THE WICK – A disturbing tale of deceit and persecution two years on.

THE WICK – A disturbing tale of deceit and persecution two years on.

Two years ago I reported on an exciting new Folk Horror film that was in its early pre-production stages trying to raise funds to help move the project on. A Crowd funder page was set up and through the generous support of people from around the globe – including Folk Horror Revival – enough money was raised to move the film closer to becoming a real thing. FHR caught up with Michelle Coverley (writer and producer of `THE WICK’ and the films herbal healing protagonist) for an update.

Folk Horror Revival: Can you briefly remind us what the film is about and in particular what you feel makes it a work of Folk Horror?

Michelle Coverley: `THE WICK’ is a dark, period drama, set in the early 1800’s in rural England, seventy-three years after witch trials were banned. It’s a disturbing tale of deceit and persecution of a woman who fights for justice against a lawless witch hunter.

`THE WICK’ definitely channels Folk Horror. The village that Esther, our female protagonist lives in, is extremely superstitious to the point of horrifying. What these villagers are led to believe, without much proof and the lengths that some of them go to, to ‘fix’ things is quite shocking. The deception and ignorance is quite barbaric, with folklore and religion being at the heart of it.

FHR: What inspired you to embark on this journey and dedicate so much of your life for the last few years to `THE WICK’?

MC: I decided to take a step from acting into writing and producing as I found there is a lack of female protagonists in film, as well as a lack of presence of women in the film industry. I realised that doing this would bring me more control over my career and give me the satisfaction that by telling my stories, women have a voice.

I wanted to make short film on a small budget with a strong female lead. I thought about potential locations that looked interesting on screen but were cheap or free to film at. I decided a forest would be a great idea, then went to bed and the next morning, awoke with the idea about witchcraft. Who knows where it came from? I really have no idea? But I searched for historical British witch trials that morning on line and came across a few about how some of these women fought back, this really caught my eye. From there, I heavily researched the subject and then began to write the script. Although period drama can be pretty difficult and expensive to make, I felt so strongly about the subject matter, I just went with it.

FHR: So what stage in the production are you at now?

MC: We are in post-production at the moment. We finished shooting at the end of June, then went straight into the editing room. We are now trying out and tweaking different versions of the edit and experimenting with music composition. After this, it will be the colour grade, then onto promotion and pushing it round domestic and international film festivals.

FHR: Has much changed about the story during the filming and if so was it born of necessity or was it an organic change that occurred once the actors started inhabiting the characters?

MC: The story didn’t change during the filming process as that could be tricky and problematic, but the script had gone through changes after the postponement of the shoot last year. We had to postpone because of budget limitations and then I realised that the story had to be more focused on just a couple of themes and characters instead of skimming over the surface of many. It was a blessing in disguise and I’m so happy that I waited till this year to shoot.

FHR: What has been the biggest challenge so far and what has been the biggest/ best moment(s)?

MC: The forced postponement last year was one of the biggest challenges that I endured and I was totally not expecting it. It was a massive shock to the system and as I was the writer, producer and lead actor, I had so much invested in this project and had to single-handedly sort it out. Although I got through it and didn’t lose too much of the budget, I found it hard at first, to pick the project up again. Finding the right director was also a challenge. Not only do you have to share a similar vision, you also need to have the same way of working too. I feel that finding the right people to collaborate with is one of the most important things to get right as a filmmaker.

One of the best moments for me was turning up on set with my actor’s hat on and feeling so confident and content that I could trust every single crew member to do their job. Those first few moments kind of blew my mind actually. I arrived on set with the other actors, crew were running around, setting up their equipment, placing last minute props and the extras were all in costume. It was pretty emotional seeing it all coming together. I couldn’t actually believe it was happening at last and we were finally about to do the first take. I’ll never forget that moment. The other amazing moment was on the last day and wrapping the last scene. Holding the clapperboard and getting a group photo was so special too.

Also, having quite a well-known actor, Ian Reddington on set was a fantastic experience. He was such a great laugh and really relaxed and easy going. Acting alongside a pro was amazing. I was buzzing, knowing that he genuinely wanted to be a part of my short film and that he took time out of his busy schedule to do it. It was a privilege and I am very thankful to him for that.

FHR: So what is next – for the film and for you?

MC: I can’t wait to finish post-production, to then start the fun process of promotion and the film festival circuit so people can actually watch what we’ve all created. I’m also itching to start my next short film script too. With THE WICK, I didn’t want to direct it, as I was wearing too many hats already. But I’m very keen to direct this next script. It’s a supernatural thriller.

THE WICK Website:( http://www.michellecoverley.com/the-wick-short-film)
THE WICK Facebook:( https://www.facebook.com/TheWickShortFilm)
THE WICK Instagram:( https://www.instagram.com/thewickshortfilm/)

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The Wyrd Kalendar – Wyrd Artists Mix

Join the Kalendar Host as we prepare for the launch of the Wyrd Kalendar album. This will be released on January 1st the beginning of the next Wyrd year.

Artists from the England, Scotland, Ireland and Portugal were each given a month of the year and a story from the book (Wyrd Kalendar) as a starting point from which to create a vastly eclectic and evocative mix of genres that sweep from the worlds of Folk to Electronica via Psychedelic licks and lost Horror Soundtracks.

Explore the work of these artists and find out more about the music they have created in this special mix. Listen to The Hare and the Moon (lead by Grey Malkin who has created the Song for January with his new group Widow’s Weeds), Keith Seatman, Emily Jones, Crystal Jacqueline, Beautify Junkyards, Alison O’Donnell, Concretism, Icarus Peel, Tir na nOg, Wyrdstone, The Soulless Party, The Rowan Amber Mill and The Mortlake Bookclub.

You can preorder the album here: https://megadodo.bandcamp.com/album/wyrd-kalendar

a3949485468_5.jpg Wyrd Kalendar | Mega Dodo
megadodo.bandcamp.com
Wyrd Kalendar by Mega Dodo, releases 01 January 2019 1. Widow’s Weeds – A Song for January 2. Keith Seatman – Three Day Girl 3. Emily Jones – Waiting for Spring 4. Crystal Jaqueline – Chasing the Gowk 5. Beautify Junkyards – May Day Eve 6. Alison O’Donnell – Deadly Nest 7. Concretism – The Fair by the Sea 8. Icarus Peel – The Weeping Will Walk 9.

The ancient streets too dead for dreaming….. (a book review)

The ancient streets too dead for dreaming – interview and review by Jim Peters

`It was the morning a scarecrow ran across the field and got tangled up in the fence that I realised the game was really up.’

Any book of tales that includes one that starts with these opening lines and claims to have been collected by the author from the residents of Low Scaraby has surely got to be worth picking up and investigating? How right you are…….

“Too Dead For Dreaming is a collection of 23 stories of weirdness, wonder and woe. Most are stand-alone but in several there is the setting of Low Scaraby. It’s a village that’s hidden in the gently rolling Wolds of Lincolnshire. Most people will not have heard of it and that’s pretty much how the villagers like it. I know a few people there and have been able to pick up on some of the stories of the place. A lot of people say there’s something in the soil in those parts. It’s true.”

Read on and find out more about the author and about this marvellously intriguing and refreshing collection of 23 stories from the pen of Richard Daniels – in the shops from November 9th from Plastic Brain Press.

Richard Daniels is a difficult writer to describe or fully understand. His stories seem more like dreams being recounted half-remembered and still full of possibility – snatches of brilliant ideas that many people would dismiss as `just ideas’ but in his hands they become fascinating and decidedly dark vignettes. In the same way that some of Bob Dylan’s best narrative songs seem to start half way through and end leaving you with 100 questions (think `All Along the Watchtower’, ` Frankie Lee & Judas Priest’ or `Lily Rosemary and the Jack of Hearts’) Richard’s stories use a similar technique to draw you in and have you investing in his tales. Folk Horror Revival managed to get a few words with Richard about his craft and in particular `Too Dead for Dreaming’ and as his responses show his unconventional approach to writing extends to interview responses too…..

“I’m not sure how I ended up writing. It was something that I always did one way or another. The killer blow came when I started to take it seriously. I think Freddie Mercury put it best when he spoke about Flash Gordon and I would apply the same standard. I’m just a man, with a man’s courage. Of course I haven’t saved the Earth yet.

I like reading Guy N Smith, particularly when I’m in bed and you can hear the wind howling outside but I draw inspiration from anything, from the metallic prism of an old sweet wrapper to the homely traditions of dated Christmas cards with pictures of churchyards in the snow.”

This eclectic mix of inspirations manifests itself in the stories in Richard’s latest book with tales that cover James Dean (on wheels), the death of a rock star, ghosts in machines as well as the lost city of Atlantis. What makes this spectrum of stories so intriguing is that tiny hints and links will peep out at you as you read which suggest that they are all part of a bigger story yet to be told.

There is some real darkness in them there tales which opens up with a nihilistic rant that wouldn’t sound out of place on the lips of Frankie Boyle and ends with a nod to `The Never Ending Story’ but running throughout the book is a feeling of unsettling rural oddness which carries more than just a hint of Folk Horror. Does the author agree with this description though?

“I think aspects of it certainly do. Taken as a whole I think it creates a mood which can be unsettling in some way. A lot of life is unsettling and the mind is a natural narrative creating machine, so it’s got to do something with all the chaos and weirdness that just doesn’t fit. The 23 stories in Too Dead for Dreaming are just an aspect of that.

My earliest memory is walking to school and clutching hold of my mother’s hand very tightly when we went through the graveyard. It is forever Autumnal and thick with the smell of rotting leaves. I would close my eyes until we were through it. Things like that swirled around and mixed with TV shows I couldn’t make head nor tale of – like Sapphire & Steel or Chocky. For me Folk Horror is often a balanced mix between comfort and discomfort and the thrusting of signs and symbols onto your psyche which you know are telling you something but which can never quite be fathomed and perhaps it is for the best.”

It’s very on trend currently to be working within the Folk Horror genre but this collection of stories doesn’t feel like it is trying to do that – it feels like folk horror’s presence in the pages of `Too Dead for Dreaming’ is not just a nod to the genre but a wider reflection on the influences that Richard draws on.

“I recently went out on a night walk with my friend Tom. It was one of those late night expeditions where the darkness seemed made to be explored in the same way a dream you have is made to be explored. We had our torches – an essential folk horror piece of kit. Down a deserted country track we came upon a hooded figure on a bench with a beast keeping guard. Our hearts started racing and had we been out walking alone without each other for company I’m sure we would have turned back. The figure paid us no mind – nor did his beast. We ended up on the winding roads of an industrial park. Sure it could just have been a dog walker but I think it more likely to have been something more eerie and spectral.

I think the best way to work up ideas is to take a long walk. I’m lucky where I live – I can be out on a track with nothing but fields within a few minutes. That’s often when I turn ideas over and poke at them. Usually by the time I return I have found one or two juicy worms I can bring home and keep in a jar. The only real ritual I have is to have a cup of coffee on the go and in the winter a blanket or two wrapped about me at my desk….”

Some of this publication’s best `worms’ are the stories that deal with the possibly diabolical careers of a movie director and a rock star. By the time you have read them you will want to track down the film `Hexagasm’ and Chip Chatterton’s “hypnotic solo’ album `Lost behind the Rainbow’ so it is with a real sense of annoyance that you have to remind yourself that Richard has made all this up….I even e-mailed Plastic Brain Press for details on how to access the film `Hexagasm’ – I won’t spoil the fun by telling you what their response was. These two stories aside the subject matter covered in `Too Dead for Dreaming’ is so wide reaching that most readers will find a story that has that familiar feel for them whilst still having a fresh spin on it as part of the whole. I have read and re-read and still it feels like there are clues that I have missed which will help explain why Low Scaraby is a source of such marvellous tales – maybe Richard’s future plans will help answer these questions….so Mr D. what is next?

“Next it’s back to the compost heap. I have a few ideas for a longer examination of Low Scaraby’s topography. I’m also going to be helping to edit a collection of poems by Melody Clark who designed the cover for Too Dead for Dreaming. From what I’ve seen so far the poems are dark, devilish and fun.”

I thoroughly recommend `Too Dead for Dreaming’ and thank Richard for not only providing a preview of his work but also for answering my questions. Before we sign off though I had one last question….

  • Do you have any particular book recommendations (not necessarily Folk Horror)?

    “If you’re a Folk Horror fan and haven’t already read A Year in the Country by Stephen Prince I think you would really enjoy it.
    I’ve recently read Graveyard Love by Scott Adlerberg which was great and set around obsession in a wintry graveyard.
    Everyone should definitely read GBH by Ted Lewis. He wrote Get Carter and seems to be much underrated and mostly forgotten in this country. GBH was his last novel. It’s set in Lincolnshire and is utterly brilliant.”

    `Too Dead For Dreaming’ by Richard Daniels is out on 9th November and is published by Plastic Brain Press.

The Wyrd Kalendar – The Autumn Mix

Join the Kalendar Host this Autumn for a delicious collection of harvest treats. Words from Wyrd Kalendar, Darren Charles and Howard Ingham mingle with music from the likes of Matt Berry, Moon Wiring Club, Nick Drake, Ivor Cutler, Heslington Primary School, John Barry, Beth Orton, Bridget St. John, Emil Richards, Tricky, Bobby Darin, Mark Barnes, Francoise Hardy, The Dandy Warhols, The Vines, Jon Hopkins, Strawbs, Pulp, Jeff Buckley, Gene Moore, Hi Tension, Pink Floyd, Nat King Cole, Lee Hazelwood, Lonesome Wyatt & the Holy Spooks, Pacific, New Model Army, The Overlanders, Barbara Streisand, The Kinks, XTC, Moondog, Cleaners from Venus, Donna Summer, Kirsty MacColl, God is an Astronaut, Allah Las, Airhead, Forest, Frontier Ruckus, Small Faces, The Spotnicks, Reverend & the Makers, David Cain and Autumn.

Buy the Wyrd Kalendar book: http://www.lulu.com/shop/http://www.lulu.com/shop/chris-lambert/wyrd-kalendar/paperback/product-23371751.html

The Wyrd Kalendar album is coming soon…

“This Is Bardcore” – an interview with The Story Beast on his Prog Rock Folk Horror Comedy Show

Folk Horror Revival recently got wind of a new show being performed in London this Saturday the 15th in London. We spoke to the creator about the piece and his inspirations.

So, if you can first tell us a bit about yourself?
In my day to day life I am mere actor/writer John Henry Falle but onstage I am the mortal vessel for cosmic bullshit merchant, The Story Beast. He’s an immortal wizard whose seemingly self-appointed duty seems to be to tell the Old Tales a-new and the New Tales a-old. He’s basically a crap, slightly pissed up version of Doctor Who.

What’s This Is Bardcore about then?
It’s a Prog Rock Folk Horror Comedy Show or #ProRoFolkHoCoSho…I’m sure that’ll get trending soon. This is my second show as The Story Beast. The first got nominated for the Edinburgh Comedy Award for Best Newcomer (formerly the Perrier) and This Is Bardcore finds him arriving in our dimension accompanied by his best mate – a sentient Tree rooted to the Centre of your Reality. He’s entirely convinced that the world is coming to a very swift end. I take the audience on a folkloric trip through our collective unconscious via Blue Peter, an epic poetry rendering of Die Hard and the geological history of the Earth told through the medium of Rock & Roll. I’m hoping this is how I get on Live At The Apollo.

Where does your interest in folk horror stem from?
I grew up in the countryside on the island of Jersey surrounded by cows and a lot of those terrors felt quite close to the surface, I suppose. We lived in an old farmhouse where my Dad had grown up. The house was on a hill above a Mental Hospital where my Great-Grandad had spent the last third of his life. We found an actual stillborn child in the walls of the house once.

Sorry, what?
The plumbing in the house went to shit and flooded out my parent’s bedroom. Just this hideous black dripping as the water flowed through years of dust and horse-hair plaster. The whole room had to be ripped apart and on the inside of the walls we found this bricked up little alcove. A window where a window shouldn’t be. So we opened it up and on the inside we found some pages torn out of The Book Of Common Prayer, a shoe and the dusty, leathery protuberance of a stillborn child.

Isn’t that the plot to Nigel Kneale’s “Baby“?
Pretty much! And we never found out why, either! It must have been someone over a century ago who were giving their baby a decent burial. But Jersey is a full of that sort of folkloric strangeness. There’s an active coven of witches on the island! Down the road was the Barn where the people of the Parish would make the float for the island’s annual Battle Of Flowers. I remember when I first saw The Wicker Man when I was 14 and thinking “This is all a bit familiar.” I live in South London now and I think one of the reasons I love Folk Horror so much is just basic Nostalgia.

Why do you think Folk Horror has caught the public mood right now?
I’m not the first to say this but it feels like a perfect metaphor for what’s going on in this country right now, doesn’t it? That dangerous nostalgia. The desire to go back to— what? The 70s? The 30s? The Past in general despite the dreadful things we left there? This show is slightly more political than my first one as it’s the first I’ve done since the BrexiTrump happened and I’m one of those tedious, explosive Remoaners who can’t stop talking about the State of this Country once he gets going. One of my opening songs is a Pink Floyd-y rock number called “Whatever Happened To The Country That You Once Knew?“ where I sing about that nostalgia and how it constantly blooms into violence, madness and bestiality.

Do you think there is something peculiarly British about it?
Well we may have the Unholy Trilogy but Children Of The Corn seems as prescient a version of Trump’s America. What seems particularly British is how susceptible we are to a certain stripe of Fantasy. We invented the genre and if you look at a lot of the Tolkiens and Lewises they have this Romantic with a Capital R belief that if we only get the Good King back on his throne then everything will be alright again. Horror from Mary Shelley onwards is more equivocal and clear eyed about how fragile society can be and the dreadful things we’re capable of as a species. Folk Horror looks at our violence head on. It tells us that if your only concern is to purify society this will inevitably lead to burning the Outsider or the Witch. 52% of the country told the Eastern European seasonal workers to Fuck Off and now our Summer Fruit crop rots on the vine. Jersey’s little different. The island couldn’t vote in a UK Referendum but the motivation is there. The Jersey Royal crop was disappointing this year because there no one there to pick the bloody potatoes! The island’s farming has always depended on outside seasonal workers to pick the potatoes be it Bretons or Irish or Portuguese or Polish people. The local paper had the temerity to blame the weather this year. Apparently the Romanians were leaving because it was too rainy. What really happened is that when they went into a pub they’d be made to feel unwelcome by a load of thick proto-fascists. These people don’t have to come to Britain. They’re bright people who know the value of their labour and they’ll go somewhere else if they feel they’re not wanted. Sorry – got carried away there.

With all that Doom and Gloom do you think Folk Horror and Comedy can coexist?
I think they go hand in hand! The one thing that doesn’t seem to get said about The Wicker Man in all the articles about The 78 Greatest Horror Films That’ll Make You Shit Yourself is that it’s really, really funny. I was 10 when that first episode of The League Of Gentleman came on. Far too young. My Mum only turned it off when Tubbs started breastfeeding the Pig. It was the most shocking thing I’d ever seen but it also had silly people doing funny voices and that’s what lured me in. My brother and I still quote “And in the cupboard beneath the stair / You’ll find the towel for pubic hair.” You gotta laugh, don’t you?

Who should see this show?

Well your readers obviously. If you like 70s rock, classic Doctor Who, Horror and can’t get tickets to the League Of Gentlemen reunion then this is the Comedy Show for you! Also you get to see a hairy man sweating through a whole trench coat in an hour so there is honestly something for everyone.

The Story Beast: This Is Bardcore is on 9pm This Saturday at 2Northdown in London’s Kings Cross
https://www.tickettext.co.uk/2-northdown/thisisbardcore/



Wanderings With The Fae No.3. The Faceless Man of Crosspatrick.

Wanderings with the fae. A photographic journal of places of atmosphere, folklore, history and strangeness, found on my travels around Ireland.

Crosspatrick Graveyard lies just outside the village of Killala and therein stands the strangely faceless monument to Thomas Mulloy. His hands crossed on his chest as if in death, he looms, unnerving and eerie.

Being a respected local stonemason Thomas took the time to carve his own memorial prior to his passing, adorned with strange angels and staring faces.

Legend has it that Thomas left five shillings in his will to anyone who could close the bottom button of his stone jacket. In 1926 a severe storm blew poor Thomas over, strangely the only damage was that his face was sheared clean off.

It is said that the graveyard is the site of a battle between St Patrick and a number of Druids, when he defeated them he struck the ground with his staff and there sprung forth a spring and at the site he then built a church. Maybe it’s no surprise that Hawthorn now grows across the site…. maybe the Druids have not forgotten… maybe they sent the wind that felled Thomas…..

(Photography by Jackie Taylor. Crosspatrick Graveyard, Killala, County Mayo, Summer 2016)

Book Review- Midnight Movie Monographs: Spirits Of The Dead by Tim Lucas

Midnight Movie Monographs are a series of books covering forgotten grindhouse gems. Films in the series including Death Line, Martin and Theatre Of Blood. This volume focuses on the anthology of Poe adaptations of Spirits Of The Dead (also known as Histories Extraordinaires). It provides a meticulously detailed account of the film’s genesis and production, an analysis of each segment (Metzengerstein directed by Roger Vadim, William Wilson directed by Louis Malle, and Toby Damnit directed by Federico Fellini), it’s afterlife on various formats after release as well as the original stories that inspired the film.
Although overshadowed by the better known AIP versions of Poe’s works, Spirits Of The Dead is an interesting curiosity, which as Lucas points out, straddles the line between grindhouse and arthouse, both surreal and shocking. One of the most interesting inclusions in the book was the impact it had on the author, who saw it at a young age, then describes a failed attempt to secure a repeat viewing at the cinema (which is both endearing and a salient reminder about how easy we have it these days, where practically any cultural artefact can be accessed in a matter of minutes via the internet). The author’s love of the film comes through on every page.
The chapters analyzing each segment give a scene by scene breakdown, with the production background discussed and comparisons with the source material made. The chapter on the Fellini segment was particularly interesting, coming at a difficult time in his life, when he’d suffered illness and bereavement and this is explored in detail.
Overall, this is a heavyweight look at this film, perhaps not for the casual reader but if you are a fan of the film, this is unquestionably the definitive look at it.
You can order a copy here.

Wanderings With The Fae No.2. The Lost Cottage.

Wanderings with the fae. A photographic journal of places of atmosphere, folklore, history and strangeness, found on my travels around Ireland.

Sometimes you find things totally by accident. Sometimes these places have a greater resonance than those you visit deliberately.

Sometimes you wander deeper into the woods than you meant to, but something calls you on.

When the path into the woods becomes narrower, thinner, wilder, and just at the point when you wonder should you turn back, something catches your eye through the trees.

Miles from any road, from any other inhabitation, the lost cottage sits in a clearing.

As a chill atmosphere filled the air, I could only imagine who lived there last, who left it to succumb to the whims of the forest. I walked away with more haste than I arrived.

Sometimes you can never find these places again, sometimes there is a reason for that…………

(Photography by Jackie Taylor. An unknown location somewhere on the Mayo/Sligo border. Winter 2016)

Wanderings With The Fae No.1. Achill, pirate queens and folk art graves.

Wanderings with the fae. A photographic journal of places of atmosphere, folklore, history and strangeness, found on my travels around Ireland.

Achill Island is a place of remoteness, wildness.

Carrickkildavnet Castle has stood guard over Achill Sound for near 600 years. Once the home of the infamous pirate queen, Grace O’Malley.

Kildownet Graveyard contains the ruins of a chapel thought to have been built by the pirate queen herself. Sitting right on the coast, it seems that one good storm could take some of those interred to a far deeper, wetter grave.

What makes Kildownet so special is It’s number of folk art gravestones. These simple markers, cast from concrete and decorated with stones, broken glass and shards of pottery are far more poignant than any grand tomb.

And I still haven’t found anyone who could explain to me what being a "Mystical Midwife" entails!

(Photography by Jackie Taylor. Achill Island, County Mayo, August 2017)

The Wyrd Kalendar – Spectral Fields Mix 2

The Kalendar Host has been reading.

He has found himself lost in “A Year in the Country – Wandering Through Spectral Fields” by Stephen Prince. This incredible work has inspired a new journey out of the Kalendar Heath and across these Spectral Fields to discover music, ideas, stories, folk horror jaunts, hauntological treats and nostalgic terror.

This is the second of four mixes dedicated to this new book. This mix explores chapters 14-26 through music, sound and key extracts, acting as an accompaniment or, if you will allow, an aural appendix.

Buy the book here: https://www.amazon.co.uk/Year-Country-Wandering-Pastoralism-Hauntology/dp/0957400721

Discover the delights of Broadcast, Cat’s Eyes, Virginia Astley, Brian Eno, Kate Bush, Jim Williams, David Colohan, Howlround, Keith Seatman, Loose Capacitor, The Twelve Hour Foundation, Shirley Collins, Stealing Sheep, Leyland Kirby, David Sylvian, Fairport Convention, Roy Redmond, Nirvana, Luke Haines, Tim Hart and Maddy Prior.