But not what like you think:
(Hat tip: Marky Mark on the fifth floor here at archibald ingall stretton...)
Exercises in the higher banter with One of 26. Elsewhere called 'poet of adland'. By a whipple-squeezer. Find out why being beta is the new alpha: betarish at googlemail dot com
But not what like you think:
To the London College of Fashion then, where under the auspices of the IPA, the legend that is David Abbott was in conversation with the legend that is Tim Bell. One can gauge the latter's self-regard, considering that he - nominally the interlocutor for the evening - had a longer introduction than the former.
The trick is to bring statistics to life.
Perhaps the revelation of the exhibition currently on at the Royal Academy; he was almost as good a writer as painter.
Do write soon if you can, I’m longing to hear from you, and believe me, after a handshake in thought
But I have to admit that the company lied: to its staff, to its customers and to me.
This might have passed you by, but is well worth a few moments of digression. I quoth directly from the press release:
The Lost Man Booker is the brainchild of Peter Straus, the honorary archivist to The Booker Prize Foundation. He realised that in 1971, just two years after it began, the Booker Prize ceased to be awarded retrospectively and became - as it is today - a prize for the best novel of the year of publication. At the same time the award moved from April to November and, as a result, a wealth of fiction published for much of 1970 fell through the net and was never considered for the prize.
The Birds on the Trees by Nina Bawden (Virago)
Troubles by J G Farrell (Phoenix House)
The Bay of Noon by Shirley Hazzard (Virago)
Fire From Heaven by Mary Renault (Arrow)
The Driver’s Seat by Muriel Spark (Penguin)
The Vivisector by Patrick White (Vintage)
...mark 2, as we must learn to call them; no doubt we shall love them as much as the first incarnation.
The passing thereof, as Clive James so memorably named him (hat tip for the reminder: @johnvinton), allows me to post for your delectation the best BBC theme tune ever:
With his finger hovering over his iPhone, he gave a fretful glance towards the hand disappearing away from the table.
Labels: reportage cafe review
At least they do when they sing Phoenix's 'Lizstomania':
Labels: school choir phoenix lizstomania
Something that crossed my radar a few weeks ago; 13p, a New York-based playwriting collective, set up with the notion of bypassing traditional gatekeepers to get their work out there.
Our mission is very simple, and we want to complete it and call it a day. 13P isn't really a theater company; it's a 13-play test of a new producing model.
Labels: commercial 13p theatre new york
Via my comrade in verse, the genius Chrissy Williams, some eye-popping factoids underneath the stats here. My fave:
Most unusual cause of poet's death during reign of Elizabeth I: Robert Greene's, as a result of a surfeit of Rheinish wine and pickled herrings
Labels: listorama poetry facts
I am by the downstairs bar of the Cottesloe at the National Theatre, waiting for a performance of The 14th Tale by Inua Ellams. Sitting opposite me at the table is a woman, black, early to mid 20s, wearing a mustard anorak, a green, knitted scarf, headphones and concentration.
Labels: reportage national theatre diary
What could be the first in an irregular series. From the New Mermaids edition of London Assurance:
Dion Boucicault was a witty, selfish and deceitful charmer, a bigamist, a profligate spendthrift and the other of dozens of successful plays, only a handful of which endure.
According to Brain Traffic at least. The stats appear persuasive.
Most companies can’t sustain social media engagement because they lack the internal editorial infrastructure to support it.
I have a habit when travelling, of wanting to take with me novels (or indeed any reportage) set in the city I'm visiting. Generally, I've had to operate on the basis of my own knowledge and recommendations of others, which has worked fine, but obviously you worry about what other potential titles you could be missing out on.
Taken from Anthony Lane's New Yorker piece on how the longing for stereopsis actually prefigured the invention of cinema itself:
Labels: listorama 3D cinema brand names
From Andy Beckett's reflective Guardian piece on the BBC:
But a degree of anarchy remains. "I'm working in a room I've stolen," says a celebrated BBC documentary maker. "I've got lots of equipment I've stolen from someone else. Internal chaos is highly productive for a creative person. I've worked in commercial TV companies – they are the most uncreative places. They just look for repeat shows. The BBC is shaggy . . . it allows things to emerge. There are overlapping jurisdictions. Creatives love turf wars – you can play the executives off against each other. Providing you are not seeking power yourself, or are corrupt, or asking for a lot of money, they let you do what you want."
Quick! I call urban planning/development online flash mob meme!