Titles you can't find anywhere else Try Scribd FREE for 30 days to access over 125 million titles without ads or interruptions! Start Free Trial Cancel Anytime. Titles you can't find anywhere else Try Scribd FREE for 30 days to access over 125 million titles without ads or interruptions! Start Free Trial Cancel Anytime. Titles you can't find anywhere else Try Scribd FREE for 30 days to access over 125 million titles without ads or interruptions! Start Free Trial Cancel Anytime. Titles you can't find anywhere else Try Scribd FREE for 30 days to access over 125 million titles without ads or interruptions! Start Free Trial Cancel Anytime. Introduction to Groove Grove Graphics is an exhibition about West London’s Groove Grove extraordinary music scene rom WWII to today. It explores the sounds Graphics that emerged rom successive generations o displaced soldiers, bohemians, economic migrants and political exiles who, living cheek by Jane Goodsir jowl, entertained themselves by borrowing, swapping and transorming John Phillips musical ideas. Groove Grove Graphics ’ origins lay in Agitpop, an earlier exhibition at londonprintstudio, eaturing activist graphics rom May ’68 to today (2008). While planning that show we asked ourselves, what did West London contribute to ‘the Revolution’? We concluded that it excelled in designing the uniorms and creating the soundtrack. But this exhibition isn’t just a bout local Sex ‘n’ Docs ‘n’ Frock ‘n’ Role. It is also a response to other exhibitions, and to the questions: what is worthy o remembrance, and how are histories told? Museum exhibitions are structured by classication systems that segregate and attribute signicance to the items on display. Their metaphorical ideal is the perect ossil, clinically extracted rom its precise location in petried time and revealed to the public in all its decontexturalised glory.The British Music Experience: Britain’s Interactive Museum o Popular Music (currently on show at the O2 Dome) guides the visitor through discreet time zones, presenting a high-tech spectacle o popular ‘icons.’ But it ails to reveal either the historical roots or the collective social experi ences rom which this vibrant culture grew.Island Lie (last year’s exhibition celebrating 50 years o Island Records) came closer to acknowledging the Caribbean, Black British and American contribution to UK popular music (hardly surprising, given Island’s origins as an importer o ska and reggae), but again, as visitors moved switly through the maze o digitally re-mastered records and larger-than-lie portraits o the ‘stars’, the exhibition - more corporate advertising than londonprintstudio, 2010 cultural product - seemed to emphasise the enormous gap between www.londonprintstudio.org.uk the music industry and its audience. Groove Grove Graphics is ounded on the premise that common experiences run through the lives o successive generations o West Londoners. Disturbed boundaries arising rom overcrowding or inquisitiveness, coupled with a host o infuences that have poured into Titles you can't find anywhere else Try Scribd FREE for 30 days to access over 125 million titles without ads or interruptions! Start Free Trial Cancel Anytime. Introduction to the area, have led people to challenge established norms and create Groove Grove new or hybrid cultural orms. This exhibition employs themes (Absolute top 30 playlist Graphics Beginners, Do It Yoursel, War Ina Babylon, Sympathy or the Devil and so Jane Goodsir on) to explore those infuences that have shaped musical culture. MIA Galang John Phillips Tubeway Army Are Friends Electric? The exhibition has drawn on the generosity o many local people who The Pink Fairies Portobello Shufe have loaned record sleeves rom their personal collections. Inevitably The Ruts Babylon is Burning many o these items are scarred by time. Creating displays rom them is in keeping with our aim to present a living story, not a denitive history. David Bowie Ziggy Stardust It is a speculative collage o lived experience that aims, despite many Cat Stevens Portobello Road omissions, to celebrate creativity in the neighbourhood and to s timulate The Raincoats Adventures Close to Home urther discussion and debate. The Pink Fairies Portobello Shufe The Who My Generation Motorhead Motorhead Pulp I Spy Lord Kitchener London is the Place or Me The Clash White Man in Hammersmith Palais Junior Dan Mystic Grove Aswad Warrior Charge Estelle 1980 Vivien Goldman Launderette Sex Pistols Holidays in the Sun Lily Allen LDN Gorillaz Feel Good Inc. Hawkwind Silver Machine Nick Lowe Basing Street The Slits Typical Girls Quintessence Notting Hill Gate Delroy Washington The Streets o Ladbroke Grove Adamski feat. Seal Killer T. Rex 20th Century Boy Sex Pistols Anarchy in the UK Blur Blue Jeans Image © Omtentacle (Design partnership o Mike Mcinnerney and Dudley Edwards),1967 2 www.mikemcinner ney.com, www.amazedltd.com Killing Joke Eighties Titles you can't find anywhere else Try Scribd FREE for 30 days to access over 125 million titles without ads or interruptions! Start Free Trial Cancel Anytime. The Originators: With their rash beginnings as a pig arm, then a racetrack, and Punk, Dub & with the commercial bustle o the market as a main artery, the the Female winding streets around Portobello Road have always been a ocus o community activity and revelry. Doubtless the late great mystic, Jean Principle Michel, bard o our parish, knew the status o ley lines around the Vivien Goldman groovy Grove, but there must be some sort o harmonic convergence going on in Notting Hill and Dale or so much music to dey gravity by spilling up and down the slope between two Tube stations: Ladbroke Grove in the valley and Notting Hill up top. Beore it became a strip o upscale boutiques, All Saint’s Road where the Carnival kicks o was known as The Front Line; mainly because o the role the old Mangrove Cae played as a centre or black activism. In the 1970s in particular the streets around the Front Line were truly a revolutionary vanguard charting the rise to some cultural dominance o black Brits and emales o all hues. The role o hippies in shaping the Grove ambiance is documented elsewhere, but though there was a much vaunted rivalry between hippies and the punks who ollowed, the anti-belie systems o the two successive youthquakes were quite similar; cut rom the same torn katan, you might say. ‘Never trust a hippy’ is the punk equivalent o the hippies’ ‘Don’t trust anyone over 30’ - both adages that lose their favour ater a decade or so. Those crazy Pink Fairies, Motorhead and Hawkwind certainly paved the way or the punky Grove denizens who ollowed. They may have been inspirational on the LSD-anarcho ront, but when it came to our old riends race and gender, the Hawkwind-Fairies axis wasn’t exactly progressive. Unreconstruct ed lads all, they did allow some space or the emale principle, as represented by naked, body-painted dancer Stacia’s ree expression. But the message to girls was as loud as Hawkwind’s ear-busting classic, Silver Machine - you weren’t invited to their party unless you were naked and covered in body paint. (O course, The Slits, one o the Grove’s most noted emme bands, sent shockwaves by portraying themselves naked and daubed in mud on their Cut album sleeve – but mud was just one o their Neneh Cherry, Vivian Golman and riends 4 outrageous outts.) Photograph © David Corio, www.davidcorio.com Titles you can't find anywhere else Try Scribd FREE for 30 days to access over 125 million titles without ads or interruptions! Start Free Trial Cancel Anytime. The Originators: Arguably the denitive tipping point rom one cycle into another The Originators: So the shebeens became extinct, to be re-born as warehouse parties, Punk, Dub & came when Clash co-ounder Joe Strummer saw the Sex Pistols Punk, Dub & then raves - and that thunderous reggae bass began to boom rom the Female perorm in 1976 and decided that his lively rockabilly combo, The 101- the Female synthesisers, not wood. White chicks with dreadlocks sprouted up Principle ers (regulars at the Elgin pub on the Grove) was passé. This epiphany Principle all over Europe and haute couture ashion designers in Italy started Vivien Goldman Vivien Goldman showed Strummer that the uncaged rage o punk was the best route saety-pinning satin gowns. to expressing the gritty but cheery realities o lie in the communal squats he requented around West London. The Clash were emale- Around the world, they were using such signiers to express a rebel riendly ; they even had a woman manager at one stage. So The sense, a quest to be or iginal. ‘True dem no know,’ as Jamaican patois Clash decided to take their sister band, The Slits (managed by puts it; the real origins, that originated a revolution, started right another Grove creative stalwart, lm-maker Don Letts) on the road here in West London. And like they say in reggae - the original is still with them or their era-dening bus tour o Britain. The Slits dressed in the greatest. subversive gear, their clothes combinations demolishing pre-existing ideas o ‘nice’, like pairing shnet tights with Doc Martens. They all do it now, natch. Today’s reigning West London musical princess, Lily Allen, pairs her ass-kickin’ boots with Chanel ballgowns. Knickers over tights? ‘Fess up, Madonna and Lady Gaga - who rocked the look rst? Yay, West London girls! But back then, everything was new and kinda underground, and what with (white) teenage singer Arri-Upp’s dreadlocks, The Slits’ own bus driver didn’t want to transport them. Travis was unusually intellectual and politically conscious or the record business.