Blog2012-05-20T08:46:01ZWilliam MathiesonCopyright 2012, William MathiesonSPHPBLOGThe Horizon Venture Taylor, who is Editor of jazzreloaded and a celebrated musician within jazz circles, has timed this live production to coincide with both the London Jazz Festival and African History Month.
His original novel is an Afro-centric examination of humanity and citizenship and the implications these factors will have on our attempts to explore new worlds in the future. Taylor developed the concept to mark the 400th anniversary of the launch of Sea Venture, a ship carrying African slaves from England to colonise the New World. In 2009 it is an African American who is leader of the ‘New World’. This is also a time when the fate of our own planet is in question, leading nations and alliances to bolster their space programmes, aware that, in the future, colonisation of other planets may need to be a consideration. Taylor’s work aims to draw comparisons between these events in history.
The live version of this piece of sci-fi speculation is a multimedia assault on the senses. Taylor’s jazz band performs amidst modern dance, poetry readings and spectacular visuals that verge upon the cinematic. The combination of these artistic forms serves to tell the story of The Horizon Venture.
I met up with Taylor to discuss the theory, the concept and the production… What is the message that The Horizon Venture trying to purvey?
The main message of The Horizon Venture is that we all have to be involved – or at least more of us – in imagining how the future will be, and what part we will play in it. Like the recent adaptation of Alan Moore’s and Dave Gibbon’s ‘Watchmen’, The Horizon Venture draws a picture of a future where the ordinary man accepts the future as already written, and explores some of the consequences of that.
What inspired you to tell the story in this manner?
A lot of things; the central characters include a man searching for his true identity in a post-industrial tapestry, which I think a lot of second and third generation migrants can relate to, and a woman who is searching for a man that can tell her companion who he really is. As clichéd as it sounds, history is exactly that; his story. Very rarely is there a comparable focus on the female perspective. The main thing about turning a book into a live show is that it instantly more participative - you share viewpoints and ideas on the characters and storyline, and people start to develop their own galaxies within your universe, or sometimes outside it!
Do you think you can still purvey a coherent message using surrealism? And by surrealism I’m referring to the plethora of mediums being performed simultaneously.
I think so. We live in a multimedia age and we are seeing the resurgence of the Renaissance man - or woman - Alicia Keys, Jamie Foxx and the Williams sisters are all examples of people who excel in two or more disciplines. So I think it’s important for “multimedia” to be multidisciplinary as well. The Horizon Venture is a combination of my work as an author of video, prose, poetry and music, which I also perform. My aim for the show next year is for film makers, dancers, visual artists and VJs to be able to bring ideas and content to the show, all based around the central themes of the ‘Venture’; a kind of Roots-meets-the animatrix but live.
How would you describe The Horizon Venture sound?
At its core is jazz, and what I mean by that is social discourse through improvised music and African rhythms. In the year 2009, that also includes pedals, synthesisers and weird looking string instruments like Sami Bishai’s six sting violin and my Electric Upright Bass. We live in a ‘global’ society now, and so the social discourse is inevitably about issues that affect us globally: resource management, the environment, migration, serfdom and servitude, and, how certain individuals regard these issues merely as business ventures.
Do you think music is an effective vehicle for telling a story?
Yes. Without John Williams’ work Luke Skywalker, Superman and Indiana Jones would be very different personalities and adventures.
Which guides which: the narrative or the music?
Well the bible says, “In the beginning there was the word…” But words are made of sounds, so…
Is dance a medium that you have worked with before? What made it work here?
Yes. Funnily enough, the first time was in the Place Theatre in 2003, watching the 10th anniversary of JazzXchange, a jazz dance company which was constructed and developed by a fantastic improviser named Sheron Wray, who I have since had the pleasure of working with on a number of occasions. In the last six years, Sheron has been doing things with jazz dance that, to be frank, my shows are just starting to explore. The thing I like about Nicole Pschetz’s work is that there is a dramatic element to it; it’s not regimented dance routines for the sake of it. Her work moves in and out of the structure of the music, which for me is essential to the work. It’s not about slavishly following a beat; it’s about everyone working hard, preparing well, then doing their own thing and trusting that it will all come together in the end. For me, that is jazz.
Could you tell me a bit about your work prior to this?
Before this, jazzreloaded, which was a bit more populist and mainstream. We did live shows, and a record, but I quickly found that I was missing the social discourse. So jazzreloaded has now become a portal for jazz reportage and as the editor of the online magazine – when I’m not playing (with Courtney Pine, Omar Punete or the Mighty Jeddo) – I’m encouraging young people to learn about their history through jazz.
Are the political themes reflective of the music as well as the story, or is it distinct from your political ideology?
I’m not sure I could ever make a distinction between my music and my politics; if you listen to my music from the jazzreloaded project, it’s far more commercial. For me, that’s the politics of consumerism: ‘urban’ music often has a cultural ambivalence at its core. This in itself is a political ideology, as is the idea that it isn’t. The link between politics and music is intrinsic, which is why we have anthems. If Wagner did not write the way he wrote, he would not have had the gigs he got. When Beethoven started writing crunch chords for strings everyone said he was mad because, politically, people still wanted society to reflect and endorse the ‘purity’ of Haydn’s contapuntalism. Fast forward to 2009 and, with the benefit of hindsight, we can draw a comparison between late Beethoven and early Schoenberg. Some of this was absorbed by Herbie Hancock, who was part of the Miles Davis Quartet, themselves a big influence on my first band – J-Life. This is how it got to me.
Could you explain the pseudonym ‘Vidal Montgomery’?
No I can’t!! They’re my middle names. I think ‘Montgomery’ comes from Field Marshall Montgomery, a famous British WWII soldier. As for Vidal? You’ll have to ask my mum! I’ve never liked my first name so I tend not to use it. See? I’m not even going to use it here.
And finally, what is the link between sci-fi and jazz?!
Well, Buck Rogers had its infamous disco funk scene; Battlestar Galactica had the three-mouthed ladies singing jazz soul; the 2005 reworking of Battlestar… had Jimmy Hendrix’s reworking of ‘All Along the Watchtower’ as the Cylon battle call; Commander Riker has his trombone in Star Trek. And of course, Star Wars has its infamous cantina band. I think it’s a good time for jazz in sci-fi because our future is being projected by the media as uncertain and discordant. Jazz is all about managing uncertainty and discord, with panache. I have a good friend who says, “A tree that has no roots has no future.” Jazz is a type of music that literally makes its immediate future from its past. Similarly, our visions of the future begin with what we already know. Or think we know at least…
Musically, I found the band and Taylor’s performance enthralling. Although sold as jazz, there elements of funk, bebop and soul pervading through. The production itself reminded me somewhat of a Kraftwerk concert. The visuals are captivating and, combined with the music, draw you into the story that is unfolding before my eyes. Because of the extra terrestrial aspect of the production, and the myriad of artistic element being conceived simultaneously, I found myself hypnotised and somewhat lost in the majesty of space.
You can next catch Taylor and his venture on Thursday 28th January at Rich Mix in Shoreditch.
]]>http://www.williammathieson.co.uk/blog/index.php?entry=entry091208-1354562009-12-08T00:00:00Z2009-12-08T00:00:00ZDesign Real at the Serpentine Gallery London’s famous Serpentine Gallery is staging its first ever contemporary design exhibition: The ‘Design Real’ show has been curated by one of the world’s foremost industrial designers, Konstantin Grcic.
The exhibition focuses on the evolution of functional design in the modern era, from pieces of practicality and purpose to ergonomically refined works of art. After examining the exhibits, the overriding message that is projected is that, although the pieces on display were designed for specific uses, when deconstructed and displayed out of context, they are impressive works of art. Grcic has reduced these everyday items to artistic creations, and removed their function in the process. This alternative view of the items on display is greatly enhanced by the gallery’s minimalist space, which helps to embolden and express the works against a stark background.
Most of the items are sourced from the modernist and post-modernist eras. The general consensus amongst artists though, is that modernist works represented a time to forget, both architecturally and artistically. However, this display suggests that the period could be better classified as a ‘necessary evil’. Despite the sharp angles and imposing features that are widely renowned of modernist constructs, the modernist episode signalled a time when functionality, frugality and ergonomics had replaced opulence and beauty as the main focus of the design process. This led to the mass production of many everyday items that, in turn, became more readily affordable for the masses.
The development of modernist design is wonderfully apparent at this exhibition, where the most contemporary items have taken on a futuristic appearance. This is largely due to the materials that have been used to produce them, which have become more advanced and more technological. Again though, this is function and purpose leading to the creation of a unique aesthetic.
The objects that make up the exhibition range from a Volvo taillight to an economy plane seat, with everything from Kyrocera knives to an Ikea flat pack chair, in-between. Pictured as part of a product or within their natural surroundings, such items might be readily dismissed. In this deconstructed environment however, they are viewed in a completely different light - as works of art. Innovative items by recognised designers including Ross Lovegrove, and Zaha Hadid further encourage viewers to adopt a new perspective on the world around us.
The central atrium of the gallery plays host to a ‘research space’ in which visitors can use e-books, access the specially created website, or view a giant screen, all of which offer a comprehensive explanation of the history and purpose of the items on display. This concept aims to re-establish the context in which each piece was originally designed, in the mind of the viewer. The seating area for this space is a circle comprised of piles of sandbags, adding to the utilitarian illusion.
After speaking to Grcic, who attended the opening in person, his aims become very clear:
“What interests me about industrial design is how these things are made, in what material, and how this has affected their language and their quality. There is only one common denominator for the objects selected for Design Real: they came onto the market not more than ten years ago.”
Asked to explain the various items on display, he says, “[S]ome objects are very technically-driven; the function really determines the object. Other objects have much more of a signature or an authorship; you see the handwriting of the designer who made it and that’s what makes it so special.”
The Serpentine gallery represents a famous jewel in London’s artistic crown, and this exhibition is the first of its kind on display there. Design Real will present a fascinating insight into the evolution of design in recent times, and proffers new perspectives on the way we examine the objects that service our lives.
This event is being sponsored by La Rinascente Design Supermarket. ]]>http://www.williammathieson.co.uk/blog/index.php?entry=entry091201-1849192009-12-01T00:00:00Z2009-12-01T00:00:00ZPanasonic DMC TZ5 ReviewNot all of us keen amateur photographers have the finances to indulge our passion to the extent we would like to. Luckily, for those of us who are not in a position to afford a professional quality SLR, there are a number of point-and-click models on the market that are more than capable of producing shots of an excellent quality.
I am currently in possession of one such model, the Panasonic DMC TZ5. Although, to industry professionals, the specifications may seem limited, this model offers fantastic value for money. The 9.1 megapixel camera has a 28MM wide angle lens and 10x optical zoom. There are a wide range of picture modes to accommodate various scenes, including portrait, night portrait, ‘sports’, scenery, sunset and ‘fireworks’. These modes are assisted by Panasonic’s ‘intelligent exposure’ facility and the picture quality and sensitivity is further enhanced by the Venus Engine IV technology. The DMC TZ5 is also equipped with a surprisingly good video mode with four different frame rate settings.
The 3” LCD screen is easily navigable allowing the user to view stored photos, but also to alter various settings including white balance options. To take further artistic control of one’s pictures there are additional options that can be found on screen: a self-timer of 10 secs or two secs, a number of different picture ratios, single object and multi object capabilities, and various digital zooms and colour modes.
As with most Panasonic pieces, this model looks sleek and polished. The design is modern and stylish, whilst also being user-friendly. For impromptu photo opportunities, the time between turning the camera on, and being able to shoot, is surprisingly quick. The various colour modes and options can greatly enhance photo quality, lending to professional comparisons.
Inevitably, there are some drawbacks. In video mode, the sound can become distorted, especially in loud venues. The lens can also take some time to focus and an option to turn down gain, on future models, would be very welcome. These deficiencies though, are side issues. There are enough impressive features to outweigh the negative counterparts. I find the adjustable shutter speed particularly useful when taking photos at night. The same is also true of the ‘red eye correction’ facility. The ‘burst mode’ is equally good for taking action shots. The 10x optical zoom is excellent and far better than its digital equivalent for picture quality. The battery life is also surprisingly substantial, and I would estimate that, full charged, the DMC TZ5 could take 300 photos.
I would not hesitate to recommend this model although, for those people who use their camera for video clips, the audio is not of a high quality.
Rating: 4/5 ]]>http://www.williammathieson.co.uk/blog/index.php?entry=entry091110-1302502009-11-10T00:00:00Z2009-11-10T00:00:00ZBucking the Trend For food producers across the country, a new and lucrative market is developing. Due to increased immigration and higher than average birth rates amongst Muslims, the number of people demanding halal food in this country has soared, prompting our biggest food retailers to sit up and take notice. The halal industry is worth an estimated $650 billion across the world, a figure that would entice any businessman. Subsequently, supermarkets have responded with extensive halal ranges. They have also been followed by a selection of fast food establishments.
This surge in halal spending can be attributed to the great emphasis placed on meals within Islam. Ramadan offers the greatest example of this; the festival, which has just come to and end, culminates each day in a great feast attended by large numbers of extended family members. What is particularly significant is that meats form the centrepiece of these meals. Meat is by far the most expensive global foodstuff, thanks to the cost of its rearing, transportation and slaughter. As the amount of meat consumed in this country falls, amongst health conscious individuals and those seeking an alternative lifestyle, the consumption of meat amongst Muslims is growing. This is thanks to the increased availability of halal meat, not just from Islamic butchers but now from local supermarkets and takeaway restaurants.
The financial implications of these developments are manifold. On the one hand, the increase in demand has opened up new avenues to existing halal suppliers, as well as those in the food retail business who have not previously considered the Muslim market. However, this brings with it some complications. Because of the method employed during slaughter – the animal is killed using one cut across the throat after which the blood is drained – universal standards of practice are of paramount importance. Because the mass production of halal meat in this country is in its infancy, the enforcement of stringent standards can have a profound impact upon the operations and finances of certain businesses, including those who conduct the slaughter and those who supply and distribute the meat. There are wide reaching legal ramifications for those in breach of said standards, although this is currently still a grey area – which can then itself become a possible cause of financial difficulties.
Another problem for this burgeoning market is the reluctance of non-Muslims to eat food that has been produced in such a way. Halal food has very little chance of achieving mainstream popularity because of the methods it employs to kill the animals. During a period where there have been an increasing number of calls for greater animal rights, such methods are often seen as ‘inhumane’.
Clearly then, there is great potential for growth within the halal market but those involved must consider the financial obstacles that face them in this rapidly expanding sector. ]]>http://www.williammathieson.co.uk/blog/index.php?entry=entry091020-1939452009-10-20T00:00:00Z2009-10-20T00:00:00ZWas it a Lovely Surprise? So far so standard, I hear you say. Well, not really; upon investigating further I found the company to have utilised a rather interesting and surreal concept as its USP. In a rather mysterious way Viviane and her sister Elizabeth - who is referred to as ‘the Angel’, promise to trawl the world to find the most spectacular gift for your loved one. So spectacular are these gifts that Viviane has already limited the number of purchases to 150 each year.
At a minimum cost of €2000, one would hope that the gift is indeed ‘spectacular’ but we are assured that “Lovely Surprise is the awakening of the imagination [and] it is the spirit of exclusivity.”
I’m sure we’ll all agree with Viviane, that surprising our loved ones is becoming harder and harder, and the prospect of finding a new and original gift is growing ever more daunting. By choosing Lovely Surprise, these problems become a thing of the past. You begin by answering an [extremely] detailed questionnaire, focused on both you and the recipient of the gift. This is followed by an interview between you and Lovely Surprise. Having gathered this information Viviane, who assumes an Indiana Jones-type role, searches the deepest and darkest corners of the earth to find your perfect gift. Nobody will know the contents of the parcel until the recipient opens it. And the result? “A trip to the land of surprises, which the adult world has never forgotten, for the greatest pleasure of everybody.”
Having just about deciphered the riddles that make up the company press release, I was intrigued to find out first hand what sort of treasures Indie, I mean Viviane, would return from her quests with. In true explorer fashion she was reluctant to give too much away but she did offer these elusive words:
“Firstly, all the surprise gifts are in relation to the answers given in the questionnaire, and there are many different gifts and surprises. It can be a sculpture with a jewel or an antique Chinese porcelain with a scarf especially designed for the person. I have the idea and then I design it. After that I use my various contacts from around the world who are specialists in these areas. They include painters, sculptors, jewellers, leather designers, collectors, musicians and writers. There may be an inscription that would remind the loved one of something, or a special moment they enjoyed together, but the idea is to make the surprise both personal and special.”
Having heard this, I had to double check that I had not wandered into the wardrobe and emerged in the land of Narnia. After confirming that I wasn’t involved in a Lewis Carroll novel, I examined the company’s site, which does verify that it is a business offering unique luxury surprises.
I have to say, I’m very intrigued. I assume that the interlude between purchase and arrival, followed by the realisation of what you have bought, is hugely exciting. In fact, I can imagine that the period of suspense, as one waits to find out what gift they have purchased, is comparable to placing a €2000 bet on Red 13 at the roulette table. Unfortunately however, I don’t have €2000 to verify this first hand.
I do not doubt that Viviane and her sister are the latest in a long line of great explorers, capable of bringing treasures back from faraway lands in a fashion similar to that of Christopher Columbus or Sir Walter Raleigh, but the cost of finding out is a little beyond me this year. Maybe next Christmas… ]]>http://www.williammathieson.co.uk/blog/index.php?entry=entry091008-1749052009-10-08T00:00:00Z2009-10-08T00:00:00ZAfghanistan: Eight Years On We found ourselves gathered together in the newly refurbished Whitechapel Gallery, the setting for the latest exhibition from Polish artist, Goshka Macuga. Macuga’s ‘Nature of the Beast’ display lends great poignancy to the location of today’s discussion. By using the aesthetics of the space to send political messages, Macuga provides groups with a powerfully atmospheric locale in which to conduct meetings and similar functions.
The focal point of the room is a circular debating table, similar to that seen at the United Nations headquarters, thereby replicating the debates that took place leading up to the allied invasion. This table sits in front of the 1955 Rockefeller-commissioned tapestry of Picasso’s Guernica. Picasso first exhibited the original painting at the Whitechapel Gallery in 1939. The painting was a protest against the atrocities being committed at the time by Franco’s fascist forces during the Spanish civil war. The tapestry now hangs at the United Nations’ headquarters. It is used as a permanent symbol of deterrence but, famously, had to be covered when Colin Powell met with the Security Council to announce the invasion of Iraq.
This powerful metaphor then, provided the backdrop for the Coalition’s meeting today. With the attendants and media gathered around the circular table, in a style that mirrored a war room or debating chamber, Lindsey German – representing the Coalition – led the calls for the withdrawal of allied troops from Afghanistan.
Ms. German reminded those of us gathered, of how severely the situation in Afghanistan was deteriorating:
“Three and a half years ago, the then Defence Secretary John Reid, announced that troops would eventually leave Helmand Province without a further shot being ‘fired in anger.’ Since Mr. Reid’s promise was made a further 200 troops have died during the conflict. This, coupled with the release of figures showing that 57% of the country is now opposed to British involvement in Afghanistan is enough of a reason for us to withdraw.”
Ms. German feels that there is no direction worth pursuing, other than to admit defeat. In a point that mirrors those being uttered in many international and domestic circles, she foresees the war as a future Vietnam situation – whereby we find ourselves unable to withdraw, and consequently embedded in a futile standoff.
This prophetic message was followed by two readings of the late Adrian Mitchell’s work, from his widow Celia and the actor Roger Lloyd Pack. Mr. Mitchell had been a vehement anti-war protestor, who believed that the arts movement and the power of imagination could be used to combat the ills inflicted upon the world by war. Both readings were reminiscent of the Great War poets Wilfred Owen and Siegfried Sassoon, in encapsulating the dire human cost of military action.
Abjol Miah, leader of the Respect Party for the borough of Tower Hamlets, offered a particularly pertinent opinion. He represents the voice of the community that houses the Whitechapel Gallery. It is a diverse collection of nationalities, with a strong Asian influence. As Mr. Miah said, “our voice in east London has become an international voice.” With a significant percentage of the capital’s Afghans residing in east London, Mr. Miah challenged residents to refute the government’s claims of a just war and to protest for the withdrawal of troops.
The West End actress Janie Dee has worked alongside veterans and fully understands the permanent mental damage that the war inflicts upon them. Despite clearly finding the subject matter very emotional, Ms. Dee explained that the military are very often wrongly perceived by the public as aggressors when, in actual fact, they are passionate about making a positive impact on the territory that they are occupying. To finish her speech, she gave a rousing rendition of Danny Boy.
George Solimou, who has served in Afghanistan, offered a few brief words. His message was brief, but all the more pertinent because of his first hand experience of the war: “They’ve [the troops] lost the war. Why pass the bloodshed on to future generations?” This was said as he clutched his young son under his arm. It was a statement that evoked the biggest reaction from an audience who clearly sympathised with parents of troops who are currently serving or preparing to serve.
The climax of the event was a rallying cry from the leader of the Respect Party, George Galloway. He cited the Gallery as an “inspired choice” for such an event. As a resident of Whitechapel myself, his words had a particular resonance:
“This [gallery] is a gleaming jewel in a sparse crown, set between the richest square mile in the world and the gleaming spires of Canary Wharf, and yet home to some of Britain’s poorest people.”
As he alluded to, many of these people have fled conflicts around the world, and understand the implications of warfare better than most. For this reason, Galloway sees east Londoners as ideal candidates for protesting against the war.
Mr Galloway feels that the government and opposition have deserted British troops when they need them most:
“Military burials are being used as propaganda tools. For every soldier killed, ten are wounded. These injuries are very often psychological, and it is no surprise that one in twelve veterans ends up in prison, while even more are left homeless or unemployed because of the mental repercussions of their tour of duty.”
Mr Galloway deplored the major political parties for undercutting each other with regards the welfare system, deserting the soldiers who need it most upon their return.
The event came to a close with a grave warning from Mr. Galloway:
“Nobody has ever conquered Afghanistan, not even Alexander the Great. What chance then, do we have?!”
As a writer and a journalist myself, I concur with mr Mitchell; that art and imagination do have the power to implement change amongst decision makers. For this very reason, I felt that today’s assembly of artistes was an inspiring attempt to mobilise the public into lobbying the outgoing and incoming governments, so that they may reassess our policy towards Afghanistan.
The tapestry hanging above us offered a legacy of similar struggles and the poetry of Mr Mitchell, and the song performed by Miss Dee, offered further examples of previous attempts to use art as a reactionary medium. However, despite this evocative atmosphere, I left the event feeling slightly short changed. My overriding feeling is that the aim and the message of the Stop the War Coalition is too short sighted and, subsequently, its ethos dissipates into mere rhetoric.
I am not suggesting that their campaign to bring British forces home is not a just one. I feel though, that they have not thought beyond this, and that the end of the war would signify the end of the problem, in their eyes. We all know though, that this would only be the start of even greater problems for the millions of Afghan civilians left in a state of terrifying anarchy. The Coalition offers no solution to a post-war Afghanistan and that appears to be the flaw in its protest. ]]>http://www.williammathieson.co.uk/blog/index.php?entry=entry091007-2137102009-10-07T00:00:00Z2009-10-07T00:00:00ZThe Epitome of British Motoring The Ford Escort RS Cosworth first appeared on our roads in 1992. In a transformation similar to that of Bruce Banner and the Incredible Hulk, the Cosworth was quite simply an Escort on steroids - and unlike anything that had ever rolled off the production line before.
Racing enthusiasts rubbed their hands with glee in anticipation of just how it would drive. Excitement reached fever pitch with the revelation that the factory engine had been replaced with the YBT series – a 227bhp turbocharged 2litre behemoth. The improved 5-speed manual gear box fed a four wheel drive, allowing drivers to recreate their rallying fantasies on roads across Britain.
The specs were impressive for the time, but do not distinguish the Cosworth from newer and faster models, in performance terms. Indeed, 0-60mph in six seconds is far from break-neck in this day and age.
Why then, has the Cosworth established such an ephemeral following amongst British car enthusiasts?
It could be its relative exclusivity – only 7,000 were ever made – or its distinctive spoiler-clad design, or maybe it’s the Recaro fitted seats that come as standard. But there is also clearly something deeper that supports and encourages its thriving second hand market, and established enthusiast’s circuit…
The ‘Cossie’ reminds me of a battle-scarred prize-fighter: tough enough and powerful enough to take on the pretenders to its throne, even after all these years. Its reputation among the uninitiated may be that of a hoodlum’s car, which to some extent is true, but this association only adds to its mystique. The rear spoiler for one was even outlawed in some European countries, and its aggressive appearance and rasping engine have prompted looks of intimidation and condemnation from onlookers. All this and I haven’t even mentioned the persecution early Cosworth owners faced from coppers up and down the country. It really is a car that the saying, “its reputation precedes it”, applies to.
Despite the aging organs and tainted reputation the Cossie lives on. Its serious reputation in the worlds of rallying and touring car racing proves its worth. And, on a more poignant note, it harks back to a time when affordable cars could still be status symbols and could still provide drivers with enjoyment, as well as functionality. It reminds us of an age where global warming hadn’t come into existence and drivers could hammer the throttle without a sense of guilt at the legacy it would leave for their grandchildren.
On top of all that, like a layer of red, white and blue icing on a metallic cake, the Cosworth is about as British a car as you could imagine: a powerful, no nonsense machine with a never say die mentality. Owning a Cosworth is, and was, a way of sticking two fingers up to the establishment. Long live the Cossie. ]]>http://www.williammathieson.co.uk/blog/index.php?entry=entry091002-1120292009-10-02T00:00:00Z2009-10-02T00:00:00ZTime To React?!The country will be far more interested in events taking place at the Tory conference in Manchester, which follows the government’s. This is because, barring a scandal comparable to Watergate or a terrorist attack on the Houses of Parliament, the Tories will be forming the next government under David Cameron. This reality fills me with great sadness for, as we shall see when members of the Shadow Cabinet deliver their speeches to party members, the Tory government will be a party devoid of any real policies or visions. Apart from the old conservative faithful – ‘we will not raise taxes’ – David Cameron’s party has made no progress on developing its own ideology in the two years since Gordon Brown assumed power. The Conservative manifesto still looks very similar to how it did in 2007 and, if one scratches at the surface, what is revealed is a compendium of reactionary policies akin to those seen in the circus that is American politics. When I say reactionary I mean that, if Gordon Brown moves left then Cameron will move right, if Gordon wants to increase the level of fiscal stimulus David will suggest decreasing it. This style of adversarial politics is cringingly transparent. We mock American voters in this country for their emphasis on looks, personality and rhetoric, but we are lowering ourselves to the same level. By pandering to these tactics we are, effectively, shooting ourselves in our collective foot. If we fail to press the Conservative party to outline a coherent national strategy, they will form a government that has no idea of how to implement beneficial changes. We will find ourselves in a worse position than we are in now.
I want to stress that I am not a Labourite, desperately trying to help the party stay afloat. The ruling party is in tatters, and will benefit from the reorganisation that will follow its crushing electoral defeat. I am, instead, calling for voters to consider a third option: the Liberal Democrats. Britain’s third party has shown itself, during this challenging time, to be an original and outspoken voice amongst the sleaze and spin of the two major powers. Not only is the party’s leader, Nick Clegg, prepared to propose controversial plans (amid calls for increased defence spending, Clegg stated that the Liberal Democrats would make substantial cuts to the defence budget if elected, including the downsizing of the Trident project), but Parliament’s foremost economist would assume the role of Chancellor: Vince Cable is widely acknowledged to have foretold the impending banking crisis and subsequent recession. He has also proposed solutions that conflict with those made by Alistair Darling and George Osborne, but seem far more actionable than their alternatives. He is, after all, the former chief economist of Shell…
When the election comes to pass I, for the first time, will be voting for the Liberal Democrats. It is clear to me that they offer Britain its best chance at dragging itself out of the mess that spin and media-friendly rhetoric has forced upon it. Clegg and his colleagues really can offer this country a 'Third Way' again. ]]>http://www.williammathieson.co.uk/blog/index.php?entry=entry091001-1403472009-10-01T00:00:00Z2009-10-01T00:00:00ZMismatch DJs InterviewThe boys are now destined to make more of an impression this summer in Ibiza, and are hoping that they can inject a Balearic beat into their own music, leaving their mark on the White Isle in the process. Here, the two talk to Will Mathieson about where it all started and what lies ahead.
WM: Firstly, how would you describe your sound?
LD: We like to move with the times. We don’t want to be stuck playing the same thing, and we’re open to new sounds. Our sets are not too heavy, but not too light, with anything from techno to house – and all that’s in between. It’s what makes each set unique.
What, and who, are your major musical influences?
DD: I’ve been into dance music from a ridiculously young age; it’s all I’ve ever really known. But being lucky enough to move to Manchester [for university], and being exposed to places as good as Sankeys and the Warehouse Project has really opened my eyes! The clubs themselves, and the names that play there, have really inspired me to push our own careers as performers. In terms of acts and DJs, I guess my first memorable influences were the likes of the Prodigy, as ‘Fire Starter’ was the first ever single I bought. In terms of today, Felix [Da Housecat] really does it for me, his whole attitude and charisma oozes cool - without being too fond of himself. From a technical side, it’s impossible not to be influenced by the way Richie Hawtin and 2Many DJs work. And anything Depeche Mode have done: they were well ahead of their time, and it’s seen now as their music still lends itself so well to today’s scene.
You’re going to be in Ibiza this summer. What are your plans while you’re out there?
LD: Primarily, we want to experience the vibe of the island. We hope that, being there for four months is going to really help to develop us musically. It’s a fantastic opportunity to promote MisMatch DJs and, with any luck, we’ll be playing at lots of different nights – introducing loads of people to just what we’re about. Hopefully, it’s these people who will look us up when we’re back in Britain. We were out there for a couple of weeks last year and listening back to mixes we’d made before and after - you could so obviously see a massive influence, sounds a bit cliché but it was un-canny; Our sound is always progressing but I really hope that we can bring back a taster for our MiMo night in Milton Keynes.
So what can we expect from you when you get back?
LD: MiMo is only going to get bigger and better. All of us [at Mimo] are going to be playing a lot of new stuff. With our new influences and experiences, fans at our nights can expect the unexpected. I think the MiMo night is going to make some serious progress this year. Hopefully the contacts we’ve made up to now, and the contacts we’re going to make in Ibiza, will push things even further forward.
Are there any nights you’d particularly recommend, either at home or in Ibiza?
DD: Well MiMo obviously, both at our own flagship night - at Blueprint in Milton Keynes - and also bi-monthly London events at the Lightbox. We’ll also be announcing forthcoming nights at Ministry. MiMo is also taking over the main room at Eden in Ibiza this summer on the 27th July, featuring us and Chris MiMo.
I want to say myself, just what a hidden gem MiMo at Blueprint is. The dance fraternity of the South east must be delighted with its emergence.
LD: Yeah, the scene in Milton Keynes has been a bit stagnant over the past couple of years, without a consistently good night to go to, but we seem to have definitely tapped into a niche. The venue – blueprint - is a bit out of the way [outside Milton Keynes’ central train station] but that’s really worked to our advantage because it brings in a crowd that are there for the music. DD: To start with we had to play a bit safe with the music policy, but as the night has grown we’ve really been able to push the boundaries. We pride ourselves on being able to bring the newest in house music to a town that has clearly been craving it for ages; alongside recent and past favourites. With what we’re doing there at the moment, it’s just getting bigger and better as each month passes. There is always an amazing vibe at MiMo, if I do say so myself!
So, what about other nights?
LD: The Warehouse Project always has amazing line-ups and it’s hard not to mention them. We’re also both massive fans of Circus in Liverpool, with me often making the trip up to Manchester from Milton Keynes. DD: Also - smaller nights such as Micron, who are now reaching out from Manchester into London. They’re definitely a name to keep an eye on in the coming months.
And what has been the biggest night of your career?
LD: There was a night in March of this year where we played at the Lightbox. We weren’t playing until six in the morning, alongside fellow Blueprint resident Jamie ‘Jam Jar’ Trench, but it seemed to completely transform the room. Before we knew it, it was rammed and absolutely buzzing. We seemed to really make the room our own. DD: We also played at the Gallery in the main bar at Ministry of Sound, for the Easter Bank Holiday. That was amazing: Growing up going to the Gallery, it was an amazing experience, and something I would never have imagined getting to do, even a year ago.
If you could play anywhere then, where would it be, and at what night?
DD: I know I speak for both of us in saying this, so it would have to be DC10. Playing at around six or seven in the evening: it’s the time when the place really starts going off and everyone just goes bananas.
• Rob Dougan – Clubbed to Death • Moby – Go • Happy Mondays – Step On
Are you looking to get into production yourself at any point in the near future?
DD: I’ve been working on remixes and bootlegs for a while now using Ableton, which have been received very well when played live. The next step is producing our own stuff: it’s definitely the direction that I see us moving in, in the near future. Having only just finished university, it’s been a bit hard tying ourselves down in any one place. Now, with both of us basing ourselves in Ibiza for the summer, production is something we’re definitely going to get stuck into and work hard on. We can’t wait to see what happens...
If you want to catch Mismatch DJs in Ibiza, they will be playing in the main room of Eden, when MiMo take on ‘Inside Out’ on 27th July. MiMo will be continuing with monthly parties in Milton Keynes, on the first Saturday of the month at Blueprint, with Mismatch DJs returning in the autumn. MiMo also has bi-monthly residences at the Lightbox and Ministry of Sound, London. ]]>http://www.williammathieson.co.uk/blog/index.php?entry=entry090714-1804452009-07-14T00:00:00Z2009-07-14T00:00:00ZEngland ExpectsThis is not to say it will be straightforward; any semi-final at Wimbledon will feature players of real quality. Additionally, we all know the propensity of Brits to fall at the final hurdle. Anyone who saw the Under-21s get blown away by Germany in the European Championships on Monday will understand. Even when we Brits are by far and away the better side/player, we somehow manage to throw it away in a fit of glorious tragedy. Andy Murray though, is different. He is often criticised for his frank and ‘apathetic’ attitude by the fools that call themselves tabloid reporters. As we all know, British athletes can’t win: criticised for failing and criticised for succeeding. In fact, Murray has evolved into a mature competitor, and this will stand him in good stead when he takes to the court in an unfamiliar atmosphere. Centre Court this afternoon, will be electric, with fans genuinely believing that a British player can go all the way. Let’s be honest, it is the first genuine chance we’ve had as tennis fans; ‘Tiger’ Tim Henman was the archetypal failure. The pseudonym ‘Tiger’ could almost be considered ironic, such was his willingness to roll over and die against lesser/older players. Murray is the best player in the world, bar one: Roger Federer is currently in action in the first semi-final, against Tommy Haas. Federer’s form this year has been imperious. There are a number of things that need to be said about Federer: Even if Nadal was playing this year, he probably couldn’t live with Fed in this form; Fed is destined to become the greatest of all time; he has beaten some strong opposition in earlier rounds without breaking a sweat. All this means that, if everything goes to plan for Andy this afternoon, he will come up against an all-time sporting legend, on Sunday in the final. Despite Murray’s excellent record against Federer, I foresee Fed having too much for Andy. It will be no disgrace to lose to a player of his calibre, and I fully believe it will not dampen the atmosphere of the day but, unfortunately, Murray will come off second best. I do feel that he will push Federer closer than anyone in the tournament has thus far, and the tennis is set to be out of this world; it could be one of the great technical finals. This article has made a lot of presumptions about what will and won’t happen. As we all know, sport is unpredictable and prone to shocks – it’s why we all love it. Regrettably for us Brits though, this may not be one of those occasions. What a day it will still be though, and I hope I’m wrong about the result. ]]>http://www.williammathieson.co.uk/blog/index.php?entry=entry090703-1430492009-07-03T00:00:00Z2009-07-03T00:00:00Z
The objects that make up the exhibition range from a Volvo taillight to an economy plane seat, with everything from Kyrocera knives to an Ikea flat pack chair, in-between. Pictured as part of a product or within their natural surroundings, such items might be readily dismissed. In this deconstructed environment however, they are viewed in a completely different light - as works of art. Innovative items by recognised designers including Ross Lovegrove, and Zaha Hadid further encourage viewers to adopt a new perspective on the world around us. 
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