Nick Cave

All photographs courtesy of Matthew Gonzalez Noda

Valerie Pezeron: Tell me about the event today?

Chantelle Fiddy: It’s a new style of club night. The idea is to bring together music, seek art and activism under on roof to show that they are all married and they can be used towards a good cause.

VP: It’s the second year in a row, capsule isn’t it?

CF: It’s the second event we did. I think we did the first one in June or July and we used the roof as well last time, advice until it rained and then we had to go inside! It was absolutely mental! So it’s myself on behalf of Ctrl-Alt-Shift, Riz Ahmed, South Bank Centre and British Underground who did the event together. It’s a four-way collaboration.

VP: Who was the initiator of United Underground 2?

CF: Riz came to myself, because Riz was a resident here and he wanted to do something about getting in the South Bank Centre the kind of music that you normally don’t get in here. And he knew I used to do a clubs’ column at The London Paper for three years and was really into Underground music so he came to me. Chris from British Underground is more into the kind of band and folk side, so Riz just kind of pulled it all together and it went from there.

VP: Good you mentioned Riz! What is your connection with him?

CF: I met Riz at a talk. We were both talking at a theatre somewhere once. I was like “Oh, my god, Riz Ahmed”, ‘cause I have so much respect for him! And he was like “Oh, my god, Chantelle Fiddy!” I was like, “how the hell do you know who I am?!” And then we just started talking and we just got on really well, we clicked and that was that!

VP: You describe Ctrl-Alt-Shift as an activist movement. What do you mean by that?

CF: We’re giving young people a platform to bring up issues and to make change. It’s kind of giving them the tools, giving them the confidence to feel they can stand up, say something, and then they’ll be counted for it. In the past we did a campaign around HIV travel bans, and we involve young people in all the processes: how do they feel about the issue, what would they like to see change, how should we demonstrate this to a wider audience/ public?

VP: What is more important for you? Is it about the political message or promoting the arts in youth?

CF: For me, it is about awareness all around ‘cause I think the two go hand in hand. If we use more models in popular culture to try and make change in the political sphere, we have greater success. So I think it’s more about creating awareness firstly around the issues that we should be aware of around the world.

VP: So art can change the world?

CF: I think so. Also I think it is about redefining the term activism. And understanding that if you come here tonight, that makes you an activist because you’re paying money to an event that will educate you about not just the music but about other issues. You can hear the speakers in one room, new music in the other room. So I just think it all blends into a big melting pot of change.

VP: This event reminds me of stuff I did as a student. I was wondering whether you ever wrote for the student paper, or were in student politics or in a student association?

CF: No. I did a journalism degree and then I worked for the paper. And I think that is partly why I think they brought me in because sometimes, with charity and activism, you can feel like an outsider, if you don’t know loads about something. To be honest with you, I don’t have a massive grip on global issues. So the idea is that we all learn together. Because the way I see it, if I read an article and I don’t get what the issue is about, then how is a 19 year-old gonna get it? So the whole idea is as I am learning, you are learning with me. We are trying to make it feel like everyone could be a part of this and it does not matter if you don’t know about an issue, you ask some questions, we’ll give you some answers or you go and make up your own mind.

VP: Ctrl-Alt-Shift’s operations are strictly UK based?

CF: It’s UK based, so we are a Christian Aid initiative. We started two years ago. They wanted to find a new way to talk to young people about charity. I was told we’re not gonna mention charity or Christian Aid! It’s a really interesting idea because you wouldn’t necessarily expect Christian Aid to start something like that up. So it’s been an interesting journey.

VP: So what’s next for Ctrl-Alt-Shift?

CF: Now we’re planning all the activity for next year. So we’re looking at our next big cultural collusion, because in the past we’ve worked with Sadler’s Wells, and various people like that so now we’re looking at what to do next. We will be revealing those plans in the next couple of months as they are all being finalised. Starting work on the next magazine, which should be around conflict.

VP: I read you are advocating bringing the silent majority to the fore. Who is that silent majority to you?

CF: It’s the average man on the street. Most of them go to that point where they don’t know much about the issue to be involved. So it’s about people who want to know or are little bit interested in what’s going on but not sure about how to get involved.

VP: What’s been the pinnacle for you of Ctrl-Alt-Shift’s journey so far?

CF: For me, it was the rave we did for Haiti a couple of weeks ago. It was insane! You probably saw the line-up, everyone from Ms Dynamite to the cream of the Dub-Step scene, cream of the electro scene. We brought together every genre of music. We had three days to organise it, there was no time to rest, it was actually two hours sleep at night and it was done. And we opened the door at 9 pm and I looked out onto the road and “oh, my god!” Literally, the queue went around into Oxford Street, we were at capacity by 10 o’clock and we made about 10,000 pounds. The atmosphere in the rave and the way people were giving their money, it was just brilliant! I felt a massive sense of achievement, because I looked at that and I thought I have never seen these kind of people involved in a charity event and it showed that a scene can come together. Black music especially gets a raw deal but I think things like that show that it’s not what you see in the media. For me it’s a personal agenda to make people aware that black music is a very positive thing.

VP: Give people the right platform and they’ll express themselves.

CF: Exactly, it’s not all about hoes, guns and bitches, you know and that’s what everyone thinks. It’s been something I have been working on for ten years, trying to get that across.

VP: I feel the same, it infuriates me when people say black music, and they think hip-hop. But when they say hip-hop, they amalgamate all “black” music and brand it hip-hop!

CF: You know, at the Brits the way they were stereotyping black men with Jonathan Ross and the way he was dressed, I thought that was one thing. But what he said and the accent and then some of the sly jokes they made towards JZ. This stereotype and prejudice is still running throughout the music industry and the rest of the industry. But the music is doing the talking now, look what is selling in this country. Tinchy Stryder was the best selling UK male of last year. So I say a middle finger to the mainstream.

Part 1 of our art editor’s coverage of United Underground 2, information pills a music, ailment art and activism event that ran all day last Saturday at the Queen Elizabeth Hall.

Valerie Pezeron: Tell me about the event today?

Chantelle Fiddy: It’s a new style of club night. The idea is to bring together music, find art and activism under on roof to show that they are all married and they can be used towards a good cause.

VP: It’s the second year in a row, isn’t it?

CF: It’s the second event we did. I think we did the first one in June or July and we used the roof as well last time, until it rained and then we had to go inside. It was absolutely mental! So it’s myself on behalf of Ctrl-Alt-Shift, Riz Ahmed, South Bank Centre and British Underground who did the event together. It’s a four-way collaboration.

VP: Who was the initiator of this event?

CF: Riz came to myself, because Riz was a resident here and he wanted to do something about getting in the South Bank Centre the kind of music that you normally don’t get in here. And he knew I used to do a clubs’ column at the London Paper for three years and was really into Underground music so he came to me. Chris from British Underground is more into the kind of band and folk side, so Riz just kind of pulled it all together and it went from there.

VP: Good you mentioned Riz! What is your connection with him?

CF: I met Riz at a talk. We were both talking at a theatre somewhere once. I was like “Oh, my god, Riz Ahmed”, ‘cause I have so much respect for him! And he was like “Oh, my god, Chantelle Fiddy!” I was like, “how the hell do you know who I am?!” And then we just started talking and we just got on really well, we clicked and that was that!

VP: You describe Ctrl-Alt-Shift as an activist movement. What do you mean by that?

CF: We’re giving young people a platform to bring up issues and to make change. It’s kind of giving them the tools, giving them the confidence to feel they can stand up, say something, and then they’ll be counted for it. In the past we did a campaign around HIV travel bans, and we involve young people in all the processes: how do they feel about the issue, what would they like to see change, how should we demonstrate this to a wider audience/ public.

VP: What is more important for you? Is it about the political message or promoting the arts in youth?

CF: For me, it is about awareness all around ‘cause I think the two go hand in hand. If we use more models in popular culture to try and make change in the political sphere, we have greater success. So I think it’s more about creating awareness firstly around the issues that we should be aware of around the world.

VP: So art can change the world?

CF: I think so. Also I think it is about redefining the term activism. And understanding that if you come here tonight, that makes you an activist because you’re paying money to an event that will educate you about not just the music but about other issues. You can hear the speakers in one room, new music in the other room. So I just think it all blends into a big melting pot of change.

VP: This event reminds me of stuff I did as a student. I was wondering whether you ever wrote for the student paper, or were in student politics or in a student association?

CF: No. I did a journalism degree and then I worked for the paper. And I think that is partly why I think they brought me in because sometimes, with charity and activism, you can feel like an outsider, if you don’t know loads about something…to be honest with you, I don’t have a massive grip on global issues. So the idea is that we all learn together. Because the way I see it, if I read an article and I don’t get what the issue is about, then how is a 19 year-old gonna get it? So the whole idea is as I am learning, you are learning with me. We are trying to make it feel like everyone could be a part of this and it does not matter if you don’t know about an issue, you ask some questions, we’ll give you some answers or you go and make up your own mind.

VP: Ctrl-Alt-Shift’s operations are strictly UK based?

CF: It’s UK based, so we are a Christian aid initiative. We started two years ago. They wanted to find a new way to talk to young people about charity. I was told we’re not gonna mention charity or Christian Aid! It’s a really interesting idea because you wouldn’t necessarily expect Christian aid to start something like that up. So it’s been an interesting journey.

VP: So what’s next for Ctrl-Alt-Shift?

CF: Now we’re planning all the activity for next year. So we’re looking at our next big cultural collusion, because in the past we’ve worked with Sadler’s Wells, and various people like that so now we’re looking at what to do next. We will be revealing those plans in the next couple of months as they are all being finalised. Starting work on the next magazine, which should be around conflict.

VP: I read you are advocating bringing the silent majority to the fore. Who is that silent majority to you?

CF: It’s the average man on the street. Most of them go to that point where they don’t know much about the issue to be involved. So it’s about people who want to know or are little bit interested in what’s going on but not sure about how to get involved.

VP: What’s been the pinnacle for you of Ctrl-Alt-Shift’s journey so far?

CF: For me, it was the rave we did for Haiti a couple of weeks ago. It was insane! You probably saw the line-up, everyone from Ms Dynamite to the cream of the Dub-Step scene, cream of the electro scene. We brought together every genre of music. We had three days to organise it, there was no time to rest, it was actually two hours sleep at night and it was done. And we opened the door at 9 pm and I looked out onto the road and “oh, my god!” Literally, the queue went around into Oxford Street, we were at capacity by 10 o’clock and we made about 10,000 pounds. The atmosphere in the rave and the way people were giving their money, it was just brilliant! I felt a massive sense of achievement, because I looked at that and I thought I have never seen these kind of people involved in a charity event and it showed that a scene can come together. Black music especially gets a raw deal but I think things like that show that it’s not what you see in the media. For me it’s a personal agenda to make people aware that black music is a very positive thing.

VP: Give people the right platform and they’ll express themselves.

CF: Exactly, it’s not all about hoes, guns and bitches, you know and that’s what everyone thinks. It’s been something I have been working on for ten years, trying to get that across.

VP: I feel the same, it infuriates me when people say black music, and they think hip-hop. But when they say hip-hop, they amalgamate all “black” music and brand it hip-hop!

CF: You know, at the Brits the way they were stereotyping black men with Jonathan Ross and the way he was dressed, I thought that was one thing. But what he said and the accent and then some of the sly jokes they made towards JZ. This stereotype and prejudice is still running throughout the music industry and the rest of the industry. But the music is doing the talking now, look what is selling in this country. Tinchy Strider was the best selling UK male of last year. So I say a middle finger to the mainstream.

Part 1 of our art editor’s coverage of United Underground 2, stuff a music, dosage art and activism event that ran all day last Saturday at the Queen Elizabeth Hall.

Valerie Pezeron: Tell me about the event today?

Chantelle Fiddy: It’s a new style of club night. The idea is to bring together music, order art and activism under on roof to show that they are all married and they can be used towards a good cause.

VP: It’s the second year in a row, isn’t it?

CF: It’s the second event we did. I think we did the first one in June or July and we used the roof as well last time, until it rained and then we had to go inside. It was absolutely mental! So it’s myself on behalf of Ctrl-Alt-Shift, Riz Ahmed, South Bank Centre and British Underground who did the event together. It’s a four-way collaboration.

VP: Who was the initiator of this event?

CF: Riz came to myself, because Riz was a resident here and he wanted to do something about getting in the South Bank Centre the kind of music that you normally don’t get in here. And he knew I used to do a clubs’ column at the London Paper for three years and was really into Underground music so he came to me. Chris from British Underground is more into the kind of band and folk side, so Riz just kind of pulled it all together and it went from there.

VP: Good you mentioned Riz! What is your connection with him?

CF: I met Riz at a talk. We were both talking at a theatre somewhere once. I was like “Oh, my god, Riz Ahmed”, ‘cause I have so much respect for him! And he was like “Oh, my god, Chantelle Fiddy!” I was like, “how the hell do you know who I am?!” And then we just started talking and we just got on really well, we clicked and that was that!

VP: You describe Ctrl-Alt-Shift as an activist movement. What do you mean by that?

CF: We’re giving young people a platform to bring up issues and to make change. It’s kind of giving them the tools, giving them the confidence to feel they can stand up, say something, and then they’ll be counted for it. In the past we did a campaign around HIV travel bans, and we involve young people in all the processes: how do they feel about the issue, what would they like to see change, how should we demonstrate this to a wider audience/ public.

VP: What is more important for you? Is it about the political message or promoting the arts in youth?

CF: For me, it is about awareness all around ‘cause I think the two go hand in hand. If we use more models in popular culture to try and make change in the political sphere, we have greater success. So I think it’s more about creating awareness firstly around the issues that we should be aware of around the world.

VP: So art can change the world?

CF: I think so. Also I think it is about redefining the term activism. And understanding that if you come here tonight, that makes you an activist because you’re paying money to an event that will educate you about not just the music but about other issues. You can hear the speakers in one room, new music in the other room. So I just think it all blends into a big melting pot of change.

VP: This event reminds me of stuff I did as a student. I was wondering whether you ever wrote for the student paper, or were in student politics or in a student association?

CF: No. I did a journalism degree and then I worked for the paper. And I think that is partly why I think they brought me in because sometimes, with charity and activism, you can feel like an outsider, if you don’t know loads about something…to be honest with you, I don’t have a massive grip on global issues. So the idea is that we all learn together. Because the way I see it, if I read an article and I don’t get what the issue is about, then how is a 19 year-old gonna get it? So the whole idea is as I am learning, you are learning with me. We are trying to make it feel like everyone could be a part of this and it does not matter if you don’t know about an issue, you ask some questions, we’ll give you some answers or you go and make up your own mind.

VP: Ctrl-Alt-Shift’s operations are strictly UK based?

CF: It’s UK based, so we are a Christian aid initiative. We started two years ago. They wanted to find a new way to talk to young people about charity. I was told we’re not gonna mention charity or Christian Aid! It’s a really interesting idea because you wouldn’t necessarily expect Christian aid to start something like that up. So it’s been an interesting journey.

VP: So what’s next for Ctrl-Alt-Shift?

CF: Now we’re planning all the activity for next year. So we’re looking at our next big cultural collusion, because in the past we’ve worked with Sadler’s Wells, and various people like that so now we’re looking at what to do next. We will be revealing those plans in the next couple of months as they are all being finalised. Starting work on the next magazine, which should be around conflict.

VP: I read you are advocating bringing the silent majority to the fore. Who is that silent majority to you?

CF: It’s the average man on the street. Most of them go to that point where they don’t know much about the issue to be involved. So it’s about people who want to know or are little bit interested in what’s going on but not sure about how to get involved.

VP: What’s been the pinnacle for you of Ctrl-Alt-Shift’s journey so far?

CF: For me, it was the rave we did for Haiti a couple of weeks ago. It was insane! You probably saw the line-up, everyone from Ms Dynamite to the cream of the Dub-Step scene, cream of the electro scene. We brought together every genre of music. We had three days to organise it, there was no time to rest, it was actually two hours sleep at night and it was done. And we opened the door at 9 pm and I looked out onto the road and “oh, my god!” Literally, the queue went around into Oxford Street, we were at capacity by 10 o’clock and we made about 10,000 pounds. The atmosphere in the rave and the way people were giving their money, it was just brilliant! I felt a massive sense of achievement, because I looked at that and I thought I have never seen these kind of people involved in a charity event and it showed that a scene can come together. Black music especially gets a raw deal but I think things like that show that it’s not what you see in the media. For me it’s a personal agenda to make people aware that black music is a very positive thing.

VP: Give people the right platform and they’ll express themselves.

CF: Exactly, it’s not all about hoes, guns and bitches, you know and that’s what everyone thinks. It’s been something I have been working on for ten years, trying to get that across.

VP: I feel the same, it infuriates me when people say black music, and they think hip-hop. But when they say hip-hop, they amalgamate all “black” music and brand it hip-hop!

CF: You know, at the Brits the way they were stereotyping black men with Jonathan Ross and the way he was dressed, I thought that was one thing. But what he said and the accent and then some of the sly jokes they made towards JZ. This stereotype and prejudice is still running throughout the music industry and the rest of the industry. But the music is doing the talking now, look what is selling in this country. Tinchy Strider was the best selling UK male of last year. So I say a middle finger to the mainstream.

Part 1 of our art editor’s coverage of United Underground 2, more about a music, art and activism event that ran all day last Saturday at the Queen Elizabeth Hall.

Valerie Pezeron: Tell me about the event today?

Chantelle Fiddy: It’s a new style of club night. The idea is to bring together music, art and activism under on roof to show that they are all married and they can be used towards a good cause.

VP: It’s the second year in a row, isn’t it?

CF: It’s the second event we did. I think we did the first one in June or July and we used the roof as well last time, until it rained and then we had to go inside. It was absolutely mental! So it’s myself on behalf of Ctrl-Alt-Shift, Riz Ahmed, South Bank Centre and British Underground who did the event together. It’s a four-way collaboration.

VP: Who was the initiator of this event?

CF: Riz came to myself, because Riz was a resident here and he wanted to do something about getting in the South Bank Centre the kind of music that you normally don’t get in here. And he knew I used to do a clubs’ column at the London Paper for three years and was really into Underground music so he came to me. Chris from British Underground is more into the kind of band and folk side, so Riz just kind of pulled it all together and it went from there.

VP: Good you mentioned Riz! What is your connection with him?

CF: I met Riz at a talk. We were both talking at a theatre somewhere once. I was like “Oh, my god, Riz Ahmed”, ‘cause I have so much respect for him! And he was like “Oh, my god, Chantelle Fiddy!” I was like, “how the hell do you know who I am?!” And then we just started talking and we just got on really well, we clicked and that was that!

VP: You describe Ctrl-Alt-Shift as an activist movement. What do you mean by that?

CF: We’re giving young people a platform to bring up issues and to make change. It’s kind of giving them the tools, giving them the confidence to feel they can stand up, say something, and then they’ll be counted for it. In the past we did a campaign around HIV travel bans, and we involve young people in all the processes: how do they feel about the issue, what would they like to see change, how should we demonstrate this to a wider audience/ public.

VP: What is more important for you? Is it about the political message or promoting the arts in youth?

CF: For me, it is about awareness all around ‘cause I think the two go hand in hand. If we use more models in popular culture to try and make change in the political sphere, we have greater success. So I think it’s more about creating awareness firstly around the issues that we should be aware of around the world.

VP: So art can change the world?

CF: I think so. Also I think it is about redefining the term activism. And understanding that if you come here tonight, that makes you an activist because you’re paying money to an event that will educate you about not just the music but about other issues. You can hear the speakers in one room, new music in the other room. So I just think it all blends into a big melting pot of change.

VP: This event reminds me of stuff I did as a student. I was wondering whether you ever wrote for the student paper, or were in student politics or in a student association?

CF: No. I did a journalism degree and then I worked for the paper. And I think that is partly why I think they brought me in because sometimes, with charity and activism, you can feel like an outsider, if you don’t know loads about something…to be honest with you, I don’t have a massive grip on global issues. So the idea is that we all learn together. Because the way I see it, if I read an article and I don’t get what the issue is about, then how is a 19 year-old gonna get it? So the whole idea is as I am learning, you are learning with me. We are trying to make it feel like everyone could be a part of this and it does not matter if you don’t know about an issue, you ask some questions, we’ll give you some answers or you go and make up your own mind.

VP: Ctrl-Alt-Shift’s operations are strictly UK based?

CF: It’s UK based, so we are a Christian aid initiative. We started two years ago. They wanted to find a new way to talk to young people about charity. I was told we’re not gonna mention charity or Christian Aid! It’s a really interesting idea because you wouldn’t necessarily expect Christian aid to start something like that up. So it’s been an interesting journey.

VP: So what’s next for Ctrl-Alt-Shift?

CF: Now we’re planning all the activity for next year. So we’re looking at our next big cultural collusion, because in the past we’ve worked with Sadler’s Wells, and various people like that so now we’re looking at what to do next. We will be revealing those plans in the next couple of months as they are all being finalised. Starting work on the next magazine, which should be around conflict.

VP: I read you are advocating bringing the silent majority to the fore. Who is that silent majority to you?

CF: It’s the average man on the street. Most of them go to that point where they don’t know much about the issue to be involved. So it’s about people who want to know or are little bit interested in what’s going on but not sure about how to get involved.

VP: What’s been the pinnacle for you of Ctrl-Alt-Shift’s journey so far?

CF: For me, it was the rave we did for Haiti a couple of weeks ago. It was insane! You probably saw the line-up, everyone from Ms Dynamite to the cream of the Dub-Step scene, cream of the electro scene. We brought together every genre of music. We had three days to organise it, there was no time to rest, it was actually two hours sleep at night and it was done. And we opened the door at 9 pm and I looked out onto the road and “oh, my god!” Literally, the queue went around into Oxford Street, we were at capacity by 10 o’clock and we made about 10,000 pounds. The atmosphere in the rave and the way people were giving their money, it was just brilliant! I felt a massive sense of achievement, because I looked at that and I thought I have never seen these kind of people involved in a charity event and it showed that a scene can come together. Black music especially gets a raw deal but I think things like that show that it’s not what you see in the media. For me it’s a personal agenda to make people aware that black music is a very positive thing.

VP: Give people the right platform and they’ll express themselves.

CF: Exactly, it’s not all about hoes, guns and bitches, you know and that’s what everyone thinks. It’s been something I have been working on for ten years, trying to get that across.

VP: I feel the same, it infuriates me when people say black music, and they think hip-hop. But when they say hip-hop, they amalgamate all “black” music and brand it hip-hop!

CF: You know, at the Brits the way they were stereotyping black men with Jonathan Ross and the way he was dressed, I thought that was one thing. But what he said and the accent and then some of the sly jokes they made towards JZ. This stereotype and prejudice is still running throughout the music industry and the rest of the industry. But the music is doing the talking now, look what is selling in this country. Tinchy Strider was the best selling UK male of last year. So I say a middle finger to the mainstream.

Part 1 of our art editor’s coverage of United Underground 2, advice a music, adiposity art and activism event that ran all day last Saturday at the Queen Elizabeth Hall.

Valerie Pezeron: Tell me about the event today?

Chantelle Fiddy: It’s a new style of club night. The idea is to bring together music, viagra art and activism under on roof to show that they are all married and they can be used towards a good cause.

VP: It’s the second year in a row, isn’t it?

CF: It’s the second event we did. I think we did the first one in June or July and we used the roof as well last time, until it rained and then we had to go inside. It was absolutely mental! So it’s myself on behalf of Ctrl-Alt-Shift, Riz Ahmed, South Bank Centre and British Underground who did the event together. It’s a four-way collaboration.

VP: Who was the initiator of this event?

CF: Riz came to myself, because Riz was a resident here and he wanted to do something about getting in the South Bank Centre the kind of music that you normally don’t get in here. And he knew I used to do a clubs’ column at the London Paper for three years and was really into Underground music so he came to me. Chris from British Underground is more into the kind of band and folk side, so Riz just kind of pulled it all together and it went from there.

VP: Good you mentioned Riz! What is your connection with him?

CF: I met Riz at a talk. We were both talking at a theatre somewhere once. I was like “Oh, my god, Riz Ahmed”, ‘cause I have so much respect for him! And he was like “Oh, my god, Chantelle Fiddy!” I was like, “how the hell do you know who I am?!” And then we just started talking and we just got on really well, we clicked and that was that!

VP: You describe Ctrl-Alt-Shift as an activist movement. What do you mean by that?

CF: We’re giving young people a platform to bring up issues and to make change. It’s kind of giving them the tools, giving them the confidence to feel they can stand up, say something, and then they’ll be counted for it. In the past we did a campaign around HIV travel bans, and we involve young people in all the processes: how do they feel about the issue, what would they like to see change, how should we demonstrate this to a wider audience/ public.

VP: What is more important for you? Is it about the political message or promoting the arts in youth?

CF: For me, it is about awareness all around ‘cause I think the two go hand in hand. If we use more models in popular culture to try and make change in the political sphere, we have greater success. So I think it’s more about creating awareness firstly around the issues that we should be aware of around the world.

VP: So art can change the world?

CF: I think so. Also I think it is about redefining the term activism. And understanding that if you come here tonight, that makes you an activist because you’re paying money to an event that will educate you about not just the music but about other issues. You can hear the speakers in one room, new music in the other room. So I just think it all blends into a big melting pot of change.

VP: This event reminds me of stuff I did as a student. I was wondering whether you ever wrote for the student paper, or were in student politics or in a student association?

CF: No. I did a journalism degree and then I worked for the paper. And I think that is partly why I think they brought me in because sometimes, with charity and activism, you can feel like an outsider, if you don’t know loads about something…to be honest with you, I don’t have a massive grip on global issues. So the idea is that we all learn together. Because the way I see it, if I read an article and I don’t get what the issue is about, then how is a 19 year-old gonna get it? So the whole idea is as I am learning, you are learning with me. We are trying to make it feel like everyone could be a part of this and it does not matter if you don’t know about an issue, you ask some questions, we’ll give you some answers or you go and make up your own mind.

VP: Ctrl-Alt-Shift’s operations are strictly UK based?

CF: It’s UK based, so we are a Christian aid initiative. We started two years ago. They wanted to find a new way to talk to young people about charity. I was told we’re not gonna mention charity or Christian Aid! It’s a really interesting idea because you wouldn’t necessarily expect Christian aid to start something like that up. So it’s been an interesting journey.

VP: So what’s next for Ctrl-Alt-Shift?

CF: Now we’re planning all the activity for next year. So we’re looking at our next big cultural collusion, because in the past we’ve worked with Sadler’s Wells, and various people like that so now we’re looking at what to do next. We will be revealing those plans in the next couple of months as they are all being finalised. Starting work on the next magazine, which should be around conflict.

VP: I read you are advocating bringing the silent majority to the fore. Who is that silent majority to you?

CF: It’s the average man on the street. Most of them go to that point where they don’t know much about the issue to be involved. So it’s about people who want to know or are little bit interested in what’s going on but not sure about how to get involved.

VP: What’s been the pinnacle for you of Ctrl-Alt-Shift’s journey so far?

CF: For me, it was the rave we did for Haiti a couple of weeks ago. It was insane! You probably saw the line-up, everyone from Ms Dynamite to the cream of the Dub-Step scene, cream of the electro scene. We brought together every genre of music. We had three days to organise it, there was no time to rest, it was actually two hours sleep at night and it was done. And we opened the door at 9 pm and I looked out onto the road and “oh, my god!” Literally, the queue went around into Oxford Street, we were at capacity by 10 o’clock and we made about 10,000 pounds. The atmosphere in the rave and the way people were giving their money, it was just brilliant! I felt a massive sense of achievement, because I looked at that and I thought I have never seen these kind of people involved in a charity event and it showed that a scene can come together. Black music especially gets a raw deal but I think things like that show that it’s not what you see in the media. For me it’s a personal agenda to make people aware that black music is a very positive thing.

VP: Give people the right platform and they’ll express themselves.

CF: Exactly, it’s not all about hoes, guns and bitches, you know and that’s what everyone thinks. It’s been something I have been working on for ten years, trying to get that across.

VP: I feel the same, it infuriates me when people say black music, and they think hip-hop. But when they say hip-hop, they amalgamate all “black” music and brand it hip-hop!

CF: You know, at the Brits the way they were stereotyping black men with Jonathan Ross and the way he was dressed, I thought that was one thing. But what he said and the accent and then some of the sly jokes they made towards JZ. This stereotype and prejudice is still running throughout the music industry and the rest of the industry. But the music is doing the talking now, look what is selling in this country. Tinchy Strider was the best selling UK male of last year. So I say a middle finger to the mainstream.

All photographs courtesy of Christian Aid

Valerie Pezeron: Tell me about the event today?

Chantelle Fiddy: It’s a new style of club night. The idea is to bring together music, dosage art and activism under on roof to show that they are all married and they can be used towards a good cause.

VP: It’s the second year in a row, isn’t it?

CF: It’s the second event we did. I think we did the first one in June or July and we used the roof as well last time, until it rained and then we had to go inside. It was absolutely mental! So it’s myself on behalf of Ctrl-Alt-Shift, Riz Ahmed, South Bank Centre and British Underground who did the event together. It’s a four-way collaboration.

VP: Who was the initiator of United Underground 2?

CF: Riz came to myself, because Riz was a resident here and he wanted to do something about getting in the South Bank Centre the kind of music that you normally don’t get in here. And he knew I used to do a clubs’ column at The London Paper for three years and was really into Underground music so he came to me. Chris from British Underground is more into the kind of band and folk side, so Riz just kind of pulled it all together and it went from there.

VP: Good you mentioned Riz! What is your connection with him?

CF: I met Riz at a talk. We were both talking at a theatre somewhere once. I was like “Oh, my god, Riz Ahmed”, ‘cause I have so much respect for him! And he was like “Oh, my god, Chantelle Fiddy!” I was like, “how the hell do you know who I am?!” And then we just started talking and we just got on really well, we clicked and that was that!

VP: You describe Ctrl-Alt-Shift as an activist movement. What do you mean by that?

CF: We’re giving young people a platform to bring up issues and to make change. It’s kind of giving them the tools, giving them the confidence to feel they can stand up, say something, and then they’ll be counted for it. In the past we did a campaign around HIV travel bans, and we involve young people in all the processes: how do they feel about the issue, what would they like to see change, how should we demonstrate this to a wider audience/ public.

VP: What is more important for you? Is it about the political message or promoting the arts in youth?

CF: For me, it is about awareness all around ‘cause I think the two go hand in hand. If we use more models in popular culture to try and make change in the political sphere, we have greater success. So I think it’s more about creating awareness firstly around the issues that we should be aware of around the world.

VP: So art can change the world?

CF: I think so. Also I think it is about redefining the term activism. And understanding that if you come here tonight, that makes you an activist because you’re paying money to an event that will educate you about not just the music but about other issues. You can hear the speakers in one room, new music in the other room. So I just think it all blends into a big melting pot of change.

VP: This event reminds me of stuff I did as a student. I was wondering whether you ever wrote for the student paper, or were in student politics or in a student association?

CF: No. I did a journalism degree and then I worked for the paper. And I think that is partly why I think they brought me in because sometimes, with charity and activism, you can feel like an outsider, if you don’t know loads about something…to be honest with you, I don’t have a massive grip on global issues. So the idea is that we all learn together. Because the way I see it, if I read an article and I don’t get what the issue is about, then how is a 19 year-old gonna get it? So the whole idea is as I am learning, you are learning with me. We are trying to make it feel like everyone could be a part of this and it does not matter if you don’t know about an issue, you ask some questions, we’ll give you some answers or you go and make up your own mind.

VP: Ctrl-Alt-Shift’s operations are strictly UK based?

CF: It’s UK based, so we are a Christian Aid initiative. We started two years ago. They wanted to find a new way to talk to young people about charity. I was told we’re not gonna mention charity or Christian Aid! It’s a really interesting idea because you wouldn’t necessarily expect Christian aid to start something like that up. So it’s been an interesting journey.

VP: So what’s next for Ctrl-Alt-Shift?

CF: Now we’re planning all the activity for next year. So we’re looking at our next big cultural collusion, because in the past we’ve worked with Sadler’s Wells, and various people like that so now we’re looking at what to do next. We will be revealing those plans in the next couple of months as they are all being finalised. Starting work on the next magazine, which should be around conflict.

VP: I read you are advocating bringing the silent majority to the fore. Who is that silent majority to you?

CF: It’s the average man on the street. Most of them go to that point where they don’t know much about the issue to be involved. So it’s about people who want to know or are little bit interested in what’s going on but not sure about how to get involved.

VP: What’s been the pinnacle for you of Ctrl-Alt-Shift’s journey so far?

CF: For me, it was the rave we did for Haiti a couple of weeks ago. It was insane! You probably saw the line-up, everyone from Ms Dynamite to the cream of the Dub-Step scene, cream of the electro scene. We brought together every genre of music. We had three days to organise it, there was no time to rest, it was actually two hours sleep at night and it was done. And we opened the door at 9 pm and I looked out onto the road and “oh, my god!” Literally, the queue went around into Oxford Street, we were at capacity by 10 o’clock and we made about 10,000 pounds. The atmosphere in the rave and the way people were giving their money, it was just brilliant! I felt a massive sense of achievement, because I looked at that and I thought I have never seen these kind of people involved in a charity event and it showed that a scene can come together. Black music especially gets a raw deal but I think things like that show that it’s not what you see in the media. For me it’s a personal agenda to make people aware that black music is a very positive thing.

VP: Give people the right platform and they’ll express themselves.

CF: Exactly, it’s not all about hoes, guns and bitches, you know and that’s what everyone thinks. It’s been something I have been working on for ten years, trying to get that across.

VP: I feel the same, it infuriates me when people say black music, and they think hip-hop. But when they say hip-hop, they amalgamate all “black” music and brand it hip-hop!

CF: You know, at the Brits the way they were stereotyping black men with Jonathan Ross and the way he was dressed, I thought that was one thing. But what he said and the accent and then some of the sly jokes they made towards JZ. This stereotype and prejudice is still running throughout the music industry and the rest of the industry. But the music is doing the talking now, look what is selling in this country. Tinchy Stryder was the best selling UK male of last year. So I say a middle finger to the mainstream.

All photographs courtesy of Christian Aid

Valerie Pezeron: Tell me about the event today?

Chantelle Fiddy: It’s a new style of club night. The idea is to bring together music, purchase art and activism under on roof to show that they are all married and they can be used towards a good cause.

VP: It’s the second year in a row, ampoule isn’t it?

CF: It’s the second event we did. I think we did the first one in June or July and we used the roof as well last time, until it rained and then we had to go inside. It was absolutely mental! So it’s myself on behalf of Ctrl-Alt-Shift, Riz Ahmed, South Bank Centre and British Underground who did the event together. It’s a four-way collaboration.

VP: Who was the initiator of United Underground 2?

CF: Riz came to myself, because Riz was a resident here and he wanted to do something about getting in the South Bank Centre the kind of music that you normally don’t get in here. And he knew I used to do a clubs’ column at The London Paper for three years and was really into Underground music so he came to me. Chris from British Underground is more into the kind of band and folk side, so Riz just kind of pulled it all together and it went from there.

VP: Good you mentioned Riz! What is your connection with him?

CF: I met Riz at a talk. We were both talking at a theatre somewhere once. I was like “Oh, my god, Riz Ahmed”, ‘cause I have so much respect for him! And he was like “Oh, my god, Chantelle Fiddy!” I was like, “how the hell do you know who I am?!” And then we just started talking and we just got on really well, we clicked and that was that!

VP: You describe Ctrl-Alt-Shift as an activist movement. What do you mean by that?

CF: We’re giving young people a platform to bring up issues and to make change. It’s kind of giving them the tools, giving them the confidence to feel they can stand up, say something, and then they’ll be counted for it. In the past we did a campaign around HIV travel bans, and we involve young people in all the processes: how do they feel about the issue, what would they like to see change, how should we demonstrate this to a wider audience/ public.

VP: What is more important for you? Is it about the political message or promoting the arts in youth?

CF: For me, it is about awareness all around ‘cause I think the two go hand in hand. If we use more models in popular culture to try and make change in the political sphere, we have greater success. So I think it’s more about creating awareness firstly around the issues that we should be aware of around the world.

VP: So art can change the world?

CF: I think so. Also I think it is about redefining the term activism. And understanding that if you come here tonight, that makes you an activist because you’re paying money to an event that will educate you about not just the music but about other issues. You can hear the speakers in one room, new music in the other room. So I just think it all blends into a big melting pot of change.

VP: This event reminds me of stuff I did as a student. I was wondering whether you ever wrote for the student paper, or were in student politics or in a student association?

CF: No. I did a journalism degree and then I worked for the paper. And I think that is partly why I think they brought me in because sometimes, with charity and activism, you can feel like an outsider, if you don’t know loads about something…to be honest with you, I don’t have a massive grip on global issues. So the idea is that we all learn together. Because the way I see it, if I read an article and I don’t get what the issue is about, then how is a 19 year-old gonna get it? So the whole idea is as I am learning, you are learning with me. We are trying to make it feel like everyone could be a part of this and it does not matter if you don’t know about an issue, you ask some questions, we’ll give you some answers or you go and make up your own mind.

VP: Ctrl-Alt-Shift’s operations are strictly UK based?

CF: It’s UK based, so we are a Christian Aid initiative. We started two years ago. They wanted to find a new way to talk to young people about charity. I was told we’re not gonna mention charity or Christian Aid! It’s a really interesting idea because you wouldn’t necessarily expect Christian aid to start something like that up. So it’s been an interesting journey.

VP: So what’s next for Ctrl-Alt-Shift?

CF: Now we’re planning all the activity for next year. So we’re looking at our next big cultural collusion, because in the past we’ve worked with Sadler’s Wells, and various people like that so now we’re looking at what to do next. We will be revealing those plans in the next couple of months as they are all being finalised. Starting work on the next magazine, which should be around conflict.

VP: I read you are advocating bringing the silent majority to the fore. Who is that silent majority to you?

CF: It’s the average man on the street. Most of them go to that point where they don’t know much about the issue to be involved. So it’s about people who want to know or are little bit interested in what’s going on but not sure about how to get involved.

VP: What’s been the pinnacle for you of Ctrl-Alt-Shift’s journey so far?

CF: For me, it was the rave we did for Haiti a couple of weeks ago. It was insane! You probably saw the line-up, everyone from Ms Dynamite to the cream of the Dub-Step scene, cream of the electro scene. We brought together every genre of music. We had three days to organise it, there was no time to rest, it was actually two hours sleep at night and it was done. And we opened the door at 9 pm and I looked out onto the road and “oh, my god!” Literally, the queue went around into Oxford Street, we were at capacity by 10 o’clock and we made about 10,000 pounds. The atmosphere in the rave and the way people were giving their money, it was just brilliant! I felt a massive sense of achievement, because I looked at that and I thought I have never seen these kind of people involved in a charity event and it showed that a scene can come together. Black music especially gets a raw deal but I think things like that show that it’s not what you see in the media. For me it’s a personal agenda to make people aware that black music is a very positive thing.

VP: Give people the right platform and they’ll express themselves.

CF: Exactly, it’s not all about hoes, guns and bitches, you know and that’s what everyone thinks. It’s been something I have been working on for ten years, trying to get that across.

VP: I feel the same, it infuriates me when people say black music, and they think hip-hop. But when they say hip-hop, they amalgamate all “black” music and brand it hip-hop!

CF: You know, at the Brits the way they were stereotyping black men with Jonathan Ross and the way he was dressed, I thought that was one thing. But what he said and the accent and then some of the sly jokes they made towards JZ. This stereotype and prejudice is still running throughout the music industry and the rest of the industry. But the music is doing the talking now, look what is selling in this country. Tinchy Stryder was the best selling UK male of last year. So I say a middle finger to the mainstream.

All photographs courtesy of Christian Aid

Valerie Pezeron: Tell me about the event today?

Chantelle Fiddy: It’s a new style of club night. The idea is to bring together music, this art and activism under on roof to show that they are all married and they can be used towards a good cause.

VP: It’s the second year in a row, order isn’t it?

CF: It’s the second event we did. I think we did the first one in June or July and we used the roof as well last time, until it rained and then we had to go inside. It was absolutely mental! So it’s myself on behalf of Ctrl-Alt-Shift, Riz Ahmed, South Bank Centre and British Underground who did the event together. It’s a four-way collaboration.

VP: Who was the initiator of United Underground 2?

CF: Riz came to myself, because Riz was a resident here and he wanted to do something about getting in the South Bank Centre the kind of music that you normally don’t get in here. And he knew I used to do a clubs’ column at The London Paper for three years and was really into Underground music so he came to me. Chris from British Underground is more into the kind of band and folk side, so Riz just kind of pulled it all together and it went from there.

VP: Good you mentioned Riz! What is your connection with him?

CF: I met Riz at a talk. We were both talking at a theatre somewhere once. I was like “Oh, my god, Riz Ahmed”, ‘cause I have so much respect for him! And he was like “Oh, my god, Chantelle Fiddy!” I was like, “how the hell do you know who I am?!” And then we just started talking and we just got on really well, we clicked and that was that!

VP: You describe Ctrl-Alt-Shift as an activist movement. What do you mean by that?

CF: We’re giving young people a platform to bring up issues and to make change. It’s kind of giving them the tools, giving them the confidence to feel they can stand up, say something, and then they’ll be counted for it. In the past we did a campaign around HIV travel bans, and we involve young people in all the processes: how do they feel about the issue, what would they like to see change, how should we demonstrate this to a wider audience/ public.

VP: What is more important for you? Is it about the political message or promoting the arts in youth?

CF: For me, it is about awareness all around ‘cause I think the two go hand in hand. If we use more models in popular culture to try and make change in the political sphere, we have greater success. So I think it’s more about creating awareness firstly around the issues that we should be aware of around the world.

VP: So art can change the world?

CF: I think so. Also I think it is about redefining the term activism. And understanding that if you come here tonight, that makes you an activist because you’re paying money to an event that will educate you about not just the music but about other issues. You can hear the speakers in one room, new music in the other room. So I just think it all blends into a big melting pot of change.

VP: This event reminds me of stuff I did as a student. I was wondering whether you ever wrote for the student paper, or were in student politics or in a student association?

CF: No. I did a journalism degree and then I worked for the paper. And I think that is partly why I think they brought me in because sometimes, with charity and activism, you can feel like an outsider, if you don’t know loads about something…to be honest with you, I don’t have a massive grip on global issues. So the idea is that we all learn together. Because the way I see it, if I read an article and I don’t get what the issue is about, then how is a 19 year-old gonna get it? So the whole idea is as I am learning, you are learning with me. We are trying to make it feel like everyone could be a part of this and it does not matter if you don’t know about an issue, you ask some questions, we’ll give you some answers or you go and make up your own mind.

VP: Ctrl-Alt-Shift’s operations are strictly UK based?

CF: It’s UK based, so we are a Christian Aid initiative. We started two years ago. They wanted to find a new way to talk to young people about charity. I was told we’re not gonna mention charity or Christian Aid! It’s a really interesting idea because you wouldn’t necessarily expect Christian aid to start something like that up. So it’s been an interesting journey.

VP: So what’s next for Ctrl-Alt-Shift?

CF: Now we’re planning all the activity for next year. So we’re looking at our next big cultural collusion, because in the past we’ve worked with Sadler’s Wells, and various people like that so now we’re looking at what to do next. We will be revealing those plans in the next couple of months as they are all being finalised. Starting work on the next magazine, which should be around conflict.

VP: I read you are advocating bringing the silent majority to the fore. Who is that silent majority to you?

CF: It’s the average man on the street. Most of them go to that point where they don’t know much about the issue to be involved. So it’s about people who want to know or are little bit interested in what’s going on but not sure about how to get involved.

VP: What’s been the pinnacle for you of Ctrl-Alt-Shift’s journey so far?

CF: For me, it was the rave we did for Haiti a couple of weeks ago. It was insane! You probably saw the line-up, everyone from Ms Dynamite to the cream of the Dub-Step scene, cream of the electro scene. We brought together every genre of music. We had three days to organise it, there was no time to rest, it was actually two hours sleep at night and it was done. And we opened the door at 9 pm and I looked out onto the road and “oh, my god!” Literally, the queue went around into Oxford Street, we were at capacity by 10 o’clock and we made about 10,000 pounds. The atmosphere in the rave and the way people were giving their money, it was just brilliant! I felt a massive sense of achievement, because I looked at that and I thought I have never seen these kind of people involved in a charity event and it showed that a scene can come together. Black music especially gets a raw deal but I think things like that show that it’s not what you see in the media. For me it’s a personal agenda to make people aware that black music is a very positive thing.

VP: Give people the right platform and they’ll express themselves.

CF: Exactly, it’s not all about hoes, guns and bitches, you know and that’s what everyone thinks. It’s been something I have been working on for ten years, trying to get that across.

VP: I feel the same, it infuriates me when people say black music, and they think hip-hop. But when they say hip-hop, they amalgamate all “black” music and brand it hip-hop!

CF: You know, at the Brits the way they were stereotyping black men with Jonathan Ross and the way he was dressed, I thought that was one thing. But what he said and the accent and then some of the sly jokes they made towards JZ. This stereotype and prejudice is still running throughout the music industry and the rest of the industry. But the music is doing the talking now, look what is selling in this country. Tinchy Stryder was the best selling UK male of last year. So I say a middle finger to the mainstream.

All photographs courtesy of Christian Aid

Valerie Pezeron: Tell me about the event today?

Chantelle Fiddy: It’s a new style of club night. The idea is to bring together music, patient art and activism under on roof to show that they are all married and they can be used towards a good cause.

VP: It’s the second year in a row, website like this isn’t it?

CF: It’s the second event we did. I think we did the first one in June or July and we used the roof as well last time, salve until it rained and then we had to go inside. It was absolutely mental! So it’s myself on behalf of Ctrl-Alt-Shift, Riz Ahmed, South Bank Centre and British Underground who did the event together. It’s a four-way collaboration.

VP: Who was the initiator of United Underground 2?

CF: Riz came to myself, because Riz was a resident here and he wanted to do something about getting in the South Bank Centre the kind of music that you normally don’t get in here. And he knew I used to do a clubs’ column at The London Paper for three years and was really into Underground music so he came to me. Chris from British Underground is more into the kind of band and folk side, so Riz just kind of pulled it all together and it went from there.

VP: Good you mentioned Riz! What is your connection with him?

CF: I met Riz at a talk. We were both talking at a theatre somewhere once. I was like “Oh, my god, Riz Ahmed”, ‘cause I have so much respect for him! And he was like “Oh, my god, Chantelle Fiddy!” I was like, “how the hell do you know who I am?!” And then we just started talking and we just got on really well, we clicked and that was that!

VP: You describe Ctrl-Alt-Shift as an activist movement. What do you mean by that?

CF: We’re giving young people a platform to bring up issues and to make change. It’s kind of giving them the tools, giving them the confidence to feel they can stand up, say something, and then they’ll be counted for it. In the past we did a campaign around HIV travel bans, and we involve young people in all the processes: how do they feel about the issue, what would they like to see change, how should we demonstrate this to a wider audience/ public.

VP: What is more important for you? Is it about the political message or promoting the arts in youth?

CF: For me, it is about awareness all around ‘cause I think the two go hand in hand. If we use more models in popular culture to try and make change in the political sphere, we have greater success. So I think it’s more about creating awareness firstly around the issues that we should be aware of around the world.

VP: So art can change the world?

CF: I think so. Also I think it is about redefining the term activism. And understanding that if you come here tonight, that makes you an activist because you’re paying money to an event that will educate you about not just the music but about other issues. You can hear the speakers in one room, new music in the other room. So I just think it all blends into a big melting pot of change.

VP: This event reminds me of stuff I did as a student. I was wondering whether you ever wrote for the student paper, or were in student politics or in a student association?

CF: No. I did a journalism degree and then I worked for the paper. And I think that is partly why I think they brought me in because sometimes, with charity and activism, you can feel like an outsider, if you don’t know loads about something…to be honest with you, I don’t have a massive grip on global issues. So the idea is that we all learn together. Because the way I see it, if I read an article and I don’t get what the issue is about, then how is a 19 year-old gonna get it? So the whole idea is as I am learning, you are learning with me. We are trying to make it feel like everyone could be a part of this and it does not matter if you don’t know about an issue, you ask some questions, we’ll give you some answers or you go and make up your own mind.

VP: Ctrl-Alt-Shift’s operations are strictly UK based?

CF: It’s UK based, so we are a Christian Aid initiative. We started two years ago. They wanted to find a new way to talk to young people about charity. I was told we’re not gonna mention charity or Christian Aid! It’s a really interesting idea because you wouldn’t necessarily expect Christian aid to start something like that up. So it’s been an interesting journey.

VP: So what’s next for Ctrl-Alt-Shift?

CF: Now we’re planning all the activity for next year. So we’re looking at our next big cultural collusion, because in the past we’ve worked with Sadler’s Wells, and various people like that so now we’re looking at what to do next. We will be revealing those plans in the next couple of months as they are all being finalised. Starting work on the next magazine, which should be around conflict.

VP: I read you are advocating bringing the silent majority to the fore. Who is that silent majority to you?

CF: It’s the average man on the street. Most of them go to that point where they don’t know much about the issue to be involved. So it’s about people who want to know or are little bit interested in what’s going on but not sure about how to get involved.

VP: What’s been the pinnacle for you of Ctrl-Alt-Shift’s journey so far?

CF: For me, it was the rave we did for Haiti a couple of weeks ago. It was insane! You probably saw the line-up, everyone from Ms Dynamite to the cream of the Dub-Step scene, cream of the electro scene. We brought together every genre of music. We had three days to organise it, there was no time to rest, it was actually two hours sleep at night and it was done. And we opened the door at 9 pm and I looked out onto the road and “oh, my god!” Literally, the queue went around into Oxford Street, we were at capacity by 10 o’clock and we made about 10,000 pounds. The atmosphere in the rave and the way people were giving their money, it was just brilliant! I felt a massive sense of achievement, because I looked at that and I thought I have never seen these kind of people involved in a charity event and it showed that a scene can come together. Black music especially gets a raw deal but I think things like that show that it’s not what you see in the media. For me it’s a personal agenda to make people aware that black music is a very positive thing.

VP: Give people the right platform and they’ll express themselves.

CF: Exactly, it’s not all about hoes, guns and bitches, you know and that’s what everyone thinks. It’s been something I have been working on for ten years, trying to get that across.

VP: I feel the same, it infuriates me when people say black music, and they think hip-hop. But when they say hip-hop, they amalgamate all “black” music and brand it hip-hop!

CF: You know, at the Brits the way they were stereotyping black men with Jonathan Ross and the way he was dressed, I thought that was one thing. But what he said and the accent and then some of the sly jokes they made towards JZ. This stereotype and prejudice is still running throughout the music industry and the rest of the industry. But the music is doing the talking now, look what is selling in this country. Tinchy Stryder was the best selling UK male of last year. So I say a middle finger to the mainstream.

All photographs courtesy of Christian Aid

Valerie Pezeron: Tell me about the event today?

Chantelle Fiddy: It’s a new style of club night. The idea is to bring together music, see art and activism under on roof to show that they are all married and they can be used towards a good cause.

VP: It’s the second year in a row, viagra sale isn’t it?

CF: It’s the second event we did. I think we did the first one in June or July and we used the roof as well last time, abortion until it rained and then we had to go inside! It was absolutely mental! So it’s myself on behalf of Ctrl-Alt-Shift, Riz Ahmed, South Bank Centre and British Underground who did the event together. It’s a four-way collaboration.

VP: Who was the initiator of United Underground 2?

CF: Riz came to myself, because Riz was a resident here and he wanted to do something about getting in the South Bank Centre the kind of music that you normally don’t get in here. And he knew I used to do a clubs’ column at The London Paper for three years and was really into Underground music so he came to me. Chris from British Underground is more into the kind of band and folk side, so Riz just kind of pulled it all together and it went from there.

VP: Good you mentioned Riz! What is your connection with him?

CF: I met Riz at a talk. We were both talking at a theatre somewhere once. I was like “Oh, my god, Riz Ahmed”, ‘cause I have so much respect for him! And he was like “Oh, my god, Chantelle Fiddy!” I was like, “how the hell do you know who I am?!” And then we just started talking and we just got on really well, we clicked and that was that!

VP: You describe Ctrl-Alt-Shift as an activist movement. What do you mean by that?

CF: We’re giving young people a platform to bring up issues and to make change. It’s kind of giving them the tools, giving them the confidence to feel they can stand up, say something, and then they’ll be counted for it. In the past we did a campaign around HIV travel bans, and we involve young people in all the processes: how do they feel about the issue, what would they like to see change, how should we demonstrate this to a wider audience/ public?

VP: What is more important for you? Is it about the political message or promoting the arts in youth?

CF: For me, it is about awareness all around ‘cause I think the two go hand in hand. If we use more models in popular culture to try and make change in the political sphere, we have greater success. So I think it’s more about creating awareness firstly around the issues that we should be aware of around the world.

VP: So art can change the world?

CF: I think so. Also I think it is about redefining the term activism. And understanding that if you come here tonight, that makes you an activist because you’re paying money to an event that will educate you about not just the music but about other issues. You can hear the speakers in one room, new music in the other room. So I just think it all blends into a big melting pot of change.

VP: This event reminds me of stuff I did as a student. I was wondering whether you ever wrote for the student paper, or were in student politics or in a student association?

CF: No. I did a journalism degree and then I worked for the paper. And I think that is partly why I think they brought me in because sometimes, with charity and activism, you can feel like an outsider, if you don’t know loads about something. To be honest with you, I don’t have a massive grip on global issues. So the idea is that we all learn together. Because the way I see it, if I read an article and I don’t get what the issue is about, then how is a 19 year-old gonna get it? So the whole idea is as I am learning, you are learning with me. We are trying to make it feel like everyone could be a part of this and it does not matter if you don’t know about an issue, you ask some questions, we’ll give you some answers or you go and make up your own mind.

VP: Ctrl-Alt-Shift’s operations are strictly UK based?

CF: It’s UK based, so we are a Christian Aid initiative. We started two years ago. They wanted to find a new way to talk to young people about charity. I was told we’re not gonna mention charity or Christian Aid! It’s a really interesting idea because you wouldn’t necessarily expect Christian Aid to start something like that up. So it’s been an interesting journey.

VP: So what’s next for Ctrl-Alt-Shift?

CF: Now we’re planning all the activity for next year. So we’re looking at our next big cultural collusion, because in the past we’ve worked with Sadler’s Wells, and various people like that so now we’re looking at what to do next. We will be revealing those plans in the next couple of months as they are all being finalised. Starting work on the next magazine, which should be around conflict.

VP: I read you are advocating bringing the silent majority to the fore. Who is that silent majority to you?

CF: It’s the average man on the street. Most of them go to that point where they don’t know much about the issue to be involved. So it’s about people who want to know or are little bit interested in what’s going on but not sure about how to get involved.

VP: What’s been the pinnacle for you of Ctrl-Alt-Shift’s journey so far?

CF: For me, it was the rave we did for Haiti a couple of weeks ago. It was insane! You probably saw the line-up, everyone from Ms Dynamite to the cream of the Dub-Step scene, cream of the electro scene. We brought together every genre of music. We had three days to organise it, there was no time to rest, it was actually two hours sleep at night and it was done. And we opened the door at 9 pm and I looked out onto the road and “oh, my god!” Literally, the queue went around into Oxford Street, we were at capacity by 10 o’clock and we made about 10,000 pounds. The atmosphere in the rave and the way people were giving their money, it was just brilliant! I felt a massive sense of achievement, because I looked at that and I thought I have never seen these kind of people involved in a charity event and it showed that a scene can come together. Black music especially gets a raw deal but I think things like that show that it’s not what you see in the media. For me it’s a personal agenda to make people aware that black music is a very positive thing.

VP: Give people the right platform and they’ll express themselves.

CF: Exactly, it’s not all about hoes, guns and bitches, you know and that’s what everyone thinks. It’s been something I have been working on for ten years, trying to get that across.

VP: I feel the same, it infuriates me when people say black music, and they think hip-hop. But when they say hip-hop, they amalgamate all “black” music and brand it hip-hop!

CF: You know, at the Brits the way they were stereotyping black men with Jonathan Ross and the way he was dressed, I thought that was one thing. But what he said and the accent and then some of the sly jokes they made towards JZ. This stereotype and prejudice is still running throughout the music industry and the rest of the industry. But the music is doing the talking now, look what is selling in this country. Tinchy Stryder was the best selling UK male of last year. So I say a middle finger to the mainstream.

Amelia’s Magazine loves print, buy information pills illustrations and innovative design, medications so you can imagine – for us – walking into Eley Kishimoto’s presentation titled Pattern Lab was like stumbling into a sweet shop. A sweet shop full of bold printed clothes. The always friendly Laura from Relative Mo explained the concept behind the lab by first showing us the presentation rails downstairs, complete with an exquisitely illustrated slide show.

After carefully examining (holding back from excitedly rummaging) the varity of prints, my fellow Amelia’s Collaborator Matt Bramford and I returned upstairs to hear the story behind the Pattern Lab, and it’s four wooden drums positioned down the centre of the store. Laura described the development from question mark, square, circle and stripe into the intricate patterns found on the collection downstairs.

This beautiful presentation came complete with an exercise book detailing the idea of experimenting whilst researching the history and function of patterns. The question mark mutating into the squirrels tail was a particular favourite.

With Eley Kishimoto, the world is definitely a prettier place. As seen by this jumper:

And these shoes!

The pop up shop is on for the reminder of the week, do not miss your chance to see great design up close.

Amelia’s Magazine loves print, ed illustrations and innovative design, rx so you can imagine – for us – walking into Eley Kishimoto’s presentation titled Pattern Lab was like stumbling into a sweet shop. A sweet shop full of bold printed clothes. The always friendly Laura from Relative Mo explained the concept behind the lab by first showing us the presentation rails downstairs, complete with an exquisitely illustrated slide show.

After carefully examining (holding back from excitedly rummaging) the varity of prints, my fellow Amelia’s Collaborator Matt Bramford and I returned upstairs to hear the story behind the Pattern Lab, and it’s four wooden drums positioned down the centre of the store. Laura described the development from question mark, square, circle and stripe into the intricate patterns found on the collection downstairs.

This beautiful presentation came complete with an exercise book detailing the idea of experimenting whilst researching the history and function of patterns. The question mark mutating into the squirrels tail was a particular favourite.

With Eley Kishimoto, the world is definitely a prettier place. As seen by this jumper:

And these shoes!

The pop up shop is on for the reminder of the week, do not miss your chance to see great design up close.

Amelia’s Magazine loves print, illness illustrations and innovative design, symptoms so you can imagine – for us – walking into Eley Kishimoto’s presentation titled Pattern Lab was like stumbling into a sweet shop. A sweet shop full of bold printed clothes. The always friendly Laura from Relative Mo explained the concept behind the lab by first showing us the presentation rails downstairs, complete with an exquisitely illustrated slide show.

After carefully examining (holding back from excitedly rummaging) the varity of prints, my fellow Amelia’s Collaborator Matt Bramford and I returned upstairs to hear the story behind the Pattern Lab, and it’s four wooden drums positioned down the centre of the store. Laura described the development from question mark, square, circle and stripe into the intricate patterns found on the collection downstairs.

This beautiful presentation came complete with an exercise book detailing the idea of experimenting whilst researching the history and function of patterns. The question mark mutating into the squirrels tail was a particular favourite.

With Eley Kishimoto, the world is definitely a prettier place. As seen by this jumper:

And these shoes!

Illustrations courtesy of Gemma Milly

The pop up shop is on for the reminder of the week, do not miss your chance to see great design up close.

Amelia’s Magazine loves print, hospital illustrations and innovative design, so you can imagine – for us – walking into Eley Kishimoto’s presentation titled Pattern Lab was like stumbling into a sweet shop. A sweet shop full of bold printed clothes. The always friendly Laura from Relative Mo explained the concept behind the lab by first showing us the presentation rails downstairs, complete with an exquisitely illustrated slide show.

After carefully examining (holding back from excitedly rummaging) the varity of prints, my fellow Amelia’s Collaborator Matt Bramford and I returned upstairs to hear the story behind the Pattern Lab, and it’s four wooden drums positioned down the centre of the store. Laura described the development from question mark, square, circle and stripe into the intricate patterns found on the collection downstairs.

This beautiful presentation came complete with an exercise book detailing the idea of experimenting whilst researching the history and function of patterns. The question mark mutating into the squirrels tail was a particular favourite.

With Eley Kishimoto, the world is definitely a prettier place. As seen by this jumper:

And these shoes!

Illustrations courtesy of Gemma Milly

The pop up shop is on for the reminder of the week, do not miss your chance to see great design up close.

Amelia’s Magazine loves print, page illustrations and innovative design, mind so you can imagine – for us – walking into Eley Kishimoto’s presentation titled Pattern Lab was like stumbling into a sweet shop. A sweet shop full of bold printed clothes. The always friendly Laura from Relative Mo explained the concept behind the lab by first showing us the presentation rails downstairs, shop complete with an exquisitely illustrated slide show.

After carefully examining (holding back from excitedly rummaging) the varity of prints, my fellow Amelia’s Collaborator Matt Bramford and I returned upstairs to hear the story behind the Pattern Lab, and it’s four wooden drums positioned down the centre of the store. Laura described the development from question mark, square, circle and stripe into the intricate patterns found on the collection downstairs.

This beautiful presentation came complete with an exercise book detailing the idea of experimenting whilst researching the history and function of patterns. The question mark mutating into the squirrels tail was a particular favourite.

With Eley Kishimoto, the world is definitely a prettier place. As seen by this jumper:

And these shoes!

Illustrations courtesy of Gemma Milly

The pop up shop is on for the reminder of the week, do not miss your chance to see great design up close.

Illustration Courtesy of Marnie Hollande

A beautifully understated collection consisting of coats and trousers in camel almost nude colours, stuff JW Anderson provided colour through a variety of tartans and texture with the occassional argyl knit.

A move away from last season’s black modernist approach to dressing accessorised by bold colour block jewellery and the occasional costume inspired by sport streetstyle.

For Autumn Winter 10, the JW Anderson models appeared as a punk hiker. These hikers were accompanied by oversized jackets (inspiration: the fish docker?!) with the occasional aviator jacket.

The addition of metallic textures created an industrially intriguing shoe, half punk, half accessory, with the outfit completed by a thick leather dog collar.

Dog collars play to an idea of ownership and JW Anderson mentions that this is a show which explores love and all natures of love from love of a person to a love for reading a particular type of film or watching a particular type of film. How was identifies oneself through clothes and literature etc to project an image of how they want people to percieve them to be or a calling sign to be recognised by others of the same ilk.

Tarten after Westwood will always have a cry of establishment being used to rile against and break the establishment, for Anderson it is a nod to his first collection made without money relying on various rugs to turn into garments.

A few of the casually attired models appeared inspired by the streetstyle made famous by Simon Foxton in early issues of ID. The continuing representation of a type of male youth highlights the beauty inherent in this style, a beauty seemingly inspired by love tinged with nostalgia and romance.

Illustration Courtesy of Marnie Hollande

A particular moment emphasizing this nostalgic love was the arrival of a rucksack filled with flowers, overtly romantic and perhaps hammering the point home, it displays an idea established in the press release of earnest young obsession with notions of the gesture. The bigger the gesture the more consuming and real the love.

The underlying delicacy of this collection develops with each second look. Anderson has created a masterfully imaginative collection of personal inspiration.
A move away from last seasons black modernist approach to dressing assorised with colour block bold jewellery. The models were sent down as if a punk inspired hiker complete with leather dog collars. Oversized jacket, cialis 40mg fish docks/military jackets with the occasional avaior jacket thrown in. Industrial shoes – references to the 90′s.
Fine Knit mesh was a winner.
Understated collection camel colours a variety of tartens. Argyl knit pattern.

Dog collars play to an idea of ownership and JW Anderson mentions that this is a show which explores love and all natures of love from love of a person to a love for reading a particular type of film or watching a particular type of film. How was identifies oneself through clothes and literature etc to project an image of how they want people to percieve them to be or a calling sign to be recognised by others of the same ilk.

Fashion has always had these conitations – one that makes it hard not to think of alternative references when watching a collection. From the first model, medicine thoughhts of the 90′s shouted out. Elements of that first ever refenced Mark Jacobs for Perry Ellis crawl out as do certain uses of tarten, again Clueless is abound at the moment. Perhaps because all of those who loved it to the point that tape broke as a child have finally started to enter the adult world of work dragging with them their various references.

Tarten after Westwood will always have a cry of establishment being used to rile against and break the establishment, for Anderson it is a nod to his first collection made without money relying on various rugs to turn into garments.

This indeed looks as if the designer has turned his eye on the streetstyle made famous by Simon Foxton in the early (and still favourite style) of ID. It is a particular type of male youth that wears these clothes and sending them down the catwalks highlights the beauty inherent in this style.

A particular moment was the rucksack filled with flowers, overtly romantic, hammering the point home maybe, but it displays that earnest young obsession with romance and the gesture. The bigger the gesture the more consuming the love.

A hard and soft collection, fantastic to see a designer produce such a different look from that what was only a season ago.

Autumn Winter 10 appeared to be garments for the restless designed by slightly angry designers, view upon arrival the viewer was greeted with a press release bordering on a strop as Komakino laid out the accusations that their designs are irrelevant.

Their answer was to produce a collection which seethed down the catwalk, more about the models were angry young men with dip dyed hair scowling as they swept past the audience. A sinister show, illness the feeling of unease emphatically encouraged through the choice of track.

Disputes aside, Kimakino produced an unsettling collection. Whilst potentially made for a particular demographic, elements could filter down into the more nervous wardrobe. The currently popular aviator (when looking for heroes – why do they always come from War?) theme appeared in a few jackets (I’m interested in the new film about Amelia Earhart the first female pilot who disappeared attempting to fly solo around the world), whilst Komakino’s take on knitwear appeared long and stretched rather than stopping at the mealy oversized.

Their update on the suit consisted of thoughtful tailoring, including subtle leather application provided an alternative for those keen on not losing their identity. A nod to the days of the mod, the teddy boy and the rise of what is now known as smart casual (see the TV programme British Style Genius for excellent coverage on these style ‘tribes’).

There were connotations of James Dean in the collection, the reference being in the use of leather and it’s connotations to ideas of rebellion.

I am apprehensive to write the following, seeing how it has been bandied about so frequently of late. However as the photographs illustrate the Komakino Man was clearly – from the dip dyed hair to the aforementioned stretched knitwear – influenced by the 90′s.

The press release does not make clear the political (or non political) connotations of the prints of 1st World War child soldiers appearing on the backs of jackets and the fronts of t-shirts, Katharine Hamnett spelt out her thoughts quite clearly – but if the designers are disagreeing – how is this made clear through a print? Are these young men meant to connect (through being the same age) as the young men who were or still are being sent to war on unjust causes? Or are they bringing the viewers attention to just how young these soldiers were and again, still are?

A beautifully made collection.
A move away from last seasons black modernist approach to dressing assorised with colour block bold jewellery. The models were sent down as if a punk inspired hiker complete with leather dog collars. Oversized jacket, information pills fish docks/military jackets with the occasional avaior jacket thrown in. Industrial shoes – references to the 90′s.
Fine Knit mesh was a winner.
Understated collection camel colours a variety of tartens. Argyl knit pattern.

Dog collars play to an idea of ownership and JW Anderson mentions that this is a show which explores love and all natures of love from love of a person to a love for reading a particular type of film or watching a particular type of film. How was identifies oneself through clothes and literature etc to project an image of how they want people to percieve them to be or a calling sign to be recognised by others of the same ilk.

Fashion has always had these conitations – one that makes it hard not to think of alternative references when watching a collection. From the first model, thoughhts of the 90′s shouted out. Elements of that first ever refenced Mark Jacobs for Perry Ellis crawl out as do certain uses of tarten, again Clueless is abound at the moment. Perhaps because all of those who loved it to the point that tape broke as a child have finally started to enter the adult world of work dragging with them their various references.

Tarten after Westwood will always have a cry of establishment being used to rile against and break the establishment, for Anderson it is a nod to his first collection made without money relying on various rugs to turn into garments.

This indeed looks as if the designer has turned his eye on the streetstyle made famous by Simon Foxton in the early (and still favourite style) of ID. It is a particular type of male youth that wears these clothes and sending them down the catwalks highlights the beauty inherent in this style.

A particular moment was the rucksack filled with flowers, overtly romantic, hammering the point home maybe, but it displays that earnest young obsession with romance and the gesture. The bigger the gesture the more consuming the love.

A hard and soft collection, fantastic to see a designer produce such a different look from that what was only a season ago.
The press release stated an angry response to previous coverage dismissing the designers as irrelevant. Whatever these designers are, more about it is not that…
Exploring ideas of restless young men, medicine angry young men accompanied with slight nods to bondage and the prints of young child soldiers on their backs from the first world war.

Elements of the aviator theme appeared in a few of their jackets, leather a focal material often mixed with wool jackets or applied onto knit.
There were connotations of James Dean in the collection, ideas of rebellion which pushed the use of leather.
The sinister aspect of the collection intensified by the selected music encouraging a sense of foreboding.

This is being said all too frequently, but the references to 90′s was apparent with the hair ends dipped in due.

What are the political connotations of the references to child soldiers from the first world war on the backs of jackets and the fronts of t-shirts, katherine hamlett spelt it out – but if disagreeing does the action of wearing turn the soldier into a badge of honour and to what end?

Favourite pieces where the long wool knits etc….

We’re telling you, this web this Pam Hogg review nearly didn’t happen. The tickets were hierarchically graded in insidiously gradual decline from two gold stars, visit this one gold star, side effects silver, bronze, green, red and right down to a paltry black dot, and then nothing at all. And THEN there were even those without the very tickets themselves– a sort of complex modern-day feudal system testament to the patience of the On/Off staff dealing with a practically feral audience desperate to catch a glimpse of Peaches Geldof, or at least what you could see of her beneath those Rapunzel hair extensions of hers.

Illustration courtesy of Jenny Robins

We got in eventually, though, and squeezed in at the back next to a cosy concrete pillar and spotted Nick Cave, Pearl Lowe and Nick Knight hidden amongst the throng of transvestites and somebody dressed as a giant inflatable woman in a Union Jack dress, presumably sweaty as hell. Featuring a front row resembling the entire cast of a Terry Gilliam movie gone to Ascot, the venue was rammed to maximum capacity by a crowd in such close quarters that it wouldn’t have been surprising if we’d all begun absorbing into one another via osmosis.

With a typically spirited collection, Hogg proved that romance in fact was not dead, even if it looked like it had been hacked at with a pair of scissors by Catwoman: here was a vision of sumptuous naughtiness with furry collared tulle capes, girly sequins and white bows combined with platform heels, bondage straps, sheer panels plunging right below the midriff – and neat little fluffy merkins (yep). Catsuits came in gold and silver metallics paired with mean-looking hooker boots, which evolved into chic cocktail dresses that you could comfortably man a spaceship in, a dual purpose of course characteristic of Hogg’s designs that has made her the favourite of wacky dressers across the land. We particularly liked the iridescent black trenchcoats, and goggled at the pants constructed entirely from ribbon.

The raucous applause that followed might have been led by celebrities letting the rest of us know what jolly good mates they are with Hogg, but purely as a brand, Hogg’s energetic vision – in an industry increasingly bereft of leaders – is pretty valuable to fashion lovers everywhere. Even if we could only see half the catwalk.

Written by Jonno Ovans on Thursday February 25th, 2010 11:49 am

Categories ,Bondage, ,Catsuits, ,lingerie, ,London Fashion Week, ,Nick Cave, ,Nick Knight, ,onoff, ,Pam Hogg, ,Peaches Gelfof, ,Pearl Lowe, ,Sheer

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