The Charlatans performing at Ben and Jerry’s festival photo by Jimmy James

We interview The Charlatans lead singer, superstar DJ and style icon Tim Burgess. Who showed SUBvert around his UK studio and talked about how they rose from tragedy to become an international success. Also how self publishing their music has resulted in some of their most satisfying creative work.

The Charlatans have had three number one albums plus three, top ten singles. Tim’s added his vocals to songs by bands such as The Chemical Brothers, Mark Ronson and Peter Hook’s band Freebass. Tim is also friends with The Rolling Stones, and supported the band as a solo artist.

The Charlatans performing at Ben and Jerry’s festival photo by Jimmy James

Life changing decisions

Interview by Angel Greenham

The Charlatans have been going for nearly two decades, that’s a long time in the music industry, have there been any major decisions that have contributed towards your success?

The biggest decision we’ve ever had to make was after Rob Collins [our former keyboard player] died. A friend of ours Jeff Barrett who runs Heavenly Records was doing our press and I telephoned him to say we couldn’t perform with Oasis at Knebworth, as it was two days after Rob’s funeral. Jeff said “No, you’ve got to do it” and I said “How, we don’t have enough people?”, and he told me flat out “You’ve got to do it, or that’s it, the bands finished”.

It was excellent advice and Bobby Gillespie (lead singer with Primal Scream) offered us Martin Duffy (their keyboard player) for the night and he ended up joining the band for 6 months. It was amazing, but also crazy because, on the one hand, we had lost our best mate and he was a really important part of the band, however, Duffy coming in and helping us through the next 6 months was a real blessing.

The Charlatans performing at Ben & Jerry’s Festival photo by Jimmy James

It was very compassionate of Bobby to help you out. You guys made another big decision at the beginning of your career to publish your first single yourselves, why did you decide to go down that route?

It was early on and we’d done a demo tape and we tried to get a deal but no one was really coming forward, so we put it out ourselves. Our Manager’s sister put up the money to get the single out. We were suppose to sell a thousand copies but we ended up selling fifteen thousand, so she got her money back and we got to buy a van.

This was all part of the Manchester scene and a lot of people started showing an interest in us because we had a DIY record out, so the majors were interested as well as a few independent labels. But we chose a record label called Beggars Banquet because they seemed like the people who could actually do it for us. We wanted to be able to sell records all over the world, they could do that, but they were still small enough to actually let us do things the way we wanted to do them, so it was a wise choice really.

Tim performing in Manchester, photo by Nicky McGowan

So you signed with Beggars Banquet because you could do things your way. What were the benefits of working with a record label?

For me it was amazing because we used a guy called Chris Nagle who was the engineer for all the Joy Division records and the first New Order album and a lot of Factory Records stuff. He was Martin Hannett’s right hand guy and Martin was a legendary producer in Manchester. It was a beautiful experience, we went to Strawberry Studios in Stockport to record “Indian Rope”. That’s the studios where Joy Division recorded their debut album “Unknown Pleasures” and it’s famously owned by 10CC so it was a great experience.

Tim performing in Manchester, photo by Nickie McGowan

Chris Nagle was obviously very talented and had worked with some outstanding bands, what was it like working with him?

He would come down to check us out in our rehearsal and stuff like that, generally he was a really great guy with a lot more experience than we had, so we were really happy, he gave us a good sound, it sounded like a first record at the time we were doing it, but I didn’t think we could ever top it, I thought it was the best record I’d ever heard.

Tim performing in Manchester, photo by Nickie McGowan

It sounds like a very positive experience. A lot of people struggle publishing their work in the early stages of their career. Do you ever have any doubts when you’re putting out new material?

I think I’ve got good taste, I can get this weird feeling right inside and it comes from my stomach and it tells me its good. I follow it through the best way I can. I think I’m probably doing that even better these days, it doesn’t have to be a perfect recording, or a brilliant vocal take, it’s all about the vibe and the emotion you get from it. That’s when I don’t care what anyone says because I’ve put my heart and soul into it, I feel proud of it.

“Indian Rope” was a big hit along with a lot of other tracks you released through Beggars Banquet so why did you change labels?

Well, we were actually on Beggars Banquet for quite a long time, that was probably the most successful period, we had three number one albums and we did 6 with them in total. But at the time we felt like a change of scene, its like a relationship with somebody for six years, you think “oh my god do I need something new” and you start to assess the situation and see where to go next.

SUBvert magazine photoshoot at The Charlatans recording studio, photo by Nickie McGowan

So Universal were interested and the first record we did with them was really good, it was a massive hit, then it went downhill from there. The second album with them was “Wonderland” and in my opinion, its not the best record we’ve ever done. Universal were freaked out because we were doing it all ourselves, our own way, in LA, with a producer that we wanted and they didn’t have a say.

So they gave up on us, but they didn’t want to let us go either. It was frustrating being on a label that wouldn’t let us go to anybody else but didn’t want to do anything with us themselves. So we just made a crap record, even though we thought we were being smart, the public thought we’d lost it.

Click here for Part 2 Of This Interview where Tim tells us the story about Ice-T stepping in to save them from a crazy attack. He also gives us his opinion on new technology and how they’ve used it to add extra value for their fans. Plus the true benefit of having complete control of all their decisions.

Check out Part 2 Now…

If you’ve ever read our About us page, you might already know that Angel is a big Incubus fan or rather a big Brandon Boyd fan!

I won’t repeat the story, other than to say great music and great art really can change people’s lives and Brandon’s music changed the direction of Angel’s life.

We’re lucky at SUBvert that we only interview people we really like and of course Brandon was at the top of Angels list for some time. When the opportunity arose, we jumped at the chance.

Here’s the result, in the new PDF mag format. We have at least 15 interviews like this lined up with some really cool, successful creative heroes of ours. It was leaked to the Incubus forum a little earlier than we were expecting, but so far the response has been fantastic.

We are opening comments on this one, so please let us know what you think of the article and the new format.

(For FULL SCREEN viewing, click the button in the top right hand corner below)

Click here if you can’t see the magazine above.

SUBvert had the pleasure of being invited to do a photo shoot with Tim Burgess from the hugely successful band The Charlatans, at his recording studio in Northwich.

Nicky McGowan a brilliant photographer that I have worked with quite a bit over the last year accompanied me in the angelbus (VW caravelle) as we set off with map in hand full of excitement.

We arrived at this beautiful village complete with canal and pretty little houses and made our way down a shingle pathway to a huge converted building. A friendly Tim Burgess answered the door and welcomed us inside, where we found a maze of rooms full of instruments and equipment. We went upstairs to a big open plan room complete with fantastic original beams and comfortable leather sofas.

Above photo by Nickie McGowan http://www.myspace.com/nakanickie

Stretching across the far wall, from ceiling to floor was a enormous mountain scene reminiscent of the sound of music. This made an amazing backdrop that Nickie took great advantage of. Tim then picked up a magnificent double bass, which he proceeded to play. After plucking away for our entertainment he propped the bass back against the wall however, it wasn’t balance correctly and it begin to fall luckily Tim’s lightening reactions enabled him to grab it before it smashed into smithereens! phew.

Tim was extremely patient and accommodating, really going out of his way to enabling Nicky to get some amazing photos, the results of which will accompany our interview with Tim in the next issue of SUBvert. We all chatted away about all manner of topics and discovered more about Tim’s interesting life.

After a fantastic day we set off home just as the sun was setting, full of inspiration and creative ideas.

Nickie McGowan – ‘working with Tim on the shoot turned out to be one of my best shoot experiences, mostly because Tim is such a great guy and has wicked taste in music and fashion. the shoot was a perfect start to 2008, and I’m glad i managed to capture some of Tims personality in my shots’

Check out SUBvert’s other Charlatans articles

Review of XFM’s Winter Wonderland featuring The Charlatans Winterwonderland Gig Review

More photos from Winter Wonderland check out www.flickr.com

The Charltans (Gig Review) The Ritz, Manchester

Download the Charlatans single “You Cross My Path” on the following links
xfm.co.uk
thecharlatans.net
www.myspace.com/thecharlatans

Would you like to photograph bands like Incubus and Pearl Jam, choose what festival to cover and attend 4 or 5 gigs a week? That’s exactly what professional photographer Tim Cochrane does and he’s here to tell you how you can do it too.

Tim how did your photography journey begin, did you study at university?

I didn’t actually study photography. I went to university after years of wanting to do sound engineering. I was always into music as a performer, so I went to university and did a degree in sound engineering. It was pretty good.

How did you go from a sound engineer to photography?

It was my trip to Australia that changed things. I went to Sydney to work for Sony as a sound engineer, and whilst I was there I lost my passion for it. After years of wanting it, I did it at the top level and then discovered it wasn’t really for me after all. It turned out to be, long hours of editing talentless singers, for little or no recognition, for very little financial reward. It was extremely tedious. It was just the sort of job that I didn’t enjoy.

But obviously being in that position gave me access to the right sort of people. Sony is quite small in Australia compared to the UK or US. There’s probably only 100 people that work in the Sydney office, so it’s quite easy to meet the right people.

So you were in the right place to network with influential people. How did you go about promoting your photography skills?

I had always done photography on a really basic level. I had quite a few cameras that I’d taken with me, just basic digital SLRs. I just asked the right people. I spoke to the girl that did the website, she looked after all the pictures and the content for the web design. At the time they were doing a lot of videos, they would get the Australian artists to come and do like a little video clip for the website for example “we are (insert name of band) you are watching Sony …..” So that was what prompted me to get some live shots as well. So that’s how I broke into it in the beginning.

I did it for free to start with, but I had good access to Pearl Jam when they came over and Tenacious D, really big artists and I took shots purely for my own portfolio. Just to get the access and be down the front at a gig was great. So that’s how it all got started.

From there I used that to start a website, then I went on to do local magazines. I was shooting for ‘The Drum Media’ which is a free street press, it’s strange because in Australia people don’t pay for their music press it’s all free in the street press. I was getting paid, though it wasn’t a massive amount. But that’s how it all started all the time, I was building up a bigger and bigger portfolio of shots to show other people. So I set up the website which is a great way to show people whenever they want to see my work, instead of having a traditional hard copy portfolio.

Did you have any web experience before building your site?

Only from doing personal sites for my own use. My site wasn’t complicated, it’s all lending scripts from other places, quite basic. It’s simple and classic. I think it’s a really important thing to be able to have in this day and age, to be able to show people what you can do. Then when I got back to the UK, I contacted several of the agencies. This is how music photography works, unless it’s for one of the big magazines like NME or any of those types which have their own photographers.

How did you go about contacting the agencies?

I just emailed the picture editor or the relevant people, you’ll find all the details are available on their website, so it’s not hard to find out. It wasn’t like I knew anyone who could get me in.

I contacted them said this is the link to my website, if it’s the type of thing your interested in let me know. I had some quite nice shots that I own the copyright. There are two distinct differences that you have to be clear about when you assign your copyright. So when you shoot for somebody they take the pictures for payment or whether you keep the copyright for the picture and you then sell it as many times as you like.

So I had some pictures of Johnny Marr (formerly in The Smiths), I managed to photography him in a lift, purely from being in the right place at the right time. I had all these pictures which were “World Exclusives”. So the agency said ‘yes, we can sell these for you’ so it was a nice bargaining tool.

How did you know how much to charge for your photos?

With the agency what happens is, you send the images to them to sell on your behalf. So for instance at Roskilde Festival after a few days work, I’ll upload them to their website, then they do the selling for me. They take their commission which is roughly 50/50, which may seem a lot for them to take, but, you have to consider that they have access to a world market, and you don’t have to do anything other than take the photos. The sales soon build up. To be able to access that market on a personal level, you would be on the phone or email for 24 hours a day, just to get that kind of exposure. So it’s really worth it.

When you’ve been with the agency more and more they put more work your way, and you can use the agencies name to get more work. That automatically gives you a better standing.

What is the process for photographers who want to take photos at festivals?

It works in several different ways, sometimes you have to go through the PR Agency, others through the festival direct, with Roskilde festival for example, my agency had to write to them on headed paper to request it, formally attaching my name as the photographer. But every festival seems to work in different ways.

How do you work out your expenses to go to an event, do you have to estimate what you’ll make on the photographs?

You have a rough idea of how much you might make, so say the Chili Peppers haven’t done any festivals in the summer in Europe, it would be good to photograph them before they go to Reading Festival in the UK. Because magazines may want to use the photographs as a preview or as a bit of a warm up. Say the Who may not be as hot because they may have done Glastonbury a little while ago, so a lot of English photographers would have already shot them, so the photos won’t be worth much. But it’s still all good for archive material, you may sell it years down the line through the agency. In terms of working out costs, the agency I’m with will go halves with me on what I spend, they’ll go 50% on my train fare and things like that, so that’s pretty good.

Die-Die-Die

Do you need to do any research into the bands before a shoot?

Maybe when you first start out but, when you’re doing more and more gigs, you begin to get an idea about what’s going on. I wouldn’t spend a lot of time on the net researching it. When you’re doing it on weekly basis, you’ll hear people talk about whose playing when and where, you just need to keep your ear to the ground.

Do you buy any music magazines?

NME do a great listings on the web, so you don’t even have to buy the magazine. You set the date and you can find out whose playing and where. So I do tend to use that a lot to see what’s coming up. I normally plan about two weeks in advance so that’s about the right amount of notice to get a photo pass.

How do you decide what gigs you’re going to cover?

On a weekly basis I probably travel into London as it’s only 20 minutes away from where I live. I live in an area which gives me easy access to surrounding towns. So anything within an hours journey is quite common. I normally wait until a tour gets somewhere near to me, unless it’s the first night then I might travel a fit further, as you may get an exclusive. Try to plan to go to a gig every night, obviously some may fall through and some don’t come off as people don’t get back to you in time. Normally it works out 4 or 5 gigs a week for the live stuff and I fill in with other bits in the day.

If you want to go and cover a band what is the procedure?

The agency has access to a few of the databases so they know what label and what PR agency deal with what band, which is really quite useful. So that tends to be how I would go about it. I’ll ask the agency who are the people to contact for such and such a band. Red Pages are a good database, but there are about three or four. I think anyone can subscribe to Red Pages, but I’m not sure how much it is. Obviously when you do this more and more you build up a database of people that you can contact. A lot of the time PR companies will deal with 10 or 20 different artists and there’s probably only 40 different PR companies in London. So you see the same names coming up all the time. When I photographed Incubus it was through the record label and that’s according to which region they are playing. So if they go to Australia then Sony Australia will deal with the press.

Who has been your favorite band to photograph?

That’s a hard question, you can get a nice shot if they are quite active and run around a lot, as mainly people just stand behind a mic stand and you’ll just get a standard shot 45’ from them. So when they do jump around a bit it lends itself to more options for the photographer. For a live performance it’s probably Johnny Mayer, he’s not very heavy but he’s very animated and Pearl Jam as they are like one of the biggest bands in the world. Eddie looks the part and they are totally rock and roll, all the guitarists are there posing it out. Yeah they’re great. But for posed stuff, probably Johnny Marr from the Smiths because he was such a nice guy to go with it.

What advice would you give other up and coming photographers who want to get into music photography?

Well going through an agency is one way of doing it, obviously they could contact magazine direct, but a lot of them have got very established people who have been working for them for years. For example; NME if I work for them it’s only because there normal photographer can’t make it, so it’s only as a reserve. It’s very hard to penetrate that closed in community, they already have like 4 or 5 photographers that they always use, so don’t be disillusioned that you’re not getting replies from NME because they are a very tight knit community and it’s extremely hard to get in there.

Portrait of model Harriet

But there’s plenty of agencies and they vary in quality, some specialize in music whilst some don’t. The one I work for is Retna which is one of the big US/UK ones but there’s also Getty, WireImage and LivePix, so that’s one option. But basically to get started I would approach bands directly, a lot of bands have myspace profiles, so you can send them a message and ask if they would like some live photo’s or pictures of them as a group for them to use for free. People are usually keen to get some new shots in a different style.

You can experiment and find your feet by seeing which style suits you. Live is great as well because there’s likely to be a lot more animation you can get right up close to the stage. Some gigs there may not be a special area, but if you get there early you can get right to the very front. You’ll have the band on either side of you and hopefully you’ll get some good shots and they’ll appreciate it and my put the images on their myspace and you can build up your portfolio. So it’s not necessarily having high profile names, but you can show people the shots and they can see the quality. Then later on down the line you can incorporate more successful bands and get work through local papers, then regional papers, and other free music magazines where you can get access to bigger named artists. They may not pay much if at all, but it’s more about gaining access.

How many people do agencies tend to take on?

It’s hard to say as my agency do US as well, but in the UK say 25 photographers and then maybe 6 or 7 portrait photographers. So it’s quite limited, but it’s a case of if they like your work they’ll take you on. So try and do something a bit unique or different.

Is there any technical advice you can give about how to present your work?

Stay away from using a lot of the same gig, say you go to a really good gig and you’ve got lots of good material try not to use it all. Be harsh on yourself and narrow it down to one really good shot. Go to lots of different gigs so you’ve got some variety. So you haven’t got 5 photographs of the same guitarist, they might be cool shots but it looks like you haven’t done much work. It’s better to just display one of each gig it makes it much more interesting. Put a website together with ONLY your best work and get some diversity in there.

To check out more of Tim’s awesome photographs click below.

www.timothycochrane.com

www.myspace.com/timcochranephotography

I first saw photographs of Knitta’s yarn graffiti in an exhibition at Urbis, Manchester and I was excited and inspired, they had made knitting cool and interesting and anyone can do.

PolyCotN

Angel : When and why did you get interested in knitting?

PolyCotN: I never was as interested in knitting as I was when I started knitta. It never clicked. It took too long. I felt I had no friends that were worth spending the time and effort to knit a blanket or scarf.

A: So tell me how Knitta and yarn graffiti was born?

PC: It wasn’t as clear cut as you may assume. I simply wanted the handle to my store front wrapped with knitted material( I own a boutique here in Houston). I sit at my desk with a glass and steel facade to stare at all day. I thought a splash of color would soften the hard edges. Once I did that it set off a light. I instantly witnessed the reaction of others-they would touch it and want to know more about it.In the next few days we wrapped the stop sign pole a block over. the reaction was even more intense-with people getting out of their cars, and taking pictures in front of it.

A: What do you sell in your boutique?

PC: Lines you can’t find here in Houston, if not Texas. My husband owns the book store next door. The websites are http://www.rayehouston.com and http://www.domystore.com check them out!

A: Yeah ill be sure to check them out, sounds exciting, recently I went to an exhibition here in Manchester and saw some photos of yarn graffiti but i didn’t get the name of who did it? would it have been Knitta? are you guys the only ones doing yarn graffiti?

PC: There have been many groups that have formed since Knitta started. It makes me very happy. Did you see it at the Urbis?

A: Yes thats right, was it you guys?

PC: Yes, I’ve been getting quite a few emails from that show. I wish I knew more about the space. Ideally I could set up an exhibition of sorts, fly over there and tag . I would LOVE this. Our support in Europe and Great Britain is enormous. I hope it’s not like the same love Germans have for David Hasslehof-Germans love him and his rock . ….we don’t

A: Is there any message you want people to take away with them or is it just visual stimulation?

PC: It is both. I believe one of the reasons knitta has become so popular is that it takes knitting to a different level as well taking graffiti.

A: I must confess that i have taken up knitting because of you guys

PolyCotN & 24kt Purl Nekklas

PC: That is great that you are knitting now! I knew a guy that knitted a beautiful sweater that said BEER on the front. Quite attractive. I think it is great. The idea that knitting is put out on the streets graffiti style -making this knitting outlaw is awesome!

A: Are you a fan of aerosol graffiti?

PC: Absolutely!

A: What graffiti artists do you like?

PC: We opened a gallery a few years ago(now closed) so I was really exposed to a lot of what is going on in the art scene. I was just starting to get familiar with some of the better known graffite artist. I think one of the first shows I went to was Barry Mcgee. Later on a bought a small piece-the only one I could afford.

A: Can you tell me more about the gallery, as I’m sure loads of people would love to open their own gallery, what sort of barriers did you have to overcome and what advice would you give to other people wanting to do the same?

PC: Yes. It was more my husband. It was great what we did with it in 3 years-really made connections in NY/LA. But here in Texas it was sort of like we were suspending reality. It doesn’t work the same way as it does in NY. There aren’t enough people here that collect contemporary (good) art. There is a lot of money , but they play it safe-and buy stuff isn’t current. We were selling more work outside of Texas. It ultimately felt like an expensive hobby. I don’t mean to discourage or anything.

A: Right so its a difficult business?

PC: It was fun. The art shows , meeting the artists, collectors, dealer,etc. Unfortunately it was a business too and we weren’t profiting. If you have a lot of money then go for it!

A: The key problem was the location?

PC: Yes, It’s like trying to be a successful actor in the film business w/o moving to LA.

PolyCotN & 24kt Purl Nekklas

A: Are there many magazines over there that promote contemporary art?

PC: In Houston, not within a critical dialogues. All the good art magazine are based in NY or overseas

A: So PolyCotN for people who have not come across Knitta describe what you guys do, how many of you there are and what are the crews names?

PC: We are a group of women that take our knitting out on the streets. Just like graffiti artist we have reacting to our urban environment, using our surroundings to show our work, unsanctioned by the authorities and making it beautiful with fuzzy bright colored yarn. If there is any message to send it is that beauty can be outlaw. We consist of 5 members: PolyCotN(me),

Woops…24kt Purl Nekklas, P-Knitty, Knotorious N.I.T, and Granny SQ,

A: What kind of feedback have you been receiving, and how have the press been reacting to what you guys do?

PC: Sometimes Mascuknittity comes into help. He’s great and has really interesting color sense. Feedback has almost been completely great. I think whenever anyone puts themselves in the public forum there will be people to criticize it. So we have had emails that ask why we don’t put are work to get use like blankets for the homeless and sick babies to emails proposing marriage.

A: I’ve been reading on forums people talking about what Knitta does and mostly it was really positive the only negative comment was that the knitting will degrade in time and become weathered, what is your response to this?

PC: Just like graffiti, it is exposed to the elements. In a way that is what makes it special. I have come back to places after months -like the “welcome to Manhattan” sign in NY. It is very weathered but that is what it is supposed to do. We have all seen some beautiful graffiti that ultimately is covered up by the gray muted city paint.

The Standard Hotel

A: Tell me about the exhibition that you recently did in LA?

PC: It is fun to see how people are getting around that. do you hear about the guy that uses a power washer? The cops don’t know how to arrest him b/c he is essentially cleaning the cement.

A: Was it photographs or an installation piece?

PC: It was and installation. It was great! I must say I Love the commission pieces. It has been real fun. The standard is this ultra hip hotel that has a glass box behind the front desk that a live model sits in for 12 hours a day. They wanted us to tag this box. Instantly I though we should make it look like she is in an aquarium. So we made seaweed looking strips -like 125 and hung them from the ceiling inside the box. We mounted 2 fans to create a sway/movement. It really worked out well.

A: Wow that sounds amazing, what other pieces have you done that you especially enjoyed?

PC: The monorail column in Seattle was incredible for us. It was the first large scale piece we did. It took over 50 ft of knitted material to cover. I did a call out on to our mailing list for volunteers. We got pieces from all over America. one woman knitted 18 ft . That goes from my front door to my back door. HUGE. and she wrote a note saying thank you…to us! Most of them thanked us for letting them be a part of it. I almost got teary.

Monorail Column, Seattle

A: I especially like the brown and yellow piece with the skyscrapers in the background that looks fantastic

PC: Oh that was for a rice university music fest, I think that one got taken and sold on ebay

A: Really that was a great piece, I’m still on plain knitting so will be a while until i can do letters. How do you see yarn graffiti evolving?

PC: I don’t know. It never started with that question.It was open ended. It’s been amazing but it is hard to predict. I would enjoy seeing it influence others in a way where they may choose to think creatively and question conventional wisdom.

A: Do you have any creative plan yourself? anything you would like to do?

PC: I would like to tag as much of the world as possible. I would love to do more exhibits. I love that my children are growing up with this in their lives. Hearing my 4 year old shout out “there is a knitta piece!” still cracks me up.

A: Do you have any funny stories of when you’ve been out tagging?

PC: Well one of my few brushes with the law was in NY. A cop came up to me while I was putting an 8 foot piece on a light pole. I told him I was part of a church and we were doing a scavenger hunt for our youth group. He smiled and drove off. I n America, no questions asked when it has to do with religion.

A: Thats cool, have you heard of a graffiti artist called Banksy from the UK he did some graffiti under a bridge and wasn’t disturbed as he was wearing a council uniform they thought he was official

PC: I love Banksy. We sell his books at Domy. I love the humor in work, It’s like Banksy said, “It’s easier to ask for forgiveness than permission”.

A: How do you attach the knitting?

PC: Every location has its unique challenges. We’ve used everything…even standing there and crocheting the piece together, we like the idea of the piece being more permanent so we have switched to tying more.We love to inspire others. You know there are these cool needles out now that have light tips…so you can knit in the dark. cool huh!

So theres no excuses now you can knit in bed in a nightclub anywhere! if you’ve done some yarn graffiti, please send us the photos we’d love to see them

All of the photographs were taken by Jonathan Hokklo

For more information about Knitta
www.knittaplease.com
www.myspace.com/knittaplease