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The Bellini Bar How on Earth did Prosecco and white peach juice end up in the same glass? It must have been the inspiration of Guiseppe Cipriani, who invented this world famous cocktail at Harry’s Bar, Venice in celebration of the 15th Century painter Giovanni Bellini. The Hospital creates variations on this classic using the freshest ingredients. Take your pick from raspberry, blackberry, blackcurrant, strawberry, pear, apricot or watermelon. Sit back and relax in this quiet, intimate bar and enjoy these modern classics.

The Gallery The Gallery consists of 3,500 sqft of flexible space. It features a programme of exhibitions presenting aspects of contemporary culture from film to photography, from fashion to contemporary design. It is open to the public from 10am to 8pm, seven days a week. Members of the Club receive free entry for two people when they show their card at the ticket office. Information regarding the programme, talks, private views and events will be sent via newsletter to members every two months. The Gallery has recently presented Annie Leibovitz, American Music, a portfolio of images of the most significant US talent from Rock and Roll to Rap. It has also hosted 15 Minutes: 30 years of celebrity photography by Richard Young, the UK’s most loved photographer.

The Studio The television production facilities occupy the two basement floors of the building. There is a 2,700 sqft (250 square metres) studio space, a video production gallery, a TV sound control room and a music control room. The Music Control room can also be used as a stand – alone facility for mixing/overdub. This combination of resources makes the Studio the ideal environment for music programmes, showcases, live performances, talk shows, interviews and corporate communications. Members have access to a wide range of other benefits including: a team of dedicated technical support staff with experience of TV and music production, as well as live performance management, a strong network of relationships with London’s top post production houses, access to an in –house service support team for catering, general resourcing and event management.

Martini Bar H o Sti w d co rre o yo d it. ol a or u li k sip Enjo nd s sha e y pin y op ke ou g th the histi n? rs? Th e w hom cati Th Dr e fa or ely on is c y, d m Clu o ld sti ou b’s su an ck irty ’s r s m rro d so tail R red ve Ma or os ee t fa und we is th sw lin fo rmo rtin g N r y uth i m ing hav e u eet ? ou lt s ine ear in Bar s c on e de ima tie oc th dic te s. s – fr the is a kta e 4 ate in At om wor ce c ils th d Th ld lebr . flo a b hic, e H the a a n o r ar os Ro d h tion wh to pit ar al ing as b of th ile it ’s ee OK Twe n s e mo h to ntie ake st go s to n o bo th the r wa ys .

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The Cinema at The Hospital is a triumph of technology and comfort. A seasonal calendar is open to Club members and you will have the opportunity to book tickets for first time screenings and themed programmes. The programme of evening and daytime events in the Cinema, developed by The Hospital, will be sent to members regularly with booking details. The luxurious 40 seat Cinema is also available for members to organise their own private screenings. As the Cinema is located next to the Private Dining Room, it is ideal for combining private dining events with a screening.

The Private Dinning Room Eating in private is a serious matter. And this is quite a serious room. Intimate, exclusive yet flexible, this is the perfect room for select lunches and dinners with its service pitched to help you conduct private parties in the atmosphere you want. This room is also ideal for conferences and larger group meetings.

The Restaurant Open, visible and vital. Unpretentious, comfortable and full of food that you would like to have cooked at home in an environment that feels like home. Flexible menus for lunch and dinner. If food be the music of love then eat on.


For a lasting relationship with a studio thats cares. We are there for you, not just for the money! Soho offers alot of things, good relationships isn’t one. It’s so refreshing to get away from the ‘scene’.

0207 284 6186 mtvstudios.com

For a lasting relationship with a studio thats cares. We are there for you, not just for the money! Soho offers alot of things, good relationships isn’t one. It’s so refreshing to get away from the ‘scene’.

0207 284 6186 mtvstudios.com

For a lasting relationship with a studio thats cares. We are there for you, not just for the money! Soho offers alot of things, good relationships isn’t one. It’s so refreshing to get away from the ‘scene’.

0207 284 6186 mtvstudios.com


Client: Project: Outhouse contact:

Oneword Radio Ltd Getting the website noticed Ian Sanders (ian@outhousemedia.co.uk)

Notes:

A suggestion of an advertisment treatment promoting the station and website.

Celebrating the spoken word

Passionate about the spoken word

Š Outhousemedia 05


Client: Project: Outhouse contact:

Oneword Radio Ltd Getting the website noticed Ian Sanders (ian@outhousemedia.co.uk)

Notes:

A suggestion of an advertisment treatment promoting the station and website.

Client: Project: Outhouse contact:

Oneword Radio Ltd Getting the website noticed Ian Sanders (ian@outhousemedia.co.uk)

Notes:

A suggestion of an advertisment treatment promoting the station and website.

Language Laughter Literature

Š Outhousemedia 05

Š Outhousemedia 05


Mayuri Boonham Gayathri Vadivelu Suba Subramaniam Noorjahan Begum

ANGIKA launch an exciting company of five dancers to perform BHAKTI. BHAKTI means devotion and this new work is powered by the concentrated vitality and sculptural geometry of ANGIKA’s dance. In BHAKTI, ANGIKA communicate a startlingly powerful and imaginative interpretation of the beauty of human experience of devotion.

BHAKTI is performed to an exciting original score composed by India’s well-known exponents of electronica, MIDIval PunditZ. The energy and melodic beauty of their music skilfully synthesizes classical South Indian Carnatic and contemporary music. www.punditz.com ANGIKA is a leading British Indian dance company of the current generation and was founded in 1997 as a creative partnership between London based choreographers and Bharatanatyam dancers Mayuri Boonham and Subathra Subramaniam. The company is committed to developing the powerful and rich vocabulary of classical Bharatanatyam dance with a contemporary approach. ANGIKA do not fuse Bharatanatyam with other dance forms but innovate and build within the strengths and richness of its own unique vocabulary; as they believe that true artistic freedom is within the discipline of their respective form. ANGIKA have performed their work extensively at some of the most prestigious dance seasons, festivals and venues throughout the UK. They have created and toured Sudarsana (Beauteous-Sight), Kala (Time) both with music composed by Shin Parwana (DCS) and Paul Timothy, The-Triple-Hymn (music by Rudi Van Dijk) and Pulse of Tala (music by Talvin Singh). In February 2002, they were filmed for Channel 4’s education series REWIND where ANGIKA and Talvin Singh discussed their dance and music collaboration for Pulse of Tala. REWIND featured an introduction by Courtney Pine and was broadcast on national television. In summer 2003 ANGIKA were invited to curate and conduct a one-week residency and commissioned to create Urban Temple, a site-specific performance at the Royal Festival Hall, London with original music by MIDIval PunditZ. ANGIKA were Associate Artists at The Place 1998-99 and from May 2004 to 2006 are appointed Choreographers in Residence at The Place. ANGIKA have been commissioned to create “Soul of Light”, a new work as part of The Place Prize.

Anusha Kedhar Mayuri Boonham

MAYURI BOONHAM (Choreographer & Dancer) trained under Prakash Yadagudde at The Bhavan Centre, London and received a first class diploma in Bharatanatyam dance and music in 1994. Her Arangetram (traditional solo debut performance) was staged at the Riverside Studios in 1995. Mayuri works as an independent, innovative Bharatanatyam dancer and choreographer as well as one half of ANGIKA and Boonham & Marwood. Mayuri has created and performed several works, which include The Apotheosis of Love, Vaach (Speech) and a series of commissioned crossdisciplinary collaborative works To Paganini (The Fifth Veda), Force of Play and Obsessus (premiered at London’s South Bank) with the leading award-winning violinist Anthony Marwood. Mayuri has worked as choreographer for Snap Theatre’s productions of Hanif Kureishi’s My Beautiful Launderette and Buddha of Suburbia. In 2003 Mayuri was jointly commissioned by Channel 4 and Arts Council England to create Beyond-Reach, a dance film as part of the Dance4 2003 series. This film was broadcast on national television and was selected along-with her recent Cave of the Gods short for the prestigious International Dance on Screen Festival, London. Mayuri is a recipient of The Lisa Ullmann Travelling Scholarship and a Bonnie Bird New Choreography Awards Winner. SUBATHRA SUBRAMANIAM (Choreographer & Dancer) began her training in Malaysia and completed it under Prakash Yadagudde at The Bhavan Centre, London where she successfully staged her Arangetram in 1993. Performances include: a number of productions at The Bhavan Centre; with the National Youth South Asian Dance Company; and as a finalist in the New York Indian Dance Show (1993). Subathra toured nationally with Srishti Dance Creation’s production Hidden Forces. In 1997 she was involved in a choreographic lab held by Sampad and was Dancer in Education for Shobana Jeyasingh Dance Company, 1995. Subathra has carried out extensive dance workshops in schools, colleges and universities. In May 2003, Subathra was part of The Cape Farewell team of scientists, artists and educationalists which sailed to the Arctic to address issues of global warming. She is continuing her art/science work with “Creative Partnerships” and the Cape Farewell team. In September 2003, Subathra was a choreographer and performer at the “24 hour performance” in Copenhagen directed by Stuart Lynch of Paradance. The performance formed part of the prestigious Images of Asia Festival. Subathra is a qualified Science teacher and is currently completing an MA in Education. NOORJAHAN BEGUM (Dancer) has been learning classical Bharatanatyam since 1998 under the tuition of Chitraleka Bolar and has performed extensively as part of Chitraleka’s on going company productions. She has attended various residencies and workshops including Mavin Khoo, Nahid Siddiqui, Stella Uppal, Shobana Jeyasingh and others, and has taken part in a number of festivals around the country, including events organised by Sampad South Asian Arts in Birmingham. She has also worked with Sonia Sabri and Gig Payne in “Arkar” company exploring the classical and contemporary marriage between the Northern Indian Kathak dance form and Bharatanatyam. ANUSHA KEDHAR (Dancer) is from California, where she trained in Bharatanatyam under the direction of Ramya Harishankar at the Arpana Dance School. She has also learnt from Kalanidhi Narayanan (Chennai, India), Leela Samson & Mavin Khoo (London). Since 1990, she has been a principal dancer of the Arpana Dance Co. with whom she has toured internationally, including the US, Europe & India. She has also trained in Flamenco.


THE HOSPITAL

THE HOSPITAL

2007 – Newsletter Eleven

2007 – Newsletter Ten

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2007 – Issue Twelve – London

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2007 – Issue Thirteen – London

25/6/07, 10:39


À la Mode

2008 – Issue Fourteen – London

2008 – Issue Sixteen – London

2008 – Issue Fifteen – London

2009 – Issue Seventeen – London


Features

Arctic Monkeys Kazantip

Input

LCD Soundsys tem

iphones vinyl junkies

Jamie T

Kings of Leon

MySpace

Mika

‘It’s the Last

The White Strip es

Output

Days of

Top of the Pops

Glastonbury

Disco,’

said the figure beside me at the bar and you could see his point. Stretched out on the sofa were two women of dubious repute sending synapses into overdrive – how do you spell ‘décolletage’? – while two men of indeterminate intent sat nearby puffing on Cuba’s finest. In front of us was another row of whisky sours. The piano bar at the Dorchester – a place that Liberace would have found de trop – at two in the morning on a Monday night: it was as if the world could have ended outside and none of us would have been any the wiser. A preposterous David Beckham lookalike wandered past a group of portly gents in black tie, which was surreal because Goldenballs himself had been downstairs in the gilded China Tang earlier. The pianist played ‘As Time Goes By’ and then The Scorpions’ ‘Wind of

Change’. The last days – the last party for the record industry suit who was footing the bill. How will it end when the music stops? It’s 2007 and the major labels find themselves facing the same future as the hookers on the sofa when their tits start to sag and their greasepaint smears. Mismanaged for years, apparently; greedy and venal; caught napping by the internet, and upbraided by surly youths who don’t want to buy their music in a plastic jewel case, if they’re going to buy and pay for it at all. There have been

mergers and closures, sackings and repositionings; blood in the boardroom as well as on the dancefloor. The days of excess are over: no more album launch parties at which to snort coke off dwarves’ heads – no more rallying cries of ‘Bring me another. This one’s burst!’, possibly to paraphrase Freddie Mercury; no more sailing giant statues of your artists like Wacko Jacko down the Thames; no more characters, like Walter Yetnikoff, former head of CBS Records of Howling At The Moon fame, with its own tales of living

la vida coca. Or so we are always told. It’s not of course the music that suffers: music is in ruddy health –2007 is the year which has (already) given us classic records by The Good, The Bad & The Queen, Jamie T, Klaxons, Mika, The Hold Steady, Ry Cooder, Arcade Fire, Grinderman, Klashnekoff, Bassekou Kouyate, LCD Soundsystem, Kings of Leon, Panda Bear, The Aliens, Rufus Wainwright, Bjork, Arctic Monkeys, Carla Bruni, Battles, Justice, Plastic Little, Paul

McCartney, Candie Payne, The White Stripes, Dizzee Rascal, Bonde Do Role and more, and that’s not to mention discoveries from the web like Adele and Alessi – just to list the A’s. And it’s the summer with six different festivals every weekend from the swaddled comforts of Glastonbury to the medieval delights of Tapestry and abroad to the primeval delights of Kazantip in Popovka on the Black Sea and its website promise that ‘All paradiZers from KaZantip.com are very friendly and open; it is easy to

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make contact with them. Sexual behaviour differs from other countries. As a foreigner you are highly attracted to our girls (there are plenty of beauties)’. What’s different? It’s true that the central narrative of rock history has fissured - no more mods and rockers begetting hippies, begetting punks, begetting ravers, no more yoking of pop and politics – as everyone has got in on the act, every kind of person and fan, every kind of act, aided and abetted by a proliferation of media and technological change. There’s

£50 man, and there are pre-teen girls in their bedrooms playing guitars. There are iPhones blaring on the bus and vinyl junkies still satisfying their fix. There isn’t Top of the Pops. There’s The Horrors in Tesco’s for £6.99, there’s Congolese soukous on the radio and a dubstep soundtrack to Gardeners’ World. There is The X-Factor and there is MySpace. In place of one story, there are now endless different tales. Could be that the drugs don’t work - that the quality now is not what it once was; but really

it’s just that they, too, have been democratised. The sex - ask the paradiZers. And as for the industry? Don’t feel sorry for those who’ve been living high on the hog, doing what they love - and really, in my experience, most of them always have loved the music. Rather join them in the death disco or ask the pianist to play another tune.

by Caspar Llewellyn Smith

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Art

According to Google the name Warhol brings up 10,600,000 hits, while Banksy’s measure 2,800,000. As implied by the title of the new show opening in The Hospital Gallery in August, Warhol vs Banksy is not an involuntary collaboration nor a historical comparison but rather an event or a contest.Warhol is posthumously defending his title, but Banksy makes for a formidable challenger, having received extraordinary press exposure since 2000.

Banksy’s sexy Kate Moss in the design of Marilyn will be seen across from Warhol’s 1963 classic. Does Banksy’s Moss suffer from its referencing of Warhol, or does Kate make Marilyn look out by her own trendy but impossible love fable? Fame is used by both artists, whether it is the fame of their subjects or themselves. But nowhere could their differing attitudes as artists be more obvious then their two versions of the Queen. Warhol contributes his elegant, delicate, hand-made drawings of Queen Elizabeth. Banksy’s painting of the Queen, however, shows her as a monkey and behind this manic beast is a garish Union Jack. Another highlight of the exhibition is Banksy’s massive Winston Churchill with green Mohawk

painting. Only seen once before at his London show it is a reference to the anarchist riots of 2004 and to what must have been an inspiration to Banksy, the defaced statue of the war hero with a neon green Mohawk wig. The ripple-effect from artists like Warhol and Banksy has been stepped up progressively by their moves in and outside the art world. The anonymous Banksy risks arrest from Disneyland to Palestine while the ubiquitous Warhol was perhaps the world’s most photographed portraitist. Warhol will be remembered for his vivid and immeasurable recording of all that was his surrounding society. But Banksy’s work is cloning itself at a quicker rate than even Warhol dreamed of. If he quit now, Banksy’s work would

continue through the productions of a whole wave of younger artists who are already professionals at stencilling, spraying and of course, breaking and entering. With both artists, money has the last word. Market prices for their work have become mouthwateringly high. Picture legions of future specialists from the major auction houses, splitting hairs about the provenance of removed stencilled sections of wall soon to be transformed by a bidding war into precious commodity. Warhol vs Bansky 10 August to 1 September. The Gallery Monday to Friday 10am - 6pm Saturday 12 noon - 6pm Private view: Thursday 9 August 2007 6.30 - 9pm We have limited spaces for members. To book please call 020 7170 9300 Curator’s Talk: Tuesday 14 August 6.30 - 7.30pm To book please call 020 7170 9300

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o e u ur d p g a ic nto se, ass s so n onic ld n had ion me p ote fi um a w fo on fi icke s. I gur be or r m e w an xate d e hav es f rs o ld p usic ith d up ntir e, ro f a op , I a d alw o e ho m rt u h ee I ay n, o ly t we wh full late ave pcir can s w ft he ve ich y a d , o all cu ple ith en wr r, ro to ttir by f ba w bu ms ad tra spe ong utin tak ed, fo nd in ere t a tan mit gic cta o e e be ote ca fr flu tak few ces ig re cula nes ly ca en d b lled su rly to b om enc ing o he atin h ll h los ran Br lts W eing suc es f th f m re, s g . so, M is n im t to d o onz su ell s a h rom eir y t inc refe ax, ame Ma the f ha e, w ar ch, er, I s Te shar 2 early eena e w . a H rr s I x B m rd ho b ou I m w rry p- -To f ge hil a e w ed he saw ac ists roc se ja otto nd ay as in H dre ne ash pe st ap cap as to, wil a on, of k h clu sh cke m the as to all ssed an ion ers sp pr -sle spo in l ha pho for tim as bw ort t st jea tow we he and ali d M lo latt oxim eve rtin Ker ve a to tha e. L long ok er a T g ra ss of t en ith en rew ns a n ll h avy Pa en od , H ed ed tio -sh PV ng ur ‘M wa et’s – ou in sc oug n w nd – in ave me ul A rid acr n o irt C ! m edly ad s w en clu hea gh ho h it wit m w ta d nd, icu oss f t wit tro aga b ’ fo eek ce, – b db at t ol at t h p h y b alke l. A fa idn un lo it he h a use zin een th llo ly c I p ‘U ring disc ang he rule he f atch my ell- d s us in Ja to ke ’t re lik a e s win oll arad nc in o w ba s b ro es de . I b pa vag rs an e. m ph leat stric e th lea g (ie ith ck ut nt , h nim co loo ne ue d pe T-sh leev g it ege ed So ag ot he t e h a b : it a to lo to air s I p n e a d e ir je c a o r s em dis ab ied -r fl ! U ell w t t – n st sit m a wen zin sh /cr the ap ap ans h; s t co roll s: a co out nc an as he ye g ay him ed. ag st ua eho la cam t o es oo ap we less H lea d a loc a G b pe ; an kin lou ed gr we th to ar I tion w, e . lo ugh p K ut in (sin ts fo T-sh arin Bac n!’ in mu al od h lack ar a d ju -tig red up ey arin e th wa pre too ev I co ok ed a c g . ton lle yo s! to air , a wf st ht a to jack g t ric ed . A m pu e I r he irt c of on, sn se k en nsp in t) uth D ’t nt no w ir D the had nkle ul e in ston shad the et w he ea f nd ika bli nev avy om my I g, id ev in te or ed n c o a z oo q i p c lo er m bo n R u p no -h o as ew e elb it en g N o se l. uit il o did et st in this w oun gal oin w igh ugh e I as of p ow h a s one f w . T to m ch o, e r ot. kin a al in rive sta on ta self he he ak Bu ord dab the t wh grow pix , a did hed utr s; h oic wh igh Pe g ny r. h dee to nt le e in id t ‘T to ou Do er n ie b pair n’t H to n it first e th an abit es, en it tly ople like ), sk eav d a dr ss cid e f th ca r is T wa pro t. T g f e I out oo of ev d t ua ev c so ro e m oc tim ip y m ny ess on: en ttis pe he rom cou all ts. sin her ,f nt wo e k n er he lly g er s om th e for eta oth like to t te or ld o M ed rld h’ rly re ba ce e ha th eith follo und on ince es to I fas e m at c war l sin er M whit ach co su is n The pa ver y d th ve a e e e le d w m r t a ( m m o M ss he str w m er-s for , I h wa w hio id oll fi ge in x , m ex d a alt en, be es up sin a fo ir ee ill y ta th av rd h ith n - to ege ve r? A or Bac do e clo t g gic r th cla n e hou bu en fac t a th le ted e e ro So at ave a m min lat . Th yea las lea on, not se his le es nd ey ad . N an ins be w at im x-g gh t no sim C ,t . all alr od efi e-’8 is rs o , n gu o lo tu gu po , it o on tea p ith ma , ‘O irlf , th ne ilar . ead ic eld 0 w r o. e r ok u lub han rn ff in is o ym d to owe hin n w oh, rien e be so fau . y e um fo s, a as d so, Le an p th , fo k y pu aw t m tru ne ou e h d r d t e x a y o t r t p e sta of r e ve ur o u ce at e e, wil s ha ns of sig o d ou ’s m rd ic -p of d b se m u . bli ta ve rit ing my s n ure in ht oe lo o th all as m ou bu l N th e r da ak , Th ev e t t in t fi , y t sh ste n t able bo ow, e m em rk, ing e H en I re nit ill- s So ok her at ill ed . I ho ot w an ind da m o , h , a se th ma y), adv oty just to s… he ife ed rk e d sp e m in no is !’ ad s w PA li re st e on me red ital no e os ed r an d t was ke U e d v m g id il ce L td m y ot , ne RE I p of m orie e ba ev ore so he o c ou ce li f u s E k t t ash re S, t m lib kely ho io Ed n on ate s ito ep . k. r, ixie Q

Feature

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Sp ro eak ot in

Even the mere mention of the word is enough to bring me out in a cold sweat. Palpitations and a creeping sense of dread follow in due course. You see, whilst there may be a fine line between being fashionable and not, there is a great, chasmic divide that separates the chic, the en vogue, the call-it-what-you-will and the position I have routinely occupied for much, if not all of my adult life. I am not, nor have I ever knowingly been, fashion conscious.

Q, THE MUSIC CLUB, LIVE AT THE HOSPITAL CLUB Paul Rees was the one looking anonymously understated at shows by Stereophonics and Seth Lakeman in February and March. Both were highly acclaimed affairs. Next up, Q and The Hospital Club are proud to host Mercury Music Prize nominees The Guillemots on 23 April and Bury’s finest, Elbow, on 21 May for intimate and exclusive live sets. We look forward to seeing you there.

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ion flies cial fash tion of commer nomic cau premise sense, eco e, works The entire of common s otherwis in the face . Anyone who say on propagating thrives ady stry and altruism The indu ring is alre happier in fashion! what you’re wea feel and er that look bett the idea ng balloon that you’d new oblo a dated and wearing a brand paired with e perhaps said, if you wer chvogel, ar Wilde Maria Gra hel. As Osc dress by lerable that fringe satc s so into Balenciaga a form of uglines ” ths. is mon “Fashion every six to alter it we have

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bviously, designers and high-street retailers want consumers to continue shopping, but many of us are finding alternative solutions to a tired wardrobe. Those who’re keen to get a fashion fix during leaner times are rocking up to parties where they’re encouraged to bring their old, unwanted threads and accessories to swap them for newer items. ‘Recessionistas’ are mixing affordable socialising with finding a new look at such “swap-shop” soirees. “Bring clean, gently used clothing that you no longer wear” suggests an advertisement for one such event in Dublin. A glass of wine, mini-manicures and makeovers are all available on the night and included in the £15 ticket fee. This may not seem to boost the coffers of the industry, but at least it keeps the frenzy alive. If not buy, buy, buy…at least swap, chop, eBay. Ironically, the fashion industry is always flagging up individual style and creative flair, which is what the consumer is forced into when rooting through the rails of charity shops or getting clever with a sewing kit. While luxury brands and established designers pare back their extravagant habits, customers become more confident in their own creations and jumble-chic ensembles. This creativity borne of necessity will inspire a whole new generation into clocking the fact that there’s nothing cool in being a human billboard for an established global brand - unless, perhaps, it’s your own. It might not be great for the likes of Louis Vuitton, but history has taught us that hard times deliver inventiveness and experimentation, the very backbone of the industry. It’s somewhat amusing to watch the fashion world try to affect an air of concern as houses are repossessed and people kidnap their own children to make a bit of cash. In glossy magazines, there’s been a slight change of vocabulary; rather than ‘splashing out’ £24,000 for an orange crocodile Hermès ‘Birkin’ bag, it’s suggested we should ‘invest’ in such items. Well, property prices are plunging, stocks are rather

people want to dream and get away – especially in the luxury goods world. So to a certain extent, it’s good that we have the occasional crisis because people react to it and against it. I just wouldn’t want it to last for too long though, all this bad news is very distressing.”

shaky, but a signature handbag, well, that’s for life, innit? Unless you leave it on the nightbus (which you’re catching to save on cab fares). Swiss watch-makers, Patek Philippe, have cleverly incorporated this investment message in advertisements which read: “You never actually own a Patek Philippe. You merely look after it for the next generation.” Of course! So, that makes it okay to spend £50,000 on a watch.

Manolo Blahnik (The undisputed King of the Stiletto, who put the high into heel, greatest shoe-maker of them all)

a master of the home-made Margherita, finally made the iPod party mix I’ve been meaning to do and recycled a brilliant Seventies dress from my mum’s wardrobe. I’m verging on feeling smug! There are limits though, and I can’t do without new shoes around this time of year. Still, bartering down an extra 20 quid at the Jimmy Choo sample sale made me feel a little less guilty...”

“I think when the rumours of Louise Roe recession began I did have (Fashion journalist and TV presenter) that feeling that, having been a struggling artist for many years, there wasn’t much that “Without a doubt, times like In many ways, it really doesn’t suit a recession could throw at this break patterns and create the fashion industry to be suddenly me that I hadn’t lived through frission and energy in the seen as sensible. The real world is already! fashion landscape. Browns grim enough and one of fashion’s has always been a champion I’ve had to take it more of fashion creativity so it’s greatest strengths is that it gives us seriously recently – at the last an interesting time for us and an outrageous escape. We all know show out in India it was THE I’m particularly excited about it’s a fantasy world and people don’t subject on everyone’s lips the new wave of designers except of course for the artists currently hitting our stores.” really look like that - we’ve all seen we met and the curators Erin Mullaney behind the Photoshop curtain. and the seriously committed (Buying Director Browns Womenswear While the editors of Heat might and Browns Focus) buyers and collectors… and jump at the chance of snapping that is the crux; periods like this do sort out the passionate Kate Moss in a second-hand “My philosophy is this - it’s never from the avaricious. More shellsuit, we’d rather see her in too late to stuff a mushroom than that, by taking away the creativity can never be vintage Zandra Rhodes, falling out assumption that all the work crunched.’ of Claridges with her drug stash in will sell, the pressure to make Natalie Theo saleable work is also removed a Fabergé egg. Everybody seemed (Fashion Editor The Daily Mail) and you can look back over pleased to see Naomi Campbell previous recessions and see forced into community service, but what great creativity occurred “The expression was born in the simultaneously... we do need we all applauded with ecstatic glee late 40s when the industrial the dole though so that it’s not revolutions were occurring… when she finished her court order just trust fund kids who are things are still great here we stretch and sashayed from the New able to afford to make music, are a first world country, we York City Sanitation Department art etc. I’m already aware that have a strong health care… spirit of liberation is bubbling depot wearing a full length, silver we are not struggling like up even with this last show some other countries and we Dolce & Gabbana evening dress. I started to care less what should remember that. The Now That’s What I Call Fashion. people thought or made of Credit Crunch is not a Creativity Ms Campbell doesn’t do contrition it, and that is when more Crunch, play has to go on - it exciting work will get made… or moderation, and it doesn’t suit cannot stop. Imagination can it may all have never be underestimated… I to be done the industry either. on a strict diet of porridge myself used to, in my childhood, and potatoes but the next play with my favorite toy – a The Hospital Club scoured the few years could prove less box; it could be a plane, a boat, bleak than we’re being told a car… it was everything. many corners of the fashion to imagine them.” This kept me amused for long world to find out how those on periods of time, happy in my Natasha Law the frontline viewed the current (Artist and Fashion Illustrator) own imagination, much to the climate, and what trends they see glee of my parents! Think of that childhood playtime and on the horizon. “The credit crunch is a apply the same to today.” leveller. Suddenly everyone Stephen Jones “The great thing about this sort is on the same page and (Couture Milliner for own line, celebrities of atmosphere is that it forces wouldn’t dream of spending and leading fashion houses) you to think differently. All of what we used to on frivolous, a sudden something that you unnecessary luxuries that took for granted might not be became taken for granted. Perhaps the wisest words on this there anymore – so you have Weirdly, I’ve seen more of come from the American topic to think of other options. In a my friends than usual, for author Gail Rubin Bereny who way you are forced to work out cosy nights in far more of your comfort zone, which intimate environments (our noted, “Above all, remember that makes it more exciting, and homes). For me, the credit the most important thing you can increases scope for novelty. crunch has meant becoming is not a Gucci bag or anywhere take a better hostess! I’ve looked French-cut jeans; it’s an open mind.” I’m also a great believer in up recipes online, become that when times are tough,

19


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you ever had, and you would teenage dreams are the best have pogoed in the 70’s. That love would tear us apart, understood though liked the early cure and you can always tell your smiths’ from your jones’. Knew that teardrop explodes and bunnymen echo, and jesus carried mary’s chain. That the late 80’s was clearly james. That the 90’s needed an oasis though it was sometimes a blur. That radiohead are british. That sigur ros equals genius though with a more indie beat. That chemical brothers faced death in Vegas, and ryan adams created wonderwall. That from coldplay come thirteen senses and who could halt the turin brakes. And who could beat the early verve though let’s not appear over keane. That p j Harvey should sing in Damien rice. That starsailor british and the door has opened for sailed to be spiritualised. That ballboy & franz Ferdinand is another step forward, and many more besides. That beyond the horizon is

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Send CD/cassette, brief history, photo and most importantly a reply address to: Zero to one records limited, PO Box 11867, turriff, AB53 6WZ.


A5 Leaflet autumn paths.indd 1

30/6/08 15:31:06


CYPHER “one of the most consistently thrilling evenings of dance I’ve seen all year.” The Observer


artwork

March 4 Sat

Playbox Theatre Company, Warwick CV34 6LE 7.30pm £10 / £7 / £6

01926 419 555 www.playboxtheatre.com

May 4 Thurs

Paisley Arts Centre, Scotland PA1 1EZ 7.30pm £8 / £4

0141 887 1010 www.paisleyartscentre.co.uk

March 17 Fri

Sallis Benney Theatre, Brighton BN2 OJY 8pm £9 / £5

01273 709 709 www.brighton.ac.uk/gallery-theatre

May 7 Sun

Macrobert, University of Stirling FK9 4LA 8pm £8.50 / £5

01786 466 666 www.macrobert.org

March 22 Weds

Lakeside Theatre, Colchester CO3 4SQ 7.30pm £7.50 / £5.50

01206 873 261 www.essex.ac.uk/Arts

May 10 Wed

Dance City, Newcastle NE1 4BR

0191 261 0505 www.dancecity.co.uk

March 24 Fri

Phoenix Arts, Leicester LE1 5TE 8pm £9 / £7

0116 255 4854 www.phoenix.org.uk

May 11 Thurs

West Wing Arts, Slough SL2 5AY 7.30pm £8 / £6

01753 823 710 www.artsinslough.org.uk

March 30 Thurs

Merlin Theatre, Frome BA11 2HG 7.45pm £9 / £7.50

01373 465 949 www.merlintheatre.co.uk

May 12 Fri

the hat Factory, Luton LU1 2EY 8pm £6 / £4

01582 878 100 www.luton.gov.uk/hatfactory

April 6 Thurs

Gulbenkian Theatre, Canterbury CT2 7NB 7.45pm £14 / £12

01227 769 075 www.gulbenkiantheatre.co.uk

May 13 Sat

mac, Birmingham B12 9QH 8pm

0121 440 3838 www.macarts.co.uk

April 12 Weds

Rosehill Theatre, Cumbria CA28 6SE 5.30pm £3

01946 692 422 www.rosehilltheatre.co.uk

May 17 Weds 18 Thurs

Biennale Bonn, Indien Theater Bonn

April 13 Thurs

Square Chapel Centre for the Arts, Halifax HX1 1QG 8pm £9 / £7

01422 349 422 www.squarechapel.co.uk

May 19 Fri 20 Sat

Tanzhaus nrw, 40233 Dusseldorf 8pm

+ 49 211 172 700 www.tanzhaus-nrw.de

April 20 Thurs

Croydon Clocktower, Surrey CR9 1ET 8pm £11 / £7.50

020 8253 1030 www.croydon.gov.uk/clocktower

May 27 Sat

Brewery Arts Centre, Kendal LA9 4HE 8pm £8.50 / £8

01539 725 133 www.breweryarts.co.uk

April 21 Fri

Rotherham Arts Centre S65 1JH 7.30pm £8 / £6

01709 823 621 www.rotherham.gov.uk

May 30 Tues

Lakeside Arts Centre, Nottingham NG7 2RD 8pm £10 / £7

0115 846 7777 www.lakesidearts.org.uk

April 22 Sat

Watermans, Brentford TW8 0DS 7.45pm £10 / £8

020 8232 1010 www.watermans.org.uk

June 8 Thurs 9 Fri 10 Sat

The Place, London WC1H 9PY 8pm £5 - £15

020 7387 0031 www.theplace.org.uk

April 28 Fri 29 Sat

Ustinov Studio at The Theatre Royal Bath BA1 1ET 8pm £10 / £7

01225 448 844 www.theatreroyal.org.uk

June 15 Thurs

artsdepot, London N12 0GA 8pm £10 / £8

1

www.biennale-bonn.de

020 8369 5454 www.artsdepot.co.uk

18/1/06, 15:58


jonathan lunn

dance company

Reading

Produced by Turtle Key Arts. Commissioned by Southbank Centre.


The Guardian

“ seamless in finish ” The Observer

Confuse

“ gorgeous lighting, hilarious spoken text ”

A

“ a subtle and compelling work ” Ballet Magazine

assembly

The Times

A

B

Read Carefully

“ a gem of choreographic ingenuity ”

Reading


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However your event is conceived or developed the one guaranteed requirement is space: space for creativity, productivity, commerciality. Space for work and for play, and even car parking space!

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There are some foods you

shouldn’t eat when you’re pregnant because they might

make you ill or harm your baby:

liver and food made with liver (like liver pâté) raw eggs or partly cooked eggs – only eat eggs cooked enough for both the white and yolk to be solid blue cheeses, and soft cheeses that have a rind (like brie or


pâté (all types) ice-cream – most ice-cream is okay. However, some ice-cream is made with raw egg and this could harm your baby, so if you’re not sure ask and if you are still in doubt avoid it. ready meals that aren’t cooked

swordfish, marlin and shark should be avoided. Limit your intake of tuna to no more than two portions of fresh tuna steaks a week. You should also limit your intake of canned tuna to no more than two medium-size cans of tuna a week. This is because these fish can contain high levels of mercury.


E! S E E H SAY C heesy The c ooklet little bfacts. of

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Finn Red’s eldest son at the City Farm arrivin g in Leic at Red’s hou ester. se

es W w -la kes. r-in


BE more DO more LOVE more


Refreshing Business


10 year of topright  

10 years of topright, a graphic journey

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