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  • davidwills 1:28 am on July 9, 2011 Permalink | Reply
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    Many of Colin Fulcher’s (AKA Barney Bubblles) album covers to be seen 

    I just found this
    Which means it’s probably been around a while. ‘Tis a view of much of the Colin Fucher (AKA Barney Bubbles) ouvre, I could correct one or two things in the biography, but a it’s good show and worth a visit.
  • davidwills 2:36 am on July 6, 2011 Permalink | Reply
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    Masie P does Bengali in Whitton on a visit to Colin Fulcher’s home town haunts 

    Masie P. writes: I had a brief stay back in Twickenham last week and had yet another culinary delight from Whitton High Street.  A new Bengali restaurant has opened where the John Greigs store used to be.  It’s in the style of Southall High Street eateries, but a little more refined than the stand-up takeaway.  It is of course, completely vegetarian and non-alcoholic and the food comes in pantechnicon-sized containers and costs pennies.
    I took my son and eldest grand-daughter for a birthday treat… eight…  and the waiter was amazed that such a wee child was relishing the chillies in the dhosa.  Takes after her Nanna. 🙂
    Been painting blue angels all week…  I seem to have a comic-book streak hidden away in me somewhere, that keeps making a break for it.
  • davidwills 2:56 pm on January 9, 2010 Permalink | Reply
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    Invite to the Sounds Good Evening and more about the Perkinjean hallucination giro 

    Just came across these in the ol’ box o’ trix. This is the 1967 invitation to the ‘Sounds good evening’ (my words) a multi-dimensional extra-mural feast for all, including students from Twickenham art-school that Barney Burge and I concocted. The letterhead was designed by Barney and printed at Terrence Conran’s expense. This is a very rare, maybe the only(?) instance of a ‘Colin Fulcher’ credit.

    And here I reproduce the crib that Barney used for the Blockhead’s logo (197?). It is from, if I recall correctly, a rad book publishing house of the 30’s. Barney’s inspired version below..


    Photograph by David Wills Copyright! 2010 Barney the film director in action (1967) with his trusty super eight film movie camera on which he shot the world’s first made for TV music ‘video.’ He is looking through the view finder of my twin lens Yashica.

    Warning: Use of the Perkingean pattern assembly rotating giro (mentioned previously in this series of posts) can cause epileptic seizures and may result in irreparable harm if practiced in unsafe conditions such as a cliff edge

    Over at http://www.livescience.com/strangenews/081123-hallucinations.html you may see on this site excellent science gossip, it’s a place of transcendent know-it-alls – and where you may find wise words about the Perkinge effect. For instance, Patrizia Broghammer and Hermes Trismegistus both wrote on the subject. Thanks to them both and their host Live Science, for allowing me, in another dimension, the permission to quote you in full:

    Patrizia Broghammer says: “I think I have a simpler explanation of hallucinations.

    I do not agree that they are “located in the world around us, not in the mind’s eye”.

    It is exactly the opposite.

    Assuming that we do not see the world, but we see the world reflected by our eyes (in fact just consider how much sharper a vision is with glasses and how different reality can look seen under the lenses of a microscope) hallucinations are nothing else than a distorted transmission of what our eyes see or our ears hear or what our nose smells.

    If you send to the brain stimulus in a different way or if you distort the way stimulus are sent, you have hallucinations.

    You look at the same thing, but the conditions and the transmission of what you see is different.

    The same can happen without hallucinations, just with the brain conditioned by what we read or know.

    How much different a music sounds to our ears when we know it, or a painting looks when we actually are explained about it.”

    And HermesTrismegistus wrote:

    “ …  The idea that hallucinations are manifestations of extra-dimensional perception isn’t all that new, and one I agree with to a large extent.  Leary based a large portion of his research on a very similar premise.  Perception is an odd thing.  What’s labeled “real” and “hallucination” is largely subject to what the majority perceives.  There is no absolute way to define reality simply because those definitions of perception are themselves a product of individual perception.  Who’s to say those defining what is real and what isn’t aren’t hallucinating?  Delusions, when labeled “reality” by the majority, become so because people perceive them as such.”

    • rebecca and mike 9:56 am on January 10, 2010 Permalink | Reply

      it was very nice to see the A1 Good Guyz letterpaper make an appearance here… there are just a few other times you see a ‘Colin Fulcher’ credit in print, and those few times are usually in relation to his Conran work, but yes, certainly much rarer than his later ‘Barney Bubbles’ credit (which wasn’t exactly plentiful either!).

  • davidwills 1:18 am on December 4, 2009 Permalink
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    The ‘Sounds good evening’ 

    Photograph by David Wills Copyright 2011.

    Here the jolly fun at Leigh Court is captured during the Sounds Good Evening in 1967 in a photograph by me. Various folk are recognizable, but many of the names are a part of history that escapes me. Lower right is Jenny, the football (soccer) poet, Crispin’s amour.  Jenny and Crispin are still an item, living in Spain I think. No doubt some of these good people will bless us with their mems of the occasion. More than that I’m lothe to conjecture, maybe more words will come as I sleep on it. Was that a good time or what? This was the time we lined the flat in plastic to avoid a repeat of the flying pastry dough on the carpet. It was the primer for all parties that followed.

    It is an irrefutable fact, acknowledged by all, that the future Right Honorable Lady Wordsworth, with or without spectacles, is nowhere to be seen in this assembly.

    • Michel 2:05 am on March 8, 2011 Permalink

      The girl with the head-scarf at lower right is Patricia Kinsella who worked as Barney’s assistant for a while. I’m still in touch with her and know she will be astonished to see this!

    • davidwills 4:10 pm on March 8, 2011 Permalink

      … the Lady Wordsworth would again like to emphasize that is most certainly not her in this shocking picure, either, so she says.

      Those pictures of the Stones(?) on the wall were lent by Ginny Clive-Smith at Conran.

      I look at this picture and again see the influence of Warhol’s Factory at work here. No speed-kills use here, a few of us smoked hashish-in-tobacco joints. Though this was later to change for Barney to frequently daily LSD use from 1969 on. Wild. Seemingly licentious times, but not really licentious, too suburban for that. Compared to the average goings-on about town we art students and kin ruled a wild world of boss art activity that echoes on yet.

      In San Francisco I once interviewed a prospective room-mate who was a 4 year participant in the army Co-intellpro (Sp?) tests on the effects of long term acid (LSD) use. It wasn’t pretty, I didn’t rent to him.

  • davidwills 5:02 pm on March 31, 2009 Permalink | Reply
    Tags: , , genius, , hippie, , , ,   

    Blimey – Barney Bubbles! 





    David Lowbridge who sent us these nicely imaged sumpturies says: The reverse of the inner sleeve (shown above) with three different shaped/sized ellipses is entitled: ‘BIG MAN’; ‘TALL MAN’; ‘EXTRA WIDE SHORT MAN’.

    Long-time reader Steve Kirkendall writes:

    Hi David, Hope all is well. As promised, here’s some words about why I’m a big fan of Mr B, with a little story about my fave Bubbles-werk.

    Blimey – Barney Bubbles!

    Barney Bubbles was a major influence on my work as I made the transition from illustrator to full blown designer in the early eighties. As we all know, he was incredibly versatile, moving from one style (and medium) to another, often employing styles that other designers would base an entire career upon, but which he would use to make a graphic statement, then move on.

    My favourite Bubbles-werk would have to be his Elvis Costello packaging. And because I was such a huge EC fan, the music became the soundtrack to those wonderful graphic trips Mr B would take me on, as I stared at every detail of the sleeve design. And the press ads, posters and buttons for EC and the A’s carried the same level of invention and attention to detail. 

    In the face of stiff (no pun intended) competition, my personal choice of top Bubbles graphism would have to be the the sleeve for ‘Get Happy’. It is the only piece of graphic design that made me stop dead in my tracks and utter ‘Bloody Hell!’ out loud. This was swiftly followed by a speedy purchase, then back home to listen to the album and more importantly, drool over the sleeve. The reason this piece of work stands tall above any other Bubbles output for me is that scuff mark on the front. (Although, my not-entirely-reliable memory seems to tell me that there was a larger, 12″ sized, scuff on the reverse too). 

    Genius is an over used word, but if Barney Bubbles wasn’t a genius, who was?


    David Lowbridge says: Yes, there was 12″ scuffing on the reverse too — be interesting to hear any recollections of the reaction this got at the time, any returns for instance!? This is the record where Barney used VAT numbers for the credits:

    Photography VAT 239 7568 14, Artwork VAT 245 4945 42

    • David Lowbridge 6:26 pm on March 31, 2009 Permalink | Reply

      Yes, there was 12″ scuffing on the reverse too — be interesting to hear any recollections of the reaction this got at the time, any returns for instance!? This is the record where Barney used VAT numbers for the credits:

      Photography VAT 239 7568 14
      Artwork VAT 245 4945 42

      The reverse of the inner sleeve shown above (middle image) is also great with three different shaped/sized ellipses entitled: ‘BIG MAN’; ‘TALL MAN’; ‘EXTRA WIDE SHORT MAN’.

    • rebecca and mike 9:03 pm on April 16, 2009 Permalink | Reply

      strangely enough, in the book ‘Reasons to be Cheerful’ the outer sleeve of the Get Happy LP is shown, but the fake ringwear on the back has been photoshopped out! (it’s been removed). there’s probably a funny story in that somewhere 🙂

    • David Lowbridge 10:15 pm on April 16, 2009 Permalink | Reply

      Crikey… not spotted that!

      Strange really as, in my humble opinion, the scuffing on the back looks slightly ‘mannered’ (you could equally say ‘deliberate’) in comparison to the front — the way the scuffing breaks around the E of ‘ELVIS’ for instance. Small detail, and maybe I’m missing something, but…

    • rebecca and mike 6:55 am on April 17, 2009 Permalink | Reply

      it’s interesting to note what happens in the advert Barney did for this LP. the design incorporates a pic of the front cover, but it is shown without ringwear. this is a nice touch as it helps make the fake ringwear more believable when you come across actual copies.

      a similar thing happens with the press packshot for Elvis Costello’s ‘This Years Model’ (another sleeve Barney designed); most of the time a properly cropped version of the sleeve gets used (as opposed to the mis-cropped version with printer registration marks appearing on the front – as per the actual sleeve design).

    • David Lowbridge 7:21 am on April 17, 2009 Permalink | Reply

      Very interesting to hear. Is that deliberate with ‘This Years Model’, the corrected packshot I mean? Always thought it might have been ineptitude/ignorance on the part of whoever is re-releasing it.

      I wonder if the cassette tape release (if there was one) of ‘Get Happy’ omitted the ringwear too, or had two lots where the spools would be!

    • rebecca and mike 8:00 am on April 17, 2009 Permalink | Reply

      when we talk about the packshot used for ‘This Years Model’ we’re not talking about anything in relation to re-releases, we’re talking about the picture of the LP cover that was doing the rounds in most press and magazines for the purposes of illustrating reviews and chart positions etc (and even some retailer promotions). we’d like to think distributing a ‘corrected’ packshot to third parties was all part of the grand plan! on the adverts Barney did for ‘This Years Model’ no packshot was used, although the photo of Elvis-with-camera was used as some kind of approximation.

      the ‘Get Happy’ cassette? that’s a whole different story… we’ll give pics to David Wills to post up on this (his) blog.

    • David Lowbridge 8:35 am on April 17, 2009 Permalink | Reply

      Understood… look forward to seeing the cassette.

      [It’s indicative of the games being played that I often feel the need to couch the language I’m using when taking about BB work — using alot of ‘scare quotes’ too. The fact that I feel the need to phrase things in a certain way, which I’m sure I’m not alone in, says alot about the effect of the work and its different layers of meaning.]

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