Interview: Lily Mae Martin

If a lot can be told about a creative by their studio, artist Lily Mae Martin’s decidedly feminine space speaks volumes.

Located at the back of her property in Preston, the converted garage is a virtual candy land of artistic ephemera; a collection of old box brownie cameras, canvases, reference books and rough sketches sit next to a prized collection of old photographs, carefully collected from flea markets, fetes and fairs across the globe.

“I love old cameras and I love old books,” Martin begins to explain as we take shelter in her workspace, avoiding a sudden downpour outside.

“And I love collecting old photographs. Wherever we travel I go and collect old photographs. Some of those are very fancy ones,” she says as she gestures to the fading pictures she has chosen to fill her space with.

“Though it’s not the fancy ones that I’m drawn to specifically, it’s when you’re in markets and you come across big boxes [of pictures] and it’s someone’s whole life. It makes me feel a bit sad. I’ve got so many photographs of mamas and their little kids, and of nuns. I’m really drawn to nuns.”

It is this dichotomy between traditional feminine roles and the objectification of women in art that has possibly played the greatest influence on Martin’s work to date, a collection of paintings and sketches focussing on the nude female form, with an emphasis on pregnancy and the gestating body.

Working across the fine arts, Lily Mae has been drawing for her entire life, but only began painting while she was in VCE.

Lily Mae: “Female nudes are important to me because, even though most of art is based around women being nude, I feel like it’s still quite devoid of the female experience. That’s what I’m trying to capture, that’s why in recent years drawing and painting women in pregnancy and after has been quite important. And it’s not just the male gaze. Because most of the art that is referenced is by men, women do it too. That’s the way that we’ve grown up to view the female figure, so I really want to capture all the bits and pieces in my work. "

A finalist in the 2014 Benalla Nude Art Prize, Martin admits that it can be hard to avoid objectifying her subjects.

Lily Mae: “People always talk about people in art always being objectified and it has such a negative connotation, but sometimes I see people and all I can think about is painting their cheekbones or drawing their hair.”

But it isn’t just about contributing to the reboot of how society thinks about women in art – plenty of her own experience as a person and as a mother funnels from her paint brush and on to the canvas. With experience and with time, the artist has enjoyed developing the ability to convey hers as a universal portrait representing the ‘other’ as much as it tells the story of her ‘self’.

Lily Mae: “There’s a very therapeutic and cathartic aspect to my work but I think, as I have grown along with my work, I’m able to talk about it and explore…in a broader sense. It’s not such a personal thing anymore.”

Lily Mae Martin is represented by Scott Livesey Galleries

Interview: Clare Bowditch

Clare Bowditch was so believable in her portrayal of musician Rosanna Harding on channel 10's Offspring, that she was nominated in the best new female talent category at the 2012 Logies. In retrospect, the emotional performance wasn’t such a stretch for the performer.  Bowditch has long held a reputation for wearing her heart on her sleeve,  with her somewhat autobiographical lyrics encompassing seven albums and numerous tours both nationally and internationally.

While it's the subject of her latest tour, Winter Secrets, that has allowed Makers an opportunity to sit down with the inspiring creative between stints recording inside “an ABC Tardis”. We’ll happily confess that it is her juggling of several careers including singer, songwriter, actress, public speaker and entrepreneurial powerhouse that had us really intrigued. 

Clare Bowditch on stage

Clare appears to have achieved both professional and personal accolades without sacrificing her private life or living under the constant spotlight of public scrutiny.

The musician won the Best Female ARIA Award in 2006, has had Top Ten albums. She was named Rolling Stone's Woman of the Year for her contributions to Culture, YEN Young Woman of the Year, and toured all over with the likes of Leonard Cohen, who famously “proposed” to her backstage. All of this while raising three children with her husband and recording partner, Marty Brown.

It’s very rare to find a performer who is happy to share their knowledge of the ins and outs of the Australian music industry while also giving insight as to how to live a profitable yet creatively satisfying life.

 These subjects were just two of the driving forces that lead Clare to create her online mentoring program, Big Hearted Business, in 2013.  

 “Like all multi-passionate people,” the bubbly performer explains during our mid-week chat, “I’ve been trying to find a place of dynamic equilibrium, which means that I can actually take care of myself while taking on my various creative pursuits, my family, my business and so on”.

Displaying a level of self-disclosure that has become increasingly rare in our age of overly hyped, mass media celebrity, she continues.

Clare: “When I saw people that were good at it [managing their careers] I started picking up on things and had the urge to pass it [the knowledge] on. I could see the usefulness, the joy the connectivity that comes from understanding creativity.”  

Since founding the program (made possible with a successful crowd funding campaign), Clare has helped produce a series of conferences and online “inspiration bombs” designed to teach both business and creativity.

Clare Bowditch and Adalita performing together on the 2014  ‘Winter Secrets’ tour. Photo by Andrew Vukosav

Clare: “We work with people who get that you can have a successful business and still contribute to the community, culture and social enterprise". 

Although the performer is the first to admit that finding balance is still a constant struggle, and one of the factors that inspired her to start Big Hearted Business, she is also fostering creativity through her annual Winter Secrets tour. Giving one local musician in each state the unique opportunity to perform during the concert and be in the running to win a $1000 cash prize.

 Clare: “I was the person in the audience for so many years who sat there and thought, ‘I know I’ve got something to give creatively’, but I didn’t think it would be possible to make a living from it. In the meantime I was writing songs and hoping that I would have the chance to perform them in front of people one day: for me, Winter Secrets, is about giving someone who has the guts and the talent the chance to just see what it feels like to be up there.”

Earlier this year Bowditch posted an update on her Facebook page explaining that she didn’t think it would be possible to run Winter Secrets in 2014.

While this was disappointing news to fans, it’s fair to say that Clare was left feeling the most disheartened of all. She explains to Makers that her busy schedule and the launch into an “album phase” were contributing factors in her decision to cancel the tour that had been running annually since 2010. 

Clare Bowditch performs at the Palais Theatre, St Kilda.

Clare: “We were thinking of launching back into an album phase now, but I thought, no, I’m going to [tour] even if it was a smaller than what we’d usually do. I needed to get out on the road and actually see the people that I’ll be writing the album for, before I get the gumption to go ahead and write it. A lot of what I write about is formed by the conversations I have with the strangers who are my audience.”

Clare: “After [Winter Secrets] I’ll be finishing writing an album and I think we’re going to record next year. I’ll be dabbling in writing while continuing with Big Hearted Business, and next year I’ll hopefully record, release and tour. But we’ll see how we go.”

After wondering aloud how the performer manages to successfully keep all of her balls in the air, Clare can’t help but confide, “I have to tell you something funny. I was listening to a few of the new demos the other day and almost all of the songs had the word ‘tired’ in them. That was one of the themes that I was picking up on but it definitely won’t be an album about being tired. I’ll have to find something else."

See Clare Bowditch and special guest Adalita perform‘Winter Secrets’ this Thursday 17th July at Sooki Lounge, Belgrave or catch them at The Corner Hotel, Richmond on Fri 18th July 

Interview: Nkechi Anele, Saskwatch

Nkechi Anele fronts Saskwatch at the Palais Theatre, May 2013

Phone interviews are always a strange affair. It doesn't matter how much you prepare in advance, you never know what's going to happen on the other end of the line. Or what’s going to happen with your phone line.

It’s 1pm on a Wednesday afternoon and Makers is desperately trying to get a hold of Nkechi Anele, front woman of Melbourne band Saskwatch. Our PR supplied calling card has failed, and when we do finally get in contact with the diminutive singer our phone reception is faint and tinny.

After a couple of minutes struggling to hear each other I decide to hang up, with the promise and hope that when I call back our reception will be crystal clear.

I dial a complicated set of numbers but once again the call rings out.

About a minute later, Nketchi phones me direct. “It’s so much easier this way,” she states understandably after I apologise profusely for the shoddy phone line.

It’s nice to hear that after five years of recording and touring both nationally and internationally, success hasn’t gone to the singer’s head. The 9-piece indie-soul outfit have had a hectic schedule since the release of their second album ‘Nose Dive’ a little over a month ago and so far this year have found themselves playing a string of festival shows including WOMADelaide, Panama Festival and Bluesfest Byron Bay. They’ve also just finished up a support slot on British singer John Newman’s debut Australian tour, and were recently announced on the lineup for this year’s Splendor in the Grass. Not to mention that the band will be headlining their own national tour in June and July; travelling through regional Victoria, the ACT, Adelaide, Sydney and Perth before wrapping it all up with a homecoming gig at Richmond’s Corner Hotel on the 5th of July. 

Saskwatch perform at the Australian Independent Music Awards in October, 2013

Saskwatch started out as a bunch of University students busking outside of Flinders Street Station “It was a quick way to earn money to go out and party,” Anele explains while discussing the heritage of the group.  It was only after PBS radio announcer Vince Peach waked past the band that things started to get more serious. The DJ asked the buskers to perform live on his show and later invited them to take up residency at his soul night at Cherry Bar.  “That’s when I joined the band,” she continues “and we ended up playing at Cherry for two and a half years before moving into festivals.”

 Nkechi: “This is the second band that I’ve sung in, the first was more electro and Saskwatch actually supported us when we launched our single. There were a couple of nights that the former singer of the group wasn’t available to play and the boys asked me to fill in, then I was asked to join the band full-time.”

Things continued in an upward trajectory after those auspicious beginnings, “We were performing at Cherry bar and the night began to pick up to the point where it was selling out every time we played. There was always a queue and each week people were being turned from the door. From there we found a manager who helped us get on the lineup for Golden Plains, that was the big kick off for us.”

Saskwatch perform at the Heart of St Kilda Concert at the Palais Theatre, May 2013

I recall seeing the band play a scorching set at the 2013 Sacred Heart Mission’s Heart of St Kilda concert. It was the first time that Makers of Melbourne had experienced a Saskwatch performance and we were blown away by their efforts on stage that night at the Palais theatre. I tell Nkechi that from my outsider’s point of view, the band seemed to go from playing the charity concert to suddenly being everywhere. (Laughter) “From the outside I guess it does seem like that. A lot of people think that we’ve only been around for about a year and a half when really we’re up to our fifth year of playing together.  I don’t know how to explain it, but there was an interesting period of time when my face was on every poster that my friends saw around town. I’d be getting text messages everyday saying “you’re on the radio” or “I just saw your face at the tram stop.”  

 I mention that the bands sophomore album ‘Nose Dive’ has a darker feel to it than their first release, the 2012 album ‘Leave it all Behind’.  “It was a little nerve wracking making the second album because at the time of releasing our first record the soul scene was huge here in Melbourne. We were trying to keep our writing up to that original standard of music, while moving away from that soul movement. We didn’t want to fall into the trap of being a novelty soul band that could only play themed nights. It sounds so exclusive, and creatively being a soul band is quite limiting. As much as the scene had helped us, it felt like it was time to move away and establish ourselves as a more serious band in our own right. The second album was written as a reaction to personal experience.”

 She continues “Our first album felt like a party album and I think that’s because we established ourselves in a bar where it was like a party every week. Now we’ve grown up and have moved away from that university lifestyle, we’ve started taking on responsibilities. Moving through life there are some dark sides to relationships and reality and I think we’ve all reached the stage where we are happy explore that. The culture that we find ourselves in as a band reflects our creative output.” 

Interview: Mike O'Meally

“If you’re good you put your neck on the line – that’s when it shows.”

 - Mike O’Meally

It’s a Sunday afternoon when Makers sits down for an impromptu interview with Sydney-born photographer, Mike O’Meally.

We’re sitting in the front row of RMIT’s Storey Hall where the lensman has just wrapped up a powerful closing speech at the 2014 Carbon Festival. It’s been a challenge separating the artist from a large group of assorted skaters and hangers-on, but with the help of a lone publicist we’ve managed to wrangle the New York-based snapper on to an empty chair.

Working in the industry for 20 years (including a long running stint as the senior photographer for ‘Transworld Magazine’), this 40-year-old’s pictures of professional skateboarders and boxers have received critical acclaim in the art world. He was the subject of a one-man retrospective exhibition late last year at Sydney’s China Heights Gallery, no mean feat for a photographer who began his career operating firmly within the trenches of sporting subculture.

Bobby Puleo Brooklyn, NYC June 2001.

O’Meally holds a firm gaze as we begin talk about his career, a look that makes immediately evident he is a man who doesn’t suffer fools.

“I’m a tough cookie,” he states by way of introduction. “Come on, I can take it.”

Raised in a strong Irish Catholic household, Mike began playing sports at an early age, encouraged by his father.

 Mike: “My dad would play Irish war songs on a Saturday morning as I was getting ready for football practise.”

He picked up a skateboard during his teenage years and, later, enrolled in Fine Arts at the University of New South Wales. It was the beginning of a marriage of passions.

 Family, love and war are all strong themes in the photographer’s daily life, serving as both the foundation of his person and the inspiration behind much of his photography.

 Mike: “There are some others that I tap into with my work, but they’re pretty strong ones.”

Broadway & Astor Place, NYC September 2001

As we settle further into our chat, it becomes obvious that the skateboarding community has become an extended family for the often-itinerant photographer.

 Mike: “With skateboarding, the skaters are constantly putting their physical wellbeing on the line and you have to earn their trust. You spend a lot of time with them, apart from actually taking their pictures and skating. You have to become a rogue family in some ways.”

Being able to earn the trust of his subjects and put them at ease means that all of O’Meally’s work displays a real sense of what the father of photojournalism, Henri Cartier-Bresson, describes as “the decisive moment”. Documenting not only the world of skateboarding, but his travels to countries as diverse as Egypt, South Africa & throughout the USA, O’Meally’s images stand out not only for their composition, but because he seems to be looking for real meaning in the way people react to their environment and each other.

He breaks eye contact to check the phone softly buzzing in his pocket. “Sorry, that’s my mate,” he tells us by way of explanation. “How much more do you need, two minutes, five minutes? He’s got a beer waiting for me.”

 It’s the perfect excuse to wrap things up with the artist, an interview challenged by his intensity and cock-sure confidence. As we gather our belongings we ask for one final quote.

Mike: “Hold your pistol, shoot straight. There’s a good quote for you. As a photographer you’ve got to shoot straight and love your subject.” 

And with that he’s off, ready to join the rogue family that is both the support and focus of his photographic artistry.

Jason Jessee gets dragged by a '50 Ford, San Diego

Interview: Cameron Bird, Architecture in Helsinki

Arguably one of Australia’s most beloved dance-pop acts, Architecture in Helsinki has long held a reputation for breaking new ground with every one of their record releases. To coincide with the release of Now + 4EVA, the quintet have launched a unique pop-up retail space in the Melbourne Central shopping complex, where visitors to the space are invited to interact with the band, listen to the new album and, of course, buy.

Built by local architecture firm, Sibling, the NOW + 4EVA Concept Store features a capsule collection by Kloke, accessories designed by Witu and Dale Hardiman, 3D Architecture in Helsinki lollies by Lucy Mcrae and Red Balloon, nail polish by Kester Black and socks by Tightology. The pop-up space promises (and delivers) great quality, locally designed band merch.

Makers of Melbourne had the pleasure of spending an autumn evening with lead singer Cameron Bird, who took us through the concept and inception of the space.

The idea for your pop-up store is great. It’s one of those concepts that sounds so simple, it makes you wonder why no one has ever done it before.

Thank you that’s very flattering. It’s strange to me that no-one has done it before. It’s definitely treading new ground. I feel like people in design and fashion are getting it more than people in music are: people in music are a little bit more confused by the concept.

Because we’ve all come from art backgrounds it doesn’t seem that crazy to us and there’s definitely people in music who think it’s a cool idea. But I also think that there're a few people who think that we’re taking away from the music; people who see it as more of an entrepreneurial exercise rather than seeing it as a great time capsule piece for us as a band.

It’s interesting that you say that because I know a lot of musicians with art school backgrounds. A majority of musicians seem to come from creative fields.

Of course and I think that a lot of what we’re trying to rebel against is that archaic idea of “you can sell your albums at JB Hifi and your digital music will come from iTunes". It’s a pretty limiting and suffocating place to live as a creative person. We wanted to try something that would bring our music to life. It [the space] brings people together and gives them something to talk about. We wanted to create something that was positive and fresh.

You’ve always had a hand in the creative process, though, designing album covers and the like.

We’ve always been across all of our visual output, whether that meant collaborating on videos or doing cover art. We have a lot of friends who work in the fashion and art fields. As a band that was a world that we really wanted to be aligned with, rather than being one-dimensional. It made sense for us to make the most of our connections.

How did you come up with the original concept?

It was about four months ago and we had free time between the recording process and release date. I had this idea where I wanted to do something that set our album apart from the hundreds of records that are released every week. I was wondering how you made an album feel like it was tactile, that people could fully experience. We wanted to make the launch personal for our audience. In a way it was also designed for people who had never heard of our music before, hence picking Melbourne Central as the location – we’ve already had a lot of people who are just curious as to what is going on in the space and come in with a really open mind. As a band we like the idea of someone who doesn’t know who we are stumbling across the space and discovering the music through the immersive retail environment that we’ve created.

How did the ideas for what you were going to sell in the store come together?

It was pretty free form. I initially approached designers that I liked or knew socially. There was no real rationale behind it, apart from the fact that we wanted to work with designers that we felt made good quality products and were made locally. It sort of just came together over a one month period and everyone that I approached said yes. Obviously it was an insane amount of work.

We pulled it all together really quickly and products were still being made on the day of the launch so it was down to the wire. We were flying by the seat of our pants. There were points when I thought things weren’t going to get done. I thought we’d just end up with an empty glass cube with our record playing.

Even if that had been the case, it still would have been a pretty cool experience.

Inherently everything we’ve ever done has been from a DIY ideology, we’ve always had that hands on aspect to what we do.

Do you feel like that also gives you more creative control?

Totally. I think any artist who makes great things is going to tell you that you need to have creative control. We’re megalomaniacs and that’s important! It’s important if you want to make work that endures, it’s not about micro managing but you’ve got to have a vision

But working with designers from other creative fields must have involved letting go of some aspect of creative control?

I think that part of the decision to approach the people who we worked with was that I knew the pieces and the work that they made, that there was an affinity with our aesthetic. There weren’t really any moments where I felt like I had to compromise anything or argue a case. Everyone was very accommodating.

Were they all given a copy of the album and your colour palette?

It was very different for each designer - With some it was very collaborative, I picked all of the colours and shapes from the existing Witu range. The Tightology socks were my design, the Kloke pieces were designed together from existing patterns that they had, we spoke about colour palettes and the placement of prints. The Pantones for the Kester Black nail polishes were matched to a photo shoot that we’d done. We made sure that we were involved in the development of every product. It was as much about the relationship and the collabortaive process as it was the finished result. 

Architecture in Helsinki’s NOW + 4EVA concept store will be open daily until Sunday April 6.

The Event: VAMFF Offsite Runway, Nixi Killick

A stand out of the 2013 Melbourne Fashion Festival graduate’s parade, self proclaimed “future imaginer” Nixi Killick (with a little help from a successful Pozzible campaign) kicked off the 2014 Virgin Australia Melbourne Fashion Festival with an offsite runway show at warehouse-cum-art gallery, Toot Fanute.

Half fashion parade, half art installation, a handful of models worked their way around the crowded event space, posing on foil covered boxes as a keen, fashion-forward audience scrambled to look on. 

The full house was entertained pre-show with a short set by singer Nai Palm from Grammy nominated band Hiatus Kaiyote. Show over, attendees were given the opportunity to purchase some of the more wearable parts of the Nixi Killick "bio psychedelic streetwear" collection -  a selection of t-shirts, hats and drawings available to purchase from a makeshift merch stand.

The young Footcray-based designer's business savvy in using her collection launch to sell a range of accessories was admirable. Most of the unisex streetwear shown during the energetic parade was more couture than prêt-a-porter, making it challenging for the average Melbournian to wear. 

Designer Nixi Killick (second from right) & her event team

Interview: Zak Olsen, The Frowning Clouds

It's not entirely surprising that music with a sly hint of the sixties surf would come out of Geelong. Nor does it confound that a little motor city mayhem should infuse the sounds of that particular city. Melbourne's little sister, resplendent with sand and sea and home of the Ford factory, has given us a bevy of amazing music over her time and The Frowning Clouds continue that sterling tradition. 

Forming when they were still in their teens, The Frowning Clouds have just released their second LP ‘Whereabouts’ and we were lucky enough to spend last Thursday evening in the company of lead singer Zak, who took us through the joys of Tasmanian camping, his love of sixties garage rock and the band’s burgeoning friendship with Rhys and Josh from the Horrors.  

Hey Zak, thanks for the chat. By the looks of things you guys just got back from Tasmania, you were part of the Panama Music Festival over there?

Yeah we were and all of us had a really good time. We love Tasmania and were expecting it to be good but we were all totally inspired. It was a small festival, the line-up was really good and it’s just nice to go to a festival where it was less about getting wasted and more about the music and food. I’d rate it 10 out of 10.

Wow, that’s good to hear. It looks like there was a bit of a cross over with some of the acts for Golden Plains as well, since that was on the same weekend.

There was actually, it was a bit worried that we’d feel like we were missing out on something not being at Golden Plains, but I didn’t feel like that at all. I wouldn’t have wanted to be anywhere else.

How has The Frowning Clouds style evolved?

Obviously I was only fifteen when we started and was so strictly into the idea of the Rolling Stones pretty much (laughs). So now I think things have broadened, I think things don’t sound ‘60s at all to us, I guess we are starting to hear all sorts of influences in our music. Most people would still hear a big ‘60s influence, I guess, but we’re just trying to make things sound cool.

But when you first started that’s what you were trying to make things sound retro?

Well that was all that we listened to. We had no tolerance for anything outside of 1964-1967. If it wasn’t recorded during that period then we didn’t want to know about it. It sounds dumb but back in high school I felt like I had a secret or knew more than anyone else because I was listening to nothing but this small period of music history.

What happened between those three years that made it so special?

I guess it was just the sound more than the songs. I remember when I first started getting into underground garage, the real American stuff; I just couldn’t believe it. All of those kids were the same age as me, 15 and 16, and I thought it was the coolest shit. I still love it and listen to it amongst other things. There was something about the naivety of it, those kids had no idea what they were doing and just thought that they were the best. Kind of what we were like at that age. 

I read a really old interview where you were talking about getting signed to a Spanish record label because you were talking to someone online. What’s that story about?

We were talking on MySpace. I must have been around 15 or 16 and I was so into ‘60s music and found a lot of it on the Internet. Then you start talking to people with similar tastes and this young guy from Spain who was into the same stuff told me that his friend was starting a label and we had some songs and things just worked out.

And you’re still working with them?

Yeah, we’ve pretty much done everything with them. We’ve actually just received a new six-inch in the mail that was released by an Italian label but they were ok with it and gave their approval. It’s nice to put out releases on different labels, I think, and we got to record it here in Australia.

I guess it helps you spread your wings a little bit, doesn’t it?

Yeah, and there’s so many people around that have little labels. People with shitty jobs who run a label on the side, they’re always the best kind of labels and the best kind of people.

Can you please explain to me why on Youtube you’ve released all of your songs played together at the same time? It hurts my ears.

 (Laughs) Well, I don’t know. It was a funny idea. It’s three minutes of really annoying noise and then at the end one of the songs goes for a minute longer than all of the rest. So you get a nice fade in at the end.

How did you get Rhys and Josh from the Horrors to remix the ‘Beetle Bird’ single?

We were playing a few shows in London and Rhys was there doing some DJing. We realised that we had the same taste in music and started hanging out and spent a weekend listening to records and talking about nerdy ‘60s music: the kind of conversation that nobody else would want to have. We started talking about some of the remixes that had been done of Horrors songs and I told him that he should remix one of ours. It was pretty cool.

Have you kept in touch?

Yeah, well we had to keep in touch to do the remix; we were sending ideas and whatnot.

The other thing that I wanted to ask you about was your album artwork, the band has been working with a guy named Jason Gallea?

He’s a cool guy from Werribee. I was playing in another band with some friends of mine and we got him to do a front cover for us, it was maybe around three years ago now and things just sort of went from there. He does heaps of artwork for lots of bands now

It looks like he’s been doing work with King Gizzard and The Lizard Wizard.

Yeah, he works with them and he’s done some art for Saskwatch. He does whatever is good and it’s nice that he’s really busy.

His stuff is awesome.

Yeah, he’s really great. When we asked him to do the album cover he just said, “I’ll listen to the album and whatever inspires me I’ll draw a picture to it”, and then he sent us a rough copy which he said that he didn’t like at all and we were just like, “that’s it.”

 And he’s been doing your posters as well?

He did this thing where he designed a poster and left blank space at the bottom so that we could reuse it. There are five different versions of posters and we can just choose which one we use, when - I’ve seen so many gig posters that are terrible.

Have you heard of the poster thing that Pearl Jam do where they get a local artist in each city they tour to design a poster and then sell it at their gigs?

Really? If you had those types of connections that’d be cool.

- Janey Umback