h magazine issue 24 by topright design ltd.

2010 – Issue Twenty Four – London

About the cover artist

Dominic Beattie Dominic Beattie was born in Camberwell, London in 1981.

acquired by a series of collectors, most notably, Charles Saatchi.

He graduated from Camberwell College of Arts with a First Class Honours degree in 2003 and has since worked as a visual artist and illustrator.

Dominicâ&#x20AC;&#x2122;s visually arresting graphic style is a meld of long held interests and learnt techniques. His interest in pop sensibilities, underground comix and tribal imagery, are apparent in his dynamic drawings. He attempts to create an intense visual experience through the simple use of bold block colour and rhythmic outlines.

Dominic recently exhibited a series of nine new works at The Hospital Club in Covent Garden for his first solo exhibition. He has previously exhibited in numerous group shows and art fairs around London and has had illustrations published in leading music magazines, including Artrocker and The Wire. Dominicâ&#x20AC;&#x2122;s recent body of work has been successfully embraced by its audience, and key pieces have been

Dominic welcomes enquiries about his artwork or potential commissions. For more information please contact alih@thehospitalclub.com

h. ISSUE TWENTY FOUR | 2010 | THE HOSPITAL CLUB. LONDON

The Introduction

t’s quite possible that it’s escaped your attention, but for the past few years The Hospital Club magazine has embraced a ‘theme’ for every issue. We’ve contemplated Silence, Legendary, Sex, Maybe it’s Because I’m a Londoner and Put it in Your Pipe and Smoke It. Yes, those words were the creative catnip we flung at our contributors to motivate, cajole and tickle their artistic muscles. Hours were spent arguing over potential themes, front cover art work and how strictly the themes should be adhered to. Then we got to thinking; does it really matter? Can we abandon the themes? Is Lindsay Lohan a good actress? Is there a God…and does anybody really care? Possibly not, it was decided. So, what you have in your hand is the very first ‘theme free’ issue. We’ve cast off our shackles, sprinted into the light and dived into the abyss of the unknown. Well, we haven’t quite embraced chaos and anarchy, so the Creative Industries remain our inspiration and offer a very broad palette for us to use as motivation and our raison d’être. Those who boast artistic talents are more likely to be self-employed than those who crunch numbers, but what does that reveal about

the creative temperament? In The Pedigree of the Self Employed, journalist and broadcaster Helen Croydon has analysed why some people need a boss and others thrive without one. Budgets are suffering cuts across every sector and this year saw the demise of the British Film Council. In the ‘70s, the Arts Council of England had a reputation for sponsoring shambolic rot in suburban leisure centres. Today, they run a very tight and successful program that finances projects with judicious caution. In Arts and Minds, Stuart Wood offers advice on how to dazzle the desk-jockeys. Editing a scathing, cruel but very funny blog which savages celebrities will inevitably lead to a legal incident. After years at the helm of hecklerspray.com, Stuart Heritage reveals the best ways to be vicious, while avoiding a court case in Confessions of a Celebrity Blogger. Grime emerged from the streets East London and continues to be a widely misunderstood musical genre. Kieran Yates champions London’s MCs as contemporary laureates in Waste Land to Waste Man. Not only that, she flings ‘em in the ring with some literary giants. Colin McDowell is one of the world’s most feared, revered and

sought after fashion commentators. In this issue he charts the history of fashion illustration after curating a forthcoming exhibition of drawings at the Design Museum. Political evolution in South America has led to a welcome tide of Latin cinema. Demetrios Matheou examines the celluloid phenomenon in The Latin Renaissance. Many people are blissfully unaware that what they’re listening to on their stereo may have been produced, right here, in The Hospital Club. If you’re a fan of Zero 7, The Divine Comedy or Radiohead, the chances are even higher. Nigel Godrich is a renowned recording engineer, producer and musician who’s resident in our studio on the 4th floor. Read all about his latest project in Pilgrim’s Progress by Dan Thorne. To keep on top of all the exciting developments in the club, turn to Club News & Events. In Members’ Profiles and ‘What Are You Up To?’ we probe the Club’s creative talents to discover what mobilises our members and under what circumstances they let their hair down. The Guide is our cultural selection of forthcoming events worth pondering. For our weekly recommendations, check out The Guide online.

#2 Negative study -The space in between: Nik Mackey www.topright.co.uk

h. ISSUE TWENTY FOUR | 2010 | THE HOSPITAL CLUB. LONDON

CONTENTS

Features 4. The Pedigree of the Self Employed

26. Club News & Events

Helen Croydon answers to nobody

What’s occurring and what you missed…

6. Arts & Minds

28. Beautiful People

Stuart Wood has scored an ACE hat-trick

The camera loves ‘em

8. Confessions of a Celebrity Blogger

32. Members’ Profiles

Stuart Heritage dishes the dirt

Who’s who and what they do…

10. From Waste Land to Waste Man

34. What Are You Up To?

Kieran Yates seeks poetic justice

Danny Miller, Hannah Chambers, Steve Wild & Benjamin Collins

13. Drawing Fashion

38. What’s Cooking?

Colin McDowell celebrates a fading art form

Head Chef Duncan Cruikshanks flexes his mussels

18. The Latin Renaissance

39. Raising the Bar

Demetrios Matheou toasts the tropical nu-wave

Jason Capper mixes with the best

20. Pilgrim’s Progress

40. Shooting the Staff

Making the Scott Pilgrim soundtrack

Joanna Dudderidge snaps our boys & girls

Club

Calendars

22. Hal Silver

42. Members’ Film & Events Highlights

Upcoming Club art

The future, in words and pictures

24. Creatives in Residence Programme 2010

45. The Guide

We quiz our Philanthropic Manager

Where to be and when…

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CONTRIBUTORS

3 no unauthorized copies of the whole or part may be made without express permission of The Hospital Group Ltd. © The Hospital Group Ltd 2008. The copyright and contents of this publication are owned by The Hospital Group and

The Pedigree by Helen Croydon

of the Self-Employed

Working for myself has been the single most enlightening thing I’ve ever done. I’m not talking about learning that my internal alarm clock sounds after 8am and knowing what time my postman arrives. I’ve gained a deep appreciation of self-functioning: what I do best, when I do it best, a sixth sense for time-wasters and a seventh for smelling the tasks which stimulate and the ones which will incur extreme procrastination. Working for yourself forges a natural path of expertise – we become functionally articulate.

............................. My creativity was squelched into the ground when I was on a payroll. .............................

s any contented entrepreneur or freelancer will vouch, freedom is at the core of our zest for work. Liberation breeds contentment; contentment breeds enthusiasm; enthusiasm breeds ideas. Inevitably they all bear grandchildren of opportunity, drive, energy and endless new paths. It’s par for the course, is it not? Apparently not. My evolutional equation, it transpires, is too ego-centric - it doesn’t take into account those who don’t actually want to be institutionally free. What we (the Boss-less) thrive on makes those in the shelters of corporate wings (let’s call them

the Boss-haves) wither with anxiety. Professor Cary Cooper is an organisational psychologist at Lancaster University and author of several books on human behaviour in the workplace: “For staffers – people who chose to work for an organisation – the number one motivation is security,” he says. “Many people won’t live up to their potential without a background of security. Working in an institution doesn’t mean you aren’t creative. Structure and certainty provides the functionality to be creative. For people with a need for security, branching out alone causes all sorts of personal trouble.”

The Boss-less though, can’t relate to that. My creativity was squelched into the ground when I was on a payroll. I’d sit at my desk more pre-occupied with looking busy than producing any output of value. It wasn’t until I ditched attempts to squeeze myself into the corporate mould, that I found an outfit which was both comfortable and flattering. If the need to break away from the cogs of the corporate wheel has no correlation to creativity, it must be down to another dimension. Adrian Bailey is an expert in Personality Typing and publisher of the iPhone’s Personality Express, who er….works for

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S S BO himself from The Hospital Club: “Entrepreneurs and freelancers tend to be visionary, big picture people. They look to the future and see opportunity. They tend to open things up and see what they can do with them. They might score higher on risk-taking - one of the measurable dimensions of personality dimensions,” he explains. “But we’re actually nothing more than a collection of chemicals. Type theory thinks personality is in our genes, but it develops through our experiences of the world and we acquire a deeper understanding of it as we get older.” But this double-headed work ethos isn’t as simple as Boss-haves versus Boss-lesses. The breeds are sub-divided says Professor Cary Cooper: “Don’t confuse entrepreneurs and intrepreneurs,” he says. “The latter – usually freelancers - don’t necessarily want anyone else under them. Entrepreneurs are much more driven and out to prove something.

People who create businesses often had a bad incident in childhood – losing a parent or being told that they weren’t good at something. Part of their motivation is to prove to themselves that they are better than people say they are. They are insecure individuals. If the drive was sheer money they would retire when they got enough money. “Intrepreneures are different. They share the ability to endure insecurity like entrepreneurs, but their drive is about needing control of their lives. They don’t want to be told what to do. And why you are like that, is to do with early childhood - a strict family or school; being micro-managed; having no input in family decisions such as where you go on holiday. Somewhere down the line the intrepreneur says, ‘when I get older I’ll have control.’” After accusing 90% of my readership - including myself – of being control freaks or victims of childhood trauma, I should say

S E HAV delicately that we become more dogmatic the longer we are our own boss. This drive for autonomy, success or simply adventure becomes stronger the more we satiate it. I am nervously aware, like most who’ve become their own boss, that I can never go back. Rachel Harding of Delta Economics, co-ordinates research into the self-employed for the World Entrepreneur Society: “They can be bloody-minded and their pattern to always want to get things done can exclude others in their lives.” No comment on that from me. Though there is a big ‘but’ to that harsh generalisation: “Society needs entrepreneurs. They generate changes in the economy and society, usually for the better. They have a mindset that sees bits of the world that are broken and want to fix it.” Well great, the self-employed are the ones to solve World Peace and economic meltdown? “No.” Harding

cautions. “We can’t have a world full of entrepreneurs. They need doers. Entrepreneurs are the ones who see ideas and have the passion to get it going but they expect the idea to be enough. They get bored by the nitty gritty.” So it seems work achievement is more about knowing which family you belong to, rather than what you actually do. The entrepreneur may be bloody-minded and irritatingly faultfinding; the intrepreneur obstinate to authority and hopelessly impossible to pin down. But at least they know the ground where they thrive. They have what would make the Bosshaves quake in their corporate boots. And while the Boss-haves rollick in the organised, predictable confines of gainful employment, secure in the arms of a trained support network, such shallow pleasantries would make the Boss-less implode.

Helen Croydon is a Hospital Club member, freelance journalist and producer (www.helencroydon.com)

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by Stuart Wood

Arts & Minds

One new addition to the CV is that I‘ve successfully been awarded not one, but three Arts Council of England (ACE) grants in the space of two years. Nobody ever wants to know what I did with the grants, they’re just amazed that I got them. I want to share my experience in getting this valuable funding and offer a few tips along the way.

y first grant was a research and development grant for £5,000 that allowed me to write and develop an original Music Hall show, Frank’s Closet. I then applied for a second £5,000 grant to help stage the show at Hoxton Hall in London. We took about £12,000 at the box office and the show was picked up by a West End producer and staged again six months later. This was an ACE success story in that the funding helped launch the work, which was then picked up by the commercial sector. Everyone involved got paid, I benefited hugely from the process, local businesses thrived and it provided work for 30 artists and theatre technicians. I applied for another Research & Development grant at the beginning of this year for a new work The Two Dorothys, which I am currently writing. To apply for a grant you need to fill out an online application form where you can add your CV and links to your work. The budget section may use quite a bit of brain power if you’re less than comfortable with numbers. The salient meat is your 2000 word proposal; ACE gives you five headings which, I have put into my own words below, with a short explanation. The Proposal What I found really beneficial about the grant, was not so much

the money, but the agreement between the Arts Council and myself. Most of us work to commission; we are given a brief, a budget and a deadline, but there are times when you have a creative project that is yours only, like a monster, which doesn’t let you sleep, that you have to release to remain sane. Applying for an ACE grant is allowing yourself to feed the monster using all the organisational skills you’ve learned in the ‘day job’ and putting them into something that’s about you. Yes, because you’re worth it! The time and effort used to write the 2000 word proposal brought a clarity and understanding of the project which hadn’t existed before. Talk about yourself and your work I had to learn a language around my creative process, something I don’t usually even think about. It also helped highlight the impact the work could have on my career and on the local community. The proposal becomes a treatment, which will serve you through the process of bringing the project to life. Set a deadline to make it happen Yes, that thing that we love and hate. Most of us who work in the commercial sector achieve the most incredible things inside the craziest of deadlines. I am not suggesting that fear is a great motivator. You can set your own realistic deadline, which ACE will keep you to. How many unfinished or un-started

projects do you harbour because there was no deadline? Manage your Budget Making the figures balance became a truly creative part of my application. I needed to think about money and value and cost and all the things I usually avoid thinking about. ACE will rarely fund 100% of any project. My funding usually made up 50% – 60% of the total funding. The Spanish word for cash is efectivo so for your idea to become effective you need cash from more than one source. A friend of mine used to say ‘people don’t give money to the poor’ and it’s true that if you have several streams of finance, even if it’s your own money, you have a greater chance of approval. Having the budget tightly worked out at the start of a project also allows a clear parameter for you to work within. Evaluate before, during and after your project. Gathering evidence allows you to make judgements about what you have achieved and helps you improve as you continue. ACE are as much interested in your process as an artist as the finished product. Clear evaluation makes the ‘reflective practice of creative work explicit and conscious’ (Moriarty 2002). Collect feedback as you go, keep a blog, take pictures, use film, encourage others to share their comments - this is all gold stars to ACE. Social media is a dream for artists in the research and development of new work; it allows

us to share elements of the process and evaluate through this initial engagement. Finally, pick the phone up and speak to someone at the Arts Council. The cuts ACE are experiencing are in their operating costs which the Culture Secretary wants to reduce to 5%, so it may get harder to develop a relationship with an ACE officer but the more you speak with them, the greater chance you will have in getting your proposal right. With the ACE stamp on your project you may find private and commercial sponsors are keener to get on board, such is the good name the council has built for itself over the past few years. Grayson Perry spoke to the Royal Philharmonic Society recently about the “insanely difficult” things that artists do, and that it takes 10,000 hours to achieve excellence in any field. If you feel it’s your turn to create a work of excellence why not apply? Because you’re worth it! Further information http://www.artscouncil.org.uk/ funding/grants-arts Funding for the arts Advice on access to finance and a money map can be found here: http://www.culture.gov.uk/what_we_ do/arts/3208.aspx

Stuart Wood is a composer/ dramatist based in Hoxton follow him on Twitter @stuiewood www.stuartwoodmusic.co.uk

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Confessions of a

Celebrity Blogger First, an introduction. Hello, I’m Stuart Heritage. In 2005 I became the editor of hecklerspray.com, a deliberately sarcastic celebrity news blog that you might have - although, in fairness, probably haven’t heard of. It’s won awards and stuff, although I think that might say more about how tedious most blogs are in general than anything else.

ver the last five years hecklerspray has been called ‘the British Perez Hilton’, which I deny because Perez Hilton looks like the outlet of a man who has developed a creepy personal attachment to the people he writes about, whereas for us it’s just a place to tell stupid jokes (also, Perez Hilton is actually successful); and ‘The British Onion’, which I deny because The Onion is overtly satirical whereas hecklerspray only writes about things that are in the newspapers (also, The Onion is actually funny). So what is hecklerspray? Dunno really. It’s just some blog. But in years to come, long after hecklerspray has died or I’ve bolted from the place, tearing clumps of hair from my scalp because I’ve run out of things to say about Peter Andre, what’ll I look back on most fondly? Why, the threats of legal action, of course.

by Stuart Heritage

Fortunately, blogs like hecklerspray don’t get too much attention from lawyers - certainly much less attention than we get from the army of cross-eyed subliterates who still wish death on us because we said that we didn’t like The Darkness very much once in 2007. This may be because we usually stay firmly within the confines of the law. Or it might because they realise that we’re not a big media publication and that it probably isn’t worth going through the

rigmarole of suing a website with such a comparative paucity of funds. Or, and this is just a hunch, it could be because I instantly shit myself and relent the second a lawyer calls. Have absolutely no courage in your convictions and you’ll be fine, that’s the golden rule of writing for the internet. That way when, say, Verne Troyer’s lawyer emails, furious that you’ve used a screengrab of his sextape along with text describing a scene where Verne ‘dips his tongue in and out of his girlfriend’s mouth like an underdeveloped naked little anteater feeding from a proportionately much larger anthill’, you don’t have to make any righteous arguments about the image being newsworthy. You just swap the image for one of Troyer in a funny hat and everyone goes home happy. Similarly, if you read in The Daily Mail that Emma Watson arrived on her first day at college by helicopter, and you write a story full of the usual unfunny crap about it, and then Emma Watson’s lawyer calls you up demanding that you take the story down because she actually arrived at college in a car and that nobody will want to be her friend if they heard she turned up in a chopper, then you can just delete the original post, pop up a quick semisincere apology and everything’s

back to normal. It’s at times like these that lacking a spine can really come in handy. And then let’s say a witness at the Phil Spector murder trial indirectly insinuates that the woman who Spector murdered may have been pushed into state of suicidal depression because the film director Michael Bay didn’t recognise her at a party. And let’s say you accidentally word the headline to your article in a way that, it could be argued, suggests that Michael Bay was a murderer. When that happens, you should probably brace yourself for a 30-minute phone call with Michael Bay’s raging American lawyer where all you do is apologise profusely in the poshest British accent you can muster and then submissively change the headline to whatever he wants. This would never happen if hecklerspray was a magazine, of course - then the mistakes would all be permanent and the damage would be irreversible and the lawsuits would be mighty. But, at best, the cock-ups were only read by a handful of people with a questionable sense of humour before they were deleted forever. So, really, the moral of this is that if you’re a lawyer, you should definitely phone me up and scream at me as often as possible. No, wait, that’s a terrible moral. Disregard, lawyers.

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irits the sp g n i l of the ning anne re ch cal poets a s C mpoo M ting si ve it) as the mu ve) and la MCs spit o l d (ra me the (Go es rime, themselv of a court medy. Gri estigates G f o o v dc lish orld s in ront ged w and estab rming in f tragedy an ieran Yate n i l i e ve, don erfo es. K aty c , swe about Lon tameter, p c age of lo r our nos d e r o i e flo nd oet talk pen sticky f yore, to in iambic ack to a p all right u d… e h t t o n b i n I poets . Rhyming ime harks d they do undergrou e h t f r n o e nd ,G on th ine! A rgrou aries unde ontempor ter! Imag nd Grime e a c their ic pentam en poetry e b in iam nship betw o i t rela

by Kieran Yates

Waste Land Waste Man TO

ewind 7 years ago and arguably one of the first Grime songs to receive mainstream success was Dizzee Rascal’s ‘I Luv U’ from his debut album ‘Boy in da Corner’ in which he talks us unashamedly, rife with East London colloquialisms through teen pregnancy, heartache and love affairs; a right regular urban sonnet if you will…

which uses oral narratives as a device for storytelling; a technique that has been adopted and exhausted by current Grime artists, leaving much to be said about their status as urban poets. Only these poets, in bars of 16 and recently 64, are regaling a world outside the court and into the urban contemporary with stories of love, tragedy and comedy.

What is certain is that the song is reminiscent of an archaic culture

A witty commentator might note that in the same angst ridden way

that Eliot looked at London as ‘Waste Land’, they often look with similar disdain at the anxiety of the ‘Waste Man’. Just looking at their descriptions of London (something that both groups have obsessed over, from Blake to Dizzee) speaks for itself. While Keats famously performed and wrote under a Mulberry tree, the likes of Wiley and Giggs can be found at Plastic People (when it’s not in the throes of extinction) Fabric, Egg, or the Rhythm Factory.

Take Peckham boy and Grime MC Giggs, who comments on his dissatisfaction with the modern world, none too dissimilar to that of Eliot’s famous quibbles with the crowds of Laaandan. You see, Modernists, like Grime MCs, suffered from a touch of claustrophobia. As Eliot complains about all the new people coming to London to buy hoovers or microwaves or something, commenting, ‘A crowd flowed over London, so many’, Giggs’ modernist take is a lot more simple and primal. Using anaphoric-like repetition to get the point across, he likens modern Peckham to Vietnam: ‘Pecknarrm Pecknarrm, dis is Pecknarm.’ This breed of Grime song is famed for paying similar homage to a strained relationship with the changing capital. Many artists pledge allegiance to their ‘endz’ whilst simultaneously being aware of its failings. You see, it’s not all lyrical discordance and rap battles…though saying that, Grime MC’s do enjoy a jolly good dose of lampooning, especially when it comes to postcode politics. In the same way that Dryden lambasted the crap out of his pesky poetic adversary Thomas Shadwell, ‘Shadwell alone, it is he/who stands confirmed in full stupidity’. A few centuries later, Skepta, of Boy Better Know, lambasted Wiley, taunting: ‘I’m a king when I roll through anywhere, you’re just a King when you roll through Barnet’. The lyric shows Wiley exactly where he stands in the urban monarchy and flags up the shame of only having your title stretch as far as Barnet.

Charlie Dark, teacher, bona fide spoken word legend on the poetic underground, and self-confessed Grime fan makes the observation of Grime music as the next poetic movement. He says: ‘Grime MC’s are wordsmiths that are bringing poetry into the contemporary. Grime artists are putting words together that create a response and emotion, rather than a passive response which is the very definition of poetry. There is no doubt that this is an exciting time for spoken word, and we owe a lot of that to the Grime scene.’

come attached with technical definitions. They regale us with their observations of the modern world, retelling their experiences with humour, wit and drama, and in this way are practitioners of poetry in the fullest sense. Grime artists like P Money (who has also performed at spoken word events) celebrate their self-referential knowledge of the ‘urban’ language used, notably in his track ‘Slang Like This’ which can be read as an ode to the colloquial poetic language of the aforementioned ‘street poets’ that Kano alludes to.

Rinse, real name Anthony Clarke, is another Grime MC that makes the frequent crossover into spoken word. He has performed on stages with the poetic elite, boasts an impressive grasp of rhyme scheme and metre, and is currently featured on a track called ‘Don’t Hide Away’ with Grandaddy of the Grime scene, Wiley. So how do the two worlds collide for him? ‘There are a lot of similarities between the two forms, but I don’t think that they always understand each other, which is why it’s important that we have events like Bookslams and spoken word, that provide a crossover. The two forms are lyrically more similar than people realise, so it’s up to us to bridge the gap.’

Grime artists are taking storytelling back to its oral, narrative roots. They’re engaging in the excitement of poetry with an audience that’s overwhelmingly young. Spitting in 140 bpm? All hail the urban bards.

The facts speak for themselves; Grime artists are judged on their ability to stick to a rigorous rhyme scheme, be aware of iambic pentameter, rising and falling duple rhythms, all without necessarily knowing that they

In celebration of this, I’ve picked two poets at random to have a lyrical face off in the style of a MC Battle to see who wins. GO!

On love: Elizabeth Barret- ‘How I love thee, let me count the ways...’ Vs. Mz.Bratt- ‘He makes me twitch when I see him, I have no words/Cos I like you’ Verdict: Ahhh. Girls and crushes. Barret, the minx with those famous lines chooses maths as a sexy ploy to a man’s heart, while Mz Bratt plays it a bit cooler and uses the approach of sharing her biological failings as a twitcher. Barret wins the man on this one as it’s always better to have

too many words than not enough, Mz Bratt. Also, see a doctor.

On watching the ladies shake a tail feather: Ezra Pound-‘O woman of my dreams/Ivory sandalled/There is none like thee among the dancers...’ Vs. J2K- ‘She likes to wine on it/short skirt look kind of fine in it/yeah, she likes to whine on it.’ Verdict: So although the modernists hated technology, urbanisation, crowding and life as we know it, turns out that one thing they were partial to was the sight of a lady two stepping on the dance floor. J2K certainly creates an image of delicate beauty here, but omits the colour of the skirt in question! This one goes to Pound; noticing the colour of a lady’s shoe is an imagery win. Shoe fetishists around the world celebrate.

On Chess: George Luis Jorge- ‘Knight swift to attack, queen warlike, king decisive’ Vs. JME-‘Check mate, I took your king over’ Verdict: I hate chess. The less about it the better. JME you win.

Kieran Yates is a freelance journalist. She contributes to The Guardian, Dazed & Confused and MTV and regularly writes for TheHospitalClub.com

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Drawing

Fashion

by Colin McDowell

Artists have always understood the power of dress. The great painters of the Renaissance used it to help them demonstrate the position of both holy and profane subjects. The right fall of her gown, the correct shade of blue were as important in an imaginary portrait of the Virgin as the amount of gold and lace in one of an actual grandee or crowned head. And, long before they began to put paint on canvas, the artists had drawn in minutely observed detail how a garment folds on a body or reacts to the direction of the light.

Aurore de la Morinerie, Couture 1, 2010

lthough it would be stretching things to call painters such as Tiepolo or Gainsborough ‘fashion artists’, they were certainly artists who knew a lot about fashion and how to depict it. Perfectly aware that the true purpose of dress is to display the individual in what he sees as the very best and most flattering way, they knew that their job was to use clothing to hide the physical flaws and frailties of their sitters and heighten a sense of style in even the most doggedly dull of civic worthies.

............................. Illustration was the prime means of spreading the fashion story across the globe. .............................

Antonio, Joanne Landis Carnegie Hall Studio, New York Times Magazine, 1967

Their contributions were added to in the nineteenth century with the development of the fashion plate which did not illustrate individuals and their dress, but showed fashionable archetypes through images. The practical purpose of these plates was to disseminate the latest styles, not through grand portraits but for the burgeoning ladies magazines and the almanachs des modes which spread across Europe from Paris, home then, as now, of high fashion. But fashion drawing really came into

its own in the early twentieth century with the circulation wars between Vogue and Harper’s Bazaar which were fought mainly through the quality of their fashion coverage - and that meant the fight to secure (and keep!) the best illustrators in Paris. For the next fifty years, illustration was the prime means of spreading the fashion story across the globe. During the thirties and forties it was easy for artists to ignore the clear evidence that the enemy was at the gate as they made huge amounts of money from advertising work bolstered by their star status in the top fashion magazines. The enemy was, of course, democracy. As fashion gently slid down the social scale from being the sole privilege of the well-born and wealthy, to become a right for us all, it required different hands and those hands were not holding a pencil but clicking a lens. Photography had arrived. Although fashion drawing suffered an eclipse, it did not disappear. As the exhibition, Drawing Fashion, at

The Design Museum 4 November 2010 – 16 March 2011, shows, it has remained vibrant and popular, though seen much less frequently in fashion magazines today than in the fifties - its last great shining. Drawing Fashion surveys the glory days of fashion drawing from the post First World War work of Lepape through the twenties and thirties with Erte and Erik and into the forties and fifties with Gruau, Bouche and Beaton. The seventies are represented by Antonio in New York, drawing top models like Jerry Hall, and concludes with artists like Mats Gustafson, Aurore de la Morinerie and Francois Berthoud working today. Using sound and archive film footage, Drawing Fashion brings the mood and taste of each era vibrantly alive by showing the changes of tempo and altered fashion priorities in society in general - and, inevitably, smart society in particular. Colin McDowell Guest Curator of Drawing Fashion, 3 Nov 2010 – 16 March 2011 Design Museum www.designmuseum.org

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Francois Berthould, Loves me loves me not, Myla UK, 2001

Drawing in pencil by Rene BouchĂŠ, 1940s. Courtesy of Galerie Bartsch & Chariau

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Berard, Lanvin, Vogue France, 1937

3 Nov 2010 – 16 March 2011 Design Museum

Latin The

Renaissance by Demetrios Matheou

Film critics who were at the Cannes Film Festival in 2002 still talk about the phenomenon that was City of God, a Brazilian film by an unknown director, not in competition, which nevertheless became that festival’s hot ticket. It was mentioned in hushed excitement, as if the favela kids were going to burst into the room, guns blazing before dragging you off to the coolest party on La Croisette.

ity of God was distributed around the world, gained four Oscar nominations, including best director for Fernando Meirelles. It was something quite unprecedented for a Brazilian film.

............................. What the films have in common is attitude. These directors aren’t interested in aping Hollywood genres .............................

The film was not alone. In 1998, Walter Salles’ Central Station won the Golden Bear in Berlin. People were surprised a Brazilian film was even at the festival, let alone one so expertly and affectingly made. These two films were at the heart of the buena onda, the ‘good wave’ of Latin American cinema that emerged at the turn of the century and included the Mexican films Amores perros and Y tu mamá también. They were quickly followed by exciting new films from across South America – notably Argentina, Uruguay, Chile and Peru. The revival of once-proud cinematic traditions in South America is particularly interesting,

as it coincides with the tide of genuine political democracy and improving economies across the continent. After years of dictatorship, institutional corruption and crippling neoliberalism – which affected cinema in ways ranging from censorship, lack of funding, exile and even death – filmmakers have rediscovered their voice. One should say, voices, for South American cinema is understandably diverse. From Argentina alone (which has the deepest well of world-class directors) we have the strangeness and flamboyance of Lucrecia Martel (The Holy Girl), the rigorous minimalism of Lisandro Alonso (Liverpool), the immensely charming Patagonian comedies of Carlos Sorín (Bombon: El Perro) and the naturalistic drama of Pablo Trapero (Rolling Family, Lion’s Den). Add to these the melancholy comedy of the Uruguayan Whisky, by Juan Pablo Rebella and Pablo

Stoll, the experimental playfulness of the Chilean Alicia Scherson’s Play, and her compatriot Pablo Larraín’s pitch black comedy of disco and dictatorship, Tony Manero – all films that have been released in the UK – and all boasting a true sense of individuality. What the films have in common is attitude. These directors aren’t interested in aping Hollywood genres (something that, sadly, afflicts too many of our own filmmakers). Instead, the stories are drawn from their own experience, from everyday life, often using non-actors, shot on the streets, with whatever budget they can muster. The strongest influence on the continent is probably that of the Italian neo-realists of the Forties and Fifties, whose desire was to reflect the political and social realities of post-war Italy. Though not polemic, these Latin

Images from City of God

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films shone a light on the social, economic and even psychological difficulties in their countries. While their stories are ostensibly local, they’re told with a skill that makes them universal. Behind the camera, this Latin renaissance is distinguished by an unusually high number of women directors, a thriving documentary scene, and a spirit of collaboration both within and across countries. Salles and Meirelles are well-known in their own countries for nurturing a generation of younger directors; Salles has also forged a strong bond across borders, particularly with the Argentine Trapero, while his international hit The Motorcycle Diaries – following Che Guevara’s formative journey around the continent – used film crews from every country it entered. Now, as a film journalist one loves the idea of a ‘new wave’. At the same time, one needs to be a little wary, for the wave can quickly become a trickle, before it dries up altogether and people look for the next new thing. In London this summer there was plenty of evidence that after a decade, the South American revival is still going strong. August saw UK releases for the mesmerising Argentine Oscar winner The Secret in their Eyes, the Chilean black comedy The Maid, and the gay love story with a magical realist twist, Undertow. Also that month the BFI season South American Renaissance celebrated 20 films from what is now regarded as one of the most exciting filmmaking regions in the world. There were also Brazilian film festivals in June and September (the Brazilians are as adept at promoting their cinema as the French), the latter accompanied by a BrazilianUK co-production market. Of course, South American filmmakers have to face the same realities as most, not least Hollywood’s stranglehold on their

cinemas. The sort of films I’ve mentioned, with the quality to speak to international audiences, as well as their own – tend to be independently made, and therefore have the dual fight against the US and their own country’s commercial fare. Despite this, these directors and producers, along with their national film bodies, are proving to be incredibly resourceful – establishing distribution agreements, seeking coproduction deals and, as far as the directors are concerned, targeting and winning overseas grants. Their particular strength is the quality of the films and the prizes they just keep on winning. Not only did The Secret in their Eyes win the Oscar, but The Milk of Sorrow, by Chilean Claudia Llosa, was also nominated. Llosa’s film won the Golden Bear in 2009, the year after the Brazilian Elite Squad. Meirelles and Salles continue to be wonderful ambassadors, whose international careers keep the spotlight on Latin cinema in general. Salles is currently shooting an adaptation of Jack Kerouac’s On the Road, produced by Francis Ford Coppola, with Meirelles planning a biopic of Janice Joplin. All the while, Venezuelan President Hugo Chavez is ploughing money into his country’s developing industry, even building a stateowned film studio. It can’t be long before Venezuelan movies follow the Latin trail to an international audience, ensuring that the good wave remains positively effervescent. Demetrios Matheou is a Londonbased journalist, writer and programmer. He is a film critic for the Independent on Sunday and the Sunday Herald, and also writes about film for the Guardian, Sunday Times and Sight & Sound. He is the author of The Faber Book of New South American Cinema, and was co-curator of the South American Renaissance season of films, for the British Film Institute.

On The Hospital Club’s 4th floor is an area rarely seen by either Club members, visiting dignatiries or staff: the recording studio. It’s taken on an air of mythology, akin to the secretive lair of the Batcave or Doctor Who’s infamous police box, the Tardis. Why? Very few people have been in there, but millions have enjoyed what’s come out of there. For the last few years, Nigel Godrich, the celebrated producer who’s worked on albums by Radiohead, Beck, Paul McCartney and Travis, has been hard at work juggling various musical projects, with the likes of Zero 7 and Thom Yorke.

Pilgrim’s progress

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ecently Nigel has been working with director Edgar Wright on the soundtrack to his new film Scott Pilgrim Vs. The World. The film is an adaptation of the comic book series Scott Pilgrim by Bryan Lee O’Malley. Of the collaboration, Wright commented: “Music is such an integral part of the Scott Pilgrim books that myself and Nigel have been working on the soundtrack for nearly two years…It was a thrill to work with Beck, Metric and Broken Social Scene on the original soundtrack.”

Scott Pilgrim Vs. The World is a skewed hyper-reality vision of teenage band battles and a set of trials to determine who should win the girl. The film needed some special consideration to soundtrack this comic book/ video game scenario and the sound which fuels the film is teen garage band testosterone rock. Godrich and Wright worked with Beck on this concept and after some jamming in the studio, the leftfield songwriter came up with an authentic, unpolished demo sound. In the film, the songs are performed by Sex Bob-Omb,

the group featuring Scott Pilgrim (Michael Cera) on bass, Stephen Stills (Mark Webber) on lead vocals and guitar and Kim Pine (Alison Pill) on drums. Cast members perform the band’s vocals, while Beck provided instrumentation. Godrich composed Scott Pilgrim Vs. The World’s original score and additionally he served as executive producer on the soundtrack. As anyone who’s seen the film will tell you, it’s a cracking soundtrack and also features a varied selection of favourites from the likes of T. Rex, Blood Red Shoes, The Rolling Stones, The Bluetones and The Pixie’s Frank Black.

by Dan Thorne

Stuart Bailes, The Exergue, 2009, 103 x 71cm

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This Autumn we’re collaborating with jottaContemporary, jotta’s platform for contemporary art practice. jottaContemporary will jointly curate some of the spaces in the building, featuring works by Hal Silver, a collective of nine recent graduates from the Photography MA course at The Royal College Of Art. They’ll be using spaces in the Club as a platform to challenge the function of a gallery space, whilst providing the viewer with an area in which to investigate the medium of photography through differing artistic interpretations. Hal Silver was founded in 2009. They held their first exhibition in The Russian Club Gallery in November 2009 and work together in London, at Woodmill Studios. Through working with Hal Silver and jotta at The Hospital Club, we continue with a dialogue that enhances and promotes the very best emerging art from both the jotta community and our programme. jotta is an award-winning online and offline community of practicing artists and designers born from the University of the Arts London. jotta exists online at www.jotta.com and offline in the real world through events, exhibitions and commissioned projects.

These are additional works from the Hall Silver collection we’re featuring on the 2nd floor. For any sales enquiries or for further information contact alih@thehospitalclub.com

Noemie Goudal, Les Amants (Chaleur) 2010, C-print, 11 x 140cm

We spoke to Philanthropic Manager, Lolo Chambovet about branding, coaching and creating a sense of community within a very competitive industry.

What’s your background?

The Hospital Club supports a diverse group of exceptionally talented emerging creatives over the course of a year, actively contributing to their career progression and personal development. Together with an industryrepresentative judging panel, each year we pick creatives at the beginning of their chosen careers, taking on a wide range of talent, from film, music, fashion, theatre & opera, architecture and visual arts. The application form for CiR11 is now online. Visit thehospitalclub.com/cir to apply. The deadline for all applications is 31 October 2010.

My mom is an artist and my dad a businessman, so I think I was born bridging the gap between those two worlds. I’ve always been the one supporting my friends in their projects, helping them write proposals, put on events, curate shows. I was lucky enough in 2002 to be taken under the wings of Philip Bouler, the production director of the first Nuit Blanche in Paris. That’s when it became clear that I wanted to contribute to the creative and cultural landscape. I actually ended up writing my dissertation on the relationship between brands and the artist, comparing sponsorship to patronage in France and the UK. I then became a consultant for Eurostar, mainly bringing London-based talent to Paris; I’ve distributed magazines and organised several parties. One of my greatest experiences has been to work with Marisa Brickman running Cult Geist, the research arm of the content division of Saatchi & Saatchi. I was there for two years, paid to commission projects all around the world. I am now the Philanthropic Manager at The Hospital Club; it’s been almost three years since I started here at the Club. What role are brands playing today in the emerging creative landscape?

There are numerous brands making way for new talent, publishing people’s ideas and commissioning projects; providing platforms for creatives to display their work, both physically and in a digital capacity.

However, it takes time for brands to build the credibility to set up their own platforms, and brands that come across as simply badging, can actually damage their reputations with creatives. Not all brands have in-house cultural directors, and therefore need to partner with an organisation, publication or even individual who is connected with the current creative landscape in order to construct an effective initiative. A great way to work with the most talented people is to offer them the resources to achieve something that they otherwise wouldn’t be able to. In doing this, it creates a fantastic reciprocal relationship: exchanging inspiring content for contribution towards the progression of the creative’s career. Benetton, Redbull, Vauxhall, Eurostar, Intel and Courvoisier are just some of the brands with initiatives that allow exciting new projects to happen: Fabrica, Red Bull Music Academy, Vauxhall Fashion Scout, Eurostar London Coming, Creator Project and Courvoiser Future 500, respectively and to name but a few. Today the brand’s role is particularly crucial in the development of emerging creative talent. There has been a considerable decline in public arts funding, likely to drop a further 25% in 2010. Now there is an opportunity for brands and commercial organisations to play an even bigger part in protecting and supporting creative projects. It is vital for the creative industries that we ensure the longevity of our contribution. What make the Creatives in Residence programme unique?

Creatives in Residence, our first in-house philanthropic scheme, is

unique in that it has roots in the Club itself. We not only provide a platform to showcase talent, we also include the experiences and knowledge of our members in the construction of the scheme; providing invaluable information and contacts for the Residents. Our members act as coaches and mentors; they get to know the Residents and, in the most successful cases, work with them. It goes hand in hand with our integrated, philanthropic approach and it is certainly one of our objectives to cultivate these relationships. Although it runs within the Club, the programme is very much open to all networks and contributors and we are interested in all types of partnerships. It’s beneficial to the Residents as they enjoy both their relationship with the Club itself and are encouraged to extend their reach to other organisations. The other unique aspect of the programme is the incredible opportunity to collaborate with other disciplines. We’ve seen an increasing amount of cross fertilisation, influenced by new technologies and processes which the Residents are exposed to and which we are able to support through the many facilities available in the building. Our goal and hope is that the Club becomes a playground for the Residents to experiment in. The Philanthropic Department creates a sense of community within a very competitive industry. You are all invited to participate in the Creatives in Residence programme; we are always looking to make it bigger, stronger and better. To find out more, visit thehospitalclub.com/cir or email loloc@thehospitalclub.com

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Images from top House of Jonn Teapot Alex Shepherd Gravity in a Non-Gravitational Field Destiny Ekaragha The Future WAGs of Great Britain alt_classical with Peter Gregson & Daisy Chute, 19/5/10

Update on Residents: Destiny Ekaragha recently directed ‘The Future WAGs of Great Britain’ which was screened on Channel 4 and extremely well received. She is currently attached to two features and has a feature script in development. Joel Horwood wrote a really fun musical ‘It’s About Time’ which headlined the theatre tent at Latitude, and closed to standing ovations. He is in the process of rewriting and pitching the piece to potential co-producers. Joel is also writing the panto at The Lyric Hammersmith this year, oh yes he is – Dick Whittington (27th Nov 8th Jan). House of Jonn continues to cut across boundaries with work ranging from tableware to lunar landings. Current projects include the realisation of an architectural teapot from a dystopian nearfuture; construction of a soon-toopen nightclub and event space in Shoreditch; visualisatons for a new literary project by philosopher Alain de Botton; and communication design for a leading architecture magazine. On top of this is recent work on the set design and staging of a Russian opera.

Luc Mollinger is assisting the Director of Jersey Boys, Des McAnuff, on a new production of Faust with the ENO and the New York Metropolitan Opera. Dean Quinn is in Milan working for Versace and preparing for Fashion Week. Alex Shepherd is working on his first jewellery collection, as well as a piece exploring the essence of creativity and the “source of the Origin” and preparing his first solo show in our Gallery. Peter Gregson has been working on mixing a track that he made with Kidkanevil at the incredible RedBull studios, as well as launching the Terminal album and preparing a new album in tandem. He performed for Made-By at the House of Lords and is also doing a recital at Kings Place, partnering with Microsoft Labs. He is giving a talk at the New England Conservatory and at the European Union music development conference. He is also going to Glasgow as the supporting act for Hauschka, the fabulous German experimental pianist.

ABOUT MEMBERS

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Club News & Events Dear Members… Hopefully we have continued to satisfy your curiosity with more insight into your fellow members. Not only will you see members’ personal profiles but also “What you are up to?” features in depth reports on members’ projects. The latter has been so popular, we’ve decided to make this a regular feature online as well. If you wish to be one of the chosen ones, please contact us and we can send you through the questions. From the questionnaire we also know that you are more interested in getting to know our staff, so you will find our first edition of profiles about our Lounge and Bar Staff, and a page about Club Food and Drink with recipes put together by Jason (Bar Manager) and Duncan (Head Chef). We have also been busy ramping up our weekly content offering on the website. As well as our own in-house news and recommendations, new content partnerships include album reviews and news from NME.com; movie reviews from Film4; weekly opinion pieces, features and news from New Media Age, interviews and recommendations from Little White Lies; the latest news from Resident Advisor; viral innovations from Frukt Communications and Best of MySpace podcast every week curated by Gill Mills. If you have any suggestions for new partnerships that you would like to see on the site please get in touch with us.

The Creatives in Residence have also been busy. Congratulations to Dean Quinn who has relocated to Milan to work in the Versace Fashion House. And to Destiny Ekaragha, who recently had her film The Future WAGs of Great Britain screened on Channel 4 and which was extremely well received. Head to the CiR page in our magazine to find out more. The Club has been kitted out with cutting edge art and design installations in September. Martha Freud occupied the Lobby with her debut collection of light sculptures and furniture, as part of the official Design Festival schedule. Taking over the 2nd floor, Bellini Bar and Lounge, Hal Silver is a much talked about photography collective made up of recent RCA MA graduates. Trip out over the blurring of nature and the synthetic. Finally, young artist David Shillingslaw’s work crackles and pops off the walls in

the Martini Lounge. His paintings are characterised by the kind of energy you might be tempted to medicate. He will even be painting in situ – check out his live art set at the private launch. Details to come… Congratulations to all the winners of our various online competitions with prizes ranging from a place at our table at the Mercury Prize Awards to theatre tickets at Regents Park open theatre; and of course to those cocktail connoisseurs whose creations have won a place on the Holy Grail that is our drinks menu. Now we hope to see you at our monthly Back to Ours or at newer events The Funky Brunch and Mixdown.

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Are you one of the beautiful people in some of these shots? Here are a selection of pictures from glamorous Back to Ours, ping pong madness at Members Drinks, Carnival, Funky Brunch on Saturday afternoon, Mixdown, Studio 24, Harvey Cohenâ&#x20AC;&#x2122;s book launch, and many others events. Youâ&#x20AC;&#x2122;ll also find our team have been out and about, and have taken the opportunity to pap members, including the Veuve Clicquot Polo where we hosted a table. To see more scandalous photos from our events, join the Party Nights group online or check them out on Facebook.com/TheHospitalClub Photography by Joanna Dudderidge, Anna Robertson and Suzie Blake.

Members’ PROFILES

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Orion Lee Company

Freelance Industry

Actor

So what is it you actually do?

I’m an actor who has worked on projects like Enron, a piece of new writing by Lucy Prebble, directed by Rupert Goold. It was a fantastic team collaborating to create a brilliant story. I also organise readings by professional actors for playwrights and film directors to workshop so feel free to contact me if you think you’d like to workshop your play or screenplay. Orion_lee@hotmail. com

I’m a partner in a production company called Keen City, concentrating on music promos, shorts, virals and developing feature films. I’m also market independent bands within Warner Music at a division called ADA (Alternative Distribution Alliance).

When and where did you last have a really good night out (not working)….where and why?

Dancing at the after party for Conspiracy for Good. An event organised by Tim Kring (writer of TV series Heroes) which involved playing role-playing games in the afternoon with a connection to a charity. Through it I’ve been educated about different charities including KidsCompany which gives toys to underprivileged kids. If you were about to be marooned on a desert island, what would you take with you?

A laptop with an internet connection to access music and movies. And a harem! What would you do if you won the Lottery tomorrow?

What I’m doing now. spotlight.com/7258-6724-9712

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David Symington Company

Warner Music / Keen City Productions Industry

Music / Film

When and where did you last have a really good night out (not working)….where and why?

Just moved into a new place in Covent Garden with a massive rooftop. On my first night there I had a bunch of people over (it can fit up to 50 people!); had an amazing time and stayed up until 3am...work the next day was not the most fun! If you were about to be marooned on a desert island, what would you take with you?

The entire season of Entourage, Miss World for company, and some swimming trunks. What would you do if you won the Lottery tomorrow?

I’d go around the world in 80 days, buy a mansion in Beverly Hills and a villa in Cannes, and take a trip into space. ada-global.com

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So what is it you actually do?

I run Slingshot – a London-based sponsorship management agency that specialises in creating brand relationships through strategic sponsorship programmes.

I run a public relations consultancy which specialises in classical music and culture. I also manage a classical events company and mentor the music Creatives in Residence for the club. I make you famous, darling!

When and where did you last have a really good night out (not working)….where and why?

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Jackie Fast Company

Slingshot Sponsorship Ltd Industry

Brand partnerships and sponsorship

My recent holiday in Ibiza with friends. You can’t ask for much more than poolside and a glass of rosé in the sunshine. And in Ibiza, every night is a good night out! If you were about to be marooned on a desert island, what would you take with you?

My iPhone – I absolutely could not live without it. I’d probably also need to take a crate of wine. What would you do if you won the Lottery tomorrow?

I am originally from Canada, so I’d love to be able to fly my family and friends over on a regular basis to visit. I’d also keep some money aside so I can expand my already substantial shoe collection. www.slingshotsponsorship.com Jackie@slingshotsponsorship.com

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Kathleen Alder Company

WildKat PR Industry

Press and public relations

When and where did you last have a really good night out (not working)….where and why?

I recently went to Lenny Beige at The Pigalle Club on Piccadilly. He’s a brilliant comedian and the last night in his event series was a tribute to the 1980s. If you were about to be marooned on a desert island, what would you take with you?

A bucket and spade and a towel – I’m German and so would want to be sure to get the best spot on the beach every morning! What would you do if you won the Lottery tomorrow?

I’d employ a brass ensemble to play a fanfare every time I entered a room… wildkatpr.com

WHAT ARE YOU UP TO?

Danny Miller What project in your career have you been most proud of? I’m most proud of “Little White Lies”, a movie mag that I launched with my friends Matt (who edits) and Rob & Paul (who design) about five years back. It’s the true definition of a slow-burning labour-of-love, that we’re projecting will turn a profit sometime around 2035. Making Little White Lies has been an amazing way to meet vast quantities of excellent and talented people, who share our love of film. Various interesting things are starting to happen to the mag now, and we’re confident that over time it’ll properly carve a niche for itself in the world, so we keep plodding on. We’ve subsequently evolved into a creative agency (The Church Of London) and have launched another mag (Huck – surf, skate and snow culture) but Little White Lies will always be closest to my heart. How do you let off steam? I guess this is a little predictable, given my answer to the last question, but absolutely the best method I can think of for letting off

steam is to head to the cinema and immerse yourself in a world apart from your own for a little while. If you could be trapped in a lift with any three living people who would they be and why? I guess maybe three members of Radiohead, so I could high-five them and thank them for being such an inspiration to me over the years. They’re sometimes seen kicking around the Club, right? If so I need to spend more time in the lift. What are you currently working on? (Where can we see your work?) You can see pretty much everything that our company TCOLondon has worked on at our website: www. thechurchoflondon.com. Right now we’re working on launching a new magazine, Invert Look, which celebrates videogames culture. A lot of us got into magazines through being geeky 12 year-old boys hooked on gaming – so it feels great all this time on to make a games mag that speaks to adults who still enjoy sneaking the odd hour out to get stuck into Red Dead Redemption, or Halo or whatever.

We’re also working on a lot of spin-off brand activities that have come to swirl around Little White Lies, such as a new nationwide film club that we’ve just launched with Grolsch, that begins with a screening of Scott Pilgrim vs. The World. After a couple of years programming the film tent at the excellent End Of The Road festival, we’re in development on a festival of our own, that’ll basically be a three-day outdoor film extravaganza (film and music under the stars). And there’s a Little White Lies TV show, which seeing as there doesn’t seem to be a good film TV show right at the minute, we’re super excited about. We’ve been working on the pilot for this for years, getting some great filmed interviews under our belt, the most recent being Viggo Mortensen while he was in town promoting The Road. We’re always looking to make and do things that we’d want to watch/buy/attend ourselves, though I’ve found that any new project we want to get off the ground seems to take anything up to two or three years to actually come to fruition. I

Company The Church Of London Industry Publishing & Design

suppose we’ve learned to be patient and just let things happen at their own pace. What one thing really annoys you about your industry and how would you change it if you could? The same thing that annoys me about the publishing industry, and the era that we’ve found ourselves embedded in it, is the thing that also excites me and drives me forward. You can’t just make a magazine these days – you have to make a website, and a then a forum, and a newsletter, and a subscriber section. And you need to have parties and stage exhibitions to promote the magazine, and find brands and organisations to partner with to spread the word. But all that stuff, that’s the most interesting – because you’re constantly being challenged and working on something new. I’m annoyed that our industry is in flux, and that publishing has almost fully mutated into straight-up branding, but I’m also really glad for the things it’s seen us get involved in over the past five years.

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WHAT ARE YOU UP TO?

Hannah Chambers Company chambers management ltd Industry Comedy

have been at the forefront of comedy management since 1998 and have overseen the success of a range of artists over the past eight years; from the likes of Frankie Boyle, Jimmy Carr and Flight of the Conchords. What project in your career have you been most proud of? Setting up my own company in 2004 and making a success of it, building it year by year and still enjoying pretty much every day in the office. There’s nothing like working for yourself and knowing that the more work you put in, the more you get out. I am completely unemployable now as a result but also constantly working and unable to switch off. How do you let off steam? I swim most mornings. Currently cold water swimming on Parliament Hill lido is the only way to start the day. I’m obsessed. And coupled with walking there on Hampstead Heath, it is the best way to let off steam. If you could be trapped in a lift with any three living people who would they be and why? My husband, Jeremy, for a calming massage and continuous puns to

distract me from the time wasting lift debacle. A lift engineer for obvious reasons. I would really want to be out of that lift as soon as possible as I hate wasting time in a day. Brandon Flowers to sing to me (for eye candy and to keep my husband on his toes). What are you currently working on? (Where can we see your work?) My team and I have been focussing on the Edinburgh Festival during the whole of August. I have eight comedians with new shows at various venues – The Pleasance Courtyard, Assembly Rooms, Edinburgh International Conference Centre, The Caves and The Stand Comedy Club. Some then go out on the road to tour. You can see details at www. chambersmgt.com and the tours are detailed at www.jimmycarr. com, www.frankieboyle.com, www.sarahmillican.com & www. andrewlawrencecomedy.co.uk with some central London runs detailed at www.jackwhitehall. com, www.joshhowie.co.uk and www.lorettamaine.com I am also working on new Autumn TV series that my comics write

and present, in particular the 10th series of 8 out of 10 cats, a new series of comedy roasts on Channel 4, Frankie Boyle’s new sketch and stand up series on Channel 4 called ‘Frankie Boyle’s Tramadol Nights’, and, I have two new stand-up comedy DVDs out for Frankie Boyle and Jimmy Carr this November which is always an exciting and competitive market, in the lead up to Christmas. What one thing really annoys you about your industry and how would you change it if you could? The Daily Mail: I mainly represent edgy comedians because that’s the sort of comedy I find funniest. The Daily Mail often takes offence to material no one else in the general public would think to be offended by. They seem to enjoy being offended on other people’s behalf or minorities that have actually got a very good sense of humour. I am often defending material that shouldn’t need defending because it is clearly just a joke or the point of view of one person.

WHAT ARE YOU UP TO?

Steve Wild Company Unication Industry Music and Media

What project in your career have you been most proud of? Setting up an independent music and brand business ten years ago...called Unication. Focused on helping bring brands closer to music. In that time I have been contracted to be the commercial brand consultant for Universal Music UK for over three years, doing the first brand deal for Girls Aloud (with Sony Ericsson) and then creating and managing fully integrated media and endorsement deals with the likes of Jamiroquai (for Intel and Dixons Store Group with Sony BNG and Jamiroquai Ltd) and this year with Cadbury Trident chewing gum for their ‘Perpetual Festival’ – 30 festivals around the world in 30 weeks.

If you could be trapped in a lift with any three living people who would they be and why? If I were to be trapped in a lift I would choose Eddie Izzard, David Tennant and Angelina Jolie…Eddie for laughs, David for insight in spending an extended amount of time in a small box, and Angelina to entice the firemen to get a move on and get us out of there, of course! What are you currently working on? (Where can we see your work?) In recent months I have led a consortium to deliver a streamlined strategy to better maximise the commercial activity at Virtual Festivals, the worlds leading festival portal.

Festivals will be able to have up to date and focused offers and news. As COO I have taken responsibility for the day to day management and development of the business and as a Director report to the board. With the aim of ‘adding to the festival experience’ we will be engaging more with the festival going public and offering them more great content and appropriate products to help them continue to be fanatical about festivals. www.virtualfestivals.com is the UK hub of all things festival and there is already a European site and we are the official media partner of the UK Festival Awards (18th November at O2 Indigo) and the European Festival Awards in January 2011.

How do you let off steam? I am very much a family man and manage to combine that with time with my local mates for a beer every first Tuesday of the month.

Deals with Orange, Cadbury, National Express and Viagogo have proved how successful brands can be integrated into the marketing and communication potentials that Virtual Festivals can offer and add to the festival experience. This is a real opportunity for Virtual Festivals to grow internationally with a new board that has a wealth of event, media, production and commercial experience; meaning that the members and followers of Virtual

What one thing really annoys you about your industry and how would you change it if you could? There are still too many levels and contacts required to get most brand deals done and all too often brands don’t stick with music as a long term strategic solution which means the music fans don’t find a lot of activity very credible – which is a great shame as music is THE entertainment property that reaches most people.

h. ISSUE TWENTY FOUR | 2010 | THE HOSPITAL CLUB. LONDON

WHAT ARE YOU UP TO?

Benjamin Collins Company Devilishly Handsome Productions Industry Productions / Film & Media

am a film director and the co-founder of Devilishly Handsome Productions, a video production company specialising in commercials and music videos. What project in your career have you been most proud of? My short film ‘Screenplay’. I made it when I was 21. It was one of my first attempts at producing a film and it took me 9 months to complete! It’s nearly an hour long, the story is all over the place and some of the acting is iffy at best, but I was delighted with it at the time and it got a fair bit of recognition on the festival circuit. I have done better work since, but it affirmed my desire to be a filmmaker. How do you let off steam? Drinking, swearing. Generally being obnoxious. If you could be trapped in a lift with any three living people who would they be and why? David Bowie, because he’s the greatest songwriter of all time. Christopher Nolan, because he’s a true filmic talent. And inventor Emily Cummings…who could probably get us out the lift.

What are you currently working on? (Where can we see your work?) We’re busy looking into branded entertainment, particularly online. We have also been looking at using cross media storytelling to help produce and promote our feature film projects. Through the increase of social media tools and the popularity of usergenerated content, audiences have shown their desire to experience narratives on a more personal level. For example the possibility of experiencing a story not only through film, but through live events, gaming, GPS-based adventures, music, nightclubbing, role-play, and extensive online interaction between actors and audience.

professional, but we love the new technologies out there and we have our own way of doing things. I wish people would stop being so hung up on ‘what is expected’ and start looking at what is actually working. I also get annoyed with people who take advantage of creatives – that applies to us, and to graphic designers, actors, musicians, everyone. There are too many people who don’t understand that you may be able to whip up an amazing animation in ten minutes, but it’s the ten years of training that got you there that deserve some respect and reward.

I also have a double feature film slate with my business partner Matt Esterhuizen and a range of music videos in space for Young Wisdom Productions. What one thing really annoys you about your industry and how would you change it if you could? Elitism. We don’t work on 35mm film and a lot of people feel that makes us somehow less

If you would like to take part in our new section “What are you up to?” email membership@thehospital.com

What’s Cooking

e are delighted to welcome new Head Chef Duncan Cruickshanks to the team. He joins us from The Rivington Grill in Dubai where as Head Chef he was part of the opening team and established it as one of the hottest spots in UAE. Originally from the North West, Duncan trained under Paul Heathcote and has gone on to work in multi award-winning establishments including Daniel Boulud in NYC. Duncan specialises in working with seasonal British produce, a job made somewhat easier now he is back in the UK. Having joined us in July, he’s made some gentle tweaks to our current menus including the fabulous Beer Battered Fish & Chips. However, October will see him put his stamp on all our menus, including the Restaurant, Lounge and Events. With winter coming, look out for some hearty British fare to warm your cockles. Duncan is keen to ensure our members are well catered for, as well as share his knowledge and passion for food. Throughout the year he’ll be suggesting great dishes for you to try at home but also give you the chance to hone your skills in regular master classes. Keep up with all things foodie on the Epicure group at thehospitalclub. com and be sure to look out for special evenings on our Events page.

Poached Cod with Mussel Broth, Watercress & Celery Hearts Ingredients

4 x 180g Cod fillet, scaled and pin boned 400g cleaned Scottish mussels (see below) 100g celery hearts and leaf 4 plum tomatoes Fresh Dill 4 small shallots

2 cloves of garlic 350ml of dry white wine 200g Watercress Olive oil Maldon Sea Salt Cracked Black Pepper

Method

First up, Baking. Taking place on 17 November this is the perfect opportunity for you and your guests to perfect your bread making skills (without having to resort to the breadmaker machine that’s been gathering dust in the cupboard for the last few years). We’ll provide you with everything you need to create both sweet and savoury breads followed by dinner and accompanying wines. Cost per person is £50 which includes all tuition and demonstrations, recipe cards and 3 course meal with selected wine. Keep an eye out for future classes including the perfect Christmas lunch, Butchery, Filleting Fish, Ice Creams and Sorbets. We’ll make future Nigellas, Hestons and Duncans out of you yet.

Bring a pan of water to the boil | Make a small cross in the base of each tomato and drop into the boiling water for 15 seconds | Remove the tomatoes from the water and place in a bowl of iced water | Gently peel the skin from each tomato | Cut the skinned tomatoes into quarters and remove the seeds. Discard the skin and seeds and dice the tomato flesh | Peel and then finely chop the garlic and shallots | Heat a drizzle of olive oil in a solid bottom non stick pan, big enough to take the 4 cod fillets. | Add the chopped garlic and shallots, the cleaned mussels and then pour over the white wine. Bring to a simmer and cook the mussels until they are open. This should take 3-4 minutes. | Strain the mussels through a colander, keeping the cooking liquor to make the broth later. | Finely slice the celery hearts | In the same pan used to cook the mussels add a drizzle of olive oil and bring to a medium heat. | Gently season the cod fillets well on both sides | Place the cod fillets in the pan, skin side down and pour over the retained cooking liquor and bring up to a simmer | Add the diced tomato flesh and the celery hearts and cook for a further 2 minutes. | Add a few splashes of olive oil which will help to richen the sauce. Add a good squeeze of lemon and some roughly chopped dill; season to taste | The fish is cooked when the flesh goes from translucent to white and the texture starts to become large flakes. | Divide the watercress between the four bowls and place a portion of cod on top | Pour over the broth and divide the mussels between each portion. | Garnish with celery leaf and sprigs of dill. 32

h. ISSUE TWENTY FOUR | 2010 | THE HOSPITAL CLUB. LONDON

Raising the bar Cocktail Competition

Next Big Thing

Reserve Wines

They say the best thing for a hang over … is drinking shed loads of cocktails the night before.

Tired of Tequila … then let us introduce you to Mezcal

Fat cat wines at kitten costs

After a successful members tasting earlier this year we are adding a few Mezcals to the back bar offering. Made in Mexico from the maguey plant (a form of agave similar to tequilas blue agave), it’s given its distinctive smoky flavour through the underground cooking process. It’s definitely worth a try next time you’re hanging out at the bar.

We are now well into our second year of the monthly members’ cocktail competition; ploughing our way through over 150 bottles of booze and producing some exciting and delicious results. We have discovered the members’ penchant for all things passion fruit; and quickly found out that some things that look pretty can taste pretty awful.

We’ll be serving a couple of delicious concoctions to get you started including -

Here are a few of the previous winners that have made it onto The SMOKING MARGARITA Hospital Club cocktail list. Your favorite Margarita recipe using Silver Tequila, fresh squeezed INSTANT CLASSIC Woodford Reserve Bourbon stirred lime juice and Grand Marnier on with cherry bitters and apple juice; the rocks in a salt-rimmed glass. Finished with a big spoonful of topped with a dash of ginger ale. Mezcal floating on top. Served straight up in a martini Celery Hearts and Leaf

The celery heart is the yellowy centre to a head of celery; Simply snap the outer sticks from the head of celery to leave you the yellowy centre. The sticks can be retained for salads or soups. The leaf is simply be picked from the top of the sticks. Cleaning Mussels

You can buy clean rope grown mussels but those collected from the seabed will need a good scrub. First place the mussels in a colander under running water. Pick up each mussel and check that it’s firmly closed. Discard any mussels that are open – that’s very important. Scrub each mussel clean with a stiff brush to get rid of any barnacles, pulling off the hairy ‘beard’ that sticks out from the shell, if it has one. You don’t want any grit in your rich sauce. Keep the cleaned mussels under the running water. It’s really important that the water stays moving over the mussels, to prevent them from dying. Once clean, place them in the fridge. Scrub the mussels, removing the beard

glass. Created by Samuel Netty.

With the winter shake up of the wine list and at the request of some of the members at our Wine Battle Royale events, we are introducing some high end wines without the eye watering prices. The idea behind the ‘Reserve List’ is that you get to try some world famous fine wines in a restaurant setting at ridiculously reasonable prices. We are starting with some big hitters from Bordeaux and when they run out we’ll replace them with something equally exciting. Château Pavie Decesse

1998 Saint Emillion, France, £65 Château Leoville Barton

2001, 2ème Cru Classé St Julien, France, £80 Château Palmer

1996 3ème Cru Classé Margaux, France, £140 Château Pichon Lalande

1996, 2ème Cru Classé Pauillac, France, £155

EL de JOHN

Inspired by the ‘Rocket Man’ – Grey Goose Poire Vodka mixed with fresh cucumber and elderflower cordial, finished with fresh lime and basil leaves. Served straight up in a martini glass. Created by the winning team of James Priestly, Dan Heath, Louise Hollomby (three times winner!), Gido Schimanski. TE-QUILA TE-COOLER

Cazadores Blanco Tequila mixed with fresh ginger and pureed passion fruit, sweetened with agarve nectar and blackberries. Served short over crushed ice. Created by the winning team of Penny Law and Tom Lodge.

EL de JOHN

TE-QUILA TE-COOLER

Look out for the next two cocktail competitions: Thursday 28 October with 42 Below Vodka Thursday 25 November with Drambuie 33

SHOOTING THE STAFF | Lounge

3 1

1. Lucy McGurk

4. Jo Taylor

What’s your favourite cocktail? Snakebite.

What’s your favourite cocktail? Cheeky Vimto

What do you do on Sundays? Go to church. Who or what would you take with you to a desert island? An infinite pot of hummus.

What do you do on Sundays? Get up around 6:30 and go for a 10 mile run, before a healthy breakfast, followed by charity work. But mostly I watch the Eastenders Omnibus and eat pizza in bed.

2. Jolita Cerniauskaute What’s your favourite cocktail? Bloody Mary, extra spicy.

2 5

What do you do on Sundays? Sleep and meet with friends. Who or what would you take with you to a desert island? My dog.

3. Anna Kedziora What’s your favourite cocktail? Vodka of course, I’m Polish. I don’t drink cocktails. What do you do on Sundays? Going out with friends. Who or what would you take with you to a desert island? Water of course!

Who or what would you take with you to a desert island? A lifeboat, Meatloaf’s entire back catalogue and some Kendall Mint Cake.

5. Denitsa Lambreva What’s your favourite cocktail? Tommy’s Margarita. What do you do on Sundays? Recover from Saturday. Who or what would you take with you to a desert island? Mobile phone.

6. Lina Avila What’s your favourite cocktail? Tommy’s Margarita. What do you do on Sundays? This is my day for chilling and I treat myself with some nice food, a good film, me me me! Who or what would you take with you to a desert island? I would probably take Saso to keep me entertained :)

h. ISSUE TWENTY FOUR | 2010 | THE HOSPITAL CLUB. LONDON

SHOOTING THE STAFF | Bar

1. Jonathon Mayor Hernandez What’s your favourite cocktail? Old School What do you do on Sundays? I sleep over hours, play and meet with friends. Who or what would you take with you to a desert island? All my friends

What’s your favourite cocktail? Old Fashioned and Sazerac. What do you do on Sundays? Any beer garden with lovely ladies. Who or what would you take with you to a desert island? A lady, a TV and spirits.

2. Lukasz Plachta 3

6 5

9 10

3. Grant Robinson What’s your favourite cocktail? Rusty Nail. What do you do on Sundays? Dread Mondays. Who or what would you take with you to a desert island? Gisele Bundchen.

4. Marcin Platcha What’s your favourite cocktail? Old Fashioned, Godfather. What do you do on Sundays? Sleeping, going out, drinking, playing guitar. Who or what would you take with you to a desert island? Unlimited bottles of whiskey and a sexy woman.

5. Jenny Phuntsok What’s your favourite cocktail? Treacle. What do you do on Sundays? Relax, spend time with friends. Who or what would you take with you to a desert island? My laptop.

6. Yaw Ampem-Tuffour What’s your favourite cocktail? Old Fashioned. What do you do on Sundays? Watching Chelsea demolish Arsenal by 5 goals to nil. Who or what would you take with you to a desert island? My girlfriend and a telescope.

7. Saso Janeski What’s your favourite cocktail? Sheval What do you do on Sundays? Work on my autobiography. Who or what would you take with you to a desert island? Dostoyevsky’s “The Idiot”.

8. Vincenzo Apicella What’s your favourite cocktail? Usually sours or margaritas. What do you do on Sundays? Anything from cooking, gardening, or clubbing in the day; in the evening dinning out & live jazz. Who or what would you take with you to a desert island? My love Rose.

9. MD. Kamruzzaman What’s your favourite cocktail? Peach Iced Tea. What do you do on Sundays? Take my family out. Who or what would you take with you to a desert island? Pack of cards and some best friends.

10. Sasha Ash What’s your favourite cocktail? The Program What do you do on Sundays? Try to get out of town when possible. Who or what would you take with you to a desert island? A fully stocked bar, a ice machine and (OTEC) Ocean Thermal Energy Converter- to power the ice machine.

The Social Network

October

Facebook! Here’s the latest status update: it’s everywhere, you simply must check in at least twenty times a day or you’ll miss valuable Farmville updates, it’s already a lifestyle and now it’s going to be a film. The story behind the social online brain drain gets the David Fincher treatment no less, as the Fight Club director explores the slightly dramatic story behind the newsfeed.

The Kids Are Alright

hig lights Music Sessions

Profiling some of the most exciting bands on the scene, The Barclaycard Mercury Prize Sessions have seen storming sets from Bombay Bicycle Club, Corinne Bailey Rae, Fyfe Dangerfield, Foals and Temper Trap in our TV studios. On October 12, they’re back with The Coral and The Joy Formidable, followed swiftly with yet another Session on the 29th. If you’d like to be the first to hear about new music events in the club, head online and join the Music Sessions group. Also be sure to check out the Barclaycard Mercury Prize Sessions on Channel 4 on Friday nights (they’re also available again on 4oD).

Two teenage kids conceived by artificial insemination are determined to bring their biological father, played by Mark Ruffalo, into the family life, which really puts the cat among the pigeons. He’s an entrepreneur who’s not keen on the responsibility of family life. He might also raise an eyebrow (or a glo-stick) when he discovers that one of the children has been named…Laser.

Back To Ours

Our monthly Friday night shindig that’s guaranteed to kick your weekend into shape. It’s a themed party, based on cutting edge artists, DJs and performers. Recently we had one of our wildest nights yet with Raj Against the Machine; live acoustic performances and DJ sets from the likes of Jodie Harsh, Dan Lywood and Jameela Jamil. Check the Party Nights group online to see the photographic evidence.

Despicable Me Wide-eyed jester Steve Carell voices the world’s most nefarious super villain Gru, all-round meanie and ne’er do well in this animation of world domination. He’s going ‘round the world robbing all the natural wonders, and next he’s planning to steal the moon, the cad. But can this tyrant’s icy heart be melted by three little orphan girls looking for a dad?

Portraits: a twenty year retrospective of works by Uli Weber Photographer Uli Webber comes to The Hospital Club gallery to display a star-studded 20 year retrospective, be sure to come and have a browse of some of the most iconic instantly recognisable portraits of famous folk - including Daniel Radcliffe’s confrontational anti-wizard boy image in the promos for his West End debut in Equus, and memorable shots of Robbie Williams, Keira Knightley and Kylie Minogue.

h. ISSUE TWENTY FOUR | 2010 | THE HOSPITAL CLUB. LONDON

November

MEMBERS’ EVENTS HIGHLIGHTS

Another Year The master of quirky but heartfelt British kitchen sink reality, Mike Leigh returns with the story of allotments, jealousy and generation gaps. A year in the life of a family and their friends, living through another year of trials and tribulations.

ghlights Machete

Conceived from a joke trailer at the start of the Tarrantino/Rodriguez Grindhouse project, Machete is now a film in its own right with an all-star cast, including Robert De Niro and Jessica Alba. Machete, played by ex-con, ex-stuntman generously tattooed and all round tough guy Danny Trejo, is sent on a mission to assassinate a corrupt senator, but soon discovers it’s all a set up. Now he’s got to wrestle his way from a tricky situation…

Harry Potter and the Deathly Hallows: Part I

Comedy Night Comedy is the new theatre and has overtaken music as the new rock and roll. This night is a nod to all of that and boasts the kinda talent you might find in far bigger venues in the future. Last time around we had Edinburgh Fringe warm ups from Andrew Lawrence (as seen in BBC sitcom Ideal) and Josh Howie.

Poker Night Bet the farm, the shirt off your back and the kid’s university fees? You can’t do that here, this is just for fun. What you will need is a strong nerve and the ability to spot a cheeky chancer bluffing their way into the lead. Come to Poker Night and learn the game. It’s simple to pick up and tricky to be great at. But there again, it’s all about luck, right? Beginners welcome.

As Harry’s wizard adventures come to an end, he faces that grumpy pale faced old destroyer of worlds Lord Voldemort. The ferocious battle is so huge; it needs to be split in two halves. The Death Eaters have taken over the Ministry of Magic, there’s a fight to find a very rare magic wand, and hopefully they’ll all get home in time for tea and Eton Mess with fresh strawberries. In part two, Harry faces his dreaded GCSEs, possibly. Has all this mucking about with magic given him enough time to revise? All signs point to no.

Mixdown We’ve decided Saturday afternoons are best for wetting your Saturday night whistle. At Mixdown you can hear the likes of musicians Little Boots, and Olugbenga from Metronomy spinning the tunes they love along with other special guest DJ sets - November sees The Big Pink on decks. Never mind Café Del Mar - this is the place to watch the sunset and feel the love.

ghlight December

TRON: Legacy

And Then the World Presents… Our monthly talk exploring the latest innovations in the creative industry, focusing on New Media and online trends. And Then the World Presents is brought to us by Club member Tom Le Bree. Some of our guest speakers so far have included Tim Rogers of rehabstudio, founder of ‘Victors and Spoils’, John Windsor, Robin of Shoreditch and John Grant, author of The Green Marketing Manifesto. There’s also an opportunity for questions and discussion with the guest speakers and fellow attendees.

Of all the franchise reboots and possible sequels left to make, you’d be forgiven for thinking Tron would have been left in a dusty cupboard never to be seen again. But here’s TRON: Legacy in a super CGI 3D wonder of neon and darkness. The son of the original arcade machine infiltrator Flynn investigates his father’s disappearance and gets dragged into the futuristic battle landscape on a rescue mission. Like the original, probably more fun while on LSD.

Creative Capital A meeting of minds where specialists are brought in to discuss hot topics of the moment, ranging from business to creativity. There’s plenty of opportunity to join the discussion, pose questions and chat to like minded folk. Recently we’ve debated future scenarios for the publishing industry and had interactive fashion and design fun with Steak Zombies.

Book Club Quite literally a literary heaven. Share thoughts with fellow bookworms on up and coming novels; see insight into those allegories that you didn’t first grasp; challenge yourself and reap the rewards of a flourishing vocabulary bought about by such an effortless insight into literature. We’ve had authors doing guest spots, which sure adds an extra dimension to the discussion, and if you’re well behaved we’ll give you a copy of book to read in time for the next month’s critique (or just book in online and have a word with reception).

Megamind Animation in which Will Ferrell plays a blue version of Dan Dare’s Mekon, the bulging cranium-ed villain Megamind who’s faced with a quandary after defeating his good guy enemy Metro Man (Brad Pitt). Who’s he going to scrap with now? He creates a playmate called Titan, who unfortunately decides to destroy the world. Now it’s up to Megamind to stop the madness.

Burlesque Kitsch delights ahead, could this be the next Showgirls (but with added tasteful frilly bits?). Ali, a small town country girl in LA looking for fame and fortune finds herself working as a waitress at the Burlesque Lounge, a flea pit that’s seen better days. The club’s on track to be sold on to developers, but could the fortunes of this once glorious place be restored with the help of an undiscovered talented waitress with a big voice? Ah, now that would be telling.

For more detailed information, check out our ‘Events’ section at www.thehospitalclub.com

ts The Guide

October

November

December

29 September – 10 October Raindance Film Festival

Dior Illustrated at Somerset House

1 October - 8 January 2011 Onassis – Novello Theatre

A celebration of the work of the illustrator René Gruau whose bold fluid lines for Christian Dior produced some of the 20th Century’s most memorable fashion and beauty images. From 10th November to 9th January

The feast of indie cinema dedicated to fostering and promoting independent film in the UK and around the world is now in its 18th year. Expect parties, live bands and the cream of the independent scene living it up on the silver screen.

Gaugin at the Tate Modern The first major exhibition in this country in 50 years, dedicated to the French painter Paul Gauguin. Tate Modern’s major autumn 2010 show brings together over 100 works to look at the life and work of the Post-Impressionist. As well as key paintings such as ‘Vision of the Sermon’ (1888) and ‘Self-portrait with Manao tu papau’ (1893), sculptures and drawings, the show includes a documentary section exploring the complexity of his life, looking at Gauguin’s enduring influence, more than a century after his death, on artists such as Peter Doig. From the 30th September to 16th January

2 San Francisco LovEvolution Get your party gear on and feel the love as America’s largest dance music celebration, the renamed San Francisco LovEvolution, returns. Follow the floats and pumping sound systems as the parade heads down Market Street to Civic Center Plaza. Following the parade, San Francisco’s Civic Center Plaza rocks to the sounds of top international DJs spinning house, techno, trance, breaks, drum and bass and hip-hop.

2 Nuit Blanche in Paris

Until November 27 Design for Living – The Old Vic

Going to Paris this Autumn? Why not chime your trip with Paris’ annual Nuit Blanche. For one October night in Paris and throughout France, museums, monuments, cinemas, parks and swimming pools stay open all night as thousands of revelers celebrate Nuit Blanche. At dawn, city halls lay on breakfast for those who lasted the night.

Noël Coward’s wicked and dark romantic story of well-to-do high society types, acting disgracefully and loving every minute. Initially banned for being far too saucy in the ‘30s, then stopped in its tracks to make way for WWII, the play made a return to the stage in the early 90’s but hasn’t been performed in over 15 years in London. Love triangles, clipped voices and dangerous liaisons.

13 – 28 The 54th BFI London Film Festival In Partnership With American Express

6 Fela! – National Theatre

The British film industry’s time to shine with miles of celluloid delights to enjoy and film talks with some of the finest creative minds in the business. The festival opens this year with the premiere of Never Let Go, an adaptation of the Kazuo Ishiguro novel by director Mark Romanek. It closes with a landslide premiere, Danny Boyles 127 Minutes, the true story of mountain climber Aron Ralston and his unfortunate encounter with a boulder that trapped his arm in a remote Utah canyon. Armless fun, obviously.

Fresh from Broadway, the story of influential Nigerian musician Fela Kuti, king of the Afrobeat movement. The musical is produced by Jay Z, with the direction and choreography of Bill T. Jones. Kuti’s life was so full of music, rebellion and adoration; he fully deserves an exclamation mark.

14 & 16 Gorrilaz – 02 Arena Damon Albarn and his performing troupe of multiple guest performers, includes the likes of Lou Reed, Mick Jones, De La Soul, Mark E. Smith and Gruff Rhys as they Escape to Plastic Beach on target for world domination. Performers you’d never have put on stage together in eight million light years all come together in a radioactive neon package of magical madness. You don’t get that from Joe McElderry.

14–17 Frieze Art Fair The exhibitors are all lined up for this enormous exhibition of contemporary art in the aesthetically pleasing surroundings of Regents Park, featuring over 150 major galleries from all around the world.

Author of Bent, Martin Sherman, has broached the story of Greek billionaire Aristotal Onassis, delving into the last years of his life and connections with John F Kennedy. The play’s enjoyed considerable critical praise, as well as audience acclaim. Robert Lindsay’s performance is, by all accounts, ‘captivating’.

The Master Builder – Donmar Warehouse Gemma Arterton joins cast of The Master Builder at Almeida Theatre. The talented beauty joins Stephen Dillane in Kenneth McLeish’s translation of the Ibsen classic. Dillane will play Halvard Solness, the master builder with a stellar career and a family life in tatters. Arterton takes on the role of the beguilingly Hilde Wangel who enters Solness’ life to collect a debt and re-inflates his professional pride but will ultimately be his downfall. The Master Builder will open with previews from November 12th and run until January 8th.

Imperial Chinese Robes from the Forbidden City at the V&A This exhibition will show the sumptuous robes and accessories worn by the emperors and empresses of the Qing Dynasty, the last ruling dynasty of China (1644-1911). These costumes are on display for the first time in Europe and the exhibition is part of an exchange between the V&A and the Palace Museum in Beijing. Official, festive and travelling dress for rituals, celebrations, weddings and royal visits will be on show as well as beautifully patterned fabrics created for the fashion-conscious court ladies. 7 December 2010 - 27 February 2011.

16 – 17 Lady Gaga - The Monster Ball Tour 02 Arena If you haven’t seen this show, even if you don’t like her that much, go. Avant garde, completely bonkers with mind-blowing special effects and the inescapable fact that this lady sure can sing. No other performer on the planet is delivering this much devotion to their craft. All together now, p-p-p-p-poker face (mum-mum-mummah).

Check out The Guide online for our pick of weekly cultural highlights at thehospitalclub.com