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Mateuš Conrad May 2022
i lied... i must have the dates mixed up...
the last exhibition i saw wasn't From Russia
at the Royal Academy of Arts...

it was either Edward Munch at Tate Modern
or the Pre-Raphaelites at Tate Britain...

but i found it impossible to not cycle into London
today... i finished some whiskey at about
1pm... got on my bicycle... stuffed about 10 empty
bottles from various liquids:
*****, whiskey... cider into my rucksack:
dropped them at the recycling bins by the supermarket:
because i'm green and all:
i just have a fetish for recycling...

   my god... this writing is terrible: i haven't drunk
enough... sober writing is dishonest writing:
unless you're old... then sober is probably honest:
age does the trick... but when you're a little bit younger:
nothing like a little bit of ***** to make
you speak the truth...

obviously i was going to do exactly what i wrote...
and some Plato (taking off a mask)
was almost a thought experiment:
was i going to write fiction? or was i going to write
poetry? was i going to cycle from Romford
to Tate Britain and watch the Walter Sickert
exhibition?

             i got there... smoked a cigarette...
sweating like a pig being chased...
how i love to punish myself on the bicycle...
i'm like a remora when it comes to traffic...
the shark? oh... a bus...
                 a truck... a heavy-duty truck with a skip...
i'm the remora sort of using it as momentum
generator...
because i never cycle in the blind spot...
a wise remora is the cyclist that keeps to the outside
of the shark...
since i've started cycling around London i haven't
heard of any cyclist deaths...
   well no: i'm not saying it's because of me...
but i'm not exactly invisible...
like today i spotted someone imitating the way
i give direction...
  *******-pencil pusher type stretch out their hand
wide like they're about to do a horizontal
seigl heil!

    me? i laconically lift my hand and indicate
with my wrist / hand a blinking motion of a car's
indicator: up and down... up and down...
i'm turning... but usually it's me: the remora
and the big *** shark of a bus or a truck helping me
cycle past... Sunday drivers... it's Tuesday!
stay awake! focused! you're not walking!

i love getting bicycle rage... oh rarely with pedestrians...
what i do with pedestrians is that i cycle
really close to them when they have
crossed their allowance of road...
they usually jump back: startled...

    because in an urban environment:
i punish myself... unconscious spatial coordination...
i love that there are so many objects moving around
me... big objects... small objects...

i hate cars... not that i've ever driven one...
i tried... once... eh... this exoskeleton doesn't suit me...
it's different in a bus... because hey...
Cliff Richard and ****...
                   walking... the bicycle... or a horse...
either one...
hell: even "god" can't beat the bicycle with his
donkey or a horse...

it took me less time to get from Romford to Tate
Britain than if i had to use public transport...
plus: what do you get to see on the tube
beside quasi-autistic faces with the taboo
of no-eye-contact...
**** that... i'm going to punish myself: 101kg...
not good enough... i can feel my spine...
plus i just might find some fury to swear
in my native language... because English is just
too soft...

i have to write the following sentence in Deutsche
(obviously i'll translate it)
ein radfahrer ist ein verkehrschäfer -
a cyclist is a traffic-shepherd...
countless times i've seen this at work...
we're not sacred cows...
i know my place in the "gutter" of either
the double yellow or the single red
or the double red or the single yellow...
but i know my place... i can orientate myself
around pedestrians blah blah etc.
only someone solipsistic enough will get themselves
killed when using the roads:
pristine inventions!
  even the English flow of traffic is logic-proof...
entertain the roundabout...
it works like a clock... how does "time" move
on the clock... at some point prior to 12am or
12pm... from left... to right...
that's how the hands move...
the rest of the world is wrong: wong! wong!
they drive on the wrong-wong side of the street...
traffic flows up on the right side...
but down on the left-side of the road:
no! traffic should flow up the road on the left...
and traffic should flow down: on the right!

- i was supposed to get a birthday present...
opera? eh... ballet? i'm getting bored of sitting
and having to applaud...
      i'm just bored of hearing applause...
i've heard enough over the past few months
at football matches... translating that to opera
or ballet is... i don't even have a word for it...
there might be a word: but i'm not too bothered about
finding the 1cm in 100m: designated pin-point.

i'm suspicious that women are looking for artists (men)
once they reach old age... decrepit "fools":
senile buggers... life experience and all...
where's the fun in that?
   the youthful artist: or rather: entertainer in his youth...
but no, oh no... the artist needs to be old...
to hell with that... when's my next shift?!
Saturday... Sunday...
tomorrow's Wednesday... vet appointment...
maybe tomorrow... maybe Thursday...
i'll need to punish myself some more
and drink plenty of white wine... then off to Khedra...
to hell with painting nudes...
**** the nudes: literally...

who was that English poet that came home crying
after seeing Liszt play: jealous...
about how many women swooned over his performance?
Matthew Arnold?! yeah... it was him...
hell...
  poets and musicians don't mix...
                  achtung zu d'eh-tile... detail...
verdrehen auf gestalt: verschmieren auf farbe...

poets and painters?! ooh... that's another topic altogether...
i walk into an art gallery: i'm home...
i'm happy that i didn't opt for the opera tickets...
i had this arts review from the 8th of May...
i knew i was going to see this exhibition...

not since Edward Hopper...
   then again: i haven't heard anything about Francis Bacon
being showcased... i'd give a toe of mine
to see him being showcased...
who else could compete:
i've only recently become acquainted with Walter
Sickert...
disappointed? no... not that i can think of...
should i have swapped the exhibition ticket
for a concert ticket?
no... not that i think it would have been necessary...

it's a completely different experience...
i'm my own best and worst DJ in private...
i've been in mosh-pits at Slipknot concerts...
i've been to the best Tool concert: to the best concert
i've ever been to in Glasgow...
wrapped my arms around with German girl:
protected her from being squashed...
shared water... have her water...
came back with snogging...
   snogging a random girl at a Tool concert...
well: that's life...
   but i do remember seeing her standing all alone...
lonesome as the crowd was dispersing...
trying to look for me... i walked past her...
oh right: the man is supposed to instigate the chance-lance:
charge...
   regrets that i didn't?
i was going back to Edinburgh talking to this
teacher / pub Celtic band... what did he play?
flute? banjo? i do remember telling him:
the quintessential pop song? Material Girl... by Madonna...

eh... friendly conversation...
but if i were to approach that German girl...
and say: let's go back to your and ****...
and i'll leave you the next morning and never talk to you?
i think the snogging in the crowd...
sharing water...
  it was one of those splendid moments that
ought to have been only a moment...
    i can't imagine the alternative from that...

why?
only today... while i was smoking a cigarette i noticed
these flock of "seagulls": about three elderly matriarchs
and two birds readied for the slaughter...
as i walked into the gallery they kept hovering around
me... is he interested? isn't he interested...
to be fair: i was there for the art... not for some hook-up:
so libido stirring...
that's the "problem" when you're already paid
the devil for one of his concubines...
devotee women of "god" / "culture" stop interesting you...
not that i'm shy: i'm calculative...
but once you've paid for a *******:
so what, WILL i be paying for?
dinner and a maybe-****?!
  
   let's just skip dinner and get into the *******...
people are already making that horrendous
faux pas of profiling themselves...
so at a dinner date: i know what she likes,
i know what she dislikes... what the **** is there
to talk about? **** it: call the butcher in: let's cut up
some meat!

for a minute i took my gaze away from
the paintings: hook-up culture not working?
dating-apps the bane of your existence?
too bad... i never used them...
thank **** for that...
i don't know how or why i was ****** into
this social media frenzy...
validation? oh no no... bypassing the sloth
of the editorial process:
the: first appeal to the selective elect:
who then... make appeals to the rest of the public:
public first... the editors like ancient Greek
sophists can shove it up their *****!

wait wait: yeah: wait and i'll be dead!
to hell with it... this is open season!

is this one of those regret moments or memorable
moments? i think it's a memorable moment...
why would i regret some "hunt":
some classically inspired heterosexual finicky game
off a rom-com inspired:
reality is something that moulds us...
temporal creatures trying to figure out a way
around a "claustrophobia" of genetic inheritance...

to hell with that too! genetics-blah-blah...
if we were not such "god-fearing" people:
secular as they come... but also phobic prone
regarding the full extent of science...
we'd be doing gene revisions like the Chinese
are doing... hey... all the toys are in the sandbox...
why not play with them?
to avert the chance of having your limbs
aputated because of diabetes?!
Western civilization has become: Ssssss-LOW...

it's almost somewhat ******* but at the same time:
i don't even know...
backward moral superiority
over... something it originally instigated...
or broke rules for the existence of...

i can't imagine myself waking up one day and...
having regrets: instead of memories...
i won't allow it!

funny that... i'm still to write about the actual Walter
Sickert exhibition...
i think i'm about to write about it now...
"i think": well: that's always been synonymous with
"i doubt": the plethora of emotions that comes
with think that verges on doubt... it's almost akin
to being in love...
           i am: regardless...

oh my god... i only spent about 40 minutes in
the exhibition: do you need more?
i spend £120 for an hour with a *******...
so what's £20 for 40 minutes spent with a dead
artist? peanut... whenever i go to an exhibition
i have a tendency to: not want to: overstay my welcome...

the ******* lighting was all wrong!
who curated this!
who curated this! the lighting is all wrong!
i was actually bound to looking
at a painting... ballerina in me:
shuffling... left... right... forwards... backwards...
the heavily oiled: layered paintings can't
have this sort of lighting...

it's like my argument for subtitled movies...
why... why why why! why!
are the subtitles running at the bottom
of the scrreen?
don't people know how difficult it is to read down
and then look up?!
what horrible "thing" could possible happen
if you ran the subtitles on the top of the screen?!
you know how much easier it is to read at the top
and focus on something down below!
it's as simple as: why no culture on this earth
wrote like: it might be an imitation of a tree growing?!
from down toward up?!
even the logicians of Mandarin wrote:
up to down...
they didn't write down to up...
****'s sake!

couldn't you try... moving those lights...
"downstairs": to illuminate the paintings from down-below
rather than from the top?
who the hell walks into an art exhibition and in
his cognitive "seance" think:
oh this looks pretty... no... this is not still-life...
the lighting is all wrong...

i seriously had to look at some paintings from
the side...
some had mirror protections on them...
so there was clearly some distorting reflection...
me or some object...
this lighting is ****! who curated this?!

i wasted £20 of a worth of a birthday present, on this?!
****** lighting!
   couldn't you have lighting coming from
the side... or from the floor?
why from the ceiling: all the ****** time!
no imagination: nada... zilch!

it would have been better not buying
a ticket and instead buying the book for £40
than £35 with the ticket...

first room i entered: always the best stuff:
the portrait of an artist as a young men...
self-portraits...
i had a smile on my face...
i was mesmerized by:

- self-portrait (circa 1896)
- self-portrait, the painter in his studio 1907
- self-portrait: the bust of tom sayers 1913

i don't care what anyone says...
the last reference? it looks better in real life than
it does in print... those hollowed out eyes...
was the skull to ever have
the capacity for eyes?!
worm by the eye... worm by the mouth...
by the ear... nose..
you need to see it: in this! ****** Tate Britain lighting!
who curated this?!
this is the first time i thirsted for excellence!
came short... not the artist: the curator...

first room: beginnings... self-portraits...
ha ha... "Lazarus": slurping oat-meals...
the servant of Abraham: another good one...

one of my ultimate favourites becomes
this Mona Lisa... tiny little thing...
Venice: the little lagoon...
circa. 1884...

architectural interests... crap... crap... crap...
well: good... but... thank god some of the stuff
is still there... but i don't need to paint
what i can blink at... against...

then the nudes...
oh the nudes...
   each artist and his ******* nudes...
Picasso had at least some imagination
to contort the **** beyond recognition:
to try to get a proper hard-on...
Freudian hammers and sickles...
or as i like to call them:
swastikas and scythes...

what?! aren't we to not inherit the horrors
and make jokes of them?!
terrible lighting... absolutely terrible...

the sea paintings drew my attention...
where: the: ****: is: Dieppe?!
la saisons des bains...
               seascape circa 1887...
    
ah! there she sits pretty!
   Cicely Hey 1923...
      you just want to **** her nostrils off!

Off to the pub 1911: Freddy ******* Kruger!
ah... that's why...
that's why... an artist... **** it: painter...
might compromise with a poet
for something... someone...
images are yet to be born from the images
that are to come...

that makes no sense...
images are yet to be born from the already
born words...
yeah... that makes sense...

i wasn't exactly moved by the nudes...
i had a poker mask on...
i've seen enough: plenty...
the the architectural stuff bored me...
i know boredom: unlike any other boredom:
the habitual need to continue
the mechanisation of replicas...
but the subject matter isn't there...
a sort of a writer's block...
you persist... writing about the most banal things...
painting the most banal things:
in order to keep up with
your own: well established technique...
but it's unimportant crap...

can't be fascinated by **** paintings...
Narcissus ate all my nudes....
i **** before the altar of mirrors...
i know when a mirror eats the contorted expression
of a prostitutes face....
i'm no jack the ripper...
      
surprise me with: horror ****...
not *******...
  surprise me with...
    people imitating... from the last movie i saw?
that wasn't imitation...
that was *******: readily available...
******... handcuffs... lubricants...
cucumbers... shame-tactics...
at least with men pain came with war...
women at nut-job crazy:
***-warfare...
   shaming tactics... no wonder i get
a limp **** with a woman that isn't
a *******...

   no wonder i go to art exhibitions:
perhaps... just perhaps the fairer ***...
but most certainly the uglier *** should
the inverted become extroverted
and: likewise... the antonym... compound...

the days of Jack the Ripper are gone...
i still don't know how someone like Samuel Little...
did what he did?
no *******: casually...
a proper ******* with a *******...
come on... at least they're giving it up for an asking
price! there's no *******: nuance!
there's no dating involved!
  these days, can you imagine?
going on a date... you match profiles...
what's there's to talk about?
she already mentioned all her interests...
all her dislikes... her likes...
what's left?
you order steak...
    chips blah blah...
does your steak taste like beef?
do your chips taste like: potatoes?!

then again: we're supposed to be switching diet
to synthetic "meat": bean born alternatives...
whatever... that's why i figured out:
focus on art... don't bother with gene replication...

and as i cycled home like a demon...
now i'm sitting down...
listening to "pleb" culture...
fat boy slim's: right here, right now...

i don't want to wake up one day and have
regrets.... instead of memories...

this exhibitions was a revelation... Plato's
false beliefs? not in bad faith...
those three old women and those two young girls...
psychologists?!
oh sure sure... they were really gearing up to
talk to me... i was more than willing to
destroy my inner-boundaries...
for some love with narrative:
than *** without it...

    clearly i'm out of touch!
   what appeals to the masses can never appeal
to the individual... why didn't i choose
a ticket to see an opera? i read about this exhibition
come May 8th... gusto... Waldemar Januszczak...
he has good taste....
i wanted to fizz out... to zone-out...
at the FA cup final i was hearing a crowd...
but also church bells... i was fizzing with sound
in my ears...

painter! painter! get me a painter!
i need to relax!
that's what it felt like... cheap *** pseudo-*******
potentials... three matriarchal psychologist
types... two lambs for a slaughter...
you want to catch me, now?
should have tried to catch me
ten years ago:
then you could have pharmacologically
strapped me in!
        now?! fwee-byrd!

               angry at the traffic...
the world has moved on! get with it!
i was told to get "with it" once, or twice...
times change: things: move...

none of these women will ever be regrets...
the women i paid for are never regrets...
they're women i paid for...
i'm reluctant for enforce a switch of the power
dynamic from man to woman...
woman offers ***... man pays for ***...
women doesn't offer ***:
man... becomes: self-sufficient....

it's almost like that brainstorm moment...
which arrives... in a football stadium...
before the crowd arrives and gets all hot & bothered...
listening to: fat-boy slims' song: right here:
right now...

there's a greater silence:
allocated to an art exhibition...
   oh: but i can find it..
i have found it...
most of the people: simple are...
there's no to be or not be
concerning them...
they're like mountains... like trees...
they simply are... replicas...
****** cues...
        
   to hell with thinking that i might be
high-brow... some people are just ******!
if that's an insult for someone being
******: while someone intelligent
is getting bashed... to hell with the ******
fetishist!

no! you ****-beard-funkies don't
get away with it that easy: who... these days...
allows a 14 year old daughter to become
pregnant?!

when life was: ah... ha... ah...
                           when you wanted to paint life...
rather than discard it as a photograph...
once upon a time... a time: that never was.
Mateuš Conrad  May 2022
Ingrid
Mateuš Conrad May 2022
well: who would have thought that the Chemical
Brothers
       have upped their game when it comes
to creating new music...
  
              some artists just become lost if you're
exploring alternative music...
the moment the algorithm puked up a song suggestion
from NO GEOGRAPHY: got to keep on...
i knew i was in for a treat: from the whole album...

what initially drew me to go to that Walter Sickert
exhibition rather than going to an opera?
the madness of crowds for once...
i've heard too much singing: terrible singing
football stadium singing
   to want to torture myself with opera...
although i love opera...
   but... enough of one of the senses being
exploited...
      
   i've recently found this acronym for a personality
type: the Advocate...
when i was young: an Advocaat was a boy's
every Christmas dream...
        i like staring at faces... and at a football stadium
fulfilling the role of minding crowd safety:
no one can tell you to not look at them...
but these faces move...

       most of the time i'm more interested in
the crowd than in the football match...
          but like me in the London tube...
i just stare at people staring up at pointless
adverts...
i sometimes do to... my favourite tube map
is that of the District Line...
    i've love to get a poster of it...
     i live about a 20 minute's cycle ride from Hornchurch
station...
then again: i always overused the Central Line:
what... with living in Gants Hill all those years...

but i rarely go by a Critic's Choice in either the Saturday
or the Sunday edition of the newspaper:
but i have to say... waldemar januszczak
                                    янущaк (there? less consonants
for you; better?!)
                                   sometimes gets it right...
he most certainly got it right with Walter Sickert...
i was looking for something alternative to Munch...

i was looking for someone who "predated":
was the precursor of Francis Bacon...
    because i could never get into Lucian Freud
because my alternative to Lucian was always going
to be Edward Hopper...

hmm... now that i think of it: poetry of opinions...
why poetry of opinions?
         philosophy attempted dialectics...
                once upon a time...
  but these days opinions are easily spewed without
being undermined: discussed...
the firm foundations of the two camps policy of
"argument": neither side allowing either
to mould each other...
the discussion is entered and left without
anything being achieved on a Socratic level of:
persuasion... or a change of mind...

hence? my poetry of opinions...
            we've got to try... that's a banger of a track...

no... i couldn't expose my ears to my sound...
i needed something visual...
the clarity of silence of an art exhibition:
an art exhibition that you have to pay extra for...
i tried to watch the people in the exhibition,
two girls tried to get my attention...
but the minute i walked in and saw the earliest
out by Sickert i knew i was in for a treat...
the self-portraits threw me into a kaleidoscope
of: this... this reminds me of someone...

Francis Bacon! i love how art just passed down
a certain signature... a technique from
one individual to another...
because it's not like an art school technique:
the school of Florence etc.:
with those pristine paintings...
   the schools disintegrated... individuals emerged...
those pristine paintings were bound to
disappear with the emergence of photography...

they had to... no wonder painters had to make
things a litter bit more "mysterious": blurry:
almost childish like Picasso or van Gogh...
well: elevated childish...
               but none the less:
   nothing like the "photograph" quality of
Renaissance paintings...
the photograph killed off that sort of painting...
why, would anyone bother
to paint like that if you can take a photograph:
it obviously doesn't carry the same
aesthetic "quality": concern...

                     but... let's face it...
distortion worked much better than any sense
of pristine Apollonian architecture of the jawline
or hands: oculus per oculus: eye for an eye:
but more: like for like...
painting is not architecture...
   it's not engineering...

     sure... there might be some basic schematic
involve: Sickert exposed the use of a square
grid from time to time in his paintings...
Francis Bacon most certainly used geometry of some
sort to find his bearings where
otherwise would gush blood / paint / *****...
but it's not cubism... and it's not certainly
anything akin to *******...

but i needed those 40 minutes' worth of walking
around: with a grin on my face...
if i went to an opera i'd probably cry...
i felt like grinning... i wanted my eyes to eat
something... with each blink i was trying to...

obviously i bought a memorandum of the exhibition:
it cost more than the actual ticket
but... as i've found... certain works of art
look: feel... completely different in real life
than if they are replicated and copied into a book...
you can't simply scan an oil painting and get
the same results of impression the painting has...
there's always that 3D aspect of looking
at the same painting from different angles...

i have to say... whoever curated the exhibition
managed to get the lighting wrong...
light from above doesn't always work...
i had to appreciate some of the works looking at then
sideways... i was looking at the lighting...
then at the painting... then at the lighting...
then at the painting... i was almost slow dancing
around them: my feet were performing some
weird version of Tai Chi...

      one of the Camden Town ****** works initially
prompted me: as seen in the critic's choice
article...
i knew something was up... there was that initial
resemblance of giving birth to Francis Bacon...

oh hell no... i wasn't there to pick up a girl...
i was literally: authentically there for the art...
but i'm pretty sure most of the people in that exhibition
weren't there for the art...
body language: if they can't entertain solipsism
for at least 20 minutes... the art works become less
interesting... they're looking around like they're
lost the plot or regret paying the money...
you know the art is not really important...

add a grin to that... freak...

          ah... welcome thoughts...
                 those ought i's and i wills...
                      finally... some peace...
that last shift at the FA cup final among the Liverpool
fans... great people! all northerners are
great people... the southerners have a massive
stick of authority shove up their *****...
    esp. in London: this... celebrated no geography
crowd...

      but i seriously thought i was standing next
to the Big Ben gongs come noon...
my ears felt fuzzy...
      they were the consistency of vibrating static...
a bit like drilling into a concrete slab
with a pneumatic drill...
      peace... just some peace... some paintings...
once upon a time i had ambitions to become
a painter...
       writing's cheaper...
    and... well: it freer to the imagination:
it's more... mandible... jaw-like...
          it makes conversations with random strangers
more entertaining...
you need to have a specific focus to paint
what you already see...
   when i write: i haven't said anything:
most of the time i write without even having
a premeditative thought: well...
there might be something initial...
but the narrative flow-through is hardly
premeditated...
i like to be surprised...
                hell: i'm always surprised!

- but like i was saying to "someone" today...
"someone": maybe that's why mothers and sons
and sons and father and whoever is blood-related
don't get along so well, is because,
nothing ******-related friction...
nothing weird... because because just become
comfortable, boring enough to have to start
breeding a new generation...

i've found that i've become more and more
inquisitive... and if any signs of dementia kick
in... i'll be? in Amsterdam... ingesting
some magic mushrooms...
right now alcohol is hardly debilitating...
or subduing / pacifying me...
it's actually invigorating me...
it's a tonic!

          so i was saying: and i too would love to
watch more foreign language movies:
with subtitles... but for some strange: ******* reason...
this "genius" entertained the idea
that subtitles ought to be placed at the BOTTOM
of the screen!
  not even the Mandarin write from bottom
up!
   they write from up to bottom!

  the vertical line is drawn from the top down...
rather than from the bottom: up...
this "genius" must have been left-handed...
you get such a better focus on what's happening:
if you just moved the subtitles to the top of
the screen: because it's easier to look down
than to look up after reading a text of translation!

it's this little incy-wincy detail that keeps bothering
me...
      there ought to be a revision:
subtitles ought to be replaced with supra-titles...
at the moment we're watching foreign movies
in the format of chemistry, e.g.
        H₂O...

but we should be watching said movies
in the format of mathematics... e.g.
    Pythagorean... c² = a² + b²

let's call ₂ & ² script: irrespectively...
                   and the "algebra" the images before our
eyes... what would be easier?
looking up then looking down...
or... looking down and then... looking up?!

even the Mandarin barons didn't write from
bottom to top...

slow internet connection stresses me out...
well... £20 for 40 minutes' worth of an art exhibition
or... £120... for 1h (wow! the indefinite
article simply disappears... when you write
it like  that)
                     with a *******...

                             that really does depend...
what horse the modern woman is riding on...
i'm going to ride my horse to death
to eat itself...

that's why nudes of artists sort of bore me...
once you'vre ****** in front of a mirror...
nudes... artistic impressions...
bore me...
            i want to paint the mirror that
like the walls: seen more... heard more
than the average culmination of antics
might appease...

                        i want to paint clouds...
i want to paint cauliflowers as clouds...
and clouds as cauliflowers...
  i want to paint mirrors...
i want to paint glass...
                  and i also want to paint
the contortions of ***...
                  i want to paint trains:
i don't want to wait for them...
            i want to paint rain: i don't won't to
adorn an anorak...
                  i want to paint the sewage works...
but i don't want to paint
taking a ****...

   sober up come 10:30am?
              well... i won't be goose-marching...
that's for sure...
      i'll put on my Thespian mask
and just pretend that i haven't drunk 70cl of
whiskey the night before...
i'll sit in the sunshine and bake... sour...
cabbage-head-reach for sanity...
pretend to: juggle earth, the sun and moon.
judy smith Feb 2017
In 1983, the Fashion Design Council burst on to the Melbourne scene like a Liverpool kiss to the mainstream fashion industry. Inspired by punk's DIY aesthetic and armed with an audaciously grandiose title, an earnest manifesto and a grant from the Victorian government, FDC founders Robert Buckingham, Kate Durham and Robert Pearce were determined to showcase the burgeoning Melbourne design scene in all its outrageous glory.

"People resented hearing about Karl Lagerfeld," says Durham. "Our movement was against the mainstream and the way Australians and magazines like Vogue treated Australian designers."

Over its 10-year lifespan, the FDC launched such emerging designers as Jenny Bannister, Christopher Graf and Martin Grant. But what was perhaps most exciting was the FDC's ecumenical approach. Architects, filmmakers, artists and musicians all partied together at runway shows held in nightclubs.

"It was an inventive time when people came together and made people notice fashion," says Durham.

Among the creative congregation, Durham remembers artist Rosslynd Piggott, who constructed dresses of strange boats with children in them and filmmaker Philip Brophy, who used "naff" Butterick dress patterns. Elsewhere, an engineer made a pop-riveted ball dress out of sheet metal. The crossover between music, art, graphic design and film extended to architects such as Biltmoderne (an early incarnation of celebrated architects Wood Marsh) who designed the FDC's favourite runway and watering hole, Inflation nightclub.

"Clothing was confronting," says Durham. "It was brash and tribe-oriented. It was quite good if you weren't good-looking. People liked the idea that this or that clothing style was going to win you friends."

Today, however, even Karl Lagerfeld has a punk collection. To complicate matters, "fast fashion" appropriates the avant-garde at impossibly low prices. The digital era too has caused the fashion world to splinter and bifurcate. What's a young contemporary designer to do?

"The physical collective is no longer that important," says Robyn Healy, co-curator of the exhibition High Risk Dressing/Critical Fashion, which uses the FDC as a lens to view the current fashion landscape. "These are designers who are highly networked through social media who put their work up on websites."

Fashion designers still use music, film and architecture, but in different ways. Where FDC members might document its runway shows with video, studios such as Pageant use video as the runway show and post them online. Social media is perhaps the big disrupter. Where FDC designers might collaborate with architects, today it's webdesigners.

"Space has changed," says Healy. "Web designers might be the equivalent of the architect today. It's a different use of space."

As grandiose as the FDC, yet perhaps even more ambitious in scope, is contemporary designer Matthew Linde's online store *** gallery, Centre for Style. Like the FDC, it offers space for "artists who aren't at all designers per-se, but they're dealing with a borrowed language from fashion", Linde told i-D magazine.

"It's an extraordinary juggernaut across the world with a huge amount of Instagram followers," says co-curator Fleur Watson. "[Linde] has created a brand that uses social media in an interesting avant-garde way."

Yet unlike their often untrained FDC counterparts, these designers are perhaps the first generation of PhD designers, notes Watson. "Robert Pearce had a belief in culture changing the world. That's what these new designers are reflecting on in their research, their position in the fashion world and how do they change the way fashion works?"

While it's also true that new technologies offer exciting possibilities in embedded fabrics and experimentation with 3D printing, fast fashion has created certain expectations.

As Cassandra Wheat of the Chorus fashion label laments: "It's just hard for people to understand the complexity and the value that goes into production without being really exposed to it. They think they should have a T-shirt for cheaper than their sandwich."

During the course of the exhibition Chorus will produce its monthly collection from one of the newly designed spaces within the gallery. The exhibition's curators have commissioned three contemporary architects who, like its '80s counterparts, work across the arts, to interpret FDC-inspired spaces. Matthew Bird's Inflation-influenced bar acts as a meeting place for the exhibition's forums and discussions on the contemporary state of fashion. Sibling architects abstracts the retail space, while Wowowa's office design resembles a fishbowl. For Watson, the exposed shopfront/office has as much front as Myer's. Its architecture suggests the type of brazen confidence every generation of fashion design needs. Says Watson: "Fake it till you make it."Read more at:http://www.marieaustralia.com/cocktail-dresses | www.marieaustralia.com/formal-dresses-2017
RAJ NANDY Jul 2017
THE LEGEND OF HOLLYWOOD IN VERSE
Dear Readers, I have tried to cover the salient features of this True Story in free flowing verse mainly with end rhymes. If you read it loud, you can hear the chimes! Due to the short attention span of my readers I had to cut short this long story, and conclude with the
Golden Era of Hollywood by stretching it up to the 1950's only. When TV began to challenge the Big Screen Cinema seriously! I have used only a part of my notes here. Kindly read the entire poem and don't hesitate to know many interesting facts - which I also did not know! I wish there was a provision for posting a few interesting photographs for you here. Best wishes, - Raj Nandy, New Delhi.  

                 THE LEGEND OF HOLLYWOOD :
                        THE AMERICAN  DREAM
                             BY RAJ NANDY

           A SHORT  HISTORICAL  BACKGROUND
Since the earliest days, optical toys, shadow shows, and ‘magic
lanterns’, had created the illusion of motion.
This concept was first described by Mark Roget in 1824 as  
the 'persistent of vision'.
Giving impetus to the development of big screen cinema with its
close-ups, capturing all controlled and subtle expressions!
The actors were no longer required to shout out their parts with
exaggerated actions as on the Elizabethan Stage.
Now even a single tear drop could get noticed easily by the entire
movie audience!
With the best scene being included and edited after a few retakes.
To Thomas Edison and his able assistant William Rogers we owe the invention of Kinetoscope, the first movie camera.
On the grounds of his West Orange, New Jersey laboratory, Edison
built his first movie studio called the ‘Black Maria’.   (1893)
He also purchased a string of patents related to motion picture
Camera; forming the Edison Trust, - a cartel that took control of
the Film Industry entire!

Fort Lee, New Jersey:
On a small borough on the opposite bank of the Hudson River lay
the deserted Fort Lee.
Here scores of film production crews descended armed with picture Cameras, on this isolated part of New Jersey!
In 1907 Edison’s company came there to shoot a short silent film –
‘Rescue From an Eagle’s Nest’,
Which featured for the first time the actor and director DW Griffith.
The independent Chaplin Film Company built the first permanent
movie studio in 1910 in Fort Lee.
While some of the biggest Hollywood studios like the Universal,
MGM, and 20th Century Fox, had their roots in Fort Lee.
Some of the famous stars of the silent movie era included ‘Fatty’
Arbuckle, Will Rogers, Mary Pickford, Dorothy and Lillian Gish,
Lionel Barrymore, Rudolph Valentine and Pearl White.
In those days there were no reflectors and electric arch lights.
So movies were made on rooftops to capture the bright sunlight!
During unpredictable bad weather days, filming had to be stopped
despite the revolving stage which was made, -
To rotate and capture the sunlight before the lights atarted to fade!

Shift from New Jersey to West Coast California:
Now Edison who held the patents for the bulb, phonograph, and the Camera, had exhibited a near monopoly;
On the production, distribution, and exhibition of the movies which made this budding industry to shift to California from
New Jersey!
California with its natural scenery, its open range, mountains, desert, and snow country, had the basic ingredients for the movie industry.
But most importantly, California had bright Sunshine for almost
365 days of the year!
While eight miles away from Hollywood lay the port city of Los Angeles with its cheap labour.

                        THE RISE  OF  HOLLYWOOD
It was a real estate tycoon Harvey Wilcox and his wife Daeida from
Kansas, who during the 1880s founded ‘Hollywood’ as a community for like-minded temperate followers.
It is generally said that Daeida gave the name Hollywood perhaps
due to the areas abundant red-berried shrubs also known as
California Holly.
Spring blossoms around and above the Hollywood Hills with its rich variety,  gave it a touch of paradise for all to see !
Hollywood was incorporated as a municipality in 1903, and during
1910 unified with the city of Los Angeles.
While a year later, the first film studio had moved in from New
Jersey, to escape Thomas Edison’s monopoly!    (1911)

In 1913 Cecil B. De Mille and Jesse Lasky, had leased a barn with
studio facilities.
And directed the first feature length film ‘Squaw Man’ in 1914.
Today this studio is home to Hollywood Heritage Museum as we get to see.
The timeless symbol of Hollywood film industry that famous sign on top of Mount Lee, was put up by a real estate developer in 1923.  
This sign had read as ‘’HOLLY WOOD LAND’’ initially.
Despite decades of run-ins with vandals and pranksters, it managed to hang on to its prime location near the summit of the Hollywood Hills.
The last restoration work was carried out in 1978 initiated by Hugh
Hefner of the ******* Magazine.
Those nine white letters 45 feet tall now read ‘HOLLYWOOD’, and has become a landmark and America’s cultural icon, and an evocative symbol for ambition, glamour, and dream.
Forever enticing aspiring actors to flock to Hollywood, hypnotised
by lure of the big screen!

                     GOLDEN AGE OF HOLLYWOOD
The Silent Movie Era which began in 1895, ended in 1935 with the
production of ‘Dance of Virgins’, filmed entirely in the island of Bali.
The first Sound film ‘The Jazz Singer’ by Warner Bros. was made with a Vitaphone sound-on-disc technology.  (October 1927)
Despite the Great Depression of the 1930s, this decade along with the 1940s have been regarded by some as Hollywood’s Golden Age.
However, I think that this Golden Age includes the decades of the
1940s and the 1950s instead.
When the advent of Television began to challenge the Film Industry
itself !

First Academy Award:
On 16th May 1929 in the Roosevelt Hotel on Hollywood Boulevard,
the First Academy Award presentation was held.
Around 270 people were in attendance, and tickets were priced at
$5 per head.
When the best films of 1927 & 1928 were honored by the Academy
of Motion Production and Sciences, or the AMPS.
Emil Jennings became the best actor, and Janet Gaynor the best actress.
Special Award went to Charlie Chaplin for his contribution to the
silent movie era and for his silent film ‘The Circus’.
While Warren Brothers was commended for making the first talking picture ‘The Jazz Singer’, - also receiving a Special Award!
Now, the origin of the term ‘OSCAR’ has remained disputed.
The Academy adopted this name from 1939 onwards it is stated.
OSCAR award has now become “the stuff dreams are made of”!
It is a gold-plated statuette of a knight 13.5 inches in height, weighing 8.5 pounds, was designed by MGM’s art director Cedric Gibbons.
Annually awarded for honouring and encouraging excellence in all
facets of motion picture production.

Movies During the Great Depression Era (1929-1941):
Musicals and dance movies starring Fred Astaire and Ginger Rogers provided escapism and good entertainment during this age.
“Ginger Rogers did everything Fred Astaire did. She just did it
backwards and in high heels,” - the Critics had said.
This compatible pair entertained the viewers for almost one and
a half decade.
During the ‘30s, gangster movies were popular starring James Cagey, Humphrey Bogart, and Edward G. Robinson.
While family movies had their popular child artist Shirley Temple.
Swashbuckler films of the Golden Age saw the sword fighting scenes of Douglas Fairbanks and Errol Flynn.
Flynn got idolized playing ‘Robin Hood’, this film got released in
1938 on the big screen!
Story of the American Civil War got presented in the epic ‘Gone With The Wind’ (1939) with Clarke Gable and Vivian Leigh.
This movie received 8 Oscars including the award for the Best Film, - creating a landmark in motion picture’s history!
More serious movies like John Steinbeck’s ‘Grapes of Wrath’ and
John Ford’s  ‘How Green Was My Valley’, were released in 1940 and 1941 respectively.
While the viewers escaped that depressive age to the magical world
of  ‘Wizard of Oz’ with its actress Judy Garland most eagerly!
Let us not forget John Wayne the King of the Westerns, who began
his acting career in the 1930s with his movie ‘The Big Trail’;
He went on to complete 84 films before his career came to an end.
Beginning of the 40s also saw Bob Hope and the crooner Bing Crosby, who entertained the public and also the fighting troops.
For the Second World War (1939-45) had interrupted the Golden Age of Hollywood.
When actors like Henry Fonda, Clarke Gable, James Stewart and
Douglas Fairbanks joined the armed forces temporarily leaving
Hollywood.
Few propaganda movies supporting the war efforts were also made.
While landmark movies like ‘Philadelphia Story’, ‘Casablanca’, ‘Citizen Kane’,
‘The Best Years of Our Lives’, were some of the most successful movies of that decade.  (The 1940s)
Now I come towards the end of my Hollywood Story with the decade  of the 1950s, thereby extending the period of Hollywood’s Golden Age.
Since having past the Great Depression and the Second World War,  the Hollywood movie industry truly matured and came of age.

                        HOLLYWOOD  OF  THE  1950s

BACKGROU­ND:
The decade of the ‘50s was known for its post-war affluence and
choice of leisure time activities.
It was a decade of middle-class values, fast-food restaurants, and
drive-in- movies;
Of ‘baby-boom’, all-electric home, the first credit cards, and new fast moving cars like the Ford, Plymouth, Buick, Hudson, and Chevrolet.
But not forgetting the white racist terrorism in the Southern States!
This era saw the beginning of Cold War, with Eisenhower
succeeding Harry S. Truman as the American President.
But for the film industry, most importantly, what really mattered  
was the advent of the Domestic TV.
When the older viewers preferred to stay at home instead of going
out to the movies.
By 1950, 10.5 million US homes had a television set, and on the
30th December 1953, the first Color TV went on sale!
Film industries used techniques such as Cinemascope, Vista Vision,
and gimmicks like 3-D techniques,
To get back their former movie audience back on their seats!
However, the big scene spectacle films did retain its charm and
fantasy.
Since fantasy epics like ‘The Story of Robin Hood’, and Biblical epics like ‘The Robe’, ‘Quo Vadis’, ‘The Ten Commandments’ and ‘Ben-Hur’, did retain its big screen visual appeal.
‘The Robe’ released on 16th September 1953, was the first film shot
and projected in Cinema Scope;
In which special lenses were used to compress a wide image into a
standard frame and then expanded it again during projection;
Resulting in an image almost two and a half times as high and also as wide, - captivating the viewers imagination!

DEMAND FOR NEW THEMES DURING THE 1950s :
The idealized portrayal of men and women since the Second World War,
Now failed to satisfy the youth who sought exciting symbols for rebellion.
So Hollywood responded with anti-heroes with stars like James Dean, Marlon Brando, and Paul Newman.
They replaced conventional actors like Tyron Power, Van Johnson, and Robert Taylor to a great extent, to meet the requirement of the age.
Anti-heroines included Ava Gardner, Kim Novak, and Marilyn Monroe with her vibrant *** appeal;
She provided excitement for the new generation with a change of scene.
Themes of rebellion against established authority was present in many Rock and Roll songs,
Including the 1954 Bill Hailey and His Comets’ ‘Rock Around the Clock’.
The era also saw rise to stardom of Elvis Presley the teen heartthrob.
Meeting the youthful aspirations with his songs like ‘Jailhouse Rock’!
I recall the lyrics of this 1957 film ‘Jailhouse Rock’ of my school days, which had featured the youth icon Elvis:
   “The Warden threw a party in the county jail,
     The prison band was there and they began to wail.
     The band was jumping and the joint began to sing,
     You should’ve heard them knocked-out jail bird sing.
     Let’s rock, everybody in the whole cell block……………
     Spider Murphy played the tenor saxophone,
     Little Joe was blowing the slide trombone.
     The drummer boy from Illinois went crash, boom, bang!
     The whole rhythm section was the Purple Gang,
      Let's rock,.................... (Lyrics of the song.)

Rock and Roll music began to tear down color barriers, and Afro-
American musicians like Chuck Berry and Little Richard became
very popular!
Now I must caution my readers that thousands of feature films got  released during this eventful decade in Hollywood.
To cover them all within this limited space becomes an impossible
task, which may kindly be understood !
However, I shall try to do so in a summarized form as best as I could.

BOX OFFICE HITS YEAR-WISE FROM 1950 To 1959 :
Top Ten Year-Wise hit films chronologically are: Cinderella (1950),
Quo Vadis, The Greatest Show on Earth, Peter Pan, Rear Window,
Lady and the *****, Ten Commandments, Bridge on the River
Kwai, South Pacific, and Ben-Hur of 1959.

However Taking The Entire Decade Of 1950s Collectively,
The Top Films Get Rated As Follows Respectively:
The Ten Commandments, followed by Lady and the *****, Peter Pan, Sleeping Beauty, Bridge on the River Kwai, Around the World in Eighty Days, This is Cinerama, The Greatest Show on Earth, Rear Window, South Pacific, The Robe, Giant, Seven Wonders of the World, White Christmas, Twenty Thousand Leagues Under the Sea, Sayonara, Demetrius and the Gladiator, Peyton Place, Some Like It Hot, Quo Vadis, and Auntie Mame.

Film Debuts By Rising Stars During The 1950s :
The decade of the ‘50s saw a number of famous film stars making
their first appearance.
There was Peter Sellers in ‘The Black Rose’, Marlon Brando in
‘The Men’, and actress Sophia Loren in ‘Toto Tarzan’.
Following year saw Charles Bronson in ‘You Are in the Navy Now’,
Audrey Hepburn in ‘Our Wild Oats’, and Grace Kelly, the future
Princess of Monaco, in her first film ‘Fourteen Hours’. (1951)
While **** Brigitte Bardot appeared in 1952 movie ‘Crazy for Love’; and 1953 saw Steve Mc Queen in ‘******* The Run’.
Jack Lemon, Paul Newman, and Omar Sharif featured in films
during 1954.
The following year saw Clint Eastwood, Shirley Mc Lean, Walter
Matthau, and Jane Mansfield, all of whom the audience adored.
The British actor Michael Cain appeared in 1956; also Elvis Presley
the youth icon in ‘Love Me Tender’ and as the future Rock and Roll
King!
In 1957 came Sean Connery, followed by Jack Nicholson, Christopher Plummer, and Vanessa Redgrave.
While the closing decade of the ‘50s saw James Coburn, along with
director, script writer, and producer Steven Spielberg, make their
debut appearance.

Deaths During The 1950s: This decade also saw the death of actors
like Humphrey Bogart, Tyron Power and Errol Flynn.
Including the death of producer and director of epic movies the
renowned Cecil B. De Mille!
Though I have conclude the Golden Age of Hollywood with the 50’s Decade,
The glitz and glamour of its Oscar Awards continue even to this day.
With its red carpet and lighted marquee appeal and fashion display!

CONTINUING THE HOLLYWOOD STORY WITH FEW TITBITS :
From Fort Lee of New Jersey we have travelled west to Hollywood,
California.
From the silent movie days to the first ‘talking picture’ with Warren
Bros’ film ‘The Jazz Singer’.  (06 Oct 1927)
On 31st July 1928 for the first time the audience heard the MGM’s
mascot Leo’s mighty roar!
While in July 1929 Warren Bros’ first all-talking and all- Technicolor
Film appeared titled - ‘On With The Show’.
Austrian born Hedy Lamarr shocked the audience appearing **** in a Czechoslovak film ‘Ecstasy’!  (1933)
She fled from her husband to join MGM, becoming a star of the
‘40s and the ‘50s.
The ‘Private Life of Henry VII’ became the first British film to win the  American Academy Award.  (1933)
On 11Dec 1934, FOX released ‘Bright Eyes’ with Shirley Temple,
who became the first Child artist to win this Award!
While in 1937 Walt Disney released the first full animated feature
film titled - ‘Snow White and the Seven Dwarf ‘.
The British film director Alfred Hitchcock who came to
Hollywood later;
Between 1940 and 1947, made great thrillers like 'Rebecca', ‘Notorious’, ‘Rear Window’, and ‘Dial M for ******’.
But he never won an Oscar as a Director!

THE GOLDEN GLOBE AWARD:
This award began in 1944 by the Foreign Correspondence Association at
the 20th Century Fox Studio.
To award critically acclaimed films and television shows, by awarding a
Scroll initially.
Later a Golden Globe was made on a pedestal, with a film strip around it.
In 1955 the Cecil B. De Mille Award was created, with De Mille as its first
recipient.

THE GRAMMY AWARD:
In 1959 The National Academy of Recording and Sciences sponsored the
First Grammy Award for music recorded during 1958.
When Frank Sinatra won for his album cover ‘Only The Lonely’, but he
did not sing.
Among the 28 other categories there was Ella Fitzgerald, and Count Basie
for his musical Dance Band Performance.
There was Kingston Trio’s song ‘Tom Dooly’, and the ‘Chipmunk Song’,
which brings back nostalgic memories of my school days!

CONCLUDING HOLLYWOOD STORY  WITH STUDIOS OF THE 1950s

Challenge Faced by the Movie Industry:
Now the challenge before the Movie Industry was how to adjust to the
rapidly changing conditions created by the growing TV Industry.
Resulting in loss of revenue, with viewers getting addicted to
their Domestic TV screen most conveniently!

The late 1950s saw two studios REPUBLIC and the RKO go out of business!
REPUBLIC from 1935- ‘59 based in Los Angeles, developed the careers of
John Wayne and Roy Rogers, and specializing in the Westerns.
RKO was one of the Big Five Studios of Hollywood along with Paramount,
MGM, 20th Century Fox, and Warner Brothers in those days.

RKO Studio which begun with Fred Astaire and Ginger Rogers in the ‘30s,
included actress Katherine Hepburn who holds the record for four Oscars
even to this day;
And later had Robert Mitchum and Carry Grant under an agreement.
But in 1948, RKO Studio came under the control Howard Hughes the
temperamental Industrialist.
Soon the scandal drive and litigation prone RKO Studio closed, while
other Big Four Studios had managed to remain afloat!


PARAMOUNT STUDIO:
Paramount Studio split into two separate companies in 1950.
Its Theatre chain later merged with ABC Radio & Television Network;
And they created an independent Production/Distribution Network.
Bing Crosby and Bob Hope had been Paramount’s two biggest stars.
Followed by actors like Alan Ladd, William Holden, Jerry Lewis, Dean
Martin, Charlton Heston, and Dorothy Lamour.
They also had the producer/director Cecil B. De Mille producing high-
grossing Epics like ‘Samson & Delilah’ and ‘The Ten Commandments’.
Also the movie maker Hal Wallis, who discovered Burt Lancaster and
Elvis Presley - two great talents!

20th CENTURY FOX:
Cinema Scope became FOX’s most successful technological innovation
with its hit film ‘The Robe’. (1953)
Its Darryl Zanuck had observed during the early ‘50s, that audience  
were more interested in escapist entertainments mainly.
So he turned to FOX to musicals, comedies, and adventure stories.
Biggest stars of FOX were Gregory Peck & Susan Hayward; also
stars like Victor Mature, Anne Baxter, and Richard Wind Mark.
Not forgetting Marilyn Monroe in her Cinema Scope Box Office hit
movie - ‘How to Marry a Millionaire’, which was also shown on
prime time TV, as a romantic comedy film of 1953.

WARREN BROTHERS:
During 1950 the studio was mainly a family managed company with
three brothers Harry, Albert, and Jack Warren.
To meet the challenges of that period, Warren Bros. released most of
its actors like James Cagney, Humphrey Bogart, Oliver de Havilland, -
Along with few others from their long-term contractual commitments;
Retaining only Errol Flynn, and Ronald Regan who went on to become
the future President.
Like 20th Century Fox, Warren Bros switched to musicals, comedies,
and adventure movies, with Doris Day as its biggest musical star.
The studio also entered into short term agreements with Gary Copper,
John Wayne, Gregory Peck, Patricia Neal, and Random Scott.
Warren Bros also became the first major studio to invest in 3-D
production of films, scoring a big hit with its 3-D  suspense thriller
‘House of Wax’ in 1953.

MINOR STUDIOS were mainly three, - United Artists, Columbia, and
The Universal.
They did not own any theatre chain, and specialized in low-budgeted
‘B’ Movies those days.
Now to cut a long story short it must be said, that Hollywood finally
did participate in the evolution of Television industry, which led to
their integration eventually.
Though strategies involving hardware development and ownership of
broadcast outlets remained unsuccessful unfortunately.
However, Hollywood did succeed through program supply like prime-
time series, and made-for-TV films for the growing TV market making
things more colorful!
Thus it could be said that the TV industry provided the film industry
with new opportunities,  laying the groundwork for its diversification
and concentration;
That characterized the entertainment industry during the latter half  
of our previous century.
I must now confess that I have not visited the movie theatre over the last
two decades!
I watch movies on my big screen TV and my Computer screen these days.
Old classical movies are all available on ‘You Tube’ for me, and I can watch
them any time whenever I am free!
Thanks for reading patiently, - Raj Nandy.
**ALL COPYRIGHTS ARE WITH THE AUTHOR RAJ NANDY OF NEW DELHI
judy smith Sep 2016
WHEN Kylie Minogue began the process of tracking down 25 years of costumes and memorabilia for an exhibition on her (literally) glittering stage career, she had one crucial call to make.

“There were a few items the parentals were minding,” laughs Minogue. “I, too, do the same thing as everyone else: ‘Mum, Dad, can you just hold onto a few things for me?’ It’s just lucky they weren’t turfed out from under their watchful eye.”

Kylie On Stage is the singer’s latest collaboration with her beloved hometown’s Arts Centre Melbourne. She’s previously donated a swarm of outfits to the venue, going all the way back to the overalls she wore as tomboy mechanic Charlene on Neighbours.

This new — and free — exhibition rounds up outfits starting from her first-ever live performances on 1989’s Disco in Dream tour. Still aged just 21 and dismissed by some as a soap star who fluked a singing career, Minogue found herself playing to 38,000 fans in Tokyo, where her early hits “I Should Be So Lucky”, “The Loco-motion”, “Got To Be Certain” and “Hand On Your Heart” had made her a superstar.

“From memory, I was overexcited and didn’t really know what I was doing. I just ran back and forth across the stage,” says Minogue of her debut tour.

Disco in Dream also premiered what would become a Kylie fashion staple: hotpants. “Those ones were more like micro shorts, not quite hotpants, but they started it,” she admits. “There were also quite a few bicycle pants being worn around that time, too, I’m afraid.”

That first tour stands out for one other reason: Minogue officially started dating INXS’s Michael Hutchence at some point during the Asian leg.

“I had met Michael previously in Australia, but he was living in Hong Kong [at the time] and I met him again there. The tour went on to Japan and he definitely came to visit me in Japan.”

Fast-forward from Minogue’s very first tour to her most recent, 2015’s Kiss Me Once, and the singer performed a cover of INXS’s “Need You Tonight”. She remembers first hearing the song as a teenager. “I don’t think I really knew what **** was back then,” notes Minogue. “But that’s a **** song.”

Before the Kiss Me Once tour kicked off, the Minogue/Hutchence romance had been documented in the hit TV mini-series Never Tear Us Apart: The Untold Story Of INXS. Minogue said then it felt like Michael was her “archangel” during the tour — “I feel like he’s with me.”

Her “Need You Tonight” costume was also deliberately chosen to reflect what Minogue used to wear when she was dating the rockstar. “It was a black PVC trench coat and hat,” she says. “I loved that. It just made so much sense for the connection to Michael. I literally used to wear that exact same kind of thing, except it was leather, not PVC.”

By 1990, Minogue’s confidence had grown, something she’s partially attributed to Hutchence’s influence. Before her first Australian solo tour, she performed a secret club show billed as The Singing Budgies — reclaiming the derisive nickname the media had bestowed on her. It would be the first time her success silenced those who saw her as an easy target. Next year marks her 30th anniversary in pop; longevity that hasn’t happened by accident.

Minogue’s career accelerated so quickly that by 1991 she was on her fourth album in as many years and outgrowing her producers, Stock Aitken Waterman, who wanted to freeze-frame her in a safe, clean-cut image.

On 1991’s Let’s Get To It tour of the UK, Minogue welcomed onboard her first major fashion designer — John Galliano. He dressed her in fishnets, G-strings and corsets; the British press said she was trying too hard and imitating Madonna at her most sexed-up.

“Of course those comparisons were made, and rightly so. Madonna was a big influence on me,” says Minogue. “She helped create the template of what a pop show is, or what we came to know it as, by dividing it up into segments. And if you’re going to have any costume changes, that’s inevitable.

“I was finding my way. I don’t think we got it right in some ways, but if I look back over my career, sometimes it’s the mistakes that make all the difference. They allow you to really look at where you’re going. I’m fond of all those things now. There was a time when I wasn’t.

“Now I look back at the pictures of the fishnets and G-strings I was wearing ... Maybe the audience members absolutely loved it, maybe they were going through the journey with me of growing up and discovering yourself and your sexuality and where you fit in the world.”

As the ’90s progressed, Minogue started experimenting with the outer limits of being a pop star, working with everyone from uber-cool dance producers to indie rocker Nick Cave.

Her 1998 Intimate And Live tour cemented her place as the one thing nobody had ever predicted: a regular, global touring act. Released the year prior, her Impossible Princess album had garnered a credibility she’d never before enjoyed. But more credibility equalled fewer record sales.

The tour was cautiously placed in theatres, rather than arenas. Yet word-of-mouth led to more dates being added — she wound up playing seven nights in both Melbourne and Sydney, and tacking on a UK leg. All received rave reviews.

The production was low-key and DIY: Minogue and longtime friend and stylist William Baker were hands-on backstage bedazzling the costumes themselves. The tour’s camp, Vegas-style showgirl — complete with corset and headdress — soon became a signature Kylie look, but it was also one they stumbled across.

“I remember the exact moment: the male dancers had pink, fringed chaps and wings — we’d really gone for it. I was singing [ABBA’s] “Dancing Queen”. I did a little prance across the stage and the audience went wild. I thought, ‘What is happening?’ That definitely started something.”

Then came the “Spinning Around” hotpants. Minogue couldn’t wear the same gold pair from the music video during her 2001 On A Night Like This tour — they were too fragile — but another pair offered solid back-up.

“That was peak hotpant period,” says Minogue. “Hotpants for days.”

After the robotic-themed Fever 2002 tour (featuring a “Kyborg” look by Dolce & Gabbana), 2005’s Showgirl tour was Minogue’s long-overdue greatest hits celebration.

Following a massive UK and European run, her planned Australian victory lap was derailed by her breast-cancer diagnosis that May. Remarkably, by November 2006, Minogue was back onstage in Sydney for the rebooted Showgirl: The Homecoming tour.

“I look at that now and I’m honestly taken aback,” she admits. “It was so fast — months and months of those 18 months were in treatment.”

Minogue now reveals her health issues meant she had to adjust some of the Showgirl outfits: “I was concerned about the weight of the corset and being able to support it. I was quite insecure about my body, which had changed. For a few years after that I really felt like I wasn’t in my own body — with the medication I was on, there was this other layer.

“We had to make a number of adjustments,” she adds. “I had different shoes to feel more sturdy ... It was pretty soon to be back onstage. But I think it was good for me.”

The singer’s gruelling performances involved dancing and singing in corsets, as well as ultra-high heels and headdresses that weighed several kilos.

“A proper corset, like the Showgirl tour one, is like a shoe,” she explains. “It’s very stiff when you first put it on. By the end of the tour it was way more comfortable. The fact it made it quite hard to breathe didn’t seem to bother anyone except for me. But it was absolutely worth it. I felt grand in it.

“It took a while to learn how to walk in the blue Showgirl dress,” she continues. “I had cuts on my arms from the stars that were sticking out on pieces of wire. You’re so limited in what you can do. You can’t bend your head to find your way down the stairs.

“Whether it was the Showgirl costume or the hotpants, or the big silver dress from the Aphrodite tour [in 2011] that was just ginormous, they all present their own challenges of how you’re going to move and how you’re going to do the choreography. There are times the costume can do that [figuring out] for me; other times I really have to wrestle with it to do what I need to do.

“But you’re not meant to know about that,” she adds, “that’s an internal struggle.”

Minogue has spent much of 2016 happily off the radar, enjoying the company of fiancé Joshua Sasse, 28. She gets “gooey” talking about her future husband, whom she met last year when she was cast opposite him in the TV musical-comedy series Galavant. He proposed to Minogue last Christmas.

Just like the “secret Greek wedding” that was rumoured but never happened, reports of summer nuptials in Melbourne are also off the mark.

“I hate to let everyone down, but no,” she says. “People’s enthusiasm is lovely, we appreciate that, but there are no wedding plans as yet. I’m just enjoying feeling girly and being engaged.”

Minogue will be in Queensland next month filming the movie Flammable Children. The comedy, set in 1975, features her former Neighbours co-star Guy Pearce and is written and directed by Stephan Elliott (The Adventures Of Priscilla: Queen Of The Desert ).

“It’s Aussie-tastic,” laughs Minogue. And she is also planning a sneaky visit to check out her own exhibition when she’s back in Melbourne.

“I’ll probably try to move things around the exhibition,” she says. “And they’ll probably tell me off: ‘Who’s that child playing with the costumes?’”Read more at:http://www.marieaustralia.com/formal-dresses-sydney | www.marieaustralia.com/formal-dresses-2016
Frankie Fuller Nov 2015
Mourn on my own



I have something to
say in a gentle way
please don't hug me
because i'm a conservative man
meek and gentle
please let me mourn on my own
i'm an introverted soul
and you would never
understand me alone
please don't hug me
no thank you
let me mourn on my own
i'm an introverted soul
i can't put my tears
on exhibition to be seen

shy and gentle
please don't hug me
i will say it in a gentle way
please don't hug me
i'm an introverted man
please let me mourn on my own
i want to ponder on my own
i want to be alone
please don't hug me
i'm a conservative man
gentle of meek
and full of complexity
i'm an introverted soul
and i can't put my tears
on exhibition to be seen
please don't hug me
i'm a conservative man
let me mourn on my own
i'm not a talkative man
i'm an introverted soul
please don't hug me
let me ponder my feelings on my own
because i'm a conservative man of tone
i can't put my tears on exhibition to be seen
please let me mourn on my own
i'm not a talkative soul
please don't hug me
i'm an introverted soul
and most will never understand me alone
please don't hug me
i'm a conservative man
i will mourn on my own
i want to ponder the unknown
and my feelings are not an open book
i will mourn on my own
judy smith Apr 2015
The Pakistan Fashion Design Council in collaboration with Sunsilk presented the fourth and final day of the eighth PFDC Sunsilk Fashion Week. Indeed the 8th PFDC Sunsilk Fashion Week marked the twelfth fashion week platform initiated by the Pakistan Fashion Design Council [with eight weeks of prêt-à-porter and four of bridal fashion] and was a direct manifestation of the Council’s commitment to sustainability and discipline within the business of fashion and the facilitation of Pakistan’s retail industry. Indeed #PSFW15 endeavoured to define and present trends for 2015, focusing specifically on fashion for the regions’ long hot summer months. Day-4 featured High-Street Fashion shows by the House of Arsalan Iqbal, Erum Khan, Chinyere and Hassan Riaz and designer prêt-à-porter shows by Sana Safinaz, Republic by Omar Farooq, Syeda Amera, Huma & Amir Adnan, Sania Maskatiya and HSY.

Speaking about the PFDC Sunsilk Fashion Week platform, Chairperson of the PFDC, Sehyr Saigol said: “With the 12th iteration of our critically acclaimed fashion weeks, the PFDC is always working to streamline our prêt-à-porter platform to make the PSFW experience more beneficial for all stakeholders in terms of show experience, exposure and ultimately, retail value. To that end, each year we look inward to find the best possible formats and categories to benefit the very trade and business of fashion. In this vein, we introduced 3 separate categories for Luxury/Prêt, High Street and Textile at PFDC Sunsilk Fashion Week, giving each entirely separate show space, times, audience exposure and viewing power. Our High Street fashion brands had been given a standalone show time on two separate days as early evening shows and Textile brands a separate dedicated day for Voile shows on Day 3 of PSFW 2015, a measured step to further highlight Pakistan’s textile prowess and high street fashion strength which are of significant importance to national and international fashion markets. As per past tradition, we continue to work closely with all our emerging designers and mainstream brands to help hone their collections for the runway through mentorship by senior PFDC Council members and with retail support through the PFDC’s own stores and network. We are grateful for the committed support of our sponsors and partners which provides us the stimulus to further enhance our fashion week platforms and put forth the best face of Pakistani fashion on a consistent basis.”

“The Sunsilk girl is an achiever, with an air of enthusiasm and positivity. Great hair can give her the extra dose of confidence so with Sunsilk by her side, she is empowered to take on life. Fashion is very close to this aspirational Pakistani girl making the PFDC Sunsilk Fashion Week a highly valued platform for us. We recognize PFDC’s efforts to promote the fashion industry and experienced and upcoming talent alike. Sunsilk has been a part of this fantastic journey for 6 consecutive years and continues to shape aspirations, taking contemporary fashion directly to the homes of consumers and encouraging them to script their own stories of success” said Asanga Ranasinghe, VP Home and Personal Care for Unilever Pakistan.

On the concluding day of #PSFW15, the Chairperson of the PFDC Mrs. Sehyr Saigol also made a special announcement on behalf of the Council and its Board Members, where she shared the Council’s plans to establish Pakistan’s first ever craft based Design District, a multi-purpose specialized facility that would assist in developing and enhancing the arts and crafts industries, which are an integral part of Pakistan’s rich cultural legacy. In addition to being a centre for skill improvement and capacity building, the Design District would also house a first of its kind Textile Museum.

The official spokesperson of the PFDC, Sara Shahid of Sublime by Sara also announced the official dates for the Council’s next fashion week, PFDC L’Oréal Paris Bridal Week 2015 which is scheduled to be held from 15th September to 17th September 2015.

Indeed the success of PFDC Sunsilk Fashion Week continued to prompt private sector associates to grow in their engagement of the platform to launch new marketing campaigns and promotional activities. To this end, the PFDC’s evolving partnership with Sunsilk grew exponentially this year whereby in addition to their title patronage; Sunsilk also took over the coveted PFDC Sunsilk Fashion Week red carpet and the Green Room/Backstage, as sponsors. This extension of their support is indeed a manifestation of the brand’s belief in and commitment to the platform. Also in continuation of their support for the platform, Fed Ex – GSP Pakistan Gerry’s International returned to PSFW as the official logistics partner, offering the PFDC a special arrangement for international designer consignments.

PFDC Sunsilk Fashion Week 2015 was styled by the creative teams at Nabila’s and NGENTS. Light design, set design, sound engineering, video packaging, choreography and show production from concept to construction was by HSY Events, front stage management by Maheen Kardar Ali, backstage management by Product 021, Sara Shahid of Sublime by Sara as the official spokesperson for the PFDC, logistics and operations by Eleventh Experience and photography by Faisal Farooqui and the team at Dragonfly, Hum TV/Hum Sitaray as the Official Media Partners, CityFM89 as the Official Radio Partners with all media management by Lotus Client Management & Public Relations.

High-Street Fashion Shows

The House of Arsalan Iqbal

The afternoon High-Street Fashion Shows on the final day of PFDC Sunsilk Fashion Week 2015 were opened by leading fashion brand The House of Arsalan Iqbal, who showcased a collection titled ‘Devolution Chic’. Inspired by street art across the world by various artists, European high-street trends and technique of quilting, Arsalan Iqbal garnered personal portfolios of graffitists from myriad urban cityscapes such as London, New York, Tokyo, Barcelona and Cape Town, juxtaposed with some unique in-house created patterns including those of Pac-man, calligraphic flourishes and aqua and tangerine bands and circlets. Based in chiffon, the ensembles were molded into voluminous structured silhouettes including draped tunics, edgy jumpsuits and wide palazzos dovetailed with off-white and ecru charmeuse silk jackets created with a revolutionary quilting process. Along with menswear pieces, the collection also included in-house footwear and jewellery made in collaboration with pioneering Karachi-based street artist SANKI.

Erum Khan

Designer Erum Khan followed next and made her PFDC Sunsilk Fashion Week debut with ‘The Untainted Shine’. The collection took its inspiration from the sparkle of twinkling stars, a walk on pearl dew in the morning and the enchanted glow which is produced when “a magic wand” is waved around the body, making it glow in a pearlescent white and exhibiting a jewel themed lustre on the body. With neat and straight structured cuts, Erum had used fabrics such as organza combined with silk, 3D flowers, patch work and antique katdanna in a collection which was based in a white colour palette. Trends highlighted in the collection were high waist skirts to button up pants and sheer long dresses. Acclaimed Pakistani musician Goher Mumtaz and his wife Anam Ahmed walked the ramp as the designer’s celebrity showstoppers.

Chinyere

Following Erum Khan, fashion brand Chinyere showcased its Spring/Summer 2015 High-Street collection ‘Mizaj-e-Shahana’ at PFDC Sunsilk Fashion Week 2015. An ode to the era of the Mughal royalty and their imperial aesthetic, the collection comprised of modern silhouettes and traditional embellishments with organza skirts paired with cropped tops, angarkha-peplum tops with embellished cigarette pants, sheer knee-length jackets paired with structured digital printed bustier-jumpsuits, diaphanous wrap-around boot-cuts and embellished boxy sleeves with soft A-line silhouettes. Chinyere also showcased ten menswear pieces comprising of waistcoats, jodhpurs, knee-length sherwanis paired with gossamer sheer kurtas. The colours used had been divided into a collection of distinctive Mughalesque pastels and jewel tones. The pastels included the classic marble ivory-on-ivory, the bold black, saffron, gold and ivory. The colour segments also included metallic gold and grey sections, with accents of bronze and black. The jewel tones included jade, emerald, ruby and sapphire.

Hassan Riaz

The concluding High-Street fashion show of PFDC Sunsilk Fashion Week 2015 was presented by Hassan Riaz who showcased his ‘Contained Shadows’ collection. Inspired by the diverse facets of the human soul that explore both the dark and light sides of human nature, taking into account yearnings, desires, and anxieties that make us distinctly human, Hassan had based the collection in summer twill, organza and summer denim in shades of blue and white with a gold accent to reflect upon his inspirations. ‘Contained Shadows’ made use of structured and drifting silhouettes, cage crinolines with corsets and bustiers with distinct trends featuring cropped tops, nautical accents, experiments with transparency and patchworks of metal mixed & matched with flowers.

Designer Showcases

Sana Safinaz

PFDC Sunsilk Fashion Week 2015’s evening [rêt shows on the fourth and final day was opened by premier designer label Sana Safinaz. Sana Safinaz’s PFDC Sunsilk Fashion Week collection was inspired by monochromatic structured looks with pops of color. The collection was based in luxe fabrics such as kattan, silks, fine silk organza and dutches satin in a colour palette majorly based in black and white with strong vibrant pop infusions.
Key trends being highlighted were the oversized T, constructions-clean lines, simplicity of cuts and effective embellishments.

Republic by Omar Farooq

Following Sana Safinaz, acclaimed menswear brand Republic By Omar Farooqshowcased a collection titled ‘Que Sera, Sera!’ (whatever will be, will be!). Omar Farooq had used a variety of luxe fabrics such as suede, linen, chiffon, cotton, cotton silk and wool silk. A collection for all seasons, the ensembles built upon the label’s signature aesthetics while providing a new take on contemporary menswear. Acclaimed media personality Fawad Khan walked the ramp as the brand’s celebrity showstopper.

Syeda Amera

The third Prêt show of the final day of PFDC Sunsilk Fashion Week 2015 was presented by designer Syeda Amera who made her ramp debut with ‘The World of Sea’. Inspired by love for the enchanting underwater, the collection was based in premium quality organza, jersey, nets and silks with delicate cuts and embellishments consisting of beads, sequins and feathers to reflect the collection’s aquatic theme. ‘The World of Sea’ featured a palette of aqua marine, scupa blue, powder pink, grey blue, tequila sunrise yellow, orange and lagoon green with trends that employed skirt layering, frills and ruffles and flared pants.

Huma & Amir Adnan

Following Syeda Amera, Huma & Amir Adnan showcased a joint collection for the first time at a fashion exhibition. Both Huma and Amir feel that as a couple they share their lives and draw synergies and their collection ‘Symphony’ was an epitome of how two people can revolve around the same concept in harmony, while maintaining their individual distinction. Showcasing both menswear and women’s wear at PSFW 2015, Huma and Amir had used a mix of fabrics, textures and embellishments with a complex collection of weaves, prints and embroideries in silk, linen, cotton and microfiber. The color palette included midnight blue, emerald green, wet earth, aubergine, ivory, old paper, turmeric, leaf and magenta. Key trends highlighted in the collection were long shirts, double layered shirts, printed vests and jackets, textured pants, colored shoes for men and layers of multi-textured fabrics, tighter silhouette, vests and jackets for women.

Sania Maskatiya

Designer Sania Maskatiya showcased the penultimate Luxury/Prêt collection of the evening at PFDC Sunsilk Fashion Week 2015. This S/S ’15, Sania Maskatiya took audiences on a fashion journey to ‘Paristan’ – a place of fairytale whimsy at PFDC Sunsilk Fashion Week. With a colour palette ranging from the softest shades of daybreak to the deepest hues of nightfall, ‘Paristan’ was a collection of playful, dreamlike prêt ensembles. Featuring luxury fabrics like silk, organza, charmeuse and crepe, the pieces followed the brand’s signature silhouettes, both structured and fluid. Beads and sequins embellished varied hemlines and multiple layering, all set against captivating scenes of mirth and magic. Motifs ranged from the sublime to nonsensical; friendly mice and naughty elves, clocks and teapots, flowering fields and star-filled skies, princesses and ponies.

HSY

Day-4’s finale was presented by acclaimed couturier HSY who showcased a collection titled ‘INK’; a collection inspired by Asia and specifically HSY’s journeys to The Land of the Rising Sun. INK represented the essence of Langkawi, Indonesia, Nagasaki, and Yunnan with natural and indigenous yarns, hand-woven to perfection. The collection featured the traditional dyeing techniques of Shibori from Nagasaki, Batik from Indonesia, and Gara from Sierra Leone infused with mackintosh, saffron, aubergine, eggshell, rosette, indigo and ochre. Created with the scorching sub continental summer in mind, INK channelled versatile hemlines to suit a diversity of younger, older, working men, women and homemakers alike.Read more here:www.marieaustralia.com/long-formal-dresses | www.marieaustralia.com/formal-dresses-brisbane
David Huggett Jul 2018
Like I said before, I was into gambling. Betting on horses, football games, baseball, hockey, even pro wrestling. You name it, I'd bet on it. I'd make so many bets in a period of time, that I often lose track of whether I was winning or losing. I guess it was the thrill of making a prediction. Hawk, on the other hand, was much more tight-****** with his money. There were two reasons for this. Hawk was of Scottish ancestry. This may offend some, but it made him wise in the knowledge that a penny saved was a penny earned. Also, Hawk grew up on, while I wouldn't say, the poor side of town, I would definitely say, on the modest income side of town.
We were at the old Exhibition Park, now the multi-million dollar Queensbury Downs, an ultra-modern, magnificent edifice. Exhibition Park was a rickety old place, really a disgrace in its later years. Believe me, it had many, many years.
Anyway, the nags were running one night and Werewilf and I decided to try to make some money; Werewilf thought of himself as some kind of horsey guru, but he had the odd good insight that I would sometimes cash in on. The evenings winning was progressing as usual. Werewilf hit a winner on the Daily Double and made enough to double his bets on the rest of the races. I was donating to the upkeep of the barns and the jockeys wages. I maintain that I had a part in building the new Queensbury Downs.
After the seventh race admission was free.
That is when Hawk showed up. He would spend his admission money on the last three races. The eighth and ninth races were a bust for all of us. The final race was going to be the saving grace for me and the Hawk, and Werewilf was definitely buying drinks at the curling club later.
Hawk and I looked at the horses and saw a big old grey that looked pretty good. The odds were favorable on Grey Goose, so I place my bets across the board. Hawk bet him to place. Werewilf had money on the horse as well, so it looked like a shoo-in. We were all tensed up in anticipation for the race as the horses were at the post.
"They're off!" the track announcer blared over the loudspeaker. Grey Goose cantered out of the gate and was so far behind at the quarter that he had no hope of placing. "How about an eight-horse pileup!" Hawk yelled. Forget if Hawk, this was horses, not cars. It wasn't a good thing to hope for anyway.
The rest of the pack reached the half when it became evident that Grey Goose had to let go of a load of horse buns. The laughter from the stands echoed throughout the place. Hawk seemed to take the whole scene as a personal insult. The race was over. Grey Goose finished what he had to do and came in dead last.
Hawk said, "I just paid two dollars to watch a horse have is a daily dump! I'll never bet on a horse again!" Wilf and I thought the whole thing was hilarious and considered it money well spent.
Later we met Moneybags at the Regina Curling Club in the exhibition grounds. Hawk was still grumbling about his two dollars. Moneybags was at the races too and thought what had happened with Grey Goose was very amusing, even though he had money on the horse too. Hawk was still grumbling. Moneybags accused Hawk of having Rectinitus. "What the hell is Rectinitus?" we all wondered.
Moneybags, low key, said, "Rectinitus is a medical term. It occurs when your ****** is connected to your optic nerve, culminating in a ****** outlook on life. But don't worry Hawk, It's very rarely fatal."
Republished from "Ghosts in my closet" George Merle 1947-2014
Nigel Morgan Jan 2013
I’m thinking about you today. Hard not to, the specialness of it all. Today you’re putting up of an exhibition. Some artists call it a show, but you’re quite consistent in not calling it that. I admire that of you, being consistent.
 
I was thinking today about your kindness. You phoned me as soon as the children had gone to school, making time to call before you left. I know you were drinking your start-of-the-day coffee, but it was a kind thought all the same, phoning me. You knew I was upset. Upset with myself, as I often am. It’s this being alone. Not so much as a cat to keep me company. Just my work, the reading I do, my thoughts of you, those letters I write, and my attempts at poetry.
 
During the last few days I’ve tried to write directly of what I’ve observed, not felt, observed. Like those wonderful Chinese poets of old describing in just a few characters the wonder of the seen rather than the speculation of the felt, avoiding all emotion and fantasy. I try to write in a way that holds to the ambiguity and spread of meanings the poems those ancient Chinese composed.
 
It’s winter-time. Yesterday we were expecting the first snowfall of winter, and it arrived late in the night making the morning darkness mysteriously different, changing the indistinctness of distant trees to become a web of silver lines, in the no-wind snow resting on branches, clinging to boughs and trunks.  I stood in the pre-dawn park in wonder at it all, holding each moment to myself, in the cold breath-stopping air. I thought of one of the Chinese snow poems I know and some of those different ways it has been translated. Here are three:
 
A thousand mountains without a bird
Ten thousand miles with no trace of man.
A boat. An old man in a straw raincoat.
Alone in the snow, fishing in the freezing river.
 
A thousand peaks: no more birds in flight.
Ten thousand paths: all trace of people gone.
In a lone boat, rain cloak and a hat of reeds
An old man’s fishing the cold river snow.
 
Sur mille montagnes, aucun vol d’oiseau
Sure dix mille sentiers, nulle trace d’homme
Barque solitaire: sous son manteaux de paille
Un vielliard pêche, du figé, la neige.

 
So beautiful, arresting, different. It holds the title River Snow and the poet is the Tang Dynasty philosopher and essayist Lui Zongyuan.  My snow poem First Fall, written last night as the snow fell on the wet street outside, as you were falling through my thoughts, softly, but not onto a wet street, but a distant garden we know and love, but have yet to see in winter’s whiteness.
 
And now today you’re driving to a distant location to hang your work of paper, silk and linen, full of expectation, every contingency and plan in place to enable the work to make its mark in a location you know, where people may recognize your name and will come to say warm words of encouragement, maybe a little praise. And at the end of the week when the exhibition opens I’ll be there, trying to be invisible, taking photographs if I can of you and your admirers and supporters, and thinking (myself) how wonderful you are, your lovely smile lighting up the gallery, being welcoming, beautiful always.
 
Only today you’re further away from me than ever. Around coffee time I miss your quiet explorative ‘it’s me , like a mouse on the telephone. The inflections of those words questioning the appropriateness of the call, meaning ‘Are you busy? Am I interrupting?’ It may take me a little while to ‘come to’, but interruption? Never, just the sheer joy that it’s you colouring the moment.
 
I think of the landscape you’ll be driving through. I’m imagining the snow-sky clearing and becoming a faint blue with the sun’s brightness clarifying those wold lands, those gentle folds of fields between parallelograms of woodland standing stark under the large skies and promulgating the long views gradually, gradually stretching towards the sea coast.
 
I like to imagine you are singing your way through the choruses of Bach’s B Minor Mass, but in reality it’s probably the Be Good Tanyas or Billy Joel playing on the CD player. Such a relief probably after those silent journeys with me. I usually relent on the homeward leg, but I crave silence when I’m a passenger, and I’m now always a passenger, so I crave silence for my thoughts, such as they are.
 
While you are being the emerging artist – but probably on your way homeward - I have taken myself down to my city’s gallery and to an exhibition I’ve already seen. I have a task I’ve been promising myself to undertake: copying an exhibit. I arrive an hour before the gallery closes. I leave my bicycle behind the foyer desk. There are more staff about than visitors. It’s gloriously empty, but the young twenty-somethings invigilating the spaces group themselves strategically near adjoining rooms so they can talk (loudly) to each other. It’s Facebook chat, barely Twitter nonsense. I have to block it all out to focus on the four pages and a P.S of a sculptor’s letter to a critical friend. The sculptor is writing from springtime Cornwall on 6 March 1951. The critical friend will open the letter the next day (when there were 3 deliveries a day) and the Royal Mail invariably arrived on time. He’ll pick it up from his doormat before breakfast in grimy Leeds, though the leafy part near Roundhay Park. The sculptor begins by saying:
 
It is so difficult to find words to convey ideas!
 
In this so efficient Cambria typeface that introductory sentence loses so much of the muscle and flow of the human hand. Written boldly in black ink, and so full of purpose, I read it a month ago, a photocopy in a display case, and knew I had to capture it. And it’s here entire in my note book, on my desk, carefully copied, to share with you my darling, my kind friend, the young woman I hold dear, admire so much, become faint with longing for when, as she crosses that gallery where she has been hanging her work (in my imagination), I am caught as so often by her graceful steps and turn.
 
I don’t feel any difference of intent in or of mood when I paint (or carve) realistically, or when I make abstract carvings. It all feels the same – the same happiness and pain, the same joy in a line, a form, a colour – the same feeling at the end, The two ways of working flow into each other without effort  . . .
 
Outside my warm studio the snow has retreated east and I’ve opened the window to hear the Cathedral bells practising away, the city on a Tuesday night free of revellers, the clubs closed, the pubs quiet. In this building everyone has gone home except this obsessive musician who stays late to write to the woman he adores, who thinks a day is not a day lived without a letter to her at least, a poem if possible.
 
I’d quietly hoped to be with you tonight, but you must have something arranged as I suggested twice I might come, and you said it wasn’t necessary. But I have this letter, and something to write about. Alas, no poem. My muse is having the evening off and I am gently reconciled to the possibility of a few words on the telephone before bed.
Nigel Morgan  Nov 2012
Hiraeth
Nigel Morgan Nov 2012
for Jennie in gratitude*

For days afterwards he was preoccupied by what he’d collected into himself from the gallery viewing. He could say it was just painting, but there was a variety of media present in the many surrounding images and artefacts. Certainly there were all kinds of objects: found and gathered, captured and brought into a frame, some filling transparent boxes on a window ledge or simply hung frameless on the wall; sand, fixed foam, paper sea-water stained, a beaten sheet of aluminium; a significant stone standing on a mantelpiece, strange warped pieces of metal with no clue to what they were or had been, a sketchbook with brooding pencilled drawings made fast and thick, filling the page, colour like an echo, and yes, paintings.
 
Three paintings had surprised him; they did not seem to fit until (and this was sometime later) their form and content, their working, had very gradually begun to make a sort of sense.  Possible interpretations – though tenuous – surreptitiously intervened. There were words scrawled across each canvas summoning the viewer into emotional space, a space where suggestions of marks and colour floated on a white surface. These scrawled words were like writing in seaside sand with a finger: the following bird and hiraeth. He couldn’t remember the third exactly. He had a feeling about it – a date or description. But he had forgotten. And this following bird? One of Coleridge’s birds of the Ancient Mariner perhaps? Hiraeth he knew was a difficult Welsh word similar to saudade. It meant variously longing, sometimes passionate (was longing ever not passionate?), a home-sickness, the physical pain of nostalgia. It was said that a well-loved location in conjunction with a point in time could cause such feelings. This small exhibition seemed full of longing, full of something beyond the place and the time and the variousness of colour and texture, of elements captured, collected and represented. And as the distance in time and memory from his experience of the show in a small provincial gallery increased, so did his own thoughts of and about the nature of longing become more acute.
 
He knew he was fortunate to have had the special experience of being alone with ‘the work’ just prior to the gallery opening. His partner was also showing and he had accompanied her as a friendly presence, someone to talk to when the throng of viewers might deplete. But he knew he was surplus to requirements as she’d also brought along a girlfriend making a short film on this emerging, soon to be successful artist. So he’d wandered into the adjoining spaces and without expectation had come upon this very different show: just the title Four Tides to guide him in and around the small white space in which the art work had been distributed. Even the striking miniature catalogue, solely photographs, no text, did little to betray the hand and eye that had brought together what was being shown. Beyond the artist’s name there were only faint traces – a phone number and an email address, no voluminous self-congratulatory CV, no list of previous exhibitions, awards or academic provenance. A light blue bicycle figured in some of her catalogue photographs and on her contact card. One photo in particular had caught the artist very distant, cycling along the curve of a beach. It was this photo that helped him to identify the location – because for twenty years he had passed across this meeting of land and water on a railway journey. This place she had chosen for the coming and going of four tides he had viewed from a train window. The aspect down the estuary guarded by mountains had been a highpoint of a six-hour journey he had once taken several times a year, occasionally and gratefully with his children for whom crossing the long, low wooden bridge across the estuary remained into their teens an adventure, always something telling.
 
He found himself wishing this work into a studio setting, the artist’s studio. It seemed too stark placed on white walls, above the stripped pine floor and the punctuation of reflective glass of two windows facing onto a wet street. Yes, a studio would be good because the pictures, the paintings, the assemblages might relate to what daily surrounded the artist and thus describe her. He had thought at first he was looking at the work of a young woman, perhaps mid-thirties at most. The self-curation was not wholly assured: it held a temporary nature. It was as if she hadn’t finished with the subject and or done with its experience. It was either on-going and promised more, or represented a stage she would put aside (but with love and affection) on her journey as an artist. She wouldn’t milk it for more than it was. And it was full of longing.
 
There was a heaviness, a weight, an inconclusiveness, an echo of reverence about what had been brought together ‘to show’. Had he thought about these aspects more closely, he would not have been so surprised to discovered the artist was closer to his own age, in her fifties. She in turn had been surprised by his attention, by his carefully written comment in her guest book. She seemed pleased to talk intimately and openly, to tell her story of the work. She didn’t need to do this because it was there in the room to be read. It was apparent; it was not oblique or difficult, but caught the viewer in a questioning loop. Was this estuary location somehow at the core of her longing-centred self?  She had admitted that, working in her home or studio, she would find herself facing westward and into the distance both in place and time?
 
On the following day he made time to write, to look through this artist’s window on a creative engagement with a place he was familiar. The experience of viewing her work had affected him. He was not sure yet whether it was the representation of the place or the artist’s engagement with it. In writing about it he might find out. It seemed so deeply personal. It was perhaps better not to know but to imagine. So he imagined her making the journey, possibly by train, finding a place to stay the night – a cheerful B & B - and cycling early in the morning across the long bridge to her previously chosen spot on the estuary: to catch the first of the tides. He already understood from his own experience how an artist can enter trance-like into an environment, absorb its particularness, respond to the uncertainty of its weather, feel surrounded by its elements and textures, and most of all be governed by the continuous and ever-complex play of light.
 
He knew all about longing for a place. For nearly twenty years a similar longing had grown and all but consumed him: his cottage on a mountain overlooking the sea. It had become a place where he had regularly faced up to his created and invented thoughts, his soon-to-be-music and more recently possible poetry and prose. He had done so in silence and solitude.
 
But now he was experiencing a different longing, a longing born from an intensity of love for a young woman, an intensity that circled him about. Her physical self had become a rich landscape to explore and celebrate in gaze, and stroke and caress. It seemed extraordinary that a single person could hold to herself such a habitat of wonder, a rich geography of desire to know and understand. For so many years his longing was bound to the memory of walking cliff paths and empty beaches, the hypnotic viewing of seascaped horizons and the persistent chaos of the sea and wild weather. But gradually this longing for a coming together of land, sea and sky had migrated to settle on a woman who graced his daily, hourly thoughts; who was able to touch and caress him as rain and wind and sun can act upon the body in ever-changing ways. So when he was apart from her it was with such a longing that he found himself weighed down, filled brimfull.
 
In writing, in attempting to consider longing as a something the creative spirit might address, he felt profoundly grateful to the artist on the light blue bicycle whose her observations and invention had kept open a door he felt was closing on him. She had faced her own longing by bringing it into form, and through form into colour and texture, and then into a very particular play: an arrangement of objects and images for the mind to engage with – or not. He dared to feel an affinity with this artist because, like his own work, it did not seem wholly confident. It contained flaws of a most subtle kind, flaws that lent it a conviction and strength that he warmed to. It had not been massaged into correctness. The images and the textures, the directness of it, flowed through him back and forward just like the tides she had come far to observe on just a single day. He remembered then, when looking closely at the unprotected pieces on the walls, how his hand had moved to just touch its surfaces in exactly the way he would bring his fingers close to the body of the woman he loved so much, adored beyond any poetry, and longed for with all his heart and mind.

— The End —