We've had a bit of an Indian summer this last week or so, though having been in Amsterdam and Milan in the last twenty days my sense of things is a little confused. Amsterdam was great as ever, and as our conference was a little out of the centre, I spent most of my time in different parts of the city than I usually see, at least until the Thursday night when I finally made it to Paradiso, the city's legendary night club and venue. Milan was much more of a flying visit, and our meetings were out on a business park thirty minutes from the centre. I got to walk down the main shopping street on the way to dinner one evening however, and it was thronged with the young and beautiful and fashionable as it was Vogue fashion night. (This is becoming a habit, I was in Lisbon when it was as well.)
I might write about the Scottish referendum later. I stayed up until the first results gave the sense that it was going to be a "No" vote - which for all the promises, is the most anti-climatic of things. All those arguments about who funds the BBC, or where RBS will relocate to, or whether Scotland would be allowed into the EU were suddenly unecessary. Other arguments will follow. The biggest shock, of course, was Alex Salmond's resignation. Knowing when to go; that's not something you often get from London politicians.
One of the most interesting bands of the last couple have years have been the scuzzy punk rap duo Sleaford Mods. Since the last band to come from Nottingham were probably Paper Lace, they're something of a revelation - and a word of mouth success. In the current music environment there's no mainstream/alternative dichotomy, in that everything's kind of mainstream - what there are rivulets of independence fed by Bandcamp sites, and word of mouth touring. Like Fat White Family, Sleaford Mods feel utterly unquantifiable, though John Cooper Clarke, the Streets and the Fall have all been mentioned. Which goes nowhere near describing a song like "Donkey" (See above). The band are in their forties, and so was part of their audience, we recognising kindred spirits, but there were quite a lot of younger folks in Club Academy for a tight rollicking 50 minutes last night.
This weekend Rogue Studios is open to the public and if I can I will get along tomorrow - some of the city's best artists are based there. More earnestly, the Labour party conference rocks up in Manchester this weekend - and, post-referendum, so will the media. Expect a few fireworks. I managed to somehow find time to go along to a book launch at the Central Library. Writer Phil Griffin and photographer Jan Chlebik have created a wonderful artefact together bringing together words and pictures from several decades of a changing Manchester.
If any Labour delegates stay around after the conference they'll have plenty of art to see as the Buy Art Fair, Manchester Contemporary and Asian Triennial are all arriving with a kind of coordinated art dance - with previews throughout the city on Thursday and Friday. The following week ANDFestival's "Watch the Skies" weekend takes place at Jodrell Bank.
The week after will see the start of the Manchester Literature Festival which runs throughout October. With more events than ever this year, its probably a good idea to do some preplanning about which to go to. I'm away for the start of the festival and not sure if I'll get back for the launch of my friend David Gaffney's collaboration with artist Alison Erika Forde "Men Who Like Women Who Smell of Their Jobs." Its a good month for titles in Manchester as the Castlefield Gallery exhibition, "A Joyous Thing with Maggots at the Centre", offers a first solo show by Hardeep Phardal.
I'm also looking forward to two of my favourite contemporary poets, JontyTiplady and Richard Barrett, who will be performing at Peter Barlow's Cigarette in Manchester a fortnight from now.
So see you around, I guess.
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