Object of Dreams

issue one

OBJECT OF DREAMS Arts

Culture

Fashion

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By Dina Karim

“In a cage of sound even the trivial seems profound” John Betjeman 4 4

ERIC’S Nightclub was that cage, the stage that launched hundreds of musicians and leaving one of the most profound musical marks on Liverpool culture.

The year was 1976, Matthew Street was craving some new blood to entertain the chaos that was the Post Punk era – and the torch was passed from The Cavern to Eric’s Nightclub.

In a city where its nightclubs could be violent at times and elitist at others, Eric’s had a strict open door policy inviting everyone in from The Sex Pistols pre-God Save The Queen, to The Stranglers, Echo and The Bunnymen and Julian Cope’s hallucinogenic The Teardrop Explodes.

The list of musicians who passed through the revolving doors of jazz, reggae, folk and punk clutters The Cavern’s famous Wall of Fame - inspiring a generation of young Liverpool to pick up the instrument.

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At the centre of its beating heart crouched a photographer from 1978 to 1982 sliding between the Punks and New Romantics using his camera to capture a piece of history in his lens.

That young photographer, who used the words of The Beatles to learn English, was Francesco Mellina.

In his early 20s desperate to be part of the thumping, grinding Liverpool scene he travelled from his native town Polistena, in Southern Italy, only to arrive in Liverpool with a pocketful of change, earned while working at New Brighton baths as a life saver, and an unquenched thirst to be a Scouser.

His photographs not only record the music but also the fashions of the various subcultures in clubland during the pivotal Post Punk era.

His pictures capture the followers of these musical scenes with their own distinct look and fashion

sense; Eric’s was a focus for Punks and Rockabillies, while New Romantics and Goths gravitated to clubs such as Cagney’s, Jodie’s and Michelle Claire’s.

What united them was their carefully put together and developed outfits, rummaged from secondhand clothes shops, army surplus stores and a small number of specialist retailers, to produce an individual look.

During this time his love for Liverpool earned him a career as a nationally recognised rock photographer, and he was a regular contributor to magazines such as The Face, Smash Hits, Melody Maker and NME. In many ways Francesco was more in love with the city and its music than with photography.

“I couldn’t play in a band because I couldn’t play an instrument or sing....so I took to photography as my contribution and studied it part time at the

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Liverpool Art School for three years.”

So with his punk t-shirt and pink earring his psychedelic journey as Eric’s most notable post punk photographer began with his first shots of The Cramps, although his images from around the city are a huge part of his collection.

Although older and with 5,000 negatives under his belt, his photographs represent a different time in style and vogue but the passion remains. His eyes still light up when he looks at the hundreds of photographs, from Frankie Goes to Hollywood to OMD and The Ramones.

“Back then you would only get 36 shots. On one roll of film I have twelve shots of The Clash, twelve of Julian Cope and twelve of Pete Burns. I was trying to save money but at least I captured them anyway.”

Eric’s Nightclub was a creative hub because of its lack of rules, a fertile musical breeding ground.

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It was set up by Roger Eagle along with Pete Fulwell and Ken Testi, manager of cult Liverpool band Deaf School, as a continuation of Probe Records (which Roger helped start up) - a haven where Roger’s eclectic taste for reggae to punk and America’s Deep South zydeco could take headline billing.

“What characterised the place was definitely the smell, you couldn’t find anything that smelled that bad but that wasn’t the point, the point was that we were young boys and girls - it didn’t matter that it stank all that mattered was the excitement.

You would see people on the stage that the night before had been in the audience that was the difference.

The place was rough but it didn’t matter, the people were diamonds.”

Francesco’s favourite shot from that brief period is that of David Byrne of US new wave band Talking Heads.

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“There’s no story behind it, it’s just the trance he is in, the way he holds the guitar. His eyes closed.

It encapsulated the feeling a musician feels -he just seems blissful.

You can get lots of moods from it, from that image, almost like it had been staged.

He (Roger) would say to me if you want to stay all night stay or if you want to come in the afternoon nobody could stop me that’s why I could get access to the little room back stage where I could get wonderful shots.”

Liverpool is a city of opportunity and hand in hand collaborations; once Francesco was able to get the androgynous picture of Pete Burns published in The Face magazine, it was a short leap from there to being asked by frontman Pete to manage Nightmares in Wax. “One of the reasons why I stopped doing photography was because I was working with the band

and they were a full time job.

We had a certain amount of success together although eventually I didn’t agree with some of the things they wanted to do.”

As quickly as Eric’s had become a cult success so did it swiftly get extinguished in an episode that still remains shroud in mystery, the politics and investment type.

On March 1980, during a performance by The Psychadelic Furs and Wah! Heat, the club was raided by police for apparent drug offences.

Many say the raid was a political move by the police to crack down on Liverpool’s clubs, others say it was meant to be a warning but not a final act to permanently shut it and some believe that the owners were so in debt that by the time the raid came it was a welcome way to shut their doors without disappointing their devoted followers.

The devotion of their members led to an en-masse

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protest march through Liverpool.

“I was supposed to be there on the night when the police surrounded the place with dogs, it was quite unbelievable it was as if they were going to catch some terrorists. They were really heavy handed, it was crazy. They succeeded...what they didn’t succeed was in breaking the spirit of Eric’s. That spirit is still alive in Liverpool today in me and in the city, the people are so different and that’s what I love about them.”

30 years later his impressive collection was shown to the world once again in a four-month exhibition at the National Conservation Centre in Liverpool.

Francesco Mellina will now be taking his photos around the world to show at galleries in New York and London and plans to release a book early March containing his pictures.

A selection of T-shirts using his photos of Joe STrummer and New Order are available to order

from www.sugarbullets.co.uk Visit www.myspace.com/francescomellina to get in touch with the photographer.

To view a selection of his works and listen to to the full interview visit www.objectofdreams.co.uk

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SIOUXSIE SIOUX, BRADY’S 1981 JOE STRUMMER OF THE CLASH, 1981 OBJECT OF DREAMS FAVOURITE PHOTO JOEY RAMONE OF THE RAMONES AT ERIC’S BERNIE SUMNER OF NEW ORDER, PICKWICKS THREE PUNKS, ERIC’S, 1980 NEW ROMANTICS, CAGNEY’S, 1982 ROCKABILLY FANS AT SHAKIN’ PYRAMIDS GIG, 1981

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All images by Francesco Mellina ©

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WWW.MCGRORY.INFO WWW.BRIDGETMANDYTAYLOR.CO.UK WWW.SHOOTATTHECARNIVALE.CO.UK MODEL / LOTTIE ROBERTS @ PULSE AGENCY PHOTOGRAPHY ASSISTANT / LOZZ CUPIT CLOTHING / AMERICAN APPAREL LOCATION / CARNIVALE

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Tom J. Newell - Up and Coming Illustrator

Where did it all begin?

All the comic and gig poster stuff kicked off after I finished studying Fine Art at uni, where I’d been producing pretty conceptual work that I had trouble translating to fit the outside world. I was already making posters for my own band The Carol-Anne Showband by then and I started to get asked to do some for other people too so it started to gain a bit of momentum from there.

What are your inspirations?

I was ‘drawn’ back into comics by the stuff by Peter Bagge, Charles Burns and Daniel Clowes, but I think most of my inspiration comes from music or the specific subcultures that build up around musical genres.

How does your everyday life influences your illustrations?

It’s all about drawing stuff, looking at drawings of stuff, making music or listening to music so it’s all pretty self contained. Gig posters have obviously got to have a specific that an illustration just emphasises, and the stuff I do in the comics just relies on references to things that certain people might pick up on.

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Did the creation of pictorial Show Boat go as smoothly as planned?

What obstacles if any did you face?

The actual construction of it and the basic task of inking out all the ideas that I’d had for it went smoothly... unbelievably time consuming, but smoothly nonetheless. The biggest obstacle was just me asking myself if it was all worth doing. I went on the dole and sank into poverty to give myself the time to produce the comic, but just getting decent feedback and opportunities from it made it all worthwhile.

What’s the next step for Tom Newell and the pictorial showboat?

I’m just going to be drawing various ‘stuff’, but right now I’m just going to take this opportunity to say ‘ayup’ to everyone i know in Liverpool my mum, everyone I know at The Kazimier..., and the lads from Hot Club de Paris.

As for Pictorial Showboat, the last time I saw him he was being read by gruff Rhys from the Supper Furries backstage at a Slow Club gig, so I think it’s probably all going to his head and he probably won’t even return my calls before long.

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- “I am still (and perhaps always be) drawing things .�

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Gabrielle de la Puente

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“Ultimately for me, photographs are about making memories. They are a more tangible and reliable format than the images in our minds. They are a way of sharing laughter and tears; love and fear, and colouring the spectrum of human emotion. I want to make you feel.�

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Raider’s Vintage Photographer/ Owen Wassell Stylist/ Louise Dalrymple Makeup & Hair/ Jordanna Lawton Models/ Rachel Evans and Rebecca Boothby @ Pulse Agency Clothing/ raider’s Vintage Location/ Tabac

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HOT NEW DESIGNERS

VINTAGE/CRAFT/AVANT GARDE

*Hope and Winkle Vintage, Pettycoat Lane, Bold Street. *Tula Moon, www.tulamoon.co.uk *Same Same but Different, vintage jewellery available at www.folksy.com/shops/clairepalmer *Ditsy Dutch, stall at next Fete *Vivienne Rose, 50s glamour headwear, Facebook: Vivienne Rose

We’ve all gone into Primark and bought in to the idea of fast fashion. We’ve folded down the pages of magazines for inspiration for our perfect home. We’ve put the posters of bands and artists on our walls (furtively copied from our friends). But there is nothing like the secret thrill after someone jealously asks where you got your outfit or interior...and you whisper the words: “It’s vintage”.

Vintage, a beautiful paraphrasing for old, has been around, well, since forever, a remaking of rescued, trashed or forgotten materials: a Phoenix in the hands of an artist.

Vintage and craft fairs are springing up all over the city as a healthy antidote to the generic fashion of the high street, their popularity mirrored by the number of stalls selling faster than the venue can accommodate. As a budding designer the choices of selling your wares and making a name for the business can be very limited. These fairs offer a chance for designers to dip their toe in the shark-ridden waters of retail. But the success can be thrilling.

Helen Hope set up the New Village Fete, based at Heebie Jeebies, less than a year ago with the idea of providing designers the opportunity to sell their unique vintage clothing, costume jewellery and handmade crafts. Set to a backdrop live music playing in the courtyard. Its first success story is Helens who thanks to her jewellery becoming hot property has opened up her first boutique, Hope and Winkle Vintage, on Bold Street.

Helen Hope creator of the tag lined, ‘Distinctly British’, designs that are classical incorporated with an eccentric twist.

The craft fair has opened up the doors for other designers too, who now have their work sold in various shops including Resurrection, Utility and on the Albert Dock.

Steph Dekker, creator of Tula Moon, has capitalised on the image of Liverpool as a backdrop to her highly creative art and knick knacks.

Building up her skills for a number of years, silver-smithing being the most impressive, she has now settled on creating painstakingly beautiful landscape prints of Liverpool. The prints are a perfect digital and collage symbiosis, where she takes the paper of 50s illustration books and uses tiny segments to create an explosion of colour, the next generation of Pop Art. She has also expanded into collage jewellery, cards and gifts, most of which are sold at Utility and 13 Lark Lane gallery.

The city is filled with other art and craft fairs, the Pillbox Vintage fairs, at Baby Blue, on the Albert Dock, offer unique vintage and retro clothes, homeware and accessories for both sexes.

Calidad Events also holds a fair once a month at The Old Police Station, on Lark Lane.

The stalls of Portobello and Camden Markets may be what led the way but these fairs offer something London can’t, the atmosphere of buying something unique, unblemished by tat stalls, or souvenir crap.

Elitist in no way, these fairs attract people of all backgrounds not minding spending a little more time looking for the perfect present or accessory.

And for the creative types it offers them the opportunity to exhibit and sell their lovingly-crafted work without having to cover the cost of permanent retail space.

Figures, Liverpool is after all the hub for creative people to blossom.

The New Village Fete will re-open in the Spring at its new location of Chameleon bar.

Calidad will be back in March.

The next Pillbox Vintage Fair will be on February 14.

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By Dina Karim

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This idea is not novel though and a number of Devon towns have declared themselves a Transition Town and committed themselves to become sustainable with the help of their local government. The movement may have been started by an environmental activist but it was the ordinary folk that took up the banner and started cycling more, converting their cars to bio-diesel and holding weekly farmers markets.

If combined with a significant squat movement, or by striving to set up one where none exists, it can already count on the homeless amongst its core activists, as well as providing a more effective solution to their situation than selling the Big Issue.

An idea that has started to take hold in Liverpool where at least one known squat is known to exist - one fine building on Renshaw Street has been lent to The Arts Organisation to put up their horde of artists looking to transform another of the city’s dilapidated houses into their own Shangri-La. An idea that could easily become common, if allowed by you and the council, and breathe new life into many of the buildings falling apart in the city centre, bringing together the community for sustainable living.

The problem is that environmentalism has become synonymous with individual self-flagellation thanks to the prevalent destructive nature of a growing capitalist world.

To take one example, activists in Liverpool recently held an anti-McDonalds demonstration.

McDonalds, being guilty of environmental destruction, animal cruelty, employee exploitation, and unhealthy food, comes in for considerable flak on all fronts. That criticism is, of course, justified. However, the way that it is often delivered is not.

McDonalds Worker Resistance, an anarchist organisation for McDonalds workers, points out: “Probably if we worked for any other company on earth our activities would attract little attention from the rabid eco-fundamentalists, but McDonalds is a bit special - it is a symbol of the culture the activists have opted out of, it is a manifestation of the degenerate society against which they define themselves.”

Ultimately, in order to keep a roof over our heads and food on our tables, we have to sell our labour. A basic economic fact tracing back to the work of Adam Smith.

Any movement that does not recognise this and launches its offensive against the workers rather than against capitalism, is doomed to failure. That is why the action of the protesters in Liverpool, which included offering leaflets on workers’ rights and organisation as well as animal rights and the environment, is to be welcomed.

Environmentalism, especially as a radical movement built around working class resistance, has so much more potential than as a counterbalance to the pressure put on Government sums of money offered from big polluters. If done properly, it can still serve as both a beacon to draw attention to significant issues, educating the public about what is going on around them. But at the same time it can help ordinary people organise for resistance within their own communities, and demonstrate to the world that the way to a sustainable world is not to get the Government to do more, but to do more to get rid of a failing Government.

Ordinary people must do what politicians won’t. An environmental movement that realises this would be unstoppable.

Penned by Phil Dickens Visit www.objectofdreams.co.uk to view more of his essays .

Wet by Tom George

Mousy lady, let me shelter with you.

I want to have dry thoughts.

Lets walk together and share our lunchtime longings.

We’re walking in parallel Then she looks over, and I hurry on I jog up the hill with water running down my face Past students laughing and splashing A young woman is holding a comedy umbrella See-through blue, With a shark’s fin on top Student girl I need your sense of fun right now Let me join your hemispherical world Of glitter and Pringles Further up, I shelter in the doorway of the Fly in the Loaf Watching the afterno on monsoon The coursing gutter is the Ganges Pilgrims travel from far and wide To immerse a foot And be purified A Milkshake lid floats by Looking kind of sad Reminding me of how I’ve felt these last few weeks Feeling so adrift and hurting bad

But it’s okay ‘cos on this day I don’t need you like I did I just need a brolley To help me out When things get wetter That’s right That’s better.

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Kicking Spoons by Leon Miguel Lates

I’m walking up Bold St when it starts to rain.

I wonder if I can make it to the Philharmonic before I’m soaked?

Miraculously, everyone around me produces umbrellas.

A woman is walking just ahead of me.

I wonder if she’ll let me share. ‘cos I would…I would.

A child is walking though the bus station with his mother kicking what appears to be a plastic spoon discarded by, with the essence of probability behind it, an uncaring fool unable to see the bins provided. He kicks it as if he is playing football expelling “char” sounds and punching both of his arms into the air as he makes contact with the discarded item. A tall guy in red skinny jeans, watches as the child and his spoon approach. The spoon, when kicked with the 5 yearolds force slides across the floor; decelerating it manages to position itself between what appears to be bow legs belonging to the guy in the Red jeans. He looks in my direction with his eyebrows and lips pursed looking quite confused though also having a slight scowl to his expression. I find this face humorous in this pose and open my mouth to make a silent laugh.

He smiles to me and raises his bottom lip as if to ask whether he should kick the spoon in the path of the child in order for it to proceed with its game. The child begins to run toward the rubbish moving his arms exaggeratedly mouthing “char-char” as he moves.

His mother carrying shopping bags and his school bag shouts for him to leave the spoon alone. She is loud and brash causing me to sit straight in my seat as she calls to him. The boy stops and waits for her to pass him; he then kicks the spoon from between the guy‟s legs and continues to kick it behind his parent‟s back. Most people at the stop look to each other raising their eyebrows, I look to the skinny jean wearer and smile, he says “Crafty get” and I nod. We part eye contact and wait for the bus to come.

The Liverpool CHINESE NEW YEAR is the coolest festival to hit the streets in February - and it’s the Year of the Tiger meaning a year of power, passion and daring, bring on 2010!

THE XX, this year’s hottest band, The band will be playing their NuGaze, Indie Rock tunes at The Kazimier on March 10.

Become a fan of NOT FOR YOUR NAN. Celebrate Valentine’s day with a very private photo shoot (nipple tassles optional).

A saucy new resolution, visit www.notforyournan.co.uk Support OBJECT OF MUSIC. The night will be held ever few months with the sole purpose of showcasing Liverpool’s hot new bands. The next Object of Music will be held in March,TBC.

Head down to the Liverpool Echo Arena to sweat to the dance music of TIËSTO, on March 13 .

Celebrating ten years this year’s WRITING on the WALL festival, in May, promises to top it all with guest speakers Martin Bell, Germaine Greer and Darcus Howe.

If you’re young and fancy doing some urban rap recordings learn to record and mix at the BLACK-E, next to the big China town arch. Call 0151/709/5109.

The first of Liverpool’s major music events is SOUNDCITY, in May, with everyone, from The Zutons to White Lies and Little Boots, playing across the city.

Visit Tate Liverpool’s exclusive PICASSO: PEACE and FREEDOM exhibition. Running from May 21 - August 30.

And as with all resolutions we want to learn something new, so learn to juggle four scalding hot clubs. Pop into Mello Mello cafe on any given Wednesday at 6pm to learn some Juggling and Circus skills.

Cheeky...we had to pop in one more to say: l isten to The Maybes new albu m th is year, buy a book from News from Nowhere, have a tea at Mello Mello, check out Francesco’s, Dud ley’s and al l our photog rapher’s works on l ine, cycle to work, buy a vintage neck lace, get a skateboard, read the poetr y again and again u nder a tree...and wait w ith bated breath for your nex t issue of OB J ECT OF DR EA MS.

LETTERPOOL :Urban

Art and Architecture in Liverpool

Having a coffee table book of Liverpool street art may seem reductive if you walk past the visual graffiti every day, but like everything it’s all about the presentation and the layout with Switch Media. Letterpool: Urban Art and Architecture in Liverpool breaths a fresh perspective into the works.

Letterpool celebrates the typography and architecture of Liverpool through the names, signs, signals and street art that form the visual fabric of our city, exploring its colourful heritage and evolving cityscape through the words that give us language, meaning and identity. The book started out as a community-led art project where submissions where called for and the best chosen, but it is not just a collection of well-presented pictures of signs it is also a documentation of a time the city welcomed open-space art, visual graffiti and council-led virals.

The book also features some impressive looking photos of commercial signage in the city from the Exchange Flags to the Open Eye gallery. As with most art, street pieces started off in the city as a reaction to oppression, an outlet of anger and for change. Now with the help of Banksy it’s become common place to use derelict walls to paint messages, so common that the viral art project was an actual project and not the work of just one artists’s self-expression. This might be the number one reason to covet this book: what’s fashion today is vintage tomorrow.

One more gang-led tagging could push the council too far and these beautiful works would be whitewashed into vintage, keep a piece of turn of the century Liverpool on your coffee table.

Available from WHSmiths, Utility, News from Nowhere and Waterstones for £14.99

THE LOVE STORY - THE MAYBES? upcoming 2010 album

The Love Story, working title, first and foremost is a novel. A novel about relationship. The basic human process we all posses to attain an understanding of something else.

The relationship between two given things.

This just happens to be set to the familiar background of the most strongest of all human desires. Love. This is a novel set to music steered by a musical unit high on emotion and passion, firing on all cylinders with the sheer notion of will and belief fed by the ravenous singular vision of a collective determined to succeed in telling a modern tale of love and loss. An eternal theme driven into the present by the power of electric hearts of fire and a lyrical precision fit for the highest library of heaven. The Love Story begun its conception in January 2008 right after the final mixing and mastering of the debut L.P. Promise.

The albu m took a year and a half to conceive via various tours, pro m otional duties, ups and dow ns, false starts, ex perim ents, rehearsals and recording sessions.

A difficult second birt h. After much crafting of a solid concept and theme, and a batch of 50 workable songs, we decided to get up and coming producer/ engineer Darren Simpson involved in the project. Darren brought a fresh approach into the pre-production process. Darren’s main concern was doing what we do best. Performance. The choice of studio was a conscious one. Monnow Valley studios, set in the rural idyllic hills of Monmouthshire, South Wales. With its ghosts, remoteness and tranquility, the perfect setting for the task ahead was more of a joy then a effort of work. The results were generous. All tracks were recorded live. As a band. Three takes and your out. Simple as. The whole album was recorded in two weeks. The Love Story release date is still to be confirmed but expected by Spring. by Nick Ellis, guitar/lead vocals for The Maybes?

- Editor’s note:

“It goes against the grain to let a musician write his own review but when the magazine was given this heartfelt piece I had to keep it. The five piece band, Dominic Allen, drums, Spud, Bass, Tim Tierney, guitar/ vocal, Lee Smith, guitar/atmos and Nick Ellis are Liverpudlian Indie Rockers, a favourite of the city’s music scene for nearly a decade. After being disappointed with the final product of Promise this album finally really captures what The Maybes are about, a passionate new hello.”

Show me the way to the next whiskey bar...

HEEBIE JEEBIES, SEEL STREET

This lounge bar has gone from strength to strength year to year and if queues outside the venue are anything to go by then Heebie Jeebies is definitely one of Liverpool’s top bars. With its underground cavern of revelers sweating away to live music and Motown and Soul, and its more relaxed upper floors, it has come a long way from its jazz background and firmly set itself as the Indie hangout.

Heebie’s has an air of laid-back cool with its legendary c o ck t a i l s, and its very convenient outside decked area that’s hugely popular in the summer.

And most famously it was were the idea for a magazine called Object of Dreams was first thought of and brought into being.

3345 is unquestionably one of the coolest bars in Liverpool, if by association if nothing else it is in the Parr Street Studios complex after all where everyone from Bjork to the Super Furry Animals and Coldplay have recorded at some point.

The lounge bar and restaurant is a central social oasis designed for creatives and situated in the heart of Liverpool city centre. Regularly referred to as the epicentre of the Liverpool music scene and with its low lighting and cushy chairs creating a chilled vibe, there is no better way to grab a cocktail or listen to the acoustic music on Thursday evenings.

3345, PARR STREET

NO EXCUSES N o E x cu ses is a m on t h l y cl ub n i gh t t h at p rovi de s a ch eap a n d inclusive environment for enjoying progressive and original DJ sets. The engine of No Excuses is its core of residents, from Tony Loco to rap group Dick Limerick Academy; many of whom regularly perform at Heavy Rot8tion, Chibuku and Eat Your Greens. Should you choose to part with the reasonable £2 door tax you will be presented with a free CD mixed by one of the residents ranging from DnB, Hip-Hop, Dubstep and Jungle, to Techno, Electronica and Gabba.

No Excuses started in 2004, helping to establish the tone for the newly opened Bar Fresa. The events instantly attracted a loyal following, which served to distinguish it from higher capacity nights which all too often have the ambience of an ASDA on a Sunday. This year, it is escaping the basement of Bar Fresa and will be touring venues in Liverpool City Centre.

Each event takes place on the third Friday of the month.

For more information, or if you would like to play, go to the “No Excuses” group on Facebook or contact lonytee@aol.com.

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Photography by Andrew Abrahamson

News From Nowhere

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For books & magazines on the environment, activism, peace & social justice, & much more!

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Drop us an email to tell us what you’re up to at hello@objectofdreams.co.uk Check out our website www.objectofdreams.co.uk if you’ve missed this issue and are reading it at your friend’s house - the magazine is also available online.

Visit our blog www.objectofdreams,wordpress.com for up to date interviews, reviews, and up coming art, culture, fashion and music gigs.

From all the team at Object of Dreams