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imo-chan-imagines · 4 years

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『 Haikyuu!! Week 2020 | Day 2 』

· Sept. 26th → One Ball, Heart and Soul ·

Characters: Sawamura Daichi, Testurou Kuroo, Bokuto Koutarou, Ushijima Wakatoshi, Oikawa Tooru, Terushima Yuuji

Prompts: A. favourite position/role + B. travel/journey

Tags/warnings: Haikyuu!! (anime), PG, fluff, crack, headcanons, HaikyuuWeek2020

A/N: I found it so hard to pick a favourite position/role, because they're all so interesting and important, and I love everyone 😭 But I settled on the role of captain because of the headcanons I thought of. Captain Sqaud, assemble! So, want to find out what these boys are like on a road trip?

(Just to be clear, I do love all these guys. None of this is hate 😂) All my Haikyuu Week 2020 posts will be SFW, but I have some NSFW stuff on my blog, too. Feel free to check that out~ Thanks for reading! Please enjoy ♡ Imo~

☆ Sawamura Daichi ☆

Dad-chi™

Comes prepared with all the food, drinks, snacks, med kit, camera – literally everything you could possibly need on a road trip

Plans out the route beforehand down to the tiniest detail nothing gets past this man

As well as multiple backup routes in case there's diversions etc.

Plans for regular breaks at two-hour intervals where everyone can pee, stretch their legs, buy anything they need, etc.

He's the one who's driving he's not letting anybody else get a scratch on his van, lmao

And he's good at it

No speeding he's a cop, y'all but he doesn't dawdle either, no running red lights, turns corners well, keeps an even foot on the gas, etc.

Just a good time, tbh

Nobody is getting car sick because of him that would be a damn disgrace

"Stop fighting right now, or I'm turning this van around"

And will actually do it if you don't stfu, lmfao

Don't even think about making a mess and dropping your rubbish in the van you'll be walking home

Everyone else thinks his music is boring and for old people, but Daichi honestly doesn't care

Besides, it's either that or no music at all, because he needs to concentrate on the road

He takes this shit seriously. People's lives are in his hands, dammit!

☆ Testurou Kuroo ☆

Likes to switch between driving and riding shotgun/being designated navigator

Is fairly decent at both

Is constantly eating something but, like, he probably doesn't even know what it is

Some kind of edible is shoved towards his mouth by whoever's riding shotgun, and in it goes shut up. Not like that, you cretins 😂

Somehow manages to behave like an overbearing grandparent and an overexcited child at the same time?? Nothing new there, I guess 😂

I'm sorry, Kuroo, I love you. Please don't be mad 😭

Has a banging playlist full of throwback songs from the 90s and early 2000s

Drums along sofly on the steering wheel or dashboard constantly

HATES driving in rain he's low-key terrified he's going to aquaplane

Likes driving with the windows wound down and feeling the wind in his hair

Will plan the route, but then forget to save it/print it off, etc.

Cannot work Google Maps or SAT-NAVs to save his life Kenma, please help him

Actually packs properly balanced meals, but is heavy on the snacks, too

You'd think he'd drive too fast, but he's actually really responsible

Constantly telling dad jokes to try and keep people amused the groaners are the best

Would probably fight someone at the gas station if they started being a dick and causing trouble

Kuroo, baby. I love you, but please don't get arrested 😭😂😭

☆ Bokuto Koutarou ☆

Dear God, do NOT let him drive leave it to Akaashi, I'm begging you

Has really bad spacial awareness in a vehicle and drifts all over the place

Probably speeds without even knowing it, too

Likes to ride shotgun, but is a terrible navigator, so is nearly always made to ride in the back

Is the loud one that moves around too much and blocks the rear view mirror strap him in tight, Akaashi

Belts along at the top of his voice to whatever music is playing, he's not fussy

Was told to pack essential items in his backpack and proceeded to fill it with sweets and snacks and a pack of condoms??? and thought he did good

Bokuto: Bro, you said they were essential

Akaashi: NOT FOR EVERY SITUATION

Rarely ever has to pee, but when he does, it's always miles away from any service station, and he has to hold it for hours

Has definitely peed at the side of the road multiple times because he couldn't hold it any longer, but he wasn't even embarrassed as numerous cars zoomed past

Likes sticking his head out the window like a dog on the motorway which gives everyone else heart attacks

Like, get the hell back inside you maniac 😭

If the car has a sunroof, he's 100% standing up through it with his hands in the air just you try and stop him

And they will. Everyone will try

"HORSES!!"

Will get out of the car in traffic jams to find out what's going on and end up chatting with random strangers until it starts moving again

And he's very sad when he has to leave his new friends. Droopy hair and emo Kou for the next 2 hours :(

Unironically enjoys playing 'I Spy' for hours at a time

Is a bit much to handle in such a confined space for hours on end, but he's just so excited for the road trip

Will fall sound asleep in a matter of minutes if you set him up with a travel pillow and it's freaking adorable!!

☆ Ushijima Wakatoshi ☆

No music whatsoever it's distracting. Why would he want it?

Okay driver, brilliant paper-map navigator

Will sit and do absolutely nothing but stare out the window the entire trip if he's neither

Breaks too hard and accelerates too fast, though

Is also kind of heavy-handed with the gear stick he may or may not have snapped one off before...

Never give him a SAT-NAV, though, because he will follow the directions with 100% accuracy and end up driving through a wall or some shit don't try and deny it

Does he ever even blink when he's looking at the road? We may never know

Might be astral projecting, who knows

Forgets people need toilet breaks but refuses to make unscheduled stops

"Just hold it in"

Uh-huh, sure. That's how that works, Toshi

No snacks

Or rather, no fun snacks. Protein bars and mineral water all the way, babyyyy 🙃🙃🙃

Could probably drive all through the night without taking any breaks but that's irresponsible

Don't do it, kids

Will likely devour the entire KFC menu at the service station he's big, okay? He eats a lot

Is prone to leg cramp after long drives oh look, he needs a massage 😏

Doesn't get car sick. Ever. Upset stomachs are for the weak

Has garbage and recycling pouches on the backs of the front seats use them correctly, or feel his wrath

Isn't exactly a barrel of laughs, but it's somehow endearing just like always *happy sigh*

But it's actually a good thing

There's no hidden side to Ushi or any bad or annoying habits that come out of the woodwork on a long road trip

He's just the same old reliable, adorably straightforward Ushijima ❤

☆ Oikawa Tooru ☆

Calls shotgun and demands the aux cord every. Single. Time but it's pretty decent music, so no-one really complains

Not that he's any good at navigation pray for Iwa-chan

Is constantly taking selfies, making TikToks, and documenting the trip on his social media

#ROADTRIP #SQUAD GOALS #BETTER THAN YOU

Will send all the photos in the group chat when it's over, and they actually come out pretty well

Will not stop complaining if the air conditioning is busted and Iwa-chan will threaten to dump him in the middle of nowhere if he doesn't can it 😂

Iwa-chan: I shoulda left you on that street corner where you were standing

Oikawa: But'cha dIDN'T

Bonus points if you get that reference, lmao

Has to keep taking breaks because his butt hurts when he sits down for too long because it's fLaT

I'm sorry, Tooru 😭😭 Forgive me. I love you, really

Is constantly on his phone

But he points out pretty views and interesting sights to everyone all the time awww

Low-key needs to pee all the time, but gets defensive if someone brings it up please stop bulling him, travelling is hard

"Are we there yet?"

Seems kind of annoying, but is actually just genuinely excited to go on a road trip and spend time with his friends 😭😭

Buys matching souvenirs for everyone in secret to surprise them with 🥺

When people complain about all the photos, souvenirs, and enthusiasm, etc. and ask why he has to keep doing it, Oikawa says:

"I want to remember as much of this as possible. I want us all to remember as much of this as much as possible," with a sweet little smile 😭😭😭

And that's when everyone realises how mean they've been to him about being over-the-top and irritating, and they all feel terrible

Just like in the freaking anime, man

☆ Terushima Yuuji ☆

Will hijack the aux cord to play his incredibly niche music taste

Feet up on the dashboard when he rides shotgun

Shoes on is bad enough, but shoes off just stinks up the entire car you have to roll all the windows down, lmfao

Will break all sorts of road laws if you let him behind the wheel please don't

Daichi will come and arrest him 😭😭

Lives on energy drinks

That's all the drinks he packs. Nothing else

Travels in sports wear and sliders yes, even though you reallly shouldn't drive in sandals

Like he knows or cares 😭

Will chat to girls at the gas station and ask for their numbers, even though he's never going to see them again

"You never know, man! It could be, like, fate or something"

Yes, Yuuji, you do. And it's 'or something'

Thinks it's a good time to sext his current booty call because, like, he has hours of free time. What else is he going to do?

Probably forgot to pack actual food

Has to live off of snacks and cheap service station food for the duration of the trip

But not his own snacks, of course. Everyone else's one doesn't keep friends and buy one's own snacks

Genuinely doesn't realise if he's being gross or annoying, so let him down lightly like a bro and he'll probably make an effort to stop

Doesn't plan the route or anything, even if he's driving. Just punches it into Google Maps as he sits his ass down on the day and trusts it to get him there in one piece and on time

Entire Johzenji team: Yea, though I walk through the valley of the shadow of death...

For some reason knows how to change a flat tire, though, so he's good for something, I guess 😂😂

Probably saw a YouTube video on it. Maybe a WikiHow article

Somehow still manages to be an endearing part of the trip??

He smiles a lot and makes a lot of jokes, particularly when things go wrong, so it keeps everyone's spirits up

It definitely wouldn't be the same without him

#imo chan imagines #haikyuuweek2020 #haikyuu!!#hq!#headcanons #haikyuu headcanons #sawamura daichi #tetsurou kuroo #oikawa tooru #ushijima wakatoshi #terushima yuuji #sawamura daichi headcanons #testurou kuroo headcanons #oikawa tooru headcanons #ushijima wakatoshi headcanons #terushima yuuji headcanons #bokuto koutarou #bokuto koutarou headcanons

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hmel78 · 4 years

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In conversation with Brian Parrish ...

1973 - the year in which emerging talent included ‘AC/DC’, ‘Bachman Turner Overdrive’, ‘Bad Company’ , ‘Stillwater’, ‘Television’, ‘The Tubes’ ; albums were released by ‘Wishbone Ash’, ‘Nazareth’, ‘Uriah Heep’, ‘Thin Lizzy’, ‘Bruce Springsteen & The E Street Band’, ‘Aerosmith’, ‘Mike Oldfield’ ... to name just a few. ‘YES’ were already big on the scene, as were ‘The Rolling Stones’, ‘The Who’, ‘David Bowie’, ‘Black Sabbath’, ‘Led Zeppelin’, ‘Wings’ - it’s really quite a mind-blowing list isn’t it? A seriously exciting time to be around for any music lover, but imagine being a musician at the heart of that scene ... Enter Brian Parrish.

For many of you reading this, Brian Parrish will already be a familiar name - amongst many fans of ‘prog’, he is held in high regard as the guitarist / vocalist with ‘Badger’, but this is by no means all that he should be remembered for, or associated with. In fact, to document ALL of his history would require an entire magazine edition of it’s own! ‘Badger’ were co-founded by keyboardist Tony Kaye after he left ‘Yes’, along with David Foster - the pair found drummer Roy Dyke, who thus suggested Parrish, and voila! Rehearsals began in September 1972, a deal with Atlantic Records followed in quick succession, and with the dawn of 1973 came their first album “One Live”. From a ‘fame’ perspective, it might seem that ‘Badger’ was the point at which Parrish suddenly appeared on radar, but prior to this he really hadn’t been a stranger in the music industry. Parrish had grown up in the “Skiffle” era and says that he “saw the Light“ when he heard Lonnie Donegan, and the wealth of American Roots music at the time. He Received his first guitar at the age of 11, and despite passing his 11+ exam a year early, cites “once I had a guitar in my hands I had no more interest in, or use for, formal education” - by the time he was 17, he was in a touring band, and shortly after that the doors opened wide to the world of music and songwriting, on landing his first ‘professional’ job as lead guitarist for rock n roll legend Gene Vincent. During the next few years of touring, and residencies at the Star Club in Hamburg with ‘The Londoners’ [aka ‘The Knack’], Parrish had also landed himself a publishing deal and achieved success with songs that he wrote for Johnny Hallyday, & ‘Dave Dee, Dozy, Beaky, Mick and Tich’ amongst others. He was in demand for sessions, playing on albums for Jerry Lee Lewis, Graeme Edge (‘TheMoody Blues’), Jon Lord (‘Deep Purple’) and on hits for the likes of ‘Medicine Head’ (“One and One”), and all the while striving towards his own solo career. Whilst preparing demos for a solo album, Brian ran into old friend Paul Gurvitz (formerly of ‘The Londoners’ / ‘The Knack’) who agreed to help with vocals. The blend of harmonies was so good that they decided to make it a joint project - ‘Parrish & Gurvitz’. George Martin (the 5th Beatle) heard the P&G tapes, and subsequently signed them to his newly formed production company - the resulting album which he produced was hailed as the debut of the “next Beatles”, however it wasn’t long afterwards that ‘Parrish & Gurvitz’ went their separate ways. ‘Badger’ marked the next milestone in Parrish’s career - “One Live” entered the U.S. Billboard charts, and was widely acclaimed. The band had already toured with YES, and Black Sabbath ; and then suddenly, in what he describes as the hallmark of his “bad timing” , Brian Parrish elected to leave the band more or less on the eve of their American tour ... A solo deal with Chas Chandler (manager of Jimi Hendrix and Slade) followed, but his debut album “Love On My Mind” proved to be less successful than he anticipated. From there he moved increasingly into production and writing, becoming what they call a “back room boy” rather than a performer. Whilst he continued to take session work, his live performances all but stopped- yet throughout the years, he has never stopped writing. Brian suffered a brain tumour in the late 90s - the ensuing surgery, whilst 100% successful in removing the tumour, left him without hearing in his right ear ; meaning he has had to re-learn the recording process in the absence of a “stereo” picture - it did not, by any stretch of the imagination, deter him from carrying on with his career in music! In 2004 Brian returned to the stage when invited to perform in Hamburg as a special guest for a “Star Club Night”. In 2007 he released “End Game” - his first album of original songs for 30 years, and also formed a band. They still play regularly. This year [2016] saw the release of “Traveller” - a ‘concept’ album in which BP takes us on 13 of life’s journeys, with notes to the listener along the way : “We are all travellers with a one way ticket for our own unique journey through life – and our choices define us”. One thing is for certain, Brian’s choices have certainly defined him, and his life has indeed, so far, been a colourful one in which he muses “Music has dominated my journey, intensifying my experience” , and hopes that his own music is enjoyed as part of yours. He continues to work, exploring new directions, and tells us that “the best is yet to come”! If the new album “Traveller” is anything to go by then we will all be in for a treat. “Traveller” itself is one of those timeless records which contains something that will appeal to just about every taste in music. We caught up with Brian recently - curious to know more about “Badger” as there is very little documented, and also the bits before, inbetween, and afterwards, that have formed the road map of his own journey ... Helen Robinson : By the time Badger’s “One Live” was recorded you were already a ways towards carving a successful career in music ; your first professional gig was with Gene Vincent - how did you land that?

Brian Parrish : I started young. Somehow getting a publishing deal at around age 17 ( I am not necessarily saying my songs were good, but the publishers obviously thought I might make some money for them - that´s how it works). Our band had done tours of American Army bases in Europe with success, especially among the black soldiers - I believe this was due to our material being R&B (black) influenced. I knew nothing of “race” issues - quite naive, I was! Upon our return we got the opportunity to try out with Gene Vincent, as Paul’s [Gurvitz] father was working for Don Arden, who handled Gene in the UK. I think our musicianship was limited at that point, especially when you consider that Cliff Gallup (one of the all time greats!) had been Genes guitar player in the original ‘Blue Caps’ ; Jeff Beck still cites Gallup as a great influence. Where we scored, was stagecraft - we had been learning from the get go ... and possibly because we were cheap! Both, I imagine!

HR : From there you toured and recorded quite extensively with ‘The Londoners’, and you also had a brief stint with ‘New York Public Library’ - so what made you want to go solo?

‘The Londoners’ worked pretty much nonstop through 64 / 65, scoring heavily in the “Star Club” Hamburg, where we were hugely popular. We also worked and recorded under the name ‘The Knack’, and had a near hit with a Ray Davis song. ‘The Kinks’ connection also came about through Paul’s father, who by then was working for their management. We recorded 4 or 5 other singles - one may have been written by me. They went nowhere. Finally, shortly before Christmas, I announced that I wished to be home for Christmas Day, so please accept no gig if offered. There was a job offered in maybe Scotland or Wales (I am not sure, but in pre-motorway Britain it would have been a slog) and the money was good, but I said “I am not doing it!” They gave me an ultimatum: Play or leave the band. I left, of course. In order to keep playing I joined ‘NYPL’, who as ‘The Cherokees’ had played the “Star Club” with us. They had a hit under their belts but opted for a new name and a fresh start. We released some singles, not all of them bad, some written by me, and all of them died. For collectors only, I am afraid! When I had the offer to do something solo, I took it.

HR : You became highly sought after as a session musician, and made an impact within the song writing world - what’s the most memorable thing in that period of your career?

BP : I played more sessions than I can remember. Things with Roger Cook, a bunch for ‘Dave Dee, Dozy, Mick & Titch’, for whom I also wrote some songs. It was all very eclectic. I would like to say I stayed true to blues roots, or whatever, but the truth is, the work came up and I took the jobs. Ken Dodd was one, for example. For credibility points I would add that I did a couple of sessions for Paul Jones. In the following years I would play with Jerry Lee Lewis, Tony Ashton (another Star Club friend) and Jon Lord, but there were many that I do not remember. Someone told me I was on a session with Robin Gibb. I really do not remember! Complete blank. I did have some early songwriting success with Johnny Hallyday - Huge in France and Europe. I remember the publishers were very pleased, although Paul Gurvitz (know as Curtis then) asked “Who is he?”

HR : You actually teamed up with Paul Gurvitz next, and were signed up by none other than George Martin! That’s kind of a big deal isn’t it?

BP : The way that happened was that I started a solo project with Lou Reizner, and began working up material in his Knightsbridge apartment, which he gave me the keys for while he was away in the States ... Me and a Revox . I was taking a break and walking in the street nearby when Paul drove up - “Whats happening ?” etc. I told him what I was doing and said “Come and listen”. Paul and the drummer from ‘The Knack’ had formed a trio with brother Adrian, calling themselves “Gun”. They had a respectable hit , but 2 albums later had called it a day, so Paul was free and I invited him to sing harmonies with me on my project. Our voices have always jelled, so when Lou returned from the U.S. I said “what about if we did this as a double act?”. In the spirit of the times he said “OK if that’s what you want”. I persuaded Paul to call himself Gurvitz (his real name). I said “it’s more memorable and has authenticity. Think of Art Garfunkle”. We recorded a pretty good album at Island studios, with the guys who would later be our band. Lou drafted in a manager from Canada, and he ran to George Martin with the tapes, without Lou Reizner´s knowledge. Et Tu Brute? He was a snake really. Long story short , George loved us but wanted to re-record the songs, jettison a couple, and most importantly produce the album. ‘The Beatles’ had just disbanded, and had been huge, so this WAS a big deal. We were not overawed, but were ready to learn stuff and listen to his comments and suggestions. He absolutely respected our instincts, but was able to enhance everything when scoring string parts. Also having worked with John and Paul he was very open to experimentation sonically. No digital effects and limitless tracks in those days! He demystified everything for me, and there is no occasion in front of a mixer, or working on harmonies when I do not draw on what I learned. A master-and a gentleman. Being hailed as the “new Beatles” was ultimately the kiss of death. We needed time to develop our own identity free from misconceptions and a public who did not WANT a NEW Beatles! We had inherited the infrastructure but we were not ‘The Beatles’, nor wanted to be!

HR : No, no I see how that would have been detrimental, even with the backing of such major business influences - so, ‘Parrish & Gurvitz’ was short lived?

BP : Yes. We toured the States with our band a good six months after the album came out. Disastrous timing. No-one would invest the kind of money and logistics demanded of touring without a current “product” to promote and sell. Also we had started on the second album - a more electric, rockier thing than the acoustic vibe of the first one. The band were great but the style of presentation was unexpected, and the new songs not known even to those who had heard the first album. The management were inexperienced in this, and we had already moved on stylistically. We were not about to bow to the demands of the U.S. Record labels “We didn´t sign a ROCK band!” - so the plug was pulled two weeks before the end of the tour. We returned to the UK, and went into the studio to finish the second album, but the honeymoon was over and we could no longer keep paying the band. They joined ‘Peter Frampton’ as an already slick working unit. We dumped the management. Paul and I separated - he going into a project with his brother and Ginger Baker, and I was approached by my friend Roy Dyke who was playing with Tony Kaye. “We need songs, a guitar player and a singer” he said, “I can do those things” I said. Cut to next scene : the rehearsal rooms where Badger would be formed.

HR : Ha! Yes - ‘Badger’. I would like to just sidestep there for a moment though, if I may ... It’s 1972 - that point in music history may well have been the ‘peak’ when you look at the wealth of talent and genuine passion for music that existed ; and remarkably the fact, as you’ve already pointed out, that by that time ‘The Beatles’ had disbanded ; Jim Morrison, Jimi Hendrix, and Janis Joplin were already gone - what was it like to be a working musician throughout that time?

BP : An unbelievable time, Yes ... We hung out with a lot of these people. I saw Jimi at a club called Blaizes for the first time. Looking like a black Bob Dylan playing “Like a Rolling Stone” with an upside down Stratocaster - but sounding otherworldly. I could not figure out what he was doing, never mind how he was doing it. I was barely three feet away. He played someone else’s guitar upside down (left hander, was Jimi). He freaked everybody, Eric [Clapton] included. We would meet all of these folks in the clubs. Janis chased our bass player all around the Revolution club I remember. He was quite innocent and the Jack Daniels toting Lady would have devoured him for breakfast! As you say, these artistes were all gone by ´72. I do not know if there were “lows” on a conscious level, but the substance use had hit high levels and I nearly died on a couple of occasions. I was rehearsing at one point with Paul Kossoff, who was in a worse mess than I - and as we know, he died sometime later. Keith Moon, who had been a friend was another. There is quite a list of drug casualties. Better not to dwell upon it. Mostly it was still an amazing time for creativity and one still had the feeling that everything was possible. We were in the vanguard of the counter culture and we were changing the world. HR : I’m in awe Brian, actually ... It really did change the world - certainly the face of music. To be a part of that would have been exhilariating, I’m sure. I’m fascinated, because I missed it all in person - there was so much going on politically, and musically - including the birth of ‘prog’ ...

BP : Well, The “prog” thing which was often quasi-classical and Gothic in tone, may have been started in ‘67 with “Whiter Shade of Pale”. All the classically trained players - Emmerson, Wakeman etc. thought “Right! We´re on now!” - By 71 /72 it was in full swing. West Coast music flourished, Blues music was marginalised but “Soul” with a message thrived (Marvin Gaye, Curtis Mayfield, Staples Singers) -even the Godfather of Soul, James Brown was smart enough to catch the Zeitgeist -“I´m Black and I´m Proud” he sang and it all resonated with the Civil Rights movement.

HR : It all goes hand in hand. But ... going back to You , and to add further perspective to what you were doing in 1972 - Elvis was still around, Lennon and McCartney had gone solo, and many of the UK’s (even the worlds) best known, best loved, bands and artists were already established in the public eye - ‘The Who’, ‘The Rolling Stones’, ‘David Bowie’, ‘Pink Floyd’, ‘Elton John’, ‘Led Zeppelin’ , ‘Genesis’, ‘Queen’, ‘Black Sabbath’, ‘YES’ etc ... taking all of the afore mentioned artists into account - they were the people you hung out with, but how conscious were you of them as competition?

BP : I think any musicians forming a band at that time just got on with the job in hand. There were plenty of acts I really liked, but I regarded none as competition. David (Bowie) was a primped up Marcel Marceau acolyte, who would brilliantly morph into whatever took his fancy, exploring Dadaism and so on. Great - but nothing to do with my universe. ‘Zeppelin’ were huge of course (we sat together in Madison Square Gardens to watch Elvis during the Parrish & Gurvitz time) ; ‘Paul McCartney & Wings’ were flying (the correct verb I assume),and I had been privileged to be around Air Studio when Paul with orchestra arranged by George Martin recorded “Live and Let Die”. Breathtaking. ‘Queen’ were nothing like as successful as they would become, but the others you mention were already very big. When Tony Kaye left ‘Yes’ and we began to rehearse ‘Badger’, I had little interest in what ‘Yes’ had been doing - seeing our music simply as the best we could do together without labels, and by extension no comparison, let alone competition with anyone in particular ; certainly not Tony´s ex band. I wasn´t even sure we were that good, to be honest - and I was always insecure about my own playing. We have had enough compliments over the years (my guitar playing included) that I am able now to accept it with good grace and gratitude!

HR : And so you should ... Not only was “One Live” your debut album, but it was also Live (funnily enough!), which was somewhat of a rare thing to do - why did you release that as opposed to a studio recording?

BP : It was not an artistic choice, but a practical one. We were playing with ‘Yes’ who had ‘the Stones’ Mobile Studio on hand to do a “live” concert recording. To record ‘Badger’ also, was going to cost a few reels of tape and some mixing time to follow. I was not sure it would work, but I remember the “Rolling Stone” review at the time said it was the favourite album (of the reviewer) and if this was what ‘Badger’ could do live, may they never feel the need to set foot in a recording studio. It was a fluke really.

HR : Is it completely Live, or did you work on it afterwards?

There was just a little overdubbing /repair work. Notably on one song (would you believe I forget which one?). We had recorded the songs on two separate nights, and as we listened to a version of the song in question all of the vocal mikes went down half way through. Not in the auditorium, but the recording microphones. The version was great, and there were tempo discrepancies with the recording from the second night. In the digital age this would call no problem, but at that time this was a big problem. Could we lift the vocal from the second night? Splice the 2 halves together despite the tempo problems? Some of the instruments spilled onto the mikes we were singing in, so to re sing in the studio would still leave us with a significant change in sound. Our engineer Geoff Haslam helped us mix and match various parts with minimal re-singing. We tried to keep it as “live” as possible for the sake of integrity. Actually the night following the Rainbow concerts we played in Glasgow, and this was without question a much better performance. It was not recorded! HR : Typical! When you consider the impact this album had, amongst all those other huge albums in 1973 - did you feel that the band should have been bigger, or lasted longer than it did?

BP : Well one sees everything differently with the benefit of hind sight. The “business” or “career” head might have advised “Stick with it. Ride the train! The band is getting such a reaction, growing in popularity, so with touring and so on you could push the album higher in the U.S. charts, to further cement what you have done-and in time, maybe come up with a good second album”. We will never know. I would be interested to hear what the others might answer to this question. I left the band pretty much on the eve of the U.S. tour, as you know. The drug intake was prodigious to say the least, and I was becoming disenchanted with the work rate in terms of working up new material. Frustrated songwriter stuff, but not being “sober”, of sound mind and body (!) my judgement might have been impaired. I may have been too hasty. The others thought it was a tantrum, or something I could be talked out of, but it wasn´t. It was a lousy business move on my part, I would be in a better position today, if I had stayed with the band whose popularity was increasing (and if I had not died, as so many did!). Whatever. I dropped the band in the lurch, and still feel a little guilty about that. I liked them all, and still do. We had something……. Writing wise I was travelling in an altogether funkier direction - and whatever ‘Badger’ were, they weren´t funk (I reject the “prog” label). What happened next was Jackie Lomax replaced me and lo and behold, took them in a funkier direction, with the addition of Kim Gardener on bass. Jackie was a great talent, but the public did not want a reinvented ‘Badger’, so the second album more or less bombed, and my solo album did little better.

HR : Well “One Live” has certainly stood the test of time and secured some loyal fans! Given that you were the main songwriter, how do you feel about the fact that so many people still cite it as a pivotal moment in their musical journey?

BP : At the time I was not so impressed with it. A little bemused even. I was arrogant enough to think there would always be another door opening for me, with something interesting behind it. I had always bumped into people who liked what I did and assumed it would stay that way. I forgot a crucial factor, which is that a young artiste / band is much more marketable. That´s another theme, however. Over the years, right up to the present day I have heard from many people who hold “One Live” in special regard. I also have had feedback from many young people, including musicians, who love it. I think it has to do with the energy. I included a ‘Badger’ song in a concert last year and it seemed so fast! I thought “My God did we really play a whole set at this pace?” It was exhilarating on one level, exhausting on another. Overall I am much more comfortable with ‘Badger’ these days. I think it was a very good album in retrospect. I feel vindicated in respect of the writing (although there are lyrics I would change if I were to do it today) - I would definitely change the album credits to reflect the fact that I wrote four of the six pieces. ‘Badger’ has given me a little cult status. Just a little, mind you, but enough to prove I lived and played on the planet. Oh ... and I am not finished yet!

HR : Well that’s good to hear - we like having you around ... I’m curious about another dynamic of the album - “One Live” - it was produced by Jon Anderson of ‘YES’, but with the departure of Tony Kaye from their unit, were the band friends, or foe?

BP : Should I talk about Jon? First of all I like him. We are very different kinds of people - and certainly his approach to recording is a little more “clinical” than mine, shall we say? I believe that if anyone “produced” ONE LIVE it was Geoff Haslam, the engineer who spent every studio hour with the band and technically and creatively had as much to do with the finished product as we, the writers and musicians. He was great at recreating the live ambience and getting it on tape. Jon came in very little and tended to focus on vocals more than anything. Long story short - I think the folks who would take care of marketing fancied the idea of having Jon’s credit on the sleeve. This would maintain the link with the ‘Yes’ fan base. I see that, of course. Certainly, whatever the undercurrents might have been between Tony and the ‘Yes’ guys, we were all friends. I greatly admired Steve Howe, without wishing to do what he was (is) capable of. I was more pentatonic based, as is David Gilmour, for example, but Steve was perfect for the band. Rick Wakeman too, was a good mate. Great player, funny, intelligent guy and fond of a drink. He fit very well with us on a social level. Remember we played the concerts with them when the recording took place. All friendly.

HR : Happy Campers! You also toured with Black Sabbath - knowing Ozzy, I can only imagine the shenanigans! Would we be wrong to assume that it was one big party?

BP : A detailed answer to that question would be mostly unprintable. Shenanigans does not begin to cover it. We had a break in the tour - 5 days, a week maybe. Ozzy did not want to break the party up. He loved us and said “Come and stay at our house - all of you”, including road crew. We tore it up. I am not sure his wife was amused. She kept a pretty low profile. On the road it was all the smashed TV sets, drink and nonsense you would expect. We were thrown out of a hotel in Italy (Bologna, I believe), passport numbers taken and both bands and the entire crew - perhaps 25 / 30 people were banned for life. This was at 4.30 in the morning, and not in any way to do with noise, breakages (for which we paid) but something less than respectful our party did to a statue of the Pope, which was on the same floor as all our rooms. There were Mafia related events which took place during the Italian leg of the tour which would take a lot of space here and these stories are perhaps best left untold. A party, certainly. I paid my bill in brain cells, I fear.

HR : Hmmm. I’m laughing, but ... not at the brain damage! Maybe it was for the best that you left the ‘Badger’ party when you did?! You next signed a deal with Chas Chandler, which really marked your biggest step towards becoming a solo artist didn’t it?

BP : Yes it did. I had some material which had not “clicked” with ‘Badger’, and having left the fold I knew that whatever happened next, songs would be a valuable currency. I had friends with connections to Chas. He had managed Jimi, who had recently passed, and was already back on comfortable (pop) territory with ‘Slade’. He loved my stuff and told me he was starting a new label and that I could have complete control over the recording. I believe I should have had a co producer, or at least a second pair of ears in retrospect. That is another theme, however. HR : That album “Love On My Mind” was tagged as “Blue Eyed Soul” on account of it’s funk / soul vibe ... You were essentially being true to the style of music you loved, but did you enjoy making the record?

BP : White boys can´t do soul - or they are certainly not supposed to! Actually I think the songs were good and, in the main, came out as I would have wished. Good arrangements, some great musicians. I found my own performance less convincing. My singing always seemed detached to my ears. If I had not been wearing the producers hat, concentrating on arrangements and so forth , we might have got a performance. Few could do that. Prince showed us all how its done subsequently. As it is, the notes and arrangements are OK, everything in its place, but it seems emotion free, at least to me. Blue Eyed soul indeed! I am far better equipped to produce myself today, but would always wish for a co producer (as I have in the shape of Steff Ulrich on TRAVELLER). You have to stretch yourself, and it helps when someone is pushing, and offering creative criticism. I bowed to Steffs instincts more than once whilst making TRAVELLER, although I could have pulled rank and said “My songs, brother. I´m the boss” - I think the album is better for my not having done that. Ah humility at last! I am sure we will talk about that later.

HR : Sure ... and we’ll talk more about “Traveller” too, but around the time of “Love On My Mind”, Did something change for you at that point? It seems that after working so hard for your first solo release, you then made a move towards the production side of the business, becoming - as you say yourself, “A back room boy” - were you more comfortable there?

BP : This was never planned or envisioned. I had publishing deals as folks always liked my writing. I should have stuck out for recording deals in tandem with publishing, ensuring that records would come out with my name on. At the very least some level of success might have been on the cards as some were still anticipating some news from the guy who had been with ‘Badger’. It was a strange time. I had no band, no records out, some sessions certainly - but publishers pushing me for material. Most publishers were not what I would call working publishers as they once had been. Less and less were we seeing covers generated by publishers. This was the beginning of the “writer/producer” era. Many people were finding artistes as vehicles for their material and producing them. Alan Tarney is a case in point, producing Leo Sayer, Cliff Richard, Barbara Dixon and so on. I did a little of this, producing Alvin Stardust, for example. Not my finest hour I think. I was still torn between the need to play and sing and not to be limited to one genre and the fact that the publishers vision was often at odds with the labels. I was kind of fading into the background rather than choosing it. There was a point where I was getting “clean and sober” as the popular expression would have it, so there was important stuff to focus on there, and I never for a moment stopped writing ...

HR : You also worked on the “Many People, One Planet” project through the United Nations?

BP : This was an interesting, and somewhat unexpected detour. The concept was to provide education resource packs for underprivileged Italian school children. There is a huge divide between those schools which had computers and up to date visual aides, and the poorer schools where, for example, if the roof of the school needed fixing the parents would give up their time to do the work. A North / South divide basically. The resource packs were re usable, and so passed along to the other students in succeeding years. My job was to persuade companies to get behind it financially. In return for which they would receive a small credit on the laminated packs. Many people became involved, including Zucchero - something of an Italian musical icon. The high point for me was to travel to Rome to meet some very excited school children, attend the launch at the UN headquarters there, and the director had privately asked me if I could formulate some words to address the UN ! I had the experience of hearing my “speech” delivered in Italian. Of course we were provided with headphones and little handsets where we could select a language. There were live translators speaking French, English, Spanish and so on. Quite exciting. I thought “I am addressing the UN!”. I wasn´t of course, but actually seeing the joy on the faces of the kids was a necessary humility shot.

HR : Sounds like a rewarding detour ... meanwhile, a 30 year gap between solo records ensued ...

BP : A gap between publicly released recordings, certainly - I suppose it must seem that I just disappeared, although I never stopped writing or working in music, as I said. You may know I was diagnosed with a brain tumour in 1999, which was kind of a banana skin in the road at that point. I had been experiencing unpleasant symptoms, including hearing problems for some time. No need to dwell on any of this as I am super fit these days! I had the successful operation to remove it early in 2000. I was left deaf in my right ear, so some re-training was necessary. All far behind me now ... but my first foray into live music following this was in Hamburg in 2004. It was strange as the information I was getting onstage soundwise was completely different. It wasn´t easy, but I resolved to work as much as possible in this altered “soundscape”. More gigs followed, some in Germany, and to make a long story short I have lived here since 2006. I wanted to see how I could function recording-wise . In the 5 or 6 years since the operation - my “recovery years” if I can put it that way, a lot had changed technically. I opted for a small multi track digital recorder, which I had then to learn to use. It was not only that I had dropped off the Radar from a public standpoint. I had missed stuff!

HR : So along comes “End Game” in 2007 - It’s a completely solo album in that, on top of the writing, you play ALL the instruments too. Did you feel a greater reward from producing a record like that?

BP : It was a “necessity as the mother of Invention” scenario, I would say. I was alone working with my digital recorder laying tracks alone as I had for a long time when I made demos. So I played guitar tracks, of course, but also bass , some keyboards (which was laborious as my skills are less than rudimentary). I did all vocals. I have much experience with harmonies. ( you may notice that many tracks on the new TRAVELLER album have harmony vocals by me - not all though, as I love the texture of girls voices. The “amen corner” as Ray Charles used to call it) I also worked with a digital drum machine. I was not really wonderful with it - there are people who could do it so much better. I think the ENDGAME songs are pretty good, and it was an important stepping stone for me. That said, I would like to re record the material utilising the recording methods (and musicians) I had for TRAVELLER. Actually I have started tinkering with some of them in my studio. I think you are familiar with the “live” version of “Many Moons Ago” (from ENDGAME). There is a vid on YouTube. This is an example of a good song (in my opinion!) changing, especially dynamically, with the participation of a group of musicians.

HR : Yes - it is a good song, I will vouch for that - I love the album - Time and Tide particularly. I would urge people to seek it out ... You’ve touched briefly on your hearing, and having to work around that these days - You’ve found a new love for performing , so apart from your ‘altered soundscape’, is it a different experience to when you were playing at first?

BP : Very different. In some ways I am more confident as I have a better idea of what I am doing these days. I can draw on a lot of material from my back catalogue. When I started I was too nervous about introducing my own songs into the act, and our focus was in being creative with other songs which we liked. I always tried to make some kind original statement in the interpretation of other material. That is something which continues today. I enjoy performing R&B tunes, for example - but if you want to hear the familiar arrangements get a juke box or go see a cover band! These days I love contact with the audience. Some musicians are less comfortable in a stage environment and just get their heads down and play, probably speaking very little. We don´t do lasers and dancing(!) but there is a performance element, which I like. Bruce Springsteen has talked about a time required to psych himself up, to go out and “be Bruce Springsteen”. I identify a lot because there is a zone which I find I must enter in order to pull it off. It´s a “front man” thing, probably.

HR : Haha! You know, I have learned over the years not to invade a ‘front man’s’ zone before he goes onstage ... I’m not sure people who haven’t grown up around the business ever truly appreciate what it takes to psyche yourself up, but - we’re onto at least the 3rd different theme if we go down that road now! Which, talking of 3rds, brings us nicely to your 3rd album - “Traveller” - which you’ve mentioned a couple of times there. It’s just been released, and is sort of a retrospective collection of songs about your own journey through life ... was it an emotional album to make?

BP : Well I am not sure it is ALL about my journey through life. Some of it has to be of course, but I wanted it not only to be about an individual experience but through character songs, which most are, to reference a commonality. You must have experienced that thing of thinking “I wonder if other people have felt this way? “ ... This is personal, individual, as I perceive it, but with millions of people on the planet I can´t be “the only one”. Some of TRAVELLER was personal and emotions do come into play, yes . I had a lot of material so the final choice of songs, the sequence, even the time between tracks was something I paid a lot of attention to. In an age where few people play an album right through and listen as we used to, this was perhaps, superfluous, but I wanted the experience to be there for anyone who elected to listen in this manner. HR : How did you decide on which tracks, or journeys, to include?

I had around fifty songs - some accumulated over time and others newly written. I had the song “Traveller” and had wanted to loosely base an album around the idea of each of us being a traveller and that each of life´s experiences may be perceived as a small journey, each of which contribute to our life story and the greater journey. My task then was to choose songs which would reflect some of these experiences. I knew right away that I could reference various musical styles - dip into musical waters I have sailed in, and that this might enhance the sense of variation in our experiences. I threw out any ideas of chronology right away. It is not, nor is it meant to be, my life story. The label calls it an “acoustic road movie” and I like that. My deliberations regarding sequence was about taking the listener through a series of moods. The opening song “Land of the Night Games” is about falling into the dream state. Dreams do not follow any conscious logic. They just are. I wanted to start with this as a preparation. To give myself and the listener permission to go anywhere. In this way themes like sex, loss, our spiritual quest, death, faith, joy, reflection etc. can be explored whether I have written from a personal perspective or in character, which I do quite a lot. “Angel of Death” for example, is not about me, although each of us will cross that bridge eventually. I could talk at length about how this came about, as I could with each of the songs if time and space would allow. I am not sure how important or even interesting this would be. Suffice to say that there was a song called “Oh Death” which was part of the African American blues / folk story which I never forgot. Library of Congress stuff. Alan Lomax was the Marco Polo of American folk music. Without his obsession and tireless enthusiasm we would have none of these recordings. There is more to this shit than Robert Johnson!

HR : HAHA! Well, musically, I think it’s fairly eclectic - for anyone wishing to check it out, there’s some blues, rock n roll, funk, a good helping of classic rock, some great guitar work, it’s a little jazzy in places, with a hint of country, and even a ‘nod’ to Bruce Springsteen - generically the influences are clear, but how much have you been influenced by other musicians?

BP : Now we are into an area I enjoy talking about, because this relates to my own journey! I have inevitably been influenced by everything I have heard. I have been required to play in different styles / situations so I guess it is not too difficult to slot into different genres. As a writer my only limitations are to do with technical ability. First and foremost I am a music fan, so when I am noodling and something comes up, some kind of shape, I try not to hinder the process. I try to get Brian out of the way and listen. At some point I might think “ah this is kind of an R&B thing”. The task then becomes trying not to be too generic - not to churn out a musical cliche´. On TRAVELLER I had no problem developing the songs consciously drawing upon different genres - so that “Slow Riding” for example is absolutely recognizable as coming from a “soul” tradition, but hopefully with modern production values and some arrangement features which are not purely from that time. Your comment about different styles on the album is precisely the obstacle which kept labels from getting involved in the 80s and beyond. “We don´t know how to market you. Are you Rock? Blues? Soul / Funk? Prog?” The answer would have been “yes” .

HR : At least you have the freedom to create now ... We talked earlier about your musical peers in the 70s - many of whom WE, the fans, would call our ‘heroes’, but I guess to you they were just friends - so beyond them, have you any defining moments where you’ve met or worked with the people you’ve looked up to? BP : It is always great to play with people who are good at what they do. In my early teens I saw what you might call a “pop exploitation” film which included Little Richard and a clip of Gene Vincent doing “Be Bop-Alula” which galvanised me. Just a couple of years later I was playing with him. For a young musician it was like winning the lottery. I was and still am in awe of George Martin, from whom I learned a great deal. Peter Green was a good friend of mine back in the day, although we lost contact as he became increasingly withdrawn and suffered mental problems. A truly gentle soul - and I am glad that he is around and still playing. Herbie Hancock got up with my band a year or two after my solo album came out and blew us away. He only inspired me to practice! I worked with Eric Burdon, as you may know, and played a Wembley concert with him and Carlos Santana. I met Carlos and his wonderful band back stage and marvelled at what they were doing together. Their example of interaction is something I took away with me. Years later I wrote a Latin style tune - not really my forte ´style wise, but a good song and maybe I was drawing on the Santana experience. I think a writer is like a magpie ! Those birds steal things, and I strictly avoid that, but I certainly borrow stuff. I have contact to many people whom I hold in high regard. I met Albert Lee on a Jerry Lee Lewis session in the 70s and we catch up when he gets to Germany - He lives in California where some of my British musical friends (Tony Kaye, Brian Chatton ) are living. They hang out together certainly, but I am happily ensconced miles away, here in North Germany where I have a small circle of musicians as friends. Otherwise I meet some great musicians who come through to play the Music Hall where I live, including my big favourites - Little Feat, our friend Eric Burdon played here not long ago. I get to meet them when they come through but writing is mostly a solitary occupation, so I am pretty much in studio captivity. I do socialise a little and for example Blue Weaver, veteran keyboard man from the Strawbs, Bee Gees and before that, Amen Corner is a really good friend who lives here in the village. Not surprisingly he is on a couple of tracks of TRAVELLER , and he is my “go to “ guy if I have technical problems - He is way better than me with technology. A half a step away from being a gadget freak. He is always telling me of the new toys he has bought for his studio. So there are dinners and inevitable improv sessions.

HR : I saw that Blue is on the album too - It’s a really interesting record, and you’ve paid a great deal of attention to the ‘whole package’ - the artwork etc ... in a way you’ve referenced an answer to this question already. With regards to the way that people listen to, and experience an album in a digital age - do you feel that somewhere in the evolution music, we’ve genuinley lost something?

BP : Each generation believes that their time is the best. The young discover sex and somehow think they are the first despite the biological contradictions inherent in having parents! It is common for the older generation to be nostalgic and trumpet “It was better in our day!”. So maybe if we accept that knowledge as a given we might still consider that some things may actually have been genuinely better even when not viewed through the rose coloured glasses of age. So, yes, the packaging was definitely an attempt to provide an interesting visual aide as with some of the album sleeves from the classic rock times. There are the obvious examples among the “prog rock” fraternity. I designed a booklet with lyrics and photo montage illustrations, fully realising that most people today do not listen to music in the depth that we used to, much less sit reading the sleeve notes and illustrations. A 12 “ album sleeve was of course a better canvass to work on. I need glasses to read my booklet ! I hope the music stands up well alone. It is not in the Gothic / mock Classical style we might think of if we talk of “concept” albums, But I am fond of saying I have just released the last concept album - but hopefully it is not all too cerebral. I want the layers to be there if you look for them, but equally the listener can read the lyrics, comments and credits and just enjoy the pictures without seeking any explanation. In an age where everything is commodity music is not regarded as “art” by most people. It has to compete with video games, all kinds of apps and other entertainment options, so the sense of wonder has left the planet, and creative people are less revered. Folks mainly think that everything is digitally programmed! Few think about the writing I suspect. There is an interesting documentary on the late Tom Dowd, legendary producer of Coltrane, Aretha, Allman Brothers, Eric Clapton and many more. He could accept that times and methods change but lamented the fact that so little music today is performance driven. He talks about computers and plug ins from “Toys R Us” and the heavy use of samples etc. Understandably he maintained we have lost something. We have so many programmes and techniques used to recreate the sound and excitement generated in a time when the tracks were recorded live on analogue machines. It is supremely ironic.

I know I am being very “wordy” in my answer to this question. Simply put, I know that most download one song at a time and have little patience to sit and listen to an entire album created as a single piece of work. The concept is alien. Many cannot even listen to one song without looking at selfies on their cell phones, texting a friend. Multi tasking is seldom spiritual. People are not in the moment, are seldom able to do one thing at a time. The attention span of people these days is ridiculously short. I have noticed some people are incapable of listening to one song through without talking, interjecting . It is disrespectful to the artiste, of course, but people do not intend this.

I had a decision to make. In the face of some of negativity, people were saying “why produce a CD? Almost no one buys them” and “ Forget about doing a book. Who will read it? Put the information on your website if you wish. That way your true fans can access it-but otherwise forget it” ... I did the book despite this and the label love it, thankfully. I wanted to make some kind of statement. The album and booklet are there in one package should you wish to listen and experience the project as we used to. I doubt that I will do anything like this in future, although songs are already in the pipeline.

HR : Well I, and I am sure anyone reading this will also be interested in whatever you produce for us down the line ... but for now - do you have any great words of wisdom to impart to your fellow travellers?

BP : I do not really do “words of wisdom”! I have learned a little and this is a process which continues, however - these lessons are for me hopefully informing the way I spend my time. I practiced Buddhism for some years and became a leader in the lay organisation. At some point I realised that this was the biggest joke of my life - and the joke was on me. I had nothing special to impart to anyone else! I learned more about Spirituality, if you will, from alcoholics and addicts in recovery who had reached a point of acceptance and purpose through suffering. Most do not want to pay the price of love. If there is a reason for our being here I believe it is to learn to love. As we travel we understand “love” differently. It is quite hormonal when we are young. Later we might confuse sentimentality with love, or sympathy. There is no love without suffering, without sacrifice - but love is everything, I believe. Big topic. One for the book, perhaps. No words of wisdom for fellow travellers, then - I would merely say “Good luck” ...

#brianparrish #guitar #badger #prog rock #prog #rockhistory

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New Post has been published on https://toldnews.com/business/brexit-could-channel-ports-cope-with-no-deal/

Brexit: Could Channel Ports cope with no deal?

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With less than three months to go until the UK is due to leave the EU, attention is focused on how to keep vital trade routes across the English Channel flowing as smoothly as possible.

“I am expecting the channel ports to operate normally in all Brexit circumstances,” the Transport Secretary Chris Grayling told the BBC this week.

But in the event of a no-deal Brexit (the UK leaving the EU without any formal Withdrawal Agreement and no transition period), the government’s own advice contradicts him.

A statement issued by the Cabinet Office last month said that cross-government planning assumptions have been revised to show that, in a worst-case scenario, “there will be very significantly reduced access across the short strait [between Dover and Calais] for up to six months”.

The statement noted that, in a no-deal scenario, the EU would impose full third-country controls on people and goods entering the EU from the UK. The impact, the Cabinet Office said, would affect both imports and exports at Dover and Folkestone (home of the Channel Tunnel) because of the “frequent and closed loop nature” of the crossings.

Dover’s importance

So why has Dover become so integral to the UK’s economic system?

It is by far the biggest destination in the country for roll-on roll-off ferries (known as Ro-Ro, which means cargo is driven on and off rather than lifted by cranes). Dover handled 2.9 million units of Ro-Ro freight last year, most of which were lorries with drivers.

It is also the main access route for trade with the rest of the EU inside the single market. Lorries currently simply drive on and off ferries and are on the motorway within a matter of minutes.

But any lorries arriving from a non-EU country, such as Switzerland, are subject to longer delays.

“If customs don’t want to check anything, that would [still] delay the vehicle by about an hour or an hour and a half [while the driver waits for a decision],” Andrew Baxter, the managing director of the freight logistics company Europa Worldwide, told a House of Commons Committee last year.

“If customs wanted to do a documentary check, that could delay it by up to three hours, and if there was an inspection of the goods, that could delay it by up to five hours,” he added.

Even though such checks are in the low single digits in percentage terms, it doesn’t take much for long queues to develop in the tight confines of the port of Dover.

That’s why the government says that, in the event of no-deal, it would minimise checks at Dover to the greatest extent possible and could, in theory, simply wave trucks through. But, as the Cabinet Office acknowledges, it cannot control what the EU will do on the other side of the Channel.

Six seconds

Supporters of Brexit, though, have said consistently that the threat of chaos at Dover has been exaggerated.

The Conservative MP Jacob Rees-Mogg has often quoted a statistic that it takes only six seconds to complete customs checks for goods arriving at the port of Southampton from outside the EU. There is, he has suggested, no reason why ports such as Dover cannot implement similar systems.

DP World Southampton, which operates the container terminal with the Port of Southampton, confirmed that customs declarations are processed in approximately six seconds, but it emphasised that, at that point, the cargo is not customs-cleared.

It normally takes about an hour for customs clearance to be completed after a vessel arrives at port, but crucially that depends on customs declarations and other documents being submitted “typically 2 to 3 days before” the ship reaches Southampton.

It is a system that works well at ports like Southampton or Felixstowe for goods arriving from the other side of the world. If a ship is at sea for several weeks, it gives companies plenty of time to get all their paperwork in order.

The challenge with Ro-Ro freight, which becomes more acute as crossings get shorter, is that you have less time to do that. On the 90-minute journey from Calais to Dover, with the sheer volume of traffic which uses that route, it is something of a non-starter.

Image copyright AFP

Other checks

One potential solution, according to Andrew Baxter, would be to force companies not to use Calais as a customs point for checking industrial goods, but to use inland clearance points instead, perhaps in the EU country of final destination.

“No one wants delays, on either side,” he said, “and we have to be practical.”

But EU law would not allow health and safety inspections for food and animal products arriving from a third country (like the post-Brexit UK) to take place very far inland.

They have to be carried out at designated Border Inspection Posts (BIPs), at the first point of entry into the single market, on 100% of products.

That has led the National Farmers Union to warn that parts of the British food industry could face ‘catastrophic consequences’ as a result.

The Environment Secretary Michael Gove appears to agree.

“At the moment there are no Border Inspection Posts at Calais,” Mr Gove told the Oxford Farming Conference on Thursday. “While we do hope the French take steps to build capacity there, that capacity is unlikely by the end of March to be generous.

“It’s a grim but inescapable fact that in the event of a no-deal Brexit, the effective tariffs on beef and sheep meat would be above 40%,” he added.

“In both cases about 90% of that export trade goes to the EU.”

And much of it is transported via the Channel Tunnel or from Dover to Calais by sea.

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Your guide to Brexit jargon

Rotterdam

If you have a huge amount of space, there are ways to try to minimise the problem of queuing.

Rotterdam in the Netherlands is Europe’s largest port, and some of the freight containers that are shipped there are inspected at a BIP more than 40 kilometres from the furthest arrival terminals, but still inside the port authority area.

Ro-Ro traffic is a little different, because the freight is accompanied by a driver and it is much more time-dependent, especially if lorries are carrying fresh produce.

But the efficiency of the system is – according to a spokeswoman for Eurofrigo, the company that runs BIPs in Rotterdam – one of the main reasons customers use that route for import and export.

Other UK ports

So, can other ports share the load, to take some of the strain off the systems in Dover? That is certainly part of the government’s contingency planning.

The port of Ramsgate has received plenty of attention in the last few days, with the well-documented news that a company which owns no ferries has been chosen to reopen the ferry route from Ramsgate to Ostend in Belgium.

Thanet District Council, which runs the port, believes it has the potential to support up to 24 ferry sailings a day, although initial plans are for far fewer crossings. Dredging of the harbour, to allow the ferry route to reopen, began this week.

Other ports could also increase their capacity for handling Ro-Ro traffic. About 10% of business at Felixstowe, the UK’s largest port by volume of trade, is currently Ro-Ro, and it could handle more.

But the journey time from Felixstowe to Rotterdam is about seven hours – much longer than the Dover-Calais crossing and therefore less convenient for just-in-time manufacturing processes, and more expensive. And even if Felixstowe traffic went up by 10-20%, that would only make up for a 1-2% reduction in traffic at Dover.

“I don’t think that ‘no-deal’ with zero mitigation measures for transport can work,” said Pauline Bastidon from the Freight Transport Association. “There’s no two ways about it. You can move trade to different ports, you can adjust your supply chain – none of it will be enough.”

Other ports are also concerned that they may not be ready to cope with extra traffic if it is suddenly re-routed from Dover.

Portsmouth International Port, for example, currently transports up to 500 lorries a day abroad. But local councils are worried about congestion and delays if extra traffic had to be handled in the event of a no-deal Brexit.

“The distance between the freight check-in desk at Portsmouth International Port and the beginning of the motorway is just 13 lorry lengths,” said a statement issued on Thursday by council leaders in Hampshire, “so a queue of 14 lorries or more would mean queuing traffic on the motorway.”

That reflects a broad consensus within the industry that there is currently no viable alternative to Dover, and that it will take time to change the system.

How long?

“Five to six months would be a reasonable time for things to settle down and for people to get used to new ways of working,” said Andrew Potter, a logistics expert at Cardiff University.

But ports like Rotterdam and Ostend would also have to implement EU checks, and there is also the question of costs. “Extra costs have to be paid somewhere,” Dr Potter said. “They either get passed on to consumers or they hit the profit margins of the companies involved.”

Image copyright Getty Images

No-deal planning

In the meantime, as Parliament prepares to vote next week on Theresa May’s Brexit deal, which includes a transition period of 21 months after Brexit when all the rules would stay the same, businesses are having to prepare for all possible outcomes.

As a supporter of Brexit, Andrew Baxter of Europa Worldwide is relatively unusual in the freight logistics industry.

He believes there will eventually be a Brexit deal to keep trade moving, but he has to make contingency plans just in case.

“I need to have a department with 40 people up and running for March 29th in the event of no-deal,” he said.

“I haven’t got it at the moment, and I’m starting now. We can’t wait any longer.”

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rickhorrow · 7 years

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15 TO WATCH: RICK HORROW’S TOP SPORTS/NEWS/BUSINESS/MARKETING/ENDORSEMENT ISSUES FOR THE WEEK OF FEBRUARY 13

with Jamie Swimmer

In sports, as in life, sometimes the biggest actions come from the smallest voices. Starting a week in which Nike launched its massive “Equality” initiative, designed to bring attention to racial justice,” via multipage newspaper ads starring LeBron James, Serena Williams, Megan Rapinoe, and Kevin Durant, and in a corresponding spot that aired during the Grammys, a New Jersey coed youth basketball team decided to forfeit its entire season rather than kick two female teammates off the team. After a New Jersey CYO league director handed down the ruling that a coed basketball team was not allowed in the boy’s league, players on the St. John’s fifth grade team voted unanimously to forego the season, according to NJ.com. “After the opposing team left the gym as did the officials,” the St. John’s team split up and scrimmaged each other…wearing #UnityGames T-shirts. In a time in which we need it more than ever, these youngsters didn’t just hypothesize that sports delivers unity. They proved it.

As the NBA gears up for its annual All-Star break in New Orleans, the Brooklyn Nets become the fourth NBA team to sign a jersey sponsor. According to SportsBusiness Journal, Brooklyn Sports & Entertainment announced a deal between the Nets and software company Infor. Sources close to the deal report that Infor will pay the team $8 million annually to have its patch on the jersey front. In addition to the patch, Infor will have a new branding presence throughout Barclays Center and the HSS Training Center in Brooklyn. This marks Infor's “first North American sports sponsorship.” The Nets now join the Philadelphia 76ers (StubHub), Boston Celtics (GE), and Sacramento Kings (Blue Diamond) as the only teams to have signed jersey sponsors thus far. Over the next three years, teams will evaluate the additional revenue, corporate partnerships, and activation opportunities and undoubtedly refine and expand the program. StubHub as a pioneer, GE as a blue chip company, and other corporations will weigh in to increase creative corporate participation in the NBA and other sports.

Golden State Warriors guard and Under Armour golden boy Stephen Curry usually stays away from political statements, but not this time. Curry publicly responded to comments about Donald Trump made by Under Armour Founder & CEO Kevin Plank. According to the East Bay Times, Plank shared with CNBC’s “Fast Money Halftime Report” that it “is a real asset for the country” to have “such a pro-business President.” The comments left Curry questioning whether or not Under Armour had changed its values. “Every mantra that I live by, they share that,” said Curry. “And so when you blur the lines of business and politics, there is an opportunity for things to get muddy.” Plank and Curry reportedly have since spoken to clarify any confusion, and Under Armour has moved quickly to cover its tracks. Regardless of party affiliation, sports messages and endorsements are highly visible, frequently watched, and largely misconstrued.

As pitchers and catchers prepare to report to spring training in Lakeland, Florida, Detroit Tigers fans and the sports industry prepare to mourn owner Mike Illitch. Illitch, who "rose from a humble west-side neighborhood to assemble a food, sports and entertainment empire that enabled him to return the Stanley Cup to Hockeytown, build both a new arena and a ballpark," passed away on Friday at the age of 87, according to the Detroit Free Press. Under Ilitch, the Tigers made two trips to the World Series and the Red Wings won four Stanley Cups. A private man, Ilitch bought the Red Wings in 1982, purchased the Tigers a decade later from Domino's Pizza Founder Tom Monaghan, and fought through complicated political and funding issues to get a the ballpark now known as Comerica Park completed. He also turned Little Caesars Pizza into a $3.4 billion business, "invested in downtown Detroit long before anyone else, and turned the Tigers and Red Wings into perennial contenders." This old school owner built a sports and community legacy that should serve as a model for generations of franchise owners to come.

Despite losing in heartbreaking fashion to the Patriots in Super Bowl LI, the Atlanta Falcons continue to sell PSLs at a high rate. According to The Daily, the team’s ticket sales for the soon-to-be-open Mercedes-Benz Stadium are still going strong into the offseason. “From the conclusion of the game through the close of business Monday, the Falcons received 560 unique inbound requests for PSLs and tickets at the venue.” That marker is the highest number of inbound ticket requests the day following a game all season, including playoffs. “In the same period, 256 PSL sales were completed online, the highest single-day online sales total since sales began.” The Falcons have now sold just over 76% of all available PSLs “and suite inventory is at 90% sold.” The new stadium is expected to be among the league’s finest – right up there with AT&T Stadium in Dallas and U.S. Bank Stadium in Minneapolis. The opening of Mercedes-Benz Stadium should continue the Falcons upward trajectory in value and league importance (regardless of the final 24 minutes of Super Bowl LI).

In preparing for the 2022 World Cup, Qatar faces a challenge that other host countries have shared: it needs to build not only soccer stadiums, but cities. According to the BBC, Qatar is spending an astonishing $500 million per week on major infrastructure projects in preparation for the 2022 soccer tournament. Qatar Finance Minister Ali al-Emadi confirmed this number and noted that he expects the spending to continue at this rate for “three to four years as new stadiums, motorways, rail links and hospitals are built.” In total, more than $200 billion will be spent by the Middle-Eastern country – far more than the 2014 World Cup in Brazil, which reportedly cost that country $11 billion. Al-Emadi expects all of the projects to be completed on time for the beginning of the tournament, though complaints about migrant worker conditions plague the Qatar building process. Precedent for the mega-infrastructure build: Dubai and Abu Dhabi were constructed almost overnight into two and four million respective populations. Oil money, enlightened development expertise, and world-class infrastructure propelled the United Arab Emirates – let’s see what happens in neighboring Qatar.

The British are making a significant investment to secure their first America’s Cup victory in 166 years. According to the London Times, racing star Sir Ben Ainslie has “launched the boat which he hopes will win the America’s Cup back from Great Britain.” The boat, named Rita, like all of Ainslie’s boats, was developed in collaboration with Land Rover and cost upwards of $125 million. The hope is that a combination of Ben Ainslie’s “proven genius as a racer, the best technologies harnessed from the British automotive industry and cutting-edge design can make 2017 a landmark year.” The boat has an “F-1-style” to it, with aerodynamic improvements created with the assistance of artificial intelligence that are meant to give the boat an advantage over its competitors. “The America’s Cup is the one we have never won,” said Ainslie. “It’s a bit of a sore point. We want to get the job done and bring the cup home.” When countries throw substantial infrastructure, public support, and funding toward a sport, success usually follows (see Chinese gymnastics). Interesting to look forward to British sailing and Tokyo 2020.

In wake of the nation’s state-sponsored doping scandal, Russia is set to be banned from this summer’s World Para Athletics Championships in London. According to the London Telegraph, Russia was expelled from the “International Association of Athletics Federation’s version of the event” following its orchestration of the “biggest doping scandal in history.” The scandal plagued Russia in its build-up to the 2016 Rio de Janeiro Olympics this past summer as well. While a final decision on this matter will not be made until May, the Russian Anti-Doping Agency would need to be declared compliant with the World Anti-Doping Code before the event takes place if it wants to participate, which is not possible; the earliest RUSADA is expected to be "declared compliant" with the WADA code is November. The head of the World Athletics Championships said he now "backs Russia’s exclusion from the event because of the country’s continuing refusal to admit that it had a state-organized doping system." Hopefully, the bans are not met with controversy, denial, and political intrigue. Rather, a common vision toward credibile antidoping measures and long-term cleanup.

The Golden State Warriors are the best team in basketball and their ticket prices reflect just that. According to ESPN.com, the Warriors are “raising ticket prices once again,” with increases coming between 15-25%. A courtside seat will now cost you $715, up from $625, while the cheapest seat in Oracle Arena will rise from $32 to $40. At the start of the Warriors' "recent run of success," the 2014-2015 title season, the "cheapest season-ticket price seat was $18, while courtside was $450 a game." The team’s season-ticket holder waiting list is growing at a similarly fast clip – more than 32,000 people are now waiting for season tickets. “It is the cost of doing business,” said co-owner Joe Lacob. “We have a great product and we have to pay for that product…As long as our fans want that product and we can deliver it, we’re going to do what we can.” As the Warriors continue to improve on the court and begin building their new San Francisco arena, look for variable pricing and other methods to allow consumer choice.

Sources close to the Chicago Bulls have confirmed that the team’s front office duo of John Paxson and Gar Forman “are safe” through at least next season. According to the Chicago Tribune, Paxson, Executive Vice President/Basketball Operations, and Forman, General Manager, have been under fire over the past few years following the Bulls’ underwhelming results. A source added that the Reinsdorf ownership trusts Paxson and Forman to the point that the two would keep their jobs “even if the Bulls miss the postseason for a second straight season.” The Bulls missed big on free agency years ago when they signed Carlos Boozer instead of LeBron James, and the team’s signing of Rajon Rondo this past summer has been nothing short of controversial. “I don't know how they still have their jobs today," said Steve Rosenbloom of the Chicago Tribune. “This doesn't sound like happy news for Bulls fans hoping to see another championship in their lifetime.” The Bulls’ Michael Jordan legacy is safe, but other iconic franchises have built long-term success stories as well. Hopefully for Chicago, the Bulls will find a way to get back to the top of the basketball mountain.

The upstart Drone Racing League has a new sponsor: German insurance group Allianz. According to the London Times, Allianz reportedly signed a sponsorship deal with the DRL worth more $10 million over two years, with plans to further “extend the partnership over five years.” Allianz is a very active sponsor of numerous sports leagues and teams across the world; its portfolio “currently includes Saracens rugby club, Formula 1, Bayern Munich and stadia across Europe.” The DRL currently airs on Sky Sports and ESPN and has Miami Dolphins owner Stephen Ross signed on as a key investor for the American start-up. Founder Nick Horbaczewski described the deal with Allianz as a “huge milestone” for the league, which continues to gain popularity globally. “Allianz brings an incredible brand and brand credibility to the sport, so I think it is a major legitimizing moment,” said Horbaczewski. Look for the Drone Racing League to be one of the fastest growing “niche sports” on the landscape in the next 3-5 years: venues, sponsorships, television, etc. All of the right ingredients.

The San Diego Chargers are officially gone, but that void may soon be filled by an MLS franchise. According to the San Diego Union-Tribune, San Diego State has been “relatively quiet” on a proposal from a group of local investors to build an MLS stadium in San Diego. The proposed stadium would seat 30,000, but pushback against the plan call it “settling,” and that it is “small-time.” The SDSU football team “averaged 37,289 over six home games,” thus exceeding the capacity for the new stadium if built to its planned size. SDSU played a game at Qualcomm Stadium this past season, and the crowd of 35,000 made the game “seem like it was being played inside a library.” “We’re still discussing what that top end is going to be. It will be expandable to 40,000. That will be in the plan as we work with the architects and we lay out what the stadium site will look like,” said SDSU AD John David Wicker. Look for increased political momentum to support this project, especially since the San Diego region may view this as the “last great chance” to build a new facility to attract/keep major sports events.

The Chicago Cubs’ success has directly translated into more business for Wrigley Field. According to Crain’s Chicago Business, Wrigley Field is near its limit for night events in 2017 after adding a Lady Gaga concert recently. The historic baseball stadium has “nine concert dates on the docket for this summer, breaking last year’s record of seven.” Adding night concerts might appear to have no direct effect on the Cubs, but this now leaves the team “little wiggle room to add night games this season without having to give up night games in 2018 under terms of a city ordinance.” The city ordinance states that the Cubs can only schedule up to 35 night games or night events each season, so every night concert added means one less night game for the reigning World Champions. As it currently stands, the Cubs have 29 scheduled night games, “meaning the five extra concerts put them at 34 night events for the year.” Inevitably, the Cubs are the “biggest thing in Chicago.” The organization predictably attempts to capitalize on the goodwill, though the neighborhood location of Wrigley Field provides economic, physical, and logistical challenges.

The Olympics will be without longtime host Bob Costas going forward, ending the primetime host’s “record-setting run that saw him host 11 Games” for NBC since 1992. According to SportsBusiness Journal, Mike Tirico will replace Costas starting with the 2018 PyeongChang Winter Olympics. Costas is speculated to remain a part of the Olympics though, from producing some special pieces to adding voice-overs to some stories. NBC Broadcasting & Sports Chair Mark Lazarus confirmed that Costas will be taking a significant “step back” in terms of his day-to-day role, though he will remain as one of the network’s key talents for its “big and iconic events.” “This is a great way to pass the torch from one iconic figure to someone who’s on his way to becoming an iconic figure in the sports broadcasting world,” said Lazarus. Costas had been planning on reevaluating his role with the network for years, but thought it would be best to stay committed through the 2016 Rio Olympics. Enberg, Scully, Musburger, Gowdy – Costas. Hopefully, the next generation of “iconic broadcasters” can live up to this legacy.

Following a horrendous 1-15 season, the Cleveland Browns will reduce season ticket costs by 40%. According to the Akron Beacon Journal, this coming season will mark the eighth time in nine years that the team will not raise ticket prices. The Browns will now rank “either 31st or 32nd in the NFL for season-ticket prices per game this year.” Meanwhile in Chicago, the Bears are raising ticket prices following two years of stagnant prices. Most Soldier Field sections will receive a 1-4% price increase, while “some will see a price decrease.” The increase comes to the displeasure of many after “each of the final four homes games were played before at least 10,000 empty seats at Solider Field.” The Los Angeles Rams, finally, informed season-ticket holders that prices will not go up at the L.A. Coliseum. Prices are expected to "increase dramatically" in 2019 when their new $2.6 billion stadium opens, which will include the cost of PSLs. Good to see that the ticket market bears some resemblance to on-field performance (at least in Cleveland). Obviously, the pricing will go “through the roof” in Los Angeles when the new stadium opens. As for Chicago, raising prices after last year’s performance merely means that the Bears have new incentives to turn their on-field performance around.

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nowtravel · 3 years

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HOW TO SPEND THREE PERFECT DAYS IN ATHENS

I’m obsessed with Greece.

From the moment I stepped foot in this beautiful country, it was love at first mouthful. There’s something about Greece feels so healing. Being there calms my overactive mind, soothes my worries, and leaves me feeling healthier and stronger than ever. And the food? I’ve been to over 90 countries and Greece is my number one destination for eating.

I believe Athens is one of the greatest European cities out there, and it’s the perfect destination for a city break. This city is magnificent! With great street art, incredible food, colourful neighbourhoods, and so much history, there really is something for everybody.

I think three days is the perfect amount of time to spend in Athens, so today, I’m excited to share exactly how you can do so.

DAY ONE: BEGIN DIVING INTO ATHEN’S HISTORY

The first thing you should do in Athens is a no-brainer: buy your combined ticket.

What’s that?

Well, it costs €30, and for that, you’ll gain access to all of the main attractions in Athens, including the Acropolis. Not only will you get to explore the most famous site in the city, but you’ll also be able to enter the Ancient Agora, Roman Agora, Hadrian’s Library, Aristotle’s School, Kerameikos, and the Olympieion — you can visit each of these once over a five-day period, and you can buy the ticket at the entrance to any of them. I bought mine from the Ancient Agora. You’ll save a whole bunch of money by doing this, so the only reason not to get the combined ticket is if you think you’ll only want to see one or two of the attractions.

As we were serenaded by the screeching sounds of a teenager learning to play Despacito on his accordion, we queued up at the Ancient Agora to buy our ticket.

The Ancient Agora was built in the 6th Century BC and was once the centre of life in ancient Athens. Used as a marketplace and gathering spot, this was where you’d have found people like Socrates, Aristotle and Plato casually wandering around town. Almost all of the commercial, political, and social activity took place in the ancient Agora, so this is a hugely important area to check out.

We kicked off our explorations with a wander around the Temple of Hephaestus, which is the best-preserved temple in Athens. And it sure was impressive when you consider that it was built in 415 BC — it was in great condition, as you can see from my photo above.

The views were pretty acceptable, too.

Aside from the Temple of Hephaestus, the Ancient Agora is also home to your standard ruin remnants: collections of rocks, stumps, and fallen-down walls, hinting at the temples and stalls that would have once stood here. But, as always with ruins, you’ll have to use your imagination, because it is still a pile of rocks on the ground.

There’s the Stoa of Attalos here, too — built in the 2nd Century BC, although since reconstructed — which currently acts as a museum for the Ancient Agora. And the Byzantine Church of the Holy Apostles, which was built in 1000 AD, is one of the few structures in the Agora that’s still standing.

Before arriving in Athens, I kind of assumed it would feel like a poor man’s Rome, but at this point, I was well and truly eating my words. Athens was pretty goddamn awe-inspiring.

Next, you’ll want to make your way over to the Kerameikos Cemetary, which is another site that’s included in your combo pass. This spot was one of the most important regions of ancient Athens. Once used as a neighbourhood for pottery and painters, it was the place where those famous Athenian vases were produced.

It was later transformed into a cemetery: one of Athen’s most important.

As you walk around the site, you’ll also be able to spot pieces of the Themistoclean Wall, which was built in 478 BC to protect the city from the Spartans.

I’m convinced that it’s impossible to have a bad meal in Greece: their cuisine is too delicious to mess up. I’ve yet to have a meal that wasn’t excellent in this country, whether I’ve been sat beside a congested motorway in the middle of nowhere, snacking at a taverna on a yacht in the Ionian, or dining in the most touristy parts of Athens.

The latter was exactly what we opted for at lunchtime, and it should have been terrible.

I settled on the most touristy restaurant on the most touristy of streets, with touts outside, and a menu in English with photos of the dishes. What can I say? We were starving by this point, so decided to give in and eat an overpriced, poor meal.

Except it was amazing! Because Greece.

While I wouldn’t necessarily recommend heading to a touristy restaurant for any of your meals in Athens, I suspect you won’t be all that disappointed if you do end up there. Eat anywhere in Athens! It’s always going to be delicious.

With stomachs satisfied by kebabs, we set off to hit up the second Agora in Athens. The Roman Agora was built in the 1st century BC, financed by Caesar and Augustus, and like the ancient Agora, was used as the city’s marketplace. You enter the site through the Gate of Athena Archegetis, which was built by Julius Caesar and dedicated to the goddess Athena.

The most well-known and well-preserved building is the Tower of the Winds: a large octagonal marble tower that functions as a sundial, weathervane, and water clock. It’s believed to be the first meteorological station in the world, and worth having a look inside.

One of my favourite neighbourhoods in Athens was Plaka, so you’re going to want to head there after the Roman Agora. If you’ve been to Athens before, you’re probably not surprised to hear Plaka was one of my highlights — everybody who visits this city falls in love with this neighbourhood! You could spend hours wandering around its photogenic streets.

Plaka is all about clean colourful streets, bustling cafes, and amazing places to eat. It’s popular with visitors, but busy for a reason, and I still loved spending an afternoon cafe-hopping through the picturesque streets and taking photos of all of the colours.

While you’re in Plaka, you have to check out Anafiotika’s white-washed buildings and narrow streets for an insight into what Greek island life is like. The buildings look a lot like what you’ll find on Santorini.

Grab dinner in Plaka or in a restaurant overlooking the Acropolis. You’ll have an early start tomorrow, so you’ll want to get an early night.

DAY TWO: ALL ACROPOLIS, ALL THE TIME

Against popular belief, I highly recommend saving the Acropolis for your second day in Athens. As tempting as it is to head straight to the most iconic building in the city, there’s several reasons why you should hold off until later.

Sunrise is the absolute best time to see the ruins, and who wants to spend their first day in a new city waking up at 6 a.m.? Not me! On top of that, the Acropolis is going to make every other site in Athens pale in comparison, so I recommend not hitting it up on your first day.

We got to the southeast gate at 7.30 a.m., half an hour before it opened at 8, and this turned out to be the best decision we could have made. When the gate opened, we rushed past everyone else, ignored every ruin and attraction near the entrance, and focused solely on racing up the hill.

Our determination paid off because we had the entire complex to ourselves for a solid five minutes. In this age of overtourism, getting to marvel over the Acropolis with nobody else around felt magical.

Below is what the entrance to the Acropolis looked like when we reached the top, with just Dave in the photo, and below that is what it was like half an hour later. Yes. Half. an. hour. later. It was unbelievable how many people ascended the hill in such a short period of time.

In short: the southeast gate at 7:30 a.m. — it’ll allow you to see the site without anybody else around.

Yikes.

I recommend avoiding the main gate in favour of the southeastern gate, which is close to the Acropolis Museum. Queues will be much smaller at the southeast gate, so you’ll be able to make your way to the top of the hill before everyone else.

When you reach the Acropolis, snap a couple of photos then take a moment to appreciate what you’re witnessing, rather than checking it out from behind a camera.

Several minutes later, it’s time to start bracing yourself for crowds.

The Acropolis is the name given to the complex on top of the hill, and it’s made up of several individual buildings.

There’s the Temple of Athena Nike, the iconic Parthenon, the Old Temple of Athena, the Legendary Olive Tree of the Pandroseion, the Porch of the Caryatids at the Erechtheion… and on your way down, the Odeon of Herodes Atticus.

Oh, and while you’re exploring all of the monuments on top of the hill, make sure to wander off to the sides to snap a photo of Athens from above. They ended up being some of my favourite photos from my time there.

Something that sounds boring but isn’t is the Acropolis Museum, and I recommend spending a couple of hours there.

As someone who identifies as a museum-avoider, I listened to the recommendations of everyone who had been (they insisted I go inside!), and made myself check it out. And I loved it. The museum houses tons of sculptures unearthed from the Acropolis and it was fascinating to check them out.

You’ll also get to learn about how my country took the Parthenon Marbles, plopped them in the British Museum, and refuses to give them back to Greece. Awkward.

Head to Syntagma Square next to watch the changing of the guard. This takes place every hour on the hour, so attempt to time your visit perfectly. The guards wear fun outfits, march around in unison, and generally make for interesting photos.

From Syntagma Square, wander over to the enormous National Archaeological Museum to get your history on. Again, I’m not a museum fan, but this one was seriously impressive and complements the ruin-themed explorations you’ve done so far.

When you emerge from the museum, you’ll be in the achingly cool Exarchia neighbourhood, where I chose to base myself in Athens. And I loved this neighbourhood. Even if you’re not staying there, it’s well-worth a wander and meal in the evening. So many great restaurants and bars! I especially recommend Atitamos for Cretan food and Giantes for excellent meals all round. I ate at both multiples times while I was in the city.

DAY THREE: EVERYTHING ELSE

We’ll keep this day more chilled out and spend most of the day crossing off the final remaining attractions on your combined pass. By this point, you’ve visited the Acropolis, checked out the Ancient and Roman Agoras, and still have a handful of attractions to explore. Fortunately, unless you’re huge on ruins, these can all be seen fairly quickly.

Start your day by heading to Monastiraki for some ruins, architecture, and shopping. If you’re looking to stock up on tat souvenirs, this is the place to come. Opposite the Monastiraki metro station, you’ll find Hadrian’s Library and the Tzistarakis mosque — the former was built in 132 AD by Emperor Hadrian, and was the largest library of Athens. Today, it’s little more than a handful of columns, but you get free entry with your combo ticket, so it’s worth a wander around.

Beside the library is the mosque, which was built during Athens’ Ottoman rule.

Next, head to Hadrian’s Gate for the picture-perfect photo of the Acropolis framed by the archway. I loved the photo I snapped of this view! Just beside the gate is the Temple of Olympian Zeus, one of the largest temples in ancient Greece. To give you an idea of its size, in my photo, you can see just 15 columns. When it was built, there were over a hundred.

From the temple, wander over to the Panathenaic Stadium to check out the world’s only stadium that’s built entirely of marble. Built in 330 BC, it was also home to the first modern Olympic Games, way back in 1896.

If you’re anything like me, you’re probably well and truly tired of staring at archaeological marvels, so grab a souvlaki from Monastiraki and head to the National Garden for a relaxing stroll and rest.

If you were to ask me which of the sites from the combined ticket aren’t worth it, I’d have to go for Aristotle’s Lyceum. The ruins are far from impressive, relative to everything else you can see in Athens. The only reason to go is to see somewhere of great historical significance. This the school Aristotle founded in 335 B.C. and later taught at, along with Isocrates, Plato, and Socrates.

These days, it’s simply a bunch of rocks on the ground, so you likely won’t spend too much time staring at them.

To round off your time in Athens, you’re going to want to head to Mount Lycabettus to get one of the best views over the entire city.

If you’re into walking, go for the hike to the top. It’ll take around 20 minutes, but the path is pretty steep. Otherwise, you can take a cable car or taxi to the top.

This is the perfect spot for sunset, looking down over the Acropolis and the sea.

And that’s how to spend three days in Athens!

WHAT TO KNOW BEFORE YOU VISIT ATHENS

August is the worst time of year to visit: Sorry, but it’s true! Like much of Europe, Athens is at its worst in Europe. It’s overwhelmingly hot, crammed full of tourists and cruise ship passengers, and most of the locals have left in search of cooler climates. It’s not going to be a disaster if you do visit in August, but keep in mind that it’s going to get pretty uncomfortable as you explore those ruins in the heat.

I visited in mid-September and thoroughly enjoyed my time there. It wasn’t too hot, there were plenty of locals around, prices weren’t extortionate, and the masses of European tourism had dissipated for the start of school.

There’s Uber in Athens: That always makes getting around a less stressful experience! I used Uber to get from the airport to my hotel and from my hotel to the bus station when it came time to leave. No problems with either experience! There is a Greek equivalent called BEAT, which might be worth downloading before you arrive in the city. It has more drivers available than Uber, so if you plan on taxiing your way around town, could help save some time.

Sundays in the low season is where it’s at: Here’s a fun fact for you! On every Sunday, between 1st November and 31st March, all of the main attractions in the city (including the Acropolis!) are totally free to enter. If you’re down for some low season travel, that’ll save you a bunch of money.

Consider the metro: I really enjoyed using the metro in Athens! It was clean, easy to navigate, and cheaper than taking Ubers all over the city. A one-way ticket on the Athens public transport network costs €1.40 and allows you to use any method of transportation for 90 minutes. A day pass comes in at €4.50. The best value pass, however, is the €22 tourist pass. Valid for three days, it entitles you to unlimited travel around the city over that time, and includes a round trip to and from the airport. You can pick up your pass at the bus and metro ticketing area at the airport in the arrivals hall.

Traffic can be wild: I found the streets of Athens to be fairly chaotic for a European city, but it was nothing too outrageous. Just enough that I wouldn’t recommend renting a car while you’re in the city.

I felt safe in Athens: Athens has a bit of a sketchy reputation, but I found that to be outdated and false when I visited. I walked around on my own all the time in the city and never experienced any hassle or stress. Take the same precautions that you would at home and you’ll be fine.

Don’t forget travel insurance: And finally, I’m a firm believer that if you can’t afford travel insurance, you can’t afford to travel, and this holds true for every country in the world.

Travel insurance will cover your costs if your phone gets pickpocketed on the Athens metro, offer compensation if your flight gets cancelled, pay for you to replace your lost luggage, cover your medical bills if you get struck down with appendicitis, and ensure you don’t face any emergency travel costs to get back home for a family emergency. Nobody likes to think about things going wrong on their trips, but travel insurance is a must to ensure you’re not out thousands of dollars if the worst case scenario comes true.

I use and recommend World Nomads travel insurance for visitors to Athens. They’re a great company who have always been easy to contact whenever I’ve been facing difficulties on the road, have never given me any issues when making a claim, and I’ve been happily paying for their coverage for eight years of travel and counting.

I’ve had to make two separate claims with WorldNomads over that time — once when I dropped and smashed my new phone in Thailand (they covered the cost of repairs) and once when I crashed a rental car in New Zealand (they paid the $1,5000 damages, without me needing to pay any fees or excess!)

HAVE YOU BEEN TO ATHENS BEFORE?

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hermanwatts · 4 years

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Sensor Sweep: Pulp on Pulp, Sabatini, Jirel, Weird Westerns

New Project (Misha Burnett): A reminder that the collection of essays that Cheah Kit Sun and I are putting together is open for submissions. I don’t know that Pulp On Pulp will be its title when it comes time to publish it–I just needed to call it something. I am looking for essays from writers, editors, reviewers, and readers of fiction on the subject of what makes fiction fun. The emphasis should be on practical considerations–do this, don’t do that.

Writing (Amatopia): I recently put up a huge blog roll of sites I read and authors I want to spread the word about. Problem is, lots of them didn’t have websites or blogs to link to! Sure, there are alternatives. For example, I linked to many Amazon pages, either for the author or a particular book. But an actual web presence can make an author seem more official, and in the indie world, this is very important.

Review (DVS Press): Brian Niemeier’s new book is out now, and it’s a number one best seller. Let’s address one 100 IQ level comeback I see frequently when talking about shutting your wallet to the mega-corporations who not only don’t give a shit about the franchises that you grew up with, but actively hate you and your culture and want it (and you) dead: bUt yOu Use AMaZon/yOuTUbE /fAcEbOok/PAtreON.

Popular Culture (Wasteland & Sky): As you can see from the photos in this post, normal people were all over the arcades at its peak in the late ’80s to early ’90s. I know, because I was there. When the most creative and successful games from Double Dragon and Final Fight, to Mortal Kombat and Street Fighter, to Time Crisis and Dance Dance Revolution, were around, arcades thrived. By the end of the ’90s, the crowds got smaller as the games were shifting to home consoles. Normal people left, and developers abandoned the subculture.

Fiction (DMR Books): When I wrote my first post about Rafael Sabatini and his swashbuckling fiction, the concept for a series about the “Forefathers of Sword and Sorcery” here on the DMR Blog was still merely a glimmer in my eye. As with Arthur Machen, it’s high time Sabatini received his own entry. In this post, I try not to retread too much ground. For a more complete picture of the man and his work, I recommend that you check out “Rafael Sabatini: King of the Swashbucklers”.

Westerns (Brain Leakage): it’s not hard to see the appeal of stories about rugged loners living by their own rules. Nor is it difficult to see the appeal of books and movies that dwell on the majestic beauty of wide open spaces. Above all, Westerns are stories about personal freedom. After so many weeks being told where we can and can’t go, how close we can and can’t get to people, and what businesses we are and aren’t allowed to patronize anymore, who can blame viewers for looking to John Wayne, Clint Eastwood, and Yul Brenner for a little cathartic release?

Weird Western (Marzaat): There are new additions to the Weird Western subgenre all the time in games, fiction, comics, and movies. I’ve been interested in it for decades, starting with old Twilight Zone comic books and the Clint Eastwood movies High Plains Drifter and Pale Rider. The trouble is that, while I haven’t looked at every single example of the subgenre, I have sampled quite a few and most have been disappointing. For me, that disappointment comes in three areas.

Art (Broadway World): The Frank Frazetta The Serpent (aka “Aros”) Paperback Novel Cover Painting Original Art (Paperback Library, 1967) and Bernie Wrightson Mary Wollstonecraft Shelley’s Frankenstein Front Endpapers Illustration Original Art (late 1970s) sparked furious bidding to lead Heritage Auctions’ Comics & Comics Art Auction to $9,099,710 in total sales April 30-May 3. So strong was the demand that the Dallas-based auction raced past its pre-auction estimate of just over $7.3 million and boasted sell-through rates of 100% by lots and value.

D&D (Jeffro’s Space Gaming Blog): Magic is way more interesting. Tons of off the wall spells get used. Having to find magic the AD&D way creates one of the best incentives to adventure ever made. Success here– finding even two or three new first level spells– can fundamentally change the nature of the game and the balance of power between the first level classes. Exciting! With three big books of monsters instead of a “pure” edited down list of archetypes, the players run into something they’ve never seen before almost every session.

Art (Mens Pulp Mags): David is, among other things, an aficionado of men’s adventure magazines (MAMs). So, he knows that Eva is the most widely-recognized female artist’s model in the MAM genre, in addition to being a popular pinup photo model featured in various types of men’s magazines from the mid-1950s to the 1970s. He also knows that Steve Holland is the most famous male model in the realms of both MAMs and paperback covers. Holland is particularly well known for being the model artist James Bama used for Doc Savage, in the cover art Bama did for the Bantam paperback series.

Sword-and-Sorcery (Legends of Men): What makes this story bad is first and foremost the prose. Phrases are repeated in ways that only seem like that of an amateur author. In the opening scene, Jirel storms a castle and impatiently calls for Giraud’s head. Twice more we are told how impatient she is. This sort of repetition is rampant. More importantly, C.L. Moore does not follow the best practice of “show, don’t tell.” Rather than showing us that Jirel is brave Moore just writes “she was not afraid.” This frequent and another example of how the author comes off as an amateur.

Video Games (That Matt Kid): Conan has had quite the bumpy ride in his transition to the video game world. Let’s revisit some of the earliest titles in the barbarian’s gaming adventures.

Pulp Magazines (Don Herron): ere’s a shot of Kong emerging from an alley next to a news agent shop. More mags. The big model allowed panoramic shots and flyovers, but the level of detail extended to street scenes as well. Those shots are rich in every way. Relevant to our interests, there are numerous shots of newsstands, featuring a variety of magazines, including pulps.

Streaming T.V. (Running Iron Report): The world was living for real in the shadow of the fictional prophecy that forms the bedrock of Showtime’s new horror tale, Penny Dreadful: City of Angels: City of Angels is built around the seething racial tensions that simmered just below the golden surface of Los Angeles through most of its history. The planned Arroyo Seco Motorway (eventually the 110 Freeway running from Pasadena to downtown Los Angeles) will displace a Mexican-American neighborhood, just as the construction of Dodger Stadium would clean out Chavez Ravine two decades later. Nazis are infiltrating the film studios and the aircraft manufacturing plants.

Review (Paperback Warrior): After the pulp magazines disappeared, they were largely replaced by a more gritty and realistic magazine genre collectively known as Men’s Adventure Magazines (MAMs). These glossy, color publications featured stories and artwork by the same people servicing the men’s paperback original market in the 1950s and 1960s. Magazines like Adventure and Real Men were filled with colorful illustrations and stories designed to appeal to working class men returning home from the wars of the Mid-20th Century.

Fiction (DMR Books): Gustave Flaubert died on this date in 1880. While most famous for his novel, Madame Bovary, and dubbed “The Father of French Literary Realism”, Gustave nonetheless had a strong influence on the early formation of sword-and-sorcery. Salammbo–published in 1862–is loosely based upon the events following the First Punic War. The Carthaginians had lost their war with Rome and then decided to stiff the mercenaries who had fought for them. Predictably, mayhem and atrocities ensued during what has been dubbed the “Mercenary War”.

Fiction (Dark Worlds Quarterly): Fire Hunter (1951) by Jim Kjelgaard follows Hawk, chief weapon-maker for his tribe, as he makes innovation after innovation and leads his tribe to survive sabertooth tigers, rival tribesmen and grass fires. It was illustrated by Ralph Ray. Kjelgaard, who is best known for his Big Red dog books, serves up a fascinating tale of cavemen and invention that is plausible for the time but filled with action and adventure too. He attempts Burroughsian fantasy but strives for plausibility in a way that Jean Auel will make best-sellers of in thirty years. The film 10,000 BC should have used this story.

Gaming (Pelgrane Press): There’s value in seeing how a hero you know translates into Swords of the Serpentine, especially when that hero changes over time. SotS lets you play fledgling (less experienced) and sovereign (exceptionally experienced) versions of the same character, jumping back and forth in time between adventures in the same way a collection of fantasy short stories might jump between different eras of the same hero’s life.

Sensor Sweep: Pulp on Pulp, Sabatini, Jirel, Weird Westerns published first on https://sixchexus.weebly.com/

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beege-blog · 4 years

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Valencia 2014 (8) 066 – The National Ceramic Museum in The Palacio del Marques de Dos Aguas

We decided to go for a city break rather than sun in Tenerife again this September. Other than a few days in the North East we haven’t been away since last March and wanted a change and hopefully some sun. The problem is getting flights from the north of England to the places we want to go to. We chose Valencia as we could fly from East Midlands – which was still a pain to get to as it involved the most notorious stretch of the M1 at five in the morning. In the end we had a fairly good journey, the new Ryanair business class pre-booked scheme worked quite well and bang on time as usual. It was dull when we landed with storms forecast all week, the sky was bright grey – the kiss of death to the photography I had in mind. I was full of cold and wishing I was at work. It did rain but it was overnight on our first night and didn’t affect us. There has been a drought for eleven months apparently and it rained on our first day there! The forecast storms didn’t materialise in Valencia but they got it elsewhere.

You May notice discrepancies in the spelling of some Spanish words or names, this is because Valencian is used on signs, in some guide books and maps. There are two languages in common use with distinct differences. There may also be genuine mistakes – it has been known!

Over the course of a Monday to Sunday week we covered 75 miles on foot and saw most of the best of Valencia – The City of Bell Towers. The Old City covers a pretty large area in a very confusing layout. There was a lot of referring to maps – even compass readings! – a first in a city for us. The problem with photography in Valencia is that most of the famous and attractive building are closely built around, some have poor quality housing built on to them. Most photographs have to be taken from an extreme angle looking up. There are no high points as it is pan flat, there are a small number of buildings where you can pay to go up on to the roof for a better view and we went up them – more than once!

The modern buildings of The City of Arts and Sciences – ( Ciutat de Las Arts I de les Ciencies ) are what the city has more recently become famous for, with tourists arriving by the coachload all day until late at night. They must be photographed millions of times a month. We went during the day and stayed till dark one evening, I gave it my best shot but a first time visit is always a compromise between ambition and realism, time dictates that we have to move on to the next destination. I travelled with a full size tripod – another first – I forgot to take it with me to TCoAaS! so It was time to wind up the ISO, again! Needless to say I never used the tripod.

On a day when rain was forecast but it stayed fine, albeit a bit dull, we went to the Bioparc north west of the city, a zoo by another name. There are many claims made for this place, were you can appear to walk alongside some very large animals, including, elephants, lions, giraffe, rhino, gorillas and many types of monkey to name a few. It is laid out in different geographical regions and there is very little between you and the animals, in some cases there is nothing, you enter the enclosure through a double door arrangement and the monkeys are around you. It gets rave reviews and we stayed for most of the day. The animals it has to be said gave the appearance of extreme boredom and frustration and I felt quite sorry for them.

The course of The River Turia was altered after a major flood in the 50’s. The new river runs west of the city flanked by a motorway. The old river, which is massive, deep and very wide between ancient walls, I can’t imagine how it flooded, has been turned into a park that is five miles long. There is an athletics track, football pitches, cycle paths, restaurants, numerous kids parks, ponds, fountains, loads of bridges, historic and modern. At the western end closest to the sea sits The City of Arts and Sciences – in the river bed. Where it meets the sea there is Valencia’s urban Formula One racetrack finishing in the massive marina built for The Americas Cup. The race track is in use as roadways complete with fully removable street furniture, kerbs, bollards, lights, islands and crossings, everything is just sat on the surface ready to be moved.

We found the beach almost by accident, we were desperate for food after putting in a lot of miles and the afternoon was ticking by. What a beach, 100’s of metres wide and stretching as far as the eye could see with a massive promenade. The hard thing was choosing, out of the dozens of restaurants, all next door to each other, all serving traditional Paella – rabbit and chicken – as well as seafood, we don’t eat seafood and it constituted 90% of the menu in most places. Every restaurant does a fixed price dish of the day, with a few choices, three courses and a drink. Some times this was our only meal besides making the most of the continental breakfast at the hotel. We had a fair few bar stops with the local wine being cheap and pleasant it would have been a shame not to, there would have been a one woman riot – or strike!

On our final day, a Sunday, we were out of bed and down for breakfast at 7.45 as usual, the place was deserted barring a waiter. We walked out of the door at 8.30 – in to the middle of a mass road race with many thousands of runners, one of a series that take place in Valencia – apparently! We struggled to find out the distance, possibly 10km. The finish was just around the corner so off we went with the camera gear, taking photos of random runners and groups. There was a TV crew filming it and some local celebrity (I think) commentating. Next we came across some sort of wandering religious and musical event. Some sort of ritual was played out over the course of Sunday morning in various locations, it involved catholic priests and religious buildings and another film crew. The Catholic tourists and locals were filling the (many) churches for Sunday mass. Amongst all of this we had seen men walking around in Arab style dress – the ones in black looked like the ones from ISIS currently beheading people – all carrying guns. A bit disconcerting. We assumed that there had been some sort of battle enactment. We were wrong, it hadn’t happened yet. A while later, about 11.30 we could hear banging, fireworks? No it was our friends with the guns. We were caught up in total mayhem, around 60 men randomly firing muskets with some sort of blank rounds, the noise, smoke and flames from the muzzles were incredible. We were about to climb the Torres de Serranos which is where, unbeknown to us, the grand, and deafening, finale was going to be. We could feel the blast in our faces on top of the tower. Yet again there was a film camera in attendance. I couldn’t get close ups but I got a good overview and shot my first video with the 5D, my first in 5 years of owning a DLSR with the capability. I usually use my phone ( I used my phone as well). Later in the day there was a bullfight taking place, the ring was almost next to our hotel, in the end we had other things to do and gave it a miss, it was certainly a busy Sunday in the city centre, whether it’s the norm or not I don’t know.

There is a tram system in Valencia but it goes from the port area into the newer part of the city on the north side, it wouldn’t be feasible to serve the historic old city really. A quick internet search told me that there are 55,000 university students in the city, a pretty big number. I think a lot of the campus is on the north side and served by the tram although there is a massive fleet of buses as well. There is a massive, very impressive market building , with 100’s of stalls that would make a photo project on its own, beautiful on the inside and out but very difficult to get decent photos of the exterior other than detail shots owing to the closeness of other buildings and the sheer size of it. Across town, another market has been beautifully renovated and is full of bars and restaurants and a bit of a destination in its own right.

A downside was the all too typical shafting by the taxi drivers who use every trick in the book to side step the official tariffs and rob you. The taxi from the airport had a “broken” meter and on the way home we were driven 22 km instead of the nine that is the actual distance. Some of them seem to view tourists as cash cows to be robbed at all costs. I emailed the Marriot hotel as they ordered the taxi, needless to say no answer from Marriot – they’ve had their money. We didn’t get the rip off treatment in the bars etc. that we experienced in Rome, prices are very fair on most things, certainly considering the city location.

All in all we had a good trip and can highly recommend Valencia.

Posted by Mark Schofield @ JB Schofield on 2014-10-31 16:50:05

Tagged: , VALENCIA , SPAIN , MEDITERANEAN , OLD , CITY OF ARTS AND SCIENCES , PALACIO DE LAS ARTES , MUSEUM , CERAMIC , MUSEO , CREAMICO , NATIONAL , CERAMICA , DECOR , INTERIOR , PALACIODEL MARQUES DE DOS AGUAS

The post Valencia 2014 (8) 066 – The National Ceramic Museum in The Palacio del Marques de Dos Aguas appeared first on Good Info.

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altertonative · 5 years

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MOROCCO: ORIENT AT YOUR REACH

Morocco is a country different from many others in the world, very diverse in terms of geography, history and culture. It owes its extraordinary attractiveness to the wealth of reaching almost 2,000 kilometers coastline, both at the Mediterranean Sea and the Atlantic Ocean; the desert landscape of the Moroccan Sahara; or snow-covered mountains, where you can take yourself to winter madness. In addition, there are some of the world's best golf courses in Morocco. The fans of history will find here remains of the Phoenicians and Romans, for example the well-preserved former administrative center of ancient Rome, Volubilis near Meknes, which is the most important archaeological site of the country. In addition to the Phoenicians and Romans, the Moroccan culture was influenced by Arabs who in this country took a root in Islam, which until today functions as an official state religion.

WHAT YOU SHOULD KNOW BEFORE GOING TO MOROCCO?

An entry visa is not needed for stays shorter than 90 days.

The official language is Arabic and French, but the majority of the population speaks Moroccan. There is no problem with getting along in English in tourist places, or even in German, for example in Agadir.

Morocco's official currency is the Moroccan dirham (MAD), which can be exchanged in banks. Tourists are advised to take euro with them instead of dollars, which are less popular in Morocco.

The easiest way to get to Morocco is by plane. You can fly to Marrakech from Berlin or to many other cities from Spain.

The weather in Morocco can be different, depending on the terrain. In the mountains from October snow begins to appear, and the temperature also drops in the cities. Expeditions to the desert are best organized in the spring, avoiding mainly summer months. The best holiday period on the Atlantic Ocean is from May to September, while the Mediterranean coast from April to October.

Communication: traveling by train in Morocco is convenient, cheap and safe. More information about it can be found HERE. If you want to get to distant corners of the country, look for private bus companies. These, however, offer different in quality of services, therefore be prepared to travel in uncomfortable conditions.

Renting a car is not a problem in Morocco. It is worth looking around in Moroccan salons, because they are half cheaper than international rental companies. Remember about the insurance and the clause obliging the agency to replace the car in the event of an accident. Prices start at around 10 euros / day.

FEW INTERESTING FACTS ABOUT MOROCCO:

Photography - before taking a photo of someone, you should ask for permission. Above all, women avoid flashes, believing that if the camera captures their eyes, they will lose their soul.

Alcohol - only some stores have a special license to sell alcohol. It is also available to tourists in hotels, clubs and restaurants, and during Ramadan it can be bought practically only in such places.

Hashish - Morocco is the world's largest exporter of hashish. Although the production and consumption of cannabis are forbidden, there is no problem with purchasing it...just ask a nearby taxi driver;)

Hammam - in every Moroccan village there are wood-fired public bathhouses to this day. Formerly, when there was no running water in the houses, residents could use them once a week. It was a special ritual, especially for women who had then the only opportunity to meet other people outside their homes. Today, bathhouses have a recreational function and are rather a remnant of old habits.

Motorways - highways and expressways in Morocco are of good quality and mostly empty. You must pay for some parts (only in cash), but not more than 0.50 euro.

Fines - for non-compliance with traffic regulations, financial penalties may be imposed and their amount depends on the officer. The tickets are hand-written at the time of detention and then the driver must pay for them. Otherwise, the police threaten with a trial or a prison.

WHAT TO EAT IN MOROCCO?

Moroccan cuisine draws from Arab, African and European influences, offering a huge variety of dishes and ingredients from which these dishes are prepared. In the rich offer you can find salted goat heads, goats' brains or camel dumplings. The national dishes of Morocco are couscous and tajin, a goulash made in many different ways (with fish, veal, or only with vegetables), which traditionally is cooked slowly in a clay pot on low heat, on charcoal. In Marrakech, many French dishes are served. On the coast, fish and seafood dominate the sea, and in the north of the country, Spanish dishes, such as paella or potato tortilla. The most common meals are served with mint tea or coca-cola, especially during Ramadan.

Couscous - in Morocco means wheat groats prepared with seven kinds of vegetables and meat (veal, lamb or chicken). Sometimes it is served as a sweet dish with raisins and stewed onions.

Harira - red lentil and chickpea soup, sometimes served with meat or rice.

Kefta - chopped meat in the form of skewers.

Beghrir - small pancakes with butter and honey, served for breakfast.

IS IT WORTH VISITING MOROCCO?

Definitely yes! The country is relatively cheap, it guarantees a cultural shock outside the boundaries of tourist places, and it doesn’t lack contemporary amenities. Morocco is a safe direction, women don’t have to cover their faces here, but when going to some places, it is necessary to cover their arms and knees. The travel can be organized properly at any time of the year, depending on what you would like to do. And there’s a lot to do! However, I will write about it in the upcoming post :)

#morocco #travel tips #orient #travel to morocco

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deafeningcreationperson-blog · 6 years

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How much extra would it cost to add a 17yr old to insurance? helppp!?

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i was wondering how much it would cost if i was added to my dads insurance as the 3rd driver, he pays arounds 400 for the insurance but i was wondering how much it would cost if a 17 year old who just passed his license would add to it. im sure it wouldnt be much as i will be the 3rd driver but im not exactly sure.

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I'm 19, and I haven't had a fit since I was 16 (I believe I've done the teenage growing out of it ), The DVLA are fine and are issuing me a provisional, but finding insurance is a pain in the ***. Is there anywhere that does cheap insurance that doesn't care if I have Epilepsy? OR just does it cheap anyway?""

Do you need full coverage on a vehicle thats 4500 thaht you put a 1500 down payment on?!?!?

Because it doesn't make sense for the insurance to be more than the cost of the car

Where can I find the cheapest auto Insurance in NJ?

I trying to find insurance that is not expensive does anyone know where I can go to get this?

State farm car insurance question?

My bf was in an accident recently where he was rear ended at a stop light. The other driver was ticketed and no one is contesting the fact that the other driver is at fault. My bf decided to go through the other driver's insurance (state farm) rather than his own so that he wouldn't have to pay a deductible. He needs about $600 worth of body work done. After going through all the hoops, he was told to take the car to a local body shop & that he would be approved for a rental car while it was being repaired. Today, he took the car to the shop, but they told him they won't take it until March 21st (about 3 weeks from now). Until then, they expect him to drive his DAMAGED car. He drives long distances pretty frequently (usually visits me an hour and a half away every week or two) and neither of us are comfortable with the idea of him getting on the interstate in a damaged car. What recourse does he have in this situation? It seems pretty unfair that the accident was someone else's fault entirely and he is going to be stuck waiting almost a month to be put whole again :( I suggested that he call state farm and let them know that he's not satisfied with their solution, but he doesn't think it will get him anywhere. Does anyone have experience with this sort of thing? Thoughts in general?""

Why has the dental plan been eliminated from the new California Medi-Cal insurance plan?

A few months ago I received a letter & then a follow-up phone call from the state asking me to choose ONE of the 2 insurance choices they were offering. Neither had a dental plan & I was told to wait & they would enroll me in the one the had the dental plan for adults. I can't get a human on the line @ their toll free phone line. A few days ago, I received a letter telling me the name of my new insurance plan provider. It plainly states NO DENTAL. Now What? Am I stuck with a mouth full of rotten & broken teeth as a result of my injury that rendered me a disabled person to begin with? Is anyone else having trouble with the California govt services?""

Does anybody know of any cheap (but credible) motorbike insurance companies?

For a 125cc bike. thanks

Whats the cheapist car to run?

which car is the cheapist to run including the average price on fuel, tax, and insurance....thanks mikey maidon""

""Can you insure a vehicle registered in one state, with insurance from a company registered in another state?""

I live and my vehicle is registered in Oklahoma, but my family lives in California. I can get on their car insurance policy for MUCH MUCH less than i can get insured for out here, however, I am not sure if insurance can transfer from state to state. Does anyone know this for sure, or know where i can find out?""

Can anyone recommend a motorcycle insurance company in the UK?

My son is 20 and trying to get reasonable quotes which don't cost more than the value of the bike is driving me nuts. I've tried all the comparison sites but what I want to know is which companies are worth bothering with. I've been on some review websites and looked up the companies which come up with the cheapest quotes and a lot of the reviews call them rip off merchants and say not to touch them. I want to hear from someone who's actually had to make a claim and been satisfied with the service.

Why does car insurance cost more on a black car?

How much extra would it cost to add a 17yr old to insurance? helppp!?

Car insurance question?????

me and my husband both have a car and have full no claims on both of them however we went to france for a year now we have returned but our uk insurance company are saying our no claims is no good as last year we were in france and they can't read whether we had a claim or not as our policy is in french!! the french company wont translate it to english as it's a french legal document!! so now although we have full no claims we are being penalised for leaving the country for a year!!!! we feel this is discrimination!!!!! we can translate it for them and the english lady in the french office has said it is ok for the uk company to call but of course this is not good enough!! any advice would be great!!!

Cheap car insurance for young drivers?

Where can i get cheap car insurance? I'm now 18, and I did use to drive a 1.2 Renault Clio, but I had to sell it, because the insurance was so high. I've been looking at other cars with small engines, and I have been using price comparison sites, but the cheapest quote I ever got was 3000 (and have done Pass Plus too!!) Is there any way to make insurance cheaper, or is there any insurance companies, that specialise insurance for young drivers with Pass Plus? And is there any other ways to make quotes cheaper? Please help :)""

""What's the cheapest car insurance company in Fresno, CA?""

What's the cheapest car insurance company in Fresno, CA?""

""Are most companies going to switch to Obamacare, for their insurance coverage plans.?""

Are most companies going to switch to Obamacare, for their insurance coverage plans.?""

GEORGIA drivers: Where did you get the lowest car insurance quote?

I am in GA and ready to find another auto insurance company. Your recommendations for the least expensive company appreciated.

Car insurance rates for a new teenaged driver?

So we have State Farm car insurance and our 17-year-old daughter is attempting to get her license. She has straight A's and is doing their Steer Clear program. Does anyone have an estimation of how much this will increase our insurance rates?

Can an insurer refuse me insurance because of a secondary drivers record?

I am a new driver, I am now insured with a different company but am not happy with how much I am paying. Now, When I first got my vehicle I did a quote with a different insurance company, I was pleased with the cost of insurance, so I decided to try to go ahead with their insurance policy. It took 12 days for this company to contact me back, that's only because I called them questioning about the progress. Now the wait didn't bother it is the fact that the refused me. I know that as an insurance company they have the right to refuse an insurance policy, but it was the EXCUSE they gave me that infuriated me. Now let explain the situation as clearly as I can. I am a new driver, I am still living with my dad so I was obligated to put him onto my insurance plan because we are living int he same building and both have access to my car, as a new driver I have 0 tickets, 0 cancellations of insurance (have had previous insurance for a motorcycle with the same company) and I must also put 0 experience. now my dad has over 30 years driving experience, but he had 1 ticket in the past 3 years. So this is what the insurance company said to me on the phone, We are refusing your policy because you are a new driver, and your secondary driver has had 1 ticket in the past 3 years. Me, and my father both think that this is just an excuse to not insure a new driver. I am insured now and have been for the past several months driving everyday to and from work, my insurance is getting a bit costly now and am thinking of trying the other company again. I would like to know, Can the insurance company refuse me for those reasons? And would you recommend trying that company again after a few months have past or try to find cheaper insurance elsewhere?""

Who is the cheapest car insurance in USA ?

Ihave finicial problem right now ipay for six month liability $ 300 it us too much for me is there any body knows less than that price iget please let me know?

Why am i being forced to buy health insurance?

I don't understand it i am 20 years old am going to be starting my life out with my girlfriend, i am desperately trying to get a job and my girlfriend works at mcdee's and now i find out that i am forced to have health insurance? i can't afford that! even if it is affordable i struggle to buy a pop at the gas station let alone health insurance""

Got my speeding ticket removed but my insurance went up?

I got a speeding ticket, paid for it, and decided to get it removed off of my record so my insurance wouldn't find out. In my city, in order to do that you need to get an attorney and go to defensive driving class in order for it to be removed of your record. I got an attorney and paid $370 + $50 for traffic school and they sent me a letter from the court saying that my traffic violation was disposed of. But I just got my insurance bill and my rate had gone up by anyway! Do you have any suggestions on how I can lower it back to normal? I truly appreciate your help!""

Where can i find the cheapest car insurance for a new young driver?

I'm looking to insure a car most likely small, i've been trawling the web for hours now and just wondering if anyone could recomend a cheap insurer for a young (17) driver. Many thanks.""

Can i drive my friends car without insurance?

Hi, I am 17 years old and I've had my G2 for almost a year. Can I drive my friends car without being under that cars insurance? i have insuracne on both my cars but is it cool if i use his? i live in ontario btw.""

Insurance costs for two and planning for a baby?

Hello Gurus, I am getting my wife to the USA and i should buy insurance since we are planning to have a baby. Any suggestions on which insurance to go with? I need a good coverage and affordable too. Any help greatly appreciated. Thanks, Raj Thanks, Raj""

What are the types of automobile insurance in USA ?

I'm doing a research for my course , comparing this service in my country to which in the USA ...and more specifically about the private and commercial cars... a claim saying that USA's provisions are strictly applied ..i.e the son driving his father private car is not entitled to any compensation in case an accident is occurred .....because it's not the son car..(which at the same time is not going the same way here ...as long as the car is insured so anyone drive it is insured ..regardless of the owner of the car...and just there it is the debate point...what do you think about it ? so ,I'll appreciate if you could feed me with any thoughts any idea any information any links concerning that or even automobile insurance in general...""

Cheapest car to insure for a 18 year old?

Car Insurance?

I am a foreign student and I am about to drive a car!!!!! I am so excited, but there's a problem: Car insurance. I do not have any family in United States, so I have to get my own insurance. Thankfully, I am 18 years old, so it is possible. But however, I am going back to my home country in summer which means I don't need to drive. Is it possible to cancle the car insurance over the summer?""

Which icar insurance is cheap and best?

where can i find find cheap and good car insurance

If I got a car video-recorder is my car insurance going down?

I bought a video-recorder for my car as project.Keeping in mind cyclists and other motorist are driving mental sometimes in London can I get my insurance down if I got a recording device in my car.Did anyone managed to do that?

I am looking for insurance on house?

i have drive insurance and i want to know if they have insurance on house also.

Can I get the tax for my partners car as insurance will be in my name but the car will be in her name?

Neither of us have a car at the minute but my partners mum wants to buy her a car. The car will obviously be put in her name as it is being bought for her but she can not drive at the minute so I will be taking out the insurance in my name as I will be the main driver but we will need to tax the car can I get the tax for the car even if the car is not in my name but the insurance is in my name?

Who can give me the name of some good health insurance companies or health insurance assistance programs?

Please tell me your monthly payment, the company name, your deductible, whether it's an individual or family policy, and if a family policy, how many family members in the plan. This info will help me decide who has the most affordable insurance for my budget. I just got layed off and my $60/mo medical insurance will cost $900/mo to keep it going. Like how the helll am I supposed to pay $900/mo; that's $225/wk! They must be dammm crazy!""

Which is the best CAR INSURANCE....UK?

I'm 19 and was wondering which is the best company to get car insurance from and the best way of getting it the cheapest.? Me and my dad are not quite sure of the tricks used to get the best deal, so i would appreciate it if you could help.? A few of my friends get their insurance dirt cheap because they are named drivers on their parent's car - but when i try to get a quote online it still charges me over 1500. Thanks. (In the UK btw)""

Car insurance whats the diff?

I got two insurance quotes and one is for 20/40 liability (the state min) and the other is for 100/300 what exactly does this mean. I know its the amount that they cover, but I only have liability so whats the difference?? Please, help.""

Does it cost more to insure a house with a pool?

We are thinking of buying a house with a pool but we heard that it costs a lot for home owners insurance.Is that true? How much more compared to a home without one (approximately). Thanks

What is the best car insurance for beginner drivers/young drivers 16 year olds?

I am getting my licence at the end of january and need car insurance. What are the best insurances. Some have discounts for good grades

How much extra would it cost to add a 17yr old to insurance? helppp!?

How much would a 1 million dollars liability policy cost per month for a fright transport company?

Im starting a small hot shot trucking transport company. I need to know how much a 1 or 2 million dollar policy will cost me per month. Or what kind of Insurance I would need. I will be hauling oil field equipment, cars, pipe, tanks, air fans, motors, things like that.""

What's the best way to shop for life insurance? Is there a software program to find the best life insurance?

I mean. Is there any software to compare life insurance?

Car accident happens when the car's insurance is not your name?

If Car accident happens, and the car that you were driving the car's insurance is not your name. If call 911,will you get arrested or what? and will that car insurance company pay for the damage that you did to other car?""

""How much tax does the American person, family pay per week with income and sales tax?""

Feel Free to add in Cell Phone, Cable, Utility,Insurance Car and Health tax""

Motorcycle insurance?

Anyone know where I can get cheap bike Insurance I'm looking for basic coverage on a 650cc Yamaha Maixm I just got my licence in May. I live in Ontario Canada.

""Wawanesa Car Insurance, ways to discount Premium?""

I am in the process of applying for new Car Insurance. Why does it matter how many years you have lived at your residence? Does the amount of years lower your Car Insurance payment? If you have a child that you have not seen or who does not live within 1,500 miles of you matter & why should their information be provided on the Insurance? If you are Divorced does that lessen your Premium? What are other ways to go about lowering your yearly Premium? Is Wawanesa the best Insurance Company out there? Thank you.""

Cheap car insurance in Oklahoma?

Where can I get a good deal on car insurance in Oklahoma?

Car insurance rates dropping?

hello, after my first ever six months of car insurance will my rates drop or will things be cheaper ? I am 24 about to be 25 years old. I have only had one speeding ticket.""

SSN check for auto insurance - WHY ?

I've received a number of answers for the question. It seems that in a number of cases the quote that's received depends on how good or bad your credit is. What's the difference if someone has bad credit, as long as he's a good driver? Insurance premiums are paid in advance so why the credit check ?""

Car insurance quotes?

Is there any place to get a car insurance quote without entering in a bunch of personal information? I am looking for quotes for a sedan, coupe, and SUV for a new 16 year old male driver. (Im trying to decide what a good deal is, and what is worth buying)""

Does failure to signal increase insurance rates in Oregon?

How do I get a car registered which has no papers/plates and has sat for years?

I responded to a newspaper ad recently and bought a 1971 vw beetle. The car had no plates and no paperwork that I could find. There were several telltale signs that the car had sat a number of years, but I understood it to be a project. The seller said he had originally bought it at auction with the intent of using its (good) engine for a sand rail dune buggy, but that like many other good plans requires time. Once paid for, I was provided no bill of sale which I feel I was owed. It was as if the seller felt that since he had let the car go very cheap, that he owed no person any more, and if he did, he should've either charged more or wrecked it instead. Like he could have gone to the trouble but would be put out for something extraneous. The seller has a shop in an easy to find location, so it is not as if I cannot find him, and he doesn't appear to be trying to hide, hes just a strangely irritable and crotchety person.""

I need cheap non drivers insurance for cort in less than a week?

ware can i get it in st.louis missouri

Cheap subaru impreza insurance?

has anyone got a scooby? any recommended insurance companies? just brought my first one. a 1993 WRX import. im 29 with 11 years no claims. best i can find is with the AA for 664 with 450 excess. are there any places that specialize in imports that could beat that? cheers!!

Motorcycle insurance for 20 yr old mn?

I'm looking at getting a motorcycle and was wondering what it would cost me. I don't have any tickets or anything. My record is clean and I was looking at either a Kawasaki ninja 250 or 500r that would be like a 2005. Maybe a 750ccc cruiser. What difference would there be between the two types of bikes and about what would I be looking to pay?

""If you buy a car that's been in an accident will this affect your insurance rate? If so, why?""

I want to purchase this car. I think it's a great price, but the dealer told me it's been in an accident and that insurance paid for the damages. Since it's on record and if I were to buy it would my car insurance rate be affected??""

Whats wrong with car insurance prices?

Hi, i sold my car ( MG ZS + 1.8 ) Quite a big car and high insurance group, i was paying 75 a month to insure it through kwick fit, i am now trying to insure a small 1.4 peugeot 206 but my quotes are comein out at about 200 per month!! how is this possible? i need to insure this car for my new job that starts next week but i cannot pay this much! i am a 21yr old male if that helps""

How do i get health insurance?

im 19 years old, im not pregnant, i have no children... im really clueless to the whats and hows im in college, im not no disabled, or blind or anything.. i just dont have health insurance.. i do have a summer job, but its not steady & once i go to school in the fall i wont be working anymore. i know medicaid is good but idk if im eligible, & idk who will accept me... i really dk anything lol. i do know i need health insurance! please help?""

Whats a cheap major health insurance plan?

im paying way too much right now and need a cheaper plan

Is it possible to get very short term car insurance?

My grandfather passed away about a month ago and i inherited his car. I've driven it for a few weeks planning on switching my insurance from one car to another. I have decided I want to insure both cars because no I plan on selling and or trading in both of them. My question is: 1) will my grandfathers old car stay insured until the end of his insurance period? (silly question which I'm sure is a no.) but mostly 2) is there any short term insurance that would last about one month at the most? I'm a college student with very little money, so I was hoping to find something affordable. I live in Pennsylvania""

""If I already have health insurance, but get hired somewhere where they also have health insurance as a benefit?""

does that mean I HAVE to have their insurance? I want to keep my own insurance, which is under my parents health insurance.""

Monthly motorcycle insurance in Ontario?

Hello there, I'm 16 and live in Ontario, currently have my m2, what would be my monthly or annual insurance rate for a 600cc sport bike or a vespa scooter? Is there an average rate? An approximate would really help, thanks.""

Cost of car insurance for a 20 year old male in california?

Health insurance for students?

im 19, fulltime student and currently on my dad's plan from work currentl around 300$ for just me. i don't really have any medical problems,i don't take or need ...show more""

Is it a bad idea to get your own car insurance at 18?

I wanna get my own car insurance! I wanted to know if it would be a bad idea or a good life lesson! Is it true that car insurance cost more with new cars? Because I want to get a 05 Suzuki Forenza! It's a used car it's only 2,000! Any parents out there please help! I need all the advice I can get before I turn 18!! Thanks!!""

How much extra would it cost to add a 17yr old to insurance? helppp!?

How can we get cheaper car rental insurance(coming from BC) when renting a car for a week from Trudeau Airport?

A year ago when we rented a car it was exorbitant(over $500) and I know the insurance is available in Manitoba if you buy it there before departure. Does BC have a similar set up for car insurance? Any assistance you may give would be greatly appreciated.

How much is the car insurance for a 18 year old boy with a dodge viper ACR 09 model?

ow much would i be paying a year with full coverage. Its a dodge viper ACR 09 model. Im an 18 year old male. Its a $112,000 car.""

Does Lowest Quote Wins really lower your insurance to $15 per month?

I saw one of their ads on a car today and was obviously intrigued. How legit is it?

Car Insurance Question?

I'm a 16 year old girl with a car, and I wanted to know how much my car insurance price will range in. I'll be driving a white sedan (say a Corolla/Mazda 3, 2005-2007). How much will be my car insurance?""

Should I have my own insurance while using someone else's car?

The other person owns the car and has it insured in his name but is allowing me to use it until I can get another car. Should I or even can I have my own insurance policy on his car? I live in Michigan and my previous car was hit and totaled. Trying to buy/finance another car after only working full time again since Feb. is near impossible.

Would you switch car insurance companies after 10 years to save money?

Since 1997 I've been with the same car insurance company. Have had FANTASTIC service and support with claims and general questions. I use the same company for car insurance, home owner's insurance, life insurance, and to manage my IRA. When pricing out alternatives I realize that I could save about $50 a month by switching my car insurance to esurance. I attempted to get my current insurance to match their price without success. I'm very leery about possibly loosing my excellent service and support from my current company. Would you switch to a new company, and possibly a worse company, to save money?? I can easily afford my current company, but I'd obviously love having an extra $50 a month to plan with.""

What are the best alternatives to Humana One for an individual?

I am a college graduate and my parents helped me with Humana One bills. I am about to work at my first post-college job but unfortunately they don't provide health insurance for part-timers. I am interested in more affordable but quality alternatives to Humana One especially for someone in his 20s. My alumni association mailed me info about GradMed but it is only a temporary solution and doesn't cover pre-existing conditions.

Who do you think would have the cheapest car insurance for an 18 yr old who has just passed her driving test?

Which car insurance is better GMAC or Allstate?

I currently have AAA insurance, but I don't like my agent, so I am switching. GMAC and Allstate both gave me good rates, so I am trying to decide between the two. Please let me know of your experience with either company. Thanks!""

Drive parents car without insurance?

hi, so i just got my license and can not afford insurance or a car. But my parents have insurance on both of their cars. Am i aloud to drive their cars on occasion, with their approval?""

""What could be small, lasts forever, has expensive insurance, and there are 12 or 13 to choose from?""

What could be small, lasts forever, has expensive insurance, and there are 12 or 13 to choose from?""

How much would car insurance cost for a Chevrolet Corvette C6 ZR1?

-I'M using the information for a spreadsheet and to get an idea of how much it costs to insure a modern day Corvette because I'M planning to get a Corvette Some Day . -An estimate is also fine thankz

How much should one spend on their first car?

Here is the problem. I am a photographer who photographs rural areas, but I can't stand not living in the city. I don't drive, cause I live in Chicago and I thought I hated driving. I think I just hated drivers ed. SO now I want to drive everywhere and work more often instead of waiting until I can find someone to drive me around. I am obviously going to be road tripping a lot, and this is my first car. I need something with great MPG. I live in Chicago, but my mom lives downstate, although I'd like to share it with her. I'm thinking either a used prius, mini cooper, or volkeswagon. I'm 19. What do you think would be the best choice, and what costs am I looking at for insurance, ect?""

Can you resume your auto insurance policy one it was canceled?

Can you resume your auto insurance policy one it was canceled? ok it was canceled 5 months ago I wasn't using the car so I didn't need insurance at a moment. Now I am planning on using the car again. Can I just call them and ask them to send me a monthly fee and get insurance resumed or do I need to go to insurance place and talk to Insurance sales agent and pay $200 finders fee again? I don't want to pay those fees again. Is there a way to resume my insurance without those extra fees. I am a California resident.

Small Business Insurance?

I would like to know what is the best resource to help me find health insurance for my small business. Should I just go to an insurance broker or are there organizations (i.e. small business association) that can help me with that? Thanks!!

Do I have to go through Covered California to get private health insurance?

I'm really confused about health insurance. My mom has been qualified for health insurance through Covered California and premium assistance, but I do not qualify for premium tax credits, enhanced silver plan because I am not a member of primary tax filer's tax household. It also tell me there can be only one primary tax filer per application and if I don't claimed as someone's tax dependent, I may apply again as an individual. So my question is what does that mean? Can I just reapply as a dependent of my mother? Info about me is that I am 19 yrs. old, half-time student, unemployed, non-smoker and currently have pre-existing conditions. I'm also currently on 4 prescribed medications. It says I am eligible for coverage through Medi-cal program. The doctors I am seeing currently do not accept Medi-cal. I know a lot of doctors do not accept it because they don't get paid and I can only see certain doctors in the county or something. I do not want medi-cal. This leads to the main question is Can I just apply to a private health insurance myself w/o going through Covered California because their website isn't helpful and I have been on hold for about a hour to ask questions? and Doesn't the Affordable Care Act (obamacare) now has a law that insurance companies cannot decline/reject you if you have pre-existing conditions? Please correct me if my knowledge regarding health insurance is incorrect. Thanks.""

What is the cheapest/reliable car insurance company in Miami Florida ?

I have clean record, 34 years old.""

Tell me Cheap Car insurance please!!!!?

im 25 got new car toyota 2010 Reaally need help with the GOOD car insurance? im having progreesive insucrance right now for which i pay 160 per month ...but i wanna know if there is ny cheaper car insurance but has to be RELAIBLE and GOOD one please? ALso if i can swtich to another car insurance easily and they refund my money? or its a contract for 6 months? Thank you so much in advance :)

How auto insurance determine how much your car worth after claim?

I had a 1998 Subaru Forester S sport utility 132,000 miles and it was totaled. I read some places and people say that insurance don't follow the Kelley blue book and some say they do. Others say they go by autotrader.com or nada.com. Why is that? are they trying to trick us by which value is lower? My insurance offered me only $3200 but it know it worth more than that. Vehix.com say it value at 3900 and kelly blue book say about 4300 so which is right?""

Anyone know any Vision Insurance Companies?

Trying to find vision insurance.

Some Health Insurance Companies Offering Decent and Cheap Plans for International Students in the US?

I will be studying my Master in the Boston area, this September. The grad-school health insurance is a little too expensive to me. What would be some companies offering decent and affordable health insurance plans?""

""Can a 16yr. old making $800 a month, afford a car that cost $24,000....parents payinng for insurance...?""

Can a 16yr. old making $800 a month, afford a car that cost $24,000....parents payinng for insurance...?""

What are the Best site for Comparing AUTO INSURANCE Quotes Online?

can anybody please shade some lite of reasonable car insurance quotes comparison sites?

What is a good insurance company?

i just bought a car sunday.would have to wait till monday to clear stuff with the dmv.can i get insurance meanwhile and if so which one is a good that is not pricey? i havent had any accidents in the past or dui's i'm 32.the last time i owned a car it was when i was 20 i believe.i'm going to add two cars to the insurance along with an extra driver.

Teen Girl Insurance on Car?

I will be 16 in October, I am interested in a 1999 Mitsubishi Eclipse GSX, I have a 4.0 GPA. How much would that cost? Ball park? Thanks :)""

How much extra would it cost to add a 17yr old to insurance? helppp!?

https://www.linkedin.com/pulse/could-health-insurance-fraud-carmen-scott"

0 notes

ellysdoespoems · 7 years

Text

camera

by Ellys Lawlor

There’s something primitively, instinctively thrilling about capturing and keeping things. Whether that’s to display as a point of pride or to privately reminisce over a token of time gone-by. Maybe I’m revealing too much about my tendency for excessive hoarding, but I think the same applies to most people. Pokémon built a whole all-consuming cult predicated on the compulsive need to ‘catch ‘em all’.

My parents spent much of my childhood capturing moments with a grey Polaroid instant camera. There were days dedicated to poring over photo-books, tomes stuffed to capacity with old friends, new friends, lost friends and family members before I’d known them. Each laminated rectangle carried a story that, more often than not, my mum would revel in recalling and my dad would sheepishly deny. I found out more about my parents those days sifting through their old memories than I ever did otherwise, a whole hedonistic late 90s lifestyle carefully compartmentalised across a series of innocuous looking folders.

The first camera of my own I remember having was a little orange disposable with a flimsy cardboard sleeve, bought from Boots down the road from where I lived. It’d be my travel buddy for a school trip to Castleton, my first weekend away from family at 9 years old. Unfortunately, I discovered on that trip that my tendency to hoard comes coupled with a certain overzealousness and it wasn’t the first evening of the trip before I’d spent all 20-so of my photographs on pictures I was convinced I’d needed. Of luggage, streams, the motorway, the school bus. We never bothered taking the camera to get the photos developed when I got home and it’s probably still sat in my cupboard somewhere now.

One Christmas my brother and I got a Panasonic MiniDV camcorder each. We’d moved house just outside the city we’d always lived in. I had just changed school and my brother hadn’t long started his first year of secondary school in a town a bus ride away. The camcorders were far out-dated then and we only had a tape each to record with but it didn’t make any difference to us then. My brother crafted Spielbegian epics featuring Godzilla hand puppets, whereas I ended up drafting all my siblings to help put together a series of crude stop motion animations based on the BBC Robin Hood TV show with a bunch of the action figures I’d gotten the same Christmas, fanfic I more or less invented on the fly. We got bored eventually and I didn’t want to over-write my tape but the mornings, afternoons and nights spent huddled together plotting the next opus in our auteurist catalogues kept the both of us sane through all the upheaval happening around us. My brother became my best friend in those intense brainstorming sessions. Like the disposable camera, those MiniDV tapes are probably in the same cupboard, the contents having never left tape land.

The months after I’d left college I was completely aimless. I had a bunch of GCSEs and some respectable A levels in my back pocket but I had no interest in pursuing anything. When university came up as a topic of conversation during college tutorials, I simply didn’t fill out any applications because I figured I wouldn’t make it to the end of college. Even if I did, what did it matter anyway? The last few years of school had soured me on education, where it seemed many of the teachers were coaching us to hit statistic targets they needed to cash their pay cheque month by month. Desperate, college became a last resort when I almost fell into abject complacency after the last year of school. I enjoyed my time there but I still didn’t have any sense of purpose. I convinced my parents that the year after college was a gap year and I’d figure out exactly what it was I was going to do in that time. My dad assured me that if I didn’t do anything with my time, and wasn’t either at university or in a stable job by the end of the year, I probably wouldn’t have a place to live.

I ended up interviewing for a voluntary position as a history guide at my local art gallery. It was looking over my credentials that the volunteering co-ordinator running the interviews thought I’d be better suited tagging along with the Media department they had on-site. I went along with it, not really knowing what working with the Media department would mean doing. It became apparent in the successive interview that they were best described as teachers rather than strictly a media-based team. In the latter years of school, as well as the sense of disillusionment, I ended up seeing an NHS-based counsellor who told me that I was suffering quite severe social anxiety and less apparent depressive tendencies. I didn’t really “get” what was going on in that regard and I hadn’t had many major events in the time since school but I knew sitting in that interview that there was frankly nothing I wanted to do less, and nothing I was less suited to, than helping teach people. That being said, I went along with it anyway.

Under the presumption that I knew what I was doing with a Photography AS on my record, I was invited to spend my first day with a group of students who were going to be undertaking a project photographing shopkeepers along a particular street in the city. True to any expectation I had of myself, I was excruciatingly awkward as I introduced myself to the small group of students, retreating to a corner of the room and remaining stiff throughout the rest of the session. The session ended with a trip to the row of shops the students would be investigating, an opportunity to test their skills with a camera at the beginning of the course. My boss thrust a kit lens Canon 600D into my hands. “Documentary.” he said, “Follow ‘em round and get ‘em while they’re working.” In a blind panic I flicked the wheel on top of the camera to Non-Flash (saves having to faff about with settings) and stuck to the first group that looked remotely okay with seeing me like a fly to honey.

The day was capped off with the staff looking over the photos everyone had taken, documentary included. I winced when I saw my offerings, hazy long shots of mistakable silhouettes fiddling with tripods and standing around with their hands in their pockets. They weren’t just technically bad photos; they were boring to look at. There was none of the exuberance I saw in many of the students as they tried to feel each other out, the complicated social workings as they started to relax around each other. I could tell the team were disappointed and I went home cursing myself for cocking up so badly. I was sick the next week when I tried to get up and help out with the session, largely at the thought of making an arse of myself again, but nevertheless after some time away I eventually returned. I improved a little over time but I could still never relax around the group, I hid behind the camera lens and used it as an excuse not to involve myself. You could see it in the final results, which often appeared more like blurry paparazzi shots.

In the store room taking equipment out a few sessions later, one of the members of the team handed me a 50mm Canon lens. “I was always told it’s the best lens to start with.” she said, “The focal length is just close enough to what our brain processes from our eyes. There’s no zoom on it either. If you want a close-up, you have to get up close.” This piece of advice ended up being my saving grace. With no zoom there was nowhere to hide, I had to be in the thick of it. Suddenly, standing next to them, it became far less daunting to be in the room. As I got to spend more time with the students, the pictures got better steadily too. They went from static portraits to displaying them in lively, dynamic form. To their credit, I soon figured out that many of the students had absolutely no inhibitions when it came to being photographed. Soon enough, I was asked to help out with a second group made up of young men aged 16-18 to help out with a similar project.

The year I spent with this group was one of the most fulfilling experiences I’ve ever had. They were loud, boisterous and a hell of an experience to stand in a room with. I wasted no time getting involved; the documenting became secondary to getting through the tasks each week. I started to look forward to coming in each week, all of them were characters, perfect to photograph and delightful to be around. One session had them recording the dialogue dubs for a music video they were putting together in the sound studio. I stood on the sidelines some paces away from the microphone, snapping away when I could. They loved the performance aspect of their project and these are some of the pictures I’m most proud of. On a hard-drive somewhere is a collection of melodramatic air-punches, arms outstretched like they’re reciting a Shakespearean monologue.

The end of the year for these guys came with the end of their course. An event was put on where they screened their music video project, the result of months of hard work (as well as a change in the main cast that had me dressed like an Anne Rice vampire in full stage make-up), along with a montage of all the documentary photos we’d kept over the year. It was a point of pride for me, not necessarily because I’d helped produce it, but more so in watching these young men see themselves grow over a sequence of still images. They hadn’t seen any of the photos I’d taken of them and suddenly they were seeing their story unfold. I couldn’t help but feel I’d finally come full circle, back to those days in front of a folder of photos as my parents related all their lost stories.

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nofomoartworld · 7 years

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Carron Little on the Palette of Utopia

Interview with Lise McKean

Carron Little came to my attention in 2013 when we launched a conversation at the opening of Chicago 1968, an exhibition of photographs by Stan Rosenstock that she curated at Eyeporium Gallery. Her work in performance and installation includes the Out of Site festival in Wicker Park, the inimitable Queen of Luxuria, and events at 6018, Defibrillator, Chicago Cultural Center, Chicago Park District, Beverly Arts Center, Gallery A + D, and many other places in and beyond Chicago. She’s also an innovator when it comes to teaching and cultural policy in support of public art and the livelihood of artists. This interview was prompted by reading Carron’s short essay in the new book The Artist as Culture Producer: Living and Sustaining a Creative Life, edited by Sharon Louden. Her essay left me curious to hear more.

The Queen of Luxuria, Uptown Trilogy

LM: Since I’ve just read your essay in Louden’s collection, let’s start with some questions about that, and we’ll improvise from there. At the beginning of the essay, you talk about your parents’ involvement in Iona Community and its mission of applying the Bible in contemporary life. What did that entail in practice?

CL: My father was a theologian. The Iona Community’s philosophy was to look at the world as it is now and to provide a moral and ethical code to the way in which we live together. It wasn’t a literal application, but rather more about responding to the current needs of local communities. Part of their work involved moving into impoverished neighborhoods in Scotland and help give agency to the local people. Our family was one of five Iona families that moved into Easterhouse in Glasgow, which at time was the roughest public housing in Europe. One family that lived there had fourteen kids, and half of them had stunted growth. I lived there from ages two to five and have specific memories from that time that were really violent. Some families had nothing except a TV. Not even a bed. The poverty they lived in was inhumane. One Labor Party politician visited and said that he never knew anything as bad as that existed.

So I was exposed to that landscape. And then we went to Iona Island off the west coast of Scotland for our vacations. It was a paradise. A place for the privileged. So from early on my life was shaped by this landscape of paradise and hell.

LM: Does Easterhouse still exist? Have you been back?

CL: They knocked down much of it. It’s too dangerous. Fiona, my best girlfriend from Iona Community whose family lived there for eight years, went back once. All of the children of the Iona parents are working in culture—artists, musicians, in theatre. Fiona is on a cultural committee working for an independent Scotland.

Still from performance video short made with Ralph Kuehne, 2016

LM: So the children of Iona are working at the crossroads of culture and politics, coming at it from the cultural side.

CL: Something I’ve observed in my lifetime is the relationship between culture and social development in cities. I’m passionate about every child growing up in a safe city and the need for public policy and a supportive social system that provides a high quality education for young people and supports families living in cities.

My brother and I joke that I was born in North Carolina and he was born on Rotten Row in the Easterhouse Estate. The buildings there were mixed high and low rise on the outskirts of Glasgow, dislocated from the city. You pass it on the motorway driving into Glasgow. All gray concrete. We had to walk across the bridge over the motorway to go to the nursery. The only memory I have of nursery is being sick and falling asleep.

Let me back up a bit. Before Iona and Easterhouse, in the 1960s and 1970s my father was in graduate school in North Carolina and my parents were involved in the civil rights movement. My father worked with the President of Duke University to facilitate the desegregation of the University.

Women Mobilized for Change Ensemble, Chicago Park District, 2016

LM: It would require a strong personality to work in that capacity. Your father must have had quite a presence.

CL: He was charismatic. My father was a comedian. People wanted him to go into television. He was the kind of father that when you’d be in public, you’d wish he would just be quiet. He was very gregarious. He’d talk to everyone. Both my parents were very charismatic.

I grew up with this cultural heritage of civil rights, women’s liberation, and the contrast of Easterhouse. Then I moved to Devon in England where my dad was a college professor. It was beautiful. The contrast between heaven and hell. Moving from a deprived place to utopic landscape. Dartmoor is barren but the southwest of England near the coast is an idyllic part of the world. At the same time it was a very difficult place. Everyone knew each other. I grew up the alien other. I had a Scottish accent and there was a lot of prejudice against Scottish people.

LM: It sounds like you had a number ruptures, moving like that as a child.

CL: These experiences gave me a sense of justice from a young age. My primary school was a Church of England school with only 90 students. It was very parochial and limited. I got most of my education at home from my parents. When I was 10 years old I argued with my teacher. He insisted God is a he. Being brought up by a theologian, God didn’t have a gender. My father would use the term Shim. I would get into debates with the Principal who wanted me to accept that God is a he.

These experiences also relate to my color palette. It’s about creating a utopian landscape. In my recent show at Gallery A+D the color transformed the space. Luce Irigaray relates color to the divine feminine in prehistorical times. This idea about how color can create an atmosphere of liberation is important to my practice as an artist. I’m interested in creating an atmosphere of liberation through color in the environment. Walking into my studio one is hit by the color, it’s a uptopic sensation.

Little’s Chicago studio, 2017

LM: I’m not sure all this pink, blue, and silver sure would be utopic for everyone. I can imagine people who would want to get out fast. Can you explain more about how you’re using utopic and it’s relation to color.

CL: I’m interested in the friction. Using this vibrant color palette to draw in the spectator. In creating a spectacle, something that is vibrant color that draws people in. Like the Queen of Luxuria piece you came to at the bank in Uptown. It becomes a much deeper conversation about inequities of pay.

LM: So what is the relationship between vibrant color and deeper conversation? Are you saying the more vibrant the color, the more intense the conversation?

CL: Irigaray relates vibrant color and feminist practice. If you imagine walking into a woman’s body. The intensity of a vibrant woman, of vibrant femininity. Men are put off by that. We have established a fear that dislocates people from their bodies.

LM: Going back to what you said about the friction between colors, why do you use pink and blue? What’s the friction there beyond the gender codings of pink and blue?

CL: We talked the utopic and hellish landscapes. Iona was paradise but on the west coast of Scotland. It had blue sky, pink rock, and silver sea. I’m definitely drawing from my memories of that landscape. I’ve spent a lot of time there. Obviously, there are the gender codings. The belief we all have masculinity and femininity. It’s just variable. I’m definitely using those signs. I’ve always used a limited color palette. At Goldsmith, it was pink, black, and silver. When I went back to London after doing my MFA at SAIC, it was black and gray, black and white.

Chicago is my utopia because it’s where I live, where I’m alive. When I moved back to Chicago, the pink, blue, silver palette starts. I’m always thinking about the audience. How the audience engages in the work. That’s important as a performer.

Uptown Trilogy

LM: I’m going to go back to something curious you said in the essay. You said that studying at Goldsmiths College gave you the tools to live a creative life. What tools do you have in mind and how have you used them?

CL: At Goldsmiths the schedule was four days of studio work and one day of critical work. So we had four days to work on the development of one idea. That was vital. I like to be focused on one thing and to develop it in a deep way through ideas, materials, and research. I didn’t do well the first year.

LM: What happened?

CL: It was a difficult time. I had three deaths in the family. When I came back for the second year, I was brought into the office by my practice advisor Janet Anderson. I said, “I have a choice to stay or leave. I decided that this is what I want to do. I want to invent processes of 3D tapestry.” Janet told me to go on a walkabout. I took my camera around the neighborhood. I walked down Deptford High Street, close to Goldsmiths. I was drawn to all these hairdressers shops and the sensuality of these spaces. There is this sexuality, it’s a space where the body is taken care of. So I built automated sculptures that moved in sync. I was influenced by Rebecca Horn. And I had a film installation.

LM: You talk in the essay about the second wave feminism of your parents. How would you describe your own feminist practice? How does the Queen of Luxuria exemplify your feminist practice?

CL: I grew up around a lot of lesbians. My mom became a lesbian when I was thirteen and with her moved to Yorkshire. I grew up with this feminist, lesbian library. Then I went to Goldsmiths and I was being taught by feminists. This training is really the language that I work in.

Part of feminist practice is thinking about the community as a creative practice. Creating Out of Site, creating a financial structure to support artists, is a big part of what I do. Yes, I’m in the studio. A lot of my work happens on arts committee and getting public funding for artists. After developing policies for Out of Site, I was asked to write a consulting report for the Chicago Department of Cultural Affair. It addresses the need for a living wage for artists and what artists need to create the best work they can: wages, materials, and policies that are inclusive of diversity of cultures, races, ethnicities and it’s not just the white male aesthetic being projected and represented in the world.

The Out of Site jury panels were instructed to take affirmative action. After final selection, we made sure there was a diversity of voices, aesthetics, and ideas. This is important because Out of Site takes place in public space and it needs to mirror diversity of the public itself.

Spare Rib Revisted, Gallery A + D, 2017

LM: Earlier in our conversation you talked about utopia in terms of being the place you live. In the essay, you write that you saved up and moved back to Chicago, the “the city I love.” What makes Chicago loveable and how is it utopic?

CL: It’s definitely where I feel alive.

LM: Alive in term of creativity, free? What kind of alive?

CL: Living my life to my fullest potential as a human being. Going back to this idea of utopia and dystopia and how I need the two to function. How I need that.

LM: Are you saying that this tension is a creative force for you?

CM: As an artist I’m responding to the environment. Thinking about this goes back to the abject. When we go through horror we can reach enlightenment. I think that’s an important aspect of my practice. Looking at the problems in communities, for instance the Neighborhood Magic project in Beverly here in Chicago. I interviewed eight people over the age of 70 about their life stories. The history of America is in those eight people. Some had been involved in Civil Rights, Gay Liberation in San Francisco. One was a lawyer whose life’s mission was to create racial justice in America. Through that project there were conversations where different generations were in the room to listen and hear the stories. Those conversations continue to impact the local community and the work people have gone on to do. That’s part of the important work we have to do as artists—bringing people of diverse backgrounds together and talking about difficult ideas.

LM: So that brings us back to Chicago. Most cities are both utopic and dystopic. So why Chicago? Why now?

CL: Our lives are made up of the people in them. At SAIC I became part of my community. I formed strong friendships here that have been the most important in my life. When I first lived in Chicago, I was part of a diverse community: artists, thinkers and filmmakers. That drew me back after 10 years. I’m very career oriented. My artist career has always been the most important thing in my life. If I could not make my art if I was in a relationship, I left that relationship. My art career comes first. I never got married. I don’t believe in the institution of marriage. It’s about ownership.

City Alive with Dreams, 2014

LM: I’ve always a problem with the word career. To me it connotes conventional narratives that are based on externals such as rewards and recognition—or the lack of. Maybe it’s not served me well, but something in me has always resisted pursing a career. Though job interviews demand otherwise, I usually stubbornly distinguish between how I make money and the narrative of my life. What do you mean by career?

CL: It was very important to my mom. She wanted her daughter to have a career. It’s not easy for a woman to have a career as an artist. The majority of women are written out of the system because of their gender. It’s not okay for women to say I. So for me to say I want to have a career as an artist is outside what the patriarchal structure allows. It was really important to my mom that I could live an independent life and support myself. And I have.

LM: Was she able to do that herself?

CL: My mom was very influential in international politics. Later on she worked for the British Government to create health systems in Hungary and Ghana. She was an amazing person and had a very logistical and practical mind. She got married when she was nineteen. She didn’t have the education I was able to have. She went back to study in her 40s. I have wanted a career in terms of teaching because I love that. I love giving people the agency to live their own lives. A lot of my teaching philosophy works in parallel to my social practice as an artist. There’s a lot of confluence between them.

LM: We’ve covered a lot and there’s way more I’d like to hear about. For example, talk about your process of coming up with ideas and creating a performance piece. Can you walk us through a project?

CL: I’m working on Spare Rib Revisited. I’m interviewing women ages 20 to 100 about their lives. I’ve written poems for each woman inspired by her life story. Last year I had a residency to do this in Lucerne, Switzerland. One woman was in the Katherine Dunham Dance Company and still teaches dance at the age of 91. Another was immigrant from Albania. She had 24 hours to leave her home at the age of five. Another woman was rejected from her hometown at the age of 19 because she chose to become atheist. She’s now the director of a Swiss Trade Union. Another woman is half Tamil and half Swiss. She grew up in small Swiss town. The prejudice she experienced in school and throughout her life is a disgrace. How this systemic racism emotionally impacts a person is something that horrifies me.

Spare Rib Revisited, Gallery A + D, 2017

LM: How did you meet these women?

CL: I was in Lucerne for a month. I worked with a gallery that created a list of women. I had an interview on a youth radio station and made connections through them. I performed the public poetry I had written in other cities at beginning of the residency. Some women signed up at that event. I allowed for chance situations. Whenever I do this I make sure there’s a diversity who engage and participate and take a diverse approach to open up the opportunity. This project is evolving. I recently did a performance as part of my solo exhibition at Gallery A + D in collaboration with Ragdale Foundation.

LM: What work was in that exhibition?

CL: Sculpture, painting and prints that I’m making in conjunction with the interviews and poems. The room at Gallery A + D was packed when I started the performance. I invited people to share an important life moment and then choose poems that connected with the audience experience. Everyone listened to each other. This listening created intimacy. Even people who knew each other discovered they had connections they didn’t know. One of the people in the audience said, “This is exactly what we need right now. We all need to be listening to each other.”

In “A Poem for Verena Haller,” based on the life story of one of the women I interviewed in Lucerne, I structured the poem around the city’s geography and around language as a space to think and breathe. Verena’s email about the poem said, “This is miraculous. I can’t believe you’ve translated our conversation in this way.

LM: What’s the format for these interviews?

CL: My philosophy for interviews is to take as long as it needs. Generally, it takes two or maybe three hours. Sometimes it takes six. It takes whatever time the person needs. I write notes while I’m listening. That helps me structure the poem that I later write. I interview the people in their home.

LM: Do you ask questions during the interview?

CL: No. I have a contract of care with each participant. It’s important that they’re happy with how their life story is translated into poetry. I ask them to talk about important life moments. I send questions in advance so they can think about them before the interview. We’ll talk through the contract, my intentions as an artist. They tell me if there’s something they talk about that they don’t want included.

LM: That kind of exchange is necessary to establish trust. And agency for the participant. You give them the final word on what goes out into the world.

Neighborhood Magic Choir, 2015

CL: With Neighborhood Magic, the ensemble performed for the participants before it went public so they agree to the execution of the work and performance. I had a private screening for participants when I made a documentary. They have a voice at every step. Everyone who participated in Neighborhood Magic were elated at the choral performance of their poems. There is a transformation for people who participate fully in the process. There’s something so special about someone sitting down and listening to you. How often does that happen in our daily life? I think this is so necessary. We have to listen to each other and understand our differences and where we come from. People bring so much judgement to others lives without having any idea about what they’ve lived through. I’ve been thinking a lot about this kind of listening over the last eight months and how to integrate it into actual performances.

LM: Before we close, what’s coming up on the near horizon?

CL: On April 21 and 22, there will be three Out of Site performances on the bridge of the Blue Line’s UIC Halsted stop as part of the City of Chicago’s Year of Public Art. We’re working with Gallery 400 on these performances and they’re supported by Gertrude Wachtler Cohen Memorial Foundation.

Photos credits to Jamie Gannon, Emily Esperanza, and Lise McKean

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