#julia fodor

[kulturado]

The Story: Legends: famous faces shot by photographer Zoë Law – in pictures

The Writer: Lemm Sissay

(photo of Princess Julia Fodor by Zoë Law)

[masterblackoak]

   Stephen Linard, the Blitz Kid fashion designer who made clothes for David Bowie, Boy George and Spandau Ballet, died on the 10th of March 2024, aged 64, after enduring painful cancer during recent months. David Johnson remembers the life and career of the man he knew:-

   “The press called them the New Romantics and the Blitz Kids, declaring the Eighties the Age of the Pose. Art-school tutor Rosetta Brooks compared their self-consciously styled poses to ‘street theatre ultimately extended into continuous performance as a post-punk embodiment of Gilbert and George in one person (the individualist).’ Each poser, she believed, is a ready-made. Step forward fashion student Stephen Linard, who ticked all the above boxes ~ a flamboyant Canvey Island boy, born on the 26th of March 1959, who attended the Southend School of Art (1975-78) and yearned to make a statement in every street or room he graced.

   Arriving at St Martin’s School of Art in London (1978-81), Linard pushed the boundaries of excess. Annually, second-year students organised an Alternative Fashion Show but in May 1980 the college’s resoundingly prim middle-class students were out-gunned when Linard sent out his sensational Neo Gothic collection ~ a stark collision of Space 1999 meets liturgical Gothic meets the masonic livery which was displayed in shops serving the Freemasons’ Hall just along the street from the Blitz Club, the capital’s coolest nightspot.

   The audience erupted in cheers. Strutting the runway to the Human League came the then-unknown George O’Dowd sporting a soaraway post-punk mullet atop sharp grosgrain suit with dog collar, Michele Clapton and Myra Falconer wearing risen-from-the-dead pallor beneath shaven heads, along with Fiona Dealey and Julia Fodor (today, Princess Julia). Their vestments were accessorised with religious motifs while emanating a curiously spare chic. Finally, all in white as a “space-age pope”, came gifted Lee Sheldrick, modelling a white silk grosgrain suit with his head shaved bald to become the embodiment of Nosferatu the Vampyre. Resonances abounded for the show’s title to be adopted by the nascent Goth movement.

    One year later Linard was determined to submit menswear for his degree collection, despite the efforts of the head of the fashion department to insist on women’s wear. She actually threatened to eject Linard from the college until strong internal protests backing Linard’s pursuit of menswear ultimately prevailed. Modelled by six of his hunky clubland pals, his collection titled Reluctant Emigrés featured swishy draped cashmere greatcoats, patched pinstripe trousers and city shirts that all evinced an Edwardian air of immaculate tailoring punctuated with edgy details.

   Linard’s street-savvy lads made a gasp-out-loud impact, as Fleet Street’s Suzy Menkes noted in print. Historians Alan J. Flux and Daryl F. Mallett have also written: ‘The clothes were instantly covetable, thoroughly masculine in an entirely new way, and electrifying as only the truly innovative can be.’ Linard won his first-class Honours degree.

The fashion press feted him upon graduation. His outrageous fashion details flagged direction for the two dozen sharpest Blitz Kids who shaped the New Romantics silhouette from the Blitz onwards. Most significantly, Linard changed his own appearance daily from his foppish Fauntleroy dandy, to the Endangered Species outfit made from animal skins, to the cowboy gilded from hat to toe. Linard has admitted: ‘The competition pushed you on, especially Lee Sheldrick. At the Warren Street squat [where they lived] you might change what you were going to wear eight times on a Tuesday to try to outdo everyone else at the Blitz.’

   Inspiration was all around. In 2020 Linard said: ‘The Blitz was an art students’ club. The place was choc-a-bloc with artists: Brian Clarke, Zandra Rhodes, Molly Parkin, Antony Price, Duggie Fields, Kevin Whitney and us because it was halfway between Central School and St Martin’s. People who said ~ Oh you Blitz Kids don’t DO anything ~ were talking rubbish, because WE all did. We were the ones with our work in the glossy magazines long before the rest.’

   Linard’s styles had always been sought after by pop-star contemporaries from Spandau Ballet, Boy George, Frankie Goes to Hollywood, Haysi Fantayzee and The Slits, to U2, the Bee Gees, Womack & Womack, even Cliff Richard and Johnny Mathis, and ultimately to the great god David Bowie himself.

   In 1982 the Railway Children collection of stripey Edwardian coats and frocks for school-girls became the first of Linard’s two womenswear collections. He was one of six budding British designers taken to Paris by Blitz Club host Steve Strange to help launch his Anvil album, but also to show that the English could be as stylish as the French ~ staged at Europe’s coolest nightclub, Le Palace.

   Meanwhile Linard’s reputation went on growing among the international fashion set. 1983 brought his collection Angels with Dirty Faces, inspired by the Bogart-Cagney gangster movie set in the Thirties depression. It was both pretty and poignant and it sold worldwide. That year, the snappiest magazine of the day, New York, headlined a special fashion section The British Are Here, and selected as the UK’s five leading lights Jean Muir, Zandra Rhodes, Katherine Hamnett, Vivienne Westwood ~ and Stephen Linard, ‘one of the most creative of the young designers’.

   From 1983 to ’86 Stephen lived in Tokyo designing for Jun Co, the fashion giant, on a salary which, he liked to boast, exceeded the prime minister Margaret Thatcher’s. From 1989 until recently Stephen was a key player on the design team at Drake’s, the respected men’s haberdasher in Savile Row. 

   As recently as 2018, Laird Borrelli-Persson was writing in Vogue online: ‘Stephen Linard deserves credit for many innovations in fashion and its presentation that we take for granted… One of the Blitz Kids whose dandyish ways had an outsize impact on 1980s style, his early work was distinguished not only by irreverence, but also by a strong sense of narrative… Linard insists his aim was not to cause outrage. ‘I was into doing couture stuff and I was “just making clothes,” really, as Sonia Rykiel used to say.’ 

   From September to October 2023, a solo exhibition presented his archive of drawings, photographs and garments titled Total Fashion Victim in St Leonard’s-on-Sea, where he had lived since 2020 along with many other former Blitz Kids. It was fitting ~ Total Fashion Victim was the name of the one-nighter Linard hosted at the Wag Club during the Eighties.”

[re-0000]

Princess Julia

[retropunch]

Visage - Fade to Grey (1981)

[jenniedavis]

[velmatv]

Visage - ‘Fade to Grey’ - 1980

Original version of the video, directed by Godley & Creme.

The song was credited as being co-written by Midge Ure and Billy Currie of Ultravox. The French spoken lyrics were performed by Brigitte Arens, then-girlfriend of Visage’s Rusty Egan; on the video, they’re mimed by friend of singer Steven Strange, Julia Fodor.

[wecouldstillbegreat]

Pheobe Waller Bridge won Best Actress in a Comedy Series at the Critics Choice Awards. 

So far, Veep has lost every single award it has been nominated for except for the AFI Television Program of the Year (along with Chernobyl, The Crown, Fosse/Verdon, Game of Thrones, Pose, Succession, Unbelievable, Watchmen, When They See Us and a Special Award for Fleabag).

Here are all the awards that are left:

1. Producers Guild Awards (January 18, 2020)

The Danny Thomas Award for Outstanding Producer of Episodic Television

Comedy

●     Barry (Season 2)

Producers: Alec Berg, Bill Hader, Aida Rodgers, Liz Sarnoff, Emily Heller, Julie Camino, Jason Kim

●     Fleabag (Season 2)

Producers: Phoebe Waller‐Bridge, Harry Bradbeer, Lydia Hampson, Harry Williams, Jack Williams, Joe Lewis, Sarah Hammond

●     The Marvelous Mrs. Maisel (Season 3) 

Producers: Amy Sherman‐Palladino, Daniel Palladino, Dhana Gilbert, Matthew Shapiro, Daniel Goldfarb, Kate Fodor, Sono Patel

●     Schitt’s Creek (Season 5)

Producers: Eugene Levy, Daniel Levy, Andrew Barnsley, Fred Levy, David West Read, Ben Feigin, Michael Short, Rupinder Gill, Colin Brunton

●     Veep (Season 7)

Producers: David Mandel, Frank Rich, Julia Louis‐Dreyfus, Lew Morton, Morgan Sackett, Peter Huyck, Alex Gregory, Jennifer Crittenden, Gabrielle Allan, Billy Kimball, Rachel Axler, Ted Cohen, Ian Maxtone‐Graham, Dan O'Keefe, Steve Hely, David Hyman, Georgia Pritchett, Erik Kenward, Dan Mintz, Doug Smith

2. Directors Guild Awards (January 25, 2020)

Outstanding Directorial Achievement in a Comedy Series

●    Dan Attias

“The Marvelous Mrs. Maisel,” “It’s the Sixties, Man!” (Prime Video)

●     Bill Hader

“Barry,” “ronny/lily” (HBO)

●    David Mandel

“Veep,” “Veep” (HBO)

●    Amy Sherman Palladino

“The Marvelous Mrs. Maisel,” “It’s Comedy or Cabbage” (Prime Video)

●    Daniel Palladino

“The Marvelous Mrs. Maisel,” “Marvelous Radio” (Prime Video)

3. Writers Guild Awards (February 1, 2020) 

Comedy Series

●   Barry

Written by Alec Berg, Duffy Boudreau, Bill Hader, Emily Heller, Jason Kim, Taofik Kolade, Elizabeth Sarnoff; HBO

●  The Marvelous Mrs. Maisel

Written by Kate Fodor, Noah Gardenswartz, Daniel Goldfarb, Alison Leiby, Daniel Palladino, Sono Patel, Amy Sherman-Palladino, Jordan Temple; Prime Video

●  PEN15

Written by Jeff Chan, Maya Erskine, Anna Konkle, Gabe Liedman, Stacy Osei-Kuffour, Andrew Rhymer, Jessica Watson, Sam Zvibleman; Hulu

●   Russian Doll, 

Written by Jocelyn Bioh, Flora Birnbaum, Cirocco Dunlap, Leslye Headland, Natasha Lyonne, Amy Poehler, Tami Sagher, Allison Silverman; Netflix

●   Veep, Written by Gabrielle Allan-Greenberg, Rachel Axler, Emilia Barrosse, Ted Cohen, Jennifer Crittenden, Alex Gregory, Steve Hely, Peter Huyck, Erik Kenward, Billy Kimball, David Mandel, Ian Maxtone-Graham, Dan Mintz, Lew Morton, Dan O'Keefe, Georgia Pritchett, Leila Strachan; HBO

Episodic Comedy 

●  “Here’s Where We Get Off” (Orange Is the New Black)

Written by Jenji Kohan; Netflix

●  “It’s Comedy or Cabbage” (The Marvelous Mrs. Maisel)

Written by Amy Sherman-Palladino; Prime Video

●  “Nice Knowing You” (Living With Yourself)

Written by Timothy Greenberg; Netflix

●  “Pilot” (Dead to Me)

Written by Liz Feldman; Netflix

●  “The Stinker Thinker” (On Becoming a God in Central Florida)

Written by Robert F. Funke & Matt Lutsky; Showtime

●   “Veep” (Veep)

Written by David Mandel; HBO

[djbcadventures]

Read Across America Day 2023 - Columbus Library Turns 150

Today is "Read Across America" Day, in honor of the birth of the late, great Dr. Seuss. We are using this day to pay tribute to the Sesquicentennial of the birth of the best library system in America - the Columbus Metropolitan Library (National Library Week is still in April, but this weekend is huge for them).

Founded at Columbus City Hall on March 4, 1873 (where the Ohio Theatre currently is today), the Library moved to its current location in April 1907 after a massive funding campaign led by Scottish philanthropist Andrew Carnegie. The Main Library went massive renovations in 1990 and 2016. The latter saw the new entrance from the Topiary Park, and the dedication of Kaufman Plaza in 2022. Also last year, Fodor's Travel named the system one of the "11 Most Beautiful Library Systems in America".

There are currently 23 branches in the Columbus Library system, which serves Franklin County.

Barnett, Canal Winchester, Driving Park, Dublin, Franklinton, Gahanna, Hilliard, Hilltop, Karl Road, Linden, Marion-Franklin, Martin Luther King, New Albany, Northern Lights, Northside, Parsons, Reynoldsburg, Shepard, South High, Southeast, Whetstone, Whitehall, and of course, the Main Branch itself.

All but three (apologies to Hilliard, Canal Winchester, and New Albany) are accessible by the COTA Bus Lines.

Barnett (Lines 1 & 23), Canal Winchester, Driving Park (Line 1), Dublin (Line 33 to Dublin Metro ONLY), Franklinton (Line 9), Gahanna (Lines 24 & 25), Hilliard, Hilltop (Line 6), Karl Road (Line 8), Linden (Lines 11, 31 & CMAX), Marion-Franklin (Line 4), Martin Luther King (Lines 10 & 11), New Albany, Northern Lights (CMAX), Northside (Lines 1 & 2), Parsons (Lines 8 Parsons & 4), Reynoldsburg (Line 2 to Reynoldsburg ONLY & 25), Shepard (Line 7), South High (Line 8), Southeast (Line 24 - Weekdays ONLY), Whetstone (Lines 2 & 102), Whitehall (Line 10), and of course, the Main Branch (Lines 2, 10 & 11) itself.

There are a lot of events this weekend at 22 of the 23 branches (Marion-Franklin is only open Monday through Friday) on Saturday, including the grand opening of the NEW Gahanna Branch (310 Granville Street) in Gahanna. The Main Library will have Bridgerton author Julia Quinn in a SOLD OUT discussion on Sunday as part of their Sesquicentennial Authors Series.

And coming this Summer (July 15 & 16) will be a NEW Book Festival - The Columbus Book Festival.

For more information on the Columbus Metropolitan Library, go to http://www.columbuslibrary.org.

You can find a good read, research history, look for a job, and so much more at your local library!

[thegaagaas]

Press Quotes:

……………………………………………………………………………………………………

"What an amazing sound." ― John Robb (Membranes/Louder Than War)

"Sign me up!" ― Colin Jackson (Artrocker Magazine)

"Thoroughly bracing." ― Julia Fodor (The Pixzine)

"Jersey's rock 'n' roll royalty." ― Gallery Magazine

"Expect a performance of feedback rich noise deafening punk chaos in the same vein as Sonic Youth, Mudhoney, and even darker Bauhaus." ― Time Out London

"...a great band with an unusual name and an unusual sound." ― Huw Stephens (Radio 1)

"...a band with lyrical venom." ― Jon Gordon (Tasty Fanzine)

"The Gaa Gaas are like The Cure if they'd emerged from CBGB in New York rather than a pub in Crawley." ― Nemesis To Go

"The Gaa Gaas are Jersey's answer to Richard Hell And The Voidoids." ― Rich Nuvo (Pamplemousse Club)

"There's a menace here that imagines a studio scuffle between prime time psyche era Killing Joke and the late 70s recalcitrance of the Stranglers. Classily caustic." ― Losing Today Magazine

"...a goth version of The Rapture‘…well, kinda…see also post punk icons The Scars, Magazine (John McGeough like guitar…see also The Banshees), Pil and Bauhaus. Artrocker like em so here’s a quality seal of approval…and so do Bugbear, so there’s another, yes, they’re good." ― Bugbear Promotions

"Gavin Tate's voice is like LA Deathrock." ―  XYZ Magazine 

"Gavin Tate's voice brings to mind John Lydon with his post-Sex Pistols outfit Public Image Limited." ― David Gaspar (Local DJ from Coimbra, Portugal now based in St Helier, Jersey)

"Offers a mix between Chinese Stars, The VSS and The Fall. Wave front highly epileptic and consume every dance!." ― Lester Brome (Kfuel Radio)

"A bit like House of Jealous Lover's vs Bauhaus." ― This.Is.Music Magazine

"A bunch of goths that just discovered strobe lights and rave music." ― Mp3.com

"You can hear everything from Captain Beefheart right through to The Damned and The Birthday Party with this odd bunch of backcombed druggies." ― Brighton Source

"You sound like The Clash!" ― Gavin's mum (after hearing 'Close Your Eyes' single)

"You remind me of The Ruts and The Pop Group!" ― Nick The Bastard (Christian Death)

"Like a mix of The Horrors, Wire, The Adverts, and The Three Johns." ― The Ringmaster Review

"Probably the only band on the planet capable of making Plastic Bertrand sound like The Jesus And Mary Chain." ― Dirty Water Club

"I love it when bands look like bands and I'm always reminded of that when I see various members of The Gaa Gaa's walking around Brighton in their raven like thatch." ― Simon Price (The Independent)

"There’s something warped, unhinged, dangerous about this."  ― Christopher Nosnibor (Whisperin' & Hollerin')

"Reminds me of Terry Hall on tazer and acid." ― Phil McWalter (A fan on Soundcloud)

"Sounds like A Flock of Seagulls before they got big and became wankers." ― Bill Davies (DJ Vanian of Sanctum Sanctorum Podcast)

"It’s got that feel of early P.I.L recordings, that kind of fired up and driving punk, filled with dancey drum beats, delayed dub echoes and bass lines high and clear in the mix as if the Rapture had taken inspiration from speed rather than ecstasy or if Liars had wanted to slay the dance floor more." ― Fokkawolfe (Mishka NYC Blog)

"Headed by Jersey-born Gavin Tate, a pocket-sized livewire who'll spend as much time in the audience as on stage throughout his band's set, they play a variant of post-punk firmly rooted in 1979. Influenced by The Cure circa Three Imaginary Boys, PiL and X Ray Spex among a host of others, their distortion infused repertoire reminds us of a brattish and snottier Neils Children." ― Dom Gourlay (Drowned In Sound)

"Your band is horrible." ― Gary Moore (Thin Lizzy)

"I expect great things from these fuzzed-up freaks." ― Dominic Valvona (God Is In The TV)

……………………………………………………………………………………………………

[sophiesvoiceblog]

Day 30 of the March Instagram challenge - 'starts with p' Princess Juliela (born Julia Fodor, 1960) is a legendary English DJ and music writer. Also a style icon to me. She's all glamour! #fmsphotoaday #fmspad #fmsmarch #fms_startswithp #startswithp #princessjulia #juliafodor #styleicon #SophiesVoiceBlog #sophiesvoice

[princestreetco]

Ad of the Day: Reebok Gets 'More Human' Than Ever in Evolving Aspirational Campaign

Are you striving hard toward personal growth, using exercise, physical fitness and intense competition to build your character and shape your life in positive ways?

Well, Reebok wants to give you a hand.

Today, the Adidas-owned brand kicks off the third year of its global "Be More Human" campaign, stressing physicality and personal connection across TV, print, digital assets and live activations.

Like earlier iterations of the work, this latest push from Venables Bell & Partners encourages folks to work up a sweat and make some personal sacrifices en route to being their best selves. And once again, ads position Reebok as the ultimate cheerleader and gear provider to help them succeed.

"We're not just talking about fitness for the sake of fitness, or winning and losing," Yan Martin, Reebok's vp of brand management and creative direction, tells Adweek. "This is about the transformation that happens when we move—physically, mentally and socially. So that gives us a lot of areas to play in, and a lot to respond to within culture and the current mind-set of the world."

Martin characterizes the new work as an evolution of the "Be More Human" positioning. The platform launched two years ago by "shining a light on the tough fitness community, the 'fitness freaks'—and letting them know, 'We get you,' " he says. It expanded in 2016 by showing "how fitness, and specifically running, can lead to a richer, better life," Martin adds.

"This year, we wanted to open up the aperture to even more types of fitness and people, but with the same message that physicality unlocks a better version of yourself," he says.

That mantra gets a cinematic workout in "Hands," a minute-long spot (above) directed by Bullitt's Diego Contreras in the gritty, quasi-documentary style that has defined "Be More Human" since its inception.

"Our lives are shaped by how we move," says a voiceover at one point. "By how hard we push, flip, fly and hang. Our stories are written on our calluses and scars." Indeed, when boxing, rock climbing or pumping iron, your palms and knuckles can get bruised and battered along the way.

"We saw hands as the perfect metaphor for the change that happens when you are physical," says Martin. "Because as we push and pull and fight, our hands collect calluses, and blisters and scars. They're almost like journals in this way. But as our hands, and bodies, change, we also change on the inside. Becoming braver and kinder and more connected."

The shots of punching out mirrors seem a bit extreme. (We're a bit surprised the legal department didn't insist on a "Don't try this at home" disclaimer.) Maybe that dude should think with his head instead of his hands.

Such behavior presumably won't be advocated by the thousands of trainers in the ReebokOne program who will be available this week in New York, Los Angeles, Boston, San Francisco, Miami and other cities as part of the campaign, offering free workouts—normally priced at $50—in exchange for a handshake.

Other key elements include "Stories of Progress," an online collection of inspirational influencer testimonials, and related content at brand events, retailers and Reebok FitHub locations.

"Our hands and our shoes say a lot about what we've been through and who we are as people," says Will McGinness, executive creative director at VB&P. "We wanted to embrace that truth."

Shoes play into additional "Be More Human" commercials in a big way, taking campaign themes in somewhat new directions. The first ad below tells of a young girl who becomes inspired to follow in her CrossFit mom's footsteps (kicking off high heels to boot!), while the second spot shows a dude escaping the dreariness of Dumpsville by exploring new roads:

"We wanted to show how the wear and tear on our shoes is also a sign of our greater change," says Martin. "As our gear become beaten up, we become better."

That last statement is debatable. Some of us just develop shin splints. Which in turn makes us irritable and frustrated, so we punch out mirrors and things go from bad to worse.

All kidding aside, the cause-and-effect proposition in "Be More Human"—while well conceived and compellingly executed—has always seemed like a bit of a stretch (and borderline exclusionary, cutting couch potatoes entirely out of its sweat-soaked world view). That said, the approach provides the brand with a distinctive, malleable positioning in an crowded marketplace.

Plus, it seems to be moving product, as Reebok, long an also-ran, has made gains since the campaign's debut—including, most recently, a 7 percent year-over-year sales increase for the third quarter.

"There's a ton of fitness ads out in the world, and even a bunch of other brands that have started to play in the tough fitness genre," Martin says. "For us, we want to show how fitness changes us on the inside. How it affects our relationships. Our legacies. Our minds. In a world that often tries to make us less human, fitness and physicality has this unique power to help us find our best."

Ultimately, of course, it's all designed to sell shoes. Still, our gear can become a gym buddy of sorts—or at any rate, come to represent what we might achieve by shrugging off the pain and pushing ourselves a little harder.

On some level, perhaps it's heartening to believe Reebok really is on our side, so that maybe, just maybe, we won't have to run the grueling race for self-improvement alone.

CREDITS —TV/Broadcast Client: Reebok Agency: Venables Bell & Partners Founder/Chairman: Paul Venables Executive Creative Director: Will McGinness Creative Director: Tom Scharpf Art Director: Aisha Hakim Copywriter: Jimmy Burton Head of Strategy: Michael Davidson  Group Strategy Director: Jodi Shelley Senior Brand Strategist: Jake Bayham Group Communication Strategy Director: Gavin Jones Director of Integrated Production: Craig Allen Executive Producer: Peter Blitzer   Assistant Producer: Julia Oetker-Kast Production Company: Bullitt Director:  Diego Contreras Director of Photography: Guillermo Garza Executive Producer: Luke Ricci Producer: Jon Dawes Editorial Company: Whitehouse Post Editorial Executive Producer: Joni Williams Editorial Producer: Leah Carnahan Editor: Sam Gunn Jr. Editor: Devon Bradbury Asst Editor: Brad Dupuie Visual Effects: Carbon VFX Executive Producer: Matthew McManus Producer: Devon Irete Flame Artist: Pete Mayor Flame Assistant: Jim Gomez Sound Design: 740 Sound Songs for Film & T.V. Music: Hands – RIVVRS, "Walk In The Wild"; Slide - Rafferty, "Apple Pie"; Mom - Marmoset, "Huntley" Mix: One Union Mixer: Joaby Deal Executive Producer: Lauren Mask Color: CO3 Colorist: Tom Poole Color Producer: Clare Movshon Group Brand Director: Michael Chase Brand Director: Nicole Spinelli Brand Supervisor: Julia Connelly Brand Manager: Lindsie Levinson Assistant Brand Manager: Ursula Reichle Senior Project Manager: Katrina Strich Director of Business Affairs: Quynh-An Phan Business Affairs/Talent Manager: Sametta Gbilia Senior Traffic Manager: Jermelia Holling Assistant Traffic/Business Affairs Manager: Malcolm Konner

—Static Agency: Venables Bell & Partners Founder/Chairman: Paul Venables Executive Creative Director: Will McGinness Creative Director: Tom Scharpf Design Director: Cris Logan Art Director: Byron Del Rosario Designer: Paul Rice Copywriter: Jimmy Burton Head of Strategy: Michael Davidson  Group Strategy Director: Jodi Shelley Senior Brand Strategist: Jake Bayham Director Art Production: Jacqueline Fodor Photographer: Jake Stangel (agent: Giant Artists) Retouching: Portus Imaging Retouching/Prepress: Pacific Digital Image Mechanicals: Williams Lea Tag Group Brand Director: Michael Chase Brand Director: Nicole Spinelli Brand Supervisor: Julia Connelly Brand Manager: Lindsie Levinson Project Manager: Hannah Oliff

—Digital Agency: Venables Bell & Partners Founder/Chairman: Paul Venables Executive Creative Director: Will McGinness Creative Director: Tom Scharpf Art Directors: Byron del Rosario, Aisha Hakim Copywriters: Jimmy Burton, Jake Reilly Design Director: Cris Logan Designer: Paul Rice Head of Strategy: Michael Davidson  Group Strategy Director: Jodi Shelley Senior Brand Strategist: Jake Bayham Director of Digital Strategy & Analytics: Jeff Burger Senior Digital Producer: Sarah Betts Director of Experience Design: Jeff Teicher Social Content Producer: Kimberly Lewis Social Content Production Generalist: Alexis Hazelwood Group Brand Director: Michael Chase Brand Directors: Nicole Spinelli, Kammie Sulaiman Brand Supervisor: Julia Connelly Assistant Brand Manager: Ursula Reichle Project Managers: Katrina Strich, Hannah Oliff Development and Rollout: DigitasLBi Malmö Client Partner: Rikard Paulsson Production Manager: Anna Rolfsson Project Manager: Sarah Söderlind Technical Lead: Anders Guldstrand Creative Developer: Oscar Johansson Interface Developers: Tommy Ahlbäck, Björn Söderqvist System Developer: Philip Eliasson System Developer & Rollout Manager: Robert Katra

(Source: © 2016 PGM | All Rights Reserved)

[maxmja]

‘Suddenly Last Summer’ East London Session Players, 2012

Directed by, Giorgio Spiegelfeld

Costume and art direction, Max Allen

Video and sound, Jeffrey Hinton

Tech Production, Reuben Cook

Starring, Jonny Woo, Julia Fodor, John Sizzle, Moa Johansson, Donald Marshall.