This year, Raindance Film Festival celebrates 21 years of independent film. But on the last day of the festival, Sunday October 6th, Raindance took it one step further by celebrating art film as well. To be more specific, Rainance took part in 25 frames – a programme of screenings and events celebrating 25 years of Film and Video Umbrella, when they screened a selection of the work of artist Dryden Goodwin.

Dryden Goodwin took the stage as he presented some of his most notable works, including the two short films “Closer” and “Poise”, both of which are commissioned by Film and Video Umbrella.

“Closer” is a exciting art film that explores the encounters we have with strangers in public places, which Goodwin puts on the edge through pointing a laser pen at these people. When presenting the film, Goodwin explained that he got the idea for it on a night he was walking in the streets of London, and suddenly realised that someone was pointing a red laser pen directly at him. This experience of a stranger deliberately pointing him out, without him knowing anything about who this person was or even what he looked like, gave him the idea to investigate it through film. The result is both fascinating and thought-provoking.

From focusing on complete strangers, Goodwin takes his art in another direction with the short film “Poise” in which he centres his attention on a group of young female divers. The film is extremely detail oriented and by shooting it in extreme close ups, Goodwin presents a different and much more intimate side of this otherwise fairly known discipline.

For a sneak peak of Dryden Goodwin’s short film, “Closer” from 2001, click here. And to watch the trailer for “Poise”, Goodwin’s 2012 short film, click here.


Film Festivals are all about celebrating film, and about looking into the future by screening upcoming films and welcoming new filmmakers. However, before we let ourselves get carried away by all the film debuts and UK premieres that are taking place at this years Raindance Film Festival, let’s turn back time about 60 years and focus on a very fascinating movement: the Beat generation.

This year’s Raindance Film Festival celebrates the Beat movement through three events that feature the work of acclaimed Beat generation film director Robert Frank. These events carry title “Robert Frank Retrospective”, and the first took place yesterday on September 29th. So why has Raindance chosen to focus their attention on Robert Frank and the Beat generation? Well, the answer is simple, and is best described by the introduction of the yesterday’s event: “Let’s face it, this particular generation of filmmakers are cool, and Raindance is cool”.

“Robert Frank Retrospective – Programme 1” featured three very different short films that all show exactly why Robert Frank is considered one of the most influential figures in photography and film. The first film was “Pull My Daisy” from 1959 that is an exclusive look into the soul of the Beat generation. It’s written and narrated by Jack Kerouac and features other important members of the Beat generations inner circle, such as Allen Ginsberg and Gregory Corso. The second film on the programme was “OK end here” from 1963, a beautiful short film that tells the story of a day in the life of two disconnected lovers from New York City. The last film was the experimental and non-edited documentary “One Hour” from 1990 that takes the viewer on a trip through New York City’s lower East Side.

Robert Frank Retrospective – Programme 2 takes place today, September the 30th and Programme 3 will take place on Wednesday October 2nd. Robert Frank Retrospective – Programme 2 features the three short films “This song for Jack”, “Energy & how to get it” and “Conversations in Vermont”, while Programme 3 is a screening of Frank’s first feature length film “Me and my brother”. For more information visit


Yesterday on September 25th, the curtains rose for the 21st annual Raindance Film Festival. Running from September 25th to October 6th, the film festival offers 12 days of independent film, each day with an absolutely packed programme that offers something for every taste. It all started off with yesterday’s opening gala that featured a screening of the highly controversial documentary “How to make money selling drugs”.

The founder of Raindance, Elliot Grove, took the stage as he presented the opening film, as well as the festival in general. Grove, who initiated the festival 21 years ago, spoke of how much time has changed since the first festival, creating completely different circumstances. 21 years ago when the first ever Raindance Film Festival took place, everything was screened on 35mm film and the advertising strategy was limited to printed ads in Time Out. Time has changed, and now everything is digital. Not only does Raindance welcome these changes, they also approach them by asking the question, “are these changes for the better?” Through a number of seminars and panel discussions, Raindance try to get to the bottom of it.

And now to what it is all about, film. And not just any kind of film, independent film. With the opening screening of “How to make money selling drugs”, Raindance proves that this year’s festival is not to be missed. The film is a ‘how-to’ guide, setting up ten steps on how to make money by selling drugs. Featuring celebrities such as 50 Cent, Susan Sarandon, Woody Harrelson and a number of extremely charismatic former drug dealers, this film is most enjoyable, hilarious and very thought provoking. Do not get me wrong, “How to make money selling drugs” is not just an entertaining film on how to make it in the drug industry, it has a very serious purpose. In the most sarcastic way imaginable, this film criticise the US’ war on drugs and its many consequences.

For more information on the films shown at this years Raindance Film Festival or to get a look at the exciting programme, visit


Comestics by Bobby Brown


Conceptual Stylist:  CUBA CHARLES

Make up Artist: NORA BELOVAI


With thanks to TESTBED 1

Lets talk about Bobbi. Bobbi who? Bobbi Brown, of course. Now I am still familiarising myself with that brand. Established by an American business woman, Bobbi Brown, the brand has quickly conquered the cosmetics market and now slowly conquering my make-up stand.

Id like to talk about few products that are certainly worth your attention and your money. To start with Ill tell you about Bobbi Brown Brightening Brick. I have only started using illuminating powers not so long ago, and for those of you who want that glowing complexion it is a perfect tool. Different brands produce their powers using either more or less of bright shimmering details in their texture. Which means that some illuminating powers should be worn during the day time, others are more suitable for evening time. When it comes to Bobbi Browns illuminating power I would definitely put it under evening make-up, it has quite enough of sparking details in its formula. It creates a lit-from-within glow plus a hint of pretty pink. If you do insist to wear it day time, you can wear it as a blush. This will certainly make your face more bright and playful. And for an evening time, cover all your face lightly with the power and it will create an absolutely beautiful glowing effect.

Next is Bobbi Brown eye shadows from their Navy & Nude Eye Collection. For those of you who prefer that natural look and still want to accent their eyes for day or night time this palette is a must have. This latest palette is packed with eight skin tone-inspired shadows, including sparkle, shimmer and metallic shade – plus the perfect hue of inky blue (that doubles as an eyeliner). These combination of colours allows to look sophisticated at work and be a glamorous yet natural beauty at the evening time. If you keep it in your purse youll be able to easily transform you day look into a night one.

As every make-up finishes with putting on a lipstick or lip gloss – here are some options that Bobbi Brown offers to you. First, a brand new Sheer Lip Color lipstick. It has a lightweight formula for lips that delivers an effortless wash of colour plus nourishing shine. It has luxurious butters and oils in its formula that improve the overall condition of lips. Glides on smoothly and evenly, and, believe me, your lips will have that smoothness and softness to them that you (and yours somebody) wont be able to get enough of. It comes in creamy and shimmery shades, so youll have plenty of choices.

And one more treat for your lips is Bobbi Browns Lip Gloss. The product itself is not new, but the new shades are now available and the brand has has sized up all their glosses to give you an extra dose of shine. Great thing about this lip gloss is formulated with soothing botanical extracts – including Avocado, Jojoba and Chamomile Oils, and Aloe Extract – to keep lips soft and supple. This has been my number one lip gloss for a few month now and I highly recommend it. Plus, it has a gorgeous scent with a hint of Vanilla.

So go ahead, pick and grab your “Bobby” and enjoy it as long as it lasts.


Comestics by Bobby Brown


With thanks to TESTBED 1


The basement clubs of Dalston are ablaze with essential small clubnights right now: quality bookings and residents, late hours with tiny entrance fees. In the thick of this is underground house night Thunder. As they warm up for May’s party with Patrice Scott, resident Miles Simpson talks us through what makes him tick and hands us an exclusive ROUGH Mix. 

Who or what are your influences?

I guess there are loads of them. I’m a nerdy fan of the history of DJing and I like to think I’m always learning, taking a little bit of inspiration from everyone good I hear, be that pure technique, how a set is knitted together or the injection a bit of raw drama. But my biggest influences were probably two friends, Ipen and Dave Otzen, Danny Rampling and Tony Humphries.

Ipen and Dave are old school friends, who got into DJing in the 1980s through hip hop, entering DMC and stuff like that. They were and probably still are the most technically gifted DJs I’ve ever met, with that natural flair that you can’t learn. I’ve collected records since I was a kid but the idea of playing them to other people came from them. Ipen still plays down in Brighton, where he lives, but Dave has packed it in, and is now Brad Pitt’s dresser!

When I graduated from acid house raves to Soho clubs in the early 90s, Danny Rampling was the DJ I drew most inspiration from. People talk about there being less genre pigeon-holing back then but that’s mainly crap – DJs were generally associated with particular niche genres. Rampling really did play from a broad palette, happily chucking New Jersey garage in with Belgium techno and Spanish acid, with Chicago house and Balearic pop chucked in for good measure.  It rubbed off a lot and led to my mish-mash nature of record collection, which is definitely more mongrel rather then purist.

Through Rampling I first heard Tony Humphries play and he really turned me onto US house, which previously I had associated with the like of CJ Macintosh, i.e. slickly produced and dull. Humphries had a rougher style that struck a chime with me and really injected energy into his sets with his mixing. I still feel that’s important – music is important but mixing should add something to what you’re doing, even if it’s not so neat and technically perfect. I won’t name names but some of the smoothest beat mixers are also the dullest – give me Humphries chucking records he bought that day together and then working them hard on his Kiss Mastermix show everytime. He’s my all time favourite DJ, for sure.

More recently, people like Neville Watson, Dan Beaumont, Legendary Children and the other two thirds of Thunder, Rick Hopkins and Joe Apted, keep my enthusiasm levels up with their energy and appetite for house music in all its forms. That is probably inspiration rather than influence though.

Best DJ gig

One of the more memorable was Bam Bam in Birmingham – partly because it could have been the worst. I traveled up one bank holiday weekend with Bill Brewster, Jolyon Green and Toby Tobias and big bunch of various mates, so the pressure was on to be fairly decent. I was on before Bill in what was really the first ‘peak time’ slot, so an expectant crowd waited. Bam Bam had a bit of reputation for slo-mo house (Mark E played there quite a bit), so I planned to take it down in a slo-mo style to start with, a plan I stuck with.

Suffice to say the Bank Holiday party crowd weren’t up for the slo-mo shuffle and buggered off en mass next door to the pub to listen some bloke playing disco re-edits, leaving me with a handful of dancers. But the people that stayed were into it – one almost having a fit because I played a DJ Rush at 33rpm, making it sound fairly demented – and slowly it built back up, record by record, dancer by dancer, until 45 minutes in, it was packed, people hollering and screaming, dancing on top of things, Sylvester records causing mayhem, and the transformation was complete.

I like to think that the early part of that set was a palette cleansing exercise but in reality I almost emptied the venue… something I’m sure my mates wouldn’t have let me forget if I hadn’t have turned it round.

And worst

I quite enjoy most places I DJ, so I’d nominate the time I played Disco Bloodbath not because it was a bad gig – it wasn’t, it was fantastic – but because of my, err, unprofessional approach. It was another Bank Holiday, I’d been to the Notting Hill Carnival and then played at a post-Carnival party in Kensal Rise before heading over to Hoxton for Bloodbath. By the time I got there it had been a long day and I was, to coin a phrase, ‘tired and emotional’. Dan welcomed me, showed me round the larger than I expected venue and it was bloody packed with people dancing. He then suggested that I DJ straight away. I was unsure. When I got into the booth I was even more unsure because I was struggling to see the mixer properly and as you can imagine, the DJing that followed was less than perfect. All was not lost though – I sobered up as my set wore on, people were into the music and eventually played for about an hour longer then scheduled. Lesson learned though – being a lightweight and DJing dont mix, literally.

What are you currently listening to?

Old house, new house, in-between house. I’ve got quite a few records and I like to ensure that there’s a good range of ears in every set. Nothing worse than a well worn classics set but equally, someone who’s just gone into Phonica and bought 20 ‘on trend’ records off the wall then cobbled them together is pretty boring too. I guess depth and authenticity is what you’re after from a DJ set, so I’m constantly listening records to makes sure I play stuff that isn’t obvious, that I didnt play the last time they heard me and that will make people dance. I’m also playing Semtek’s UKG influenced night, Special Request, soon, so I’ve been digging through loads of proto-UKG records – Mentalintrum, Zach Toms, Todd Terry, Marc Kinchen, Booker T, Ricky Morrison and that sort of thing. I know Todd Edwards is missing from the list – but I can’t bear his stuff. Actually, don’t tell Semtek that.

Describe a typical night at Thunder.

A proper party! I know that’s pretty clichéd but that’s what it is. A bunch of mates, many of whom we’ve met since we started, cool Dalston club kids, older heads, and maybe a few random stragglers, like the bloke in the blazer and his girlfriend who came by chance, stayed all night and we ended up leaving on the dancefloor of a Caribbean drinking den at 7am the next morning. We’ll make sure the music is spot on –  we’ve been booking DJs like Sven Weisemann and Patrice Scott, who you simply would not expect to hear play in a venue the size of ours, supported by the three residents, then we stick it all in a East London basement, shake it up and see what happens. It does tend to get a bit messy and guess if you don’t like that, dancing or staying up till the following day, it probably isn’t for you. Luckily lots of people do like it.

Dream guest?

Tony Humphries. But we’d need a time machine because the 2012 Tony Humphries doesn’t float my boat at all. That rawness, that energy, that edge he had is gone. I want the Tony Humphries who was at the epicentre of New York house explosion, the Zanzibar resident, the Mastermix king, the man who broke records for every producer in the Big Apple, the man with the hottest tunes, the sweetest skills – the DJ Tony was 20 years ago.

The time machine is still work in progress though, so until that’s sorted, DJ Nature, which is the recording alias of the now New York based DJ formerly known as Milo from the Wild Bunch. He’s taken that Humphries style and progressed it to where I think it should be right now – German techy house mixed with vocals mixed with stuff like Portable, chopped up disco breaks and World Unknown releases. He’s absolutely brilliant. Actually, I need to talk to Joe and Rick and sort that dream out…

Listen to ROUGH Mix 001:  Miles Simpson-Mixx For Someone A Little Faster below.


A.P.C. have collaborated with designer Vanessa Seward on a 19-piece capsule collection for Autumn/Winter 2012.

Meeting through a mutual admiration for each other’s designs, A.P.C. designer Jean Touitou and Vanessa Sewards collaboration seems like a case natural progression.

As  with A.P.C. the fabrics are key to this collection; retaining the spirit of each designer Jean and Vanessa sourced fabric from the archive holders of what used to be Soieries Abraham, the clean lines of A.P.C .mixed with Vanessas love of glamour and dressing. Vanessas style gives the A.P.C. look much more femininity, a sexier edge without the use of tailoring, the waist for example is always belted and higher while the shoulder remains narrower and dainty, “quiet glamour” as A.P.C like to call it.

Fabrics used in the collection are of the highest-quality while remaining true to A.P.C.s philosophy and awareness of the fashion societys economy at this time; finished garments have been produced in artisan units in Italy and France.

Items include tops, tunic dresses, blouse dresses and an all in one short playsuit.


NOTIC NASTIC are a Berlin based band with a very unique sound and a strong message.  The sound is a mixture of gritty electro pop with a strong beat and passionate lyrical content.  Their message is one of unity, of freedom of speech and thought.

Berlin fashion week 2013 saw NOTIC NASTIC join forces by performing live on the runway with uber cool vegan brand UMASAN, to create a powerful visual and lyrical message.

ROUGH was lucky enough to get an exclusive interview with NOTIC NASTIC on the collaboration.

How did you end up collaborating with UMASAN?

We heard about UMASAN through a friend of ours who is also vegan. We went over to their studio to visit them and see what they were up to and it was like a love at first sight.

What was the best thing about working with them?

We have a similar vision about style and we have a similar mission about living on the planet and how to do it respectfully.  Its easy for us to understand each other.

UMASAN is always thinking of sustainability and earth consciousness when choosing fabrics.  Is this important to you?

Yeah, that is very important to us.  As artists we knew that we wanted to put our energies into working with other artists or companies in order to further an idea; the idea that you can live with respect and awareness. One of the first ways to do this is to purchase differently. Money is so powerful; buying with awareness is actually a kind of revolution in its self, because it has the power to make massive changes if it catches on to the masses.

ROUGH knows NOTIC NASTIC are also a strong supporter of animal rights – did this help to influence your decision to work with the brand?

Yeah, it’s all part of the same package. As vegans, we do not strictly work with other vegans – that would be pretty limiting! However, it becomes very complete and whole when we can work with a label like UMASAN, because we share the same values from the ground up.

Hypnokiss is a great runway track!  What was the inspiration behind it?       

It reminds me of travelling through the desert and ghosts.

Fashion and Music are a great mix – do you want to work with other brands in the future?

As long as they represent what we represent ethically and stylistically.

Did you enjoy Berlin Fashion Week?

Yes, it can be a little wild and we are all a bit shy in a way, but it is fun to get dressed up and we like to go to the shows and suck in the atmosphere.  We usually only go when we are working at a show, cause we love our work!

Do you find that your style and your music influence one another?

They are probably one and the same.  We are very stylish people in a way but we dont try too hard for trends or anything. Mainly we are born artists and so it just comes out.  Does that sound funny? I think its just how it is.

Whats next for NOTIC NASTIC?

We think that we’ll see your faces more and more.  And that you will see ours.

NOTIC NASTIC’s featured song at the UMASAN show; HYPNOKISS is available for free download now:


Watching films directed by Arthur Woodcroft transports an individual into a world which we can say only Arthur could create his style is very distinctive yet so simple in its process .we are please to show an exclusive film made by ARTHUR called SCARF  ROUGH haven the pleasure  speaken with this talent who is a force to be reconde with .

What can people expect to see from your work

Id like to think something different. Something that makes people pause and reflect. Theres a lot of amazing film work going on out there right now so I need to stand out from the crowd.

At what age or time In your life did directing cross from a hobby to something more serious

Its been an ambition since I started my career as a photographer. Only until recently has there been such a change in the technology that has made directing a realistic goal.

What and when was your first action of pursuing a directing Career

Once I started playing with early Phantom cameras that was it for me. I totally fell in love with seeing objects and effects moving in super slow motion.I began testing with a company who could supply the latest high speed gear and we took it from there.

How would you define the actual role that a director is supposed to fill

Without wanting to sound cheesy I guess you have to be the eye of the storm. Its an incredibly difficult role to both control the running of the shoot and the crew plus keeping true to the artistic intention. It probably gets a little easier as time goes on and Ive been very lucky to have had some great help and guidance so far.

Would you say you have a signature directing style and creative worK process

I think every creative does. Everyone has different references and ways of understanding. Its just a matter of having the courage to stick the course with a particular style.Finding that style is the really hard part. Especially taking into account the cost of running a shoot.

Relatively how hard is it to ` make it ` in the directing world , and what skills help this

I think its becoming harder and easier at the same time. Its so much more accessible now but this gives way to much greater competition.You have to be able to communicate withe a great variety of people; sometimes simultaneously.Having a clear vision is the key however. Being able to be flexible without compromising your vision only helps further.

What projects have you got coming up right now

That would be telling!

What would you say is your greatest accomplishment as a director

Working with my production company to create treatments for some big clients was a real challenge but felt great presenting to the clients.And being interviewed by ROUGH magazine!

What is the best advice you could give someone new to filmmaking

Dont get scared of the technology and if you have a good idea just go for it!


Rustic, relaxed and quaint –  three little words you wouldn’t usually associate with Soho but nestled amongst the neon lights of Old Compton Street lies Italian restaurant Tuscanic.

 Upon entering, the understated restaurant exudes a welcoming ambience. Pale yellow walls, wooden seating, tiled flooring and ornate pots and pans decorate the space, instantly transporting you to a Tuscan kitchen – an important feature Managing Director Simone Crepaldi and social media editor Simone Palermo wanted to emphasise with the decor “We wanted to bring traditional Tuscan cuisine and wines to London in 2012. Everything from the utensils, to the light and smell, reflect the typical Tuscany environment.”

 The elegant, concise menu includes a variety of Tuscan focaccia breads, charcuterie, cocktails, beer and fine wines.

 We started the rounds with ‘I Panini’ cured meats, warm and fluffy focaccia breads and ‘I Crostini’ toasted sliced breads garnished with baked tomatoes and cheeses. The real winner were the zinging flavours and texture of the toasted breads and richness of the meats. “Our selection of meats and breads are all fresh, no additives. We have exclusivity of the focaccia bread from a particular bakery, therefore the only ones that can serve it” M.D Simone tells us; we knew there was something distinct about these starters!

 Though hesitant on the “daring” raw beef tartare choice, Simone had confirmed it was perfectly safe to eat and also happened to be one of their most popular dishes “The beef tartare is made from very good quality beef – Chianina, with no fat. We get it directly from Tuscany with a certificate of excellence”. Reassurance done, devouring commenced! The taste was pleasant with an interesting meaty, doughy texture, normalised by the conventional burger buns, mustard, rocket and tomato fillings and the crispy roasted potatoes. Definitely one for all burger addicts looking for an alternative fix!

 Dessert was the gluten free “Pistocchi” chocolate cake and homemade ricotta cheesecake. The cheesecake didn’t really leave a lasting impression but the chocolate cake confirmed its award winning status.

 After enjoying some of the cuisine, It was clear that Tuscanic wasn’t one to be pigeonholed as just ‘another Italian restaurant’ “Our quality of traditional original food, the passion behind it, to the competitive prices differentiates us from all other restaurants, not just Italian. We also have products for purchase such as our sauces, jellies etc. from only £7.”

Mounted beautifully on open shelves around the restaurant, are an assortment of condiments on full display, should diners want to take a bit of the restaurant home with them.  Though from Italy, the Tuscan cuisine is very different from the usual Italian cuisine, something social media editor Simone is able to relay via the restaurant’s strong social media presence. “It’s important to talk to clients to invite them to the restaurant. Many people can’t differentiate between the usual Italian and Tuscan cuisine and there’s a huge difference.”

 With the success of their only store, could we see another Tuscanicrestaurant opening? A franchise even? “We’re focusing on London by October and will hopefully expand as much as we can, whilst keeping the essence of the brand” M.D Simone tells us. For all the drinks aficionados, it looks like the restaurant will also be extending their ever growing wine list “We’re looking to include some wines from neighbors around Tuscany and around italy. Of course we will always look for quality”.

 So why should our readers visit Tuscanic? Apart from it being a favourite of actor Stanley Tucci (Devil Wears Prada, Hunger Games)Tuscanic is a charming, affordable eatery with impressive customer service. The perfect spot for those looking for an unconventional cuisine that pays homage to its rich traditional culinary culture.

 Be sure to catch their Happy Hour –  where you can buy any alcoholic drink you get free foods* all year around! (see website for more details)

 Price – Approx. £30-£40 per person for starters, drinks, mains and desert.