Amelia’s Magazine | Merthyr to Mayo Solidarity Bike Ride: Green Kite Midnight at Castlerea Prison

GKM Roadtrip Galway to Castlerea
GKM Roadtrip Wales Velorution
My touring bike, more about kindly lent by Velorution.
GKM Roadtrip Galway Stop Shell

At the start of June I went on an exciting adventure to Ireland… on a borrowed bike from Velorution. It was a trip I’ve looked forward to for a long time because it combined two of my favourite things in the world. Or maybe three: Cycling (I love cycling A LOT), cost activism (we had a purpose) and being in lovely places with lovely people.

The Merthyr to Mayo bike ride was organised by a loose group of activists based around the country and included members of Bicycology, a cyclists’ collective who aim “to promote cycling and make links with wider issues of environmental and social responsibility”. This intrepid group of riders set off from the open cast coal mine at Merthyr Tydfil in Wales, armed only with an explanatory newspaper and lots of verve. The solidarity ride ended at Rossport in County Mayo, Ireland, thereby linking two communities who are resisting fossil fuel extraction, and educating other communities along the way.

Green Kite Midnight Roadtrip Wales
Green Kite Midnight Roadtrip Wales
Green Kite Midnight Roadtrip Wales
Mini ceilidh en route in Wales.

An added bonus of this trip was the opportunity to play with my ceilidh band Green Kite Midnight, since providing music for people to dance to at protests is the very reason for our existence. Luckily our banjo player Dom has bought a big ambulance which he has lovingly converted into a tour bus for the band – and thus we set off for Ireland via Wales, stopping to spend the night at the parental house of our bassist Tim, way up in the secluded Welsh mountains. It was then onward to Holyhead, where we caught the ferry over to Dublin and carried straight onto Galway to meet the rest of the crew, who were hastily organising a demo against the atrocities against the flotilla bound for Gaza.

GKM Roadtrip Galway Gaza demo
GKM Roadtrip Galway Gaza

We marched straight into the local branch of M&S (to draw attention to the chain’s affiliation with the development of the Israeli state) much to the bemusement of Irish security guards, clearly not used to such confident behaviour. We then joined a gathering in the street organised by locals, but were eventually rained into the closest pub and from there we retired early to a friendly local’s house, quickly to sleep in preparation for our 90km ride the next day.

GKM Roadtrip Galway Gaza
GKM Roadtrip Galway Gaza demo
GKM Roadtrip Galway Gaza
GKM Roadtrip Galway Gaza demo
Awaiting news in the pub… many people knew activists on the flotilla.

We had been warned that Irish roads are quite dangerous and on our first day I did feel a little less than wholly safe, stuck on a narrow hard shoulder as – head down, legs pumping – we powered through the countryside with little more than a brief break for lunch in a small town.

GKM Roadtrip Galway to Castlerea
GKM Roadtrip Galway to Castlerea

The main thing I noticed about rural Ireland is the predominance of ugly newbuild housing estates. Boy do the Irish like to build some shoddy housing! The more upmarket modern houses favour the architecture of American TV series such as Dallas from the 80s – amusing for their kitsch value if nothing else – but at the bottom end of the spectrum the Barrett home style identikit boxes are nothing short of a blot on the landscape.

GKM Roadtrip Galway to Castlerea
GKM Roadtrip Galway to Castlerea
Endless housing estates.
GKM Roadtrip Galway to Castlerea
GKM Roadtrip Galway to Castlerea
GKM Roadtrip Galway to Castlerea

Like many other economies the Irish housing boom was completely unsustainable, and speculative construction has given way to half-finished housing estates fronted by signs that looked spangly a few years ago, now peeling and faded.

GKM Roadtrip Galway to Castlerea
GKM Roadtrip Galway to Castlerea
GKM Roadtrip Galway to Castlerea

Okay, so I was a bit worried about the length of our first day’s ride with no preliminary warm up – but I needn’t have been. With nothing but a vista of endless stone walls, housing estates and crumbling barns (the Irish prefer new builds to renovations, apparently) to distract us from our mission, our little affinity group was one of the first to arrive at our final destination – the Lidl carpark at Castlerea. Being rather fast, and meeting at Lidl were both to become a bit of a theme…

GKM Roadtrip Galway to Castlerea Lidl
GKM Roadtrip Galway to Castlerea Lidl

Once everyone had arrived at we we were herded up the longest steepest hill I’ve ever tackled with such a heavy load… and this after a long hard day too. I stayed on my bike to the very top but boy was I glad that I hadn’t brought my Pashley – it never would have made it.

GKM Roadtrip Galway to Castlerea Pagan
GKM Roadtrip Galway to Castlerea Pagan

At the top our destination was a gorgeous stretch of land bordered by woods, owned by some friendly Pagans who greeted us with lentil stew brewed for us in a cauldron over the fire surrounded by medieval-style tents. Our two nights spent on the hill top were characterised by excessive amounts of midges and late night music sessions. The intervening day was spent at Castlerea Prison, which you can read about in my next blog.

GKM Roadtrip Galway to Castlerea Pagan
GKM Roadtrip Galway to Castlerea Pagan
GKM Roadtrip Wales Velorution
My touring bike, salve kindly lent by Velorution.
GKM Roadtrip Galway Stop Shell

At the start of June I went on an exciting adventure to Ireland… on a borrowed bike from Velorution. It was a trip I’ve looked forward to for a long time because it combined two of my favourite things in the world. Or maybe three: Cycling (I love cycling A LOT), approved activism (we had a purpose) and being in lovely places with lovely people.

The Merthyr to Mayo bike ride was organised by a loose group of activists based around the country and included members of Bicycology, link a cyclists’ collective who aim “to promote cycling and make links with wider issues of environmental and social responsibility”. This intrepid group of riders set off from the open cast coal mine at Merthyr Tydfil in Wales, armed only with an explanatory newspaper and lots of verve. The solidarity ride ended at Rossport in County Mayo, Ireland, thereby linking two communities who are resisting fossil fuel extraction, and educating other communities along the way.

Green Kite Midnight Roadtrip Wales
Green Kite Midnight Roadtrip Wales
Green Kite Midnight Roadtrip Wales
Mini ceilidh en route in Wales.

An added bonus of this trip was the opportunity to play with my ceilidh band Green Kite Midnight, since providing music for people to dance to at protests is the very reason for our existence. Luckily our banjo player Dom has bought a big ambulance which he has lovingly converted into a tour bus for the band – and thus we set off for Ireland via Wales, stopping to spend the night at the parental house of our bassist Tim, way up in the secluded Welsh mountains. It was then onward to Holyhead, where we caught the ferry over to Dublin and carried straight onto Galway to meet the rest of the crew, who were hastily organising a demo against the atrocities against the flotilla bound for Gaza.

GKM Roadtrip Galway Gaza demo
GKM Roadtrip Galway Gaza

We marched straight into the local branch of M&S (to draw attention to the chain’s affiliation with the development of the Israeli state) much to the bemusement of Irish security guards, clearly not used to such confident behaviour. We then joined a gathering in the street organised by locals, but were eventually rained into the closest pub and from there we retired early to a friendly local’s house, quickly to sleep in preparation for our 90km ride the next day.

GKM Roadtrip Galway Gaza
GKM Roadtrip Galway Gaza demo
GKM Roadtrip Galway Gaza
GKM Roadtrip Galway Gaza demo
Awaiting news in the pub… many people knew activists on the flotilla.

We had been warned that Irish roads are quite dangerous and on our first day I did feel a little less than wholly safe, stuck on a narrow hard shoulder as – head down, legs pumping – we powered through the countryside with little more than a brief break for lunch in a small town.

GKM Roadtrip Galway to Castlerea
GKM Roadtrip Galway to Castlerea

The main thing I noticed about rural Ireland is the predominance of ugly newbuild housing estates. Boy do the Irish like to build some shoddy housing! The more upmarket modern houses favour the architecture of American TV series such as Dallas from the 80s – amusing for their kitsch value if nothing else – but at the bottom end of the spectrum the Barrett home style identikit boxes are nothing short of a blot on the landscape.

GKM Roadtrip Galway to Castlerea
GKM Roadtrip Galway to Castlerea
Endless housing estates.
GKM Roadtrip Galway to Castlerea
GKM Roadtrip Galway to Castlerea
GKM Roadtrip Galway to Castlerea

Like many other economies the Irish housing boom was completely unsustainable, and speculative construction has given way to half-finished housing estates fronted by signs that looked spangly a few years ago, now peeling and faded.

GKM Roadtrip Galway to Castlerea
GKM Roadtrip Galway to Castlerea
GKM Roadtrip Galway to Castlerea

Okay, so I was a bit worried about the length of our first day’s ride with no preliminary warm up – but I needn’t have been. With nothing but a vista of endless stone walls, housing estates and crumbling barns (the Irish prefer new builds to renovations, apparently) to distract us from our mission, our little affinity group was one of the first to arrive at our final destination – the Lidl carpark at Castlerea. Being rather fast and meeting at Lidl – these were both to become a bit of a theme…

GKM Roadtrip Galway to Castlerea Lidl
GKM Roadtrip Galway to Castlerea Lidl

Once everyone had arrived at we we were herded up the longest steepest hill I’ve ever tackled with such a heavy load… and this after a long hard day too. I stayed on my bike to the very top but boy was I glad that I hadn’t brought my Pashley – it never would have made it.

GKM Roadtrip Galway to Castlerea Pagan
GKM Roadtrip Galway to Castlerea Pagan

At the top our destination was a gorgeous stretch of land bordered by woods, owned by some friendly Pagans who greeted us with lentil stew brewed for us in a cauldron over the fire surrounded by medieval-style tents. Our two nights spent on the hill top were characterised by excessive amounts of midges and late night music sessions. The intervening day was spent at Castlerea Prison, which you can read about in my next blog.

GKM Roadtrip Galway to Castlerea Pagan
GKM Roadtrip Galway to Castlerea Pagan
GKM Roadtrip Wales Velorution
My touring bike, malady kindly lent by Velorution.
GKM Roadtrip Galway Stop Shell

At the start of June I went on an exciting adventure to Ireland… on a borrowed bike from Velorution. It was a trip I’ve looked forward to for a long time because it combined two of my favourite things in the world. Or maybe three: Cycling (I love cycling A LOT), hospital activism (we had a purpose) and being in lovely places with lovely people.

The Merthyr to Mayo bike ride was organised by a loose group of activists based around the country and included members of Bicycology, a cyclists’ collective who aim “to promote cycling and make links with wider issues of environmental and social responsibility”. This intrepid group of riders set off from the open cast coal mine at Merthyr Tydfil in Wales, armed only with an explanatory newspaper and lots of verve. The solidarity ride ended at Rossport in County Mayo, Ireland, thereby linking two communities who are resisting fossil fuel extraction, and educating other communities along the way.

Green Kite Midnight Roadtrip Wales
Green Kite Midnight Roadtrip Wales
Green Kite Midnight Roadtrip Wales
Mini ceilidh en route in Wales.

An added bonus of this trip was the opportunity to play with my ceilidh band Green Kite Midnight, since providing music for people to dance to at protests is the very reason for our existence. Luckily our banjo player Dom has bought a big ambulance which he has lovingly converted into a tour bus for the band – and thus we set off for Ireland via Wales, stopping to spend the night at the parental house of our bassist Tim, way up in the secluded Welsh mountains. It was then onward to Holyhead, where we caught the ferry over to Dublin and carried straight onto Galway to meet the rest of the crew, who were hastily organising a demo against the atrocities against the flotilla bound for Gaza.

GKM Roadtrip Galway Gaza
GKM Roadtrip Galway Gaza demo

We marched straight into the local branch of M&S (to draw attention to the chain’s affiliation with the development of the Israeli state) much to the bemusement of Irish security guards, clearly not used to such confident behaviour. We then joined a gathering in the street organised by locals, but were eventually rained into the closest pub and from there we retired early to a friendly local’s house, quickly to sleep in preparation for our 90km ride the next day.

GKM Roadtrip Galway Gaza
GKM Roadtrip Galway Gaza demo
GKM Roadtrip Galway Gaza
GKM Roadtrip Galway Gaza demo
Awaiting news in the pub… many people knew activists on the flotilla.

We had been warned that Irish roads are quite dangerous and on our first day I did feel a little less than wholly safe, stuck on a narrow hard shoulder as – head down, legs pumping – we powered through the countryside with little more than a brief break for lunch in a small town.

GKM Roadtrip Galway to Castlerea
GKM Roadtrip Galway to Castlerea

The main thing I noticed about rural Ireland is the predominance of ugly newbuild housing estates. Boy do the Irish like to build some shoddy housing! The more upmarket modern houses favour the architecture of American TV series such as Dallas from the 80s – amusing for their kitsch value if nothing else – but at the bottom end of the spectrum the Barrett home style identikit boxes are nothing short of a blot on the landscape.

GKM Roadtrip Galway to Castlerea
GKM Roadtrip Galway to Castlerea
Endless housing estates.
GKM Roadtrip Galway to Castlerea
GKM Roadtrip Galway to Castlerea
GKM Roadtrip Galway to Castlerea

Like many other economies the Irish housing boom was completely unsustainable, and speculative construction has given way to half-finished housing estates fronted by signs that looked spangly a few years ago, now peeling and faded.

GKM Roadtrip Galway to Castlerea
GKM Roadtrip Galway to Castlerea
GKM Roadtrip Galway to Castlerea

Okay, so I was a bit worried about the length of our first day’s ride with no preliminary warm up – but I needn’t have been. With nothing but a vista of endless stone walls, housing estates and crumbling barns (the Irish prefer new builds to renovations, apparently) to distract us from our mission, our little affinity group was one of the first to arrive at our final destination – the Lidl carpark at Castlerea. Being rather fast and meeting at Lidl – these were both to become a bit of a theme…

GKM Roadtrip Galway to Castlerea Lidl
GKM Roadtrip Galway to Castlerea Lidl

Once everyone had arrived at we we were herded up the longest steepest hill I’ve ever tackled with such a heavy load… and this after a long hard day too. I stayed on my bike to the very top but boy was I glad that I hadn’t brought my Pashley – it never would have made it.

GKM Roadtrip Galway to Castlerea Pagan
GKM Roadtrip Galway to Castlerea Pagan

At the top our destination was a gorgeous stretch of land bordered by woods, owned by some friendly Pagans who greeted us with lentil stew brewed for us in a cauldron over the fire surrounded by medieval-style tents. Our two nights spent on the hill top were characterised by excessive amounts of midges and late night music sessions. The intervening day was spent at Castlerea Prison, which you can read about in my next blog.

GKM Roadtrip Galway to Castlerea Pagan
GKM Roadtrip Galway to Castlerea Pagan
GKM Roadtrip Wales Velorution
My touring bike, approved kindly lent by Velorution.
GKM Roadtrip Galway Stop Shell

At the start of June I went on an exciting adventure to Ireland… on a borrowed bike from Velorution. It was a trip I’ve looked forward to for a long time because it combined two of my favourite things in the world. Or maybe three: Cycling (I love cycling A LOT), sick activism (we had a purpose) and being in lovely places with lovely people.

The Merthyr to Mayo bike ride was organised by a loose group of activists based around the country and included members of Bicycology, order a cyclists’ collective who aim “to promote cycling and make links with wider issues of environmental and social responsibility”. This intrepid group of riders set off from the open cast coal mine at Merthyr Tydfil in Wales, armed only with an explanatory newspaper and lots of verve. The solidarity ride ended at Rossport in County Mayo, Ireland, thereby linking two communities who are resisting fossil fuel extraction, and educating other communities along the way.

Green Kite Midnight Roadtrip Wales
Green Kite Midnight Roadtrip Wales
Green Kite Midnight Roadtrip Wales
Mini ceilidh en route in Wales.

An added bonus of this trip was the opportunity to play with my ceilidh band Green Kite Midnight, since providing music for people to dance to at protests is the very reason for our existence. Luckily our banjo player Dom has bought a big ambulance which he has lovingly converted into a tour bus for the band – and thus we set off for Ireland via Wales, stopping to spend the night at the parental house of our bassist Tim, way up in the secluded Welsh mountains. It was then onward to Holyhead, where we caught the ferry over to Dublin and carried straight onto Galway to meet the rest of the crew, who were hastily organising a demo against the atrocities against the flotilla bound for Gaza.

GKM Roadtrip Galway Gaza
GKM Roadtrip Galway Gaza demo

We marched straight into the local branch of M&S (to draw attention to the chain’s affiliation with the development of the Israeli state) much to the bemusement of Irish security guards, clearly not used to such confident behaviour. We then joined a gathering in the street organised by locals, but were eventually rained into the closest pub and from there we retired early to a friendly local’s house, quickly to sleep in preparation for our 90km ride the next day.

GKM Roadtrip Galway Gaza
GKM Roadtrip Galway Gaza demo
GKM Roadtrip Galway Gaza
GKM Roadtrip Galway Gaza demo
Awaiting news in the pub… many people knew activists on the flotilla.

We had been warned that Irish roads are quite dangerous and on our first day I did feel a little less than wholly safe, stuck on a narrow hard shoulder as – head down, legs pumping – we powered through the countryside with little more than a brief break for lunch in a small town.

GKM Roadtrip Galway to Castlerea
GKM Roadtrip Galway to Castlerea

The main thing I noticed about rural Ireland is the predominance of ugly newbuild housing estates. Boy do the Irish like to build some shoddy housing! The more upmarket modern houses favour the architecture of American TV series such as Dallas from the 80s – amusing for their kitsch value if nothing else – but at the bottom end of the spectrum the Barrett home style identikit boxes are nothing short of a blot on the landscape.

GKM Roadtrip Galway to Castlerea
GKM Roadtrip Galway to Castlerea
Endless housing estates.
GKM Roadtrip Galway to Castlerea
GKM Roadtrip Galway to Castlerea
GKM Roadtrip Galway to Castlerea

Like many other economies the Irish housing boom was completely unsustainable, and speculative construction has given way to half-finished housing estates fronted by signs that looked spangly a few years ago, now peeling and faded.

GKM Roadtrip Galway to Castlerea
GKM Roadtrip Galway to Castlerea
GKM Roadtrip Galway to Castlerea

Okay, so I was a bit worried about the length of our first day’s ride with no preliminary warm up – but I needn’t have been. With nothing but a vista of endless stone walls, housing estates and crumbling barns (the Irish prefer new builds to renovations, apparently) to distract us from our mission, our little affinity group was one of the first to arrive at our final destination – the Lidl carpark at Castlerea. Being rather fast and meeting at Lidl – these were both to become a bit of a theme…

GKM Roadtrip Galway to Castlerea Lidl
GKM Roadtrip Galway to Castlerea Lidl

Once everyone had arrived at we we were herded up the longest steepest hill I’ve ever tackled with such a heavy load… and this after a long hard day too. I stayed on my bike to the very top but boy was I glad that I hadn’t brought my Pashley – it never would have made it.

GKM Roadtrip Galway to Castlerea Pagan
GKM Roadtrip Galway to Castlerea Pagan

At the top our destination was a gorgeous stretch of land bordered by woods, owned by some friendly Pagans who greeted us with lentil stew brewed for us in a cauldron over the fire surrounded by medieval-style tents. Our two nights spent on the hill top were characterised by excessive amounts of midges and late night music sessions. The intervening day was spent at Castlerea Prison, which you can read about in my next blog.

GKM Roadtrip Galway to Castlerea Pagan
GKM Roadtrip Galway to Castlerea Pagan
GKM Roadtrip Castlerea Prison

For the past 10 years the local community in Rossport, drug County Mayo, nurse have been campaigning against plans to pipe raw untreated gas from an offshore well in the Corrib Gas Field through the beautiful unspoilt countryside to a refinery 9km inland. The pipeline will be the first of it’s kind in the world and despite assurances that nothing could go wrong the canny residents quickly smelled a rat. Refinery tailings have already poisoned Carrowmore Lake which supplies water to 10,000 people on the Erris peninsula, and many houses are situated in the “kill zone” – Shell consultants have conceded that those living within 200 metres of the pipeline “could burn spontaneously from heat radiation” in the event of an explosion from the highly flammable untreated gas. The current preferred route for the pipe takes it across a highly unstable bog. Hmmm, sounds very safe to me.

GKM Roadtrip Castlerea Prison

On top of this, the rights to profit from Irish resources were quietly signed away by the Irish government during the 80s and 90s (to the extent that extracting companies now have to pay less than 8% tax when compared with 50% in the UK and 78% in Norway), but despite this the Irish government has acted in complicity with Big Oil by placing compulsory purchase orders on furious local farmers. Quite apart from the human rights atrocities that are being inflicted on a daily basis against the residents of Rossport there is the need to preserve sites of spectacular beauty and of course lobby to leave fossil fuels in the ground in order to avert catastrophic climate change.

GKM Roadtrip Castlerea Prison
GKM Roadtrip Castlerea Prison

This is the backdrop against which locals and activists are campaigning against Shell in Rossport. Because of their actions two activists are currently imprisoned and it was in support of them that we went to Castlerea Prison.

GKM Roadtrip Castlerea Prison
GKM Roadtrip Castlerea Prison
Practicing our chants.
GKM Roadtrip Castlerea Prison

On numerous occasions local fisherman Pat O’Donnell has stood up to bullying by Shell despite numerous recorded assaults by the Gardai (Irish police) Last summer his fishing boat was boarded by masked men who held him at gunpoint and then sunk his boat.

Niall Harnett I know better – he’s a gentle giant of a man that I met at the Earth First gathering last year and I can’t imagine him harming a flea. He was sentenced earlier this year for alleged assault, an outcome that highlights the failings of the Irish judicial system, currently upholding the use of excessive force against ordinary citizens to appease the might of corporations.

For more on either of these cases I recommend that you read about Niall here and Pat here, but the main point is that we were at Casterea Prison as part of a prolonged campaign in support of these brave men, who have dared to stand up to the might of a multinational oil company.

GKM Roadtrip Castlerea Prison
GKM Roadtrip Castlerea Prison
GKM Roadtrip Castlerea Prison

Cycling en masse through the town we arrived to find the cheery faces of local supporters awaiting our arrival at the gates. A short cycle ride later through sun dappled fields of horses, and we were settled down for the sounds of a traditional band, who were soon joined by various musicians from the bike ride.

GKM Roadtrip Castlerea Prison
Lunch.
GKM Roadtrip Castlerea Prison
GKM Roadtrip Castlerea Prison
They can hear us!

The finale was a Green Kite Midnight ceilidh, against a backdrop of high concrete prison walls on which we had daubed some messages of solidarity in chalk. It was absolutely sweltering so thereafter I had to retire to a cool pub, but others continued and held a small dance in the local Topaz garage – in Ireland Shell has received so much bad press that all petrol stations have been renamed Topaz. This had led to the immortal phrase Topaz My Arse amongst the activists we were travelling with.

GKM Roadtrip Castlerea Prison
GKM Roadtrip Castlerea Prison
GKM Roadtrip Castlerea Prison
GKM Roadtrip Castlerea Prison
GKM Roadtrip Castlerea Prison
Pedals.
GKM Roadtrip Galway to Castlerea
Pub.

From Castlerea we took an extremely picturesque trip to Ballina the next day: some of us swum in a lovely lake, and we all clambered up an old castle we found along the way. I wish it had been easier to take photos as we rode because the Catholic roadside shrines are great, and I particularly love the way that all the signs are plonked on top of each other all higgledy-piggledy – never mind that you may not be able to read the ones beneath.

GKM Roadtrip Ballina
GKM Roadtrip Ballina
GKM Roadtrip Ballina
GKM Roadtrip Ballina lake
GKM Roadtrip Ballina lake
GKM Roadtrip Ballina
GKM Roadtrip Ballina castle
GKM Roadtrip Ballina castle

Ballina is the nearest big town to Rossport so many people there are involved with and support the struggle against Shell. We put our tents up in the back garden of a big house and were completely spoilt for dinner.

GKM Roadtrip Ballina
GKM Roadtrip Ballina
GKM Roadtrip Ballina
GKM Roadtrip Ballina
GKM Roadtrip Ballina
GKM Roadtrip Ballina
GKM Roadtrip Ballina castle
GKM Roadtrip Ballina

The next day our final leg began with a quick critical mass around Ballina, joyfully dinging our bells to the sounds of Madonna and co, as played by Pedals, the Bicycology sound system that is present at so many of our direct actions as amplification for my voice and the instruments in Green Kite Midnight. We even had time to briefly blockade a Topaz tanker on the way.

GKM Roadtrip Ballina
GKM Roadtrip Ballina Topaz
GKM Roadtrip Ballina Topaz
“I don’t give a shit about Rossport.” That is literally what this man said.

Yoga on the top of a coastal bluff at lunchtime was followed by the hardest part of the ride – struggling into the wind past multicoloured sheep across a long long moor. At the end we were again greeted by hot tea and huge amounts of home-cooked food, courtesy of the friendly locals. By this point I was starting to wonder if we deserved so much goodwill.

GKM Roadtrip Ballina to Rossport yoga
GKM Roadtrip Ballina to Rossport
GKM Roadtrip Ballina to Rossport
GKM Roadtrip Ballina to Rossport
GKM Roadtrip Ballina to Erris
GKM Roadtrip Ballina to Erris
GKM Roadtrip Ballina to Rossport
GKM Roadtrip Ballina to Erris
GKM Roadtrip Ballina to Erris
GKM Roadtrip Ballina to Erris

From then on it was but a quick pedal over to the half built refinery site, a testament to the power of Shell. The pipeline to feed the refinery is in no way ready to be built, let alone operate! After a bunch of rallying speeches we freewheeled most of the way down to the location of this year’s Rossport Summer Gathering.

GKM Roadtrip Shell Refinery
GKM Roadtrip Shell Refinery
GKM Roadtrip Ballina to Rossport Shell refinery

I’ve heard a lot about how gorgeous Rossport is but nothing could have prepared me for the view that greeted us as we struggled up one last steep rise…. No wonder everyone who comes here falls in love – it’s a beautiful wild place on the edge of the world.
GKM Roadtrip Rossport

GKM Roadtrip Rossport

Nothing between Glengad Beach and America. We erected our tents against a backdrop of billowing sand dunes humming with clattering biting (as I was later to discover) bugs and bird calls I have never heard before. Places like these desperately need our protection and I challenge anyone to visit Rossport and come away unmoved by the sheer beauty of the natural world. That evening we partied with the locals in the pub despite being half-asleep with exhaustion.

GKM Roadtrip Rossport
GKM Roadtrip Rossport
GKM Roadtrip Rossport donkeys
There are donkeys everywhere!

More about the Rossport Gathering in my next blog post.

Categories ,Ballina, ,bicycology, ,Castlerea, ,Castlerea Prison, ,ceilidh, ,Corrib Gas Field, ,County Mayo, ,Direct Action, ,earth first, ,Green Kite Midnight, ,Merthyr Tydfil, ,Multinational, ,Niall Harnett, ,Pat O’Donnell, ,Pedals, ,Rossport, ,Shell, ,Shell to Sea, ,Topaz, ,Yoga

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Amelia’s Magazine | Climate9: Stopping Carbon Emissions at Source. So Who are the Real Criminals?

Kevin-Bradshaw-Donald-Trump-Golf-Planes-1
Donald Trump is behind the expansion of Aberdeen airport. Illustration by Kevin Bradshaw.

When the words of the law and the actions of the Government contradict each other, viagra look it can be quite confusing for all involved. The much lauded Scottish Climate Change Act, for instance, lays down that Scottish Ministers must create a strategy which encourages the population to help them achieve their carbon emissions targets. So, why, when a group of concerned citizens prevented 107 million tonnes of carbon being emitted over a period of five hours, were they then arrested and charged with vandalism and breach of the peace? Perhaps erecting a mini golf course on the runaway at Aberdeen airport and grounding all the planes isn’t one of the actions identified by the Scottish Ministers as contributing to the achievement of those targets… because it actually affects carbon heavy businesses?

The Climate9, as they have been dubbed, staged this action is response to the proposed expansion of Aberdeen airport, an expansion to serve Donald Trump’s planned hotel complex and golf course, and all the lazy London businessmen who just need to getaway to bonny Scotland for their R&R. There are plans to expand all of Scotland’s airports, pushing passenger numbers up to 67.9 million a year, in a country where the population totals 5.1 million. Does every Scotsman need 13 flights a year? This would boost carbon emissions by 3.4 million tonnes. I fear the Ministers responsible have misinterpreted the phrase ‘achievement of targets’ in their own Act; it’s LESS not MORE. Got it? Currently, Scotland contributes 11% to UK carbon emissions from aviation and 60% of all Scottish flights are domestic. That is to say their destinations can easily be reached by train, coach or car, and slightly more adventurously by bicycle, or pony and trap.

“But trains are always late” and “Coaches are cramped and smelly!” I hear you cry. I agree. Wouldn’t it be great if the government could do something about that? Like putting £9 billion into land-based transport and sustainable development research? Faster, greener trains. Coaches with more leg-room and working toilets. The very stuff dreams are made of. You’re right though, where would they find money like that in a recession? Well, they could always NOT subsidise the aviation industry to the tune of £9 billion; using taxpayers money to dole out fuel tax exemptions to the high fliers. Funny how they don’t mention this little hand-out when touting the £11 billion ‘made’ from the aviation industry. Like any big business, aviation poops on the little guy. Sure, flights are cheaper, but if you can’t afford to take the time off work coz of all that tax you be paying, then you only pay once for the flights you aren’t taking. Every other tax payer who jets off? They pay twice.

Kevin-Bradshaw-9bn-Aviation-1
The tax payers fund aviation to the tune of £9 billion per year. Illustration by Kevin Bradshaw.

So, while the words of the government support reducing carbon emissions, their actions most emphatically do not. People like the Climate9, who take them at their word and do what they can to call attention to high carbon emitters and attempt to help the country achieve its targets, often find themselves arrested on some very odd chargers. Breach of the peace? Vandalism? I’d rather have a mini-golf course in my backyard that a runway, used by planes which breach the locals’ peace with their noise, cause localised air pollution, and run on oil, of which the methods of extraction are causing some serious devastation globally. Heard of the Alberta Tar Sands? That’s some vandalism right there, and you can’t just roll a fresh coat of paint over the top. The people who propagate the destruction of the environment are the real criminals and the Climate9 are hoping that their actions, and trial, will help to expose the hypocrisies of the government, and spread the word on the need for urgent action among people, not policies.

The trial start date is currently set for the 14th of June, and in the run-up to, and during, the trial, there are talks and meetings being held to show support for the Climate9 and push others to challenge the authorities with pride and confidence. Anyone and everyone is encouraged to aid the cause, through organising talks to call attention to the Climate9’s actions and government hypocrisy, dancing up some donations at a ceilidh, tweeting up the issue, sending in statements of solidarity, getting (favourable!) press coverage and involving as many people as possible throughout the blogosphere and via posters in order to “challenge the values of a legal system which too often undermines rather than supports the integrity and health of the Earth; and lets the real criminals go free while persecuting those brave enough to speak out for justice and future generations.”

I went along to one such talk at the School of Oriental and African Studies last week. Speakers included Dr. Geoff Meaden, a geography professor and key witness at the Kingsnorth 6 trial, Liz Hosken, Director and co-founder of the Gaia Foundation, and Matt Todd, editor of Attitude. Each speaker gave compelling evidence for climate change and outlined ways in which we are making a wreck of our planet. All called for a revolution in the way that we live and act when it comes to environmental issues, and all praised the Climate9 for taking direct action. Matt spoke about his efforts to get green issues into Attitude, writing a column entitled An Inconvenient Poof but found that even interested and worried parties still wouldn’t attend demos or change their lifestyle and habits. Liz made the point that it is industrialists who are vandalising the planet and emphasised the need to align current issues, showing that environmental injustices are just as much human injustices, and affect everyone. Jenny Griffiths, from the Climate and Health Council, reminded us that drought caused by climate change is already causing resource wars in poor countries such as Darfur. Ultimately, the information given was nothing that I, and probably most of the people in the lecture theatre, hadn’t heard before, but it’s good to know that there are such a variety of experts and professionals with such a passion for spreading information about climate change and the ways of combating it out there, who are willing to stand up next to activists and support their actions.

Everyone who spoke gave a call to arms. The time for hoping that the government policies will solve all ills is over. The Climate9 have led by example, and we need to let ourselves be inspired to take direct action and start up some civil disobedience. If nine people and a makeshift golf course can cause this much hassle and strife, I wonder what a whole campfull will achieve in Edinburgh later this year?

If you want to get involved with the Climate9 campaign, then head to their ‘Support’ page to find out their suggested actions to help out. If you want to get involved in generally saving the world, then keep an ear out for political or environmental hypocrisy in your local area, and do whatever it takes to make a difference.

Categories ,activism, ,Airport Expansion, ,Attitude, ,aviation, ,ceilidh, ,Climate Camp, ,Climate Change, ,Climate9, ,Direct Action, ,Donald Trump, ,Gaia Foundation, ,Kevin Bradshaw, ,SOAS, ,Tar Sands, ,Tax

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Amelia’s Magazine | Latitude 2010: Thursday Night Review

Feelin’ hot hot hot… we arrived at the field with a blanket and straw hat, viagra stuff and headed straight to the bar. Queuing for what felt like a life-time in the blistering heat, price cheap sounds of Johnny Flynn drifted through the air along with the smells of barbecued sausages. Queuing aside, we were happy.

Ciders in hand we weaved through camping chairs and stepped apologetically over blankets, occasionally catching the odd sandaled foot or splashing a little cider over a resting head… all part of the joy of festivalling, we found a spot, lay the blanket on the ground just in time for Laura Marling to take to the stage. ‘Afternoon everyone!’ Laura’s soothing voice echoed over the masses, ‘what a day!’…. people woo’d and clapped and cheered. In two years, Marling’s voice and lyrics have matured from pretty ditties to soulful folk… and her performance this weekend reeled in an eclectic crowd. Folk of all ages stood, eyes fixed and humming and Marling’s voice resonated. Songs from Marling’s latest album I Speak Because I Can mixed with original tracks from My Manic and I had us reminiscing, spinning around and singing-along.

Between sets we ate, drank and lay gazing into the brilliant blue ether… catching a bit of celebrity football, Mumford & Sons giving it their best. Seasick Steve was next up, and took to the stage with crowds-a-roaring. Unfortunately, due to minor sunstroke, we weren’t around for the whole set, but from what we saw, as always Seasick gave a cracking performance.

Mumford & Sons belted out there emotive country-inspired folk, now well-known from their vast radio coverage, and had the audience fixed. Looking and sounding the part, and slotting in perfectly to the Hop Farm scene.

Whilst queuing for a lamb kofta and chatting to a wonderful lady who lives on a pig farm in Cambridgeshire, who told me stories of her days as a festival queen in the 70s… (she was so small she used to crouch on the loo seat, feet on the seat – to avoid sitting on it… little ladies – take note!) Ray Davies performed and it came as pleasant surprise to hear the well-known Kinks records: Lola, You Really Got Me and all the rest. At the age of 66, Ray’s voice carried across fields, still very much in tact.

Last but not least, good old Bob Dylan appeared on stage, his (very) husky tones hooking the expectant field of fans, and taking them on a tumultuous journey through a plethora of songs steeped in sentiment.

Finally, an incredible set from Devendra Banhart ensued; no longer the long-haired folky-dolky guy that once plucked at our heartstrings, Devendra has completely reinvented his style: short-back-and-sides, checked shirt and long yellow cardie buttoned up; the sounds were funky and playful, his voice endearing and still with that jagged edge that made him famous. Even a few Roxy Music covers were thrown in to get us grooving. We danced until the cows came home.

All in all, a grand day out. Thank you Hop Farm!


Illustrations by Jenny Costello

With businesses struggling to survive through the recession armageddon, this site a few innovative individuals are thriving, using their imagination and collaborations with other creatives to succeed. Sarah Bagner, or ‘Supermarket Sarah‘ transformed a wall of her own home into a window dresser’s dream; featuring both vintage finds and handmade creations from the likes of Donna Wilson. Inviting shoppers into her home for tea and cake has gained her such a following that Selfridges even invited her to curate a wall for them.


Supermarket Sarah, illustrated by Emma Block

Her latest collaboration is with the queens of cool, Tatty Devine, whose Brick Lane store has been transformed into an Aladdin’s cave of Sarah’s goodies. Tatty Devine is also famous for pioneering the collaborative spirit, teaming up with the likes of Rob Ryan, Charlie le Mindu and Mrs Jones to make their iconic statement jewellery ranges. Last night fellow creatives Fred Butler and Anna Murray were spinning some tunes on the decks, whilst cupcakes were supplied by Fifi and Lola.

I snapped Sarah wearing her Tatty Devine ‘Supermarket Sarah’ necklace in front of her wall which will soon be online here. The installation will be in store until the 16th August, alongside Tatty Devine’s regular stock which is currently on sale. This is your one stop shop for sorting your festival outfits; grab some neck candy from Tatty Devine and something from Sarah’s vintage dressing up box and you’re set! 

Photographs by Katie Antoniou

With businesses struggling to survive through the recession armageddon, site a few innovative individuals are thriving, order using their imagination and collaborations with other creatives to succeed. Sarah Bagner, store or ‘Supermarket Sarah’ transformed a wall of her own home into a window dresser’s dream; featuring both vintage finds and handmade creations from the likes of Donna Wilson. Inviting shoppers into her home for tea and cake has gained her such a following that Selfridges even invited her to curate a wall for them.

Her latest collaboration is with the queens of cool, Tatty Devine, whose Brick Lane store has been transformed into an Aladdin’s cave of Sarah’s goodies. Tatty Devine is also famous for pioneering the collaborative spirit, teaming up with the likes of Rob Ryan, Charlie le Mindu and Mrs Jones to make their iconic statement jewellery ranges. Last night  fellow creatives Fred Butler and Anna Murray were spinning some tunes on the decks, whilst cupcakes were supplied by Fifi and Lola. I snapped Sarah wearing her Tatty Devine ‘Supermarket Sarah’ necklace in front of her wall which will soon be online here. The installation will be in store until the 16th August, alongside Tatty Devine’s regular stock which is currently on sale. This is your one stop shop for sorting your festival outfits; grab some neck candy from Tatty Devine and  something from Sarah’s vintage dressing up box and you’re set! 
Sheep Latitude Tim Adey
Photography by Tim Adey.

Last time I went to Latitude it was a mere toddler of a festival… way back in 2007 it was still possible to roam freely amongst thin crowds and I remember commenting back then that the secret wouldn’t last long. 30, treat 000 people attended the fifth Latitude, drug held in the rolling wooded grounds of Henham Park which belong to an eccentric sheepfarming millionaire known as the Aussie Earl. Every year the sheep are famously dyed various shades of pastel then penned into small enclosures surrounded by signs Do Not Feed The Sheep. There’s something quite ironic in the exoticisation of such a common animal, stomach but then again most middle class urbanites have little cause for close contact with their food. Reading through tweets on my way to the festival I laughed at one suggestion that a bunch of hippies were clogging up the local roads… nothing could be further from the truth. Latitude is famously the home of the well read intellectual classes, a fact which was mentioned on repeat throughout the whole festival.

Nigel kennedy by Jenny Costello
Nigel Kennedy by Jenny Costello.

Despite a lack of line up on Thursday evening most punters had already set up camp by the time we arrived. Like Glastonbury, early crowds baying for entertainment guaranteed a packed audience for the few shows being staged. Our first stop was Nigel Kennedy, playing with The Orchestra of Life and visiting Polish musicians on the Lake Stage: the gig was attended by an all age crowd, a significant feature of the entire festival. Nigel romped through a selection of Duke Ellington jazz standards before crashing into a barndancing favourite that had the crowd hooting in delight. In between he flirted salaciously with a lady in the crowd and swore copiously. As Radio 1 DJ Colin Murray was later overheard saying – it’s a pity Nigel has to open his mouth. It was a bit like Madonna at the Turner Prize trying a bit too hard to be hard. But I liked the ceilidh classic – more of that please. Try as I might I just can’t get into the jazz thing.

Paul-Shinn-Latitude-crowds
Latitude crowds by Paul Shinn.

Large parts of Henham Park forest have been opened up to accommodate more theatre, and down amongst the towering trees we were ushered into the heaving theatre arena for Les Enfants Terribles: The Vaudevillians. It was certainly terrible. Despite being billed as “a unique and exciting night out” I was only able to watch ten minutes before I was so bored and unexcited out of my brain that we had to leave.

Latitude flags Tim Adey
A pretty picture of flags at Latitude. Photography by Tim Adey.

Instead we paid a visit to Robin Ince in the Literary Arena. Robin Ince is the literary high priest of Latitude – he was holding court whenever I went past despite his assertion (in my recent interview with him) that he would be spending less time on stage this year. Joining him were a wide range of comedians and writers over the course of the festival, and it made me smile to hear him delivering more of his climate change material to a packed audience.

Abby-Wright-Tom-Jones
Tom Jones by Abby Wright.

Tom Jones sans hair dye was of course the big act to appear on Thursday night – clearly a last minute addition designed to promote his new album Praise & Blame. Even before we approached the lake I realised we might have trouble attending his bijoux gig on the In The Woods stage. Many thousands of people + small stage = frustrated pile up. We took the back route up to the guest area where we listened from behind the fence once they had sorted out screeching feedback, and could just discern a frenzy of enthusiastic front row teenagers screaming Sex Bomb. There was to be no Sex Bomb. One man was overheard commenting that his new bluesy songs sounded “like Johnny Cash on a downer”, but I quite liked them. Security spent the whole gig shining torches at anyone who dared get close the fence. Since I couldn’t see anything I fell asleep on the ground. Thanks for the soothing lullabies Tom.

I’ve reviewed all other days according to genre. Why not get started on my Friday Music Review here?

Categories ,Abby Wright, ,Barndancing, ,blues, ,ceilidh, ,Duke Ellington, ,In The Woods, ,jazz, ,Jenny Costello, ,Johnny Cash, ,Lake Stage, ,Latitude Festival, ,Literary Arena, ,Madonna, ,Nigel Kennedy, ,Paul Shinn, ,Praise & Blame, ,Robin Ince, ,Sex Bomb, ,The Orchestra of Life, ,Tim Adey, ,Tom Jones, ,Turner Prize

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Amelia’s Magazine | Latitude 2010: Thursday Night Review

Feelin’ hot hot hot… we arrived at the field with a blanket and straw hat, viagra stuff and headed straight to the bar. Queuing for what felt like a life-time in the blistering heat, price cheap sounds of Johnny Flynn drifted through the air along with the smells of barbecued sausages. Queuing aside, we were happy.

Ciders in hand we weaved through camping chairs and stepped apologetically over blankets, occasionally catching the odd sandaled foot or splashing a little cider over a resting head… all part of the joy of festivalling, we found a spot, lay the blanket on the ground just in time for Laura Marling to take to the stage. ‘Afternoon everyone!’ Laura’s soothing voice echoed over the masses, ‘what a day!’…. people woo’d and clapped and cheered. In two years, Marling’s voice and lyrics have matured from pretty ditties to soulful folk… and her performance this weekend reeled in an eclectic crowd. Folk of all ages stood, eyes fixed and humming and Marling’s voice resonated. Songs from Marling’s latest album I Speak Because I Can mixed with original tracks from My Manic and I had us reminiscing, spinning around and singing-along.

Between sets we ate, drank and lay gazing into the brilliant blue ether… catching a bit of celebrity football, Mumford & Sons giving it their best. Seasick Steve was next up, and took to the stage with crowds-a-roaring. Unfortunately, due to minor sunstroke, we weren’t around for the whole set, but from what we saw, as always Seasick gave a cracking performance.

Mumford & Sons belted out there emotive country-inspired folk, now well-known from their vast radio coverage, and had the audience fixed. Looking and sounding the part, and slotting in perfectly to the Hop Farm scene.

Whilst queuing for a lamb kofta and chatting to a wonderful lady who lives on a pig farm in Cambridgeshire, who told me stories of her days as a festival queen in the 70s… (she was so small she used to crouch on the loo seat, feet on the seat – to avoid sitting on it… little ladies – take note!) Ray Davies performed and it came as pleasant surprise to hear the well-known Kinks records: Lola, You Really Got Me and all the rest. At the age of 66, Ray’s voice carried across fields, still very much in tact.

Last but not least, good old Bob Dylan appeared on stage, his (very) husky tones hooking the expectant field of fans, and taking them on a tumultuous journey through a plethora of songs steeped in sentiment.

Finally, an incredible set from Devendra Banhart ensued; no longer the long-haired folky-dolky guy that once plucked at our heartstrings, Devendra has completely reinvented his style: short-back-and-sides, checked shirt and long yellow cardie buttoned up; the sounds were funky and playful, his voice endearing and still with that jagged edge that made him famous. Even a few Roxy Music covers were thrown in to get us grooving. We danced until the cows came home.

All in all, a grand day out. Thank you Hop Farm!


Illustrations by Jenny Costello

With businesses struggling to survive through the recession armageddon, this site a few innovative individuals are thriving, using their imagination and collaborations with other creatives to succeed. Sarah Bagner, or ‘Supermarket Sarah‘ transformed a wall of her own home into a window dresser’s dream; featuring both vintage finds and handmade creations from the likes of Donna Wilson. Inviting shoppers into her home for tea and cake has gained her such a following that Selfridges even invited her to curate a wall for them.


Supermarket Sarah, illustrated by Emma Block

Her latest collaboration is with the queens of cool, Tatty Devine, whose Brick Lane store has been transformed into an Aladdin’s cave of Sarah’s goodies. Tatty Devine is also famous for pioneering the collaborative spirit, teaming up with the likes of Rob Ryan, Charlie le Mindu and Mrs Jones to make their iconic statement jewellery ranges. Last night fellow creatives Fred Butler and Anna Murray were spinning some tunes on the decks, whilst cupcakes were supplied by Fifi and Lola.

I snapped Sarah wearing her Tatty Devine ‘Supermarket Sarah’ necklace in front of her wall which will soon be online here. The installation will be in store until the 16th August, alongside Tatty Devine’s regular stock which is currently on sale. This is your one stop shop for sorting your festival outfits; grab some neck candy from Tatty Devine and something from Sarah’s vintage dressing up box and you’re set! 

Photographs by Katie Antoniou

With businesses struggling to survive through the recession armageddon, site a few innovative individuals are thriving, order using their imagination and collaborations with other creatives to succeed. Sarah Bagner, store or ‘Supermarket Sarah’ transformed a wall of her own home into a window dresser’s dream; featuring both vintage finds and handmade creations from the likes of Donna Wilson. Inviting shoppers into her home for tea and cake has gained her such a following that Selfridges even invited her to curate a wall for them.

Her latest collaboration is with the queens of cool, Tatty Devine, whose Brick Lane store has been transformed into an Aladdin’s cave of Sarah’s goodies. Tatty Devine is also famous for pioneering the collaborative spirit, teaming up with the likes of Rob Ryan, Charlie le Mindu and Mrs Jones to make their iconic statement jewellery ranges. Last night  fellow creatives Fred Butler and Anna Murray were spinning some tunes on the decks, whilst cupcakes were supplied by Fifi and Lola. I snapped Sarah wearing her Tatty Devine ‘Supermarket Sarah’ necklace in front of her wall which will soon be online here. The installation will be in store until the 16th August, alongside Tatty Devine’s regular stock which is currently on sale. This is your one stop shop for sorting your festival outfits; grab some neck candy from Tatty Devine and  something from Sarah’s vintage dressing up box and you’re set! 
Sheep Latitude Tim Adey
Photography by Tim Adey.

Last time I went to Latitude it was a mere toddler of a festival… way back in 2007 it was still possible to roam freely amongst thin crowds and I remember commenting back then that the secret wouldn’t last long. 30, treat 000 people attended the fifth Latitude, drug held in the rolling wooded grounds of Henham Park which belong to an eccentric sheepfarming millionaire known as the Aussie Earl. Every year the sheep are famously dyed various shades of pastel then penned into small enclosures surrounded by signs Do Not Feed The Sheep. There’s something quite ironic in the exoticisation of such a common animal, stomach but then again most middle class urbanites have little cause for close contact with their food. Reading through tweets on my way to the festival I laughed at one suggestion that a bunch of hippies were clogging up the local roads… nothing could be further from the truth. Latitude is famously the home of the well read intellectual classes, a fact which was mentioned on repeat throughout the whole festival.

Nigel kennedy by Jenny Costello
Nigel Kennedy by Jenny Costello.

Despite a lack of line up on Thursday evening most punters had already set up camp by the time we arrived. Like Glastonbury, early crowds baying for entertainment guaranteed a packed audience for the few shows being staged. Our first stop was Nigel Kennedy, playing with The Orchestra of Life and visiting Polish musicians on the Lake Stage: the gig was attended by an all age crowd, a significant feature of the entire festival. Nigel romped through a selection of Duke Ellington jazz standards before crashing into a barndancing favourite that had the crowd hooting in delight. In between he flirted salaciously with a lady in the crowd and swore copiously. As Radio 1 DJ Colin Murray was later overheard saying – it’s a pity Nigel has to open his mouth. It was a bit like Madonna at the Turner Prize trying a bit too hard to be hard. But I liked the ceilidh classic – more of that please. Try as I might I just can’t get into the jazz thing.

Paul-Shinn-Latitude-crowds
Latitude crowds by Paul Shinn.

Large parts of Henham Park forest have been opened up to accommodate more theatre, and down amongst the towering trees we were ushered into the heaving theatre arena for Les Enfants Terribles: The Vaudevillians. It was certainly terrible. Despite being billed as “a unique and exciting night out” I was only able to watch ten minutes before I was so bored and unexcited out of my brain that we had to leave.

Latitude flags Tim Adey
A pretty picture of flags at Latitude. Photography by Tim Adey.

Instead we paid a visit to Robin Ince in the Literary Arena. Robin Ince is the literary high priest of Latitude – he was holding court whenever I went past despite his assertion (in my recent interview with him) that he would be spending less time on stage this year. Joining him were a wide range of comedians and writers over the course of the festival, and it made me smile to hear him delivering more of his climate change material to a packed audience.

Abby-Wright-Tom-Jones
Tom Jones by Abby Wright.

Tom Jones sans hair dye was of course the big act to appear on Thursday night – clearly a last minute addition designed to promote his new album Praise & Blame. Even before we approached the lake I realised we might have trouble attending his bijoux gig on the In The Woods stage. Many thousands of people + small stage = frustrated pile up. We took the back route up to the guest area where we listened from behind the fence once they had sorted out screeching feedback, and could just discern a frenzy of enthusiastic front row teenagers screaming Sex Bomb. There was to be no Sex Bomb. One man was overheard commenting that his new bluesy songs sounded “like Johnny Cash on a downer”, but I quite liked them. Security spent the whole gig shining torches at anyone who dared get close the fence. Since I couldn’t see anything I fell asleep on the ground. Thanks for the soothing lullabies Tom.

I’ve reviewed all other days according to genre. Why not get started on my Friday Music Review here?

Categories ,Abby Wright, ,Barndancing, ,blues, ,ceilidh, ,Duke Ellington, ,In The Woods, ,jazz, ,Jenny Costello, ,Johnny Cash, ,Lake Stage, ,Latitude Festival, ,Literary Arena, ,Madonna, ,Nigel Kennedy, ,Paul Shinn, ,Praise & Blame, ,Robin Ince, ,Sex Bomb, ,The Orchestra of Life, ,Tim Adey, ,Tom Jones, ,Turner Prize

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Amelia’s Magazine | Music Listings: 5th – 11th October

work_hiorns_seizure

Turner Prize

Enrico David, information pills Roger Hiorns, Lucy Skaer and Richard Wright are the lucky shortlisted ones on the Turner Prize’s notepad this year and it’s been noted that the Prize has gone for less shock and awe than usual, resulting in a more thoughtful set of works on show. You will probably have at least heard of Roger Hiorns via his incredible work coating an entire flat in blue crystals.But it’s not about the fame of course. From Tuesday, you can go along to the Tate Britain and see for yourself.

wolf-hall

Booker Prize
Announced Tuesday

The 2009 Booker prize shortlist is full of big-hitters, in the form of Sarah Waters (The Little Stranger), JM Coetzee (Summertime) and A.S. Byatt (The Children’s Book), as well as historical fiction from Hilary Mantel (Wolf Hall) and lesser known authors Adam Foulds (The Quickening Maze) and Simon Mawer (The Glass Room). If you’re not sure what to read next the Booker shortlist is always a good place to get ideas outside of lists of the 100 Greatest Books of All Time. If you’re quick enough to have read them all already, look out for the winner announcement on Tuesday to see if you, in your wisdom, agree with the judges’ decision.

Grayson~Perry~

Grayson Perry’s Walthamstow tapestry

Grayson Perry is trying his hand at something other than ceramics with his “Walthamstow Tapestry”, an amazing, detailed piece of work a bit like a Bayeaux Tapestry for 2009. They cared about war, we care about shopping, it seems. Perry examines our consumerism but has also made something that is anti-consumerist: a one-off object that is the opposite of fast fashion or instant gratification.

Cloud-Gate-Theatre-Lin-Hw-001

Dance Umbrella

In recent years we’ve all rediscovered how amazing it is to watch and do dancing that is more involved than shuffling from one foot to the other while hoping that person over there will notice you. A big part of this change, other than Strictly of course, is Dance Umbrella. The influential dance festival-makers annual season kicks off this week, with the theme “African Crossroads”. They are staging performances and “days out” where you can get a little taster of lots of the shows going on around London over the next few weeks.

origin london craft fair

Origin London Craft Fair

There’s something special about an item that’s been made with love by another human being and not just generated by a machine or made under duress in a sweatshop. All the 300-odd artisans at this craft fair at Somerset House make beautiful pieces that are worth treasuring or just getting inspiration for your own Autum projects from.
fuck-buttons

Monday 5th October, web Fuck Buttons, Rough Trade East

The excellent, abrasive yet sublimely melodic electronic duo, Fuck Buttons, who we reviewed last week, play cuts from their much-anticipated Andy ‘great name’ Weatherall produced second album ‘Tarot Sport.’

fanfarlo1

Tuesday 6th October, Fanfarlo, Bush Hall

If your bones are composed of Beirut and Teitur then you’ll enjoy the musical flesh of epic London orchestral folk-popsters, Fanfarlo.

pixies

Wednesday 7th October, Pixies, Brixton Academy

With what seems like an influential band anniversary reunion a week, this week it’s the turn of Frank Black to reSurface-r Rosa with his oddball bandmates, to play 20 yr old Doolittle in its entirety.

Wild+Beasts

Thursday 8th October, Wild Beasts, The Garage

We’re great fans of Wild Beasts’ elegant indie-tronica here at Amelia’s Magazine and singer Hayden Thorpe’s falsetto vocals in partilcular. Tonight, they celebrate the release of their stonking new album ‘Two Dancers’.

green kite midnight

Friday 9th October, Dance Yourself Happy, Round Chapel

Raising money for the Great Climate Swoop on 17 – 18 October, Amelia’s very own Ceilidh band, Green Kite Midnight, provide a stomping musical soundtrack to a really good night out.

johnpeel

Saturday 10th October, World John Peel Day, Bloomsbury Bowling Lanes

Twenty acts and fourteen DJs over two floors equates to a mini-festival celebrating the late great DJ John Peel. You get the feeling with many a Peel dedication that he would actually back a small percentage of the line-up, but we’re sure there’s something amongst this eclectic mix – that’d feature on his posthumous playlist. If not, bowling if fun I hear.

Nick_Cave

Sunday 11th October, Nick Cave reads from ‘The Death Of Bunny Munroe,’ Palace Theatre

Close your week in an unconventional manner, with gangly goth punk stalwart Cave as he reads excerpts from his new book and performs with the Bad Seeds, Warren Ellis and Martyn Casey.

Categories ,beirut, ,ceilidh, ,electro, ,fanfarlo, ,folk, ,fuck buttons, ,gig, ,goth, ,Green Kite Midnight, ,Indie, ,john peel, ,listings, ,live, ,Nick Cave, ,Nick Cave and the Bad Seeds, ,pixies, ,pop, ,teitur, ,Wild Beasts

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Amelia’s Magazine | Glastonbury 2010 Climate Camp Tripod Stage Review: Thursday

june-chanoomidole-jon-young art of mentoring
Jon Young by June Chanpoomidole.

Next week I am away yet again, drug generic this time on the Art of Mentoring course being run for the very first time in the UK by tracker Jon Young, information pills medical founder of the Wilderness Awareness School. Jon Young was personally mentored by the American wilderness guru Tom Brown, help Jr. and is an expert in bird language, alongside an old friend of mine Alex Travers (known as Feathers) who will also be on the course.

For the past 25 years Jon Young has taught groups and individuals how to create a positive vision for the future through a deeper sense of community and connection to nature. To say I am excited about the opportunity to spend a week learning mentoring skills from Jon Young alongside fellow teachers, Mark Morey and Evan McGown, (a nature based poet and musician who co-authored The Coyote’s Guide to Connecting With Nature with Jon Young) would be an understatement.

june-chanpoomidole-jon-young gerry brady
Jon Young plays the bones with Gerry Brady, by June Chanpoomidole.

I got to meet the sparkly eyed Jon Young – who like me is a big fan of barn dancing as a way of bringing people together – when he visited London a few months ago to give a talk in a darkened room at the top of a pub in north london.

The evening was an informal occasion peppered with frequent anecdotes from Jon’s Native American friend Paul Raphael, Peacemaker of the Odawa tribe, and finishing with some acapella singing accompanied on the “bones” by long lost Irish friend Gerry Brady.

june-chanpoomidole-jon-young maeve gavin
Organiser Maeve Gavin with Paul Raphael, by June Chanpoomidole.

Here is what I learnt…

Nature connection works best in a community setting.
Many of us have lost touch with animals and the earth but it’s easy to trigger subconscious feelings of connection. This is not about passing an ecology literacy test because everyone loves trees on an energetic level… but the woods can be scary so we need people with us along the way. How can we recreate these communities?

Greetings customs and rituals matter.
Greetings have been profoundly important for many eons of humanity – sometimes being so elaborate they could take days. Even though you are lucky if you get much of a greeting in New Jersey they have become more careful, sincere and authentic since 9/1, even from those you might expect to be grumpy. Everyone feels that needs to be welcomed and able to express themselves without pressure.

WillaGebbie_baggyclothes
Illustration by Willa Gebbie.

It is possible to create new rituals to suit us today.
The youth today carry the subconscious weight of their woes in over-sized clothes, but Jon has mentored both privileged and deprived children and all of them thrive when given space to express themselves. He recounts the story of a scholar from the best family and school in town, forever struggling to stay the best in his class, and thoroughly depressed as a result. After a few months of mentorship with Jon he tearfully declared that he was finally able to be himself and went on to became a mentor to the younger kids. Greeting customs can forge strong bonds and that is why the elaborate bonding rituals of gangs are so successful.

Everyone needs to feel recognised and blessed, at every age.
Young people need affirmation but so do their parents, many of whom will have missed out on it themselves as youngsters. If all generations are not cared for there are likely to be cultural gaps that can cause problems; for example a whole generation can feel threatened or alienated, and the worst outcome of this could be the sabotaging of change.

Maple Syrup as teacher.
When Paul’s family makes maple syrup they thank the trees with a special ceremony before boiling up the sap. This is a delicate operation that takes 2-3 whole days of pan-watching, for if the sap burns it will spoil, which is tantamount to violating the laws of nature. If this happens it will haunt you, but you will learn. As such it is an ideal teaching tool, especially for young men.

WillaGebbie_Paul Raphael
Paul Raphael as mushroom picker by Willa Gebbie.

Remember to leave the seeds behind when picking morel mushrooms.
Paul lives life by the seasons, and has just two short weeks to pick morel mushrooms from a special place in the woods – unfortunately it’s impossible to keep his spot secret in a small community. He carries the mushrooms home in knitted orange bags that allow the seeds to fall to the ground; that way ensuring a crop for the following year. So much ancestral knowledge has been lost that some of the kids make huge amounts of noise crashing through the wilderness. Even in Paul’s community there is much disconnection from nature, and he spends much of his time finding ways to empower the elders.

The government can learn from Hurricane Iniki, which hit Hawaii in 1992.
This huge hurricane stripped houses from their foundations and denuded vegetation, yet only six people died. It took the government nine days to get aid out to Hawaii, but instead of panic officials were met by people at the docks who did not want to fix things too quickly, because then they would have to return to work. Everyone was relaxing, taking it easy, having BBQs and helping each other. Because of interwoven cultural relations present before the storm there was a built in community resilience that meant the people responded collectively as one living organism, instead of separate units. Here is a lesson in how to cope during disasters.

Jon was taught to play the bones twenty years ago when he last met Gerry (then working as a labourer on the East Coast), and has since taught Paul how to play the bones too. Here’s a video of the three of them singing together. Cross generational and cultural mentoring in action!

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You can read another account of the night here. I am looking forward to learning so much more next week. See you on the other side.

Amelia’s Magazine second post on the Royal College 2010 Show Two deviates from the previous’ focus on Climate Change, adiposity finding ourselves mesmerised by Design Interaction Student, Kjen Williams’ Weather Camera.

A beautiful alternative to the avalanche of public private data currently building within the corridors of the web. The Weather Camera can be used to record a special moment’s atmospheric conditions. Subsequently producing a new method of narration.

Described as a moment of empowerment, Becky Pilditch‘s prothestics showcase how functional pieces of designs can be both a thing of beauty and self expression, that these can be extensions of the wearer’s personality.

Hand 8 the final part of the project, played with ideas of gesture and personality by creating numerous arms that related to the way Holly acted as she spoke.

In Animation I discovered the wonderful sleeplike animation of Lauri Warsta, titled ….. the animation merged the borders between surreal dream and documentary as the calming voice, not too dissimilar to the 1940′s DONT PANIC! voiceover narrated the viewer through the reporting on a global reserves of dreams.

Adnan Lalani‘s experiment with augmented reality caught my eye; the action of turning the pages of a pop up book to read the story is suplimented by additional animation narration appearing on screen placed directly behind the book and inline with the viewers eye.

The eye catching work by Louise O’Conner (Design Interaction); used experimental dance to convey the movement of Atoms as an attempt to connect us to movements beyond our awareness.

A particular lovely idea was the mapping out of the distances of the solar system along Kingsland High Street leading up to Stamford Hill.

Photography by Mark Henderson

You can find the map and information about the project here:

Katrin Baumgarten’s Aesthetics of disgust explore’s humans relationship, both emotional and physical to things that disgust them. Using inanimate objects that we take for granted, such as Light Switches, Kartin has added disturbing features as displayed in the pictures below. In the installation at the RCA a screen documents the reaction of the user.

Intimate touch or sexual disgust is also explored by Katrina

FINALLY on my second trip (yes second, it’s that big and really worth the time) I came across the brilliant work of Sivaprakash Shanmugam’s Expressive Scribble. The idea being to encourage children’s creativity and to “enrich their visual vocabulary.” Children can draw onto the projector screen (ideally this could be the kitchen floor, wall etc…) and through clicking on the ‘movie’ button enable their drawings to come to life, whilst learning a sense of narrative and the multiple possibilities drawing can conjure up….

Part two of the RCA show continues until 4th July 2010. It’s open from 11-8 daily at the Royal College of Art, Kensington Gore, London SW7 2EU. Admission is free.

Images Courtesy of the Students and addition photographs by Sally Mumby-Croft

Amelia’s Magazine second post on the Royal College 2010 Show Two deviates from Climate Change, help finding ourselves mesmerised by Design Interaction Student, seek Kjen Wilkens’ Weather Camera.

What is the impact on our relationship to a world where mechanical objects interpret our daily surroundings through a variety of sensor monitors, subsequently producing endless streams of data? Are we moving into the final phrase of Walter Benjamin’s The Work of Art in the Age of Mechanical Reproduction? Kjen Wilkins The Weather Camera. is a response to the designers search for the human presence within this deluge of electronic readings of our environmental surroundings. Instead of taking a photograph to a record of a special moment, the user of The Weather Camera could record the atmospheric conditions instead. In time this may encourage new methods of narration, titled by the designer as “Sensor Poetics” and documented in the image below.

Described as “object of empowerment”, Becky Pilditch‘s prothestics showcase how functional pieces of designs can be both a thing of beauty an extension of the wearer’s personality. Becky worked on the project with Holly Franklin, what I really like about the project is the development of a blog that can be used by other prosthetic limb users to feed back directly into the project.

Hand 8 the final part of the project, played with ideas of gesture and personality by creating numerous arms that related to Holly’s actions as she spoke or moved around a space.

In Animation there awaited Lauri Warsta’s Traumdeutung. A wonderful animation baring the hallmarks (whatever that may mean…) of a “documentary” as the calming voiceover, not too dissimilar to the 1940′s DONT PANIC! voiceover narrated the viewer through the date currently available on the subject of the animation: The Global Reserves of Dreams. Whilst simultaneously bearing the possibility that the entire animation is a dream itself.

The subtle block coloring of the animation maintained a ‘warmth’ more similar to hand drawn animation, that can sometimes be lost in 3D animation. An outcome perhaps of the animator combining ” making the two extremes (3D and Handmade) clash and merge. For example, by bringing the uncontrollable movement of real hand-held footage to an otherwise sterile computer animation”

Adnan Lalani‘s experiment with augmented reality caught my eye; the action of turning the pages of a pop up book to read the story is suplimented by additional animation narration appearing on screen placed directly behind the book and inline with the viewers eye.

Below is the Pop Up Book’s Prototype, Adnan kindly took a few moments to explain the idea behind combining the narrative structure of a pop up book with Augmented reality: “The pop-up book felt like a natural compliment to augmented reality. I was hoping to see how AR could be used in a more tactile, playful context… i.e. take something we already know and play with, and allow it to be enhanced with animation and digital interactivity.”

RCA Work In Progress Show – Pop Up Book Prototype Documentation from adnan lalani on Vimeo.

Eventually Adnan hopes that as we grow more comfortable with the idea of Augmented Reality, ideas like the Pop Up book ” can allow a progression from the magical, novelty nature of AR, into more of a direct tool by which to communicate narratives and story telling”

The eye catching work by Louise O’Conner (Design Interaction); used experimental dance to convey the movement of Atoms as an attempt to connect us to movements beyond our awareness.

A particular lovely idea was the mapping out of the distances of the solar system along Kingsland High Street leading up to Stamford Hill. Eight Shopkeepers were asked if their shop would host one of the planets…

Photography by Mark Henderson

You can find the map and information about the project here:

Katrin Baumgarten’s Aesthetics of Disgust explore’s humans relationship, both emotional and physical to things that disgust us. Using inanimate objects that we take for granted, such as Light Switches, Kartin added disturbing features displayed in the pictures below. Thus bringing these inanimate objects to the forefront of our attention.

In the installation at the Royal College of Art a screen documents the levels of the reaction of each user.

Intimate touch or sexual disgust is and how these feelings can be created “merely by inappropriate behaviours in society, such as touching another person in an intimate or sexual way in public, even though that might comfort the two persons involved and is a part of our human nature.” Is another subject explored by Katrina producing the Intimate Touch Object, an item which enables you to touch another person secretly…

FINALLY on my second trip (yes second, it’s that big and really worth the time) I came across the brilliant work of Sivaprakash Shanmugam’s Expressive Scribble. The idea being to encourage children’s creativity and to “enrich their visual vocabulary.” Children can draw onto the projector screen (ideally this could be the kitchen floor, wall etc…) and through clicking on the ‘movie’ button enable their drawings to come to life, whilst learning a sense of narrative and the multiple possibilities drawing can conjure up….

Part two of the RCA show continues until 4th July 2010. It’s open from 11-8 daily at the Royal College of Art, Kensington Gore, London SW7 2EU. Admission is free.

Images Courtesy of the Students and addition photographs by Sally Mumby-Croft

Amelia’s Magazine second post on the Royal College 2010 Show Two deviates from the subject of Climate Change, viagra order finding ourselves mesmerised by Design Interaction Student, this site Kjen Wilkens’ Weather Camera.

What is the impact on our relationship to a world where mechanical objects interpret our daily surroundings through a variety of sensor monitors, subsequently producing endless streams of data? Are we moving into the final phrase of Walter Benjamin’s The Work of Art in the Age of Mechanical Reproduction? Kjen Wilkins The Weather Camera. is a response to the designers search for the human presence within this deluge of electronic readings of our environmental surroundings. Instead of taking a photograph to a record of a special moment, the user of The Weather Camera could record the atmospheric conditions instead. In time this may encourage new methods of narration, titled by the designer as “Sensor Poetics” and documented in the image below.

Described as “object of empowerment”, Becky Pilditch‘s prothestics showcase how functional pieces of designs can be both a thing of beauty an extension of the wearer’s personality. Becky worked on the project with Holly Franklin, what I really like about the project is the development of a blog that can be used by other prosthetic limb users to feed back directly into the project.

Hand 8 the final part of the project, played with ideas of gesture and personality by creating numerous arms that related to Holly’s actions as she spoke or moved around a space.

In Animation there awaited Lauri Warsta’s Traumdeutung. A wonderful animation baring the hallmarks (whatever that may mean…) of a “documentary” as the calming voiceover, not too dissimilar to the 1940′s DONT PANIC! voiceover narrated the viewer through the date currently available on the subject of the animation: The Global Reserves of Dreams. Whilst simultaneously bearing the possibility that the entire animation is a dream itself.

The subtle block coloring of the animation maintained a ‘warmth’ more similar to hand drawn animation, that can sometimes be lost in 3D animation. An outcome perhaps of the animator combining ” making the two extremes (3D and Handmade) clash and merge. For example, by bringing the uncontrollable movement of real hand-held footage to an otherwise sterile computer animation”

Adnan Lalani‘s experiment with augmented reality caught my eye; the action of turning the pages of a pop up book to read the story is suplimented by additional animation narration appearing on screen placed directly behind the book and inline with the viewers eye.

Below is the Pop Up Book’s Prototype, Adnan kindly took a few moments to explain the idea behind combining the narrative structure of a pop up book with Augmented reality: “The pop-up book felt like a natural compliment to augmented reality. I was hoping to see how AR could be used in a more tactile, playful context… i.e. take something we already know and play with, and allow it to be enhanced with animation and digital interactivity.”

RCA Work In Progress Show – Pop Up Book Prototype Documentation from adnan lalani on Vimeo.

Eventually Adnan hopes that as we grow more comfortable with the idea of Augmented Reality, ideas like the Pop Up book ” can allow a progression from the magical, novelty nature of AR, into more of a direct tool by which to communicate narratives and story telling”

The eye catching work by Louise O’Conner (Design Interaction); used experimental dance to convey the movement of Atoms as an attempt to connect us to movements beyond our awareness.

A particular lovely idea was the mapping out of the distances of the solar system along Kingsland High Street leading up to Stamford Hill. Eight Shopkeepers were asked if their shop would host one of the planets…

Photography by Mark Henderson

You can find the map and information about the project here:

Katrin Baumgarten’s Aesthetics of Disgust explore’s humans relationship, both emotional and physical to things that disgust us. Using inanimate objects that we take for granted, such as Light Switches, Kartin added disturbing features displayed in the pictures below. Thus bringing these inanimate objects to the forefront of our attention.

In the installation at the Royal College of Art a screen documents the levels of the reaction of each user.

Intimate touch or sexual disgust is and how these feelings can be created “merely by inappropriate behaviours in society, such as touching another person in an intimate or sexual way in public, even though that might comfort the two persons involved and is a part of our human nature.” Is another subject explored by Katrina producing the Intimate Touch Object, an item which enables you to touch another person secretly…

FINALLY on my second trip (yes second, it’s that big and really worth the time) I came across the brilliant work of Sivaprakash Shanmugam’s Expressive Scribble. The idea being to encourage children’s creativity and to “enrich their visual vocabulary.” Children can draw onto the projector screen (ideally this could be the kitchen floor, wall etc…) and through clicking on the ‘movie’ button enable their drawings to come to life, whilst learning a sense of narrative and the multiple possibilities drawing can conjure up….

Part two of the RCA show continues until 4th July 2010. It’s open from 11-8 daily at the Royal College of Art, Kensington Gore, London SW7 2EU. Admission is free.

Images Courtesy of the Students and addition photographs by Sally Mumby-Croft

Amelia’s Magazine second post on the Royal College 2010 Show Two deviates from the subject of Climate Change, prostate finding ourselves mesmerised by Design Interaction Student, Kjen Wilkens’ Weather Camera.

What is the impact on our relationship with the environment, when we exist in a world where mechanical objects and sensor monitors constantly interpret our daily surroundings; producing endless streams of data? Are we moving into the final phrase of Walter Benjamin’s The Work of Art in the Age of Mechanical Reproduction? Kjen Wilkins The Weather Camera. is a response to the designer’s search for a human presence within a deluge of electronic readings of the environment. Instead of taking a photograph to a record of a special moment, the user of The Weather Camera could record the atmospheric conditions instead. In time this may encourage new methods of narration, titled by the designer as “Sensor Poetics” and documented in the image below.

Described as “object of empowerment”, Becky Pilditch‘s prothestics showcase how functional pieces of designs can be both a thing of beauty an extension of the wearer’s personality. Becky worked on the project with Holly Franklin, what I really like about the project is the development of a blog that can be used by other prosthetic limb users to feed back directly into the project.

Hand 8 the final part of the project, played with ideas of gesture and personality by creating numerous arms that related to Holly’s actions as she spoke or moved around a space.

In Animation there awaited Lauri Warsta’s Traumdeutung. A wonderful animation baring the hallmarks (whatever that may mean…) of a “documentary” as the calming voiceover, not too dissimilar to the 1940′s DONT PANIC! voiceover narrated the viewer through the date currently available on the subject of the animation: The Global Reserves of Dreams. Whilst simultaneously bearing the possibility that the entire animation is a dream itself.

The subtle block coloring of the animation maintained a ‘warmth’ more similar to hand drawn animation, that can sometimes be lost in 3D animation. An outcome perhaps of the animator combining ” making the two extremes (3D and Handmade) clash and merge. For example, by bringing the uncontrollable movement of real hand-held footage to an otherwise sterile computer animation”

Adnan Lalani‘s experiment with augmented reality caught my eye; the action of turning the pages of a pop up book to read the story is suplimented by additional animation narration appearing on screen placed directly behind the book and inline with the viewers eye.

Below is the Pop Up Book’s Prototype, Adnan kindly took a few moments to explain the idea behind combining the narrative structure of a pop up book with Augmented reality: “The pop-up book felt like a natural compliment to augmented reality. I was hoping to see how AR could be used in a more tactile, playful context… i.e. take something we already know and play with, and allow it to be enhanced with animation and digital interactivity.”

RCA Work In Progress Show – Pop Up Book Prototype Documentation from adnan lalani on Vimeo.

Eventually Adnan hopes that as we grow more comfortable with the idea of Augmented Reality, ideas like the Pop Up book ” can allow a progression from the magical, novelty nature of AR, into more of a direct tool by which to communicate narratives and story telling”

The eye catching work by Louise O’Conner (Design Interaction); used experimental dance to convey the movement of Atoms as an attempt to connect us to movements beyond our awareness.

A particular lovely idea was the mapping out of the distances of the solar system along Kingsland High Street leading up to Stamford Hill. Eight Shopkeepers were asked if their shop would host one of the planets…

Photography by Mark Henderson

You can find the map and information about the project here:

Katrin Baumgarten’s Aesthetics of Disgust explore’s humans relationship, both emotional and physical to things that disgust us. Using inanimate objects that we take for granted, such as Light Switches, Kartin added disturbing features displayed in the pictures below. Thus bringing these inanimate objects to the forefront of our attention.

In the installation at the Royal College of Art a screen documents the levels of the reaction of each user.

Intimate touch or sexual disgust is and how these feelings can be created “merely by inappropriate behaviours in society, such as touching another person in an intimate or sexual way in public, even though that might comfort the two persons involved and is a part of our human nature.” Is another subject explored by Katrina producing the Intimate Touch Object, an item which enables you to touch another person secretly…

FINALLY on my second trip (yes second, it’s that big and really worth the time) I came across the brilliant work of Sivaprakash Shanmugam’s Expressive Scribble. The idea being to encourage children’s creativity and to “enrich their visual vocabulary.” Children can draw onto the projector screen (ideally this could be the kitchen floor, wall etc…) and through clicking on the ‘movie’ button enable their drawings to come to life, whilst learning a sense of narrative and the multiple possibilities drawing can conjure up….

Part two of the RCA show continues until 4th July 2010. It’s open from 11-8 daily at the Royal College of Art, Kensington Gore, London SW7 2EU. Admission is free.

Images Courtesy of the Students and addition photographs by Sally Mumby-Croft

Amelia’s Magazine second post on the Royal College 2010 Show Two deviates from the subject of Climate Change, case finding ourselves mesmerised by Design Interaction Student, order Kjen Wilkens’ Weather Camera.

What is the impact on our relationship with the environment, page when existing in a world where mechanical objects and sensor monitors constantly interpret our daily surroundings, producing endless streams of data? Are we moving into the final phrase of Walter Benjamin’s The Work of Art in the Age of Mechanical Reproduction? Kjen Wilkins The Weather Camera. is a response to the designers search for the human presence within this deluge of electronic readings of our environmental surroundings. Instead of taking a photograph to a record of a special moment, the user of The Weather Camera could record the atmospheric conditions instead. In time this may encourage new methods of narration, titled by the designer as “Sensor Poetics” and documented in the image below.

Described as “object of empowerment”, Becky Pilditch‘s prothestics showcase how functional pieces of designs can be both a thing of beauty an extension of the wearer’s personality. Becky worked on the project with Holly Franklin, what I really like about the project is the development of a blog that can be used by other prosthetic limb users to feed back directly into the project.

Hand 8 the final part of the project, played with ideas of gesture and personality by creating numerous arms that related to Holly’s actions as she spoke or moved around a space.

In Animation there awaited Lauri Warsta’s Traumdeutung. A wonderful animation baring the hallmarks (whatever that may mean…) of a “documentary” as the calming voiceover, not too dissimilar to the 1940′s DONT PANIC! voiceover narrated the viewer through the date currently available on the subject of the animation: The Global Reserves of Dreams. Whilst simultaneously bearing the possibility that the entire animation is a dream itself.

The subtle block coloring of the animation maintained a ‘warmth’ more similar to hand drawn animation, that can sometimes be lost in 3D animation. An outcome perhaps of the animator combining ” making the two extremes (3D and Handmade) clash and merge. For example, by bringing the uncontrollable movement of real hand-held footage to an otherwise sterile computer animation”

Adnan Lalani‘s experiment with augmented reality caught my eye; the action of turning the pages of a pop up book to read the story is suplimented by additional animation narration appearing on screen placed directly behind the book and inline with the viewers eye.

Below is the Pop Up Book’s Prototype, Adnan kindly took a few moments to explain the idea behind combining the narrative structure of a pop up book with Augmented reality: “The pop-up book felt like a natural compliment to augmented reality. I was hoping to see how AR could be used in a more tactile, playful context… i.e. take something we already know and play with, and allow it to be enhanced with animation and digital interactivity.”

RCA Work In Progress Show – Pop Up Book Prototype Documentation from adnan lalani on Vimeo.

Eventually Adnan hopes that as we grow more comfortable with the idea of Augmented Reality, ideas like the Pop Up book ” can allow a progression from the magical, novelty nature of AR, into more of a direct tool by which to communicate narratives and story telling”

The eye catching work by Louise O’Conner (Design Interaction); used experimental dance to convey the movement of Atoms as an attempt to connect us to movements beyond our awareness.

A particular lovely idea was the mapping out of the distances of the solar system along Kingsland High Street leading up to Stamford Hill. Eight Shopkeepers were asked if their shop would host one of the planets…

Photography by Mark Henderson

You can find the map and information about the project here:

Katrin Baumgarten’s Aesthetics of Disgust explore’s humans relationship, both emotional and physical to things that disgust us. Using inanimate objects that we take for granted, such as Light Switches, Kartin added disturbing features displayed in the pictures below. Thus bringing these inanimate objects to the forefront of our attention.

In the installation at the Royal College of Art a screen documents the levels of the reaction of each user.

Intimate touch or sexual disgust is and how these feelings can be created “merely by inappropriate behaviours in society, such as touching another person in an intimate or sexual way in public, even though that might comfort the two persons involved and is a part of our human nature.” Is another subject explored by Katrina producing the Intimate Touch Object, an item which enables you to touch another person secretly…

FINALLY on my second trip (yes second, it’s that big and really worth the time) I came across the brilliant work of Sivaprakash Shanmugam’s Expressive Scribble. The idea being to encourage children’s creativity and to “enrich their visual vocabulary.” Children can draw onto the projector screen (ideally this could be the kitchen floor, wall etc…) and through clicking on the ‘movie’ button enable their drawings to come to life, whilst learning a sense of narrative and the multiple possibilities drawing can conjure up….

Part two of the RCA show continues until 4th July 2010. It’s open from 11-8 daily at the Royal College of Art, Kensington Gore, London SW7 2EU. Admission is free.

Images Courtesy of the Students and addition photographs by Sally Mumby-Croft

Glastonbury 2010 Climate Camp Anna Log

Bands bands bands…. how did I luck out with such a great selection for our Climate Camp Tripod Stage? Well, I can only conclude that the universe conspired to provide so brilliantly because the PRs I speak to about music for Amelia’s Magazine are PRs who share my taste in music. Many of the bands that performed for us were not ones I had heard of before, shop but without exception they all sat on a scale of varying levels of brilliant. Some played exclusively for us – jumping at the opportunity to play at the biggest music festival in the world despite being there on a punter’s ticket or working elsewhere. Others were also due to play the BBC Introducing stage or other much bigger and more prominent stages, and I like to think that we offered a bit of a warm up for them… it was certainly toasty hot on our south facing stage.

Glastonbury 2010 Climate Camp Anna Log
Glastonbury 2010 Climate Camp Anna Log

First up on Thursday we had Anna Log, erstwhile singer and uke player with We Aeronauts. In September she moves to Oxford, where she will start at drama school and share a house with the rest of her band, who on occasion help out with her solo work. During the set she was highly entertained by the small child who proceeded to climb the tripod whilst she played, but not nearly as entertained as the crowd were when Anna perfectly impersonated an entire horn section in the absence of the rest of her band. We Aeronauts release their first EP later this summer.

donna.mckenzie.ana.log
Anna Log by Donna McKensie.

Anna’s thoughts on playing at Climate Camp: I was mega-grateful to my brother Mark and Sam for providing some background “Oooooos” and I absolutely loved playing at Climate Camp. It was such a friendly, relaxed atmosphere and no-one seemed to really mind that my suncream-covered hands were producing some extremely interesting and unintentional chords on the uke! I also really enjoyed the ceilidh – it was awesome to see lots of lush people in animal masks dancing about and laughing with each other. (I definitely sound like a massive hippy… that might be because I am…)
Anna’s Glastonbury highlights: Laura Marling‘s beautiful set on The Park stage; she really is our modern day Joni Mitchell – and a secret, acoustic Stornoway gig up in the Crow’s Nest. I flipping love Stornoway, they are one of my favourite bands and such lovely people.

Green Kite Midnight Luke Waller
Green Kite Midnight by Luke Waller.

She was followed by the best Green Kite Midnight ceilidh of the entire weekend, complete with a man doing hand stands in gold spangly pants.

Glastonbury 2010 Climate Camp Green Kite Midnight
Glastonbury 2010 Climate Camp Green Kite Midnight
Glastonbury 2010 Climate Camp Green Kite Midnight
Glastonbury 2010 Climate Camp Green Kite Midnight

Then came My Luminaries, who took a very light hearted approach to the gig and caused much amusement with their stage antics. They were the first of many to take a truly creative approach to our semi acoustic set up, and I particularly enjoyed the strategic placement of their diamante keyboard in a wheelbarrow.

my-luminaries-caroline-coates
My Luminaries by Caroline Coates.

At one point the bassist climbed on top of one of our blue painted deck chairs and pretended to stage dive, before we were treated to a rollicking scat from their drummer which proved the ultimate crowd pleaser. Despite claiming a failing voice, lead singer James sounded fantastic, and could be found enjoying our vegan fare on the grass later on.

Glastonbury 2010 Climate Camp My Luminaries
Glastonbury 2010 Climate Camp My Luminaries
Glastonbury 2010 Climate Camp My Luminaries

James liked playing on the Tripod Stage because: it was the complete opposite of the gig we’d just done on the Queens Head stage. The gig couldn’t have been more intimate and we rarely get to do such gigs. 
His favourite part of Glastonbury was: playing on the Tripod Stage (of course) and on the Queen’s Head stage (the biggest gig we’ve ever done, to 2500 people). Other than that, we met Prince Charles, we danced like idiots to the Phenomenal Handclap Band, and we stayed up all night in the Piano Bar and the Stone Circle.  

My Luminaries debut album Order From The Chaos is out now.

caroline-coates-my-luminaries-chair
My Luminaries by Caroline Coates.
Glastonbury 2010 Climate Camp My Luminaries
Glastonbury 2010 Climate Camp My Luminaries

My review of Friday is up next… read it here.

Categories ,Anna Log, ,BBC Introducing, ,Caroline Coates, ,ceilidh, ,Climate Camp, ,Crow’s Nest, ,Diamante, ,Donna Mckensie, ,glastonbury, ,Green Kite Midnight, ,Joni Mitchell, ,Laura Marling, ,Luke Waller, ,My Luminaries, ,Phenomenal Handclap Band, ,Piano Bar, ,Queen’s Head Stage, ,Scat, ,Stone Circle, ,Stornaway, ,The Park, ,Tripod Stage, ,vegan, ,We Aeronauts

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Amelia’s Magazine | Climate Camp Tripod Stage at Glastonbury 2010: How did it all go?

thumbnail Kirsty

Photograph by Hannah Kinver Miles

There is nothing generic about Kirsty Almeida; she was not artificially created from a record labels wish-list, site nor manufactured during an X Factor audition. Navigating her own path, pharmacy she is very much the modern Renaissance Woman: artist, this web experimenter and a true creative. Before meeting Kirsty to chat about her new album Pure Blue Green – a rich tapestry of blues, folk and jazzy pop – I watched video clips of her performances. Singing live, she is mesmerizing, a powerhouse! Free spirited and alive, at times she is an enigmatic chanteuse, and other times she is a ringleader to a raucous vaudeville troupe. She sings with a passion that leaves us in no doubt that her music come from an honest and heartfelt place. Her voice is tender with sparkles of underlying inquisitiveness and humour and it only takes a minutes listening to see that her life, thoughts and loves are entwined within her lyrics, revealing an existence lived to the full and one that is continuously questioned. So it comes as no surprise that our conversation becomes an all-encompassing discourse that occasionally touches on her album and then soars off in the direction of magic, art, self-development, women’s rights and the dubious ethics of the music industry….

I love how visual your shows are…..
I love the big show thing, I think that people want to be entertained; because music is so accessible, and more downloadable now, people really like going out to live shows. I like to do something thats entertaining, but I also love the little live acoustic shows, those are some of my favourite gigs to do. I’m doing a gig soon that will be just me with a guitar and a girl called Lucinda Bell on harp. I’ve had a six foot bird cage designed and built for me, and we’re going to do a series of exhibitions and art galleries where I will play sat in the cage that will be suspended from the ceiling!

There is a lot of creativity in your performance…
Truthfully I am a visual artist, so I can’t help but look at things and go “well if you just stuck a massive big flower there, and that was attached to an umbrella with a bath chain and then water came out of it…. ” (laughs) and thats just how my mind works; it’s really visual and my work is really visual, I can’t help it!

What do you see first?
When I’m writing a song, I always see colours. I see music in colours and textures. so the first thing that will happen will be that I will be playing guitar and then the colours will come together and at that point I will know that it’s right and then I just have to close my eyes and wait and then the lyrics come.

So the song arrives together?
Always!

Do the visuals come at the same time?
No, when I write, it is just about the song and being a channel of creativity. I try and let the song happen, and then afterwards when it’s on loop I get the visuals.


Photograph by Hannah Kinver Miles

Where does your inspiration come from?
I’m inspired by a day, every day there is a million things that inspire me. I’m inspired by clothes, people, situations, conversations that I hear from other people, situations that I get into, trouble, butterflies, birds, nature, trees….. everything!

Do you paint?
Yeah, I paint a lot. But, (sighs) there is never enough time. I also run a collective called Odbod. I set it up in Manchester where there’s a very strong support network of artists, musicians and composers who work together but because you don’t normally get paid to do original music, you have to call in a lot of favours, and in the Manchester scene there are a LOT of favours, people calling each other all the time and helping each other out on each others projects, but there is no set network so there is no way of getting funding or help and I realised that a lot of the artists needed support and advice and people were coming to me for advice, so I thought if we had a collective, we can all get together and say to each other, ‘what do you need, how can I help?’

It’s a genius idea! Would you consider expanding the Odbod’s collective to London?
I would love to! It’s hard to contain it, there are so many people who want to be involved and to everyone who wants to get involved, I just say, come along, support us and we will support you. Hopefully none of the Odbods will be there in a year, they will have flown the nest and it will be time for the next lot of artists to come in. I’m also managing an Irish singer called Rioghnach Connolly, she’s amazing, that girl blows my mind! I’ve watched her and given her advice along the way; I’m quite good at keeping peoples motivation up and helping them to see where they are messing up, and where they are putting in energy where they don’t need to be putting energy in. The whole psychology of being an artist is quite self destructive and I really recognize that so I’m good at pulling someone out.

Do you have that self destructive side to you?
Yeah, there is an element of that in all of us. To be an artist you have to stare at yourself in the mirror every day and to be a true artist you have to get to a place where you actually see what’s not in the mirror, and then separate that from yourself and that’s really hard. You judge yourself very harshly and artists are especially hard on themselves. I have a lot of issues with balance, so I spend most of my time trying to achieve that balance in my life.

If there are particular issues that are bothering you, do you ever find the answers in your songs ?
Definitely! I usually find out what’s going on in my life when I write a song, I have no idea otherwise! Most of the time I don’t know what day it is!

Are you on the road a lot?
Not as much as I would like to be. I would really like to go around the whole world, that would be great…

You are quite a wondering spirit (born in the UK, brought up in Gibraltar, Kirsty grew up travelling the four corners of the globe) Do you feel like an outsider, or can you fit in anywhere?
I empathize with people, I find it easy to talk to anyone or any culture; I’m just fascinated by people. I never felt like I didn’t fit in, it was only as I got older that I thought, I don’t fit in anywhere, I’m the wrong shape for everything! And it took me a long time to work that one out.

How did you reconcile that?
By being really honest with myself. I did a course called The Artists Way. One of the tasks that you have to do is write every morning; first thing you do is write all of your thoughts, and you write out your negativity, all those thoughts that say “I’m not good enough, I’m not happy…” and at the end of that you rip up the paper and throw it away and after a few months you notice that what you write is more creative; you are writing more positive thoughts. You cease the negative voices, and those are the words that say that you don’t fit in. And through that and meditation, I just kind of found out who I was and realised, you know, I am different, and everyone is different, and that is something to be celebrated.


Photograph by Hannah Kinver Miles

I read you saying that the future of women worries you, can you explain that? What specifically concerns you?
We still have so many issues in our sexist world, we still have so many places where men are in charge of things that women should be in charge of, and that concerns me. I am most concerned by the fact that magazines and newspapers are airbrushing us out of existence, and airbrushing us into mental hospitals! I’m really worried about the next generation of girls and how they will deal with this; their idols aren’t real – they are not real human beings! They don’t have curves, they don’t exist, you can’t women who look like what they think these women look like. It’s a unreal ideal. I’m really worried about the music industry too – especially what Simon Cowell has done to it! When I go to someone’s house and there is a TV on and they have X Factor or Idol, and I go, “is this what people are watching?” It’s a mind numbing existence for people who should be out living rather than watching.

And the music industry certainly has some interesting ideas about how to market their female artists!
There are a lot of issues and struggles; it is incredibly difficult for women in the record industry; it drives me mad! No matter how good you are, you are solely competing with say, KT Tunstall, Corrine Bailey Rae, Amy Winehouse, Imelda May; the labels always pit us up against each other and say “You have to be the new….” You are not out there and being celebrated as a good musician. If people can’t pigeonhole you, you are seen as a bit of an oddity. Had I been a man in this industry I would have been dealt with differently; I would have been celebrated for the way that I handle myself, but if you are a female, and you have opinions then you are seen as being difficult.

It must be hard to maintain your confidence, and sanity and creativity, whilst these obstacles come your way.
If you realise that creativity, well this is my perception of it; that creativity comes from creation, and that it’s all already there and you just have to become the channel and keep that as your focus and centre. Then none of that other stuff can touch you.


Photograph by Hannah Kinver Miles

There is nothing generic about Kirsty Almeida; she was not artificially created from a record labels wish-list, malady nor manufactured during an X Factor audition. Navigating her own path, generic she is very much the modern Renaissance Woman: artist, experimenter and a true creative. Before meeting Kirsty to chat about her new album Pure Blue Green – a rich tapestry of blues, folk and jazzy pop – I watched video clips of her performances. Singing live, she is mesmerizing, a powerhouse! Free spirited and alive, at times she is an enigmatic chanteuse, and other times she is a ringleader to a raucous vaudeville troupe. She sings with a passion that leaves us in no doubt that her music come from an honest and heartfelt place. Her voice is tender with sparkles of underlying inquisitiveness and humour and it only takes a minutes listening to see that her life, thoughts and loves are entwined within her lyrics, revealing an existence lived to the full and one that is continuously questioned. So it comes as no surprise that our conversation becomes an all-encompassing discourse that occasionally touches on her album and then soars off in the direction of magic, art, self-development, women’s rights and the dubious ethics of the music industry….

I love how visual your shows are…..
I love the big show thing, I think that people want to be entertained; because music is so accessible, and more downloadable now, people really like going out to live shows. I like to do something thats entertaining, but I also love the little live acoustic shows, those are some of my favourite gigs to do. I’m doing a gig soon that will be just me with a guitar and a girl called Lucinda Bell on harp. I’ve had a six foot bird cage designed and built for me, and we’re going to do a series of exhibitions and art galleries where I will play sat in the cage that will be suspended from the ceiling!

There is a lot of creativity in your performance…
Truthfully I am a visual artist, so I can’t help but look at things and go “well if you just stuck a massive big flower there, and that was attached to an umbrella with a bath chain and then water came out of it…. ” (laughs) and thats just how my mind works; it’s really visual and my work is really visual, I can’t help it!

What do you see first?
When I’m writing a song, I always see colours. I see music in colours and textures. so the first thing that will happen will be that I will be playing guitar and then the colours will come together and at that point I will know that it’s right and then I just have to close my eyes and wait and then the lyrics come.

So the song arrives together?
Always!

Do the visuals come at the same time?
No, when I write, it is just about the song and being a channel of creativity. I try and let the song happen, and then afterwards when it’s on loop I get the visuals.


Photograph by Hannah Kinver Miles

Where does your inspiration come from?
I’m inspired by a day, every day there is a million things that inspire me. I’m inspired by clothes, people, situations, conversations that I hear from other people, situations that I get into, trouble, butterflies, birds, nature, trees….. everything!

Do you paint?
Yeah, I paint a lot. But, (sighs) there is never enough time. I also run a collective called Odbod. I set it up in Manchester where there’s a very strong support network of artists, musicians and composers who work together but because you don’t normally get paid to do original music, you have to call in a lot of favours, and in the Manchester scene there are a LOT of favours, people calling each other all the time and helping each other out on each others projects, but there is no set network so there is no way of getting funding or help and I realised that a lot of the artists needed support and advice and people were coming to me for advice, so I thought if we had a collective, we can all get together and say to each other, ‘what do you need, how can I help?’

It’s a genius idea! Would you consider expanding the Odbod’s collective to London?
I would love to! It’s hard to contain it, there are so many people who want to be involved and to everyone who wants to get involved, I just say, come along, support us and we will support you. Hopefully none of the Odbods will be there in a year, they will have flown the nest and it will be time for the next lot of artists to come in. I’m also managing an Irish singer called Rioghnach Connolly, she’s amazing, that girl blows my mind! I’ve watched her and given her advice along the way; I’m quite good at keeping peoples motivation up and helping them to see where they are messing up, and where they are putting in energy where they don’t need to be putting energy in. The whole psychology of being an artist is quite self destructive and I really recognize that so I’m good at pulling someone out.

Do you have that self destructive side to you?
Yeah, there is an element of that in all of us. To be an artist you have to stare at yourself in the mirror every day and to be a true artist you have to get to a place where you actually see what’s not in the mirror, and then separate that from yourself and that’s really hard. You judge yourself very harshly and artists are especially hard on themselves. I have a lot of issues with balance, so I spend most of my time trying to achieve that balance in my life.

If there are particular issues that are bothering you, do you ever find the answers in your songs ?
Definitely! I usually find out what’s going on in my life when I write a song, I have no idea otherwise! Most of the time I don’t know what day it is!

Are you on the road a lot?
Not as much as I would like to be. I would really like to go around the whole world, that would be great…

You are quite a wondering spirit (born in the UK, brought up in Gibraltar, Kirsty grew up travelling the four corners of the globe) Do you feel like an outsider, or can you fit in anywhere?
I empathize with people, I find it easy to talk to anyone or any culture; I’m just fascinated by people. I never felt like I didn’t fit in, it was only as I got older that I thought, I don’t fit in anywhere, I’m the wrong shape for everything! And it took me a long time to work that one out.

How did you reconcile that?
By being really honest with myself. I did a course called The Artists Way. One of the tasks that you have to do is write every morning; first thing you do is write all of your thoughts, and you write out your negativity, all those thoughts that say “I’m not good enough, I’m not happy…” and at the end of that you rip up the paper and throw it away and after a few months you notice that what you write is more creative; you are writing more positive thoughts. You cease the negative voices, and those are the words that say that you don’t fit in. And through that and meditation, I just kind of found out who I was and realised, you know, I am different, and everyone is different, and that is something to be celebrated.


Photograph by Hannah Kinver Miles

I read you saying that the future of women worries you, can you explain that? What specifically concerns you?
We still have so many issues in our sexist world, we still have so many places where men are in charge of things that women should be in charge of, and that concerns me. I am most concerned by the fact that magazines and newspapers are airbrushing us out of existence, and airbrushing us into mental hospitals! I’m really worried about the next generation of girls and how they will deal with this; their idols aren’t real – they are not real human beings! They don’t have curves, they don’t exist, you can’t women who look like what they think these women look like. It’s a unreal ideal. I’m really worried about the music industry too – especially what Simon Cowell has done to it! When I go to someone’s house and there is a TV on and they have X Factor or Idol, and I go, “is this what people are watching?” It’s a mind numbing existence for people who should be out living rather than watching.

And the music industry certainly has some interesting ideas about how to market their female artists!
There are a lot of issues and struggles; it is incredibly difficult for women in the record industry; it drives me mad! No matter how good you are, you are solely competing with say, KT Tunstall, Corrine Bailey Rae, Amy Winehouse, Imelda May; the labels always pit us up against each other and say “You have to be the new….” You are not out there and being celebrated as a good musician. If people can’t pigeonhole you, you are seen as a bit of an oddity. Had I been a man in this industry I would have been dealt with differently; I would have been celebrated for the way that I handle myself, but if you are a female, and you have opinions then you are seen as being difficult.

It must be hard to maintain your confidence, and sanity and creativity, whilst these obstacles come your way.
If you realise that creativity, well this is my perception of it; that creativity comes from creation, and that it’s all already there and you just have to become the channel and keep that as your focus and centre. Then none of that other stuff can touch you.


Photograph by Hannah Kinver Miles

There is nothing generic about Kirsty Almeida; she was not artificially created from a record labels wish-list, shop nor manufactured during an X Factor audition. Navigating her own path, order she is very much the modern Renaissance Woman: artist, experimenter and a true creative. Before meeting Kirsty to chat about her new album Pure Blue Green – a rich tapestry of blues, folk and jazzy pop – I watched video clips of her performances. Singing live, she is mesmerizing, a powerhouse! Free spirited and alive, at times she is an enigmatic chanteuse, and other times she is a ringleader to a raucous vaudeville troupe. She sings with a passion that leaves us in no doubt that her music come from an honest and heartfelt place. Her voice is tender with sparkles of underlying inquisitiveness and humour and it only takes a minutes listening to see that her life, thoughts and loves are entwined within her lyrics, revealing an existence lived to the full and one that is continuously questioned. So it comes as no surprise that our conversation becomes an all-encompassing discourse that occasionally touches on her album and then soars off in the direction of magic, art, self-development, women’s rights and the dubious ethics of the music industry….

I love how visual your shows are…..
I love the big show thing, I think that people want to be entertained; because music is so accessible, and more downloadable now, people really like going out to live shows. I like to do something thats entertaining, but I also love the little live acoustic shows, those are some of my favourite gigs to do. I’m doing a gig soon that will be just me with a guitar and a girl called Lucinda Bell on harp. I’ve had a six foot bird cage designed and built for me, and we’re going to do a series of exhibitions and art galleries where I will play sat in the cage that will be suspended from the ceiling!

There is a lot of creativity in your performance…
Truthfully I am a visual artist, so I can’t help but look at things and go “well if you just stuck a massive big flower there, and that was attached to an umbrella with a bath chain and then water came out of it…. ” (laughs) and thats just how my mind works; it’s really visual and my work is really visual, I can’t help it!

What do you see first?
When I’m writing a song, I always see colours. I see music in colours and textures. so the first thing that will happen will be that I will be playing guitar and then the colours will come together and at that point I will know that it’s right and then I just have to close my eyes and wait and then the lyrics come.

So the song arrives together?
Always!

Do the visuals come at the same time?
No, when I write, it is just about the song and being a channel of creativity. I try and let the song happen, and then afterwards when it’s on loop I get the visuals.


Photograph by Hannah Kinver Miles

Where does your inspiration come from?
I’m inspired by a day, every day there is a million things that inspire me. I’m inspired by clothes, people, situations, conversations that I hear from other people, situations that I get into, trouble, butterflies, birds, nature, trees….. everything!

Do you paint?
Yeah, I paint a lot. But, (sighs) there is never enough time. I also run a collective called Odbod. I set it up in Manchester where there’s a very strong support network of artists, musicians and composers who work together but because you don’t normally get paid to do original music, you have to call in a lot of favours, and in the Manchester scene there are a LOT of favours, people calling each other all the time and helping each other out on each others projects, but there is no set network so there is no way of getting funding or help and I realised that a lot of the artists needed support and advice and people were coming to me for advice, so I thought if we had a collective, we can all get together and say to each other, ‘what do you need, how can I help?’

It’s a genius idea! Would you consider expanding the Odbod’s collective to London?
I would love to! It’s hard to contain it, there are so many people who want to be involved and to everyone who wants to get involved, I just say, come along, support us and we will support you. Hopefully none of the Odbods will be there in a year, they will have flown the nest and it will be time for the next lot of artists to come in. I’m also managing an Irish singer called Rioghnach Connolly, she’s amazing, that girl blows my mind! I’ve watched her and given her advice along the way; I’m quite good at keeping peoples motivation up and helping them to see where they are messing up, and where they are putting in energy where they don’t need to be putting energy in. The whole psychology of being an artist is quite self destructive and I really recognize that so I’m good at pulling someone out.

Do you have that self destructive side to you?
Yeah, there is an element of that in all of us. To be an artist you have to stare at yourself in the mirror every day and to be a true artist you have to get to a place where you actually see what’s not in the mirror, and then separate that from yourself and that’s really hard. You judge yourself very harshly and artists are especially hard on themselves. I have a lot of issues with balance, so I spend most of my time trying to achieve that balance in my life.

If there are particular issues that are bothering you, do you ever find the answers in your songs ?
Definitely! I usually find out what’s going on in my life when I write a song, I have no idea otherwise! Most of the time I don’t know what day it is!

Are you on the road a lot?
Not as much as I would like to be. I would really like to go around the whole world, that would be great…

You are quite a wondering spirit (born in the UK, brought up in Gibraltar, Kirsty grew up travelling the four corners of the globe) Do you feel like an outsider, or can you fit in anywhere?
I empathize with people, I find it easy to talk to anyone or any culture; I’m just fascinated by people. I never felt like I didn’t fit in, it was only as I got older that I thought, I don’t fit in anywhere, I’m the wrong shape for everything! And it took me a long time to work that one out.

How did you reconcile that?
By being really honest with myself. I did a course called The Artists Way. One of the tasks that you have to do is write every morning; first thing you do is write all of your thoughts, and you write out your negativity, all those thoughts that say “I’m not good enough, I’m not happy…” and at the end of that you rip up the paper and throw it away and after a few months you notice that what you write is more creative; you are writing more positive thoughts. You cease the negative voices, and those are the words that say that you don’t fit in. And through that and meditation, I just kind of found out who I was and realised, you know, I am different, and everyone is different, and that is something to be celebrated.


Photograph by Hannah Kinver Miles

I read you saying that the future of women worries you, can you explain that? What specifically concerns you?
We still have so many issues in our sexist world, we still have so many places where men are in charge of things that women should be in charge of, and that concerns me. I am most concerned by the fact that magazines and newspapers are airbrushing us out of existence, and airbrushing us into mental hospitals! I’m really worried about the next generation of girls and how they will deal with this; their idols aren’t real – they are not real human beings! They don’t have curves, they don’t exist, you can’t women who look like what they think these women look like. It’s a unreal ideal. I’m really worried about the music industry too – especially what Simon Cowell has done to it! When I go to someone’s house and there is a TV on and they have X Factor or Idol, and I go, “is this what people are watching?” It’s a mind numbing existence for people who should be out living rather than watching.

And the music industry certainly has some interesting ideas about how to market their female artists!
There are a lot of issues and struggles; it is incredibly difficult for women in the record industry; it drives me mad! No matter how good you are, you are solely competing with say, KT Tunstall, Corrine Bailey Rae, Amy Winehouse, Imelda May; the labels always pit us up against each other and say “You have to be the new….” You are not out there and being celebrated as a good musician. If people can’t pigeonhole you, you are seen as a bit of an oddity. Had I been a man in this industry I would have been dealt with differently; I would have been celebrated for the way that I handle myself, but if you are a female, and you have opinions then you are seen as being difficult.

It must be hard to maintain your confidence, and sanity and creativity, whilst these obstacles come your way.
If you realise that creativity, well this is my perception of it; that creativity comes from creation, and that it’s all already there and you just have to become the channel and keep that as your focus and centre. Then none of that other stuff can touch you.


Photograph by Hannah Kinver Miles

There is nothing generic about Kirsty Almeida; she was not artificially created from a record labels wish-list, information pills nor manufactured during an X Factor audition. Navigating her own path, cheapest she is very much the modern Renaissance Woman: artist, experimenter and a true creative. Before meeting Kirsty to chat about her new album Pure Blue Green – a rich tapestry of blues, folk and jazzy pop – I watched video clips of her performances. Singing live, she is mesmerizing, a powerhouse! Free spirited and alive, at times she is an enigmatic chanteuse, and other times she is a ringleader to a raucous vaudeville troupe. She sings with a passion that leaves us in no doubt that her music come from an honest and heartfelt place. Her voice is tender with sparkles of underlying inquisitiveness and humour and it only takes a minutes listening to see that her life, thoughts and loves are entwined within her lyrics, revealing an existence lived to the full and one that is continuously questioned. So it comes as no surprise that our conversation becomes an all-encompassing discourse that occasionally touches on her album and then soars off in the direction of magic, art, self-development, women’s rights and the dubious ethics of the music industry….

I love how visual your shows are…..
I love the big show thing, I think that people want to be entertained; because music is so accessible, and more downloadable now, people really like going out to live shows. I like to do something thats entertaining, but I also love the little live acoustic shows, those are some of my favourite gigs to do. I’m doing a gig soon that will be just me with a guitar and a girl called Lucinda Bell on harp. I’ve had a six foot bird cage designed and built for me, and we’re going to do a series of exhibitions and art galleries where I will play sat in the cage that will be suspended from the ceiling!

There is a lot of creativity in your performance…
Truthfully I am a visual artist, so I can’t help but look at things and go “well if you just stuck a massive big flower there, and that was attached to an umbrella with a bath chain and then water came out of it…. ” (laughs) and thats just how my mind works; it’s really visual and my work is really visual, I can’t help it!

What do you see first?
When I’m writing a song, I always see colours. I see music in colours and textures. so the first thing that will happen will be that I will be playing guitar and then the colours will come together and at that point I will know that it’s right and then I just have to close my eyes and wait and then the lyrics come.

So the song arrives together?
Always!

Do the visuals come at the same time?
No, when I write, it is just about the song and being a channel of creativity. I try and let the song happen, and then afterwards when it’s on loop I get the visuals.


Photograph by Hannah Kinver Miles

Where does your inspiration come from?
I’m inspired by a day, every day there is a million things that inspire me. I’m inspired by clothes, people, situations, conversations that I hear from other people, situations that I get into, trouble, butterflies, birds, nature, trees….. everything!

Do you paint?
Yeah, I paint a lot. But, (sighs) there is never enough time. I also run a collective called Odbod. I set it up in Manchester where there’s a very strong support network of artists, musicians and composers who work together but because you don’t normally get paid to do original music, you have to call in a lot of favours, and in the Manchester scene there are a LOT of favours, people calling each other all the time and helping each other out on each others projects, but there is no set network so there is no way of getting funding or help and I realised that a lot of the artists needed support and advice and people were coming to me for advice, so I thought if we had a collective, we can all get together and say to each other, ‘what do you need, how can I help?’

It’s a genius idea! Would you consider expanding the Odbod’s collective to London?
I would love to! It’s hard to contain it, there are so many people who want to be involved and to everyone who wants to get involved, I just say, come along, support us and we will support you. Hopefully none of the Odbods will be there in a year, they will have flown the nest and it will be time for the next lot of artists to come in. I’m also managing an Irish singer called Rioghnach Connolly, she’s amazing, that girl blows my mind! I’ve watched her and given her advice along the way; I’m quite good at keeping peoples motivation up and helping them to see where they are messing up, and where they are putting in energy where they don’t need to be putting energy in. The whole psychology of being an artist is quite self destructive and I really recognize that so I’m good at pulling someone out.

Do you have that self destructive side to you?
Yeah, there is an element of that in all of us. To be an artist you have to stare at yourself in the mirror every day and to be a true artist you have to get to a place where you actually see what’s not in the mirror, and then separate that from yourself and that’s really hard. You judge yourself very harshly and artists are especially hard on themselves. I have a lot of issues with balance, so I spend most of my time trying to achieve that balance in my life.

If there are particular issues that are bothering you, do you ever find the answers in your songs ?
Definitely! I usually find out what’s going on in my life when I write a song, I have no idea otherwise! Most of the time I don’t know what day it is!

Are you on the road a lot?
Not as much as I would like to be. I would really like to go around the whole world, that would be great…

You are quite a wondering spirit (born in the UK, brought up in Gibraltar, Kirsty grew up travelling the four corners of the globe) Do you feel like an outsider, or can you fit in anywhere?
I empathize with people, I find it easy to talk to anyone or any culture; I’m just fascinated by people. I never felt like I didn’t fit in, it was only as I got older that I thought, I don’t fit in anywhere, I’m the wrong shape for everything! And it took me a long time to work that one out.

How did you reconcile that?
By being really honest with myself. I did a course called The Artists Way. One of the tasks that you have to do is write every morning; first thing you do is write all of your thoughts, and you write out your negativity, all those thoughts that say “I’m not good enough, I’m not happy…” and at the end of that you rip up the paper and throw it away and after a few months you notice that what you write is more creative; you are writing more positive thoughts. You cease the negative voices, and those are the words that say that you don’t fit in. And through that and meditation, I just kind of found out who I was and realised, you know, I am different, and everyone is different, and that is something to be celebrated.


Photograph by Hannah Kinver Miles

I read you saying that the future of women worries you, can you explain that? What specifically concerns you?
We still have so many issues in our sexist world, we still have so many places where men are in charge of things that women should be in charge of, and that concerns me. I am most concerned by the fact that magazines and newspapers are airbrushing us out of existence, and airbrushing us into mental hospitals! I’m really worried about the next generation of girls and how they will deal with this; their idols aren’t real – they are not real human beings! They don’t have curves, they don’t exist, you can’t women who look like what they think these women look like. It’s a unreal ideal. I’m really worried about the music industry too – especially what Simon Cowell has done to it! When I go to someone’s house and there is a TV on and they have X Factor or Idol, and I go, “is this what people are watching?” It’s a mind numbing existence for people who should be out living rather than watching.

And the music industry certainly has some interesting ideas about how to market their female artists!
There are a lot of issues and struggles; it is incredibly difficult for women in the record industry; it drives me mad! No matter how good you are, you are solely competing with say, KT Tunstall, Corrine Bailey Rae, Amy Winehouse, Imelda May; the labels always pit us up against each other and say “You have to be the new….” You are not out there and being celebrated as a good musician. If people can’t pigeonhole you, you are seen as a bit of an oddity. Had I been a man in this industry I would have been dealt with differently; I would have been celebrated for the way that I handle myself, but if you are a female, and you have opinions then you are seen as being difficult.

It must be hard to maintain your confidence, and sanity and creativity, whilst these obstacles come your way.
If you realise that creativity, well this is my perception of it; that creativity comes from creation, and that it’s all already there and you just have to become the channel and keep that as your focus and centre. Then none of that other stuff can touch you.

june-chanoomidole-jon-young art of mentoring
Jon Young by June Chanpoomidole.

Next week I am away yet again, what is ed this time on the Art of Mentoring course being run for the very first time in the UK by tracker Jon Young, look founder of the Wilderness Awareness School. Jon Young was personally mentored by the American wilderness guru Tom Brown, information pills Jr. and is an expert in bird language, alongside an old friend of mine Alex Travers (known as Feathers) who will also be on the course.

For the past 25 years Jon Young has taught groups and individuals how to create a positive vision for the future through a deeper sense of community and connection to nature. To say I am excited about the opportunity to spend a week learning mentoring skills from Jon Young alongside fellow teachers, Mark Morey and Evan McGown, (a nature based poet and musician who co-authored The Coyote’s Guide to Connecting With Nature with Jon Young) would be an understatement.

june-chanpoomidole-jon-young gerry brady
Jon Young plays the bones with Gerry Brady, by June Chanpoomidole.

I got to meet the sparkly eyed Jon Young – who like me is a big fan of barn dancing as a way of bringing people together – when he visited London a few months ago to give a talk in a darkened room at the top of a pub in north london.

The evening was an informal occasion peppered with frequent anecdotes from Jon’s Native American friend Paul Raphael, Peacemaker of the Odawa tribe, and finishing with some acapella singing accompanied on the “bones” by long lost Irish friend Gerry Brady.

june-chanpoomidole-jon-young maeve gavin
Organiser Maeve Gavin with Paul Raphael, by June Chanpoomidole.

Here is what I learnt…

Nature connection works best in a community setting.
Many of us have lost touch with animals and the earth but it’s easy to trigger subconscious feelings of connection. This is not about passing an ecology literacy test because everyone loves trees on an energetic level… but the woods can be scary so we need people with us along the way. How can we recreate these communities?

Greetings customs and rituals matter.
Greetings have been profoundly important for many eons of humanity – sometimes being so elaborate they could take days. Even though you are lucky if you get much of a greeting in New Jersey they have become more careful, sincere and authentic since 9/1, even from those you might expect to be grumpy. Everyone feels that needs to be welcomed and able to express themselves without pressure.

WillaGebbie_baggyclothes
Illustration by Willa Gebbie.

It is possible to create new rituals to suit us today.
The youth today carry the subconscious weight of their woes in over-sized clothes, but Jon has mentored both privileged and deprived children and all of them thrive when given space to express themselves. He recounts the story of a scholar from the best family and school in town, forever struggling to stay the best in his class, and thoroughly depressed as a result. After a few months of mentorship with Jon he tearfully declared that he was finally able to be himself and went on to became a mentor to the younger kids. Greeting customs can forge strong bonds and that is why the elaborate bonding rituals of gangs are so successful.

Everyone needs to feel recognised and blessed, at every age.
Young people need affirmation but so do their parents, many of whom will have missed out on it themselves as youngsters. If all generations are not cared for there are likely to be cultural gaps that can cause problems; for example a whole generation can feel threatened or alienated, and the worst outcome of this could be the sabotaging of change.

Maple Syrup as teacher.
When Paul’s family makes maple syrup they thank the trees with a special ceremony before boiling up the sap. This is a delicate operation that takes 2-3 whole days of pan-watching, for if the sap burns it will spoil, which is tantamount to violating the laws of nature. If this happens it will haunt you, but you will learn. As such it is an ideal teaching tool, especially for young men.

WillaGebbie_Paul Raphael
Paul Raphael as mushroom picker by Willa Gebbie.

Remember to leave the seeds behind when picking morel mushrooms.
Paul lives life by the seasons, and has just two short weeks to pick morel mushrooms from a special place in the woods – unfortunately it’s impossible to keep his spot secret in a small community. He carries the mushrooms home in knitted orange bags that allow the seeds to fall to the ground; that way ensuring a crop for the following year. So much ancestral knowledge has been lost that some of the kids make huge amounts of noise crashing through the wilderness. Even in Paul’s community there is much disconnection from nature, and he spends much of his time finding ways to empower the elders.

The government can learn from Hurricane Iniki, which hit Hawaii in 1992.
This huge hurricane stripped houses from their foundations and denuded vegetation, yet only six people died. It took the government nine days to get aid out to Hawaii, but instead of panic officials were met by people at the docks who did not want to fix things too quickly, because then they would have to return to work. Everyone was relaxing, taking it easy, having BBQs and helping each other. Because of interwoven cultural relations present before the storm there was a built in community resilience that meant the people responded collectively as one living organism, instead of separate units. Here is a lesson in how to cope during disasters.

Jon was taught to play the bones twenty years ago when he last met Gerry (then working as a labourer on the East Coast), and has since taught Paul how to play the bones too. Here’s a video of the three of them singing together. Cross generational and cultural mentoring in action!

YouTube Preview Image

You can read another account of the night here. I am looking forward to learning so much more next week. See you on the other side.
Glastonbury 2010 Climate Camp
Glastonbury 2010 Climate Camp

Okay, side effects so as a few of you are probably aware, online this year I volunteered to put together and run the Tripod Stage for Climate Camp. Although I have pulled together bands to perform at launch parties for various editions of Amelia’s Magazine and I found the bands to perform for us at Glastonbury in 2009, recipe I have never stage managed a full event like this before. But hey! I like a challenge, and after the success of First Aid Kit and Six Day Riot last year I felt I had to give it a shot… or we might have become a music free zone… at a music festival…

Glastonbury 2010 Climate Camp outreach
Glastonbury 2010 Climate Camp animal outreach
Outreach in animal masks.
Glastonbury 2010 Climate Camp the kitchen area
The kitchen area.

Although it didn’t take long to contact music PRs and pull the bands together I may not quite have anticipated just how much work all this would be on the ground. If you’re hoping to read a review of the main stage highlights at Glastonbury 2010 then go look elsewhere because I didn’t leave the Climate Camp field (apart from to visit the local long-drops) until 9 or 10pm every day. Not even to wiggle up the road one hundred metres to the Green Fields. This was hardcore devotion to the cause.

Glastonbury 2010 Climate Camp
Glastonbury 2010 Climate Camp tripods

Climate Camp is run along non-hierarchical principles, but events like Glastonbury really highlight how hard it is to run along such lines without proper working groups. Although I am sure that (most) people were there with the best of intentions, festivals just offer too many other distractions – and this, along with a fairly disorganised anarchistic approach, meant that a few very committed and adept people worked far harder than most others. I certainly hadn’t considered that I would be glued to the camp for 12 hour stretches every day, but certainly harder still was dealing with the weight of responsibility in making the music a success, both for us and for the performers who so kindly agreed to come and play the Tripod Stage.

Glastonbury 2010 Climate Camp kitchen
Glastonbury 2010 Climate Camp naked lady
Classic Glastonbury – a naked lady takes a look at our exhibition.

Unfortunately I was the only person who really felt this responsibility, and there were times where I found myself onsite with just a few other Climate Campers who were otherwise engaged (making tasty food, manning the solar sound system), desperately trying to get the band sorted whilst also standing on the entrance inviting people to come in and watch them. Let me tell you, being in two places at once is a trick that I have yet to perfect.

Glastonbury 2010 Climate Camp fundraising
Fundraising.
Glastonbury 2010 Climate Camp morning meeting
Glastonbury 2010 Climate Camp morning meeting
Morning meetings.
Glastonbury 2010 Climate Camp pedal powered smoothies
Pedal powered smoothies.

This year the Dragon Field was given over to crew camping for the first time, and our little corner was the only part of it that hosted anything of interest to the punters. There are perks to being totally off the radar – it’s nice to feel that we’re a bit separate, a bit renegade, and that people might chance upon us as a lovely surprise… but it also makes it extremely hard to get people to come and see us when there is so much else to see and we aren’t even listed in the programme.

Glastonbury 2010 Climate Camp megaphone
Standing on the Craft Field junction with a megaphone.
Glastonbury 2010 Climate Camp Lulu and the Lampshades
The Tripod Stage with Lulu and the Lampshades.

We were super busy all through Thursday, when the main stages have yet to hit their stride and people are wandering around, taking it all in. But other than that there didn’t seem to be much rhyme or reason to the times when we were busy or not – we were up against such random variables as the weather (so much sunshine can be extremely enervating), the acts on other stages, the football (what a waste of time that was), whether anyone had heard of the band we were hosting, and whether anyone bothered to stand on the intersection up in the Craft Field or outside our entrance to haul people in. It was a pretty tricky one.

Lesley Barnes Climate Camp design
Glastonbury 2010 Climate Camp screenprinting
Screenprinting one of the lovely designs made by Lesley Barnes.

I won’t pretend I found it easy; before the festival I created stickers for this year’s action against RBS in collaboration with the wonderful Lesley Barnes and finalised the line up for an accompanying flyer. Before I even got to Glastonbury I had already spent two weeks of my time sorting stuff out for Climate Camp and not concentrating 100% on Amelia’s Magazine. Then over the course of the festival I did 6 gigs with my barndancing band Green Kite Midnight, took huge amounts of photos to document everything, twittered about all the bands playing on our stage and ran a screenprinting workshop every morning at just about the same time I needed to okay the day’s line up of bands. I felt totally overwhelmed. I think we need to collectively clarify what we most want to achieve at Glastonbury and other festivals, and in what way music is important to our aims… although I personally think we should provide some kind of entertainment to draw people in (and especially when a popular entertainer then goes on to endorse our actions), I can easily see how others might think it’s a distraction.

Glastonbury 2010 Climate Camp Green Kite Midnight Ceilidh
Glastonbury 2010 Climate Camp Green Kite Midnight Ceilidh
Green Kite Midnight Ceilidh

Having said all of this, the calibre of musicians that we hosted on the Tripod Stage definitely made my part in organising it massively worthwhile. Although I saw nothing of the rest of the festival (until night fell), I did get to see some of the best new bands perform especially for us. And of course the weather was out of this world. Would I do it again? Well, if anyone would like me to curate a solar powered Amelia’s Magazine stage at a festival next year (and would be willing to provide me with the right resources to ensure I don’t go mad in the process) do get in touch. For Climate Camp again? Not unless I felt massively reassured that we had proper working groups in place beforehand and a presence on the main programme.

Glastonbury 2010 Climate Camp fundraising

But enough of my quibbles: coming up, my review of the Tripod Stage at Glastonbury – act by act – accompanied by fab illustrations of course.

Glastonbury 2010 Climate Camp RBS

Categories ,Barndancing, ,ceilidh, ,Climate Camp, ,Craft Field, ,Dragon Field, ,First Aid Kit, ,glastonbury, ,Green Kite Midnight, ,Lesley Barnes, ,Lulu and the Lampshades, ,RBS, ,screenprinting, ,Six Day Riot, ,Tripod Stage, ,Worldcup

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Amelia’s Magazine | Climate Camp Tripod Stage at Glastonbury 2010: How did it all go?

thumbnail Kirsty

Photograph by Hannah Kinver Miles

There is nothing generic about Kirsty Almeida; she was not artificially created from a record labels wish-list, site nor manufactured during an X Factor audition. Navigating her own path, pharmacy she is very much the modern Renaissance Woman: artist, this web experimenter and a true creative. Before meeting Kirsty to chat about her new album Pure Blue Green – a rich tapestry of blues, folk and jazzy pop – I watched video clips of her performances. Singing live, she is mesmerizing, a powerhouse! Free spirited and alive, at times she is an enigmatic chanteuse, and other times she is a ringleader to a raucous vaudeville troupe. She sings with a passion that leaves us in no doubt that her music come from an honest and heartfelt place. Her voice is tender with sparkles of underlying inquisitiveness and humour and it only takes a minutes listening to see that her life, thoughts and loves are entwined within her lyrics, revealing an existence lived to the full and one that is continuously questioned. So it comes as no surprise that our conversation becomes an all-encompassing discourse that occasionally touches on her album and then soars off in the direction of magic, art, self-development, women’s rights and the dubious ethics of the music industry….

I love how visual your shows are…..
I love the big show thing, I think that people want to be entertained; because music is so accessible, and more downloadable now, people really like going out to live shows. I like to do something thats entertaining, but I also love the little live acoustic shows, those are some of my favourite gigs to do. I’m doing a gig soon that will be just me with a guitar and a girl called Lucinda Bell on harp. I’ve had a six foot bird cage designed and built for me, and we’re going to do a series of exhibitions and art galleries where I will play sat in the cage that will be suspended from the ceiling!

There is a lot of creativity in your performance…
Truthfully I am a visual artist, so I can’t help but look at things and go “well if you just stuck a massive big flower there, and that was attached to an umbrella with a bath chain and then water came out of it…. ” (laughs) and thats just how my mind works; it’s really visual and my work is really visual, I can’t help it!

What do you see first?
When I’m writing a song, I always see colours. I see music in colours and textures. so the first thing that will happen will be that I will be playing guitar and then the colours will come together and at that point I will know that it’s right and then I just have to close my eyes and wait and then the lyrics come.

So the song arrives together?
Always!

Do the visuals come at the same time?
No, when I write, it is just about the song and being a channel of creativity. I try and let the song happen, and then afterwards when it’s on loop I get the visuals.


Photograph by Hannah Kinver Miles

Where does your inspiration come from?
I’m inspired by a day, every day there is a million things that inspire me. I’m inspired by clothes, people, situations, conversations that I hear from other people, situations that I get into, trouble, butterflies, birds, nature, trees….. everything!

Do you paint?
Yeah, I paint a lot. But, (sighs) there is never enough time. I also run a collective called Odbod. I set it up in Manchester where there’s a very strong support network of artists, musicians and composers who work together but because you don’t normally get paid to do original music, you have to call in a lot of favours, and in the Manchester scene there are a LOT of favours, people calling each other all the time and helping each other out on each others projects, but there is no set network so there is no way of getting funding or help and I realised that a lot of the artists needed support and advice and people were coming to me for advice, so I thought if we had a collective, we can all get together and say to each other, ‘what do you need, how can I help?’

It’s a genius idea! Would you consider expanding the Odbod’s collective to London?
I would love to! It’s hard to contain it, there are so many people who want to be involved and to everyone who wants to get involved, I just say, come along, support us and we will support you. Hopefully none of the Odbods will be there in a year, they will have flown the nest and it will be time for the next lot of artists to come in. I’m also managing an Irish singer called Rioghnach Connolly, she’s amazing, that girl blows my mind! I’ve watched her and given her advice along the way; I’m quite good at keeping peoples motivation up and helping them to see where they are messing up, and where they are putting in energy where they don’t need to be putting energy in. The whole psychology of being an artist is quite self destructive and I really recognize that so I’m good at pulling someone out.

Do you have that self destructive side to you?
Yeah, there is an element of that in all of us. To be an artist you have to stare at yourself in the mirror every day and to be a true artist you have to get to a place where you actually see what’s not in the mirror, and then separate that from yourself and that’s really hard. You judge yourself very harshly and artists are especially hard on themselves. I have a lot of issues with balance, so I spend most of my time trying to achieve that balance in my life.

If there are particular issues that are bothering you, do you ever find the answers in your songs ?
Definitely! I usually find out what’s going on in my life when I write a song, I have no idea otherwise! Most of the time I don’t know what day it is!

Are you on the road a lot?
Not as much as I would like to be. I would really like to go around the whole world, that would be great…

You are quite a wondering spirit (born in the UK, brought up in Gibraltar, Kirsty grew up travelling the four corners of the globe) Do you feel like an outsider, or can you fit in anywhere?
I empathize with people, I find it easy to talk to anyone or any culture; I’m just fascinated by people. I never felt like I didn’t fit in, it was only as I got older that I thought, I don’t fit in anywhere, I’m the wrong shape for everything! And it took me a long time to work that one out.

How did you reconcile that?
By being really honest with myself. I did a course called The Artists Way. One of the tasks that you have to do is write every morning; first thing you do is write all of your thoughts, and you write out your negativity, all those thoughts that say “I’m not good enough, I’m not happy…” and at the end of that you rip up the paper and throw it away and after a few months you notice that what you write is more creative; you are writing more positive thoughts. You cease the negative voices, and those are the words that say that you don’t fit in. And through that and meditation, I just kind of found out who I was and realised, you know, I am different, and everyone is different, and that is something to be celebrated.


Photograph by Hannah Kinver Miles

I read you saying that the future of women worries you, can you explain that? What specifically concerns you?
We still have so many issues in our sexist world, we still have so many places where men are in charge of things that women should be in charge of, and that concerns me. I am most concerned by the fact that magazines and newspapers are airbrushing us out of existence, and airbrushing us into mental hospitals! I’m really worried about the next generation of girls and how they will deal with this; their idols aren’t real – they are not real human beings! They don’t have curves, they don’t exist, you can’t women who look like what they think these women look like. It’s a unreal ideal. I’m really worried about the music industry too – especially what Simon Cowell has done to it! When I go to someone’s house and there is a TV on and they have X Factor or Idol, and I go, “is this what people are watching?” It’s a mind numbing existence for people who should be out living rather than watching.

And the music industry certainly has some interesting ideas about how to market their female artists!
There are a lot of issues and struggles; it is incredibly difficult for women in the record industry; it drives me mad! No matter how good you are, you are solely competing with say, KT Tunstall, Corrine Bailey Rae, Amy Winehouse, Imelda May; the labels always pit us up against each other and say “You have to be the new….” You are not out there and being celebrated as a good musician. If people can’t pigeonhole you, you are seen as a bit of an oddity. Had I been a man in this industry I would have been dealt with differently; I would have been celebrated for the way that I handle myself, but if you are a female, and you have opinions then you are seen as being difficult.

It must be hard to maintain your confidence, and sanity and creativity, whilst these obstacles come your way.
If you realise that creativity, well this is my perception of it; that creativity comes from creation, and that it’s all already there and you just have to become the channel and keep that as your focus and centre. Then none of that other stuff can touch you.


Photograph by Hannah Kinver Miles

There is nothing generic about Kirsty Almeida; she was not artificially created from a record labels wish-list, malady nor manufactured during an X Factor audition. Navigating her own path, generic she is very much the modern Renaissance Woman: artist, experimenter and a true creative. Before meeting Kirsty to chat about her new album Pure Blue Green – a rich tapestry of blues, folk and jazzy pop – I watched video clips of her performances. Singing live, she is mesmerizing, a powerhouse! Free spirited and alive, at times she is an enigmatic chanteuse, and other times she is a ringleader to a raucous vaudeville troupe. She sings with a passion that leaves us in no doubt that her music come from an honest and heartfelt place. Her voice is tender with sparkles of underlying inquisitiveness and humour and it only takes a minutes listening to see that her life, thoughts and loves are entwined within her lyrics, revealing an existence lived to the full and one that is continuously questioned. So it comes as no surprise that our conversation becomes an all-encompassing discourse that occasionally touches on her album and then soars off in the direction of magic, art, self-development, women’s rights and the dubious ethics of the music industry….

I love how visual your shows are…..
I love the big show thing, I think that people want to be entertained; because music is so accessible, and more downloadable now, people really like going out to live shows. I like to do something thats entertaining, but I also love the little live acoustic shows, those are some of my favourite gigs to do. I’m doing a gig soon that will be just me with a guitar and a girl called Lucinda Bell on harp. I’ve had a six foot bird cage designed and built for me, and we’re going to do a series of exhibitions and art galleries where I will play sat in the cage that will be suspended from the ceiling!

There is a lot of creativity in your performance…
Truthfully I am a visual artist, so I can’t help but look at things and go “well if you just stuck a massive big flower there, and that was attached to an umbrella with a bath chain and then water came out of it…. ” (laughs) and thats just how my mind works; it’s really visual and my work is really visual, I can’t help it!

What do you see first?
When I’m writing a song, I always see colours. I see music in colours and textures. so the first thing that will happen will be that I will be playing guitar and then the colours will come together and at that point I will know that it’s right and then I just have to close my eyes and wait and then the lyrics come.

So the song arrives together?
Always!

Do the visuals come at the same time?
No, when I write, it is just about the song and being a channel of creativity. I try and let the song happen, and then afterwards when it’s on loop I get the visuals.


Photograph by Hannah Kinver Miles

Where does your inspiration come from?
I’m inspired by a day, every day there is a million things that inspire me. I’m inspired by clothes, people, situations, conversations that I hear from other people, situations that I get into, trouble, butterflies, birds, nature, trees….. everything!

Do you paint?
Yeah, I paint a lot. But, (sighs) there is never enough time. I also run a collective called Odbod. I set it up in Manchester where there’s a very strong support network of artists, musicians and composers who work together but because you don’t normally get paid to do original music, you have to call in a lot of favours, and in the Manchester scene there are a LOT of favours, people calling each other all the time and helping each other out on each others projects, but there is no set network so there is no way of getting funding or help and I realised that a lot of the artists needed support and advice and people were coming to me for advice, so I thought if we had a collective, we can all get together and say to each other, ‘what do you need, how can I help?’

It’s a genius idea! Would you consider expanding the Odbod’s collective to London?
I would love to! It’s hard to contain it, there are so many people who want to be involved and to everyone who wants to get involved, I just say, come along, support us and we will support you. Hopefully none of the Odbods will be there in a year, they will have flown the nest and it will be time for the next lot of artists to come in. I’m also managing an Irish singer called Rioghnach Connolly, she’s amazing, that girl blows my mind! I’ve watched her and given her advice along the way; I’m quite good at keeping peoples motivation up and helping them to see where they are messing up, and where they are putting in energy where they don’t need to be putting energy in. The whole psychology of being an artist is quite self destructive and I really recognize that so I’m good at pulling someone out.

Do you have that self destructive side to you?
Yeah, there is an element of that in all of us. To be an artist you have to stare at yourself in the mirror every day and to be a true artist you have to get to a place where you actually see what’s not in the mirror, and then separate that from yourself and that’s really hard. You judge yourself very harshly and artists are especially hard on themselves. I have a lot of issues with balance, so I spend most of my time trying to achieve that balance in my life.

If there are particular issues that are bothering you, do you ever find the answers in your songs ?
Definitely! I usually find out what’s going on in my life when I write a song, I have no idea otherwise! Most of the time I don’t know what day it is!

Are you on the road a lot?
Not as much as I would like to be. I would really like to go around the whole world, that would be great…

You are quite a wondering spirit (born in the UK, brought up in Gibraltar, Kirsty grew up travelling the four corners of the globe) Do you feel like an outsider, or can you fit in anywhere?
I empathize with people, I find it easy to talk to anyone or any culture; I’m just fascinated by people. I never felt like I didn’t fit in, it was only as I got older that I thought, I don’t fit in anywhere, I’m the wrong shape for everything! And it took me a long time to work that one out.

How did you reconcile that?
By being really honest with myself. I did a course called The Artists Way. One of the tasks that you have to do is write every morning; first thing you do is write all of your thoughts, and you write out your negativity, all those thoughts that say “I’m not good enough, I’m not happy…” and at the end of that you rip up the paper and throw it away and after a few months you notice that what you write is more creative; you are writing more positive thoughts. You cease the negative voices, and those are the words that say that you don’t fit in. And through that and meditation, I just kind of found out who I was and realised, you know, I am different, and everyone is different, and that is something to be celebrated.


Photograph by Hannah Kinver Miles

I read you saying that the future of women worries you, can you explain that? What specifically concerns you?
We still have so many issues in our sexist world, we still have so many places where men are in charge of things that women should be in charge of, and that concerns me. I am most concerned by the fact that magazines and newspapers are airbrushing us out of existence, and airbrushing us into mental hospitals! I’m really worried about the next generation of girls and how they will deal with this; their idols aren’t real – they are not real human beings! They don’t have curves, they don’t exist, you can’t women who look like what they think these women look like. It’s a unreal ideal. I’m really worried about the music industry too – especially what Simon Cowell has done to it! When I go to someone’s house and there is a TV on and they have X Factor or Idol, and I go, “is this what people are watching?” It’s a mind numbing existence for people who should be out living rather than watching.

And the music industry certainly has some interesting ideas about how to market their female artists!
There are a lot of issues and struggles; it is incredibly difficult for women in the record industry; it drives me mad! No matter how good you are, you are solely competing with say, KT Tunstall, Corrine Bailey Rae, Amy Winehouse, Imelda May; the labels always pit us up against each other and say “You have to be the new….” You are not out there and being celebrated as a good musician. If people can’t pigeonhole you, you are seen as a bit of an oddity. Had I been a man in this industry I would have been dealt with differently; I would have been celebrated for the way that I handle myself, but if you are a female, and you have opinions then you are seen as being difficult.

It must be hard to maintain your confidence, and sanity and creativity, whilst these obstacles come your way.
If you realise that creativity, well this is my perception of it; that creativity comes from creation, and that it’s all already there and you just have to become the channel and keep that as your focus and centre. Then none of that other stuff can touch you.


Photograph by Hannah Kinver Miles

There is nothing generic about Kirsty Almeida; she was not artificially created from a record labels wish-list, shop nor manufactured during an X Factor audition. Navigating her own path, order she is very much the modern Renaissance Woman: artist, experimenter and a true creative. Before meeting Kirsty to chat about her new album Pure Blue Green – a rich tapestry of blues, folk and jazzy pop – I watched video clips of her performances. Singing live, she is mesmerizing, a powerhouse! Free spirited and alive, at times she is an enigmatic chanteuse, and other times she is a ringleader to a raucous vaudeville troupe. She sings with a passion that leaves us in no doubt that her music come from an honest and heartfelt place. Her voice is tender with sparkles of underlying inquisitiveness and humour and it only takes a minutes listening to see that her life, thoughts and loves are entwined within her lyrics, revealing an existence lived to the full and one that is continuously questioned. So it comes as no surprise that our conversation becomes an all-encompassing discourse that occasionally touches on her album and then soars off in the direction of magic, art, self-development, women’s rights and the dubious ethics of the music industry….

I love how visual your shows are…..
I love the big show thing, I think that people want to be entertained; because music is so accessible, and more downloadable now, people really like going out to live shows. I like to do something thats entertaining, but I also love the little live acoustic shows, those are some of my favourite gigs to do. I’m doing a gig soon that will be just me with a guitar and a girl called Lucinda Bell on harp. I’ve had a six foot bird cage designed and built for me, and we’re going to do a series of exhibitions and art galleries where I will play sat in the cage that will be suspended from the ceiling!

There is a lot of creativity in your performance…
Truthfully I am a visual artist, so I can’t help but look at things and go “well if you just stuck a massive big flower there, and that was attached to an umbrella with a bath chain and then water came out of it…. ” (laughs) and thats just how my mind works; it’s really visual and my work is really visual, I can’t help it!

What do you see first?
When I’m writing a song, I always see colours. I see music in colours and textures. so the first thing that will happen will be that I will be playing guitar and then the colours will come together and at that point I will know that it’s right and then I just have to close my eyes and wait and then the lyrics come.

So the song arrives together?
Always!

Do the visuals come at the same time?
No, when I write, it is just about the song and being a channel of creativity. I try and let the song happen, and then afterwards when it’s on loop I get the visuals.


Photograph by Hannah Kinver Miles

Where does your inspiration come from?
I’m inspired by a day, every day there is a million things that inspire me. I’m inspired by clothes, people, situations, conversations that I hear from other people, situations that I get into, trouble, butterflies, birds, nature, trees….. everything!

Do you paint?
Yeah, I paint a lot. But, (sighs) there is never enough time. I also run a collective called Odbod. I set it up in Manchester where there’s a very strong support network of artists, musicians and composers who work together but because you don’t normally get paid to do original music, you have to call in a lot of favours, and in the Manchester scene there are a LOT of favours, people calling each other all the time and helping each other out on each others projects, but there is no set network so there is no way of getting funding or help and I realised that a lot of the artists needed support and advice and people were coming to me for advice, so I thought if we had a collective, we can all get together and say to each other, ‘what do you need, how can I help?’

It’s a genius idea! Would you consider expanding the Odbod’s collective to London?
I would love to! It’s hard to contain it, there are so many people who want to be involved and to everyone who wants to get involved, I just say, come along, support us and we will support you. Hopefully none of the Odbods will be there in a year, they will have flown the nest and it will be time for the next lot of artists to come in. I’m also managing an Irish singer called Rioghnach Connolly, she’s amazing, that girl blows my mind! I’ve watched her and given her advice along the way; I’m quite good at keeping peoples motivation up and helping them to see where they are messing up, and where they are putting in energy where they don’t need to be putting energy in. The whole psychology of being an artist is quite self destructive and I really recognize that so I’m good at pulling someone out.

Do you have that self destructive side to you?
Yeah, there is an element of that in all of us. To be an artist you have to stare at yourself in the mirror every day and to be a true artist you have to get to a place where you actually see what’s not in the mirror, and then separate that from yourself and that’s really hard. You judge yourself very harshly and artists are especially hard on themselves. I have a lot of issues with balance, so I spend most of my time trying to achieve that balance in my life.

If there are particular issues that are bothering you, do you ever find the answers in your songs ?
Definitely! I usually find out what’s going on in my life when I write a song, I have no idea otherwise! Most of the time I don’t know what day it is!

Are you on the road a lot?
Not as much as I would like to be. I would really like to go around the whole world, that would be great…

You are quite a wondering spirit (born in the UK, brought up in Gibraltar, Kirsty grew up travelling the four corners of the globe) Do you feel like an outsider, or can you fit in anywhere?
I empathize with people, I find it easy to talk to anyone or any culture; I’m just fascinated by people. I never felt like I didn’t fit in, it was only as I got older that I thought, I don’t fit in anywhere, I’m the wrong shape for everything! And it took me a long time to work that one out.

How did you reconcile that?
By being really honest with myself. I did a course called The Artists Way. One of the tasks that you have to do is write every morning; first thing you do is write all of your thoughts, and you write out your negativity, all those thoughts that say “I’m not good enough, I’m not happy…” and at the end of that you rip up the paper and throw it away and after a few months you notice that what you write is more creative; you are writing more positive thoughts. You cease the negative voices, and those are the words that say that you don’t fit in. And through that and meditation, I just kind of found out who I was and realised, you know, I am different, and everyone is different, and that is something to be celebrated.


Photograph by Hannah Kinver Miles

I read you saying that the future of women worries you, can you explain that? What specifically concerns you?
We still have so many issues in our sexist world, we still have so many places where men are in charge of things that women should be in charge of, and that concerns me. I am most concerned by the fact that magazines and newspapers are airbrushing us out of existence, and airbrushing us into mental hospitals! I’m really worried about the next generation of girls and how they will deal with this; their idols aren’t real – they are not real human beings! They don’t have curves, they don’t exist, you can’t women who look like what they think these women look like. It’s a unreal ideal. I’m really worried about the music industry too – especially what Simon Cowell has done to it! When I go to someone’s house and there is a TV on and they have X Factor or Idol, and I go, “is this what people are watching?” It’s a mind numbing existence for people who should be out living rather than watching.

And the music industry certainly has some interesting ideas about how to market their female artists!
There are a lot of issues and struggles; it is incredibly difficult for women in the record industry; it drives me mad! No matter how good you are, you are solely competing with say, KT Tunstall, Corrine Bailey Rae, Amy Winehouse, Imelda May; the labels always pit us up against each other and say “You have to be the new….” You are not out there and being celebrated as a good musician. If people can’t pigeonhole you, you are seen as a bit of an oddity. Had I been a man in this industry I would have been dealt with differently; I would have been celebrated for the way that I handle myself, but if you are a female, and you have opinions then you are seen as being difficult.

It must be hard to maintain your confidence, and sanity and creativity, whilst these obstacles come your way.
If you realise that creativity, well this is my perception of it; that creativity comes from creation, and that it’s all already there and you just have to become the channel and keep that as your focus and centre. Then none of that other stuff can touch you.


Photograph by Hannah Kinver Miles

There is nothing generic about Kirsty Almeida; she was not artificially created from a record labels wish-list, information pills nor manufactured during an X Factor audition. Navigating her own path, cheapest she is very much the modern Renaissance Woman: artist, experimenter and a true creative. Before meeting Kirsty to chat about her new album Pure Blue Green – a rich tapestry of blues, folk and jazzy pop – I watched video clips of her performances. Singing live, she is mesmerizing, a powerhouse! Free spirited and alive, at times she is an enigmatic chanteuse, and other times she is a ringleader to a raucous vaudeville troupe. She sings with a passion that leaves us in no doubt that her music come from an honest and heartfelt place. Her voice is tender with sparkles of underlying inquisitiveness and humour and it only takes a minutes listening to see that her life, thoughts and loves are entwined within her lyrics, revealing an existence lived to the full and one that is continuously questioned. So it comes as no surprise that our conversation becomes an all-encompassing discourse that occasionally touches on her album and then soars off in the direction of magic, art, self-development, women’s rights and the dubious ethics of the music industry….

I love how visual your shows are…..
I love the big show thing, I think that people want to be entertained; because music is so accessible, and more downloadable now, people really like going out to live shows. I like to do something thats entertaining, but I also love the little live acoustic shows, those are some of my favourite gigs to do. I’m doing a gig soon that will be just me with a guitar and a girl called Lucinda Bell on harp. I’ve had a six foot bird cage designed and built for me, and we’re going to do a series of exhibitions and art galleries where I will play sat in the cage that will be suspended from the ceiling!

There is a lot of creativity in your performance…
Truthfully I am a visual artist, so I can’t help but look at things and go “well if you just stuck a massive big flower there, and that was attached to an umbrella with a bath chain and then water came out of it…. ” (laughs) and thats just how my mind works; it’s really visual and my work is really visual, I can’t help it!

What do you see first?
When I’m writing a song, I always see colours. I see music in colours and textures. so the first thing that will happen will be that I will be playing guitar and then the colours will come together and at that point I will know that it’s right and then I just have to close my eyes and wait and then the lyrics come.

So the song arrives together?
Always!

Do the visuals come at the same time?
No, when I write, it is just about the song and being a channel of creativity. I try and let the song happen, and then afterwards when it’s on loop I get the visuals.


Photograph by Hannah Kinver Miles

Where does your inspiration come from?
I’m inspired by a day, every day there is a million things that inspire me. I’m inspired by clothes, people, situations, conversations that I hear from other people, situations that I get into, trouble, butterflies, birds, nature, trees….. everything!

Do you paint?
Yeah, I paint a lot. But, (sighs) there is never enough time. I also run a collective called Odbod. I set it up in Manchester where there’s a very strong support network of artists, musicians and composers who work together but because you don’t normally get paid to do original music, you have to call in a lot of favours, and in the Manchester scene there are a LOT of favours, people calling each other all the time and helping each other out on each others projects, but there is no set network so there is no way of getting funding or help and I realised that a lot of the artists needed support and advice and people were coming to me for advice, so I thought if we had a collective, we can all get together and say to each other, ‘what do you need, how can I help?’

It’s a genius idea! Would you consider expanding the Odbod’s collective to London?
I would love to! It’s hard to contain it, there are so many people who want to be involved and to everyone who wants to get involved, I just say, come along, support us and we will support you. Hopefully none of the Odbods will be there in a year, they will have flown the nest and it will be time for the next lot of artists to come in. I’m also managing an Irish singer called Rioghnach Connolly, she’s amazing, that girl blows my mind! I’ve watched her and given her advice along the way; I’m quite good at keeping peoples motivation up and helping them to see where they are messing up, and where they are putting in energy where they don’t need to be putting energy in. The whole psychology of being an artist is quite self destructive and I really recognize that so I’m good at pulling someone out.

Do you have that self destructive side to you?
Yeah, there is an element of that in all of us. To be an artist you have to stare at yourself in the mirror every day and to be a true artist you have to get to a place where you actually see what’s not in the mirror, and then separate that from yourself and that’s really hard. You judge yourself very harshly and artists are especially hard on themselves. I have a lot of issues with balance, so I spend most of my time trying to achieve that balance in my life.

If there are particular issues that are bothering you, do you ever find the answers in your songs ?
Definitely! I usually find out what’s going on in my life when I write a song, I have no idea otherwise! Most of the time I don’t know what day it is!

Are you on the road a lot?
Not as much as I would like to be. I would really like to go around the whole world, that would be great…

You are quite a wondering spirit (born in the UK, brought up in Gibraltar, Kirsty grew up travelling the four corners of the globe) Do you feel like an outsider, or can you fit in anywhere?
I empathize with people, I find it easy to talk to anyone or any culture; I’m just fascinated by people. I never felt like I didn’t fit in, it was only as I got older that I thought, I don’t fit in anywhere, I’m the wrong shape for everything! And it took me a long time to work that one out.

How did you reconcile that?
By being really honest with myself. I did a course called The Artists Way. One of the tasks that you have to do is write every morning; first thing you do is write all of your thoughts, and you write out your negativity, all those thoughts that say “I’m not good enough, I’m not happy…” and at the end of that you rip up the paper and throw it away and after a few months you notice that what you write is more creative; you are writing more positive thoughts. You cease the negative voices, and those are the words that say that you don’t fit in. And through that and meditation, I just kind of found out who I was and realised, you know, I am different, and everyone is different, and that is something to be celebrated.


Photograph by Hannah Kinver Miles

I read you saying that the future of women worries you, can you explain that? What specifically concerns you?
We still have so many issues in our sexist world, we still have so many places where men are in charge of things that women should be in charge of, and that concerns me. I am most concerned by the fact that magazines and newspapers are airbrushing us out of existence, and airbrushing us into mental hospitals! I’m really worried about the next generation of girls and how they will deal with this; their idols aren’t real – they are not real human beings! They don’t have curves, they don’t exist, you can’t women who look like what they think these women look like. It’s a unreal ideal. I’m really worried about the music industry too – especially what Simon Cowell has done to it! When I go to someone’s house and there is a TV on and they have X Factor or Idol, and I go, “is this what people are watching?” It’s a mind numbing existence for people who should be out living rather than watching.

And the music industry certainly has some interesting ideas about how to market their female artists!
There are a lot of issues and struggles; it is incredibly difficult for women in the record industry; it drives me mad! No matter how good you are, you are solely competing with say, KT Tunstall, Corrine Bailey Rae, Amy Winehouse, Imelda May; the labels always pit us up against each other and say “You have to be the new….” You are not out there and being celebrated as a good musician. If people can’t pigeonhole you, you are seen as a bit of an oddity. Had I been a man in this industry I would have been dealt with differently; I would have been celebrated for the way that I handle myself, but if you are a female, and you have opinions then you are seen as being difficult.

It must be hard to maintain your confidence, and sanity and creativity, whilst these obstacles come your way.
If you realise that creativity, well this is my perception of it; that creativity comes from creation, and that it’s all already there and you just have to become the channel and keep that as your focus and centre. Then none of that other stuff can touch you.

june-chanoomidole-jon-young art of mentoring
Jon Young by June Chanpoomidole.

Next week I am away yet again, what is ed this time on the Art of Mentoring course being run for the very first time in the UK by tracker Jon Young, look founder of the Wilderness Awareness School. Jon Young was personally mentored by the American wilderness guru Tom Brown, information pills Jr. and is an expert in bird language, alongside an old friend of mine Alex Travers (known as Feathers) who will also be on the course.

For the past 25 years Jon Young has taught groups and individuals how to create a positive vision for the future through a deeper sense of community and connection to nature. To say I am excited about the opportunity to spend a week learning mentoring skills from Jon Young alongside fellow teachers, Mark Morey and Evan McGown, (a nature based poet and musician who co-authored The Coyote’s Guide to Connecting With Nature with Jon Young) would be an understatement.

june-chanpoomidole-jon-young gerry brady
Jon Young plays the bones with Gerry Brady, by June Chanpoomidole.

I got to meet the sparkly eyed Jon Young – who like me is a big fan of barn dancing as a way of bringing people together – when he visited London a few months ago to give a talk in a darkened room at the top of a pub in north london.

The evening was an informal occasion peppered with frequent anecdotes from Jon’s Native American friend Paul Raphael, Peacemaker of the Odawa tribe, and finishing with some acapella singing accompanied on the “bones” by long lost Irish friend Gerry Brady.

june-chanpoomidole-jon-young maeve gavin
Organiser Maeve Gavin with Paul Raphael, by June Chanpoomidole.

Here is what I learnt…

Nature connection works best in a community setting.
Many of us have lost touch with animals and the earth but it’s easy to trigger subconscious feelings of connection. This is not about passing an ecology literacy test because everyone loves trees on an energetic level… but the woods can be scary so we need people with us along the way. How can we recreate these communities?

Greetings customs and rituals matter.
Greetings have been profoundly important for many eons of humanity – sometimes being so elaborate they could take days. Even though you are lucky if you get much of a greeting in New Jersey they have become more careful, sincere and authentic since 9/1, even from those you might expect to be grumpy. Everyone feels that needs to be welcomed and able to express themselves without pressure.

WillaGebbie_baggyclothes
Illustration by Willa Gebbie.

It is possible to create new rituals to suit us today.
The youth today carry the subconscious weight of their woes in over-sized clothes, but Jon has mentored both privileged and deprived children and all of them thrive when given space to express themselves. He recounts the story of a scholar from the best family and school in town, forever struggling to stay the best in his class, and thoroughly depressed as a result. After a few months of mentorship with Jon he tearfully declared that he was finally able to be himself and went on to became a mentor to the younger kids. Greeting customs can forge strong bonds and that is why the elaborate bonding rituals of gangs are so successful.

Everyone needs to feel recognised and blessed, at every age.
Young people need affirmation but so do their parents, many of whom will have missed out on it themselves as youngsters. If all generations are not cared for there are likely to be cultural gaps that can cause problems; for example a whole generation can feel threatened or alienated, and the worst outcome of this could be the sabotaging of change.

Maple Syrup as teacher.
When Paul’s family makes maple syrup they thank the trees with a special ceremony before boiling up the sap. This is a delicate operation that takes 2-3 whole days of pan-watching, for if the sap burns it will spoil, which is tantamount to violating the laws of nature. If this happens it will haunt you, but you will learn. As such it is an ideal teaching tool, especially for young men.

WillaGebbie_Paul Raphael
Paul Raphael as mushroom picker by Willa Gebbie.

Remember to leave the seeds behind when picking morel mushrooms.
Paul lives life by the seasons, and has just two short weeks to pick morel mushrooms from a special place in the woods – unfortunately it’s impossible to keep his spot secret in a small community. He carries the mushrooms home in knitted orange bags that allow the seeds to fall to the ground; that way ensuring a crop for the following year. So much ancestral knowledge has been lost that some of the kids make huge amounts of noise crashing through the wilderness. Even in Paul’s community there is much disconnection from nature, and he spends much of his time finding ways to empower the elders.

The government can learn from Hurricane Iniki, which hit Hawaii in 1992.
This huge hurricane stripped houses from their foundations and denuded vegetation, yet only six people died. It took the government nine days to get aid out to Hawaii, but instead of panic officials were met by people at the docks who did not want to fix things too quickly, because then they would have to return to work. Everyone was relaxing, taking it easy, having BBQs and helping each other. Because of interwoven cultural relations present before the storm there was a built in community resilience that meant the people responded collectively as one living organism, instead of separate units. Here is a lesson in how to cope during disasters.

Jon was taught to play the bones twenty years ago when he last met Gerry (then working as a labourer on the East Coast), and has since taught Paul how to play the bones too. Here’s a video of the three of them singing together. Cross generational and cultural mentoring in action!

YouTube Preview Image

You can read another account of the night here. I am looking forward to learning so much more next week. See you on the other side.
Glastonbury 2010 Climate Camp
Glastonbury 2010 Climate Camp

Okay, side effects so as a few of you are probably aware, online this year I volunteered to put together and run the Tripod Stage for Climate Camp. Although I have pulled together bands to perform at launch parties for various editions of Amelia’s Magazine and I found the bands to perform for us at Glastonbury in 2009, recipe I have never stage managed a full event like this before. But hey! I like a challenge, and after the success of First Aid Kit and Six Day Riot last year I felt I had to give it a shot… or we might have become a music free zone… at a music festival…

Glastonbury 2010 Climate Camp outreach
Glastonbury 2010 Climate Camp animal outreach
Outreach in animal masks.
Glastonbury 2010 Climate Camp the kitchen area
The kitchen area.

Although it didn’t take long to contact music PRs and pull the bands together I may not quite have anticipated just how much work all this would be on the ground. If you’re hoping to read a review of the main stage highlights at Glastonbury 2010 then go look elsewhere because I didn’t leave the Climate Camp field (apart from to visit the local long-drops) until 9 or 10pm every day. Not even to wiggle up the road one hundred metres to the Green Fields. This was hardcore devotion to the cause.

Glastonbury 2010 Climate Camp
Glastonbury 2010 Climate Camp tripods

Climate Camp is run along non-hierarchical principles, but events like Glastonbury really highlight how hard it is to run along such lines without proper working groups. Although I am sure that (most) people were there with the best of intentions, festivals just offer too many other distractions – and this, along with a fairly disorganised anarchistic approach, meant that a few very committed and adept people worked far harder than most others. I certainly hadn’t considered that I would be glued to the camp for 12 hour stretches every day, but certainly harder still was dealing with the weight of responsibility in making the music a success, both for us and for the performers who so kindly agreed to come and play the Tripod Stage.

Glastonbury 2010 Climate Camp kitchen
Glastonbury 2010 Climate Camp naked lady
Classic Glastonbury – a naked lady takes a look at our exhibition.

Unfortunately I was the only person who really felt this responsibility, and there were times where I found myself onsite with just a few other Climate Campers who were otherwise engaged (making tasty food, manning the solar sound system), desperately trying to get the band sorted whilst also standing on the entrance inviting people to come in and watch them. Let me tell you, being in two places at once is a trick that I have yet to perfect.

Glastonbury 2010 Climate Camp fundraising
Fundraising.
Glastonbury 2010 Climate Camp morning meeting
Glastonbury 2010 Climate Camp morning meeting
Morning meetings.
Glastonbury 2010 Climate Camp pedal powered smoothies
Pedal powered smoothies.

This year the Dragon Field was given over to crew camping for the first time, and our little corner was the only part of it that hosted anything of interest to the punters. There are perks to being totally off the radar – it’s nice to feel that we’re a bit separate, a bit renegade, and that people might chance upon us as a lovely surprise… but it also makes it extremely hard to get people to come and see us when there is so much else to see and we aren’t even listed in the programme.

Glastonbury 2010 Climate Camp megaphone
Standing on the Craft Field junction with a megaphone.
Glastonbury 2010 Climate Camp Lulu and the Lampshades
The Tripod Stage with Lulu and the Lampshades.

We were super busy all through Thursday, when the main stages have yet to hit their stride and people are wandering around, taking it all in. But other than that there didn’t seem to be much rhyme or reason to the times when we were busy or not – we were up against such random variables as the weather (so much sunshine can be extremely enervating), the acts on other stages, the football (what a waste of time that was), whether anyone had heard of the band we were hosting, and whether anyone bothered to stand on the intersection up in the Craft Field or outside our entrance to haul people in. It was a pretty tricky one.

Lesley Barnes Climate Camp design
Glastonbury 2010 Climate Camp screenprinting
Screenprinting one of the lovely designs made by Lesley Barnes.

I won’t pretend I found it easy; before the festival I created stickers for this year’s action against RBS in collaboration with the wonderful Lesley Barnes and finalised the line up for an accompanying flyer. Before I even got to Glastonbury I had already spent two weeks of my time sorting stuff out for Climate Camp and not concentrating 100% on Amelia’s Magazine. Then over the course of the festival I did 6 gigs with my barndancing band Green Kite Midnight, took huge amounts of photos to document everything, twittered about all the bands playing on our stage and ran a screenprinting workshop every morning at just about the same time I needed to okay the day’s line up of bands. I felt totally overwhelmed. I think we need to collectively clarify what we most want to achieve at Glastonbury and other festivals, and in what way music is important to our aims… although I personally think we should provide some kind of entertainment to draw people in (and especially when a popular entertainer then goes on to endorse our actions), I can easily see how others might think it’s a distraction.

Glastonbury 2010 Climate Camp Green Kite Midnight Ceilidh
Glastonbury 2010 Climate Camp Green Kite Midnight Ceilidh
Green Kite Midnight Ceilidh

Having said all of this, the calibre of musicians that we hosted on the Tripod Stage definitely made my part in organising it massively worthwhile. Although I saw nothing of the rest of the festival (until night fell), I did get to see some of the best new bands perform especially for us. And of course the weather was out of this world. Would I do it again? Well, if anyone would like me to curate a solar powered Amelia’s Magazine stage at a festival next year (and would be willing to provide me with the right resources to ensure I don’t go mad in the process) do get in touch. For Climate Camp again? Not unless I felt massively reassured that we had proper working groups in place beforehand and a presence on the main programme.

Glastonbury 2010 Climate Camp fundraising

But enough of my quibbles: coming up, my review of the Tripod Stage at Glastonbury – act by act – accompanied by fab illustrations of course.

Glastonbury 2010 Climate Camp RBS

Categories ,Barndancing, ,ceilidh, ,Climate Camp, ,Craft Field, ,Dragon Field, ,First Aid Kit, ,glastonbury, ,Green Kite Midnight, ,Lesley Barnes, ,Lulu and the Lampshades, ,RBS, ,screenprinting, ,Six Day Riot, ,Tripod Stage, ,Worldcup

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