Archive for the ‘Adam Gee’ Category
The trail for my recent Channel 4 commission Naked & Invisible was launched on Facebook yesterday – 1M views on day one, 2.7M and growing on day two. Commissioned from Showem Entertainment and featuring body painting double world champion Carolyn Roper.
Now up to 5.8M views with a reach of over 15M – a record for Channel 4, E4 and All 4 on Facebook
My latest commission to go live on All 4, as reported in Broadcast.
All 4 signs up YouTube’s Emily Hartridge
YouTube star Emily Hartridge is to create a series about the pressures of turning 30 for All 4. Channel 4’s multiplatform video service has ordered six episodes of Oh S**t, I’m 30! from producer Spirit Media. The series will explore the pressures of hitting the landmark, with each episode tackling a different subject including work/life balance, aging and exploring your sexuality in your 30s.
The show was ordered by multiplatform commissioning editor Adam Gee. Executive producer Matt Campion said a life panic is “something everyone can relate to” on a milestone birthday. “It’s a very real issue that Gen Y are having their life crisis much younger and are faced with the big questions about whether their lives have turned out as they envisaged,” he added. “This series sees Emily light-heartedly experience these very real dreams and fears and bring them to the small screen.”
Hartridge, who recently turned 30, hosted Virgin Media’s The Snap on YouTube after creating her own weekly show “10 Reasons Why…”, which drew over 3 million viewers a month.
[work in progress]
The Wolf of Wall Street
The Way Way Back
Leonardo DiCaprio – The Wolf of Wall Street
Cate Blanchett – Blue Jasmine
Judy Dench – Philomena
Matthew McConaughy – The Wolf of Wall Street
(Sally Hawkins – Blue Jasmine)
(Jennifer Lawrence – American Hustle)
Martin Scorsese – The Wolf of Wall Street
Alfonso Cuarón – Gravity
Nat Faxon & Jim Rash – The Way Way Back
Love Me Again – John Newman
Down the Road – C2C
Children Go Where I Send Thee – Nick Lowe
Where Are We Now – David Bowie
Get Lucky – Daft Punk
Nothing’s Changed – Tricky (with Francesca Belmonte)
Hang Me, Oh Hang Me – Oscar Isaac
Quality Street – Nick Lowe
Cecile McLorin Salvant – WomanChild
Big Inner – Matthew E White
False Idols – Tricky
(Lee Perry presents – Candy McKenzie (1977 reissue))
Van Morrison at Ronnie Scott’s
Bruce Springsteen at Wembley Stadium (Darkness on the Edge of Town)
The Rolling Stones at Hyde Park
Dexys – One Day I’m Going To Soar – Duke Of York’s Theatre
Othello at Olivier Theatre
All that is Solid Melts into Air (Jeremy Deller), Manchester
Andy Murray winning Wimbledon
My birthday party – incorporating The Box
Went with the flow. Original plan was to get a change of scene for my writing day by heading off to the RAF Museum just a couple of miles away and write among old planes. But I had to drop the Other Half off in Holloway (near the library where Joe Orton carefully defaced covers and blurbs and got sentenced to 6 months for his trouble). On the way back heard on Radio London about Kenwood House re-opening today after two years of closure for renovation so went with it and ended up having a good, flowing writing session at the end of the Robert Adam library you never used to be able to get to (there was a rope barrier before the restoration). The gilding has been stripped away, which was a later accretion, and the beautifully lit domed room looks just right in its 18C pale pinks and blues with fine detail in pure white.
Sitting on the new leather sofa on its first morning of active duty I wrote five pages of the Tony Wilson chapter, picking up from the emblematic opening scene and intro I wrote earlier in the week. It flowed easily between related moments so that it got well away from any simple chronological account and feels like something cutting the cake in a more individual way.
Lunch break in the cafe in the stable block with a newspaper – revelling in the not-at-work feeling. Then another burst of writing outdoors overlooking the lake and grounds. Plus a bit of reading about Sylvia Beach who could make a good shorter chapter for variety. So a very productive day lifted by an inspirational environment.
After the library session had a look around the restored rooms and the rest of the house. Found a full length Sargent portrait in the old rooms upstairs that hadn’t registered before. Plus a collection of Elizabethan painting which wasn’t familiar – some amazingly modern fashion such as dresses decorated with little rips. Was reminded what an amazing collection is in the house (a vague memory that it was once curated by Cambridge spy Anthony Blunt, he certainly wrote the intro to older versions of the guidebook) – Vermeer, Rembrandt, Turner, Boucher, Reynolds, Gainsborough, and all first-class examples, nothing second-rate. It’s a special pleasure to grow up with your own local set of paintings (as Vanessa Feltz eloquently captured on the show which brought me here) and it’s striking to see how a building/place can weave itself into the fabric of so many lives over such a long time.
Off to the Angel at the start of Day 48 to catch up with Nicole Yershon of Ogilvy Labs and interview her about creative networking. We caught up at The Breakfast Club (which I was originally introduced to in D’Arblay Street by Garret Keogh of Telegraph Hill) and did the interview at Kipferl for the quiet (and to pick up a bag of Mozartkugeln). While there we bumped into Neville Brody, whose studio is round the corner. Hooked him and Nicole up so she could arrange for him to visit the 3D Printing show she was working at over in the Business Design Centre opposite, the event a direct, concrete result of her own networking and talent nurturing activities with all kinds of benefits to her organisation (from commissioned creative executions to specialist organisational expertise).
Concluded the week by interviewing Hettie Jones, poet and publisher of the Beat generation, over the phone in New York. We had a good chat and she said she enjoyed the interview as it was different from most and didn’t fixate on parties and sex. She told me a great story of an early meeting with Allen Ginsberg (whose poems appeared in her magazine Yugen) where she helped him, for his major poem Kaddish, get under the skin of the titular prayer by singing it to him – he was from a non-practicing Jewish family and she had childhood ambitions to be a cantor (not technically possible til 1987). We had a good few things in common – from a mixed marriage (she married black writer/dramatist LeRoi Jones [Amiri Baraka], an early American interracial marriage) to a mother of exemplary charitableness – so there was a real connection.
Unusually worked on Day 49 (a Saturday – I’m on a 9 to 5, Mon to Fri regime) as I was in Brighton (with Enfant Terrible No. 2, no Mrs, and three Albanian teenagers, the pals of aforementioned Enfant Terrible) so not far away from Paul Arden’s West Sussex cottage, now home to his widow Toni. As I drove West and slightly North across the county the roads gradually narrowed until I was on a track through beautiful old woodland near the height of its autumn colour. Interviewed Toni, who is originally from Copenhagen (she gave me some tips of what to see of an arty nature for my trip next week), seated beside Paul’s art/photography book collection in elegant grey cabinets and across from his photograph collection, including the Richard Avedon African woman mentioned in It’s Not How Good You Are, It’s How Good You Want to Be . After the interview Toni kindly showed me some highlights from the collection including a large format monochrome contact sheet of Michael Josephs’ shoot for the cover of The Rolling Stones’ Beggars Banquet LP; work by Norman Parkinson, David Bailey and Robert Mapplethorpe; and an amazing black & white shot of a dying horse by Colin Barker where the beast is actually not touching the ground as it crumples after being put down with a bullet. She then gave me a tour of the beautiful 17C cottage behind the gallery/barn where we had been speaking. By the front door was a drawing by Paul’s father, a commercial artist/early advertising creative, drawn in his late 90s. Below the pink and pale green former charcoal burner’s dwelling was a pond Paul had created at the foot of a slope, so an impractical location used to fine aesthetic effect.
On my return to Brighton I was delighted to have a note in direct response to this very blog from a reader based in Dublin who had first-hand experience of one of my other protagonists and who kindly offered to give me an interview. That kind of loop of connection is what the Web – and When Sparks Fly – is all about.
Started the day off track at a coffee shop meeting inspired by Russell Brand’s interview by Jeremy Paxman a couple of weeks ago. Chris Ward, who gave me some publishing advice on Day 22, gathered together a small bunch of people who were struck by the Newsnight interview to discuss its implications and possibilities. We met up in Somerset House for a couple of hours and kicked about some ideas. This is an appropriate location in that it’s within yards of both The Coal Hole and the site of The Fountain Tavern (home of The Kit-Kat Club) which were places of political gathering and activism in the 17th and 18th Century. Given his increasing activism, Allen Ginsberg would have approved of this tangent.
Having spotted Ginsberg in the background of DA Pennebaker’s Subterranean Homesick Blues promo (shot in 1965) on an ad on Channel 4 the other night (Day 43), and being just a couple of streets away, I decided to seek out the location. And very atmospheric it was. Totally unchanged since 1965 (though the scaffolding has finally gone). Documentary-maker DA Pennebaker came back around 1985 and they were still working on The Savoy building on its left-hand side. The streets and alleys around The Savoy remind you of the rich palimpsest of history and stories that lays over this fabulous city.
I set up office in Westminster Reference Library, the Art bit, and carried on with my current pass at the Literature/Ginsberg chapter. Research-wise I pushed on with Hettie Jones’ memoirs, How I Became Hettie Jones, taking it into the legendary Gaby’s for lunch (it’s as perverse as ever, how many Cash Only restaurants can there be in Central London?)
In the late afternoon I spoke to the Allen Ginsberg Project / Estate in the East Village, NYC who are kindly helping with some interviewees, thanks to documentary-maker Yony Leyser whom I met in Leipzig last week.
I found out today while researching the Ginsberg chapter that the term “subterraneans” was one Ginsberg coined to describe the intellectual hipsters and hip hedonists who hung out in Greenwich Village bars like the San Remo and Fugazzi’s. Dylan took the term from Kerouac but Kerouac had actually adopted it from Ginsberg.
Started the new week with a sunlit trip round the civilised (off-peak) North London line to Richmond where I interviewed Alexandra Taylor, one-time protegee of Paul Arden at Saatchi & Saatchi, a very accomplished Art Director, who, alongside Charles Saatchi, was one of the only two people Arden cited as having inspired him during his career (on receiving his Lifetime Achievement Award from Creative Circle in 2007). Alex is currently putting together a book of Arden’s photograph collection, making use of his diaries.
From Richmond High Street (well off my manor, little known to me other than as a transit point for getting to the rugby at Twickenham) I jumped on a bus to get to the river. Found myself a perfect spot below Richmond Bridge at which to work, a bench facing into the lowering autumn sun across the Thames just above a path which suddenly disappeared in the high tide, in just a matter of seconds. Boatmen, geese and other passers-by punctuated a mild afternoon of writing more of the Advertising/Arden chapter and reading Hettie Jones’ book How I Became Hettie Jones. Hettie is a magazine publisher and poet who knew Allen Ginsberg and was married to Leroi Jones, the writer/dramatist, author of Dutchman (which I came across and read in a teenage burst of play-reading). He became Amiri Baraka who plays an important role in one of my favourite movies, Bulworth.
I gradually made my way to the BBC in White City, via more Hettie Jones in a caff in Acton Central, for the process of dropping the live interactive insert into tonight’s Health Freaks.
Picked up where I left off yesterday, ploughing through the tail-end of a key Ginsberg research book. Was watching telly last night and saw an ad (on Channel 4) for The Greatest Hits of Bob Dylan, made up largely of archive film clips, and I noticed, for the first time, Ginsberg in the background of that famous clip for Subterranean Homesick Blues (which was the promo film for DA Pennebaker’s 1967 documentary Don’t Look Back). I’ll go pay homage to the spot behind The Savoy Hotel, London next time I’m in that area.
Took the Enfants Terribles out for lunch down the street to mark their half-term, which was fun.
Then rounded the day off with a trip down to Gospel Oak (I love that place name) to do my first interview of a contemporary exponent of openness and generosity in the realm of creativity, namely Carole Stone. Carole is a former journalist at the BBC and has latterly been working with YouGov. Over the years she has built up and nurtured a huge network of interesting people, old and young, successful and starting out, all bound together by her charm, warmth and genuine love of helping people get stuff done, worthwhile stuff of all kinds. Carole gave me a frank and insightful interview in her cozy front room, with languid cats and equally charming husband Richard in attendance, on how she operates and why, which I’ll weave into the Ginsberg chapter, as he was also renowned as a great networker of the authentic variety.
Here’s a brief extract from my draft Ginsberg chapter on this theme:
Ginsberg was proactive in his connecting to and of people. He was referred to by one friend as “the central casting office of the underground”. He was habitually seen carrying a purple bag and in it was an address book in which he wrote the details of people he encountered who were kindred spirits or of potential help moving the world in the right direction. He took delight in connecting people he thought might spark off each other, regardless of whether they were underground or establishment. The purple bag contained in effect a global network of the like-minded.
On something of a pilgrimage today. Read up about Peter Cook and The Establishment club in the square in front of where my grandfather lived when he came to livd in Leipzig as a young man in the home of his favourite sister and her husband. The smart apartment building gives on to Nordplatz, centred on an old church and made up of simple but attractive grassed gardens. I get a certain pleasure of continuity and return from standing on its stone threshold.
I am writing this post sitting in the gardens of the St. Elisabeth Krankenhaus in the Connewitz area in the south of the city, the hospital where my father was born in 1937, two years after it opened.
From Nordplatz I walked through the adjacent autumnal woods round the zoological gardens. I stopped for a bit to do my daily German revision with the Duolingo app (keeping in touch with my linguistic roots) then headed on to Kathe Kollwitz Strasse where my grandfather and his young bride moved in. Where their flat was has been blank ground for a long while (a car park with trees) but by the time I get back here it will have been built on, laying to rest the vestiges of their home here.
I read some more Cook book on the back chair of this resonant memorial which feels like the hub of my Leipzig.
Before I left for my trek I had reviewed my master document to get a feel for what progress I’ve been making on the book and had a pass at the nascent Theatre chapter which needs a number of interviews transferred into it. That’s looking like a laborious transcription task though I will see if it can be automated at all.
Once back at the hotel after a dinner out at Leipzig Media City, about two clicks from my father’s birthplace, I did some more online research about Jeremy Deller, making me even more reassured that he is a good subject for the Art part. In particular I was reading about his work Procession for the Manchester International Festival. I’ll think of my pilgrimage around the city as a fusion of that and Richard Long’s work with some spirit of Picasso in its triangularity since today is his birthday.