The hills are alive with the sound of Mahler: 50 years of Oldham Symphony Orchestra

In 1963, a young man from Oldham decided that the town needed an orchestra, so that local musicians and the public had the opportunity to play and hear challenging, interesting music. Oldham had been without an orchestra for more than twenty years after its orchestra disbanded during the war, never to reform, but 23-year-old clarinettist Tom Whittaker, then working for his family's long-established construction and joinery business in Oldham and travelling to play in an orchestra in Slaithwaite, West Yorkshire in his spare time, felt that it was an essential part of the cultural life of a town the size of Oldham, alongside theatres, cinemas, art galleries, choirs and amateur dramatic societies. And so Oldham Amateur Orchestra was born, recruiting an initial group of around fifteen local musicians to play concerts in schools, public halls and arts centres and growing from there. Fittingly, the orchestra started out with a programme that included Spitfire Prelude and Fugue by one of its patrons, the distinguished Oldham-born and bred composer William Walton.

Founder member Tom spent the next four decades on the committee of the orchestra and, fifty years on, is principal clarinettist, soon to be putting tongue to reed for his 123rd concert with the group (known as Oldham Symphony Orchestra since 1973). The concert, which takes place in the grand surroundings of prestigious Oldham Hulme Grammar School in November, will include a piece which is notoriously difficult for clarinets, George Gershwin's Rhapsody in Blue, a glamorous, slinky, cinematic, jazz-age piece which changes tempo and dashes around as a piano dances a lively, teasing solo. Also on the programme, in complete contrast to bold, brash Rhapsody in Blue, is Gustav Mahler's brooding, slow-burning First symphony. Tom admits that “what's on the stand for the next concert is very tough”, but says: “I think it's wonderful music and it's important not to just play stuff like Eine kleine Nachtmusik. If we were playing Strauss waltzes and Mozart they wouldn't appeal to the orchestra so they wouldn't bother to come to rehearsals.” He elaborates: “We need music that is interesting and stimulating to play. I wouldn't still be playing in the orchestra fifty years later if I hadn't found it to be of great interest and enjoyment.”

Richard Waldock, Oldham Symphony Orchestra's conductor of 11 years, shares Tom's desire to attempt interesting, challenging music. “We don't stay with one particular type of music,” he explains. “We try and choose stuff because it's good.” A double bass player, teacher and composer, Richard has played with the Manchester Camerata as well as other orchestras regionally and nationally including the Halle, Liverpool Philharmonic and BBC Philharmonic, and first tried out his skills as a conductor with his peers while studying at the Royal Northern College of Music. Although he has conducted youth and student orchestras, Oldham Symphony Orchestra was Richard's first regular conducting job. “It's good fun,” he enthuses. “When you're a double bass player you don't get to flex your interpretive muscles very much. There's not much challenging music – no Brahms sonata, nothing by Mozart or Beethoven, so there's not much opportunity to get your teeth into really, really good music and really, really get into the structure and interpretation.” However, he acknowledges that conducting has its challenges, saying: “I know how much conductors are generally hated by performers so there is a need to keep integrity and not get carried away. It's an interesting art and it is hard to keep everyone happy. Sometimes you have got to work a lot with the strings. Sometimes with challenging pieces you have got to really know it inside out or you become a hindrance rather than a help.” On the flip side, he admits: “Sometimes it feels like the easiest thing in the world. After all it's the orchestra who has got to play the music – all I've got to do is wave my arms around.”

Richard also plays in noisy punk bands, and is passionate about trying to attract a wider audience for classical art music. “Classical music doesn't really reach out,” he muses. “It's amazing how much really mind-blowing music there is that most people in the world have no knowledge of at all, and it's a shame that classical art music is a bit of a museum piece. The stronger and more healthy it is the better people will find ways of keeping art music alive, but classical music as an industry is very much in a cul-de-sac of its own making. All the music I liked when I was younger seems so alien from classical orchestral music.” He gives an example: “Orchestras will always have an assistant conductor, who is straight out of college and very academic. Nine times out of ten they are kind of posh and kind of boring. There's no way in a million years they are going to compete with David Bowie or anything in the popular genres – they just aren't interesting enough.”

Richard sees Gershwin as coming from a very similar place to him, believing passionately in crossover, and describes him as “a jazz man who wanted to reach out to the classical world, and did it very effectively”. He explains: “Gershwin was a fantastic pianist who wrote fantastic, incredibly glamorous pieces which seem to straddle both worlds – jazz/music hall and classical concert hall. It's strange that since then there haven't been examples of people trying to do that crossover.”

For Richard, the orchestra is as much for its members as the audience, and is part of a musical education. Richard thinks that it can help both performers and audience gain a better understanding and appreciation of classical music. “One of the problems with classical music is it is on such a big scale,” he explains. “It is attention span-testing. When you play it you get hold of it a lot better and can understand the underlying harmonic structure, which gives it what it does to you. If you just listen to snippets on Classic FM you don't get that at all – if you are playing you expose yourself to it much more.” Richard wanted the orchestra to attempt Stravinsky for ages, a wish which was fulfilled at the most recent summer concert, which included a rendition of The Fairy's Kiss. “Stravinsky was doing things compositionally which people in popular genres started doing later on with samplers,” he argues. “Stravinsky opened a lot of doors for the way modern music is produced, and opened people's ears to the cut and paste style. He was a musical magpie who used lots of different genres.”

Richard is also a big admirer of Mahler, who he describes as a “mind-blowing, absolutely amazing composer”, and rhapsodises about Mahler's First Symphony. “Symphony No 1 really pushed the boundaries in terms of what you can do expressively with an orchestra,” he explains. “He goes through much more expressive acrobatics than what had gone before and uses a huge orchestra with the widest palette of colours and incredible variety. The dynamic range is incredible.” He adds: “Even though Mahler used huge orchestras lots of his most effective moments are very simple and intimately scored, building and building and building to apocalyptically huge endings. Lots of people think of Mahler as being very tortured but Symphony No 1 is quite triumphant and positive. Lots of the tunes are taken from Songs of a Wayfarer, which give you an interesting idea into what he was thinking about when composing and where he was coming from. It's traditionally Viennese with a natural way with melody. It's very engaging melodically and great to play – very complex music but simple at the same time.”

Mahler's Symphony No 1 is also one of orchestra leader Andy Marshall's favourite pieces. Andy, a former leader of Rochdale Youth Orchestra, who has now been playing violin for 29 years, joined the orchestra after attending a concert in 2001 and being impressed by its performance of Carl Orff's Carmina Burana. He took over as leader this summer after the death of Ann Heeks, leader of the orchestra for many years who, together with her musician husband Ken, performed many solos. Ann lost her fight with cancer earlier this year, so Andy is keen to carry on Ann's legacy and see the orchestra grow for the future. “It's great to be a member of an orchestra which tackles challenging works,” he explains, “as this aids the educational aspect of all becoming better players.” He admits: “The Mahler in particular is going to be challenging, but I think its already coming together nicely.”

Today, around half the members of Oldham Symphony Orchestra are drawn from the town, with the rest travelling to rehearsals from the surrounding area including Todmorden, Rochdale, Ashton-under-Lyne and Manchester. The orchestra plays three concerts a year, in Easter, summer and winter, including family concerts aimed at introducing the instruments of the orchestra and inspiring the next generation of musicians. The orchestra also supports young composers and players by performing new compositions and offering opportunities for up-and-coming musicians to perform solos. Many members regard playing with musicians who have gone on to do big things as a highlight of being in the orchestra.

An exhibition at Gallery Oldham celebrating the orchestra's fiftieth birthday, starting in October, will present panels on some of the soloists, players and conductors who have been associated with the orchestra over the decades, alongside a display of musical instruments and other artefacts relating to the orchestra's history. Second violin Ann Jones, the second longest-serving member of the orchestra after Tom Whittaker, who joined in the 1970s after living locally and having her arm twisted by Ann Heeks, has been busy rooting through the orchestra's archives, from concert programmes to newspaper cuttings to old tape recordings. Together with quotes and pictures from current members of the orchestra, the exhibition will give a sense of what the orchestra means to its members. Ann is also going to borrow a bronze statue presented to James Morrison, conductor of nearly thirty years, at his last concert before retirement in 2001. The statue has an important place in the collective memory of the orchestra, Ann reminisces, because “there was a fire alarm but instead of downing tools we carried on playing and then all trooped out and presented the statue in the car park!”

This fighting spirit is typical of the orchestra, which has stayed together for a half a century despite the problems facing amateur orchestras everywhere, from falling audience figures, declining interest in classical music and the cost of staging concerts, to the difficulty of striking a balance between what the orchestra wants to play and what the public wants to hear, the ongoing difficulty of attracting and maintaining members, and the challenges of pulling off difficult pieces of music. But for those in the orchestra, it's a part of life. The orchestra provides a weekly routine, a chance to socialise, to keep up and develop skills, to learn new things. Most importantly, it's a chance to get out for a few hours and play a small part in making one giant, collective noise. As Richard Waldock sums up: “It's important for people to be able to have these things.” And Tom Whittaker: “We have made a moderately good job of most things and I have found it to be a tremendously good hobby.”

Fifty Years of Oldham Symphony Orchestra is at Gallery Oldham from Saturday October 26 2013-Saturday January 4 2014. 

Oldham Golden Anniversary Concert takes place at Oldham Hulme Grammar School on Saturday November 16 at 7.30pm, featuring soloist David Daniels. Tickets cost £10/6/3.

Oldham Symphony Orchestra practises at Turf Lane Lifelong Learning Centre, Chadderton, Oldham, from 7.30pm-9.30pm each Monday evening during term time. For more information about current vacancies and concerts visit www.oldhamsymphonyorchestra.org.uk.

Sort of related: I really enjoyed this recent Guardian article by Stuart Maconie about classical music and Manchester's radical music tradition.

Alec Finlay's Propagator (the artwork I have seen recently that I liked the most)

Propagator, a work by Alec Finlay that highlights the poetic nature of art, life and sculpture, sits unobtrusively next to the high, curved brick lines of a walled garden at Yorkshire Sculpture Park. Contemplating a willow tree, the work is housed in a greenhouse overlooking a lawn that stretches towards the undulating hills of the West Yorkshire countryside, striped with wavy lines as though someone has drawn a comb across them.

In the greenhouse – a place designed to concentrate light and warmth where time and its effects take on a different, accelerated quality – sit a series of artworks based around the art form of mesoteric poems. This way of writing takes its inspiration from a basic structure of nature, the tree, with the poem's name comprising the stem or trunk and words extending outwards like branches. Named after plants, and thereby reducing the essential nature of plants to poetry, Finlay's poems are succinct enough to fit on plaques similar to those used to distinguish between seedlings in cottage gardens: easy to miss but warranting a closer look.

Propagator was undertaken during Finlay's residency 'Avant-garde English landscape' at Yorkshire Sculpture Park and offers a new take on his work in the field of publishing, where he explores ways of finding and communicating meaning. In Propagator meaning is both textual and visual, threaded through the stem and around the name of each poem to conjure a recognisable sense of the plant and its context from the combination of constituent letters which make up its title. Plants are both described literally and by their metaphoric qualities, with the poems taking on the characteristics of the plants they are describing. In the neat conciseness of Tansy, no letter is out of place: 'Threads And buttoNs Sewn neatlY'. Others are humorous, as in the knowing onomatopoeia of wheat, 'Where tHe aliEns leAve signaTures'; humour is also used to great effect when Hop is described as 'Heads cOuld drooP'. Sometimes the plant's natural qualities are united with manmade, common experience. Sea kale is visually linked with 'dereK jArman's shingLe gardEn', a place of pilgrimage for fans of Jarman's art and films, and the soporific properties of Valeriana gain a new association with bedtime listening and the unobtrusive background company of 'Vague rAdio pLays'.

Finlay's mesoteric poems also exhort gentle suggestions and instructions about how these flowers can be encountered and experienced, subverting our expectations and casting these common plants in a new light. The reader is told that 'WinDs cArry the cottoN threaDs' of dandelions, making the viewer turn their head to the sky in the hope that they can 'pIck One Now'. Lichen, it is suggested, 'greyLy Clings Hold thE skyliNe', a poetic juxtaposition which elevates the plant from its lowly reputation. Propagator is a humble installation, but one that fits closely with its environment and effectively brings out the simple beauty and meaning in what is around it, and around us, every day.

Review: On Landguard Point

How do you map a place, and go beyond its surface area to chart its movement through time, space and history? On Landguard Point attempts to do this for the flatlands of East Anglia, taking a pair of scissors to the conventional map of the coastline and inviting us to disregard what we previously thought we knew of the area's topography, starting and ending as a place in which our senses are submerged by the sea that's all around and by the earth below. Out on a limb, bordered by water on three sides, this is a landscape which over centuries has grown and receded with the sea; it has long been a site of conflict and battle, both among man and with the elements. Languard Point was an island before the expanse of shingle crept back towards the mainland, and the film introduces us to those who are “trying to maintain a sense of fixture in this ever-shifting landscape”. Our experience of the Great British weather, as well as of sound, is at its most extreme by the sea and the film sums up the coastal experience in a palette that is limited to various shades of grey and green, soundtracked by amplifications of the creaking of a flag pole, the churning of the sea, the swirling of the sky, the rumble of boats rising massive from the horizon, fog horns and, of course, the omnipresent gulls, over which rove and probe the compositions of Michael Nyman. The film plays with the way in which our understanding of place is shaped through drawing, painting, writing, folklore, music, and even food, inviting us to read a narrative over the shoulder of a typewriter, literally holding a mirror up to the land's diversity of flora and fauna and reducing the area's essence to neon announcements in a surreal piece of installation art. Local landmarks are recreated as grandiose cakes – slice of Wisbech Castle, anyone? It's an absurdist yet affectionate vision of this little corner of Britain, where truth is stranger than fiction, told through a deadpan, gentle, poetic voiceover. Made as the East of England's contribution to the Cultural Olympiad, the cultural counterweight to the Olympic Games, On Landguard Point presents a series of tableaux with a distinctly-English cast of brass bands, Morris men, historical reenactments, metal detectors, treasure hunters, archaeologists, majorettes (pom-poms-a-rustle) and the ubiquitous seaside donkey. It's an apt but uneasy depiction of a desolate but beautiful place and above all, it's a film about home and the things we do to belong: the seaside is performed, ritualised and observed, shaped by us and what we make of it.

On Landguard Point was shown at the Cornerhouse on Sunday 8 September. For more information about the project visit www.onlandguardpoint.com.

The Shrieking Violet is 4 — August bank holiday zine launch with music!

The Shrieking Violet zine entered its fourth year at the start of August. This would have coincided with a new issue was it not for a slight hiccup with procuring a cover design! I offer the multi-talented musician and illustrator Dominic Oliver infinite gratitude for stepping in at the last minute and creating this issue's cover image (hear his latest rock 'n' roll supergroup, Fruit Tones, in action at Wahlbar in Fallowfield this Friday!). It seems particularly appropriate as Dom designed the cover for the first two issues of the Shrieking Violet, as well as illustrating the special Shrieking Violet guide to Sounds from the Other City in summer 2010 and contributing various other illustrations over the years. His designs never fail to surprise and delight me.

Read issue 21 online here:


Pick up paper copies at a garden gig in Chorlton on Sunday August 25, which will handily double as a zine launch featuring the best of Bristol's alt-folk scene. Issue 21 contributor Roxy Brennan will make an appearance as Two White Cranes, alongside fellow Bristolians the Nervy Betters and Welsh/Manc weird rocker Llion Swyd. For more information, including times, and contact details for obtaining the exact address, visit http://clockflavour.tumblr.com.

Due to the time and effort involved in photocopying, folding and stapling zines, not to mention the ever-deteriorating quality of copies coming off the machines and a recent price rise from 2p per sheet to 3p per sheet, this issue will be printed with nice, environmentally friendly paper and ink by marc the printers at not much extra cost. Copies are currently on sale for £2 in Piccadilly Records on Oldham Street and in the bookshop at the Cornerhouse on Oxford Street, or at the Working Class Movement Library in Salford (no price, why not make a donation to the Library). Alternatively, download and print your own copy here.

Read issue 21 in Salford Zine Library (currently housed in Nexus Art Cafe, Dale Street, Northern Quarter, Manchester).

In issue 21:

Adrian Slatcher wonders whether memory is being outsourced in our information age and what the consequences of this might be for our self-belief and creativity. Adrian has poetry and fiction in the Rialto, Sculpted: Poetry of the North West and Unthology 4. He blogs at artoffiction.blogspot.com and makes electronic music as Bonbon Experiment.

Roxy Brennan muses about the theme of nature in the sculpture and writing of poet and artist Ian Hamilton Finlay. Roxy is a writer and musician based in Bristol but mostly she works in an art gallery, telling children not to touch things. She is largely interested in Bruce Springsteen and David Foster Wallace, but is discovering that contemporary art is pretty wild too.

Marcus Barnett delves into the story of Maurice 'two guns' Cohen and how he came to his final resting place in Blackley Cemetery. Marcus is twenty-two, graduated from Manchester University with a confusing and ambiguous Combined Studies Department degree in 2012, and holds a certificate in being able to speak a competent Yiddish from Tel Aviv University from a semester there. Since that he has been working in busy kitchens, quiet cafes and the Working Class Movement Library. His main 'things' are post-punk, modernist things (primarily: communism, buildings, progress), reading, and good food, probably in that order.

The Shrieking Violet presents a selection of small images of Manchester life by photographer Joincey. Joincey has a virtually untraceable output of pseudo/anti-music and noise-related sound art/skronk going back twenty years and, as well as playing alone and with other people in bands/groups/combos/projects as Saboteuse, Remedial Queen of England, Puff, Head Effort, Stuckometer and Wheel of Eyes, has fostered a tendency for ultra-amateur photography (mobile phone apps and charity-shop-found 35mm point and shooters almost exclusively) whose themes and stories may be inscrutable or altogether absent. Born and bred in the Potteries, he is resident in Manchester.

Nick Mitchell, founder of Manchester label Golden Lab Records, writes about hero worship and the all-encompassing joy of record collecting and the DIY music scene, as well as contributing a poem to issue 21. Nick was born in 1975 in West Yorkshire and has lived in Manchester since 1999. He works as a writer/poet and musician and has run the label Golden Lab Records since 2005. His poems and short stories have appeared in a number of publications in the UK and US. Hear Nick open for Joshua Burkett at Kraak this evening (Wednesday 14 August), as Chalaque.

James Robinson, a photographer with a penchant for pet portraiture, contributes a selection of photos taken during his recent travels around Southern India in January 2013. Originally from Lincoln, James studied philosophy in Manchester before moving to London where he plays bass for indie band Being There.

Art student Paul Gallagher adds some colour to the Shrieking Violet with his illustration 'Kaspar Hauser'. Paul is influenced by underground comic book artists as well as traditional African, folk art and classic cartoons such as the Simpsons and Beavis and Butthead. His work often uses colour, abstract shapes and patterns and faces. To see more go to http://paulgallagherillustration.tumblr.com. 

Writer, curator and academic Rachel Newsome contributes an essay on fashion and androgyny. A former editor of Dazed & Confused magazine, Rachel chose to leave the commercial world of media in order concentrate on writing fiction and essays after nearly a decade in journalism. Since then she has authored the novel As It Was In The Beginning (short-listed for the Dundee International Book Prize) and edited This Is Not A Book About Gavin Turk, a series of essays on contemporary art commissioned at the request of the artist. She writes essays on art and culture as well as dark fables that explore both the dark interior of the human psyche and its search for light. Set against a backdrop of contemporary consumer society, these fables occupy a landscape somewhere between consciousness and dream, and owe a debt to the short stories of Angela Carter and Ben Okri and the fairy tales of Oscar Wilde and Hermann Hesse. Rachel is the Director of Don’t Tell Stories, which curates narrative-based spaces and situations and is a Lecturer in Fashion Styling and Image-Making at The University Of Salford. She is currently writing a series of short stories, What Remains And Other Tales.

Manchester-based artist Cherry Styles often uses photographs of herself and long-time collaborator Christa Harris in her collages; get a flavour of her collage work in this issue of the Shrieking Violet. The pair are currently working on a photo book of Cherry's pictures of Christa taken over the past eight years. See more of her work at www.cherrystyles.co.uk.

This issue also features poetry by Kenn Taylor, a writer and journalist from Merseyside who now lives in London. He has a particular interest in the relationship between community, culture and the urban environment.

Manchester-based filmmaker Richard Howe continues his series on mental health in the movies by looking at Woody Allen's best film of the nineties, Deconstructing Harry. Help Richard by voting for his surreal comedy film Dream Bubble at www.virginmediashorts.co.uk/film/4664/dream-bubble#.UfKdcWC1Zc9 and tweet him about films @rikurichard.

This edition's recipe, Spanish stuffed cabbage leaves, comes from vegetarian blogger and aspiring cafe owner Paul Barrett. Paul blogs about the joys of vegetarian parenting and the path he is taking to get a vegetarian cafe up and running in the North West. He aims to open a new cafe in New Mills in Derbyshire in the autumn.

“The beauty is in the possibility”: Jen Wu's 'The Wall'

Halfway up Chapel Street, a busy car, bus and pedestrian route which links the city of Salford with Manchester city centre, a motley assortment of old buildings punctuate empty stretches of rubble and high fencing, a familiar sight in many post-industrial cities. The bricked-up pubs, burnt-out office buildings and an old theatre covered with 'danger' signs are suggestive of a time when the street was a busy shopping hub, before abandonment was forced by the area's subsequent decline. With details like bell towers, faded signs and curved frontages these buildings capture the imagination, standing out in a landscape dominated by vacant sites and new-build apartment blocks (so much so that it is possible to buy postcards featuring unconventional landmarks such as the derelict Old Nelson pub from Salford Museum and Art Gallery up the road, hoardings and all). Appreciating these buildings aesthetically, though, is ignoring the inevitable: Chapel Street is due to be transformed with extensive residential and commercial development over the next few years, aimed at attracting new residents into the area. Many of the existing buildings will be demolished.

As the demolition crews finally move in this summer, it is hoped that one wall from the Old Bank building, which was used as a community theatre in the 1950s and 1960s, will remain standing as a readymade sculptural artwork, a 'barometer' which will remain constant as the area changes around it. Working with bricklayers and structural engineers, artist Jen Wu will stabilise the wall before inviting the local community, which ranges from tower block tenants and artists to 'young professionals' resident in newer flats, to take part in dismantling and then moving and rebuilding the wall in an act of 'creative DIY', soundtracked by free and open 'demolition' and 'reconstruction' rave parties. For Jen, who has a background curating projects in London such as transforming major art gallery the ICA into a nightclub, the focus of the project is not just on demolition, but on action, creating a cycle of activity that will help bring people together to celebrate the past at the same time as looking to the future and channelling the DIY spirit which drives places such as nearby arts venue Islington Mill.

At least that's the idea. Jen conceived the work in collaboration with Islington Mill directors Bill Campbell and Maurice Carlin in early 2012, and in December started discussions with English Cities Fund and Urban Vision, which is responsible for overseeing the regeneration of the area. She says the regeneration firms “took a leap of faith” in supporting her ideas, seeing the project as a positive way of empowering and involving local people in the changes taking place their immediate environment. The buildings were due to come down in February 2013, but demolition was delayed – and then around May time the council started to get cold feet due to health and safety concerns and the changes it would entail to the original demolition contract. Now the fences have gone up and demolition is imminent, meaning Jen faces a race against time. She has been meeting with Salford City Council and Bagnall, the demolition contractor, to find a solution so that the events can take place in September rather than July as originally planned, but the future of The Wall is still uncertain; the latest news is that it looks like Bagnall will have to take down the wall and save Jen the bricks, meaning the community action will be just the reconstruction. Jen says:“A compromise, but at least it can still happen!”

Jen's interest in the process of demolition initially grew out of a three-month residency at the Chinese Arts Centre in Manchester which started late in 2011, where she researched the history of Manchester's former musical landmarks which have been demolished, such as the Hacienda nightclub (now rebuilt as apartments – Jen “kept wondering why I couldn't recognise it – it's depressing”) and the notorious Hulme Crescents, which were once the venue for famous parties. She also went out on Manchester's club scene and met those suffused with DIY energy in Manchester today, from Unity Radio and Islington Mill to Kraak space and the Volkov Commanders, finding that “there is something real about it. It's not like it's just setting itself up as an alternative”. Jen became interested in the ways in which spaces where people used to come together, such as nightclubs, have been destroyed and started to explore narratives of regeneration, demolition and starting over again. She documented the demolition of buildings such as the former seaman's mission and Salvation Army centre Stella Maris, which stood just behind Chapel Street next to Islington Mill, becoming interested in both the material process of demolition and the communal psyche of what the building meant to its former users. Despite both Islington Mill and Manchester Modernist Society proposing future uses for the building, which once boasted facilities such as a sprung dance floor, the council was insistent on its demolition, and it is now used as a storage space for building work in the area. Jen made a film about the demolition which was shown at suitably avant-noise band Gnod's Gesamtkunstwerk night at Islington Mill, and Gnod will reciprocate by playing at the parties accompanying The Wall events, closing the circle of Jen's convergent interests in rave and regeneration.

By holding rave parties, Jen hopes to resurrect the spirit of rave in a positive way, bringing together some of the protagonists of the 1980s rave scene in Manchester with musicians who are influenced by their music today and connecting them with the creativity and energy flourishing in Salford now. The Wall is also an opportunity for people to reconnect with the materiality of what's around them, and appreciate the solid sturdiness of brick in a city which is, after all, built predominantly of the material. Jen explains: “Everything is so virtual now, but if you help to take down a wall and rebuild a wall you are contributing to something longer-lasting. People will be able to walk past and say 'I built that'. It doesn't take specialist skills or support any ideology.” Jen has met with representatives from community newspaper M3, and the local residents' association, to gauge interest in the project, and it is hoped that the wall, rebuilt nearby, may then become the starting point of something new, such as a community centre (in an interesting parallel, one local resident was involved in a similar project to save a wall in an old aircraft hangar, which contained a half-finished wartime mural, interrupted by its artist being called up to fight, and succeeded in moving the wall to a museum).

The parameters of The Wall are constantly shifting, and the development of the area is gathering pace. As Jen says, “It's extraordinary what's been happening. Every day something new is there or something is no longer there.” Sometimes The Wall seems impossible to realise, but Jen sees Manchester as an ideal space to try things out and doesn't think The Wall could take place anywhere else. She has now been in Manchester far beyond her original residency period, doggedly trying to see the project through. She explains: “I just want to do something truthful and that I can stand behind as an artist. I didn't give up, because it could happen. Because I got a glimpse of it happening I had to carry it through. So many people said yes and got excited that I couldn't go back.” Jen has convinced those around her of the beauty to be found in a brick wall, and The Wall still exists as a possibility, just in reach of being realised. As she says: “The beauty is in the possibility. I'm always optimistic. If I'm not then who's going to be?”

For the latest news on The Wall keep an eye on www.islingtonmill.com/visual-arts-events.php.

Jen is hosting a 'supper' at Islington Mill on Saturday 13 July from 6-9pm. She will be talking about The Wall for around 45 minutes, then use the rest of the time to get feedback from people about how to re-think the work. For more information visit www.facebook.com/events/467844653307944.

Manchester bike month

I was recently commissioned to write an article about cycling for the North West edition of the Skinny, to coincide with the first Manchester bike month. Read the June issue of the Skinny online:
Manchester cycle city

Despite widely-acknowledged benefits to health and the environment, not to mention the wallet, the prospect of navigating confusing cycle lanes, traffic and potholes is often enough to make would-be bikers think twice about venturing onto city roads. “Most current measures are designed to get bikes out of the way of cars, not the other way around,” says cyclist Mike Armstrong, who uses his aptly-named blog Mad Cycle Lanes of Manchester to raise awareness of cycling and call for better provision for cyclists in the city. “It is no good shoving bikes onto pavements in some places only to prosecute people for cycling on the pavement in others.”

But things could be changing. In a culture where many motorists currently see cyclists as a nuisance, Greater Manchester transport chiefs have finally recognised the need for a change in attitudes towards cycling. Plans are afoot to get three times as many Mancunians onto their bikes over the next twelve years as part of the Vélocity 2025 bid, which aims to tap into national funding to create a much-needed new network of cycle routes linking homes, jobs and leisure venues, and consultations about transforming Manchester's busiest cycle route, Oxford Road, with segregated cycle lanes, are currently underway. For transport chiefs, backing cycling makes sense. “Cycling is good for you, good for your wallet and good for the world”, explains Councillor Andrew Fender, Chair of the Transport for Greater Manchester Committee. “It’s cheaper than running a vehicle, there is no need to set off early to beat the traffic, and you’ll be fitter and healthier. What’s not to like about having the fitness level of someone 10 years younger?”

Already, there are a growing number of initiatives in the Northwest to support cyclists into the saddle and raise confidence amongst those on the roads. BikeRight! offers free bike training in Manchester, Merseyside and Warrington for cyclists at all levels, from group classes for complete beginners to sessions practising all-important skills such as signalling, turning and positioning, and one-on-one sessions for more experienced riders who want to practice particular routes. Voluntary groups and small enterprises share bike maintenance skills and, last year social entrepreneur Dipak Patel realised there was a need for secure, low-cost bicycle storage in Manchester. Patel set up his unique enterprise Popup Bikes in a railway arch on Corporation Street which, as well as being a safe place to keep bikes, offers affordable repairs and incorporates a coffee shop hosting events such as bike jumble sales and film screenings. Popup Bikes is fast becoming, says Patel, “the social glue for the cycling community, a place where people can meet and exchange stories and talk about cycling and non-cycling issues”.

As well as being a way of simply getting from A to B, sociability is often an important part of the cycling experience, and organised groups of cyclists provide safety in numbers for those who might otherwise feel discouraged from taking to two wheels. One such group is TeamGlow, which was set up in 2011 to provide a supportive network for female cyclists across Manchester and the Northwest, who often lack visibility and find it hard to feel included in the male-dominated cycling community. As well as providing advice, from buying a decent bike to cycle maintenance, and building up technique and skills, there is at least one organised ride a weekend, from short rides to long distance tours, and members are encouraged to challenge themselves to venture further on a bike. “I went from feeling like an isolated woman on a bike to being part of a group of women,” explains TeamGlow founder Glynis Francis. “I wanted to leave cycling for women in a better place than I found it and see other women have the pleasure of a social cycle ride and fresh air.”

Manchester Bike Month, which takes place this month, offers ample opportunities to team up with other likeminded cyclists, whether united around a love of real ale (Manchester cycle pub crawl, 21 June) or taking on a long distance challenge such as Manchester to Chester (June 23). Other highlights include a cyclists' float in the Manchester Day Parade (Sunday 2 June), a film night (Saturday 15 June), a unicycle taster session (Thursday 13 June) and even a bike naked ride (Friday 14 June). 

Greater Manchester still has some way to go before it reaches Amsterdam-levels of bike friendliness, but attitudes towards cycling are starting to change. The more cyclists who take to the city's roads and add their support to initiatives such as Vélocity 2025 and the national Get Britain Cycling campaign, the greater visibility there is and potential to push cycling into the mainstream. In the words of Mike Armstrong: “Provision for cycling should be direct, quicker and more convenient than driving.”

Repeat talk: 'Woman's Outlook: a surprisingly modern magazine?' Working Class Movement Library, Wednesday 26 June, 2pm

I have been invited to repeat my talk 'Woman's Outlook: a surprisingly modern magazine?' (read a mini-review of the talk in Rochdale to find out what to expect ... ) at the Working Class Movement Library in Salford on Wednesday 26 June at 2pm, as the Library also contains volumes of Woman's Outlook.

The talk is part of the Library's Invisible Histories series, and follows an inspiring talk by the F-Word music editor Cazz Blase on women's motivations for publishing magazines and fanzines, from punk and post-punk era zines such as City Fun to the Riot Grrrl scene. Cazz's talk included an intriguing reference to Moss Side Community Press Women's Co-op, which was active in the 1970s  (find out more about the history of radical and community printing collectives and co-operatives on this fascinating website).

More information about my talk:

Woman's Outlook – a surprisingly modern magazine? 

For nearly five decades, Woman’s Outlook was the voice of the Co-operative Women’s Guild, the campaigning organisation which worked to raise the status of women both in the co-operative movement and in society, and its onetime editor Mary Stott later became a longstanding editor of the Guardian women’s pages.

From its origins in Manchester in 1919, Outlook provided an enticing mixture of articles addressing both the personal and the political, combining fashion, fiction, features and recipes with advice for working women – in many ways, not dissimilar to the content of women’s magazines today!

‘Woman’s Outlook: a surprisingly modern magazine?’ will explore some of the key issues addressed in Outlook, and look at how the magazine encouraged women to get involved in campaigning for a better world. Topics covered by Outlook such as women's representation in parliament, equal pay and healthy eating remain highly relevant today, and the talk will end by considering whether the type of content provided by 21st century women’s lifestyle magazines has really changed much since the days of Outlook.

Swandown DVD review

I was recently asked by the Cornerhouse if I would be interested in reviewing the DVD release of Swandown, which was one of my favourite films of last year (it premiered at the Cornerhouse as part of Abandon Normal Devices festival). As a big fan of both canals and director Andrew Kötting, I was happy to take up the chance to watch the film again.

Swandown review

In autumn 2011, writer Iain Sinclair and film-maker Andrew Kötting set off on a 160 mile voyage from the seaside town of Hastings, East Sussex, to inner-city Hackney in east London, site of the 2012 Olympics. Neither are strangers to the ripe themes of English coastal towns or epic journeys: Kötting previously directed the experimental coastal travelogue Gallivant, whilst Sinclair, who resides partly in Hackney, partly in St Leonards-on-Sea (next to Hastings), is perhaps best known for his book London Orbital, a pyschogeographic exploration of London's M25 motorway. What made the journey remarkable was that it was made by the two men in a cartoonishly oversized craft, a swan pedalo named Edith in honour of poet Edith Sitwell, liberated from Hastings' seashore-facing 'Swan Lake' in the name of 'releasing a trapped soul of the sea'. The resulting film, Swandown, is a dreamlike, fragmentary evocation of their unlikely, ambitious journey and the two men's friendship, as seen from 'silly little canals and creeks and horrible English muddy places' (Sinclair) in the closing light of an Indian summer.

The film-makers admit that Swandown is the 'black swan in the tradition of narrative cinema', and the film offers an impressionistic rather than linear depiction of their adventure. Jem Finer's ethereal score floats hazily over the film amid fragments of loosely connected archive film and voiceovers by Sinclair and Kötting musing on the mythology of the swan. The pair bob up and down, 'awash and reckless', on the English Channel (a journey that almost fails to start), glide up canals and rivers encountering fishermen, cows, dog walkers, paddlers and pleasure craft – the 'invisibles' not normally revealed in officially-sanctioned or popular imagery of the waterways – and, absurdly, get a lift up the River Thames on a tug. The film is a reminder of how much of a presence water is in the English landscape, from calm, bucolic rivers shaded by trees to the industrial waterscape of the Thames, a workaday, working river where boat traffic is overlooked by fast-flowing cars on the Dartford Bridge, and the ubiquitous inner-city canal confetti of bottles, cartons and balloons. Waterways are presented as being ripe for exploration, backwater viewing points into the secret lives of English towns and cities.

As Edith makes her way towards her destination, however, there is a growing sense of unease and a sense of the impending curtailment of physical and creative freedom. Not only are Sinclair and Kötting running out of time as Iain has to abandon Edith for the plane, a faster and more practical form of transport, needing to reach an appointment in America, but the journey is increasingly fraught with potential danger and obstacles, from health and safety to the tight security of the Olympic site, sealed off from canal craft by a vicious-looking fence. During the journey Sinclair expresses the hopelessness he feels when contemplating the huge enclosures of the Olympic site and, indeed, the whole project is positioned as an antidote to the pomp and excess of the Olympics. Hauling the pedalo up riverbanks and over muddy fields, spending a whole month in the same clothes and being able to wet themselves whenever they want to, an image of personal sacrifice akin to the more-celebrated figure of the marathon runner, Swandown is as much a spectacle of physical impossibility as the athletic feats which go on in crowd-lined sporting arenas.

Released in the year of the Olympics, as part of the so-called Cultural Olympiad, yet existing in a parallel universe to the competitive, corporate nature of the games, Swandown puts poetry back into the act of endurance, a timely, touching and irreverent acknowledgement that perseverance, as much as inspiration, is integral to the act of creativity – and vice versa.

To purchase the film on DVD visit www.cornerhouse.org/bookstore/product/swandown-film-dvd.

Photos copyright of Anonymous Bosch.

Shrieking Violet talk in Bradford, Tuesday 14 May, 6pm followed by DIY discussion with Black Dogs

I've been invited to repeat my talk about the Shrieking Violet during Bradford Zine Week (Monday 13-Sunday 19 May) at the Bradford Baked Zines Pop Up shop, 13 Market Street, as part of a series talks, events and workshops.

The talk will take place on Tuesday 14 May between 6pm and 6.30pm, and will be followed by a discussion on DIY culture featuring other self-publishers, including locally-based artists' collective Black Dogs, whose work I am a big fan of, from 6.30pm-7.30pm.

For more information visit https://bradfordbakedzines.wordpress.com/2013/05/05/natalie-bradbury-talk-tuesday-14th-may.

Music and photos from the Victoria Baths Fanzine Fair

Manchester musician and fanzine maker David Carden sings about the dirty (recycled) water swimmers might once have encountered, during his 'musical tour' of Victoria Baths. When Victoria Baths opened,  swimming was segregated both by sex and by class, and water was first used in the first class males' pool, then pumped into the second class males' pool, then finally reused in the (smaller) female pool!
 
David Carden sings about famous Channel swimmer Sunny Lowry, who was associated with Victoria Baths for many years, during his 'musical tour' performance in the female pool.
Other songs included a story of poolside romances inspired by the hundreds of memories donated to the Victoria Baths archive, and a zombie epic.
David also drew 5 minute portraits of visitors!

Karren Ablaze reads from her recent book The City is Ablaze, discussing her motivations for starting to make fanzines as a teenager in suburban Sale and Altrincham in the 1980s – it provided a way for her to communicate – hanging out in record shops, waiting around to interview bands, getting an angry letter from Morrissey after a messy gig at the Free Trade Hall, links with other Manchester DIY initiatives of the time such as a cassette tape radio station, and practical issues regarding how her zines were funded.



John Mather, author of the self-published Pictorial Guide to Greater Manchester's Public Swimming Pools, shares the story of his journey around Greater Manchester's swimming baths for an audience of swimming enthusiasts upstairs in the superintendent's flat, discussing the role of these buildings and facilities in the social life of the region's diverse local communities, and the area's rich history of nurturing and producing swimming champions.

Helpyourself Manchester film screening; there was also an exhibition of original gig fliers featured in the film in the gala pool:

Manchester author David Hartley reads from his work.

Making a new edition of Victoria Baths' own zine 'the Vicky' with Pool Arts.

More photos from the event:

Victoria Baths Fanzine Fair, today (12-4pm): what's on, stallholders, times!

The sun is shining for today's Victoria Baths Fanzine Fair, which coincides with its May bank holiday open day today (12 noon-4pm).


Running order:

1pm - Film screening, Helpyourself Manchester, cinema space (off the sports hall)
- Talk by Karren Ablaze! (superintendent's flat)
1.30pm - Choir performance, Ordsall Acapella Singers, in the Gala Pool
2pm - Musical Tour of Victoria Baths by David Carden
2.30pm - Talk by John Mather on the Pools of Greater Manchester (subject of his hand drawn Pictorial Guide)
3pm - Film screening, Helpyourself Manchester, cinema space (off the sports hall)
 - Choir performance, Ordsall Acapella Singers, in the Gala Pool
3.30pm - Reading by David Hartley (superintendent's flat)


Helpyourself Manchester (1pm and 3pm) tells the unsung story of Manchester's DIY music promoters, followed by a Q and A with the directors, Castles Built in Sand collective. Additionally, there will be an exhibition of original gig fliers featured in the film.

Manchester-based illustrator and zinester David Carden will give a lively musical tour inspired by the history of Victoria Baths (2pm), with songs about the ladies pool, channel swimmer Sunny Lowry, a couple meeting in the Baths and the building's beautiful stained glass, and will also be on hand to draw your portrait in five minutes (for a small fee!).

See original artwork and hear from John Mather about his Pictorial Guide to Greater Manchester Public Swimming Pools during his talk at 2.30pm upstairs in the former superintendent's flat.

Listen to readings by Manchester author David Hartley (3.30pm), including from his new book Threshold, and hear Karren Ablaze! read from her recent book the City is Ablaze (1pm), about her experiences of making zines in Manchester and Leeds in the 1980s.

Dip into a hands-on zine-inspired activity with Pool Arts throughout the day, who will be asking for your help to produce VB's very own fabulous fanzine, The Vicky. 'Bring Back Baths' will use team effort, collage, lino printing and on-the-spot reportage from the fair to compile some articles about why public wash baths should be making a comeback! The first issue of The Vicky appeared during 2003 with occasional issues ever since. Bring your old comics, your sense of humour and your glue sticks! Original copies of the early issues will be on sale on the day!

The event will be soundtracked by a choir performance by Ordsall Acapella Singers in the Gala Pool. Guided tours of the building will also be on offer, including a 'behind the scenes' tour.

Also in attendance will be the interactive Left Leg Gallery.

Listen to the Shrieking Violet talking about the event on All FM's Under the Pavement Radio show here:

25th April 2013 Natalie of Victoria Baths Fanzine Fair by Under The Pavement on Mixcloud

Read a preview of the event, linked in with a feature on zines and DIY culture, in the Skinny magazine.

Stallholders:

Emily & Anne
LOAF (Catherine Chialton and Jimmy Edmondson)
Kristyna Baczynski 
Corridor8 
Knives, Forks and Spoons Press 
David Carden
John Mather
Salford Illustration Department
Castles Built in Sand
Within Six 
Becky Kidner Diary Drawings 
Loosely Bound Zine Collective 
Young Explorer/Today Zine
Twigs and Apples
Sugar Paper
Laura Brown Word
Tommy Eugene Higson
Knickers for Bonnie
Karoline Rerrie
Vapid Slackers (Vapid Kitten)
David Hartley
Joe List 
Megan Price Mr PS
Paul Murray and Kat Smith
Marco Brunello
the modernist
Karren Ablaze!
DNYLNE and Adam Jacques
Lottie Pencheon

For more information visit www.victoriabaths.org.uk/visit/2013/family-friendly-trail, email gill.wright@victoriabaths.org.uk or phone 0161 224 2020.

Facebook event.

Please bring everyone you know!

Interview with Castles Built in Sand, directors of Helpyourself Manchester (screening at Victoria Baths on Sunday May 5)

Helpyourself Manchester, a recent film telling the story of Manchester’s unsung DIY music promoters, will be screening at this year's Victoria Baths Fanzine Fair (Sunday May 5), accompanied by an exhibition of original fliers from gigs featured in the film. The documentary focuses on a group of friends who found new and creative means of organising and promoting gigs in the mid- to late years of the previous decade, featuring bands such as Burnst, Cat on Form, the Enablers and McWat. From living rooms to basements, the promoters shown in the film put exciting and unheard bands on not for financial reward, but because they loved the music. The film, which makes uses of animation, photography, interviews and archive footage in a cut-and-paste style appropriate to the subject matter, is the work of Castles Built in Sand, a Manchester-based documentary film collective working on a DIY, not-for-profit and copyleft basis. The Shrieking Violet spoke to Castles Built in Sand to find out more about how they formed as a group and their collaborative approach to film-making.

SV: Tell me a bit about Castles Built in Sand – who are you and how did you come together as a collective? 

CBIS: We are a group of visual anthropologists, artists and musicians. Paddy, Huw, Insa, Yas and Birgitta met through their studies (some of us did an MA of Visual Anthropology at the University of Manchester). Simon joined us later.

SV: Why did you decide to start a film-making collective? 

CBIS: After our graduation we all wanted to continue making films and to improve our skills. That's why we decided to start working together as a collective – to share skills, equipment and to motivate each other.

SV: You've also collaborated with some of the participants in your films. What do you gain from working collaboratively, both within the collective and with other groups of people such as interviewees, that you don't get working alone? 

CBIS: Working collaboratively allows us to gain different perspectives on the topics we are working on. It also ensures that everyone feels engaged and represented. This is especially important for us in regards to the people we are working with. We want to ensure they feel like they had a say and are portrayed in a way that leaves them empowered. Filmmaking for us is a mutual process, a give and take and learning from each other.

SV: How does the filmmaking process work – how do you set the theme and direction of where your projects are going? Is every project a joint project, or are there some films where certain people take the lead based on their interests or choose to adopt a lesser role?

CBIS: If we work on a project together there is a lot of discussion involved. We are never quite sure what exactly a project will end up as, because of the collaborative approach, everyone has an input which means a project can change quite a bit in the process of making. For our next project we are going to define our roles a bit more, which will be an interesting new approach for us.

However, we are also not always all working together on a project. Sometimes some of us decide not to be engaged in a project due to time constraints or varying interests or because it doesn't make sense to have too many people involved.

SV: How do you choose your subjects? Is there anything that ties all your projects together, either thematically or in the approach taken to filmmaking? 

CBIS: Our projects are not necessary linked in any way, we choose them according to what we are interested in or think is an important topic to portray.

SV: How did Helpyourself Manchester come about? What's your involvement with that scene, why did the film need to be made and why make the film now – in retrospect? 

CBIS: The idea to make a film about Helpyourself Manchester and this part of Manchester's DIY scene came out of conversations Paddy had with Lee, one of our friends who was involved with Helpyourself Manchester. Huw was around for the last few gigs, whereas Insa and Paddy came to Manchester in 2009, a few years after Helpyourself. We wanted to look at the way people had used space in Manchester to organise culture outside of the mainstream. With all the government cuts and the current debates about gentrification it seemed like a topic that is actually quite timeless and important to discuss.

SV: How did you go about making the film and how long did it take? 

CBIS: From start to finish it took us about one and a half years to complete the film. We collected material on the way, interviewed our friends and tried to get as much info as possible. Then we edited separate sequences which we thought should be in the film and which we joined up eventually. Once we had a first watchable version of the fllm (which at the time was about two hours long) we showed it to the people who we had filmed and to friends who hadn't heard about Helpyourself Manchester before. These sessions provided us with a lot of different opinions as to what would work and what wouldn't and suggestions for changes. In the end we cut the film down to 54 minutes.

SV: Your projects seem to have a political dimension running through them to do with power, voice and representation. Do you consciously try to make films from that perspective?

CBIS: It's less a conscious choice to make films which might be considered political, but it rather comes out of our interests and ways of looking at the things going on around us. So it happens naturally rather than us trying to provide a political stance.

SV: Whether focusing on DIY promoters, the residents of a temporary care home, protestors or young people affected by cuts to education, your films quite often depict the type of subjects and people that might not normally have a film made about them. What do the subjects get out of being part of the filmmaking process – and what do we get out of it as viewers? 

CBIS: It is important to show what wouldn't be shown otherwise and to make people conscious of what is going on around them. Film, photography and sound are powerful tools which offer people outside the media focus a way to express themselves. The collaborative way in which we are working hopefully leaves the people we are working with with a feeling of actually having had a possibility to say what they wanted to say.

SV: You've collaborated with bands like Levenshulme Bicycle Orchestra and Tubers in the past; can you explain the importance of sound in your work?

CBIS: Sound lets us see things differently. When the sound is good, the images seem more powerful and engaging.

SV: There is also a really strong sense of place in your films. How would you describe your approach to representing and describing place? 

CBIS: We try to engage with the place or space we portray – you could almost say we let it speak to us. Using different media is very important for this approach. We don't confine ourselves to one medium but use whatever medium we think best conveys a sense of the place. That's where sound is also very important – if we listen we discover different aspects of what contributes to our notion of a place.

SV: Your webpage has quite a few texts as well as films, which seem to stand together – what is the relationship between the texts and the films, and do you find it to be a useful process to write about the processes of making and conceiving films?

CBIS: What we tend to forget is that each medium has its own qualities and its own place in the context of representing a topic. We try to use different methods and media depending on their usefulness to portray a topic as complete and from as many perspectives as possible. Film can't express or explain everything but it gives a good sense of place and people's personalities. Sound lets us experience place from another standpoint. And texts can help us putting everything into a greater context or to deconstruct the images we present. It is important to question different methods of representation and using mixed media allows us to bear the construction of these representations in mind.

SV: What are you working on at the moment and what are you planning to do next? 

CBIS: We have just started working on a trailer for our next project, which will be an apocalyptic photo essay film. This should keep us busy for a while.

SV: Where can people see your work? 

CBIS: We have a blog which we update as regularly as possible. There you can also find a list of upcoming screenings, the next one being Helpyourself Manchester at Victoria Baths on 5 May, as part of the Victoria Baths Fanzine Fair (12-14pm).

Helpyourself Manchester trailer:

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A PowerPoint about the Shrieking Violet (Unit X lecture)

I spent the weekend doing battle with the Open Office version of PowerPoint in order to create a presentation to go alongside an hour-long guest lecture I was invited to do for Unit X students at Manchester Metropolitan University this morning (making a PowerPoint was an unbelievably slow process, probably because of the size/amount of photos I used). The students are working on a project to create zines, mainly in groups, and organise a zine fair. I decided to try and sum up the Shrieking Violet in pictures rather than in text, so my PowerPoint includes lots of screenshots from various issues over the years, as well as photos of zines which have inspired me, mainly about cities, both before I started making the Shrieking Violet and on an ongoing basis. While I was taking photos of my dad's early '80s collection of punk/goth/indie zines to include, I came across a couple of letters which were written to my dad (Simon), obviously in response to letters he had sent to editors of zines he enjoyed offering words of praise. Both letters, from the Cramps zine Rockin' Bones, and Scottish zine Deadbeat, are on letter-headed paper, so I included them in the presentation both as a curiosity and perhaps as something to aspire to; maybe one day the Shrieking Violet will have its own letter-headed paper!

The presentation also attempts to show the number and range of contributors to the Shrieking Violet to date (circa 100); some key themes and content areas; collaborations; production; design (including examples of bad design in the early days of the Shrieking Violet, when I thought all text had to be justified and in boxes, and I had a habit of putting images behind the text, rendering it almost illegible, along with some examples of better design, mainly done by other people!); illustrations and photography; the process of photocopying and folding print copies; print and online distribution; the Shrieking Violet contributions in zine libraries; publicity such as interviews; and events such as the Victoria Baths Fanzine Convention.

The presentation I made is a really, really big file, and the image quality is not good now it has been compressed to PDF, however it can be read online below. I have vowed that next time I have to make a presentation I am going to try and use Prezi instead!