Thursday, 28 April 2011

In the flat fields



I’ve been rummaging through my drawers again and found a few pictures I’d taken locally a couple of years ago which I quite like, especially as I’m so crap at photography.  If you’re interested in ‘60s horror films there is a little more to these meadows than first meets the eye.  This is Witchfinder / Matthew Hopkins country, and these photos were taken within the grounds of the manor house in which some scenes of the fabulous 1968 movie ‘Witchfinder General’ were filmed.  I feel incredibly fortunate to live literally around the corner from this stately home (even though I inhabit more of a god-what-a-state-ly home myself…)

It’s rather lovely just to imagine Ian Ogilvy galloping through the buttercups.


Tuesday, 26 April 2011

A little piece for Poly

I know that hundreds of tributes to Poly Styrene will have been written today, and far better worded than anything I can put together, but I just can’t let her death go unmentioned here.  Poly was such a one-off and a fantastic example of energetic originality during my punky youth, with her brightly coloured anti-fashion clothes and her spirited attitude.  I reckon the world could do with a few more female role models like that around now. 



Back in punk’s heyday she helped me and, I’m sure, thousands of other young girls to appreciate the fun to be had in being a little bit different.  She inspired many to explore the possibilities of doing your own thing creatively and sartorially - let alone all the women whom she reminded that it was possible to sing in a band and not have to fit into the pouting, pin-up stereotype. ‘Oh Bondage Up Yours’ just says it all!

I guess you could say she inspired a true sense of identity (which just happens to be my fave Xray Spex song too…)

Namaste.

London loves, part two

I don’t know what you think of Lulu….but then, actually, I don’t know what I think of Lulu either...   She’s one of those people I feel strangely ambivalent about. It’s like:  feisty young teen singer (check out her version of ‘Can’t Hear You No More’): cool. Eurovision winner with ‘Boom Bang A Bang’: uncool.  The voice behind the wonderful ‘To Sir With Love’: cool.  Being a supporter of Thatcher’s Tory party during the early ‘80s: uncool.  Staying incredibly youthful for her age: cool.  Too much Botox and/or fillers or something?: uncool…Getting machine-gunned, Peckinpah style, in ‘French and Saunders’: cool, etc. etc.  Oh, I’m SO confused!

I do know what I think about this song clip, though, and it’s a bit of a guilty pleasure.  I know, it strays into schmaltz balladry which is not my usual cup of tea, but it doesn’t seem to matter as I just can’t help but like it.  What does it for me though is this film, as Lulu sings her heart out against the backdrop of the Thames from the Embankment, and each time I view it I feel like I’m there too.  I can watch it again and again and imagine I’m walking by, leaning over the wall to watch the boats, or sitting on that bench.  I know it’s not quite like that in reality nowadays – the pavement is usually crammed with people and the traffic heavier. Lulu would probably have difficulty even trying to lip synch with lungs choked by the diesel fumes.  But next time I’m there I’m going to imagine the street is empty and I’ll sing “oh me, oh my, I’m a fool for you, baby…” quietly to myself as those long shadows stretch out across the paving stones, leaves whisper in the trees in a cool breeze and there’s not a piece of litter in sight.  Luckily for me I do have quite a vivid imagination…

Oh me, oh my!  Even that wide-collared yellow jacket and red flares don’t put me off.

I must get to the city again some time soon!

Friday, 22 April 2011

Riding a wave

A really weird thing is happening in England at the moment.  Honestly, it’s mad. Here we are, the Easter holiday upon us, loads of people have had this week off work as the schools have broken up, and (this is the weird bit) we have nice weather.  Not just nice, but absolutely bleedin’ gorgeous!

The sunny skies and warm breeze set my mind wandering and it happened upon a memory of a great three minute pop song from 1968 that just has that sunny skies and warm breeze kinda sound to it. Enjoy…


The irony is that this was actually released four weeks before Christmas… !  Doh!  Which is perhaps why it remained an obscurity.  I’m sure if it had been released in, say, July, it could have been a minor hit.

And if anyone is literally sitting down by the sea or riding a wave or two this weekend, I hope your mind says you’re happy! Have a good Easter.

Tuesday, 19 April 2011

The first album you ever bought...?

Or: 'How I lost my long playing virginity to a Clash 12 inch...'


It was thirty-four years ago today... Well, in fact it was thirty-four years and eleven days ago today: rewind to April 8th 1977 and the Clash’s eponymous first album arrived in our record shop racks.  A perfect platter.  Even the sleeve alone is iconic.

I’ve liked, been, drawn, worn, said and done lots of things in my life that are truly embarrassing - but buying my first album isn’t one of them!  I bought ‘The Clash’, and I’m proud!  I was still at school and had to save my pocket money for months before I could pool together the £2.99 (or thereabouts) required to enter the new and rather adult world of LP ownership.  Up to then I’d bought a few 7” singles (which could definitely be included in the ‘embarrassing things’ list - well, I was barely in my teens) but there was something about purchasing an album that was in a totally different league.  It meant you were serious. You liked a band enough to want to hear perhaps ten or more songs by them in succession, numbers that wouldn’t get played on the radio, tracks that you might not even like on the first listen, but you were prepared to make that commitment.  I went into the local record shop, Startime, and asked to listen to ‘The Clash’ on the headphones.  Within the first few seconds, as ‘Janie Jones’ burst into life and blasted into my ears, I knew I had to have it.  (Share that memory with me here.)  As my friends and I walked home from town, I took it out of the carrier bag and tucked it under my arm so that everybody could see what I had just done.  You know what it’s like when you’re young and daft and actually believe that the man/woman in the street might be impressed or (preferably) outraged by the music you're into, a bit like winding your car windows down at traffic lights and turning up the volume on your CD player so the world can share your sonic choices…  It was like a rite of passage.

At that time here in the UK punk was emerging from the underground and making controversial headlines, and when I started getting interested in it my parents may have been worrying that their shy little daughter might go off the rails.  “Don’t worry, mum, I just like the music, I don’t want to look like that…”  But secretly I was harbouring the desire to; and, not long after, I bought a red studded dog collar from the pet shop.  I didn’t realise I had the same neck measurements as a bull mastiff but there you go.  I hid it in a drawer and when I went out I used to wait ‘til I was around the corner from home to put it on.   As is the way in life, one thing often leads to another and by the following year I was customising clothes, had my long hair cut short and was open about my obsession with this new music and its many dimensions.  One day at school I was obviously showing my boredom with Pythagoras’ Theorem and was stirred from my daydreams of meeting Paul Simonon by my maths teacher shouting, “Would the punk rocker please pay attention?” It was the best compliment the old bat could have paid me.  But it all started with the Clash.

Since those early days I’ve been into so many songs, so many groups, so many albums, but there is something about this band, and their debut in particular, that stands that difficult test of time, and, oh, I love them for it.

Monday, 18 April 2011

Naked

I’ve realised I haven’t put any old drawings on here for a while and my strap line does mention that I’m going to be rummaging through a few.  So I’ve had a bit of a poke around and here are a handful of quickly-drawn life studies from a few years ago just in case they tickle your fancy, if your fancy needs any tickling. 

Artwork by C / Sun Dried Sparrows
Life drawing is a strange and wonderful thing.  In my experience there’s never any embarrassment or judgement on the part of artist - or model.  You get real people to study, in all shapes and sizes, of varied ages and backgrounds, and it’s a great leveller.  Really, we’re all the same in our diversity once we take our clothes off...

A certain serenity descends upon the room as you get totally immersed in your drawing, and you think about light and shade, texture and perspective -  and does that arm look right, oh and how will I tackle that difficult foreshortening…?   I love to draw sinewy limbs and pubic hair!  Protruding collar bones or curvaceous hips! You explore all those undulations and angles and crevices in great detail with your eyes and your pencil, focusing totally and solely on the naked body in front of you, so that your model becomes absolutely an object - and yet is in no way ever demeaned.

I must do some more some day.

Sunday, 17 April 2011

French connections, part two

I’m going all Francophile again today.

J’adore ceci…


A classic scene from a classic nouvelle vague film -  Jean Luc Godard’s  ‘Bande À Part’ - with one of my favourite songs by French ensemble Nouvelle Vague.  I think it just fits so well.  The timing is quite something and, well, for me it’s just one of those satisfyingly complementary combinations.  Like peaches and cream, or rough paper and a soft pencil, or (just for you Godard fans) like Jean Seberg and Jean Paul Belmondo.  The dance sequence itself has also been cited as an influence for scenes in several other films, not least ‘Pulp Fiction’.

Nouvelle Vague, who also named their second album ‘Bande À Part’, frequently surprise with some of their more unlikely choices of cover versions.  If you know Lords Of The New Church’s original of this track, ‘Dance With Me’, you’ll appreciate how much they manage to change a song almost beyond recognition.  NV’s vocalist on here, Mélanie Pain (thank god she’s French, Melanie Bread just wouldn’t sound quite right), manages to make it sound so sensual, whereas Stiv Bators’ approach sounds, as you might expect, a tad more sleazy (much like his name).

Other tracks whose origins may be more familiar but which have been given the unmistakeable and often unexpected NV treatment to great effect are: 'Teenage Kicks',  'Guns Of Brixton', 'Love Will Tear Us Apart' and even 'Too Drunk To Fuck'…

Another personal favourite is their version of Depeche Mode’s 'Master and Servant', also sung by Mélanie Pain, along with Martin Gore.  Let’s play!

Friday, 15 April 2011

Drive into yesterday


 (courtesy Drive magazine 1967)

It’s amazing how much mileage you can get out of two little ‘Drive’ magazines from 1967.   I now understand not only how to pack 10 wives in a mini (see March) but also how to feel birdsong... and that a shirt can have linearmatic cuff control with no overshoot.  (I do rather like the sound of 'cuff control', I must confess...)

Oh, I'm feeling bri-nylonissimo!

(courtesy Drive magazine 1967)

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