Christian Bale / Travis Barker / Felix Baumgartner / Aloe Blacc / Hot Chip / Mmoths / Sigur Rós / Oliver Stone
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THE WORLD OF RED BULL
“I HAVE ACHIEVED THE IMPOSSIBLE” From spending his nights in an air raid shelter during the Balkan war to defying the odds to reach the top of the tennis world: Novak Djokovic talks exclusively to The Red Bulletin
COVER PHOTOGRAPHY: CLIVE BRUNSKILL/CONTOUR BY GETTY IMAGES. PHOTOGRAPHY: GETTY IMAGES (2), DENIS ROUVRE/CORBIS OUTLINE, LUKE AIKINS/RED BULL CONTENT POOL
BEATS AND STRINGS Backed by an orchestra, US soul bard Aloe Blacc has married classical and hip-hop in a special live streaming project. We check out how it went
“I HAVE A RIGHT TO BE MAD” Outspoken Hollywood director Oliver Stone may be hungover, but he’s as composed as ever when he speaks to The Red Bulletin
“Whether it’s playing some game or skiing, it’s always been part of me to want to win ”
Novak As a man who learned his tennis by day, after nights Djokovic hunkered down in an air-raid shelter, it’s no surprise that Novak Djokovic takes such delight in his position as one of the world men’s tennis elite quartet. The Serb knows what ‘battles’ and ‘fighting’ mean to war zone civilians, so if he can poke fun at his sport – while still excelling – then surely he has earned that privilege. He’s a fascinating character,, as he reveals in this month’s exclusive interview, and some of his peers would do well to note his sense of perspective on what is, after all, just a game. You’ll also notice a musical flavour inside these pages: if you’ve ever wondered who washes rock stars’ underwear or who makes on-stage pyrotechnics,, then read on and you’ll find out. Only, dear reader, in The Red Bulletin.
RED BULL STRATOS Can Felix Baumgartner really go supersonic as he free-falls from the edge of space? The answer lies in some complex calculations
THE WORLD OF RED BULL
TRAINING TIPS: NEED FOR SPEED Moto2 riding star Marc Márquez reveals how his impressive speed isn’t down to brawn or the throttle
20 KIT BAG: SMALL BANG THEORY
The starter’s pistol ain’t what it used to be. An electronic flash and boom will get them started this summer
I’ve won medals at world level. It’s not impossible
GREEN FLASH She’s in the form of her life but still cool, calm and collected, Irish triathlete Aileen Morrison on her date with destiny this summer
08 Gallery 14 News 18 Rock’s most-wanted roadie 22 A4 artistry: Red Bull Paper Wings 26 Art on the streets of Haiti 44 The dry cleaner to the stars 46 Insiders’ guide to the gigs of the summer
PHOTOGRAPHY: LAUREN DUKOFF, PICTUREDESK.COM, GETTY IMAGES, GIAN PAUL LOZZA, ADRIAN MYERS
TRAVIS BARKER Four years ago the Blink-182 drummer was on life support. He’s spent the time since blurring the lines of musical genres and reuniting his band. He talks about family, touring, and a Muppet
CHRISTIAN BALE With the new Batman movie set to take over the world’s cinemas, the secret identity of its star is revealed: the clowns, the frowns, the ups and downs
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THE WORLD OF RED BULL
July WORLD IN ACTION From funk queen Janelle Monáe performing at a Narnia-style festival in Norway to a whole load of bulls rampaging through the Spanish streets, we bring you the month’s best events listings world-wide
24 LUCKY NUMBERS: MYSTERY FIGURES
2012 is clearly playing a few number games, what with three Friday-the-thirteenths and the world definitely scheduled to end yet again. Here are those, and other, devilish digits decoded
86 MONTREUX JAZZ FESTIVAL
Every summer for the past 46 years Claude Nobs has invited top musicians to perform by Lake Geneva. The festival director reveals his top eight Montreux sights with a special place in pop history
84 GET THE GEAR 96
Charting the meteoric rise of 19-year-old Jack Colleran and his widely acclaimed electro outfit Mmoths – from making bedroom beats in Newbridge, County Kildare, to becoming a celebrated artist
Whether it’s KISS, The Rolling Stones or Mötley Crüe, if anyone wants to blow things up on stage, Pyro Pete is their man. He reveals exactly how all the mayhem gets made
SAVE THE DATE
Ink these in your diary
The thoughts of columnist Stephen Bayley
A glamorous club, an exotic cocktail, a midnight snack, the best in music and much more – we’ve got everything you need to get you through the night
PHOTOGRAPHY: GETTY IMAGES, CORBIS, JAMIE DELANEY. ILLUSTRATION: JULIA PFALLER
Body & Mind
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MAT TE R H O R N , SW IT Z E R L AN D
ROPE AND GLORY
At the top of Europe’s 11th-highest mountain, it’s 4,478m above sea level. Summitting the Matterhorn is still one of alpinism’s great challenges, but there are few new firsts left to chalk up. Swiss mountaineer Stephan Siegrist recently managed one, on a rope as thin as the air up there. After a pal’s suggestion – and what are friends for? – the two men climbed to the top, on a perfect windless day, where Siegrist steadily walked a slackline. www.stephan-siegrist.ch Photography: Thomas Senf
JAW S , HAWAI I
Here’s one for the nature/nurture debate. Is every 19-year-old kid from Maui capable of windsurfing Jaws, the break off the Hawaiian island’s north coast that can produce waves 20m tall? Or is Kai Lenny a special case, a genetic miracle, the only one of his peer group who grew up in the shadow of Jaws with the innate ability to get to grips with it? He sees his conquest of the blue in black and white: “I could either sit around and play in the sand, or learn to surf.” Kai caramba! www.hawaiianwaterman.com Photography: David Holmqvist
SURREY, BRITISH COLUMBIA, CANADA
Two years in the making, mountain bike documentary Strength In Numbers gets to the heart of the sport and its ever-increasing number of devotees. Among the featured bikers is 16-year-old Canadian Anthony Messere, who has been in the saddle competitively half his life. From the hills of Utah to the slopes of Nepal, and other countries between, the film captures the thrill and spectacle of mountain biking like no other. Watch it now on DVD and Blu-ray, or via iTunes. www.anthillfilms.com; www.redbull.com/bike Photography: Sterling Lorence
Bullevard Sport and culture on the quick
Giant jellyfish at the Stereosonic Festival
Rocks starsâ€™ demands never fail to amaze gig promoters: be it backstage corn starch or two dozen red roses,a bespoke toilet seat, or a bag of Gummi Bears for post-gig comedown. But who wants what?
2 LL Cool J
Flights of fancy 3
Designs In Air are the team responsible for some of the most beautiful visual enticements at music festivals
Like tentacles they wrap around stages; giant jellyfish hanging inside marquees. Since 1994, Luke Egan and Pete Hamilton have been making luminous, light-filled sculptures under the banner Designs In Air. Theyâ€™re conceived on computers in 3D then sewn together in Manchester from fireproof nylon. Once ready, the balloons travel all summer to festivals including Fuji Rock and Burning Man. www.designsinair.com
PICTURES OF THE MONTH
d Answers: 1b, 2c, 3d, 4a
EVERY SHOT ON TARGET
Taken a picture with a Red Bull flavour? Email it to us: firstname.lastname@example.org Every month we print a selection, and our favourite pic is awarded a limited-edition Sigg bottle. Tough, functional and well-suited to sports, it features The Red Bulletin logo.
B-Boy Lil G is head over heels to perform at the Roman theatre in the Egyptian city. Mohab Magdy
Pack it in Essentials for summer festivals
Red Bull Youth America’s Cup sets sail
Fudge Dry Shampoo Mud in your hair? No showers on site? Give your head a spray of this stuff and your mane will be clean in minutes.
PHOTOGRAPHY: GETTY IMAGES (5), CORBIS (2), SHUTTERSTOCK (5), DESIGNS IN AIR, GILLES MARTIN-RAGET/RED BULL CONTENT POOL, CHRIS POLACK/RED BULL CONTENT POOL
America’s Cup – the next generation The greatest catamarans, the best sailors, the biggest boat race in the world: what ambitious yachtsman hasn’t dreamed of one day taking part in the America’s Cup? That dream is a little closer for the young and talented, thanks to the Red Bull Youth America’s Cup, which gives 19- to 23-year-olds their first chance of stepping up to the sailing big time. “It’s turning tradition upside down,” says Jimmy Spithill, 2010 America’s Cup winner. “And that’s great. Finally young people have a realistic chance of getting ahead as well.” The newcomers’ regatta kicks off in 2013 in San Francisco, in the middle of the action for the 34th America’s Cup. Anyone in the age bracket can apply and 10 teams will take part. The chosen few will go forward to race the AC 45 catamaran (America’s Cup World Series class) for free. Applications from summer at: www.americascup.com
Trevor Baylis Eco Torch Part LED torch, part FM radio and part mobile phone charger, this shuns batteries in favour of wind-up power.
BEATS & STRINGS Backed by an orchestra, Aloe Blacc marries classical and hip-hop Building bridges to bring different worlds together: that was the idea behind the Red Bull Beat Suite concert project in Melbourne. In mid-May the Australian Youth Orchestra shared the stage with a handful of beat wizards and US soul bard Aloe Blacc. Millions of music fans around the world watched the spectacle via live stream on YouTube, with conductor Tamil Rogen giving the songs a classical sheen. Have you ever played in an orchestra? Yes, trumpet at school. I thought with three buttons it must be the easiest instrument. I learned to read music, which I’m happy about now.
Eileen Short Pink Wellies Festival footwear doesn’t need to be military green. These stylish mud waders are pretty in pink.
Do you prefer to sing accompanied by a band or an orchestra? The dynamic is different. With a band you have to sing louder. With strings the voice has less competition. Was it unusual for you playing in a seated concert hall? Yes. But by the time we got to a bossa nova version of my song I Need a Dollar, the whole audience was out of their seats. The best use of strings in a pop song? I love the early Jackson 5 recordings where you hear at least 20 instruments in a song. And I love the symphonic element of Barry White records. Highlights from the concert at: beatsuite.redbull.com.au
Aloe Blacc on the mic at the Red Bull Beat Suite concert
WE HAVE A WINNER!
Guadalajara Entrants in Red Bull Manny Mania prove skating on two wheels is a balancing act. Miguel López
Kiev Mismatch: Ukrainian horsepower meets the Red Bull Racing RB7 Formula One car. Sergey Illin
The Red Bull tour bus (with group Makonstumeji on board) travels throughout Latvia. Kristaps Kains
b u l l e va r d
Not your usual festival setting: Castlepalooza
Sounds clash Two large music festivals in Ireland on August 3-5. Finalists from band battle Red Bull Bedroom Jam will be performing at both; here are pointers to help decide which one is worth your ticket money: Castlepalooza, Tullamore • Held in and around an actual castle. • Line-up includes Ghostpoet and The Charlatans. • Nearby town with B&Bs for the anti-campers. Indiependence, Mitchelstown • Line-up include Beardyman and 2ManyDjs. • Spoken word tent for the more-literary minded. • Nightbirds music tent open from 3am til sunrise. www.redbulljam.ie; www.castlepalooza.com; www.indiependencefestival.com
George Townsend (left) and Adam Kaye: the boys of Bondax
Crop circuit, not crop circle
Blazing the crop A wheat field is the unusual setting for Red Bull Weavers, a one-on-one cycling contest. Two identical tracks, fashioned side-by-side in shoulder-height wheat in a field in Frome, Somerset, will be open riders both pro and amateur on August 16. “I never usually ride headto-head,” says UK freestyle BMX rider Kye Forte, “and the setting is not something I’ve seen before. But I’m really excited about doing this.” Sign up or watch live: ww.redbull.co.uk/weavers
Sofia Ramping up the action at Bulgarian street luge contest Red Bull Lagernica. Predrag Vuckovic 16
With acclaimed tracks and remixes for the likes of Chromeo under his belt, it’s hard to believe that George Townsend, of producer duo Bondax, is only just a man Young Guns. “We’re both 18, so our first club experiences have been behind the decks, we’ve not been clubbers ourselves. At first we didn’t know what people wanted to hear, so we just played what we think works.” Field Days. “Me and Adam [Kaye, other half of Bondax] grew up in rural towns outside Lancaster and our sound is our childhood in music: romantic, airy, dreamy. Being in the country makes a difference: we’re not all
Spielberg In Austria, driving tips for ski jump ace Thomas Morgenstern from David Coulthard. Samo Vidic
about making 130bpm house tracks.” (No) Football Focus. “I played football for Bolton Academy when I was 14. It was a hobby I got good at, but people there had their lives resting on it. It was a bit serious for me.” Orange Crush. “I have a quite a sweet tooth and I don’t feel guilty if I eat oranges. So I eat a lot of oranges – I’m up to about six a day.” See Bondax in Red Bull Studios’ Introducing series: www.redbullstudio.com
Panama City A wheelie good kiss for Aaron
Colton before a demo of his expert freestyle biking. Faisal Tisnes
words: Ruth Morgan. Photography: Tony Kinlan, Ben Dean, Robert Eaton
b u l l e va r d
where’s your head at?
With the new Batman movie set to take over the world’s cinemas, the secret identity of its star is revealed: the clowns, the frowns, the ups and downs
Th e Le ad in g Ma n
Little Man , Big Top
To play a man ravaged by insomnia in The Machinist (2004), Bal e lost 28kg, to weigh 54kg. He then had six months to ‘muscle up’ for Batma n Begins, and tipped the scales at 86kg. With weight gained and lost for other parts too, one critic called it Bale’s ‘tradem ark’. Proving his bodily functions still wor k despite the yo-yoing body mass, Bale, in trademark fashion, said he’d like to em pty his bladder on said critic’s sho es.
Christian Charles Philip Bale was born in Haverfordwest, in south-west Wales, on January 30, 1974. His father was, among many things, a pilot and an importer of skateboards, while his mother was a dancer and circus performer. Not many boys can say Mummy rode an elephant for a living, just as not many can say, as Bale does, that their first kiss was with a Polish trapeze artist.
Hig hs And Low s
In The Begin ning Was The Nerd
July 2008 was not an emotional rollercoaster for Bale; it was an emotional astronaut’s high-G centrifuge. In that month, he unleashed a sweary bollocking to a crew member in Terminator Salvation, (leaked online in 2009), was questioned by police after a family fall-out at the Dorchester Hotel in London (no charges) and watched The Dark Knight begin a billion-dollar box-office march.
Christian was briefly enrolled at the same kids’ theatre company as Kate Winslet, but his first paying acting gig came in a TV advert for fabric softener. Aged 10, he appeared on stage in London’s West End in The Nerd, earning £12 (¤15) a night as the son of Rowan Atkinson’s title character. Two years later, in 1986, came his first role on camera, as a Russian prince, in TV movie Anastasia: The Mystery of Anna.
Bat ’s All , Folks
With The Avengers and The Amazing Spider-Man alongside The Dark Knight Rises, this cinematic summer is the most Lyrca-ed of all-time (until next year). The third in the new Batman trilogy could be the best of the lot: trailers hint at the love of Catwoman, a braining from new villain Bane and spectacular set pieces. What it will be is Bale’s last Bat-role. “It’s like saying goodbye to an old friend,” he says.
words: Paul Wilson. illustration: Lie-Ins and Tigers
Co mi ng Of Ag e
a 13-year-old: Not a bad first movie for Spielberg’s ven Ste , Sun The Empire Of se WWII ane Jap tale of a young boy in a was off eer car e’s Bal p. cam internment a but. ays alw and running, but there’s e a kid hav can you way a is re “I think the fine, ys sta it and acting when he’s young very so ng wro s goe all it is, t but the fac becoming a quickly,” Bale later said, of nd it, really.” me om rec ’t don “I child star.
Bale Bails Out
After Empire, Bale was conscious of his growing fame and his debt to Spielberg. So he fought against both, taking parts in films outside the mainstream and being “so concerned about being seen as a leech that I didn’t really contact [Spielberg]… I had to get away and prove myself.” But then, in 2000, after a dozen years and as many supporting parts, came his first, and amazing, lead turn, in American Psycho.
“Hi, it’s Chris. Leave it!” Bale’s reputation for intensity emerged with American Psycho, with reports of 18-month-long preparations, and his telling other actors in the running for the part to back off. It’s half-true: delays in production kept pushing Psycho’s start date, but the phone calls were 100 per cent Bale. “Absolutely,” he told GQ. “I phoned a few people and let them know my commitment.” Among the callees was Ewan McGregor.
Bale balances out Batman with wide-ranging roles. In 2007, he was one of seven Bob Dylaninspired characters, including Heath ‘The Joker’ Ledger, in I’m Not There. Last year came Chinese epic The Flowers Of War and an Oscar for his amazing crackhead turn in The Fighter. This year he’s shooting two films with once-reclusive director Terrence Malick. “The interesting thing about a movie,” says Bale, “is the movie.” The Dark Knight Rises globally from July 19: www.thedarkknightrises.com
b u l l e va r d
On the Roadie
He’s the man the bands want behind the scenes, who parties almost as hard as he works. The Red Bulletin caught up with rock’s most-wanted fixer
Hit the road Hickey’s first tour was with Megadeth in 1985. He went on to work with Danzig, Motörhead, KISS, Mariah Carey, Slayer, Madonna, Billy Joel and Slipknot Roadie reckoning Believes that rock stars and strippers go well together because “they work the same hours”
From left: Hickey has roadied for the likes of Megadeth, Danzig, Slayer and Type O Negative
A good roadie – and there are thousands of them – tunes guitars, wields lanyards, and always has a supply of batteries and clean socks. Jef Hickey has risen to the top of his profession, with those tools in his locker and a thousand more, earning the title of the most famous roadie in rock. Like a savvy butler or political aide, Hickey knows there’s more to his job than lugging equipment and deciding which babes get backstage. In his early days, he learned one of his smartest moves: when first handed a band’s tour schedule, call major companies in all the cities on a band’s schedule, invite their top people to the show and thus ensure that the band would be hooked up with the best swag. Sitting outside a cafe in downtown LA, Hickey sports traditional roadie uniform: band T-shirt and tattoos (including his ex’s name crossed out; finger tats spelling ‘I REFUSE’ and, inked in Swedish on his belly, ‘hard drugs, loud guitars, and I love whores’). He recently returned home from touring the US with Swedish metal band, Crashdiet. The Scandinavians had a lot of fun crossing the desert: “They were so into cactuses. They had never seen one before.” Self-deprecating and charismatic, he halts his storytelling to tell a passing female that she has “nice tits”. The compliment falls naturally from his lips in a way that it must have many thousands of times before, dating back to when his career started in 1985. Then aged 17, he hopped on the bus with Megadeth in Providence, Rhode Island, and went on to work with every band in hard rock – from Slayer and Motörhead to Korn and Danzig – as well as Madonna, Billy Joel, Mariah Carey and Luther Vandross, who required Hickey to FedEx his toilet seat to every show location. Hickey says there are several things that make a good roadie. A good sense of humour, and the ability to hang are
paramount. If you can’t party with the band, things are going to get awkward. This aspect of the job has never been a problem for him. “If things were getting out of control right now, I’d probably be naked and making love to that tree,” he says, motioning towards a jacaranda. That said, you also have to be able to get the job done, no matter how late you were up the night before. Hickey has never let play get in the way of work. One time he was arrested in Illinois (“for a minor incident”, he adds), and the day after being released he was on a tour bus with Type O Negative. The festival circuit is a fixture in Hickey’s professional life. He remembers running away from Sharon Osbourne at Ozzfest: she was mad, he says, that he was filming a movie called Crew Sluts without her permission. This is just one of many stories in the memoir he’s writing. He has tickets for this year’s Download festival in the UK, and is looking forward to being on the other side of the stage for a change. That said, ever the pro, he has offered his services to two bands on the bill. “I’m going to be there, so I may as well help out,” he says. No rest for the Hickey.
“If things were getting out of control right now, I’d probably be naked and making love to a tree”
Follow Hickey at www.facebook.com/ jef.hickey
WORDS: Caroline Ryder. photography: Chris McPherson, GETTY IMAGES (4)
Born Milford, Massachusetts, May 14, 1968
B U L L E VA R D
Small bang theory The starter’s pistol ain’t what it used to be. An electronic flash and boom will get them started this summer
The barrel was never loaded with live ammo. A blank was enough to create the bang
When the trigger was pulled, an electronic pulse was sent on its way through the pistol
Thanks to a wire fixed to the end of the grip, the pulse from the trigger nudged the mechanical stopwatches into action
7.5 MM REVOLVER, WAFFENFABRIK BERN
Manufactured by Swiss gunsmith Waffenfabrik Bern in 1929, this revolver wasn’t modified to time a race until three years later. Omega used this pistol in Los Angeles during the summer of 1932. Before then timekeepers measured the start by the bang: as the shot rang out, they’d start their stopwatches. Revolvers with fitted microphones are still in use. The bang delivers a pulse along a wire connected to the gun which then triggers the electronic timing.
Guns don’t start races, bangs and flashes do
Spectators will have to be wary of what they see and hear. A quick blast of light mimics the muzzle flash of old
DIGITAL RECORDING Instead of producing a bang via blanks, the sound from the e-Gun is programmable to suit its surroundings
OUT OF HARM’S WAY
WORDS: ROBERT SPERL. PHOTOGRAPHY: GIAN PAUL LOZZA, OMEGA (2)
Electronics instead of blanks and plastic replacing metal… Starting pistols now resemble gas lighters more than weapons
OMEGA E-GUN STARTING PISTOL
Nothing’s changed from the starter’s point of view: he pulls the trigger and the clock at the other end of the connecting cable starts running. Thanks to the modern technology used, the new starting pistol is perhaps a touch more accurate than the old revolver, but its chief advantage is the fact that it’s un-gunlike. International sport means a lot of travel, after all, and getting the old timing equipment through security checks would be a logistical nightmare for officials. www.omegawatches.
b u l l e va r d
Going far: strong arms required in the Longest Distance category
red bull paper wings final 2012
To foldly go
Elie Chemaly has tears in his eyes. His clothes are soaked through with the champagne he just sprayed at the awards ceremony: a proper ceremony with winners’ national anthems ’n’ all. As the new Longest Airtime world champion, Chemaly is the man of the moment. In the eight-competitor final, his plane flew for a full 10.68 seconds; no one else even came close. This success was the result of three months’ puzzling and experimentation for the 20-year-old Lebanese. And now he’s standing, hands a-tremble, giving his first-ever interview as a champion. “I have no idea what to say. I think my country will be proud of me.” A couple of metres away, Poland’s Tomasz Chodryra, 26, and American Ryan Naccarato, 22, are talking technicalities. Their performances in the Aerobatics category (in which any number of planes can be used) left 22
the judges no choice but to award both the maximum 50 points for their creative performances. Naccarato cracked his whip Wild West style as part of his choreography and had a cluster of small paper planes dancing in the air. “It’s amazing. It all went perfectly. But Tomasz had me jittering with his incredible show too,” he reveals. Chodryra’s performance was inspired by magic. Using only a piece of cardboard, the Pole guided a paper plane through the air for several seconds and had it circle a miniature pylon. “Ryan and I made things interesting for the spectators,” he said. The fourth world champion crowned today is a Czech. In the Longest Distance final, Tomas Beck, 24, threw his paper plane a distance of 50.37m. “What counts is the plane and your technique,” he says. “Other than that, you need luck. One false move when
you launch the plane and it can come crashing to the ground or land outside the permitted area.” Will he take part next year? “Of course! These were two of the best days of my life,” he smiles, and heads off to the after-show party. www.redbullpaperwings.com
Champagne shower: the Aerobatics winners
Words: manuel kurzmann. Photography: Sebastian Marko/Red Bull Content Pool
Paper planes are for classrooms, right? Wrong, as competitors from around the world proved in Salzburg’s Hangar-7 with their amazing A4 artistry
B U L L E VA R D Stepping tones: one of Julian Opie’s colourful walking figures
HARD & FAST
Top performers and winning ways from around the globe
PHOTOGRAPHY: GETTY IMAGES/RED BULL CONTENT POOL, GEPA PICTURES/MCKLEIN/RED BULL CONTENT POOL, ASP RED BULL, MARCELO MARAGNI/RED BULL CONTENT POOL. ILLUSTRATION: JULIAN OPIE/LISSON GALLERY, DIETMAR KAINRATH
In a repeat of his 2010 victory, Red Bull Racing’s Mark Webber won from pole in Monaco, making him the first Australian driver to win twice at the historic track.
Modern life is not rubbish for Julian Opie – it inspires him to make new art in extra dimensions LED walls with moving pictograph characters, street signs with animals painted on them and, most famously, stripped-down portraits that gained mainstream fame on the cover of Blur’s The Best Of compilation. Julian Opie has chosen many languages – as he calls his means of expression – to communicate with his audience over the past 30 years. In his new, and broadest-yet, exhibition, Opie goes 3D. How did you come up with the walking figures? I was sitting in my car, looking at the people walking past. I felt these were much more fabulous than the people I calligraphed before. The people on the street are carrying bags, they’re on the
phone. They’re busy, they’re moving fast. There’s a much more vivid language going on out there. So saying that it looks like Egyptian friezes is all very well, but actually it’s more an observation on my part. You’re showing busts of your portraits for the first time. It’s something I’ve been working on for two years now. I’ve been looking a lot at Roman portraiture in stone, and that inspired me. With laser scanning, you can pretty much produce a person’s head in 3D. It’s quite a young technology, it feels a lot like how people were describing early photography. It’s very exciting. Julian Opie at Lisson Gallery, London, until August 25: www.lissongallery.com
Two wins in 15 days for Austrian climber Kilian Fischhuber in the Bouldering World Cup; on home turf in Innsbruck and Vail, Colorado.
Despite a puncture, reigning rally world champio n, France‘s Sébastian Loeb wo n the arduous Rally of Gre ece for the third time – his 71s t career win.
A nail-biting finish at the Billabong Rio Pro saw victor Sally Fitzgibbons of Austr alia win by just 0.7 points, taking her secon d in the ASP Women’s World Champions hip.
B U L L E VA R D
2012 is playing number games, what with three Friday-the-thirteenths and the world definitely scheduled to end yet again. Here are those, and other, devilish digits decoded
In 1202, the Italian mathematician Fibonacci published a maths book that, among many things, looked at a way of calculating a growing rabbit population. His solution used a sequence of numbers in which each was the sum of the two preceding it: 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, etc. But what he hadn’t realised was nature’s fondness for the pattern: it’s found in flower petal distribution, tree branch sequencing and the shells of some sea creatures. The further along the sequence you go, the closer the ratio between two adjacent numbers gets to 1.618, also known as the Golden Ratio.
Airlines don’t have seats between rows 12 and 14, Hilton and Marriott hotels often have no 13th floor, and on a quarter of British streets you’d be wasting your time looking for number 13. The world is gripped by triskaidekaphobia, the fear of the baker’s dozen, which is felt most starkly when the 13th of a month falls on a Friday. The number and day are said to wield a magic power for bad luck, and yet the dramatic Apollo 13 mission didn’t end in disaster and in Holland, there are fewer accidents on Friday 13 because people are extra careful. Nostradamus
The next date for the end of the world is December 21 this year. Nostradamus expected “the great King of Terror to come from the sky” in 1999. Five hundred years ago, Martin Luther was predicting the end of the world in his own lifetime. Even some scientists have busied themselves with making doomsday predictions. An article published in the November 4, 1960 edition of American journal Science suggested that population would become infinite, and thus overwhelm the planet, on November 13, 2026 – which, of course, will be a Friday.
Aka the Sino-13, because in Chinese, the words for four and death are pronounced the same. So Asians tend to avoid the number, even in combination with other numbers: thus 14 (“certain death”) and 24 (“quick death”) are avoided where possible, such as bus routes and public information. Alfa Romeo had to be inventive back in the 1990s: the Alfa 164 (“the route to death”) was rebranded for the Chinese market as the Alfa 168 (“the route to wealth”), which really does sound quite a lot better.
Julius Caesar died from 23 stab wounds, the figures in the date the World Trade Centre collapsed add up to 23 and, most shockingly, the Microsoft Campus in Redmond has 23 buildings. These, and many many other examples show the mystic power of half of 46. The general misapprehension of the ninth prime number is comparatively new; the world has the 1975 conspiracy theory novel The Illuminatus! Trilogy to thank for yet another reason to be afraid of something.
The Apollo 13 crew
Why is Google called Google? In 1940, in Mathematics And The Imagination, which he co-wrote, mathematician Edward Kasner explained that his nine-year-old nephew came up with the name ‘googol’ to define the number comprising one followed by 100 noughts. The internet company was named 57 years later following a misspelling of this massive digit, when the company founders wanted a name to reflect the potential vastness of their search engine.
WORDS: ARKADIUSZ PIĄTEK. PHOTOGRAPHY: GETTY IMAGES (2), PICTUREDESK.COM, AUTO BILD, CORBIS
The Ghetto Biennale exhibits art where it’s made: on the streets and in the shanties of Port au Prince. Haitian sculptors and 40 overseas artists transform parts of the city into a flourishing festival site Words: Florian Obkircher Photography: Benjamin Lowy
Art attracts experts from all over the world. Marla C Burns (middle), director of Los Angeles’ Fowler Museum says: “It’s fascinating how the situation in Haiti is reflected in the works. And how the idea of recycling has been extended to turn rubbish into art.”
Cans, tyres, bits of wood, computer circuit boards: the Grand Rue sculptors make art out of everyday used objects 27
he heat is oppressive. It’s noisy, dusty and stinks of diesel. Mopeds weave past brightly painted buses. Traders peddle cheap goods on the seafront. There are mechanics welding, tyres being piled up, women balancing vats of water. Lunchtime on the Grand Rue, the heaving main thoroughfare in Port au Prince. At the southern end of the street, an eightmetre metallic colossus soars skywards from among semi-dilapidated houses. The body is made from the chassis of an old lorry; the head was once an old oil tank. The statue is from the studio of André Eugène, head of artists’ colony Atis Rezistans: The Sculptors of Grand Rue. The ‘Rezistans’ refers to their will to get on, stick together and not be beaten by the catastrophes that have befallen Haiti. Eugène and his colleagues work on sculptures made from car parts, bits of wood, dolls’ heads and human skulls. It’s art from waste, imbued with voodoo symbolism. The sculptures stand tall in backyards, on rooftops and in the shacks themselves, lending the area a morbid charm. Its allure has captivated the international art world and Grand Rue sculptors regularly exhibit in London and Miami. Last year they were invited to the Venice Biennale. And once every two years they put on a huge show of their own: the Ghetto Biennale. 28
During the Ghetto Bienniale, this rabbit-warren shanty town in Haiti is transformed into an open-air museum where overseas artists work and exhibit alongside local sculptors
is one of 40 artists to have been invited to the Ghetto Biennale. At the first festival in 2009, the Canadian unravelled a huge ball of wool at the coastal strip in Port au Prince to show how high the water level would rise as a result of global warming. This time sheâ€™s collected donations, but not for the local population. Instead: what would Haitians give the West?
The Ghetto Biennale gives new grounds for self-confidence. “When people come from all over the world to see our work,” one artist says, “that gives young people the motivation to follow the same path” 30
, a photographer from London (middle) and André Eugène (bottom) founded the Ghetto Biennale. The Frost Art Museum in Miami invited some of the Grand Rue sculptors to an exhibition in 2004, but the artists weren’t given entry visas to the US. So Eugène thought: “If we can’t travel to the Biennale, we’ll get the art world to come to Haiti.”
Leonce Love (above) is 15. He’s wanted to be an artist for as long as he can remember. Like many of his friends, he learned his craft from André Eugène. Every day after school he holes himself up in a cluttered concrete workshop and works with tools he has made himself. He’s particularly proud of this piece (below): a voodoo priestess – or ‘Mambo’ – seeking enlightenment.
Jean Hérard Celeur, 46 (below), is the father of the Grand Rue movement. He began collecting battered car tyres to recycle for use in his artworks in 1998. “My art always has a strong social angle,” he says. For one of his pieces (above), he made a collage using high heels, sandals and rubber boots – relief supplies from the West that are utterly useless in Haiti.
“I used to want to be a footballer,” says Eugène. “We were disappointed when our playing fields were turned into a car dump. But we discovered a new passion: making art out of the car parts”
Art meets the everyday
while voodoo priestesses sacrifice a pig during a ritual (right), the Fungus artists’ collective fills the holes in the walls of houses with colourful cubes and patches up destroyed facades with neon sticky tape (far right).
The first Ghetto Biennale was held in December 2009,
just three weeks before the huge earthquake. Many of the houses that collapsed are yet to be rebuilt, their inhabitants are still living in nearby tent villages. The first to move back into their homes were the artists, a gesture to show that life goes on.
Four s spent yearsHeâ€™ the time ago,since the Travisblurring lines of Barkermusical was ongenres, reuniting lifewith his popsupportpunk band Blink-182, in aand Georgiacovering his body in ever hospitalmore ink.
The drummer talks about family, touring, and a Muppet genius Words: Steve Appleford Photography: Lauren Dukoff
A fan of ink all his life, Barker has reached the point where he falls asleep in the tattoo chair
ravis Barker has a serious addiction, and anyone can see the markings all over his body – splashes of ink in the shapes of girls and car insignias and chequered flags. He has tattoos dedicated to his bands and to missing friends and family, his kids and ex-wife, and new ones on his skull of the Virgin Mary and the words “One Life, One Chance”. Getting inked is something the Blink-182 drummer does to relax. He even does it while napping, during his few moments of downtime between surgeries or tours or side projects with DJs and rappers and hardcore punks, from Steve Aoki and Yelawolf to the high-octane Transplants (co-founded with Rancid’s Tim Armstrong). He’s mostly recovered from the 2008 plane crash that killed four people and left him and his close friend Adam Goldstein [DJ AM] in critical condition, and just days after getting his tonsils removed, he already looks ready for action as he sits in the control room of the Los Angeles studio he owns with Blink’s Mark Hoppus. The studio is a darkened, low-slung warren of rooms with drum kits here and there, framed tour posters waiting to be hung, and the kind of clutter one would expect from a place that’s well trafficked. Barker is here every day, right after dropping the kids off at school. After travelling to Europe by boat, Barker and Blink are currently headlining a slew of festivals on the old continent. But being the drummer in a hugely popular, platinum pop-punk band is not nearly enough these days. Barker is a man of many genres and appetites, sponsoring extreme fighters and running his 13-year-old clothing company, Famous Stars and Straps. He’s also finishing up a new Transplants album and a series of EPs mixing his live drums with EDM and hip-hop. A few days a week he trains hard in multiple fighting techniques. It keeps him fit and ready for trouble. “It’s important to know, man,” he tells The Red Bulletin. “Life’s crazy. You never know what you’re going to be served with.” 38
the red bulletin: Your band just wrapped a US tour and is about to embark on a European tour for the summer festival season. Do you like playing festivals? travis barker: I really enjoyed our last trip to Europe. It was crazy playing for 200,000 people. It’s insane. You don’t have festivals like that in the States. Rock is alive and kicking ass in Europe. It’s bigger than ever. It’s like the ocean – you can see people for days. When we headlined in Leeds, it was crazy. You can’t prepare yourself for that. What’s it like to face that many people? It’s like you’re getting ready for a fight. I lock myself in my room, warm myself up for an hour and go out there and do the damn thing. I always play like I could die out there and give it my all. And there’s only three of us up there – it’s an awesome feeling. Do you do anything different when it’s a gigantic crowd? There’s no way to rock harder because there’s 200,000 more people there. You just give it your 200 per cent. I sometimes wonder what it was like to see a band like the Stones in the ’60s or ’70s, in a gigantic place, but without even video screens. I love that. I wish it would stay like that. I wish there was no such thing as production, honestly. [Laughs.] It puts everyone on an even playing field. You just got to go out and rock. No 2Pac hologram. [Laughs.] It’s a trip what it’s coming to. Now all kinds of acts are announcing that they’re bringing dead people back
He shuts himself in the studio for hours on end: “You have to tell me not to come here.”
“It’s like you’re getting ready for a fight”
with holograms to tour, including Michael Jackson. I don’t think that’s cool. You pay tribute once if you’re doing a benefit concert to someone, but it’s cold as ice. You’ve been back with Blink for three years. How are fans reacting to the band these days? This will be the big tour that supports the album in Europe. Mind you, I’m not flying, so it’s hard to say what the band could do or what its potential is, because I can’t really get everywhere. I’m contemplating getting knocked out and getting on a plane to Australia. I want to overcome that eventually. When I do, I think it’s going to be Australia. I trust Qantas. They never had a crash, never had a fatality – knock on wood. It’s something I want to overcome for me – and my kids are scared to death to fly. I want them to witness me overcome it.
There are other artists, like Lenny Kravitz, who don’t like to fly but make it work. I heard Lenny will do the big flight over there, and then he just won’t fly domestically. I would do the same thing in Australia. I’ve got to get over it, man. I could simply say I’m not going to fly for the rest of my life. I’m not going to. It’s something I honestly want to try to put behind me. So you travel across the Atlantic by ocean liner. Have you learned to embrace it? I had a good experience last time – the six-day cruise. On the way back, I took a 12-day cruise and we hit huge waves and 170mph winds. It was nasty. You’ve just got to tough it out. What do you do during those six days or 12 days? I work out. I brought a drum kit and 39
ADDITIONAL PHOTOGRAPHY: GETTY IMAGES
I played every day. By the time I got to Europe, my chops were up and I felt better than I had in a long time. Who else is on board when you’re on a cruise? All old people. I’m like 100 years younger than everyone on there. That’s one good thing – if anything happens, I’m making my way to the lifeboat before anybody. Does anyone complain about the drummer practising on the boat? Old people will travel around the boat and just roam. So sometimes I’d be practising – and I have my eyes closed – and when I opened up my eyes, there were about six old people just sitting there watching me. It was the trippiest thing ever. Your laptop has a sticker that says, “Drum machines have no soul.” Is that your motto? I kind of contradict that, because I love programming too, but I’ll never program something that doesn’t have live drums on top of it. Live drums add a sense of feeling like something’s alive and moving. Having live drums on a Steve Aoki highenergy dubstep record is crazy. Was it an easy fit when you first started working with DJs? I never heard of a live drummer and DJ playing together, ever. I came to AM [DJ Adam Goldstein, Barker’s fellow survivor in the plane crash, who died of a drug overdose in 2009] when Blink had broken up and said, “Let’s do something, man. Lets kick a new f***in’ door down.” We didn’t know what we were going to do. He brought his turntables, I brought my drum kit, and we just jammed. Are a DJ and a drummer supposed to jam? We did, and it was the most fun I’d had in forever. For a long time, there were walls between the genres. I love those lines being blurred. It has to be. That’s the future. You work with a lot of different people. Do they have anything in common? I like them all to be different. That’s what I find to be most refreshing. Making just one type of music, I think you’d get burned, and you’d run out of ideas. We just finished a Transplants album. It’s a swift kick to the face. It’s more rooted in hardcore than any Transplants ever has been. I love making music like that. Going from that – to last night I was in the studio with [rapper] French Montana. It’s a whole other world. It’s just fun to have a true change of pace. Were you always like that? As soon as I got the opportunity. At the beginning of Blink, I got asked to be in
After dizzying success in the late ’90s and early 2000s, Blink-182 members Barker, Tom DeLonge, and Mark Hoppus (above) went on hiatus for four years in 2005
“Even in the worst parts, Blink does not fight” a Puffy video [Bad Boy for Life]. And the next week I went into the studio with will.i.am and played some beats – that was so fun, so cool to just go in there and play my drums in a different way. People were going to rap over it. Since then, you always seem to be working on something else when Blink isn’t in action. It used to be I’d come home from tour and I might not play my drums for months at a time. I sort of hated it, and I felt like something was missing. Then once we bought this place, it changed everything – I got to do what I love full-time. If anything, I have to remind myself, Trav, you don’t need to be at the studio all the time. Go home and chill out. Especially lately with some of the medical crap I’ve been dealing with. I had to put the brakes on. But you have to tell me not to come here. I want to make something or practise. You just had your tonsils out? About 12 weeks ago, I had an endoscopy, where they put the camera down your throat. They found that I had six ulcers, and I had a condition called Barrett’s oesophagus, which is basically from really extreme acid reflux or if you excessively smoked, your oesophagus lining becomes pre-cancerous. Right then and there,
I changed my whole life around. I had to stop eating and drinking certain things. And I had this lump in my throat around the same time. My tonsils were three to four times the size they should have been. So eight days ago they yanked my tonsils and my adenoids out. So this is unrelated to the other medical problems you’ve had from the crash? I didn’t know I was extremely acidic. I don’t know if a lot of people know about Barrett’s oesophagus. It’s irreversible, which is what sucks. For me it was an awakening. I was already really healthy. I was already a vegan. I would mess up and smoke from time to time, but I’m happy to say I’m three months completely sober and I plan on staying that way the rest of my life. Did you have to stop drinking because of this? I was never a drinker. But, no, I can’t have any alcohol. If I had a cigarette or smoked something, it would be the stupidest thing I could do. I had to give up coffee, which is something I love. But, man, I’d rather be alive than drink some coffee. Duff McKagan of Guns N’ Roses basically got the same kind of warning: If you have another drink you will die. And he just stopped. Me too. I used to love smoking weed. Especially after my accident, I got off my 19 bipolar medicines and all the stuff they said I’d be on for the rest of my life, and I would smoke weed at night if I had anxiety. I always thought I’d be able to do that for the rest of my life, but when your health is on the line, you don’t f*** around. I love being a dad and I love playing music – I’m not trying to give up any of that. You also haven’t given up the tattoos. You’ve got some new ones … 41
After surgeries, I wouldn’t be able to do much, so in my downtime I’m either in here building beats or I’m getting tattooed. That’s just the way that I am. If you keep me home for a year, I’m afraid to know what my body would look like. You’re long past the point where getting a tattoo is painful? I fall asleep. You didn’t hear a peep out of me when we finished my head. I’m addicted to tattoos. I love documenting different points in your life on your body, and I love the permanent aspect of it. We’re all going to be dead in the dirt one day. There’s way bigger things to worry about than tattoos. What was your first? My first was burned off in my plane crash. It was on my leg – my nickname, ‘Bones’. When did you first start playing drums? I was four. Animal on The Muppet Show started it all for me. I saw him and I was sold. I wanted to be a drummer. Then I saw Alex Van Halen, Tommy Lee, great jazz drummers like Buddy Rich. I saw Buddy Rich battle Animal – crazy stuff. I battled Animal two months ago. I was trippin’. When this is all said and done, in 10 or 15 years, I would love to play in 42
The aftermath of the plane crash and other medical issues have changed Barker’s diet and lust for partying.
“When this is done, I’d love to just play jazz” a big-band jazz band and kick ass. I grew up playing jazz. I was in jazz band my whole life in high school and junior high. They didn’t have Rock Band 101 in school. I can read music, and I played jazz for six, seven years. I’d like to do that again. You were part of that first big wave of reality TV with Meet the Barkers in 2005. How do you feel about how it’s gone on since then? I’m glad I did it when I did, and I’m glad I got out when I did. There was no goofball scripting, telling me what to say. That was my life at the time. There were cameras 24/7. I couldn’t imagine being one of those people who do it for six seasons. That’s insane.
Did having cameras around affect your life at the time? It was cool for the amount of time it happened, but right as we were finishing up and we were about to start another season, they wanted us to fight more. They wanted us to not get along, and I was like, “Yo, it’s not going to work. This is my family. You ain’t going to make the family dysfunctional for television purposes.” Then I realised my life was just as fun without cameras. Can you imagine a Some Kind of Monster documentary on Blink? The Metallica one? It would probably be pretty entertaining, to be honest. I love Metallica – I’m sort of embarrassed for them, though. Every relationship needs its own things, but the band psychiatrist was a couple notches too much for me. And with Blink, I can honestly say, even in the worst, worst parts, Blink does not fight. You’re not going to catch me knocking Tom [DeLonge] out. You’re not going to catch Mark [Hoppus] and Tom yelling at each other. It doesn’t happen. It’s actually so functional that it’s weird that it ever went south. Blink is pretty damn healthy, and it’s still pretty damn funny and crazy and wild. We see each other and we give each other hugs, and I have to stop Tom from grabbing my ass or doing something out of line. The Blink break-up is always described as this complete breakdown where you wouldn’t even talk to each other. Is that wrong? It felt like that because nothing was said. It was just over. I didn’t call Tom and go, “Man, we got to get the band back together.” Mark didn’t call me, going, “Man, we got to get the band back together.” They didn’t call each other. Everyone just went “cool”. When we talked years later, it was like, “What the f*** did we do that for? It was never even that big of a deal.” It wasn’t a big blow-up. It’s a shame it happened, and so much time was wasted. It took your accident to remind everyone what mattered? It was so easy. It sucks that it was something as big as my plane crash to open everyone’s eyes, but once we were back in a room, it was all G. So even though it doesn’t yet feel like a full-time thing, it’s open-ended? It’s like when a relationship gets back together – you ease into it. It’s never been toxic. No bitter band members. I think everyone needs some time to get really close and connect again, and to make a record in the same room. That’s key. www.blink182.com; www.redbull.com/TravisBarker
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‘Here come Keith Richards’ trousers!’ Hans-Jürgen Topf has been washing rock stars’ stage outfits for 30 years. He tells us what really works on red wine stains, and why he won’t say a word about Madonna’s leggings Words: Andreas Rottenschlager Photography: Philipp Forstner
It all began at a red traffic light in Ludwigshafen. I was 25 and working in my parents’ laundry [in south-west Germany] when Ted Nugent’s tour bus drew up beside me. I knew straight away that the driver had taken a wrong turn and I directed him to the concert venue. The tour manager gave me free tickets to say thank you. And I washed a whole case of their laundry for them in return. When I went to give them back their clothes, he said to me, “Do the same thing for other bands!” Meat Loaf was playing in the Eberthalle two days after that. I went to the back stage door and said, “Hello, I wash clothes for free tickets.” And that was that. Then it was Deep Purple and The Scorpions. They were all happy that someone relieved them of the crappy job of washing their clothes. At some point I realised, either you start going along on tour, or you end up dying Rock ’n’ roll dry-cleaner Hans-Jürgen Topf: a non-bio here in some rock music backwater. wash for McCartney, radical measures for Slipknot In 2012, my Rock ’n’ Roll Laundry is washing clothes for Batman: The The worst laundry experience ever: Musical in South America, Cirque du Soleil Slipknot [US heavy metal band] at Rock in the US and Madonna in Europe. I looked am Ring, 2005. They’d drenched their after U2 in Australia in 2011. The only overalls in artificial blood, cream and continent I’m yet to work on is Antarctica. beer, and then left them on the hot tour Artists’ laundry requires special bus. There were things living in there. All treatment. The dresser will say, “Be I had to do when I opened the plastic bag careful. These are Keith Richards’ was whistle and the clothes ran into the trousers!” These people stand next to the washing machine of their own accord. washing machine and pour the washing The best thing for getting out sauce powder in themselves. There can also be stains is washing-up liquid. Pour a small special requirements. Paul McCartney drop of white wine onto a red wine stain. and Pink will only allow their laundry to Biro stains on your sofa? Just spray some be washed with non-biological detergent. 44
hairspray on them! Your sofa will be as good as new in no time. Angus Young from AC/DC sat on my washing machine after his concert. You could have a good old chinwag about laundry with him. He wanted to know how to get grass stains out of his trousers. Of course there’s a code of honour among clothes washers. Only a groupie knows what underwear their favourite star wears. Well, Topf knows too, but he isn’t telling. If I find drugs in trouser pockets, I throw them away. I’m strict about that. It goes straight down the toilet. I once found 6,000 Deutsch Marks in a tour manager’s jeans. I returned them and was given a free T-shirt. There are winners and losers in rock ’n’ roll. You see bands that make it big and artists who go broke. But everyone feels that they’re part of a community, especially us roadies. We sleep in places that most people would find claustrophobic. We usually work 35 hours on the trot and can still find the time to laugh. We’re one big touring family. I’d like to have worked for The Beatles. I haven’t done Ozzy Osbourne either. The biggest band ever? Led Zeppelin. They played the music of my youth. I still have an orgasm when I hear Whole Lotta Love. My mother was a farmer. My father was a grocer. They fled East Germany when the wall went up and opened a small laundry in Ludwigshafen. But my parents made sure that the name Topf stood for quality. I think they’d be proud of their son if they were still alive today. www.rock-n-roll-laundry.com
Name Hans-Jürgen Topf Born October 8, 1956, Ludwigshafen, Germany Profession Founder and manager of Rock ’n’ Roll Laundry Really wanted to be A nursery worker Rock dreams Topf drums “pretty badly” The memoir The Rocking Laundry Book: Groupies, Stars & Dirty Socks
“Angus Young once sat on my washing machine and asked me how to get out grass stains”
the insiders’ guide to the hottest festivals Music stars reveal their must-see gigs of the summer Words: Florian Obkircher & Hayley Joyes
Björk is a fan of Dirty Projectors
Tessa Pollits (The Slits) recommends Hollie Cook
Jarvis Cocker is shook up by Alabama Shakes
Jared Followill (Kings Of Leon) loves Chairlift
Beyoncé is crazy about Frank Ocean
piTcHfORk fEsTivaL july 13-15, chicaGo, usa Info: Pitchfork.com is the New York Times of online music mags. A good review there leads to sold-out gigs and plenty of media interest. Once a year, the opinion-shapers invite you to their own festival in Chicago. Headliners: Feist, Vampire Weekend, A$AP Rocky, Flying Lotus, Grimes www.pitchfork.com/festivals/ chicago/2012
PhoTogrAPhy: gETTy ImAgES (2), PICTUrEDESK.Com, ThE gUArDIAN, rEX FEATUrES, SoNy mUSIC
Dave Longstreth is the principal songwriter in Brooklyn sextet Dirty Projectors
celand’s pop minx isn’t exaggerating. The Dirty Projectors’ music really is unbelievable – they can change style or tempo in a single second. Complex string arrangements, west African melodies, folk guitar, walls of sound and elaborate falsetto singing… Somehow
Brooklyn’s Dirty Projectors squeeze it all into a song without it then sounding too overdone or cerebral. They’re as elegant and experimental as was David Byrne in the early Talking heads years. No surprise, then, that lead singer Dave Longstreth, 30, has broad musical tastes. he
knows his classics, too – Stravinsky, for example, brutal yet absolutely modern. There are adjectives that might equally well apply to his own band. hear it for yourself on Bitte orca, voted secondbest album of 2009 by TImE magazine, or on the freshly released Swing Lo magellan.
PitCHfoRk festivAl ChiCago usA
“I’m so excited for their new album! they’re truly talented. one of the most interesting groups from that side of the Atlantic” bJÖRk on the dirty proJeCtors
Caroline Polacheck makes up one half of indie synth-pop two-piece Chairlift
aron Pfenning and Caroline Polachek met at university in Colorado in 2005. They shared an interest in horror film soundtracks and both planned to make haunted house music. After university they moved to the musical community of Williamsburg in Brooklyn to perfect their retro guitar dream pop sound and create the Daylight Savings EP. Theirs is an enigmatic mix of dark ’80s jams that’s a cross between Joy Division and Berlin. International hit Bruises cemented them as the go-to guys for progressive indie-pop that’s perfect for the dancefloor and dinner party. But Chairlift’s music also contains a cool melancholy, as if the synthesisers themselves were lovesick. The duo are currently on a world tour promoting their latest album, Something, turning every stage into a romantic ghost train wherever they go.
MELT! festival july 13–15, ferropolis, Germany Info: The backdrop is stunning. The stages are positioned between huge, illuminated excavation towers in a disused lignite pit. It’s a landscape reminiscent of the rough, post-apocalyptic vistas of Mad Max. It can get hot and dusty, but not to worry, as Lake Gremmin provides an opportunity to cool off between concerts. Headliners: Gossip, Justice, Bloc Party, M83, Lana Del Rey, Richie Hawtin www.meltfestival.de
Melt! festval Ferropolis geR
“I’m a sucker for female singers, and Caroline Polachek has one of the most amazing voices. It’s unique. She throws her voice; she’s all over the board” Jared followill, kings of leon, on Chairlift
Photography: Getty Images (2)
ac t i o n
“She’s great. A young dynamic artist making her way to the top without needing a casting show or pop academy to get there.” Tessa Pollitt, The Slits, on Hollie Cook
ReggaeSunSka Pauillac Fr Hollie Cook’s blend of modern rootsreggae is earning her many admirers
Reggae Sun Ska August 03–05, pauillac, france Info: Free parking and free camping. France’s biggest reggae festival dispenses with ripping you off and offers the 40,000 visitors who’ve come to chill out and dance top-class bands who are either from Jamaica or are inspired by the island’s music. From Bob Marley’s youngest son Damian to France’s own reggae-rap newcomer Biga*Ranx. Headliners: Damian ‘Jr. Gong’ Marley, Jimmy Cliff, The Congos, Lee Scratch Perry www.reggaesunska.com
here couldn’t be better omens for the start of a pop career. Her father is Sex Pistols drummer Paul Cook, her mother sang with Culture Club, and Boy George is her godfather. But rather than slip into her father’s battered old Doc Martens, singer Hollie Cook has forged her own path. Alongside fellow musician Prince Fatty, Cook, 25, creates reggae songs as easy-going as a walk along the beach in Montego Bay and as unpredictable as a summer in her London hometown. Tropical rhythms meet playful synth, heavy bass accompanies Cook’s tender voice. It’s an impressive, appealing mix. Reggae star Dennis Bovell worked on her eponymous debut album, and The Stone Roses’ frontman Ian Brown was so taken with Cook that he signed her up for much of the band’s sold-out reunion tour after one of her shows.
electric picnic Festival August 31– September 01, stradbally, ireland Info: The crush at Ireland’s boutique festival will be even greater this time round as big brother, Oxegen, is taking a break this summer. Over the years it’s grown to be as massive as other festivals, but Electric Picnic has stayed true to its alternative side. It’s also green, family-friendly and has a whole load of young, exciting artists to offer. Headliners: The Cure, Sigur Rós, Elbow, Patti Smith, Squarepusher www.electricpicnic.ie
Alabama Shakes frontwoman Brittany Howard is proud of her home state, as her tattoo shows
“Hold On is the best song of the year. And their bassist, Zac, has got the best look I’ve seen in a long time” Jarvis Cocker on Alabama Shakes electric picnic festival Stradbally ie
hey appeared out of nowhere with an album that celebrates traditional blues and southern rock. Boys & Girls is the best album Janis Joplin never recorded, a slap in the face for all Auto-Tune prodigies and casting show winners. This quartet from Athens, Alabama, 50
produce hand-made rock. Piano, guitar, bass and drums. Frills? Not for them, thanks. And then, of course, there’s that voice, the scratchy, soulful voice of lead chanteuse Brittany Howard, a voice that has captivated the likes of The Strokes and Jack White. White, indeed, was so taken
with Alabama Shakes’ earthy sound that he signed them up to support him on tour and to release a single on his own label. Alabama Shakes are living proof that honest music with a real sense of tradition will never die. It also proves that there’s still a buzz about blues, even in 2012.
Photography: Getty images (2)
Bestival Isle of wight uk
“Jay had a CD playing his in the car. I was immediately struck by his voice, the arrangement and his way of telling stories. I called him the very next morning and invited him to New York to work on my record” beyoncé on frank ocean
n the beginning there was Odd Future Wolf Gang Kill Them All, a hip-hop band from California that made quite an impression on a lame pop circuit last year with wild live shows and bloodthirsty lyrics. One of those 11 scoundrels was Frank Ocean, and his plans for 2012 are to take the world by storm alone. It doesn’t look like he’s going to have any trouble either. Hip-hop royalty Jay-Z and Kanye West asked the 24-year-old to provide two soulful refrains for their Watch The Throne album. He’s currently working on his debut album with production team The Neptunes, who are, lest we forget, the people who launched the careers of Kelis and Justin Timberlake. And the web is already awash with thousands of teenagers sitting in front of their webcams covering Frank Ocean’s cool R’n’B anthems such as Thinking About You and Novacane on their guitars.
Frank Ocean’s music career took off after he moved from New Orleans to LA after Hurricane Katrina in 2005
bestival September 06-09, isle of wight, UK Info: Radio presenter, DJ and record label owner Rob da Bank has been hosting his outsized garden party off the British south coast on the Isle of Wight since 2004. Great artists and a Sunday fancydress code to which a surprising number of festival-goers adhere. Headline acts: Stevie Wonder, New Order, Friendly Fires, Justice, De La Soul, Roots www.bestival.net
OLIVER “ I Have
a Right TO
Photography: Corbis (2)
Mad “I feel like shit.” When an interviewee starts an interview with those words, you know the next hour or so is going to be about as pleasurable as a two-day Kardashian marathon. Oliver Stone may well have invited us to his house in an idyllic setting at the western end of Sunset Boulevard, but he had a long night the night before and is struggling with a pretty major hangover. He played a bit of table tennis that morning to try “to get his juices flowing”, but it didn’t help. And then an important letter he’d dictated the day before got lost. But the early signs were deceptive. The director was being too harsh on himself. Which we should have expected. Not many Hollywood directors have demonstrated as much vitality and overcome as many obstacles in recent decades as the 65-year-old. So it’s only natural that he should seek another pulsating, provocative subject for his latest movie. Savages tells the tale of two young marijuana growers whose common girlfriend gets kidnapped by a Mexican cartel (headed by Salma Hayek and Benicio del Toro) and who set out on a vicious campaign to get her back. So we can simply ignore Stone when he says in the course of our conversation that his comments may be disjointed and unfocused. This interview is evidence of his clarity – and it’s almost two hours before he finally asks for a painkiller.
Words: Rüdiger Sturm
n some of your classical movies – including Platoon and Wall Street – the young protagonists were alter egos of the youthful Oliver Stone. Does that also apply to the 20-something dope dealers of Savages? These characters have nothing to do with me personally. Except at a younger age I could have been a bit like them. I had
the violence inside of me, and I like dope – I mean I liked dope. Of course, as a director I identify with my characters. But this was never my lifestyle. I never did this kind of thing. So you were never tempted to dabble in the world of crime? Now that I’m safely ensconced as a dramatist, I guess I can say that when I was a young man I did everything that I could to survive on this and that side of the law. I was in my mid-20s, I was driving a cab, and doing all kinds of shit trying to keep above the water level so that I could keep writing two screenplays a year with the hope of breaking through. I’ve forgotten much. What made you give up dope? I stopped smoking grass a few years ago. I do it much less, every once in a while. Because I don’t want to become addicted to anything. I don’t want to be a slave of anything. Nevertheless you show an authentic portrait of the drug world in Savages. Of course. We did all the research. We built a real growhouse for dope, we talked to DEA agents, we talked to the Mexicans. I also spent a little time, like I did on Scarface, with some people who are on the other side. You mean the cartels? Yes. During the rehearsal period with the actors, we brought in three or four major drug people who had experiences in laundering money, various enforcers, and a woman who had been with one of the top dealers. With Benicio and my executive producer, Fernando Sulichin, I went to Tijuana to see one of the big shots. 53
Who was that? I can’t say who he was. He was not a cartel leader, but he was one of the major launderers. How did you find these guys? We had a lot of Spanish connections going back to the documentaries I made about Fidel Castro and Hugo Chavez. Not to suggest they gave us those names. But one person said to us, “There is this guy in Tijuana who works with the cartel.” A fascinating guy. We met with him and he lead us to other people. We had to go more than once in order to pass. What do you have to do to pass? The first time was all formality. The second time Benicio, Fernando, and I had 25 shots of tequila for lunch. It was the guy’s private collection of tequila. Later in the day, he took us to one of his offices, with Chihuahuas running all over the place; in the back room he was making the tequila based on a formula devised by a Chinaman who was about 103 years old. And then I saw what I had been drinking, it was disgusting: tarantulas, scorpions, rattlesnakes, a cobra, bulls’ penises. But it all comes together in this great tasty tequila. How risky was it to research that netherworld? Not at all. We were not going in deep like journalists who would put information out. That would be very dangerous. We were making a fiction movie with people coming from a novel and we were trying to get a broad concept of the atmosphere. Then again you are no stranger to danger, as one of the very few Hollywood directors who fought in the Vietnam War. Can you recall that experience? After my freshman year at Yale I went abroad to teach at a school in Saigon, which turned into six months. Then I quit and joined the merchant marines, and in the winter of 1966 I went back to the States in a boat. After my return I started writing a novel, Child’s Night Dream, and then I went back to Yale in September. I failed again to finish, left, and completed the book. It was rejected by the publishers, I was very upset and joined the army in April of 1967 in order to disappear, to become anonymous and come to terms with myself. But not every college dropout and failed writer goes to war to find himself. What was your mindset like at the time? What can I say? The adolescent period for young men is very difficult, very volatile. And I was filled with anger. Anger at the lies. At the lies of our life. When you are 54
born, your parents tell you lies. You find out about it, and you get angry. You mean the fact that they divorced when you were 15. That, too. There were all kinds of lies. Also with regards to my medical condition. What kind of medical condition? I can’t talk about it. There were some medical things that were done to me that my parents never told me about. You get scared and you don’t trust them. They are bullshitters. They get divorced, while you think you are a happy family. But then you go to Vietnam, and the lies are even bigger, because everybody is talking about democracy and that we are the good guys. Only we were not behaving like the good guys. We were behaving like a**holes. Was your experience similar to Platoon? Platoon really does reflect the journey, because I did not know what I was doing. You become fatalistic in situations such as that. There were many times where I didn’t feel I was going to make it. Then I became better as a soldier, it was a question of knowledge, or what they call on-the-job training. I was athletic at school, I had good night vision. Above all you need peripheral vision, you need to smell – all these factors come into play. It’s no longer cerebral, it becomes instinct, primal. By the time I left I was really an animal. But I was not a killer in the sense that I had no control. I was a good guy. However, a part of me was ruined. I could never cross back to the generation that I grew up with. I could and can never be part of them. Despite those scars you managed to carve out a unique career, including three Academy Awards. I came back relatively stable compared to some people. There are a lot of successful veterans. If you read my novel, which I finally published in a rewritten version in 1997, you get a sense of my personality. The protagonist comes to a place where he identifies himself as a ‘solitary realiser’, which is a Buddhist term. You are a person who lives alone a lot in your head, you don’t have the ability to join an organisation. You try to make your way in the world by your own standards. It’s what they call autodidacticism. You can’t believe what they tell you in school. Maybe in chemistry and math you can, but not in history. They can’t tell you how to live your life. Would you call yourself a loner? No, I collaborate with people, I enjoy people. It’s very important for me not to be cut off. I have been a writer for many
A part of
rr uu ii nn ee dd I could never cross bacK
hours of the day, but if you keep doing that only and don’t mix it up with life, you can become a very unsocial and nasty person. That’s why a lot writers are nasty people. Was this a danger for you when you started out as an author? Yeah. I was going crazy at times. That’s why I gave up the novel. This was insanity. But I never was a joiner, not even in high school. Were you bullied? No, because I was a hider. I was minding my own business. My father, who was Jewish, had always told me, don’t bring any attention onto yourself – that was his lesson from the Holocaust. Only one time I got into a lot of trouble. In fourth grade, I was eight then, there was a vendetta against a boy who was a bit dorky and also not good at school. I didn’t know him that much, but I didn’t like them picking on him, so I defended him against the class. As a consequence I was ostracised that year, a lot of people turned on me, which I found really amazing. It was a very interesting insight into human affairs. Over the years that experience has repeated itself, as you keep getting attacked for your nonconformist views of American history and politics. Does this mockery and vilification sometimes get under your skin? It gets under my skin. Of course you hope to get better at it. And you have to hang in there. If you feel strongly about something, you cannot back down.
I have never been much of an
TT YY PP EE I’m a dramatist
There is already a lot of controversy surrounding your upcoming documentary series, The Untold History Of The United States. What we are trying to do is to show US history from another, outside America point-of-view, which is the hardest thing to do in America. For example, we are saying that during the Cold War we were under the hypnosis that the Russians were coming. The Russians were made into this easy enemy. The concept of creating an enemy has haunted our foreign policy and our domestic policy for generations. The amount of money we spend on this is ridiculous. This is a lifetime issue for me. According to some press reports you allegedly also offer a sympathetic view of Hitler and Stalin. There is no question that Hitler and Stalin did a lot of damage and killed a lot of people. So did Mao. But so did the US. We are simply bringing up the level around these figures and showing what was going on in the rest of the world. You cannot just single out villains and say, “These people are the aggressors.” You have to see it in the context of time. There was a reason that Roosevelt liked Stalin and got along with him. But people don’t know that from American history lessons. We get this stuff in school, we learned it, and still we don’t know anything about our country. I rechecked this stuff with our historians, three times, four times. The fact-checking for this series is unbelievable. So when we say something about Stalin, we really know what we are doing. What kind of reactions do you expect? I know I’m going to be murdered again in some way. But I am very proud of the work, and I am hoping it will stay out there in the cosmos and find a life. Maybe some young person will see it and it will help him understand history. What else can we do except fight for change? So you’re not completely without hope? I don’t give up on people. They have power. And most people want to be good and want the world to be a better place. Is Obama your man? We are all going to vote for him because we have no choice. If America is deeply ignorant, and if it goes further to the right with Mitt Romney, it’s sad. But Obama is no man of the left, he is a man of the centre-right. He has not shifted anything, he continued the war on terror with the same illegal methods. He left the system in place. Have you ever thought about going into politics yourself? 56
HIGHLIGHTS In his long career the outspoken Stone has never been afraid to walk the walk in his films.
The winner of four Oscars, including his first best director nod, Platoon is a close reflection of Stone’s experience in Vietnam.
While Stone’s depiction of the plot to assassinate JFK might not have been accurate, it was, at the very least, thrilling.
Born on the Fourth of July 1989
The second best director Oscar win for Stone, Tom Cruise gave a powerful performance as an incensed Vietnam vet.
Natural born killers 1994
Among his most violent films, the serial-killer love story has been accused of encouraging copycat crimes.
I don’t think that I could. You need to have the temperament. You have to like negotiations. Of course, in a sense, being a director is a political assignment, but the consensus I have to achieve is about illusions. It’s a consensus to dream. Besides, I have never been much of an activist type. I am a dramatist, a news gatherer, a researcher. And an angry man so it seems.
Well, there is an anger that builds up, as I see the lies of US politics going on. We keep going back to another war. Why wouldn’t I have the right to be mad? But the thing is taking the anger and trying to make it a creative anger as opposed to bitterness. How do you do that? I meditate every day. The breathing in meditation also helps. I read all kinds of texts that point to the spiritual side of your nature, Buddhist teachings among others, although I wouldn’t call myself a Buddhist, I am just a student. You never arrive, even if think you think have arrived. Which notions of Buddhism can you identify with? That you are hypnotised by the world, or deluded... whatever you want to call it. And you have to try and look through the illusion, to find the reality. I don’t see Buddhism as a religion, it’s more like a meditation. It’s paying attention to your life on a daily basis. If you can carry it through the rest of your day, that’s wonderful. But often you lose track. We are overwhelmed by our thought processes. By our feelings. We are overwhelmed by so many things. And Buddhism to me is the detachment from that. It’s a very strong awareness in all things that the world is more than just a passing illusion. So there is something beyond our visible reality. Yes, I agree with the Buddha that there is something imperishable in our make-up that goes on. A consciousness. It has always been there, and it goes through the world. That’s why I identify with history. There is something to be achieved in our lifetime, which is a better spirit. But don’t push me too much on this, because people might perceive this as some mystic mumbo jumbo. Then let’s stay in this reality. What keeps you going? You do get burned out if you get beaten down every time. It’s demoralising, no doubt. But I am in search of something that is more important than my personal pain. It’s great to have a reward, but I know it doesn’t happen very often. In a way, I see myself as a railroad engineer. I want to make sure that the train runs. That is, I have to make sure that my movie has suspense. Whatever story I tell, it is my challenge for me to make it work. So if I can get Savages together and if it works as a good thriller, I would really be happy. But I have to tell you, my head really hurts. If I want to be happy now, I need a cup of coffee. In cinemas in September: www.savagesfilm.com
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noVak dJokoVic talks exclusively to The Red Bulletin
THE RED BULLETIN: Novak Djokovic, on the fourth of July last year you became the world number one tennis player. You’re one of just 25 people who knows how that feels. Tell us about that. NOVAK DJOKOVIC: You know, you don’t wake up every morning and say, hey, you’re such a great guy, you’re the world number one. It’s more a, let’s say, deep satisfaction. You live your life knowing that you have turned the greatest dream of your life into reality. I’m living the dream that I had since I was four years old. Just as other kids want to become engine drivers or astronauts, you wanted to be the number one in the tennis world rankings... at the age of four? Yes. But it wasn’t just a dream. Back then I understood the number one as a goal. As
something that you have to work towards. You chose probably the most inopportune time for your mission: when you were 18, Roger Federer and Rafael Nadal began their period of domination like no other pair before. From the 28 Grand Slam tournaments from 2004 to 2010, Federer won 15 and Nadal 10... That makes the satisfaction all the more. I’m aware that nobody believed it would be possible to outperform Roger and Rafa – in this respect, I have achieved the impossible. Let’s look more closely how it came to this power takeover. Going back four, five years: you’re 20, a muchpublicised newcomer, the youngest player in the top 10. You want to go to the top – but up there are two of the greatest athletes known in the sporting
phOTOGRAphY: CLIVe BRUNSKILL/CONTOUR/GeTTY IMAGeS
Novak Djokovic’s path to the top of the tennis world was as extraordinary as it was onerous: his first trainer was a woman who not only taught him to play tennis but also introduced him to classical music and poetic art. During bombing raids in the Balkan war, he spent his nights in the air-raid shelter and his days on the tennis court. As the youngest player in the top 10 of the world rankings, he reinvented himself as a tennis player – in order to challenge the seemingly indomitable Roger Federer and Rafael Nadal. Jörg Allmeroth, one of the most highly acclaimed international tennis journalists, had the following conversation with Djokovic in Dubai and Monte Carlo for The Red Bulletin.
Djokovic in full flight at Key Biscayne. He’s seen as the fittest player on the tour
How do you cast off the respect you feel for Roger Federer and Rafael Nadal?
It didn’t happen overnight. It was a process. And it was hard. I realised I was at a point where I had to fundamentally change professionally if I was going to get to the very top I trained harder, but above all much more focused than before. I restructured my season. And I totally changed my eating habits. Thanks to a gluten-free diet I became physically more stable – and that of course gave my game a totally new constancy. Simply because I suddenly didn’t have to fight infections anymore that had constantly forced me to pull out of major tournaments. You also relinquished your role as the clown of the tennis circus. In your earlier professional years you were very successful in your imitations of Maria Sharapova, Rafael Nadal, Andy Roddick and others. Where has the Novak Djokovic gone to whom they gave the nickname, ‘The Djoker’? At a certain point the whole thing became
a bit forced. I travelled to a tournament and sooner or later some commentator or announcer would come and say, do Nadal, or do Sharapova for us. I thought to myself then, it’s time to stop. Shouldn’t tennis be fun too? Don’t worry, I’m still the same guy as before, anything but dead serious. To shoot a crazy commercial, or joke around with friends, that’s still very much a part of me. But the jokes shouldn’t be at the expense of others. For years it was regarded as stateof-the-art to play with a poker face – deeply immersed in concentration, no emotion, on no account show feelings. But that’s completely different with you. It’s good that way. Tennis isn’t a poker
photography: Getty Images
world. And you lose major matches against the two. Soul destroying? And how! You probably remember what I stated as my goals back then: to win Grand Slams and become the number one. Be honest, did you believe me? Um… not many believed it. Which was also warranted. I know I said I wanted to go to the top and claim Grand Slam titles, but I didn’t really believe it myself. When I went out to face Roger and Rafa on the court I didn’t have the 100 per cent, the complete and total conviction that I could actually succeed. My respect for them was simply too great. How do you cast off respect for Roger Federer and Rafael Nadal? It didn’t happen from one day to the next, it was a process. And it was tough. I recognised that I had reached a point where I must radically change myself as a professional if I really wanted to get to the top. As a 20-year-old, as the youngest world-class player, you wanted to throw everything overboard that had brought you so far? There was no alternative. I wanted to beat Roger and Rafa, and not just anybody. Over the next years I more or less changed everything. I knew that success in modern tennis is not a one-man show – and so I put a team of trainer, physiotherapist, nutritionist, fitness coach around me.
game for me. Everyone can see and feel my emotions, and anyone who wants to can share in what I’m experiencing at any given moment. That’s part of my character and I find that belongs to our job: we also have to give the people a good show. We have to inspire and carry them with us. Do you believe that men’s tennis in the year 2012 is exciting enough? I think we’re doing a pretty good job. There are complaints of a little monotony in the names at the top: the major victories go predominantly to you, Nadal, Federer and Murray. Doesn’t that make it all the more fascinating? It’s crazy that we stay so consistent at the top. Especially when you see how strong the first 100, even 200 players are today. They are all unbelievably good, technically and athletically. There’s not one single game in the year where you might be able to say I’m 80, 90 per cent sure I’m going to win that too. If you are not prepared to go to the limit every day then you’ll lose. Guaranteed. And so how do you explain your winning streak last year? You’ve had 70 wins from 76 matches played and 10 tournament victories, including three of the four Grand Slams Hmm… It’s beyond explanation. At some point I even asked myself: is this a dream or is it really true? It was a headrush, an almost surreal time. Like floating on a cloud. According to many experts, your greatest victory is not one from your 2011 season but the one from last January, in the six-hour final of the Australian Open against Rafael Nadal. Do you agree? The fans sure get a good run for their money these days, don’t they? [Laughs]. At some point during the match I felt that something special was happening, that this would be match I’d remember for the rest of my life. I had never had such thoughts before. And in the fifth set, crazy, I had the feeling for the first time in my life that I wasn’t on the planet anymore, I was in my very own world. That was an unbelievable experience, as if in a trance. What do you normally think about during a game? Perhaps it sounds boring, but I think about the same stuff that all the junior players are spoon-fed: think only about the next point. Only on winning that next point. Do you in fact notice anything other than the actual duel during
a major match? Or do you play with tunnel vision? It’s not as if your senses are totally shut off. On the contrary. I draw in the atmosphere, the background noise. It gives me motivation and inspiration. But once the ball is in play you forget all about the world around you. Do you still feel pressure or anxiety on the court today? Why the negative undertone in the question? Pressure is a privilege! There is no better proof than pressure to show that I’m in a great match and chasing a major goal. I find pressure pushes me more than it holds me. Without the stage fright there isn’t top performance. When everything leaves you cold you know it’s over. Is it this fire that makes the difference between a good player and an outstanding one? In big matches it’s not about who hits the ball better – we can all play tennis. And we are all physically fit. The decisive word is ‘momentum’. That’s the difference. The momentum can only be on one side and you have to make sure that it’s your side it’s on. And how do you do that? In that you manage, over the entire duration of the match – and that could be four, five, six hours – to stay strong, patient, confident, self-assured. Don’t let yourself become frustrated, not from the good hit of an opponent, not from your own mistakes nor from the wrong decisions of the umpires. The one who manages this best has momentum on their side – and in crucial situations will then do the right thing at the right time. Your career sounds like the stuff of a great Hollywood script: from
What do you normally think about during a match?
It might sound boring, but exactly what we always say to up-and-coming players. Only think of the next point and how to win it Balkan war child to the top of the tennis world... an almost kitschy plot, don’t you think? It’s a miracle, the whole story is a fairy tale. Absolutely. I could have failed a thousand times. How important was it for your career that you came from Serbia, a country which has been at war with half the world? Did that release a particular energy? I’m not a Serbian avenging angel who has set out to conquer the tennis world. But to be Serbian is not only personally important to you, but it was also part of your motivation, was it not? My push was to show the world a new
Novak Djokovic with long-term girlfriend Jelena Risti. Their relationship is a contributing factor to his professional success
face of Serbia. There was Jelena Jankovic and Ana Ivanovic who preceded me and enjoyed enormous success as pioneers. Both managed to reach the top of world ranking in women’s tennis in 2008. It was hugely satisfying for us all to see our country suddenly make very different headlines. Was your hunger for success greater than that of the players from western societies because of the terrible experiences of your childhood? probably. We had more to gain. We wanted success so much more passionately than others, yes, that could be true. How much was the war a burden on you personally? How did you cope with the air raids? As a child you don’t really grasp the consequences. But you were frightened when the sirens screamed and we had to run into my grandfather’s cellar at night. That went on for a couple of weeks. It is well known that you trained even during the time of the bombing: nights in the air-raid shelter, days on the tennis court. Unimaginable... …but true. I continued to play tennis during this time. In fact more than usual because school was cancelled. Serbia’s President, Boris Tadic, calls you today the “best ambassador of Serbia ever”. You even travel around the world with a red diplomatic passport? Yes, and I have to admit that little gem has its advantages. I can now sidestep the long queues at customs [laughs]. Why don’t you live in your mother country that means so much to you? Because it would be practically impossible. At every turn there’d be an incredible ballyhoo, without a moment’s peace. The hype in Serbia is great on the one hand, I enjoy the recognition and popularity and affection, but it’s also overwhelming. Every so often you still visit your discoverer and first promoter, Jelena Gencic. There’s a BBC documentary in which touching images are shown: the Wimbledon winner proudly presents the trophy to his first trainer. In this clip you somehow seem more like a tennis student than a world star. For me, Jelena will always be a person who commands respect. The moment you’re talking about was incredibly emotional: I brought her a replica of the trophy we had both always dreamed of. Without Jelena I would never have become the tennis player I am today. She was the first to believe in me and I was only five years old! She told my 62
How mucH of a factor Has it been in your career tHat you come from serbia, a country tHat Half tHe world Has waged war against?
I’m not some serbIan angel of vengeance who’s come to take over the tennIs world parents I was a ‘golden child’ and that they should absolutely support me and make sure I stick with tennis. The most valuable tips of my career all came from her. Do you remember any specific tips? A thousand things. For instance, she always said that quality comes before quantity when training. For her it was more about what and how you trained, not about how much. Ms Gencic also insisted on you learning classical music, poetry and foreign languages. Why did she do that? It was her kind of all-round pedagogical package, her educational method. And the music served as a form of relaxation after the stress of training. Actually, it still does that today. I like to listen to classical music. Later you went from her to Munich to train under Niki Pilic, who was then a world star coach. Pilic says about you: “I have never experienced a 13or 14-year-old who was so focused.” I didn’t want to waste time, not a minute. After all, I was aware of the effort it had cost my parents to send me there. It was my responsibility to do everything I could to use the chance that my parents had made possible. Were you always particularly ambitious with everything you did? Always and everywhere. No matter what I did, whether I’m playing a game or skiing, the determination to win is a part of me. It’s been said you’re a perfectionist – which we’ve heard is not always particularly pleasant for those who work with you. If you want to achieve seriously big goals you need such a character trait, I’m convinced of this. When you have
Quick fire Your idol as a tennis player? Pete Sampras. …and away from the tennis court? My parents and my former trainers like Jelena Gencic. The person you’d most like to meet? Michael Jordan. Words you live by? Be who you are. Your best friend in tennis? My Serbian Davis Cup team-mates Janko Tipsarevic, Viktor Troicki and Nenad Zimonjic. How do you relax? Yoga and golf. Which books do you read? Sports psychology. Which music do you listen to? Serbian… Your film hero? Robert De Niro. If you could rule the world for one day, then...? …I’d try to create peace in the world within that one day. The city in which you feel most comfortable?
Belgrade. And then Monte Carlo. Your craziest tennis experience? The Australian Open final of 2012 against Rafael Nadal. Your greatest moment of happiness – in life and in tennis? The birth of my two younger brothers. And in tennis, my maiden Wimbledon victory. What you still absolutely must achieve? To have a family, become a father. Your thoughts on grunting in women’s tennis? No comment. Which headlines would you like to read about yourself some day? The one that says there are no more headlines about me [laughs].
HaVe you always been ambitious in eVerytHing you’Ve done?
phOTOGRAphY: CLIVe BRUNSKILL/CONTOUR/GeTTY IMAGeS
yes, always, In everythIng, whatever It’s been. whether It was playIng some game or skIIng, It’s always been part of me to want to wIn to tackle people like Federer and Nadal as part of your profession, you can’t afford to make compromises. And you can’t find satisfaction in the small steps. You have two younger brothers, Marko and Djordje. Both are trying to gain a foothold in professional tennis, as well. Are you more of a burden to your brothers, or a help? They don’t have it easy. They’re watched at every turn – Marko is 20, Djordje just 16. how should they cope with being measured against the Djokovic name? But they fight, they are trying everything to find their position in life. Whether it’s in tennis or something else. Of course I try to balance the load. I support them as well as I can – and as long as they want it. You have some incredibly crazy and challenging years behind you. The fight to be number one, the fight for the Grand Slam titles, the fight for Davis Cup victory. Are there some days where you wake up and ask yourself, do I really have to torture myself again on the practice court? One hundred per cent no. Absolutely not. every single day I look forward to what is awaiting me on the tennis court. My job is huge fun, in fact my whole life is huge fun. Even walking on red carpets? How do you like the glitz and glamour part of your job? Why shouldn’t that be fun? After all, it is recognition for my performance. As number one, I must and should represent my sport on such occasions. I regard it as an honour. One last request. To someone who has never heard of you before: how would you describe Novak Djokovic to them? Actually it’s a bit uncomfortable describing myself... but OK. his bad side? he’s sometimes jealous. And sometimes a little too emotional. The good side: he’s a communicative person. Full of energy, full of life. he openly shows his soul to the world. And he’s responsible... and kind. www.novakdjokovic.com www.redbull.com/NovakDjokovic
‘Flash’ is the last word you’d use to describe the polite, soft-spoken Aileen Morrison. Such is her talent and dedication in triathlon, her progress from Ireland’s best to world-beater may not be very far away Words: Declan Quigley Photography: Adrian Myers
teering her VW Golf smoothly through midmorning Dublin traffic, Aileen Morrison’s driving is, like her car, sensible and understated. No drama, no rush, a picture of tolerance and courtesy as she politely works her way from a swim-session photo call at
Dublin City University to a press meeting in a docklands hotel. The road is unfamiliar and she defers willingly to the locals until one urban cowboy with a taxi plate tries to barge in out of turn. His mistake. Morrison immediately flicks her wrist and lets out a cry of exclamation, in an accent heavily marinated in the River Foyle. Morrison is no pushover, but she hasn’t always been this way. A fixture in the top 10 of the International Triathlon
Union’s rankings, Aileen Morrison has had to learn to fight her corner in the highly charged atmosphere of top professional sport. “Women’s racing can be really bitchy,” she admits, in her jaunty Derry lilt. “Sometimes it’s not intentional and other times it’s just that some girls will just keep swimming and keep swimming, no matter whether they swim on top of you. They don’t really care. Or, if you got in
Morrison, seen here at last year’s Windsor Triathlon, is at her strongest in the running element of the triathlon
Aileen Morrison Born: June 15 1982 From: Derry Lives: Lisburn Years in full-time triathlon: four Coach: Chris Jones Sporting background: swimming, running, water polo, surf lifesaving
Notable ITU World Championship Series race results: 2nd, Madrid 2012 4th, Yokohama 2011, 3rd, Hamburg 2010
ince becoming a full-time athlete in 2008, Morrison’s progress has been steady, as she added mental steel to fast-hardening muscle and sinew. By common consent, she has had to be convinced of her potential almost every step of the way ever since she breezed into a Triathlon Talent ID session in 2007, on the back of some impressive performances in club competition and a national title as an amateur. She presented her 400m swim and 3000m run times to Chris Jones, the former UK Women’s Triathlon team coach who was then working as consultant to Triathlon Ireland. He liked the numbers and before long she, and subsequently he, were full-time members of Ireland’s fledgling High Performance set-up. Morrison quickly embraced the backbreaking discipline of a professional’s 30-hour a week training regimen, while Jones and his team of coaches and physiologists helped to hone her body and her mind for the rigours of regular competition on the International Triathlon Union’s World Series, as well
Noble Quest If Aileen Morrison is Ireland’s top female triathlete (and she is), then Andrew Noble is the leading man. The pair are the product of a small but well-organised High Performance Unit in Triathlon Ireland headed up by former UK Women’s Triathlon team coach Chris Jones, which operates with a budget of €300,000. Morrison and Noble represent a sport that has grown rapidly in the past dozen years. Membership of Triathlon Ireland has grown from 800 in 2005 to 6200 in 2011. This increase is matched by the number of annual triathlon races in the country, which has risen from 74 in 2007 to more than 160 in 2012.
ADDITIONAL PHOTOGRAPHY: CORBIS
their way, they’d pull you back. If they thought they were going to gain from that, they would [do it].” “In a race in Portugal, a girl kept swimming into me, hitting me and stuff, and I was thinking, ‘Get out of my way, this isn’t good for us here.’ She ended up pulling my leg and I said, ‘Right, you’re not getting away with that,’ so I pulled her back. Then she got my head and dunked me underwater, and I nearly lost my goggles. But that’s what happens.” A few days before Morrison meets The Red Bulletin, she had produced her, and Ireland’s, best ever result in the ITU World Series, with a fighting second place, just three seconds behind Switzerland’s Nicola Spirig, in Madrid. A breakthrough result, albeit one tempered with the understanding that four higher-ranked athletes gave the Spanish event a miss, it nonetheless showed what Morrison is capable of. Still on a high after her Madrid podium, the 30-year-old is bubbly and carefree, with an undertone of quiet composure. Any loosening of inhibitions by podium champagne has passed. She’s relaxed and confident, and apart from the little traffic management episode, her
most animated moment of the whole morning is when she describes her irritation at a recent newspaper article suggesting that her performances make her a favourite for titles and trophies. ‘Not yet’ is the party line. “I don’t like to think about numbers and placings and things like that because I’m going to try and do as best as I can do,” she says. “Whether that gets me a top-15 or a top-10 performance, I’m going to be happy as long as I know that on the day I did everything I can to get me that performance. “I do think that on a good day, doing everything right, I’m capable of a top 10. If luck falls on my side, I know I could squeeze a bit more in there. I have won medals in the past at world level, so it’s not to say it’s impossible to do that again.”
as one-off championships at world level. Their first international outing together was both challenging and encouraging. “She’s so much more confident about what she’s doing now than when we first met,” says Jones, now Triathlon Ireland’s High Performance Director. “She believes in herself, whereas before she didn’t. I remember when I first took her to a race, and I was saying to her at the breakfast table that when you come out on the run, you’ll probably see the Czech girl, and I said to her that she’ll probably push on a little bit. “And she burst into tears. She said, ‘Why do you think I’m going to do that?’ I said, ‘You’re going to do that because I wouldn’t have brought you here if I didn’t think you could do that. You’ve got the right talent and the right ability and you’ll learn about this today.’ She brushed herself off and finished sixth in her first
European Cup race.” Jones has seen a big change in Morrison in the past 12 months, as results have started to accumulate and desire has morphed into belief. Second place in a European Cup race in Portugal and World Cup event in Ishigawa, Japan, earlier this season showed progress and consistency before the silver medal in the top echelon World Series competition in Madrid in May. This progress has come on the back of relentless graft and no little attention to Morrison’s weakness, the 40km bike leg and the ‘T1’ and ‘T2’ transitions – from swim to bike, and bike to run, respectively. Tommy Evans, a former member of Ireland’s world championship cycling squad, has been working as a coach to the Triathlon Ireland team for the past couple of seasons, and has been overwhelmed by the positive attitude and commitment he has encountered,
‘You get hit and kicked and punched, and whatever else, in the swims’
orrison has developed the cycling element of her triathlon so that, while she is far from dominant, she can now sit more comfortably in the saddle, preserving energy for her forte, the run that concludes the event. As Ireland’s sole female competitor on the world stage, she races without the benefit of two handpicked women to help pace her through both the swim and the bike legs, as many of her leading competitors do, but she is learning fast how to piggyback on the efforts of other squads. By adding a battle-hardened carapace to her work ethic, Morrison, a Health and Physical Recreation honours graduate from Liverpool Hope University, who qualified as a PE teacher at the University of Ulster at Jordanstown, is finding that the benefits of competition are as important as the gains she makes by being a model of diligence in training. Having patrolled Donegal beaches as a lifeguard for many summers on the back of several years as a national-level swimmer – her older sister Ruth was an international – Morrison might have been expected to embrace the swimming element of triathlon, but nothing had prepared her for the “washing machine” of hundreds of flailing limbs thrashing in
the water of a triathlon swim. As someone with instinctive good manners, she had to learn how to cope with unsolicited and largely unpoliced aggression beneath the surface. “In a couple of races I’ve had unlucky swim starts where you just get hit and kicked and punched and whatever else. It’s not just that the others are out to get you, but there’s a lot of girls in close proximity when you’re on the starting pontoon, and it’s maybe hard to stay out of their way.” Whatever awaits her in future competition, Morrison is determined to get the best out of herself by trying to treat her sporting endeavour as routine, as just another day at the office. It’s a forlorn hope, as she’s already mapped out her main aims for the next four years. As for nerves in the big events, she isn’t even going to pretend they’re not there, an honest approach that may well provide dividends. “Sure, I get excited, nervous, optimistic, pessimistic, emotional,
‘At the start line, you tell yourself it doesn’t matter: of course it does’
Morrison during the cycle leg of the opening round of the 2012 ITU World Championship Series in Sydney, Australia
ADDITIONAL PHOTOGRAPHY: CORBIS
not least from Morrison. “Working with athletes, where you see how much they have to put on the line and how much they have to travel about, travel the world, and pay for a lot of it themselves – it’s a breath of fresh air. “At one altitude camp we did, we’d been out on the bike for four hours and then in the evening we did a run uphill from the altitude centre to the top of the mountain. It was -12ºC outside, and that was before taking into account the windchill. So they ran for 40 minutes in what was effectively -20ºC, and not one complaint. No one said, ‘I’m not going out in that’ whereas cyclists might say, ‘I’m not going out in that, it’s wet.’ In fairness, I probably wouldn’t have expected anyone to do that, but when it was put to them – ‘Right, this is the plan’ – there were no questions asked. They just went out and did it. “And then Aileen cried in the van, when her hands were warming up…”
Training Volume whatever. It’s all there. But you have to keep some sort of a hold on normality, because otherwise the one day that you’ve been working towards for years would be diarrhoea, for want of another word. You have to tell yourself that it doesn’t matter, even though it obviously does, but if I’m sitting on a start line thinking that this is the most important day of my life, ever, then I’ll be too nervous to compete.” Helping to keep her calm is her boyfriend Davy Reid, a lecturer at the University of Ulster and a former high performance manager in Athletics Northern Ireland. (Reid’s nickname for her is The Green Flash.) There can be few partners better equipped to support a full-time athlete and she ascribes much of her new-found confidence to him. After the summer’s exertions, Morrison has three World Series races left in Stockholm, Yokohama, and the Grand final in Auckland. She’d like to compete in at
least two of those events to protect her overall top eight position and the financial benefits that go with it. Further ahead, a first Commonwealth Games appearance for Northern Ireland is eagerly awaited in 2014. Right now, aged 30, and with less than five full years of full-time training logged, she’s confident she’ll be at her peak for the major events beyond that. “Female athletes reaching their peak, you know: you’re talking 34, anyway. That’s the way it is with endurance sports. I’m only a wee baby. I’ve got plenty of time left in the sport.” To think she can beat peers of the calibre of Britain’s Helen Jenkins, the reigning ITU World Champion is, as far as Morrison is concerned, naive. And yet there are plenty in the world of triathlon, not least Morrison herself, who feel that this Derrywoman has her greatest triumphs ahead of her to come.
Each week Aileen Morrison commits to a punishing schedule. “I have six swims,“ she says. Most days they’re two-hour sessions. I’ll do four or five bike rides a week. During the winter it’s longer mileage and then running-wise I’ve got between six and eight sessions a week. I’ll have a double run day on a Tuesday and Thursday, and those will be really top-end stuff. I’ve also got gym sessions – on Monday and Friday I’ve got two sessions – and swims on Tuesday and Thursday too. I don’t think about logistics. Chris writes it on a piece of paper and I just do it.” Morrison’s yearly totals, in about 1,500 hours of training, are 6,200km of running, 15,600km on the bike and 2,080km in the water. Each week, she burns 23,200 calories and loses 29 litres of sweat. Over the course of a year, with competition and travel, she gets through 15-20 pairs of trainers and spends 100 hours in airports.
Photography: jay nemeth/Red Bull Stratos
How to jump Once Felix Baumgartner opens the door of his capsule, it gets serious. Years of planning by the Red Bull Stratos science team comes down to a few calculated, vital decisions
This is Red Bull Stratos Red Bull Stratos is a mission to the edge of space, in which Felix Baumgartner will ascend to 36.6km in a helium balloon and come down to Earth in free fall, collecting useful scientific data and setting four world records:
1. Break the speed of sound unaided 2. Free fall from the highest altitude 3. Longest free fall time 4. Highest manned balloon flight The Red Bulletin is following the mission closely, each issue focusing on a specific topic. All back issues can be downloaded for the iPad.
In FEBRUARY we interviewed Felix Baumgartner (1.1) and Joe Kittinger (1.2).
in MARCH we took a look at
Baumgartner’s capsule (2.1), his cockpit (2.2), and the cameras on board (2.3).
In APRIL we looked at how the helium balloon carrying the capsule and its occupant got airborne (3.1) and how Baumgartner went about getting his licence for it (3.2).
In MAY we discussed Baumgartner’s spacesuit (4.1) and explored the colourful history of spacesuits (4.2). in juNE we spoke with Jonathan Clark, Medical Director of Red Bull Stratos, about the dangers to Baumgartner’s body (5.1) and took a sci-fi journey to Überworld (5.2).
this month we skydive with Luke Aikins (6.1), calculate if Baumgartner can go supersonic (6.2) and listen to the man himself as he tests from 22km (6.3).
6.1 Luke in the sky
How to come down to earth again: skydiving specialist Luke Aikins on making Baumgartner’s fall from the stratosphere as safe as possible Words: Werner jessner
Jumping from the stratosphere feels “like driving a car with flat tyres”
e jumped. pulled the reserve chute and once it opened he severed the line and trusted that the main parachute would open. The next time he jumped, he opened the drogue chute and the reserve chute together. or he leapt and began to spin on his own axis, faster and faster, until he became dizzy and the horizon turned blurry before his eyes. He did everything wrong that you can possibly do wrong – and explored every eventuality that could threaten Felix Baumgartner in his Red Bull Stratos mission. Twenty days after the birth of his son logan, luke Aikins leaped from Mandalay Bay, one of the largest hotels in las Vegas. don’t you ever start thinking about fear and risk, luke? The giant with the broad smile shakes his strong head: “The second a strange idea enters my thoughts before a jump I’ll stop immediately.” Aikins, 38, is a child of the skies. He grew up, literally, on Kapowsin Airfield in Kapowsin, Washington, where his grandfather founded a skydiving company, later to be taken over by his aunt and uncle. Aikins’s father is a pilot, and all his siblings fly. other families go fishing or diving. The Aikins take to the
air. At 12 years old, Aikins did his first tandem jump, but for legal reasons he had to wait until his 16th birthday to go solo for the first time. Aikins’s skydiving logbooks, recording around 15,000 parachute jumps, fill half a bookcase. Alongside the scientists who stand behind Red Bull Stratos are true sporting professionals contributing crucial pieces of the puzzle towards the success of the project. Guys who actually trial the scientists’ and technicians’ calculations and prototypes. Aikins’s other ‘clients’ are the elite soldiers of the uS Navy SeAlS. He shows them the finer points of skydiving. Initially, Aikins was to have no real major role in the Red Bull Stratos project. He was booked as the airborne photographer, responsible for taking shots of Baumgartner during his pressure suit familiarisation in the wind tunnel and later during the first jumps from the plane. Aikins was not at all impressed with the original design of the parachute – but he shut up and readied himself to become a flying guardian angel should Baumgartner become tangled up in the rather confusing layout. The first test jumps in April 2009 were top secret. In California City, two helicopters waited on standby to document Baumgartner’s first leaps in the pressure suit. What’s more, a 15kg Red-Hd camera had been strapped to Aikins’s helmet so that he could film Baumgartner during the fall. The mission was ill-fated from the outset. “It was too windy outside, which wasn’t particularly surprising,” says Aikins. “It’s no coincidence that the area around Cal City is full of windmills.” Two helicopters and a Cineflex camera waited on the ground; the crew nervously twiddled their thumbs, Baumgartner began to feel out of sorts. It seemed jinxed. The waiting dragged on, time was running out. So what did Aikins do? He called a friend in Taft, not 30 minutes away by helicopter, a small town whose location behind a ridge meant calmer conditions. He spun a story to the guys at the airfield – something about filming a Red Bull commercial. Give us 500 bucks, they said, and you can come. Baumgartner and the crew were happy: Well, lookie here: the film/photo guy solves problems just like that. The day was saved, but not quite. In the original parachute design, Baumgartner’s drogue chute also deployed and flew away when he pulled the main chute
pHoToGRApHy: JoeRG MITTeR/Red Bull STRAToS
“i think your equipment is unsafe. We have to rebuild the parachute system”
cord. Aikins stood in the door ready to jump and indicated to the pilot of the second helicopter not to dive immediately in case the rotors got caught up in the parachute. Thinking about the safety of a helicopter isn’t typically among the core priorities of a skydiver. But Aikins did it anyway. Then he jumped out and filmed. For Aikins, it’s simply normal to take the initiative and fix things. Technical project director Art Thompson, lifesupport engineer Mike Todd, and Baumgartner were so impressed by the performance of the supposed cameraman that they wanted him on the team. But he hesitated. “I think your equipment is unsafe. If I should come onboard then we have to rebuild the parachute system.” originally, the drogue chute was to be fixed to the shoulders. Aikins “thought
the risk that the ropes could wrap around Felix’s neck was much too high.” While others calculated and fiddled, Aikins was up in the sky trying something out for himself. “I hooked the drogue up simple and dirty on my parachute and jumped out of a plane and just threw it in my hand. An early generation drogue chute – and it worked really good. So I sent them a video the next day.”
erived from this and refined with input from suit handler Todd, Aikins put together a crude model for the parachute rigging. Aikins is, and he says it himself, “not a final touch guy – it’s more about ideas with me.” Those final touches were given to Kelly Farrington, founder of parachute specialists Velocity Sports. during the
many months of night and weekend shifts, he built the parachute rig that Baumgartner now uses in the Red Bull Stratos mission. With his immense free-fall experience, Aikins can perhaps best imagine what awaits Baumgartner in his fall through the stratosphere. “during the first half a minute he won’t notice any wind. For a skydiver it’s as if you are driving a car with four flat tyres. I suspect he’ll tumble over a couple of times during the first 30 seconds. There is simply not enough air for him to work with. As soon as he feels enough air under his body, he’ll be able to assume his normal jumping position. I think way up there, Felix shouldn’t even try to prevent himself from somersaulting. Nothing you do – whether it’s flailing the arms or kicking the legs – will change the position. That’s hard for a skydiver to accept, but in an atmosphere that is so thin that a feather falls to the earth as fast as a lead weight, you can only ride it out and wait for thicker air.” In tests for Red Bull Stratos, a metal cylinder was released from 36,576m to see how it reacted (the team dubbed this drop pod “Felix Bombgartner”). That it began to spin worried the technicians, but not skydiver Aikins: “Where there’s air that allows you to wobble, then there’s air you can work with. We can do more with air than many aerodynamicists can imagine. In 1960 when Joe Kittinger jumped, he had only completed 33 parachute jumps, Felix has done over 3,000. In 1960, the record for formation free fall was at eight people, today we’re 73
6.2 Calculate speed Hefty discussions on the internet: can a human jump from the stratosphere and go supersonic? For a bit of clarity we asked Dr Martin Apolin of the faculty of physics in Vienna what pure physics had to say. The results are astonishing Words: Martin Apolin
hy can Felix Baumgartner break the sound barrier in free fall when a parachutist in the head-down position can only reach about 300kph? We’ll start with the short answer. Air density is much lower at high altitude, meaning his rate of descent will be significantly higher. By contrast the speed of sound is much lower there because of the low temperatures. These two factors combine to make breaking the sound barrier possible. That’s the short answer. If you want to understand in greater detail and make calculations, you’ve got to dig into the physics. It’s a good case study for demonstrating the problems that arise when trying to make as accurate a prediction as possible and for showing that reality is too complex to allow for precise calculations. First you have to take into account the governing factors for achieving maximum speed in free fall. Then you have to understand the two forces at work on a person in free fall. Although my analysis does not include compressibility effects due to shocks, it yields a good first order approximation of Baumgartner’s’ performance. The first is the force of gravity: FG = –m g, whereby g equals gravitational
acceleration and m is the mass of the person jumping and their equipment. Baumgartner weighs in at 140kg when in his pressurised suit! As FG pulls downwards, we give it a minus sign. As the person jumping moves through the air, a decelerating force is also at play – air resistance, or drag: FD = ½ ρ v² cw A, whereby ρ is air density, cw the drag coefficient, A the flow area and v the instantaneous velocity. Thus the total force being exerted on the person jumping is Ftotal = FD + FG = ½ ρ v² cw A – mg. For simplicity’s sake, let’s assume that gravitational acceleration remains constant. This would mean the weight was also constant. It is, of course, a different matter when it comes to air resistance. This grows proportionally with the speed squared. If the speed doubles, FD quadruples. Therefore as speed increases, so does air resistance. So maximum speed is reached when air resistance and gravitational force balance each other out, ie when F total is equal to zero. So in this case we can set the equation for the total force to zero, solve it for v and come up with v = √ 2mg/ρ cw A. This corroborates the initial assertion. Given the same body position and mass, all values, bar the value for air density, are constant and therefore v is proportional to √ 1/ρ . As air gets thinner the higher you go, maximum speed increases with altitude. If, as planned, Baumgartner jumps from 36,576m, he will achieve his maximum speed at just below 28,000m. If we give normal air density at sea level the notional value of 1, at this altitude ρ is only
photography: Joerg Mitter/Red Bull Stratos
at almost 500 who link hands in free fall. An insane amount has changed in this field.” And still, “No one has leapt from as high as Felix plans with Red Bull Stratos. There is only one way to truly know what happens during free fall from such a height – someone has to do it.” Aikins’s job is to investigate all eventualities, predict problems, and work on solutions. He has jumped more than 100 times with the Red Bull Stratos rig, testing every possible malfunction. Supposing that Baumgartner jumps and the reserve chute opens accidentally: Baumgartner wouldn’t survive because he will be carrying too little oxygen to last him the slow descent. So he needs to be able to cut the reserve chute – an absolute no-go in normal
Aikins (right) and Baumgartner during test jumps with a wingsuit
skydiving. And this system needs someone who is prepared to trial whether it actually works as planned. Aikins doesn’t regard himself as a lab rat, and he’s no thrill seeker. On the contrary, he is arguably one of the most experienced and calmest skydivers in the world. And his respect for Baumgartner is huge. “Felix has so much to do for this mission that it’s simply helpful to have a skydiver alongside to take on some of the test work. In racing there are test drivers. The mission pilot can’t do everything himself.”
During a test in Taft, a jump with the old parachute system almost went wrong. “Felix pulled on the wrong ripcord and the chute didn’t open. More than a few jumpers have been killed in such a situation. They panic and yank on a ripcord until it’s too late. But Felix took half a breath and very calmly made another decision – he pulled the correct deployment cord. Instead of waiting for someone to help him, he takes action. He makes decisions, he makes them fast and he makes them right. That’s what
“A great athlete wants the opportunity to screw up. A lot of people shrink in that moment – but a champion wants that shot”
Raw data (white dots) and fitted curve for the air density between 20km and 40km
Air density in kg/m3
0,04 0,02 0
20 Height in km
Simulation of Baumgartner’s speed for the first 100 seconds from three different heights (see text)
Speed in mph
400 200 0
0 20 Flight time in seconds
If you look at Fig 2, you will notice that the jumps are almost identical for the first 10 to 15 seconds. What is this due to? 0.02 (or two per cent). Thus for maximum speed, we use √ 1/ρ = √ 1/0,02 ≈ 7. So at this altitude, Baumgartner can achieve a speed seven times faster due to the low density than in a denser atmosphere. A simulation which shows what speed will be achieved when is particularly
fascinating. The simplest way to do this is numerically, ie to calculate the values step-by-step. This is actually fairly easy using spreadsheet software. You proceed step-by-step from the known to the unknown values and then repeat. You start with the altitude the jump will
is special about Felix Baumgartner. A great athlete wants that opportunity to screw up – just to show that they can do it. A lot of people shrink in that moment – but a champion wants that shot. Felix belongs to that second group.” In Red Bull Stratos, Aikins sees above all the sporting value, the records, the quest to push the limit of his sport a little. “We want to show that it’s possible to jump through the stratosphere with a space suit and a parachute, to break the sound barrier and make a safe and controlled landing.” What would Luke Aikins rate as a Red Bull Stratos success? “Once the parachute is open and we see that Felix is moving, it’s all good.”
be made from and a speed of zero. Calculate the total force exerted on the person jumping at that moment (only gravity to start with). Then let’s assume that the overall force remains constant for a short time (eg one 10th of a second). This isn’t, in fact, completely correct, but it is only a marginal deviation. We can calculate acceleration from the total force, from there the new speed and new altitude and so on. Essentially very simple – but the devil is in the detail. If we want as accurate a simulation as possible, we must first factor in that the gravitational acceleration g, a consequence of gravitational force, will decrease with height. In Roswell it is 9,795m/s², but at 36,576m it is only 9,684m/s², so about one per cent lower. If we overlooked this difference, we would end up somewhat overestimating the final velocity.
significantly greater problem is that it’s impossible to calculate flow area A and drag coefficient cw at every point of the descent, because these are very much dependent on the position Baumgartner’s body will be in. But we can try. To start with, we don’t need to know the individual values, just the product of A cw . We can estimate this by evaluating the test jump carried out on March 15 of this year. On that occasion, Baumgartner jumped from around 721,820m and achieved a top speed of 587kph. Now adjust A cw in the simulation until you achieve the same speed there. 75
“If Baumgartner goes into a tailspin and has to open his drogue parachute, he can wave byebye to breaking the sound barrier”
he evaluation gives a value of 1.06 for A cw, which we can now use in our simulation. Let’s assume that his body position will be the same for his record-breaking jump (Fig 2). A real crunch point comes when trying to estimate air density. It lowers the higher you go because there is less air weighing down the air, so to speak. Unfortunately, the temperature also decreases with altitude, which affects air density too. There is plenty of data from the lower atmosphere – the troposphere – up to 10km. But when it comes to data from the stratosphere, between 15 and 50km, the evidence is thin, like the air. If we take the little raw data there is for high altitudes, we can estimate the air density between 20 and 40km up using the equation ρ = 1.5906e–0.151h (fig 1), whereby h is the height in kilometres. Of course air density is constantly changing slightly and is dependent on the time of day, time of year, humidity and location. In other words, you can’t predict air density at any given time. So it could be the case that there will be slightly different conditions for the record-breaking jump.
This is where one last complication arises. The speed of sound is normally denoted as 1,235kph, known as Mach 1. Baumgartner would only have reached 0.96 Mach in the planned jump from 36,576m and thus not broken the sound barrier. Thankfully the established default value only applies at temperatures of 20 °C, but the speed of sound is dependent on temperature, and this decreases very considerably at high altitude. You can calculate it using the formula vsonic = 44.74mph · √ T + 273,15 whereby T is temperature in degrees Celsius.
f we want to know how many Machs Baumgartner has hit at a specific height, we need to know the prevailing temperature there. As we have already stated above, it’s not easy to come by data for the stratosphere. However, we do have some temperature data given in 2km increments which we can interpolate. But it’s similar to the problem with air density in that slightly different conditions might very well prevail at the time of the jump. The table gives the temperatures at the respective altitudes and the speeds in Mach. It shows that Baumgartner would not reach the speed of sound if he jumped from 33,528m. The jump from 36,576m would give him a safety margin of seven per cent, and the jump from 39,624m a margin of up to 19 per cent. No one, however, can anticipate what might happen just before the sound barrier is broken. If Baumgartner somehow goes into a tailspin and, in the worst case scenario, has to open his drogue parachute, he can wave bye-bye to breaking the sound barrier. But whatever happens, the jump will still be extremely fascinating, as even the best simulation can never replace an actual attempt.
Time taken to reach the speed of sound
Height at which the speed of sound is reached
Time taken to reach maximum speed
Maximum speed (vmax)
Altitude at which maximum speed is reached
T in °C at this altitude
639 mph/ 1,028kph
719 mph/ 1,157kph
801 mph/ 1,289kph
vsonic at this altitude
vmax in Mach
669 mph/ 1,076kph
671 mph/ 1,080kph
674 mph/ 1,084kph
Table: Data on the three simulated jumps. All values have been rounded off bar those for maximum speed and temperature
ow we are ready for the simulations (fig 2). I have only produced simulations for the first 100 seconds of Baumgartner’s jump because the formula used to calculate air density may not be accurate enough after that. But the most important stuff will all have happened within 50 seconds at most anyway. I chose starting heights of 33,528m, 36,576m and 39,624m for the simulations. As things stand, the intention is to jump from the second height. The results do not seem dogmatic. These can, of course, never be more accurate than the raw data. And deviations of a few per cent are always possible because the basic conditions could very well be different from those assumed. If you look at Fig 2, you will notice that the jumps are almost identical for the first 10 to 15 seconds. What is this due to? The answer is the extremely low air density at the starting height. It’s so low at the start that in all three cases we are dealing with virtually unimpeded free fall. It’s backed up by something Joe Kittinger said after his 1960 jump. “At the end of the countdown I make a leap into the unknown. There’s no wind blowing, my suit doesn’t inflate. I don’t have the slightest sensation of the speed increasing.” But as anyone jumping from lower heights will hit more dense air more quickly, the speeds are already noticeably different after 30 seconds. There is already a difference of 100kph at that point and a difference of more than 260kph in maximum speed between the jumps from the lowest and highest altitudes. This is shown particularly well in the table below. This simulation produces a maximum speed of 1,157kph for the planned jump from 36,576m. But how much is that in Mach?
Only when the air becomes denser will Baumgartner be able to correct his position
6.3 photography: luke Aikinis/Red bull stratos
7 minutes, 52 years A leap from the stratosphere is like climbing Mount Everest: Felix Baumgartner talks about his plunge from around 22km, the impossibility of training for supersonic flight and what really worries him Words: Felix Baumgartner
pace is jet black. You can see the curvature of the Earth. This is the moment when you realise just how lucky you are to be up here, standing on the platform of the capsule at an altitude of about 22km, ready to jump. You’re relieved to finally be up here. Relieved to be able to show at last what we’d been working on for the past five years. Relieved to give something back to those people who have always believed in us. Then you release your grip on the handrails and fall, just as you’d envisaged it a million times over. That moment of free-standing and leaping off, the first six seconds of free fall where you don’t exactly know what will happen to you: that was really cool. After six seconds I flipped forwards until I was lying on my back. My higher centre of gravity with the oxygen bottles, the parachute and the massive chest pack put me in this position. My plan was not to fight against the unfamiliar, and in fact incorrect, jumping position. Further down, when the air becomes denser, I’ll have enough opportunities to correct my position. ‘Just ride it out,’ is what skydiver pro Luke Aikins says, and, sure enough, I was able to assume a stable jumping position shortly afterwards. After a six-second free fall we already
had the answer to one question, namely about which position would I find myself after jumping. Our bungee test jump hadn’t given us any clarity on this, because when you’re attached to a rope the fun is over after just two seconds. For my record leap from 36.6km it means that I might possibly break the sound barrier on my back, blind and helpless. That is not what you want, but you can’t discount such a horror scenario. Scientists don’t even know what happens when you break the sound barrier. Anticipation is difficult because I don’t actually know what I should be anticipating. And then there’s the
pressure suit, which basically hinders any quick responses. Jumping in a pressure suit is like walking under water, very slow and arduous. In an environment that calls for 100 per cent from athletes, the equipment necessary for survival reduces your ability to 30 per cent. You can’t train to fly supersonically. When I set out for my jump from 36.6km, I’ll have notched up just seven minutes of free-fall practice from two test jumps at high altitude: Three minutes from the first and four from the second. That’s just seven minutes of experience to break a 52-year-old record: you have to look at this in direct relation. I had to 77
Baumgartner plans to do another test jump from 27,432m before he tackles the big one
quickly gather the knowledge I’d need for the high altitude: first, how it feels to fly; second, how to handle the psychological stress of going beyond the ‘Armstrong Line’ where you’re aware you are surrounded by lethal danger, invisible, but nonetheless very real. Even though the first test jump has gone well, we were only just halfway there. Any mountaineer can climb to four thousand. But Mount Everest is a completely different calibre. People often ask me if I’m afraid heading towards the jump. The opposite is true: I look forward to it because from the moment I take the leap I get closer to the safety of Mother Earth. This is another thing you can compare to mountaineering: after reaching the summit, the mountaineers descend to base camp, for me I reach a breathable atmosphere. With each passing second, the air becomes more manoeuvrable, I can control my position and the greatest problem is relatively trivial, namely icy cold hands. From then on, the rest of the jump is no big deal anymore: I can do it, I love it, this is my world.
allows time to react. Even if it had been a broken leg or arm, you don’t want to be lying around in the Chihuahuan Desert near Roswell, New Mexico. What if I’d been unable, for whatever reason, to open my visor? The oxygen runs out, I suffocate in my suit, and all because the onboard radio hadn’t worked? That can’t happen. I’ll only get back into the capsule when the radio works flawlessly. We now know that the mistake originated in the chest pack, which aside from various controls and documentation functions also houses the radio. The device is now being rebuilt and the specialists from [German communications company] Riedel will sort it out. In the meantime, I’m now feeling generally very confident as far as my equipment is concerned. Over the past few months you’ve read about the capsule, suit and balloon here. I’m very happy with how the parachute has been perfected. We should have answers to any problems we face up there. The greatest unknown is still the breaking of the sound barrier. There is only one way to find out what happens: you have to try it. And that’s exactly what I will do this summer. www.redbullstratos.com
“Am I afraid heading towards the jump? The opposite is true. Because the moment I take the leap I get closer to the safety of Mother Earth”
Next month: Roswell Extraterrestrials, rattlesnakes, airplane parking and a river called Felix: we visit the launch site of Red Bull Stratos
photography: luke Aikinis/Red bull stratos
e’ve practised everything so many times, from different altitudes, with and without an inflated suit, from a bungee rope and in the wind tunnel. Because of this, the jump worked with almost frightening precision. When you climb the same mountain for the hundredth time it doesn’t seem as exciting as the first time. You don’t notice the speed. I reached 587kph at this test jump, the third highest free fall speed that any human has reached – but it felt like a normal jump. There are no reference points – you don’t feel the speed through the pressure suit. You don’t even notice the sound of speed: further up you hurtle quickly through few air molecules, further down you go slower through more molecules. At the end of the day it makes no difference. I was afraid of a radio malfunction during the first jump from great heights. Not because I want to talk during free fall, but because one of our mission goals is to communicate in free fall. Radio failure is dangerous as you saw from my landing: because I couldn’t direct the helicopter with the flares onboard, I landed with the wind and hit the ground at 4 G. Suit included, I weigh 140kg, so my ankles had to cushion two fat Harley Davidsons. Radio means information, information
Here’s mud in your eye: Why 1.5 million people make a pilgrimage each year to the Boryeong Mud Festival in South Korea. See page 94
Contents 82 TRAVEL IDEAS Montreux Jazz Festival 84 GET THE GEAR What makes Pyro Pete’s job go with a bang 86 TRAINING Tips from bike racer Marc Márquez
Photography: Chung sung-jun/Getty images
88 BAND WATCH Electro artist Mmoths 90 NIGHTLIFE A top club, an exotic cocktail, the best in music and much more – everything you need to get you through the night 94 WORLD IN ACTION 96 SAVE THE DATE 97 KAINRATH 98 MIND’S EYE By columnist Stephen Bayley
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get into the groove this month’s travel tips
Music, with Nobs on montreux jazz festival Bob Dylan and Miles Davis, Van Morrison and Paul Simon, Lana Del Rey and Janelle Monáe – every summer for the past 46 years Claude Nobs has invited top musicians to perform by Lake Geneva. The festival director reveals eight Montreux sights with a special place in pop history
‘Funky Claude’ Nobs, 76, an incomparable music connoisseur and international music stars’ host of choice
For 349 days of the year, Montreux is a sleepy little Swiss town on the shores of Lake Geneva, complete with lakeside embankment and stunning views onto the Vaud Alps. But every summer since 1966, it has been the epicentre of the music world. The man responsible for all this is Claude Nobs. Led Zeppelin, James Brown, Bob Dylan, Prince, Radiohead and many other internationally renowned stars have all accepted an invitation from the 76-year-old music connoisseur, as do the 200,000 fans who turn up each year. Nobs is famous for getting stars to Montreux before they’re stars, thus
ensuring their loyalty. Jazz legend Herbie Hancock, for example, will be making his 28th appearance this summer. And Deep Purple even paid tribute to Nobs in their song Smoke On The Water with the line “Funky Claude was running in and out, pulling kids out the ground” (see facing page). Down the years, Nobs has collected an archive’s worth of anecdotes interwoven with hometown locations, so for anyone going to the festival this year – it runs until July 14 – here are a couple of suggestions for a magical history tour. www.montreuxjazzfestival.com
WORDS: adrian schrader. illustration: julia Pfaller. PHOTOGRAPHY: Charly Rappo, Montreuxriviera.com, picturedesk, Mountain-Studios
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Tracing the stars’ footsteps in Montreux Bob Dylan on a bike, Kid Rock in a police station and six more musically unique markers on the shores of Lake Geneva 1 Montreux Casino The casino was already a concert venue before the Montreux Jazz Festival existed. “My first ever live guest was John Lee Hooker,50 years ago. I had to come up with a $500 fee for him. Years later he was charging $50,000,” says Claude Nobs. The long nights after the festival are also memorable. Fans and musicians would head for the casino garden after the concerts, first to restore their energy at the buffet and then for a naked swim in the pool. Things will be much more civilised this year post-disco night featuring Nile Rodgers and Mark Ronson: Nobs is inviting guests for a special muesli brunch.
rebuild, paid for by Queen. In subsequent years, artists including David Bowie, AC/DC and Duran Duran went on to record legendary albums there. It’s now home to a nightclub and the door to the club has become a memorial wall for Freddie Mercury.
2 Mountain Studio The casino almost burned down during a Frank Zappa concert on December 4, 1971 while Deep Purple were working on new material in another building close by. They immortalised the event in Smoke On The Water (and also heralded Claude Nobs as the fearless saviour of several youngsters). A basement recording studio was included in the
3 Montreux Palace The best hotel in Europe (rooms cost from CHF600 a night) would also be the one with the highest density of pop stars on the continent during the festival. You might end up getting even closer to them than you’d like. Three years ago, Kid Rock was having a riotous party in his suite. One highspirited guest jumped out of a window
and landed, luckily enough, on someone’s balcony. He went to the wrong room on his way back to the party and an extremely frightened Chaka Khan started pummelling the putative intruder with an umbrella. The police arrived and escorted the party host off the premises. “Kid Rock rang us distraught from the police station the next day,” Nobs recalls, with a laugh. “He didn’t have any money on him and he was in his bare feet.” 4 grand rue On Montreux’s chichi main thoroughfare, you can buy anything that glitters and sparkles: Swiss watches, jewellery, souvenirs. But Nobs thinks you’d be better off keeping an eye on the traffic instead. “Once we were waiting in front of the casino for the limousine that was meant to bring Bob Dylan from the hotel. But the car was empty. A few minutes later he appeared on a bike, fully kitted out in helmet, gloves and cycling shoes.” 5 Le Petit Palais The Art Deco building used to be home to Nobs’ spectacular nightclub where he would bring international flair of a somewhat different kind to Montreux. “I’d seen psychedelic light shows where the colours merged into each other in San Francisco,” he says. “I wanted the same thing in my club but didn’t know how to go about it properly. So I took three plates and an overhead projector and mixed up blue shampoo, grenadine and peppermint syrup. One time I even put squashed cockroaches between the plates. It looked crazy. People screamed.” Now Le Petit Palais is home to festival workshops at which musicians such as Trombone Shorty will be explaining just what it is they get up to with their instruments. 6 Hostellerie de Caux This restaurant directly above where Nobs lives is where his guests go to
eat when they decide their host deserves a break. The meat fondue (Fondue au Chaudron, CHF44) is exquisite, as is the view over the lake. And right below you, on the lawn by Nobs’ chalets, the artists limber up for their performances. “Paul Simon was late once for a concert because he just had to see the sun setting over the lake from up here,” Nobs reveals. 7 Mercury’s monument A statue by Czech sculptor Irena Sedlecká on the embankment pays homage to one of pop’s greatest stars: Freddie Mercury. The Queen frontman was yet another good friend of Nobs’. “One evening, David Bowie and the members of Queen were having dinner with me. I asked them, ‘Why don’t you go to the studio together?’ Two hours later they were back and they’d recorded Under Pressure.”
8 miles davis hall Miles Davis and Montreux went way back. The Picasso of jazz performed here 10 times, the last time in 1991, just two months before he died. One of the festival’s main venues was named after him in 2007. This year The Miles Davis Hall will play host to soul legend Bobby Womack, New Orleans voodoo funk-blues man Dr John, pop-rock chameleon Lana Del Rey, bossa-nova god Gilberto Gil, new-soul princess Janelle Monáe and many more.
Paul Simon insisted on seeing the sunset from here before taking the stage
The Rolling Stones use 275 to 365 litres a night of propane for their show; KISS, around 230 litres. The difference? The Stones play stadiums
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Get the Gear A Pro’s essentials
KISS, The Rolling Stones, Mötley Crüe… if anyone wants to blow things up on stage, Peter Cappadocia is their man. Here’s how the mayhem gets made
1. Road cases We have our own 14.6 semitruck. An average tour has 10 to 20 road cases on it, most tailor made for the equipment. 2. Pyrodigital Consultants controller Typically in a show, we’d have one controller and 50 to 100 modules laid out around the stage. You put in the program, or the script, and it gives the musical cues for fire shooting.
3. Whirlwind splitter It’s for redirecting cables. There is one cable coming in and six cables coming out. Those cables attach to the firing modules (4) from the board.
4. Pyrodigital Consultants field module Each one of those slots is one channel, and it connects to the controller. If you want number one to go off, you write a program for it. Once you write the script for a show, you download it, and the controller communicates with module.
words: Andreas Tzortzis. photography: mike basher
5. Fire button It’s an awesome feeling. You press that button and the whole arena goes ‘ooh … or ahh… and you’re like, ‘Thank you, thank you that was me.’ The button is all-powerful. 6. CO2 syphon tanks We get them from local compressed gas companies and they weigh about 110kg. They power the CO2 heads that shoot jets of smoke into the air. Those jets have little LED lights at their base, so you can change the colour (at the edges of the photo). 7. Honeywell burner control system 7800 Series This is what controls the pilot light and ignition system for all of our flame effects. This is the brains behind the flame bar.
8. Stage & Effects stadium flame head, or gun We use this at outdoor shows. It creates a column of flame about 25-30m high and 3m in diameter. With The Rolling Stones, we were running three stadium guns. 9. Stage & Effects 2.5m burn bar This is used wherever we need to get a wall of flame. It can shoot up to 3m. It’s powered by the accumulator (cropped out of the picture), which holds the propane gas supply. 10. McMaster-Carr safety switch/dead switch We’re always on the side of the stage and under the stage. You have to be on this switch for all of it to work. When you have your foot on that switch, you press the button. 11. Fire extinguisher We carry several different types: CO2 and dry chemical extinguishers. We use them all the time. Gene Simmons would wipe his face and throw the towel and sometimes it would land right next to the jets, and it would start smouldering. 12. Liquid CO2 tank It holds up to 900 litres, and it creates a fog effect. It works well if you’ve got some moisture in the air. 13. The wispy goatee I dye it using L’Oréal red hair colour, otherwise it’s grey and I look like an evil Santa Claus. 14. CO2 jets The CO2 units are new and made for us and these are the prototype. The LED lights at their base can be changed to a different colour. Their unveiling will be the 30 of them we use on the upcoming KISS tour. Light it up at www.stgfx.com
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Need for speed
TRAINING WITH THE PROS
MARC MÁRQUEZ The Spaniard came second in last year’s Moto2 series and is flying again in 2012. But his speed isn’t down to brawn or the throttle
Out of season Márquez keeps his exercise varied and his loads low to stay strong, lean and in harmony with his bike Monday 7am: “I start each day with a simple breakfast of cereal, yoghurt and fruit.” 8-10am: 40km mountain bike ride 2-4pm: Gym training. Working whole body using free weights and lots of reps. Tuesday 7am: Breakfast. 8-10am: Gym training as above. “Training with my motorbiking brother Alex helps keep me motivated.” 2-4pm: Tennis at the local court with trainer. Wednesday 8am: Breakfast. 9-11am: 40km mountain bike ride 2-4pm: Go-karting with friends. “This is fun and also helps with relaxation.”
Thursday 7am: Breakfast. 8-9.30am: Light jogging. 12-2pm: Swimming. 2-3pm: Massage. This helps promote muscle elasticity. Friday 7am: Breakfast. 8-10am: 40km mountain bike ride. “Cycling is not really like hard work to me as I enjoy it so much.” 1-2pm: Gym training. Working the whole body using free weights with lots of reps. Saturday 8-10am: 40km mountain bike ride 3-5pm: Go-karting. “As well as putting in the training, I try to enjoy my weekend.” Sunday “Day of rest!”
Search for Marc Márquez at www.redbull.com
WORDS: RUTH MORGAN. PHOTOGRAPHY: GOLD & GOOSE/RED BULL CONTENT POOL
No one knows better than 19-year-old Marc Márquez that when you’re in charge of 135kg of metal travelling at 280kph, you need to be in complete control. But bulk isn’t the answer. “Muscle can actually hinder us,” he explains . “You don’t want a lot of muscle in your legs or forearms, as it limits movement. We need flexibility to move with the bike and react. So Biker Marc Márquez training is difficult as you need to have power to control the bike, but you can’t go to the gym and lift big weights. I avoid heavy loads and go for lots of reps, followed by stretching to loosen up. That gives you power but not bulk.” And a desire to go fast won’t make you a winner. “The key to speed is in your head,” says Márquez. “If you go into a race only thinking ‘I must be fast’ and ride aggressively, you’ll end up being slower. Your mind needs to be strong. For example, when I start riding after winter, I’ve spent two months without the bike. My physical condition is better than in the middle of the season, but because my confidence with the bike is lower, I get tired and I’m slower. When you have confidence on the bike you are free, you can ride it the way you want and the speed comes naturally. You need to do a lot of laps to feel that confidence, to get in sync. After a crash some riders struggle to regain their confidence but I’m lucky, I’ve never had a problem with that.”
NEW SEAT IBIZA. PERFECTLY IN TUNE.
SEAT has announced the launch of the new SEAT Ibiza to the Irish market. The new car has been comprehensively refreshed both inside and out, improved standard equipment on the Ibiza, with the Special Edition model featuring new 15in alloy wheels, fog lights, Bluetooth functionality for telephone, USB and aux connections and a multifunction steering wheel. Pricing starts from €13,800. To celebrate the new SEAT Ibiza arrival, SEAT Ireland is rewarding motorists who test drive the new Ibiza with 50 free music downloads from the Universal Music catalogue. To find out more or to take a test drive visit www.seat.ie 2
CUBA CYCLE CHALLENGE
The Alzheimer Society of Ireland Cuba Cycle Challenge takes place from November 12-20, 2012. Now in its fourth year, this ride raises much needed funds for people living with dementia. This trip allows cyclists to experience the beautiful views and sites of Cuba. Other highlights include a walking tour of Trinidad with a Caribbean beach lunch stop and a hike to Caburní Falls deep in the Escambray Mountains.
The cycling terrain has some steep hills, covering 260km over four days. In the evenings cyclists can relax in good-quality hotels. Training notes are provided to ensure participants are prepared and only a moderate level of fitness is required.
To sign up call Claire on 01-207-3833 or email: email@example.com. 3
CONTIGO ARIA 600.
Those boys and girls at Contigo have been busy adding new features to their impressive range of Travel mugs and Water bottles. The sleek mug features AUTOSEAL® technology for 100 per cent spill- and leak-proof performance and vacuum insulation to keep your beverages hot for up to seven hours or cold for 20 hours. The AUTOSEAL® Aria Stainless Steel Travel Mug also features a button lock to prevent accidental pressing of the button while in transit, keeping other items safe when carrying inside bags. Visit www.mycontigo.com for more information. Or take up the Red Bulletin offer of free shipping on all orders through www.bpafree.ie just use code REDBULL at check out. Contigo Products are available at Great Outdoors, Dublin & Galway, Matthews of Cork and now Elvery's Dundrum. 4
FOUR PROVINCES CYCLE FOR CHARITY!
If you like to cycle here is a challenge worth a second glance. Organised by development aid charity Bóthar, the Four Provinces Cycle will be based in Athlone and will run for two days this coming July – Saturday and Sunday 14th and 15th respectively. The cycle itself will take the group of riders through Connaught and Ulster on Saturday 14th (90 miles) and through Leinster and Munster on Sunday 15th (65 Miles). A full road crew will attend so a professional and enjoyable event is guaranteed to all participants. While on the cycle weekend, all food, accommodation, lunches and pitstops will be provided, with a gala dinner taking place on the Saturday night. To sign up for the event or to get more information, simply contact Bóthar on 071 9120100 or email the charity at firstname.lastname@example.org
A chance meeting in County Kildare led to Jack Colleran signing a record deal with SQE, a label in California
the sounds of 2012 #3
The meteoric rise of 19-year-old Jack Colleran – from making bedroom beats in Newbridge, County Kildare, to becoming a celebrated electro artist Mmoths
The debut EP from Mmoths was a blissful mix of punchy loops and dreamy vocals
Jack Colleran, aka Mmoths, doesn’t hang about. A year ago he was preparing for his final exams at school in Ireland, today he’s one of the most talked about young music producers. In the past 12 months he’s released an acclaimed EP, signed a deal with US label SQE, played a string of big festival shows and received praise from such luminaries as Flying Lotus. It all started when Colleran got his hands on a trial copy of Abelton Live during the harsh winter of 2010. With sub-zero temperatures all over Ireland, Colleran became engrossed in making music. Fast forward to 2012 and his progress continues. After a tour of the UK in June with fellow Irish crew
Solar Bears, will head to the US for a slew of dates before some European festival appearances and the release of EP number two. Not bad for a 19-year-old. Mmoths’ music is instantly recognisable, typified by layers of delicate textures that create a dramatic, other-worldly ambience. Since he started piano lessons at the age of five, music has played a central role in his life. “Growing up, some of my friends played football, painted or whatever, but my only hobby was music,” he explains. “I remember being asked to list my pastimes in school and I just wrote down ‘listening to music’. My interest in writing developed from that. Learning
the piano as a kid helped, it gives you a feel for melody and structure. But I also remember thinking, ‘I’m not interested in learning something by some dead guy, I want to make my own.’ One day, I started messing with some production software and I was hooked. The big difference between software and a keyboard is the possibilities. I was blown away by the variety of sounds you can create.” Life as a modern recording artist has its challenges: for some it’s an emotional rollercoaster of peaks and troughs. But despite the success of his debut EP, Colleran is in no mood to rest on his laurels. “I think, in order to develop, you
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have to be critical of your work. I look back on the first EP and know I can do much better,” he says. “The next release won’t be as uplifting as the previous EP. It’ll have some darker moments. “These days I write on the move. I couldn’t keep a diary, but I just try to capture my emotions in music. Sometimes I work while waiting in airports, back-stage or wherever. I don’t write lyrics, I can’t do it! But it’s cool when you can add a vocal to a track, when someone interprets your music. I think Sarah P’s vocal on Heart worked well. I suppose I like to write tracks that the listener can interpret how they like. I’ve never liked the idea of forcing an agenda through music.” With success comes more demand to tour, something Colleran never envisaged when he first started dabbling at home. “It’s weird,” he says. “I never imagined performing my music live. I wanted to write tracks that people could listen to at home, in their own time. Of course, it had to happen eventually and I did my first show at Castlepalooza Festival [in Tullamore, Ireland]. I didn’t even do a sound-check; I really hadn’t a clue what to do. Still, you learn quick and I’m a lot more comfortable playing live now. I want to expand the show. It’s early days, but there are basic plans in place to work with other musicians in a live setting.” Colleran may have a world of electro at his feet, but it hasn’t gone to his head. Modest and selfdeprecating, he values respect and credibility over financial riches and back-slapping. “I’ve zero interest in celebrity culture,” he says. “I want to keep things real, make my music and not turn into some self-important dickhead. I’m not really interested in the commercial side either. Music is what I love to do and if people like it, that’s amazing. I’ve never had much money and it’s not what I’m about. I’m more interested in
learning, meeting people and creating something fresh and original. I’m also a little hesitant with remixing. You really have to respect what someone else has created. I’ve started mixes where I’ve removed the vocal and it ends up sounding nothing like the original, going back again and again, maybe 10 or 15 times. “To be told by artists you love that they like what you’re doing is a great feeling, but no more so than a regular person at a gig. The nod from Flying Lotus came out of the blue, I was genuinely blown away. It’s nice to know people appreciate what you’re doing. But I don’t want to overthink things, just focus on what’s happening now.” While Colleran would have been happy to sign to an indie label, the opportunity to work with California’s SQE was a no-brainer. The LA label was quick to recognise his talents and didn’t waste time getting him on board. “The story of how I got hooked up with SQE is quite out there,” explains Colleran. “I met a guy called Robbie outside a club in Newbridge about a year ago. He ended up sending a link with some of my tracks to his brother, whose girlfriend then played it to Seb Webber from XL Recordings at a party. A phone call follows, then I’m on a flight to California and before I know it a deal’s sorted. Within a week I was playing the Warehouse Project in Manchester with people like Aphex Twin.” Ireland isn’t exactly known as a hotbed for pioneering electronic music, but that could be about to change. “The Irish scene is buzzing at the moment,” enthuses Colleran. “Everyone has their own distinct sound; they’re all making great original music and getting some recognition. SertOne, Monto, Solar Bears, the list goes on and on… There are no jobs right now, so everyone’s just been doing their own thing with music, because there’s not really a lot else to do.”
WORDS: EAMONN SEOIGE. PHOTOGRAPHY: JAMIE DELANEY, BRIAN VU.
“I want to keep things real, make my music and not turn into some self-important dickhead!”
SoundCloud has helped Mmoths gain in popularity
Need to know THE LINE-UP Jack Colleran – Software-based music sequencers and synths DISCOGRAPHY Mmoths EP (2011)
The story so far To say the last year has been a whirlwind for Jack Colleran is a colossal understatement. The journey from school exams to acclaimed recording artist in 12 months is mindboggling. But his hypnotic music is certainly a little special, brimming with an unaffected soulful invention. Colleran has already won the respect of more established contemporaries, most notably Flying Lotus. “It’s been insane,” says Colleran. “Everything’s happened so fast, there hasn’t really been time to think, no time to freak out. To sign a deal so soon, so young, was mind-blowing. It’s been great; the guys at SQE are really cool people. I’m doing what I love doing, it’s the best feeling in the world.” Growing up in Newbridge, County Kildare, Colleran once had his heart set on a very different career path. “I wanted to become an architect and create lasting, functional art,” he says. “But I wasn’t good enough at
school. I suppose I’m attracted to the creative process. School really wasn’t my thing; I reckon I’ve learned more in these past few months than years spent in a classroom. Now I’m going to concentrate on making music and see where that takes me.” After experimenting with Ableton software, Colleran uploaded a couple of tracks to SoundCloud and word of his music spread across the web. “I became totally immersed, spending hours and hours writing and experimenting with sounds,” he says. “It’s like a blank canvas; there aren’t any limitations to the sounds you can create.” And what about that name? “My mate was going through a rough patch with his ‘mott’ [Irish slang for ‘girl’] around the same time my project was taking shape. I needed a name and just thought, ‘That’ll do.’” www.mmothsmusic.com
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Nightlife Whatever gets you through the night
Night golf DO YOU NEED GLOW-IN-THE-DARK BALLS? Yes. Others have battery-powered lights. The fairways are illuminated by searchlights or floodlights – and you also need to take your sunglasses off. WHERE DID IT ALL START? In Florida and California. There are a number of lit-up par-3 holes there. GOLF SANCTUARY The Nick Faldo Course at the Emirates Golf Club in Dubai is lit by 500 searchlights and so can be enjoyed at pleasant ambient evening temperatures. Only the locals could cope with 18 holes during the day when the mercury can rise over 40°C.
Kraftwerk in our heads Hot Chip, that band of indie-dance mavericks who make masterly pop music loved by festival crowds, dance clubs and critics, are back with their fifth – and best – album With their large specs and colourful sweaters, Hot Chip are the band who made it cool to dress like an IT assistant, while their big-hearted electro tunes proved that nerds can throw some sweet moves on the dancefloor. Best of all, one of their songs was used in a recent episode of The Simpsons. Joe Goddard, one of the quintet's two main songwriters, talks new record In Our Heads and his own chart-topping form. You take risks on In Our Heads – some songs head off in all sorts of directions, but still sound very pop. We made it in an excellent little studio in London with a producer who makes making music fun. He has a mixing desk Kraftwerk used to make their records in Dusseldorf. He spent a lot of time and money restoring it and it’s beautiful.
The first single, Flutes, doesn’t actually contain any flute, does it? Well, there is a tiny sample of flutes playing in the background at the beginning, but it doesn’t feature massively. That track does have a sample of Buddhist monks chanting a mantra that’s 2,000 years old, though. Were you surprised when your soulful solo tune, Gabriel, reached number one in South Africa in March? I honestly don’t know how it happened. I think house music is big there, and it started getting played on the radio, but I haven’t heard the whole story.
In our heads is out now. More details and samples at: www.hotchip.co.uk
the night golf Series concludes in august: www.charitypoolgermany.de
“Never be the first to arrive at a party or the last to go home. And never, ever be both” David Brown, US film producer (1916-2010)
phoTography: sTeVe gulliCK, manfred Burger, magnum CluB (4), foTosTudio eisenhuT & mayer
“The golden front door promises a splendid night out” The Magnum Club is a party temple in the heart of Hong Kong. Patrons enjoy live performances, a luxurious atmosphere and crystals in the toilet seats
MagnuM CLuB 3 & 4/f, Silver fortune Plaza, 1 Wellington Street, Central, hong Kong www.magnumclub.com.hk
We love running a club in this town because… We’ve brought a new concept to Hong Kong – not only a glamorous clubbing space, but also a perfect show platform for live performances. The first thing that you see when you enter the club is… Our magnificent and noble décor! The golden front door entrance promises a splendid night out! Our interior will wow you with… More than 100,000 crystal inlaid bubble chandeliers, crystal staircase and three-sided LED walls with laser spotlight effects. To get past the bouncer you should… Be well dressed and good-looking. A friendly manner would help a lot. Your regular customers are… Mainly residents and professionals living and working in the centre of Hong Kong, such as lawyers, accountants and bankers. Your toilets are worth a mention… Because we have 10 ravishing gold and silver flashing toilet seats inlaid with over 10,000 crystals. When you get tired of dancing… You can find rest on our two-sided terraces. We put in a colour-shifting lighted fountain, which helps make an elegant oasis within the city amid its hustle and bustle. Interview with Rocky Wong, owner
This month, award-winning cocktail crafter Josh Harris, the man behind San Francisco’s Bon Vivants, gets all tropical on our behinds. Blending high-quality rum with the Sicillian liqueur Averna and an easy-to-make-at-home coffee tincture, the black daquiri is a direct line to Cuba: manna from Havana. Says Harris: “It’s Caribbean, but classy Caribbean." IngredIentS Pampero aniversario rum, averna, limes, coffee tincture* MeaSureS 45ml Pampero aniversario 15ml averna 30ml fresh lime juice 30ml basic molasses (2 parts sugar: 1 part water) 6-8 drops coffee tincture* glass: Coupe trimmings: orange zest
Method Put the ingredients in a cocktail shaker, add ice, pour twice through a sieve into a Coupe cocktail glass and decorate with orange zest *Coffee tincture: fill a sealable jar with coffee beans and cover with some high-proof alcohol (eg Wild turkey 101). Leave for a week, shaking regularly, then strain the liquid. use an eye dropper, or similar, for the drops
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Leonard Cohen Songs of Love and hate This album was always on my parents’ record-player; the songs are etched in my mind. Leonard Cohen played a concert in Iceland in 1984. I was only seven, but begged my parents to take me with them. I couldn’t understand the lyrics back then, but I could understand the magic of the music. I still listen to the album a lot now, preferably my parents’ old vinyl.
“Like actually fly, not with an aeroplane”
Paul Auster Mr. Vertigo I never read a book twice, but I devoured this one five times. The story is fascinating: a boy meets a strange man who promises to teach him how to fly. Like actually fly, not with an aeroplane. The way it’s described comes across as so incredibly real. You end up believing it could really work. It’s an amazing book and perfect for a journey because it takes you on one itself.
Sigur Rós Their haunting music is perfect for a night-time train journey, but what inspires the Icelanders when they're on the road? Their music is as rambling and spherical as the landscape in their Icelandic homeland. They play their guitars with violin bows and for some of their songs have created their own language: Hopelandic, a mixture of Icelandic and tonal singing. Sigur Rós’s new album, Valtari, could not be more appropriately named. Georg Hólm, the group's bassist: “It means steamroller. Steamrollers are heavy and slow, just like our songs.” Indeed, Sigur Rós’s music is not for people with a short attention span. It’s a soundtrack for wandering minds and walks in the snow. On Valtari, gentle strings, meandering piano and the fragile voice of lead singer Jónsi make a sound both comfortingly warm and probingly epic. The quartet will present the album live this summer at festivals including Lollapalooza (Chicago, USA, August 5), Rock en Seine (Saint-Cloud, France, August 24) and Electric Picnic (County Laois, Ireland, August 31). Here Hólm tells us what boils his creative kettle during downtime on the tour bus.
VALERIE AND HER WEEK OF WONDERS When I discovered this Czech vampire film from the 1970s on video at my sister-in-law’s place, I watched it three times in a row. I couldn’t believe my eyes. The plot, images, colours and music were all strange, but also surreally beautiful. I got the film on DVD, and every time I watch it, I discover some new strange aspect to it. It's a forgotten masterpiece.
Tokyo: Ramen At dawn, after the tuna comes under the hammer at Tsukiji, the world’s largest fish market, noodle soup goes on the boil MORNINGS AT THE MARKET People start cooking ramen from 4am in the little shops around the Tsukiji fish market in central Tokyo. Not only do you get the freshest sushi at Tsukiji, the best noodle soup is there too. Ramen connoisseurs either take their place in the longest queues, or look for where the workers, their clothes stained with fish blood, are slurping their ramen the loudest. In Japan, to eat noisily is to mark appreciation of the food.
Text: words: Klaus kamolz. photography: emi, fotostudio Eisenhut & Mayer
national treasure There are 200,000 ramen-ya, or standard noodle soup restaurants, in Japan, and more than 5,000 in Tokyo alone. The basic recipe is wheat noodles, broth (usually meaty, but it could be fish), sliced chicken, pork or beef, with miso or soy sauce for the salty kick. Other ingredients can be included; regional variations abound. You might get eggs, tuna, negi (a leek-like onion), nori seaweed, shitake mushrooms, bamboo shoots or pak choi.
BOWL o' Ramen Recommeding one ramen joint over another is a difficult task, but the culture of noodle soup, has long been a big part of the Japanese national discussion, debated passionately on the printed page and on TV. Now, of course, the chat also takes place online. Useful English-language sites are: www.ramentokyo.com www.goramen.com www.ramenadventures.com.
'that looks souper!' The discerning visitor to Japan knows that there is very little English spoken or seen there, but this does not make ordering ramen difficult. You just look around the noodle counter and point to one of the soups someone else is eating. A good bowlful from a central ramen-ya will cost about â‚Ź6.
From Counter to SCREEN Ramen plays a leading role in Tampopo (1985), a Japanese film championed as one of world cinema's best-ever on the dual topics of sex and food. The Ramen Girl (2008) is a US film in which Britanny Murphy, stuck in Tokyo, learns to cook the titular dish. Ace Korean monster movie The Host (2006) features a Seoul family who run a ramen stall.
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World in Action July & August
Sport 19-22.07.2012, ROYAL LYTHAM & ST ANNES GOLF CLUB, UK
The Open Championship It started in 1856 and has been roaming the land for 156 years: the British Open is the oldest golf tournament still played today. A few things have changed over the years, most notably the prize money on offer, which has gone from nothing at all (18561862) to £6 (1863), and the current £5m. Darren Clarke, 43, from Northern Ireland, comes to Lancashire as title defender of the famous Claret Jug Trophy. Having won more than 20 tournaments around the world, last year marked his first victory at a major.
29.07.2012, LAGUNA SECA RACEWAY, USA
Red Bull US Grand Prix one of the biggest events on the MotoGP 3 As calendar, the Red Bull US Grand Prix is well known in the world of motorcycling for its full-on action all the way round the famous 2.2-mile circuit near Monterey. A famous feature here at the Laguna Seca Raceway is ‘The Corkscrew’. “You feel like you are blasting off into space,” says Ducati rider Nicky Hayden of the curve. The Corkscrew surprises riders as it is hidden from view behind a crest after a long straight which ensures riders go into it at high speeds. 5
Sally Fitzgibbons defends her title in California
The grand final: at the last stop of the Women’s World Tour, it comes down to a title showdown between Australians Stephanie Gilmore (four times world champion) and Sally Fitzgibbons (runner up 2010 and 2011). But there’s much more than just surfing here: last year more than 500,000 spectators turned up to enjoy a full-on festival featuring world-class surfing, BMX, skateboarding, music and fashion.
WRC Rally Finland
Red Bull Cliff Diving World Series
You won’t get higher speeds or wider jumps anywhere in the rally world: the 1000 Lakes Rally, staged since 1951, holds the record for the widest recorded jump (in 2003 Estonian Markko Märtin set down at 57m) and the highest average speed (Finn Marcus Grönholm reached 122.86kph in 2005). The Finns are famous for mercilessly exploiting their home advantage on the difficult gravel roads and have claimed victory in all but three rallies over the past 20 years. Those three wins were claimed by Markko Märtin in 2003 and French mega star Sébastien Loeb in 2008 and 2011.
ASP Women’s World Tour Nike US Open
02-04.08.2012, JYVÄSKYLÄ, FINLAND
20-21.07.2012, VILA FRANCA, PORTUGAL
The third stop on the Red Bull Cliff Diving World Series is serving up a first: in the Azores, the divers will be launching themselves from an actual cliff rather than a platform. Competitors like two-time Red Bull Cliff Diving World Series champion Gary Hunt and former world champion Artem Silchenko will dive from the volcanic island Ilheu Vila Franca do Campo into the crystal-clear waters of the Atlantic from 27m.
30.07-05.08.2012, HUNTINGTON BEACH, CALIFORNIA, USA
Sébastien Loeb takes off in Finland
PHOTOGRAPHY: MARCELO MARAGNI/RED BULL CONTENT POOL, GETTY IMAGES (5)
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Janelle Monáe will perform at Slottsfjell in Norway
14-27.07.2012 DAECHEON BEACH, BORYEONG, SOUTH KOREA
Boryeong Mud Festival
19-21.07.2012, TØNSBERG, NORWAY
Tønsberg is a small, sleepy harbour town just south of Oslo, with a forested hill in its centre. And that hill is crowned with an imposing Viking tower, which is taken over by the organisers of ‘Slottsfjellfestivalen’, as this open-air event is known in Norwegian. A pathway winds through the Narnia-style enchanted forest to the fort, and at the path’s edge there are four stages of magical aural refreshment, from synth-pop heroes New Order, retro rockers Wolfmother, new funk queen Janelle Monáe as well as Chase & Status, the drum ’n’ bass gods of thunder.
A mud festival! And not just any mud festival, but the biggest in the world, Boryeong lures 1.5 million bog-loving visitors to South Korea each year. They wallow, slide and grapple in the grey sludge which is taken from mud flats and spread out on the beach. This decadent festival is a global summit meeting for anyone incapable of passing a puddle without secretly wanting to jump in it.
Culture 06-14.07.2012, PAMPLONA, SPAIN
The running of the bulls The tradition stretches back to the late 16th century and fearless men in search of a thrill have been in its thrall ever since: as part of the San Fermín Festival, every morning a herd of bulls stampede through the city; foolhardy bull runners drive them on with red scarves and sashes, dashing in between, in front of and sometimes ending up under them. Their goal is to run as close as possible in front of the animals without being rammed or skewered. If you don’t fancy experiencing it live, Ernest Hemingway raves about the festival in his novel The Sun Also Rises.
03-05.08.2012, CHICAGO, USA
Alternative rock hero Perry Farrell has been making dreams come true for more than 20 years by bringing stars together on his Lollapalooza stage. This year offers the colourful combo of Red Hot Chili Peppers, The Black Keys, Black Sabbath and Jack White. And because Farrell can sniff out up-andcoming talent like no other, he’s also invited the hottest rising stars to Chicago: Tune-Yards, SBTRKT and LP.
10 7 Muddy paradise on Boryeong beach, South Korea 05-21.07.2012, MONTEGO BAY, JAMAICA
Since 1993 Sumfest, on Jamaica’s north-west coast, has been the country’s largest music festival, and with 55,000 revellers in attendance each year it’s also the largest reggae event in the world. That said, the festival has opened up musically over the years: last year even pop princess Nicki Minaj was on the bill. Thursdays are the big dancehall night featuring local heroes like Bounty Killer and Lady Saw, and The Red Bull Music Academy’s very own stage, broadcasting shows live at www.redbullmusicacademyradio.com.
Jack White brings his blues-rock to Lollapalooza
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Save the Date
July & August AUGUST 18-19
Back to bass
The cliff divers are heading to Ireland AUGUST 3-4
Rock and rolls
For a weekend each year since 2009, the Tramlines Festival has taken over the city of Sheffield, playing host to all manner of musicians and more than 100,000 fans. With over 70 venues citywide, including the Folk Forest, Busker Bus and a gypsy-punk-filled city farm, there’s a surprise around every corner and every show is free. This year Roots Manuva, We Are Scientists, Toddla T (the local boy whose dance night at last year’s Tramlines attracted four-hour queues) and Beth Jeans Houghton are among those joining the street party, along with Red Bull Studios Live, a mobile studio recording a choice bunch of performances. www.tramlines.org.uk; www.redbullstudios.com
Serpent’s Lair is the most intriguingly named stop in the Red Bull Cliff Diving World Series, and the reality doesn’t disappoint. Making its debut, and marking the mid-point of the 2012 contest, the world’s best cliff divers will sail to Inis Mór, Ireland, the largest of the Aran Islands and a place often referred to as The End of The World. There they will find the Serpent’s Lair, or Poll na Peist in Gaelic, an almost perfectly rectangular blowhole formed in the rock by the churning Atlantic. A rocky ledge 27m above the natural pool will serve as a start point as the cliff divers, including defending champion Gary Hunt from Southampton, twist, flip and somersault into the chilly waters, each hoping to emerge victorious.
UNTIL SEPTEMBER 30
Kart smarts Red Bull Kart Fight is back, challenging you to come and have a go if you think you’re fast enough. At more than 30 established kart tracks across the UK budding karters are being offered the chance show their mettle and perhaps qualify for the national final on October 27, where winners will go on to the world final on December 9. Register and find participating tracks at: www.redbullkartfight.co.uk
Shut up and drive at Red Bull Kart Fight
Wake up Lyme Regis, on England’s south coast, will get a wake-up call this month as 16 of Europe’s best wakeboarders arrive to do battle at Red Bull Harbour Reach. The competition is fought out on a bespoke harbour wakepark built to include the town’s listed harbour wall, the biggest obstacle in any UK event of this kind. The Red Bull Matadors air display team will add to the spectacle with a half-time show. www.redbull.co.uk Red Bull Harbour Reach calls in to Lyme Regis
WORDS: RUTH MORGAN, PHOTOGRAPHY: RAY DEMSKI/RED BULL CONTENT POOL, SIM BRADLEY, HUGO SIVA/RED BULL CONTENT POOL
Before London’s Notting Hill carnival kicks off next month, it’s Nottingham’s turn to run with the Caribbean theme, with a colourful parade lined with food stalls and live soca, samba and reggae sounds, at its own city carnival. Before heading to its long-time Notting Hill home, the Red Bull Music Academy Sound System stage will get the party started on Saturday with names such as Redlight, Norman Jay and The Heatwave on the bill. www.redbull.co.uk/carnival
illustration: dietmar kainrath
K a i n r at h
good introductory line is absolutely essential. Why? If you’ve got as far as here, the third sentence in this piece, then it proves that theory. In literature and in life you need to draw people in, to snare and lure them in with the promise of something interesting to come. (Read on and you will become an international sex god.) Writing is similar to meeting people. You need an introduction. And, in words or in person, you make a first impression whether you want to or not. So it makes sense that this first impression is a good one. Think about this; it’s a mistake not to. So there’s pressure to make any introduction work. Because of this, the most difficult thing is knowing exactly how to begin. The best advice for a writer is simply to start writing. Just write it and you can throw the beginning away later. Writer’s block is only a muddled counsel of perfection when people postpone beginning while waiting for a good idea to come along. They are mostly still waiting. Ernest Hemingway understood the strange mechanics of this process. He believed that you had not finished a day’s work unless it was absolutely clear where you were going to start tomorrow. And the start to Hemingway’s writing day was standing upright at a lectern, a glass of something that was not water to hand, and just getting on with it. Until it was time to go fishing. Initiating a social introduction is as competitive and harrowing an activity as writing, if not as solitary. In the early days of Beatlemania, George Harrison became fatigued with the ritual politesse required at receptions and decided to greet people by saying “Hello! How far can you spit?” A bold gambit. I had a friend who, entirely without irony, used to approach people at parties and say, “Do you know, I have just had a test drive in a Honda?” I have been
In the beginning… Our columnist Stephen Bayley delves in to literature to explore the fine art of the perfect start told, and probably do not doubt, that in the matter of romantic love, you cannot do better than the simple affirmative question: “Has anybody ever told you how very, very attractive you are?” That leads you on nicely. Of course, literature is supreme in the matter of fine introductions. The novelist Anthony Burgess was so beguiled by the challenge of a winning first line that he contrived what, after years of speculation and research, he believed to be the ultimate and unimprovable introduction. Earthly Powers begins: “It was the afternoon of my eighty-first birthday and I was in bed with my catamite when Ali knocked to say the Archbishop wanted to see me.” George Orwell did well too. What a chilling vision the first line of 1984 conjures for us: “It was a bright, cold day in April and the clocks were striking thirteen.” Boinnnnng. Sometimes a great first line can summarise the entire mood of a whole book. Kafka begins The Trial with a sentence that suggests the state
of gloomy paranoid anxiety to which he forever gave his name: “Someone must have slandered Josef K, for one morning, without having done anything truly wrong, he was arrested”. Or if you ever wanted to understand the nihilist amorality of the Existentialist imagination, you need only read a single line of Albert Camus’ L’Etranger. It’s the first one: “Mother died today, or yesterday maybe, I don’t know.” And when I eventually write my own novel, I know exactly how it will begin. “Take your tongue out of my ear, the Prime Minister hissed.” That’s not beautiful prose, but you would surely want to know what follows. One day I will decide. Of course, the last words of any book have an equivalent force to the first, but their purpose is rather different. The last words provide a summary rather than an invitation. As ever, Hemingway was masterful. For resonant, bleak economy, the outro of A Farewell to Arms cannot, surely, be bettered: “After a while I went out and left the hospital and walked back to the hotel in the rain.” Or what about Voltaire’s ending to Candide? Critics argue what he meant by “il faut cultiver notre jardin”, but I think in writing ‘we must look after our own garden’ it’s absolutely clear that the great philosopher-wit decided that the purpose of it all was to mind one’s own business in pleasurable circumstances. That’s his philosophy in five simple words. Or Gertrude Stein’s deathbed words? Someone, seeking a resolution of life’s mysteries from a person so wise, asked the forbidding Stein: “Gertrude, what’s the answer?” Wise old Gertie, struggling for breath, replied: “What the hell was the question?” Of course, that should have been asked in the first place. Stephen Bayley is an award-winning writer and a former director of the Design Museum in London
THE RED BULLETIN United Kingdom: The Red Bulletin is published by Red Bulletin GmbH Editor-in-Chief Robert Sperl Deputy Editor-in-Chief Alexander Macheck General Managers Alexander Koppel, Rudolf Theierl Publisher Franz Renkin Executive Editor Anthony Rowlinson Associate Editor Paul Wilson Contributing Editors Andreas Tzortzis, Stefan Wagner Chief Sub-editor Nancy James Deputy Chief Sub-editor Joe Curran Production Editor Marion Wildmann Chief Photo Editor Fritz Schuster Creative Photo Director Susie Forman Deputy Photo Editors Ellen Haas, Catherine Shaw, Rudolf Übelhör Creative Director Erik Turek Art Director Kasimir Reimann Design Patrick Anthofer, Martina de Carvalho-Hutter, Silvia Druml, Miles English, Kevin Goll, Carita Najewitz, Esther Straganz Staff Writers Ulrich Corazza, Werner Jessner, Ruth Morgan, Florian Obkircher, Arkadiusz Piatek, Andreas Rottenschlager Corporate Publishing Boro Petric (head), Christoph Rietner, Nadja Zele (chief-editors); Dominik Uhl (art director); Markus Kucera (photo director); Lisa Blazek (editor); Christian Graf-Simpson, Daniel Kudernatsch (iPad) Head of Production Michael Bergmeister Production Wolfgang Stecher (mgr), Walter Omar Sádaba Repro Managers Clemens Ragotzky (head), Karsten Lehmann, Josef Mühlbacher Finance Siegmar Hofstetter, Simone Mihalits Marketing & Country Management Barbara Kaiser (head), Stefan Ebner, Elisabeth Salcher, Lukas Scharmbacher, Peter Schiffer, Julia Schweikhardt Advertising enquiries Deirdre Hughes +35 (0) 3 86 2488504. The Red Bulletin is A product of the published in Austria, France, Germany, Ireland, Kuwait, Mexico, New Zealand, South Africa, Switzerland, the UK and the USA. Website www.redbulletin.com. Head office: Red Bulletin GmbH, Am Brunnen 1, A-5330 Fuschl am See, FN 287869m, ATU63087028. UK office: 155-171 Tooley Street, London SE1 2JP, +44 (0) 20 3117 2100. Austrian office: Heinrich-CollinStrasse 1, A-1140 Vienna, +43 (1) 90221 28800.The Red Bulletin (Ireland): Susie Dardis, Richmond Marketing, 1st Floor Harmony Court, Harmony Row, Dublin 2, Ireland +35 386 8277993. Printed by Prinovis Liverpool Ltd, www.prinovis.com Write to us: email email@example.com
THE NEXT ISSUE OF THE RED BULLETIN IS OUT ON AUGUST 5, 7, 17 98
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THE RED BULLETIN Beyond the ordinary – everywhere on our planet
WO R L D WIDE
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