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Cover art by Roger Dean for Woyaya (1971), the second album by Osibisa. Dean’s flying elephants made their first appearance on the group’s debut album<\/a>, and have been an Osibisa emblem ever since.<\/em><\/p>\n \u2022 Many of Roger Dean’s early album covers are better creations than the music on the albums they decorate. This isn’t the case with Osibisa, however, a Ghanaian group based in London whose discography includes (uniquely, I think) two covers by Dean together with one by Mati Klarwein<\/a>. The group’s first two albums, Osibisa<\/em> and Woyaya<\/em>, are exceptional blends of Ghanaian music with rock, funk and jazz whose omission from the generally reliable Kozmigroov list<\/a> is a serious error. Garth Cartwright<\/a> talked to Teddy Osei and Lord Eric Sugumugu about Osibisa past and present.<\/p>\n \u2022 “The antiheroes of Angry Young Men cinema railed against the limited life opportunities available to them. Wired and frustrated, they especially chafed against girlfriends, wives, domesticity. Yet they never questioned heterosexuality itself. Not, at least, until The Leather Boys<\/em> (1964), a relatively little-known film directed by Canadian expatriate Sidney J. Furie.” Sukhdev Sandhu<\/a> on a film about gay life in pre-decriminalisation Britain that offered a slightly more positive view of its subject than the justifiably angst-ridden Victim<\/em> (1961).<\/p>\n \u2022 “Brian Aldiss once confided to me that the big problem with American science fiction writers was that they loved to write about Mars but knew nothing about Indonesia.” Bruce Sterling<\/a> on the attractions of being an expatriate writer who adopts a foreign persona, as he did for the stories collected in Robot Artists and Black Swans<\/em><\/a>.<\/p>\n \u2022 New music: Fire Tower<\/em><\/a> by The Grid \/ Fripp. Dave Ball, Richard Norris and Robert Fripp have been collaborating on and off since The Grid’s 456<\/em> album in 1992. Fire Tower<\/em> is a preview of Leviathan<\/em>, a new album out in June on CD\/DVD<\/a> and double vinyl<\/a>.<\/p>\n \u2022 RIP Michael Collins<\/a>, the astronaut who orbited the Moon alone, listening to Symphonie Fantastique<\/em> by Berlioz in the Command Module of Apollo 11 while Neil Armstrong and Buzz Aldrin were walking on the satellite’s surface.<\/p>\n \u2022 “‘Walking with a thesis’ could easily function as the subtitle for a significant number of Iain Sinclair\u2019s books.” Tobias Carroll<\/a> on Iain Sinclair and the radical act of walking through a city.<\/p>\n \u2022 “‘Plain speaking, like plain food, is a puritan virtue and thus no virtue at all,’ Meades pronounces.” Steven Poole<\/a> reviews Pedro and Ricky Come Again<\/em> by Jonathan Meades.<\/p>\n \u2022 Building a panorama: Clive Hicks-Jenkins<\/a>‘ latest progress report on his Cocteau-inspired illustrated edition of Beauty and the Beast<\/em>.<\/p>\n \u2022 At Unquiet Things: Groovy Goddesses From Dimension X: Gene Szafrans\u2019 Kaleidoscopic Book Covers<\/a>.<\/p>\n \u2022 From leather boys to leather men: Miss Rosen<\/a> on the little-known photography of Tom of Finland.<\/p>\n \u2022 Alexis Petridis<\/a> attempts the impossible again, with a list of Grace Jones’ best songs.<\/p>\n \u2022 At Dennis Cooper<\/a>‘s: Cars.<\/p>\n \u2022 I’m A Leather Boy<\/a><\/em> (1967) by The Leather Boy | Warm Leatherette<\/a><\/em> (1980) by Grace Jones | Leather Bound<\/a><\/em> (2017) by Patrick Cowley<\/p>\n","protected":false},"excerpt":{"rendered":"