I thought I’d let you all know……….. Friends and people of the free world, dramatic, yes, but this warrants it.
Just so happens my passport expired last week. Hate the thought of not being able to leave this rock at will, so got onto the form filling of getting a new one quick but couldn’t send it off with my nice new mugshots without checking out whether the government was sneakily going to stick all my biometric details, hair colour, fave beer, who I do and I don’t on there without asking. I figured that for £51, they must be doing something fancy. But I’m in luck. Just. In October this year it becomes complusory to sign up to the new id card system whenever renewing an adult British passport, or applying for the first time. It will set you back a cool £91 and will mean you are automatically an official participant in a nightmare Orwell would’ve been proud of. Dramatic again, but I feel strongly on this one.
I urge you all to check out this site and consider renewing your passports before then.
You can do it even if its no where near expiry and the IPS will just add any extra time you have onto your new little book signed by the Queen. It’ll cost you £40 less and gives you 10 more years without an id card, or until they come round knocking trying to make us all sign up, at which point, I’ll get back to ya….
Love!!!! Kate xxxxxxxxxx
It is not too late. The UK IPS has not yet changed passport renewal procedures so, this summer, NO2ID and a growing number of other organisations* ask that you renew your passport.
Did you know that, from October of this year, as preparation for the ID scheme, ALL first-time passport applicants will have background checks and be interviewed by officials at one of the government’s 69 new ‘enrolment centres’? This will include your children as they reach 16. Before long it will include you too, when you renew your passport. And you will be fingerprinted as well.
So, unless you need it soon, you should renew your passport NOW. If you wait till autumn, you risk giving up personal data to be used for the government identity database. Pay £51 for a 10-year passport while you can. The charge for ID registration and a record for life will be at least £93. The website www.renewforfreedom.org explains in more detail. There’s a fact-sheet there that you can download and pass on to others.
If you are put on the ID system, you will be exposed immediately to all the dangers, explained here. It could be sooner than you think.
Show the government how many people want to stay out of the ID scheme, and buy time while NO2ID works to abolish it. Say “No” now. Renew your passport this Summer.
Many thanks to all at Norvun Devolution this time, these people witnessed first hand Manchesters most innvovative AV/VJ event and we’re proud to say so, Devolution has really began to establish innovative content and a fusion of ideas with musicians, Djs, and Vjs alike, basically it cant go unnoticed.
We have some quality talent on board, new and old and everyone did their thing….but this one goes to Mr Heath and his FRESH beef.
A radical visual style with 3D visual sequences running graphic montage of DJ BEEF overlayed and intermitent abstraction.
And unsatisfiable Djs with the will to take it right to the end, there was huge respect for the live musicians within all partys,DJs blended seamlessly throughout, Djs were co-managed and handled by John and Rob superbly and each in turn performed some quality sets all was kept fine and dandy by Blain & Kate was as beautiful as ever, all round a damn good show we can all be proud of.Shout out to the lads for making it down, a night to remember.
Hey everybody get yourselves down to Norvun Devolution this month, Its worth taking a look at the innovative visuals and extraodinary collaboration between Djs and live musicians.
If you havnt seen the press then check out these write ups which detail some of the previous entertainment & artists we have had along.
Norvun Devolution review by Daniel Thompson Manchester After Dark
The Roadhouse, home to the ever-popular hip hop night Friends and Family, is currently hosting one of the most ambitious and innovative nights in Manchester’s Clubland.
Norvun Devolution, offers a clubbing experience that I have never before encountered in Manchester. The eclectic mix of laid-back dub, independent hip hop and jazz-fused drum n bass cuts back and forth from the vinyl collection of resident DJs to the sounds of a collective live band that boasts some of the finest young musicians in our fair city.
And although the revolution will not be televised, the devolution most certainly is. Well, sort of. The band remains anonymous throughout their performance, hidden behind a projector screen presenting a constant stream of surreal and provocative images, ranging from Soul Jazz Records album sleeves to topical scenes of war in the Middle East. The effect of this is to create an almost seamless link between the live and recorded grooves.
As for the music policy, pretty much anything goes. The tunes vary from the likes of the legendary Lee Perry, emerging acts Edan and Lyrics Born, and hip hop luminaries such as The Roots and Roots Manuva. However, the night really comes alive when the band strikes up. With funky guitar licks, jazzy horns and a St Germain-inspired groove, the fusion of sounds creates a buzz around the venue, reflected in the response of the appreciative crowd.
Dark and atmospheric, the Roadhouse lends itself perfectly to the dirty beats of Norvun Devolution. Although perhaps not for everyone, those with an open mind and an ear for underground sounds should show their support for new nights like this and take a trip down to Norvun Devolution. And maybe one day we’ll be comparing up-and-coming nights to this monthly gathering.
NORVUN DEVOLUTION HAD SPECIAL VISIT FROM ROOTS MANUVA LAST FRIDAY
Following their sell-out performance at the Academy last Friday (Nov 25th), NORVUN DEVOLUTION are proud to announce that the country’s foremost hip hop act Roots Manuva and all the Banana Clan chose to come visit us Devolutionaries at the Roadhouse after their gig. Rodney Smith (aka Roots Manuva), Ricky Rankin (long-time South London hip-hop and ragga dude), Cosmo, Gordon G, the tour’s kickin’ support act Jimmy Screech and the Manuvadelics – a live band with seemingly limitless ability – all came down to chill with the Devolutionary crew after leaving the Academy. Needless to say, those people who didn’t believe us were surprised, those with more faith were just incredibly chuffed. Initially we had just encouraged them to come down and check out a night that has been not insignificantly inspired by their work and words over the last few years. But at seven o’clock Noel, the tour manager, called to make sure we had the equipment for them to actually perform some tunes!
And still people we told didn’t believe us. They showed up around half 11 ready for some more action. Christ, we thought. But a track from our other pal Mr Scruff had Rodney straight into rhyming, with our very own DJ providing the beats. We couldn’t have imagined what a special live version of the now infamous “Witness” would sound like, and I’d find it hard to properly explain to you even now, but it was goooooood. “Too Cold” and the new single “Seat Yourself” from the Awfully DeEP with the monolithic silhouettes of these large London lads dancing behind the screen were an audio/visual phenomena new to even the Roadhouse’s experienced walls.
Jimmy Screech’s contribution kept up the electricity – his energy and enthusiasm were palpable, and the crowd loved him. I could spend all day thinking of a better word to describe what it was like but there isn’t one: we were simply buzzing.
This is the really important part: Nowhere else in Manchester could this eclectic bunch of MCs, DJs, turntablists, drummers, trumpeters, singers, saxophonists, bass players and visual artists contribute simultaneously, from the same stage, to the beats permeating the dance floor.
A live feed of events managed and projected by Chairtv onto their screen repeatedly snapped revellers out of their dancing reminding them Roots Manuva was actually in the room and this wasn’t just a particularly brilliant recording of one of his records to 3D Visuals.
The prospect of a ‘real’ hip-hop night, with genuine local DJs, musicians and MCs, without cool names or accolades, but with plenty of love for the music attracted them to the night.
Ricky Rankin and Cosmo – one of the show’s DJs – commented on how refreshing it was to see such a unique set-up, and to meet people with both a genuine passion for what they were doing and a (sometimes) worrying disregard for how much money it will make them. Even after our guests had stepped down and started gearing themselves up for the long tour-bus trip to Glasgow, the vibe continued with more new, never-before heard lyrical talent accompanied by live drums and scratching.
True to form, and showing no intimidation, the Norvun Devolution crew matched beat for beat their more-experienced co-performers, who, by this time, were thoroughly relaxed and enjoying the 3D visuals, a couple of cans, and, in the case of the Great Man himself, a wee snooze in the back room. Life on the road is tough you know. Bless. All things considered it was a pretty brilliant.
Recuperation is the process by which the spectacle takes a radical or revolutionary idea and repackages it as a saleable commodity. An ironic example of recuperation, it could be argued, was the 1989 Situationist exhibition staged in Paris, Boston, and at the ICA gallery in London’s Mall, wherein both original situationist manifestos, and contemporary Pro-Situ influenced works (records, fanzines, samizdat-style leaflets and propaganda) were presented as museum artifacts for the mass consumption of the art establishment. This event of course contrasts sharply to the occasion when the Situationist International gave a presentation at the ICA themselves, which famously ended when an audience member asked the group “what is situationism?” to which one of them answered “we are not here to answer cuntish questions” before marching off to the bar. Although all would agree that a lot of water has gone under the bridge since 1989 with regard to the image of the SI in the media, another example that might be cited would be the exhibition and other events on “The SI and After” that were staged by the Aquarium art gallery in London in 2003.
A longer-lasting example, it could be argued, would be the “Hacienda” nightclub in Manchester (1982-1997). Highly commercially successful, this was named by its owner, British music-industry businessman Tony Wilson, after a reference in the 1953 work “Formulary for a New Urbanism” by Ivan Chtcheglov. Millionaire Wilson’s company Factory Records was one of the sponsors of the 1989 ICA exhibition (along with Beck’s beer). Later, in 1996, he allowed a conference on the SI to be staged at the Hacienda night-club. Veteran Situationist-influenced critics of recuperation were not surprised to learn that Wilson had invested funds in collecting Situationist-linked artworks, including Debord’s “Psychogeographical Map of Paris” (1953), some of which he allowed to be shown in public at the Aquarium event in 2003. An index of the financial astuteness of such speculation is the fact that there are now dealers in artworks and fine books who count Situationist-linked works among their specialisms.
“We came across Point Blank in 1973, the year after it was published. Up till that point we’d found situationist literature pretty difficult to understand. Point Blank was different, it made sense! Reading through it again today it still has a lot to say that is valid. Obviously we would be unlikely to talk about self-management these days and would be a lot more cautios about calling ourselves councillist. We are republishing four texts from this magazine”
1. Artaud had a pessimistic view of the world, but he believed that theatre could effect change. 2. Remove the audience from the everyday and use symbolic objects to work with the emotions and soul of the audience. 3. Attack the audience’s senses through an array of technical methods and acting so that the audience would be brought out of their desensitisation and have to confront themselves. 4. Use the grotesque, the ugly and pain in order to confront an audience, thereby being cruel to them.
The Theatre of Cruelty has been created in order to restore to the theatre a passionate and convulsive conception of life, and it is in this sense of violent rigour and extreme condensation of scenic elements that the cruelty on which it is based must be understood. This cruelty, which will be bloody when necessary but not systematically so, can thus be identified with a kind of severe moral purity which is not afraid to pay life the price it must be paid.” – Antonin Artaud, The Theatre of Cruelty, in The Theory of the Modern Stage (ed. Eric Bentley), Penguin, 1968, p.66