United Kingdom

I got into puppetry when I was quite young, inspired by the numerous trailblazing films of my childhood. I was incredibly lucky to grow up when I did, animatronics was a growing art form and movies like The Dark Crystal blew my mind, the extraordinary creatures on the screen both terrifying and enthralling me.

I started to try and make my own characters, learning by my mistakes and reading or watching anything that could help me. A bit of hard work and a lot of luck later I spent time with Jim Henson's Creature Shop and being phenomenally jammy, then trained as a muppet puppeteer. That, as they say, was that.

I normally work, day-to-day, as a voice artist and actor, providing characters for various cartoons and adverts, but I've been privileged to work on a number of amazing TV puppet shows over the last 20 years. However I should state right now, I'm no expert. Puppetry is a broad umbrella term for many disciplines, I wouldn't have the faintest clue what to do if I was asked to use a marionette... yet there are puppeteers who can take a puppet suspended on strings and move it in a way that will have you roaring with laughter one minute and weeping the next. Even within TV puppetry, there are performers who floor me with their skill, so day-to-day I am constantly learning and that's one of the most rewarding aspects of the job.

So what was Yonderland like? Challenging, exhausting, but most of all, fun. Film making is not a quick process, the hours are long and there is an awful lot of time in between bouts of filming whilst the camera crew, lighting, sound, props, set dressers, puppet team and most importantly director finalise a shot. Every department works incredibly hard, the puppet team having to constantly maintain and care for the puppets, as well as making miniature costumes and props as and when they're needed.

The sets for Yonderland were amazing, but also on the floor. That's sounds obvious, but ordinarily sets that involve puppets are built four feet off the floor. This means that to get out of shot when puppeteering say, Elf, you have to sit on the floor, but Elf also has real hands... that's a second puppeteer behind the first, holding their hands up either side of Elf and gesturing along with Elf's dialogue. Now because you're sitting on the floor getting out of shot, you can't really see what you're doing, so small monitors are placed on the floor showing what the camera can see. This is how you make sure the puppet is looking in the right direction or that your head beneath camera isn't drifting up into the shot. Suddenly though, you're taking up a lot of room and actors are having to work with and around you. If Elf has to walk with Debbie, both puppeteers have to be on small circular seats with wheels called 'Donuts'. Again that can get really tricky for the puppeteers and the actors working with them. In the Town and Forest sets, huge paths had to be swept clear for the 'donuts' to roll smoothly alongside 'Debbie', with monitors placed at points along the path for us to see, adding time and complexity to each set-up. We were lucky on Yonderland as Martha Howe Douglas, Laurence Rickard, Simon Farnaby, Ben Willbond, Mathew Baynton and Jim Howick were incredibly accepting and supportive of the challenges involved. Martha especially had the most interaction with the puppets, but treated them and us as equals, always doing what she could to make our lives easier.

Yes, Yonderland was hard, with only four puppeteers and generally a puppet in most scenes you were constantly busy, problem solving all the time. But that was true of everyone involved, striving to make each scene as good as it could be and the effort involved I think really comes over in the show. Our wonderful director Steve Connelly, constantly drove us his infectious energy, skill and big booming laugh keeping everyone's spirits up when people started to flag. That sense of fun was all over the studio and the family that was created for Yonderland was a happy one. It was an amazing thing to have been a part of.

If after reading this, you fancy having a go at puppeteering, do it. Grab a sock, stick two ping-pong balls on the top for eyes and draw on some pupils with black marker pen. There. You've just made a puppet. Pop it on your hand and try it out in front of a mirror, count from one to 10, remembering that the number seven has two syllables... that's a double mouth movement. Play with voices and generally have fun, after all if you're not enjoying yourself, what's the point.

Yonderland season one is available to own on DVD now.

I have travelled quite a bit but this is my first time in Africa and Chelsea feels very far away. I feel immediately at home.

A trip to Ghana showed me how easy it can be for us not to think about people living in poorer countries and about the farmers who grow so much of the food we eat.

We can instead get completely wrapped up in our own lives, friends and family over here - I know sometimes I'm guilty of that myself. So I decided to visit banana and cocoa farmers with Fairtrade and understand more about it. We hear so much about ethical shopping and see the Fairtrade Mark on so many products I wanted to know why it has grabbed everyone's attention.

I have been an active supporter of Fairtrade for a few years. I'm one of the generation who learnt about Fairtrade at school so I feel as if I've grown up with it in a way. I've always thought it makes simple sense - to make sure farmers and farm workers are paid a fair price for their crops. I wanted to meet them and their families to understand why this is so important.

After landing in Ghana, It was fascinating to travel through the lush green countryside to meet women cocoa farmers who belong to the Kuapa Kokoo co-operative. Banana, date and palm trees dotted the landscape. It's all really beautiful. We arrived at the village of Ntinako Society in the Kumasi region and were greeted by a large group of women waiting for us under as shaded area covered with corrugate iron. I was really excited to visit their farms and talk things through with them. These really are the people at the very heart of Fairtrade.

cheska hull

Cheska in Ghana on her trip visiting Fairtrade farms

What I hadn't expected was how moved I felt when I talked to them. I got a real sense of how strong the women were. They seemed united together and ready to take on anything life threw at them. They were really inspiring. And they were a real community. It was all very different from life in London where many people don't say hello to their neighbours.

Women over here are known to love chocolate and what's interesting is that they are very important in the process of growing cocoa as well, farming and processing the cocoa pods. Their contribution is sometimes not properly recognised and the men in the households often keep hold of the money made. But the women's group is helping the women to gain confidence and stand up for themselves.

It was amazing to see how much independence Fairtrade has given them. Some are widows, some single, some married. Often women in Ghana are not allowed to own land but through Fairtrade and the Kuapa Kokoo these women have had the confidence to fight for their own plots or to earn extra money in other ways, such as making soap and beautiful batik cotton which they sell at the local market.

Secondary schools are fee paying and many of the women had had very tough financial choices to make. The women's group helped them have the strength of mind to make the decisions which were right for them and their families.

I learnt how chocolate is made. Before this I probably thought chocolate grows on trees and in one way it does as the cocoa pods are cut down from branches. Then they are opened up and the cocoa beans are removed and fermented in piles and dried on the ground. It is a long, tricky, skilful process, all carried out in searing heat.

We then travelled further to the south of Ghana to visit Fairtrade banana farms on the banks of the Volta River - Volta River Estates Ltd (VREL). This was a much bigger operation but equally fascinated and equally hard work in tropical temperatures. I learnt about how the 'mother' banana plant is chosen and deemed to be the top quality one of the batch and how a daughter plant and then a grand-daughter plant are grown from the mother. The women rule in the world of bananas!

Most of all I learnt about the friendliness and warmth of the Ghanaian people and how Fairtrade helps change communities. As well as guaranteeing a fair price for the harvests, the farmers and workers organisations get paid an additional premium and everyone votes on how this should be spent. Clean water supplies are a big favourite for obvious reasons. So is good education for their children and free healthcare. The workers at the banana farms felt a huge sense of achievement that they had managed, through the premium, to pay for health insurance for their families too. There is even maternity pay for the banana workers whose Fairtrade bananas can be found in Sainsbury's and Marks & Spencer.

Kuapa Kokoo owns a big chunk of the UK company Divine Chocolate which we enjoyed during our trip. My favourite was the salted caramel. Look out for this and Fairtrade bananas because as well as tasting delicious you'll know that my lovely friends grew it and it's full of Fairtrade sun!

To support Fairtrade Fortnight's campaign to make bananas fair and sign the petition, visit stickwithfoncho.org.uk

Remember the pop classic 'It's Raining Men' by the Weather Girls? Did you join the campaign to get it to number 1 following a UKIP member blaming the bad weather on gay people?

This statement, however ridiculous, fused music and the LGBT community in a campaign to demand equality. Throughout the decades popular music has highlighted and influenced our attitudes towards LGBT people. Music has the quality of being both unifying and controversial.

Unifying in the sense that every Thursday night my family would sit around the TV to watch 'Top of the Pops' and then controversial when in 1982 we couldn't agree on the gender of Boy George when we saw him performing 'Do you really want to hurt me'.

The 1980s were my decade of discovery of ambiguous gender identities and orientations. I discovered Bowie, David Sylvian, Bow Wow Wow, was transfixed by Live Aid, directly affected by the teachers strike and immersed in Morrissey and Billy Bragg lyrics.

However, before my 80's political awakening, pop music had already caused controversy through the birth of 'Disco'. Dorian Lynskey writes in relation to the 1969 Stonewall riots and birth of the Gay Rights Movement ('33 Revolutions Per Minute'):

"For the early practitioners and fans of disco, the party was the protest: both a message of resistance and a better society - one where race and sexuality were no longer obstacles but reasons to celebrate."

When I became a music teacher, I took this protest into the classroom firstly because we have to study 'disco' for GCSE and secondly to use music to introduce Black History Month, Women's history month and LGBT History Month. I still use protest songs and songs of oppression to highlight LGBT, Black and Women's struggle, the Stonewall Riots and the Suffragette movement through Blues music and with tracks such as 'March of the Women' and 'Smalltown Boy'. Music has the ability to resonate with our young people in a way that politicians simply do not. More recently The XX said, "We unconditionally support the equal right to marriage regardless of sexuality" when their music was used by a Croatian anti-gay marriage organisation.

Disco continued its political message when Bunny Jones stated 'I'm Gay' in the song 'I Was Born This Way' (released 1975). She wrote the track in response to the homophobia and transphobia being suffered by her mostly 'gay' employees in the beauty industry. This was swiftly followed by the Tom Robinson Band in 1976 who sang 'Glad to be Gay' as an anthem for the Pride parade in London.

Pride will always be a protest until we have educated hearts and minds and created institutional change in all our schools and workplaces. After studying our 'hidden histories' project Year's 8's at Stoke Newington School held their own 'mini pride' by marching around their local park with banners, drums and brass band to riffs from 'Karma Chameleon' and 'In the Navy!' The reaction from the public was immense. A man in the park had tears in his eyes. He told me "I never thought I would see the day when young people would march for LGBT rights, I was in the Gay Liberation Front and on the first London pride march in 1970"

In 2014, we still see homophobia and transphobia existing in the music industry through twitter arguments. However, at the same time we see a surge of stars 'coming out' or identifying as LGBT, like Frank Ocean, RoxXxan, Mykki Blanco, Zebra Katz, Angel Haze, Naechene Valentino and QBoy. Having such visible role models is changing the attitudes of our young people; creating a 'usualising' effect where being LGBT becomes an everyday occurrence. This strategy subsequently eradicates homophobia, biphobia and transphobia.

Continuing our efforts to promote a preventative approach by 'usualising', a teacher in North Carolina was suspended after showing a group of students the video for Macklemore's 'Same Love,' a song that supports same-sex marriage. The school deemed the video 'inappropriate'. In the UK the action of the school would be deemed 'inappropriate'.

In all of my musical, equality and advisory roles, music continues to be a key tool in eradicating discrimination. In all our annual 'Educate and Celebrate' school showcases, students and teachers use music extensively through LGBT anthems, music by LGBT composers and equality songs written by our young people. Turves Green Girls school released an EP of 4 LGBT songs they composed for an LGBT History month project with their singing teacher Vix from Fuzzbox. The title song 'Say it Loud' is our charity anthem for 2014. Please support by downloading the EP.

Past showcases at the Emirates Football stadium, Stoke Newington School and the Birmingham Library Theatre have featured LGBT opera singers, The London Gay Men's Chorus, The L project, cast of Rent along with numerous performances of LGBT songs such as 'Don't Stop me Now', 'Over the rainbow', 'Life on Mars', 'I am what I am', 'For today I am a boy', 'Walking on sunshine', 'Viva La Diva' and many more compositions by the students themselves. There is something very affirming when we hear the words, melodies and voices of solidarity from our young people, there have been many tears shed! Films of all of our music showcases can be seen here. The next showcase will be in the new Birmingham library on 26 February 2014 at 6.30pm.

Music will continue to move, motivate and divide us. It will infiltrate our brains, make us cry, laugh and dance and most importantly unify us on our journey to equality, with young voices on board we cannot fail.

My own musical journey has led me to The Fourth Choir, a semi-professional LGBT chamber choir of which I am proud to be a member. Join us to celebrate the last day of LGBT History Month 2014 on 28th February with songs of 'Love and Adoration' at the beautiful Old Finsbury Town Hall.

LGBT History Month is urging everyone to celebrate LGBT musicians and music during February 2014 - 'who can live without it, I ask in all honesty, what would life be?'

For information on training, resources and consultancy go to Elly Barnes at www.ellybarnes.com 'Making all schools, local authorities and workplaces LGBT friendly'

Copyright Jasmine Dotiwala

Arts and culture mystros have always liked to juxtapose various arts to create new moments.

The art of ballet brings together classical music, dance and staged sets. Gymnastic acrobats and outdoor architecture formed the free running art of parkour. Last month I attended a recital of poetry from young, inner city youth amongst the Turner painting at Tate Britain called Poetry Luv. This month BLAZE at Londons Peacock Theatre shows hip-hop dance alongside graphic set designs. This past week I attended the UK premiere of Pixar in Concert at the Royal Albert Hall which brings together ground-breaking animated films beloved by children and adults alike, with the music that is in these animated movies-but performed live.

From Toy Story to Brave, animation powerhouse Pixar has redefined the cinematic landscape over the past 19 years, creating gob-smacking movies, but amidst the visual wizardry, one aspect of the movies that sometimes get overlooked is the music that punctuates all the animated action.

No longer. The UK premiere of Pixar in Concert at the Royal Albert Hall brought an audience from all walks of life and those timeless scores to magical life, with a show combining stunning footage from all 13 Pixar films (which have all been written by just four composers!). With live accompaniment from not just any band, but the nearly 100 strong members of the (RPO) Royal Philharmonic Concert Orchestra!

The acoustics at the Royal Albert Hall are incredible, and if you're a music fan you must experience a live orchestra here. Just watching the world famous conductor Helmet Imig in action was mesmerizing.

If I told you we were going to watch movies and a live orchestra simultaneously, you'd probably think that a little strange, but the way the show was set up was absolutely perfect and the audience were able to experience both, to form a brand new genre of animated music.

Celebrating the music from films like Toy Story, Cars, Finding Nemo, Wall-E and Up, the soundtracks always began with the orchestra for a few seconds before the visuals appeared on the giant central screen above them. The difference of course is that there are no character voices or dialogue from the films, so we were viewing simple pictures and breathtaking sound.

Our host, presenter Will Chitty, occasionally popped up to introduce the next piece to wet our appetites with helpful information. For example, when he described the first five minutes of Up as being all about relationships being full of promise and a total tear jerker as it unites every emotion and journey through a lifes relationship.
And yes, by the time the RPO had completed that piece, including the wondrous tinkling of piano keys as hundreds of balloons lift up the old mans house after he bade goodbye to his lifes love, we all had a lump in our throats. The power of music to evoke emotion in action.

John Lasseter, the chief creative officer of Walt Disney and Pixar Animation Studios explained

''one of the most important elements of all Pixar films is emotion and it's the music that gives our films their underlying emotion''.

We all know that when someone begins a sob story we all bring out the imaginary violin and play it on our shoulder, or when you have a eureka moment or great idea the imaginary triangle goes ''ding!'' in your mind.

Animation and the music that go alongside them have a deep-rooted love in our memories of early childhood. But when watching the orchestra alongside the animation live, you truly realize the art that goes into making a film lover feel emotions such as suspense, humour, exhilaration, fear, doom and relief as the characters we love play out their story.

As a TV maker, It made me want to go behind the scenes and understand how great composers like Randy Newman, Thomas Newman, Michael Giacchino and Patrick Doyle write music to match film narratives. It made me wonder at the incredible technique and mastery of music and story telling a composer must have to write and fit audio to soundless images.

John Lasseter agreed

'' one of my favourite parts of the film making process has always been the scoring sessions where the music for the film is recorded with a full orchestras. I can't tell you how many times I wished we could share it with more people. Now with Pixar in Concert we can. This show is a wish come true for me!''

The moments we see hundreds of fish gliding through cartoon water escorted along by harps and string quartets, and the musical instruments that composers match to their journey is fascinating. Similarly when legions of mice in Ratatouille scurry along guided by marching drums and percussion, or characters in Up fly soar high accompanied by lone flute and clarinet solos.

Other moments such as driving through a long dark tunnel to exit into the daylight, to the unexpected delightful view of a dramatic waterfall and the euphoric dramatic score that brings that moment to life. We might not acknowledge it whilst watching a movie but watching the RPO perform live was a whole new recognition of the way music breathes life into animation.

One of the opening sets kicked off with a Finding Nemo tranquil underwater track, combining flutes and guitars. It was so beautiful I had my own eureka moment as I decided there and then that if I ever had the option of choosing a piece of music to die to, this was the piece I'd want to hear on my final journey.

The classic animated films are embraced by young and old alike and collectively the music from these 13 films has won three Academy Awards and ten Grammy Awards. I've always had a healthy appreciation for the art form, but never been a huge animation film fan.

However, just sitting there experiencing this incredible event was enough for me to now go back and watch all these works of art properly in the next few weeks. At the end of the night, when each section of the orchestra rose to take their bows, I clapped hard with a whole new found respect for these people that are involved in making these amazing works of art.

As well as a Dublin date, Pixar in concert is happening globally all throughout 2014. If there's any way you can make this a date I guarantee you wont regret it.

It's a moment in life you'll remember forever.

What do you get when you put Ralph Fiennes, Owen Wilson and Jason Schwartzman together in a picturesque mountainside hotel, amongst a large ensemble cast of even more famous faces? The answer isn't just big screen magic, it's itchy feet. The Grand Budapest Hotel, Wes Anderson's latest kooky cinematic offering, takes a look at the dizzying world of a 1930s concierge who's wrapped up in a scandal involving a murder, a theft and a very bitter family. Ok, so it may not sound like the stuff of holiday brochures, but the film will honestly leave you wanting to check into a little corner of eastern Europe yourself. Here's why...

Credit: Fox Searchlight Pictures

Those snowy landscapes look picture perfect

So you were already feeling a little misty-eyed for a mountain holiday after seeing the Winter Olympics, but here comes an even more tempting scenario: celluloid-perfect snow views without the scandal of Sochi. Plus - SPOILER ALERT - there's even a nod to the Winter Olympics later in the film. What more could you want? Well, add in a funicular mountain railway, the chocolate box town of Nebelsbad and acres of pine forest and you'll be half way to seeing the charm of Zubrowka, the fictional country where the film is set. Director Wes Anderson actually shot most of the film in the German town of Görlitz, close to the border with Poland, as it had the fairytale feel that he wanted to capture. You might get a sense of déjà vu, as Görlitz has been seen in many other films, such as The Reader and The Book Thief.

Credit: Fox Searchlight Pictures

A little old-fashioned five star luxury sure blows away the cobwebs

This is no modern hostel holiday or budget hotel chain adventure - we're talking bespoke decor, silver service, purple uniforms and the attentions of a lobby boy named Zero with a pencil-thin moustache (played by newcomer Tony Revolori). The heyday of the hotel is in the 1930s, when the bulk of the film is set, and when Monsieur Gustave H. (Ralph Fiennes) rules the roost as the all-seeing, all-knowing concierge who has a way of charming each and every guest - particularly older ladies on their winter getaways. Whereas today we often cut back on luxuries when it comes to travel, with some hotels not a million miles away from the conditions in the film's prison scenes, The Grand Budapest Hotel reminds its viewers that some things are worth paying for to make you feel extra special - like staff who actually want you to be there, and take the time to greet you.

Credit: Fox Searchlight Pictures

Everyone knows that calories eaten on holiday don't count

One recurring prop in the film, so prominent that it should have an acting credit, is cake. Specifically, cake from Mendl's, a fictional bakery offering up sugary sweet concoctions at the drop of a hat, made by Agatha (Saoirse Ronan). The distinctive pink Mendl's boxes can be seen throughout the film, even making their way into prison at one point. You'll leave the cinema probably full of popcorn, but still craving more sugar... specifically, the kind of stuff you can eat practically guilt-free on holiday. In reality, you could always swap Mendl's for some of the finest bakeries in Europe, by heading to Paris, Vienna or Krakow - just be prepared to bring elasticated trousers in your suitcase if you're really going to indulge.

Credit: Fox Searchlight Pictures

The concierges have better connections than Mark Zuckerberg

Look out for the little crossed key lapel badge donned by Monsieur Gustave H. and his fellow concierges in the film - this is the sign of a society that goes beyond the film world and stretches into reality. The Society of the Golden Keys has been bringing top hotel staff together for over sixty years, firstly in the UK and now in 35 different countries, including France, India and Malaysia, allowing them to pool their resources and deliver the very best service to demanding guests. Imagine being able to ask a concierge for practically anything on a whim, knowing it could be delivered to you - from a tourist experience to a specific type of food. You'd never settle for second best again...

The Grand Budapest Hotel is released in cinemas on 7th March. You won't need your passport to see it, but you might want to be prepared for the travel urges it'll inspire.

Jake Bugg's debut single 'Trouble Town' landed in my inbox just over two years ago. His unforgettable vocals carving a uniquely memorable imprint amongst the chaos of mediocrity that can sometime clutter up my hard drive. It was clear his future was laid out for him and he was just seventeen years old.

Jump forward to 21st February and Bugg sits confidently at the centre of London's Royal Albert Hall as he headlines the first of their 'Albert Sessions'. A sultry focal point in a building that could narrate it's own rich storybook of musical history. After watching Bugg tucked away on a tiny stage at Bingley Music Live he looks just as relaxed today as he did back then.

Starting off his set acoustically sat down with the first in a relay of guitars that seamlessly appear throughout the evening. He mixes up tracks from his self titled debut album with more recently Rick Rubin produced 'Shangri La'. Stand out tracks 'Me and You', 'Storm Passes Away' and 'Trouble Town' form part of a chilled out medley before he is joined on stage by Communion Records signing Micheal Kiwanuka. Two artists perfectly matched in an industry that could have supported them both half a century before now. They light up the Royal Albert Hall with 'Worry Walks Beside Me' and 'Tell Me A Tale' before Bugg brings on his band and shifts up the tempo and drops the lights. 'Two Fingers', 'Simple Pleasures' and 'Taste It' get the seated crowd dancing and the dancing crowd throwing the occasional pint and jumping up on one another's shoulders.

As the opening drums and heavy chords to 'Kingpin' bounce off the Halls circular walls, Bugg welcomes The Smiths and Morrissey's very own Johnny Marr to join him. Seeing these two artists perform together transcend generations and side-step time. Bugg holding his own along side an artist who walked the rock and roll path many years before him. Showing that age has no meaning when squared up to with maturity and confidence.

The encore sees Bugg perform 'Broken' with a choir that perfectly highlights his vocals without over shadowing his performance. The night closes as he casually yet confidently leads Johnny Marr and Michael Kiwanuka with 'Lightning Bolt' to an upstanding Royal Albert Hall. Proving just why he is here to last the duration and stand shoulder to shoulder with some of the artists that have helped to build the music industry as we know it.

Born on this day 25 Feb 1943, George Harrison guitarist and vocalist with The Beatles, the world's most successful group.

There is so much to say about Harrison; he achieved so much in his post-Beatle life. George was the mastermind behind the first major musical live fundraiser with The Concert For Bangladesh.

Many critics say that his 1970 triple album All Things Must Pass is the finest solo Beatles effort. It is a great body of work which, with the release of the worldwide hit My Sweet Lord, well and truly established Harrison as an equal to Lennon and McCartney.

By the end of The Beatles, George had accumulated hundreds of songs, many of which found a home on All Things Must Pass. He went on to make another eight solo albums during his career.

Harrison had formed a close friendship with Eric Clapton in the late 1960s, and they co-wrote the song Badge which was released on Cream's Goodbye album in 1969. Harrison also played rhythm guitar on the song. For contractual reasons, Harrison was required to use the pseudonym 'L'Angelo Misterioso,' meaning 'The Mysterious Angel' in Italian.

George became an accomplished gardener; he restored the English manor house and grounds of Friar Park, his home in Henley-on-Thames. Several Harrison videos were filmed on the grounds, including Crackerbox Palace. In addition, the grounds served as the background for the cover for his 1970 triple album release All Things Must Pass.

He employed a staff of 10 workers to maintain the 36-acre (150,000 m2) garden, and both of his older brothers worked on Friar Park as well. Harrison took great solace working in the garden and grew to consider himself more a gardener than a musician; his autobiography is dedicated "to gardeners everywhere."

George had standout tracks on every Beatles album from Revolver through to Abbey Road: Taxman, Within You Without You, While My Guitar Gently Weeps, Here Comes the Sun, and Something (which is the second-most covered Beatles' song after Yesterday). Harrison was quoted as saying that his favourite cover of the song was James Browns', and he kept Brown's version in his personal jukebox.

On 29 November 2001, former Beatles guitarist George Harrison died in Los Angeles of lung cancer, aged 58. George was the youngest member of The Beatles (16 when he joined).

Olivia Harrison said of her late husband, "There was a quote by the Indian poet Tagore that George read to me one day that said, 'Blessed is he whose fame does not outshine his truth.' And I think it's safe to say, that, despite his immense fame, his truth will never be out-shined or forgotten."

Eric Clapton said of Harrison, "He was just a magical guy. He would show up with his guitar and come in and you'd start playing. He started to sing, would start to sing Here Comes the Sun."

I could be wrong, but in another world, where John Lennon wasn't murdered and George didn't die, would The Beatles have ever got back together? Lennon and McCartney had become friends again, but George was still the dark horse. You know the multi-million dollar offers would've been on the table, but you know what? I don't think George would've done it. And I think that would've been the right decision. Let it be, as all things must pass.

The idea that success comes more easily to some than others, has always made me laugh. Anybody who has reached the pinnacle of their chosen profession has had to work hard for it and you can be sure that somewhere along the line they felt like quitting.

I know this because I've been there. I was the kid from a council estate in South Wales who went on to become a two weight world champion. I had 46 professional fights and I never lost. But that wasn't down to some god given talent or good fortune. I trained like a champion from the age of nine. It was hard, brutal at times, but I knew that boxing was my salvation. I know that sounds a little corny but it's the truth.

I grew up in a tough area. My family had very little money and there were very few opportunities for youngsters back then. It was 1972 remember - I'm older than I look! There were no video games and consoles. You either ended up stealing things and getting into trouble or you got on the right path.

Many of my friends ended up in jail and that could easily have been me but thankfully my Dad bought me a punchbag for Christmas one year and the rest is history.

For me though boxing wasn't just a physical pursuit, something to keep me occupied. Despite the fact I was an ABA champion before most people can tie their shoelaces I was being bullied at school, verbally more than physically, and was struggling to understand myself. As a young boy you take these things to heart and it made me feel rubbish. I became very introverted and didn't have any self-worth.

Boxing became a form of escapism. The discipline and focus began to strengthen my mental resolve. Slowly I learnt to respect myself and to respect others. The friendships I have made through boxing will last forever and I will always be grateful for that.

The sport gave me a life that I would never have had as well as providing me with some unforgettable memories.

I'm not embarrassed to talk about my past. In fact it's something I try to pass on to kids I meet now. That's why I was so keen to be involved with The Supporters Club and its support for charities such as Street Games. The Supporters Club is BT Sport's charitable initiative, it uses the power of sport to change the young lives of those facing some pretty tough challenges. It believes all young people should have access to sport and I wholeheartedly agree.

It is about the change that sport can bring to these young people, teaching them values such as teamwork, discipline and fairness.

The statistics show that kids growing up in high earning households are twice as likely to have these opportunities compared to those from low income families. That just cannot be right. The Supporters Club has given a grant to the charity Street Games to help them continue their amazing work in bringing sport to youngsters everywhere - and this deserves huge praise.

I witnessed first-hand the joy local sport can bring to kids from disadvantaged backgrounds. Kids that could almost be me if you rewound the clock 30 odd years. I met some of the youngsters who train at St Joseph's gym in an area of Newport that has, like so many parts of the UK, had its fair share of challenges. The gym is part of the Street Games network; it aims to help youngsters back into education and employment through sport as well as providing somewhere they can go anytime to let off some steam.

The youngsters and club ended up coming to my gym and despite it being five years since I stepped through the ropes - I made the bold decision to allow the kids a few potshots at a former world champion!

My dad Enzo, a brilliant trainer who guided me every step of the way, played referee as some pretty handy young boys and girls tried to knock my head off! I've got to say it was great fun and slowly the old footwork was coming back! They all did fantastically well but two kids in particular caught my eye: Ben and Jerry - they should go into business together!

I wanted to know more about their lives and hear about what boxing had done for them. Both had been bullied at school; Ben's dad, a former boxer himself, spoke passionately about the change in Ben through sport.

This is the very essence of what The Supporters Club is all about: using sport to give youngster more confidence in other areas of their life

It's certainly something I relate to and it was quite emotional for me to hear about their journey. Maybe it struck more of a chord than I realised at the time. I just hope I was able to help them in some small way by opening up about my own problems.

The last thing Jerry said to me was "sparring with the great Joe Calzaghe was the best day of my life". That's a pretty humbling thing to hear and I can honestly say it was a special day for me too.

Watch the documentary and see behind the scenes footage and interviews here

I can't believe it but I'm through to the semi-finals of Dancing on Ice following my solo skating routine last Sunday. It's hard for me to take it in that this is all happening because just two months before I started the ITV1 skating show I was two stone over-weight and seriously out of shape. Back then, I realised that I had to get down the gym fast otherwise I was going to look like Comicbook Guy from The Simpsons in my tight lycra outfits.

I had been on tour eating take-away food and five cans of lager a night and was weighing in at 14 stone. I'm 5' 9" so I can't carry that amount of timber, I had a pot belly and I hated it, but not only was I in the worst shape of my life but I was also about to start the most physically demanding prime-time show on British telly.

So drastic measures were called for, with only eight weeks to go I put myself on a strict Carb tapering Caveman diet and five gym sessions a week.

The caveman diet is so called because it's meant to only include foods that pre-historic man would have access to - no processed foods, potatoes, pasta and bread. The take-aways were knocked on the head and I no longer eat after 8pm, and the fatty meals during the day were replaced with lean meats, fresh steamed greens and brown rice.

I also had a secret weapon in my armory - Forza T5 Super Strength. A couple of these before a morning work-out gave me extra energy and helped with fat burning. Also they are really handy in the early afternoons for a bit of will power if I was craving some snacks.

Dancing on Ice was the kick start I needed, the training is grueling enough- up to seven hours a day - so I wouldn't have got through the first day had not got fit beforehand.

To drop two stone in two months you have to be really committed to at least five gym sessions a week, but this is pretty extreme and you could do it slower and steadier pace with two or three sessions, it's just I didn't have that choice I was going to be on a TV in a matter of weeks.

My diet before

Breakfast: Fried bacon and eggs
Snack: Coke and crisps
Lunch: Pizza and chips/ pre-packed sandwiches and crisps
Snack: Chocolate bar and fizzy drink
Dinner: Chinese or fried chicken take-away with four to six cans of lager

My diet now

The general rule is carbs taper down during the day and protein tapers up.
Breakfast: Bowl of porridge
Forza T5 Super Strength Supplement x two tablets prior to gym session.
Protein shake after work-out with one spoon of peanut butter
Mid Morning snack: Three or four pieces of fruit and handful of almonds
Midday Meal: Steak, green salad and cous cous
Snack: Dried meat biltong
Dinner at 6pm: Lean turkey breast, sweet potato, green veg
Protein shake at 8pm.
Don't have anything after 8pm.

|

My 80-Year-Old dance teacher came to support me

I was really made up this week that my dance teacher Mary came to see me perform. She is 80 years old now and was there for me when I started dancing at the age of eight. It was great to meet up with her and my mum in the bar afterwards to celebrate, I couldn't have done any of this without these two amazing women in my life supporting me all the way.

It was sad to see Kyran go. I really felt for him because he had worked so hard and had to overcome the added hardship of having to break in new boots (trust me, this is not fun at all) and also had a broken foot, bad back but was still knocking out headbangers in his routine. But he was up against Sam Attwater at his best, and he had really brought his A-game on the night.

Now the pressure is on and everyone left - Hayley Tamaddon, Beth Tweddle, Sam and I all desperately want to be in the final - so the tension is going to be intense for this Sunday's show.

Wish me luck and I hope you can see me then, Ray.

Dancing on Ice is on 6.15pm to 7.45pm on ITV1 this Sunday 2 March

Bananas - we love 'em! When I was asked to go to Ghana 12 years ago to visit some Fairtrade banana farms, I thought, "They must know I am a well-known collector of the stickers that you get on banana skins." I've got more than ten now...

Now, twelve years on, I am supporting the Fairtrade Foundation's call to 'Stick with Foncho'. Foncho is a banana farmer from Colombia and the face of the campaign to make all bananas fair. I remember from my trip how much hard work goes into growing bananas and what a difference a fair price can make to the communities out there. I have created my own personalised banana sticker at stickwithfoncho.org.uk to show my support for Foncho and other bananas farmers.

Bananas are the most popular fruit in the world. In the UK we munch our way through more than five billion a year and one in three of them are now Fairtrade. That means two thirds are not fair bananas.

It would make sense that such a big industry with such a popular product would be profitable for everyone involved in producing and supplying the market, but this is not the case. In fact, bananas in the UK are priced at a level that is not really profitable for retailers or the companies they buy from and so there is enormous pressure on keeping costs low along the supply chain. And with millions of tonnes of the fruit traded, even a few pence taken off the cost of a kilo amounts to a great deal of money.

As a result of this, small farmers and workers like Foncho - in Latin America, the Caribbean and Africa - are not seeing a fair return for their hard work in growing the fruit. Instead they face an ever-tightening squeeze on their living standards, year after year, trapping them in a bigger and bigger cycle of poverty.

Retailers and banana companies have locked themselves into the way the banana business is run now, and tens of thousands of small farmers and workers live daily with the consequences of a failed banana market.

The reality is that many can't afford to put enough food on the table for their families or provide basics such as education and healthcare.

The Fairtrade banana farmers I visited in Ghana twelve years ago have since built schools, clinics, health insurance and much more with their Fairtrade premium - thanks to the hard work and dedication of farmers together with the shoppers over here buying Fairtrade. But, more importantly, the workers feel empowered knowing they are selling their bananas on better terms of trade.

This Fairtrade Fortnight (24 February to 9 March) we're calling on the government to work with supermarkets to treat all banana farmers and workers fairly. Go to the website stickwithfoncho.org.uk to sign the on-line petition. You'll also find instructions about making your own personalised banana stickers to brighten up the banana aisles in your local supermarket, asking everyone to "Stick with Foncho to Make Bananas Fair".

Please join me and show your support for Foncho and his fellow banana farmers.

Jyoti

Jyoti means "light "or "flame" in Hindi and in the Sanskrit, "celestial brilliance". It is also the first name of a 23 year old young women, Jyoti Pandey Singh, known in India as Nirbhaya, who was pack raped and reportedly eviscerated by one of her six attackers on a cold night in Delhi, 16 December 2012. She had gone with a friend to an early Sunday evening movie session and they were simply trying to go home. She succumbed to her injuries some 13 days later.

Just before the first anniversary of her death, I found myself in Delhi with fellow filmmaker Bruno Acard making a music video in English and Hindi of a song inspired by these tragic events entitled Shine a Light and Navjyoti ki Oar.

Jyoti as a Catalyst

What happened to this girl was horrible and is unbearable to read and to hear. India was seized by a wave of revulsion, as was the rest of the world. I was in Delhi shortly after these events and read, heard and saw detail, too much detail and found it incomprehensible. I was struck by the sadness, the anger and the incredulity of people, this in a place where papers print on a seemingly daily basis reports of rape and violence toward women and children.

For many people, Jyoti's attack was a catalyst, a line in the sand in its sheer barbarity and awfulness. Huge demonstrations ensued, public statements for change were made and blame was apportioned -to western influences and, incredibly, at times to Jyoti herself. The perpetrators were tried and sentenced to death, one suicided or was killed in jail and the minor, reportedly the most brutal attacker, got a sentence of three years. Since then, the dreadful litany of rapes and brutality in India has continued unabated. Womens' insecurity was an election issue in Delhi's December 2013 elections.

What happened to Jyoti stuck in my mind and attached itself to my heart. In a Paris café on a quiet summer afternoon in August 2013 , I listened to a demo of a song inspired by this tragedy. 'Shine a Light' was written by British team of lyricist Mel Barnett with music by William Playle and was written for and is sung by a young Delhi singer, Sagarika Deb. The poignancy of the lyrics and the sweetness of the voice of the singer appealed and seemed right. The version in Hindi, Navjyoti ki Oar, had become an anthem for the Indian NGO for womens' empowerment and education, 'Navjyoti', created 25 years ago by Kirin Bedi.

I thought a video had to be made and listened to in India and indeed the world. I talked to Bruno Acard, a French filmmaker with whom I have collaborated before, and proposed a no frills/ no pay production in Delhi of two versions of the song, in the original English and in Hindi - for Jyoti. We had a two week window in early December 2013 and he took the challeng.

Crowdfunding was intended but the French banking system was against us. The administrative organizer in Delhi let us down and disappeared at the last minute. Ingenuity, our own pockets and those of friends and friends of friends plus an unexpectedly fast approval of the Delhi Police did the rest. "The making of" Shine a Light / Navjyoti ki Oar is a story in itself for another time.

Shine a Light -A music video for Jyoti

How do you make a music video in the era of 'twerking' and sensationalism that has as its inspiration a brutal rape and murder? How do you make it without sensationalism? How do you do it with respect for the humanity of the victim? How do you transmit the intent and the message of the lyrics? Why did we make it?

The last question was the easiest. We made this video because we felt we had to. It seemed evident to us. We wanted to do homage to Jyoti, to the lost life and the truncated promise of her youth. In giving her name to Reuters in early 2013, her father said he wanted her remembered and that there be some sense to the senselessness of what happened to her. Music and moving image are immensely powerful and emotional communicators and we wanted to lend our skills to carry a positive message and a story via music and video. We saw Shine a Light as a story, a visual dialogue between a Boy and his memory of a Girl. The relationship is undefined and the style deliberately low key and personal.

Why Jyoti matters to us

In the book (the only book?) about Jyoti called Courting Injustice: The Nirbhaya Case and its Aftermath, Rajesh Talwar raises very pressing issues for reform of the legal system but also provides some compelling insights into what made this particular incident so disturbing. As he writes, she was every young Indian woman from a poor background seeking to improve her situation and that of her family via education. Secondly, she put up a ferocious struggle against overwhelming odds.

To that I would add it was life interrupted, a light snuffed out randomly, brutally and pointlessly. The Times of India and the Hindustan Times carried a series of articles in the aftermath, extracts of her diary and her last notes to her mother in hospital. She is every young woman -our daughter, our sister and our friend - everywhere. She is not a statistic, not "person x ", not an abstract symbol. She was real, she is our loss and it is personal..

In the process of getting permission to film from the Delhi Police (which they subsequently and rapidly gave), I was asked the curious question "What would be the single most important thing you would do for women's empowerment in India." My answer has changed. After shooting this video in Delhi, it is what I have always taken for granted, the freedom of movement and, as a right, to simply "be" as a woman in a public place without outright danger.

I can't stop seeing their faces Jyoti to wrote her mother. I keep seeing her face and as personified by Sagarika Deb in the music video, she looks back. At us all.

This week's 'On the Street' is as diverse and colourful as the English weather. It has it all- large scale murals, stunning visual realism, vivaciousness and a good dollop of humour. Leading off the review is this outstanding new example of visual perfection by London artistic duo BEST | EVER. The wall is painted as a part of an ongoing project Street Stories, by homelessness charity Depaul , to raise awareness of the difficulties facing disadvantaged young people in the UK facing homelessness.

Aerosol realism carefully blends with traditional techniques and the result blows minds. Take a closer look at the more detailed shots of the work below - the devil is in the detail... Images- courtesy of the artists and Plumms.

Other worthy walls come from David de la Mano in Barcelona, Jorge-Rodriguez Gerada in London, Alex Hornest and Claudio Ethos in Sao Paulo, Reka One, Seth Globepainter, Tristan Eaton and Know Hope for POW! WOW! Hawaii, RAE in NYC and Anthony Lister.

We stay on the realism wave with talented David de la Mano, whose signature highly stylized figures adorned the city walls of Barcelona (part of UsBarcelona Festival) in attempt to beautify and restore the artistic avant-garde public spaces deserve. We think he accomplished the mission of the event...
Images via Martin Santano.

Questioning control on public spaces, well-known artist Jorge-Rodriguez Gerada consciously draws our attention to the often unseen and neglected beauty of our surroundings, blending photo realistic images of anonymous locals and the richness of the urban surface. The result is stunning. (Wall is part of Global Street Art 'Walls Project). Image via monoprixx.

High-level of visual photo-realism and painterly skills come out of this Brazilian collaboration between Claudio Ethos and Alex Hornest in Sao Paulo. Image via elgraffiti.

We cannot but share some of the memorable, large-scale inspiring murals, all done for this year's edition of POW!WOW! Hawaii. Here are some of the best creations, that reinvigorated sunny Honolulu. All images through Juxtapoz Magazine.

First of the line is this giant wall by Reka One, in signature colour palette, followed by a powerful Seth Globepainter's piece, a Tristan Eaton and a Know Hope one.

Seth Globepainter working on his massive wall.

The piece finished.

Tristan Eaton always grabs our attention with the intricately detailed murals, all grasping the Pop and Comics Art aesthetics on a large scale.

Our Hawaiian art review finishes with another mural from Tel-Aviv based artist Know Hope. See what else he did for POW! WOW! here.

After sunny Honolulu, we are back in freezing NYC to enjoy this brilliant urban RAE intervention. Image via Lunapark.

And since it is an end of an eventful week, we cannot find a better ending of our review than Anthony Lister's wise comment on all that matters... or not. Location - unknown. Image via the artist.

Words: Millie Kotseva

There was a moment in the 90s that Cork Street was dead, Jay Jopling opened a gallery in Hoxton Square and many of the best galleries were in Vyner Street. Then David Risley moved to Copenhagen, Whitecube closed down its Eastend headquarters, Modern Art moved to Fitzrovia, and many other galleries followed suit. Top galleries like Gagosian, Zwirner, Pace, etc, opening in the West has firmly positioned these part of London as the cool one; with the exception of Hackney Wick. Now, Notting Hill is gaining momentum and Debut Contemporary has been a pioneer foreseeing new art hubs, and artists, in London.

Debut Contemporary Preview Opening. Photograph courtesy Debut Contemporary.

Samir Ceric, its Founder and CEO, has kindly agreed to respond to the following questions:

1. What makes Debut Contemporary unique if compared with other Art Galleries?

There are a number of differentiating factors between Debut and other art galleries and one of the most obvious ones is the fact that apart from selling artworks by the artists we choose to work with (both online and through our Noting Hill gallery space), we act as an incubator of creative talent, assisting artists to turn their creative practice into a viable business. By joining the professional development and exhibition programme at Debut, artists undergo a real business development process designed to equip them with the tools how to approach their career development as well as achieve a long term career success and financial viability without compromising their artistic integrity. And our gallery space over 3 floors and 1500 square foot area is situated in the heard of West London and Notting Hill and has featured in many major publications over the past few years.

2. What is your background?

I was born in Bosnia to a family of many lawyers, judges, diplomats and entrepreneurs. In 1992, my parents decided to send me to Hampton Court where my English cousins lived and that's how my London and UK journey began. I was educated at Bologna and Sussex Universities, I did Masters in Maths and soon after my degree I did a year of charity work in particular dealing with repossession rights of the families from Banjaluka (Northern Bosnia).

3. Why did you decide to set up the gallery in Notting Hill?

Notting Hill neighbourhood is great; it's full of lovely people living and working locally and it's got some of the most impressive art collections you will ever see. And it has that mix of creativity, great architecture and influence and power. We were very lucky to have come across our current freeholder and building owner Terence Tsakok, who recognised himself in us 20 years prior and took a punt on us letting us set up a gallery space back in 2006.

Sunflower by T. Raymonzrek. Photograph courtesy the artist.

4. What are the major achievements after three years?

I believe it's got to be winning an HCLUB.100 award with the Hospital Club last October. I must say that was totally un-expectable as we were up against some of the biggest establishments in the country and in the world. That would not have been possible without all these wonderful artists we've been working with over the past three years and will continue working with in the forthcoming years. And of course the Debut team and the Debut Board. And that mission of Debut has truly changed many artists' lives.

5. What have you got prepared for the third anniversary?

A big party. We have a fab DJ, a surprise art performance and a lot of great gin-based cocktails. And of course some amazing new artists who have recently joined Debut will be showcasing their works. It's my favourite annual event as it brings back many Debut alumni artists and gives us a reason to celebrate and another 'excuse' to get together and catch up.

6. What is the next project?

A really exciting imminent project is with one of our local schools, Wetherby Preparatory School where Prince William and Prince Harry went to. We will be showcasing the works of Year 8, aged 13 boys which will be a culmination of their 2 years of hard work. The January one was super successful and attracted President of Palais de Tokyo from Paris, Pierre Cornette De Saint Cyr, Mayfair gallerists, top London collectors and critics, investment fund founders hence a real mix of art and business influence, something that Debut promotes and facilitates. There is just so much work to be done and I am very excited about the future and what it holds for all of us.

Debut Contemporary from Debut Contemporary on Vimeo.

Brit Awards 2014

For those who don't know, The Brit Awards are the British Phonographic Industry's annual pop music awards, and the British equivalent of the American Grammy Awards.

My first time at the Brits was truly exciting. It all began with the preparation. I was a lucky girl this year and got it all. From a massage to hair, makeup and nails... you name it!

I was invited by the lovely Liz Cox who designs and creates handbags. The winners of this year's Brits and special guests were gifted with one of Liz's 'Made in England Brit's Bag', and I had my very own especially made for the event.

Arriving to the o2 on a night like this is pretty difficult due to the amount of fans waiting to see their stars, and arriving a tad late and slightly stressed I managed to make it, although a tad late.

The night commenced with an elegant sit down dinner, where I was truly honoured to be surrounded by an incredible amount of talent.

Once dinner was over, the show begun straight away.....

We were introduced to festivities with the opening performance of "R U Mine" by Arctic Monkeys which was indeed done in a triumphant, and true rock style fashion not excluding the fire flames!

James Corden's presenting had it's own highs and lows, the kissing shenanigans with Nick Grimshaw did not flow too smoothly, but he managed to carry on the last of his BRITs presenting stints with gusto.

Highlights on the night included collaborations between Legendary Chic guitartist Nile Rodgers and Pharrell Williams, Lorde and Disclosure, and Bastille and Rudimental (including the very fierce Ella Eyre). It was also an evening of firsts, as the inaugural Twitter vote for the Video of the Year category took place which was won by One Direction.

The Brits celebrates a tiny percentage of musicians with strong industry support, although hopefully next year there will be more opportunity for new upcoming artists to shine too.

Oddly enough this year the night indeed belonged to the old school, in the form of Rock God David Bowie who stole the night from the young guns by not even being there, he's just too much of a legend to even show up.

Thank goodness Kate Moss was there to not only accept his award but to do it in style. She made a short acceptance speech on his behalf which included some Japanese and was indeed the best and most brilliant interlude, together with his closing plea to Scotland "stay with us", which turned out to be the most meaningful and impactful moment of the evening.

This years winners were:

British Group: Arctic Monkeys

BRITs Global Success: One Direction

British Single of the Year: Rudimental, Waiting All Night

British Album of the Year: Arctic Monkeys, AM

British Female Solo Artist: Ellie Goulding

British Male Solo Artist: David Bowie

British Breakthrough Act: Bastille

International Male Solo Artist: Bruno Mars

International Female Solo Artist: Lorde

International Group: Daft Punk

Best British Video: One Direction, Best Song Ever

Critics' Choice: Sam Smith

Now what followed the Brit's this year was the tremendous amount of after parties. So many I had multiple choices, therefore decided to go to several. The Savoy was packed, the atmosphere was vibrant and everyone was in a great mood. Thats all I'll say for that... and the Rock Nation after part in Hakassan with Jay Z and Beyonce was as expected, mind blowing.

I will remember The Brit's 2014 for a very long time!

By Abby Moss

In my opinion, there are two sure fire litmus tests for two distinct types of people. The first is for self-important wankers. This test is: are they rude to waiting staff? If the answer is yes, you're dealing with a bonafide dick head. The second test is for ignorance and all-round intellectual snobbery. The test is: do they think children's books are worthless? If the answer is yes again, you're dealing with an ignorant snob. One who probably knows a whole lot less about literature than they would have you believe.

A recent article criticising JK Rowling has attracted a great deal of undue attention - to the tune of over 600 comments and 4,160 social shares. The opening gambit of said article includes the writer's lame disclaimer that she has never "read a word, or seen a minute" of Harry Potter because: "there's so many other books out there that are surely more stimulating for grown-up minds." I'd recommend Collins English Grammar. A writer capable of stringing a decent sentence together would probably try to avoid blunders like "there is so many". The assumption that children's literature is somehow wildly inferior to 'adult' books (whatever they are) shows a sad underestimation of children, as much as anything else. I'm not going to waste time arguing the literary, and intellectual, merit of the vast and rich collections of children's literature. Most thoughtful people don't need convincing.

Ms Shepherd must be too engrossed in reading Marcel Proust's À la Recherche du Temps Perdu in the original French, to set foot in a book shop because if she did, she'd notice that JK Rowling has not in fact "crowded out everything else, however good, however worthwhile". Last year's Man Booker Prize was won by Eleanor Catton for The Luminaries. Eleanor is only 28 and yet has somehow managed to shoehorn some shelf space next to Rowling. Probably by being a good writer, that'd be my guess. Kate Atkinson won last year's Costa Novel Award, Donna Tartt's eagerly anticipated third novel The Goldfinch appeared after a 10 year hiatus and received rave reviews. As for the newcomers, the poor underdogs forced to take on the "Goglomath" that is Rowling: Alissa Nutting, Gavin Extence, Nathan Filer, Sathnam Sanghera and Adelle Waldman to name just a few out of many who managed (miraculously, if Ms Shephard's grim outlook of the publishing world is to be believed) to get debut novels not only published, but overwhelmingly well received.

Getting noticed as a writer is hard. This is not news. But it isn't JK Rowling's fault. Nor is it the fault of any other writer fortunate enough to enjoy runaway success. Publishing houses need money. Best-selling novelists ensure a steady, large and reliable stream of income. Some of this income can then be used to find and support new talent. New writers will find it much harder to get noticed if all the publishing houses go bust. For industries to continue, they need money and money comes from poplularity and success - even a children's book could tell you that.

Awards Season is a divisive time in the film industry. At a time of celebration and congratulation on the outstanding achievements by leading filmmakers, there will always be discussion of those whose work has been overlooked, controversy over voting strategies, and debates of whether it all means anything at all anyway.

This Sunday the Oscars takes place: the most glamorous and widely watched of them all. And while the winners' names will remain snug inside their golden envelopes for a few more days, one fact is certain: most of them will be men. With no women nominated for Best Director, Best Editor, Best Cinematography or Best Original Score, you can be certain this is no wild stab in the dark.

Though it could be argued that this might not really matter anyway, after all, as Nia Childs of Women in Film and Television asserts

"All awards suffer from a lack of representation of all types, across all the areas of filmmaking. I genuinely believe the real value of awards is for recognising the work of short filmmakers and debut directors in helping to secure future funding for their films."

However, if women aren't getting recognition for their work, where does that leave the question posed by Gloria Steinem in documentary, Miss Representation - "if you can't see it, you can't be it"?

l-r Rachel Hirons, Nia Childs, Gabriella Apicella

So for fun, to make a point, and just because we could, UnderWire Festival and Euroscript joined forces this week to announce some winners of our own. We asked Nia Childs of Women in Film and Television, and Rachel Hirons, writer of the movie Powder Room to join us with their thoughts, and we revealed our own list of nominees and winners, asking people to vote with #WomenTakeoverOscars

Euroscript nurtures screenwriting talent, and is committed to improving the standard of screenplays reaching production. UnderWire, now in its 5th year, recognises the work of women filmmakers in any genre of short film, rewarding achievements in Directing, Producing, Writing, Editing, Cinematography, Sound Design and Composing. Drawing up a list of nominees along UnderWire's own categories demonstrated fairly quickly that, while in a couple of areas, most notably Sound Design and Composing, things are extremely depressing for equality, elsewhere fantastic work by women has most certainly been overlooked.

If a film has been overlooked by awards organisers, it will undoubtedly be overlooked by a cinema-going public, and yet among the list below are some exceptional achievements, omitted from the major awards shortlists, which deserve consideration.

As has been experienced directly by Rachel Hirons with her debut feature Powder Room, whilst every step of filmmaking requires a passionate struggle, even once it has been completed there comes the ultimate challenge of finding an audience. Strong reviews, excellent casting and a searing script are no guarantees. In the competitive world of distribution, with assumptions that only women will watch films about women, a film's success can have as much to do with the marketing budget as it does with quality. Thankfully, Rachel remains both philosophical and inspirational:

"There are a million things you can't do anything about, but if you look hard enough there are a million things you can. Even if that is simply acting headstrong and promoting yourself way beyond what you're comfortable with: pain, embarrassment and everything that goes with it is temporary. Film lasts forever."

We also announced a winner for the XX Award, which is unique to UnderWire and recognises interesting onscreen representations of women. The past year has been exceptional in that regard - though it will be better when it no longer draws comment, and the point does not need to be made that the skills of women should be acknowledged.

#WomenTakeoverOscars nominations. Winners in bold

Best Director
Clio Barnard, The Selfish Giant
Haifaa Al-Mansour, Wadjda
M J Delaney, Powder Room
Lake Bell, In A World
Jeanie Finlay, The Great Hip Hop Hoax

Best Producer
Clio Barnard & Tracey O'Riordan, The Selfish Giant
Signe Byrge Sorensen & Anne Kohncke (with Michael Uwemedimo), The Act of Killing
Sara Woodhatch (with Richard Linklater), Before Midnight
Alison Owen (with Philip Steuer and Ian Collie), Saving Mr Banks
Tracey Seaward & Gabrielle Tana (with Steve Coogan), Philomena

Best Writer
Rachel Hirons, Powder Room
Clio Barnard, The Selfish Giant
Haifaa Al-Mansour, Wadjda
Amy Jump, A Field in England
Kelly Marcel, Saving Mr Banks

Best Editor
Thelma Schoonmaker, The Wolf of Wall Street
Nancy Richardson, Carrie
Alisa Lepselter, Blue Jasmine

Best Cinematographer
Rachel Morrison, Fruitvale Station
Reed Morana, Kill Your Darlings
Natasha Braier, Chinese Puzzle

Best Sound Design
Lora Hirschberg, Enough Said
Gwendolyn Yates Whittle, Oblivion

Best Composer
Laura Rossi, Song for Marion (aka Unfinished Song)
Deborah Lurie, Safe Haven

XX Award (for representation of female characters)
August: Osage County
Wadjda
Powder Room
Blue is the Warmest Colour
The Hunger Games: Catching Fire

Submissions are now being accepted for the 2014 UnderWire Festival

Euroscript run regular courses and workshops as well as feedback services.

Powder Room is being released on DVD on 31st March.

Born on this day 26 February, 1932, was Johnny Cash.

I can't think of anyone apart from Elvis who has had such an influence and hold on musical culture for over 40 years, the singer became an imposing and influential figure. Johnny Cash didn't sound like county music from Nashville, nor did he sound like a rock & roll singer. He created his own subgenre, halfway between folk, rock & roll, and the world-weariness of country.

Born in the town of Kingsland, Cleveland County, Arkansas, to Ray Cash, a farmer, and Carrie Rivers Cash, who at the height of the Depression, took advantage of a new farming program, an experiment in American Socialism created by Roosevelt's new administration. With no money down, the Cash family was given 20 acres of fertile bottom land and a five-room house in Dyess Colony, in the northeast part of the state.

At the age of 12 Cash began writing his own songs inspired by the country songs he heard on the radio. He graduated from high school in 1950, moving to Detroit to work in an auto factory and then with the outbreak of the Korean War, he enlisted in the Air Force. While he was in the Air Force, Cash bought his first guitar and taught himself to play.

When Elvis Presley's debut single was released on Sam Phillips' Sun Records, Cash eager to get into music moved to Memphis, taking a job at the local Chevrolet dealership, near Sun Studios on Union Avenue.

It was while working here, Cash was introduced to Luther Monroe Perkins and Marshall Grant who were guitar pickers who, with steel guitarist A.W. 'Red' Kernodle had the group The Tennessee Three. Cash started to rehearse gospel songs with them and soon found themselves playing at local parties and church socials - all dressed in black.

This was 1957 and Cash also made his Grand Ole Opry debut that year, again appearing all in black where the other performers were decked out in flamboyant, rhinestone-studded outfits. Eventually, he earned the nickname of "The Man in Black."

As his career was taking off in the late 1950s, Cash started drinking heavily and became addicted to amphetamines and barbiturates. Cash used the uppers to stay awake during tours. Friends joked about his "nervousness" and erratic behavior, many ignoring the warning signs of his worsening drug addiction.

His signature songs include I Walk the Line, Folsom Prison Blues, Ring of Fire, and Man in Black. He also recorded humorous numbers, including One Piece at a Time and A Boy Named Sue; a duet with his future wife, June Carter, called Jackson, (which won them a Grammy award), as well as railroad songs including Hey, Porter and Rock Island Line.

From 1969 to 1971, Cash starred in his own television show, The Johnny Cash Show, on the ABC network. In this prime-time show, Cash enjoyed booking contemporary performers as guests; Neil Young, Kenny Rogers and The First Edition (who appeared a record four times on his show), James Taylor, Ray Charles, Eric Clapton and Bob Dylan all appeared.

In the 80's Cash appeared in a number of television films including The Pride of Jesse Hallam and Murder in Coweta County. The singer, never taking himself to seriously also appeared as a "very special guest star" in an episode of the Muppet Show.

His career was rejuvenated in the 1990s, leading to popularity with an audience not traditionally interested in country music. In 1993, he sang The Wanderer on U2's album Zooropa and later was offered a contract with producer Rick Rubin's American Recordings label, better known for rap and hard rock.

Under Rubin's supervision, he recorded American Recordings (1994) in his living room, accompanied only by his Martin dreadnought guitar - one of many Cash played throughout his career. The album which featured covers of contemporary artists won Cash another Grammy.

Health problems plagued Cash throughout the '90s and into the 2000s, but he continued to record with Rick Rubin; their fourth collaboration, American IV: The Man Comes Around, was released in late 2002. If you've never heard these albums, I strongly recommend you do. The choice of songs, the production and that voice of Johnny Cash is like nothing else.

The following year, the Mark Romanek-directed video for his cover of Nine Inch Nails' Hurt garnered considerable acclaim and media attention, culminating in an unexpected nomination for video of the year at the MTV Video Music Awards. Everyone knew that Johnny wouldn't be around for much longer and to see that video at the time was such a moving experience - as it remains today. Watching Cash sing "what have I become? My sweetest friend, everyone I know, goes away in the end", brings you close to tears.

He was one of country music's biggest stars of the '50s and '60s, In total, he wrote over 1,000 songs, scoring well over 100 hit singles. No other artist has touched the world of music quite like Johnny Cash. He is the only person to be inducted into the Country Music Hall Of Fame, The Rock And Roll Hall Of Fame AND The Songwriter's Hall Of Fame. The image of 'The Man In Black' is as deeply American as the stars and stripes themselves.

A feature-length documentary originally designed to follow the heavy metal band Lamb of God and their fans throughout the world to show how their music has gone global and can bring people together took a dramatic Kafkaesque turn when lead singer, Randy Blythe was arrested in Prague on a manslaughter charge.

LAMB OF GOD 'AS THE PALACES BURN'

Director: Don Argott Cast: Randy Blythe, Mark Morton, Willie Adler, John Campbell, Chris Adler Genre: Documentary Country of origin: USA 2014 Language: English 121 mins. Rating: ****

Filming of the feature-length documentary Lamb of God 'As the Palaces Burn' began in 2012 and concluded in March of 2013. As the cameras followed the band and their fans from Colombia, Venezuela, Israel and India to the US little did they know that a Kafkaesque nightmare loomed on the horizon. The bands growling vibrant lead singer, Randy Blythe was arrested after a concert at Prague's Club Abaton in 2010 and charged with the manslaughter of one of their young fans resulting in 38 days imprisonment while bail negotiations took place. With bail agreed the band returned to their fan base with live performances. Randy Blythe's return to Prague in February 2013 for the trial with the possibility of a lengthy prison sentence had fans, friends and curious onlookers around the world following every step of this insane roller coaster.

Lamb of God 'As the Palaces Burn' is fascinating viewing with events focusing primarily on Randy Blythe, whose hard drinking wild days maybe behind him but past memories linger. Heavy Metal fans will be enthralled with this insightful documentary but it has a far wider appeal. The band has an obvious rapport with their international fan base and a pride in their impact on alienated youth. Fans will go to any length to see the band - it's bad enough taking a one hour journey into Charing Cross in rush hour but adoring Indian fans think nothing of taking a 24 hour train journey to Mumbai to see their band.

'Lamb of God' is five guys from Richmond, Virginia entering middle age and doing their own thing who courageously take to the stage and treat their fan base to an event - fun, passion, emotion, crazily vibrant, a bit of madness and a memory etched forever. Lamb of God 'As the Palaces Burn' gives an insight into their world so bizarrly touched by the Kafkaesque court proceedings.

'We evoke a very emotional and visceral response' - Randy Blythe

The film will include 30 minutes of bonus footage of a Q&A with the band members and the director Don Argott available exclusively to audiences attending the theatrical screenings and is conducted by VH1 Classic's Eddie Trunk at the final show of the band's North American tour in support of their recent release 'Resolution'.

LAMB OF GOD 'AS THE PALACES BURN' is released by MUNRO FILM SERVICES in UK cinemas 28th February 2014 and will also screen as a ONE DAY event on Thursday 6th March

Last Wednesday's Brit Awards saw the great and the good pay tribute to the UK's finest musical talent. From David Bowie to Laura Mvula, the Arctic Monkeys to One Direction, the 2014 nominees demonstrate the incredible diversity that exists across the British music scene today. With January figures showing that the UK's creative industries are worth over £70billion per year to our economy, it seems there has never been a better time to make music in Britain.

There's also never been a better time to be a music fan. The internet allows us to stream or download a track in seconds. We can store our music on our phones, tablets, computers or in the cloud. It is available everywhere - at home or on the move.

But under the surface of this boom in talent and accessibility, there is still a sense among fans that paying for music merely lines the pockets of the record industry bigwigs. There is a belief that young artists are exploited by record labels that siphon off the lion's share of the profits to pay for their executives' champagne lifestyles. That's why it's ok - they say - to download the music they love illegally, for free.

While it's true that artists do not have enough of a say regarding the decisions that affect them, this shouldn't be used by their fans as an excuse for theft. Illegal downloading is not merely two-fingers up to Simon Cowell, it's a kick in the teeth to the performers who made the music.

A new study published last week investigated the top 30 websites that deal in pirated content and found that each one generates an income from advertising of around $4.4million annually. That's over $100million per year in the pockets of organised crime and out of the mouths of musicians. As their business model depends on illegally distributing billions of stolen copies of works that cost others billions to create, their profit margins reach up to 94% - margins that bands can only dream of. Piracy does not care if you are a global corporation or a small indie label run by artists, they steal from all, big and small. Whereas a song downloaded from iTunes is the price of a packet of crisps - and hopefully more nourishing.

What we need is a change in the culture of the music industry. Where musical artists sit at the decision-making table, working closely with their record labels and their fans to make sure that artists get a fair share of the money their fans spend on their music. But we also need fans to realise that illegal downloading is not the answer. The debate isn't as simple as Universal versus Kim Dotcom, it's HulkShare versus Music. We need to build a sustainable music industry, where those with the great ideas are fairly rewarded.

One way of doing this is to ensure that the UK Government understands the economic and artistic contributions of the music sector and upholds rigorous intellectual property laws. The laws that allow people the right to make a living from their ideas. Without them creativity may become a hobby not a job. That is why I am calling on all true music fans to join me and thousands of workers and creators in signing a new petition urging politicians to take action on this issue. The petition has been launched by the Creative Coalition Campaign - a group of artists, trade unions and businesses across the creative industries - formed to champion the rights of workers and creators and to press for effective measures to combat online copyright infringement.

Send the message to politicians and the music industry that we value music and we want it and its creators to survive in the digital future.

If you love British music, please, give it a future.

Crispin Hunt on behalf of the Featured Artist Coalition. The Featured Artists Coalition campaigns for the protection of UK performers' and musicians' rights.

The Creative Coalition Campaign (CCC) brings together rights holders and trade unions across the UK. Its membership includes 31 leading organisations in the film, music, publishing, games, and sport sectors; as well as trade bodies and trade unions. Sign the petition to support creativity here.

The hypnotic pull of BBC4's musical output once again drew attention away from the present and back to the past this month through Danny Baker's enjoyable if Quo-esque titled Rockin' Decades, three helpings of which might well have distracted you from a supposed languid current scene.

If so you may have failed to notice that nestling between twitter-revived James Blunt and self-duet king Gary Barlow in last week's UK album charts were two acts whose albums you're unlikely to find sweeping through supermarkets anytime soon: Bombay Bicycle Club - last week's No.1, down to No.8 - and the week's second highest new entry, Temples, in at No.7.

The former an indie band from Crouch End, the latter psychedelic rock from Kettering have been the real success stories in an album market otherwise wracked with industry nerves. As the pendulum swings back once again to the single it's alternative acts that are benefitting from the exodus. So how did indie wrestle back the album charts?

A galvanized fan-base can be powerful tool in a weaker market and, handily, there are no time constraints placed on assembling one of these. Bombay Bicycle Club, now on their fourth album, have been steadily growing their support since their debut in 2009 and with pre-orders hugely significant in determining a final chart placing that's five years of fan power unleashed in one week.

Temples equally impressive No.7 debut has been more meteoric, coming off the back of four singles released over the course of the last year. Noel Gallagher - himself a fan - will remember (possibly) Oasis building their own head of steam through a rapid turnaround of singles before Definitely Maybe went straight to No.1 twenty years ago this August.

Over the years that followed the music industry famously partied like passengers on the Titanic and, in their rush to get overpriced fan-shafting CDs into shops, nurturing and longevity left the building. One single upfront was used as both polite notice and dangled carrot to secure the real cash prize while discarded band's corpses piled up quicker than doomed X-Factor winners would a decade later.

By 2004 the singles chart was on its knees such was the dominance of the album and it was here where a successful wave of indie bands, sensing an opportunity, now plied their trade. Such were the tiny margins, a simple whip round between band members down the pub could mean the difference between a No.28 "hit" and missing the Top 40 altogether.

Digital changed all that and the second (and that was all it took) people could buy what they heard on the radio, saw on the TV or recognized on an advert at the click of a button pop music swept into a period of dominance from which it's never really looked back.

Small but devoted fan-bases were washed away in the face of a digital music tide fuelled by a newly dominant light entertainment schedule. Not simply The X Factor, Strictly Come Dancing were never going to use, say, Bloc Party over Take That's Rule The World for their season finale.

But pop has always been about singles and as soon as Saturday night viewers got to grip with iTunes and cherry-picked their favourites, the need for an actual album of assorted gems slowly diminished, could the initiative now be handed back to - that dirtiest of words for so long - indie?

The key moment that suggests it might came last September with the release of Arctic Monkey's AM. Combining both elements of the two bands discussed here - an album released well into the band's career and a selection of singles put out in advance (Are U Mine? being the first and perhaps most pivotal in changing perception), its been an ever-present since and this week surges back to No.2 post-Brits.

It also happens to be the No.1 selling vinyl LP of the last year and here lies perhaps the indie act's final and greatest weapon. With actual physical LP sales on the rise and not one pop act featuring in 2013's vinyl top ten it might be that the future for the album is, as it began: a long playing record resplendent - as AM certainly is - with iconic artwork and lyrics to be pored over. LPs flying out of the shops? Long careers for bands? Indie's unlikely return? It could be a rockin' decade yet.

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