With the ever increasing take over of North Kensington real estate by the socially detached, we’ve seen learning facilities invade our community that are not even close to home-grown.
Not so with The Lloyd Williamson Schools. It’s probably the most local private school in the area with most students living within a mile or two of the school. On observation, it seems to express more of an interest in the teaching of ethics, cultural diversity and also, equipping the students to tackle the changing world, with an entrepreneurial spirit of open-mindedness.
I find their strict mobile phone rule fascinating. As insignificant as it may sound, I can say with confidence that you will never see anybody neglecting one and other distracted by a mobile phone, neither staff, parent or student. I don’t think the reason needs an explanation. For those who realise the distraction that devices have been on children and adults, you will be thankful for this little policy in your child’s surroundings, rest assured. The unique way that kids of all ages gender and race interact is very Montessori-ish, though it is not a Montessorri school.
Lloyd Williamson open days Wednesday the 14th March (10am to 7pm) and Friday the 16th March (10am -3pm).
Who would have guessed that the most attractive currency in the world could be something that you cannot touch, taste, smell or hear? In fact, you cannot physically experience it outside of seeing it represented on a digital screen.
Cryptocurrencies are not yet the most powerful currency but as people become familiar with the circulation of bespoke non-physical coins, it seems to be heading that way, ultimately killing the dollar and decentralising the money system.
But this will not be immediate, the Queen B on the block is Bitcoin and she means different things to different people. As she flirts with investors and anarcho-capitalists alike they all want a bit.
I have often pondered on how today’s world of escalating dishonour, in every facet of trade, could be reverted back to good old trust. And suddenly, from the least likely place, my questions are answered. A catalyst for change in the form of a coin. What have we done to deserve this? Nothing really, I guess the heavens showed mercy on those of us who actually want a fairer world. Or maybe it is a curse for those who get paid from its imbalance. All we really need is a little gratitude, to say thank you and to make sure that the security of cryptocurrencies and the blockchain is upheld as a standard for mankind. Hopefully, before extremists succeed in resetting this crooked world.
What’s All The Fuss About?
It’s a very, very big thing, even if you don’t know it yet, you soon will.In 2010 I was baffled by the concept of E-gold so I became curious. Virtual gold backed by real gold? How can you trust it, who, what, where, why?
I was lead to discover that people were beginning to use an alternative currency called Bitcoin. Immediately I thought that this may be the beginning of my ideal – A world of unregulated, free trade. Being a traditionalist at heart, a currency that you cannot touch seemed well abstract and wasn’t easy for me to accept, but on the other hand, a currency owned by the people: understandable. All this caused me to delve deeper into a more abstract concept called cryptocurrencymining which basically involves virtual miners (manned computer hardware) solving a digital request in the form of an algorithm and a complex equation verifying transactions on a blockchain. With this done successfully, the miner is remunerated in Bitcoin. The request normally aims to verify a ledger entry.
Even after reading numerous articles, and watching as many videos, it all still made no sense to me. My interest suddenly disappeared after realising the amount of processing power needed to generate a substantial amount of Bitcoin (more here). It was an investment that I felt was too expensive, time-consuming and risky; it didn’t quite weigh up.
Fast forward five years, I only recently returned as what I call, a late-early adopter as this was just before the period of mass awareness – 2016 to the present. My interest soared. I now see that I was clueless (and still am) as to how many fresh possibilities cryptocurrencies offered. It’s almost a sin not to know.
Although much about this new type of money has become common talk, I still couldn’t grasp a full understanding of it. I put this down to the complexity, the huge scope of this money of account thing, the volatility and the many huge unanswered questions surrounding it. But now, I think it’s safe to say that four years on, many of the initial issues, such as the convenience and transfer times, have been addressed with its natural evolution. By the growing amount of startups and the thousands of crypto exchanges emerging online right off of its back, you can see that the world is shifting.
North Kensington in West London changed forever following the Grenfell Tower fire disaster of June 14th this year. Already known for its street art, the area’s walls have become a canvas for tributes to those lost in the fire, a space for free expression and to vent rage, without a media filter. A semiotics expert and local resident, Chris Arning, looked at the possible meanings and genesis of a striking example of post-Grenfell North Ken street art… What is Semiotics?
Semiotics derives from the ancient Greek word semion, meaning ‘sign’ and is a subject devoted to evidence-based analysis of signs and meaning. It is a field that encompasses culture, communication and meaning and includes logos, branding and street art.
North Kensington is replete with street art. Of course there is always a flurry of artists before carnival every year, but since Grenfell in June, a lot of other types of pieces have appeared: the modified London Underground Love sign and a great Grenfell RIP on the corner of the Acklam Road on the left as you turn off from Ladbroke Grove towards Portobello – done, I think, by Code FC. Street art is the medium and message of anonymous resistance. It is done to show that whatever the official story, the streets is watching and people know what is going on – sgraffiti means ‘scribbilings’ (from the Italian sgraffio, to scratch) something that goes back at least to ancient Rome.
On the way home a few weeks ago, I happened upon a strange sign on a wall off Powis Square. It sort of stopped me in its tracks because there was an uncanniness about it, both familiar and eerie. I’m writing a book on semiotics at the moment, as you do, and I was intrigued so thought I’d take a pic and have since pondered what it might mean. I deciphered the letters tangled up together as RBKC. This is the old logo of the Royal Borough of Kensington and Chelsea. You can still see it on some of the street signs of the borough.
I have reproduced the street art above, alongside an embossed version on a local street light.
Due to the untimely departure of a humble legend and pioneer of the London pirate radio scene, I feel it necessary to repost this last interview with Lepke. Lepke was the inspiration behind a wider acceptance of the pirate radio scene across London and even Europe. His DBC Radio inspired many ‘legal’ radio stations today.
This may well have been his last interview, conducted in Summer 2017.
As a child growing up in the Ladbroke Grove area (Notting Hill), one of my earliest memories of the music scene, besides my father’s need to glorify the bass of the Mighty Diamonds every Sunday morning, was DBC radio.
Being influenced as a child by their presence on Portobello Road every Saturday morning, I have to attribute a large part of my ongoing love for music to those earlier experiences. It was only natural that Urban Dandy should eventually catch up with the man who pioneered such an influential station…
The architect of the revolutionary radio show, posse and collective: After sitting in The Tabernacle for a short while, Lepke arrived ready to lay down the station’s rich history. Unfortunately for me, time wasn’t on our side. Lepke told me he had about half an hour so, I got my Magnus Magnusson on. So, Lepke, you have 30 minutes on the story of DBC Radio starting …now.
UDL- What does DBC stand for?
Lepke- DBC stands for Dread Broadcasting Corporation. It’s a pun on the BBC. It was a friend of mine called William who came up with it but it was originally called Rebel Radio.
UDL- Okay, and when did DBC start, who’s idea was it?
Lepke- I started it on my own then my sister and a few of my close friends came on board. I was on my own for six or seven months then a friend called Douglas, aka DJ Chucky, came on for a few months, then a third DJ called Lloyd Rainford, or Doctor Watts, came in. He knew how to build amplifiers and he set up the system. Then we kept adding people and varying the music, it was reggae at the start then went to Soca and then Jazz, original music really and of course then Hip Hop and Funk.
You couldn’t get that music on the radio, you might hear a bit, maybe a little on Radio One but no Soca and hardly any Jazz. Hip Hop was breaking through at the time. The first Hip Hop show was with The Rapologists: Early Daze and Flakey C, then Neneh Cherry came in.
UDL- I read online that DBC was the first black pirate radio show.
Lepke- It was the first black radio station owned by black people in Europe. As far as I know, there was no other black-owned, black music radio station in Europe. There were stations playing black music but not owned by black people.
UDL- Did you guys have a presence at Carnival as well?
Lepke- Yes. I went to the first carnival as a kid. Later on, I had a spot by Ronnie Biggs (on Portobello Road) in the 70s, then later I got a spot outside Honest Johns record shop, he handed me the keys. Then we had a spot by the print shop opposite Honest Johns. As far as we know that was also the first live broadcast in the carnival. That was when Wilf Walker used to run the carnival. Any time major artists would come through like Bunny Wailer, the Mighty Diamonds, Burning Spear…he’d put us on the show so we got well promoted. The flyer would say DBC on it, through that he’d give us control of the stages.
In scrubs one time they had a super tent run by Alex Pascall, Melody Makers was there and Freddie Mcgregor and with me being me, I decided to put it on MW (medium wave), we were still on FM but I hooked it up so that the prisoners at scrubs could tune in too. They couldn’t really hear it from where they were.
I used to try to link the stages up too. There was the Meanwhile Gardens stage, the tent on Portobello Green, The Tabernacle stage and the Super-Tent at Scrubs. We were broadcasting from the Super-Tent so we had links to all of the stages. I controlled it from the print shop location on Portobello Road. I’ve still got most of the tapes from 1980 to 1984, I’ve got lots of the tapes. Some have made it onto the internet too. People recorded it so it went abroad.
UDL- There is a mention of DBC on the New York Zulu Beats Show with Afrika Islam, was there a connection there?
Lepke- I wasn’t aware but the person who was responsible for that was probably Jollie Mcfee. He used to make badges for all the punk groups and he was also on Portobello Road. I used to go see him and one time I saw all these wires under his desk and asked what it was. He told me it was a transmitter but it wasn’t working. I asked him what he wanted for it. So I bought it and he gave me the contact who could fix it. He came to my yard, fixed it and showed me how to rig it up, he used to play Rocker Billy music and he later became a Dj on the show. They used to call them anoraks because they used to always wear anoraks. They would wear anoraks while messing around rigging up in the bushes. In the fields, everyone wore them to shield them from the wind and rain so I also became the first black anorak.
UDL- How long did you guys reign and when did it end?
Lepke- It ended in ’84 but people think it ended because of a raid, There was a raid but it wasn’t because of that. We joined a group called the Free The Airways Campaign. In between that we still used to play Glastonbury. We were also the first Reggae sound to play an all-night Shabeen at Glastonbury and also to broadcast from Glastonbury. So the owner would give us the main stage so we were also the first to do the main stage. We played it with Aswad.
UDL- (I’ve started so I’ll finish). It seems like the area has so many firsts, there’s a strong original energy there.
Lepke- The ley lines.
UDL- Yeah I’ve heard that before.
Lepke- But the reason we stopped was the government told us if we came off the air by a certain date (they gave us a date) then we could apply for a license, most did and it was bullshit. They took my Sister on board. First, she did a guest appearance on radio 1 and then John Peel put in a word to his heads to do this. It turned out I was his favourite DJ. I think it was on his 50th birthday they did this surprise for him. They put the decks up, brought him in and I jumped up from behind the set and started playing some reggae roots. He was happy.
DBC came in two parts. After the station closed I started JBC. One of the last DJs I brought on, Stanley Burns, also known as The Challenger, asked me why I didn’t continue. I told him that I couldn’t do it in that same name then he told me he had premises so we hooked up and started JBC. I’ve done a lot of others too, I did Grove FM, Globe FM, it had a small transmitter but it went out local. We set up one in St.Lucia too. They named the station Enola because that’s the true name of St. Lucia, after a while, the government gave them a break and they’re still on today. It was such a good transmitter I think they’re still using the same one.
Time’s up. (Stepping out of Mastermind mode)
Well there you have it, as short as our talk was, If anyone can break down the history of DBC radio and the host of other artists that could attribute part of their success to this early music revolution, it’s Lepke.
As you can now see, whether it’s ley lines or just living in the best area on the planet, the Grove is never short of firsts to note. Nowadays we have internet radio, (Portobello Radio in particular) done with an air of safety and exposure in comparison to the days that posed the possibility of the dreaded police (Babylon) raid. We’re hopeful that at some future point we will resume this history lesson with Lepke, but in the meantime, you can catch the 80s vibe below.
Angel Lewis UDL
My condolences to the family of beloved Leroy Anderson, Rest In Peace
After meeting The Kitchen Table Collective as they completed their array of Artistic expression, we stayed local and spoke with artist Junior Tomlin about art, the area and his own unique cyber style, which is on display at Vinyl Cafe, 273 Portobello Road until early 2016.
UD: What was your intention with the exhibition at Vinyl Café?
JT: I knew the owner Jake 20 years ago. We were looking at each other like we knew each other, and when I told him my name, he said ‘That’s it! You did a party flyer for me’.
After that, he invited me to show my work at the venue.
I sometimes call this particular set ‘From Paints to Pixels’. It’s not quite a retrospective because the much older stuff isn’t displayed; it’s all the digital stuff.
I started out working on game packaging artwork, went on to designing rave flyers, then art for music and digital colouring for cartoons.
This is the first time I’ve shown in Ladbroke Grove, where I live. There have been a few pop up galleries in the area, and a show at Selfridges of the original rave flyers. I put this art on display in Wales, at the Kickplate Gallery in Abertillery. I’ve brought it back home.
UD: Was art your first love?
JT: Yes and it’s nice to make a living from what you love. Sometimes I want to draw more, but I have to make a living too and making money depends on how many people see and love your art. Sharing the work is one thing, selling it is something completely different…
When you have a fan base, other people get to see the work and become interested. Local support and committed art lovers both help.
UD: What is the scope of your expression?
I can paint, gouache and acrylic, as well as my drawing and my digital work. With painting you start with a blank space, and then yougradually obliterate the white with your ideas.
Sometimes I get so transfixed on the computer that I forget my paints are right there waiting for me. But I got so tired of doing art for people and not getting it back from promoters, so I prefer computer because all I’m sending them is a file by email and I can keep what I do.
UD: How do you like to categorise yourself?
JT: (Smiling) Digital/Artist.
When you’re in a freshly made building, it hasn’t become its own building yet and you can tell. It needs time. It can be the same with art. Using a computer can create things that look great, but I like to leave traces of pencil marks, soyou can tell I’ve done this, it’s not just a computer, it’s not one dimensional.
After months of planning, The Kitchen Table Collective, who previously gave us 1x Tab Breakfast, poached egg, no mushroom 1x sides, sausage: New Stories from the Tabernacle, have expressed a touching and thought provoking exhibition through the eyes of immigrants. The incredibly diverse quintet of Artists including Emma Mudgway, Claire Tipy and Alexia Villard successfully gave us a very personal look at the alien experience in the UK through their art. ‘We Are’ can be seen today at The Ugly Duck Gallery at 47-49 Tanner Street in Tower Bridge.
We are here until the afternoon collecting great thoughts and insights to see what it feels like to be an immigrant.
We’re going in.
Claire Tipy and Sarah Tilotta’s collaboration, ‘Where Do You Think I Was Born’, seen in motion. Each actor contributed their own heartfelt monologue and drew us totally in. Continue reading →