portfolio

1

graphic designmotion graphicsphotography

darren shakespearegraphic designer

2011_Portfolio_CS4_FINAL.indd 1 07/10/2011 03:59

sUmmary

over 9 years combined studio, in-house

and freelance experience.

a proven track record in providing clients

with quality design ideas and solutions to

their creative needs.

a confident designer with a keen eye

for detail with a range of skills that

aide in maintaining variation in design

including, 3d illustration, photography,

cinematography, Website design and

motion graphics.

since 2001 has built up a freelance

client list of a number of companies and

organisations including:-

– cello europe

– Workspace group

– southwark council

– Lewisham council

– Universal music group

– ministry of sound

– London youth support trust

– collas day associates

key skiLLs & attriBUtes

advanced skill in photohop and image

manipulation techniques, including

isolation, colour matching, retouching and

2d cgi.

over the years i have built a rock solid

knowledge in design for print procedures

whether for traditional Litho and digital,

screen print or Large format medias.

able to manage projects from brief to

completion. maintaining communication

with clients and liasing directly with

external suppliers, ensuring all parties

involved are consistently up to date with

any progress or issues that may arise.

While at allen & overy assumed the

lead role in the implementation and

development of user-led interactive

documents. Utilising tools within indesign

and acrobat to produce ‘active’ pdF

publications. also mastered the method

of building interactive publication that

incorporate sound and video on the

Zmag platform.

technicaL eXperience & LeVeL

photoshop

indesign

illustrator

after effects

dreamweaver

maxon cinema 4d

Final cut studio

Quark Xpress

coreldraW

carrara studio

coUrses attended

digital sLr photography

[royal photographic society]

2 days

adobe after effects

[corps]

3 days

apple motion 3

[corps]

3 days

Final cut studio

[media training]

4 days


oct 2008 - sept 2011

aLLen & oVery LLp

designer

apr 2006 - oct 2008

aLLen & oVery LLp

pUBLications designer

FeB 2004 - apr 2006

mia design stUdio

middLeWeight designer

Jan 2002 - FeB 2004

the artistry

proprietor - designer

sept 2001 - Jan 2002

rnB WorLd

art director

may 2000 - sept 2001

ranson media

senior designer

sept 1998 - may 2000

ranson media

designer

JULy 1998 - sept 1998

coLoUrspace (soho)

trainee retoUch artist

apriL 1998 - JULy 1998

aLpha design & print

JUnior designer (VoLUntary)


aLLen & oVery LLpannUaL parentaL rights

design

aLLen & oVery LLpaLLen & oVery LLpannUaL parentaL rights annUaL parentaL rights annUaL parentaL rights

design


Pensions and death benefits

Any OML, OAL or OPL that is unpaid (plus unpaid parental leave if the employee returns to work)

Who?

Some argue that for DC arrangements the employer also needs to make up the difference between what the employee contributes based on actual earnings, and what they would have contributed based on notional earnings. It isn’t clear that this is needed, and it isn’t normally done

*Employer top-up?

How does it work? What protection an employee has for pension and death benefit provision during leave depends on the type of leave, whether it is paid leave or not and what type of pension scheme the employee is in. These tables show what happens for employees in defined benefit (DB) plans or sections (final salary schemes, career average) and for defined contribution (DC) plans or sections where the employer contributes (money purchase, group personal pension). For cash balance plans, read the tables as if DC contributions were employer credits

Do we have to offer this protection? Bringing together the bulk of the equality laws in 2010 created some odd gaps in the way maternity protection works for pensions and death benefits. Until those gaps are joined up, it is difficult to be absolutely sure what the minimum requirements are. These tables set out what we think will be enough to be sure to keep you within the law

YESUse actual earnings

Employee contributions?

YESUse notional earnings

YES*Use notional earnings


YES*Use notional earnings Employer pays full value under sacrifice arrangement but deductions from pay must be limited to earnings above statutory pay

CONTINUESEmployee is not treated as having left during leave

DC scheme: employer contributions from salary sacrifice?

DB scheme: pension accrual?

Death in service lump sum cover?

DC scheme: employer ordinary contributions

Any OML, AML, OAL, AAL, OPL, APL or parental leave for which the employee receives any pay (statutory or contractual)

Who?

Membership

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© Allen & Overy LLP 2011

NOTIONAL EARNINgS earnings which would have been paid if the employee had been working normally and which count for pension or death benefits

ACTUAL EARNINgS any earnings actually received during leave and which count for pension or death benefits

Any AML, AAL or APL that is unpaid (plus unpaid parental leave if the employee does not return to work)

Who?

NO(but in DC scheme, consider giving an option to make up contributions on return)

Employee contributions?


NO

NO NO

Continues if employee returns to work – employee is not treated as having left during leave If employee does not return, membership is treated as ending at the end of any paid leave

DC scheme:employer contributions from salary sacrifice?

DB scheme: pension accrual?

Death in service lump sum cover?

DC scheme: employer ordinary contributions

Membership

www.allenovery.com

Maternity leave

Additional Maternity Leave – 26 weeks

52weeks

How much leave?

Ordinary Maternity Leave – 26 weeks


Evidence required for leave and pay? Employee must provide medical evidence of the date that her baby is due (normally a form MATB1) or the date of birth, where relevant, for entitlement to SMP. The employer can also request this for leave. (Applies to OML and AML)

REASONABLE CONTACT

YESAll T&Cs continue except pay

FOLLOWS ON FROM OML

NONENot required, as AML follows OML

YESSee OML

Additional Maternity Leave

Is there a right to return to the same job?

YesSame job or, if not reasonably practicable, suitable alternative employment

Notice of leave & pay?

Timing of leave?

Leave:

EMPLOYEES ONLY

Pay:

26 weeks’ service Average weekly earnings at or above LEL

Who is eligible?

Do T&Cs continue?

Contact during leave?

Any employment protection rights?

See OML

How many KIT days?

PART PAID

13 WEEKSat SMP flat rate (or 90% of average weekly earnings if less)

13 WEEKSunpaid

Is it paid?

REASONABLE CONTACT



YesSame job

Leave:

EMPLOYEES ONLY

Pay:


Earliest start date

11 WEEKS before EWC (except in cases of early birth)

Latest start date

BIRTH (except in cases of pregnancy-related sickness in four weeks before EWC which triggers start of OML)

Compulsory leave from birth

2 WEEKS

Employee must notify employer of pregnancy, EWC and start of leave no later than end of

15TH WEEK before EWC

Employer must notify employee of the date that leave will end within

28 DAYS of notice of leave start date

Do T&Cs continue?


YESProtection against unfair dismissal and unlawful detriment on grounds of pregnancy and maternity

Maternity or pregnancy-related discrimination is also prohibited by sex discrimination laws in the Equality Act 2010

Health and safety protection for women who are pregnant, have recently given birth or are breastfeeding

Right to paid time off for ante-natal care

During a redundancy process, employees on leave are given priority with regard to suitable alternative employment

Ordinary Maternity Leave


Timing of leave?

Who is eligible?

YES6 weeks at 90% of average weekly earnings

20 weeks at SMP flat rate (or 90% of average weekly earnings if less)

Is it paid?



Option to return to work for up to 10 KIT days at any time during OML and AML if agreed by employer and employee (SMP continues along with additional contractual pay agreed between employer and employee)

How many KIT days?

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www.allenovery.com

Flexible working

Who is eligible?

submitThe employee is eligible to submit a formal application for flexible working

HOW? Written and dated application to explain what effect the proposed changes would have on the employer and how any effect might be dealt with

Statutory application procedure


A child under 18?

An adult in need of care who is a relative, partner or lives with the employee?

Is the purpose of application to enable employee to care for:

Has 26 weeks’ continuous service

Has not made an application within the last 12 months (This refers only to the statutory procedure; further informal requests may be considered by the employer)

Is either the child’s parent, adopter, guardian, foster parent, or is the partner, spouse, civil partner of the child’s parent, adopter, guardian or foster parent

Expects to have responsibility for the upbringing of the child

Employee

DIFFERENT working hours

DIFFERENT work location

DIFFERENT work time requirements

What can an eligibleemployee request?

within

28 days

within

14 days

within

14 days

Absent manager?Where the manager who considers the application is absent, time starts to run on their return or 28 days after the application is made, whichever is the sooner

Employer implements the decision. Consider:

Amending contract of employment

Pro-rating pay and benefits

Operating a trial period, if agreed with employee

Checking health and safety requirements for homeworkers and nightworkers

receiveEmployer receives employee’s written appeal

notificationEmployer gives written notification of decision

The same rejection and acceptance provisions apply

rejectedNo further appeal is available

Burden of additional costsDetrimental effect on ability to meet customer demandInability to reorganise work among existing staffInability to recruit additional staffDetrimental impact on quality or performance

Insufficiency of work during proposed periodPlanned structural changes And sufficient explanation as to why the ground applies together with details of the appeal procedure

Rejection should state business ground for refusal

discussEmployer and employee meet to discuss the application

OPTION Employee can be accompanied at the meeting by a work colleague or trade union representative

within

14 days

Employee may claim that refusal is indirect sex discrimination

Time limits may be extended between employer and employee

The employer must keep a written and dated record of the agreement specifying:

– Period extension relates to

– Date on which extension ends,

and send a copy to the employee

Where employer failed to follow procedure

Request refused on non-statutory grounds

Request refused based on incorrect facts

Flexible working claims: Sex discrimination claims:

Time limit extensions:

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hERE

notificationEmployer gives written and dated notification of decision

acceptAcceptance should specify the contract variation agreed to and the date it will take effect

declineIf application request has been rejected

appealEmployee may appeal against employer’s decision. This must be dated and in writing, setting out the grounds for employee’s appeal

discussEmployer and employee meet to discuss the appeal

Time and place must be convenient to the employee and the employer

Employee can be accompanied at the meeting by work colleague or trade union representative

within

14 days

www.allenovery.com

within

28 days

within

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www.allenovery.com

REASONABLE CONTACT


FOLLOWS ON FROM OML

NONENot required, as AML follows OML

YESSee OML

Additional Maternity Leave


YesSame job or, if not reasonably practicable, suitable alternative employment


Timing of leave?

Leave:

EMPLOYEES ONLY

Pay:


Who is eligible?

Do T&Cs continue?



See OML

How many KIT days?

PART PAID

13 WEEKSat SMP flat rate (or 90% of average weekly earnings if less)

13 WEEKSunpaid

Is it paid?

REASONABLE CONTACT



YesSame job

Leave:

EMPLOYEES ONLY

Pay:


Earliest start date

11 WEEKS before EWC (except in cases of early birth)

Latest start date

BIRTH (except in cases of pregnancy-related sickness in four weeks before EWC which triggers start of OML)

Compulsory leave from birth

2 WEEKS

Employee must notify employer of pregnancy, EWC and start of leave no later than end of

15TH WEEK before EWC

Employer must notify employee of the date that leave will end within

28 DAYS of notice of leave start date

Do T&Cs continue?


YESProtection against unfair dismissal and unlawful detriment on grounds of pregnancy and maternity

Maternity or pregnancy-related discrimination is also prohibited by sex discrimination laws in the Equality Act 2010

Health and safety protection for women who are pregnant, have recently given birth or are breastfeeding

Right to paid time off for ante-natal care

During a redundancy process, employees on leave are given priority with regard to suitable alternative employment

Ordinary Maternity Leave


Timing of leave?

Who is eligible?

YES6 weeks at 90% of average weekly earnings

20 weeks at SMP flat rate (or 90% of average weekly earnings if less)

Is it paid?


Option to return to work for up to 10 KIT days at any time during OML and AML if agreed by employer and employee (SMP continues along with additional contractual pay agreed between employer and employee)

How many KIT days?

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www.allenovery.com


home accessories Ltdeaton Branding

Logo designart direction - photographypackage design

A budget range of dining sets rebranded to give the appearance of a much higher quality product.

Going along with the ‘less is more’ concept, everything needed to be kept simple from photography, colour palette, even the name ‘Eat-on’.

The end result is a clean, simple and quality looking product with a Poundland price tag.


7


magic me annUaL report

design

22NDANNUALREPORT

Annual Report 2010/2011

This year we celebrated our 21st Birthday in style at Clifford Chance offices in Canary Wharf. Clifford Chance was one of the first organisations to support Magic Me in its founding years, providing rooms for the early Trustee meetings and other support, and we were delighted to be back with them for this special day.

We took this landmark as a chance to reflect on how Magic Me grew from being a small local charity to a leading force in intergenerational practice in the UK. This year was a celebration of the many communities and people we have reached over the years.

Areas to cover:– Who we are and what we do– Highlights and achievements– Chair’s Report– Director’s Report– Projects this year– Sharing our Expertise: Conferences/ Training Consultancy– Participants data– People who make it happen: Our Artists/ CPD/ Volunteers– Those who worked for us– Finances and Accounts– Donate– Looking to the future– We remember– Funders List

Highlights and Achievements

We served xxxx people in Tower Hamlets and xxx in the London Borough of Islington and Hackney

Celebrated our 21st Birthday party in style at Clifford Chance, Canary Wharf

Susan Langford, Director of Magic Me was awarded an MBE, recognising her pioneering work in intergenerational practice

Started a re-branding of Magic Me and a website redesign to be launched in October 2011

Magic Me’s team grew and we took on a Programme Director and Community & Communications Manager

We launched our Friends Scheme for donations over £10

FROM A SMALL

LOCAL CHARITYTO A LEADING FORCE IN INTERGENERATIONAL PRACTICE IN THE UK

4

Introduction




We took this landmark as a chance to reflect on how Magic Me grew from being a small local charity to a leading force in intergenerational practice in the UK. This year was a celebration of the many communities and people we have reached over the years. We took this landmark as a chance to reflect on how Magic Me grew from being a small local charity to a leading force in intergenerational practice in the UK. This year was a celebration of the many communities and people we have reached over the years. We took this landmark as a chance to reflect on how Magic Me grew from being a small local charity to a leading force in intergenerational practice in the UK. This year was a celebration of the many communities and people we have reached over the years.

3

8

Artists

Magic Me freelance artists are skilled practitioners

in diverse disciplines across the performing, visual,

literary and media arts. All have extensive experience

of using their artforms with community groups and

many also bring to this work, training and skills in

education, social work, conflict resolution and other

complementary fields.

Most projects are co-led by two or more artists from

different disciplines, supported by a Project Manager.

By selecting the appropriate artists we aim to cater

for very diverse groups, including individuals with

dementia orsensory impairments, or people from

diverse cultures.

Continuing Professional Development

Throughout its history Magic Me has run training

programmes and events preparing our artists

for the particular challenges and dynamics of

intergenerational work. Our Continuing Professional

Development programme offers artists and staff

opportunities to learn new skills and to discuss

and share learning that takes place across different

projects.

Volunteers and students

Volunteers and students on placements with Magic

Me as part of their courses are a vital part of our

organisation. Every week our volunteers support

less confident young and older people to join in

activities, do office admin or upload photos to

our website.

We also benefit from specialist skills

such as journalism, database design or

research.

We estimate that volunteers’

and students’ help last year

was worth over £17,000. Our heartfelt

thanks to all of you! We could not run

such a rich programme and reach so

many people without you.

PEOPLE WHO

MAKE IT HAPPEN

7


9

Annual Report 2010/2011



Areas to cover:– Who we are and what we do– Highlights and achievements– Chair’s Report– Director’s Report– Projects this year– Sharing our Expertise: Conferences/ Training Consultancy– Participants data– People who make it happen: Our Artists/ CPD/ Volunteers– Those who worked for us– Finances and Accounts– Donate– Looking to the future– We remember– Funders List

Highlights and Achievements

We served xxxx people in Tower Hamlets and xxx in the London Borough of Islington and Hackney

Celebrated our 21st Birthday party in style at Clifford Chance, Canary Wharf

Susan Langford, Director of Magic Me was awarded an MBE, recognising her pioneering work in intergenerational practice

Started a re-branding of Magic Me and a website redesign to be launched in October 2011

Magic Me’s team grew and we took on a Programme Director and Community & Communications Manager

We launched our Friends Scheme for donations over £10

FROM A SMALL

LOCAL CHARITYTO A LEADING FORCE IN INTERGENERATIONAL PRACTICE IN THE UK

4

Introduction




We took this landmark as a chance to reflect on how Magic Me grew from being a small local charity to a leading force in intergenerational practice in the UK. This year was a celebration of the many communities and people we have reached over the years. We took this landmark as a chance to reflect on how Magic Me grew from being a small local charity to a leading force in intergenerational practice in the UK. This year was a celebration of the many communities and people we have reached over the years. We took this landmark as a chance to reflect on how Magic Me grew from being a small local charity to a leading force in intergenerational practice in the UK. This year was a celebration of the many communities and people we have reached over the years.

3

8

Artists

Magic Me freelance artists are skilled practitioners

in diverse disciplines across the performing, visual,

literary and media arts. All have extensive experience

of using their artforms with community groups and

many also bring to this work, training and skills in

education, social work, conflict resolution and other

complementary fields.

Most projects are co-led by two or more artists from

different disciplines, supported by a Project Manager.

By selecting the appropriate artists we aim to cater

for very diverse groups, including individuals with

dementia orsensory impairments, or people from

diverse cultures.

Continuing Professional Development

Throughout its history Magic Me has run training

programmes and events preparing our artists

for the particular challenges and dynamics of

intergenerational work. Our Continuing Professional

Development programme offers artists and staff

opportunities to learn new skills and to discuss

and share learning that takes place across different

projects.

Volunteers and students

Volunteers and students on placements with Magic

Me as part of their courses are a vital part of our

organisation. Every week our volunteers support

less confident young and older people to join in

activities, do office admin or upload photos to

our website.

We also benefit from specialist skills

such as journalism, database design or

research.

We estimate that volunteers’

and students’ help last year

was worth over £17,000. Our heartfelt

thanks to all of you! We could not run

such a rich programme and reach so

many people without you.

PEOPLE WHO

MAKE IT HAPPEN

7

&CARESETTINGS

Our partnerships with Primary Schools and older people are just as important.

This year Clara Grant School pupils joined with Fern Street Settlement members to create beautiful mosaics and friendship benches for both venues. This was the fourth annual Magic Me arts project with the two organisations, who keep in touch through the year with visits by pupils for concerts, local history work and other curriculum based sessions. A new Magic Me Holiday Club was launched at Easter 2010 for children who wanted to continue visiting their older friends in their own time.

John Scurr School pupils visited Pat Shaw House care home residents for shared singing and arts workshops and the school is now building more intergenerational visits and sessions into their singing and concerts programme.

The 2010 Magic Me project, the third, was funded by NHS Tower Hamlets, aiming to promote better mental health amongst older people and greater community understanding of elders’ mental health issues.

The teachers and activities organisers we work with are wonderful ambassadors for inter generational work and their support and enthusiasm is invaluable.

“I learned to understand people in the group. I can take that outside, understand people outside, of different age groups.”Training Day attendee



10

Magic Me with Schools and Older People Creative projects linking older people with local school pupils have been a core Magic Me activity for more than 21 years. Annual projects with regular partners have enabled us to develop real working relationships with school staff, older people and those who work with them, honing plans to meet changing needs and target specific groups. New activities grow from participants’ suggestions and intergenerational work is woven into organisations’ regular programmes.

Dressing Up!

This year’s 7th annual collaborative project with The Women’s Library and Mulberry School for Girls, saw women aged 14 to 84 exploring the ways in which women express themselves and disguise themselves through clothes. In 2009 participants used photography and creative writing to explore the theme of Utopia.

Live Long! Live Well! Live Life!

Live Long! Live Well! Live Life! with regular partners Oaklands School and Sundial Centre, was enriched by involving students from the newly opened Cambridge Heath Sixth Form.

Participants created postcards and a video about how to live a healthy, happy life, launched at a feast they cooked and hosted for 60 people invited from the local community


MAGIC ME

WITH SCHOOLS&OLDER PEOPLEPEOPLEPEOPLE

9

In the London Borough of Tower Hamlets we served 452 people: 176 regular participants and 276 shorter term participants, and many more people attended performances, exhibitions and events run by Magic Me.

We also served 52 participants in the London Boroughs of Lambeth and Southwark.

39%

Long

Term

(176

)

61% Short Term

(276)

10% 25-64yrs (18)

13% 75+yrs (23)

14% 65-74yrs (25)

27% 12-24yrs (47)

36% 5-11yrs (63)

64% FEM

ALE (113)

36%

MALE

(63)

25% OTHER

12% BLACK

28% ASIAN

35% WHITE

ETHNICITY GENDER TERM AGE

PARTICIPANT DATA

12


RESOURCES EXPENDED Designated funds

Restricted funds

Total 2011

Total 2010

Costs of generating funds — — — — —

Costs of generating donations and legacies

— — — — —

Charitable activities — — — — —

T&D activities — — — — —

Total charitable expenditure — — — — —

Governance costs — — — — —

Total resources expended — — — — —

Net outgoing resources before transfers

— — — — —

Gross transfers between funds

— — — — —

Net income/expenditure for the year

— — — — —

Fund balances at 1 April 09 — — — — —

Fund balances at 31 March 10 77,686 — 60,674 138,360 155,015

INCOMING RESOURCES Unregistered funds

Designated funds

Restricted funds

Total 2011

Total 2010

Donations and legacies 6,168 — — 6,168 2,001

Activities for generating funds

1,467 — 236 1,703 1,915

Investment income 127 — — 127 3,169

7,762 — 236 7,998 7,085

Incoming resources from charitable activities

63,580 — 60,438 124,018 143,149

Other incoming resources 6,344 — — 6,344 4,781

Total incoming resources 77,686 — 60,674 138,360 155,015

FINANCIAL STATEMENT

11

FROM A FROM A

LOCALLOCALCHARITYCHARITYTO A TO A FORCEFORCEINTERGENERATIONAL INTERGENERATIONAL PRACTICE IN THE UKPRACTICE IN THE UK

&&SETTINGSSETTINGS

“I learned to understand people “I learned to understand people in the group. I can take that in the group. I can take that outside, understand people outside, understand people outside, of different age groups.”outside, of different age groups.”Training Day attendeeTraining Day attendee

25% OTHER25% OTHER

12% BLACK12% BLACK

28% ASIAN28% ASIAN

35% WHITE35% WHITE

PARTICIPANTPARTICIPANT

DATADATA


memory recordingsBranding

Logo designVinyL coVers & LaBeLsWeBsite design

GUY ROBINCRY A LITTLE


A1: ORIGINAL CLUB MIXB1: HOUSE HOOLIGANS REMIXB2: MINUS 10 REMIX

MEMORY001 2009 MEMORY RECORDINGS LIMITED. © 2009 MEMORY RECORDINGS LIMITED. ALL RIGHTS OF THE MANUFACTURER AND THE OWNER OF THE RECORDED WORK RESERVED. UNAUTHORISED PUBLIC PERFORMANCE, BROADCASTING AND COPYING OF THIS WORK PROHIBITED. MCPS.

FOR ALL LICENSING ENQUIRIES PLEASE CONTACT: [email protected]

FOR MORE INFO ON FUTURE RELEASES AND LATEST NEWS PLEASE VISIT:

WWW.MEMORYRECORDINGS.COM WWW.MYSPACE.COM/MEMORYRECORDINGS



A1: ORIGINAL CLUB MIXB1: HOUSE HOOLIGANS REMIXB2: MINUS 10 REMIX

MEMORY001 2009 MEMORY RECORDINGS LIMITED. © 2009 MEMORY RECORDINGS LIMITED. ALL RIGHTS OF THE MANUFACTURER AND THE OWNER OF THE RECORDED WORK RESERVED. UNAUTHORISED PUBLIC PERFORMANCE, BROADCASTING AND COPYING OF THIS WORK PROHIBITED. MCPS.

FOR ALL LICENSING ENQUIRIES PLEASE CONTACT: [email protected]

FOR MORE INFO ON FUTURE RELEASES AND LATEST NEWS PLEASE VISIT:

WWW.MEMORYRECORDINGS.COM WWW.MYSPACE.COM/MEMORYRECORDINGS


11


LittLe dee - recording artistVisUaL identity

Logo designphotographyaLBUm coVersposters/FLyers


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Royal Courts of Justice Advice BureauImpact Report 2010

royaL coUrts oF JUstice2010 impact report

3d iLLUstrationphotographymontagedesign


ZipcardBranding

prodUct designstationeryWeBsitepULL Up Banners


17

www.zipcard.co.uk

AFTER PUTTING YOUR ALL INTO THE NEXTAUDITION, LEAVE A SMALL PIECE OF ITBEHIND.

The ZipcardTM provides a convinient contact card solution for actors, models and performance artists. Our ZipcardTM is specifically tailored towards individuals who require a professional card that not only provides your new contacts with the usual telephone number and email address etc, but also vital

statistics such as height, build, hair colour and not to mention a photo of the person in questionAll on one card.

ITS SIMPLE.

www.zipcard.co.uk

AFTER PUTTING YOUR AFTER PUTTING YOUR ALL INTO THE NEXTALL INTO THE NEXTAUDITION, LEAVE A AUDITION, LEAVE A SMALL PIECE OF ITSMALL PIECE OF ITBEHIND.BEHIND. ITS SIMPLE.

www.zipcard.co.uk

PREMIUM ZIPCARD

150 (5books) £175.50

200 (8books) £230.00

250 (10books) £280.00

300 (12books) £350.00

350 (14books) £425.00

400 (16books) £500.50

500 (20books) £575.00

750 (30books) £625.50

1000 (40books) £815.90

Customquantitesquotedonrequest

PREMIUM

PRICELIST

2010

AllpricesareinclusiveofVAT.

Quotedpricesareexclusiveof

deliverycharges.Deliveriesare

currentlyonlyavailablewithin

mainlandUK.

Fullpaymentwillbecollected

oncesoftcopyproofshavebeen

approved.Foryoursecurityand

pieceofmind,allouronline

andtelephonepaymentsare

processedviaPaypalTM.


BLUe mUsic LtdBranding

Logostationeryposters

Artist Representation & Promotion

Blue Music LtdB106 Faircharm Studios8-12 CreeksideLondon SE8 3DX

T: 0845 224 6391E: [email protected]

www.bluemusic.co.uk

Dear Mr Gordon:

We are delighted to o� er you the position of Data Controller within our company. We trust that your knowledge, skills and work ethos will be among our most valuable assets.Should you accept this job o� er, per company policy you’ll be eligible to receive the following commencing your employment date. We are delighted to o� er you the position of Data Controller within our company. We trust that your knowledge, skills and work ethos will be among our most valuable assets.Should you accept this job o� er, per company policy you’ll be eligible to receive the following commencing your employment date.

Carolyn Andrews, Human ResourcesPudiorion consequunt harcia consentur, consect otatiaeptur adi blaboru ptatur, vero quo omnis ma volum apident otaquodi ad qui aut volupta excea et vidempostem debitis rerum core, idi debitatem quat ea sitianihil int occuscillam lab inciam laut milloreped esequiatem as es vel molorem poreper speremp elest, simagnis re, cone liquam lam fuga. Itatio. Itation sequid esti cuptatisquis dio. Lessi ad quiscitio dolorem quam, tem et in rerisque recatem. Itate mo verum iunt, senissum, ium nia si quia ditem sinulpa rchicat Carolyn Andrews, Human ResourcesPudiorion consequunt harcia consentur, consect otatiaeptur adi blaboru ptatur, vero quo omnis ma volum apident otaquodi ad qui aut volupta excea et vidempostem debitis rerum core, idi debitatem quat ea sitianihil int occuscillam lab inciam laut milloreped esequiatem as es vel molorem poreper speremp elest, simagnis re, cone liquam lam fuga. Itatio. Itation sequid esti cuptatisquis dio. Lessi ad quiscitio dolorem quam, tem et in rerisque recatem. Itate mo verum iunt, senissum, ium nia si quia ditem sinulpa rchicat

Carolyn Andrews, Human ResourcesPudiorion consequunt harcia consentur, consect otatiaeptur adi blaboru ptatur, vero quo omnis ma volum apident otaquodi ad qui aut volupta excea et vidempostem debitis rerum core, idi debitatem quat ea sitianihil int occuscillam lab inciam laut milloreped esequiatem as es vel molorem poreper speremp elest, simagnis re, cone liquam lam fuga. Itatio. Itation sequid esti cuptatisquis dio. Lessi ad quiscitio dolorem quam, tem et in rerisque recatem. Itate mo verum iunt, senissum, ium nia si quia ditem sinulpa rchicat

Sincerely,Richard Brown

Hector GordonUniversal Music Group1 Fenchurch StreetLondon W1 8GP


DIRECTOR07977 833 240 [email protected]

GAVIN GORDON

B106 Faircharm Studios, 8-12 CreeksideLondon SE8 3DX. T: 0845 224 6391www.bluemusic.co.uk


B106 Faircharm Studios8-12 CreeksideLondon SE8 3DX

T: 0845 224 6391E: [email protected]

www.bluemusic.co.uk

With ComplimentsAn abstract take on the guitar pick that revolutionised guitar playing back in the 1920s was the chosen symbol to represent the brand of Blue Music.


19


LaVanda Bar / British red crosscharity cook Book

designart direction - photography

Supporting The British Red Cross | 2

Lavanda style Lavanda style cook

Donations made through the book will be supporting the humanitarian education work of the British Red Cross in the UK

A fundraising Italian themed cookbook jointly produced by the British Red Cross and Allen & Overy.


13 | ‘Let’s Cook’ - Lavanda Style Supporting The British Red Cross | 14

MethodBring water to boil and add pinch of salt and a drizzle of olive oil .Add de cecco pasta to water and stir to ensure pasta does not stick to the bottom of the pan.Cook for 8min then drain in a colander, then leave to coolPeel and chop the red onion into very small squares and place in a bowl.

Chop parsley until small and place in the bowl

Shred the smoked salmon into thin strips and leave to the side

Place a pan on stove, add 10ml of oil and cook onions until golden brown.

When onions are brown add the vodka and turn up heat. When there is a small amount of liquid left add the cream

Reheat the pasta in a pan of boiling water (30 seconds)Reduce cream by half and add pasta then salmon. Mix so cream has coated the pasta.

Add chopped parsley. Stir then serve

Pannette al salmone Small penne pasta smoked salmon & cream sauce SERVES SIX

Recomended WineCILIT VELISCILIQUI ER ADION UTATUM EA AUTPAT.

Ingredients

2 LARGE LEMONS

2 TABLESPOONS OF LEMON JUICE

ZEST 2 LARGE LEMONS

85G POLENTA

175G BUTTER

2 LARGE BEATEN EGGS

175G CASTER SUGAR

150G GROUND ALMONDS

1/2 TSP BAKING POWDER

200G MASCARPONE

Small penne pasta smoked salmon &

MethodBring water to boil and add pinch of salt and a drizzle of olive oil .Add de cecco pasta to water and stir to ensure pasta does not stick to the bottom of the pan.Cook for 8min then drain in a colander, then leave to coolPeel and chop the red onion into very small squares and place in a bowl.

Chop parsley until small and place in the bowl

Shred the smoked salmon into thin strips and leave to the side

Place a pan on stove, add 10ml of oil and cook onions until golden brown.

Ingredients

2

2

ZEST

85G

175G

2


SALADS


PASTA


2 LARGE LEMONS

2 TABLESPOONS OF LEMON JUICE

ZEST 2 LARGE LEMONS

85G POLENTA

175G BUTTER

2 LARGE BEATEN EGGS

175G CASTER SUGAR

150G GROUND ALMONDS

1/2 TSP BAKING POWDER

200G MASCARPONE

MethodGrease a 7cm baking tin and line with greased proof paper. Pre-heat the oven to 180 C or gas mark 4.

Cream the butter until it is light and fl uffy. Gradually beat in the 2 eggs.

Fold the almonds into the mixture.

Add the polenta, baking powder and the lemon zest and juice.

Mix thoroughly.

Spoon the mixture into the prepared baking tin and level off.

Bake for about 50 minutes or until risen and golden brown.

Remove from the oven and place it aside to cool.

Once cooled remove the cake from the tin Cut and serve with mascarpone

Polenta cake Smooth cream cake with almonds

SERVES SIX

Recomended WineCILIT VELISCILIQUI ER ADION UTATUM EA AUTPAT.

Ingredients

cake with almonds

2

2

ZEST

85G

175G

2

MethodGrease a 7cm baking tin and line with greased proof paper. Pre-heat the oven to 180 C or gas mark 4.

Cream the butter until it is light and fl uffy. Gradually beat in the 2 eggs.

Fold the almonds into the mixture.

Add the polenta, baking powder and the lemon zest and juice.

Mix thoroughly.

Spoon the mixture into the prepared baking tin and level off.

Ingredients


ministry oF soUnd / sVahistory oF hoUse

photographymontage iLLUstrationdesign

SATURDAY 1ST NOVEMBER

BOX: HOUSE CLASSICS PRE 2000

BAR: SOULFUL HOUSE UPFRONT

TONY HUMPHRIESCJ MACKINTOSHBOBBY & STEVEJULIE MC KNIGHT PERFORMING CLASSIC TRACKS “FINALLY” & “DIAMOND LIFE”

PHIL ASHERDJ LEOFUNKY P CLEMY RILEYSY SEZ

BIASED GUYI&IRICK MAIAMUZZY

LOUNGE: OVERLOAD

BABY BOX: DEEP & DIRTY

JON SLATERJIMMY LEESOUL2DEEP

Ministry of Sound: 103 Gaunt Street, London SE1 6DP. 24hr drinks license. Nearest tube: Elephant & Castle. Entrance: £20/£15 adv, £12 cons, £12 NUS. Door: 2300 -0700. Over 18s. No dress code. Advance tickets: www.ministryofsound.com/tickets, www.ticketweb.co.uk or call Ticketweb on 0870 060 0100. Guestlist & enquiries: [email protected] or 0870 060 2666. VIP table resorvations: Maria on 07932 243 963, [email protected] or www.ministryofsound.com/vip. Annual membership: £20. Discount ofers on purchasing the latest CDs & audio products. Reduced admission.

THEHISTORYOFHOUSE.COM


SUNDAY 3RD MAY – 10PM - 6AM

BAR: HOUSE CLASSICS PRE 2000

BOX: SOULFUL HOUSE UPFRONT

BASEMENT BOYS REUNION:DJ SPENKARIZMATEDDY DOUGLASPAUL TROUBLE ANDERSON

FRANCK ROGERBOBBY & STEVEDJ LEOFUNKIE PCLEMY RILEY

VINYL VIXENS ‘VS’ PUSSY GALORE

LOUNGE: OVERLOAD

BABY BOX: DEEP & DIRTY

TOTAL JAM & SERIOUSLY FUNKED UP

Ministry of Sound: 103 Gaunt Street, London SE1 6DP. 24hr drinks license. Nearest tube: Elephant & Castle. Entrance: £20/£15 adv, £12 cons, £12 NUS. Door: 2300 -0700. Over 18s. No dress code. Advance tickets: www.ministryofsound.com/tickets, www.ticketweb.co.uk or call Ticketweb on 0870 060 0100. Guestlist & enquiries: [email protected] or 0870 060 2666. VIP table resorvations: Maria on 07932 243 963, [email protected] or www.ministryofsound.com/vip. Annual membership: £20. Discount ofers on purchasing the latest CDs & audio products. Reduced admission.

THEHISTORYOFHOUSE.COM


aLLen & oVery LLpgUy Beringer Qc - retirement Book

design


Leather case bound retirement book for Senior Partner of Allen & Overy, Guy Beringer QC. De-bossed title to leather cover and matching presentation box.

A great team player

Ask people about Allen & Overy’s senior

partner from 2000 to 2008 and a number of

words keep recurring: independent thinker,

determined, humorous, honest, modest,

and fantastic public speaker.

He led the firm with vision and confidence

during the last months of the internet

boom, through the economic slump which

followed that and back to the rude health

which it has enjoyed in recent years.

He is scrupulously impartial and fair,

comfortable taking difficult decisions and

defending them – and always willing to

share his compendious knowledge of the

Duke of Wellington!

And for 30 years his commitment to A&O

has been second to none. The firm has

quite simply been his working life. From

the trainee who walked through the door

at New Change to the Senior Partner – the

youngest ever – who successfully led the

firm for eight years, Guy has grown at

Allen & Overy.

But all good things must come to an end,

and so the time has come for colleagues

and clients to bid him a fond farewell. As we

do so, this book stands as a celebration of

his life and times at A&O.

It includes memories and messages from

those who know him, including his fellow

partners at the firm and clients. His three

daughters also share some of their stories

growing up with Guy, and his wife Margaret

discusses what the last 30 years have

meant for her.

And there are pictures. Lots of pictures. The

following pages are positively plastered with

pictures from the past three decades – from

Guy’s time as a professional rugby player to

his role in the A&O production of the Pirates

of Penzance.

So, Guy Beringer – this is your life at A&O…

Goodbye Guy

Amelia: Daddy always used to tell me that I

couldn’t have a boyfriend. When I was 15, I

couldn’t have a boyfriend until I was 18. Then,

when I turned 18, I couldn’t have a boyfriend

until I was 21. But I’ve since been told by my

sisters that what I’m supposed to do is have

a boyfriend – but just not tell daddy!

Daddy at home is a stark contrast to him at

work, because at work he’s the boss, but at

home he’s not. He’s actually quite low in the

pecking order – although he wouldn’t think

that!

Louisa: He’s very competitive. We would

do these swimming races, and when I was

younger daddy would give me a head start so

that I would win. But now, he goes all out to

win. We raced recently, and I wasn’t allowed

to use my legs so that he had a better chance

of winning.

Catherine: Dad’s always told us that we can

do anything, and never to believe anyone who

says we can’t do something because we’re

girls. He’s very pro-women and very fair. He

will help others with their careers, but does

not believe in nepotism. After all, he started

out as a trainee just like everyone else, and

we’ve grown up with a very real work ethic.

Dad has such solid values.

Louisa: He loves the underdog in any

situation, and tends to befriend the people

that, for whatever reason, nobody else

wants to be friends with. As a result, we’ve

had some pretty random people round for

Christmas dinner over the years!

We raced recently, and I wasn’t allowed to use my legs so that he had a better chance of winning.

Good with an audience

Catherine: He absolutely loves dressing up.

He has an Ali Baba outfit, and a policeman’s

outfit. He’s particularly fond of hats.

He’s a brilliant performer. For years he’s been

the MC at our local church, doing musical

performances –mainly songs from the shows

or Gilbert & Sullivan. He would coordinate

it and introduce the acts on the night. He’s

very funny when he ad-libs. There would be a

show every six months and he came up with

some great ideas for it.

He’s got a lovely voice, and plays guitar, but

all the other guys singing with him would be

tone deaf!

Louisa: We used to get involved too. Daddy

would sing an Irish song, McNamara’s Band,

that referred to lots of different instruments,

and we would get dressed up in green and

be the band, playing all those instruments.

Catherine: We would be playing all these

different instruments at once, but daddy

rehearsed us so well we weren’t actually that

bad. On one occasion, I had to sing as Daddy

was doing ‘a big deal’ and didn’t get home

to do the show. This became our signature

act – like the Von Trapp family. I’ve got some

really fond memories of playing that song in

the church hall.

Louisa: He’s a bit of a celebrity near where

he lives. Old ladies in particular love him.

Daddy’s very different at home. People in

the area know that he’s a lawyer, and quite

an important one, but other than that they

don’t really know what he does. He’s not at

all intimidating to them. In fact, he would put

himself out for anyone, particularly the old

ladies, who he is always running around after.

I remember that one of them once said that

he looked like Richard Gere!

Amelia: I remember when he came second in

Roll On Friday’s search for the ‘most shagable

lawyer’. He joked at the time that it was a mis-

count and he should have been number 1and I wasn’t allowed to use my legs so that he had a better chance of

Good with an audience

Catherine

He has an Ali Baba outfit, and a policeman’s

outfit. He’s particularly fond of hats.

He’s a brilliant performer. For years he’s been

the MC at our local church, doing musical

performances –mainly songs from the shows

or Gilbert & Sullivan. He would coordinate

it and introduce the acts on the night. He’s

very funny when he ad-libs. There would be a

show every six months and he came up with

some great ideas for it.

He’s got a lovely voice, and plays guitar, but

all the other guys singing with him would be

tone deaf!

Louisa:

would sing an Irish song, McNamara’s Band,

that referred to lots of different instruments,

and we would get dressed up in green and

be the band, playing all those instruments.

share his compendious knowledge of the

Duke of Wellington!

And for 30 years his commitment to A&O

has been second to none. The firm has

quite simply been his working life. From

the trainee who walked through the door

at New Change to the Senior Partner – the

youngest ever – who successfully led the

firm for eight years, Guy has grown at

Allen & Overy.

And there are pictures. Lots of pictures. The

following pages are positively plastered with

pictures from the past three decades – from

Guy’s time as a professional rugby player to

his role in the A&O production of the Pirates

of Penzance.

So, Guy Beringer – this is your life at A&O…

Louisa: He’s very competitive. We would

do these swimming races, and when I was

younger daddy would give me a head start so

that I would win. But now, he goes all out to

win. We raced recently, and I wasn’t allowed

to use my legs so that he had a better chance

of winning.

that, for whatever reason, nobody else

wants to be friends with. As a result, we’ve

had some pretty random people round for

Christmas dinner over the years!


a. 2 emiLy dUncan pLaceForest gate London e7 0BB

t. 020 8555 1637 07951 973 107

WWWtheartistry.co.Uk e. [email protected]


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