l was a bad extra

I used to work very hard, all the time for diddly scrot, no dollar, free and lm wasn't alone. Truth is if you are lucky enough to have located your reason de etre, a passion for the arts then you can expect to have this exploited for many years before it becomes wholly recognized and eventually paid .The whole creative industry machine is perpetually fuelled by desperate little sweating, starving urchins like my good self, who spend their days grafting their balls off in the hope that one day they will strike oil, get recognized and maybe eventually paid salary for what it is they create before they a)die b)go bankrupt c) throw the towel in. I still have hope….but one can not live off hope alone. Occasionally l do have to eat and afford my bed sits rent, this is a problem. In order to carry on trying to make it in that big bad world l have to sell out to money, doing the kinds of jobs l prefer to keep secret. l really have had a lot of shit jobs, literally, one summer l spent weeks elbow deep in turd water, scrubbing barge bogs for petty cash. However last year saw me really stoop to my single lowest depth in order to get my hands on that green…l became an extra. This single word now strikes molten fear into my quivering heart, so awful was the entire experience. Now l know it don't sound THAT bad, yeah? Watching tele you may even be mistaken for thinking it’s actually just a piece of piss. The only requirements seem to be: waft about a bit, pretend to chat and laugh with other extras in background scenes and generally be invisible whenever visible. I was to find out the reality was somewhat more horrendous. Who’d have thunk it was in fact so soul-crippingly esteem shatteringly- core wobblingly fuckin grotesquely awful. Not l said the little mouse. And yet it was, l mean it really was, so much so l can whole heatedly swear down l will NEVER do it again.
I first embarked on my short lived acting career when a colleague at work suggested me for a role in the ITV pilot of 'Fashion Babylon' (it gets worse) the spin off series of ‘Hotel Babylon’ which was so shit it got sacked off a while back, starring every actor who had been dropped from every soap that has every been aired on television. When offered this seemingly unmissable opportunity to rub shoulders with the stars l was like a bloody greyhound. Two days later l could then be found trotting off to some far flung south London region at an ungodly hour completely unaware of the massive gapping precipice of shame l was about to voluntarily lob all my credibility and self worth into. I should've known, right? But then and there in that instance l was secure in the false knowledge that this was my calling. Fashion Babylon’s was my in, move over Peggy, here l come! And then l got there…Arriving on time l got to my stop, plopped off the train, was herded into a minibus and transported to a massive country manor with a whole load of other desperate down and outs, l was so wonderfully naive as to the fate that awaited me. Lined up like a firing squad at the site we were presented like a cattle market to the scrawny, angry little director and delivered our caliber: 'A list', 'B list' and the dreaded 'crowd'. Guess which l was? The term crowd is code for 'keep out of shot whenever and wherever possible' l was literally a cumbersome hunk of human flesh just there to offer presence and make up numbers, my being a human person with feelings and worth was of no interest to these contrived cunts. In all fairness l was going through a particularly unfortunate and entirely inextricable period of experimentation with my appearance, this point in my investigations had led me to bleach off my eyebrows and smear my eyes with black eyeliner, l would have been perfect for an extras role in a kling-on spin off series, but it wasn't that kind of Babylon and this fashion based variety was obviously horrified by my appearance and rather determined about keeping me invisible at all times. The day had not yet begun. I was escorted to wardrobe, chucked a lime green ball gown, seven peacock feathers, a fluro pink patent primark shoulder purse and one shoe, no expense spared, l was playing with the big boys. So off l skulked to the static home toilets to struggle myself into the couture and straddle the porto loo. When l emerged l saw my colleagues reaction and opted to avoid all mirrors and reflective surface, to just get 'it' over with. At this point prostitution was beginning to perhaps feel like the better option. Then came the waiting game, the endless drawn out awkward hours we would all spend huddled up in cramped and freezing 'extras' cattle carts with nothing to do, nothing to say, nothing but the bubbling sense of animosity that would only grow throughout our tenuous avros spent here, willing the day to hurry the hell up and just bloody end. I saw one of the girls l used to 'extra' with back in the dark days when l was doing the Sunday big shop down Tescos a cuple weeks back, it threw me right off me kilter and when half way down the cereals aisle, maintaing some unwieldy eye contact t l 360'd with my basket-trolley tripped over my own leg and hurriedly waddled off at great pace in the opposite direction, she later joined me in the embarrassing checkout queue, l stared at my shoes very hard. Consider the awkward silent factor here and you've got a 2% idea of how painstaking this whole charade is. On set all was equally shit-flavoured, my duties included gargling warm yellow liquids, so to pretend it was champagne and chat with the other 'party-goers', basically to look like l was having a good time hanging out with a room full of cheese freaks. I didn’t' fit in, groups would disperse when l barged my way into the staged social circles, no-one wanted to be trapped on screen next to me, the glittery klingon, sashaying around in the lurgee gown. l was the plague. Even hair and make-up hated me, the fashion gay who did my 'look' crimped my wispy head of fluffy hair and dusted down my bleached brow with lavender eyeshadow. He said l was contemporary, l said l was devastated. The highlight of it all came when l dragged my boy along with me for a bit of moral support the following day and someone actually spoke to me, nearly calling me by name! Not 'look a little less like you've just shit yourself green dress' but ' approach camera crew Emily, time-out' Emily/Milly, potata/potatao. Mr director propositioned me and made a real-life indecent proposal: 'pretend to have sex on him on camera, we'll give you a category B and you don't have to show your vagina' l bit his spindly hand off. A category B is a smooth £100 reward for doing that which is beyond the duties rarely ever asked of an 'extra', ever because noone wants to do it, ever, ever. We did it. I dry humped my then boyfriend like a hunk of splintered basswood for a fine 10 mins whilst being filmed and watched by a room full of silent people. When wrapped, my new employers provided no transport home, didn't say bye and shouted' same time tomorrow' as l skulked off. l realized, I had sold my soul to the devil with level head in tact, l was trapped, it was all to late to go back. Prostitution would now not only be the better option but more right of passage, at least l wouldn't have to wear the green dress.
Now l've closed this sordid chapter in my life, I've very deliberately disposed of all photographic evidence documenting said time spent whoring my soul. If it may emerge or you spy me one eve lurking on your television screen please switch over. l beg of you, it didn't mean anything to me, it was a one off, it'll never happen again, l didn't know what l was doing…..

Vincent Gallo is back: Tetro

Vicent Gallo makes a much anticipated return to our silver screens this Summer, playing the extraordinary Terto in this new film written and directed by by Francis Ford Coppola. Also starring lden Ehrenreich and Maribel Verdú the story charts the complicated lives and relationships of an artistic Italian immigrant family family torn apart by creative differences, deceit and untold truths. Set in and around Buenos Aires (Argentina), Patagonia (Argentina), and Spain this complicated tapestry is one tale of brooding resentment that truly commands an intoxicating power over its audience, sure to keep you glued to the edge of your seat throughout it's entirety. Drenched in artistic licence and operatic references, Terto's filmography and subtly ostenttious style is unique and poetic, created to inspire the inspired and awaken the indifferent.

The Brothers Bloom: Rinko Kikuchi

I trotted off to watch Rachel Weisz, Adrien Brody, Rinko Kikuchi and Mark Ruffalo star in THE BROTHERS BLOOM, a globe-trotting comedy about the last great adventure of the world's two best con men. In theaters May 15, 2009 (limited) / May 29, 2009 (wide) this film is bound to have audiences a plenty if not only for its own merit but for the intriguing model turned actress Rinko Kikuchi who stars in this flick. Blessed with the face of an ethereal like creature Rinko plays Bang Bang the assisting con woman conscripted to blow things up, hence the clever name. Fiercely cute with a face which balances a both avante-garde but asymmetric look Miss Kikuchi does soft or strong, blonde or brunette, beautiful and bold. See stills below for a fashion fix!

The film is great in its own right, feeling like a mixture of the Ewan Mcgregors 2003's fairy-tale blockbuster Big Fish and Adrien Brodys 2007 'the darjeeling Express' the plot-line is centered around two brothers tirelessly in pursuit of pulling off the perfect con. Encountering numerous highly implausible scenarios, incomprehensible quantities of entirely accessible cash and one absolutely inconceivably over the top heiress along their way this is one story you will neither believe, be able to perceive or fail to adore. a Summer must see, now nominated for four awards.

Monica Elkelv

Monica Elkelv is the highly acclaimed talent specializing in experimental filmmaking who has previously worked under creative masterminds Izabella Pruska from Loop Collective (www.loopcollective.com), and avant-garde Canadian film theorist, critic and filmmaker Bruce Elder. Elkelv's interests range from the aesthetics of the human body in art movements and the incorporation of the personal-identity into avant-garde forms. Elkelv's films have been exhibited in Spain, London, Toronto, New York , L.A , Paris and Bolivia.

Now after such experience grafting in various circles, Monica now prefers to specialize in film making as well as directing contemporary fashion films, video art and working as a freelance art director for feature films, music promos and commercials. Her latest art direction commission for feature film 'Beyond the Fire' by Maeve Murphy has been awarded "Best UK Feature" at London Independent Film Festival 2009 and awarded 'Best International Feature' at State Garden Film Festival in New Jersey (USA)

Elkelv's interest in fashion film looks to transcend the commercial, and explore the boundaries between art and commerce and now works as a a much treasured contributor of SHOWstudio and XXXX Magazine, based in New York.


Previous Fashion Film Screenings inc: " Fashion Loves Film" Institute of Contemporary Arts 09/10, "New York Fashion Shorts" at New York Fashion Week, In/Off Science Museum, 'BIB' Glassland Gallery in New York, 'Dialectos Digitales' Bienal de Arte in Bolivia, 'Espacio Enter' TEA Espacio de las Artes (Spain), Imprenta L.A, Somerset House, Future Gallery, Machine-A and showcased in SHOWstudio , Dazed & Confused Digital & XXXX Magazine based in New York.

OTHER WORK+++++++++++++++++++++++++

From 2001 'til 2004, Monica worked for independent web publication Intuitive Music dedicated to alternative, creative and experimental music of the 21st Century. In 2003, the portal got 5 international awards for web design and development and it was placed among the top 5 electronic portals in the world. In 2007 she worked with independent art curator Javier Duero on the production and creative direction of a diverse range of media art events in institutions such as the Centro Gallego de Arte Contemporaneo (CGAC, Santiago de Compostela), Centro Internacional de Cultura Contemporanea (CICC, San Sebastian) and Circulo de Bellas Artes.

Lina Osterman - Fashion Film from Brian Fawcett on Vimeo.

Designer Roundtable

Art doesn’t pay.

words Milly McMahon

The plight of the starving artist is a romantic notion that has transcended the generations and still exists today, the fashion industry is no exception to the rule. With a host of truly talented and determined designers struggling to survive in the cut-throat creative world, more and more obstacles are emerging. Now with the impending doom and gloom of the recession consumers have kicked up a flurry of fear over what we can afford and what we should afford, forcing fashion to the forefront of luxury and worry.
Never shy in seizing opportunity in the competitive climate of couture, the larger more accomplished brands and fashion houses are swooping down dominating the domains, that were previously grafted at by the graduates. This commercialism is counterproductive to the creative niche that these artists emerge from as it is completely inaccessible to un-established entities: They can’t buy into the luxury advertorials that line the glossy innards of high fashion magazines, nor can they infiltrate the inner circles of the affluent labels that guard their title at the epitome of avant-garde.
Then come the revolutionaries! Rising from the ashes, hurtling head first at the head honchos and speaking out against the system! In spite of the discouraging traits of our times these strong-minded few are forcing forwards towards the recognition they envision:
Louise Markey, J W Anderson and Natasha Stolle are three shining examples of such young struggling talent. Each and all are under thirty with an established label, acclaimed collections and incredible capacity to combat the controversy they come up against. They are tongue of the downtrodden, encouraging the underdog designers to do their damndest not to lose their passion for fashion in light of these unsteady times.


Do you perceive the fashion industry differently now that you are directly involved in it?


L: I got into fashion as a reaction to what I didn't want to get into, I wanted to get into something that was more immediate.


J: Its exactly what I expected.

N: I had worked for many different people in the fashion industry before, so I knew exactly what I was getting into. I knew better than to try and get into being a designer, but you just kind of have to do what you know how to do. It's been much harder to get into than I expected.


J: I think in the very beginning it's a major fight and you go through years of just nothing. And then suddenly you may do one thing and people that you may have been hounding for a number of years then ring you. I think there comes a stage when you have to fight even more because you're trying to out-do yourself and everything is like. will this person like this angle and is the music good enough.




Do you feel like you have arrived yet or do you still feel like you're not there yet?


J:I studied costume design, well I was actually studying acting at The Actors Studio in NY, but I decided to study costume design instead. I dropped out of that and went to study menswear which l didn’t enjoy. I didn't do the show or anything towards the end. I never really turned up. I truly believe that with MA or any course, I don't think you can teach it. About 30% of it is design and the rest is about your own capability to promote. It's mostly about self promotion and making the right choices. 

It seems that a lot of university education is about establishing contacts and working your way up in groups.

Do you think that's a good thing?


J: I think when it comes to sales there is competition. You don't see it so much within design, but when it comes to buyers there's definitely a lot of commercial competition. I don't see this as an art form. It is a business whatever way you look at it. Young designers are living on the bread line and the competition comes in trying to keep going. It's all about power play.


N: That's a lot to do with money. If you have enough money behind you. you can do anything.




L: I feel the same
J: If you have the right people involved money can be no object because they'll pull the right strings for you and give you their time for free.


L: At the end of the day we're competing against big designer labels who can afford to put a massive ad in all the magazines.



Do you feel there's an abuse of power within the industry?



N:. I think there is a abuse of power, because there are times when I have done stuff for people and haven't even had my expenses paid. But I think you just have to put yourself out there.



Do you ever find yourselves tailoring your work to what you think others want?


L: Definitely. There's a certain amount of pressure to comply to what is commercial. You strike a balance between commercial and editorial. You have to cover both bases. You have to get the balance just right and that's definitely a pressure.


J: I think a good commercial design aesthetic is the hardest. Anyone can be outrageous. I think getting that right is a bigger achievement than doing something crazy. Once you have that balance you can become quite powerful in your own right.



What do you think more experimental fashion in the vein of say Victor and Rolf or Gareth Pugh? Do you think that’s opening doors?


J: It's a commercial business.


J: I think it's so fast now, thirty years ago or in the eighties you could get away with that. I think Galliano ended that. McQueen did that decadent thing as well, if you can execute something crazy with the level of perfectionism that Mc Queen or Galliano did then it has kudos. It's a lot to do with publicity now. It's become about fame and personality. 



Do you think that's made it more disposable?

LJ: God yes. It'll fade quite quickly though I think.

J: But I think there's a whole new breed cropping up now, where instead of just the quick fix. The 'get them in, get them out' mentality is gone because really it will be down to the buyers and they won't be able to sell it. If it's not in stores and people aren't wearing it, it has no longevity.


L: Its different means for different ends though. The press friendly designers will sell perfume and other designers might not get the press. but they'll sell clothes. So it's almost like a fork in the road.


J:. Companies just don't have the money anymore and they just aren't getting the return on it. Like Giles just did something for the back of a Land Rover for 100k. That just doesn't happen any more.


L: I think the problem is that young designers now will sell out much quicker than they ever have before.


J: The thing is we aren't going to be making that much money until we've got a range of t-shirts, a line of jeans and a perfume. To carry it on is tricky.




How do you feel about pairing of celebrity and design?

 
J: I don't think that's a place for designers. I would never want that. I don't want to be there.

L: But celebrity sells shit loads of product right? Thats great.



A Chat With Francesca Maria Ludmila Salter-Dvorak

Name:Francesca Maria Ludmila Salter-Dvorak

Age:25

Location:London

Education:I did a B.A in Costume Design at Wimbledon School of Art

Describe what you do? I design and make clothes and accessories for performances and films.

Tell me why you do what you do? Because it involves people and clothes which are fascinating.

What are your creative processes? There are lots -researching,painting,making collages,drawings,and lots of discussions with directors/performers..then making.

What inspired you to want to design? Maybe watching 'The House of Elliot',that drama about two sisters in the 1920s who were fashion designers, when I was little and thinking they were well cool..then I started designing and making clothes when I was about 12. I used to watch a Young Ones video loads with my brothers when I was little, I found that pretty inspiring too.I'm constantly inspired by photographs of the people at the Blitz Club and that scene, and the early 90s rave scene too..I could write you a list but it'd never end!


What other designers do you personally admire? There is a designer called Sara Sachs who is part of a fashion/art collective called The Moonspoon Saloon, She collaborates with an artist called Tal R and a photographer called Noam Greist, and their work is incredible. The way they show their work is a dream - they do performances, dances, shows on roller-skates, shows in churches/school gyms/theatres..Also I love Ashsih, Noki, Bernhard Willhelm, Shona Heath,Rei Kawakubu, Alexander McQueen,Franco Moschino…basically designers whose work is theatrical or silly

Who have you assisted and how have you gained the experience your work benefits from? I've assisted loads of costume designers,artists and stylists..one of the most memorable or life changing was assisting Sue Blane at Batignano Opera Festival in Italy when I was 17. Sue is a hero of mine, she designed the original stage show and film of The Rocky Horror show, and has done many plays,ballets,operas since. She has a wicked sense of humour and an incredible eye for detail, when I met her I just wanted to be like her! Also I assist a performance artist called Tai Shani with her costumes. She makes these incredibly elaborate, beautiful and quite bizarre works


What has been you creative journey thus far? Since college I've designed a musical, worked on a feature film,was an intern at i-D for a bit,worked at LFW, designed a few short films + music videos,some dance costumes,styled fashion shoots,designed some tour costumes and directed/styled a fashion film.


What gives you the strength of character to overcome the financial difficulties and barriers to entry you have had to endure? Umm ..I suppose the knowledge that I'm very lucky to be able to do such fun work/live in London/have friends..could be way worse

What advice would you give to other aspiring designers? Just to keep at it, and don't get disheartened-with the fashion industry in particular coz it can be pretty disheartening..and don't forget that lots of hugely influential designers came from nothing

You have an incredibly unique, character sense of style. What do you try and express about yourself through your interpretive take on fashion? Ah thanks! I think I try to express humour, or try to be playful/experimental,not sure if it works

You work with JJ Noki, what does this involve? Working with JJ can involve all sorts, lots of talking, sewing,embroidery, photographing pieces-it depends on what he's up to. I helped him made dresses from string vests and lots of boxes of old boot laces last summer, they were beautiful. He is a lot of fun to work with, pure chaos but in a very good way

What other young designers do you champion? Hannah Marshall, Co Operative Designs, Karlie Shelley of PINS London, Katie Eary, Louise Gray, Petra Storrs. I love the work of photographer Susu Laroche too

What is it you enjoy about making fashion videos? I like it that you can make a little story, and suggest a character. When you do this in stills it can be a bit phoney..also that you can capture how clothes move with the body and through the space.

What aspirations do you harbour for yourself? I'd love to design an opera. I might start a label with my friend Matilda Tristram coz she's very funny and we have similar ideas about fashion. And I wanna make more films too

What has been your proudest moment to date? The guy who produced 'Dare' by The Human League said he liked my Pipettes tour costumes last night, that made me quite proud, I reckon he's seen quite a lot of big looks in his time.

Where can we find you next? I'm working on some costumes for a Tony and Guy show, so you'll find me in my studio..oh and I'm doing costumes for a contemporary dance collaboration, that'll be performed at The Place in September.

Gimme 5:

Your fav:
Movie: The Cabinet of Doctor Caligari
Record: Speak and Spell by Depeche Mode
Icon: Klaus Nomi
Place: Soho and Scotland
Drink: Campari Soda

Whats on you ipod now? Spectrals, Julia Holter, Marcus Nasty,Rainbow Arabia,old grime mixes,Arthur Russell, dreamy synthpop mixes

Tell me a joke? A nose and a bra walked into a bar and each ordered a pint.. and the barman said "I ain't serving you! You're off your face and you're off your tits!!"

Images, styling and clothes courtesy of Francesca Salter-Dvork

Ponytail Magazine: Tatiana

Words and styling: Milly McMahon
Images: Kevin Wong

Insatiably cool, irrevocably poised, exuding an attitude only last present on the runaways in the forgotten era of supermodel, the willowy, adorably baby-blue eyed, freckled Tatiana Cotliar has taken the modelling world by absolute quell surprise in the short space of the one year since she was first scouted. Spotted queuing eagerly to attend fashion week after winning tickets to the shows in Bunos Airies, Tatiana had little previous experience of the industry she was about to dive headfirst into when she was approached by the highly regarded agent Jason Valenta at Next Models and asked to transform her life, move country and become a model. Skip forward twelve months and twenty year old tati has opened and walked hand in hand with the iconic designer herself down the runway of Vivienne Westwood for her recent SS10 catwalk show, appeared as the face of the latest Red Label campaign shot by Jürgen Teller, received major attention from Burberry to Yves Saint Laurent during fashion week and now boasts a number of  high end magazine-editorials under her belt.
  Drawing inspiration from beauty and fashions past, disinterested in the present and intrigued by personality as opposed to what lies so superficially on the physical surface, this is one model a encompasses true talent which allows her to work the camera and runways as well as those beyond her years. Watch out for this face in the coming season.

Name: Tati Cotliar
 
Age: 19
 
Occupation: Model- Cinema Student
 
Describe yourself in one sentence: I think i lost a screw in some dirty street of the East Village, in NYC. 
 
What does style mean to you?
 It's a concept of something that someone is used to use and show in practical things, visual in general. In general, it's part of your way of being, your personality..
 
Where and how were you first model scouted? 
In Buenos Aires, Argentina. I had free tickets for the Buenos Aires Fashion week and a scouter from my mother agency stoped me there. 
 
Which magazines have you been featured in? 
W, V, Vice,  Dazed and Confused, Zoo, Because and loads more l forget.
 
What shows did you walk for this season?
 Jason Wu, Rodarte, Ruffian, Vivienne Westwood, Burberry, EManuel, Ungaro, Yves Saint Laurent, etc
 
What did it feel like to open Vivienne Westwood? 
Like entering into a dream land, like Alice in Wonderland.  
 
What other models do you admire? Jane Birkin rocks!
 
Who are your favourite designers? 
Nicholas Ghesquière for Balenciaga, Christophe Decarnin for Balmain, Marc Jacobs, l like how Christopher Bailey transformed a classic brand like Burberry in such a cool and young wearable clothing style. 
 
Are you enjoying living in London, how is it different to living in Argentina? 
I must say that the weather is better in Argentina! But l consider the unique and musical style of British people is the coolest in the whole world. Young people express so much individuality by just putting their clothes on. Living in London means being inspired everyday with just walking because around every corner, every building is beautiful. Getting lost (which happens very often) in the little one-block streets is the best that can happen to you. The buildings have no more that five floors! That's amazing. It's a medieval and grey city that creates an incredible contrast with the colours of the people, the diversity of cultures, the infinite quantity of markets that you can find, etc.. The culture is flying in the air that you breathe, and you can find it in the theatres, in the subway, in the independent cinemas, in the concerts, in the streets, museums...what can i say, it is a stimulating city wherever and however you look at it.   
 
What has been the proudest moment in your career to date? 
Whenever i meet a photographer or a designer that makes the art l am inspired. 
 
What are your hopes and aspirations? 
I want to be una "chica Almodóvar" (an Almodóvar film girl)!! Or Woody Allen's, or  Wes Anderson's. I would like to work with movies in any kind of way.
 
How and where do you party? 
Lately i've been feeling like an old and tender grandmother! So the craziest night l have is to watch a late 70's horror movie, like Argento. But l do like the psychedelic parties in East London that happen on weekends.
 
What is your favourite:
Film: Manhattan, from Woody Allen
Band/artist: Pink Floyd, John Coltrane, Serge Gaingsbourg
Colour:  "Any colour you like" 
Place:  Tilcara, in the north of Argentina
Person: Groucho Marx, Syd Barrett, Albert Camus, Diane Keaton in Annie Hall, Johnny depp in Edward Scissorhands, Salvador Dali, etc
Book: L'étranger, from Albert Camus
 
Best thing about being a model?
You can combine travelling and working with working amongst artistic and cool people. Its a true sonic youth. 
 
And the worst thing? Well..the models themselves, I think it is a hard job to try to pretend you feel something which isn't real with your body and mind all the time, and we can feel very tired.  
 
Who’s your secret crush? Syd Barrett
 
Whats next? Standing in the way of Control!!

Yesterday

My adventures

Diane Birch

Words and image: Milly McMahon

I first had the pleasure of watching Diane Birch perform only a few weeks ago at an exclusive press preview performance in West London. Knowing nothing about this extraordinary young dynamic musical talent l attended the event sceptical.

When 27 year old, NYC songstress Diane walked on stage, willowly and beautiful, all eyelashes and long limbs she timidly took to the piano and opened her mouth. The sound which was to follow was entirely perfect. Accompanied by a small backing of musicians playing saxaphone, guitar and keyboard Miss Birch belted out a rich, gospel like sound drenched in soul.

Raised under strict religious regime as a young girl, Diane is the daughter of a seventh Day Adventist, forbidden from the frugal persuits most young girls her age would revel in, jewellery, make-up and pop music were just a few of the things young Diane was banned from indulging in. Rebelling against the ideals forced upon her, she found solace in expressing herself through music and her debut album, Bible Belt, an honest testament to an unusual life endured spent struggling against an identity her families beliefs impressed upon her.

Diane Birch is a free spirit, an inspirational individual with rhythm and substance, her music is retro-pop infused swing dubbed soul genius. A MUST LISTEN.

This is where l live