Book Emilio Bello

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Haven features:Very lightweight Pylon midsole•Streamlined high-top upper design•Neoprene ankle panel for added comfort•Molded EVA insole for added comfort•Double ankle-strap closure•

Since 1998 Circa has been creating premium footwear that is driven by music, art, and street culture.

www.c1rca.com or call 1800 217 227 for stockists

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Screening Jan 11 - 6pm BFI IMAX

A characteristically pessimistic account of human aspiration from Kubrick, this tripartite sci-fi look at civilisation’s progress from prehistoric times (the apes learning to kill) to a visionary future (astronauts on a mission to Jupiter encountering superior life and rebirth in some sort of embryonic divine form) is beautiful, infuriatingly slow, and pretty half-baked. Quite how the general theme fits in with the central drama of the astronauts’ battle with the arrogant computer HAL, who tries to take over their mission, is unclear; while the final farrago of light-show psychedelia is simply so much pap. Nevertheless, for all the essential coldness of Kubrick’s vision, it demands attention as superior sci-fi, simply because it’s more concerned with ideas than with Boy’s Own-style pyrotechnics.

Director: Stanley KubrickProducer: Stanley KubrickScreenwriter: Arthur ClarkeStars: Keir Dullea, Gary Lockwood, William Sylvester, Daniel Richter, Leonard Rossiter, Margaret Tyzack, Robert Beatty

Screening Jan 12 - 6pmBFI IMAX

Reviled on release, who would have thought that Ridley Scott’s sci-fi noir would go on to become so influential and retrospectively acclaimed? From the opening shot of a Los Angeles cityscape at night in the year 2019, it is clear that Scott has conjured up something very special. Deckard (Ford) is a hard-bitten ‘blade runner’, called out of self-imposed retirement to track down and kill four rogue androids. As he goes about his work, mostly at night, mostly in the rain, he falls in love with another android, Rachael (Young), and is forced to confront painful questions concerning his own identity. This is without a doubt one of the greatest and most influential science fiction films ever made.

Director: Ridley ScottProducer: Michael DeeleyScreenwriter: Hampton FancherStars: Harrison Ford, Rutger Hauer, Sean Young, Edward James Olmos, M Emmet Walsh, Daryl Hannah


After nearly a quarter-century, Ridley Scott’s 1979 haunted-house-on-a-spaceship classic “Alien” remains a prime example of how a masterly director can maintain suspense and build almost unbearable tension simply through pacing and rhythm. One also can wonder anew at the skill with which Scott creates a mundane atmosphere among the spacebound crew by using overlapping dialogue and understated, down-to-earth antagonisms. This remains head and shoulders above today’s bloated, whiplash-paced blockbusters. It’s still one scary mother.

Director: Ridley ScottProducer: Gordon CarrollScreenwriter: Dan O’BannonStars: Sigourney Weaver, Tom Skerritt, Yaphet Kotto, John Hurt, Harry Dean Stanton, Ian Holm, Veronica Cartwright

Screening Jan 14 - 6pmBFI Southbank

A classic science fiction fable, its ambitious storyline conveying a surprising pacifist message. A flying saucer lands in Washington DC, and the humanoid alien which emerges is immediately shot and wounded by nervous state troopers. A ten-foot tall robot, Gort, emerges and disintegrates guns and tanks, before being deactivated by the wounded alien (Rennie). Rennie later delivers an ultimatum to the world’s leaders. The scenes in which the fugitive Rennie learns about life on Earth by living incognito in a boarding-house with a young widow (Neal) and her son (Gray) are particularly effective, and it is telling that it is the widow who prevents Gort from destroying the world. Edmund H North’s intelligent script and Wise‚Äôs smooth direction are serious without being solemn.

Director: Robert WiseProducer: Julian BlausteinScreenwriter: Harry BatesStars: Michael Rennie, Patricia Neal, Hugh Marlowe, Sam Jaffe, Billy Gray


Classic ‘50s sci-fi, surprisingly but effectively based on The Tempest, with Nielsen’s US spaceship coming across a remote planet, deserted except for Pidgeon’s world-wearied Dr Morbius (read Prospero), his daughter (Miranda) and their robot Robby (Ariel). Something, it transpires, has destroyed the planet’s other inhabitants, and now, as Bard and Freud merge, a monster mind-thing Caliban begins to pick on the spaceship’s crew. An ingenious script, excellent special effects and photography, and superior acting (with the exception of Francis), make it an endearing winner.

Director: Cyril HumeProducer: Nicholas NayfackScreenwriter: Arthur ClarkeStars: Walter Pidgeon, Anne Francis, Leslie Nielsen, Warren Stevens, Jack Kelly, Richard Anderson, Earl Holliman, James Drury


A wild card entry as this movie is usually categorised as horror. However it is considered by many to be one of the first examples of true Sci-fi written by a young Mary Shelley in 1818. This stark, solid, impressively stylish interpretation of a film, overshadowed (a little unfairly) by the later explosion of Whale’s wit in the delirious Bride of Frankenstein. Karloff gives one of the great performances of all time as the monster whose mutation from candour to chill savagery is mirrored only through his limpid eyes. The film’s great imaginative coup is to show the monster ‘growing up’ in all too human terms. First he is the innocent baby, reaching up to grasp the sunlight that filters through the skylight. Then the joyous child, playing at throwing flowers into the lake with a little girl whom he delightedly imagines to be another flower. And finally, as he finds himself progressively misjudged by the society that created him, the savage killer as whom he has been typecast. The film is unique in Whale’s work in that the horror is played absolutely straight, and it has a weird fairytale beauty not matched until Cocteau made La Belle et la Bete.

Director: James WhaleProducer: Carl LaemmleScreenwriter: Francis Edward FaragohStars: Colin Clive, Boris Karloff, Mae Clarke, John Boles, Edward Van Sloan, Frederick Kerr


Terry Gilliam’s nightmarish low-tech/high-tech future vision takes place in 1997, after a deadly virus has killed 99% of the human population - forcing the survivors to flee beneath our planet’s surface. This leaves the (other) animals topside, to rule the Earth once again. The scientists select James Cole, an imprisoned sociopath, to return to the past and gather information useful in the defense against this contagion. Once back in time, he is to investigate the mysterious ‘Army of the Twelve Monkeys’ and report his findings. Scientific, social, and political themes like time travel (and its inherent paradoxes and nested loops), mental illness, the nature of reality, animal rights, and the Armageddon-potential of unchecked technological advances are artfully and cleverly explored.

Director: Terry GilliamProducer: Charles RovenScreenwriter: David Peoples

Stars: Bruce Willis, Brad Pitt, Madeleine Stowe


Lang’s towering, tumultuous 1926 folly rises again, in as scrupulous an approximation of its original form as can be hoped for. A commercial disaster in its day, it was soon bowdlerised from Lang’s 137-minute edit, left to sow its influence in various prints of disrepair. Finally, a consortium of German and international archives collaborated on the field and lab work behind this definitive restoration. Any unrecovered footage is now almost certainly irrevocably lost. What is here fills in some of the potholes, but more to the point, showcases Lang’s vision resplendently. A frenzied cinematic spectacle and a crude yet visionary parable, Metropolis is still impossibly ambitious.

Director: Fritz LangProducer: Fritz LangScreenwriter: Fritz LangStars: Brigitte Helm, Alfred Abel, Rudolf Klein-Rogge, Gustav Frihlich


Made on a relatively low budget ($11m), Star Wars (or Star Wars Episode IV: A New Hope to give it its full franchise title) is a relentlessly inventive film. The attention to minute details gives it a rich texture; there are some fantastic set-pieces (Leia’s rescue from the Death Star, the X-Wing dogfights), and Lucas binds the whole film together with a hokey religion (The Force) and fatalistic story lifted from Greek mythology. While Ford famously dismissed the script (complaining that, “You can type this shit, but you can’t say it”), Lucas manages to get away with it by making everyone take it seriously - although Ford can often be seen smirking his way through some of the more clunky lines. Then there’s the rousing score by John Williams.

Director: George LucasProducer: Gary KurtzScreenwriter: George LucasStars: Mark Hamill, Carrie Fisher, Harrison Ford, Alec Guinness


HG Wells thought Metropolis to be ‘quite the silliest film’, but a decade later Alexander Korda gave him enormous creative freedom to write a movie version of The Shape of Things to Come, which turned out to be just as silly. However, like Metropolis, it isn’t just silly. It is a spectacular production wherein Wells takes his ‘science versus art’ preoccupations into the future (as seen from the ‘30s); and to make it work, only lacks the kind of pure cinematic form which a Powell/Pressburger would have given it, for its scale and love of ‘ideas’ pre-figure their films and make it just as unique in British cinema history. In the realm of ‘prophetic science fiction’, it is a genre landmark.

Director: William Cameron MenziesProducer: Alexander KordaScreenwriter: H.G. WellsStars: Raymond Massey, Ralph Richardson, Cedric Hardwicke, Ann Todd

BFI Southbank‚ Belvedere Road‚ South Bank‚ Waterloo‚ London SE1 8XT‚ Box Office: +44 (0)20 7928 3232‚ Switchboard: +44 (0)20 7928 3535BFI IMAX‚ 1 Charlie Chaplin Walk‚ South Bank‚ Waterloo‚ London‚ SE1 8XR‚ Box Office : +44 (0)870 787 2525BFI‚ 21 Stephen Street‚ London W1T 1LN‚ Tel: +44 (0)20 7255 1444

Science fiction film is a genre that uses speculative, science-based depictions of imaginary phenomena such as extra-terrestrial lifeforms, alien worlds, and time travel, often along with technological elements such as futuristic spacecraft, robots, or other technologies. Science fiction films have often been used to provide social commentary on political or social issues, and to explore philosophical issues, such as the human condition. In many cases, tropes derived from written science fiction may be used by filmmakers ignorant of or at best indifferent to the standards of scientific plausibility and plot logic to which written science fiction is traditionally held.

The film genre has existed since the early years of silent cinema, when Georges Melies‚ A Trip to the Moon (1902) amazed audiences with its trick photography effects. The next major example in the genre was the 1927 film Metropolis. From the 1930s to the 1950s, the genre consisted mainly of low-budget B-movies also producing such high budget classics as The Day the Earth Stood Still (1951) and Forbidden Planet (1956). After Stanley Kubrick’s 1968 landmark 2001: A Space Odyssey, the science fiction film genre was taken more seriously.

In the late 1970s, big-budget science fiction films filled with special effects became popular with audiences. The hugely influential Star Wars trilogy, Close Encounters of the Third Kind and Alien appeared, paving the way for the blockbuster hits of subsequent decades.

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Mr. Tulk CafeMr. Tulk, the Library’s handsome on site cafe, provides visitors with a casual dining experience in a beautifully renovated space within the 19th-century wing of the Library. You can reach it from La Trobe Street, near the corner of Swanston Street, and from the Library’s front foyer, through the Cloakroom.

The cafe mixes it’s heritage location with modern furnishings and tall arched windows to create an inviting light-filled space. Classic dark-timber tables, cafe chairs and banquettes fill the west side of the cafe. A long communal table, reminiscent of an old-fashioned reading room desk, and colourful wooden stools sit in the centre. On the other side of the space are more tables, the coffee machine, ordering area, cake and cold food display, and a long standing-room counter for those in a hurry. Around 80 people can be served inside, while the outside terrace caters for another 50 or so people.

The cafe is named for Mr Augustus Henry Tulk, the Library’s first Chief Librarian. He was appointed in 1856, and worked with Redmond Barry to build the foundations of the Library’s collections. He led the Library for 17 distinguished years.

Foundation members receive 10% off food and beverages on presentation of their membership card.

Mr. Tuck Opening hoursMonday to Thursday 7am to 5pm, friday 7am to 9pm, Saturday 9am to 4pm.

You can contact the cafe on:Phone +61 3 8660 5700fax +61 03 8660 5701e-mail [email protected].

The cafe can be hired for functions. Contact Mr. Tulk for more information.

ViSiTing The librarYThe State Library of Victoria is on the corner of Swanston and La Trobe Streets at the northern edge of Melbourne’s central business district. A magnificent example of 19th-century civic architecture, the Library building and main entrance is set well back from Swanston Street amidst landscaped gardens and lawns. Once enclosed by a picket and later a wrought-iron fence, today this park-like area at the front of the Library is a favorite place for people to sit and chat, eat lunch or quietly read a book. For many years, the forecourt has also been also a central meeting point for a range of impromptu and planned political demonstrations.

Opening hoursMonday to Thursday 10.00am - 9.00pmfriday to Sunday 10.00am - 6.00pmPublic holidays 10.00am - 6.00pmClosed Christmas Day and Good Friday

admissionfree, except for special exhibitions

More informationPhone +61 3 8664 7000

328 Swanston StreetMelbourne, Victoria, 3000Australia www.slv.vic.gov.au

RMATIONDEASATION

Whether you’re an individual or the representative of an organization, you can support the work of the Library by becoming a member of the State Library of Victoria Foundation. The benefits of membership are listed below.

general MeMberShiPFoundation membership is an enjoyable way to engage in the cultural life of the Library. For only $65 (inc. GST), you can participate in exclusive member-only events and mix with others who value the work of the Library. members are also entitled to a number of benefits:

Mailed copies of the Library’s magazine, State Library of Victoria News, •the biannual scholarly publication The La Trobe Journal and periodic members newslettersParticipation in an exclusive member program of cultural, art and •literary eventsDiscounts on all State Library events and selected Library merchandise•Discounts on quality wine through the Ex Libris Wine Club•A Reader’s Feast Bookshop book voucher worth $25 for new members.•

Discounts are also offered to foundation members by:

Fillings Catering•Good Reading Magazine•Hopscotch Films•Mr. Tulk cafe•Paper World•QV Melbourne•The Hotel Windsor (Spring Street Restaurant)•The Federal Publishing Company•Who’s your girl? Catering.•

The Foundation reviews benefits regularly and updates members about additional offers and discounts.

exhibiTiOnS COMing uP in OCTOber 2007The Library has several gallery spaces which feature permanent displays of items from the collection as well as short-term and visiting exhibitions.

faMOuS: karin CaTT POrTraiTSThis free exhibition presents striking celebrity portraits by high-profile Australian photographer Karin Catt. These iconic images of famous faces, from hip-hop artist Eminem to Mikhail Gorbachev, evoke the world of popular culture seen in the pages of Vogue and Rolling Stone. (A National Portrait Gallery touring exhibition.)

Time: 13 July–11 November, 10am–5pm dailyVenue: Keith Murdoch Galleryfree

The Changing faCe Of ViCTOriaThis fascinating exhibition highlights the people, places and events that have shaped life in Victoria over 200 years. Revisit Victoria’s early years, view Ned Kelly’s original armour, and discover Melbourne stories and personalities.

Time: 10am–5pm dailyVenue: Dome Galleries, Level 5free

MirrOr Of The WOrlD: bOOkS anD iDeaSThis magnificent exhibition showcases rare, beautiful and historically significant books from the Library’s collections. See treasures such as Audubon’s magnificent Birds of America, classic children’s books and 1950s pulp crime fiction.

Time: 10am–5pm dailyVenue: Dome Galleries, Level 4 free

Membership application form

Yes, I would like to become a member of the State Library of Victoria Foundation for $65 per year (inc. GST).

MEMBER’S DETAILS

Title

First name Surname

Address

Postcode

Business Home

Email

IS ThIS A gIFT MEMBERShIP? Yes No

IF yES, PLEASE PROvIDE yOuR DETAILS:

Name Of Gift Giver

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Business Home

Enclosed is my cheque for $ .

Made payable to the State Library of Victoria Foundation

OR

Please charge $ . to my credit card

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Please mail to:Memberships State Library of Victoria Foundation 328 Swanston Street, Melbourne VIC 3000 ABN 11 792 788 665

The State Library of victoria is one of Australia’s oldest cultural institutions. It is th e major reference and research library in victoria, responsible for collecting and preserving victoria’s documentary heritage and making it available through a range of services and programs.

AT PROUD CELEBRATES THE VANGUARD OF A NEW FASHION GENERATION. HERALDING THE STARS OF TOMORROW, PERVERSIONS OF FASHION IS INSTRUMENTAL IN RAISING THE PROFILE OF NEW BRITISH DESIGNERS.

PERVERSIONS OF FASHION ORGANISERSProject Manager: Robert Last || Choreographer: Shelly Lasica || Production: Rough Magic || Stylist: Virginia Dowzer|| Make Up: PowderPuff Girls Hair: Alexander Clarke at Ethos || Models: Chadwick Management || Music Director: Christopher Blom || Lighting Directors: Tim Hall, Tim Newman Voiceover: Karen Webster || Publicity: Isadore van Camp for Press Girl || Graphic Design: Emilio Bello || Marketing: Jo Naish

By Tracey NeulsContact: +44 (0)20 7935 0039www.traceyneuls.com

Unadulterated creative play is truly only found as a child. For Tracey Neuls and Nicola Yeoman, design is rooted in this emotional freedom.Together, the pair have rekindled the innocence explored in their architectural makings as children. An emotive explosion personal to the lives and work of both designers, Home plays with perspective and form.

Stockists: Bread and Honey 020 7253 4455, Jezebelle 020 7935 7109, Hoxton Boutique 020 7684 2083

Designed by Christophe SawhneyContact: +44 (0)20 7834 0124www.springprojects.co.uk‚

Spring Projects presents Archive, a exhibition of work by Christophe Sawhney. Archive will showcase Sawhney's explorations into the body, movement and voyeurism and highlight his fascination with form and process.

Stockists: Hub 020 7254 4494, Twentyone the Green 020 8882 4298, Santos & Mowen 020 7836 4365, Start 020 7739 3636

Designed by Lee KlabinContact: +44 (0)20 7613 1111www.leeklabin.com

The hidden desires of femininity are exquisitely expressed through Lee Klabin Autumn/Winter 2011 Collection. Explorations in texture and tailoring with inspiration drawn from Reflections From Within. Nothing in life is to be feared it is only to be understood - Marie Curie.

Stockists: Beyond The Valley 020 7437 7338, Comfort and Joy 020 7359 3898

Designed by Rashmi ShastriContact: [email protected]

A Pandora's Box of fashion, jewellery and art bursting at the seams with a colourful array of creative and directional fashion and accessories.

Stockists: Beyond The Valley 020 7437 7338, Bread and Honey 020 7253 4455, Twentyone the Green 020 8882 4298

By Gemma Critchley and Zara Braganca Contact: +44 (0)79 6640 1228www.cabinetstudios.co.uk

Tropical ornithology meets Brigitte Bardot. The designs have botanical undertones flashes of sun-bleached brights cascade onto faded neutrals - whilst colonial militaria prompt historical references and timeless legends.

Stockists: Bread and Honey 020 7253 4455, KJ's Laundry 020 7486 7855, Shoon 020 7487 3001

Designed by Nicola GerwitzContact: [email protected]

Inspired by Nikki's childhood family holidays spent on the shores of the English coast, the collection concentrates on strong motifs such as florals, hearts and beautiful, tactile shapes.

Stockists: Jezebelle 020 7935 7109, Labour of Love 020 7354 9333

7.30 for an 8pm startwww.londonfashionweek.co.uk/perversionsoffashion

14 Crown Street, Surry Hills 2010 t. 02 9845 7342, f. 02 9845 7365, e. [email protected], w.www.altermative.com.au

Dear Mr. Sample

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Best regards

James Lee General Manager

Aug/20/2010

Mr. Sample000 Sample AvenueSample Suburb, Sa 00000

14 Crown Street, Surry Hills, NSW 2010

14 Crown Street, Surry Hills 2010 t. 02 9845 7342, f. 02 9845 7365, e. [email protected], w.www.altermative.com.au

You next appointment is ...

Date Time

[email protected]

225 E, Grand AvenueChicago, IL 60611

Tel: 312 512 1313Fax: 312 512 1314

Jerry LaskyManaging Director

[email protected]


M: 312 642 4074

[email protected]


Tel: 312 512 1313Fax: 312 512 1314

[email protected]


Tel: 312 512 1313Fax: 312 512 1314

Lorem ipsum dolor sit amet, consectetur adipiscing elit. Vivamus elementum sollicitudin diam quis molestie. Quisque diam nisi, viverra sit amet blandit vitae, condimentum id dolor. Donec eleifend tellus quis ipsum porttitor pharetra. Vivamus erat neque, venenatis non scelerisque eu, hendrerit nec metus. Aenean interdum magna nec urna ultricies egestas. Vestibulum interdum sem ut sapien faucibus egestas. Aliquam varius metus iaculis nunc porta volutpat at vel tortor. Etiam imperdiet, tortor sit amet semper pretium, diam felis blandit nisi, sed ultrices leo tortor quis mi. In interdum dapibus magna sit amet placerat. Vestibulum urna ipsum, ultricies ut auctor ultricies, convallis id est. Donec imperdiet scelerisque nisi, a vehicula nulla consequat a.

Sed quis neque eu arcu placerat tempus. Duis felis massa, gravida eu rhoncus a, rhoncus ut enim. Sed porta tristique nisi, at laoreet ipsum accumsan fermentum. Phasellus est turpis, consectetur eget dignissim a, feugiat vitae risus. Nunc elementum scelerisque magna, nec placerat sem ultricies commodo. Vestibulum ante ipsum primis in faucibus orci luctus et ultrices posuere cubilia Curae; Etiam venenatis, dolor vel rhoncus volutpat, diam nisl molestie arcu, id condimentum neque velit quis sapien. Suspendisse facilisis fringilla imperdiet. Maecenas tristique ante id justo ullamcorper facilisis. Aliquam eu tellus velit.

Best regards

Jerry LaskyManaging Director

Mr. Sample

000 Sample Avenue

Sample Suburb, Sa 00000

Dear Mr. Sample

Aug/20/2010

Half-yearly report to SHareHolderS

January-June 2010

GE Corporate HeadquartersGeneral Electric CompanyFairfield, CT 06828+1 203 373 2211Corporate Investor Communications+1 203 373 2424www.ge.com

Technology InfrasTrucTure

When China’s first domestically developed regional jet took flight in 2009, two GE CF34-10A engines provided the propuls ion. The ARJ21 regional jet is the result of close collaboration between our Technology Infrastructure’s Aviation business, other leading aerospace companies, and the state-owned Commercial Aircraft Corporation of China, LTD (COMAC). It represents a $6 billion opportunity for GE Aviation. More importantly, from R&D at our Global Research Center in Shanghai to GE Commercial Aviation Services’ purchase of five with the option for 20 additional ARJ21 aircraft, this endeavor demonstrates GE’s ability to truly partner with a country for mutually beneficial growth.

As China’s second- and third-tier cities undergo rapid expansion in the years to come, our businesses will be positioned to help fill insatiable demand for power generation, healthcare, transportation, and financing in a way no other company can.

energy InfrasTrucTure

GE Energy Infrastructure’s biggest global growth drivers are built right here at home. GE’s Greenville, South Carolina site is the largest gas turbine manufacturing plant in the world, producing products for domestic and global export. Built in 1968, the site originally housed 250 employees and focused on building the Frame 7 gas turbine.

Today, the site manufactures a diverse range of energy and infrastructure products, and has grown into an integrated campus spanning 413 acres with over 3,000 employees, two engineering centers, a Gas Turbine Center of Excellence, and a Repair Development Center. GE Energy’s innovative solutions, such as fuel flexibility for turbines, have been critical in winning major deals, including the $3 billion agreement signed between GE Energy and the government of Iraq, the largest single win in the history of GE Energy.

ge capITal fInance

As GE Capital Finance moves toward a smaller and more focused structure, strategic partnerships and joint ventures will play a greater role in helping GE capitalize on market-specific opportunities. GE’s multifaceted partnership with Mubadala Development Company in Abu Dhabi, United Arab Emirates, is a powerful example of how this new approach will strengthen our position.

Building on a strong existing relationship, GE and Mubadala will create a jointly owned global financial services business combining Mubadala’s expertise in regional investment opportunities with GE’s global origination excellence. GE Capital Finance and Mubadala will each commit $4 billion in equity to the venture with targeted assets in excess of $40 billion. The partnership also provides new higher-return investment opportunities in infrastructure investment, clean energy and water R&D, aviation, energy support, and our first ever corporate learning program in the Middle East and Africa.

lookIng forward

In the midst of this recession, we look to our extremely capable and well-trained managers to keep GE safe and focused on long-term shareowner value creation. The Board holds our leaders to an extremely high standard — we expect them to manage their businesses with a sense of ownership that is informed both by their deep operational expertise and a broad understanding of how industry dynamics and global economic conditions will affect their businesses now and into the future.

These may be unprecedented times, but we are confident that GE has a capable, well-trained group of leaders that will secure the long-term health, growth, and profitability of the company. In the challenging times ahead, growing and retaining strong leaders and rewarding them appropriately for disciplined and thoughtful management will remain strategic imperatives for GE.

Sincerely,

ralph S. larsen

Chairman, Management Development and Compensation Committee

July 1, 2010

In this very tough environment, GE earned $18 billion, our third highest year in history. Thanks to the extensive repositioning of our portfolio over the past eight years, we redeployed our capital to enable growth. Our operating cash flow for the year remained strong at over $19 billion. We have a $172 billion backlog in infrastructure products and services. We have geographic diversity, with 53% of our revenues outside the U.S. We also have a great pipeline of new products.

The credit for this performance in the toughest times I’ve ever seen goes to the people of GE. The efforts of more than 300,000 skilled GE workers, technicians, credit analysts, technologists, engineers, service providers, our experienced management team, and all employees helped us end 2009 with solid profitability and prepare our Company for future growth.

our BusIness sTrengTh consolIdaTed revenues

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The third highest half-yearly result in Company history

$18.1 Billion

Infrastructure and Media segments grew operating profi

10%

Industrial organic revenues grew

8%

Filed patent applications in the first half of 2009.

2,537= Increase of 8%

Named most valuable brand in the world by BusinessWeek Magazine

4th

By Andrew Mooney, as told to Andy Morris Photos www.stugibson.net

Last year, Central Coast kid Andrew Mooney spent some time with a bunch of American film graduates, making a documentary on exploration in isolated areas. The young film crew had their eyes on a particularly remote stretch of jungle coastline, and, in what Mooney was fairly sure was the middle of nowhere, they found the wave of his life. The only other surfer in the group agreed never to spill the beans on their whereabouts and sure enough he stayed true to his word. With no stills photographer on board and with the documentary still unreleased, there was no photo evidence of the wave. But the memory of the place kept pulling at Mooney, and for a year, he watched the charts and tried to convince a crew to return with him. This is Mooney’s story.

When I found the wave on the original trip, it was pure luck. We were supposed to get on a boat and steam ahead up a coast we’d already checked because we knew the conditions were right, but we didn’t know what was the other way. The boat never showed, so I grabbed a moped and went back the other way and checked all along the coastline. When I first laid eyes on the reef, I wasn’t sure how good it was. I could tell it was a long left barrel but I wasn’t sure about the reef that was in front of it or how the right-hander was breaking. I sure didn’t know it was a perfect A-frame!

Since that trip I’d been keeping an eye on swell movements and knew I’d missed a few classics, but I’d never had a crew ready to go.

Marti Paradisis and photog Stuart Gibson were firing this time, and the forecast was bigger than the original swell I’d surfed. It’s not the kind of place where you jump on a plane from Sydney and you’re paddling into screamers the next day. Or even the next. It’s a solid three-day slog to get to this neck of the jungle. Five planes, then six hours on eroded roads and we were in the exact same place I found myself over a year ago. A place where I knew there were waves. The whole purpose of this trip was to go back and surf this freaky A-frame I had stumbled on but there was so much more. I grabbed my board from the hut and by the time I got back to the rest of the crew the boat had arrived.

Everyone wanted to get in the boat and the driver said I had to get in too, but I told the guys this wave looked too good and I had to go and check it properly. I rode back on the bike with a filmer, falling off the scooter trying to hold my board, and the cameraman went down too. We were frothing and rushing too hard. But it was even better than I could have hoped.

When it finally turned on, I was flabbergasted to discover just how real the wave was. It’s hard to believe there’s a wave so good that has been left unturned. We couldn’t comprehend it. The days when it was 3-4 foot we were doing turns then flicking off and just screaming and laughing. We couldn’t believe we were the only two people in the whole world surfing this perfect wave. We sussed the takeoff zone quickly, but during lulls we did lose our bearings and the first wave would sometimes catch us out. There was a 30-metre section between the take of zone of the

left and right. You’d be surfing the left, getting shacked, and you’d see three to four sets reel off on the right which you’d see spitting from the back. So you’d paddle to the right and get three to four bombs, then see the left reel off and you’d be like shit, I’ve got to get back over to the left.

There were times when Marti would sit over on the right and I’d be on the left. We’d yell out to each other, asking about each wave, cause you could see them from the back going mental. It got too much just having two people out there. You almost needed two people on the left and two on the right cause there were so many sick waves going unridden. The peak hadn’t been named so we did the honours. The left is now ‘Luke Wardell’s’. It was a barrel and you’d just lock in for 100 meters or so. The right is called ‘Matt Mooneys’. It had a long barrel section after takeoff, then you’d cut back and fade into the bowl, which kegged hard. I’ve never surfed the Mentawais, but Marti and Stu reckon the left is better than Green Balls’ and the right more perfect than Lance’s’. That might have just been all the excitement or perhaps they are genuine calls.

UK £7 / $15 AUD US $12

Spring ‘11

Cement TownReport by Hans Loos

A Big Breath Florence and the Machine

AIR Jean-Benoit Dunckel

talks about Airs new album

Lux Photography by Christina Seely

Contents20 CeMent toWn Report by Hans Loos

24 one on one WIth: Jon & Annie, Rebecca & Marnie, Mic and Jessie, Beci and Shauna

32 A BIg BReAth: Florence and the Machine

38 CLoset tALes Insider secrets on the box.

40 tRACksuIts of st MARy’s Scorned, adored, and defiantly immortal.

42 the enIgMA Interview with photographer William Eggleston

46 AIR Jean-Benoit Dunckel talks about Airs new album

56 RoLLIng fLAsh Revival of the ultimate four letter stone.

60 sound As eveR Two trashbags, four jailbait and one prissy miss.

66 MAttIjs Dutch fashion designer Mattijs van Bergen

70 MARtIn gRAnt The man who built his own house

74 CAn We WeAtheR the stoRM? By David Johnston

80 deLuge

82 Lux Photography by Christina Seely

88 IRene gRIshIn seLzeR Concrete Lover

96 then By Christopher Ferguson

112 BLuey By Kristina Soljo

118 henRy MooRe By Harold David

128 exIt By Derek Henderson

136 WhIte LIght By David Manelberg

152 nIght WAndeReR By Pierre Toussaint

162 dRAWn By Bec Parsons

170 son MedIA By Derek Henderson

182 seCtIon 6 By Christopher Ferguson

192 stoCkIsts193 PeRsonALs: WInteR ReAdIng Secrets and stories from our favourite people

TRADE / Issue 1 / Spring 2011

20 / TRADE / Issue 1 / Spring 2011 TRADE / Issue 1 / Spring 2011 / 21

Cement town Is a small suburb of the East

Siberian industrial city of Angarsk. In the late 1940s, 60,000 of Stalin’s prisoners erected Siberia’s largest industrial complex. The prison camps still stand among the smoking chimneys of the petrochemical industry. Angarsk was a city of criminals, forced labourers and communist bruisers. Sixty years on, it still has a reputation as a banditski gorod, a city of bandits. Most Angarskians are proud of their city, however. They call it the ‘Leningrad of Siberia’, because the severe, imperial architecture is said to be based on St Petersburg’s city planning.

Words by Hans Loos Photography by Rob Hornstra

22 / TRADE / Issue 1 / Spring 2011 TRADE / Issue 1 / Spring 2011 / 23

One of Angarsk’s first neighbourhoods was the Cement Workers’ Town. It is located far from the centre and comprises 53 two-storey apartment blocks, which literally stand in the shadow of the enormous cement factory. It was a Stalinist model village, complete with pompous cultural centre and three-tiered fountain on the high street. The inhabitants of Cement Town once lived to the rhythm of the factory bell. There was work, the children went to school and a social services system took care of basic needs. But in the 1990s, everything fell apart. Rival clans fought relentlessly for control of the cement factory. The most difficult years were 1996–1998. The factory was plundered and bankrupted. Cement Town inhabitants were left to their own devices.

Today, the chimneys of the factory have started to smoke again, but Cement Town residents have seen little of the new economic prosperity. Cement Town has been written off, the neighbourhood erased from the balance sheet. Many people have left. Vagrants occupy the empty flats, the primary school has burned down and almost no one works in the factory anymore. Back in the centre of Angarsk, they call Cement Town a ‘no-go area’. As for the suburb’s residents, they are 'nothing more than junkies and shit artists!' If a fight is reported, the police do not respond.

Everyone advises us not to go there, particularly at the weekend, when there is a disco at the cultural centre. We take the warnings to heart and find a trio of bodyguards willing to accompany us on an evening out in Cement Town. Leading the group is Dmitri, a police officer who would later style himself as ‘the Brain’. He calls his colleague, Valeri, ‘the Eyes’ and the ex-soldier, Slava, is ‘the Pitbull’. Before we go in, we drain a bottle of vodka at the edge of the village. On the boot of the car, Valeri slices bread and bacon and Slava shows us films on his mobile, which he recorded himself during his tour of duty in Chechnya. Our bodyguards are small but sturdy fellows.

They instruct us that if things turn nasty, we should make our escape as quickly as possible in the car. They will handle the rest.

Once we are inside the cultural centre, such a scenario seems unlikely. A few giggly teenagers hang around the entrance and on the dance floor, everything looks amicable. Most of the crowd is made up of girls, and they are busy dancing. It is almost a disappointment. Perhaps the bandits will turn up later?

On our second visit to Cement Town, we decide to go without protection. We have an appointment with DJ Artyom. During the week, Artyom works at the shunting yard of the local railway. At the weekend he is a DJ at the cultural centre. He has to laugh about all the things that are said about Cement Town. ‘Of course there are some shady characters here. And things happen, you know. But I know everyone and what they are all up to. I make sure they don’t mess with my equipment.’

He reckons on a crowd of about 30 people on Friday nights, twice as many on Saturdays, when the kids from the nearby village, Kitoi, turn up. Entrance costs 50 Rubles, about USD1.50. He invests his profits in new equipment. He hopes to be able to save enough for a professional set. His biggest dream is to play in other cities and most of all, of course, abroad.

He expects nothing from the government of the cement factory. In fact, he would rather be left alone. ‘But still, it would be great, of course,’ Artyom fantasises.

We don’t need much to turn this place into something beautiful. Look at it already. We did all of this ourselves.

FRONT COVERBACK COVER

9 30066

I S B N 0 - 1 4 - 11 8 2 7 9 - 2

3 2 7 1665

US$ 29.99www.korn.com

Korn is:Jonathan Davis

Reginal “Fieldy” ArvizuJames “Munky” Shaffer

Davis SilveiraBrian “Head” Welch

Korn name and logo are Registered Trademarks

Artwork and Photography by Emilio Bello

Recorded at VIRGIN Records Studios in

L.A. California

INSIDE FRONT COVER CD TRAY

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LIKE HOME SUNDRIEDTOMATOES& BASIL SHELLS

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SUNDRIEDTOMATOES& BASIL SHELLS

SERVING SUGGESTIONCook in boiling water until al dente, drain and serve with “FROM MUM’S KITCHEN” Pasta sauce with white wine.

INGREDIENTSOrganic What Semolina, Water (purified), Organic Black Olives

000 Sample AvenueSample suburb, Sa 00000www.frommumskitchen.com.au

9 300663 2 7 1665

Serving Size: 1 (375 g)

Total Fat 56.0 g

Saturated Fat 30.8 gMonounsaturated Fat 18.8 g

Nutrition Facts

Amount Per Serving % Daily Value

Calories 878.1Calories from Fat 504 57%

86%

154%

Polyunsaturated Fat 3.1 g

94%

15%Trans Fat 0.0 g

Dietary Fiber 4.0 g

Cholesterol 174.0 mg

Sodium 829.5 mg

Potassium 656.4 mg

Magnesium 73.0 mgTotal Carbohydrate 74.1 g

Sugars 3.6 gProtein 22.3 g

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Designer

Sauvignon Blanc

LERMONTOVEmilio Bello

In February 16th, 1986, The russian cruise ship Mikhail Lermontov stuck rocks about 5 meters below the waterline on the Cape Jackson’s passage thanks to a human error. The passangers find out something was wrong when the ship crew started to wear safety vests and the glasses from a wine tasting began to slip away off a table. Rescuers took action inmediatelly. Just one fatality reported.





Documents

Book Emilio Bello