Archive for 2007

All I ask is a tall stone and a star to steer her by…

Posted in aberdeenshire, landscape, neopaganism, pagan, scotland, travel, travels on October 11, 2007 by purlygrrrl

M and I have returned from the Orkneys, and now that I have internet access, I can write about it.

We spent 10 days traveling around Aberdeenshire, visiting standing stones and traveling around the Orkney Islands. There, we ate the local bread called bere bannock with mild Orcadian cheese and lots of amazing local beer. We also crawled around a lot of neolithic tombs.

Once you get the hang of finding neolithic sites on OS maps, there is a danger of being a sort of trainspotter about it. Traveling by car, one can easily forget these ancient places are part of the local imagination– living, distinct and fantastical sites.

But on occasion there will be a stone circle that will remind you of this– one such circle was outside an abandoned farmhouse in Aberdeenshire. There were the usual territorial bulls about, but what bothered me was something else. Once, while I was climbing a hill fort in the South of England, I had the strangest sensation of something riding on my shoulders– an odd little gleeful being, only slightly malevolent. It was a disturbing feeling, and I didn’t shake it until I’d reached the roadside.

This circle had a similarly sinister, fey aspect. In the long wet grass surrounding the circles– which were now in wild disarray– no flowers grew, but inside the ring flowers bloomed in nodding white and yellow bunches. Charming, if there weren’t such a forlorn feeling pervading the place. I think often when Neopagans visit sites they infuse them with something, new folklore, new stories and hopes. And I think these things linger. But some circles are hardly visited at all, except by the things we can’t see or know. This circle belonged to such things. Approaching it I felt a cold pull inside, and a dizzy feeling. I decided to hurry back to the car, my skin all gooseflesh, but M went on without me to the recumbent stone circle, climbing over barbed wire to get to the next circle beside it, and I watched him go, uneasy.

Of course nothing happened. Except that while I waited cows called pathetically into the wind. This is beef country and I find it difficult to reconcile the sufferings of these animals, even if they are not being factory farmed.

Some stones are visited by too many people– overly husbanded by the National Trust. Stonehenge is the worst example of this. Other stones are visited mostly by creatures, and still others are kept company by the alien and “conquering” faithful. Christians. This recumbent stone circle, pictured above, had a churchyard built around it, despite or perhaps because of its horned stones flanking the altar. In Julian Cope’s book The Modern Antiquarian, he describes this circle as looking like the horned good surfacing from the earth, and that’s no lie. It makes the the brittle headstones around it look like chessmen lost on the board of a forgotten game.

I’m sure this is why I keep coming to these places and why they haunt me– that sly feeling of triumph. Everyone wants to be affirmed by an iconographic landscape, something that codes your beliefs into the land and makes them bigger than the notion of the self or even of time.

All around this country, lichen covered blood-red stones count the stars, and they have marked our travels.

And, tomorrow, it’s on your knees, pilgrim

 

31+ days, content free!

Posted in Uncategorized on October 4, 2007 by purlygrrrl

it’s weird to have hair, originally uploaded by velvetdahlia.

Ok, this is not really a post of substance, but more a mundane newsflash.

I am still without internet access. Alas.

I am stealing bandwidth to bring you this very important notice that I no longer have dreads, after 7 years. I didn’t cut them. I picked them out with a size 0 knitting needle.

Yeah, you know all those fairy tales where women knit some eternally long garment, sort the lentils from the ash and weave cloth that tells the gossip of the gods? I was channeling them.

please stand by…

Posted in Uncategorized on September 4, 2007 by purlygrrrl

test.jpg

So I do not know when I will have regular internet access again. My ISP, Orange is also unsure when they will be able to provide me with service again. They think maybe by next Monday. I have little faith. And calling them to check on the situation costs 50 pence a minute (for my American friends, that is $1 a minute to discuss a problem they have created). In short, Orange makes money off their own inefficiency.

The idea of “customer service” is still seen as an alien, “American” concept here in the UK.   At my last job all the venue managers had to watch a powerpoint presentation defining “customer service” and the woman supplementing the presentation kept apologizing and shrugging and saying she knew it was “very American” to say “thank you” and “have a nice day” and “is there anything else I can help you with today?”  I fear that in her mind customer service is somehow insincere.

Maybe that’s why Britain farms out all its call centers to India. I actually have had better luck with the Indian call centres than the British ones, but then there’s just this feeling that no one is accountable, and that your problem is basically lost at sea, and no one is keeping track of it.

Alas.  What is missing from the Orange service plan (as well as the BT situation I had before Orange, but I won’t go into that) is a sense of business ethics, and fairness.  Both companies held me to contracts I never saw or signed, and both didn’t provide the service I paid for.

I am peeking at Orangeproblems.co.uk when I have a stray connection from some kind neighbor who has not password protected her wifi, bless her.  There are many nightmare stories, which are similar not only to my experience with Orange but also with BT.

It’s things like this that make me miss America.  Basic services like ISPs, Banking, Credit Cards, and retail “experiences” are so much more civil, convenient and logical in America.  It’s almost as if Britian is still working from a hostile bureaucratic government model, even in private industry.

A wrecking ball to the heart of Camden

Posted in camden, cooptation, gentrification, landscape, monoculture on August 26, 2007 by purlygrrrl

Alienate Design, Camden Stables Market. (photo from the store’s website).

Herein continues the quixotic endeavor where I rail against the inevitable encroachment of the inane monoculture and property-development-land-grab into all that I hold dear.

The Camden Stables Market is slated for the wrecking ball. What will be built in its place? A modern shopping mall with more high street chains– H&M, Boots and Topshop.

Friday I ventured from the little converted church where I live in the sleepy village of Hanwell, to the vibrant streets of Camden to meet Cecile. She lives in Camden, and I heard about the development from her. We talked about the absurdity and the sadness of it. Sometimes I feel like I don’t live in London at all– and what I love of London is just being taken away from my friends and I and there is nothing we can do to stop it.

When I first came to London in 1999 it was Camden that really caught my imagination, while everything else– Carnaby, the King’s Road– had already been turned into an outdoor mall, but Camden survived. It was the last days of raver culture, and Cyberdog was going strong. That synthetic aesthetic that is now a cliche was exciting to me– it was done with such exacting verve and daring.

Camden has changed– most notable is the horrid modern development by the canal that is supposed to be stores and flats. Little by little the stores look more like high street clones selling sweat shop club clothing that’s more Coyote Ugly stripper stuff than trad goth or 80′s mix-n-match vintage style. (For Angelinos who remember, it’s like the transformation of Melrose from a fascinating subcultural landmark in the 80′s to a cheezy shopping venue in the 90′s).

The Stables Market’s catacombs, the dank stone labyrinth with its random stalls, was one of the only places I’ve found decent vintage in this town. A place where you could feel like you were discovering something. It is the place where I would eat on the cheap from one of the steam table stalls and people watch. Now what will be there? Another Starbucks and McDonalds?

I imagine the corporate culturemakers with their patronizing vision, taking this place and selling it back to us as trusted brands, now with a mohawk. Not unlike the ironically named Lab/Anti-Mall in Orange County California– a few years after its development it fell into a perpetual identity crisis, with an Urban Outfitters as the anchor store, and everything else an experiment in economic failure. The only difference is the anti-mall, even though it was designed for the “indie” target market, didn’t destroy something that worked, and that was historic and loved by many.

Eviction notices have already been served to the vendors in the Stables, and in a week come the bulldozers.

Too Close to Home

Posted in america, art, classic rock, culture shock, jamie shovlin, music, pop, vinyl on August 21, 2007 by purlygrrrl

Shovlin Last Resort

Shovlin’s “The Last Resort/The Black Room” acrylic on canvas.

America– and particularly the post-Sixties pop culture of the American west coast– is the tint that colours everything. Here is a hall of mirrors. Look back at 1980′s suburban England…and you find strange reflections of Woodstock and Altamont, the Sunset Strip and the American Dream…

–Ben Tufnell in the Introduction to A Dream Deferred.

On certain occasions culture shock can take the form of Chinese boxes– an other looks at the otherness of another looking at the familiar in some other place. And this was the feeling I had looking at Jamie Shovlin’s A Dream Deferred at the Haunch of Venison.

I had a similar feeling when I saw a window display in a Primark which featured tee shirts that said “Sunset Beach Summer Camp,” “Seal Beach Sports Club” and “Humbolt Surf Team” (ok, I made that last one up, but you get the idea). Basically, the place I come from is marketed here as a fantastical, semi-ironic holiday destination.

Before seeing this show I was unfamiliar with Shovlin’s work and understood him to be a sort of young, art world prankster. While he was nappy-clad, crawling around in suburban England I was riding my bike around suburban Chicagoland, blasting AM radio playing most of the “classic rock” he riffs on in the current show. I begrudgingly grant him his nostalgia, simply because I would like someone to do the same for me, should the situation arise that I become, say, melancholy about France in May of ’68.

shovlin_flag_on_high.jpg

Shovlin’s “The Flag on High!” enamel on unprimed canvas.

I admire this play on the Op Art movement of the 60s, coupled with a nod to the sacred maze, superimposed over an Eagles album cover. This was the first album I ever owned, and this fact makes me terminally uncool. I saved up my change, and I remember walking into the record store in my clogs and hand-me-down rayon office lady shirt and laying down sweaty bills to buy it. The guy behind the counter frowned at me and even then I knew myself to be a rock-and-roll failure. But for a year or two this record gave me a solitary joy, which is all a suburban girl can ask of her vinyl.

I guess this is what troubled me about the show– I sensed nothing of Shovlin in it. It was as if he were yearning for other people’s memories. Even the title– A Dream Deferred– borrowed from Langston Hughes, is a kind of second hand bitterness. In America one would not “sample” Hughes and ignore race, but here it’s acceptable?  Reviews of the show and the eloquent introduction by Ben Tufnell seem to paint it as some kind of elegiac gesture for the Death of Hippie– not unlike the well loved film Withnail and I. To be honest I don’t see it.

And I don’t see the British gaze or context. Maybe I’m just too close to this material, too literal and possessive about it all.

Or maybe there just wasn’t enough there– I was most interested in the giant album cover paintings, and I wanted rooms full of them, in a kind of Christian-Marclay-esque, record geek fun house. I wanted them to reveal something, or perhaps start some dialog with the boomer generation, the children of the sixties, many of whom are still alive and well and who blew it– all that revolutionary potential– big time. To quote Hawkwind, “we’ve used up all of our magic powers trying to do it in the road.”

And the hangover gave us the grand cheeze of classic rock. I found the Foreigner album cover rendered in pine tar and terpentine entitled “At Home Abroad” to be particularly pithy in this regard. And strangely relevant to my own nostalgia for British hippiedom. (I did just quote Hawkwind, didn’t I?)

Only in “A Ghost is Born”, the hand-drawn reproduction of Abby Hoffman’s obituary, is there any sense of personal longing. Or maybe I’m projecting again. After all, Hoffman described himself as an “orphan of America” and this is a feeling I know well.

Lads on tap

Posted in beer, camra, great british beer festival, lads, real ale, wink wink on August 10, 2007 by purlygrrrl

Yesterday I found myself at the Great British Beer Festival. It was “hat day” and most of the drinkers had on some kind of headgear– cardboard new year derbys, giant guinness pints with plush shamrock brims, white caps emblazoned with the Saint George flag and in the case of one gentleman, disco 45s taped together.

Even though one senses CAMRA (Campaign for Real Ale) is trying to change their “Beard, Belly, Beer” image, it’s not really happening. I found it to be a strange mix of British nationalism (the tee shirts for sale of a British bulldog pissing on the Euro sums it up) and indulgent self-deprication (ie– the “I ate all the pies” teeshirt.) But ultimately, it’s a celebration of liver execration (see Oliver Reed themed shirts on special.)

And it’s a dude kind of affair. Where is a woman’s place in this scene? (“If only these were brains” across the bust of a baby doll tee shirt.) There were women there, don’t get me wrong, but we were like some brave, alien race. (“I have the PUSSY. I make the RULES” tee.) I felt a special allegiance with the women who were not under the arm of a man. Women who had come here because they liked beer, not because they’d been dragged along.

When 4:30 came round and the suits started rolling in, things went in the Lad-derly direction– a wink’s as good as a nod– if you catch my meaning. That kind of direction. But before then I got some drinking in. Not as much as I would have liked, mind you. All my careful planning (light to dark, start with thirds and NO CIDER) failed me.

It was a bit of culture shock. In America, passionate, real beer drinking of the CAMRA type is not directly associated with sloppy machismo or flag-waving. I found it all rather overwhelming. To get oriented I committed what felt like sacrilege, going to the international counter first. It was very small, and mostly featured bottled stuff. I was looking for Rogue but my country was singularly represented by Sierra Nevada. I shuddered and slid down to the German section. Behind me, all of Britain was represented and I held out my glass for kolsh. It was illogical, ridiculous really.

And then I had a dunkel.

I was about to try the Bavarian Andrechs spezial when my friends convinced me to branch out, go native. Wink wink, nudge nudge, say-no-more.

The Hambleton Nightmare Porter was singularly spectacular, and worth the price of admission. I only wished I’d had a whole pint of its malty comfort. I sat with my friends Liza and David on the floor of the utilitarian Earl’s Court Exposition Centre, splitting a plate of buttery Wensleydale cheese and ale chutney with biscuits. It was perfect. For a moment I understood this English pride precisely– the urgent love of the countryside and the bounty of tradition and all that. And I wanted another pint.

My friends were set on cider and I caved– I broke my no cider rule– why? Cider makes me drunk and does my pallet in. I had something that was quite drinkable if not memorable, and it predictably went straight to my head. I felt an achy melancholy creeping up, like what I get when I drink champagne. The choice was either to buy an Oliver Reed tee shirt and keep up the red-cheeked work or go home. Of course the later course won out.

I even thought of going back to the festival today by myself just to undo this grave error. (Does she go? Is she a goer?) Next year I’ll start at the Yorkshire counter and work my way widdershins around the island, map in pocket. (said the actress to the bishop.)

Nearer the Record Bin of History

Posted in fopp, london, monoculture, music, pop on August 5, 2007 by purlygrrrl

I met my husband in a used record store where he worked on Hollywood Boulevard. That store isn’t there anymore.

In high school I used to go to a record store regularly with my first real crush. We would drive out to some other suburb and pour over the bins in this little red-walled hole. I could only afford maybe one record at each visit, so it had to be the right one. I picked out things like The Smiths, which disappointed my friend. He took pity on me and made me mixed tapes. But a record never really made me cool. It was such a luxury, an object I could bond with. I’m sure that little shop in the badlands of the Chicago suburbs is gone now, too.

I’ll admit I was spoiled by the grand Ameoba Music store in San Francisco and Los Angeles. (Where the guy at the electronic counter would actually set things aside for me like Hecate and Ove-Naxx with a secretive glee– no one in London would ever break out of their numb-cool pose to do that.)

Shopping for music in London is shit. The Virgin Megastore is this tourist hell of eviscerated top-down marketing. The Oxford Street HMV cavern broadcasts billboard-sized videos of the geriatric Stones flailing around silently, overlayed by the most recent Justin Timberlake or Gwen Stefani or what have you. All the employees have to wear shirts that say “HERE TO HELP” in giant pink letters and every one of them is soured by this lack of dignity, spending a lot of time sculpting their hair so they can at least look indie-vidual on top. Looking at the displays, where everything’s a “bargain”, you feel like all of London is listening to the same five records and you can’t even blame the radio now– people are actively subscribing to the monoculture.

And there’s Sister Ray in Soho– sad, sad, sad. I’ve gone in there asking for things and always get the same vague sneer. I mean, how dare they when really their store only offers things like the Pixies back catalogue and Baby Shambles tee shirts. Like a fucking bargain basement of indiesease. No Metric? No Frog Eyes? Not even any Sons and Daughters? What’s wrong with you, Sister Ray?

There was Fopp, which I loved (for Americans, it had a bit of the early 90′s Tower Records wacky stock about it), even if it was hunt and peck, outside of Rough Trade it was the best London had. As of a few weeks ago, it is gone, every store. (The one Cambridge Circus location will reopen in name only, owned now by HMV.)

Economic analysts are blaming music downloads for these closures, but I’m not buying it entirely. (From Fopp’s now-dead website: “Our store chain is profitable, well regarded and loved by our loyal customers and staff. However we have failed to gain the necessary support from major stakeholders, suppliers and their credit insurers to generate sufficient working capital to run our expanding business.”) Blame boredom and greed– a handful of corporate culture-makers saturating everything with their own perverse choices, categorizing cultural production into demographic consumables.

I looked at the squawking image of Mick Jagger dwarfing me in HMV and thought yeah– Jack-the-Lad 60′s boomers– you’ve done it, clinging to your now-linty cool-points, you own everything. My generation has had to invent itself in their shadow. I had my day, my secret joy of dusty-record-bin discovery. At least I know it’s over. In “Psychotic Reactions and Carburetor Dung” Lester Bangs writes about buying a new record:

...The real story is rushing home to hear the apocalypse erupt, falling through the front door and slashing open the plastic sealing “for your protection,” taking the record out– ah, lookit them grooves, all jet black without a smudge yet, shiny and new and so fucking pristine, then the color of the label, does it glow with auras that’ll make subtle comment on the sounds coming out, or is it just flat utilitarian monochromatic surface, like a schoolhouse wall…And finally you get to put the record on the turntable, it spins in limbo a perfect second, followed by the moment of truth, needle into groove, and finally sound…

I won’t say I don’t miss it.

Hounslow Homegirl Does it Again

Posted in evidence, fashion, londoners, pop on July 31, 2007 by purlygrrrl

M.I.A.’s new video Boyz. She tried to get “every dancer with a name in Jamaica” in the video. I love her– her music, her 80′s radioactive tropicalismo aesthetic, everything. When I hear her music I think, that’s a London I love– screw the estate agent buckle-down, the “white girl respect your race” knuckleheads on the bus. Somewhere in her music I hear new London’s marching orders, burning up every St. George flag into a day-glo pixel kaleidescope.

Adorable Shopgirl

Posted in evidence, fashion, londoners, londonstyle, street on July 27, 2007 by purlygrrrl

Adorable Shopgirl, originally uploaded by velvetdahlia.

Here is a rare creature: a Londoner with personal style. She’s a shop girl at Office on the King’s Road. She had tattoos of red roses on her wrists and said she got her glasses at Spitalfield’s market, “Just go there and ask for Andrew.”

Donuts, is there anything they can’t do?

Posted in ads, advertising, appropriation, banksy, cerne abbas, evidence, homer, landscape, pagan, pomo, simpsons on July 17, 2007 by purlygrrrl

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If we needed more proof that some pagans are humorless, we now have it. The temporary chalk Homer on the hilside next to the Cerne Abbas giant has some pagans claiming they will do a rain ritual to erase this bit of advertising for the upcoming Simpsons movie.

As someone who spends most of her free time hiking to neolithic sites and researching them with a great deal of reverence, why does this not bug me? I’m not really a big Simpsons fan. I usually hate advertising’s pirating of public space. So what is it?

Maybe it’s so funny to me it actually transcends its function as an ad. It becomes almost Banksy-esque in its irreverence (think of the port-o-let Stonehenge at Glastonbury this year). Maybe it’s because to me the Cerne Abbas giant is not a sacred site. There are no records of this site before the 17th century, and it is more akin to some public toilet graffiti than a symbol of the divine. When I visited it, I found it muddy, macho and underwhelming. Unlike the chalk figure of the prehistoric Uffington horse which rises up, ghost-like and fragmented from the dramatic landscape, constantly obscured, increasingly fragmented as one draws closer, adding to its mystery. It’s set for the eyes of a God, not some human chest beating exercise. Had homer raised his yonic donut to the white horse, well, it wouldn’t be funny, just odd.

That Homer has appeared overnight in his y-fronts like a crop circle– if we pagans can’t laugh at that, we don’t really deserve our cakes and ale.

To quote Homer, “God bless those pagans.”

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