Jon Hammer
Autonomy? Down the Rabbit Hole…

 

In the novel, (1984 by George Orwell) the memory hole is a slot into which government officials deposit politically inconvenient documents and records to be destroyed.

Wikipedia

  Alice-in-Wonderland-White-Rabbit  

I decided to check this blog yesterday after last checking three or four days previously in order to to see if there had been any problems between my last post, ‘King’ Robbo 484 – Rest In Peace – 1969 – 2014, and now, and, lo and behold, I found that strange changes have been happening again, not from the usual suspects’ Black Ops dept. this time, but instead thanks to the actions of, err…The Guardian. I was surprised to find that the content in my post about how the content in one of my posts had been mysteriously altered- has mysteriously altered!!!

 

guardian open journalism content removed

 

Embedded videos from the Guardian espousing their “Open Journalism Campaign”, which trumpets complete open access of opinion and interaction in both news and culture news, as demonstrated in their award winning story of the public interaction with,  and subsequent part in uncovering the unfolding story of the Big Bad Wolf and the Three Little Pigs, and which I had included in a narrative – have suddenly, since my last post, after working perfectly for a couple of years, had their ‘embed’ functionality, previously at this url:

 

http://gu-embedded-video.appspot.com/?a=false&u=/media/video/2012/feb/29/open-journalism-three-little-pigs-advert

 

…and another on ‘open’ at this url

 

http://gu-embedded-video.appspot.com/?a=false&u=/media/video/2012/feb/29/catherine-shoard-open-arts-journalism-video

 

…removed, leaving instead the above message ‘This content is no longer available and has been removed.’ and meaning that my blog post:

 

The Cold Joke You Gotta Get

 

…which had suddenly become much more poignant, now no longer made any sense whatsoever. You can watch the Three Little Pigs video here, (embedded this time from Youtube).

 

 

 

I cannot imagine any reasonable explanation for the retroactive removal of embed video options from such a high profile media campaign built on such a powerful publishing platform, which is after all about freedom of expression and opinion and citizen involvement through open journalism- and which would indicate that, if such an embed option is offered to bloggers and content providers, it must surely warrant ongoing support and future-proof functionality on today’s integrated web, in respect of our hard work assimilating it into our content, upon our taking up of their offer that we do so. So, in the light of recent events, I can surely not be blamed for wondering at the reason for its sudden removal, given the timing and the still ongoing refusal of the Guardian to open the tragic ‘Graffiti Wars’ saga for comment, and in the light of the empowering content of the above video.

 

In the original post I speculated on the possibility that affiliations of Guardian journalists may have had an effect on their complete failure to mention that the documentary ‘Graffiti Wars’ had won a RTS award in their annual RTS award write-up, including, to elaborate a little further at this stage, that a staff member from ‘Dazed and Confused’ magazine was apparently working as a curator for Banksy’s long-time business associate, the fashion-mag person/ art dealer Steve Lazarides, while simultaneously holding down a job at the Guardian.

 

Dazed and Confused magazine is parodied in the legendary 2005 spoof comedy ‘Nathan Barley’ as the magazine Sugar Ape- you can watch Episode 1 below. Despite the comedy being made nearly a decade ago and the fact that the fashions, technology and art have changed somewhat it appears to still be worryingly relevant in its depiction of certain attitudes prevalent within the media and arts and may even give a certain  indication of the kind of colonial ‘creative mindset’ that engineered the original hacking and subsequent alteration of my blog which sparked the original ‘cold joke’ and the ‘cold joke’ post now in question, not to mention  the seemingly endless profusion of tiresomely inane ‘cold jokes’ of contemporary art and much of the  irony and hullaballoo that has lazily and exclusively reappropriated indigenous and autonomous culture for vanity and profit and has increasingly colonised public consciousness through the media for nearly a quarter of a century.

 

 

 

 

 

Now that certain veterans of protest/ alternative/ outsider art and the graffiti writing scene have gotten used to our freedom of expression being curtailed, we find that key elements of autonomous grassroots culture are not just being parasited, but actively suppressed so, it would appear, that the kind of inanity illustrated above can flourish uninterrupted by any reality which contradicts its’ dominance, and while I fully support anyone’s right to dress how they like, do what they like, be entertained how they like, to express what identity they like, make what art or music they like, and, of course, have fun doing it, it should never, ever be at the expense of others civil liberties including their freedom to do the same, for then we enter dangerous waters. For the Barley dynamic seems, to have entered a new and aggressive state, for concurrent with the proliferation of such media and mindsets as those illustrated in the above video we have simultaneously seen the unexplained disappearances since 2009, of some of grassroots culture’s most significant outlets for our, often passionately opposing, expression of opinions and stylistic values, including such publications as:

 

Canned Goods website

Robbo’s Flickr

Robbo’s Facebook

Street Art is Dead blog

Graffiti Wars documentary

 

…not to mention content from this site, the banning, blacklisting and sabotage of art from myself and many of my friends, and the endless promotion of  opportunists and let alone the absence of any genuinely autonomous voices representing art in mainstream media outlets, a situation which is approaching a dangerous precedent that cannot safely be overlooked, given the horrors of the 20th century.

 

So to sum up, it appears that any comment, history or even art and artists from our range of grassroots subcultures that don’t fit in with the carefully policed pantomime of the contemporary art market may now be ‘edited out’ at will.

 

Britain is a class-riven society and in spite of feeble attempts on the part of some political leaders to reconcile the classes; the upper classes – the dominant social and cultural classes – continue to have the whip hand.

Guy Debord’s Cat- Hegemony, Censorship and Satire

 

And that ‘whip hand’ appears to be wielded, very worryingly, and without anyone in the media appearing to notice, by the likes of the ‘Sugar Ape’ and ‘Trashbat’ set, who far from having disappeared since the days of Nathan Barley appear to have gone on to pastures new, ascending ever higher, in fact such Barleyesque qualities seem sometimes to be a cast-iron prerequisite of success, and is a phenomenon which is often, it appears, blindly supported by elements of the media whose loyalties to this enforced dumbing down appear to override their commonsense or ethics.

 

Ruling groups do not maintain their hegemony merely by giving their domination an air of moral authority through the creation and perpetuation of legitimating symbols; they must also seek to win the consent of subordinate groups to the existing social order…ruling groups never engineer consent with complete success; the outlook of subordinate groups is always divided and ambiguous.

T.J Jackson Lears The American Historical Review. Vol 90 Issue 3 June 1985

   

And it would appear that one of its’ new “legitimating symbols” winning over ambiguous “subordinate groups” may, alongside ‘street art’, now sadly be ‘Open Journalism’, for exactly like ‘street art’ if it is not completely open, then it is actually worse than the censorship both claim to despise, for in their cross-platform utopian assertions both imply an oceanic community of sentiment, a fundamentally false sense of being in touch with the full spectrum of expression across society as it unfolds unfettered in real time. In this capacity a veneer of tacit consent  is engineered by the illusion that people are not only involved in and informed of every single development in everything important that is going on at a grassroots level, but that they are actively involved in shaping it, in leading it, and therefore are under the impression that if it is important then it must be in the public domain, so if it isn’t in the public domain, it can’t be important, thus casting an extremely powerful spell of complacency over dark deeds that go on below the radar of such supposed free exchanges.

 

As a consequence we have seen “open”, is much more readily achieved with the fairy story of the Big Bad Wolf and the Three Little Pigs,  or even the facts of Edward Snowden and the Iraqi and Afghani wars, as we have seen bravely covered by ‘open’ than in the grim reality of 21st century contemporary art. For  anything that could implement the real democratic power they both vehemently espouse and make any actual change for the better in attaining real freedom for the autonomous arts, appear to be spotted and ‘weeded out’, nipped in the bud, before they can flower,  creating a ‘hot house’ environment swarming with Nathan Barley and his privileged mates, and those from the subcultures that often unintentionally buttress their rule, (like Dan Ashcroft’s sister, through lack of any other opportunity) while the scene claims to be a veritable oasis of creative freedom.

 

And while we are assured by the Guardian that Open Journalism:

 

… is transparent and open to challenge – including correction, clarification and addition.

 

…I didn’t imagine for one minute that that “…open to…correction”, meant the removal of its videos from critical blogs, I hope it was just a coincidentally timed freak I.T. mistake.

 

 

Jon Hammer
‘King’ Robbo 484 – Rest In Peace – 1969 – 2014

King Robbo 484 Rest in Peace  1969 2014

Robbo died today (Thursday 31st July 2014) after a long battle struggling to recover from massive ‘unexplained’ head injuries.  He had been in a persistent vegetative state following an induced coma since April 2011.

 

‘King’ Robbo 484

 

23rd October 1969 – 31st July 2014

 

Rest In Peace

 

For God’s sake, let us sit upon the ground

And tell sad stories of the death of kings;

How some have been deposed; some slain in war,

Some haunted by the ghosts they have deposed…

Shakespeare Richard II

 

I hope that the Channel 4 documentary Graffiti Wars, which told his story, will be screened again in honour of the tragic death of this King of British grassroots contemporary art and global graffiti culture.

 

Our thoughts are with his family and crew.

 

Jon Hammer
Moving Forward

People always fear change. People feared electricity when it was invented, didn’t they? People feared coal, they feared gas-powered engines…

Bill Gates

novelty-promise-threat-figure

 

Art stands respectfully on the shoulders of the giants of 40,000 years of painting, but ALWAYS finding, novel, unique and breathtaking ways to move ONWARD AND UPWARD…

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You can catch the last two days of the Team Rex international graffiti exhibition this weekend

…the 8th and 9th September 2012 until 7pm at the Red Gallery, 1-3 Rivington Street, Shoreditch, London

Blade Team Rex

Slave TF5 Team Rex

Duro Team Rex

Part 1 Team Rex  Doze Team Rex

 

Doze Green Team Rex

Prime Team Rex

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Mark Bode Team Rex

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Kel 1st Team Rex

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Mr Wany Team Rex 1

Chum 101 Team Rex

Mad C Team Rex 2

 Shades Team Rex

Robbo Team Rex

Think of Robbo if you visit, and think of him if you don’t.

I hope you are back with us soon my friend.

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Jon Hammer
The Skool of NoSkool- The Ism that Isn’t

Last night we were treated to a truly fascinating lecture by NY Golden Era graffiti legend and renowned sculptor , Mare 139, you may remember him from the Style Wars Movie.

Mare, aka Carlos Rodriguez. globally famed for his breathtaking metal constructions, talked us through the language and funk of the deconstruction of the graffiti letter form to discover new energy forms in abstraction, and the genre’s precursors in Cubism and Futurism, and its’ legacy in what we as a culture are doing now….

Mare 139 lecture2-001The Team Robbo, Team Rex show opens tonight for the private view, then a free after party over the road with Choci Roc, Danny Rampling, Colt 45, Cazbee, Dexter, Richard Sen and more…

The show runs until 9th September at the Red Gallery, Rivington Street, Nearest Tube Old Street.

Open Mon-Sat 10-7 Thursday until 8 and Sunday 11 until 5…

Dumbed down this show certainly is not, the level of work on display is truly stunning. I had big reservations about the inclusion of members of Gift Shop Industries contrived hierarchy in the line up, fearing their inclusion would dilute the talent on show, but just the opposite seems to have happened; Go and have a look.

This is my new piece, Noskoolism-

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Jon Hammer
The ‘Cold Joke’ You Gotta Get

 

Hypocrisy is the state of promoting or administering virtues, moral or religious beliefs, principles, etc., that one does not actually have or is guilty of violating.Hypocrisy often involves the deception of others and thus can be considered a kind of lie

Wikipedia

Just after I published this post about the upcoming Team Rex exhibition starting on Thursday, my blog was vandalised…

( very subtly.)

Team Robbo  was changed to…

Team Robbed

Team- definition

A group of players forming one side in a competitive game or sport.

Robbed- definition

to take something … illegally, as by force

team robbed

Nasty eh?

Absolutely chilling in fact, when aware of Robbo’s plight.

This is what is known as a cold joke,  but a new modern cyber-age version, done via hacking.

So what is a cold joke?

Among the strongest expressions of lack of respect is the cold joke.

9780300186406

During the occupation of Kuwait, some Iraqis who had killed a boy told his family they wanted money for the bullet. They could have simply forced Kuwaitis at random to give them money. The added cruel humour of this demand is what makes it a cold joke.

The language used by people carrying out atrocities is riddled with cold jokes…..The cold joke mocks the victims. It is an added cruelty as well as a display of power: we can put you through hell merely for our mild amusement. It adds emphasis to us and them: we the interrogators are a group that share a joke at the expense of you the victims. It is also a display of hardness: we are so little troubled by feelings of sympathy that we can laugh at your torment.

Jonathan Glover- A Moral History of the Twentieth Century

The Second Edition is published this month, August 2012; Get yourself  a copy here . It will help you understand the psychology of the cold joke when used by tyrants as a tool of oppression and the kind of people who enable them by protecting, shielding, promoting, assisting, legitimising, financing and supporting them…

The Guardian call the book…

…a useful primer on our inhumanity.

…and continue…

In chapters on, among others, the first world war, My Lai, Hiroshima, Rwanda, Stalin, the Nazis, Mao’s Cultural Revolution and Pol Pot, Glover rubs our noses in our own ordure while at the same time proposing a model of how we should be governed. The leader we want, in short, should be intelligent, imaginative, capable of empathy and, while a swift decision-maker, not given to acting on impulse.

…and finish by assuring us that this is…

A tall order, but a necessary one..

Well thanks for that morality lesson, from The Guardian who should after all know that very well as they take a leadership role themselves, as a ‘Guardian’, and their leadership should surely therefore be subject to the same requirements that it quantifies for other agencies….

Therefore it’s a crying shame such a respected and esteemed publication would appear to be not quite as forthright, astute and conscientious or indeed…

…intelligent, imaginative, (and) capable of empathy….

regarding certain…

ordure

or·dure (ôrjr)

n.

1. Excrement; dung.

2. Something morally offensive; filth.

on their own patch, 21st Century London; Media and the Arts… 

When the ‘Graffiti Wars’ documentary,  the first ever TV programme to reveal a whiff of the…

ordure

….that Banksy leaves in his wake, won an RTS award they didn’t even mention it in their write up.

Yes that’s right the Royal Television Society, far more famed for their hard-won intellect and vast reservoir of scholarly wisdom,  than any graffiti affiliations found the programme so utterly scintillating that they gave it a best arts documentary award.

The Guardian who are so renowned for their graffiti affiliations that their website returns 680 articles responding to the search query ‘Banksy’ wrote….

Channel 4 swept the board at the Royal Television Society programme awards winning 10 prizes including two for its university comedy drama Fresh Meat.

The broadcaster also won best drama serial for Top Boy, the popular factual and features prize for Hugh’s Big Fish Fight with Hugh Fearnley-Whittingstall and the daytime award for a live edition of Deal Or No Deal, which is currently being investigated by the Gambling Commission.

Omitting to even mention ‘Graffiti Wars’- I am deadly serious, the article is here

So it would seem that the Guardian whose motto is….

Get The Whole Picture

…would rather keep the sniff of Banksy’s

ordure

… away from the tender noses of their readers, and buried halfway down the compulsory results list that ran after the article.

Shome mishtake surely?

  • Not deemed relevant information for their massive readership of ardent Banksy fans?
  • Self censorship?
  • Leaned on by JB? 
  • Worse? ((Shudder))

The…

“I was only obeying orders” or

“I didn’t think it was my place to speak out”

….defence was memorably thrown out under the Geneva Convention at Nuremberg in 1945

I’m truly disappointed to have to post this as The Guardian are very often a truly great newspaper and have contributed enormously to British culture, and the evolution of journalism, and continue the great tradition of newspapers as moral campaigners. To get squeamish, pull rank and censor as a matter of editorial policy just doesn’t sound right to me, and is certainly not the job of any ‘Guardian’ I would want protecting me, so I do hope there is an explanation….

In 2007 the newspaper was ranked first in a study on transparency that analysed 25 mainstream English-language media vehicles, which was conducted by the International Center for Media and the Public Agenda of the University of Maryland.[137] It scored 3.8 out of a possible 4.0.

Wikipedia

But now that at least one Guardian arts journalist is actually in the active employment of ‘Bristol Gift Shop Industries PLC’  would their score be so high?

I would venture to refer the Editorial team on this occasion, to the wisdom of their esteemed moral arbiter, Mister Jonathan Glover himself…

We take so much on trust. We rely on the authority of experts, trusting that textbooks of chemistry or physics get things broadly right, that historians give a correct picture of at least the central chronology of the French Revolution, or that economists have at least a bit more understanding than we do of the causes of a recession. Many people take on trust much of what their parents or their society believe about morality, politics or religion. These items and others like them make up the worldview of a particular society at a given time.

…so if the press, in general, not just the Guardian, are to maintain their moral high ground, they may, in certain circumstances, need to decide whether to be

  • the Guardians of the totalitarian terror of the commercial ‘street’ art cartel, operating with impunity under a false flag in London, thus protecting their readers from the truth; or
  • the Guardians of freedom of expression, the truth and the people

…because the two are so intrinsically and  fundamentally at odds, that there can only be one winner, the outcome of which could potentially devalue the major personal risk, gruelling dedication and burning passion for justice that it has taken so many newspapermen to reach the heights of outstanding journalism and transparency.

However despite any errors of judgement, it certainly seems like the Guardian are leading the charge, with their Open Journalism campaign, which began in February…

Here’s their advert espousing Open Journalism; getting …

The Whole Picture

….from the readers involvements, wisdom, comments and opinions in the breaking of a story, using the story of the Big Bad Wolf, with a modern twist….

 

…we are informed that it’s not just news, but also….

Culture coverage at the Guardian is no longer just one-way, from critics to readers. Catherine Shoard, head of the Guardian’s film coverage, discusses the importance of building a relationship between readers and editors, and how much potential there can be in tapping into specialist knowledge beyond the media bubble.

However on this article discussing the Robbo issue, an article that allows Banksy a voice to criticize Channel 4, comments have been disabled!

So despite us being told that…

Culture coverage at the Guardian is no longer just one-way, from critics to readers.

…on certain issues that challenge the supposed champion of free speech himself it still is one way, if it even gets published at all.

If the Guardian or broader  news media would like to draw on the knowledge of someone with a unique insiders understanding of British art and grassroots underground culture and help them achieve….

The Whole Picture

…. I would gladly put my writing to this service.

I did try to embed Mister Rusbridger’s  video on Open Journalism ,

“Journalists are not the only experts in the world”

here, but the embed option is very sadly not available for that film, so you’ll have to follow this link

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Jon Hammer
Team Rex- Saving The Nation from Landfill Art

Poetry fettered, fetters the human race. Nations are destroyed or flourish in proportion as their poetry, painting, and music are destroyed or flourish.

William Blake

For years our collective intelligence has been insulted by blockbuster shows by manufactured artists, showing tired and threadbare worn out clichés, sweet and sour gimmicks , stolen ideas, and often made using stencils, Photoshop and assistants, backed by big buck businessmen and propped up with hilariously transparent propaganda, infantile posturing and unquestioning media support.

Proper art has been very conspicuous by its absence.

Now there is finally going to be a blockbuster show by actual real proper graffiti and outsider artists showing actual, proper, real, hand made fine art of many kinds , by artists who can actually draw and paint with their very own hands (gasp!  shock horror!) using actual brushes, pens and pencils etc…

Much of the work will feature actual authentic concepts and themes instead of vacuous phoney sentimentality, and is made by people who make art for LOVE not just MONEY & NARCISSISM.

It is happening in East London from the 30th August until the 9th September!

I like to think of us as the Oldskool New Wave….

The great and golden rule of art, as well as of life, is this: That the more distinct, sharp, and wiry the bounding line, the more perfect the work of art; and the less keen and sharp, the greater is the evidence of weak imitation, plagiarism, and bungling.

640px-William_Blake_-_Los_-_WGA02222

Great inventors, in all ages, knew this: Protogenes and Apelles knew each other by this line. Rafael and Michael Angelo, and Albert Durer, are known by this and this alone.

The want of this determinate and bounding form evidences the want of idea in the artist’s mind, and the pretence of the plagiary in all its branches. How do we distinguish the oak from the beech, the horse from the ox, but by the bounding outline? How do we distinguish one face or countenance from another, but by the bounding line and its infinite inflexions and movements? What is it that builds a house and plants a garden, but the definite and determinate? What is it that distinguishes honesty from knavery, but the hard and wiry line of rectitude and certainty in the actions and intentions.

Leave out this line and you leave out life itself; all is chaos again, and the line of the almighty must be drawn out upon it before man or beast can exist.

Wiiliam Blake’s Exhibition and Catalogue of 1809

Global artists include NYC golden era Kings like Blade, Slave, Comet, Kel 1st, Mare 139, Duster, Crash, Bio along side Mark Bode, Henry Chalfant, and London Kings and Legends like Fuel, Prime, Choci, Doze, PIC, Zaki-Dee, Aztek, Tizer, alongside global graffiti legends like  Rabodiga, (now known as Turkesa) Mr Wany and many many more, over one hundred artists in fact; oh yeah and lil ol’ me….

When I tried to organise a show featuring similar fine drawing and painting by myself and other oldskool London train writers back in 2009, I met with very stiff opposition indeed.

I had a cryptic notice (made from an advert placed on Craigslist ),  pinned to my wall warning me to stop my plans…

Warning full page

….when I ignored the warnings, a car was driven at me at top speed outside the building by a thug with a bull terrier who had been stalking me and my girlfriend around Shoreditch. Lots of other really nasty stuff happened too.

When Robbo organised a similar show featuring work displaying original ideas by oldskool London writers who make fine art he was found in the street with massive head injuries three days before the opening,  apparently (we are still expected to believe) after suffering some kind of freak unexplained ‘accident’.

Robbo is still in a coma 16 months later.

When Channel 4 made a documentary about Robbo, Graffiti Wars, it was taken off the air after a challenge from Banksy’s lawyers, because Banksy said the filmmakers were implying Banksy was behind putting Robbo in a coma (they never even made that suggestion) –whoops-a-daisy.

Banksy’s litigation failed.

The documentary went back up.

Banksy responded with a formal letter of complaint to Channel 4 accusing them of “distortion”.

The documentary was then awarded BEST ARTS DOCUMENTARY 2011 by the Royal Television Society, no less, beating documentaries about the Beatles and the Impressionists to take the first place….anyhow…

Threats and warnings have already been made by people working for ‘The Corporation’ against Team Rex.

If secrecy, and censorship is the lock, the key is the collecting and spreading of information which has been achieved, its all out there….

They saw their Wheels rising up poisonous against Albion
Urizen, cold & scientific: Luvah, pitying & weeping
Tharmas, indolent & sullen: Urthona, doubting & despairing
Victims to one another & dreadfully plotting against each other
To prevent Albion walking about in the Four Complexions. 

William Blake- Jerusalem plate 38
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There will be a press-only Private View on the evening of Wednesday 29th August from 6pm – 9pm. Invited guests will attend an additional Private View on Thursday 30th August.

For news about the Team Rex exhibition, see:
www.teamrobbo.org, or for further information email: info@teamrobbo.org


“The Team is strong. Resistance is futile.”-

Team Robbo, 2012

http://www.teamrobbo.org/info/?galleries=team-rex

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Jon Hammer
King Robbo ‘Graffiti Wars’ Wins Royal Television Award

King Robbo Royal Award

The Channel 4 documentary, Robbo vs Banksy ‘Graffiti Wars’ by Jane Preston and TwoFour has won the Royal Television Award for Best Arts Programme on UK TV in 2011.

The other two shortlisted documentaries in the running were….

  • Arena: Produced by George Martin, which documented the career of the legendary producer of the Beatles ‘Sergeant Peppers Lonely Hearts Club Band,’ featuring Sir Paul McCartney, Ringo Starr, Michael Palin, Howard Goodall, Cilla Black, Bernard Cribbins and Rolf Harris
  • The Impressionists: Painting and Revolution, A look at the Impressionists, particularly Degas.

In these times in which we find our precious culture dumbed down beyond recognition and sold down the river for forty pieces of silver, our artists blacklisted and censored, our icons defaced and pioneers devalued, times in which our voices are drowned out by corporate myth peddlers , times in which historical revisionism is the norm and fairy tales are taken as gospel, we can rest knowing our struggle, and particularly Robbo’s struggle against the wealthy corporate bullyboys has not fallen on deaf ears, blind eyes, and silent lips as it has elsewhere….

We can be happy that Robbo’s story and our voices have not only been championed by a world class production team but their bold efforts have been vindicated by the absolute top echelons of British high culture, indeed we have found a sympathetic ear in the unlikeliest of places.

Mad, massive, eternal respect to TwoFour, the RTS panel, David Liddiment, the Royal Television Society, and its’ Patron Prince Charles…

TEAM ROBBO is a STATE OF MIND!

King Robbo Royal Award (1)

KNOW HISTORY

QUESTION THE PRESENT

EXPAND CONSCIOUSNESS

PROTECT THE FUTURE

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Jon Hammer
Graffiti Wars Nominated for Royal Television Award

 

RTS AwardsThe Robbo vs Banksy ‘Graffiti Wars’ documentary for Channel 4, the first ever documentary to challenge the spurious myths propagated by the ‘Street Art Establishment’, has been nominated for a Royal Television Society award and is in the shortlist as one of the three best arts programmes on UK TV  in 2011.

Graffiti Wars Royal Television Society Award 

Robbo would be so damn proud!

 Let’s hope he finds out the good news some day real soon.

Shortlist

Arts

Arena: Produced By George Martin – BBC/Grounded Productions for BBC Two

Graffiti Wars – TwoFour for Channel 4

The Impressionists – ZCZ Films for BBC Two

The Royal Television Society is Britain’s leading forum for television and related media. The RTS was granted its Royal title in 1966 and HRH The Prince of Wales became Patron of the Society in 1997. The RTS brings together people to exchange ideas, debate and explore key issues. The RTS Awards are an internationally recognised hallmark for quality and originality.

The Royal Television Society (RTS), Britain’s leading forum for television and related media, today announced the nominees for the RTS Programme Awards 2011.

Chaired by David Liddiment, the Awards honour excellence in key genres of television programming, from children’s fiction to comedy performance, history to soaps, covering both national and regional output. Held annually, the RTS Programme Awards aim to recognise the work of exceptional actors, presenters, writers and production teams, as well as celebrating the programmes themselves.

Massive congratulations are in order for Jane Preston and the team from Two Four….

It was a huge honour to have a voice and be part of your project

The Awards will be hosted by actor and comedian, Rob Brydon, at a ceremony on Tuesday 20 March at the Grosvenor House Hotel, London.

Good luck on the night guys.

Yaaaay!! :)

Lets hope other enquiring minds ‘break from the herd’ and look beyond the ends of their noses!

inquisitive t.animal cc

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