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Jimmy Cauty

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"Angels 1-5" redirects here. For film, see Angels One Five.

Jimmy Cauty
Born
James Francis Cauty

(1956-12-19) 19 December 1956 (age 67)
Wirral, Cheshire, England
Other names
  • Rockman Rock
  • Lord Rock
  • Space
  • Graybeard
  • Scourge of the Earth
  • Advanced Acoustic Armaments (AAA)
Occupations
  • Musician
  • record producer
  • artist
Years active1981–present
Spouses
  • Cressida Bowyer (divorced)
  • ​
    (m. 2011)​
Children3
Musical career
Genres
Instrument(s)
  • Guitar
  • synthesiser
Labels

James Francis Cauty (born 19 December 1956), also known as Rockman Rock, is an English artist and musician, best known as one-half of the duo the KLF, co-founder of the Orb and as the man who burnt £1 million.

He is married to artist and musician Alannah Currie, a former member of Thompson Twins.

Early life and career

[edit]

Cauty was born on the Wirral Peninsula.[1] As a 17-year-old artist, he drew a popular The Lord of the Rings poster (and later, a counterpart based on The Hobbit) for British retailer Athena.[2][3]

In 1981–82, Cauty was guitarist in a band called Angels 1–5, who recorded a Peel session on 1 July 1981.[4] Lead vocalist was Cressida Bowyer, whom Cauty later married.[5] He then joined the band Brilliant[3] with which he remained until its break-up in 1986. Cauty was also an original member of Zodiac Mindwarp and the Love Reaction,[6] in 1985.

Artistic partnership with Bill Drummond

[edit]

Cauty joined with Bill Drummond to form the Justified Ancients of Mu Mu (the JAMs), a collaboration that played out in various guises and media over much of the next decade.

As an A&R man, Drummond had signed Brilliant to WEA.[7][3] Concocting a scheme for a hip-hop record on New Year's Day 1987, Drummond needed a like-minded collaborator with expertise in current music technology, and so contacted Cauty. Drummond later commented that Cauty "knew exactly, to coin a phrase, 'where I was coming from'".[8] A week later, the JAMs had recorded their debut single, "All You Need Is Love".[8] Several singles and three albums as the JAMs followed (their debut, 1987; the follow-up, Who Killed the JAMs?; and compilation Shag Times) before a change of direction saw the duo mutate into dance and ambient music pioneers, the KLF. The duo had their first British number one hit single as the Timelords with the Gary Glitter/Dr. Who novelty-pop mash-up "Doctorin' the Tardis", claimed to be sung by Cauty's 1968 Ford Galaxie American police car. During this period, Cauty also worked with Tony Thorpe of the Moody Boys; besides remix and production work by the Moody Boys for the KLF and vice versa,[9] Thorpe and Cauty recorded the single "Journey into Dubland" together at the KLF's Trancentral studios.[10][11]

The KLF released two albums, Chill Out and The White Room, and a string of top 5 singles, becoming the biggest selling singles act in the world in 1991.[12] In 1992, suddenly and very publicly, the KLF retired from the music industry and deleted their entire back catalogue.[13][14][15]

Drummond and Cauty re-emerged in 1993 as the K Foundation, releasing one limited edition single ("K Cera Cera")[16] and awarding the £40,000 K Foundation art award for the "worst artist of the year".[17] In 1994, the duo courted infamy by setting fire to one million pounds in cash on the Scottish island of Jura.[18] In 1995, they undertook a screening tour of a film of the burning,[19][20] before signing a moratorium on K Foundation activities.[21]

Cauty worked with Drummond again in 1997 with a campaign to "Fuck the Millennium", the highlight of which was a 23-minute live performance satirising the "pop comeback", in which Cauty and Drummond appeared as grey-haired pensioners and wheeled around the stage in electric wheelchairs.[22] They returned as The Justified Ancients of Mu Mu in 2017, with a novel - 2023: A Trilogy - and a 3-day festival, "Welcome to the Dark Ages".[23][24][25] Cauty confirmed that the duo's work is an ongoing project.[26]

Throughout their career, Drummond has often been the mouthpiece of the group and was sometimes viewed, subjectively, as their chief protagonist. NME, for example, wrote: "One suspects that the real boiling genius of the duo is initiated by Drummond. The elements of the K Foundation affair are classic Drummond – honesty mixed with deranged publicity-seeking, pop terrorism ideas mixed with utter strangeness and mysticism..., and a sense that the things pop groups do should be visionary and above all should not be mundane."[27] However, the initial idea for the K Foundation's one million incineration was Cauty's,[18] although he was beginning to express regret in 1995 at which time Drummond remained resolute.[28]

Contrasting with Drummond's image, Jimmy Cauty was perceived, or presented, as "Rockman Rock – cool dude";[29] the "quiet", enigmatic one, a "long-haired and quietly spoken chain-smoker: a leather-jacketed misfit [who] has carried his adolescent rock obsession into adulthood".[30] However, as the previously quoted NME piece cautioned, "We can't underestimate the importance of Jimmy Cauty".[27] Cauty was the musical bedrock of The KLF, whether laying down the starting track for "Doctorin' the Tardis",[31] or playing electric guitar, bass, drums and keyboard on "America: What Time Is Love?".[32] He and his wife, Cressida, were at the centre of KLF operations, living and working at Trancentral (actually the Cautys' squat in Stockwell, London) and driving the "JAMsmobile" (Cauty's 1968 Ford Galaxie American police car) as their regular, everyday vehicle.[33] Cressida, too, helped out, taking on an organisational role for KLF Communications,[34] in addition to design and choreography work for The KLF, and her own work as an artist.[35]

Engineer Mark Stent recalled Drummond as providing "big concepts and insane ideas", whereas Cauty - he said - was "literally a musical genius".[3]

John Higgs wrote in The KLF: Chaos, Magic and the Band who Burned a Million Pounds that:

A simplified description of their partnership would portray Cauty as the musician and Drummond as the strategist, but this view doesn't hold up to scrutiny. All of the products of their partnership, whether musical or otherwise, came out of mutual agreement. Cauty is just as capable of burning stuff as Drummond.... Cauty is practical and above all curious, quick to get his hands dirty, experiment and see what happens. He is a catalyst.[36]: 95–96 

Ambient house, 1988–1992

[edit]

In the late 1980s, Cauty met Alex Paterson and the duo began DJing and producing together as the Orb. Paterson and Cauty's first release was a 1988 acid house anthem track, "Tripping on Sunshine" released on the compilation Eternity Project One, put together by Paterson's childhood friend[37][38] and Cauty's ex-bandmate,[7] Martin "Youth" Glover.[39] The following year, the Orb released the Kiss EP, a four-track EP based on samples from New York City's Kiss FM[39] on Paterson and Youth's new record label WAU/Mr. Modo Records.[40]

After spending a weekend of making what Paterson described as "really shit drum sounds", the duo decided to abandon beat-heavy music and instead work on music for after-hours listening by "taking the bloody drums away".[41][42] Paterson and Cauty began DJing in London and landed a deal in 1989 for the Orb to play the chill-out room at London nightclub Heaven.[40] Resident DJ Paul Oakenfold brought in the duo specifically as ambient DJs for his "The Land of Oz" event at Heaven.[38][43]

Though initially the Orb's Monday night performances had only several "hard-core" followers, their "Chill Out Room" act grew popular over the course of their six-month stay at Heaven to the point that the small room was often packed with around 100 people.[44] The Orb's performances became especially popular among weary DJs and clubbers who sought solace from the loud, rhythmic music of the dancefloor.[45] The Orb would build up melodies using multitrack recordings linked to multiple record decks and a mixer. They incorporated many CDs, cassettes, and BBC sound effects into their act, often accompanied with pieces of popular dance tracks such as "Sueño Latino".[44] Most often, they played dub and other chill out music which Bill Drummond described as "Ambient house for the E generation."[39][46]

Throughout 1989, Paterson, Cauty, Drummond and Youth developed the musical genre of ambient house through the use of a diverse array of samples and recordings. The culmination of Cauty and Paterson's musical work came towards the end of the year when the Orb recorded a session for John Peel on BBC Radio 1. The track, then known as "Loving You", was largely improvisational and featured a wealth of sound effects and samples from science fiction radio plays, nature sounds, and Minnie Riperton's "Lovin' You".[47] The Orb changed the title to "A Huge Ever Growing Pulsating Brain That Rules from the Centre of the Ultraworld". In 1990, Cauty and Drummond held a chillout party at Trancentral, Cauty's squat. A recording of Patersons DJing was made with a view to releasing it as an LP but the mix contained many uncleared samples and other records and was unusable.[citation needed] Later that year Cauty and Drummond went to the isle of Jura, Scotland to record a techno record called Gate.[citation needed] Instead they created a long form ambient film called Waiting (1990). During the same year Cauty and Drummond went into the studio and made the ambient LP Chill Out.[48] The Grove Dictionary suggests Chill Out to be the first ambient house album.[49]

When offered an album deal by Big Life, the Orb found themselves at a crossroads. Cauty preferred that albums by the Orb were released on his KLF Communications label, whereas Paterson wanted to ensure the Orb did not become an offshoot of The KLF.[50] Due to these issues, Cauty and Paterson split in April 1990, with Paterson keeping the name the Orb.[45] Cauty removed Paterson's contributions from the recordings in progress and released the album as Space on KLF Communications.[38][51]

Post-KLF

[edit]

In 1999 Cauty produced several remixes under the alias The Scourge of the Earth for Placebo, Marilyn Manson, Hawkwind, Ian Brown, the Orb, and others.[9] In December 1999 he joined with Guy Pratt, Lloyd Stanton and Denise Palmer to record and release a mobile telephone-themed novelty-pop record "I Wanna 1-2-1 With You" under the name Solid Gold Chartbusters.[52][53] It was released as competition for the Christmas Number One[52][53] but only reached Number 62 in the UK Singles Chart.[54]

In 2001, Cauty joined with former collaborators Alex Paterson and Pratt in a London recording studio, together with Dom Beken, an associate of Pratt.[55] Recording later continued in Cauty's Brighton studio. In 2003, the group released their first single, "Boom Bang Bombay", under the name Custerd.[56] Subsequently, they settled on the name "Transit Kings". Cauty left the band in 2004 to work on other projects. Two years later, the Transit Kings released their debut album, Living in a Giant Candle Winking at God; Cauty is listed as a composer on seven of the album's 12 tracks.[57]

In 2002, Cauty's two remixes of U2's "New York" were featured as B-sides on the band's Electrical Storm single.

Art

[edit]

Cauty was, until mid-2005,[citation needed] part of art/music collective Blacksmoke, together with James Fogarty and manager Keir Jens-Smith.[58][59]

Cauty works with the L-13 Light Industrial Workshop, London which he explains "is not a gallery, it's a support system, spiritual home and technical epicentre for a small group of artists"[60] which includes Billy Childish, Jamie Reid, and Harry Adams. Cauty first worked in conjunction with L-13 on the Cautese Nationál Postal Disservice. Subsequent collaborations included the Riot in a Jam Jar exhibitions and the ADP Riot Tour - is a vast 1:87 scale model in a 40-foot shipping container which tours historic riot sites around the world. L-13 continue to collaborate with Cauty and Drummond, running "dead perch merch", official merchandise operatives to The JAMs.[citation needed]

Following 2003 media speculation that Saddam Hussein could launch a poison chemical attack on London, Cauty designed the Stamps of Mass Destruction for Blacksmoke Art Collective. The 1st, 2nd and 3rd class stamps featuring the Queen's head wearing a gas mask were released as limited edition prints and exhibited at Artrepublic Gallery, Brighton.[61] Following a legal battle over alleged copyright infringement, the stamps were sent to Royal Mail for destruction.[62][63]

In 2004, Cauty installed a gift shop, Blackoff, at the Aquarium Gallery, based on the UK government's Preparing for Emergencies leaflet. The installation included "terror aware" items, such as "terror tea towels", "attack hankies" and "bunker-buster jigsaw puzzles" (the latter missing one piece). He commented, "The gift shop becomes the place we can explore our branding ideas, Cash for trash – it represents the futility and the glory of it all."[64]

James Cauty artwork Operation Magic Kingdom bombed onto billboard in Old Street, 2007

In response to the Iraq War troop surge of 2007, Cauty developed Operation Magic Kingdom, a series of images showing US forces in Iraq wearing masks of lovable and friendly Disney characters,[65] adopting the UK's "winning hearts and minds" tactics in a bid to gain the confidence of the Iraqi people. In Operation Magic Kingdom "the rules of engagement have been changed to include 'try and be more fun' before firing."[66] The images were launched at the Bayswater Road Sunday Art Exhibition,[67] bombed onto billboards and fly-posted across London, as well as being released by The Aquarium as limited edition prints and stamps.[citation needed]

In 2008, Jimmy Cauty held a public exhibition in The Aquarium L-13 named "Splatter", which was an altered version of several classic Looney Tunes cartoons, with characters, such as Bugs Bunny, Daffy Duck, and others depicted in shocking acts of violence, often murder. The idea was suggested by his 15-year-old son.[citation needed]

In June 2011 he held another public exhibition at The Aquarium L-13 entitled A Riot in a Jam Jar consisting of a series of scale dioramas depicting violent confrontations between British rioters and police, each contained within an inverted glass jar.[5] In 2012, Cauty premiered his short film, Believe the Magic, starring Debbie Harry, Nick Lehan and Branko Tomović, at Tate Modern as part of the annual Merge festival.[68][69]

James Cauty Smiley Riot Shield, acrylic on appropriated ex-police riot shield, 2014

The ideas of A Riot in a Jam Jar evolved into the Aftermath Dislocation Principle, shown at the Hoxton Arches in October 2013.[70] The 448-square-foot installation at 1:87 scale (representing approximately one square mile) details the desolate and charred aftermath of what appears to have been a devastating riot.[65] The sculpture, constructed by modifying components of traditional model railway kits, took approximately 8 months to complete includes nearly 3,000 police figures and a soundtrack pitched to match the 1:87 scale. The piece "makes a political statement about societal freedom and state control".[71] The Aftermath Dislocation principle then toured the Netherlands, being shown at Piet Hein Eek Gallery, Eindhoven (November 2013),[72] Cultuurwerf, Vlissingen (April 2014),[73] and Mediamatic, Amsterdam (July–August 2014).[74]

In 2015, the work was exhibited at Banksy's Dismaland and then in London.[65][75] Following this it was re-engineered to fit inside a 40-foot shipping container and now tours historic riot sites around the world.[65]

In 2014, Cauty released a series of limited edition Smiley Riot Shields. Each are all ex-police riot gear painted over with a yellow smiley face. He originally designed the riot shields in 2012 as a symbol of "non-violent direct action"[76] and as a practical self-protective measure for his step-daughter during the Occupy St Paul's eviction.[citation needed]

Personal life

[edit]

Cauty was married to Cressida (née Bowyer), with whom he has twins[35] and a younger son. He later married artist and musician Alannah Currie (formerly of Thompson Twins)[77] in 2011.

See also

[edit]

References

[edit]
  1. ^ "findmypast.co.uk". Search.findmypast.co.uk. Retrieved 20 January 2018.
  2. ^ "The KLF". Western Mail. Cardiff. 4 March 2005. p. 29.
  3. ^ a b c d Harrison, Andrew (27 April 2017). "Return of the KLF: 'They were agents of chaos. Now the world they anticipated is here'". The Guardian.
  4. ^ "BBC - Radio 1 - Keeping It Peel - 01/07/1981 Angels 1 - 5". Bbc.co.uk. Retrieved 20 January 2018.
  5. ^ a b "Jimmy Cauty is the Jam Jar rebel". Evening Standard. 24 May 2011.
  6. ^ Robbins, Ira. "KLF". Trouser Press. Retrieved 4 September 2006.
  7. ^ a b Leroy, Dan. Brilliant at AllMusic. Retrieved 5 March 2020.
  8. ^ a b Alan Freeman; Bill Drummond. "It's a Steal - Sampling". The Story of Pop. Episode 48. 31 minutes in. BBC Radio 1. First broadcast in 1994, per "The Story of Pop". BBC Radio 6 Music. Retrieved 9 March 2020.
  9. ^ a b Longmire, Ernie; et al. (2020) [1998]. "Discography: The KLF (including The JAMS, The Timelords, 2K etc.)". Archived from the original on 29 February 2020.
  10. ^ Journey into Dubland (Media notes). The Moody Boys. XL Recordings. 1990. XLEP-107.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  11. ^ Ward, Phil (May 1994). "Mood Music". Music Technology. Music Maker Publications. Retrieved 18 March 2020.
  12. ^ Bush, John. KLF at AllMusic. Retrieved 5 March 2020.
  13. ^ KLF Communications advertisement in New Musical Express, 16 May 1992.
  14. ^ Shaw, William (July 1992). "Who Killed The KLF". Select. Archived (via the Library of Mu) on 11 October 2016.Wikipedia:WikiProject The KLF/LibraryOfMu/315
  15. ^ "Timelords gentlemen, please!". New Musical Express. 16 May 1992. Archived (via the Library of Mu) on 11 October 2016.Wikipedia:WikiProject The KLF/LibraryOfMu/309
  16. ^ "Yasser, they can boogie!". New Musical Express. 13 November 1993. Archived (via the Library of Mu) on 16 September 2016.Wikipedia:WikiProject The KLF/LibraryOfMu/356
  17. ^ Dawson Scott, Robert (28 November 1993). "K Foundation tries to turn the art world on its head". Scotland on Sunday. Archived (via the Library of Mu) on 16 September 2016.Wikipedia:WikiProject The KLF/LibraryOfMu/364
  18. ^ a b Reid, Jim (25 September 1994). "Money to burn". The Observer. Archived (via the Library of Mu) on 16 September 2016.Wikipedia:WikiProject The KLF/LibraryOfMu/387
  19. ^ Banks-Smith, Nancy (30 August 1995). "From cash to ash". The Guardian. Manchester]. p. T.009.
  20. ^ Harris, John (November 1995). "Who wants to be a millionaire?". Q Magazine. Archived (via the Library of Mu) on 16 September 2016.Wikipedia:WikiProject The KLF/LibraryOfMu/400
  21. ^ K Foundation (8 December 1995). "Cape Wrath". The Guardian (advertisement). Archived (via the Library of Mu) on 16 September 2016.Wikipedia:WikiProject The KLF/LibraryOfMu/519
  22. ^ "Justified and (Very) Ancient?". Melody Maker. 20 August 1997. Archived (via the Library of Mu) on 16 September 2016.Wikipedia:WikiProject The KLF/LibraryOfMu/439
  23. ^ Paterson, Colin (23 August 2017). "The KLF return 23 years after bowing out of the music industry". BBC News (video). Retrieved 27 February 2020.
  24. ^ Pilley, Max (24 August 2017). "The Ice Kream Van Kometh: The Justified Ancients of Mu Mu Return". Drowned in Sound. Archived from the original on 26 February 2020. Retrieved 26 February 2020.
  25. ^ "The KLF: Pop's saboteurs return after 23 years". BBC News. 23 August 2017. Retrieved 26 February 2020.
  26. ^ Youngs, Ian (26 November 2018). "KLF's Jimmy Cauty: 'We don't make records, we make pyramids out of dead people'". BBC News. Retrieved 26 February 2020.
  27. ^ a b "Tate tat and arty". NME. 20 November 1993. Archived (via the Library of Mu) on 16 September 2016.Wikipedia:WikiProject The KLF/LibraryOfMu/359
  28. ^ "Torch Songs". The List. Edinburgh. 3 November 1995. Archived (via the Library of Mu) on 16 September 2016.Wikipedia:WikiProject The KLF/LibraryOfMu/401
  29. ^ Sounds, 6 February 1988
  30. ^ Shaw, William (April 1995). "Special K". GQ. Archived (via the Library of Mu) on 16 September 2016.Wikipedia:WikiProject The KLF/LibraryOfMu/397
  31. ^ Drummond, Bill (December 1990). "Saturday Sequence" (Interview). Interviewed by Richard Skinner. BBC Radio 1. Archived from the original on 24 May 2006.
  32. ^ America: What Time Is Love? (Sleevenotes). The KLF. KLF Communications. 1992. KLF USA 4CD.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  33. ^ The KLF interview, Snub TV, 30 January 1989
  34. ^ Cauty, Cressida (August 1989). "KLF Info Sheet 6". KLF Communications. Archived (via the Library of Mu) on 16 September 2016.Wikipedia:WikiProject The KLF/LibraryOfMu/506
  35. ^ a b Sharkey, Alix (21 May 1994). "Trash Art & Kreation". The Guardian Weekend. Archived (via the Library of Mu) on 16 September 2016.Wikipedia:WikiProject The KLF/LibraryOfMu/384
  36. ^ Higgs, John (26 September 2013). The KLF: Chaos, Magic and the Band who Burned a Million Pounds. Weidenfeld & Nicolson. ISBN 978-1-78022-655-2.
  37. ^ Simpson, Dave (19 January 2001). "Interview with Alex Paterson of the Orb: 'If you print that, I'll come looking for you'". The Guardian. p. 6. Retrieved 6 March 2020.
  38. ^ a b c Simpson, Dave (7 June 2016). "How we made the Orb's Little Fluffy Clouds". The Guardian (Interview with Youth and Alex Paterson). Retrieved 7 March 2020.
  39. ^ a b c Shapiro, Peter (1999). The Rough Guide to Drum 'n' Bass. Rough Guides. p. 327. ISBN 1-85828-433-3.
  40. ^ a b Prendergast, Mark (2003). The Ambient Century: From Mahler to Moby-The Evolution of Sound in the Electronic Age. Bloomsbury Publishing PLC. p. 408. ISBN 1-58234-323-3.
  41. ^ Doerschuck, Robert (June 1995). "Inside the Ambient Techno Ultraworld". Keyboard Magazine.
  42. ^ McCormick, Neil (11 October 1998). "Yes, this is the cutting edge of rave music". The Arts. The Daily Telegraph. London. p. 26. Archived from the original on 26 February 2016. Retrieved 11 March 2020.
  43. ^ Boyd, Brian (23 October 1998). "Unidentified Flying Orb". The Irish Times. p. 12.
  44. ^ a b Toop, David (2001). Ocean of Sound. Serpent's Tail. pp. 59–62. ISBN 1-85242-743-4.
  45. ^ a b Bush, John. The Orb at AllMusic. Retrieved 5 March 2020.
  46. ^ Crispy, Don. "Alex Paterson". Metropolis. Archived from the original on 4 July 2007. Retrieved 20 January 2018.
  47. ^ Thompson, Dave. Peel Sessions - The Orb at AllMusic. Retrieved 5 March 2020.
  48. ^ Reynolds, Simon (1999). Generation Ecstasy: Into the World of Techno and Rave Culture. Routledge. p. 191. ISBN 0-415-92373-5.
  49. ^ Fulford-Jones, Will (2001). "Ambient house". In Sadie, Stanley; Tyrrell, John (eds.). The New Grove Dictionary of Music and Musicians (2nd ed.). London: Macmillan Publishers. ISBN 978-1-56159-239-5.‎
  50. ^ Toop, David (3 June 1994). "Don't make negative waves". The Times.
  51. ^ "KLF Communications Info Sheet Nine". KLF Communications. June 1990. Archived (via the Library of Mu) on 12 March 2007.Wikipedia:WikiProject The KLF/LibraryOfMu/509
  52. ^ a b "The World's First Novelty Supergroup present: 'I Wanna 1-2-1 With You'" (Press release). Virgin Records. 1999.
  53. ^ a b "IT'S CRAPMASSSSSSS!!!!". NME. 10 November 1999. Retrieved 20 March 2020.
  54. ^ "Solid Gold Chartbusters". The Official Charts Company. Retrieved 20 March 2020.
  55. ^ "Transit Kings' official biography". Archived from the original on 14 December 2006.{{cite web}}: CS1 maint: unfit URL (link)
  56. ^ "Custerd". Discogs.com. Retrieved 20 January 2018.
  57. ^ "Transit Kings - Living in a Giant Candle Winking at God". Discogs.com. 21 August 2006. Retrieved 20 January 2018.
  58. ^ "Row over gas masked Queen", BBC News, 4 June 2003 (link)
  59. ^ Butler, Ben (18 June 2003). "Interview: The KLF's James Cauty". Rocknerd (interview with Jimmy Cauty for The Big Issue Australia). Archived from the original on 10 December 2007. Its just me and this heavy metal maniac called James Fogerty, he writes the basic stuff in his parents basement in the middle of the night. I deconstruct it and apply a blacksmoke template, mix it and package it for the mass market. There's also Kier our project manager who hates the music business and refuses to use the telephone. Quite a brilliant team I think.
  60. ^ Appel, Marco. "La pequeña insurrección de Cauty.", Proceso, 5 October 2016.
  61. ^ "James Cauty". artrepublic.com.
  62. ^ Row Over Gas Masked Queen, BBC News, 4 June 2003.
  63. ^ Left, Sarah. Royal Mail Stamps Down on Postage Art, The Guardian, 4 June 2003.
  64. ^ Arendt, Paul."The art that stole Christmas", The Guardian, 18 November 2004; retrieved 1 September 2007.
  65. ^ a b c d Macellari, Augustin (March 2016). "Jimmy Cauty: Sustained Resistance". Crack Magazine. Retrieved 18 March 2020.
  66. ^ Cauty, James. "Operation Magic Kingdom press release", The Aquarium, April 2007.
  67. ^ "Bayswater Road Artists". Bayswater-road-artists.co.uk.
  68. ^ Believe The Magic, Merge Festival Programme, 30 November 2011.
  69. ^ Jimmy Cauty's 'Believe the Magic' trailer starring Debbie Harry, film-news.co.uk, 6 April 2013.
  70. ^ Pilger, Zoe."Art review: James Cauty, The Aftermath Dislocation Principle Parts I and II", The Independent, 11 October 2013.
  71. ^ Tucker, Johnny."Devil in the Detail: James Cauty's Dystopia in Miniature", Blueprint, 10 January 2014.
  72. ^ "Piet Hein Eek". pietheineek.nl. 12 August 2016.
  73. ^ "James Cauty the Aftermath Dislocation Principle" Archived 17 April 2015 at the Wayback Machine, cultuurwerf.nl; accessed 20 January 2018.
  74. ^ "Opening: The Aftermath Dislocation Principle – A Disaster Tour with Jimmy Cauty", Mediamatic, 10 July 2014.
  75. ^ "James Cauty Installation at Dismaland – Weston Super Mare, UK". StreetArtNews.net. 25 August 2015.
  76. ^ "Cauty: The Art of Smiley Riot Shield Protest", Skrufff.com, 17 February 2014.
  77. ^ Needs, Kris (30 May 2012). "Back From The Ashes - Jimmy Cauty". Clash Music. Retrieved 2 March 2020.
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