a way to get out of it

Putting on small DIY music shows in Birmingham spaces, playing about in Ace Bushy Striptease

[videostrolls]

Con. E. Crete visits her beloved civic carcass of Reading Civic Centre one last time before it is demolished. Her reflections echo the situations many other brutalist structures conceived throughout post-war glory days now find themselves in. It seems as though she is alone in caring; alone in seeing the shortsighted nature of ‘their’ ways: a real loss of architectural, social and political heritage for future generations.

Made by Roxanna Collins originally as an installation for ‘Video Strolls goes to Flatpack’, Birmingham, 27-29/3/15

Voiceover by Helen Tomkins

[awaytogetoutofit]

my favourite thing i saw in 2015

[awaytogetoutofit]

[maisie-cousins]

[gracedenton]

Here is a Christmas gift from Often and Mistakes. Our Parents is a collection of art and writing about the people who brought us up. Compiled by Grace Denton during 2013 and 14.

You can download the book here: https://payhip.com/b/diZA Why not print it on the family printer as a last minute Christmas gift??

Please pay what you can towards this book. All proceeds will be donated to Simon on the Streets, a West Yorkshire homelessness charity working with hard-to-reach individuals who fall outside the remit of other agencies: simononthestreets.co.uk

Huge thanks to all contributors Cover art by Ben Trinkle

[unanimals]

a new often and mistakes publication, this time in magical ebook form! have a look it is truly beautiful

[awaytogetoutofit]

It is, sincerely

[giantmanilowrecords-blog]

Visit Original Link

The Home Stretch : The Rake

Seeing the year out in style it´s a new e.p. from The Home Stretch

Check it by streaming/downloading over at the bandcamp

[awaytogetoutofit]

Ben did a sick thing

Tracks 2 and 3 recorded at the first gig I ever put on

[luvyourselfsomeesteem-deactivat]

The problem is that white people see racism as conscious hate, when racism is bigger than that. Racism is a complex system of social and political levers and pulleys set up generations ago to continue working on the behalf of whites at other people’s expense, whether whites know/like it or not. Racism is an insidious cultural disease. It is so insidious that it doesn’t care if you are a white person who likes black people; it’s still going to find a way to infect how you deal with people who don’t look like you. Yes, racism looks like hate, but hate is just one manifestation. Privilege is another. Access is another. Ignorance is another. Apathy is another. And so on. So while I agree with people who say no one is born racist, it remains a powerful system that we’re immediately born into. It’s like being born into air: you take it in as soon as you breathe. It’s not a cold that you can get over. There is no anti-racist certification class. It’s a set of socioeconomic traps and cultural values that are fired up every time we interact with the world. It is a thing you have to keep scooping out of the boat of your life to keep from drowning in it. I know it’s hard work, but it’s the price you pay for owning everything.

Scott Wood (X)

he motherfucking dropped the truth.

(via ugh)

[madrassoup]

“If you’re a student in one of the black schools here and you get into a fight you’ll probably get arrested and charged with assault. We have kids here who are barred from voting before they’re even old enough to register.”

A black (male) protestor/resident of Ferguson, as quoted in Newsweek. 

Here is where the “talking-head”/op-ed bent of our media and culture has failed us. While they all want to bemoan the “12% voter turnout at the last election,” no one has the sense to ask about the structural forces that contribute to that low figure. Instead they (and I’m including Al Sharpton in this category) yell at black voters to do their part, or, when they’re being nice about it, try to get protestors to register to vote. But listen to those protestors who cannot vote. They’re telling us they never stood a chance.

(via madrassoup)

See also: It’s a privilege to throw out “Just go vote! Get your voice heard!” because everybody doesn’t get that.

(via ethiopienne)

[benmeschko]

24.  2014. oil on board. 22 X 14” £160 1 bid (cs) 

[unanimals]

My friend Ben is auctioning all of his paintings for Ebola relief. Check out his site and BID! 

[awaytogetoutofit]

NEEEEXT THURSDAY. it is all ages so bring your kids and bring your sibs

[gl00myplanets-blog]

nodicetapes.bandcamp.com

Hey all. I’ve been working on a lo-fi/indie-pop compilation featuring Julia Brown, Cyberbully Mom Club, ONSIND and Spoonboy, YrFriends, R.L Kelly and loads more. All proceeds are going to a very important charity, brokenrainbow.org.uk, which helps LGBTQ survivors of…

[gracedenton]

This is a really great compilation featuring loads of great people, making money for an important cause.

It also features Anna (the middle ones), Eve (ace bushy striptease), Libby & Camille (hallie and the annies) and me as new band: ¯\_(ツ)_/¯

Download it, contribute some pounds, pls x x

[awaytogetoutofit]

by Grace Denton

[awaytogetoutofit]

just one of the sports we were good at on tour 

[awaytogetoutofit]

Listen/purchase: walls by two white cranes

[awaytogetoutofit]

by Roxie Collins

[ccucumberx]

Visit Original Link

[awaytogetoutofit]

over and over and over and over

[awaytogetoutofit]

[alanna-mcardle]

Some thoughts on the Nai Harvest artwork-

I used to keep my mouth shut about things I thought people might call petty: I didn’t want to be the killjoy, and I operated within music as though I shouldn’t be there- trying to take up as little space as possible, making sure I never did anything that was ‘not my place’ to. Recently I’ve realised that I actually can speak out about things that make me feel uncomfortable and that my job is not to fit myself into this scene wherever I can find what little space there is, but to try to create as much space for myself and other non cis male people as we deserve to occupy.

I am not happy with the new Nai Harvest single artwork, and I am speaking about it because to me it signifies another contribution to this sort of bro-culture that has been growing in indie rock recently that is particularly alienating to women. I am NOT unhappy with it because of the art itself- I take no issue with the aesthetics, I do not necessarily have a problem with naked women in art in general, and I appreciate that it being made by a woman validates the imagery more so. This, however, is not the part I take issue with.

My problem is with the other side of the contextual coin. It’s all well and good to say that it’s made by a feminist woman, that can justify it on its own. But this particular artwork does not exist in a vacuum. It accompanies a record by a band comprised of 2 men whose music is derivative of a genre which has almost always held two middle fingers up to women; a genre that has acted nearly entirely as a space for boys to be boys since its inception (and please, I love emo music but you really have to be kidding me if you’re going to deny how alienating it is to any non-male person). This is a band that fosters a macho and aggressive culture of circle pits at shows, which is so discouraging to women and something that I absolutely loathe.

I am pretty tired of keeping quiet about bands who actually make me feel uncomfortable about being in this supposed ‘scene’. This is not about my failure to see the value of the female form as ‘art’ (which, by the way is not a very good excuse to fall back on seeing as the tradition of the female nude in art is substantially borne from ownership, humiliation and objectification).

Ultimately it boils down to: I saw that this band used this artwork and it made me incredibly uncomfortable. I am bored of bro culture, I am bored of being silenced, I am bored of being ‘part of a scene’ that thinks this is okay.