Proper Mag #10

The good chaps over at Proper Magazine are all set to release their much improved tenth issue. Having worked together with some major players in the publication industry – including James Brown and designer Matt Sankey – Proper are now offering a magazine that is over double the length of any previous issues. It's still got all the humour and content that made you love it in the first place including a look inside the Garbstore HQ, an interview with the bloke behind Post Overalls and a peek inside one of the most enviable vintage collections in the country.

All this and much, much more for a little over a fiver. Pre-order now to avoid disappointment.

Rest in Peace.

John Winston Ono Lennon.

9 October, 1940 - 8 December, 1980.

"Imagine there's no heaven..."

Arguably John Lennon's most famous and finest solo single, "Imagine" is a fitting tribute to the man who tragically departed us thirty years ago. While the moments where his solo work matched the quality of his Beatles efforts were few and far between, "Imagine" is one song that can hold its own with any Beatles track.

The lyrical content of the song goes hand in hand with Lennon's political views at the time. Promoting the idea of a "one country, one world, one people" existence, Lennon believed such a utopian view wasn't outside the realms of possibility. He said, "Can you imagine a world without countries or religions?" It's the same message over and over. And it's positive."

The song is so great due to the brilliant melody and tone that carries it. Its composition on the piano as opposed to the guitar enabled the song to have a much gentler mood to it than much of Lennon's previous solo work.

Often considered one of the greatest songs ever written, artists as musically varied as David Bowie and Lady Gaga have covered the song at one point in their careers. Noel Gallagher even shamelessly (though rather brilliantly) ripped it off for "Don't Look Back in Anger." The song remains an undoubted classic.

Recent Purhcase - Universal Works Mountain Jacket

We're well into winter now and with it, well into big jacket weather. This little offering from Universal Works is the latest addition to my wardrobe. As with the vast majority of the Universal Works range, the design itself is simple enough. Clearly the inspiration for this jacket has been drawn from the functional 60/40 mountain parkas first produced by the pre-eminent American outdoors brands of the 1970's, yet the detailing and quality propels the jacket into a league of its own.

If you're after more information on the Universal Works label, check out this interview with their main man David Keyte.

The Big Picture.

Above are some choice from photographs from the annual photo contest run by the National Geographic. Touching and beautiful in many different ways, I'd strongly recommend visiting the Boston.com website for a wider selection of these truly breathtaking images.

Ben Sherman: Modern Classics - A Return to Form?

"Why should I have any interest in Ben Sherman?"

This is a question many of you may be asking yourselves. The label, while originally both exclusive and innovative, suffered the overkill that plagues many success stories and has seen the company reduced to little more than catalogue fodder. However with the imminent launch of the 'Modern Classics' range, does this brand merit a place in your wardrobe once again?

Having founded the company in 1963, Ben Sherman began making shirts himself in a small Brighton factory and with it laid the foundations for a clothing company that would become essential wear for many youth subcultures, from the mods to the skinheads. With the launch of Modern Classics, Ben Sherman hope to use over fifty years of knowledge and experience in order to update and reproduce some of the classic items of menswear.

There's chambray shirts, button down collars, fisherman's jackets, naval knitwear, chinos, bobble hats and scarves. All classic items, all given a modern twist whether it be through a new interpretation or an updating of fabrics. There's a clear influence from the likes of Saint James and Albam and from what we've seen it looks pretty decent indeed.

To promote the range, whet our appetites and provide a different slant to that of their usual products, Ben Sherman went to Kilchoan, arguably the most remote place in the UK, for a photo shoot. The following photos are a choice selection from that shoot.






More information about the Ben Sherman Modern Classics range can be found at their official website.

Retro Advert of the Day

A great retro advert, full of fifties vibes.

Winterweir

I recently acquired this bobble hat from the fine gentlemen over at the Casual Connoisseur. With winter getting closer and temperatures falling at a rapid rate, it's bound to become a staple part of my wardrobe as I look to keep my head warm over the coming months.

Christened "the Weir" due to the late Scottish broadcaster Tom Weir's love for bobble hats, this is the Casual Connoisseur's third run of this geeky cool bit of headwear. The hats, one of the label's most popular products, were limited to a run of just fifty in each colourway and unsurprisingly flew off the shelves.

Fortunately, I was quick enough to grab myself one in time – and the quality is immediately apparent. The hats are made of double layered acryllic which allows for warmth but reduces bulk and itchiness, whilst all the manufacturing takes place right here in England. Furthermore, they are designed so as to allow them to stretch to fit bigger head shapes, something that has come as a great relief to me and my oversized napper. More information about these hats can be found here, over at Sabotage Times.

For those who weren't rapid enough to get one before they sold out, never fear. Realising the huge demand for these bobble hats, the chaps at the Casual Connoisseur have come up with a new design which should be available by December time. Click here for more details.

Recent Purchase - Woolrich Woolen Mills Raglan Chambray Shirt

It's all been quiet on the blog front recently, hasn't it? I've been buried under a seemingly neverending pile of work recently but this hasn't helped curb my spending habit one bit.

My most recent purchase is that wardrobe essential: a chambray shirt. A timeless American classic which was famously donned by Paul Newman in Cool Hand Luke, the chambray shirt has its roots in workwear. In fact, it became so widely worn by American workers up and down the country that it even led to the coining of the term "blue collar". That's one for you, fact fans.

This chambray is from Woolrich Woolen Mills – a label which is as American as it gets when it comes to appearances yet, ironically enough, is designed by a man from Japan.


That man is no other than Daiki Suzuki, who you'll all no doubt be familiar with if you hold any interest in who designs your clothes or if, like me, you spend far too time reading about clothes while on the interest. Suzuki's story is an interesting one either way.

Suzuki moved to Boston in 1989 where he worked as a buyer for several of Japan's finest menswear stores. He oversaw the introduction of handmade moccasins, functional outerwear and Ivy League styling to the American market and in doing so marked himself out as one of the foremost experts on America's traditional outdoor and hunting wear. This soon led to Suzuki going from buyer to designer in 1991 and eight years later his first Engineered Garments line was produced, totally American in style yet exclusive for the Japanese market.

The success of the Engineered Garments label was immediate and well deserved. Suzuki then set about resurrecting Woolrich Woolen Mills, using both traditional manufacturing methods and original fabrics. The first WWM line was released in January 2006 to similarly successful acclaim.

This particular chambray shirt is from Suzuki's last season designing for the Woolrich Woolen Mills brand and has all the hallmarks you would expect from a Suzuki piece. Attention to detail is spot on with features such as reinforced elbow patches, shoulder lining and three button-fastening pockets all very nice touches. Deliberate made to be loose fitting, the shirt is at its best when worn with an under garment because of its curved hem.

A very nice shirt, indeed.

The Rise and Fjall (and Rise Again) of the Arctic Fox

Swedish brand Fjällräven have been producing quality outdoor clothing for nigh on sixty years. Favoured by nature enthusiasts and left wing activitists back in its homeland, the label was sought out only by the most obsessive of dressers in the UK for many years. Indeed, it was only really when Fjäll was stocked by Oi Polloi (back in 2002) that its popularity shot through the wife. Overnight the label became seen as the next big thing on the casual scene as many looked to move away from goggled jackets and checked scarves instead preferring a more functional and understated look. Sure enough, Fjäll, though initially stocked by only two UK stores, was appearing on terraces and in shops up and down the country.

I've had various bits of Fjäll take up considerable space in my wardrobe from time to time; it's a brand I keep coming back to. The highlights of this have been the aforementioned Greenland jacket, which is just classic 1960's cool, and an Osaka jacket which I recently picked up for a bargain price and is warm as you like. I've also owned various shirts by them at one point or another.

What you see is what you get with Fjäll – an outdoors brand primarily, they've never allowed themselves to be dictated by what's fashionable at any given time. They tend to stick to what they know; hard wearing and functional gear that doesn't break the bank. The fact they know it very well has seen them produce several classics – the Nordli, the Greenland and the Kanken bags are among them.

The masses seem to have moved on to other things now (with ill fitting and brightly coloured tracksuits that are best left to the 1980's appearing to be the order of the day) and so it's fair to say Fjäll is a label that can hold its own with just about any others in terms of value for money and effortless style.

Interview - Steve Sanderson

Established under the moniker "talent borrows, genius steals", Oi Polloi was set up by Nigel Lawson and Steve Sanderson back in 2002. In the eight years that have followed, Oi Polloi has been a resounding success; establishing itself as one of the finest menswear shops in Britain and pioneering many brands previously unheard of on these shores such as Fjällräven and Native Craftworks.

The shop has recently moved out of its premises in Manchester's Northern Quarter and we thought it would be a great time to see how things are going for them. Co-founder Steve spoke to us about many things, including the relocation of the shop, his almost lifelong obsession with clothing and his future plans for Oi Polloi.

You have recently relocated Oi Polloi. How is business going?
The new store's worked out very well – better than we expected. We were a little bit worried about how our core customers would react to the change but it's cool; everyone seems to love the new store.

Have you always harboured an ambition to run your own menswear shop?
I'd suppose so, yeah. Before this I used to cut hair which was something that I really just fell into after a spell at art college. I was pretty good at it. However, I was far more obsessed with clothes and shoes than I ever was obsessed with cutting hair.

How long have been passionate about clothing for?
I've been into clothes from a pretty early age. I think it all started when I was around seven or eight years old. I don't think I appreciated the full extent of what I was about to step into. Things started to get properly out of hand when I started secondary school. It's been an obsession ever since.

Had you any experience in retail or the menswear industry prior to Oi Polloi?
No, none whatsoever except from buying clothes for myself. However, I had run my own business before Oi Polloi was born. When we first set up the shop, I was cutting hair in the basement in order to bring customers into the store. I've learnt on the job, mainly. I don't think I was a bad student – it's pretty easy learning about a subject you love.

What prompted you to set up Oi Polloi?
It's simple really. There was a total lack of good shops selling the type of clothing we wanted to wear. The actual idea to do it ourselves came about at a friend's birthday party. It was the usual night of talking bollocks except this time we actually went out and did it.

How would you sum up the overall philosophy or ethos behind Oi Polloi?
It's about good design, classic design, quality, substance, heritage & style.

Was it hard finding the right location for the shop?
No, we already knew which shop it had to be.

Oi Polloi started out selling a lot of vintage gear – old Lacoste and deadstock adidas – but no longer does this. Do you ever envisage a return to stocking vintage clothes or do you think it's best left to other shops?
It's best left to other shops now in all honesty. We've got enough on our plate as it is and there are some great vintage shops close to us.

Oi Polloi has developed gradually over the years. How did you drive up interest at the start and how do you promote the shop now?
It started largely as word of mouth and then we discovered the Internet. The rest as they say, is history (sorry). Once we got the web site up and running that's when people started to notice us a little bit more. We were just trying to turn what we'd done with the store into a web site. There was no grand plan, other than a spot of world domination.

As well as the shop there have been other extensions of the Oi Polloi 'brand' such as the collaborations with R. Newbold as well as the publication of the Rig Out. Are there any other areas you're looking to try your hand at?
I don't want to give the game away too much.

We've been busy sorting Pica Sounds music collaborations. There's also more to come from the Rig Out as well as further clothing and footwear collaborations. Oh, and we're working on our own label – Cottonopolis. Remember where you heard it first (maybe not quite first, but near enough).

Would you say there's been a secret to Oi Polloi's success?
To be honest, there's been no secret to the success of the store.

What brands are you planning on working with?
There's going to be more Oi Polloi collaborations with Henri Lloyd and Norse Projects.

Is more money made from online sales than in store?
It's a big growth area in terms of sales online but so is the new Thomas Street store.

Part of what makes Oi Polloi different to other shops is the fact that you're constantly searching out new brands and styles, often before many other shops are there. Is this done deliberately in order to make Oi Polloi stand out?
It's not deliberate, it's just what we do. We can't help ourselves.

How do you find these brands?
I think we find these labels because we are always on the lookout. We never stop.

Would it not be less risky to stock more established labels or do you feel that people are always on the lookout for something new, no matter how obscure?
It's definitely not just about being obscure. We don't want to be wearing the same stuff as everybody else. The differences are subtle. That's the game, we know the difference and appreciate it more than most.

From a personal point of view, what are your favourite labels that you've stocked?
This list could go on and on, there's so many. Some of the my favourites have been Engineered Garments, Gitman shirts, Ralph Lauren, Lacoste (polo shirts), Levi's Vintage, Burlington, Clarks, Persol, Yuketen, Arrow, Superga, Gloverall and so many more.

What other shops are you a fan of?
I was a big fan of J. Simon and Hurleys back in the early eighties, and Aspecto later on that decade. Duffer was also great in the early nineties while Liberty's was pretty decent in the late nighties and eartly noughties.

Thanks for your time Steve – it's really appreciated. One final question: ten or fifteen years down the line, where would you like to see Oi Polloi?
As one of the best men's clothing shops in the world. It's not much to ask, is it?

Jimmy Jazz would like to extend a big thank you to Steve for answering our questions. If you haven't already, check out the Oi Polloi shop or website and get with the programme, already!

Interview - James Brown

James Brown has been described as the 'father of the lad's mag', having been responsible for the establishment of Loaded in 1994 - a magazine which was not only the first of its type but was said to have defined a generation. Having departed Loaded in the late nineties, James kept himself busy with jobs at GQ and setting up further publications such as Jack Magazine.

His latest venture is the online magazine, Sabotage Times. With a focus on music, football, fashion, as well as TV and film, Sabotage Times has a lot in common with what we like in life James recently gave up a bit of his time to have a chat with us about his career, his latest venture, the secrets to a successful magazine as well as a slightly unusual holiday to Scotland.

First off, I'd like to thank you for your time James. Tell us a bit about how you found yourself in the journalism business. Was it something you had planned on becoming? What were your first steps?
I left school and read Hunter Thompson and Tom Wolfe, wanted a job on the NME, and started a fanzine. People like John Peel said things like 'this boy can write' on the air and the music papers printed my letters and that boosted my confidence and I would send reviews and letters in until someone gave me a chance. One of my first reviews for the NME was for my own band, a band who weren't serious about making it, this didn't go down too well on the Leeds 6 music scene. I guess I was lucky, but my definition of luck is when ambition meets opportunity. There was nothing for me where I come from so I knew I had to get somewhere else to find something I wanted. Music was my way out. I didn't go to university or college, just read at home on the dole and travelled the country selling my fanzine. For inspiration and entertainment I listened to The Specials and The Jam and The Redskins and The Clash.

You worked for a number of publications before establishing Loaded in 1994. Which of these did you most enjoy working for and why?
I had reviews and short interviews published in the Leeds Other Paper, ZigZag, jamming! and Sounds. The editor of Sounds, Tony Stewart, really gave me my first proper break he gave me six cover stories in six weeks. Then I got approached by the NME to become the staff writer.

That was where I learnt most about editing. The NME in those days sold 75,000 copies. By the time I left five years later we were selling over 125,000. It was a period of great change for music during 87-92. Acid house, hip-hop, indie, goth, thrash metal, world music, pop all appeared in the pages of the paper and were argued about endlessly in the office. There were a lot of big characters already there like Steven Wells (who had encouraged me to do reviews for them), Danny Kelly who is now on TalkSport and Dr Stuart Cosgrove who is now very influential at Channel 4 - all big opinionated gobshites, like myself. It was a noisy office. Guys I had read like Gavin Martin, Sean O'Hagan, David Quantick and Adrian Thrills were also on the staff. As were people who had written about music I liked like Dele Fadele and Neil Taylor. It was a very fast moving, loud, dog eat dog environment and into it I introduced Barbara Ellen, Stuart Maconie, Andrew Collins and others. There was a great editor who kept promoting me - Alan Lewis. I was thankful for that.

I rehired the cartoonist Ray Lowry and photographer Kevin Cummins who had both been let go. I got to travel round the world writing about music. I interviewed the Happy Mondays, The Cult, Morrissey, Kiefer Sutherland, New Order, The Pixies, the Stone Roses, The Charlatans, Mick Jones, Primal Scream, The Jesus and Mary Chain, The Pet Shop Boys, The Manics, Public Enemy, Rick Rubin, The Beastie Boys ad many, many more. It was a great education.

The people I knew who had gone off to university were leaving and having to go on the dole at just around the same time as I was sitting in the Hyatt on Sunset, LA, thinking I was in Led Zepellin waiting for Rick Rubin to show up in his Corvette. They were remarkable experiences for a kid who had never had a job apart from a milk round before. I was glad at that point I hadn't been able to concentrate in school.

What prompted you to set up Loaded?
During an interview where I was applying for the NME editorship, my old boss Alan Lewis mentioned the idea of me doing my own magazine. When they didn't give me the NME job he set me off to create my own mag. I wanted a men's magazine that was full of stuff I was into like football, comedians, drinking and so on.

What challenges did you face when setting Loaded up?
It took a long time to get the big publishing house we were developing it in, to give it the green light. We also struggled getting the right cover style and design, right up to the very end when we were about to launch we still had no clear idea of who was going to design it. Then the art editor of Select rang up and asked for a job and he designed a great logo that same night. The magazine industry en masse said it would fail and men would never read magazines. Even people at the publishing house were knocking it. They were all wrong. Alan, I and the Loaded team were right.

Why do you think Loaded was such an enormous success?
It was funny, self-deprecating and covered subjects men were really into. It knew it's subject matter inside out and was written from an honest and enthusiastic perspective. We didn't think we were better than the readers and we gave lots of beer away. We made having a great time look easy and we were keen to include the reader in the fun. I also found and gave a platform to some very good writers and photographers.

What caused your departure from Loaded in 1997?
A mysterious and funny American guy offered me a fucking massive amount of money to go and work for him - something the company I was making millions for hadn't ever done. Also the Loaded publishers interfered with our announcement that Martin Deeson and I were going to stand for Parliament. As soon as they started doing that I thought 'that's it, I'm off'. The place I went to had a ratio of 400 women to 60 men. It didn't take a lot of selling.

From Loaded you moved to GQ, a magazine which was going through a lot of trouble at the time. What strategy did you pursue in order to revitalise GQ?
I had to get people to know it even existed and also that it knew who were the iconic figures for young men in the late nineties. It didn't really mean anything to many people. So we stuck people like Paul Weller, Eric Cantona ad Oasis on the cover. That was just to say 'have a look here, it's not as stiff as you might think'. It was like turning an oil tanker round as the sales were half what the company were declaring and the staff weren't really up to speed with what was going on in the real world. I hired an unknown chef called Jamie Oliver from the River Café to write about food, hired Tony Parsons to write about men and brought in a few other new faces. The sales improved significantly and the title won its first publishing award for quite a few years, so that boosted morale. The publisher and I also flew to New York to have a look at this thing American GQ did called 'Man of The Year' and we came back and decided to launch it in the UK. I enjoyed the environment and professionalism of the company and it was a luxurious place to work but at that time it wasn't really me. They essentially produced magazines for advertisers where as I'd come from magazines that were for the readers.

Was there a big difference in the audience you catered for when you left Loaded for GQ? Are British and American tastes quite different?
The Loaded audience was massive and a lot of them were very together guys with a lot going on. The GQ audience was very small and when I saw them during research groups I realised they read GQ to find out how to be cool. Sort of David Brent types - it was a bit of shock.

Jack Magazine was established in 2002. Tell us about what you were trying to do there.
I was nervous of doing another men's mag because I knew there was no way I could do another Loaded, so we made it as different as possible - funny name, drawings on the cover, pictures of mountains and lions. It took a few issues to get going but it soon became a great read which the readers loved. A bigger publishing house would have bent over backwards to make it more commercial, which is something I should probably have done. I was really into the idea of reflecting a lot of the National Geographic and Discovery Channel content.

You're currently focusing on Sabotage Times. Tell us a bit about that.
Go here - http://www.sabotagetimes.com/ - and make up your own mind. I think it's full of a lot of funny and interesting columnists and articles.

Who or what is your target market with Sabotage Times?
People who enjoy reading journalism and opinion and like looking at great video clips. Hopefully other editors who need content and have a budget will use it as a window for our syndication and content service.

What makes Sabotage Times different from your previous projects?
We have over one hundred thousand unique visitors a month, eight hundred articles and a lot of video clips but no office or real staff to speak of - just a couple of editors, an assistant and some volunteers. It's a product of keyboards and the internet. It's been edited from beaches, kitchens, bathrooms, gardens and a yacht. We've never met the people who built it but we've seen their office through skype when our designers '&&& Creative' called us from Prague.

What's been the highlight with Sabotage Times so far?
Publishing really funny stories and watching them go viral and watching the analytics just clocking up by hundreds a minute.

Will we ever see Sabotage Times in print format or do you only see it as an online magazine?
Yes, I think we could well do some magazines. We're already investing in one that will come out next year and will have 'Published by Sabotage Times' written on the inside back page.

Is there a secret to a producing a successful publication?
Publish material that the readers will want to read every word of.

What other magazines do you enjoy reading?
I get The Week, Fortean Times, FourFourTwo, Esquire, Junior all sent to the house. Magazines I've come across recently: Spikes is an interesting looking athletics magazine, Sideburn is a great bike mag, Proper is a really good little mag for men into clothes not fashion.

What's been your most interesting or fun experience from your time in journalism?
Sleeping in a cave on an island off Scotland, testing crisps, and playing football with Stan Bowles, then reading about it afterwards. Imagine your best ever holiday chronicled by your favourite writer. That's what some of the Loaded adventures were like.

Also, meeting a lot of very nice people who had taken the time to buy the magazine and are happy to say how much they enjoyed it.

Finally, what advice would you give to a young writer wanting to become a journalist?
Don't start writing until you can see the deadline, get someone else to transcribe your interviews, and always write the end of the article at the start so you've got something good to finish on when you're knackered at 3am in the morning.

Jimmy Jazz would like to thank James for taking the time out to talk to us. We would recommend visiting his new site - Sabotage Times.

Confessions of a Northern Monkey

Preston North End have been through many lows and significantly fewer highs in the past thirty years. One man who can claim to have lived and breathed them all is Bill Routledge. Having declined contributing to various "hooligan" books throughout the years, Bill decided it was time to finally put pen to paper on his experiences following Preston up and down the country and England around various corners of the globe.

A humorous yet serious insight into life as a football casual, "Waiting for Glory" has been on bookshelves for over two years now but its phenomenal success has seen it recently be re-released under a new banner – "Oh Yes, Oh Yes, We Are the PPS".

We recently had a chat with Bill about a great deal of things – his motivation behind publishing his own book, his addiction to football violence, as well as his latest project.

First things first – thanks a lot for taking the time out do this interview, Bill.
Firstly, could I thank you too for managing to slot this catechize in during your busy schedule at Jimmy Jazz HQ. I also hope the interrogation isn’t half as grilling and intense as some that I’ve had over the years! Coz, if so, I might go no comment on some of the questions – ha.

What made you want to write about your experiences at the football?
Since the publication of Steaming In, Colin Ward, and Bloody Casuals, Jay Allen, in 1989, bookstores shelves have been a flooded with literature on the genre of the darker side of following football in erstwhile times. Bygone eras when lacing up a pair of boots on a Saturday wasn’t reserved just to the kit man at some soulless Premiership Club, for a prima donna so-called footballer who hasn’t got a clue how to do so, or a multifarious pair with Velcro straps - like things are nowadays. Only around the early to mid-Nineties I was approached on several occasions about contributing to books on the same ilk off diverse individuals whom I did, and didn’t know – I declined their offers because of a multitude of reasons. I’d never really taken timeout and sat down to read at length any of the biography’s on shenanigans at the match, I’d merely flicked through such books.

But, while away on duty in Germany for the World Cup in ’06, my mobile began both ringing and vibrating with messages at an alarming rate. The local rag back home had run a feature on a newly released book; Hooligans 2, by Nick Lowles & Andy Nicholls. In this book someone named Billy had told their stories about following Preston North End over the years, and many associates of mine presumed it was me – presumption, eh! Well, is wasn’t. But as usual, the finger was being pointed, once again. These stories on North End in the book were from a different epoch from when I were running amok in the UK (and on foreign soil, too). I’d been asked to be bestower to the inscriptions in the said book though, only I waned the invite once again.

Once back in Blighty the phone went again – it being a close mate – asking if I would consider putting pen to paper on putting the record straight on what really went on, on PNE match days and he would cover our England trips. After mulling over 30 years of hurt, and asking her-in-doors who wears the pants, the conclusion was YES, I would – what was I letting myself in for?

The main problem was that it was nearly 30 years since I’d written anything of length, apart from Crimbo and birthday cards, and statements of innocence for numerous allegations over the years. So, I’d to re-educate myself, brushing up on my wide knowledge of English, read the copious lore’s on naughtiness to get a feel of ‘what sells’ and get my head into gear for 4 or 5 nights writing a week for near on two years.

How did your mates react to the news that you were going to be writing a book about the experiences you shared with them?
Most were full of encouragement and vast minefields of priceless information that the old cerebrum hadn’t absorbed due to being intoxicated or in a narcotic trance at the period of juncture – just say no, children. Most asked for their names to be altered for the content of the book though. These ‘mates’ range from hod carriers, clay artists, teachers, solicitors and even a lad who’s now a millionaire! Stick that in your pipe and smoke it. Other’s scorned, chortled and some sadly commented that I would never pull it off – I must add 99% of these were behind my back. One report even came back through the grapevine that it was a form of grassing. Really? For someone who has more skeletons in their closet than Chas off CasualCo has coats in his wardrobe, I wouldn’t dream of dropping anyone in any defecation. They should have known me better. I guess, they didn’t really know me at all then? He who laughs last, laughs loudest – or summet along them lines.

What was the appeal of football violence to you?
It was a way of life for most football going youths back then. ‘It’ seemed to go hand-in-hand with be young, watching football and, you’d to defend your End for the pride of Club – extreme loyalty to the core. Reflecting on ones misdemeanours today, they’re rather impetuous and nonsensical but impassioned undertaken deeds nonetheless. And these happenings are social history of the time and need documenting, just like the Mods ‘n’ Rockers knocking seven bells out of each other on Brighton beach in the Sixties, and so on.

I will also say, I was addicted to FV, and desideratum dictated that I required my fix every week.

If you had to pick your favourite moment from following either Preston or England down the years, what would it be?
North End would be beating Birmingham on penalties at Deepdale, in the two-legged Play-off’s in season 2000/01. The Play-off Final at Cardiff’s Millennium Stadium, were a step to far again to reaching the Promised Land, the Premiership . And the final at the same venue in 2004/05, is one of the worst moments/games witnessed – a 1-0 defeat at the hands of the ‘ammers, who we’d thumped home & away the term. I’ve had more lows following the Lilywhites that highs I can tell you, plenty.

England: it has got to be the 5-1 annihilation of the Germans in Munich, 1st September 2001 – the game is etched in the grey matter forever. Munich Magic. A Michael Owen hat-trick, Stevie G chipping in and, even Heskey scored – I’m sure there was a song that did the rounds? The trip became a full blown winner. A mate and me had been double booked on the flight home to Manchester so, they sorted alternative ones viva Southampton first class – free drinks, the full Monty - and, gave us 150 quid compo – we’d only paid £55 for 'em anyway, ha. At tournaments England’s performances have always been a letdowns, apart from Italia ’90. But the Sours stole our passage in to the final that WC, again –less said the better. Great times to follow England though.

Waiting for Glory was self published. Was there a lot of financial risk in doing it this way?
Yes, and no. Aside from putting my balls on the chopping block, I’d to shell out around 5k to get the book to print with associated costs. And the first run of 2,000 - delivered to my doorstep within 24hrs one Friday afternoon - were, to put it politely, cocked-up! They’d printed one chapter twice and missed one out. The launch I’d booked for the Saturday kinda went ahead, venue paid for, DJ & band booked and, two humongous pans of Lancashire hot-pot made plus mushy, red cabbage and gorgeous Northern gravy on the go too. I say kinda went ahead. The Old Bill closed it down before the band had finished setting-up – a story in itself. We’d to throw 95% of the hot-pot in the bin, heartbreaking indeed.

The second launch was a success done by word of mouth, mum’s the word fashion.

One of the main reasons for self-publishing was that I didn’t want to be forced to chop and change stories and have some form of ghost writer get a grip of the anecdotes and end up finding my ‘humorousness’ didn’t shimmer through the ramblings. I also didn’t want to glorify, advocate or promote violence in any kind of form whatever, just bury quite a lot of skeletons. Also, Borders went bang on us owing me a large cash sum and monies off certain others are still owed to this day.

A near two years later and I’d completely sold-out, bar the odd copy here and there. And, due to WFG’s phenomenal success, John Blake Publishers took the book on. They’ve heave-hoed the England stories and snipped a bit of celebrate substance text too, but there’s still 433 pages to flick through while on the khazi.

You are currently working on another book: Northern Monkeys. Tell us a bit about this. How will it differ from Waiting for Glory/ Oh Yes, Oh Yes, We Are the PPS?
Yeah, I’ve been on with Northern Monkeys for over twelve months now – a labour of love, in working progress. It will differ vastly from my first foray in to writing because you must have comprehended that there was a main nucleus to yarns in WFG/Oh Yes... NM’s will have fables on cults, music and fashion plus much, much more since the ‘50’s, in the North, wedged between its bindings. These urban narratives of subcultures, dancehalls & clobber aren’t myths and need airing. The list of raconteurs and fabulists onboard is quite impressive too – if I say so myself.

The book covers a fifty year span. Have you found it difficult to research and write about all of the subcultures which took place during these years?
I have, to an extent, because my stories and incidents that occurred, involved me in some which way or form that are documented in WFG/Oh Yes... There’s a saying that if you stick to what you know, you can’t go far wrong. So, this is why I’ve been very lucky that people that have been through experiences and era’s that I have only read or watch on TV are willing to shed light on their diverse enclaves within subdivisions. And, the roots of different integrated networks of behaviourally beliefs and attitudes of these cults – if you get the gist of the drift? They all have stories tell, and they tell them well too. Most contributors are Northerners but, there is the odd shandy drinker that I’ve let write a short saga to defend themselves in the book – isn’t there Jimmy!

Nearer the time of Northern Monkeys release I’ll explain in detail the books full contents, maybe over an ale that you buy me down The Smoke?

How did you contact people and convince them to contribute to the book?
I only learned to switch a PC on 3 years ago – WFG was dictated. But I knew quite a lot of the ‘faces’ that have embraced what I want to capture about the grim North before setting off on my quest to do so. Others I’ve got to know through friends of friends. Some I’ve dropped an email. And there’s characters who approached me on hearing about the project. The project of putting the story straight of which came first - the chicken, or the egg?

They’re a great motley, heterogeneous bunch to say the least. Their ages range from 67 years, down to whippier snappers of just seventeen. So, hopefully, Northern Monkeys will be of curiosity – that killed the cat – not only to Northerners but southerners too. Plus, every generation that’s shown a preoccupation in what was ‘happening’ at their moment in time. And, what they’ve left for further generations to read with inquisition about, or grimace at.

We'd like to thank Bill for taking the time out for this chat. "Oh Yes, Oh Yes, We Are the PPS" can be purchased online from Amazon or from most decent bookstores. It's a great read.

We'd also recommend visiting Bill's site – Waiting For Glory.

Henri Lloyd x Oi Polloi

Two of Manchester's biggest names in menswear have collaborated with one another to produce this range of sailing inspired jackets. Renowned retailer Oi Polloi has a history of successful collaborations, previously having worked with the likes of Norse Projects and R. Newbold. Their latest effort sees them teaming up with Henri Lloyd, a label once famed for its use of groundbreaking fabrics in nautical clothing.

Now seems like the pefect time for Henri Lloyd to relaunch itself. Having lost its popularity with many due to mass production and over saturation on the high street, this collaboration with the increasingly popular Oi Polloi has provided Henri Lloyd with the perfect opportunity to tap into a market which has well and truly deserted them.

It's good to see Lloyd returning to their roots of proper sailing inspired gear and ignoring the streetwear stuff that's fallen into the catalogues in recent years and seen their popularity (and product quality) fall dramatically. Both of the two jackets are styles which have been dug up from the extensive Henri Lloyd archive and are styles which Mr. Lloyd originally conceived in the sixties.

The first jacket (and in our humble, the best) is the Viking Smock (pictured above) – an overhead cagoule made from the "Bri-Nylon" fabric. The attention to detail on this jacket is nothing short of fantastic with features including drawstrings (at the hood, waist and hem), a large and Kangaroo pouch pocket on the jacket's front and two smaller, handy pockets below it. These are available in four colours – orange, royal blue (the pick of the bunch), yellow and white.

The other jacket available is the Consort Round the World Jacket (pictured above), which itself is a reproduction of an earlier collaboration between Henri Lloyd and renowned Italian designer Olmes Carretti. Though not quite to our tastes (the logo's a tad loud), there is no doubting this is another quality design. These are available in both navy and sky blue.

You only have to look at the recent craze for fisherman's inspired cagoules and jackets to understand that these jackets are going to fly off the shelves of Manchester's finest store. The price of these jackets isn't astronomical either. In fact we'd hazard a guess that these may well fetch a price on a certain online auction site which is equal to or higher than their original retail cost. Available now from Oi Polloi.

The Forgotten Stone

His six year tenure (1969-1975) as guitarist for the Rolling Stones came at a time which saw the band release their two defining masterpieces; Sticky Fingers and Exile on Main Street, yet despite this Mick Taylor's contribution to the "greatest rock and roll band in the world" is criminally underlooked – by both fans and his former band mates.

Following the untimely (yet ultimately inevitable) departure and death of Brian Jones, Taylor was picked as the founding member's replacement despite his initial expectations of only being a session musician. His onstage debut came at Jones' Hyde Park tribute concert in front of a crowd estimated at a quarter of a million.

Despite adding overdubs on two tracks from Let It Bleed, Taylor's virtuoso guitarplay only really began to show its full force on the epic follow up – Sticky Fingers. While he contributed arguably two of the finest songs on the album in "Sway" and "Moonlight Mile", it was with his techical brilliance on lead guitar where Taylor's presence was felt fully. The extended coda of "Can't You Hear Me Knocking" can be attributed entirely to Taylor while he single handedly out performs all of the other band members on the Stone's live release, Get Yer Ya-Ya's Out!

Why then, you may well ask, has Taylor never received the recognition he deserves?

There are many reasons for this. While Taylor outclassed every guitarist the Stones had before and have had since, and in doing so helped elevate them from a blues-rock outfit to a band that could contend with the musicianship of the likes of Cream and Led Zeppelin, there remains precious little to remember him by.

Sure, he left behind an arsenal of great guitar licks yet most of these are wrongly cited as Richards' efforts. Mick had the swagger, Richards had the image and Jones had the rockstar's death. What did Taylor have? He lacked stage presence and never really fitted in with the Stones on a personal note.

Taylor has since said that he felt a failure to leave the band would have resulted in his own death but it's hard to believe that there wasn't an element of jealousy from other members – especially Richards – which played a part in his departure. Taylor can easily be described as the glue which held the band together during its golden age. Richards had already given himself over to drugs and a life of excess and Jagger was soon to become nothing more than a cariacture of himself.

Is it any real surprise that Taylor's arrival coincided with the band's greatest output and his depature led to their worst?

I'd hazard a guess at saying no.

It's a sad state of affairs to see that this great guitarist hasn't been paid any royalties from his former band mates since 1982, but is it really a shock? While Jagger and co have sold their souls down the drain for monetary gain, Taylor now makes do with life in a Suffolk semi. Life's a bitch, eh?

Photos were taken from The Selvedge Yard.

The Rig Out #3

Soon to hitting the shelves (and website) of Oi Polloi and various other select stockists is The Rig Out, a magazine compiled by Glenn Kitson. This will be the third edition of the magazine and features include stunning photography of remote Norwegian hillsides, an appearance from the cyclist James Bowthorpe, as well as the usual showcasing of genuinely brilliant clothing from the likes of Nigel Cabourn and Stone Island.

Recent Purchase - Weinbrenner Thorgood Oxfords

It's been a while since we last had some stuff coming through the door at Jimmy Jazz HQ. This time the latest edition to the wardrobe comes in the shape of a pair of Duluth Thorogood Oxford shoes. I'm a big fan of hard wearing footwear and these are spot on.

Manufactured in the USA, these ace shoes are produced by Weinbrenner, a company whom have been leaders in footwear manufacturing and pioneering in the American shoemaking industry ever since their inception in 1892. They have, as you would expect for a company dating back to over one hundred years, some serious pedigree and experience in manufacturing durable footwear. This is no more evident than in this pair of Oxfords.

Winter isn't the time to be walking about in suede desert boots or trainers and so a good pair of Oxfords have fitted the bill very nicely indeed. They're tough, sturdy and ace on the eye – there is nothing not to like about these shoes.

A Connoisseur's Cagoule

As those who read this blog regularly will no doubt know, here at Jimmy Jazz we are big fans of the iconic cagoules of the eighties. Izod Lacoste and Patrick both became famous for their efforts but king among them were the Peter Storm cagoules – true icons of terrace style which became famous when worn by match going lads during the explosion of casual culture in the late seventies.

Therefore it'll come as no surprise to you that when we heard that the Casual Connoisseur would be producing a direct replica of the Peter Storm cagoules we soon became suitably interested. The original cagoules were indeed fairly innovative at the time with such advances as increased breathability, the Connoisseur cagoule will be updated yet further with several technical advances being used to bring a new slant to this classic piece of outerwear.

While some of you may immediately think that these are little more than a rip-off of the original efforts, they do indeed have the blessing of Mr. Paul Bibby – Noel Bibby's son and successor at Peter Storm until its takeover by Millets. He's even gone as far as to give them the manufacturer's he used and personally we think it's nice to see a label go about a reinvention in the correct way.

Details are scarce at the minute but we believe that the cagoule will be available in three different colours. Any preferences, anyone?

Interview - Joe Schindler (Joe & Co)

Joe Schindler is a man with some serious pedigree behind him. Having worked in the industry in one form or another for nearly thirty years, Joe has overseen and owned projects such as Schindler's Menswear in Stockport which was, until its recent closure, Stockport's finest clothing shop, stocking some of the best labels out there.

In this interview we discuss Joe's latest project – Joe & Co – as he offers us his expert insight into the great (yet sometimes confusing) world of premium Japanese denim.

Tell us a bit about yourself. What other projects have you worked on or with prior to Joe & Co?
I have worked within the clothing industry in various roles since 1980. I was both the owner and creative director of Josef Jeans until 1998 and until recently I owned Schindler's Menswear in Stockport.

When did you begin to take an interest in denim?
My interest in the world of denim began to take hold around the late eighties, specifically when I launched Josef Jeans in 1987.

Where did the idea for Joe & Co come from?
The idea for Joe & Co basically came from the huge passion which I have for denim. It was probably when working on the Josef Jeans collection in the early nineties as there was not really anybody doing niche denim in UK at the high level which I wanted to do that the idea became a serious one.

What's the philosophy that underpins Joe & Co?
The philosophy of the Joe & Co brand is to understand the fundamentals of the denim that we use and also how the garments and components are made. We strive for the perfect fit which is really the holy grail when it comes to a pair of jeans. "Good things come to those who wait..."

Does Joe & Co denim come in a range of styles and fits?
Joe & Co denim will come in four fits and styles. While these will vary from time to time, this will never be to a great extent. I guess this is because we believe that too much change can effect the ethos of the brand.

What brands have inspired the Joe & Co garments?
I wouldn't go as far to say that there are specific brands that inspire me. My inspiration comes from all over the place - and all walks of life. However, if you were to pinpoint me on that, then I would have to say that labels such as Sugarcane, Waste Twice, Anachronorm are those closest to offering real inspiration.

The Japanese have always had a big interest in selvedge denim. Do you feel it's starting to catch on more over here?
The Japanese are the masters of selvedge denim. The term 'selvedge' is used too loosely in the commercial side of the industry with too many brands using this term within their collections in order to gain notoriety yet still mass produce their product to a level whereby brands like ourselves, Sugarcane and many more will gain more credability within our market share.

There are also brands using the term 'Japanese denim' yet their products are washed in other countries like Turkey, Tunisia and so forth. Joe & Co denim is from Japan, made in Japan, and if I ever decide to wash the garments, then they will be washed in Japan.

Selvedge denim always seems to be something that confuses people or they can't quite get their heads around it. Can you explain what it is and what it's benefits are?
Selvedge denim is the result of how the fabric is finished. It keeps the fabric from fraying and is made on shorter looms which around 27-29 inches wide. These can take upto 3mts of fabric useage where other denim for the masses is made on wider looms at 58-65 inches wide.

I've always been baffled by certain people's unwillingness to spend a decent amount on a pair of jeans when they are more than happy to spend serious money on a coat or pair of old trainers. Is this something which irritates you? Why do you think it is like this?
For me, denims are as or even more important than what shoes or jacket you are wearing. However, it does not irritate me as such, simply because people's perceptions are different. The UK is a very fickle market and most people just do not understand the benefits of Japanese selvedge denim as it's too expensive for them to justify to themselves.

If you purchase a pair of Joe & Co jeans what care needs to be taken with them?
I'm a firm believer that all Japanese denim should be bought in its raw state and only washed inside out once every three to six months. Of course this all depends on how many times they have been worn. This will give the wearer his own unique and individual look that no company or chemical wash will be able to replicate.

Wash inside out using cold water, no detergent (or very little if you must) and leave to drip dry.

Is there anything that differentiates Joe & Co from your standard selvedge denim?
The differences between Joe & Co denim and other selvedge brands can vary quite a lot. I guess it all depends on what you want from the brand and how much your prepared to pay for that.

A lot of denim companies now make use of Japanese denim. Is this a serious indicator of superior quality or does it very much depend on where exactly in Japan the jeans are manufactured?
Joe & Co Denim is made in Ibara, Okayama - this is the home of Japanese denim. We use only the finest craftsmen and denim mills in the world today. The techniques that are used in the manufacturing process have stood the test of time; they have been passed down from generation to generation. These craftsmen are perfectionists, and this is why the price tag on the products is as it is.

I've noticed that Joe & Co do not only produce denim products. Can you tell us about these?
We will also be producing shirting and sweats. However, these will be in very limited edition runs, much like the denims are.

What are your future plans with Joe & Co?
While at the moment we are targeting the Japanese and American market with the Joe & Co brand, we will eventually bring it the the shores of the UK. This will hopefully happen soon.

Do you have any other projects lined up?
I have a couple of projects lined up, of which one will being launched in January 2011 for AW11. This is effectively a diluted version of Joe & Co for the UK & European markets and this will be a full collection.

With regards to the name of the brand, you will have to wait until November before we release any news. However, keep your eye on Facebook as there will be some snippets added or look on my Joe & Co Denim Facebook page.

We'd like to thank Joe for kindly providing us with this interview. If you are interested in the Joe & Co products then I would recommend visiting the official site, where their full range of products can be both viewed and purchased.

It's War!

Those with even a passing interest in modern art and graffiti will no doubt be familiar with the works of Banksy – the man whose identity remains a mystery for many. His work is both varied and iconic. For those who aren't familiar with it, you should be.

It appears that Banksy may have bitten off more than he can chew however and murmurings within the graffiti community are suggesting that he may be entering a 'graffiti feud' with London artist Robbo after Banksy included a character from one of Robbo's works (dating back 25 years) in his latest piece (see above).

Needless to say Robbo has responded (see below), and we await Bansky's response with interest...

A Longmeadow Morning

Put together by Neil Bedford (who has also worked with the likes of Heritage Research) and modelled by John Brown of Oi Polloi, Penfield's Fall / Winter lookbook entitled "A Longmeadow Morning" shows off their roots well as an outdoors brand. Not only this, but it also provides an indication of where the brand seems to be headed.

This isn't just a cool collection of images though. The lookbook manages to showcase some of Penfield's best designs this season. All the usual suspects are in here in one form or another – down jackets, flannel shirts and mountain parkas are all included. There's even a plaid shirt (second image) which is the result of a collaboration with Gitman Bros.

If the collection is as good as the lookbook then we are in for a treat. Check it out yourself at the Penfield website.

Art Direction: Andy Bird
Photography: Neil Bedford
Styling and Creative Production: Glenn Kitson