Quarterly Fundraiser for My Photo-Journalism Project ‘The State of London’

The latest photos posted in Andy Worthington’s ongoing photo-journalism project ‘The State of London.’

Please click on the ‘Donate’ button below to make a donation to support my photo-journalism project ‘The State of London’.





 

Nine years ago, in the spring of 2012, I set out on my bike, with a small point-and-shoot Canon camera, on a mission to take photos in all 120 postcodes of the London postal district, an area of 241 square miles featuring the City and the West End (EC and WC), and the compass points that radiate out from them (E, SE, SW, W, NW and N). 

I embarked on the project after five largely sedentary years spent researching and writing about the prison at Guantánamo Bay, and an illness in 2011, in part because I wanted to get fit, but, in particular, because I wanted to get to know better the city that has been my home since I left university in 1985, and to record its multi-layered history and the significant changes that it was undergoing as it played host to the 2012 Olympic Games, and, more generally, as development money poured in to remake huge swathes of the capital for the 21st century, via an array of “regeneration” projects that largely seem to involve sidelining the genuine needs of Londoners in pursuit of profits for investors, both foreign and domestic.  

Five years in, I began posting a daily photo on Facebook from the archive I’d built up since 2012, accompanying the photos with essays intended to establish it as a photo-journalistic appraisal of the capital in all of its complexity, and I hope that, as the project has gone on, it has also improved, as I embraced better technology (upgrading to a Canon PowerShot G7X Mk. II in February 2019), became a better photographer, and increasingly devoted more time to the essays that give the photos what I regard as a necessary context.

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The Hell That is Boris Johnson’s Broken, Brexit-Deluded, Covid-Ravaged England

Boris Johnson leaves a media briefing in Downing Street on December 24, 2020.

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For the last two months, my physical world has shrunk immensely. For nine years I cycled almost every day, capturing the changing face of London on bike rides that have taken me to the furthest postcodes of Europe’s largest city, and that, since the first Covid lockdown in March 2020, involved me cycling most days into central London — the City and the West End — to capture what began as apocalyptic emptiness, to which, by degrees, human activity eventually returned, but on nothing like the scale that it was before Covid hit. I post a photo a day from those bike rides — with accompanying essays — on my Facebook page ‘The State of London’, and also on Twitter.

Two months ago, however, I sprained my leg quite badly — crossing an unexpected line when what I thought was healthy activity turned out to be something that, instead, signified that my body’s resilience was finite, and that I was wearing it out.

Since then, I’ve barely left my immediate neighbourhood. For most of the last two months, I felt fortunate if I was able to hobble to the bottom of the street I live in in Brockley, in south east London. The worst of it is now over, as the muscle I sprained has finally healed, but in the process of compensating my knee itself is now bruised and painful, and although I can walk further — up to and and around my local park, Hilly Fields, and around the streets nearest to me, I haven’t been able to venture further afield, except on a few occasions when my wife has driven me somewhere.

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Rise Up! How Protest Movements Define the Limits of Covid Lockdowns, and the Perils of Covid Denial

Kill the Bill: protestors in Parliament Square on March 15, 2021 (Photo: Andy Worthington).

With the anniversary of the UK’s first Covid lockdown approaching, I look at how how the protest movements that have arisen over the last 12 months — about racist oppression, the safety of women and an attempted ban on protest itself — have spontaneously arisen when the logical limits of strict lockdowns have been reached. I also note how these movements stand in stark opposition to the protests of those engaged in Covid denial, who wilfully flout genuine public safety concerns through a toxic mix of dangerous conspiracy theories.

The devastatingly incompetent and corrupt government of Boris Johnson

Ever since the first Covid lockdown was declared in the UK, on March 23 last year, the British people have, for the most part, complied with the rules laid down by a government that was spectacularly ill-equipped to deal with a global pandemic, that has handled it with shattering incompetence, and that has also engaged in cronyism to an unprecedented extent.

Elected in December 2019 to ‘Get Brexit Done’ by just 29% of the registered electorate, Boris Johnson stacked his cabinet with inadequate, second-rate politicians whose only requirement for being chosen was that they were fanatically committed to Britain leaving the EU, an astonishingly misguided policy of national suicide that came out of David Cameron’s shameful capitulation to Euro-sceptics in his own party, and the threat posed by UKIP under Nigel Farage.

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Celebrating 1,400 Days of My Photo-Journalism Project, ‘The State of London’

The latest photos posted in Andy Worthington’s photo-journalism project, ‘The State of London.’

Please feel free to support ‘The State of London’, for which I have no financial backing except via your donations. If you can help, please click on the button below to donate via PayPal.





 

Today marks 1,400 days since I first began posting a photo a day — and accompanying essays — on my Facebook page ‘The State of London’, and I’m delighted that it has continued to grow in popularity, so that I now have over 4,300 followers, plus many more who follow the daily posts on my own Facebook page.

It now seems like another age since I first set out on my bike to chronicle the changing face of London in photos, in May 2012, exactly five years before I started posting a photo a day on Facebook. As I drew on the archive I’d built up for my daily posts — choosing a photo from each successive day, but from any of the years since the project started — the London of the second decade of the 21st century was a recognisable beast; sometimes charming, sometimes infuriating, a place where the gulf between the rich and the poor continued to grow at an alarming pace, and a place that has been invaded and occupied by predatory developers, building skyscraper office blocks that were not needed, and dense forests of residential tower blocks that were unaffordable for most hard-working Londoners, while selling off existing estates of social housing to be knocked down for further profits.

In terms of my photography and my research, the project has seen huge developments. After using simple point-and-shoot cameras at the beginning, I invested in a superior example, the Canon PowerShot G7X Mk II, two years ago, which transformed my photography, and I also began devoting more and more time to the text accompanying the photos, which, in the early days, had often been quite cursory.

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Please Make A Donation to Support My Photo-Journalism Project ‘The State of London’

The most recent photos – posted one a day – in Andy Worthington’s photo-journalism project ‘The State of London.’

Please click on the ‘Donate’ button below to make a donation to support my photo-journalism project ‘The State of London’.





 

Dear friends and supporters of ‘The State of London’,

It’s nearly nine years since I first set off on my bike to record London in photos on daily trips through the 241 square miles of the capital’s 120 postcodes — and nearly four years since I began posting a photo a day on Facebook, where I also post an accompanying essay to accompany each photo, and on Twitter.

At the time of writing, I’ve posted 1,350 photos on Facebook, and I’m delighted to note that the Facebook page currently has 4,250 followers, as well as the many other people who keep up with the project on my personal Facebook page.

I’m grateful for all the interest — and the wonderful supportive comments that I receive on a gratifyingly regular basis — but today I’d like to ask you, if you are able, to make a donation to support ‘The State of London’, as I have no financial backing whatsoever, and I’m relying on you to keep me going.

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Radio: I Discuss London’s Housing Crisis and Covid’s Impact on Business Rents with Andy Bungay, Plus Three Four Fathers Songs

A deserted Piccadilly Circus on Christmas Day, 2020, an unpublished photo from Andy Worthington’s photo-journalism project ‘The State of London.’

Please support my work as a reader-funded investigative journalist, commentator and activist. If you can help, please click on the button below to donate via PayPal.





 

Recently I spoke to Andy Bungay of Riverside Radio, a community radio station in Wandsworth, for his show ‘The Chiminea’, which was broadcast on Boxing Day, and is available here on Mixcloud.

Andy and I have been speaking for several years, and it’s always great to talk to him.  Our 50-minute segment of the two and a half hour show began just under 21 minutes in, when Andy played ‘Fighting Injustice’, the first of three songs by my band The Four Fathers, which has long been a live favourite, and whose chorus is something of a mantra of mine — “If you ain’t fighting injustice / You’re living on the dark side.”

We then began our discussion by taking about my photo-journalism project ‘The State of London’, which I began in 2012, and which involves me cycling and taking photos on a daily basis throughout London’s 120 postcodes, and, since 2017, posting a photo a day, with an accompanying story, on Facebook.

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Celebrating 1,300 Days of My Photo-Journalism Project ‘The State of London’

Recent photos from The State of London photo-journalism project by Andy Worthington.

Please support my work on ‘The State of London’, a labour of love that has no funding except from you. If you can help, please click on the button below to donate via PayPal.




 

Sunday marked 1,300 days — over three and a half years — since I first began posting a photo a day (plus an accompanying essay) on my Facebook page ‘The State of London.’

The Facebook project began on May 11, 2017, the fifth anniversary of the day I first consciously began cycling around the 120 postcodes of the London Postal District (the postcodes beginning  E, EC, N, NW, SE, SW, W and WC), intending to capture, in photos, the changing face of the city, and its different manifestations based on the weather and the seasons.

My thanks to everyone taking an interest in the project, which has just reached 3,800 followers — plus many more who follow the photos on my own Facebook page, and also those who follow ‘The State of London’ on Twitter.

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Covid, Ghost Cities and the Collapse of Property Prices in the West End and the City of London

An almost entirely deserted Oxford Circus on November 10, 2020, during the latest Covid lockdown in England. A previously unpublished photo from Andy Worthington’s photo-journalism project ‘The State of London.’

Please support my work as a reader-funded investigative journalist and photographer. If you can help, please click on the button below to donate via PayPal.




 

Is this how the world as we know it ends, then — not with a bang, or even a whimper, but with the slow, silent death of shops, pubs, restaurants and live culture?

England’s second Covid lockdown, introduced on November 5 in response to rising infection rates, has, in a crucial pre-Christmas month for business, shut down all shops regarded as “non-essential” — in other words, to name just a few examples, all clothes shops, gift shops and bookshops, as well as pubs and restaurants — with a sense of timing that could lead one to conclude that it was dictated by Amazon and other online retailers for whom Covid has seen their businesses reap unprecedented profits.

The cost of this, in terms of businesses shutting down, and employees laid off, is not yet known, but it seems likely that, as 2021 unfolds, the centres of our cities and towns will be wastelands, reminiscent of the early 1980s under Margaret Thatcher.

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Keeping Live Music and Performance Alive in a Covid Lockdown Culture

The Four Fathers’ gig on October 31, 2020, successfully completed before the second Covid lockdown starts on November 5.

Please support my work as a reader-funded investigative journalist, commentator and activist. If you can help, please click on the button below to donate via PayPal.





 

I was preparing to play a gig — yes, an actual gig! — on Saturday evening, with my band The Four Fathers, when news of a second lockdown in England was finally confirmed by the government. It wasn’t surprising, because infection rates had been steadily rising, but the government — as indecisive as ever — had missed the opportunity to impose a two-week “circuit breaker” lockdown to coincide with half-term, as recommended by medical experts, and was now, belatedly, announcing a four-week lockdown instead, starting on Thursday, November 5, and lasting until December 2.

Unlike the first time around, though, the government announced that schools and universities were to stay open, even though what are regarded as “non-essential” shops and businesses will be required to shut, imperilling the future of countless small businesses, who had just begun to find their feet, and who must now be facing, in numerous cases, a fatal loss of business in the run-up to Christmas. Even if they are allowed to reopen on December 3, it seems pretty certain that Amazon and a host of other online retailers — many in the “fast fashion” business, and many with dodgy employment practices — will be making a fortune while nailing shut the coffins of high streets across the land.

To impose this kind of sweeping lockdown for an entire month while leaving schools and universities open is exactly the kind of muddled thinking on the government’s part that — even putting aside for a moment their cronyism, corruption, and obsession with incompetent, overpaid corporate service providers to do jobs that should be provided by health professionals — will enrage and alienate people, whilst also failing to actually tackle the problems of rising infection rates.

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Covid Lockdown: Video of My Band The Four Fathers Playing at a Small Party in a London Park That Would Now Be Illegal

A screenshot of The Four Fathers playing in a park in south London on August 29, 2020.

Please support my work as a reader-funded investigative journalist, commentator and activist. If you can help, please click on the button below to donate via PayPal.





 

On the August Bank Holiday weekend, my band The Four Fathers played a largely acoustic set — and then joined other musicians in a jam session — as part of a little party in our local park in south London, parts of which were filmed by our bassist’s daughter, and which now constitute a record of what London looked like five months after the government first declared a lockdown to prevent the spread of the Covid-19 virus.

The party normally takes place in a friend’s house, but this year, because of Covid-19, everyone concerned recognised that even a well-behaved house party wasn’t acceptable at the time, and so the proposal to move it to our local park was suggested instead.

In the earliest days of lockdown, London’s parks were patrolled by the police and local officials to make sure that no one stopped or mingled during their allotted one hour of exercise a day, but, as the peak of the panic passed, parks then became the focal point of human interaction, and while there were some obvious examples of slightly reckless behaviour — parties of young people drinking late into the night, provoking the wrath of the curtain-twitching brigade — for the most part people were aware of social distancing, and were simply trying to balance the need to avoid spreading the virus with an equally important need to socialise.

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Andy Worthington

Investigative journalist, author, campaigner, commentator and public speaker. Recognized as an authority on Guantánamo and the “war on terror.” Co-founder, Close Guantánamo and We Stand With Shaker. Also, photo-journalist (The State of London), and singer and songwriter (The Four Fathers).
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