Last week when much of the world was arm wrestling over cheap tellys in Tesco, we gave away some shirts for the price of postage. Follow us on Instagram for more fun in the future. These lovely boys did.
From Rudimentary Peni’s Facebook page
Public service announcement. We have just been informed that there is a bootleg out of EPs of RP. White vinyl with a Corpus Christi catalogue number. We have nothing to do with this. If this is anything as poorly produced as that hideous Death Church piece of garbage from last year, it’s truly the same as taking your money and setting it on fire.
We are presently working on a very very much nicer reissue of EPs of RP which will be something worth waiting for.
We appreciate your support.
But you know, free will.
For our part, it’s probably even more galling than that wretchedly poor quality Death Church effort, as this one is trying to pass itself off as being on Corpus Christi, which of course, it isn’t.
Please don’t be fooled by this shabby product. We have a really special reissue of EPs of RP right around the corner.
Penny Rimbaud discusses Stonehenge Free Festival in a recent interview with ChampionUpNorth.
Crass went down there intending to play in 1980 but it turned into a bloodbath. The Hell’s Angels decided they didn’t like the look of the punks so it just turned into a stupid night of violence. We just spent all night trying to save people and get them off the site. It was just bloody really unpleasant.
The full interview can be found HERE.
Gee Vaucher’s film, ‘Angel’, is not so much a movie as a study of stillness wherein the standard exaggerated dramas and sound-bite trickeries of Hollywood are replaced with a profound introversion: a meditation. For some forty-five minutes we are asked to consider a young girl staring back at us, the camera. Sometimes she appears amused, sometimes accusatory, sometimes removed, sometimes present, but because we are given few clues as to her real condition, so those reflections are almost certainly expressions more of our psychologies than hers. In this sense she acts as an angel within, offering us an opportunity to consider our own deeper selves and, for once, to escape the more often than not cynical and manipulative contrivances of the entertainment industry.
In the truest sense, Gee Vaucher is a rebel artist with a cause. Having been born into the greyness of post-war Britain, she sought from the start to find and fly her own colours both for and against her working class roots (which in those days did not easily accommodate artistic aspirations). Through a mixture of rugged self-determination and a natural gift for line, form and colour, she was able to assert herself as an artist. Following this path, she gained a place at art school and then went on to subvert her enormous commercial potential (notably as a much in demand illustrator in 70s NYC) into what became widely accepted as being seminal to the protest art of the 1980s. However, her history with the anarchist band Crass during that period has been well documented elsewhere, and tells only one part of the story.
By seeing her art as essentially a tool for social change, Gee Vaucher has ducked and weaved her way through whatever medium might best express whatever it is that she seeks to say. Within paintings, drawings, collages, prints, films, happenings, sculptures, and soundscapes, her singular demand for human rights, dignity and fairness is always manifest. Expecting (and more often than not demanding) no returns, she has remained a resolute outsider, free to express herself as she desires, and completely divorced from any commercial consideration. In the laissez faire world of postmodernist pretensions her bohemianism is as laudable as her work is illuminating. Those who cannot see the light are those who are not looking for it.
Thursday 29th May at 7:30pm
Gavin Brown’s Enterprise
620 Greenwich Street NYC