EVENT REVIEW – JULIANA SNAPPER’S YOU WHO WILL EMERGE FROM
THE FLOOD Sunday 17th May 2009 VICTORIA BATHS.
GETTING
INVOLVED
I have been involved in many unusual projects and events over the years, as my philosophy on life is to try anything and everything while I can – life’s too short not to grab every opportunity presented. So a chance to support an underwater opera, through modest participation in an amateur choir, taking inspiration from rap-music beat-boxing sound effects and holding singular operatic notes, and tooting on a recorder rather than song, sounded like a dream come true, and too good an opportunity to miss.
Leaflets for the Queer Up North festival were all around Manchester’s performance spaces, and there were mentions of it on Facebook & Myspace.
Though not gay I do qualify as Queer (see my twin essays, AM I GAY?) and AM I QUEER? I have always supported gay rights – my enforced period of celibacy in my cult years and just openly admitting to even having been in an extremist cult has some echoes of emerging from the closet - (see BRAINWASHING). Strictly speaking, 'Queer' has a wider definition range than 'Gay', a distinction I have tended to overlook myself in a lazy tendency to use 'gay' and 'queer' inter-changably. Though not 'gay', I do safely, proudly and comfortably regard myself as queer, in my near asexual existence, and in still being haunted by a past history of enforced celibacy, Queer in a general broad sense of being ' "strange," "unusual," or "out of alignment." certainly applies to me, and I have accepted that there is any such thing as 'normal' behaviour. This a theme I'll be exploring further in other online essays and research in the very near future. Queer Up North encourage everyone towards diversity in their thinking. Events like Those Who Will Emerge prove to be a perfect way of achieving that. Not everyone at, associated with, or supportive of Queer Up North's projects will necessarily match my broad definitions here.
Juliana Snapper is a fully trained American soprano opera singer who has taken to performing away from the traditional stage – she sometimes sings upside down, and on this occasion she would be singing under-water. She has undertaken some study of the effects of water on music and voice, and uses special technical equipment to amplify and carry her voice, enabling her to sing while swimming, and controlling her breathing under-water.
She has performed individual songs and experimental pieces in swimming pools, but You Who Will Emerge From The Flood is a specially written fifty-minute opera. It is set in the future where the waters have reclaimed the land and most life on it. Juliana plays Blorkra, a solitary late survivor, evolved into a human fish hybrid, lamenting on lost humanity and the folly of global warming that may have contributed to the rising waters, etc.
This might easily have been a solo-production, but Juliana wanted to interact with the last vestiges of cruelty left from humanity, - the creatures who would taunt her from the marshy shores of her watery realm and that is where the choir came into the production. There were shades of H G Well’s The Time Machine here, with the choir of Morlock creatures surrounding and voyeuristically watching Blorkra, a creature comparable to the last of the Eloi.
Our role as choir and musicians involved sound effects and long held slow resonant notes made with our voices rather than songs, which is fortunate because my singing is truly appalling. The promise in the request for choir members that no experience was needed and that it wasn’t an audition was all the incentive I needed to sign up. I had no idea quite what would happen next.
JASON SINGH
– BEAT-BOXING WORKSHOPS
Four weeks before the one night only performance, choir members were invited to voluntarily take part in three free Wednesday evening warm up workshops with beat-boxing expert and performer, Jason Singh. These informal workshops took place at the Queer Up North HQ at the Green Fish studios, on Oldham Street, Manchester.
I was one of only two participants at the first workshop (our numbers would grow in subsequent weeks). Jason was playing around with his high-tech sound equipment when I arrived, giving a spontaneous, impromptu demonstration of his skills. This was daunting, as I wondered if he was going to seriously try to make me achieve anything like what he could do – his vocal range was extra-ordinary.
What we did was actually much easier, but nevertheless, highly effective and taught us a new appreciation for sound, noise, and what we can do with our own mouths. As warm up exercises, we sat up straight in our chairs, and went into a meditation mode, which was far less tense than my cult experiences of such activity, but a little unsettling at first, due to personal past experiences. though I got used to it as we went on.
Jason had us listen to our own breathing, and follow it through our mouths, noses, lungs, etc. We then had to listen to the sounds from the room, taking in every creak of the floorboards, and what each other were doing, etc. Our listening field was then allowed to extend out to take in the noises from the building, and the busy streets of Manchester’s Northern Quarter. We reversed the process to bring the noise back into ourselves and now it was our turn to make some noise.
Jason did some more beat boxing, and had us pay attention to his hand and microphone movements. This wasn’t dance, but a means of focussing the sounds made. When a beat-boxer makes a whooshing noise, the hand moves away from the body, and the sound runs parallel to that in duration, speed and intensity. If the hand moves down, the sound is low and deep – if the hand is raised higher, the noise is higher in pitch too. As well as outgoing noises, beat-boxers can make noises while breathing in – accompanied by the hands being drawn back in time with it. The most dramatic touch we learned was the way a sharp sudden stop, especially on breathing in, can create some very startling effects. We played with this a lot over the next few hours.
An important prop was Jason’s terrific repeat loop drum machine. This was a foot activated devise that recorded any sound we beat-boxed out, and then kept that playing on a loop as we added a new layer of beat-boxed sound or any noise we wanted, - the loops carried both noises together, and we could add as many new sounds, beats, etc as we wished. This enables beat-boxers to become a one man or woman orchestra, in effect setting their own accompanying sound-track – layering complex patterns of noise on top of one another. I got to layer my sounds on my own sounds and to interact my sound effects with those of the other workshop participant, Martin, and Jason as well. We played back the finished recordings, creating a very industrial mechanical effect in the first. Our second stab sounded like a haunted forest to me, and to a peaceful church retreat to Martin. Abstract art will always mean different things to different observers.
At the second and third workshops, Martin & I were joined by a dozen more volunteers, and we quickly learned new techniques, such as creating the sounds of specific instruments, such as symbols, (making a ‘Tse’ noise with the mouth, and snare drum effects, (Tche noises) kick-drums, (B sounds with pursed lips), and rain effects, made by a group of people clicking fingers against their teeth.
It was clear that at the show itself, our growing choir would not be using the looping machine, but relying on each other to provide supporting sound effects to anything we did. Our final week’s lesson took us through similar exercises to before, and on to making elemental sound effects together, wind, water, rain, fire, etc – I was in the wind and air group when we split into elemental units for the last few exercises.
Sadly, Jason Singh wasn’t able to join us at the show itself, due to other work commitments. Our next gathering was for a rehearsal with Juliana Snapper herself.
The Green Fish offices couldn’t accommodate the numbers expected to join the aqua-choir itself, so we were now going to meet at the Royal Exchange Theatre’s rehearsal stage on Swan Street, a short distance from the Green Fish office. We would have two rehearsals here, on the Wednesday and Friday before the performance, with a final dress-rehearsal taking place the night before the show, at Victoria Baths itself. A last minute additional rehearsal would be added a few hours before the show itself.
THE DRY REHEARSALS
WEDNESDAY
MAY 13th 2009 – MEETING JULIANA
On an evening packed with surprises, I got to learn more about the play and the extent of the choir’s involvement in it.
The Royal Exchange Rehearsal building looks like a Victorian warehouse with a modern pod-apartment grafted on top. I arrived early and headed up to the rehearsal space in a rickety goods lift with some of the QUN organizers.
The rehearsal room was a large one, with one side cluttered with props for various productions, but mostly with old battered suitcases covered in Nazi swastikas. The theatre were preparing for a production of The Pianist, set in a Concentration Camp. This added to the surrealism of our own activity.
Many of the lovely people from the workshops came along, as did several newcomers. There was about 25-30 of us now. Juliana arrived and chatted freely with us, and she seemed to be enjoying her visit to Manchester. She particularly appreciates the city’s rich music history.
Nicki Dupoy, QUN Participation and Learning Coordinator, formally introduced her and Juliana took us through some breathing exercises and stretching activities – rather like a short, non-strenuous aerobics workout with some singing notation added for good measure. . Though apologizing for her jet lag, she worked tirelessly with us. We now did some exercises in carrying and holding notes, pitches, beats, etc. This was not far removed from what we had done with Jason Singh, so his work with us had some relevance here. Juliana didn’t have loop machines – we were very much taking our cues from fellow cast members now. In one exercise, we were to imagine seeing a thief running in the distance and yell out a melodic ‘Hey Ho’, as if summoning the authorities. We tried it in high voice and lower pitch too.
We made wide open mouthed R sounds, but then tried to keep the sound while closing our mouths almost shut round the teeth which were still wide apart, altering the effect considerably. We listened closely to patterns made by one another and altered our own sounds to blend in, creating some very impressive group harmonies. I was impressed by how closely this followed some of the basic beat-boxing concepts learned so far.
We partnered up, standing closely back to back with our chosen partners, sensing the way the body moved and vibrated as we held our notes – moving through the vowels, changing rules ourselves about length, pitch & duration, - E sounds, going lower a you progress, in four second bursts, etc.
After a break for drinks and snacks graciously provided by QUN, we formed two lines, at either end of the room, now clearly being seen as roughly the distance we would be apart as we came out of our individual changing room cubicles round the pool. We sang notes with attention to who was directly opposite to us, and either side of us. We were getting a real sense of how we would sound in the show, and the work we had done to date was now beginning to pay off.
I had expected the choir to have a few minutes in cameo in the show, but it was now becoming clear that we would be inter-acting with Juliana a great deal. There were references to dance-steps, drawing a gasp of dread from many of us, a Busby Berkeley formation movement, involving us sitting poolside to splash Juliana by kicking at the water with our legs, and we were even given recorders on which to practice and find a note to hold.
I had been wondering what to wear in the show – swimwear? Clothes? Juliana provided the answer – we would be given costumes, including a sock-glove which we would move snake-like to the audience – the first they would fully see of us as we emerged in performance. With that, our first of two dry rehearsals was over.
FRIDAY
MAY 15th 2009 – ANDREW INFANTI - THE COMPOSER
Juliana wasn’t with us for the final dry run – It was the composer’s turn to take us through our paces Andrew is a young Parisian composer and classical pianist, with a growing reputation. Influenced by the philosophy of deconstructionialism, especially the eccentric Oiulipan movement (see the Youtube links below) Andrew specializes in experimental music he calls ‘Operella’, and signifying (to quote QUN literature) “post-opera which exaggerates the pretensions and impossible metaphysical operations inherent in the medium, with a rickety futurist, archaically pornographic angle to it all: think Barbarella!)” Andrew is a protégé of acclaimed US composer, Robert Helps.
We were given a stronger idea of where our contributions would arise in the opera now. Andrew established a central accapella choir of the more experienced singers. We were then given musical signals to send across the lines of cubicles in which we would be hidden for the opening part of the show.
We followed with our first of two recorder inserts – a
single note in set pitches and careful positioning of the fingers. Another
vocal piece followed, the German for “Whom? What? Where? When? How? Followed by a second recorder note, using more fingers and changes in
pitch.
We had a single cry of fearful expression, as the vision of Snatch haunts our female lead, “Snatch!”, in effect, telling the audience what was approaching. In a second flute piece, We pictured ourselves as lonely lovesick frogs, pining for a mate, trying to get our call in to the gaps between those of other frogs.
Finally, we practiced the harsh tutting, clicking noises as an
expression of revulsion & contempt.
This was dropped from the final performance though. There would be more
to practice and learn, including our dance steps, but that would have to be
learned at Victoria Baths the next day.
In addition to Andrew, Suzette, Juliana’s American costume maker,
was present and gave us our scrubs outfits, making us look like a cross between
hospital orderlies and extras from a staging of One Flew Over The Cuckoo’s Nest.
A few of us, groomed for a pool dive on the Saturday and Sunday, were measured
for use of hired wetsuits too. A diving shop found by QUN were happy to support
the event.
DRESS
REHEARSAL SATURDAY 16th MAY 2009
Our last day of preparation and rehearsal was to take place on
location at the baths. A word first about this unique and wonderful location.
VICTORIA
BATHS
This beautiful 1906 Longsight, Manchester building is one of the architectural gems of Manchester, and once a much-loved public swimming facility. It housed three pools, a Turkish baths and a laundry. The facility was also a popular dance venue, and the pools would be covered with wood to allow concerts and dancing in the winter. Britain’s first Jacuzzi was installed at the baths in 1952.
Despite public wishes, the baths were closed in 1993 and the building quickly started to show signs of deterioration, but a TV reality show, Restoration, calling for a chance to restore a building to its former glory led to renewed interest in the baths. Lottery funding and public description restored some of the facilities to their former glory and the cathedral quality stained glass windows remained surprisingly unaffected by the years in which the building was closed. Though not yet restored to its full glory, or open as a public bathing facility, Victoria baths is open as a museum once a month and as an arts & exhibition centre. It has also featured as a setting and backdrop in many TV shows, including Casualty and the popular time travel police series, Life On Mars.
Juliana’s opera meant that one of the main pools was filled with water for only the second time since the Restoration project commenced. We were to be the first to swim there for quarter of a century. Hopefully, the opera will generate renewed donations and support for the baths. Like many involved in the choir, I was looking forward to a unique chance to swim in the pool during the performance, before the water was drained again. Water has always fascinated me, as can be seen from many of my writings, online and beyond. See WATER for example) several of the choir members are involved in regional swimming clubs.
SATURDAY
MAY 17th - TECHNICAL & DRESS REHEARSAL
The building is truly wonderful, though clearly it still needs some work doing on it. There is a warren of rooms and corridors comparable to the Minotaur’s labyrinth, which took some getting used to. The pool itself looks magnificent, and several divers were checking equipment in the water. Juliana herself, in a wetsuit and wearing white whiskers, moved around checking stuff through.
We got to see our communal changing chamber with little division between the male and female halves of the room.
The choir gathered in the canteen area, where food and drinks were provided, and we received some instructions and did some rehearsal work with Suzette. .
We were then given our locations in the various poolside-changing cubicles. I got number 19, up towards the deep end. There were candles in the cubicles, which were removed even though not yet lit, by safety savvy tech staff.
Those brave souls like myself who wished to swim, were kitted out with our wetsuits, as the pool water was extremely cold. Getting into the suit I was borrowing was quite a challenge and it was very warm wearing the suit with the scrubs costume over it.
Juliana was magnificent in her bridal gown costume with its train flowing out about fifteen feet behind her in the pool, and she had several divers surrounding her to check everything was OK. Though one diver got to test the underwater microphone system, Juliana didn’t sing much under-water during these crucial rehearsals.
Much of what we learned was out of sequence, while what we really felt we needed so late on was to see things in order so that we would know our cues and the overall sequence of events. A full run through of the play was what we all hoped for. The main new material we learned was the Busby Berkeley dance routine, beginning with the sock dance in which our arms, gloved in white socks, snake out of the cubicles to perform a burlesque tease for the audience who would look down on us from the balconies. We then emerge in unison from the cubicles for the first time, to sit on the edge of the pool and kick the water with our feet, to splash Juliana,. We then lay on our sides to row the water with our hands, and finally lay on our backs with our heads draping down to the water and our arms stretched back to splash the water, before we sat and then stood up to make a collective temporary exit from the pool area before the big finale jostle and the scene in which a few of us go into the pool – which we did not get to rehearse.
A full dress rehearsal became impossible to stage, as time was running out before many of needed to go home and elsewhere. Juliana’s underwater activity seemed to be plagued by technical hitches that would not be resolved even before we went away at the end of events, which over-ran to about 10.15 before I had to go. Juliana was still in the water with the divers trying to resolve some concerns there. We would be going back early on the Sunday to do some previously unscheduled rehearsing again before and almost right up to the main show itself.
SUNDAY
MAY 17TH 2009 – THE LAST REHEARSAL
I arrived in good spirits and quite early on a very wet afternoon. I was the first of the choir to arrive and Juliana was receiving some vital rehearsal instructions in the pool. I was advised to go up and watch from the balconies, in effect, seeing the pool as the audience would see it that evening. They had a great view down on to the action.
When a few of the other choir members arrived, Suzette, Juliana’s costume maker, asked us to come down to the poolside and help get Juliana into her dress. This proved at close up to be a fantastic elaborate bridal gown which was incredibly heavy, and all the more so for being wet. It was as much a shroud as a wedding dress, with hints of seaweed and sparkling sequins and coloured spangles. It was a genuine design classic. Several strands of tendril thread tangled in the hoops, and needed to be snapped clear. It was impossible for Juliana to move on land in the dress without assistance, and we given the task of being effectively her guides as we held the dress up for her to step into from under it, (wearing her wetsuit underneath it, and we guided her gently to the edge of the pool, where she slipped into the water where two safety divers took over and guided her out to the central stepped platform which would be Blorkra’s largely static performing area in the middle of the pool.
We also practiced guiding Juliana in and out of the pool area on dry land, and there was some indication that we might be asked to do this in a prelude to the performance itself before going to our cubicles, but this idea was abandoned before too long.
We now received instruction on how we would behave at the very end of the play. After leaving the staging pool area, we would return in sombre mood, given that be Blorkra had died, and we were to lie down, near our designated cubicles, but quite close to the edge of the pool, looking miserable in poses of our choosing. Those of us in wetsuits were to fall into the water, rather than diving or jumping. It had to look accidental. We were then not to swim, but simply float around silently looking to the ceiling of the pool until the lights went out, when we could stand or tread water to take our bows and then leave the pool and get changed. We were to leave by the shallow end steps as the deep end was a warren of cables and the iceberg field made of polystyrene bergs (the water was only just above the temperature that could generate real ones).
As more of the cast arrived, we got dressed in our costumes, which for me included the wetsuit. We had a light lunch with various lovely foods and drinks provided by Queer Up North and started our final dress rehearsal briefings in the changing room area, with Nicki. We were given some warm up exercises, including lines from gospel songs, about what a lovely morning and evening it was, and tested on how high or low we could sing. We got clearer ideas of when our cues would come our way, and indications of little changes in the structure of the play. The full Busby Berkeley routine we had rehearsed was reduced to just the sock dance and the final piece involving lying on our backs arched over the pool.
Rehearsals finished as the audience began to arrive. The show was totally sold out. It was up to us to make the magic happen now.
SUNDAY MAY 17TH 2009 - PERFORMANCE
NIGHT
We filed out discreetly, a few at a time, to our cubicles, with our recorders and crib sheets of the main running order of events, though the light was fading and I hadn’t brought my glasses with me due to the pool plunge finale.
An announcer apologized to the audience for a ten-minute delay in getting the show started, and the audience were clearly in good spirits. The announcer gave them some insight into the nature of the show and let them know something I hadn’t really picked up on – the support for the project by Manchester University, who had helped QUN in sponsoring the event. Juliana is planning to give an address to university students later in the week.
Finally, we were under way. There was the daunting fear of messing it up in some irrecoverable way, as this was no longer a rehearsal, and there would be no second take. As Juliana slowly came out led by her divers, the audience got to see the magnificent dress. Dry ice machines coated the pool in a light eerie fog, and Andrew Infanti’s brilliant score began to sound out in discordant ghostly patterns. As Juliana was set down on her main performance cradle steps and the divers pulled back she bean her siren song, a mixture of Wagnerian aria and gurgling through the water. She had an air-line attached to her costume to take in air at will, and sometimes her gasps of in-taking air added to the score.
A cue signal introduced our first audible role, a lip and tongue rolling Rllll sound that seemed to move round the pool, as we took over from one another to circle the sound We had a few minutes to go before we again reacted to Blorkra’s despair, with a circling four second burst of music on our recorders, with every second recorder in sequence (including mine) slightly set to discordantly being out of tune. I kept my ear close to the cubicle to my right to be sure I was picking up in the right place, two seconds into the previous recorder note. I seemed to time it right – we all did.
The next piece was our sung German cries of Whom? What? Where? Why? & When, followed shortly after by our frog chorus (no not the McCartney song), of recorder toots and shrill short notes, slotted into the gaps between one another’s love cries, to one another and possibly to Blorkra.
a scream of terror and warning to one another and our mysterious but unapproachable aquatic friend (we seemed to be afraid of the water but fascinated by the sea-nymph floating and crying in our midst). A woodland creature called Snatch was approaching, and we had to yell “Snatch!” to express our concern. The Snatch figure was seen on a projection screen set close to the deep end of the pool, as was footage of an old lady seen as a flashback or hallucination in Blorkra’s mind.
There was a clattering sound behind me as my recorder fell off the bench and hit the floor loudly. I heard a few other recorders drop in similar fashion.
We now went into our ‘burlesque’ sock dance, moving our sock puppets arms in tune to the snake-charmer-tune as sexily as we could. It looked great. Then we had our Busby Berkeley moment, and slowly, emerged from our cubicles in unison to lie down poolside. We arched our heads and arms back, sweeping the water with our sock-gloved hands, and seeing the pool, other choir members and the audience all upside down. We recovered to a sitting position, and rose up slowly to avoid dizziness and slowly somberly filed out of the pool area while Blorkra performed a solo finale before her sad lonely death.
As we lined up outside, to return for our own big finish scene, the most unexpected and unforeseeable yet beautiful moment of the whole event took place. Victoria Baths has a clock, and at 10pm, it started to softly chime the hour. Andrew’s composition just seemed to accommodate it with perfect timing, and it proved to a superb omen of the death scene due to unfold. We could even hear the audience gasping in awe as they realized what was occurring wasn’t prepared for. Had the show started on time, this would not have occurred.
Blorkra had died. (in the tradition of tragic opera) We walked slowly and in moods of depression, with our heads hung low, to our cubicles, and lay down poolside to sleep or die. When Martin rolled into the water, I waited until one more body hit the pool, took a deep breath and rolled.
The speed of the descent was astonishing and as my wetsuit filled up with water (having the zip at the back unable to go up completely), I sank like a brick in an ocean of turbulent water. It was like swimming in lemonade. I surfaced and let myself float, and only now did the bone-chilling coldness hit home hard. I could hear the other aquanauts making splash down round me. It’s amazing that none of us screamed or swore about the temperature effects. We lay back in silent tableaux round our dead heroine.
I had expected that by just lying still on the surface, I would be stationary, but I was actually moving as if drawn on a current, and I slammed into someone head first. I turned to see which other diver I’d collided into and realized that I had just torpedoed Juliana herself. I moved myself clear and settled back again. Soon, the lights faded to signal the show’s end, and we stood up. The wet suit felt incredibly heavy now as we took our bows to an audience who had undoubtedly loved the show thoroughly. We swam and waded to the shallow end step and got out, making the musicians and tech-crew people nervous as we dripped and squelched our way past their electrics, and went to get dried and changed, and warm again.
With friendly farewells and a welcome glass of wine, we chatted with some of the audience members who asked us about the show and assured us that they enjoyed it. Finally, the night was done, the culmination of several workshops and lessons in song and music that I had never imagined myself practicing – It felt like the end of an era. I hope I get to see all the people involved again some time – it was one of the greatest experiences of my life to date.
I felt elated and in a blaze of adrenalin. I called in a bar
on my way home for a last pint as I had about three quarters of an hour before
catching my second and last bus towards home. I was surprised when everyone
said how tired I looked, because I felt wide awake, though when I got home, bed
was not far away, so perhaps I was more exhausted by the singing and swimming
than I had imagined.
IN
GRATITUDE
A big thank you to all at Queer Up North, especially participation and learning coordinator Nicki Dupoy. beat-boxing instructor - Jason Singh, costumer Suzette, (who gave us our cues and some training, rehearsal practice instruction, Andrew Infanti, & Juliana Snapper deserve absolute thanks for their patience and faith in everyone too. The choir were wonderful people to work with. Hope we all get to sing and maybe even swim together again one day. Perhaps Andrew & Juliana should start work on a sequel for next year’s festival. LOL!
LINKS
JULIANA SNAPPER’S OFFICIALWEBSITE http://www.julianasnapper.com/
JULIANA SNAPPER ON YOUTUBE –Upside down in The Judas Cradle
- http://www.youtube.com/watch?v=230ABNVayX0
Giving an interview - http://www.youtube.com/watch?v=gqDz6UCT5ws&feature=related
Performing Philippe Manoury's En Echo http://www.youtube.com/watch?v=lvzqAdzTSAI&feature=related Her water based projects - At the
aquatic Laboratory http://www.youtube.com/watch?v=MbaBE5-rI4I&feature=related Bouche a 'Leau http://www.youtube.com/watch?v=o_eVdm-DtFs&feature=related
JULIANA SNAPPER ON MYSPACE http://www.myspace.com/jsnapper
YOU WHO WILL EMERGE FROM THE FLOOD – Rare preview
footage http://www.youtube.com/watch?v=B9MV7YubbVU
ANDREW INFANTI ESSAY ON MUSIC THEORY http://crca.ucsd.edu/~msp/syllabi/209.99s/papers/infanti.html
ANDREW INFANTI’S MUSIC FOR A YOUTUBE DOCUMENTARY ON THE
OULIPO PHILOSOPHY. http://www.youtube.com/watch?v=MDSid1V0yjk http://www.youtube.com/watch?v=KZDI5sj5fKI&feature=related
and http://www.youtube.com/watch?v=6DdQmt3L5po&feature=related
OULIPO ON WIKIPEDIA http://en.wikipedia.org/wiki/Oulipo
JASON SINGH - http://www.myspace.com/jasonsinghmusic
Times Online interview with Julianna Snapper http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/stage/opera/article6250438.ece
QUEER UP NORTH Green Fish Resource Centre, 46-50 Oldham Street Manchester M4 1LE http://www.queerupnorth.com/
QUEER DEFINED http://en.wikipedia.org/wiki/Queer
BEAT-BOXING http://www.humanbeatbox.com/
VICTORIA BATHS http://www.victoriabaths.org.uk/
MY OTHER PAGES TOUCHING ON GAY SUBJECTS http://arthurchappell.me.uk/contents-homosexuality.htm
Arthur Chappell
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