Very different to cucumbers that we eat in our salads, sea cucumbers are animals that live in our oceans. They look like a cucumber due to their shape and appearance (see pictures above and below), even if they are not always green in colour. Sea cucumbers have an incredibly important role in maintaining a healthy ocean.
Dalton Koss HQ often hear marine scientists refer to sea cucumbers as being the worms of our oceans. Sea cucumbers clean and fertilise the sand like worms clean and enrich our soils. When a sea cucumber eats sand from the ocean floor, it moves through its gut where it takes out very small pieces of food. Everything else, for example the sand, is excreted. This excreted sand is clean and contains healthy bacteria.
Apart from the amazing role sea cucumbers play in keeping our oceans clean, here are some other INCREDIBLE facts about these animals.
FACT 1: Sea cucumbers are soft to touch because their spiny skeleton has been reduced and absorbed into its leathery flesh.
FACT 2: Sea cucumbers are also called holothurians. This is because they are scientifically classified as Holothuroidea. In fact, the Class Holothuroidea belongs within the Phylum Echinodermata, which means the sea cucumbers are close relatives to sea stars, sea urchins, feather stars and brittle stars.
FACT 3: Sea cucumbers can be found in tropical and temperate oceans across the globe. They prefer to live in the subtidal zone so they are not exposed to the sun and air at low tide.
FACT 4: Sea cucumbers have two openings; a mouth at one end and an anus at the other.
FACT 5: A sea cucumber’s mouth is very different to other animals. The mouth is surrounded by tentacles. Each tentacle is made up of little tube feet that move sand up to the mouth opening, similar in function to a conveyer belt. Some sea cucumbers use their tentacles to filter feed, meaning they catch plankton and other particles drifting in the water column.
FACT 6: The respiratory system, that allows the sea cucumber to breathe, is located in its gut towards the back part of its body.
Dalton Koss HQ’s most favourite sea cucumber fact is their ability to throw out their respiratory system through their anus as a defence mechanism when they think they are being attacked. By throwing out their internal organs it distracts the predator into thinking the sea cucumber is dead. What is more amazing is that the sea cucumber can then regrow its respiratory system and continue to live.
As an animal that comes across as simple and unobtrusive, the sea cucumber plays an important role in maintaining beautiful oceans for us to enjoy.
I am not certain if the above title is misleading as it’s often disputed that you can’t actually manage talent. For approximately 30 years I have been involved in the management of talent, also defined as artist management, in one form or another. I have often been asked, “What do you actually do”? Good question. Ideally the management of talent should be career development planning. This can range from: sourcing new talent, developing material and pitching to record companies, publishers and booking agents. It can be likened to a good coach working with either a sporting team or an athlete. However, in the music business, this career development can often turn into fire fighting and damage limitation. Ex CBS head, Walter Yetnikoff, described the role of artist manager in his 2005 book Howling At The Moon as “A manager is a cross between a Rabbi, Priest, guru, banker, financial adviser, friend, psychotherapist, marriage guidance counsellor, sex counsellor and business partner”. In essence, there is no solid job description with a list of selection criteria for the role of artist manager. It is the number of skills that the manager has at their disposal and can be deployed at various stages of an artist’s career that hopefully, gets the right results and the job done. The hours are long; the work is hard, its underpaid and nobody ever says thank you.
The music industry is a volatile, dynamic and a rapidly changing area of business, that’s why we work in it right? As such the music business is not exempted from the repercussions of unplanned, uncalculated and unstructured activities. Therefore, as it is with every modern business, each manager needs to know her/his role and what is required to play that role. The role of the talent manager is now more than pitching to labels or simply supervising other elements that contribute to the artists’ success. What it is about is creating visibility and value (building equity and mind share) and developing revenue streams. Artist managers are now evolving into creative business development managers. Not quite the men in beige offices sat behind their spreadsheets, Venn diagrams and BCG quadrant charts but definitely getting there. This is a far cry from the trailblazers like Peter Grant (Led Zeppelin), Andrew Loog Oldham (Rolling Stones), Malcolm McLaren (Sex Pistols) Brian Epstein (The Beatles) or my personal role model Bernie Rhodes of The Clash.
In 1991, I solo managed my first band, Opik, a group of art students back in my hometown of Hull, UK. I met them the first week of starting a documentary film making degree in the university’s refectory when I shot my mouth off to them about my previous 14 years worth of exploits in the music industry. Within weeks we had inked a deal with major record company BMG’s imprint DeConstruction Records and became Kylie Minogue’s label mates. We bought two very cheap rundown Victorian houses and installed a recording studio across the attics with our advance. We lived, worked and breathed music and had our very own alternative bohemian lifestyle for the next few years; it was a total breeze, it didn’t feel like a job. There was a sense of community and collaboration, well we did live together. Due to our creative output and hard work we became one of the few bands on the label’s roster to actually recoup our advance and make a profit. We also made some serious kick ass music too.
At the opposite end of the spectrum I managed Finley Quaye, which consisted of some very hard work, lots of upset, sleepless nights, pain, suffering and where every single penny was well and truly earned. The metaphor I often employed at the time when speaking to record company colleagues was that it was like dragging a three legged elephant up Mount Everest in a blizzard with a broken piece of string, with no pants on while juggling.
I have this unproven theory that the greater the talent the more difficult it becomes to manage. Finley proves this theory. A man of immeasurable creative talent, good looks, a songwriter, performer, actor, painter, the list goes on, he was the complete artist. I once had a very serious ‘career development’ meeting with Finley about his disruptive behavior and his ability to completely destroy any pre-made plans. The result was lots of tears (him not me), lots of hugging and promises of behavior modification from that point forward. The next day at Air Studios in London he turned up on time and sober ready for the recording session (a first) and asked if he could leave his backpack under the mixing console for safekeeping. Thirty minutes later everyone in the studio was laughing uncontrollably, feeling very heady and slightly sick. It didn’t take to long to work out why. Finley’s backpack contained a canister of nitrous oxide (laughing gas) which he’d opened and effectively gassed the studio. Session cancelled, at great cost, lots of technicians and musicians with laughing gas hangovers and a very irate angry record company. This behavior was too much for me to handle, time to move to a safer and easier gig. This lack of respect for his own career development has led to Finley being homeless for the past 8 years and in dire health, if you believe the Internet.
Sadly these types of stories are all too common in the modern music industry. Artists start to believe their own publicity, indulging in unprofessional behavior and then blame someone else when the shit hits the fan. Ian Hunter’s 2014 book The Great Ones Are Always The Cracked Ones elucidates the nightmare of managing former Kooks front man and songwriter Max Rafferty. Hunter’s story is a sad one of lies, betrayal and ultimate failure. But this is a two way street, in the past it was always the shylock managers that were the villains; those archetypal managers with the huge cigars and Rolls Royce’s out shilling the rubes. This is an old American term for planting an accomplice in the crowd to drum up enthusiasm for a dodgy product. The etymology of the terms comes from ‘shilling’ meaning conning and ‘rube’ was a name for a country bumpkin and was heavily used by circus folk known as ‘carnies’. A classic example of how not to manage a band would be Bill Collins and Badfinger. Despite being signed to The Beatles’ Apple label and selling millions of records, the band never saw any of the money. Partly as a result of miss-management, Peter Ham and Tom Evans both committed suicide. Artists and creatives in general are vulnerable human beings and require a high level of compassion (a DKHQ key word). In the music business, version 2.0, compassion and duty of care are both important concepts.
Ironically the music business is improving in direct contradiction to the decrease in music sales. The Association of Artist Managers (AAM) has recently published its Code of Conduct for Managing Artists. It’s all common sense stuff, which good managers should be adhering too rigidly. I like to think that at DKHQ we always run ahead of the pack, being at the cutting edge of current thinking. To this end I would like to see all students studying music/entertainment management get free membership to AAM as part of their education. The Code of Conduct is influencing and positively driving improvement in music business. To ensure that this code is understood and adopted in succession planning by the music industry, it has entered the curriculum at various higher education institutions teaching music and entertainment industry management. As a music industry veteran, I regularly speak to early career music industry managers via master classes and guest lectures. I think engagement at this level is very important as it fosters good practice and establishes some of the basic ground rules.
A career in the music industry, and in particular artist and talent management, is never going to be a mainstream career choice. It’s unlikely that you will ever see a national newspaper advert for an artist manager but it’s a great rewarding profession and the jobs are definitely out there for clever creative managers. In the often repeated words of Colonel Tom Parker, Elvis Presley’s manager “I’m Elvis’ manager because he says I am and, because I say I am”.
Its 1985: Ronald Regan is president; Margret Thatcher is Prime Minister, monetarism rules, capitalism is king, the miners are on strike and This Is Big Audio Dynamite. Despite what many people think, Joe Strummer wasn’t the perfect human being. Joe made some huge mistakes in life, no one’s perfect; probably the biggest one was firing Mick Jones from The Clash. Later in life Joe would admit that the one great regret he had in life was firing Mick Jones as he fully appreciated that this single action effectively finished the band. Like exiting any bad relationship the sense of release can be overwhelming and often results in extreme experimentation.
In Mick’s case this led to a very brief period with The Beat’s Ranking Roger and Dave Wakeling’s new band General Public. My ex-class mate of Kelvin Hall High School (Hull), Roland Gift, was responsible for taking bassist David Steele and guitarist Andy Cox from The Beat to form his new band The Fine Young Cannibals. A classic case of one door closing, another one opening. The analogy here is that it’s very similar to dating a young inappropriate girlfriend after a long marriage. It’s great fun for a couple of hot dates but its certainly not going to constitute a long-term meaningful relationship. After this short affair Jones formed Top Risk Action Company (TRAC) with some former collaborators including former Clash drummer Nicky ‘Topper’ Headon. This collaboration soon fizzled out partly due to that old uninvited guest, heroin.
The antecedents of This Is Big Audio Dynamite’s (B.A.D.) experimental funk elements were beta tested on The Clash’s Sandinista and Combat Rock albums. Working collaboratively with Jones on B.A.D. were video artist and long time Clash associate, friend and filmmaker Don Letts (samples and vocals), Greg Roberts (drums), Dan Donovan (keyboards), and Leo ‘E-Zee Kill’ Williams (bass). Another important ingredient was Basing Street Studio’s sound engineer Paul ‘Groucho’ Smykle, B.A.D.’s very own ‘dread at the controls.’ Smykle had a serious dub mentality, having previously worked with the likes of Black Uhuru and Linton Kwesi Johnson. Adding samplers, dance tracks, and movie sounds to Jones’ concise pop songwriting, B.A.D. debuted on record with the single The Bottom Line in September 1985 and the album This Is Big Audio Dynamite later that year. The singles E=MC2 and Medicine Show became sizable hits in England, and reached the dance charts in America. The album did not sell well only reaching number 27 in the UK charts and a lowly 103 in the USA.
This Is Big Audio Dynamite is a futurist piece of modernist audio art terrorism. As is often the case with modernism, what was once forward-looking seems inextricably tied to its time. It had one foot in the present and the other firmly in the future. The clanking electro rhythms, Sergio Leone samples, chicken-scratch guitars, bleating synths, and six-minute songs of This Is Big Audio Dynamite evoke 1985 in a way few other records do. This is definitely not a criticism; on the contrary 1985 is a good year for me as my son was born, probably the greatest event of my life. Any record that captures the zeitgeist of 1985, by my reckoning, is a good one. Big Audio Dynamite’s boldness remains impressive, even visionary, pointing toward the cut-n-paste post-modern masterpieces of the late 1980’s and early 1990’s. Breaking new ground opens up the creative highway for other artists to follow.
One reason that this album took some flak is that it doesn’t sound like The Clash. There was a long shadow cast by The Clash that B.A.D. could never fully escape from. We shouldn’t think badly of this album for that reason. If anything Jones builds on the foundations that he laid with the Clash, he was prepared to move on and develop. At the time of its release This Is Big Audio Dynamite sounded like the future, it was a soothsayer for what to expect over the next two decades. B.A.D.’s philosophy was to utilize all the elements of the media to create a fuller sound and write songs that were about something. A combination of New York beats, Jamaican bass, English rock ‘n’ roll guitars and dialogue from spaghetti westerns and Nick Roeg films all found a place on this album. Mick Jones did not abandon his innate gift for hooks, if anything, he found new ways to create rhythmic hooks as well as melodic ones, it’s quite accessible for an album that is, at its core, a piece of modernist avant-garde rock. This Is Big Audio Dynamite is the album that The Clash should have released as the follow up to their last album Combat Rock but didn’t. It certainly stands as a monument to the times and as a musical signpost for the way things were heading.
Mick Jones and film/documentary maker Don Letts are both visual artists to varying degrees. Jones always had a keen eye for fashion and visuals, his influence upon The Clash, and in particular the notoriously scruffy Joe Strummer, was instrumental in their look. Letts’ scopophilic regime was to view the world as though it was through a movie camera lens. In an article for The Sabotage Times (1/10/11), Letts recounts that during the writing of the album (and with Jones’ guidance) he had thrown himself into co-writing lyrics, which he approached in the same way as writing a script or treatment for a film. With Jones’ wide-screen vision for the band, the songs soon took on a cinematic quality. The songs featured heavy sampling of film dialogue. A good example is the 6 minute 31 second opening track Medicine Show which effectively sets the scene for the rest of the album “Wanted in fourteen counties of this State, the condemned is found guilty of crimes of murder, armed robbery of citizens, state banks and post offices, the theft of sacred objects, arson in a state prison, perjury, bigamy, deserting his wife and children, inciting prostitution, kidnapping, extortion, receiving stolen goods, selling stolen goods, passing counterfeit money, and contrary to the laws of this State, the condemned is guilty of using marked cards. . . Therefore, according to the powers vested in us, we sentence the accused before us, Tuco Benedicto Pacifico Juan Maria Ramirez (‘Known as The Rat’) and any other aliases he might have, to hang by the neck until dead. May God have mercy on his soul. . . Proceed“. This whole scene is re-appropriated from the 1966 film The Good, The Bad And The Ugly. As writer, arranger and producer of this album, Jones is aware that the songs must be able to support this heavy use of sampling. Songs on this album are constructed in such a way that in the words of Bob Dylan “they have legs and can stand up and walk”.
Jones brings at least one Clash track with him; track four, The Bottom Line. In its Clash form this song was called Trans Clash Free Pay One, much better with it’s re-titling. Rick Rubin loved this track so much that he produced a 12” re-mix, which was released on his Def Jam label. I am sure that The Clash’s 1981 17-day residency in support of their Sandinista album at Bonds Warehouse in New York City provided Jones with material aplenty. Jones is the classic autodidactic, someone who has learned a subject without the benefit of a teacher or formal education. Jones took much of the same raw material that influenced hip-hop artists, such as The Beastie Boys, and processed it in his own special way. I don’t think there’s anyone who would dispute the claim that the Clash where musical pioneers. This Is Big Audio Dynamite could be offered as evidence in support of the argument that B.A.D. were far more forward thinking, cutting edge and perhaps more of their time, than Jones’s previous band. They were much less confined by the Stalinist constraints of punk rock and were determined to try and shake off the Clash’s formidable legacy. Mick Jones, the member who brought hip-hop beats into the Clash’s repertoire and wrote their sole No 1 hit single, set out to create a new sound that employed the emerging technologies used by dance and rap music. He could have simply formed a crap Clash cover band, like Joe Strummer did, but he made a decisive decision not too. Spoken in the best spaghetti western voice of Clint Eastwood “For this reason, consider this album well and truly rescued”.
Naomi Edwards lives on the Gold Coast, a popular Queensland coastal strip on the east coast of Australia. Naomi’s passion and drive translates into a number of diverse roles including: Young Social Pioneer for the Foundation for Young Australians, National Landcare Ambassador, Founder and Researcher for Happy Beaches and a Griffith University student and coastal community advocate and expert.
Naomi chats with Dalton Koss HQ about her passion for beaches and her drive to empower the people around her to have ownership of their dreams.
I always wanted to be a pilot. The idea of flying through the clouds enchanted me. But during my high school years at Keebra Park SHS, I went to Queensland’s south-west outback for 10 days on a science school trip to work alongside Peter McRae, a lifetime campaigner and conservationist for the endangered bilby. Peter inspired and transformed me to live a life with purpose where sustainability is at the heart. His passion for world sustainability led me to study environmental science and post-graduate degrees in international and community development, and coastal cultural studies to refine my purpose. I preferred to be outdoors, volunteering and looking after coastal environments. It didn’t take long to discover that my purpose was to inspire communities to care for beaches and influence coastal management decisions having grown up along Gold Coast’s beaches.
My journey really began with volunteering at my local beach with watering native dune seedlings during south east Queensland’s decade-long drought. The Friends of Federation Walk have been restoring the dunes at The Spit for over 15 years and my experiences volunteering with them changed my life – again. As one member made quite an impression on me by stating, “Naomi, it is up to you what you want to do with your life but why not create a masterpiece.” And there I was standing on a sand dune creating a masterpiece. What was once a bare sand dune is now a thriving coastal rainforest, a beautiful ecosystem for native biodiversity.
Yet, I recognised that only a small group of dedicated people volunteered and wonder what difference we could make if more people supported the cause – perhaps more positive outcomes for the sustainability of the coast. I shared the possibility with my fellow science students and academics at Griffith University. What started as four university friends turning up to volunteer, evolved into twenty undergraduate students consistently volunteering every month, planting trees and keeping up with the restoration maintenance. We called ourselves Griffith University Science Maintenance Team to help support the small group of volunteers. Despite the less-than-engaging name for the group, this was the launching of my first coastal community project – without even realising. Then all of sudden I saw plenty more gaps, patched them up and inspired and supported other’s to do so too.
After completing my Bachelor of Environmental Science, I planned to study an Honours vegetation ecology, specifically, carbon sequestration. However, I was having too much fun on the beach working with volunteers and in between researching various forest structures measuring over 15,000 trees for the Program for Planned Biodiversity and Ecosystem Research (PPBio) project. It was these experiences that opened a world of opportunity, fuelling my passion for community wellbeing and the environment – particularly, beaches and dunes.
As I believe where there is a need, there is an opportunity, where there is passion, there are people, and where there is a dream, there is hope. My dream is to transform the sustainability of beaches to be happy beaches, so there is hope for the coast and the future of beaches and coastal communities around the world.
I have never really considered myself to be a leader, rather an instigator for progressive change for the environment, particularly beaches. There has been a lot of learning along the way; there was no strategy and there is no strategy. Luckily, I had wonderful support and mentoring to guide my spontaneous acts of action. As I just did things, didn’t wait and thought about it later.
I would probably put myself in the change maker category. As our future is today’s experiences and if want to see change we have to be in action. That means we are always setting ourselves up for the next thing even if we fell like we are in limbo.
Every possibility presents an opportunity to act.
The five key words I use to describe effective and successful leadership include:
1. Passion – Passion is the key driving agent for all change makers. It fires up the heart and soul and keeps you grounded and focused. It is important for leaders to have a passion to drive energy, a vision, ignite others, influence and open opportunities.
2. Plan – I was fortunate to be guided early on by leading change makers in my community. They encouraged me to package my dreams and desires for every idea – too many ideas – into an achievable plan. This has also helped others and myself stay on track and work towards common goals and objectives to achieve and complete projects and lasting successes.
3. Integrity – Integrity is the foundation of leadership. Yet it can be overlooked or not recognised as it shown through the small actions. This involves keeping your word and helping others without expecting something in return, and always living by your values. People will believe and support you when you have integrity. Do not compromise your values.
4. Commitment – You have to be accountable, do the hard work and create a community full of leaders in their own right, which takes commitment.
5. Consistency – Consistency helps you get over the line to reach success. It helps establish your reputation. It also makes you relevant, and maintains and helps you refine the freshness of your message.
I have experienced a number of key successes and challenges in my leadership journey. Being creative, having fun and working with the right people has led to many successes in my life. I can’t really pinpoint any specific key successes rather I simply acknowledge the entire journey. In the beginning the biggest challenge was overcoming the overwhelming state of the environment when learning about climate change, marine debris impacts, species extinction etc. You can’t let the negative side of things get to you or else they will bring you down. You have to maintain a positive outlook and act on what you can do.
I don’t really believe in failures as every action and project occurs the way it is suppose to be. It is about learning from every experience and building your experience bank for next time to do it better, bigger and most likely more innovative. “And whether or not it is clear to you, no doubt the universe isunfolding as it should” (Max Ehrmann, Desiderata: A poem for a Way of Life).
My success is attributed to inspiration and support. I am continually inspired by others, from Peter McRae at the beginning of my journey to the many community champions I come across in my work. I love hearing about other people’s ideas, dreams and hopes and where I can offer my experience and support. Without my support base I wouldn’t be where I am today. I am thankful for the support my family, friends and close networks.
I have been fortunate to live a life where as one door closes another one opens. I think staying true to my passion, being committed and consistent has laid a fun and creative journey filled with endless possibilities!
I apply a holistic approach to maintaining my mental and physical health and wellbeing. I am happy, positive and optimistic and stay true to my passion. I support my support network and encourage others around me to live a powerful life, a life they love. I go to the beach – a lot! I enjoy eating wholesome food but also indulge in sugary sweets when I want. I enjoy walking my dogs and exercising.
You have to think and act beyond your own capabilities to grow, learn and reflect. This begins with dreaming up boundless possibilities and opportunities, sharing them, and then inspiring others to follow and be part of the journey as anything is possible! Leadership is helping others to take ownership of their ideas.
Two organisations I recommend for others to join are:
Landcare Australia – there are many opportunities for all walks of life to get involved in caring for the land and sea.
Foundation for Young Australians – delivers a range of initiatives (co)designed with and for young people to deliver change across Australia.
To learn more about Naomi and her Happy Beaches vision, please click on the links below:
Visits to the coastline are often filled with feelings of enjoyment, relaxation and excitement through discovery and exploration. At Dalton Koss HQ we often see young children and teenagers having fun exploring the beach, especially when they find sea squirts exposed at low tide. The name giveaway here is the squirt of seawater that comes out of this animal when lightly squeezed.
Sea squirts live on the lower areas of intertidal zone (see this link), from rock platforms to human made structures such as groynes and seawalls.
Aside from the amusement they provide when squeezed, here are some interesting facts about sea squirts:
FACT 1: Sea squirts, in the adult form, are individual animals that permanently attach themselves to hard structures, such as rock platforms, groynes and sea walls.
FACT 2: Sea squirts are filter feeders meaning they filter their food and oxygen out of the water column. To do this sea squirts have two siphons, one for bringing in the water and one for getting rid of the water. The walls of the siphons are lined with cilia (think of cilia as microscopic arms that wave and move together) that grab plankton and absorb oxygen as the water passes through the intake siphons. Any unwanted matter and carbon dioxide is released from the outtake siphon
FACT 3: Sea squirts along Australia’s southern shoreline have a brown outer colour and a beautiful orange/red inner colour. This brown outer colour allows them to blend in with the seaweeds and hard structures they are attached to.
FACT 4: At low tide sea squirts close their siphons so water cannot escape while providing protection against predators and the elements (e.g. sun and air).
FACT 5: Sea squirts are also referred to as cunjevoi or ascidians (as they belong in the scientific class Ascidiacea).
FACT 6: Sea squirts are mostly hermaphrodites meaning they possess both male and female reproduction organs.
FACT 7: The larvae of sea squirts look like small tadpoles that can swim around in the water. They only stay in this form for a few hours before settling on a hard surface, which signals the start of its transformation into the adult form.
Perhaps one of the most interesting facts about sea squirts is their evolutionary link between animals without a backbone (think sea stars, sea jellies, sea snails) to animals with a backbone (such as fish, birds, humans). In the larval stage sea squirts have a notochord, which looks like a rod. The notochord eventually forms into the backbone. However, sea squirts do not form a backbone. When the sea squirt larvae settle onto hard structures, the notochord disappears. This is an interesting phenomenon for evolutionary scientists who study how animals and plants evolve over time.
Sea squirts have a few predators including humans who cut up the sea squirt and use the red part of its body as fish bait. Although we often see how much fun everyone has from squeezing and squirting each other with water from sea squirts, it does cause them a lot of stress while they are exposed to the sun and air at low tide. So while it is tempting to squeeze sea squirts, it is best to leave them in peace as they wait out the turn in tides.
Like a lot of people, my earliest recollections of Marianne Faithful is of a 17-year-old pale waif princess singing the Jagger/Richards 1964 composition of When Tears Go By on a flickering black and white TV. Marianne Faithfull was one of the most photographed women in the world during her youth. With her angelic English looks, large breasts and long legs, she was the physical embodiment of the sexiest part of the 1960s, particularly when draped around the rock stars who made up her inner circle of lovers David Bowie, Gene Pitney, Brian Jones and Mick Jagger. She was the 60’s quintessential rock star girlfriend, the beautiful young exotic woman envied by everyone, men wanted to fuck her, and women wanted to be her.
Marianne Faithfull was born the daughter of an idealistic British gentleman, army officer and professor of English literature Major Robert Glynn Faithful. Her mother was Eva von Sacher-Masoch, the Baroness Erisso, whose family had originally hailed from Vienna. During the 2nd World War the von Sacher-Masoch family had secretly opposed the Nazi regime in Vienna and helped to save the lives of many Jews. This is the same family line as Leopold von Sacher-Mascoh who lends his name to the Masochism part of Sadomasochism. Major Faithfull’s work as an Intelligence Officer for the British Army brought him into contact with the von Sacher-Masoch family where he met Eva. A family background that reads like a combination of narratives from Blackadder meets the Von Trapp family. Faithful is probably the only daughter of an Austro-Hungarian Baroness to ever spend time in Ormskirk, west Lancashire while her father undertook his PhD in English Literature at the nearby University of Liverpool. She was largely schooled at a north London Catholic convent that temporarily sheltered her from the outside world. With such a family background, Faithful’s life should have being one of middle class privilege, comfort and free of celebrity notoriety. All that went out the window when she was sucked into the blossoming rock ‘n’ roll scene via the irrepressible gravitational pull of the Rolling Stones.
Andrew Loog Oldham is one of last century’s most radical and mysterious musical Svengali icons. His pivotal role and contribution to creating the popular culture in which we live cannot be underestimated. He was only 19 years old in 1963 when he commenced his four year tenure managing the world’s greatest rock ‘n’ roll band. The Rolling Stones are shrouded in myth and legend, which makes it virtually impossible to identify what is fact and truth. According to Loog Oldham’s 2001 autobiography Stoned, he understood that the Stones would not get rich as an R&B covers band. So he took the radical and unconventional step of locking the glimmer twins into their kitchen and would not let them out until they had penned some original material. His instructions where “I want a song with brick walls all around it, high windows and no sex” and the Glimmer Twins delivered to specification with As Tears Go By. Originally it was called As Time Goes By but Loog Oldham changed its title and probably claimed a writing credit in the process. It may be pure conjecture but it’s quite possible that Loog Oldham had an inferiority complex and as such he measured himself harshly against people like The Beatles’ manager Brian Epstien. Epstien had a stable of talent to whom the Beatles contributed material to e.g. Cilla Black. When Loog Oldham re-titles and re-appropriates As Tears Go By and sends it in Marianne’s direction he gives it a totally new meaning; genius.
Once Faithful had entered the orbit of the Rolling Stones it proved almost impossible to break free. Originally the girlfriend of Stones guitarist Brian Jones, Faithfull moved her allegiance to Mick Jagger in 1966, then had a very brief fling with Keith Richards, before a well publicized split with Mick in 1970. Her life went into a nosedive with heroin addiction, anorexia nervosa and her son (Nicholas), from her first husband (John Dunbar), was taken into care. Rock ‘n’ roll always had a non-existent duty of care policy with no support network. She lived rough on the streets of Soho, London for a few years. This lifestyle of heroin addiction and ill health irreparably changed and damaged her voice. Her career was resurrected in the late 1970s when she met and then married Ben Brierly, the guitarist of punk band The Vibrators. Between 1970 and 1979 Faithful made a few attempts to return to music including an album with producer Mike Leander, Rich Kid Blue, started in 1971 but not completed until 1985. There was also a country sounding single Dreamin’ My Dream.
After a lengthy absence, Faithfull resurfaced in 1979 with the album Broken English, which took the edgy and brittle sound of punk rock and mixed it with a shot of studio-smooth fusion disco. Marianne had lost all but her diehards audience long before Broken English’s release; hence it was never a commercial success only achieving number 75 in the UK and 83 in the USA charts. She had been a hit-making folk-pop singer with beautiful good looks and an angelic singing voice, but who quickly became a washed-up junkie, largely due to the Rolling Stones. The Stones have this devastating effect on people e.g. Gram Parson, Mick Taylor, Jimmy Miller, Bobby Keys, Andrew Loog Oldham and the death of the Peace and Love generation at Altamont. Years of heavy drinking, smoking and drug taking had taken their toll on her once frail voice. Of Marianne’s key personal traits are being able to adapt and survive, she has the knack of turning disadvantages to her advantage. On Broken English, her voice was very different from the pre-Stones records; it was far stronger, dirtier, harsher, worldly and capable of expressing her inner being.
Probably one of the perceived issues with this album is one of authorship. In essence this is a multi-authored piece and many consumers consider that Faithful is not the auteur of Broken English. Of course I would dispute this. Just because Marianne only co-wrote three of the eight tracks doesn’t mean that this isn’t a great album. Her role on this record is as interlocutor, as the voice positioned within the narrative. This is a narrative record, disjointed and unconnected narrative, but a collection of narratives that works to express her inner most feeling. She may not posses the expressive tool of being a writer but she still manages to make herself heard through what tools she did have at her disposal. Essentially on this record Faithful is a curator of other people’s material ranging from Shel Silversteins The Ballard Of Lucy Jordan, originally recorded by Dr Hook in 1974, Heathcote Williams’ Why D’Ya Do It? and John Lennon’s Working Class Hero. These days, curators of other people’s material are celebrated e.g. DJ’s such as David Guetta, Skrillex, Deadmau5 and Moby. I guess curating musical material was not a valid metric back in 1979?
Faithful’s role as interlocutor makes this album great. In each song, Faithful takes on the role of the lead character. She does this so well that it feels like she owns each and every song. Her sneering cover of John Lennon’s anthem Working Class Hero, which is sang as though she lived through it personally is totally convincing. As I’ve mentioned above Faithful cannot be described as working class by any stretch of the imagination. Every song here stands out in it’s own right, because there are simply no fillers. Read Shel Silverstein’s original poem The Ballard of Lucy Jordan, or Jordon as he wrote it. Then compare it to Faithful’s version; she delivers a totally absorbing, believable performance.
I’ve always adored the outrageous Why’d Ya Do It? which sees Marianne playing a bitter pissed off harpy who is delivering a fierce, graphic rant to her husband’s infidelities. The lyrics were far too rude for radio and caused a walk out by female packing staff at the EMI pressing plant. In Dave Dalton’s 1994 book Faithful, there’s a great account of how Faithful went to visit poet Heathcote Williams to claim this song. Williams came from the Jack Kerouac School of Disembodied Poetics, a perfect match for Faithful. Record producer Denny Cordell claims this song was originally destined for Tina Turner; I really can’t see Tina taking ownership of this song as convincingly as Faithful does.
Faithful was married to guitarist Ben Brierly of English punk band The Vibrators during the making of Broken English. In Dalton’s book she claims it was the affair that Brierly was having that drove her to seek out this song and record it. The opening track, Broken English, comments upon the rise of the German 70’s terrorist group Baader Meinhof, forerunner of the Red Army Faction, and their leader Ulrike Meinhof. I also like the idea that this track is a self referenced comment upon the bastardization and purposely distressing of her own voice through the negative lifestyle choices of the last decade.
Part of the credit for this album must go to Chris Blackwell who signed Faithful to his Island record label. Blackwell has a knack for sniffing out the bizarre, unusual and off-kilter artists. Only a label like Island would release a record such as Broken English and be comfortable with it. Just as George Harrison’s Handmade Films had a sort of house style, so does Island Records. There’s always this implied reggae feel or beat. Compare Broken English to Grace Jones’ Island Life, another record that only Island would and could release. Sonically this album is superb, its a testament to the quality of Matrix Studios in North London which had the most up-to-date recording equipment available. The arrangements and production work by Mark Miller Mundy is impeccable. I don’t know how much time was spent recording and mixing this album but my educated guess is a lot.
A sound engineer friend of mine once provided some very vocal opposition to me playing this album over the PA while I was sound checking the system. His objection was it sounded like “its music to slit your wrists too”. He was totally wrong, this is an album NOT to slit your wrists to; it is an album that celebrates surviving not dying. I often say to my audio students that you know when a record is well produced because you can’t hear the production it becomes transparent. According to my own metric, the studio production and arrangement by Mark Miller Mundy is spot on. The Dennis Morris album cover of Faithful as the ravishing, disheveled wreck is perfect. It’s a strong image and according to Morris it’s a shot that took considerable time, red wine, cigarettes and self-restraint to produce. The husky croak of Broken English rescued Faithfull’s image from legends of fur coats, Mars bars and as a background figure in the history of the Rolling Stones. This album put her back into contention as a solo artist. OK this record is sloppy but I find Faithfull worth listening to even when she’s sloppy, or maybe because she’s sloppy, like Dylan when he’s at his best.
Over the last six months I’ve spoken at numerous music industry conferences and have met many young early career music industry professionals all seeking my advice. The ‘always’ question that arises is the one of how to get started in the music industry, and it normally goes along the lines of “I’ll do absolutely anything to get a job in the music industry”, a quote that I’ve come to loath. While sitting on various music industry conference panels I appear to be the sole proud pariah who is totally against unpaid internships. Nothing seems to invoke such passionate arguments as when unpaid internships appear on the agenda. To state my position, so that I am absolutely 100% clear, I am totally against unpaid internships. Over the 34 years that I’ve worked in the music industry I’ve never NOT paid an intern at any of the companies that I’ve owned or managed. Let me explain why.
There aren’t many pieces of copy more depressing to read than job advertisements for unpaid internships. Like the ads for other menial jobs, they use absurd and insulting hyperbole in inverse proportion to the quality of the position, as though reading the words ‘superstar’, ‘legend’ or ‘rockstar’ numerous times will make them forget how boring the duties will actually be. These adverts normally state that they will receive an amazing experience to kick-start their career; sorry but this is complete and utter rubbish. Compounding this misery is the knowledge that whom-ever drafted the advertisement was probably an intern.
I’ve met lots of young Australians trying to start and build their music industry careers. Piles of these demining, insipid and often patronizing job ads confront them every time they go looking for work on the various web sites. Most companies seeking interns attempt to frame themselves as a service for junior workers, as though the company is providing experience out of the goodness of their own hearts, like an act of charity or benevolence. This sort of sophistry neatly inverts the actual benefactor-beneficiary relationship: for-profit companies are attempting to save money on entry level positions by extracting unpaid labor from a population of vulnerable young people, many of whom are unaware that these arrangements are often illegal.
The Fair Work Ombudsman’s fact sheet is reasonably clear on what constitutes a legal internship. Usually these are provided as part of an educational course, don’t last very long, and don’t involve the intern performing the duties of a paid employee. However, an increasing number of companies are advertising for internships that involve long hours and real work. Recently formed internships advocacy body Interns Australia found in their National Internships Survey that 65% of respondents reported internships lasting longer than three months, and 36% reported working five days per week. Three months of Australian minimum wage work is valued at $7,466.40, which ends up looking like a real bargain if you’re a business who used to offer junior jobs instead of unpaid positions. Some companies even use internships all year round and employ multiple interns at once, which can represent a sizeable saving on their wages bill, all very bad news for graduates hoping to earn real human money for doing real human work.
There are a number of factors contributing to this internship plague, including the normalization of unpaid work among students and recent graduates. ‘Experience or Exploitation?’ a report by University of Adelaide researchers for The Fair Work Commission, notes that the term “intern” has crept into the Australian lexicon as a recent Americanism. It lends an air of legitimacy to a dodgy practice. Saying “I’m doing a three month internship” sounds a lot less exploitative than “my employer has decided not to pay me for three months work“. The Fair Work Commission also found that internships are extremely common in media, entertainment and design, all sectors in transition (or decline, depending on your outlook) that nonetheless receive a glut of labor from popular university programs. Qualified and desperate young people are walking dollar signs to a cash-strapped industry, and it would behoove universities to endow their graduates with knowledge of their legal entitlements before turfing them out of the nest into a wilderness of financial precocity and un-employment or under-employment. Indeed some unscrupulous higher education institutions use internships to inflate their figures when they discuss students working in their given field after graduation. This is wrong; if they are not getting paid then they are not technically working, so stop claiming they are.
Apart from the intern population, the people who suffer most from this arrangement are those who can’t afford to work for free. Candidates for unpaid roles necessarily self-select along economic lines: those who need paid work to survive won’t apply for internships. This process is deeply anti-meritocratic, and entrenches social privilege at the bottom rung of many industries. How are you supposed to get a foot in the door as a poor person, when doing so requires you to have the same level of financial resources that entry-level jobs used to provide? The practice is also bad for industries, in that they are possibly excluding their best and brightest potential candidates from entering. Businesses committed to fair hiring practices and the promotion of talent regardless of its source should stand opposed to unpaid internships.
This extension of student poverty post-graduation represents another difficulty imposed on young people trying to start their adult lives. Between soaring rents, impossible house prices, HECS debt, high youth unemployment and the expectation that early career work will be performed for free, Generation-Y is living out a very real set of inequalities with which their parents never had to contend with. The ridiculous rhetoric around internships as ‘opportunities’ rather than exploitation is symptomatic of the lines fed via the media (the biggest users of interns) by politicians and employers about young people’s supposed entitlement. This is a pervasive environment of classic hegemony, and it stops us from being able to recognize and articulate the raw deal that interns are been handed. It’s time interns were given the tools to stand up for themselves and demand the basic fairness that everybody should receive in the workplace. The future of the music industry and its very survival rests in the hands of the upcoming generation of youth, young professionals, and developing leaders.
These early career music industry professionals need the highest quality mentoring and to be paid a minimum wage too, just like medical doctors and nurses. Would a hospital use a surgical intern to work for free, of course they wouldn’t? Our industry contributes much to society in the way of financial income and in the cultural enrichment of people’s lives, it’s much to fragile and important not to pay people to work in it. The word amateur comes from the French word meaning ‘lover of’. The opposite of an amateur is a professional, someone who does it for money. The basic difference in today’s common usage is that the professional does what they do for money while the amateur does it for the love of doing it. This usually implies that the professional makes money because they adhere to recognized standards, while the amateur stands outside the accepted standards and probably doesn’t deserve to get paid. The music industry should be about very high standards, not standardization.
Rosemary Owens, a University of Adelaide Law School Professor, stated that the practice of using young people and not paying them was common in many industries. “It entrenches disadvantage, because only someone who is well off can afford to work for nothing“. The first push against unpaid internships started in Europe, a trend that soon spread. In the United States, news media organizations including Hearst Magazines, Fox Searchlight Pictures, Gawker, Cond Nast and Warner Music are facing lawsuits over unpaid internships. In Europe, where more than one in five young people in the labor market cannot find a job, governments have passed legislation on internships. In France, for example, youth unemployment hit 23.2% after the 2008 financial crisis. Under the Hollande socialist government employers must offer interns payment after two months of sweat equity.
In Australia, short, fully supervised unpaid work trials to test a job applicant’s skill are legal, as are college-backed, short-term student placements that allow students to accrue course credits for a term of work. At the various higher education institutions I’ve been involved with I’ve overseen the work related learning unit. Work simulation for a limited time defined period in order to produce a portfolio of professional practice reflection is a great tool. In essence this is paid work, the student receives credit for what they do and hard work is rewarded by a higher grade. Even unpaid internships are legal. A benefit test, showing whether the intern or the employer gains the most from the work completed, is one factor that determines whether a worker should be paid. “If a business or organization benefits from engaging the person, it is more likely the person is an employee and should be paid” according to the Fair Work Ombudsman’s Office. Joellen Riley, the Dean of the University of Sydney Law School, said relying on unpaid workers “is a creeping problem. It is gaining bigger and bigger purchase. And as soon as you go down that path of not paying, when do you ever pay? You end up creating real labor market problems“.
So where is the starting point, probably the minimum wage of $18 per hour? If your business can’t afford this then you probably shouldn’t be in business or the word “business” shouldn’t be applied to your endeavor. As I stated earlier I’ve always paid interns that have worked for me. I often empowered my interns by asking them to price a job I have for them e.g. “how much is it going to cost me for you to do . . . .?”. I instill a level of professionalism and accountability in them and encourage them to take professional pride in the work they do from our initial meeting. By paying an intern you can demand certain behaviors, through the monetization of a set task you can install a minimum level of quality or service and introduce some Key Performance Indicators. Paying interns is good for a business and its good for interns. By not paying interns businesses are open to the accusations that they don’t care for the longevity of this industry that they love some much.
Steve Jennings lives in Malmö in the south of Sweden. He’s the Entrepreneur in Residence at Lund University Open Innovation Center, Sweden. This is the oldest university in Scandinavia. In addition to this role, Steve advises CEOs and company leadership teams inside and outside of Sweden. He mentors students enrolled on the Masters of Entrepreneurship program at Lund University, and is a keynote speaker at international conferences. More often than not, Steve is usually hands-on involved with at least one new start-up venture.
Steve talks to Dalton Koss HQ about his leadership journey, describing how his passion and excitement for creative entrepreneurship has evolved through his life journey.
“I create moments that give me a lot of freedom; physically, emotionally and creatively. The only way for me to remain relevant is to consistently help other people and companies to create value. For this to happen, I need to be out and about in the world, travelling, meeting and talking with a wide range of different and highly diverse people. It is a way of thinking, and a way of being as a person.” – Steve Jennings 2015.
I grew up in Hull in the 1960s and 70s during the golden age of pop culture and the massive explosion in consumer goods. I vividly remember the street where I grew up. No one owned a car, but then with the arrival of mass consumerism, every neighbour began to own a car. It was a time of opportunities; we began to believe that anything was possible. We even landed men on the moon. The late 60s and early 70s laid the foundation for how in many respects we define the world today. Pop culture, music, fashion and the arts saw a burst of creative entrepreneurship during this time period.
I was incredibly lucky to grow up in a home with parents who loved all genres of music. This privileged exposure to music helped to lay down my blueprint for understanding the creative process. I wasn’t academically inclined. Even though I got through school, I never felt comfortable. I always wanted to be outside playing, exploring, I had an abundance of energy, and we’d probably call it ADHD, today. I realised at quite a young age that I didn’t function well in a formal environment with a repetitive structure.
From around the age of 9, adult issues really impacted me, e.g. Martin Luther King, The Vietnam War, the hunger in Biafra. Absorbing these adult images, words and thoughts created a different worldview for me. When I was growing up I was quite lonely in some respects because the things I was interested in didn’t interest most of my friends at school. I wanted to be out discovering the world. And as soon as I got a bicycle, I was out the door. It was a revelation for me. The bike facilitated the journey of finding myself. I was getting out of Hull and riding further and further afield, exploring, experiencing and learning. This way of being has carried me forwards during my adult life.
After finishing school, I began the process of studying to be an engineer. When I was 19, I was given an opportunity to become a professional racing cyclist on a Pro team based in the Netherlands. So I left Hull and headed over to the Netherlands with a one-way ticket. This was my step from being a boy to quickly becoming an adult. I had to figure out how to bootstrap my life so that I could race my bike and support myself. This meant taking on part time jobs so I could continue to compete in bike races. And this is when I realised I could stand on my own two feet with no instant connectivity to my parents, our family home, and my friends. This experience is what set me up for my life journey.
After my pro-cycling career ended in 1984, I started to work for Lloyds TSB. Between 1984 -1990, I fell out of love with cycling for a number of reasons. I didn’t own any bikes during this period. I felt I needed to go on a new journey that resulted in me becoming a yuppie, in the world of finance and insurance. I channelled all of the energy from my cycling days into business and making money. It became something of an obsession. I was trying to prove myself. This need to prove myself is something that I’ve had to do a lot in my life, especially when the odds are stacked against me. I found myself in a highly competitive business environment where I could earn a lot of money based on my work ethic. I did this for 6 years and during this period of my life I didn’t take very good care of my body. It was an unhealthy and unsustainable lifestyle. I ended up returning to the bike in the early 1990s to reverse the impact of these 6 years of abuse.
I eventually left Lloyds TSB and started a business, the Maxim sports nutrition brand, and it turned into quite a successful company. In 1990, I was introduced to a sports nutrition technology that wasn’t commercially available. I quickly saw an opportunity to start a company, build a brand and get into the food industry. I had never started a company before Maxim. This was before the days of the internet, and I had to build the company using resources from the Chamber of Commerce and the local library. Once I laid out what I wanted to do, I received a lot of support. And I quickly built a network of advisors and mentors that enabled me to make sense of how to get a food company off the ground. Within 1 year, Maxim went from an idea to a product. And became the official energy food for the British team at the 1992 Barcelona Olympic Games. The business took off and I travelled all over the world as I set about building Maxim and establishing the brand by attending global sporting events and expos.
This was when I realised that riding my bike had created an internal toughness. Building your own company is similar in many respects to sport. There is no such thing as an overnight success. I drew on my cycling experiences to grow the business. I learnt early on to take criticism and to try and ignore self-doubt. Surrounding myself with supportive and good people helped me. Over the years, I’ve had lots of self-doubt, and at times I’ve felt as if I was on the edge of a black hole looking down at a bottomless pit.
After I sold the Maxim business, I moved into the world of technology and the internet. Innovating in the food industry is something that I really love to do. In 2002, I was presented with an opportunity to help start a new ‘good for you’ nutrition business with PepsiCo in the USA (products such as Quaker and Tropicana are owned by PepsiCo). I took all my entrepreneurial experiences to this big global food company, and once I established myself within the organisation, I felt relaxed and had the confidence to be who I am, which is not a suit wearing corporate guy.
Whilst we where living in the USA, my father passed away. He was my cycling coach, and the person who always encouraged me to stride out on new adventures. My dad gave me many of words of advice and encouragement, but what stood out for me was that you shouldn’t be afraid. If you are a good person and you do good in the world, no harm will come to you. His passing at a relatively young age was a big wake up call for me. I reappraised what I was doing with my life. It made me realise that I wanted to make the world a better place. Following his passing, I immersed myself in philanthropy, microfinance and trying to understand how NGOs function. The inefficiencies and seepage of resource from NGOs is shocking, so I started to look at new and disruptive innovation opportunities within the NGO and Corporate Social Responsibility space. This lead to me founding a youth empowerment initiative called The zyOzy Foundation.
The 5 key words I use to describe effective and successful leadership are:
Resilience: you need to be extremely resilient and capable of bouncing back from one set back after the other.
Belief: you need to believe in yourself, in your idea and most important in the people you choose to have around you. You need to believe that you made the right choices based on the information that you had at any given moment in time.
Love:you have to be willing to give the best of yourself to others and not expect to get anything back in return. If something does come back to you then that’s great, but you can’t only think about ‘what’s in it for me’. The real magic happens when you give the best of yourself, share everything you know and do it unconditionally.
Humility and Humble:This is how I was raised by my parents. When I built Maxim, and it took off, I didn’t feel worthy of what was happening. I struggled with the PR, media hype and the press. It made me feel very uncomfortable inside. It took me quite sometime to learn how to balance being humble and having humility with the confidence required to be a leader of a business and the spokesperson for a global brand.
Privacy:It is important to acknowledge that people have a right to privacy and are not always available. The human condition necessitates the need for private moments of deep reflection.
A key challenge in anyone’s leadership journey is fear. I regularly meet people across all age groups who have really good ideas. One of their challenges is fear, that is, they are afraid and unsure about how to make the first step. The fear that holds back entrepreneurs especially those in the 40 to 50 year age bracket is that of not being able to provide for their family. This juxtaposes the need for freedom to do what makes them happy. When you conquer fear it is liberating. When you put everything on the line and you try your best to make something happen, that’s what defines you as an entrepreneur and a person. My kids know me for being someone who’s not afraid of trying new things and wanting to help others.
The foundation of my success comes from the bicycle and cycling. I am now 54 and I feel very comfortable with whom I’m becoming as I grow older. This comes from the journeys and experiences I’ve had on my bicycle. Exploring new worlds allows you to meet diverse people, opening up opportunities to share knowledge about the way you think and what you do. As a young kid, I always had a lot of confidence in completely new environments, and used to relish the opportunity to listen to conversations about subjects and topics that I knew very little about. It is these new conversations that provide new data and create new insights. I’ve always used simple tools – paper, pens, post it notes to capture new thoughts, ideas and learning’s. I like to interpret and analyse these comments and quotes, and then map this data to try and find things that connect conversations that can range from biotechnology to sustainable fabrics to urban farming to packaging design. From these insights I connect new people, create new moments and start new conversations that in turn creates new value. For me it’s about a way of thinking. But there is always the risk that these new conversations can turn out very different to the way you envisaged. And sometimes that’s not such a bad thing. I liken it to free form jazz.
I approach my physical health and mental wellbeing from a holistic perspective. I ride my bike, meditate and run in the sand at my local beach. These activities keep me grounded while maintaining my physical health and mental wellbeing. I like getting lost in my thoughts when I’m out exploring the forests here in Sweden on my bicycle. I like having the opportunity to meditate in the outdoors, this is becoming increasingly important for me. I place a lot of importance on the food I choose to eat and its origins. Nutrition is becoming more important as I become older. I tend to compromise on my sleep so I need to look after other aspects of my life. I also drink a lot of water.
My sense of curiosity is what keeps me ahead of the game. What is around the corner? How does that work? What is under that rock? The human creative process truly fascinates me. For me, science is an art form and art is science. Humans have a need to express themselves creatively. We do it naturally as children and it is part of our DNA. I like to meet and have in depth conversations with people who create art (music, literature, painting, poetry, dance, sculpting). I feel very comfortable in the company of highly creative people and left-field thinkers. If I had a little bit more confidence and self-awareness as I was growing up I would probably have pursued something where the creative arts meets the worlds of fashion and music.
Entrepreneurship is an art form, a way to express yourself. I’m not really that interested in business; it actually leaves me cold. It is creating art and going out on the edge and discovering new revelations that interests me. I just happen to be doing this most of the time in a business context.
I need my private space. Privacy is important to me, especially in an era of the always connected society. Our privacy is rapidly being eroded and that is something that gives me concerns for the future.
There’s beauty to be found in most aspects of everyday life. Life is the most beautiful thing. Beauty is everywhere. Everyone with a little bit of help, encouragement and luck has the capacity to unlock his or her own potential. I truly believe we are becoming overly dependent on technology. I’m deeply passionate about developing solutions, tools and safe spaces that enable people to reveal their vulnerabilities, share their ideas and thoughts, and realise their potential. We don’t create enough opportunities for people to seek out others who can help them in times of need. We’re going to see a lot of growth in the creation of safe spaces, where people are able to share their emotional intelligence. People are feeling more isolation and loneliness, and this is when we are supposedly more connected as humans than ever before. This change in our social fabric has occurred very quickly. The internet isn’t the answer to everything, but it is an enabler for new kinds of solutions that would previously have been impossible to bring to life.
Creativity tends to happen in very diverse and unusual places. For anyone wanting to connect with other creative entrepreneurs, I suggest joining a Fab Lab, which provides a physical hacking space to create new ideas. Attend events such as weekend hack-a-thons, find out about what’s happening in your local start-up scene, make contact with start-up incubators, and find out what’s going on at your local university campus.
“Art is the set of wings to carry you out of your own entanglement.” – Joseph Campbell
For more information about Steve’s work in creative entrepreneurship and what inspires him, please follow these links:
Over the past few weeks, quite a number of the Dalton Koss HQ Marine Facts have referred to the intertidal zone. Many DKHQ readers have curiously responded with the questions:
Where is the intertidal zone located?
Exactly what is the intertidal zone?
At Dalton Koss HQ we are more than happy to answer these two questions.
The intertidal zone is located along our coastlines, specifically where the sea meets the land. This zone varies all across the globe. It can be made up of rocky shores with many fun rockpools, mudflats or sandflats, mangroves, salt marsh and seagrass beds, sandy beaches and coral reefs. The intertidal zone can be exposed to the rough and tumble of open oceans or located in sheltered places such as bays and inlets. Some scientists refer to the intertidal zone as the littoral zone.
At Dalton Koss HQ we often refer to the intertidal zone being in a liminal state. This is because the intertidal zone is either covered with ocean waters or exposed to the sun and air due to the constant movement of tides. It is never in one state of being within a 24 hour period; rather it is in continuous flux.
Being exposed to two completely different types of conditions means that as an animal or plant living in this zone, one needs to have some incredibly amazing adaptations to survive. Intertidal plants and animals need to be resilient to wave wash, tides and currents, sun exposure, predators and drying out all while trying to photosynthesise/eat and reproduce.
This makes the intertidal zone a fascinating area to explore and discover the spectacular range of marine animals and plants. To conserve this amazing zone while you explore, please be careful where you tread/snorkel, place rocks back to their original positions when you examine what is beneath and keep all rockpool animals and plants fully immersed in water to reduce their stress.
One of the beauties of music is that it’s impossible to hear it all; no matter how long you live. Despite being a life long addict to perfect pop tunes, I still come across pieces of music that stop me dead in my tracks. Earlier this week my niece Amber posted the Johnny Thunders’ song You Can’t Put Your Arms Around A Memory on her Facebook page; this was one of those stop dead in your tracks moment. Hearing this track again after so many years made me realize that if ever an album needed a rescue its Johnny Thunders and his 1978 release So Alone. It’s about the only thing I can do for Johnny and boy does he need it. The title of the album says it all – So Alone.
Johnny died 24 years ago on April 23rd April 1991. Gone but never forgotten. The cause of death was recorded as “drug related causes”. Rather ironically huge amounts of LSD where found in his system despite rumors that he’d quit the smack. But this does not explain the many rumors surrounding Thunders’ death at St. Peter’s Guest House in New Orleans, Louisiana.
Fellow kindred spirit and troubled troubadour Willy DeVille lived in the hotel room next door to the one Johnny died in and described it thus in Dee Dee Ramone’s 2009 book ‘Lobotomy: Surviving The Ramones’, “I don’t know how the word got out that I lived next door, but all of a sudden the phone started ringing and ringing. Rolling Stone was calling, the Village Voice called, his family called, and then his guitar player called. I felt bad for all of them. It was a tragic end, and I mean, he went out in a blaze of glory, ha ha ha, so I thought I might as well make it look real good, you know, out of respect, so I just told everybody that when Johnny died he was laying down on the floor with his guitar in his hands. I made that up. When he came out of the St. Peter’s Guest House, rigor mortis had set in to such an extent that his body was in a U shape. When you’re laying on the floor in a fetal position, doubled over – well, when the body bag came out, it was in a U. It was pretty fucking awful”. Apparently his place was ransacked, what few belongings he had all gone including his passport, makeup and clothes. There was also talk of him having acute leukemia. Whatever the true story there’s no denying it was a very sad and lonely end.
The really simple and lazy way to tell this story is to deliver the archetypal rock star drugs story. You know the troubled misunderstood genius, blah blah blah. Such lives tend to be littered with self-destruction and the concept of rock ‘n’ roll may indeed be defined by variable degrees of self-destruction. This is already well-trodden territory, and by far more qualified people then I. Take a look at Nick Kent’s 1995 book The Dark Stuff where he does an excellent job of de-glamourizing the drug cult heroes of rock ‘n’ roll. Kent provides a sobering insight into the tortured lives, dysfunction and general unpleasantness of many key figures of popular music. Anyone with a voyeuristic interest in the self-destructive lives of rock ‘n’ rollers will love this book. There is no denying that Johnny’s story is a heroin related one. But please don’t judge heroin addicts unless you’ve lived it yourself, have an open mind. If you haven’t lived it yourself then good job, you definitely made the right decision. Heroin eats up your soul, destroys creativity and spits you out; things are never quite the same again after you’ve lived your life with heroin. Heroin is a solitary friend and when it’s gone your life is empty and worthless, you’re so alone. Its pure conjecture but its highly unlikely that Thunders ever conquered his drug addiction. What is up for discussion is that he did leave us with some incredible music and that will last forever.
In 1790 the German founding father of modern philosophy, Immanuel Kant, wrote Critique of Judgement, where he investigates the possibility and logical status of “judgments of taste”. In the chapter Analytic of the Beautiful Kant states that beauty is not a property of an artwork or natural phenomenon, but is instead a consciousness of the pleasure that attends the ‘free play’ of the imagination and the understanding. So is So Alone an artifact of beauty, worthy of critical reappraisal? Even though it appears that we are using reason to decide what is beautiful, that judgment is not a cognitive judgment, and is consequently not logical, but is aesthetical? I would argue that our objective judgment is impaired or swayed here. This album is heavily tarnished because of who made it and not because of what it is, which is a thing of beauty and passion. I believe that anything made out of passion or love must be inherently good.
The wreckage that peers out of the front cover of So Alone suggests Thunders is a man on the edge, both mischievous and vulnerable. The music contained therein seems to confirm this. An incendiary cover of The Chantays’ instrumental, Pipeline, mixes with the grind of Daddy Rollin’ Stone, the Pistol-punk of London Boys and the nonsense of the Spector girl-group, Great Big Kiss. The standout track is the fragile You Can’t Put Your Arms Round A Memory. The title was taken from a line in the Better Living Through TV episode of the sitcom The Honeymooners, and was written for his close friend Fabienne Shine. Considered by many to be his signature song, the ballad is said to be about Thunders’ heroin addiction. However, according to Nina Antonia’s 2000 biography, Johnny Thunders: In Cold Blood, the song was written before he was even a member of the New York Dolls, and years before he became addicted to the dark stuff.
But back to Kant and how can we objectively measure if this song is any good or not? How about some scientific comparative analysis here, an item-by-item comparison of two or more comparable alternatives? Compare the original to versions by the Manic Street Preachers, Guns ‘n’ Roses, Giant Sand, Blondie or the sublime version by Ronnie Spector on her 2006 album The Last of the Rock Stars, now that’s definitely a good tune. I’ve never met Sopranos TV series producer Todd A. Kessler but he must have a similar music taste to me. He uses You Can’t Put Your Arms Around A Memory to great effect on the closing scene and titles of episode 11 (House Of Arrest). This is not the first song from one of my album rescues series that Kessler has used. As a point of reference check out how Martin Scorsese also uses this song on his 1999 film Bringing Out The Dead; it’s superb.
Thunders wanders from one style to another, sometimes shambolic, very often with a Jaggeresque vocal. Sometimes energetic and often melodic, Thunders’ music is always a little wayward but it could never be described as dull. It isn’t perfect; his duet with the Only Ones’ (definitely a future album rescue) lead singer Peter Perrett, for instance, is an absolute shambles. Throughout this album rescue series I continually use the metric of who plays on this record to measure if its any good or not e.g. lots of great players equals a great album. So Alone is not so different as there are some superb players on this record. Phil Lynott (Thin Lizzy) on bass, Paul Cook (Sex Pistols) on drums, Steve Jones (Sex Pistols) on guitar, Chrissie Hynde (The Pretenders), Steve Marriott (Small Face & Humble Pie) on guitar and vocal, Walter Lure and Billy Ruth of the Heartbreakers and all pulled together by super-star producer Steve Lillywhite. This is an album that should appeal to anyone with a penchant for the basics of rock ‘n’ roll. This album is one of the loosest, coolest, sounding rock n’ roll records I’ve ever had the pleasure of listening to.
The last time I saw Johnny Thunders play live was at The Marquee Club in Soho, London. I turned up with the rest of the voyeuristic ghouls mainly to see if Johnny could make it through the show without dying on stage. Painfully thin, even by my standards, with a ridiculous amount of eyeliner, Thunders chain-smoked throughout the gig. He was truly fucking awesome; I couldn’t keep my eyes off him. This boy looked at Johnny and was truly mesmerized. If I remember correctly he closed the set with a raucous version of the classic Heartbreakers’ song Born To Lose. Thunders was a unique songwriter who drew upon real life experience and sang from personal experience. Granted this was material of the darkest type but it made for a great album. If you haven’t heard So Alone, you need to because it’s a great post-punk masterpiece.