MusicBrainz is a project that aims to create an open data music database, similar to the freedb project. MusicBrainz was founded in response to the restrictions placed on the Compact Disc Database, a database for software applications to look up audio CD information on the Internet. MusicBrainz has expanded its goals to reach beyond a compact disc metadata storehouse to become a structured open online database for music. MusicBrainz captures information about artists, their recorded works, the relationships between them. Recorded works entries capture at a minimum the album title, track titles, the length of each track; these entries are maintained by volunteer editors. Recorded works can store information about the release date and country, the CD ID, cover art, acoustic fingerprint, free-form annotation text and other metadata; as of 21 September 2018, MusicBrainz contained information about 1.4 million artists, 2 million releases, 19 million recordings. End-users can use software that communicates with MusicBrainz to add metadata tags to their digital media files, such as FLAC, MP3, Ogg Vorbis or AAC.
MusicBrainz allows contributors to upload cover art images of releases to the database. Internet Archive provides the bandwidth and legal protection for hosting the images, while MusicBrainz stores metadata and provides public access through the web and via an API for third parties to use; as with other contributions, the MusicBrainz community is in charge of maintaining and reviewing the data. Cover art is provided for items on sale at Amazon.com and some other online resources, but CAA is now preferred because it gives the community more control and flexibility for managing the images. Besides collecting metadata about music, MusicBrainz allows looking up recordings by their acoustic fingerprint. A separate application, such as MusicBrainz Picard, must be used for this. In 2000, MusicBrainz started using Relatable's patented TRM for acoustic fingerprint matching; this feature allowed the database to grow quickly. However, by 2005 TRM was showing scalability issues as the number of tracks in the database had reached into the millions.
This issue was resolved in May 2006 when MusicBrainz partnered with MusicIP, replacing TRM with MusicDNS. TRMs were phased out and replaced by MusicDNS in November 2008. In October 2009 MusicIP was acquired by AmpliFIND; some time after the acquisition, the MusicDNS service began having intermittent problems. Since the future of the free identification service was uncertain, a replacement for it was sought; the Chromaprint acoustic fingerprinting algorithm, the basis for AcoustID identification service, was started in February 2010 by a long-time MusicBrainz contributor Lukáš Lalinský. While AcoustID and Chromaprint are not MusicBrainz projects, they are tied with each other and both are open source. Chromaprint works by analyzing the first two minutes of a track, detecting the strength in each of 12 pitch classes, storing these 8 times per second. Additional post-processing is applied to compress this fingerprint while retaining patterns; the AcoustID search server searches from the database of fingerprints by similarity and returns the AcoustID identifier along with MusicBrainz recording identifiers if known.
Since 2003, MusicBrainz's core data are in the public domain, additional content, including moderation data, is placed under the Creative Commons CC-BY-NC-SA-2.0 license. The relational database management system is PostgreSQL; the server software is covered by the GNU General Public License. The MusicBrainz client software library, libmusicbrainz, is licensed under the GNU Lesser General Public License, which allows use of the code by proprietary software products. In December 2004, the MusicBrainz project was turned over to the MetaBrainz Foundation, a non-profit group, by its creator Robert Kaye. On 20 January 2006, the first commercial venture to use MusicBrainz data was the Barcelona, Spain-based Linkara in their Linkara Música service. On 28 June 2007, BBC announced that it has licensed MusicBrainz's live data feed to augment their music Web pages; the BBC online music editors will join the MusicBrainz community to contribute their knowledge to the database. On 28 July 2008, the beta of the new BBC Music site was launched, which publishes a page for each MusicBrainz artist.
Amarok – KDE audio player Banshee – multi-platform audio player Beets – automatic CLI music tagger/organiser for Unix-like systems Clementine – multi-platform audio player CDex – Microsoft Windows CD ripper Demlo – a dynamic and extensible music manager using a CLI iEatBrainz – Mac OS X deprecated foo_musicbrainz component for foobar2000 – Music Library/Audio Player Jaikoz – Java mass tag editor Max – Mac OS X CD ripper and audio transcoder Mp3tag – Windows metadata editor and music organizer MusicBrainz Picard – cross-platform album-oriented tag editor MusicBrainz Tagger – deprecated Microsoft Windows tag editor puddletag – a tag editor for PyQt under the GPLv3 Rhythmbox music player – an audio player for Unix-like systems Sound Juicer – GNOME CD ripper Zortam Mp3 Media Studio – Windows music organizer and ID3 Tag Editor. Freedb clients can access MusicBrainz data through the freedb protocol by using the MusicBrainz to FreeDB gateway service, mb2freedb. List of online music databases Making Metadata: The Case of Mus
Chatham is one of the Medway towns located within the Medway unitary authority, in North Kent, in South East England. The town developed around Chatham Dockyard and several Army barracks, together with 19th-century forts which provided a defensive shield for the dockyard; the Corps of Royal Engineers is still based in Chatham at Brompton Barracks. The Dockyard closed in 1984, but major naval buildings remain as the focus for a flourishing tourist industry. Following closure, part of the site became a commercial port, other parts were redeveloped for business and residential use, part became the Chatham Historic Dockyard museum, which features the submarine HMS Ocelot among a good many other attractions; the town has important road links and the railway and bus stations are the main interchanges for the area. It is the administrative headquarters of Medway unitary authority, as well as its principal shopping centre; the name Chatham was first recorded as Cetham in 880. The Domesday Book records the place as Ceteham.
Most books explain this name as a British root ceto plus Old English ham, thus meaning a forest settlement. The river-valley situation of Chatham is, more consistent with cet being an Old English survival of the element catu, common in Roman-era names and meant'basin' or'valley'. Chatham stands on the A2 road along the line of the ancient Celtic route, paved by the Romans, named Watling Street by the Anglo-Saxons. Among finds have been the remains of a Roman cemetery, it long remained a small village on the banks of the river, but by the 16th century warships were being moored at Jillingham water, because of its strategic sheltered location between London and the Continent. It was established as a Royal Dockyard by Queen Elizabeth I in 1568 and most of the dockyard lies within Gillingham. A refitting base, it became a shipbuilding yard. In its time, many thousands of men were employed at the dockyard, many hundreds of vessels were launched there, including HMS Victory, built there in the 1760s.
After World War I many submarines were built in Chatham Dockyard. In addition to the dockyard itself, defensive fortifications were built to protect it from attack. Upnor Castle had proved ineffectual; the fortifications, which became more elaborate as the threat of invasion grew, were begun in 1756 as a complex across the neck of the peninsula formed by the bend in the River Medway, included Fort Amherst. The threat of a land-based attack from the south during the 19th century led to the construction of more forts; the second phase of fort-building included Fort Pitt. The 1859 Royal Commission on the Defence of the United Kingdom ordered, inter alia, a third outer ring of forts: these included Fort Luton, Fort Bridgewood, Fort Borstal; these fortifications all required military personnel to man them and Army barracks to house those men. These included Kitchener Barracks, the Royal Marine Barracks, Brompton Artillery Barracks and Melville Barracks. H. M. S. Collingwood and H. M. S. Pembroke were both naval barracks.
In response to the huge manpower needs, the village of Chatham and other nearby villages and towns grew commensurately. Trams, buses, linked those places to bring in the workforce; the area between the High Street and Luton village illustrates part of that growth, with its many streets of Victorian terraces. The importance of Chatham dockyard declined as Britain's naval resources were reduced or moved to other locations, in 1984, it was closed completely; the dockyard buildings were preserved as the historic site Chatham Historic Dockyard, under consideration as a World Heritage Site the site is being used for other purposes. Part of the St Mary's Island section is now used as a marina, the remainder is being developed for housing and other uses, branded as "Chatham Maritime". Chatham lost its independence as a borough under the Local Government Act 1972, by which, on 1 April 1974, it became part of the Borough of Medway, a non-metropolitan district of the county of Kent. Under the most recent change, in 1998, with the addition of the Borough of Gillingham, the Borough of Medway became a unitary authority area, administratively separate from Kent.
It remains part of the county of Kent for ceremonial purposes. Medway Council has relocated its main administration building to Gun Wharf, the site of the earliest part of the Dockyard, a former Lloyd's office building. Chatham is part of the parliamentary constituency of Chatham and Aylesford. Prior to 1997, Chatham had been included in the constituencies of Mid Kent and Chatham and Chatham. Like several other Kent constituencies, Chatham has proven to be a marginal seat, swinging backwards and forwards on the political tide and always following the national trend. Since 1945, the members of parliament for Chatham have been as follows: Chatham is situated where the lower part of the dip slope of the North Downs meets the River Medway which at this point is flowing in a south-north direction; this gives the right bank, where the town stands, considerable advantages from the point of view of river use. Compared with opposite bank, the river is deep.
Garage rock is a raw and energetic style of rock and roll that flourished in the mid-1960s, most notably in the United States and Canada, has experienced various revivals since then. The style is characterized by basic chord structures played on electric guitars and other instruments, sometimes distorted through a fuzzbox, as well as unsophisticated and aggressive lyrics and delivery, its name derives from the perception that groups were made up of young amateurs who rehearsed in the family garage, although many were professional. In the US and Canada, surf rock—and the Beatles and other beat groups of the British Invasion—motivated thousands of young people to form bands between 1963 and 1968. Hundreds of acts produced regional hits, some had national hits played on AM radio stations. With the advent of psychedelia, a number of garage bands incorporated exotic elements into the genre's primitive stylistic framework. After 1968, as more sophisticated forms of rock music came to dominate the marketplace, garage rock records disappeared from national and regional charts, the movement faded.
Other countries in the 1960s developed similar grass-roots rock movements that have sometimes been characterized as variants of garage rock. During the 1960s garage rock was not recognized as a distinct genre and had no specific name, but critical hindsight in the early 1970s—and the 1972 compilation album Nuggets—did much to define and memorialize the style. Between 1971 and 1973, certain American rock critics began to retroactively identify the music as a genre and for several years used the term "punk rock" to describe it, making it the first form of music to bear the description, predating the more familiar use of the term appropriated by the punk rock movement that it influenced. "Garage rock" came into use at the beginning of the 1980s and gained favor amongst devotees. The genre has been referred to as "proto-punk". In the early to mid-1980s, several revival scenes emerged featuring acts that consciously attempted to replicate the look and sound of 1960s garage bands. In the decade, a louder, more contemporary garage subgenre developed that combined garage rock with modern punk rock and other influences, sometimes using the garage punk label and otherwise associated with 1960s garage bands.
In the 2000s, a wave of garage-influenced acts associated with the post-punk revival emerged, some achieved commercial success. Garage rock continues to appeal to musicians and audiences who prefer a "back to basics" or "do-it-yourself" musical approach; the term "garage rock" used in reference to 1960s acts, stems from the perception that many performers were young amateurs who rehearsed in the family garage. While numerous bands were made up of middle-class teenagers from the suburbs, others were from rural or urban areas or were composed of professional musicians in their twenties; the term "garage band" is used to refer to musical acts in this genre. Referring to the 1960s, Mike Markesich commented "...teenge rock & roll groups proliferated Everywheresville USA". Though it is impossible to determine how many garage bands were active in the era, their numbers were extensive on a still unprecedented scale in what Markesich has characterized as a "cyclonic whirlwind of musical activity like none other..."
According to Mark Nobles, it is estimated that between 1964-1968 over 180,000 bands formed in the United States, several thousand US garage acts made records during the era. Garage bands performed in a variety of venues. Local and regional groups played at parties, school dances, teen clubs. For acts of legal age, bars and college fraternity socials provided regular engagements. Groups had the opportunity to open at shows for famous touring acts; some garage rock bands went on tour those better-known, but lesser-known groups sometimes received bookings or airplay beyond their immediate locales. Groups competed in "battles of the bands", which gave musicians an opportunity to gain exposure and a chance to win a prize, such as free equipment or recording time in a local studio. Contests were held, locally and nationally, three of the most prestigious national events were held annually by the Tea Council of the U. S. A. the Music Circus, the United States Junior Chamber. Performances sounded amateurish, naïve, or intentionally raw, with typical themes revolving around the traumas of high school life and songs about "lying girls" being common.
The lyrics and delivery were more aggressive than the more polished acts of the time with nasal, growled, or shouted vocals, sometimes punctuated by shrieks or screams at climactic moments of release. Instrumentation was characterized by basic chord structures played on electric guitars or keyboards distorted through a fuzzbox, teamed with bass and drums. Guitarists sometimes played using aggressive-sounding bar chords or power chords. Portable organs such as the Farfisa were used and harmonicas and hand-held percussion such as tambourines were not uncommon; the tempo was sped up in passages sometimes referred to as "raveups". Garage rock acts were diverse in both musical ability and in style, ranging from crude and amateurish to near-studio level musicianship. There were regional variations in flourishing scenes, such as in California and Texas; the north-western states of Idaho and Oregon had a distinctly recognizable regional sound with bands such as the Sonics and Paul Revere & the Raiders.
In the 1960s, garage rock had no name and was not thought of as a genre, but
Punk rock is a rock music genre that developed in the mid-1970s in the United States, United Kingdom and Australia. Rooted in 1960s garage rock and other forms of what is now known as "proto-punk" music, punk rock bands rejected perceived excesses of mainstream 1970s rock, they produced short, fast-paced songs with hard-edged melodies and singing styles, stripped-down instrumentation, political, anti-establishment lyrics. Punk embraces a DIY ethic; the term "punk rock" was first used by certain American rock critics in the early 1970s to describe 1960s garage bands and subsequent acts perceived as stylistic inheritors. Between 1974 and 1976 the movement now called. By late 1976, bands such as Television and the Ramones in New York City, the Sex Pistols, the Clash, the Damned in London, the Saints in Brisbane were recognized as forming its vanguard; as 1977 approached, punk became a major and controversial cultural phenomenon in the UK. It spawned a punk subculture expressing youthful rebellion through distinctive styles of clothing and adornment and a variety of anti-authoritarian ideologies.
In 1977 the influence of the music and subculture became more pervasive. It took root in a wide range of local scenes that rejected affiliation with the mainstream. In the late 1970s, punk experienced a second wave as new acts that were not active during its formative years adopted the style. By the early 1980s, faster and more aggressive subgenres such as hardcore punk, street punk and anarcho-punk became the predominant modes of punk rock. Musicians identifying with or inspired by punk pursued other musical directions, giving rise to spinoffs such as post-punk, new wave, indie pop, alternative rock, noise rock. By the 1990s, punk re-emerged in the mainstream with the success of punk rock and pop punk bands such as Green Day, The Offspring, Blink-182; the first wave of punk rock was "aggressively modern" and differed from what came before. According to Ramones drummer Tommy Ramone, "In its initial form, a lot of stuff was innovative and exciting. What happens is that people who could not hold a candle to the likes of Hendrix started noodling away.
Soon you had endless solos. By 1973, I knew that what was needed was some pure, stripped down, no bullshit rock'n' roll." John Holmstrom, founding editor of Punk magazine, recalls feeling "punk rock had to come along because the rock scene had become so tame that like Billy Joel and Simon and Garfunkel were being called rock and roll, when to me and other fans and roll meant this wild and rebellious music." In critic Robert Christgau's description, "It was a subculture that scornfully rejected the political idealism and Californian flower-power silliness of hippie myth." Technical accessibility and a Do. UK pub rock from 1972-1975 contributed to the emergence of punk rock by developing a network of small venues, such as pubs, where non-mainstream bands could play. Pub rock introduced the idea of independent record labels, such as Stiff Records, which put out basic, low-cost records. Pub rock bands put out small pressings of their records. In the early days of punk rock, this DIY ethic stood in marked contrast to what those in the scene regarded as the ostentatious musical effects and technological demands of many mainstream rock bands.
Musical virtuosity was looked on with suspicion. According to Holmstrom, punk rock was "rock and roll by people who didn't have many skills as musicians but still felt the need to express themselves through music". In December 1976, the English fanzine Sideburns published a now-famous illustration of three chords, captioned "This is a chord, this is another, this is a third. Now form a band"; the title of a 1980 single by the New York punk band Stimulators, "Loud Fast Rules!", inscribed a catchphrase for punk's basic musical approach. Some of British punk rock's leading figures made a show of rejecting not only contemporary mainstream rock and the broader culture it was associated with, but their own most celebrated music predecessors: "No Elvis, Beatles or the Rolling Stones in 1977", declared the Clash song "1977"; the previous year, when the punk rock revolution began in Great Britain, was to be both a musical and a cultural "Year Zero". As nostalgia was discarded, many in the scene adopted a nihilistic attitude summed up by the Sex Pistols slogan "No Future".
While "self-imposed alienation" was common among "drunk punks" and "gutter punks", there was always a tension between their nihilistic outlook and the "radical leftist utopianism" of bands such as Crass, who found positive, liberating meaning in the movement. As a Clash associate describes singer Joe Strummer's outlook, "Punk rock is meant to be our freedom. We're meant to be able to do what we want to do."The issue of authenticity is important in the punk subculture—the pejorative term "poseur" is applied to those who associate with punk and adopt its stylistic attributes but are deemed not to share or understand the underlying values and philosophy. Scholar Daniel S. Traber argues that "attaining authenticity in the punk identity can be difficult".
Wolf Howard is an English artist and filmmaker living in Rochester and was a founder member of the Stuckists art group. He is a drummer who has played in garage and punk bands as a member of The Musicians of the British Empire with Billy Childish. Wolf Howard was born in Strood and attended Mid-Kent College for O-levels, where he "doesn't think he got any but always tells people he got two". In 1986 he began drumming, having taught himself, has continued to do so since. From 1987 for 15 years he was on the dole, except for a total of two periods of two months, one day and half-an-hour, when he was sweeping an ironmonger's warehouse floor, sweeping a neon light warehouse floor, picking apples and working in a frozen shepherds-pie factory, he decided against going to art college on the basis that it would "worsen himself". He lives in Chatham. Wolf Howard has played drums in many bands; the most important are The Daggermen, The James Taylor Quartet, The Prime Movers, The Solarflares, Dodsons Dogs and The Buff Medways.
His drumming is "louder than a self-propelled Howitzer." Howard was one of the 13 original founder members of the Stuckists, a pro-figurative painting, anti-conceptual art group, co-founded by Childish and Charles Thomson in 1999. Howard exhibited in group shows, including The Stuckists Punk Victorian at the Walker Art Gallery for the Liverpool Biennial and Go West at Spectrum London, he left the group in 2006 to pursue a solo career. He paints bold figurative images in a simple, impasto style; this has incurred criticism for its apparent naivety. Howard has stated that his finished result only comes about after hard work, which can involve scraping the paint back to the canvas up to ten times, he has explained a particular painting, Mrs Chippy: People have said do me,'What’s the point in painting a cat? My five-year-old daughter could do that.' Yes, she could, but would it be a cat that had the look in its eyes that conveyed to you that it was about to be shot? That’s the fate that befell Mrs Chippy during one of the greatest survival adventures ever—Ernest Shackleton's voyage to the Antarctic in 1914 on the ship Endurance—shown in the background of the painting, stuck in the ice, as the crew drag the small open boat which accomplished an 850-mile rescue journey through sixty-foot waves.
That’s the difference between my cat and a five-year-old's.... I paint cats where there is no difference. In Aesthetica magazine, Abby Jackson contrasted the different responses of Howard and Luc Tuymans to the subject of 9/11: "Tuymans chooses to avoid his subject matter, whereas Howard, as a Stuckist, approaches his subject head on." Wolf Howard takes pinhole photographs. He uses a light-proof wooden box 4" square with a fixed-size pinhole in the front. Photographic paper is placed at the back of the box. There is no lens and no viewfinder, so he estimates the aim of the camera. A wooden slider allows light into the box for an exposure, between 40 seconds and 5 minutes; the camera is placed inside a light-proof bag to replace the photographic paper. He develops a negative print and makes the final positive print by placing another sheet of photographic paper under the negative with a 5-second exposure under a light bulb; the whole process requires estimation throughout and he "faces many disappointments in his darkroom.
The hard work will pay off."He describes his motivation: There is something special about a pinhole camera. There is a beauty in its simplicity and rawness. There is a timeless quality. In each pinhole picture I take I hope to capture the joy and excitement that the early pioneering photographers must have felt when they took and developed photographs for the first time. An exhibition of his work, The Pinhole Photographs of a Gifted Gentleman Amateur, was held at the Stuckism International Gallery in 2003 as part of Alternative Arts Photomonth, he was one of the four Stuckist Photographers showing work at the Lady Lever Art Gallery during the 2004 Liverpool Biennial. Jesse Richards wrote in a review of the show, "Wolf Howard's pinhole photographs of a pocket watch, a trench cap, his friend Billy Childish are beautiful haunting images that seem to be from a world long gone by. I've never seen anything like it." Stuckism The Stuckists Punk Victorian Stuckism Photography Pinhole Photography Evans, Katherine, ed.
The Stuckists, Victoria Press, ISBN 0-907165-27-3 "Go West", Daily Telegraph. Retrieved 27 August 2007. Lees, Alasdair. "The Buff Medways, Pleasure Unit, London", The Independent, 5 January 2005. Retrieved 27 August 2007. Milner, Frank, ed; the Stuckists Punk Victorian, National Museums Liverpool, ISBN 1-902700-27-9. Abbreviated information on Howard from the book is on the Walker Art Gallery web site for painting and photography. Retrieved 27 August 2007. "Wolf Howard: Pinhole photographs", stuckism.com. Retrieved 21 April 2006 Wolf Howard's Official Site Wolf Howard's paintings and a poem Wolf Howard's pinhole photography
Billy Childish is an English painter, poet, film maker and guitarist. Since the late 1970s, Childish has been prolific in creating music and visual art, he has led and played in bands including the Pop Rivets, Thee Milkshakes, Thee Headcoats, the Musicians of the British Empire working in the genres of garage rock and surf and releasing more than 100 albums. He is a consistent advocate for free emotional expression. Childish co-founded the Stuckism art movement with Charles Thomson in 1999, which he left in 2001. Since a new evaluation of Childish's standing in the art world has been under way, culminating with the publication of a critical study of Childish's working practice by the artist and writer Neal Brown, with an introduction by Peter Doig, which describes Childish as "one of the most outstanding, misunderstood, figures on the British art scene", he is a visiting lecturer at Rochester Independent College. In July 2014 Childish was awarded an honorary Doctor of Arts Degree from the University of Kent.
He is known for his explicit and prolific work – he has detailed his love life and childhood sexual abuse, notably in his early poetry and the novels My Fault, Notebooks of a Naked Youth, Sex Crimes of the Futcher – The Idiocy of Idears, in several of his songs, notably in the instrumental "Paedophile" and "Every Bit of Me". From 1981 until 1985 Childish had a relationship with artist Tracey Emin. Thirty years after Childish's first musical releases with Thee Milkshakes and Thee Mighty Caesars, a crop of lo-fi, surf rock and punk groups with psychedelic subtexts has surfaced referencing the aesthetic established by Childish in both their band names and in various aspects of their sonic aesthetic: Thee Oh Sees, Thee Open Sex, Thee Tsunamis, Thee Dang Dangs and many others. Billy Childish was born and works in Chatham, England, he has described his father, John Hamper, as a "complex, sociopathic narcissist": Hamper was jailed during Childish's teenage years for drug smuggling. Although he had an early and close association with many of the artists who became known as "YBA" artists he has resolutely asserted his independent status.
He was sexually abused when he was aged nine by a male family friend: "We were on holiday. I had to share a bed with him, it happened for several nights I refused to go near him. I didn't tell anyone", he left secondary school at an undiagnosed dyslexic. Refused an interview at the local art college, he entered Chatham Dockyard, Kent, as an apprentice stonemason. During the next six months, he produced some 600 drawings in "the tea huts of hell". On the basis of this work he was accepted into Saint Martin's School of Art, where he was friends with the artist Peter Doig, to study painting. However, his acceptance was short-lived and he was expelled in 1982 before completing the course, he lived on the dole for 15 years. In 2006 Childish turned down the offer to appear on Channel 4's Celebrity Big Brother. Childish has practised meditation since the early 1990s; as a prospective student lacking the necessary entry qualifications, Childish was accepted into art school four times on the strength of his paintings and drawings.
He did a foundation year at Medway College of Design in 1977-78, was accepted onto the painting department of Saint Martin's School of Art in 1978, before quitting a month later. He was re-accepted at St Martins in 1980, but was expelled in 1982 for refusing to paint in the art school and other unruly behaviour. At Saint Martin's, Childish became friends with Peter Doig with whom he shared an appreciation of Munch, Van Gogh and blues music. Doig co-curated Childish's first London show at the Cubit Street Gallery. In the early/mid 1980s Childish was a "major influence" on the artist Tracey Emin, whom he met after his expulsion from Saint Martin's when she was a fashion student at Medway College of Design. Childish has been cited as the influence for Emin's confessional art. Childish has exhibited extensively since the 1980s and was featured in the British Art Show in 2000. In 2010 a major exhibition of Childish's paintings and music was held at The ICA London, with a concurrent painting show running at White Columns Gallery in NY.
Childish is represented by neugerriemschneider Berlin, Lehmann Maupin, NY, Carl Freedman, London and L-13 Light Industrial Workshop, London. In October 2012 alongside Art Below Childish presented his work at the exhibition'Art Below Regents Park' in Regent's Park Tube station to coincide with Frieze Art Fair, one of the most important international contemporary art fairs that takes place each October in London. In 2008 Childish formed the "non organisation" The British Art Resistance, held an exhibition under the title Hero of The British Art Resistance at The Aquarium L-13 gallery in London: A collection of paintings, records, poems, letters, photographs made in 2008. Childish made records of punk, garage and roll, folk, classical/experimental, spoken word and nursery rhymes. In a letter to Childish, the musician Ivor Cutler said of Childish: "You are too subtle and sophisticated for the mass market." Childish's groups include TV21 known as the Pop Rivets, sometimes spelled the Pop Rivits, with Bruce Brand, Romas Foord and Russell'Little Russ' Lax.
He formed a garage rock inspired band called Thee Milkshakes with Mickey Hampshire, Thee Mighty Caesars (1985