THE ELEMENTZ NOTTINGHAM BARAWARDS FURTRADE 2TONE SUBISM LISTINGS PLUS - CREATIVEAWARDS - ONES 2WATCH - INDEPENDENT FILM - LOTS MORE INSIDE!
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Welcome back plucky Freeq readers, or welcome for the first time to any Freeq virgins who’ve been inspired by the cover artwork of Subism to pick up a copy of this free monthly creative magazine. I’ve not got too much to report since our last issue, except for the fact that we’ve only gone and switched to a monthly release, leaving our dreary bi-monthly cycle behind, so you’ll now get twice as much arty goodness every year. Can you handle that? Yes? Good. With the Bar Awards coming up in May, we’ve started our exclusive preview coverage – try out the bars advertising in this issue for a taste of Nottingham’s nightlife, all in the name of research before you cast your votes of course. We’ve got interviews with Nottingham producers The Elementz plus we speak to Notts rapper 2Tone and art collective and cover designers Subism.To be honest, I’m sure you can navigate your way through the rest of this issue without me explaining it in fine detail; the contents page is your friend here. Instead, I will tell you about all the stuff that didn’t quite make it into the covers of Freeq magazine this month. We didn’t publish our exclusive interview with Cheryl and Ashley in which they spill all the sordid details of their love lives. We also made a last-minute decision to drop the ‘Win a Ferrari’ competition as we felt it had all been done before. Then there was the secretly filmed footage from Number 10 with Gordon Brown heard screaming abuse at all and sundry – too political for our liking. Anyway, we hope you appreciate the editorial decisions and enjoy reading this latest issue of Freeq magazine. Don’t forget to check out the website www. freeqmagazine.com for extra articles and features and follow us on twitter to get all the latest Freeq news first. If you think you’ve got what it takes to make Freeq even better with your writing, music or artistic skills then send us an email to firstname.lastname@example.org to tell us all about it.
EDITORIAL TEAM Editor in Chief: Sam Borrett Creative Director: Mellisa Harrison Reviews Editor: Jamie Brannon Features: Martin Guttridge-Hewitt Columnist: Phil Robinson Contributors: Topher Batchelor Photography: Digital Resolution, Meli G Cover: Subism Design: Radar Creative Published by: Freeq Printed by: Pyramid Press www.pyramidpress.co.uk Advertising: Call: 07766 118 852 Email: email@example.com WEBSITE: www.freeqmagazine.com General enquiry email: firstname.lastname@example.org Address: Freeq Magazine, The Hive Burton Street Nottingham NG1 4BU There’s even more for you to peruse online at www.freeqmagazine.com including articles from all our back issues and image galleries of our favourite gigs and events. Facebook: search for freeq Myspace: www.myspace.co.uk/freeqmagazine Twitter: www.twitter.com/freeqmagazine
The Elementz are Nottingham music producers Andrew Souter, aka Zoutr and Lee Simpson-White, aka Liati.With new studios in the Lace Market opposite Nottingham Contemporary, they’ve built a solid client base in over ten years of music industry experience. We asked Zoutr and Liati what’s changed in the time they’ve been involved in Nottingham’s music scene. “Music moves in cycles. Styles and scenes progress then fade away all the time, but as long as music keeps moving though that process with dedicated artists, labels, clubs and promoters pushing it forward we’ll always have some kind of scene here.The problem we have now is that we don’t have a record shop culture in Nottingham, there’s no real community beyond the dance floor. Ten years ago you’d buy vinyl as a DJ all the time.You’d go to Selecta Disc or Funky Monkey to do that and connect with people on the scene. You’d find out who was cutting new stuff, check the flyers for new promotions and hustle for latest white labels – there was a real buzz. Now that’s vanished with the explosion of the Internet, which is an amazing thing, but we don’t really connect with each other anymore. Music has less value to most people now.” The Elementz have a very eclectic sound despite being well known for their hip hop. They run The Elementz Sound System at ULTRA! (Gatecrasher), which Liati describes as, “a mix of anything 130-140 BPM that’s danceable and musical.” And the music they’re currently writing has a carnival feel to it, with reggae and jungle influences demonstrating their musical journey through the 90s until now. There are always challenges getting established in the music industry and in a small city like Nottingham, politics can play a big part as Liati explained: “Nottingham has always had certain boundaries in terms of who you’re connected to as friends and musicians. I suppose that’s just natural. It was a challenge when we first started out, as certain people wouldn’t support you if they thought you were rolling with one crew or whatever.
But we’ve always stayed out of all that the best we can. We’ve been lucky enough to work with pretty much everyone in hip hop in Nottingham without too much politics. The politics slows things down - a lot.” So, challenges aside we asked Zoutr what advice he would give to aspiring producers. “Develop your own style and don’t be put off by the fact that music sales don’t really make people rich anymore! Enjoy it, and network with people. Don’t be scared to share ideas, if you’re good enough, you’ll stay ahead of the curve even if people steal your style.” The Elementz have worked with pretty much everyone who’s anyone in hip hop in Nottingham and Liati recounts one story involving one of the city’s most respected rappers, Wariko: “He’s amazing because of the amount of energy he puts into his music. I remember once, it was about 3am in our old studio in winter, we had no heating and a leaking roof, and he was working on this one line on a really fast beat, which he wanted to get perfect. He must have been in the booth for an hour and done countless takes. When he’d nailed it, I turned around to find him slumped against the wall absolutely exhausted. I respect that a lot. Most people these days seem to lose interest after three runs at a take.” The Elementz also get to see and work with the rising stars in Nottingham and gave us some tips on who to look out for. “Joy Orbison is amazing. He makes very musical club music – it has melody and a soul to it. People like Hudson Mohawke, Zomby and Martyn are pushing boundaries. You should also listen out for the T’SOTU Collective.” Finally, we asked Liati as they are such a close-working duo, there must be some fall outs from time to time. “We argue about very very petty things like who tidies up the office. Andy takes a lot of pride in his barnet too – I like to wind him up about that.” www.theelementz.co.uk
LOVE ENDS DISASTER Not exactly the newest band in the world, Love Ends Disaster! have been spearheading the Nottingham music scene for about four or five years now but with the imminent release of their debut full-length, they could be about to go from local to national very quickly. Already having enjoyed plenty of BBC airplay (amongst others) across the country, with This is Fake DIY putting out a single in 2007, the band have come to fully realise their potential.
From the angular, almost Coxon-esque guitar jitterings of Jon Dix to the theatrical but never overplayed deliveries of Matthew Oakes, the album ‘City of Glass’ is as eclectic as it is consistent. The two years spent recording the album have been well invested; time shared between a full spec studio in the middle of the Leicestershire countryside and self-recording in their rehearsal studio produced an overall finish that combines top end production and DIY ethic. The album itself is a lovingly made DIY creature, with a screen-printed cover to band-glued-hand-glued case. They must be rubbish at something... What really impresses about the new album however is how well it translates live. There is a tendency of bands to use sound effects and post-production styles when recording in a studio, often forgetting that it may be impossible to do live. Love Ends Disaster’s songs sound more complete live, and watching the execution of all the quirky additions adds to the appreciation of just how far Love Ends have come. Six members and a stage strewn with apparent surplus from a Dick novel all interact seamlessly to provide a wall of noise that is both refreshingly alternative and uncompromising
image: Meli G
in equal measure. There is a confidence exuded in the performance, and nothing gives a music journalist more pleasure than being convinced that a band knows what they are doing. The sheer scope of the music, from samples to atmospheric keyboards to the foundation-laying bass (which can also provide an interesting melody of its own at times) and the pushing and creative drums, is what provides such hope that a band from this region can really move forward and enjoy the success they deserve. Being honest, LED! should have made it by now. Regular XFM playlist appearances as well as numerous 6 Music and Radio 1 cameos have been happening for a few years without any major progress into fullon success. Including all the Bloc Party endorsement and the high-profile support slots (These New Puritans, Youthmovies, Yo La Tengo and Babyshambles, Supergrass, INXS etc…) there is really no reason why they shouldn’t already be being ushered into a studio by some executive promising them something better than a red Hyundai. The rest of the year is critical for LED! and with some really impressive labels rumoured to be showing an interest in releasing the album, maybe everything is pointing in the right direction for the six-some. I suppose I should also mention the type of music that they play, but it’s such a difficult job; the album can go from moodiest post-punk to ethereal ballad before you have even stopped looking at the lovely limited edition CD artwork. Topher Batchelor
FASHIONVICTIMS Next time you visit that cute little vintage shop and pick up that soft fur jacket. Don’t buy it. Just because the animal was killed twenty years ago it doesn’t make it ok. The more people who wear real fur, the more designers will continue to create or replicate vintage styles using fur. What’s wrong with fur? Imagine being hung upside down and having your skin ripped from your muscles while you are still alive. Undercover investigators from Swiss Animal Protection/East international toured fur farms in China’s Hebei province and discovered horrors beyond imagination. The footage filmed on these visits reveals the shocking truth and brutality behind the international fur trade. A search on YouTube for Chinese fur trade will present you with some horrific and barbaric demonstrations of cruelty. The videos are not for the feint hearted and we would strongly advise people to exercise caution when considering whether to watch the footage, which can also be found on the PETA (People for the Ethical Treatment of Animals) website. The details are shocking and unpleasant, however if people knew the cold hard truth about fur farms it might change their attitude towards fur in fashion. The film we watched shows raccoons being dragged from overcrowded cages and swung around by their hind legs, repeatedly bashed on the floor or kicked and stamped until their bodies are broken and they are barely alive. They are then hung upside down to have their skin cut and ripped from their still conscious bodies. The still breathing and moving bodies of these once beautiful creatures are thrown onto a of pile of carcasses to die, often taking up to ten minutes before the animal is finally released from its suffering.
dogs experience a brutal and painful death in the name of fashion and although illegal in Europe steel jaw traps are still used to catch animals in many states of America. PETA explained how a trapped animal dies. “When an animal steps on the spring of a steel-jaw trap, the trap’s jaws slam on the animal’s limb. The animal frantically struggles in excruciating pain as the trap cuts into his or her flesh, often down to the bone, mutilating the animal’s foot or leg. Some animals, especially mothers desperate to get back to their young, fight so vigorously that they attempt to chew or twist off their trapped limbs. This struggle may last for hours. Eventually, the animal succumbs to exhaustion and often exposure, frostbite, shock, and death.” How can designers think it is acceptable for a living creature to be snared, beaten, electrocuted and skinned alive for the sake of their next collection? Fashion is a big business and designers have the opportunity to lead by example, instead many of them continue to support this barbaric trade. If you are truly talented and creative you do not need to skin an innocent animal to create a thing of beauty. If more of us go for faux fur alternatives and boycott designers who use real fur, eventually the message will get across. One designer who received her fair share of hassle from die hard animal activists was Donna Karan who repeatedly used rabbit furs in her collections. We have to take our hats off to those who got involved in the campaign against her because it finally worked in winter 2009 when DK announced that she had no plans to use fur in any future collections. A small victory for the real fashion victims - animals, however there is a long way to go before this cruel and unnecessary industry is eradicated. For further info www.peta.org
China supplies more than half of the fur garments imported for sale in the United States but the farming, hunting and killing of animals happens in many regions of the world from Russia and the US to Canada where hundreds and thousands of baby seals are bludgeoned to death each spring. Every year millions of animals including foxes, minks, raccoons, rabbits, seals, coyotes and even cats and
A BEAT‘N’ BLEEP MASTER-CLASS
We travelled north to ask Marshall Jefferson, A Guy Called Gerald, Martyn and dEbruit some questions about the state of electronic beats- from house to broken glitch. Is it better to use analogue equipment to make music? Is it stupid to disregard digital production and laptops? Should DJs use computers, or decks? If more people are making tracks, and faster, are there more or less quality releases? These were amongst the questions that had become intolerable causes of insomnia, perpetually plaguing our minds. Luckily we found ourselves backstage at the Red Bull Music Academy- a two-day event in Manchester designed to increase musical knowledge, participation and progress. What better place to try and find the answers. His mid-80s club smash ‘Move Your Body’ is widely regarded as the first piano-led house track. He assisted in the production of Phuture’s ‘Acid Tracks’, which helped give acid house a blueprint and in January 2010 he was dropping classics in Singapore, Thailand, Italy, Montenegro and Macedonia. So when Chicago legend Marshall Jefferson offered his views on computer DJs and genre-dominated clubs, we listened. “As far as the guys using Serato and other mixing programmes, I ain’t hating”, he said. “I guess I’m doing the same thing in the long run by playing CDs. I don’t use a computer just because I prefer to physically hold something- but that’s personal preference.
“If some kid comes to the mixing booth to watch me play I prefer to be on decks so I can do tricks on the fly and all that stuff,” explained Jefferson. “I wouldn’t feel right if there were 10 guys watching me and I was just pressing buttons on a computer, so I guess it’s insecurity on my part really.” “Sound quality wise it’s all got better. Production wise it’s way worse. They’re not producing songs- there are no builds, no crescendos,” he said with clear infuriation. “That’s because of technology man. There’s way too many people putting out records now, and they don’t have song-writing fundamentals so everything is sounding the same. There are no inspiring songs, just beats. “House has a different definition in Chicago. Good, underground music is house in Chicago, so you’re not genre restricted. Drum ‘n’ bass can be house in Chicago. I go to parties where someone is playing the same genre all night, and it just sounds like the same beat, all night,” Jefferson explained before reminiscing on a moment of personal inspiration in the club scene that resulted from true innovation. “I remember going to Germany on the first house tour. Those guys were asking what we were using to produce, TB 303s, 909s, 808s? Them motherf***ers knew all that sh*t man- I wasn’t expecting that.
13 “Next time I went back, they were playing that sh*t live in the club. TB 303s- live, in the club. ‘Is this how you do in Chicago?’ they asked. I said ‘hell no!’ They passed us up man.” If one guy knows about taking studio equipment into clubs then Manchester born, Berlin resident A Guy Called Gerald does. He’s the man responsible for ‘Voodoo Ray’, the roots of jungle and drum ‘n’ bass and over 20 years of high profile collaborations, staggering live performances and influential productions. Tired of lugging heavy gear around the world he now uses two laptops and the studio production programme Reason to play in clubs, rather than the increasingly popular Ableton Live- designed for realtime performances. Thankfully he was on hand to talk about his sets. “It’s funny, because I went from using hardware to using Reason, I never used computers full on before. I trust it and, touch wood, it’s never crashed on me,” he explained. “I want to start putting some more live elements into it. I like playing around with loops and stuff, and I like the raw feeling. I tried toying around with some other programmes and everything is really safe. I like a bit of dirt, a bit of grudge,” said Gerald. “I’ve not been using so many vocals, but I’m thinking I could use Ableton as a tool within Reason for my vocals, but I don’t want to go through it via rewire as I’m losing some sound quality somehow. “Basically they’re both computer programmes and I can’t see how they’re different. But I’ve played the same track from Reason through Ableton and it seemed to lose the dynamic. I could make it sound like how it does through Reason but then that’s just extra work. It’s one of those things, it’s all very fast developing software- I think they’re on [Ableton] Live 8 now or something.” We ask if he would return to analogue if it didn’t mean all the equipment and hassle. “It’s [all] totally there now.You can go so mad with things. For me it’s like you can rub sticks together to make fire, or you can use a lighter,” he explains.
“When I first started making music there was not a question of software- everything was dependent on hardware. Now it is a little easier to make music I guess, it’s easier to get results really fast,” he said. “A lot of people don’t really know what they are doing. They are using effects but they don’t know what these effects actually do. “People are quite easily satisfied with what they’ve been making and they forget that it also has to sound really good.That’s one of the main things about making music,” explained Martyn. “I think what’s important about the music I play and the music I make is that it has to have a bit of contrast. Contrast makes the music interesting. It could be a sweet melody with some fierce beats, or it could be the other way round… it has to tickle your brain.” This discussion wouldn’t be complete without talking to someone at the early stages of their career. Luckily rising star dEbruit just moved his Parisian glitch-pop and bump-hop sound to London, and was on hand to offer a youthful perspective on things. “I think there are a lot of people that can do one amazing track, with technology and the internet letting people listen to that one track. Anybody can be lucky like that, but there are still not many that can provide constant levels of quality,” he said. “Now you can get more respect for just one track, and that can take you further than a single tune used to. “[Some] people’s strategy is to communicate before making good music. People spend more than half their time and budget on PR, thinking about the music second… Now you can make sh*t music available to everyone because you have a sponsor or whatever- I’d like that to change,” he said. Brief but insightful, the resounding message is slow down and stay focused, evolution is perhaps more valuable than revolution. Move things forward in your way, carving a name and a sound with patience, well-placed promotion and, of course, innovative performance. Martin Guttridge-Hewitt
In contrast the label boss at 3024, Martyn, has risen to stardom over the last half decade after years on the scene. He describes his sound as ‘Martyn music’ and the press say it’s dubstep-not-dubstep. Whatever the truth is he’s been instrumental in developing the broken, dubby-tech sound of now. Needless to say the Dutchman’s opinion on production was invaluable.
We spoke to Nottingham rapper 2Tone about his forthcoming single release Roots after seeing the preview video do the rounds online. You’ve written a track exploring your roots as mixed race. To what extent do you feel racism still exists in our society? I think it has got a lot better over the years but people still need to be educated on the issue, which applies to people in a position of power and at a community level. Where I live in Nottingham, the inner city is very multi cultural but as you move out towards the border you notice a big difference so you can see where the lack of understanding comes from. Your father is Ghanaian and you talk about the Motherland in your lyrics. Have you had the opportunity to visit Ghana and how was that experience? This is true, and yes I have had the opportunity to visit the beautiful country. Unfortunately my first trip there was under sad circumstances because it was for the funeral of my farther, but this did give me a massive amount of inspiration to create the song. You’re one of many rising stars nurtured at the community recording studios in St Anns, how has this helped you develop as an artist and get you to where you are now? The Community Recording Studio is a very important place for me and a lot of other young people from the City of Nottingham. It gives me the chance to express my talent in a positive way, the managers and staff, aka Big Trev and the rest of the crew, are also very supportive. Who have you most enjoyed working/collaborating with on your music? I have done alot of work with local artists such as Jah Digga and Wariko who are also very talented and we
were formerly part of a group called LRG who did a lot of good work in the UK and Europe, Hip hop and the R&B scene has a fairly negative reputation in Nottingham, what are your experiences of this and how do you deal with it? There was a bit of a stigma around this type of music but I think it was just blown out of proportion by the media if you ask me. Who are your musical influences/heroes? My Dad What’s been the highlight of your career so far and what’s your ultimate ambition? A music tour in Germany 2008 was a major highlight and showing my Mum my first music video was special still. So much hip-hop reflects on troubled times and experiences, is it a requirement for rappers to have lived a hard life in order to be successful? I don’t believe so, all music is a way to help people to express their feelings and emotions; this genre isn’t any different. There will be ups and downs through all walks of life. What are your plans over the next 12 months? To work hard and promote my music across the country. I’ve got an album ready to be released ‘Nottingh’Am Just Thinkin’ and more visuals on the way. Anything else you’d like to add: Just wanna thank God for making me able to do this work all my family, friends and fans, nuff love. www.freeqmagazine.com
THE CENTRAL The Central is a grea t night out, situated in the heart of the city with easy access to all transport links , it retro themed 50s ba r with late licence, liv has a quirky e music venue, cinema room and res taurant.
There is also a priva te hire function room, with corporate events and meetings catered for. The Central is a 300 capa venue with 3 stage are city as. We are currently looking for new bands to join our local line ups and new promoters acros s all genres of live music and alt ernative entertainment to joi n our promo team. We would love to hear from any clubs, dance tro ops, or organisations lookin g for a space to be based from. No event is too small and we will happily work to any budget, event costs will be de pendent upon your requirem ents.
retro cinema Our 50s themed ovide pr n restaurant ca ts to seated ffe bu om fr catering . Any ng ni di silver service e can be ir qu re ay m u menu yo prepared. t big screen We also offer 6f r you to fo TV projection se birthday ri rp su y show an quire, both re films you may ve full in ha s om ro n functio t with en pm house PA equi le and bb bu s, ow sh g lightin highly d an s ne smoke machi en und gineers experienced so r all functions. fo are available hy not book Football fans! W r you and fo om our cinema ro ch the footy, at w to es at your m of 20 or ps ou gr free hire for more !!
Visit the web site to keep up to date with all our events and live
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Call for entries Win prizes! Win cash prizes, top advice from Nottinghamâ€™s Creative Industry experts and the chance to exhibit your work. Deadline for entries: 5pm Friday 23rd April 2010
Age Groups: 14-17 and 18-22
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THE NOTTINGHAM BAR AWARDS 2010 THEY’RE BACK AND BIGGER THAN EVER. FREEQ IS THE OFFICIAL MEDIA PARTNER ONCE AGAIN FOR THE NOTTINGHAM BAR AND CLUB AWARDS 2010 AND WILL BE BRINGING YOU ALL THE EXCLUSIVE PREVIEWS AND AWARDS EVENING COVERAGE AS WELL AS PROFILING SOME OF THIS YEAR’S CONTENDERS FOR THE PRESTIGIOUS TITLE AS NOTTINGHAM’S BEST BAR 2010. The awards will be held on May 10th and we can announce there will be some very special guest DJs to keep the party going until the small hours. Follow www.twitter.com/nottsbarawards to get all the latest news announcements first. Sponsors will be providing some free drinks at the event and with strict limits on ticket sales we’re encouraging people to get theirs early from the newlook website www.nottinghambarawards.co.uk. There are 12 categories including Best Club Night, Best Out Of Town Bar, Best Live Music Venue and the overall category Nottingham’s Best Bar. Make sure your favourite bar is registered in the competition and then get voting online at www. nottinghambarawards.co.uk.
We’ve started our coverage already and in this issue you’ll notice Saltwater the venue for last year’s awards ceremony; newly re-opened Opium; Revolution with a free food offer on page 4; Fire & Ice in West Bridgford; Bad JuJu the new tiki bar and The Central for some of the best independent music in Nottingham. Last year’s overall winner Market Bar will be looking to retain their crown but with such close results last time, this year should go right down to the wire. So, get voting and consider it all good practice for the general election! For more information and tickets visit www. nottinghambarawards.co.uk or www.freeqmagazine.com
BAD JUJU Where do we start? It’s Nottingham’s first and only tiki bar, based on a tropical Caribbean/South Pacific theme and with undoubtedly the most exotic cocktails this side of the Atlantic Ocean. Tiki bars are identified by their colourful and somewhat kitsch décor, with wall murals, bamboo and tropical fabrics. Rum forms the base of almost all drinks with creative cocktails served in tiki mugs and garnished with an array of weird and wonderful decorations. We tried the house special, a classic tiki cocktail and a drink which I think will make Nottingham folklore; the Zombie. At £9.50 it’s not your average cocktail, indeed, the drink is so strong that there’s a house limit of two per person. Made using a secret blend of five different rums and several liqueurs, it’s set alight and sparked into action with cinnamon. It’s without doubt the best cocktail we’ve had in Nottingham.
Bad JuJu was the brainchild of new manager Matt Fairhurst who describes the basic motto of the tiki bar as “lots of rum and lots of fun” and looking around at the clientele enjoying themselves you have to agree. “I can’t help but smile,” he explained. “It’s not pretentious at all, you leave your worries at the door; look around - everyone’s smiling.” Matt went on to highlight the cocktails as the major factor of a successful tiki bar. “They should be slightly eccentric and strong; the key is taking lots of flavours and balancing them, making it fun with silly garnishes and tiki mugs.” Bad JuJu certainly had a ‘holiday’ feel about it and is probably as close as most of us will get to Hawaii, but it’s definitely one of the most refreshing things to happen to the bar industry in Nottingham for many years. Bad JuJu is located at 9 Broadstreet, Hockley. Visit www. badjujubar.com or call 0115 9241555. They also have a private function room for hire for parties and events.
RETURN OFTHE REELS
Last month we explored some of the problems facing new filmmakers and the options to be found in new media explorations. Here we focus our attention on what the industry is looking for in return for funding, and how to deliver it.
It’s no secret to dedicated followers of Freeq that the movie-makers haven’t been faring too well in the recession this time round, and that things could potentially get worse. But if it’s too late or too painful to turn back then this message is pointless and destructive. Once you have your product ready to screen, your social media set up, your web 2.0 marketing campaign prepared and your mind in gear for the big push how can you be sure you’re going about things in the right way? Knowing the audience you’re selling a film to, and the audience you’re making it for is vital if you want to stand any chance of getting off the breadline and onto the red carpet. Mike Cooper is an established freelance filmmaker operating on multiple formats- from corporate shoots on 32mm film to miniDV music videos. His work has been exhibited through channels such as MTV2, BBC Big Screens and IMAX London. A perpetual factor in his work Cooper understands the artist’s role in finding finance. “I think your best bet when looking for funding for independent film making is to not rely on everything for the funding,” he said. “Make sure you’ve made a
variety of films to a good standard before you apply for funding and try to get to know the people who’ll be funding you. “There’s always another load of people just like you who want to get their project funded. For you to get funding you have to be exceptional,” said Cooper. “That should be in your art, but also in other aspects of business – because if you’re thinking of making a film you have to treat it like a business. All of a sudden you are your own sales person, you have to manage budgets and people. The most important thing is to be smart about it. “Pull in favours. In the TV industry you will hear people say “it’s not about what you know but who you know”, “talent won’t get you everywhere” and similar things,” Cooper explained. “Save costs and time by working with others with similar interests. Make friends with other filmmakers, pool skills, create a small network of people based on trust that is essentially an informal production company and a crew database for your needs and your productions.”
21 Julian Friedmann has over 20 years experience in film and television. As an agent in London based literary agency Blake Friedmann’s Film and TV department, publisher of TwelvePoint.com- Europe’s only scriptwriting magazine- and a previous judge at the EMMY awards he’s got a useful perspective on the challenges of breaking into the industry, and how to make sure your work grabs attention once you’re in. “There has been this exponential growth in wannabee and part time writers, a growth in university courses teaching writing and a growth in short courses run by every Tom, Dick and Harry- some of which are very useful, others are a complete waste of time,” he said. “Find out what you’re good at and don’t always assume that the films you like are the films you’re good at. Then become better at it, immerse yourself. For example, if you’re sitting with a producer and you’re pitching a thriller make sure you can quote from every Hitchcock film. “Never send a script out until you’ve written several drafts… And if someone says ‘I liked your work’ ask what they didn’t like about it. If you get a reputation for seeking criticism people are likely to be more interested in working with you,” Friedmann advised. “Always work with people who are capable of bringing your talent out. “It’s difficult. We’re not finding it easy to get a sales agent for our small film,” he explained, referring to Innocent, a low-budget Helen Blizard feature on bullying that saw him take on the role of Executive Producer. “But the changes in the industry are massive. The Film Council has been putting a lot of money into digitising cinemas, so distribution should get less expensive meaning the costs overall should drop. “If it’s low budget enough some genres, such as horror, can be profitable as a straight to DVD release. Then, if you made money on £150,000 last time, use that success to go back to financiers and say ‘this time we want £500,000’. Move up the ranks that way so where necessary you can afford to hire better writers, better directors and so on,” said Friedmann. “A great producer is someone who is good at hiring everyone who is better than them at everything, except hiring people.” Whilst the filmmaker and the agent can offer the perspective of the seller and broker, it’s always useful to understand what the buyer is looking for too. Susan Rogers has worked at Francis Ford Coppola’s Zoetrope Studios and was head of the story department at United Artists in LA, before she set up an MA in Feature Film Screenwriting at Royal Holloway.
After heading film development for major players in the world’s foremost movie marketplace it’s safe to say Rogers has a clear idea of what the industry is looking for. With the experience of a veteran she explained how new filmmakers should approach their fledgling career. “The industry wants to be surprised – Find what only you can do and don’t emulate anyone. No one innovative and successful is looking for another filmmaker such as Shane Meadows, or Andrea Eastman, or Tim Burton – these filmmakers succeeded because they offered something unique. Do the same.” A common problem with those looking to get into the creative industries is an expectation that education can replace work. While a course takes you some of the way, raw talent, obsessive dedication and fingersto-the-bone work is more important. Outside of academe, qualifications come second to experience. “Why should anyone be funded just because they have graduated from a course?” she retorted when we asked her advice for new talent looking for funding. “No one would expect a publisher to go to the expense of publishing and marketing a book from someone who had just graduated from a creative writing programme. “If you want to be a filmmaker – by that I mean either a writer and/or a director – I would advise you not to expect to be funded until you have built a body of work that’s at a professional standard,” said Rogers. “Be prepared to work hard and to utilise every opportunity to write and shoot in whatever media you can get access too.” This goes someway to uncovering some of the realities of making film into business. But it’s a 32mm jungle out there with HD complications that cannot be anticipated. From painting to the press, the creative industries have little time for people who expect a simple, 9-5 lifestyle with guaranteed outcomes. If this MO isn’t one of the attractions then perhaps you’re in the wrong place. For those who crave such an unpredictable, fastpaced and demanding career it’s equally important to remember a dream job is still a job. A pitch is a sale and without accurately targeted saleable value it simply won’t sell, despite your talent and belief in the project. Martin Guttridge-Hewitt
SUBISM Stuart Boyd is an artist, designer and agent entrepreneur who created Subism to promote and raise the profile of modern street artists. Freeq catches up with Stuart to find out more about this creative collective. What and who is Subism? Subism is a multi faceted independent creative business with its roots in street art. It started with the launch of the online gallery subism.co.uk, to showcase and sell limited edition and original artwork and prints by artists such as Phill Blake, Julie West, Mr Penfold, Deus, Billy and other up and coming artists from the UK and around the world.
What made you decide to set up Subism? From as early as I can remember, I always wanted to work for myself and have something to call my own. I studied art and design, and qualified as a graphic designer, and after a stint in retail and being made redundant, I found myself putting my plans into action.
I now work as an agent for the Subism artist collective, sourcing commissioned projects and exhibitions. For me, it’s about getting the artists out there, selling their work and sharing and spreading the Subism vibe.
Being creative is where I am most happy and I really wanted to do something different. Street art is perceived as a non-conforming, subverted art form and I wanted to create a movement to break away from this perception, to promote the artists and their talent. What inspires/influences you? Different cultures and architecture inspires me and I love to travel and fully immerse myself in different ways of life, as it gives me new perspectives that come through in my work.
Another element of the business is Subism Create, a multi-disciplined creative agency providing branding and graphic design, web development and marketing services. Our edge is that we can also provide creative illustration for our clients drawing on our array of artists to suit their requirements.
I’m inspired by clean and clever branding and am motivated by art, fashion, music, colour, cool products and the relationships between objects. People make me happy and when I’m happy, I’m creative. Oh and rum, of course!
Over the last two years we have held ‘Subism Live’ arty parties in the East Midlands, London, Brighton, Sheffield, Leeds and Birmingham mixing quality deep house music with live art - an exciting concept that has really helped raise our profile.
What’s on the Subism horizon? My latest venture is ‘Sub ink’, Subism’s very own range of UK manufactured specialist artist paint and marker pens available in black and two other colours inspired by our artists Dilk ‘turquoise’ and Phill Blake ‘philth pink’ (the Freeq cover uses these colours with the new unreleased purple inspired by N4T4.) With a few UK accounts already secured including Montana Shop Nottingham and interest from Berlin, Hong Kong and Holland, 2010 is set to be an exciting year! Subism Live will host special one-off live parties and exhibitions in the UK and abroad. We have recently joined forces with our good friends at the Montana Shop Nottingham to exhibit artwork from the Subism Collective’s Phill Blake and N4T4 in the shop. Mr Penfold’s solo show starts on 27th March and will be followed by Brazilian artist Villas, American illustrator Julie West and London based Deus during the summer months. Subism.co.uk will be re-launched with new artists, artwork, cool products and of course Sub ink. Our artists have been booked for some large scale murals and further commissioned work for clubs, bars and restaurants and community projects this year. Autumn sees the launch of our book ‘Memories’, a collaboration project by Subism, DAHRA (Designers Against Human Rights Abuse) and an editorial team led by Computer Art’s editor Garrick Webster.
Memories will comprise of 12 personal accounts of peoples’ experiences with cancer accompanied by 144 wonderful pieces of art based on the stories and produced by creatives all over the world. The proceeds of this project is supporting a worthwhile cancer charity ‘Maggies’ who support sufferers and their families. Where can we see your work (apart from on the cover of course!)? My design work can be seen on all Subism produced work from flyers and posters to street art. On the flip side, my corporate work ranges from food packaging to branding and print advertising. Our web based and animation work is handled by my good mate Mr Kitson aka oneteneleven who I’m producing the Memories book with. Our talented artist collective’s artwork can be seen all over, from the subism website gallery at subism. co.uk to legal graffiti spots in the UK and the streets of San Paulo where Villas can be found making local communities smile with his murals. N4T4 is off to Oz and I am looking forward to seeing his work over there. Subism Live events are the best place to meet and see the artists draw live and feel what the Subism vibe is all about. For news and events visit www.subism.co.uk
Hometown: Anaheim, California Weapon of choice: Pencils, acrylic paints Inspiration: Halloween. Music. Candy. Circus. Laughter. Red. Everything! Did you always want to be an artist/illustrator? Always, since I was wee! Dogs or cats? I grew up with cats, so naturally I’m a dog person. If you could take one thing to a desert island with you, what would it be? A pencil and paper...some makeup and shampoo.
Where can we find you? I’m getting ready for my next solo show at Corey Helford Gallery in Culver City on June 26th. I’ll also be part of the Corey Helford Gallery American Invasion group show in Bristol April 30th. I’m always working away on special projects and shows - you can find me somewhere at all times! Future plans? Working hard til I can’t anymore! www.brandimilne.com brandimilne.blogspot.com/ twitter.com/brandimilne www.facebook.com (search for Brandi Milne)
PLAYING IT STRAIGHT
Admit it; most of us gay guys swoon at the sight of a hunky piece of testosterone filled macho man, and the majority of us would initially prefer to chat up or be chatted up by someone seemingly more ‘heterosexual’ than someone exhibiting more ‘feminine’ traits. The love of the straight acting gay man seems to be most gay man’s fantasy. But what is ‘straight acting’ and why are we obsessed with it? Who does it refer to, and who decides who it refers to? And what of us that don’t fit into this idealized bracket.
Regardless of how you appear to others, how many of us would openly admit to acting in a gay or feminine manner? Aside from sexual preference, there seems to be a culture of internal and external homophobia towards expressions of gayness amongst homosexual men, but why? A spade is a spade at the end of the day, so to try and pretend that you are anything but a big gay spade is just reinforcing the idea that you have to conform to a certain image to be desired as a gay man within the community.
‘I like my men to be men’, ‘no wall flowers’ and ‘sorry but gay does nothing for me’ are some of the phrases you hear when speaking to many singletons about their preferences in a prospective partner. But who decides what is masculine or ‘straight’ behavior in our modern metro sexual world? I don’t consider myself to be camp (compared to some). However I love a good goss and a moan with my gal pals and as well as moisturising on a daily basis, and I am very in touch with my feelings; I love a good cry at a sad film! Does this then detract from my ‘straightness’ and make me less desirable as a man?
Does admittance of gay or feminine tendencies mean you will never find love, or have good sexual chemistry with the right person? Or does acting in a manner stereotypically thought of as ‘straight’ and masculine equate to being the better and more desirable person? Or is it just a simple fact that, as a society, we all want what we cannot have and the straight acting gay man is the embodiment of this ideal.
I doubt many people would agree that Gordon Ramsey is feminine for the fact he is a cook; a profession once stereotypically seen to be a woman’s role. Stereotyping seems to be at the root of both how we view both expressions of heterosexuality and homosexuality; not all gay men act feminine, and not all feminine men are gay! The idea of someone straight acting has connotations of fake, one dimensional characters in a play or fantasy. Does the obsession with men to be straight acting allow much room for emotions beyond those associated with hardness? What then happens if, or when, the glamour fades and we are faced with a human being full of personal dramas issues and vulnerabilities? Or would we prefer the object of our desires to remain just that; objects with whom we feel more comfortable keeping at a distance, with little to no emotional depth just to maintain the fantasy of sleeping with a straight man?
However we do live in an age where the natural desire is to categorize everything about ourselves and others. After all we all do it on a day to day basis; meet people and make a pre judgment based on what we see (or believe we see), so why should we in turn discriminate those who express a simple preference? Some people like blond, some like brunettes and some like people that exhibit traits stereotypically associated with being straight! I am sure I share many people’s experiences of meeting someone who fits the list of straight acting, but then turns out to be the exact opposite of what we are actually, instinctually attracted to! I wonder just how many right relationships we pass up based on a limp wrist or a dodgy fashion sense. And the next time a hot hunk walks by and makes you swoon, just think; what’s under the swagger! Just for fun you can test your straightness on Facebook’s ‘How straight acting are you’ quiz. Phillip Robinson
THE REST IS SILENCE DEAD COWBOY CULTURE
KNOW THE JOY OF GOOD LIVING - DEAD LIKE HARRY
TO THE REST OF THE WORLD TRAIL
Quirky dudes Dead Cowboy Culture have composed an album that at times is delightfully mysterious and at other junctures frighteningly dreary and self indulgent.
Dead Like Harry have composed a joyous and at times quirky album and it would have made the ideal summer album, were it not for the fact that it was a winter release! Know The Joy of Good Living opens with ‘Streets’ which possesses a grandiose and sweeping melody that transmits the feel good factor that permeates throughout the album to the listener.
Five piece Trail have composed an album entitled To the Rest of the World that for the most part is tedious and fails to inspire from the insipid vocals that drag throughout to the instrumental that positions itself firmly in the middle of the road.
The first half is packed with idiosyncrasies that create a compelling musical landscape; in contrast the second half is spoilt by songs that feel perfunctory and elongated to the point of tedium. When they find their radar though Dead Cowboy Culture possess an eccentric and geeky charm that draws you in. I fear it may be too subversive for the mainstream to digest, but you get the feeling they wouldn’t care as they’re having too much fun with this thought inducing curation. Freeq rating: 7 /10
This jollity though can become irritating after a while and despite the boundless enthusiasm, you can’t help feeling it is a little cheesy and one dimensional. An album not to be dismissed completely however, particularly when it contains such gems as ‘You’re Not Alone’ which has a wonderfully exultant vocal.
Comparisons are hard to make, but a hybrid of Bush and Creed is enough to turn anyone off except you just know certain sections of corporate America will lap up this bland AOR rock more than most countries. In Britain though Trail will only go down blind alleys and avenues. Freeq rating: 3/10 All reviews: Jamie Brannon
Freeq rating: 5/10
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EVENT LISTINGS: MARCH Monday 1st March Notts In A Nutshell presents: Paradox Out From Shadows Cavalry Made In The Shade Minority Theory The Maze
Basement The Central
The Big Dig with Holmes. From Susan Christie to Sabbath. The Golden Fleece
Lady Gaga with support from Alphabeat Trent FM Arena
James McCartney The Bodega
Heaven’s Basement + Dear Superstar with The Crave Rock City
Tuesday 9th March Reverend and the Makers Nottingham Trent Students Union
Tom McRae with Brian Wright Rescue Rooms
Eaststrikewest with History Rock City
Saturday 6th March Back To Basics The Maze
Audio Bullys Rescue Rooms
Fionn Regan The Bodega
Hayseed Dixie Rock City
Tuesday 2nd March The X Factor Live Tour 2010 Trent FM Arena
Cosmic American presents Carlene Carter’ The Maze
The Soul Ska Shakedown with Double Decca. Ska / Rocksteady / Reggae. The Golden Fleece
Cosmic American Presents... Darden Smith Revolution Sounds Presents... The Maze
Wednesday 3rd March Blood Red Shoes with Underground Railroad Rescue Rooms The Stranglers with support from Max Raptor Rock City Revolution sounds presents The JB Conspiracy Anti Vigilante Solution Against Firing Blanks Addictive Philosophy The Maze Savour The Kill A World Defined A Far Cry From InnocenceLaceration Of Fate, To A Breathless Oblivion, Sacrisity The Central Thursday 4th March Polar Bear Club, Shook Ones, Title Fight, BackTrack,
Hadouken! with This City & Unicorn Kid Rescue Rooms
Friday 5th March Karma Moog ARMAGEDDON Clubnight: This is just the beginning... Rock / Metal / Punk clubnight The Central Club NME The Pulse, Nottingham Trent Student Union Sharp Knees The Myways The Beast And The Priest Zoo Policy Sapphire Lane Great Imitation – The Maze Race Horses The Bodega Cult Drum and Bass Sessions Market Bar Basslaced Plastician, TC, N-Type, Geeneus & Katy B feat Tipper, Synkro, MC G Double & more tbc Stealth
Sunday 7th March Vader, As You Drown, Divine Chaos, Lordaeron, Threnody The Central JONI MITCHELL PROJECT with Sally Barker The Maze Rox Acoustic Show Lee Rosy’s Tea Shop (HED) PE + Threat Signal + Attila Rescue Rooms Vader As You Drown + Divine Chaos + Lordaeron + Threnody The Central
Boom Room present Oxide & Neutrino Stealth Lisa Mitchell with The Boy Who Trapped The Sun The Bodega Passion Pit Rock City Stuart Levy presents... The Biscuits The Wax Dramatic Nobody’s Fool The Maze Wednesday 10th March Katatonia with Swallow The Sun & Long Distance Calling Rock City The Invisible The Bodega
The Phenomenal Handclap Band The Bodega
Gift of Gab from Blackalicious Rescue Rooms
Monday 8th March The Courteeners plus special guests Rock City
Touch:Me The Pulse Nottingham Trent Student Union
Open Mic featuring Chris Hull The Golden Fleece
Thursday 11th March Dag For Dag The Bodega
FREE EPIC FAIL The Maze
DIVE :: L-VIS 1990 [Mad Decent / Night Slugs] Market Bar
The Hustle with Detail & guests. The Golden Fleece
Wicketts & Black Daniel The Golden Fleece
Misst Presents Deep Medi Musik Showcase with Hijak, V.I.V.E.K, Tunnidge, Misst, cSoul, Root One B2B EM-T Thoughts
Launch of RULE 71 electronica clubnight GHOSTS WEAR CLOTHES BONBONBONBONS TRANSLUCENT PLEASURES FORGOTTEN SON The Maze Friday 12th March THE EVILTONES. KINGCLAW HERE’S TO TRAGEDY GRELMINS The Maze
Peter Green and Friends with Jet Martin Rescue Rooms
Galleons, Easy Hips, We All Came Out Like Tigers, The Beast And The Priest, Sleaford Mods, Nine Hundred More, Ex Wizards, Bodukwe, Basement Forte, Cecille Grey, Bravo Juliet,Freaky Riverstyx, Green For Go, Gallery47, Satans Mineons The Central Karnivool Rock City
Little Fish The Bodega
The Pitty Pat Club The Bodega
69 Eyes + Lacrimas Profundere & Mandragora Scream Rock City
Doctor P & Goldhawks Stealth
The Weight Of Regret, The Sentinental Sleeps, SoulDrive The Central
Zleep Andrew Weatherall, Hector, Dave Congreve, Zleep DJs Stealth
UPSTAIRS: Backtrack, Frustration, Crossbreaker The Central
Saturday 13th March Ghoul Garden The Maze
Chris T-T The Bodega
Speedshot, Await the Dawn The Central Dark Funeral + Akercocke Rock City Monday 15th March Autechre Rob Hall, Russell Haswell, Didjit Stealth Fun Lovin’ Criminals plus very special guests The Chemists Rock City Platform 21 Open Mic Special The Golden Fleece
Sunday 14th March Rack and Ruin Presents.... Halo Fest The Maze
Acoustickle Gecko Daniel Cliffe Gallery 47 Breadchasers acoustic The Maze
Fenix Fire, The Smoking Hearts, Skies in Motion,
Tuesday 16th March Be Strong Productions and
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NTU Multimedia Presents... Lenroy “Bassie” Guiste - “ The Natural Ites Root One + JKey The Maze The Joy Formidable with Baddies and Airship The Bodega Babybird with Blame Ruby Rescue Rooms Wednesday 17th March Revolution Sounds Presents....Franz Nicholay (World/Inferno Friendship Society) The Undercats – Sam Kirk The Maze You Me At Six + We the kings and Forever the sickest Kids Rock City
Poppyand Friends, Horowitz, Japanese Sleepers, Mascot Fight (Acoustic) The Central Dan Le Sac vs Scroobius Pip + B Dolan + Sound of Rum Rescue Rooms Thursday 18th March Triad and Friends Solomon Smith... The Subs The Maze
Audiophile with FC Kahuna: Moog Euler, Long Dead Signal, The Swiines The Central Wigflex Kode 9, Taskforce, Darkstar, DJ Rubbish, Lone, Spamchop, Metaphi Stealth Spunge with New Riot & The Remnants Rock City Edguy with White Wizzard Rescue Rooms The Hidden Cameras The Bodega Saturday 20th March This Is Hell, More Than Life, Deal With It, Almost Home, Fastpoint The Central As part of Stealth vs Rescued Club Night: Adam Freeland (DJ Set) & Tempa T aka. Tempz (Live PA) & DJ Magic & Reecha & DJ Hal Stealth The Fillers Rescue Rooms Him Rock City
Adarna, Abaddon, Memories Forgotten, AFK The Central
HIGHNESS Warm up with Boysie. The Golden Fleece
The Beat Rescue Rooms
Sunday 21st March Turin Brakes Rescue Rooms
Ladybird Blue The Golden Fleece The Computers & Outcry Collective + Chickenhawk Rock City
Friday 19th March Stumble inDa Jungle The Maze
Brother Ali The Bodega Stiff Little Fingers Rock City Monday 22nd March New Young Pony Club with Is Tropical & Teeth Stealth
Notts in a Nutshell presents TON!TE The Reverb The Sneaks The Fazed United Nemesis The Maze
+ The Psyke Project + Lordaeron Rock City
Delain Rock City
Rubber Rooms with Jack Rabbit Slim The Maze
Open Mic featuring Marc Block The Golden Fleece Tuesday 23rd March Funhouse Comedy Presents... “Should I Stay Or Should I Go?” The Maze Wednesday 24th March StoneRun Lux Mundi Halcyon Days Our Last Confession The Maze Sound of Guns plus Special Guests The Bodega Thee Silver Mt. Zion Memorial Orchestra Rescue Rooms Thursday 25th March Cosmic American present... Woody Pines The Maze Enochoian Theory, The Engines of Armageddon, The Art Of Reason The Central The Four Tops The Temptations, The Drifters, The 3 Degrees Trent FM Arena The Jim Jones Revue The Bodega An Audience with Psycho Stuart Pearce The Approach Friday 26th March Nachtmystium
Soul Buggin with guests At Jazz and Clyde Moog
Islands The Bodega Detonate Hospitality with London Elektricity & Danny Byrd & Silkie & Netsky & Truth(nz) & Exodus & Transit Mafia & Goli + Ashburner & MC’S Wreck, Freestyle Stealth Saturday 27th March Dirty Filthy Sexy: Nottingham’s Gay Alternative featuring MALEFICENT The Central My House Your House Moog Riot Promotions Presents... ILLUMINATUS LIVE IN NOTTINGHAM Sworn To Oath The More I See Mask of Infamy The Maze Emery with Moneen & Deaf Havana Rescue Rooms Madina Lake + We Are The Ocean + Mayday Parade + Atticus Comp Winner tbc Rock City Burn The Negative Stealth Kunt and the Gang + Arse Full of Chips The Bodega The Arusha Accord with Martyr Defiled Rock City
Sunday 28th March Thomas White The Bodega Zebrahead with MC Lars & Orange Rock City Nearly Dan “Celebrating 3 decades of Steely Dan” Rescue Rooms Monday 29th March Robb Blake (Whitmore), Mike Scott (Phinius
Gage), FLAV GIORGINI (SQUIRTGUN), LIAM O’KANE AND THE STABILIZERS, Dead Spex, Basement Forte The Central
Tuesday 30th March Hold Your Horse Is, Crooked Mountain, Crooked Sea, The Wickets, Bronze Medals The Central
The Broadcast plus Rivals & I Only Date Models Rock City
Revolution Sounds Presents.... A Major Motion Picture Hello Houston We were Friends Last Edition The Rutherfords The Maze
Open Mic featuring EmilyNeeds The Golden Fleece
Wednesday 31st March Notts in a Nutshell General Public Chemistry Set Bonus Beyond The Honours Rescued By Wolves Apollo – The Maze Email your April listings to firstname.lastname@example.org by 24th March 2010. All listings correct at time of print. May be subject to change.
40 Bridgford Road, West Bridgford, Nottingham NG2 6AP
0115 981 9000 • www.fireandicewb.co.uk • email@example.com
Published on Mar 18, 2010