Viva Brighton Issue #45 November 2016
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vivabrighton<br />
<strong>Issue</strong> 45. <strong>November</strong> <strong>2016</strong><br />
EDITORIAL<br />
.............................................................................<br />
Is shopping addiction a real thing? This issue,<br />
dedicated as it is to all things shopping, gave rise to<br />
a debate on the subject in the <strong>Viva</strong> office. I think it<br />
is, but our deputy editor, Steve, harrumphed at the<br />
idea. A quick search throws up the term ‘oniomania’,<br />
describing ‘the compulsion to spend money,<br />
regardless of need or financial means’. One suspects<br />
that <strong>Brighton</strong> is to oniomaniacs what Las Vegas is<br />
to compulsive gamblers. Irresistible.<br />
I’m not sure I’m quite a card-carrying oniomaniac yet, but it’s true that I need very<br />
little encouragement to go shopping. I blame growing up in this city, where your<br />
every material desire is laid out in carefully curated displays by independent traders<br />
who have elevated shopkeeping to an art form. If we are, as the saying goes, a nation<br />
of shopkeepers, then isn’t it my patriotic duty?<br />
That, then, is the theme of this issue: retail as a creative trade, a serious craft, and<br />
perhaps even an art. Something which, in a city that does it so well, is well worth<br />
thinking about, writing about, and of course, doing. In moderation, though, please.<br />
THE TEAM<br />
.....................<br />
EDITOR: Lizzie Lower lizzie@vivamagazines.com<br />
DEPUTY EDITOR: Steve Ramsey steve@vivamagazines.com<br />
WRITER/ACTING ART DIRECTOR: Rebecca Cunningham rebecca@vivamagazines.com<br />
PHOTOGRAPHER AT LARGE: Adam Bronkhorst, mail@adambronkhorst.com<br />
ADVERTISING: Anya Zervudachi anya@vivamagazines.com, Hilary Maguire hilary@vivamagazines.com,<br />
Nick Metcalf nickmetcalf@vivamagazines.com<br />
CONTRIBUTORS: Alex Leith, Alexandra Loske, Amy Holtz, Andrew Darling, Ben Bailey, Cara Courage,<br />
Chloë King, Di Coke, JJ Waller, Jay Collins, Joda, Joe Decie, John Helmer, Julia Zaltzman,<br />
Lisa Devlin, Lizzie Enfield, Martin Skelton, Nione Meakin and Norman Baker<br />
<strong>Viva</strong> <strong>Brighton</strong> is based at <strong>Brighton</strong> Junction, 1A Isetta Square, BN1 4GQ<br />
For advertising enquiries call 07596 337 828. Other enquiries call 01273 810 259<br />
Every care has been taken to ensure the accuracy of our content. We cannot be held responsible for any omissions, errors or alterations.
CONTENTS<br />
...............................<br />
Bits and bobs.<br />
8-25. The lowdown on our cover, and<br />
how to ‘blip’ it. Plus Joe Decie on niche<br />
shopping in North Laine, an ernest<br />
magazine recommendation, and a toilet<br />
graffito so good that it’s worth mentioning<br />
in Contents.<br />
45<br />
Photography.<br />
27-31. Hip young cameraslinger Ian<br />
Dickson, on photographing the original<br />
punk scene.<br />
My <strong>Brighton</strong>.<br />
32-33. Cricket-loving ex-RAF man Bert<br />
Williams MBE, best known for uncovering<br />
<strong>Brighton</strong>’s wealth of black history,<br />
and spreading the word about it.<br />
27<br />
Columns.<br />
35-39. Amy Holtz’s problem is Minnesota<br />
Nice, John Helmer’s is unruly hair, and<br />
Lizzie Enfield’s is a ‘spate’ of breakfastfood-related<br />
crimes.<br />
32<br />
On this month.<br />
41-55. A ‘professional loser’ in Antarctica,<br />
17th-century medicine, Paddy Ashdown,<br />
witches, beatboxing, Ladybird books for<br />
adults, and more.<br />
....5 ....
CONTENTS (CONT)<br />
...............................<br />
Art, design and making.<br />
56-69. Lisa Holdcroft tells us about<br />
documenting, with her sketchpad, the<br />
construction of the i360. Plus a high-end<br />
lingerie designer, a fun-but-dull-todescribe<br />
craft lesson, and our new localart-scene<br />
round-up.<br />
80<br />
The way we work.<br />
71-75. It’s easy to forget how visually<br />
interesting corner-shops are: Adam<br />
Bronkhorst’s portraits this month are a<br />
reminder.<br />
Food and drink.<br />
77-85. We boldly order from a restaurant<br />
menu we can’t understand, wade<br />
into the chorizo-paella debate, try some<br />
algorithm-tailored coffee, and learn three<br />
intricate tapas recipes.<br />
88<br />
56<br />
Features.<br />
86-97. We discover how a chance incident<br />
led to the founding of GAK, what<br />
the Open Market was like in the days of<br />
rationing, and the importance of watercooler<br />
conflict resolution. Plus the<br />
stories of three iconic <strong>Brighton</strong> shops,<br />
past (Hanningtons), present (Snoopers<br />
Paradise) and future (John Lewis).<br />
Inside Left.<br />
98. British Home Stores’ Western Road<br />
branch, in happier times.<br />
....6 ....
Christmas<br />
at Middle Farm<br />
Aromatic English-grown Christmas<br />
trees, locally-made hedgerow<br />
wreaths. Original gift ideas and<br />
delightful decorations.<br />
Middle Farm, Firle, Lewes, East Sussex BN8 6LJ<br />
Christmas order line 01323 811411<br />
info@middlefarm.com www.middlefarm.com
THIS MONTH’S COVER ART<br />
..................................................<br />
....8 ....
SHERLOCK STUDIO<br />
..........................................<br />
This month, the image you see on the front of<br />
your <strong>Viva</strong> is only one element of our cover. If<br />
you’ve used the augmented-reality app Blippar<br />
before, you’ll have recognised the ‘blip me’ logo<br />
and you’ll probably already have blipped away to<br />
discover our trail of exclusive special offers, from<br />
12 hand-picked independent retailers across the<br />
city. If not, turn to pg 10 to find out more.<br />
The interactive cover was the idea of Sherlock<br />
Studio, a retail and graphic design agency based<br />
in North Laine. Managing Director Tony Lock<br />
explains: “The beauty of it is that, in a world<br />
in which we’re seeing multinational companies<br />
gaining a greater share of retail, while the smaller<br />
shops are closing down, we’re using cuttingedge<br />
digital technology to drive business to our<br />
independent retailers. It’s a case study of how<br />
both traditional and modern retailing can co-exist<br />
peacefully and positively.”<br />
The cover design was a collaborative effort, as is<br />
often the way at Sherlock. “Nothing ever stays<br />
on one person’s desk,” Tony says, “so our work<br />
benefits from the input of multiple creative<br />
minds. At the same time, the studio’s signature<br />
style is inside everyone’s heads - which is a great<br />
point to reach in the studio. In the case of this<br />
cover, we were inspired by 60s character design<br />
and revived that flat, cut-out style, reminiscent<br />
of 60s illustration. It was exciting for the studio<br />
to work with Blippar technology and combine it<br />
with traditional illustration - it’s something we’ll<br />
inevitably see more of in future.”<br />
One of the projects they’ve recently completed is<br />
a ‘barista lab’ for Korean brand Lusso, comprising<br />
a café space, a roastery, retail areas and its<br />
own ‘theatre’ for training and demonstrations.<br />
“Retail isn’t just about selling people goods anymore,<br />
it’s about creating a customer experience.<br />
People can smell the coffee roasting when they<br />
walk in, they can see the beans, they can sit and<br />
relax and drink a cup - it’s a sensory experience.<br />
“We work with a lot of national retailers, and<br />
they want to know what trends are emerging on a<br />
local level. Being based in <strong>Brighton</strong> is a real selling<br />
point for us because we’re next to the small,<br />
grassroots businesses which are setting the trends<br />
in retail. Coffee shops are a really good reflection<br />
of that; we’ll often benchmark what’s happening<br />
in business by what’s going on in coffee shops.<br />
“As well as our retail projects, we have a growing<br />
list of children’s educational and literacy charities<br />
that we work with. Those sorts of projects,<br />
especially local ones, are really important for us,<br />
as we don’t think you can exist in North Laine<br />
without embracing the community around you.”<br />
Sherlock recently designed a pop-up creative<br />
space for <strong>Brighton</strong> & Hove charity Little Green<br />
Pig. “We usually get a lot of creative freedom on<br />
those projects, which keeps things interesting for<br />
our design team - nobody wants to work on the<br />
same thing day in, day out.”<br />
Rebecca Cunningham<br />
sherlockstudio.co.uk<br />
....9 ....
BLIPS AND BOBS<br />
...............................<br />
BLIP OUR COVER FOR READER OFFERS<br />
We’ve teamed up with 12 fab independent <strong>Brighton</strong><br />
shops to offer <strong>Viva</strong> readers some exclusive deals, including<br />
discounts, limited edition <strong>Viva</strong> tote bags…<br />
and free beer. In effect, we’ve created a ‘trail’ of<br />
some of our favourite retailers in town for you, our<br />
readers, to follow; all you have to do to get started<br />
is learn how to blip. And that’s easy.<br />
Blip? Blippar is a state-of-the-art bit of technowizardry,<br />
a ‘virtual discovery’ browser, using your<br />
smartphone’s camera to ‘recognise’ an image. It’s<br />
a bit like QR codes, but Blippar<br />
can recognise any image - in<br />
this case, the cover of the magazine. Download the app, blip that image, and a<br />
window opens on your screen, detailing exactly what’s on offer, and your <strong>Viva</strong><br />
code to show at the till.<br />
Follow the three easy steps below, then, to be able to get onto the trail, which<br />
incorporates these shops, carefully selected by <strong>Viva</strong>: Bison Beer (7 East<br />
Street), Brass Monkeys (109 Portland Road), Butlers Wine Cellar (247<br />
Queens Park Road and 88 St George’s Road), Homage (34a Bath Street),<br />
Julian Stephens Goldsmith (37 Gloucester Road), Kemptown Bookshop<br />
(91 St George’s Road), Magazine <strong>Brighton</strong> (22 Trafalgar Street),<br />
Mister Smith (23 New Road), Specky Wren (1-2 Marshals Row), Wick<br />
Candle Boutique (120 Portland Road), Wigwam (140 Preston Drove)<br />
and Workshop (13a Prince Albert Street).<br />
What are you waiting for? Get blipping, and hit the streets!<br />
Go to vivamagazines.com for more details and the terms and conditions.<br />
Download the Blippar<br />
app. It’s free, and available<br />
for Android, Windows or<br />
iPhone. Find it in your<br />
app store or on Google<br />
Play.<br />
Open the app and hold<br />
your phone up to the<br />
front cover to ‘blip’ it.<br />
Fill the screen with the<br />
cover and hold it still for a<br />
few seconds.<br />
The ‘blip’ will automatically<br />
launch,<br />
showing you the full list<br />
of offers available from<br />
independent retailers<br />
across the city.<br />
....10....
BITS AND BOBS<br />
...............................<br />
CHARITY BOX #8: RISE<br />
Rise supports anyone who’s affected<br />
by domestic abuse in<br />
<strong>Brighton</strong> and Hove, with refuge<br />
accommodation, counselling, and<br />
financial advice. We have specialised<br />
teams working with families<br />
and children, and LGBT people.<br />
Our helpline receives over 4,000 calls per year; the<br />
overwhelming majority are from women, followed by<br />
LGBT people. That number is increasing hugely - it’s<br />
gone up by 47% in a six-month period - and although<br />
we can’t say for certain why, we hope part of the reason<br />
is that people are getting more confident that if they<br />
report something, they will be listened to and believed.<br />
We’ve been asked to pilot a new scheme in <strong>Brighton</strong><br />
called ‘Ask Me’, led by Women’s Aid. We’re looking<br />
for Community Champions to come forward: a<br />
hairdresser, a tattoo artist or somebody who works with<br />
a housing association… anybody who’s<br />
involved in the local community. We’ll<br />
provide training on recognising signs<br />
of domestic abuse, how to ask questions<br />
safely and appropriately, and how to<br />
signpost victims of abuse to our services.<br />
We need to change the conversation<br />
around domestic abuse, and get rid of this idea that<br />
it’s a private affair. If we knew someone was being bullied,<br />
we’d speak out. Many survivors say people around<br />
them knew what was going on, and their silence made<br />
things worse. If you suspect a friend or family member<br />
may be in an abusive relationship you can find advice<br />
on our website. Rebecca Cunningham spoke to Naomi Bos<br />
RISE is hosting a series of events marking ‘16 Days to<br />
End Violence Against Women and Girls’ from the 25th.<br />
@riseuk / riseuk.org.uk. If you’ve been affected by domestic<br />
abuse call RISE freephone 0300 3239985.<br />
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ToppingTiesMysteriousMasks<br />
FurtiveFlasksHeavenlyHats<br />
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Workshops<br />
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Find us on facebook!<br />
Illustration by<br />
William Hanekom<br />
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BITS AND BOBS<br />
...............................<br />
JJ WALLER’S BRIGHTON<br />
“Stepping away from the identikit shopping experience of Churchill Square you can buy<br />
just about anything,” says JJ Waller. “Despite all the swanky choice, my picture for this<br />
edition ironically captures the delights of Poundworld in London Road.” We’re not sure<br />
whether this cardboard cut-out is actually for sale; we suspect, or like to believe, that it’s<br />
part of a social experiment - will people be subconsciously influenced by a picture of a<br />
policeman, and spend less time loitering with intent?<br />
....13....
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Legal advice on your terms<br />
Got a question about how the law applies to a<br />
situation or problem you’re having?<br />
We can help you with up to 45 minutes of<br />
one-to-one friendly advice and guidance, with<br />
the certainty of a fixed price.<br />
QualitySolicitors<br />
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Offices in <strong>Brighton</strong> & Southwick<br />
BOOK NOW: VIVIENNE WESTWOOD<br />
Following the publication of Get a Life! - excerpts of her diaries since 2010 - Dame Vivienne Westwood will be in<br />
conversation with Caroline Lucas at the Dome on Friday 18th. Just what does a fashion designer, political activist,<br />
punk pioneer, global fashion icon and knickerless grandmother do all day? Expect stories about trips up the Amazon<br />
to beleaguered rainforest communities, visiting Julian Assange in the Ecuadorian embassy, and driving a tank<br />
to David Cameron’s Cotswolds home in a protest against fracking. ‘My diaries are about the things I care about,’<br />
Westwood has said of her latest book. ‘Not just fashion but art and writing, human rights, climate change, freedom.<br />
I call the diaries Get a Life! as that’s how I feel: you’ve got to get involved, speak out and take action.’ 7.30pm,<br />
£13.50 from the Dome ticket office and City Books, 23 Western Rd. brightondome.org / city-books.co.uk<br />
....14....
BITS AND BOBS<br />
...............................<br />
DI COKE’S COMPETITION CORNER<br />
This month our competition prize is a £50<br />
voucher to spend at Posh Totty Designs, one<br />
of <strong>Brighton</strong>’s most popular jewellery and gift<br />
shops. The voucher can be spent in store,<br />
online or even on a PTD Makes craft class (see<br />
pg 69). For this month’s challenge we’d like<br />
you to take a photograph that represents your<br />
own sign of the zodiac. Feel free to be creative<br />
- you might prefer to draw or write your entry,<br />
and then take a photograph. Share your photo<br />
along with a caption on Instagram, using the<br />
#<strong>Viva</strong><strong>Brighton</strong>Comp hashtag. If you don’t have<br />
Instagram, email your entry to competitions@<br />
vivamagazines.com before 30th <strong>November</strong><br />
<strong>2016</strong>. The most creative and original photo<br />
will feature in the January issue. Terms and<br />
conditions can be found at vivabrighton.com/<br />
competitions.<br />
Established in 2004, Posh Totty sell gold & silver jewellery, unique gifts and homeware, handmade by<br />
a team of designers in <strong>Brighton</strong>. Visit their flagship store (on Sydney Street) or try a craft class at PTD<br />
Makes (off Bond Street). poshtottydesigns.com, @PoshTottyDesigns<br />
COMPETITION WINNER<br />
In September I set readers a challenge to find as many<br />
languages as they could in our wordsearch grid. Several<br />
readers managed to find 18, and Tamar Daly was chosen at<br />
random to receive a free course from Cactus Languages.<br />
I also have an apology to make - an ‘i’ was omitted from<br />
Ukrainian - this was a genuine mistake rather than a cunning<br />
red herring!<br />
Di Coke is very probably the UK’s foremost ‘comper’, having won over<br />
£300,000-worth of prizes. For winning tips and creative competitions,<br />
check out her blog at superlucky.me and SuperLucky Secrets book.<br />
....15....
VALUATION DAY<br />
Jewellery and Antiques<br />
Tuesday 29 <strong>November</strong><br />
10am to 4pm<br />
ENQUIRIES<br />
01273 220000<br />
hove@bonhams.com<br />
VENUE<br />
The Courtlands Hotel<br />
19-27 The Drive<br />
Hove BN3 3JE<br />
Bonhams specialists will be<br />
at The Courtlands Hotel, Hove to<br />
give free and confidential advice<br />
on items you may be considering<br />
selling at auction.<br />
A FANCY COLOURED DIAMOND<br />
AND DIAMOND CLUSTER RING<br />
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...............................<br />
....17....
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BITS AND BOBS<br />
...............................<br />
PUB: JW LENNON’S<br />
Painting by Jay Collins<br />
Check out old photos of <strong>Brighton</strong> and you can see<br />
that before the widening of Edward Street in the<br />
sixties, it was much more like its neighbour St James<br />
Street: narrow, and lined with shops and pubs. James<br />
Gray, the photo archivist, recorded that earlier in<br />
the 20th century ‘one in every three buildings in<br />
Edward Street was a beerhouse’. Now there are just<br />
two, The Jury’s Out and, a bit further up the hill,<br />
JW Lennon’s.<br />
The latter pub was so named in August 2010, when<br />
it was taken over by Drink In <strong>Brighton</strong>, and given an<br />
Irish-American make-over, with sawdusty wooden<br />
floors and a jumble of Victorian-era decorations, including<br />
a rowing boat on one of the walls. They had<br />
open-mic nights and live bands and huge hotdogs<br />
and attracted a lively crowd of twenty-somethings.<br />
But not enough, presumably, as they sold the operation<br />
on in <strong>November</strong> 2010 ‘to a bloke called Phil’.<br />
I pop in one late Friday lunchtime, and am told<br />
by the Irish barman they don’t do food; he serves<br />
me the cheapest pint of Kronenbourg I’ve had in<br />
<strong>Brighton</strong> for several years (£3.50) and I go and sit<br />
down with it, checking out the décor (unchanged<br />
since its DIB days, boat and all) and the clientele<br />
(a couple of old guys reading the paper, a cheerful<br />
chap watching the cricket and a young trio chatting<br />
earnestly about the differences between San Francisco<br />
and <strong>Brighton</strong>). One of them is brought a pint<br />
of Guinness by said barman, who tells her, proudly,<br />
that ‘it’s been poured as it ought to be poured’. I<br />
realise I’ve blundered, and make a mental note to try<br />
the porter next time.<br />
A sign on the wall tells me the bit of the pub I’m<br />
sitting in used to be a greengrocer’s; the original<br />
pub (which was called the Leconfield Arms until<br />
2010) used to be split in two, with a public bar and<br />
a lounge. It’s hard to imagine this: both must have<br />
been tiny. The far windows must date back to that<br />
period, as ‘private bar’ is written into the elegant<br />
lead-panelled window panes. The pub is first listed<br />
in 1867, named after the then Lord Lieutenant of<br />
Sussex, George Wyndham, Baron of Leconfield,<br />
owner of Petworth House. The little pub would<br />
have been a far cry from the stately mansion:<br />
Edward Street was on the edge of the first <strong>Brighton</strong><br />
area to be slum cleared, as early as 1898. Alex Leith<br />
....19....
BITS AND BOBS<br />
...............................<br />
SECRETS OF THE ROYAL PAVILION:<br />
THE FASHIONABLE STEYNE, C.1797<br />
© Royal Pavilion and Museums, <strong>Brighton</strong> and Hove<br />
This small watercolour and gouache painting<br />
from c.1797 in the collection of the Royal Pavilion<br />
and <strong>Brighton</strong> Museums is by the amateur<br />
artist James Bennett (not to be confused with<br />
the Victorian oil painter of the same name), who<br />
created a number of simple but evocative images<br />
of <strong>Brighton</strong> between the 1790s and the 1810s.<br />
Most of them focus on the seafront, but in this<br />
one the artist ventures a little bit inland, its main<br />
intention being to capture the east front of the<br />
Marine Pavilion, as it was then known. It is not<br />
a hugely accomplished painting, and leaves a lot<br />
to be desired when it comes to perspective and<br />
architectural accuracy, but it paints a vivid picture<br />
of <strong>Brighton</strong> in its heyday as a seaside resort.<br />
The Pavilion as we see it here, viewed from the<br />
east side of the Steine looking west, is still more<br />
or less the architect Henry Holland’s building,<br />
created for the Prince of Wales in 1787. It has<br />
bow-fronted wings, a circular central room with<br />
a shallow dome (which still forms the roof of the<br />
Saloon but is now topped with John Nash’s large<br />
central onion-shaped dome, added in 1818) and<br />
a neo-classical colonnade. By the mid-1790s,<br />
....20....
BITS AND BOBS<br />
...............................<br />
plans were being made for considerable changes<br />
and additions to the building, for example two<br />
conservatories, placed at either end of the building<br />
at c.45-degree angles, but these were not put<br />
in place until 1801. Instead, we can see a number<br />
of structures and ornaments that would later be<br />
obscured or demolished. Adorning the top of<br />
the colonnade, for example, are seven neo-classical<br />
coade stone figures. These were removed<br />
sometime between 1801 and 1804, despite<br />
the Pavilion largely retaining its neo-classical<br />
exterior until 1817. Immediately to the left and<br />
the right of the building low red-brick structures<br />
are visible. These were curved walls, essentially<br />
blocking the view of the original kitchen area<br />
to the north of building, and the house of Louis<br />
Weltje, the Clerk of the Prince of Wales’ kitchen<br />
(and much more), to the south.<br />
Behind Weltje’s house (the one with the small<br />
shuttered windows) we can see the top of the<br />
Countess of Huntingdon’s church, first built in<br />
1761, later rebuilt, and eventually demolished<br />
in 1972. In the distance, high on a hill, is St<br />
Nicholas of Myra, the parish church. At a right<br />
angle to Weltje’s house, behind dense planting,<br />
is the original stable block, which would later<br />
be replaced by the grand Royal Stables on the<br />
north-west side of the estate (now the Dome). In<br />
the foreground on the right, pushing their way<br />
into picture, are the ‘blue-and-buff’ Georgian<br />
townhouses on the Steine, which still survive.<br />
Apart from recognisable buildings and structures,<br />
this charming picture provides a glimpse into the<br />
two worlds that formed <strong>Brighton</strong> in the late 18th<br />
century: that of fashionable society and royalty<br />
and that of the long-standing fishing industry.<br />
There are well-dressed women parading the<br />
Steine, joined by smart men on horseback. A<br />
brightly-coloured horse-drawn carriage is pulling<br />
up by the ‘blue-and-buffs’, and a movable royal<br />
sentry box is placed by the low fence enclosure<br />
of the eastern Pavilion lawns. Yet we also get a<br />
sense of the messiness of <strong>Brighton</strong>, with a dog<br />
running around on a non-manicured lawn, and<br />
fishermen’s nets casually thrown over the Steine<br />
fencing, perhaps discarded, perhaps hung there<br />
to be dried. Two worlds colliding? They seem to<br />
be merging here quite harmoniously.<br />
Alexandra Loske, Curator, Royal Pavilion Archives<br />
This and many other lesser known and unusual<br />
images of the Royal Pavilion Estate will be shown<br />
in a new display titled ‘Visions of the Royal Pavilion<br />
Estate’ at the Prints & Drawings Gallery in<br />
<strong>Brighton</strong> Museum, 14th March to 3rd Sept 2017.<br />
Over the next few months Alexandra will focus on<br />
more highlights from the display in this column.<br />
brightonmuseums.org.uk<br />
....21....
23 New Road<br />
<strong>Brighton</strong><br />
BN1 1UF<br />
01273 605574<br />
sales@mistersmith.co.uk<br />
www.mistersmith.co.uk<br />
Croft Road<br />
Crowborough<br />
TN6 1DR<br />
01892 664152<br />
info@mistersmith.co.uk
BITS AND BOBS<br />
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MAGAZINE OF THE MONTH: ERNEST<br />
I like shopping. I like choosing<br />
things for people (including me),<br />
looking at how stuff is marketed<br />
and sold, experiencing the many<br />
different kinds of service, and<br />
watching other people shop.<br />
Let me qualify that. I can’t stand<br />
anything that’s remotely like Oxford<br />
Street in London after 11am<br />
most mornings, wherever that<br />
place is. So perhaps I should say I<br />
like shopping when I can make it<br />
relatively calm.<br />
Which is probably why we always wanted to be in<br />
Trafalgar Street. One minute from the station, full<br />
of independent shops and close to hundreds more,<br />
but mostly calm and relaxed... except when huge<br />
lorries try to break the window of coffee@33 as<br />
they turn into the street.<br />
It suits us. I’m not sure we think of ourselves as<br />
a ‘shopping’ destination; more a place to come to<br />
for a reward when the shopping is done. A large<br />
proportion of our mags are designed to be lingered<br />
over, slowly and calmly over time.<br />
ernest is a great example. It’s a<br />
pocket-sized magazine about slow<br />
adventures, slow food and slow<br />
workmanship. It’s for the slightly<br />
eccentric and curious, or, as they<br />
say, ‘people who like a craft gin<br />
cocktail and people who like<br />
to whittle.’ It’s one of our very<br />
best sellers. In the current issue,<br />
themed around time, travel and<br />
solar exploration, you can read<br />
about Vancouver Island, cryonics,<br />
the origins of the vindaloo, how to<br />
make a herbal first-aid kit, the fisherman’s smock, a<br />
futurist cookbook, bothying and much more.<br />
And here’s the shopping link. One of the ways<br />
ernest helps the people it admires is to build<br />
directories of people who sell lovely, lovely things.<br />
If - and I doubt this somehow - <strong>Brighton</strong> can’t fulfil<br />
your seasonal shopping needs this year, ernest can<br />
help. I’ve already spotted a beautiful egg cup, an<br />
ash trivet and a lovely vase. Now, who can I gift<br />
them to?<br />
Martin Skelton, Magazine<strong>Brighton</strong><br />
TOILET GRAFFITO #22<br />
Our toilet-graffiti correspondent can see the writing<br />
on the wall. Or rather the lack of it. If publicans keep<br />
up their campaign of tiling pub toilets, graffiti is going<br />
to go the way of the Betamax, and our correspondent’s<br />
livelihood with it.<br />
In fact, we couldn’t have said it better that the subversive<br />
genius who came up with this groutfiti: ‘can’t live<br />
if living is with grout you’.<br />
More power to you, whoever you are. We see what<br />
you did there, and we salute you.<br />
Last month’s answer: Fortune of War<br />
....23....
BITS AND BOBS<br />
...............................<br />
SPREAD THE WORD<br />
Here we are, living dangerously, with Ines Calouri<br />
at the Arenal Volcano in Costa Rica. Considered,<br />
volcanically speaking, to be in the first flush<br />
of youth, it was inactive for hundreds of years until<br />
1968, when it unexpectedly erupted, laying waste to<br />
the small town of Tabacón. There have been no further<br />
rumblings since December 2010, but still, it’s<br />
not somewhere we’d want to linger.<br />
And that’s us again, with Dave and Clare Hughes,<br />
from Preston Park, and a cowboy, in Fort Worth.<br />
They took VB 43 on a recent three-week tour from<br />
Austin, Texas, via Route 66 through Oklahoma and<br />
up to Kansas City, then on to Chicago. A real highlight,<br />
for them,<br />
was all the music.<br />
From live country<br />
at the Continental<br />
Club, to<br />
the Oklahoma<br />
Jazz Hall of<br />
Fame, and Ravi<br />
Coltrane playing<br />
a tribute at<br />
Chicago’s Jazz<br />
Showcase on<br />
what would have<br />
been his father<br />
John’s 90th birthday.<br />
Every road trip deserves a great soundtrack.<br />
Don’t forget to take us on your trips, and send your<br />
pics to hello@vivamagazines.com<br />
ON THE BUSES #19<br />
DAME ANITA RODDICK (Route 12)<br />
In the mid-70s,<br />
Anita and Gordon<br />
Roddick were running<br />
a health food<br />
restaurant in Littlehampton.<br />
They<br />
had two young children.<br />
Inexplicably,<br />
Gordon thought it<br />
would be a good time to try to fulfil his ambition<br />
of riding a horse from Buenos Aires to New<br />
York, which would take at least a year, maybe<br />
two. Anita needed a way of earning money during<br />
this time; she decided to open an ethicaland-natural<br />
cosmetics shop, which she called<br />
The Body Shop, on Kensington Gardens.<br />
To take on such a project, and make it such a success,<br />
one would have to be a ‘pathological optimist’.<br />
One would have to somehow combine an<br />
opinionated, free-thinking hippy mentality with<br />
a strong work ethic and sound business brain,<br />
plus enough charisma and PR-savviness to attract<br />
loads of free publicity. And, luckily enough,<br />
it appears she had all those qualities.<br />
‘Roddick concocted the early products in her<br />
kitchen, gave them exotic names, sold them in<br />
recycled urine sample bottles (initially to save<br />
money), and painted the interior of her shop<br />
dark green to hide the damp patches and mould,’<br />
notes the Dictionary of National Biography. As this<br />
shoestringy venture grew to become a multinational<br />
company worth hundreds of millions,<br />
Roddick kept up her radical, opinionated-outsider<br />
stance.<br />
Her business style, she suggested in one interview,<br />
involved ‘saying very simple things,<br />
like why not? Why should I leave my values at<br />
home? Why can’t I campaign for human rights?<br />
I do that normally, so why the hell can’t I bring<br />
it in to work?’<br />
Illustration by Joda, jonydaga.weebly.com<br />
....25....
眀 漀 爀 搀 猀 㬀 椀 洀 愀 最 攀 猀 㬀 猀 琀 椀 洀 甀 氀 愀 琀 椀 漀 渀 㬀 搀 攀 氀 椀 最 栀 琀 㬀 搀 攀 猀 椀 最 渀 㬀<br />
猀 洀 攀 氀 氀 㬀 瀀 愀 瀀 攀 爀 㬀 瀀 愀 猀 猀 椀 漀 渀 㬀 猀 栀 愀 爀 椀 渀 最 ☠ 愀 渀 搀 猀 氀 漀 眀<br />
琀 栀 攀 眀 漀 爀 氀 搀 漀 昀 最 爀 攀 愀 琀 椀 渀 搀 椀 攀 洀 愀 最 猀 椀 猀 栀 攀 爀 攀 椀 渀 䈀 爀 椀 最 栀 琀 漀 渀 ⸀<br />
㈀㈀ 吀 爀 愀 昀 愀 氀 最 愀 爀 匀 琀 爀 攀 攀 琀<br />
洀 愀 最 愀 稀 椀 渀 攀 戀 爀 椀 最 栀 琀 漀 渀 ⸀ 挀 漀 洀<br />
䀀 洀 愀 最 戀 爀 椀 最 栀 琀 漀 渀<br />
洀 愀 最 愀 稀 椀 渀 攀 戀 爀 椀 最 栀 琀 漀 渀
PHOTOGRAPHY<br />
..........................................<br />
Ian Dickson<br />
Punk’s not dead, just middle aged<br />
Ian Dickson gave up photographing<br />
bands about ten<br />
years ago, when he came to<br />
the conclusion that, after<br />
nearly 40 years in the business,<br />
he had “lost his muse”.<br />
He then entered “phase<br />
two” of his career: documenting<br />
and marketing his<br />
photos. “I make much more<br />
from my archive than I<br />
made taking it,” he says, and<br />
cites the eye-watering price<br />
he gets for an original print of one of his photos<br />
of, say, The Clash in 1977, when it sells in a Los<br />
Angeles gallery.<br />
The idea that his photos of punks have become<br />
considered ‘fine art’ makes him smile, and he<br />
winces at the way he treated his negatives back in<br />
the days when he would rush back from a sweaty<br />
concert to his dark-room off Regent Street to<br />
develop and print his photos in time to deliver<br />
them to the printers by 4am. Ian worked as a<br />
stringer for the NME - then selling 270,000 copies<br />
a week - between 1972 and 1974, then got a job on<br />
rival weekly Sounds. It was there he bumped into<br />
the punk movement, with which he has ever since<br />
been associated. “It was ‘lucky’ really: a case of<br />
being in the right place at the time,” he says, doing<br />
finger-gesture inverted commas around ‘lucky’ to<br />
show that there was a bit more to it than that.<br />
He reckons punk as a significant musical movement<br />
was all over by 1980 (“once Thatcherism got<br />
going and Adam Ant took over”) but its ethos - of<br />
rebelling against the establishment and not being<br />
afraid to do everything on<br />
your own terms - is still<br />
with us. He’s full of great<br />
nuggets about the bands<br />
and what they stood for. “A<br />
lot of the punk-rock bands<br />
stepped off the pub-rock<br />
scene stage, then stepped<br />
straight back on again with<br />
shocking hair and different<br />
clothes,” he says. He often<br />
found that photographing<br />
the audience was as<br />
rewarding as photographing the bands: many of<br />
the punters were in a punk band themselves.<br />
I speak to Ian in his <strong>Brighton</strong> house - he moved<br />
here in 1999 having been recommended to do so<br />
by his mate Brian James, of The Damned - and<br />
the black-and-white prints which adorn his living<br />
room and hall remind you that the punk explosion<br />
was just one of many different styles of music he<br />
covered: subjects include BB King, and Ray Davies<br />
of the Kinks. “I was the official tour photographer<br />
for Roxy Music in the 70s,” he says, “and for<br />
Frankie Goes to Hollywood ten years later.”<br />
But it is for his still-immediate punk-related photos<br />
that he will always be best remembered, hence<br />
the timely exhibition of a selection of his prints<br />
- alongside others by the NME’s Kevin Cummins<br />
- at <strong>Brighton</strong> Museum this winter. Punk, definitely<br />
not dead, is turning forty: here are some intimate<br />
images from its infancy. Alex Leith<br />
Photo-punk - 40 images from the birth of punk by<br />
Ian Dickson and Kevin Cummins. <strong>Brighton</strong> Museum<br />
& Art Gallery, 22nd Nov - 5th Mar 2017<br />
....27....
PHOTOGRAPHY<br />
...............................<br />
X-Ray Spex, 1977 The Clash, 1977<br />
....28....
PHOTOGRAPHY<br />
...............................<br />
The Sex Pistols, 1976<br />
....29....
PHOTOGRAPHY<br />
...............................<br />
Shane MacGowan, 1977<br />
....30....
PHOTOGRAPHY<br />
...............................<br />
Siouxsie and the Banshees, 1977<br />
....31....
Photo by Adam Bronkhorst, adambronkhorst.com<br />
....32....
INTERVIEW<br />
..........................................<br />
MYbrighton: Bert Williams MBE<br />
<strong>Brighton</strong> Black History man<br />
Do you live in <strong>Brighton</strong>? I do, I do. I’ve been<br />
living in <strong>Brighton</strong> since 1967. I live in the same<br />
house with the same wife and the same two kids.<br />
My connection with <strong>Brighton</strong> started when my<br />
two sisters were recruited from Jamaica in the<br />
50s. They were some of the first black nurses at<br />
<strong>Brighton</strong> General Hospital. They came over in<br />
1955 and 1957 as 18-year-old girls, straight from<br />
the country. They loved it. It was freedom. I came<br />
over when I was 16 but had to wait until I was<br />
seventeen and a half to join the Royal Air Force.<br />
When did you first come to <strong>Brighton</strong>? I first<br />
visited my sisters on the 31st of August 1960,<br />
and <strong>Brighton</strong> was all colour. They took me to<br />
Preston Park and it was one of the most beautiful<br />
parks I’ve seen. Then we went to see the Royal<br />
Pavilion, which I was blown away by. Then we<br />
went to the Palace Pier and that was a knock out.<br />
I just couldn’t understand how they could build it<br />
on the sea.<br />
How did you get involved with Black History<br />
Month? When I retired from the NHS, I<br />
started doing voluntary work with a group called<br />
Mosaic, which is a black and mixed parenting<br />
group with around 2,000 members. You’ve got to<br />
remember that the BME people in <strong>Brighton</strong> are<br />
quite isolated. They don’t live down one street,<br />
so really the only way they see each other is if<br />
they go to a meeting or a function. I asked the<br />
children, “If we had an office, what would you<br />
like to see?” and this little kiddie, he said “I’d like<br />
to see more about my culture and heritage”. But<br />
the only thing I could tell them is what I know,<br />
about Jamaica, and I felt really bad so I asked the<br />
library if they had any black history and I was<br />
quite disappointed really. They said ‘there’s no<br />
need really in <strong>Brighton</strong> because there’s not a lot<br />
of BME people in <strong>Brighton</strong>. This was in 1992 but<br />
when I started looking I found loads of it and I<br />
couldn’t believe it... There’s so much stuff. The<br />
more you look...<br />
Where’s your favourite place in the city?<br />
Oh man, when I have visitors, I like to show off<br />
<strong>Brighton</strong>. I love the Downs and the Chattri is a<br />
touching place. I love the seafront, but you take<br />
it all for granted and only appreciate it when<br />
visitors come. When children come down from<br />
London I take them down the beach by the King<br />
Alfred; down there the beach belongs to them…<br />
What’s your local? When I played cricket I used<br />
to be in the Ladies Mile pub all the time. Playing<br />
darts on a Sunday morning. When you play<br />
cricket you end up in a lot of pubs and private<br />
clubs. I played for <strong>Brighton</strong> Hospital. Oh man,<br />
we had a good side. Couldn’t beat St Francis<br />
Hospital, in Haywards Heath, mind you. Because<br />
they were a psychiatric unit and employed a lot<br />
of men from Sri Lanka, India or the Caribbean.<br />
A lot of the male nurses came from Barbados and<br />
they were always good at cricket. Better than us<br />
really. We’d go and poach them.<br />
When did you last swim in the sea? Listen, I<br />
went to Jamaica and didn’t even go in the sea. I<br />
did roll my trousers up but I wouldn’t go in. It’s<br />
definitely too cold. No, I’m a country person, not<br />
a seaside person. <strong>Brighton</strong> is a beautiful place, it<br />
is and it’s got such a history. I’ve had a good time<br />
in Sussex. It’s beautiful. Interview by Lizzie Lower<br />
....33....
䌀 唀 刀 刀 䔀 一 吀 䰀 夀 䄀 嘀 䄀 䤀 䰀 䄀 䈀 䰀 䔀 䄀 吀<br />
䴀 刀 䘀 䄀 䌀 䔀 䠀 䄀 䤀 刀 䄀 一 䐀 䴀 䄀 䬀 䔀 唀 倀<br />
匀 䄀 䰀 伀 一 䄀 吀 匀 䔀 嘀 䔀 一 䐀 䤀 䄀 䰀 匀<br />
䌀 漀 洀 攀 愀 渀 搀 最 攀 琀 挀 爀 攀 愀 琀 椀 瘀 攀 眀 椀 琀 栀<br />
甀 猀 愀 琀 漀 渀 攀 漀 昀 漀 甀 爀 挀 爀 愀 昀 琀<br />
眀 漀 爀 欀 猀 栀 漀 瀀 猀 琀 栀 椀 猀 眀 椀 渀 琀 攀 爀 ℀ 伀 甀 爀<br />
猀 洀 愀 氀 氀 愀 渀 搀 昀 爀 椀 攀 渀 搀 氀 礀 挀 氀 愀 猀 猀 攀 猀 眀 椀 氀 氀<br />
昀 攀 愀 琀 甀 爀 攀 猀 攀 愀 猀 漀 渀 愀 氀 洀 愀 欀 椀 渀 最<br />
愀 栀 攀 愀 搀 漀 昀 䌀 栀 爀 椀 猀 琀 洀 愀 猀 Ⰰ 昀 爀 漀 洀<br />
洀 愀 挀 爀 愀 洀 瀀 氀 愀 渀 琀 栀 漀 氀 搀 攀 爀 猀 琀 漀<br />
瀀 漀 洀 ⴀ 瀀 漀 洀 眀 爀 攀 愀 琀 栀 猀 ⸀ 夀 漀 甀 挀 愀 渀<br />
攀 瘀 攀 渀 最 椀 昀 琀 猀 漀 洀 攀 漀 渀 攀 愀 挀 氀 愀 猀 猀<br />
眀 椀 琀 栀 漀 甀 爀 䴀 愀 欀 攀 猀 瘀 漀 甀 挀 栀 攀 爀 猀 Ⰰ 愀 渀<br />
椀 搀 攀 愀 氀 䌀 栀 爀 椀 猀 琀 洀 愀 猀 瀀 爀 攀 猀 猀 椀 攀 昀 漀 爀<br />
挀 爀 愀 昀 琀 氀 漀 瘀 攀 爀 猀 ⸀ 䠀 攀 愀 搀 漀 瘀 攀 爀 琀 漀 漀 甀 爀<br />
眀 攀 戀 猀 椀 琀 攀 昀 漀 爀 洀 漀 爀 攀 椀 渀 昀 漀 爀 洀 愀 琀 椀 漀 渀<br />
愀 渀 搀 栀 漀 眀 琀 漀 戀 漀 漀 欀 ⸀ 䐀 椀 搀 眀 攀<br />
洀 攀 渀 琀 椀 漀 渀 琀 栀 攀 昀 椀 稀 稀 ☀ 挀 愀 欀 攀 漀 爀<br />
戀 爀 椀 渀 最 礀 漀 甀 爀 漀 眀 渀 㼀
COLUMN<br />
...........................................<br />
Amy Holtz<br />
The truth is, I’m a Minnesotan<br />
“No. I want FUL milk. FUL.”<br />
There’s a collective shift in the<br />
queue. The man behind me<br />
clears his throat, which sounds<br />
- and I could be imagining this<br />
- a bit like, “Grrrrr.”<br />
“The milk is there. On that<br />
little stand.” The barista turns<br />
her back with an air of finality.<br />
There’s a tiff brewing at the<br />
coffee shop. Apparently not<br />
everyone likes their milk sans<br />
saturated fats, which is fine. But this is the second<br />
time the full-milk seeker has returned to the till,<br />
and now her face is on the turn.<br />
I think that’s what’s happening anyway. I’ve been<br />
staring in intervals at a painting on the wall of a<br />
naked purple woman for sale for the very reasonable<br />
price of £40, and the Victoria sponge in the<br />
glass case in front of me. Both are speaking to me<br />
in sexy voices. The cake sounds like Mel Giedroyc,<br />
I realise, slightly disappointed at my subconscious’<br />
lack of imagination.<br />
But now, the New Zealander in the coffee shop is<br />
staring at me. For support. This realisation sends a<br />
tremor of panic through me. This is partially due to<br />
a condition I have called ‘Minnesota Nice’, which,<br />
I’ve mentioned, crops up now and again. It means<br />
that when someone hands me a steak, even though<br />
I ordered the fish, I smile weakly and pretend I’m<br />
delighted. It means that when a shop person is<br />
unhelpful, or downright rude, I think, illogically,<br />
‘Perhaps they just need a hug’. It’s not even genetic,<br />
so I don’t know how I got it; my dad is notorious<br />
for going around drive-throughs twice (frequently<br />
to my utter teenage mortification)<br />
to demand a top-up<br />
of the Diet Coke some poor,<br />
minimum-waged soul had<br />
failed to fill to his exacting<br />
requirements.<br />
My shoulders lift unconvincingly<br />
in reply. I go to<br />
this coffee shop just to avoid<br />
this kind of confrontation -<br />
the confrontation of choice.<br />
Asking for milk that’s not<br />
already provided, is, with my condition, the psychological<br />
version of poking a bear in the eye with a<br />
flaming stick. It just isn’t worth it.<br />
A growl sounds behind me again. The woman is<br />
leaning over the counter now, after a sharp look<br />
in my direction. ‘Thet over there is lite. Not ful.’<br />
There’s an ‘idiot’ lingering in her breath.<br />
But since I know what it’s like - someone deliberately<br />
misinterpreting your unregal vowel<br />
pronunciation, I suck it up. My voice comes out in a<br />
squeak. “I think she wants whole milk.”<br />
“Hole milk?” The barista’s nose wrinkles momentarily<br />
before, blessedly, her face clears. “Oh,<br />
WHOLE milk.” She wrenches the lid off the cup<br />
and sloshes a cow’s morning’s work into the remaining<br />
space before crushing the lid back on with her<br />
palm. She looks at both of us expectantly.<br />
“Thanks?” I say, even though I haven’t actually<br />
bought anything yet. My condition is in full flare<br />
today. I smile at the lady in front of me, with her<br />
time-intensive coffee, making a mental note to<br />
track down some sort of anti-nice pill that might<br />
sort me out.<br />
....35....
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─ 挀 愀 猀 栀 洀 攀 爀 攀 樀 甀 洀 瀀 攀 爀 猀 愀 渀 搀<br />
挀 愀 爀 搀 椀 最 愀 渀 猀 昀 漀 爀 眀 漀 洀 攀 渀 愀 渀 搀 洀 攀 渀<br />
䘀 爀 攀 攀 倀 ☀ 倀 眀 椀 琀 栀 挀 漀 搀 攀 㨀 嘀 䤀 嘀 䄀 㘀<br />
洀 椀 猀 琀 礀 挀 愀 猀 栀 洀 攀 爀 攀 ⸀ 挀 漀 ⸀ 甀 欀 簀 ㈀ 㜀 アパート 㐀 㠀 㜀
COLUMN<br />
...........................................<br />
Lizzie Enfield<br />
Notes from North Village<br />
Illustration by Joda, jonydaga.weebly.com<br />
The eggs, they said, had been traced to one<br />
particular shop. They were, this being the North<br />
Village, organic and fairly traded with added Vitamin<br />
D and spirulina, which obviously helped trace<br />
them to the particular shop.<br />
The bread, too, was easily identified, which says a<br />
great deal about the area, its shops and the type of<br />
crime here.<br />
To say there’s been a ‘spate’ of incidents wouldn’t<br />
be right because, much as I like to call a spate<br />
a spate, I don’t think two counts and, to date,<br />
there have only been two. But that’s enough to<br />
get people talking and wondering what exactly is<br />
going on…<br />
In the first, a house was ‘egged’. Probably kids,<br />
people thought, a little annoying but no harm<br />
done, though the day was hot and the combination<br />
of eggs, sun and windowpanes meant some of them<br />
fried onto the windows and were difficult to get off.<br />
But that would probably have been that, were<br />
it not for the fact that two days later one of the<br />
neighbours spotted something on the back of his<br />
open-top mid-life-crisis car - I say this although<br />
he’s getting on a bit, so really more of a later-life<br />
crisis, but nevertheless his pride and joy and whatever<br />
it was needed closer inspection.<br />
“It looks like a leaf,” I said but, on the closer inspection,<br />
it turned out to be half a slice of bread.<br />
“Probably dropped by a seagull,” I said, but on<br />
closer inspection still, there was practically a whole<br />
loaf of bread, torn into pieces and strewn all over<br />
the leather upholstery of the pride and joy.<br />
I stuck with my seagull theory until the owner bent<br />
down and retrieved a whole loaf from the footwell<br />
by the pedals.<br />
“You think a seagull dropped that?” he asked.<br />
“Flour Pot Bakery organic gluten-free seeded,”<br />
said his daughter, recognising the loaf and its<br />
provenance at once.<br />
“Maybe kids,” I abandoned the seagull theory and<br />
was about leave him to ‘de-bread’ the car when a<br />
new theory occurred.<br />
“Perhaps it’s part of some kind of continuing art<br />
installation?”<br />
“Er?”<br />
“There’s a bit of a breakfast theme going on. First<br />
eggs, then bread, maybe in a couple of days there<br />
will be rashers of bacon draped artfully over a bush<br />
in someone’s front garden, like the spaghetti trees<br />
on Blue Peter, or baked beans arranged in mosaiclike<br />
images on the pavement…”<br />
“I think you were probably closer with seagulls,” he<br />
says. “And you were miles off with that.”<br />
“Or maybe a marketing campaign,” I persist. “Because<br />
all the ingredients come from ‘the village.’<br />
Some sort of ‘shop local’ art installation…”<br />
“You’re a writer, right?” he says.<br />
“Right,” I say, sensing he thinks this might be a<br />
case of overactive imagination.<br />
He may be right but still, I’m looking out for Barfield’s<br />
organic sausages. Fruit from Fiveways Fruits<br />
used in some imaginative way.<br />
More imaginative than simply thrown against<br />
windows or scattered on car seats, I hope.<br />
....37....
<strong>Brighton</strong> Steiner School<br />
Roedean Road, BN2 5RA<br />
OPEN EVENING<br />
Thursday 17 th <strong>November</strong> 6pm to 7.30pm<br />
“An alternative to mainstream education for pupils aged 3 to 16 years”<br />
Information and bookings: 01273 386300<br />
E: enquires@brightonsteinerschool.org.uk<br />
W: brightonsteinerschool.org.uk<br />
Registered Charity No: 802036
COLUMN<br />
...........................................<br />
John Helmer<br />
Rug realignment<br />
Illustration by Joda, jonydaga.weebly.com<br />
“Do you think I need a haircut?”<br />
Normally my wife’s answer to this question would<br />
be a tactful ‘maybe’, or - ‘it looks quite good at the<br />
moment’… But today her response snaps back fast<br />
and low over the net.<br />
“Yes.”<br />
For a second I wonder whether it’s the steroids.<br />
Kate is in a country called Chemotherapy, a kind<br />
of moral Colombia where heavy drug use and<br />
looming existential threat paint things in harsher<br />
colours; where patience for merely first world<br />
problems is quite understandably limited.<br />
One glance in the mirror, however, tells me that<br />
the bluntness in her tone has nothing to do with<br />
drugs. Things have got out of hand. Without noticing,<br />
I’ve somehow strayed beyond the precincts<br />
of ‘creative’ hair into homeless-person territory.<br />
When I don my cycling helmet in the mornings,<br />
I recall, greying strands are starting to poke out<br />
horizontally, like roof-aerial wires.<br />
“I’ll call Nathan,” I say.<br />
“You could try, but… Nathan has dislocated<br />
his elbow: I saw it on Instagram.”<br />
“Dislocated isn’t broken, though, is it? Some<br />
people can dislocate limbs at will. That’s<br />
how Harry Houdini did his tricks.”<br />
“Nathan’s a hairdresser, not an escapologist.”<br />
Nathan’s salon, it turns out, knows less<br />
than Instagram. “I’m sorry, we have no<br />
idea when he’ll be back in action. Try<br />
again next week.”<br />
“You could go somewhere else,” suggests<br />
Kate, gently pointing out that there are in<br />
fact six hairdressing establishments within<br />
a couple of minutes of us at Fiveways.<br />
“Six!”<br />
“Count them.”<br />
We go for a walk. “There’s that one over there<br />
with the big windows …”<br />
“That’s a hairdresser’s? I thought it was a nail bar.”<br />
“—And Alan’s Gents’ Hairdressers.”<br />
I survey a faded shopfront lettered in the typeface<br />
time forgot. “—Is that the one near the smelly<br />
drains?”<br />
We turn into Preston Drove. “Streakers.”<br />
“I don’t need streaks.”<br />
“Val Cussell?”<br />
“It looks a bit gender-specific?”<br />
“Well what about Solution barbers, over there - or<br />
LJ’s: they do men? And they don’t have smelly<br />
drains.”<br />
The thing is, I explain, Nathan doesn’t just cut<br />
hair. He’s an artist. He does interesting things.<br />
“…He lived in a cabin in the woods for six months<br />
like Henry Thoreau… We have interesting<br />
conversations, Kate. With Nathan I don’t have to<br />
pretend to be interested in football, or feel bad<br />
about not having tattoos…”<br />
“Look… let’s think about it over coffee.”<br />
“OK but where? We’re spoilt for choice here<br />
aren’t we: North Village, Tilt, The Deli, The Old<br />
Bakehouse, Flour Pot Bakery, Hop & Vine..? It’s<br />
all hairdressers and coffee shops round here. Can’t<br />
get a wet-fish shop, but…”<br />
I run fingers through my unruly rug, holding it<br />
back against the chill wind that wants to blow it in<br />
my eyes. It seems to be lengthening by the minute.<br />
Why can’t Nathan be well? The unfairness of life.<br />
Turning, I notice an amused expression on the<br />
beautiful face under the headscarf. “At least you’ve<br />
got hair.”<br />
....39....
TOM ODELL<br />
Fri 4 Nov<br />
THE STYLISTICS<br />
Fri 18 Nov<br />
Chrismas<br />
Book now for your festive season<br />
DEACON BLUE<br />
Sun 20 Nov<br />
BILLY CONNOLLY<br />
Mon 21 - Wed 23 Nov<br />
Sat 3 Dec<br />
Sat 3 Dec<br />
Sun 4 Dec<br />
Sat 10 Dec<br />
Etsy Christmas Market<br />
Christmas Open Day<br />
<strong>Brighton</strong> Philharmonic<br />
Orchestra: The Best of<br />
British Film Scores<br />
<strong>Brighton</strong> Gay Men’s Chorus<br />
box office 0844 847 1515 *<br />
www.brightoncentre.co.uk<br />
*calls cost 7p per minute plus your phone company’s access charge<br />
Sun 11 Dec<br />
Fri 16 –<br />
Tue 20 Dec<br />
<strong>Brighton</strong> Festival Chorus<br />
Christmas Concert<br />
A Winter’s Trail<br />
Sunday 13 <strong>November</strong> — The Latest Music Bar<br />
Anaïs Mitchell<br />
+ Jarlath Henderson<br />
Tuesday 15 <strong>November</strong> — Rialto<br />
Matthew and Me<br />
+ support<br />
Tuesday 6 December — The Marwood<br />
Laura J Martin<br />
+ support<br />
Saturday 21 January — All Saints Centre, Lewes<br />
Lewes Pscyhedelic<br />
Festival 2017<br />
Tue 20 Dec<br />
Mon 26 –<br />
Fri 30 Dec<br />
Sun 1 –<br />
Mon 2 Jan<br />
The Big Christmas<br />
Singalong<br />
Catch Me! (Attrape Moi)<br />
Alice in Wonderland<br />
Friday 18 <strong>November</strong> — The Haunt<br />
Joan As Police<br />
Woman & Benjamin<br />
Lazar Davis<br />
+ Fil Bo River<br />
Monday 21 <strong>November</strong> — Concorde 2<br />
Julia Holter<br />
+ Circuit des Yeux<br />
+ Charlie No. 4 (DJ)<br />
Saturday 3 December — St. George’s Church<br />
Low: A Christmas<br />
Performance<br />
Thursday 16 February — The Marwood<br />
Marry Waterson<br />
& David A. Jaycock<br />
+ support<br />
Monday 27 February — The Greys<br />
Jim Causley<br />
+ support<br />
Friday 3 March — Concorde 2<br />
The Handsome<br />
Family + Courtney<br />
Marie Andrews<br />
01273 709709<br />
brightondome.org<br />
Resident Music (<strong>Brighton</strong>)<br />
Music’s Not Dead* (Bexhill)<br />
Union Music Store* (Lewes)<br />
Pebbles Music* (Eastbourne)<br />
The Vinyl Frontier* (Eastbourne)<br />
Wow and Flutter* (Hastings)<br />
Venue if applicable<br />
*depending on show<br />
Songkick.com<br />
dice.fm<br />
seetickets.com<br />
ticketweb.co.uk<br />
Images: Catch Me!<br />
Age restrictions may apply.<br />
meltingvinyl.co.uk
LOCAL MUSICIANS<br />
..........................................<br />
Ben Bailey rounds up the <strong>Brighton</strong> music scene<br />
THE WYTCHES<br />
Fri 4, Concorde2, 7pm, £10<br />
Puncturing the pressure<br />
of expectations that had<br />
been building since their<br />
wildly successful 2014<br />
debut, The Wytches put<br />
out an EP earlier this year that was recorded in a<br />
garage and released on cassette. Did this mean that<br />
album number two - arriving a few months later in<br />
September - was able to stand on its own merits?<br />
Well, yes and no. Kristian Bell’s anguished vocal<br />
howls and surf guitar lines are no longer the focus,<br />
and they’ve got a keyboard player onboard, but<br />
the new material hasn’t shifted gear quite enough<br />
to offset the angsty image that the band always<br />
claimed was misleading. For some, this will be a<br />
relief. Though most of The Wytches have now<br />
relocated back to Peterborough, there’s bound to be<br />
a riotous homecoming vibe to the <strong>Brighton</strong> leg of<br />
their UK tour.<br />
NORMANTON STREET<br />
Fri 11, Concorde2, 11pm, £8<br />
A lot of local bands seem<br />
to disappear when their<br />
music finds an audience<br />
elsewhere, but despite having<br />
upcoming dates in Paris<br />
and New York, Normanton Street are keen to keep<br />
their roots grounded in their adopted hometown<br />
of <strong>Brighton</strong>. This one-off club gig sees the soulful<br />
and stylish quartet inviting their likeminded musical<br />
friends to join them on stage for a late-night party.<br />
Donuts, the DJs responsible for the ever-popular<br />
Tuesday hip-hop night at the Green Door Store,<br />
are on the bill alongside Tru Thoughts’ J-Felix - a<br />
singer, musician and DJ whose contribution reflects<br />
the funk and soul side of Normanton Street’s fusion<br />
of styles.<br />
KUDU BLUE<br />
Thurs 17, Hope & Ruin, 8pm, £5<br />
Having landed<br />
support slots with<br />
Hiatus Kaiyote and<br />
Bipolar Sunshine,<br />
local five-piece Kudu<br />
Blue are now benefitting<br />
from some decent airplay on national radio.<br />
Their laidback and soulful electronica echoes<br />
both 90s trip hop and the garage sounds that came<br />
afterwards, which is probably part of the reason for<br />
the band’s success. Another factor is that they’re<br />
slick with it, too. Formerly of <strong>Brighton</strong> indie band<br />
Forestears, the primary school friends at the core<br />
of the group made a name for themselves as remixers<br />
before their current project started in earnest<br />
a few years ago. That background is evident in<br />
the shades of different styles present in the band’s<br />
songwriting and the subtle layering that goes into<br />
their recordings.<br />
SEALINGS<br />
Fri 25, Green Door Store, 7pm, £4<br />
Few bands have much success when describing<br />
their own music, but Sealings’ album-blurb<br />
reference to ‘misery offset by melody’ would seem<br />
pretty apt if the phrase itself didn’t have such a<br />
nice ring to it. There’s nothing nice about the<br />
music made by this anonymous <strong>Brighton</strong> trio<br />
- after all, the album in question is called I’m A<br />
Bastard. The stark drum machines and eerie synths<br />
might tempt a casual listener to peg them as some<br />
kind of industrial band, but it’d be closer to the<br />
mark to think of Sealings as wayward art rockers<br />
intent on out-noising My Bloody Valentine and/or<br />
Jesus and Mary Chain. The only thing that stops it<br />
getting too dark is the fact the aural clatter makes<br />
it impossible to work out what the sinister singer<br />
is on about.<br />
....41....
CLASSICAL<br />
.....................................<br />
Medicine and Mortality<br />
Satoko Doi-Luck from Ensemble Molière<br />
How would you<br />
describe French<br />
Baroque music? It’s<br />
beautiful, exquisite,<br />
sometimes calm,<br />
sensual, sensitive, sentimental,<br />
passionate,<br />
colourful and deep.<br />
The ‘Medicine and<br />
Mortality’ piece that<br />
you are performing<br />
at this year’s<br />
<strong>Brighton</strong> Early Music<br />
Festival has narration<br />
- how does that work? We placed the pieces<br />
of music in a narrative flow, and have narration<br />
between the works to bring the whole story and<br />
the music together as one.<br />
Do you find narration helps the audience to<br />
engage with a story? Definitely. We believe it<br />
enables us to draw the audience into the world of<br />
the story as well as the music and sound. Hopefully<br />
we transform the venue into a scene from<br />
17th-century Paris in winter.<br />
How did the story of it being a day in a 17thcentury<br />
French hospital come about? The<br />
programme evolved from Marin Marais’ unique<br />
Le tableau de l’opération de la taille; the combination<br />
of spoken text, virtuosic playing and overarching<br />
drama is incredibly exciting and served to inspire<br />
the ensemble. Each player went on to find pieces<br />
that excited them and engaged with the theme.<br />
Together the ensemble worked these pieces into<br />
a tale of a Parisian gentleman in a hospital. The<br />
incorporation of an original script has been a new<br />
challenge for the ensemble and we have thoroughly<br />
enjoyed writing, re-writing and tweaking<br />
the tale of this fellow.<br />
Explain how music can be ‘medically themed’.<br />
Music can be themed in various ways - descriptive,<br />
theatrical, and imaginative.<br />
This piece<br />
of Marais’ describes<br />
the actual operation<br />
of a bladder-stone<br />
removal without<br />
anaesthetic. Marais<br />
wrote a short description<br />
of each scene<br />
on top of the music<br />
score, for example,<br />
“Knotting the silk<br />
restrains for arms<br />
and legs”, “Then the<br />
stone is drawn”, and “Blood flows”. We will also<br />
perform the theatrical and imaginative Deadly Place<br />
and Sleep by the great composer Jean-Philippe<br />
Rameau.<br />
Do you compose your own music? Personally,<br />
yes, but not for Ensemble Molière. However, I<br />
arrange a lot for the ensemble which enables us<br />
to play a wider repertoire and helps us to create<br />
narrative programmes. Having studied composition<br />
helps a lot.<br />
Do all five instruments and musicians have<br />
equal roles? The five instruments are equally<br />
important in different roles. We can all take the<br />
lead, and different roles include melody line, inner<br />
harmony, counterpoint, obbligato, continuo, and<br />
numerous others, depending on the piece in question.<br />
For baroque music, however, harmony is one<br />
of most important elements.<br />
If you didn’t play the harpsichord, what instrument<br />
would you play? I love all period instruments,<br />
but I especially like the sound of the viola<br />
da gamba; to me it’s so close to the human voice -<br />
it once made me cry within five seconds as the way<br />
it was played was so touching. Julia Zaltzman<br />
Friends’ Meeting House, Sat 5th, 1pm, £12/£10<br />
bremf.org.uk<br />
Photo by Harry Roth<br />
....42....
JAZZ<br />
.....................................<br />
Charles Mingus<br />
Andy Pickett on the angry jazz genius<br />
Photo by Tom Marcello<br />
You might have heard stories<br />
about Charles Mingus.<br />
Chasing a fellow musician<br />
across the stage with an axe;<br />
sitting on stage watching a<br />
portable TV in protest at<br />
an inattentive audience; the<br />
23-women-in-one-night<br />
thing; the breakdown and<br />
temporary withdrawal from<br />
music; the multiple marriages;<br />
the fallings-out with<br />
bandmates, etc.<br />
But ‘jazz’s angry man’<br />
was also a hugely talented<br />
bandleader and composer.<br />
His work somehow blends<br />
the feeling of avant-garde<br />
chaos with a joyous catchiness.<br />
It’s brilliant. And when I interview Andy<br />
Pickett, from the Mingus Underground Octet, he<br />
seems to be steering me, rightly, away from the<br />
dramatic-life-story stuff, and towards discussion<br />
of the music itself.<br />
“It’s very easy music to like,” Andy says. “Not<br />
easy to play, but it’s easy to like. You’ve got these<br />
different influences, the rootsiness of the gospel<br />
music, the church music, the sophistication of Ellington<br />
and his classical background, the bebop,<br />
the hard bop… There’s vaudeville elements as<br />
well, I think, with some of it.<br />
“It’s very political music. I think in a way it’s a<br />
reflection of who he was as a person. He’s not<br />
easy to categorise, he’s a very troubled, complex<br />
person, and I think the music reflects that. It’s<br />
easy to get into, and yet there’s very complex elements,<br />
very angry elements as well.<br />
“It was radical in the sense that he was doing stuff<br />
that nobody else was doing. Although he was very<br />
much in the tradition as well. For me, there’s a lot<br />
of stuff that’s in common with<br />
Duke Ellington’s music.<br />
“But he was very much<br />
ploughing his own path. You<br />
look at the music scene as<br />
it is today, one of the things<br />
perhaps you could trace back<br />
to Mingus is the idea, the collective<br />
side of improvisation.<br />
There was a time when a lot<br />
of jazz followed the same format,<br />
where you have a theme,<br />
then the musicians take solos,<br />
and then you play the theme<br />
out. Now there seems to be a<br />
lot more arranged music, with<br />
much more of a collective<br />
dimension to it.<br />
“You know, it is on record<br />
that he was very difficult to work with. There’s<br />
lots of incidents of him falling out with musicians,<br />
to the point where he’s become physically<br />
violent. There’s a famous incident of him busting<br />
[trombonist] Jimmy Knepper’s teeth, and throwing<br />
cymbals and that sort of stuff. But at the same<br />
time, the music was so great and so exciting,<br />
musicians wanted to work with him, despite that<br />
reputation.<br />
“Let’s not forget that, as well as being a composer<br />
and bandleader, he was a phenomenal bass player,<br />
with an energy and drive in his playing which is<br />
very much part of the music as well. So I’m sure,<br />
once you started playing, you’d just be being<br />
caught up with that energy, that collective thing.<br />
It must have been very exciting.”<br />
Steve Ramsey<br />
The Mingus Underground Octet were formed in<br />
2014 to perform the music of Charles Mingus.<br />
They play the Ropetackle Arts Centre, Shoreham,<br />
Wed 16th, 8pm, £10. mingusunderground.co.uk<br />
....43....
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Antarctica<br />
‘A continent synonymous with losers and failure’<br />
A former Artist in<br />
Residence for the British<br />
Antarctic Society,<br />
Chris Dobrowolski is<br />
an expert on thermal<br />
underwear and snow.<br />
Here he talks to <strong>Viva</strong><br />
about making art in a<br />
blank white space.<br />
What were you<br />
thinking, asking to<br />
be sent to the most<br />
inhospitable place on earth? I was doing a workshop<br />
with this bloke, called ‘Re-evaluating Success’.<br />
He’d say, ‘This is Chris, everyone. Chris is going<br />
to be the case study - because, as well as being an<br />
artist, he’s also - more importantly - a failure’. I<br />
was essentially paying the rent on my bedsit being<br />
a professional failure when I saw the residency<br />
advertised. There’s Captain Scott’s disastrous attempt<br />
to get to the South Pole, Shackleton failing<br />
to cross the Antarctic, and it’ll be an environmental<br />
disaster when it all melts. It’s an entire continent<br />
synonymous with losers and failure - and I thought,<br />
‘I’m your man!’<br />
It’s hard not to think of Antarctica as a big<br />
white expanse. Does your artwork attempt to<br />
frame that space and make it knowable? Part<br />
of the project was building a sledge out of golden<br />
picture frames and taking it on a journey. I also took<br />
loads of ‘pretend Antarctic things’ - rubber whales,<br />
plastic penguins, toy sledges - kitsch things like that.<br />
Then I’d photograph them in the Antarctic so when<br />
they came back they’d be ‘real’ pretend Antarctic<br />
objects. I’m not trying to recreate a real thing; I’m<br />
making another ‘real’<br />
thing - an artsy way of<br />
putting it!<br />
The show leads up to a<br />
place I was trying to get<br />
to called Sky Blu. It’s a<br />
base that’s only open in<br />
the Antarctic summer,<br />
because there’s a naturally<br />
occurring hard-surface<br />
runway. Everything about<br />
it - geographically and<br />
culturally - is nothing. It’s the nothingness of it that<br />
I find fascinating. There’s something called a lowcontrast<br />
day - the sky’s white and you can’t see any<br />
of the lumps in the snow or the horizon; everyone’s<br />
walking around on this blank white sheet of paper.<br />
Why do you think we are fascinated by the Antarctic?<br />
The Antarctic is like the moon in the sense<br />
that it’s difficult to get to; getting there has a way of<br />
authenticating the most banal of objects. A lot of it<br />
is a play on that old-fashioned notion of exploration;<br />
one of the things I dwell on in the show is<br />
the [late-1950s] Commonwealth Trans-Antarctic<br />
Crossing - they called it the ‘last heroic age’ in<br />
expeditions. We just don’t do that anymore.<br />
What’s it like to relive Antarctica with an audience?<br />
I love the attention. When I first did the<br />
show, everyone who turned up was in their late 50s<br />
or early 60s. One explained, ‘This was our moon<br />
landing. When it happened, all of us were of that<br />
age where it captured our imaginations.’ <strong>Brighton</strong>’s<br />
different though, I’m expecting a much broader<br />
selection of people. Amy Holtz<br />
Antarctica, <strong>Brighton</strong> Dome, Tues 15th, 7.30pm, £10<br />
....45....
FILM<br />
....................................<br />
Cinecity<br />
Gimme Danger... and a three-hour German comedy<br />
The much-loved <strong>Brighton</strong> film festival Cinecity returns<br />
for its 14th year this month. Co-director Tim<br />
Brown shares some of this year’s highlights…<br />
This year’s theme is ‘adventures in world cinema’,<br />
which is what we have been championing for<br />
the last few years. In this year, of all years, it seems<br />
even more important to be exploring and absorbing<br />
other cultures.<br />
There’s such a broad range of countries represented<br />
this year - Afghanistan, Nepal, Japan, Singapore,<br />
Brazil, Cape Verde, Albania, Romania, Egypt,<br />
South Korea, Iran. And most of the films come<br />
garlanded with awards from other international<br />
festivals - it’s the cream of the international crop.<br />
This is an area of cinema that needs a bit of<br />
nurturing and support. There is so much good<br />
foreign-language stuff being produced, but there is<br />
a lack of screen space for it, which means it can be<br />
hard for these films to find an audience. Fortunately,<br />
we know there is an audience for them in <strong>Brighton</strong>.<br />
We like to focus on films that are inherently<br />
cinematic - in other words, works that can only<br />
be properly appreciated on the big screen. We also<br />
place an emphasis on first features and debuts, which<br />
can be a challenge when it comes to marketing.<br />
What we’re often saying is, ‘this is a film by a director<br />
you’ve never heard of and featuring a cast you<br />
don’t recognise, but trust us - it’s worth watching.’<br />
There’s a lot of talk these days about ‘event cinema’,<br />
and in some cases Cinecity is a pure form of<br />
that. This is probably the only chance UK audiences<br />
will have to see certain films, for example, The Wolf<br />
and the Sheep (pictured), which doesn’t have a UK<br />
distributor. It’s a fantastic film set in a rural Afghan<br />
community where the children are the masters of<br />
the village. It’s made by 27-year-old Shahrbanoo<br />
Sadat, who’s the first female feature director to come<br />
from Afghanistan.<br />
Then there’s Limite, one of our archive screenings,<br />
which is a really beautiful and fascinating film<br />
made in 1931 by Mexican director Mario Peixoto<br />
when he was just 21. It turned out to be the only<br />
film he ever made. It was lost for decades until a<br />
recent restoration, and it’s unlike anything I’ve ever<br />
seen - hallucinatory, evocative and intense.<br />
I wouldn’t say I had a favourite genre, although I<br />
really enjoy watching documentaries at the moment.<br />
Gimme Danger, the Jim Jarmusch documentary<br />
we’re showing on Iggy and the Stooges, is especially<br />
great, and is exactly what you want a music documentary<br />
to be.<br />
The film I’d recommend everyone sees is a<br />
three-hour German comedy called Toni Erdmann<br />
that we’re keeping for our closing night. I<br />
know it doesn’t sound appealing, but I promise you<br />
it’s fantastic. It was a massive hit in Cannes, and in<br />
fact got the highest critical rating any film has ever<br />
had there. This is a great chance to see what lots of<br />
people are saying will be the film of next year.<br />
As told to Nione Meakin<br />
CineCity, various locations in <strong>Brighton</strong> & Hove, 11th–<br />
27th. cine-city.co.uk<br />
....46....
MUSIC<br />
.....................................<br />
Captain Sensible<br />
On that Damned anniversary tour<br />
The Damned - Captain Sensible live at the Royal Albert Hall © Dod Morrison <strong>2016</strong><br />
How will you be celebrating<br />
The Damned’s 40th anniversary?<br />
By spreading our own peculiar<br />
brand of joy and happiness - with<br />
a 21-date UK tour. As it’s the 40th<br />
anniversary of its release, we’ll<br />
be performing Damned Damned<br />
Damned (the UK’s first ever punk<br />
album) at <strong>Brighton</strong> Dome in its<br />
entirety. After which I’d imagine<br />
we’ll all need a swift drink, so an<br />
intermission would seem in order.<br />
Followed by the best of the rest,<br />
ie, the other 39 years.<br />
Do you ever play your solo hits with the band?<br />
That’s a bit controversial… I’d understand if my<br />
colleagues were miffed when I did the solo thing,<br />
but as an ex bog cleaner I wasn’t going to tell the<br />
bloke from A&M to stick the contract up his arse.<br />
No, I signed up and had a few fabulous years as Britain’s<br />
most unlikely pop star. The problem is, Happy<br />
Talk was such a monster that people don’t bother<br />
checking out my self-penned songs, some of which<br />
were really quite good, in an offbeat way.<br />
Do you think people have misunderstood the<br />
humour of the band? The fact that we are not a<br />
pretentious bunch of po-faced arrogant pillocks is a<br />
positive, I’d have thought. I’ll let you into a Sensible<br />
secret though - the period immediately prior to<br />
punk rock were the years of glam rock - and that’s<br />
the sort of band I imagined I’d be playing in while<br />
practicing guitar at home. Which might explain my<br />
dress sense.<br />
Did you ever think you’d still be doing this 40<br />
years later? I thought punk would only last a few<br />
weeks then I’d be back down the dole office, tail between<br />
legs. That’s where the wacky<br />
stage-names came from. Strummer,<br />
Rotten, Sensible - you couldn’t sign<br />
on if you’d had your name in the<br />
music papers.<br />
Why do you think the band has<br />
lasted so long? Because there’s<br />
enough people in the world with<br />
the good taste to want to see us perform.<br />
It’s been a privilege to twang a<br />
guitar for a living all these years. We<br />
started out at a time when workingclass<br />
kids rarely went abroad; we<br />
were a bunch of sparsely educated<br />
oiks travelling the world, and it taught me a lot. One<br />
thing I’ve learned is over the last few decades is that<br />
our railways have gone from the best to the worst<br />
in the world. They’re now an absolute disgrace that<br />
only re-nationalisation can solve.<br />
Do you have any future plans beyond the tour?<br />
We don’t release a lot of records, the last being in<br />
2008, but we’re writing material for a newie which<br />
will have a distinct psych/freakbeat edge to it.<br />
How does it feel to be in the position that all<br />
those older bands were in when you started?<br />
Fair point. But I’d hope we haven’t become the boring<br />
farts who inspired us to pick up guitars in the<br />
first place. We play with some great young bands<br />
- you see them perform and think, ‘can’t wait to<br />
hear the album’. Then when you get it, everything<br />
is compressed and autotuned to hell with these insidious<br />
Pro Tools plugins everyone is using. Go very<br />
easy on that stuff, is my advice for young musicians<br />
reading this. Interview by Ben Bailey<br />
<strong>Brighton</strong> Dome, Thurs 24th, 7pm, £27<br />
officialdamned.com<br />
....47....
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WITCHCRAFT<br />
....................................<br />
Witchfest<br />
‘Everything from Harry Potter to Aleister Crowley’<br />
As Witchfest prepares to make<br />
its debut here, organiser Merlyn<br />
Hern talks to <strong>Viva</strong> about spells,<br />
shamanism and socialising.<br />
A modern witch is someone<br />
who is in tune with nature,<br />
believes in the possibility of<br />
both a god and a goddess<br />
and, obviously, believes in the<br />
power of magic. Witches do<br />
cast spells, but most witches<br />
voluntarily follow the Wiccan<br />
Rede, a code that says you can<br />
do whatever you like providing<br />
you don’t harm anything.<br />
Generally spells relate to health problems, lack<br />
of money - the small things. It’s about need rather<br />
than greed. Witches sometimes do work together<br />
to influence much larger events though. There’s a<br />
story that we worked to prevent Hitler invading the<br />
UK back in the Second World War. I wasn’t around<br />
then and can’t verify the story, but certainly it’s<br />
widely believed in witchcraft circles.<br />
I started my path in witchcraft in <strong>Brighton</strong>.<br />
My original coven was in Kemptown. Historically<br />
the city has always had strong connections with<br />
witchcraft, most famously [notorious occultist]<br />
Aleister Crowley, and of course Doreen Valiente<br />
[the <strong>Brighton</strong> woman described as ‘the mother of<br />
modern witchcraft’]. Activity had been quiet for<br />
a few years, but it’s starting to kick off again here,<br />
with various local groups starting up. Unfortunately,<br />
I can’t tell you about them.<br />
The bad stuff you hear about witches is largely<br />
fiction. Wiccans are the sort of people who support<br />
Greenpeace, anti-fracking campaigns and animal<br />
welfare charities.<br />
There’s nothing in the world quite like Witchfest.<br />
It’s a mixture of education - we get really good<br />
quality talks and workshops; entertainment - live<br />
bands, dancers and DJs; and a strong social aspect,<br />
where we actively encourage<br />
people to talk to each other.<br />
We describe the event as<br />
‘everything from Harry Potter<br />
to Aleister Crowley’. At<br />
one end you have wand-making<br />
workshops, and at the other<br />
you have talks on shamanism,<br />
Western magical traditions and<br />
Chaos Magic.<br />
We usually attract around<br />
3,000 people, predominantly<br />
from the UK but also from<br />
Australia, New Zealand, South<br />
America, South Africa, Canada and the USA.<br />
This is our first year in <strong>Brighton</strong>. We were in<br />
Croydon for 15 years, but then the venue we used<br />
shut down and the Doreen Valiente Foundation<br />
recommended we try the <strong>Brighton</strong> Centre instead.<br />
<strong>Brighton</strong> City Council is very sympathetic to our<br />
cause, which saved us the usual uphill struggle of<br />
having to explain that no, we’re not Satanists.<br />
Anyone with an open mind is welcome to attend<br />
Witchfest, and people do. Some of our staff are<br />
not in any way Wiccan, pagan or anything like that<br />
- some are even Christian.<br />
Witches are still one of the most persecuted<br />
groups on the planet. A lot of people don’t know<br />
what we actually do and they don’t care - they just<br />
don’t like us. It has got better - there are legal protections<br />
now, especially in the workplace - but you<br />
do get fanatics, so we have to be careful.<br />
I think it’s <strong>Brighton</strong> itself that attracts witches.<br />
It’s a very tolerant city. A lot of people know it as the<br />
gay capital of the UK; in most towns that couldn’t<br />
and wouldn’t have happened. But <strong>Brighton</strong> is quite<br />
relaxed and open-minded - which we witches also<br />
like! It’s good to feel welcome. To an extent we’re<br />
part of <strong>Brighton</strong>’s history.<br />
As told to Nione Meakin<br />
<strong>Brighton</strong> Centre, 25th & 26th. witchfest.net<br />
....49....
MUSIC<br />
.....................................<br />
Julia Jacklin<br />
Singing the questions<br />
Julia Jacklin’s artful<br />
debut, Don’t Let the<br />
Kids Win, has been<br />
released to excited<br />
chatter about the<br />
indie-country second<br />
coming. The Australian<br />
singer-songwriter<br />
is in the UK touring<br />
her lingering, poetic<br />
album this month.<br />
You’ve mentioned<br />
that you wrote a lot<br />
of ‘bad songs’ and<br />
played a lot of ‘bad gigs’ to get to this point<br />
- was that necessary to get to where you are<br />
today? Absolutely. I think it’s all part of it. Being<br />
embarrassed on stage is essential. Because if you<br />
can push through that then the rest is a lot easier.<br />
And your first song is never going to be good,<br />
unless you’re some kind of child prodigy. So you<br />
gotta write a lot of cringeworthy stuff before you<br />
write something that actually moves people. I’m<br />
just trying to play good shows and write better<br />
songs and just focus on the music. I’m surrounded<br />
by incredible female singer-songwriters right now.<br />
Don’t Let the Kids Win seems to be about<br />
losing things - faith, youth, friends - growing<br />
out of ideas and clothes. What direction do<br />
you think your next album will go in? Have<br />
you got a head full of ideas? Yeah, I have quite a<br />
few. I recorded this album a year ago, so it’s been a<br />
while. I think it’ll still be a record full of questions<br />
and not many answers. Questions are a lot easier<br />
to sing! I think the instrumentation will be a bit<br />
different. Maybe a bit louder.<br />
Do you ever worry<br />
this next stage of<br />
life, adulthood, will<br />
be less rich in the<br />
kind of discovery<br />
that characterises<br />
our formative years?<br />
Yeah, of course, but<br />
I think it’ll be rich in<br />
very different ways. It’s<br />
become less and less<br />
about jaunting around<br />
the world all starry<br />
eyed and more about<br />
focusing on your personal relationships and not<br />
being an asshole.<br />
You directed the video for Leadlight, which is<br />
rife with the angsty symbols of youth - from<br />
the gymnasium to tube socks. Is it important<br />
for you to set the tone of your videos? It seems<br />
the most natural thing for me to do really. I wrote<br />
the songs, so the visuals come to me quite easily.<br />
I know what I want them to look like, what feel<br />
they should have. I’m trying to continue doing the<br />
videos, but it’s hard to when you’re always on tour!<br />
Looking forward to heading home this month?<br />
Yeah, I’ll be keen to go home, for sure. But I’m<br />
enjoying touring right now. I waited a long time<br />
to do this, so I’m trying to be present and enjoy<br />
it while it lasts. England has definitely given me<br />
a stronger response than I was expecting! It’ll be<br />
interesting to see what the home crowd will be like<br />
when I tour the record later in <strong>November</strong>.<br />
Interview by Amy Holtz<br />
The Haunt, Thurs 3rd, 7pm, £10<br />
juliajacklin.com<br />
....50....
MUSIC<br />
....................................<br />
Beardyman<br />
‘Weaponised telepathy’<br />
Having celebrated the<br />
10th anniversary of the<br />
legendary <strong>Brighton</strong> night<br />
Battlejam earlier this year,<br />
Beardyman is doing a<br />
hometown show at The<br />
Old Market this month,<br />
giving his improvised<br />
musical mash-up a whole<br />
new twist. A world-class<br />
beatboxer and multiinstrumentalist<br />
in his own<br />
right, he’s also assembled<br />
a group of top freestylers<br />
and musicians - billed as<br />
The Dream Team - to turn<br />
the audience’s crazy suggestions<br />
into off-the-cuff<br />
songs backed by a full band.<br />
How is this Beardyman<br />
show different from previous ones? The last<br />
time I came to The Old Market I made two<br />
new albums over a couple of nights. This time<br />
I’m bringing a band consisting of some of the<br />
UK’s greatest improvisers, and we’ll be doing<br />
something inspired by the same desire to create<br />
new music in the moment. The last shows were<br />
framed as comedy, these are more focused on<br />
music for music’s sake, and the music is markedly<br />
better than anything I could do on my own.<br />
What is The Dream Team and who’s involved?<br />
It’s currently myself, Bellatrix on bass<br />
and beatbox, Dizraeli on vocals, LeeN on MC<br />
duties, who also has a next level effects set-up,<br />
JFB on the decks, and Rob Lewis on the cello and<br />
FX. They’re some of the best freestylers on the<br />
planet. It’s a blank slate with weaponised telepathy,<br />
we create worlds within worlds together with<br />
infinite possibilities.<br />
Will you be using your<br />
self-built live looping<br />
machine, aka the<br />
Beardytron 5000? Are<br />
you any closer to making<br />
it available commercially?<br />
Yes and no.<br />
Why did you decide to<br />
start using live musicians<br />
when you can do<br />
it all with your mouth?<br />
Because I can’t. A mouth is<br />
not a band.<br />
Are there certain sounds<br />
that you’ve not yet been<br />
able to mimic vocally?<br />
Loads... show me a kid who<br />
can do a convincing piano<br />
and I’ll eat my microphone.<br />
Who would win in a<br />
showdown between you and a lyrebird? The<br />
lyrebird... those things are insane.<br />
What other plans or projects have you got in<br />
the works? I’m working hard on this right now,<br />
but I’ve also started an as-yet-unnamed trio with<br />
LeeN and Serocee which will be seeing the light<br />
of day soon.<br />
Are there certain audience suggestions that<br />
come up time and time again? There are<br />
always shit ones... and yes, we pass over them.<br />
What’s the best song title your audience<br />
has ever come up with? Have you ever been<br />
tempted to steal their ideas? The best one I<br />
had was: “I think one of my dads might be gay”. I<br />
don’t steal their ideas, I interpret them. You can’t<br />
steal an idea, it’s all in the execution.<br />
Interview by Ben Bailey<br />
Beardyman performs with The Dream Team at<br />
The Old Market, Wed 16th, 7.30pm, £16.50<br />
....51....
BOOKS<br />
....................................<br />
....52....
BOOKS<br />
....................................<br />
Ladybird Books for Grown-ups<br />
Satirical recycling<br />
Photo of Jason and Joel by Idil Sukan<br />
“I love watching<br />
people reading our<br />
books in the bookshop,<br />
and laughing” says<br />
Joel Morris, half of the<br />
team responsible for<br />
the Ladybird Books for<br />
Grown-ups series, down<br />
the phone. “It’s the<br />
nearest I’ll ever get to<br />
performing in front of<br />
an audience.”<br />
As a day job, Joel (above right) writes comedy for<br />
TV with his working partner Jason Hazeley. “It<br />
kind of dries up in the summer, so we always write<br />
a book together. We really wanted to write a Ladybird<br />
book, but we realised that new artwork of the<br />
quality expected would, nowadays, be too expensive<br />
- they really used to use top-grade artists from<br />
the ad agencies. So we thought we’d put modernday<br />
captions on top of the old pictures, and that<br />
there’d be a lot of humour in that. We realised<br />
there was a factory producing reprinted Ladybirds,<br />
which offered the means of production.”<br />
Ladybird loved the idea, and made the pair official<br />
Ladybird writers, giving them access to<br />
over 13,000 images from their archive. “Whenever<br />
anyone else has done a similar thing on the<br />
internet, they have always written new text to an<br />
entire book,” he continues. “We decided to create<br />
completely new books by using images from many<br />
different Ladybirds, and mixing them together.”<br />
The resulting books, gently parodying modern<br />
life, have titles like The Hipster, The Hangover, The<br />
People Next Door and The Ladybird Book of Red Tape.<br />
They have been a huge success, a fixture at the top<br />
of the best-selling non-fiction lists.<br />
One reason for this is the way they have managed<br />
to capture the ‘voice’<br />
of Ladybird, and<br />
reapply it to modern<br />
issues. “It is the voice<br />
of certainty,” says Joel.<br />
“There are no grey<br />
areas. ‘Richard III was<br />
a bad king’, that sort<br />
of thing. There’s a lot<br />
of use of the present<br />
tense; it’s all in the<br />
here and now.” Another,<br />
it must be said, is that they are bloody funny.<br />
Ladybird send me a few books to read before my<br />
interview with Joel, and I embarrass myself on the<br />
train, snorting out loud; I’m particularly tickled by<br />
a cat called ‘Ottolenghi’.<br />
Joel and Jason have an interesting modus operandi.<br />
Each of them works on a different book until they<br />
can’t think of anything else to write, then they<br />
swap over. “It works for us in comedy writing,<br />
and it works just as well with these books.” Each<br />
book takes about three weeks to write: they have<br />
to source the pictures and research the subject<br />
thoroughly before the writing process begins.<br />
The books are aimed at people who read the<br />
original Ladybirds, which is a surprisingly broad<br />
segment of the population: “kids would read the<br />
books their parents had when they were kids.”<br />
They even work on a foreign audience. “New Yorkers,<br />
for example, who’ve never seen an original<br />
Ladybird book, still get the joke that these are<br />
images for kids’ books and the captions have been<br />
changed to suit an adult audience.”<br />
Alex Leith<br />
Joel and Jason will be talking at the Lewes Speakers<br />
Festival, Sat 26th, 5-6.15pm, All Saints Centre.<br />
lewesspeakersfestival.com<br />
....53....
搀 攀 洀 漀 猀 眀 漀 爀 欀 猀 栀 漀 瀀 猀 琀 爀 愀 椀 渀 椀 渀 最 挀 漀 渀 猀 甀 氀 琀 愀 渀 挀 礀 挀 愀 琀 攀 爀 椀 渀 最<br />
匀 椀 渀 挀 攀 ㈀ 眀 攀 ᤠ 瘀 攀 栀 攀 氀 瀀 攀 搀<br />
琀 栀 漀 甀 猀 愀 渀 搀 猀 漀 昀 瀀 攀 漀 瀀 氀 攀 琀 漀<br />
椀 洀 瀀 爀 漀 瘀 攀 琀 栀 攀 椀 爀 挀 漀 漀 欀 攀 爀 礀 愀 渀 搀<br />
渀 甀 琀 爀 椀 琀 椀 漀 渀 猀 欀 椀 氀 氀 猀 ⸀<br />
唀 瀀 挀 漀 洀 椀 渀 最 攀 瘀 攀 渀 琀 猀 椀 渀 挀 氀 甀 搀 攀 㨀<br />
䜀 甀 樀 愀 爀 愀 琀 椀 吀 栀 愀 氀 椀 ⠀ 㤀 琀 栀 一 漀 瘀 ⤀<br />
䔀 砀 瀀 氀 漀 爀 攀 琀 栀 攀 甀 渀 椀 焀 甀 攀 愀 渀 搀<br />
搀 攀 氀 攀 挀 琀 愀 戀 氀 攀 挀 甀 椀 猀 椀 渀 攀 漀 昀 䤀 渀 搀 椀 愀 ᤠ 猀<br />
眀 攀 猀 琀 攀 爀 渀 洀 漀 猀 琀 猀 琀 愀 琀 攀<br />
䘀 攀 猀 琀 椀 瘀 攀 䈀 愀 欀 椀 渀 最 ⠀アパート 爀 搀 䐀 攀 挀 ⤀<br />
䰀 攀 愀 爀 渀 琀 漀 洀 愀 欀 攀 昀 攀 猀 琀 椀 瘀 攀 戀 爀 攀 愀 搀 猀<br />
昀 爀 漀 洀 琀 栀 爀 攀 攀 琀 爀 愀 搀 椀 琀 椀 漀 渀 猀<br />
䤀 琀 愀 氀 椀 愀 渀 䈀 爀 攀 愀 搀 猀 ⠀ 㐀 琀 栀 䨀 愀 渀 ⤀<br />
䰀 攀 愀 爀 渀 琀 漀 戀 愀 欀 攀 䤀 琀 愀 氀 椀 愀 渀 戀 爀 攀 愀 搀 猀<br />
昀 爀 漀 洀 琀 栀 爀 攀 攀 爀 攀 最 椀 漀 渀 猀<br />
眀 眀 眀 ⸀ 挀 漀 洀 洀 甀 渀 椀 琀 礀 挀 栀 攀 昀 ⸀ 漀 爀 最 ⸀ 甀 欀<br />
䜀 椀 昀 琀 瘀 漀 甀 挀 栀 攀 爀 猀 渀 漀 眀 愀 瘀 愀 椀 氀 愀 戀 氀 攀 ℀
BOOKS<br />
....................................<br />
Paddy Ashdown<br />
Norman Baker interviews his former boss<br />
Paddy Ashdown may be best<br />
known for his role as one-time<br />
leader of the Lib Dems, but like<br />
the best politicians, he has a hinterland<br />
far away from politics.<br />
For Paddy this included a career<br />
as a foreign office diplomat,<br />
time with MI6 and as a member<br />
of the Special Boat Squad.<br />
He is also a prolific author and<br />
this is his ninth book, and third<br />
about the Second World War.<br />
Game Of Spies is the riveting<br />
true story of a lethal triangle involving<br />
a British spy, a Gestapo<br />
officer, and a leader in the<br />
French Resistance, in wartime<br />
occupied Bordeaux.<br />
What makes this book groundbreaking is that<br />
he has been able to access the archives both of<br />
the British secret agent Roger Landes, and the<br />
Gestapo counter-espionage officer charged with<br />
finding him, Friedrich Dohse. His partner on the<br />
book (‘collaborator’ is perhaps best avoided here),<br />
Sylvie Young, a French woman, has added to the<br />
mix by unearthing many hitherto unexamined<br />
French files of the period.<br />
Paddy tells me he regards Friedrich Dohse as the<br />
book’s most interesting character, not least because<br />
his memoir is the only known one written<br />
by a Gestapo officer. His intelligent approach was<br />
markedly different from his Gestapo colleagues<br />
in other ways too. He eschewed violence and torture,<br />
and his preferred method of interrogation<br />
was to invite his prisoners to dinner. It was an<br />
approach that brought some success, notably in<br />
‘turning’ the third key player in this story, Andre<br />
Grandclement.<br />
It’s clear that Paddy warmed to this swashbuckling<br />
tale, no doubt as he<br />
warmed to his own SBS adventures.<br />
Notwithstanding the<br />
horrors it describes along the<br />
way, the book reveals a touch<br />
of wistful nostalgia for a time<br />
when people faced hard, cold<br />
edges, and were, as he put it to<br />
me, not “protected by cotton<br />
wool as they are today”.<br />
The narrative rolls on apace,<br />
without sacrificing depth and<br />
insight along the way. On the<br />
contrary, Paddy builds a picture<br />
of the characters, and indeed<br />
the nations to which they<br />
belong, which is much more<br />
thoughtful and nuanced than the 2D cartoon<br />
versions we are sometimes presented with. He<br />
delights in “breaking lazily received notions”.<br />
Is the book just an historical tale, albeit a fascinating<br />
and meticulously researched one, I ask<br />
Paddy, or can it inform the world today?<br />
“Those who forget history are condemned<br />
to repeat it,” he answers, without a pause for<br />
thought. And he clearly feels rueful, perhaps<br />
even ashamed, that the Britain that offered so<br />
many of its young men and women to free other<br />
countries in Europe is now the country with the<br />
most curmudgeonly attitude to those Europeans<br />
outside its borders.<br />
More ominous still, he sees in the disorientation<br />
of people and the distrust of politicians and those<br />
in power a parallel between the 1930s and now.<br />
So a good read, and maybe an important one, too.<br />
As may be his next book, about the internal German<br />
resistance to Hitler. Norman Baker<br />
Meet the Author: An Evening with Paddy Ashdown,<br />
Royal Pavilion Music Room, 17th, 6.30pm, £15.50<br />
....55....
ART<br />
....................................<br />
....56....
ART<br />
....................................<br />
Focus on: i360<br />
by Lisa Holdcroft<br />
150 drawings... and counting<br />
I started drawing last May - at that point the site<br />
was just a big square hole in the ground. I had been<br />
speaking to somebody about how big the i360 was<br />
going to be for the city - it’ll be a piece of <strong>Brighton</strong>’s<br />
history - so I knew I wanted to do something.<br />
I would go down there on my bike and sketch and<br />
take photos, then go back home and draw. I wanted<br />
to show the construction from the point of view of<br />
a spectator, rather than being a part of it.<br />
I posted one of my drawings on the i360 Facebook<br />
page and I got a response from David and<br />
Julia [the architects]. When they were putting in<br />
the ‘cans’, as they call them, each one was slightly<br />
different and they had to go together in a particular<br />
sequence. They gave me some of the architectural<br />
drawings and said, ‘you might want to take a look<br />
at these’. After a while I became a real trainspottertype<br />
geek. I read all the information on the i360<br />
website, and I had a contact there who I could speak<br />
to if I had any questions.<br />
Each item in the narrative has its own character<br />
and colour. It’s like building a visual language:<br />
this is how the sand is drawn, every time, and this<br />
is how the cans are drawn, every time. Using a limited<br />
range of colours sort of leads your eye through<br />
what’s going on. The good thing about drawing the<br />
i360 is that you can look at it from lots of different<br />
angles, and you only have the sea as a backdrop.<br />
The most exciting bit for me was when they<br />
were building the jacking tower - the square<br />
frame which housed the jacks. At the bottom the<br />
tower was lifted up, so that the next can could be<br />
stacked underneath. Then, on the top level, the<br />
aluminium coating went on to protect it from the<br />
wind. It was the first time this system had been tried<br />
anywhere in the world.<br />
I’ve done over 150 drawings so far. When I actually<br />
went on the i360 when it opened I was a bit<br />
overwhelmed, because I’d spent so long drawing it.<br />
I am going to draw it from the inside eventually; I<br />
want to finish the series with the views from the top<br />
- that is the point of the whole thing!<br />
As told to Rebecca Cunningham<br />
lisaholdcroft.com<br />
....57....
ART & ABOUT<br />
....................................<br />
Art & About: In town this month...<br />
Described as one of Britain’s most powerful<br />
figurative painters, Graham Dean<br />
boldly uses watercolour on an epic<br />
scale; building up layers of paint and<br />
collage with his ‘reverse archaeology’<br />
technique, to create life-size depictions<br />
of the human body that can be years<br />
in the making. Cameron Contemporary’s<br />
new exhibition, featuring works<br />
from all four decades of his career (so<br />
far), is Dean’s first solo exhibition in his<br />
home town for 20 years. It runs till the<br />
7th. [cameroncontemporaryart.com]<br />
‘Swimmer’ by Graham Dean<br />
‘Mermaids’ by Ruth Mulvie<br />
Joyland is at Gallery 40 until Saturday 5th. It showcases<br />
a series of landscapes by Ruth Mulvie, which she has described<br />
as “places I want to go to but have never been”.<br />
Her part-real, part-fictional landscapes are reimagined<br />
in Kodachrome shades of candyfloss pink, cerulean blue<br />
and phthalo turquoise. Down the road, <strong>Brighton</strong> sculptor<br />
Eve Shepherd has a solo show at Corridor Gallery<br />
from the 4th. Blood & Bone is an exhibition of her delicate<br />
porcelain works that explore, we’re told, ‘fragility<br />
and fortitude through feminine archetypes of maiden,<br />
mother and crone’. [corridorgallery.co.uk]<br />
From the 18th to the 20th, the city hosts<br />
Colour Out of Space, the 7th edition of the<br />
International Festival of Experimental<br />
Sound and Art. As part of the expanded<br />
programme, Constant Linear Velocity is at<br />
Phoenix from the 12th. This exhibition of<br />
sculptural sound works by Stephen Cornford<br />
ponders what the future holds for<br />
now-obsolete audio-storage devices. Accompanying<br />
activities include an intriguing<br />
build-your-own-musical-instrument workshop<br />
with Phantom Chips, which, from the<br />
description, sounds like a mix of electronic<br />
engineering, art and general daftness.<br />
[phoenixbrighton.org]<br />
Soft circuits workshop with Phantom Chips<br />
....59....
伀 爀 椀 最 椀 渀 愀 氀 愀 爀 琀 愀 琀 愀 û 漀 爀 搀 愀 戀 氀 攀 瀀 爀 椀 挀 攀 猀 ⸀<br />
一 䔀 圀 䌀 伀 䰀 䰀 䔀 䌀 吀 䤀 伀 一 匀 ℀<br />
嘀 椀 猀 椀 琀 漀 甀 爀 最 愀 氀 氀 攀 爀 礀 漀 爀 漀 甀 爀 漀 渀 氀 椀 渀 攀 猀 琀 漀 爀 攀<br />
愀 爀 琀 㔀 最 愀 氀 氀 攀 爀 礀 猀 栀 漀 瀀 ⸀ 挀 漀 洀<br />
圀 䔀 圀 伀 刀 䬀 圀 䤀 吀 䠀<br />
㔀 䈀 愀 爀 琀 栀 漀 氀 漀 洀 攀 眀 猀 Ⰰ 䈀 一 䠀 䜀 ∠ ㈀ 㜀 アパート 㜀 㜀 㐀 ㈀㈀㈀<br />
椀 渀 昀 漀 䀀 愀 爀 琀 㔀 最 愀 氀 氀 攀 爀 礀 ⸀ 挀 漀 洀<br />
PickingFigs.com is a brand new online shop<br />
selling fine illustrated gifts and greetings.<br />
To celebrate the launch we’re giving<br />
15% off everything<br />
with the code VIVAFIGS<br />
Artists<br />
& Makers<br />
<strong>2016</strong><br />
Our flagship product:<br />
Personalised Illustrated Children’s Name Prints<br />
Festive gifts & treats<br />
Follow us everywhere for more info and offers<br />
@PickingFigs<br />
PICKINGFIGS.COM<br />
Lewes Town Hall (Fisher Street)<br />
Saturday 3 rd December<br />
10am - 5pm<br />
www.facebook.com/artistsandmakerslewes
ART & ABOUT<br />
....................................<br />
Lost and Foundry at The Stanley Road Store (AOH)<br />
Unlimited has Party Animals - an exhibition of prints by<br />
local illustrator extraordinaire Dan Walters - in store from<br />
the 10th. The <strong>2016</strong> Christmas Artists Open Houses festival<br />
starts on Saturday 26th, with another chance to buy direct<br />
from artists and makers in their houses and studios all<br />
around <strong>Brighton</strong>, Lewes and Ditchling too. [aoh.org.uk] If<br />
you prefer your artists all in one place, Art Junky, the collision<br />
of artistic talent and jumble-sale culture, is at <strong>Brighton</strong><br />
Open Market on the 26th. [phoenixbrighton.org] And, just<br />
in case you’ve missed them, the trail of Snowdogs by the<br />
Sea, continues until the 27th. Got a favourite? Make it your<br />
own at the auction on the 6th December. All proceeds go to<br />
the Martlets Hospice. [snowdogsbythesea.co.uk]<br />
...and out of town<br />
Towards Night continues at Towner in Eastbourne.<br />
This major exhibition, curated by Sussex<br />
artist Tom Hammick, juxtaposes works by<br />
artists as diverse as Turner, Doig, and Munch<br />
to explore the darkness and all it entails. Unmissable.<br />
Also at the gallery, One Day, Something<br />
Happens: Paintings of People, features figurative<br />
works by an equally impressive roll-call<br />
of names, including Sickert, Lucien Freud,<br />
Hockney and Rose Wylie. Both run until<br />
January 2017.<br />
‘Echo Lake’ by Peter Doig, 1998<br />
‘Pollination’ by Tadek Beutlich<br />
Ditchling Museum of Art + Craft follow their summer of print with an<br />
autumn of textiles. Tadek Beutlich: Beyond Craft examines the work of the<br />
late Polish-born artist, weaver and tapestry maker, who lived and worked<br />
in the village for some time. Working directly and spontaneously from his<br />
prints, rather than formal designs, his work challenged the usual definitions<br />
of craft. Concurrently, the museum celebrates the 100th anniversary of fellow<br />
villager Ethel Mairet’s definitive text A Book of Vegetable Dyes with a live<br />
research project, in which artists and craftspeople will use her recipes to create<br />
their own natural dyes. The results will be on display over the course of<br />
the exhibition. Christmas at Nymans starts on the 26th with an exhibition<br />
of vintage Ladybird Books illustrations at Nymans, the National Trust house<br />
and gardens at Handcross, near Haywards Heath. [nationaltrust.org.uk]<br />
....61....
ART & ABOUT<br />
....................................<br />
‘Pigeon Racing’ by Alistair Grant, 1962<br />
In Chichester, Pallant House Gallery shows The<br />
Mythic Method: Classicism in British Art 1920–1950.<br />
Curated by the gallery’s artistic director, Simon<br />
Martin, this is the first major exhibition to explore<br />
the subtle influence that classicism had on British<br />
artists living and working in an era of social<br />
and political change. Also at Pallant House, Prints<br />
for the Pub is the first public exhibition of a set of<br />
lithographs produced by Guinness in the mid-1950s<br />
to promote the first edition of the Guinness Book of<br />
Records. Designed to brighten bars and pubs, they<br />
were created by artists including Edward Ardizzone,<br />
Bernard Cheese and Barnett Freedman, each illustrating a record chosen from the book. Depicting<br />
supposedly working-class interests - darts, pigeon racing, football, etc - they capture the mid-century ideal of<br />
bringing art to the masses. [pallant.org.uk]<br />
‘Alphabet Letter C’ by Peter Blake, 2007<br />
At Jerwood Gallery, in Hastings, Century: 100 Modern<br />
British Artists showcases a vibrant mix of paintings, sculpture<br />
and works on paper.<br />
Expect key pieces<br />
by Tristram Hillier,<br />
William Roberts, John<br />
Armstrong and Barbara<br />
Hepworth. Until<br />
January 2017. [jerwoodgallery.org]<br />
Best get to<br />
Bexhill and the De La<br />
Warr Pavilion if you<br />
haven’t yet seen the Alphabets, Letters & Numbers exhibit of three print<br />
series by Sir Peter Blake. It finishes on the 27th. [dlwp.com]<br />
‘Five am’ by Ernest Procter, 1920<br />
Finally, two calls for works: An open call for Artists in Residence for the 2017 edition of Diep-Haven Festival,<br />
the cultural trail of exhibitions and events between Normandy and East Sussex. Artists working in any<br />
media are asked to propose a project, on the theme of ‘work’, to be created in the context of Dieppe and/or<br />
Newhaven, including the ferry linking the two. Details at diephaven.org. The closing date is Dec 10th. And<br />
Pelham House, in Lewes, will hold its annual Open Art Exhibition of Sussex-based artists in January 2017.<br />
Email submissions to artcurator@pelhamhouse.com by 20th December [pelhamhouse.com]<br />
....63....
DESIGN<br />
....................................<br />
Unlimited<br />
Design agency and accidental shop<br />
Graphic designers Sara and Patrick Morrissey<br />
launched Unlimited in 2008. They left their<br />
respective jobs lecturing at London College of<br />
Communication, and designing for top agency<br />
Why Not Associates, to set up their own independent<br />
design agency by the sea. The shop and<br />
gallery began two years later, when they began<br />
exhibiting theirs and friends’ work in front of<br />
their studio on weekends for fun.<br />
Unlimited were forerunners of the now ubiquitous<br />
fashion for pop-ups, but trendsetting wasn’t<br />
their intention. “I started adopting the name<br />
pop-up only because that’s what I started to realise<br />
people were saying it was,” says Sara. “It’s all<br />
happened organically, and as a reaction to our audience.<br />
I never intended to be here having a shop<br />
six years ago... I’m a designer, one half of a design<br />
team, but our love of great work by likeminded<br />
talent naturally pushed us in this direction.”<br />
Six years on, Unlimited has grown from representing<br />
just six designer-makers to over 80. They<br />
recently invited Rob Lowe of Supermundane, a<br />
real celeb in the illustration field, to paint their<br />
shop front and create a huge number of prints<br />
for display. “Lots of the time, I’m spurring people<br />
on,” says Sara, whose background as a lecturer informs<br />
her ability to draft good creative briefs - the<br />
backbone of design collaboration. “Supermundane<br />
said he’s not actually done this much work at one<br />
point altogether for an exhibition… I crack the<br />
whip because I love being involved in the generation<br />
of new work for us to show.”<br />
Now the shop has a monthly programme of<br />
events and exhibitions, Sara and colleague Esther<br />
....64....
DESIGN<br />
....................................<br />
Cox devote much of their time to it, while Patrick<br />
focuses on their studio output. The studio’s<br />
clients include an impressive number of cultural<br />
institutions, from the Royal Academy, for whom<br />
Patrick has worked since 1997’s Sensation, to the<br />
Jerwood Gallery, The Bartlett, and Folkestone<br />
Creative Foundation.<br />
Esther tells me it would be great to have somewhere<br />
in <strong>Brighton</strong> on the scale of the Design<br />
Museum in London, to really celebrate design<br />
the way people do in places like Denmark and<br />
Holland. “We have a fantastic local museum that<br />
has some really good stuff in it that’s not really<br />
shouted about,” Sara adds. “<strong>Brighton</strong> has a great<br />
art scene, it’s got a great craft scene, but I’d love<br />
it to have more of a design feel. We see what we<br />
do as a way towards this.”<br />
The feeling I get from Unlimited is that it’s<br />
just what <strong>Brighton</strong> loves. They represent some<br />
of our many outstanding designer-makers, like<br />
Daniel Walters, showing there this month, and<br />
big names from across the country. The recent<br />
closure of other indie galleries, however, show it’s<br />
tricky to maintain arty businesses on high rents.<br />
“A lot of people in <strong>Brighton</strong> are moving to places<br />
like Margate,” says Sara. “They’re becoming the<br />
creative hubs now. I don’t think <strong>Brighton</strong> can<br />
afford to rest on its laurels.”<br />
For the time being, however, it’s safe to say<br />
Unlimited are not short of ideas reflecting what<br />
famed typographer Gary Stranger wrote on their<br />
wall. “Good on the outside,” says Sara, “good on<br />
the inside.” Chloë King<br />
unlimitedshop.co.uk<br />
....65....
䄀 戀 攀 愀 甀 琀 椀 昀 甀 氀 戀 漀 甀 琀 椀 焀 甀 攀 愀 渀 搀 眀 漀 爀 欀 猀 瀀 愀 挀 攀 椀 渀 䈀 爀 椀 最 栀 琀 漀 渀 猀 一 漀 爀 琀 栀 䰀 愀 椀 渀 攀 Ⰰ 瀀 爀 漀 搀 甀 挀 椀 渀 最<br />
漀 甀 爀 漀 眀 渀 爀 愀 渀 最 攀 漀 昀 最 氀 愀 猀 猀 眀 栀 椀 挀 栀 椀 猀 栀 愀 渀 搀 挀 爀 愀 昀 琀 攀 搀 愀 渀 搀 ǻ 爀 攀 搀 漀 渀 猀 椀 琀 攀 愀 氀 漀 渀 最 猀 椀 搀 攀 愀<br />
栀 愀 渀 搀 瀀 椀 挀 欀 攀 搀 挀 漀 氀 氀 攀 挀 琀 椀 漀 渀 漀 昀 栀 愀 渀 搀 洀 愀 搀 攀 愀 渀 搀 氀 漀 挀 愀 氀 氀 礀 猀 漀 甀 爀 挀 攀 搀 最 椀 昀 琀 猀 ⸀<br />
圀 攀 愀 氀 猀 漀 爀 甀 渀 爀 攀 最 甀 氀 愀 爀 昀 甀 猀 攀 搀 最 氀 愀 猀 猀 眀 漀 爀 欀 猀 栀 漀 瀀 猀 椀 渀 漀 甀 爀 搀 漀 眀 渀 猀 琀 愀 椀 爀 猀 猀 瀀 愀 挀 攀 ⴀ 挀 栀 攀 挀 欀<br />
漀 渀 氀 椀 渀 攀 漀 爀 瀀 漀 瀀 椀 渀 琀 漀 琀 栀 攀 猀 栀 漀 瀀 琀 漀 ǻ 渀 搀 漀 甀 琀 愀 戀 漀 甀 琀 昀 漀 爀 琀 栀 挀 漀 洀 椀 渀 最 搀 愀 琀 攀 猀<br />
㜀 㐀 一 漀 爀 琀 栀 刀 漀 愀 搀 Ⰰ 䈀 爀 椀 最 栀 琀 漀 渀 Ⰰ 䈀 一 夀 䐀<br />
㈀ 㜀 アパート 㘀 㤀 㜀 ㈀ 㜀 㔀<br />
眀 眀 眀 ⸀ 氀 椀 琀 琀 氀 攀 戀 攀 愀 挀 栀 戀 漀 甀 琀 椀 焀 甀 攀 ⸀ 挀 漀 洀
LOCAL MAKER<br />
...........................................<br />
Photos by Lizzie Lower<br />
Ayten Gasson<br />
Handmade lingerie<br />
I’ve always loved colour and pattern, so I<br />
studied print textiles at Central St Martins. But I<br />
really learned how to sew from my mum. She was<br />
a sample maker for the Arcadia Group, and I grew<br />
up turning out the belt loops and cutting the size<br />
labels for pocket money. She always had beautiful<br />
lingerie - elegant teddies, half-slips and petticoats<br />
- and I wanted to recreate them.<br />
I set up the label ten years ago, after graduating.<br />
I mistakenly thought it would be easy to find<br />
a job in the industry, but so much of the production<br />
had moved overseas. When I revisited the<br />
Archway factories I’d been to as a child, they’d all<br />
been turned into luxury flats.<br />
I source everything I can from within the UK.<br />
I buy my ribbons from Berisfords and my lace<br />
from the Cluny Lace Company and, because I<br />
only make a few pieces at a time, I can work with<br />
vintage Liberty silks and 60s cotton Leavers lace.<br />
I’ve even found some ‘peace silk’ - the silkworms<br />
are fed on mulberry leaves in Hertfordshire.<br />
That’s about as ethical as it gets when sourcing<br />
silk. There’s an assumption that ethical clothes<br />
will look boring, but I want them to be beautiful<br />
and sexy.<br />
It’s always been a dream of mine to have my<br />
own shop, but it’s the making that I love the<br />
most, so I had the counter specially made to accommodate<br />
my sewing machine. We opened at<br />
Seven Dials in May, and it’s been a great choice<br />
of location: quiet enough that I can sew, and still<br />
part of a great community of independent traders.<br />
I make all the pieces in store, often whilst<br />
talking to my customers; it’s like an open studio.<br />
I’ll make a few pieces in each style, but I can<br />
adapt them, or make to order, if a customer has<br />
a specific request. I can also personalise a special<br />
gift or a bridal garter from my collection of buttons<br />
and charms. It’s a very personal experience,<br />
buying lingerie. As told to Lizzie Lower<br />
32a Bath Street, 01273 749 258<br />
aytengasson.com<br />
....67....
㤀 䔀 愀 猀 琀 匀 琀 爀 攀 攀 琀<br />
䈀 爀 椀 最 栀 琀 漀 渀<br />
漀 昀 昀 攀 爀 攀 渀 搀 猀<br />
一 漀 瘀 アパート 琀 栀 ℀<br />
䘀 䤀 一 䐀 夀 伀 唀 刀 倀 䔀 刀 䘀 䔀 䌀 吀 䜀 䤀 䘀 吀 匀 ⴀ 焀 甀 漀 琀 攀 ᠠ 瘀 椀 瘀 愀 漀 昀 昀 攀 爀 ᤠ 椀 渀 猀 琀 漀 爀 攀 ℀
WE TRY...<br />
...........................................<br />
Macramé workshop<br />
Knot the best read, but fun to do<br />
First, a disclaimer. Some things in life are so much<br />
more fun to do than they are to read about (in<br />
the same way that going on your own holiday is<br />
immeasurably more fun than looking at somebody<br />
else’s holiday photos). This is certainly true of the<br />
macramé-plant-hanger workshop I recently got to<br />
try out and, whilst I’m duty bound to attempt an<br />
explanation, I guarantee that you’ll have a lot more<br />
fun if you just put down this magazine and book<br />
yourself onto the next workshop. Every time you see<br />
an asterisk, I want you to remember that.<br />
Yes, I’d coveted those macramé plant hangers that<br />
you see in the hipster hotels of Instagram-land. But<br />
I’d also been aware that any attempt to teach myself<br />
to make one would end in temper-tears. So I was<br />
keen to be shown, by textiles graduate and macramé<br />
master Harriet Brooks from Posh Totty.<br />
First, she prepared the metres and metres of chunky<br />
cotton cord that I’d need. I lost track of exactly how<br />
much, but it was something like 32 metres cut into<br />
eight equal lengths. I spent the next two hours lost<br />
in deep concentration, oblivious to the incidental<br />
things happening around me that might have made<br />
this a more interesting read. What I was very aware<br />
of was the cord, which I fiddled about with in something<br />
like the following order:<br />
1. Fold your eight lengths in half, creating 16 equal<br />
strands and, leaving room for a hanging loop, wrap<br />
another length of cord tightly around all stands.<br />
Perform the sort of cunning knot that is the preserve<br />
of fishermen and boy scouts.*<br />
2. Tie at least three ‘foundation knots’, overlaying<br />
four strands at a time in a ‘window’ formation with<br />
the help of your thumb.*<br />
3. Separate the 16 cords into groups of four.*<br />
4. Taking one group of four, separate the outer two<br />
strands and apply a copper bead to the central two.*<br />
5. Bring the outer left cord across the front of the<br />
two central cords, below the copper bead, and take<br />
the outer right cord up, through and under.*<br />
6. Tighten the knot and repeat 36 times, allowing<br />
the knots to twist.*<br />
7. Repeat steps 4-6 for the other three sets of four<br />
cords until you have four twisted ‘ropes’.*<br />
8. Separate the outer two cords of each twisted rope<br />
and tie, at a plant-pot-holding sort of interval to the<br />
outer two cords of the adjacent twisted rope in a<br />
‘square knot’ by completing one knot as above, and<br />
one knot the reverse of the above.*<br />
9. Apply a copper bead and complete another square<br />
knot, as above. Repeat for all remaining strands.*<br />
10. Gather all the lengths together and bind around<br />
with another length of cord, performing the same<br />
mystical knot in step 1.*<br />
11. Taaa daaaah! Stand back and marvel at your<br />
creation.<br />
See, I told you. Definitely more fun to do than to<br />
read. So, if you’ve got designs on making your own,<br />
ring Harriet immediately. There are cakes, too. LL<br />
1 Bond Street Cottages, 01273 621311<br />
poshtottydesigns.com<br />
Photos by Lizzie Lower<br />
....69....
Barfields Butchers<br />
Free range naturally reared meat<br />
Order Xmas meat online<br />
Free delivery in<br />
<strong>Brighton</strong> & Hove<br />
Free range bronze turkeys, geese, ducks, capons & chickens<br />
35-day aged 100% grass-fed beef from native breeds<br />
Rare breed pork from Sussex & Southdown lamb<br />
www.barfieldsbutchers.co.uk<br />
Or come and visit us at our Fiveways shop<br />
11 Kings Parade, Ditchling Road, <strong>Brighton</strong>, BN1 6JT 01273 503349
THE WAY WE WORK<br />
This month, Adam Bronkhorst nipped out to five local corner<br />
shops, to photograph the shopkeepers working the late shift.<br />
We asked each of them: what did you spend your pocket money on?<br />
adambronkhorst.com | 07879 401 333<br />
Mo Shah, Preston Foods<br />
“I used to save it, mostly, but when I did I spent it on Omega games.”
THE WAY WE WORK<br />
Chowdhury Abul Hasan, The Lodge Stores<br />
“Chocolate, always! I used to like the ones that come in all different flavours in the packet.”
THE WAY WE WORK<br />
Mahbub Alam, Hi Life Food Market<br />
“I don’t remember!”
THE WAY WE WORK<br />
Rossy Hassan, Happy Planet<br />
“Sweets, probably.”
THE WAY WE WORK<br />
Milu Islam, Smart Local Market<br />
“I always liked dark chocolate - 70%.”
FOOD<br />
...........................................<br />
The Great British Charcuterie Co.<br />
The perfect place for pedant-provoking paella<br />
The morning I went out shopping for ingredients for the paella I’d planned to<br />
cook, I heard on the news that Spanish chefs were up in arms about Jamie Oliver<br />
using chorizo in his paella recipe. They thought this was sacrilege, because it’s<br />
not the done thing over there.<br />
I thought I’d stand up for libertarian cookery values then, and make a pilgrimage<br />
to the Great British Charcuterie, in the Marina, to get some British chorizo: this<br />
smart new store, which has just opened in that mini shopping plaza behind Asda, only sell British-made meats,<br />
cheeses and wines, and they stock a paprika-infused sausage from North Chailey.<br />
It’s my first visit, and it’s great fun browsing their shiny new shelves and trying out cocktail-stick tasters of their<br />
various products, including Highland Wagyu biltong, Hampshire-made Camembert-style cheese, and Charcoal<br />
Cheddar. Charcoal Cheddar! Apparently a little bit of burnt wood is good for your belly.<br />
Inevitably I leave with much more than just the chorizo: I buy a black-rinded ball of said black cheese (£5.20),<br />
some seaweed-and-cider salami (made in Cornwall, £4 per 100g) and a bottle of red wine, made in Plumpton<br />
(£9.95). I’ve never carried a more exotic bagful of British wares.<br />
And the paella? I fry the chorizo in oil (with some chicken thighs), and it does exactly what the Spanish version<br />
does: oozes out some lovely spicy fat for the rice to soak up later, while maintaining enough taste in its body to<br />
keep as part of the mix. A hit, then: and ya-boo-sucks to Spanish-food pedants. Alex Leith<br />
Photo by Alex Leith<br />
ENGLISH’S OF BRIGHTON<br />
Restaurant & Oyster Bar<br />
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WHEN YOU NEXT VISIT OUR RESTAURANT<br />
AND GET A FREE GLASS OF PROSECCO!<br />
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englishs.co.uk<br />
29-31 East Street, <strong>Brighton</strong>,<br />
East Sussex, BN1 1HL
Food & Drink directory<br />
ADVERTORIAL<br />
The Better Half<br />
The Better Half pub has put<br />
the heart and soul back into<br />
one of the oldest public houses<br />
in the city, just off Hove<br />
seafront. There’s a superb<br />
wine and spirits list and some great ales and ciders<br />
on offer, as well as a hearty and wholesome menu<br />
to enjoy, making the best of local ingredients. The<br />
Better Half is relaxed, friendly and easy-going,<br />
making all feel welcome and comfortable when<br />
you visit.<br />
1 Hove Place, Hove, 01273 737869, thebetterhalfpub.co.uk<br />
The Set Café<br />
The café is situated next<br />
to the The Set restaurant<br />
and offers laid-back<br />
snacks and small plates<br />
in a relaxed atmosphere.<br />
Eating off tables made from the old West Pier and<br />
overlooking Regency Square and the sea makes it<br />
an ideal place to have a quick lunch or night out<br />
with friends. Cocktails and craft beers are on hand<br />
as well as a wine list shared with the restaurant.<br />
33 Regency Square, 01273 855572, thesetrestaurant.com<br />
Terre à Terre<br />
Dark, cold nights ahead,<br />
huddle together and enjoy<br />
smoky autumnal dishes,<br />
rich cheesy soufflé, tasty<br />
toasty potato rosti, big chocolate plates, afternoon<br />
tea and delicate little sweets. Where better<br />
to deliver this than Terre à Terre - proudly<br />
named as a runner up for the Observer Food<br />
Monthly Awards <strong>2016</strong> - Best Restaurant and<br />
Best Ethical Restaurant. With our new head chef<br />
Judith in position, expect some treats ahead!<br />
71 East Street, 01273 729051, terreaterre.co.uk<br />
Edendum<br />
We’re proud to present<br />
our new Autumn / Winter<br />
menu, completely<br />
home-made as always. Edendum is a slice of Italy<br />
transported to <strong>Brighton</strong>, with authentic flavours,<br />
fragrances and freshly-cooked recipes that will<br />
give you a chance to discover some lesser known<br />
Italian dishes, a selection of fine Italian wines and<br />
a range of traditional products for sale. We are<br />
now taking bookings for Christmas parties with a<br />
special set menu, 100% Italian.<br />
69 East Street, 01273 733800, edendum.co.uk<br />
Caxton Arms<br />
Tucked away near the<br />
station, the Caxton Arms<br />
is an old-school <strong>Brighton</strong><br />
pub. Serving modern<br />
British pub food seven days a week, this hidden<br />
gem has been recently refurbished. Whether<br />
you’re visiting for 2-4-1 wings and the quiz<br />
on Tuesdays or a Sunday roast, you can always<br />
expect a warm welcome at this friendly, relaxed<br />
watering hole.<br />
36 North Gardens, 01273 387346<br />
The Westbourne<br />
The Westbourne is a rarity, a<br />
truly independent freehouse.<br />
The bar features an ever<br />
changing range of excellent<br />
craft beers and cask ales<br />
from exciting breweries, with<br />
proper cider showcased in the<br />
Cider Shack. There is a delicious gin menu, a<br />
covered, heated terrace and a serious Sunday<br />
roast offer all delivered by a friendly, passionate<br />
team.<br />
90 Portland Road, Hove, thewestbournehove.co.uk
吀 栀 攀 䜀 爀 椀 ϻ 渀 䤀 渀 渀 Ⰰ 䘀 氀 攀 琀 挀 栀 椀 渀 最 Ⰰ 䔀 愀 猀 琀 匀 甀 猀 猀 攀 砀 Ⰰ 吀 一 ㈀㈀ アパート 匀 匀 簀 㠀 ㈀ 㔀 㜀 ㈀㈀ 㠀 㤀<br />
眀 眀 眀 ⸀ 琀 栀 攀 最 爀 椀 ϻ 渀 椀 渀 渀 ⸀ 挀 漀 ⸀ 甀 欀 簀 椀 渀 昀 漀 䀀 琀 栀 攀 最 爀 椀 ϻ 渀 椀 渀 渀 ⸀ 挀 漀 ⸀ 甀 欀
FOOD REVIEW<br />
...........................................<br />
Abyssinia<br />
Eating the unknown<br />
There is a mysterious sign in<br />
the window of Abyssinia that<br />
reads ‘Injera for sale, £1.50’.<br />
There’s no further explanation<br />
and no clues about what<br />
to expect of this unassuming<br />
Ethiopian eatery on Baker<br />
Street, but I can’t wait to try the<br />
food. It must be the allure of<br />
the unknown. The sum total of<br />
my knowledge about Ethiopia<br />
is captured by the minimal<br />
decorations; a painted bamboo hanging depicts those<br />
incredible underground cruciform churches I’ve<br />
seen in documentaries, and Emperor Haile Selassie,<br />
he who reigned over the country for some 40 years,<br />
smiles down from a laminated poster. That’s it. That’s<br />
all I know about the place.<br />
The menu is two sides of laminated A4. On one side,<br />
under the headings ‘lamb’ and ‘beef’, are intriguingsounding<br />
dishes like kitfo and zilzil tibs. The other<br />
side is full of vegetarian choices with equally exotic<br />
names. Rebecca and I opt for the vegetarian selection<br />
(£13.00), a platter that allows us to try almost<br />
everything at once, and order two of them, with a<br />
side of azefa (£3.50) chosen purely for the name,<br />
which turns out to be a lentil salad. The waitress<br />
gives us the sort of sideways look reserved for those<br />
who over-order.<br />
First to the table is a huge round dish completely<br />
covered in a thick, spongey pancake, with extra rolls<br />
of the same on the side. This is Injera, the national<br />
dish of Ethiopia. Homework later tells me that the<br />
fermented sourdough batter is poured on to the<br />
cooking surface, capturing thousands of tiny bubbles<br />
in the flatbread.<br />
The waitress returns with a<br />
great many porcelain cups,<br />
tipping the contents of each on<br />
to the bread. Injera serves as<br />
both plate and cutlery. We each<br />
get a portion of ye-ater alicha<br />
(steamed peas with onions, garlic<br />
and ginger), ye-atkilt alicha<br />
(steamed vegetables with onions<br />
and spices), misir wot (split<br />
lentils in a spiced red-pepper<br />
sauce), defin misr alicha (mildly<br />
spiced whole green lentils steamed with onions and<br />
garlic) and shuro wot (roasted and powdered chickpeas<br />
simmered in berbere sauce). Further homework<br />
reveals that the berbere spice mixture includes chilli,<br />
garlic, ginger, basil, nigella, fenugreek and… korarima,<br />
rue, ajwain or radhuni (I know, me neither!)<br />
Unsure of the etiquette, but as soon as it seems polite,<br />
we tear into the injera, wrapping springy strips<br />
around morsels of each dish, the bubbles sucking up<br />
the sauce. Occasionally we dip into the side of azefa,<br />
which is dressed in hot mustard sauce. The whole experience<br />
is similar to eating a mezze or thali - where<br />
each dish is distinct but all work together. Some are<br />
mild, others hot, but together they are smoky, spicy<br />
and sour and unlike anything I’ve tasted before.<br />
Flavours as strange to my taste buds as the words are<br />
to my ears.<br />
Apparently tradition has it that the meal is over when<br />
all of the Injera is eaten and - despite our best efforts<br />
- that’s not something we quite manage. I leave<br />
with almost as many questions as I came in with, but<br />
knowing one more thing about Ethiopia: the food is<br />
completely delicious. Lizzie Lower<br />
29 Baker St, 01273 242901<br />
....79....
Photo by Lisa Devlin, cakefordinner.co.uk<br />
....80....
RECIPE<br />
..........................................<br />
Three fish tapas<br />
These three little dishes - by John R, head chef at Señor Buddha - fuse the strong,<br />
contrasting flavours of East Asian and Spanish cuisine. Serves four.<br />
Bloody oyster shot<br />
Ingredients: 200ml tomato juice, 1tsp wasabi<br />
paste, 1tsp mirin, ½tsp soy sauce, juice of two<br />
limes, 1tsp caster sugar, celery salt, eight oysters,<br />
one lime to garnish.<br />
Recipe: Blend the first six ingredients together<br />
with a pinch of salt and pepper. Chill in the<br />
fridge for at least an hour. To serve, rim four shot<br />
glasses in celery salt and place two oysters in the<br />
bottom of each glass, then pour over the blended<br />
mixture. Garnish each with a wedge of lime.<br />
Chilli, ginger & gin-cured salmon<br />
Ingredients: 200g salmon, soy and chilli jam.<br />
For the curing mixture: 500g salt, 500g sugar, five<br />
fresh chillies (finely chopped), 100g ginger (finely<br />
chopped), five kaffir lime leaves (chopped), 100ml<br />
<strong>Brighton</strong> Gin.<br />
Recipe: Combine all of the ingredients for the<br />
curing mixture and cover the salmon. Leave for<br />
24 hours to cure. Remove the salmon from the<br />
mixture and rinse well with water. The salmon<br />
will keep for three days once cured, so if you’re<br />
making this in advance, cover the salmon in<br />
olive oil and wrap it in clingfilm. Thinly slice the<br />
salmon and arrange it on the plate (see photo).<br />
Serve with the soy chilli jam.<br />
Cod & crab cakes with papaya salad<br />
For the fish cakes: 200g cod fillet, 200g crab<br />
meat (use tinned if you can’t find fresh), one red<br />
chilli, one thumb of ginger (grated), two cloves of<br />
garlic (crushed), one lemongrass stalk (bruised),<br />
three spring onions, half a bunch of coriander.<br />
For the papaya salad: one unripe papaya (peeled<br />
and shredded), two fennel bulbs (outer part removed,<br />
thinly sliced), two or three chillies (thinly<br />
sliced), six spring onions (sliced at an angle), one<br />
clove of garlic (sliced), 3tsp chopped peanuts.<br />
For the dressing: 1½tbsp fish sauce, 1½tbsp palm<br />
sugar, 1½tbsp lime juice.<br />
Recipe: First make the fish cakes by blending the<br />
ingredients in a food processor, adding a pinch of<br />
salt and pepper. The mixture should be wet, but<br />
firm enough to hold its shape (if it’s too wet, add<br />
flour or breadcrumbs; if too dry, add more cod).<br />
Shape the mixture into eight cakes and leave in<br />
the fridge for an hour to firm up.<br />
To make the papaya salad, toss all of the ingredients<br />
together in a bowl. Mix the dressing<br />
ingredients together and pour over the salad.<br />
Leave for an hour before serving to allow the<br />
flavours to combine.<br />
Heat some seasoned oil in a pan and cook the<br />
fish cakes over a medium heat for three or four<br />
minutes on each side, or until both sides are<br />
golden and they are cooked through. Serve with<br />
a handful of the papaya salad and garnish with<br />
micro coriander. As told to Rebecca Cunningham<br />
....81....
HealtHy <strong>November</strong><br />
Select your<br />
Sussex treats<br />
from our<br />
seasonal<br />
local farm<br />
produce.<br />
You order<br />
online and<br />
we deliver<br />
to your door.<br />
10% off<br />
your first<br />
order over<br />
£50. Quote<br />
‘<strong>Viva</strong>Nov’<br />
browse our sussex produce:<br />
www.fiNaNdfarm.co.uk
FOOD<br />
.............................................................<br />
Edible updates<br />
All the news that’s fit to eat<br />
Big news this month: Terre à Terre has a new head chef: Judith Lang.<br />
She lived in Japan for two years, and everyone’s excited to discover what<br />
she will bring to the table. Her predecessor, co-owner Amanda Powley, will carry on in an executive role.<br />
On the horizon for 2017: a <strong>Brighton</strong>-based venture for Michelin-starred chef Matt Gillan. You can get a taste<br />
of what’s to come at Lucky Beach throughout <strong>November</strong> and Decemeber, where he’s cooking an eightcourse<br />
menu. More earthy, but no less fun, you might prefer the Bevy’s Beer & Sausage Fest on Bonfire<br />
Night, on the 5th. Also on the pop-up front: try Wild Africa at The Tempest on the 10th, from Nigerianborn<br />
chef and journalist Lerato Umah-Shaylor. And the 17th is Beaujolais Nouveau Day, a good excuse to<br />
head over to Mange Tout or Hotel du Vin.<br />
Welcomes now due: to Libation on Victoria Grove and Holy Phok, a delicious new Vietnamese restaurant<br />
on Lansdowne Place. Cin Cin celebrate their long-awaited permanent residence on Vine St. The restaurant<br />
at Royal Pavilion Ice Rink returns and The Belle Vue at i360 has service in full swing.<br />
More newness: tapas and cocktails at Dandelion @1847 and a revamped kitchen at The Prestonville Arms.<br />
At Green Kitchen, buy-one-get-one-free burgers on Wednesday and 10% discount to Duke of Yorks members.<br />
Finally, good luck to <strong>Brighton</strong> Food and Drink Awards <strong>2016</strong> nominees (winners announced the 14th),<br />
and to Troll’s Pantry, Kitgum Kitchen, Forgotten Cuts, and Vudu Food, all contenders at the Sussex<br />
Food & Drink Awards. Chloë King<br />
Illustration by Chloë King
䨀 伀 䤀 一 唀 匀 伀 一 ⸀㈀⸀ 㘀 吀 伀<br />
䌀 䔀 䰀 䔀 䈀 刀 䄀 吀 䔀 伀 唀 刀 <br />
匀 吀<br />
䈀 䤀 刀 吀 䠀 䐀 䄀 夀
COFFEE<br />
.........................................<br />
eightpointnine<br />
Blended to order<br />
“It’s the perfect amount<br />
of coffee you should<br />
use to make a single<br />
cup,” explains Jenny<br />
Spires. “Eight-pointnine<br />
grams.” I’ve asked<br />
about the name of the<br />
company, eightpointnine,<br />
whose office is in<br />
the same building as<br />
ours, and whose brown<br />
paper pouches of coffee<br />
I’ve been eyeing up<br />
in our shared kitchen<br />
for the last few months.<br />
Apparently it’s a personalised-coffee-subscription<br />
service: you go online, fill in a bit of info about your<br />
caffeine habit and preferences, and they’ll deliver a<br />
bag to your door weekly, fortnightly or monthly -<br />
or you can just order a one-off bag. I meet up with<br />
Jenny and Susannah to find out how it all works.<br />
“The company was started in 2011,” says Susannah,<br />
“by two friends who believed that coffee should be<br />
about what you like and not what someone tells you<br />
is the best bean. Our founders developed a coffeeflavour<br />
algorithm” - I’d hoped they would give<br />
away a bit more on its inner workings, but nobody’s<br />
spilling the beans - “resulting in a range of around<br />
220 different blends.” There are a few restrictions,<br />
like you can’t choose ‘fruity’ and ‘rich’, because the<br />
outcome is ‘not nice coffee’, but 220 blends is plenty<br />
of choice.<br />
Back in our office I have a play around with the<br />
online-ordering system. The interface is simple<br />
to use, but if, like me, you find it difficult enough<br />
to pick from the choice of coffees available in the<br />
shops, this decision-making process will take you<br />
some time. There are two sliding scales; the first<br />
prompts you to select your preferred flavour, ranging<br />
from ‘fruity’ to<br />
‘sweet’ to ‘spicy’,<br />
the second alters<br />
the ‘body and<br />
mouthfeel’, from<br />
‘light’ to ‘medium’<br />
to ‘rich’. At the bottom<br />
of the screen,<br />
there’s a responsive<br />
flavour indicator,<br />
which suggests<br />
blending options<br />
based on flavours<br />
you already know<br />
you like - for example,<br />
apricot, milk chocolate or almond.<br />
We decide to go for two totally different blends,<br />
kindly given to us by our new favourite neighbours.<br />
They arrive in our post tray, each packed with a<br />
little information card. The first is named ‘<strong>Viva</strong> Va<br />
Va Voom’, and its card tells us that it’s made with<br />
59% Brazilian, 24% Kenyan, 15% Guatemalan and<br />
2% Costa Rican beans. The tasting notes describe<br />
it as a ‘sweet, light blend, ideally made as café com<br />
leite and served with shortbread.’ The second is a<br />
less complex combination of 71% Sumatran and<br />
29% Colombian coffee, which creates a ‘rich and<br />
spicy blend, ideal for drinking after dinner or on<br />
moody mornings.’<br />
Although we didn’t completely follow the instructions<br />
(there’s no shortbread in the <strong>Viva</strong> office, and<br />
we don’t often stay past dinner time) both coffees<br />
were a welcome change from the norm. At £8.95<br />
a bag it’s a bit pricier than the sort you’d pick up in<br />
the supermarket, but it’s well worth the occasional<br />
splurge for that rich, freshly ground coffee aroma<br />
when you tear open the bag, and for the excuse to<br />
break out of your coffee rut. Rebecca Cunningham<br />
eightpointnine.com<br />
....85....
圀 椀 琀 栀 漀 瘀 攀 爀 ㈀ 䈀 爀 椀 琀 椀 猀 栀 昀 愀 爀 洀 栀 漀 甀 猀 攀 挀 栀 攀 攀 猀 攀 猀 Ⰰ 挀 甀 爀 攀 搀 洀 攀 愀 琀 猀 愀 渀 搀 䔀 渀 最 氀 椀 猀 栀 眀 椀 渀 攀 猀<br />
漀 渀 猀 愀 氀 攀 琀 栀 攀 爀 攀 椀 猀 猀 漀 洀 攀 琀 栀 椀 渀 最 昀 漀 爀 攀 瘀 攀 爀 礀 漀 渀 攀 愀 氀 漀 渀 最 眀 椀 琀 栀 愀 栀 甀 最 攀 爀 愀 渀 最 攀 漀 昀<br />
氀 漀 挀 愀 氀 猀 漀 甀 爀 搀 漀 甀 最 栀 戀 爀 攀 愀 搀 猀 Ⰰ 愀 爀 琀 椀 猀 愀 渀 瀀 椀 挀 欀 氀 攀 猀 愀 渀 搀 挀 栀 甀 琀 渀 攀 礀 猀<br />
一 攀 眀 䘀 漀 爀 一 漀 瘀 攀 洀 戀 攀 爀 ㈀ 㘀<br />
伀 甀 爀 渀 攀 眀 䴀 䔀 䔀 吀 吀 䠀 䔀 倀 刀 伀 䐀 唀 䌀 䔀 刀 琀 愀 猀 琀 椀 渀 最 攀 瘀 攀 渀 椀 渀 最 猀<br />
䔀 砀 挀 椀 琀 椀 渀 最 爀 愀 渀 最 攀 漀 昀 䌀 䠀 刀 䤀 匀 吀 䴀 䄀 匀 䠀 䄀 䴀 倀 䔀 刀 匀 愀 瘀 愀 椀 氀 愀 戀 氀 攀 琀 漀 瀀 爀 攀 漀 爀 搀 攀 爀<br />
唀 渀 椀 琀 㐀 Ⰰ 䈀 爀 椀 最 栀 琀 漀 渀 䴀 愀 爀 椀 渀 愀 嘀 椀 氀 氀 愀 最 攀 Ⰰ 䈀 一 ㈀ 㔀 圀 䄀 ㈀ 㜀 アパート 㘀 㤀 㔀 ㈀ 㜀 㠀<br />
眀 眀 眀 ⸀ 琀 栀 攀 最 爀 攀 愀 琀 戀 爀 椀 琀 椀 猀 栀 挀 栀 愀 爀 挀 甀 琀 爀 攀 爀 椀 攀 ⸀ 挀 漀 ⸀ 甀 欀<br />
䄀 䴀 倀 䰀 䔀 䘀 刀 䔀 䔀 倀 䄀 刀 䬀 䤀 一 䜀
TRADE SECRETS<br />
..........................................<br />
Pat Mears<br />
Veteran Open Market grocer<br />
Dad set up the<br />
business in 1948.<br />
The place was<br />
absolutely buzzing<br />
in the early days.<br />
There were no<br />
supermarkets. Food<br />
was on ration, but<br />
you could bring apples<br />
back from Kent<br />
with small marks on<br />
them and you were<br />
allowed to sell them<br />
off ration. We’d<br />
sell 350 bushels a week. Someone gave my dad<br />
the nod that a boat was docking at Shoreham<br />
Harbour with refrigerator trouble and he went<br />
out there and bought seven tons of apricots.<br />
We manged to sell them in three days. We had<br />
a queue that went out the market and halfway<br />
down Baker Street. I joined full-time in 1957,<br />
when I left school aged 15.<br />
We had a wholesale stand, down at the<br />
wholesale market at Circus Street, that was<br />
our catering place. When that was knocked<br />
down we got another warehouse on Crowhurst<br />
Corner. My brother Cyril still runs the<br />
wholesale business, while I run the market side<br />
of things.<br />
This is the third market on this site. In 1962<br />
the second market opened and we missed the<br />
straight line of stalls in the first. I think this<br />
latest one would have been better if it was built<br />
the way we stallholders originally helped to<br />
design it, with the architect who did the Jubilee<br />
Library. He was a terrific bloke.<br />
We’re not the only long-serving stallholders<br />
here. Over the other side is David Ovett;<br />
he was in the old<br />
market, and we were<br />
boys together. The<br />
fishmonger next door<br />
was in the old market<br />
too, and the café and<br />
the pet stall. My first<br />
wife used to run it.<br />
I’ve been selling<br />
veg for 60 years,<br />
and we sell loads of<br />
things now that we<br />
wouldn’t have sold<br />
then. We wouldn’t<br />
have sold peppers or aubergines in those days.<br />
Simple things. No iceberg lettuce. I don’t think<br />
we had broccoli either. We sold cabbage, carrots,<br />
onions, potatoes and cauliflower back then.<br />
About 40 years ago, I got invited to go to Rungis,<br />
a massive market in France, and I spotted<br />
Lollo Rosso lettuce, so we were the first people<br />
to bring it to <strong>Brighton</strong>. A lot of stuff we sold<br />
then you don’t see now. Christmas time we’d<br />
have St. Michael pineapples, growing in a pot,<br />
and beautiful, huge black grapes from Belgium.<br />
You don’t see them now.<br />
We have stock from all over the world. Last<br />
week we had jack fruit from Malaysia. Practically<br />
all the ginger sold in this country comes<br />
from China. I’ve got two guys who go to a<br />
London market to buy it all for me. You’ve got<br />
to make it easier for yourself.<br />
In theory I’m retired but I still come here<br />
every day except Sunday. The market still<br />
feels the same. It’s still got the atmosphere and<br />
we’ve got great customers. We had one lady who<br />
was 101 and she’d still come in with her trolley.<br />
As told to Lizzie Lower<br />
....87....
MY SPACE<br />
...........................................<br />
Photos by Lizzie Lower<br />
....88....
MY SPACE<br />
...........................................<br />
Snoopers Paradise<br />
Cashier Chelsea Newton Mountney<br />
What’s your job? I work here as a cashier. It’s basically<br />
logging everything that’s sold, dealing with<br />
the public, making sure there’s no major mistakes<br />
with people’s accounts, making sure the shop’s<br />
open and shut on time, that everyone’s here when<br />
they should be, checking basic shop things.<br />
How do you keep track of what’s in here? It’s<br />
a very basic system that’s been the same for years<br />
and years and years: it’s totally analogue, everything<br />
is written down by description. Each section<br />
is known by number, so the item should (hopefully)<br />
say their stall number and the price.<br />
How many stalls are there? Between 80 and 100,<br />
though some stallholders have multiple cabinets<br />
and spaces, so it can vary.<br />
And how many staff? There’s only about eight<br />
regular staff, and most of them aren’t dealers - I’m<br />
not. I’m actually an actress and director and writer,<br />
so I work here part time. A lot of people that work<br />
here or have worked here are artists and musicians<br />
and creatives, because this place attracts a lot of<br />
customers like that too, so it’s a cool place to work<br />
for your pay-the-rent job, if that’s your thing.<br />
Does Snoopers attract more tourists or locals?<br />
It’s a massive mix of both, because it is a tourist<br />
destination for the fact that people think it’s weird,<br />
but there’s a huge number of regular dealers that<br />
come and buy off the dealers that are here, as well<br />
as locals who like to browse around.<br />
Do you know much about the things you sell?<br />
My subject specialist area was always fashion history,<br />
which was one of the things I was studying a<br />
lot when I was younger. A lot of people have areas<br />
they know way more about than others; there’s<br />
Patsy, who does a lot of costume jewellery and just<br />
has incredible general knowledge of everything.<br />
And also if you need anything fixed, she’ll probably<br />
know how to do it. Mark, who works here, he has<br />
an insane knowledge of records and bands. When<br />
I first started working here I felt so deeply uncool<br />
because everyone else knew so much about music<br />
and art and I just felt like I was so uncultured compared<br />
to everyone else. I mean, I’m a lot younger<br />
than anyone else, so that’s partly my excuse! But<br />
even people in here who have worked in antiques<br />
their whole life, you can’t know everything. I suppose<br />
that’s part of the attraction - there’s always<br />
going to be something that you haven’t seen.<br />
Is there anything here you wish you could take<br />
home? There have been so many clothes going in<br />
and out of this place that I’ve loved but not been<br />
able to afford! We sometimes get really stunning<br />
30s or 40s things that you don’t come across often,<br />
which I find the most attractive, because you’re<br />
probably not going to see something like that<br />
again. But I do get to touch them. RC<br />
....89....
CYCLING<br />
...........................................<br />
PeloBros<br />
Equipment and apparel for adventurers<br />
Ronan and Delphine Kennedy run PeloBros on Vine<br />
Street, a shop which does much more than just sell<br />
cool cycling gear. In fact, it defies categorisation…<br />
Delphine: When I met Ronan four years ago,<br />
we decided that happiness should be our first<br />
motivation. We got married in June and on our<br />
honeymoon in Portland, I decided to quit my wellpaid-but-stressful<br />
job in aviation to join him in this<br />
venture. We’ve been open since mid-August.<br />
Ronan: PeloBros is a shop which projects the<br />
spirit of what we love doing. We love cycling, we<br />
love camping, we love surfing, and we love beautiful<br />
and original design. We love doing things our<br />
own way.<br />
D: All the brands we sell are special and reflect<br />
our ethos. Pendleton, from Oregon, make blankets<br />
from 100% virgin wool. Passenger is a great company<br />
from the New Forest that do outwear… they<br />
plant a tree every time they sell an item. The designers<br />
at Mizu make cool-coloured steel bottles<br />
and wine glasses. I’m French and I’d drink wine out<br />
of one of those… it’s much better than using plastic<br />
stuff and throwing it away.<br />
R: We sell cycling gear from independent companies,<br />
so people can wear something a bit different<br />
on their bikes. FYXO is an Australian company<br />
who created cobbled streets in Melbourne in<br />
order to replicate the conditions in the Paris-Roubaix<br />
race. They do great cycling shirts in the colours<br />
of the French flag, called Roo-baix.<br />
D: One of my favourite items is this Polerstuff<br />
Napsack, an amazing sleeping bag you can wear.<br />
People are loving the colours! Floral, camo, burnt<br />
orange - in fact we only have one left…<br />
R: Cycling is right at the forefront of youth culture<br />
at the moment, and that’s reflected in the interesting<br />
design of cycling gear and paraphernalia.<br />
The Criterium races, held all over the world, exemplify<br />
that. These races are no-holds-barred, with<br />
fixed-gear bikes with no brakes doing 30k in 25 minutes;<br />
those involved like to look original.<br />
D: We’re starting up our own rides from the<br />
shop every week. Riders of any level can join. One<br />
was just a whizz to Shoreham and back, others have<br />
been longer.<br />
R: In the summer we’re going to hire a field from<br />
a farmer nearby and our customers who cycle out<br />
there from the shop can try out some of the camping<br />
gear we’re selling here. Biolite is a stove which<br />
boils water on just a few lit twigs, from which you<br />
can recharge your phone, light up your cooking or<br />
post what you’re up to on Instagram.<br />
D: We are excited to welcome a tattooist, barber<br />
and prosecco bar as neighbours in the next few<br />
weeks… it’s going to be a really happening street!<br />
R: We chose <strong>Brighton</strong> because we love <strong>Brighton</strong>,<br />
and this concept wouldn’t work in many places. East<br />
London, maybe. Bristol, definitely. Or out in the<br />
middle of nowhere, so people would have to cycle to<br />
it… As told to Alex Leith<br />
16 Vine Street / pelobros.cc<br />
Photos by Alex Leith<br />
....90....
HEALTH<br />
.....................................................<br />
GAK owner Gary Marshall<br />
Backing the <strong>Brighton</strong> Mindfulness Centre<br />
I moved to <strong>Brighton</strong><br />
from Horsham in<br />
1989, me and my<br />
wife in a van with five<br />
binliners. I was in a<br />
ska band, The Hot<br />
Knives, and we were<br />
doing well - we headlined<br />
the Astoria in<br />
London twice, but the<br />
radio wouldn’t play us<br />
because of the name,<br />
so I worked as a hod<br />
carrier. ‘On the monkey’<br />
they used to call it. Hardest job there was.<br />
Acid House was happening, so the ska revival<br />
became less likely. By 1992 I was thinking I had<br />
to do something. My wife Jan had a head shop in<br />
Kensington Arcade, in Kensington Gardens. It’s<br />
shops now, but back then there were units for £70<br />
a week. I realized there’s another way of making<br />
money without grafting your bollocks off. It<br />
started when I went to buy a guitar at a shop in<br />
Gardner Street. It was full of staff with miserable<br />
faces, and I said to the owner ‘Can you do me a<br />
deal?’ He didn’t even look up, just shook his head.<br />
If he’d said ‘Yeah’ and given me a few picks and<br />
leads, then there wouldn’t be a GAK. I thought ‘I<br />
can do a much better job’.<br />
There was a unit spare at the arcade, so I read<br />
up on buying guitars. First day, I had seven for<br />
sale - five were my own, and two I’d bought. And<br />
then a young guy came in and said he wanted a<br />
particular guitar that I didn’t have. I said I could<br />
get him it, and he said he had 20 guitars he wanted<br />
to do a part exchange on. That was it, I had stock.<br />
I’ve always had the attitude ‘Take it away and try<br />
it, and if you don’t like it just bring it back’. I’ve<br />
never ripped anyone<br />
off. We opened the<br />
North Street shop<br />
in 1995, and now we<br />
have a 30 million a<br />
year turnover and 85<br />
staff.<br />
In 2004, me, Jan<br />
and our three kids<br />
got caught in the<br />
tsunami on Phi Phi<br />
Island. The wave<br />
killed 3,000 people,<br />
and I thought the<br />
world was coming to an end. The family left on<br />
a rescue boat, but I stayed, and I thought they’d<br />
all drowned. We were reunited in Phuket, but<br />
something changed for me. I realized then that<br />
happiness doesn’t come from wealth. You forget,<br />
though. You drift back. You sell your soul to the<br />
devil in business. It takes over. About five years<br />
ago, though, I re-read Eckhart Tolle’s Power Of<br />
Now. The first five pages, I’m thinking ‘there’s two<br />
of me!’<br />
Now I’m financing <strong>Brighton</strong> Mindfulness<br />
Centre, which has opened in part of the building<br />
in North Street, because like Tolle says, if we<br />
don’t become conscious then we’re not going to<br />
live in a conscious world.<br />
I used to wonder how I could justify the business,<br />
but I employ a lot of people and bring a lot<br />
of money to <strong>Brighton</strong>. I’m friends with the staff,<br />
and it feels embarrassing to be called ‘Boss’. I’ve<br />
overachieved, you know!<br />
As told to Andy Darling<br />
GAK, 76-82 North Road<br />
<strong>Brighton</strong> Mindfulness Centre, 66/67 North Road<br />
brightonmindfulnesscentre.com<br />
....91....
CityCycling<br />
Skills<br />
Everyday cycling<br />
for everyone!<br />
New to cycling?<br />
Keen to cycle again?<br />
Want to know<br />
how to fix your bike?<br />
Free cycle training and<br />
maintenance courses<br />
To find out more:<br />
www.brighton-hove.gov.uk/cycletraining<br />
east.central@brighton-hove.gov.uk<br />
01273 295456<br />
Funded by Department for Transport’s: Sustainable Travel Transition Year<br />
夀 伀 䜀 䄀 匀 䠀 䄀 一 吀 䄀<br />
䘀 漀 爀 倀 攀 愀 挀 攀 漀 昀 䈀 漀 搀 礀 愀 渀 搀 䴀 椀 渀 搀<br />
㠀 ⴀ 圀 䔀 䔀 䬀 夀 伀 䜀 䄀 吀 䠀 䔀 刀 䄀 倀 夀 䌀 伀 唀 刀 匀 䔀 䘀 伀 刀<br />
匀 吀 刀 䔀 匀 匀 Ⰰ 䄀 一 堀 䤀 䔀 吀 夀 䄀 一 䐀 䐀 䔀 倀 刀 䔀 匀 匀 䤀 伀 一<br />
一 䔀 堀 吀 䤀 一 吀 刀 伀 䐀 唀 䌀 吀 伀 刀 夀 匀 䔀 匀 匀 䤀 伀 一<br />
吀 䠀 唀 刀 匀 䐀 䄀 夀 ㈀ 㐀 一 伀 嘀 䔀 䴀 䈀 䔀 刀<br />
圀 䔀 䔀 䬀 䰀 夀 䌀 䰀 䄀 匀 匀 䔀 匀 㨀<br />
䴀 䤀 一 䐀 䘀 唀 䰀 夀 伀 䜀 䄀 ⴀ 䈀 刀 䤀 䜀 䠀 吀 伀 一<br />
䠀 伀 䰀 䤀 匀 吀 䤀 䌀 夀 伀 䜀 䄀 ⴀ 䠀 伀 嘀 䔀<br />
倀 刀 䤀 嘀 䄀 吀 䔀 吀 䠀 䔀 刀 䄀 倀 䔀 唀 吀 䤀 䌀 夀 伀 䜀 䄀<br />
匀 䔀 匀 匀 䤀 伀 一 匀 䄀 䰀 匀 伀 䄀 嘀 䄀 䤀 䰀 䄀 䈀 䰀 䔀<br />
㜀 㜀 㤀 㘀 㔀 㘀 ㈀ 㐀 㤀 㐀<br />
椀 渀 昀 漀 䀀 礀 漀 最 愀 猀 栀 愀 渀 琀 愀 ⸀ 挀 漀 洀<br />
眀 眀 眀 ⸀ 礀 漀 最 愀 猀 栀 愀 渀 琀 愀 ⸀ 挀 漀 洀
HISTORY<br />
...........................................<br />
Hanningtons<br />
‘Fake white snow, tinny music and utter magic’<br />
Photo by Gillian Burchell<br />
Over two hundred years<br />
since its launch, and 15<br />
since its closure, the<br />
department store Hanningtons<br />
still holds a firm<br />
place in many <strong>Brighton</strong><br />
hearts. Not least those of<br />
eighties kids like myself,<br />
who warmly recall its experimental<br />
Santa’s Grotto.<br />
For Christmas one year, Hanningtons even put Santa<br />
on the moon, offering children rides in a skyrocket.<br />
“It felt so luxurious as a child, being escorted around<br />
the carpeted labyrinth of floors,” recalls Luisa Clarke,<br />
whose parents would take her there at Christmas.<br />
“The lift had a revolving snowscape which made you<br />
feel like you were heading to Lapland.”<br />
Another happy customer, Lucy Wilkes, recalls “a<br />
winter wonderland of fake white snow, tinny music<br />
and utter magic.” These warm recollections seem<br />
somewhat at odds with the creepy snow scenes, floral<br />
bedrooms, sleeping mannequins and staring dolls<br />
you’ll find frozen in the Hanningtons photos of<br />
<strong>Brighton</strong> Past. Hanningtons was, in fact, a pioneer of<br />
in-store displays depicting realistic scenes - the kind<br />
of creative marketing rarely seen outside of high-end<br />
London stores.<br />
Curiously enough, for many years Hanningtons<br />
also had real on-site bedrooms for live-in staff. The<br />
facilities and worker experience are said to have been<br />
good: a social club, library, annual outings, aboveaverage<br />
wages. There is another side, however. During<br />
the latter half of the 19th century, staff are said to<br />
have signed contracts that forbade former employees<br />
from working within ten miles of the company in the<br />
same line of business.<br />
And for Hanningtons, the same line of business was<br />
a pretty wide field.<br />
The department store<br />
began its life as a drapery,<br />
haberdashery and hosiery<br />
but grew extensively<br />
throughout the 19th<br />
century and beyond, to<br />
incorporate many departments<br />
in numerous<br />
locations: from costume<br />
to furniture, estate agent to undertaker.<br />
The enterprise began as a single unit at 3 North<br />
Street, founded by Smith Hannington in 1808. Hannington<br />
was a wool and linen draper to George IV,<br />
and he was issued a warrant from Queen Victoria to<br />
bring back goods from France to sell. An inheritance<br />
enabled him to expand the business and during<br />
the 1860s, his numerous North Street shops were<br />
architecturally unified into a single store.<br />
Hanningtons stayed in the family until shortly after<br />
Dorothy Hannington passed away in 1966. Even<br />
after it was sold on, it continued to be run to similar<br />
principles, which may have contributed to its downfall<br />
at the turn of the millennium.<br />
Highlights of its more recent past include the café,<br />
serving up simple classics like scrambled eggs; the<br />
Estée Lauder stand and, of course, the original<br />
hosiery. “I used to get my Wolford tights when I was<br />
18,” recalls Oriana Evans, “ready for raving with my<br />
hot pants on at the Zap”. When Hanningtons closed<br />
in 2001, the store had 70 departments and over 200<br />
staff. It was part of the community - I doubt there<br />
was a city resident that hadn’t, at some point, been<br />
in the lift.<br />
“The lift was magnificent,” recalls Wendy Bell,<br />
another former customer. “I used to pop in, just to<br />
experience it.” Chloë King<br />
....93....
吀 爀 愀 渀 猀 昀 漀 爀 洀 礀 漀 甀 爀 栀 漀 洀 攀 眀 椀 琀 栀 漀 甀 爀 昀 椀 渀 攀 猀 琀 焀 甀 愀 氀 椀 琀 礀<br />
匀 㨀 䌀 刀 䄀 䘀 吀 洀 愀 搀 攀 ⴀ 琀 漀 ⴀ 洀 攀 愀 猀 甀 爀 攀 椀 渀 琀 攀 爀 椀 漀 爀 猀 栀 甀 琀 琀 攀 爀 猀 ⸀<br />
琀 ⸀ ㈀ 㜀 アパート アパート アパート 㠀 㐀 ㈀<br />
攀 ⸀ 挀 漀 渀 琀 愀 挀 琀 䀀 戀 攀 氀 氀 愀 瘀 椀 猀 琀 愀 猀 栀 甀 琀 琀 攀 爀 猀 ⸀ 挀 漀 ⸀ 甀 欀<br />
眀 ⸀ 眀 眀 眀 ⸀ 戀 攀 氀 氀 愀 瘀 椀 猀 琀 愀 猀 栀 甀 琀 琀 攀 爀 猀 ⸀ 挀 漀 ⸀ 甀 欀<br />
圀 漀 爀 欀 眀 椀 琀 栀 甀 猀 愀 琀 嘀 椀 瘀 愀 ⸀⸀⸀<br />
伀 昀 ǻ 挀 攀 䄀 搀 洀 椀 渀 椀 猀 琀 爀 愀 琀 漀 爀 ⼀ 䘀 椀 渀 愀 渀 挀 攀 䄀 猀 猀 椀 猀 琀 愀 渀 琀<br />
圀 攀 愀 爀 攀 猀 攀 攀 欀 椀 渀 最 愀 渀 愀 搀 洀 椀 渀 椀 猀 琀 爀 愀 琀 椀 漀 渀 愀 渀 搀<br />
ǻ 渀 愀 渀 挀 攀 愀 猀 猀 椀 猀 琀 愀 渀 琀 ⸀ 䤀 搀 攀 愀 氀 氀 礀 礀 漀 甀 氀 氀 戀 攀 眀 愀 爀 洀 Ⰰ<br />
昀 爀 椀 攀 渀 搀 氀 礀 愀 渀 搀 眀 攀 氀 氀 ⴀ 漀 爀 最 愀 渀 椀 猀 攀 搀 Ⰰ 愀 渀 搀 昀 愀 洀 椀 氀 椀 愀 爀<br />
眀 椀 琀 栀 䴀 椀 挀 爀 漀 猀 漀 昀 琀 伀 昀 ǻ 挀 攀 猀 漀 昀 琀 眀 愀 爀 攀 愀 渀 搀<br />
攀 瘀 攀 爀 礀 搀 愀 礀 漀 昀 ǻ 挀 攀 爀 漀 甀 琀 椀 渀 攀 猀 ⸀<br />
夀 漀 甀 氀 氀 眀 漀 爀 欀 アパート 栀 漀 甀 爀 猀 瀀 攀 爀 眀 攀 攀 欀 Ⰰ 漀 瘀 攀 爀 ǻ 瘀 攀<br />
搀 愀 礀 猀 Ⰰ 戀 愀 猀 攀 搀 瀀 爀 椀 洀 愀 爀 椀 氀 礀 椀 渀 漀 甀 爀 挀 攀 渀 琀 爀 愀 氀 䰀 攀 眀 攀 猀<br />
漀 昀 ǻ 挀 攀 ⸀ 䘀 漀 爀 愀 昀 甀 氀 氀 樀 漀 戀 搀 攀 猀 挀 爀 椀 瀀 琀 椀 漀 渀 瀀 氀 攀 愀 猀 攀 瘀 椀 猀 椀 琀<br />
瘀 椀 瘀 愀 洀 愀 最 愀 稀 椀 渀 攀 猀 ⸀ 挀 漀 洀 漀 爀 攀 洀 愀 椀 氀 甀 猀 愀 琀<br />
栀 攀 氀 氀 漀 䀀 瘀 椀 瘀 愀 洀 愀 最 愀 稀 椀 渀 攀 猀 ⸀ 挀 漀 洀
BRICKS AND MORTAR<br />
..............................................<br />
John Lewis<br />
The future of North Street?<br />
Illustration of indicative design for John Lewis <strong>Brighton</strong> viewed from Dyke Road corner<br />
There has been<br />
chatter about John<br />
Lewis coming to the<br />
city for some years,<br />
and now with a planning<br />
application and<br />
public consultation<br />
underway, the North<br />
Street Clock Tower<br />
corner site is set for<br />
a transformation that<br />
will change the nature<br />
of the city-centre<br />
shopping experience.<br />
John Lewis will take the place of Boots, Krispy<br />
Kreme, First Choice, and all floors above them.<br />
The site will be remodelled with a new frontage,<br />
set back for better pedestrian flow. This will also<br />
enhance sightlines; it’ll be visible from the Station<br />
and seafront, along North Street, and from Western<br />
Road. It’s an important piece in <strong>Brighton</strong> & Hove<br />
City Council’s Gateway to the Sea project, improving<br />
pedestrian and cycle access around the Clock Tower<br />
junction. According to John Lewis, the new store<br />
will bring 250 jobs and £4 million additional spend<br />
for the city, and will benefit local charities through a<br />
community-engagement scheme.<br />
Importantly, John Lewis recognise that <strong>Brighton</strong><br />
and Hove has a unique character, and state that their<br />
vision is to create a ‘world-class anchor store’ of<br />
‘bold and confident facades’ with ‘strong personality…<br />
responsive to local architecture’. They want<br />
to create an iconic architecture for the store and<br />
looking around the country, there is some precedent<br />
for this: take a look at their Leicester store, designed<br />
by Foreign Office Architects, which makes more<br />
of a feature of the<br />
architecture than the<br />
merchandise.<br />
Located as it is - adjacent<br />
to the blighted<br />
retail environment of<br />
Western Road and<br />
perhaps eclipsing<br />
that of Churchill<br />
Square - the store<br />
could transform the<br />
appearance of the city<br />
centre. Yet the initial<br />
designs for the <strong>Brighton</strong> store are lacking in ambition.<br />
The architectural concept takes its inspiration,<br />
somewhat obviously, from ‘the sun, the sea and the<br />
light’ to create a reflective façade, mirroring the city<br />
back to itself. It is, perhaps, somewhat tame for a city<br />
with an architectural cityscape punctuated by iconic<br />
buildings from all eras.<br />
The site has seen bold architectural statements<br />
before - the Boots store was a 1979 Modernist design<br />
by Derek Sharp - but the area has suffered from<br />
dilapidation, demolition and redevelopment into design<br />
anonymity. What’s to be lost then by designing a<br />
store that - rather than literally reflecting its past and<br />
present - sets the architectural agenda for the future?<br />
We are indeed a bold and confident city, so let’s see a<br />
design that moves the benchmark for our high street<br />
architecture up a bar, something that tells a story of<br />
modern <strong>Brighton</strong> and Hove and the city yet to come,<br />
a landmark building that symbolises the prospect and<br />
ambition of the city. Cara Courage<br />
Public consultation is set to continue on all aspects of<br />
the store. You can view, and comment on, the designs<br />
at johnlewis.com/our-shops/brighton<br />
....95....
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MINDFULNESS IN BUSINESS<br />
............................................<br />
Jo Berry<br />
Befriending the bomber<br />
Two days after her father was killed by the <strong>Brighton</strong><br />
bomb, Jo Berry went to church. During the service,<br />
listening to a peace activist’s speech, she made a<br />
decision, suddenly and quite firmly. It was “like putting<br />
an anchor in the ground, or something.”<br />
Before the bomb, she’d been very interested in<br />
pacifism and meditation and peace work. But her<br />
father’s death had raised a question in her mind.<br />
“Was I going to give up everything I believed in?<br />
That would mean having an enemy, and maybe<br />
closing down on life, closing down on myself? Or<br />
was I going to stay open, and try and find a way to<br />
transform it and feel it and bring something positive,<br />
and carry on believing in nonviolence?” She<br />
chose the latter path, without having any idea how<br />
she’d actually go about doing that.<br />
The process kicked off by that decision eventually<br />
led her to meet, listen to, and actually befriend the<br />
bomber, Patrick Magee. She and ‘Pat’ now work<br />
together on conflict resolution, as part of the charity<br />
Building Bridges for Peace. The key to Berry’s<br />
thinking, I gather, is that dehumanising the enemy<br />
“is the basis of all unhealthy conflict. Conflict can<br />
be healthy, but in all unhealthy conflict there’s some<br />
aspect of dehumanising happening.”<br />
This month, Berry will be speaking at Meaning, a<br />
conference about progressive business practices.<br />
Can businesses really benefit, I asked, from lessons<br />
learned in serious armed conflict?<br />
“I think so. There’s a whole spectrum of blaming<br />
and demonising the other. It can be as simple as<br />
someone at work who says something that you take<br />
the wrong way. Even in small conflicts, when we<br />
blame and demonise someone, then I feel we’re<br />
contributing to a culture of blame. Blame, for me, is<br />
a form of violence. So how do we change that? How<br />
do we begin to empathise with people and hear<br />
their stories? And if they do something that annoys<br />
us, how can we challenge their behaviour without<br />
actually blaming them?<br />
“The whole blame culture in the workplace can<br />
mean that people are quite scared to open up;<br />
perhaps their self-esteem is affected, so they can’t<br />
do their best; perhaps they stop caring. All sorts of<br />
things can contribute to people being less productive.<br />
A workplace which is more empathic and<br />
respectful means that people will want to work.<br />
“So as in schools now, where they have circle-time<br />
sharing, I think every healthy business will also have<br />
a safe place for people to share what’s happening<br />
with them, so they can feel heard. Because once<br />
we’re heard, it’s much easier to let it go.<br />
“You know, our politicians don’t give us leadership<br />
in that way of communicating; it’s all about, ‘I’m<br />
right you’re wrong, and I’m going to tell you why’.<br />
This is more about the kind of dialogue where we<br />
learn to listen. Listening is a skill that’s very underrated.<br />
Real listening’s hard to do.” Steve Ramsey<br />
Meaning, 17th, <strong>Brighton</strong> Dome. Jo Berry will be giving<br />
a talk and a workshop.<br />
<strong>2016</strong>.meaningconference.co.uk<br />
....97....
INSIDE LEFT: BHS, 1968<br />
..........................................................................................<br />
It’s all change since this picture was taken in December 1968, not in terms of the architecture, but in<br />
terms of what things were then named, and what they are called now. For starters, in 1968 the photographer<br />
would have been standing outside the Castle in Clarence Gardens, while now he’d be outside<br />
the Pull & Pump in Clarence Square. To the left we can see gentlemen’s outfitter Roy Baxter, a space<br />
now inhabited by Santander. And, most strikingly, the grand building which dominates the background<br />
of the picture, which we now know so well as Primark’s <strong>Brighton</strong> store, was then owned by British<br />
Home Stores, as it had been since the building was constructed.<br />
British Home Stores was founded in 1928, and the controlling shares were almost immediately bought<br />
by American chain-store owners Neisner Brothers, who were intent on growing Britain’s second ever<br />
national chain store (the first being Woolworths). Like the latter store, BHS was a bottom-end-of-themarket<br />
operation, with a price limit of 3d to one shilling (which later rose to five shillings); the first<br />
shops were built in London, with the <strong>Brighton</strong> version constructed in 1931.<br />
They may have been a cut-price store, but they certainly paid top dollar for the building. Though<br />
you wouldn’t necessarily know it nowadays. Pevsner’s Architectural Guide comments that the building is<br />
constructed of Portland Stone ashlar blocks, which were, it points out, ‘painted in 2007, astonishingly’.<br />
The store traded from 164-170 Western Road until 1969, when they moved to the new Churchill<br />
Square development, with C&A taking over and opening their store the next year, remaining there<br />
for nearly 30 years, until 2000, when the company withdrew from the UK market. Littlewoods traded<br />
there for a few years until 2005, when the building was purchased by Associated British Foods, who<br />
soon plonked a Primark in place. And so one popular chain selling low-price goods has turned into<br />
another; do you know anyone who has never purchased anything from the store? AL<br />
....98....
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