Contents: CABLE Creature Feature Success Introducing... Rialto Burns Contribute: Josie Jenkins’ TV Triumph Send your news stories to: Introducing... The Thespians [email protected] Introducing... Rebel Play Follow us on: Plus Creative Opportunities, www.twitter.com/elevatorstudios 09 Pacific Stream and the new cafe. or www.facebook.com/elevatorstudios CREATURE FEATURE SUCCESS!

Elevator resident Stuart Lanceley’s virtual pet shop Creature Feature received And his personal highlights from the Creature Feature? “It’s hard to get feed- applause and acclaim during its month long run in the former Lewis’s building. back about how the public feels about your work on a project like this. We tried our best to make it easier, via social networking, but I think the most honest Video artist Lanceley worked with illustrator Zoë Darnell to create the interac- feedback was simply seeing anonymous people playing with our interactive tive piece which was housed in the windows of the Renshaw Street building installation. Watching people show us that it worked in unexpected ways; it’s as part of the Shops Upfront scheme. “It was a wonderful experience,” he a busy stretch of pavement, and quite often pedestrians would hurry past the explains, “to see a project so long in the making come to life. I’ve wanted to window, unaware it was interactive, but the commuters on the buses stuck in produce an interactive piece for years, and it’s finally happened. traffic would get a clear vantage of what was happening. I enjoyed the giggles of these bus-bound viewers especially. Also kids would often notice when Token Films previous endeavors have included making music videos for the their parents were too busy. Getting the seal of approval from my Gran is of like of , and The Beautiful South. “Strangely, it has used a course, the icing on the cake though!” lot of the skills I’ve learnt making music videos and animating to make it hap- pen,” he explains, “along with vital contributions from the drawing genius of And what does the future hold for Shops Upfront? “It’s a great scheme, sup- “Mmm…biscuits!” Zoë Darnell of course! porting local artists by giving them a platform to reach a public audience and at the same time helping to keep empty shop windows from looking drab, life- “A lot of the work was preparation. For example, the software needed to be less and depressing,” explains Lanceley. “I haven’t heard yet what lies in store programmed from scratch, and Zoe designed the creatures from scratch too. for the future of the scheme, in terms of funding, but I’ll be keeping a keen eye Then we tried to animate the creatures in a way that suited their image, to out for the possibility of working with Shops Upfront again and I encourage give them character. anyone with a creative idea to apply too. I just hope that our project will have done some small good in helping them secure funding to continue the scheme “We set up a test installation in The Box at FACT, which was not hugely suc- in future. It’s definitely has a positive influence on the city. Perhaps Creature cessful, but we learnt a lot of important lessons about what works and what Feature could go on tour and find a home in other cities with similar schemes. doesn’t. Thankfully Shops Upfront & FACT saw through these teething prob- lems the potential in what we were trying to do and gave us the support we “Now that Creature Feature has been packed away for the moment, I am now needed. This allowed us to hire one of MITES big powerful HD video projec- tors. This was important as it was the biggest cost of the project, and vital if the video screen was to be viewable during daylight.

“It all started to come together very quickly as the launch date approached. The strangest feeling was just to leave it running and head home, our baby all grown up and fending for itself!”

Left: Stuart Lancely and collaborator Zoe Darnell are proud as punch of their excellent installation. Right: The public gather on Renshaw Street to take in Stuart and Zoe’s masterpiece.

The project drew the attention of the press who showered the project with free to catch up on all the other work I’ve been neglecting,” he laughs. “I’ve praise. Did Lanceley expect the media to get behind the project? “I knew that been promising local band a.P.A.t.T. a music video for ages, for their amazing Lewis’ department store holds a special place in the hearts of many scousers, song ‘Mumbo Jumbo’. I’ve got a few other less exciting projects on the go too, so I was a little apprehensive that our project might interrupt the mourning pe- but that’s the one I’m looking forward to most! riod for this institution,” he says. “I hoped that even if people didn’t like what we were doing, that they could appreciate a scheme facilitating art- “Our installation wasn’t without problems but we got a huge amount of help ists to bring some life and colour back the windows of the building whilst it and support from Jenna Beatty and the Shops Upfront team at Culture Liv- was being renovated. erpool, as well as various friends and colleagues (Stephen Clarke and Gavin Wood especially). Barry & the Merepark staff were very patient and helpful “It was a delight to get the support of local press, who seemed excited by what too. We also had the help of Alex Mountaineer, who provided the music for we had planned, and followed it up with lovely articles once it was up and run- our promo video for Creature Feature. You can see it online, and it probably ning. We were busy scrubbing the inside of the windows one day during the explains the installation better than my words ever could…” set up when an old fellow stood outside staring in. He tapped on the window and to our relief shouted “Is this the pet shop thing?” and gave us two thumbs Watch Creature Feature in action here: http://youtu.be/Y9HuB9UR_Tc?hd=1 or up. He’d read about it in the newspaper apparently, before we even knew we’d for more information email: [email protected] been featured.”

01 INTRODUCING...RIALTO BURNS

Drawing comparisons with the likes of the Bunnymen, New Order and In- “The new EP is a 10 track bundle. The label wanted to do something bit different terpol, the dark and brooding soundings of Elevator based quintet The Ri- than just releasing a single,” says Pottsy. “There are remixes and live tracks as well alto Burns have been rousing interest nationwide with the release of new as the new material.” EP ‘For The Asking’. “They wanted us to put out something that introduces us,” explains Adam.

The Gung-Ho signed outfit straddle the depths of curtains drawn, lights-off deso- “We stalled a bit as we’ve had the album ready since last June but we didn’t have it lation and heart poundingly contagious euphoria. Fuelled by the self-scrutiny that mixed,” says Pottsy. “We went into Elevator with Darren Jones and went in for a cou- rules day to day banality, but lifted by fervour and disquiet, the band’s intriguing and ple of dates with all the WAV files; it didn’t work as we were up against it with time.” life-affirming physical debut has been worth the wait. “They were the demos that got sent to Gung Ho. The reason we got signed was Heart breaking and uplifting in equal measure, the band’s release features a live ver- because they like the lo-fi sound and they wanted to keep the magic,” explains Al. sion of last year’s single ‘Radiate’ as well as five new tracks. “We thought we’d strip it down and build them back up, we didn’t re-record. It was a nightmare for us as we’d mixed the demo, but none of us are engineers. It didn’t Comprised of Ads (vocals), Al (guitar), Cogsy (guitar), Pottsy (bass) and Dan (drums), work when we tried to transfer everything over, so basically he ended up coming to the band formed two years ago, getting together when their previous endeavours our room and using our computer and that’s when we finished it off and it worked. concluded. “Me and Al came out of another band and kept writing and using Q base The album is now finished and ready for the summer.” together,” explains Pottsy. “Cogsy met us in a pub, we found Adam from an ad on Gigwise and then we had a band minus the drummer. We got a set together using Primarily an electronic label, The Rialto Burns are one of the first crossover bands on drum machine and went out gigging. It looked unusual, all four of us stood in a line Gung-Ho. “They’ve been really flexible with us as they’ve seen it’s not just a simple with no drummer!” process,” explains Al.

The surprising stage formation wasn’t enough to deter the attentions of their future “You’re constantly trying to second guess a music industry in crisis,” says Pottsy, label however, the band signed to Gung Ho after their seventh gig. “We spent a “but people still like a physical release. It’s a limited edition with just 1000 copies.” year without a drummer signed,” laughs Pottsy. “I chased Dan for a month and he ignored me.” The band have had a pretty hands on approach with all facets of the release process,

The enormous leather couch finds the Rialto Burns boys in a particularly sombre mood.

“I was in another band at the time,” smiles Dan. with Ads putting down the microphone for a period to record the video for the EP’s title track ‘For The Asking’. “I got an iPhone and it evolved from there,” he explains. With a barrage of high-calibre sound-alikes littering their write-ups, the band aren’t “The quality comes out really well and is easy to edit. We did a couple of version s feeling any pressure. “We’re not afraid of the influences tag,” asserts Pottsy. “You and it came out great.” want to know what band you’re going to go and see, you’re letting people know what you’re going to be like. It’s all there, The Cure, The Smiths, early Simple Minds, “Because we’re still quite new, people still want to see the band,” says Pottsy. “The even a bit of Depeche Mode.” next video will have more to it, more of a storyline.”

While the majority of bands material is realised and formed through a jam, The Ri- With only one previous release to date, most of the glowing press that the band alto Burns take a slightly different approach, preferring to create the song in Q-Base have received has been via their live shows, entrancing and thundering affairs. with each of the members recording and reworking their part as it comes to them. “Without blowing smoke up our arses, there isn’t a bad song in the set,” laughs “When we create a song in Q base, we lay down the drums, we then take out the Pottsy. “We haven’t got any fillers in it. We try and make the live show different, we bits that Dan wants to play, and he adds his own elements. We leave the blips, pops intersperse a lot of intros that you won’t hear on the album.” and claps on the track,” explains Pottsy. “It’s tight, we make sure it flows,” says Adam. “We’re showcasing ourselves every “We just plug in and go round, we don’t jam, we write straight off. Al will say ‘give us time we go out so we want to keep it interesting.” the lead’, he’ll plug in and record his bit, and we create the track like that, it builds up. We’ll take it so far, go on to something else and then go back to it a few weeks later.” And what about the ‘dark’ tag that follows the band’s sound? “People describe The Smiths as being miserable but to me they’re one of the happiest bands around,” “It’s the first band I’ve been in where everyone contributes equally,” explains Cogsy. sayd Pottsy. “The music may be dark but the lyrics keep it bright.”

“We’ve got 20 new ideas on the go now and they’re 50% done,” says Al. “They’re “It’s uplifting in places,” says Al. “There’s such a big difference in our outlook than to then moulded to the way Adam sees the song story wise. We get about half way previous band’s we’ve been in, where we felt the need to make it lighter.” through the idea and then Adam listens to it and sees where he sees the song going, adapting the tune to that.” The band have just completed a victorious and high-profile slot with The View and will play at the Friends Of Mine Festival this summer. With the album ready and “When there’s a bit of music, you can get the feeling and start writing, that’s when I waiting in the wings, the UK has just a few months to wait for the band’s full musical stick my input in, “ explains Adam. “I write about experiences, different interactions arsenal to be released. Proving that there’s light in every shadow, The Rialto Burns’ mournful optimism is the perfect addition to a British summer. with people, different types of relationships and friendships. If I don’t get what the songs about then I can’t perform it on stage. It’s all moulded toward an expression.” For more information, go to: http://www.therialtoburns.com/

02 Chris Hollins has a little smile and a bit of a point at Josie’s excellent sea- scape painting during the filming of BBC2’s Show Me The Monet.

JOSIE JENKINS’ TV TRIUMPH!

Arena artist Josie Jenkins made it to the finals stages of new interested in the subtle incongruity between natural and unnatural as- BBC2 programme Show Me The Monet, beating off competition pects of the landscape, like manmade patterns, overgrown wasteland from thousands of applicants. The two-week show featured the containing derelict buildings and objects that have or once had a pur- talents of professionals and amateurs, all vying to get their work pose, but are now integrated into their natural surroundings. I want to exhibited at the final show at the Royal College of Art. emphasise these themes through the use of colour and by obscuring some parts and defining others.” Landscape painter Jenkins was urged to enter by Arena manager Pam Sullivan. “My initial thoughts were ‘I don’t want to be on TV, I’d be a ner- The competition features artists from all manner of disciplines, was vous wreck,” explains Jenkins. it strange being up against people with disciplines different from her own? “I only met four of the artists until the exhibition at the Royal Col- “I was shocked when I got the email from Lucky Day Productions because lege, and then I realised also that a lot of the work chosen was figura- I really had forgotten about it. I’d not told anyone I had applied. They of- tive and I really liked that - I’ve not seen so much good art in one room fered me an initial interview at the Adelphi Hotel where they asked me actually!” questions about my work and myself and filmed it on video. They then got back to me about a week later and told me I’d made it through to “The highlight was the show at the Royal College. The other artists the ‘Hanging Committee’, which is the bit where you go in front of the were genuinely really nice and we all got along really well,” says Jen- judges. It was at that point that it dawned on me I’d have to go in front kins. “I’m not sure if the production company had considered the con- of the cameras.” sequences of mixing artists and unlimited free alcohol! I think we did more talking to each other than actually making contacts with potential The ‘hanging committee’ comprises of three art specialists Charlotte buyers. I don’t think artists are so good at selling themselves!” Mullins, David Lee and Roy Bolton. Similar to an X-Factor format, two of the three judges had to award a yes for the artists to go through. “Other highlights were having my photo taken with Chris Hollins with my painting in the background - he was so lovely! Also, watching in “I was asked to turn up at the Walker Gallery on a Saturday morning at despair as my slightly tipsy boyfriend was dragged off to be filmed 7.30am,” laughs Jenkins. “The group I was in was the first of the whole commenting on one of the pieces of art. Some of us had to be up re- series. The filming process was quite tedious. They stop and start you all ally early the next day for the final filming where we were told if we’d the time and there’s a lot of waiting between each shot. They put mark- sold our work. I had the 9am slot - one of the artists in my group didn’t ers on the floor exactly where you’re meant to stand and tell you exactly even turn up! which door to open on your way though. If you do it wrong you have to go back and start again. I had to stand in front of the judges, next to With TV exposure for artists being a rarity, what effect has the pro- my painting, not saying anything for a while before anyone could even gramme had on her day to day life already? “I’ve joined a Facebook speak. It was a bit awkward! group with all the artists so we can chat about the show and we’re “I was then asked to do my one minute speech about my work and finally thinking of organising an exhibition for the artists involved - it would I was asked questions by the judges and they gave their comments. After be nice to be able to show some new work there. I’m interested in that I had to go back into room number one where Chris Hollins was wait- ing for a final interview. whether anything comes of it, but I have no idea how popular the show will be. The whole TV experience was good for me - I actually really Was it a nerve-wracking process? “I have really bad problems with for- enjoyed it and wasn’t that nervous in the end. I think I made some mis- getting words when I’m nervous and all I could think about was getting takes though - I was quite reserved and I made a big mistake about my one minute speech right. I wasn’t really thinking about anything else. pricing my work too low. I’m not sure what I was thinking, other than I’m fine with interviews, answering questions is easy enough but having I like selling work and I don’t want to out price your normal types who to present is really hard. I decided to memorise my spiel before going can’t afford a painting for £600. But now I feel a bit differently about in.” it. I think the price you put on your work says something about your worth as an artist and I’d like to say that I’m worth something, so I’m not “I paint landscapes,” explains Jenkins. “Charlotte Mullins corrected me by commenting that my painting was in fact a seascape! My paintings pricing my work that low again.” aren’t trying to be traditionally beautiful, they are more subtle than that. I want to make work that evokes certain feelings in the viewer and I’m For more information, contact Josie Jenkins on: [email protected]

03 INTRODUCING...THE THESPIANS

With the compulsive and vehemently anthemic EP ‘Twentythree/ And it’s not hard to see why. The four-piece’s debut release jangles, jolts Four/Eleven’ already under their belts, it’s difficult to believe that and pushes forwards with an impish impatience, the impertinence of youth The Thespians formed just over a year ago. buoyed on by an anarchic streak. But there’s a tender naivety that runs be- neath the brashness, an un-cynical and earnest assurance in the vocal which After playing their first gig at last year’s Matthew Street Festival, the band leaves the listener in no doubt of its honesty. have seen their profile rise quickly in the past year. With interest in some of their earliest tracks from across the pond in the shape of MTV through to The five-track EP bounds between influences, there’s the blitzkrieg bop of ‘I radio slots on BBC Merseyside, and the band’s first headline gig at the O2 Don’t Care’, the Libertines-tinged charm of ‘Haven’t You Heard’, the brood- Academy in the offing, it seems the past twelve months of graft is paying off. ing edginess of ‘Too Fast To Live’ and the group’s best known track ‘Reason To Reason’. Despite being at home in the dark of a venue, their sound tran- Comprised of Paul (Vocals and guitar), Jess (vocals and guitar), Phil (bass) scends the genres that influence them, remaining incredibly catchy and ac- and Danny (drums), the band hail from Chester. Having all lived on the same cessible radio friendly fodder. street for as long as they’ve been friends the decision to form a band was a natural one. “One of us would be making noise and it’s not hard to hear The band funded, recorded, mixed and produced the EP themselves. Studio it,” laughs Paul. “We spend all our time together, we’re like a family. We live time was paid for by presales of their album which totalled more than 100 eight or ten doors down from each other, we just click. copies before they’d even booked the time. “We went with a sketch book of ideas,” explains Paul. “It was intense and we felt the pressure. We wanted to “We all have an appreciation of the same type of music, but our influenc- come out with nine songs finished, we went in with about 12 in bits, slowly es are quite widespread. More and more we end up listening to the same but surely we recorded them and said ‘we like this bit off that one, ad this things. We’re going through a punk phase at the moment where we’re listen- bit off that ne, let’s go and practise it some more’. We wanted to get as much ing to stuff like Ramones, The Nerves and loads of obscure stuff. “ of it down live as we could. We would record, cut it up and then re-learnt the new structure. Some of the songs were record three or four times.” The band never gig in their hometown. After getting a practise room at El- evator, the band decided to mark their mark on the city. “We aimed for the “We’ve got a great team of people across the country that are behind us big city,” says Jess. already. The guy that shot our video is from Milton Keynes. He’s constantly helping the band now, always promoting us, pushing us to labels that he “We spend more and more time over here, we’re going to move soon,” knows. The video got 35,000 hits in just a few months, incredible for a band explains Paul. “We already feel like we’re based here.” who’ve only done five gigs.

Despite being newcomers to the city, word about the band spread quickly, “There’s also a guy in Glasgow who’s been pushing us in America, and re- they were offered their first show without anyone having seen them live. cently took two songs off us for MTV New York. “We got asked to do a gig here at the Matthew Street Festival last August which is the first time we ever performed live. We played the Zanzibar. We’ve “If a band is good enough, the record company will find you,” asserts Paul. just been asked to do our own headline show in June. We jumped at the “If people aren’t getting excited then there’s something missing. Band’s chance. The shows are what we’ve been focussing all our attention on. who’ve been hanging around for years and not getting anywhere, I just don’t think they’re good enough, I think that you’ll get signed in the first “The live reaction has been great,” he explains. “At one of our recent gigs couple of years if you’re good enough, if you’ve got that spark. we almost got shut down. We did one of our punk songs called ‘I Don’t Care’ and the crowd went absolutely nuts, it’s dead energetic and fast. Security “We want to tour but our main priority right now is making Liverpool our actually came over and said ‘If you entice the crowd anymore we’re shutting home and building a fan base here. The shows are getting bigger and big- you down’, I just really wanted to push it.” ger, we want to get them as huge as we can, then we can take over the world!” “It was like, ‘you’re just tempting us now, aren’t you’”, laughs Jess.

“Our fan base in Liverpool is really growing,” says Paul excitedly. “At our EP For more information, go to: http://www.thethespians.com/ launch we had a few people who had come down from the very first show that we did, they’ve been to every show which is really nice as we feel like we’ve progressed loads since then but they saw something in us really early on.

04 The Rebel Play guys take some time out to look up from their computers.

INTRODUCING...REBEL PLAY

With huge releases such as LittleBigPlanet, Super Stardust HD, Lemmings we concentrate on marketing our games on the channels you get them from. and Harry Potter already under their belts, Elevator newcomers Phil Gas- kell and Leo Cubbin are no strangers to the gaming big leagues. Formerly Best and worst part of your job? producers at Sony Computer Entertainment, the duo fomed RebelPlay, an Phil: Best bit is getting to work on so many diverse projects, and with such talented independent UK based games publisher specialising in digitally distributed and passionate people. It really is a pleasure to go to work in the morning as you’re video games. never quite sure what the day will bring. The worst part right now is having to turn down some fantastic games, which we know will be a great success, because we Founded last year, the company will publish games for all of the current connected don’t have the money to invest in them. There’s only so much we can do each year, platforms, including Xbox360, PlayStation 3, PlayStation Portable, Nintendo Wii and we’re a little acorn right now hoping to grow into a mighty oak. iPhone. These platforms give RebelPlay and its games a potential audience of 100 million people across the globe. With a portfolio of 15 games set to be released this You’re always on the lookout for tracks to appear in your games. How ben- year, we caught up with the pair to see what brought them to Elevator, what makes eficial is it for bands to have their songs appear in a title? them tick, and how you can help them to help you… Phil: These days games potentially reach such a huge audience, and it’s often the same audiences that are buying lots of music and movies (twenty-something-year-olds with Are/were you big gamers? high disposable income), and are also very vocally active in the social space. Leo: Phil is the biggest gamer I’ve ever met. Leo: In LittleBigPlanet we used about 12 tracks from new or lesser known artists and Phil: From the age of 8 I’ve been playing games, and still hold the same passion for the impact for them was significant. The Go! Team track “Get It Together” became them today as I did when I had to wait 20 minutes for my ZX81 tapes to load. known as the LittleBigPlanet theme tune and there was a “noticeable” increase in their album sales, particularly in the US. What game, past or present, do you wish you had in your portfolio. Phil: With my business head on I’d say Tetris, a simple and timeless game that anyone How should bands approach you with their tunes? can instantly pick up and understand, yet is so compelling. With my gamer head on Phil: The best thing to do is pop a CD or DVD into our mailbox with a note of how we I think it would be a game like Heavy Rain, which oozes production values and really can contact you. connects with you on an emotional level. Leo: Or alternatively, we’re in room 2.1 and we’d be happy for you to pop in for a Leo: It would have to be Mario for me, not because it’s the biggest selling game ever cuppa and a chat. but because it encapsulates everything I love about video games. Any other potential hook-ups with businesses in Elevator? What makes a great game for you? Phil: Yes, we’re always looking for companies to help with our marketing, web design, Leo: It should be easy to learn but hard to master. Mario, Chess and Angry Birds are art concepts, game ideas, legal contracts, music composition, voice recording, game all great examples of these types of games. development or even just ways we can cross promote our games with other products. Phil: For me a great game has to be intuitive to control and it needs to fulfil a fantasy. Fantasy fulfilment is what separates video games from movies. Is the digital publishing world vastly competitive? How do you set your- selves apart? What has been your favourite gaming advance of the past decade? Phil: It’s really only come to games in the last five years but it’s here to stay and will get fiercely Phil: The ubiquity of the internet and how all modern gaming devices now have a competitive in the next decade. We are different in a number of ways, first and foremost network connection. This has led us to completely rethink how gamers play and how is our business model - We offer very competitive and equitable deals to independent we make games. It’s also what is at the heart of RebelPlay’s business model - digital game makers. We believe the future of publishing is about developing partnerships. distribution. What made you make the move into owning your own business? What are the bonuses of a digital only release? Leo: It just seemed like a natural progression really. We both had a lot of success Leo: Value to the gamer. There are no manufacturing and distribution costs, which in the past 5 years but our ambitions were slightly different to those of Sony, so translates into savings for the gamer and whilst the budgets are not on a par with Call we decided to try and turn those ideas into reality. By chance we met our business of Duty, the games still carry very high production values and are as much fun to play, partners who had worked successfully in the UK film industry for the last 11 years so gamers get a lot for their £10. and we discovered that our ideas for how we wanted to work almost mirrored the way independent films are made. Once we had their support, the decision to start the Is the plan of attack very different for a digital release? business was an easy one. Phil: From a marketing perspective it absolutely is different. With digital distri- bution, traditional marketing approaches don’t carry quite as much benefit so For more information call (0151) 709 2351 or email [email protected] or [email protected].

05 INTRODUCING...ELEVATOR BAR/FOOD

The Elevator community has been missing something of late. The building lost its hub and communal meeting space, but June 1st sees the arrival of Elevator Bar and Food, an exciting new concept fusing together elements of food, drink, music, art and technology, focused first and foremost upon the Elevator creative community.

Blending together good quality, organic, locally-sourced food, fair trade cof- fee, an array of loose leaf teas and fresh smoothies alongside a bespoke cocktail menu, cask ales and a rock ‘n’ roll back bar, you can be assured your every need is catered to from sunrise Monday to sunrise Sunday.

Our homely menu features vegetarian options on everything from soups to mains, with old favourites and modern classics; it’s good, simple, honest food. dios and beyond will be welcome to come and provide the soundtrack, be it Start your day the healthy way, with cereals, mueslis, granola and yoghurt testing new material, launching a new album or playing old favourites. Art- with lashings of fresh fruit, or if the diet’s out the window, the Full English. ists from the building will be invited to exhibit their work, be it for business Come lunch time, grab a made-to-order sandwich, panini or jacket potato, or or pleasure. Bringing all the latest technology together to enhance your sit down and enjoy one of our home-cooked daily specials which continue experience and aid in the community communication, we’ll also be hosting into the evening alongside our range of stone-baked pizzas. Fresh, crisp games nights, social network meet-ups and tech talks. You can be assured salads, perfectly drizzled with homemade dressings and full of flavour will that Elevator Bar and Food will be at the forefront of all that is cutting edge also be available throughout the day. at the centre of The Baltic Triangle.

With planned open-mic and residents nights, bands and artists from the stu- For more information, search ‘Elevator Bar And Food’ on Facebook.

150 AND COUNTING... CREATING OPPORTUNITIES FOR LIVERPOOL GRADUATES

Elevator tenant Pacificstream Enterprise Solutions CIC who man- A new project linking Liverpool’s higher education centres with age the award winning creative industries business incubator Base- the city’s thriving creative and digital sector has been launched to camp3, have now assisted over 150 local entrepreneurs to either make Liverpool a cutting edge centre for innovation and enterprise. start a business or provided support and guidance to help their existing businesses survive and grow. Creative Opportunities is a free on-line recruitment tool that matches stu- dents and graduates with job opportunities to retain creative talent in Liv- Ray Haigh (Director) said “in the current economic climate we are provid- erpool. ing a valuable service and is receiving more and more requests for support from budding entrepreneurs as word spreads about the services we offer. Liverpool Vision, the city’s economic development company, is working The games industry seems to have been particularly hard hit and we are with the University of Liverpool, Liverpool John Moores University, Liv- helping many who have been made redundant to set up their own ventures. erpool Hope University, the Liverpool School of Performing Arts and Liv- All our business support services are free thanks to funding from Liverpool erpool Community College and creative and digital businesses in the city. Vision and the NWDA and we work with clients of all ages and backgrounds

to develop tailored solutions to match their business needs. We particularly The Creative Opportunities website www.creative-opportunities. specialise in supporting the creative industries, social enterprise and gradu- ate entrepreneurs but we can help people from all sectors.” co.uk allows students and graduates to search for employment, work placements and internships that match their skills, while creative Ray added that the organisation also works in partnership with Liverpool’s businesses can advertise their jobs and for project collaborations. three universities and LIPA to stimulate entrepreneurial activity amongst the city’s graduate population who are one of the groups of people who find Simon Rhodes of Smiling Wolf design agency, who designed the Creative employment prospects limited in the current economic and that they aim to Opportunities website, said: “This is an excellent initiative and in time I am provide support so that graduates can consider self employment as a viable sure it will become a frequent port of call for those interested in a career in career option. “During the past 15 months we have helped 40 graduates our sectors, from full time jobs to work experience placements. With this to start a business, the majority of whom would fall under the definition initiative we are trying to create the conditions in which innovation and en- of a creative industries business which has resulted in the creation of 70+ trepreneurship can thrive and this is a big stepping stone to help realising valuable new jobs and helped to retain valuable skills and knowledge in the the ambition of an even more dynamic creative sector for the city region.” local economy. Many of these need intensive support and guidance and we are able to do this via our Basecamp3 project which offers low cost accom- Barry McGorry, senior development manager at Liverpool Vision, modation and access to the free business support services which help the said: “This is about co-operation between educators and employers businesses to survive and grow through the vulnerable early stages when which will benefit Liverpool. It is free to use and has all the opportuni- a lot of businesses fail.” ties in one place meaning ease of access for all users. An aim of Liv- erpool Vision is to attract more skilled people to the city, help even Pacificstream provides a range of services to new and existing - entrepre more graduates stay here and to improve Liverpool’s competitive edge neurs including support with business planning, strategy development and as a business destination. Creative Opportunities will help achieve financial forecasts to test the viability of their idea or to help develop a ex- this with educators and businesses working more closely together.” isting business. They also offer business coaching and mentoring services

as well as accommodation within their award winning creative community. Any companies with job, placement or graduate opportunities are being encouraged to post these on the site. For further details, contact Ray Haigh at: [email protected] or on 07921 193775. or visit websites www.pacificstreameneprise.co.uk and www.base- camp3.co.uk For more information, go to: www.creative-opportunities.co.uk

A LETTER FROM ELEVATOR

There have been a lot of new things happening at Elevator recently. The most notice- for a Liverpool Bicycle scheme inspired by the Barclays one in ‘that London’. Milky able, for most people using the building, is that at last work has started on our new tea have taken space in our fourth building, Lucid Games are about to join us and café. Transilvanian Adrian is taking over one of the basements to run self defence classes specialising in Krav Maga. Its feels like a long time since the old one left rather suddenly. We’ve missed a focal point for the Elevator community and now that we’ve found a new company to take Also of Lightening Seeds has joined us along with Echo and The Bunny- over our social hub, we are really looking forward to the opening. It should be around men. Ladytron are also back at Elevator. the beginning of June. From what they tell us they plan to engage with the building a lot more and put our community of designers, musicians and artists at the top of Congratulations to The Wombats and on the success of their respective their agenda in terms of providing food , drink and a social space. albums. Anyway…can’t wait for it to serve its first cup of coffee. Looking forward to seeing everybody in the new bar, Giant bike shop are expanding. They are taking the ground floor unit in our fourth building so that they can show off even more bikes. Mudguard Media are tendering -Elevator

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