IN: Tom Jenkinson grew up in Chelmsford, Essex. The first school he attended was affiliated with Chelmsford Cathedral giving him exposure to organ music, which he has subsequently acknowledged as an influence on his work. He took an interest in music very early in life, and simultaneously became interested in music reproduction equipment. Much of his early experience of music was from scanning through various radio stations for anything that caught his ear irrespective of style or genre, and he was also fascinated by radio static and amplitude modulation artefacts on the Short Wave band.

Using the same equipment from the sessions that produced the majority of Feed Me Weird Things Tom now set about working on the material for his first album for Warp. His broad conception for this record was "to push away from the jazz influence that was being felt at the time to a more soundtrack-type of sound". According to Tom he was listening to, amongst other things, early Lalo Schifrin and the "Deathwish" soundtrack by Herbie Hancock around this time. That said, the album also contains some abrupt diversions into quite different musical territory, evidenced in what Tom calls the "Industrial Psychedelia" of "Chin Hippy" and "Rustic Raver". Tom's electric bass work becomes very apparent on this record. He states that he was "still battling with the influence of Pastorius." He wanted to "make the styles interrogate each other, such that one track would question the premises of another and vice versa. As such I suppose it might indicate tentativeness, but in my mind at the time I liked the idea of bringing musical assumptions into question by smashing stylistically divergent elements into each other". In this he follows a precedent set by Frank Zappa, whom Tom claims is "always hovering in the background" for him. The sleeve artwork was generated from a set of images taken by Tom wandering about Chelmsford town centre. The front cover image is based on a view of the Gasometers situated at Wharf Road, near where he lived as a teenager. The 8-bit graphics reflect Tom's resurgence of interest in old video consoles and home computers at that time. This location was subsequently used in some of the press shots in the Hello Everything promotional campaign.
QUESTION: Were there any difficulties making the album?
IN: The British Band was a mixed-nation group of Native Americans commanded by the Sauk leader Black Hawk, which fought against Illinois and Michigan Territory militias during the 1832 Black Hawk War. The band was composed of about 1,500 men, women, and children from the Sauk, Meskwaki, Fox, Kickapoo, Potawatomi, Ho-Chunk, and Ottawa nations; about 500 of that number were warriors. Black Hawk had an alliance with the British that dated from the War of 1812, giving them their colloquial name. The band crossed the Mississippi River from Iowa into Illinois in an attempt to reclaim their homeland and in violation of several treaties.

Despite opposition by Keokuk and the US authorities, Black Hawk's band returned to Saukenuk in 1830 following their winter hunt. A year later they returned again, and Illinois Governor John Reynolds proclaimed it an "invasion of the state." Responding to Illinois Governor John Reynolds' call, General Edmund Pendleton Gaines brought his federal troops from St. Louis, Missouri to Saukenuk to insist on Black Hawk's immediate departure. Black Hawk left but soon returned to the west side of the Mississippi, threatened by Gaines' troops and an additional 1,400 militia called up by Reynolds on 25 June 1831. On 30 June, Black Hawk and the chiefs of the British Band were forced to sign a surrender agreement in which they promised to remain west of the Mississippi. At the end of 1831, stories spread throughout the settlements of the Upper Mississippi River Valley that the British planned to aid Black Hawk in the event of a war with the white settlers. According to U.S. Indian Agent Felix St. Vrain, a known ne'er-do-well named Billy Caldwell had delivered a message to the Sauk which reported the alleged British intentions. The New Galenian of Galena reported that Black Hawk's band would receive aid and ammunition from the British, and the tale was widely believed. The militia commander at Fort Armstrong, Major John Bliss, informed General Henry Atkinson of the rumor, and said a follower of Keokuk had reported to him that Black Hawk and Neapope were holding talks with bands of Potawatomi, Kickapoo, and Ho-Chunk. The talks mentioned the promises of the British, as well as word that the French Canadians intended to assist them. These events, combined with Black Hawk's 1812 alliance with the British, and occasional visits to Canada, attributed to his 1832 band becoming known by the moniker British Band. The term British Band was used frequently by American, Sauk, and Fox observers alike and served to distinguish Black Hawk's group from the rest of the tribes.
QUESTION: What did they do as a result of the message?
IN: Robert Ervin Howard (January 22, 1906 - June 11, 1936) was an American author who wrote pulp fiction in a diverse range of genres. He is well known for his character Conan the Barbarian and is regarded as the father of the sword and sorcery subgenre. Howard was born and raised in Texas. He spent most of his life in the town of Cross Plains, with some time spent in nearby Brownwood.

Howard was born January 22, 1906 in Peaster, Texas, the only son of a traveling country physician, Dr. Isaac Mordecai Howard, and his wife, Hester Jane Ervin Howard. His early life was spent wandering through a variety of Texas cowtowns and boomtowns: Dark Valley (1906), Seminole (1908), Bronte (1909), Poteet (1910), Oran (1912), Wichita Falls (1913), Bagwell (1913), Cross Cut (1915), and Burkett (1917). During Howard's youth his parents' relationship began to break down. The Howard family had problems with money which may have been exacerbated by Isaac Howard investing in get-rich-quick schemes. Hester Howard, meanwhile, came to believe that she had married below herself. Soon the pair were actively fighting. Hester did not want Isaac to have anything to do with their son. She had a particularly strong influence on her son's intellectual growth. She had spent her early years helping a variety of sick relatives, contracting tuberculosis in the process. She instilled in her son a deep love of poetry and literature, recited verse daily and supported him unceasingly in his efforts to write. Other experiences would later seep into his prose. Although he loved reading and learning, he found school to be confining and began to hate having anyone in authority over him. Experiences watching and confronting bullies revealed the omnipresence of evil and enemies in the world, and taught him the value of physical strength and violence. Being the son of the local doctor gave Howard frequent exposure to the effects of injury and violence, due to accidents on farms and oil fields combined with the massive increase in crime that came with the oil boom. Firsthand tales of gunfights, lynchings, feuds, and Indian raids developed his distinctly Texan, hardboiled outlook on the world. Sports, especially boxing, became a passionate preoccupation. At the time, boxing was the most popular sport in the country, with a cultural influence far in excess of what it is today. James J. Jeffries, Jack Johnson, Bob Fitzsimmons, and later Jack Dempsey were the names that inspired during those years, and he grew up a lover of all contests of violent, masculine struggle.
QUESTION:
How was his upbringing?