Category: The Cuff

Last month, Wolverhampton Art Gallery (WAG) and its subsidiary venues (WAVE) launched their Spring programme; a series of exhibitions and showcases that will run until May ’13.

The programme features activity across the Bantock House Museum, Wolverhampton City Archives, Bilston Art & Craft Gallery and the Wolverhampton Art Gallery – WAVE’s flagship location.

Ed King went to the ‘after hours’ introduction at Wolverhampton Art Gallery, to give two of the main exhibits a Birmingham Review.

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‘Cosplay’

by David Hancock

“It is.”

“It isn’t.”

 “It is. It has to be. Look.”

“It isn’t. I don’t think. Or at least, it says here it shouldn’t be…”

 Standing in WAG’s Contemporary Gallery, it’s easy to be sympathetic to this conversation. David Hancock’s ‘Cosplay’ contains a series of watercolours so vivid; from a distance of a few feet they appear photographic. And they ain’t small.

Painted in watercolour, these life like compositions sit amongst a further array of coloured pencil and crayon drawings; all depicting “a subculture of people dressing up as characters from computer games, Manga and both UK & US comics.”

Hancock’s exploration of “cosplayers” is quite a remarkable sight. A manifestation of fantasy culture, with undertones of sexual liberation and escapism; I am both intrigued and suspicious.

Figures from literature, film, and a world of computer games I know nothing about, are proudly assimilated by his subjects; reenacting scenes and locations from the world they appropriate.

At first it’s fun, then childish and odd. And finally I feel a mix of envy and pity; the subject’s disguises (for that’s what I read them to be) are both powerful and crippling, only free behind the mask of another.

I missed the talk Hancock gave on his ‘Cosplay’ exhibition, but would love to hear more about the people behind the pictures; each one a real portrait. I am left with only my experience for context. And I’ll say it again – I am both intrigued and suspicious.

‘Cosplay’ is exhibiting in WAG’s Contemporary Gallery until June 8^th, with a talk from the artist, David Hancock, on March 20^th. For further info visit http://www.wolverhamptonart.org.uk/events/david-hancock-cosplay

For more on David Hancock, visit http://www.david-hancock.com

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‘Love Me’

By Zed Nelson

 Deftly skipping past the picture of liposuction, with exposed innards and peeled back flesh, we come to something far more terrifying; a young girl, dressed up like a protégé ice queen with a fixed face. I can feel her mother, somewhere close behind the camera.

Zed Nelson‘s latest project ‘reflects on the cultural and commercial forces that drive a global obsession with youth and beauty.’

Appropriately titled ‘Love Me’, Nelson’s book/exhibition contains content from eighteen countries and took five years compile.

From the emaciation of anorexia, to the guru’s of plastic surgery, and the body dysmorphia of competitive body building; Nelson explores not just the subjects of beautification, but the industries and cultures that both promulgate and embrace it.

“I may die, but I’ll die with not wrinkles,” Nelson paraphrases a woman’s excuse of ‘cosmetic enhancement’, but explains the trend isn’t gender specific.

“Today’s footballers look like male models, the (cosmetic and beauty) industry is targeting a new market. It’s not just women.” And to cement the point further to a journalist, “Men’s Health magazine hasn’t had a hairy chest on its cover since 1995.”

I look through the seemingly jumbled collection: a body builder in Sri Lanka, a perfectly healthy looking 13 year old girl at Fat Camp in New York, Miss Essex in hysterical tears at the Miss World beauty pageant. And whilst dates and locations separate each image, there is an inescapable unity. And it’s frightening, to me; all so brutally unhinged.

“There’s nothing new to this,” explains Nelson, as we discuss the rhyme and reason behind such obsessive compulsions, “in the 17^th century there was a chart compiled that related skin colour to intelligence”, referring to François Bernier’s ‘Nouvelle division de la terre’ – a text often cited as one of the first examples of scientific racism.

“In many countries today whiter skin is still seen as desirable, with the media and popular culture helping to support this notion. This (Love Me) is a warning to artists to wake up and realise the effects of their work.”

I look back at the faces on the wall, contorted and confused – struggling for acceptance. “After compiling this project, is there anything you’d want to change about your appearance?” I ask.

Neslon smiles, “I’ve had plastic surgeons say my nose is too big.” But I get the impression he’ll live with it.

‘Love Me’ is exhibiting at WAG’s Focus Gallery until June 8^th – for further info visit http://www.wolverhamptonart.org.uk/events/zed-nelson-love-me

For more on Zed Nelson, visit http://www.zednelson.com

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Other exhibitions in WAVE’s Spring Programme include:

Edwin Butler Bayliss: Poet of the Black Country @ Wolverhampton Art Gallery – runs until April 27^th

‘Open All Hours’ @ Bantock House – runs until May 5^th

‘Snapshots of Mumbai’ @ Bilston Art & Craft Gallery – runs until March 9^th / Final View Reception being held on Weds March 6^th, from 5pm to 6:45pm – click here for event invite & details

For full details on all WAVE activity, including full listings of exhibitions, workshops and showcases, visit http://www.wolverhamptonart.org.uk

Words by Holly Pyke

After many years producing and engineering, Ethan Johns is now performing solo; currently touring to promote his debut album ‘If Not Now Then When?’, supported by Marika Hackman.

Promoting her own debut album, ‘That Iron Taste’, Hackman stepped on stage to a polite and enthusiastic Glee Club audience; but by the time she got to her third song, ‘Cannibal’, my heart was sinking fast despite her best attempts to be witty and engaging.

Hackman’s voice is pretty and has an undeniable purity, however the arrangements of her songs follow a generic formula rendering them utterly forgettable.

There was little variation in the tempo and tone, with lyrics that lacked maturity (which is unsurprising considering she’s only, on initial research, 19 years old). My companion reflected, “she needs to get her heart broken a few times so she can write some better songs”.

Aware of Ethan Johns’ considerable career, playing and producing for artists from Joe Cocker to The Vaccines, I was interested to see how he would adapt to performing his own material as a solo artist.

The Glee Club audience appeared to largely comprise of hardcore Johns’ fans, who were transfixed from the opening track ‘Hello Sunshine’ and throughout the entire set; revelling in every opportunity to engage with Johns about his music and forthcoming album, which many had already purchased prior to the official release date.

Cue long, drawn out tales of Johns’ time working with musicians in the USA and UK; dropping so many names that if my milkman’s cat had any notoriety I’m sure he would have been mentioned as a close personal friend.

Although Johns’ hardcore fans appeared entertained and amused, I felt patronised and a little confused, as though excluded from a private joke shared by close friends.

Comfortable and confident onstage, Johns’ voice had an engaging depth of expression.  However he appeared to emulate Bob Dylan, both musically and in persona, whilst interspersing this with long drawling vocals reminiscent of Mick Jagger.

Unfortunately many of the tracks, including ‘Rally’ – which you’d hope to be a rousing protest song complete with guitar and harmonica, felt like album fillers and as forgettable as those performed earlier by Hackman.

Although ‘Whip-Poor-Will’, with a gently ambling, folksy quality – almost that of a lullaby, was truly memorable. And the slightly edgier, more blues influenced, ‘Red Rooster Blue’ and ‘Hello Sunshine’, also maintained their distinction; with their contrast in tempo and style affording dimension to an otherwise uninspiring set.

Had Dylan and Jagger never existed, I would probably have been totally enthralled and entertained. However, they do exist, and I am familiar with them and the many, many subsequent artists inspired by or imitating them.

Johns’ set eventually came to a penultimate close with ‘The Long Way Round’, receiving a particularly zealous applause that quite frankly baffled me.

Personally it felt like the folly of a man tired of the production shadows, looking for a few minutes of his own in the limelight; one replicating other successful artists, but ultimately leaving me disappointed and bored.

For more on Ethan Johns, including digital downloads of ‘If Not Now Then When?’, visit http://www.ethanjohns.com

For more on Marika Hackman, visit http://www.marikahackman.com

For more gigs at the The Glee Club, visit http://www.glee.co.uk/birmingham-music

ED’S NOTE: Costume designer, Emily Meades, recently sent us a link to a music video she’s been working on; set to the Muse track ‘Animals’, from their new album – ‘The 2^nd Law’.

Meades is entering the video into a competition – where ‘the winner will receive £3,000 and have their video uploaded to the Muse website and YouTube channel’, and was hoping to push its profile and pick up some online votes.

Now as a rule, Birmingham Review will not publish unsolicited promos; but heartily respects self established projects.

What to do…

Introducing D.I.Y – a new section of Birmingham Review Online, where we publish the work of people who get out there and ACTUALLY DO SOMETHING.

So, have a look at ‘Animals’, directed by Lauren Hatchard, and follow the links to comment or vote:

We also asked Emily Meades for an (empurple free) explanation of the project:

”The visual storyline, to go along with the underlying capitalist themes of the song, follows the activities of two aliens. The first is an alien scientist, who discovers Earth under her microscope. The second alien is a stock broker working at an intergalactic stock market, buying and selling shares in planets and parts of the universe.

This newly discovered planet, ’Earth’, is considered hot new property on the intergalactic stock market and the alien broker decides to pour all of his shares in to our little blue planet.

Upon realising that this planet is not what it was initially thought to be, and that it is ultimately a negative energy, destined for failure, he realises that he is about to lose everything and tries to sell his shares in the Earth. But he cannot.  Planet Earth is appearing as worthless and he has potentially lost everything.

At a glance planet earth might appear to be a good investment, but would you invest?”

To watch and vote for ‘Animals’ by Lauren Hatchard, visit http://genero.tv/watch-video/35049/

For more on the Muse competition, organised by Genero, visit http://genero.tv/muse

For more on the video’s director, Lauren Hatchard, visit http://laurenhatchard.co.uk/_/What_does_she_make.html

Words by Ed King / Pics by Katie Foulkes

I want another drink; sitting warm and loquacious, in the Irish boozer next to the HMV Institute. We’re early, Jake Bugg has two support acts, and like standing up as soon as the airplane lands – I see no point queuing.

Besides, I’m absurdly eager to see Jake Bugg perform – since hearing his eponymous debut album in October, and have already had to postpone my excitement for over a month; 15 more minutes won’t hurt. I make an editorial decision, order a large Disaronno on the rocks and return to the radiator.

As we eventually pinch our way through the sellout crowd, Findlay – Universal’s precocious punk protege, runs through a list of musical genres ‘that are crap’. The crowd seems nonplussed, and I duck a low path to the bar; eventually finding service, and an inch of stairwell to settle on.

With the evening staggering behind time, Findlay stamps off stage; allowing a single sound technician to prepare all the main set instruments. Frustratingly, this continues; as drunken jackals chant ineloquent disdain, before the young singer songwriter from Nottingham finally arrives on stage. The chant turns to roar, the irritation to relief, and the 36days and 3hrs wait to an unstable foundation of beer and close quarters.

Opening with ‘Kentucky’, I’m immediately confused; a nasally high pitch pierces its way off the stage. This isn’t right, is it? Jake Bugg’s vocals are raw, ‘Dylan’ being the ubiquitous simile, but this seems unnerving; comic even. I shoot an ill informed look at the sound desk.

‘Love Me the Way You Do’ follows, with very little banter in between, and an almost bluegrass pentametre. It’s like a bad cover; and whilst I’m increasingly unsure as to what’s going on, the rest of the room is resolute and shouting, ‘Jake Bugg WE LOVE YOU.’

‘I’ve Seen It All’ creates a sea of karaoke; but the satirical lyrical charm of this excellent song doesn’t survive the assault. ‘Ballad of Mr Jones’ allows Jake Bugg to be alone on acoustic, before ‘Note to Self’ returns the full band fervour; and reciprocal, baying crowd.

Looking at the shoulder to shoulder below, feverishly drunk and enthralled (them not me), I start to feel… something. Is it ‘old’? Is it ‘out of place’? Is it ‘jealous’? I looked forward to tonight more than any gig this month, so why am I not getting what everyone else in the room is all too eager to shout?

I ask the guy next to me for context; he takes a minute, then says, ‘its like if The Coral went solo’. I look at my notes – ‘…like a hoedown with George Formby and Kermit the Frog’. Perhaps he should be writing this review.

‘Slide’ brings the beat… beat… down, with more of just Jake Bugg on acoustic, before ‘Two Fingers’ once again ignites the sing-a-long, before an inevitable encore.

But a(nother) prolonged pause leaves the room 50/50, is Jake Bugg actually coming back. Some of the crowd start to leave, before ‘Country Song’ finally opens the encore; quickly followed by a brief thank you and ‘Green Man’, which succinctly closes the show.

I duck out early to pick up my coat, getting an unorthodox Christmas message from Findlay’s merchandise stall on my way outside.

It’s been an evening of expectations, restlessness and unwanted retro Skiffle; leaving my eager bunny ears a little droopier than before.

But I appear to be alone, with most of the crowd knowing most of the words, and Jake Bugg already selling out his February gig – back at the HMV Institute.

And with Valerie June supporting, another act I am oh-so-eager to see live, I brace my frontal lobe… more editorial decisions will have to be made.

Jake Bugg, brought to you by Birmingham Promoters, plays the HMV Institute on February 19^th 2013. For more details on this, and other gigs at the HMV Institute, visit http://hmvinstitute.com/listings/upcoming-events/11616/jake-bugg

For further gigs from Birmingham Promoters, visit http://birminghampromoters.com

For more on Jake Bugg, visit http://jakebugg.com

Words & pics by Charlotte Rose

The Musgraves are a band that I have heard of, but never actually heard.

But recent airtime on Radio 2, and the ardent backing of the TV presenter Graham Norton, has given the band a massive boost of late.

The Actress & Bishop is an intimate venue, and as people started to trickle in I found myself wondering why there weren’t more fans here to support this Birmingham band back on home turf.

Following some technical issues involving lots of lead swapping, The Musgraves opened with ‘Santa Claus is coming to Town’ – leading straight into a short Scottish stylefolk jig.

Being a violinist myself, I was particularly drawn to Lesley Turner’s rich tones and had high hopes that the violin would feature heavily throughout their set. The soundman kind of put the mockers on that; unfortunately the levels took a while to settle, much to the frustration of the band.

The set continued with ‘The way you make me want you’, from their debut album, and ‘You that way, I this way’;1950s style drumbeats together with an uplifting roots-pop vibe.

Things slowed down mid-set for ‘Discover me’ (used in a recent BT advert), with the lead singer’s distinct tone reminding me a little of David Gray. The Musgraves also played other original tracks, such as ‘So Sophia, Back to Me’ which included a fantastic keyboard solo.

But, being December, they rounded things off with two Christmas covers, ‘Merry Christmas Everybody’ and a superb rendition of ‘Fairytale of New York’.

And as people danced out the set, it was clear The Musgraves’ infectious, catchy music had made the home crowd smile; albeit the same 40 people who were there at the start.

For more on The Musgraves, visit http://www.themusgraves.co.uk

For further gigs at The Actress & Bishop, visit http://theactressandbishop.com