The Beatles A & B C Chewing Gum Ltd (second series)
I understand the joys of collecting things like stamps, trading crds etc. there is alway the pleasure of finding, buying that elusive one that will make the set. Chewing gum cards were my thing when I was small – I loved the chance element, the hope of getting what I wanted. I no longer collect things but I still love chance, which is why I now do the lottery.
The Beatles built their reputation playing clubs in Liverpool and Hamburg over a three-year period from 1960. Manager Brian Epstein moulded them into a professional act and producer George Martin enhanced their musical potential. They gained popularity in the United Kingdom after their first hit, “Love Me Do”, in late 1962. They acquired the nickname “the Fab Four” as Beatlemania grew in Britain over the following year, and by early 1964 they had become international stars, leading the “British Invasion” of the United States pop market.
In 1962 / 63 Douglas Coakley of A & BC Chewing Gum Ltd, approached Brian Epstein, The Beatles manager, and his lawyer David Jacobs, to obtain the rights to produce trading cards featuring photographs and autographs of the Beatles. A set of 60 cards was produced and issued in 1964. The photographs were provided to A&BC Chewing Gum Ltd courtesy of Nems Enterprises Ltd, Brian Epstein’s company, and appear to be mostly taken in 1963 and maybe 1962. A second series quickly followed.
I love Beatles ephemera – I hate their annoying music
As far as I am concerned they are not the massive influence on popular music they are claimed to be – mediocrity comes to mind.
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Vanity in the bathroom – do I shave my face or my shoulders? A constant dilemma for the modern middle aged man — at Jandia Princess Club.
Artist Statement (these snippets could be mine) #bullshit
The Genetics of Painting? There are various ways of making Paintings to recipes, each becoming a question of process and discovery, controlling chance, arranging colour with simple brush strokes, dragging or pouring paint across the surface to reveal a vast range range of effects. The act of painting can be reduced to its most simple and material elements, new materials can be discovered and played with……Is this really painting?….. what is the process/purpose of the creation? Behind the rhetoric and bullshit there must be a reason….otherwise YCRE8.
Peter Bright – Artist Statement (these snippets could be mine)
Words taken out of context lose their meaning. Publishing documents that contain controversial language puts the author at risk. Any constructed environment can promote alienation, but it can also enhance communication to form a quasi-organic platform for human interaction. The fact that most of us have an on-line persona suggests that computer communication enables us to visit places and have discussions with people we would normally avoid. We are engaging in the pseudo-anonymous system/society. Underground activities have migrated out of analog media (the printed word, film etc.) into ‘this world’. This world has evolved into a global system with multiple layers in which new authorities compete to control its uses; platform wars, chip races, and operating system alliances. The pseudo-identity of the user is being exposed; law is punishing non-conformity, censorship and the rules of globalization have invaded the system. The Klondike Spirit has taken over the open system and turned it into the homogenized high street we all know.
(A non-homogeneous system, whose terms and relationships are not constant, allows language to break up, to stumble over the rules of its grammar, by necessity it has to respond radically to other linguistic components, creating a new linguistic order and syntax. )
Memories: Renoir, dead birds and rubber gloves, stolen kisses, life, stillness, pouches of Chinese fresh drinking water, broken dreams, lost lovers, onions, sections of discarded fishing nets strewn across the tourist beach, lovers in the darkness groping for the dark, hands first finding spaces, then they find there mark, my father, my ghost, my hopes and dreams, stinking of rotting carcasses [Read More]
Paradigm: Clients are always shocked when I suddenly present to them a ‘painting from life’ – I appear to produce slap-dash imagery as my main artistic process, this isn’t because I haven’t mastered the basic fundamental skills of ‘traditional’ painting and drawing because I have and I am more than able to produce paintings in a typical style or pattern of work; a pattern or mode of working, arranged in order to form semantic constructions and express relations(hips) to the real world.
The Genetics of Painting? There are various ways of making Paintings to recipes, each becoming a question of process and discovery, controlling chance, arranging colour with simple brush strokes, dragging or pouring paint across the surface to reveal a vast range range of effects. The act of painting can be reduced to its most simple and material elements, new materials can be discovered and played with……Is this really painting?….. what is the process/purpose of the creation? Behind the rhetoric and bullshit there must be a reason….otherwise YCRE8.
Peter Bright – Artist Statement (these snippets could be mine)
Words taken out of context lose their meaning. Publishing documents that contain controversial language puts the author at risk. Any constructed environment can promote alienation, but it can also enhance communication to form a quasi-organic platform for human interaction. The fact that most of us have an on-line persona suggests that computer communication enables us to visit places and have discussions with people we would normally avoid. We are engaging in the pseudo-anonymous system/society. Underground activities have migrated out of analog media (the printed word, film etc.) into ‘this world’. This world has evolved into a global system with multiple layers in which new authorities compete to control its uses; platform wars, chip races, and operating system alliances. The pseudo-identity of the user is being exposed; law is punishing non-conformity, censorship and the rules of globalization have invaded the system. The Klondike Spirit has taken over the open system and turned it into the homogenized high street we all know.
(A non-homogeneous system, whose terms and relationships are not constant, allows language to break up, to stumble over the rules of its grammar, by necessity it has to respond radically to other linguistic components, creating a new linguistic order and syntax. )
Memories: Renoir, dead birds and rubber gloves, stolen kisses, life, stillness, pouches of Chinese fresh drinking water, broken dreams, lost lovers, onions, sections of discarded fishing nets strewn across the tourist beach, lovers in the darkness groping for the dark, hands first finding spaces, then they find there mark, my father, my ghost, my hopes and dreams, stinking of rotting carcasses [Read More]
Paradigm: Clients are always shocked when I suddenly present to them a ‘painting from life’ – I appear to produce slap-dash imagery as my main artistic process, this isn’t because I haven’t mastered the basic fundamental skills of ‘traditional’ painting and drawing because I have and I am more than able to produce paintings in a typical style or pattern of work; a pattern or mode of working, arranged in order to form semantic constructions and express relations(hips) to the real world.
From birth to death, it is the stuff in the middle that is sometimes slightly different. To say we are all unique is strictly not true – love, loneliness, disappointment, illness, parenthood (I love my boys) etc. are things we all experience in someway or another. Yes, it is probably true that I have gone through a period of dramatic change and upheaval, however in this state of flux I have entered a period of great transformation and a new beginnings. It is time to re-evaluate – as difficult as the disappointment has been to take, change has created new possibilities that have never been dreamed of before but I am not unique – this shared pathway is what makes us part of a collective. It is most probable that anything you write about on the internet will become a shared emotion, concept, a facebook like or a thought or dream and somebody out there will be thinking, ‘I thought of that ages ago’ – Sin Nature? Surely it is our obligation to do things better and not worry about authorship, we are all guilty of plagiarism, even in our life choices.
So fucking sue me: Yes this is us being aggressive and confrontational, a call to war, used as a response in situations where we are criticised for stealing an artistic, creative idea (or maybe guilty of a sin). Who gives a fuck about the consequences. – we might get a facebook like out of it.
Original sin: Ancestral sin, is the Christian doctrine of humanity’s state of sin resulting from the fall of man, stemming from Adam’s rebellion in the Garden of Eden. This condition has been characterized in many ways, ranging from something as insignificant as a slight deficiency, or a tendency toward sin yet without collective guilt, referred to as a “sin nature”, to something as drastic as total depravity or automatic guilt of all humans through collective guilt. Guilt is a pointless emotion, we all steal (I’ll steal any creative idea if I want to make it mine) lust (I adore your arse) and indirectly murder – I don’t give a shit about sin (maybe?) so fucking sue me.
The Age of Reason: Being an Investigation of True and Fabulous Theology is a pamphlet, written by a British and American revolutionary Thomas Paine, that challenges institutionalized religion and the legitimacy of the Bible, the central text of Christianity. Published in three parts in 1794, 1795, and 1807, it was a bestseller in the United States, where it caused a short-lived deistic revival. British audiences, however, fearing increased political radicalism as a result of the French Revolution, received it with more hostility. The Age of Reason presents common deistic arguments; for example, it highlights what Paine saw as corruption of the Christian Church and criticizes its efforts to acquire political power. Paine advocates reason in the place of revelation, leading him to reject miracles and to view the Bible as an ordinary piece of literature rather than as a divinely inspired text. It promotes natural religion and argues for the existence of a creator-God.
Biography