MB - Regel

Maurizio Bianchi (December 4, 1955 in Pomponesco in the Province of Mantua) is an Italian pioneer of Industrial music, originating from Milan.

Bianchi began to produce music in 1979, and since 1980 has used electronic equipment with the avowed goal "to produce technological sounds and in such a way to work on complete realising of the modern decadence".

In the beginning, he published tapes under the alias Sacher-Pelz. In 1981, William Bennett, head of the band Whitehouse and the British Come Org. label, offered Bianchi a record contract, which Bianchi signed unchecked. It was based on a "joke contract" that Steven Stapleton of Nurse With Wound had sketched. The contract assumed all rights to Bianchi's work. After delivery of the tapes Bennett edited-in speeches by Nazi leaders, and instead of the relatively unsensational name MB, it was published under the alias Leibstandarte SS MB, named after the SS unit that worked as bodyguards to Adolf Hitler.
 
Until 1984, Bianchi published on other labels intensively as either MB or simply Maurizio Bianchi, sometimes several albums and/or tapes per year, as well as numerous tracks to compilations.  Bianchi became religious and withdrew from the music business. Much of his work is sought today by collectors, especially as they appeared in extremely small editions.
http://en.wikipedia.org/wiki/Maurizio_Bianchi

One of my favourite MB works, Side One continues in the Menses / NH style, whilst Side two is more restrained, hinting at Schnitzler, Kluster and even early Popol Vuh !
mohammedpuss
http://www.discogs.com/MB-Regel/master/41037

Regel was originally released in 1982 on Mectpyo Sounds and was certainly on par with other industrial releases of the day. The packaging is minimalist and uninformative, leaving us to judge the music rather than the cover. There is a short text informing us that this is Bianchi's finest work to date (1982). The cover underscores the strictness and minimalism of Bianchi's work. Shortening the name to M.B., as well as cropping the title of the work so tightly that it's partially left out hints toward an abundance of self controll. Perhaps this is also the intended meaning of the title? Regel is the german word for rule or norm, such as in "rules of society". This focus on control is obvious when listening to the music.

Compared to Throbbing Gristle, Monte Cazazza, SPK or NON the recording is a great deal more avant garde and less noisy and certainly less danceable. The comparison is perhaps unfair however, as Bianchi's work certainly belongs more in the tradition of experimental modernism than the anti social noise music of Throbbing Gristle. In many ways it sounds like a denser version of Arne Nordheim's work from Poland or experimental japanese music from the fifties. It is also reminiscent of experimental italian film music from the fifties and sixties. The music is unlinear and effortlessly multilayered. The sound focuses on texture rather than structure. What Bianchi himself referred to as decomposing music, rather than composing. In other words, cool stuff.

The album consists of two long, unnamed and unstructured tracks, and a third, shorter bonus track. Originally the two first tracks comprised a single side of the LP each, as a work however they are a whole. Mostly track one is made up of manipulated noises with some synthesizer or theremin phrases added for detail and contrast. There is a great deal of subtle banging noises with echo on and loops, as well as decontextualized melodic fragments drifting in and out. The second track is a bit more focused, with less noise, more recognizable melodic content and less invasive loops. It is highly minimalist, and shows a very slow progression toward a more chaotic state. Track two is a great deal closer to the early ambient compositions of Brian Eno, while track one is more experimental. They fit well together however, with track two functioning as a calmer companion piece to track one. The music is meditative and soothing, and provides a welcome halt in this stressfull life.

If you are a fan of Combichrist chances are you'll find this tedious, boring and chaotic. If you however appreciate layered music, ambiance and the avant garde this is a recording you should not be without. Regel is certainly some of Maurizio Bianchi's finest work. Atleast of what I have personally heard.
Batcheeba&Gird09
http://hh.heathenhideout.com/article.php?story=20090130154616290



Let's say that "Regel" perfectly combines the two opposite/complementary sides of M.B.'s sonic research at that time: brutal noise stabs and cold, deranged machinery-like loops on one side, and dismal synth patterns, with vague melodic hints, on the other. I've written "opposite/complementary" because, while in other releases the characteristics are more polarized, here they frequently collide, giving birth to a monstruous wall of sound. There are some abrupt changes, probably deriving from largely improvised sessions, that make track 1 sound like a broken, out of control mechanism, while disturbed frequencies and echoes streak the dull synth lines of the filpside. As a whole, I can only see M.B.'s early phase as a sick, cancerous organism eating itself out. Possibly the perfect record to understand how the anti-musician Bianchi built a bridge between some of the most autistic performers of the Kraut era (Schnitzler, Kluster, Sesselberg) and the growing industrial circuit, especially the inhuman Come/Broken Flag hordes.
Eugenio Maggi
http://www.chaindlk.com/reviews/?id=4158

receipts

Bought a few items:

Destroy All Monsters - Return of the Repressed: 1973-1977 (Picturebox), £14.32
http://www.goodreads.com/book/show/13094593-return-of-the-repressed

Salamandos ‎– Master Of House (Bunker) 12", £12.99
http://www.discogs.com/release/479174

DJ Rush - Knee Deep (Saber) 12", £7.99
http://www.discogs.com/DJ-Rush-Knee-Deep/release/34011

Yuck 'n Yum autumn 2013 deadline

 We’re already taking submissions for our autumn issue!

Wanna know how? Here's how:
http://www.yucknyum.com/#how-to-submit

Yuck 'n Yum summer 2013

Summer lovin', have yourself a blast: 
http://www.yucknyum.com/the-zine/?read=summer2013

Girls (Scream) Aloud

Ben Robinson - Black Cheryl, 2010

Girls Aloud were an English-Irish pop girl group, which was created through the ITV1 talent show Popstars: The Rivals in 2002. The group comprised singers Cheryl Cole, Nadine Coyle, Sarah Harding, Nicola Roberts and Kimberley Walsh. The group achieved a string of twenty consecutive top ten singles in the United Kingdom, including four number ones. They also achieved six certified albums, of which two reached number one. They have been nominated for five Brit Awards, winning the 2009 Best Single for "The Promise".
http://en.wikipedia.org/wiki/Girls_Aloud 

Beteta - Untitled,  2011

On 26 July 2007, UK tabloid newspaper The Daily Star reported that it had discovered an online text story about British pop group Girls Aloud that it described as "a chilling story detailing each singer's gory death in scenes that could be straight out of a horror movie", characterizing its author as "a vile internet psycho" and "a cyber-sicko". The news story said that The Daily Star had reported the content of the hosting website, "Kristen Archives" (a subsite of the ASSTR archive), to the IWF, and that the IWF had traced the site to the US. It also claimed that Interpol had been notified to help track down the site's operators and the writer of the story. An IWF spokesperson was reported as saying that since the site was hosted in the US, it fell outside the organization's remit, but that they were aware of the site. The spokesperson added that the site also contained "child abuse fantasy stories" and that they had passed on details of it to the British police.

Although the story, entitled "Girls (Scream) Aloud", had been published on a US website, British police carried out the investigation because the alleged author was identified as living in the UK. Although he had submitted the story under a pseudonym, he included an email address which was reportedly traced. Officers from Scotland Yard’s Obscene Publications Unit decided to take action over the story after consulting the Crown Prosecution Service (CPS), and on 25 September 2008 it was announced that the author, Darryn Walker, was to be prosecuted for the online publication of material that the police and the CPS believed was obscene. It was the first such prosecution for written material in nearly two decades, and was expected to have a significant impact on the future regulation of the Internet in the UK.

Walker appeared in court on 22 October 2008 to face charges of "publishing an obscene article contrary to Section 2 of the Obscene Publications Act 1959". He was granted unconditional bail, and his case was set for trial on 16 March 2009. However, at a directions hearing in January, the defendant made it known that given the seriousness of the case he would be represented by a QC (Queen's Counsel), following which the Crown Prosecution Service gave notice of its intention to similarly employ a QC, and the trial date was put back to 29 June 2009.

He appeared at Newcastle Crown Court on 29 June 2009 but the case was abandoned on what was supposed to be the first day of the trial, following the introduction of evidence from an IT expert. The CPS said that it had originally charged Walker as it believed that the story in question could be "easily accessed" by young fans of Girls Aloud. However, the IT expert showed that the article could only be located by those specifically searching for such material. A spokesperson for the CPS said that the prosecution was unable to provide sufficient evidence to contradict this new evidence and therefore took the decision that there was no longer a realistic prospect of conviction. Judge Esmond Faulks, presiding, returned a formal verdict of not guilty to the charge of "publishing an obscene article".
http://en.wikipedia.org/wiki/Internet_censorship_in_the_United_Kingdom#.22Girls_.28Scream.29_Aloud.22

Svelte - Girls Aloud, undated

A former civil servant who wrote an internet article imagining the kidnap and murder of the pop group Girls Aloud has been cleared of obscenity.

Darryn Walker, 35, from South Tyneside, was charged after his blog appeared on a fantasy pornography site.

He appeared at Newcastle Crown Court on Monday but was cleared when the prosecution offered no evidence.

His defence argued that the piece was not easily accessible and could only be found in a specific internet search.

Judge Esmond Faulks formally returned a not guilty verdict to the charge of publishing an obscene article.

Mr Walker's 12-page blog - Girls (Scream) Aloud - was brought to the attention of police by the Internet Watch Foundation, an organisation for the public and IT professionals which polices potentially obscene material.
http://news.bbc.co.uk/1/hi/england/tyne/8124059.stm

CherylTweedy(dot)TK - Untitled, undated

One popslash fantasy came to public attention this week when, most unusually, its author found himself in court. Darryn Walker's writing is darker than most. The 35-year-old former civil servant's story, a 12-page article called "Girls (Scream) Aloud", depicted the kidnap, rape and murder of each member of girl band Girls Aloud by their coach driver.

The story was spotted by the Daily Star first, and then the Internet Watch Foundation, the internet regulatory body, which in turn notified the police. Walker's home was raided by Scotland Yard, and last October he was charged under the Obscene Publications Act - a 1959 law which hasn't been used against written material since the attempt to prosecute the publishers of Inside Linda Lovelace, a biography of a porn star, in 1976. The jury in that trial were unwisely told that if the book was not obscene, "nothing was" and showed their contempt for this argument by returning a verdict of not guilty. Shortly afterwards, the Williams report on obscenity and censorship recommended that similar cases should not be pursued in future.
Afua Hirsch
http://www.guardian.co.uk/world/2009/jul/04/girls-scream-aloud-obscenity-laws

truerose1 - Cheryl Cole Mosaic Portrait, 2013

While certainly depraved, Walker's story is far from being the only sick fantasy out there in cyberspace. So why this piece of writing in particular? The fact that Walker's "story" concerned real people must have had something to do with it, but the CPS prosecution seems to have been based on the idea that unsuspecting children might come across it while seeking general information about the group. In fact, this was never remotely likely - the story was hidden in a specialist archive, and could only have been accessed by someone looking for it, or something like it. The crucial defence evidence, it appears, was provided by freelance journalist (and regular contributor to The Register) John Ozimek. Ozimek found, not only that any search for Girls Aloud will turn up millions of hits, but that even Googling "Girls Aloud + rape + murder" gives around 100,000. So the chances of happening upon Walker's story by chance were non-existent.
The Heresiarch
http://heresycorner.blogspot.com/2009/07/girls-scream-allowed-for-now.html  

Lauren Printy Currie & Valerie Norris - I take into my arms more than I can bear to hold @ GENERATORprojects 21.06.13 - pictures

To the Generator this evening for I take into my arms more than I can bear to hold, a show by Lauren Printy Currie and Valerie Norris. The show contained a series of works, sculptural assemblages and an installation of nominated books. I took a few photos and here they are:

The name of the show is I take into my arms more than I can bear to hold

Lauren Printy Currie & Valerie Norris - Language to be looked at, things to be read

Lauren Printy Currie & Valerie Norris - Language to be looked at, things to be read

Lauren Printy Currie & Valerie Norris - Language to be looked at, things to be read

 




















Lauren Printy Currie - Lattice Pistachio

Valerie Norris - Music For Intelligent Young Ladies

Lauren Printy Currie - white lightbulb, blue driftwood, a green pair

 
Valerie Norris - The Palace at 4am

Valerie Norris - Bliss Sale

http://generatorprojects.co.uk/

Yayoi Kusama - Infinity Nets

No. 2, 1959

Yayoi Kusama (草間 彌生 or 弥生 Kusama Yayoi, born March 22, 1929) is a Japanese artist and writer. Throughout her career she has worked in a wide variety of media, including painting, collage, sculpture, performance art and environmental installations, most of which exhibit her thematic interest in psychedelic colors, repetition and pattern. A precursor of the pop art, minimalist and feminist art movements, Kusama influenced contemporaries such as Andy Warhol and Claes Oldenburg. Although largely forgotten after departing the New York art scene in the early 1970s, Kusama is now acknowledged as one of the most important living artists to come out of Japan, and an important voice of the avant-garde.
http://en.wikipedia.org/wiki/Yayoi_Kusama

Net Accumulation, 1958

As a child she had experienced hallucinations, often in the form of fields of dots, which were to become central motifs in her art, with her own interpretations of her work drawing heavily on this personal mythologizing. She produced large paintings known as Infinity Net Paintings, such as No. A. B. (1959), which consisted of the repetition of small looped paint marks. These paintings were received enthusiastically by artists such as Donald Judd, who saw her work as reflecting the emerging Minimalist aesthetic.
Catherine M. Grant
http://www.moma.org/collection/artist.php?artist_id=3315

Net Infinity - TW20, 2004

Kusama described her Infinity Nets as paintings "without beginning, end, or center. The entire canvas would be occupied by [a] monochromatic net. This endless repetition caused a kind of dizzy, empty, hypnotic feeling." These "nets" are an accumulation of connected, though individually applied, crescent-shaped brush strokes of thick paint. Generally, these marks curve in the same direction while gradually shifting up, down, left, or right. They compose themselves into congregations that swell and ebb across the painting. These groups of unique gestures are organized around points of tension and release. The closest comparison to their structure may be found in nature, where visible matter clusters around invisible points of gravity. The result is a design that is neither random nor systematic. Kusama's Infinity Nets remind one of a river in which the rise, fall, and direction of the glistening surface is shaped by the topography of the riverbed.

This diffusion of opulent monochrome paint across the painting is systematically interrupted by small openings in the net, organic variations of circles and ovals through which the underlying canvas is manifested. The crux of the Infinity Nets is the literal and perceptual exchange between the materiality of the painted net and the pictorial space behind or caught within the net.
James Romaine
http://www.cardus.ca/comment/article/1049/yayoi-kusamas-infinity-nets-sublime-or-spectacle/

Off-cut of Infinity Net painting, 1960

In May 1961, Kusama showed a group of her white Infinity Net paintings in a solo exhibition at the Stephen Radich Gallery in New York. This exhibition featured the largest painting she had made to date, a massive canvas measuring almost ten metres wide. The work was taller than the gallery’s walls, and she had to trim a section off the bottom to enable the work to fit in the show.

After the exhibition this large canvas was cut down into smaller canvases and these gradually dispersed to various collections. However, Kusama kept the off-cut and used it in a performance in upstate New York that was filmed for Kusama’s Self-Obliteration. In the film, Kusama is seen unrolling the offcut on a country lane, creating an apparently endless strip of white against the brown earth.

In 1970 Kusama was photographed with the offcut on a New York rooftop. In the image she poses in jeans and a t-shirt with a stars and stripes motif, her name spelled out on the ground behind her.
When she returned to Japan Kusama took the offcut with her, and it has remained in her former apartment in Tokyo.
Rachel Taylor
http://www.tate.org.uk/context-comment/blogs/kusamas-infinity-net-cut

Pacific Ocean, 1958

The net paintings developed out of a small canvas called Pacific Ocean 1958, which the artist produced in an attempt to replicate the effect of the waves she saw rippling below her on her flight from Japan to the United States. Their palette was severely restricted, with one colour painted in tight repetitive loops to form undulating nets over a monochromatic ground, often as simple as one shade of white on another. The scale of the works was also remarkable for the time, often covering entire walls to the point that they appeared like walls themselves, anticipating Kusama’s later and equally innovative installations. Lacking a discernible centre and obeying no known law of composition, they proposed painting not as the production of modular, autonomous entities, but as objects within the world — paintings as surface-driven three-dimensional forms.

Her ‘Infinity Net’ paintings were the focus of Kusama’s first few solo exhibitions on the United States east coast between 1959 and 1961, and marked her arrival at the forefront of the Avant-garde in New York. Enveloping the viewer and suggesting the possibility of infinite expansion into space, they anticipated the turn to Minimalism by some six years. That they were extremely popular with her young artist peers of the time (Donald Judd and Frank Stella both purchased works) suggests the degree to which they contributed to later developments in art.

However, unlike the aggressive mark-making of Abstract Expressionism or the erasure of gesture characterising Minimalism, Kusama’s paintings bear the paradoxical trace of an immense labour consisting of accumulated tiny gestures. Their dazzling optical effects and apparent reference to nothing more than their materials and the process of production was more in keeping with the Concrete art of European artists like Lucio Fontana and the Dutch Nul group, with whom she would become associated throughout the 1960s — one of the few American-based artists to do so.

It is possible to see Kusama’s signature polka dots as already present in these paintings, as the negative space left between the loops of the netting. The influence of the paintings’ surfaces can also be detected in the undulating fields of Kusama’s soft sculptures, mirror rooms and psychedelic canvases. That the artist continues to produce her ‘Infinity Nets’ is testament to their centrality in her practice.
Tony Ellwood
http://interactive.qag.qld.gov.au/looknowseeforever/works/transmigration/

SoundCloud - Ben 'Jack Your Body' Robinson - Yuck 'n Yum Summer Goth mix @ Glasgow Arches 18.06.13

A playlist to inaugurate the Yuck 'n Yum summer 2013 issue launch at Glasgow Arches 18.03.13

Orchestra 23 - Intro
Tones On Tail - Rain
Xno - The Story of the Death Boy
2vm - Let's Play
Malaria! - Kaltes Klares Wasser
Kas Product - So Young But So Cold
Staccato Du Mal - Walls Fade
Legowelt - 2 Ritual Of Abramelin
Destroy All Monsters - Alien Love Call
Tommy De Chirico - Flower Into the Factory
The Vyllies - Babylon
Chris & Cosey - Vengeance
Twilight Ritual - Tears On the Wall
The Iron Curtain - Love Can Never Die

Yuck 'n Yum summer 2013 LAUNCH @ Glasgow Arches 18.06.13 - pictures

To Glasgow's Arches yesterday for the launch of Yuck 'n Yum's summer 2013 issue. Acclaimed acts Mother Ganga, TYCI collective and Bob Flambé and Steaming Turd all gave stellar performances, while DJ Ben 'Jack Your Body' Robinson brought a 'Summer Goth' playlist to ease the crowd into the night. I took a few photos and here they are:

The name of the zine is Yuck 'n Yum

It's all about the badges

Your correspondent photobombing two Cos Ahmet A0 cover images

Steaming Turd and Bob Flambé relax backstage

Mother Ganga's console of goodies

TYCI performing a theatrical DJ extravaganza

 Bob Flambé gets his poetry on

Steaming Turd selects

Mother Ganga with acid-flecked liquid pop music zoning out over tape textures

http://www.yucknyum.com/

Yuck 'n Yum summer 2013 LAUNCH @ Glasgow Arches 18.06.13 - Mother Ganga added!

STOP PRESS.... Stefan Blomeier disappears in mysterious circumstances 48 hours before Arches performance.... Mother Ganga to step into the breach!

Enigmatic mathematician and visuals mixologist Stefan Blomeier was last seen clutching his cathode ray tube and visual mixer two days ago. Rumours abound of him flying to Tai Pei, while others have him heading for Switzerland to continue his developmental research at the Hadron Collider.

Step forward Mother Ganga with acid-flecked liquid pop music zoning out over tape textures... plus TYCI Collective, Bob Flambé and Steaming Turd. Be there!

http://www.yucknyum.com/2013/06/17/summer-launch-tomorrow-at-arches-glasgow/

Leonard Weisgard - Alice in Wonderland

Alice's Adventures in Wonderland (commonly shortened to Alice in Wonderland) is an 1865 novel written by English author Charles Lutwidge Dodgson under the pseudonym Lewis Carroll. It tells of a girl named Alice who falls down a rabbit hole into a fantasy world populated by peculiar, anthropomorphic creatures. The tale plays with logic, giving the story lasting popularity with adults as well as children. It is considered to be one of the best examples of the literary nonsense genre, and its narrative course and structure, characters and imagery have been enormously influential in both popular culture and literature, especially in the fantasy genre.
http://en.wikipedia.org/wiki/Alice's_Adventures_in_Wonderland

Leonard Joseph Weisgard (December 13, 1916-January 14, 2000) was an American writer and illustrator of more than 200 children's books. He is known best for his collaborations with writer Margaret Wise Brown. He was born in New Haven, Connecticut, and spent most of his childhood in England.
http://en.wikipedia.org/wiki/Leonard_Weisgard

It's no secret I have a soft spot for obscure vintage children's book illustration, especially by famous artists or of famous works. Spotted on the lovely Vintage Kids' Books My Kids Love, here's a beautiful 1949 edition of Alice's Adventures in Wonderland and Through the Looking Glass, illustrated by Leonard Weisgard -- only the second version of the Lewis Carroll classic, and the first with color illustrations. The vibrant, textured artwork exudes a certain mid-century boldness that makes it as much a timeless celebration of the beloved children's book as it is a time-capsule of bygone aesthetic from the golden age of illustration and graphic design.
Maria Popova
http://www.theatlantic.com/entertainment/archive/2011/11/leonard-weisgards-stunning-1949-alice-in-wonderland-illustrations/248012/

Since its 1865 publication, Alice’s Adventures in Wonderland has seen publication in several dozen illustrated editions (and at least twenty films). Most people associate the initial publication of Alice with the John Tenniel illustrations that appeared in the first edition, and rightly so, but Carroll himself provided his own drawings in the manuscript of the book. Alice has always had a visual complement. The best editions adapt the story’s look to the contemporary zeitgeist. Arthur Rackham’s 1907 illustrations beautifully contain Edwardian-era elegance and foreboding. Leonard Weisgard’s 1949 illustrations certainly capture the post-war optimism and Technicolor designs of the period.
Josh Jones
http://www.openculture.com/2013/06/salvador_dalis_illustrations_for_alices_adventures_in_wonderland.html 

receipts

Bought a few items:

Chloe Aridjis - Book of Clouds (Vintage), £0.01
http://www.goodreads.com/book/show/4643586-book-of-clouds

Robert Descharnes, Gilles Néret - Salvador Dalí: The Paintings (2 Vol) (Taschen), £19.01
http://www.goodreads.com/book/show/342637.Dali_the_Paintings

Gherkin Jerks - Stomp The Beat EP (Alleviated) 12", £8.49
http://www.discogs.com/Gherkin-Jerks-Stomp-The-Beat/release/4470351
 

Gherkin Jerks - 1990 EP (Alleviated) 12", £8.49
http://www.discogs.com/Gherkin-Jerks-1990/release/4470369

Yuck 'n Yum - Summer Launch and Impact Residency Artist Announced

The Yuck ‘n Yum summer 2013 launch is coming, and it’s all set to be our biggest, loudest, most spectacular event yet! From Tuesday 18th June we’re taking over Glasgow’s leading arts venue the Arches to bring you a show that will reinvent DJing as a performative artwork. We’ll be pitched up in the foyer and entrance spaces until July 22nd, and we’d love to have you join us. With acclaimed acts including Stefan Blomeier, TYCI collective, Bob Flambé and Steaming Turd.

Paying homage to the legendary Euro Dance rave at Prestwick Airport, Street Rave parties at the Ayr Pavilion and subsequently Colours at the Arches, Stefan Blomeier will present a selection of music rooted in the sound of Acid house, chronicling the history of Scottish rave culture throughout the 1990s. Bob Flambé and Steaming Turd promise to enthrall you with a space Moog experience with abstract humorous homologies, and TYCI will perform a theatrical DJ extravaganza.

Zines, music, art and performance are all guaranteed!

Launch event and performance 18th of June  6-8, the Arches, Glasgow. Exhibition runs until the 22nd of July featuring current cover artist Cos Ahmet, Stefan Blomeier, Bob Flambé and Steaming Turd, and TYCI collective.

 In other news, we are excited to announce the winner of the Impact Residency: Beatrice Haines. Out of over 110 applications, London-based artist Beatrice Haines has been selected to work within Abertay University’s ground-breaking forensic science department this summer, as the University’s artist-in-residence.

Spending up to four days in the lab with Dr Kevin Farrugia, Beatrice will explore the many ways in which print visualisation techniques – such as chemical enhancement and specialised photography – can be manipulated to recover finger- and shoeprints from crime scenes.

The purpose of the residency is to produce a work of art that will be exhibited at the inaugural Print Festival Scotland – a celebration of the cultural diversity, historical significance and future potential of print.

The Festival will run alongside the world renowned Impact8 International Printmaking Conference, which will be held this year in Dundee.

You can read the full press release on the Impact Residency website

http://www.yucknyum.com/

Yuck 'n Yum - Summer Loving, Had Me A Blast - Summer Issue Submissions, Launch + Other Exciting Bits.‏

Hello lovely Yuck 'n Yummers,

There's been a lot going down at Yuck 'n Yum HQ. With the plans for our summer launch well under way and coming together, we're certain its Summer night you wont want to miss. Its set to be our biggest, loudest and most spectacular event yet! From Tuesday 18th June, we're taking over Glasgow's leading arts venue the Arches to bring you a show that will reinvent DJing as a performative artwork. We'll be pitched up in the foyer and entrance spaces until July 9th, and we'd love for you to join us. With acclaimed acts, including, Stefan Blomier, TYCI Collective, Bob Flambe and Steaming Turd, joining us.

Paying homage to the legendary Euro Dance rave at Prestwick Airport, Street Rave parties at Ayr Pavilion and subsequently Colours at the Arches, Stefan Blomier will present a selection of music rooted in the sound of Acid House, chronicling the history of Scottish rave culture throughout the 1990s. Bob Flambe and Steaming Turd promise to enthrall you with a space Moog experience with abstract humorous homologies, and TYCI will perform a theatrical DJ extravaganza!

It's going to be excellent!

We just need to get the Summer Issue together to launch it! We've had a handsome array of submissions so far, but there is still time to send your black and white artwork our way for the Summer Issue. We want you and your art in our zine! So does Cliff.

 In March this year Yuck 'n Yum announced a residency opportunity with Abertay University's ground-breaking forensic science department. Well, we have news. Some very big news! We'll say what it is soon, promise. For now you'll just need to wait while we fix ourselves up. Teasers!

Until then, warm wishes and love!
YnY team

http://www.yucknyum.com/

the apotheosis of Maggie Broon

Ben Robinson - Slash Portrait of Maggie Broon, 2007

The Broons is a comic strip in Scots published in the weekly Scottish newspaper, The Sunday Post. It features the Brown family, who live in a tenement flat at 10 Glebe Street, in (since the late 1990s) the fictional Scottish town of Auchentogle or Auchenshoogle.

Originally created by writer/editor R. D. Low and artist Dudley D. Watkins, the strip made its first appearance in the issue dated 8 March 1936.

Maggie (Margaret) Broon – the beautiful, glamorous daughter with blonde hair. She has a steady stream of beaux and is bitterly envied by the plain Daphne. In the later editions, Maggie became a model, and a weather girl. Despite their rivalry, Daphne and Maggie share a close bond; Maggie even stands up for Daphne when she is taunted. In earlier times, was called Sadie.
http://en.wikipedia.org/wiki/The_Broons

Drop-dead gorgeous, is Maggie, and she knows it! She gets all the attention, all the valentines. There's a lot of play made of the contrast between her and Daphne. But things don't always go her way. Fortunately!
Paraglider
http://paraglider.hubpages.com/hub/the-broons

Over the years Maggie Broon for some reason has changed in appearance. I don't know what the explanation is for this as all the other characters have remained fairly consistent. Just in case you think I am exaggerating, I have compiled an album of pictures.
Colin Stewart
http://www.colinstewart.co.uk/book/the-broons/the-ever-changing-face-maggie-broon 

Surely Maggie Broon has changed? Hasn't she? She was never this gorgeous when I was wee. Conversely, I don't ever recall poor old Daphne being quite so dowdy - that's a bowl cut, right?
Graeme
http://afewdegreesnorth.blogspot.co.uk/2008/09/home-of-broons.html

Scotland’s favourite cartoon characters – The Broons and Oor Wullie - have now been immortalised in bronze. These beautiful pieces have been created by one of the top country’s sculptors, Dundee-born Steve Paterson. The artwork is based on the original sketches of the legendary Dudley D Watkins, first illustrator of the iconic characters. From his original sculpture, Steve Paterson has individually hand-cast a series of stunning bronze resin figurines.

Only 350 of each of the 11-strong Broon clan will be produced and the limited quantity is a reflection of how unique and important the characters are. Each statue comes with a special certificate signed and numbered by the artist.

This piece is a depiction of Maggie Broon – The Broons model girl daughter. This blonde glamour girl keeps a bunch of lads dangling on her string. Maggie is aware of the effect she has on the male species and will often use her looks  to the benefit of other members of the family.

Size approx.: 8’’ high and 3.5’’ wide at the base.
http://www.thebroons.com/products/223-maggie-broon-bronze-portrait-bust.aspx