Your Town Your Choice : Issue 37 by INDEPENDENT NEWS LTD.

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EDITOR Duncan Williams (Mobile 07960 829 615) E-mail dwilliams@independentlocals.com SALES Amanda Knatchford Nacer Nib Andrew Pescud Scott Clancy DESIGN DESIGN Stef Hayes Stef Hayes stef@hotbeddesign.co.uk stef@hotbeddesign.co.uk

Duncan Williams, Chairman and CEO INDEPENDENT NEWS LTD and INDEPENDENT MAGAZINES LTD. Tel: 0871234 1991 E: duncan@independentlocals.com fb: facebook.com/independentnewspapers

ISSN 1750-8967

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est b e h tal? st i i p r a o ur c Is B o r t fo n e m st inve A commentary for YTYC by Lief Schneider. Don’t be fooled by the odd socks the Mayor’s success is no accident, Londoners make up the most fickle, cynical, often scathing constituency on earth. So just how did the politico who refused to be “spun” win the hearts and minds of the world’s harshest critics? I have always strongly believed that the rise and rise of Boris is no accident. His successful pitch to win the hearts and minds of Londoners was pure genius - a coup pulled off by those with a deep understanding of the London mindset. For Boris, I believe, is a perfect example of a public figure that satisfies the basic human needs and yearnings of a sophisticated urban audience. Ironically, Londoners chose him for many of the same reasons that they chose Red Ken before him. They are, in numerous ways, mirror images of each other. From a reputation management point of view, Boris is a dream case study; a formula built in heaven. Because when it comes to entrepreneurial go-getting, all-tolerating but all-seeing London, there is a basic set of rules that you need to follow…

Londoners hate being taken for fools The timing was perfect. Boris was first voted in after 11 years of New Labour rule. This was a period of increasing paranoia for the Labour party, when their spokespeople were clearly constrained by the “party line”. Londoners, with their love of free speech and independent mindedness, didn’t like it. Yes, they voted for Ken Livingstone. But he was initially the independent candidate. Londoners don’t like the prescriptive or being prescribed to and were fed up to the back teeth with New Labour yes-men. Londoners have a sense of humour From Berwick Street’s fruit sellers to the City’s top traders, Londoners have a sense of humour. Which means they can both stick two fingers up to the politically correct rest of the world and vote in Boris. And they can understand his jokes. Londoners like mavericks and eccentrics If you’re born in London, as I am, you learn before you can walk that London is far too eclectic and busy a place to bother with fitting in. Survival lies in differentiation. If you come to London in search of the bright lights and streets paved with gold - you don’t do it because you want to conform. Londoners like ideas Boris announces ideas like there’s no tomorrow. Teach classics to underprivileged children; revive the Fleet River and make London the new Venice; create a landing strip on an island in the Thames. Most of these don’t stick. But occasionally they do - and very successfully - such as Boris bikes and banning alcohol on public transport. As arguably the most entrepreneurial people in the world, Londoners understand that not all ideas are practicable, but it’s important to have them. Londoners are cultured and well rounded With his sideline in history books and documentaries and his clumsy running routine - not to mention his editorship of The Spectator Boris Johnson is something of a renaissance man, not just another onedimensional politician.

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Londoners are big-picture folk Listening to Boris speak, as I have done several times, can be quite cringy. He may get it right, or he may be utterly unprepared and fumble when asked for a breakdown of nuts and bolts. But this rarely seems to matter. Londoners want to know the top line, not the detail. Londoners aren’t censorious about sex You don’t come to London to curtain twitch. An immigrant member of my own family used to say the reason she had adopted London as her home was because you could walk naked down Piccadilly and no one would even look. She didn’t want to walk naked down Piccadilly, she explained, but she liked the thought that she could. While Boris would probably have been thrown out long ago if there were such a thing as “Mayor of the Home Counties”, Londoners are tolerant and liberal. You want to have a mistress? Go ahead – it’s your funeral. It’s not that Londoners celebrate sexual impropriety and transgression – it’s just that they don’t care either way. Londoners like confidence… One balmy summer evening in a Clerkenwell foyer where it was too hot to wait for my business partner Fiona Bartosch (herself a former press advisor to the New Labour great and the good, and, she would want me to point out, a Ken Livingstone fan), I found myself wondering towards an outside table at a pub at the bottom of Herbal Hill. Who should be sitting at the next table with some young work colleagues, but Stanley Johnson, Mr Johnson Senior? And what did he talk about for the entire half hour I was waiting there? Well, Boris, or any other offspring, would have died. Proud dad went on and on about his beloved son. Like Maureen Lipman’s Jewish grandmother in the classic BT ads, every “ology” Boris ever got was hailed by his father as a triumph. It was a fascinating insight into the backstory of Boris – a man who has not come from the chilly fridge, stiff upper lip, toughen-em-up stables of some of his Eton contemporaries.

London is no place for wallflowers. And anyone who still believes that the capital is a hotbed of negativity hasn’t taken a look at the City’s ever-burgeoning skyline recently. Boris isn’t a wallflower. He has believed from birth that, like Bob the Builder and Barack Obama, he can do it, yes, he can. …but they also like shyness London isn’t like New York. It’s not brash. It’s openminded and confident, yet still informed and influenced by British reserve. And it’s a funny old thing: Boris is a blusher. When he falls in a poisonous canal he’s helping to clean up, or forgets his figures, or is apologising to the people of Liverpool, Boris blushes. And for that, we adore him.

Lief Schneider is a director of Schneider Bartosch Communications. She specialises in profile building and reputation management, and advises some of the capital’s most prominent business leaders and people in the public eye. Lief doesn’t mince her words and applies a common sense approach to communications and business strategy. An unrepentant smoker and urbanista, she is a regular media commentator. Ideas expressed here are hers and not those of anyone else in the company.

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Favourite films of the silent age With the enormous worldwide success of the French silent film THE ARTIST, we take a look at the pioneers of cinema's evolving years when pictures really did say a thousand words...

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YOURTOWNYOURCHOICE The Frenchman Louis Lumiere is sometimes credited as the inventor of the motion picture camera in 1895. Other inventors preceded him, and Lumiere's achievement should always be considered in the context of this creative period. Lumiere's portable, suitcase-sized cinematographe served as a camera, film processing unit, and projector all in one. He could shoot footage in the morning, process it in the afternoon, and then project it to an audience that evening. His first film was the arrival of the express train at Ciotat. Other subjects included workers leaving the factory gates, a child being fed by his parents, people enjoying a picnic along a river. The ease of use and portability of his device soon made it the rage in France. Cinematographes soon were in the hands of Lumiere followers all over the world, and the motion picture era began. The American Thomas Alva Edison was a competitor of Lumiere's, and his invention predated Lumiere's. But Edison's motion picture camera was bulky and not portable. The "promoter" in Lumiere made the difference in this competition. For a good description of these historical developments, read Erik Barnouw's Documentary: A History of the Non-Fiction Film, 2nd revised edition, New York: Oxford Univ. Press, 1993.

Films from the Silent Era YEAR 1915 1919 1919 1922 1922 1924 1925 1925 1925 1925 1926 1927

FILM Birth of a Nation Broken Blossoms The Cabinet of Dr. Caligari Nosferatu Nanook of the North The Last Laugh Strike Potemkin The Gold Rush The Street of Sorrow Metropolis Sunrise

DIRECTOR D. W. Griffith D. W. Griffith Robert Wiene F. W. Murnau Robert J. Flaherty F. W. Murnau Sergei Eisenstein Sergei Eisenstein Charlie Chaplin G. W. Pabst Fritz Lang F. W. Murnau

COUNTRY USA USA Germany Germany USA Germany Russian Russian USA Germany Germany Germany

Dawn of a Golden Age : For the first twenty years of motion picture history most silent films were short--only a few minutes in length. At first a novelty, and then increasingly an art form and literary form, silent films reached greater complexity and length in the early 1910's. The films on the list above represent the greatest achievements of the silent era, which ended--after years of experimentation-in 1929 when a means of recording sound that would be synchronous with the recorded image was discovered. Few silent films were made in the 1930s, with the exception of Charlie Chaplin, whose character of the Tramp perfected expressive physical moves in many short films in the 1910's and 1920s. When the silent era ended, Chaplin refused to go along with sound; instead, he maintained the melodramatic Tramp as his mainstay in City Lights (1931) and Modern Times (1936). The trademarks of Chaplin's Tramp were his ill-fitting suit, floppy over-sized shoes and a bowler hat, and his ever-present cane. A memorable image is Chaplin's Tramp shuffling off, penguin-like, into the sunset and spinning his cane whimsically as he exits. He represented the "little guy," the underdog, someone who used wit and whimsy to defeat his adversaries.

this film Griffith utilized crosscutting (parallel editing) effectively, particularly at the climax, when a number of editing tracks play off one another. He also portrayed battle scenes magnificently, with action in one set of shots moving from left to right, while action in another set of shots moves from right to left. But Griffith's work is diminished severely by the overt racism employed in characterizations and plotting and the positive portrayal of the Ku Klux Klan. As a sidelight, readers interested in films about Griffith should check Good Morning, Babylon (1987), directed by the Taviani brothers. It tells the story of two Italian immigrants who become carpenters on the set of Griffith's epic film Intolerance (1916). The English actor Charles Dance plays Griffith. Other well-known Griffith melodramas include Broken Blossoms (1919) and Way Down East (1920).

Eisenstein's contribution to the development of cinema rested primarily in his theory of editing, or montage, which focused on the collision of opposites in order to create a new entity. One of the greatest achievements in editing is the Odessa Steps sequence, in his film Potemkin (1925). Eisenstein intercut between shots of townspeople trapped on the steps by Czarist troops, and shots of the troops firing down upon the crowd. Members of the crowd became individual characters to viewers as the montage continued. Within the editing track the fate of these individuals was played out. A mother picks up her dead child and confronts the troops. Then she is shot. A student looks on in terror and then flees--his fate uncertain. An old woman prays to be spared, but she is killed by a soldier who slashes her face with his saber. When a woman holding her baby carriage is killed, she falls to the steps, and the carriage begins a precipitous decline--shots of the baby crying are intercut with wide shots of the carriage rolling down the steps. To Eisenstein, each individual shot contributed an energy within the editing track that yielded far more than the sum total of shots. In other words, the "combination" of shots through editing created a new entity, based on the expressive emotional energy unleashed through the editing process.

The German directors listed deserve credit for their experimentation with unusual camera angles and complex stage settings. Two examples of this approach is The Cabinet of Dr. Caligari (1919) by Robert Wiene and the nightmare-like Nosferatu (1919) by F. W. Murnau. The latter is also credited with perfecting the use of visual language in The Last Laugh (1924), a film about a lonely old man who is ridiculed by others. Few titles are used in the film because Murnau is able to communicate meaning by virtue of well-placed visual cues. One of the most unforgettable openings to a film is the opening scene from M (1931), directed by Fritz Lang. In that opening a child is shown playing with a ball. These shots are intercut with shots of the child's mother setting the table for a meal. As the scenes progress, it becomes evident that someone is following the child. Meanwhile, the mother completes the table setting. The last shot in the scene shows the ball rolling away. Where is the child? The murderer (M) has taken her. Fritz Lang went on to make films in America in the 1930s and 1940s. Another German director who went to Hollywood is F. W. Murnau. He made his first American film in 1927. The film, Sunrise, portrayed a married man's downfall when he is seduced by an evil dark temptress.

Brian De Palma imitated the Odessa Steps sequence in The Untouchables (1987) in a scene where Kevin Costner, playing Eliot Ness, and his companions are waiting to ambush several mobsters. This confrontation is punctuated by the use of the baby carriage plummeting down a long series of steps while the good guys and the bag guys remain in a standoff. A more effective homage to Eisenstein can be seen in Francis Ford Coppola's Apocalypse, Now (1976), when at the end of the film a cow is slaughtered ritualistically by the native people deep in the Vietnamese jungle. Shots of the slaughter are intercut with shots of the Martin Sheen character wielding a machete against the hulking Marlon Brando character, the crazed former American officer who has retreated to the jungle from the horrors of war and has become a sort of deity to the native people in his compound. Coppola was aware of a famous scene in Eistenstein's Strike (1925), when two dramatic scenes are intercut: one of Czarist troops massacre peasants, another of a cow being butchered. Although the technology for making movies was invented in 1895, a significant realization of the potential for film as art occurs with the appearance of D. W. Griffith's 1915 full-length epic, Birth of a Nation. In

A last note: the 1922 film Nanook of the North, directed by the American Robert Flaherty, is often credited as the first great achievement of documentary (or non-fiction) film. Flaherty lived among the Eskimos for six months, edited the film back in America, and was lauded for his achievement when the film premiered in New York City. Only a few documentary titles will appear in the lists of films that follow. I hope you will enjoy perusing these lists and consider renting titles you have not viewed before.

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Ever wanted to edit and publish your own regio Our magazine titles are now available for very profitable loc WE offer full ongoing support; professional sales training, journalist, feature writing and copywriting classes, and competitively priced design, printing and distribution packages! If you could do with some serious additional income, want to spend loads of time with your children, and would like to be admired in your community because of what you do, then a Foodologist franchise is for you. This is a real business that you can run from your own home, in just a few hours a week. It fits in perfectly around caring for your children so that you can be an active parent as well as a key breadwinner in the house hold.

HOW WILL YOU GAIN? • Financially: FOODologist magazines have the potential to earn you a sizeable four figure income (profit) EVERY month... • Physically: This is very part-time once you’ve got yourself set up and you have the flexibility to work when you want, meaning you can fit your business around your family and other commitments;

WHAT YOU WILL BE You will be the Editor of your own community magazine. Your responsibility will be to fill the magazine with content, including local information and advertising, which is where you make your substantial income. Your magazine will normally be monthly, but if you want to publish bimonthly you can - because you’re in control, remember - and it’ll be delivered free through doors in your area and placed in libraries, community centres etc. Average distribution is around 9,000.

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City Life Magazine

• Emotionally: By having pride in what you do. You’ll feel great when people ask you what you do and you tell them that you publish your own magazine. It is a brilliant feeling and you get a real sense of satisfaction that comes from success and a job well done. • PLUS you’ll be able to build a business that has considerable value in its own right i.e. your magazine is something that you can potentially sell at some point in the future. You could realistically sell your magazine for big five figure sums after only 1-2 years.

RAPID PAYBACK Advertising will be key to profiling any business that desires to stay ahead of their competitors. This is never more true than during a period of financial recession. Only visible, sustained market promotion will enable businesses to win new customers and retain existing ones. You will be on course to recouping your initial investment in just 6-7 weeks. You don’t need to be a technical whizz or a super sales person. You just need to be able to use a computer and enjoy meeting new people. If you are interested in joining this success story in your local area then please contact us today; The FOODologist - Duncan Williams, Publisher (T) 0207 751 4463 / 07960 829 615 duncan@inChelsea.com

WHY ADVERTISING WORKS Sometimes we need to remind ourselves what the short-term benefits of advertising are - during good times or bad - it creates sales immediately; it generates added business from current customers; and it brings in new leads and prospects. Then there is the long-term benefit of advertising - it works cumulatively. The more familiar people become with a brand, the more favourable they feel toward it, and the more likely they are to buy it. In other words, people don’t like to do business with strangers. And, since the owners and staff of a company can’t personally meet all their prospective customers in advance, their advertising must do this for them. Maintaining brand recognition should be considered an ongoing business investment. The moment it stops - it begins to lose power immediately and future sales are in jeopardy. Studies have shown that it takes four to six months to see the results of an advertising program. Cutting back during a down- turn is like throwing away your investment. Maintenance today costs much less than rebuilding tomorrow.

The FOODologist - Duncan Williams (publisher)

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BLE THROUGHOUT THE UK Issue 4

nal magazine? cal franchise opportunities. HOW MUCH DOES IT COST? Issue 23

The price of a FOODologist Magazine franchise, including your exclusive territory, the professional support, business template and everything you need to get started, varies depending on the size of your ‘patch’. The areas have been split into five ‘bands’, based on their size, and the Initial Franchise Fee is different for each band:

Band Band Band Band Band

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A+ Territory £34,999 + VAT A Territory: £29,999 + VAT B Territory: £19,999 + VAT C Territory: £14,999 + VAT D Territory: £9,999 + VAT

Simon Scutt

Duncan Williams

LEADING south coast restaurateur, Simon Scutt, together with London magazine publisher, Duncan Williams, got together to promote Britain’s new found love of food. With their flagship title ‘The FOODologist’ receiving ever widening acclaim in coastal regions, the two are planning to expand the brand into towns and cities across the UK. Coupled with a Diners Club, giving significant member discounts, together with other key resort related and hotel promotional materials, City & Coastal Media are a small company established in 2010 that aims to support small businesses and urban and rural communities by offering quality titles that reflect the very best in British leisure and catering services.

Issue 13

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Issue 9

TT H H H TT TH T EE H HE EE E SS EE A A A SS SE EE EA RR A AR CC RR RC H H H CC CH IS IS IS H H IS O O O IS IS O N N N O ON V V V N N Voo V V te te te ote oo te fo te fo fo fo rrrr y fo fo r yy o oo yo yy u uu o o r r r fa fa fa u u u r r r v favv fa fa o o o vvooou uu ri ri ri uri uu te te te ri ri te te te re re re ressssssta re re ta ta uu tau ta ra ra ra ura uu nn ran ra nttttt in nn in in in th th th in in ee the th th e SS ee oo So SS uu ou oo th th th uth uu th th

Issue 12

The South -

the food capital of the world

Studio C, 41 Edith Grove, Chelsea, London SW10 0LB Tel: 08713159277 E: duncan@foodologist.co.uk W: www.foodologist.co.uk facebook.com/foodologist Twitter @the_foodologist

Tel: 0207 751 4463 / 07960 829 615

E-mail: duncan@foodologist.com

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Cut out and keep recipe choice for that special Valentine's Day meal for two.

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r Tige & s n w a Pr sels s u M

METHOD PREPARATION TIME: 10 mins COST: Approx. £15 (with a reasonable bottle of wine) • Add the oil, butter shallots, garlic together and start to heat. • Put the mussels and prawns into the pan and put the lid on. • Keep looking occasionally at the contents to see if the mussel shells have opened and the prawns have turned pink. • When the shells have opened add the wine first and put the lid back on for a minute • Take off the heat for a second and add the cream to your taste stirring into the rest of the contents. • Serve in one large bowl, feeding each other.

INGREDIENTS

Parsley can be used to garnish and a finger bowl with water and piece of lemon is a good idea. Some crusty bread for the left over juice works well. Enjoy with the rest of the chilled White Wine - Macon Villages or Macon Lugny are good choices. Be careful not to add any salt before the mussel shells have opened (they contain a little salt water)

Half kilo of cleaned Scottish mussels 200 grams of tiger prawns with shells on. Half glass of dry white wine Splash of olive oil Knob of butter 1 shallot (finely chopped) 1 garlic clove (finely chopped) Double cream (1 or 2 tablespoons) Salt & pepper to taste Saucepan with lid

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YOURTOWNYOURCHOICE SO the great Muhammad Ali has made it to 70. The world’s greatest ever boxer has just celebrated that milestone birthday - and it gives us all a chance to reflect on the man who could also arguably claim the title of the greatest sportsman ever. Yes, he was that good – beating the bulldozing Joe Frazier twice and, through a tactical bit of genius (the so-called rope-a-dope tactics), also emerging victorious over the supposedly unbeatable George Foreman when the man-mountain submitted to fatigue in their titanic bout in Zaire in 1974. But Ali is even more than all that: his influence and significance as a human being and an icon spread much wider than a mere sporting legend. Ali, christened Cassius Clay, famously refused to fight in Vietnam - a moral stance based upon his publicly held belief that ‘the Vietnamese have done nothing to hurt me’. He expanded upon that belief when he said, ‘Hating people because of their colour is wrong and it doesn’t matter which colour does the hating. It’s just plain wrong.’ And on religion he said, ‘Religions all have different names, but they all contain the same truths. ... I think the people of our religion should be tolerant and understand people believe different things.’ As he grew older, Ali became more interested in becoming the spokesman of his generation and transcended sport with his words and beliefs. So it was great to see him hit 70, if also sad as he shook uncontrollably - a legacy of the punishment he took in the ring in his later bouts. It is a shame that the men who controlled his career did not have the same humanity of the man they fleeced – they should have pulled him out or persuaded him not to fight the likes of Larry Holmes, who gave him a real battering. The man is a legend – I very much doubt there will be another sportsman who manages to match his achievements, both within their sport and out of it.

Ali we love you.

... so, give the job to David Beckham

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YOURTOWNYOURCHOICE AN increasing number of my colleagues in the Press boxes around the country have jumped on an ageist bandwagon of late. Yes, almost every sports hack I speak to is unflinching in his or her belief that two of the greatest footballers of the modern era should NOT be allowed anywhere near the Great British team in the London Olympics this summer. They contend that the two men are finished, burnt out and too slow - and that the two slots in the squad should go to much younger, faster boys.

ics n y c e h t e r Igno

I am referring, of course, to the ongoing debate over whether England’s David Beckham and Wales’ Ryan Giggs should be in GB boss Stuart Pearce’s final squad. My opinion is this: there will be plenty of other youngsters in the 23-man squad and each team is allowed three over-age players. So why not choose Giggsy and Becks? Their experience will prove invaluable to the young lads and they will add technical skills in terms of free kicks and set plays that could bring the odd goal or three. And, let’s be honest here, we are not going to win the darned thing anyway! Not with Pearce in charge - he is an honest battler but lacks tactical nous…a modern day Kevin Keegan if you will - and not when we are going to be up against the wonderful talents of Argentina and Portugal. So, as hosts, it surely therefore makes sense for us to maximise our presence and impact in the tournament. With Becks and Giggsy in there, I can tell you for sure that everyone will be talking about Team GB and make us their second team after their own countries. Choosing the pair is a win-win no-brainer, so come on Pearce…pick Becks and Giggsy, they’ll be proud to represent the nation and they’re bring us much prestige as the host nation.

Pele -

and play Becks and Giggsy in the Olympics

TALKING of Argentina (and Lionel Messi who may well be one of THEIR over-age players!), I was saddened to see Pele doing the little man down recently. Many pundits claim Pele is the greatest footballer of all time - and a fine ambassador for the game nowadays. I have to say I disagree on both points. He might have built himself up as the greatest, but he was too much of a goody-goody in my book and did not have the charisma or mischief to be the best. That accolade has to go to another Argentine, the naughty but wonderful Diego Maradona, who won the World Cup for his country in 1986, almost singlehandedly. And, led by Maradona, Italian club Napoli won their only Serie A Italian title in 1986/87. Again he achieved it with a team with talents much less stellar than his genius. No way was it as tough for Pele - he played for Brazil, with magical stars all around him in the team. And now Pele is getting a bit mean in his old age. When asked by French newspaper Le Monde whether Messi could now legitimately be called the greatest player EVER, Pele replied resentfully, “When Messi's scored 1,283 goals like me, when he’s won three World Cups, we’ll talk about it.æ What a sad old bugger he has become! He was asked the question just after Messi had won Fifa’s Ballon d’Or for the best player in the world for a THIRD SUCCESSIVE year. Surely he could have joined in the salute to a truly wonderful player by saying something like, ‘Well, he is going the right way about it!’ Instead he demeaned himself and his reputation on the world stage by taking it personally…a real own goal on the PR front that one, Pele…

that’s another fine Messi you’ve got into!

FRANK WORRALL writes the best news reports especially for your WEEKLY SPORT! For more information on Frank and his bestselling sports books, see www.weeklysport.co.uk Weekly Sport readers can buy Frank’s insightful book on Sir Alex Ferguson for the special price of only £2.86 on Kindle (retail price £17.99 for the hardback)

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et and theMediaN nce ism confere al rn u Jo In s n ia st ri Ch

-5pm rd March 9am Saturday 3 ell, London

nw urch, Clerke St. James’ Ch

Join us for an exciting day of discussion, fellowship, encouragement and inspiration. We’ll have input from some great Christian media professionals including the BBC’s Rev Richard Coles. We’ll be looking at issues from phone hacking and media ethics, to job insecurity, gamification and augmented reality. It will be a fantastic opportunity to meet, pray for and share experiences with other Christians working in the media from all over the country.

£12 Coffee, refreshments and lunch included For more info check out www.themedianet.org or contact ruth@themedianet.org

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