I visited Eric San yesterday (aka Kid Koala) and got co-opted into drawing a piece of artwork for his new album (I didn’t mind a bit). While I was there I took these shots around his ridiculously packed studio.
Eric loves anything odd or kooky that makes a noise, he owns a cutting lathe to cut his own tour records, a vintage rhythm machine that plays drum beats on 8-track cartridges and a customised jukebox that plays cassettes!
Three brilliant tributes to MCA, a ‘Sabotage’ parody by James Winters, a ‘Licensed To Ill’ mural by Aroe, and a US departure lounge sign.
[vimeo width=”640″ height=”370″]http://vimeo.com/42106181[/vimeo]
I just saw that my friend Pat Hamou did this lovely tribute to Maurice Sendak, this nails it for me. Pat said this about it:
“For Mr.Sendak.
I still remember the first time I laid eyes upon Where The Wild Things Are in my youth, leaving me wide eyed and wondering.
Here’s to the next Wild Rumpus that awaits you.”
Check out Pat’s site for his excellent gig posters and illustrations of Jewish gangsters. He lives in Montreal which is where I’m off to this week to develop my planetarium show with the people at the SAT Dome there.
Forthcoming Mike Mignola cover for the next B.P.R.D. Hell On Earth series – ‘Return Of The Master’.
These beautiful prints are going to be available on May 29th from Dark Hall Mansion in 3 different editions of 5 prints. Tom Whalen has been featured before with his take on the original Star Wars trilogy and he’s been commissioned to created this official portfolio for The Beatles. They’re not cheap but they’re beautiful.
Another tribute to the great Maurice Sendak who has now sadly left us, but has also left us so much great work, including this amazing pop up book.
This book is head and shoulders about all the other pop up books I have (and there are a few). Firstly because it’s the only one to feature Sendak’s art, which is gorgeous as always, and secondly because the paper engineering has to be seen to be believed.
[singlepic id=3786 w=640 h=480 float=left]
The story centers on a boy looking for his mummy who enters the house of Dr Frankenstein. As he moves through each room he encounters a different character from classic horror stories: The Vampire, Frankenstein’s Monster, The Mummy, The Werewolf and, finally, finds his ‘mummy’ in the Bride of Frankenstein.
[singlepic id=3787 w=640 h=890 float=left]
At each monster he enquires, ‘Mummy?’, before proceeding to disable them in different ways, seemingly indifferent to their attempts to frighten him. This is where the ingenious paper engineering comes in, the figures don’t merely pop up, they animate at the same time as each page is opened. The Werewolf actually transforms as he extends out of the book, Frankenstein’s monster is one of the biggest pop ups I’ve seen and the boy deals with his assailants happen as you open a flap on the right side of each page.
[singlepic id=3790 w=640 h=480 float=left]
Again Sendak sends a clear message to the children who read his books: you don’t need to be afraid of these monsters, they are easy to trick or get rid of. I don’t want to spoil it ALL for you by telling you how he does it but it all ends well and there is so much detail in each page that it bares re-reading. The whole scenario was dreamt up by Arthur Yorinks, paper engineered by Matthew Reinhart and released by Scholastic in 2006 where it won several awards including the New York Times‘ Best Illustrated book award. See the gallery below for some shots, with not too many spoilers.
[singlepic id=3793 w=640 h=480 float=left]
Another visionary artist gone, first Ralph McQuarrie, then Moebius (not to forget MCA on Friday), now Maurice Sendak!
I love his books, especially ‘In The Night Kitchen’, of which I made a huge poster for my kids’ bedroom when they were 2 years old. I also loved the way he was so outspoken about encroaching political correctness and what could and could not be shown to children. A true original.
Obviously ‘Where The Wild Things Are’ is his best known work, and deservedly so but there’s a lot more in his catalogue than that classic. When I was digging through the archive at Sesame Workshop in 2003 I found a cartoon of ‘Bumble Ardy’, voiced by Ken Nordine written by Sendak and illustrated in his style. This became his last book, published last year in a revised form and you can find it on a Sesame Street DVD called ‘Old School’.
[youtube width=”640″ height=”480″]http://www.youtube.com/watch?v=E2TVYdQU3-I[/youtube]
This is a post I had over on my old MySpace blog from Jan 2008:
“On December 27th I installed a ‘Where the Wild Things Are’ window display in the Tales on Moon Lane bookshop in Herne Hill, London. It will be up until Easter and then move to their Primrose Hill shop. I highly recommend the shop for kids books as they have an excellent selection and the shop is packed with loads of fun stuff.”
I just saw this via Twitter which is just beautiful:
“Once a little boy sent me a charming card with a little drawing on it. I loved it. I answer all my children’s letters — sometimes very hastily — but this one I lingered over. I sent him a card and I drew a picture of a Wild Thing on it. I wrote, “Dear Jim: I loved your card.” Then I got a letter back from his mother and she said, “Jim loved your card so much he ate it.” That to me was one of the highest compliments I’ve ever received. He didn’t care that it was an original Maurice Sendak drawing or anything. He saw it, he loved it, he ate it.”
– Maurice Sendak – RIP, you left a great legacy for generations to come.
Augustine Kofie: Working An Angle @ Known Gallery Los Angeles from Augustine Kofie on Vimeo.
Promo for Augustine Kofies' Solo showing at Known Gallery as well as his first solo in Los Angeles in over 3 years.
AUGUSTINE KOFIE / WORKING AN ANGLE Opens: May 26, 2012 | 8-11pm Runs: May 26 – June 9, 2012 KNOWN Gallery, 441 North Fairfax Avenue, Los Angeles, CA 90036 [email protected]
This is lovely, perfect Sunday afternoon viewing and listening. A compilation of Boards of Canada‘s loops posted on their websites.
Video footage taken from BoC’s 2002 website, by James Tindall.
On June 1st I’ll be traveling up to my friends’ Sarah and Leigh‘s place in Hinckley, Leicestershire for the opening of a rejigged version of the DJ Food & Henry Flint exhibition that we held at the Pure Evil Gallery in January.
Their Factory Road Gallery will host a lot of the posters and original art and there will be local ale, special food and prints, CDs and books for sale. More details here.
There will be special limited editions available at the show, a 20 copy giclée print of the recent 12″ cover, printed tea towels (!) and chocolate bars in silver space-type wrapping. There will also be food on the opening night, local ale and I’ll be around to answer any questions.
David Hine and Shaky Kane‘s ‘The Bulletproof Coffin – Disinterred’ series has been sending ripples through the comics industry recently not least for the format of the latest issue. Taking the form of a Beats-style cut up as the method with which the issue was assembled, it reads in a random array of images in no particular order in the same way that Gysin and Burroughs rearranged cut up texts to create an alternate version of their work. Fairly radical in as far as comics go at present but what really set the cat among the pigeons were images online of Shaky cutting up an original issue of Fantastic Four #2 from his own collection.
I asked David about his intentions with the issue and if – had I bought 2 copies and cut them up – I would be able to discern a linear narrative from it if I’d attempted to rearrange it into a logical order?
“There is no preconceived or ‘correct’ way to view the panels. There are a few that do follow a pattern. There are four images of Hairy Men that revisit the scene in 2001 A Space Odyssey where prehistoric man discovers the first tool/weapon. Some of the images refer back to past issues of the Coffin, some to future issues and a few to a planned ‘biography’ of George Adamski. We’ve also reworked a few panels from my adaptation of Lovecraft‘s ‘The Colour out of Space’ originally illustrated by Mark Stafford. You may also spot other quotes from Lovecraft, Kafka, William Burroughs, Aldous Huxley‘s ‘The Doors of Perception’ and lots of other sources.
The idea is to create an open-ended merging of words and images that set off whole new narratives and are open to infinite interpretations. I’ve found new meanings in the random sequence we ended up with here. The way the last page links four deaths – Kennedy‘s assassination, the death of the fictional Hine, the murder of one of Steve Newman‘s twin ‘sons’ and the murder of one of the scientists from The Colour Out of Space. Purely coincidental.
What I really want is an app that will allow random reading of the digital version of the comic. Ideally one that will allow for alternative captions too – something I played with in the last four pages, where I took four of the panels and created an alternative narrative thread between them.”
Also notable are the text pieces ‘Non-stop Ecstatic Dancing / Stop Dancing’ at the end of the comic: a regular and then cut up version, demonstrating the process again for those who may be wondering what the hell they just read. I think there’s definitely room for a deluxe cut up version of the whole book with each panel printed separately on card to be arranged as you see fit.
Shaky had this to say: “Thanx Kev, note how I spelt thanx with a ‘X’! See- I’m there Kev, I’m there!”
More gorgeous artwork from Mr Krum for the new DJ Format 10″ single featuring Edan & Mr Lif – available now from Slice of Spice but be quick! Lots of limited versions available, black vinyl, clear with black swirls, a postcard remix of an exclusive remix, test pressing versions of the album ‘Statement of Intent’. These are two of the best Hip Hop cuts I’ve heard in a long time and instrumentals are included too.
To most kids of my generation, only a couple of years behind Adrock in age at the time they blew up, the Beastie’s were super heroes. Who didn’t want to be them? Signed to the coolest Hip Hop label, growing up in public and doing the rock star thing for their first album and then moving to the west coast and hooking up with the Dust Brothers for the second.
They were a gang, you knew all their close friends from shout outs on the records and collages on the record sleeves, and you knew what they were into from their lyrics. Skateboarding, snowboarding, hardcore, rap, funk, rock, playing basketball backstage, making films and building their own recording studio. Always flipping the script with artwork and videos and always one step ahead of a trend as evidenced by countless articles in their Grand Royal magazine and the Yauch-directed ‘Sabotage’ video. Never taking themselves too seriously, you knew they were doing exactly what they wanted and having a ball.
The news that Yauch is gone is just unfathomable, I mean, he had throat cancer a few years back and he beat that, didn’t he? As far a we knew he did – of course he did, he was a superhero, beating cancer was childs play for him – “hang on, we’re just going to postpone our album for a bit while Adam battles cancer”. 6 months later, job done, the album’s out, let’s move on. You never doubted he’d beat it, it was just a formality, he was a Beastie Boy, a super hero. The news on May the 4th came out of the blue like a left hook you never saw coming, this time there would be no comeback for a new cross-over series starting next month. Now I’ve had time to take it in I’ve written some memories of the Beasties – who it will always be impossible to separate MCA from – who have been part of my musical merry go round since 1985.
I (unknowingly) first heard MCA’s gruff tones over the early Def Jam oddity, ‘Drum Machine’ by Burzootie, shouting, “Now there’s a thing called the drum machine”, repeatedly over a DMX beat that sounded like Tackhead. One of those weird one-off records that only happen when labels are finding their feet, it was a collab between Jay Burnett (Burzootie) MCA (Master Def Yauch) and Arthur Baker (Shakin’ Baker) with edits by the Latin Rascals. Next was ‘Slow & Low’ which turned up on a free 7″ with the NME I think and by the time ‘Hold It Now, Hit It’ surfaced they were most definitely on the radar.
Raising Hell Tour ’86 at the Hammersmith Odeon with LL, Whodini & Run DMC: Beasties were first on, they did ‘Slow & Low’ and ‘Hold It Now, Hit It’, wisely leaving the metal of ‘She’s On It’ off the set list for the Hip Hop crowd, and that was it. They had precious other material released at that point that anyone had heard (‘Cookie Puss’ was still under the radar and even ‘Rock Hard’ and ‘Drum Machine’ were not that well known). ‘Licensed to Ill’ wasn’t out then but they tore into the 10 minute set they had with Rick ‘DJ Double R’ Rubin as their DJ.
Less than a year later ‘Licensed To Ill’ was the soundtrack to the summer holiday of ’87 and I painted the Beastie Boys’ logo from the tail of the plane on the cover on the back of my jacket. A kid at college asked me, “what’s does ‘Licensed to three’ mean?”. After seeing Mike D on the cover of the NME wearing a VW logo round his neck I went out and pulled a big silver one off the front of a van the next weekend. Saw them in Brighton at the Conference Centre and they had the caged girls, inflatable penis, beer throwing and we saw them walking along the sea front, I still have the programme. I bought the tour T-shirt which I wore into an exam that bore the legend ‘Get Off My Dick’ on the back, I was told not to wear it again.
‘Paul’s Boutique’ – still one of my top 3 Hip Hop records and one of my favourite albums of all time. The haters at the time were wrong, it was a classic all along, they were far more than just a white rap act with rock riffs. The bad press didn’t make sense at all, this album was way better than the debut – just too far ahead of the game I suppose. It’s widely acknowledged that, along with De La‘s ‘3ft High & Rising’, ‘Paul’s Boutique’ was one of the last albums made with huge samples. They were sampling the Beatles for godsake, you can’t make records like that anymore.
‘Check Your Head’ – summer soundtrack of ’92, up their with PB as a favourite, but this time they were playing as well as sampling! I used to walk around with this on my Walkman trying to find a job when college finished for the summer. I had no money and had just come out of a long relationship, it kept me sane. Saw them with the Rollins Band at the Town & Country Club and crowd-surfed – awesome gig.
‘Ill Communication’ – blasting it out of the warehouse in the first job I had post-college, that and Grand Royal magazine after it just cemented the legend. Video for ‘Sabotage’ was a classic and I saw them at Glastonbury in the rain in ’94, and sought out the bootleg tape of the set later.
‘Hello Nasty’ tour, Brixton Academy ’98, I was one of the support acts alongside Kid Koala, Money Mark, Invisibl Skratch Picklz, X-Men, Ollie Teeba and the Scratch Perverts. Ollie and I practiced a 4 deck routine for weeks but I was so nervous I couldn’t enjoy the gig for one second. Had dinner backstage with Mixmaster Mike and Kid Koala and MCA sat on the next table, no big star trip, just a regular guy. The gig poster still hangs in my kids’ bedroom and they have a gang that they want to call the Beastie Boys.
I always thought that MCA came across as the more mature member of the group, the one keenest to put the events of their first album behind them. He seemed to grow out of that the quickest and his support for the Tibetan Monks just cemented this, his concerns were far wider than just the group. Out of all the lyrics that MCA threw out into the world this one always comes back and I think it would make a fine epitaph:
“I want to say a little something that’s long overdue
The disrespect to women has got to be through
To all the mothers and the sisters and the wives and friends
I want to offer my love and respect to the end”
Thank you MCA, Adam Yauch – I will miss you but I have so many good memories because of what you and the Beasties did.
Loving these covers for the comic ‘Spaceman’ by Azzarello and Risso.
Saw this last night, REALLY good, go and see it, everything you’d want in a blockbuster superhero film.
3D isn’t essential but doesn’t spoil it, just really well paced character driven action with an unexpected dose of genuinely funny humour.
Also some cracking design on the vehicles, looking forward to the follow up. 10/10 to all involved and I’ve never read an Avengers comic in my life.
Gorgeous poster for the 1st East London Comics & Arts Festival by one of my favourite artists currently – McBess. 7th June is the date with McBess as the artist in residence; live drawing relay races from Luke Pearson, Jack Teagle, Kyle Platts, and many more; a process talk by BLEXBOLEX, chaired by Paul Gravett; 600 second interviews from Avoid the Future; a kids workshop organised by Anorak; Screenings by Nexus; panel discussions with Karrie Fransman, Darryl Cunningham and Simone Lia; stalls from the very best comics publishers, including Jonathan Cape, SelfMadeHero, Blank Slate, Nobrow, Knockabout, Landfill Editions, Solopsistic Pop, WAWAP and more. Alos there will be a ticketed concert featuring the Dead Pirates (McBess’ band), the Vuvuvultures and a special guest running from 8 ’til late.
Here’s something I did last month in conjunction with Carling Zest, a new drink being promoted this summer. The idea was to take three producers, myself, DJ Yoda and Jaguar Skills, and give everyone sights and sounds of summer to incorporate into a track that had the feeling of summer to it. I called mine ‘Sunspot’, after one of my favourite Vaughn Bodé strips, and used some of my home made phenakistoscopes as elements for the video in conjunction with the footage Carling supplied.
[youtube width=”640″ height=”375″]http://www.youtube.com/watch?v=O_8Nx1TmC1o&feature=relmfu[/youtube]
I was left to my own devices and incorporated a lot of my own melodies into the track, using their bee sounds and lots of percussive elements to form the basic beat of the piece. Making a track that evokes a ‘summer’ feeling is a lot harder than making something dark and moody, especially without stepping into cheesy territory but I’m really pleased with the outcome.
During the process I was filmed going through samples in my studio and generally talking about records I thought bought out the summer feeling in me. This quickly degenerated into what seemed like a massive advert for Boards of Canada‘s back catalogue 
with other shouts to the Orb (Little Fluffy Clouds) and The The (This Is The Day). The film crew, who were great fun to work with, shot for a whole day and then crammed it all into 2 minutes, so, if the editing seems a little fragmented here and there, you’ll know why. Big thank you to Ash for getting the shots and Tom for doing a great job on helping me with the last touches on the video edit.
[youtube width=”640″ height=”375″]http://www.youtube.com/watch?v=qQFCJtD7S1w&feature=relmfu[/youtube]
Wish they hadn’t put that ice cream bit in Spot the ‘Rave Wars’ 7″s and 3A robots everywhere There’ll be an online competition to remix this track and win tickets to the V festival and other goodies coming up on May 23rd so I’ll post about that when it’s online.