#UK Lighting Fixtures

[vintagelite-uk]

Brushed Copper Industrial Cage Lights with Metal Water Pipe Wall Lamp Design

[hometoursandotherstuff]

Absolutely stunning 1934 Modernist/Art Deco house in Stratford-upon-Avon, Warwickshire UK. 6bds, 8ba, £2.2M / $2.81M.

This is the most original art deco home I've ever seen. This entrance hall is untouched. It could absolutely stunning.

A small door fitting seamlessly in the wall opens to the living room.

The wood walls and fireplace are beautiful. It looks like that's an original light fixture on the ceiling.

Built-in bench by the window.

A narrow door in the hall opens to the dining and is "hidden," blending with the wall.

Just look at these dining room walls and rounded built-ins. Does anyone know what that white door is in the sideboard? It looks like it has a panel with buttons & writing on it.

From the living room, double doors open to the dining room.

A wonderful game room has a door to the patio.

The kitchen isn't bad, but it needs some color to at least bring out the curves in the wall.

The gorgeous stairs.

Beautiful window.

The hall at the top of the stairs.

This bedroom has a built-in armoire. Love that little vanity table.

This bedroom has a pedestal sink and a closet.

And, this bedroom also has sink in the corner, plus a door to the patio.

Bath #1 has original fixtures and original yellow subway tile with yellow trim.

Bath #2 is the opposite with green tile and yellow trim. It looks like the original fixtures are a slightly different shade of green. Not the faucets on the tub.

Beyond the patio is a cute little shed with a basketball hoop.

Beautiful property is 5,217 sq. ft. / 485 sq. m.

https://www.rightmove.co.uk/properties/145599425#/?channel=RES_BUY

[twopoppies]

This...is craaaazy. 35 weeks behind schedule and they still tried to open 😳

https://www.bbc.com/news/uk-68954947

What a fucking disaster.

People working behind the scenes at the troubled Co-op Live arena in Manchester have spoken of what they say were "chaotic" events leading up to the bungled opening of the venue.

Workers involved with the project spoke on condition of anonymity as they did not have permission to speak out. They told the BBC:

Parts of the £365m venue were in a state of disarray less than 24 hours before the arena was supposed to open earlier this week

Staff were left in tears after they were forced to call off American rapper A Boogie Wit Da Hoodie's gig at the last minute due to safety fears

Naming rights partner Co-op Group has flagged a "critical" risk of reputational damage to the wider Co-op brand

Construction staff at the venue warned others back in February that works were as much as 35 weeks behind schedule

Co-op Live was heralded as a "world-class arena" that "Manchester deserves" by Tim Leiweke, the American businessman leading the project, in an interview with the BBC last month.

But "the perfect building" Mr Leiweke promised soon suffered fundamental setbacks, with a series of high-profile acts - including Take That and Olivia Rodrigo - having their shows cancelled or postponed at the last minute to the bewilderment and frustration of performers, ticket-holders and staff.

Mr Leiweke has since apologised, and a Co-op Live spokesperson told the BBC events had been paused "to ensure the safety and security of fans and artists visiting the venue".

One staff member, hired as a "premium host" in the venue's VIP rooms, told the BBC she was in the building on Tuesday evening - fewer than 24 hours before the venue's debut performance by A Boogie Wit Da Hoodie was due to begin.

She said: "I think we were very sceptical: that was my first time in the arena and it did not look ready at all... They're doing everything with crossed fingers: it's a bit chaotic."

'Wires hanging down'

The VIP rooms were still "full of cardboard boxes", the woman said.

"They weren't done - there's loads of final bits [unfinished]. It was filled with workmen who were all still so busy doing random checks here and there, average safety checks... there were loads of wires hanging down."

She said some stairways also seemed incomplete. "There were wires everywhere and exposed lighting on the floor. It looked very messy. There were gaps in the stairs... it looked like a work in progress."

The woman, who has been employed on a casual contract, said staff members are still paid part of their wage if their shift is cancelled at short notice. Staff who are on site when a shift is cancelled are paid in full, a spokesperson for the venue said.

Meanwhile, another member of staff, this time working in an operations role at the venue, said: "The root cause of all the problems is coming from the building, not the operations. From an outside perspective, people presume it's being run badly."

"In reality we have a building that isn't ready, and we're being told it is ready - then things happen out of the blue that cause cancellations", they said.

[…]

The staff member said most public-facing areas of the building are complete - although the offices on the top floor and some premium areas of the building remain "unfinished".

As of Thursday evening, the dining area in the exclusive Amp Club has "no fixtures, no fittings, no tables there - it's just a shell," they said.

[…]

"People don't know that OVG [the Oak View Group] own the venue - they just see the Co-op brand," a staff member at the Co-op Group said.

On a site visit in February, the Co-op Group employee said they were told by construction workers the project was running 35 weeks behind schedule, in part due to delays with crane equipment.

"The Co-op's really disappointed with OVG's constant delays," the employee said.

Full article here

[chelseachilly]

when i'm feeling alone, you remind me of home

pairing: reader x ben chilwell summary: you're stranded at uni by yourself for christmas with no flights going to london, but your boyfriend has other ideas warnings: nothing but fluff ❄️🫶🏼 word count: 2.5k

author’s note: here's another holiday one-shot! hoping to write at least one more before christmas. also btw there is no regard for the actual chelsea december fixtures or club rules in this story lol. title from christmas tree farm by taylor 🎄

-

You’ve always loved snow.

You loved playing in it as a little kid, making snowmen with your parents and going sledding with friends. You loved watching it from your window your first year of uni, seeing the blanket of white make Edinburgh look even more magical. You love bundling up to go ice skating and drinking hot chocolate as the snow falls around you.

But right now, you absolutely hate it. 

A massive snowstorm rolling through the UK has caused the cancellation all flights, including the one you were supposed to take from Edinburgh to London tonight. It’s your last year of university there, but you’ve never missed a Christmas at home with your family and your boyfriend.

Now, it’s two days until Christmas and you’re stranded alone in your little flat with absolutely no way of making it home.

“What? You can’t get a train?” Ben asks after you’ve explained your predicament to him sadly. 

As much as you feel bad about missing the holiday with your parents, you feel really bad about not being able to see Ben. With your busy schedules, you’ve hardly seen him in months, and you even missed his birthday a couple days ago because you had an exam. Now, you were supposed to finally have an entire week with him in London. 

You were going to go to Winter Wonderland and complain about tourists and end up going back to his to snuggle by the fireplace. You were going to have Christmas morning with your family and dinner with his, spending the whole day exchanging gifts and fond memories. You were going to watch his game on the 27th and bundle up in your warmest Chelsea gear to cheer your heart out for your man, which you’ve really missed doing lately. 

You miss everything about him, really. 

But instead, you’re going to be eating Indian takeaway leftovers and watching Love Actually to try to make yourself feel better.

“The trains are all full, I checked,” you sigh. 

“Well, let me see if I can charter a plane-“

“Ben,” you cut him off before he gets ahead of myself. Although it’s quite extravagant for him to spend tens of thousands of dollars getting you there, you know he would do it in a heartbeat. “All flights are grounded, not just mine. It’s not possible.”

“But…there must be something.”

You can picture his disappointed face right now, and it brings tears to your eyes just thinking about it. 

“I’m so sorry, baby,” you reply, sinking into your couch. “You know I would do anything to be there with you right now.”

“Don’t apologize to me, love, I can’t believe you’re going to spend Christmas alone,” Ben sighs. “This is so shit. I just wanna see you and hold you.”

“I know,” you exhale. “I miss you so much. The only thing that got me through exams was thinking about being home with you and playing with Oscar in the snow and baking cookies…”

You can feel yourself getting choked up, tears beginning to stream down your cheeks as you think about all you’ll be missing out on. You feel a bit silly, knowing there are people with far bigger problems in the world, but you’ve been working yourself to death for the past month to ace your finals and this trip home was the shining light at the end of the tunnel. 

“Oh, sweetheart,” Ben says sadly. “I miss you so much too. I wish there was something we could do.”

“Like control the weather?” you joke, trying to lighten the mood despite the tears running down your face.

“You know I would do it if I could,” he replies seriously. “I’m sorry this is happening, babe. Maybe the weather will clear up in a day or two and you’ll still be able to make it out for a few days, yeah?”

“Yeah, I suppose,” you breathe - some time with Ben and your family is better than nothing, but you’re still going to be alone for Christmas morning. “I should let you go, I don’t want to stop you from having a nice holiday too. Say hi to your mum and Alex for me when they get there, alright?”

“I will, baby,” Ben says. “I’ll text you later and call you in the morning, alright?”

“Alright,” you sniffle, wiping your tears away. “I love you.”

“I love you too. Bye, love.”

The moment Ben hangs up, you toss your cell onto the cushion beside you and bury your face in the pillow, groaning in frustration. 

After feeling sorry for yourself for a bit, you reluctantly get up and go to turn up the heat and change into something warmer, as the temperatures outside continue to drop. You grab Ben’s hoodie from your closet, a cozy grey one you stole last time you were in London. It barely smells like him anymore, since that was over a month ago and you’ve worn and washed it several times, but it’s still a small comfort to wear something of his.

You heat up your dinner and put on the film, although the romantic scenes and the shots of London only seem to make you more homesick. 

You text Ben during his favourite part, which is naturally Hugh Grant dancing around 10 Downing Street. 

The annual Love Actually rewatch isn’t the same without you babe. Hope you’re having fun with the fam ❤️

He takes a while to respond, which you hope means he’s having a better time than you are and enjoying being with his family. 

You’re just drifting off to sleep when his text finally comes in.

It’s not the same here without you either. Goodnight baby, talk in the morning 😘

-

You wake up to the sound of your phone ringing.

You briefly think it’s your alarm, but you don’t remember setting one, certainly not for 7AM, which is the current time according to your watch.

You blearily stretch your arms, a bit of a crick in your neck from falling asleep on the couch, and reach around haphazardly for your phone.

You see Ben’s name and contact photo on the screen and you quickly answer, worried something is wrong if he’s calling you at this time. 

“Ben? Are you okay?”

“Yeah, everything’s fine,” he assures you. “Can you go downstairs? There’s a delivery for you.”

“What?” you yawn, rubbing the sleep out of your eyes. “What on earth have you sent me at seven in the morning?”

“Just go check, I think you’ll like it,” Ben promises, and you can hear the smile tugging at his lips. “Quickly, babe. This is time sensitive.”

You roll your eyes fondly as you throw the blanket off yourself and slide on your slippers, leaving the warmth of your flat to go down the stairs and see what’s waiting for you outside the main doors. You can only imagine what ridiculous present your boyfriend had shipped to you overnight to try to make up for your failed Christmas. 

You tighten Ben’s hoodie around your body to brace yourself for the cold before opening the door, your eyes on the ground where you’re expecting the package to be.

Instead, you see a familiar pair of Nikes - and your eyes trail up to see the very familiar man wearing them. 

You’re not sure if you’re dreaming, so you blink a few times, only to be greeted with the same sight - your perfect, adorable boyfriend standing in front of you in his puffer jacket and hat, his cheeks red from the cold and his smile absolutely blinding. 

“Ben?” you gasp. “Why are you - how are you here?”

“I couldn’t let you spend Christmas alone.”

You meet him halfway as he drops his bags to the ground and opens his arms for you to throw yourself at him. You hug him as tight as you can, burying your nose in his neck and inhaling his scent. You can’t believe this is really happening.

“How the hell did you get here?” you ask as he squeezes your waist tightly and kisses the top of your head. 

“I drove,” Ben murmurs. 

You pull back to look at him, your eyes wide with disbelief.

“You drove? It’s, like, eight hours-“

“Twelve in a snowstorm, apparently,” Ben chuckles. “But definitely worth it for this.”

“You drove all night through a snowstorm for me?”

You can feel tears beginning to brim in your eyes once again, though these are tears of joy. You can’t believe how insanely lucky you are to have a man who loves you this much. 

“Of course I did, I would do anything for you,” Ben says like it’s the most obvious thing in the world, brushing his nose against yours. “Now, if you don’t mind, it’s been a long night and I would really love a kiss.”

Without hesitation, you grab his face and kiss him passionately, sighing with joy at the feeling of being reunited with your boyfriend. You’re certain that this is the most romantic and wonderful thing anyone has ever done for you, and although you never expected the best kiss of your life to happen on your doorstep at 7am in a blizzard, this just might take the top spot.

“I love you so damn much,” you whisper against his lips when you finally pull away. “But I am also slightly mad at you for driving at night in poor conditions.”

Ben laughs and rolls his eyes a bit. “I promise I was safe, but can we go inside where it’s warmer before we argue about it?”

“Hmm, okay,” you grin, pecking his lips a few more times before helping him lug his bags up the stairs to your flat.

Once you’re inside and Ben’s taken off his shoes and coat, you waste no time in wrapping your arms around him and kissing him again. 

“You’re freezing, sweetheart,” you murmur as his cold hands slide under your - his - hoodie to feel your skin. “Want a tea? Or do you want to go straight to bed? You must be exhausted.”

“A tea and a cuddle would be perfect,” Ben smiles, pecking your forehead.

You tell him to go get comfy on the couch while you make tea for both of you, and when you return, he’s waiting for you with open arms and a sleepy grin on his face. 

You place both mugs on the coffee table and curl up next to him, your face in the crook of his neck and your arms and legs tangled. 

You let out a content sigh as your bodies recalibrate after so much time apart. You knew you needed this, but you didn’t know quite how much until right now. 

“I can’t believe you’re here,” you murmur, kissing his jaw. “What about your mum and Alex, though?”

“I told them how sad you sounded on the phone and they encouraged me to go, though my mum was slightly nervous about me making the drive-“

“As she should be,” you scold gently.

“I told you, I was very careful, and there were hardly any cars on the roads,” Ben promises once again. “Anyways, they were all for it. They knew I would’ve been miserable without you there.”

You hug him a bit tighter, hooking your leg around his. “Wait, you have a game in three days. Did the club really sign off on this?”

“I managed to persuade Poch to give me today off to go see my girl, I think he’s a bit of a softie at heart,” Ben jokes. “And we have tomorrow and the day after off for Christmas anyways. We’ll just have to drive back on the 26th, the roads are supposed to clear by then. I know it’s not the same as Christmas in London with both our families, but this is better than being apart, right?”

“Ben,” you say sincerely, cupping his cheek with one hand. “This is the most amazing thing anyone has ever done for me. A cozy Christmas with just the two of us sounds absolutely perfect. Thank you, baby.”

Your lips meet in another sweet kiss, one that quickly escalates as you feel your boyfriend’s hands on your hips and thighs for the first time in a month. You moan into his mouth as he tugs you into his lap. 

“I missed you so much,” you breathe between kisses, tugging his hat off to run your hands through his messy hair. 

“I can tell, hoodie thief,” Ben teases, fiddling with the soft material. “You look unreal in that, by the way. And I missed you more.”

You smile into another kiss, getting completely lost in him and his scent and his touch. Even after years together, you’re completely addicted to him. 

You’re ready to take it further and move to your bedroom, but you’re interrupted by a yawn from Ben. He tries to kiss you again afterward, but you laugh softly and hold his face. 

“You need sleep, Benjamin.”

He pouts slightly in protest, but you kiss him again quickly and it goes away.

“Babe, you’re exhausted,” you murmur softly. “We can go cuddle in my bed and continue this later.”

Ben sighs and nods as you climb off him and extend your hand to help him up. He doesn’t let go of your hand, though, instead pulling you into another warm hug. He’s so sleepy and adorable that you could nearly cry as he nuzzles his face into your hair. 

He’s always been a very tactile person, and you know that for every time you tell him how much you missed and love him, he will hold you a little bit longer or kiss your forehead to say the exact same thing.

When you finally pull apart, you take him by the hand and lead him into your bedroom. He strips down to his boxers, which is how he prefers to sleep even in the dead of winter. He says you run hot enough to keep him warm, though you’re not sure if that’s true or he just likes to maximize your skin-on-skin contact.

He’s much warmer now than when you found him on your doorstep, so it’s not a shock to your system when you climb into bed with him and he immediately pulls you into his chest.

“I promise once you’ve had a proper rest I’ll make the drive worth your while, baby,” you say with a slight smirk as you wrap your arm around him and nuzzle your face into his neck. 

Ben just tightens his grip on you and closes his eyes, a content smile on his face. 

“It was worth it the second you opened the door.”

As you watch your boyfriend drift off to sleep, feeling so full of love for him that you might burst, you make a mental note to make it extra worth it for him later just for that adorable comment. 

After you’ve both slept a few hours and spent another few making up for lost time, you spend the rest of Christmas Eve watching films and baking cookies. 

The next morning, you both wake up early and exchange presents in your festive pyjamas. It’s not the same as if you were in London with both your families, but it’s still perfect because you’re together. 

And a year later, when you’ve graduated and you’re celebrating your first Christmas in your new home with a diamond ring on your finger, it’s even better. 

i hope you enjoyed this story! and thank you for all your lovely comments on my last fic. if anyone wants to be added to a taglist for my ben fics in the future, please let me know! ❤️💚

[dreamings-free]

‘A dirty nightclub in an arena’ – behind Louis Tomlinson’s Faith In The Future World Tour

Louis Tomlinson and his tight-knit touring crew traverse the world in close to 80 shows, fulfilling a ‘dirty nightclub in an arena’ brief with a dynamic live campaign.

Production Profiles 5 January 2024

Following the success of his record-breaking Live From London livestream, which reportedly raised over £1m for touring and live events personnel and charitable organisations, Louis Tomlinson and his tight-knit crew have toured the world twice over. This time, visiting sold-out arenas in Europe and the UK with a cleverly networked live production with abstract video and lighting and a ‘no frills’ approach to sound, which guaranteed that every ticket holder experienced the same show, regardless of where they stood, sat, or screamed (more on that later). With close to 80 shows under their belt, TPi visited London’s O2 arena ahead of the production’s penultimate date of 2023.

Words: Jacob Waite Photos: Justin De Souza and Oli Crump

------

Following the success of his record-breaking Live From London livestream, which reportedly raised over £1m for touring and live events personnel and charitable organisations, Louis Tomlinson and his tight-knit crew have toured the world twice over. This time, visiting sold-out arenas in Europe and the UK with a cleverly networked live production with abstract video and lighting and a ‘no frills’ approach to sound, which guaranteed that every ticket holder experienced the same show, regardless of where they stood, sat, or screamed (more on that later). With close to 80 shows under their belt, TPi visited London’s O2 arena ahead of the production’s penultimate date of 2023.

“A team effort is required to get this show off the ground,” explained Technical Manager, Sam ‘Kenny’ Kenyon, who has been a fixture of Louis Tomlinson’s live output since joining as Lighting Crew Chief in 2019. “This has been a complete redesign, and the production has expanded and gotten more complex, which requires different solutions to make it happen.”

Kenny and the team oversaw the deployment of an A and B rig. “We’ve been fortunate for the European stint that the venues we’ve toured have, mostly, been arenas. The main difference between the A and B rig is the addition of IMAG and further lighting header trusses. Aside from that, the A rig fits everywhere. If anything, we’ve run into weight issues, which we can overcome swiftly by removing overhead trusses.”

For the first few shows, Riggers, Ian Bracewell, and Alex Walker incorporated load cells on trusses to get an accurate rate and account of the weight of the load of each truss. In the UK, The Brighton Centre had a particularly low-rate roof with weight limitations. Production Manager, Craig Sherwood and Tour Manager, Tom Allen’s vendors of choice included: Altour (travel), Beat the Street, BPM SFX, CSE Crosscom, Colour Sound Experiment (lighting, rigging, and video), Hangman UK, Boxcat Studio and Two Suns Creative (video content), LED Creative, Ox Event House (custom light housings), Sarah’s Kitchen, Seven 7 Management (artist management), Solotech (audio), Stardes Trucking, and TANCK (production design and video content).

There was no video director, as the show’s visuals were programmed and interspersed with live footage and triggered by a lighting console at FOH, thanks in part to an intricate network setup. “There’s a lot going on in racks that people never see, but it has been stable thanks to the quality of kit supplied by our vendors, who have invested heavily, and the team taking the time to programme the show,” Kenny noted.

Key to the success of the operation was the incorporation of Central Control software, which takes a signal from a lighting console, be it ACN or Art-Net, and translates it to talk to various products – in this case, video. “There is a giant brain that nobody knows exists other than those that have programmed it,” he added.

Additional crew members joined the tour in Europe to aid the video deployment and lead to far more efficient load-in an -outs. “We are close to 80 shows in and on days where we have access to multiple trucks, it comes out very quickly, which for a show of this scale is impressive and credit goes to the team,” enthused Kenny. “The biggest hurdle is when you’ve only got a two-truck dock.”

Prior to the tour, the team had five days of production rehearsals spent in Connecticut’s Mohegan Sun. “When we came to Europe a week later, we had a week of re-prepping with a day of rehearsals at Hamburg’s Barclays Arena, the day before a show,” he described. “It’s been a fun and long run,” added Stage Manager, Torin Arnold. “We’ve visited a good range of venues and countries – especially the Eastern European legs, visiting places you wouldn’t ordinarily tour and experiencing how they operate. This show is designed so it can be accomplished in any part of the world.” Carpenter, Harry Reeves was also on hand to support the build.

The routing, however, was sometimes challenging with some late arrivals and difficult border crossings. “There were a few times in Eastern Europe where we were doing a ferry back-to-back to arrive at 11am, sitting at a difficult border crossing. We usually start with a 7am mark out, so knocking hours off your load-in is tough but everyone pulled together to overcome it,” Arnold explained, noting that touring without staging, and instead, using venue stages (particularly rolling stages), was a blessing during those late arrivals. “As with any tour, as dates progress you build a rhythm while maintaining the safety of the build,” he noted.

Arnold also highlighted the benefit of Lead Truck Driver, Neil Thornton and Truck Drivers, Matt Marlow, Ben Woods, Sarah Goldsmith, Bob Miles, Alam Minshall, Franco DeRosa, and Ollie Thornton who “speed up the process” and maintained a level of consistency.

The transitions between support acts before Louis hit the stage was equally seamless, with ample downstage space for the singer-songwriter to traverse during his performance. “Having a clean frontline means we have space to get the bands on and off,” he added. “Our vendors have also provided everything from an audio package standpoint for support acts, which also speeds up the load-in and -out.”

Highlighting a ‘bucket list’ show at Hollywood Bowl, working closely with US union officials as a “fun” and “interesting” experience, Arnold reflected on the entire tour with crewmembers he now considers close friends. “This is a close team and I’ve made some great memories and stories. It’s been a fun year!”

A DIRTY NIGHTCLUB IN AN ARENA Production Designer, Programmer and Director, Tom Taylor, and Francis Clegg of TANCK have worked with Louis Tomlinson ever since he made the leap to solo artist. “The production design has evolved into an angular, grungy, asymmetrical setup, borne out of the ‘dirty nightclub in an arena setting’ creative brief I was given,” Taylor said, citing the creative influence of Matt Vines and Seven 7 Management. “Louis is a phenomenal performer, and the crowd is captivated the entire time. We started knocking ideas around, speaking to Louis about his inspirations and influences, which we then developed into a creative deck, which I sketched in Blender, and imported into WYSIWYG for visuals, to create stills and pre-visualise.”

Taylor spent 10 days programming the visuals at Colour Sound Experiment, a firm he shares a “longstanding” relationship with. “They are always a call away regardless of the day or time. Their team is easy to get along with and I like their whole ‘production sphere’ – sometimes it’s nice to split lighting and video, but for a show like this, aligning those departments with one line of communication is ideal,” he said, underlining the support of Colour Sound Experiment Account Handler, Haydn Cruickshank.

With production rehearsals under their belt and recordings from Louis Tomlinson World Tour (2020–22), where TANCK piloted Central Control software, the creatives understood how the singer and his band moved on stage, developing a rhythm and consistency of when to implement visual cues and which camera angle fit best. This allowed the team to pre-programme the visual content to timecode.

Video content was made by a combination of TANCK, Two Suns Creative, and Boxcat Studio, with the latter creating 3D models and rendered content, all of which was broadcast across a unique set of video surfaces. “Having the abstract video columns on stage makes it much more interesting than your standard slab of LED at the back of the stage,” Taylor noted.

On stage boxes created by Ox Event House housed GLP JDC Line 1000 strobes with reflective panelling and fabric that were printed to look like heavy concrete slabs, ladened with custom LED Creative solutions. These boxes then moved up and down using Wahlberg Motion Design winches to provide a “low-level, clubby feel” to the set.

“The winches can only carry 50kg and the lights alone are 35kg, so we had to be careful not to overload them, but the result was cool. We also have one single lightbulb on a winch which comes up and down above Louis to create a classic lighting moment,” Taylor said, further highlighting Ayrton Huracán’s prismatic colour wheel as a ‘fan favourite’.

The lighting design saw a wall of GLP impression X4 Bar 20s at the rear of the stage in 12 columns. Further lighting trusses over the stage carried the Wahlberg winches for several automated looks. The DMX winches were utilised for three or four songs, either statically or moving up and down, while JDC Line 1000s provided colour and strobe effects, to achieve varied looks, with a relatively minimal overhead lighting package.

Taylor elaborated: “There are some shutters for one specific track which go directly in-front of some of the GLP X4 Bars to get the aura of the lights, instead of the lenses, which I really like the look of. Lighting and video complement each other during this show – there’s also a section with flickering fluorescent tubes on the video content with the X4 Bar 20s behind the LED screens flickering in a similar way.

Taylor was delighted with the performance of the crew. “Overall, it has been a great run, executed flawlessly,” he commented, citing the support of Lighting Crew Chief, James Box; Dimmer Technician, Rick Carr, and Lighting Technicians, Amy Barnett, and Kieran Hancox.

The wider lighting rig comprised Ayrton Eurus, CHAUVET Professional Strike Array 4, Claypaky Mini-B eLumen8 Endura 1Q120, and Robe BMFL fixtures with robo cameras, all fixed on various HOF MLT3, Litec QH40 and Thomas James Thomas Engineering Superstruss. The lighting riser featured Ayrton Huracan LT and GLP JDC1 fixtures.

Robe Spiider fixtures were situated on the up and downstage video trusses, with the floor package boasting the deployment of further Ayrton Eurus, LEDJ Spectra Flood Q15 and Chroma-Q Color Force 72 units, the latter chosen for key light. Atmospherics came in the shape of Smoke Factory Tour Hazer 2, Martin Professional JEM ZR45 and MDG Atmosphere ATMe hazers with TMB ProFans. “We had some challenging shows, implementing an arena-scale design into sheds in the US, but it’s been good to return to Europe and witness the fans enjoying the show,” added Lighting Crew Chief, James Box, who pinpointed the use of the multicoloured glass gobo in Hurricanes as among his favourite looks.

“There is a lot of effort put in by TANCK to ensure we get the utmost from every fixture on the rig, which is great to see, when the team has gone to the effort of assembling the show each morning. Seeing the looks they achieve from the rig and the extra details, with each advanced cue within the show, is a pleasure.

Almost every pixel on the JDC Line 1000 and X4 impression Bars are being used.”

Video Crew Chief, Dave Mallandain, formerly of Colour Sound Experiment, supervised the video build and the team of Video Technicians, Ed Driver, Frank Wlliams and Tim Curwen.

“Working with Colour Sound Experiment again, in a freelance capacity, certainly has its benefits,” he stated. “You get to know the workflows and personalities of the company. There is an element of trust there and our relationship is stronger because of that.” The 2.5m by 2.5m video screen, made up of Leyard CLM6 LED panels with Colorlight Z6 processing on the back end, was built in an abstract configuration – hung from varying size steel structures fixed on to lighting truss, spanning the entire stage, as opposed to a traditional backwall. “This setup requires us to build it quicker, so the backline can start building their world, but it’s very lightweight and easy to use, so once the local crew are up to speed, it flies up in no time,” he reported.

During the show, there was a lot of camera angles fed into a Blackmagic ATEM switcher, with content then fed into Resolume media servers which was processed and treated with video effects and filters to manipulate the content, monitored by the video team, and pre-programmed by Taylor via an MA Lighting grandMA3 console, operating in MA2 mode.

“The fan camera, which was one of Tom’s ideas, has evolved to the point where Frank and I are on stage during Out Of My System, pointing these cameras fabricated in an old VHS-style shell at Louis’ face in reference to the fisheye-lens inspired music video.”

A mixture of Marshall Electronics and Panasonic PTZ cameras ensured the wider on-stage action was captured. “While the visual content is the same, the shots differ based on the energy of the crowd from night to night,” he explained. “We have an overhead shot for the drums, and another behind Louis, which shoots over his shoulder to the crowd. We also have a PTZ camera on the ground in front of Louis which can rotate to capture crowd scans along with a little ‘bullet camera’ for each musician. It’s been a fantastic tour; everyone on this team has been phenomenal.”

The special effects and pyrotechnics package supplied by BPM SFX included Galaxis PFC 10-way receivers running Galaxis, with a main and a backup controller, which ran through an MA Lighting grandMA2 console, to trigger MagicFX Stadium Shot IIs and a single shot of red streamers. The latter, a “signature of Louis Tomlinson live shows”, according to BPM SFX Technician, Jack Webber – who toured with a new custom control rack, with much of the hardware integrated in one rack.

BPM SFX Account Handler, Matt Heap and SFX Technicians, Blake Harward and Phillip Mathew also provided Webber with support. “The one major change on this tour was putting the Stadium Shot IIs at the downstage edge, and adding lasers for the O2 arena show,” said Webber, who has been involved in past touring campaigns with the camp. “This is the first touring camp to take me to the US, so I feel incredibly privileged.”

Safety was paramount for the BPM SFX team, who implemented the safeguard of warning notices on-stage to ensure the band knew exactly when an effect was triggered. In closing, Webber referenced the ‘rainbow-inspired’ track, She Is Beauty We Are World Class, which demonstrated the strength of the special effects package. “There are about 22 rapid fire chase Comets all going off at the same time with a big lift, which differs in comparison to the other looks with eight units.”

MIXING IN A SEA OF SCREAMS FOH Engineer, John Delf mixed on an Avid S6L 32D console with onboard plug-ins. “I use the onboard plug-ins as much as possible because I want to keep it as simple as possible and know I’ve got a show out of the box without any added extras, which is particularly useful during fly-in gigs, where I have to use a house console or have limited time to set up,” he noted. Delf also toured with some choice pieces of outboard gear including a Rupert Neve Designs 5045 primary source enhancer for vocals, an Empirical Labs Fatso two-channel compressor for drums, and further Distressors for the bass guitar group and vocals.

“The bulk of my mixing is riding the DCA control groups and the vocals, balancing between them, and when there is a lead guitar solo, I’ll jump to that. Most of the mix should stay where it is, and I shouldn’t have to think about it, but every day you make major tweaks and refinements based on how the musicians are performing. Most of the gig is turning the band up and down without affecting the vocals because I have DCAs for drums, bass, guitars, keyboards, main vocal, backing vocals, and an ‘all’ DCA that includes everything but vocals,” he said, explaining his mixing wizardry modestly. “I also run snapshots in which I am changing the sub send amount for different songs, as well as reverb and delay times. If the band changes the set last minute, I have the desk synced to the timecode and that will trigger the snapshots.”

At the beginning of the set, the noise of the crowd can be between 112 to 116dB. “We have a little bit of headroom. When they are loud, I can push the mix, and when they are quieter, I can pull it back for the more introspective moments of the show,” he explained.

“My favourite section to mix is the transition from a cover of Arctic Monkeys’ 505 into Back to You. When that kicks in, I push the “All” DCA up to +10. We’ve built the set up to that point, where I’m able to throw it to the top before the end of the set. The three songs in the encore are also fun songs to mix,” he enthused, accenting the support of Solotech Account Handler, David Shepherd.

“I’ve worked with Dave for years, while he was at BCS Audio (now part of Solotech). He’s been my go-to account handler for a very long time, and Solotech has inherited this gig from them, so there was a natural transition.”

System Engineer and Head of Audio, Oli Crump walked TPi through the PA system: “We’ve been using L-Acoustics, which is our preference, since the start of last year’s tour. The main hang has been K1 with K2 downfill for both tours, however, we are touring with a much larger system this year with K2 on the sides instead of KARA-II. We’re flying subwoofers and carrying delays with us, which is also our preference in big arenas, like the O2 – it provides an even level of coverage across the audience,” the TPi Breakthrough Talent Award alumni said, explaining the thought process behind a larger sound system.

“The PA system is naturally bigger this year because we’re touring larger venues. The crowd is very loud, and we need to be able to compete with that at points of the show. The window of dynamic range we have without it being too loud is compressed because the background level from the crowd is so high, so we need to be able to get our level as consistent as possible from front to back. This setup really helps overcome that.”

Out of ear shot from Crump, Delf extolled the virtues of his partner at FOH: “Oli and I work well together. Every day, regardless of the venue, I know the system is going to sound consistent. We deal with different venue acoustics each day but as soon as I run up my virtual soundcheck, I’ve got the mix back to where I want it because the PA is at the same level every day. I used to walk the room a lot during sound check, but it always sounded consistent, so I’ve stopped doing that because I trust him explicitly.”

The PA generally sat in a standard location for an arena PA, 10.5m off centre and no wider than that, using the same basic system design as Louis Tomlinson’s past touring campaign, which Crump worked on with Kenny to ensure it didn’t impede the production design. “The number of boxes we deploy varies from show to show, based on the venue. The worst-case scenario [visually] is that the PA needs to be a little lower than usual and gets in the way of the IMAG screens slightly,” Crump detailed.

He designed the system using Soundvision, then imported his file into Network Manager, with a DirectOut Technologies PRODIGY.MP chosen for system processing. “I have visited many of the European arenas before so I’ve got fairly accurate plots, however, sometimes you will stumble across an error someone has made in building the models,” he continued. “Madrid’s WiZink Center had different CAD drawings for each layer of the venue and one of the layers was accidentally scaled wrong, so the bottom floors were fine but as you went up everything was out. You get curveballs like that occasionally but that’s why it’s important to verify drawings.”

An audience also changes the acoustics of a room, generally for the better, but sometimes not, so Crump was on hand at FOH to make tweaks when required. “As rooms get larger, they generally get more difficult, reverb time will go up purely as a factor of the room size, regardless of how you treat it. The O2 is quite tall seating-wise, so you end up having to angle the PA up into the roof a lot,” Crump noted.

Over by the stage, Monitor Engineer, Barrie Pitt mixed the five-piece band and frontman using a DiGiCo Quantum 338 console. “Louis and the band are good at verbalising what they want. They’ve been playing a long time, so it’s my job to translate those desires into the mix,” he explained. “DiGiCo has been my ‘go-to’ brand of console for the past 15 years. The 338 is an incredibly powerful console, which can do as much as any other on the market and more in a much less convoluted way. I know it like the back of my hand and how to get the best out of it and do the most complicated things at the push of a button. The Capture features are ridiculously powerful.”

Pitt oversaw 85 channels, 64 directly from stage, with additional channels for shouts, sends, returns, communications, and routing, among others. His outboard rack included a classic Lexicon PCM 91 digital reverberator for vocals. “The way I set up the communications and shout systems are the same across the board. For the layout, a lot of people have instruments on one side and vocal and effects on the other, however, I tend to adjust my banks of faders visually, how you would see it on stage, left to right, as a nod to my analogue mixing days. My second layer is usually tracks and any track content with reverbs next to the vocals, so they’re changed in unison. Sometimes, I’ll do a custom layer of [drum or spill group, two lead guitar channels and vocal] the things I use most, particularly if it’s a busy show input-wise.”

Pitt referred to the basis of his mix as ‘static’ with minor changes. “Louis changes a fair bit between songs I’m running upwards of 60 scenes with a lot of songs having multiple scenes for verse and chorus or specific sections,” he explained. The Monitor Engineer is a big believer in unifying the in-ear monitors, so what he hears is the same as those on stage. “We use Shure PSM1000s, JH Audio Roxanne in-ear monitors for Louis and JH16s for everyone else, except for the drummer, who is using Ultimate Ears IEMs. Louis and the band are solid, and they keep their ears in from start to finish. Louis wants the rock star mix; he likes to feel the weight of the mix. It’s not an overpowering mix but it’s a full mix with his vocal on top with Neve 5045 primary source enhancers on all vocals. Everyone else has a standard band mix at moderate level with their instrument and vocals high. The drummer has the most straightforward mix with his drums and shouts layered on top.”

A further pair of subwoofers stage left, and right were situated under the stage risers, providing the weight of side fills without the top end. “It’s a big rock show with drums and guitars, so the less noise I can have flying about the stage, the better,” he said.

The microphone package included a Shure Axient Digital AD4D two-channel digital wireless receiver, a AD2 vocal microphone with a KSM9 capsule for vocals. Sennheiser MKH 60 and AKG C414 XLS microphones captured the ambient noise of the room. “We track everything, including the two sets of ambient microphones for recording and virtual soundcheck, in case the band decides to do anything with the live content,” he noted.

Having collaborated with Solotech and previously BCS Audio multiple times, Pitt was pleased to see the company on the tour sheet. “They are a solid choice and I know Dave Shepherd well. They fix any problems swiftly, and all their gear is well packaged and maintained,” he said. “The band and crew are lovely. It’s rare to come across a camp so friendly on a show of this size.” Pitt thanked Solotech Monitor and Stage Technician, Matt Coton. “He is fantastic. He takes all the second guessing out of my day and is so meticulous and thorough that I know everything will be as it should be from the get-go. When there are issues, he knows exactly what to do to remedy it. He’s been a joy to work and hang out with.”

Audio Technicians, Matt Coton, Tim Miller, Kim Watson, Elliott Clarke, James Coghlan, Matt Benton; Bassist and Keyboard Technician, Chris Freeman; Guitar Technician, Dan Ely and Playback Technician, Scotty Anderson made up the sound team.

CURATING A HOME AWAY FROM HOME Sarah Nicholas of Sarah’s Kitchen and Caterers, Rebecca Henderson, Helena Robertson, Chris Carter, Matty Pople and Tamsin Manvell provided band and crew catering, ensuring morale stayed high and stomachs were full on the road. Making a name for themselves as One Direction’s caterers, the outfit now cater for each of the band members’ individual tours and private functions, amassing a dedicated online following. “I started catering for Louis and the rest of One Direction during their first theatre gig in Watford and I feel very privileged to have that connection. At dinner time, we perform a plate service, which I think is important – our reputation is not only built on really good food but the entire hospitality package, creating a nourishing environment away from home,” Nicholas said.

Sarah’s Kitchen provided a range of vegan, gluten-free and vegetarian options. “We also provide disposable products and water coolers, and our runner regularly collects fresh, local produce from markets based on where we are in the world,” she explained.

The wider European crew featured Security, Kristian ‘Ches’, Ross Foster, Ben Major, and Gav Kerr; Merchandisers, Jon Ellis and Maddy Stephens; Bus Drivers, Aivaras Arminas, Frederico Antunes, Scott Pickering, Chris Grover; Entourage Bus Driver, Paul Roberts; Merchandise Truck Driver, Warren Dowey; BTS UK Account Handler, Garry Lewis; Stardes Account Handlers, Tyrone Reynolds, and Alam Minshall; CSE Crosscom Account Handler, Hannah Evans and Altour Travel Account Handler, Alexandra Gati.

Having wrapped up the best-selling livestream of 2020 – a lofty achievement given the proliferation of remote productions amid the grounding of live events with in-person crowds – Tomlinson shows no signs of slowing down post-pandemic, making the leap from sold-out theatres to arenas across the globe with his trusty crew in tow. “Live From London was great because the crew and I really needed it,” Delf said. “It gave us some much-needed work amid the lockdown, and all the proceeds went directly to the crew, which was an incredibly honourable thing to do. To come back out on the other side of lockdown was great. It was a dark time back then for everyone, but to be back out on tour surrounded by friends, who feel more like family, it’s special.”

-> read here on Issuu

[barcafemfan]

WORLD CUP FIXTURES/SCORES

Hey guys I have made a world cup fixture/score spreadsheet for the full tournament as i like to see who wins and what the tournament was like for different teams. So thought i would be kind and share it on here.

Just a pre warning all times/dates are all for UK time, but if you want me to make one for your timezone dm me as i have way to much time on my hands.

The colour schemes are obviously green for a win, red for a loss and orange for a draw so basically just a traffic light system.

Love Beth x

[randomvarious]

Funki Porcini - "Venus" Ninja Cuts: Flexistentialism 1996 Downtempo

Plays: ~153.4K on Spotify // ~18.6K on YouTube

In order for us to talk about Funky Porcini, we're gonna have to first talk about a different act that I've posted about before: 9 Lazy 9. 9 Lazy 9 is a duo of likeminded British blokes who, after spending the 80s in industrial bands, decided to team up and release super chill lounge music instead. Together, they became a staple of the legendarily jazzy and funky UK trip hop / downtempo / breakbeat label Ninja Tune's roster for about a decade. And half of 9 Lazy 9 consists of James Bradell, aka Funki Porcini, who has released a bunch of stuff on the solo tip through Ninja Tune too.

Now, the last time I posted about 9 Lazy 9, it was for their 1994 song, "Spoonful of Slow," which then appeared again in 1996 on an excellent Ninja Tune comp called Ninja Cuts: Flexistentialism. And what I had to say about that song in particular was the following:

This is a quiet and lulling, snail's-paced sedative to make your eyelids droop; like a 1960s cocktail lounge hipster's hi-fi's been slipped a Quaalude or something.

And this song from Funki Porcini's second solo LP, 1996's Love, Pussycats & Carwrecks, which also appears on that same Ninja Cuts comp too, is on the exact same type of wavelength as "Spoonful of Slow." "Venus" has a little bit of a sci-fi element to it—thanks to an early voiceover talking about Venusians—but really, it's deconstructed and slurring, 1960s-sounding easy listening music; a unique piece of pleasantly stoned downtempo that sounds like something Nightmares on Wax might've dreamt up if he was hooked up to a morphine drip; a song where the neon light fixtures on the wall at the basement bar you're camped out in start to multiply and then become all blurry and wavy and shit 😵. The xylophone notes on this one just crawl all the way up, down, and around the whole thing.

I don't think hardly anyone else was making downtempo stuff that sounded quite like this all the way back in 1996.

[cosmic-croissant]

okay, the king of new york scene in uk newsies absolutely needs a separate post because HOLY SHIT OH MY GOD THEY REALLY DID THAT (spoilers ahead!!)

the tap dancing was of course, wonderful, and the choreo was very different from the proshot version, but the really amazing thing about the scene was the way they used the lighting fixtures!! they were low enough so that the newsies could grab onto them and then they swung around each other and spun on them like a fucking trapeze and it was incredible (it reminded me a lot of the rewrite the stars scene from the greatest showman if that helps in visualising it)

and then another bit i really liked was when the other newsies formed a passage for davey to push les down on a table (it had wheels on it) and les was using a silver dinner plate as a "steering wheel" and it was so nice to see them all happy and silly for once!!

also race tried to do the same thing as les but no one would push him HAHAH

anyways these thoughts are very garbled and rushed but i just wanted to share that it was really amazing <3

[abbaswift]

i know i’m obsessed with big brother uk because i’ve been watching a light fixture slideshow with birdsong audio for an hour straight on the livestream waiting to see a glimpse of what’s going on

[musiconanironingboard]

3 February 2024: Four-Calendar Café, Cocteau Twins. (2024 4AD reissue of 1993 UK Fontana/US Capitol release)

When the craze started of putting 1990s CD-only releases on modern vinyl pressings, I found it exciting. Now that it continues to happen, I get a little queasy sometimes. Part of this is I have no room for more records and I once again find myself at that crisis point where I have to devise a solution. Another part of it is I've gone from buying essential classics to buying all kinds of things that I may have once had a passing interest in. I liked Cocteau Twins a lot in the '90s, and this, their seventh album, was the first one by the band that I bought in real time when it was released. This and its 1996 follow-up and band swansong Milk and Kisses were, so to speak, "my" Cocteau Twins albums, as opposed to their earlier work that I had to examine in hindsight long after every cool goth in town had worn out their third copy of every Cocteaus cassette. I haven't worried about chasing vinyl reissues of any other Cocteau Twins albums (partially because I have original copies of the ones I care about), but when these got released I knew I'd at least want to buy Four-Calendar Café. I don't dislike Milk and Kisses, but nor do I remember it very well.

Above we see the front cover, hype sticker showing this to be the first-ever US vinyl issue, and back cover, all courtesy of the horrible new lighting fixture in my stereo room that I didn't want and am now stuck with.

Below are both sides of the inner sleeve.

Next up, both labels. With this damned new lighting fixture, I can never decide if it's best to shoot things with it on or off. Sometimes with it on the reflection is so bad in the dead wax, as with side one below, but sometimes it's the opposite. I hate this lighting fixture! The whole package was difficult to photograph, and in part I think the cover has the bad look of a reproduced piece of old artwork without the clarity of the original art. The contrast and coloring of the album cover itself is just wrong. If I'd thought to do it, I would have included a photo of the original CD here to illustrate my point.

[todoslosdiasdemivida]

Ramona's gift is something small and seemingly simplistic. Lena delivers the tiny package with a wink, before taking off in a quick jog. In the brightly colored paper is a small jewelry box containing a USB drive. If she plugs it in, she'll get a short video montage of Commander Reyes and Jesse being ridiculous. Some of the highlights include Jesse attempting to teach Gabe how to ride a horse, Jesse at the bottom of a drainage pipe with Gabe laughing at him, and a clip of the two bickering about the best way to breach a building over breakfast. She'll never tell HOW she got these pictures and clips, but they still make her laugh.

[ @chronal-anomaly​ ]

From the moment she opens the gift, her curiosity is piqued. A USB drive? She decides she waits until Gabe has Jesse and Carlos in another room––doing whatever last minute wrapping they needed to do for her while trying not to let on that’s what was happening. [ Hey, Jesse. Mind helping me with this light fixture in here? It’s been flickering so I need to check the wiring. C’mon, Carlos. Never too early to learn electrical work. ]

Every year, she acts none the wiser. This year is no different except that while they are sequestered in the other room from which emanates the sound of rattling paper and mild cursing––how her husband can be so capable in every other sense except managing to put paper on a gift is beyond her, but she finds it strangely endearing––she takes the opportunity presented to view the contents of the flash drive. 

In the kitchen while she’s waiting for the gingerbread cookies to finish baking, she watches and it isn’t long before she’s having to stifle laughter lest the boys return, wondering at what has her so amused. 

She won’t ask Lena how she obtained these clips, but the next time she sees the younger woman, she’ll receive a big hug, a box of baked treats, and a new insulated jacket. Can’t have her going hungry or getting cold, right?

Christmas of that year was the first time she watched the clips… but it certainly wouldn’t be the last. She would take the USB drive out of her little treasure box in her dresser and plug it in to watch more than a few times, over time, watching her boys and their antics.

[ In the time after her entire world falls apart, watching leads more often to tears than laughter… but still she watches all the same. After all, it’s all she has left of them. ]

For Gabe, she delivers a small package containing American snacks, a white t shirt saying "I ❤️ New York.", a framed picture of the Golden Gate Bridge, and one of those glass containers full of sand with his name on it. All picked up from various tourist shops when she was in the States, of course.

When he opens the gift, there’s a snort and he rolls his eyes, first showing Ramona who chuckles and shakes her head, then tilting the box so that Jesse and Carlos can see what’s inside after the older asks. 

“Think she knows what city I’m actually from?” he wryly asks, even as he takes out one of the bags of snacks, opens it, and takes a bite.

“I doubt that would’ve mattered,” Ramona answers with another little laugh, reaching over to steal a bite for herself.

“You probably have a point.”

When next he sees Lena, she receives the exact same box, now wrapped in paper decorated with the UK flag––though it’s wrapped well and even neatly so he had clearly enlisted someone in this scheme. Inside would be a similarly eclectic collection of things from various cities in the UK––none of which included her hometown but rather other large cities near it––and an assortment of very British snacks and a selection of tea.

[hometoursandotherstuff]

Thanks to Ingek73 for sending this 2019 contemporary lake house that is currently a vacation rental, but is now for sale in Coln Waters, Lechlade, Gloucestershire, UK. 5bds, 5ba, £5.250M / $6.540M

As you can see across the lake, it is a community of homes that look alike. Each one has a deck and an infinity pool on the water.

It has a large entrance hall with a bench and storage.

The main living area is an open concept living/dining/kitchen space. I like the cluster of 3 light fixtures. That's different.

Modern fireplace on the far wall has floor-to-ceiling storage for firewood. The room gets a lot of natural light from a wall of glass doors and windows.

Spacious dining area has a view of the dock and the lake.

Between the dining room and kitchen, they've placed a family room. The house is so large, there's plenty of room to spare.

The everyday dining space in front of the kitchen can fit a much larger table and it has a corner view of the lake and the deck.

The kitchen is also a very spread-out space.

There is also a separate family room for watching TV.

Plus, a nice office. Every room has sliding doors and a view.

The primary bedroom has enough room for a sitting area and a desk. The bed faces the lake and there's access to the outdoors.

Each of the 5 bedrooms has its own en-suite bath.

And, each bedroom also has a lakeview and access to the outside.

This room has a smaller bath, but it's still very roomy.

Also on the deck, next to the pool is a hot tub.

[hislopchino]

Paul Merton: ‘I stayed in one of the world’s worst hotels in China’

The comedian recalls terrible hotels in China, mishaps with malaria tablets and why he’s happiest holidaying in the UK

Interview by Nick McGrath

From The Sunday Times, 22nd February 2023

Paul Merton, 65, first performed at the Comedy Store in 1982 and since 1990 has been a fixture on the BBC’s Have I Got News for You, which returns this spring for its 65th series. He lives in London with his third wife, Suki Webster, his co-star on Channel 5’s Motorhoming with Merton & Webster

My first holiday of any substance was to a holiday camp in Hemsby, on the edge of the Norfolk Broads. I was eight years old and I loved it. I loved the space to run around and the people drinking beer and watching the shows in the ballroom. It felt idyllic.

I visited Ireland a couple of years later and got a lot of attention from my mum’s relatives, which was great for my performer’s ego. We saw the Ring of Kerry and I was charmed by the locals’ love of words and storytelling.

I spent most of the Eighties living in a bedsit earning very little money, so the first time I travelled further afield was in 1987, when I went all the way to Australia, with a heavy cold, to visit my girlfriend at the time.

The cheapest route was London to Sydney, via Athens and Singapore. In Athens, the complimentary coach from the hotel to the airport was full of boy scouts from Liechtenstein, who were on their way to Sydney for an international scouting jamboree. Being stared at by three-dozen hostile Liechtensteiner boy scouts is an experience I won’t forget.

After a two-day delay in Singapore, I eventually got to Sydney on Christmas Day with horrible jet lag and an even heavier cold, sat down to Christmas lunch in 35C heat, then fell asleep for 16 hours. It felt like I’d been kicked in the head by a horse.

I’d only been earning £30 a gig, sometimes £10 even, so holidays were rare. But as my career took off, I travelled more — including to Kenya in 1990, where I had a terrible experience with anti-malarial drugs. Back then you had to take a weekly and daily pill and I had a severe reaction to the weekly pill, but it took a while to work out what the problem was.

Each Friday, first in Kenya and then back home in London, I’d take this pill then start to hallucinate. I got these paranoid thoughts, where I believed I was being followed by the Freemasons and could predict the next song on the radio. Which I couldn’t.

I then went to places like St Lucia, but felt uncomfortable driving around in a rented Land Rover that probably represented what some people there might earn in half a lifetime. I felt the same visiting Cape Town.

I was lucky enough to film a couple of travel documentary series in India and China — and had totally contrasting experiences. The poverty was dramatic in India, but the people were polite and proud and when I returned to film in Mumbai, Delhi and Calcutta, they found our earnestly awful attempts at Bollywood improv hilarious and gave us multiple standing ovations.

I wouldn’t return on holiday to China, as the state interference leaves a bit of a nasty taste, as does the spitting. You literally pull up at some traffic lights and a woman in a very nice car will open her window and spit on the road. Everybody does it. Maybe a popular Chinese film star was a passionate spitter. Or perhaps Chairman Mao decreed it a healthy habit. Filming while surrounded on all sides by armed soldiers wasn’t massively relaxing either.

I also stayed in one of the world’s worst hotels in China. The foyer had a tarpaulin covered in some unusually dark stains and the room had bits of wall missing and stank of urine. I moved to a nearby hotel which was equally basic but clean, at least, although the TV was puzzling. It had a single channel showing a military man laden with medals berating a group of people for hours on end while they looked shamefaced.

I’d love to visit New Zealand as everyone raves about it. Another place I definitely won’t go back to is Tahiti, which everyone imagines is a South Sea paradise, but for me, it wasn’t. The hotel I stayed in was completely overrun by cats.

These days I prefer British holidays, as airports in the 21st century leave you with a low level of anxiety. My wife and I now love travelling round Britain in our motorhome, which is basically a hotel room on wheels. If we all could drop the idea that we have to go on holiday somewhere that has guaranteed sun, holidaying in this country has a lot going for it.

Paul and Suki will be speaking at the Caravan, Camping & Motorhome Show at the NEC Birmingham, which runs from February 21 to 26 (ccmshow.co.uk)

[clippingdesignhome]

COLOR CORRECTION

Color correction services is an absolute must with the intention to attain a constant appearance and fashion in a professional images workflow. Color Grading also a crucial step before sending images to get printed. There may be a few antique photographs that remind you of your a few memorable moments however due to the long span of time the pictures have lost the real colors. Or you might probably having some photos which have wealthy or mild tones. Valuable moments captured in a camera are priceless and dropping its real allure can be too demanding. Color moments can only be re-lived through the smart modifying that we provide through our shade Correction services . At times the images do no longer come out as anticipated because of low lighting fixtures or negative handling of the camera and most times old photo which are kept for long period can also turn out to be yellow and crinkled because the time passes.

Contact us -

Color Change Service | Get the perfect color to showcase your products

Email- info@clippingdesignhome.com

#colorcorrection #coloradorealestate #coloradorealtor #coloradosprings #coloradohomes #coloringbook #coloradoliving #retoucher #retouching #retouch #hiendretouch #beforeandafter #editing

#clippingpathservice #clippingpath #clipping #backgroundremove #backgroundremoval #changbackground #clippingpathcompany #photography #usa #amazone #ecommercephotography #photoediting #photoshop #uk #soudiarabia #australia #denmark #cutoutimage #ecommercephotography #ecommercephotoediting #imageeditingservice

[deliverelectrical]

Upgrade Your Space Integrated LED Downlights Solutions

Upgrade your space with integrated LED downlights in Staffordshire UK. Our range features high-quality fixtures that combine stylish design with energy-efficient lighting. Organise your lighting layout with seamless integration into ceilings, enhancing both residential and commercial interiors. Optimise your environment with versatile options that provide uniform illumination and long-lasting performance. Explore our selection of integrated LED downlights today to find solutions that meet your aesthetic preferences and functional needs. Contact us for expert guidance on selecting the perfect downlights to transform your space into a well-lit and inviting environment.