No Joseph. that is not how to do it! you have to become a rock star before you start behaving like one.
I don't normally do negative reviews; they are mean and unnecessary, I usually just don't mention crap acts and arseholes..... Until today! And this is not about Joseph Dean Osgood it is about the Cobden Club!
I pitched up at the Cobden last night to see Joseph perform at his album launch, now remind me, what is an album launch? Oh yes! It is a marketing device for a record company and it's product.... Joseph is the product. what do I do? I review stuff, not many readers but a few thousand all the same. I had let Joseph know that i would like to turn up and that I'd puff it.
Neither the Idiot goon in the silly hat, nor the raddled ex rock chick at the Cobden would let me through and then asked me for a fiver to get in! I would have happily paid full price Joseph but I was insulted by the five pound thing. The fact is that the Cobden has had it's very short day! I shall not go back there and will not miss it and its stupid pretensions.... The cobden WAS a working men's club once upon a time. Now it is just full of Wankers.
As I told them.... I'll go and review something else.
I went to the Inn on the Green to see some friends perform and to see a band called Taurus Trakker... Brilliant, free, good fun, cheap beer, good people, many surprises including Murray Lachlan young turning up (we shouted at each other about filming poetry during some loud rock n roll). Roger Pomphrey (the POWA( silly name)) is a pretty mean guitarist, Kevin Petillo on drums (a rare example of a very good American) looks just like Side Show Bob would look like if playing drums and the bass player Herman (I met him at Port Eliot when he was playing with Bess Cavendish) is the coolest dude I've ever seen, when I die I'm coming back as a tall thin black guy with long dreads and a bass guitar, bet I get lots of girls!
Made some new friends (hi Tracy, remember me!(she is cute)) and am resolved to go back to the Inn on the Green soon... I hadn't been since Howard Marks Bored me to tears there years ago!
So anyway. Long thing short.... Cobden; pretentious, awkwardly placed, idiots in the lobby, over the hill and rubbish.... Inn on the Green; great place, atmosphere and well worth going to!
Joseph Dean Osgood? didn't get to see him perform so I have no Idea how it was.... You decide.
I'll decide about the Cobden! SHIT!
Saturday, 25 September 2010
Friday, 24 September 2010
Taurus Trakker and the POWA at the Inn on the Green. W11.
It is going to be a busy evening; I have to go to this... Kevin Petillo (single handedly makes Americans alright) and Roger Pomphrey are in the POWA. Come along and check it out!
Bonkers but brilliant!
You can watch it here:
http://vimeo.com/14007130
http://vimeo.com/14007130
 | Richard Wilson with Anne Bean & Miyako Narita- In a Crumbling fort that no one visits http://vimeo.com/14007130 About this video: "Richard Wilson, William Raban and David Cunningham are part of ninety collaborators that have been commissioned by Matt's Gallery, London, to contribute a film to TAPS: Improvisations with Paul Burwell. TAPS will be taking place at Dilston Grove, Southwark Park, London on 17th, 18th and 19th of September, 2010. "Paul and I once journeyed 22 hours from Lowerstoft to London in his boat, stopping for a rest at the Red Sands Forts. He spoke excitedly about the possibilities of sounds and explosive actions performed at this remote spot 6 miles out at sea". Paul Burwell was infamous for his exuberant fusions of fine-art installation, percussion and explosive performance. He was a staunch advocate of, and passionate participant in, all forms of experimental art. TAPS: Improvisations with Paul Burwell, realised by Anne Bean, Robin Klassnik and Richard Wilson embodies his prolific practice. Over the course of three days TAPS will combine film, installation and performance, portraying layers of interpretation from more than 80 invited collaborators, in response to Burwell's poem 'Adventures in the House of Memory'. The poem arose from improvisations by Anne Bean and Paul Burwell in preparation for William Burroughs's Final Academy at Ritzy, London in 1982, where improvised words were written on huge sheets of flash paper which were ignited as they were sung. The poem was the last recorded Burwell work two months before he died in 2007. The body of collaborators have responded to the poem by each creating a short film or audio work as a new collaboration for, about or 'with' Burwell. Fragments of each collaborator's film or audio work, now make a collective totem in a two screen, one hour composite film interpreted and edited by Anne Bean and Chris Bishop. This resulting work resonates with the poem's innate episodic chronicles, as slivers interleaf together, and runs continuously throughout each day. The film is shown as part of a screen installation constructed by Richard Wilson. By adding its own sounds and actions, this structure becomes a part player in the final act of the last evening, during a performance by Ansuman Biswas. Live performances form another layer of exploration, echoing the sense of inter-connectivity created by the installation. Each performer encompasses a practice that reflects the context and ethos in which Burwell worked, improvising within the framework of the poem, film, installation and space at Dilston Grove. The performances will take place at various times during the event. A publication with an essay by David Toop and drawings by Paul McCarthy, published by Matt's Gallery, will be available free to visitors throughout the event. TAPS is supported by a Legacy: Thinker in Residence Award to Anne Bean. Legacy is a collaboration between the Live Art Development Agency and Tate Research, financially assisted by Arts Council England and the Live Art Development Agency. Legacy acknowledges the outstanding bodies of work of two artists who have influenced the development of the Live Art field by supporting them to think about the legacies of performance in art historical contexts and examine the processes and challenges of archiving live work. The Legacy recipients are Anne Bean and Tim Etchells. Further information thisisliveart.co.uk/ Anne Bean is an Artsadmin artist. For further information or visual material please contact Matilda Strang at Matt's Gallery - E info@mattsgallery.org, T (020) 8983 1771" |
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LOVE,
Gratuitous photograph of woman's chest, Medium Rare and poetry.
I was at the Tabernacle last night for 'Medium Rare' and saw this t shirt which just screamed to be photographed so I plucked up some courage and asked: 'Please may I photograph your chest'? The young lady in the shirt told me all about it but I've forgotten the details... Never mind.
Auteur David Petch came over yesterday with his magic camera; we filmed a few poems at the Cow... hopefully they will be up on youtube soon!
Thursday, 23 September 2010
Clash.Toby Mott. Medium Rare.
LOUD FLASH, BRITISH PUNK ON PAPER, THE MOTT COLLECTION 24 September – 30 October 2010.
Wednesday, 22 September 2010
Bayswater Childrens Centre.
Hooray! An imaginitive piece of British Architecture is slowly emerging 50 yards from here... It is great! And quite fitting that a childrens centre should look like it was made from sky coloured plasticine by an enthusiastic 5 year old. I am a little early photographing this (should really wait for the fences and rubbish to go) but it was such a lovely sunny afternoon! Well done I say!
Melanie Wilson. Sound artist!
Melanie is a 'sound artist'. I love that definition. check out her website:
http://www.melaniewilson.org.uk/
I nicked the following from the serpentine Gallery website:
Melanie Wilson is an award-winning writer, performer and sound artist, based in London. She makes performances, installations and sound walks that live in theatre and cinema spaces and in the street. Her solo work includes 'Simple Girl', 'Iris Brunette', 'Mari Me Archie', ‘The View From Here’ and 'every minute, always' and has been presented nationally and internationally. She has collaborated with Rotozaza, Coney, Clod Ensemble, Shunt, Chris Goode, Boilerhouse, A2, Peter Arnold and Abigail Conway. She is currently a BAC Supported Artist and her work is produced by Fuel Theatre.www.melaniewilson.org.uk
she is performing at the Serpentine Gallery on Friday:
http://www.melaniewilson.org.uk/
I nicked the following from the serpentine Gallery website:
Melanie Wilson is an award-winning writer, performer and sound artist, based in London. She makes performances, installations and sound walks that live in theatre and cinema spaces and in the street. Her solo work includes 'Simple Girl', 'Iris Brunette', 'Mari Me Archie', ‘The View From Here’ and 'every minute, always' and has been presented nationally and internationally. She has collaborated with Rotozaza, Coney, Clod Ensemble, Shunt, Chris Goode, Boilerhouse, A2, Peter Arnold and Abigail Conway. She is currently a BAC Supported Artist and her work is produced by Fuel Theatre.
she is performing at the Serpentine Gallery on Friday:
I started listening to her site out of curiosity this morning.... It is great fun!
Crockers 'spite' fence.
I found this on the San Francisco geneology web site:http://www.sfgenealogy.com/sf/history/hgoe75.htm
Famous Spite Fence Has Outlived Its Purpose.
Built Around Small Lot by Charles Crocker Because Owner Would Not Sell to Him.
"FOR SALE" signs have been placed by real estate agents on the lot on Sacramento street, near Taylor, which Charles Crocker surrounded with a high spite fence twenty-six years ago because the owner, Nicholas Yung, refused to sell the property to him at the price Crocker offered.
This fence is the most famous memorial of malignity and malevolence in the city. Thousands of persons have gone up Nob Hill to view it since its erection in 1876. Crocker has long been dead, but his heirs have preserved this testimonial of rancor. Yung went to the grave in 1880, but his offense of fixing his own price on his own residence was never pardoned by the Crockers. The fence has been an eyesore to them as well as to everybody else, but they have kept up the feud and sought to hide the ugliness of the lofty barricade on their side of it by covering the boards with ivy and other greenery.
The fence cost about $3000, but Crocker was a millionaire and did not mind the expense, and he had the satisfaction of driving the Yung family away from their home. Their house was boxed up and the sunlight shut out, and Yung was compelled to move the dwelling to another lot which he owned on Broderick street. The tall fence destroyed the value of the Sacramento street lot, which for about a quarter of a century has remained unused and unsightly. Mrs. Rosina Yung, widow of the man who incurred the deep displeasure of the Crockers, had a considerable estate and preferred to keep the cooped-up lot rather than sell it for the trifle which she might have been able to obtain. She died in last January and bequeathed the property, which has been appraised at about $80,000, to her daughters, who are Mrs. C. D. Postel, of Alameda, Mrs. O. J. Kron of San Francisco, Mrs. Frank Church of El Paso, Tex., and Mrs. John Kelly Russell of San Jose. In the course of administration the sale of the property belonging to the estate has been ordered.
When the last lot has been sold to someone not of the Yung blood it may be that the Crockers will drop their legacy of hatred and let the inartistic monument of resentment be torn down. Perhaps they may conclude to buy the lot which they wanted so badly.
Famous Spite Fence Has Outlived Its Purpose.
Built Around Small Lot by Charles Crocker Because Owner Would Not Sell to Him.
"FOR SALE" signs have been placed by real estate agents on the lot on Sacramento street, near Taylor, which Charles Crocker surrounded with a high spite fence twenty-six years ago because the owner, Nicholas Yung, refused to sell the property to him at the price Crocker offered.
The fence cost about $3000, but Crocker was a millionaire and did not mind the expense, and he had the satisfaction of driving the Yung family away from their home. Their house was boxed up and the sunlight shut out, and Yung was compelled to move the dwelling to another lot which he owned on Broderick street. The tall fence destroyed the value of the Sacramento street lot, which for about a quarter of a century has remained unused and unsightly. Mrs. Rosina Yung, widow of the man who incurred the deep displeasure of the Crockers, had a considerable estate and preferred to keep the cooped-up lot rather than sell it for the trifle which she might have been able to obtain. She died in last January and bequeathed the property, which has been appraised at about $80,000, to her daughters, who are Mrs. C. D. Postel, of Alameda, Mrs. O. J. Kron of San Francisco, Mrs. Frank Church of El Paso, Tex., and Mrs. John Kelly Russell of San Jose. In the course of administration the sale of the property belonging to the estate has been ordered.When the last lot has been sold to someone not of the Yung blood it may be that the Crockers will drop their legacy of hatred and let the inartistic monument of resentment be torn down. Perhaps they may conclude to buy the lot which they wanted so badly.
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