Category Archives: the shrewd idiot

3 sculptors & me

A visit to a Giacometti and a Paolozzi show + Beuys book.

 

I was fortunate not to miss the Paolozzi (Paolo) exhibition at Whitechapel twice http://www.whitechapelgallery.org/exhibitions/eduardo-paolozzi/ because it was tremendous. Whilst in the bookshop there I succumbed to buy a book on Beuys which kind of added to the sculpture sweep because I also went on to the Giacometti (Giaco) at Tate Modern http://www.tate.org.uk/whats-on/tate-modern/exhibition/giacometti  which is even better but the two are linked because Paolo would undoubtedly have been aware of and influenced by Giaco’s incredible works. Each of the 3 artists I mention gives a perspective to ‘art’ worth considering and the 3 together for me give a broad vista of possible approaches which for sure inspire me a lot.

To me Giaco’s art is as pure as the snow that surrounds his home in Switzerland, his was a dedication to an ancient method, he worked and reworked his materials and models ad infinitum. Paolo also worked his materials and added new exciting dimensions to sculpture after he stopped merely mimicking Picasso et al. and of course the ex-Luftwaffe Beuy extended the possible materials and contexts in which we can work.

Personally I need no more than these three and I am inspired for the rest of my days.

  1. Giaco reminds me of my first aim when I decided to become an artist which was to perfect my abilities in paint, print & sculpture. Before I left school I had been taught by David Wild about the Slade school’s techniques of drawing in paint pioneered by Coldstream and also shown ways of applying paint to draw a model from life in a lively way influenced by David’s hero Paul Cezanne. My heroes at the time were Van Gogh & Matisse whose colour and flat fields infiltrated my own work which rapidly headed off into Expressionism in Kokoshka, Munch, Soutine, Otto Dix etc. but I had been schooled in the need to ‘draw’ and I drew by doing loose loose line and mark and colour then pulling it in like reigning a wild horse to regain control then off again on the rampage til pulling it back again. This led me to producing work some compared with Auerbach but I had never heard of him yet I had been influenced by his teacher Bomberg and a man called Haagensen. And of course Feliks Topolski.

Now if you take the last 3 and then look at Giaco’s works you will see why I consider him to be a painting master. He pulled the paint around as if it were clay and his move into 3D work was an organic shift where he merely continued to do in clay that which he was so adept in when painting- creating work which existed in the moment yet lasted forever.

  1. Paolo went to visit artists like Giacometti & Brancusi on his trips to Paris. Having met the likes of Topolski and Josef Herman myself I know first-hand how the older master can inspire confidence and point tward future potentials with just a few words. Paolo would have seen the collage work of the Dadaists, particularly Schwitters and Ernst which he picked up on and took into his graphic & sculptural works. The screenprints from the 1970s on display at Whitechapel gave me an opportunity to see first hand prints which had inspired me during my own student days. The prints which quote Wittgenstein were a logical conclusion of his cut and paste of 1950s comics & mags but altogether more sophisticated. Although I was rather limited by the rank facilities at my (teachers training) college and could not aspire to doing 20-30 colour pulls I did add silver & gold to my ink colour spectrum on my Henley series, which was also influenced by Richard Hamilton & Barnett Newman.

henli black silver sm

Altho I liked his robot like found object sculpture of the 1960s it was his later portrait heads that really blew me away. I loved the way he cut and pasted in 3D using parts of heads and jutting other shapes into them.

3 heads sm

Image taken at Whitechapel show

His figures take on a presence similar to those of Giacos.

a wite fig sm

Image taken at Whitechapel show

  1. I bought Claudia Mesch’s book about Joseph Beuys which is filling in lots of gaps in my knowledge about him. I love the way Paolo pushed the boundaries but Beuys went even further. Watch out because now my Shrewd Idiot series is about complete and ready for sales I feel the urge to return to my physical making of 3D objects. Starting with some reworkings of my head of my late father.a v gud bird an full jak sm

 

 

My Fear Of Failure…I Don’t Do Fear Of Failure.

Someone had been looking at this blArt during this week so I thought I would kind of ‘update’ it and make it available again.

apulhed tinking

first ever prizeWay back in 1960 when I wer 10 I won my first prize, maybe my last too, in a flower show. I came 4th in a scone cooking competition. Above is an image of my tercificate. About 50 years ahead of the game what with all these celebrity chef tings going on nowaday. I never won nowt since, but I may still win sumting, never give up hope do ya?

Sometimes I do ‘get lucky’ and today I found out Red Lion Bookshop have extended the exhibition of my work until next Saturday. (see flyer below) And another ting, I had my first visitor to my blart from Russia today. Welcome comrad.

It wer all downhill after such heady heights, I just knew it would be because like Seasick Steve, I can’t lose what I never had! https://www.youtube.com/watch?v=C3Iam7JELDM

Failure is a familiar friend, but not too familiar please.

‘don’t…

View original post 2,361 more words

An idjet suckseeds!

At last I did ma Shrewd Idiot & The Three Graces gig in front of an audience (of 22+ cos some came in came out as you’re allured to do in Live Art pieces, altho one or two walked out before I began!) and I finally discovered with a little ‘elp from ma frend (see below) why I do it. At the Arnifini in Brissole in their wonderful Dark Studio. It had been suggested that nobody would have the energy nor drive to wend their way up there at 5pm on an afternoon but beautifully every available seat was filled and the witnesses seemed quite attentive, nay near mesmerised.

at BABE 2017 crowd GREAT sm

Much to my delight, as I had practised the ting and planned it over so many weeks without knowing if I’d be talking to myself alone on the day. I wantu thank my friend Dave who was first to say how much work it needed just six days before the event. Then my friends Max, Linda, Christine & Tom who said it really needed some big changes just five days before the event. I applied their advices. Christine did a lovely print & fold job on some words for me to hand out as folk arrived from which I read my ‘intro’ before I began the real ting.

Three old college mates came and it was wonderful to see them. Each of them features in ma big new deluxe book The Shrewd Idiot based on my thoughts & activities at St Luke’s College Exeter between 1969-73. My mate Gus was joined by his daughter Hannah who also does Performance Art and wasn’t even born in the time the books are about!

Tanya came to see what my fuss was all about. I’d like to thank them all for coming as well as all the other folks who came along. The gathered presence really inspired me to rise out of my fears and let the whole ting ting along well and it seems they all enjoyed it, especially the ones I mentioned above.

So what happened?

a PAPete shows Ahed Sees sm

First I shewed ma 3 new books (quickly as I was told this gig should last just 15 minutes).

a PK reeds da poem

Then I read from Christine’s handout.

a PAPete68 mask BEST sm

Then I got into character for the first few movements. The mask was taken from a painting I did back in 1968 which was exhibited in Burnley Artists Annual summer show that year. It was a face which represented the 17-18 year old me-myself-I, which is what the books appear to be about. It is also the first page of the Shrewd Idiot book printed on Zander’s Translucent paper so you see the title page beyond it as a sort of palimpsest. There’s 10 images on Zander’s Translucent in the deluxe A3 version each of which brings a palimpsest quality. For me it is a metaphor which signifies that life is not just what we can see and touch, there’s lots of other ‘stuff’ behind the veil. The painted face becomes another form of veil too, my mask. I always work on hunches in most all of my creative endeavours. I had a hunch these masks would be powerful, and they were, or should I say, ARE. I hope to have many opportunities to use them again and in fact I hope to make some 3D wraparound masks for future appearances as Apulhed & The Shrewd Idjit.

I did a couple of crazy dances meant to show what a ‘wild one’ I was when I left ma home toon to find ma way in th’world. The ting got serious when I told them I’d found a new girlfriend (Rose) but (rather carelessly) lost her at the bus stop. Van D. Man brought me a Beautiful Vision of her. After I lost her Lady Gaga had me howling at the moon in my doldrums.

apul 73 prays BRILL sm

Suddenly, out of No-where, came a Stranger with an apple-shaped head and he seemed to want to help me. But he was a new arrival on this plane and he was somewhat perplexed by the sad things mankind does to humankind. He almost set off back to whence he came without giving me (and you) the benefit of his shrewd wisdom. When I did my first ever Performance Art gig using his visage on masks in Exeter in 1973 he seemed to see a shaft o’light thru the haze and so he stays but he said, ‘Man must mend his ways, starting with YOU!’

Then Van sang Warm Love bringing back memories of the time we had together, a memory I chased and tried to cling on to. But I returned to my old wild ways, by now I was making a Cry For Love, aided by Iggy & Bowie’s song and ma new mask.

a PAPete coxie begs sm

I’d almost given up hope when this beautiful woman (Camellia) arrived and gave me a present I didn’t really deserve which Iggy Pop told the story of.

Camellia also brought her highly intelligent rational skills with her which I celebrate with The Waterboy’s song Whole of the Moon. Sadly I couldn’t keep hold of Camellia at the time and I was on the road again alone and missing her.

apulama implores sm

Once again after the moon enter Apulhed-man.

a PAPete in hat glances sm

This time lifting me up onto a higher plane where I was again joined by Van. He sings about being a Dweller on the Threshold, I tip toe across the burning ground and kneel down by the water where the lovely song about spirit leads me away, to delve into the mystic. “I looked at the swim and I dived right in!”1 apulama astoundin electric DARKA sm

To find the truth you got to look inside.

apulama & me contemplates sm

Meditation helps you to do that.

a apulswalo outlineI actually had picked up the wrong mask for my final fling so my Apul-Swallow mask insisted he be photographed outside of the Arnolfini as a goodbye gesture.

a beautiful winners + stars in ma eyes sm

And all my friends came too…

The feedback has been good too. One friend said he remembered that I always liked to dance, another said she thought I danced beautifully which came as a pleasant surprise. My old mate from Enfield said ma gig was ‘…very moving and affecting…’

This was also what ‘James the tech’ in the Dark Studio said, ‘I was strangely moved by it.’ I am so pleased that it came over that way.

The Enfield Man (EMan) later wrote me saying, “…we had a chat afterwards about your performance and books and we reckoned that, based on what we saw, your books together with the performance was the best thing that we saw at the event. What you did, in my opinion, was to say, “look artists’ books are really different“…they are not just books with the limited and specialist vernacular that goes with the production of a “book” for a literary audience …artists’ books are a completely separate art form. Your performance really adds to your books as works of art. ” Also- “…The Shrewd Idiot book has a wonderful feel and special value attached to it just from a “laying on of hands” point of view…”

That’s exactly what I hoped I would achieve in my works, altho’ it has not been easypeasy. Sometimes I have wondered whether I been forever Barking up the wrong trees, ‘Am a long way from home (my comfort zone). How did I get here?’ It is so gratifying that am getting such lovely reinforcing comments.

ps I am working on a smaller version A4-ish) of The Shrewd Idiot which should have much of the ‘feel & look’ of the bigger (A3-ish) deluxe version but will be a tiny proportion of its cost.

Talking about ‘the feel & special value’ of real books my downunder friend Fiona Dempster did a blog – https://mail.google.com/mail/u/0/#inbox/15b43ee869fd87b2 on th’smell of the buk.

This coincided with my friend (who I met at BABE four years ago!) Susan at Bound’s tweet: https://twitter.com/boundbyhand/status/850335549034561537

An Incredible Coincidence

Ma next blArt will be about the poet Pessoa and my being caught between Bookartbookshop & The Poetry School on Thursday 6th April.

Artist’s Book marmalises its maker!

 

I almost stoved my head in with my Artist’s Book, The Shrewd Idiot!

You are going to have to suspend disbelief in my idiocy when I divulge this tale of woe, you won’t belive me but believe me it is true. And I cannot for the life in me understand why I got myself into the situation where I (only) damaged my nose.

Let me explain:

You know I am like a dog with a bone when it comes to achieving the impossible, I don’t give up, as witnessed by the final completion of my tome The Shrewd Idiot. It’s arrival came after a journey of 40 odd years. During that time the (proposed) ‘book’ took on several different forms; the original ‘journals’ written by hand (often drunk) in exercise books and scraps of paper, the longhand 400 page 1st draft, the typescript, the physically cut & paste edited typescript, before the selected 200 pages being scanned then re-edited and layed out in the past 2 years. That Quark version was then transferred to pdfs and printed at my printers.

Several of the forms were recently housed in a pink box (pink was cheaper) with the intention of being archived and left for the foreseeable future now the book was finalised. The box + contents weighs 10 kilos (1 ½ stone!).

1 pink box + measures sm

You may ask what’s so dangerous about a box which weighs 10 kilos? Nothing. That is unless it’s in the charge of an Idiot. All my life I kept folk guessing which aspect of my character was the dominant type, the shrewd, or the idiot (idjet from now on, I like the sound better). Even I was never sure cos when I did something special which obviously proved the shrewd was apt I’d step in some animal dropping or a pigeon would crap on my anorak. BUT NOW IT’S OFFICIAL! The Idjet rules. How do I know?

Well afore I tells yeez I wantu show yers some of the stuff in the box, just to prove am a real writer bloke, as well as a artisbloke which you alredi knows abArt. So here’s the box open with the stuff showing, manuscrips of different varieties.

1SI stuff pink box sm

And below is some of the handwrit script. I know it reads like a load of old cobblers but that bit’s out of context…he says.

1 a s i hanritt p palimpsest sm

And here’s a sample of the cut & pasted version

1 si c&p in pink box sm

And here’s one image and a letter which got into the final book:

1 sibike mein pink box sm

With all that stuff it’s no wonder it took me 40 odd years to get it ready for print!

But none of this is ought to do with how I nearly stoved ma heed in.

That came about because, as you know, I am a bit stubborn.

tap bristan

To cut a longer story shorter I was trying to put a new washer into a bathroom tap because that tap were dripping. Simple job (in the old days), just get a new washer, and fit it. Done. Not nowadays. I went to a plumber’s merchant to get a washer and the guy said, ‘Here Pete have two new taps and just fit em both and job done.’ So I began to take the tap off BUT, the damned nut was (still is) grafted tight and secured onto the tap AND WON’T BUDGE. I bought an ‘adjustable basin back nut wrench for taps’ for about 25£. Easy peasy, but no, not Easy peasy lemon squeezy. Damned ting wouldn’y budge. So I bought a ‘Monument basin wrench’ and Easy peasy, but no not Easy peasy lemon squeezy, still dint work.

2 renches

I got my mate Dave to hold the tap and we exerted superhuman force, still dint work. So I got WD40 sprayed it and left it and got my son what’s as big as a big thing in and together, nothing, no Easy peasy, lemon squeezy. Damned ting still wouldn’y budge. So we decide to call a plumber BUT unbeknowns to ma son and her indoors I was not going to be beaten because I had a ruse. All it needed were a little more WD40 and a special technique I’d been told works every time. So, when everyone was out (that’s important) I started looking for a real heavy thing (I know, a pink metal box full of book stuff what weighs 10 kg will do because it’s so big & bulky it couldn’t possibly slip thru the gap and hit me on the bonce) which would be wedged on the top of the sink and would stop the darned tap turning on itself, in fact would lock it and then I’d be under the sink (?) with me trusty basin wrench and Bob’s yer uncle man!

a sink stp

I don’t quite understand why I needed to be under the sink, maybe it were becos a friend had loaned me a torch so I could look up and see the nut as I wrenched it and of course the pink metal box would be too big & bulky to slip thru the gap.

a sink stp fr below

So there I were under the sink trying to turn the wench and taking the precaution to look up to ensure the pink box hadn’t slipped and tried to squeeze thru the impossible gap and then I thought I need to get a metal bar to get more torque on the wrench wench and I were about to git up an gerrit and almighty crash and pink box full of Shrewd Idiot stuff came crashing onto ma heed. Luckily, cos I done karate and have a strong nose like my dad I fended it off with me arm and let ma nose take most of the blow. Then I waited, to see if I was still alive, yes, good for that first test, are you unconscious? No I think am conscious because I can see the blood. The blood which is bursting out of my nose and running onto the mat at the base of the sink and the pink box is still on me head, bloody hell that’s heavy, why didn’t I find summat lighter like a few bricks?

ma dosey nose

Now am in trouble, her indoors is sure to notice ma dose is bigger and has a big old scar on it and can I get the blodd off of the carpet and look there’s some on me pink box, has it damaged ma manuscrips? which I don’t really need, so why don’t yu throw em away ya tart! Well am keeping them in case I need em int’ future like.

So I can see the headlines now, “Artist’s Book kills Author Artisbloke” and ‘PK once known as The Shrewd Idiot has been confirmed as just, The Idjet after being knocked into Kingdom Come by the book he had gently nurtured for over forty years. He tweeted from Kingdom Come, ‘If that’s the way the tome repays all my care and intention then I won’t ever spend forty years on a book again, never never no not ever’.

Watch out for me on the BBC Breakfast show on BBC TV! Well everyone who brings out a book, a cd, a tour etc gets allowed on it don’t they, and on the One Show, so expec to see me there too. One week it’s that lad what dives from the high boards (Tom Daily) doing a cookery book then it’s  that bloke wit the big old beard (Raggy Boney Men) what’s only Human and today it were Gary Brooker frum Procul Harem on Steve Wright in th’aftermoon! and now it’s my turn. I’m nearly human Afterall…or is that Afterthought?

 

An announcement on World Book Day

An announcement on World Book Day (not for children tho’!)

10-si-buks-2317
A Pile Of 10 deluxe Shrewd Idiots 2nd March 2017

YES THE SHREWD IDIOT’ (deluxe limited edition of 10) IS NOW READY FOR PURCHASE!

As part of the ‘PK College Days Trilogy*

BUT BE QUICK COS THERE’S ONLY 8 LEFT!

b

Pete Kennedy will be doing a fifteen minute Live Art Piece (LAP) of his

‘Apulhed & The Three Graces’^

to introduce the book’s content at Bristol’s Arnolfini gallery in the Dark Studio

at 5pm on April 1st 2017.

And that’s no joke.

As they used to say way back when, “Be there or be square”.

PK will ‘perform’ his books’ content with the help of a series of masks, costume changes, specially edited music, mime (?), dance (??) and poetry (???). Please bring your cameras and flash away then, if possible, send PK some of your images for his blArty blog! “I hate it when you go to a gig and they’ve banned the use of photography. Some of the best work in my books was camera assisted.”

*The ‘P.K. – COLLEGE DAYS TRILOGY’ is comprised of two circa A3 books;

1-si
Front cover of The Shrewd Idiot
  1. ‘The Shrewd Idiot’ [Out Now- the story of Northern Lad recounting how Three Graces and his ‘creation’ Appleheadman helped him to rise out of the morass (short for His Moron’s Ass?), &
  2. ‘Pete Kennedy The First Five Years’ [To be released soon- 37 artworks 69-73 printed on translucent paper to complement The Shrewd Idiot], both in a deluxe edition of ten.

& 3. ‘Appleheadman Sees’ – which is circa A5, unlimited edition. Out Now

apulscreem-2017-bw-repeatd-hd-sm
Back cover of Appleheadman Sees.

The three books can be bought separately or as a trilogy. Buy one or both of the deluxe editions and get a free copy of Apul-One’.

^ ‘Three Graces’ are three women who partnered our Northern Lad at some time during 1969-73. Each of them came to him at crucial times in his life and each brought new and wonderful loving experiences.

 

Just like Eddie

 

  1. I was working on my Shrewd Idiot Buk (SIB) and I decided I have done too many photos in my life, thousands. I used to take ‘em and develop em and print em misen but the need for that is non-existent now cos yu gets yer images with a flick of a switch and anyone can do that.

I decided I have done too many photos when faced with the fact that I could spend hundreds of hours editing in the snaps for my SIB but really they’d take away from my intent, which was to do a buk with writings & drawings in, not a book of snaps.

2. My mate IEPW has taken some of the most wonderful photos of dancers at the Birmingham Royal Ballet but for copyrite reasons you will probably never see them. He had to sign a disclaimer preventing his using them before they’d let him take them. The good thing is the Japanese principal ballerina who featured in many of them has had a beautiful mural of about ten of the images given to her and she then gave it to her parents who have it in pride of place in Japan.  There’s a cleft stick here. The copyright on the images will always belong to IEPW cos he’s the maker of those images, but he had to sign the disclaimer. It’s the ballet company cutting its nose off to spite its face. The more folk who see his beautiful photos the more folk would go to the ballet. IEPW is an ace photographer. Talk about an artist suffering for his art. He had a big old stroke a few years ago and was in th’ospital for 4 months learning how to use his limbs again. Never did get full usage back in some. But he still insists on dragging himself down to the ballet to take his incredible snaps. I hope he gets his next stage in the Royal Photo society ratings. His bird photos are second to none.

hark at the diver sm
arc of a diver. copyright I E P Woolard

I came across the dreaded ‘ban on photography’ ting today, that thing where the place yer visiting says ‘Look No Photos’. It happens in galleries, at gigs, in museums and so many other places. In tonight’s case it was not the Arts Centre which prevented photography, it was the star attraction’s team. (I’ve been lucky to get some incredible images at Colchester Arts with permission before now, see my blog about the Japanese drumming https://apulhed.wordpress.com/2016/05/22/mugenkyo-taiko-drumbeats/) Photographs help spread the word about an artist’s work and can generate interest in and inform people who weren’t there.

Sorry to go on about this. Really, my life would have been a lot easier if I had never taken any photos, I’d have had more time for the important things in life like cleaning my car, house and garden.

I can understand the need to prevent flash from cameras which must distract and even hurt the actor’s eyes. There’s always an issue of care. The photo-taker needs to take care not to distract or annoy the stage occupier and of course other observers. So many times I’ve wished to record (my admiration for/love of) the work of an artist only to find there’s a ban on photography.

I went along to see Eddie Izzard tonite do his show in French. I learnt that I must do some swotting on my French, cos it’s worse than his and his is quite good. His show is really good but I think he could (and probli has) just stand and utter jibberish and he’d be funny. ‘It’s the way he tells em.’

But my decision not to take any more snaps cos I got millions I never use was reinforced by the order that went out not to take any photos of him during the show. Great. I had no choice cos I was banned from taking them and you know what am like, if I’d gotten permission to snap, you know, I would have. And that would av added another 30 or more images to my vast store. I would have used them in ma blog but now I cannot cos I not got none did i?

The best I could do on the night were to snap a gargoyle on the outside of the building what houses Colchester arts where he were playing his act in 3 tongues, German then French then Anglaise. Like I say he were very good. So is the gargoyle.

3.

a colarts gargoyle2 s
I never noticed this gargoyle before in the 40 years I bin going to Colchester

Anyway, I have decided to use up some of the snaps I took this week and there’s no bar on my doing that cos the flowers don’t say you can’t. I decided to use the flowers from my garden cos they are there now at this early summer and we are only about 9 days away from a very important moment in the calendar- the longest day!

Bless

Enjoy my flowers, just like Eddie.

a bunch o pops sm
Innocent poppies reach for the sky

I have had a spate of poppies shoot up this week.

a lilac plant sm

This little fella is a subtle treasure, don’t know its name but I know someone who would.

And my hexagonal book arrived in Moscow, it’s OK.

The BALTIC market of Books Artists Make is on this coming weekend but I won’t be there. I had nothing new to show cos the SIB is taking so long to complete. I hope BALTIC books has loads of visitors, it’s a great book fair.

The Way I Tell ’em!

The Way You Do The Things You Do.

03.45hrs 28.3.2016

My (vast?) knowledge of ‘art’ became (apparently) irrelevant overnite becos they (purportedly) moved the goalposts when I must have had my eyes off the ball (or maybe the Jasper Johns/Pop Art target?) by their declaring ‘post’-Modernism’ which supposedly super ceded the Modernism & Classicism that I had studied and played a part of between 1968 and when the pMT (post-Modernis Tings) began (date unsure, a bit hazy and for me irrelevant).

SI littul buks

I don’t believe ‘post’-Modernism’, it’s a crap idea which seeped down from architecture into some folk’s view of art. Whatever it’s purported to be (a shift, a change, a re-direct) it isn’t because the history (of art) is a continuation. As part of the continuity we have learned that the media we can utilise is not just the old fields of oil paint, water colour, bronze and wood altho I have loved working in all of them. Nowadays it’s ok to use ANY material to create art and all sorts of differing environments. Latterly I learned that as I manipulate the words as words and image on my computer design package that’s just as relevant in making (my) art as was once my manipulation of oil with turps on a canvas.

So. My books are art and always have been. I used to feel an odd sensation when I looked at say a photo I had done or a presentation with masks and feel…t that they weren’t ‘proper’ art. My ‘pop’ art drawings/comix with Apulhedman were just as relevant as my oils of my wife. So, all my activities which I used to put into a number of pigeon holes have now become my ‘art’. They are all one. They manifest from my observation, imagination and skill.

They represent me. They re-present the ‘me’ what lives and breathes in ways and materials, some of which will outlive the entity I call ‘me’ by many centuries…

S I title an image
my 1980’s design for the cover.

The book I am working on or ‘compiling’ at present, The Shrewd Idiot (SI), has a LONG history. I left my teaching post in 1976 to format it from notes I had written, drawn and photo’d in various journals and sketchbooks since 1969. I had done my first self-published book, Apul-One (1975), from the same sources and SI was to be a more ‘normally’ spelt version of same. Its initial version was completed by 1978 and then I started sending it to publishers, two of whom (Wildwood House, then Calder), considered it for publication but eventually both dropped it. I have re-approached it several times in the intervening years and the newest version will have evidence of interventions from different times. It was never a ‘literary’ work. It was always a collection of some thoughts, observations, hopes, fears and images of one individual.

A1 bakover
Back cover of Apul-One, little has changed since.

Now the words I created years ago have become images. Most of the book is made up of images of the typescript typed up mostly by Jill (nee) Williams and boy was she tolerant of my stupid words. Drawings and other forms of image-making are a vital part of the book and that was the rub in the 70’s and 80’s when print was difficult concerning the placement of word & image in a book. Nowadays the two can sit well together and gone are the days when publishers considered it impure to set image and word together. In a way the world is ready for my arrangement of the material now but is it ready for the content? It matters not really cos am doing it anyway. But I am only going to make about 10 copies initially, mostly to give to some friends who moved thru the period it covers. The content will either fascinate or bore potential observers, I say observers cos it’s not (just) for readers in fact it may not be important to read it at all, I wish you wouldn’t cos it’s embarrassing in its revelations. It is not even state of the art in layout & presentation when you think of the beauty which David McKean brings to the page. I am deliberately not using digital layout packages, except for part of the book, becos am determined that Jill’s typing is the image of the main body of the words I wish to convey. There is a ‘story’ or ‘narrative’ which in fact continues thru all my life cos it’s uncompromisingly about the person that was me at the time (1969-1973). Altho in fact it’s like looking in a mirror cos the artist or writer sees themselves on the page as they see themselves in a mirror, unreally. (In my case somewhat unruly too) I can never see the me that you see, I only see the me that lives inside me and he hides a lot of his real self, even from me. In fact this book reveals some parts or thought of that self which maybe should be left in the archives but in the name of honest ‘journalism’ I include most of them even tho some are excruciating in their pomposity and vanity. In some ways it’s a personal writing plus images, in other ways it’s universal cos it is about one man’s efforts to come to terms with his world and find roads to explore with newly acquired abilities to add to what he brings with him to the time of the notes.

It’s all to do with The Way You Do The Things You Do, or as one old comedian used to say in a thick Oirisht drawl, “It’s the way ah tell ‘em”.

Here’s Jerry Garcia’s band doing the Temptations song The Way You Do The Things You Do.

It’s all to do with the way you do the things you do. He plays his guitar in this like Jimi did, and the Temptations were trying to emulate Jimi when they brought the guitar solo in.

just jimi sm
Oil I did of Jimi.

Jimi had a long history as a band man round America before he cut loose as a solo artis. He even cut some music with Arthur Lee’s band Love.

https://www.youtube.com/watch?v=A11RUploW6g

Jimi and Janis Joplin died aged 27 only a few weeks apart. I watched a great documentary on Janis on Beeb 4 and it wer great the way she picked up influence from seeing the best like Otis Redding perform. She took his repeated word phrasing and made it hers. And how. How does a little lady from Port Arthur, Texas do that ting?! It’s to do with letting go into the…mystic, or whatever we call that energy level which seems unreachable to us mortals. https://www.nytimes.com/books/99/05/02/specials/joplin-obit.html

And ere’s a littul poym fer yor kerlecshun:

 

I’ve always bin abit diffrunt.

I was always out of the norm(-an-wisdom).

I meyd sure o dat

All wheys.

 

An now am sixty fibre

And I steal got no-wur man

Still at th’botham off the heath

Anni dinna care

 

No matta worri dun

Dint seam to werk

Always told me

That I wer a burke

 

Never not no gudenuf

To brake doon the gardenia

To redibrek the camel hea

Always keept on nokkin…anni cunt cum in

 

e e cummons came and wint

I surely did ma stint

I paved me clues

And I never tuched Dora

 

I wiz der runt

Of za litter azure

Like me ole whaka

Kennet Patcha

 

(hey thet rymed and thus not allured

D’y meen allowed?

No am never a loud

Man)

 

Ex hippie-pete, ‘It’s the way ah tell ‘em’.

 

This blog is ©pete kennedy 2016 (Nobody else would admit to creating the tripe on it any old how!)