Quantcast
Channel: HuffPost UK - Athena2 - All Entries (Public)
Viewing all 93645 articles
Browse latest View live

Touring the Globe As 'King Lear', Joseph Marcell Talks 'Fresh Prince', Shakespeare and 'EastEnders'

$
0
0
2014-09-28-JosephMarcellcaptioned1.jpg

Shakespeare wasn't kidding when he wrote "all the world's a stage."

The Shakespeare's Globe Theatre current production of King Lear hits New York University's Skirball Center for the Performing Arts for 14 performances starting September 30 through October 12.

This New York run is part of a US swing of a tour that began in the spring of 2013 with stops throughout the UK, Europe and Asia with several month breaks in between, and wraps Dec. 1 in Napa, California, not before they hit a dozen major American cities.

"It's the longest show I've been in," says Joseph Marcell, playing the title role, in a phone call from his Philadelphia hotel. The tour also stopped for four performances in his native St. Lucia, which the 67-year-old actor left with his family at the age of 8 for England. He wouldn't call those Caribbean performances a "homecoming," although he had many friends in the audience, because he's been a "wanderer."

No doubt Marcell, despite working steadily as an actor on the stage, film and television since the early 1970s, is best known for playing the droll, proper British butler Geoffrey in the American sitcom Fresh Prince of Bel-Air (1990-1996).

After six years on the popular show, Marcell became one of the most envied British actors to cross the Atlantic. "It opened the door for them all," Marcell comments cheekily. However, he admits to the Walford Gazette that he was quite lonesome during that period when Tinseltown did not have the expat support system that exists today, such as the 'BritsInLA' social club.

"The hardest part was the weekends. I'd sit in my apartment in Studio City and wonder, 'What am I going to do for my Sunday lunch?'"

Marcell feels fortunate his time in Hollywood was two decades before the emergence of social media and TMZ, but even then the producers alerted the actors of "the cultural pitfalls, such as being at the wrong places, showing off" and the expected "decorum." There was also an understanding that "the audience was our bread and butter."

It took a while for his fellow sitcom actors to reach the conclusion "this guy is cool," and he says Smith was "a generous man" about their scenes together. "It really was a pleasure working with Will. The straight guy is so uncelebrated. It's the heart of the job."

2014-09-28-geoffreywill.jpg

It was on the Fresh Prince set that Marcell learned "a look was much better than a word."

Asked whether his Geoffrey was influenced by John Gielgud's Hobson in the 1981 Dudley Moore film Arthur, Marcell says he was "certainly influenced" by that performance, as well as Mr Belvedere, the American sitcom that ran 1985-1990, and Admirable Crichton, the classic butler play written by J. M. Barrie in 1902, the same year it was first staged in London, which is home to Marcell these days when he's not on the road.

But despite those actors who came before him in such an archetypal role, Marcell points out, "You need to find a way to make it your own," much in the same way he approaches Shakespearean roles. I point out that both Frank Langella and John Lithgow have also played Lear on New York stages since January.

"All the silver foxes are out," he quips, adding that he wouldn't go see any of them while he is in the midst of such a tour. "My mistakes, my mistakes only."

In the same way Fresh Prince was "very stringently rehearsed," his current eight-person Globe troupe "rehearses all the time. We don't sit back and say it's done. It's very technical on how every line is presented. It's up intonation, not down. The thing is always fresh."

Marcell is no stranger to Shakespeare. Trained at the Central School of Speech and Drama in London, he also attended the University of Sheffield in Yorkshire, England. As a student he was in Julius Caesar, and that play was also his first professional job as a member of the Royal Shakespeare Company. He serves on the Globe's board, and he previously starred as Leonato in its production of Much Ado About Nothing in 2011, and in its Coriolanus in 2006.

It's been interesting for Marcell to see the cultural differences where the current production takes them. "Turkey and Romania couldn't understand how Lear's daughters could have treated him so bad. Denmark loved it from beginning to end. Austria lapped it up."

Following his Fresh Prince experience, Marcell yearned to get back to theatre. "After six years, I didn't want to do another [American] sitcom," although he did act in 26 episodes of the American soap the Bold and the Beautiful, produced in Los Angeles.

Speaking of soaps, Marcell's CV also includes two stints on EastEnders. He was interviewed by a Walford Gazette writer in 1996.

"I remember the Walford Gazette," laughs Marcell, who's chuffed to learn that his second EE tenure hasn't yet played on US public TV stations, even though it ran on BBC1 in 2006. His EastEnders character Aubrey Valentine, was once a member of a band called 'The Five Hectors', along with Patrick Trueman, played by Rudolph Walker, an interviewee of the Gazette . Aubrey makes a play for Patrick's wife Yolande.

At the time, it was something of a reunion for Marcell and Walker, both whom appeared in Empire Road, which was the first the British television series in 1978 to be "acted written, produced and directed by a non-white organisation." Marcell aspired to follow in Walker's thespian footsteps, taking pride that he was also of Caribbean descent.

A Trinidad native, Walker's first professional role in 1966 was starring in the title role of Othello, and he won great notices for his roles in The Tempest, Macbeth and Romeo & Juliet, at the Young Vic, among other respected theatres.

"Every actor wants what [Walker] accomplished," Marcell says. While EastEnders gave Walker fame over the past 13 years much in the same way Fresh Prince did for him, I had to break the news to Marcell that Patrick Trueman just had a stroke.

But that's show business for you.

Accessible Festivals: Reading 2014

$
0
0
2014-09-28-ReadingFestivallightshowsmall.jpg

I love music. I always have. I remember singing lyrics to songs age 3. Music reminds me of past times, it's part of my identity and it brings me close to other music lovers.


This year wasn't my first music festival or my first time at Reading. However it was the first time I could really share the full festival experience and highlight how amazing these events are for everyone.


I hope you enjoy the video report we made for you:




As you can see, disabled people are provided with many facilities, services and support from amazing people. As a wheelchair user I benefitted from the accessible toilets and raised viewing platforms. This meant I could see the bands, but still be a part of the electric atmosphere.


I was in awe of the 'signers' interpreting the lyrics from 12 of the main acts. A few times I caught myself watching them more than the bands.


Amongst my drinking and singing, I managed to get some additional bonus features for you. I grabbed interviews with Louise (the disability coordinator from Festival Republic), Jacob from Attitude is Everything, and Mohawk, a festival-goer.




Of course, there are still improvements Reading, and indeed other festivals need to implement. The bumpy/muddy ground is tricky and camping can be hard. Only by feeding back our ideas can these improvements be made.


So I'd recommend anyone to go to these types of events, enjoy them, show the world disabled people rock out too, and share your thoughts nicely to these open-minded organisers.



Martyn

Tweets @martynsibley
World Changer @ www.martynsibley.com
Co Founder @ www.disabilityhorizons.com
Social Media Man @ sma.sunnierdays.co.uk
Healthy Goodness @ www.todaherbal.co.uk

You've Either Got or You Haven't Got Style

$
0
0
As the latest incarnation (the twelfth) of Doctor Who, Peter Capaldi seems to have divided opinion. Some find him too grumpy. Some reckon he's too old. Some don't consider him attractive enough. Some wonder why he can't be a bit jokier. Some even wish that he could have been a she.

Those viewers wanting a sex change in their TV favourites won't have been disappointed if they'd tuned into BBC 1 last Thursday (September 24) evening at 8pm. They would have witnessed the latest incarnation of another man also rather fond of a frock coat. Yes, Lawrence Llewelyn-Bowen has had quite the makeover.

In case you're wondering about the hair, the good news is that it's all still there. Now, however, it's bleached blonde and big. It was always big, wasn't it? Only this time round, it's Barbarella big. As for his wardrobe. Well, let's just say it's nice that, after all these years, Liberace's dresser is still in gainful employment.

But it isn't only Larry who has been regenerated for a new age, so too has the whole Changing Rooms concept. The same, but not quite the same, if you know what I mean. It's amazing what a quick lick of paint and a few gallons of Elnett can do.

Your Home In Their Hands has the strutting, pouting, preening Celia Sawyer as its host. Hostess might be more to the point as on first appearance, she looks as if she might show you to your table in a Las Vegas strip club.

From Four Rooms fame, she's now downsized to three.

I'll briefly explain the format. Every week, two couples hand over the keys to their suburban palaces. A pair of amateur interior designers, and boy! do I mean amateur, are each given a room to transform.

After two days, the owners of said palaces return to pass judgement. The designers then come together to work on a third room, normally the lounge/diner. Three days later, the owners again return to deliver their verdict. On the evidence of the designs thus far, it's guilty and the death penalty would be too lenient a sentence.

All the while, Celia is on hand to critique. Apparently, she is qualified to do this because she is an interior design guru, having done up the houses of the rich and famous for over a decade. Who knew Stevie Wonder had that many homes.

Episode 1 saw Kelly and Andy from Harefield wanting to revamp their bathroom, bedroom and lounge. Andy not wishing for anything too va va vroom preferred white, cream and beige. If only the Kelly he was married to was Kelly Hoppen, they'd have been no need for the agony he was about to be put through.

Their designers were Nick - a visual merchandiser ( OK, window dresser) - and Kirsty, who was something to do with the theatre and looked like Zandra Rhodes on acid.

Nick's bathroom just about passed muster, as long as you didn't mind the two words that came into your head every time you went to the toilet being 'Easy Jet'. The predominance of orange was a tad blinding. All the same, Kelly and Andy seemed to like it.

This couldn't be said for their bedroom, which Kirsty had renewed to the best of her ability- tricky when you haven't actually got any. She described her style as maximist opulence with a hint of fairy land thrown in for good measure. Andy's horrified face simply said: "Pass me the magnolia".

When it came to the lounge, Nick and Kirsty joined forces in an uneasy alliance. Let's be honest, it was the decorative equivalent of Obama and al-Assad.

With each brightly coloured species of bird that Kirsty produced from her ever expanding wooden menagerie, Nick rolled his eyes and suggested that she concentrate on what she was good at, which was sewing.
.
Obviously, the end result was a nightmare, a recurring nightmare from which poor Kelly and Andy may never wake.

Over in Portsmouth, things were going little better for Yvonne and Dan. Unluckily for them, the two designers they got lumbered with were Janet, a boutique hotel owner who loved to upscale old tat
(turning it into new tat) and Anjou, a woman who described her style as Austin Powers in a tropical location. Yeah, but no, baby.

Yvonne and Dan had every reason to be terrified. And who could blame them? As they sat by the sea trying to reassure each other, Anjou was inflicting intolerable acts of cruelty on their kitchen in the form of luminous yellow units, a stripy floor and a myriad of mismatched tiles.

In the bedroom, Janet was turning it into a Parisian prostitute's boudoir. I'm not suggesting this is a style Dan was familiar with, but he was totally bowled over by it. This success and the fact that Anjou's kitchen made Yvonne cry gave Janet carte blanche to completely take over when they had to work their "magic" in the lounge.

Having had one too many of her ideas shot down in flames, Anjou surrendered and ceded all control to the panzer division that was Janet.

Much to my surprise and Celia's no doubt, Yvonne and Dan adored the lounge, proclaiming they wouldn't change a thing. Must have been the fake piano radiator cover which swung it.

Anjou's closing comment that her creative rival was rather like a dictator certainly got me thinking. What would The Berghof have ended up like if only Janet had been responsible for its decoration?

Of course, everything about this show is as appalling as the taste of the participants. By all rights, it should be on Living. It's formulaic, it's lazy programming, it's even lazier commissioning, it's badly presented, it's dreadfully scripted and, worst of all, it's a complete waste of licence payer's money.

Personally though, I can't wait for the next episode. In the meantime, has anyone got Anjou's number? We've just bought a place that badly needs doing up.

The X Factor 2014 Bootcamp Show Three

$
0
0
We have reached the final countdown of bootcamp 2014. What a nervy and exhausting weekend....and that's just me. Last night, Team Midas lost Geoff Mull but Ben Haenow gave us a truly memorable audition.

Sunday night and Simon continued to choose for his category, keeping us hanging on after Jay James had been promised a seat on Saturday's show. Let the fun (really Dean) and games commence.

After a bit of deliberation Simon sent home Kisela, with two singers to go and no available seats can Fleur pull it out of the bag? It was a different start to her audition, (wonder where she got those glasses) and OK vocal, nothing special but good enough. Cheryl said she has, "got something" and Simon said it was her, "best performance". Simon gave her seat and to Cheryl's delight, the heavens opened and he sent home Raign.

Last act to perform was Helen Fulthorpe. With her kids watching in the audience, she gave it everything and more. She even made Mel B cry. With the audience screaming to give her a seat, Simon agreed and right at the death, another dream is about to be dashed. Just not Ben please.

Simon firstly picked Lizzy but them changed his mind and swapped her with Janet. You could cut the tension with a knife.

His final selection off to judges houses are Team Midas' Ben Haenow, Jay, Helen, Stevi, Lizzy and Fleur.

Last up is Louis and the Groups...come on Only The Young.

First up was 15 year old twins The Brooks. Again because of their age, if the get a chair, they are off to judges houses. They look great, good singers and young enough to work with. Cheryl said they were, "adorable". Louis agreed and gave them a seat. Pack your bags lads.

The biggest boy band in X Factor history were next, created at bootcamp the lads were given a lifeline. Singing 'Run' it understandably started rusty but gained momentum very quickly, bearing in mind they had only rehearsed for 24 hours. They did a fantastic job. If this moulds, this could be huge. I mean massive. Mel B loved them, Cheryl said they were, "fresh" and "exciting" and Simon said they were, one of the, "best bands" ever. Easy seat. Well done.

The female Jedward aka Blonde Electric got a seat after a very mediocre version of 'I love rock and roll'. You know Louis will love them and he does. One more seat taken.

In a huge shock the Pow Pow Girls were sent home. The crowd started booing shouting, "Bring them back" Simon even said to Louis, "sometimes you have got to listen to what the audience are saying" and after more booing, Louis decided to bring them back.

After all that chaos, it was nice to hear Overload's brilliant audition. Again, they have a very cool vibe to them and got a seat. Cheryl said, "you could have sang the yellow pages and they (the audience) wouldn't have cared"

The new bootcamp girl band, that included two friends of mine, Team Midas' Voice act Amelia and Abi. They gave it their best shot, again with more time together, there could be something special here. I really like them. Louis agreed and gave them a seat.

I'm getting tense now, this is going to the wire.

Five piece boyband Concept came out fighting and Louis gave them a seat, telling Blonde Electric it was game over. But after saying to Simon that he had, "lost the fun" Blonde Electric were brought back and the new girl band were sent home. Are you keeping up? Blimey.

Team Midas' Only The Young did a fantastic version of '9 to 5'. They look and sound great, a complete ready made package. Mel B gave them a standing ovation. In my professional opinion they could hit the studio tomorrow and record you a top 10 album. Three words, ones to watch.

Then chaos insued when Louis gave OTY a seat but sent home audience favourites Overload. Mel B said to Cheryl, "I though he was going to say Pow Pow (girls)" This was all getting ugly and the crowd weren't happy. I thinks Simon even used the word, "riot"

After much confusion and Overload saying they wanted to, "battle" for their place. Louis said the last place would be a sing off between Pow Pow vs Overload. After Cheryl intervened the new girl band joined the battle.

After three great performances, Louis saved....the new girl band. What a pantomime.

The groups going to judges houses with Louis are: Only The Young, Concept, The Brooks, New boy band, New girl band and Blonde Electric.

After three exhausting days, that is it. Just 24 remain and Team Midas are proud to have three of them.

Right, I'm off to get some sleep...see you next week

Chasing Shadows on DVD - A Chat With Alex Kingston

$
0
0
I'm really bored of serial killer thrillers. If you'll excuse the pun, I think they've been done to death.

When I found out ITV were releasing a DVD of their new drama series Chasing Shadows, I rolled my eyes (having seen 60 whole seconds of the show the week before).

However, I was curious to give it a look from the start, not least because it stars three of my favourite actors, Alex Kingston, Reece Shearsmith and Noel Clarke.

The saga of Ruth Hattersley (Alex), DS Sean Stone (Reece) and DI Carl Prior (Noel) searching for a missing girl soon hooked me, and 45 minutes later I wanted to catch the second episode.

2014-09-16-CHASING_SHADOWS_EP1_01.jpg


Chasing Shadows DVD out now. ITV Studios Global Entertainment



I asked Alex her thoughts on finding freshness in a well-worn genre.

"Well I don't watch that much television, so I haven't seen too many shows where you've got serial killers being chased after by detectives," she explains one lunchtime in LA.

(I do a good job of disguising the fact I am in awe having spent years loving her work in ER and Dr Who.)

She adds: "It's a genre that's been around forever, and it will continue to be around forever because it's something that the public have an insatiable curiosity for, in the same way that you have endless detective shows or cop shows, lawyer shows, or whatever.

"It just seems to me to be part of our television culture in a way. So what drew me to play the role and do the show was the relationships really."

The dynamic between the three protagonists is fascinating: an alpha male cop, a single mum civil servant and a socially awkward detective. Little wonder Ms Kingston signed up.

"I was intrigued by the relationship between the character of Ruth and the character of Sean," she explains. "And then also having within that the triangle as well... I just felt it was something that I hadn't done before in terms of playing a role."

2014-09-16-CHASING_SHADOWS_EP1_14.JPG


Chasing Shadows DVD out now. ITV Studios Global Entertainment



Ruth Hattersley is not your typical TV crime buster as Alex explains: "She's not a detective, she's a civil servant. She's an analyst with the Missing Persons Bureau; she does a desk job, so she's not somebody who's used to chasing after villains, or anything like that.

"I just thought the idea of creating a department where these two characters are forced to work together - and he (Sean) being somebody who isn't easy working with other people; he has very, very poor social skills - I just thought it would make for something quite interesting, occasionally comic, you know?"

One of Chasing Shadows' greatest selling points is Reece Shearsmith's performance as said socially awkward hero Sean.

2014-09-16-CHASING_SHADOWS_EP1_15.JPG


Chasing Shadows DVD out now. ITV Studios Global Entertainment



"I like Reece's work immensely," enthuses Alex. "I was obsessed when he worked with Mark Gatiss and they did The League of Gentlemen; I was completely obsessed with that show.

"I love what they do and create as writers. And so I just thought this might be really interesting because Reece is going to want to create a character that's sort of quite an oddball. As an actor and a writer himself, he will always try and push as far as he can do within the confines of ITV - the network - and I just thought I'd enjoy working with him in particular."


Of course it doesn't hurt having charismatic writer, director and recent Star Trek veteran Noel Clarke on board either.

"I didn't know Noel before, and that was sort of an added pleasure, because the three of us are very different in personality and obviously in character and also in how we act, and actually I think it was a combination that worked out. It hasn't been disastrous," she laughs. "We actually all got on, despite our differences in personality."

As an actress in LA, Alex could have opted for a project with sun-kissed locations. But she preferred to suffer for her art in Blighty.

"It was gruelling to do. The hours long, and obviously for the sake of the show, the locations chosen weren't necessarily the most comfortable," she laughs. "But I have to say that certainly the work ethic amongst the actors and everything was really good. And despite the difficulties in day-to-day filming, we managed and we got on, so I hope that all of our hard work does pay off."

2014-09-16-CHASING_SHADOWS_EP3_05.jpg


Chasing Shadows DVD out now. ITV Studios Global Entertainment



As Alex has been busy in New York working with Kenneth Branagh on Macbeth, ironically she's still a little in the dark about Chasing Shadows.

"I haven't seen any of it," she laughs. "I just saw the bits and pieces of it when I was having to do ADR, but that was before it had been graded or anything like that, so I don't really have a sense of how it turns out at all."

With thanks to Alex Kingston for help with this blog post.

2014-09-16-ChasingShadows_Packshot_3D.jpg


Chasing Shadows DVD out now. ITV Studios Global Entertainment

Ireland to the iTunes Festival: Magic, Myths and Mary J Blige

$
0
0
When they told me a giant grandmother was towering over the cobbled streets of Limerick in Ireland, I thought they were having me on.

As far as myths and legends go, this one was a humdinger - and I simply had to experience for myself what was going on.

I was overcome with a mixture of emotions upon spying the Granny as she took a giant step around a corner as the crowd gathered shoulder to shoulder beneath her. This magnificent structure was certainly something to behold, and a work of art that kids as young as two were marveling at, as well as OAPs who lined the streets just to watch the spectacle by Royal de Luxe.

I'll be honest my first response was to panic - Imagine the Marshmallow man in Ghostbusters coming towards you - all you wanna do is run. Was it me, or was it the Guinness, I don't know?

But this was a Grandma, and pity the fool who stands and gawps at her too long, you could get crushed by her giant wheelchair.

2014-09-29-photo117use.jpg
One mother of a spectacle - The giant Grandmother
Copyright Sarah Tetteh

2014-09-29-photo218use.jpg
Copyright Sarah Tetteh

2014-09-29-photo39use.jpg
Copyright Sarah Tetteh

2014-09-29-photo44use.jpg
Even Irish TV presenter Laura Whitmore was excited about the Grandmother at the Adidas bash.
Copyright Sarah Tetteh

As I soaked up the incredible atmosphere, it was phenomenal to see that thousands of families came from all over the world to marvel at this magical character of the Granny, who had been dropped from outer space into the potato fields of Limerick.

The half-Gallic/half French Grandmother told a fantasy tale of Oliver Cromwell destroying Ireland; children and their parents in utter turmoil as Ireland's freedom was taken from them.

She is by far the most pampered Gran with over 30 henchmen in red coats preening her mountain of grey wispy hair if one fell out of place.The comical helpers were like the size of Oompa Loompas compared to the giant. They would even put on her reading glasses and help her do the moonwalk backwards.

The Grandma, who has even been known to fart, and take a wee, has been all over the world and the next stop is Australia.

Limerick got the visit as part of its City of Culture program with www.ireland.com.

Steeped in history, this fishing city did not disappoint as I learned about the incredible history between the Catholics and Protestants, from St Mary's church to the enchanting King John's Castle.

Another highlight was visiting the place where the chart-topping band the Cranberries were from.

As we parted with our tour guide there was only one question that remained a mystery.

Why had he not taken us to see a Leprechaun?

'Ah', he replied: 'Leprechaun's only tend to come out when the pubs have closed.'

Gottcha...

2014-09-29-photo53.JPG

Sarah gets the 411 from Mary J Blige
Copyright Apple

Just for parents.

PARTY time - why go outdoors - bring the party to you.

All hail queen of HipHop/soul Mary J Blige who she did not disappoint with her sell-out set at the iTunes festival last week.
She may be rock'n'roll royalty - but all she wanted to do was meet our royalty - Prince Wills and K-Midd.
And lucky Prince George - he can thank me later for the hook up...
She told me backstage: 'It's an honour to be here. I love London, and I can't wait to meet Prince William and Kate. I wanna sing to that baby.'
Well, he'd be in for treat.
Mary brought the house down with a throwback to her hits from her 'history' from the 90s onwards including Real Love, Be Happy , Be Without You and Just Fine, that had the audience on its feet at the Roundhouse in Camden instantly.
Then she took us through her evolution with the haunting Therapy tune, and duet with Sam Smith, Stay With Me.
But it was No More Drama that brought fans to tears with her emotive performance and flawless vocals, that left her so exhausted that her fans filled in most of the lyrics for her next track, her powerful U2 duet One.
In a time when so many legends are letting their fans down vocally; Lauren Hill's show was met with mixed reviews just days earlier, it's great to see Mary is still on point.
If you missed it, don't worry. Families can stream the entire itunes festival including Blondie and Pharrell for free on iphones,and other devices for a short time afterwards - so go get your groove on!


Just for kids


Summer is officially over - but it doesn't mean we still can't have fun with summer fruits to spruce up our kid's dull lunch boxes.
New term equals new snacks! I got this recipe from Netflix which has just introduced kid's faves The Adventures of Tintin and The Magic Roundabout. Enjoy!

Fruit Salad Fun

Ingredients needed: 1 watermelon (you can use a pineapple, kiwi or any other fruit you like)1 star shaped cutter

Step one:

Cut off the skin of the watermelon then divide it into slices

Step Two:Select the cutter and cut out the star shape. Simples!


WITH Halloween around the corner I'm already thinking of crazy costumes to keep the little ones entertained.

I discovered Gambado the other day - which is fun option for kids to burn energy while checking out the indoor ball park and slides while it's getting cold outside.

All their branches from Beckenham to Glasgow are hosting Halloween parties too - so get ready for walking pumpkins and terrifying vampires wall to wall.

Ooh, sends a shiver down my spine already.

Happy costume making!

Plan B Supports the Big Music Project

$
0
0
Rapper, song writer, film director and now charity founder, Plan B is this month supporting the launch of The Big Music Project. The founder of Each One Teach One, Plan B is joining forces with the lottery funded Big Music Project to give more opportunities in the music business to young people across the UK.

The live events are free and an overwhelming number of young people have already registered for the events taking place in London on 4th October, Cardiff on 11th October and Belfast on 18th October. The events kicked off in Glasgow on 21 September. Plan B will be on hand at The Brewery in London to offer advice and support to young people looking to build a career in all aspects of the music industry. Artists such as Ellie Goulding, Eliza Doolittle, Chase & Status and Lawson amongst others will perform. In addition, the events will be packed with big name speakers, first class advice from industry experts, information on work opportunities in the local area, and the chance to find out how this project can make a difference in the local community.

Plan B says "The Big Music Project is all about young people, their love of music and the opportunity to do something positive to change their lives for the better. Across the whole of the UK there are people with skills and talent who don't know where to go next - and it's not easy figuring out how to take an idea you love and make it your reality, your business, and your career. I believe that through The Big Music Project and Each One Teach One we can help young people take big steps towards a big future."

2014-09-29-PlanB2.jpg


The Big Music Project Live events are the precursor to delivering a host of opportunities for 14-24 year old's across the UK in the next twelve months:

The Big Music Project Competition is a BRIT Awards-supported music competition powered by Next BRIT Thing to find and develop musical talent from across the UK. The team will be scouring Belfast, Glasgow, Gateshead, Leeds, Manchester, Liverpool, Leicester, Birmingham, Cardiff, Bristol, Portsmouth and London for the best of British talent. Young finalists will come to The O2 in London for a UK-wide national final in the week of The BRIT Awards 2015.

Running alongside, a new careers initiative "On Track" offering at least 250 work placements, ranging from short term volunteer opportunities to year-long paid internships across the country will shortly be in place, as will the creation of a BRIT School Toolkit for UK Youth Champions to help develop music initiatives in their own communities. The material has been developed from BRIT School content, fully accredited and branded accordingly. In total some 11,000 young people will benefit directly through this part of the programme.

Although The Big Music Project is funded by The National Lottery, the driving force behind it comes from a collaboration between Global (the home of Capital FM and Heart radio) and the BPI which is behind the BRITS. October sees a busy month for Global as it was last week revealed that it's own music charity, Make Some Noise, is to release a classical single on 10th October.

Tickets to The Brewery on 4th October can be purchased here:
www.thebigmusicproject.co.uk

Interview with NY Times Bestselling Author: Leigh Bardugo

$
0
0
Sometimes when you read a book, you are not only transported into another world, but swaddled in the atmosphere, setting and lives of the characters you are introduced to. The world the novel encompasses you in is no longer a two-dimensional sphere on a page, but a tangible place that you can imagine without even closing your eyes. The book is an escape. A source of magic, of inspiration. New York Times bestselling author, Leigh Bardugo, has written three of these kind of books. Having already inspired artwork, fashion designs and a dedicated tribe of fans (The Grisha Army), Bardugo's epic tale of love, loss and all-out war has left readers and YA book bloggers everywhere in a state of post-trilogy stupor. The Grisha Trilogy, consisting of three books Shadow&Bone, Siege&Storm and Ruin&Rising has also left a strong impression upon me, as an aspiring author, and made me eager to find out more about Leigh, and why she decided to write the trilogy in the first place.

1) How did you find inspiration to write The Grisha Trilogy?

The idea for the trilogy really began with a question: what if darkness was a place? That idea led to a lot of other questions: what if the monsters that you imagine there were real and you had to fight them on their territory? What kind of power would it take to create such a place? What kind of power would it take to destroy it? And all of those ideas contributed to the creation of the Shadow Fold and everything else really arose from that initial inspiration. But I think there is a myth about books; that they come from a single idea, when in truth writing a novel doesn't require a single moment of inspiration it requires daily inspiration.


2) What is the best and worst thing about The Grisha Trilogy being a fandom?

Honestly, the best thing about it is that I get to see the enthusiasm of readers expressed in fan mixes, playlists, and edits and art. I get to see them connect with one another and see them share their enthusiasm for the books. The worst thing about it is when conflicts arise in that fandom, and I see people being unkind to each other over something I created.


3) Do you tend to form characters or a plot first?

It is really impossible for me to pull those two things apart.


4) Is it more fun creating villains or heroes? (I.e the Darkling or Mal/Alina?)

My villains are my heroes - they are just part of a different narrative: every character is a pleasure to create. Some are easier than others and some speak with louder voices, but once I get to know them I treasure them all.

You can buy the Trilogy here: http://www.leighbardugo.com/books/

You can view my review of Shadow&Bone and Siege&Storm here: http://delightfulbookreviews.blogspot.co.uk/2013/10/shadow-and-bone-siege-and-storm-by.html

You can enter the giveaway of the whole trilogy here, on my blog: http://delightfulbookreviews.blogspot.co.uk/2014/09/interview-with-leigh-bardugo-giveaway.html

Review: 'Teh Internet Is Serious Business', Royal Court Theatre

$
0
0
2014-09-30-RCTtehinternetprod2014JP00750.jpg


Teh Internet is Serious Business (typo deliberate) at the Royal Court is a really exciting, dynamic production about collaborative hacktivism. Anonymous, LulzSec and 4Chan are all included in this show that blurs fact with fiction as it seeks to reflect the good and the sinister about lives lived online.

The writing from Tim Price focuses on Mustafa and Jake, (based on real-life former Anonymous hackers Mustafa Al-Bassam and Jake Davis) two young boys living in different parts of the UK. Each is struggling with meaningful connection in their real lives but find excitement and alliances online as they become deeply involved in the headline-grabbing collectives Anonymous and LulzSec.

Initially the adventures are electric and the party-like atmosphere and crazy avatars of life online are vividly brought to life with surreal but superb direction from Hamish Pire and a vivid production design from Chloe Lamford.

A Socially Awkward Penguin parties with Advicedog and Grumpy Cat in a giant plastic ball pit. A Condescending Willy Wonka appears with patronising comments before immediately vanishing. 16 year-old Harajuku girls play on scooters and suck on lollipops before quickly rattling off extended and intricate sequences of computer code.

Mustafa and Jake are like modern Dorothys as they stumble wide-eyed through this colourful, crazy landscape where the freedom and excitement is an intoxicating lure away from their drab, distressing and grim lives in the real world.

2014-09-30-RCTtehinternetprod2014JP01733.jpg

The party online is "endless lols." Crashing government websites, hacking confidential information for giant data dumps that anyone can access and going head-on with organisations obsessed with control such as the Scientologists and Westboro Baptist Church.

The pace of the play is frenetic and the febrile atmosphere is supported with some excellent use of song and dance. Tunes such as "I Use the Same Password" are hilarious yet poke fun at the stupidity in all of us who aren't computer geniuses and use the same password again and again, thinking that we're safe. (Mental note: change password).

Then a cast of cheerleaders will suddenly appear as huge lines of code are being created, moving in contemporary dance choreography as the characters spout endlessly about closed brackets and open brackets, making the banal seem sensual, emotive, and lending code with a certain kind of beauty all of its own.

But Teh Internet does not ignore its dark side - and I don't just mean the Sad Stromtrooper avatar that mopes around the stage. Trolling the Facebook page of a schoolgirl who dies and the demands for girls online to prove their gender by posting date-stamped pictures of their breasts hint at the sinister side of unchecked human behaviour.

But as the competition ferments amongst the hacktivists, the targets become bigger and the stakes, of course, get higher as the authorities start to pull back the masks of the hackers and close in on them.

2014-09-30-RCTtehinternetprod2014JP05625.jpg

However it seems the play isn't for everyone. Two people walked out during the evening I was watching - one in the first half, one in the second. If your preference is for plays with deep character development, linear narrative and simplistic staging, this isn't the play for you. Teh Internet is Serious Business is garish and the chaos on stage is a deliberate dramatization of the lack of rules, even the mess, online.

The production is so high energy that it almost inevitably loses steam in the final section and the last 30 minutes does drag on a bit. You feel a little numb from all the insanity and the lack of investment in the main characters means that the personal stakes for the hackers don't really feel pressing. 15 minutes could easily have been chopped from the play's 2h35min running time without impacting the message and would have sharpened up the finale.

Nevertheless I'm not as critical of this as a few of the audience members I heard muttering. If you're going to produce a show this eccentric, this bold, you've got to commit to it and this play goes hell for leather in creating such a mad, bad and electric landscape.

I loved Teh Internet for its boldness and its insight, though I did go home straight after and start diversifying my passwords.

The real-life Mustafa and Jake recently joined two other former Anonymous hackers on the Royal Court for an in-conversation event, the first time they have appeared together since their convictions for hacking. The conversation was an eye-opening one and you can see the recording of this on the Royal Court website.

Royal Court Theatre, London to October 25, 2014

Image credits:

All pictures by Johan Persson

1. Yuyu Rau (Anonymous), Natalie Dew (Anxiety Cat), Sargon Yelda (Anonymous), Amir Giles (Anonymous), Ferdinand Kingsley (Anonymous), Kae Alexander (Kayla), Sarah Goulding (Anonymous), Nathaniel Martello-White (Anonymous), Faith Prendergast (Anonymous), Lanre Malaolu (Anonymous)

2. Kerr Logan (pwnsauce), Ferdinand Kingsley (Tuxedo), Sargon Yelda (Anon), Eileen Walsh (Narcotroll), Kevin Guthrie (Jake)

3. Hamza Jeetooa (Mustafa), Nathaniel Martello-White (Sabu), Natalie Dew (AV Unit), Kae Alexander (Kayla), Kerr Logan (Pwnsauce), Kevin Guthrie (Jake)

Where We Are; One Direction's Epic Journey

$
0
0
2014-09-29-noa1d.jpg


Can you hear the Beatlemaniaic screams of thousands of teenage girls?

Liam Payne, Harry Styles, Zayn Malik, Niall Horan and Louis Tomlinson are back with Where We Are, a new film documenting One Direction's sold out concert in Milan's San Siro stadium. Released on the

The 75 minutes epic features the band's catchy tunes, a never before seen interview and exclusive backstage tour footage, all in true high definition and a 5:1 surround sound; "an epic event for Directioners".

Behind the anticipated movie, stands acclaimed director Paul Dugdale whose diverse credits include The Prodigy, The Rolling Stones, Coldplay, Emeli Sande, David Guetta, BBC Radio 1 and Adele among others. A prolific creative with an unrivalled ability to fuse mesmerizing visuals with engaging sounds, to a striking, long lasting effect.

"The music is everything to a performance based film" explains the manicly busy director, "every decision we make in capturing the performance of each song is dictated by the music and the emotion we want to help evoke or complement"

I talk to Grammy nominated director, editor and photographer about the demanding art of documenting a live show, Spurlock's This Is Us and working with the biggest band in the world today. I start by asking what effect the film's guaranteed audience of millions, has on the filmmaker.

Q Does the film's guaranteed global audience come as a blessing or just added pressure?

A I feel confident in the film we made so its certainly not a pressure. If you're any sort of artist you strive for your creation to be seen or heard so that it touches as many people as possible in some way or another. I feel very lucky to be able to create films that will have this size of viewership. With this project it was a huge motivator knowing we were going to reach out to millions of people and all around the world. Thats a huge buzz and certainly adds buoyancy to a project knowing it will be watched by so many.

Q You have not just worked with big names
but also won great the appreciation of your piers, is this as all important to you?


A Lovely yes, but 'important' no. I take great pride in my work and strive to maintain a high level of quality control. If a peer of mine likes a piece of work then I would feel proud, and of course it would be a huge complement but its the audience at home or in the cinema who is most important.

Q Morgan Spurlock's This Is Us, sadly got a bashing from critics, termed by one viewer as"..an hour and a half commercial for One Direction..". I wonder if you approached Where We Are as a documentary?

A There was never an intention from the band or production company Fulwell 73 to make 'This Is Us Part 2'... This was always going to be solely a concert film. They are at the top of their game and even since we shot the concert scenes for This Is Us, their performances have developed a lot. You can really see and hear the difference and they look completely at home on a stadium stage so it seemed appropriate to capture the moment on their first stadium tour. It was a storming gig and the audience reaction reflects that.


Q Is it hard to make a film of this nature without it looking like a long commercial for the artist?


A Labelling This Is Us as 'an hour and a half commercial for the band' is simply lazy. Artists sell records- they have a product. Its inherent that a film like that advertises the artist and consequently the product that they have been made famous for. Its essentially stating the obvious.

Every music video is a commercial in some way- its unavoidable. It's whether its entertaining, innovative and informing for people thats important. If you're judging This Is Us on whether its specifically a good documentary then thats is a different question. Whilst there might not be any earth shattering revelations in that movie that some critics seemed to have sought, one has to take into account the target audience. Its an honest portrait of life on the road for the boys and I think Morgan and the team did a fantastic job in capturing that. For me that film's success is reflected in how the fans received it which was incredible-. It ticked the right boxes which, for that specific project, was perfect.

Q How involved are you with the editing?

A I am in the edit every single day. Its a key part of the process for me in realising my vision and how we represent each song. I work really closely with some incredibly talented editors who really know how to get the most out of the footage. I love the process and putting the jigsaw puzzle together. What's fun is that with this jigsaw you can dictate the picture yourself, and if you get it right its so much greater than the sum of its parts.

Q Are the boys as sweet as they seem?

A They're great to work with. This film in particular required us getting cameras really close to the guys on stage which for some artists can be distracting. We wanted the audience to feel as though they could reach out and touch the band. Some artists would never allow that, or feel comfortable with performing with cameras so close. The guys were completely cool with it. They understood our intentions and how it would make a difference and the film is so much stronger as a result. Trust between an artist and director is really important and I'm so glad they had that.

Q Commenting on boy bands, Robbie Williams has jokingly said that he can probably predict the 'fate'
each band member (one would make it big as a solo artist..)


A Haha, I think Mr Williams has more ideas than me.

Artists Over 50: The Rise of Second Half Creativity

$
0
0
By the end of the year, there will have been three major exhibitions in Great Britain devoted to the work of artists at the end of their careers - Matisse, Turner and Rembrandt. Yet it wasn't until the middle of the 20th Century, that late life creativity was considered a possibility. We were considered old by the time we were 50 and decrepit and in serious decline by the time we reached 65.

We now debate could 50 be the new 30? 80 the new 50? 90 the new 60? Today people's experience of ageing differs as much as their experiences with adolescence. We have parents and friends who are 80 and older who are active, healthy, engaged with their community, discovering new hobbies, and who are redefining what it means to grow older. We also know 80 year olds who count the hours of each day, with nothing to live for, hoping their next breath will be their last.

You don't have to be creative with a capital "C" to keep your brain healthy and vital. There are many forms of creativity. Writing, cooking, learning a new language or dance routine, making a new friend, volunteering and helping others are all ways to exert a bit of mind bending thinking and doing. It's a great way to enlist the parts of the brain that can benefit from a mental workout. It has been proven, the more diverse an older person's social network, the greater the resistance to infection and disease, and the less the cognitive decline.

The Second Half Centre, a modern day community centre dedicated to improving the lives of all older people, will be hosting The Second Half Career Art Exhibition and Sale. The exhibition is an exciting and inspirational story of transformation and rediscovery of seven artists who all discovered the love of their craft over 50. This talented group is a wonderful example that hopefully will provide inspiration for people who are searching for new ways to develop in the second half of their life.

The government and the NHS have been working hard to promote the importance of tackling social isolation and loneliness to improve older people's well-being and quality of life. Increasing older peoples' participation in society has been a major component of recent UK government policies. Creating community hubs where older people from all social economic backgrounds can come to meet new people, pursue new hobbies, continue to learn, exercise and do all the things needed to make the second half of their life as meaningful as the first half, must become an integral part of the strategy and services the government delivers to our ageing population.

The Second Half Art Exhibition and Sale will be held on Thursday, October 2nd 630-830 by invitation only; Friday, October 3rd 11m to 6 pm, and Saturday morning from 10 am to 1 pm. The Second Half Centre is located in St Charles Hospital, Exmoor Street, London W10 6DZ. This event has been sponsored by The Second Half Foundation (Reg 1141988). All profits go to fund the work of the Second Half Centre. All artwork is for sale. Only cheques and cash accepted.

For more information, please look at our websites:www.thesecondhalffoundation.com; www.thesecondhalfcentre.com

Music and the Arts Should Not Be Relegated in Our Children's Lives

$
0
0
On Tuesday, Nicky Morgan, the newly appointed secretary of state, will outline her vision for education. I'm eager to hear her speech, as I am keen to learn how she plans to tackle the squeeze on music and other arts in children's education.

Earlier this year, I began to investigate the state of music education, filming my experiences for a TV series, Don't Stop the Music, broadcast on Channel 4. I was pretty shocked to discover that while music is fantastic in some schools, it's in a parlous state in others. In a school I worked with in Basildon, for instance, there was little in the way of music lessons, barely any instruments, and no music budget. And the Basildon school is not alone.

I've spoken to key voices across the sector - the voices of musicians, teachers, head teachers, educationalists and the wider music community. It's clear that concerns have been raised for some time.

Three years ago the Government came up with the National Plan for Music Education, and in it declared: "Children from all backgrounds and every part of England should have the opportunity to learn a musical instrument."

But every child is not getting this opportunity. Whilst some schools are doing excellent work, music education remains a lottery. A recent report from the exam board of the Royal Schools of Music (ABRSM) showed that while there have been advances, 1.4million children in the UK aged 5-17 have never played a musical instrument. And of the children from more disadvantaged backgrounds who have never played an instrument, 40% said they had no opportunity to learn at school.

For decades politicians have put education at the top of the agenda. But we seem to have ended up with a target and league-table based system, and a too-narrow focus. Head teachers are under tremendous pressure to ensure that targets around literacy and numeracy are met. Yet the Government says the national curriculum is broad and balanced - but is this true in practice? From what I've seen, creativity in the curriculum is being squeezed hard.

Just last week Mike Cladingbowl, Ofsted's director for schools, said that whilst there was an obvious need to focus on English and Maths, this should not be at the expense of other subjects. And he wants to investigate whether they've got the balance right between those core subjects and others such as music and art. But this needs support from the very top - and I hope to hear it in Nicky Morgan's speech today.

Talking to voices across the sector, it's clear that several issues have contributed to music education's current problems. And it's also clear that a committed, multi-faceted approach to tackling them is needed.

It's essential, for instance, that teachers are adequately trained in music education and feel confident to teach it effectively.

Funding is also key. Whilst it's great that the government recently announced an extra £18million for music education, this still falls far short of what is needed - short term solutions won't help address the real problems. We need guaranteed, sustained funding beyond 2016, for at least the length of the National Plan for Music Education - which runs until 2020.

In Basildon, I was able to help with resources and support to teach Year 5 pupils to play instruments - instruments I managed to pull together through a local 'instrument amnesty', an initiative I decided to roll out across the UK. The results in just one term in Basildon were inspiring: not only did children enjoy learning to play, it boosted their confidence and for some even improved results in other key subjects.

This is no surprise when you consider that study after study have demonstrated the positive knock-on effects of a good music education for subjects like literacy and numeracy, and a host of other outcomes.

We need to make sure that every child, whatever their background, gets a good music education at school. Spurred on by my experiences and what I've learnt from the sector, I've started a campaign, and a petition calling on education secretary Nicky Morgan to deliver on the Government's promise set out in the National Plan for Music Education, to give every child a good music education and the opportunity to learn an instrument.

In just a couple of weeks nearly 70,000 people have already signed up. We want to work jointly with the sector to build on their good work, galvanise the public and help improve music education for all.

Please join us and sign my petition at dontstopthemusic.co.uk/add-my-name or follow on Twitter on #dontstopthemusic

The Rise of Like

$
0
0
I recently shot a music video for a song called War of Words by the very talented Ella on the Run. If you like catchy electro, check out Ella's earlier track, Golden Boys.

Ella on the Run - Golden Boys

During a packed day of filming I realised that I've come down with a serious affliction: I'm a 'liker'. Likers are people who use the word 'like' in a variety of ways that have nothing to do with a comparison or expressing a fondness for something. I had that Matrix moment of self-awareness when I heard myself saying the words, "I was like, you can't do that."

In this instance I'd replaced the perfectly satisfactory word 'said', with the words 'was like'. Once I'd realised that I was a liker, I caught myself using like in place of a pause. Instead of the dreaded 'er' I was subbing in the equally unattractive like. I found I was also using like as an unnecessary additional word, "So we went to the pub and there was like this guy who had no trousers on." There wasn't like this guy, there was just a guy.

Growing up in North West London, I was often mocked for being moderately well spoken. I don't think I was a defender of the Queen's English, but I certainly never used like as some sort of linguistic condiment, to be sprinkled liberally over every sentence. I wondered when I'd been struck by the affliction and just how far like has spread.

The news isn't good. Like has spread everywhere. Chances are you know a liker. You're probably no more than ten feet from one right now. You could well be a liker yourself. A quick, unscientific straw poll of half-a-dozen friends revealed only one non-liker; my UK manager, who has no time for superfluous words. A movie industry couple are severe likers, using like almost every other word. A well-respected businessman and senior partner in one of the world's largest professional services firms, is a moderate liker. A European musician, who has been living in London less than four years, is another severe liker. Primary school teacher; chronic liker. National journalist; severe liker. If you're a liker, chances are you won't even be aware of it.

Listen to Radio 1 and it's full of likers. Nick Grimshaw is a serious liker. Dev is another big liker. By the way, if you haven't heard his hilarious Strictly fan messaging service for Scott Mills check it out here.

Like is totally mainstream and, because we're deeply impressionable beings, it won't be long before it conquers the nation. None of the people I've spoken to realised they were likers, and most vowed to immediately cure themselves of the affliction. The trouble is it's very hard to undo linguistic programming, particularly when it's taken place without the subject even knowing it.

What really worries me about the rise of like is just how easily it's spread. Language is an expression of thought, and if it's that simple for an unwanted verbal affliction to invade the subconscious of so many people, what other ideas and behaviours might we have caught without realising it?

I'm making a conscious effort to stop mis-liking and am going to try to use the word like properly. For example, I really like this video of Jungle performing live in Bratislava.

Jungle - Live in Bratislava

Of course, that's easy to write. If I was saying it in person it would be like, "I like really like this like video of like Jungle performing like live in like Bratislava."

As Happy as a Pig in Lit? The Dangers of Anthropomorphism in Children's Literature

$
0
0
Trust us, we wish animals could talk more than most people.

As animal lovers and aspiring Doctor Dolittles, we can see the appeal of an anthropomorphic animal kingdom in children's literature. What child isn't going to be fascinated by a talking pig? It's magical, after all. It's also a tried and tested way of selling lots of copies. We can see the appeal, but we can also see the potential pitfalls.

Having a hang-up about the use of anthropomorphism in children's literature is nothing new. But as it's World Vegetarian Day on 1 October, it would seem like a good time to challenge anthropomorphism on the grounds of its impact on animal welfare, particularly for those classified as farm or food animals.

The traditional argument in support of anthropomorphism is that such stories help to increase a child's understanding and empathy for animals.

But.

If humanised portrayals increase a child's empathy for animals - and such portrayals are ubiquitous across children's books, cartoons, films and toys - why do those with a positive attitude towards animals occupy such a marginalised position in society? If we are all exposed to the same anthropomorphic material, more or less, why do so few genuinely care about animal welfare? After all, only 2% of the UK population are vegetarians. Most people wear leather. SeaWorld is still in business.

So.

Why do we treat our best friends from childhood like our worst enemies in adulthood? What's going wrong?

Part of the problem is that many people don't think there is a problem with the way animals are treated. Some maintain that non-human animals have no other function than to feed, entertain and serve human animals. Whereas others are genuinely (or wilfully) ignorant of the appalling conditions upheld in the food industry, believing in the bucolic 'family farm' fairy-tale that children's literature has assisted clever marketing in perpetuating.

The other part of the problem is that anthropomorphism does something very strange to characters in children's books. (Yes, even stranger than a pig doing somersaults and vocalising his thoughts on the nature of nothingness - see Charlotte's Web.) Anthropomorphism has the ability to make animals disappear. The real magic of animals is lost beneath a plethora of banal human characteristics. And how can you appreciate an animal when the animal isn't there?

Much of anthropomorphic children's literature is also guilty of bestowing immortality upon its farm animal characters. And I don't mean the "Welcome to the Literary Canon Annual Dinner, please take your seat between Peter Rabbit and Winnie-the-Pooh" kind of immortality. I mean that pigs do many things in children's literature that they don't do in real life: talk, wear clothes, philosophise. But the most unrealistic of all is that they survive.

SPOILER ALERT!!!

Here are some facts about pigs your childhood reading may have overlooked:

• Pigs on farms do not last very long.
• They are not kept as pets.
• If they were given names, they would recognise and respond to them.
• Pigs are more intelligent than dogs, and they wag their tails when happy.
• Pigs dream and can see in colour.
• They are sociable and prone to powerful emotions.
• Pigs are similar in size to humans.
• Common pig-farming practices include ear notching, tail docking, tooth extraction and castration. Often without anaesthetic.
• Every pig is an individual.

It is this last point that anthropomorphism complicates the most. In children's books such as Charlotte's Web and The Sheep-Pig, not every pig is an individual, only the protagonists. The billion or so offstage pigs remain anonymous, whilst the superiority of the pig protagonist paradoxically reinforces the stereotype of all other pigs being identically greedy, slovenly and stupid.

We are not suggesting that all animal narratives should graduate from the farrowing crate to the factory farm to the slaughterhouse. These are miserable, unnatural places, and they have no place in children's literature. They have no place at all.

But what we are advocating is a more accurate portrayal of animals in children's literature: portrayals like The Unbelievable Top Secret Diary of Pig that celebrate the inherent magic of animals, rather than ventriloquizing and trivialising them.

After all, animals can do some amazing things, and not one of them involves a barbecue.

B.J. Epstein is a senior lecturer in literature and public engagement at the University of East Anglia

Mitch Johnson is a writer and vegan in Norwich

I Was One of the Last Journalists to Speak to Joan Rivers - And She Was as Brilliant as Ever

$
0
0
Joan Rivers was one of those people who seemed like they'd live forever. She'd been doing the rounds for almost six decades - starting out opposite a then-unknown Barbra Streisand playing a lesbian lover. Lesbians and gay men would go on to play a big role in her life, as she would theirs, as she became something of a gay icon.

It was for that status that I came to talk with Joan Rivers some weeks ago. As a journalist for GT (Gay Times) magazine, we were embarking on writing our 30th anniversary issue with the theme of 'gay icons'. An interview with Joan Rivers was top of the list, and with plans to go on a UK tour this October, the opportunity presented itself.

I've been a fan of Joan for years. But weeks before Joan and I came to speak, she had started to make some real waves with her publicity tour. Calling Barack Obama "gay", Michelle a "tranny" and then storming off a TV interview about her new book. As if that wasn't enough, she decided to intervene on the Gaza conflict by insulting some of the victims. Even by Joan Rivers' standards, she was having a controversial summer.

So nerves were aplenty as the interview beckoned. It was 10am in her daughter Melissa's home. Joan's assistant apologises that the queen of mean isn't feeling so well today; she has the flu. As her voice comes to the phone, she's clearly not in great shape, repeatedly clearing her throat.

But she shrugged off her surgery as a "pre-tour facelift". Of course, the reality was to be considerably more serious. But Joan doesn't much like serious, as she quipped when asked about Kristen Stewart suing her over negative remarks, "I just think that a lot of people are losing their humour. I always say, 'if you don't know what I do at this point in my life, then what do you think I do?"

The point she had reached in her life was one totally at ease with herself. As I enquired about her state, Joan refused to say she was at her happiest, "because I'm very superstitious," but said that, more than in a long time, "I'm very happy."

I could tell. She had probably done a hundred interviews in the past month - little did I know this one would come so close to her end - but still she bursts with enthusiasm. Never more so than discussing her 13-year-old grandson, Cooper, who comes running up to his grandma part way through our interview.

"Sorry, excuse me," Joan said as the line became more muffled and she hugged Cooper before he headed for his lacrosse match. "We just got back from a trip together and he [Cooper] said, 'It's so nice because you make people laugh all the time.' Isn't that great!"

Family had always been important to Joan. She married a Cambridge-educated TV producer in the 1980s, Edgar Rosenberg. The story of their marriage, and his eventual suicide, was always of much more interest to me than the powers of her comedy. We all knew that Joan was hilariously funny, but there's a much darker story to her than would always meet the eye.

I asked about that time in her life: "Everything was ruined. Totally ruined. It was like Samson pulling down the temple," she told me, speaking of losing her Fox chat show, and then her husband. "But I was fired because of something he [Edgar] did to Rupert Murdoch, that's why I was fired. It had NOTHING to do with the numbers and ratings," she argues.

She then revealed that, in the weeks after his death, she had considered the same fatal treatment for herself. "Just say it! Suicide?" she responds to my questioning, unsure where the line is in our brutally frank conversation is. "I thought about it for a second. I had the gun on my lap," she answered, before describing the heartbreak of that time.

Discussing her dark past was the only time Joan's trademark rasp faded. I'd wanted to get behind the 'mask' of her eccentric persona, but as I did it felt like a very different Joan.

In the main it wasn't the Joan Rivers we see on TV that answered the phone that morning. She was warm, easy to talk with and hugely professional. There was nothing offensive about her; it felt like talking with my own grandmother. Though, admittedly, I don't tend to ask my own grandmother about her RuPaul's Drag Race and whether she gets horny - both things Joan waxed lyrical about...

Before we finished our conversation, Joan took time to ask about my own background and insisted we meet after her Royal Albert Hall show. Most celebrities couldn't care less for who's talking to them, but Joan had an obvious sense of maternal empathy to her.

Barely enough days had passed from our encounter for the excitement to settle in before the news broke of her serious ill-health. We will never meet at the RAH. But her boundless energy and comedy will live on. And that is priceless.

To read Joan's full interview reflecting on her life in her final days, the October issue of GT is available in WHSmith nationwide from 1 October, or to download from www.gtdigi.co.uk

joan rivers

How to Launch 'The Great Novel'... Or Not?

$
0
0
At the age of 40, having tried what many might call a curious variety of occupations - as an repertory actor, a suited adman and a muddy dairy farmer - I became a 'published author'. I was gobsmacked! A novel I'd submitted as an outline and two chapters, had been accepted by no lesser publisher than William Heinemann; the house who'd counted Henry James and Joseph Conrad, Graham Greene and my own relative John Masefield amongst their famous authors. They liked my writing style, they said, they liked my Edwardian and First War story, Chalkhill Blue. They slapped two thousand quid down on the table - and I was off!

The novel took two years to write and when I finished it was a success - was printed twice in hardback and four more times in paperback for Pan. It sold an option for a TV mini-series and even won a literary award. My new agent was delighted. So was I.

"So do another one," the editor at Heinemann advised, "something similar if you can manage it."
I couldn't actually, or didn't want to. But what I managed was an eighteenth century smuggling story, Brimstone, which also went down well. "So do another one," they said. The third novel, Painted Lady, involved an energetic prostitute in in Regency Brighton. ("Jane Austen below the waist", as one slightly shocked reviewer described it.) The research, as you may imagine, was quite fascinating.

By then, with three books in the bag, my agent was becoming quite excited. She took me out to lunch and suggested it was time for me to write The Great Novel. "We call it break-out," she explained, "and with any luck it'll make us pots of money! Choose a subject and research it, write an outline, and leave the rest to me."

I should have known, I really should, that life is never quite that simple.

But off I went to take a dozen history books out of The London Library and write a lengthy outline for a great big medieval novel, The White Cross - a stirring story of the Third Crusade in which a militant young knight is traumatised by war and a famous hero shown to be a monster. The agent loved it, seized it and went on to auction it for a stupendous sum. Commissioning editors from Simon & Schuster and The Bodley Head bid against each other to push up the price to an eye-watering £70,000! I signed the contract with a shaking hand. They paid me the advance.

The Great Novel was on its way! Or was it?

I laboured long and hard to write the first third of the epic. The editor was very pleased (she called it 'great') and paid me for it on the nail. Encouraged mightily, I laboured on to write another third. The editor was pleased with that as well, and I was paid. But then a little hitch. The Bodley Head was sold to Random House and with it all its authors. "But not to worry," said my editor. 'They love your book, they really do, can't wait to see it finished.'

By then two more years had passed and I'd been paid just over half of the advance. But when the book was finished, another hitch - and this time not so little.

"Random House don't like it," the editor informed me. "It isn't what they want". To say my heart sank to my boots would be the understatement of the century. It went on sinking through the carpet, through the floorboards of her office to embed itself in London clay!

"But you said you liked the first two thirds and paid me for them." (I hope I didn't wail.)

"Well we can only tell you that it's not for Random House," the editor said crisply, "and they won't publish it."

Nor would they, not in any shape or form.

I offered to rewrite the thing. But no one at the publisher's would meet me or discuss the book in any kind detail. It's time had passed. It wasn't The Great Novel after all. The thing The Bodley Head had loved, Random House had little time for and no more cash to spend on. The agent who'd sold it for so much, gave up on it as well. She obtained the rights back for me, then told me in the nicest way, to please get lost. The bubble it was clear had burst, for me and many other authors. Publishers on every side avoided me and my enormous script.

At which point I said, "Sod it! Sod all publishers and agents!" and went off to work instead for a famous and fantastic special needs school near Haywards Heath in Sussex - a place where I felt needed too and was clearly useful. I worked there for another 20 years.

But if you are creative you can't stop creating, and if you are a writer - well, you tend to go on writing. So by the time that I was ready to retire, I'd virtually rewritten my big medieval story, and in a way that I thought worked. It may not have been The Great Novel that my agent was so set on. But I was pleased with it. It resonated with our current problems in the Middle East, it used a second colour in the type - and I knew it was the best thing by a long mile that I had ever written.

So I took it back to my old agent - who refused to read it, wouldn't touch it with a 10-foot barge pole (what would you expect?). I took it back to William Heinemann, now linked ironically to Random House. But they told me that it was "unsuitable for our small and overcrowded list". So I took it to another agent. Then another. Then five more. None of them would read it. At 70 I was too old, they said, had been out of the business for too long. They couldn't think that I would have enough books in me still to be remotely worth their while. Which left me where?

I have heard recently of a desperate American author who hired a 40-foot advertising van, pasted a picture of his book on it and parked it outside an agent's office as a means of focussing her attention. But, come on! How much humiliation can one old writer be expected to endure?

I knew that Mark Twain self-published Huckleberry Finn, that Jane Austen paid for the first print run of Sense and Sensibility, as Beatrix Potter did for Peter Rabbit. So off I went to find someone to help me publish my own lesser work - a new publisher offering a selective self-publishing service and experienced, hands-on advice - someone who could show me how to cut the costs of digitalising all my novels and of selling them through Amazon as paperbacks and ebooks. Someone who'd help me launch my great big medieval novel in just the way I wanted.

So here I am, no longer in the world of generous advances. My book will have to work quite hard to earn its keep. But at least it's out there. Amazon is criticised for undermining bookshops. But if more novels see the light of day and more readers get to read them, that surely has to be a good thing, doesn't it?

Meanwhile, it seems I'm not too old to write another story. I'm busy with it now.
The Great Novel? Well, not if I can help it!

THE WHITE CROSS by Richard Masefield is published by RedDoor Publishing and available on Amazon, Kindle and at all good book shops. RRP £10.99

What the Human Zoo Tells Us About Online Engagement

$
0
0
Last week the Barbican announced it would be closing down the controversial art installation Exhibit B before it had opened following a campaign, including a 22,988 strong petition on change.org, condemning it as racist.

This has led to much comment about the campaign and Barbican's actions. There has been fascinating debate and points from both sides, questioning the concepts of art and racism. These debates are important - in a democratic society it is important that we question things and each other.

But the reception of the Human Zoo protest led by activist and journalist Sara Myers, has also been met with hostility by some, including the Barbican. Following closure a spokesperson for the Barbican said:

"Given that protests are scheduled for future performances of Exhibit B we have had no choice but to cancel all performances of the piece. We find it profoundly troubling that such methods have been used to silence artists and performers and that audiences have been denied the opportunity to see this important work."

The Human Zoo campaign has engaged people across the country on both sides of the issue. Sara - who is based in Birmingham - created enough noise that hundreds travelled to the Barbican in London for each protest that was organised and her campaign was reported across national media. Her supporters included politicians, academics and artists including Lord Boateng, Britain's first black cabinet minister and Simon Woolley of Operation Black Vote. This kind of grassroots campaigning and mobilising is impressive in an age when politicians are failing to get people excited about politics.

The web and sites like Change.org means that people can speak out and have more impact than ever before - proving wrong the assumption that the public don't care about politics. They care about the issues that matter to them and when institutions like the Barbican are challenged - we should celebrate that disruptive behaviour, whether you agree with Sara's campaign or not. It's crucial that we protect that right to protest rather than demonizing those who have the courage to be heard.

It also means that powerful institutions have a great opportunity to respond in real time to debates happening about their work. This year an animal rights campaigner started a petition calling on British Airways to stop selling trips to SeaWorld, after learning that the sea park keep killer whales in captivity. BA could have ignored this campaign or slapped it down with a generic press statement. Instead they have invited the petition starter to meet with them to discuss the campaign. BA understood that thousands of people coming together and attempting to have a dialogue with them shouldn't be viewed as an attack but as an exciting opportunity. Taking the time to actively listen to the public will set organisations apart and strengthen public opinion in them.

Brett Bailey had a right to create and exhibit his art. And Sara Myers and her supporters had a right to have their voice heard and protest. The Barbican had the chance to embrace this debate, to involve the campaigners and create a space for them to explore the questions raised. Instead they closed the show and vilified the campaigners.

The Barbican still have an opportunity on their hands. They can re-engage in this debate, rather than slamming it down. As an arts institution they should relish, encourage and embrace these conversations. They now have almost 23,000 people who want to be heard on this issue, who care passionately about what happened, if I were them I would start listening.

Review: In Flames- Siren Charms

$
0
0
Before I start, I should explain why this review arrives so late. Ahem.
Excuse one: I've been busy. Doing stuff. Getting paid for it. The usual.
Excuse two: I really wanted to do this album justice. I've been a fan of In Flames for a good few years now, since Come Clarity- and it wasn't easy. I really didn't like the singles released before this album came out. But I like this album a lot.
As bands grow older, the music they make changes with them. For some, this change is more subtle than others- and not just in terms of perceived quality. Iron Maiden's sound is more noticeably consistent than, for example, Linkin Park, regardless of whether you prefer Hybrid Theory or Minutes to Midnight. This can be for better or for worse, depending on the fanbase; Metallica could afford to make Lulu because they also made Master of Puppets.
Gothenburg pioneers In Flames have made a lot of changes to their sound in Siren Charms, and for the most part this comes across as quite a big risk. Many, many fans have longed for a return to the sound of Colony or Whoracle, melodic death-metal juggernauts that cemented In Flames firmly onto the heavy metal scene. In this sense, alone, they haven't delivered. Siren Charms is a very different beast to the music that made In Flames famous. But they can probably afford it.
In Flames are, certainly, no longer a death metal band. There is nothing on this album like Only For The Weak or Embody The Invisible, in terms of aggression or in style, or anything at all close. Anders' paint-stripping howl is an accompaniment to his developing range of clean vocals, rather than the other way around, and occasionally disappears completely. The riffs are less engaging, the songs are less pacey...and (I assume) tellingly, the album's one "heavy" track is called Everything's Gone.
Despite this, however, Siren Charms is still a very good album. It is more radio-friendly, without a doubt, but that doesn't mean In Flames' fans won't necessarily enjoy it. As implied in the lyrics of Dead Eyes, a song that exemplifies best the direction Siren Charms has taken, this is the album In Flames clearly wanted to make.
Songs like Filtered Truth & Paralysed highlight the sense of defiance In Flames have rediscovered since Come Clarity- not merely a softer version of their old sound, but something new and bold. Come Clarity's title track, it's worth reminding, was very different to what we'd come to expect, and Siren Charms in some ways simply takes that one step further.
Fans will still hunger for a return to the original sound. Siren Charms won't change that, and In Flames are unapologetic about the direction they are now taking. The ship has well and truly sailed on their time as a melodic death metal band. This album confirms it.
As one of those fans hungering for more tracks like Colony, I feel I aught to be more disgruntled about that, and appreciate Siren Charms far less than I actually do.
It's hard to argue when it sounds this good.

Premonition: Artists Ability to Foresee the Future at the Saatchi Gallery

$
0
0
Premonition: Ukrainian Art Now, which opens on the 9th of October, will take over one entire floor of the Saatchi Gallery and features work that has been made recently, but mostly pre-dates the social unrest and upheaval that Ukraine has experienced during 2014. However, the title acknowledges that since the early years of the new millennium, the work of many Ukrainian artists has tended to reflect, or even predict in an uncanny way, the growing challenges, issues and questions concerning their nation's future identity and stability.

The exhibition showcases an exciting group of 38 artists who are relatively unknown outside their homeland. Some of the artists featured in this exhibition have established reputations in Ukraine, while others are recent graduates. The work of these two generations of artists provides an arresting insight into the future of contemporary art in Ukraine and is set to play a key role in shaping our understanding of the culturally rich but complex environment in which they practice their art. The exhibition has been organised by The Firtash Foundation as part of Days of Ukraine in the UK, a celebration of contemporary and traditional Ukrainian art, fashion, literature and music.

Premonition: Ukrainian Art Now forms the largest survey to date of Ukrainian contemporary art in the UK. It is the third in a series of exhibitions at the Gallery aimed at showcasing Ukraine's unique culture and heritage to an international audience in London and is part of a long-term partnership between the Saatchi Gallery and the Firtash Foundation announced in July 2014.

2014-09-30-KidsFightingFriendbyPavloKerestey.jpg

Kids Fighting Friend by Pavlo Kerestey. Courtesy Saatchi Gallery and the artist.

For example, in the unnerving painting by Pavlo Kerestey Kids Fighting Friend, shown above, the artist foresaw when neighbours will fight against neighbours in the current conflict in easthern Ukraine. The main scene dominated by blind rage and encouragement of the others ends in aggression towards someone who was a friend in previous times. The action lighted by fire adds drama and portrays pure madness.

The exhibition has been co-curated by Marina Shcherbenko, Igor Abramovych, Oleksandr Soloviov and Andriy Sydorenko with advice from Vladyslav Tuzov and Natalia Shpitkovskaya at the Modern Art Research Institute and National Academy of Arts of Ukraine.
 
Lada Firtash, Chairman of the Firtash Foundation, said:
"The amazing success of the exhibition of contemporary Ukrainian art held as part of the Days of Ukraine in the UK last year provided striking confirmation of the immense potential of Ukrainian art today. Premonition: Ukrainian Art Now is probably the largest and most profound collection of works by Ukrainian artists to date and the works in the show demonstrate many aspects of life in contemporary Ukraine, its spirit, energy and essence. We anticipate that the exhibition will enable the world to understand and appreciate Ukraine's creative potential."

 
Nigel Hurst, Chief Executive of the Saatchi Gallery, commented:
"The Saatchi Gallery's role is to bring contemporary art to the widest possible audience and make it accessible, wherever it is being made. The ongoing support of the Firtash Foundation allows us to work towards this aim by helping us to provide a high profile platform to bring new Ukrainian art to the attention of our international visitors. Premonition: Ukrainian Art Now presents a wonderful opportunity to provide a showcase for this exciting group of artists who are exhibiting their work together for the first time."


2014-09-30-GuardiansbyXavierMascaro.jpg

Guardians by Xavier Mascaró. Courtesy Saatchi Gallery and the artist.

Within an era of unrest and profound changes, the Spanish artist Xavier Mascaró, presents Guardians at the entrance of the Saatchi Gallery. Mascaró assembles pieces of iron to create the figures as an empire grabs pieces of land to expand its territory. Fiercely joint together but bound to scatter away at some point. Still and timeless guardians of an obsolete geopolitical system in the times of internet and powerful city-states. Empires and its power are doomed to diminish and collapse. Majestic watchers of time passing by. Mascaró, like the artists in Ukraine, senses rapid changes that are taking place in our society and transmits those findings visually. Be it a sculpture, an installation or paintings and drawings.

Premonition: Ukrainian Art Now features Nazar Bilyk, Sergey Bratkov, Danyil Galkin, GAZ, Mykyta Kadan, Zhanna Kadyrova, Pavlo Kerestey, Mariia Kulikovska, Anton Logov, Pavlo Makov, Maxim Mamsikov, Mykola Matsenko, Roman Minin, Natsprom, Serhiy Petlyuk, Yuriy Pikul, Roman Pyatkovka, Vlada Ralko, Vinny Reunov, Oleksandr Roitburd, Stepan Ryabchenko, Arsen Savadov, Oleksiy Say, Tiberiy Silvashi, Yuriy Solomko, Anna Sorokovaya, Anatol Stepanenko, Ivan Svitlichny, Victor Sydorenko, Maryna Talutto, Ten Point & Dis/Order, Oleg Tistol, Vasyl Tsagolov, Myroslav Vayda, Artem Volokitin, Oleksandr Zhyvotkov, Gamlet Zinkivskiy.

Premonition: Ukrainian Art Now opens on the 9th of October until the 3rd of November.
Xavier Mascaró Guardians will be on display until the 2nd of November.
For more information, please visit Saatchi Gallery's website on www.saatchigallery.com and Xavier's website on www.xaviermascaro.com

Nigerians Should Celebrate Great Writers Like Chimamanda on Independence Day

$
0
0
2014-10-01-13429127205_3ffb164214_o.jpg


Above: Chimamanda Ngozi Adichie
Image Source: Flickr

Today marks 55 years of Independence for my country of origin, Nigeria. We have come a long way since 1960 but there is definitely room for more improvement.

I would like to celebrate one individual who I think is one of the great successes to come out of Nigeria, as well as being a great role model to the younger generations. I had the privilege to interview this extraordinary woman earlier in the year.

The exceptional award-winning Nigerian writer Chimamanda Ngozi Adichie has three publicly-praised novels to be proud of - her second, Half Of a Yellow Sun won the Orange prize for fiction in 2007 and her most recent book Americanah has also won awards. Her first book Purple Hibiscus, also hugely popular has been nominated for awards.

Being circulated across social media platforms is her TEDxEuston 2012 talk on 'Feminism' which has over a million views on You Tube and was featured on singing sensation Beyonce Knowles' latest album.

I met with Chimamanda at her London Hotel where she stayed during her visit for the London Premier of the film Half Of a Yellow Sun. With the author's time divided between the US and Lagos, I was lucky to catch her during her short stay in London.

As I entered the guest lounge where the interview was scheduled to take place, Chimamanda was seated and quite relaxed, talking away with another Journalist. When someone is bombarded with interviews consecutively over a period time you would think that they should become restless and maybe a bit uneasy, however, she remained attentive and surprisingly polite.

I first noticed her gentle and serene mannerism as well as her natural beauty which oozed out from inside out. She wore a flattering, formal, black two-piece that shimmered in the light.

I settled the uneasiness between us, two strangers, by introducing myself and stating that we were both from the same place Enugu, Nigeria, which was the only common ground I could think of at that moment to allow her feel 'at home' with me.

As I squeezed for answers during the interview, Chimamanda happily chatted away with me and even told me that I should 'Greet Aunty' for her, Aunty being my mum who insisted I invited Chimamanda (Who she had never met) round for a delicious Nigerian meal.

Read excerpts from the Interview below.

What is your biggest achievement?

I really don't know, I don't think that I think in those terms because things mean different things. So it's really hard to say, 'I think this is the biggest thing I've done'.

Was there a book you wrote that you believed was a greater achievement than the others?

They meant different things, 'Half Of A Yellow Sun' has the most emotional significance for me. I love 'Purple Hibiscus', I think of it as my first baby but it did not make me cry, 'Half Of A Yellow Sun' did. 'Americanah' I love, it made me laugh. 'Half Of A Yellow Sun' took a lot from me emotionally.

Do you think the film did your book justice?

I think it did. I think it was quite faithful to the book while also being its own thing. You can't cram a novel into a two-hour film. Certainly I recognised my book in the film but also saw the film as a film. I was very moved at the end of it even though I wrote the book.

Would there be anything you would change in the film based on the interpretation of the book?

No, I don't know that I could make a good film, I can judge a film , I can tell you when a film is good but, I couldn't tell you how to make one. I would not change anything.

Both the book and the film take us on educational journey surrounding some of the circumstances of the Nigerian civil. Do you think there has been and is still enough education on the Nigerian civil war in this day and age?

There are many many stories that have not been told. It's changing a bit I think and 'Half Of A Yellow Sun' really contributed to that. We don't even have any memorials to that period, there is a war museum, I've been there once its okay but, it should be much better and there are so many stories that have not been told.

What injustices do you believe happened during the War?

'Half Of A Yellow Sun' is about injustice, the war itself was an injustice. There are some people who died who should have not died. The things that led to the war were massive injustices, the massacres of the people in the north that the federal government did not address, I mean there are many.

Do you think that the impact of the war is still in effect today?

Yes. We have people who are still active in the Biafra movement. There are people who committed crimes who are still public figures in Nigeria.

Also, just basic things like, the way we were obsessed in Nigeria with state creations. The origin of state creation is really that Gowon wanted to script the loyalty of the eastern regions, so he created states. If that hadn't happened we probably wouldn't have the craziness of everyday we want to create a new state.The idea of what we call the geopolitics of Nigeria - so we say we need a president from the north...that very much is rooted in what led to the Biafra war.

Even the way land belonged to the Nigerian government was also something that happened after the war. It was a way of disenfranchising people. So the war ends and you say actually nobody owns land and the land belongs to the state government.

There are also questions we don't ask in Nigeria about why things are the way they are. Young people should ask questions, we need to know how did this happen? how did we get here? what was this like 25 years or 50 years ago?

You studied medicine and pharmacy at the University of Nigeria for a year and a half, was that parental influence or did you actually want to do it?

I didn't want to do it but I felt I should, so It wasn't so much parental pressure, nobody said to me you must. I did very well in school and when you do very well in school it is almost like the air you breathe tells you that you have to go and study medicine and so I just did.

I never wanted to, the same way I never really wanted to be in what was called the science class, I wanted literature and history. After i took exams in class 3 my teachers were like this is the best results in the history of the school, of course your going to be a doctor. So immediately I'm in the science class and taking all of these courses I just don't care about , the thing is you're doing well but you're not enjoying it but, I was lucky that I had parents who when I said to them I don't want to do this anymore, they said OK. Usually in Nigeria particularly, you get into medical school and you're high on the merit list and then you wake up and say you want to stop, that does not happen.

I think it was the best thing I did.

Do you think African parents have accepted the creative industry as a valid career option?

It's changing but not really, it's not as bad as it was before when if you said you wanted to do something creative people would look at you like you're mad.

People will often say only 1 out of 2000 will make something of it so why don't you just play safe and become the doctor, but I think it's changing.

What legacy do you want to leave?

That's the kind of question you ask someone whose about to die (she laughs). Do you know I don't know.

I can tell you what I hear that means something to me. When I hear from people, when people say to me, thanks for telling the story of my history, that means a lot to me. When I hear from young women who say thank you for making me feel like I don't have to conform, that makes me happy, so if it means that I am remembered for that (smiles).

I like to think that telling my truth, living my truth is important and if it inspires others (smiles).

For many of us who are Nigerians, Africans, we grew up thinking the world is not about us. We grew up thinking we have to aspire to be something else and I don't think that's true. If you're able to tell stories that is not truly you, it will lack a certain sense of authenticity. No one can be as good as you at being you.




Catch my feature on how second generation Nigerians living in London engage with their Nigerian culture in the capital, airing on London 360's Black History Month Special on the Community Channel (Sky 539) on the 22nd October 2014 at 7pm (Black History Month Special)
Viewing all 93645 articles
Browse latest View live