Every vote counts

Mum always voted. This is her, aged 93, partially blind and a little unsteady on her feet, voting at the local elections in England 18 months before she died. It would have been very easy for us to not bother, but Mum was adamant about voting. So I helped her walk to the polling station and I was permitted to go into the voting booth with her to help her mark her paper as her eyesight was too poor to read the card.

When Mum was born, not all women had the right to vote - equal voting rights didn't happen until 1928 so she didn't take this privilege lightly. She took it very seriously and saw it as her civic responsibility to do so. And if my late Mum at 93 could do it, then so can we all.

I will be voting next week in the local elections. This round of elections is particularly important for many reasons, not least that I do not want to see liars and charlatans get their way. Turnout for local elections is often really low so every vote really does count.

It Was Twenty Years Ago Today When Swedish Beers First Came to Play in Barcelona

Doesn't time fly! I can hardly believe it but it's 20 years since Swedish Beers first came to BCN at MWC! It wasn't even called Mobile World Congress back then, it was 3GSM and it took over La Fira at Placa Espanya. I took a last minute decision to head to Barcelona for a few days and take in the show. (I'd missed out on visiting 3GSM at Cannes due to the lack of accommodation and the huge cost of staying anywhere remotely nearby.) 

I'd already been hosting Swedish Beers in London at that point for almost 5 years so I put the word out I'd be in town and some of my regulars and some international bloggers about mobile who I'd met online turned up in a bar in a hotel in Gracia. There were about 25 of us there if I remember rightly. Not only was it lovely to hang out with my tribe but I also saw that week that there was a real need for a more grass roots style event during Mobile World Congress where people could connect on a human level. I feel that is still true today. Little could I imagine back then that I would still be doing this 20 years later! But here I am.

The next Swedish Beers party is happening next week on Wednesday 4 March from 7pm onwards and we're back at Space Cowboy where I'm sure we'll be well looked after by Adam and his team at the bar. And for conversation and good vibes, we'll have Shanks Kulam and Nick Allott with beer tokens in hand. More sponsors tba.

If you work in or around mobile, this networking event is for you! RSVP required and you can do that over on Eventbrite.

If you'd like to connect with several hundred mobilists, meet everyone on the night, and create and contribute to memories that people will be talking about for years to come, please sponsor the event. Sponsorships available from £500. All the money goes behind the bar and to the related people and admin costs of running the event. This is not a money-making exercise for me. The more sponsors, the more beer tokens and the more fun for everyone. Please contact me to discuss to help the legend live on.

Below are some memories from last year's bash.

See you in Barcelona! Tell your friends! Let's have a blast!

Skål

Helen

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Follow us:

Instagram https://www.instagram.com/swedishbeers

X http://x.com/swedishbeers

LinkedIn https://www.linkedin.com/company/swedish-beers-mobile-networking/ and https://www.linkedin.com/company/heroes-of-mobile/

City of Floating Sounds by Huang Ruo & the BBC Concert Orchestra

You're going to pique my interest immediately when you have a performance that combines mobile technology with art, music or theatre. I've been working in mobile technology for 25 years and I love to see and experience new ways of using existing technologies in an effective, interesting, useful or unusual way. So when I saw the following blurb, you can imagine I was interested to know more:

"Picture the scene: dozens of strangers meet at select locations around London and walk through the city together, playing different strands of Huang Ruo’s City of Floating Sounds out loud from a bespoke app,creating a full symphony as they go. Sound intriguing? Grab your phone and some comfy shoes and join a moving orchestra!"

I rallied a few friends, organised our tickets and we met on a gorgeous, sunny, warm evening at Victoria Embankment Gardens and joined the crowd to form this so-called moving orchestra. The weather could not have been better for it. I can't imagine it would be much fun in the rain. We set off in a somewhat higgledy piggledy fashion along the north bank. We weren't given any instructions although there were clearly visible Southbank reps on hand. A QR code with a link to download the app would have been useful. A reminder that the sound would be better if we stayed closer together (after all, each phone was playing a different sound) and that you needed to have your volume on full and your screen on low to conserve battery power would have been helpful. As we walked along the road to Embankment Gardens, it was hard to hear any music due to traffic noises, other pedestrians and lots of chatting amongst ourselves. Maybe that's the point that we just heard snippets at this point as we adjusted to the immersive nature of the experience. 

Once we hit the gardens, the experience was infinitely better. We had more critical mass in terms of people together and there was much less traffic noise to contend with. It was also really fun to walk past bemused people in the park wondering what it was that they were witnessing. Some paid no attention whatsoever and carried on with their conversations, phone calls and doom scrolling but others were really intrigued and were watching us quite intently. 

As we headed towards Hungerford Bridge, we lost critical mass again as people dispersed across the bridge at different speeds. This was a shame, but my group did get talking to passers by to explain what it was they were witnessing. At the culmination in front of the Southbank, the sound grew. There were large speakers on the terrace, and the sound grew as people arrived. However, many people turned the app off or put their phones away once they arrived at the Southbank which was a shame. Our phones were still playing different things, and if more people had kept their phones out playing the music, the experience would have been better. Again, signage, a QR code and encouraging those milling around the Southbank to join in might have been good.

After a short break, we headed into the concert itself, where we enjoyed a full, live orchestra performance of the piece by composer Huang Ruo. We also heard two shorter pieces by Advaith Jagannath and Arvo Part. The acoustics in the Festival Hall are fantastic so it's always a pleasure to experience a full orchestra in there. For the two shorter pieces, we were treated to fantastic percussion. I do love a bit of timpani. 

I find writing about music quite hard. Although I sing a bit, play piano (albeit extremely rustily) and can read music, I don't have the vocabulary or depth of knowledge to truly describe it to someone else. The main piece was meditative - multiple loops that fitted together but were ever so slightly discordant. Not dissimilar to many of our lived experiences being in a city. We can wonder at the majesty of the River Thames, admire the skill and beauty of the architecture and art around us, yet baulk at the sweaty tube, busy roads and grumpy people around us. It's every so slightly jarring, and I felt that in the music. The structure of the piece sounded like it was perhaps in rounds, with repetition of themes. It made me wonder if you could create a similar effect using a loop or sampler pedal. The overall effect of the music felt representative of a tidal river, perhaps, as it ebbs and flows or even the microcurrents that may exist within it. Ultimately, it was a meditation on city life.

The immersive element of the programme was my favourite part, and it would have been good if more could have been made of what was almost like a flashmob. Would I listen to Ruo's piece again? Possibly not but I would most definitely participate in another mobile phone moving orchestra.

Yeah, baby, we're back!

I can't quite believe I've been hosting the Swedish Beers parties for nearly 25 years. It all started as a on-off in London in 2001 as there was a bit of money left over from a client project. I thought it would be enough for a party and so a networking event was born. I first took the party to Barcelona in 2006 where about 25 of us got together to hang out. It may have been small, but it was perfectly formed and it was where I got to meet the late Carlo Longino in person for the first time. I had a hiatus for a couple of years during covid but came back in 2023 with the warmest welcome imaginable. And so, for the 17th time in Barcelona, I'm taking the show on the road once more time. Here's the lowdown:

Yes, it's that time of year mobile friends when 100,000 or so of us descend on Barcelona for our annual shindig that is Mobile World Congress. And for the SEVENTEENTH time, Swedish Beers will be back hosting your favourite networking party of the week. If you work in or around the mobile industry, you are very welcome to attend.

We're back at Space Cowboy as they looked after us so well last year and the year before. We'll be open from 7pm until late. No admission after 01:00. We will revert to a pay bar if/when the beer tokens run out. Photo ID (eg. your MWC pass) may be required. We reserve the right to refuse admission. 

RSVP is required. Please do that here -- https://swedishbeersBCN2025.eventbrite.co.uk

The format will be the same as previous years - a relaxed evening, no formalities, no presentations. Please come with an open mind, be prepared to see friends old and new, chat, enjoy a drink or two (courtesy of our sponsors*) and have yourself a good time. Oh, and please leave the corporate personas and the sales spiel at the door. 

The Swedish Beers crew and the friendliest bar staff in town will be on hand to welcome you.

*If you'd like to support the party by being a sponsor and joining this year's line-up, please get in touch with Helen. The more sponsors, the more beer tokens we'll have. You'll get your own bag of tokens so you'll make a lot of friends very quickly over the evening.

See you in Barcelona.

Skål

Helen and Team Swedish Beers

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Please note, RSVP'ing here or on LinkedIn does not guarantee entry. If you want to guarantee entry, please contact Helen about being a sponsor. 

Spanish licencing law requires us to keep to a specific capacity which means there might be a small queue when you arrive. We always manage to get everyone in who wants to come in so please don't be put off by the wait. The queue generally moves quite quickly. We do ask you to keep the noise down whilst waiting.

We reserve the right to refuse entry. Beer tokens valid while bar tab lasts and then we will revert to a pay bar. No admission after 01:00.

On The Art of the Pre-Show and Post-Show

My friend, Terry Eden, wrote a post earlier this week about pre- and post- show experiences in the theatre and it's got me thinking... I go to the theatre at last twice a week so I see a lot of shows of all kinds (big, small, funny, serious, experimental, fringe and more) in a lot of venues so I have some thoughts on this.

One example that Terry shares is the immersive element of the current version of Cabaret and how that might heighten one's experience of the show. I may be in the minority here, but I don't like it and find it really jarring. It's a far cry from the seedy dive depicted in the story - or at least a far cry from how I imagine it to be. It adds huge cost to the show as they have two casts every night and it added nothing for me. I was stood in the bar area and just felt I, and others, were in the way. Worth noting that I find Frecknall's Cabaret a bit too shiny anyway - style over substance - in what is such a dark tale. Give me Rufus Norris's version any day. Maybe that's colouring my judgement.

I digress. I go to the theatre a lot, and some of the time, I go on my own. Having something to look at before I go in to take my seat is a welcome change from doom scrolling on my phone but there's rarely anything to look it, even less likelihood of a seat or somewhere to charge my phone. 

A bit of a display about the history of the theatre itself and previous productions is a nice touch (Drury Lane has this, and sometimes The National). I'm always fascinated by the posters from previous shows that you see at Soho Theatre and the Noel Coward Theatre and others - but why are they on the stairs where you can't linger and take in the information? Back to the Future and The Devil Wears Prada have a bit of set dressing in the foyer which is a nice touch and creates a photo opportunity which helps with spreading the word on social media. I like mooching in the National Theatre bookshop too. 

Back in the day, in my local rep theatre in Worcester, there was always a display of production photos and some info about the cast, as well as a rolling art exhibition from local artists and the bar was often open after the show, which meant you could get to meet the actors and it created a really convivial atmosphere.

Although I'm still of the view that I'm happy to have the magic happen in the auditorium, it would be nice to see more pre- and post-theatre activity - especially when the show finishes at 9 pm. I don't really understand why the bar in the theatre isn't open at this time. After all, they're missing out on a couple of hours of selling time in the bar and merchandise sales. Maybe they tried it, and people didn't want to hang around, so it wasn't commercially viable? Perhaps others can fill me in here.

Another missed opportunity is relevant sponsorship and partnerships - The Devil Wears Prada is crying out for a partnership with Selfridges, Harvey Nicks, Harrods, Vogue or the V&A Museum. Also, their merchandise really misses the mark. It's the same old same old hoodies, t-shirts and mugs. Why aren't they leaning into the fashion element? Admittedly, they're selling Elton John sunglasses but they're expensive and out of reach for most customers, many of whom are younger fans. Also, the programme is printed on magazine paper but isn't designed as a magazine. Another missed opportunity for interesting content, selling merchandise off the page, sponsored features and advertising. Yes, it would have taken more budget, but the effort should be worth the reward. 

And as for the bars... often eye-watering prices, sub-par service, and really unhealthy snacks. In colder months, why isn't every bar selling hot drinks? I don't drink alcohol much at all and would rather have a decent coffee before or even after a show. Am I the outlier here?

I love the theatre, and these are small gripes versus the enjoyment I get week-in week-out in venues across London. However, production values are production values. I'd like to see these extended to other areas of the experience more often. On that, Terry and I agree.

My Month in Theatre: November 2024

A round-up of shows and performances seen in November 2024. I've been challenged by a friend to keep a better record of what shows I've seen. At the moment, most of them are just listed in my calendar app which is not great for managing an archive. So whilst I work out the best way to do this, I'm just going to blog about them.

Friday 1st November - A Little Piece of You at Theatre Royal, Drury Lane. The less said about this, the better. It was dreadful. Despite a stellar cast - Mica Paris, David Bedella, Dujonna Gift - nothing could save the dire material. I don't know if the book was rushed or just not well thought through, but it did not work. Some of Kjersti Long's songs were OK, but Kjersti's vocals could not match her co-stars and she ended up screeching the songs to get the volume needed. The concept of the play was poor. The female characters, because they were depressed, seemed to spend a lot of time in bed. This does not make for an interesting scenario to watch. David Bedella was not given a single note to sing. This was a vanity project and a half. Did impresario Dad have delusions of grandeur, I wonder? It was so bad, I had to take a week off going to the theatre to get over it! Note to Kjersti - don't stop making music and don't stop trying. But maybe walk before you run and get better advisors around you who are not afraid to critique your work so you can improve. 

Tuesday 12 November - La Clique at The Spiegeltent in Leicester Square. Lots of fun in a lovely venue in the heart of theatreland. It's a mix of magic, comedy, dance, trapeze and stunts. Recommended. Here's a review for a better flavour of what to expect. Booking now until 5 January 2025

Friday 15 November - The Elixir of Life by Donizetti at The London Coliseum. This ENO production was sumptuous and fun. They made full use of the stage with a gorgeous set and costumes. We had a full chorus too and glorious soloists. I liked that they had transposed the setting to the 20th Century as it made it more relatable and gave them scope to create some new effects which I hadn't seen before from the ENO. Here's a review from The Guardian for a more in-depth look at the piece. Booking until 5 December.

Saturday 16 November - Her Story: Mozart at Theatre Royal Drury Lane. This was a semi-staged concert version of a new musical about Nannerl Mozart, Wolfgang Amadeus's older sister. I didn't even know he had a sister, or that she was also musical. It was fun to see a new story showcased in this way. It's still a work in progress but I hope it gets the resources and time to develop further. I really enjoyed it. I got all the feels with several of the songs. My body knows if the music is working way before my brain does!

Sunday 17 November - Club Life at the Omnibus Theatre in Clapham. Oh my, this was wonderful. It's the story of Fred Deakin (club DJ and one half of Lemon Jelly now a designer and academic) as told through the music he listened to and the clubs and parties he created between around 1980 and 2000. It's an immersive experience in that Fred somehow manages to recreate the atmosphere and vibe of each club through music, visuals and some story telling. The audience is encouraged from the get go to get up and dance during each club sequence. The 2.5 hours flew by and I found myself dancing throughout and came out absolutely buzzing. In experiencing Fred Deakin's story, I was also reliving some of my own story (we're a similar age) and was remembering my nights out at various parties, clubs and festivals. Here's a friend's review.

Monday 18 November - The Glorious French Revolution (or why it sometimes takes a guillotine to get anything done). A very clever, energetic and original piece of work to give us the potted history of The French Revolutions (spoiler alert, there was more than one). If you've ever watched or listened to Les Miserables, this play will give you the backstory in a very entertaining and thought-provoking way. I loved it and would recommend it. Yes, it's absurdist and maybe a tad experimental, but I think it works. You can read my review here. Playing until 14 December. Tickets available here at just £22.

Tuesday 19 November - Club Life at the Omnibus Theatre in Clapham. It was so good, I went twice and it was just as good the second time! 

Thursday 21 November - A Christmas Carol-ish at @SohoPlace Theatre. I was lucky enough to be invited to press night. This is Nick Mohammed's brainchild and is a transfer from 2023's version that ran at the Soho Theatre. Unfortunately, due to technical difficulties, we only got to see the first half (which was excellent, I might add). Unfortunately, I haven't been able to go again yet to see the full thing. The reviews from those who have seen it have been positive, such as this one. Booking until New Year's Eve. Tickets available here.

Friday 22 November - Wicked Part 1 - the movie at Vue Leicester Square. OK, so it's a movie not a live show, but I did go with a bunch of musical theatre enthusiasts who I've been hanging out with intermittently in a fabulous, but now defunct, musical theatre choir and piano bar karaoke night in Covent Garden. I'm not the biggest Wicked fan. I have seen the musical live, albeit 15 years ago. And yes it was fabulous. And this is a massive budget film so it's bound to be great, right? Well it is good, but I'm not sure it's mahoosive budget good. It's a fun movie and well worth seeing, even if you're not into musical theatre. Ariana Grande is excellent in it. I didn't know she could be so funny. Cynthia Erivo can really sing, but I didn't get that from the movie. The cinema was a bit chilly that night so it's possible I was distracted by not being wholly comfortable. I expected to get 'all the feels' but I didn't.  Maybe I need to see it again! Regardless, the songs 'Loathing' and 'Popular' have been constant earworms since so something's working with the film or its marketing! Here's a review of the film that I think is fair.

Sunday 24th November - Dirty Rotten Scoundrels at The London Palladium. OMG. This was absolutely fantastic! This semi-staged concert version, based on the movie of the same name, starred Ramin Karimloo (move over Jonathan Bailey, Ramin just took your place as No 1 in my hit parade!), Hadley Fraser, Janie Dee, Carly Mercedes Dyer, Rufus Hound and Lauren Drew. It was so funny and so brilliantly sung and acted. I couldn't have wished for anything better. I was even sat in the Grand Circle (which I don't often do because I like to see the detail), but even from there, the atmosphere was electric. I would love to see a fully-staged version of this. A weekend of this was not enough!

Monday 25th November - The Happiest Man on Earth at Southwark Playhouse. I've been lucky enough to see a couple of other plays recently that cover holocaust experiences, namely Rose (starring Maureen Lipman) at The Ambassador's Theatre and The White Factory at Marylebone Theatre. Both were incredibly moving. This one-man play in the studio theatre is right up there with its West End cousins. 

It's a quite fantastical tale of one Jewish man's experience before, during and after World War II. It's based on the autobiography of Eddie Jaku. It starts with Eddie finding out he's no longer welcome at school, soon followed by the deadly and infamous Kristallnacht and then a spell in Buchenwald, escape and spells in Auschwitz. Add in the physical abuse received from the Nazis, losing friends and family in the most appalling ways and a near-death experience due to cholera and typhoid; it's a miracle that Eddie survived at all, let alone live to 100 and share his story. Kenneth Tigar stars in what's described as a Tour de Force performance. And it really is. Kenneth is no spring chicken at 82 but is a seasoned and very talented actor. I found his performance tender yet gripping and funny yet moving. Booking now until 14 December. Highly recommended.

Tuesday 26th November - Flo & Joan, The One Man Musical at Soho Theatre. This is one of the funniest things I've seen all year! It's a repeat of their Edinburgh Fringe success transferred to The Soho Theatre for just a week. I got lucky with a last minute ticket. Flo & Joan are extremely talented writers, musicians and comedians. Although on stage, they are not the stars of the show. The star of this one-man musical about the main man of musicals is Andrew Lloyd Webber as played by George Fouracres. He plays him as pompous, posh and pugnacious and is an absolute delight. The musical numbers draw on familiar themes from ALW's most famous musicals. The low budget aspect of the piece just adds to the hilarity. We also hear about ALW's, um, various wives and how and when they got together, his relationship with Tim Rice as well as some of the rumours and stories about him. It's terrific fun, musically very clever and very tongue in cheek. I loved it! It was even better sharing the evening with fellow musical theatre enthusiasts to be able to laugh at some of the more obscure references together. There's a much better review than mine here. The show is returning to London at Underbelly Boulevard Soho 16 Jan to 2 March with tickets from £20 available here. 

Thursday 28 November - The Simple Life & Death at The Pleasance Theatre. My first visit to The Pleasance Theatre, but definitely not my last. This was a fun parody of Paris Hilton and Nicole Richie's The Simple Life. ShayShay plays Paris and Fizz Sinclair plays everyone else. Things quickly turn for the worse when the pair reunite for the 20th Anniversary Special Edition of the show. They have invited guests ready to interview but just as they're about to go live, there's a murder. Can Paris solve the mystery? Are the celebrity guests to blame? It's very silly, very funny and very camp. Sinclair's impressions are spot on and they both have the noughties vibe down to a T. Recommended for a light-hearted, fun night out in a super venue with a great bar and a great atmosphere. Booking now until 7 December.

Saturday 30 November - Alice in Wonderland at Brixton House Theatre. This one was nearer home and another really lovely venue. This is a retelling of Alice in Wonderland, set in modern day Brixton where Alice and her Mum are having a row during a tube journey. The tube train becomes the rabbit hole and we follow Alice on her journey through Wonderland - in this case, a never-ending tube ride - and we meet some of the other travellers on the same train. The play loosely follows the book and we see versions of the White Rabbit, Mad Hatter (Chatter), Cheshire Cat (a virtual entity), Mock Turtle (now a tortoise) and the Dormouse (a rat in our tale) and of course, the wicked Queen. It's quite a complicated story but the children in the audience the night I went all seemed to be really into it and engaged with what was going on. If you're looking for something a bit different, this might just fit the bill. The small cast worked really well together to carry off the range of characters they played as well as the increasingly frenetic tube ride that they're on. The sound effects were of particular note and they were very effective. There were enough puns and London references to keep the grown ups happy too and the rap style music was a fresh addition to the proceedings. This is definitely a play rather than a panto, although there is a little bit of audience participation in the second half. Recommended. Booking now until 4 January 2025.

The Glorious French Revolution (or: Why Sometimes it Takes a Guillotine to Get Anything Done) - a review

If history lessons had been more like this when I was growing up, I might just have paid a bit more attention to history that was older than The Great War. And I’m ashamed to say that even though I know Les Mis pretty well, can happily sing One More Day at the top of my lungs at my favourite piano bar in Soho, and was taught French from the age of 6 by my French next door neighbour, Mimi, and even my first boyfriend was a young Parisian (and oh so French), I know almost nothing about that period of history. I guess famine, death, a spendthrift king and queen, and a reign of terror don’t make for the best conversation.

If you’re expecting a BBC or ITV style period drama, this isn’t it. If you like your histories more Horrible than History Channel, but definitely for grown-ups, this one is for you. It is an experimental piece with more than a nod to absurdist theatre, but the cast of 5 know what they’re doing, and you’re in safe hands. Their high energy and absolute commitment to all the roles they play (and there are a lot and they interchange with each other seamlessly) coupled with innovative use of the small stage, interesting, if (deliberately) makeshift, props, great sound effects and lighting make for a  90-minute rollercoaster journey of the who, what, how and why of the French Revolutions (spoiler, there wasn’t just one). 

This production, brought to the stage by YESYESNONO was bonkers, fast-paced and fun, yet hard-hitting and thought-provoking. If you’re looking for something a bit different in an intimate setting, then you will enjoy this show. It’s not perfect; the last section didn’t quite land for me as well as it might (I had to read up on that bit of it), but, overall, the piece is brilliantly inventive, and it’ll give you something to tell your friends about afterwards and certainly something to ponder on your way home. Was it theatre, performance art or something else entirely? And why don't we know more about this history from our nearest neighbours. And if you've ever seen Les Mis on the stage or screen, then you really need to fill in the gaps in your knowledge with this play.

Tickets are a bargain £22. (See, theatre doesn't need to cost you an arm and a leg, even in Central London). Playing until 14 December at the New Diorama (near Warren St tube). There’s also a charming cafe bar there. Tickets are available now from the New Diorama website.

[Tickets gifted to me with no expectation of a review.]

National Kindness Day 2024 is today!

I was reminded about his in my Facebook memories and, I'll be completely honest, it was not on my radar at all until it cropped up in my memories. And that's a shame as the campaign is rather lovely.

Kindness is a simple act and can be something very small but even small acts of kindness can have a great impact on both the giver and receiver. However, these small acts of kindness can be forgotten easily when we're tied up in day to life and its associated busyness. It's also fair to say it's sometimes hard to remember to be kind when faced with unkind behaviour. Remember the saying 'Behaviour breeds behaviour'.

If you need some ideas for how to be more kind today, you'll find them on the official website. The organisation is also running a kindness survey which you can find here.

In the face of autocracy, cost of living crisis, economic uncertainties, climate change and more, let's remember to spread a little more kindness every day. The small things do make a difference.

So long, farewell, auf wiedersehen, adieu to Ada Lovelace Day Live

Ada Lovelace Day, 9 October 2018, at the IET.

Photography by Tracy Howl, sponsored by Clarivate. Via Paul Clarke on Flickr.

I've just read the news that the long-running Ada Lovelace Day and campaign is closing its doors. Founder, Suw Charman-Anderson explains the demise in a blog post over on Facebook. I hadn't realised how much DEI work in STEM in particular had closed. Alas, this is a sign of the times. I am sad that the term 'DEI - diversity, equality, inclusion' is now toxic. It's time to reframe it so we can do the same work without the baggage that some associate with the term. Just because large corporates are dismantling their DEI efforts, it doesn't mean the work is over.

As for STEM (science, technology, engineering, mathematics), yes it's important. But it's even better if you add the A for Art to make STEAM. I'd rather be steaming ahead than a wilting stem. Maybe that's a personal bias given my passion for the arts as well as technology. I'd like to think it's more about having well-rounded people creating and managing systems, processes and software that humans can actually use. There is an art to most science, no?

And as for events, it's a tough time. Without question, live business events have not recovered fully post-pandemic. There is a whole generation of workers who started their work life in 'work-from-home' mode and never experienced the benefits of learning by osmosis by being with the right people in the room. And more so, they have not had the same exposure to live knowledge and networking events early enough in their careers.

Don't get me wrong, working remotely can be great and I have routinely worked this way for 20 years. Most of that time, however, I was also going to networking events, probably at least two a month. And at times, it was probably two a week in the early noughties. Networking in person was crucial for me to build my network and to learn from others - not just from speakers or panellists, but the other people in attendance.

It feels like everything has become more transactional - I do this for you and you do this for me in return. Unfortunately, real life and work are not like that. The returns you get for spending time developing relationships in business and/or spending time learning may take many years to reap rewards. Those who view networking as purely transactional are missing the point. It's not who you know, it's who knows you. It's about building your personal brand. It's about learning from others. It's about developing your communication skills.

So yes, I'm sad that Ada Lovelace Day is the latest to close its doors, but I can't say I'm surprised. I also think it's important to recognise that knowing when to quit is also a great skill and a huge challenge - more so when your work is mission-led.

I hope we'll see a future iteration of ALD and wish Suw Charman-Anderson every success in whatever comes next.

Sustainability, fashion retail and the economy

The clothing mountain in Chile's Atacama Desert was visible from space. Image by SKYFI via BBC
BBC article: https://www.bbc.co.uk/news/business-66985595
Skyfi article: https://skyfi.com/en/blog/skyfis-confirms-massive-clothes-pile-in-chile

Buying and wearing second-hand clothing is on the up

It's currently increasingly popular to buy goods second-hand, especially clothes. I'm a fan. I've been buying second-hand since I was a teenager, and growing up, I got my cousin's hand-me-downs so wearing gently-used clothing is not a new thing for me. It seems others are catching up with me as suggested by this FT article. 

Can it be profitable?

It's all much more accessible now, of course, with the rise of eBay, DePop, Vinted, Thrift+, Vestiaire Collective et al. That said, the price per garment that one can achieve on most of these platforms is next to nothing. In fact, the postage cost is often more than the garment cost. The effort to put something on sale is often more trouble than it's worth. And the economics bears that out with most of these platforms finding it very hard to turn a profit. 

So. Much. Stuff.

A quick glance at any of these platforms goes to show just how much perfectly good and usable clothing there is out there. And how much dross there is - I'm looking at you, Shein and Temu. And that's the tip of the iceberg. I'm afraid I am guilty of having way too many clothes that could easily last me more than one lifetime. Yes, I need a good clearout, but it also shows how much oversupply there is. I know I am not alone in having too much stuff. And that's just the second-hand clothes sector.

If you look at the new stock availability, it is endless. I recently visited London's Petticoat Lane on a Sunday. There are over a thousand stalls there selling new stock - a lot of it is overstock from High Street and online fashion stores and their suppliers. The amount of stuff available made me feel physically sick. Some of it was relatively high end and being sold for £5 or £10. And this is *overstock*, i.e. surplus to requirements.

And this just leads to waste, mountains of it, since so many clothes end up in landfills, as highlighted in this BBC article and this article by Skyfi.

Shops are everywhere

That brings me to the High Street, both virtual and physical. It's a global shopping mall where you can buy everything and anything - a lot of it very cheaply. There are shops everywhere you look selling you something. There are clothes to be bought everywhere and extended opening hours in many shops meaning fewer staff are working at any one time because they're spread so thinly - the same number (or less) of staff spread over longer hours. (And they wonder why shoplifting is on the increase; well, staffing levels are one of the reasons.) As a former fashion retail manager in the early 1990s, this is something I've been watching evolve over the last 3 decades.

It's the economy, stupid

The retail sector employs a lot of people and the money earned from those jobs pays rent and mortgages, transport, food, holidays, entertainment, utilities and more. It's a hugely important part of our economy. According to Statista approximately 3.5million people work in the retail sector in the UK and information from a recent House of Commons Library research briefing paper states that the economic output of the retail industry was £112.9billion in 2023, accounting for 4.9% of the UK's total output. That's a lot and if it reduces, we have to work out how to manage the shortfall in the economy and what to do with the people who have lost their jobs. It's a not insignificant task.

I get that retailer margins can be very slim. I get that they're in an extremely competitive market, and they need to have enough of the right stock in the right place at the right time. Seriously though, how can it be a positive to be creating so much stuff that will never be bought or used and will just end up in landfill or on some container ship on its way to a poor country and leaving them to deal with the mess. And what about the energy wasted on making stuff no-one is going to buy? Or the time spent thinking up new fast fashion items that nobody wants or needs when that brain power could be going to something more useful and less greedy on our natural resources?

External pressures can force change

The external pressures are changing. The word sustainability crops up all the time. What do we do with the mountains of rubbish we're creating? How do we stop succumbing to fast fashion (which creates stuff that is not attractive to the second-hand market)? And what happens when consumers really do change their attitudes and stop buying nearly so much at all - new or second-hand? There's a lot of talk about reviving our High Streets, but when many of us actively buy less and/or switch to second-hand goods, what happens to our High Streets, and, in turn, the economy?

There are things I really love about the physical retail sector. It's a buzz to be selling to a customer and finding the exact right outfit for them for a special occasion. It's fun to get to know your regular customers and have conversations with new people every day. I love the bright lights and buzz of Oxford Street. And as a consumer, I love wearing new (to me) clothes and putting outfits together. in creative ways. But at what cost? The cumulative effect of my own consumption, multiplied by the millions of other women and men like me is terrifying. Inadvertently, our behaviour has led to this massive oversupply of stuff.

Are we at a tipping point for change? 

Answers on a postcard please..

Meanwhile, you might be interested in taking part in Second Hand September if you're in the UK. 

You are what you eat

This phrase, 'You Are What You Eat', keeps coming back to me. I've been thinking about its wider meaning for more than 20 years when mobile and internet advertising started taking off.

The internet tells me that the phrase is thought to have originated in 1826 by Jean Anthelme Brillat-Savarin. He wrote, 'Tell me what you eat and I will tell you what you are'. A similar phrase appeared around 1863 when Ludwig Andreas von Feuerbach wrote, 'man is what he eats'.

Most read these phrases as relating to the fact that the food one eats affects one's state of mind and health. This is a hot topic right now, and I know from my own experiments with the Zoe way of eating that one of the main changes I see when I stick to the principles is a noticeable improvement in my overall mood. 

For me the phrase goes deeper. I would argue 'man is what he consumes'. By consumes, I mean the people, the words, the images, the inane videos, the links clicked, the posters read, the media presented to you by algorithms, as well as the media you actively choose. It's also the people you surround yourself with and the things you choose to do with your time. It's your education - both what you received at school and self-education. The drama that does or doesn't surround you will also have an impact - sometimes you can't help consuming or absorbing what happens around you.

One could also argue 'garbage in, garbage out'.

So, in light of the riots in the UK, fuelled by misinformation and fear, let's take a moment to consider that we are what we consume and to watch what else we consume, by choice or not. 

And the photos are up from Swedish Beers in Barcelona!

 A big thank you to Erika Arias for the fabulous photos once more. You're all looking gorgeous in them. You'll also find some of the pix over on our instagram. [Update] They were on Facebook until our page there got hacked and disappeared. Sigh.

Until the next time. Skal!

Yes, we're heading back to Barcelona for Swedish Beers! Join me on Wednesday 28 February.

Yes, it's that time of year mobile friends. The GSMA is expecting about 90,000 of us to descent on Barcelona at the end of the month for our annual shindig celebrating all things mobile technology. And thanks to you lovely lot making last year's reunion sooooo good, we are coming back to Barcelona one more time. If you are an executive working in or with the mobile industry please do RSVP. Feel free to share with your friends and colleagues too.

We're back at Space Cowboy as they looked after us so well last year. We'll be open from 7pm until late. No admission after 01:00. We will revert to a pay bar if/when the beer tokens run out. Photo ID (eg. your MWC pass) may be required. We reserve the right to refuse admission. 

The format will be the same as previous years - a relaxed evening, no formalities, no presentations. Please come with an open mind, be prepared to see friends old and new, chat, enjoy a drink or three (courtesy of our sponsors) and have yourself a good time. Oh, and leave the ties, the corporate personas and the sales spiel at the door! There's no need for them here. The Swedish Beers crew and the friendliest bar staff in town will be on hand to welcome you.

If you'd like to support the party by being a sponsor, please get in touch with Helen. The more sponsors, the more beer tokens. Last-minute supporter level options are available allowing you to have your own beer tokens to distribute on the night.

See you in Barcelona.

Skål

Helen and Team Swedish Beers

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Like us on Facebook http://facebook.com/swedishbeers

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See our blog for parties past http://swedishbeers.org/

Please note, RSVP'ing here or on Facebook DOES NOT GUARANTEE YOU ENTRY! We managed to get everyone in who wanted to come last year so don't be put off! The queue does move quite quickly. All are welcome to attend if you are working in and around the mobile industry and enjoy a good chat. You may be asked for ID on entry. There might be a queue which usually goes down pretty quickly - Spanish licencing law requires us to keep to a specific capacity. We reserve the right to refuse entry. Beer tokens valid while bar tab lasts. No admission after 01:00.

Odd One Out - the Google Arts & Culture Experiment

"Any sufficiently advanced technology is indistinguishable from magic." That's one of Clark's three laws, and "Odd One Out" is proving it according to George Nimeh.

Odd One Out is an interactive game asking you to spot the AI generated image amongst four images presented to you, the other three being images of artworks created wholly by human artists.I have no background in visual art at all, but I did manage to go a few rounds without being out and scored 219. It's not easy though. Instinctively, I could spot some of the AI fakes, but they were not all obvious at all.

Of course, humans have also created the AI images. Prompts have to be written and the image chosen to be presented in the game. The software behind the image generators was created and written by humans. This makes me question where the line is drawn between human art and AI assisted art. It's blurred. And of course, this game or experiment has been created by Caroline Buttet and Emmanuel Durgoni who are both Artists in Residence at Google Arts and Culture Lab. Does that also make the experiment 'art'?

Anyway, I'm interested in what you think of it and how you score. You can find it here: https://artsandculture.google.com/experiment/odd-one-out/wAHNn4JsVTFOiw?hl=en

National Theatre to trial 6.30pm start times

I think this is a great idea. The National Theatre is trialling an earlier start time for selected performances - initially on Tuesdays and Thursdays. I'm all for it as it means you either get home earlier or can catch the train home if you live further afield, or there's time to go for dinner afterwards. It also allows the cast, stage management and front-of-house teams to get home a bit earlier. Seems like a win-win to me.

I love everything the National Theatre does - I don't think there's a play I've seen there that I didn't like, and some have been downright fantastic and have well-deserved their transfers to the West End and national tours. Admittedly, I'm biased. I was at youth theatre with Rufus Norris back in the 1980s and I feel immense joy knowing what he has achieved in his time at the National Theatre - he completes his tenure in 2025. I'm particularly looking forward to seeing a new play, Nye, early next year starring Michael Sheen which is about Nye Bevin and the birth of what is now the NHS.

A top tip for getting cheaper tickets to plays at the National - every Friday at 1pm, they release a limited number of tickets for shows the following week for just £10. It's called Friday Rush. More info here and set yourself a reminder in your calendar.

More about the trial of early show times over at WhatsOnStage.

Green Man could stay on for longer at pedestrian crossings in England

I'm pleased to see that the length of time given for someone to cross a road at pedestrian crossings in the UK is to be increased. I walk pretty fast most of the time but even I have difficulty completing crossing the road in time in certain places. When my Mum was alive and aging, she had no chance of crossing the road in the time allotted and we had to hope that drivers would be kind and let us pass. That did mean she restricted where she went on her own and the routes she took in order to reduce the number of main roads she needed to cross.

However, there seems to me to be a flaw in the equation. Research shows that the more densely populated a place is, the quicker they tend to walk. Therefore the average walking speed in Worcester will be different from the walking speed in London. Not only that, but some places will have a higher proportion of people in their vicinity who are less mobile due to age or illness. I hope, therefore, that there will be local nuance in the decisions made.

It may seem like very trivial news to some, but it has the potential to make our streets more accessible to those who walk the most.

https://www.bbc.co.uk/news/uk-politics-66292145

AI and the Frontier Paradox

This thought leadership piece by Konstantine Buhler at Sequoia is well worth a read. I remember a conversation over a decade ago about AI with futurist, David Wood and he told me at the time that the dot on Google Maps showing us where we were was a type of AI. We don't call it that any longer - it just works on our phone and the technology is invisible - as many of the best technology tools are. I can certainly see how it will become quite commonplace to use tools like Bard or ChatGPT and not think anything of it. It will just be part of our routine use of phones, laptops and smart speakers.

I'm now beginning to see the rise of many of these tools as, perhaps, more like the switch from DOS to Windows - a much more intuitive interface with which to do what you need to do to get your tasks done. Or the switch from using laptops to phones which gave access to the internet and digital capabilities to many millions more people across the world. 

And yet, what is coming feels like it's so much more than that and more far-reaching in terms of giving anyone the ability to engage with digital tools using talking or text chat. That feels revolutionary to me rather than evolutionary. Or is it way over-hyped and it will all calm down again in a few months? After all, this AI thing has been in the human imagination for more than a century with the first place about 'robots' being written in 1921. And it has been in development for more than 70 years. We are now living in the future that scientists were imagining back in the 1950s and 1960s.

https://www.sequoiacap.com/article/ai-paradox-perspective/

A 1976 Herzog prompt and thoughts on AI and ChatGPT

Following a post from friend, Tom Hume, I gave ChatGPT (the free version) a prompt from Werner Herzog.  He wrote this in 1976 in relation to working on his film, Heart of Glass. Tom pointed out that perhaps Herzog had invented the 'prompt'. 

As such, I thought it would be fun to try it out and see what came out. I've adapted the last line if the prompt to say 'write' rather than 'read aloud'. The full transcript is at the bottom of this blog post.

I don't know if the AI has had this prompt before, and if so, how many times, nor if it gives a different result each time. I haven't played with it enough yet to understand it's current capability. But as synthetic writing goes, it really isn't bad at all, albeit a bit flowery and clichéd. I'm sure there will be literary critics and avid readers who can pick further faults with it. But for most of us, it reads pretty well. 

What is interesting about this experiment is that although this is a natural language conversation, the AI doesn't understand it as such. It didn't get that I just wanted it to write me the poem that the monk had written. But instead wrote a piece of prose further elaborating what I had already written. I needed to ask an additional question to get the poem.

For the ordinary person to get the most of this technology, we're going to have to learn how to talk to a computer, how to give crystal clear instructions. The conversation style we might have with each other won't cut it. Most people's communication skills are lacking - communication is a two way street. You may be very eloquent but the person you're communicating with may not receive the message as intended. Not only that, we have so many additional layers of communication to add to the message beyond the words alone - tone of voice, body language, context, life experience, setting and more. Natural language is just one aspect of how we communicate.

I am fascinated by generative AI and what humans can achieve with it. It has taken decades for it to be where we are now and what feels like an overnight success. This is just the beginning though, and whether we like it or not, this thing isn't going away.

Here is the transcript of my conversation.

Me (quoting Herzog)

"You're the first one for centuries who has set foot on a foreign island. It's overgrown with jungle and full of strange birds. You come across a gigantic cliff, and on closer inspection discover the rock is actually green emerald. Hundreds of years ago a monk took a chisel and hammer and engraved a poem into the wall. You open your eyes and are the first one to see it. Please write what you see." 

ChatGPT 

"As I cautiously approached the gigantic cliff, my senses were immediately engulfed by the lush jungle that surrounded me. The air was heavy with humidity, the scent of damp earth and vibrant vegetation wafting through my nostrils. Strange birds of vivid hues flitted among the trees, their melodic calls echoing through the dense foliage. It was a surreal, untouched paradise.

With each step closer to the cliff, my eyes widened in awe. Towering before me was a majestic wall, its surface glimmering with an ethereal green radiance. The emerald sheen was mesmerizing, as if the very essence of nature had crystallized into this magnificent rock.

I reached out and traced the surface of the emerald with trembling fingers, marveling at the cool, smooth texture beneath my touch. The rock was firm and unyielding, a testament to the passage of time and the strength of nature.

As I studied the emerald more closely, my eyes discerned intricate engravings etched into its surface. The chisel and hammer had left their marks, crafting a poem that had stood the test of centuries. I stood back, allowing my gaze to absorb the delicate curves and flowing lines that composed the verse.

In ancient, weathered characters, the poem unfolded before me, a lyrical tale of wisdom and enlightenment. The words seemed to breathe with life, their meaning transcending the barriers of time. The poem spoke of nature's beauty, of the cycles of life and death, and the interconnectedness of all things.

As I read each line, a profound sense of gratitude and reverence washed over me. I was the first in centuries, perhaps even millenniums, to witness this testament to human artistry and the island's enigmatic allure. The enormity of the moment settled upon my shoulders, filling me with a deep sense of responsibility to preserve and honor this sacred place.

I took a step back, allowing the emerald cliff to reclaim its mystery, its green brilliance blending seamlessly with the surrounding foliage. The island had chosen to share its secret with me, inviting me into its realm of natural wonder and hidden treasures. With a heart filled with wonder and respect, I turned to leave, carrying the memory of the engraved poem forever etched in my mind."

Me (realising the AI hadn't quite understood my request)

"What was the poem exactly?"

ChatGPT

"As an AI language model, I can certainly create a poem for you based on the scenario you've described. Here's an example of a poem that captures the essence of the scene:

In emerald cliff's embrace, I find,

A poet's legacy, long confined.

A verdant canvas, nature's muse,

Whispers of wisdom, ancient and fused.

Amidst the jungle's vibrant bloom,

Where birds of hues paint the gloom,

The chisel's dance, a monk's endeavor,

Engraved in stone, this tale to treasure.

"Behold, the cycles of life's sweet breath,

Where birth and death dance till the end.

From earth's embrace, springs life anew,

As nature weaves its eternal debut.

Through verdant vines and towering trees,

A symphony of unity on nature's keys.

Each leaf, each creature, in harmony dwell,

Bound by a thread, weaved oh so well.

Embrace the mysteries, the depths untold,

The secrets this island, ages old.

For in this emerald sanctuary we find,

A timeless truth, to all humankind.

Oh, wanderer, cherish this sacred land,

Protect its wonders with gentle hand.

Let the echoes of this poem resound,

And may reverence for nature forever be found."

With the poem etched into the emerald cliff, it stands as a testament to the island's beauty, the wisdom of the ancient monk, and the interconnectedness of all living things."

Addendum.

I asked ChatGPT to critique its poem. This is where it really feels like it understands. It doesn't though. It's a computer that knows how to process 0s and 1s, albeit in a very sophisticated way.

Note that it doesn't answer the question 'what is bad about it?' Rather it talks about what could be improved. I'm guessing that's deliberate in the algorithm so it doesn't come across as too negative.

Transcript

Me:

'Can you critique this poem? What is good about it? What is bad about it?'

ChatGPT

Certainly! Here's a critique of the poem:

What is good about it:

Imagery: The poem uses vivid descriptions and sensory details to paint a picture of the lush jungle, the emerald cliff, and the vibrant birds. This helps create a vivid and immersive scene for the reader.

Flow and Rhythm: The poem maintains a consistent flow and rhythm, creating a melodic quality that is pleasing to read and listen to. It flows smoothly from one line to the next, maintaining a cohesive structure.

Theme and Meaning: The poem explores themes of nature's beauty, the cycles of life and death, and the interconnectedness of all things. It reflects a sense of wonder, reverence, and respect for the natural world, which is conveyed effectively.

What can be improved:

Originality: While the poem captures the essence of the scenario, it relies on familiar tropes and imagery associated with nature and its wonders. Adding unique or unexpected elements could enhance its originality and make it stand out.

Poetic Devices: While the poem is structurally sound, it could benefit from incorporating more varied poetic devices such as metaphors, similes, or symbolism to deepen its impact and evoke stronger emotions.

Specificity: The poem could include more specific details to enhance the reader's connection to the scene. Adding specific descriptions of the birds, the foliage, or the engravings on the emerald cliff could make the imagery more vivid and engaging.

Overall, the poem creates a pleasant and evocative atmosphere, but adding more originality, poetic devices, and specific details could enhance its depth and make it even more captivating.

Swedish Beers Barcelona #15 - The Reunion Edition

Yes, that's right, we're back! Fighting fit and raring to go.

Despite having had to take an enforced break due to the pandemic and family responsibilities, and despite thinking I was done with the whole mobile networking event thing, and despite not deciding to go to Barcelona until a week ago, here I am, hosting another Swedish Beers party!

I'm both thrilled to bits and a little bit scared at the same time as I'm a bit out of practice. But with the outpouring of Swedish Beers love from so many people and amazingly supportive sponsors and friends, I'm delighted to tell you that we're back one more time. It's shaping up to be a good night. 

I'll tell you more about our sponsors and venue over on the Swedish Beers blog, but in the meantime, here's the registration form for Swedish Beers so you can get it in your diaries and share with your friends and colleagues.

As usual, we'll be expecting a down-to-earth crowd of mobile execs from all areas of the industry keen to chew the fat about all things mobile over a drink or three. I'm especially looking forward to hearing from our sponsors, World Mobile, about how they're connecting the last mile of connectivity using blockchain and from 51 Degrees about what nifty things they can do these days with device detection.

You do need to register to come and we reserve the right to ask for ID on the door. And if it's busy, there may be a short wait to get in. Please be patient with us if that happens. We will do our best to get everyone in.

We'll be open from 19:00h until late. Last entry is at 01:00. Food will be available to buy on the night.

Skal and see you there!