Pop Up Pirates

A pop up has become part of our vernacular since 2010, I had wondered (cynically) if it was due to dying retail spaces, high rents and generally things being unobtainable unless you offered to do them for free. My first experience of a pop-up was (in yes, 2010) when someone in Leicester opened an art gallery in an old shop. I thought it was a pretty good idea and brought some much-needed colour to an otherwise depressed, grey space in a depressed, grey city. From there it was pop up restaurants, shops, brand launches, activations, goat wrestling and then some. However, what I’m interested in right now is Pop Up Radio.

Not a cardboard cut-out wireless but taking radio to the people by the people and for the people, which all sounds very grand but it’s pretty awesome. Since we kicked off at Threads, we’ve streamed radio from over twenty-two different localities in ten countries.  These have predominantly taken the form of mixed media events with panel discussions, talk shows, live performances and DJ sets. The pop-ups have been something that (to me) set Threads apart in its intention of bringing together a truly global community.

It’s not like McDonald’s

It’s true and I’m loving it. The ‘McDonald’s Model’ of Globalisation is something I am not personally keen on but a structure I fully understand walk into an outlet anywhere and have the same experience, the same product (albeit for regional variations in the menu). You can show an image of the Golden Arches to anyone, anywhere and they will recognise it. However, the issue is a homogenisation of culture beyond the restaurant, in the shadow of the arches lies an idea: uniformity, consistency, product, price, profit – capitalism. Which has become a dirty word in some respects what with the climate crisis and difficult issues facing us as a society because of the nature of minimum input and maximum output. This is also true of many businesses in the start-up culture, bright young brands seeking their name in lights displayed throughout the globe yet the only thing I fear is the sphere (of influence) itself.

Why is this important?

Because in an age when everyone and everything is brandable, saleable, marketable and ideally holds some degree of power to influence should we not be totally fucking terrified of losing sight of what binds us together? The things that we should celebrate and shout about? Those idiosyncrasies when viewed correctly show that the tapestry of humanity is woven of many Threads (yes, I went there and yes that is why we have the name). If we are unable to find a way to build a cohesive network of cultures, localities, ideas and expressions then all is truly lost. This is of course reflected in the wider geopolitical narrative, but I won’t go there, there’s enough of that as it is.

We’ll always have Paris

My first Threads pop up was in Aubervilliers on the outskirts of Paris in early July. It was one of the hottest days of the year and one that’ll be long etched into my memory. Caught the bus from London leaving at 7am and arriving on location Paul Ayran’s (aka No3sis) house at 10:30pm, to call it a long day would be an understatement. We were met by our hosts Paul Adrien Schrieber, Micheal Laidet (of Quanta Records and Threads* show ‘Corps Noir’) and friends having a late-night barbecue with a few drinks to take the edge off. The popup was masterminded by Paul, Adrien, Michael and Aurelian Bonvoisin (aka Background) and was split between an all-day event at Paul’s place then a club night at Gambetta in the city. For those guys it was their first collaboration which proved to be so successful in bringing people together and sharing their ideas, music, food, laughter and conversation.

It was quite something to behold, a nook within a whisper off the main strip in a seemingly forgotten neighbourhood. Paul’s place would play host to a selection of artists from the independent electronic music scene in Paris over twelve hours the next day. I was excited and felt like we’d walked into something from a storybook. The lights were low, the humid night air, amidst the smell of the grill a couple of cats slunk about the night.

The importance of the pop-up in Paris cannot be understated as it was a chance to get different artists together who may not have had the chance to perform in the same space due to factors dictated when working out in the industry. I remember one DJ saying she appreciated it because it was a chance to play different type of material to the usual and others felt like it was a great excuse to get together but having their sounds shared with an international audience.

The importance of the pop-up in Paris cannot be understated as it was a chance to get different artists together who may not have had the chance to perform in the same space due to factors dictated when working out in the industry. I remember one DJ saying she appreciated it because it was a chance to play different type of material to the usual and others felt like it was a great excuse to get together but having their sounds shared with an international audience.

We’d treated it as a semi-holiday as I’d been itching to get away, we couldn’t have been more welcome. It was interesting to us because having been involved with Threads since its launch I was keen to find out what was going on internationally. The double hit of the intimate daytime party followed by the club night was something to get the imagination flowing. Especially on the long bus ride back to England, a country that seems to be ever increasingly looking inward. Not in an introspective way but more so to check the size of its own member and it seems membership to that club is dwindling rapidly. Either way it lit a spark in my mind and coupled with positive experiences from a trip to Lisbon the previous autumn I had an idea.

The Lisbon Treaty

I undertook a two-month campaign of arm twisting, cajoling and outright harassment to arrange the Lisbon popup in October. I visited the city for the first time the previous September and instantly felt at home, which for a displaced mixed-race person is an impulse I seldom ignore. It took us a bit of time to get things in motion as while unfamiliar with the city, I was very conscious that it could not for a moment be a case of foreign folks transplanting ideas onto a city, scene, individuals and so forth but to work together and act as a nodal point at best. We’d linked up with Mario Hagar who put us in touch with Art Gallery/Venue ‘In Bloom’ ran by Mattias Turini, proprietor of ‘Loophole’ in Berlin where Threads held a popup even earlier in 2019. An auspicious omen to say the least and a sign that the links (I’m not saying it) between the different venues, individuals, communities and such were further reaching on a subconscious level as well as the openly intended avenues.

International events present their own challenges like how to find an accurate representation of the locality it takes place in, navigating considerations of each performer and where to find a 30-foot ethernet cable from on a Saturday morning when your Portuguese is not even remedial. It was great though because when we visited Mattias on the Friday evening (event was on Sunday) we met Mafalda Soares who was exhibiting upstairs. Mattias is keen to give gallery space to local students and we invited her to be interviewed. Mario performed as ‘Moreno Acido’ at the start of the event and sourced us the wonderful Ostrol and Carincur for live performances. Then hosted the panel with local labels Holuzam/Principe, Percebes and Zabra. After that it was time for a little indulgence with my own DJ set as Tantric Jesus before Medallion Man then Mamma Tehrani to bring everything to a close.

It was a distinctly different flavour to the experience in Paris but that’s what it’s all about, capturing the essence of the space, community, ideas, locality and people that bring it all to life. I still think of that day often, granted it was just over two months ago but it’s led to organising at least three events in the calendar for the first half of 2020 in Lisbon and across the water in Almada. It was special, for me at least being right after my 35^th birthday and being out there for my partner’s 30^th. The experience was quite something, especially for a ‘work’ trip. Plus there’s nothing wrong with combining a little pleasure with business, especially when you march to the beat of your own drum.

The Beast from the East(ern Europe)

Of course, it isn’t all sun, sea, sand and wizards. What about the pop ups elsewhere? For example, long-time friend of Threads and instrumental member of the Loose Lips crew (of which we are closely associated) Jef T-Scale is our beast from the east.

One of our earlier pop-ups (21/3/19) held at MKC with another coming up on 21/12/19. He’s been instrumental in generating heat as Threads in Macedonia and is also the person who christened this project. As we were originally to be called ‘Knott Radio’ but by Jef’s admission “Threads is the same thing, but friendlier”, I couldn’t agree more!

His philosophy is to keep the events accessible by being free to access thus making it available for everyone. Especially when we view the situation with certain clubs trying to dominate scenes charging upwards of €15/£15 entrance and then at least €5/£5 per drink. I personally find that frustrating as events where we are all congregating to dance are ritualistic in nature yet should not be exclusive from those who cannot afford to pay such an amount before they’ve even had chance to take anything in.

During the initial discussions regarding pop-ups it was clear to Jef that artists in Macedonia were underrepresented with some genres not at all and he felt that this would be a great platform for them to have some exposure. It enabled a different selection of musical styles to get heard against what is usually available to audiences in Macedonia, it also allows new artists to get on the ladder. A similar philosophy shared by Mattias in Lisbon and of course, ourselves. It’s an important stance to take against elitism which permeates many a scene, locality, city as well as online communities. This (to me) is at the very heart of the pop-up pirate philosophy in getting things done, making things happen and sneaking out amazing music, ideas and places through the cracks in the castle (read that as the mainstream industrial megalith) walls.

Jef’s upcoming event will include lectures, poetry, photography & painting exhibition with subsequent auctions. There will be the usual DJ sets, live performance as with last time however he’s potentially working with an association to be supported by the auction that works with cleaning the local environment. This is another example of how Threads seeks to create positive impact in the wider communities wherever collaborations and ideas meet.

MKC is a cultural youth centre with concert venue and large bar. The bar (The Buffet) is where the pop-up will take place. You can find out more about it here: Threads MKC Popup 21/12/19

Cana-Dada

In early summer 2019, Loose Lips undertook a North American & Canadian tour which saw some Threads pop-up events take place along the way. One of note was at Studio L14 in Hamilton, Canada. It’s run by Kevin Kartwell and Trevor Wilke who are keen to support artists and help create a scene within Hamilton as they attest to most folks going further afield to find events, gigs, performances and engage with culture

Their association with Threads started from building a relationship with Loose Lips based on similar musical inclinations. The pop up event was broadcast live from Studio L14 with panel discussions, a live performance with Loose Lips, Kevin & Trevor on Threads then performances until 2am.

The guys at Studio L14 again are taking a stand for independent culture, the underdog and the lesser-known as well as having in big name acts for example having Neil Lanstrom (first Canadian show in two decades), Frankie Bones & Terence Parker. The story behind Studio L14 is a familiar one regarding how gentrification and rent hikes drove people out of the area yet here it is, seemingly immovable and glowing brightly. One of it’s purposes is to serve a local DJ community that was previously having to go out of town for gigs. It’s a seventy capacity venue with no alcohol license described by the guys as “A hole for people to sweat in” which some of the best venues are. They keep things cheap with $15 for most events and $25 for bigger name acts.

Studio L14 plays host to a lot of community orientated events namely a regular ‘Open Decks’ where Trevor & Kevin encourage people to come and try out their DJ skills, develop new techniques and practice playing on a larger system.

Common Threads

It’s clear to see that there is a shared value system running through the international community. There is a common desire to platform the otherwise unseen, underrepresented or unheard. An idea to bring people together to explore shared cultural ideas, draw focus on the individual within the collective and the collective as a result rather than a prescribed, homogenised idea wrapped in a saleable veneer that continues to signal the slow-death of expressive, representational artistic works of value.

There is a seismic cultural shift both in the UK and abroad, naturally it’s important we are on the right side of history which to me (a mixed-race citizen of the world with an artistic axe to grind) means we all need to be meeting in the middle. Just because things are global doesn’t mean we shouldn’t think local. If we retain our voices (individually/locally) we can be part of the international conversation but in a nuanced dialogue, not the homogenised veneer of saleability that is the spectre stalking the arts at every turn.

Who wants product when the joy is in the process? The product is the final act where the process gains the life of its own, the form, the identity shaped in a tangible object. We step back from what we have created and bear witness to new life. Only then do we have our ‘object’ or ‘product’ yet it is born of process, not born of egoistic desires, the striving to impose will or steamroller an agenda in what should be a nuanced passage through the creative landscape of mysteries. Yet that brings me back to a common theme that is lacking in our creativity at large: risk. Art is about risk, the pop ups are about risk, Threads is about risk, nothing is safe here. It shouldn’t be.

Who wants product when the joy is in the process? The product is the final act where the process gains the life of its own, the form, the identity shaped in a tangible object. We step back from what we have created and bear witness to new life. Only then do we have our ‘object’ or ‘product’ yet it is born of process, not born of egoistic desires, the striving to impose will or steamroller an agenda in what should be a nuanced passage through the creative landscape of mysteries. Yet that brings me back to a common theme that is lacking in our creativity at large: risk. Art is about risk, the pop ups are about risk, Threads is about risk, nothing is safe here. It shouldn’t be.

Art is no place for the timid, it’s no place for the privileged nor is it a place to while away lifetimes because we feel it is our right to be here. We must fight for it, there is an art-war happening right now and we are on the frontlines. There is no excuse for safety, no place for quarter or easily pocketed countenance. As a previous part in the cog of professional arts education, I feel strongly about this. Yet it someone once said it more accurately than I can:

“It’s not safe out here. It’s wondrous, with treasures to satiate desires both subtle and gross. But it’s not for the timid.”

Author

Al Ballentyne is head of editorial at Threads Radio and a freelancer working in entertainment, broadcasting and education. He performs regularly as ‘Tantric Jesus’ (everyone’s favourite party DJ), Barry Bungalow (a failed educator now comedian), The Guerrilla Mystic (sharing ideas about energetic works, spirituality and metaphysics in an accessible context). He’s a freelance arts facilitator and guitar-for-hire. You can connect with him on social media here:

 Twitter: @alballentyne

Instagram: @alballentyne