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“Are you sure you need that much fancy dress?” my boyfriend asked as I reeled off the 10 or more items from face paint to a tigers tail I had crammed into my bag.

“You just don’t understand,” I moaned, trying to work out a way to fit an Indian headdress into already over-packed rucksack without crushing the multi-coloured feathers.

“This is Wilderness festival!” I added with a sense of smugness. “Everyone will be doing it!”

And you know what? I was right.

From the moment we walked into the festival on Friday afternoon, to the day we left, you could hardly go five minutes without seeing someone dressed as a fox (the most popular costume of the festival by far), in a headdress, wearing facepaint or just casually wandering about in a tail.

Families, teenagers, twenty somethings and everyone else joined together in a festival of fun, frivolity and fancy dress.

Welcome to the wild. Welcome to Wilderness.

Wilderness Festival caught my eye many months before; it seemed like a dream come true. I had already point blank refused to go to another festival containing loud awful reggae mixed with no sleep and unbearable heat (my experience of Exit Festival last year in Serbia borders on the traumatic).

I wanted plenty of fun, with clean (ish) toilets, melodic indie music and a cool relaxing lake to wash away my hangovers.

I can say that it truly delivered: a magical, often hilarious, sometimes tiring, but mostly brilliant three days in the wild.

As the lovechild of the Secret Garden Party and Lovebox, Wilderness focuses on the festival beyond the music. While many music festivals include a disproportionate amount of time missing things, due to drunkenness, bar queues, weather etc, Wilderness is quite the opposite.

Every corner was filled with art, theatre or music. Hundreds of people performing the Birdie Song at the Village Hall tent and a group of flight attendants encouraging people to join the ‘Mile Pie Club’ by getting stuck into a mass cream pie fight, were just two of the highlights.

And though it may not have all been about the music, there was plenty to listen to. The main stage was tiny in comparison to most festivals; the crowd could barely fill a Northern Quarter bar on a Saturday night.

The bands differed from the upbeat beats of Crystal Fighters, to the melodic tones of Cloud Control.

The crowds danced and cheered accordingly, or lay in the grass sipping various alcoholic beverages.

Slowly as the evenings began to close in, people appeared in that nights’ fancy dress attire; on Friday girls in flapper dresses were surrounded by boys in fedoras, Saturday saw masks of varying degrees of quality for the masked ball and on Sunday it was tribal paint and headdresses.

Around 10 o’clock people would wander towards the woods where they were treated to a film, a club or a roller disco.

From midnight people would move further into the forest and explore the late night parties. Lights hung in the trees, mystical circus performers danced as people moved from tent to tent dancing to electro swing and Balkan beats.

It’s difficult to review Wilderness; there were so many things we missed from an attempt at a record breaking skinny dip, to making all number of craft items, from rings to wooden chairs. There was a freezing cold lake that only I, out of my friends, managed to successfully swim in.

The food could be a review in itself and ranged between Thali curries to mac and cheese. Those with money could treat themselves to one of the exquisite banquets by Michelin star chefs but, alas, our wallets could not quite stretch that far.

The only disappointment was Moro, a Morrocan restaurant, hyped up heavily by the organisers. Nearly 40 mins in a queue left us with a very disappointing lamb wrap each, which could have been eaten in one bite.

Wilderness was a festival that required no effort. There was no grimacing as you waited for a band through endless sound checks, no waiting for 30 minutes for a lukewarm beer and no suspicious burgers or poorly cleaned toilets.

Dancing to a swing band dressed as a flapper girl, falling ungracefully into the lake, seeing people run in slow motion to Chariots of Fire, singing along to Stornaway, discussing drunken facts about Who Framed Roger Rabbit, facepaint, tails and literary slams.

Wilderness was truly magical.

Photography by Sarah Khoo.

Though it was touched upon in our second A Long Weekender post, I felt that the Ford Madox Brown murals – which decorate a chamber on the first floor of Manchester Town Hall, and depict the history of our city in a series of twelve scenes – deserved a post all of their own.

As something of a history lover, I’ve often wondered what Manchester was like in the Middle Ages; there’s ample evidence of the city in the 19th century – you can’t help but notice all the mills and factories dotted about the place – and the Roman fort in Castlefield is testament to the city’s longstanding history. But what about all that time in between then and now?

If, like me, you’ve ever asked yourself these questions, then these murals provide a very concise introduction. Each is painted in the vaguely romantic style, which is technically a Hogarthian version of Pre-Raphaelite. Apparently.

The story begins with The Romans Building a Fort at Mancenion, with a Roman general and his wife inspecting the work being carried out (detail showing a solider inspecting the plans below).

The next image shows the baptism of the pagan King Edwin to Christianity. Though this took place in York the conversion brought Christianity to Manchester.

The Expulsion of the Danes from Manchester portrays Mancunians, rather than Saxon soldiers, expelling Danish invaders. From there we move on to The Trial of Wycliffe A.D. 1377, a man who is credited with brining non-conformism to the North of England.

Wycliffe was an unfortunate bloke who was tried for heresy in London in 1377; however, through his protector – John of Gaunt, Duke of Lancaster – he became linked to the origins of non-conformism. In the full scale image Chaucer is pictured taking notes. I liked the detail of these two gossiping in the foreground about the drama taking place behind them.

Detail from The Trail of Wyclif: Wyclif was an unfortunate bloke who was tried for heresy in London in 1377 but through his protector, a man named John of Gaunt, Duke of Lancaster he became linked to the origins of non-conformism in the North of England. In the full scale image Caucer is pictured taking notes. I liked the detail of these two  gossiping about the drama taking place behind them.

Next, The Proclamation Regarding Weights and Measures A.D. 1556 shows that streamlining the system of general measurements was as unpopular in the 16th century as it was in 2000, when UK law compelled traders to sell in metric measurements.

Crabtree Watching the Transit of Venus A.D. 1639 depicts William Crabtree, from Broughton, observing the transit of Venus, before Chetham’s Life’s Dream A.D. 1640 shows the origins of the current Chetham’s School of Music.

Next, Bradshaw’s Defence of Manchester A.D. 1642 presents a Manchester under siege as Royalist troops surround the town. This was the last murial to be completed before Brown died; having lost the use of his right hand after a stroke, he had to complete it with his left.

We then move on to more familiar times with John Kay, Inventor of the Fly Shuttle A.D. 1753. As Kay tests his invention rioters try to break into his workshop and break it. We stay with the origins of the Industrial Revolution with The Opening of the Bridgewater Canal A.D. 1761, before finally moving on to Dalton Collecting Marsh-Fire Gas, where we see Dalton collecting bubbles of gas from the water of a pond. His experimentation with gas led to the him developing atomic theory.

And there we have it; some of the key events that have help shaped Manchester history over the ages. I’m not really sure how accurate the murals are as a historical record, but regardless they are lovely to look at, and before we saw them as part of our Weekender events I had no idea they were even there.

If you would like to find out more from the comfort of your computer screen you can take a look at the Manchester Government website. Or you can go down to Manchester Town Hall Monday to Friday between 9am and 5pm.

Part four of a four part series in conjunction with All Points North, providing coverage of Manchester Weekender and other regional festivals.

Sunday 16th October 2011

10.47 a.m. With sleep in our eyes, we stumble to the nearest greasy spoon, order up two full Englishes, and take our seats, with the music of Denis Jones still ringing in our heads (and our ears). Before the food arrives to be promptly devoured, we scribble down some thoughts after a night and a day of Manchester Weekender. Three things stand out: how family friendly the whole thing is, how many well thought out free events there are, and how it has succeeded in getting people to venues and places they might otherwise not visit. Good work, Manchester Weekender!

11.56 a.m. Case in point: Manchester Town Hall’s Great Hall (pictured below), which houses Ford Madox Brown’s captivating murals. Indeed, we loved them so much that we almost immediately decided we would be dedicating an entire post to them. The hall itself lives up to its billing; beautifully lit throughout, the splendid ceiling illustrates the nations Manchester traded with at the height of its mercantile power.

12.48 p.m. A quick catch up with friends who have been kept occupied with other events in and around Manchester. It’s one of those weekends, where everyone we know seems to be doing something different, spread across the city engaged in various pursuits, and everyone we pass in the street seems in a rush to get to something or other.

2.40 p.m. We head back over to the Royal Exchange Theatre, not for a play this time, but to see a very unusual collection of clothes. Primitive Streak depicts the first 1000 hours of human life in a series of dresses that take inspiration from the fundamental biological processes. This exhibition, which is part of Manchester Science Festival, is the work of designer and artist Helen Storey and biologist Kate Storey.

The collection uses a minimal pallet to tighten the drama surrounding the biological processes that are being depicted. A particular favourite of ours was the Spinal Column Dress, a halter neck fish tail ball gown with a metal spinal column adornment running the length of the model’s back. The dress displays a biological structure, and the print mimics the results of a DNA test.

Several pieces of the collection are on display at Debanhams, so you’ll be able to catch some of Primitive Streak even if you can’t make it down to the Exchange.

3:45pm Just before leaving the Exchange we heard some music start up from the floor below the gallery. Looking down, we were lucky enough to catch the last stop of the Mala Procession, part of the Asia Triennial, which is featuring at various locales across the city until the 27th November. Here’s a snap of the dancing in action:

4.24 p.m. We swing by the Manchester Food and Drink Festival hub at Albert Square, mindful that after Monday the whole shebang will be leaving us for another year. The desire to spend every remaining penny we have to our name is overwhelming, but in the end we restrain ourselves, and say our goodbyes for another 12 months.

5.22 p.m. Our feet hurt. Our bodies ache. But we’re hardy souls, and swing by the Northern Quarter to get in on some of the hustle and bustle that was so apparent earlier in the day. To see the city so full of life is one of the best things about October in Manchester. So much to do, so little time…

7.11 p.m. Manchester Cathedral is a truly magnificent setting for anything, the type of space you’re happy to find yourself in regardless of what’s taking place. That we’re here for the Sacred Hearts event is entirely fitting, given that Sarah Dunnant’s novel is something of a rumination on religious faith. As we take our seats, we’re not quite sure what to expect.

8.13 p.m. A brief intermission gives us time to stretch our feet, take a few pictures, and scribble a few notes. Combining a reading from Dunnant herself, a dramatisation of parts of the novel, and a live performance from the highly accomplished Musica Secreta choir, Sacred Hearts turns out to be very interesting. Whilst the odd technical difficulty reared its head during the spoken interludes, the choir is perfect; their songs echo around the interior, every bit as harmonious as one would hope.

9.56 p.m. Once again, it’s time for a long walk home with music having had a significant impact upon us. There’s something about music in a holy setting; you can’t help but be moved a little, regardless of the genre or the circumstances. We’re exhausted but content, and shuffle homeward to get some much earned kip. For us, and for the city as a whole, Manchester Weekender was a rousing success.

Part three of a four part series in conjunction with All Points North, providing coverage of Manchester Weekender and other regional festivals.

Saturday 15th October 2011

9.02 a.m. And so it begins, with the ringing of a phone alarm followed by toast, imitation Weetabix, and cups of tea. A look out the window suggests that earlier predictions of another citywide heatwave may not have been too far wide of the mark. Perfect weather for a stroll to Manchester Art Gallery, to catch the first part of Sounds Like A Gallery.

10.34 a.m. We arrive early, as it turns out; Black Jack Barnet won’t be starting until 12. Fortunately, that gives us the chance to enjoy the gallery’s fantastic permanent collection. The problem with living in a city for any number of years – and knowing that your immediate future lies within its boundaries – is that it’s easy to become complacent about the likes of the Manchester Art Gallery. A “we should drop in some time” mentality takes over, whereby you intend to visit but never get around to it. We’re delighted to have been prompted to do so, and make a note to come visit the Ford Madox Brown exhibition as soon as our pockets are a little heavier. We’d fully recommend you pay the place a visit, too.

12.36 p.m. Black Jack Barnet (pictured above, alongside William Etty’s The Sirens and Ulysses) turns out to be great: playing to a broad audience of kids and older folk, he uses “poetic license” to tell the stories behind six of the gallery’s most bold and impressive paintings. From song to song he shifts style dramatically, so that one moment he’s delivering gospel folk that calls to mind Seasick Steve, and the next he’s mining Jam On Bread twee indie territory, touring the first floor and picking up new followers at every stop. He mostly plays it for laughs and gets them, with the children in attendance every bit as delighted as the adults.

1.12 p.m. We recharge our batteries with a plate of fish and chips in a Norther Quarter caff, with a soundtrack of “Twenty Four Hours From Tulsa” and “These Boots Are Made For Walking.” Next stop, the Manchester Craft and Design Centre…

1.45 p.m. …another place it is easy to forget about, but which deserves plenty more attention than it receives. Partly because the building is beautiful – with a high glass ceiling that lets the light stream into the artisan-filled shopping piazza bellow – and partly because it houses a handful of the city’s most talented artists and craftivists.

2.15 p.m. Within the venue, a makeshift stage has been set up to play host to a couple of hours of world music. First up is Jali Njonkoling Kuyateh, who you might have seen playing his African harp around Piccadilly Gardens. It really is a remarkable instrument; it doesn’t look like much, but the beautiful sound it emits is somewhere between a harp and guitar, and Jail’s voice sounds melodious and delightfully archaic at the same time.

2.41 p.m. The live performances are interspersed with sets from DJ Mayeve and a performance from San’at Mahmudova. We spend a pleasant hour exploring the centre and snacking on chocolate cake at the popular onsite cafe…

3.12 p.m. …after which we spend some time browsing the small jewellery boutiques. We’re interrupted by the first notes of singer/songwriter Luciano Gerber’s 20 minute set. The sounds of rich, nostalgic Brazillian folk reverberate around the bright airy space, which really does lend itself to live music.

3.40 p.m. EthniCITY concludes with an emotionally charged Flamenco set from Calaita (above), that combines powerful lyrics with Catalonian melodies, and underpinned by staccato percussion. It’s always nice to have your eyes opened to different cultures.

4:30 p.m. We retire to the nearby Cord for a couple of pints and reflect on what we’ve seen so far, then eventually head over to the Deaf Institute, grabbing a bite to eat along the way.

7.56 p.m. As we arrive at the Deaf Institute, we’re handed envelopes that contain 3D glasses. A nice touch that helps create the feeling that we’re going to see something special.

8.47 p.m. Support band Gladeyes quickly ensure that said feeling is justified. Indie rock that has its toes more in the rock ‘n’ roll pool than the indie pool, they absolutely command the stage, and deliver a killer performance that the audience clearly love. We hurry to pick up a free copy of their CD, the existence of which they mention between practically every song.

9.34 p.m. As Denis Jones and his musical companion take to the stage, the crowd roar their appreciation. As he begins his set, the sound from the bass and amps are so strong we can literally “feel” the waves of music being created on stage.

The songs are built up in layers; Jones pushes chords and melodies from his guitar through various electrical gizmos creating various effects. Samplers distort his vocals and add an electronic/techno feel to music that started out with distinctly country influences.

And the distorting glasses, which allow the wearer to view the world in a distinctly glitzy haze, seem appropriate now that he’s in full swing. The visuals displayed behind him show sound scapes in primary colours, and against this background Jones casts a dramatic silhouette.

11.12 p.m. The sounds of Denis Jones are still reverberating around our head as we walk home, trying to put the effect into words. We decide that his music lies somewhere between folk, country, psych, and IDM, although the only word that does the set justice is “stunning.” We retire exhausted, but excited about what Sunday has in store for us.

Part two of a four part series in conjunction with All Points North, providing coverage of Manchester Weekender and other regional festivals.

October in Manchester is festival season and so is one of our favourite months of the year. We have no idea how we’re going to fit in everything we’d like to do, but we’re going to give it our best anyway. No doubt we’ll report back as to our various successes and failures. Let’s take a look:

Thursday 6th October to Sunday 9th October

Grimm Up North

If you have any interest in horror, sci-fi, or fantasy then you’ll want to check out the programme for Grimm Up North, which is filled with a number of potential gems. Chief among them is the premiere of The Wicker Tree, the new offering from Wicker Man director Robin Hardy that may or may not be a follow up to the seventies classic (it depends on who you ask). Also of note: a special preview of Retreat, a tense thriller starring Cillian Murphy, Jamie Bell, and Thandie Newton.

Friday 7th October to Monday 17th October

Manchester Food & Drink Festival

Despite Carlos Tevez’s protestations, Manchester is a great city for food at the best of times, but October is always the highlight of the culinary calendar. On the simplest level, the abundance of food stalls is a joy to behold, and it’s always worth making one or two (or three or four) trips to the festival hub at Albert Square. Beyond that, there are plenty of fantastic little events, from the Whiskey Festival and the Big Indie Wine Fest to Secrets From A Kosher Kitchen at the Jewish Museum. Don’t forget to bring your appetite!

Monday 10th October to Sunday 23rd October

Manchester Literature Festival

A festival that not only celebrates Manchester’s artistic heritage, but for two weeks places the city at the centre of the literary world. A wide range of events – from walks to readings, from interviews to award galas, not to mention some fascinating lectures – ensures that there should be something for everybody. The festival actually stretches into November, with Anthony Horowitz discussing the first official new Sherlock Holmes story since the death of Sir Arthur Conan Doyle, and Jeffrey Eugenides reading from his eagerly awaited new novel. Our pick of the bunch, however, is Literary Reputations: Katherine Mansfield, which will examine the life and career of one of the greatest short story writers of all time.

Friday 14th October to Sunday 16th October

Manchester Weekender

With a remit to bring the best of the city together over the course of three days, Manchester Weekender celebrates cultural diversity whilst placing plenty of emphasis on the arts and crafts scene, with various workshops designed to get the creative juices flowing. The Secret City Arts programme seeks to highlight obscure artists whose greatness deserves wider acknowledgment, and a range of family-friendly events means that everyone can get involved.

Saturday 15th October to Sunday 16th October

A Carefully Planned Festival

Whilst the absence of In The City this year is lamentable, local promoter Carefully Planned has stepped into the breach with a two day festival taking place across four Northern Quarter venues. The line-up is filled with some of Britain’s best and brightest, with plenty of great Manchester bands to discover and one or two surprises to boot. And all for the unbelievably reasonable sum of £10. Don’t delay: get your ticket booked!

Monday 17th October to Sunday 30th October

Manchester Comedy Festival

The country’s comedy scene can be a difficult beast. The leading lights are divisive figures to say the least, and figuring out where to start in terms of the vast number of lesser known comics is the type of conundrum that puts many people off altogether. We usually just end up listening to the same Bill Hicks sets we’ve heard dozens of times. However, this year will be different; this year we’re going to get out there and discover some new favourites. A few shows have already piqued our interest: RIchard Herring: What Is Love?, Lorcan McGrath is a Smart Wrestling Fan, and The One Handed Show: A History of Pornography being among them. Oh, and don’t miss Adam Buxton’s BUG: The Evolution of Music Video. We’ve already got our tickets booked.

Saturday 22nd October to Sunday 30th October

Manchester Science Festival

Public interest in the sciences seems to be undergoing something of a resurgence at the moment, and events such as this deserve a large share of the credit. Since starting back in 2007, Manchester Science Festival has grown and grown, and this year looks set to be its biggest ever. Events fall into various categories: some celebrate the city’s scientific luminaries, whilst some seek to involve laymen such as ourselves in discussions of the grandest concepts imaginable. It’s the Alan Turing events we’re particularly looking forward to; few men have lived more incredible lives than he.

We’re exhausted just thinking about all of the above. Do let us know what you’re looking forward to, though, and if there’s anything we’ve missed that’s worth getting excited for.

Music festivals typically provide a range of distractions for those occasions when you’re burnt out on bands and need a change of pace. Berlin Festival was no exception; as well as several decent chillout areas (complete with hammock-type structures), and a fantastic range of food, there was a little village where artists were working live on large canvases, creating pieces and murals with limited supplies as audience members watched on. On the second day, we wandered over camera in hand to take a closer look.

Berlin is pretty legendary for its graffiti (one could easily spend their entire holiday here traipsing around the city in search of great pieces on the sides of buildings and always find something new), so the village felt like a natural fit, and it was no surprise to see that a number of strong, striking images had been created…

…which really added something to the already spectacular setting. From the outside, Tempelhof is an immense, imposing building that appears nothing like an airport until you get inside, with the odd decommissioned plane still inhabiting a space that saw use during World War II. Some sixty-five years on, and it’s hosting a yearly music festival, complete with pieces by some of the most talented individuals creating art in the city. How quickly things can change!

The lips of Warhol's screen-printed pop sirens were always the same luscious, intoxicating red.

What was once a term bestowed on only the majestic and sonorous ladies of classical opera, the word “diva” has been chipped away at over the centuries until you arrive at the modern interpretation, most closely associated with those who inhabit the world of popular culture.

As an awkward teenager I couldn’t help but be inspired by the glamour of women like Marilyn Monroe, Debbie Harry, and Liza Minnelli (particularly the latter in her role as Sally Bowles in Cabaret). So when I saw the posters for Warhol and the Diva at The Lowry in Salford Quays, I knew that this was one exhibition I’d have to visit.

This collection of Warhol’s work, together for the first time thanks to curator Kate Farrell, comprises some of his most celebrated pieces, and leaves you with a new impression of this seminal artistic figure, shaped by the fact that Mr Warhol himself loved to imitate the aesthetic of his subjects by dressing in drag and posing for photographer Christopher Makos.

Kate, who travelled to Warhol’s hometown of Pittsburgh, Pennsylvania to select the work for this exhibition and who was on hand the day of our visit, explained: “Warhol admired and adored the subjects he depicted in his work, immersing himself in their lifestyle and breathing the glamour of their existence.”

From the 1985 ad series, Blackglama, featuring Judy Garland.

The collection of work was realized in a gallery space of acid colours and black walls highlighted with splashes of fur print, creating a real diva’s boudoir. Everything from the sequence of the images, beginning with the initial Polaroids from which the artist worked up his screen prints, to the typography quotes such as “it would be very glamours to be reincarnated as a ring on Liz Taylor’s finger” were rendered in is perfectly pitched to draw visitors into a world of glamour, and often of destruction.

The inner sanctum of the space housed the Marilyn pieces. A vivid image of the woman who will forever embody Hollywood decadence adorned a leopard print wall, a crystal chandelier hung from the ceiling, and in the center of this throne room was a velvet chaise lounge.

A series of the famous prints hung on the opposite wall across the room, and to either side these works were juxtaposed by the lesser known photos of Warhol in drag. There was a disarming link between these contrasting images, portraying at once the intense vulnerability and extreme exhibitionism of both Warhol and Monroe.

Amongst other vibrant images of Marlyin this one, produced at the pinnacle of her fame, foreshadowed the demise of the most iconic of all divas.

Aside from the screen-printed images of women that immediately spring to mind when you think of Andy Warhol, we found some unexpected highlights on our visit. An image of Mick Jagger is almost Picasso-like in the way that square blocks of colour and thin pencil distort his sultry face, revealing several angles and expressions in a single viewing. Further along in the exhibition we saw vintage covers from Interview magazine and a film depicting process behind the Christopher Makos photoshoot, images from which we had previously seen in Marilyn’s throne room.

For anyone besotted with pop art you can check out Warhol and the Diva at The Lowry for yourself until September. 25th And we really recommend you do – not only a feast for the eyes and an exploration of the term “diva” in a modern context, this exhibition gives real insight into the mind of one of the most fascinating and influential artistic figures of the last century.

… and two friends.

These are a few images that I’ve taken in and around Manchester (and one in Spain). They were all taken with a Fuji Pix S2950 that I got for my birthday back in March. It’s a bridge camera (somewhere between an SLR and an automatic); you can change various settings like aperture and depth and so on, but for the most part the camera does all the work.

Anyway, here are some photos that tumbled off the memory card the last time I plugged it into my computer.

The image above was taken on a walk near Bolton. I’m not sure how it happened but I got a watery, spotty effect on the image that I really liked.

These jellyfish live in an aquarium in Barcelona. They’re lovely and glowy and floaty, aren’t they?

This image is from a book that was part of an exhibit at the MMU degree shows this year. I love the aesthetic of old textbooks with their hand-drawn, cross-hatched illustrations and quaint typography.

I snapped this caravan on a patch of grass near the red bricks in Hulme. The idea that someone might decide to take a holiday here – and then have their caravan vandalised – amused me.

This was taken on another walk somewhere near Mottram. The composition here came out quite well and there was something old-fashioned about the image, which I decided to play up when I edited it.

To some the Cornerhouse bookshop may seem an intimidating place. Making a choice from amongst all the sparkling items can seem like a multiple choice test. Well, to me at least.

And whatever you do, do not lean on the magazine racks. They will fall down.

But for all its sheen and wobbly fixtures it’s a fantastic little shop (and indeed, a fantastic venue), and as the good folk of Belle Vue point out in issue #4, once the Cornernhouse has relocated it needs to be used, or else we’ll lose it.

So, without further ado here are the purchases I made on my last visit, with a little discussion as to why I liked them, and why you might like them too:

Fire & Knives: A quarterly magazine on the topic of food

One for your library rather than your kitchen shelf. Edited by Tim Hayward, Fire & Knives comprises some of the best writing on the topic of food to be found anywhere. This month brought together features on the lost course of ‘savories’ by Tom Parker Bowles, A Scotch Egg Manifesto by David J. Constable, and the curry confessions of Mel Fenson. The publication is printed on thick A5 card, and each article is rendered onto the page using flavescent tones and unique illustration.

Fire & Knives is an absolute feast. Each article is like a delectable word-truffle, consumed though your eyes, digested in your mind, and nourishing to your relationship with everything edible. At £9.50 an issue, it is a bit dear, but quality journalism is worth paying for, and the ticket price covers the publication costs rather than making anyone a profit.

Belle Vue #4: A Manchester-centric zine

I cannot claim to be down with the kids and to have known about Belle Vue for sometime. In fact, almost as soon as I discovered this zine I found out it was to cease publication for a little while, as two of the founders are upping sticks, heading to New York and Australia respectively. This is a shame, not least because I’ll only be able to get my hands on one back issue (#2) when I go to their vinyl night at An Outlet on the 26th August.

Try if you can to get hold of issue #4, as it contains possibly one of the best profiles I have ever read (of architect Norman Foster written by Phil Griffin, since you ask). The introduction and framing device used is expertly deployed with a lightness of touch. I came to the end of the piece surprised I’d taken so much enjoyment from the profile of a man whose area of expertise I know very little about.

Other highlights include a discussion of Manchester’s relationship with Fallowfield, and a funny article drawn from a presumptuous “fifty books you must read before you die” display in Deansgate Waterstones. At £2 this zine is a bargain.

Mistress Quickly’s Bed #1: A literature zine

Named for the inn keeper of Shakespeare’s Henry IV parts one and two, Henry V, and The Merry Wives of Windsor, Mistress Quickly’s Bed compiles poems and short stories from new and established writers. A particular highlight was Fred Voss’s poem Dropping the Needle of the Blues and S.Kadison’s short story, Demobbed.

Not being as adept at literary criticism as I would like, I chose this zine hoping to remedy this to some extent. I enjoyed Quickly’s on the first read, and find myself returning to its blue covered pages when opportunity presents itself on buses and lunch hours. Also priced at £3.50, for an enthusiast of the written word it is a good investment, and an introduction to an area of writing I’d like to become more familiar with.

The basement safe of Incognito Gallery on Stevenson Square seemed an uncomfortably small space in which to view the latest artwork of the troubled yet endearing artist, Daniel Johnston. Especially since the opening of this exhibition, which runs until the 7th October, had drawn crowds ranging from established fans to hairspray-addicted hipsters to curious passers by.

However, Story of an Artist, with its characteristically naive, felt tip, comicbook aesthetic, transports you into the mind of a man plagued by mental disquiet, and seems an apt location in which to view the private thoughts and exuberantly disturbed illustrations of this much loved man.

The work on show comprises a collection of hand-drawn posters tacked to cork boards around the 10ft by 10ft metal container. Untangling the colorful, character-driven imagery reveals concern over the contradictions of life in a world driven by commercialism and war, with a longing for the innocence, liberalism, and romance of a bygone era.

We might not have braved the launch of the exhibition, and the large crowd it was sure to attract, had it not been for the suggestion that the man himself would play a short set. Upon arrival, we were told that it would be happening at around seven; however, seven came and went with no sign of him.

The minutes flew by without further word, and as we stood outside to escape the heat of the packed gallery we watched as the organisers became increasingly harried. Once eight o’clock rolled by, it seemed doubtful that he’d be turning up. We had all but given up when he finally appeared, threaded his way through the maze of people both outside and indoors, picked up the guitar that had been provided for him, and played a trio of songs for an audience who were clearly delighted to have been there.

He seemed just a touch uncomfortable during the first song, but settled into proceedings; even so, it was more of an “I was there” moment than a revelatory performance. For us, the artwork on display was the real highlight of the evening, and the short set was more of a warmup for his Sound Control appearance the following day.

Comicbook artist Jack Kirby heavily influences Johnston’s  work, along with The Beatles, for whom Johnston has a longtime reverence – even going so far as to nickname his brother Sergeant Pepper, on account of his mustache.

Western politics appeared to be commented upon in one image, which features a disillusioned Captain America overlooking the signing of a Bill of Rot by two ducks dressed in SS-like uniforms, while a blank faced, buxom woman looks on and a pink cat rejoices at his secret Nazi plans. In this image, Captain America concludes that seeing as how it appears that no-one can be bothered to resist anymore, and no-one seems to care, he might as well read a “girly magazine.”

In other pieces, characters display their allegiance to fascism and peace in similar ways, against backgrounds of disembodied red and yellow heads, some crying, and often accompanied by speech bubbles. The Blue Meanies of Yellow Submarine popped up again and again, often in conjunction with a green man, who reappeared in a variety of states, always looking muscular but often with missing limbs.

Drawing definite conclusions from Johnston’s art seems pointless – these pieces can be taken as social commentary, as a subversion of the naive aesthetic, or simply as the musings that enter into his mind, for which he finds catharsis upon a blank page. Whichever way you choose to interpret the work, it certainly plants ideas that the mind masticates over for some time afterwards.

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