Posts Tagged ‘2009’

Blog closed until further notice…

Thursday, December 31st, 2009

I’ve already written about my experiences of producing the first season of the Mister Trippy blog at MySpace. It is obviously a little early to write about the second season in any depth since this is its closing post. There is also less need to write about Mister Trippy season two because I’ll be leaving the posts up rather than taking them down as I did with not only with the first season of Mister Trippy, but all my MySpace profiles (to protest about the platform’s support for US imperialism), in Spring 2008.

Having produced posts for the first Mister Trippy season daily, I found it far easier to blog every other day in this second season (except for the first month, which was daily). That said, at exactly a year long, this season was also quite a bit shorter than the first. While the comments remained an integral part of the blog, there were considerably fewer than during the first season. I’d view this as a consequence of hosting season two on my own site rather than a social networking platform, and also because I didn’t concentrate on replying to comments as much as I did during the first season. That said, I appear to have more readers here than when Mister Trippy was hosted at MySpace, but far fewer of them commented and those that did made less comments than on the first season of the blog. From a conventional media point of view, upping both the number and percentage of lurkers is probably a good thing, from a full-on committed to Web 2.0 perspective it probably isn’t so good, although it does make life easier! That said, there have still been loads of great comments containing both solid information and some really way-out humour on the season two blog!

A few facts and figures. Mister Trippy season two ran from 1 January 2009 to 31 December 2009, during which time I posted 193 public entries (including this one). As I write this there are 5,007 approved comments split across these posts. Likewise, between myself and the Askimet anti-spam software 10,207 comments were blocked or removed. All the blocked or removed comments were of a commercial nature. Obviously the number of approved and blocked comments will increase as time goes by, although probably not at the same rate as when I was posting on a regular basis.

I’ve found this blog and the main website to which it is attached a good way of alerting people to information I’m seeking. It has enabled me to locate individuals, unearth facts, and in particular extend my knowledge of my mother Julia Callan-Thompson and her bohemian social circle – as well as my first cousin once removed Ray ‘The Cat’ Jones (a legend for audacious Robin Hood-style thefts from the rich and famous, as well as a successful 1958 prison escape with a subsequent two years on the run). That said, while – for example – I now know that Francois Raymond who exhibited photographs of my mother in 1967 is dead and I have contact details for his brother, I’ve drawn a complete blank in my attempts to nail down the fate of Malcolm ‘Grainger’ Drake.

One of the things I’ve always tried to do on this blog, as well as the main site to which it is attached, is put information online that wasn’t previously available via the web. The pieces I’ve posted about my mother’s circle and Ray ‘The Cat’ Jones are good examples of this. When I began researching my mother’s life there wasn’t a single entry about her online. It is because of my efforts that a search engine request now brings in more than 15,000 results for Julia Callan-Thompson, rather than none (which was the result I got from my early web searches for her). There was material about Ray The Cat on the web before I started blogging about him, but by locating a primary source in the form of Ray’s testament about his life and going back to contemporary press coverage of his exploits, I’ve expanded the range of material available online and shown that recent retellings of his escape from Pentonville Prison completely distort the facts (and that the confusion appears to begin with inaccuracies introduced by Mad Frankie Fraser and his ghost-writer James Morton). However, to see this you’d need to read through all my blog entries on Ray The Cat. My research is ongoing and I revise what I have to say on the basis of what I discover. Putting material online is important, there is unfortunately a growing trend (particularly among the young), to look for information on the web and if it can’t be found there then to assume it doesn’t exist.

My research methods appear to confuse some of those I’ve spoken to, since I’ve had the odd email complaining I’ve not written up a story as the person recontacting me originally told it. I always try to find as many sources as possible for what I write. Sometimes these provide me with conflicting information, and some people even provide more than one version of the same story over a period of time. Using archival records where they are available, and all the oral history I am able to collect, I try to reconstruct events as accurately as possible. This can result in a specific person’s recollection of events being discarded; not because I necessarily think the individual in question is lying  – memory can play tricks and the person concerned may simply be mistaken about what happened. Someone claiming to have direct knowledge of something does not automatically make them a reliable source for the subject. I work from all the evidence available to me and sometimes this will indicate (or even prove) that a particular individual’s memory of a specific incident is faulty or fraudulent.

Moving on, I trust that the interest of media professionals in blogging is waning, since it has had a deleterious effect on the activity. There are individuals who take up blogging in the belief that it might make them famous. Although this is unlikely, it doesn’t stop people trying and thus producing narrowly focused blogs with very limited subject matter, or else simply going in for egoblogging. One of the elements of this blog that proved particularly popular with a large swathe of readers were my reports of London art world openings. It would not be difficult to construct a blog around nothing but reports of this type, but for me it would become boring and is therefore to be avoided, despite – or rather because of – the fact that it would lead to me being viewed as a greater conventional ‘success’ than is currently the case.

Likewise, most newspapers seem to have given up on investigative journalism, or even research, and at a time when we need much more of it; clearly it is those with particular interests and specialised knowledge who are far better qualified to do this than so called media professionals, and blogging is a cheap and efficient way for the ‘real’ ‘experts’ – in other words, amateurs like you and me -  to gather and disseminate information. I’m not seeing as much research based blogging or other web reportage as I’d like, but hopefully there will be more of it in coming months and years – and far fewer blogs being updated via Twitter feeds. I’d also like to see the majority of bloggers trying a little harder with their writing. While splurging something out is a great way of getting it down, you do then need to rewrite and revise. I’ve always tried to compose my blogs the night before I posted them, so that I could give them a final rewrite in the morning. Too many blogs look like their author hasn’t read through what they’ve posted even once! If you’re not prepared to read your own writing, you shouldn’t expect anyone else to do so either!

In conclusion, while I wouldn’t rule out a third season of the Mister Trippy blog, I’m not committed to doing  one either. I’ll just see how things go. For now I’d rather concentrate on other pursuits. I will continue to update the main website to which this blog is attached – check the new additions page if you want to see what is being added. Wow, this may also be one of the least humorous blog I’ve written over the past year, so I obviously do need a break from Mister Trippy!

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!

Redchurch Street in the fall, or art in the dark…

Sunday, October 4th, 2009

Catching the opening performance of Shaun Caton’s ‘…netherwhat…’ at the Maurice Einhardt Neu Gallery (1 October) I could have imagined I’d walked into a time warp had I not been in Redchurch Street… I hadn’t seen Caton do a performance since the 1980s, and I understand he’s done nothing in London for the past 15 years, but he seemed to be picking up from where I’d left off with him. Every Caton performance may be unique but he also runs through endless variations on the same theme in his shamanistic rituals; and here he was on the 2 October 2009 with a noised up soundtrack splattering red paint over toy babies he’d strung up from the ceiling. It looked similar, not identical, to the last live action I’d seen him perform more than 20 years before. I braved the gallery, although most of the audience watched through a window from the street outside. Sample conversation: “Shall we go in?” ‘No, it goes on for three hours, we can come back later…” I certainly didn’t hear ‘culture’ talk in Redchurch Street in the 1980s, back then it was full of light industry, there weren’t galleries and art groupies strung out along its narrow pavements as is the case today.

Directly opposite the Shaun Caton shindig, Artwars Project Space was hosting the private view for Martin Sexton’s Spectres Of Marx, another time warp; or rather, a case of the changing times making what the art whores of the yBa and its heirs considered to be deeply unfashionable, appear as timely as it ever was. Sexton’s exhibition is inspired by the last words of Wilhelm Reich: “Comrades! Even now I am not ashamed of my communist past.” So Marx, Reich, sexual repression, orgone energy, the credit crunch, deconstruction and Jacques Derrida are what Sexton was confronting us with. I walked through the door and the first thing I saw was art critic Peter Suchin, who’d also been very much in evidence at the Gustav Metzger opening a couple of days earlier, standing beneath a red bust of Marx. Sexton himself was wandering around playing the role of genial host, and Douglas Park was manning the bar.

Down the road at the A Foundation Galleries on Arnold Circus, Arts Catalyst was hosting the private view for Interspecies: Artists Collaborating With Animals. This art and science hook-up also very much went against the grain of yBa orthodoxy – although personally I was much more excited by the anti-gravity experiments Arts Catalyst was involved in, than in failing to see Kira O’Reilly’s durational live action Falling Asleep With A Pig. In the area set aside for them, I could see no sign of either the artist or the animal that were supposedly sharing a confined space for a couple of days. I also expected to see Mark Waugh of the A Foundation and Rob La Frenais of Arts Catalyst, but in fact saw no one I knew. I did take in some stuffed pigeons courtesey of Beatriz da Costa on the A Foundation roof before moving on to 22 Calvert. This is the UK‘s first not-for-profit foundation dedicated to promoting art from Russia and Eastern Europe. It was set up earlier this year by Nonna Materkova, and I went to the opening of its third show, Re-imagining October, curated by Mark Nash and Isaac Julien.

The focus of Re-imagining October seemed to be contemporary Russian film addressing the Bolshevik revolution of 1917 (and yes, this was a revolution, but a bourgeois and not a proletarian uprising). The work on display looked interesting, but it was impossible to judge properly because the place was so crowded. Instead of worrying about the art (as I’ve indicated, mainly moving image), I chatted to the likes of Ilze Black, Zinovy Zinik, Ilona Cheshire and Mark Rappolt. Alongside the likes of 176 and Raven Row, 22 Calvert itself seems to represent part of a trend for well endowed private foundations to take over at least some of the functions of public arts organisations in London. It is a world away from the tumbledown galleries around the corner in Redchurch Street. If you haven’t already been to 22 Calvert, both the show and the space look like they’re well worth checking out.

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!

Parlez-vous Inverness Street? An indie-wanker, moi?

Friday, March 6th, 2009

Have you noticed how indie-wankers not only make really bad records, but in a failed attempt to compensate for the fact they can’t rock, have this tendency to ineptly reference classical mythology and so called French ‘intellectuals’? All too often indie-wankers puff up these cultural failings by utilising words and concepts they don’t fully understand. Since a phrase to describe such phenomena would be useful, I suggest the term Inverness Street English. This is the street in Camden which boasts one of the worst pubs in London, The Good Mixer, a magnet to indie-pop mockneys and related tossers.

In creating this new term I was, of course, inspired by the older coinage Wardour Street English, referring to the: “affected pseudo-archaic diction of historical novels.” This derives from the days when Wardour Street in Soho was a centre not of the British film industry (as it was for much of the 20th century), but of the antique and mock-antique furniture trade. Example: “This is not literary English of any date; this is Wardour-Street Early English — a perfectly modern article with a sham appearance of the real antique about it.” A. Ballantyne, “Wardour-Street English,” Longman’s Magazine, October, 1888. Or: “These song lyrics are not art of any known type, they are an example Inverness Street English, complete crap in the style of Pete Doherty, replete with a reference to a Greek god pointlessly thrown in to give the flat voiced whinger who wrote them a fake aura of gravitas…” Mister Trippy, Mister Trippy blog, March 2009.

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!