#Jack Walworth

[cryptid-deity]

September 20th Entry

Summary of Patrick Hennessey’s part, as he writes to Seward about events at the asylum.

Letter from Patrick Hennessey, M.D., M.R.C.S., L.K.Q.C.P.I., Etc., Etc., to John Seward, M.D.

In accordance with your wishes, I enclose report of the conditions of everything left in my charge.

Hennessey reports that two unfamiliar men on a carrier’s cart came by the asylum and asked where the gate to the abandoned house next door was. When one of them passed by the window of Renfield’s room, Renfield started cursing at him and accused him of robbing him. He then threatened to kill the man. Hennessey told the man to ignore it and gave him directions to the gate of the abandoned house. Renfield continued to curse and threaten the man as he left the asylum grounds.

Hennessey then went to check on Renfield and see if there was anything in particular that could have put him in such a poor mood. When he arrived there, Renfield was completely calm and did not seem to remember the incident at all.

Half an hour later, however, Hennessey was informed that Renfield had left his room through the window and was running down the avenue. Hennesey hurried after him and found Renfield attacking one of the men from earlier, who had loaded large wooden boxes onto their cart. Hennessey and the two men managed to overpower Renfield after much struggle. As they did, Renfield began to shout: ‘I’ll frutrate them! They shan’t rob me! They shan’t murder me by inches! I’ll fight for my Lord and Master!’ and similar things that Hennessey does not write out. As the attendants took Renfield back inside, Hennessey talked the two men out of pressing charges. They ended up leaving on friendly enough terms. Hennesey wrote down their names and addresses, in case those are needed in the future.

They are as follows: Jack Smollet, of Dudding’s Rents, King George’s Road, Great Walworth, and Thomas Snelling, Peter Parley’s Row, Guide Court, Bethnal Green. They are both in the employment of Harris & Sons, Moving and Shipment Company, Orange Master’s Yard, Soho.

I shall report to you any matter of interest occurring here, and shall wire you at once if there is anything of importance.

Believe me, dear sir,

Yours faithfully,

Patrick Hennessey.

[bellows4l]

The fourth Bellows album, “The Rose Gardener”, is coming out on February 22nd, 2019 on Topshelf Records. I made the album art myself -- I’m really proud of it!! you can preorder the vinyl & tapes and a bunch of other stuff at my bandcamp :: http://bellows.bandcamp.com

[draculalive]

Report from Patrick Hennessey, MD, MRCSLKQCPI, etc., etc., to John Seward, MD

20 September.

My dear Sir, --

In accordance with your wishes, I enclose report of the conditions of everything left in my charge... With regard to patient, Renfield, there is more to say. He has had another outbreak, which might have had a dreadful ending, but which, as it fortunately happened, was unattended with any unhappy results. This afternoon a carrier's cart with two men made a call at the empty house whose grounds abut on ours -- the house to which, you will remember, the patient twice ran away. The men stopped at our gate to ask the porter their way, as they were strangers. I was myself looking out of the study window, having a smoke after dinner, and saw one of them come up to the house. As he passed the window of Renfield's room, the patient began to rate him from within, and called him all the foul names he could lay his tongue to. The man, who seemed a decent fellow enough, contented himself by telling him to "shut up for a foul-mouthed beggar," whereon our man accused him of robbing him and wanting to murder him and said that he would hinder him if he were to swing for it. I opened the window and signed to the man not to notice, so he contented himself after looking the place over and making up his mind as to what kind of a place he had got to by saying: “Lor’ bless yer, sir, I wouldn't mind what was said to me in a bloomin’ madhouse. I pity ye and the guv’nor for havin’ to live in the house with a wild beast like that." Then he asked his way civilly enough, and I told him where the gate of the empty house was; he went away, followed by threats and curses and revilings from our man. I went down to see if I could make out any cause for his anger, since he is usually such a well-behaved man, and except his violent fits nothing of the kind had ever occurred. I found him, to my astonishment, quite composed and most genial in his manner. I tried to get him to talk of the incident, but he blandly asked me questions as to what I meant, and led me to believe that he was completely oblivious of the affair. It was, I am sorry to say, however, only another instance of his cunning, for within half an hour I heard of him again. This time he had broken out through the window of his room, and was running down the avenue. I called to the attendants to follow me, and ran after him, for I feared he was intent on some mischief. My fear was justified when I saw the same cart which had passed before coming down the road, having on it some great wooden boxes. The men were wiping their foreheads, and were flushed in the face, as if with violent exercise. Before I could get up to him the patient rushed at them, and pulling one of them off the cart, began to knock his head against the ground. If I had not seized him just at the moment I believe he would have killed the man there and then. The other fellow jumped down and struck him over the head with the butt-end of his heavy whip. It was a terrible blow; but he did not seem to mind it, but seized him also, and struggled with the three of us, pulling us to and fro as if we were kittens. You know I am no light weight, and the others were both burly men. At first he was silent in his fighting; but as we began to master him, and the attendants were putting a strait-waistcoat on him, he began to shout: "I'll frustrate them! They shan't rob me! they shan't murder me by inches! I'll fight for my Lord and Master!" and all sorts of similar incoherent ravings. It was with very considerable difficulty that they got him back to the house and put him in the padded room. One of the attendants, Hardy, had a finger broken. However, I set it all right; and he is going on well.

The two carriers were at first loud in their threats of actions for damages, and promised to rain all the penalties of the law on us. Their threats were, however, mingled with some sort of indirect apology for the defeat of the two of them by a feeble madman. They said that if it had not been for the way their strength had been spent in carrying and raising the heavy boxes to the cart they would have made short work of him. They gave as another reason for their defeat the extraordinary state of drouth to which they had been reduced by the dusty nature of their occupation and the reprehensible distance from the scene of their labours of any place of public entertainment. I quite understood their drift, and after a stiff glass of grog, or rather more of the same, and with each a sovereign in hand, they made light of the attack, and swore that they would encounter a worse madman any day for the pleasure of meeting so 'bloomin' good a bloke' as your correspondent. I took their names and addresses, in case they might be needed. They are as follows: -- Jack Smollet, of Dudding's Rents, King George's Road, Great Walworth, and Thomas Snelling, Peter Farley's Row, Guide Court, Bethnal Green. They are both in the employment of Harris & Sons, Moving and Shipment Company, Orange Master's Yard, Soho.

I shall report to you any matter of interest occurring here, and shall wire you at once if there is anything of importance.

Believe me, dear Sir, Yours faithfully, PATRICK HENNESSEY.

[peckhampeculiar]

For the record

Local resident Garth Cartwright has written a book chronicling the story of the UK record shop. As Record Store Day on April 21 approaches, he shares some snippets about the music shops of SE15

I’ve written a book that tells the tale of the UK record shop. The story stretches from 1890 – when wax cylinder recordings of music were first made commercially available – to the present.

Peckham has hosted all kinds of record shops over the past century. Having spent the last 25 years in south London (and much of it in SE15) I went looking for local stories to include. And I found some great ones.

Today the area is once again a music hub, with Rye Wax in the Bussey Building basement and Lorenzo’s Record Shack in Sky Shopping City both providing cutting-edge new and used vinyl selections.

Another local music shop, Maestro Records, opened in the mid-1990s on Parkstone Road, just off Rye Lane, in the building that once housed Reed Music Centre (later Reed For Records).

Owner Michael Fountaine, who has run Maestro since its inception, remembers shopping in Reed’s. His shop offers both CDs and vinyl, focusing on music for Peckham’s Afro-Caribbean community: reggae, soul, rap, gospel, soca and R&B.  

CD Base in Holdron’s Arcade sells CDs and DVDs and specialises in rap and dancehall; while Craig Jamieson of Peckham Soul offers up a small but tasty selection of vinyl LPs and singles – as well as branded clothing – from his base at Peckham Pelican.  

That said, since I last wrote about SE15 record shops for the Peculiar back in 2016, there have been a few closures. Yam Records in Holdron’s Arcade recently pulled down the shutters for the last time to relocate to Bermondsey.

This is a great shame as Yam was a real hub of youth activity, with a tiny radio station, a record label and all kinds of contemporary electronic music on 12-inch 45s, alongside some good ’n’ funky used records.

On Friary Road Sacred Records still stands, its window bedecked with bright LP sleeves, but it has not opened in more than a year. Run as a hobby by two close friends, it’s a treasure trove of LPs and obscure musical delights such as historic Maori and Croatian recordings.

Other music shops have come and gone over the years. In the past, Peckham was home to a handful of small but significant record stores, including the aforementioned Reed For Records.

For decades Reed’s was Peckham’s most significant and best-loved record shop and while no one has been able to verify exactly when it opened, I’m guessing it was some time during the early 1950s.

One commentator at the British Record Shop Archive website recalls Jean Reed running into the shop saying she’d just seen Bermondsey boy Tommy Steele audition and that he would be a big star. This would have been 1956 and Jean was proved correct.

She and her husband Ray ran the Parkstone Road shop and another branch in Forest Hill on Dartmouth Road.

Their early record bags – often the only trace left of these shops is their branded paper bags – also mention a connection with West End Reproducers on Tottenham Court Road but, so far, no further information has come to light about this shop.

Jean and Ray were much loved by the local community, with Jean possessing an encyclopaedic mind when it came to knowing what records had been released and what were about to be released.

Back then, almost all record shops kept the covers of the LPs out front and the actual vinyl behind the counter. Customers would then take the cover to the counter if they wished to have a listen.

Most shops had small listening booths until the late-1970s where, if you were considered a serious customer and not just a time waster, you would be allowed to listen to the record of your choice – or purchase.

Older Peckham residents recall how Rye Lane was once known as the “golden mile” for shopping, and remember the vast Jones & Higgins department store that once dominated the top end of the Lane, stretching from Peckham High Street to Hanover Park.

Jones & Higgins housed a gramophone department – as many of the big stores did pre-World War Two – and this would have sold sheet and recorded music.

Many market traders would also have sold records: from the introduction of the 78 (it overtook cylinders in sales by 1910) until the late 1970s, large amounts of 78s, 45s and LPs were sold on market stalls across the UK.

Again, older residents recall buying records at market stalls in the 1960s – and Jamaican, Trinidadian and African records were often sold alongside food, beauty products and such by traders who catered specifically to the new immigrant communities.

Bicycle shops were also popular outlets for 78s but if Wilson’s on Peckham High Street – Peckham’s oldest trading shop and still a bike shop today – ever sold shellac there is no record of it.

The cardboard 78 sleeves often boasted the name of the outlet, with bike and electrical shops being prominent retailers. A1 Records, which existed from the 1920s to the 1990s on the corner of Walworth Road and East Street Market, was based in the back of a light fittings outlet.

While Wilson’s remains a mystery I do know that, directly along from it in the shop that is now home to the fabulous Persepolis, there once stood the majestic Peckham Gramophone Stores.

A photo taken in what I believe to be 1933 demonstrates a group of men and boys – and one woman (and possibly a girl in the far left corner) – watching as a man puts needle to 78 on a portable gramophone.

What are they listening to? Most likely the new Jack Hylton 78, as a large, framed image of Hylton rests against the shop window and a cardboard stand of Jack is right beside the early DJ.

Jack was a towering figure in British dance music during the 1920s and 30s and lived the life of a star – squiring beautiful women, driving fast cars and residing in a mansion. In 1933 a new Hylton 78 could well have had Peckhamites out on the street and listening to the music play.

The photo shows that Peckham Gramophone Stores sold not just records, but gramophones, wirelesses (radios) and newspapers, specifically the Daily Herald – a paper that existed from 1912-1964 when it relaunched as The Sun.

What happened to Peckham Gramophone Stores? So far, no one has come forward with any information on it but, as World War Two led to a shortage of shellac – the resin used to make 78s – it’s likely this is what helped bring about its closure.

Sally Butcher, the polymath who owns Persepolis, says the building appears to have been a sweet shop for some time, so it’s unlikely Peckham Gramophone Stores was in competition with Reed Music Centre. As Persepolis sells Persian CDs today, the tradition continues.

In the 1970s Peckham changed from being a predominantly white community to an Afro-Caribbean one and reggae “shacks” opened selling Jamaican 45s as fresh and hot as a saltfish patty.

The most famous of these shacks was Intone at 48 Rye Lane, which was run by the legendary sound system DJ and record producer Lloydie Coxsone and attracted legions of loyal  customers including Radio 1 DJ John Peel.

Peel was so enthused by the new dub and roots reggae records he would buy in Intone, that he championed it both on his radio show and in his column in Sounds, which was a music weekly.

Peel seemed to take a certain glee in taking the train from Victoria Station to Peckham Rye and then venturing into Intone, where the music was so loud you couldn’t hear yourself think and the air was filled with ganja smoke.

Intone closed sometime in the mid-1970s and, not long after, Dub Vendor opened its very first shop in the arcade by Peckham Rye Station.

Dub Vendor’s founders were John MacGillivray and Chris Lane, two white London youths who were obsessive Jamaican music fans. They would develop DV into several shops and the Fashion record label – home to Smiley Culture’s hits.

Yet their Peckham venture proved a disaster: having only been open a month, they arrived one morning to find the shop turned over – stereo, speakers and stock all stolen.

Dub Vendor subsequently quit Peckham, operating as a market stall in Clapham Junction before opening celebrated reggae shops in Ladbroke Grove and Clapham.

Crime was a threat to other record shops too. Ray Reed was attacked and robbed in Reed’s in the 1970s, as was Mr Tipple, the owner of Tipple’s newsagent and record shop on Peckham Park Road.

Mr Tipple was infamous for his rudeness – he often refused to let customers see the records, which were kept in the back of the shop – and for his deep stock: if you were lucky enough to get access you could find mint records dating back to the 1950s.

Tipple’s closed at some point around 1990 when Mr Tipple died. Ray Reed passed away in the late 1970s but Jean kept the Peckham shop going until she retired in the 1990s. These shops may be gone but the memories, stories and records they sold live on.

..............................

In-depth stories on Peckham’s record shops – and many more across London and the UK – feature in Going For A Song: A Chronicle Of The UK Record Shop (Flood Gallery Press). It’s available now in all good book and record shops (including Lorenzo’s and Persepolis). If you have any memories of record shops to share, please visit garthcartwright.com to get in touch.

[talektoubale-blog]

Nina Toubale, University of Brighton, Brighton England

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[akamaotto]

Stream Gabby’s World’s New Album 'Beast On Beast'

Stream Gabby’s World’s New Album ‘Beast On Beast’

Original article in HYPEBEAST [ad_1]

Gabrielle Smith, better known as Gabby’s World, is back with Beast On Beast, her first proper full-length since 2015’s excellent O.K.. Smith is joined by Bellows’ Oliver Kalb, Told Slant’s Felix Walworth, and Sharpless’ Jack Greenleaf, and the LP was recorded by Ava Luna’s Carlos Hernandez and Julian Fader. The 12-track project features contributions from…

[itsworn]

Mustangs of the Summer Elkhorn (WI) Swap Meet and Car Show 2018

Driving directions gone wrong was what started the Summer Elkhorn Swap Meet and Car Show. It was a wrong turn off the highway that led show founder Gary Esse to drive by the Walworth County Fairground in Elkhorn, Wisconsin.

“What happened was I took the wrong road one day. I turned on the road that ends up by the fairgrounds. I stopped and thought this fairgrounds would be great location for an additional car show and swap meet. I went in the office and I signed the contract and Elkhorn was born,” Summer Elkhorn Car Show Founder, Esse said.

As luck would have it, 33 years later the Summer Elkhorn Car Show and Swap Meet is now known as a Midwest hub for all things car culture. The Summer Elkhorn Swap Meet and Car Show is a two-day event every August that offers spectators large swap space, show cars on display, and the famed car corral.

Esse says the secret to his program’s success is not limiting your options and keeping an open mind for show expansion. “If you are looking for a certain car part, you are guaranteed to find it here at this show.“ There are so many cars in this area. We are about 30 miles from Milwaukee and close to Racine and Kenosha. This Elkhorn venue is in the middle of the state.”

The central hub for The Summer Elkhorn Swap Meet and Car Shows’ Car Corral was filled with vintage Ford Mustangs for sale by owners. Mustang Owner Brance Lake is selling his Poppy Red 1965 convertible with the original factory sheetmetal. His Mustang started out as an original 289 four-speed car, but it sure does not look that way now as Lake swapped the 289 for a 5.0L, an entirely new suspension, and Vintage Air air conditioning.

“This Mustang has gotten a lot more zip than your standard 289 engine. When my son and I got off on the highway there was a 1955 Chevy who wanted to race. We somehow inched him out but then we saw a police officer and we decided it was not a good idea to go there,” Lake said.

Just a few rows over from the ‘65 convertible sat Jack Winters and his 1966 Mustang restomod. Winters prides himself on being a Mustang enthusiast and has owned 10 of them over the past 30 years. Now he spends his days doing cosmetic restorations on vintage Mustangs.

The Summer Elkhorn Swap Meet And Car Show attendance this year was a healthy 9,000 people and pulled in over 400 swap meet vendors to the Elkhorn venue. The next event put on Gary Esse and his company, Madison Classics, will be the Fall Jefferson Swap Meet and Car Show in September 2018.

The post Mustangs of the Summer Elkhorn (WI) Swap Meet and Car Show 2018 appeared first on Hot Rod Network.

from Hot Rod Network https://www.hotrod.com/articles/mustangs-summer-elkhorn-wi-swap-meet-car-show-2018/ via IFTTT

[londontheatre]

Sienna Miller and Jack O’Connell – Photo by Charlie Gray

Lisa Palfry (Big Mama), Hayley Squires (Mae) and Brian Gleeson (Gooper) with Richard Hansel (Doctor) and Michael J Shannon (Reverend) join the previously announced Sienna Miller (Maggie), Jack O’Connell (Brick) and Colm Meaney (Big Daddy) for the Young Vic production of Cat On A Hot Tin Roof directed by Benedict Andrews. The younger members of the Company will be announced at a later date.

The twelve-week run in the West End at the Apollo Theatre begins previews on 13 July 2017 with press night on 24 July. The last performance is 7 October 2017. Set designs are by Magda Willi with costume designs by Alice Babidge, lighting by Jon Clark and sound design by Gareth Fry. Music is by award-wining composer and musician Jed Kurzel.

The truth hurts. On a steamy night in Mississippi, a Southern family gather at their cotton plantation to celebrate Big Daddy’s birthday. The scorching heat is almost as oppressive as the lies they tell. Brick and Maggie dance round the secrets and sexual tensions that threaten to destroy their marriage. With the future of the family at stake, which version of the truth is real – and which will win out?

Lisa Palfrey’s theatre credits include Junkyard for Headlong, Much Ado About Nothing for Theatre Clwyd, The Seagull for Regent’s Park Open Air Theatre, The Kitchen Sink for the Bush Theatre, Red Bud, Ingredient X and Under The Blue Sky all for the Royal Court Theatre, Festen and The Iceman Cometh both for the Almeida Theatre and Cardiff East and Under Milk Wood both for the National Theatre. Her film credits include Pride, The Englishman Who Went Up a Hill But Came Down a Mountain, House of America, Under Milk Wood and Guest House Paradiso. Her television credits include Hinterland, The Line of Duty, Green Hollow, Casualty, and Family Tree.

Hayley Squires’ theatre credits include The Pitchfork Disney at Shoreditch Town Hall and As Good a Time as Any at The Print Room. For the role of Katie in Ken Loach’s Palme d’Or winning I, Daniel Blake she won the British Independent Film Award for Most Promising Newcomer, the Evening Standard British Film award for Best Supporting Actress and also received a BAFTA nomination for Best Supporting Actress. Her other credits include Giantland, Away, Polar Bear, A Royal Night Out and Blood Cells. Her television credits include The Miniaturist, Collateral, Philip K. Dick’s Electric Dreams, The Commuter, Murder, Southcliffe, Complicit and Call The Midwife.

[See image gallery at http://ift.tt/1FpwFUw] Brian Gleeson was most recently seen on stage in The Weir at the Lyceum Theatre, Edinburgh. His other theatre credits include The Walworth Farce at the Olympia Theatre, Dublin and the Donmar Warehouse production of The Night Alive, which also ran at the Atlantic Theatre in New York. His film credits include Assassin’s Creed, The Flag, Tiger Raid, History’s Future, Standby, Darkness on the Edge of Town, Stay, Snow White and The Huntsman. His television work includes the lead role of Jimmy Mahon in the RTÉ series Rebellion, Quirke and Stonemouth. His film work due for release this year includes Steven Soderbergh’s feature film Logan Lucky, Darren Aronofsky’s Mother!, and Paul Thomas Anderson’s Phantom Thread.

Richard Hansell’s more recent theatre credits include Lazarus at the King’s Cross Theatre, the Young Vic’s production of A View From the Bridge which transferred to the West End and then to Broadway and Macbeth at the Trafalgar Studios. His other theatre credits include Tonight at 8.30 for Chichester Festival Theatre, The Madness of King George III at the Apollo Theatre, The Bridge Project at the Old Vic and the Brooklyn Academy of Music, Troilus and Cressida for Shakespeare’s Globe, Rosencrantz and Guildenstern Are Dead, School for Scandal and Hamlet all for English Touring Theatre and A Patriot For Me and Two Gentlemen of Verona for the Royal Shakespeare Company. His television credits include And Then There Were None, Downton Abbey, Spooks, The Royal, Miracle Landing on The Hudson and E=MC2, and on film his credits include Shine, The Wolfman and Hamlet.

Michael J Shannon’s theatre credits include The Dining Room and The Glass Menagerie, both at Greenwich Theatre, Artichoke for the Tricycle Theatre, Totally Foxed at the Theatre Royal Bath, The Price at the Leicester Haymarket, The End of the World at Nuffield, Southampton, A Thousand Clowns at the Palace, Watford and A Delicate Balance at the Nottingham Playhouse. His television credits include We’ll Meet Again, Boston Legal and Brothers & Sisters.

For this Young Vic production, there are seats available at £10 for under 25s for each performance booked through the Young Vic Box Office. Cat On A Hot Tin Roof is the Young Vic’s first production to debut in the West End and is presented by the Young Vic and The Young Ones. Previously the Young Vic have transferred A View from a Bridge, Golem, Romeo and Juliet, The Scottsboro Boys, Simply Heavenly, Tintin and A Doll’s House.

Tennessee Williams’ Pulitzer prize winning play received its world premiere in 1955 on Broadway with Barbara Bel Geddes and Ben Gazzara as Maggie and Brick. The UK premiere, directed by Peter Hall, opened at the Comedy Theatre in 1958 with Kim Stanley and Paul Massie. The 1958 Academy Award nominated film starred Elizabeth Taylor and Paul Newman.

Finn den Hertog is Assistant Director. He previously worked with Benedict Andrews on A Streetcar Named Desire.

Natalie Denton is Jerwood Assistant Director, supported through the Jerwood Assistant Directors Program at the Young Vic.

The Young Vic produces new plays, classics, forgotten works, musicals and opera. It co-produces and tours widely in the UK and internationally while keeping deep roots in its neighbourhood. It frequently transfers shows to London’s West End and invites local people to take part at its home in Waterloo. In 2016 the Young Vic became London’s first Theatre of Sanctuary. Recent productions include Simon Stone’s multi award-winning new version of Lorca’s Yerma which returns to the Young Vic with Billie Piper reprising her performance in July, the premiere of Charlene James’ multi-award-winning play Cuttin’ It and Ivo van Hove’s multi award-winning production of Arthur Miller’s A View from the Bridge (West End & Broadway transfers), as well as Horizons, a season of work exploring the lives of refugees. David Lan is Artistic Director, Lucy Woollatt is Executive Director. www.youngvic.org

About the Jerwood Assistant Director Program The Jerwood Assistant Director Program at the Young Vic supports directors in the early stages of their careers by providing a vital opportunity to obtain professional on-the-job development. The programme is supported by Jerwood Charitable Foundation and was set up in 2010 to give emerging talent the chance to work alongside some of the most talented and experienced directors in the world. The partnership was set up in 2010 to give emerging talent the chance to work alongside some of the most talented and experienced directors in the world.

In 2014, the Program was expanded to include an international dimension, and this continues in 2017. The Program draws upon the vast expertise of our theatre colleagues across the world and will for the fourth time offer a professional practice visit to the seven Jerwood Assistant Directors. Travelling as a group to a major European theatre capital they will have the opportunity to see work and develop relationships with international practitioners with a view to generating new ideas and future collaborations.

The Jerwood Assistant Director Program has become a successful springboard. Past participants include: Sam Pritchard, who assisted Carrie Cracknell on A Doll’s House, appointed International Associate at the Royal Court. He will direct Pygmalion for Headlong in 2017; Craig Gilbert, who assisted Natalie Abrahami on Ah, Wilderness!, appointed New Works Associate at the Liverpool Everyman and Playhouse and Kate Hewitt, who assisted Sacha Wares on Wild Swans, winner of the inaugural Royal Theatrical Support Trust Director Award in 2016. In the Young Vic 2017 season, Jerwood Assistant Directors will have worked on Young Vic productions including: A Midsummer Night’s Dream, See Me Now, Life of Galileo and Wings.

Jerwood Charitable Foundation is dedicated to imaginative and responsible revenue funding of the arts, supporting artists to develop and grow at important stages in their careers. The aim of its funding is to allow artists and arts organisations to thrive; to continue to develop their skills, imagination and creativity with integrity. It works with artists across art forms, from dance and theatre to literature, music and the visual arts. For more information visit http://ift.tt/1qsP3BO

LISTINGS INFORMATION Theatre: Apollo Theatre, 31 Shaftesbury Avenue, London W1D 7ES Dates: 13 July – 7 October 2017

http://ift.tt/2mkfWxw LondonTheatre1.com

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Spreading the Wealth: McWhorter in New York

Spreading the Wealth: McWhorter in New York

By Tom Wachunas

    EXHIBIT: SLOW FORMATIONS, recent oil paintings by Jack McWhorter, at 

THE PAINTING CENTER, 547 WEST 27TH STREET, SUITE 500, NEW YORK, NY 10001 / Exhibition dates: MAY 23 – JUNE 17, 2017 / GALLERY HOURS: TUESDAY - SATURDAY, 11:00 AM - 6:00 PM  / (212) 343 – 1060

   http://www.thepaintingcenter.org/    www.jackmcwhorter.com 

   Over the past several years I’ve written here about my ever-deepening appreciation of Jack McWhorter’s work. The following is the catalog essay which I was thrilled and honored to write for his upcoming exhibit in New York.

SLOW FORMATIONS

   Here are enthralling new episodes in Jack McWhorter’s ongoing development of what he has called “…snapshots of structures in flux or becoming.” These structures can be considered as metaphorical suggestions, or models, of entities simultaneously earthbound and cosmological. You could call them arrivals, laden with ample evidence, at once logical and still evolving, of the serpentine paths that led to their current destination, their “look.” That logic and evolution springs from McWhorter’s rudimentary questioning of how to paint, indeed how to see, and often seems to invoke a Cezannesque spirit of painted surface dynamics. His operational methodology weaves together myriad procedures and terrains into discrete paint-on-canvas formations.

   How many ways can paint rest on, or underneath, or be moved across the surface? Classical ideas of gesture and touch come into play. Cognizant of the fluidity and weight of his hand, the differing pressures and motions of his brush to canvas, and the variable viscosity of the paint, McWhorter establishes sets of marks, lines, and washes, often layered – zigzags, diamond shapes, or lozenge units amid ghostly grids – all separate yet inseparable. And essential to the impact of these images is the exhilarating expressivity of color. Call it chromatic drama. McWhorter describes it this way: “My central narrative is to make color come into its own through response to other colors. The paintings start with the stratification of color and paint and the idea you can keep things organized through movement and repetition…”

   These integrated systems of gestural and chromatic configurations can allow all manner of associations. They might indicate tangible, scientific phenomena and structures in the natural world, or signal the subtler workings of life on less visible planes. In any case, McWhorter continues to construct a painterly calligraphy of poetic singularities. In his paintings, the mysterious and the mundane are conflated into elegant coexistence. Here is a harmonious convergence of processes conscious and intuitive, processes both known and on the ephemeral cusp of coming into being.

*******************************************************************************

   (Bio - reprinted from The Painting Center catalog)

   Jack McWhorter received an M.F.A. from Kent State University in 1983. McWhorter was awarded fellowships to attend the Blossom Studio Art Program to study with Elmer Bischoff, Lynda Benglis, Adja Yunkers, Janet Fish, Walter Darby Bannard and Alex Katz. He has been a visiting artist at St. Luca School of Art & Architecture, Brussels, Belgium, The Walworth Barbour American International School in Tel Aviv, and for the Ohio Arts Council. His paintings and works on paper have been exhibited widely including solo and group exhibitions in Cleveland, Cincinnati, Columbus, Chicago, Flagstaff, New York, Ventura, New Orleans, Beijing, Chengdu, Shijiazhuang, St. Louis, Brussels, Leuven, Overijse, Paris, Glasgow, Tel Aviv and Siena. Since 2000, McWhorter has been Associate Professor of Painting and Coordinator of the Art Department at Kent State University at Stark. He lives and works in Akron with his wife and 2 sons.

   PHOTOS, from top (oil paintings on canvas, 2017): Witch of Atlas; Surveyor’s Map; Serpent Lightning  

Spreading the Wealth: McWhorter in New York syndicated post

[ricardosousalemos]

Real Life Buildings: Significant Weather

Before it was known as a Brooklyn indie supergroup, Real Life Buildings was the house Matthew Van Asselt built. A creative jack-of-all-trades, he splits his time as a musician, visual artist, and publisher/labelhead with Mt. Home Arts. He may have conceived Real Life Buildings earlier in the decade as a solo project, but ever since 2014’s debut LP It Snowed, his performances under that moniker have prominently featured his NYC peers—such as Gabrielle Smith (fka Eskimeaux, now Ó) and Felix Walworth, aka Told Slant. In time, Real Life Buildings blossomed into a full band, better suited for the basement than the bedroom.

The current, five-person configuration includes several recent Brooklyn-based notables, like Lætitia Tamko, the auteur known to most as Vagabon—who plays guitar and contributes some vocals here—as well as Elaiza Santos, Crying’s prog-loving bandleader. Together with bassist Griffin Irvine and drummer/backing vocalist Jon Appel, the group churn out a smart, wiry form of indie rock. Real Life Buildings’ sound finds common ground in its members’ respective backgrounds, while retaining its own raggedy charm.

Van Asselt does most of the singing on Significant Weather, and while he’s not exactly a vocal powerhouse, he is a dead ringer for David Berman. However cozy its rumbling timbre, his adenoidal croon lacks the melodic range and tonal nuance of the limber arrangements surrounding it. There’s plenty of nervous energy lurking in the margins of the album’s endearingly grungy siblings “Understanding Gravity” and “Ground Cover,” and in the queasy, Midwestern lurch powering “Thaw.” But Van Asselt’s koans are so high in the mix, it’s difficult to make out the fireworks, much less appreciate them.

That numbness, that disconnect between kinetic force and emo-inspired stasis, has informed many of Van Asselt’s projects, but especially Real Life Buildings. His lyrics frequently explore themes of mental illness, existential malaise, and romantic despair. His personal revelations are framed conversationally and matter-of-factly. With “Other Windows,” Van Asselt laments over only seeing the sun on Instagram. “No News” finds him looking at the enraged post-election narrative with tired eyes, sketching an all-too-relatable still-life: “In my bedroom, I don’t read the paper, I don’t click the links/I just scroll past them through an endless feed of headlines/Each one is worse than the last one,” he deadpans. On “Understanding Gravity,” he tries to stay optimistic about a dead-end job and an aging childhood cat, proffering up the following wisdom on the former subject: “And if it’s less than minimum wage, at least you have a purpose/You’re not sleeping in until two, having lunch, but calling it breakfast.”

Van Asselt lampshades his self-pity with a volley of self-assured quips. “Seeking comfort is not radical for someone like me,” he sings on “No News,” and later “Like any other person, I desire relevance/But hope that I can achieve it just by sitting at my desk.” Real Life Buildings, though, are most appealing when the band’s members are in clear dialogue. Significant Weather is a testament to their smartness and sincerity, reiterated by the sunny setting: Tamko and Santos’ dulcet harmonies and hopscotching fretwork, Appel and Irvine’s straight-shooting percussion, and above all else, a sense of community.