culture – Paradise Circus

Staring Death in the Face: Danny Smith goes to find The Reaper, and have a word

Danny Smith — you know the guy, he writes eloquently grimy stuff about our city right here— was finding life hard, so he went across the world on a mission to find Death – and have a word.

In his new book Staring Death In The Face: Searching For The Reaper Across Mexico (which we’re publishing) he describes how he travelled to ancient temples, vibrant bustling markets, white sands, with weird tourists, and found a neon blur of excess searching for the Grim Reaper in Mexico during the famous Day Of The Dead Festival.

He tells of nights at Mexico’s famous luchador wrestling, lost passports and drug busts, and a near-death experience almost drowning when swimming alone.

Danny was lost, nearly forty, without his partner, and surrounded by bin bags full of his clothes in his parents’ spare room in Northfield: his thoughts turned to death.

If he’s got to start his life over, he thought, he may as well start at the end and work back. Find Death and become, if not friends, then at least on nodding terms. It’s not a good plan, but it’s the only one he’s got.

Danny decides to stalk Death to Mexico. Home of The Day Of The Dead Festival, Santa Muerte the patron saint of drug dealers and the dispossessed, and a bloody cartel drug war that’s been going since the 80s.

Read an exclusive extract here, and then buy the book in ebook or paperback:

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Solid Citizens – And Idiots Complaining About Papier Mache

Birmingham’s new motto seems to be ‘fuck it, put up a statute’. The latest is Tat Vision’s immortalisation of the ‘Four Lads in Jeans’ outside All Bar One. Tim Mobbs is ready to defend it with his life and discovers a new awful discourse at Grand Central.

At the dawn of the 2010’s, I was in my early twenties and knocking out 80,000 word dissertations and contributing bits of writing towards various music publications on the internet. Even back then, over a decade ago I knew that the idea of pursuing journalism, or indeed writing longform in exchange for money, was about as far-fetched as becoming a pop star. Like the music industry, it was obvious that the trade (or at least the idea of it being an accessible career path) was dying, if not dead already.

Even after the Brexit referendum, when half of the population seemingly snorted cocaine off of a toilet in Wetherspoons and the other half smoked the kind of weed that makes you think writing “cockwomble!” on a protest banner is both hilarious and worthwhile activism, writing about anything seemed futile. Everything was too nuanced, people’s attention spans were too short and nothing seemed like it was worth fighting for. That was until I saw local artist Tat Vision’s statue, Four Lads in Jeans, unveiled at Grand Central. Or, more accurately, when I saw the online response to it.

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Too Much Monkey Business: The Return of Kong

Giant monsters are always analogies. Godzilla, in early incarnations at least, is agreed to be a 30 storeys high metaphor for Japan’s terror of the atomic age. Not just the destruction it could cause, but the ineffable effects of nature itself.

When King Kong first appeared in 1933 the story was worked on by Edgar Wallace, a writer who as a reporter had covered the Second Boer War and the atrocities committed by Belgium in the Congo. A liberal (capital L too, he stood for David Lloyd George’s party for parliament), he would have thought hard about the fear of Africa engendered in the European white working class. A fear that built the idea of racial differences in order to excuse the slavery and colonialization.

That othering would be crucial to ‘jungle pictures’ of the sort that were popular when RKO made the first Kong film, cinema providing new ways to exploit any cultural fears to make a buck. They did as much to promote the trope of the Great White Hunter as turn of the century literature had done, and the wildness those hunters faced would — perhaps subconsciously — reflect a fear of reprisals for the treatment of Africa.

Meanings evolve: Roland Emmerich’s 1998 Godzilla film seems less nuclear-scare than to reflect American nervousness in the face of increasing episodes of seemingly random terrorism — such as the Centennial Olympic Park pipe bomb a few years earlier — which conventional forces could not contain. Peter Jackson’s Kong is more about how much Peter Jackson loves the process of filmmaking that anything to do with monkeys, like much of his output.

But Kong had already had a re-invention: in Birmingham. In 1972 the Peter Stuyvesant Foundation commissioned the statue to sit in Manzoni Gardens. (Yes, it was cigarette marketing all along. But more darkly the company was named after Peter Stuyvesant, the last Dutch director-general of the colony of New Netherland, their colony on the east of the USA.) Nicolas Monro was one of the few pop artists working in sculpture, so taking the brief to make something ‘city orientated’ he chose King Kong because of its association with New York City and, he said, “for my own petty reasons”.

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Birmingham: It’s Not Shit – The Book – Buy Now

We all know that Birmingham isn’t shit. We’ve spent nearly 20 years telling people, showing the world, and often undermining our case. We lay out the ineffable reasons why we say ‘Birmingham: it’s not shit’ and attempt to eff it.

We’ve compiled 50 of the biggest things, places, people and feelings that delight us about the second city. Jon Bounds, Jon Hickman and Danny Smith will take you down Dale End and up The Ackers. If you want to find out more about Aston Villa’s sarcastic advertising hoarding, the Camp Hill Flyover, or even come with us on a journey up the M6 and find out why all of our hearts leap when we see Fort Dunlop, then come, meet us at the ramp.

Birmingham: It’s Not Shit — 50 Things That Delight About Brum

Foreword by Adrian Chiles, cover by Foka Wolf

Out Now, Buy Here >>

In praise of Brummagem: Home of the ancient street ballad

Jon Wilks has been our gateway in to realising that Birmingham has a folk song tradition that’s rich and varied. Jon says that he started writing about traditional folk music as a way to learn more about it, and he’s a fine interpreter of them too. His first LP of Midlands folk has been a firm favourite at Paradise Circus Towers, and not just for him inserting a reference to the Friday night trek from The Ship Ashore to Snobs in his version of I Can’t Find Brummagem.

Anyone who knows a bit about the history of Birmingham and the Midlands will be able to tell you a bit about car manufacturing, chain and nail making. It’s no coincidence that the region is so heavily related to heavy metal. But here’s a little-known fact. Long before Ozzy Osbourne showed up, Birmingham was known for manufacturing of a different kind. Songs were involved, and on an industrial scale, too.

According to the late, great Roy Palmer (a scholar of traditional music in the area), Birmingham was a major producer of street ballads. Sometimes known as broadsides or penny ballads, these were songs that were printed on single sheets of paper and sold on street corners. The seller would sing the song he was hawking, and if you liked the tune, you stopped by and bought one. Some were traditional folk songs with no clear origin, and some set contemporary news stories to music. Whatever the subject, Birmingham produced far more of these songs than you might think possible.

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Danny Smith: Inn Dependance day

A pint without the boys in a pub full of not much noise because loudness increases the chances of shouting and more droplets of virus in the air. Is that living alright? We send Danny Smith, the canary in our covid coal mine, into town as pubs open their doors for the first time in god knows how long. Will he get irate about the R-rate?

I’m in a Wetherspoons and things are not going well. In the Before Times being in a Wetherspoons was usually a pretty good indicator of how well things were going in general. The binary state of being in or out of a Wetherspoons nearly always correlates to ‘not so great’ and ‘going well’. But now, on this historic day? It’s both a historic and personal failure – and there’s a sheet of paper here with evidence.

To be honest it didn’t start well. I was dropped off on the Smallbrook Queensway and the first thing I see is Snobs with its windows boarded up*. It’s a sobering sight – literally – but also like the ravens of the Tower of London, if Snobs ever closes for good Birmingham falls. There is no reopening sign on the boards, just a note directing deliveries to next door.

Heading south I see the Old Fox has had a refurbishment and somehow earnt the qualifier “sly” into its name. It’s closed too, which is probably how it earned its new name. Opposite, the Hippodrome lies dormant. Stripped of the livery of show posters and lights it looks corporate and dead. As I write this the entertainment industry has still yet to receive any support from the government despite it hugely important to both the financial and emotional well being of the country. Some cunts need their names up in lights so people know who’s to blame.

The Dragon Inn is a Wetherspoons and this early in the day I was reluctant to go in. I’m here in town to cover the opening of Birmingham pubs after over 100 days closed, the longest enforced closing of public houses in this country since, well, ever. Given, the founder of The Wetherspoons chain, Tim Martin’s close ties to the government and headlines at the start of the lockdown, it’d be impossible to talk about pubs reopening without going to one, but not my first one, and not here. Before it was a ‘spoons, the Dragon Inn was an O’Neill’s, an O’Neill’s I worked at four two years before it closed. I worked the last shift: good memories dust my mind like fresh snow and are too dear to me to sully them with that ruddy faced scarecrow’s dirt wellingtons.

The bars in the Arcadian are all closed and my thoughts flash to all the lower division footballers and dental technicians sitting at home on Saturday night bereft of places to sell them mid-range wine and forgettable cocktails.

OK, I thought, I’ll start at the Bull Ring Tavern, a place notorious for being where nights end, not start. Often maligned for the perceived quality of its patrons, I’ve always found it nothing if not friendly. And the clientele is self editing: the sort of person that drinks there is the sort of person that doesn’t care about what type of person people think drink there (if you see what I mean). So it’s devoid of lower tier footballers and dental technicians.

As I get close a woman with a high ponytail, smoking over the top of a disposable face-mask, dramatically sidesteps in front of the door: “We’re full love” she says, and I become the only person in history to be knocked back from The Bull Ring Tavern**.

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Paradise Circus Live – full live show

Like an old Monty Python cash-in LP: for lockdown listening the full live show the Paradise Circus troupe did at the mac a little while back. 90 mins of hyperlocal satire now available to listen to in your home.

If you enjoy it, please bung a little something to Brum Baby Bank. Oh, and you can buy our book, which has more of (in some cases exactly) the same.

Paradise Circus Live is old fashioned revue with a local twist – a host of satirical sketches, stand-up, songs, games and monologues. Jon Bounds and Jon Hickman bring a version of their popular Birmingham miscellany, Paradise Circus, to the stage with biting satire of the media and Birmingham itself — all refracted through a thick lens of Marxist critical theory. It’s funnier than it sounds. Hickman is not from round these parts and Bounds will take him through what it really means to understand Birmingham.

Learn just how to be a local Breakfast Show DJ, what happens at a Birmingham City Council meeting about promoting the latest Big Plan, and how to write a broadsheet article about Birmingham in an editorial meeting down in that London. Help us to find King Kong, discover who won the 1972 Snooker World Championship (which was played 60ft underneath the BT Tower) and work out how much the Council has paid to Capita during a stirring rendition of Mr Blue Sky.

Mark Steadman is at the piano with comedy songs like his famous 11 Bus song which mentions all of the 280 stops in order (11A of course). We may even end on some ELOke.

Paradise Circus Live may finally prove that Birmingham is not shit, or die on stage trying.

Listen now:

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Rebound

At school, that term, or at least that week, the obsession was small rubber balls, an inch across and patterned with a muted tie-dye, with a thin piece of elastic through them which was tied to a plastic ring. The elastic stretched around – I’m now guessing – six to ten feet, the balls were very bouncy.

No-one ever took toys to school, I don’t know if they weren’t allowed, but it didn’t happen. Once a kid brought a Beano in and there was a whole line of nine year-olds sitting on the brick line at the edge between the playground and the grass looking over their shoulder. We mainly played games that involved running, in different combinations. It wasn’t until I moved from the Churchill Road ‘annex’ to the big school up the road that we played football. And even then it was football if we had a ball, football with a can, or a stone, or sometimes even just our minds. Sometimes if there was nothing round ‘stick rugby’ was the game. Stick rugby was just throwing a stick around and running into people: none of us knew the rules of rugby.

The balls, were a break with the tradition of aimless games of tig and tag, or kiss chase. They were sold in the shop at the top of the road our school was on, on the corner with Hamstead Road, a old mock-Tudor house with only the front parlour space open as a shop. Ice cream freezers outside in the summer and metallic plates advertising the Evening Mail covered in a wide mesh to hold the days headlines.

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The Wall in the Head

Christopher Bealand’s new novel is out this week, it’s ‘a black comedy about love, loss, the death of dreams, failure, bad TV, bad jokes, brutalist buildings. And Birmingham.’ And we have an extract so you can see that for yourself…

“Belinda the main, but absent, character in The Wall in the Head says she has written a book about ”love and architecture” and this too is a book about love and a book about architecture – or at least our relationships to them both. More than that it’s a book about our connections to place and people, and how they shape our feelings and actions.

“It’s a love letter to brutalist buildings and the sheer hope for humanity with which they were built, it’s a love letter to the places that are left behind by trends and culture and Birmingham as a prime example of that. It’s also a love letter to the idea of love and laughter but far more classy than those words painted onto the living room wall of your new city centre flat.

“Christopher Beanland has written an incredibly funny and moving book set in a decaying version of our past hopes, and you’d be a fool to miss it.”

Jon Bounds

Buy The Wall in the Head here.

The Wall in the Head by Chistopher Beanland – Chapter Two

I yanked the fridge door and it opened with a surprised gasp. Inside, a fragile light flickered in the dark. The fridge was empty, wiped, it stank of surgery – I’d cleared it out this morning in anticipation of my death. I didn’t want to seem like a monster – no one needs the spike of rotting food in their nostrils when they’re clearing out a dead bloke’s house.

I went upstairs to my desk, looked out of the window at the caramel street lights of Moseley, at the trees swaying back and forth in the high winds. I flicked on the computer and started writing about what I’d done tonight, but the words didn’t come easily. Words hadn’t come easily since Belinda had to ruin everything. When I could manage no more I lay down on the bed, staring at the ceiling. Sleep hadn’t come easily either, but tonight it ate me up. The duvet enveloped me; my eyelids slid shut like they were greased. I succumbed to the darkness and the solitude it promised.

*

This is a dream:

I can see. I’m part of the world I’m seeing – I’m participating, not just observing. I look down and I see hands. I twist them around, tensing and flexing. I’m alive, alright. It’s Birmingham. I’m watching a blonde-haired woman sleep. She’s lying on a bed in the middle of a roundabout overlooked by two tower blocks. It’s daytime but there’s no one else around. Just her. She’s dozing peacefully, curled into a ball, with golden locks falling across a face painted with a honey glow of serenity. I don’t think it’s Belinda. I think it’s someone else. I’m not sure. I wouldn’t put a bet on who it was – I can’t see well enough. It’s a dream; things are a bit fuzzy, misleading. It’s like watching through cataracts. I turn around and I see a new scene. A skyscraper stretching upwards into the sky like a sentinel. It’s made from concrete; its hue is deep grey, with jagged lines running up and down it, and different-sized blocks around the bottom. The Mids TV HQ. The studios and the bar at the bottom, the office tower stretching upwards. The office tower I just jumped off. Tension, fizzing, refracted sunlight, pickled emotions, streetscapes grey and green, no people, bridges red and brown, a heartbeat jumping, my heartbeat jumping. The same blonde woman is sleeping on the same bed below; she wakes and points up to the Mids TV Tower. Next scene. A thinner tower without windows – the BT Tower. The blonde woman is standing by it, wearing a knowing expression, looking a little like a witty English teacher? I turn a final time. One more scene. The same woman on a bed in the middle of an open-topped atrium space. There’s nothing surrounding us at ground level apart from twelve slender pillars. Above about the third storey there are concrete sides of a box with windows facing inwards to create a courtyard – but the roof is open and sunlight falls in like it’s being shovelled down onto us by a giant gardener. The woman wakes up, stretches her arms and sits up on the bed. She lights a fag. She turns and swings her legs down over the edge of the bed. Her face. A sudden crash-zoom in on her face. She looks at me, helplessly. She stares right into my eyes. Her mouth doesn’t move – but this sound comes out of it: ‘Donald.’ There’s a drummer in my chest, hitting so hard I can hardly concentrate.

*

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Non-uniform day

School uniforms are odd, especially for teenagers. You take the group that are producing the largest smells and the greatest number of secretions and you develop a system where they wear the same clothes every day. Shirts for two days, unless you spill something, trousers all week, blazers for a least a year. Dry clean only.

But non-uniform days are worse.

As a teenager, my eyes swelled with frustration as I didn’t know what ‘Gallini’ was, nor why everyone would be wearing it tomorrow. Without the internet, and Tower Hill library was no help on this, how would I have known?

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