FryingPanFire

Up to 26 Indian cotton farmers a day commit suicide by drinking pesticides to kill themselves out of debt.
This taster is for Dirty White Gold, a film by Leah Borromeo about cotton, chemicals and consumerism’s real casualties.
When you bag a bargain, who pays for it?

CREDITS
Director, Producer, Presenter, Camera: Leah Borromeo
Executive Producer: Claire Lewis
Editor: Katrin Maria Escay
Music and Colour Grade: Moshe Ladanga

This clip was submitted to Sheffield Documentary Festival’s Meet Market forum.

Interesting perspective from Chommo’s own backyard. Goes into the ideas of how an institution like MIT could, on one hand, provide the brains to progress the freeing up of information and, on the other, be the same force that funds the brains to create new and more efficient ways of killing people.

Read here.

The Crown Prosecution Service has said there is no charge to answer in the case of a newspaper vendor who died during the G20 protests in London. So the police culture of impunity continues.

The police officer filmed pushing Ian Tomlinson to the ground will not face criminal charges, the Crown Prosecution Service said today.

The director of public prosecutions, Keir Starmer QC, announced this morning that the officer — called PC ‘A’ — shown here pushing the 47-year-old former newspaper vendor to the ground at the 2009 G20 demonstrations in London, has no case to answer.

PC ‘A’ can be seen hitting Tomlinson with a baton and pushing him over at the South end of the Royal Exchange Buildings in the City of London. Demonstrators helped Tomlinson up and he is later seen staggering down the road. He later collapsed outside 77 Cornhill and died from internal bleeding. Evidence compiled using photographs and video readily available on the internet and via news organisations showed that not only were police not attacked by protestors as they sought to give Tomlinson first aid (as had been claimed), but that their phalanx-like lines of officers may have prevented an ambulance from reaching Tomlinson sooner.

The Independent Police Complaints Commission was late in launching an inquiry into the death, claiming there was nothing suspicious about it. Only the release of footage of the incident by the Guardian and Channel 4 News a week later changed their minds. The IPCC submitted its findings four months after Tomlinson’s death. Its initial post mortem stated that he died of a heart attack. A second investigation by the IPCC concluded that he died of internal bleeding.

It took 15 months for the CPS to come to a decision about whether to charge the officer, a member of the Territorial Support Group, with manslaughter. The deadline to charge him with common assault has long passed.

In a statement released this morning, the CPS says it will “not be able to prove beyond reasonable doubt that Mr. Tomlinson’s death was caused by PC ‘A’ pushing him to the ground. That being the case, there is no realistic prospect of a conviction for unlawful act manslaughter. It also follows that there is also no realistic prospect of a conviction for assault occasioning actual bodily harm or misconduct in public office.”

The Guardian’s Paul Lewis, who won praise for his coverage of the incident, said: “Knowing the Ian Tomlinson case inside-out, I am shocked. Manslaughter was a tough call, but no charge at all? Not misconduct?”

The Tomlinson family who were in attendance at today’s decision along with PC ‘A’, claim the investigation was a cover-up. With Keir Starmer calling the events leading to Tomlinson’s death an “alleged assault” [despite clear evidence that Tomlinson was not only hit but pushed hard in the back], no one is surprised that PC ‘A’ was let off. But to not face any form of disciplinary action?

There’s a chant on the streets when demonstrators have a grudge against the police. It goes “no justice, no peace, fuck the police”. Today it is “no justice, no peace, we are the police.”

Download a timeline of the events on the day of Ian Tomlinson’s death.

===

This article was first published on the Index on Censorship, 22 July 2010.

…for the Index on Censorship.

They recently had Sir Tom Stoppard and the Belarus Free Theatre on at the Free Word Centre.

Nick Cohen wrote a smashing review in the Guardian about how to make a drama out of a crisis.

Belarus is possibly Europe’s last dictatorship where freedom of speech and expression are, to state the bleeding obvious, non-existent. We can whinge about media bias and BBC censorship or other indulgent bullshit that may or may not affect our mortgage prices. But if I make sweeping criticisms of government or take a detailed bash at our police, I do not have to wait for the knock on my door. Nor do I have to watch my mobile phone conversations, vary my journey to work or learn how to lose people who are tailing me. All because I want to tell a story that needs to be told.

There’s a lot UK activists can learn from people like BFT’s Natalia Koliada – the main one being to stop ratcheting up your suffering under the unjust hands of the state. When you don’t know where your friend’s body has been buried because he popped round yours for a chat about life, the universe and everything, then come back to me. The next time you feel compelled to whine about having your ‘cover blown’ as you were trying to D-lock yourself to a bank, have a little whine. Then shut up, stop focusing on your suffering and look at the wider picture. The states and systems that need addressing, the truth that needs to be spoken to power.

Right. End of self-righteous bitch. Here are the videos.

The interns filmed them. I corrected exposure, cut them down yadda yadda.

Home Secretary Theresa May is to halt searches of individuals without reasonable suspicion after the European Court of Human Rights rules the power unlawful.

The controversial use of Section 44 of the Terrorism Act 2000 is to be scrapped immediately, Home Secretary Theresa May has said.

In a speech to the House of Commons, May cited a European Court of Human Rights judgment that stop and search powers granted under Section 44 were illegal and equal a violation of the right to a private life. The court stated that powers were “drawn too broadly — at the time of their initial authorisation and when they are used. It also found that the powers contain insufficient safeguards to protect civil liberties.”

May went on to say that the government cannot appeal the ECHR’s judgment — nor would they have done had they been able to.

Shadow Home Secretary Alan Johnson criticised the government’s decision, stating that the decision in Strasbourg was based on how stop and search was used “some years ago” and that the use of Section 44 had “dropped considerably over the last two years”.

May says that after seeking urgent legal advice and consulted police forces she would be “introducing a new suspicion threshold”. Instead of “requiring a search to be ‘expedient’ for the prevention of terrorism” a search would have to be “necessary for that purpose”.

Officers will no longer be able to search individuals using Section 44 powers. Instead, they will have to rely on Section 43 powers – which require officers to reasonably suspect the person to be a terrorist.

Officers will only be able to use Section 44 in relation to the searches of vehicles and they will have to have “reasonable suspicion” to do so.

The case that brought Section 44 to this end was brought to the European court by journalist Pennie Quinton and student Kevin Gillan. They were stopped outside demonstrations at Defence Systems and Equipment International, the world’s largest arms fair held at the Excel Centre in East London.

The High Court and the Court of Appeal rejected Quinton and Gillan’s assertion that tactics under Section 44 were illegal, citing the threat of terrorism in London.

However, the ECHR declared it an unlawful violation of an individual’s right to privacy. Because the UK has signed up to the European court, decisions made by it are binding.

Pennie Quilton told Index on Censorship: “It’s the least Theresa May can do. Section 44 is a law that has been challenged and has been ruled out of order. This government has to make amendments to the law to stay in line with the ruling in Strasbourg. Something had to be done because the police said they weren’t going to change the way they operated despite the judgment.”

The Metropolitan police said that despite a ruling in January by the European court that deemed Section 44 unlawful, they would continue using it as its decision was being appealed.

Jo Glanville, editor of Index on Censorship commented: “Stop and search under section 44 was widely used against individuals exercising their legitimate right to protest. It has been one of the most notorious and frequent abuses of free speech over the past decade. The Strasbourg ruling is an important landmark and I’m delighted that the government is scrapping the use of these powers.”

=====

This article was originally published in the Index on Censorship, 08 July 2010.

BSkyB has rejected a takeover bid from its sister company News Corp, the beast that owns News International. In the eyes of the general public, this media clustershag is commonly referred to as Murdoch. Specifically, its patriarch Rupert Murdoch. If a takeover became reality, what would the future of Sky’s television news be?

Learning Mandarin Chinese is easier than working out the finer threads of the News Corp/Shine Group/BSkyB/News International tapestry. The basics are that they are linked via a network of relatives and close friends last seen in the days of the Hapsburgs. To avoid treading on the world’s anti-monopoly laws, they’ve carefully divided control of each unit.

We’re all too aware of the monopoly of one Sergio Berlusconi. Murdoch the Elder is not doing a large-scale version of Italian media. Under Berlusconi, everything from newspapers, magazines and television is dictated by one man whose sole purpose is to hang on to power and escape prosecution for dodgy dealings. Murdoch is a businessman addicted to acquisition – he has a typical collectors mentality of wanting to have everything with little regard for the consequence. Being able to pull the puppet strings of business and government is one of the benefits of his unique position…but it is not his drive.

Life under Murdoch, at least my erstwhile parish Sky News, is not the plot to Tomorrow Never Dies. Rupert does not have a secret phone to editorial footsoldiers on newsdesks. When I was on the foreign desk, producers invoked the muscle of John Ryley, Head of News, when they were trying to swing the editorial eye. “John’s very keen” is a line often heard. Clever editors rebut with “let’s give him a call”.

Critics of Murdoch bias will invariably bring up the Adam Boulton and Kay Burley affairs during the last General Election. Casting personal opinion of these strong-willed stakeholders aside, let us look at the facts.

In Adam’s case, as Political Editor he was the pivot point for Sky’s election coverage. He is also a workaholic who hadn’t slept for days. When pitted against the stable and calm winds of Alaistair Campbell, Adam buckled. A moment of abandon – to be seen by all on YouTube.

In Kay’s position, a gaggle of demonstrators took advantage of Sky News having an open broadcasting stage as opposed to the BBC’s enclosed one. It’s like offering a crowd a large screen and a live Twitter feed. Someone is going to abuse it for a laugh.

Gaza, the Israeli raids on it and Sky News’ refusal to run the subsequent DEC Appeal is the only time I truly felt a corporate hand muzzling the mouth. And that on the day both the BBC and Sky said they would not be running the appeal, Sky News correspondent Emma Hurd opened a news item with a wide shot of the Gaza Strip and the line “this is the scene of a war crime”.

Should a takeover occur, broadcasting standards aren’t what journos at Osterley will be worried about. They’ll wonder if they’ll still have their jobs. As the axes fall, hacks will keep their heads down, produce the breaking news they’re so good at and pray they’re not next for the chop. Emails will be sent about how to cover stories on the cheap, deals and alliances with sister broadcasters will be forged to pool manpower. Quality of content won’t matter as much as appearing to tick the right boxes. Fear is a good way of keeping the rats in the hold.

Arguments against a Murdoch monopoly are usually based on events in print. Sky News knows it can’t get away with blanket bias on air. They can’t declare an allegiance to a political party like their ink-stained counterparts. Actions are watched closely by Ofcom and if one side of an issue appears to be getting too much air time, balance is restored one way or another.

Because television is not “self-regulating”, quality and content are dictated by public interest – or an editor’s perception of it. It’s hard to break truly original journalism in broadcast because editors closely monitor their competitors to see what they’re running – and run that. The process becomes a mobius strip of information dependent on precedence of events.

What I am worried about is what will happen elsewhere. Business-wise, a monopoly like that planned should a takeover occur is frightening…it will send shockwaves into other industries – healthcare, property, construction, natural resources. That’s what we should really be concerned about.

======

This article was originally published on the Index on Censorship, 17 June 2010, and in a different version on The Comment Factory.

The problem with filling out so many application forms for funding, placements, new livers… are the questions you have to answer. How does one eke out money for old rope – or worse, how do you feign insightful replies in approximately 200 words?

Here are a couple questions I’ve had to answer recently…along with the answers.

Which TV programme has been the most innovative over the last year and why? * (Max 200 words)
Newswipe. Through the laconic sarcasm of Charlie Brooker, BBC4 have tapped into the sort of demographic that reads Private Eye, claims to have read Shakespeare and secretly dances to Baccara.
Brilliant in its use of news archive, it jump cuts its way through the haze. Most Britons have no clue that a good number of the reporters giving them their news gleaned their information from press releases, newswires, the BBC News website and Wikipedia. Ten minutes before broadcast. Fewer still know that some news presenters are little more than bedtime story readers who ply their trade with autocue – the clever questions they ask are bellowed down their ear by an anonymous gallery producer.
Newswipe unashamedly bares these truths. It’s Private Eye for telly.
Brooker’s editorial combs through the news and uses facts and deeds to trip The Man up. Televisual aikido.
Brooker takes us on a journey. On his sweaty sofa we see a man who is as baffled with how the world works as we are. The sort of chap you’d have on your pub quiz team.
It’s infuriatingly perceptive. Newswipe cuts through bullshit in a way that makes you think “I wish I said that.”

In your view, what should be the top priority in media policy for the new Culture Secretary? Why is it such a top priority? (Max 300 words)
Jeremy Hunt’s priority ought to be encouraging quality local content – not just formats that can be replicated and readily sold on to television markets around the world [talent show TV, I'm talking to you]. He’s stated in his keynote speech that he not only intends to push superfast broadband across the UK, but to accept Ofcom’s recommendation on reforming local media ownership rules. He will “significantly relax” rules to allow local newspapers to own local commercial radio stations and establish local TV stations.
A important idea that aims to strengthen “local communities”. He’s even hired an asset management firm to publish a report in the autumn. But Hunt forgets that the internet has remapped the idea of the local. It’s no longer a geographic measure, but an interest-based one.
“New York has six local TV stations, London has none,” Hunt says. But what can a local television station achieve that neighbourhood-centric blogs given more bandwidth or a newspaper tie-in can’t? The push to digital has already killed appointment to view television. Neighbourhood-centric and interest-based new media is where extra revenue should go because the content structure is already established. Blogs like Brockley Central already have a following. Trying to manufacture a local feel by allowing local newspapers to run mini media fiefdoms can only lead to the sort of contrived quality last seen on Ghanian talk shows shot on VHS.
The DCMS should press on with pushing for more local media, local TV stations, local radio, local everything. But if this government wants to “repair broken Britain” and encourage local communities to communicate, they should look beyond the box.

=====

Thousands of people across Britain have been stopped and searched illegally by police using Section 44 of the Terrorism Act 2000, the Home Office has revealed.

One of the most flagrant of these illegal uses was in London in April 2004, involving 840 people.

Fourteen police forces in the UK including the Metropolitan Police, City Police and Thames Valley misused powers on 40 separate occasions between 2001 and 2008. The Home Office said a number of “administrative errors” led to police chiefs not getting the proper authorisation to carry out searches. The Act allows officers to stop and search people without having any “reasonable suspicion” they are about to or intend to commit an act of terrorism.

The errors involve paperwork. Someone didn’t sign something or fill in the right bit. The errors came to light after the Metropolitan Police had to dig around its archive thanks to a Freedom of Information request.

If you define terrorism as the systematic use of violence and intimidation to achieve a goal, then you can make that definition fit police actions whenever they invoke Section 44. The European Court of Human Rights ruled the blanket use of Section 44 across London was unlawful. The law is too loose and open to abuse.

Home Office admission to the illegality of stops and searches under Section 44 does not mean a government admission to the illegality and inhumanity of that very act. Messing up on an administrative level only means that police forces around the country will tighten up their bookkeeping. It does not mean they will cease stopping and searching members of the public they arbitrarily deem a threat to the status quo.

It doesn’t take guts to question what a police officer is doing to you once he invokes Section 44. It takes knowledge.

So what can you do?

• You do not have to give your name and address or explain why you are where you are. You can’t run off, but you can go limp and stay silent.

=====
This article was originally published on the Index on Censorship, 10 June 2010 and subsequently republished on The Comment Factory.

For Sale. One Space Hijackers Tank. Last seen 01 April 2009 – at London’s G20 demonstrations – steaming down Bishopsgate with Wagner’s Ride of the Valkyries blaring from its soundsystem. 11 careful owners all registered on the DNA database. Many of us popped our arrest cherry that day.

Our mobile oppression palace was bedecked in blue paint and chequered livery. It was adorned with fake CCTV cameras, a gun made from plastic piping and a bumper sticker reading, “How’s My Driving? 0800 FUCK YOU”.

We were all, apart from three of the bicycle outriders, wearing blue boiler suits. We were all, apart from three, arrested on two counts of impersonating police officers. In the run up to the G20 demonstrations, Metropolitan and City Police were briefing that they were “up for it”. National media were doing their best parroting by ramping up the anticipation of expected violence. Depending on which news source you consumed, London was either going back to 1917 Russia or was going to burn like Rome.

As it happened, 36 people were charged for offences ranging from arson [fire in a bin] to assault and violent disorder. Eleven, nearly a third, of that number, were a motley crew of students, performance artists and media tarts known as the Space Hijackers. They had a tank called FREDom that may have caused a bit of a stir should it have been allowed to join the thousands of demonstrators in the City. On hindsight, a six-wheeled 8.5 tonne armoured behemoth crunching through London’s streets might’ve caused a hoo-hah. Especially because the master Hijacker plan was to drive around a bit, get a few photos taken, drive around a bit more, get more photos taken then fuck off to the pub. The arrest was a waste of good drinking time.

FREDom is a bit of a bastard. We once took him out to say farewell to the Chinese – then hosting the 2008 Olympics and thousands of prisoners of conscience within its Great Walls. London was holding a “handover party” in the East End – snatching at the baton of Olympiad glory Beijing and Athens had before them. It’s an expensive baton. Athens spent £9bn on their 2004 games. These days, its sites are derelict tributes to over-excitement. The Faliron complex is now home to squatter camps.

We brought FREDom out to welcome the impending chaos and tragedy the Olympic Games is set to bring to London. We took a page out of our friends in the Free Tibet movement and vowed to Free Hackney. Fred proved himself a formidable beast. His brakes failed and he crashed into a security van. Outside a Hackney street fair. There’s nothing like having to improvise a street show with an armoured personnel carrier in tow.

We originally bought FREDom to auction him off at DSEi. The Defence Systems and Equipment International is the world’s biggest arms fair and it’s held every two years at London’s Excel Centre. Everyone who is anyone in the war business is there. What better idea than to sell arms to arms dealers. If you can’t beat them, at least sell them slightly defunct military technology.

Word got out that the Space Hijackers were planning to buy a tank. A fundraising drive was held and thousands of pounds were raised until one day, a gaggle of Hijackers approached a man in a field.

“Would you like to sell us your tank?”

“Yes. And it’s an armoured personnel carrier.”

The police got wind of this and thought activists owning large articles of military equipment a little bit scary. The day we planned to take FRED out to play, a hundred or so police officers prevented him from even driving down the road. Luckily, we realised very early on that being clandestine with armoured vehicles would be difficult. One team of Hijackers stayed with Fred, the police and the media. The other team accompanied a second, hired, tank to the DSEi arms fair.

“They have a second tank.”

“What?”

“Two tanks.”

And Two Tanks Tuesday was born. Hijackers 1, Rozzers 0.

We suppose we’ve always been a little annoying to those trying to uphold law and order – we’ve been called the “laughing cavaliers of anti-capitalism”. No banners and shouting for us. Super Glue is something we use to build props, not as a means to attach ourselves to national institutions. ‘Proper’ activists can’t stand us either. We’ve been accused of merely throwing parties and fucking each other – of not being serious. But we are deadly serious. The issues that move us are the same issues that move anyone else fighting for social change. Our methods might come from the Dada end of the spectrum and we’re most probably drunk – but that doesn’t mean the shit that you give is bigger and better than the shit we give.

We will miss FREDom. But we need to move on. We’ve had our fun. We’re itching to take on more projects. But we’re not low-maintenance activists. We need money and FREDom is being sold for £7000. Failing gaining a wealthy benefactor who will fund us through our troublemaking, selling FRED is the best way we can see to keep on keeping on.

It’s been amazing being known as that mob with the tank. But we’ve got bigger projects – and one day we’ll be known as that mob what changed people’s attitudes to life.

===

This article was originally published on Don’t Panic, 01 June 2010.

Billboard vandal and drinker of tea Dr D plies his trade in a West London warehouse nestled in a landscape of railway lines, telephone poles and refrigerator graveyards.

When we meet, he is ankle deep in cut-out letters, spraymount and a scattering of UK election campaign propaganda. He’s recently finished a two-storey high paste up outside Shoreditch’s Cordy House in support of the Robin Hood Tax – a simple suggestion whereby .05% of profits made by big business gets allocated to social services and charities. To erect the behemoth on brick, it took one scissor-lift, twelve hours and a sea of paper and paste.

“So this is where the magic happens?” I ask.

“Hardly. I don’t really work like that.”

Known for altering a billboard of Amy Winehouse with the words “I hear Duffy’s selling coke” and likening Tony Blair to Darth Vader this most unlikely graffito is unconvinced of his status as a street artist.

“Artists lock themselves up in studios and create something from nothing. I drive past a billboard and think up gag lines. I have a quiet chuckle and I come here and knock something up”.

It doesn’t take long.

“I drove past a nice low billboard advertising the UK Independence Party on the M4. I got some paint and parked up a lay-by. Walked – in the rain – and painted ‘Kilroy Silk Woz Ere’ then fucked off.”

You can probably see it as you land at Heathrow.

“I work on my own. So I’m carting along ladders, buckets, paper, everything. And a camera. It’s not that I don’t have any friends – though that’s true too. Just that nobody I know fancies heading out at three in the morning in the London piss to put posters up.”

My first encounter with Dr D was thru an East End billboard reading “HMP London / Open Prison / I.D. must be carried at all times”. At the top right third was “dr.d”. Being an anorak of the vandal variety, seeing someone new sparks the curiosity. Seeing someone good sparks inspiration.

There were rumours. Questions over Dr.D’s identity, gender, even whether Dr.D was a group or an individual. The same sort of buzz that surrounds any really successful vandal who hides under a pseudonym. But Dr. D was no Banksy. There wasn’t a constructed mystery wrapped up in a commercial venture. You had billboards, and you had the occasional poster knocked up for sale for a tenner at a group show. Whoever Dr. D was, they or he weren’t in it for fame or money.

I found more and more billboards doctored with a laconic back-of-the-class-with-a-peashooter wit. Evening Standard street displays that weren’t all they seemed. The Olympic rings with blood spattered on them reading “Made in China”. Police adverts changed from “Make a Visible Difference” to “Make a Risible Difference”. Dr.D was tipping the axis of how I viewed the streets of London by a few degrees. His humour was no different to me scrawling on toilet doors but D was scrawling on the walls of a bigger bog.

This glue-stained scarlet pimpernel is, in my eyes, delivering overtly political messages with the aim of encouraging people who see his work to rethink their socio-political spaces. He’s less convinced.

“You say it’s political, but I’d rather let the paper do the talking. I’m more of a piss-taker and a chancer. Politics and politicians are asking for it. They spend thousands on campaign posters begging for votes to get a job in Parliament. But they way they put themselves forward is totally laughable.”

The last time he was caught by the long arm of the law, he was customising a then-new David Cameron “Year for Change” poster.

“Must’ve been a pretty sharp copper because I was there in full hi-vis, all the kit and all the gear to make it look as if I’d been working. But he obviously spotted something that wasn’t right – the fact that that poster had been up for a few days. He came over, had a word and well… most of what I was trying to put up is in that pile over there.” He indicates towards a smattering of letters on a counter.

When he’s not covered in paper and glue, slipping under police radar he’s “a rat catcher. And if you bought any burgers out of a burger van in the East End in the mid-90s, you probably bought them off me. Not that the rats or burgers are connected.”

I tell him that he doesn’t make life easy for himself. Is there a Mrs. D? “Who’s to say I’m not Mrs. D?” And where did the name come from? “It’s an old DJ name. Works nicely these days because Dr. D can also scan as ‘doctored’.”

I’m taken to an alleyway behind his surgery. Stencils litter the earth floor and he picks up one of a cut-out man like the ones you see indicating the men’s loos. Beneath are the letters WC.

“It’s World Corruption. I put a few of these up in the Foundry toilets in Old Street on copies of the Financial Times. I’m experimenting a bit more with stencil and lettering. My dad was a typesetter so I suppose that’s where my obsession with letters comes from. Oh…and an old art teacher knocked my grade down when I made a piece that spelled “magic” with a “k”. The national curriculum in this country seems to say that you can’t make good art unless it’s spelled right.”

He’s reluctant to push himself as ‘the next big thing’ but walks about his studio with a quiet confidence. He makes good work that makes people laugh…and then think. As unassumingly humble as he is, he says the best feeling is when artists say he’s done something that’s influenced them.

“I find it weird when I’m asked where I think my art will go because I don’t see myself as an artist. I wish I was. I wish I could paint and draw freehand but I can’t – the closest I’ve been to being an artist is living in a squat with artists.

I got into paste-ups after reading Naomi Klein’s No Logo and was shown the work that Ron English does with pop culture and billboards. Those two ideas came together and Dr. D was born – it’s a low skill way of expressing myself. Nobody else does it like me because it’s stupidly complicated, hugely inconvenient and a ball-ache. It’s a long way to go for a bit of a chuckle.

What I do is a problem-solving exercise that comes out of pragmatic laziness. How can I adapt a board to say something in the easiest possible way? The logistics is what influences how the final piece looks.

What makes me different is not just the scale of what I do but the fact that it’s not my job. We all know artists who are under personal pressure to create, to come up with something new. They spend hours crafting, devising et cetera. I don’t. I see a billboard and think of ways of making it funny. Or I pick up on funny things my friends say.”

Dr. D’s stock in the street art world seems to have risen. In reputation at least. One of the outfits he works with recently told me that D is their “golden boy…does the best stuff around.” Asked about this, the doctor hesitates.

“Sometimes I wish the guys who could paint, the ones I’m secretly jealous of, had more of a message that comes out in their work. Arty people are so…arty. I’ve hung shows where guys would turn up and not even have a screwdriver.

And a lot of street art people don’t really get what I do. I know I’ll never sell huge amounts and most of my work is off the streets within weeks. And it’s big so you can’t nick it. That makes me a non-commodity. I don’t push to sell limited edition canvases or prints because that’s not really what I’m about.

I think like an ad-man but I’m not promoting a product, I’m working for my own ends. And often times it’s just so I can drive past a board I’ve done and smile to myself.”

Most of what I have written is true. But I have changed some details to ensure the good doctor’s work can continue. The messages, the jokes, the subversion – all of that will stop if I let my lips loose. The need to keep D as anonymous as possible is greater than any truth I can offer you. As of now, the doctor is in.

===

This article was originally published in Who’s Jack Magazine, June 2010.