S C O T T E E B L O G

2012-02-15T20:28:00.000Z

My Facebook dilemma

When my forefathers talk about producing shows in the age of the land line and fax I often wonder were these more simple times easier / less paranoid? Last year I committed Facebook suicide after a profile nearing 5k ‘friends’ left me struggling to get any information to the right people about haunts they could find me throwing myself about. Facebook also got abit paranoid and only allowed the 500 people who looked at my profile the most to appear in my/their feed, with this in mind I decided to kill my popular, 21st century self and start a page. I was amazed that only 500 of the 5,000 people jumped over to my new celebrity-status-Facebook-life but not shocked, becoming someone’s friend on Facebook is easier than becoming their, dare I say it, fan (although anyone who has ever ‘liked’ me would never be a fan, simply a person of good/bad taste).

With the age of ‘I’m eating a cupcake in Selfridges and I hate my life for being so cliché’ status’ behind me I thought my page would be a lush utopia of informative stuff that hoards of people would comment on but instead I became Mr/Mrs/Mx Boring and any form of whit or quip were void/null/gone. Perhaps I think no one is at all interested in hearing what I have to say but I happily gob off on twitter, is twitter less serious? Why do I have 3k followers on there? Am I doing something wrong? Why do I care about these numbers? – Social media can turn you mental.

In an attempt to get to the bottom to why no ones likes me on Facebook I read some of facebooks advice to getting a ‘strong online presence’ – it includes tips like asking people questions to encourage social interaction like ‘Hey you guys what are you up to today? Why not pop in for a coffee’ and suggests you take a human tone to your updates, it also mentions being positive and nice ‘the person you want to be around’ – Now most of you will know by now I’m not into ‘nice’ or social interaction let alone positivity and as for being human…

What follows are a series of buttons that enable you to share my pain, endorse my decline and allow my ego to live in a modern world. Whatever happens next I promise to be a lot more interesting on Facebook and treat twitter with the same lack of respect.

Social media? #fuckoff

Follow @ScotteeScottee

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2012-02-13T19:47:00.000Z

A teaser from last weeks diet. See you on the scales on opening night!

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2012-02-08T12:26:00.001Z

I'm genuinely excited about everything I am working on, the next 6 months will see me encouraging fatties, revealing my fetish of 1970s television personalities, trying my directors hat on for size, making mobile disco radio with old people and experimenting with what makes a good party trick slapped together with a plethora of festivals, regional towns and charity shops.

With all this palava, being on the receiving end of a facebook event, blog, tweet or mailout can feel like a bombardment of self promotion, I thought it might be nice to list every thing here and you can pick and choose what you fancy because not everyone wants to see a show about Morrissey, crying milk or fat people in funny outfits. Take your pick. Choose your fancy.

Dear America, I am coming to get you in November. Brace yourself.
I am listening to 'Bring on tomorrow' from Fame while writing this.

RSVP will add this to your facebook events
TICKETS will take you directly to the site to get... tickets
Some dates are not onsale yet but this list will update itself (modern) and can be found on my facebook page if you are ever worried.

This button will make you happier/fatter/more exciting/less gay >

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2012-02-03T07:43:00.002Z

I'm looking for 'same sex' (trans inc.) couples who are up for some public affection for a film I'm making on March 9th. Get intouch. info@scottee.co.uk

Tweet
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Duckie Documentary on our recent production at Barbican

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2012-02-01T09:16:00.004Z

In exactly one-month time the first pack of porkers will lift their chaffed calves onto the Burger Queen stage for the opening heat! Why?

I was recently asked to talk about my fatness, 10mins later the interviewer smiled and said ‘you can talk a lot about that can’t you?’ – I replied ‘When you’ve been this way for 20 years you become fluent’. Most people will look at my shows and think being a chubster was always a comfortable ride to be honest I only realized I was a larger lady when I entered the gay playground, before stepping foot into a gay club I was labeled the camp one, post-gay-club-liberation I became the fat (enter insult here), this left a 19 year old Scottee crying on the pavement outside Balans, after a gaggle of gays thought the best way to round off their Saturday night was ripping into me. After running to South London, the home of heavy homos, I immediately became fetishized and I spent the good part of a drunken youth in nightclubs running away from chubby chasers - nothing turns me on more than a man who wants to have sex with me while jiggling my belly and making bear noises, so I’m told.

Fast-forward to 2011 and I wanted a place to help others show off that didn’t victimize or fetishize the rotund. A good old fashioned knees up that regardless of sexuality, gender/s or skill you were praised for your braveness, honesty and unique shape – without this sounding like a Dove advert Burger Queen has this at its very fatty heart.

Chub Love X

http://burger-queen.info

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2012-01-24T09:45:00.001Z

My Roundhouse History

Anyone who is attuned to writing funding applications will be aware of the word ‘legacy’ and it’s importance when clinching the deal, but what does it really mean?

Without sounding like Tulisa growing up ‘council’ in Kentish Town had its set backs but has proved to be novel in later life. As Labor’s optimism kicked in for working class young people in the year 2000 I found myself expelled from school with no qualifications and I had well and truly fallen from the system. After a brief two week workshop at Camden Peoples Theatre during the summer I realized the people ‘in theatre’ were not going to call me a batty boy or require a BTech or NVQ to perform with / for them.

During the same summer I also signed up for a theatre workshop with Roundhouse, at this time the building was a damp round thing with two spaces – one for Paul Weller and the other for fringe or community productions. After our fortnight of discovering ourselves in the Undercroft (the smaller space), wearing FCUK t-shirts (the sponsor at that time), we presented a piece about love, I remember it being a promenade piece, the floor being covered in photocopies of hands and bravely outing myself to an audience – this sounds pretty corny but it was giant leaps for a boy who at the time had a girlfriend with no idea what he wanted to be. I become more confident in myself and over time, my girlfriend became my girl friend (finger clicks), as I came out of my shell I signed up for more of the youth programs at Roundhouse, with this my confidence grew and I was, I like to think, head hunted by Elizabeth Lynch (Director of Studios at the time) to help set up and chair the Roundhouse Youth Board. Roundhouse were making moves to redevelop their spaces and extend the building – Elizabeth wanted the young people to help shape the destiny of the Undercroft. Over the next 9 months scaffolding was erected and we met in cold portacabins to propose ideas for the redevelopment. Unlike other youth consultations we seemed to be listened to – I remember meeting a group of architects who had to propose their ideas to a table of 14yr olds - Dragons Den meets Bugsy Malone. The space needed a major redevelopment during which time I grew up and I never got the use the finished product.

In the autumn of 2011 I was invited to have a look around the Undercroft, I nervously walked through the ideas we had conceived around a table in a car park in Chalk Farm - writing this I suddenly feel quite emotional about that, I guess feeling like adults are listening and your ideas are important at that time was… important. The Roundhouse continues to offer free space for young people to develop skills and encourage a career in the arts, walking through that day has left me with a feeling of accomplishment from my troubled youth.

This year as part of the CircusFest I have been commissioned to create a new show for Roundhouse. Camp is an exploration into my fetish of naff British culture (1960 – 1990) – from Jim’ll Fix It to Sunday Night at the Palladium – Campness or Campery (the act and art of being camp) seems to be present and encouraged. I have invited some of the young artists from Marisa Carnesky’s youth program at Roundhouse to perform alongside artists like Ursula Martinez, Jonny Woo and Bryony Kimmings - I think they call this full circle.

So when I next scrawl ‘LEGACY’ on a funding application I think I’ll feel confident enough to articulate its meaning.

More info / Book Now
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2012-01-16T11:35:00.001Z

The Entertainer

I’ve been toying with the idea of opening a tumblr page (what tribulations a modern woman must go through?), for those of you with meaningful lives tumblr is a blog of images or videos you like, a scrap book that shows the world your brain porn. Oringally I wanted to set one up to display my references to the world, my most FAQ in any interview is ‘Who are your inspirations?’ – this often leads a journalist dropping names that sound uncomfortable in their mouths like Leigh Bowery, Franko B, Divine, John Walters etc (like a straight girl in an Essex club toilet ‘My friends gay – Paul, do you know him?’) but stop press its none of the above, I have great respect for the afore mentioned and of course I think they have all informed me and only encouraged my behavior (not to mention the amazing support from Leigh’s closest) but I arrived at these people post making the decision I wanted to be a showoff, so I guess they were not my initial inspiration, the idea of setting up a tumblr would set the record straight and maybe inspire other ‘youfs dems’ into thinking outside of Yoko Ono’s box.

My references (by which I mean things from a young age had me watching UKGold with my corrective eye patch) are as bipolar as its owner: Hattie Jacques, Dawn French, Dick Emery, Vic & Bob, Tommy Cooper, Les Dawson, Chris Morris, Lily Savage, Beryl Reid, Frankie Howerd, Kenneth Williams, Fenella Fielding, Pauline Quirke, Victoria Wood, Julie Walters, Black Lace, Michael Barrymore, Gail Tuesday, Mrs Mills, Mollie Sugden, Kathy Burke, John Inman, Bruce Forsyth, the Roly Polys – more? I hastily started a tumblr, adding gorge images and some choice YouTube clips and began to think about what they all meant. I noticed the common themes from these performers were: working class backgrounds (bonus points for forced upper class accents), a history in variety or live performance, characertures of themselves in both performance and attire, not to mention a strong look but most importantly none of them are artists. For someone who is plugged as a ‘performance artist’ I don’t really like art. I dropped using the artist bit about four years ago, worried I’d be done under the trade descriptions act and when I realized it felt very contrived and/or had no attachment to the others that bleed/do poetry/sit in a dark room naked.

I’m currently researching my references on what posh people call sabbatical and thought it would encourage some new ideas to some forthcoming projects – I want to understand the history of my ilk of performance and in doing so I think my future looks to be pointing in a different direction. I think, and this is up for discussion, I am not an artist but an entertainer. Since this thought and researching into greater detail the people behind the outfits it’s been interesting to see a common thread in their off stage lives with a similarity to my own. It is well documented that these folk are shy, quite or socially excluded, this backstage awkwardness is often medicated with booze and/or drugs, this also helps with ‘post-show come down’ – after a performance feeling you should of tried harder or your not good enough, this is usually the effects from adrenalin which can be diffused with the booze and drugs – Catch 22. The artist is a different breed, the artist doesn’t medicate with booze but indulges in it to make art (see the marvelous Bryony Kimmings – 7 Day Drunk), the entertainer uses it like a heroin addict would use methadone, a suppressant until the next hit of show. I also see a parallel in their upbringing - often from a background with no artistic history, single parent families, lower class and/or from a history of addiction and depression and a 'truma' (Dawn French father suicide, Emery's parents addictions etc) that changed their life or how they viewed it – it seems this makes the perfect recipe for someone who dedicates their life to making others smile. As most performers would like to be considered ITV fodder I shouldn’t be admitting to the following but I identify with a lot of these traits/defaults, I find it incredibly uncomfortable seeing people after a show or walking though an audience out of character / drag / persona, I often slip away without saying goodbye - I find it awkward esp when they throw in words like 'faboulous' - because that's all I want to be?! I’ve also managed to leave a £400 a week cocaine habit well and truly in the past (4 years now). I shudder at the thought of drinking during and after a show now, a recent development, which I’m pleased about but understand how it helped. Reading biographies about Dick Emery, Tommy Cooper and Les Dawson has been the first time I’ve thought ‘Oh I do that’ – I don’t get that from any artist’s material. Now before you start reading this lengthy blog thinking I am comparing myself to the greats I am not, I simply relating to how I identify with their practice – the entertainer’s craft, skill and ability is undocumented and I’m interested in this territory.

Gavin Butt once interviewed me for a forthcoming book / something academic about my practice and a question he asked me still sticks with me ‘Is comedy or being entertaining important to you Scottee?’ – still flogging myself as and artist at the time and desperate to make someone academic tell me I was on the right track I replied ‘…oh no’ as if to be funny or entertaining was to not have any gravitas. I’d like retract my statement and proudly declare it does, to entertain others is the overall narrative but hopefully I’ll throw a 21^st century spin on it.

All that from a tumblr? Who knew!?

What makes an artist? I don’t know, I think I am an entertainer. Discuss. ________________________________________________________________________________________________

2012-01-13T17:36:00.001Z

I’ve got an itch it’s a Scratch.

For sometime now this word has seeped into the plethora of wanky words solely used by live artists who didn’t really understand what it meant until they applied for one.

I believe the word originates from Battersea Arts Centre (I’m sure a performance artist will email me highlighting the fact I’m wrong, again as it was actually developed by an underground American actionist reenactment group - niche), they describe their scratch program as ‘new theatrical ideas developed by artists and shaped by audience feedback’ – in short scratching is a group of unpaying punters in a room with feedback forms looking disappointed at someone covered in eggs / paint. Here is my beef - the act of scratching is basically a cleverly rebranded ‘work in progress’ by arts venues with abit of space to whore out, a way of showing an audience of about 30 people (usually other artists with their own agenda and feelings towards your work), an unfinished, unformulated and underdeveloped idea which future is decided by said feedback forms.

Now unlike most Scottee beef with the world of performance I have done it and have the insider knowledge. I previously scratched and found it a hard task, which ultimately wasn’t rewarding and became increasingly frustrating but the ‘scratch night’ is growing ever popular around the UK art scene and I’m not willing to go down without my say. Do we really want our work practice to entail asking other people if our ideas are good enough before we really work and commit to them? I feel scratching is abit half arsed – ‘here’s an idea, its just an idea, can you tell me if its good enough before I put some effort into it’ – Could you imagine if Adele released a scratch album or Hurst invited you to a scratch gallery show? What happened to the art of risk taking in performance? God knows how many artist websites contain the phrase ‘risk taking’. Most scratch programs are unfunded too, this means the artist is just given space for the entitlement of the scratch and any box office sales are kept by the venue or split 50% / 50% (the likely hood of getting this back is small), well above industry standard – fair trade dear? It's also worth noting spaces apply for Arts Council funding to run these programs and still take their share.

Now I’m not saying work in progress isn’t progressive and that everyone need burn their scratch proposals but formats like papering (comps to industry folk during a run), previewing and ‘Pay What You Can’ nights are more effective and in my world fair.

I think this blog has come from the launch of BAC’s ‘#DigitalScratching’ – a live, online platform – because what we really need is another way to scratch / hash tag.

Since when was theatre/performance/stuff sitting in a room with broken windows, one light, 3 chairs and broken toilets an enjoyable experience for artist to make work in or audience to view it?

I think its time we put our necks on the line, stood by our ideas and rehearsed them in nice heated rooms with tea for a length of time. Learn your craft treading the boards and feeling the crowd, ask yourself if it was a good show and what could be improved. Lets make work for real people not other artists. If an audience of paying punters doesn’t like your ideas then at least we can all say we have tried, failed and learnt rather than attempted, pretending and procrastinating (with forms).

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2012-01-13T11:50:00.002Z

As it's Janurary I've updated my website, the world can now rest knowing they have up to date information on my every move.

I've also just spent £80 on the server or something so if you want to feel you are getting the most of your hard earned ticket price..

Pay a Visit

While your at it, click the MAC logo.
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2012-01-13T11:07:00.001Z

As you know I'm well cabaret blud and I'm nominated for the Time Out Audience Award, this sounds grand but the nominees is everyone in this town with an eyelash.

Please feel free to vote for me as your favourite act of 2011 or in the 'Someone Else?' box type Diane Abbot just for a laugh.

Vote here

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2012-01-12T09:50:00.000Z

Burger Queen 2012

All artists in this country are currently sponsored by the Cultural Olympiad and Mum's up and down the country are making moves to 'Martine's Dance Work Out' while scoffing on her TLC so I'm celebrating being a fatso with a Burger, Queen.

Welcome back for a super sized second helping of the infamous beauty pageant Burger Queen! Every Thursday in March, I will be whittling down a wide range of fantastic fatties in my unique game show for fat people.

Over the course of the contest I will also be putting himself through the murky world of celebrity fitness DVD's and endorsed diets. Other highlights include guest performances from Myra Dubois, Timberlina, Russella & Tenor Ladies, Sami Knight is on the decks playing big gastric band tunes, the amazing 'What's Jude eating this week?' is back, new edition: 'Pie Chart Rundown' that's not to be missed and ofcourse 'the show's not over till the Miss Annabel Sings'

Burger Queen site
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2012-01-10T18:24:00.000Z

Something for nothing.

I made this because I'm reading Real Men Don't Eat Quiche 'a quiche-eater is a man who is a dilettante, a trend-chaser, an over-anxious conformist to fashionable forms of 'lifestyle', and socially correct behaviours and opinions' - if the slipper fits?) and I also found out the man from Food & Wine is dead. In Year 6 he came to my school and made me invent an advertising campaign that promoted healthy foods to young people (or kids as we were known in the 90's). This was my first television appearance, it made me aware my voice was higher than the other boys in my class and also made me realise I used my hands to talk - I was... camp. Alas it did nothing to my relationship with carrots.

My Mum 'videod' it but we can't find it, yet.

In an ideal world you will click the image, make it big, print it out and put it on your wall but as its the modern world sending me a screen grab of your desktop, wallpaper or iphone screen is just as good.
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2012-01-06T19:15:00.002Z

As promised Burger Queen is back and this year its bigger than ever. Before we let you in on all the juicy gossip, line up, show offs and how you get your hands on tickets we've made a video call out for contestants, exclusively for Time Out Cabaret here - so ditch the diet and enter - come on fatsos its 2012!
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2012-01-04T20:09:00.002Z

Since first appearing in i-D when I was 19 years old backstage at The Cock Live wearing a Misfits tee, black hot pants and white stilettos I knew we were going to get along. Last year I was also asked to sit for Nick Knight as part of his 200 portraits shoot for their Birthday Issue.

To kick start 2012 i-D online have hailed both EYHO and myself as a must see in 2012..

'Scottee is worth keeping tabs on as he develops his conception of “light art”, fusing pop-trash with critical engagement in post-post-modern austerity' - Check the full article here
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2012-01-02T10:22:00.003Z

The BBC and Channel 4 have websites that are dedicated to getting you involved in their documentaries about people who love their hairdryers and live on 3p a week completing tasks in a house before they get voted off and win nothing while dancing on ice - in the same vain this is what this blog is about, with the hairdryer bit.

In 2012 I am working on some exciting projects that involve you, the punter, so get involved:

Jim Didn't
As part of my project 'Camp' at the Roundhouse, I'm looking to hear from anyone who sent 'Jim'll Fix It' a letter and never got a response or never had it fixed - Are you still waiting for that letter to drop on the matt? Does this throw up feelings of rejection? Would you like it fixed? - info@scottee.co.uk

Burger Queen
The call for contestants and new website will be live on 12.01.12 but if you are feeling keen and fancy entering now then get in touch - fatso@burgerqueen.info

I am also looking for anyone who runs experimental exercise classes or has a unique weight loss business - fatso@burgerqueen.info

We are looking for prizes for our contestants - If you want your brand / shop / business to be associated with loving every size and embracing uniqueness then we are open armed! info@scottee.co.uk

Internships
I am looking for an intern who would like to gain experience in producing variety / performance in March and / or April - info@scottee.co.uk

Real People
I am asking real people (aka ones that are not live artists with a knack of embellishing tales) to tell me a real life story - I don't mean 'My Sister is an Alien' more 'My Grandad invented the...' or 'Six years ago I was a...' - This is for an aural history project I will be producing in the summer. All stories welcome! - info@scottee.co.uk

Cher and Share alike
I'm bumping up my facebook and twitter numbers - If you think I'm good or like my gossip share these links with people you think should see me -
http://facebook.com/scotteeisfat
http://twitter.com/scotteescottee

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2011-12-19T23:06:00.002Z

2011

Last year I blogged my highlights of 2010 and it seemed to put me on the right track for what was to become an epic 2011. I had wanted to leave 2011 more established as a performer whilst getting my teeth into bigger projects as well as honing my craft and exploring the world of light entertainment. It was also the year I wanted to experiment with becoming a director, this is what happened..

I kicked started the year as a Duckie Artist In Residence and presented new work to their Saturday night crowd, from this Milkshake and Silent Film were born but most importantly the Lisa Stansfield Experience - my first short with Judy Jacob in which I went to Lisa's home, studio and local pub in Rochdale as I tried to find my baby

In February EYHO were awarded our first Grant for the Arts award. 'Enforced' ran until June at Stratford Circus that saw blind date style collaborations set up with regional solo artists to create new work, the experiments were a success and EYHO are currently planning a second series.

Feb was also fab as it saw my first cover - Hello Time Out London..

In March I was invited to perform at the ICA as part of the Leigh Bowery memorial night alongside Mark Feehily, Ryan Styles and Sue Tilley. This followed champagne and nibbles with Lamé and Jarvis Cocker at the top of the BT Tower so March was a lovely month for it.

I also filmed a pilot with NYC's Murray Hill for Channel 4, I think old showbiz people would say it was 'in the pipeline'

As spring awoke I began my first directing gig with fellow chub performer Amy Lamé at Battersea Arts Centre. We spent the next 8 months rolling around the floor, splashing paint around, inventing ways of making coffee without a coffee maker (or sometimes even coffee), browsing in provincial Evans stores and eating anything that had Ameretto in it - all in the name of her new solo show Unhappy Birthday (see the 2012 bit below on that!)

June saw the launch of my newest project Burger Queen - a beauty pageant, game show, cookery show for fatsos. 16 fatties flabbed it out for the title which went to the gorge Nina Neon. A huge success that I couldn't have done without my chub gang Sami, Amy, Annabel and Flick. June also brought with her my second cover - The Independent!

Festival season kicked in and I checked in at Glastonbury, Lovebox & Latitude - shortly followed by a week of development at the Contact for Unhappy Birthday and launch of the EYHO podcast TVs:AM - what a summer!

TVS:AM with Eat Your Heart Out, Vol. 1 by London Fields Radio on Mixcloud

July I started working on a Christmas project, this felt wrong. I also performed at Paloma Faiths birthday and made friends with Terry Tibbs, as you do.

August saw the annual retreat to the other side of the country for the Fringe festival and EYHO's 2nd variety run - they loved us. Again. Once on safe soil and back into the routine of not drinking at noon in Scotland I got my teeth into DIY:8 - a Live Art Development Agency initiative developed in collaboration with Artsadmin (national), Fierce (West Midlands), Live at LICA/Nuffield Theatre (North West), PLATFORM (national), Text Festival (North West), Whitstable Biennale (South East), and Yorkshire Sculpture Park (Yorkshire) - what a mouthful - find out what I did here.

October left me abandoned for a week in a old house near the Essex coast as an experiment to see if artists could make comedic work - I blogged alot that week and it wasn't very funny stuff - here is Day 1 - am I funnier now? Have I ever been funny? I also presented my first academic paper to a bunch of academic folk at Performance Matters. I Am Legend.

November and EYHO get their second Grant for the Arts Award to present a new piece at the Riverside Studios titled 'Violence' - this should be fresh in your memory so I won't bore you but here is a lovely video we made for it

December - The is a special month and the month I am writing this in. It has invited me to become a Duckie Associate Artist and begin to perform Copyright Christmas in the main house of the Barbican - you can see older blogs for info and documentation of me having a ball being Judi Dench and being all theatre and stuff.

Inshort I have massively enjoyed this year and what you see is only what I can remember - thank you for watching, bearing with me and laughing at my outfits. 2012 has already shaped itself up to look like the next stage / step / slap in the face - here is a few bits to wet you appetite:

March 2012 - Burger Queen returns to The RVT every Thursday
April 2012 - My first commision with the Roundhouse and a limited run of 4 nights only titled 'Camp'
May 2012 - Unhappy Birthday starring Lamé at CPT

..and if that wasnt enough 2012 will also see my first major solo show at the Soho Theatre, my first tour of America and my first directing job on a full length film.

I love you.
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2011-12-17T10:28:00.001Z

Copyright Christmas - Carol
Images by Hugo Glendinnin

Guardian Review

Telegraph Video

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2011-12-13T09:18:00.001Z

The new year is always a depressing time, you are supposed to have the answers for the next 12 months, a new plan and a new way of living. It's also the time when respectable humans from the television think it acceptable to invent a new form of exercising that feeds working class women up and down the country.

Before I blog my round up of 2011 (you can find my round up of 2010 here).
I have a few questions to ask myself about 2012, it has big question marks over it.

What would you like to see me to do / go / be?
Comment above.

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2011-12-02T16:50:00.001Z

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2011-11-28T16:46:00.001Z

Violence was a real hoot (lovely review here) and my feet have barely hit the floor and it is onwards to a project I've been waiting all year to arrive - ©opyright Christmas!

©opyright is my first full length production with performance poofters Duckie (who we have such outings like Lullaby, C'est and Shame to thank for). The show will also be my first public appearance as a Duckie Associate Artist - and that is an achievement I'm really proud of!

When I first sneaked Boyz magazine into my teenage bedroom and saw these weirdos all rolling around the floor in nice clothes, I was amused they all looked that gay versions of bands my Dad liked, I knew somehow I needed to be apart of their gang. I think Simon Strange, Lamé and the Wives are completely unaware I based my early career on trying to impress them and getting their attention - it worked.

I don't want to give too much away about the show but you should be aware of Duckie's reputation and know not to expect to sit in rows and clap nicely at the end. What I can tell you is if you have ever caught yourself in Ikea, contemplating bulk buying the Norské Shît toilet roll holder then this show is for you, it is also safe for 11 yrs + so bring children, even if they don't belong to you.

If you, like most of my friends haven't noticed the fact I appear in the advert for the show then here it is! I'm the one that looks like Martine McCutcheon, pre-Tummy-Loving-Care bollox.

©opyright Christmas runs from 10th - 31st December in the main house of the Barbican.
Shows are 4pm, 7.30pm & 9.30pm.

The show also is accompanied by a Christmas Market that is flogging unique stuff to get your 'rents or boyfriend (if you are wealthy enough to own one). James will be flogging his own gear here as well as my merch on the 11th, 16th, 17th and 22nd December.

Book tickets / ruin your Christmas spirit
Go on, its Christmas!

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Violence by Darrell Berry_______________________________________________________________________________________________________________________________________________________

2011-11-22T09:41:00.001Z

Violence Variety

26th November

Closing night knees up

We’re worried that doing a show in a posh theatre means we’ve turned into a theatre company, so in the interest of public safety we’ve decided to have a post-violence variety show with some of your favorite show-offs. This is an excuse for us to get drunk, show new work and ruin our set, costume and reputation.

Scottee, Myra Dubois, Figs in Wigs, Angel Rose, Masumi Tipsy,
Miss Annabel Sings and whoever else fancies it.

If you come to the Violence show before hand its only a £5 more. Bar open throughout. Installations and other arty words that grab your attention.

Do yourself a favour, live life and go up west this Saturday night. Limited places so book here.
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2011-11-22T09:39:00.001Z

This Christmas I'll be throwing myself about a Christmas tree of shit in Duckie's very own department store show.

Booking info here
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2011-11-22T09:34:00.001Z

Time Out London audio review of Violence.

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2011-11-20T10:59:00.001Z

We are not even half way through the run of Violence and already our bodies are falling apart but I don't think EYHO have ever been stronger. The bruises on my body feel symbolic in my cabaret journey to date - from 2008 in Bethnal Green Working Mens Club as a place for me to develop new material and be abit mouthy to a collective run not-for-profit in 2011 that still has the same ethos and pushes new work by artists of all capabilities and ages on the same stage with the same platform to vent their ideas.

People have strong opinions of EYHO, sometimes bad or sometimes good, which is a great thing - to leave people feeling something, be it distaste or enthused is better than leaving them content. More importantly, the crux of this blog is why I hate this pressure that we are supposed to, as 'artists' comply with - anyone who comes, especially industry folk must love it. Here is the bigger picture I have my eye on here, brace yourself - it doesn't really matter. In presenting Violence I've realised I don't give a shit what Joe Bloggs from So and So theatre thinks of me or my gang. Lets make the work, present the ideas, show your stance and if the 'they' don't like it then they don't like it, they cannot kill you or demand you for better work, they just won't book you and in the end does So and So theatre really matter? No. I'm interested in real people who live in real houses who are not watching your work thinking how they would have done it better. I'm excited by Mum's who have never seen anything like this, 17 year olds sneaking in and saying they are over 18, middle age men who picked up Time Out and stayed til the end.

Now before this sounds like a scorned woman, the show has been recieved really well but both critic and punter so I have nowt to moan about but this idea that everyone will love your work is silly.

I've been really excited to see that groups of students turning up to EYHO shows, on one hand this is abit annoying as this could mark our future as a Forced Ents set up but on another I remember seeing Shunts 'Dance Bear Dance' and having the doors of my brain kicked open to what performance can and should do, the same doors that opened last night to Luton's A level finest.

I'm overjoyed with Violence and the performers involved. I think its a bold and brave production for a neo-variety company to present that looks into a world of personal, political and parental violence without slapping you in the face with the 'issues'. As one drama student was heard saying '..its full of cliches' - without which we would have no anchor points in culture and those dreaded words .. post modernism. As I revel in my cliches here in a hot bubble bath in my council flat with painted nails listening to the Beautiful South, here is a lovely tweet from a punter...

HelenandSirens

Just back from a most moving performance art piece. 'Violence' at Riverside Studios was like Sunkist on a hot day in the 90's. Refreshing.

Violence runs until 26th November at Riverside Studios - More info here

Have your say on Time Out theatre - http://www.timeout.com/london/theatre/event/92053/violence

Images from our dress rehearsal by Darrell Berry. X
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2011-11-14T23:16:00.001Z

Students - If you still exist and the buildings that feed your insecurity allow you out for the day I'd like to offer you £5 tickets for Violence. You are going to need every penny in the next few years. You'll need to bring your NUS / Student Card to collect your tickets and you must prebook (see about). Love X
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2011-11-14T21:51:00.001Z

Q&A - Recently I've done a few blog interviews, for some reason my voice is more important than that of the average Greggs worker, in addition a nice lady has also written about one of my shows. Here are the links if you fancy reading about my love of Hattie Jacques, why I'm doing Violence and being common.

Run-Riot | Nothing Original | Performance Doesn't Matter
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2011-11-11T08:16:00.001Z

Image by A Black Lie

There is just under a week until we open Violence and the panic begins. If you could see the narrative in my head on an hourly basis it would look like this:

This is shittiest thing I've ever made, people are going to walk out and the nightmares I've been having - forgetting make up, remembering all the words or falling over onstage are going to come true. I am useless, I have nothing to say, why don't I just pack it all up? I could be a receptionist, I'm good on the phone. This is it, no more art after this. Why do I put myself through this?

This is the best thing I've ever made, people are going to think differently of me after seeing this. It's like they will be able to understand what I've been trying to say all this time. I'm going to look amazing, I am amazing. My work is strong, I'm a great performer. Lets take over the world. I love doing this.

I think this has a lot to say about the performers psyche - self worth is either in abundance or non existent, no half way house. Getting a rapturous applause is like having a big line of coke - you feel great, your over the moon, you talk shit backstage and tell each other how amazing you all are. You go your separate ways and while your taking the slap off in a disabled toilet mirror it hits you, you want another go but there is none left.

It is at times like these I like to remind myself I'm not going my Dad's job on a roof at 5am in the middle of winter. Yes, performance can be important (if your genuinely trying to say something) but its not hard graft, maybe we like to think it is to justify the gratification? I made a pact with myself at the start of the year not to moan about being tired, it seems the done thing in our circles.

Who knows what next week will hold but who really cares anyway? I do. I hope you come, not because I want your money, applause or gratification, but I think you should see it, I think the messages are relevant and this I hope will get us all to think about the social issue within the show.

Click here to see a fat boy be honest
Click here to see a fat boy
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2011-11-09T19:51:00.000Z

What with Violence opening next week and Copyright Christmas around the corner I really should not be giving this the time of day but sometimes there are ideas that you need to get out of your head for the greater good. Fans / followers / friends of my blog would have read my paper on Live Art and the invention of the genre 'Light Art' - I promised a few artists I would make an agreement that they could sign up to and here it is.

What to do:
1. Print out two copies of the agreement and sign it.
2. Send one to Scottee c/o RVT, 372 Kennington Lane SE11 5HY before the 31/12/11.
3. Put the Light Art logo on your website/blog etc.
4. On the 12/1/12 a list of all Light Artists who have signed up to the cause will be posted online.
5. Check the post, you will have your membership badge arriving soon after the published list.

Download: Agreement & logo
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2011-11-08T23:47:00.000Z

We've teamed up with Time Out Cabaret and given them a lovely exclusive look at Violence before we slam the doors open on the 17th November.

Click the screen cap and you'll get a nice glimpse of the stuff we are planning.

Hope you have a ticket or it'll be embarrassing the next time we meet.

Video courtesy of A Black Lie

http://eyho.org.uk
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2011-11-06T19:07:00.004Z

Performance Doesn't Matter by Gregoire Bernardi www.gregoire-bernardi.com

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2011-11-02T23:15:00.000Z

Whose idea to sell kids a false economy,
That life is sweet post teenage autonomy,
There's liberation on the other side of puberty?
All the next generation crave is your honesty.

The punches come faster you fall harder to the ground,
But posting on youtube makes you stronger, more profound,
'It Gets Better' now thats easy for you to say,
Its Stonewall bollox breast fed to homogeneous-gays.

As liberals turn off and say that I'm wrong,
Ask yourself this before you spout that queer song,
Does it get better or does it get worse?
Batty boys still end up in the back of a hearse.

Let me remind you of the recent problem,
Lamp posts in Scotland and Nelsons column,
I'm not part of the prevention or cause to the cure,
Just putting into prospective, not giving the detour.

Live life as if you've learnt it and say it as you find,
I'm not saying we should accept it, be cruel to be kind,
It get worse but you roll with the punches ,
It's not your fault but its the way the cookie crunches.
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2011-11-02T08:08:00.005Z

Violence Update

Twitter is full of performers talking about their next scratch performance - 'scratching' for those of you with real lives is the live artists way of showing unfinished, shoddy work in a room that has no theatrical elements to a paying audience under the banner of 'work in progress' - now I don't know who in our industry thought this was a good idea (BAC) but I'm over it, I'm over this idea we can't make work before showing it to a group of people for their approval before we make it. Put your neck on the line you bunch of art school cocks and say something.

On the other hand I'm a big fan of letting your audience in on the secret, I don't like the secrecy that surrounds shows - a fear someone might copy you - its not Primary school.

Here is a round up of afew themes we've been working on for Violence - a fully formed show that I'm letting you in on:

We've all been sat around for the last few days working out if Patti's 'Rock & Roll Nigger' was appropriate for a scene in which a black tranny seems to mug a white girl but then turns into a lustful brief encounter with shopping bags. I think we are using something else now but it made us all sit and scratch our heads for awhile - which is good.

Darrell and Helen are working on some lovely experimental tech for the show - they have worked out how we can shoot Nando, make him bleed and die every night. We also have control of the sound system from our iphones - scary!!!

Last week the show only just started to come together - before this I was having nightmares about everyone being on drugs and not being able to say their lines - we don't have any 'lines' in the show. Music wise the show is Clash, Jam, Who heavy - where did this come from? dunno.

Booking is now open for Violence and we'd like you to come along, not only because we have 1500 tickets to flog but we hope some bits will hit home. How you can help: You can post our facebook event or tweet our booking lin k - we don't have the same advertising budget as the RSC but we are much better.

We are:
TimeOut 'Top Shows to see this Autumn'
Spoonfed's 'Very Best of November'
LoserVille 'Pick of the Month'

The show runs from 17th - 26th November at Riverside Studios - More info here
(Image about is from our interval film made for Violence by Tim Bret-Day and Scottee)
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2011-11-01T16:17:00.001Z

SCOTTEE CARD PACK

A bunch of cards onsale at Christmas, but not Christmas cards.

Blank Inside
310gsm
Red envelopes
Free Stickers
Free P&P

Send them to your Mum, exlover or children.

Buy Here

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2011-10-28T12:04:00.000+01:00

Eyes down, she's making a B-line,
Slams the red door of number eighty nine,
Facing her public for one more time,
She is visibly invisible

Checks in at work its six minutes past nine,
Girls at machines, dozens in straight lines,
Boss says "your late - your treading a thin line"
She is visibly invisible

Colleagues talk family, TV and past time,
Never thought she'd end here, the factory line,
Eyes at the clock, waiting for the chime,
She is visibly invisible

Buzzer sounds, tools down, break time,
Selects cappuccino, waits for coffee to grind,
She glazes over, lost in her own mind,
She is visibly invisible

She looks out on life, moving at double time,
She's the loner that life's left behind,
Friday at Yates? She's never springs to mind,
She is visibly invisible

Apron off, check out, get in line,
Time to run home, tele on, recline,
Content but unhappy in unconscious mind,
She is visibly invisible

Left out, locked out and both combined,
She's been shunned by woman and mankind,
When it comes to her, you all play blind,
She is visibly invisible

Repeat to fade
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2011-10-27T20:12:00.000+01:00

On 26th October 2011 as part of the Performance Matters public program I gathered performers, live artists, producers and programmers from across the world for a special edition of Eat Your Heart Out. Here is my first paper I read to them.

The Observation of Live Art practice in 2011 as seen by the working class protagonist.

Live Art is the practice of artists who use performance, live or recorded to communicate their ideas. In this paper I will endeavor to introduce you to The Artist, The Practice and The Work.

The Artist

An artist who creates work with the use of performance is referred to as either a live artist, performance artist, interdisciplinary artist, hybrid artist, multimedia artist, video artist or Phd student. The use of just ‘performer’ is actively shunned - this not only has connotations of populist work which is actively opposed (we will explore later) but does not contain the crucial word ‘artist’ - this is key in the individuals validation to their vocation. The word artist gives importance, meaning, social status and access to public funding – all key in developing work.

Labelling is incredibly important but equally a troubling part of the artists role and a difficulty to ‘refine’ or ‘condense’ their practice to one genre is beneficial. These covey the struggle of making ‘the work’ and the complexities it comes with, for this reason live or performance art lends well to academics or scholars; critical behavior, self reference but fictional deprecation, indecision, lack of product, incoherence, social engagement or politic but with an elevated idea of the presence of the aforementioned.

An artist from a working class background, low social status or just female can prove to be an asset in informing them in their practice throughout their career. In addition a performance artist who is more advance in years is deemed to have more politic or message than their 22 year old counter part, this rule however does not apply to the higher end of the scale. Artists who are still practicing post their 50^th year or who are in ‘retirement from performance’ are elevated to take the title of a performance art family member i.e ‘The Grandmother of Performance Art’ they may also be known in the sector as a legacy artist.

Live Art or Performance Art as it was known in the 90’s was invented by a New York practitioner named Penny Arcade – I quote from her website: “I invented performance art and I am sorry” although works existed before her practice she is widely accepted as the voice and so should not be tackled on this matter.

The Practice

When creating work the artist must start with a point of reference, again a difficulty in communicating why you have chosen this should be employed and a lengthy process of scratching (to present an unfinished, unformalized piece of work to a paying audience under the banner of ‘work in progress’ or ‘process based work’) is encouraged.

Work can be spoken and discussed at length with peers before the work is developed, this process can go on for many years without product and is known as ‘in development’.

Work which is more fully formed in content should be referred to as 'piece', a combination of pieces may be called ‘a body of work’ and a combinations of ‘bodies’ may be termed an arch, a number of arches put together could be called an archive, a number of archives that are digitalized could be called tedious. This chain gives the work gravitas and pulls focus from its lack of technical ability. Live Artists need not learn how to concisely apply skill or craft i.e. learn breathing technique or pitching to, lets say sing an opera - to sing it badly in a piece would be referred to as its ‘strategy’ or intentional.

Studio space is an essential tool to a live artists creativity, although they do not create physical pieces of work to have a studio reflects a successful, stable artist who is diverse as relevant. This should be based the East of London, it is advisable each artist has at least one assistant. If this is unvisible create a fictional email address to impress other live artists.

The Work

Work that communicates your relationship with the tampon or nothingness is encouraged. Any subject that could possibly alienate the majority of an audience is good practice, this in turn will reflect the artist in a strong position of knowledge when in reality a minimal amount of structured research (wikipedia) has taken place, kicking an audience out of the space, hurting them or preventing them viewing the work is highly advisable and adds texture. The lack of access creates myth.

Titling your work 'Untitled' or 'A Long Title That Is Nothing To Do With The Work' is also acceptable, this again gives the work an elevated position for content that is weaker.

Using verbs like participatory help show your work has layers and is as politically or intellectually complex as it is novel.

Reenactment work, in which an artist directly mimics the work of other live artists dead or alive, good or bad is acceptable. This process is not seen as 'copying' or ‘stealing’ but developmentation' or 'referential'.

Words like 'entertaining' 'showbiz' and 'panache' are not apart of the live arts vocabulary and work of the genre is frowned upon, this work will only attracts comments like “This is rubbish, its belongs on Glee’. To create work that engages an audience on a populist level isn't progressive enough for the live artist, light entertainment and popular entertainment formats are not considered - this work is for ‘the TV generation’ and basic in content without a politic.

Live Art does not exist in the theatre and theatrical elements are actively opposed, this includes good lighting and 'the 4th wall'. Good work exists in gallery spaces, uses bodily fluids and is viewed by other live artists. Work outside of this can be identified as ‘Trash’.

Trash performance is a word someone made up for a bunch of people annoyed by a live artists practice thus making it formalized like all of the above.

Audience size should be modest, even for the ‘performance art family’ previously mentioned. Work that attracts too much public support is seen as ‘selling out’ and void of any meaning that may have originally been praised.

When comment is given on lack of theatre, technical ability or aesthetic a live artist must respond with '..that is what I wanted the piece to communicate'.

To conclude: Performance obviously matters. Performers save lives, rescue cats from trees and look after the old, performance stops wars, can end poverty etc. Performance enriches peoples lives, performance is clearly the answer.
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2011-10-26T13:05:00.001+01:00

Heres a lovely video I made this month in Westcliff, to get permission to film this the woman asked me if I was Russel Grant - I really wanted to film in their lovely candy striped cafe so I said 'Yes I am' - she said I was very 'theatrical'

Rossi's Ice Cream - Westcliff On Sea | October 2011
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2011-10-21T23:52:00.000+01:00

To celebrate the 'Performance Matters' (thisisperformancematters.co.uk) research project I have made a limited edition print. It expresses my thoughts on what I think of live art.

Its cheery, works well against Ikea clobber and you can boast to your arty friends about how in the know you are to own work by some fat boy who has been in Boyz magazine.

Buy it here

Personalized prints will be available to buy at the 'Performance Doesn't Matter' event this Wednesday - You should come to this because I will be looking to loose some performance art 'friends' - more info here
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2011-10-21T23:38:00.001+01:00

TVS:AM with Eat Your Heart Out, Vol. 3 by London Fields Radio on Mixcloud

TVs:AM is Eat Your Heart Out's monthly podcast presented by Myra and Me! Each month we set up shop at the top of the tavern and knock one out for London Fields Radio - suggest tracks, guests and comment - tvsam@scottee.co.uk

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2011-10-21T01:41:00.000+01:00

Domestic Abyss

James has stumbled in from an evening of drafting ideas for the next issue of FUN magazine, now I'm not one for talking about her indoors but mild annoyance has encouraged me to do so. After discussing their ideas for the next issue based on body modification (radical) and people who offer themselves up to being murdered, I was passed a copy of Issue 5. On the cover, under the banner F.U.N is a picture of what seems to be a sleeping child, James informs me 'its a dead baby'. A flick through a few more pages and we're onto an image of a dead man with about 40 knifes stuck in his body, I hand the magazine back.

It's taking me ages to articulate what I want to say in this blog about this publication but to cut to the chase I think it stinks of East London anti-cool (fyi its not cool to be cool so anti-cool is cool) - James tells me the whole point of it is to question the human form and proclaims 'that man was probably killed lawfully and this is just your knee jerk reaction' - Now I think this argument would stand or be more palatable if it was balanced with cohesive articles on capital punishment, child death etc but looking at their website 'Your mum was found on this server' I'm really not sure this is the politic they are pushing for.

Now It may not surprise you that its contributors are from Vice and Real Gold. I guess I should expect this from a group of 30yr old + artists who live in London Fields, drink at the Alibi and ride a fixed gear but I'm asking myself why this magazine, I've barely looked at titled 'Fun' flogs images of dead kids leaves a bad taste in my mouth? Maybe it questions my values or ethics but I really don't think that was at the heart of their intention, even so when I probe James in how he would feel if our nephew was pictured dead on the cover of a magazine in Berlin he feels uncomfortable with the idea - I guess then this means its OK if the dead child is one you don't know? - "that's different, that baby died 100 years ago"- Maybe its the lack of humanism attached to presenting the images that's upsetting?

There is a broader argument to have here about the censorship of work and the viewer. Last year after seeing Kim Nobles show 'Kim Noble Will Die For You' in which he gives his spunk to young women in the audience, gave his ex girlfriends telephone number out with instruction to insult and threw money at black people I was left with the same troubling questions - is this progressive? am I easily offended? is it just me that thinks this is rubbish?

There is this recent trend is fucking off your audience (Romeo Castellucci's 'On the Concept of the Face, Regarding the Son of God', Ontroerend Goed's 'Audience') as some sort of artistic statement or radical engagement that is seen as revolutionary or forward thinking, I think its basic, juvenile, cheap and lazy. Throwing images at me of dead human beings is like Noble throwing a strop because I won't leave his auditorium when he is supposedly "kicking me out of the show".

It's likely they'll use this blog as some sort of inspiration to buy another Victorian image off ebay or do a limited edition print of it for a gallery show at Truman. It'll only encourage them but I'm not interesting in them, I just wanted to air my feelings and find your stance - educate me.

Maybe I'll go down Vyner Street on First Thursdays with a few knifes and post the images on my tumblr, although I'm sure they won't be there because they are of course cooler than that.

In the interest of democracy - http://www.greatenjoyment.com/main.html

After thought: Is this the difference beween fine art and performance - one can deliver the politic or message over a period of time and explain its meaning, the other is face value? Is this the shit you learn at art school? Why do I feel I'm not in on the joke? Am I the thick one?
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2011-10-17T12:51:00.000+01:00

At Eat Your Heart Out HQ we've had our head down in rehearsals, yes we've turned into poncey performance artists who need space to think, why? Last year a theatre in West London approached us to create a show for one of their 'studios' - most of you will know that we would usually tell these theatre types to fuck off but we thought it would be a wonderful challenge to move on from annoying the cabaret crooners and start pissing off the theatre thespians.

We are creating a new piece we semi-debuted last year called 'Violence' - the show and ideas behind it have moved on in post London riot world and we are keen to explore the world of nasty. Rape, victimization, homophobic attacks and the effects on the mental health are teamed with can can, punk poetry and alot of nice dancing. We have a some experimental tech in the show and we're trying to push ourselves in a new direction, this could all go wrong but its all with the aim of messing this 'theatre' world up abit.

17th – 26th November | Riverside Studios, Crisp Road, Hammersmith W6 | Book here

Get involved: As well as creating this show we are launching a hashtag - modern - We are asking twitter users to use #violencenow to report violent encounters towards them or others - of course you should contact the Police or Crimestoppers (and continue to do that!) but alot of LGBTQ hate crime goes unreported, from name calling to physical violence - it is unacceptable. #violencenow is a reminder to everyone the level of violence in our society and offers a reporting feed that will not only highlight to others what is going on but hopefully enable to victim to report events to friends and followers without fear or embarrassment.

Violence Variety - 26th Nov: We’re worried that doing a show in a posh theatre means we’ve turned into a theatre company, so in the interests of public safety we’ve decided to have a post-violence variety show with some of your favorite cabaret show-offs. This is an excuse for us to get drunk, show new work and ruin our set, costume and reputation. Here for more info

Ticket offers and group discounts are available: scottee@eyho.org.uk

'Fabulous! contemporary performance art reaffirming my faith in the fringe' **** Three Weeks

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2011-10-14T19:00:00.000+01:00

..and so it is my final day lording it up at the manor house by the sea, having everything done for me, abusing G4 macs and all in the name of 'performance art' - I think I've enjoyed my week of being middle class, I look forward to being a rich 'arts worker' in Woking in 50 years time.

As part of Oriana Fox's performance 'The O Show' I was asked to be hypnotized by her mother - Angela, we spoke at length about my fear of academics, what they stood for and the work produced in 'their' spaces. To my surprise she sided with me and the results were AMAZING. Oriana has kindly allowed me to show the piece at 'Performance Doesn't Matter' - her mother is also coming to see me in Violence in November, already I know this woman is my cup of tea.

Today I made another piece of video work titled 'Just Desserts - Rossi Ice Creams, Southend on Sea' - this is also part of the Tourism' project, stills will follow tomorrow. Tomorrow we also present our work to each other, Spill, Arts East, Arts Admin and Metal.

I don't want to go back to London and have to make things in the way I have been, my eyes have prised open to creating work away from work and doing it for fun. I feel reborn, sorry to sound like Ferne Brittan but I am a new woman.

Last night Metals MD Colette asked me why I was updating my blog and if I did it in London everyday, I said no but the reason I wanted to here was to be honest in my practice, let you tell me if its shit and not feel mental when making solo work. Thanks for listening and keep checking back for rants and documentation of the week.

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2011-10-13T18:12:00.000+01:00

Today I woke up at 7am, do you feel my pain? This was all because some art student ego took over my body and proclaimed to the group that I wanted to shoot early to, i quote "get the right light".

We have had an amazing day of filming, eating ice cream, getting wheezy, jumping into cars before traffic wardens got too close and cold lasagna all to help create each others work.

I also read my paper aloud to Oreet, we both agree when I perform it I'll drop a few hundred followers but Oreet thought it was 'Live Art Stand Up' - who knows!

Today I also shot the first part of my 'Tourism' project I mentioned yesterday.
'Tourism - an alternative guide to __________' is a video series based in different UK towns. The aim of the project is to reengage a new visitor and the existing community to interact with forgotten cafes, piers, beaches, libraries, post offices or community centres through video and audio tours. I'm hoping to start the project in Southend over the next year and kicked it off by filming the first video 'Head Space - Leigh on Sea Beach' today. What started out being a video about self help Vs going mental has turned into a macabre video about being alone in nice places, I think..

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2011-10-12T17:26:00.000+01:00

Today we told each other what we were planning to make. I've decided I'd like to create a series of video projects based at seaside resorts in the UK titled 'Tourism' - the first of which I am recording tomorrow. It's got abit more to it but I'll save the 'politic' and wank for tomorrow.

Last night I met a woman who wrote to Jim'll Fix It in the late 70's, this got me thinking about rejection and the need to please - a feeling most stand up's & performers can relate too. I am fixing her fix-it on Saturday, this is part of a larger project in March so I'm inviting you to send me your non-fixed Jim'll Fix It - Rule: You must have sent the real Jim a letter during his reign. fix@scottee.co.uk

The most part of the day was spent writing a paper (who knew?). It has been noted by my peers that I have 'academiphobia' - a fear of the academic, which could be true and so I wrote an extension of my Light Art post to perform at 'Performance Doesn't Matter' - here is my favourite exert:

'Using verbs like participatory help show your work has layers and is as politically or intellectually complex as it is novel'.

and finally this which you can print out and do a thesis about. X

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2011-10-11T18:17:00.000+01:00

Today we met real people that that are funny, comedians. Without boring you to tears with the process I think I am coming to terms with the fact I maybe not be a live artist but much more of a clown. Discuss.

Today I wanted to make an audio piece that is rough, ready and online.

I've made the following thing because:
- I read, watch and enjoy too much Joe Orton/Carry On/Personal Services
- I'm constantly being asked by the Arts Council if my work is accessible
- I wanted to see if sad was funny

So here is: 'Audio Sploshing for depressed people who are visually impaired and / or peverse'

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2011-10-10T21:28:00.000+01:00

This week I am creating new performance work around the theme of comedy and stand up. I've been lucky to be chosen to be apart of a residency Oreet Ashery and Metal have organised. The residency is over 5 days on the Essex coast and explores live artists developing work that uses humor. Invited guest speakers include stand up comics Simon Munnery and Alex Horne. We are free to create work that is or is not comedic. Other perks include my meals being cooked for me and getting driven everywhere.

I am posting updates on twitter using hashtag #funnyfive - aka five days of making 'funny' work and each day will be posting some ideas, images and work in progress material (this feels scary as I'm used to presenting more fully formed ideas but here goes).

Feedback and comments appreciated. Fatty X
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Today was mainly everyone talking about their work, therefore we didnt create anything new but I did read aloud a my previous post Light Art to a group of Live Artists, wrong crowd?

Our induction also included a tour of the sights and sounds of Southend (Saa-fend), this included our tour guide taking us along the front playing Kraftwerk quite loud.

We drove to a charming peninsula called 'Canvey Island' - Conservative Britain is encouraging us to shop local and hoilday in the UK but Canvey did not have a tourist centre. Here are some beautiful postcards you can print out and send to your Mum.

2011-10-07T15:23:00.000+01:00

Scottee is Carrie Bradshaw

Today I was asked why Performance Matters? I responded with

"Performance doesn't matter. We don't save lives, rescue cats from trees or look after the old. Performance aims to enriches peoples lives, we can only hope this numbs the pain."

Considering my last post to this blog and the above quote this got me thinking - do I enjoy being a performer/live artist/cabaret thing? I exist in these ever popular circles of karaoke covers, Beyond Retro costumes and Smiffy wigs but I'm not excited by it, it doens't make me think differently about the world and what about that word 'progression'?
This week I received some fan mail

"not only is it (your work) mind-numbingly boring but it is also conceptually vapid"

He goes on to say my work does little and is comparable to 'Sex and the City', this has got me thinking about what my work means and the greater good. It would be easy to get angry at the comparison between myself and Sarah Jessica Parker but we are both sat at our iMacs, sipping coffee, blurting out our inner thoughts to whoever should read it and we are both characters.

There will always be people who think little of my input just as my own opinions to those who flaunt burlesque or fancy dress drag, but does it really matter what side your on? My biog states 'what ever you think of Scottee - he won't care' - I'm not sure how true this is, what people take from my work is important, what they think of me isn't relevant.

Recently I've been making more art, installation and audio than physical performance so maybe this is a shift in my practice. Next week I'm on residency at Metal Works on the Essex coast creating new work (I'll be posting my progress each day here and twitter #FunnyFive) who knows, maybe it'll be conceptually vapid (which some would argu is a 'process') or maybe it'll reinvent the wheel, either way I'm still a lovely person and I'm having a go. Just as Carrie did when she fell over on the runway during New York fashion week I'll brush it off, smile and do my best - whatever it is.
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2011-09-27T20:01:00.001+01:00

Today I invented a genre.

Light Art

Combining popular light entertainment devices with the

discipline and practice of live or performance art.

This is somewhat a reactionary genre.

Live Art can be an isolating world where academics produce reenactment work of other live artists dead or alive. This process is not seen as 'copying' but 'development' or 'referential'. Words like 'entertaining' 'showbiz' and 'panache' are not apart of it's vocabulary and work of the genre is frowned upon. Work must be referred to as a 'piece' to give it gravitas and pull focus from its lack of technical ability. Live Art does not exist in the theatre and theatrical elements are actively opposed, this includes good lighting and 'the 4th wall'. Work that communicates your difficult relationship with the tampon or nothingness is encouraged. Titling your work 'Untitled' or 'A Long Title That Is Nothing To Do With The Work' is also acceptable. When comment is given on lack of theatre, technical ability or aesthetic a live artist must respond with '..that is what I wanted the piece to communicate'.

Cabaret can be an isolating world where the artist is encouraged to produce retrospective or vintage works, these can also be set to or direct interpretations of other entertainers work, alive or dead. This process is not seen as 'copying' or 'referential' but standard practice. Alcohol and drug use are encouraged to create a back story your audience can relate or buy into, artifice is key to a strong character or 'act'. The work is referred to as a 'turn' or 'bit' and lack of technical ability is forgiven by an audience mildly intoxicated. Cabaret exists in venues usually with a heritage of light entertainment or again usually free from artistic association. Titling your work is not common practice. No subject is passé and work that makes light of child abuse and its offenders or is derogatory towards the female is acceptable. Work can be repeated for many years and given the tag of a 'standard' - this enables the performer to continue presenting this work to an audience. When comment is given on the lack of focus, politic or development a cabaret artist must respond with '..oh fuck off you cunt'.

I'll be exploring this issue in more detail as part of 'Performance Matters' with a show titled 'Performance Doesn't Matter' - Key speakers, turns and some feathers ruffled.

More info here - http://thisisperformancematters.co.uk/EYHO.html
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2011-09-26T22:04:00.000+01:00

TVs:AM - Part Deux by Eyho on Mixcloud

2011-09-26T09:06:00.001+01:00

Last week Jamey Rodemyer took his life because of the effects of homophobic bullying, his case follows a string of LGBTQ young people in America who have done the same.

Alot of the focus around these cases have been trying to outreach these young people through a string of youtube videos titled 'It Get's Better' - although made with good intent these are only largely viewed by people who wear the 'queer' name badge (despite questioning doe's it really get better in a world where homophobic attacks, murder and oppression is common place?).

As a mouthy 14yr old expelled from school for being a nancy, I took solace in Faceparty. Faceparty was a online community of teenagers with profile pictures attempting to make themselves look older, cooler and more 'out' than the other. Being 'out' seemed to be the done thing, it came with it's risks (like Nathan from 'Queer as Folk' at the time) but it also had kudos. I started to work with a theatre company called Spare Tyre, who were running theatre workshops for LGB (as it was then) teens who were bullied. These drew out stories that would become the focus for their teachers training program 'Thinking Pink'.

'Thinking Pink' was a free teaching programme offered to every school and education authority in the UK and Ireland. It's aim was to equip teachers, teaching assistants and governor's with the language, skills and processes in dealing with homophobia in schools. The workshops were offered during teachers Inset (In Service Training) and were i stress FREE. Two schools in the whole of the UK offered to take these up, one in Camden and the other a primary school in Islington - this was hardly the demographic we needed to outreach. Later in the project I managed to get within a school in Brixton who had a code of conduct that ruled homophobic language was unacceptable. I was to find 'that's gay' 'you're well gay' was prevalent and not tackled by any members of staff, 'gay' meaning rubbish or horrible was an accepted 'youthism' here and a 'normal part of school culture' as one teacher proclaimed.

How are we ever to stop young people like Jamey believing 'it gets better' if our education system and its employees don't actively pursue homophobia out of schools and empower them with a support system? These young people are looking for support from its educators who are supposed to help install a moral compass but its ignored and opens up a can of worms they don't have time to deal with effectivly. As a young person who fell out of the education system because of my perceived sexuality it annoys me that 12 years on it's still happening to young people around the world.

How we make sure another Jamey isn't the victim of bullying is not difficult, we make homophobia an unacceptable part of our society- we have all been guilty of not saying anything when called a 'poof'. The answer I don't think lies in doing a 'it gets better' video, tweeting about how horrible bullying is or writing a blog. The next time your are called a batty boy on the tube, top deck of the 55 or walking down the high street, turn and say 'Yes I am, Thank you' - it's the first step, but a brave one.

2011-09-22T15:06:00.000+01:00

2011-09-21T10:58:00.000+01:00

I decided to make a new webiste, this is usually a sign that I'm shifting position. I turn 26 next week, technically this mean in the eyes of the government I am not able to have money off them for being a youth, not able to access 'connextions' (as if?!) and IdeasTap have no regard for me and a human any longer. I'm also planning my 'Best/Worst of Scottee' show next year and it got me thinking - what have I actually done over the last six years?!

A new webiste is born and with it an archive of work I'm suddenly proud of, this is an unusual feeling for a solo performer who usually spends most of their days repeating 'I should be doing more'. It is also a less intense experience than the last format, as much as I loved people from Channel 4 calling me up asking me how to turn to 'noise' of my last site I think its time I grew up a little, became a little 'propa' and continued to annoy performance art people with how better my website is than theirs. scottee.co.uk

2011-09-16T12:36:00.000+01:00

New Scot-Tee's in my shop.

£20. Click the one you like. Go.

2011-09-15T23:04:00.000+01:00

Now I'm not a fussy cow but I thought it was time I set the record straight. Back in 2000 when I was a theatre twink working with American lesbians I was given the nickname 'Scotty' much to my mothers disapproval. Fast forward six years and during a kitchen table branding exercise with Warboy we opted to change the 'Y' with 'EE' - if American was a gendered lingo the double E would go on the end of girls name like Candee, and so Scottee was born.

With the death of Myspace and the evolving trend in shameless self promotion I was forced into opening a Facebook account to flaunt my wears. Facebook unlike Myspace demanded you were a real person with a real name and real friends. One of Facebooks many rules was that you had to supply a surname, now I'd always been just 'Scottee' but this wasnt going to pass so I opted for 'Scottee Scottee' - this was the biggest mistake of my life, I can't tell you how many times I've been introduced onstage with '..so good they named him twice it's Scottee Scottee' etc, how many people answer the phone with 'Hi Scottee Scottee' or how many emails that begin with Hi SS. In fairness this blog is abit of a passive agressive responce to the above because I've never told them they were wrong.

So listen up and take note it's just Scottee, like Madonna, Cher and Jesus.

2011-09-12T11:11:00.000+01:00

As mentioned in my previous post this year I was selected to run workshops as part of DIY8 for 'trash' & academic performers to share skills and create new work. From the wealth of applicants a strong female contingent emerged and I chose seven femmes to join me on my quest of merging booze and rooibos.

Here is some documentation from the workshops by Darrell Berry ©

This project forms part of DIY 8, a Live Art Development Agency initiative developed in collaboration with Artsadmin (national), Fierce (West Midlands), Live at LICA/Nuffield Theatre (North West), PLATFORM (national), Text Festival (North West), Whitstable Biennale (South East), Yorkshire Sculpture Park (Yorkshire).

2011-09-09T18:41:00.000+01:00

This week I have been running some workshops for professional artists at part of DIY8, My aim was to mix cabaret or variety artists with academic and live artists to generate communication, ideas and share skills. I chose to run this workshops in a small theatre near my home called Camden Peoples Theatre (CPT), I have a very special place in my heart for this space as it was witness to the first time I ever performed.

Back in the 2000, I was recently expelled from school and was looking to fill my time. Camden at that point were running 'Summer Universities' - these were free, week long courses that were open to under 25's. I applied with my friend 'Big Alan' to CPT's youth theatre because "I liked singing" and it was the course that was furthest away in the borough - exciting. When I arrived I was greeted by lefty long haired queers, middle class rebels and university arty types that were producing new risk taking work. The course was well received and CPT continued to run our youth theatre outside of the Summer University.

Aside from showing me that rolling around the floor in jam is a job and you should be paid for it, it also demonstrated that theatre, performance, live art or "I like singing" didnt need to be on a stage, in a theatre or adhere to rules - things that are very much still apart of my mantra. An example of a performance we created was titled 'The Zoo' - audience members were led into a basement, blindfolded and subjected to 'System of a Down' while we flicked water in their faces. After these acts of torture we exited up a series of steps and waited until the audience got bored and followed, as they creeped up the darken staircase we took Polaroids of them, at the top of the stairs they we led into the light to find chalk drawn bodies (the kind you see in films), the Polaroids that were taken were laid on these.

Today when I asked one of the performers to find a space to perform a piece she had devised in the workshops she chose those darkened stairs. To my surprise I was confronted with my 15yr old hand writing in chalk, my experiences at CPT flashed before me and I realized how worried I was at 15 of being a fat poof that didn't fit in, it also made me realize how important the youth theatre was in developing my confidence, politic and career.

'I'M HUNGRY' - not much has changed in 10 years?!

Thank you CPT. X

http://cpttheatre.co.uk/

2011-09-02T08:53:00.000+01:00

BRITISH NATIVE DANCE

For Duckies 15th Birthday 'Best of British' I created a video installation

inwhich punters were invited to plonk on some headphones and learn some

traditional english movement. It would be really rude not to share this experience with you..

&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;br&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;br&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;br&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;br&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;film&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

Filmed by Miguel Alvarez
http://www.faggotrainbow.com/

2011-09-02T08:43:00.000+01:00

Any performer, show off or wannabe will tell you how awkward / amazing in equal measures the Edinburgh festival is, after spending the last two weeks here I've realised this isn't for me.

1 million people come to this town to suck up some culture endorsed by a select few critics, sit cross armed, imaginary buzzer ready to be entertained in a post 'Got Talent' Britain. The festival is a wash student productions the 'they' may like to see - A Clockwork Orange is a great example of something cult, the middle classes are happy to endure - for a successful show on at the fringe this seems to be a popular formula...

Old film / book your Dad likes + played by someone you'd find in a Camden boozer = Sell Out show.

Equally if you've ever been on the tele, punters are more likely to take a risk with their Scotish notes - this year a smattering of Holby City actors are slap lined with their past endeavors to get bums on seats. Fading, semi-racist, white magicians looking to make a quick buck are a win here too which leads me to my conclusion 'this isn't for me' - it seems that this once risk taking exploration of the arts is now pandering to middle england for its bread & butter. Now before I sound like a scorned woman my show this year has been well received by both critics, artists & producers and I'm happy with the product we've produced but nothing here that's taking risks, pushing an agenda or politic has had the acclaim I think it deserves. Simon Callow in 'Tuesdays at Tesco' is a great example - I fell asleep four times but 600 bums a day - Is this mass appeal or the work of a genius? Is this what we're bored of calling 'due to the credit crunch?' - I think this may have something to do with the lack of new companies trying out ideas for the sake of it, money has become so important to these companies as the Arts Council snip their pocket money, but where are the audiences willing to pay £8 for something by someone who isnt on the tele / radio / channel 4 panel shows? - They are not here this year.

I've been coming to the fringe for 6 years now, my first experience was a raw, unapologetic festival that encouraged punk performance, with the departure of some key producers, Forest Fringe's future in the balance, Fosters taking over and the pressure to please Lyn Gardner at the forefront of creativity I'm interested to see how the fest evolves in future years.

Either way I'm back next year with 'Violence' but this year felt lack lustre. I genuinely applaud Assembly for taking the risk in programming leftfield work at the forefront of their program this year - Bryony Kimmings, Le Gateaux, Neil Hamburger, Two Wrongies & us (EYHO) - maybe the hope lies with them. No pressure.

Whats Onstage Review *****

Skinny Review

TimeOut Review

Gay Times Review (the be all and end all of the arts)

Here are some backstage snaps of the EYHO gang. Lorra Love X

2011-08-09T20:46:00.000+01:00

TVS:AM with Eat Your Heart Out, Vol. 1 by London Fields Radio on Mixcloud

2011-08-03T10:21:00.000+01:00

EYHO: Edinburgh Fringe Festival

British cabaret is thriving! Girls in fascinators and nipple tassels gallivant around like extras from Moulin Rouge & everybody loves to hear Radiohead's Creep on a Ukulele! - frankly we're sick of it.

After the success of our five star (WhatsOnstage) show last year we are back with our unique blend of performance cabaret and ready to give light entertainment some gravitas. Expect fax machines, ipad...s, OHP’s & cynicism.

Starring:
Scottee Timeout Performer of the year (still wheeling that out)
Figs In Wigs ‘Simply wonderful’ – The Stage
Nando Messias Brazil, Edinburgh debut
Miss Annabel Sings Independant’s Creative 100 list
Myra Dubois ‘Funny to the bone’ - Timeout
Helen Noir Violent neo-opera & light show
Bino Sauitzvy Paris via Brazil, Edinburgh debut
Spencer Wood The young one that hits himself

Special guests include:
Bryony Kimmings, Jonny Woo, Dorian Black, Tricity Vogue & Masumi Tipsy.

'Forward thinking cabaret'
Timeout, Critics Choice

‘An explosion of glittery chaos’
Three Weeks ****

‘A much needed revitalisation in the overexposed medium of cabaret theatre’
Whats Onstage *****

Dates: 16 – 28 August (not 22 - 23)
Time: 23:45 (1 hr 15mins)
Ticket Price: £8- £10
Venue Box Office: 0131 623 3030

BOOK ONLINE

2011-07-20T12:48:00.000+01:00

I.O.S | June 2011

2011-07-08T13:17:00.001+01:00

2011-07-05T15:05:00.000+01:00

Entertainment Value - Workshop

DEADLINE CLOSED

DIY 8: 2011 - Call for Participants
Bridging the gap between academic and trash, cabaret and gallery, booze and rooibos.

Project summary:
Entertainment Value is a two day skills sharing workshop with artists from cabaret, trash or low art practices in collaboration with live artists, academic or institution based practitioners. The workshop will be led by Scottee and result in an informal sharing of new work created over the two days. Entertainment Value will aim to bridge the gaps between academic and trash, cabaret and gallery, booze and rooibos. The workshop will focus on artistic practice (eg how a live artist creates work as distinct from a cabaret performer) and future collaboration. We will also think about how these different worlds can co exist, inhabit and create together to develop some new working relationships across the sector.

Dates: Thursday 8 and Friday 9 September, 2011
Times: 10am - 3pm
Location: London, venue TBC

Application procedure:
Applications are welcome from a broad range of artists, including cabaret or trash practitioners, as well as live artists, academic or institution based practitioners. Applicants should send a short bio & some examples of their work (youtube, jpgs etc) to info@scottee.co.uk.
Application deadline: Friday 15 July, 2011

2011-07-05T14:33:00.000+01:00

EYHO: Edinburgh Fringe Festival

British cabaret is thriving! Girls in fascinators and nipple tassels gallivant around like extras from Moulin Rouge & everybody loves to hear Radiohead's Creep on a Ukulele! - frankly we're sick of it.

After the success of our five star (WhatsOnstage) show last year we are back with our unique blend of performance cabaret and ready to give light entertainment some gravitas. Expect fax machines, ipad...s, OHP’s & cynicism.

Starring:
Scottee Timeout Performer of the year (still wheeling that out)
Figs In Wigs ‘Simply wonderful’ – The Stage
Nando Messias Brazil, Edinburgh debut
Miss Annabel Sings Independant’s Creative 100 list
Myra Dubois ‘Funny to the bone’ - Timeout
Helen Noir Violent neo-opera & light show
Bino Sauitzvy Paris via Brazil, Edinburgh debut
Spencer Wood The young one that hits himself

Special guests include:
Bryony Kimmings, Jonny Woo, Dorian Black, Tricity Vogue & Masumi Tipsy.

'Forward thinking cabaret'
Timeout, Critics Choice

‘An explosion of glittery chaos’
Three Weeks ****

‘A much needed revitalisation in the overexposed medium of cabaret theatre’
Whats Onstage *****

Dates: 16 – 28 August (not 22 - 23)
Time: 23:45 (1 hr 15mins)
Ticket Price: £8- £10
Venue Box Office: 0131 623 3030

Book Here

2011-07-02T11:52:00.001+01:00

NEW Facebook Page:

http://www.facebook.com/scotteeisfat

2011-06-20T16:38:00.000+01:00

ADVANCE TICKETS HERE

2011-06-14T13:16:00.001+01:00

BURGER QUEEN - HEAT 1

2011-06-10T21:28:00.000+01:00

3yrs ago I had the bright idea of pissing off every burlesque 'artist' known to tran. We've enforced our message across this beautiful country, lost lashes, broke high heels, spilt red wine on other peoples sofas & spent alot of time on the Megabus. If you've ever laughed with or at us please give her indoors a helping hand.

http://www.indiegogo.com/EAT-YOUR-HEART-OUT

X

2011-06-06T16:50:00.000+01:00

EYHO are back for their last stint in the pre-Olympic Village with the last of their Lottery money before we fuck off to Edinburgh. Still British cabaret is thriving! Girls in fascinators and nipple tassels gallivant around like extras from Moulin Rouge & everybody love's to hear Radiohead's Creep on a Ukulele! - frankly we're sick of it.

For our final Enforced show the EYHO company members and some very special guests bring you... something thats part Britain's Got Talent and part South Bank Show: edgy, cheap and has a nice theme tune.

Enforced collaborators Dickie Beau & Bryony Kimmings.

Scottee
Fancy Chance
Myra Dubois
Sue Hart as 'The Hairy Showgirl'
Miss Annabel Sings
Spencer Wood
& your chance to win big.

Doors 7.30pm – Show at 8pm

Stratford Circus
Theatre Square, Stratford London E15
2mins from Stratford Tube (Central, Jubilee, Overground & DLR)

Early Bird £6 tickets until 3rd June | £9 or £6 cons
Advance tickets at stratford-circus.com or 0844 357 2625

Eat Your Heart Out: Enforced is supported by Arts Council England | Image by Sami Knight

2011-05-27T23:41:00.001+01:00

2011-05-23T22:33:00.001+01:00

Check out Burger Queen's 'Chewing the Fat' podcast for London Fields Radio!

Chewing The Fat by London Fields Radio on Mixcloud

2011-05-23T10:42:00.001+01:00

Burger Queen - Diet #1

Listen!

How annoying / amazing is this video? Her voice, the backing track & the intro!
This is the first fad diet I'll be trailling from Wednesday. Wish me luck.

2011-05-20T16:57:00.000+01:00

I fucking hate CHUGGERS - Charity Muggers for those of you lucky never to have encountered these tabard wearing, clipboard welding, I-look-like-I've-just-come-from-a-festival cunts. It's not the fact they are looking for money, its the way they go about it.

I live in Camden and as expected its arts department have had all their funding taken away - ALL. Now I'm working class so I used to think if you can't make the art pay for the art then why bother? I've quickly come to realise that work that isn't your sit down, pay £50 and leave without being challenged can exist on no funding. Work that reaches communities, non-theatre goers, the jaded, the outsiders etc needs a helping hand.

So without sounding like I'm rattling a tin, or using a ploy like "Hey dude, i like your hair! Have you got two minutes?" - I'd like to post this link, its an invitation to crowd fund a project I'm directing.

If you click the link and donate as little as £10 you'll be saying fuck you to the cuts.

I Love You. X

http://www.ulule.com/unhappy-birthday/

Unhappy Birthday: The Scent of Morrissey from amy lamé on Vimeo.

2011-05-16T11:48:00.000+01:00

There is lots of wonderfulness going on at the moment and instead of sploshing about 100's of status updates or pestering you on twitter I thought it better to write something on here. Jonny Woo also accused me of being ever so private.. "your not like everyone else who puts on facebook 'running around town, walking down the road, planning this etc' - and so this has encouraged me further to talk about how wonderful I am and my plans to become the next Dawn French (with nicer clothes).

Preparations for BQ are well underway, we have space for only three more contestants which is wonderful! The contestants are a really nice mix of fat boys, plump girls & 'fat' outsiders (those who feel like they don't fit in or follow fatties / admirers), I also have a wheelchair user entering and I'm currently working on adapting the RVT into a wheelchair friendly stage! I have just announced Christopher Biggins & Marawa the Amazing (that bird off Britain's Got Talent / La Clique) will join the judges panel! Scream!

This Friday we are recording a special pre-show radio podcast for London Fields Radio titled 'Chewing the Fat'. I encourage you to pre book tickets as demand for these shows seems to be high and early sales are coming in (plus you can get a meal deal if you book in advance!)
CLICK HERE

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We are coming towards the end of our Enforced run at Stratford Circus - this has been a really exciting run and I've really enjoyed seeing all the new work produced for it. We have only 2 shows left and I urge you to pop down to one. Our next event on 27th May is inspired by this weekends Eurovision - I'll be remotely hosting the show from Manchester's Green Room on one of their final nights, the Arts Council have withdrawn their funding from the space and I'd like to spend some of ours Arts Council money they gave us on saying "Fuck You arts cuts!" - We will also be going live to Las Vegas where Miss Annabel Sings will give a 'TRANS-Atlantic" performance - Ticket link here.

We can also announce we will be showing off at Edinburgh again this year with a bigger and better show. This year we are supported by Assembly (ohhh!) and performing at their new venue George Square! We are really excited about this! Show includes: Myself, Nando Messias, Masumi Tipsy, Helen Noir, Miss Annabel Sings, Myra Dubois & Spencer Wood with guests: Bryony Kimmings, Dusty Limits, Tricity Vogue, Gaffee, Angel Rose & more! As ever we are fundraising to make this show happen and keep the ticket prices dirt cheap enabling young people & those on low income to attend! We are offering signed flyer packs for £15 - More info here

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En Femme:

I'm currently developing a new show with Nando Messias and Jonny Woo titled 'En Femme' - this show is shaping up to be a dance / physical theatre piece that explores the idea of 'Being, Becoming, Living & Acting - Woman' - We have performed a few scratches and I've included some documentation below. More news on a London run in the next few months.

Images by Darrell Berry

__________________________________________________________________________________________

Unhappy Birthday:

I'm firmly sat in the directors chair on a new project with Amy Lamé. Unhappy Birthday is a performative exploration of Lamé and her love for Morrissey. We are currently developing the show at Battersea Arts Centre and Contact Manchester that will tour the UK late 2011 and early 2012 and USA in Autumn 2012. Here is some documentation from rehearsal!

2011-05-09T11:50:00.000+01:00

Limited Edition Signed Flyer Packs

Our signed flyer pack contains five flyers used for our Enforced Season this year at Stratford Circus.

Each flyer is signed by its performer.

Performers include: Scottee, Myra Dubois, Miss Annabel Sings, Helen Noir & Spencer Wood.

£15 pre-order or £20 (after 7th June)
Free P&P.

Click here to buy

Pre-orders will be dispatched on 7th June

All profits made from these packs will fund the EYHO company run at the Edinburgh Fringe this year.

__________________________________________________________________________________

The EYHO company would like to thank Sami Knight for donating the use of these images. www.samiknight.com

2011-05-03T12:46:00.000+01:00

ADVANCE TICKETS HERE:

2011-05-02T11:44:00.001+01:00

First showing of 'En Femme' - a full length dance piece I'm currently developing with Jonny Woo & Nando Messias.

2011-04-20T10:06:00.000+01:00

As many of you already know, I base my business model on Katie Price, from pointless DVD's to failed attempts to enter Eurovision and sucessfully attempting to get the Great British public to hate us.

I've also been followed by a camera crew for the last 3 years as part of Holstar's 'Hot Mess' documentary on London's queer performance scene, which is just like 'Being Katie'.

Here's the trailer. I look like a satanist, mission accomplished.

2011-04-15T10:22:00.001+01:00

Fat is not a dress size, its a mentality.

Fat is the outsider, the geek, the queer, the faggot, the woman in the work place, the trans, the ginger, the disabled, the black (& everything in between), the bullied, the oppressed, the empowered, the angry, the brave & the poor - and until you get your head around that you won't grab the concept of Burger Queen.

burger-queen.info

2011-04-14T10:08:00.000+01:00

My Mum who lives a quite life in Essex knows who she is, Chris Moyles knows her name & everybody knows what she looks like with her clothes off.

Five years ago in a basement nightclub in central London I gallivanted around with drinks tokens in hand, wearing a shirt back to front, had freshly bleached eyebrow and a painted on a Hitler tash for a 'Friday night off' look. I was off to meet Sue Tilley for the first time, being a Leigh fan for all of 10 minutes I was fascinated with who or what this woman known as 'Big Sue' was. Over copious bottles of V - a delightful alcopop with various E numbers - I learnt no one called her 'Big Sue' and she was just as interested in real weirdos, gossip and scandal as I was, I also took to calling her Ms Tilley for quite some time for some unknown reason.

It turned out Sue lived in an area not too far from where I grew up and Sue being Sue invited me over for a cup of tea & cake - Sue doesn't like tea, she prefers Diet Coke to which I quickly became attuned. Over more cans of cola, cake and chats about freaks I asked Sue if she would like to do some photos with Ellis Scott for fun, of course she jumped at the opportunity to have her photo taken and so our friendship was born.

In some bizarre turn of events Camden council gave me a council house that was next door to Sue's - I think they like to keep all the strange folk in one area - we have various tranny neighbours that are a source of alot of our telephone calls. Since moving here 3 years ago she has become Aunty Sue - she washes my clobber, makes my tea & drives me to Morrisons. We love nothing more than to watch various cookery shows her 46" TV while she bakes cakes - this is a skill I think the rest of the world should know above all about Sue - she is an amazing baker (and I'm happy to scoff her experiments)!

Ofcourse many people know Sue from her touching account of Leighs life - 'The life & times of an Icon" - the book has just been digitalised for the Kindle, ipad etc and Sue was asked to write an update, before writing this we joked it would be quite a quick chapter that contained "he died, shes dead, he's dying". A few weeks ago Sue handed me her new Kindle toy and I read the last chapter - I was dead impressed to be included in her update and also rather touched.

From getting drunk in a club that is now an excavated hole, soon to be Crossrail in central London to Aunty Sue, my bizarre neighbour who always comments on my love for women's jackets and donor to my 1647 French & Teague clothes collection - to paraphrase her favourite (& most overly used) word - Aunty Sue is a marvel.

Buy the book, its digital and if your lucky, like me Sue will change your life.

Lorra Love Aunty Sue X

E-Edition here -

http://www.amazon.co.uk/Leigh-Bowery-Life-Times-ebook/dp/B004Q9U0LU

2011-04-07T18:27:00.001+01:00

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More info at http://burger-queen.info

2011-04-04T13:12:00.000+01:00

Leigh Bowery's 50th Birthday

Documentation from my performances at Leigh's Birthday memorial at ICA, London on 1st April.

Video by Bambi Fantastic

Video by Dyler Plummer

Images by Darrell Berry

The shirt worn in the first video is available to buy from my Big Cartel, signed and labelled here

2011-03-27T13:46:00.000+01:00

2011-03-27T13:02:00.001+01:00

Eat Your Heart Out | Enforced #2 | Darrell Berry | March '11

2011-03-27T12:59:00.000+01:00

We're well into our Enforced season and after last months exploration of childhood sexual memories from Figs & Timberlina we think we're mentally ready to rape the Olympic hotspot of Stratford again with a show that has nothing to do with that ridiculous wedding.

If your unaware, Enforced Season brings regional artists to the big smoke, each will show off their own material and present a new collaborative commission that EYHO hav...e made possible - in essence we're doing a 'Diana' and bringing people together. The collaborators will have 24 hours to create their piece and will have no idea who they are working with, its an artistic Blind Date & Scottee is playing Cilla.

EYHO is like Britain's Got Talent VS South Bank Show: its edgy, cheap and has a nice theme tune.

Enforced #3
Brain Lobel & Spencer Wood

plus: Jonny Woo, Scottee, Myra Dubois' Soap Box, Miss Annabel Sings,
Thom Shaw, Wild Card, Twitter Critic & a sneak preview of 'En Femme'

Saturday 30th April
Doors 7.30pm – Show at 8pm

Stratford Circus
Theatre Square, Stratford London E15
2mins from Stratford Tube (Central, Jubilee, Overground & DLR)

Early Bird £6 tickets until 8th April | £9 or £6 cons
Advance tickets at stratford-circus.com or 0844 357 2625

Eat Your Heart Out: Enforced is supported by Arts Council England | Image by Sami Knight

2011-03-23T17:55:00.001Z

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http://burger-queen.info

2011-03-23T10:19:00.000Z

Since posting this picture for Eat Your Heart Out: Enforced #2 (This Friday) the world has gone balloon tit mad! Some people have declared a new found love for me, disowned other performers at VIP parties and some even proclaiming 'I stole their look'.

My first encounter with balloon tits was with my drag mother Ms Booby Tuesday - she showed me how to become a woman with one quick puff. In light of this on Saturday at Jodie Harsh's Circus I will be giving out free breast consultations and giving you the chance to look just as wonderful as me. Find me on the 31st floor with a pump and balloons of every colour to match your look - single file please! More info: thisiscircus.com

In other news: I'm looking for an intern - ideally I'm looking for someone looking for experience in the art / performance / theatre world who would like to develop skill in production and arts admin info@scottee.co.uk

2011-03-18T15:23:00.000Z

Eat Your Heart Out: Enforced 2 lands in just 7 days time. If you haven't heard the Enforced Season is five shows that pair artists who would never work with each other on artistic blind dates.

Next week its the turn of Queen Mary performance students 'Figs in Wigs' and trans-super-wo-man Timberlina. Their show is about the first time we sexualize ourself, when our imagination is not limited by what we are fed is a 'healthy' sexual fantasy. In preparation for this I thought I would share my story - oh god all of a sudden this has turned very 'Take a Break'.

When I was 6 or 7yrs old I had a friend called 'George' - I named him that after a boy at school I was fond of, I wouldn't say fancy as I had no idea what that was / should feel like. George was a teddy bear that came dressed as a pilot circa 1935. At some point his goggles went missing so I replaced them with swimming googles from Prince of Wales baths for quite a chunk of my pocket money. I remember quite vividly talking to George about all manner of subjects most of which included Lego. Georges nose was made from some from of plasticized leather, this is how he would kiss me, the more he did the wetter his nose became. George and I parted ways by the age of 8, I had already moved on to a real boy who liked to play 'Mummy and Daddy' in the play corner of Mr Fry's classroom.

My imagination has a lot to answer for. Hope you can make it down next Friday.

Eat Your Heart Out: Enforced Season features Figs in Wigs, Timberlina, Bird La Bird, Sarah Johns, Miss Annabel Sings, Spencer Wood, Thom Shaw, Myra Dubois and Scottee as the Lisa Stansfield Experience

Friday 25th March | 8pm | Stratford Circus E15

Special Duckie Offer - £6 (usual price £9) | Call the box office and quote 'Duckie' 0844 357 2625

2011-03-15T14:09:00.000Z

Call me anything you like, but not a queer.

This week this word has plagued my life - not only the babble that occurred around my census and the ownership of the word but last night I attended an 'open space' talk about queer theatre - now I'm not usually one for sitting in a room with other white homo's talking about other white homo's who do 'theatre' but the idea Chris Goode wanted to discuss was - 'Is queer theatre dead? are we post-queer?' which compelled me to attend.

The open space technique feels like you've stepped into Chris Morris' Jaam - there is no punchline, everyone is completely serious about 'exsisting in tangible silence' and there is even Buddhist bells included for good measure - now having existed in alternative theatre I get why these people do this shit and why they feel its important - but the post 'theatre' me did feel the need to declare a statement about how bizarre sitting in a circle, looking at each other for 30mins and not proclaiming bizarre statements like 'Be prepared to be suprised' was. I put the cynic away and went with it - in short open space is people proposing questions on the chosen subject and others attend your mini talk if it interests them. I proposed the question 'Where does trans sit in queer?' - When I set this question I guess I was thinking literally about where do trans people fit in queer, but the more I thought about it the more clarity I gained about my definition of trans. Now I'm fully aware of the ownership of words and the transgendered community have with 'T' but trans - for me - is much more than gender reassignment. Trans for me is a border less, sexless, genderless and gate less community for all free thinkers - it took me ages to really try to community with my group what I meant, so I drew this:

The X's mark where you can exist - anywhere.

Some people thought that queer already encapsulated this, I think queer is generational - I grew up in a post queer environment - queer: the politic had already happened, queer: the culture had already happened - by the time I came out queer was a television program on Channel4 about poofs in Manchester or a buzz word used for people who read TimeOut. Trans for me is the queer for others. This started to raise questions about what it is to belong to a community and who sets the boundaries and if trans was queers evolution.

Further discussions about queer made me reaffirm I'm trans: "I want more queer spaces just for us - why are LGBT spaces now gay friendly?" - this kind of thoughtless comment is my problem with those who identify with it, this self perpetuating victimization mentally that we need to exist in different spaces does not interest me. Anther comment was made about having to identify as LGBT to be queer - I could not disagree anymore, If queer is a sexuality then I want nothing to do with it.

I mentioned how all my friends refer to each other as simply 'trans', its our shorthand for 'being whatever it is you want to be today' weather it be M, F, MTF, FTM, MS, Miss, Mr, MX, drag, camp or butch - trans for me is everything, nothing and more.

My final comment in the group feedback was 'Hello, My name is Scottee and I'm Trans - Tonight I have learnt weather it be trans or queer a group of people cannot be identified by it - the word is owned by the person'

And thats all I've got to say on the matter. X
P.S - heres a radical idea - lets just LIVE!

2011-03-14T11:44:00.000Z

Why I put Queer on my Census.

I thought I'd write a few words about why I proclaimed 'Queer' under 'Religion' on my Census form this morning, some of you seem to be outraged by the thought which is surprising - I thought it's benefits were quite clear.

The Census apart from being a huge spend of public funding / resource for your great grandson that may look it up on 'Who do you think you are?' in the year 2090 (if the planet survives) is also one of the ways government decide how public funding is allocated. The questions include information on your house hold, your health, religious beliefs and employment.

As a homo-trans I think my sexuality is really important - When I was younger I used to access lots of services for LGBT young people, sexual health and support workers - infact many of us still do - all of which lacked government investment, this sparked off an early career working in community arts, local government and LGBT youth services.

I feel a legal document that decides how our tax funded government support is spent is important and should include an optional box to proclaim your sexuality - whatever it be! (but only if you want to) - why? So the aforementioned services are included in public spending, we have an acknowledgement of sexuality being important and that filling the religion box with 'queer' does not distract from those who follow a faith.

As much as I feel the word 'Queer' isn't relevant to me, my politic or my sexuality
it's a way of standing together as a body of people weather we be LGBTQ or politically queer and asking the government to acknowledge the ownership of our sexuality's as important - the 'queer' slipper doesn't fit my perfectly shaped size 8 foot, but as one unelected knob once said 'we're all in this together'

While we're at it where was the Gender - Other box?

How ever you filled it in - LOVE x

2011-03-13T20:32:00.000Z

The week beginning the 14th of March shall be known as 'A right old week of it'.

I'm not complaining, just showing off - would be lovely to see you at something.

image by Fred Butler

Tuesday 15th March: Talking Shop
Talking Shop is a quarterly event offering support for artists working in the areas of live art and interdisciplinary performance practices through 15-minute advice sessions, break-out dialogues and Q&A sessions.

The next shop will be guest-hosted by Scottee, the iconic trasher-performer and artistic director of Eat Your Heart Out. Talking Shop is Talking Trash is an advice and networking event especially for artists at the beginning of their career who are interested in and/ or working in trash performance, low-brow pop culture or those who are operating in sub-cultural contexts outside of the “mainstream institutions” of art. More info here: http://artsadmin.co.uk/events/2847

Wednesday 16th March: W Hotel Launch
I've been invited to perform at the launch of W's Leicester Square hotel with Horse Meat Disco.
I'll be present new work on the hour in the HMD Cinema for 50 people at a time.
If you have a ticket - see you there. If not I suppose check Grazia.

Thursday 17th March: Double R Club
I'm back for my second appearance at the Double R Club.
This is an amazing cabaret night with fantastic production - come if you can
More info here: www.myspace.com/thedoublerclub

Friday 18th March: Shunt
I'm debuting a new piece at Shunt tonight, It involves me throwing myself about abit
and I'm worried I may break a rib. More info here: www.shunt.co.uk

Saturday 19th March: Circus Cambridge
Back in at The Junction, Cambridge with Jodie and Kris. We're joined by the amazing Empress Stah
More info here: www.thisiscircus.com

2011-03-09T00:23:00.000Z

Over the last three months I've been working with long time collaborator Judy Jacob / Beggars Velvet on our first full length project 'Lisa Stansfield Experience' - We are currently still filming and editing into late Spring for our Summer showing, until then here are some stills from our teaser we showcased at Duckie in February. (The same 6min short will be shown at BFI's London Lesbian & Gay Film Festival's 'Burn' night this year)

This project was developed as part of Duckie's 'Artist in Residence' program which is support by Arts Council England

2011-03-07T12:03:00.000Z

I'm looking for people willing to talk on film about death! This is part of a larger documentary film I've been working on for two years with film maker Judy Jacob in which we explore what being human means - sex, relationships, life, disability & the final curtain. I'm looking to hear from people who have planned their death, who may be worried about dying or anyone who has attempted suicide. Do you believe in assisted suicide? Do you believe in an after life? Do you want to have a living funeral? Will you be buried or shot into space? Please contact info@scottee.co.uk

2011-03-06T23:19:00.001Z

2011-03-06T23:17:00.000Z

2011-03-06T22:17:00.000Z

I am a woman.

SOS by Billa.

2011-03-02T11:57:00.000Z

'Tom Jones made me'

Eat Your Heart Out - Feb 2011

2011-03-01T11:35:00.000Z

EAT YOUR HEART OUT : ENFORCED #2

British cabaret is thriving! Girls in fascinators and nipple tassels gallivant around like extras from Moulin Rouge & everybody love's to hear Radiohead's Creep on a Ukulele! - frankly we're sick of it.

After last months sell out show - flaunting our a new look, new venue and new attitude (problem),
we are back with the second part of our Enforced season & if you thought we were brash last month then stay at home. The Enforced season see's us continue to wear our heart on our sleeve & explore a world of pioneering performance, left-field drag & cutting cabaret.

Enforced Season brings regional artists to the big smoke, each will show off their own material and present a new collaborative commission that EYHO have made possible - in essence we're doing a 'Diana' and bringing people together. The collaborators will have 24 hours to create their piece and will have no idea who they are working with, its an artistic Blind Date & Scottee is playing Cilla.

The five part season will ofcourse feature your favorite EYHO company members and some very special guests who will be on hand to give their 'Live Critic' - think of it like Britain's Got Talent meets the South Bank Show: its edgy, cheap and has a nice theme tune.

Enforced #2
Timberlina & Figs in Wigs

plus:
Bird La Bird
Scottee
Myra Dubois' Soap Box
Sarah Johns
Miss Annabel Sings
Spencer Wood
Thom Shaw
Lisa Stansfield Experience
Wild Card, Twitter Critic & more

Friday 25th March
Doors 7.30pm – Show at 8pm

Stratford Circus
Theatre Square, Stratford London E15
2mins from Stratford Tube (Central, Jubilee, Overground & DLR)

Early Bird £6 tickets until 11th March | £9 or £6 cons
Advance tickets at stratford-circus.com or 0844 357 2625

Eat Your Heart Out: Enforced is supported by Arts Council England

2011-02-28T19:51:00.000Z

Duckie

Artist in Residence
Week #3

'Tom Jones Made Me Do Bad Things'

images by Stuart Lorimer

2011-02-21T10:38:00.001Z

I made this, its a good insight to how I feel about 'performance artists'

2011-02-17T23:22:00.000Z

I'm Scottee and I'm an over eater.

To celebrate the launch of London Body Fascism Week, I've teamed up with 6000ad.co.uk to flog you some rather expensive t-shirts with my face on them. Each tee is XXXL and costs £40. Your money helps maintain my eating habits & others like me.

As our governments squeeze in a 'fat tax' - taxing fried chicken shops across our great Island and Channel 4 make yet another documentary about a fatty who cant wipe their own arse, I ask you to think of a fatty this London Fascism week

Buy A Scott/tee, Save a fatso.

(A limited run of tee's are available from Philp Normal's Happy Shack in Camden Lock - until 6000ad's launch in March - http://www.facebook.com/group.php?gid=47464869460)

http://scottee.co.uk/ | http://6000ad.co.uk/