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TO HELL AND HOVE      

                                                                                                                   

                            On Pariah Genius by Iain Sinclair (Cheerio Books, 2024)

 

 

In his 80th year, having left, Sinclair circles back towards London,
Admittedly not through back doors, but through the entrance
Of two galleries; in which, hung like Saints, as well as martyrs
To the myths which first scarred them, hang Francis Bacon,
John Deakin, and all of the other ghosts gathered in Iain Sinclair’s

Coterie. For this a biography which becomes something further
Than fiction; framing fact while Iain’s word-colours bubble
And burst on the page, for no-one can write as he does;
The prose stylist as painter and photographer too, like his subject,
Who is also soloist, sage, and harmonsier, as he transposes,

Transfigures and advances the form for each age. 
Pariah Genius as a phrase and as this book’s title
Spans the greatest journey that any human can breach,
As all of society is contained in its scope, and the limits
We lick through potential. And as Sinclair’s private view

Becomes public, he reveals the secret Gods and the shadows
That only he can still reach. Our greatest writer? He’s one.
Alongside the fellows he follows. Alan Moore, Derek Raymond,
Chrises Petit and Torrance, Arthur Machen of course,
Swedenborg. Mystics of the mask placed over the modern;

Classicists for a future in which with language forsaken
Words and espousements will rouse once more from the morgue.
And Sinclair is Death’s dutiful servant scribing free while faithfully
Attending to Deakin. Unearthing (a la Alan M.) The Hidden Files
Of an age which is but a few decades done; as the Sinclairian shovel

Digs deeper, and where instead of soil and stone he strikes titles,
Including Derek Raymond’s lost memoir in which he too detailed
Soho and the origin story behind the Black Novel’s page.
I dug Iain’s dig, with its circuituous roots back to Malta
And to Dylan Thomas in the 40s. Patrick Hamilton’s shadow,

  

Sourced earlier still inks lost air.  Just as Deakin’s photos reveal
An artists’ textured touch alongside a poet’s prod in the tapping
Of the smear and sheen and the stutter of the shutter release
Framing care. Everything becomes written of course as soon as
Memory makes it legend. Poetry pierces pictures. And everyone

Described herein becomes poet, of lens or line, brush, or act.
Sinclair shields them all, as he always does. Dream’s Defender.
As he writes and weaves montage and mosaic each story shimmers
With a force and a feeling strong enough to crack cataracts.
Orpheus himself varnishes as the underworld is resurfaced.

For Deakin dipped in the oil, piss and sperm spilt by Bacon,
And the Kray-dark tastes of those days.  He was there when London
Was brylcreme and blood and the chipped porcelain made,
As each One-Man Empire crumbled. And Eye-Ess IS his shadow
Through Deakin’s daring and despite his long disarray. 

This book is its own gallery, portraiting everyone to and fro
From Bacon’s 1962 Exhibition. The old Tate at Millbank becomes
A lost state of mind. Some bright Shangri-la, caught inside Deakin’s
Camera which Sinclair now develops. In the red light, image-water
Starts bleeding the gold this book finds. The sentences stun.

No-one can arrest the eye like this writer: ‘Fever dreams empty
the streets and let the old ghosts out.’  Man as music.
‘Croydon is  a necessary penance. They live there under a compulsion.’
Drumroll, please. ‘Retrievals from chaos illuminate subsequent histories’
Thankyou, Iain. ‘The invisibly published enjoy a great privilege: they are
Beyond the reach of criticism.’ Art as ease. Sinclair’s words photograph

As he takes in everybody. As a former Film Student, soil worker
Trader in print, pundit, scribe, everyone slides though his ink,
From Gascoyne to Pinter whose No Man’s Land he transfigures
As those pre and postwar progressives drink their day dry
Yet imbibe on a continuing standard unsought and unreached

By anyone in the present. Here, Sinclair’s singing Pinter’s prosody
For all time. Deakin was a one-shot novelist. Sinclair is one
With each sentence. Nevermind his own novels, and meta-texts
By the score. He tells Deakin’s tale while tapping on Hirst’s
Huge window. And provides spine for Spooner by hosting

Harold’s generous aid for the (often pissed) and passed poets
That Deakin detailed through closed doors. Everyone is scorched
Here and stretched. Everyone fries beside Bacon. ‘In a punctured
Hampstead of the soul’ doom is blooming as David Archer,
Houses Deakin’s love and George Barker, superimposing

Their image on Pinter’s play. Faces scored into pigment
And print and time itself lifemask for us. As with Blake’s
Etched by Bacon, each visage as vision is a ghost skimmed
Stone on the Thames. Images of Keefe and Mackenzie’s
Long Good Friday vapour in, as the Dockland bowl brims

With bodies, and as this soul soup starts spilling,
Forgotten names bob like croutons along that great brown
Stew’s weeds and stems. All is dispensed in this book
As Deakin links every diner, from Colin MacInnes,
Jorge Leon, WS Graham, John Minton, Henrietta Moraes,

John Heath-Stubbs, from each drop in the dark bubbles care:
Elizabeth Smart, Dom Moraes. Muriel Belcher, Tom Baker
Elias Canetti, Vincent Van Gogh, David Hare,
Colquhoun and MacBryde, Michael Reeves, Daniel Farson,
Bruce Bernard, William Empson, Joan Littlewood;

No-one’s spare, with each tainting time in this tome
Which is a biog-bro to Peter Ackroyd’s London,
Where instead of location, vocation and attendant voice
Chronicles how everyone wins a word prize. Deakin caught
Them all in his glare, Sinclair sits beside, scribing swiftly,

Taking us both up and Downriver, Lights on (and out)
For all Territories as his new Orbital oracles. For there is
In this book, all of the books Sinclair’s written. In having
Returned from the Congo he must once more reengage
With the streets from which the Gold Machine was first dreamt,

And a life’s practice fashioned; one bred from books sold
And written, from books that remain incomplete; by which
I refer to the dreamt, and Sinclair remains our best Sandman;
He can convey like no other the Lost’s resonance and their worth.
He is a Don Quioxte aware of each dream day drawn before him,

As well as a Sancho Panza keeping raised feet close to earth.
Pariah Genius marks two worlds, and both contain ruin,
But in what has passed as he’s raking Sinclair sees palaces.
He glimpses them in the light of the Poetry Library window,
And the Colony Room’s ghost gin glasses which become

Grail-like chalices.  Sinclair scours all through his search,
As traipses and trails beside Deakin. From the French House
To Brighton, from sea-scape via strain, to deterioration
And decay, Heaven and Hell intermingle. As what was bright
Is blurred always when the hangover spikes the smudged brain.

And so one man’s story is told through a cityscrape of other people.
Criminals, lovers, the designated dead, prostitutes, who fucked,
Or failed remain the earthly compromise of all angels, sucking
Man’s sins to spit secrets; as this is what this book constitutes:
The classic drift of a time and of a sea ever turning. This is what

We hear in a seashell: the shipping forecast of the past.
To which Sinclair tunes. Behind that sound Deakin’s snapping.
And performing a radio play in soul-static made with a truly
Glorious cast. In John Deakin’s unsteady finger caress
e brushes Bacon and George Dyer’s nipples. In the camera

Click, crap is cutting and Raymond’s uppered crust finds its fall.
This Genius hung a ghost gallery, full of Screaming Queens,
Popes and Poets. This book becomes Boho’s Bible, burning
Through, singeing, singing. A scavenger can be sacred.
Shelter them on shelves.  Light your wall.

 

 

 

 

                                                                              David Erdos 23/2/24

 

 

 

Photos by kind permission or Anonymous Bosch

PARIAH GENIUS by Iain Sinclair will be published by Cheerio on April 25th 2024

 

 

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BREAD FOR BERNARD


 

                             For Bernard Kops  (28th November 1926 – 25th February 2024)

 

 

The world was a wedding from which you always stayed faithful;
To Erica first, then the angels who bit into bagels beside.
You shmoozed with them all from Jerusalem to West Hampstead,
Via Bacon and MacInnes’ Soho, language spilling from you,
A kind of Canute then, dry-landed, forever in search of fresh tides.

You were almost the last of the jews as I understood it;
Or that East End section that was a form of shtetl and street,
Along which Rabbis grew as if they were roses, and bombs
Burst from bookstalls from which the search for new worlds
Felt complete. Everything became kitchen sink, yet all was first

Science friction; what with the dreams bred from sickness
And the neurotic germ as it ate into each moment and soul
And you, as symbolic worm fed and fattened, moving in
From the outside into the temporary heat of charmed fate,
In which you erected your tent, stocked your shop, and then

Staged your drama, marrying Shakespeare with Stepney
And forms of urban folk-song. From Peter Mann’s Dreams
To Solly Gold’s entrance. Your Synagogue syntax was grammar
And grace not for throngs (as your initial audience thinned)
But for those who would feed on the fat and faith in a poem,

And who were keen to see and feel babble bagel and rise
Chagall-like from the page.  As you were Anne Frank
And numerous speed-freaks in Margate, one could taste
Steam and sugar, glory and grain, oil and sage,
With each matzoh ball baked in some ancient fire, hot

In the hands of your children and offered out through the years.
You were dramatic, damaged and a Yiddish Lear copping Kingdoms,
Watching them divide, as new Drama saw your Friday night table
Cleared. Harold remained at its head, but whither Wesker?
Ask Arnold. As with him, demand lessened but not vibrancy.

As your books boiled up stews stirring the sting of time
With old honey and you, still folkloric oracled fate’s clemency
On your failed and flawed characters, from settling Simon Katz,
Back to Gloria Gaye, Daniel Klayman, you were stitching
Each tempest into a new tapestry, not from Bayeaux,

But E8 and those other hidden regions of London, now written
Over by Diasporan tales of all creeds. Those former jews
Disappeared. And your Shalom Bomb has exploded, as the actions
Of Israel see the semitic stained, thereby upping the Anti
As hate once more gets its feed. But Bernard, in being read,

You still boil. Whether  tasted or not,  your work simmers,
Bubbling beneath counters, unfairly set in which those
Who once changed the stage sought the specific shelter
Of novels. Or radio plays where versed voices could still
Offer the ear a sound rose. And where an old world
Was remade, as you sailed with Homer, accompanied
By Simon at Midnight, or with Just One Kid at the stern,
Spotting Ezra Pound in his cage, or passing Cafes Kropotkin,
Or Zeitgeist, as Antigone’s anemones surfaced you showed

How an old dog can still learn. You, bagel-breathed,

Chopped herring charmed, egged and onioned. You soothed
And raged, sanguine, yet sure to take affront’s stance;
Incensed that your generation are mostly known now
To those who decrepitly surf theatre’s ocean. But we can
See you still, below surface, as if you were some bright

Coelacanth: a living fossil.  Now dead, your work retains
Your potential. With sixty plays and twelve novels, ten books
Of poems and two Autobiographies as bookends,
Where selves meet. You lived a near Century, from poverty
To wild riches; from fear and shame to abandon, to acclaim

And prize, sun and sleet. From life’s cold assize to the warmth
Within your wife’s bosom. From the love of friends and family
To the feeling that you might never fill Shakespeare’s feet.
Or Potok’s, or Roth’s, or Kafka’s for Chrissakes! You brought forth
Beauty as one could bite into your books and taste challah,

Kugel, bazargan, latkes. There is cream and crunch in your pages,
There is scent and salt when we look. And more. So much more.
It was on Finchley Road where I saw you. You were delighted
That you had been recognised. By Waitrose.  Just as you will be
Again, perhaps at a time when we know that there is a world
Of work that’s pure Talmud; a range of holy scrolls holding
Writing that is offered in praise of new Gods, which can’t close.
But whereas Gods can still fall, with new Deities designed
Every moment, we as congregations can carry mezzuzahs
Towards our own calvarys and honour the home

That a writers voice can still furnish. Their uniqueness,
Their vision shows where the true power is; for whether
Faded or not, the frame is refashioned, inside a book
Jacket or within the confines of a stage. That someone once
Imagined and wrote. Writers dream their dreams for us.

It is this act of sharing that seeks to dignify every age.
Bernard Kops coped with lots, he sought acclaim,
Then he won it. And then surrounded by others,
From Mercer to Livings, Simpson, Rudkin, Cooper,
Osborne, he saw sleep’s food withdrawn and yet still

He kept eating. Break bread once more then,
With Bernard.  Butter it with love. Be reborn.

 

 

 

                                                                             David Erdos 27/2/24

 

 

 

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An evening event, billed as: Sage & Gaz + Friends celebrate: ‘Notsensibles’


Some words and pics from Alan Dearling

First up was Stephen Hartley, aka Sage.  The Stephen Hartley Band offered an intimate set of largely autobiographical songs. ‘Stories’ from Stephen’s life, especially from his years up to his time in Scotland where he trained as a doctor.

Stephen told me that, “I’m also known as Sage – it’s a nickname I got at school, because there happened to be several Stephens about. My initials: SH therefore became ‘saitch’, equals ‘Sage’.”  Stephen was joined by Gary Brown, the original and only Notsensibles’ bassist, on bass. Tyler Hanley, the current mayor of Todmorden was on drums. Stephen told me: “Tyler is my sons’ age and was in their band The Strange. He’s played with me and Gary on a number of occasions and he’s the best drummer I’ve ever come across.”

Obviously, Sage is pretty political, and the songs included a nod towards George Orwell in ‘George’s Brother’ which offered a condemnation of foodbanks. His set certainly came to life with the energetic and catchy, ‘I’ll meet you at the bar’. An obvious invitation for punters to go and buy Stephen a beer! The closing number, ‘Swampland’ also got the audience energised, in readiness for the set of Notsensibles’ songs. Obviously, many in the audience were long-term fans of the ‘Sensies’ as they are affectionately known.

A bit of background: Stephen Hartley and Notsensibles

Stephen Hartley is best known as guitarist with iconic north-west punk band Notsensibles, who recorded four singles, an album and a Peel session. He’s continued to play in bands ever since, playing anecdotal, autobiographical songs, which he’s released on his DIY back room label, Eli Records. After the engineering apprenticeship that he was serving during the days of Notsensibles, he spent five years as a busker, playing classical guitar.

He went back to school on the day that his daughter was born, to study medicine, eventually becoming an A&E consultant. He runs a one and a half acre organic smallholding. His book ‘Painting Snails’ uses the annual cycle of the land as a framework for stories from his past.

For the last ten years Stephen has teamed up with original Notsensibles’ bass player Gary Brown, playing original material and always including Notsensibles’ songs in their sets. Lindsay Riley was on drums.

Stephen said after the gig: “Our gig at The Golden Lion in Todmorden was extra special, as we were joined by special guest, Roger Rawlinson on keyboards. Roger wrote most of the Notsensibles’ songs.”

During the second set, Gaz took centre stage as lead singer, as they played all the singles and songs from their infamous album, ‘Instant Classic’.” This was crammed full of lively fun with much singing-along. Many members of the audience behaved like the grand-parents of punk rock! Like the songs themselves, the musos and the punters didn’t take themselves too seriously. The song ‘Death to Disco’ was released as a  single in April 1979, and probably their most famous song  arrived later in 1979 when they,  (depending on your point of view), ‘lampooned or celebrated’ the election of Margaret Thatcher as Prime Minister, with, ‘I’m in Love with Margaret Thatcher’. 

At the live gig, stand out moments included the powerful, frantic and frenetic, ‘I am The Bishop’, the dippy bonkers-ness of ‘I thought that you were dead’ and the North of England music-hall pastiche, ‘Little Boxes’,  and the obvious ‘finale’, the duo of songs, ‘Death to Disco’ and the ‘Maggie Thatcher’ song.  The Notsensibles’ songs are at times strangely reminiscent of a punk band fronted by Spike Milligan and The Goons!

The musical spaces in between and after the live sets were uplifted by some great punk tunes played by the DJ, including The Adverts’ ‘Gary Gilmore’s Eyes’ and ‘London Calling’ from The Clash.

Gaz & Sage + friends will continue to gig in 2024: Landed festival in Wales in July, with other festivals in the pipeline.

 

 

 

 

 

 

 

 

 

 

 

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A Game of Needles

 

Everything is as it should be, though neither you nor I would recognise the hints and shifts beneath the written surface. There is a woman made of needles, though not the kind that pricks your finger so you sleep for a hundred years, or until a stranger enters your chamber with all of its suppressed connotations; nor even the kind that litters the phone box outside the 7-11, that makes you scratch your tender forearm before you realise what you’re doing, and then feel a guilt that has never truly been your own. Don’t overthink it. Beneath her lights and fabrics, she is pine needles, secret as the forests we have only flown over on our way to safer cities, bursting with beasts still sweating from the hunt. Predator or prey? There are party games in her slate grey eyes, and nobody’s expecting to lose.

 

 

 

Oz Hardwick
Picture Nick Victor

 

 

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IT OUR DEMANDS

This is an idle threat
Nothing will happen to you
If you ignore. Life
Will go on. The things
That would have happened
Will happen anyway. It
Will make no difference
To the well being of you
Or your family. Simply
Pay the money into
The numbered account
Before bank closing
On Wednesday
Or Thursday, whichever
Is most convenient

 

 

Steven Taylor

 

 

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i am here to ruin your gender a transmasc manifesto

 

gender is an identity. gender is an expression. gender is how you look, how you act, how you’re expected to act by others. gender is a role. gender is a position. gender is an imposition. gender is what the cisheteropatriarchy wants you to do, wants you to be—how it wants you to submit. it assigns it to you at birth, based on how you look, and from then on you’re expected to keep up your act for the rest of your life. gender, like Judith Butler famously says, is a performance—but some of us don’t follow the script. some of us won’t follow the script.

and some of us aren’t even satisfied with not following the script either. no, we want to burn the whole stage down. trans, not as in transition, but in transgression. transmasculinity—transgressing masculinity. i am not here to act like a man—i am here to ruin your gender. i am here to look like you without acting like how you want me to. i am here to destroy all unities among expression, emotion, interaction, domination, and submission which you hold sacred and essential to your role as creator and enforcer of the cisheteropatriarchy. and in my destruction, i will not only create myself, but create space for others to do the same to you and your enabling ilk.

agender isn’t enough—i need to be antigender. i am not simply satisfied with removing myself from your system and finding community with others who have done the same. i will not be satisfied until your entire system of domination and exploitation of all who are not your gender is gone. gender is a conspiracy. gender exists to serve hierarchy. and i refuse to serve.

Reprinted from typhotic iceberg

 

 

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Auntie, why does your house smell funny? Jumble Hole Clough

 

 Auntie, why does your house smell funny?

Jumble Hole Clough

The album-cover of Jumble Hole Clough (aka Colin Robinson)’s latest album, Auntie, why does your house smell funny? is an old family photograph, taken back in 1912. When you look at it closely, all the people in it have a look of surprise mingled with slight puzzlement on their faces. It makes you wonder what was happening behind the camera. Perhaps the photographer had just completed a round trip in a time machine and was playing them Fanny Robinson’s great-grandson’s latest album on his phonograph.

The music of Jumble Hole Clough is, as Robinson describes it, ‘influenced by the landscape, industrial remains and experiences around Hebden Bridge in West Yorkshire.’ The end result is a distinctive musical world that combines these elements with elements of his own dream-life and other flotsam and jetsam dredged from his subconscious. (His previous trilogy of albums dealt explicitly with dreams, but you get the feeling they’re an important part of much of his work). The dream-like quality of the music is no coincidence, I think. The area in question has, itself, the feeling of being some sort of humongous surrealist installation: the place names, the strange rock formations, a deserted radar station, an obelisk on top of a hill with a dark windowless staircase inside (overlooking the site of a former asylum), right down to the way the present is built on the wreckage of a past, the exact purpose of which, though industrial, is often not immediately obvious. And when we humans inhabit a place, our memories become embedded in the land. When they do, the landscape becomes a kind of external collective unconscious, full of archaeology the meaning of which is perhaps forgotten or, at best, half-understood: a kind of ‘jumble hole’, if you like (although the place, Jumble Hole Clough, really does exist). The associations we pull from it – waking, ancestral dreams – bear analogy with the dream-worlds we pull from our own subconscious minds and are, in turn, filed away there to re-emerge as future dreams. We talk about inhabiting an environment (environs – surroundings) but, in fact, we are, ourselves, part of the environment. We are, psychically and physically, part of the landscape, just as we don’t live on the Earth but, just like its rocks, are a part of the earth (and our thoughts, the fleeting electrical discharges in our minds, are no less part of it than lightening). This album – despite a brief field-recording made in Sevilla and the odd day-trip out –  is, in a very real way, a rendition of a spirit of place.

I often wonder where Colin Robinson gets his titles from, much as I used to wonder how Iain M Banks created the names for his spaceships. As he says in his accompanying notes, ‘As always, the titles are of the utmost importance, they explain everything.’ Reading through them, it’s immediately apparent that the theme running though this album is death (and then, of course, we realise, all the characters in the album cover photo are dead). It begins with ‘A Christmas Card from Karlheinz’, which, perhaps, refers to the late composer, Karlheinz Stockhausen. Then comes Jackfield and Bedlam. This is not a reference to the famous London asylum but to Jackfield, a village in Shropshire and, perhaps, the nearby Bedlam Furnaces. These places, like the area around Hebden Bridge, represent the not-too-comfortable (for the workers, at least) seat of the Industrial Revolution in England. The lyrics describe it as ‘the land of the living dead’, the modern equivalent of a Hieronymus Bosch nightmare. And this sets the tone: what this album most reminded me of was a medieval danse macabre, itself an emotional response by the people of the time to the ravages of the Black Death, the modern corollary to this being Covid. And, like it’s medieval counterpart, it’s not a solemn affair. On the contrary, it laughs in the face of the Grim Reaper, albeit in a slightly off-kilter, unsettling sort of way.

If you’re still in any doubt, check out the title of the next track, ‘Friday 13th Part 12′, the 2009 American slasher film. I won’t go through all the titles – you can ponder the references yourself – but they do include ‘6am Marston Moor’. Marston Moor was, of course, a battle in the English Civil Wars in which the Roundheads killed four thousand Royalists, ending any chance of the latter controlling the North of England: you could describe it as a real life, seventeenth century, Friday 13th. Whether the ‘6am’ refers to a personal experience of Robinson’s, the morning before or the morning after the battle, is left to the imagination.

In his notes, Robinson says how much of the music began life through an ongoing exploration of generative music which began in 2022 with the album …and I think the little house knew something about it; don’t you? This becomes more obvious in the predominantly instrumental second half of this album, in which the macabre dance really gets underway, with titles like ‘May Day in the Ossuary Parts 1 and 2’ and ‘The Wondrous and Most Efficacious Electronium of Happy Valley’. There is an area not far from Hebden Bridge known as Happy Valley (it’s not just the title of a TV series) and intriguingly, going back to the first track, the electronium was one of Stockhausen’s instruments of choice. On reflection, I wondered if Robinson, like me, had been listening to the Today Programme’s interview with the composer on the occasion of his seventieth birthday, back in 1998. When the presenter asked him what he hoped to achieve before he died, Stockhausen replied, indignantly, ‘die? I’m going to live eternally!’ It could perhaps explain the Christmas card.
 
I once got lost in the fog on the moors in Robinson’s neck of the woods and found myself wandering down an uncanny, seemingly endless valley in which phantasmagorial shapes of ruined dry-stone structures kept looming up at me through the mist. After what seemed like an age, this ramshackle world gave way – almost imperceptibly – to the outskirts of Hebden Bridge. I often think of this experience when listening to Jumble Hole Clough.

TS Eliot’s Prufrock measured out his life in coffee spoons. It would be nice to think that, for a growing number of people, it’ll be Jumble Hole Clough albums. This, by my count, is the forty-fourth. Keep ’em coming.

 

 

Dominic Rivron

 

 

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I AM AN ANARCHIST

Bhante Sujato on being an anarchist and why he thinks Buddha was too.

Ajahn Sujato left a career as a musician to become a Buddhist monk in 1994. He took higher ordination in Thailand and lived there in forest monasteries and remote hermitages. He spent several years at Bodhinyana Monastery in Western Australia before founding Santi Forest Monastery in New South Wales in 2003. Following Bhante Sujato’s wishes, Santi became a nun’s monastery in 2012, and he returned to live in Bodhinyana.

Ajahn Sujato has written several books including A Swift Pair of Messengers and A History of Mindfulness. In 2005, Bhante Sujato co-founded the Buddhist website SuttaCentral along with Rod Bucknell and John Kelly, to provide access to early Buddhist texts in their original language and make translations available in modern languages. After being unable to secure copyright-free digital translations of the Pali Canon for SuttaCentral, Bhante Sujato moved to the island of Chimei, off the coast of Taiwan, to undertake the task of creating English translations of the four, living there from 2015 to 2018. These translations have since been published on SuttaCentral, and as free edition books.

In 2019, Bhante Sujato moved to Sydney to establish Lokanta Vihara (the Monastery at the End of the World) with his long term student, Bhante Akaliko, to explore what it means to follow the Buddha’s teachings in an era of climate change, globalised consumerism, and political turmoil.

 

 

 

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Life is hatching

Life is hatching,
peeks through the shell
and waves
with paws,
with wings,
with hands.
It comes out
of the dark womb,
like a sudden sunrise
from a black hole,
such as creating the light.
And it starts to move,
to crawl
to ramble,
to roll over …
Life,
like fire magic,
immediately declares himself
and everything around starts to shine.

 

 

 

Dessy Tsvetkova
Picture Nick Victor

 

 

 

 

 

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Pollens, Golden Anchovy

A man bicycling,
an empty case of some car battery
tied to his backseat
with the rubbers
from the tubes of two useless wheels,
crosses screaming,
“Shrimp, fresh. Golden anchovy, cheap.”

A woman in housecoat
wants to know the prices
from her flat roof.
Dust rises as the wind accumulates heat
and releases the last cold.

My father whispers,
“Fish used to be my dish.”
as if death can be refreshed only with
the scent of water.

 

 

Kushal Poddar
Picture Nick Victor

 

 

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NEWSPAPER SEA


Trident missile test failure raises

questions about UK’s nuclear deterrent

‘Each Vanguard-class submarine can hold up to
16 intercontinental ballistic missiles and will carry
up to eight Trident rockets and up to 40 nuclear warheads,
each capable of carrying a 100 kiloton bomb, over six times
more powerful than the bomb dropped on Hiroshima in 1945.
– The Guardian, 21 Feb 2024

we recent wrong
right into the between
go failure boosters
firing at itself
nuclear remains nuclear
missile prevented passing
fired no problem
significant deterrent
missiles motors between
assurance and ineffectiveness
splashed operation
systems work implications
shadow submarines
unlikely plopping implications
anonymous spending
ballistic embarrassing
the that the them the
confidence test dummy
test launch speculation
quoted efficiency gone
systems shakedown
nuclear parliament insisted
only failure only failure
ignite the information
destroy the politicians
no have missiles
no have missiles
no nuclear any more

 

 

Johnny Fall-Out Brainstorm

 

 

 

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Sunshine On My Shoulders

I See You Live on Love Street – Music from Laurel Canyon 1967-1975 is kind of weird in the way it leaves out the bad bits of LA and pretends everything is and was hunky dory. Considering how much actual space America has, it’s kind of weird that everyone pretended, and still pretends, that the hillside suburbs directly above Hollywood are idyllic countryside, despite the fact they are on the edge of the whirl of smog that tends to hover over the city.

Now of course, it’s all luxury condos and big houses, with swimming pools and garages and decking and whatever. (Check out Google Maps: you know you want to.) Back in the day it was more ramshackle wooden house with swimming pools and whatever. Musicians and artists, would-be musicians and would-be artists, moved in and then hung out with their stoned friends at endless parties. Apparently it was perfect: everyone was welcome, everyone sang and lived in harmony together in the endless sunshine and a free love utopia.

Kind of weird then, how this 4 hour, three CD set from Cherry Red takes the rough edges off anything. The Doors could get into a mellow groove, sure, but they were drunken leather demons, intent on summoning spirits and sex through their peculiar blues. Barry McGuire made some great hippy albums, but they also contained political and social declamations, not least on his hit single ‘The Eve of Destruction’. Steppenwolf were biker heavy rock, but not here; just as Love were acid-fuelled acid-rock weirdos and Captain Beefheart was just plain weird, but again, not here.

It’s a pleasant enough anthology but it pretty much ignores the interesting musical stuff in favour of charting how Sixties harmony pop moved to singer-songwriters, country-rock and on into the dangerous land of M.O.R. (The collection ends with a Fleetwood Mac track!) It also ignores the dark side of Los Angeles, Charles Manson and other cult groups, an extensive range of mass killers, endemic poverty, institutionalised racism, not to mention the downside of homeless teenagers succumbing to addiction, exploitation and prostitution, as documented by Joan Didion and William Volmann. But if you think being a rebel is wearing a fringed leather jacket, growing your hair, skinning up and sitting in the sunshine, you’ll love this shallow missive from the Golden State.

 

 

 

Rupert Loydell

 

 

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RESTAURANT #6

 

Mona ordered the spiced venison, a cold potato salad, and grilled courgettes and aubergine with crème fraîche and chives, while her mother opted for a smoked sirloin steak with grilled pineapple, stem broccoli and green peppercorn, and a blue cheese sauce. Do you think Daddy will ever be his old self again? asked Mona. Men never change, said Jacqueline. He may be comatose but it’s still him in there. With an imperious finger she summoned a waiter to the table. This is dreadful, she said. Take it away and bring me something that isn’t an affront to the intellect. Okey-dokey, said the waiter, and sashayed away to the kitchens. Speaking of men – and I use the term loosely in this instance – I’ve given Sebastian the chuck, said Mona. Not before time, said Jacqueline. I never liked the way he behaved at the dinner table. You’d have thought he had never seen a fish knife before in his life. Using it for the butter indeed! The in-house pianist doodled a medley of tunes from Pink Floyd’s ‘Dark Side of the Moon’ long-playing record, intermingled with a leitmotif not a million miles distant from the ‘Imperial March’ in John Williams’s score to the ‘Star Wars’ films. The waiter returned and placed a dish of something ambiguous in front of her. What’s this? she asked. We have a variety of names for it, said the waiter, depending how we feel. Let’s see, there’s “Chelsea Pensioner”, “Last Chance Saloon”, “The Faerie Queene”, “Indian Uprising”, “South London Crime Syndicate”, “Your Place or Mine?” . . . .  Alright, alright, said Jacqueline, I don’t care. It looks and smells yummy-yum-yum. Ambrosial, in fact. Merci beaucoup, mon ami. With which she tucked in. Actually I’ve been seeing quite a bit of Tarquin lately, said Mona. Oh Tarquin’s a dear, said Jacqueline, chewing on something. He has a pleasing way about him, and carries himself well. Nice chassis, and good bum, too. I’ve taken him for a test drive and he performed very well, said Mona. But I think he may have faked his mileage and, if I might be allowed to extend the motoring metaphor, I think he isn’t being wholly truthful about how many owners he’s had. You may so extend, said her mother, and if I may further extend, I must say I enjoy a gearstick, and Tarquin’s definitely manual, not automatic. Mona hesitated a little, forced a smile, and then toyed with her potato salad, pensively.

 

 

 

Conrad Titmuss
Picture Fabrication Nick Victor

 

 

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PRODUCT PLACEMENT

Self-medicating under the spell of Covid
with whiskey, night nurse, whiskey, sleep-aid
and whiskey. I found myself in hospital lying

saying I must have simply tripped
not been looking where I was going, hence
the cuts and bruises, the blood, once wiped away
that leaves a mark,

just like the Nike swoosh
on the basketball boots
once worn by Michael Jordan

I read that Nike, the company
are almost nothing, everything

is sub-contracted to workers who work
anonymously, subvert or circumvent
any labour laws, and do so for a pittance

Global capitalism
is (a kind of) philosophical connectedness

The doctor (I can see)
doesn’t quite believe me
when I say I must have tripped
and sends me for a brain scan
to see if I am stupid. Now

I’m waiting on the results
beside a man on a morphine-drip

more warily than the players
sitting at the ceremony

hoping it’s their name
announced for the award (MVP)

and not some other bozo

It was Jameson

 

 

 

 

Steven Taylor
Picture Nick Victor

 

 

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The Cassandra Schedule

 

Premonitions are all very well after the fact. Everybody knew it was coming, knew it was going to happen, and could have described exactly how it would all pan out, if only someone had been willing to listen instead of thinking they had all the angles covered. Now, show us just how it happened. Show us the scars, show us the bodies piled high, then show us ads for mediums and mountebanks, for a better life through paranormal enquiry. Now, show us the close-ups and the forensics. Show us the dreamlike patchwork of grainy CCTV that always heralds trauma. Show us the witnesses with stolen voices, gesturing like cast bones as they mine the collective unconscious in order to mime the inevitable. Show us the lack of possible alternative outcomes. Everybody knows what’s coming, but no one wants to speak. No one wants to listen.

 

 

Oz Hardwick
Picture Nick Victor

 

 

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A Secret History

 

Peace! Books! Freedom! The Secret History of a Radical London Building, Rosa Schling (188pp, £10, Housmans Books)

Every now and then, I get sent a book to review which is a sheer joy from start to finish. Peace! Books! Freedom! is such a book.

A short gallop through the history of 5 Caledonian Road, the Kings Cross home of Housmans Bookshop, Peace News and many other radical organisations, it’s a great story of activism, resistance and community.

It begins with the generous donation by pacifist curate, Tom Willis that enabled Peace News to buy a building in Central London to create the movement centre they’d always wanted.

Since then, ‘Cally Road’, as it became known, has often been at the forefront of UK activism.

The book documents many of the campaigns run from Cally Road, including successful sit-ins at Trafalgar Square by the Direct Action Committee (DAC) to protest against nuclear proliferation; the ‘gay days’ and first Pride march organised by the Gay Liberation Front (GLF); the formation of the Campaign Against Arms Trade (CAAT) – and London Greenpeace’s calls for an end to French nuclear testing in the Pacific.

Inevitably, such campaigning led to arrests and trials, such as the Wethersfield Six (for planning to enter military bases), the occupiers of the Greek embassy (in response to the 1967 coup), the British Withdrawal from Northern Ireland Campaign (conspiracy to cause incitement to disaffection) and the famous McLibel Trial.

5 Caledonian Road has also been also a haven for disaffected people and where vital support work has been carried out. The London Gay Switchboard was a critical resource for gay men and lesbians at a time when homophobia was rife.

The book contains an excellent array of photos of newsletters, leaflets and office documents.

I particularly enjoyed reading the notes Mark Ashton made when interviewing Mick Jackson for the London Gay Switchboard. Jackson got the job and the pair were to become firm friends setting up Lesbian and Gays Support the Miners, the subject of the wonderful film, Pride.

Peace News Trustees lent money to a neighbouring shop to start a wholefoods business, while Housmans was a popular hangout for people from a wide range of backgrounds. Over the years, the occupants of the building were active in opposing gentrification.

Perhaps inevitably, with so many groups of passionate committed activists, there were also occasions of conflict. Older activists were concerned about the dilution of pacifism in Peace News – when it focused on nuclear weapons – and, a few years later, when younger activists seem to widen the scope to include broader social justice concerns.

Pat Arrowsmith caused consternation by creating a situation where she was publicly arrested at the Peace News office, without thinking of the ramifications for staff.

Peace News became a collective and left London for Nottingham in 1974, not returning for 20 years.

In the early days, there were tensions between the more middle-class workforce at Peace News and the lower-paid workers in Housmans.

Despite these issues, what shines through Peace! Books! Freedom! is the incredible work done by the people of 5 Cally Road since the building was opened in 1959.

From the DAC activists who normalised nonviolent direct action and the GLF who tore down homophobia, to the workers at Peace News and Housmans who continue to promote peace, anarchism and community today, this book is a testament to the power of people to change the world.

Full of stories to entertain, educate and inspire you, this is essential reading for every activist.

Get your copy today.

 

 

 

Virginia Moffat

 

 

(Reprinted from Peace News under Creative Commons licence, with a title given by IT)

 

 

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UNDERGROUND MOVIE

 

Strange Reflections V

 

What popular mythology paints as ‘the good old days’ counts for nothing in Tooting Bec. Vince took them all to the local flea-pit for an evening out.

“It’s just another bloody awful old B-Movie, isn’t it?” snarled Brad. But they went all the same.

It was The Curse of Mommo, made on a shoe-string by ex-Hungarian Dog-Boy Laszlo ‘Fireball’ Zednick. Dr Thomas Bewlay was in attendance throughout. Fearsome charge nurses ran the place like a barracks.

After the first feature there was a jovial concoction of comic turns, ballads, singers and acrobats. The streets echoed with the cries of traders and the clatter of hooves. However six out of ten are the wrong size. Sister Sofia-Marie, clad in her astrologer’s nightdress of blue silk, velvet, lace and mesh (this is a new, tough-edged femininity) thought it had something going for it but she didn’t know quite what. She’s waiting for you.

“Well, that’s modern art for you, luvvie,” Brad sneered. Everyone else was bored rigid. Vince, however was strangely quiet the whole night and into the next day.

In the film, evil Baron Rudolf (cursed by the mysterious Mommo in a previous depraved incarnation of bizarre and brilliant visual theatre) gets assassinated by a troupe of strolling mummers. It was a dark, lavish and disturbing vision of mayhem and romance, and, like some campy villain in one of those ghastly old B-Movies, ‘dreadful’ Baron Rudolf dies in horrible circumstances.

Her heart flipped. It was all like a fantastic dream. Time and space twisted into weird origami shapes.

Next morning a policeman rang. He knew who started the fire in the wainscoting.

Inspector Flapper showed his chipped teeth and laughed in her face. “It’s the curse of Mommo! Har! Har! Har!”

Where do they come from? Have they simply been cast out to make money?

Back at the office the phones were going berserk. Very sleek and sporty in regal corsetry, his little piggy eyes narrowed as Sister Marie polished her crystal ball. This could be a feeling that lasts all day. God I hope not.

Laszlo’s underground movie-type mise-en-scene called for high camp and all sorts of tricksy far-out anachronisms.

So… ‘frightful’ Baron Rudolf, played by New York City gay porn diva Johnny Detroit, wafts about the set with a silver cigarette holder, now a ‘pretty boy’, now a post-phallocratic ‘homme fatal’ with an attitude problem, now a low-backed ‘couture man’, trailing pink scarves and quoting from The Magnetic Fields. The scheming court chamberlain (played with great panache by Nancy Bosch in a floppy white fright-wig),  looks just like Andy Warhol filming everyone on Super-8, creating dramatic self-contained episodes from footage shot over three years of disreputable urban adventuring.

He believed it summed up the contemporary world, he said at the press conference.

Learning to speak correctly was an uphill battle for Karen, although, through her new interest in music, she finally made some friends. My Aunt Ada gave her a recorder served hot with chips, salad and lashings of mango chutney. Other kids laughed at the noise she made. Was that the gearstick?

“They are scapegoats, everyone is against them,” Otis looked depressed.

Sister Marie gazed into her crystal ball and saw an unusual welcome sign: a naked body crucified to the gates of Knobheresberg Castle. And, sure enough, there’s evil Baron Rudolf preening himself to ‘La Paloma’ on the soundtrack..

“So, well, you know, whatever it is, you know, I feel like…well, you know…er…ummm…this film gives a voice to people who wouldn’t have one…so, well…okay…I’m an ex-stripper, but I’ve made ten films…so, anyway…”

Some bizarre press conference in LA.

“The triangle represents advanced technology, winners and losers, and this and…er…that…”

It was Johnny Detroit in a black and white pin-striped pyjama suit. The press pack fired a barrage of questions.

Pushing wet hair out of his eyes, Johnny said, “There are neither nights nor days…”

Eventually I got up off the bathroom floor and wiped my tears away. They walked out together chatting nineteen to the dozen like they were bosom buddies. The world was simply an immense ship. I shut the door behind them chuckling. Given half a chance these neurotic moral crusaders will rant on about anything from the evils of white rice to the ordination of women. Vince told us about his psycho mum.

Despite all the soft-soap and free booze bystanders predict the result is foregone conclusion. Things hotted up in Lorna’s kitchen.

“No sign of John Thomas,” thought Sister Marie, scanning the horizon with her opera glasses.     She was a lost soul without him, she knew that now. Her peachy, spacious apartment was waiting for the return of the spicy spook, his Ninja Turtle slippers warming in front of an overheated whirlpool bath.

The rolling hills of her perfumed hair stretched in a crescent from Hessle on the Humber to the cliffs of Flamborough Head. She was a tribute to the skills of early photographers, affording him glimpses of familiar places and snatches of London low-life, including cab drivers’ shelters, Annie’s Bar, the Deptford Blades and Crash Course Counseling in Catford.

The self-destructive sickness of national cynicism, a “poison” spread by the chattering classes was all grist to his mill, a peculiar malaise stretching from Guildford and Winchester to Titchfield and Godalming. In a series of well-choreographed broadcasts and speeches the schedule was changed. The canary panicked. Her jaw almost hit the floor.

This is where twentieth century history begins.

But The Curse of Mommo was a stunning antic and a dark, noisome shadow outside every bedroom.

 

 

AC Evans

 

 

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Angry Shouts, Catchy Slogans and Shock Tactics

Women In Revolt, Tate Britain
Women in Revolt (CD, Music for Nations)
The Fascist Groove Thing, Hugh Hodge (PM Press)

Is this an art exhibition or a political documentary? Who has the right to question what is or isn’t art? Clearly, men cannot criticise women’s experiences, white criticise black, straight criticise queer. This exhibition is rooted in the personal and the experiential: in places it is witty and provocative, elsewhere it simply tries to capture the momentary actions and politics of yesterday.

Were the Women’s Peace Camps at Greenham Common an artistic event or a political one? I think the latter, albeit a very important one, as are most of what is remembered here. But I am less convinced of it as visual art, it is an archive: of action, badges, magazines, posters, happenings and concerts. The majority of what is exhibited here was not made as or ever intended to be art, it was made as propaganda and provocation, information and slogans, and I think there is something questionable about it all being framed and displayed. It is social history, glimpses of the past, supporting evidence for changes demanded and what happened, or didn’t, as a result.

Much of it is informative and intriguing, some of it slight and some of it somewhat skewed. The Rock Against Racism exhibits seem to try and exclude men from the story, though the documentary considering the then government’s response to AIDS mostly features male talking heads. The recreation of the Greenham Common fence, strung with kitchen implements and children’s clothes is somewhat squeaky clean and unmoving; better are the sections of women’s involvement in squatting, refuges and music, as evidenced on the music compilation which shares the same name as the exhibition.

The album, to be honest, has little that is new or ‘undiscovered’, but it is a nice mix of energetic and sometimes shambolic punk and more gentle stuff. So we get upbeat tracks by The Slits, X-Ray Spex and Essential Logic contrasted with pastoral tunes by The Marine Girls and Strawberry Switchblade, anarcho-punk by The Poison Girls, a herky-jerky Ludus track and Vivienne Goldman’s domestic reggae about her visit to the launderette, just before Chris & Cosey’s deviant synthpop love song, which ends the selection.

 
           

Meanwhile, Hugh Hodge’s The Fascist Groove Thing: A History of Thatcher’s Britain in 21 Mixtapes, which I picked up from the Tate bookshop, tells a story with songs as evidence, even when they are unreliable or implausible, and offers little critical judgement of the music discussed. Instead, the book simply states what the tracks are about, how they approach their subject and are a product, celebration or critique of the politics of the time.

So Duran Duran tracks rub shoulders with the most obscure DIY anarcho-punk and indie-rock as Hodges weaves a way through each of his subjects, gathering up songs from a cluster of years. Very little of the music is related to anything specific, although many of Hidge’s choices are songs of resistance and defiance, youthful exuberance, angry shouts and catchy slogans, whatever the musical genre.

Hodges has the sense to realise music has little effect on society and politics (although he seems oblivious to how Rock Against Racism was an important part of defeating the National Front) and that even the most outspoken anti-Thatcherite anthems were mostly a soundtrack to drinking, dancing, sex and concert going. Having said that, he is definitely drawn to the most unsubtle lyrics of bands like The Exploited, perhaps because they offer a straightforward riposte to the banal soundbites and bullshit offered up by Thatcher and her ministers

Strangely, alongside the occasional jibes at Phil Collins and other popstars, which seem totally understandable, Hodges manages to make excuses and apologies for Gary Bushell and the Oi! bands, mostly on grounds of class (which apparently means racism and violence is OK) and also has the usual obsession with posh boy mockney rebels The Clash. He also has an encyclopaedic knowledge of obscure punk and indie music, which he places alongside the chart hits of the day, although that may simply be so he can enjoy satirising the latter. (Which isn’t, of course, a judgment value. Ahem.)

Despite a desire for Hodges to fly his flag and show his political colours, and perhaps do more critical deconstruction and contextualisation – particularly in regard to some of the warmongering rabble-rousing during the Falklands, and the contradictions of supporting the Miners’ demands to carry on with their shit jobs – this is an enjoyable and intriguing book, which through its inclusive and generous musical selections ends up forming an authentic and alternative history of Thatcher’s political rise and fall, as well as the effect it had on a wide spectrum of musicians and performers.

 

Rupert Loydell

 

 

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Orb A film by Lawrence Jordan

 

 

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Writing About Tom Raworth In 1972

 

These poems by Tom Raworth aren’t about

anything I can grasp.  I wrote that

in second aeon’s voluminous reviews  

declaring most of the verses to be short and

very very cryptic        I hadn’t learned not

to double adj back then     I go on to say that the poet  

has deployed all the elements in a sort of soup

leaving no holds to hang onto.

We should go back,  I say,  not on

in our search amid the trackless

shimmering.      The others though,

the academics and the lit critics,

insisted it was there    what we sought. 

Like op art.     Flickering.      It’s just.

that I couldn’t see it.     Not then.

 

 

 

Peter Finch

 

Tom Raworth reads from Lion, Lion, at San Francisco State, 1976 —The Poetry Center

 

 

 

 

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Crate digging for music-nuts!


Some non-linear thoughts from Alan Dearling

Many of us fall into two categories: hoarders & collectors, or, minimalists & throwers, the chuckers-out. I realised very early on in life that I’m a natural-born squirrel. I like to collect, to nourish my life with knowledge and new stuff, whether it is books or music. And my earliest music purchases were 78s on thick, easily cracked wax. That was at the end of the 1950s. Then it was 45s and 33s – singles and eps (extended play singles) and albums. They were vinyl. Alongside that, a lot my music-besotted generation acquired tape-recorders, known by the cognoscenti as open-reel machines, at the top-end made by companies like Revox, Ferrograph and Tandberg.

My student years were in the sixth form in West Sussex and at universities in Kent and London – a lot of us immersed ourselves in live musical experiences. Live gigs and the early festivals. We also amassed, if you like, ‘collected’ hi-fi (high-fidelity) equipment – turntables, cartridges, loud-speakers and amps from an amazing range of really rather fabulous manufacturers, such as Thorens, SME, Quad, Leak, Rogers, Goodmans, KEF,  Neal, Nakamichi, Harmon-Kardon, Armstrong and more.

Then in 1970s came cassettes. Pretty poor audio quality with lots of sound drop-outs, especially on the pre-recorded products, which were manufactured as high-speed copies. Certainly the audio quality was inferior compared with vinyl, despite their propensity to get scratched and suffer from pressing faults, like pops and crackles. Compact Discs (CDs) came next. A lot of older albums were re-mastered, often with extra tracks. These became collectible too.

Now, since the 2000s, there’s streaming. Single tracks are more frequently downloaded rather than whole albums. Some streaming services charge differential rates depending upon the download quality of the audio.  Many music fans, even older ones like myself, create and use playlists (and random play) made up by themselves or sourced online. There’s a lot of services like Spotify and Amazon to feed this new market and passion. But vinyl has been more resilient than initially expected. Established and new bands have returned to getting their ‘product’, their ‘merchandise’ pressed on vinyl, and in some cases even on revitalised strangely trendy, cassettes. CDs are no longer de rigeur!

So why and what is crate-digging?

It seems to me that there are many typologies of crate-digger. Our motivations are remarkably varied. Some of this relates to our personal relationships with the music on vinyl, CDs and cassettes. Have you ever wondered about your own musical collecting habits? Do you compare and contrast, and exchange your experiences of ‘crate-digging’, with friends and musical mates?

Completists – filling musical gaps in collections by particular artists, labels etc.

Genre-hunters, such as prog-rock, modern jazz, metal, blues, folk, rap et al.

Artist-hunters – the search for the rare, the extraordinary almost mythical recording

Samplers and music producers, djs and mixers

Collectors for financial gain –  and the sub-category of collectors – those who seek to acquire the most obscure, valuable and rare ‘specimens’ as ‘investments’

Discoverers, seekers – looking for new artists, sounds and musical inspiration

I’m mostly in the ‘discoverer’ category, plus instances of gap-filling, random ‘finds’ and purchasing new mixes and formats of old music. And on occasions, I hunt out artists who have often played live gigs I want to hear, or, have performed on sessions with musical friends.

The ‘what is crate-digging’ conundrum has become more complicated (perhaps?). It’s an example of supply and demand economics.  On the supply side, below is an attempted draft diagram of some of the locations ‘where’ modern crate-diggers may find their musical fare. I’m sure I will have missed some. At a personal level, I have lots of charity shops, record stalls in markets and a fair few music/record shops near where I currently live. But, I already almost have too much vinyl. An almost heretical admission for many music collectors! However, I find the portability of CDs and these days their improved sonic audio quality is useful as I move between different sound systems and locations. So, many of my purchases are in the CD format. But I review a fair amount of vinyl releases too. I also have a full Spotify subscription which I use to try out new music and check out obscure sounds.

Crate-digging’ is often a sensual pleasure. More of an art than a science, though there are ‘bodies of knowledge’ and decision-making processes behind our searches and purchases. At least some of the time! Perhaps it is (for different individuals), a mix of passion, impulse and compulsion to ‘search’ for a particular real or imagined musical nirvana. Perhaps!?! We live in an ever-optimistic state, hopeful of hitting the seam of gold, or at least a few nuggets. This week I discovered a Willie Nelson album produced by Don Was, ‘Across the Borderline’. Definitely full of enough ‘nuggets’ to make crate-digging worthwhile. There’s a Dylan duet and co-write with ‘Heartland’ and a beautiful version of Peter Gabriel’s song, ‘Don’t give up’, with Sinead O’Connor sharing vocal duties with Willie: The video is the short version: https://www.youtube.com/watch?v=gO6fAJcN89k

There’s Bonnie Raitt, Paul Simon and Kris Kristofferson on there too. Much of it is absolutely drop-dead gorgeous!

The music stalls in my local markets on Thursday and Sunday at the Todmorden Market in West Yorkshire are one readily available hands-on supply source for me, though there is much more vinyl on offer than other formats. But it also provides some music books sometimes too. Premier Music Fairs’ Mel is a regular stall holder on Thursday, and Heightside Records on a Sunday. In addition, both are regulars at Record Fairs.

As a discoverer, a ‘new-to-me’ music seeker, and on-line reviewer, I do receive a fair number of review copies and music from musician friends of newly released music. My crate-digging falls most frequently into two categories:

Targeted searches for specific ‘wants’, particular albums, music by artists who I am interested in. Sometimes it is akin to a quest on an Ancestry or a musical Family Tree!

Random acquisitions. These appeal at all sorts of head and heart levels. It can include, a particular musician, perhaps only featured on a track or two; musical genres and countries and cultures of origin; cover designs; the descriptions included in the package; historical provenance – a situated place in time.

Here are two examples of random purchases from one of my local music shops, Revo Records in Halifax. I would not have discovered them by proactive searching – definitely a case of random crate-digging in the music racks.

  1. Tony Joe White: The Beginning (2001). The cover is stark monochrome. Stripped-back like the music itself and the playing. It’s late Tony Joe, solo, back to basics, heavily blues-oriented, but almost entirely written by the artist. Sleeve notes say: ‘ voice, guitar, harmonica and foot’. Really enjoyed it for many of the lyrics which made me smile, and the clear, clean playing style and uncluttered production. Apparently it was TJW’s 29th solo album! You might also remember him for the songs he wrote, such as ‘Steamy Windows’ for Tina Turner.

Here’s an example of his swamp blues live: https://www.youtube.com/watch?v=foi7O42KHcQ

  1. Kenny Garrett: Beyond the Wall (2006). The photo on the cover of the Wall in China is striking. The line-up of musicians is something of a roll-call of modern jazz, including the sax-playing of Pharaoh Sanders and vibes from Bobby Hutcherson. And from the cover info it looked as though it was going to allow the artists to explore the musical frontiers between jazz and ‘world’ music. It does. It’s challenging, a mix of the melodic and the more discordant. ‘Tsunami Song’ which melds into ‘Kiss the Skies’ are just beautiful:

https://www.youtube.com/watch?v=1hvDeRaNkSQ

 

I’d missed this album in real time. It was nominated for the Grammy award as Best Jazz Instrumental album of 2007.

 

 

Targeted search.  I offer one example of a rather personal complex search process that’s still in progress! This is an almost embarrassingly anorak-affair…

I was at the University of Kent (UKC) 1969-72. We didn’t exactly realise that we were in the midst of what has become known as the ‘Canterbury Scene’. But hey, there were really quite a lot of musos and bands living and playing on the campus and in the immediate vicinity. Many members of these bands were my student and Canterbury contemporaries, such as Max Hole (manager for Spirogyra, he latterly became CEO of the Universal Music Group), Richard and David Sinclair, Steve Hillage (pictured), Pye Hastings, Barbara Gaskin, Pip Pyle (Khan, Gong, Hatfield and the North and the National Health) and more. I saw many of these bands associated with the UKC play ‘live’, not always at the university. Caravan, Spirogyra and Hatfield and the North, The Egg and Gong amongst them. But many, many other musicians and bands played on the UKC collegiate campus such as Family, Groundhogs, Fleetwood Mac, Hawkwind, Dr Strangely Strange, Steeleye Span, Quintessence, Al Stewart, Fairport Convention, The Who, Chicken Shack, Babe Ruth, Nico and Led Zeppelin, to name but a few!

I bought my fair share (or what a student grant could stretch to!) of albums during those three years in Canterbury. We swapped albums, put up ‘For sale and wanted’ notices on the student advertising boards. Two LPs that I definitely bought were ‘St Radigund’s’ from the jazz-inflected folk-rock outfit, Spirogyra, which included Barbara Gaskin, Steve Borrill, Julian Cusack, Mark Francis and Martin Cockerham amongst their members. Dave Stewart (not the Eurythmics one), Steve Hillage, David and Richard Sinclair, Max Hole and Pip Pyle were very much central players in this Canterbury musical melting pot.  But probably it was Caravan which emerged pre-eminent. They were quite a pervasive music force on the UKC campus, and the cover of their vinyl album, ‘Land of Grey and Pink’ was seen everywhere. They are still viewed as being one of the originators of ‘prog’ (progressive rock), along with the likes of Camel, Rare Bird and Atomic Rooster, who are often added into the ‘Canterbury Scene’, though I don’t believe that they were really part of it, in any significant way, but may have performed there. It’s a long time ago now!

 

However, the ‘Canterbury Scene’ had begun before my arrival in 1969. The Wilde Flowers’ members lived and grew up around the city and pre-dated the Soft Machine. Their influences were still apparent as the ‘60s gave way to the 1970s decade. There had been an ever-changing roster of Wilde Flowers. Daevid Allen went on to form Gong, Kevin Ayers often joined Daevid in musical enterprises and sojourns in the Balearics at Deia, and went on to create an illustrious and no less quirky musical career. Members of the ‘Softs’: Robert Wyatt, Mike Ratledge and Hugh Hopper became mainstays of a variety of jazz-rock outfits.

 

Until his untimely demise, I kept in occasional contact with Daevid and he contributed to a couple of my books including ‘Alternative Australia’. In Oz he considered himself primarily as poet, rather than a muso. This photo is of him as a street performer around Byron Bay, where I met up with Daevid and performed with him on a couple of occasions. My own musical writing and photography have also allowed me to coincide fairly frequently with Steve Hillage solo, with System 7, and with his Steve Hillage Band.

Now for the targeted ‘crate-digging’ element. I don’t want to attempt to buy all the records associated with the Canterbury Scene, but I am in the act of potentially searching out and maybe buying records from Khan, The Egg, Hatfield and the North and the National Health. I already have many from Steve Hillage, Gong and some from Henry Cow. So, here’s a ‘toast’ to “On-going crate-digging”, along with discovering more titbits of information regarding the lives of my old Canterbury contemporaries…

 

 

 

 

 

 

 

 

 

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Matthew One Man


Alan Dearling shares the One Man vibes!

It was an experience to catch up with Matthew in a live performance prior to his Italian tour. Hypnotic, haunting and mesmeric. Crammed full of vast musical shimmerings. It took places on a small bespoke stage in the Three Wise Monkeys’ Thai eaterie and music venue in Todmorden. Bare toes at the ready, for Matthew to utilise to push and pull all his  myriad array of pedals, buttons, loops and delays.

His offerings provide an odd-ball, mystical, musical brew. High-flying tinklings, with echoes of the Shadows too, with added hints of John Martyn.  Strangely-strange and even seriously peculiar.

Alternately, chugging rhythms and exhilarating arpeggio crescendos.  Worth taking a bit of time-out to listen and witness his curious show and unique brand of live guitar extemporising. Mucho harmonics, oddly weird extra-terrestrial sonics, bleeps, burps and splurges of audio colour. Not to mention his hands flying around the acoustic guitar fretboard in seemingly endless contortions.

Self-described, or is it proclaimed as: “The Michael Flatley of guitar music.”

Certainly, a vast amount of technical wizardry. Weird shit. Strangely perhaps, I was reminded of scenes from ‘Withnail and I’. Matthew has more than a tinge of bohemia and thespian about him, onstage and off…

Here’s Matthew and his soundscape piece: ‘Oranges and Blue’.

It’s from his performance for ‘Sofar’, Live in London :  https://www.youtube.com/watch?v=AVepP1PtpBM

My favourite Youtube comment: @dannycleave

“Absolutely mesmerising as usual from the ‘Greatest toes in Egham’. Such beautiful soundscapes!”

Seriously unhinged weirdness, alternating trips into the light firmament above, and the deepest heart of darkness.

 

 

 

 

 

 

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Lunch in Breclav, 1991


 
While the train gathers breath
to return there is time
for coffee underneath a long
and indecisive trail of cigarette smoke
in the not-so-grand hotel
where the waiters retain their pre-revolutionary
scowls even as they pass
between the swinging doors of freedom
and the monochrome photographs
of trees and water and loneliness
looking down from the walls
on these dusty afternoons
with lace curtains to filter
whatever news comes from outdoors
where change is changing yet
everyone walks at the pace
of the old days
to and from the forecourt
at the railway station where Gypsies
await each arrival with the promise
of something special
to trade beginning with the sunlight
they collect from the waiting room
tiles and offer for sale
to take home
duty free.

 

 

 

David Chorlton

 

 

 

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Carnage

there’s another slaughtered shrew
laid by my bedroom door today
another sacrificial offering
from our alley cat forever intent
on her destruction of all wildlife

perhaps she’s nipped the throat
of this tiny blameless rodent
as usual it still feels warm
but registers as lifeless
when I pick the poor creature up

the coup de grace alas
becomes apparent only
when I lay the corpse to rest
somewhere in the killing field
our innocent garden has become

this latest mini murder reveals
nature red in tooth and claw
as our Lordly Poet did proclaim
but my grief is so brief
it might as well not happen

now the toll of war dead
on every radio station
diminishes each and every death:
statistics show no feeling
indifference so revealing
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.
.
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.Jeff Cloves

 

 


 

 

 

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Pocket full of poses


Pocket full of poses

It’s the gap, tarted up as it is –
ribbons, bells on, smooth voice,
eyeball the camera, never a flinch –
between truth and lies.

With nothing firm to stand on
we all fall down.

 

 

Walker Brothers

When you sit in a café its life-blood ebbing,
the coffee tastes bitter.

The sun ain’t gonna shine any more.

You feel for the owner, want to buy more than coffee.

The moon ain’t gonna rise in the sky.

I want to hug a circle of love round this man,
large in his small café. Great music, I say,
before I walk away.

 

 

Dabbling with care

Washing up is safe
news muted, headlines mulched
splashing soap operas over lipped dishes,
forget journey’s end by drowning
planes of plates, mugs. Scour of steel wool
plastic-bellied whales, washed-out coral
cleansing smears of jam and fat of goose.
there’s plenty to eat but not for all
Patting dry ersatz carnation liquid
belly-up fish in toxic-dump water
on fluted glass and Le Crueset pan.
knee on a neck, raging storms

View from my window as I dabble?
A squirrel bush-whacking the lawn.

 

 

When we saw stars

The Square was the shape of a u-bend under a sink,
sunk in mud.

We played in the Square (when not on bombsites,
down the Docks or up a crane) until it was dug out

and stacks of crazy paving arrived and were left
in squat towers until ready to lay.

Days later, we, the ragged-arsed skinny kids
of the council flats, had made crazily-paved ramparts

behind which we played and planned raids on gangs,
till someone, later fingered, reached up over the wall

and let fall a broken biscuit of concrete onto my head.
I saw stars. Perhaps he didn’t know who’d get the hit.

Mum, raised in bucolic Ireland (her dad a farmer with
a dray horse) had been uprooted and here she was,

foreign in south London; her accent melodious.
She mopped my tears, buttered the egg on my head,

and with no hesitation, marched me across the Square,
shape of a heel on a boot, to Johnnie’s flat.

She knocked. My knees knocked,
and the mother answered. Apprised of the situation

she yelled Johnnie get ‘ere. Wordlessly, she threw
back her arm as if in a volley with a champ and

closed with a powerful slap to his face. He must
have seen stars, it was like fission in a bomb.

 

 

Joan Byrne

 

 

 

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Fending for Ourselves

After his foot turned purple
overnight the ship’s doctor

found that a Peruvian wolf
spider had laid eggs in his toe.

We no longer have any sense
of a firm footing but these statues

are three times actual size &
what we have here is a race

of supermen. More than anyone
else he understood the power of

images yet our biggest competitor
is apathy & all the light is focussed

onto the page. “Everybody in this
film is impossibly thin & good-looking

& everything looks expensive
& glamorous,” she said.

 

.

.

.

Steve Spence

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Quiddities

what’s left of their bones
indistinguishable from the soil

their quiddities concealed
in the lines of our faces

leaving us wondering
what they thought of it all

and if the trains of our thought
run on similar tracks

and if this will be enough
for us to find a way through

 

 

Dominic Rivron

Quiddity: the essence of something that distinguishes it from other things. It can also mean a quibble.

 

 

 

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THE HOWL MOVEMENT

                                                      

                     

                     On GUT FEELS by Johny Brown (tiny GLOBAL productions, 2024)

 

One part Mike Scott and one part Bob Dylan,
And another part Piaf, Johny Brown spills his guts
As this solo collections splits stars, already stained,
If not folded onto the whores and the hoardings
To grease the societal doors which stay shut.

His ‘heart bleeds like creeping surveillance,’
He sings as these joyless songs sound as holy,
As those sung from an angel clambering to survive
His sparked fall. With a mix of rancour and rhyme
And an undeniable rawness, these songs capture

The spirits of ‘unread, writers’ ‘Old Hopefuls’
And the souls he sees passing on his regular
Coffee/Book sessions where Brown stirs sensation
To source a spell for song’s call. Old Hopefuls embitters
Bands as they strip hack critics of chatter,

While the main matter is how to go on despite slurs.
And the music is charged by intent as Brown’s band chimes
And clatters; as John Clayton’s cello and organ, and Katy Carr’s
Uke and vibes act as spurs for Brown’s voice and guitars,
And Lee Stapleford’s fiddles, while David Coulter whose

‘library of inspired instruments beautifully deployed’
Colour steam which seems to seep from this songs
As they stain the air with their passion; from Pigeon
Channelling to Punk Badges, this boy from all ages,
Wipes through reminiscence the dust, rust and chaos

And makes both the spew stricken river
And the broken brick start to gleam. Brown is a kind
Of Geordie (Tom) Waits, city set, aligning himself
With the rats and the ‘roses that grow wild amongst
The docklands at the edges of stadiums,’ and the dream

That the impassioned reader can have, fuelled by coffee
In the Café, as David Lynch does; Brown’s flowers of intent
And idea are weed-green, as they rise before us and wrap
Around conventional vision. In so doing they’re warping
The world that we know, knew and lost, while raising lands

Which will be as Brown describes ‘misbegotten.’ As he sips
And sings, Johny’s reading  both tea-leaf and bean at our cost.
His heart bleeds, yet he feeds on the steam of hope as it vapours.
With his cup as chalice Johny’s a King on the make. As he attempts
To fuse fast with those he observes trailing past him; each person

A city, a ruin to rouse, a God-take. From the ‘toxic landslide’
Of his heart to his faded and once famous blue raincoats;
From his lost at sea Sailors for whom the world is a pearl;
From ‘stupid gold’ to angelic attitudes towards poets;
From the nice shirt, to crap hair, to prospects bare, DMT,

Brown colours clouds already bruised by pollution
Not just from exhaust pipes, but from the bile of those
Who are failing and must surely know they’re not free.
Brown sings not of Lucifer’s fall, but of his cinematic hangover.
He trawls the gutters fror shmutter and the taint of time

As it seeps, not as Dali’s clock did, for even though the heat is on
We’re not melting.  Instead as Brown colours, we get to see
And hear how years weep. ‘Barbaric kisses’ abound in
‘I’d love to be a character in one of your bad tattoos’
As ‘Brutal attraction’ is ‘erased from the public gaze’ 

We grow for. And as we forget to reform, or form at all
True connection, the marks we make on each other
Whether for or against send lost skies of love
To the floor. Johny Brown is teacher. Sad clown,
Poet, preacher, soul-screacher, stirring us up

With the coffee and as his Monday Morning reads
See muse hurled, from Cabut to Cohen as seen in
Gut Feels lyric booklet, which acts as brochure
For this special tour-de-force between worlds
Featuring photos by Inga Tillere, and unknown street

Artists, and Gabi Rojas’ design, we have roadmaps
For this spectacular journey within where Gut Feels
Are a force for community and for action. Actioned
In the essay with which Brown seals this deal.
Cold Deliverance fed to those who know they are starving
Despite café culture and that which is cancelled or cut.
Brown’s poetry makes a plea for universe and unification
Under the same star and signal, in which we can all learn
To be with no but. This then is book and album as Church.
A testament of tunes proudly offered in which the common

Man, child and woman of whatever creed can align.
As Johny sings from the street and of the street also.
He howls all that’s holy. And he moves pride and pavement
So that we can travel beside.

Song as sign.

 

 

                                                                 David Erdos 20/2/24

 

 

 
 
 
 
 
 
 
 
 
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from Jim Henderson’s A SUFFOLK DIARY

Thursday, February 15th

With my wife in York at her parents’, helping out in the wake of her mother breaking an ankle (allegedly: for all I know it might be a ruse for her to spend a few weeks away. I don’t care.) I am just getting used to having the run of not just the place but also of my day. If I choose, I can stay in my pyjamas until bedtime if I’m not going out anywhere, and I am not shaving: I have never had a beard- I have never been close to being “hirsute” – so I am going to experiment while there is nobody to nag me about how I have forgotten to shave or how scruffy I look. I shall be interested to see how it turns out. After two or three days I am already beginning to look tougher than usual, and Kristina, behind the bar at The Wheatsheaf, has already said she thinks the rugged look (her words) suits me.

I bumped into Miss Tindle outside the village shop this morning, and we had quite a long chat about the Parish Council and village affairs, especially whether or not there really is a threat of the government trying to send us a lot of illegal foreigners to live in the village hall once it is back up and running. Frankly, we do not know, but as she said, we should not put it past them because they are very daft and without decency. She said that, in her opinion, recent meetings of GASSE (“Go Away! Stay Somewhere Else!”) – the group we have set up to counter and resist the government’s plans – have been very depressing, and more about personalities than any kind of useful strategic planning or decision making. There is more to Miss Tindle than meets the eye, and I think she is wasted on just making armbands and helping with the tea and biscuits. I told her that John Garnham had been pushing me to stand for Parish Clerk at the elections in the Spring – or had been until our minor disagreements over last week’s shambles with The Ipswich Players and the hall – and she said she thought I would be excellent at the job, which has made me think again about standing. I was really not interested, but perhaps I could do it. Miss Tindle could be my deputy. Or maybe my stubble is just making me feel like Clint Eastwood. I think I do look a bit like him in a certain light, and from a distance.

Friday, February 16th

John Garnham telephoned and was somewhat beside himself – I think “apoplectic” might be the word –  on account of The Ipswich Players have sent him a formal written claim for £500 compensation for the late cancellation of their “Waiting for Godot”. I have to admit I laughed. I am no theatre or literary critic, but I am pretty sure the play only has 4 or 5 characters, requires next to no scenery, and The Ipswich Players are not exactly professionals. I looked them up on Google and their “leader”, it turns out, is also their “founder”, who established the company in 2015 “after a long and distinguished career in the insurance industry”. So he is definitely not Kenneth Branagh. I told John to reply to them by laughing in their faces, although I am not at all sure that the writing ­­­of mocking laughter is the kind of thing he has in his skill set. As far as I recall, John used also to work in insurance, which explains a good deal, come to think of it.

He also told me that the GASSE meeting with the village youth, to allow them to air their views and, I suppose, to take the moral high ground and prattle on about human rights before we ignore them and plough ahead anyway, is now scheduled for next Friday evening in the old cricket clubhouse. There are apparently loads of chairs in there, which will be needed because the youth are likely to once again send a large posse (that is, I think, the term they use)  so they are not outnumbered. That we may freeze to death because all there is in there is an old Calor gas heater seems not to be of any concern.

Sunday, February 18th


After lunch at The Wheatsheaf (they do a v. good Sunday roast, but my wife says it is a waste of money to go out for a Sunday dinner, so we never do, but today I did) I was at a bit of a loose end, so thought I might Google to see exactly what a Parish Clerk does, in case I decide to be one. I have a vague idea of what John Garnham does, which includes that people send him little problems and he pretends to try to do something about them, plus he has also been the village Father Christmas dishing out gifts to the children each year, but I thought there must be an official description of the job somewhere. I discovered that a Parish Clerk is a bit like a Chief Executive in a County or District Council albeit on a smaller scale, which still sounds pretty important, and that he (or, I suppose, she) is the ‘engine’ of a Parish Council. I can be an engine! It also said that Parish Clerks usually have a lot of common sense, the confidence to handle administrative work, and are good organisers, are IT literate and able to get on with most people. That is me “to a T”, as they say. I also stumbled over a website with all there is to know about Parish Council elections and how they work and all the legal technicalities and what-not, but it looked really boring and I shall have to have a look at it properly another day. Then I discovered that “Fiddler on the Roof” was on the television so that was my afternoon sorted.

Monday, February 19th

Bob Merchant’s crew were back working in the village hall today, and the word is that they expect to be finished with the repairs and refurbishment probably some time next week. Then we will just have to wait for the County Council to send their inspector in to give it the all-clear for health and safety and public consumption.

My wife telephoned this evening to see if I am alright. I told her I am alright. She said she thinks she may have to stay with her parents for at least a month, or perhaps more, because it seems that not only did her mother break an ankle but her accident brought on some problems with a hip and her general mobility. I managed to sound suitably concerned, sent everyone involved my best wishes, opened a fresh bottle of Cabernet Sauvignon, and settled down to watch Dana Andrews in “Curse of the Demon”.

 

 

James Henderson

 

 

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Heads up – The Shape of a Pocket

 
 

‘The pocket in question is a small pocket of resistance. A pocket is formed when two or more people come together in agreement. The resistance is against the inhumanity of the new world economic order.’
John Berger 

 

 
Dear Friends.
 
To let you and your diaries know that I have established, with  performer Tina Grace The Shape of a Pocket – a series of events inspired by the work of John Berger. The venue – Upstairs at the Gatehouse; Highgate’s theatre and arts centre are hosting bi-annual events of film, poetry and visual art. The launch event is Sunday April 14 – 5-8pm. We’ll show the film Surrender – Ways of Hearing John Berger, a British Library commission, looking at immigration and migration. There’ll music, poetry and a performance inspired by Berger’s Ways of Seeing.  An art exhibition too, with refreshments in the Green Room, and a talk by Peter Kennard.  A rich evening indeed. Website on the way, and the event is on sale here.
 
 
It would be lovely to see you.   Jan 
 
 
 
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SAUSAGE Life 291

SAUSAGE LIFE
By Bird Guano
The column that just says no, even when it means yes

READER: You look upset, what’s up?
MYSELF:  I parked my unicycle outside a certain pub, which you know and I know but whose name must remain unspoken, and when I came out someone had stolen the saddle.
READER:  Ow! That must have been an uncomfortable ride back.
MYSELF:  Put it this way, although an innate sense of modesty and a sincere wish not to offend my public prevents me from describing my journey, suffice to say that by the time I reached home I found the high notes in Bohemian Rhapsody surprisingly easy to reach.

APOLOGY
The editors have asked me to mention that the painting featured in the arts section of our last issue was mistakenly captioned Spring Lambs at Beachy Head and attributed to Lucian Frightwig, when it should have read Hyenas Devouring the Body of Marcel Proust by Damien Hurst. The editor of this newspaper unreservedly and publicly apologises for any offence taken, but in private, sniggers like a broken fireman’s hose.

GULLIBLE
Professor Gordon Thinktank’s latest invention Splatgon, his patent disposable nappies for seagulls, have proved a big hit with the seaside-dwelling car-owning public, but not so with radical environmental group Poop. Their spokesman Bill Toblerone told us “Yes, capturing gulls and getting them to wear nappies – a skill which requires strength, cunning and the ability to keep the birds still long enough to put the nappies on – has created much-needed jobs; but let us not forget that many of our members work in local car washes and these nappies are destroying their livelihoods”.
Professor Thinktank’s office has confirmed that the inventor has started work on an update to a previous patent, the Gullgon Displacer as a possible replacement for the controversial scheme. “I accept that the nappies are not everyone’s cup of tea”, Thinktank told us, “So I am reintroducing a new improved version of the Gullgon Displacer which takes my original idea one step further. This time the decoy rubbish bin will be stuffed with brightly coloured McDonald’s containers to attract the gulls. Once inside they will discover that the boxes contain not the expected McDonalds burger gloop but Pizza Hut crusts and KFC Chicken Lumps and there will be no chips, which completely disorientates them. The bin flap springs shut behind the confused gulls whose only means of escape is the door to a 38 mile tunnel. which eventually leads the seabirds to a secret location near Brighton where, as soon as they exit, the door springs shut”.

A QUESTION OF GARDENING
Our green fingered tree psychiatrist Mimsie Borogove offers advice on all things haughty and cultural.
Dorothy Palindrome, of Upper Dicker writes:
Dear Mimsie,
I have a fifteen foot tall Wisteria which, after the recent damp winter, appears to be taking over the garden! What shall I do? 

Dear Dorothy,
This looks to me like a cry for help. Your poor Wisteria is suffering from a clear crisis of self which may require more than a simple re-pot. Wisteria sinensis, is a passive aggressive species, prone to feelings of guilt and rejection and should on no account be prevented from exploring its gender-identity, as this will serve only to restrict its personal growth. If you happen to notice the smell of gin, or pools of tears collecting around the roots in the morning, the chances are your wisteria may suffering from mild depression. Tell-tale symptoms may include night sweats, projectile vomiting and a type of plant-based Turette’s syndrome known as gymnospermian hyper-onomatopoeia. My advice is to smear goose fat on the outer stem and prune off the quark tendrils every four days until the behaviour returns to something approaching normality.

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SOCCER SHOCKER
According to sources inside the club, Sergio “The Horse” Peccadillo, outspoken Italian manager of Hastings & St Leonards Warriors FC, appears to be contemplating the final curtain. The club’s tenure in the Nuclear Waste Disposal Solutions League (south) looks to be over after the humiliating 8-0 midweek thrashing by league leaders Hellingly Supernaturals.
Ever the controversialist, Sergio was tracked down to the Tortured Cat Karaoke Lounge in Lower Wilmington, where, having taken the team for a post-match debriefing, he appeared surprisingly upbeat about the whole affair. Relaxing between two cocktail waitresses after a stentorian rendition of Simply the Best, he gave us this statement; “Football is like algebra, where x is the ball, y is the ref, and the unknown quantity is the score. The players gave their hearts for me out there, and in some cases their livers. We’ve only been in here half an hour and most of the team are inconsolable already. We are not finished yet. Even though we are certain to be relegated, we could still stay up. Football is a funny old game and I’m certainly going to miss it when I’m sacked.”

BOOTS ON THE GROUND
Ron Maserati, the managing director of a firm of bootmakers based in the UK has been blamed by Republican front runner Donald Trump for America’s defeat in Vietnam. The ex-president made the accusation in Bigly, Indiana whilst opening the latest branch of Trumpco his chain of MAGA-themed supermarkets, where he told the braying crowd of morons he was going to “sue somebody’s ass off”.
When we spoke to Mr Maserati of The Maserati All-Terrain Boot Company (registered in Panama), he flatly denied responsibility for losing the war.
“Frankly I am outraged” he told us “It was all a long time ago. Nobody told me nothing about the men wearing them boots, nor what sort of ground they was going to be put on. All I done was deliver boots to the US Army as requested and whatever went wrong afterwards had nothing to do with me. Read my terms and conditions.”

 

 

 

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

 

 



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SAUSAGE 174 SAUSAGE 175 SAUSAGE 176 SAUSAGE 177 SAUSAGE 178
SAUSAGE 179 SAUSAGE 180 SAUSAGE 181 SAUSAGE 182 SAUSAGE 183
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SAUSAGE 209 SAUSAGE 210 SAUSAGE 211 SAUSAGE 212 SAUSAGE 213
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SAUSAGE 259SAUSAGE 260SAUSAGE 261SAUSAGE 262 SAUSAGE 262
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SAUSAGE 285 SAUSAGE 286 SAUSAGE 287SAUSAGE 288SAUSAGE 289SAUSAGE 290

 
 
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At The High Court For Julian Assange Extradition Hearing

The fate of Julian Assange and the future of journalism and free speech

 

https://freeassange.org/

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Why I’m an anarchist

 Sophie Scott-Brown discusses anarchy, democracy and freedom.

Is there any room for leadership in anarchy?

Sophie Scott-Brown is an intellectual historian based at the University of East Anglia with research interests in modern European political thought and the history of education. She is the author of The Histories of Raphael Samuel: A Portrait of a People’s Historian and Colin Ward and the Art of Everyday Anarchy.

00:00 Introduction
00:20 How do you define leadership in your work?
03:45 Could direct democracy ever work on the national level?
10:33 How can we respect democracy in the face of its misuse by certain groups?
15:54 What led you to study anarchism?
20:02 Which historical anarchist thinker would you most like to talk to?

 

 

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ECHO THE CLOUDS

 

Strange Reflections VI

 

Not unnaturally Vince was keen to avoid the attentions of Flapper of the Yard, so he slipped back in time to The Summer of Scandal, the last gasp of the Macmillan Era. He surfaced in a rented flat in Bayswater clutching a battered copy of Colin Wilson’s The Outsider.

Meanwhile, gazing into her crystal ball, fluffragette heroine Sofia Marie saw a towering column of blackness far out in space but approaching fast – it was Lord Lytton’s ‘Thing of Darkness’, The Shukkoth, La Shukke Noir, The Mouth of Shadows.

Her jaw almost hit the floor.

Half an hour later she was snogging in a taxi. They went on picnics, he cooked her pizzas, his eyes sparkled. Then she noticed his accent and saw an abominable, squamous mass invading vestigial Christian space.

Just four hours separate the damp of a British winter from a restaurant in a chalet in a sunny south-facing hamlet called Findeln, run by Hans and Gerda, lovely people we met on holiday. There was an obscene cackle from her U-Bend. Was it that old weirdo dialect she found so seductive?

Somewhere north of Luton there was an old dried-up reservoir. Factory chimneys belched sulphurous fumes into the lower atmosphere, newborn babies died of concrete cancer, motorway bridges melted into thin air. My Aunt Ada went on the rampage.

Was there no escape?

Brad’s muse and confidante Karen belonged to an extraterrestrial intelligence agency. She monitored the situation closely. Military and security heads demanded explanations.

“No definite and conclusive evidence is yet available, there were other distractions.” she reported in clipped, esoteric lingo.

Someone said the operation was based in Ohio, someone else suggested Kettering of all places. Controversial findings – mounting pressure; things were hotting up. Vince didn’t see much of his rented flat after that.

Dressed in a Paco Rabanne silver trouser suit Sister Marie brushed her hair and polished her gleaming fingernails.

                “The truth is out there…Oops!” she muttered to herself. Items of spotless, white lingerie littered the Op Art carpet; it had been a night to remember but no sign of the canary.

In Bayswater Vince gazed at a newspaper photo of Christine Keeler and wished they could get hitched in space. But he knew his soul belonged to The White Lady.

Brad found life in Kettering uncongenial. Nonsequiturs were off the agenda, the Contarnex clock was a hostile, alien object and there was no chance of softening the alien impact. The new technology will make all fossil industries obsolete.

Carl prepared a detailed report for Hackabout, Bridewell & Studmuffin, which is how he met Lorna who was temping at the time.

It was a strange yet convincing sequence. Brad was only ten days old when doctors discovered he had three chambers in his heart and face-to-face experience of social cataclysm. I couldn’t help laughing when I saw him miming to an old Peggy Lee record. Spectacular phenomena like this baffle scientists and researchers alike. Old red stars fade over Wandsworth.

Sister Marie banished the squamous monster from her crystal ball as, lurking outside in a typical London fog, Flapper huddled into the cavernous depths of his khaki, army surplus trench-coat. Merrie England was not his scene, oh no, not at all…so his small piggy eyes dwindled to distant specks then blinked out. All fugitive killers would be cornered. All hunky hubbies castrated. All streets swept clean. Life would be so straight-forward, after all he was common-as-muck and filthy-rich.

If only he could get the crystal ball.

He hated fine distinctions, diversionary tactics, business managers, flea-marketeers, do-gooders, interfering busy-bodies and the receptionist back at the ranch who snapped “Eat carpet, bozo” when he mistook her for a Fluffie. He had a hard-nosed, bluff, down-to-earth approach to every case, if only he had a mind of his own. Matrix mechanics could be the key. At school they called him ‘Face-Ache’ Flapper on account of his wild squint, his sagging cheekbones, his triple chin and his soluble flesh. He hated them then and he hated them now.

The eyes have it, so does the hair.

Sister Marie rehearsed a secret sign language and changed tack. Karen carefully forged several letters to me, signed them ‘Nadja’ and left them in an empty room at the Sphinx Hotel, Paris, France. After ten minutes the Q-Tips were running low so she decided to use just a quick flick of mascara and thank your lucky stars your partner understands the situation. Ah, the moment, the memory, the dream-echo of the clouds.

As the flying squad wrapped up, seriously ambitious global gourmets checked into very hotel and bistro in town, only to be faced with ghastly dishes served up by Slab City Trailer Trash. So pack your Hex Files and head for someplace else. Shut your stunning trap from the inside and reply with designerish understatement.

“That’s the ticket”, I decided, entering the former church hall through a fake cocktail lounge quaking with raucous rock music. The waitresses wear tight T-shirts and decorate themselves in student union Gothic. These were the best barbecued ribs I’ve tasted in London.

Face-Ache prepared for a loathsome transformation.

If this was a life-or-death situation: Sofia felt, well, somehow casual.

What you say? What you say?

Appearances can be deceptive.

Get connected.

Echo the clouds.

 

 

 

 

 

A C Evans

 

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Hejira

Hejira is a 7-piece band set up to celebrate and honour the masterpiece works of Joni Mitchell, mostly from the late ‘70s. Having released the albums The Hissing of Summer Lawns, Hejira, Don Juan’s Reckless Daughter and Mingus (regarded as her ‘jazz period’), Mitchell then toured briefly with a band made up of some outstanding jazz musicians: Pat Metheny, Lyle Mays, Michael Brecker, Jaco Pastorius and Don Alias.

The tour was recorded, producing the outstanding live album, Shadows And Light; it is from this album that the band Hejira is drawing the body of its repertoire. Comprising highly experienced jazz musicians, this band is fronted by the brilliant Hattie Whitehead who not only has in her own way assimilated the poise, power and beauty of Joni’s vocals, but also plays guitar with Joni’s stylistic mannerisms.

2024 Tour Dates:

Feb 26: London, Jazz Cafe.
March 1: Wavenden, The Stables
March 7: Nottingham, The Bonington Theatre
April 18: Leicester, Y Theatre
April 19: Derby, Derby Jazz
April 20: Hungerford
April 21: Horseley
April 22: New Vic Theatre, Newcastle-Under-Lyme
May 5: Falmouth, The Cornish Bank
June 8: Eastbourne, Royal Hippodrome
June 14: Northampton, Royal & Derngate Theatre
June 15: Beverly, East Riding Theatre
June 20: Glasgow, Mackintosh Queen’s Cross
June 21: Brampton, Live @ The Union Lane
June 22: Newcastle-Upon-Tyne, The Cluny
June 23: Cockermouth, Jazz @ Kirkgate
June 27: Worcester, Marr’s Bar
July 13: Buxton , Buxton Int. Festival
July 22: Cambridge, The Junction
July 26: Witham, Town Hall
August 3: Camden, The Forge
October: 17: Hull
October 18: Leyburn Jazz festival
October 19: Cumbernauld
October 20: Edinburgh
November 14: Swindon

 

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Stick Man

slipping
on a slippery floor

or hiding in plain sight
on a door

or shovelling
(for a fraction

of what he’s worth)
a pile of earth

stripped down
to the bare minimum

five lines
and a circle

no pockets
to put things in

stridulating
arsonist

..

.

Dominic Rivron

 

 

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New Robert Montgomery Book “Parrots”

“Parrots” is the first book of Robert Montgomery’s work since 2015. It covers all of his work over the last 20 years, from the early guerrilla billboard works in Shoreditch in 2004 up to the major light works for Mons of 2024, which were commissioned by the BAM museum to celebrate 100 years of Surrealism. A complete survey of Montgomery’s entire body of work with a special section dedicated to his paintings. Many works previously unpublished. A 440 page catalogue raisonee hard bound and beautifully printed on 200gsm art paper. Published by New River Press in February 2022, this book is a heavyweight addition to your art library.
440 pages
size 22.8cm x 30cm
Full-colour printing on 200gsm silk FSC art paper
Hardback casebound, with red satin marker ribbon, purple & white cloth head and tail band, and candy pink endpapers.

 

 

 

https://www.thenewriverpress.com/shop/robert-montgomery-art-book

https://www.instagram.com/robertmontgomeryghost/reel/C3Nf0x7K2aq/

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Fire in the Wire (episode fifteen)

Steam Stock

Tracklist:
Rankin’ Toyan – Spar with Me
Linval Thompson – Look How Me Sexy
Baba Brooks Band – Watermelon Man
Sister Nancy – One Two
The Mighty Diamonds – I Need a Roof
Desmond Dekker – Fu Manchu
The Wailers – Hallelujah Time
Uniques – Watch This Sound
Upsetters – Rubba Rubba Words
Burning Spear – African Postman
The Saints – Sleeping Trees
Eek-A-Mouse – Ganja Smuggling
Bongo Herman & Les – Hail I
Cynthia Richards – Conversation
Aswad – Dub Fire
Black Uhuru, Nicodemus and Scorcher – Bad Girl
Don Carlos – Lazer Beam
The Three Tops – It’s Raining
The Gaylads – Don’t Try to Reach Me
The Conquerers – You Hold the Handle
Harry J. All Stars – Je T’Aime

 

 

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Memory House

We often think about time as being a social concept, anchored in a palpable present, routing between the past and the future but nevertheless a construct that makes sense once we engage, in perpetuity, with our human experiences. In fact, what is infinite and constantly subject to our imagination and our creative processes is the past; the memories stored, processed and shared, that integrate and ground our being.

Memory House is an art collaboration searching to explore the collective aspect of memory that leads to social integration and reveals human commonalities beyond ethnicity, background or political colour. Memory House is a place where different generations and cultures reveal the archetypal aspects of our humanity.

Memory House includes new work by the artist Mark Mawer, printing and art book produced by the artist Andrew Morrison and writing by the poet and sociologist Maria Stadnicka, whose research is focused on transgenerational trauma transmissions, social haunting and collective memory.

 
The exhibition Memory House takes place at The Lansdown Gallery, Stroud, Gloucestershire, 21-26 February 2024, 9am-5pm, and includes paintings, collages, letterpress printing, as well as the new art book Memory House published by Kerbstone Press.

Free entry and all welcome.

More information at https://lansdownhall.org/memory-house-mawer-morrison-stradnicka/

 

 

 

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American Football a critique

 

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.

 

 

 

Colin Gibson

 

 

 

 

 

 

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Letter On Silence

 

It’s difficult to talk about poems in these circumstances. London is a razor, an inflamed calm has settled, we’re trapped outside on its rim. I’ve been working on an essay about Amiri Baraka, trying to explain the idea that if you turn the surrealist image – defined by Aimé Césaire as a “means of reaching the infinite” – if you turn that inside out what you will find is that phrase from Baraka: “the magic words are up against the wall motherfucker”. Its going very slowly – hard to concentrate what with all the police raids, the punishment beatings, the retaliatory fires. It’d be too much to say the city’s geometry has changed, but its getting into some fairly wild buckling. Its gained in dimension, certain things are impossible to recognise, others are all too clear. I wish I knew more about maths, or algebra, so I could explain to you exactly what I mean. So instead of that I’ll give you a small thesis on the nature of rhythm – (1) They had banged his head on the floor and they were giving him punches. (2) He was already handcuffed and he was restrained when I saw him. (3) He was shouting, “Help me, help me”. (4) He wasn’t coherent. (5) I went to speak to his mum. (6) He couldn’t even stand up after they hit him with the batons. (7) They knocked on her door three hours later and told her “your son’s died”. I can’t remember exactly where I read that. I’m pretty sure it wasn’t in a literary magazine, but I guess you’ll have to agree it outlines a fairly conventional metrical system. Poetry transforms itself dialectically into the voice of the crowd – René Ménil made that claim way back in 1944 or something. But what if that’s not true. What if all it can do is transform into the endless whacks of police clubs – certainly you get that in official poetry, be it Kenny Goldsmith or Todd Swift. Their conformist yelps go further than that, actually, as the police whacks in their turn transform into the dense hideous silence we’re living inside right now, causing immediate closing of the eyes, difficulty breathing, runny nose and coughing. Because believe me, police violence is the content of all officially sanctioned art. How could it be otherwise, buried as it is so deeply within the gate systems of our culture. Larry Neal once described riots as the process of grabbing hold of, taking control of, our collective history. Earlier this week, I started thinking that our version of that, our history, had been taken captive and was being held right in the centre of the city as a force of negative gravity keeping us out, and keeping their systems in place. Obviously I was wrong. Its not our history they’ve got stashed there – its a bullet, pure and simple, as in the actual content of the collective idea we have to live beneath. They’ve got that idea lodged in the centre of Mark Duggan’s face – or Dale Burns, or Jacob Michael, or Philip Hulmes. Hundred of invisible faces. And those faces have all exploded. Etcetera. Anyway, this is the last letter you’ll be getting from me, I know you’ve rented a room right at the centre of those official bullets. Its why you have to spend so much time gazing into your mirror, talking endlessly about prosody. There is no prosody, there is only a scraped wound – we live inside it like fossilised, vivisected mice. Turned inside out, tormented beyond recognition. So difficult to think about poems right now. I’m out of here. Our stab-wounds were not self inflicted.

 

 

.

Sean Bonney

 

 

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Brown

The Spanish Armada fell up
A brownish glittery run amock
The stupefying silence
All around me it carves me
Out in my nestled bustling crowd
The spring came this time
A greyish lantern up in her knitted rob
But all around me a global winter
Wither away before the great fall
Till it runs a river inside your deep rooted
Falsifying truth
Telling lies before your own parlance
Keep it simple in the face of winter
Gloomy bed ridden sickness
The river runs north
A zigzag mere glance of Zeremiah
The floated moon of two penny opera
My moonsicked silence
Just like the Spanish Armada
A brownish noisy bush
All glittered in the tapestry of bemoaning.

 

 

 

Sayani Mukherjee
Picture Nick Victor

 

 

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Lady Dada In The Hit Parade

it was Friday and the Baroness had lost the yacht
she had abandoned it hove to in Juan-les-Pins
along with her snowy white Pomeranian husky
that matched the cargo of cocaine for distribution in Cannes

huit heures found her siphoning soda into her Scotch
in the Café le Dome far from New York but near her Parisian home
after sampling the sample her entitled body was sweating
as she awaited sweet Caresse her partner in crime

man those rays of moonlight froze and fused them forever
as they softly floated the two blocks to Les Bains Douches
in their favourite candlelit Hammam they gleamed and steamed
till the stars spangled like snowflakes in the dawn’s early light

 

 

Julian Isaacs
Picture Hannah Höch

 

 

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Our Name-string

A non veg recipe
we claim as ours
has been here since
the abiogenesis.

We inscribe and
hang a name-string
taut between two poles
of our minds.

The chime plays with
the tags we own in this birth.
Flour mists the breeze.
Moon breaks, streams out its yolk.

 

 

Kushal Poddar
Picture Nick Victor

 

 

 
 
 
 
 
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from Jim Henderson’s A SUFFOLK DIARY

Thursday, February 8th

On Monday I thought I would drop by to see how the repair work was going in the village hall, because it needed to be finished this week, otherwise there would be a big problem with The Ipswich Players who were scheduled to be in the hall on Saturday doing their “Waiting for Godot”. They are going to have to wait a bit longer. I was surprised to find nothing going on at the hall at all. It was locked up, with no sign of workmen. A peek through the window showed that work was still very much “in progress”. I thought I should alert John Garnham, the Parish Clerk. Anyhoo, long story short, he called Bob Merchant who said that Michael Whittingham had told him the dramatic people had cancelled so there was no need to finish the work this week, so he sent his chaps off to an emergency job in Lincolnshire. John says this was obviously a determined act of sabotage by Whittingham to get his own back for their recent disagreement.

But every cloud has a silver lining, and this one has two. One is that John asked me how ticket sales had been going, and that I would have to organise refunds. I told him I did not know anything about ticket sales because ticket sales are nothing to do with me. But he said they were something to do with me because I am the Parish Council’s CLAPO, the Community Liaison and Publicity Officer. Then I said that perhaps he should have told me about tickets when he told me about the theatre visit, plus there was nothing on any of the publicity about tickets. Our “discussion” went back and forth, hinging on the facts that (a) we have not sold any tickets because we do not have any tickets to sell and (b) the hall is not going to be ready anyway so what were we arguing about?

Silver lining number two arrived  on Wednesday when somehow or other it emerged that the Parish Council’s licence for staging events of a theatrical and/or entertainment nature in the hall is expired, and also that the hall cannot be used for anything involving the public after its refurbishment until the County Council have sent a buildings inspector to give it the “all-clear”. 

On Monday there was one other thing John Garnham and I had to sort out, which was that someone had to telephone the Ipswich Players chappie to cancel the show. John wanted me to do it but I said that the person who booked it in the first place – i.e. the Parish Clerk – should do it. After further discussion and deterioration in our relations we tossed a coin. Heads I won. John was not happy, and has told me he is having doubts about me as a future Parish Clerk, and I told him I had no intention of standing for the post in the upcoming elections and if this shambles was anything to go by I might stand down from the Council altogether. Then I went to The Wheatsheaf.

Saturday, February 10th

Yesterday evening’s scheduled GASSE (“Go Away! Stay Somewhere Else!”) meeting with the village youth was the perfect end to a perfect week. John Garnham was not in a good mood, and evidently the youth felt that if they were going to argue successfully against our taking a stand against the government possibly sending their unwanted foreigners to sleep in our village hall then there would be strength in numbers, so they matched ours. A dozen of them, led by Nancy Crowe, turned up at the appointed time, much to the dismay of us all, because the Shepherdsons’ summer house, which is where we meet while the hall is out of commission, simply is not big enough to hold a couple of dozen people, never mind that Bernie and Bernadette do not own 24 chairs. Who on earth does? After some debate out on the Shepherdsons’ drive it was suggested we adjourn to the old cricket clubhouse, which community groups have been using instead of the hall, including my wife for her yoga class (“Oh Yeah! Yoga!”). But who had the clubhouse key? Nobody knew. I telephoned my wife to see if she had it or knew who did, but there was no answer, either from our landline or her mobile, although I knew she was in. I undertook to hurry home – it is 5 minutes at a quick walk or slow trot – and find out what was going on etc. When I got home my wife was in the bath, and she said she had heard the phones but she was in the bath and she was not going to get out of it just to answer the (expletive) phone. I ask you! Anyhoo, she did not have the key to the clubhouse, and said that the groups who use it pass it on to one another as required, and I should try Doris Spencer who runs the weekly Scrabble Lunch, because she would have had the key last. What is her phone number? I asked. My wife did not know. Neither did Directory Enquiries, because Doris only has a mobile phone and not a landline. I trudged back to the Shepherdsons’ to find that some people had already given up and gone home, and our talk with the youth was postponed with a future date and venue to be confirmed in due course. I was tired and fed up, and did not feel like going home to the wife just yet, so I went to The Wheatsheaf. Quite a few people came with me, including some of the youngsters, even though I am pretty sure some of them are not old enough.

Monday, February 12th

My mother-in-law has had an accident and broken her ankle, and as a result is partially immobilised, and my wife has announced she is off to York to help out because her father is old school and does not know how to boil an egg, never mind do anything remotely resembling housework. I am not sure how long she will be gone, and I have to say that she seemed mighty pleased to be going. “Oh Yeah! Yoga!” classes have been suspended for the time being, which she said is not a problem because almost everyone is fed up of using the old cricket clubhouse. So, I am a singleton for the foreseeable future, and the world (or the village, at least) is my oyster. I plan to grow a beard.

James Henderson

“Waiting for Godot” at Gerald W. Lynch Theatre (Photo: Richard Termine)

 

 

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NOW AND THEN


You want to be on some people’s minds –

that occasional part of their thinking

that unravels in the way a clock may rewind

itself through afternoons slowly sinking

into thin misty days that disappear

behind drawn curtains – faded blinds –

as sleep circles what is neither clear

nor unclear on some people’s minds.

 

Phil Bowen
Photo: Italian Graffiti, Rupert Loydell

 

 

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RESTAURANT #5

Tarquin ordered lamb shank and lentil stew. Mona, another lamb fan, chose the lamb and aubergine moussaka with fresh green salad and a herby tomato dressing. She was on a sort of diet. What do you think of Sebastian’s new beard? he asked. He’s got a beard? Mona replied in surprise. It must be longer than I thought since I last saw him. It’s probably so he doesn’t shave his spots and bleed to death. Tarquin called a waiter over. This is dreadful, and it’s got a funny smell, he said. Take it away and bring me something I can eat that doesn’t remind me of a tramp’s underwear. And be quick about it. Okey-dokey, said the waiter, and crawled away to the kitchens. You don’t stand for any nonsense, do you? said Mona. I like that in a man. It’s my upbringing, Tarquin said. Father’s philosophy of parenthood was based on his years in the army. Don’t stand any nonsense, that was his motto, and it’s mine too. I can’t say I enjoyed being beaten with barbed wire, or the occasional solitary confinement on bread and water, but Father had the best of intentions and in my opinion it paid off, and made the man you now see standing sat before you as smug as a bug in a rug. The waiter returned and dumped a bowl down on the table, splashing Tarquin a bit more than slightly. What’s this? Tarquin enquired as he dabbed spots of a dark brown something or other from his jacket with a napkin. Some kind of soup thing, and I think they’ve put some leftover meat and vegetables in it, I’m not really sure, said the waiter. That sounds very much like a stew, said Mona. We don’t do stew, said the waiter, although we do knock up a pretty decent casserole, but this isn’t it. Okay, whatever, said Tarquin. I’ll give it a shot, because it smells yum. Gracias. While he gobbled it all up, Mona nipped to the restroom where she applied some “Softly Private” balm to where it was much-needed.

 

 

Conrad Titmuss

 

 

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One

 

The girl on the news was one of us, one of a kind, one wrong move away from the graveyard, conducting conversations like a tree conducts lightning or an anarchist concocts explosives. Exposed to the elements, expected to fly, electing instead to hide in her head, she couldn’t decide if she was mirror or mirage, maker or monster, or marker burning in a night that threatened never to end. So, she pasted notices on lampposts, with a photo and a phone number, a phoney name and fantastic rewards. She recorded messages denying all knowledge to leave on her phone, and informed friends and family she was never leaving home. I sent flowers when she lived and sent flowers when she died, shredded all her letters, and tried to forget that I carried her touch like blown eggshells or full-blown stigmata. She was one more statistic that didn’t make the papers, didn’t make a wish, didn’t make peace with the pieces she left behind.

 

 

 

Oz Hardwick
Picture Nick Victor

 

 

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A Parisian epiphany and vision

Giacometti in Paris, Michael Peppiatt, Bloomsbury Publishing, 2023, ISBN: 9781526600974.

Alberto Giacometti’s story and career hinge on an epiphany on boulevard Saint-Michel in Paris. There, he viewed the artist Isabel Rawsthorne, with whom he was falling in love, from a distance and silhouetted against a big, dark doorway.

The vision that he retained and which he sought to realise from that point on throughout his life was one of the intensity of life in the human figure. In the static mediums of drawings, paintings and sculptures, the realisation of intensity and liveliness was an almost impossible aim, yet one that Giacometti rigorously attempted accepting always that failure was part of the deal.

Michael Peppiatt keeps this epiphany in view throughout, at the same time that he also describes Giacometti’s love affair with Paris and with the cultural and intellectual life of Paris from the 1920’s to the 1960’s.

Outside his humble studio – the focus for his life and art – Giacometti availed himself of Montparnasse’s cafes, nightclubs and brothels while interacting with artists and writers from Rawsthorne, Picasso and Breton to de Beauvoir, Sartre and Beckett. Linked to Surrealism and Existentialism, Giacometti ultimately had too individual a vision to remain aligned to such groups on an ongoing basis. As he himself expressed it, that vision was “not to reproduce reality, but to create a reality of the same intensity”.

Peppiatt, himself, arrived in Paris in 1966 with a letter of introduction to Giacometti, penned for him by Francis Bacon. That letter “was never handed over because Giacometti had just left Paris for the hospital in Switzerland where he died”. This double portrait of the artist and the city he loved is Peppiatt’s letter of introduction for his readers to an artist whose idiosyncratic life and loves lie hidden behind the intense focus and in-your-face realism of the standing figures and heads he created.     

 

Jonathan Evens

 

 

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carnage

there’s another slaughtered shrew
laid by my bedroom door today
another sacrificial offering
from our alley cat forever intent
on her destruction of all wildlife

perhaps she’s nipped the throat
of this tiny blameless rodent
as usual it still feels warm
but registers as lifeless
when I pick the poor creature up

the coup de grace alas
becomes apparent only
when I lay the corpse to rest
somewhere in the killing field
our innocent garden has become

this latest mini murder reveals
nature red in tooth and claw
as our Lordly Poet did proclaim
but my grief is so brief
it might as well not happen

now the toll of war dead
on every radio station
diminishes each and every death:
statistics show no feeling
indifference so revealing

 

Jeff Cloves

Photo: Ultimate incarnation
Tiggy
by Nick Victor

 

 

 

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Villages of the Detached Heart 

 Cycle with Celeste, Bouldon, Corvedale, Shropshire, 2ndAugust 2023

 

 

How can you compare and contrast

two things never seen only sensed:

An atmosphere or corner left behind                                    

that backward shadow edging across the mind

mislaid to the eyes

unclear – yet pre-eminent.                                                                

 

 

From social city to rural lostness

where does isolation or assurance triumph?

The crossing-keeper’s house keeps its stare on the rails

its redbrick back to these woods which crown the edge

hill ridge, not limit, end or fracture . . .

No windows face this way – of attack it lies blind

a strict human focus to disdain all mystery.              

Do not sing or show me the tears in your eyes

this deep country was ours until yesterday

landlocked far from every tide

barring those which fill and empty the head

with indecision.                                                                                  

 

 

Mansion or hovel and the circumstance of poverty,                         

struck dumb or smoothed away by croquet              

forget the callous lopsided stamp of history

unto money and materiality

embodied, extrinsic, intrinsic, mort . . .

which finds expression – direct or by default            

in a chain of moats and shattered sheds

red-flagged beans above nuclear sprouts

regimented vegetables perhaps, but embodying toil and care

to oppose the crosscut fade of pointless innovation.                        

 

 

Yet in the end, bland cars line the greens and smother the lanes    

to kill the freedom they propose

numbing every minefield of marrow

and straggling air-burst of rose –

faint scents in the dormitory of a world long asleep

to fairness

or questing ambition.                                                                        

 

 

What is forward, what reverse?

there is no answer but the one always sensed

silent, like the abandoned farm where the soldiers hide

escaping towards Dunkirk and find

a phantasmagoric rest, out of sight

under squadrons of nocturnal thrumming threat

an oppressive drone of black silhouettes overhead, but

a brief home (with lookout) nevertheless.

Inside, away from creaking cottage panes,

a comforting childhood throwback to friendly barns and proper eggs

crooked landings and calm wallpaper, billets in the eaves

an interlude which cannot last

sliding to deep deathless oversleep, that pillow-cloud of dreams

before panic breaks with the morning light,

a glimpse of movement seen too late,

seven stairs stricken, 

doors burst open

protective walls out of reach . . .

murderous machine-gun behind the oast house

explodes a stream of bullets

fierce-chatter among the orchards, apple and cherry of my eye

and Eden is destroyed

unshared

all blossom denied.    

                                                                                                                       

 

                         *        *        *        *

 

 

High summer in Shropshire and more than eighty years have passed,

have we become a different race?

Looking down from the wooded edge,

the villages of my heart were never tied to place

yet remain both vivid and detached,

fictional ideal, communities out of reach,

a hub of doorways and lives only sensed:

an atmosphere or crossroads moving on

left behind and found again,

a forward light drawing the mind

through woods, fields, another sequence of lanes

– towards the pub’s tranquil garden

or the maze’s quiet end.        

 

 

 

 

 

Lawrence Freiesleben

 

 

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The Only Animal That Laughs 

For Lenny Bruce

 

Does a purple-arsed baboon hurl its turds in a Frisbee comedy? 
Does a kangaroo do pouch vulgarity shocking Marsupial decency? 
Does a mouse have satire to live in the terror of the cat society? 

What do you say, your honour? 

Jean-Paul Sartre, on hearing of the torture of Algerian 
prisoners, asked why we go to so much trouble to remain human. 

Do you know why, your honour; 
you, the arbiter of the nation’s truth? 

Why do we consent our entrance to this grotesque 
vaudeville act of suffering and violence we call reality? 
There is nothing left to do but laugh the blackest gallows chuckle. 

Your verdict will be that I am a nauseating spin of slang; 
a maelstrom of dirt-chat sicked-up from the city’s sewers. 

Won’t that be so, your honour? 

In this, the new Babylon, to be convicted of 
obscenity means I must be definitive depravity. 

Do I have anything to say in my defence? 
Those who cannot see the joke are doomed to repeat it.

 

 

 

Michael Wyndham

Note: In April 1964, Lenny Bruce was arrested as he left the stage after a gig at the Cafe Au Go Go,  in Greenwich Village, New York City, by undercover police. Bruce was found guilty of obscenity on 4th November, 1964, and sentenced to four months in a workhouse. He was set free on bail during the appeals process but died of a Heroin overdose before the appeal was decided.

 

 

 

 

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Eat the Gold: Brand new album release from Aircooled  

Some words and thoughts from Alan Dearling

At the end of 2023 I mentally looked back through the past year of live gigs and album reviewing. An ‘Absolutely Wow experience’ was witnessing Aircooled live on their first tour in support of their album release, ‘St Leopards’. (Connected, I think with where they are based, St Leonards, near Hastings).

Now we have the release of their sophomore album, ‘Eat the Gold’. It’s quite a musical evolution. Last year’s Aircooled was pulsating electronica, what they described as offering, “…extended motor grooves and disco blitz.”  I saw them as the children of motoric Kraut-rock. Kosmische. Exciting, pulsating music for both the dance floor and extended listening at home.

‘Eat the Gold’ displays the results of an Aircooled line-up that has solidified around core members, there’s a new vocal dimension. Drums: Justin Welch; Bass: Katherine Wallinger;  Keys, flute and vocals: Riz Maslen, and, Guitars, keys and vocals: Oliver Cherer.

Their vinyl album is a lovely pressing. A clear, yet enveloping sound. Psychedelic, with epic soundscapes. Big screen sonic creations. ‘Airports’ kicks off Side One with a psych electro-pulsating bass-line, soaring guitar, plus electronic keys’ excursions. The track leads into what is the first single from the new album, ‘No reason to lie’. This marks the departure from the driving Hawkwind-Floyd-Can musical formula. This is assertive, a full-on vocal track with accompanying electro-breaks. Glitchy, unsettling, even a little challenging. Certainly far more in-yerr-face than the earlier Aircooled fare.  ‘Japanese Brute’ continues the hard, driving sound, moving more into the worlds of 1960s’ underground music, ‘70s’ ‘Tubular Bells’, with Byrds-like phasing from the ‘Notorious Byrd Brothers’ era.  Next up, ‘Star Rider’ shifts gear again, entering Kraftwerk territory, blending a mix (perhaps) of ‘Trans-Europe Express’ robotic rhythm with Vangelis pomp.

‘Sing Pilgrim Sing!’ offers chugging, train-like, pulsations… locomotion rhythms, with keys wefting and weaving over the repetitive beats, bass and drum propulsions. ‘Transmission Transmission’ welcomes us into the Psychedelic Underworld. Nicely doom-laden, with almost sitar-like sounds, breathless chants. It evokes a sense of foreboding. A spit and venom vocal delivery. “This machine is unclean.” Gothik! Tribal – Calling all cannibals, perhaps?

Impressive and at times distinctly awesome!

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From the Aircooled publicity release:

Listen to Eat the Gold: https://on.soundcloud.com/xrBQK

Bandcamp: https://aircooled.bandcamp.com/album/eat-the-gold

No Reason To Lie (video): https://youtu.be/QCipFDZKRNQ

‘St Leopards’, the first Aircooled album has also recently been re-pressed. Artwork for both albums by Mew.

Aircooled’s ‘backstory’: Justin Welch (Piroshka, Elastica, Suede JAMC.), Oliver Cherer (Gilroy Mere, Dollboy, Miki Berenyi Trio.), Katharine Wallinger (Wedding Present, Viv Albertine) and Riz Maslen (Neotropic).

 

Aircooled on tour 2023

 

 

 

 

 

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Drawing the Line

Buy low and sell high
The price is what you’re willing to pay for it
Even under duress
Yes well is it three for you and three for me
Or some other conceit entirely
Maybe you have special needs
And maybe it’s not all bluster
Isn’t the removal of rules
A cause for new rules
How about traffic signalling
Or air traffic control
Or subway routing and timing
Well the trains run on time
They used to say
What you seem to be saying
Is that you don’t like the suite of rules right now
But won’t we still need referees and umpires
Hang the bloody DJ
Maybe I just grew tired
On you insisting you could tell me what to do
What gives you the right
Who put you there in the first place
It’s not conspiracy theory
A rule of thumb
Can be a useful thing
I just can’t get reconciled
To you claiming access
To all the rules that matter
This is my space
I have every right
Rules are a work in progress

 

 

Clark Allison
Art: Rupert Loydell

 

 

 

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Finding Our Way

Joe Hill Makes His Way Into The Castle, Katy Evans-Bush (CB Editions)

Katy Evans-Bush has several previous poetry books and pamphlets out, but they are very different to this new volume, produced during lockdown when – lonely and uninspired – Evans-Bush returned to a favourite poet from her teenage years, the countercultural anarchist poet Kenneth Patchen. As well as re-engaging with his poetry, Evans-Bush cut out phrases, mixed them up and used a handful to riff on for a whole new series of poems: a kind of Dada-esque starting point that was quickly subsumed, overwritten and processed into her own work.

Having said that, Bush-Evans seems quietly paranoid about acknowledging her inspirational material: there’s a long list of ‘Source Notes’, listing the individual Patchen poems she took phrases from at the end of the book. For me, this is totally unnecessary, since each poem is titled ‘From lines by Kenneth Patchen #(1-51)’ and the phrases are adapted, recontextualised or reworked into new texts.

Like Patchen’s own writing, these poems are by turns emotional, confessional, political or declamatory; sometimes relying on simplistic stories, emotion and opinions:

     What are these stories? Are they for self justification,
     & only when we think we’re caught? Is this really
     the best we can do?
          [‘From lines by Kenneth Patchen #38’]

The poems are best when they look out at the world rather than inside, to what the poet is missing or feeling, whether that is sorry for herself or angry at what’s going on:

     No no no Oh we here are living out our
     little pretend lives drinking our beer feeling
     bored or annoyed no no the pandemic the
     three-storey lockdowns with wine and jig-
     saws and too much Amazon piss off you
     old men with your paranoid answers no
     don’t you come to me chatting your facile
     self-satis
          [#34]

What is said is totally understandable, and I imagine fairly representative of how many of us were feeling, but it doesn’t make for great poetry. Better is #37, also self-reflective but more structured and orderly, considered:

     You’d be a ghost too
                                        Worn to a stub

     Expectoplasm
                                        A thing of the past

     Don’t touch a thing
                                        Oh wait it can’t

     It’s a Zen thing
                                        About opening up

     Examining yourself

Evans-Bush understands, however, that ‘there’s always another viewpoint’ [#15] and that

     The origin of this, and this, about which we know nothing,
     becomes its own folkloric meaning & open to interpretation,

     thus nothing.
          [#14]

That ‘nothing’ hovers around the edges of lockdown depression:

     It wasn’t much of a summer. You could as well
     write the biography of the northern rain as sit
     on a deck chair in a sweeping expanse.
           [#13]

but there is also some gentle wit, often at the expense of the narrator:

    The whisky wraps its duplicitous arms around me;
     I always pull at a party and this one’s just the whisky
     & Robert Burns & me.

and by #44 even the author is ‘So tired of all this pathos, this emotion, all these / particulars’.

However, in her ‘Preface’, Evans-Bush quite rightly suggests that the world now (or as the book went to print) is even darker than it was back in lockdown, and that her worries about ‘the material beginning to feel dated were misplaced.’ Instead, she now sees the book as ‘like a map’ as well as ‘being like a diary, or a phone’. (The latter is a reference to #29 where the narrator speaks directly to Patchen through an [imaginary] tin can and string telephone.)

A map is a good thing. It suggests finding a way, but also allows for the fact it is only one possible way of offering directions and locations, only one way of understanding landscape and place, only one set of symbols and shorthand. So, your reading of this book may be different, less melancholy than mine; you may concentrate on the revolutionary zeal and optimistic declamations scattered throughout the text. Either way, this is a fascinating project, a brilliant way of engaging with Patchen’s poetry, and the legacy of Joe Hill. The penultimate poem, #50, notes that ‘We find / out by being & then it’s too late’, but we also find out by engaging with being as it happens, as we go through life. And trying to find the truth, perhaps even having a private revolution:

     & we all know, everybody knows, that
     truth is always what they don’t say. So
     shut up, sing up, kiddos. What a revolution.

Marc Bolan (a kiddo who sang up) quite rightly stated that ‘You can’t fool the children of the revolution’ and although the 60s dream turned into a 1970s hangover and never bore the utopia hoped for, lockdown and politicians’ antics since, seem to me to slowly, ever so slowly, be provoking dissent and a desire for change. Evans-Bush is a voice to listen to, as indeed is Patchen’s; and thanks are due to CB Editions for publishing this persuasive, personal, original and revolutionary collection.

 

 

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Rupert Loydell

(First published at Tears in the Fence)

 

 

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Alan Tomlinson (1947-2024)

The trombonist Alan Tomlinson, who died on 13th February, was a major figure in the world of free improvised music. Born in Manchester in 1950, he got interested in classical music as a teenager, after hearing Mozart’s Jupiter Symphony. He bought his first trombone when he was 17. Even though he’d only been playing for a year, he got a place on the jazz and light music course at the City of Leeds College of Music, where he developed an interest in contemporary music. He became involved in free improvisation and experimental music in the early 1970s. He played with John Stevens’ Away and Tony Oxley’s Angular Apron and, around the same time, was a member of the Portsmouth Sinfonia (he appears in the trombone section on their 1974 album, Hallelujah). He also played with Barry Guy’s London Jazz Composers’ Orchestra and Keith Tippett’s Celebration Orchestra. His first solo album, Still Outside, came out in 1981. In the same year he appeared on Pete Brötzmann’s album, Alarm. He has appeared on numerous albums since and Scatter Archive in particular are still curating and issuing recordings of his work. As an improviser, he worked with many musicians, including Steve Beresford, Roger Turner, Jon Corbett, David Toop and Phil Minton. He toured Europe, North America and even Siberia, on some occasions performing as part of an ensemble and, on others, solo.

Like many improvisers of his generation, Tomlinson could be very funny. As Clive Bell said, writing in The Wire, ‘Is there some synergistic link between UK improv and comedy? To the headphone-clad listener deeply immersed in an AMM album, the answer might be no. To the audience chuckling at an Alan Tomlinson trombone solo, it’s clearly yes.’ He worked with The  Electro-Acoustic Cabaret and had a real sense of theatre, performing, for example, dressed as a US general, his chest full of medals, delivering a speech – on his trombone. (It’s a sense which seems to have extended beyond his musical performances: it was Tomlinson who suggested fellow trombonist the late Paul Rutherford’s trombones be bequeathed to the Cuban People, which they duly were). In 2013, he agreed to perform in Brawby in Yorkshire stood up to his knees in sewage escaping from a neglected and decaying Yorkshire Water treatment plant in a whimsical, but deadly serious musical-theatrical protest. As for the humour, Tomlinson himself (quoted in The Wire) said that although he was a humorous guy and liked comedy: ‘I’m very serious about playing the trombone. I don’t fuck about – well, I do fuck about, but I do take it seriously. You’ve got to find the moment to do it. It’s not humour, it’s putting another element in there that happens to be humorous.’

Since 1992 and until quite recently, Tomlinson, alongside other projects and commitments, had been playing with the Alan Tomlinson Trio, which comprised of himself, guitarist Dave Tucker and drummer Phil Marks. The trio performed widely, and recorded three albums, the most recent to be issued being Live at the Klinker Club (2023).

Tomlinson was not only involved in the free improvisation scene: he also worked in the field of contemporary classical music.  He was part of New London Winds and Sounds Positive, a contemporary music group which commissioned over sixty works from British composers as well as doing educational work in schools and colleges. He performed works by Vinko Globokar, Xenakis and Berio, among others. Several composers have written works for him. His death will be felt not only in the world of  free improvisation but across the wider musical community, too.

Alan Tomlinson, born Manchester, 1947, died February 13th, 2024, aged 76.

 

Dominic Rivron

LINKS

The Alan Tomlinson Trio:
https://www.youtube.com/watch?v=C3oUoH2b4BY

Alan Tomlinson with Lawrence Casserley:
https://www.youtube.com/watch?v=8W08g9NXCCE

Alan Tomlinson solo:
https://youtu.be/eHkqwdbMV3c?si=ktwEGGlY–X940xs

Boggart Hole Clough – a track from Still Outside (1981):
https://www.youtube.com/watch?v=cmX0Y94F6lQ

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ELKS

1.

It turned out that the rather splendid-looking coffee table book entitled “The Elk: A Photographic History” did not once mention the elk or feature any photographs of elks. Apparently it’s all a very clever in-joke among very clever people who are in on it. It was on the coffee table at Anthony and Cleo’s dinner party on Tuesday (Tuesday! What kind of day is that to have a dinner party?) and everyone, more or less, was going on about it and laughing and saying how great it was. There had been an article about it in that Sunday’s “Weekend” magazine, which I always avoid, amusingly called “What the Elk is Going On?” which everyone thought was very clever too. Personally I am not fond of coffee table books, or books of any sort, come to that. And Anthony and Cleo are pretty bloody awful, too. Cleo is my wife’s friend, and Anthony is her current husband.

2.

If I had to choose between an elk and a wasp I’d choose the elk every time but there’s been a survey and apparently the majority of people – 66% – would go for the wasp. I don’t know how they do those surveys. Maybe they just asked three people, and two of them confused the elk with a yak, which is something different altogether. An elk can be a fantastic pet, and is very undervalued in that respect. You wouldn’t want a wasp for a pet.  Most people, if they know what an elk is, think it’s only good for supplying a very expensive high protein milk and good quality outdoor coat material when they kick the bucket, but they are much more than that. I can confirm from personal experience that they are wonderful additions to the family circle, are playful, can be trusted to keep an eye on the kids when you and the missus want a night out, and are very cheap to maintain. We called ours Elsie. When she went missing we put posters up all around the neighbourhood, tacked to telephone poles and the like, but to no avail.

3.

Frankly I was rather appalled at the idea of an elk hunt, but we were assured that they were not real elks but students in elk costumes doing a holiday job, and they would just run around and let us chase them. Plus, we weren’t going to be firing live bullets, it would be blanks, and if any of the pretend elks fell over they would just be pretending to be dead. I couldn’t see the point, and it seemed quite tasteless, but the wife and kids insisted, and we’d paid quite a lot of money to be there, so I felt like I had no choice but to go along with it. I admit it was all pretty convincing, and in spite of myself I was quite taken up with the thrill of the chase, and I scored a couple of “hits”, which I was pretty proud of. But that evening at dinner the hotel restaurant was invaded by a dozen or so elks handing out leaflets and protesting at the demeaning nature of the whole enterprise. One of them climbed up on a table and gave a speech, and I think he or she had a point. I mean, how would we like it if students dressed up and ran around pretending to be us?

 

 

 

Martin Stannard

 

 

 

 

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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

 

 

 

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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!

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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.
 
 
 
 
 
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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)

 

 

 

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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

 

 

 

 

 

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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

 

 

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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
 
 
 
 
 
 
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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

 

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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

 

 

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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

 

 

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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

 

 

 

 

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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
 
 
 
 
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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

 

 

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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

 

 

 

 

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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.

 

 

 

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Rupert Loydell

 

 

 

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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: 


 

 

 

 

 

 

 

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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

 

 

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Debts

 

 

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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

 

 

 

 

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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.

 

 

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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

 

 

 

 

 

 

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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

 

 

 

 

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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

 

 

 

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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

 

 



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SPONSORED ADVERTISEMENT
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By Colin Gibson

 

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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

 

 

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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

 

 

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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/

 

 

 

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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

 

 

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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

 

 

 

 

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Memes ’24

 

 

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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

 

 

 

 

 

 

 

 

 

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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

 

 

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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

 

 

 

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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

 

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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.”

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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

 

 

 

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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.

 

 

 

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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)

 

 

 

 

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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…

 

 

 

 

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…. 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

 

 

 

/

 

 

 

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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/

 

 

 

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   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
 
 
 
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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  

 

 

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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

 

 

 

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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

 

 

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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

 

 

 

 

 

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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

 

 

 

 

 

 

 

 

 

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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

 

 

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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

 

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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

 

 

 

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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

 

 

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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

 

 

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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

 

 

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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

 

 

 

 

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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

 

 

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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/)

 

 

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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

 

 

 

 

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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

 

 

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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

 

 

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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.

 

 

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Dessy Tsvetkova
Picture Nick Victor

 

 

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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

 

 

 

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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

 

 

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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

 

 

 

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