Tygers of Wrath

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ImageTexT is an excellent web publication produced by the English Department at the University of Florida whose objective “is to advance the academic study of comic books, comic strips, and animated cartoons”. The subject of the latest edition is “William Blake and Visual Culture” and to this end includes my written and visual account of the Tate Gallery’s William Blake event from February 2001. That evening of song and performance featured Alan Moore and Tim Perkins’ piece about Blake’s life (with my video accompaniment), a work that was later released as the Angel Passage CD. ImageText 3-2 also includes an essay by Roger Whitson, Panelling Parallax: The Fearful Symmetry of William Blake and Alan Moore.

Previously on { feuilleton }
• Of Moons and Serpents
• Watchmen
• Alan Moore interview, 1988

Patrick Wolf interviewed

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‘There was a fire inside me’

His life was made a misery at school, but all that bullying just fuelled Patrick Wolf’s ambition to become a pop star. Looks like he will have the last laugh, says Maddy Costa.

The Guardian, Friday, February 9th, 2007

PATRICK WOLF was 11 when he saw his first dream shatter. Aged six, he had vowed to become a solo violinist. “I’d heard a violin solo by Rachmaninov on the radio,” he recalls, “and it was so divine my little brain thought: that’s what I want to do.” His parents had booked him piano lessons but he told them: “I don’t like this piano, it’s like playing a calculator.” Sadly, his orchestral career didn’t unfold as planned. “I was always second violinist. They do good harmonies, but I wanted to play that solo.”

To most people, playing second violin would be a fine achievement. But Wolf—a singer, songwriter and multi-instrumentalist—isn’t most people. You can tell by the way the 23-year-old is dressed for an average day ambling about central London. His gangly frame is clad in a checked shirt, knitted hoodie and tattered rabbit-fur jacket, his trousers rolled high above his thin gold shoes. His ash-brown hair is dyed burnt orange. Clearly, this man was born to be a pop star. And at the age of 11, disillusioned with his violin prospects, that’s what he decided to become.

It has taken 12 years and two uncompromising albums but Wolf is finally on the verge of the success he craved. Recently signed to a major label (Polydor subsidiary Loog), he’s about to release The Magic Position, an album of rapturous songs designed to soundtrack summer days and sunny adverts in which strangers hug in the street. The sleeve art captures the mood: it pictures Wolf posing on a carousel. Which hasn’t gone down too well in some quarters. “People think I’m trying to be Gary Glitter,” he says.

The trouble is that, whereas Wolf describes The Magic Position as “the most honest representation of how I live my life and what I want out of life”, the album couldn’t be more different from its two predecessors, Lycanthropy (2003) and Wind in the Wires (2005), both troubled testaments to his difficult youth. Wolf’s tale is one of bullying and depression, rebellion and melodrama, and he prefers to narrate it “with the music”. He’s been known to fabricate details: in early interviews, “I would make up stories about my life, until this legend emerged that I had been born in a lighthouse in Cork. It got out to my relatives in Ireland and I couldn’t live it down.” Since then, he admits: “It sounds quite arrogant, but I realised my life was more interesting than the fantasy.”

(Continues here)

Radical architects and their magazines

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Such Cheek! Those Were the Days, Architects
by Nicolai Ouroussoff
New York Times, February 8th, 2007

IF YOU ARE revolted by today’s slick and fashion-obsessed architecture scene, hurry over to ‘Clip/Stamp/Fold: The Radical Architecture of Little Magazines‘ at the Storefront for Art and Architecture. You’ll feel even worse.

Organized by the architectural historian Beatriz Colomina, the show examines the world of those small magazines from the early 1960s to the end of the 1970s, when the field of architecture was still marked by a playful intellectual and political independence. It’s packed with gorgeous cover images, from copulating robots to an elephant attacking the Solomon R. Guggenheim Museum in Manhattan to a skyscraper made of Swiss cheese. Often thrown together on a shoestring budget, the magazines have an intoxicating freshness that should send a shudder down the spine of those who’ve spent the last decade bathed in the glow of the computer screen.

But this is not an exercise in nostalgia. It’s a piercing critique, intended or not, of the smoothness of our contemporary design culture. These magazine covers map out an era when architecture was simmering with new ideas. You’re bound to leave the show with a nagging sense of what was lost as well as gained during the electronic juggernaut of the last three decades.

Part of the magic of this show, which was recently extended for three more weeks, is in the works’ crude immediacy. One side of the gallery is wallpapered in hundreds of colorful magazine covers. On the opposite wall a more detailed timeline maps out the evolution of the culture of architectural magazines, from an obsession with politics and pop culture to a descent into increasingly abstruse and self-involved theoretical debates. The rarest magazines are encased in clear plastic bubbles (made of cheap plastic skylights that the show’s curators bought on Canal Street), evoking time capsules descended from outer space.

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