When I DJ with Hayley Caine we love dropping Aerosmith ‘Dude looks like a lady’ – you should listen to it whilst you read this..I have male friends straight and gay who wear make up so I thought I would delve into the world of not metro sexual male grooming but men that wear as much or more make up than I do.]

Louie by LouieLouie by Louie

So you know Louie Banks fellow Street Squader. Let’s start with him.

Louie loves his clothes, his hair and his make up.

I have known Louie since he was 17 I think he’s beautiful and although he might be wearing lace gloves, rings that Henry the eighth would be proud of and 8 inch brothel creepers to me he is butch make up or no make up. Recently I walked down Brick Lane with Louie and Josh Quinton and they looked like two tropical birds of paradise. And everyone wanted their photo.

Admittedly I did Louie’s make up for the iD shoot and you can see the influence of the Rocky Horror Picture show which reminds me that I had a chance meeting in a posh car with fashion historian Amber Jane Butchart I love this quote from her blog.

“I can’t help it if the first moment that Tim Curry turns around in Sweet Transvestite is still one of the most beautiful things I’ve ever seen.” – Amber Jane Butchart.

Josh without make up has something Michael Hutchins about him. I had a dream that he became the next Kate Moss, now that would be a wonderful thing.

Stephen Tennant wore make up in the 20’s androgyny was all the rage. Leigh Bowery used make up to transform himself into Indian gods and otherworldly beings. He famously covered himself in orange pokadots. Then we have Boy George the New Romantics, Lou Reed, David Bowie, Marc Bolan. They made it acceptable for a man to wear make up. Lou reed wrote a song called Make Up-

‘Rouge and coloring, incense and ice, perfume and kisses, ooohhh, it’s all so nice. You’re a slick little girl, you’re such a slick little girl. Now, we’re coming out,
out of our closets. Out on the streets…

Yeah, we’re coming out.’

When Louie wears make up he’s quite expressive and when Josh paints his lips black and colours his eyes in brows he just looks great. Girls wear make up to look great so what’s the difference. We’re conditioned in this day and age to think of make up as a girls thing, men frequently tell Louie, ‘the ladies are that way.’

I play in two bands with Oliver Martin (he goes out with Crystabel from Maria and the Mirrors from my Travel Sex blog) heres what he had to say-

Oliver Martin

ME: When did you start wearing make up?

OM: Around about 14. I think it started with black nail varnish and it escalated from there.

ME: Did anybody inspire you to wear it?

OM: I guess it was the bands I was listening to. I was a bit of a metal-head but not in the big beard, beer gut, Slayer sense (although I love a bit of Slayer). More camp-goth metal. Then came Bowie and Iggy. I was just a lanky kid in an all boy rugby school that really wanted to fuck with as many people as possible – it was hilarious how horrified people were.

ME: When do you wear it?

OM: Back then all the time. I would wear orange eye shadow that made me look very unwell. Now I usually wear it when I play live, though not as much as I’d like.

ME: How does it make you feel?

OM: Confident. It’s been a big part of my playing music to people over the years, and as such I associate it with getting out there and putting on a show. It’s nice to feel glamorous once in a while, otherwise I’m just a spotty drunk with a 5 o’clock shadow.

An interview with fellow Street Squad member Louie Banks

ME: When did you start wearing make up?

LB: I honestly can’t remember, since a very young age, on and off.

ME: How does it make you feel?

LB: That would depend on how its done, ones mood can be channeled through your makeup, for example dark bold smudgy eyes when ones feeling a little dark… using colours when happy, downwards slanting eye makeup and eyebrows for a more solemn look, so in the long run i probably feel how I look!

ME: Who inspired you/ inspires you to wear it? –

LB: Klaus Nomi, Tim Curry as Frank-N-Furter.

ME: Whats your favourite product?

LB: Liquid Metal by Illamasqua

ME: Do you wear it everyday?

LB: Far from…!

(He does wear a base though! I can tell )

Clifford Grant Drummer, DJ, Art collector musing about make up age unkown


CG:I know that if I feel like doing something I shouldn’t worry what other people think about it. It is a bit of a rebel in a way. If I wanna put make up on, why not? That’s why I liked the 70s and the 80s we were blessed with great times, you know you’d get a rockabilly over there, a punk over there.

ME: So in the 80’s which male artist did you look at and think that looks cool?

CG: Dave Vanian out the Damned, Johnny Rotten All The Depeche mode stuff.

LW: Where you Djing then? What were you doing?

CG: I was playing in the C***ts. Then I realised I had left Edgar Winter and the whole of Prog Rock out!

Last but never least, here’s me having a chin wag with Josh Quinton..

ME: When did you start wearing make up?

JQ: Oh gosh! probably when i was about 8 or 9, I had a fixation my great nan, her hats shoes, jewellery but particularly her makeup drawer. then… I went to secondary school. and that sobered me up. i didnt really start wearing makeup again untill I was in my 20s.

ME: Did anybody inspire you to wear it?

JQ: Then I was little I was obsessed with making myself look as much like Mrs Doubtfire as possible! I was always dressing up as witches or clowns, – I haven’t really changed much to be honest I still dress like a clown and still end up looking like Mrs Doubtfire a lot of the time too! now I love 70s disco artists, Amanda Lear, Donna Summer.. Divine, Eartha Kitt.. films really inspire me too… Mars Attacks, Death Becomes Her, La Cage aux Folles, oh! Slaves of New York… amazing!

ME: When do you wear it?

JQ: Nearly every single day, I don’t seem to be able to go out the house without it now though I seem to often be told I don’t need it! I generally like to make myself to look as ill as possible

ME: How does it make you feel?

JQ: I’m constantly getting confused for a woman when I’m out, though I certainly don’t wear makeup to myself look like one! I would hate to be thought of as a tranny, I just feel like a boy… with a bit of with of lippy on.

Watch Josh and his friends get a bit fruity, sure to brighten anyone’s day!

Josh Quinton – Have a look at AmberJane Buschart’s marvellous musings

Are you a boy who wears make up? Post your pictures.

Until next time.. Lucy xx



Having kept a close eye on Django Django’s rise to prominence, I was fortunate enough to have seen them play at Rough Trade East recently for the launch of their eponymous album.

Their live performance breathes vitality into their upbeat songs. Blending a heady mix of electro, blues, choral chants, tribal yelps and percussive beats the three front men rhythmically mix their instruments with a range of percussion that wouldn’t look out of place in a primary school music box.

An eclectically attired bunch, with one member wearing a sweatshirt and clear Perspex glasses, another a slim prison stripe shirt to the lead singer donning a colourful patterned shirt. But this mismatch of clothing, much like the music, was a broad brush stroke of styles that sat together perfectly.

With such energy and music their live show does little to damage the power of the album, which I predict will be slow grower throughout 2012, gathering fans much like a snowball on a hill. I for one know it’ll be blaring out of my speakers for some time to come.


Musical theatre is a big love of mine, especially the works of Stephen Sondheim, and I was thrilled to have a second opportunity to go and see his 1979 classic, ‘Sweeney Todd – The Demon Barber of Fleet Street’.

Having finished a widely acclaimed run at the heartily wonderful Chichester Festival Theatre in November, the show transferred, with much the same cast, to the Adelphi, and opened on the 10th of this month to a flurry of 4 and 5 star reviews.

This production follows the traditional version of the Musical, with original arrangement and staging, bar the somewhat updated setting from mid 1800’s to what I suspect was the 1940’s, an amendment which irked me not one bit, I think it made for a refreshing stance, and certainly distanced itself from the odious Burton film version from a few years back. If you’re a fan of Sweeney, then this production will feel like a favourite slipper, blood-splattered and bursting at the seams with familiarity, not to say however that there’s anything wrong with knowing just what you’re gonna get!

For me Sweeney Todd is all about Mrs Lovett, she’s got everything you want in a leading lady, and Imelda Stauton is a shining example of how she should be. Hopeful, desperate, savvy and common as muck are all a given, but it was the hint that perhaps somewhere she has good intentions that made Staunton one of the best. If you really want to get into the nitty gritty, I’d place her somewhere in between Angela Lansbury and Patti Lupone, above Sheila Hancock, and Christine Baranski. (Helena Bonham-Carter doesn’t feature on my scale). The warmth she brought to the stage was noted by every member of the audience, edging forward on seats and brightening of eyes as she came into a scene proved this, and was testament to her presence and enrapture.

Having only ever thought of Michael Ball in comedic, or jovial roles I wasn’t entirely convinced by this casting, but pleasantly surprised was I to see his tension and antipathy suited both him and the production, he dominated the stage and cast, and was truly believable as a the psychopathic Sweeney.

The rest of the cast were adequate, with no standout performances, I was unsure if this was in submission to Ball and Staunton’s stage dominance, or if perhaps they just weren’t all that outstanding, but the harmonies were spot on, and the plot carried well, so I suppose I mustn’t complain, and truthfully there is little to complain about.

I remember the fist time I saw Sweeney I was 15 years old, and didn’t really know much about Sondheim, or even musical theatre for that matter, the staging and arrangement at the New Wolsey theatre in Ipswich were almost identical to what I saw at the Adelphi this evening, but in that performance many years ago, from the first bar to the last word I was gripped to the story and the music, and I felt immersed. I was immersed this evening too, but perhaps not until the last third of the first act, not to say it wasn’t good for that first hour, but I wasn’t hooked, I wasn’t tense with anticipation, and I didn’t believe it. Perhaps this could be blamed on my surfeited nature as i’ve aged, or perhaps if could be accounted for by a certain amount of over confidence that comes with a string of A+ reviews in many of the major dailies, or perhaps it just took this particular cast that long to bind, and gel and to make me not want it to end, which ultimately they did.

Sweeney Todd is the type of show that would be difficult to make awful, as the songs and book are so exceptional. I’m sure I would enjoy any proffering you’d care to show me, but actually what I saw this evening went beyond that, they did an excellent job, and I was thoroughly entertained for the entirety. Staunton is the clear star of the show, and it would be worth seeing just to watch her as she plays, but do watch everything else, I guarantee you’ll not regret it.


‘When I close my eyes, my imagination roams free. In the same way I want to create spaces for video art that rethink the very nature of the medium itself. I want to discover new ways of configuring the world, both the world outside and the world within.’
 Pipilotti Rist

I have been fascinated by the work of Pipilotti Rist’s work since I read an article about her work in the Biennale magazine whilst in Venice a few years
ago. I watched her videos on youtube and was mesmerised, but it was nothing compared to the totally immersive absorbing and engulfing
experience of seeing her ‘audiovisual poems’ spanning floor to ceiling and all around at The Hayward Gallery. While some works are vast others are minute
and focused, like ‘ Yoghurt on Skin- Velvet on TV ’ where the viewer is invited to peer into a handbag or look into a shell to find tiny LCD screens projecting
different videos and sounds. A woman wearing a blue bejewelled headdress, in another a gigantic eye, people and body parts floating in slow motion.
Glistening like jewels, some images seem rather abstract and may be close ups of tongues, lips, earthworms, snails fruit or other organic structures. There
is something quite secret and exciting about this work, maybe it’s a bit voyeuristic.

Pipilotti makes even the most mundane things appear beautiful and sumptuous. Familiar things become more visceral, more real. She combines the world of the closed eye with the world of the open eye and what we see is just beautiful. I was overcome with a kind of sadness though, asking myself ‘why doesn’t the world always look so mad with colour and divine when I open my eyes?’ I suppose perpetual dissatisfaction is integral to the human condition and I think we will always feel the need to pursue something more beautiful and more alive, strive for that external place that makes us feel like ourselves. Or maybe it’s just me, being Sagittarius. Does such a place exist or is it in fact a state of mind? If we look through the kaleidoscope eyes of Pipilotti I think we might find it.
But there is a sense of artifice- of hyper reality. Her vision is too acute, clear, too chemical to be real. Sound, image, speed and colour are all manipulated
and distorted to enchant and envelop us. In this way they become more like words, symbols or metaphors. A wave of warmth pervaded my limbs as I lay back and watched what Rist describes as a ‘forest of light’ – scenes of chlorophyll green, sheep, flora and fauna drift past me, projected onto the most delicate sheets of sheer fabric which billowed just slightly, seemingly floating. Rist says that these image-carries remind her of the lapses that occur in the brain. “Images projected onto the curtain inevitably fall apart on the ones behind. They help us to diffuse the images in the same way that our memory of the past encroaches on our waking consciousness.”

I feel rather guilty about writing this post, I went to the exhibition on the last day it was open and it is now over.. but.. If you ever get the opportunity to see
her work I would highly recommend you go and be seduced by supersaturated colour.


After a recent venture to the brilliant new Hackney Picture house I headed up to the Attic for a new monthly film night, Let’s Keep It Short. The evening is hosted by actor Tom Geoffery who invites entrants to send in short films and music videos to be screened during the evening.

The opening nights bar was set very high with a varied array of films. Having a mixture means there is certainly something for everyone and you experience things you may not normally watch.

One of the stand out pieces for me was the extremely accomplished The Hive. Directed by Ed Lilly, it sets a dark atmospheric undertone, reminiscent of early Andrea Arnold or Shane Meadows and follows two brothers who go out to steal bee hives to supplement their impoverished existence. The suspense and tension Lilly manages to build throughout the 15 minute piece really puts the audience on the edge of their seat. Managing to fill a full story and rounded character backgrounds into such a short piece is testament to the script, shots and the talent of the actors who for me really stood out, particularly the lead, John Weaver as the rough but fragile Lewis

Another highlight from the night on a much lighter tone was the quirky Echo. Following the turbulent relationship between a young woman and her stuffed toy Dolphin, we see the pair in various date scenarios as blossoming young love until the wayward dolphins antics spiral to the ultimate betrayal and the young woman (portrayed by the comical genius of Lizzie Carter) exacting revenge.

A simple but hilarious concept all set to the soundtrack of Echo by Eskimo Joe.

With so much creative talent in London’s young filmmakers, actors and all the behind the camera crews it’s always a delight to see new opportunities for them to showcase their work. Let’s Keep It Short will be on the last Sunday of every month and I for will be in attendance eager to see the latest offerings. That’s all for now… Stevie.


Just last week, Louie, Lucy and myself had the pleasure of welcoming Miss. Gizzi Erskine into the TIGI BED HEAD studio’s for a day’s photo-shooting!

For this very special occasion, I wanted to create a new version of Gizzi’s classic Beehive up-do. Think Brigitte Bardot, as a brunette!

Here’s what you’ll need for this gorgeous soft soufflé of a style!

  • Soft bristle hairbrush
  • Small dressing brush
  • Pintail comb
  • A selection of pins (open and closed)
  • 2 Hairbands (the bungee type in the picture are much easier if you can get hold of them)
  • Some synthetic hair padding in a suitable colour for your hair
  • Your trusty can of TIGI SUPERSTAR QUEEN FOR A DAY for thickening the hair
  • An enormous supply of TIGI HARD HEAD for fixing the doo in place
  • Curlers, you could use hot or cold rollers, or tongs (I forgot to photograph these!)


1. First make sure the hair is properly prepped, this style will not work on clean, silky hair. Spray some TIGI SUPERSTAR liberally onto clean damp hair and blow-dry in, it may feel sticky to start with, but this is good, as it’s adding texture! Use your soft bristle brush to help you with this. If your hair is a day or two dirty, add less TIGI SUPERSTAR, but still blowdry it in. You could also use some CANDY FIXATIONS SUGAR DUST on the roots to add volume and texture, if you’re hair is particularly fine or soft.

2. Get some movement in your hair; You can use whatever suits you best, but I prefer a curling Iron, you’ll want something with a relatively wide barrel, as we’re going for more of a soft wave, than a curl. Whatever you do don’t use a flat Iron, nobody should be using hair straighteners to curl or wave hair, it’s incredibly damaging. For first-timers and up-do novices, a set of hot rollers (look in your granny’s wardrobe) are often best. Here is me tonging Gizzi’s hair (assisted by the lovely Johnny – Thanks Johnny!)


3. Brust the hair through with your soft bristle brush, and separate the hair our into 3 sections. From ear to ear under the crown, and from ear to ear about 2″ in front of the crown. Pull the back section up and brush it into a high ponytail, your small dressing brush will help you here, use a little TIGI HARD HEAD sprayed directly onto the brush to catch any stray hairs, but remember this is a soft look, so it doesn’t need to be pulled to tight, and a few loose hairs will look just delicious. Secure the pony with a hairband.

4. Now brush the middle section into the ponytail, and secure that with an elastic also! remember not too tight, it’s a soft updo! Section the hair into a loop a clip away to make the next step easier

5. Secure your hair padding around the double pony and pin firmly into place. Using padding reduces the amount of backcombing, and makes this style a little kinder to you hair!

6. Backbomb the front sections lightly (not including the fringe if you have one) and smooth back,  wrap around the padded pony, and pin perfectly! Again, a spritz of HARD HEAD will be very useful here!

7. Unravel the remaining hair, separate off into small sections, backcomb a little and pin into place  try and keep going in the same direction so it looks neat!

8. I would blowdry your fringe around a brush to round it off if you have one, of you’re minus bangs, then you could create this style in exactly the same way, but perhaps take a side parting, and backcomb more generously for height!

Mist all over with TIGI HARD HEAD to keep it all in place, and Bob’s you’re uncle, your very own Gizzi updo!


Try it at home, and email any photo’s of you with a finished Gizzi up-do to with the subject heading ‘I’VE GOT A GIZZI UP-DO!’, I shall pick the best one, and send you a prize, in the form of some TIGI BED HEAD goodies to keep creating wonderful hair!

TTFN Sami xx


This slideshow requires JavaScript.

Emil Svanangen is a peculiar character. He is a well dressed but scruffy man, comes across interested whilst at the same time aloof, and is engaging yet seems divorced from his surroundings, immersed in the enormous sound generated from himself and his accompanying band.

A couple of weeks back, I journeyed to Shepherds Bush in West London to catch Loney Dear at Bush Hall. Having listened to his BBC6 Radio live session with Lauren Laverne the same day, I gained a sense of what to expect. Textured and harmonious “left of center” pop music. He bemoaned the loneliness he felt writing Hall Music, his latest album, to the point of swearing live on air at 11:30 in the morning. No wonder he brought a band along with him on his European tour, to share those endless hours stuck in airports, no doubt. And I was glad he did, as the music was so much richer for it.

Lonley Dear and his traveling band came out to rapturous applause from the 200 strong crowd gathered in the regal setting of Bush Hall. He played the majority of songs from Hall Music, crowd favourites such as “Loney Blues” and “My Heart”, amongst a mixture of older stuff. To see Loney Dear with a full band, in such a beautiful setting, was uplifting to say the least, and life affirming to say the (very) most. I hadn’t been to show like that in a while, where the crowd was a blend of the fresh faced and the not so fresh. Yet everyone seemed content in the company of Loney Dear, each other and the intricate ballad pop, which all had come to marvel at.

You can catch Loney Dear at The Great Escape festival in Brighton in May, along with a whole bunch of other awesome acts. See you there yeah?