Posts Tagged ‘south London’

Forget The Olympics, Play 3-Sided Football in South London this Saturday!

Thursday, August 2nd, 2012

This Saturday (4 August 2012) there will be a three-sided football tournament at Fordham Park between Deptford and New Cross in south-east London. The games are scheduled to run from 11am to roughly 4pm. You can turn up as an individual and join a team there or bring a whole 5-a-side team with you. Or just go as a spectator. There is plenty of information about 3-sided football online and I’ve also blogged about it here. The game is played with three teams and three goals making it more strategic than two -sided football-  if you want to know more check it out elsewhere by using a search engine or going to Wikipedia. Beneath is the information I was emailed by the organiser of Saturday’s tournament:

Based on response so far we are expecting between four and six teams and the plan is to play four games in either a round robin or a knockout – depending on team numbers.

It is our hope to play with five-a-side – though we will more than likely need to be flexible with the numbers. As well as specific teams there are also a number of individuals and pairs indicating they would like to come along – so I’m sure that either these guys will join teams who have arrived one or two players short – or they may form up into particular teams on the day.

1. If we have between 16 and 24 players we will organise these into four teams, playing:

A : B : C
A : B : D
A : C : D
B : C : D

The league table will place the team with the highest number of goals scored against them at the bottom and the least at the top.

Teams will draw counters from a bag at commencement and the counters will allocate A, B, C or D to the respective teams.

2. If we have between 24 and 36 players we will organise these into six teams, playing:

A : B : C
D : E : F
L1 : L2 : L3 (three teams with lowest number of goals scored against during first round)
H1 : H2 : H3 (three teams with highest number of goals scored against during first round)

The league table will again place the team with the highest number of goals scored against them at the bottom and the least at the top.

3. If for whatever reason we only get a turn out of 12 to 15 players we will still have an exhibition match (and hope others might be stimulated to join in through seeing the play in action)

Game duration is going to be three fifteen minute thirds (rotations) with five mins between each rotation. Total tournament time thus four hours unless we play with six teams and have two games running in parallel – in which case two hours.

There is further information of the Deptford Three Sided Football Club website which you can find here. 3-sided football isn’t an Olympic sport and that’s yet another reason, as if one was needed, not to take Olympics seriously!

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

69 years of press coverage for Ray ‘The Cat’ Jones…

Sunday, December 27th, 2009

Over the past year I’ve devoted a number of blogs to my first cousin once removed Ray ‘The Cat’ Jones. Having talked to various people about Ray and located assorted print references to him made after he’d retired from being the greatest cat burglar in the world, I thought it was time to dig back into the past. Old newspaper reports of Ray’s court appearances verify much of what he had to say about his life, clarify various matters, and show that more recent accounts of his famous jail break have been distorted by those retelling the tale. Doing a quick search through national newspapers, I found no reports of Ray’s boxing career, and the earliest press coverage I could locate was dated 8 March 1940. The Daily Mirror put things this way:

“Thief Celebrated With 21 Suits

“A man living on the proceeds of house breaking once had so much money that he bought 21 suits and had £50 in his pockets. And for two years his fists kept him free.

“The police stated this at the Old Bailey yesterday when Raymond Jones, 23, described as a labourer of King Edward Walk, Lambeth, London, was sentenced to two years imprisonments for causing grievous bodily harm to a constable who tried to arrest him at the Marble Arch in December 1937, and for attempted theft from a car.

“He was arrested in Lambeth last month.

“A detective said Jones admitted assaulting numerous police officers to escape arrest in the last two years and he had been living on the proceeds of house breaking.”

There was an equally biased report in The Times also of 8 March 1940:

“Caught After Two Years. Labourer’s Savage Attack On Policeman.

“After being at liberty for over two years a man who twice escaped from police in 1937, on both occasions leaving a police officer unconscious on the ground and was not recaptured until early this year at Lambeth Walk, appeared in the dock at the Central Criminal Court yesterday.

“He is Raymond Jones, 23, a labourer of King Edward Walk, and he was sentenced to two years’ imprisonment for causing grievous bodily harm to one of the two constables, and attempted theft from a motor-car.

“Detective Hope said the prisoner admitted assaulting several police officers in order to escape arrest in the past two years. He had been living on the proceeds of house-breaking. On one occasion he had so much money he bought 21 suits and had £50 in his pocket.

“Judge Beazley, in sentencing Jones, said he had been guilty of a savage attack.”

On the basis of these reports, the press should be in the dock, charged with spreading unctuous bullshit. As I hope I’ve made clear in my earlier blogs, Ray was not guilty, he was fitted-up. The papers, taking their cue from the Old Bill and a slimeball judge report him as being guilty of numerous assaults on cops, but he was found guilty on just one count! And in this instance, he acted in self-defence after being violently assaulted by a bully dressed in blue.

Ray’s 1952 appearance at the Old Bailey was also widely covered by the press under headlines such as Alleged Complicity In Fur Coats Theft (Times April 25 1952), £4000 Fur’s Theft, Six And A Half Year Sentence (Times 24 June 1952), and Police Kept Watch From ‘Q Van’ He Says (Daily Mirror 21 June 1952). This need not detain us, although the swiping of guests’ coats during a swanky New Year party thrown by Colonel Martin Charteris for his upper-class chums is an amusing tale; and it is also worth noting that in his evidence Ray mentioned a feud between his family and notorious 1950s gangster Billy Hill and that to defend his brother who’d been stabbed, Ray punched out the Mister Big of the London crime world. But let’s move on to Ray’s famous jail break. The Times of 18 October 1958 described it thus:

“Two Escape At Pentonville. Others Fail In Attempt.

“Five men took part in an escape attempt from Pentonville Prison last light. Three were recaptured, but two others got away. They were the first men to break out of the prison since it was reopened in 1946. A full scale search of the area was carried out.

“The men who got out of the prison were Raymond Jones, aged 42, serving 8 years preventative detention, who Scotland Yard said might be violent, and John Rider, aged 28, serving 5 years imprisonment.

“The escape was made during the period given over to evening classes. Jones and Rider found ladders being used during the repair of the prison roof, and took them to scale the 20ft wall of the prison.

“Once on top of the wall, they jumped into an alley that skirts the side of the prison and one turned left, the other right… Tracker dogs, police cars, wardens, uniformed and plain clothes police with torches toured streets around Caledonian Road.”

The Daily Mirror (18 October 1958) used Gaol Break 2 Men Hunted as its headline, and this front page story contained the following information not provided by The Times: “Two of the other three men perched on the top of the wall then dropped back into the goal yard. The third fell and was injured.”  Rider enjoyed just 24 hours freedom, as The Times reported on 20 October 1958:

“John Rider aged 34, one of two men who escaped from Pentonville Prison, London, on Friday night, was recaptured on Saturday while he was asleep on a sofa in an unoccupied home at Antler Hill, Chingford, Essex.

“The search continues for the other prisoner Raymond Jones aged 42, who was serving a sentence of eight years preventative detention. Scotland Yard issued a warning he might be violent.”

The idea that Ray was potentially violent was just a cop smear designed to justify the filth’s 1940 fit-up; Ray never carried weapons, although he would defend himself with his fists if attacked. Ray also knew how to run and hide, having spent the whole of 1938 and 1939 on his toes… When he was finally recaptured The Daily Express (24 November 1960) put the story on the front page and reported it this way:

“Two-Year Escaper Caught

“Pentonville’s record escaper, Raymond Jones, was recaptured in Staines, Middlesex, last night.

He went ‘over the wall’ two years ago – the longest time a fugitive has been on the run from the jail.

“A tip-off at lunch-time sent the police to Staines. They waited six hours to seize him at a house.

“Jones, a 42 year old Welshman, was serving eight years preventative detention.”

So there you have it, plenty of contemporary documentation to confirm just why Ray ‘The Cat’ Jones is a legend! And this is also why as recently as November this year Wales On Sunday devoted yet another page to this famous criminal, the closest thing the 20th century ever produced to a new Robin Hood!

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

Omer Fast at South London Gallery

Thursday, November 5th, 2009

Omer Fast’s film installation Nostalgia is a good example of how material is formatted to fit the institution of art. This is not a criticism of Fast or his work; everyone has to survive in a capitalist society, and in doing so we all reproduce our own alienation.  It should go without saying that the creation of a society where all distinctions between high and low culture are abolished in favour of a truly human world is a pressing task – but in the meantime, where I’m forced to choose between art and popular culture, I’d opt for the latter most of the time. That said, it is hard to see how Fast and his fabulous films could operate outside the art arena in this society. To make my own experience of Fast’s current London show a little more like mass culture and less like elite art, I walked through the gallery to watch the main feature Nostalgia III before taking in parts I and II. If Nostalgia were a DVD, part III would be the feature and I and II the extras.

Nostalgia III is a 30 minute sci-fi short. The set dressing indicates it takes place in an alternate version of the 1970s or possibly 1980s. Europe is impoverished and many of its inhabitants are fleeing to north Africa, where as illegal migrants they face a militarised border, brutality and the ongoing threat of deportation. As ever, Fast is poetic in his approach, deploying a collection of interlinked stories that undermine each other and thus raise questions about the ways in which truth is constructed. Nonetheless, given that Fast has made this piece for a gallery audience, his deliberately crude reversal of European bigotries is an astute move: white middle-class institutional racism is so deeply embedded in high culture that the kind of subtleties which would be understood by a broader audience will inevitably be lost on most of those who will see this piece in its current setting.

Nostalgia I and II feature individual soundtrack interviews with an Africa migrant now living in Europe. I shows a European male in combat gear making a snare as described on the soundtrack.  II shows an interview taking place on split-screens. Both reveal a part of the research process from which Fast created Nostalgia III, and are very much supplementary to the longer piece. It takes 45 minutes to view all three works, and I spent just over a hour in the gallery; during this time I was one of six people actually looking at the work. However, while I was watching Nostalgia III there was a constant stream of people walking through the gallery from the offices and outside area that are accessed from back of the building – far more than were actually looking at the work. This may have been exacerbated by the fact that the gallery is currently being extended (the work of specialist art builders John Perkins Projects), but it nonetheless illustrates why art venue are often not the best places in which to display film. There was also a problem with sound bleed between the galleries (despite a lot of very visible and thus presumably cheaply installed soundproofing); and a further irritation with the screen of Nostalgia I being insufficiently blacked out. Despite these problems, do try to catch Fast’s Nostalgia if you can, it is on until 6 December 2009.

For stuff about Fast’s contribution to the 2008 Barbican exhibition On War, click here.

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

Vicky does New Cross: the art of sexual obsession

Wednesday, July 8th, 2009

On Sunday afternoon I went to the opening of a show entitled Vicky Gold Brand New Art Superstar at Guy Hilton Gallery in Fournier Street, London E1. It was actually a group show but Vicky Gould got the star billing under her new moniker of Gold, and was the main selling point. Allegedly Gould’s work was produced for her final year fine art BA show this summer, but was censored by Goldsmiths College because it focused on her sexual obsession with a lecturer called Paul Davis.

When I arrived for the opening the exhibition was still being installed. I was introduced to Vicky who was sitting on the floor making chocolate icing, presumably so that she could smear it over her body during her advertised performance. I was told she was going to do a pole dance too. On a back wall there was a large purple heart with Vicky’s name in gold. There were a variety of slogans sprayed across the walls, and some ‘pictures’ carrying statements such as ‘Die Paul Die’, a dancing pole and various other objects. The vibe was gaudy and faux-naive. On a television monitor there was a short film called Me and Teacher, which was also uploaded on YouTube when I wrote this post and to which I’d provided a link. When I checked again after uploading this blog, the film was no longer available; according to YouTube this was ‘due to a copyright claim by Emma Davidson’.

I hung around for an hour and a half at the Guy Hilton opening but nothing was happening. Eventually, Vicky Gould and the other artists whose opening it was wandered off, so I left too. I didn’t really care whether Gould’s story of being obsessed with her tutor was genuine or a hoax. A similar debate still surrounds the Chris Kraus book I Love Dick which came out in 1998. In the Kraus tome, the first person narrator Chris Kraus obsessively pursues cultural studies icon Dick Hebdige. For Kraus, sexual obsession is a vehicle for exploring her own emotions. It doesn’t matter whether the Kraus text is fictional or autobiographical, what counts is that she is able to deconstruct the obsessions she delineates. Gould doesn’t do this, and given that she’s fifteen or twenty years younger than Kraus was when I Love Dick was written, it isn’t really surprising that her ‘art’ looks shallow and unformed in relation to this earlier work.

If Paul Davis really was Gould’s tutor then he should have pointed her in the direction of I Love Dick and advised her not to attempt work of this type until she was much older. As a consequence, what Gould does very successfully is make Goldsmiths College look utterly bankrupt as an educational institution. According to its website, Goldsmiths employs a tutor called Paul Davis, but it isn’t clear to me whether the person appearing in Gould’s videos and other pieces as this individual is a stand-in or the man himself. That doesn’t matter, the representation is of a ‘geek’ who lacks the social and intellectual skills needed by anybody who is going to teach. If Gould is fictionalising her experiences and Paul Davis is not really anything like the person he is presented as being here, then this work is a cutting-edge example of institutional critique. Otherwise not only Gould, but also Davis and the college that employ him cut very sorry figures, although placed in a gallery context this sad mess still functions as inadvertent ‘institutional critique’.

These days most people see artists like Andrea Fraser – the public face of institutional critique – as terminally unhip. If Davis or whoever taught Gould at Goldsmiths pointed her in the direction of the institutional critique movement, then they cunningly facilitated this student’s lampooning of a college that taught her art not wisely but too well. On the other hand, it looks equally possible that Gould is the rather sad result of very poor teaching. So is Goldsmiths a world-class training ground for double-bluffing and theoretically astute art hipsters? Or is it simply a money-grabbing business that is utterly shameless about the substandard eduction it offers it students? Whichever answer you pick, I’m sure you’ll choose it in a knowing post-modern sort of way!

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