DEC 2011 For those of you who have been with us since the early days, you’ll remember that we used to pump out bi-monthly online issues. Those days were hectic and it seemed that we would always be thrown a curveball right before the release of an issue. Memorable moments include: -when Aimee had a seizure whilst designing an issue at 3am after too many cups of coffee -regular practice of late night voodoo to save multiple issues from devastation -when Emma burnt holes into a polyester singlet and Aimee nearly passed out from the fumes With each issue, our ambitions became greater (the coffee induced fits subsequently became more frequent too). So much so that we increasingly began suffering from “ intense disatisfaction with every previous work” syndrome. And that led to taking our back issues offline; we even considered a rather Orwellian approach to revising our own history. After we launched the first print issue, we realised that we were being assholes by withholding back issues. Because in doing so, all our voodoo spells would go to waste. And as would the efforts of our amazing contributors. They helped shape POCKETTO and we must give credit where it is due. So here is the definitive compilation of all the best bits from our online issues (#4 right through to #10) which will stay online as a neat piece of our history. Sadly, we couldn‘t pillage from issues #1 to #3...Emma actually deleted the files a year ago, in a fit of self loathing. And for all of you who think we are being cheapskates by rehashing content, are we wrong to assume that you have passed on that Kris Kringle gift as a thoughtful gift of your own? We think not. With that, we wish everybody a safe Christmas and an explosive/spine tingling/loved up New Year. See you next year! xx Emma and Aimee P.S Get excited for Volume 2 of Pocketto (yes, the printed one) due for release in April 2012!
1
georgina thomas
FASHION TALKS
georgina thomas What'd you want to be when you were a kid? The only thing I can really remember thinking about was being a detective. I think I saw some TV show and thought I would be just as good at solving crime because I could follow all the clues they gave in the show- not realizing at the time that they are fairly obvious! When did you start designing? I remember making awful awful clothes for dolls when I was young and having a clothing stencil set, but I guess about a year or so before I started University was when I seriously started. I started the label in 2008. What's your design philosophy? I guess it's about making something that in the end is beautiful and it seems that I am always working with extremes in some way; whether it is putting two disparate concepts together or the use of fabrics. People you admire? Ann-Sofie Back, Preen and Bless are designers that I like because they create unique collections and present their work really well also. What's your design process like? Do you see clothes in your dreams ala Karl Lagerfeld? Well almost sometimes! I think it is because that is when you are relaxing and things seem to come to you when you're not trying to force it. You come up with a direction or just an idea and it kind of just leads you to other things- just experimenting. Favourite era/decade? Well because I was a child of the 90's I do love that time, especially the early 90's. What do you do when lacking inspiration? I try to do something either completely different or bring it back to the basics, but it's almost like the more you do the more you can do. georginathomas.com.au
Fiona Lau and Kain Picken are:
ffiXXed We originally moved to Berlin in 2007. This is where we started working together as ffiXXed. There’s a real D.I.Y. approach to living in Berlin. Generally there isn’t a lot of money but there’s a great sort of resourcefulness that is born out of this lifestyle. There’s this whole thing about building things up, or just making things from what’s available When we wanted to start making full collections, production capabilities became a real problem. We knew that a lot of production, even for more high end labels was moving to China. We also had a curiosity about China and its changing global position in general so we decided it would be a better long-term decision to move to China and really work closely with what’s conhappening there and to understand the cultural con text more, rather than simply outsource our production. We created the Multisleeve Rug because our housemate in Berlin bought a Wii and we got really obsessed with the tennis game. It was the height of winter in Berlin so it’s nice to have a blanket over you while sitting on the couch etc. But the rug was inhibiting our Wii tennis playing so we literally made a rug with sleeves it so we could play more freely and still stay warm. Then we realized that it could also be worn as a wrapped garment by a single person as well as by two people, or used as a picnic blanket. We didn’t actually see the Snuggie until earlier this year while we were in Melbourne, probably because we don’t have a T.V. They’re cool, but that polar fleece or whatever is a bit intense/gross! We both see fashion on a certain level as a way to talk about much broader ideas that relate to contemporary culture. Contemporary fashion is such a potent arena because of its particular position within consumer culture and its relationship to the construction of self identity, gender, class, lifestyle, subjectivity etc. ffixxed.com
estelle dé vé I lived in the forest [as a child]. I lived in the south of France in a really small village- about 80 people. The only kids were me and my brother. It was great; we grew up in a forest and would just play all the time in tree houses and stuff. We probably spent more time outside than inside. It was great until about 13. And then it started being hell. When I was a kid, I wanted to be Indiana Jones...until I realised it wasn’t a real job. My dad was like, “Oh you want to be an archaeologist”. I was like “No I want to be Indiana Jones- the adventurer.” I studied marketing. It was fun, but after a while I realised what I really wanted to do was make the things, not sell them. The first collection was me trying to learn things. There were so many ideas, so many things that I wanted to do but I just had no idea how to do them. It was really frustrating because I didn’t know what I was doing. Trial and error. I’d be doing something and there was probably a really easy solution to it but I had no idea so I had to work out all these different options and realised I could have solved the problem in two minutes. The first collection was something I had wanted to do for a while. It was based on this book that I really like (For Esme with Love and Squalor). I like all the old sci fi movies, old sci fi books. I just find it funny seeing how people pictured the future back in the 60’s and 70’s. I talked to my dad and when he was 15 he thought that in the year 2000 we’d all be eating pills that’d have the flavour of what we wanted to eat and all be like riding those crazy flying tbings... estelledeve.com
all of our lives By Emma Bergmeier As a little tacker growing up in Sunny Perth, Mitchell Wright had no functions or occasions at which to wear his Father’s black bow tie, so it sat proudly amongst his favourite things, waiting for the right occasion. Wind the clock forwards a decade or two and finally he was of age to wear his treasured neck accessory. It didn’t take long for Wright to amass a covetable collection of bow ties, which inspired him to create his own label dedicated solely to neckwear. “ It sprouted from a long time obsession with fanciful neckwear,” he reveals. “ I’ve always loved the Japanese fashion culture; they love bows and always incorporate them into their everyday attire. I also enjoy the historical side of neckwear, from Egyptian adornments to Film fashion culture from the 1920s. I guess there was a calling for someone to offer a contemporary take on these iconic pieces. “ I’m a huge fan of simple design. The bow tie is such a simple concept; however, it has the potential to make any outfit a masterpiece. It’s so fancy without even trying.” Though he’s never studied fashion formally, Wright is no stranger to the fashion community – having thoroughly immersed himself first in the Perth scene and later on in Sydney, where he has recently relocated to. “ I’ve been surrounded by fashion for a long time now. My two older sisters have strong backgrounds in fashion, and I guess it came naturally to me. I haven’t studied fashion design, textiles or pattern making – however my dad taught me how to sew when I was younger. Design is all about honest concepts – you can be taught techniques, but creativity comes naturally.” All Of Our Lives may specialize in bow ties, but you’re unlikely to see any ‘Dad’types sporting Wright’s designs at their next black tie function – they’re targeted at a much younger demographic, who aren’t afraid of mixing old with new, formal with informal. “ I love seeing beautiful creatures wearing my designs; however I think if I was to see someone choosing their groceries in a supermarket, or riding a bicycle, or trimming their hedges whilst sporting one of my creations, a smile would quickly come upon me. I think that’s lovely.”
2
a weekend at redcastle motel
PRETTY PICTURES
Once upon a dream
photos: Aimee, models: Laura Barton and Simon Thompson, hair and make-up: Emmy Pepper
just like a kite...
photos: Aimee, styling: Hayley Hughes, model: Ruby.M, hair & make-up: Raeoni Davies
She sells sea shells
photos: Aimee, styling: Emma, model: Katie.K, jewellery: Estelle Deve
3 kareem rizk
ART & I LLUSTRATION
“It was this big” 2007
kareem rizk When did you realise art was your true calling? In 2006, a few months after I had quit my boring graphic design job at the Herald Sun newspaper, I realised I was only truly happy when I was making art - especially collage art. When did your love of collage begin? I was rarely cutting and pasting as a kid. My love of collage only began at university while studying Graphic Design in 2004. During my final year of the course my creative focus was continually gravitating towards collage. What did you want to be when you were a little kid? A rock star! One of my fondest memories as a kid was imagining myself standing on a stage in front of thousands of people and they were all cheering for me. But maybe I was just a lonely kid. What is the inspiration behind your pieces? Mainly my fascination (or obsession) with nostalgia and all things vintage, weathered, worn and old. But I think it might also have a lot to do with the relentless subconscious dialogue that spills out of my head everyday which I am yet to fully understand and comprehend. I don’t know if I make art for any particular purpose. I can’t tell you honestly why I do it. I just feel a need to do - so I do it. What is the typical process behind one of your collages- what materials etc do you use? All my material and images come from old magazines, books and printed ephemera dating from the 1940’s to the 1970’s. I very rarely use images or elements that were printed after 1980. Often I will build up a background with textures and markings. In my handmade pieces this will consist of discoloured or stained paper, torn elements, scratches, smudges, fingerprints etc. I will then add layers of typography, numbers, coloured paper, images and more scratches until I am left with a compo composition that feels right. Sometimes this process works in reverse I will start with a dynamic or interesting image on its own and construct a composition around it by working backwards. The same process generally applies to my digital work. What is the best thing about what you do? And the worst? The best thing is I enjoy it and it makes me happy. The worst thing is, even though I’ve been steadily getting a great amount of exposure and appreciation of my artwork all around the world for the last 3 years… I’m sill broke! But as long as I keep my head up, I believe things will change. kareemrizk.com
“Buy a dream” 2009
“Captain” 2007
“Boy” 2009
y u k o n as u When did you first start painting? I’ ve b e e n painting se riousl y since 2004 . What made you want to become an artist? It’ s difficul tq ue stion. Itm agical l y h appe ne d to m e . To b e h one st, I am ve ry se l fish pe rson and I w antto do w h atI w ant. I’ ve w ante d to paintth e n I’ m an artistnow . Your John Doe portraits are fascinating. Could you explain what the thoughts were behind them? Th e e xh ib ition e ntitl e d Joh n D oe :Im agine d portraits of unun k now n pe opl e . I pre se nte d a se rie s of im aginary portraits capturing a uniq ue pe rsonalvision th atfuse s British and Japane se cul ture . M y w ork h as al w ays e xpl ore d issue s of ide ntity, pe rce ption and re cognition. F or Joh n D oe , I took inspiration from th e visuall anguage of gossip m agaz ine s and discarde d ne w spape rs. Unfam il iar w ith th e cul turalre fe re nce s or ce l e b ritie s in conte m porary British m e dia storie s, I am fre e to de ve l op m y ow n inte rpre tations. M y w ork ob se ssive l y re visits th is th e m e , com b ining a varie ty of ph ysicalfe ature s to forge ne w ide ntitie s and im agine d h istorie s. M y signature w ide b rush strok e s and uniq ue col our com b inations add to th e anonym ity of m y ch aracte rs, cre ating a cam oufl age . Th is te ch niq ue draw s on vie w e rs’ ow n pre conce ptions, re sul ting in a sh are d pe rspe ctive of displ ace m e nt, w h e re b oth I and vie w e r join a col l ab orative se arch for th e re alide ntity of th e portraits. You studied in Kyoto first. What drew you to London? M y frie nd re com m e nde d m e to com e to London. Al so I w as inte re ste d in diffe re ntw orl d since Japan h ad a k ind of cl ose d socie ty/ cul ture . The worst thing about the art industry? V e ry unstab l el ife . Som e tim e s itw ork s for m y artw ork th ough . yuk onasu.com
echo morgan The reason you started drawing? The power! You can create a completely imaginative world with very simple materials. For me drawing is a very highly skilled personal telling and direct explanation of anything you choose. It can be about stories, trends or feelings. It’s a way of looking, thinking, creating and changing the world around you. Does fashion play a big part in your work? Big part, but not the most important. The artistic and revolutionary part of fashion influences me dramatically. I have never had any fashion education. I grew up in China studying fine/ hand crafted art until I was 18. So fashion to me is a rich culture reflecting the image of humanity. I am more interested in people rather than the trends. In life, I can’t afford most luxury items but that doesn’t bother me! I love them as a piece of creativity, so in my work I draw them to remember their form and beauty. Illustrator,stylist, window design for Selfridges and writer for WESTEAST. You are quite the multitasker. If you had to, what one occupation would you choose for the rest of your life? I put down all the occupations only because so people can have an idea what I can do but in real life I never put myself in any categories. I want to be a responsible artist who makes creative and energetic artworks using both new digital and traditional craft-based media to create dialogues between countries and industries. Hopefully in the future, I'd like to document some stories and make some important changes! Inspirations? Everything I see, hear and dream. Fave medium to work with? Drawing and collage. Where do your ideas for illustrations usually come from? Sometimes my pen walks by itself so I try to feel and follow- images speak their own languages. Other times my ideas are from my imagination and understanding of nature and cultures. echomorgan.com
chrissy lau IS A FREELANCE ILLUSTRATOR FROM YORKSHIRE, ENGLAND WHO NOW CALLS SYDNEY HOME. CHRISSY HAS BEEN A REGULAR CONTRIBUTOR TO POCKETTO IN BOTH ONLINE AND OFFLINE VEN TURES- THE LOVE AFFAIR BEGIN NING WHEN WE ASKED HER TO APPLY HER SIGNATURE INKS AND IMAGINE A BUNCH OF CHAR ACTERS TO SUIT THE MOST MEMO RABLE FOOTWEAR OF THE 2010 COLLECTIONS. chrissylau.com
Nicholas Kirkwood for Rodarte
Calvin Klein
Alexander Wang
linn olofsdotter I BECAME AN ARTIST BECAUSE AN OLD LADY IN MY BUILDING WASN’T IMPRESSED WITH ME WORKING IN A DELI. MY FAVOURITE THINGS TO DRAW ARE OLD LADIES AND CATS. IT TAKES BETWEEN 1232 MINUTES AND FOREVER TO CREATE AN ARTWORK. DIFFERENT ATMOSTPHERES IN MY SURROUNDINGS INSPIRE MY WORK. IN 10 YEARS TIME, I WILL HAVE...MAYBE FINISHED A PAINTING AND OPENED UP A CAKE SHOP. I REFUSE TO TEXT MESSAGE. olofsdotter.com
liyen chong interview by Yu Ye Wu Liyen Chong is an artist based in Auckland, New Zealand who works with conceptual ideas using age old embroidery technique. However instead of needle with thread on cotton, her chosen material is filled with her own personal imprint- strands of her long delicate hair. Her designs are smaller than the palm of your hand and stitched with such painstaking precision that from afar her works appear as finely drawn graphic sketches. From skeletal heads to Chinese motifs to Victorian decorative borders, her influences come from afar. Earlier this year she was in Sydney for a group exhibition and I had the chance to gain some insight into her practice. W h e re d o y our id e as and inspiration com e from ? When I was in art school in New Zealand my parents were based in China, so every summer I shuttled from New Zealand to Malaysia (where I’m from) and China. From my mid-teens I had to constantly adjust to different cultures. For example living as an “ overseas Chinese” in China is different from being Chinese in Malaysia, a mul ticultural society, or “ Asian” in New Zealand. This had an impact on how I thought and looked at cultures and I wanted my work to reflect that interest. W ith a l otofy our w ork th e re are m otifs of d e ath and b one s. W h y are th e y a prom ine ntfe ature ofy our w ork ? When I first started using hair, there was an element of grief associated with it. Images of women in Classical Chinese literature are populated with women with long hair. If it’s sort of long and unkempt instead of being tidily swept up, something’s wrong.
By using hair in my work I was taking it out of context and alluding to a sense of disorder (whether psychological or circumstantial). There are also ideas of death associated with the Victorian’s use of hair in memento mori such as mourning jewellery. There was also a sense of death in what I lost from growing up in MalayMalay sia, living in China and coming to New Zealand to live. With the images of bones, I wanted to take something external to the body to depict the internal, sort of like bringing two realms together. H ow d id y ou com e across e m broid e ry and th e te ch nique s invol ve d ? It was mainly my mother, but my paternal grandmother taught me how to embroider, knit and crochet from a very young age. I’ve always maintained an interest in sewing, but I hadn’t embroidered for over ten years when I first began embroidering with my own hair in late 2004. Th e re ’ s a ce rtain obse ssionalqual ity to y our w ork se e n in th e intricacy and atte ntion to d e tail . Is th is re fl e ctive ofy our pe rsonal ity ?Is th e re an inte re stin psy ch ol ogy be h ind y our art? I've been described as being very patient, but really, I think I'm just obsessive, and will hang on to any project by the skin of my teeth just to get it right. I've also always been interested in the smallest details. With the hair embroideries, I wanted to explore the psychological space that comes along with doing something intricate and time-consuming. Depending on the complexity, a work can take as long as 80 solid hours or more without counting any breaks, and all you end up with is an image measuring smaller than the size of your palm. liyenchong.com
Caitlin Shearer- Issue 7 Cover What did you want to be when you were a kid? Someone who does voice overs on TV commercials.
Sarah McNeil- Issue 9 Cover What did your high school art teacher think of you? She was nice to me. I was allowed to play in the art room when everyone else had to do sports.
Katy Smail
4
jo duck in NYC
TRAVEL DIARIES
a long flight with Woody
subway to Brooklyn
My first night in Brooklyn. I'd organised a place to stay on Craigs List, and when I got there found out the lady hadn't left the keys for me. I hadn't slept on the 20 hours to get to NY, had no phone and nowhere to sleep. I stumbled into the friendliest restaurant (Amorina) in the friendliest neighbourhood, and ended up spending staying at the waitresses house. Left to right - Mary, Michelle, Mike + Aaron. Some of my favourite Brooklynites. Side note - Albano Ballerini is the king of Brooklyn.
Katz's Deli for the most amazingly giant and famous pastrami on rye sandwiches, with a pickle on the side.
I am not the girliest of girls, but manicures are my one weakness. I had houndstooth nails, Marawa had gold criss-crosses. These are our nails at one of our many favourite Mexican restaurants - Benny's Burritos. We were happy.
We spent the last 4 nights staying on crash mats in a trapeze loft in Williamsburg. This is a Wau Wau sister's most incredible under the sea bathroom. Showering never felt so right.
Marawa The Amazing
Elton Jah - my favourite friend in NYC.
My brother came to visit and I we got my favourite turquoise boat over to Staten Island and back in the sunshine.
Steve
Manhattan skyline
Aimee in the USA
San Francisco
30th St Station & the Golden Gate Bridge
Lincoln Memorial & Washington
Central Park
FROM MY ROOFTOP
Adriano Sodre- Lisbon, Portugal
Jen Mulrow- Tuscany, Italy
Jeff Hahn- London, UK
Zuhal Kocan- Aarhus, Denmark
Serena Neo- Singapore
5
snacks with YEO
CONVERSATIONS
kimbra Interview by Eric Dittloff Say what you will about pop music; Kimbra does it justice. Pop is by definition music of the people, music that will be looked at to remember the mood of decades when they’re far away. In the 2050’s, I’ll listen back with smiling ears to the work of a skilled singer, songwriter, arranger and performer. She harmonises diverse influences and techniques into tracks so inviting that leaving anyone out of the audience would feel like you were letting them down. Her work transcends a simple experience, offering lyrical dramas that leave the listener with the memory of having witnessed a work of theatre that disappeared too quickly. We had a chat while on safari in September (2010): You’ve got this sort of avant-pop thing going on. How do you feel about your peers like Jamie Lidell, Roisin Murphy and Gotye? People who can write pop songs and translate them in a quirky and theatrical way. I love that kind of stuff. You’re doing some touring with Little Red. You guys with Monae seem to part of a people think retro they think sixties but you’re taking it back further than that - part of a more dignified sort of time. Yeah, I’m definitely into channeling that. Do you think you can connect with [Little Red] on that level? Yeah, they’ve got these really sort of lush, three part harmonies and stuff which I think is really cool. And that’s something that we like as well, having drawn influences like you said from the fifties and sixties. I think what we’re trying to do is maybe us a little bit of that but translate it in a new context. Having a slight electronic element as well and trying break out a set rhythm and those same chord progressions. It was great and it worked but we’re taking that and putting a little bit of a twist on it. I definitely think there will be similarities in our live show. Have you ever noticed that you can get a concerned look on your face during your set, where you tend to look off to your left? Wow. That’s, er... extremely observant of you. I think it’s maybe because you become so taken away by the music and as I get more and more into the set the self consciousness starts to wear off and you can lose yourself a bit more. I’d like to think it’s being connected to the songs rather than disconnected from them. But yeah, it’s funny looking back at photos from a performance and I’ll be like “ Wow, is that what I look like?”. I feel that once you get on stage you are possessed by the music in a great way. You lose that awareness of what you actu-ally look like and it can result in some pretty funny photos, I’ll tell you that! But it’s not concern, it’s that there’s something very vulnerable about a lot of the songs that might sometimes. The extended interview with Kimbra conducted in 2011 can be found in Volume 1 of POCKETTO along with a full length fashion shoot. Vol 1 in stores now | See pockettomagazine.com/issues for details.
photo: Aimee Han
jo duck photographer A friend once showed me a picture he'd taken of a bath tub. I thought it was incredible. It was a pretty ordinary picture of a crappy bath, but it got me taking pictures of my own! I started playing around on my own, then studied for three years at Photography Studies College (Melbourne). I hate retouching!! I don't hate the idea of it I just hate doing it. Everyone I work with knows we have to get it right on the day. I don't want to be wasting time in photoshop! It's so boring! My ideal model and location to shoot with... a) Lucille Ball and Desi Arnez in Mexico. They would be dancing in a street parade at night with lots of fairy lights and chaos. b) Tupac in space! I'd love to get galactic with him. c) The Muppets in Katz's Diner in NYC. With pickles and pastrami sandwiches being thrown around the room. I am constantly distracted. Constantly thinkthink ing about lighting! Luckily I have a very patient boyfriend who knows that when my eyes glaze over and I can't finish my sentence, I'm trying to figure out some sort of lighting technique for a shoot. Best thing about my job= Everything. The planning before the shoot, the excitement of getting the shot, most of the people, everything! I love what I do. It is all consuming. Worst thing = Seeing my photos printed in magazines with no photo credit! That really gets my goat, and it happens often.
My last meal would be... A picnic in central park with all of my friends and family. It would be catered by my Mum, she makes the best sandwiches and salads in the world. Dessert would be home made banana choc-chip muffins, and lots of wine with my dad. After everyone had left and the music had stopped, my brother and I would get another dessert! Melbourne’s best kept secret is this man named Jack who has a very fancy telescope. On clear nights he sets up the telescope out the front of his house, puts up a sign saying 'SIDEWALK ASTRONOMY' and lets strangers look into space. Plus he know everything about the planets and stars, so he answers all your questions. He's so great. The most interesting character I’ve captured is Chopper Reed. It was just him and I in an underground carpark. I had to ask him to take off his shirt. 5 things I’d do before I died: -Learn how to make authentic mexican food -Shoot the cover of Italian Vogue -Scuba dive in Jamaica -Get a gold tooth -Live forever joduck.com
6
how to make:
port plum pudding
MISC.
how to make:
port plum pudding
There’s nothing I love more in the cooler months than a warm dessert after a meal. So comforting! And, sadly, also fattening, especially during the part of the year when most of us are happy little immobile couch potatoes. But no one is going to notice under all the layers of clothing – we’ll worry about the podgy-ness when we get to Spring. I tend to make pretty rich and heavy meals when it gets cold (again, the comfort-food factor) so when it comes to postmeal sweetness, I try to strike a balance – loads of fruits and as little of the evil fats and sugary goodness as possible, without having to sacrifice taste, of course. These best-eaten-the-moment-they-areout-of-the-oven puddings are a hot favourite in our house when the temperature drops – booze and spice makes everything nice. Plus they are so quick and easy to make and you’ll most probably already have most of the ingredients sitting in your cvpboard (I don’t recommend it but if you’re too lazy to poach fruits, you can use the canned stuff). I hope this will become your go-to recipe when you need a little cheer in the cold and dreary months ahead. Rug up and keep warm, xx the likkle girl who wurves to cook
p o r t p lu m
p u d d ing
m ak es 6 cu te little ind ivid u alpu d d ing s in2 0 0 m lbow ls 3x 2 50 m l 2 50 m l 2 50 g 1x 1x
Poached Port Plu m s plu m s port red w ine caster su g ar cinnam onqu ill star anise
~ Pu t port, red w ine, su g ar, cinnam onand star anise into a larg e pot. Pu t lid onand bring poaching liqu id to the boil. ~ M eanw hile, half the plu m s: Follow ing the natu ral“crack ” onthe plu m s w ith a k nife, cu t arou nd the seed . To separate the halves, hold each half w ith you r hand s and tw ist in opposite d irections. Rem ove seed . ~ A d d plu m halves to boiling poaching liqu id , cover w ith bak ing paper and bring the liqu id d ow nto a sim m er. Poach for 2 0 m inu tes or u ntilplu m s are soft (not m u shy!). ~ Rem ove plu m s from pot and d rip- d ry ina strainer. Peelsk inw hencool. D ab d ry w ith k itchenpaper. ~ Strainpoaching liqu id and pu t it back ina cleanpot. Red u ce liqu id to half of orig inal qu antity onlow heat. Rem ove from heat.
115g 115g 2x 40 m l 175g 50 g
Pu d d ing M ix u nsalted bu tter (softened ) caster su g ar eg g s (lig htly beatened ) cream self- raising flou r (sifted ) alm ond m eal
~ Preheat ovento 175°C. ~ Beat bu tter and su g ar inelectric m ixer, onhig h speed , u ntilpale and flu ffy. ~ A d d eg g s in3 separate ad d itions. ~ Stream inm ilk . ~ Tu rnm ixer to low speed and ad d flou r and alm ond m eal. Stop the m ixer the m om ent d ry ing red ients are incorporated . D o not over- m ix. To assem ble: ~ Fillone- third of bow ls (only u se ovenproof bow ls!) w ith pu d d ing m ix. ~ Place one half of plu m , flesh sid e u p, inthe m id d le of each bow land press d ow nlig htht ly. ~ Sprink le g enerou sly w ith d em erara su g ar and bak e inpre- heated ovenfor 30 m inu tes or u ntiltop of pu d d ing s are g old enbrow n. ~ Serve w arm w ith ice cream , or a hu g e d ollop of w hipped vanilla cream , ontop and the red u ced poaching liqu id onthe sid e
top 5 camp movies by Sarah Hannah Fisher
Buffy The Vampire Slayer profit Here is what happens when you take a profitable idea (like the series of the same name) but develop it badly. Horrible acting, horrible scripts, horrible costumes and horrible musical effects. The vampires are far too comical to be scary and the heroine gets PMS style cramps to ‘warn’ her about an approaching vampire. Oh, and Luke Perry plays the love interest. With facial hair.
Showgirls A young hitchhiker makes her way to Vegas with a dream of being a showgirl but ends up working as a stripper. Gratuitous nudity and sex accompany a shocking screenplay and yet it is one of MGM’s top selling DVD’s. Hilariously, when it first aired on television, digitally rendered black bikinis were used to cover up any nude bits and main actress Elizabeth Berkley re fused to re-dub some of her lines so another actress was used. And yes, there is an obvious difference.
Crybaby Director John Waters is the king of the camp film genre and this little gem is no exception. Starring an amazingly young & good looking Johnny Depp as 1950’s teen rebel Cry-Baby, the film also includes Iggy Pop, Patty Hearst and Traci Lords (who was actually arrested during filming for her underage porn flicks). It’s a parody of teen musicals such as Grease, Elvis Presley movies and Rebel Without A Cause and sees the delinquent Cry-Baby and a young, ‘square’ girl fall in love. The songs are catchy as hell, the characters are hilarious and the whole movie is just a study in bizarre.
Barabarella The film opens with a nude Jane Fonda floating in outer space so from the get go you know you are watching something weird and wonderful. There is a lame plot but the film seems to be an excuse for Barbarella to get up to erotic adventures, which by today’s standards seem tame but still wields enough power to have created a cult classic.
Pure camp-y brilliance. Samuel L Jackson plays an FBI agent accompanying a murder witness on a flight from Honolulu to LAX. The dude behind the murder obviously doesn’t want him to testify and so secretly smuggles cartons of deadly snakes on board to be released mid-flight in an effort to take down the plane. Due to the internet hype surrounding the flick, the film makers added in extra scenes, including the infamous catch-phrase that pays homage to all the type-cast foul-mouthed and tough characters Samuel L. Jackson has ever played: "I have had it with these motherfucking snakes on this motherfucking plane!"
my top 3 parties by Emma My good friend’s 9th birthday party. I called her cockroach. She called me dung-beetle. Her mum booked out the local McDonalds’ birthday room and playground for the day. We had chicken nugget Happy Meals and watered down orange juice. We sung Happy Birthday obnoxiously loud then plunged our mouths into ice cream cake with enough articifial colouring to make my eczema flare up. Afterwards, we chased each other madly up and down the play equipment. I remember climbing up the slide from the base up to show off my leg strength. I also remember sitting in a plastic cube at the top of the slide, being antisocial. Before my mum picked me up, Cockroach’s mum handed me a lolly bag and politely forced me to stick my hand into an opaque plastic bag. I had a feeling that it contained live snakes and had a silent freak out because I wasn’t Bindi Irwin and couldn’t speak parseltongue. I pulled out a package containing sherbet bombs and a ‘friends forever’ bookmark. I haven’t spoken to Cockroach for 4 years. My first ‘high school’ party. My clearest memory from this party was the fact it was 80’s themed. When given the chance to dress up, most 12 year olds don strappy kitten heels and a shitload of Supre. This party wasn’t any different, except that the overload of Supre was justified since that store is nearly always an 80’s bargain bin. We danced to Bananarama’s “ Venus” , although at that time I thought it was ‘that song from the shaving ad’ and mimed Pat Benatar’s epic “ Love is a battlefield” (complete with heart aching gesticulation). Being 12 year olds, there was no ‘grinding’ that night, only dorky ‘mowing the lawn’ and ‘robot’ dance moves. I loved it. My first house party/drink-up/foray into the wonderful world of teeny boppers. In case you haven’t been exposed to Hollywood teen flicks, ‘house party’ is code for ‘let’s get pissed while my parents are away’. Two of my friends decided to hold a joint 15th birthday party at another friends house and although I was undoubtedly anxious about plunging head first into a ‘drink up’, I didn’t want to seem ‘uncool’ or a ‘partypooper’. So, I decided to go, reassuring my parents I was attending a G rated birthday (complete with ice cream cake) in a quiet suburban home. I arrived with no makeup and flat hair and it was not long before some nice tweens, who I had never met before, noticed my horrendous crimes against fashion and shrouded me in a mist of hairspray while applying heavy doses of eyeliner. I was reborn as the oriental version of Taylor Momsen. The drinks didn’t start flowing until around 9pm and while I was expecting the 50 or so people to gather around a table to do tequila shots and play strip poker (I guess Hollywood failed me there) some kids doled out alco-pops to the girls and VBs to the guys instead. I took a sip of my berry flavoured, Vodka infused lolly water. It tasted like Schweppes. I don’t remember what hapened after that. I probably ended up on a “ TWEENS GOING WILD” story on A Current Affair. Just kidding. I had two alcopops and pretended to be drunk before my mother picked me up and told me off for looking like a raccoon.
the d efinitive g u id e to w eird ing ou t/ annoying you r fellow com m u ters by Em m a 1)
D on’t show er for a w eek . Celebrate the pow er of the hu m answ eat g land .
2)
Play Low by Flo Rid er onm axim u m volu m e from you r phone.
3) Talk abou t sexonthe phone. Or calla sex- phone line. 4)
Feed you r d og beer.
5) Play tong u e hock ey w ith you r g irlfriend / boyfriend at peak tim e. 6)
D iscu ss plans to beat u p a ‘fu ck ing d ick head m an’.
7)
Read (view ) centre fold s.
8)
M istak e a seat for a toilet.
9) Pretend you are anau thority fig u re and that you are inTok yo and herd you r fellow com m u ters onto a train carriag e exceed ing fu llcapacity. A lso yell“If the J apanese cand o it, so canw e!” * 10 )
Polld ance for you r lad y/ m anfriend .
* The J apanese have law s ag ainst being obese. A u stralia is the lead ing cou ntry inobesity. You d o the m ath.
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