Amelia’s Magazine | Sound It Out: an interview with Jeanie Finlay

sounditout by Sarah Jayne
Illustration by Sarah-Jayne Brain

Record shops have always been a particular haunt of mine – from my (short-lived) days as a superstar student DJ when I’d go on the hunt for Friday night floor fillers for the student union, to my weekly shopping expeditions to the much missed Selectadisc in Nottingham to boost my Bowie collection, right up to the present – rummaging through the record racks in such establishments as Rough Trade and Sister Ray.

Being a record geek, I naturally had to check out a new documentary which I’d heard had been made about a small independent record shop in the North East (at a time when such shops are disappearing at an alarming rate), especially when it was then premiered at this year’s SXSW in Austin, Texas, and subsequently became the official film for Record Store Day 2011, picking up plaudits along the way! That film is Sound It Out, by Jeanie Finlay, and it follows the trials and tribulations of running Sound It Out Records, an independent record shop (the last one, in fact) in Stockton-on-Tees.

Sound It Out by Jeanie Finlay
All photography courtesy of Jeanie Finlay.

I caught a screening of the film at Rough Trade East a while ago, which was followed by a Q&A with Jeanie Finlay and a typically robust performance by Stockton’s Chapman Family (who also contributed to the soundtrack). It’s a funny, touching piece, and it’s more than a just film about a record shop, it’s also about a love of music, and what it means to the community that gathers around the shop, and about the larger community, in Stockton, as well.

YouTube Preview Image

Amelia’s Magazine posed a few questions to Jeanie Finlay about the documentary.

What inspired you to make the documentary? Is the finished film how you imagined it when you first started, or has it taken on a life of its own?
Sound It Out is a documentary portrait about the very last record shop in Teesside, Sound It Out Records, Stockton-on-Tees. It’s a film about music and passion and collecting, all encased in a tiny shop on a small street in the place where I grew up. I went to school with Tom (the shop owner) and although Sound It Out isn’t a shop from my formative years (Alan Fearnley’s RIP) it was clear how much the shop meant to people when I’d go in to visit. It seemed like the perfect place to make a film about what music means to people and about the North East, about my home. Over the last five years a record shop has closed in the UK every three days so it seemed important to document Sound It Out in all its glory. It’s the first film I’ve made on my own – I usually work with a crew. For Sound It Out I wanted to just start shooting, just me and the camera and see what happened. I sensed there was a film to be made in the story of the shop but I really wasn’t sure until long into the shoot. I needed to find out by just doing it. All the way through, from the filming, edit, design and distribution I’ve just tried to follow my gut instinct and go with it.

Sound it Out by Jeanie Finlay girl

Was it easy to persuade Tom to let you film in the shop? It must have been a bit of an unexpected request!
He was totally open and gave me complete access to the shop. The filming was a bit of a novelty at first and then I think it just became normal. When I’m filming things get good when it just feels boring – everyone has got so used to me filming that it’s not anything out of the ordinary. I’m just that girl in the corner with the camera. Tom was the only person I knew before I started and it was really interesting getting to know the regulars and deciding who the film would focus on. I was totally drawn to the shyer people who came in.

You get a few candid interviews with a lot of the regulars in the shop. Was that intended, to capture the ‘person behind the record buyer’, or was it something that just happened naturally?
I’m always interested in getting to know people ‘on camera’. The people I met were very candid and generous with what they shared. My films are always pretty personal and aim to find a glimmer of the person inside. I hope that people come away from the film feeling like they’ve got to know the people they’ve met on screen, for a moment. I’m not just interested in music – I’m interested in what it means to people and how it moves them. For me – music is powerful because other people’s lyrics and sounds can tell the story of our lives in a way that could be hard to articulate with words alone.

Sound it Out by Jeanie Finlay

Were you surprised by the critical reception Sound It Out received? And what did Tom and the customers think when they first saw it?
I was really nervous to show the film to Tom and the customers but they all seem to have taken the film to their hearts. Tom had been at a rough cut viewing but the first time he saw the finished film was the world premiere at SXSW, Austin. I was so overwhelmed after I did my introduction I burst into tears. I then just sat back in my seat and watched the audience. They were incredibly warm and Tom ended up on stage giving out advice on the best way to clean records. It was an amazing day. Since then the critical reaction has been kind of crazy. I originally imagined that I would do a small DVD run of the film and sell it in Tom’s shop. The film’s played at festivals all over the world. We’re now looking at a UK theatrical release and putting out a soundtrack EP on vinyl. We did a weeks run in NYC last week and got reviewed in the New York Times. I could not have predicted any of this:

Ms. Finlay’s smartly assembled film is an affectionate portrait of a shrinking group of record collectors under technological siege… Like a mint pressing in a bargain bin SOUND IT OUT is a rare find. Sweet.‘ (Daniel M. Gold, THE NEW YORK TIMES)

I don’t think it’s a film for everyone but the people that do like it seem to really like it.

Sound it Out by Jeanie Finlay man

Teesside has got a pretty vibrant music scene, and you include tracks by a few local artists (such as the Chapman Family, Das Wanderlust and Soviet Disco) in the film. Do you think that the area’s environment has helped create a distinct Teesside sound?
Totally… absolutely. Das Wanderlust makes me think of the strange landscapes of my youth and I love the moody, brooding sounds of the Chapman Family. Teesside runs through their music like words through Brighton Rock.

You’re currently trying to raise funds to get Sound It Out a full UK cinema release. With record shops still in a perilous position, are you hoping to inspire more people to support their local stores?
My film has been made with blood, sweat, tears and the support of (so far) 329 backers on crowd-funding website Indiegogo.com. It’s a micro budget film and we crowd-funded the shoot, the post production and when we got into SXSW we raised enough to get there for the premiere. It’s been like running a sponsored swim with a film as the goal and backers picking perks in exchange for their support. We’re now trying to finish our DIY story by raising enough to take the film to 30 cinemas across the UK. If we reach our goal of $10,000 we will unlock BFI P&A funding which will make it happen. Supporters can choose a limited edition 7” gatefold DVD with a baby blue vinyl soundtrack EP, a tour of the shop, a portable record player or bring the film to their own home. We still have a way to go but I’m hopeful. Each $ pledged gets us that little bit nearer – it’s the power of the crowd! I really do hope that people make the most of their local record shops. One of the pleasures of working on this film has been visiting some amazing shops. If you don’t use it – it will go, forever! We’re planning to hook up with local record shops when we take the film to cinemas. Get people in there buying something surprising.

After all the promotional work for Sound It Out, do you have any other projects in the pipeline?
Yes! Two new films, both feature documentaries – The Great Hip Hop Hoax (for BBC Scotland and Storyville), a film about LA hip hop act Silibil n’ Brains. No one knew they were Scottish, with fake American accents and made-up identities and ORION: The man who would be King, the rise and fall of a masked singer on Sun Records that tens of thousands believed was Elvis back from the grave.

Categories ,Alan Fearnley, ,austin, ,BBC, ,BFI, ,Bowie, ,brighton, ,Chapman Family, ,Das Wanderlust, ,Elvis, ,High Fidelity, ,indiegogo.com, ,Jeanie Finlay, ,New York Times, ,nottingham, ,Record Store Day, ,Record Store Day 2011, ,Rough Trade, ,Selectadisc, ,Silibil n’ Brains, ,Sister Ray, ,Sound It Out, ,Sound It Out Records, ,Soviet Disco, ,Stockton, ,Sun Records, ,sxsw, ,Teesside, ,texas, ,The Great Hip Hop Hoax

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Amelia’s Magazine | Fashioning the Future 2009 Awards

PLAS1

Following their super successful appearance at Barfly last week I made my way to a west London location to meet the Plastiscine girls. On the way, sales I’m trying desperately to remember my French from school to impress them. On a trip to Paris with my friend Ruth, shop there was no way we would have got by without my “C” grade, I’m sure I can think of something amazingly French to say. I arrive and briefly they are all there, hugs and an ipod charger are exchanged and then drummer Ana and bass player Louise are whisked off back to Paris. I’m sure they are going to have to get used to this whisking about business. So, I was on a very bizarrely patterned couch (see photo above) with lead singer Katty and guitarist Marine. I thought I’d open with my French skills…

Bonjour
K: Bonjour

Cava?
K: Cava merci, Vous parlez francais?

Non, that’s my limit
K: That’s good enough!

(Really?! That’s all that I could have come up with?! I should have revised more.)

You guys played Barfly last night, how do you find London crowds?
K: We really enjoyed the crowd yesterday because it was very busy, so we were really happy! We had a lot of friends in the crowd so they were dancing and jumping! It’s always good to have people reacting when you say something. In Paris people are so quiet, just at the back with their arms crossed and watching. They are interested but they just don’t move.

So it’s good to be here and have the crowd reacting.

There seemed to be a lot of French folks in the audience, That must have been nice?
K: Yeah, I was really surprised! When I asked, “Who is French tonight?” there were quite a lot of people shouting!

plass 019

So, How did your story begin?
K: Marine and I met in high school when we were 15 or 16. We started the band because we watched lots of bands like The Strokes and The White Stripes. We loved them, they had so much energy onstage, they were young and we thought we want to do the same thing. So we started the band and a few months after we were already doing some gigs in bars in Paris. We actually learnt our instruments on stage because we just wanted to play! We didn’t care if we could play, all we wanted was to play and get on stage and get into it!

So, you began by doing covers?
K: When we started we did a few covers, but we were very interested in doing our own songs. We did some covers from The Strokes and other bands for a while then we started doing our own songs, thats what really interested us more rather than covers.

A lot of your influences are English so do you guys find it more natural to write in English?
Both: Defiantly
K: Because all the songs we listen to are in English it is very natural to write in English, but sometimes we do write in French. We get direction from people saying we should say things this way because it’s a better way to say it in English. But yes, its natural because the music we like is English and American, we were never really into French bands

I read that French radio have restrictions (a percentage of French radio has to be French songs)
K: Yeah, so its quite difficult for us to be on the radio in France because we may be French but we sing in English. We are not in the same category as big international bands like the Artic Monkeys, But then we don’t sing in French so we don’t fit into that category either, so its quite difficult to be on the radio.

You worked on your album with top producer Butch Walker what was this like?M: We went to Malibu to record the album and it was amazing, it was really beautiful and we were in the this big house all together and in the morning we would go to record together or go swimming. Everyday we got to work together! It was interesting because it was the first time we were working with someone American. When we are French we don’t know if we would get along or have the right words to express, so we had a really long talk with him and he said what he likes and we said what we like. Butch is really passionate about music.

He’s worked with a wide range of people from Katy Perry to Weezer and now you guys
K: Yeah, he has done a lot of very big pop stars and he also works with acts because he really likes them, he’s done a lot of indie bands like Hot Hot Heat.
M: He was very honest, he said I do some stuff for money I do some stuff for passion and you are a passion for me.
K: He told us that from the first time he saw us playing on stage at Coachella he fell in love with us.

So what acts are you into right now?
M: Lots of stuff, lots of English acts, I love the Jamie T album, I think it’s amazing. I like Metronomy, Katty loves Florence and the Machine. Also I love Eagles of Death Metal, we went to see them in Paris. We like lots of old and new stuff.

“Bitch” was on “Gossip Girl”, this must have been a massive deal for you?

K: I think we didn’t really realize when we did it! It was such a big thing to do! When we saw it on the internet were like “that’s weird!”. We watch the programme, we know the characters and the story so when we arrived we wanted to know what was happening! We were playing on stage at a ball so we couldn’t hear what the actors were saying! It was nice because all the actors came to us to say “hello” and Leighton Meester who plays Blair came up with our album and she wanted us to sign it!

How did this come about because it’s as if the song was written for “Gossip Girl”?
M: No, its on the album so they heard it on the album it was picked out because it worked really well. We recorded it back in February.

You have a great relationship with nylon can you tell us a little more about this?
K: Marvin Scott Jarrett ,the editor in chief at nylon, he is so passionate about music and he always puts a lot of bands in the magazine. I think he wanted to launch a label and so he did it with Nylon, Nylon Records. We are the first band signed because he really liked us and I think he thought we were a good image for the magazine. He knew of us because in Paris fashion week we were on the cover of a magazine, from this he got in touch with our label, at the time which was Virgin, he contacted us we came to NYC to play at a party for the magazine. Then when we came back again he had the idea for the label and wanted to sign us.

So you spend a lot of time here and in NYC, would you ever relocate? K: We would love to live in New York! We all love it there! I think people are amazing with us there because sometimes here when people see four girls on stage in a rock band it is weird for them, like there is something fake, something wrong with it, but in NYC they are just like that’s cool its just four girls rocking and they don’t care.

M: Also, I think that in NYC everybody is doing something interesting. We were only there for a few months we already made such good friends and there’s so much going on so much different music. I think it would be good for the band living in NYC for a bit, for inspiration.
K: You walk in the street and you just feel good there, I don’t know what it is. Its such a big city but you still feel safe.

I follow u guys on twitter and I noticed you had a meeting with Topshop today, You guys are obviously into your fashion, Who are your style icons?
K: Yeah we got it all myspace/facebook/twitter there a blog that marines writes on.
M: Yeah we like fashion because we are girls. I love david bowie from the ziggy stardust period
K: I love Debbie Harry, she’s got it all the music the style, she’s amazing

The same thing could be said about these girls, they have the style, they have the music, they also seem to have it all. I glance and notice the smudge of a stamp on my hand from the entry last night, this reminds me that I have not even bothered to wash for our meeting today never mind attempting to dress nicely. I don’t think there is much point in trying around these girls though. They are naturally chic (I think it’s a French thing) with a playful grunge twist. I’m in love with them for the fact that they just decided to pick up interments to be onstage; from viewing them at The Barfly they all seem to be perfectly at home this platform. These beauties armed with the energy and attitude they bring to their performances, their catchy rock/pop tracks and their effortless style is a winning combination for these pop/grunge goddesses to begin a French revolution.

Single “Barcelona” is available now and the album “About Love” is due out early 2010.
On Ying Lai THImage featuring the work of On Ying Lai photographed by Tomer Halfon.

Last night I was lucky enough to be invited to attend the Fashioning the Future 2009 Awards held within the swanky top floor of the Mayor’s HQ; London City Hall. Organised by the London College of Fashion’s Centre for Sustainable Fashion, viagra the FFA competition was created especially to award both home grown and international students whose work strives to work towards and highlight sustainability within the fashion industry. Building upon the momentum and success of the awards debut last year, last night saw the FFA celebrate and promote the next generation of emerging talent in eco and sustainable fashion, by awarding students in five categories.

Hosted by the lovely Caryn Franklin; fashion commentator and broadcaster, most memorable to me for her stint on the BBC’s The Clothes Show back in the ‘90s, other speakers included Professor Frances Corner MBE; Head of the London College of Fashion, Dilys Williams; Director of Centre for Sustainable Fashion and Lucy Siegle; broadcaster and journalist.

PrizeGiversPrizegivers (L-R): Lucy Siegle, Paul de Zylva, Jo Wood and Duncan Goose. Photography by John Alex Maguire.

With the theme for 2009 being water Lucy Siegle talked us through why this was such an important concept in light of the global water shortage. Some of the horrendous facts and statistics Lucy spoke about really changed my perception of the fashion industry and jolted me and many others in attendance to re-evaluate our personal approaches to fashion and the throw-away culture that we are now so accustomed to. I think what was most scary was how we, as a consuming society are not made aware of the shocking waste of water which is unfortunately currently a bi-product of the industry. Whilst I’m sure the information is out there online and readily available it was great to be able to learn something that I can hopefully pass on to you, loyal readers and everyone I know.

For those who aren’t already in the know here are some of the scariest statistics. Currently 200million litres of water are used globally per second. It is estimated that only 6-10% of this water is used within the home, with industries consuming the remainder. 40% of the global population currently live with limited access to water, whilst 40billion gallons of water is used in the production of fashion each year in the UK alone. Most shocking of all it is estimated that by 2025 over 1.8billion people will not have enough water to survive.

The most valuable thing I learnt was that ‘water is threaded throughout the journey of a garment’ and is used in copious amounts to grow the cotton, spin the yarn, dye, print, produce and even transport the finished article. I learnt how important it is for every individual to take responsibility for their garments as shockingly we as the consumers waste more than the 40billion litres of water used in production by endlessly washing and drying our clothes during their lifespan– proving that the responsibility in part lies with us. For these reasons the FAA is hugely important as without it there would be no one to encourage students to research their production methods and techniques and to challenge the way in which fashion is currently produced, and to strive for a better option. Each winner demonstrated that being sustainable does not mean compromising on style or quality.

Zoe Fletcher SMImage featuring the work of Zoe Fletcher photographed by Sean Michael.

Enterprise and Communication Initiative for a Future Fashion Industry Award
Winner: Zoe Fletcher

Runners up: Ruby Hoette and Julia Crew

Karina Michel SMImage featuring the work of Karina Micheal photographed by Sean Michael.

Role of Materials in a Sustainable Fashion Industry Award
Winner: Varun Gambhir
Runner up: Karina Micheal
Systems for a Sustainable Fashion Industry Award
Winner: Mary Hanlon

Miriam Rhida 3 THImage featuring the work of Miriam Rhida photographed by Tomer Halfon.

Design for a Thriving Fashion Industry Award
Winner: Miriam Rhida

Runner up: Eleanor Dorrian-Smith and On Ying Lai

Emma Rigby 2 SMImage featuring the work of Emma Rigby photographed by Sean Michael.

Water – The Right for All Citizens of this Planet Award
Winner: Emma Rigby

Runner up: Anne Prahl.

You can see the full selection of work from Fashioning the future 2009 at the LCF Fashion Space Gallery until 11 December for free.

Categories ,Anne Prahl, ,BBC, ,Caryn Franklin, ,Centre for Sustainable Fashion, ,City Hall, ,Creative-Idle, ,Dilys Williams, ,Eleanor Dorrian-Smith, ,Emma Rigby, ,Fashion Space Gallery, ,Fashioning the Future 2009 Awards, ,Frances Corner MBE, ,Julia Crew, ,Karina Micheal, ,London College of Fashion, ,Lucy Siegle, ,Mary Hanlon, ,Miriam Rhida, ,On Ying Lai, ,Ruby Hoette, ,The Clothes Show, ,Varun Gambhir, ,Zoe Fletcher

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Amelia’s Magazine | Professor Brian Cox and his Wonders of the Solar System.

Ron Arad chair model
Ron Arad reflective chair
All photography by Amelia Gregory unless otherwise stated.

Once upon a time I assisted a well known stylist on a shoot with Ron Arad. We went to his vast warehouse studios in Camden to take the photo for a magazine, more about and my abiding memory is of the courtyard in front, remedy which was littered with the carcasses of old chairs.

Ron does chairs. This is a man who seriously, seriously loves something to sit on, so it comes as no surprise to find that the entire upper gallery of this Barbican exhibition is devoted to his many chair designs.

Ron Arad typewriter chair
Fun with a rusty old typewriter as seat pad.

Ron Arad Rover Chair
The Rover Chair. Image courtesy of the Barbican.

Ron Arad steel rover chair
The gleaming metal version in pride of place.

Here we can trace the journey of Ron’s love from the early days – when he casually tossed aside a career in architecture to pursue dreams of product design – up until the present. At first he took a higgeldy piggeldy approach to their construction: the first chair that made him famous was one constructed from the leather car seat of a Rover. In one room we discover how he adapted and changed this original concept to come up with many versions before culminating in the final denouement: a sleek recliner in gleaming steel proudly showcased in front of a digital LED screen. For why stop at just one product when you’re onto a winner? Herein lies the essence of Ron’s career – straddling the creation of one off works of art and mainstream manufacturing with gleeful abandon.

Ron Arad Tom Vac
Image courtesy of the Barbican. This was popular in trendy restaurants.

Ron Arad big chair
Ron Arad rocking chairs
Ron Arad. Well Transparent Chair
Image courtesy of the Barbican.

So what defines a Ron Arad work? Aesthetically he has messed around with all sorts of materials, especially in the early years, but if I had to pin it down to a couple of things, I would say he is principally concerned with bulk and sheen. Rotund forms bulge ominously towards the ceilings and floors of the small upper galleries, suggesting the swallowing of any daring seatee. Delicate this ain’t. Comfortable? Maybe, but we aren’t allowed to try. I particularly love a smooth red and white plastic chair, glowing like a giant boiled sweet. But I think I want to lick it rather than sit on it. Is this the reaction one should have to a chair? Semi-phallic pieces appear more sculptural than useful. Shiny metal surfaces reflect the gallery-goers like distorted mirrors, and automated rockers set the chairs in perpetual motion as directional lighting throws dramatic shadows against the encroaching walls.

Ron Arad red white chair
Ron Arad London Papardelle
Ron Arad sculptures

If we aren’t allowed to sit in the chairs upstairs there is much fun to be had stretching out on the various seating arrangements that populate the large open downstairs gallery. Particularly with my austostitch app in hand. On the walls there are bookshelves – his famous curved Bookworm, an impressive patchwork map of America and a giant bookshelf wheel that maintains an impressively upright angle as it regularly slips down a long slope. Some of the most interesting items are the models that Ron has sent out for mass production, complete with scribbled markings.

Ron Arad blue chairs
Ron Arad chairs
Ron Arad America bookcase
Ron Arad wheel bookshelf

In side rooms we discover Ron’s other projects, including some experimental lighting that plays with the direction of beams so that GOD reads WAR, and a giant disco ball. But it is in his recent return to architecture that Ron really goes to town, even if not much seems to have actually been built other than in Israel, country of his birth. The rest seems to be little more than extreme flights of fancy, huge brutalist monstrosities designed to house his chairs but destined to forever remain toy models.

Ron Arad War- God light
Ron Arad architecture
His architectural models left me cold. I mean, I love a bit of brutalism, but there’s a time and a place. Architecture now needs to take into account the environment.

The exhibition left me pondering when the time is right to have a retrospective. When is the work of an artist deemed of high enough calibre? Until recently Ron Arad was head of product design at the RCA and he is still very much an active designer today. This in itself makes for an interesting take, but does he deserve such a major retrospective? I’m not convinced. At times it felt to me very much like this was the work of a one (or two or three) trick pony. Who likes very much to sit down.

Ron Arad: Restless is on until the 16th of May at the Barbican Art Gallery.
Ron Arad reflective chair
All photography by Amelia Gregory unless otherwise stated.

Once upon a time I assisted a well known stylist on a shoot with Ron Arad. We went to his vast warehouse studios in Camden to take the photo for a magazine, treatment and my abiding memory is of the courtyard in front, which was littered with the carcasses of old chairs.

Ron does chairs. This is a man who seriously, seriously loves something to sit on, so it comes as no surprise to find that the entire upper gallery of this Barbican exhibition is devoted to his many chair designs.

Ron Arad typewriter chair
Fun with a rusty old typewriter as seat pad.

Ron Arad Rover Chair
The Rover Chair. Image courtesy of the Barbican.

Ron Arad steel rover chair
The gleaming metal version in pride of place.

Here we can trace the journey of Ron’s love from the early days – when he casually tossed aside a career in architecture to pursue dreams of product design – up until the present. At first he took a higgeldy piggeldy approach to their construction: the first chair that made him famous was one constructed from the leather car seat of a Rover. In one room we discover how he adapted and changed this original concept to come up with many versions before culminating in the final denouement: a sleek recliner in gleaming steel proudly showcased in front of a digital LED screen. For why stop at just one product when you’re onto a winner? Herein lies the essence of Ron’s career – straddling the creation of one off works of art and mainstream manufacturing with gleeful abandon.

Ron Arad Tom Vac
Image courtesy of the Barbican. This was popular in trendy restaurants.

Ron Arad big chair
Ron Arad rocking chairs
Ron Arad. Well Transparent Chair
Image courtesy of the Barbican.

So what defines a Ron Arad work? Aesthetically he has messed around with all sorts of materials, especially in the early years, but if I had to pin it down to a couple of things, I would say he is principally concerned with bulk and sheen. Rotund forms bulge ominously towards the ceilings and floors of the small upper galleries, suggesting the swallowing of any daring seatee. Delicate this ain’t. Comfortable? Maybe, but we aren’t allowed to try. I particularly love a smooth red and white plastic chair, glowing like a giant boiled sweet. But I think I want to lick it rather than sit on it. Is this the reaction one should have to a chair? Semi-phallic pieces appear more sculptural than useful. Shiny metal surfaces reflect the gallery-goers like distorted mirrors, and automated rockers set the chairs in perpetual motion as directional lighting throws dramatic shadows against the encroaching walls.

Ron Arad red white chair
Ron Arad London Papardelle
Ron Arad sculptures

If we aren’t allowed to sit in the chairs upstairs there is much fun to be had stretching out on the various seating arrangements that populate the large open downstairs gallery. Particularly with my austostitch app in hand. On the walls there are bookshelves – his famous curved Bookworm, an impressive patchwork map of America and a giant bookshelf wheel that maintains an impressively upright angle as it regularly slips down a long slope. Some of the most interesting items are the models that Ron has sent out for mass production, complete with scribbled markings.

Ron Arad blue chairs
Ron Arad chairs
Ron Arad America bookcase
Ron Arad wheel bookshelf
Ron Arad chair model

In side rooms we discover Ron’s other projects, including some experimental lighting that plays with the direction of beams so that GOD reads WAR, and a giant disco ball. But it is in his recent return to architecture that Ron really goes to town, even if not much seems to have actually been built other than in Israel, country of his birth. The rest represents little more than extreme flights of fancy, huge brutalist monstrosities designed to house his chairs but destined to forever remain toy models.

Ron Arad War- God light
Ron Arad architecture
His architectural models left me cold. I mean, I love a bit of brutalism, but there’s a time and a place. Architecture now needs to take into account the environment.

The exhibition left me pondering when the time is right to have a retrospective. When is the work of an artist deemed of high enough calibre? Until recently Ron Arad was head of product design at the RCA and he is still very much an active designer today. This in itself makes for an interesting angle, but does he deserve such a major retrospective? I’m not convinced. At times it felt to me very much like this was the work of a one (or two or three) trick pony. Who, despite the title, likes very much to sit down.

Ron Arad: Restless is on until the 16th of May at the Barbican Art Gallery.
Ron Arad reflective chair
All photography by Amelia Gregory unless otherwise stated.

Once upon a time I assisted a well known stylist on a shoot with Ron Arad. We went to his vast warehouse studios in Camden to take the photo for a magazine, viagra and my abiding memory is of the courtyard in front, case which was littered with the carcasses of old chairs.

Ron does chairs. This is a man who seriously, seriously loves something to sit on, so it comes as no surprise to find that the entire upper gallery of this Barbican exhibition is devoted to his many chair designs.

Ron Arad typewriter chair
Fun with a rusty old typewriter as seat pad.

Ron Arad Rover Chair
The Rover Chair. Image courtesy of the Barbican.

Ron Arad steel rover chair
The gleaming metal version in pride of place.

Here we can trace the journey of Ron’s love from the early days – when he casually tossed aside a career in architecture to pursue dreams of product design – up until the present. At first he took a higgeldy piggeldy approach to their construction: the first chair that made him famous was one constructed from the leather car seat of a Rover. In one room we discover how he adapted and changed this original concept to come up with many versions before culminating in the final denouement: a sleek recliner in gleaming steel proudly showcased in front of a digital LED screen. For why stop at just one product when you’re onto a winner? Herein lies the essence of Ron’s career – straddling the creation of one off works of art and mainstream manufacturing with gleeful abandon.

Ron Arad Tom Vac
Image courtesy of the Barbican. This was popular in trendy restaurants.

Ron Arad big chair
Ron Arad rocking chairs
Ron Arad. Well Transparent Chair
Image courtesy of the Barbican.

So what defines a Ron Arad work? Aesthetically he has messed around with all sorts of materials, especially in the early years, but if I had to pin it down to a couple of things, I would say he is principally concerned with bulk and sheen. Rotund forms bulge ominously towards the ceilings and floors of the small upper galleries, suggesting the swallowing of any daring seatee. Delicate this ain’t. Comfortable? Maybe, but we aren’t allowed to try. I particularly love a smooth red and white plastic chair, glowing like a giant boiled sweet. But I think I want to lick it rather than sit on it. Is this the reaction one should have to a chair? Semi-phallic pieces appear more sculptural than useful. Shiny metal surfaces reflect the gallery-goers like distorted mirrors, and automated rockers set the chairs in perpetual motion as directional lighting throws dramatic shadows against the encroaching walls.

Ron Arad red white chair
Ron Arad London Papardelle
Ron Arad sculptures

If we aren’t allowed to sit in the chairs upstairs there is much fun to be had stretching out on the various seating arrangements that populate the large open downstairs gallery. Particularly with my austostitch app in hand. On the walls there are bookshelves – his famous curved Bookworm, an impressive patchwork map of America and a giant bookshelf wheel that maintains an impressively upright angle as it regularly slips down a long slope. Some of the most interesting items are the models that Ron has sent out for mass production, complete with scribbled markings.

Ron Arad blue chairs
Ron Arad chairs
Ron Arad America bookcase
Ron Arad wheel bookshelf
Ron Arad chair model

In side rooms we discover Ron’s other projects, including some experimental lighting that plays with the direction of beams so that GOD reads WAR, and a giant disco ball. But it is in his recent return to architecture that Ron really goes to town, even if not much seems to have actually been built other than in Israel, country of his birth. The rest represents little more than extreme flights of fancy, huge brutalist monstrosities designed to house his chairs but destined to forever remain toy models.

Ron Arad War- God light
Ron Arad architecture
His architectural models left me cold. I mean, I love a bit of brutalism, but there’s a time and a place. Architecture now needs to take into account the environment.

The exhibition left me pondering when the time is right to have a retrospective. When is the work of an artist deemed of high enough calibre? Until recently Ron Arad was head of product design at the RCA and he is still very much an active designer today. This in itself makes for an interesting angle, but does he deserve such a major retrospective? I’m not convinced. At times it felt to me very much like this was the work of a one (or two or three) trick pony. Who, despite the title, likes very much to sit down.

Ron Arad: Restless is on until the 16th of May at the Barbican Art Gallery.
Ron Arad reflective chair
All photography by Amelia Gregory unless otherwise stated.

Once upon a time I assisted a well known stylist on a shoot with Ron Arad. We went to his vast warehouse studios in Camden to take the photo for a magazine, physician and my abiding memory is of the courtyard in front, which was littered with the carcasses of old chairs.

Ron does chairs. This is a man who seriously, seriously loves something to sit on, so it comes as no surprise to find that the entire upper gallery of this Barbican exhibition is devoted to his many chair designs.

Ron Arad typewriter chair
Fun with a rusty old typewriter as seat pad.

Ron Arad Rover Chair
The Rover Chair. Image courtesy of the Barbican.

Ron Arad steel rover chair
The gleaming metal version in pride of place.

Here we can trace the journey of Ron’s love from the early days – when he casually tossed aside a career in architecture to pursue dreams of product design – up until the present. At first he took a higgeldy piggeldy approach to their construction: the first chair that made him famous was one constructed from the leather car seat of a Rover. In one room we discover how he adapted and changed this original concept to come up with many versions before culminating in the final denouement: a sleek recliner in gleaming steel proudly showcased in front of a digital LED screen. For why stop at just one product when you’re onto a winner? Herein lies the essence of Ron’s career – straddling the creation of one off works of art and mainstream manufacturing with gleeful abandon.

Ron Arad Tom Vac
Image courtesy of the Barbican. This was popular in trendy restaurants.

Ron Arad big chair
Ron Arad rocking chairs
Ron Arad. Well Transparent Chair
Image courtesy of the Barbican.

So what defines a Ron Arad work? Aesthetically he has messed around with all sorts of materials, especially in the early years, but if I had to pin it down to a couple of things, I would say he is principally concerned with bulk and sheen. Rotund forms bulge ominously towards the ceilings and floors of the small upper galleries, suggesting the swallowing of any daring seatee. Delicate this ain’t. Comfortable? Maybe, but we aren’t allowed to try. I particularly love a smooth red and white plastic chair, glowing like a giant boiled sweet. But I think I want to lick it rather than sit on it. Is this the reaction one should have to a chair? Semi-phallic pieces appear more sculptural than useful. Shiny metal surfaces reflect the gallery-goers like distorted mirrors, and automated rockers set the chairs in perpetual motion as directional lighting throws dramatic shadows against the encroaching walls.

Ron Arad red white chair
Ron Arad London Papardelle
Ron Arad sculptures

If we aren’t allowed to sit in the chairs upstairs there is much fun to be had stretching out on the various seating arrangements that populate the large open downstairs gallery. Particularly with my austostitch app in hand. On the walls there are bookshelves – his famous curved Bookworm, an impressive patchwork map of America and a giant bookshelf wheel that maintains an impressively upright angle as it regularly slips down a long slope. Some of the most interesting items are the models that Ron has sent out for mass production, complete with scribbled markings.

Ron Arad blue chairs
Ron Arad chairs
Ron Arad America bookcase
Ron Arad wheel bookshelf
Ron Arad chair model

In side rooms we discover Ron’s other projects, including some experimental lighting that plays with the direction of beams so that GOD reads WAR, and a giant disco ball. But it is in his recent return to architecture that Ron really goes to town, even if not much seems to have actually been built other than in Israel, country of his birth. The rest represents little more than extreme flights of fancy, huge brutalist monstrosities designed to house his chairs but destined to forever remain toy models.

Ron Arad War- God light
Ron Arad architecture
His architectural models left me cold. I mean, I love a bit of brutalism, but there’s a time and a place. Architecture now needs to take into account the environment.

The exhibition left me pondering when the time is right to have a retrospective. When is the work of an artist deemed of high enough calibre? Until recently Ron Arad was head of product design at the RCA and he is still very much an active designer today. This in itself makes for an interesting angle, but does he deserve such a major retrospective? I’m not convinced. At times it felt to me very much like this was the work of a one (or two or three) trick pony. Who, despite the title, likes very much to sit down.

Ron Arad: Restless is on until the 16th of May at the Barbican Art Gallery.
Ron Arad reflective chair
All photography by Amelia Gregory unless otherwise stated.

Once upon a time I assisted a well known stylist on a shoot with Ron Arad. We went to his vast warehouse studios in Camden to take the photo for a magazine, cheap and my abiding memory is of the courtyard in front, which was littered with the carcasses of old chairs.

Ron does chairs. This is a man who seriously, seriously loves something to sit on, so it comes as no surprise to find that the entire upper gallery of this Barbican exhibition is devoted to his many chair designs.

Ron Arad typewriter chair
Fun with a rusty old typewriter as seat pad.

Ron Arad Rover Chair
The Rover Chair. Image courtesy of the Barbican.

Ron Arad steel rover chair
The gleaming metal version in pride of place.

Here we can trace the journey of Ron’s love from the early days – when he casually tossed aside a career in architecture to pursue dreams of product design – up until the present. At first he took a higgeldy piggeldy approach to their construction: the first chair that made him famous was one constructed from the leather car seat of a Rover. In one room we discover how he adapted and changed this original concept to come up with many versions before culminating in the final denouement: a sleek recliner in gleaming steel proudly showcased in front of a digital LED screen. For why stop at just one product when you’re onto a winner? Herein lies the essence of Ron’s career – straddling the creation of one off works of art and mainstream manufacturing with gleeful abandon.

Ron Arad Tom Vac
Image courtesy of the Barbican. This was popular in trendy restaurants.

Ron Arad big chair
Ron Arad rocking chairs
Ron Arad. Well Transparent Chair
Image courtesy of the Barbican.

So what defines a Ron Arad work? Aesthetically he has messed around with all sorts of materials, especially in the early years, but if I had to pin it down to a couple of things, I would say he is principally concerned with bulk and sheen. Rotund forms bulge ominously towards the ceilings and floors of the small upper galleries, suggesting the swallowing of any daring seatee. Delicate this ain’t. Comfortable? Maybe, but we aren’t allowed to try. I particularly love a smooth red and white plastic chair, glowing like a giant boiled sweet. But I think I want to lick it rather than sit on it. Is this the reaction one should have to a chair? Semi-phallic pieces appear more sculptural than useful. Shiny metal surfaces reflect the gallery-goers like distorted mirrors, and automated rockers set the chairs in perpetual motion as directional lighting throws dramatic shadows against the encroaching walls.

Ron Arad red white chair
Ron Arad London Papardelle
Ron Arad sculptures

If we aren’t allowed to sit in the chairs upstairs there is much fun to be had stretching out on the various seating arrangements that populate the large open downstairs gallery. Particularly with my austostitch app in hand. On the walls there are bookshelves – his famous curved Bookworm, an impressive patchwork map of America and a giant bookshelf wheel that maintains an impressively upright angle as it regularly slips down a long slope. Some of the most interesting items are the models that Ron has sent out for mass production, complete with scribbled markings.

Ron Arad blue chairs
Ron Arad chairs
Ron Arad America bookcase
Ron Arad wheel bookshelf
Ron Arad chair model

In side rooms we discover Ron’s other projects, including some experimental lighting that plays with the direction of beams so that GOD reads WAR, and a giant disco ball. But it is in his recent return to architecture that Ron really goes to town, even if not much seems to have actually been built other than in Israel, country of his birth. The rest represents little more than extreme flights of fancy, huge brutalist monstrosities designed to house his chairs but destined to forever remain toy models.

Ron Arad War- God light
Ron Arad architecture
His architectural models left me cold. I mean, I love a bit of brutalism, but there’s a time and a place. Architecture now needs to take into account the environment.

The exhibition left me pondering when the time is right to have a retrospective. When is the work of an artist deemed of high enough calibre? Until recently Ron Arad was head of product design at the RCA and he is still very much an active designer today. This in itself makes for an interesting angle, but does he deserve such a major retrospective? I’m not convinced. At times it felt to me very much like this was the work of a one (or two or three) trick pony. Who, despite the title, likes very much to sit down.

Ron Arad: Restless is on until the 16th of May at the Barbican Art Gallery.
Ron Arad reflective chair
All photography by Amelia Gregory unless otherwise stated.

Once upon a time I assisted a well known stylist on a shoot with Ron Arad. We went to his vast warehouse studios in Camden to take the photo for a magazine, drugs and my abiding memory is of the courtyard in front, which was littered with the carcasses of old chairs.

Ron does chairs. This is a man who seriously, seriously loves something to sit on, so it comes as no surprise to find that the entire upper gallery of this Barbican exhibition is devoted to his many chair designs.

Ron Arad typewriter chair
Fun with a rusty old typewriter as seat pad.

Ron Arad Rover Chair
The Rover Chair. Image courtesy of the Barbican.

Ron Arad steel rover chair
The gleaming metal version in pride of place.

Here we can trace the journey of Ron’s love from the early days – when he casually tossed aside a career in architecture to pursue dreams of product design – up until the present. At first he took a higgeldy piggeldy approach to their construction: the chair that made him famous was one constructed from the leather car seat of a Rover. In one room we discover how he adapted and changed this original concept before culminating in the final denouement: a sleek recliner in gleaming steel proudly showcased in front of a digital LED screen. For why stop at just one product when you’re onto a winner? Herein lies the essence of Ron’s career – straddling the creation of one off works of art and mainstream manufacturing with gleeful abandon.

Ron Arad Tom Vac
Image courtesy of the Barbican. This was popular in trendy restaurants.

Ron Arad big chair
Ron Arad rocking chairs
Ron Arad. Well Transparent Chair
Image courtesy of the Barbican.

So what defines a Ron Arad work? Aesthetically he has messed around with all sorts of materials, especially in the early years, but if I had to pin it down to a couple of things, I would say he is principally concerned with bulk and sheen. Rotund forms bulge ominously towards the ceilings and floors of the small upper galleries, suggesting the swallowing of any daring seatee. Delicate this ain’t. Comfortable? Maybe, but we aren’t allowed to try. I particularly love a smooth red and white plastic chair, glowing like a giant boiled sweet. But I think I want to lick it rather than sit on it. Is this the reaction one should have to a chair? Semi-phallic pieces appear more sculptural than useful. Shiny metal surfaces reflect the gallery-goers like distorted mirrors, and automated rockers set the chairs in perpetual motion as directional lighting throws dramatic shadows against the encroaching walls.

Ron Arad red white chair
Ron Arad London Papardelle
Ron Arad sculptures

If we aren’t allowed to sit in the chairs upstairs there is much fun to be had stretching out on the various seating arrangements that populate the large open downstairs gallery. Particularly with my austostitch app in hand. On the walls there are bookshelves – his famous curved Bookworm, an impressive patchwork map of America and a giant bookshelf wheel that maintains an impressively upright angle as it regularly slips down a long slope. Some of the most interesting items are the models that Ron has sent out for mass production, complete with scribbled markings.

Ron Arad blue chairs
Ron Arad chairs
Ron Arad America bookcase
Ron Arad wheel bookshelf
Ron Arad chair model

In side rooms we discover Ron’s other projects, including some experimental lighting that plays with the direction of beams so that GOD reads WAR, and a giant disco ball. But it is in his recent return to architecture that Ron really goes to town, even if not much seems to have actually been built other than in Israel, country of his birth. The rest represents little more than extreme flights of fancy, huge brutalist monstrosities designed to house his chairs but destined to forever remain toy models.

Ron Arad War- God light
Ron Arad architecture
His architectural models left me cold. I mean, I love a bit of brutalism, but there’s a time and a place. Architecture now needs to take into account the environment.

The exhibition left me pondering when the time is right to have a retrospective. When is the work of an artist deemed of high enough calibre? Until recently Ron Arad was head of product design at the RCA and he is still very much an active designer today. This in itself makes for an interesting angle, but does he deserve such a major retrospective? I’m not convinced. At times it felt to me very much like this was the work of a one (or two or three) trick pony. Who, despite the title, likes very much to sit down.

Ron Arad: Restless is on until the 16th of May at the Barbican Art Gallery.
Ron Arad reflective chair
All photography by Amelia Gregory unless otherwise stated.

Once upon a time I assisted a well known stylist on a shoot with Ron Arad. We went to his vast warehouse studios in Camden to take the photo for a magazine, medical and my abiding memory is of the courtyard in front, for sale which was littered with the carcasses of old chairs.

Ron does chairs. This is a man who seriously, seriously loves something to sit on, so it comes as no surprise to find that the entire upper gallery of this Barbican exhibition is devoted to his many chair designs.

Ron Arad typewriter chair
Fun with a rusty old typewriter as seat pad.

Ron Arad Rover Chair
The Rover Chair. Image courtesy of the Barbican.

Ron Arad steel rover chair
The gleaming metal version in pride of place.

Here we can trace the journey of Ron’s love from the early days – when he casually tossed aside a career in architecture to pursue dreams of product design – up until the present. At first he took a higgeldy piggeldy approach to their construction: the chair that made him famous was one constructed from the leather car seat of a Rover. In one room we discover how he adapted and changed this original concept before culminating in the final denouement: a sleek recliner in gleaming steel proudly showcased in front of a digital LED screen. For why stop at just one product when you’re onto a winner? Herein lies the essence of Ron’s career – straddling the creation of one off works of art and mainstream manufacturing with gleeful abandon.

Ron Arad Tom Vac
Image courtesy of the Barbican. This was popular in trendy restaurants.

Ron Arad big chair
Ron Arad rocking chairs
Ron Arad. Well Transparent Chair
Image courtesy of the Barbican.

So what defines a Ron Arad work? Aesthetically he has messed around with all sorts of materials, especially in the early years, but if I had to pin it down to a couple of things, I would say he is principally concerned with bulk and sheen. Rotund forms bulge ominously towards the ceilings and floors of the small upper galleries, suggesting the swallowing of any daring seatee. Delicate this ain’t. Comfortable? Maybe, but we aren’t allowed to try. I particularly love a smooth red and white plastic chair, glowing like a giant boiled sweet. But I think I want to lick it rather than sit on it. Is this the reaction one should have to a chair? Semi-phallic pieces appear more sculptural than useful. Shiny metal surfaces reflect the gallery-goers like distorted mirrors, and automated rockers set the chairs in perpetual motion as directional lighting throws dramatic shadows against the encroaching walls.

Ron Arad red white chair
Ron Arad London Papardelle
Ron Arad sculptures

If we aren’t allowed to sit in the chairs upstairs there is much fun to be had stretching out on the various seating arrangements that populate the large open downstairs gallery. Particularly with my austostitch app in hand. On the walls there are bookshelves – his famous curved Bookworm, an impressive patchwork map of America and a giant bookshelf wheel that maintains an impressively upright angle as it regularly slips down a long slope. Some of the most interesting items are the models that Ron has sent out for mass production, complete with scribbled markings.

Ron Arad blue chairs
Ron Arad chairs
Ron Arad America bookcase
Ron Arad wheel bookshelf
Ron Arad chair model

In side rooms we discover Ron’s other projects, including some experimental lighting that plays with the direction of beams so that GOD reads WAR, and a giant disco ball. But it is in his recent return to architecture that Ron really goes to town, even if not much seems to have actually been built other than in Israel, country of his birth. The rest represents little more than extreme flights of fancy, huge brutalist monstrosities designed to house his chairs but destined to forever remain toy models.

Ron Arad War- God light
Ron Arad architecture
His architectural models left me cold. I mean, I love a bit of brutalism, but there’s a time and a place. Architecture now needs to take into account the environment.

The exhibition left me pondering when the time is right to have a retrospective. When is the work of an artist deemed of high enough calibre? Until recently Ron Arad was head of product design at the RCA and he is still very much an active designer today. This in itself makes for an interesting angle, but does he deserve such a major retrospective? I’m not convinced. At times it felt to me very much like this was the work of a one (or two or three) trick pony. Who, despite the title, likes very much to sit down.

Ron Arad: Restless is on until the 16th of May at the Barbican Art Gallery.
Professor Brian Cox - Wonders of Solar System
Illustration by Abigail Daker and Lesley Barnes.

This week I discovered the multifarious joys of Professor Brian Cox. I know I know, cialis 40mg I’m a bit late with this one. But I don’t watch TV so I had to find the time and space to watch iPlayer – a tough call around these busy parts.

And find that time I did, dosage over the course of less than 24 hours. Yes siree, dosage I watched the 5 episodes of the BBC series Wonders of the Solar System more or less back to back, stopping only to catch up on a bit of the old shut eye. I’d heard the hype of course, and I’d read all about his previous pop-tastic career supporting our wonderful Labour government get into power with that infamous D:REAM anthem of the 1997 elections (love the prescient Heironymous Bosch backdrop to the video) Way back in the mists of time when I too thought that Tony Blair was saviour of the world I remember celebrating by dancing on the tables in a pub somewhere in North London until I threw up in the gutter. Woops. The ONLY time, I hasten to add, that I have ever done that, throughout a long and illustrious drinking career. Such was my excitement the day that Labour got in. Moving swiftly onwards…

So, what is it about the Cox that kept me glued to the screen? Well, cute science geeks have often turned my head, and Coxie’s boyish enthusiasm cannot help but rub off on even the most uninterested of parties, no matter how many times he *impulsively* uses the salt and pepper/rocks in a desert/lumps of whatever comes to hand with no planning whatsoever to demonstrate some law of the planets, you’ve got to love that sparkle in his eyes. And the way he smiles! Constantly smiles! There is nothing sexier.

But what is it about this series that is so very inspiring, apart from, obviously the presence of a very attractive floppy-haired boffin? Of course it’s not just Brian Cox that drew me into the Wonders of the Solar System series: it’s my fascination with new discoveries, and the marvel of life. Over the course of fiver hours I learnt that Jupiter’s moon Io is spewing fire, that there are beasties which live in ice as if it’s fluid which means there may be beasties living on Jupiter’s frozen moon Europa. Given the presence of gypsum salts even Mars could harbour life. This and so much more was revealed over the course of the superbly paced programmes. Even The Sun was enamoured of the series.

Professor Brian Cox - Wonders of Solar System
Illustration by Abigail Daker and Lesley Barnes.

Why are popularist programmes that reach out like this so important? Because they familiarise more of us with the wonders of the universe – and with the preciousness of our own planet, the “Goldilocks” world where conditions have evolved in just such a way that life is possible for such a wondrous array of species today. Not once does Brian Cox mention climate change, but I suspect this is deliberate. I’ve since watched an interview with him which makes his position clear – he is no denialist, thank god. (No sensible and educated scientist is.)

Maybe he thinks a bit like me: revel in the wonder of nature and life, and hope that the right conclusions will be drawn. I defy anyone to watch these programmes and not consider how lucky we are, how fragile our life is, how easily we could throw it all away. I hear rumours that Brian will be making another series though he is determined to carry on his role as professor at Manchester University (dontcha just love his commitment. I bet admissions applications have sky-rocketed for his courses.)

I wonder if he will tackle climate change. And if he doesn’t I can’t wait to see what he does do, because it’s bound not only to inspire far beyond the usual reach of scientific journalism, but it’s also likely to get more people into the scientific professions which is something we desperately need. A man who shows that the fleeting success of pop fame is nothing compared with the joy of physics: Brian Cox, you are a true icon for this age.

For now you have until Sunday 11th April to catch up with the professor on BBC iPlayer – I suggest you get in there straight away. There’s no time to waste!
You can also follow Brian Cox on twitter here.

Categories ,Abi Daker, ,Abigal Daker, ,BBC, ,Brian Cox, ,Climate Change, ,D:REAM, ,Heironymous Bosch, ,iPlayer, ,Jupiter, ,Labour, ,Lesley Barnes, ,Mars, ,Saturn, ,science, ,Television, ,The Sun, ,Tony Blair, ,Wonders of the Solar System

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Amelia’s Magazine | Professor Brian Cox and his Wonders of the Solar System.

Professor Brian Cox - Wonders of Solar System
Illustration by Abigail Daker and Lesley Barnes.

This week I discovered the multifarious joys of Professor Brian Cox. I know I know, I’m a bit late with this one. But I don’t watch TV so I had to find the time and space to watch iPlayer – a tough call around these busy parts.

And find that time I did, over the course of less than 24 hours. Yes siree, I watched the 5 episodes of the BBC series Wonders of the Solar System more or less back to back, stopping only to catch up on a bit of the old shut eye. I’d heard the hype of course, and I’d read all about his previous pop-tastic career supporting our wonderful Labour government get into power with that infamous D:REAM anthem of the 1997 elections (love the prescient Heironymous Bosch backdrop to the video) Way back in the mists of time when I too thought that Tony Blair was saviour of the world I remember celebrating by dancing on the tables in a pub somewhere in North London until I threw up in the gutter. Woops. The ONLY time, I hasten to add, that I have ever done that, throughout a long and illustrious drinking career. Such was my excitement the day that Labour got in. Moving swiftly onwards…

So, what is it about the Cox that kept me glued to the screen? Well, cute science geeks have often turned my head, and Coxie’s boyish enthusiasm cannot help but rub off on even the most uninterested of parties, no matter how many times he *impulsively* uses the salt and pepper/rocks in a desert/lumps of whatever comes to hand with no planning whatsoever to demonstrate some law of the planets, you’ve got to love that sparkle in his eyes. And the way he smiles! Constantly smiles! There is nothing sexier.

But what is it about this series that is so very inspiring, apart from, obviously the presence of a very attractive floppy-haired boffin? Of course it’s not just Brian Cox that drew me into the Wonders of the Solar System series: it’s my fascination with new discoveries, and the marvel of life. Over the course of fiver hours I learnt that Jupiter’s moon Io is spewing fire, that there are beasties which live in ice as if it’s fluid which means there may be beasties living on Jupiter’s frozen moon Europa. Given the presence of gypsum salts even Mars could harbour life. This and so much more was revealed over the course of the superbly paced programmes. Even The Sun was enamoured of the series.

Professor Brian Cox - Wonders of Solar System
Illustration by Abigail Daker and Lesley Barnes.

Why are popularist programmes that reach out like this so important? Because they familiarise more of us with the wonders of the universe – and with the preciousness of our own planet, the “Goldilocks” world where conditions have evolved in just such a way that life is possible for such a wondrous array of species today. Not once does Brian Cox mention climate change, but I suspect this is deliberate. I’ve since watched an interview with him which makes his position clear – he is no denialist, thank god. (No sensible and educated scientist is.)

Maybe he thinks a bit like me: revel in the wonder of nature and life, and hope that the right conclusions will be drawn. I defy anyone to watch these programmes and not consider how lucky we are, how fragile our life is, how easily we could throw it all away. I hear rumours that Brian will be making another series though he is determined to carry on his role as professor at Manchester University (dontcha just love his commitment. I bet admissions applications have sky-rocketed for his courses.)

I wonder if he will tackle climate change. And if he doesn’t I can’t wait to see what he does do, because it’s bound not only to inspire far beyond the usual reach of scientific journalism, but it’s also likely to get more people into the scientific professions which is something we desperately need. A man who shows that the fleeting success of pop fame is nothing compared with the joy of physics: Brian Cox, you are a true icon for this age.

For now you have until Sunday 11th April to catch up with the professor on BBC iPlayer – I suggest you get in there straight away. There’s no time to waste!
You can also follow Brian Cox on twitter here.



Categories ,Abi Daker, ,Abigal Daker, ,BBC, ,Brian Cox, ,Climate Change, ,D:REAM, ,Heironymous Bosch, ,iPlayer, ,Jupiter, ,Labour, ,Lesley Barnes, ,Mars, ,Saturn, ,science, ,Television, ,The Sun, ,Tony Blair, ,Wonders of the Solar System

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Amelia’s Magazine | An interview with ace comedian and Latitude regular Robin Ince.

the-peoples-supermarket-shop-front
A new era in food shopping could have dawned a few weeks ago as The People’s Supermarket in Holborn opened its doors for the very first time.

It’s ultimate aim? To bring an end to the big supermarket chains one potato at a time of course! At least that’s what team ‘People’s Supermarket’ believe; chef, online visit Arthur Potts Dawson — already known for his Acorn House restaurant in King’s Cross and London’s first eco-restaurant, the Waterhouse Restaurant in Hackney; retail consultant, Kate Wickes-Bull; and self proclaimed social entrepreneur, David Barrie.

So what’s so special about The People’s Supermarket (TPS)? Well, modeled largely on the Park Slope Food Coop in Brooklyn, established in 1974, it will work as a totally nonprofit venture. Run fully by teams of volunteers, all profits will be invested back into stocking the shop with great food at minimal prices and TPS hopes to help families and low income groups in the community along the way by providing work experience, training, and low cost shopping. A sign outside listed the number of members as 124 on my trip but I can imagine this will soon start to rise, and anyway Potts Dawson reckons they need at least 300 members for the shop to actually become a sustainable business. Anyone can shop at TPS but the team hopes that as customers visit this unique project and see the quality of produce and with the added incentive of getting great discounts they might become a member — pledging to work at the shop for a few hours every month and paying a £25 annual membership fee. The website promises, in Marxist-like terms, a supermarket that is “run by the people for the people, selling the best food at the lowest possible prices.”

the-peoples-supermarket-fruit

Located on Lambs Conduit Street near Russell Square tube, TPS doesn’t stand out as exactly being a glamorous shop, nor has it in anyway been made to look trendy as I was half-expecting — seeing that this is the natural habitat of posh delis, coffee shops and boutiques. Instead TPS doesn’t appear to look much different to the private local supermarket that went before it, and originally belonged to the enemy — Tesco. Now the place has been spruced up by an army of helpers — all volunteers of course, but the main decoration is the addition of posters to the walls – which, although sadly lacking images of Lord Kitchener, famous for appearing in YOUR COUNTRY NEEDS YOU posters – appeal to customer’s philanthropic side, stating in block capitals, “The people’s supermarket needs you, join today”. All this does go to show, however, that TPS is serious about saving money. Instead of investing in funky counters and arty light fittings, TPS has clearly poured all available funds back into stocking the shop with the best produce.

The fruit and vegetables, which are laid out on old second-hand tables like in a market or old-fashioned green grocers, are sourced from some of the best farmer’s markets around. There are also selections of handmade breads and cakes as well as most of the usual foodstuffs you would expect to find in a small local supermarket. But if it turns out that there is something that isn’t available customers can simply scribble a note of it up on the blackboard for the managers to see — grapefruit juice, curry powder, lentils and ghee were among the omissions when I visited on Saturday 5 June.

the-peoples-supermarket-sign

Todd was store manager when I made a trip to TPS on Saturday. Delighted at how quickly word of the store was spreading Todd said they had been really busy since the shop opened on Tuesday 1 June, so he was quick to make an appeal for more staff — then he could have a decent lunch break, he told me jokingly. Todd was also happy about TPS’s reception in the local area too, saying that he really felt the whole community was getting behind the project.

Which is good because the setup will make the greatest difference to those who live or work near the shop who will be able to use it fairly often and make the most of the discounts, after paying the £25 membership fee of course. There might be another reason why people will volunteer to work for free at TPS though — an added bonus for some maybe? The running of the shop is to become the subject of a new prime time Channel 4 documentary, which I’m sure will put a shine on the prospect of volunteering for any self-promoting types out there. There are also plans for a cookbook, packed full of recipes for dishes made with ingredients from the shop. I guess lentil curry is out for the time being then!

the-peoples-supermarket-brea

Perhaps the best thing about TPS though, is the whole ‘niceness’ of it all. There has been a wealth of comments on the twittersphere about the enthusiastic staff, the smiling customers, and the general buzz in the air that something new and exciting is happening. Certainly while at university I used to pop along to a small fruit and veg cooperative each week and I remember the more grass roots approach to buying and selling food being an enjoyable experience. And it seems the tweeters were right — the same pleasant atmosphere is already in full swing in Holborn. Katie, a student from the nearby University College London, spotted me taking some pictures outside, “It’s great isn’t it?” she said, “I think it’s the atmosphere which is nicest, I came in on opening day and people were chatting to each other. Chatting to complete strangers — I mean that doesn’t happen in London very often does it?”

Chatting to strangers, volunteering in a supermarket and reaping the benefits and all while being filmed for Channel 4 — I don’t think that happens anywhere very often.

Sayaka-Monji-Robin-Ince
Robin Ince by Sayaka Monji.

I will not tell a lie – I first encountered Robin Ince only last month, clinic when I attended his School for Gifted Children at Bloomsbury Theatre. Yes. I’m a comedy novice. But I do remember that the comedy and literary tents were the very best thing about Latitude when I went two years ago. I really want to go again this year, visit so it seemed a very good idea to catch up with Robin Ince, website like this a Latitude staple since the beginnings of this ever popular Suffolk festival.

Hi Robin, can you tell me how long the Book Club has been involved with Latitude?
We brought the Book Club to Latitude in it’s very first year when it was much smaller and there were not as many things going on. It didn’t have a reputation at that point so it was very quiet and the organisers must have lost a fortune but then everyone left and told their friends how great it was and things grew from there. This is now the 5th year we’ve been going to Latitude.

Did you ever imagine that the Book Club would be so successful?
To start with the it was a bit of an experiment – and in fact when it became a phenomenon so early on it became a bit of a problem. Lots of journalists said very nice things about how it was at the forefront of the “new alternative” scene that had splintered from the mainstream clubs which meant there was a lot of pressure right from the start and if one performance didn’t go well I would worry that I was tarnishing the image of a whole movement. It was sort of the same thing as happened in the 1980s: if one female comic was bad all women comedians suffered reprisals. Soon there were lots of other shows with a similar agenda and I didn’t feel that ours was up to the standard it had been. It got so bad for awhile that I stopped doing the Book Club except at Latitude and as a solo show, and replaced it with the School for Gifted Children series, which brought together scientists and journalists to celebrate great ideas, rather than laughing at weird books such as Mills and Boon from the 1970s. Nowadays the School for Gifted Children has become the main thing I do but I’d like to turn the Book Club into a more regular show again, although I need to think of a new idea.

james-wilson-Robin-Ince
Illustration by James Wilson.

How do you find the Bloomsbury Theatre as a space to perform? I found the lack of toilets hard work because I had to miss part of the performance.
Yes, I’ve heard they’re a bit short on loos for ladies – maybe we should do a fundraiser for extra cubicles?! But I really like performing there because the people who run it are so nice and I get asked to do things in other odd places like the Tate Modern and the British Library. I like good spaces to work in – we did a run at the Museum of London last year and we had ten different things going on all at the same time. There was someone sitting in an Anglo Saxon hut singing and playing the lute whilst someone was performing in the Lord Mayor’s carriage, and so on.

Who can we expect to see performing at the Book Club at Latitude this year?
I have very little idea so far apart from the usual group of people, which includes comediennes Josie Long and Joanna Neary, the singer songwriter Robyn Hitchcock and Kevin Eldon – who did the Big Train sketch series and works with Chris Morris a lot. Steve Pretty will be there with his brass band the Origin of Pieces and we will be joined by other musicians as well. We try to keep it as loose as possible although we usually have themes, for example I am sure there will be a late night section about pulp novels. Last year Robyn Hitchcock instigated an impromptu hour long musical about crabs on the rampage, featuring a trumpet, violinist, and opera singer. It was the first time I worked with him but I think there will be something similar this year.

CrabAttack_GarethAHopkins
Crab Attack by Gareth Hopkins.

How do you pull everyone together? Is it a case of grabbing performers at the festival?
I like to encourage people to work together and festivals offer those rare occasions when you’re all sitting behind a marquee then one person has an idea which can be created on stage with 5 or 6 performers, but can’t be replicated again elsewhere. I love working with such a disparate group of people – musicians, poets, mime artists, people who hang off trees…. it means we can build a performance around lots of different skills. I hope to meet new people each year; sometimes someone will just come up to me as I’m wandering around the fields and we’ll sit down briefly, have a chat and put on a show. I feel like what we do is in the grand tradition of Mickey Rooney and Judy Garland – we put on a big show just like they did in the 1940s.

How many shows will the Book Club put on at Latitude?
In the first year at Latitude we did far more performances, but we usually end up doing it five times a day now because more and more people want to perform at the festival so we’ve lost control of the literary tent! But I will be bouncing back and forth, running around the site. I tend to get to bed at 4am after finishing the last show at 3am, then wake at 6am because the sun is turning me into a baked potato in the tent. So I usually get about two hours sleep and then I forget to eat so my blood sugar is really low.

Does your two year old make matters even more hectic?
No, he is such a ray of joy. He’s been to every single Latitude festival since he was born and he loves it. My wife looks after him whilst I’m performing and every now and again he starts to wander towards the stage but she won’t allow him near it – she’s seen what it’s done to me and she doesn’t want it for our child! He loves to do a bit of dancing though.

Natasha-Thompson-Robin-Ince-Tents
Illustration by Natasha Thompson.

What acts are you looking forward to seeing at Latitude this year?
Well, I haven’t seen Belle and Sebastien live for a few years and I absolutely love Kristin Hersh, who is ex Throwing Muses. Last year Nick Cave played an absolutely blinding set on Sunday evening. I’ve never seen Laura Marling but I hear she’s very good live so I’ll try to see her this year, and I want to find out if Dirty Projectors are good or just make an annoying cacophony. In the cabaret tent I look forward to Frisky and Mannish who are an entertaining musical act, and Laura Solon who does a really good character act and won the Perrier (in 2005) This year I’m on the look out for some good dance acts because I don’t feel there’s enough in my own performance. I love that the Bush Theatre and the Royal Shakespeare Company have a presence at Latitude, though I never have enough time to see them. I try not to go and see lots of things I know unless they’re very special and because I don’t feel under pressure to get my £150 worth of fun I like to shift around the corners of festivals, which is something I learnt very early on at Glastonbury. I like wandering into a tent and discovering something new or being drawn to a noise in the woods. Because I go to so many festivals I usually have the chance to see a performance in another field in Cornwall or Wales if I miss it first time around. It’s great – there used to be three festivals during the summer and all the comedy clubs closed down, but now there’s so much going on.

Are you going to Glastonbury this year?
I’m only spending two days at Glastonbury this year, Saturday and Sunday. For a moment I was a bit worried when U2 cancelled because I thought they might be replaced with a band that I actually like (on Friday night). But I’m not too excited by the Gorillaz so that’s okay.

At this point dear reader I was able to persuade Robin Ince to join us at the Climate Camp tripod stage whilst he is at Glastonbury! Don’t forget to come and visit us above the Green Fields to find out when he will be performing over the weekend. This inevitably led to a conversation about Climate Change.

What are your feelings about promoting the issues behind Climate Change?
I’m not tremendously well informed like someone like Marcus Brigstocke, who’s been on trips around Cape Farewell and seen the evidence face to face – so I have to be quite careful what I say because I don’t know as much. I know that (generally) alternative thinking is very under represented in mainstream media and whilst large numbers of journalists will follow a carefully run PR campaign it’s not the same amongst scientists.

RobinInce_GarethAHopkins_13thJune2010
Robin Ince by Gareth Hopkins.

There are obviously things that I worry about, and things that annoy me in life, and I try to address these without giving hectoring lectures. I don’t think there are any grand solutions so I’m not about to say “now I know the truth” but I hope that my style of a performance can open up an idea. I guess part of my agenda is to make people question things, to open up a dialogue – because if you hear about something from someone who is passionate about it you might then be inspired to go down to your local bookshop and find out more. Whether it is about particle physics, evolutionary biology or whatever.

What about the comedy/liberal/science community that you seem to be so much a part of – do you all hang out together outside of performances?
Yes, we all get on, and for instance I will pop around to Ben Goldacre‘s flat to talk about stuff – but one of my favourite things is when we are all backstage in the green room and everyone is excited to learn things from everyone else. It’s just so great to have people like cartoonist Alan Moore and the musician Darren Hayman (who was featured in Amelia’s Magazine fact fans) handing out with all the scientists. One of the best things about what I do is learning new stuff, and I love the cross fertilisation that happens. It can be quite bleak as a comedian but the positives definitely outweigh the downsides and it’s far better than a “real job” because you can make your own opportunities. I hate that within most forms of art the main aim is fame, which is about the most negative aim you can have; you must love what you do first of all – for example Josie Long has got more and more passionate about the importance of feminism.

So, twitter. I know you’re a big user, and a lot of comedians seem to be. What is your view on the power of the tweet?
Well, you can easily become accidental friends with people and then end up meeting up with them, which is great. It’s very good for getting ideas out there, for instance every single day the people I follow post articles that I would have missed, but I think that people should be careful when campaigning against something, and make sure it is an important issue or twitter will cease to become a good tool of rebellion. I also think it’s easy to get a very partisan view of things on twitter because we usually talk to those who are like minded so it’s easy to think that everyone agrees. Essentially I’m all about ideas so I like to be bombarded with them every single day so that by the time I go to bed I am thoroughly confused.

You can read a previous review of the School for Gifted Children here, and catch Robin Ince off on tour around the festival circuit this summer, including of course Latitude and Glastonbury. You can book tickets for his next School for Gifted Children performance on 14th July at the Bloomsbury Theatre here.

Categories ,Alan Moore, ,BBC, ,belle and sebastian, ,Ben Goldacre, ,Big Train, ,Bloomsbury Theatre, ,Book Club, ,British Library, ,Bush Theatre, ,Cape Farewell, ,Chris Morris, ,Climate Camp, ,comedy, ,Crabs, ,Darren Hayman, ,dirty projectors, ,festival, ,Frisky and Mannish, ,Gareth Hopkins, ,glastonbury, ,James Wilson, ,Joanna Neary, ,Josie Long, ,Kevin Eldon, ,Kirsten Hersh, ,latitude, ,Laura Marling, ,Laura Solon, ,Marcus Brigstocke, ,Mills and Boon, ,museum of london, ,Natasha Thompson, ,Nick Cave, ,Perrier, ,Robin Ince, ,Robyn Hitchcock, ,RSC, ,Sayaka Monji, ,School for Gifted Children, ,Steve Pretty, ,Tate Modern, ,Throwing Muses

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Amelia’s Magazine | A Summer Punch Up at Sutton House: Kotki Dwa Staycations Album Launch Party Review

Kotki Dwa Staycations CD bundle by Sam Glynn
Kotki Dwa Staycations CD bundle by Sam Glynn

Staycations. A word us Brits are getting more and more used to: when the sun shines, there is honestly just no place like home. Great Britain has been the centre of attention this summer. After all, if it’s good enough for world record holders and a Queen, it’s good enough for us. The beautiful rolling green hills, still blues lakes and near-empty endless beaches. We’re spoilt for these spots, everywhere. So why not celebrate them? Forget the rain and embrace our terrain right? Right. Amelia’s Magazine music favourites, Kotki Dwa, well and truly do. So much so, Staycations is the title of their follow-up album. But wait… Here comes a very interesting tale.

While fans sat patiently waiting for second record news, the boys Alex, Tom and Tristan, were hatching quite the plan. An idea long in the making, came true this summer on 2nd July, the release date of the album. And this plan? To ask the National Trust to be their record label. They gave a firm yes!

Kotki Dwa Cakes by Abi Renshaw
Kotki Dwa rice paper printed jam cupcakes by Abi Renshaw

So we’ve all been to a National Trust property right? Yes? Well there are over two hundred historic houses open to the public. Your folks probably took you to an endless amount as a kid. Visiting these properties seemed like a staple part of growing up. Now I’ve hopefully got you reminiscing, it’s filled you with fond memories hasn’t it. The pristine gardens (with a maze if you were lucky), the delicious dairy ice cream from the café, the views from high above. Kotki Dwa thought the same. Dreamt up by the boys, which must feel like an awfully long time ago now, was this rather genius idea. Once they secured the all-important ‘yes’, the possibilities became endless. They knew exactly that this would open all kinds of (historic and stately) doors – to be inspired by, write about and record in.

A Summer Punch Up on Saturday 14th July was their big night. The album was out there, glowing reviews were flowing from Pitchfork, the Guardian and the BBC. This launch party was set to go off. Plus, the venue was quite special in it’s own right. Many ran through the doors bang on 7pm into Sutton House, Hackney’s oldest house and a National Trust gem. So much so, Alex spilled they wrote a track based on its ghost. Buried deep in Homerton, 80 lucky people got to party in this property, built in 1535 by a prominent courtier of Henry VIII. WOW. The Summer (it was raining) Punch Up started with the twilight punch picnic.

Cucumber triangle sandwiches, scotch eggs, jam filled cupcakes with their Polish name on rice paper (lovely touch and too pretty to eat) and flower cakes fashioned in plant pots with Oreo ‘soil’. Delicious.

Kotki Dwa Summer Punch by Edie OP
The Summer Punch Up cocktails menu by Edie OP

They even had themed cocktails after three of their songs. Outside in the bunting-filled courtyard was an ice cream cart. Pay a donation for a scrummy pot of Taywell and cover it in their home-made Pimms syrup. Yeah!

Supporting Kotki Dwa were two fantastic bands, Glaciers and Niteflights. Each surrounded by Kotki Dwa’s British holiday themed set of picnic hampers, hay bales and a snorkel. Once the twilight picnic had gone down and the dancing to both bands over, it was to be their finest hour. The first quarter of the hall filled with the 80 strong crowd. I’m pretty small in height so was pleased with my wing position right by the grand piano, oohhh. The room was beautiful, with its red walls and high beams. Sticking to songs solely from Staycations, you could just see it in their faces, how happy they were they’d got to here. The idea had become an album, and it was rattling that ghost upstairs no doubt. I very much enjoyed the heavily loud instrumental ending of The Wolf, and the single Poison required some serious dancing. The absolute highlight for me was during the song Staycations. A girl dressed in a crab costume was throwing beach balls into the crowd to lyrics such as ‘you la la like it when we go away’ and ‘didn’t I read that sunshine repairs your sanity’. A fantastic night ending with a disco hosted by DJs Midnight A-Go-Go and NZCA/LINES.

Kotki Dwa King Crab by Dan Morison
King Crab by Dan Morison

Oh to re-live that night all over again, yes please! I did the next best thing, I quizzed singer Alex about how they bagged the National Trust as their label and where you can see them play live this summer: read my interview with Alex Ostrowski here.

Categories ,A Summer Punch Up, ,Abi Renshaw, ,Alex Ostrowski, ,Bandcamp, ,BBC, ,Beach balls, ,Box Hill, ,bunting, ,Crab costume, ,Dan Morison, ,Edie OP, ,Geoffrey Taylor, ,Ghost, ,Glaciers, ,Great Britain, ,hackney, ,Halloween video, ,Harpsichord, ,Hattie Newman, ,Homerton, ,Ice Cream, ,Kotki Dwa, ,Lake District, ,Limited edition CDs, ,Lunch EP, ,National Trust, ,Niteflights, ,Picnic hampers, ,Pimm’s, ,Pitchfork, ,Polish, ,Queen, ,Recording, ,Robin’s Clogs, ,Sam Glynn, ,Sam Parr, ,Scotch eggs, ,Staycations, ,Sun shine, ,Sutton House, ,Taywell, ,The Guardian, ,Triangle sandwiches, ,Twilight picnic punch, ,World record holder, ,YCN, ,Yorkshire, ,Yorkshire Dales

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Amelia’s Magazine | Sound It Out: an interview with Jeanie Finlay

sounditout by Sarah Jayne
Illustration by Sarah-Jayne Brain

Record shops have always been a particular haunt of mine – from my (short-lived) days as a superstar student DJ when I’d go on the hunt for Friday night floor fillers for the student union, to my weekly shopping expeditions to the much missed Selectadisc in Nottingham to boost my Bowie collection, right up to the present – rummaging through the record racks in such establishments as Rough Trade and Sister Ray.

Being a record geek, I naturally had to check out a new documentary which I’d heard had been made about a small independent record shop in the North East (at a time when such shops are disappearing at an alarming rate), especially when it was then premiered at this year’s SXSW in Austin, Texas, and subsequently became the official film for Record Store Day 2011, picking up plaudits along the way! That film is Sound It Out, by Jeanie Finlay, and it follows the trials and tribulations of running Sound It Out Records, an independent record shop (the last one, in fact) in Stockton-on-Tees.

Sound It Out by Jeanie Finlay
All photography courtesy of Jeanie Finlay.

I caught a screening of the film at Rough Trade East a while ago, which was followed by a Q&A with Jeanie Finlay and a typically robust performance by Stockton’s Chapman Family (who also contributed to the soundtrack). It’s a funny, touching piece, and it’s more than a just film about a record shop, it’s also about a love of music, and what it means to the community that gathers around the shop, and about the larger community, in Stockton, as well.

YouTube Preview Image

Amelia’s Magazine posed a few questions to Jeanie Finlay about the documentary.

What inspired you to make the documentary? Is the finished film how you imagined it when you first started, or has it taken on a life of its own?
Sound It Out is a documentary portrait about the very last record shop in Teesside, Sound It Out Records, Stockton-on-Tees. It’s a film about music and passion and collecting, all encased in a tiny shop on a small street in the place where I grew up. I went to school with Tom (the shop owner) and although Sound It Out isn’t a shop from my formative years (Alan Fearnley’s RIP) it was clear how much the shop meant to people when I’d go in to visit. It seemed like the perfect place to make a film about what music means to people and about the North East, about my home. Over the last five years a record shop has closed in the UK every three days so it seemed important to document Sound It Out in all its glory. It’s the first film I’ve made on my own – I usually work with a crew. For Sound It Out I wanted to just start shooting, just me and the camera and see what happened. I sensed there was a film to be made in the story of the shop but I really wasn’t sure until long into the shoot. I needed to find out by just doing it. All the way through, from the filming, edit, design and distribution I’ve just tried to follow my gut instinct and go with it.

Sound it Out by Jeanie Finlay girl

Was it easy to persuade Tom to let you film in the shop? It must have been a bit of an unexpected request!
He was totally open and gave me complete access to the shop. The filming was a bit of a novelty at first and then I think it just became normal. When I’m filming things get good when it just feels boring – everyone has got so used to me filming that it’s not anything out of the ordinary. I’m just that girl in the corner with the camera. Tom was the only person I knew before I started and it was really interesting getting to know the regulars and deciding who the film would focus on. I was totally drawn to the shyer people who came in.

You get a few candid interviews with a lot of the regulars in the shop. Was that intended, to capture the ‘person behind the record buyer’, or was it something that just happened naturally?
I’m always interested in getting to know people ‘on camera’. The people I met were very candid and generous with what they shared. My films are always pretty personal and aim to find a glimmer of the person inside. I hope that people come away from the film feeling like they’ve got to know the people they’ve met on screen, for a moment. I’m not just interested in music – I’m interested in what it means to people and how it moves them. For me – music is powerful because other people’s lyrics and sounds can tell the story of our lives in a way that could be hard to articulate with words alone.

Sound it Out by Jeanie Finlay

Were you surprised by the critical reception Sound It Out received? And what did Tom and the customers think when they first saw it?
I was really nervous to show the film to Tom and the customers but they all seem to have taken the film to their hearts. Tom had been at a rough cut viewing but the first time he saw the finished film was the world premiere at SXSW, Austin. I was so overwhelmed after I did my introduction I burst into tears. I then just sat back in my seat and watched the audience. They were incredibly warm and Tom ended up on stage giving out advice on the best way to clean records. It was an amazing day. Since then the critical reaction has been kind of crazy. I originally imagined that I would do a small DVD run of the film and sell it in Tom’s shop. The film’s played at festivals all over the world. We’re now looking at a UK theatrical release and putting out a soundtrack EP on vinyl. We did a weeks run in NYC last week and got reviewed in the New York Times. I could not have predicted any of this:

Ms. Finlay’s smartly assembled film is an affectionate portrait of a shrinking group of record collectors under technological siege… Like a mint pressing in a bargain bin SOUND IT OUT is a rare find. Sweet.‘ (Daniel M. Gold, THE NEW YORK TIMES)

I don’t think it’s a film for everyone but the people that do like it seem to really like it.

Sound it Out by Jeanie Finlay man

Teesside has got a pretty vibrant music scene, and you include tracks by a few local artists (such as the Chapman Family, Das Wanderlust and Soviet Disco) in the film. Do you think that the area’s environment has helped create a distinct Teesside sound?
Totally… absolutely. Das Wanderlust makes me think of the strange landscapes of my youth and I love the moody, brooding sounds of the Chapman Family. Teesside runs through their music like words through Brighton Rock.

You’re currently trying to raise funds to get Sound It Out a full UK cinema release. With record shops still in a perilous position, are you hoping to inspire more people to support their local stores?
My film has been made with blood, sweat, tears and the support of (so far) 329 backers on crowd-funding website Indiegogo.com. It’s a micro budget film and we crowd-funded the shoot, the post production and when we got into SXSW we raised enough to get there for the premiere. It’s been like running a sponsored swim with a film as the goal and backers picking perks in exchange for their support. We’re now trying to finish our DIY story by raising enough to take the film to 30 cinemas across the UK. If we reach our goal of $10,000 we will unlock BFI P&A funding which will make it happen. Supporters can choose a limited edition 7” gatefold DVD with a baby blue vinyl soundtrack EP, a tour of the shop, a portable record player or bring the film to their own home. We still have a way to go but I’m hopeful. Each $ pledged gets us that little bit nearer – it’s the power of the crowd! I really do hope that people make the most of their local record shops. One of the pleasures of working on this film has been visiting some amazing shops. If you don’t use it – it will go, forever! We’re planning to hook up with local record shops when we take the film to cinemas. Get people in there buying something surprising.

After all the promotional work for Sound It Out, do you have any other projects in the pipeline?
Yes! Two new films, both feature documentaries – The Great Hip Hop Hoax (for BBC Scotland and Storyville), a film about LA hip hop act Silibil n’ Brains. No one knew they were Scottish, with fake American accents and made-up identities and ORION: The man who would be King, the rise and fall of a masked singer on Sun Records that tens of thousands believed was Elvis back from the grave.

Categories ,Alan Fearnley, ,austin, ,BBC, ,BFI, ,Bowie, ,brighton, ,Chapman Family, ,Das Wanderlust, ,Elvis, ,High Fidelity, ,indiegogo.com, ,Jeanie Finlay, ,New York Times, ,nottingham, ,Record Store Day, ,Record Store Day 2011, ,Rough Trade, ,Selectadisc, ,Silibil n’ Brains, ,Sister Ray, ,Sound It Out, ,Sound It Out Records, ,Soviet Disco, ,Stockton, ,Sun Records, ,sxsw, ,Teesside, ,texas, ,The Great Hip Hop Hoax

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Amelia’s Magazine | Kotki Dwa Staycations Album Launch Interview with Alex Ostrowski

Kotki Dwa at Sutton House by Sam Parr
The band at their Sutton House album launch by Sam Parr

Your 5 track EP ‘Lunch‘ came out in November 2011. Before that, It had been a wee while since you put any music out other than your Halloween video and exclusive Amelia’s Mag song for the USB Issue. Did this help you prepare for writing and recording Staycations, plus getting you back into performing live no doubt?

Yes we tend to leave quite big gaps in between our major projects. This time around it gave us the chance to develop our sound in the ways we’d been wanting to. The Lunch EP was kind of a ‘study’ to try out some new ways of doing things, moving forwards from our first album. We’d been working out how to be more economical with our part writing, so that things slotted together more deftly. Hopefully that comes through on the new album.

Great videos have always featured pretty heavily with your singles. I was locked in when I watched Robin’s Clogs! You all look like you have a lot of fun making them. As the three of you are all a creative bunch, this must be a pretty great extension of making music right?

We do love making videos and tend to have a lot of fun making them, perhaps too much sometimes! It’s good having a different outlet for ideas.

Kotki Dwa tied to their cardboard keyboard
Kotki Dwa tied to their cardboard keyboard

Love the new video directed by Hattie Newman for the song Staycations. Plus she just played flute for a track at your gig. Where did you film this?

It was actually directed by Geoffrey Taylor but art directed by Hattie Newman (she worked with Geoffrey on all the styling and made some cool props). We’re pretty good friends the lot of us, so we all mucked in. To make the video we went on a jaunt around Great Britain, trying to take in the jaw dropping sights of the National Trust’s properties around the country, whilst also changing battery packs, avoiding parking tickets and generally trying to make a music video on the fly with only a few warm scotch eggs to fuel us.

Everyone loves a scotch egg. I’m sure many bands are kicking themselves that they didn’t come up with approaching the National Trust. Are they doing exactly as any other record label would?

We approached the National Trust a long time ago with our ideas. They’ve been great sports and have supported us with many of the resources that a record label might sort out — space to record in, help promoting the album etc. Fundamentally the setup has enabled us to operate very independently and do everything exactly how we’ve wanted to, which is good fun and never disappointing.

All the teapots inside Sutton House
All the teapots inside Sutton House

So, as you started to formulate a plan to approach the National Trust, how did you do it? I imagine no one had ever asked them to be their record label before. Did they sit and think on it or jump at the chance to be involved? You must have been dying to tell everyone…

It was tempting to tell people about it in the early stages but we kept schtum. We approached the National Trust very carefully and very directly as a band. We knew exactly what we wanted to ask, and we knew exactly what the reasons were for them to say yes, so we explained everything with as much clarity as possible so that they would understand what we were on about. They got it pretty quickly and it took a couple of months to put the plan in place, but we got there!

How did this lightning bolt idea arise? I’d love to think you were just in a castle and thought, hey, imagine recording a track in here!

We wanted to partner with somebody other than a label for the release, because we thought it would throw up some interesting challenges. We’d already decided upon the title of our new album – Staycations – which we chose for its bittersweet connotations. And so, the National Trust sprang to mind because they look after so much of the British outdoors and so many weird & wonderful places for us to record in.

Alex from Kotki Dwa at the making of the video for Staycations
Alex from Kotki Dwa at the making of the video for Staycations

How many places did you visit up and down Great Britain in all? Do you have a favourite one? Did you write the album before or after these visits?

I think we’ve lost count. We’ve been to the Yorkshire Dales, Borrowdale and Upper Wharfedale in the Lake District, Heysham Head on the West Coast, Arnside Knott, Box Hill in Surrey, Pulpit Woods, Pitstone Windmill, plenty of the London properties including Fenton House, 2 Willow Road and Sutton House – the oldest house in Hackney! We really enjoyed visiting Malham Tarn in Yorkshire, where we had a relaxing boat ride.

Any plans to do anything further with them? I guess they’re helping you by stocking it in their NT shops now right? How many did you press?

We’ve just done a launch show at Sutton House, which the National Trust look after. We also put on a special exhibition at YCN on Rivington Street which showed some National Trust bits including some amazing old postcards which show some of the places they still look after today. We have stocked the album in a handful of their shops too which is nice, only fifty special physicals in existence.

Yes I have one. It’s hand bound in cloth with a lyric-postcard set and 4-colour risograph poster. Staycations has had good things written about it by the Guardian and Pitchfork. It couldn’t have gone much better!

It’s very flattering and we’re truly delighted by the response. We’ve been working on this for so long so it’s great to hear that people are enjoying the results. Hopefully if people enjoy the album they’ll buy it via our website!

During the making of Staycations video
During the making of Staycations video

Yes, it’s great you are selling it through Bandcamp. You all must be super chuffed with how well it’s all going. Especially as your loyal fans got to snap up just 50 limited edition CDs. Your original artwork or unusual features have been a pretty strong USP for Kotki Dwa. For instance, with the yellow Robin’s Clogs vinyl, I got the CD single, a flower pressed badge and fold out poster with lyrics. You really do think about the whole package, where many bands just don’t. Do you enjoy providing all these touches on the side of your music or is it just as important?

Yeah we enjoy making the whole thing as perfect as we can. We’re a fairly small operation so when we do something we do it wholeheartedly. I work as a designer at YCN so that comes in handy on the packaging front.

For me it makes it more treasured. Plus you obviously want your fans at your gigs to know the lyrics. For instance, with the Staycations MP3 version, I’m shown the lyrics on my iPhone! Don’t think I’ve ever seen this before!

Really? Cool, didn’t know that!

The sold out limited edition Staycations bundle
The sold out limited edition Staycations bundle

Well what a nice surprise! The album launch for Staycations: A Summer Punch Up, how did it go?

We had a really great time! We recorded some of the album at Sutton House so it was nice to revisit for a party. We had some great other bands playing too — Glaciers, fronted by brilliant illustrator Nic Burrows, and Niteflights who are an impressive new 4 piece well worth a listen.

Have you had to abide by a load of restrictions, like no noise after 10pm and you have to wear white cotton gloves?

National Trust visiting hours tend to be from 11 until 5 we’ve found, although we’ve bent a few rules like that over the past year! I did have to audition in order to be allowed to borrow one of the Trust’s oldest harpsichords though. Luckily I passed the audition and got to record with it — it’s on the album!

Inside the limited edition Staycations
Inside the limited edition Staycations

Oh great! Have you pencilled in a UK tour for this year? Any other events planned like your Polish paper-cutting workshop?

Well we’re playing Midnight A-Go-Go in London on 25th August, which will be fun. Let’s see what else comes up…

You can catch Kotki Dwa playing at Midnight A-Go-Go on Saturday 25th August at The Waiting Room (underneath The Three Crowns) on Stoke Newington High Street. 9pm – 4am and tickets are just £5. Read my review of the Staycations launch at Sutton House here.

Categories ,A Summer Punch Up, ,Abi Renshaw, ,Alex Ostrowski, ,Bandcamp, ,BBC, ,Beach balls, ,Box Hill, ,bunting, ,Crab costume, ,Dan Morison, ,Edie OP, ,Geoffrey Taylor, ,Ghost, ,Glaciers, ,Great Britain, ,hackney, ,Halloween video, ,Harpsichord, ,Hattie Newman, ,Homerton, ,Ice Cream, ,Kotki Dwa, ,Lake District, ,Limited edition CDs, ,Lunch EP, ,National Trust, ,Niteflights, ,Picnic hampers, ,Pimm’s, ,Pitchfork, ,Polish, ,Queen, ,Recording, ,Robin’s Clogs, ,Sam Glynn, ,Sam Parr, ,Scotch eggs, ,Staycations, ,Sun shine, ,Sutton House, ,Taywell, ,The Guardian, ,Triangle sandwiches, ,Twilight picnic punch, ,World record holder, ,YCN, ,Yorkshire, ,Yorkshire Dales

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Amelia’s Magazine | The Futureheads – Interview

Style: “lu flux hats 2″

Illustration by Jenny Robins

Lu Flux is one of the most interesting new British ethical fashion labels and one of the highlights in this year’s Estethica exhibition at London Fashion Week. Katia Bololia meets her in her studio at the industrial end of East London to talk about her latest collection, page ‘Dame and Knight’, ethical fashion and taking life less seriously.

Firstly, tell us a bit about yourself and your journey in the fashion world so far.
I graduated from the Edinburgh School of Art at 2006 and did my first collection for Glasgow Fashion Week, then went on to work with German fashion designer Bernhard Willhelm in Paris. I made the decision to move to London and at first I was doing commissions for other people, I hadn’t fully committed myself to fashion at the time until a friend of mine opened a gallery at Brick Lane and I put myself down for a show, so that put me into gear to make a collection for October 2008. That body of work I created eventually led me to the Vauxhaul Fashion Scout Show, which kicked off my career.

From then it escalated, leading to London Fashion Week’s Estethica Exhibition. Tell us about that experience.
It was really good, I hadn’t been to Estethica before and at first I didn’t know what to expect. There were all of the designers I’ve met before and it was nice because it felt like we were this strange ethical family, I’ve also met lots of people that I’ve heard about and wanted to meet personally. It was really lovely to be part of it and it was very exciting for me to be part of the LFW, I’ve never been in such a place before where I could meet people from all around the world.

What are the things that interest you in general?
Unfortunately, I don’t have a lot of time for myself but when I don’t do fashion I am very interested in art, galleries and culture mainly; music, films and everything. I like getting away to the countryside as well, escaping from it all.

When it comes to your label, do you have a fashion manifesto and if so what is it?
I read Vivienne’s Westwood manifesto recently and I suppose mine is very similar to hers, in the idea of buying something for longevity. I am also against disposable fashion. I think we should buy something because we love it and because it reflects our personality. I feel that all of my things transcend this message, to be loved for a long time.

There is a very interesting story when it comes to your fabrics, can you tell us where you source your fabrics from?
I used to source everything from charity and vintage shops, car boot sales and markets myself. Although I loved it, it is quite a difficult process as it takes up a lot of time and effort. I can’t commit myself to doing that anymore so I started working with a recycling company that is actually around the corner from my studio. These are fabrics coming from clothing banks from all around London, I may get fabric pieces, sheets or even clothes that I will take apart. The amount of waste that gets thrown every day is phenomenal and I am happy that I can make new, exciting pieces of it.

During that process, do you have difficulties sometimes finding the right thing for you? Or the opposite – finding a “small treasure” ?
Definitely, one piece of fabric can spark off a completely different design angle. I try not to have a specific design idea in my head, I prefer to see what I can get first and develop my designs from that; it helps the design process. If I can’t find something that I have in my mind, something else will come along and take its place. I also work with organic fabrics – the variety that’s out there is getting so much bigger these days and more accessible.

Speaking of organic, and its growth nowadays, I sometimes wonder if when companies take the eco route (whether it be fashion or food or whatever) they do so just because it has become fashionable. Although it all contributes to the greater good, do you feel that in some way ethical fashion has become commercial?
Green is definitely a buzz-word at the moment and everybody, be it in the fashion industry or not, tries to become as ethical as possible. I am not necessarily coming from that angle, even though I obviously care a lot about what I do and how it affects the environment, there is just too much waste and that affects everyone. But for me it’s more about the final garment than the ethical process; the fact that these pieces are unique, they’re more like art pieces.

In your collections we see an almost fairy-tale world. Where do you draw your inspiration from?
I have a personal collection of vintage photographs that I like to I look at. I love this time when photography was just starting and you get these moments frozen in time. Right now everyone uses photography all the time, capturing every moment, but back then you only see a fraction of their life and you have to imagine for yourself what their world might have been like. Obviously, I am also influenced by fairy-tales and their magical feeling; the escape from reality. Fashion is so intense, serious and glamorous and I want to take another spin on it, to keep it quite child-like and fun.

By seeing your collections past and present, one gets into a playful mood. Do you think that fashion is a protest these days, like it used to be in the past?
I think everyone’s got their point that they’re trying to make. My point is that you can have fun while making your point, it doesn’t all have to be serious. I want people to realize that they can have fun in whatever they’re doing and that humour can be injected in everything. Everything is so serious nowadays, fast-forward and busy.

For your last collection you’ve collaborated with London-based artist Alex Chinneck and traditional cordwainers Green Shoes. Tell us a little about that collaboration.
It was easy collaborating with Alex – he’s not only a wonderful sculptor but also my boyfriend! He had this paper cut-out of an explosion called Ka-boom and we both came up with the idea of translating it into a piece of clothing. It is a wonderful pictorial piece and it was also a real test for my patch-working abilities – it was really technical and much more complicated than I thought it would be, so it was really rewarding when it was finished. Then with Green Shoes, it all started when I bought a pair for Alex’s birthday and I decided to customise them for him, so it all unfolded with what I did and we decided to have them in the collection and a bag as well. They are all made of vegetarian leather and tanned with vegetable dye, so they’re as ethical as a shoe can be. Also, the cut-outs I used are off-cuts from the leftovers from Green Shoes to reduce waste once again.


Illustration by Jenny Robins

Finally, an urban fashion legend says that Tom Ford offered Stella McCartney the role of design director at Gucci. When McCartney said no fur or leather, and Ford couldn’t oblige, she turned down the role. What would you do in a similar dilemma, in a fantastic scenario where you are offered a dream job but you have to compromise your principles in ethical fashion?
Actually, I’m doing my dream job already! I don’t want to buy fabric off the roll, I have to think within these parameters and I like the barriers that I have put to myself, otherwise it is not ethical. This way I push myself to do something a little bit extra, it’s not as easy because all these fabrics are not given to me on a plate. When you are more resourceful and you push yourself creatively then the final result is much more rewarding. I don’t want to preach to people, but I want to plant an idea. If people like it they might be inspired and follow my example. Fingers crossed!


Lu Flux photographed by Holly Falconer


Illustration by Jenny Robins

Lu Flux is one of the most interesting new British ethical fashion labels and one of the highlights in this year’s Estethica exhibition at London Fashion Week. Katia Bololia meets her in her studio at the industrial end of East London to talk about her latest collection, viagra ‘Dame and Knight’, ed ethical fashion and taking life less seriously.

Firstly, find tell us a bit about yourself and your journey in the fashion world so far.
I graduated from the Edinburgh School of Art at 2006 and did my first collection for Glasgow Fashion Week, then went on to work with German fashion designer Bernhard Willhelm in Paris. I made the decision to move to London and at first I was doing commissions for other people, I hadn’t fully committed myself to fashion at the time until a friend of mine opened a gallery at Brick Lane and I put myself down for a show, so that put me into gear to make a collection for October 2008. That body of work I created eventually led me to the Vauxhaul Fashion Scout Show, which kicked off my career.

From then it escalated, leading to London Fashion Week’s Estethica Exhibition. Tell us about that experience.
It was really good, I hadn’t been to Estethica before and at first I didn’t know what to expect. There were all of the designers I’ve met before and it was nice because it felt like we were this strange ethical family, I’ve also met lots of people that I’ve heard about and wanted to meet personally. It was really lovely to be part of it and it was very exciting for me to be part of the LFW, I’ve never been in such a place before where I could meet people from all around the world.

What are the things that interest you in general?
Unfortunately, I don’t have a lot of time for myself but when I don’t do fashion I am very interested in art, galleries and culture mainly; music, films and everything. I like getting away to the countryside as well, escaping from it all.

When it comes to your label, do you have a fashion manifesto and if so what is it?
I read Vivienne’s Westwood manifesto recently and I suppose mine is very similar to hers, in the idea of buying something for longevity. I am also against disposable fashion. I think we should buy something because we love it and because it reflects our personality. I feel that all of my things transcend this message, to be loved for a long time.

There is a very interesting story when it comes to your fabrics, can you tell us where you source your fabrics from?
I used to source everything from charity and vintage shops, car boot sales and markets myself. Although I loved it, it is quite a difficult process as it takes up a lot of time and effort. I can’t commit myself to doing that anymore so I started working with a recycling company that is actually around the corner from my studio. These are fabrics coming from clothing banks from all around London, I may get fabric pieces, sheets or even clothes that I will take apart. The amount of waste that gets thrown every day is phenomenal and I am happy that I can make new, exciting pieces of it.

During that process, do you have difficulties sometimes finding the right thing for you? Or the opposite – finding a “small treasure” ?
Definitely, one piece of fabric can spark off a completely different design angle. I try not to have a specific design idea in my head, I prefer to see what I can get first and develop my designs from that; it helps the design process. If I can’t find something that I have in my mind, something else will come along and take its place. I also work with organic fabrics – the variety that’s out there is getting so much bigger these days and more accessible.

Speaking of organic, and its growth nowadays, I sometimes wonder if when companies take the eco route (whether it be fashion or food or whatever) they do so just because it has become fashionable. Although it all contributes to the greater good, do you feel that in some way ethical fashion has become commercial?
Green is definitely a buzz-word at the moment and everybody, be it in the fashion industry or not, tries to become as ethical as possible. I am not necessarily coming from that angle, even though I obviously care a lot about what I do and how it affects the environment, there is just too much waste and that affects everyone. But for me it’s more about the final garment than the ethical process; the fact that these pieces are unique, they’re more like art pieces.

In your collections we see an almost fairy-tale world. Where do you draw your inspiration from?
I have a personal collection of vintage photographs that I like to I look at. I love this time when photography was just starting and you get these moments frozen in time. Right now everyone uses photography all the time, capturing every moment, but back then you only see a fraction of their life and you have to imagine for yourself what their world might have been like. Obviously, I am also influenced by fairy-tales and their magical feeling; the escape from reality. Fashion is so intense, serious and glamorous and I want to take another spin on it, to keep it quite child-like and fun.

By seeing your collections past and present, one gets into a playful mood. Do you think that fashion is a protest these days, like it used to be in the past?
I think everyone’s got their point that they’re trying to make. My point is that you can have fun while making your point, it doesn’t all have to be serious. I want people to realize that they can have fun in whatever they’re doing and that humour can be injected in everything. Everything is so serious nowadays, fast-forward and busy.

For your last collection you’ve collaborated with London-based artist Alex Chinneck and traditional cordwainers Green Shoes. Tell us a little about that collaboration.
It was easy collaborating with Alex – he’s not only a wonderful sculptor but also my boyfriend! He had this paper cut-out of an explosion called Ka-boom and we both came up with the idea of translating it into a piece of clothing. It is a wonderful pictorial piece and it was also a real test for my patch-working abilities – it was really technical and much more complicated than I thought it would be, so it was really rewarding when it was finished. Then with Green Shoes, it all started when I bought a pair for Alex’s birthday and I decided to customise them for him, so it all unfolded with what I did and we decided to have them in the collection and a bag as well. They are all made of vegetarian leather and tanned with vegetable dye, so they’re as ethical as a shoe can be. Also, the cut-outs I used are off-cuts from the leftovers from Green Shoes to reduce waste once again.


Illustration by Jenny Robins

Finally, an urban fashion legend says that Tom Ford offered Stella McCartney the role of design director at Gucci. When McCartney said no fur or leather, and Ford couldn’t oblige, she turned down the role. What would you do in a similar dilemma, in a fantastic scenario where you are offered a dream job but you have to compromise your principles in ethical fashion?
Actually, I’m doing my dream job already! I don’t want to buy fabric off the roll, I have to think within these parameters and I like the barriers that I have put to myself, otherwise it is not ethical. This way I push myself to do something a little bit extra, it’s not as easy because all these fabrics are not given to me on a plate. When you are more resourceful and you push yourself creatively then the final result is much more rewarding. I don’t want to preach to people, but I want to plant an idea. If people like it they might be inspired and follow my example. Fingers crossed!


Lu Flux photographed by Holly Falconer


Illustration by Jenny Robins

Lu Flux is one of the most interesting new British ethical fashion labels and one of the highlights in this year’s Estethica exhibition at London Fashion Week. Katia Bololia meets her in her studio at the industrial end of East London to talk about her latest collection, ed ‘Dame and Knight’, sildenafil ethical fashion and taking life less seriously.

Firstly, tell us a bit about yourself and your journey in the fashion world so far.
I graduated from the Edinburgh School of Art at 2006 and did my first collection for Glasgow Fashion Week, then went on to work with German fashion designer Bernhard Willhelm in Paris. I made the decision to move to London and at first I was doing commissions for other people, I hadn’t fully committed myself to fashion at the time until a friend of mine opened a gallery at Brick Lane and I put myself down for a show, so that put me into gear to make a collection for October 2008. That body of work I created eventually led me to the Vauxhaul Fashion Scout Show, which kicked off my career.

From then it escalated, leading to London Fashion Week’s Estethica Exhibition. Tell us about that experience.
It was really good, I hadn’t been to Estethica before and at first I didn’t know what to expect. There were all of the designers I’ve met before and it was nice because it felt like we were this strange ethical family, I’ve also met lots of people that I’ve heard about and wanted to meet personally. It was really lovely to be part of it and it was very exciting for me to be part of the LFW, I’ve never been in such a place before where I could meet people from all around the world.

What are the things that interest you in general?
Unfortunately, I don’t have a lot of time for myself but when I don’t do fashion I am very interested in art, galleries and culture mainly; music, films and everything. I like getting away to the countryside as well, escaping from it all.

When it comes to your label, do you have a fashion manifesto and if so what is it?
I read Vivienne’s Westwood manifesto recently and I suppose mine is very similar to hers, in the idea of buying something for longevity. I am also against disposable fashion. I think we should buy something because we love it and because it reflects our personality. I feel that all of my things transcend this message, to be loved for a long time.

There is a very interesting story when it comes to your fabrics, can you tell us where you source your fabrics from?
I used to source everything from charity and vintage shops, car boot sales and markets myself. Although I loved it, it is quite a difficult process as it takes up a lot of time and effort. I can’t commit myself to doing that anymore so I started working with a recycling company that is actually around the corner from my studio. These are fabrics coming from clothing banks from all around London, I may get fabric pieces, sheets or even clothes that I will take apart. The amount of waste that gets thrown every day is phenomenal and I am happy that I can make new, exciting pieces of it.

During that process, do you have difficulties sometimes finding the right thing for you? Or the opposite – finding a “small treasure” ?
Definitely, one piece of fabric can spark off a completely different design angle. I try not to have a specific design idea in my head, I prefer to see what I can get first and develop my designs from that; it helps the design process. If I can’t find something that I have in my mind, something else will come along and take its place. I also work with organic fabrics – the variety that’s out there is getting so much bigger these days and more accessible.

Speaking of organic, and its growth nowadays, I sometimes wonder if when companies take the eco route (whether it be fashion or food or whatever) they do so just because it has become fashionable. Although it all contributes to the greater good, do you feel that in some way ethical fashion has become commercial?
Green is definitely a buzz-word at the moment and everybody, be it in the fashion industry or not, tries to become as ethical as possible. I am not necessarily coming from that angle, even though I obviously care a lot about what I do and how it affects the environment, there is just too much waste and that affects everyone. But for me it’s more about the final garment than the ethical process; the fact that these pieces are unique, they’re more like art pieces.

In your collections we see an almost fairy-tale world. Where do you draw your inspiration from?
I have a personal collection of vintage photographs that I like to I look at. I love this time when photography was just starting and you get these moments frozen in time. Right now everyone uses photography all the time, capturing every moment, but back then you only see a fraction of their life and you have to imagine for yourself what their world might have been like. Obviously, I am also influenced by fairy-tales and their magical feeling; the escape from reality. Fashion is so intense, serious and glamorous and I want to take another spin on it, to keep it quite child-like and fun.

By seeing your collections past and present, one gets into a playful mood. Do you think that fashion is a protest these days, like it used to be in the past?
I think everyone’s got their point that they’re trying to make. My point is that you can have fun while making your point, it doesn’t all have to be serious. I want people to realize that they can have fun in whatever they’re doing and that humour can be injected in everything. Everything is so serious nowadays, fast-forward and busy.

For your last collection you’ve collaborated with London-based artist Alex Chinneck and traditional cordwainers Green Shoes. Tell us a little about that collaboration.
It was easy collaborating with Alex – he’s not only a wonderful sculptor but also my boyfriend! He had this paper cut-out of an explosion called Ka-boom and we both came up with the idea of translating it into a piece of clothing. It is a wonderful pictorial piece and it was also a real test for my patch-working abilities – it was really technical and much more complicated than I thought it would be, so it was really rewarding when it was finished. Then with Green Shoes, it all started when I bought a pair for Alex’s birthday and I decided to customise them for him, so it all unfolded with what I did and we decided to have them in the collection and a bag as well. They are all made of vegetarian leather and tanned with vegetable dye, so they’re as ethical as a shoe can be. Also, the cut-outs I used are off-cuts from the leftovers from Green Shoes to reduce waste once again.


Illustration by Jenny Robins

Finally, an urban fashion legend says that Tom Ford offered Stella McCartney the role of design director at Gucci. When McCartney said no fur or leather, and Ford couldn’t oblige, she turned down the role. What would you do in a similar dilemma, in a fantastic scenario where you are offered a dream job but you have to compromise your principles in ethical fashion?
Actually, I’m doing my dream job already! I don’t want to buy fabric off the roll, I have to think within these parameters and I like the barriers that I have put to myself, otherwise it is not ethical. This way I push myself to do something a little bit extra, it’s not as easy because all these fabrics are not given to me on a plate. When you are more resourceful and you push yourself creatively then the final result is much more rewarding. I don’t want to preach to people, but I want to plant an idea. If people like it they might be inspired and follow my example. Fingers crossed!


Lu Flux photographed by Holly Falconer

On the eve of the release of their fourth album, no rx The Chaos, I sat down with lead singer Barry and guitarist Ross from the Futureheads to talk about their creative process, how it really felt to get dropped from their label, and their political leanings.

What were you thinking, recording this album? What was it you were trying to do?

Barry: It was very much a song at a time, and giving our full attention to each song without really thinking too much about the album as a whole until we’d given each of the songs enough time to know that they worked.

How long did you spend recording them all?

Barry: It was quite a fractured process, really, because we did it in three different sessions. The first session was in Sunderland with a mate of ours, Dave Brewis from Field Music, the second was with Dave Glover who produced the entirety of our second album – that’s This Is Not The World – and then we did a final session that we produced ourselves up in Newcastle in a tiny little studio called First Avenue. It was very much three different environments, three different atmospheres. It’s quite a well-rounded album I think.

It still sounds very cohesive, despite the different sessions.

Barry: We weren’t that worried about it not working as a record because we’d put so much effort into the songs that it could only add to the quality of the album, but when it came to actually mixing the album together we kind of realised that this is actually a preferable way to record. If you’ve got your guitar amp in the same room on every song, and it’s the same amp in every song, then that’s the level – guitars are guitars, they’re not going to sound that much different, but moving around gave it an extra level of personality and character.
Ross: And I think it truly only became the album, The Chaos, about 2/3 of the way through, when you start thinking about the artwork and the order of the tracklisting, what songs are going to make, what songs best sum up where we’re at. In the early stages you’re just going through it one song at a time, and that process really influences the rest of the songs that come after it, you know? When you’ve worked up four or five songs and recorded them, if you do it over a long period of time you’re going to end up influenced by that batch of songs, because even though we didn’t it all at the same studio or whatever, our head space was the same all the way through.

The title then – I noticed it’s a fast album. It goes quick, it’s not that it’s short but…

Barry: It’s pacy.

Yeah, it’s pacy, there’s so much happening and then it’s over. Is that where the name comes from, in a way? The Chaos?

Barry: Well, the song, ‘The Chaos’, is a song that does kind of represent the overall cohesion of the album. It captured so much for us, I think, the nature in which it was recorded, the times that we’re living in, the actual state of our culture is pure chaos, it’s the natural state of the universe, pure chaos. I was watching this amazing documentary on the BBC that was called The Secret Life of Chaos which was about chaos theory, and we’re trying to write songs about how we’re all fully capable of dealing with this chaos because we’ve all got to this point just fine. So no matter what you think might happen in the world, volcanic eruptions, earthquakes, or whatever, we’re here to deal with it, to deal with the experience. Not to shut it off, but to take it as it comes, to be a part of it. The main thing that the album is for is individuality and building confidence in yourself. I don’t want to sound like some self-help guy but, you know, music has this amazing ability to uplift people, without philosophy or whatever, and it’s all about the experience just coming through the airwaves into your brain and stimulates you. That’s what we’ve always done to ourselves, that’s what we’re all about as a band.
Ross: That element has always been really important with the Futureheads, and probably none more so than on this record, is to engage with people, on record, especially live, we want to engage with the crowd and each other. On this record the message is perhaps more direct than it’s ever been, and it’s about getting people to engage, to spark some kind of debate, some kind of positivity and not have such a passive experience, not to just settle for the dull things.

To what extent does that all come into play with the album cover? Where does that come from?

Barry: Well, that’s basically the chaos symbol, which was invented by a sci-fi writer in the 1950s. It’s a circle with eight arrows coming out of it. A very interesting symbol, because the arrows draw you in to that central point but the arrows create a dynamic to spit you out, and we’ve basically bastardised that symbol and made it into our own.
Ross: It sort of evokes the Nul Records logo too.
Barry: Aye, and with the artwork we all kind of chipped in little ideas.
Ross: Aye, it was great, we all put down our little designs and blueprints, like a school project. Interactive as it goes, like, because a lot of the time a lot of bands will have the management get a graphic designer in, they’ll choose from a range of designs and that’s it, that’s the cover, end of story. But I think that the way that we’re doing everything, to carry on, especially considering the problems we’ve had in the past and all, you really have to find a love for everything. It’s not just like writing a song and performing it, that’s it in its pure form but there’s a lot more involved. I think we get a thrill out of being closely involved with that stuff, and that we’re doing it on our own label entitles us to that now.

How is it running your own label? Has it been liberating?

Barry: Absolutely. Righteous. Righteous liberation.
Ross: That’s the thing, at the start of every new album it’s a very standard thing for a band to do is to get new press shots done or whatever, and in the past when we were with a major label there would always be this one guy who’d come along with these big books of portfolios…
Barry: Oh god.
Ross: …bearing in mind that all of us are very interested in the creative world, and we all are aware of photographers and artists in our own right, and he’d bring these things along and say, “how about such and such,” and it would be such a corporate process.

Very patronising?

Ross: Aye, it is very patronising. You’re not really part of the decision-making process, you’re only there as a gesture almost, having this sit-down. So this time, in keeping with the record being made in the north-east, close to home, we got a good friend of ours, Ian West, to do the photographs. We’ve tried to keep it as close to us as we can, really, and that level of control and those sorts of decisions are, relatively speaking, minutiae, but on the big picture are really massive. For a band to be able to exert that kind of authority is really rare, and I think that’s just one of the things that we enjoy doing, the fact that it’s a lot more free. How quickly we can go from having a decision or an idea to getting it done, there was just so much beaureaucracy at the major label.

Who were you with?

Barry: Warners, technically it was a subsidiary called 679 Recordings, but really, still a major. Nice people, don’t get me wrong, I’m not criticising the individuals, it’s just not smart enough for us, it’s a bit stupid.

I was reading that you guys were having some troubles back after you got dropped, that you were considering breaking up…

Barry: I don’t think that’s true, really.

I’m just going off Wikipedia here…

Barry: Wikipedia! I’m going to re-write that, because we’re not a ‘revival band’, fucking ‘revival band’! That’s bollocks, as if we’ve been a covers band for a decade. Piss off!
Ross: Oh man, now he’s raging.
Barry: I’m going to re-write the full Wikipedia for everybody.
Ross: Gonna have to be quick there, on the old computer like. It can be done.
Barry: This is the truth, right – the day that we got dropped, our manager called me and said, “I’ve got some good news – you’ve been dropped.” Yes! Cries of ecstasy. The best thing that could have happened. They were perfectly legally entitled to keep us on their shelf and say, “you get back to the studio,” and get songwriters in… There would’ve been blood, it would’ve been dangerous, to stay on Warners.
Ross: And another great thing about it was that they didn’t take another 18 months, two years, whatever – the second album had come out in May and by October, November they’d dropped us. And in a way it’s good on them to not mess us about.
Barry: They let us free, they let us out of the cage. They liberated us.
Ross: It happens to a lot of bands, I think, but for some reason we decided to talk about it a lot more. Like, for example, I was listening to Zane Lowe, he was interviewing a big lad from Outkast, and he’d just been dropped, signed again with Def Jam. They were talking about it but the way that it was dealt with, there weren’t many negative connotations. I think that maybe, the way that people now perceive that relationship is very different to when it happened to us, or the fact that we were so open about it almost attracted some kind of sympathy or drop in status.

Yeah, well what I’ve read about it almost seemed to suggest that you guys were really not happy about it, that you wouldn’t come back from it.

Barry: No, we never gave off the impression, intentionally… I think it’s fair enough to assume that if someone is rejected in that way that they’ll be, in some way, heartbroken, and we were of course all disillusioned with the music business but never with ourselves, never with our band. And now we have our own music industry, our own music business, that only we experience. It’s called Nul Records, and us and our managers are in complete control of that world. We control where we go in the world, what we spend on videos, and budgets and everything else, it’s empowering. We made the video for ‘Heartbeat Song’…

What’s that like?

Barry: Check it out, it’s funny, it’s like three different game shows in one. It’s all based on 70s game shows, it’s a really smart video.
Ross: There’s a standup, Ray Green, who’s the host and he’s very funny. He takes the focus off the video from the band, we’re kind of contestants.

So with your own record label, have you got yourself your own studio? It sounds like you’ve almost got your own kind of factory set up where you can work on your own terms.

Barry: We haven’t got our own studio, no.
Ross: But back in the north-east we’ve got 8music which is a creative space that we kind of share with Field Music, where we did record some of the album there.
Barry: Yeah, which was kind of revelation for us. We set up the 8music collective about seven or eight years ago now, and we contributed rent to a community building, and our fantasy was always to set up a studio there and release records from there, in a collective form, making ridiculous amounts of music. And then the Futureheads took off and we kind of disappeared from Sunderland for over year, really, just touring and stuff. Meanwhile, the brothers from Field Music kind of did actually set it up as a studio for them and when we came back they’d already started making music there, and it was very fortuitous for us to ask if they’d like to do a session together and they’d say absolutely, of course.
Ross: In a way, we probably could’ve made the entire album in that room, in that environment, if Dave hadn’t got so busy trying to record the latest Field Music album [called Field Music (Measure)].
Barry: Which is a double!
Ross: Yeah, imagine trying to fit in between sessions for a double album. And we’ve almost taken that space for granted but I think it’s really quite a special thing, that we can get the records out there from relatively small premises.

It sounds very punk, very DIY.

Barry: Absolutely.
Ross: It feels like we’re in charge of our destiny to a massive extent, way more than most bands in many ways because we haven’t got those corporate pressures or anyone interfering with the music or the creative decision making. It’s an intimate thing but it seems to be working for us.

So you’ve got this system worked out where you seem to be very comfortable, but I have to ask – how much chaos is there in that system?

Barry: Hah, just right. Balanced chaos. That’s the thing with chaos because there’s chaos in chaos. It’s just chaos how we perceive it, because there’s something else far more powerful controlling it and we experience, as an observer, as a crazy random world.

A last thing now, because everyone’s going on about it – did you watch the first TV debate?

Barry: No, we were… what were we doing last night?
Ross: We played a gig at King’s College. We tried to keep up with it online but, by all accounts, Nick Clegg came out of it well.

Are you guys politically engaged at all?

Barry: I think we all are, in our own little ways. We’ll all be voting this year, it’s turning into a very interesting time, but I read too many conspiracy theories… the Illuminati and Freemasons…

Shape-shifting lizards?

Barry: Heh, I don’t subscribe to that particular fucking crazy theory, but there’s definitely a cabal of highly powerful billionaires who are calling a lot of the shots, and there is that element of slightly sinister shit going on, but it’s a distraction from the real reality of it which is that we’ve got a big election coming up. What’s that saying… “Shat on by Labour, shoved up by Tories”? As Uncle Monty in Withnail & I would say. How about you?

I’ve got no idea yet. The thing is, I live in one of the safest Tory seats in the country, it’s been Conservative for the past two centuries.

Ross: Ah, well, conversely a lot of the districts that we live in, in the north-east, are very much Labour, and what with us wanting people to engage, this album, the timing might not be great with it coming out after the election but it would be that thing of wanting people to mobilise themselves and have their say. It’s like they say, you can only moan if you vote.
Barry: Hah! [puts on RP accent] Mind you, you can only moan if you vote. I voted and I can moan as much as I like!

Heh, well, don’t blame me, I voted for Kodos. So the album’s coming out on the 26th of April, and the next single is going to be…

Barry: A mystery. Not sure yet.

And touring plans?

Barry: Yeah, got a big tour coming up to promote the album starting on the day the album is released, up in Norwich. Then we have a little break and we’re off to America, which will be good as we haven’t done a tour there in three or four years. The album comes out over there on the 1st of June, the first day of the tour, so it’s pretty well organised. And we’re doing a few festivals, Leeds and Reading main stage which will be amazing, a few years since we’ve done that. Wicker Man Festival, Kendal Calling, there’s a lot of really good smaller indie rock festivals establishing themselves, you know, 5000 max kind of things.

Like Truck Festival?

Barry: That’s really good, it’s got a lovely atmosphere, like a tiny Glastonbury. Festivals are great things, you know, they’ve been happening a very long time and they’re usually celebrating something, like the summer solstice. Glastonbury’s always been on the solstice, so there’s this element of getting together as a community and passing the time in a very positive and proactive way. And that kind of joy that people are experiencing is just great, and you’re essentially like a hoover, you know [makes sucking noise], trying to suck all the joy up and fire it back at them, and that’s the beauty of festival. I love them.

Are they your favourite gigs, then?

Barry: Oh, I love them. Absolutely love them. So exciting. No preparation. You’re in front of your largest crowds with your smallest amount of equipment, shortest time to prepare. You’ve got to get them, otherwise they’ll just float away, or else they’ll just go watch someone DJ, or go on the rides, you’ve got to hold them, it’s a really interesting experience.

Categories ,8Music, ,BBC, ,field music, ,First Avenue, ,Heartbeat Song, ,ian steadman, ,Ian West, ,Newcastle, ,North East, ,Nul Records, ,Ray Green, ,Sunderland, ,The Chaos, ,the futureheads, ,The Secret Life of Chaos, ,This Is Not The World

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Amelia’s Magazine | Bellowhead Live Performance Review


The Darkroom on Lamb’s Conduit Street, ampoule check illustrated by June Chanpoomidole

A little while ago (read: ages ago and I’m only just getting around to writing this) I went along to the launch of Veja‘s new luggage line. I’ve digged Veja for ages – purveyors of neat trainers that are totally ethical in production and manufacture. They add a je ne sais quoi to the Shoreditch plimsoll trend, pills in a host of vibrant colours and fashion-forward designs.

So when I heard they were to develop a line of bags I was over the moon. The launch happened at the Darkroom– the latest hipster shop on Lambs Conduit Street, clinic with its achingly cool dark interior stocking some fabulous products that are hard to find elsewhere. A great atmosphere ensued due in large to cocktail after cocktail, which is brave of Veja considering their new range was dotted around the shop. I always have an acute fear of throwing a flirtini over an over-priced frock extremely over-priced artwork when I attend these functions.


Illustration by Katie Walters

The new line of bags is, quite simply, brilliant. In a range of a cool colours including dark blues, browns and creams, the bags come in a variety of shapes and sizes- from rucksacks to larger luggage styles. They’re al quality crafted, whether it be a canvas day bag or satchels in soft leather. And, as always, they’re totally ethical. The pure cotton canvas is always organic, the leather is vegetable-tanned and they’re all produced in Brazil using skilled workers who are paid well and looked after. So, not only do you look super-stylish, you can swagger guilt-free.


Illustration by Stacie Swift

Since the bag launch, Veja have released their latest season of trainers, which I reckon is the best range yet. Vegetable-tanned suede and wild Amazonian rubber make up this delicious new footwear range, called the Indigenous. You can watch the video of the shoot right here:

Veja — LOOKBOOK INDIGENOS from Veja on Vimeo.

Here are some photographs from the event for your delectation:

The best thing about Veja is that their ethical products won’t break the bank. Find out more about them on their website, and you can read more about ethical labels in Amelia’s new book.

Enjoy!


The Darkroom on Lamb’s Conduit Street, view illustrated by June Chanpoomidole

A little while ago (read: ages ago and I’m only just getting around to writing this) I went along to the launch of Veja‘s new luggage line. I’ve digged Veja for ages – purveyors of neat trainers that are totally ethical in production and manufacture. They add a je ne sais quoi to the Shoreditch plimsoll trend, look in a host of vibrant colours and fashion-forward designs.

So when I heard they were to develop a line of bags I was over the moon. The launch happened at the Darkroom– the latest hipster shop on Lambs Conduit Street, with its achingly cool dark interior stocking some fabulous products that are hard to find elsewhere. A great atmosphere ensued due in large to cocktail after cocktail, which is brave of Veja considering their new range was dotted around the shop. I always have an acute fear of throwing a flirtini over an over-priced frock extremely over-priced artwork when I attend these functions.


Illustration by Katie Walters

The new line of bags is, quite simply, brilliant. In a range of a cool colours including dark blues, browns and creams, the bags come in a variety of shapes and sizes- from rucksacks to larger luggage styles. They’re al quality crafted, whether it be a canvas day bag or satchels in soft leather. And, as always, they’re totally ethical. The pure cotton canvas is always organic, the leather is vegetable-tanned and they’re all produced in Brazil using skilled workers who are paid well and looked after. So, not only do you look super-stylish, you can swagger guilt-free.


Illustration by Stacie Swift

Since the bag launch, Veja have released their latest season of trainers, which I reckon is the best range yet. Vegetable-tanned suede and wild Amazonian rubber make up this delicious new footwear range, called the Indigenous. You can watch the video of the shoot right here:

Veja — LOOKBOOK INDIGENOS from Veja on Vimeo.

Here are some photographs from the event for your delectation:

The best thing about Veja is that their ethical products won’t break the bank. Find out more about them on their website, and you can read more about ethical labels in Amelia’s new book.

Enjoy!

valentine

Valentines schmallentines. Yup, cialis 40mg that’s what I normally think. But for some reason I’m in a good mood this year. Although that doesn’t stop me grumbling about the excessive tat for sale in absolutely every shop I enter. Who the hell wants a light up musical plastic toad covered in hearts? Just one of the ridiculous landfill-bound items available on the groaning Valentine’s Day display in one supermarket I visited.

I was leaving my singing class last night when our teacher wished us all a Happy Valentines Day and I realised that this celebration of love has become a national event not unlike Christmas or Easter. How did that happen? But maybe it is a good thing… I shall explain.

valentine 2

Most of the time I have been on my own on Valentine’s Day. As a teenager my first boyfriend (this is him now. EWWWWWWWWWW. Amazing what you can do with google! I swear he was a smooth looker way back when, viagra dosage and he was cool. I know you don’t believe me) gave me a squashed box of Black Magic before trying to persuade me to give him a blow job. I wasn’t impressed. Then a boyfriend who I loved very much memorably gave me some hastily bought wilting ‘petrol station flowers’. But he was young. I was in love. I forgave him and we lasted quite a bit longer.

At school and university I often made cards for my best friends instead of for a non-existent boyfriend, and during the long dry spell that I experienced in my 20s my lovely mother usually remembered to send me a card, and I would send her one too. I always felt that Valentine’s Day should be a time of year to give thanks to people who are special in our lives, regardless of whether they are our sole love interest.

And remember hearts. Hearts are just so great. Their shape, their colour. Like a circle or a square or a star, the shape of a heart says so much with so little. They’re cute and pretty and like most other girls, I probably can’t get enough of them. No, that’s a lie. When they’re bad hearts I can. Like these. Actually no, even these aren’t too bad. I have a seriously high tolerance for kitsch. But the commercial overkill of hearts makes me cross.

Pink kitsch hearts

I think it’s best to ignore the pressurised consumerism of Valentine’s Day, but I do think it’s nice to celebrate the occasion because everyone likes to feel appreciated. And if you’ve got some singleton friends, maybe you should think about popping a card in the post to them (making it obvious that it’s from you of course, not some handsome hunk of their dreams). I am sure it would make them smile this weekend.

Best of all, make something. Surprise that special someone with a special act or a special gift that you spent time and energy on. It means so much more than a bit of thoughtless tat. Having said that, us girls would also appreciate a bit of artwork or jewellery, especially if it’s by a talented independent designer or artist. So, here for your last minute delection I offer you my pick of Valentine inspired gifts.

rob-ryan-valentines

First up we have a beautiful print from Rob Ryan, whose sentimental art is perfectly suited to this time of year. I am reliably informed that as of earlier today there were two of these cut-outs left in the Tatty Devine Soho shop, but be quick if you’d like to snap up one because Rob Ryan grows ever more popular.

Bonbi Forest-love letter necklace

The Bonbi Forest website is run by artist Lee May Foster, who specialises in hand screenprinting and jewellery made from vintage pieces. Her brass Love Letter Lockets are ever so cute.

lisa jones-lovebirds

Over at Soma Gallery you can pick up a lovely silk screen print of kissing lovebirds, created by Lisa Jones.

valentines print-thereza-rowe

Amelia’s Magazine favourite Thereza Rowe is offering a limited edition Amore Valentines print, lovingly created in her inimitable colour palette. This bold artwork would look good on your wall all year round.

Clara Francis-The-Shop

And although it’s got darn all to do with hearts I’m kind of smitten with this beaded hummingbird necklace by Clara Francis. She’s used a traditional beading technique that I remember being fascinated by as a teenager. I told myself that I was going to learn how to do this myself. Yes well. Best intentions and all that.

Amelia Gregory

Fashion editor Rachael has already mentioned this classic lollipop necklace by Tatty Devine but I thought I’d add it in again – mainly because it was the necklace that they asked me to model in their Best Of booklet about a year ago. Ohhhh missus. Get me trying to be all saucy!

Lady Luck Rules Okay

And I know a certain someone who has already bought this for their loved one – a wooden squirrel broach from Lady Luck Rules Okay. I’m Nuts About You has room for your own message too. Lady Luck have a shop just moments from my house off Brick Lane. I should introduce them to the (real) squirrels who live in the ivy just below my bedroom windowsill. There’s certainly a lot of love going on between this happy (noisy) couple – in fact I’m expecting some additions to the family soon. Squirrel love. You really can’t beat it.

Oh, and I’ll let you know if I get any half dead flowers this year.
valentine

Valentines schmallentines. Yup, physician that’s what I normally think. But for some reason I’m in a good mood this year. Although that doesn’t stop me grumbling about the excessive tat for sale in absolutely every shop I enter. Who the hell wants a light up musical plastic toad covered in hearts? Just one of the ridiculous landfill-bound items available on the groaning Valentine’s Day display in one supermarket I visited.

I was leaving my singing class last night when our teacher wished us all a Happy Valentines Day and I realised that this celebration of love has become a national event not unlike Christmas or Easter. How did that happen? But maybe it is a good thing… I shall explain.

valentine 2

Most of the time I have been on my own on Valentine’s Day. As a teenager my first boyfriend (this is him now. EWWWWWWWWWW. Amazing what you can do with google! I swear he was a smooth looker way back when, troche and he was cool. I know you don’t believe me) gave me a squashed box of Black Magic before trying to persuade me to give him a blow job. I wasn’t impressed. Then a boyfriend who I loved very much memorably gave me some hastily bought wilting ‘petrol station flowers‘. But he was young. I was in love. I forgave him and we lasted quite a bit longer.

At school and university I often made cards for my best friends instead of for a non-existent boyfriend, and during the long dry spell that I experienced in my 20s my lovely mother usually remembered to send me a card, and I would send her one too. I always felt that Valentine’s Day should be a time of year to give thanks to people who are special in our lives, regardless of whether they are our sole love interest.

And remember hearts. Hearts are just so great. Their shape, their colour. Like a circle or a square or a star, the shape of a heart says so much with so little. They’re cute and pretty and like most other girls, I probably can’t get enough of them. No, that’s a lie. When they’re bad hearts I can. Like these. Actually no, even these aren’t too bad. I have a seriously high tolerance for kitsch. But the commercial overkill of hearts makes me cross.

Pink kitsch hearts

I think it’s best to ignore the pressurised consumerism of Valentine’s Day, but I do think it’s nice to celebrate the occasion because everyone likes to feel appreciated. And if you’ve got some singleton friends, maybe you should think about popping a card in the post to them (making it obvious that it’s from you of course, not some handsome hunk of their dreams). I am sure it would make them smile this weekend.

Best of all, make something. Surprise that special someone with a special act or a special gift that you spent time and energy on. It means so much more than a bit of thoughtless tat. Having said that, us girls would also appreciate a bit of artwork or jewellery, especially if it’s by a talented independent designer or artist. So, here for your last minute delection I offer you my pick of Valentine inspired gifts.

rob-ryan-valentines

First up we have a beautiful print from Rob Ryan, whose sentimental art is perfectly suited to this time of year. I am reliably informed that as of earlier today there were two of these cut-outs left in the Tatty Devine Soho shop, but be quick if you’d like to snap up one because Rob Ryan grows ever more popular.

Bonbi Forest-love letter necklace

The Bonbi Forest website is run by artist Lee May Foster, who specialises in hand screenprinting and jewellery made from vintage pieces. Her brass Love Letter Lockets are ever so cute.

lisa jones-lovebirds

Over at Soma Gallery you can pick up a lovely silk screen print of kissing lovebirds, created by Lisa Jones.

valentines print-thereza-rowe

Amelia’s Magazine favourite Thereza Rowe is offering a limited edition Amore Valentines print, lovingly created in her inimitable colour palette. This bold artwork would look good on your wall all year round.

Clara Francis-The-Shop

And although it’s got darn all to do with hearts I’m kind of smitten with this beaded hummingbird necklace by Clara Francis. She’s used a traditional beading technique that I remember being fascinated by as a teenager. I told myself that I was going to learn how to do this myself. Yes well. Best intentions and all that.

Amelia Gregory

Fashion editor Rachael has already mentioned this classic lollipop necklace by Tatty Devine but I thought I’d add it in again – mainly because it was the necklace that they asked me to model in their Best Of booklet about a year ago. Ohhhh missus. Get me trying to be all saucy!

Lady Luck Rules Okay

And I know a certain someone who has already bought this for their loved one – a wooden squirrel broach from Lady Luck Rules Okay. I’m Nuts About You has room for your own message too. Lady Luck have a shop just moments from my house off Brick Lane. I should introduce them to the (real) squirrels who live in the ivy just below my bedroom windowsill. There’s certainly a lot of love going on between this happy (noisy) couple – in fact I’m expecting some additions to the family soon. Squirrel love. You really can’t beat it.

Oh, and I’ll let you know if I get any half dead flowers this year.
Bellowhead Kayleigh Bluck
Jon Spiers illustration by Kayleigh Bluck

My boyfriend, more about Charlie started showing me ‘A Folk Song A Day’ a while back. There is one where two men, Jon Boden and John Spiers, frontmen of Bellowhead, sit under a tree, in an (enchanted) forest and sing a nice traditional sounding number. This is the one Charlie particularly loves, it holds the words ‘spotted pig’ within it. Most of the songs come with a healthy dollop of ‘English’ cheek, hence spotted pig.

Just like Bellowhead’s songs, which tend to chat vigorously about strange animals, wizardry and prostitution. But they’re all done with a little glint in the eye and an elbow nudge. ‘English’ cheek makes these things Ok, I reckon. It also makes it all very amusing and you feel yourself holding back an ‘hoooo arrrgh’ as they announce the next song’s topic and sing about ‘whores’. Maybe the ‘hoooo arrrgh’ is because I am watching the band in the West Country and I’ve finally lost my South Eastern ways and become western in spirit. So lovable, they are… and darn! It just seems so quintessentially English to sing like this! *In the depths of dirty 18th century London, a pub glows orangey red, and bursts music from its heart- beers spills from tankards and bosoms heave.*

bellowhead by cat palairet
Bellowhead illustration by Cat Palairet

Of course London and Brighton still love a ho-down. But I have to say it is the county of Cornwall, that Bellowhead reminds me of the most. Cornwall still retains that mystical charm, where the fairies hang out dressed in corsets and the boys wear waistcoats. It is where you will find wooden floor stomping and ‘proper’ local pubs bursting with dancing and singing – natural coloured, ethereally moving fabrics flaying about. Although some Cornish say they are not English, it feels like it is they who hold onto my own nostalgic vision of England hundreds of years ago. And it is true that most music nights in Kernow’s pubs and bars centre around acoustic music and folk struts. You would certainly be hard pushed to find any minimal or electro going on down there.

BUT I digress! We are in Bristol tonight and although I may think i’m entering a pub called Jacob’s Ladder in Falmouth, Cornwall, I am actually in The Bristol Old Vic. Charlie is made up because he is seeing his spotted pig superstars and due to last minute actions, i’ve just had to squash past a row of people to get to my red velvet (?) seat in the middle of the seating line. There are eleven instruments on stage, which the eleven band members begin to attach themselves to. Most of the instruments look enormous. One of them, has to be worn, which makes it look like it is engulfing its player with its own gigantic structure. Like a fish with a massive head.

They start. And it’s like being dunked in ocean water, blasted with air and then bounced up and down. Before you know it, you’re bouncing up and down because you can’t help doing it. Then you’re clapping. Then you’re standing up, and dancing, and clapping. Because you literally can not help it. Bellowhead have injected you and the whole audience with some sort of extreme happiness on a November night. How very talented.

Bellowhead Live Bristol

When looking at the audience, I wouldn’t call it a ‘young person’ – as my Granny would label it – night. However there is a very broad demographic of people in attendance. Which lays testament to their talent. They are able to cross the divisions and bring people together with a related inner excitement. Initially I had thought the lady sat next to me appeared very reserved when I apologetically sank into my seat. But she really went for it, and I mean went for it. I had to tell myself to loosen up a bit, I was so impressed with her enthusiasm.

Bellowhead are so very confident on stage too. Jon Boden leads them on their whizz around their elation inducing music, and they all respect and work together so well. It’s great to see the purposeful movements, belief in performance and joy from being there. Enjoying the riotous music making, Boden continuously raises up his arms, embracing, welcoming and encouraging the spirited feelings. Everyone dances around on stage and I feel like i’m watching a vibrant musical.

This stage presence and professional style now transports them from Cornwall to the Moulin Rouge! Now, Boden is standing on top of the windmill as he sings, and all the players are on a platform in the sky. It’s all loaded with humour and full of energy as I realise that these guys are actually epic.

Abby_Wright_Bellowhead
Jon Spiers illustration by Abby Wright

I begin to wish there had been no seats and we could have pranced around and stamped our feet from the start. However, of course although Bellowhead are about the dancing, they are also about the performance. Huge accolades have been bestowed upon this mega-folk band. They have won the BBC award for Best Live Folk Act four times, with The Independent stating: ‘With the exception of The Who, Bellowhead are surely the best live act in the country.’ Indeed. With 11 hugely talented musicians on stage, I didn’t want to miss a thing.

Before I sign off, going back to A Folk Song A Day, Boden says: “The main idea behind A Folk Song A Day. com is to try and do my bit for raising the profile of unaccompanied social singing. Most of the songs on the site are songs that I have sung for years but rarely on stage and never on albums – songs that I have learnt because I wanted to be able to sing them in a pub.” I’ll tell you this, their album is nothing compared to a live performance by Bellowhead. You WILL want to start singing in pubs and you WILL be singing all the way home.

Details of their tour can be found here

Categories ,Abby Wright, ,BBC, ,Bellowhead, ,Best Live Folk Act, ,bristol, ,Bristol Old Vic., ,Cat Palairet, ,folk, ,gig, ,Jacob’s Ladder, ,Kayleigh Bluck, ,live, ,Moulin Rouge, ,music, ,review

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