I am home in Sweden for a short autumn visit. It’s dull and damp and I am busy, but here are a couple of photos of bird houses and play houses that I took on Sunday in Hisingspark.
Yoko Tsuno reflected: A visit to Japanese engineer Yoko Tsuno’s strip frame at Rue Terre-Neuve on the Brussels Comic Book Route
Just before the Comic Strip Festival earlier in the year, I took myself off on a photo-walk following the Brussels Comic Book Route. Brussels is proud of the Belgian comic book tradition, which stretches back to Tintin in 1928 (and earlier). Celebrating this, Brussels has decorated house gables across the city with comic-strip frames. The City of Brussels tourist offices can provide a printed map so you can follow the route. Or you can follow it in virtual reality on line here.
At the time I published my photo essay from the Festival it felt like too much of a good thing to follow up with more comic strip photos. This week, though, I’m travelling and rather busy with personal matters. It feels OK to share these photos of the Yoko Tsuno cartoon at Rue Terre-Neuve.
Yoko Tsuno is Japanese engineer. Her adventures on Earth and in outer space started in 1970 and currently run to 27 volumes. Sad to say, most are not available in English. Read more about her on this Wikipedia page.
As you see (below) I do try trying to do more than just reproduce other people’s artwork. I was pleased to find the following reflections in the windows on either side of the street.
New York Stories – and the people who tell them… and the photographer who reports them
Review of Humans of New York: Stories
A photo-book by Brandon Stanton
Browsing the photo-books in a bookshop recently, looking for a birthday present, I came across this volume. I picked it up and leafed through it and thought it very attractive, but not quite what I was looking for as a present. I also thought it was rather expensive, but it stuck in my mind.
A few days later I found it again, in another shop, and picked it up and carried on leafing through it. The layout and quality of the book is attractive and the photos are portraits of interesting looking people. Best of all, attached to each photo are stories about the people portrayed. But, no, I still thought it was too expensive.
Then I came across it again, and I decided, OK, by the rule of threes I am obliged to buy this book. What the hell, it’s only money. And indeed it was only money – but now it’s a big, beautiful book of photographs and stories on my bookshelf. A book it took me four days to read even though it’s a photo-book. (I rationed myself; I took it slowly.)
According to his website, Brandon Stanton – the author and photographer – moved to New York in 2010 with the intention of becoming a portrait photographer. He set himself the task of photographing 10,000 people. Apparently he started by just taking the photos for himself and then branched out into sharing them on Facebook. When people responded favourably, he took it a step further and set up his website and started posting in various other social media outlets. (He now has several million followers on Instagram alone.)
After a time he started asking the people he was photographing for quotes to caption their portraits, and went the further step and began to interview them. Humans of New York: Stories is his second volume. The first was just Humans of New York. This is what he writes in his introduction.
Humans of New York did not result from a flash of inspiration. Instead, it grew from five years of experimenting, tinkering, and messing up… The first Humans of New York book… included some quotes and stories, but largely it represented the photographic origins of HONY. It provided an exhaustive visual catalogue of life on the streets of the city. But soon after it went to print, it became obvious that another book was waiting to be made – one that includes the in-depth storytelling that the blog is known for today. This is that book.
New York stories
It is a wonderful book: 428 pages of photographs and stories. Some of them pithy one-liners…
“I’m late for a show. You can try to take my photo while I hail a cab.”
“I’m trying to write a book based on myself, but I keep changing.”
“I started taking heroin to get away from the draft, then I joined the army to get away from the heroin.”
“Our agents set us up.”
“I’m a science writer. I like anything complicated.”
“I shouldn’t have moved in with him just because I was lonely.”
Others are longer pieces – some of them linked to 2 or more photographs.
“I wasn’t planning on it happening. It just happened. I don’t know what to say. I lost about 10 or 15 pounds during the affair, just from the stress. The longer it went on, the more the other woman wanted to control me – that’s how they always get. She wanted more and more of me as time went on: ‘Come over,’ ‘Let’s do this,’ ‘Let’s do that.’ It got more and more difficult to hide. I’d been with my wife since we were 16, so she knew something was up. One day she just straight-up asked me, and I said: ‘Yes.’ It was almost a relief. There was crying, screaming, yelling. All my shit went out on the lawn. Then it was back in the house. Then it was out on the lawn again. But we went to therapy and we got over it, and she forgave me. I think.”
Sometimes there are dialogues between the photographer and his subject:
“Studying the brain is like working in a toy store. Nothing could be more fucking fun.”
“What do you think is the greatest weakness of the brain?”
“That’s a lousy question! I’m not answering it.”
“Why is it a lousy question?”
“What do you want me to say? Road rage? That we get pissed and shoot people? That the newest parts of our brain should have been in the oven a little longer? How is that going to help you? If you ask a crappy question, you’ll never get a decent answer. You need to ask smaller questions – questions that give you a pathway to finding some more pertinent information. The major advances in brain science don’t come from asking crappy questions like, ‘What is consciousness?’ they come from microanalysis. They come from discovering pertinent information at the cellular level.”
I just leafed through the book again there and disappeared for 10 minutes. It’s such a fascinating document. For anyone who takes photographs – for anyone who is interested in the stories that people tell – the book is catnip.
I’ve always admired people who can take street photos – portraits of strangers – and then talk to them. I’d like to know how Brandon goes about that. Does he take candid photographs and then talk to his subjects, or does he ask permission first? Some of the pictures in the book look so completely unstudied that I think he must take them without asking. Others are clearly posed.
In a review of his first book in The New York Times, a journalist, Julie Bosman, describes following him around for a day to see what he does. She writes:
He does everything he can to warm up his potential subjects, wearing a backward baseball cap, gray hoodie and New Balance sneakers to look casual. When he approaches a stranger, he hunches over or squats down, sometimes sprawling his 6-foot-4 [1.95m] frame on the sidewalk.
“It’s all about making myself as nonthreatening as possible,” he said. “I lower my voice, I get down on the ground.”
So that’s what he does now, but I wonder if it was always how he worked.
My other question, to which I haven’t found an answer, is how he gets his subjects’ permission to publish their photos. Does he have some sort of a printed formula he gets them to sign or does he just count on them not complaining? This is especially relevant for the photographs he’s taken of young children. (Though the captions sometimes suggest there’s a parent just out of frame.)
Better on paper
As soon as I realised Brandon Stanton had an Instagram account, I started following him. Here’s a strange thing. I don’t find his photos on-line nearly as appealing as the ones in his book. I don’t know whether that’s because as he’s become more famous he has changed his style. (Apparently he lives by his photos now.) The verbiage of the stories he reports now seems to overwhelm the photos. It could be the format, or it could be that the photos in the book are a “best of” selection. Or perhaps he is still evolving as a portrait photographer – and has evolved in a direction I’m less willing to follow.
No matter, I’ve got the book now and I’m sure I’ll be dipping back into Humans of New York: Stories for quite some time to come.
Is Humans of New York: Stories expensive? It may be expensive in bookshops, but I’ve since discovered the book on-line at half the price I paid for it.
I wrote this entry for the #Blogg52 challenge.
The Saint Job Fair in Uccle: giants, a brass band, death and the baker, a boy in a bubble, a jousting knight and a sleeping cat… among others things
About the middle of September, all around Brussels (and for all I know around Belgium too) fairs are taking place. Some of them seem to blend into the weekly markets (such as the one at Place Flagey), but others are unique to themselves. There are sideshows and performances, parades and music, and some take the opportunity to promote a local district or municipality. My guess is that they have developed from harvest festivals in much the same way as Thanksgiving in the USA, but as local rather than national affairs. Last year, my first September in Brussels, I simply registered what was going on. This year I thought I should get out with the camera and take some photos.
Then came the question – where to go? Up the road towards the city centre, the Parish of Saint Giles (Parvais Saint-Gilles) was advertising a major effort with processions from four different starting points in the municipality all leading to a celebration of Les porteuses d’eau (the women waterbearers). I was tempted.
Then I saw that my own municipality was offering the “129th Annual Market of Saint Job”.
I’m not sure why the Old Testament prophet is dignified as “Saint” Job in this corner of Belgium. A trawl through the Internet doesn’t leave me much the wiser (though I really doubt it has anything to do with the Orthodox Saint Job of Moscow, Wikipedia). But I’ve always had a soft spot for Job, so Saint Job’s market won the toss.
The Belgians have a fascination for géants – giants. This seems to be a tradition that has hung over from the Middle Ages. Every district of Brussels has its own giants who are wheeled out (literally) every year for these fairs. They also make occasional appearances at other spectacles and events to represent the spirit of their district. At the Saint Job fair the two principle giants were a fellow in a bicorn hat and a curly-haired blonde. The two had a couple of half-sized giant children who orbited around them.
Several of their helpers (the people necessary to manhandle them over cobbles and kerbs) were also dressed up – as you can see from the photo. They looked like toys the giant children might want to pick up and play with.
Of course, you can’t have a parade or a festival without music, so there was a brass band on hand. In this photo you can just make out the tuba-distorted reflection of the male giant at the head of the parade.
The band had a lot of blowing to do, so they were happy take a break now and again. Here on the steps outside the church. (I think they’d want me to remind you, by the way, that the saxophone was invented by a Belgian – Adolphe Sax. You can post your heartfelt thanks below in the comments. Or not. As you wish. 🙂 )
Apart from the parade and the giants there was an exposition d’animeaux de la ferme. (This was one goat, one donkey, some chickens and a small selection of child-magnet-rabbits).The donkey was very obliging and happy to pose for photos when other people pointed their cameras at her. Me, she turned her back on.
There were also some ponies that had been coralled into an area like a small roundabout, and were walking around in a circle. Each had a small child uncertainly perched on top. There was a recorded – very distorted – voice blasting out a message in French. A message punctuated with the sound of a cracking whip and a “Yeeha!” I just can’t feel convinced by a “Yeeha!” when it’s part of a sentence in French. I’m probably deeply prejudiced.
The inevitable stall for face painting meant there were quite a number of kids running around with startling faces. The one that startled me most of all was this young man’s face. He was watching with intense interest as this baker demonstrated his craft. You could buy samples of the bread once baked, but personally I found the presence of death at the baker’s side a bit off-putting.
There were other things for kids to do at the fair. They could visit the exposition de chats d’exception. A lot of very indolent pedigree cats in travelling cages. The cat show took place in a rather a dark, enclosed hall, so I came away without any photos. On my way home, though, I met a street cat I know who was happy to let me photograph him in his favourite place, on warm tarmac under a parked car. By way of a fill-in photo for all the siamese and persians I missed.
There was a piste d’agilité vélo, a bicycle obstacle course, overseen by two dour police officers. It didn’t look a lot of fun and certainly while I was there, didn’t seem to be attracting much interest. By contrast kids could also get their parents to pay to have them zipped into plastic balls in a paddling pool. This looked to be really popular. It gives a new sense to the Boy in the Bubble.
It didn’t surprise me that so few kids were interested in the bicycle obstacle course, though I was disappointed so few wanted to try out the medieval jousting. However, I was patient and eventually a happy tourney rider showed up to reward me.
I hung around the fair from about 11 a.m. until 14.30 hoping to get some photos of the concours du chien le plus sympathique. I like sympathetic dogs – and these were very sympathetic dogs remember.
Unfortunately for me it seems everyone likes sympathetic dogs . (Well, of course. I should have guessed.) Probably the most well attended event of the fair, by the time the parade started the crowd pressed too densely around the stage. I tried, but there are no photos I want to share.
So I gave up. I was actually on my way home when I met another giant. Not quite in the same league as the official ones, perhaps, but he had a charming face and happily posed for me to take a photo. This Green Man was standing on stilts. He was about as tall as the bicorn hat giant’s shoulder.
That was my visit to the Saint Job Fair.
I wrote this entry for the #Blogg52 challenge.
United Music of Brussels was a day of music to launch a new season of classical music, and I heard it announced over the public transport address system
I’m usually stumped by this question but not this time.
“Listen,” I said. Over the tannoy a message was being delivered in English. This weekend… United Music… Belgian National Orchestra… BOZAR… La Monnaie… Bourse…
“That’s what we’re doing!”
“Listening to United Music,” I improvised. “It’s a promotional day for the Belgian National Orchestra and the Royal Theatre. The beginning of the autumn season. Musicians, singers, dancers – short concerts – all afternoon in different locations. There’s more information on-line!”
“Are you sure about that?”
The Internet can answer all your questions
It’s never easy to find information about what’s on in Brussels if you don’t read French. Even if you do read French, I think it’s probably a challenge. Belgium seems about 15 years behind Sweden in terms of Internet usage and Internet literacy. I remember how it used to be. We were just as starry eyed and innocent. Just as clumsy.
Many Belgians – individuals as well as institutions – clearly want to believe that the Internet can answer all your questions. Everyone is always making promises about how you can find so much on-line. How you can book tickets or appointments on-line. How you can easily transfer money from one bank account to another on-line. How you can check deliveries or send messages on-line.
Mmmnnno. Not really. But I remain hopeful.
It seems the Belgian advocates of the Internet haven’t quite grasped – yet – that design is not all. For people to take advantage of services on line, someone needs to write the software to enable the service actually to work. That if someone is to be able to get correct information out, somebody else needs first to put that correct information in. And to put it in, in such a way that getting it out is both logical and easy.
I think the truth is, most Belgians really prefer the personal touch. Face-to-face contact, human interaction, these are the things that add value to Belgian society, not digital interconnectivity and virtual reality. Which is very endearing.
Everything would happen in the afternoon, we learned from various sources. At 2 pm. Or maybe 2.30. But where? That remained a mystery.
Because we knew that BOZAR were involved, we took ourselves there first. BOZAR is the jokey local name for the Palais des Beaux-Arts in the centre of Brussels. (Beaux-Arts sounds like BOZAR.) The three people staffing their ticket office were sure they knew they’d heard about the event. Absolutely. Didn’t they have some brochures about it? Over there in that rack? No? Oh well they had had some brochures.
Two of them went into the storeroom behind the scenes to check. The sound of cardboard boxes being torn open, but, sadly, no. They didn’t have any left. We are desolate. Sad emoticon. They couldn’t suggest a place we could go to get more information, but we might find some brochures left in the racks at the entrance to the art gallery across the road.
We looked, but no.
So we walked down into the Grand Place and went into the tourist information centre there. The young man we spoke with said, Yes! He’d also heard something about the music event. Though he too was desolate. Are there brochures? We have no brochures. Wouldn’t you prefer to listen to the dance-band/oom-pah performance going on in the square?
We said thanks, but no thanks. He couldn’t make any suggestions about where we could go to find more information either.
United Music at the Bourse
When Mrs SC and I were wrestling with the information dearth on-line, she’d stumbled across something… (Her command of French is several orders of magnitude better than mine.) Something about a concert in the Saint-Géry Market Hall. Meanwhile I remembered that I’d heard something about the Bourse in the original announcement. For want of any more reliable information, we walked down to the Bourse and thought we could go on to Saint Jerry’s after.
It turned out that the Bourse was exactly the right place to go.
Here there was a little band playing under a tent and young people in T-shirts advertising the United Music of Brussels giving out the very brochures we had heard so much about. Brochures that included maps of the city showing the different venues. At first glance they were perfect. Just what we had been looking for.
There were sixteen different venues scattered across the town with small groups performing concerts of all sorts.
The Tanners’ Studio
Glancing through the brochure Mrs SC saw The Juliet Letters. That was for us! A place called Atelier des Tanneurs, so we took ourselves there.
Do you know The Juliet Letters? It’s a song sequence for a string quartet and a strangulated voice. A co-production by Elvis Costello (punk hero) and The Brodsky Quartet (classical music heroes). The singer at the Tanners’ Studio was the Flemish tenor Philip Defrancq. I thought he was pitched a bit high till I got home and listened to Elvis Costello’s performance again and realised – Defrancq nailed it.
On the way to the Tanners’ Studio we discovered that the map in the United Music of Brussels brochure was not really as accurate as it might have been. However, with a certain amount of guesswork and asking the way, everything worked out. Not only did Defrancq sing a couple of The Juliet Letters, he also sang an aria by John Cage (brilliant and weird and involving at one point the singer gargling with water).
The Tanners’ was an interesting space – presumably a former tanning factory though there was no evidence of the industrial process left. Just a two story interior space with a wrought-iron or cast-iron colonnade and a bridge across the middle. Acoustically rather good.
The swimming pool at Jeu de Balle
Which was more than you could say about the next venue.
From the Tanners’ we took ourselves to Les Bains de Bruxelles. An interesting experience in itself, just trying to find it. I’ve heard about this public swimming pool. It is an architectural feature, not least because of the pool itself – on the second floor of the building with views from the window out over the town.
The performers had a stage at one end of the pool in front of the windows and a drummer and a violinist played while a woman danced a wild modern ballet.
The acoustics were – interesting perhaps is the kindest word. There were a lot of echoes and a lot of foot stamping as well as drumming. But it was an experience to sit there on the tiled benches enveloped in a faint cloud of chlorine to watch and listen. There was quite a crowd at this venue – possibly because of the building rather than the performance.
The lap of victory
At the end, after the performers had taken their bow and the applause, they dived into the pool. Well, the dancer and the violinist dived; the drummer jumped. And they swam the length of the pool to even more applause. The dancer and the violinist racing one another (the dancer won.) The drummer kept his glasses on and did the breaststroke and came in last. Mrs SC and I reserved our special cheers for him.
After that we took ourselves to the Saint Jerry Market Hall and were in time to hear the United Music’s concluding performance. A pianist played in the main hall and a choir sang in the market’s upper level. As it turned out, the choir were from the Belgian National Theatre, La Monnaie. The venue was crowded and the choir were a bit of a surprise as they were dressed like the rest of the audience. We only realised who they were when they started to sing. It was a good way to end the day.
In all we saw and heard three concerts (plus a little bit at the Bourse). And I’m not sure we’d have managed more than one more even if we’d had the brochure-map and got into town for when the whole event actually kicked off at 14.30.
More than the music, the exercise was interesting for the opportunity to see the different venues. To see parts of the city we might not otherwise visit. I’ve kept the map and will, later, try to see some of the other sites.
Afterwards Mrs SC and I took ourselves to the Cuban restaurant La Cantina on Rue du Jardin des Olive for our evening meal. (And she continued her dogged search for the perfect iced-coffee.)
I wrote this entry for the #Blogg52 challenge.
Erasmus House in Anderlecht: a guided tour of the house gives an introduction to Erasmus of Rotterdam – Renaissance scholar, Christian humanist, key figure in the pre-Reformation – and kicks up some questionable facts
Chère Madame le guide,
I want to thank you for your recent guided tour of the Erasmus House and Gardens in Anderlecht. It’s an interesting building and a wittily and appropriately designed garden. I agree the municipality of Anderlecht seems to be over-reaching itself a tad, calling the place “Erasmus House”. After all the great man only stayed there as a guest of the actual owner for five months in 1521. But then, as you explained, Erasmus barely stayed anywhere for very long. He was the quintessential wandering scholar. It’s highly appropriate that he has given his name to the EU’s student exchange programme.
Your tour of the House, Madam, was by turns fascinating, confusing and entertaining. (Even if it wasn’t your intention to confuse. Nor, perhaps, always your intention to entertain.) At the beginning you repeatedly warned us that we only had an hour and a half for the tour. This was something you seemed resentful about, though you must see it wasn’t our fault. But then in your generosity, you ended up giving us nearly three hours of your time.
You love your subject, that’s clear. Erasmus is your hero, and there was so much you wanted to say about him. Still, I think you could have tried to prioritise a little better. It would have been easier to follow what you were telling us if you had spoken a little more slowly. Perhaps with more pauses between the sentences. And with, dare I say it, just a single thread to your narrative?
The way your story did leap about! Much like Erasmus himself, you travelled from the Netherlands, to Germany, to Italy, to Switzerland, to England and back. From printing and editing you skipped to the attributes of saints, then on to Ancient Greek. You touched on the effects of rye ergot, the eating habits in the Hapsburg Empire, the Salem witch trials and St Elmo’s fire…
Standing in the stream of your outpouring, I for one felt at times I was losing my footing. As if I might slip and drown in the current. I wanted to say: Take a breath! But I fear you would have not appreciated my interruption.
Well, of course we both know you don’t appreciate interruptions.
Chère Madame, if you don’t want to be interrupted, perhaps you shouldn’t invite people to ask you questions? To invite questions is to invite dialogue. It is possible to talk about your subject while answering questions, but only if you’re confident of your material. And you always have to be open to the idea that you may be wrong. If you get caught out in an untruth, learn how to graciously back away from the mistake. Don’t insist on being right.
It might also be a good idea, when you start future tours, if you don’t inform your audience of your unrivalled expertise in the subject. By all means tell us of the years you have spent studying Erasmus and his times, but don’t pooh-pooh all the sources of information you have not seen. And don’t imply that the little your audience may know about Erasmus must be gleaned from Wikipedia and so is bound to be wrong. To do so is just a bit rude. And also like a red rag in the face of any historians (even if amateur historians) in the company.
To be fair, I think you were generally very accurate about Erasmus himself. Though I don’t think you ought to be repeating the story that Erasmus was really baptised as Geert. That seems to be a myth. Erasmus’s Dutch Wikipedia page says it’s a legend from the 17th century. Now I know how little you think Wikipedia is worth, but the electronic debunking references a (printed) essay by Hans Trapman. He’s a professor at the Erasmus Centre for Early Modern Studies in Rotterdam. Maybe a reliable source?
Nevertheless, as I say Madame, I think you were pretty accurate about Erasmus the man. My problem was more with the information in your tour that came by-the-by. For example – and I am sorry to labour the point – but the English word pen does not come from the name for a female swan. I don’t care what you think you’ve read somewhere in a printed book.
The word pen comes from the Latin penna, meaning a feather and as an English word it dates from the 1200s. The names for male and female mute swans – cob and pen – refer to the physical features or the behaviour of the swan. The male’s large cob or knob on the top of its beak, the female’s practice of penning or holding in her closed wings together over her back. Pen as a name for a female swan (then written penne) dates from the 1500s.
It’s not even a remote possibility that female swans were called pennes because people used their feathers as pens. People simply didn’t use swan feathers as pens – or not commonly. The standard pen at the time of Erasmus and for hundreds of years before and after was a goose’s quill. Those are goose quill pens on display on the writing desk at Erasmus House.
You were kind enough, at the end, to thank us for not interrupting you “very much”. For my part – after that first time – I chose to bite my tongue. I did not want the tour to take even longer. (Mrs SC standing on my toe whenever she saw me flinch at one of your “facts” may have helped.)
But, here we are, and as I doubt we’ll meet again – or even that you will ever read this – let me just get one more thing off my chest.
The Emperor Charles V, Lord of the Netherlands and Duke of Burgundy – and a student of Erasmus – did indeed inherit the Hapsburg jaw. The famous under bite is prominent even in the portrait of him as a young man in Erasmus House. But it really wasn’t so pronounced that it made it “too difficult for him to eat”. He lived to 58, which doesn’t happen if you can’t eat. And his deformed jaw wasn’t what eventually killed him. He died of malaria.
In the Erasmus House garden, I liked several of the sculptures especially perhaps the open gazebo made from hundreds of pairs of eye-glasses. It was a witty reference to Erasmus who artists often drew checking printer’s proofs with a pair of eye-glasses. It also played with the Christian humanist concept that each one of us perceives the world through the distorting lens of personal prejudice. All the while we are open to the all-seeing eye of God above, who we can also see from the gazebo – if we choose – simply by looking up.
In the technical and scientific revolution of the 15th and 16th centuries – the period we call the Renaissance and Reformation, Erasmus was a key figure. Think of philosophy, of enquiry, and of the dissemination of knowledge, and sooner or later you must come around to him. Yet we tend to view Erasmus through the distortions of our limited knowledge – and prejudices. Through the lens-walls of our personal gazebos.
What would Erasmus have made of Wikipedia? I’m sure he would have tried to verify its assertions and correct its errors, but I don’t think he would have rejected it out of hand. On the contrary, I think Erasmus would have been delighted by it. I think he’d have embraced the Internet.
Chère Madame, it is very easy, enthused by history, to forget that the people of the past thought of themselves just as we do. As living in the present. As looking to the future. This was a perspective on Erasmus I missed in your otherwise exhaustive, exhausting presentation.
As I’ve mentioned, despite your warnings about limited time, the tour took nearly three hours. With what relief we applauded you at the end! With what relief we were able finally, without appearing rude, to go our separate ways. Mrs SC and I collapsed at the first bar we came to.
Erasmus was no ascetic. I think he would have approved – perhaps even joined us.
I wrote this entry for the #Blogg52 challenge.
The Comic Strip Festival in Brussels has become an annual event that attracts comic fans from across at least the Francophone world.
If you hang around long enough, mysteries will be revealed. Apparently.
Back in the spring I visited the Atomium here in Brussels (and wrote in May about the time-slip I experienced there). Entering the Atomium building I was accosted by a mascot and a photographer and paid my €7 to be able to share this photo. I wrote after: The mascot doesn’t appear anywhere on the Atomium web site, so I’m guessing it was all in aid of advertising something else – but I have no idea what.
Well, now I think the mascot was supposed to be Spirou. Spirou is a Belgian comic strip character and protagonist in the comic strip series Spirou et Fantasio… He also serves as the mascot of the Belgian comic strip magazine Spirou.
OK, I know this because I’ve just looked Spirou up on Wikipedia. But I was prompted to look him up by meeting him in various guises all over the place at the weekend.
Spirou was big at the Brussels Comic Strip Festival. I’m not just talking about the Spirou-shaped balloon whose crotch the young man is groping in the photo. There was a whole section in one of the festival tents dedicated to this intrepid bellhop-come-boy-reporter. Every other person seemed to be wearing Spirou pill-box hats.
Mind you, I’m still no wiser about what Spirou was advertising at the Atomium in May.
Fête de la BD/Stripfeest
The Fête de la BD/Stripfeest as the Comic Strip Festival is called locally is pretty big. I don’t mean it can hold a candle to Comic-Con in the USA (judging by all I’ve seen on YouTube), but in Brussels, it’s an event. It spreads over the whole weekend, it occupies the big park opposite the royal palace, it attracts comic fans from across at least the Francophone world. And on the Sunday a parade of inflatable characters winds through the city to the sound of walking bands.
For all these reasons it seemed appropriate to take myself and my camera off to the park on Sunday.
According to the programme I found on-line, the parade was supposed to leave the palace courtyard at 2pm. When I arrived at 1:45, though, it was obvious some of the characters were suffering inflation problems.
Garfield lay on his back and Le Chat was face down, levitating a metre over the cobbles. A gusty wind wasn’t helping.
I’d seen ads for volunteers to help manhandle the balloons through the streets and I suppose most of the inflation teams were also volunteers. I could have waded in to help, but, nah. They would probably manage better without my interference.
I think these soldiers below would have liked to help out too. (Sadly, we’ve become all too familiar with scenes like this over the last few months.)
In the festival ground
So I went for a walk through the festival. Four long tents occupying avenues through the park, each filled with stalls dedicated to cartoons. You could buy vintage cartoons and new; vintage “merchandise” and new.
(I think that’s Alix in the middle with Julius Caesar and Alix’s sidekick Enak from The Adventures of Alix.)
And you could read – read – read – read…
There were noticeable absences. Apart from the van above (if it really was from Marvel), almost nothing from the world of English comics. (Nothing till the parade anyway.) Nothing obviously from Japan or South Korea either. I came away with the feeling of having seen a world that was at once familiar but alien. Which is kind of what you want from a festival that predominantly celebrates fantasy and science fiction. But it’s kind of disturbing too.
I wonder if French speakers get the same frisson visiting English language conventions.
The Comic Strip Band
The photographer in me was also a bit disappointed that there were so few people in costume. Cosplay is such an eye-catching feature of Anglophone events nowadays. Fortunately there was this band of pirates. They played first to keep people’s spirits up at inflation square, and then walked in the parade.
I think Darth Vader is a little like Father Christmas. It’s amazing how he can get around and be at so many events in so many places all over the world. (And the galaxy.) Not a lot like Father Christmas, of course. Just a little.
And look below here, from Tintin – Thomson and Thompson.
There was a real problem getting the balloon characters out of the park and across the road into town. The electrified tram lines were a serious barrier.
I wrote this entry for the #Blogg52 challenge.