One Of These Days Festival – First announcement


8th + 9th December 2012
Winter Gardens, Blackpool
www.oneofthesedaysfestival.com

One Of These Days will capture the essence of Field Day, Oya Festival, Melt!, Kendal Calling, Glastonbury Dance Village, Electric Elephant, End of The Road, DFA Records, SWN Festival, The Warehouse Project, Now Wave, Free Rotation, Eden Sessions, Fiber Festival, and Shambala to create a truly unique experience in the suitably elaborate and legendary Blackpool Winter Gardens, in the shadow of the Blackpool Tower. One other major international festival’s participation is yet to be announced.

One Of These Days will be two days like no other in the international festival calendar. Never have so many of the world’s best events come together to create a one-off spectacular and the look and feel of each event will be distilled and brought to Blackpool and allowed to explode aurally and visually into the many rooms of the Winter Gardens. Each festival will bring their unique ethos and style to their own individually designed space at the legendary multi-venue indoor complex, curating a line-up that reflects their own celebrated events. From the spectacular Cubehenge light installation of Glastonbury to the indoor forests of End of the Road and the Croatian beaches of Electric Elephant, each festival will bring a taste of the place they call home to Blackpool.

From the big stage draws of Melt! Festival and Eden Sessions to the electronic innovation of The Warehouse Project, Glastonbury Dance Village and DFA and the folk inclinations of End of the Road and SWN Festival, you’re sure to find plenty to explore. With over 150 bands, artists and DJs, not to mention interactive art and film installations, an emerging talent strand and our exclusive Winter Market, One Of These Days promises to end the year in spectacular fashion.

One of These Days will help kick start the cultural redevelopment of Blackpool, it aims to bring this world first event to the seaside town and utilise Blackpool’s existing infrastructure of beautiful Victorian theatres and bars that stretch the coastline.

“We were going around the world to many different festivals seeing really unique ways of doing things. We decided to invite these wonderful festivals to the party. Our vision is to have one site where each space within it is filled by a micro-version of each festival, not just musically, but visually – capturing the essence of each festival. We aimed high and asked the festivals we love to come to Blackpool. They said yes…”
– Ruth Daniel, Promoter, One Of These Days

Weekend tickets from £59 now at www.ticketline.co.uk 0161 832 1111

Buy tickets or register for line-up info here: www.oneofthesedaysfestival.com

Jack The Ripper’s London 2012

You’ve seen the films, walked the tours and heard the rumours – now, live the experience. Jack the Ripper’s London is a promenade, interactive recreation of a Whitechapel street, above and beyond conventional theatre. Perfect for adults and children (11+) alike, allow our actors to transport you to the streets of London, 1888 in a specially converted tunnel. You will follow the story of the last victim, Mary Kelly, and her turbulent relationship with her boyfriend. From market place to music hall, pub to pavement, meet the vigilantes and police, share a drink with the colourful characters of the East End and maybe…just maybe…follow the footsteps of the illusive and infamous Jack the Ripper.

Contained within an original 19th Century archway below the rumble of London Bridge trains, enjoy the songs of Victorian London and the dances of by-gone Music Halls. All this with just a dash of local knowledge and a morsel of mystery, we invite you to learn, feel and experience Jack the Ripper’s London.

Number 10, Bermondsey Street *To be kept secret* The show begins as a “tour”..

This unique and new arts space is the perfect location to re-visit the smoggy streets of Victorian London. With original exposed brickwork and a licensed bar, this labyrinth of tunnels hides a surprise around every corner. Containing our very own Ten Bells Public House and market street, the lofty tunnels and complex passageways lend themselves to immersing the audience members completely in the world of Jack the Ripper’s London.

Educational Packages

Crow Theatre have designed Jack the Ripper’s London around factual events from 1888; more than telling the story of Jack the Ripper, the piece is an opportunity to bring our cultural heritage to life and experience history. We are offering participation opportunities for local school children and have developed appropriate tasks for school trip groups and younger members of the audience. These stimulate learning and encourage them to engage with the set, the cast and the experience as a whole, discovering secrets of the past to help them complete their worksheets.

Crow Theatre have created a show that crosses generations and will entertain and inform all ages from 11 upwards. Jack the Ripper’s London is an educational tool for schools and youth groups, including National Curriculum subjects to support academic learning, whilst at the same time engaging and inspiring.

Crow Theatre

Based in South London and fully connected to our local community, Crow create interactive theatre events, run workshops and provide affordable tailor-made packages for businesses and community organisations.

As a non-profit organisation, our priority is to encourage the whole community to participate in the Arts and change the way we experience theatre.

Director, Natasha Campbell originally trained as an actress. She started developing her own work locally in South London in 2008 in non-traditional spaces and immersive format, in order to reach new audiences. With her three shows with Crow she has explored how the audience experience theatre and pushed the boundaries of what theatre can be.

She recently completed the Directors Traineeship with StoneCrabs Theatre and is excited about directing Jack the Ripper’s London, as much as she is about developing it with school children.

Supported by Producer Berte Watkins, a young producer at the BAC, Old Vic Tunnels and Wilton’s Music Hall and ex-Hollyoaks actor, Paul Leyshon, Crow Theatre are fast becoming one of South London’s leading modern theatre companies.

www.crowtheatre.co.uk

Book Tickets now only £12

Tickets can be booked in advance at http://www.seetickets.com/ Customers not holding tickets can call on the day to check availability and/or arrive 15 minutes early to purchase from the tour guide.

Performances of Jack The Ripper’s London will take place on:

Thursday 19th July – 12pm/3pm/8pm

Friday 20th July – 12pm/3pm/8pm

Saturday 21st July – 12pm/3pm/8pm

Sunday 22nd July – 12pm/3pm

Wednesday 25th July – 12pm/3pm

Thursday 26th – 12pm/3pm/8pm

Friday 27th July – 12pm/3pm

Saturday 28th July – 12pm/3pm/8pm

Sunday 29th July – 12pm/3pm

Wednesday 1st August – 12pm/3pm/8pm

Thursday 2nd August – 12pm/3pm/8pm

Friday 3rd August – 12pm/3pm/8pm

Saturday 4th August – 12pm/3pm/8pm

Sunday 5th August – 12pm/3pm

Meeting Point; Exit London Bridge Station at Tooley Street exit, turn left and meet outside Number 1 London Bridge, at the stone spike, next to Evans Cycles.

SONIC EDITIONS ISSUE LIMITED EDITION STONE ROSES COLLECTION

Sonic Editions unveils rarely seen, limited edition images of the Stone Roses, to celebrate their homecoming at Heaton Park.

Sonic Editions, the online retailer that specialises in affordable limited edition photography has curated a unique collection of inspirational photography to celebrate the life and work of the Stone Roses. The hand framed, professional prints capture the band at their finest.

Sonic Editions uses its substantial archive to democratise art, making rarely seen images affordable and accessible for the first time.

The below limited edition images are extracts from the gallery and are available in editions of 495, from £45 each.

Portrait of the band as photographed in Nomad Studios in Manchester, 1989.

Ian Brown performs live on the JJB stage during Day One of the 2008 V Festival.

The Stone Roses outside the YMCA in London, 1989.

Lady Gaga Launches Perfume

Lady Gaga has launched her first ever perfume ‘Fame’. The first ever poster sees her modeling for icon photographer Steven Klein. Frost Loves it, and are those ‘little monsters’? Gaga confessed on Twitter that she was nervous about posting the photo to her followers. She tweeted: “I won’t lie I’m a bit nervous. its been a while since i’ve shared some work with you. But i’m so proud of Steven+I, we really did not sleep!”

It is the first ever black fluid perfume. Apparently it has Lady Gaga’s blood in it. Gaga said she wanted it to smell “like an expensive hooker”…[Blood and semen] is in the perfume but it doesn’t smell like it”

“You just get sort of the after feeling of sex from the semen and the blood is sort of primal. And the blood was taken from my own blood sample so it’s like a sense of having me on your skin.”

Gordon Ramsay Interview

Those who would like to see Gordon Ramsay in prison (including rival chefs, certain critics, and one or two specific journalists) will be disappointed to discover that his new series, Gordon Behind Bars, does not follow the famously volatile chef embarking on a lengthy custodial sentence. Instead, it is a thought-provoking, astonishing and occasionally moving look at Ramsay’s efforts to set up a catering business with the inmates of HMP Brixton.

Here, Ramsay reveals just how scary the experience was, why he’s convinced this could make a massive difference to prison life, and what made him want to tackle such a complex project. And, speaking of tackles…

First off, Gordon, how are you recovering from Teddy Sheringham’s somewhat robust tackle in the recent Soccer Aid match?

I’m all fine, thank you for asking. I didn’t see that one coming – I suppose no-one would have! I’ve never had a problem with my back up until now. I felt slightly embarrassed, getting stretchered off. I had this horrendous spasm that put my back into shock. I couldn’t feel the back of my legs. But I’m 100 per cent better, and ready to go for my next run.

So your new series is Gordon Behind bars – what’s it all about?

This isn’t just a ‘let’s go and cook along with Gordon in prison’ thing. The idea came from the fact that there are approximately 80,000 inmates across the country now, which is a hell of a lot. It was about getting them doing something with their time, giving something back, and also getting job-ready. The biggest problem is the re-offending percentages, people just go round and round in the system.

It sounds like an incredibly complicated project to take on, on a number of levels. Why did you want to do this?

I quite like that jeopardy, those up-against-the-wall odds. I don’t like it when it’s over-comfortable, too easy, something that can be done in two or three weeks. I like a challenge. And personally, I’ve dealt with these kind of guys on many occasions, whether in a Young Offenders Unit when we were filming The F Word, or dealing with my little brother, who’s been an addict for 15 years. When we were filming in the Young Offenders Unit in Leeds, seven years ago, that’s when I started to think of the huge missed opportunity in these places. There was so much excitement and boisterousness from the guys in there, but they had nothing to do in there, none of it was being harnessed.

What was it like walking into prison for the first time? How did you feel?

I’ve been in a few dangerous situations. But this has been one of the most intimidating experiences, because at times, you could just sense the atmosphere reaching boiling point, and you were just waiting for that fight to start. Everyone got particularly nervous when the cameras were around. And we were a small crew. The sense of intimidation was rife. You could feel it in the air the minute you walked in there. It was bloody intense.

How did you select the prisoners to take part? Did a lot of them want to do it?

We had an overwhelming response. We spoke to over 100 prisoners, we had to find out what they were in for, what their sentence was and they had to be security cleared. You have to understand that a lot of them were on remand, so they get moved on a regular basis.

What were the biggest logistical problems you faced?

If someone wanted a knife or a peeler or a spatula or a plastic scraper, you’d have to go to the shadow board on the wall, take out what you wanted, sign for it, give them a number, and then they weren’t allowed more than two utensils out at any one time. When one thing went missing, it was bedlam, the place would be on lockdown, everyone would be searched, and you’ve lost half a day. Getting them out of bed in the morning was tough as well – they don’t have to be up. Most of them get locked up after dinner, at 5:15pm, and they’re not let out the next day until the morning. So gathering them around was just horrendous. You’d go to every wing, accompanied by an officer, you’d have to take the crap on the wings from those who didn’t get on the course, and so by the end I stopped gathering them, I had to get the officers to do it. But they came in dribs and drabs for the first couple of weeks. I had to say to them “If I say 9am, I really want you in here for 9am.” To be honest, that’s not that early to start.

How hard did you work the prisoners, and how did they find that?

First couple of months was tough because they couldn’t stand on their feet for anything longer than two or three hours, so making bread rolls and soups, that was it. They’d want a break within the first two hours. It was like a social event in there sometimes. They could chat, they can watch TV in their cells, some even have a DVD player. They’ll go to the gym, see the doctor or even the dentist. So the first couple of months it was hard, because they couldn’t work past two or three hours. But after that, you could see some really strong differences in some of them. By the end, I had 95 per cent of the brigade working 7- 8 hours-a-day. And another interesting feature of that was that they would put in a full day, go back to their cell, have dinner, a shower, and slept, as opposed to sitting around getting bored. And they would sleep better because they’d put in a full day’s work.

You can be quite aggressive in the kitchen. Did you have to modify that at all?

I’ve been with offenders, from robbers to smuggling arms to gang members, you name it, we dealt with it. You knew any time that it was going to kick off. It could be about anything. The first big argument was because somebody left his sauce in his cell, and didn’t have it to add to his sandwich at lunchtime. I had to walk on eggshells, because it was very fragile, insecure, awkward temperaments that I was dealing with. Every time something went wrong, you could tell it was going to kick off. They did push my buttons, I did get upset, because there’s only so much you can take before you get to boiling point. And I did end up letting rip in the end.

And lived to tell the tale?

Yeah! One of the inmates complained that I’d dirtied his stove when I was doing a demo to help him get through this exam. What did I get? “You just dirtied my fucking stove?” Man, I flipped.

Were there any stages at which you regretted taking on the project?

About halfway through, I think. One of my guys had been sent to another prison, there were rumours going around that my team was on a jolly, they weren’t working hard, so they were getting treated differently when they were going back onto the wings. Then there was this turning point, when we set up a pop-up bakery in the middle of Clapham, and the response was amazing. I’d been worried that the general consensus of the British public would be ‘They were made by inmates, there’s no way I’m going to eat them,’ but the biggest message coming off the high street was really positive. They were really happy that the prisoners were working. Taking that message back in to the senior management meeting the following day was a real turning point. It meant that these guys, who had made a mistake and were serving their time, were doing something positive, were getting job-ready, and going to leave prison with a better work ethic and a better chance of not reoffending. Of course some won’t make it, but surely it’s a good start?

Did you form close relationships with any of them?

It was hard, because you spent so much time with them, you couldn’t help yourself, you got close to them. And they were desperate for the course to continue, it was a lifeline for them, to help them for their rehabilitation and get them job-ready. There was one guy in there, who showed such amazing determination. He lost touch with his family and when he left the army he started taking drugs. But he was such a talented guy, was passing every exam with distinction. He’s been on methadone for the past 12 months, and is out in 18 months, and is as keen as anything. Then there is Andrew who is working for the Roast group and he is doing really well.

Did you uncover any talent there who you would consider employing?

Well, Paul was working for me at The Savoy Grill. David I’ve got my eye on. He was pretty disciplined. There was another guy from Brixton, called Adonis. Smart guy, 6’5″, he got caught with a shotgun under his bed. He’s a talented, talented guy, so methodical, everything was really precise.

Is the idea in all of this to create a sustainable business that will exist and grow without you being involved on a day-to-day basis?

Yes. There are a large number of individuals in these prisons who are dying to get off their arse and work. So we’re looking at getting funding the Badboy Bakery so it can continue and grow. I’m hoping when we submit a business plan to Ken Clarke, the government will find someone to put money into it. And Café Nero has been brilliant, they’ve set up a pilot scheme whereby we’re flogging our amazing lemon treacle slice in eleven of their branches. They are presently not taking any money for them, all the takings for the cake going back into the Badboy Bakery. And it’s selling amazingly well, challenging their caramel slice to be the bestseller. So early indications are that this could be a real hit, if we get support from the government.

At some points you found the prison a terrible, oppressive place, at others you said you felt it was more akin to a holiday camp. What are your opinions now about prison?

What struck me most was the waste of time, effort and energy that could be channelled into something incredibly positive. Lying in bed, reading the newspaper, deciding what you’re going to have for dinner, playing the X-box, watching TV, going to the gym, their minds are so bored. They resent the outside world, they have a grudge, and they’re losing their self-esteem on an hourly basis. They have lost their will to work, and had all responsibility taken away from them. For me, it’s such a waste, such a missed opportunity. They’re just using the system, they’ve not motivated to do anything. They’ve got everything they need. If they were given more incentives to do some work, to get job ready, to be disciplined, it would help them, and surely their time would also go faster.

Do you think the project made a big difference to the self-esteem of the guys you worked with?

Yeah, I think it made a massive difference. Some of them had tears in their eyes when they got their certificates at the end, and they were saying “Is this going to continue?” And I said “If I can get the finance, and the support, and get individuals to understand the hunger of some of the guys in here to work, then of course. Currently we have funding in place until the end of July, while we look for an investor to keep it going. They would be mortified if they couldn’t work on a daily basis. At the end, we set up a pop-up restaurant in the prison, and served an amazing lunch for 50 guests, local restaurants and catering employers and community figures, and it was amazing. After that lunch it was like having a team of chefs, I almost forgot they were prisoners. In their minds now, they are ready and hungry to get out with real and realistic ambitions. They go back to the cell tired at the end of the day, they sleep well, and their sentence goes a thousand times faster.

Gordon Behind Bars is on Channel 4 on Tuesdays at 9pm. Thanks to Channel 4.

Cheers, Chin Chin, Lechaim, Ganbei, Kai Wei, Sante: A Guide to Making a Toast

Cheers, Chin Chin, Lechaim, Ganbei, Kai Wei, Sante

Chivas Regal present the Gentleman’s Guide to Making a Toast

Toasting is an age old ritual which is practiced round the world to celebrate new friends and old friends, guests of honour, business colleagues as well as special moments. Depending on who you are with and where you are, how you raise your glass in tribute can vary considerably.

With this in mind the world’s most iconic luxury Scotch whisky, Chivas Regal, has created the ultimate Gentleman’s Guide to Making a Toast.

With endless overlapping cross cultures it has never been more important for the true gent to be well versed in how to conduct themselves with chivalry in foreign lands – you never know who you might end up insulting!

The Gentleman’s Guide to Making a Toast is part of the Chivas Regal ‘Real Friends, Make Time’ campaign which highlights the importance of making time to spend with your friends.

Chivas lovers around the world can now raise a glass in confidence no matter what the situation – we hope you enjoy the guide.

The Chivas Regal Gentleman’s Guide to Making a Toast

Toasting is a ritual respected around the world. Harking back to days of old it is how
we celebrate new friends and old friends, guests of honour, the bride and groom,
business colleagues as well as special moments.

You can muddle through on a raised glass and a cry of ‘cheers’, ‘chin chin’ or ‘good
health’ on many a shore but the true well-travelled modern gent will be prepared to
say ‘lechaim’, ‘salud’ and ‘sante’ where appropriate.

With this in mind, Chivas Regal brings you the Gentleman’s Guide to Making a
Toast. With a history spanning over 200 years, Chivas Regal has been toasted with in
more than 150 countries. Along the way we’ve picked up some useful information
that will help get you into the spirit and get you toasting like a local no matter where
in the world you might find yourself.

China

Coming together over a drink has always been at the heart of Chinese culture, but the
blast of economic growth is accelerating this to new levels. At clubs and bars in the
big cities you’ll see a bottle of whisky or vodka in the middle of the table for guests to
share. At a big meal you might find three glasses on your table – a glass for your drink
of choice, a wine glass, and a shot glass. A few notes of caution when in China: not
finishing your glass may be seen as disrespectful and the local spirit ‘er gua toe’ can
bring down a dragon – we would suggest sticking with Chivas.

The Chinese toasting ritual may be casual but whether in a social or business setting,
it is deeply associated with friendship, trust and respect and a simple ‘cheers’ is
seriously frowned upon. The host will make the first toast – probably ‘ganbei’
[‘bottoms up!’] or ‘kai wei’ [‘starting the appetite!’]. Touching the other person’s glass
below the rim is a sign of respect. If you are drinking shots, turn your glass over to
show it’s empty.

Russia

Many travelers believe the Russian toast is ‘Na Zdorov’ye’ but they would be wrong
unless they are having dinner. In fact Russians as a rule enjoy making up long and
complex toasts such as ‘Za druzhbu myezhdu narodami!’ (To friendship between
nations!). However, if you aren’t well versed in Russian and want to be on the safe
side, go with a simple ‘Za Vas!’ (To you!).

In Russia toasts are made with spirits and empty glasses are always refilled. Expect
frequent toasting throughout the meal. If the toaster stands, everybody must stand.
Be sure to make eye contact with each person you clink glasses with, finish in one
swallow and place your glass down on the table. The host or the senior guest usually
kicks off the proceedings and if someone toasts you, you must toast them back; it is
the height of rudeness not to do so.

France, Germany, Italy

Across France, Germany and Italy there are many quirky local twists – and words –
but the acceptable way to toast is to make eye contact as you touch everyone’s glass at
the table. Not looking into the eyes is not only ‘bad luck’ but – to a greater or lesser
degree – in France and Germany it threatens disaster for amorous pursuits! In Italy,
this is taken to extremes – you’ll genuinely have to meet everyone’s eyes.

While you are holding that ever important eye contact prepare to toast ‘a votre sante’,
‘sante’ or ‘tchin’ in France, ‘ZumWohl!’ or ‘Prost!’ (‘good health’) in Germany and
‘Salute’ (health) in Italy – although ‘Cin Cin!’ (onomatopoeia of the sound of clinking
of glasses) will also work.

Spain, South America and Mexico

Young Spanish speaking South Americans have a curious toast that’s most often
heard if you’re enjoying a night out in a large group. You’ll hear “arriba, abajo, al
centro, al dentro!!” and see some matching movements with the glass: ‘up (raising
glass), down (lowering glass), in the center (putting glasses together), inside
(drinking!). There’s also the more generally used ‘salud’ – appropriate if you’re a
guest, to make a toast of thanks to your host. The modern gentleman is always polite,
if your host has made you feel like you’re one of the family, there is no greater
compliment possible. ‘Salud’ is also often used as part of a more personalised toast
such as; ‘un salud por la familia’ (cheers to family) or ‘un salud por la amistad’
(cheers to friendship).

Scandinavia

The Scandinavians have a rather bloodthirsty cheer – ‘Skol!’. According to folklore it
is derived from a legend that Vikings drank from the skulls of their enemies. So when
in Scandinavia drink, then nod and be thankful they’re no longer Vikings.
What do to if you forget the local toast

The modern gentleman is well versed in international etiquette, so that no matter
where they are in the world they can present themselves with the same confidence as
they would at home. But if your toasting know-how fails you at the crucial moment,
here are some tips from Max Warner, Chivas Regal Global Ambassador and toasting
expert:

“On my journeys with Chivas, I’ve observed many different ways of raising a glass
and though it is important where possible to respect local traditions there are a few
good rules of thumb which I’ve picked up that can get you by if you’re not versed on
how the locals do it.

-Try and judge the situation and formality of the occasion as toasts not only differ
around the world but from venue and situation as well
-Where appropriate stand to make a toast
-Always raise your glass, face the host first and make eye contact with your
audience
-Where possible clink the glass of each guest before taking a sip. For those not
drinking, raise a glass to the group as a sign of respect.
-Keep your toast short and non-specific but acknowledge the host and bring in a
personal touch by highlighting your relation to the person or group.”

A little bit of history

Why is toasting recognised wherever alcohol is drunk? It depends. In Chinese
traditions, toasting began with libations to the gods. In Europe, on the other hand, it
was a good way to stop your host poisoning you. Ancient Greeks and Romans – then
the British in the Middle Ages – shared their drink from a flask or a cup as a matter
of trust. If the host raised his cup and drank first, his guests knew they were safe.
Why is it called a toast? Because wine used to be so acidic a piece of burnt bread was
added – the charcoal neutralised the acid. The final sip went to the host, who ate the
bread. In medieval courts, the ‘loving cup’ would be passed around, in memory of the
first recorded formal toast in Western history – when Rowena, daughter of the Saxon
leader Hengist, cried ‘waes hael’ (be of health) to King Vortigen and they shared a
cup – leading to them sharing a kingdom as man and wife.

PANTONE UNIVERSE Art

We think these PANTONE UNIVERSE Art are cute and fresh. A perfect way to update your home with some art.

PANTONE UNIVERSE Art launches to July 2012.

 The ready to hang and highly collectable prints are the new ‘must have’ item for the style conscious home owner.

 The PANTONE colour system has been used by designers for the last 45 years as the most reliable system for matching colours. Now everybody can choose the colours that say most about them and their personality.

 The new collection has been created by art publishing company, Artbrand, based on an exclusive license deal with Pantone Universe™.

 PANTONE UNIVERSE Art will be available to buy directly at www.pantone-art.com from July 2012.