News via http://www.psp-ita.com/?module=news&...6&view_reply=1

New revision available, 1397, for Jpcsp, the emulator PSP for PC developed in Java. I remember that in order to use the program, which allows you to run some homebrew like those already in the archive, you need to install Java on your PC.
Following the full changelog and the link to download.

Changelog:

Quote:

Rev 1397: Better support for multiple instances in __sceSasInit
Rev 1396: Little bug with the refactoring

Further information: http://code.google.com/feeds/p/jpcsp/svnchanges/basic
Attached Files Jpcsp v0.5 rev1397.zip (8.06 MB)

News via http://www.nintendomax.com/portal.php

Smealum we propose a new version of "Yeti Xmass (formerly Yetinoel), with a Yeti demo of an FPS that uses the same engine" Dawnseeker.

Hop, little update 3 months later!
New version of the demo with this time of the GFX lobo and some improvements to the engine. If you've already played the version of December it may not bother to test this, although I think it is better overall, it remains the same map and it is still too limited. Wink I think I have made the game a little too easy tale m'enfin. I also decided to submit the demo to the competition drunken coders whose deadline was yesterday, although I have not seen too much hope that the demo is fairly generic and very short.
In short, here are some screenshots (24bits bitmap, because I really hate people who do not have broadband), and a download link.

News via http://www.nintendomax.com/portal.php

Smealum we propose a new version of "Yeti Xmass (formerly Yetinoel), with a Yeti demo of an FPS that uses the same engine" Dawnseeker.

Hop, little update 3 months later!
New version of the demo with this time of the GFX lobo and some improvements to the engine. If you've already played the version of December it may not bother to test this, although I think it is better overall, it remains the same map and it is still too limited. Wink I think I have made the game a little too easy tale m'enfin. I also decided to submit the demo to the competition drunken coders whose deadline was yesterday, although I have not seen too much hope that the demo is fairly generic and very short.
In short, here are some screenshots (24bits bitmap, because I really hate people who do not have broadband), and a download link.
Attached Files YetiXmass.rar (1.98 MB)

I'd like to do something new with our weekly trailer roundup. Simply put, it's now a sort of contest. Not for you, but rather for the marketers attempting to get us into theaters for their product. After the jump I've listed ten trailers in order of best to worst, three of them embedded for your viewing pleasure. After that is a poll for you to vote on your own favorite, so we can see how my judgment compares to you readers. First prize is nothing more than an utmost interest in the film that's best advertised. And maybe as a result also a great box office return. Last place is a message that something's wrong, nobody's going to see this movie and it's time to go back to the drawing board.

This week's definite winner is the trailer for Predators, not because the movie looks awesome (though it does), but because the spot introduces us perfectly to the premise and gets us excited for something that could have very well come off as a cheap cash-grabbing sequel. I almost missed the fact that this installment is set on the Predators' home planet, but it doesn't matter. I'm sure later trailers will expose more (maybe too much). All we needed was some bad-ass looking humans (Danny Trejo, Laurence Fishburne -- even Adrian Brody seems pretty tough), lots of action involving a variety of weaponry and of course a very minimal showcasing of the alien hunters. I'm far more excited about this movie now than I was prior to viewing the trailer.

Second place goes to the unnecessary but still excellent fourth trailer for Kick-Ass, continuing the sell that this is the must-see movie of the season. Some are telling me they're confused by the film's marketing, that it looks too much like a kids' movie. Maybe, as my girlfriend says, there should be more emphasis in these green band trailers and TV spots that say this cute superhero movie is not for kids. Regardless, everybody from my baby niece to my grandmother seems excited about this one. My niece will just have to wait a little longer to see it than the rest of us.

Filed under: Trailer Trash, Movie Marketing, Trailers and Clips

Continue reading Trailer Park: 'Predators' Kicks You Know What's Ass

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Filed under: Car Buying, Convertible, Minivan/Van, Sedan, SUV, Truck, Etc., Cadillac, Chevrolet, Chrysler, Dodge, GM, GMC, Mazda, Mercury, Mitsubishi, Pontiac, Saab

Eight vehicles you can still buy new - Click above for high-res image gallery
Was your heart crushed when vehicles like the Mercury Sable, Pontiac Grand Prix or Dodge Durango got the axe? Well, fear not - these hot little numbers (and many more!) are still available from dealerships all across the country.

Automobile magazine has detailed a list of eight cars that are still on sale - brand new - even though they aren't 2010 models. And while these vehicles don't necessarily represent the sexiest cars currently sitting on dealer lots, it's probably safe to assume that they're all being offered with substantial incentive packages, not to mention full warranties (we hope).

Click through the gallery below to see high-res shots of all eight rides, and head over to Automobile to read the full details.

Gallery: Eight Vehicles You Can Still Buy New

[Source: Automobile]

Eight vehicles you can still buy new... seriously originally appeared on Autoblog on Sat, 20 Mar 2010 20:01:00 EST. Please see our terms for use of feeds.

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Newly released for Wiz

Hello there:

I'm back, and now i got the first revision of "the amazing adventures of Echo".

As you know, Echo is a little boy who loves action films, and he likes to go out dressing like a super-hero, always followed by his dog.
But this time, Echo sees his dreams come true: I put him in his own action adventure series. So he must face the dangers of a haunted castle, with tons of enemies, ghosts and dragons, and repel the future alien invasion in a post-apocalyptic city, where humans fight with his machines.

So you must fight, you must jump, you must find... and you must shot.

CHANGELOG
==========

In this version, I solved some bugs an added some interesting stuff:
-Kill all remaining enemies process in event 3.1.
-Grab items zone made wider.
-Can use pause menu even if Echo is freeze.
-Solved a random crash in event 1-1.
-Put a door at the end of first screen to avoid pass to next without getting Blue Star.
-Put a wall on the start of 3rd screen of first level, and second level, to avoid Echo falls for try to return to previous level.
-Add savegame.
-Add arrows on start menu to indicate that it is a menu.
-The dragon body moves when you hit it a lot.
-Shortening the life of the bosses, by popular demand.
-When big cannon is destroyed, it follows the screen until dissapear.
-Added name and mail to main screen.
-Get sword sounds.

http://www.gp32x.com/board/index.php...dpost&p=829769
Attached Files The amazing adventures of Echo v1[1].1.rar (16.32 MB)

This year's Emerald City Con was... an extraordinary experience.

Truthfully, I'm still trying to get my head wrapped around some of it. Doing our Artist's Alley table as a fundraiser for the Cartooning Class was very much a last-minute, spur-of-the-moment decision, we weren't organized about it at all... and I was very moved, and a little awed, at how well the kids came through. Not just the current students but many of our grads, as well.

The experience could be summed up in this exchange between our friend Lorinda and myself. At one point, I shook my head and muttered, "This is so amazing... I mean, teaching, it's like putting a note in a bottle and throwing it in the ocean, you never really know how it's going to work out."

Rin replied, "Well, you sure had a lot of bottles come back this weekend."

We took a lot of pictures and I think I'll just run those for you and talk a little bit about each one.

*

This is what it looked like before we opened.

And another.

This is the last time we would experience quiet until Sunday evening. LATE Sunday evening. My ears are still ringing a little.

Outside, the crowd was milling around panting to get in.

Clearly, convention security was going to be overtaxed so the stormtroopers thought they'd assist with crowd control.

And then we were off....

This may give you a little bit of an idea of the swarms that descended once the doors were open. Saturday, in particular, was Hell Day.

Fortunately, we had a great crew. I honestly don't know how Julie and I ever used to do this by ourselves. It takes a teenage metabolism to keep up with the Saturday hordes at a convention.

In the rear we have Rachel, Aja, and that's Katrina under the mop, with our friend Rin in the front. Rachel decided to be Rogue again this year, as you can see. Katrina wanted to dress up too but couldn't decide on an outfit (she'd brought a couple.) This is the one she started with, a character of her own named Connor, but Connor only lasted till noon or so.

Once again this year, we won the lottery by having awesome neighbors. One one side we had Jeffrey Ellis and the crew from Cloudscape Comics, a small-press artists-collective outfit based in Vancouver, British Columbia.

I bought their anthology book EXPLODED VIEW partly to say thanks for putting up with us but it turns out that I really like it.

It looks a lot like a grown-up version of what we do in class, actually -- every member of the group contributes a few pages' worth of work and then there's bios in the back. Same basic format, just with real production values. A lot of good stuff in here.

On the other side we had Two Percent Solution.

They do a raunchy humor self-published book and a podcast as well.

I'm so embarrassed I can't remember their names -- I know I introduced myself at some point, but I couldn't really hear them very well. The echo chamber in the hall, once the crowds were in, made it nearly impossible to converse on Saturday. But they were great, swore up and down they loved being next to us and claimed we brought them a lot of extra traffic. They were especially hilarious about pretending to almost-swear in front of the kids but they never actually did.

Since we were doing a for-real fundraiser, and thus actually accepting money, our setup changed a little this year.

The idea was that we had students on the left, alumni on the right. As people would approach, the kids would offer them a giveaway book, and if they stopped, then they'd volunteer to sign it.

Ben, Marie, and Eileen, working hard.

Then Katie or myself would explain about the budget shortfall and collecting for donations, and add that anything over $10 got you a custom sketch from an alum. More often than not, they'd at least stop and admire the sample sketches we had up, and put a couple of bucks in the box.

Here's a customer getting The Spiel. Marie, especially, was really good at explaining to people what we were doing.

Many did in fact commission sketches.

Once we were set up it went fairly smoothly despite being a bit cramped, up against the wall as we were.

That's me and my boss, Katie. For the last seven years I've exhorted my various supervisors at school to come to the convention and really see how hard the kids work, but this was the first time anyone took me up on it. It really was a lot of fun having Katie there as she knew nothing about comics, conventions, or geek culture in general. But she adapted quickly. Watching her take in the experience was a lot of fun, and by the end of her day there she was a complete convert. At one point Katie was even speculating on the possibility of doing this kind of thing more often and wondering what other shows there were that we could attend as a class. The Stumptown Festival in Portland, especially, was a possibility we talked about quite a bit. (Katie was also interested in hearing about WonderCon and APE, but I told her, "Baby steps. I'm only just now getting to a place where I think I know how to get us to THIS show.")

The alumni were kept very busy sketching all day both days.

Fortunately they love to draw but my GOD they worked hard. I wish I'd gotten more shots of their work, it was of an extraordinarily high level, especially the high school kids. I was so proud of all of them and the way they've all kept learning and growing as artists, years after leaving my charge.

I did get a few. Here's one of Aja's.

And this is one of Katrina's custom commissions. She asked the lady what she wanted and the woman said, "Well, I like octopuses." (Yes, I know it's octopi but that's what she said.)

For a second I thought Katrina was going to be stuck but then she blew out this caricature of the woman herself with an octopus on her head. Yeah, the kids are THAT good.

Some people were kind of crass about it. This mother, especially, was really annoying. First she wanted to know what she'd be getting for her ten dollars.

It takes a special kind of chutzpah to haggle with a sixteen-year-old volunteer over your CHARITABLE ACT.

Katrina rather helplessly pointed to the samples, but it developed that this woman wanted to see the actual sketch before she would pay for it.

And this woman wanted something special, too-- a caricature of her two boys... an action pose of the two of them in their martial arts class. Geez lady, demanding much?

Here's Katrina working on the commission -- I cropped her out, but cheapskate Mom is hovering just out of frame, watching like a hawk to make sure she gets her money's worth.

Katrina was amazingly diplomatic about it. I thought Rin was going to go ballistic on the woman and I had to squelch a few sharp remarks myself. She deserved some kind of smack.

The two boys with the final product. I think they were a little embarrassed over how their mother treated Katrina.

Fortunately, the finished product satisfied everyone and we got the ten bucks.

But most of our visitors were much nicer. You remember Rachel's shot of the X-Men at the beach?

Guess who got that one.

Yeah, that's Matt Fraction, proud new owner of Rachel's X-Men Beach Party. This may be my favorite photo from the show. Only in comics do moments like this happen: my former student Rachel, the world's most ardent fan of the X-Men, posing with Matt Fraction, current writer of the X-Men comic, who's just told her that her cartoon is brilliant, that he would love to do a scene of the team at the beach and that she's caught all their personalities perfectly.

Matt was great with all the kids. He signed autographs, talked with them about comics, and generally was awesome. Here he is signing an autograph for Emma.

It was only a couple of minutes out of his day but I know how hard it can be to get away from your table when you're working a show, and it really meant a lot to the students to have a pro take such an interest. Even my students, whose comics fandom usually begins and ends with manga, know who Iron Man and the X-Men are. They were thrilled that he stopped by.

Michael Alan Nelson also visited our table briefly.

The kids loved him too, though they had only the vaguest idea of who he was -- I explained he worked for Boom! Comics and I think many of them had the idea he worked on the Muppets or something, since that was always where the line was over there. I enjoyed getting to meet him at last -- I interviewed him here a while back, but it was via e-mail and we'd never met in person. I am a big fan of his Fall Of Cthulhu series, and I got Swordsmith Assassin at the show as well, since Chip Mosher sent us the first issue for review and I liked it quite a lot, I'd been meaning to pick it up for a while now... though I forgot to ask Mr. Nelson to sign it. Too busy chitchatting.

I was mostly at our table all weekend, but Julie got out some. There was no way she was missing Leonard Nimoy.

She was actually in panels for most of Saturday, she also went to see Wil Wheaton and Stan Lee. Of them all, I think Julie was the most impressed with Nimoy's, she said he was "inspiring."

As for me, well, I was enjoying my time at the table because it was turning into old home week. We had many visitors from past classes -- Amethyst, Jessica, Shane, Andrew, and Jay, among others. Some I hardly recognized because they're, you know, adults now. (The last time I saw Jay he was a scrawny little soft-spoken kid. Today he's in his twenties, six feet tall and ponytailed, very outgoing with an infectious laugh. And of course his voice is an octave lower.)

Some even volunteered to put in some time sketching for us, which melted me. Lindon popped up out of nowhere and immediately wanted to put in some table time. Of course I agreed.

A lot of the kids dressed up this year, too. Saturday Lindon was in street clothes, but Sunday she was Pikachu.

I took this one just because it made me laugh.

That's right, Pikachu supports Cartooning in schools!

This is Lindon and Devon. I shot this because when Lindon has her head down -- even today, she always draws with her nose to the paper like that, it can't be comfortable but she always has to get way down there -- anyway, it tickles me because it looks like Pikachu is sitting at the table.

Lots of parents volunteered time too.

That's Marie, Ben, and Eileen, under the watchful eye of Gus' mother Marilyn. She looks a little annoyed, not because of the three kids but because her own son has abandoned his post again.

I get three kinds of students -- the ones who want to write, the ones who want to draw, and the ones who just want to geek out and be surrounded by comics. Gus is one of the geeks. He will produce drawings if you lean on him, but for him the point of being at a con is to get cool stuff. All I ask of the kids is to put in a ninety-minute shift at our table on the day they attend, but Gus could hardly bring himself to even do that much, he'd brought money and it was burning a hole in his pocket. First it was Leonard Nimoy's autograph -- even if you brought your own item for him to sign it was still a wince-worthy forty dollars -- and then he negotiated an advance on his allowance to go buy some comics.

Marilyn has always been one of my favorite parents and her reaction to this was completely charming. She ordered Gus to stay at the table and do his job. Then she went off to go get her son's comics herself. Naturally, not being an expert, she consulted me.

"Randy's Readers," I told her. "He's your guy. He sells comics that aren't collectible, just in average shape... his market is people that don't really Collect with a capital C, but only want to read comics. If I ever get a chance to take a break I was thinking of stopping over there myself, to be honest."

Marilyn agreed that was the place to go and the girls were exhorting me to take some kind of a break, and Marie wanted to come too, so off we went.

Marilyn explained that Gus wanted war comics. "So violent," she said, ruefully.

Gus did the tank for the group poster. He's all about the war comics.

I laughed. "Well, I grew up on blood and thunder myself, it's not all that damaging really. The key is that there has to be a story, I try to make sure they aren't just doing a videogame shoot-'em-up. There's a fine old tradition of war comics that did great stories, Sgt. Rock, G.I. Combat, Unknown Soldier.... we'll find him some of the good stuff."

Marilyn perked up. "Yes, I know Gus liked that Unknown Soldier book you loaned him. I was going to try and find some of those."

I brought this to class to show the boys that even hardcore shoot-em-ups still had to have a STORY. For Gus it was love at first sight.

Mission defined, we now moved with a clear purpose. Once we were at Randy's booth Randy himself stepped in and was very helpful, explaining to Marilyn that there was the Unknown Soldier series from Star-Spangled War Storiesand then there were the ones in his own book.

"What's the difference?" Marilyn wanted to know.

"Later ones are probably cheaper," I told her, smiling. "But I don't think Gus will care that much, he'd enjoy any of them."

As for me, in showing the various war series to Marilyn I stumbled across this one and decided I couldn't pass it up for six bucks.

Sorry, Gus, I got this one.

Our Army At War #269, a reprint of stories featuring work by Joe Kubert, George Evans, John Severin, Russ Heath, and even Mort Drucker (!) I could spend hours just looking at the pictures in this one.

I also fell for a couple of Superboy Giant reprint collections from my childhood that I'd been trying to replace for a while. Mostly these days I'm a trade paperback guy, but nostalgia can still get me.

Marie said curiously, "I know who Superman is, but I never heard of Superboy."

"It's like Smallville, only he actually wears the costume," I heard myself say, and suddenly felt a hundred years old as i realized there's probably two generations of schoolkids now who know Smallville as 'their' Superman the way I think of Bates-Maggin-Swan Bronze-Age Superman as 'mine.'

When we got back I told Gus he had the coolest mother ever. "At your age I'd have killed for a mom who said, 'you finish your work, I'll go make sure you get your comics.' That's unheard of."

Gus blushed, grinned sheepishly, and gave his mother a hug. Marilyn beamed and said, "I have my moments."

There wasn't time for me to do a whole lot of shopping -- there never is -- but Rin found a dealer who had a big box full of graphic novels and trades for $5 and I fell for a couple of those, too.

Empire is one of those late 1970s Byron Preiss productions where he was deliberately trying to move comics into a bookstore market -- about twenty-five years too soon, it turned out, but he produced some handsome books when he was trying. This one was an original piece by Samuel Delany and Howard Chaykin, hoping to scoop up some of that newly-minted SF audience that Star Wars created back then. I'd never actually read it and I've always been curious about it. Holliday I've never heard of, but I'm always up for a Western comic, and for a $5 trade paperback it's hard to go wrong.

Most of our shopping, though, we tried to do in Artist's Alley itself as much as possible. We like to support the creators. Julie picked up the new Muppet book from Boom! where Amy Mebberson was -- you should pardon the expression -- doing a BOOMing business.

Possibly the most popular artist at the show this year.

She was kept busy all weekend. A lovely lady, she was great with all the kids that came up to her and sketched Kermits and Animals and Miss Piggys till her hands were raw, most likely. I don't think a single kid went away empty-handed.

And I made it a point to pick up a bunch of stuff from Camilla d'Errico on Sunday morning. I was able to catch her a few minutes before the show opened, when it was actually possible to have a conversation.

Camilla's a favorite with my kids.

Camilla has been a great friend to my students for many years now... they don't remember her name but they all know the Awesome Manga Lady From Vancouver. I bought about $25 worth of stuff from her because A) I can use it in class and B) she deserves to be rich and I do what I can. She had a line all weekend but I did get to chat with her for a few minutes on Sunday morning. Largely on what became the typical Sunday conversation topic in Artist's Alley, "Great to see you, sorry I didn't come by earlier, we were stuck at the table.... My God! Wasn't yesterday hell? How many people did YOU get?" Everyone loved the increase in business but hated fighting through the crowds on Saturday.

Sunday afternoon I did get around a little bit. I got a couple of books signed from Kurt Busiek and Len Wein, and I had a flattering couple of minutes with Les McClaine, original artist on The Middleman. He saw my badge and said, "Hey, Greg Hatcher! I love your column!"

Seriously. I was shocked speechless. I spluttered and fumfuh'd and blushed like a schoolgirl, finally managing to choke out that I was a huge fan of his, that my students and I all adored The Middleman. This pleased him, and we agreed that it was a shame it didn't last but it was great to have something that cool exist at all.

And I got to say hi to Pete and Rebecca Woods, from Periscope Studios. We hadn't seen Rebecca in about six years, she hadn't come to ECCC in a while, so it was great to catch up. Rebecca immediately wanted to know how Brianna was doing, since when Bri was my student years ago she practically camped out at the Periscope Studios table, and Rebecca happily adopted her. I told her that Bri wanted desperately to come this year but she had finals up at Bellingham, she was in college up at Western. Then we had a mutual groan about how old we are getting.

Because Bri couldn't make it to the convention this year, we wanted to at least let her know she was missed.

When I got the idea to recruit additional Cartooning alumni to do charity sketches for our fundraiser, my first two thoughts were Brianna and Nadine. They're both in college now, and they've kept up with their comics work as well. They were pretty amazing in the seventh grade, and they've only gotten better.

Here's what Bri was doing when she was in my class...

...and here's a more current piece.

Sadly, Brianna had finals or she'd have been there with bells on, she assured us.

Nadine had finals too but she did make it down, which delighted me. She was probably the single most gifted student I've ever had. Her serial "Mermaid's Touch" still gets gasps of awe when the kids go through the old books.

In fact, when Katrina joined my class when she was in middle school, she was so inspired by Nadine's work that she took the same pen name, "KittyBell."

Harmonix and MTV Games has announced that a four pack of songs from American punk rockers X will headline next weeks Rock Band music Store update. It will also include three singles from British garage rockers Little

Any rodeo fans out there? Having been exposed to the culture a little during my trips to Vegas while the Professional Bull Riding circuit was in town. So I was curious to learn a bit more about it from Meredith Danluck who has made a documentary about it having its world premiere at this year's South by Southwest Film Festival,

Cinematical: The mythos of the cowboy is something suggested during the opening monologue. But what is the idea of the modern cowboy that all these guys are chasing that is either in sync or contradicts the Old West paradigm that we fall in love with as little boys?

MEREDITH: I think these guys arent necessarily "chasing" the idea of the cowboy, but rather are cowboys. Growing up outside of the ranching community, the mythology of the cowboy was propped up mainly by whatever Hollywood dictated; courtesy, pride, strength etc. These guys grew up with those values. I think, like with any archetype, there are evolutions of the characteristics that maybe on the surface seem contradictory. Winning a million dollars might not make sense with our idea of a cowboy, but once you strip away all the superficial layers, the core is the same.

Filed under: SXSW, Interviews

Continue reading SXSW Interview: 'The Ride' Director Meredith Danluck

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• LastHistory Graphically Visualizes your Last.fm History Through Time (Mac)
  Just when you thought you couldn't possibly need more statistics on your music listening habits, free Mac app LastHistory comes along and graphically analyzes your Last.fm logs, over time, while also integrating with other Mac apps like iPhoto and iCal.

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These classes are the ultimate workout! It's an 800 calorie burning, stress relieving, energizing, waist slimming, body toning, thigh tightening, heavy bag pounding, strength developing, body sculpting, fun and exciting total fitness program! Our Cardio Kickboxing classes teach you real Kickboxing and Muay Thai techniques and combos in a friendly, high energy and motivating environment. Every class is a little bit different but they all include combos, bag work, weight resistance, core strength and conditioning and of course cardio!

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www.mmakid.ca
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This afternoon I took a little time to work on some changes in Acire; my little graphical front-end to a library of Python Snippets. I wanted to share this work as I think it will continue to help Acire be a useful little tool.

Today I added a new feature that helps you tie online documentation with a snippet. So, if you take a look at this screenshot:

You can see that in the snippet information (which I have changed the layout on a little) there are now a couple of link buttons. If you click on one of the buttons it will load up the documentation in your web browser. This documentation is added to the snippet like this:

[SNIPPET_DOCS: http://www.website.com, http://www.anothersite.com]

Acire will then grab the title of those sites and display the buttons underneath the snippet. This is a great way of including a link to the manual page for a given feature, tutorial links or anything else with a snippet. This is just a first cut of the feature and I am sure there some bugs to irk out, so merge proposals are welcome.

In addition to this I added some additional fixes and features:

• Alphabetized Lists – the list of categories in Acire and the list of snippets in each category has now been alphabetized which makes navigating available snippets much easier.
• HIG improvements – thanks to Matthew Pirocchi fo contributing a branch for helping Acire to fit in with the GNOME HIG better. The changes are subtle but really sleek.
• Number of snippets – the number of snippets that are currently available are now shown on the status bar.
• Link to how to add snippets – Acire is nothing without python-snippets, so I added a link in the Help menu to this page which explains how people can contribute snippets.

The python-snippets project which provides the library of snippets that Acire uses has been seeing some wonderful contributions across a range of categories. Here is a quick screenie showing the range of categories that we have snippets in now:

So, I am planning on doing a little more bug-fixing and then rolling a 0.5 release of Acire.

Lunch-hour cosmetic surgery – 45-minute boob jabs, nonsurgical rhinoplasty – is booming in the UK. But nightmare stories are also on the rise. So are the treatments safe? We speak to doctors to find out, and take a front-row seat at a no-frills nose job

Cosmetic surgery is changing. One advancement is the use of twilight surgery, where they send you only half to sleep. Clinics are alive with dazed facelift patients, who keep their eyes open, frowning and smiling on demand, who come to after the sedation's worn off, their skin tight but bruised, able to remember nothing of the knife at all. There are other patients who trip in off the street for a half-hour boob job under local anaesthetic, and still more who book a session of Botox in their lunch-breaks. The current excitement, in plastics, is not in the perfection of a newly sculpted nose but in the speed at which patients can recover, and the market for these fast, temporary procedures is growing wildly.

The Knightsbridge Laser Clinic is one of many that has recently started promising lunch-hour transformations, offering laser lipolysis to eliminate fat, the G-spot injection to enhance sexual stimulation, Macrolane breast injections, nonsurgical rhinoplasty and Botox fillers to remove wrinkles. A block away from Harrods, I climb their carpeted stairs to the waiting room as the lunch-time rush subsides. Outside a light rain is falling, and the smell of a wet fur coat, woody and dead, hangs in the air of the clinic's small landing. Its owner brushes past me, straight into one of three white and well-lit offices. In a corner room, beside a sheeted bed, I soon take my seat, an audience of one at a 15-minute nose job.

The patient, a young, elegant woman with jewelled shoes, had rhinoplasty in Harley Street as a teenager but now wants it still straighter. Her first operation, which cost £8,000 and required a week in hospital, had left her with a smaller nose, she says, but slightly wonky nostrils. "You might not notice it," she says apologetically, "but I do."

The doctor, Salinda Johnson, a slight and surgically tweaked woman who studied cosmetic dermatology in Thailand, warns of the possible side-effects of today's procedure as she applies a numbing cream to the patient's face. "Soreness, redness, bruising," she chants, "which will settle down within two weeks and break down completely within a year." Johnson rereads the patient's notes and holds up a pink-nailed hand. "There is a problem – we can't do the procedure on a pregnant woman." Her nose glossy with anaesthetising cream, the patient exchanges hurried words with the doctor, and I look pointedly out of the window. An unwanted pregnancy. A sense that the risk is welcome. Minutes later, she is gone.

"Don't worry!" the doctor chirps. "We'll show you the procedure on our receptionist!" Diane has worked at the clinic for four months and, at 23, has already had Botox to fill in a frown line between her brows. Her nose is small and straight, but she has self-diagnosed – she feels there's a dent. She asks the doctor if she thinks rhinoplasty's necessary. "Nothing is necessary," Johnson says, applying the numbing cream. "So can you do my lips, too?" Diane asks, pouting. Johnson shows me the syringe, prefilled with a mixture of anaesthetic and Restylane filler, a hyaluronic acid. The needle is long, and she pushes it firmly into Diane's nose before using both hands to massage the filler into place. The air-conditioning system screams on, and dies just as quickly – the only sounds are Johnson's gloves, baggy on her tiny hands, squeaking.

I gather myself. Does it hurt, I ask Diane, who's breathing calmly, her fingers gently worrying the sleeve of her sweater. "No, I can't feel anything. I can just smell the rubber gloves." Were you interested in getting cosmetic surgery before coming to work here? "No!" she says, through the doctor's fingers, her nose changing shape, delicately, before my squinting eyes. "But I see so many people coming in at lunch time and leaving looking... fresher, and you can't even tell what they've had done. So I had laser hair removal, which feels like being slapped, and Botox, which was really nothing, and then I saw that you could make your lips look more defined with filler, so I've been pestering Salinda to do me."

Dr Johnson wipes around Diane's mouth with a small antiseptic cloth, and warns her that, on a pain scale, this will hurt a seven. She injects Restylane into the lips, and Diane's eyes flicker backwards. With her fingers, Johnson pushes the filler into a cupid's bow – the effect is that of a mother wiping chocolate smears off a child's mouth.

The Harley Medical Group, the UK's largest cosmetic surgery provider, published figures in January revealing the nonsurgical cosmetic surgery market (which includes the Macrolane boob jab, an injection that increases your bust size, and Restylane rhinoplasty, the injection that straightens your nose) saw continued growth in 2009, with dermal fillers and chemical peels driving the increase by 26% and 306% respectively. Last year also saw a continued rise in the number of male patients (up 5%), with "Boytox" (male Botox) and "Sweatox" (anti-sweat Botox) both contributing to the leap.

"Minimally invasive procedures rule today – and this is what consumers, and especially men, want most," says Wendy Lewis, independent cosmetic surgery consultant and author of Plastic Makes Perfect. "The benefits for consumers are: subtle improvements over time; nothing radical; less risky; definitely cheaper than big surgeries; no need for anaesthetic or going to hospital and catching MRSA; and no scars."

"There are many reasons why day surgery is becoming more and more popular," Dr Johnson tells me after Diane has floated back to her desk, swollen but smiling. "People who thought they didn't want to get surgery because they were not brave enough, or not rich enough, are interested in these temporary and non-expensive procedures – our nonsurgical rhinoplasty starts at £350. And it's so quick! The talking takes longer than the treatment. We have a lot of clients who work at Harrods and really do just pop in on their lunch breaks."

The market continues to swell, imperceptibly smoothing the faces of colleagues, relatives, local hairdressers. A study carried out for the Girl Guides last November found almost half of secondary school girls said they planned to have plastic surgery. "Girls and young women are telling us that they are finding it quite hard to accept their appearance, and it is starting at a much earlier age than we had previously thought," says Nicola Grinstead, a trustee of Girlguiding UK. "The survey shows girls as young as 11 are dissatisfied with how they look and are prepared to use surgery to make a change."

All the women I talk to in the clinic's waiting room flicking through OK! magazines agree that today Botox, and increasingly cosmetic surgery, really is "no big deal". They nod, eyes wide, and reel off names like a BBC3 news bulletin. Last year Kylie Minogue, Geri Halliwell, Jennifer Aniston and Courtney Cox all gave interviews about their Botox use, while a film critic compared Nicole Kidman's facial skin to melamine. This month Cheryl Cole was photographed walking through a London airport with lips like salted slugs, and reality star Heidi Montag, 23, underwent 10 procedures in one day and ended up looking just like lingerie model Caprice, who is 38.

In a culture that celebrates youth, the appeal of an injection that appears to shave a little time off your age is clear, especially for the famous and often-photographed. As the demand for surgery has grown, academics have increasingly discussed the democratisation of beauty. If everybody could, in the space of a lunch hour, become symmetrical and clear-skinned, would the power of prettiness be weakened? If we accept that we will be judged on our appearance, is the fact that we can control it almost liberating?

Two years ago, Observer beauty journalist Alice Hart-Davis was one of the first women in the country to try the Macrolane breast enhancement jab. "I had never seriously considered having a proper breast enhancement. I don't feel surgery is something to be undertaken lightly," she tells me. "But I've always wished there was something I could do to boost my bust just a bit that didn't involve surgery."

Macrolane, which arrived in the UK in 2008, is a gel filler which is injected into the breast with a long blunt needle. It increases the bust by one cup size, lasts a year and costs around £2,000. "The procedure was amazing," says Hart-Davis, "an instant result. I was beyond thrilled with it." Though clinics advertise boob jabs in their list of lunch-time treatments, and the injections are over in 10 minutes, she warns: "It's by no means a 'lunch-hour lift' type procedure; it doesn't take long, but I reacted strongly to the local anaesthetic: it didn't hurt, but I could hardly speak straight for the rest of the day. And your body and brain go into a kind of post-traumatic shock after any procedure like this. You need to take it quietly afterwards."

Three months after her injections, one breast deflated – she settled for stuffing her bra with a sock – and the other went rock hard. Her surgeon broke up the gel under anaesthetic, then injected more to balance her bra. A few weeks later, she felt a lump in her right breast. She panicked and returned to the doctor, who reassured her that it was nothing to worry about – just a lump of hardened gel. "That experience," she concludes, "alongside discovering that the research conducted on the product was not half as extensive as I'd been led to believe, and talking to several surgeons who strongly disapprove of the procedure, has put me off trying it again."

One such surgeon is Mr Charles Nduka, who runs the not-for-profit patient information website safercosmeticsurgery.co.uk. "There's so much misleading information being published about 'lunch-time' procedures," he says, "leading, at best, to unrealistic expectations and disappointment and, at worst, complications. Facial procedures such as Botox may leave localised swelling, redness and in some cases bruising, even in the best hands. This means that if you wanted to keep your treatment secret, lunch time may not be the best time.

"A major issue in the UK," he continues, "is that because fillers are classified as medical devices – the same as implants – rather than drugs, the regulations about who can administer them are among the most lax in the developed world. The recently introduced guidance from the Ihas [Independent Healthcare Advisory Services] is a mockery. It's a system of self-regulation which means that the very practitioners who should be regulated will not sign up. There have been more than 100 fillers introduced in the UK and in many cases they were withdrawn due to side-effects. Essentially the UK becomes a testing ground for new products."

So would he recommend traditional plastic surgery over the lunch-hour treatments? "Few people have social lives so hectic that they cannot give themselves the luxury of having a treatment in an unrushed fashion," Mr Nduka says, "without the anxiety that swelling might show."

Dr Mike Cummins, a GP and cosmetic surgeon who, after requests from patients, agreed to carry out group treatments at Botox parties, agrees that the "lunch-time" label can be misleading, but says that as doctors' experience of anaesthetics increases, "there continue to be more and more advantages to daycare procedures, both for the patient and the client. Laser-assisted liposuction is getting to the point where it's more than reasonable to do it under twilight sedation and cosmetic surgeons are all working to get the least trauma to tissue under local anaesthetic as possible."

In Jeanette Winterson's novel The Stone Gods, published in 2008 but set in a futuristic dystopia, people alter their genes to preserve their youth and get plastic surgery to amplify what's left. Only the protagonist, Billie, chooses to age naturally, wrinkling slowly among the smooth foreheads and perky breasts. Winterson worries about the normalisation of cosmetic surgery. "What really bothers me," she says, "is that women used to be made to believe that their minds were inadequate, but we were allowed our bodies. Now that we can't be told our minds aren't up to it, our bodies are paraded as defective. It is the same old control. It is not just an assault on women – it is a war on feminism."

She emails me later that day. "I find 'lunch-hour surgery' savage and cynical. An insecure woman is a woman who will pay to feel better about herself. Disguising insecurity and feelings of inadequacy as empowerment is part of the usual twisted message of consumer advertising, but where women are concerned the strategy asks us to fund our own oppression. We pay to feel better instead of asking why we are made to feel defective in the first place... We need to understand that what is happening to women now is part of a disturbing bigger picture and not just a question of: 'Does madam fancy a nose job?'"

How does Winterson see society progressing in this era of perfectibility? Does she predict new lows, new depths? "We'll all get fixed eventually. Parents will do it to their kids. It will become routine. The Stepford Wives world of the 1950s was made impossible by feminism. We are heading back that way by another route. Women made in the image of men."

After Diane's 15-minute nose job, I take a walk through Harrods' beauty hall. I feel a little drunk. I had gone into the clinic expecting gore, or at least tears, but I left shocked only at the dry eyes, lack of fuss, the ease, the speed and gentle effectiveness. The women in Harrods testing the perfumes are largely blondes, largely wrinkleless, and largely slim. I see three people who look like Caprice, but as reflected in varying fairground mirrors. I watch a mother pick out scented candles for her granddaughter's wedding reception, and admire her shiny still forehead as she quietly exclaims over jasmine perfumes. I'm suddenly aware, looking discreetly from face to face, of all the "work" done and all the work yet to be done. It is an awakening of sorts. A half-awakening, maybe, to an odd new twilight world.

QUICK FIXES The most popular nonsurgical procedures

MACROLANE: BOOB JAB Created by Q-Med, the Swedish company behind the wrinkle-filler Restylane, Macrolane was launched in Europe as a correctional filler for body indentations. It wasn't until it was used in Japan in 2004 that it took off as an alternative for breast implants – by January 2008, when it launched in the UK, about 30,000 Japanese women had had the boob jab. The procedure, which takes 45 minutes, involves a gel filler made of hyaluronic acid being pumped into the breast through a flexible knitting needle-sized canula. PRICES from £1,800

RESTYLANE: NOSE JOB Restylane, a water-based filler, is a synthetic reproduction of hyaluronic acid, a substance found in living organisms. Until recently its main use has been to plump lips and fill crow's feet, but the new procedure involves injecting the bridge of the nose to fill in dents, and the tip, so it appears perkier. Effects wear off within 18 months. PRICES from £350

BOTOX An injection of Botulinum toxin A (a diluted and purified form of the bacteria which causes botulism) softens and prevents frown lines. The jab, 22 years old this spring, changed the face of cosmetic surgery, with celebrities including Simon Cowell admitting to relying on it to look younger. Each year it is estimated to make its manufacturers around £800m from more than 60,000 injections. PRICES £230 to £390

JUVEDERM: LIP ENHANCEMENT A series of injections of Juvederm filler around the mouth can make the lips fuller and reshape ageing pouts. Juvederm contains hyaluronic acid which, by attracting water, plumps up the skin. Results last for up to a year. PRICES from £250 

• Women
• Plastic surgery
• Social trends
• Health

guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

· Liberal Democrat 'ready to be chancellor'
· Whitehall mandarins prepare for coalition

Vince Cable has held unprecedented and detailed talks with the top official at the Treasury about the Liberal Democrats' economic policies – and declared himself willing to serve as chancellor after the next election.

As Whitehall gears up for a possible hung parliament, Cable told the Observer that he had been questioned by Nicholas Macpherson, the Treasury's permanent secretary, about what the Lib Dems' demands would be in a coalition with Labour or the Tories.

Cable was unaware of such meetings having taken place with Lib Dem shadow chancellors before previous general elections. The talks were a sign that the Treasury was "taking seriously" the prospect of his party playing a leading role in economic policy in what could be the first hung parliament since 1974.

"He wanted to know what we attached priority to. He wanted to know what we felt strongly about," Cable said, adding that his ideas on tax and spending were well received. He didn't say to me: 'Yes, minister, but you can't do that'."

Cable, whose credibility has grown throughout the economic crisis, made clear that, if he was to be offered the chancellorship in a hung parliament, he would jump at the chance. He did not want to be "the most unpopular person in Britain" as public spending is slashed, he said, but added: "I wouldn't be in this business if I wasn't willing to take the responsibility if it was to come my way."

It comes as two more opinion polls point to a hung parliament. An ICM survey for the News of the World puts the Tories six points ahead on 38%, and research by YouGov for the Sunday Times suggested the party enjoyed a seven-point advantage.

David Cameron and his shadow cabinet have already held talks with senior Whitehall mandarins in preparation for a likely handover of power. But talks with a third party take place only where there is a serious prospect of it holding the balance of power.

Downing Street and the Treasury said Alistair Darling would present a "budget for growth" on Wednesday, portraying Labour as the party to nurse the economy back to health, with investment in jobs and industry, and warning that the Conservatives would jeopardise that with premature spending cuts.

The chancellor has little room for manoeuvre in pre-election giveaways, but one idea being seriously considered is to delay a 3p rise in petrol duty. Darling will announce a £1bn green infrastructure fund to invest in low-carbon technology and extend job schemes to help unemployed young people into work.

While the deficit is expected to be as much as £10bn below the £178bn forecast in his December pre-budget report, the Treasury stresses the focus will be on the chancellor's commitment to halve the deficit within four years. "It's a boring budget," said a No 10 source. "He may extend the odd payment here and there, but it is about stability and jobs."

In his weekly podcast, Gordon Brown states today that the recovery remains "fragile and in its infancy". The prime minister says that Labour's commitment to cut the deficit is "non-negotiable", but stresses that investing in jobs and programmes for industry is a way to reduce it in the medium term.

"It means not taking away the extra support too soon, which risks setting back the recovery and tipping us back into recession... If we allow unemployment to run riot, as happened in previous recessions, that will cost us more and add to the deficit," he says.

Cable made clear he would have serious reservations about working with either Labour or the Conservatives. "I'm worried about both," he said. "If either of them came back, Gordon, given his history, will be in denial about difficult decisions, and the Tories are in danger of doing foolish, precipitate things that could make the situation a lot worse."

Cable was noticeably more critical of the Conservatives' response to the financial crisis, saying that they should score "nul points" for failing to grasp the seriousness of the situation. "They haven't done anything to attract praise, because they completely and totally misunderstood the problems."

By contrast, Labour had had a "purple passage" in the autumn of 2008, when Brown led international efforts to recapitalise the banking sector after the collapse of Lehman Brothers.

The Conservatives sought to seize the initiative on reforming the bloated financial sector this weekend, promising to implement a US-style tax on banks if they win the general election, instead of waiting for an international consensus to emerge, as Labour has promised to do. Cameron spelled out the measure in a speech about taking on the "vested interests" in society, comparing the battle to constrain the banks today with Margaret Thatcher's attack on union powers in the 1980s.

Lord Myners, the City minister, said: "This ill-thought-out Tory briefing has all the hallmarks of a plan made up on the hoof."

• Vince Cable
• General election 2010
• Liberal Democrats
• Budget
• Economic policy
• Conservatives

Toby HelmHeather Stewartguardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

A battle between Marxists, Maoists and government allies has brought a wave of kidnappings and murders to the Indian state

The site is a patch of arid wasteland, ringed by a half-built wall, just off the potholed road from the flyblown town of Midnapore in West Bengal. There is little to indicate it is the cause of a murderous gang fight pitting communists, Maoists and allies of India's ruling government against one another in a battle for cash, power and resources.

A £30m steel plant is due to be built here by Jindal, India's biggest privately owned producer. The aim is to bring jobs and prosperity to the impoverished town of Salboni, but the plant's arrival has brought a wave of kidnapping, murder, arson and intimidation.

There is little trace of a new "India shining" in West Midnapore district. Its 3.5 million people have some of the highest rates of illiteracy in the country. There are only 3,000 under-trained and under-equipped police officers here, who are largely occupied guarding camps or making desultory patrols in areas most affected by the local Maoist guerrillas. Senior police intelligence officers in Kolkata, the state capital, estimate that between 90% and 95% of the relief and development funds channelled to rural areas are stolen. In the towns, the proportion sinks to "only" two-thirds.

When Jindal Steel announced it was to build the plant, there was much excitement. The decision was partly a result of generous incentives offered by the government of West Bengal, dominated by the Communist party of India (Marxist) for 33 years, which hoped to bolster its wavering hold on power.

But politics has brought violence, too. The body of Shibshankar Das was found sprawled on the single road through the village of Chotokalsingbanga on 8 March, close to his mud-walled, single-room homestead. A note pinned to the body said "police informer". In fact Das, a 35-year-old labourer trying to support a family on 70 rupees (£1) a day, was almost certainly an innocent, killed as an example.

"He was not a political person. We were poor, but things were OK," said Das's brother, Kamal. Asalota, his widow, sobbed quietly. "He never harmed anyone. I have no income. I used to weave baskets and he took them to market, but now he has gone. How can I pay to send my children to school?" she asked.

On a rope bed outside the home, beside the family's one cow, Das's 13-year-old daughter studied the newspaper carrying the front-page picture of her father's corpse in stunned silence.

Das had found himself caught in the complex three-way battle begun by local politics and the coming of the steel plant. In West Midnapore, political office means power. Whoever controls the neighbourhood around the site will control not just the workforce but the unions, the contractors, the development deals and the businesses the plant will generate.

The Communists, who have been in power for so long and are now flagging badly, are battling it out with the All India Trinamool Congress, a new party that makes up for its lack of ideology with populism and opportunism. This contest will climax in state assembly elections next year, and in Salboni the war is already well under way. "Only 1% of the supposed informers killed really are informers," said Superintendent Manoj Verma, chief of the district police. The real reason for Das's death is to be found in a neighbouring house where the family of Jagneswar Mahato, a small-time businessman and the local Trinamool Congress leader, was also grieving. Mahato, 38, was abducted last month and has probably been killed. His wife squatted in the dust as his brother dully retold how Mahato was last seen, covered in blood, being dragged away by Communist party thugs.

The Trinamool Congress won the village of Chotokalsingbanga from the Communists at the last local elections, largely because of the corruption of Communist officials. A day after the Observer visited, two more villagers were abducted. The police have registered 70 kidnappings in the past year and more than 160 "informers" have been killed.

West Midnapore has long been a base for Maoist insurgents – described by the Indian prime minister, Manmohan Singh, as the greatest internal threat to India in 60 years. "By creating a violent environment [in Salboni] they will be able to extort money from construction contractors [on the steel plant] to start with and then everyone else who follows," said Verma.

Contacted by the Observer, the local group responsible for Das's murder said they were "simply following orders".

There is one name that the villagers, almost all illiterate, rarely speak aloud: the Harmath, as the armed Communist party militias are known. The people of Vursa village, like those of Chotokalsingbanga, voted out the Communists last year. The Harmath first visited in December. Driving between the huts and cattle pens, they burned rice stores and this year's seed stock, and torched homes, stole jewellery and clothes and abused women. "We are an opposition pocket in a Communist area. We are day labourers, poor people. We have no defence," said Butnath Ghosh, 70. Repeated raids eventually drove the villagers out. They returned only a few weeks ago. "Without working we cannot eat. We had to return. But we are frightened," Ghosh said.

Across the district the same tales of violence and intimidation linked to the Harmath are told. "We live under a reign of terror," said one salesman in the town of Chandrakona, which has also seen a series of kidnappings.

Dipak Sarkar, head of the West Midnapore Communist party, said the militias were "a people's defence force to save their own lives and property. We help people resist by organising people, giving them courage, mobilising them," said Sarkar at the party's district headquarters. "But any weapons they might have are their own."

He denied any corruption or that the Communists might gain at the expense of locals. "When the party is helped, the people are helped," Sarkar said. "And the party is the people."

• India

Jason Burkeguardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

The favourite new drug of clubbers and schoolchildren hit the headlines last week when two young men died after taking it. Sold under a range of street names – meph, miaow miaow, MC, drone and bubbles – and easily available on the web, mephedrone is not illegal. But should it be? Here, four people from different sides of the debate – a user, a mother, a dealer and a doctor – have their say on 'the poor man's cocaine'

The user: Jack Starks

The first time I encountered mephedrone, meow meow, plant food or whatever you want to call it, was about a year ago at a friend's house in south London. We were back from a night out at the student union and all wanting to continue the party when my friend's flatmate, Brandon, got back from work and, with a sly smile, disappeared into his bedroom, to return with a huge box. He dumped the biggest pile of powder I had ever seen on the table. "This, my friends, is mephedrone," he said with relish. "And this is the future."

Like many students, I've never been one to say no to a new experience. We all end up running into drugs at some point, so I decided to see what all the fuss was about. I've always enjoyed a spliff and, on occasion, a little more, so I assumed this was just another casual substance I would be bumping into.

Nicknamed by users as "poor man's cocaine", mephedrone has swept through our nation's youth like a strong dose of salts, permeating every aspect of the party and night club scene. In less than six months, it has come from obscurity; everyone knows someone who's on it. Paradoxically, it was given a chance to become popular because of an EU restriction that prevented the importation of two substances necessary to the production of MDMA (ecstasy to the layman) that made it impossible to make or purchase any MDMA in Britain from late 2008. Mephedrone filled the gap in the market, and at half the cost of MDMA; it was everywhere.

You can snort it, drop it in "bombs" (rolling papers filled with it), and I've even come across people who eat it. The effect is euphoric, in some ways similar to ecstasy but much shorter-lived; you need to take a lot more of it a lot more often. The first time I took it, I could feel my heart pounding; everything seemed as if it was about to explode into life and I was up till the early hours in a wild rampage of excitement. But there any comparison ends. With mephedrone, the romance period is very short: after taking it just a couple of times, your tolerance increases dramatically, to the point that you're doing three or four times more than you were in the beginning to get high. Your appetite for the stuff also increases.

Brandon was well ahead of the curve. He was importing it from China at about a £1 a gram and selling it to students at £15. By mid-October, when our student loans had still failed to appear and finance was getting tight, we hit on the idea of doing the same. We could simply make a trip down to a seedy office in Victoria where we could buy it in bulk at wholesale price and then sell it on to our friends at a profit. Doing this you could turn £100 into £400 in a weekend and have a bit left on the side for yourself.

It became a crash course in drug dealing for beginners, and we weren't the only ones at it. Hundreds of students had spotted the gap in the market. You couldn't set foot in a club or house-party without someone walking past offering you "drone".

Whether or not this was legal is a good question, because although mephedrone isn't covered by the Misuse of Drugs Act, it is illegal to sell it for human consumption. Companies get round this by putting stickers on their product saying just that. When selling it, we would always tell people that it was not to be used to get high – it was almost a running joke. A very dangerous joke indeed.

When on it, you get very edgy (hence the comparison to cocaine) and you constantly crave more. It is possibly the most addictive substance I have ever come across. What makes it far more dangerous is that it is the first of a new breed of designer drugs, made purely to evade the laws surrounding controlled substances.

No one has considered what this will do to people in the short or the long term, and no one cares. Mephedrone might be called "plant food", but it is a plant decomposer, so what it does to your insides I dread to think. I once accidentally left a spoon in a bag of the stuff and came back three days later to find it had stripped off the outer coating and my mephedrone scattered with tiny silver bits of spoon. We still snorted it.

My stance was changed dramatically by my experience of prolonged use. After three or so months of using it at least a couple of times a week, I found myself in the darkest depression. I stopped taking it and suddenly found myself looking round at my friends with their eyes rolling in their heads and realised how much rubbish we had all been talking to each other. Good, straight-edge kids who barely used to drink have become crazed drug fiends, sitting in their house snorting plant food five days a week.

One friend of mine took it once and now has to use an inhaler, because he has permanently damaged his lungs. Another has almost ceased to be a friend, and is now a socially apathetic zombie, chasing mephedrone around London with his girlfriend, no longer able to interact without it, constantly asking if he can borrow 20 quid.

We've always been happy to get wasted on a night out, but I've never seen anything creep into so many everyday lives like this. I am horrified by the effect this drug has had on the people around me, and would urge anyone thinking about taking some tonight to change their plans.

Jack Starks is a student in his early 20s who lives in south London

The mother: Sophie Radice

For all those parents who have read with sadness about the deaths of an 18-year-old and a 19-year-old in Scunthorpe, but allowed themselves to be even slightly reassured that their own teenagers can't have come across mephedrone because they are so much younger, not yet clubbing and living very different lives, think again.

I first heard about mephedrone six months ago, at first from another north London mother whose son had ordered this "plant food" off the internet and who had roused her suspicions when he couldn't explain why he had suddenly developed an interest in gardening.

Then from my own daughter, aged 14 at the time, whose friends had discovered this legal high. She described them as "talking rubbish as if it is the most interesting thing in the world, and that they dribble and lick their lips and gurn and grind their teeth".

She said that people shook, bit holes in their lips and cheeks, were unable to feel their legs, were frightened because their heart was beating too fast and that their skin looked grey.

This might seem like any teenage group that has discovered harder drugs. It is rather like a description of my own group of friends at that age. What is different is that, in those six months, those friends who thought they were just experimenting seemed to need to take greater amounts of mephedrone on more and more occasions. Mephedrone is often sold in five gram bags and, as it is so "more-ish", it seems to be easy – even common – for a user to go through a whole bag.

Surely that kind of ever-decreasing, short-lived high is what makes dealers extremely rich and leads to the kind of desperate endless addiction of the crack-user?

Should all of this mean that we should immediately ban it? Well, I have always had a liberal view about drugs, believing that the criminalisation of drugs just creates an underground. I look at how making ketamine (a horse tranquilliser) a class C drug didn't stop its use among the young.

On an intellectual level, I agree with Professor David Nutt's measured suggestion of creating a "holding" class of D drug category. Within this category, sales would be limited to over-18s; the product would be quality-controlled, at doses limited as far as possible to safe levels; and it would come with health education messages. I also agree with Nutt that what we should look into is why teenagers are so drawn to taking drugs and why binge-drinking is so prevalent in this age group.

On a much more visceral, instinctive level, this "let's wait and see how harmful this drug is" D category doesn't comfort me at all. For this younger age group, the legality of mephedrone is a real attraction. While they can get hold of "weed" to smoke (mostly through older siblings, and even parents), because they are not yet going to clubs but to each other's houses or private parties they are rarely able to get their hands on harder drugs.

They can buy mephedrone off the internet or from headshops (shops selling drug paraphernalia) or stalls. Teenagers of this age seem to think that its legality means that it is safer than other drugs, which might also contribute to the wild abandon with which it is taken.

Health warnings wouldn't do a thing (my daughter says that, perversely, the deaths in Scunthorpe have made her friends even more determined to take the drug) and surely an over-18s rule on the net would be just like those porn sites that ask you to click a button to say that you are over 18 and that's all the proof you need. Prosecution of those selling to under-18s would be almost impossible in cases of website dealing.

For this age group, making mephedrone a class B drug would at least put up some sort of substantial hurdle and make it much harder for them to get hold of.

Just making it so much more difficult to track down may cause enough of a pause for some sort of easing-off from the enthusiastic consumption of what seems to be a particularly addictive drug.

Oh, and while we are waiting for a decision on this, look out for a fishy smell in your teenager's sweat, nose bleeds, restlessness, headaches, insomnia and a traces of yellowy powder on the surfaces in their room.

Sophie Radice is a journalist and mother of two who first came across the drug last year

The dealer: Mark

I have no background in narcotics. My worst offence is a puff on a joint in college, which I found unpleasant. I am at heart "anti" substance abuse, though I am in favour of free choice.

I own and run three normal, legitimate businesses, all of which, thanks to the recession, have had their troubles. Have you ever laid off a loyal member of staff? It's the worst feeling in the world. I was looking for a lifeline.

I first heard of mephedrone in September. A friend heard about a new chemical that was originally a kind of plant food. It was legal and its effects mimicked cocaine and MDMA. I started searching for information on Google and within an hour I knew this would be a winning business.

From the start, I wanted to run this completely legitimately. No shady cash deals, pay tax, give excellent service with a quality product at the right price. Was I comfortable with the concept? No. Did I want to lose my home to the bank? No. Decision made.

In the first weeks, I bought my stock inside the UK, but very quickly I began buying direct from a manufacturer in China. I registered a company and contacted a web designer.

This is where the problems started. Even before the press discovered mephedrone, it was not possible to find good professional help. Undaunted, I built my own website. No banks would touch the credit card side of the business. I fudged round this and I was up and running. I launched the website and within an hour had five sales. My first week I turned over £8,000; the second, £10,000.

Then, last November, mephedrone hit the headlines. Its use was blamed for the death of a 14-year-old girl, although this turned out not to be the case. I thought it was the end. How wrong I was. That week, sales doubled. When mephedrone is in the news, demand rockets. Last week came the death of two boys. (I cannot comment on this tragedy, except to say I do not believe mephedrone was the cause.) One of my websites, which usually gets around 1,200 hits a day, received more than 20,000. The media have made mephedrone what it is.

Before you leap to judgment, do you drink alcohol? It is deadly, with 8,000 deaths directly attributed to it in the UK in 2008. There is a huge trade in illegal drugs in the UK. But people do not have to be criminals. They don't have to buy bags of drain cleaner from dodgy blokes in pub car parks.

The process of importing has become difficult lately, as UK Customs has begun withholding shipments. I have had 40kg seized. No explanation has been given and Customs has made no contact. This is surely illegal.

Mephedrone looks likely to be banned. This is the most dangerous thing that can happen. It is essentially a very safe substance. There is no addiction and to date I know of no deaths directly attributed to it. There are suppliers online such as me who treat this as a genuine business and supply a quality product pure to the customer.

The day mephedrone is banned, I will shut up shop. The taxman will lose hundreds of thousands of pounds and the criminals will step in. Prohibition has always failed. And the genie is really out of the bottle this time. Millions have used mephedrone in the UK. If they are stopped from getting it legally, they will either buy illegally or, even worse, try something new.

No British government would have the courage to exercise the level of common sense needed to keep it legal, what with an election looming and swarms of horrified Daily Mail readers to impress. This government has already sacked the moderate, sensible and knowledgeable Dr David Nutt. Mephedrone will be banned – and be dammed.

Mark is a businessman and owner of several websites that sell mephedrone

The doctor: James Bell

I first heard about mephedrone last July. The young man sitting opposite me told me that it had just arrived on the nightclub scene. He had tried it at once. He was well-educated and from a prosperous and stable family (who knew nothing about his drug use). He was in my clinic to withdraw from another "legal high", GBL. After using GBL for a few months, he had been dismayed to discover that he had become dependent. His lament "I didn't know it was addictive" could have been uttered by most doctors and policy-makers.

We are all playing catch-up as new compounds are recognised, banned – and new drugs appear, the risks of which slowly become apparent. Legal highs are mostly compounds closely related to known (and banned) psychoactive drugs. Mephedrone is chemically very similar to ecstasy. The slight variation in structure makes it legal, but also means that mephedrone has different pharmacological effects and toxicity.

This makes difficulty for the advisory council on the misuse of drugs, which advises the government on whether a drug should be banned, as it has little information to go on. It takes experience to find out about the harms of particular drugs. It was only in the late 1990s, after years in which cannabis was regarded as a fairly harmless drug, that studies demonstrated it caused the development of psychosis in some vulnerable adolescents. News that two people died after using mephedrone suggests it may be dangerous, but we don't know enough. Mephedrone can cause cardiovascular problems, but I suspect that the post-mortem findings will identify other contributing drugs.

GBL, which was classified in December 2009, is a case study in legal highs. Many users overdose inadvertently and a small proportion progress to dependence. On trying to stop, users can experience severe withdrawal symptoms. Throughout 2009, most GPs and drug services knew nothing of GBL, and were unable to offer treatment. It was to catch up with this need that a "party drugs" clinic was established in south London . Attendees have reported that, since being banned, GBL is still readily available for same-day delivery, from internet sites outside the UK.

Mephedrone and GBL both enhance confidence and sociability and reduce sexual inhibitions. However, it is easy to lose the plot. The first dose of mephedrone produces intense euphoria, but repeated dosing produces decreasing pleasure and increasing paranoia and irritability – yet some people keep chasing the initial high until exhausted. This binge pattern of use maximises risks and minimises benefits of drug use.

A pre-election environment is a bad time to initiate a discussion about drugs policy, as there is a risk that any debate will degenerate into which party is going to ban more drugs, more rapidly. "Legal highs" are an easy target for moral outrage, precisely because they are legal and something can be done about that. More difficult is trying to address Britain's prodigious demand for drugs, legal and illegal. A non-partisan debate about reducing the harm would be valuable.

Dr James Bell is an addictions consultant at the South London and Maudsley NHS Trust

• Drugs
• Drugs policy

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Surgeons say the recession has cut demand in America for cosmetic procedures that are not covered by health insurance

Americans appear to be finally falling out of love with cosmetic surgery after a new report revealed that the number of operations dropped by 18% last year.

The new reluctance to have a facelift, a tummy tuck or a breast enlargement marks a dramatic turn away from procedures that a few years ago seemed almost commonplace.

Figures collated by the American Society for Aesthetic Plastic Surgery show that 1.9m operations took place last year, down from 2.1m in 2005. One big factor cited by many plastic surgeons is the recession. The biggest downturn since the Great Depression has hit many high-end consumer industries; plastic surgery certainly qualifies as a luxury commodity for many Americans. Purely cosmetic operations, such as nose-shaping or breast enlargements, often cost thousands of dollars and are not usually covered by health insurance.

"I believe one can credit the downturn of the economy for the decline in surgical procedures that obviously are more costly than non-surgical procedures," said Dr Elliot Jacobs, a leading New York plastic surgeon whose private surgery is on Park Avenue.

But some say there could be something in the zeitgeist, too. Over the past decade, plastic surgery saw a massive boom. Something previously seen as the province of Hollywood royalty and the very rich trickled down to the merely wealthy and then the middle class. It became the subject of numerous TV shows, such as Nip/Tuck, which followed the antics of a pair of Miami plastic surgeons and famously opened its first episode in 2003 with the controversial line: "Tell me what you don't like about yourself."

It was not just soap opera that fell under the surgeons' spell: reality TV shows got in on the act, too. Programmes such as Extreme Makeover and The Swan gave ordinary people a chance of free operations to improve their appearance. The shows were not without controversy, especially The Swan, whose premise was to transform a contestant into a more beautiful person physically. However, both shows have been cancelled, and this year Nip/Tuck also broadcast its last episode.

Nor are celebrities immune from criticism about the plastic surgery they have undergone. Many stars receive frequent sniping in gossip columns for having operations deemed too obvious.

Recently reality-TV star Heidi Montag was on the end of an avalanche of criticism – even from her husband – after she revealed she had had 10 plastic surgery procedures in one year.

Dr Michael Hall, a plastic surgeon in Miami Beach, said that an age of excess in the industry had come to an end, mirroring wider society. "When it comes to plastic surgery, people are now using more common sense. They don't want radical procedures," he said.

But while full-on surgical operations might be falling, the number of non-surgical cosmetic procedures is steady or rising. Many plastic surgeons say there has merely been a shift in taste and treatment. Non-surgical operations, such as Botox, lip injections or lasering, are cheaper and becoming more effective. "Women are looking for non-invasive procedures," said Hall.

There are other changes, too, reflecting both cultural and economic trends. Dr Richard Baxter, a plastic surgeon in Washington state, noticed a marked decrease in the size of breast implants as the economy started to go downhill. Before the recession, fewer than a third of Baxter's clients chose a B cup implant; now about half pick a B. "People have turned to more natural-looking things," he said.

The question concerning the industry now is what the longer-term trend will be. Some predict a permanent shift, while others say there are already signs of a renewed up-tick. One thing most doctors agree on, though, is that there is still no shortage of demand for changing one's body, just a change in preferred methods. "Has the plastic surgery bubble burst? I doubt it. As long as a woman or a man has a mirror available, there will be a continued interest in plastic surgery," said Jacobs. Hall put it another way, pointing out that some human emotions and desires are both recession-proof and fashion-proof: "There is no lack of vanity. There is just a little more hesitation."

• Plastic surgery
• US healthcare
• United States

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The Piano by Jane Campion (1993)

If I hadn't seen The Piano when I did, I may never have made a feature film. I've been making little films since I was eight – I begged my father to buy me a Super 8 camera after he took me to see Doctor Dolittle with Rex Harrison – but for a long while I thought I wanted to make documentaries. I found cinema incredibly inspiring, but I wasn't hearing any voices that felt like my voice in that world. It was a bit like being a singer and hearing wonderful music, but feeling there was nothing in your range. When I first saw The Piano I suddenly felt, my goodness, this is something I could do. It was almost a lack of confidence, before. But seeing the film, the power of its imagery and the delicacy of the way that emotion was handled in it, it felt in tune with who I was as a person and who I was as a filmmaker. It made me see film as a possibility for myself.

I first saw it in a cinema on the King's Road with the man who was to be my husband. We'd only recently met. At that point I knew I very much wanted to have children, and here was a film exploring the relationship between a mother and a daughter. I was excited, but my boyfriend didn't really get it at all. He found it slow and uninspiring. Still, I remember in that moment feeling an incredible connection with the film.

It's really influenced me in a lot of specific ways, beyond giving me the feeling I could go out and do this. It has sunk in at a very deep level. There were shots in Bleak House that were directly inspired by The Piano. The way the humvees move across the desert in Generation Kill, these very still, tranquil shots – they're very like the shots of the piano on the beach. Even more recently, in Nanny McPhee, there are silhouette shots that are very like those of Holly Hunter being carried in across the waves. Anna Paquin who played the little girl is now in True Blood with Alex Skarsgård, who I cast in Generation Kill. She's so, so brilliant in the film and is now working with Alex. I love that.

It's been really interesting to me revisiting the film now that I've had children. It plays very differently, I've found other layers in it, about that closeness and the language between a mother and a daughter. They're a bit young now, but I look forward to the day when I can sit down and watch it with my daughters. I think they'd get a huge amount from it.

Susanna White's next film, Nanny Mcphee and the Big Bang, is released on 26 March

• Jane Campion

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Letter accuses leading Catholics of 'grave errors', but campaigners say it is not enough

Pope Benedict XVI yesterday rebuked Irish bishops for the negligent way they have handled sexual abuse cases in the Catholic church and issued an unprecedented public apology to the victims of paeodophile priests.

"You have suffered grievously and I am truly sorry," Benedict wrote in a pastoral letter released yesterday, which will be read at Catholic masses in Ireland. The letter also announced the setting up of a Vatican investigation team. "Many of you found that, when you were courageous enough to speak of what happened to you, no one would listen," he added. He accused bishops in Ireland of "grave errors of judgment" in their handling of thousands of "sinful and criminal" cases of abuse spread over decades.

Split into sections, the letter addresses victims, Irish bishops, abusive priests and parents. "There has never been a letter like this," said the pope's spokesman, Father Federico Lombardi.

The letter does not admit any responsibility on the part of the Vatican in relation to the scandals, nor does it specify punishments for Irish bishops who covered up for paedophile priests, moving them from parish to parish.

Following revelations that he swore abuse victims to secrecy in 1975, Cardinal Seán Brady, the head of the Irish Catholic church, has said he will seek guidance through prayer before deciding on his future. Benedict has yet to accept the resignations offered by three Irish bishops. Following the release of the letter, Brady said that all Irish Catholics should reflect upon it. "I welcome this letter," he said. "I am deeply grateful to the holy father for his profound kindness and concern."

It is evident from the pastoral letter that Benedict is deeply dismayed by what he refers to as "sinful and criminal acts and the way the church authorities in Ireland dealt with them".

Lombardi said yesterday there were no pointers to be found on Brady's future in the letter, which did not have an administrative or disciplinary function. "This is a pastoral letter... That is not touched on here," he said.

The letter comes as a new tide of sex abuse allegations threatens to engulf the Catholic church. Benedict himself has come under pressure over the explosion of abuse revelations in his home country, Germany, following a wave of cases in the US. Maeve Lewis, the Irish director for the campaign group against child abuse, One in Four, said she was "deeply disappointed" by the letter. "It falls short of what victims want, since it only tackles failures in the Irish church and not the failures that go right to the top of the Vatican, such as the 2001 ruling on secrecy," she said. "The church is still in denial."

Reports on abuse commissioned in Ireland have singled out a letter written by the current pope, then Cardinal Ratzinger, in 2001 instructing bishops to report all abuse cases to his office at the Vatican's Congregation for the Doctrine of the Faith for confidential handling. Vatican officials have said the measure was designed to prevent cases being covered up at local level, but Irish bishops reportedly understood the letter to mean they should not report cases to the police. In yesterday's letter, Benedict urged Ireland's bishops to "continue to co-operate with civil authorities".

"That could be interpreted as an instruction on mandatory reporting of abuse to the police, and this is welcome, although it is not clearly stated," said Lewis. "But where the pope goes on to deal with the proper application of canon law in these cases, it suggests he has no idea that civil law supersedes canon law, that bishops should abide by civil law like any citizen."

The letter announces that a Vatican investigation, or apostolic visitation, will be carried out at a "certain diocese" in Ireland, as well as in seminaries and religious congregations. Such investigations are carried out when the Vatican believes a local church is unable to put its own house in order.

"A lot of people will be quaking in their boots in Ireland as they wait to see which diocese the pope means," said one church insider in Ireland.

But Benedict also sympathised with Irish bishops, telling them: "I recognise how difficult it was to grasp the extent and complexity of the problem, to obtain reliable information and to make the right decisions in the light of conflicting expert advice."

Rather than blaming abuse on an oppressive, conservative environment within the Irish Catholic church, Benedict singles out the creeping influence of liberal, secular society for weakening resolve against it. "In particular, there was a well-intentioned but misguided tendency to avoid penal approaches to canonically irregular situations," he writes.

Lewis added: "We are astounded that the pope links the problem to secularisation. It shows a misunderstanding of the dynamics of sexual violence and suggests there is little hope the church will ever know how to respond."

• Pope Benedict XVI
• Ireland
• Catholicism

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The French four-piece talk to Hermione Hoby about ants, surrealism and creeping success

In a bar in the Opéra district of Paris, brothers and guitarists Laurent Brancowitz and Christian Mazzalai – also known as one half of French band Phoenix – are reflecting on a cover version of the band's single, "Lisztomania".

"It would... bring a tear to the eye of an SS officer," says Brancowitz, shaking his head with wonderment. Later, speaking from New York, singer Thomas Mars agrees: "We all had tears in our eyes when we watched it." Google "PS22 Chorus Lisztomania" and you'll find a video of an American kids choir whose members look and sound like they've never loved a song so much in their lives.

It makes perfect sense that a bunch of elementary schoolchildren should have made such a brilliant cover. As Brancowitz himself explains, the band's fourth studio album was written without ties to a record label or manager because "we wanted to do something like kids again. That's always what we're looking for."

The album's reception last year suggests they found it. As you might guess from the title (in their words, "an equally glorious and stupid" one), Wolfgang Amadeus Phoenix is a record blessed with a breezy playfulness, though its songs are meticulously crafted. Ten years on from their debut, the album has earned Phoenix two rather different badges of distinction: a Grammy for best alternative album, and the perhaps even greater accolade of being the most blogged-about band of 2009 (according to website the Hype Machine).

The band also has a fearsome reputation as a live act, something you can judge for yourself on the Observer's live album giveaway (see panel, left), an exclusive recording of the band performing in Sydney a few weeks ago.

They could be forgiven a spot of bumptiousness, then. Instead, they seem genuinely surprised that their London Roundhouse dates later this month sold out so fast. Brancowitz jokes that "there's been a lot of resistance from your little island; we feel like Napoleon trying to invade". Mars agrees: "It's a mystery in the UK. I feel like it's a love and hate relationship. Most of the things we were listening to come from the UK. But maybe before we weren't in sync with the era we were living in..."

Brancowitz has another theory as to why this album has been such a success: "It was the album we made with the most humility. The good things we do are the product of luck and not from our personal songwriting genius." So modest! "No, but it's true," he protests gently. "It takes a lot of courage to admit it. It's a long, chemical process. We just sit and a few thousand tries later..."

That slow-burn approach to songwriting (they took two years to make the album so "a few thousand tries" perhaps isn't too outrageous an estimate) is mirrored in the steadiness of their rise. Gradual success has been, as Mazzalai puts it, "a pure pleasure at every step".

When I ask whether their inclusion of musical "naffness" (Alphabetical, their second album, betrayed a penchant for 70s soft rock, for example) has been a conscious thing, Brancowitz replies with a typically rococo turn of phrase. He concedes it's semi-conscious, but is, he says, always based on "an instinctive ravishment".

Such un-English wording possibly accounts for the charm of their (English) lyrics. As Mars explains: "We like doing lyrics that are cryptic and abstract, we leave out all the in-betweens, everything that makes sense. That's impossible to do in French, because every word betrays what's going on. In English you can put all these pieces together and create this weird, poetic thing." He pauses. "It's very like French surrealism in a way."

As that mental leap from truncated English to French surrealism indicates, the band remain utterly Gallic, despite their formative diet of My Bloody Valentine, the Smiths and any other British band that, as Mars puts it, have "something about them that makes me lose my balance".

The two brothers, plus Mars and bassist Deck D'Arcy (all four are in their early 30s), grew up in the conservative Parisian suburb of Versailles, a place where, Brancowitz says, "it's really easy to be a rebel without a cause – you don't have to have a very crazy haircut. It's very Catholic, so there are a lot of families of old nobility..."

"They're scary," adds Mazzalai.

Scary though it may have been, there's no question that being four kindred spirits in what they paint as a cultural wasteland has gone a long way in binding them together. "Alone we are poor, but together..." Mazzalai trails off.

Brancowitz, a man of many metaphors, continues: "You know ants? They have very minimal tasks but in the end they build these very complex structures. That's the same for us. Really, I don't remember taking creative decisions, they just happen."

They also insist they're "really bad musicians in terms of technique". "I don't even know how to do a scale," claims Brancowitz, prompting Mazzalai to add: "We don't know how to play with other musicians. I tried with friends to do sessions a few times and it's always a disaster."

Touchingly, Mars echoes many of these sentiments when we speak later. While the other three live in Paris, he's now based in New York with his film director girlfriend Sofia Coppola, who is expecting their second child in May. His relocation hasn't put any distance, musically, between him and his bandmates though.

"On our own we are not really great," he tells me. "It's not that I don't believe in my friends but the four of us have this thing, this balance of us all together."

Accounting for that balance, Brancowitz says: "Thomas has a very abstract vision of everything, and Deck is more of a mathematician – when there's a decision about harmonic complexities, he's there. He knows every equation."

There's a certain indulgent affection to the way they talk about their bassist, I suggest. "Ah, but we're all weirdos," smiles Brancowitz. Mazzalai takes up the theme: "We're all fascinated by mathematics, we love it. But you know," he adds with a shrug, "even beats are mathematical – it's mathematics that makes people dance."

This is as perfectly Phoenix-like a sentiment as there can be. Cerebral precision and mindless abandon are an irresistible combination – and those jiving elementary school kids aren't the only ones to know it.

• Phoenix
• Pop and rock

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Charles Arthur investigates how the ways in which we watch sport, read magazines and do business with each other could change for ever

Don't act too surprised if, some time in the next year, you meet someone who explains that their business card isn't just a card; it's an augmented reality business card. You can see a collection and, at visualcard.me, you can even design your own, by adding a special marker to your card, which, once put in front of a webcam linked to the internet, will show not only your contact details but also a video or sound clip. Or pretty much anything you want.

It's not just business cards. London Fashion Week has tried them out too: little symbols that look like barcodes printed onto shirts, which, when viewed through a webcam, come to life. Benetton is using augmented reality for a campaign that kicked off last month, in which it is trying to find models from among the general population.

Augmented reality – AR, as it has quickly become known – has only recently become a phrase that trips easily off technologists' lips; yet we've been seeing versions of it for quite some time. The idea is straightforward enough: take a real-life scene, or (better) a video of a scene, and add some sort of explanatory data to it so that you can better understand what's going on, or who the people in the scene are, or how to get to where you want to go.

Sports coverage on TV has been doing it for years: slow-motion could be described as a form of augmented reality, since it gives you the chance to examine what happened in a situation more carefully. More recently cricket, tennis, rugby, football and golf have all started to overlay analytic information on top of standard-speed replays – would that ball have hit the stumps, the progress of a rally, the movement of the backs or wingers, the relative flights of shots – to tell you more about what's going on. Probably the most common use is in American football where the "first down" line – the distance the team has to cover to continue its offence – is superimposed on the picture for viewers.

But those required huge systems. AR took its first lumbering steps into the public arena eight years ago: all that you needed to do was strap on 10kg of computing power – laptop, camera, vision processor – and you could get an idea of what was feasible. The American Popular Science magazine wrote about the idea in 2002 – but the idea of being permanently connected to the internet hadn't quite jelled at that point.

"AR has been around for ages," says Andy Cameron, executive director of Fabrica, an interactive design studio which works with Benetton, "maybe going back as far as the 1970s and art installations that overlaid real spaces with something virtual." He mentions in particular the work of pioneering computer artist Myron Krueger.

What's changed in the past year is that AR has come within reach of all sorts of developers – and the technology powerful enough to make use of it is owned by millions of people, often in the palms of their hands.

The arrival of powerful smartphones and computers with built-in video capabilities means that you don't have to wait for the AR effects as you do with TV. They can simply be overlaid onto real life. Step forward Apple's iPhone, and phones using Google's Android operating system, both of which are capable of overlaying information on top of a picture or video.

Within the small world of AR, one of the best-known apps is that built by Layar, which – given a location, and using the iPhone 3GS's inbuilt compass to work out the direction you're pointing the phone – can give you a "radar map" of details such as Wikipedia information, Flickr photos, Google searches and YouTube videos superimposed onto a picture you've taken of the scene. For Americans, it will also pull in details from the government's economic Recovery Act – so that if you're on Wall Street and want to see how many billions went into which building, it will show you.

Or, more usefully, Yelp offers an augmented reality application that will show you ratings and reviews for a restaurant before you walk in – the sort of thing that could make restaurants quiver with delight, or shudder in horror.

Or maybe it wouldn't need to know where it is; only who it's looking at. A prototype application demonstrated at the Mobile World Congress in Barcelona in February took things a little further again. Point the phone at a person and if it can find their details, it will pull them off the web and attach details – their Twitter username, Facebook page and other facts – and stick them, rather weirdly, into the air around their head (viewed through your phone, of course). "It's taking social networking to the next level," says Dan Gärdenfors, head of user experience research at The Astonishing Tribe, a Swedish mobile software company.

And there are fabulously useful applications: at Columbia University, computer science professor Steve Feiner and PhD candidate Steve Henderson have created their Augmented Reality for Maintenance and Repair (Armar) project. It combines sensors, head-up displays, and instructions to tackle the military's maintenance needs: start working on a piece of kit, and the details about it pop up in front of you. Imagine if you could put on a pair of special goggles when you needed to investigate your car's engine, or a computer's innards, and the detail would pop up. That's the sort of idea that Armar is trying to implement, though for the military at first..

Yet it's fashion which seems to have leapt quickest into this technology. The T-shirt with AR in London Fashion Week was developed by Cassette Playa, a label that has been worn by Lily Allen, Rihanna and Kanye West. Carri Munden, who designed it with the Fashion Digital Studio at the London College of Fashion, described it as "mixing reality and fantasy". Adidas, too, has launched trainers with AR symbols in the tongues: hold them to a webcam and you are taken to interactive games on the Adidas site.

The process by which the strange symbols get translated into images is simple enough: the website takes the feed from your webcam (you have to explicitly allow it to do so, so there are no security worries) and analyses it for the particular set of symbols that the program is looking for. (Some easy calculations mean the symbols can be detected whichever way up you hold the item.) Videos and pictures are then sent back to you.

Andy Cameron says that the arrival of an open-source, hence free, AR tool kit has let companies build their own AR applications, using Flash – the pervasive animation and video technology used for many online ads and YouTube's videos – "which immediately meant you had huge penetration, because Flash is everywhere". (Something like 98% of all computers are reckoned to have Adobe's Flash Player installed.)

"If you build your AR application with Flash, then you can get it out to everybody in the world with a computer with a webcam," says Cameron.

Benetton is using AR in its latest campaign, called "It's My Time" which aims to get members of the public to put themselves forward as potential models, and uses AR to show more details about existing models. But its first most visible use of AR was last year in issue 76 of Benetton's Colors magazine, a quarterly fashion product. Dozens of pages have AR symbols: hold the page up to a webcam, and you see film and more photos of the person on the page. "The Colors editor and the creative director of Fabrica got very excited about it," says Cameron.

Cameron can see huge potential which could even revive the fortunes of print advertising. "Think of a commercial page, an advert, in a fashion magazine. It's pretty expensive. With this – and this is the way that the more hard-nosed people in Benetton saw the advantage – it means that you can get more products on the page." Print an AR code, get people to come to the site, and you can show them so much more, while measuring the return from your effort.

The technical cost is a tiny part of the overall effort. "The printing and photography cost [of the advert] is the same. And the development cost is pretty small."

And of course where advertisers go, the publications that house them are sure to go as well. Esquire magazine in the US and Wallpaper* in Europe have done "augmented reality" editions, with Robert Downey Jr coming to life on the cover of the former, and AR text providing videos and animation in the latter. But there are more possibilities for journalism using AR: for example if you "geotag" newspaper articles (so that you say that an item relates to a particular place) then someone visiting a site could learn about events relevant to the area via their smartphone.

Book publishers too are leaping in: Carlton Publishing will release an AR book in May, featuring dinosaurs that pop out of the pages when viewed, yes, through a webcam. Future releases include war, sport and arts titles which will also have extra AR elements.

Yet in media it's the advertisers who are most excited. The possibilities of geotagged, targeted adverts – which in effect hang in the air until someone comes along to find them with a smartphone – or of AR adverts which open up a whole new world of opportunities (and perhaps discounts or loyalty bonuses) when you follow them through – are yet another glimpse of the holy grail ofads that know exactly who and where you are.

Is there a risk that we'll all become AR'd out – that it will become boring as advert after advert invites us to hold it up to a webcam? "What's hot today is ancient history tomorrow," says Cameron. "There have been a lot of bad uses of this technology with a rush to use it. We have had the chance to reflect on what it means and how to use it. The key is that it should be an enhancement of the stuff on the printed page."

Even so we're still in the early stages, he argues. "It's very primitive – having to use a webcam, holding a magazine up to it. Obviously we're really interested in the opportunities with handheld devices. It's very frustrating that the iPhone doesn't allow access to the live video stream." (Nor does it run Flash, another problem for would-be AR designers.) "People in design are very annoyed with Steve Jobs," he observes. "We don't really understand why Apple won't allow that."

Given that access, he says, "you could hold your iPhone up to a billboard and get something amazing right there". What about the alternative, such as Google's Android-based Nexus phone? "It looks like you could do it on that," he says. But of course the iPhone is a target market. "Maybe Apple wants to keep that for itself," Cameron says. "Maybe they're lodging patents. Or maybe the processor on the iPhone isn't fast enough."

Yet there are some who think that AR has already had its brief time in the sun. At the Like Minds conference in Exeter at the beginning of March, Joanne Jacobs, a social media consultant, described an AR application that demanded you buy a T-shirt and then go and sit in front of your webcam – so you could play Rock, Paper, Scissors. By yourself.

"It's hopeless," Jacobs said.

Cameron admits to some uncertainty about AR's measurable impact. "I don't know if it sells more things, but it seems clearly a good thing if we can get people who may be customers to participate in the adverts." But, he adds: "If people start to play with the adverts in a way that exposes them to more products, that's got to help bring a commercial return."

• Augmented reality
• iPhone
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Charles Arthurguardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

Relish the last throes of winter with a simple, warming stew. The joy of these slow-motion casseroles is that they are fantastic value and the cook is almost redundant

Winter is turning into spring. All my favourite bits of winter are still here: waking up in a freezing bedroom; the sight of snowdrops at the dark end of the garden; the clear thinking that seems to go hand in hand with ice-white skies. But here and there are the occasional signs of the new season emerging, the odd shaft of sunshine on your back or a redcurrant leaf unfurling in the fruit patch.

Spring is a long way off in the kitchen, and winter food is still what I want on a daily basis. Thick stews and bean casseroles, sticky puddings, bottle-green cabbages and root vegetables all the sweeter for spending a little time subzero. Spring may be in the air, but for those who cook from locally grown ingredients there might as well still be snow on the ground.

All this means there is time to indulge in big food from deep, steaming pans. A chance to bask, for just a little longer, in the heart-warming glow that comes from cooking cheap ingredients slowly. The sort of food you need a ladle and a bowl for.

What I really like about this slow-motion cooking is the way so much of it comes into being with so little help from us. We may spend a little time putting these dishes together, but after that the food tends to get on with things for itself. The cook becomes virtually redundant. I'm talking about the sort of recipes for which only cheap cuts will work. Cuts with a bone. A ham hock or a lamb shank. A row of neck chops or a ring of oxtail. The bits of the animal that come with jelly and cartilage, fat and sinews to break down in the long slow cooking and enrich everything they touch.

This is sublime winter's afternoon cooking: a few onions softened slowly in bacon fat, dripping or butter then used to add sweetness to the bargain-basement cuts of meat and bone, a chorizo maybe or a Toulouse sausage heavy with garlic, pancetta in the piece or a lump of Polish sausage. Suppers that involve cheap meat made luxurious by slow cooking and a backbone of some sort of pulse or another – boiled black-eyed beans, butter beans, haricots or borlotti. Little more is needed in the way of shopping: a bunch of herbs including bay, thyme, a stick of celery, perhaps, then covered with water or some very light stock. It needs a peaceful skimming with a draining spoon to remove any froth, followed by a long, slow session in the oven.

Rhubarb aside, there is little to please the fruit lover at this point in the year (though there are truly amazing pineapples about), so I raided the pantry again this week for plump dried fruits. Figs will bake to a silky mouthful or sit calmly plumping up on the hob in water, apple juice or wine. This week I paired them with honey and redcurrant jelly, a sweet, shining sauce to be eaten as it is, or perked up with a mixture of orange-scented yogurt. Winter food with just the tiniest hint of spring.

LAMB SHANKS AND BLACK-EYED BEANS

I say black-eyed beans, but you could use haricot or chickpeas if that is what you have to hand.

Serves 4
500g black-eyed beans
2 bay leaves
a little olive oil
4 lamb shanks
3 medium onions
3 small sprigs of thyme
4 plump cloves of garlic
2 heaped tbsp plain flour
750ml stock or, at a push, water

For the crust:
150g fresh white breadcrumbs
a handful chopped parsley
a little olive oil

DIRECTIONS
Soak the beans in cold water overnight to plump them up. The next day, drain them and bring to the boil in deep water together with the bay leaves and a good glug of olive oil. Boil hard for 10 minutes, then reduce the heat so they simmer merrily till they are tender yet retain their shape and some bite – a matter of 30-35 minutes or so. Drain the beans in a colander and set aside.

Season the lamb shanks and lightly colour them in a little oil – 2 tbsp should do – in a heavy-based casserole. Once they are pale gold, remove them, but leave their cooking fat behind. Peel the onions, cut them in half and then cut each half into thick segments. Let these soften in the pan over a medium heat, adding a little more oil if there is less than a couple of spoonfuls of fat left. As the onions soften, add the thyme sprigs and the garlic, peeled and finely sliced. When all is soft and translucent, stir in the flour and leave to colour lightly for 2 or 3 minutes before gradually stirring in the stock to make a thick, oniony sauce. Set the oven at 180C/gas mark 4.

Tip the cooked, drained beans in with the onions, then tuck in the lamb and any juices from the plate, and season with salt and black pepper. Simmer for 30 minutes partially covered with a lid, stirring from time to time to check that the beans are not sticking. Add more stock if you feel it needs it.

To make the crust, mix the breadcrumbs and parsley with 3 or 4 tbsp of olive oil, then scatter over the top of the casserole. Transfer to the oven, covered loosely with foil, for 60 minutes or until the lamb is tender. Remove the foil and let the crust crisp up for 10-15 minutes or so.

FIGS WITH CRANBERRIES AND ORANGE

Serves 4
350g plump dried figs
100g dried cranberries or cherries
1 vanilla pod
2 tbsp honey
3 heaping tbsp redcurrant jelly

DIRECTIONS
Sit the dried figs, cores up, in a saucepan – there is no need to soak them first. Scatter over the cranberries or cherries and tuck in the vanilla pod. Pour over enough water to reach the neck of the figs, then spoon in the honey.

Bring to the boil, then immediately turn down the heat, partially cover with a lid (you don't want the liquid to boil away) and leave to simmer for 20 minutes or until the figs are full and soft.

Remove the fruit to a bowl or individual serving dishes. Turn up the heat and get the liquid boiling. Add the redcurrant jelly and continue boiling until the liquid has reduced to a few rich tablespoons – a matter of 5 minutes or so. Keep your eye on it.

Spoon the warm syrup over the figs and serve with the yogurt cream below.

For the yogurt cream:
100ml double cream
150ml strained yogurt
grated zest of a small orange

Whisk the cream till thick. Stir in the yogurt and orange zest

Email Nigel at nigel.slater@observer.co.uk or visit guardian.co.uk/profile/nigelslater for all his recipes in one place.

• Food & drink

Nigel Slaterguardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

With a new collection of short stories to his name and two of his plays currently showing in New York, the notoriously private Pulitzer prize-winner discusses masculinity, his battle with drink and his 'tumultuous' relationship with Jessica Lange

Where do you even begin with Sam Shepard? With his Pulitzer prize? His Oscar nomination? The fact that he's routinely described as "America's greatest living playwright?" Or if you're going to be superficial about it – and I am, just for a moment – maybe the place to start is with the image of him as the tall, taciturn test pilot, Chuck Yeager, the cowboy-ish character he played in The Right Stuff; a man whose life was spent exploring the outer edge of what is and isn't possible.

But then I speak to Patti Smith on the phone and ask her what her impression was of Sam Shepard the first time she met him back in 1970 (shortly before they began an affair), and it's the first thing she says too: "He was just everything that one could want. He was – still is – a very handsome man. And he had this animal magnetism. It was almost visceral. He was so high energy and had a real glint in his eyes. He was born for rock'n'roll. I had no idea who he was when I met him. He was a drummer in a band, the Holy Modal Rounders, at the time and he just had something in him that made him a great, great performer. I just thought he was the future of rock'n'roll. I had no idea that actually he was this great writer too." If you had to invent an all-American literary hero, he'd be something like Sam Shepard. With his slow, western drawl, and his love of the open road and the empty badlands way out west, he's always seemed like the authentic voice of a certain sort of American manhood; telling stories – of suffocating families and wretched lovers – from the forgotten, inbetween places of the American outback. He wrote the screenplay for Paris, Texas, the great, atmospheric Wim Wenders film, and played another cowboy-ish character in Robert Altman's adaptation of Shepard's stage play Fool for Love, fixing an image in the public imagination of both him and a remote, fly-blown America a world away from the metropolises on either coast. But then Sam Shepard is that man. He comes to New York for work but his heart is with his horses back at the ranch in Kentucky that he shares with the actress Jessica Lange, his partner now for nearly 30 years.

All this, then, and a literary reputation that it's hard to overstate. According to Christopher Bigsby, professor of American literature at the University of East Anglia, who I consult on the matter, he's simply the most significant playwright of the past 50 years. His biography groans with accomplishments, he's written nearly 50 plays, acted in dozens of films, directed others, and written the screenplays for still more. And then there's the books about him, the academic treatises on his art, a Cambridge companion to his work, critical exegeses of his themes, analyses of his stagecraft... oh, the list goes on and on.

The one thing he isn't, though, is much of a talker. He doesn't often give interviews but when he does he's routinely described as "taciturn" and "private"; his answers are "curt" or "terse". He's "famously press-skittish". Worse, I read time and again of how he's "notoriously protective of his privacy" and won't answer personal questions. Which is a shame because there are so many personal questions I want to ask him. About his relationship with Jessica Lange, and his time with Patti Smith, and his three children, and being on the road with Bob Dylan. He's spoken extensively about his relationship with his alcoholic father before, but not about his own drinking: last year he was arrested for driving under the influence and ordered to attend an alcohol rehabilitation programme.

He'll talk about the work but there's nothing I read which gives much sense of him as a man. I can't help but feel a pang for the journalist who asked him if, one day, he might turn their conversation into dialogue in one of his plays. "We're not having a dialogue, this is question and answers," he says curtly. "Dialogue is like jazz. Dialogue is creative.'"

I am prepared for the worst, then, and when he ambles into the restaurant he's chosen near New York's Times Square, it seems this is probably just as well.

How long have we got, I ask, while fumbling with my tape recorder.

"Well," he says sitting down and ordering tea, "that all depends on the questions."

It's a heart-sinking moment and, as it turns out, a completely misleading one. Because it transpires that Sam Shepard isn't actually cold or taciturn or intimidating at all. Or at least the Sam Shepard I meet isn't, because it turns out that there seem to be several different Shepards co-existing side by side. At one point, he says of Jessica Lange that her greatest quality, or the one that struck him most acutely when he first met her, was her modesty. "I'd never met anybody like her," he says. "She was astounding. One of the great things about her, aside from her natural beauty, which was remarkable, was her humbleness."

But he has it too. He's dressed in country clothes – a checked shirt and a nondescript jacket – and, unlike most writers, he has an outdoors complexion; a lived-in face. But what's most noticeable is his sense of humour. It's a lovely, gentle thing; he pokes fun at me, at himself; and when I listen back to the tape, I realise something more shocking still: he doesn't just laugh, and on occasion guffaw, he actually giggles. Sam Shepard is a giggler.

The private, difficult Sam Shepard is nowhere to be seen. Or at least not for a good three hours of tea drinking and conversation that is remarkably relaxed. The restaurant, an unpretentious place he's chosen, is deserted when we arrive. It gradually fills with the pre-theatre dinner crowd, becomes loud and noisy, and has started  to empty again by the time I finally blow it and ask a question too far. Nice, easy Sam vanishes instantly, replaced in a second by cautious, wary Sam. "Oh, he's a very charming guy," Patti Smith tells me. "Very compassionate and thoughtful about other people's feelings. But he's not one for bullshit either."

But then I ought to know something of the idea of two Sam Shepards, existing side by side, because it's how he wrote himself in his most famous play, True West: as two warring brothers, Austin the Hollywood screenwriter, and Lee the desert drifter, two sides of the same Sam Shepard coin, intellect versus instinct locked in an eternal battle for supremacy.

Perhaps the most astonishing thing of all about Shepard's talent is the sheer range of it. He's risen to the top of his field in almost everything he's tried his hand at, but, despite all the diversions, the acting and the directing and the music playing, he is, at heart, a writer. Who simply can't stop writing. Not one but two of his plays are currently playing in New York – Ages of the Moon, a new work, and A Lie of the Mind, a modish revival directed by Ethan Hawke. On top of which, a new collection of short stories, Day Out of Days, has just been published. It's the kind of success that most writers would maim and kill for, although it's largely beside the point, says Shepard.

"The funny thing about having all this so-called success is that behind it is a certain horrible emptiness. All this stuff is happening. And yet it is not what you are after as a writer. Even though they are relatively successful. Ages of the Moon has sold out, the book is doing well, and yet it's not The Thing. And then you're left... there's this feeling... what is it, then? And, I guess, it's the writing itself which is important."

His sheer output is evidence of Shepard's drive to write. He burst on to the off-off-Broadway scene in 1964, writing in his off-duty hours from waiting tables in the Village, enthralling his audience with his exotic tales of the badlands way out west, puncturing the greatest American myths, and he hasn't stopped writing since. It's the process, I say, not the results, that makes you happy?

"Yeah, yeah, yeah. Although happy isn't the exact word. It makes you feel that you're not useless. That you're at least putting your hand in. I think without writing I would feel completely useless."

These days he seems to have it all: as much professional success as he can handle, a long and steadfast relationship, three children, the ranch in Kentucky and bolt holes in New York and New Mexico. And, in some ways, he's the American dream personified: he was born Samuel Shepard Rogers in Fort Sheridan, Illinois, the son of a second world war bomber pilot. As a child he was "Steve Rogers" but after a short stint at college studying animal husbandry he lit off across America, finally landing in New York, where he emerged as "Sam Shepard". His life is the ultimate act of self-creation; he came from nowhere, was little-read and poorly educated, and he turned himself into one of America's leading literary lights.

"And yet still feel so unfulfilled?" he says, and ponders on it for a moment or two. But then anyone with even the slenderest acquaintance with Shepard's work knows that "the American dream" is to be treated with circumspection; in Shepard's universe it's a false concept to be blown wide apart and splattered across all surfaces.

"The great thing for me, now, is that writing has become more and more interesting. Not just as a craft but as a way into things that are not described. It's a thing of discovering. That's when writing is really working. You're on the trail of something and you don't quite know what it is."

He writes on a manual typewriter, and refuses to so much as look at the internet. "I have a cellphone but I have no Google, I have no gaggle."

Really? But everything you've ever wondered, ever, is out there, I say.

"No, no, no! The things that I wonder about most are not on the internet, I promise you that."

He's still, even after all these years, he says, an outsider. "I'm inhabiting a life I'm not supposed to be in... and at certain times in my life I have felt a wrongness. And not a moral wrongness but a sense that this isn't what I was born to be doing." The writers who he responds most to are those who seem to share a sense of "aloneness", and "writing is almost a response to that aloneness which can't be answered in any other way".

For Shepard, the heart of this, seemingly, and a recurring theme in his work, is bound up with the relationship he had with his alcoholic, abusive father. It's there in True West, Fool for Love, Curse of the Starving Class, Buried Child and A Lie of the Mind, and even now, at the age of 66, it troubles him still. In Fool for Love, written almost three decades ago, the main character is haunted by the chilling possibility that he is turning into his father. Back then it was a fear; now, he says, it has become a fact.

"You think about it, you talk about it, analyse it, and then all of a sudden you have become the thing that you were most vehement against. It's very Greek. They invented this shit. Or at least gave it a name."

He's been sober, he says, since the drink-driving incident a year ago. "And prior to that I was sober for four years and then I relapsed. It's a constant struggle. It's such a knucklehead disease because you refuse to see it. It wasn't until the 90s that I actually started going to AA and made a real compact with myself to quit. And I did quit for four years. And then I picked it up again. It's like being a junkie. I think I have that sort of thing in my blood, in my psyche. I can become addicted very easily, although the curious thing is that I have two sisters who are not. So I don't know. Maybe it's just a toss of the dice."

It's the sort of thing a Sam Shepard character might say. In the new book, Day Out of Days, characters wander through the pages, lost within their own lives (one of the most memorable features a man trapped in a public toilet who is literally driven mad when he's forced to listen to Shania Twain on an endless loop). They struggle for personal agency or a sense that they're in control of their own lives.

"And they never are," he says. "That's the one thing about being an author as opposed to being in one's life is that you have the illusion that you can bring some form to it. Which is the beautiful part of it. You don't feel that you are so much in chaos. I don't know what it would be like if I didn't have some form, short stories or plays or whatever."

He feels "blessed", he says, to have discovered writing. "It fulfils something in me that I don't know how I'd serve otherwise." His father was a bright man, the winner of a Fulbright scholarship, a fluent speaker of Spanish, but he never found that outlet. Or at least the outlet he found was drink. He struggled with the return to civilian life after the war, moving his family from airbase to airbase, training as a Spanish teacher, until he was sacked for drinking, and then moving the family to Duarte, California, where he attempted to farm, his drinking increasing year by year. "The alcohol just completely deranged him," says Shepard.

Roxanne, his younger sister, told People magazine back in the 80s: "There was always this kind of facing off between them [Shepard and his father], and it was Sam who got the bad end of that. Dad was a tricky character because he was a charismatic guy when he wanted to be. And at the other side he was like a snapping turtle. With him and Sam it was that male thing. You put two virile men in a room and they're going to test each other."

It's this quality, of a simmering, barely controlled violence that disrupts and distorts all of Shepard's families, that is at the heart of much of his best work. In Shepard's world, romantic love as the meeting of two souls and the family as the nurturing heart of American life are nothing but delusions. "They're wonderful retreats from the illusion of being protected from spinning off the planet. But I don't believe it. And I never did."

So you didn't celebrate Valentine's Day then?

"Oh yes. We just did. I bought her a couple of bottles of wine. I don't drink."

It's not the most romantic gift, I say.

"They were two really good bottles of wine. Really good ones. Oh, and a tape measure. Because she was putting up a painting."

Love in Shepard's universe is never straightforward, never wholly life-enhancing; it's life-destroying, too, a struggle for power or control; a curse as well as a blessing. He and Lange have survived but the relationship was "tumultuous" from the outset. "I mean, we have long periods of relative calm. But then you know..."

But you've always seemed like such an incredible match.

"Yeah, well, we're definitely an incredible match. But, you know, not without fireworks... although at this point, you know, she's the only woman I could live with. Who could live with me! What other woman would put up with me?"

She is, he says, the most honest person he's ever met. "I've never known her, ever, to lie about anything. And I couldn't say that about..."

Yourself?

"About myself. About anybody. Men lie all the time."

Really?

"You don't know that?" he says and raises his eyebrows. "Whereas Jessica has this absolute honesty. I think it's a direct quality of the midwest, of that background that she's from."

While the children were growing up, that's where they lived, in Jessica's hometown in Minnesota, down the road from her mother (and with Jessica's daughter from her relationship with Mikhail Baryshnikov, Shura). It's the equivalent, today, of Brad and Angelina deciding to settle in a suburb of Wisconsin. But then, although Shepard and Lange have both appeared in movies, and been nominated for Oscars – Shepard, one; Lange, six (and she's won two) – they've always refused to be movie stars.

There's a couple of great quotes from Jessica about you, I say.

"Is there? My God. What? Actually, no. Just give me the good ones."

She said: "No man I've ever met compares to Sam in terms of maleness."

"Well, that's a double-edged sword."

Really? I took it as a compliment.

"This morning she had a conversation with me about France, because she was in Paris in the 70s, about the gay scene in Paris, which she was very enchanted with. She was talking about a couple of incidents, and at the end of it I said: 'Well, that's very charming.' And so I think she now thinks I'm a homophobe because she said: 'Asshole!' and stormed out of the room. I thought, 'Oh my God, well obviously I'm not sophisticated enough to talk about the gay 70s in Paris.'"

He was married once before, to another actress, O-Lan Jones. She was 19 at the time, he was 26. Their son, Jesse, was born shortly after the wedding, and then Shepard met Patti Smith. The attraction was instantaneous, as was their affair, an intense, full-throttle romance, conducted mostly at the Chelsea Hotel. It was Shepard who encouraged Patti Smith to become a performer. "She already had this incantatory, lyrical, chanting way of talking, all she needed was a little shove. She was inhibited by not knowing guitar. I said: 'Guitar is just a back-up for your voice. You're not going to be Jeff Beck, don't worry about it. Just learn these chords and you'll be able to back yourself up.' And then it turned out she has this extraordinary voice too."

Reading about the Jones-Shepard-Smith triangle, it all seems very 60s somehow, an amicable bohemian ménage à trois. When I speak to Patti Smith, though, she puts me straight: "It was the early 70s. And it wasn't that amicable."

Shepard had decided to return to his wife and baby. "And it was painful," says Smith. "We knew it was going to end and we were in a room at the Chelsea Hotel. And instead of sitting around and moping, Sam said: 'Let's write a play.' And I said: 'I don't know how to write a play.' And he said: 'I'll be one character, and you can be the other.' And we just sat up all night, him writing a line and then pushing the typewriter across the table to me, and then I'd write a line."

The result was Cowboy Mouth, which opened at the American Place Theatre with Sam Shepard and Patti Smith playing themselves, in a double bill with Shepard's play Back Bog Beast Bait in which O-Lan played a character based on Patti. It was too much, and without warning, Shepard quit, and fled with O-Lan and Jesse to London.

There are so many of these ruptures in the story of your life, I say to Shepard. You're doing one thing and then suddenly you're doing something else.

"I know. I don't why it had to be so traumatic. It very definitely felt like these were earthquakes when they happened. They're terrible and yet on the other side of the coin they're ecstatic. Like when I met Jessie. It was terrible leaving my oldest boy at that time. He was 13, which is a really hard age. And, in one way, I can't forgive myself for that. And, in another way, I'm glad of the life that I've had with Jessie. What's the trade-off? It's always felt like that. The other thing that's kind of amazed me is that I've had absolutely no qualms about setting off into unknown territory. I've never been afraid to just start something new."

It was on the set of the film Frances that he met Lange. I tell him that one critic I read claimed that after meeting Jessica his depiction of male-female relationships became more complex and interesting. He says that you started writing meatier parts for women.

"Hmm. I guess that's true. Fool for Love came out of my relationship with Jessica and that's pretty powerful."

Fool for Love features a tumultuous relationship between two characters, Eddie and May, who both attract and repulse each other. And who, it turns out, are half-brother and sister.

I was looking at photographs of you and Jessica next to each other and I was struck by how similar you look, I say.

"We do, kinda."

Is the theme of incest in Fool for Love in some way borne out of that?

"I'm sure there's something about that. I'm sure when you're looking for someone, you're looking for some aspect of yourself, even if you don't know it... What we're searching for is what we lack. You lack something and your hope is that it'll be fulfilled by who you find."

His relationship with his father has had such a profound effect upon his life, his work, it's inevitable that he must have reflected upon his own effect upon his children, Jesse, 39, Hannah, 24, and Samuel Walker, 22.

He hesitates when he replies. "I would like to think... you can never determine how you are going to influence someone, particularly your children. I mean, they are all musicians in some way or another, so I feel as though... I think that's a result... And my daughter is also a really good writer. Really good."

The thing about your children compared to you, I say, is that they had a very stable...

"Stable?"

Oh, is that the wrong word?

"Well, relatively stable."

They haven't had the childhood that you had...

"They haven't had an abusive childhood. On the other hand, they have a different set of problems."

Having a father who is very successful..."

"And a mother," he says. "Yeah. There's a lot of stigmas. My youngest boy is very, very shy. He doesn't want anything to do with celebrity. And my daughter, she's not crazy about it. None of them covet fame."

He shies away from speaking about his sons but he seems happy enough to talk about Hannah, his daughter, currently studying for a PhD at the University of Galway.

"I never thought about having a daughter and then I had a daughter and it was a remarkable thing. It was very different from having a son and your response to it. With a son, it's much more complex. And it's probably because of my stuff in the past. With a daughter, I was surprised at how simple it is."

It's to her, he says, that he intends to leave his notebooks, "because she's the one who's asked for them."

He's obsessed with his notebooks, he says; they travel with him wherever he goes, "like gremlins". And he fishes his current one out of his coat and shows it to me. On the inside back cover he's written the places it's been to with him over the year – Sicily, Kentucky, New Mexico – and then he flicks through the pages and says, "Look at this! Look at these drawings." And he shows me some stick men, riding the sort of horses I drew aged eight. "You know, I was sitting in the University of Texas where they have the original manuscript of Watt by Mr Beckett and it was amazing because there were all these drawings on them, so I sat there one afternoon and copied them!"

It's almost as if Sam Shepard has spent his life circling around Samuel Beckett. It was discovering his plays as a young man that first inspired him to write, and Patti Smith says that in those days he never went anywhere without a copy of one or other of his plays on him. "Of course, now he's read everything. He's always discovering something new, whether it's Japanese death poetry or some new Venezuelan writer or whatever."

Not meeting Beckett is his greatest regret, he says. "My greatest literary regret."

Do you think you're starting to look like him, I say, tongue-in-cheek, although there's an element of truth to it; he's still recognisable from his cinematic glory days but his face is craggier now, crisscrossed with experience. He guffaws, enjoying the joke.

"No! It'd be flattering if I did but I think my features are a little bit more savage."

Themes of regret and remorse, of time passing and humans ageing have started to creep into his work. "I don't believe people who say, 'I have no regrets'. How can you not have regrets?"

Death, he says, changes all perspectives. When I ask him how old his father was when he died, he replies immediately. "A year older than I am. He was 67."

Does that weigh on you?

"I think about it. But it doesn't weigh on me because of the way in which he died." His father was run down by a car while drunk. "So I don't worry about it that way. I don't worry about the way I'm going to die...

But do you think about death?

"Yeah. There's not a day goes by. But that has always been the case. We're all haunted by it in one way or another. And it's the easiest thing in the world to push it away, you just get a cappuccino. But, yes, you're haunted by it in a different way [as you get older]. I feel its presence. I feel it in sleep, in dreams, in waking. Particularly in the morning."

Do you think about the things that you would lose?

"No. You feel that you're diminishing in some way. You feel that your senses are diminishing. I don't see as well. I'm not as quick as I used to be. Things like that. Knock on wood, I'm not sick. I don't how people deal with that... I mean life is tough enough. And now you're going to die! Wow!"

In Ages of the Moon his central character, Ames, has been unfaithful to his wife. "She discovers this note, this note from this girl, which to this day I cannot for the life of me remember," says Ames. "Some girl I would never in a million years have ever returned to for even a minor blow job."

"Minor?" asks his friend, Byron.

In his earliest plays, Patti Smith says, his characters had to act. "They had to do something, kick a door down or whatever. Now they tend to be more introspective. They're more likely to examine what they're doing and why."

And Shepard too. His life is in his plays, he's always said that. And so I ask him. About Ames's infidelities. About whether that's been a source of regret for him too.

"I'm not going to talk about that. You're not going to sucker me into that one! When did you think I was born?"

Oh dear. It's a classic interview mistake: the question too far. He's amicable enough, and we carry on for five or so more minutes, but I've got the other Sam. He looks the same but I can tell he's scanning the horizon for an escape route; it's Sam Shepard, the cowboy, the character in all his plays; the desert drifter, shifty, cautious, suspicious of strangers. The giggles are over. And then he's gone, with the briefest of handshakes and a rush to the door. It's not an entirely inappropriate ending. Shepard's world is a place of blundering people and blundered words; where plots are never neatly tied up and truths are only ever hinted at, never fully revealed, least of all to the characters themselves.

Day Out of Days is published by Knopf

• Sam Shepard
• Fiction
• Theatre

Carole Cadwalladrguardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

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Attention baseball fans, the date that is no doubt etched in your brain — the start of the 2010 Major League Baseball Season — is fast approaching. To get you ready for April 4 (when the Boston Red Sox will take on the reigning World Series champion New York Yankees at Fenway Park) we’re pitching you five handpicked iPhone apps that will hit a home run with baseball fans.

If you are partial to America’s national sport — and let’s face it, it’s almost unpatriotic not to be — then these apps are an absolute must for your iPhone or iPod touch. However, in case we’ve struck out and missed any of your faves, then do let us know in the comments below.

1. MLB at Bat 2010

Although criticized for its $15 price tag, MLB’s official iPhone app is a great all-rounder for fans, and an even better option for fans that have a paid-up for MLB.TV because, with portable access to your MLB.TV account, you can watch live streaming games on the go. As with last season’s offering, anyone can use the app to listen live to games, as well as get a virtual idea of what’s happening at the park with MLB’s blow-by-blow Gameday updates.

The app also offers scores and stats, as well as some in-game highlights and a video library that’s searchable by both player and team. If you really can’t stretch to that $15, then a free “lite” version (MLB.com At Bat Lite) offers real-time MLB scores, schedules, news and standings — but no audio or video — that will keep you informed through to the end of 2010 World Series.

Cost: $14.99

2. FanGraphs Baseball

If you’re the type of fan that can rattle off ground ball to fly ball ratios and stolen base percentages like Rain Man reciting phone numbers, then quite simply you will love this app. Claiming to offer the most detailed player statistics available on an iPhone app, FanGraphs will let you look back and analyze every major player in baseball history, as well as look forward with live win probability graphs based on game data for the 2010 season.

Favorite players can be tracked with full, live box scores that link through to past stats, every play can be analyzed to see how it impacts the game, and there’s even up-to-date advanced fielding metrics via FanGraph’s “Ultimate Zone Ratings.”

Cost: $2.99

3. Ballpark Envi

It could be argued that the stadium is as much a character in baseball as the opposing teams or the crowd. A celebration of the nation’s ballparks is offered in one neat little app — Ballpark Envi — spanning baseball’s geography as well as its history from Shibe Park to the new Yankee Stadium. Browsable by team, or by American and National League, every current Major League baseball stadium is detailed with stadium pics and slide shows, seating charts (super useful for booking tickets) as well as the ability to see the park’s location on a map.

Whether you want to glimpse Dodger Stadium’s wavy roofs on the outfield pavilions or the orange foul poles of the Mets’ new Citi Field this app will give you an insider glimpse of America’s amazing ballparks with all their quirks and characteristics.

Cost: $0.99

4. iScore Baseball Scorekeeper

If you consider a baseball scorebook will set you back $5 at the absolute minimum (and more if you buy it at the park) then the $10 price tag for this app does not seem quite so steep. There are a dearth of 99 cent alternatives available in the App Store, but for looks and an intuitive interface (the app works on an “interview” premise asking you for all the data it needs to build a complete picture of the game) the iScore Baseball Scorekeeper is the champ.

As well as appealing to those hardcore fans that like to sit and score every game, this is also a good option for those new to baseball scorekeeping – you don’t have to learn all the abbreviations and symbols and iScore offers a full set of tutorial videos to get you using the app like a pro.

Cost: $9.99

5. Baseball FanMisery.com Index Apps

If you want to keep your favorite Major League Baseball team in your pocket then FanMisery.com offers an Index App for each and every MLB team. Working on the basis that being a fan is in fact misery (the agony of defeat and all that jazz) the apps make sure you are kept as absolutely up-to-date as possible with a comprehensive set of stats, opinions and news drawn from national and local papers, broadcast media and blogs.

One nice touch is that if a blog or news source you follow isn’t currently included in the indexing, the developer (Discover Motion) will add it in for you on request — just the kind of helpful option that warms the cockles of an iPhone owner’s heart.

Cost: $2.99 each

More iPhone resources from Mashable:

- 10 Essential iPhone Apps for Runners
- 10 Best iPhone Apps for Dog Lovers
- Top 10 iPhone Apps as Judged by Mashable Readers
- 10 Fun iPhone Apps for Beer Lovers
- Mashable’s New iPhone App: Download Today!

Image courtesy of iStockphoto, spxChrome

Tags: Baseball, iphone, iphone apps, Lists, sports

John Gilmore keynote – What do we do next, having produced a free software system for our computers? Perhaps we should aim at Windows? Wine + an extended ndiswrapper to run other hardware drivers + a better system administration interface/resources/manuals. However that means knowing a lot about windows internals – something that open source developers don’t seem to want to do. We shouldn’t just carry on tweaking – its not inspiring; whats our stretch goal? Discussion followed – reactos, continue integrating software and people with a goal of achieving really close integration: software as human rights issue! ‘Desktop paradigm needs to be replaced’ : need to move away from a document based desktop to a device based desktop. Concern about the goal of running binary drivers for hardware: encourages manufacturers to sell hardware w/out specs; we shouldn’t encourage the idea that that is ok. Lots of concern about cloning, lots of concern about what will bring more freedom to users, and what it will take to have a compelling vision to inspire 50000 free software hackers. Free software in cars – lots of safety issues in .e.g brake controllers, accelerators.

Eben Moglen – ‘We’re at the inflection point of free software’ – because any large scale global projects these days are not feasible without free software. Claims that doing something that scales from tiny to huge environment requires ‘us’ — A claim I would (sadly) dispute. Lots of incoming and remaining challenges. ‘Entirely clear that the patent systems relationship to technology is pathological and dangerous’ – that I agree with! Patent muggings are a problem – patent holders are unhappy with patents granted to other people . Patent pools are helping slowly as they grow. Companies which don’t care about the freedom aspect of GPLv3 are adopting it because of the patent protection aspects. Patent system is at the head of the list of causes-of-bad-things affecting free software. SFLC is building coalitions outside the core community to protect the interests of the free software community. We are starting to be taken for granted at the high end of mgmt in companies that build on free software. … We face a problem in the erosion of privacy. We need to build a stack, running on commodity hardware that runs federated services rather than folk needing centralised services.

Marina Zhurakhinskaya on GNOME Shell: Integrates old and new ideas in an overall comprehensive design. Marina ran through the various goals of the shell – growing with users, being delightful, starting simply so new users are not overwhelmed. The activities screen looks pretty nice The workspace rearrangement UI is really good. The notifications thing is interesting; you can respond to a chat message in-line in the notification.

Richard Stallman on Software as a Service – he presented verbally the case made in the paper. Some key quotes… “All your data on a server is equivalent to total spyware” – I think this is a worst-case analogy; it suggests that you can never trust another party: kindof a sad state of paranoia to assume that all network servers are always out to get you all the time. And I have to ask – should we get rid of Savannah then (because all the data is stored there) – the argument for why Savannah is not SaaS is not convincing: its just file storage, so what makes it different to e.g. Ubuntu One? “If there is a server and only a little bit of it is SaaS, perhaps just say don’t worry about it – because that little bit is often the hardest bit to replace.”  ”Lets write systems for collaborative word process that don’t involve a central server” — abiword w/the sharing plugin ? RMS seems to be claiming that someone else sysadmining a server for you is better than someone else sysadmining a time-shared server for you: I don’t actually see the difference, unless you’re also asserting that you’ll always have root over your’ own machine’. The argument seems very fuzzy and unclear to me as to why there is really a greater risk – in particular when there is a commercial relationship with the operator (as opposed to, say, an advertising supported relationship).

Making little notebooks has an endless supply of uses, whether it be for multi-page greeting cards or small scrapbooks. Here's how to bind the pages together without the need for staples, clips, tape, or glue, courtesy of DIY weblog Instructables. More »

Making little notebooks has an endless supply of uses, whether it be for multi-page greeting cards or small scrapbooks. Here's how to bind the pages together without the need for staples, clips, tape, or glue, courtesy of DIY weblog Instructables. More »

Un triste samedi soir, j'avais renoncé à aller draguer au Macumba, la discothèque technoïde du coin. Je commençais à me faire un peu trop mûre pour ce genre de divertissement calibré. De plus, les fringues en lycra bouloché et l'ombre à paupières mauve n'avaient jamais vraiment mis en valeur mon genre de beauté.

Le visage nu, je me trouvais donc dans mon salon en compagnie du berger allemand familial et de Norbert, mon meilleur (et seul) ami. Afin de satisfaire aux exigences culturelles de nos connaissances bobos – et parce qu'après tout, un peu de vernis intellectuel n'a jamais nui – nous jetions un Å“il distrait sur Arte. Un cookie à la main, je m'immobilisai.

- Regarde, c'est Jarvis Cocker... Le chanteur de Pulp.

J'avais élevé la voix tout en apportant cette précision. Mon berger allemand frémit des oreilles. Il avait quelques poils blancs sur le museau.

- Tu ne veux pas regarder la rediff de Federer fessant Monfils plutôt ? Je ne vois pas quel intérêt tu trouves à cette popstar un peu passée.

- Oh, ta gueule, grognai-je.

Il y a bien longtemps que je ne donne plus le meilleur de moi-même avec mon vieil ami. Sur la forme pourtant, Norbert n'avait pas tort. Car Jarvis appartenait de toute évidence à la caste des anti-héros. Un archétype de l'intellectuel, pourvu d'une distinction très victorienne et d'une plume acérée, égaré dans une ère où les bons sentiments, la négligence vestimentaire et le laxisme lexical prédominent. Bref, un type qui n'avait pour lui que sa nationalité, car seule l'Angleterre pouvait l'apprécier à sa juste valeur.

- C'est bizarre comme le cercle se referme, poursuivis-je. Jarvis a retrouvé aujourd'hui son inspiration parfois défaillante des années 80. Bon, il a de beaux restes quand même.

- La situation était quand même plus prometteuse pour Pulp il y a vingt-cinq ans, s'entendit renchérir Norbert, alors que son être tout entier réclamait une balle jaune et des hommes en short.

- Certes oui, mais leurs premières années étaient assez... inégales. Oh, il y avait bien quelques belles saillies dans la veine de Little Girl (With blue eyes). Très belle mélodie.

J'ai fredonné. Little Girl (With blue eyes), There's a hole in your heart, And one between your legs, You've never had to wonder, Which one he's going to fill...

- Un peu cru pour être martelé sur les ondes, commenta Norbert.

- Oui, c'est ce qui fait tout le charme des chansons de Pulp : des vérités malsaines, des détails que l'on aurait aimé avoir oubliés, énoncés d'une voix de crooner sur des airs imparables.

Norbert médita cette phrase, tandis que je me rengorgeai en silence.

- Toujours est-il qu'ils ont dû attendre le milieu des années 90 pour se faire connaître.

- Ah oui, l'arrivée de la britpop...

- Je n'ai jamais compris pourquoi on avait affilié Pulp à cette scène. Outre qu'ils surpassent aisément les poids lourds du genre, leurs titres sont à la fois intemporels et anachroniques. Jarvis a quand même écrit la meilleure chanson des années 80, She's a lady, en 1994. C'est cette même année qu'il a enfin connu le succès grâce au quatrième album de son groupe, His'n'Hers. Comme si son âge ingrat avait pris fin à 31 ans.

- La vache, a sifflé Norbert en se passant la main sur ses cicatrices d'acné, qu'il avait fort nombreuses.

- Et en 95, la consécration. Avec Different class, Jarvis Cocker a réussi l'impossible : flatter les gens en se payant ouvertement leurs têtes. Des gimmicks géniaux de Bontempi l'ont bien aidé. Common people résume à elle seule tout cela. Car au-delà du portrait au vitriol d'une greluche aisée, désireuse d'expérimenter le tourisme sexuel de classe, le pékin moyen en prend aussi pour son grade. And dance, and drink, and screw, because there's nothing else to do... Tu parles d'un programme. Je préfère encore me taper la soirée Schlagermusik de la ZDF.

- Pas moi, grogna Norbert en se remémorant la blonde saoule qui l'avait allumé au Macumba la semaine passée.

- Cela dit, en dehors de ses évidentes qualités, Common people a le défaut d'éclipser ses consoeurs, qui sont bien souvent tout aussi formidables. Car Jarvis a une conception théâtrale, parfois même outrée, de ses chansons. Mais peu importe. Qu'il se glisse dans la peau d'un vicelard revanchard durant I spy, ou dans celle d'un adolescent frustré lors de Disco 2000, on ne peut s'empêcher d'y croire. Cela parait tout de même assez incongru d'imaginer ce type et ses belles fringues de dandy, perdu au milieu de la décennie la plus criminelle de la mode, en boutonneux aux hormones, amoureux de la plus jolie pimbêche du lycée. Et pourtant, cela fonctionne à merveille ! On se le représente, pathétique, seul dans une chambre à la tapisseries 70's marron et jaune, en train de griffonner les déclarations d'amour qu'il remettra à sa douce lorsqu'il sera enfin beau. En l'an 2000...

- Si je comprends bien, Jarvis pouvait tout se permettre.

- Oui, même une ballade imparable, à faire rougir tous les parasites de feu de camp, qui officient guitare sèche à la main les soirs d'été. Ah ça, avec Something changed, il a vraiment choisi l'offensive. Violons, textes sucrés, mélodie aérienne. On en oublierait presque l'obsédé tourmenté de F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E. – une bizarrerie d'une intensité saisissante -, l'amant insistant de Pencil Skirt, présent jusqu'au harcèlement.

J'ai levé les yeux. Federer venait de gagner le deuxième set haut la main. Norbert s'étira.

- Et bien, soupira-t-il, je vais avoir de quoi tenir la conversation, la prochaine fois que j'irai dîner bio dans le loft rénové de Julie et Stéphane.

- Ah, pas de chance. Ils viennent juste de pondre un môme qu'ils ont affublé d'un blase impossible. Gontran, un truc comme ça. Cons de bobos. Toujours à vouloir se singulariser. Tiens, en parlant de ça, tu ne veux pas savoir pourquoi Mis-Shapes s'adresse à nous ?