I am not a nostalgic person, but that night at the Hope and Anchor in Islington really makes me want to move back to London and spend my evenings in dark venues up to four times a week, just as I did when I was writing for music magazines. Nowadays, I no longer get in for free and have to add the train and tube fares to my budget – and I am so busy with my own projects that I wouldn’t find the time to write as many music articles as I did back then!
Therefore, I choose the events I attend very carefully. And tonight, I congratulate myself on my choice.
There are quite a few familiar faces on stage and in the audience, people we have seen on stage numerous times. These are people who have had the courage to keep their creative flames alive despite all the obstacles and setbacks faced by musicians nowadays. In a society that is reversing to the relative comfort of conservative attitudes and is embracing a sinister brand of global blandness and trend-led consumerism, it is reassuring and genuinely heartwarming to find yourself in the company of people who create such thrilling work. Because yes, it was a thrilling evening indeed, full of fantastic and innovative music. Every single one of the bands tonight deserve a bigger audience and a larger venue!
The photos are not as good as I'd want them to be, unfortunately (light was too low for the camera...).
One of Geeta’s songs is called Goose bumps (featured in the teaser video below). How very fitting for such a fascinating performance that mixes vocal prowess, keyboards and electronic sounds! Hailing from Montreal, Geeta is an experienced multi-instrumentalist, singer, artist and producer who has worked extensively on the international art scene. Tonight, she is performing in the poorly lit basement of a pub, and she still manages to capture our imagination and bewitch our senses with her otherworldly songs that pierce the gloom to bring enlightenment to our ears. A natural heir to pioneer Björk – producing electronic music that sounds incredibly organic and close to nature and the universe – Geeta throws herself into her performance with a raw intensity. A real gem.
Will Crewdson is a busy man, and has been for years. I first knew him as the guitarist for fabulous glam-rockers Rachel Stamp, but he has played with so many people that the list is too long to type here (if you’re interested, go to his bio on the Scant Regard website); not surprising though: he’s probably one of the best guitarists around at the moment and looks effortlessly cool at any one time. He is currently very active with the fledgling new wave/electro band he has formed with Shaheena Dax (also ex-Rachel Stamp), She Made Me Do It.
Scant Regard is Will's solo instrumental project in which he is free to experiment with electronics and samples as well as show off his guitar skills. It’s really original, catchy, experimental and cinematic. I love the video for the addictive Sneaking into Godforsaken Territory (see below!), full of vintage footage of vintage fashion and pin-ups which remind me of the books I sell on my stall!
One could describe Prude as a supergroup, the cauldron in which is brewed an explosive musical potion of rock’n’roll and industrial: fronted by an unbelievably charismatic Jared Louche (ex-Chemlab, artist, storyteller, performance artist and educationalist), Prude consists of Louche, Matt Fanale (Caustic), Marc “Plastic” Olivier (Plastic Heroes), Phil DiSiena (Infocollapse, Cyanotic), Howie Beno and Christophe Deschamps, all experienced individuals who have been involved in music for years. They have just released their terrific first album, The Dark Age of Consent, a thrilling vortex of abrasive electronics, rock’n’roll histrionics, groovy melodies and wordy, sharp lyrics – we get a glimpse of Mr Louche the poet. I love musicians who mess up with your head and create a surprise with each and every track. With their eclectic sound and their tendency to revel in the darkest recesses of human nature and the sleaziness that comes with it, Prude remind me of other industrial/rock supergroups Pigface and Revolting Cocks, which can only be a positive thing!
Tonight, Mr Deschamps is on drums, guitarist extraordinaire Marc Plastic provides the grooves and Jared Louche gives a pretty flamboyant performance. The rock is turned up and the electronics down, but this doesn’t prevent us from appreciating the terrific tracks. As I watch Prude play in the tiny space, with the heat and the music building up like inside a pressure cooker, I cannot help thinking that if they carry on at this pace, the Hope and Anchor will end up imploding! Prude’s ambition deserves a bigger venue.
See you in the front row!
I have been looking forward to seeing Black Volition play live, and they are even better than I was expecting.
After the swaggering confidence of Prude, the tone of the evening changes as the atmosphere thickens like the darkest of full-bodied Bourbons. The core members of BV are Will Crewdson and Reza Udhin (founding member of Inertia and keyboardist for the iconic Killing Joke since 2005). Live, they are joined by Roi from North London-based electro band Mechanical Cabaret, accompanied by Spike T Smith (The Damned, Morrissey) on drums and Gary Day (Morrissey, The Gazmen) on double bass (a fantastic vintage-looking specimen!).
It was thrilling to listen to and fascinating to watch: the band members really gel together and there is an unmistakable chemistry between them as they play their beautiful songs. Black Volition describe their sound as taking “a trip through the sleepy towns, lonesome woods and dark cabaret of David Lynch’s Twin Peaks. Then transport yourself to the back streets and gloomy swamps of a vampire-ridden Louisiana in True Blood via a desert valley of spaghetti westerns”, and I couldn’t put it any better myself. It’s haunting (Underground Cities) and utterly, utterly seductive. This is what a walk around the deserted set of Hollywood’s latest Film Noir would have felt like in the Golden Days of cinema, with a pervading menace just vaguely perceptible underneath the surface (Hands on You). On debut single Rivers (video below), Will’s guitar is full of western-tinged flights of fancy and it’s impossibly catchy. The Rain, featuring performance poet Danni Antagonist, is a thundering, brooding gem of a track that stays with you a long time after it has been performed. Gripping stuff!
This is subtle, multi-layered and nuanced music. The cinematic quality is undeniable, and if the Peaky Blinders editors still needed a few tracks to add to the series, then they should really have a word or two with Black Volition. For my part, I am waiting for the first album with impatience and hope to see BV live again very, very soon.
My third novel, The Right Place, is set in the area around Bridport and Abbotsbury, in West Dorset.
I first went to Dorset in 2011 for a holiday and fell in love with it. To know why, go to The Right Place page.
If I ever have the financial means to go back to the West Country - I lived in Cornwall for a year back in 1997 and loved it! - then Bridport is the place where I'd want to live and work. You are not that far away from London and you have access to different counties around, as far as Cornwall, perfect for attending events, fairs and markets.
For people like us - we are a creative couple - The St Michael's Trading Estate would provide the ideal environment in which to start a business - we have a very clear idea of what we'd like to do. We write, we design, we publish, we create and we also trade antiques and vintage items.
We have enjoyed the Arts and Vintage Quarter and the wonderful bookshops in the town centre many times since our first visit to the area (we will be back there next week!).
Bridport is a dynamic and creative town located in one of the most beautiful landscapes in England. It deserves to become an example of how to regenerate a small town and how to boost the local economy by providing small businesses and local creative professionals with the right environment in which to develop and grow.
This documentary explains the threat posed by redevelopment to the estate and describes the alternative future for the area proposed by the novel scheme Enterprise St Michael's - such a brilliant idea!
Chaudes-Aigues is a pretty and rather sleepy Cantal town which comes alive during the holiday season - it is a spa town. Most people come to see this:
Imagine our surprise when we found a poster for a tattoo festival!
Actually, I have found an article covering the first edition of this event in the online version of INKED MAGAZINE (it's in French, sorry). Not surprisingly, English is the official language across the whole event. I can't help trying to conjure up the image of 10,000 tattoo enthusiasts converging to this rural location!
More than the hot spring though, it is Le Valdom which has caught my eye. I have struggled to find information about it, only that it is a private garden transformed into a natural heaven for fairies, dwarves, witches and other imaginary creatures. It's blooming lovely and probably the best thing about the town!
Old Spitalfields Market is a brilliant place to be every day of the week. We were back there specifically to buy a piece of jewellery from Lelong Designs, who create pieces inspired by the 20s and 30s, Art Deco and Art Nouveau styles - my favourites!
I am not usually big on jewellery, but their stall is simply wonderful and I had to try and concentrate on the task at hand: purchase something to add to the back cover of The Book of Thoth - the cover itself is very minimalist, and we thought adding something completely different at the back would work well.
Matt ArtPix, the Arcane Publishing designer, helped me choose between some Egyptian-inspired pieces or some insect jewellery.
In the book, one item in particular plays an important role in the story: a dragonfly pendant. As Egyptian imagery is already well represented throughout the book - on the cover and inside - we decided to go for the wonderful dragonfly brooch above, which looks very, very close to the jewel I had in mind. And it is very, very wearable, isn't it? I had a little chat with the stallholder and was thrilled he agreed to have his work on the back cover of my book... Of course, credit will be given where it's due!
I also HAD to make a detour and buy some tea on the Yumchaa Tea stall. Honestly, they are the best teas around. I knew I was going to a gig in the evening, and yet, I still bought three bags of tea and carried them around the whole day and night. How Rock'n'Roll is that?
OK, I admit it: I can be a terrible snob from time to time, and I refuse to set foot in your average cinema like the Odeon, for example, ever again. People eat, talk, check their phones, fidget; their attention span doesn't exceed two minutes... It just spoils it for me. So we've decided to only go and see films in "civilised" surroundings, like the Curzon cinemas and the Barbican Centre. Below is a picture of Cromwell Tower opposite the cinema at the Barbican, pure Brutalist style!
Talking about Brutalism... There's a great programme on at the moment about Brutalist architecture: Bunkers, Brutalism and Bloodymindedness, presented by the impossibly cool Jonathan Meades. It is absolutely bonkers, with Mr Meades's very, er, original presentation style. I'd love to get the script; it's wonderfully written in a rich, kaleidoscopic vocabulary... And it's very inspiring for me, with visuals close to what I'd like to achieve with my fourth book.
We went to see the not-very-critically-acclaimed The Monuments Men. I've never seen any movie with George Clooney or Matt Damon, so I have now. Clooney has some kind of Cary Grant, twinkle-in-the-eye thing going on, and Matt Damon is... err... a bit bland, perhaps?
I liked the movie because it had a sort of old-fashioned charm you don't really find in modern movies - I have always been a lover of classic cinema me, from the 20s to the late 50s. Also, it is rare in a mainstream movie to have references to art and its importance in our society. True, the movie doesn't go very deep into any of its topics, but I never go to the cinema to see movies making deep and serious social/political points - I leave that to pseudo-intellectuals.
I haven't been to the cinema for ages, and then bang, several films turn up all at the same time! I also want to see Only Lovers Left Alive, The Grand Budapest Hotel and Under The Skin, and they are all out in the forthcoming weeks!
When we stepped into the Lexington on Sunday, we entered a parallel, beautiful, lyrical world.
I have already written a little bit about cellist and "looper" Jo Quail - when she supported Rasputina in November. It was a pleasure to see her play again - and it was even better the second time! Not only is her music truly mesmerising, but watching her play is fascinating. Music inspires me and has always played an important role in my life, but the process of creating music and playing it is a complete mystery to me. To witness the alchemy practised on stage by Jo was simply awesome. And her music is definitely otherworldly.
On Sunday night, we were treated to a brand new, not quite finished piece - temporarily called "DD" - the music note I hasten to add - a "baby" track that still has quite a lot of growing up to do according to its creator, although it sounded pretty grown up to me already!
We continued our journey into a realm of magic and shadowy beings with the excellent Seventh Harmonic (for some reason, my computer refuses to open the website on either Chrome or Explorer, which is a real shame!). Sunday was their new singer Liza Graham's first gig with the band, and if she looked slightly uncomfortable at the beginning, this changed pretty quickly as she literally beamed as the set went on... Jo Quail joined the band for their track "Winter" and added a layer of cords to the already rich ensemble.
Experimental, dark and seductive stuff indeed...
Daemonia Nymphe do know how to put on a show. Costumes, masks, ancient Greek instruments - made especially for them by craftsman Nikolaos Brass, and a dancer. On Sunday, they were presenting their new album, "Psychostasia".
Spyros Giasafakis and Evi Stergiou, the core members of Daemonia Nymphe, have worked for film and theatre (in particular The Theatre Lab Company), and it shows in their taste for the subtly dramatic; they also know how to surround themselves with talented musicians, and joining them on Sunday were among others Tanya Jackson (whom I had seen perform before with the Mediaeval Baebes) and ex-Dead Can Dance member Peter Ulrich - I still remember reviewing his fabulous album "Enter The Mysterium" years ago, so was particularly chuffed to see him there!
Also present was dancer/model/actress Denise Moreno.
Hypnotic, evocative and full of Ancient Greece's rhythms and flavours, Daemonia Nymphe's world is infused with myths and legends and carries the words and stories of Hellenic literature.
This is dark, ritualistic, spellbinding music, plucked from ancient times to speak to the soul of modern audiences.
To conclude, I would just add a word or two about the audience. Everyone should be proud of themselves: attentive and respectful of the silent/quiet bits in the sets, holding their breath at the end of each song before applauding enthusiastically. It was just a pleasure to be there.
I have heard so many negative things recently about acoustic/quiet sets being completely spoilt by drunken idiots, blasé crowds speaking over artists and heckling...
Well done, everyone.
I love art and believe creativity, imagination, etc. are the most important aspects of what it is to be a human being. I go to a lot of exhibitions and always keep an open mind. I almost went to art school myself, after all, before literature and English language won the day...
Maybe I'm old-fashioned, but I do have a problem with most contemporary art, though.
You know, the Tracey Emins and Damien Hirsts of this Earth, whose only talent is a knack for self-publicity and "shocking" rubbish - the only shocking thing about their work is that it's being lauded as art worth millions. And it looks like that's the direction taken by Art schools, who seem to teach their students how to write a stupid statement to cover-up your complete lack of artistic skills.
By the way, if you are an artist and you want to create your own artistic statement, THIS WEBSITE does it for you; the texts sound so much like real artists statements I've read, recently... Actually, scrap that, the "real" ones were much, much worse...
Have you ever been to the Serpentine Gallery, where, a few years ago, I had the immense pleasure of admiring bits of clear plastic stuck to a white wall? The meaning was probably incredibly profound and deep, but it escaped me, somehow...
Anyway. So, the Turner Prize... Don't even get me started.
At least, one of the competitors could paint OK, but the fact that she was shortlisted might have had more to do about where she was from then her actual painting skills.
You know, art and culture are really having a hard time these days, when it is all about hardworking families (I really, really hate that expression) and cuts to the arts. It shouldn't happen, because art and culture are essential for a healthy, successful and prosperous society - just like education. It is not random chance that in dictatorships and countries ran by religious fundamentalists, the first things to go are the arts, music, cinema and academia.
But honestly, when the Turner Prize entries are the only kind of art that is shown in the mainstream media, when it gets repeated over and over that this is the only type of art that will get grants and prizes, that filming someone sneezing in slow motion and exhibiting their soiled tissue in a glass cabinet will get you rich and famous, then are we surprised if non-artistic minded people sneer and shrug and think it a waste of time?
It makes me incredibly angry.
But I have found the remedy for my anger...
The one good thing about the Turner Prize is that it is the reason the Turnip Prize exists. Conceived in 1999 in a pub in Somerset as a joke response to the Turner Prize, it has carried on and acquired a certain... shall we say, prestige...
HAVE A LOOK AT THIS YEAR'S TURNIP PRIZE ENTRIES
If you really want a laugh, go to the Turnip Prize Wikipedia page and read through the previous years's entries and their description.
It's pure genius.
Author Neil Gaiman gave a lecture at the Reading Agency on 14th October. An edited version of that lecture has been made available on The Guardian's website.
It is essential reading: a passionate, poignant, rousing, intelligent plea for books, fiction, literacy, libraries and imagination. Everything is in there. Our uncultured and boorish politicians should be MADE to read it. Below, I have reproduced my favourite bits - although the whole thing is my favourite bit really...
Some of these quotes remind me of the child and teenager I was - an avid reader with a wild imagination, desperate to live somewhere else, to experience something else, knowing there was more to life than what I could see around me. Books and the ambition of becoming a writer have pushed me, have made me study hard and stay focused, curious, inquisitive, interested. They saved me in my (numerous) hours of need... Here's to books and fiction...
Neil Gaiman on The Guardian
Fiction has two uses. Firstly, it's a gateway drug to reading. The drive to know what happens next, to want to turn the page, the need to keep going, even if it's hard, because someone's in trouble and you have to know how it's all going to end … that's a very real drive. And it forces you to learn new words, to think new thoughts, to keep going. To discover that reading per se is pleasurable. Once you learn that, you're on the road to reading everything. And reading is key. There were noises made briefly, a few years ago, about the idea that we were living in a post-literate world, in which the ability to make sense out of written words was somehow redundant, but those days are gone: words are more important than they ever were: we navigate the world with words, and as the world slips onto the web, we need to follow, to communicate and to comprehend what we are reading.
When you watch TV or see a film, you are looking at things happening to other people. Prose fiction is something you build up from 26 letters and a handful of punctuation marks, and you, and you alone, using your imagination, create a world and people it and look out through other eyes. You get to feel things, visit places and worlds you would never otherwise know. You learn that everyone else out there is a me, as well. You're being someone else, and when you return to your own world, you're going to be slightly changed.
Fiction can show you a different world. It can take you somewhere you've never been. Once you've visited other worlds, like those who ate fairy fruit, you can never be entirely content with the world that you grew up in. Discontent is a good thing: discontented people can modify and improve their worlds, leave them better, leave them different.
If you were trapped in an impossible situation, in an unpleasant place, with people who meant you ill, and someone offered you a temporary escape, why wouldn't you take it? And escapist fiction is just that: fiction that opens a door, shows the sunlight outside, gives you a place to go where you are in control, are with people you want to be with (and books are real places, make no mistake about that); and more importantly, during your escape, books can also give you knowledge about the world and your predicament, give you weapons, give you armour: real things you can take back into your prison. Skills and knowledge and tools you can use to escape for real.
I do not believe that all books will or should migrate onto screens: as Douglas Adams once pointed out to me, more than 20 years before the Kindle turned up, a physical book is like a shark. Sharks are old: there were sharks in the ocean before the dinosaurs. And the reason there are still sharks around is that sharks are better at being sharks than anything else is. Physical books are tough, hard to destroy, bath-resistant, solar-operated, feel good in your hand: they are good at being books, and there will always be a place for them.
Literacy is more important than ever it was, in this world of text and email, a world of written information. We need to read and write, we need global citizens who can read comfortably, comprehend what they are reading, understand nuance, and make themselves understood.
According to a recent study by the Organisation for Economic Cooperation and Development, England is the "only country where the oldest age group has higher proficiency in both literacy and numeracy than the youngest group, after other factors, such as gender, socio-economic backgrounds and type of occupations are taken into account".
We have an obligation to support libraries. To use libraries, to encourage others to use libraries, to protest the closure of libraries. If you do not value libraries then you do not value information or culture or wisdom. You are silencing the voices of the past and you are damaging the future.
Fiction is the lie that tells the truth, after all.
Last weekend, we spent a wonderful day in trendy and thriving Whitstable.
It was not our first time in the town (see my previous blog about it) nor was it our last! We are usually there in January for some reason, and it was great to see the town in the full swing of summer. It was transformed - although I do have a thing for seaside resorts in the winter; My favourite seasons for everything are autumn and winter!
They really seem to be doing the right things there, and I think Southend Council, who seems to have a total lack of imagination and creativity, should send a few spies to analyse what the small Kent town is doing right. Southend deserves so much better. There are a few clues as to how in the following paragraphs.
Their high street is full of a great variety of independent shops (i.e opportunities for local businesses). It is positively thriving.
The week-long Oyster festival had just come to an end, but it didn't feel like it: there was music, stalls, and the excellent Whitstable Harbour Village was open.
I really think Southend should consider doing its own seafront village: spaces available for small local businesses (most of them creative people: artisans, artists, small entrepreneurs... a flexible approach mixing fishermen's huts and cheaper stalls - we could have little colourful beach huts and stalls. The village is open every weekend and Bank Holidays from March to Christmas. With the amount of creatives in the area, this type of setting would be ideal on the seafront, which is full of cafes and places to eat but where there is nothing to see, really. I am sure visitors would love to have things to look at, browse and purchase, and us local creatives and small businesses who cannot afford to rent a shop would have a place to showcase and sell our work.
Who will take on the challenge?
The Tudor Tea Rooms are located in an absolutely gorgeous 17th Century building... It is lovely in there!
Our day in London on Friday was all about books, writers, images, artists and muses. We basically went on a bit of a cultural binge. As you do.
We started off with MURDER IN THE LIBRARY, THE A TO Z OF CRIME FICTION at The British Library. I drooled over the wonderful vintage tomes on display - ah, to possess a few of those! - and was pleased to see some of my favourites being part of the display: Sherlock Holmes, Agatha Christie... It is a small but perfectly formed exhibition and you have until May 12th to see it!
Then we walked all the way to THE PIPER GALLERY in Fitzrovia - a part of town I have always neglected, somehow. There seems to be quite a lot of interesting little streets and corners and we will go back and explore in the Spring. The gallery is a sleek, brand new space with a strategically placed glass roof which allows in plenty of natural light. My decision to visit the gallery was taken on the spur of the moment (see my previous blog about it) and I am glad to say that I didn't get chucked out or sneered at when I explained the aim of my visit: to leave a copy of my book I Am a Muse for Megan Piper, the gallery owner. The gallery assistants took the book. Result! I would be genuinely interested in knowing what an art specialist thinks about my little novel. Of course, I might never hear from them and that is fair enough, but I think that sometimes you have to be slightly daring and not think about the consequences of your actions too much.
Anyhow, I have discovered a new art gallery that is doing things slightly differently, and I am interested in knowing what they do next. The show that is on at the moment is Neil Stokoe: All Things Must Pass.
Then it was off to the National Portrait Gallery where we managed to catch FRED DANIELS, CINEMA PORTRAITS - he worked extensively with filmmakers Michael Powell and Emeric Pressburger on the sets of their movies.
MARILYN MONROE: A BRITISH LOVE AFFAIR is a delightful homage to the star made of photographs, magazine covers and lobby cards. Some cover her four-months stay ion Britain for the shooting of "The Prince and the Showgirl". I have always been intrigued by the human being behind the legend - I had posters of Marilyn on my wall from the age of 10! - and this exhibition was a real treat.
MAN RAY: PORTRAITS is a fascinating exhibition.
Together with Cecil Beaton, Man Ray has always been one of my favourite photographers. He did not only take photos, he experimented.
He was part of the Dada and Surrealist movements, and was always mixing with writers, architects, composers, artists and other intellectuals especially during his time in New York and Paris.
Of course, he took pictures of his numerous and illustrious friends - Duchamp, Hemingway, Stein, Cocteau, Dali, among others - but it is the images of his muses that have always striked me as positively magical.
His images of the unusual Kiki de Montparnasse - the main muse of 1920s Paris - and the formidable and stunning Lee Miller - who would go on to have an important career as a photographer herself - are unforgettable.
Another muse, Ady Fidelin, would share his life for a while before he met Juliet Browner, the muse and companion of the last thirty-six years of his life.
I have always been wondering about muses.
Each time I go to an exhibition, my mind wanders beyond the images and I start imagining what the relationship between the artist and his muse could be like. And I wonder: What is their bond and how deep is it? What are the mechanics of such a relationship and what does each individual gain from it? How corrupted and alienating is it? This is what made me write I Am a Muse.
I have found a lovely article about muses, entitled SEVEN MUSES OF PARIS. Go and have a read. And the pictures are wonderful, too!
Following up on yesterday's blog about The Casebook of Bryant and May...
Last October during my holidays in Dorset, I came across a great book in a charity shop - I love finding books in charity shops!
It's called The Art of Mystery and Detective stories and was first published in 1977; my edition is 1986.
It is very comprehensive, from the annals of Newgate prison to the "hardboiled Dicks" via the French Roman Policier of the 19th Century, the lady detectives, the American crime fighters... All this sumptuously illustrated!
What a find!
Yesterday, we were off to the Queen Elizabeth Hall at the Southbank Centre to see Meow Meow's Little Match Girl, a cabaret show inspired by Hans Christian Andersen's tale.
I personally loathe musicals (apart from the original movie of My Fair Lady) but I love cabaret (Meow Meow's own strand has been dubbed kamikaze and post-modern cabaret) and hope to be seeing more next year.
Meow Meow is incredibly glamorous and charismatic, with a natural grace and edge without equal. The show is clever, poetic, bawdy, seductive, naughty, poignant, hilarious, teasing and ambitious. It is also much richer and complex than first appears: social and gender issues are buried just under the surface, poking their stubborn heads here and there under a shower of glitter.
The show is full of references too:
Flaming in my head I've had Austrian artist Irene Andessner's works on the Edison light-bulb-covered dancer Milli Stubel, Loie Fuller's experiments with light and shadow, John Donne's A Nocturnal upon St Lucy's Day, Being the Shortest Day, the women of Bratislava that Andersen encountered screaming through the burnt city looking for their lost children, Joan of Arc and the Catherine Wheel, Annie Besant, the Bryant and May match girls who went on strike in 1888, Moira Shearer and The Red Shoes, Jean Renoir's tin soldier, witches at the stake, global warming, "ice" addiction, exploring planets, fragile and naughty pyromaniac children. ...
Meow Meow - real name Melissa Madden Gray, is an incredible individual. Read more about her background and experience in this excellent article HERE.
Southbank is spoiling us in 2013 with an amazing festival, The Rest is Noise, "The Soundtrack of the 20th Century" (SATURDAY 19 JANUARY 2013 - SUNDAY 9 JUNE 2013) The programme is packed-full with events - some of them free and a lot rather affordable. We hope to go to some of them!
I think therefore I write.
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