A reprinting of my 2010 Valentine to the Queen of Mean.
Originally Published at The Huffington Post, February 14th, 2010
Originally Published at The Huffington Post, February 14th, 2010
I went to the woods because I wished to live deliberately, to front only the essential facts of life and see if I could not learn what they had to teach; and not, when I came to die, discover that I had not lived.
– Henry David Thoreau
Cradley Heath Library in Birmingham. Not the Super Library.
Finally, the city of Birmingham is scheduled to open its lauded new Super Library, in the works for a decade and tipping the cash register at $301 million. Ten blisteringly new glass and steel floors of amphitheaters, music centers, exhibition galleries, film mediatheques, health and business centers, rooftop cafes, subterranean levels and even a gilded penthouse Shakespeare pavilion. What? Oh, no, no not our Birmingham. Oh my God, no. That would be ridiculous, right?
The library’s launch comes at a time when all over Britain, library users are protesting closures and imminent cuts to branch libraries. Locals are calling it cultural and social vandalism and thousands joined authors like Philip Pullman –  who described Oxfordshire’s proposal to close 20 of 43 libraries as “a darkening of things” – in protest. In Birmingham, every one of the 40 branch libraries is “under review”, and decimating cuts to staffing and book budgets are imminent. 481 libraries – 422 buildings and 59 mobile libraries –are under threat. In the protestors midst, a humongous series of cages with a bizarre edifice of wire steel circles, looms above Centenary Square in the city centre, on a site where there have been public libraries for more than 150 years. The last one opened in 1974, a loved (by me), and loathed (by most), monument to concrete brutalism by local architect John Madin. Its fate was sealed in 2009 when the government rejected the advice of English Heritage to landmark it. This new one, the cages, is the Birmingham Super Library.
from guardianuk
A new autobiography is about to hit the shelves, but if you were told it was by someone called Taboo, would that mean anything to you? Here are a few clues.
It starts with a quote from Thoreau about dreams, moves on to a preface about the author hitting “rock bottom” in jail and then treats us to a series of badly told stories about the author’s life, including an episode where our hero wakes up from a drug-induced stupor to hear people laughing at him.
“What are they saying about me?” he asks himself. Perhaps it was something like: “Who the hell are you?” Because despite “record-breaking success – including six Grammy Awards and 30 million albums sold”, you’d be hard-pressed to recognise this artist from a line-up.More help? It’s one of Black Eyed Peas. The one with long hair. “Of course!” none of you are saying.
It’s strange that Taboo has got his own book. He is the equivalent of Jason Orange/the two guys from East 17 at the back singing “Ooh”, ie not someone anyone is interested in. His tome is bound to join the non-bestselling likes of Bill Oddie’s One Flew Into The Cuckoo’s Egg (4,811 copies sold) and Trisha Goddard’s Trisha, As I Am (3,538 copies sold).
We can’t wait for the other anonymous BEP member – apl.de.ap’s (inevitable) tell-all.
What’s funny about a grown man crying over the closing of his local library – and every other free library in the city of Philadelphia?
Nothing. Except if you are the Huffington Post who chose to mock such a man. Maybe if the “editors” at the AOL super rag had access to a library, they could learn how to spell, and form a sentence.
Huffington Post, you are dead to me.
The story as covered by a decent source in 2008, when it was announced that ALL of Philadelphia’s free libraries were to be closed.
Design by Mucca Design. Illustrated by Dennnis Clouse of Cyclone design, from Iris Murdoch Series. Rizzoli. Hardcover, 2003
Last Friday, Archie Comics Publications, Inc. announced that it would no longer feature the Comics Code Authority’s Seal of Approval – the CCA being a mysterious, publishing association which for over 50 years served as the comics industry’s self-regulating arm – on the covers of its comics. It’s the end of an era that began back in 1954, when comics publishers came together and created the CCMA in an attempt to preempt a government crackdown on their product.
Comics had come under attack a decade earlier, when in 1940, the literary editor of the Chicago Daily News, Sterling North, wrote a scathing article, calling comics badly drawn, badly written and badly printed a strain on young eyes and nervous systems. And that their hypodermic injection of sex and murder make the child impatient with better, though quieter stories”. North’s point was that kids shouldn’t read comics at all, they should read “real” books.
In the 1950s, comic books coated the shelves of bookstores, Woolworth’s, A & P’s, Howard Johnson’s and Kiddie Cities everywhere. American kids consumed them by the millions. Comic books were everywhere and Kids loved them. Teenagers loved them – which in the eyes of adults, made them Enemy #1. “Teenagers” were held under general suspicion in those days. It was the era that the “Teenager” as we know them (proto-adult, sullen, moody, prone to challenging authority, traditional standards of taste and bad behavior and in possession of disposable income) formed as a problems. Books about horrible teenagers teenagers were bestsellers and J. Edgar Hoover thought juvenile delinquency was a greater threat to the nation than Communism. If juvenile delinquents were reading comic books then comic books were the enemy. The official reaction to a deviant social or cultural phenomenon – rock n roll, television, rap music, video games, the internet – is almost always out of all proportion to the actual threat offered, implying a periodic tendency towards the identification and scapegoating of agencies whose effects are regarded by hegemonic groups as indicative of imminent social breakdown.