m worried. Really worried. Tarquin summoned a waiter. This is bloody awful, he said. Take it back and bring me something I can eat. Okey-dokey, said the waiter, and exited stage slightly left and toward the kitchens, as they say in the theatre. She’s a wonderful human being, Sebastian continued, and a positive amusement park between the sheets, but lately the rides have been closed. She says it’s for maintenance. The in-house pianist doodled a rather melancholy piece that had a little bit of the Chopin about it as well as more than a smidgen of a wistful Jean-Michel Jarre. Her Pa is tremendously rich, said Tarquin, and her Ma .  .  . His voice trailed off because his mind’s eye had a good view of the lady in question. His pride and joy stirred, threatening to stretch his trousers. The waiter returned and placed a dish in front of him. What’s this? Tarquin demanded, dragging his brain back to the matter in hand. Yesterday’s shepherd’s pie, said the waiter. Oh, ace, and yummy-yummy. Ta lots. He tucked in with gusto. Sebastian fired up a panatela in contravention of all known laws and regulations. I’m worried, he said. Really worried.

 

Conrad Titmuss

 

.

 

 

Posted in homepage | Tagged | Leave a comment

SYBARITE AMONG THE SHADOWS

INTRO

‘SYBARITE AMONG THE SHADOWS’ was originally published in International Times in 1977[1]. The story was inspired by a passage in Francis X. King’s Ritual Magic in England which asserted that Aleister Crowley introduced Aldous Huxley to mescaline in pre-war Berlin. I found the notion of such contrary types sharing so singular an experience intriguing. IT was having an identity crisis as publication coincided with the advent of punk. In one room, in the house in Notting Hill Gate that, for want of a better word, served as the broadsheet’s headquarters, the editor Max Handley and his crew were keeping the freak flag flying. In another, Scratch, a nascent punk magazine, was being cobbled together. Editorial meetings commenced with a rousing blast of the Sex Pistols or the Clash.

            My story caused a bit of a stir. Something I hadn’t banked on happened: people thought it was true. Books of the conspiracy variety focusing on the occult and esoteric Nazism quoted from it liberally. In the Eighties, it was republished by Rapid Eye, first in magazine form and then in a compendium. It was pirated. A doctored version appeared in Russia during the upheavals of the early Nineties. Many Russians thought it was true.

            Crowley was living in Berlin in 1930 and spent three days with Huxley when the writer visited. Whether they partook of mescaline is a matter of some controversy. You can find a detailed discussion of this in a Fortean Times article reproduced on my website called ‘Crowley and Huxley: A Trip in Berlin?’
 https://richardmcneff.co.uk/aleister-crowley/

Sybarite among the Shadows 

          Richard C McNeff 

              “He bridges the gap between Oscar Wilde and Hitler…”

                                                                         Cyril Connolly

 

BERLIN. THE YELLOW STARS DAUBED on shop windows in the Jewish Quarter, overshadowed by the monstrous towers the Nazis called architecture – totems of the thousand-year Reich. Such a millenarian atmosphere suited Crowley, fresh, if that is the word, from a reinvigorating interlude of sex magick with a woman half his age in Lisbon. Like a gratified parent, he still doted on the “German Crusade”, as he called it. In turn, the authorities tolerated his existence. Names he had been invoking for years were on the lips of high-ranking SS officers: Ahriman, Horus, Moloch – many gods were abroad that year. Besides, his relationship with the Nazis stretched back to the early days of the Party’s formation. Yet they did not like the relationship to be too defined. Already theirs was a hidden doctrine, a sect of intrigue and the esoteric, of ritual and symbol, posing as modern.

Aleister Crowley

 

A few years later, his eyes opened, the OTO suppressed in Germany, Crowley would describe them with contempt as the Black Brothers. Indeed, they were worshippers of the left hand, the perverted spirit — but in secret only. To the world of appearances, they presented themselves as the final cult of the empirical. Crowley to them was a buffoon, performing in a shadow play of rich widows and cocaine. He shared their interests but not their intent. The Wanderer of the Waste was comfortable with this arrangement. He loved outrage and extravagance. For them, purpose was enough.

Crowley had first met Aldous Huxley in this same Berlin at the start of the decade and had painted his portrait in the belief that the writer was rich. This time Huxley was in the city as an observer of the strange monster Germany was becoming. Like many witnesses, he was both repelled and fascinated by the dark pulse that beat through the nation. To describe their relationship as friendship would be to miss the point. Crowley was doubtless fascinating — notorious as the Great Beast 666 in his own country and much of Europe, a brilliant conversationalist and something of an enigma, whereas Huxley was a myopic intellectual. Yet Crowley attracted him, just as thirty years before he had intrigued peevish Somerset Maugham in Paris. He almost existed for the straying eye of the novelist who hunted those chapters of exhibition life did not afford. Yet now Crowley fades, his rotundity, absurd and menacing, is blurred – a glaring headline of Edwardian sin.

 

“Do what thou wilt is the whole of the Law.

                                            Love is the law, love under will.”

 

I utter his Law in my own defence, that simple phrase filched from Rabelais, supposedly dictated in the mirage of a Cairo night by his guardian angel Aiwass. I think of him towards the end of the war, shambling through that seedy Hastings boarding house, sated with the Law: a figure of pathos in his threadbare dressing gown, nursing his habits and remorse, an agèd minotaur, sybarite among the shadows, in the fading of his Aeon more the Fool than Prospero.

Already in the Thirties psychotropic agents fascinated Huxley. Albert Hoffman, synthesizer of LSD, had yet to sway on his bicycle after the mysterious drug seeped through his pores, yet there existed an abundance of literature concerning its forerunners: Havelock Ellis’s experiments with mescaline or those of William James with psylocibin. Moreover, Berlin, at that time, still nursing its Weimar hangover, was the epicentre of drugs in Europe. Both Hitler and Goering used amphetamine and cocaine, and the SS administered narcotics in their initiation ceremony, the Ritual of the Stifling Air, which closely resembled a Black Mass. Indeed, one of the biggest contributors to the formation of the Nazi Party, and so the Second World War, must have been the diet of methedrine, a super strength amphetamine, and Nietzsche fed to German soldiers in the trenches – pills along with copies of Also Sprach Zarathrustra were standard army issue. An oversimplification, perhaps, yet the first pharmaceutical history of our epoch remains to be written.

Thus, it was that Huxley came to Crowley for his first taste of mescaline. The latter took the drug irregularly, without pretensions, purely as an exercise in that hedonistic spirituality he preached as well as practised. Huxley, on the other hand, nursed a genuine mystical longing that had surprisingly blossomed in a soul as rooted in reason as his own. There was a confusion of aims, a perennial ambiguity about their enterprise. I, Victor B. Neuburg, poet and sodomite, sorcerer’s apprentice, veteran of the angel magic at Bou Saada and Jupiterian visitations of the Paris Workings, was the arbiter.

They had spent the afternoon in our less than opulent lodgings discussing karma. Crowley was talking:

‘To me it exists solely as a paradox. It is true I have seen retribution visit others on many occasions, especially those foolish enough to cross me, as they have learnt to their cost. There does seem to be balance in the machinery. Nevertheless, this process is unending. It acts in everything and so to allow it an iota of acknowledgement is absurd.’

‘We reap what we sow, Aleister,’ Huxley countered, ‘not in a moral sense, at least only haphazardly moral. Nemesis is something like gravitation, inevitable yet indifferent. If, for example, you sow self-stultification by an excessive interest in money, you will engineer a grotesque humiliation.’

‘In what sense? How can you possibly ascribe humiliation to the rich? They’re the last people to fall victim to that failing.’

‘I was coming to that. By self-stultification I don’t just mean money. I mean anything that clouds the spirit. Over-indulgence in alcohol, food or sex are more examples of things that wreck our purpose. However, because these things reduce you to the sub-human, you will not be aware the humiliation is humiliation, so to speak. There is your explanation of why nemesis sometimes seems to reward. What she brings is humiliation only in the absolute sense, for the ideal and complete human being, or at any rate, for the nearly complete. For the sub-human it may seem a triumph, a consummation, a fulfilment of the heart’s desire.’

‘Moral,’ concluded Crowley,’ live sub-humanely and nemesis may bring you happiness. Well, if you will excuse me, my dear Aldous, I will proceed to self-stultify. Victor, if you don’t mind: Pandora’s box!’

I rose, went to the cabinet and took out his medicine. Four phials lay in the ivory box. I selected the one containing Burmese heroin, another crammed with Bolivian cocaine. Carefully I mixed the powders on a silver tray, crushing the dirty khaki coloured heroin and adding about five times as much cocaine. I passed Crowley a silver spoon that, with surprising dexterity, he used to scoop up some of the powder, which he then deftly inhaled, first through the right and then the left nostril.

‘Won’t you join us for cocktails?’ Crowley invited. ‘This mixture certainly beats Pimm’s.”

Disapproval etched itself into the lines on Huxley’s drawn austere face.

Observing this, Crowley commented: ‘I’m afraid if you keep the devil’s company you must see his works. Imagine you’re with Falstaff: “gentlemen of the shade, minions of the Moon”.’

‘But this is such waste,’ declared Huxley, ‘the ultimate form of self-stultification. What’s more I’m sure it’s a conscious assault on the soul, an immense dereliction and act of self-harm.’

‘It depends. Drugs are magick and have always been used as such. The soma of the Vedas, the nepenthe of Homer, the henbane and belladonna of the witches, all point to the fact. I am sure for the normal man, whom I happily call the sub-human, they are invariably detrimental. However, in no way do I consider myself ordinary. To me drugs are the litmus test of capacity. I know the wraith-like effects of cocaine, that long corridor of shadow where the soul is wasted and profaned. And heroin! The cushioned daze of the opiated night. But it is because I have supped large on such joys and sorrows that I consider myself more than human.’

‘Have you not read Baudelaire’s intimate journals? Isherwood, who is staying nearby, has just translated them. I’ve never come across such desperation, such remorse for a lifetime given over to false ideals, hashish and all the other indulgences that ruined the Decadents.’

‘But that is it exactly!’ Crowley was excited by the drugs. ‘Baudelaire gloried in his fall, his self-imposed damnation. Besides, he did write some damn fine stuff, and wasn’t that born precisely out of those feelings of failure and hysteria he cultivated with his drug taking, his black bitch, his Catholic guilt? You see, Aldous, as long as we are active, we are saved. All energy is eternal delight provided we use it. To take a drug is to permit a daemon to enter the sanctum of thought and action. If we give voice to this captured spirit, we enforce, rather than profane, and so exorcise the very spirit that possesses us.’

Aldous Huxley

He got up and went over to the sideboard. It was growing dark outside. His obesity threw a giant shadow across the wall. I suppose, in tribute to the spirit of the times, I should record the stamp of stormtroopers’ boots from the street below. But in truth I only heard the low growl of traffic and the occasional shout. Crowley came back and gave Huxley a piece of paper. ‘Read!’ he said simply.

            I have that paper before me now. In the last decade, it has yellowed and grown brittle round the edges. It is one of many of his papers that I keep: bills, incantations, the occasional doodle or letter. Like me they survive in obscurity, unknown to both his followers and biographers. I shall transcribe it here.

 

From the tower enchantment and the sweet hypnosis of lost time, my dream seed spill their valediction across known worlds. I tell the cartographers, who call my map invisible, that space is frozen in the habit of their fictions. Their cities are my seed, their houses, wives, and toil are fantastic shadows of solidity. I see only waves, brilliant, aural cartoons containing one inch of gross matter. Let the radiant language spill forth. I sing the chisel and the blade, the hammer and the scales, and all melodies of craft. The Work ferments inside my battery of cells. My voltage is a million watts.

“Alchemy is patient. It sits in stillness. Like Tao it recognises the divinity of hazard, the vigour of the useless – accident is merely the collision of two meanings. So, in me the dross solidifies. I have stopped asking if I have a story as there are no stories now, only decipherable collisions. In me, the opaque furniture of the random is condensed and drained into rich ore. My veins are heavy with dark coal nurturing diamonds. I am the Red King, the bronzed phoenix upon the wheel of flame. I have traversed the river of ordeal and am crowned by elementals. Now shall the paradox of prisms blaze onto papyrus my heart’s bold voice.

“Airborne visions tingle. Coming from rich flight, the dreamer’s wingspan – almost prosaic this whirlwind. Lost continents, contours, cartographers, and me, my maiden voyage is crystal and a glass. Truly it is the scheming polarity of vision this placing on a glass, a pane that mirrors to the heart’s dereliction, the soul’s migration. I sweep the city. This is the holy liquid of metropolis, fashioned in the image of its metal bowels. This is the Fall of Ushers, the corruption of sense. Tell me the sex of electricity, of coils, sockets, plugs. Once the planet gave godlike gender to the thunder in the hills. Only man creates the sexless. My mind is snow vapour; airwaves flow freely like the magic carpet on Sinbad’s voyage. I am standing in Mexico. I have the stature of the ancients, the children of Lilith, twenty-three feet tall. I strut the sunflower Van Gogh sand, eaten by cacti, while the arcane sun explodes above. I eat the sun. I am the debris of stars. Solar storms flare from my pores and launch a billion sun-borne seeds, the shudder running through me forever. In the fever of mirage, in hallucination, I seek to touch the brimming fare of yellow; peyote, datura, mescaline. Behind needles sharpened by white light, fantastic buds map shades of an oasis.”

 

Huxley read the piece carefully but seemed unimpressed. His exact words I cannot recall, only that they were polite and vague. Myself, I am fond of the passage, as I am fond of all visionary, otherworldly things. Doubtless, to Huxley this was further proof of the Beast’s eccentricity, like the pantheon of dark, forgotten gods that sprang so readily to his lips.

‘When the wind of the wings of madness comes,’ Huxley said, ‘I hope you will be spared!’

His purpose in coming that evening was to take mescaline. They had discussed the subject at length – Huxley citing Havelock Ellis, Crowley the Vedas. ‘Come then,’ said the Beast as dusk fell. First, we smoked hashish in a hookah, its effect lightening the atmosphere considerably. Huxley lost most of the caustic self-possession that clung to him like a limpet to a rock. He grew jovial. Crowley’s mind still maintained the intense superficial clarity that cocaine induces and heroin and hashish only partially subdue. He teased our guest like a mischievous child. Huxley’s intellect was running wild. He talked scathingly of England and the English, expressing opinions that delighted Crowley. They discussed Gurdjieff and then Yeats and his Vision. This time it was Crowley’s turn to be scathing. ‘Weary Willie!’, he scoffed.  Huxley even launched into a lecture on Tao exercises, which Crowley brought to an abrupt halt by asking if one-hand clap was a form of onanistic syphilis. We all laughed uproariously, like schoolboys over a dirty joke. Meanwhile, I had administered the mescaline.

‘You know Hitler has taken this stuff,’ Crowley observed. ‘I heard it from a reliable friend in the OTO.’

‘OTO?’ Huxley was perplexed.

‘Ordo Templi Orientis. My local branch, you might say. Their connections with the Nazis are nobody’s business. They almost founded the Party, or at least subverted it. Do you know that two of their top men personally trained Hitler? Before he was a stuttering Austrian oaf, a shoddy artist with dirty nails, a pervert to boot. They coached him in oratory and rhetoric, and under the influence of the drug that will shortly, my dear Aldous, set your eyes on fire, gave him his daemon.’

Crowley’s tone contained a certain malice – a hint to our absolute realist of the irrational and dark forces he might encounter.

‘Then,’ declared Huxley, ‘all the dispersed romanticism that in its waning found expression in the esoteric, in secret cults, has made its kingdom here; fascism is the terminus of decadence, the final madness of bohemia.’

‘So that Bartzabel, Spirit of Mars, may have his day, precisely,’ Crowley agreed.

Later a vast smile wreathed Huxley’s dry features, now radiant, illuminated, his eyes indeed tinged with fire. In what region of enchantment he wandered, I do not know. Whether beneath the icy domes of Kubla Khan or in some long-vanished field of his childhood, fragrant with wood smoke, he did not say. What music flowed inside him, whether the Abyssinian maid soothed him with her dulcimer, or the highest octaves of the stars astonished his ears, was also secret. Whatever is discovered at such moments belongs inviolably to the inner life of the voyager. Even if he should wish to convey it, he would probably find the few words that pertain to this region of experience unforthcoming. We have no maps for the mescal voyage of the psyche.

For me, it was a night of colours – yellow phantoms emanating from the streetlamps below; silver flashes of rain tangoing on the windowsill; the deep cobalt of the sky an airless backdrop to the unflinching stars; a violet gauze of cloud stretched over the white moon: all the world’s allure gathered in a rainbow.

At one point Crowley produced some Tarot cards. The figures seemed to move – the Lovers entwining themselves on the matrix, the Empress breaking into her impenetrable smile, the Prince of Wands tightening the reigns of the chimera he rode. All these vital creatures, through our intent, in the steely point of time called Berlin, living out the correspondence of their ageless dance. Like a pharaoh long ago, we parted the curtain and glimpsed the peerless geometry of the stars.

At another point Crowley quoted from the Book of the Law: ‘I am the snake that giveth knowledge and delight and bright glory and stir the hearts of men with drunkenness. To worship me take wine and strange drugs, whereof I will tell my prophet and be drunk thereof! They shall not harm ye at all.’

            ‘A bit perilous, don’t you think?’ Huxley murmured.

‘Of course,’ Crowley agreed, always lucid when discussing his work, ‘if you read it carelessly and act on it rashly it might well lead to trouble. But the words “to worship me” are all important. They mean that things like cocaine, mescaline and alcohol should be used for the purpose of worshipping, that is, entering into communion with the Snake, which is the genius that lies at the core of every star. For every man and woman is a star. The taking of a drug should be a carefully thought out and religious act. Experience alone can teach you the right conditions in which the act is legitimate; when it can assist you to do your will.’

Huxley left shortly afterwards. He walked through a Berlin he had never seen before, where cylinders of fire in the cold dawn air dazzled his senses, and the splashing rain grew into cartwheels of light spinning across the pavement. He had entered a hitherto unknown continent and now, an illuminated Columbus, was intent on discovery. I remained with the good Master Therion, his bulk shifting in reverie on the Turkish couch.

Many years stretch between that time and now. Long ago my two protagonists were dust, fallen to the bottom of the hourglass. Huxley on his deathbed: two hundred micrograms of LSD-25; the luminous smile of his chemical exit. Crowley in that rambling Hastings boarding house: a vast spider with a heroin itch, regurgitating the entrapments of the past. Many years: a war; the accelerated madness of an epoch; the dawning of the new aeon. To me long slow years of remorse, when I turned from the gender he had so skilfully taught me and from the vision that witnessed me abandoned in the desert: the pallid brow, stiff horns, the foul rapture that attends that angel to we in league with him through time and eternity: his sub-contractors.

 

 

OUTRO

Using Victor Neuburg as a lens to view Crowley stayed with me. In 2004 Mandrake published my novel Sybarite among the Shadows. After an eerie encounter with the Beast, Dylan Thomas visits Neuburg, who as poetry editor of a leading newspaper had been the first to pluck him from obscurity. It is June 11, 1936. After a quest via the bohemian clubs and watering holes of Soho and Fitzrovia, they find what they seek. Crowley is embroiled in an MI5 plot to avert the Abdication, overseen by ‘M’, the spymaster Maxwell Knight. The third edition appeared in 2021, retitled Aleister Crowley MI5. Click on the cover for more.

My recently published follow up, Aleister Crowley MI6: The Hess Solution, poses the question of whether the Beast interrogated the deputy Reichsführer, exploiting their mutual fascination with the occult to prise his secrets. With a timeframe extending from 1941 to 1965, it features Dion Fortune, ‘M’, Jack Parsons, Graham Bond, and two Beatles. Click on the cover for more.

 

Richard Mcneff

[1] This can be found in the IT Archive at 1977-07-01 – Volume – Q Issue 11
https://www.internationaltimes.it/archive/index.php?year=1977&volume=IT-Volume-Q&issue=11&item=IT_1977-07-01_G-IT-Volume-Q_Iss-11_018-019

 

 

 

 

 

Posted in homepage | Tagged , , | Leave a comment

Sick Boi REN – futuristic, humanistic words and sounds for 2024

 

“Thank you, thank you to friends on Facebook for telling me about Ren,” says Alan Dearling

I’d totally missed out on the rise and rise, the ascendancy of Ren Erin Gill. But I’m grateful for a few emails and posts on Facebook. I thankfully checked out Ren’s videos, his music, his originality. My friends mostly learned about Ren from their own kids (perhaps even grandkids)…so thanks to them too! I bought Ren’s second album, ‘Sick Boi’ as a 2023 Chrissie present for myself. It’s something else. Not what I thought that I would like, but it’s more about appreciating the scale of Ren’s skills, his words, his presentation and the strangeness, the unique qualities he has brought into the world. It’s rap, but it’s also intently musical. And the videos are almost unbearably intense. He seems to be a modern troubadour, a bard, some kind of preacher-man. An evangelist of rap. Or, just of ‘words’ and ‘ideas’.

He’s a social campaigner too. He’s raised awareness and money on a number of issues, and, for range of charities – particularly in the fields of mental health and for the RNLI. He’s also become an ambassador for Welsh rap and Welsh music as a whole genre.

His own health challenges and the way he has been treated in a range of health settings make him a living ambassador regarding health care and social commentary in particular – a guy who is just about winning, but knows only too well ‘the score’ – the realities of life’s knocks and almost unbearable challenges.

The songs on the new album are wordy. They throw down a veritable verbal gauntlet. But he hasn’t grown up in a musical vacuum despite the fact that many reviews centre on his reclusive nature and ill health with the residual results of Lyme disease. He’s been round the musical block and has busked many times on Brighton’s streets and played with other bands. He can really play, sing and is a song-smith, who leaves an indelible impression on the psyche. He was a member of the indie hip-hop band, Trick The Fox and The Big Push, a British busking band based in the Sussex seaside resort, Brighton.

Here’s the ground-breaking ‘Hi Ren’ from his 2022 video that went viral on-line. It was an almost life-changing video. Speaking and singing aloud in conversation with his ‘other self’. Self-deprecating, sharing his psychosis, and critically, analytically awesome:

https://www.youtube.com/watch?v=s_nc1IVoMxc

Here are some lines from ‘Hi Ren’ as published on-line:

“Up until I was 9 years old, I would intermittently hear a voice in my head that was not my own. The voice was distinctly different to mine, and always negative. It would self criticise or urge me to do things I knew to be morally wrong. The most peculiar thing about the voice was that it took no effort on my behalf to produce. My own thoughts always felt like there was a process that required effort to bring them to the forefront of my mind, this voice appeared as though it was spoken by another. The sentences felt predetermined like they had already been constructed.”

As well as listening to ‘Sick Boi’ I’ve checked out Ren’s Facebook posts on ‘Renmakesmusic’. He’s obviously talking out loud to his ‘audience’ and speaking in their own language about issues/feelings that really matter. The Facebook page offers an interesting experience. Also, a really positive one.  He ain’t that great at spelling, but his positivity, his humanity speak their own volumes. For instance, here’s one of his latest, offered verbatim:

Ren   

“Being woke should mean you are against homophobia, racism, transphobia, and all other forms of prejudice that makes people feel less than human

 

It shouldn’t mean you are an authoritarian bully who doesn’t leave space for any oppinions other than your own, who uses virtue signaling to tell the word what a good person you are and what a problematic person someone else is without actually tackling the route cause (singing a petition doesnt count), who takes a offense to absolutley everything and ignores nuance, subtletey and complexity in highly nuanced and sensetive topics , who screams cultural appropriation at other people embracing other cultures, and freely throws around the word facist or phobic and pushes for people loosing their jobs without taking time to meet people in the middle and find threads of understanding and humanity

 

Being on the right should mean you gravitate toward traditional values whilst at the same time being progressive enough to change in an ever evolving landscape, who believes in free enterprise

It shouldn’t be someone who uses problematic rhetoric to justify their own prejudice, who spouts hate based on small selectivity bias, who has a superiority complex and creates hierarchies and social circles based on anything other than the strength of someone’s character, who blames anyone other than themselves for the state of the world

 

The amount of cognitive dissonance in the political and social landscape is frightening and in the 33 years I’ve been alive I don’t think I’ve ever seen such an inability to meet eachother in a place of trying to understand the other. Our species is capable of incredible things, one of the core foundations of moving toward our full potential is actual being able to communicate.

We are creating a space where people are tiptoing around speaking their minds which is pushing people more extremely left and right. It’s dangerous”

In 2022, ‘Hi Ren’ received 6.8 million views in two months. His next songs released on-line through into 2023 went viral too and most made it onto the ‘Sick Boi’ album: ‘Sick Boi’, ‘Bittersweet Symphony (The Verve Retake)’, ‘Illest of Our Time’, ‘Animal Flow’, ‘Suicide’ and ‘Murderer’. The Verve’s bassist, Simon Jones, presented Ren with a guitar in appreciation of his version of ‘Bittersweet Symphony’. ‘Rolling Stone’ magazine described him one of five acts who had made “their own formidable stamp on British music throughout the year.”

‘Bittersweet Symphony (The Verve)’: https://www.youtube.com/watch?v=JwtEOp7pC1A

‘Sick Boi’ became the UK’s number one album in October 2023. But Ren was still undergoing therapy in Calgary, Canada, so his incredible success, which saw him hold off Rick Astley for the number one spot, was down to his phenomenal fanbase on-line. The adulation continues and I have to agree with it. Ren is a prodigious new(ish) talent. January 2024 witnessed Ren and Samuel Perry-Falvey winning the Best Music Video, Best Director Music Video, and an Honourable Mention for Best Cinematography for the music video Money Game part 3, from the ‘Sick Boi album’, at the International Music Video Awards. ‘Money Game part 3’ video. Epic: https://www.youtube.com/watch?v=nyWbun_PbTc

Here’s the video for ‘Suicide’ from ‘Sick Boi’, just one of many epic songs which form part of the remarkable, autobiographical, Sick Boi song-cycle: https://www.youtube.com/watch?v=n3JNtfi4Vb0

Rant over. Sort of. If you are not aware of him. Go check him out.

 

 

 

 

 

 

Posted in homepage | Tagged , | Leave a comment

TRUMPED AGAIN?

 
 

The Americans now seem to live in a world where a man
Can be twice impeached and still get elected. Common sense,
It would seem is the sickness that a nation of conqueror
Worms can contract. But this is not an Edgar Allan Poe poem;

Its life, as here in the UK we await the television return
Of B. Johnson, and taste is spilled, while the gutter takes
Its improper place on the plate. So subtract,
If you’re my age, the world that you thought you knew,

Or remembered. Common sense itself is long sanctioned;
An antique phrase. Now its woke. But what have we woken to,
If their lies and these defamations against honest intent,
Aspiration (as opposed to greed or gain) form a joke

From which the punchline will explode either within,
Or around us. Rwanda rips, Israel inches ever further from
God. And that scum, that mad fool, mind marred by money
And all it bestows becomes bastard on a biblical scale.

Kingdoms in praising their hot daughters, come. But come
Far too late, either for Charles over here, or for their escaping.
Its as if we wanted chaos and crushing under the Gucci jackboot,
Before bobbing for bodies on a spittle sent sea where limbs numb

And can no longer experience waves of relief, or real joy.
For Joy is now fashioned from fragments, surfacing I am sure
In your moments, chosen or not between friends. Or between
Sheets and thighs, between capital or stalled dreaming.

Because if we allow this, then intelligence itself starts to end.
Is this really all we have left; Putin, Trump, and now Netinyahu?
And in the lesser sense Johnson, and all of his Beachcombers
Beyond, picking up shells as if they were in Neville Shute’s

Famous novel in which an Apocalypse entered honours
The dare in death’s bond. So just how long can we bounce
Before the bough breaks beneath us? And just how much
Can you stomach before the nuclear dawn sends you sick

On Shute’s  beach, (or the bleached) to the place
Where you last saw you loved ones. The dead will have to
Negotiate for us. Our release is their burden as we become
Victims and Hostages too, to con-tricks. America! America!

Dude! We are calling. For you are already an island.
And who has you soul, man? Netflix? Or Fujitsu here,
Which can now not be removed. We run on it. Hostages,
Fish and seagulls shrouded and trapped by oil-slicks.

You could call for a cull, but man, its already happened.
We’re eager sheep for the shearing. We’re suckers
Who seek the same prick. And it is going to piss over us.
You might once have had a Pinter poem that said that.

But now I will. Trump’s token is a donkey ride 
In a fairground where at every stage we get kicked.
Devils are real. They’re just not the ones Dore painted.
They appear now on banners under which

A mind warped crowd fall transfixed.     

 

 

                                                             David Erdos 17/1/24

 

 

 

 

 

.

 

Posted in homepage | Tagged | Leave a comment

Astral Magic: Mystics from Outer Space

Travelling through galaxies
Sailing across the cosmic seas
The mystics from outer space
Have come to teach the human race
All creatures are made of light
And as we journey into night
It’s not the end we have in sight
We will transform to another site

Mystics from Outer Space
Mystics from Outer Space
Mystics from Outer Space

We can see this is our dreams
In higher state of mind
Travel on the energy beams
When the stars are aligned

We can see this is our dreams
In higher state of mind
Travel on the energy beams
When the stars are aligned

Mystics from Outer Space
Mystics from Outer Space
Mystics from Outer Space

Prophets from another plane
Send messages from sacred domain
Join us in our vision quest
Can you pass the spirit test?
There is so much to learn
To the core we must return
Universal laws unfold
The truth is now being told

We can see this is our dreams
In higher state of mind
Travel on the energy beams
When the stars are aligned

We can see this is our dreams
In higher state of mind
Travel on the energy beams
When the stars are aligned

‘Mystics from Outer Space’ is from the Sacred Mysteries album.

Astral Magic’s Bandcamp is here

 

 

 

 

 

Posted in homepage | Leave a comment

Keyboard Wizards

    


Live at the London Palladium 2023
, Rick Wakeman (4CD, Cherry Red)
Crystal Presence, Tim Blake (3CD, Cherry Red)

All round nice bloke and grumpy old man Rick Wakeman chose to revisit and perform some of his earliest classic albums last year, with The English Rock Ensemble and The English Chamber Choir in tow. He even got some sparkly capes out of his dressing-up box for the occasion. Wakeman’s liner notes describe long rehearsals, how he was ‘keen to adapt and amend his past works’ and how much time was spent ‘stripping them down so they could showcase the English Rock Ensemble without having to compete with an orchestra behind them.’

Unfortunately, I have never been a fan of said Rock Ensemble, and although Adam Wakeman is a fine keyboard player like his Dad, and despite some fans and critics raving about Lee Pomeroy’s bass playing, this album does little to change my opinion. It’s hard to see the arrangements as an improvement to be honest, especially because they mostly seem to feature appalling vocals, but also because of Wakeman’s use of some very dodgy 70s keyboard sounds.

The best is first. The Six Wives of Henry VII, Wakeman’s first solo album, remains a masterful piece of music where pseudo-classical and rock combine into romantic dreamscapes, mournful elegies and angry lovelorn despair. This version has a few wonderful moments, but even ‘Catherine Howard’, which makes use of the hymn ‘The Day Though Gavest Lord is Ended’, has lost its melancholic edge, and elsewhere Wakeman indulges in some really unnecessarily bombastic twiddles.

The Myths and Legends of King Arthur and the Knights of the Round Table is up next. The original album always sounded rough whenever the band kick in, not to mention the strained vocals, but here it’s even worse. It seems to have lost the sense of pomp and chivalry the original had, and also the humorous elements of ‘Merlin the Magician’, here relegated to an encore, whilst a couple of new tracks have appeared. And although Hayley Saunders is clearly a much better singer than Gary Pickford Hopkins was on the original, the vocals still feel awkward and at odds with the music.

But there is worse to come. The third CD offers up ‘Classic Yes’ on the sacrificial altar of pomp & circumstance, but takes its time to dismember and slowly kill each of the selected tracks (one of which is not even a Yes track but from the misjudged Anderson, Wakeman, Bruford, Howe album). ‘Roundabout’ is quickly despatched (though not quickly enough) as a quick boogie with synthesizer noodles layered over it, before ‘The Yes Suite’ commences, with the AWBH song ‘The Meeting’, which is swiftly followed by ‘Wondrous Stories’, a nice enough song, but hardly ‘Classic Yes’! ‘Southside [sic] of the Sky’ comes next to close the Suite, before an almost lovely ‘And You and I’ and another rock-out, this time of ‘Starship Trooper’ where the version of the end part, ‘Wurm’, simply highlights how inventive and masterly guitarist Steve Howe was and is. But, ‘almost lovely?’ I hear you say. I’m sorry, but throughout these versions singer Saunders is ghastly, having neither the vocal reach or inflection required for these songs.

It was with a heavy heart I turned to CD4 and Journey to the Centre of the Earth, an album I have never liked, and whose 21 tracks here do nothing to persuade me I was wrong. Bloated, undeveloped, themes come and go, fragments of songs and tunes suddenly start and stop, and the choir or mellotron (it’s difficult to know which, but probably the former) do their wordless choral stuff far too often. At this point I was tempted to call the review something like ‘Tunes We Have Loved’, but that would do a disservice not only to Wakeman’s past achievements but to Tim Blake, who also has a box set of music released.

Blake is a different kind of musician. He is a cosmic voyager, initially heard on Gong’s Radio Gnome Invisible trilogy, and later as part of Hawkwind and some of its splinter groups. Back in the 70s, like Wakeman, he played within banks of keyboards arranged around him and also had a penchant for glittery fabric and cloaks. There, perhaps, the similarities end.

Blake can be over the top, but he is rooted in more electronic music (think Tangerine Dream; think sequencers, bouncing bass, ticking sounds and high-toned squiggles). This isn’t progrock, this is abstract psychedelia, proto-trance music for long-haired rebels and outcasts back in the day.

Crystal Machine, the first album here, is for me, the masterpiece. Crystal Machine, the band, were actually Blake and a pioneering lazer and lightshow artist, Patrice Warrener, but in this release of course we only have the music and a few photos in the booklet, to consider. The music is outstanding, particularly the 15 minute ‘Synthese Intemporel’, although the brief, dark and doomy album closer ‘Crystal Presence’ is a bit of a downer.

Then it’s on to Blake’s New Jerusalem, which unfortunately also sees Blake sing. Acoustic guitars and folky vocals are overlaid against the synthesizers (Jean-Phillipe Rykiell also plays minimoog on a couple of tracks here) of ‘Song for a New Age’, sounding exactly like you are imagining. ‘Lighthouse’ is better, with more bass tones and swirling layers, but Blake insists on singing about how we should build a crystal lighthouse to tell everyone where they are, and also has some low-key treated voices buried in the mix.

There’s more of this kind of thing on ‘Generator (Laser Beam)’ but thankfully ‘Passage Sur La Cite (Des Revelations)’ sees a return to musical form (and no vocals) before the epic ‘New Jerusalem’ arrives. Mostly instrumental, it does unfortunately descend into declamatory silliness and echoey vocals towards the end, but soon recovers and relentlessly heads toward a calming big swell of sound to end the track (and the original album; there’s a pintless two minute ‘bonus track’ appended here). It’s strange how the addition of vocals seem to cause Blake’s music to become less complex and interesting as it tries to create space for the vocals: a very old-fashioned idea that prioritises vocals and ‘lyrical content’ over music, something that in his own way Jon Anderson in Yes was challenging with his poetic lyrics that defied traditional understanding.

The third CD and album here, Magick, is from 1991, and is basically a home recording, which the press release suggests ‘confirms [Blake’s] status as a true pioneer of ambient electronica’. I’m not so sure, to be honest. It feels more like a man reliving his past, revisiting the glory days of Gong and Hawkwind to produce a somewhat simplistic and twee, insular and backward-looking, album. Perhaps asking some other people – even pothead pixies, space travellers and acid casualties – might have helped Blake have a more self-critical approach, as would listening to what was happening elsewhere in music. As it stands it’s a somewhat lowkey and desultory album to close the box set, evidence of a man out of time, adrift in innocent idealism and electronic nostalgia.

But at least it’s better than Wakeman’s offering and might help draw more attention to his beguiling first two albums.

 

 

Rupert Loydell

 

 

Posted in homepage | Tagged , , , , | 1 Comment

Hamsa

 

The girl is a grim priestess, a thaumaturge, devotee of Kali. The incessant croaks of courting marsh frogs fill the bedroom. Before an audience of ghostly, Little Apple Dolls and Edward Gorey figurines she has prepared the naked hand for its initiation, inscribed it with occult symbols, mapped its mountains and its valleys, its flood plains and moorlands, marked it out as a sacred parchment with which to bear her hermetic message. So finely has she applied the mehndi, the intricate lines of henna stain the skin with Sol, Luna, Venus, Mercury, Heart, Star, Flower, Raindrop, Vine, Snake, Fish, Feather, Flame and the Eye that repels the evil eye and looks behind the veil. Now, with incense burning even the frogs are chanting Om Kring Kalikaye Namah, and Crone Night with her cradle of petty cruelties and honeyed comforts dissolves into pure consciousness like an ice-cube in a warm bath, like a man in a city, as a man indeed becomes a city.

 

 

Bob Beagrie

 

 

 

.

 

 

 

Posted in homepage | Tagged | Leave a comment

Oasis

Dust smoke, joggers,
three birds writing some good news,
‘I love you ‘ and ‘I’m scared
of the mating dogs’
fill up the empty bowl of the stadium
now open for non-athletes.

I throw my shadow
in the water body in the West
and watch it skip across in the teal and gray.

 

 

 

 

Kushal Poddar
Picture Nick Victor

 

 

 

Posted in homepage | Tagged , | Leave a comment

‘Untangling the Quantum Entanglement’

The traditional gulf between science and metaphysics is undergoing a dramatic metamorphosis as the discovery of a ‘quantum entanglement’ between particles previously recognised as being miles apart, is further revealed.

In an experiment observed by scientists, when one of these particles spins around, its sister particle – although a long way off – also spins around. Responding as though never separated.

“Quantum entanglement is the phenomenon that occurs when a duet of particles are generated, interact, or share spatial proximity in such a way that the quantum state of each particle of the group cannot be described independently of the state of the others, including when the particles are separated by a large distance. “ (Wikipedia)

The existence of such entanglement is both compelling and comprehensible, and I want to have a go at explaining why.

Let’s start by recognising that the Universe is ‘One’, all elements interconnecting with each other via invisible, energetic pulsating wavelengths.

The separation of particles that have previously been part of one mass, is only ‘separation’ on the classic physical plane, but not on the quantum plane.

Just because they no longer physically connect with each other, does not mean they are separated on the quantum level. They aren’t. They remain unified.

This is what in spiritual terminology is meant by ‘oneness’. This ‘oneness’ is vibrational. Such a state is experienced when one is attuned to essence: that which resonates ‘is-ness’ when undisturbed by external or internal mental intrusion. In this state there is no time, distance or resistance (gravity). No separation.

Although the speed of passage of a thought or energetic psychic exertion is often discussed within this context, it is not strictly relevant; because there is a simultaneity of connection occurring at well over the speed of light. At this level, the essence of the Universe is microscopically repeated in a dew drop and a sub atomic particle; all elements of existence remaining connected, therefore at one with the original manifestation. Mirrors of one originator, one source.

Viewed under a powerful microscope, the minutest of sub atomic particles are at one moment ‘specs’ and at another ‘waves’ according to Niels Bohr’s early quantum experiments. Even transforming again, into what Bohr described as a ‘dance’.

How these minute particles react depends equally upon the perspective and influence of the person engaged with them (the viewer) as with their independent existence as cosmic matter. They are simultaneously both mundane 3D and Universal God sparks.

It seems that once ‘together’ means always together in universal reality. The physical separation factor plays no part in altering this oneness.

At the most elemental levels, energy and matter are inseparable. Matter is congealed energy and takes on increasing levels of density according to its vibratory speed of resonance. The lower the speed the denser matter becomes and the more constricted becomes the movement of pure energy.

The Universe is both matter and ether. Particles or energetic expressions travelling outside of the constrictions of gravitational fields are not subject to resistance – being slowed down. Thus ‘God Speed’ is a powerful blessing for anyone wished it!

Classical science can only describe but not ‘experience’, intuitional higher consciousness which equates with ‘God Speed’. Intuitional consciousness places the experiencer within, not outside the quantum of existence.

Science looks in from ‘the outside’ but can, by intellectual effort and focussed concentration, recognise some of the component parts that make up the workings of cosmic consciousness, of Godliness; but falls short of ‘being’ (experiencing) what it describes.

Thus ‘quantum entanglement’ is not so mysterious. However exploring it requires dynamic equilibrium between the two hemispheres of the brain, which accordingly reveals this entanglement to be a manifestation of the supreme interconnectivity of God consciousness.

It is the unseen glue, that along with stars, planets and other celestial objects, holds the Universe together. God consciousness resides in the heart and is openly available to all human beings. However it sleeps within until awakened.

Huge efforts are being made to prevent humanity waking up and realising its power. Such is the paradoxical nature of existence that the struggle to overcome the dark suppressors of human evolution – both internal and external – creates the friction necessary to bring about the self realisation of our deep spiritual powers that might otherwise remain dormant.

It also equips us with the power to defeat the dark imposters and set a new agenda for the future of life on earth.

Effort is required – nothing positive comes without effort. But the pleasure arising from a growing realisation of our quantum entanglement with our Creator far exceeds the limited and transient pleasures available to us in an unrealised, largely third density (3D) state, divorced from conscious contact with the source of our existence.

Embracing such ‘an entanglement’ will bring about a metamorphosis in human consciousness and an extraordinary new era of life on earth and beyond.

An era in which no distinction can be made between God and Man.

 

Julian Rose

Julian Rose is an organic farmer, writer, broadcaster and international activist. He is author of four books of which the latest ‘Overcoming the Robotic Mind’ is a clarion call to resist the despotic New World Order takeover of our lives. Do visit his website for further information www.julianrose.info

 

 

 

,

 

Posted in homepage | Tagged | Leave a comment

weather report

blimey how the clouds scud today
people really are
holding on to their hats
and anything else
not firmly attached

on top of this the rain
has turned the pavements
into rushing runnels
sweeping all before them
here and there
drain lids are lifting

is this Noah’s floode revisited
the windswept ones biblically wonder
Is the Old Testament fulfilling
it’s darkest prophecies
now got up as actual tsunamis
global warming made manifest?
blimey what a start to New Year

the weather stats make no sense
half the time they seem
to cancel each other out
‘since records began’ repeats
like a stuttering stuck record
playing three notes
over and over and making
no sense in this monsoon world

so what in the world is going on
was it ever thus or has
something really taken
a turn for the worse?
cats and dogs refuse to go out
outdoor clothes are black from rain
is it time to bring back
old-fashioned galoshes
will sailors’ sou’westers be in Vogue?

meantime brollies blow inside out
brimming house gutters overflow
children oblivious jump into puddles
the canal is lapping the towpath
all the waterbirds are waterproof
so the state of the weather
is as irrevevant to them
as the stormy raindrops
falling on my head
as that song almost said*

Jeff Cloves

 

*‘Raindrops keep falling on my head’,
Burt Bacharach and Hal David 1969

 

 

.

.

 

Posted in homepage | Tagged | Leave a comment

The Panic Attack (A Specular poem)

Suddenly, the familiar street is so fearful.
Cars and people move out of time,
traffic lights are Martians under blackened skies.
The universe is suspended and for a moment
I see raindrops on my shore.
A violet-blue storm blows through,
as my eyes stop a tear or two.
Inside, my lungs splutter for breath,
heart races, nervous twitches.
I pretend to read the paper to the outside world,
Turner’s painting stands out on the page.
I fix on a sunset vision of Margate,
my calm restored and thirsty spirit slaked.

My calm restored and thirsty spirit slaked,
I fix on a sunset vision of Margate.
Turner’s painting stands out on the page.
I pretend to read the paper to the outside world,
heart races, nervous twitches.
Inside, my lungs splutter for breath,
as my eyes stop a tear or two.
A violet-blue storm blows through,
I see raindrops on my shore.
The universe is suspended, and for a moment
traffic lights are Martians under blackened skies.
Cars and people move out of time,
Suddenly, the familiar street is so fearful.

 

Sam Burcher

 

 

.

 

Posted in homepage | Tagged | Leave a comment

Solidarity! Revolutionary Center and Radical Library


         

Located in Lawrence, Kansas the mission of Solidarity! Revolutionary Center and Radical Library is to organize as a non-hierarchical collective for the purpose of sharing and distributing information.
    
The collection is compiled of Zines (personal, non-copy written, non-traditionally peer reviewed articles, journals, and art) that were specifically purchased, donated, traded, or created for the Solidarity! Collection.

These works cover every topic from Globalization and the Industrial Prison Complex to first kisses.

833 digital scans of zines are available free here

If you have created a zine that you would like to see included in the Solidarity! Collection please email us at [email protected] or send a hard copy to:

Solidarity! Revolutionary Center and Radical Library
ECM, 1204 Oread-Upstairs
Lawrence, KS 66044

OR

Solidarity! Zine Library
Cosmic Beauty School
1145 Pennsylvania St
Lawrence, KS 66044

Please include insert with following items:
Your name (or alias)
Address (not required)
Title of zine
Description of zine
Keywords

 

 

Posted in homepage | Leave a comment

Stop Illegal Animal Abuse On Factory Farms

Stop Illegal Animal Abuse On Factory Farms
https://animalequality.org.uk/act/hold-animal-abusers-accountable

 

Demand the Government holds animal abusers accountable – SIGN NOW!

Read the petition

 
 
159,552 people have signed

By signing, you accept our privacy policy.

You can unsubscribe or amend your preferences at any time.

 

Shocking Statistics of the Animal Agriculture Industry

 
30%
of cows are lame in the UK dairy industry
 
70%
of UK farms routinely dock pig’s tails
 
64 million
chickens die on farm annually in the UK
 

 

Animals Need Your Help

Farms and slaughterhouses in the UK currently do not require any form of registration or licensing to operate. This is a clear oversight and it leaves animals vulnerable to further exploitation and illegal abuse and neglect.

Our investigation, alongside The Animal Law Foundation, discovered that fewer than 3% of the UK farms are inspected each year on average. And just half of complaints made against farms in the UK are investigated. When wrongdoing is found, animal abusers often receive little more than a written caution.

The situation is clear. Animal protection laws are being broken time and time again and the Government is failing to stop it.

Animal Equality is urging the Government to enforce existing laws and prosecute those who abuse animals.

Sign now to take action for farmed animals!

HELP BUILD THE FOOD SYSTEM OF TOMORROW

You have the power to help animals every day. Every plant-based meal you eat saves animals from a life of misery in factory farms across the UK.

You can join millions of people who have already started their plant-based journey.

Get started with our free cookbook containing delicious plant-based recipes.

START YOUR PLANT-BASED JOURNEY

 
 

Progress So Far

Political Support

Animal Equality UK and The Animal Law Foundation launched a comprehensive, first-of-its-kind report detailing the ‘Enforcement Problem’ at a Parliamentary event in 2022.

The Parliamentary event was attended by MPs, Government officials, experts in animal law and animal welfare, and representatives of animal protection organisations including Animal Aid, The Humane League, Animal Ask and Open Cages.

Sir Roger Gale MP hosted the event with Animal Equality and gave one of the opening speeches. British actor and animal activist Peter Egan also gave a moving speech, urging politicians to act.

In 2023, Animal Equality published a new report outlining a new licensing system as one solution to the enforcement problem. The report also calls for subsidies to be provided to farmers to transition away from animal farming entirely.

Public Support

Over 125,000 people have signed our petition and joined us in demanding that the UK Government holds animal abusers accountable.

Among these voices are famous faces including British comedian and star of Netflix’s After Life Diane Morgan. Diane has urged fellow animal lovers to join the campaign in a video produced with Animal Equality.

Respected TV doctor Amir Khan, known for his work on ITV’s Lorraine and Good Morning Britain, also voiced his support for our campaign. He wrote a thought-provoking opinion piece, featured in The Independent, highlighting the need for illegal animal abuse to be detected and punished.

In June 2023, we delivered 120,000+ of your petition signatures to the Prime Minister and held a demonstration at Downing Street with Diane Morgan, animal protection experts and our supporters.

REPORT IN NUMBERS

 
3%
of UK farms inspected each year
 
50%
of complaints lead to an inspection
 
0.33%
of farms prosecuted following an initial complaint
 

Posted in homepage | 2 Comments

Mother of Kamal

 

Dina Ibrahim’s play Mother of Kamal is her ancestral story, drawn from her father Fawzi Ibrahim’s autobiographical novel about the assaults on the Communist movement in Iraq in 1948 by the dreaded secret police of the monarchy.  Who knew about this?  Who knows about the Jewish diaspora at that time? To be Jewish and Communist was double jeopardy. 

Kamal’s mother, her real name was Reina, is told that her two sons have been  arrested. Inexplicably, the younger brother gets imprisoned while the older is set free. Reina embarks on a perilous mission to save her sons and uncover the truth of what really happened that night in the cells in Baghdad, and the hazards that come with the pursuit of truth, history and reconciliation.

A good play teaches us something new within the context of our own emotions.  The strength and heroism of the mother of this family is at the heart of it. Cour-age – means blood to the heart.  Yes, this is human beings in a situation all right and the politics are context and not didactic.  Here, just 3 lines from David Erdos’s great IT review of a run with Camden Fringe.  (‘He got it, he really got it,’ said Dina Ibrahim)

Dare the darkness as they shine and show what will be.
The Mother of Kamal is no play. It is instead the heart’s music.
It beats to the rhythms of what it is that ghosts gain;

Like all the best drama, the play has been workshopped, rewritten and extended after its sell out run at Hen and Chickens as part of the Camden Fringe last summer. This longer version with especially commissioned music and poetry runs from January 18 – 28 Upstairs at the Gatehouse theatre Highgate, a theatre premiering innovative new writing. Catch this terrific new production, written by Dina Ibrahim and directed by Stephen Freeman.

 

https://upstairsatthegatehouse.ticketsolve.com/ticketbooth/shows/1173650544/events/428625137

 

Jan Woolf

 

 

.

 

 

 

 

 

Posted in homepage | Tagged , | Leave a comment

Mothlight – Stan Brakhage


Stan Brakhage’s Mothlight (1963) was made from collaging insects, leaves, and other detritus between two strips of perforated tape.

‘Here is a film that I made out of a deep grief. The grief is my business in a way, but the grief was helpful in squeezing the little film out of me, that I said “these crazy moths are flying into the candlelight, and burning themselves to death, and that’s what’s happening to me. I don’t have enough money to make these films, and … I’m not feeding my children properly, because of these damn films, you know. And I’m burning up here … What can I do?” I’m feeling the full horror of some kind of immolation, in a way.’

‘Over the lightbulbs there’s all these dead moth wings, and I … hate that. Such a sadness; there must surely be something to do with that. I tenderly picked them out and start pasting them onto a strip of film, to try to … give them life again, to animate them again, to try to put them into some sort of life through the motion picture machine.’

 

Posted in homepage | Leave a comment

“If the Cops Kill Me I Want You to Riot”

“If the cops kill me I want you to riot
Burn down their stations and set their cars alight
Know that I went out fighting and wish we all
Could just have peace and be free

We cannot have peace until this empire falls. Even then, peace takes work and freedom is a constant struggle. If the cops kill me I want you to riot, to kill as many of them as you can.” – Tort’s diary p. 121

Tortuguita lived and died fighting for the dispossessed, the wild, and the feral; against the world of empire, prisons, and police. It was a true warrior who made the forest its home, devoted their life to the struggle, and was willing to die a revolutionary death rather than be captured. We invite all those who knew Tort, and all who were impacted by its life from afar, to take the anniversary of their death as an opportunity to reflect on our own commitments and deepen our resolve, so that we might invigorate and intensify our conflictuality.

Rather than retreat into the bounds of comfort and safety, let us allow our memory of Tort to remind us of what it means to truly act in accordance with our values, and to challenge ourselves to follow through. We are rendered harmless only when we allow our fear of the enemy to eclipse our desires to defend the land and reduce this capitalist hellworld to ashes. Remember that the mechanisms of subjugation and control encroach all around us. Wherever you are, you need not venture far to find the veins of industry; go out and sever them.

We need not be concerned with optics and media portrayals. We have no interest in seeking validation, recognition, or understanding from the same media outlets – agents of the society we wish to destroy – that deadname and misgender Tortuguita and relentlessly whitewash its life as one of nonviolence and passivity. Additionally, to contort our actions to render them acceptable to the general public is to inevitably dull them to the point of irrelevance. To work only within the confines of the existent is to disarm ourselves completely. As anarchists, we are able to speak to each other in a language all our own. When we redecorate walls, shatter windows, and set fires, we speak to each other in ways that the media and the general public need not understand; we become beautiful. When we refuse legibility, when we refuse sympathy and demands, we refuse cooptation, we refuse recuperation, and we seek out life.

Avenge Tortuguita – Avenge the Forest

Reprinted from https://anarchistnews.org

 

 

Posted in homepage | Leave a comment

Education is anarchy

 

What should we teach, to whom, how best should we do it, and why?

Teachers are not born as teachers; teachers are inspired by their teachers. Although there is competition for the title ‘the oldest profession’ from what may be deemed less salubrious vocations, teaching others has ensured our survival as a species. Without passing on skills and knowledge, humans would have become extinct, with the younger generation unable to light fires, identify poisonous berries and fungi, or perhaps wander too closely to fluffy creatures with sharp, gnarling teeth.

Yet it is doubtful a committee was established to define a curriculum for teaching the necessary survival skills, shaped by learning objectives, continually monitored, tracked, assessed, subjected to outside agencies, and so forth. Either you survived anything that could injure, poison, maim or kill you, or you didn’t. This resonates with H.G. Wells’s assertion that civilisation is a race between education and catastrophe.

However, to what extent are our respective education systems appropriate and functional for today’s society and tomorrow’s world? What will the world look like to a five-year-old student starting school this year when they are approaching retirement age in 2089? Is today’s education system relevant for their future? Only by investing in education can we help develop civilisation in this universe of disorder. No doubt you can guess what the next sentence will be: ‘Anarchy is order’ those three powerful words from Bellegarrigue’s 1850 ‘Anarchist Manifesto’.

The critique of education has a long tradition and can be summarised through Ralph Tyler’s questions: What should we teach, to whom, how best should we do it, and why? Unfortunately, these questions are not asked as often or as loudly as they should be. Indeed, to ask ‘why?’ in a staff meeting or to an Ofsted inspector may be seen as insubordination, given the hierarchical structures inherent within the education system. Yet, how do we facilitate an honest and open dialogue to improve the education system1?

 

The anarchist critique of education

Anarchy is not a set doctrine; despite some common themes, it is a perspective as unique as the individual. The same is true of education. Do we unthinkingly follow what others suggest, following a specific perspective because we are told to, or perhaps because the school down the road is doing so? Within education, have we lost our ability to critique new ideas, policies, and procedures? Is there something wrong with a profession that no longer critically questions but instead is reactive to any imposed changes, as opposed to proactively making those changes?

An important point to stress is that anarchists do not rebel against society; rather, it is imposed downward authority which they rebel against. A governmental society is deliberately established with an unchanging structure that is authoritative, commanding, controlling and corrupted while governed through coercion and deceit. In essence, anarchism is concerned with developing social change to improve the lives of the collective. As George Woodcock asserts, education is a core driver to facilitate societal change. Indeed, education has always held a special place for anarchists. It is an area where the seeds for social change can be initiated to eventually facilitate a general transformation of society.

Neil Postman and Charles Weingartner compared the school system to a badly driven multimillion-pound sports car, with the driver racing ever faster yet continually staring in the rear-view mirror. They proclaimed that the direction in which education is heading appears to have been forgotten due to the constant acceleration of the education system, as opposed to responding to the future needs of society. The passengers in this car have little choice or agency except to hold on tight until they are freed many years later. Postman and Weingartner state that the education system should help students develop the skills necessary to survive in a rapidly changing world, while those within the education system need to develop an in-built-crap detector as an essential survival strategy. While Postman and Weingartner were writing in 1969, how true is this fifty-five years later?

 

The corruption of education

So why has the education system become corrupted?

Money, power, and politics is the simple answer. With the mass expansion of higher education, the cynic may interpret that universities are after money from their customers to feed their behemoth institutions and are not driven to recruit and nurture the actual intellectual potential students may have. As a result, the degree has evolved into a form of currency open to market conditions. This elicits the term ‘McDonalidisation’ of higher education, a concept developed by George Ritzer and extended by Dennis Hayes. This approach is where universities operate franchises to offer their brand globally, using the business model of value efficiency, calculability, predictability, and control. According to Hayes, such McUniversities are led by McManagers controlling McLecturers who teach McLessons to McStudents, producing McEssays with little room for originality or creativity. Over a hundred years ago, Leo Tolstoy questioned whether the education system paralysed student curiosity at the expense of the joy of learning. Yet Hayes acknowledges that many happy consumers of McDonald’s are getting what they pay for, while there may similarly be many happy students. Within the compulsory education sector, a parallel can be made with the prevalence of academy chains or McAdemies. Despite a warning raised by the anarchist educator Francisco Ferrer i Guàrdia, who wrote that we must not prostitute education, to what extent is this happening today?

Furthermore, the education system has been discussed by many authors as being a form of control to maintain the status quo of social inequality (specifically Fransico Ferrer, Paul Goodman, Ruth Kinna, and Colin Ward). Indeed, this is not new: even Plato asserted that the state requires many more followers than leaders. To counter such bureaucracy, Postman and Weingartner suggested that schools should become ‘subversive’, acting as an ‘anti-bureaucracy bureaucracy’, continually questioning the education system and, in turn, getting students to question ‘why?’ to subvert attitudes, beliefs and assumptions.

In summary, striving to equip students and teachers with a crap-detector while being prepared to ask that one question, ‘Why?’, should be sufficient to radically change the education system from where we are.

 

Educational Anarchists

Several anarchists and educators share anarchistic ideals, such as Ivan Illich, John Taylor Gatto, and Guy Claxton, through to The Woodcraft Folk, founded in 1925 by Leslie Paul. The objective of The Woodcraft Folk is ‘to educate and empower young people to be able to participate actively in society, improving their lives and others’ through active citizenship’, which has all the hallmarks of anarchy: a collective of like-minded people who work collaboratively to bring about an improvement. Two further anarchist educators are Alexander Sutherland Neill and Francisco Ferrer i Guàrdia.

Neill was a Scottish school teacher whose philosophy centred on enabling the freedom of children and staff through democratic governance. Neill originally helped to establish the Neue Schule Hellerau, or the International School, in Dresden, with the curriculum focused on Eurhythmics, the multisensory system of rhythm, structure and musical expression using movement. However, he is best known for having established Summerhill, a school founded in 1923 in Lyme Regis, Dorset, and relocated to Leiston, Suffolk, in 1927. The aims of Summerhill are to provide a sense of democracy through choices and opportunities that students develop, studying at their own pace and embracing their own interests. A further aim is to allow students to define their own goals as opposed to imposed, compulsory assessment. In addition, students are allowed to embrace the full range of feelings and emotions without the judgement or intervention of adults.

While Summerhill appears to be an example of an anarchist school, Judith Suissa is somewhat dismissive. Suissa’s main argument focused on Neill’s propensity for psychoanalytic theory as a basis from which the individual could achieve a sense of freedom, in essence, freeing the student from their own limitations. This is in opposition to the true anarchist ideal of freedom from a rigid society. Consequently, the student could develop their own values without any attempt to promote cooperative values. After visiting Summerhill, Suissa extended her criticism, stating that she could imagine students growing up happy but completely self-centred.

A different school was founded in Barcelona on the 8th September 1901 by Francisco Ferrer i Guàrdia, the ‘Escola Moderna’ (or ‘Modern School’). In the prospectus, Ferrer stated, ‘I will teach them only the simple truth. I will not ram a dogma into their heads. I will not conceal from them one iota or fact. I will teach them not what to think but how to think.’ Embracing the holistic nature of the developing student, Ferrer maintained that the true educator does not impose their own will or ideas on the student. Instead, the student should have a sense of self-direction with their learning, working freely and without prejudice.

The Escola Moderna emphasised ‘learning by doing’ as opposed to book-based learning. Ferrer illustrated this by writing, ‘Let us suppose ourselves in a village. A few yards from the threshold of the school, the grass is springing, the flowers are blooming, and insects hum against the classroom windowpanes, but the pupils are studying natural history out of books!’

When the Escola Moderna used books, Ferrer sought anti-dogmatic ones and asked leading intellectuals to write textbooks. The French anarchist Jean Grave wrote one such example, ‘The Adventures of Nono’, where revolutionary ideas were developed into a fantasy tale about a ten-year-old boy who had a series of adventures in places such as ‘Solidarity’ and ‘Autonomy’.

While Ferrer perceived that his school was an embryo for a future anarchist society, unfortunately, these views were at odds with Spain’s ruling Conservatives. The Restoration Period in Spain (1874-1931) was a time of upheaval and instability politically, economically, and socially, and it was during Prime Minister Antonia Maura’s premiership that ‘la Setmana Tràgica’ or the ‘Tragic Week’ occurred (25th July to 2nd August 1909). During this week, various groups, including socialists, communists, republicans, freemasons, and anarchists, engaged in violent confrontations with the Spanish army.

While this uprising led to Maura being dismissed as prime minister, unfortunately for Ferrer, things turned darker as he had been seen as one of the instigators of the unrest. Ferrer was accused of teaching bomb-making at his school and had previously been accused of involvement in the 1906 ‘Morral Affair’, the attempt to kill King Alfonso XII of Spain and his bride, Victoria Eugenie, on their wedding day. The school’s librarian, Mateau Morral, did throw a concealed bomb in a bouquet of flowers, and although Ferrer was implicated in planning the attack, the lack of evidence led to his acquittal.

As a result of Ferrer’s alleged involvement in the Morral affair, along with his arrest during Tragic Week, a show trial akin to Lydford Law2 led to Ferrer being sentenced to death. On 13th October 1909, his last words before being executed by firing squad were, ‘Aim well, my friends. You are not responsible. I am innocent. Long live the Modern School!’

 

A Call to Arms

So, where does the future lie for the anarchist educator? A developing field is that of transpersonal education, drawing on themes from transpersonal psychology. Transpersonal psychology is the study of transcendent experiences to bring about psychological transformation, characterised by self-expansion, whole-person integration, and the transformation of the individual and society. Specifically, transpersonal education is a transformative process allowing the individual to find their unique, authentic nature. It is evidenced in settings such as the Millennium School in San Francisco, whose vision is:

“We imagine a world where success is defined by practising wisdom, love, and conscious action in all that we do. We believe in the infinite potential of each student’s inner genius to make a positive impact in the world. The result is an integrated academic curriculum experienced through a dynamic, living village where students are actively engaged in creating their own learning journey.”

Education evolution, education revolution: the time has come to celebrate being an educational anarchist. While the firing squad of today would rely on P45s as opposed to a hail of bullets, how far would you be prepared to challenge the education system?

Scott Buckler

  1. An important point to note is that where I refer to the ‘education system’ implies the governmental structure of schools and what could be called ‘schooling’. The education system is different to education: it could be argued that education is what we want to learn, not what we have to learn. ↩︎
  2. Lydford Law is a term for injustice, based on Lydford Castle, described in 1510 by Richard Strode, Member of Parliament for Plymouth, as ‘one of the most heinous, contagious and detestable places in the realm’. In 1644, William Browne wrote the poem, ‘I oft have heard of Lydford Law, How in the morn they hang and draw, And sit in judgment after: At first I wondered at it much; But since, I find the reason such, As it deserves no laughter.’

Further Reading
Ferrer, F. (1913). The Origin and Ideals of the Modern School (trans. Joseph McCabe). London: Watts & Co.
Gatto, J.T. (2017). Dumbing Us Down: The Hidden Curriculum of Compulsory Schooling (25th anniversary edition). Gabriola Island, Canada: New Society Publishers.
Hayes, D. (2017). Beyond McDonaldization: Visions of Higher Education. Abingdon: Routledge.
Illich, I. (1970/2013). Deschooling Society. London: Marion Boyars.
Postman, N. and Weingartner, C. (1969). Teaching as a Subversive Activity. New York: Dell Publishing Co., Inc.
Ritzer, H. (2008). The McDonaldization of Society (5th edn). Thousand Oaks, CA: Pine Forge Press.
Suissa, J. (2006). Anarchism and Education: A Philosophical Perspective. London: Routledge.
Ward, C. (2004). Anarchism: A Very Short Introduction. Oxford: Oxford University Press.
Woodcock, G. (ed.) (1977). The Anarchist Reader. London: Fontana Press.

 

Reproduced from Freedom News

 

 

Posted in homepage | Leave a comment

Lee Leaving: The Funeral of Lee Harris 6th January 2024

For Lee Eli Harris 11th August 1936 – 26th November 2023

 

 

Two funerals in one week, as Lee Harris leaves sweetly
And in the same place as Pinter, McDevitt, Allen
And Horovitz. Kensal Green flowers the dead,
Just as we bring ourselves as bright tributes; poets,
Activists, artists, musicians, each denominations

That Harris’ life duly fits. He was Bryan Talbot’s
First publisher too, and a Portobello shop owner,
Whose alchemic puff exhaled keenly while bringing to life
Withheld dreams. The service was the longest
I’d been to by far, as there was so much life here

To detail; from activism to acting Lee knew what
The word possible can and should mean.
Jo-burg born, on a boat the boy-man travelled to England,
After opposing Apartheid in that seminal year, ’56,
In my own dreams no doubt at the same time

As my father, stowing away on another ship
To store Stalin and his Hungarian stain. Lee, transfixed
Became an Webber Douglas trained actor here,
(after reconnecting Albie Sachs with his father),
Settling in Earls Court, pre-Aussies, the first

Of many trails his time blazed. Before working
With Welles, that giant monolith of achievement,
In Orson’s perfect Chimes at Midnight,
Which is better than Kane. Bars were raised
As to what and who to become. And so Lee set about

Making Legends, as described by Amira, Deben
And Edana, his children who served him sweet tributes
From his own underground echoes, to a Heathcote
Williams poem, written for him and Birgitta,
To bursaries, birthings and LSD’s first great phase.

There was his time with Jim Haynes in the famous
Drury Lane Arts lab. The staging of The Alchemic
Wedding at the Royal Albert Hall: ’68, and then
His shop Alchemy’s street reveal just four years later,
A boutique for the Buddhist, with mantras falling

Like manna, the best of these being: Don’t Hate/Create.
He was the Counter Culture contained behind one pair
Of glasses. He had touched all points to Heaven,
And all of the prized ones on Earth. From his own land
Of strife, to Tibet, the US, and Europa, he was

A Meher Baba type Seeker,  and  as fluid as Berger
As he sourced stones and jewels from each stream
To find worth. His world was shaped from sunshine
And peace, and he saved his particular Brainstorms
From comics, happening on Bryan Talbot, circa 1970,
When Alchemy was still a street stall and today
Talbot told us about how through life’s struggles,
He and Mary had first visited. He showed him one page
Which Lee said he would publish when the story

Was finished; it was a word on the wind,
A vow offered for which the young Bryan still felt
Inhibited. After another lean time (BT) returned,
Reaching Portobello from Preston, with 20 precious pages
Saved for that generous Harris hand. A kindness abused

On that day by a bunch of lads who had stolen
From Alchemy’s till, yet arriving, Lee looked
And the work and began
                                                     Brainstorm Comics
At once, as they then went in search of a printer,
And this is how we got Luther Arkwright, that great

Moorcock-like strip and Grandville. And all of the books
Which have given illustration adventure. Lee fired
The starting gun. It was even his out of tune piano
That brought Jaz Coleman and Youth the place
To form Killing Joke’s first song spills. Lee ran for Mayor,

Got thousands of votes, would have made it
If this had been a better world, and one able
To appreciate the real riches sewn into the soul’s
Tapestry. Youth talked of these in his softly said
Starsailor poem, a wonderous word film

On the wisdom upon which Lee speaking
Sailed; love as sea. As also seen and heard in the clips
Played on the East Chapel’s screens as we sat there,
Lee’s Jerusalem poem and the superlative Shine On
Thanks to the Moonlight Orchestra, as suture for the heat

In the heart to fly free. There was a remarkable
A Day in the Life by George and Jay from the Mau Mau,
Acoustic guitar and drum nearly beating for that moment
At least, Pepper’s men. And then the Buddhist Nun
Lama Zangmo as our Host, leading the Samye Dzong

Buddhist Centre in Buddhist Prayers of Compassion;
The possible music of Heaven or a haven at least
For us, them
                                 and everyone not there today,
Or who met and remembers Lee Harris.
A remarkable man. An Earth Angel. Husband and Son.

Father. Friend. Protector and Sage. Publisher
And Gate Keeper. Shop Owner. Seagull squarking
To call hatred’s end. From the enmity of SA,
He restored and roped resolution. Evidenced by
Yewande Okuleye whose PhD in medicinal Cannabis

Lee advised on. She sent us singing the African
For ‘Lee is going home’ beautifully. He was
AS Youth wrote: ‘An Avalon Avatar, An Alchemic Reducer,’
A Cannabis(ian) Crusader, who could sit and talk
With George Martin about the echoes at Air (Studios),

Artfully. From ‘the confederacy of the wry smile’ to
‘Honouring Ken Kesey for a lifetime of enchantment’, this
‘Crystal prism sun-catcher’ was on any English day
Different lands. Be they Joburg’s scarred streets,
Or the Tibetan path, purely taken. Or Ladbroke Grove.

Death is not the end, Zangmo told us. Something
That those left behind understand. Edana’s montage
For her Dad, showed us smiles and stars, and horizons,
It showed us homes and past prisons, people and dreams,
Poetry. Which can be both held in the hand, and which

Once in the ear will transfigure from sound spell
Into essence. With his body boxed, Lee is leaving
To find us new worlds. Wait and see.  

 

 

                                                                                         David Erdos 7/1/24

 

 

 

.

 

 

Posted in homepage | Tagged , | Leave a comment