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So Summer is pretty much over, the dark nights are closing in and we’re reluctantly locating last year’s jumpers from the back of the wardrobe. Fear not, this Autumn, the world of fashion is offering us a feast of delights to both look good and feel the benefit. A newcomer to the menswear market, Whistles has just launched its debut menswear collection for AW14 with a collection that focuses on longevity and quality rather than bugbear trends. ACE takes this opportunity to take a look at the 120-piece line that has been causing quite the stir since surprise announcement last October. We’ve also managed to sneak a peak at Oliver Sweeney Shoes’ coming collection that is bound to get the taste buds tingling.
Editor: Dani Telford Editor@ACEMagazine.co.uk
With the football season starting on an allmighty high, ACE are proud to announce a recent partnership between the publication and Everton FC. To celebrate, we delve into this season’s compelling ‘Fabric’ campaign and their illustrious history with iconic brand Umbro. HYPE: Our front cover is dedicated to the up and coming Hunger Games film.
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Photography: Jack Hunter, Jamie ScottGobin Advertising Sales: Nemi Osuji Sales@ACEMagazine.co.uk Special Thanks: Lionsgate, Everton FC, Umbro, Whistles, Oliver Sweeney Shoes.
Disclaimer: The views within ACE Magazine are not necessarily the views of the Editors, Publishers and / or any associated Partners.
Design & Advert Design: Sphinx Media Ltd info@SphinxMedia.org Published By: Sphinx Media Ltd info@SphinxMedia.org Printed By: Custom Print Ltd
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M U S I C
SUPER WEIRD HAPPENING @ CONSTELLATIONS With the opening of the uber cool space Constellations in the ever-growing Baltic, comes the rekindling of a special musical alliance that has created the Super Weird Happening. Helmed by two inspirational, dynamic and countercultural figures, Kermit Leveridge (via his new project Blind Arcade) and Greg Wilson (in setting up his Super Weird Substance imprint) have launched a series of five events taking place around the UK during the autumn. Their life-affirming mixtape collaboration, Blind Arcade Meets Super Weird Substance In The Morphogenetic Feel, a viral success in these past summer months, is an uplifting riposte to the recent throng of music’s more recent manufactured sound. Acting as an antidote to much of the current scene’s lack of emotion, with renewed passion, and most importantly, with meaning and hope and not to mention fun, SWH brings
some heartfelt feeling back into music. Aligned to the beat of a different drum and veering away from the recent proliferation of music which has arguably lost its soul, it evokes the spirit of positivity that marked out former times. The five shows will feature a vibrant and edifying mix of music, debate, art and more, featuring a live appearance from Blind Arcade and a 3 hour DJ finale from Greg Wilson, with special local DJ guests and speakers hosting audience Q+As. During each event, there is also an eclectic range of freestyling art from local artists who will capture each evening through their respective medium. A strong, countercultural seam binds Super Weird Substance around a distinctly l e f t fi e l d s o l a r c e n t re , i l l u m i n a t i n g proceedings at each event, creating a series of unique, free-flowing experiences this autumn. ConstellationS 35-39 Greenland Street, Liverpool, L1 0BS Saturday 18th October In conjunction with Oxjam / Freeze
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R O Y A L “ R O Y A L
B L O O D B L O O D �
Ben Thatcher and Mike Kerr are the duo behind the most intriguing rock band to emerge over recent years. Mercury Shortlisted, their debut album is a riot of originality bred through intense live performances and pure guitar mastery. Royal Blood is a triumph as Kerr perfects his vocal range and Thatcher deploys flawless percussion. Songs like Little Monster knock you out whilst Come On Over charms you all over again. That just two people can create such a sound should be impossible, even a four-piece would struggle to emulate their musical depth and talent, but Royal Blood have made sonic waves throughout the entire music industry making it wake up to the possibilities of rock.
I N T E R P O L “ E L
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After their last album 4 years ago [and a relative disappointment that has been wiped from collective existence] vintage Interpol fans will be glad that the band has regained a degree of its former glory. Although their 2002 debut hit Turn on the Bright Lights promised much, Interpol haven’t really progressed far as a band so that 12 years later El Pintor sounds considerably as they did in the early days. This for fans is no bad thing, “My Blue Supreme” and “Ancient Ways” are good but this is 2014 not 2002; music has moved on but Interpol are still Interpol.
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“ L U L L A B Y A N D . . . T H E C E A S E L E S S R O A R ”
As this is Plant’s 10th solo studio album you may have assumed that you could figure the man out, yet he still remains as enigmatic as ever. The only constant throughout is that emotional, crying voice that soars across music influenced by rock, blues, country, folk, African funk and prog rog. Moving back from Texas to the Black Country, a “land of frost and rain”, gives songs such as Embrace Another Fall a rock-out Zep feel that is vintage English. Little Maggie is injected with an electronic pulse that makes you dream of the 70’s heyday.
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EVOL PRESENTS
BIPOLAR SUNSHINE AT THE
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Making quite the splash, Manchester songwriter Adio Merchant, aka Bipolar Sunshine seems to be on another wavelength creatively to most this year as he rocks up to take on the pop scene. Having run the festival gauntlet this summer with performances at Glastonbury, Secret Garden and Reading and Leeds, plus his new single “ Deckchairs on the Moon” dropped in July... whispers are spreading about the new guy on the block. Obviously, ACE wanted in on the action. We caught up with Mr Talent himself earlier in the year. Here’s what he had to say... ACE: You’re in the middle of a headline tour at the moment. How do you enjoy life on the road? BIPOLAR SUNSHINE: I love touring, it's great to see which people are getting into your music at these early stages and you get to fuck around and have a good laugh in the van with the guys... ACE: Before going solo you were in the band Kid British, how does the creative process on your own compare? BS: It was different but still good in a different way, with my ideas now I don't have to check to see who likes them, I just go with what I think is right so obviously it makes you free. ACE: You’ve cited Morrissey as one of your influence. Mozza was one of the original outsiders welcomed into the mainstream. Do you see a similar future for yourself? BS: Yeah most definitely if that's the way it goes that's fine. I've always been one of the many outsiders looking in... ACE: How about your fans? Are they as fanatical as Manchester’s last favourite musical son? BS: I love the people who come to the shows who show signs of becoming fanatical, that's cool cause it means that what I'm doing means something to them, like what they mean to me... ACE: Would you say Manchester’s rich musical tradition feeds into your sound? If so, in what way?
BS: It helps with the melodies as I come from more of a hip hop background, it's nice to hear great Mancunian musicians with great melodies that I can learn from... and the fearless nature of the past artists means that they just did what they wanted but executed it well. ACE: Your stage name reflects the happy/sad paradigm of your songs. Do you find your writing is getting happier or sadder as you get older? BS: Getting worse on both sides. ACE: You have launched your own label. How have you found your own search for talent? BP: I haven't searched for any talent as I feel the right ones will come in my direction... ACE: Which other artists who are around at the moment do you admire? BP: At the moment probably Kanye West. ACE: You have collaborated with a variety of artists since starting out. What are your criteria for picking collaborators? BP: They have to be good and bring something new to the table... I'm just testing the waters myself with doing collabs so I now know what to get from collaborations that work for both parties... ACE: How would you describe your music to the uninitiated? BP: A new eclectic way of looking at pop music.
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PRESENTS BILLY LOCKETT AT
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ACE: You’re about to head off on your biggest ever headline Tour, what should people expect? BILLY LOCKETT: Yeah I'm really excited for this tour! People can expect a few new songs, a lot from my existing EP's, expect to laugh and cry. ACE: How have you been preparing? BL: I've been focusing a lot on my new EP at the moment but I've been deciding on how many band members to use for this tour and deciding the mood in general. ACE: What keeps you motivated to keep writing and recording? BL: I think firstly the music does because when I write a good song that I like it gets me so excited for the future but also the fans help an incredible amount, I love the support they give me I really feel like they are fully behind what I do. ACE: Where do you find your biggest influences? BL: I find my biggest influences from my life and other peoples lives around me. ACE: You’ve toured with some big names including Lana Del Ray, KT
Tunstal and Birdy…what did you learn most from these performers? BL: Yeah I learnt that touring is very tiring and hard work but exactly what I want to do forever, also I've learnt a lot musically from them and their bands. ACE: MTV have just debuted your new single “Old Man” that must be pretty exciting? BL: Yeah I'm so grateful MTV liked it and are supporting me. It's a great feeling to have such a powerful company championing my new single. ACE: For those new to Billy Lockett how would you convince them to come see you? BL: You should come to a show because the music I do is for all ages and types of people. I focus everything on writing good quality songs, no matter what type of person you are, a good song is a good song. Therefore I feel you and your whole family could have a great worthwhile time :)
F I L M
>> WORDS: ELIZABETH WILKINSON
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ith only two of its planned four films released, The Hunger Games film franchise has already raked in over £900 million pounds worldwide. To put this into perspective, the franchise has already broken many box office records both world-wide and within America making it one of the most successful film series of all time; and with another two films still to be released the earning potential for The Hunger Games is truly limitless. This feat is made even more remarkable by the fact it is led by a female protagonist and that the story tackles relatively complex themes compared to the likes of Toy Story, Twilight and the many Marvel films. To engage an audience beyond that of its original readership, and the ubiquitous teenage female fans, is a success not of filmmaking but of revolutionary marketing. Set in a dystopian future America, the renamed country of Panem is ruled ruthlessly by the Capitol and its leader President Snow. With overtones of Orwellian control the Capitol is supplied by a further 11 districts, each required to provide a particular resource, all in varying states of poverty. In a bid to maintain control over its districts the Capitol’s “Hunger Games” are used to subject adolescents to a fight to the death. With only one survivor allowed, the games are a strange hybrid of reality TV and war like violence that rings eerily close to our own cultures obsession with heightened reality and voracious appetite for information. With scenes of children killing children, distributors Lionsgate were onto a tough sell. So how did Lionsgate go about creating a brand that would appeal across the board to teenagers, adults, families, ethnic minorities and just about every demographic across the world? Did they wait for previews and critics to sing its praise? Tag the brand onto another successful franchise with teaser trailers etcetera like pretty much every Marvel film? Hope that people would be intrigued and naturally buy into the series? Or… were they ruthlessly clued into the power and promise of savvy marketing? Marketing success stories are not uncommon within the film industry; think of George Lucas revolutionising film merchandise with Stars Wars in the 1970’s or Warner Bros creating theme parks from the Harry Potter universe to appeal to the shrewd Millenniums and generation Z. Yet not every film franchise accumulates the billions of Lucas and Potter nor produces a brand identity as clearly as they have. Although the Twilight Saga was clearly a money spinner, it never really moved on from its female dominated fandom to appeal to males and families. Equally, many superhero and
G A M E S :
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action films are pigeonholed as films for boys and rely heavily on the spending of their market audience. To make a multibillion mega film franchise that becomes a recognised brand (and a loved one at that) Lionsgate had to take the success of Lucas and Potter and replicate in a way fit for the social media age. To deploy their plan Lionsgate called upon a relatively young tech company called thismoment to devise a social media and marketing campaign like no other. Their plan was incredibly simple yet unimaginably successful; generate a social structure for interaction well before the release of the film and create a marketing world direct from the Capitol i t s e l f . A s V i n c e B ro a d y, C E O o f thismoment admits, “For Hunger Games this wasn’t a viral lucky strike – it wasn’t a fluke. They started their social program way back in summer 2011. Lionsgate adopted an on-going continuous process for improvement based upon user data from their social channels. This is part of a trend where smart marketers are adopting a new approach, one that leverages dynamic customer input instead of the old style of phased, programmatic marketing campaigns.” “In the past just getting a social media campaign up and running took all the resources and creative was limited. Now it’s not a problem to execute the mechanics of a social campaign so the creative is becoming a much more critical factor”. I suppose what all of this boils down to is that The Hunger Games promotional trail was set ablaze by tapping into the then new concept of user generated content. By providing engaging YouTube videos, Facebook profiles and so on all they had to do was sit and wait for millions of users to do their work for them. In its opening weekend in America, the first Hunger Games film grossed a record breaking $155 million. Social media had literally created a smash hit purely through user interaction or to put it bluntly “the power of the people”. For Lionsgate it was clear that their marketing strategy had to remain constant and ever present in the 12 month gap between each proceeding film. In the run-up to the second film, Catching Fire, Lionsgate produced an even more complex and engaging social world for people to interact with than the first. A Capitol website was set up promoting Capitol fashion and beauty, which conveniently tied in with the many real brand collaborations of the franchise within the beauty retail world. Brands like Covergirl cosmetics were quick to notice the potential and brand power they could generate by collaborating and imitating the films aesthetic look. (Further brands such as MAC have followed this trend collaborating with films like Maleficent and
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TV series The Simpsons). With each trailer release and new look poster, fans remain hooked to the prospect of a new outing of Katniss and co without anyone involved having to constantly remain on the campaign trail. For the highly anticipated third film Mockingjay Part 1, the world of Panem is thrust into revolution and war; themes that the marketing department have grasped with both hands. The majority of the posters, videos etc. that have been produced in the run-up to the release are not about the stars of the film. Jennifer Lawrence, Liam Hemsworth and Josh Hutcherson feature very little or if at all in any of the produced material. Instead, all information has been produced as if it has come straight from the controlling Capitol. Propaganda films and posters extolling the worth of the Capitol and its leader President Snow are cleverly used to engage us far beyond the action shown on celluloid. We are now introduced to the stylised world that the rebels will be fighting and hoping to defeat. The artworks shown here invoke a sense of Communist Russia or Fascist Germany and Italy, serious connotations that go beyond film merchandise and posters. And that is exactly the point; The Hunger Games is a smart franchise that isn’t afraid to be daring and different to set it apart from the many blockbuster films it has to compete with. The gamble paid off, and may the odds be ever in its favour.
Lionsgate adopted an on-going continuous process for improvement based upon user data from their social channels.
The Arts Club building has a long and illustrious history within Liverpool and its thriving cultural scene. Since the early 1800’s it has been a meeting place for creatives and a hub for social interaction used to promote literature, science and the arts. The building has even been used as a base for the Liverpool Royal Institute, the very first art institution sited outside of London. With the space newly refurbished as of April 2014, the Arts Club perfectly reflects its own history and is now a quality location for gigs and art exhibitions. Its vast venue spaces showcase the finest in local, national and international talent having played host to the likes of The Foals, Paul Weller and Fatboy Slim. There is also another side to the Arts Club as a restaurant, bar and place for comedy nights, open mic and make it your own nights. Such is the variety and variation of the Arts Club that we thought we should offer you a comprehensive overview… So here it is; ACE’s guide to the Arts Club.
PHOTO: JACK HUNTER
BACK IN
TOWN PHOTO: JACK HUNTER
MONDAY From 10am till late you can get 50% off your food bill in the new Bar & Kitchen. Head chef Matthew Jones has taken inspiration from across the pond to deliver a mouth-watering menu of wings, fries, burgers and steaks finished off with brownies waffles and doughnuts. Obviously you don’t have to eat all of this in one sitting, but at half price its hard to think of a reason not to!
PHOTO: JACK HUNTER
F E A T U R E
WEDNESDAY 2-4-1 cocktails are music to our ears, especially when the results are as good as this. The mixologists at the Arts Club have created exciting concoctions to accompany the old favourites. Mojitos, Cosmopolitans and Mai Tais sit next to Brambles (Gin, lemon juice, lime juice and Chambord) and Zombies (Bacardi, rum, curacao, apricot brandy, pineapple and orange juice, bitters &grenadine). Go on; you’ve earned it.
PHOTO: JACK HUNTER
We know that Liverpool has talent, the Arts Club knows Liverpool has talent… Liverpool knows Liverpool has talent. Show it off at Sweet Thursdays, a weekly open mic night hosted by Ian McNabb. So go on, warm up those pipes and take the plunge. Doors open at 7:30pm.
THURSDAY
PHOTO: JAMIE SCOTT-GOBIN
TUESDAY
The Arts Club perfectly reflects its own history and is now a quality location for gigs and art exhibitions. Ever wanted to take to the stage a n d re c i t e p o e t r y, c o n d u c t debates, create story jams or simply express yourself; then Arts Club on a Tuesday night is where you need to be. All you need to have is the desire and you can have your say…your way. Email bar&kitchen@artsclub.com with your idea and you could be up on that stage in no time.
+ OTHER ACTS & WORKSHOPS For details of performances contact our box office on 0151 666 0000 or visit our website www.bestguitarfest.com
FRIDAY Want to experience something different whilst you eat? On Fridays the Arts Club features local DJs Mixnots spinning the best in funk, soul, disco, house, reggae, hip hop, groove, new wave, rock, indie and electronica. Eat to the beat from 8pm till late.
SATURDAY Fancy a bit of competition whilst you enjoy your lunch, want to take down our best friend or challenge a complete stranger? All you need to do is enter the Arts Club Bar & Kitchen ping pong tournament to take glory and a cash prize. All you need to do to win is pay £2 a game and the winner takes it all. Be there from 2pm.
SUNDAY Sunday’s were made for relaxing; it’s a well known fact. So enjoy a laid back Sunday at Arts Club with friends and family with brunch and a weekly pop-up vinyl fair. After perusing rare vinyls and hopefully unearthing a gem, you can then take part in Chris Carney’s legendary music quiz.
PRESENTS!
! ! ! K * F*
… FREE ENTRY..NUS OFFERS..£2 BEERS ALL NIGHT..
...2 -4 -1 COCKTAILS..guest DJs & live bands… ..Mondays 9 –late @brooklyn mixer seel st. !
H O T
S P O T S
THE BERLIN BAR WOOD STREET In Liverpool we are blessed with some of the best bars in the country and the newly opened “The Berlin� is as good as they come. Housed in the old Korova site, all you need to do is descend the steps and enter into a world of cool soul, disco and R n B. Most nights you will find a DJ delivering non-stop music in a space perfect for chilling and relaxing with a good drink. Free entry, fairly priced drinks and a retro vibe make The Berlin a perfect place to meet with friends or while the night away. What could be better?
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Open from 9pm on a weeknight and 8pm on weekends, doors stay open late.
Wood Street, Under The Floorboards www.facebook.com/The-berlin @TheBerlinBar
Entrance on Wood Street... look for the neon sign.
EF tap & grill
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Z E I T G E I S T
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hat old adage from the original version of Fame, where prestigious ballet students are told that fame costs, and they will have to pay for it in sweat, was pretty much a reflection on how tough getting to the top of any profession was. Even the most talented started on the bottom rung, and really had to learn their craft, and then hopefully with more hard work and a sprinkling of luck, they would spotted by someone in their industry and eventually they would see their name in lights. From David Bowie to Oasis, from Madonna to Jennifer Lopez, all of them had to start small and work their way up. Michael Jackson did it, and so, indeed, did Take That, trawling the club scene in dodgy cycling shorts and learning how to work the audience. The Beatles are a classic story of a band who toured the road and became the most famous, the most revered, and probably never bettered to this day.
Little did Andy Warhol know that those fifteen minutes of fame he once talked about would one day be sliced to five, and all for a lot of people who have no other ‘talent’ than being famous...
what you are eating, there is no stone left unturned. If your bum is not as famous as you, you are clearly not making the grade. When looking at celebrities, 2014style, no one mirrors how the cult of fame is changing better than Beyonce. Talented, beautiful, and most certainly ambitious, she worked her way up with Destiny’s Child, and yet always retained an air of mystery. After going solo, and taking over the w o r l d w i t h h i t s t h a t a re n o w considered classics, she still lived her life very privately. Her relationship with Jay-Z was never confirmed or denied. Their eventual wedding was a media blackout. However, since the likes of Rihanna have entered the scene and pushed the boundaries in every way, Beyonce may still be at the top but now she really has to compete. Getting those vital download sales and arena seats filled is getting tougher. With all sorts of rumours floating around, Beyonce has filled her Instagram with happy family snaps, which of course we question as genuine. Filter, or no filter, the humble camera doesn’t always tell the truth anymore. And if you do divorce, you announce your conscious uncoupling on your blog.
WHEN WILL I, WILL I BE FA M O U S ?
Little did Andy Warhol know that those fifteen minutes of fame he once talked about would one day be sliced to five, and all for a lot of people who have no other ‘talent’ than being famous. W ith a never-ending roster of reality shows, magazines and certain types of media coverage to fill, there is now a whole cult of celebrity that has nothing to do with talent, but is more like a conveyor belt. Granted with instant fame, most of the celebrities are given a glimpse an open door to the golden life. You can start off with a hit single, playing arenas, but for those who get that far the only way then is usually downwards. Your chance at playing an arena again is pretty slim. There will always be a few exceptions, when true talent is discovered, but even then they will struggle to stay at the top. Having no preparation for fame and being thrust into it, can be an exhausting business, and that is for the very few. For those who have found fame young, the perils are there for all to see. Watching Justin Beiber trying to be a tough guy or Miley Cyrus twerk is what the word uncomfortable was made for. Of course, there are still people who make it to the top who are hugely talented and can headline a festival, sell out an arena tour, or attract major box office results. The thing is, once you become that famous, life may becomes more luxurious, but it is often an expensive business, and
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young people in the industry often don’t realise that all the perks they are enjoying are coming out of their earnings. In return, of course, they get to live their wildest dreams, in some cases, but there is little in the way of privacy, and the spotlight that you enjoy on stage at your peak follows you everywhere, recording everything for posterity. Back in the reality game, the spoils can be hugely rewarding, as the whole Kardashian/Jenner clan have learned. Of course, their media power grew as soon as Kim got engaged and then married to a certain rapper, who has actually earned his stripes, and they have literally saturated us with stories, pictures, and the noughties way of showing off, via social media. The fact is, social media is now making people famous without leaving their own bedrooms, and everyone from someone with a bit part in a soap to the ridiculously famous Rihanna put their lives on show for all to see. From selfies, to belfies, to an artful picture of
For those on the bottom rung, times are also tough. With so many reality stars fighting for media attention, there are only so many who can cut the mustard. The lucky ones get to have their own dress lines, or shoe lines, or hair extension lines, whilst the others have to indulge in increasingly badtaste behaviour just to get a look in. And once you are at this level of fame, virtually nothing is off-limits. If you don’t have a sex tape on the rounds then you are lacking in controversy, and if you break up with your other half then the whole thing will be played out on Twitter and in broken hearted interviews, until you inevitably get back together. For a very few the spoils are enormous. Jessica Simpson, who made her name trying to be the new Britney, pulled in over $1 billion dollars for her clothing lines last year, whereas Victoria Beckham pulled in a slight £15 million. Would you really want to be famous? Would you want your every move followed, your bad hair days, spots and
30.
Social media is now making people famous without leaving their own bedrooms... From selfies, to belfies, to an artful picture of what you are eating, there is no stone left unturned.
Z E I T G E I S T
cellulite marked out in one publication, and then airbrushed out in another? Would you wonder if everyone you met wanted to know you just to get a piece of your fame, and then sell their story to make their own? Do you want a life spent opening supermarkets or do you really want to go A-list? As we get back into X Factor territory this autumn, it moves on like a juggernaut, where the judges seem to be of more interest at the moment than whatever is coming next. For the winner there will be instant fame, and it is a shame that someone as seriously talented as James Arthur fell by the wayside. His early auditions really marked him out as different, a genuine talent with a great voice and a cool line in geek-chic. Who won last year? Sam Bailey. She has been very quiet of late, too. For every Leona Lewis and One Direction, there are so many who just never attain that first heady level of fame. For those who put in the graft on their own, away from reality at first, the rise to the top can be a cautionary tale, as Tulisa’s recent fall from grace reflected.
JLo recently had to suffer the shame of selling less than 50,000 copies of her latest album, which just goes to show, even those at the very top can be on the receiving end of a nasty curveball. In an era when fame is what so many of us are hungry for, and even more of us consume, you wonder how long it will take for the whole bubble to burst, leaving us with just the cream of the crop. It is not very often we get an Amy Winehouse, who never really conformed, but just made brilliantly honest music instead. Kate Bush’s recently sold-out shows have been much anticipated, and her originality has never really needed celebrity. Until then we can spend cold Saturday nights slumming it in our pyjamas, staying in or getting ready to go out, eyeing up what Cheryl and Scary Spice are wearing, and wondering who will bring their nan with them on their emotional journey. And you know, for those who don’t win, let’s just hope they bring back Celebrity Driving School. If you can get through a few of those you could be eating kangaroo testicles in time for Christmas. Result.
21 NOV 2014 to 17 JAN 2015
L I V E R P O O L
By FRED LAWLESS Directed by HOWARD GRAY
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n 1973 London publishing house Jonathan Cape released unto the world the first copies of J.G Ballard’s fifth novel, Crash, a perverse masterwork of ultra-violence and psychopathology, courting sensation as supposedly ‘the first pornographic science-fiction novel.’ For all its warts, Crash remains one of post-war Britain’s great unsung novels and Ballard one of the period’s most unique visionaries, eschewing tales of outer-space in favour of a forensic analysis into ‘Inner space’— the murky realm of eros and obsession as refracted through Nam June Paik’s ‘electronic super-highway.’ The first of a trilogy of equally countercultural ‘urban disaster’ novels, Ballard’s prose reads like a collage of diverse influences; from the pop art of Warhol and Paolozzi to architectural Brutalism, Surrealism, Crash along with Concrete Island (1974) and High Rise(1975), often renounces the world of “high-art” altogether in favour of appropriating the ‘invisible literature of market research reports, company in-house magazines, promotional copy, press releases, science abstracts, internal memoranda, sex manuals, and government reports.’ An anomaly, considering the intergalactic reach of Clarke and Asimov, Ballard perfected with Crash a speculative fiction whose unforgiving eye towards the ‘next five minutes’ unearthed an alien quality to the contemporary media-scape— as strange as any dalliance into the distant future. Moreover, Ballard’s project was one that made ghostly the Science fiction writer’s traditional object of inquiry, opening the future to uncertainties. Jump to 2014, and to explain what, precisely, Crash is about or seeks to achieve through its hyped-up grotesquery without raising an eyebrow or having the conversation awkwardly diverted to a different topic is, in a creeping way, to be drawn back to the year it arrived in bookstores; to the early seventies and the fraught process of Vietnamization, the oilcrisis, the proliferation of new and confrontational images courtesy of a generation of film-school graduates— back to the discomfort and hostility with which the novel was initially received. Although, as far as this is concerned, you can’t do much better than one publisher’s infamous reader’s report whose warning, in spite of itself, has come to serve as an invitation for countless readers: ‘This author is beyond psychiatric help. Do Not Publish!’. Crash fared no better in the States either, forcing one particularly disturbed copy-editor at Doubleday— despite the firm’s prior agreement to publish— to call for the pulping of all remaining copies. The text that was eventually published was of a fierce originality, its unparalleled parallels of
Z E I T G E I S T
deviant sex and technology consigning it to cult fandom and canonical marginality for many years thereafter. Crash follows the exploits of advertising executive James Ballard whose car accident with Dr. Helen Remington, sparks an extra-marital affair, precipitating a trip down the rabbit-hole of car-crash fetishism. Ballard writes of this violent act, as it thematised in the novel, as harnessing ‘elements of eroticism, aggression, desire, speed, drama, kinaesthetic factors, the stylizing of motion, consumer goods, status…’— these elements coalesce in the character of Dr. Robert Vaughan, with whom Ballard and Remington become increasingly involved. ‘Former TV-scientist, turned nightmare angel of the expressways’ Vaughan’s fantasy for the ideal car crash involving Elizabeth Taylor comments on the already sexualised and ubiquitous presence of celebrity, at the same time giving some shape to an otherwise feverish drift of sex, violence and traffic congestion. Even now, there is something in the coldness of Ballard’s description, as if he were performing an autopsy of the urban landscape, that strikes the reader as equally unnerving and the product of an utterly uncompromised imagination. Far from a ‘psychotic’, Ballard’s handling of such potentially objectionable subject matter is judicious in its adherence to the excess of pornography but without any of the exploitative leer, or titillating effect. This is not say that Crash is supremely affecting; Ballard displays an exceptional skill in the elevating of extremity beyond gimmickry, making something more of transgression than just a pocketful of lame shock tactics. This ‘something more’ suggests a deeper personal investment and attachment to the cracked geometries and defamiliarized spaces so much apiece with the Ballardian blueprint; a fact which is unsurprising given the strangeness of his childhood. The son of British expats in the Inter national Settlement of 1930s Shanghai, Ballard’s early years coincided with the 1937 invasion of China by the Japanese Empire, culminating in two years spent in an internment camp; memories which Ballard downplays as ‘not unpleasant’ despite the ‘casual brutality and beatings-up’—‘…at the same time we children were playing a hundred and one games all the time!’ Almost three decades after the bombing of Hiroshima and Nagasaki, Crash is still suggestive of the search for an equilibrium amidst violence and exponential technological and social change—the narrative voice never so cautionary that a whisper of futuristic excitement can’t be divined from under the torpor and the more doom-laden passages. In detailing her own difficult relationship with the
novel, Zadie Smith comes close to capturing the ambivalence of this voice, pinpointing Ballard’s tendency towards ‘a sweet spot where dystopia and utopia converge.’ What reality there is to be excavated amidst the spectacles of sex, gore and advertising are weighed evenhandedly and with the poker-faced detachment of one glancing in the reflection of a rear-view mirror. Although, there is also something in the wilful taking apart of the human body, treating it as a perishable object— obsolescent much like the chrome-plated status-symbols in which Ballard’s characters act out their perversions— that is in-line with the body horror of David Cronenberg or the even more grungy Frank Henenlotter. It is perhaps the world of film that has taken the most from Ballard’s strange legacy; not least in Cronenberg’s 1996 adaptation of Crash, starring Holly Hunter, Rosetta Arquette and a somnambulant James Spader whose role as James Ballard eerily reprises that of the scopohiliac Graham from Soderbergh’s influential ’89 hit Sex, Lies and Videotape. A film as haunting as it is loyal to Ballard’s text, it was duly banned (and apparently still is!) from exhibition in West end theatres, despite receiving an 18 rating by the BBFC and the go-ahead of cinema screenings outside the jurisdiction of Westminster City Council. Bemoaning Crash’s potential as both a ‘depraving’ and ‘corrupting’ influence— criteria set out under the Obscene Publications Act 1959— Cronenberg’s film and, by proxy Ballard’s text, came under fire from the general public, film critics and The Daily Mail for its supposed moral vacuity; the latter running the headline ‘Ban this Car Crash Sex Film.’ Though film and text are now no more than a couple of clicks away from purchase, Crashremains a curious part of cult history as, however briefly, a pariah of 90s pop culture, its capacity to shock undiminished by the leap between different media. 5 years after Ballard’s death and he remains a figure whose aesthetic is frequently replicated but rarely captured in all its disconcerting power. From the novels of Ian Sinclair and Will Self to Jonathan Glazer’s recent art/sci-fi effort Under the Skin, his influence crops up as a byword for cyber-punk excess and broiling, surreal sexuality. That being said, there is more than a little Ballard in the forthcoming Autumn release of The Joy of Sex[1] where an amateur sex-tape between Jason Segel and Cameron Diaz is accidentally leaked onto the internet with (no doubt) hi-larious consequences. It is to Ballard’s credit then that his ghost has the tendency to manifest well outside the circumscribed areas of science fiction, literature and the art house; after all, the key to our deepest obsessions and
5 years after Ballard’s death and he remains a figure whose aesthetic is frequently replicated but rarely captured in all its disconcerting power. From the novels of Ian Sinclair and Will Self to Jonathan Glazer’s recent art/sci-fi effort Under the Skin, his influence crops up as a byword for cyber-punk excess and broiling, surreal sexuality. That being said, there is more than a little Ballard in the forthcoming Autumn release of The Joy of Sex[1] where an amateur sex-tape between Jason Segel and Cameron Diaz is accidentally leaked onto the internet with (no doubt) hi-larious consequences. It is to Ballard’s credit then that his ghost has the tendency to manifest well outside the circumscribed areas of science fiction, literature and the art house; after all, the key to our deepest obsessions and perversions were, for Ballard, always hidden in plain sight. The reissue of the complete works by Fourth Estate (complete with new introductions from the likes of John Gray, Deborah Levy and China Miéville) is a wonderful way to celebrate the life of an artist whose prescience, extreme creativity and abiding relevance will— here’s hoping— continue to ‘deprave’ and ‘corrupt’ as they enlighten generations of readers in the future.
J.G. Ballard, still ‘beyond psychiatric help’
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S ‘the mighty blues’ finished the 2013/2014 Season on a high, battling tooth and nail against a determined Arsenal for fourth place, the players showed character and strength not seen in an Everton side for some time. Securing a European spot, new manager, Martinez was hailed a hero as ‘the school of science’ chant echoed around the stands at Goodison Park. And what better way to celebrate than to announce a rekindling relationship between the club and the iconic double diamond brand, Umbro. After all, the duo has a successful and long-standing history together that spans five consecutive decades. Umbro have teamed up with Everton Football Club to become their official technical partner on a solid 5-year deal, providing the 2014/2015 kit for their men’s, ladies and Academy teams. With unrivalled football heritage, Umbro, known for its design excellence and innovation has taken on the mantle of its previous successors to produce a kit that evokes the heyday of Everton. To mark the launch, Umbro and Everton joined together to create the compelling ‘once Everton has touched you, you’re part of the fabric’ campaign. It was designed to reintroduce a partnership that has long stood within the minds of its fans and represents a return to glory for the club as a whole. A captivating series of videos were released as part of a wider initiative to highlight that there is more to the fabric of Everton… than just the fabric. With a ‘we’re in this together’ notion, we see Everton greats such as Tom Gardner [the club’s oldest living former player] Graeme Sharp and Duncan Ferguson standing tall next to the young players of today, Seamus Coleman, Ross Barkley and Phil Jagielka. Perhaps the most striking element is that a number of non-playing staff are featured, including Everton in the Community’s disability manager Steve Johnson, kit manager Jimmy Martin and the club’s long-standing painter and decorator John Manville. Follow on films tell the individual stories of these members, and what it actually means to be part of the fabric. It’s clear attention to detail was not spared when Umbro took on the role once again to produce the kits… they understand the ethos of the club. "Umbro does feel more Everton. I remember Everton playing in Umbro in the past and hopefully going back to them will serve us well. I certainly like it. It would be nice if we win some more silverware in this Umbro kit,” says Everton defender John Stones. Championed also by manager Roberto Martinez, the kit has been
S P O R T
inspired by the 1924 strip, the year that Umbro was founded and the year that Everton won the ‘Barcelona Cup’ in Spain wearing royal blue shirts, white shorts and navy socks. The home shirt, in classic Everton blue, features a woven grandad collar in dark navy with a concealed top button to give a smart visual. The shoulders of the shirt are reinforced with flat lock stitching, and the side seams have been moved forwards to reduce friction. In addition, the seams are stitched to the outside of the garment and covered with a fabric overlay so the inside is smooth. The jersey also offers moisturewicking properties whilst a knitted shadow stripe gives the lightweight shirt a stylist finish. On the back of the shirt there are also eight die-cut ventilation holes to keep players cool. The top eyelet on each side is in the shape of the iconic Toffee Tower, giving a unique sign-off for the Club. There’s evidently been some real thought into keeping an authentic vintage inspired shirt matched by the quality and design of the modern day era to help players perform to full potential on the pitch both in the Premier League and in Europe. But with such a rich history it would be a shame not to celebrate this ‘special relationship’ that started way back in 1962. In those days the average supporter would have been oblivious to the fact that the shirts worn by Young, Kendall Harvey, Ball and Royle were Umbro-made as no exterior branding appeared until 1974/75. From this early start the Everton shirt has evolved in the hands of Umbro over the years. In 1976 Umbro unveiled their classic design template featuring a prominent logo on the chest and the diamond pattern down each sleeve that remained the essential blue-print for the Everton kit over the next six seasons. Only in the 1982/83 season was there a radical overhaul when a silky shirt with a v-neck was adopted. In this period, replica kit sales, primarily aimed at children, took off with Umbro offering boxed sets of shirts, shorts and socks. After a brief flirtation with Le Coq Sportif during the mid-80’s, Umbro returned to Goodison with a contemporary V- necked shirt with a diamond shadow effect on the fabric that was accompanied by characteristically tight white shorts with a blue sash and blue socks.. For both Everton and Umbro the 2014/2015 season will be the continuation of an illustrious partnership. For the return of Umbro to the Premier League, it would seem fated that they should again be aligned with a team as strong and identifiable as Everton. “The Choice of Champions”.
“Umbro does feel more Everton. I remember Everton playing in Umbro in the past and hopefully going back to them will serve us well. I certainly like it. It would be nice if we win some more silverware in this Umbro kit” - John Stones
Watch the Campaign Film + find out more by scanning this page.
36.
Fighting with your umbrella is not chic. In the inevitable wind and rain that winter brings, sometimes it's just easier to z
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everton has touched you
youre part of the
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2014/15 KITS NOW AVAILABLE W W W .
E V E R T O N F C . C O M
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Classic Bomber: £195 Slim-Fit Overcoat: £325 Italian Crew Neck Sweater: £235 Pleat-Fronted Trousers: £145
#WHISTLESMENS
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“At Whistles we value the power of understatement and believe that sharpness, quality and function are what really resonate today. Menswear is built around a tightly edited core of familiar pieces, so making it feel relevant comes down to perfecting the details and subtly updating them. If the simple things don’t look brilliant, how can you expect customers to fall for the more standout pieces?” Jane Shepherdson, CEO Whistles
Canvas & Leather Backpack: £450 Canvas & Leather Holdall Bag: £450
Grey Double Breasted Coat: £395 Crew Neck Sweater: £235 Slim-Fit Tailored Trousers: £120 Low Top Slip-Ons: £175
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Knitted Pattern Bomber: £175 Regular Fit T-Shirt: £30 Pleat-Fronted Trouser: £145 Pattern Slip-On Trainer: £150
Sheepskin Parka: £395 Cable Rollneck: £195
THE DEBUT MENS COLLECTION NOW AVAILABLE W W W .
W H I S T L E S . C O M / M E N
Loriga Navy Leather Lo-top Trainer ÂŁ179
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C O P Y I N G C R E A T I N G
48.
Food and shoes. What’s not to love? The wonderful craftsmen at Oliver Sweeney certainly agree. For their new Autumn/Winter’14 collection they have drawn inspiration from the most beautiful and sumptuous ingredients to highlight the details and features of their handcrafted shoes. The variety, pattern, texture, colour and composition of food influenced both the design process and the concept of this season’s campaign shoot. By complementing food types with each shoe design the finite detail of each shoe is showcased with the quality and craftsmanship that is expected at Oliver Sweeney. The striking reds and silvers on rainbow trout, seabass, lobster and crab, are used to pull out the vibrancy of the shoes in the Compass Collection. Handfuls of blackberries and raspberries emphasise the scotch grain leathers on our Goodyear welted styles beautifully, whilst peppercorns of all sizes are scattered to resemble the punching details seen on all Oliver Sweeney brogues. Chunky fillets of seared beef are kept rare to offer a full depth of texture and toughness on the outside to represent the masculinity of heavy soled blucher styles. Similarly to emphasise the sophistication of the Italian blake sewn range, steak onglets are used, often considered the most premium cut of meat, for their striking pattern, colour and flavour. With each shoe and every shot it is clear that attention to detail was incredibly thorough and specific. By selecting only the highest quality cuts of meats and picking vegetables like aubergines and beetroots in their most delectable states, the campaign oozes luxury and desirability. The scattering of original shoe tools across the shoot, provided by the current Cobbler-in-Chief and used by their Granddad, demonstrate the commitment by Oliver Sweeney to maintain the standards of the industry’s oldest, yet finest, methods of shoe construction and cutting techniques. The sheer quality of Oliver Sweeney is without question; delectable photographs of impeccable shoes and delicious food. Now who’s hungry?
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Hawnby Navy Derby Brogue ÂŁ229
Dunwich Chestnut Oxford Brogue ÂŁ195
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For a tougher take on the brogue, these Selby Tan Brogue Boots are equally at home on country walks as they are in cool city hideaways. Rugged, durable and hardwearing, it gives great style, perfect for those on the go but who still want to look good.
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Selby Tan Brogue Boot £259
A vulcanised casual boot with sweptback facing, the updated Ardara with a new branded sole, is a lightweight casual option that will be an indispensable part of any weekend wardrobe.
02
Ardara Navy Leather Chukka Boot £119
Who can resist a good chelsea boot? And in Burgundy? Made from the very finest Italian calf leather, complete with a refined and subtle flash of colour at the edge of the gusset, this intricate hint of detail will elevate your look beyond the usual confinements of formal dressing.
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Nuxis Burgundy Chelsea Boot £329
The brogue. With a beautiful, deep brown suede upper finish that's versatile enough to wear all week long, no matter what the occasion, this Hasketon Brown should be on your most wanted.
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Hasketon Brown Suede Brogue £229
A formal shoe that’s fun and beautiful. The finn-like ridge adds depth to a classic design. It's the attention to even the smallest of details, like this, that make a big difference to the overall finesse and success of your entire look. Deliceto Black Lace-up Derby £295
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TOPSHOP AW14
COATS OF ARMOR Choosing your winter coat can be tricky. There are so many things to take into consideration when picking the right one for you. When should I buy it? What colour shall I go for? Will I regret buying one without a hood? If this is you, don't panic! You are not alone in this annual struggle. So that's why ACE have comprised a list of ontrend coat styles that you should be seen in this winter; 01. The Waterproof Fighting with your umbrella is not chic. In the inevitable wind and rain that winter brings, sometimes it's just easier to zip up and hide in your hood. Nowadays, waterproof doesn't have to mean dowdy. Choose a contemporary style such as a luxury down filled parka, a country inspired waxed or quilted jacket such as a Barbour or a cute patterned rain coat to keep you dry.
Bette Lynch leopard print; now you can find faux fur in EVERY colour. For Autumn transitions, why not wear a faux fur gilet? If fur is not your cup of tea, go for a classic shearling coat or an edgy leather jacket instead. Perfect for: Sassing up your outfit whilst keeping toasty (Not suitable in heavy rain as they can get ruined). Where to shop: Topshop/ Vintage shops. 03. The Oversized
Perfect for: Commuters and Students.
Oversized coats are everywhere this season. They come in loads of different colours, fabrics and lengths and are therefore very versatile. For a more casual look, go for the blazer and boxy shapes or for a more formal look, try coats with waterfall lapels. Perfect for: Any occasion as they tend to look smart. Curvier girls be cautious as they can add bulk to your figure.
Where to shop: Next. 02. The Animal Inspired
Where to shop: River Island 04. The Vintage
Animal coats are huge right now and can be worn in either a contemporary or traditional way. Gone are the days of the
The best thing about these coats is they never go out of fashion! These classic styles can be found with contemporary
twists e.g 60s peacoats in a pastel shades. Or you can stick to the old school style by choosing a navy 70s duffle or a beige 80s Mac. These styles suit all shapes, colours and sizes which is why they are still popular today. Perfect for: Everyone! Choose a style, length and colour to suit you. Where to shop: M&S and Vintage (obviously!) such as Pop Boutique and Little Red Vintage on Bold St. 05. The Smart Brights You will stand out from the crowds in these jackets. Think duster jackets in every colour of the rainbow and choose your favourite. For days that feel like an Indian Summer, or evenings out on the town, choose a longline blazer to brighten up your outfit. Perfect for: Autumn/Winter transition. Where to shop: New Look, M&S as a luxury alternative.
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