Viva Brighton May 2015 Issue #27

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**with every road bike purchase over £1000

vivabrighton<br />

<strong>Issue</strong> 27. <strong>May</strong> <strong>2015</strong><br />

editorial<br />

...................................................................................<br />

It’s <strong>May</strong>, and we all know what that means. An explosion of noisy<br />

and colourful shenanigans. Hundreds of children given carteblanche<br />

to make as much noise as they can in the town centre;<br />

good and bad comedians above pubs; people in daft hats handing<br />

out flyers; grand concerts in the Dome; men on stilts inviting<br />

passers-by to make a fool of themselves on New Road; hundreds of<br />

houses opening up for the nosey and the arty; gig after gig after gig<br />

after gig; food-from-all-nations on Hove Lawns; legions of culturehungry<br />

DFLs pouring down Queens Road; theatre and dance and cabaret and classical music<br />

and talks and happenings of all sorts of shape and form in all sorts of venues, small and large.<br />

The festival is really a smorgasbord of festivals: there’s the official one with a capital ‘F’, there’s<br />

the Fringe one, there’s the House one, and the Artists Open House one. Then there’s The Great<br />

Escape, the Food and Drink festival - not to be confused with Foodies - and, outside town, the<br />

Charleston Festival. It could be argued that <strong>Brighton</strong> itself is the most important player in all<br />

this: throughout the month of <strong>May</strong> the city is one big festival. And that doesn’t just mean the<br />

bricks and mortar; the streets and pavements. Our message? Go out, dress up, get involved. We<br />

are all festival, too. It’ll be over in a flash; make the most of it while it lasts. Enjoy the issue…<br />

The Team<br />

.....................<br />

EDITOR: Alex Leith alex@vivabrighton.com<br />

DEPUTY EDITOR: Steve Ramsey steveramsey@vivabrighton.com<br />

ART DIRECTOR: Katie Moorman katie@vivabrighton.com<br />

PHOTOGRAPHER AT LARGE: Adam Bronkhorst<br />

EDITORIAL ASSISTANT: Rebecca Cunningham<br />

ADVERTISING: Anya Zervudachi anya@vivabrighton.com, Nick Metcalf nickmetcalf@vivabrighton.com,<br />

PUBLISHERS: Nick Williams nick@vivabrighton.com, Lizzie Lower lizzie@vivamagazines.com<br />

CONTRIBUTORS: Black Mustard, Joe Decie, Nione Meakin, Chloë King, John Helmer,<br />

Ben Bailey, Lizzie Enfield, Joda, Sophie Turton, Lucy Williams, Jim Stephenson and Yoram Allon<br />

<strong>Viva</strong> is based at <strong>Brighton</strong> Junction, 1a Isetta Sq, BN1 4GQ<br />

For advertising enquiries call 07596 337 828<br />

www.vivamagazines.com<br />

Every care has been taken to ensure the accuracy of our content. We cannot be held responsible for any omissions, errors or alterations.

Make sure your home stands out<br />

from the crowd.<br />

Call for a free valuation<br />

01273 622664<br />

BOUTI<br />

UE<br />

www.qsalesandlettings.co.uk<br />


contents<br />

...............................<br />

Bits and bobs.<br />

7-19. This month’s cover, Joe Decie’s<br />

festival strip, Secrets of the Pavilion,<br />

and much more.<br />

68<br />

Photography.<br />

21-25. Roger Bamber takes a look at<br />

<strong>Brighton</strong> in festival season.<br />

Columns.<br />

27-29. John Helmer’s at the Children’s<br />

Parade, Chloë King’s trip to Ikea,<br />

and Lizzie Enfield unveils ‘Operation<br />

Nightingale’.<br />

My <strong>Brighton</strong>.<br />

30-31. <strong>Brighton</strong> Festival producer<br />

Beth Burgess on pram-friendly pubs<br />

and life as a commuter.<br />

In town this month.<br />

33-49. St Etienne, The Treason Show,<br />

‘Reno’ at the Rialto, Simon Evans,<br />

non-verbal speed-dating, Paul Merton,<br />

Fringe venue The Warren, and<br />

Yoram Allon’s cinema round-up.<br />

Art and design.<br />

50-59. Sculptor Nathan Coley,<br />

Bernard Lodge’s Toyopolis, woodengraver<br />

Keith Pettit, ‘It’s Nice That’<br />

creators, and local makers.<br />

22<br />

Literature.<br />

61-63. Hove novelist Polly Samson,<br />

and a Flash Fact short story.<br />

The Way we Work.<br />

65-69. Adam Bronkhorst gets in the<br />

festival spirit photographing vintage<br />

food vans around the city.<br />

Features.<br />

71-75. Quirky opticians Specky Wren,<br />

a visit to the Rathfinny Wine Estate,<br />

and we try making beauty products.<br />

Food and drink.<br />

77-89. An impromptu pub lunch at<br />

The Royal Oak, local Sea Cider, and<br />

a pint with Monster Raving Loony<br />

candidate Dame Dixon.<br />

Health and fitness.<br />

90-97. Sophie Turton tries some<br />

holistic therapies, the lowdown on<br />

Tourette’s, and a bluffer’s guide to<br />

road cycling.<br />

Inside left.<br />

98. The original skater kids, 1975.<br />

....5 ....

this month’s cover art<br />

..........................................<br />

Woody VIVA COVER artwork 22.04.pdf 22/4/15 11:07:54<br />

This month we invite you to sit down, get<br />

yourself a coffee, pick up some colouring<br />

pencils, and indulge in a little colouringin<br />

time. Zara ‘Woody’ Wood, the artist<br />

behind this month’s cover, has drawn the<br />

design free-hand using a graphics tablet,<br />

then printed it out and partially coloured<br />

it in. This was photographed, with<br />

Woody’s own hand appearing in the shot.<br />

In the ‘making of’ photo (above) the lady<br />

standing on the table is the very talented photographer<br />

Lisa Devlin, whose work you’ll usually find in<br />

our food section, and who willingly climbed a ladder<br />

for the cause.<br />

“Colouring-in is known for its therapeutic benefits,”<br />

explains Woody, “Starting something simple, which<br />

you don’t have to worry about getting right, can give<br />

you a sense of calmness and achievement – preparing<br />

you to tackle bigger things.” During the city’s most<br />

creative month, Woody will be holding<br />

two social colouring groups for grownups,<br />

called Colour In Monday. “I thought<br />

it would be lovely to have a free group<br />

where people can just turn up and colour-in<br />

together. I’ve created some supersized<br />

colouring sheets for communal colouring,<br />

or for the more solitary colourist,<br />

there will be stickers which you can colour-in<br />

and take away.” The sessions will<br />

run for an hour, but colourers are welcome to drop in<br />

for a few minutes, or stay for the full session.<br />

For your chance to win a hand-coloured print of<br />

the cover artwork, dedicated to you and signed by<br />

Woody, tweet a photo of how you add colour to the<br />

day using #colourinmonday to @thisiswoody.<br />

Colour In Monday, 11th and 18th <strong>May</strong> 11am–midday,<br />

in the upstairs meeting room at The Open Market.<br />

Materials provided. zarawood.com<br />

....7 ....

2–24<br />

<strong>May</strong> <strong>2015</strong><br />

MUSIC<br />












its and bobs<br />

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the love in<br />

You might recognise this ‘The Love In’ symbol<br />

from the spread we published in our last issue.<br />

The intention of the symbol is to recognise the<br />

spirit and the people that make our city different<br />

and better. To help spread The Love In throughout<br />

<strong>Brighton</strong> and Hove we have randomly inserted<br />

white window stickers inside 400 copies of this<br />

edition. If you’re lucky enough to find one, we’d<br />


love to see your photographs with it, in your window,<br />

plus any comments tweeted to @The_Love_<br />

In. And if you’re one of the really lucky ones who<br />

find a bright orange ‘golden ticket’ window sticker,<br />

of which there are a hundred, we’d like to photograph<br />

you in your favourite place in <strong>Brighton</strong>,<br />

and publish the picture in the July edition or on<br />

our Facebook page. You’ll also be one of the first<br />

to help establish the <strong>Brighton</strong> and Hove Love Index,<br />

a simple photographic record of those who’d<br />

like to show how they feel about our city. Photography and photographers will be curated by Miniclick’s<br />

Jim Stephenson. If you’d like to be included contact Hello@thelovein.co.uk. It’s a sign that you belong. It<br />

wouldn’t be the same without you.<br />

on the buses: #1 Bob Copper (No. 12, eastbourne to brighton)<br />

‘We’ll keep these old songs going, and bugger the rest of them. We don’t want to be the weak link in the<br />

chain,’ the young Bob Copper told his cousin Ron one day.<br />

Born in 1915, Bob had grown up in rural Rottingdean, at a time when due to ‘the growth of other forms of<br />

home entertainment,’ the Times later noted, rural family-singing traditions were under threat.<br />

Bob and Ron sustained theirs, despite facing ‘some hostility in the inter-war years,’ according to the Dictionary<br />

of National Biography, ‘from people who thought their songs old-fashioned and drear[y]’ .<br />

The folk revival made things easier, and in 1949, they were discovered by the BBC, after Bob’s father Jim<br />

heard a Copper song on the radio, decided the performer ‘got the words wrong’, and wrote a letter. The<br />

BBC came down, recorded Bob, Ron and Jim in Peacehaven, and later hired Bob as a folk-song collector.<br />

From his book A Song for Every Season, it seems clear Bob was cheerful, good company, and a witty storyteller.<br />

He was still performing in his 80s; ‘in spite of their success’ by this point, the DNB notes, the Coppers<br />

still ‘regularly chose to share their music with audiences in back rooms of pubs’.<br />

By the time of his death in 2004 Bob was, in the words of his Independent obituary, ‘England’s most important<br />

traditional folk-singer.’ The family songs are still being sung by his descendants.<br />

....9 ....

its and bobs<br />

...............................<br />

miniclick: Living Doll<br />

First she finds the dolls, then she finds the<br />

people who look like them. Or is it the<br />

other way round? <strong>Brighton</strong> University<br />

Arts graduate Annie Collinge is giving a<br />

Miniclick slideshow talk at the Old Market<br />

on <strong>May</strong> 12th about her latest project,<br />

the excellently-entitled Five Inches of<br />

Limbo. In it, she juxtaposes photos of junkshop<br />

dolls she’s bought, with photos of<br />

strangers she’s met on the streets of New<br />

York who look like them, especially after<br />

she’s persuaded them to dress the same.<br />

The results are amusing, and rather dark:<br />

David Lynch meets Barbie, or whatever.<br />

And it’s typical of her disturbingly offbeat<br />

oeuvre, which she’ll also be displaying and<br />

explaining.<br />

<strong>Brighton</strong> Illustration fair<br />

Let’s hope the first edition of BIF is the<br />

first of many to come. BIF stands for<br />

<strong>Brighton</strong> Illustration Fair, and is a two-day<br />

extravaganza featuring the work of graphic<br />

artists and illustrators. Expect stalls, expect<br />

prints, expect to meet plenty of the creators,<br />

from <strong>Brighton</strong> and well beyond, of graphic<br />

novels and other illustrative art media.<br />

Faces behind the panels appearing include<br />

Modern Toss, Boo Cook, Tom Eglington,<br />

Laura Callaghan, Danny Noble and Eero Lampinen. We’re<br />

particularly looking forward to discovering more about Matt<br />

Taylor, Chichester-dwelling former <strong>Brighton</strong> lad who specialises<br />

in reworking film posters after his own fashion. They are,<br />

as a rule, much more striking than the originals. All the action<br />

takes place in the One Church in Gloucester Place, <strong>May</strong> 30, 31.<br />


Joe decie<br />

...............................<br />


its and bobs<br />

...............................<br />

jj waller’s brighton<br />

‘<strong>Brighton</strong> Festival attracts some top-line performances but sometimes a special picture<br />

can be made from capturing less established up-and-coming performers,’ writes JJ. ‘This<br />

statuesque fully loaded Grenadier Guard, who I encountered hard at work defending<br />

<strong>Brighton</strong> seafront from attack, is one such wannabe. It can take years for some artistes to<br />

gain the recognition they deserve but I am always happy to support raw talent.’<br />


its and bobs<br />

...............................<br />

magazine of thE month: DELAYED GRATIFICATION<br />

I couldn’t help but notice a new product launch last<br />

month. It’s a ready-to-eat perfectly runny boiled<br />

egg. Oh my. Let’s kneel right now and give thanks<br />

to the ‘slow food’ movement that reminds us that<br />

speed isn’t always the answer to good cooking.<br />

While we are at it, let’s give thanks to the ‘slow<br />

journalism’ movement, too. Slow journalism believes<br />

that instant opinion isn’t everything and that<br />

time and a little reflection might just give us a better<br />

take on things. (I know. We’ve got to the point<br />

where we need reminding of this. Oh my.)<br />

Still, we do. And the best I know at reminding us is<br />

the quite wonderful Delayed Gratification magazine.<br />

What all the good people at DG do is brilliantly<br />

simple. They don’t write about something until<br />

three months has passed since it happened.<br />

The latest edition is, as they say, a killer. There’s<br />

an almanac of the key events of October-December<br />

14; a great piece on why Hamilton Academicals is<br />

a real community football club; an analysis of the<br />

best country in the world based on seven major<br />

2014 reports; an analysis of what UKIPs first MP<br />

actually means; a review of the 43 Mexican students<br />

kidnapped by uniformed police and now missing;<br />

and a piece on life in the Democratic Republic of<br />

the Congo, post-Ebola. Oh, got to stop now. I’m<br />

running out of space and I’m not half way through<br />

what’s in the current issue.<br />

Slow journalism matters. It puts being right before<br />

being first. It favours what it means over what is<br />

happening. And it’s here in Delayed Gratification.<br />

Quite brilliant. Absolutely essential. Very accessible.<br />

Martin Skelton, Magazine <strong>Brighton</strong>, Trafalgar St<br />

branching out<br />

Look, no hands! This happy chap is trying out the BOA (Branching Out<br />

Adventures) zip wire, one of the ‘treetop activities’ on offer from the Hallandbased<br />

company, which will cater for both adults and kids from <strong>May</strong> 9th. The<br />

idea is to allow you to Tarzan it up, in various manners, in a safe, professional<br />

environment. Other opportunities include a ‘high ropes’ course, a ‘low ropes’<br />

course, a climbing wall, and, best of all, the ‘giant swing’, which looks awesome.<br />

There are light refreshments and picnic areas, and, if you can’t wait to post<br />

those Facebook pictures, internet access, too. branchingoutadventures.co.uk<br />


its and bobs<br />

...............................<br />

spread the word<br />

This picture of two Uzbek women solemnly<br />

displaying last month’s edition of <strong>Viva</strong> <strong>Brighton</strong><br />

was sent in by reader Josephine Benyon, who had<br />

an ‘amazing’ holiday in Uzbekistan with her sister<br />

Francoise. A quick bit of internet research shows<br />

the building behind to be the Sher-Dor Madrasah<br />

in the ancient city of Samarkand. ‘Spread the<br />

Word’ has been an occasional series so far (you<br />

might remember last month’s memorable shot<br />

from Dubai, or the one a few back from the<br />

jungle in Nigeria) but we’d like it to become a<br />

monthly feature, so we urge readers to take the<br />

latest issue on holiday, and shoot it in interesting<br />

circumstances. We’ll print the best ones here, and<br />

put the runners up on our Facebook page and<br />

website. Let’s go global: <strong>Viva</strong> World!<br />

pecha Kucha night<br />

A reminder that, as we go to press, there are still<br />

some tickets left for the ‘Talent Pool’ Pecha Kucha<br />

Night which <strong>Viva</strong> has been busy organising with<br />

this month’s cover artist, Zara Wood, aka ‘Woody’.<br />

The event will take place at The Velo Café, from<br />

7-9pm on <strong>May</strong> 7th. For the uninitiated, Pecha<br />

Kucha, Japanese for ‘chit-chat’, is a quick-fire evening<br />

of show-and-tell in which creative folk present<br />

20 slides, which are each on screen for 20 seconds,<br />

during which they tell the audience about the image.<br />

It’s a fast-moving look into the work and art of<br />

those involved, and we’ve picked a fascinating cast<br />

of characters, many of whom have appeared in the<br />

pages of this magazine, including: bonfire sculptor<br />

Keith Pettit; ‘comper’ Di Coke; Instagram photographer<br />

and synesthetic artist Philippa Stanton<br />

(pictured); Pavilion expert Alexandra Loske; Open<br />

Market sign designer Lucy Williams; i360 photographer<br />

Kevin Meredith; glass worker Su Wilson;<br />

the bods from Makers Lab; book cover designer<br />

Mark Swan; Transmission art director Stuart Tolley,<br />

and Woody herself. Tickets from vivabrighton.com<br />

and zarawood.com; depending on availability there<br />

might be some left on the door from 6pm.<br />


its and bobs<br />

...............................<br />

Secrets of the pavilion:<br />

anatomy of a room: The Royal Pavilion’s Saloon<br />

Part 1: Ghostly neo-classical faces<br />

While the Royal Pavilion is most conspicuous for<br />

its Oriental features and exuberant colours, it is less<br />

widely known that for at least 14 years (from 1787<br />

to c.1801/2) it was decorated in a Neo-Classical<br />

style. Henry Holland’s so-called ‘Marine Pavilion’,<br />

which incorporated some of the farmhouse<br />

the Prince of Wales had been renting in the years<br />

before, consisted of a central rotunda (the ‘Saloon’)<br />

capped with a flat dome, and was flanked by two<br />

wings (see far right). The building was clad in cream<br />

‘mathematical Hampshire tiles’. The tiles contrasted<br />

with blue wooden shutters, allegedly in reference to<br />

the blue and buff Whig party colours.<br />

Very little is known about the earliest design<br />

schemes and furnishings of the interior, since only<br />

a few descriptions and images survive from this<br />

important phase, but we know that these early interiors<br />

were not marked by highly saturated colours,<br />

but were of a French-inspired, chaste Neo-classical<br />

style, where some brightly coloured ornamentation<br />

was set against a plain background.<br />

An abstract of expenditure incurred between 1787<br />

and 1788 gives the impression of an elegant, but not<br />

necessarily lavishly furnished building. Henry Wigstead’s<br />

travelogue An Excursion to Brighthelmstone,<br />

Made in the Year 1789 (published in 1790) provides<br />

the briefest of descriptions of the building and its<br />

interiors in the 1780s, just after their completion.<br />

The one room that is singled out is the Saloon, then<br />

the largest of the state rooms:<br />

“The Marine Pavilion of HIS ROYAL HIGH-<br />

NESS THE PRINCE OF WALES, on the West<br />

Side of the Stein, is a striking Object, and is admirably<br />

calculated for the Summer Residence of the<br />

Royal Personage for whom it was built; […] The<br />

Furniture is adapted with great Taste to the Stile<br />

of the Building. The grand Saloon is beautifully<br />

decorated with Paintings by Rebecca, executed in<br />

his best Manner. The tout ensemble of the Building<br />

is, in short, perfect Harmony.”<br />

The painter mentioned here was the Italian fresco<br />

artist Biagio Rebecca (1734/5–1808), who worked<br />

on a number of prestigious commissions in and<br />

around London. Only very few views of Biagio’s<br />

interior survive, one of them a plate by Rowlandson<br />

illustrating Wigstead’s book. The image provides<br />

little ornamental or architectural detail, but it does<br />

convey the liveliness and elegance of a grand Neoclassical<br />

interior, with some typical elements, such<br />

as stuccoed walls, the domed ceiling composed of<br />

small squares and floral swags, oval roundels, and<br />

what appears to be a pale base colour on walls and<br />

ceiling. Tinted versions of the prints exist, but while<br />

they cannot be considered as a reliable representation<br />

of the Saloon’s colour scheme, they are a rough<br />

Copyright Royal Pavilion & Museums, <strong>Brighton</strong> and Hove,<br />

Rebecca Roundels c1787<br />


its and bobs<br />

...............................<br />

snapshot of a typical neo-classical colour scheme,<br />

comprising a white, grey or stone block wall colour,<br />

a shade of green often referred to as pea-green, and<br />

contrasting colours introduced by soft furnishings.<br />

Two coloured architectural drawings of wall decorations<br />

for the Royal Pavilion survive in the Prints<br />

and Drawings collection of the V&A. One of them<br />

is inscribed ‘This Design for the Great Saloon was<br />

received from M. Lignereux’. Lignereux was also<br />

once paid for work at Carlton House, the Prince of<br />

Wales’ palace in London (demolished in the 1820s).<br />

If Lignereux was the creator of the drawings, then<br />

Rebecca might have worked to his designs, but it<br />

is much more likely that he was simply importing<br />

examples and templates of French designs.<br />

The Saloon decorations as depicted crudely by<br />

Rowlandson bear no resemblance to these drawings,<br />

but we recently discovered a few fragments<br />

of Saloon wall decorations in the Royal Pavilion<br />

archives that appear to match these drawings. They<br />

comprise three painted roundels with silhouettes of<br />

heads in profile, imitating white marble and in the<br />

style of cameos, against a dusty pink background,<br />

and a single mask-like face with an open mouth and<br />

laurel leaves around the head. Their provenance<br />

and stylistic features make it very likely that they are<br />

the only known survivors of Rebecca’s neo-classical<br />

Saloon scheme. I had a close look at the V&A<br />

drawings and I am convinced that these fragments<br />

indeed came from the earliest phase of the Saloon.<br />

These ghostly faces are therefore the only decorative<br />

elements that can give us a clearer idea of the<br />

colouring of this first interior of the Royal Pavilion,<br />

confirming a brightly coloured, but not highly saturated,<br />

neo-classical scheme on mostly white ground<br />

colour, entirely representative of mid to lateeighteenth<br />

century French-inspired classicism, as<br />

found in many eighteenth-century British country<br />

houses. What is known of this first interior design<br />

scheme of the Saloon forms a stark contrast to the<br />

strong colours and glossy finishes of the orientalised<br />

interiors that were to follow in the Royal Pavilion,<br />

introduced by the Prince of Wales with great gusto<br />

from around 1802. Art historian Alexandra Loske<br />

Copyright Royal Pavilion & Museums, <strong>Brighton</strong> and Hove, Rebecca Roundels c1787 (left)<br />

Holland Marine Pavilion (top)<br />





FUNKY<br />















its and bobs<br />

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Pub: the queen’s head<br />

toilet graffito #4<br />

Name that toilet! With thanks to our toilet-graffiti<br />

correspondents Fan Fan and Thomas.<br />

Last month’s answer: Green Door Store<br />

Painting by Jay Collins<br />

The latest Jay Collins illustration is of the Queens<br />

Head, on Queens Road. This Indigo-run pub, dating<br />

back to 1855, is largely frequented by ‘transient’ trade,<br />

but is worth popping into for a pint, particularly if<br />

you’re partial to ornate chandeliers; we also admired the<br />

19th-century mirror, placed sideways in order to fit on<br />

the wall. And enjoyed a pint of Naked Beer Co. porter,<br />

while listening to Suzanne Vega.

FESTIVAL photography<br />

......................................<br />

Roger Bamber<br />

A photo op around every corner<br />

Festival season is upon us and in<br />

this month’s photo feature from<br />

Miniclick, we talk to a stalwart of<br />

the <strong>Brighton</strong> photography scene,<br />

Roger Bamber. Roger started as<br />

a photographer in 1965 when<br />

he got a job with the Daily Mail<br />

on the strength of his art college<br />

portfolio. He was 20 years old<br />

and has been a working photojournalist<br />

for 50 years now.<br />

“That first job was a springboard<br />

to a career that took<br />

me all over the world. I was a<br />

news and features photographer<br />

for the Mail then I got<br />

poached for the launch of<br />

the new tabloid Sun in 1969<br />

and was with them for 19<br />

years covering everything - rock and pop, wars,<br />

news, features, the lot. But it got more and more<br />

celeb-and-TV led, and I was getting more and<br />

more desperate to take great pictures and see them<br />

used well so I jumped ship and went freelance. I<br />

worked for just about everyone - the Observer and<br />

the Guardian used the most pictures but I was<br />

constantly supplying magazines, other papers and<br />

organisations.”<br />

You’ve travelled the world with your work.<br />

What keeps you coming back to <strong>Brighton</strong>? Yes,<br />

I’ve been just about everywhere from the Antarctic<br />

to Borneo, but <strong>Brighton</strong> will always be home to<br />

me, I’m always glad to get back. It is the most<br />

diverse, welcoming, fascinating and photographically<br />

inspiring place on the planet as far as I’m<br />

concerned. Every time you turn a corner there’s a<br />

new picture opportunity.<br />

How do you go about<br />

documenting something<br />

as diverse as <strong>Brighton</strong><br />

Festival? Is there a lot of<br />

planning, or do you leave it<br />

to serendipity? I’ve always<br />

taken festival planning very<br />

seriously. I had to be two days<br />

ahead of anything happening<br />

because newspaper deadlines<br />

mean you have to have it in<br />

the paper on the day it’s all<br />

going on if possible - so it’s a<br />

matter of scouring the schedule<br />

and going to the launches<br />

and lining people up to do<br />

something specially for me<br />

if I can. But that doesn’t rule<br />

out serendipity. I always carry<br />

a camera anyway but at festival time I’m especially<br />

alert for things just fizzing up out of nowhere.<br />

Any particular festival highlights? Street<br />

theatre every time, especially events on the lower<br />

prom and the beach, I loved the period when<br />

the Zap Club used to curate completely crazy<br />

and marvelous stuff - like the French Weeble<br />

Man who wobbled up and stole chips and beer<br />

or some of the beach performances which had a<br />

unique atmosphere. In the festival proper, I loved<br />

Anish Kapoor’s C Curve mirror on the top of the<br />

Downs. I love events that interact with people and<br />

let them become part of the whole deal.<br />

Interview by Jim Stephenson<br />

Roger’s work will be on show throughout <strong>May</strong> in a<br />

retrospective exhibition at The <strong>Brighton</strong> Photography<br />

Gallery on the Lower Prom, spanning 50 years<br />

of work and the stories behind the photos.<br />


FESTIVAL photography<br />

......................................<br />


FESTIVAL photography<br />

......................................<br />



ERIDGE DEER PARK, EAST SUSSEX I 7-9 AUGUST <strong>2015</strong><br />

























3 DAYS & NIGHTS ONLY £90<br />


FESTIVAL photography<br />

......................................<br />







LEWES<br />



FOR INFO<br />


MAY<br />

<strong>2015</strong><br />



column<br />

...........................................<br />

Lizzie Enfield<br />

Notes from North Village<br />

Illustration by Joda, jonydaga.weebly.com<br />

I used to want to be a spy.<br />

One of my relatives was a counter-spy but I’m not<br />

supposed to tell anyone. Therein lay the problem<br />

with that particular ambition. I like to tell people,<br />

as soon as I find anything out. I’m better suited to<br />

being a writer - or have disguised myself so well, as<br />

someone who cannot keep anything to themselves,<br />

that I am perfect spy material. Who knows?<br />

But, one way or another, I don’t get a lot of opportunities<br />

for undercover missions. So, when one<br />

presented itself, I jumped.<br />

And now, I’m torn between keeping the secret and<br />

spilling the beans. Spy or journalist?<br />

Here’s the thing.<br />

Some friends suggested going to an event in the<br />

festival. I wasn’t that keen, until they discovered it<br />

was fully booked and began planning an undercover<br />

raid. Then I wanted to join in.<br />

The event is Sam Lee’s Nightingale Walk.<br />

The programme describes it as ‘A one-of-a-kind<br />

promenade performance set in “a melodious plot of<br />

beechen green” on the South Downs. In the dead<br />

silence of the night, accompanied by musicians, Sam<br />

sings traditional songs to the nightingales as they<br />

sing back from the thickets.’<br />

But it’s sold out. This bunch of middle-class,<br />

middle-aged North Village women won’t be able<br />

to experience a spellbinding call-and-response collaboration<br />

between man and bird.<br />

Except they are undeterred.<br />

“Perhaps we could sneakily follow them at a safe distance<br />

and listen from the undergrowth?” suggests one.<br />

“I am up for crawling through the undergrowth<br />

with you all,” says another.<br />

It’s turning into a plan.<br />

“We could create our own song from the shrubbery.”<br />

It’s turning into a plan to hide in a bush, ‘creating<br />

song from the shrubbery.’<br />

“I think the Victorians might have called that a<br />

euphemism,” I comment.<br />

“Yes. Songs from the Bush does sound like a 1970s<br />

book of feminist poetry,” the ringleader agrees.<br />

But still, the plan is a plan.<br />

‘The nightingales generally return to the same location,<br />

but in case they decide to choose a new home<br />

for their short stay, we will advise ticket buyers two<br />

weeks in advance of the exact location/meeting<br />

point’, advises the festival brochure.<br />

“We need to find out the spot from someone who’s<br />

got tickets,” says the brains behind what has become<br />

‘Operation Nightingale.’<br />

“We all need to put out feelers. <strong>May</strong>be we could even<br />

go on another night and sing back to them ourselves?”<br />

Never before in my life have I been so keen to set<br />

out in the dead of night in order to take cover in the<br />

undergrowth and sing back to birds with a bunch of<br />

middle-aged warblers.<br />

But, obviously all of this is covert and I can’t possibly<br />

say whether any of it is actually happening or<br />

not. My lips are sealed. I’m not saying a word. I’m<br />

certainly not singing a note.<br />

I’ll be taking them, just not singing them. I’ll be true<br />

to my professed profession, while furthering my<br />

covert one…<br />


column<br />

...........................................<br />

John Helmer<br />

At the Children’s Parade<br />

A large, shaggy goat made of … bog roll, by<br />

the look of it, fills the sky. At knee level, Jedi<br />

knights, munchkins and trolls troll past. And<br />

the drums, good Christ the drums. Samba<br />

is the default soundtrack of The Children’s<br />

Parade for no good reason I can see other<br />

than that it is the least hangover-friendly form<br />

of music ever invented. Someone must be to<br />

blame for this.<br />

Children’s Parades have started the <strong>Brighton</strong><br />

Festival for more than 25 years and I have<br />

brought a fucker-behind-the-eyes to nearly<br />

every one. I’m not alone. Parents and teachers<br />

jiggle by, red-eyed and pallid of jowl, borne<br />

on a collective wave of pain. Why? At<br />

whose door can be laid this outrage?<br />

No doubt the curly-kale chomping<br />

sadists I uncharitably imagine to<br />

run Same Sky were sipping tepid<br />

carrot juice last night while the<br />

rest of us were out poisoning our<br />

systems with private-view wine.<br />

Bastards.<br />

‘Is it true my great-uncle Gavin<br />

started the Children’s Parade?’<br />

says our youngest. OK, perhaps<br />

Same Sky aren’t the only ones<br />

to blame.<br />

One crumb of comfort: we’re<br />

mere spectators this year rather<br />

than participants, Poppy having<br />

been kicked out of the choir for<br />

attending insufficient practices.<br />

We’re here to support her<br />

cousin Betty. By the time Betty arrives, beating<br />

a hearty pulse from her samba drum that<br />

spreads unease among non-carrot-juice-drinking<br />

adults all around, I have my phone video<br />

camera poised. The shot is framed, the red dot<br />

pressed… at which point Betty’s father strides<br />

purposefully into foreground and, bellowing<br />

above the batucada (he’s known in the family as<br />

Foghorn Leghorn) tells me our mother-in-law<br />

is less than five yards away.<br />

‘How’s your hangover?’ he booms.<br />

‘Shocking.’<br />

So that video won’t be going up on Facebook.<br />

I set off in search of this further member of<br />

the tribe, but a witch has made her invisible<br />

to my eyes. Not until ten schools later, after a<br />

frenzied exchange of text messages, do I track<br />

her down. With well-bred indirection she hints<br />

at coffee.<br />

In the queue at Small Batch an irate child<br />

headbutts my knee and screams at his mother,<br />

‘why are we even here?’ My thoughts exactly. I<br />

run into an old friend with grown-up children.<br />

‘Why are you even here?’ I say; ‘you don’t have<br />

any skin in the game.’<br />

‘Old times’ sake.’<br />

Ah yes, of course. Soon all our children will<br />

be too old for this nonsense and I will have<br />

to take my first-day-of-the-Festival hangover<br />

elsewhere – or stay at home and read improving<br />

literature. Somehow the thought isn’t as<br />

consoling as it should be.<br />

I pick up our coffees and head back towards the<br />

sound of throbbing drums.<br />


column<br />

......................................<br />

Chloë King<br />

Aisle rage<br />

I’m in Croydon Ikea. My<br />

three-year-old daughter<br />

and I have made it to the<br />

self-service area without<br />

peeing on the floor, eating<br />

meatballs, or having<br />

a row with a woman in<br />

‘Fabrics’ who said crossly<br />

“oh, go that way then”<br />

after I edged our trolley<br />

backwards to make room<br />

for her. “I thought she<br />

would go that way, but<br />

Illustration by Chloë King<br />

she went the other way,” I heard her tell her mother.<br />

Jeez. Life certainly throws up some unexpected<br />

twists and turns.<br />

Anyway, we’ve made it to the self-serve area. I’m<br />

feeling content about the fact I’m buying storage<br />

boxes and, after approximately three hours, my<br />

daughter is exhibiting signs of adjustment. She<br />

busies herself finding a small chair for her and<br />

Mouse to sit on and a large chair for Panda and<br />

me. I try to edge things along gently with a new<br />

game called ‘Find Number 41’ when a woman<br />

passes saying she has been playing the same game<br />

for as many minutes. We chuckle, and make some<br />

progress up the aisle when I hear a small voice<br />

from behind me saying: “I can’t stop!”<br />

I turn to see a couple approaching us with a trolley<br />

each. I think they’re enjoying a joke between the<br />

two of them but then the woman says more loudly,<br />

“I can’t stop!” By this time the pair are much closer<br />

than before, still just far enough away not to trigger<br />

panic. I look at my daughter, who is about a metre<br />

away, and as the couple get uncomfortably close<br />

they take a hairpin turn down A36 exclaiming: “This<br />

is not a children’s day<br />

out.”<br />

There. I’m casually<br />

going about my business<br />

on the last day of<br />

the Easter holidays,<br />

buying containers for<br />

my child’s crayons and<br />

boom: the voice of<br />

judgement is upon me.<br />

This is not a children’s<br />

day out.<br />

How dare I exhibit<br />

such neglectful parenting as to subject a preschooler<br />

to a day at Ikea? Now, the anti-capitalist in me<br />

sees truth in this but I would put money on it that<br />

that woman was not referring to the dangers posed<br />

by the systemic corporatisation of childhood. Neither<br />

was she talking about the lack of creative learning<br />

possibilities on a trip to a megastore. If she was,<br />

I could argue the toss. What she meant was “get<br />

out of my way. With your idling small child you’re<br />

slowing me the fuck down.” I imagine if that woman<br />

and her renegade trolley had careered headlong into<br />

my toddler, it would be my fault entirely, simply for<br />

having her present.<br />

Has road rage become so prevalent, you needn’t<br />

be on the road to experience it? I read a Pacific<br />

Standard article citing a Harvard School of Public<br />

Health study on road rage. It says road rage is in<br />

some way a territorial response conditioned by the<br />

psychological effect of a car being “‘like a second<br />

home,’ almost an extension of the driver’s person.”<br />

I guess it could similarly be the flipside of the<br />

illusion of comfort those Ikea gods work so hard<br />

to create.<br />


Photo by Adam Bronkhorst<br />


interview<br />

..........................................<br />

mybrighton: Beth Burgess<br />

<strong>Brighton</strong> Festival Producer<br />

Are you local? I came over to <strong>Brighton</strong> in 2006<br />

after living in New York for many years. My partner<br />

was living down here, and loved it. I got a job in the<br />

Barbican in London, began my life as a commuter. I<br />

made a virtue of it, reading everything I was meant<br />

to have read in college, looking at the lovely scenery<br />

and getting insights into people’s lives by listening<br />

to their phone calls. Though not a lot of talking to<br />

the other passengers: I once made a comment to<br />

someone I’d been standing next to on the platform<br />

for five years, and he just ran off. The best conversations<br />

were with tourists getting on at Gatwick…<br />

oh and a hilarious ride with a drunken stag group<br />

dressed as dinosaurs. They hadn’t met a real lesbian<br />

before, and wanted love advice; imagine!<br />

Has it been a good move? I felt instantly at<br />

home. Everybody seems happy to talk to you about<br />

anything and everything from art to politics. People<br />

seem to be really thrilled to be living in a community<br />

here. And there’s an acceptance about other<br />

people’s individuality. I have a one-and-a-half-yearold<br />

son, Max, and I wouldn’t think of bringing him<br />

up anywhere else. In fact it makes me really jealous<br />

that he gets to grow up here and I didn’t.<br />

Which part of town do you live in? At first I lived<br />

in Hanover, which I loved, though Southover Street<br />

with groceries was epic. I loved the dogs in Queens<br />

Park, always looking like they were saying ‘thank<br />

god I’m in the park! I’m so excited! I can’t believe it<br />

I am in the PARK!’ And then there were the roasts<br />

in the Constant Service. Now I live in Kemptown,<br />

which I also really love: it’s got a real villagey feel.<br />

I’m blessed with a key to Sussex Gardens, which<br />

came with the property we bought. We were on<br />

the fence, until they mentioned that key. The leaky<br />

ceiling suddenly didn’t seem important.<br />

What’s your local? It depends what I’m doing.<br />

The Thomas Kemp is good because you can fit 50<br />

million strollers in there. The Bristol Bar brings<br />

back lovely, and poignant memories. And the food<br />

is delicious in the Ginger Dog. Since Max was born,<br />

I just can’t drink any more drink, he gets up too<br />

early. How I long for a Bloody Mary.<br />

What does a festival producer do? I’m responsible<br />

for facilitating the logistic and artistic elements<br />

and ensuring that by <strong>May</strong> 2nd everyone knows<br />

what they’re doing, where they’re doing it, and<br />

who they’re doing it with. It’s like putting together<br />

a jigsaw; luckily I’m part of an amazing and hardworking<br />

team. Oh, and Ali Smith has just been a<br />

wonderful guest director, too.<br />

If you could only have one Festival ticket, what<br />

would you go and see? I’d find it hard to miss<br />

Agnès Varda’s installation at the University Gallery,<br />

and L’Oublié(e), a magical piece of circus. But<br />

my dream ticket would be Mabou Mines, a most<br />

extraordinary theatre company, performing Lucia’s<br />

Chapters of Coming Forth by Day. They’re from New<br />

York, but there’s no bias there. Ok, there might just<br />

be a little bit.<br />

When did you last swim in the sea? I’m a pool<br />

gal. In New York you don’t swim in the Hudson<br />

because, well, you never know what or who might<br />

brush against you, so I guess I’m conditioned. I’ll go<br />

in up to my knees, though.<br />

Where would you live if you didn’t live in<br />

<strong>Brighton</strong>? In Paris, overlooking the Seine.<br />

Interview by Alex Leith, portrait by Adam Bronkhorst<br />



WITHIN<br />






30 April - 31 <strong>May</strong><br />

“A delightful pop-up<br />

<strong>Brighton</strong> Fringe venue.”<br />


By St Peter’s Church,<br />

York Place,<br />

<strong>Brighton</strong>, BN1 4GU<br />



SPACES<br />

COSY BAR<br />






COMEDY<br />



24 Kensington Street,<br />

<strong>Brighton</strong>, BN1 4AJ<br />



music<br />

..................................<br />

Bunty<br />

Avant-pop apocalyptic raver<br />

<strong>Brighton</strong> musician and artist Bunty is not one<br />

to be pinned down. Known for her brightlycoloured<br />

collision of loop station tunes and audiovisual<br />

mayhem, she’s also part of <strong>Brighton</strong>’s<br />

Beatabet collective and singer with dub band<br />

The Resonators. We caught up with her ahead<br />

of this month’s genre-busting AV live show at<br />

the Spiegeltent.<br />

So what have you got in store for us? A<br />

helium-infused, colour-spitting world with<br />

its own light show and audience choir as<br />

well as dancers, heavy beats, choral dreamscapes,<br />

samples, projections, film, toys and<br />

rave-meets-folk music from my new album<br />

Multimos. Oh, and a bear (but I don’t like<br />

to talk about him).<br />

Is that all? Nope, we also have epic support<br />

from the world female beatbox champ<br />

Bellatrix, who we’re going to matchmake<br />

with a surprise guest to do an improvised<br />

set using just two mics. We’ve got Brussian<br />

Dolls playing their famous pop medley<br />

from inside their cardboard boxes and<br />

a mighty 360-horn extravaganza called<br />

Barnacles. Not to mention the incredibly<br />

talented and hilarious VJ MetaLuna.<br />

How do you describe your music?<br />

Avant-pop, apocalyptic rave, moon-hop,<br />

tangent-electro. Amongst other things.<br />

What’s the idea behind the album?<br />

There is a place called Multimos where<br />

there are seven special powers to collect.<br />

The place itself is truly psychedelic in the<br />

sense that all things are not as they seem<br />

and objects and concepts slip out of their<br />

usual boxes so that definition of anything<br />

goes out the window! (That’s the short answer.) All the music<br />

and films were inspired by these powers: Maximity, Flexibility,<br />

Motivation, Adventure, Passion, Mystery, Multiplicity.<br />

What comes first – the songwriting, the costumes or the<br />

concept? Simultaneous action for this project. That was the<br />

whole thing: to create music, improvisation, film, performance<br />

and a live show at the same time – a multi-mission.<br />

Do you get bored at regular gigs? Do you think musicians<br />

should make more of an effort when they perform?<br />

No. I’m just doing what I want and I think other musicians<br />

should do the same. Some of my favourite gigs have been<br />

a dude with a guitar muttering quietly with his head down<br />

between songs. It’s about integrity for me and whether something<br />

feels real or has resonance of some sort. I enjoy seeing<br />

and hearing new sounds and people taking risks, pushing the<br />

boundaries, experimenting and fucking with my head.<br />

How did this all start? I have a bad baaaaad memory like<br />

my mama, but I’ve been Bunty for about 10 years. It involved<br />

a beatboxing boyfriend, playing jazz with another guitarist<br />

friend who had the first Boss Loop station, a music and visual<br />

arts degree – all mooshed together with life, actions, people<br />

and places.<br />

What are The Resonators up to these days? We’re just<br />

finishing the third album! Exciting times – got a stonkaaa gig<br />

coming up supporting Jimmy Cliff at the Dome in July. My<br />

mind is blown!<br />

Interview by Ben Bailey<br />

Bunty is performing at the Spiegeltent on <strong>May</strong> 11 as part of<br />

<strong>Brighton</strong> Fringe.<br />


Hove’s independent, high quality<br />

live theatre and venue<br />

<strong>May</strong> FESTIVALS:<br />

electro swing: white mink Music of nina simone:<br />

black is the color of my voice [pic, right]<br />

harmony-laden soul/jazz: jarrod lawson<br />

sunglasses on: craig charles funk & soul show<br />

Fringe Award-winner: lorraine & alan burlesque<br />

& cabaret: hundred watt club james campbell’s:<br />

comedy 4 kids legendary rockers: uriah heep<br />

Monday 11 <strong>May</strong> — <strong>Brighton</strong> Spiegeltent<br />

BUNTY<br />

(MULTIMOS LIVE — full AV show)<br />

+ Bellatrix + VJ metaLuna<br />

Wednesday 13 <strong>May</strong> — Komedia<br />

Thea Gilmore<br />

+ Jo Rose<br />

14–16 <strong>May</strong> — St. George’s Church<br />

The Great Escape<br />

Gaz Coombes, Soley,<br />

Rival Consoles + more<br />

Tuesday 19 <strong>May</strong> — Green Door Store (FREE)<br />

Aquaserge<br />

+ Crayola Lectern<br />

+ Marcus Hamblett + Waxmachine<br />

Wednesday 20 <strong>May</strong> — Komedia<br />

LAU + Siobhan Wilson<br />

Sunday 24 <strong>May</strong> — Concorde 2<br />

The Julie Ruin<br />

+ Slum of Legs<br />

*Re-scheduled event, previous tickets remain valid<br />

Tuesday 26 <strong>May</strong> — Komedia Studio<br />

Marina Celeste<br />

+ Zrazy<br />

Resident Music<br />

Dome Box Office<br />

Union Records<br />

Music’s Not Dead<br />

(Bexhill)<br />

Pebbles<br />

(Eastbourne shows)<br />

The Vinyl Frontier<br />

(Eastbourne)<br />

Venue if applicable<br />

seetickets.com<br />

ticketweb.co.uk<br />

Age restrictions may apply.<br />

Friday 29 <strong>May</strong> — St. George’s Church<br />

Bill Laurance Project<br />

Tuesday 2 June — Komedia<br />

Sylvan Esso<br />

+ Foreign Skin<br />

Wednesday 3 June — Green Door Store<br />

Du Blonde + support<br />

Sunday 14 June — Saint Helier, Jersey<br />

Jersey Folklore<br />

Festival<br />

Tuesday 16 June — Komedia Studio<br />

Eddie Argos:<br />

I formed a band + DJ set<br />

Wednesday 17 June — Otherplace at the Basement<br />

Grasscut + support<br />

Wednesday 17 June — Green Door Store<br />

Piney Gir<br />

+ Charlie No.4 (DJ)<br />

3–5 July — Glynde Place, Lewes<br />

Love Supreme<br />

Jazz Festival <strong>2015</strong><br />

Chaka Khan, Van Morrison + more<br />

meltingvinyl.co.uk<br />

01273 201 801<br />

theoldmarket.com<br />

Learn Guitar, Have Fun<br />

Looking for guitar lessons<br />

for you or your child?<br />

<strong>Brighton</strong> Guitar Tuition<br />

Play your favourite songs,<br />

jam with others, get results fast!<br />

"My progress<br />

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"The results were<br />

almost instantaneous.<br />

Amazing!"<br />

Places are limited<br />

Contact Vicki today to book your<br />


07980 845 688<br />


local musicians<br />

..........................................<br />

Ben Bailey rounds up the <strong>Brighton</strong> music scene<br />

BAD MATH<br />

Sun 3, Green Door Store, 3.30pm, £8<br />

Celebrating three years of putting on quality mathrock<br />

bands, <strong>Brighton</strong> promoters Bad Math are<br />

calling back their favourites for a big old birthday<br />

bash at the Green Door Store. Local bands The<br />

Bowery, Chalk, The New Tusk and Let’s Talk Daggers<br />

join Hawk Eyes, Quadrilles and Olympians<br />

to stoke up a proper wonky-punk-rock racket. Top<br />

of the bill are Nottingham’s Baby Godzilla, a band<br />

who’s been compared to mathcore heroes Dillinger<br />

Escape Plan on account of their habit of tearing up<br />

every venue they play, breaking down the barriers<br />

between audience and band and often ending up on<br />

the other side. It will be loud, and if you like loud it<br />

will be brilliant.<br />


Fri 15, Latest Music Bar, 12pm, Free<br />

With The Great Escape returning for its 10th year<br />

in the midst of <strong>Brighton</strong> Festival, the middle weekend<br />

of <strong>May</strong> is likely to be a manic one for music<br />

fans. Helpfully, some of the best of <strong>Brighton</strong>’s bands<br />

are to be found in the Latest Music Bar at this allday<br />

Alternative Escape event. There are eleven acts<br />

spread over the day and headliners Kuenta I Tambu<br />

are set to only leave the stage at 2am. Highlights<br />

include offbeat folk from the likes of Gaps and<br />

Early Ghost, grunge sounds from Demob Happy<br />

and Tigercub and some fine Stooges-style psyche<br />

rock from Spit Shake Sisters.<br />


Sat 16, Hotel Pelirocco, 3pm, Free<br />

This alternative to the Alternative Escape promises<br />

yet another day of top local bands.<br />

First up are teenage shoegazers grasshopper who,<br />

as <strong>Viva</strong> readers will recall, were last seen supporting<br />

The Charlatans at Worthing Pavilion. They’re<br />

followed by Lost Idol’s downtempo electronica and<br />

the kickass synths-and-drums duo AK/DK. The<br />

evening session features folk rockers Seadog alongside<br />

some 60s-inspired psychedelia from the Fujiya<br />

& Miyagi bassist who inexplicably calls himself I_<br />

am_ampersand. The headline slot goes to Time For<br />

T (pictured top left), a brilliantly upbeat <strong>Brighton</strong><br />

band who seem to be on a mission to make people<br />

smile using only a mix of afrobeat, rock’n’roll and<br />

some damn catchy choruses.<br />


Fri 22, Bleach, 8pm, £8/10<br />

That the post-punk<br />

trio are back in town<br />

so soon after relocating<br />

to Berlin must<br />

mean they’re either<br />

homesick or have<br />

realised how much<br />

their music is treasured<br />

in these parts.<br />

When bands look to Berlin for inspiration it usually<br />

means they’re headed for an electro makeover, yet<br />

Esben & The Witch’s last album, a crowdfunded<br />

self-release recorded by Steve Albini, saw them go<br />

in the opposite direction: dropping the loops and<br />

samples from their sound in favour of some darkly<br />

primal fuzzed-up post rock. Support comes from<br />

the extraordinary cellist and singer Abi Wade and<br />

an appropriately krautrocky Speak Galactic side<br />

project called Merlin Tonto.<br />


music<br />

.........................................<br />

Saint Etienne<br />

‘Affable mumbler’ Pete Wiggs<br />

“Shy? Yeah, we’re very,<br />

incredibly. So we were<br />

quite wooden when<br />

we were on Top of the<br />

Pops. We always had<br />

to surround ourselves<br />

with moving things. In<br />

our videos we’re normally<br />

either driving a car or standing around chatting,<br />

unless they bully us into doing something<br />

more extreme. We’re not exactly naturals.”<br />

This is Pete Wiggs, co-founder of the experimentally-minded-but-accessible<br />

pop group Saint Etienne.<br />

An affable mumbler with an easy laugh and a thick<br />

beard, Wiggs met me at a noisy coffee shop in Hove,<br />

which has been his hometown for seven years.<br />

Growing up in Croydon in the 80s, Wiggs and his<br />

childhood friend Bob Stanley used to make mixtapes,<br />

produced a fanzine called Caff, and worked<br />

in record shops, dreaming, despite their shyness,<br />

of performing on TV.<br />

Oddly, though, the young duo didn’t actually try<br />

to learn any instruments. “I think I really just<br />

thought ‘there’s no way I’m going to master this<br />

at all’, and stupidly didn’t even try. Bob had got a<br />

synth and we tried to work out how to use that,<br />

without reading the manual.”<br />

Once technology had ‘advanced enough for us<br />

to operate the machinery without learning how<br />

to play the instruments’, they recorded their first<br />

single. He tells me they paid for their own studio<br />

time and enlisted the help of “people who could<br />

play things”.<br />

The result, Only Love Can Break your Heart,<br />

released in July 1990, didn’t become a chart hit,<br />

despite being so popular that, in the Times’ words,<br />

‘you couldn’t go anywhere - pubs, bars, clothes<br />

shops - without hearing<br />

that song’.<br />

Wiggs’ day job had been<br />

“helping people out with<br />

accounting software… I<br />

think I carried on working<br />

for a little bit, then gave up,<br />

because we started getting<br />

lots of interviews and things, and I had to keep<br />

going out of the office. And I didn’t want to be<br />

wearing a suit to the interviews.”<br />

His colleagues probably “thought I was slightly<br />

nuts, throwing away this job,” but they must have<br />

been impressed when, during his leaving party in a<br />

public park, a fan came up and shook his hand. “It<br />

really looked like a set up.”<br />

Wiggs and Stanley had planned to use guest singers,<br />

but for their third single, Nothing Can Stop Us,<br />

they recruited Sarah Cracknell, who then became<br />

their permanent vocalist. This was also their first<br />

self-penned release. “It was another moment<br />

where we were like: ‘Oh, we can actually write<br />

songs as well!’”<br />

Nowadays the band is still active, though not<br />

prolific. Stanley had the time to write a long history<br />

of pop, while Wiggs has been “growing old<br />

gracefully doing film music.”<br />

For this year’s <strong>Brighton</strong> Festival, the band will be<br />

performing Wiggs’ soundtrack to the documentary<br />

How We Used to Live, during a screening. This<br />

means Wiggs will kind of be in the background,<br />

unseen. Not a bad gig for a shy person, I told<br />

him. I’ve forgotten his response, but based on<br />

my general impressions, I’d guess he laughed and<br />

mumbled something self-deprecating. SR<br />

Thurs 21st, <strong>Brighton</strong> Dome Concert Hall, 8pm,<br />

£16/£18.50, brightonfestival.org<br />


comedy<br />

.........................................<br />

The Treason Show<br />

Election-night special<br />

“The more chaotic, the more ridiculous the world<br />

becomes, the more I feel I can keep going, because<br />

I enjoy satirising it. And actually truth is always<br />

funnier than fiction; the fuel just keeps coming.”<br />

This is The Treason Show founder Mark Brailsford,<br />

a ‘news addict’ and a ‘deeply political’ person who,<br />

despite his membership of the Labour Party, happily<br />

impersonates Ed Miliband as a Mr Bean-like<br />

character who loses a debate with an empty chair.<br />

“I still think we’re such a right-wing-dominated<br />

world - even Labour’s been dragged into this rightof-centre<br />

policy platform - so I’m quite happy to<br />

have a go at all of them.”<br />

Having done satirical stand up and sketches in the<br />

90s, Brailsford started The Treason Show in June<br />

2000. It must have been a difficult proposition, at<br />

first: Clinton was a fun character, but was in the<br />

last months of his presidency. Blair was still in his<br />

honeymoon period.<br />

“Then of course, we were blessed. Blair moves<br />

from being Bambi into being: ‘Hi guys, I’m really<br />

controlling you, aha… let’s go and bomb Iraq’,<br />

and becomes the adjutant to one of the funniest<br />

characters you could ever invent: George W Bush.<br />

Topical comedy is the gift that keeps on giving.<br />

“I think it’s got harder, because of the PR element,<br />

and the blanding out of some of these characters.<br />

Clegg is just bland, there’s nothing there. Cameron<br />

is a public-relations robot, and he’s very skilled at<br />

it, I will admire that. He’s so adept at writhing past<br />

the questions, eel-like. I don’t know how he gets<br />

away with it.<br />

“In the end the target shifts. The spin, the PR, the<br />

slickness and the sliminiess becomes the gag. It’s<br />

just about finding another angle of attack.”<br />

So, having done satire for so long, is he a hardened<br />

cynic, or kind of optimistic? “What’s that great<br />

saying? A cynic is a sceptic without a brain. I prefer<br />

to be a professional sceptic, if I can be. And actually<br />

I am quite hopeful.<br />

“On a human level, I do believe that most of them<br />

are in it to make people’s lives better; they go into<br />

it with the intention of trying to do good. I think<br />

they get eaten up into this staid old Westminster<br />

system…<br />

“There’s this UKIP thing, ‘the Westminster elite’. I<br />

don’t think it’s directly that; it’s just not a progressive<br />

environment for people to flourish and get<br />

good done. A lot of them get either beaten down<br />

and we lose them, or they just end up getting corrupted<br />

by our very stale democracy. So I do feel a<br />

slight bit of sympathy for my targets, my victims.<br />

But that’s probably what serial killers say.” SR<br />

The Treason Show’s election coverage runs at the<br />

Rialto from Weds 6th to Sat 9th. On election day<br />

itself, after a 7.30pm show at the Ropetackle in<br />

Shoreham, they’re back at the Rialto for a 10pmmidnight<br />

show, after which the cast will join the<br />

audience in watching the results come in.<br />


theatre<br />

...........................<br />

Reno<br />

Monroe and Miller’s turbulent marriage<br />

They were filming in the Nevada desert, in 40-degree<br />

heat. One lead actor ‘indulged in lethal drinking<br />

bouts’; another recklessly ‘insisted on doing some of<br />

his stunts’. The director sometimes fell asleep during<br />

shooting, having stayed up all night gambling.<br />

Then there was Marilyn Monroe, ‘often sick and<br />

depressed, drinking heavily and addicted to prescription<br />

drugs, [and] usually four or five hours late’. At<br />

one point, production had to be stopped for ten days<br />

while she had treatment for her drug problem.<br />

The scriptwriter, her husband Arthur Miller, kept<br />

rewriting scenes, and Marilyn struggled to memorise<br />

the ever-changing lines. Realising her character was<br />

based on herself, she ‘constantly fought with Miller<br />

about the way he portrayed her’. Their marriage was<br />

breaking up, and by the end, as he put it, ‘we were<br />

hardly able to speak to each other’.<br />

That’s the basic story of the turbulent filming of<br />

The Misfits, as detailed in Jeffrey Meyers’ book on<br />

Monroe and Miller. “It was one of these films that<br />

was just kind of doomed from the word go,” says<br />

Lauren Varnfield.<br />

Varnfield is a director of the Rialto, and of its inhouse<br />

theatre company, Pretty Villain. Their latest<br />

production, set on the set of The Misfits, is a dramatization<br />

of the break-up of Monroe and Miller’s<br />

marriage. She plays Marilyn.<br />

I read that their relationship was initially ‘perceived<br />

as a colossal mismatch,’ between a nerdy<br />

playwright and a sex symbol. Is that fair? I think<br />

Marilyn was much more intelligent and sharp than a<br />

lot of the public gave her credit for, and she fooled a<br />

lot of people with her persona. And she had a lot of<br />

admiration for Arthur Miller. In the play she says ‘I<br />

had to marry another icon’.<br />

Their relationship was already in trouble before<br />

The Misfits, wasn’t it? He was suspicious that she<br />

was having an affair, I think. In the play, she confesses<br />

to it. I suspect at that point he’d have taken her back,<br />

but she was just too far gone.<br />

Were they trying to keep it together during<br />

filming, or had they given up on the marriage? I<br />

think he was trying to keep her together, and their<br />

relationship was secondary.<br />

It’s been said that ‘Marilyn’s mental state had<br />

a greater impact on the making of The Misfits<br />

than all the other problems put together’. Do<br />

you agree? Yes. She was so much under the spotlight.<br />

This was her being a serious actress; there was<br />

huge pressure on her to perform. And also the fear<br />

of her looks fading. She can’t cope. The drama she’d<br />

cause because she doesn’t think she’s good enough,<br />

attractive enough anymore… I think that had a<br />

ripple effect on everyone else.<br />

Was Miller purely a victim in this? I’d definitely<br />

not see him as a victim. He was possibly not prepared<br />

for someone who needed so much, that he wasn’t<br />

able to give. That probably drove him to despair,<br />

because he couldn’t help her, ultimately. Steve Ramsey<br />

Reno, by Pretty Villain, The Rialto, <strong>May</strong> 19th-23rd,<br />

8pm, brightonfringe.org<br />


Gigs In <strong>Brighton</strong>...<br />


Tuesday, 5th <strong>May</strong><br />

The Haunt<br />


Monday, 18th <strong>May</strong><br />

The Haunt<br />


Sunday, 24th <strong>May</strong><br />

Patterns (Audio)<br />


Wednesday, 27th <strong>May</strong><br />

Concorde 2<br />


Friday, 29th <strong>May</strong><br />

Sticky Mike’s<br />


Monday, 1st June<br />

The Green Door Store<br />


Friday, 5th June<br />

The Haunt<br />


Wednesday, 10th June<br />

Concorde 2<br />

<strong>Brighton</strong> ad_Layout 1 23/01/<strong>2015</strong> 17:03 Page 1<br />

Est.1976<br />

www.hobgoblin.com<br />




Wednesday, 10th June<br />

<strong>Brighton</strong> Dome<br />


Monday, 15th June<br />

Komedia<br />


Thursday, 18th June<br />

Concorde 2<br />


Sat, 29th and Sun, 30th August<br />

Concorde 2<br />

LoutPromotions.co.uk<br />

Guitars, Banjos, Mandolins, Ukuleles, Harps, Fiddles,<br />

Autoharps, Dulcimers, Concertinas & Accordions,<br />

Woodwind & Brass, Huge whistle selection. Drums,<br />

Cajons, Bodhrans, Djembes, Shakers & much more,<br />

Keyboards, Amps, Accessories & Books for all.<br />

108 Queens Rd, <strong>Brighton</strong> BN1 3XF<br />

01273 760022 | www.hobgoblin.com/brighton<br />

Expert staff are always on hand to<br />

give you free, friendly advice.

comedy<br />

...........................<br />

Simon Evans<br />

The politics of parenthood<br />

Before I interviewed the Hove-based stand-up Simon<br />

Evans in 2012, I’d decided that he wasn’t very<br />

good. I’d seen some short YouTube clips.<br />

But, just based on the interview, I knew I’d been<br />

wrong. He came across as an ideas enthusiast,<br />

someone who thinks hard and spends a reckless<br />

amount of time reading. Someone who you could<br />

ask about the shipping forecast, or the windmills<br />

of Essex, or the history of water pistols, and he’d<br />

probably have something thought-provoking and<br />

original to say. And he was funny.<br />

So I went to see him at the Dome. Evans squeezed a<br />

usually-90-minute set into an hour, talking fast and<br />

barely pausing for laughter and causing a vein in his<br />

neck to bulge dangerously. He wasn’t above the occasional<br />

cheap gag – I think there was one about the<br />

comparative drunken-urination habits of women in<br />

<strong>Brighton</strong> and Hove – but overall, it was superb.<br />

That show was about Shackleton, and heroes, and<br />

how we need narratives to make sense of our lives,<br />

and various other ideas I’ve since forgotten. His<br />

next show used buying a dog as a way to discuss<br />

“our ridiculous tendency to overcomplicate things,<br />

certainly in my family anyway, and to create layers<br />

and layers of bureaucracy and subordination.”<br />

Now he’s looking at economics, in his Radio 4<br />

series Simon Evans Goes to Market, and in a live<br />

show, currently a work-in-progress, which will have<br />

“a bit more of a personal-journey element, which is<br />

usually what you get with stand up.”<br />

Interviewing him this time was pretty much the<br />

same experience as before, but with a different set<br />

of ideas. He talked about how family life is surprisingly<br />

similar to economics, with parents filling the<br />

role of the government, trying to balance various<br />

“conflicting interests and demands”; and how<br />

people in power/parents probably aren’t as certain<br />

of what they’re doing as the electorate/children<br />

might think.<br />

He talked about how probably nobody “ever quite<br />

gets used to the sense that they themselves don’t<br />

quite know what’s going on… [or] ever completely<br />

sheds that childhood illusion that adults, at some<br />

point in their lives, are suddenly endowed with a<br />

kind of wisdom and competence and confidence in<br />

their own decisions and so on”.<br />

On human irrationality, a huge issue in economics,<br />

he mentioned a book “which describes the mind as<br />

like a human rider on the back of an elephant. The<br />

rider can think it’s in charge, but if the elephant decides<br />

it wants to go somewhere then it will. That’s, I<br />

suppose, our subconscious, or whatever.”<br />

The elephant can be constrained, and “you can still<br />

achieve more in life and enjoy a greater sense of<br />

happiness without beating yourself up over failing<br />

to do things that you intended to do, because if<br />

you didn’t communicate that information to the<br />

elephant, if the elephant wasn’t on board, then it<br />

was never going to happen.”<br />

Evans was off-topic by this point. “This is not part<br />

of the show, exactly, this is more like how to live…”<br />

Not that I was complaining. Steve Ramsey<br />

The Old Market, 6th, 8pm, £8, theoldmarket.com<br />


theatre<br />

..........................................<br />

Deconstructing Larry<br />

Lord Olivier’s productive decline<br />

In 1975, Laurence Olivier was<br />

in his late 60s. He was physically<br />

frail. Having survived prostate<br />

cancer and thrombosis,<br />

he’d recently been dangerously<br />

ill with a rare muscle disease.<br />

His hearing and memory were<br />

starting to weaken, and he’d<br />

received optic-nerve damage<br />

when a <strong>Brighton</strong> burglar hit<br />

him over the head. And he had<br />

stage fright.<br />

His reputation was such that<br />

he’d been made a life peer,<br />

the first actor to receive that<br />

honour. Overall, it would have<br />

been a good time to retire.<br />

Instead, he took a film role, as a sadistic ex-Nazi in<br />

the thriller Marathon Man.<br />

“The way we do it is that Olivier wanted the part<br />

because he wanted to work,” says Daniel Finlay, a<br />

<strong>Brighton</strong>-based theatre director whose latest project<br />

is Larry, a one-man-show about the actor’s later<br />

years. “Olivier says ‘scratch an actor and underneath<br />

you’ll find an actor; that’s me.’<br />

“He’d had a series of illnesses, he’d literally been in<br />

bed, and invited [director John] Schlesinger down<br />

to see him. I think Schlesinger just came to see if he<br />

could physically do it. Olivier, in the way we play<br />

it, persuades him he can: he’s an actor, he can get<br />

through the medical, and all that.<br />

“He didn’t get through the medical.<br />

“In the piece, he’s very aware of his frailty, if you<br />

like, but he’s not giving up. There’s a bit where he<br />

says: ‘If I don’t get to do Marathon Man, if I fail the<br />

medical, then I’ll do radio, I’ll just keep going’. I<br />

think that’s the mentality.<br />

“There is a weird thing that<br />

actors have. Unlike other art<br />

forms, where you can ply your<br />

craft on your own, as an actor<br />

you need a job, you need a<br />

company. Within the text he’s<br />

very mindful of the fact he’s The<br />

Lord Olivier, but also an actor.”<br />

The second half of Larry is set<br />

in 1983, when an even-morefrail<br />

Olivier played King Lear<br />

in a Granada TV film. He<br />

probably took on the hugely<br />

demanding role “as a challenge.<br />

I think that’s part of Olivier’s<br />

character; he continually took<br />

on challenges, and obviously had a lot of ambition<br />

and drive.”<br />

Finlay is the son of actor Frank Finlay, who worked<br />

with Olivier. “I met him several times,” Daniel says.<br />

“He was always very charming to me. He seemed<br />

to be somebody that was trying to be quite normal<br />

and, if you like, a bit shy. But actually even when he<br />

was just being off, he had quite a strong personality.<br />

“When he performed, whether or not you think his<br />

acting is a little old fashioned and demonstrative,<br />

he had a fantastic stage presence, and there was<br />

something about him that was… some actors you<br />

just watch, they have that thing. I think he tried to<br />

disguise that in his real life by being terribly kind of<br />

normal, but it still came through.” Steve Ramsey<br />

Larry, starring Keith Drinkel (pictured), is on at The<br />

Lantern, the theatre run by the Kemptown-based<br />

Academy of Creative Training. <strong>May</strong> 17th, and 23rd-<br />

25th, see brightonfringe.org or actbrighton.org<br />


dating<br />

.........................................<br />

Non-verbal speed dating<br />

The eyes have it<br />

“I find online dating quite vile. The fact it’s done on<br />

a computer, with this technology between you… it’s<br />

very throwaway, materialistic. I don’t do online dating,<br />

because I don’t feel there’s any magic in it.<br />

“I tried speed dating twice, and should have only<br />

done it once, because the first time was awful. It’s<br />

exhausting, having these meaningless conversations<br />

20 times. It’s all small talk and a lot of it’s bullshit,<br />

and it felt quite... well, where’s the magic?”<br />

This is Lee Sillitoe, a local tour guide and events<br />

organiser, who discovered ‘non-verbal speed dating’<br />

when someone he knew organised an event in<br />

London. They needed to fill some spaces, and gave<br />

Sillitoe a free ticket.<br />

“The experience was very different. It was more<br />

natural. When I did normal speed dating, I ticked<br />

several people that I wasn’t really that interested<br />

in, and got very few matches. But when I did this,<br />

I only ticked women whose eyes I could stare into<br />

without feeling uncomfortable. There were only<br />

four, but they all came back as matches.”<br />

He’s now hosting a non-verbal-speed-dating event<br />

in <strong>Brighton</strong>. It will involve getting-to-know-you<br />

games – moving round the room silently shaking<br />

hands, for example – before the main exercise, in<br />

which women will stand in a circle facing outwards,<br />

and the men will make a circle around them. Each<br />

‘date’ involves 30 seconds of looking into each<br />

other’s eyes, before the circle moves on.<br />

The idea is partly based on tantric philosophy,<br />

which promotes ‘eye gazing’ as a way of developing<br />

more meaningful connections with people.<br />

“As far as I know, it only leads to better matches,”<br />

Sillitoe says. “I’ve never heard of it leading to worse<br />

matches, because it’s more authentic.”<br />

If the lack of verbal information improves<br />

matches, doesn’t that say something interesting<br />

about how relationships work? Obviously<br />

conversation is important in any relationship, but<br />

it’s not necessarily important in the first instance as<br />

a way of determining compatibility. If two people<br />

have had this connection without speaking, it’s very<br />

unlikely the conversation’s not going to be there.<br />

But having a crap conversation can kind of falsely<br />

put you off someone, because they’re nervous and<br />

saying all the wrong things, when you might have<br />

some other connection that’s been missed.<br />

What kind of non-verbal signals do people give<br />

each other? A lot of them are unconscious. When<br />

you’re not using conversation you pick up on those<br />

things more readily. That’s the beauty of this kind<br />

of speed dating. It’s a more accurate way of finding<br />

a connection with someone, but you don’t necessarily<br />

know why.<br />

Is it awkward? For some people it’s awkward,<br />

but for others, it’s less awkward than speed dating,<br />

because you don’t have the anxiety of thinking of<br />

something to say. Some people might find the eye<br />

gazing uncomfortable, but, it’s good for them to do<br />

it, and overcome that awkwardness. Steve Ramsey<br />

The first non-verbal speed dating event is for 25-45<br />

year olds. <strong>May</strong> 27, Verano Lounge, 8pm, £15. See<br />

www.brightonrocks-tours.com/speed-dating, or call<br />

07855 536510<br />


comedy<br />

..........................................<br />

Paul Merton<br />

Have we got an interview for you<br />

“I didn’t handle it very well at all,” says Paul<br />

Merton. “This is how not to do it.”<br />

It was 1987, the year Merton turned 30. He’d<br />

just started appearing on TV regularly, and had<br />

his first experience of being recognised.<br />

“I was living in a bedsit in Streatham at the<br />

time. I went into WH Smith’s bookshop, which<br />

was about a 20-minute walk down the High<br />

Street. I was aware these two young-ish teenage<br />

girls were sort of giggling and pointing at me.<br />

“I thought: ‘Oh god, this is embarrassing’. So I<br />

left WH Smith’s, and I looked behind and saw<br />

they were following me. A bus came along so<br />

I got on the bus, and so did they. So I get back<br />

to the road I live on, I run down the road really<br />

quickly so even if they do follow me they can’t<br />

see what house I live in.<br />

“I end up back in my bedsit, half an hour after<br />

I’ve left, sweating profusely, without buying the<br />

newspaper that I wanted. I’d done this simply<br />

because two girls had observed me in WH<br />

Smith’s. It was the sheer stupidity of my actions<br />

- I’m anxious, I’m red, sweating. I thought: ‘If I<br />

carry on being successful, I’ve got to deal with<br />

it better than this.’”<br />

Merton laughs hard while telling me this,<br />

though it could easily be delivered as a sob<br />

story, illustrating what the Times has called his<br />

‘decades of crippling shyness’.<br />

He says he’s much better nowadays. But isn’t it<br />

odd that, for the past 30 years, this naturally shy<br />

person has been regularly performing something<br />

as potentially scary as impro comedy? Or<br />

maybe it’s logical that he would love a format in<br />

which you have no time for self-doubt.<br />

“By the very nature of impro, generally you<br />

have to be decisive, you have to choose a path,<br />

you have to start a sentence without really<br />

having an absolutely clear idea of what’s going<br />

to be at the end of it. It means that if you are<br />

nervous or hesitant, those characteristics, by the<br />

very process, don’t apply.<br />

“When I was doing stand-up back in the 1980s,<br />

I had this one joke in a notebook for about six<br />

months. The joke was: During the Blitz in the<br />

Second World War, my dad used to say ‘don’t<br />

worry about the bombs, the only bomb you’ve<br />

got to worry about is the one that’s got your<br />

name written on it’. That scared the next door<br />

neighbours, Mr and Mrs Doodlebug.<br />

“I told a fellow comic this joke, and he thought<br />

it was hilarious. I thought: ‘Is it?’ I had no<br />

idea. I did the joke, and people loved it, and it<br />

became almost a signature joke.<br />

“But I’d thought of the gag, and nerves or<br />

anxiety crept in and I didn’t know if it was any<br />

good. I thought it was funny when I thought<br />

of it, but then I robbed it of its funniness by<br />

leaving it in a notebook. If I hadn’t have been<br />

sharing a train with this guy and looking for<br />

something to talk about, I might never have<br />

done it, whereas if it had come to me in an impro<br />

gig I’d have just said it. Being able to think<br />

on your feet and be funny spontaneously, yeah,<br />

I think that’s right, it frees you up.”<br />

Do stand ups sometimes resent improvisers?<br />

“Oh, totally, I should think they hate us! No,<br />

some of them do, some just…<br />


comedy<br />

..........................................<br />

“There’s no doubt that if you can do it, it’s a<br />

much easier gig than trying to do stand-up<br />

because there’s nothing to write, and you get to<br />

do it with other people. You haven’t got to go<br />

through the anxiety of being a solo performer,<br />

the sheer pressure of coming up with new<br />

material, when somebody else you’ve heard<br />

is doing a joke about moving house just like<br />

your joke, now you’ve got to think ‘oh god,<br />

what am I going to do’, and all this stuff. What<br />

we do is a more social thing.<br />

“They had a programme, Channel 4’s top<br />

comedy shows ever, as voted for by comedians,<br />

producers, directors and writers. Whose Line [a<br />

long-running impro show] wasn’t mentioned at<br />

all. Surely that’s got to be in the top 30 Channel<br />

4 shows! But of course, it’s impro, so actors and<br />

writers aren’t going to vote for that. Why vote<br />

for a show that makes them redundant?<br />

“Comedians are sometimes looked down on<br />

as outsiders, and improvisers are outsiders<br />

compared to comedians; comedians are looking<br />

down on us. Who can we look down on,<br />

as simple improvisers? But if I couldn’t do it,<br />

I’d be furious. You just get up with four other<br />

people and make it up for two hours and everybody<br />

claps at the end because it’s great. Yes!<br />

“The first year we went up to Edinburgh…<br />

everybody does preview shows, to get the<br />

material worked out, to get the act worked out.<br />

Before we went on we said: ‘Alright, who’s got a<br />

piece of paper and a pen, so we can write down<br />

who’s doing what game.’ And we didn’t even<br />

have that; we had to borrow it from the barman<br />

or something. That’s how much preparation<br />

goes into it. But of course, when you’ve done<br />

it for 30 years and know how to do it, or<br />

believe you know how to do it, then<br />

it’s a joy.”<br />

Interview by Steve Ramsey<br />

Paul Merton’s Impro<br />

Chums, Sat 30th,<br />

<strong>Brighton</strong> Dome<br />

Concert Hall, 8pm,<br />

£22/£20<br />

Photo by Idil Sukan Draw HQ<br />


icks and mortar<br />

...............................<br />

The Warren<br />

A Creme Egg of a venue<br />

Do you remember the first time you tried to find<br />

The Warren, Otherplace’s <strong>Brighton</strong> Fringe hub,<br />

which for the last three years was tucked away<br />

behind the multi-storey car park off West Street?<br />

Once you did find it, it was a great venue, and the<br />

place to go to fill in time between shows. But the<br />

getting there…<br />

Otherplace, who put on live theatre, cabaret and<br />

comedy shows through the year, and promote<br />

no fewer than a fifth of the acts that perform in<br />

<strong>Brighton</strong> Fringe, are this year celebrating their<br />

tenth birthday, and it is a year of big expansion.<br />

In January they moved their year-round operation<br />

from Upstairs at Three and Ten to the much<br />

roomier Basement, once the Argus’s base, with two<br />

underground performance spaces.<br />

These spaces, of course, will host <strong>Brighton</strong> Fringe<br />

performers throughout the month. But that’s not<br />

the half of it. Otherplace are moving The Warren<br />

to a far more visible space, on the lawn in front of<br />

St Peter’s Church, in York Place. Hundreds of acts<br />

will perform there throughout <strong>May</strong>, on three different<br />

stages, and the space will be open for anyone<br />

who wants to go for a drink or a bite, whether<br />

or not they’ve got tickets for any of the shows.<br />

Sat in ‘The Pit’, the smaller performing space in<br />

the Basement, I chat to Nicola Haydn, Otherplace’s<br />

Artistic Director, about this new venture,<br />

and she displays no end of enthusiasm as she shows<br />

me the plans. I can understand why: the Main<br />

House will be a 200-seater big top, with ‘thrust<br />

staging’ extending right into the audience. There<br />

are two smaller stages, one sponsored by Neilson<br />

and the other a unique purpose-built affair, which<br />

deserves a paragraph of its own.<br />

It’s called ‘Theatre Box’ and it was designed by<br />

Otherplace’s Technical Director, Joshua Carr, for<br />

intimate small-cast theatre productions and standup<br />

shows. It seats 70 spectators. Josh’s light bulb<br />

moment came when he dreamt up making the<br />

structure out of shipping containers, four in total,<br />

fashioned to create a single internal space. And, it’s<br />

got to be mentioned, painted post-box red. “The<br />

great thing about Theatre Box is that it’s not just<br />

for <strong>Brighton</strong> Fringe,” says Nicola. “It’s ours, forever,<br />

and we can take it touring round the country,<br />

transported by two articulated lorries.”<br />

The Warren will have site fencing around it, with<br />

pictures of picket fences and blue skies to give the<br />

complex a ‘country garden feel’: a big column in<br />

the centre will spread festoon lighting overhead, to<br />

illuminate the revelry in a bar which will stay open<br />

till 2am (though live performances finish at 11pm).<br />

Otherplace’s programme is bigger than ever, with<br />

old favourites like Shit-faced Shakespeare (in<br />

which one cast member performs while hammered)<br />

as well as carefully curated new acts, some<br />

local, some from as far away as Poland, South<br />

Africa and Holland. It all sounds mouth-watering,<br />

all-the-more so due to the Warren’s catch-itwhile-you-can<br />

impermanence, a state Nicola<br />

compares to a Creme Egg: “you like it all the more<br />

because you can’t have it all the time.” Alex Leith<br />


ART<br />

............................<br />

Nathan Coley<br />

Creative destruction<br />

“The first moment that I<br />

knew that such a place as<br />

<strong>Brighton</strong> existed was when<br />

I was 17 in my first year at<br />

Art School when the IRA<br />

bombed the hotel [The<br />

Grand, in October 1984].<br />

Then it became the centre of<br />

the world. Whenever anyone<br />

says <strong>Brighton</strong> to me I think<br />

of images of the Grand<br />

Hotel that evening with the<br />

floodlit façade and the gaping<br />

hole inside…”<br />

This is Nathan Coley, a<br />

Glaswegian sculptor whose<br />

often-provocative works reflect how social values<br />

and conflicts are reflected in architecture. He’s been<br />

asked to be the main artist for ‘House’, the art section<br />

of <strong>Brighton</strong> Festival, and one of the works will<br />

be a bronze sculpture of the Grand, immediately after<br />

the bombing. I’m talking to him in The Cyclist,<br />

in <strong>Brighton</strong> Station, and we’re drinking pints.<br />

“The sculpture will take part of its shape from photographs<br />

of the hotel on the night it was bombed,”<br />

he continues. “I’m interested in working those<br />

photographs as being historical documents of how a<br />

piece of architecture was affected by Patrick Magee<br />

planting a bomb and fundamentally changing [its]<br />

shape.” Magee had planted the 20lb bomb three<br />

weeks before it was detonated: five people were<br />

killed, and 31 injured. Margaret Thatcher, his main<br />

target, survived the attack.<br />

Coley has a history of creating provocatively<br />

thought-provoking works. In 2001, having been<br />

asked to produce a work<br />

in Lisbon, he made a film<br />

of the emblematic Tor de<br />

Belen tower, a symbol of the<br />

nautical power Portugal once<br />

held, in which he ‘fictitiously<br />

destroyed’ the building. He<br />

is famous for what he calls<br />

his ‘text pieces’ in which a<br />

philosophically loaded phrase<br />

is written large in lights on a<br />

building or other structure.<br />

In 2007 he was Turner-Prize<br />

nominated and his room<br />

included a wooden block<br />

stretching across a walkway<br />

which audiences had to step over, or trip over if they<br />

weren’t looking.<br />

We get to talking about the iconoclasm, or<br />

smashing of images, that accompanied the rise of<br />

Protestantism in this country. Then we talk about<br />

Isis destroying ancient cities in Northern Iraq, and<br />

the destruction of the Twin Towers in New York.<br />

He says of the Isis atrocity that it was a ‘fascinating<br />

creative act because symbolically… to attack the<br />

historical culture of a place is potent and has more<br />

of an echo than attacking the post station.’ And of<br />

9/11: ‘I’m not agreeing with Al Qaeda flying planes<br />

into the World Trade Centre, but that was imaginative.’<br />

I ask him if he knows that a lot of people think<br />

the West Pier was deliberately burnt down, and he<br />

says he does. “They’re taking away something, but<br />

they’re adding something as well. The role of the<br />

editor is historically quite important. I think that<br />

people who rewrite history are the winners, but also<br />


ART<br />

............................<br />

what story are you going to tell and what are you<br />

not going to tell?”<br />

We talk for a bit about a second work he’s producing<br />

for House, involving a large structure, bearing<br />

the George Bernard Shaw quote ‘You imagine what<br />

you desire’ inside St Nicholas’ Church. And we chat<br />

about his involvement in the Turner Prize: “As a<br />

contemporary artist living and working in Britain<br />

today the Turner Prize is one of those things you<br />

have to deal with being part of, or deal with not<br />

being part of. It’s part of the landscape of being an<br />

artist today.”<br />

But I don’t dwell on those topics, because our pints<br />

are nearly drained, and the idea of iconoclasm has<br />

got into my head. How would he feel, I wonder,<br />

if someone smashed up one of his sculptures? “I<br />

would be appalled. I’d be appalled because I trade in<br />

ideas. Ideas are everything I have. And what I do is I<br />

make them manifest physically as objects, and if you<br />

take the object [away] I become nothing.”<br />

Finally, back to the Grand: how did he react when<br />

he heard the news of its bombing, all those years<br />

ago? He speaks of mixed feelings, as the Scotland<br />

he was living in was being ravaged by the rigours<br />

of Thatcherism, yet, being brought up on one side<br />

of Glasgow’s sectarian divide, he was no fan of the<br />

IRA. “I’m not per se interested in the cause. I’m<br />

not interested in whether he [Magee] was right or<br />

wrong. I’m not interested, though I have sympathy<br />

with the dead and the human tragedy that happened<br />

as a cause of his actions. I’m someone who makes<br />

objects and I’m interested in the object that was<br />

made during the bombing. And I’m somehow trying<br />

to make another object… which deals with what<br />

happens when [one person’s] ideology and belief<br />

and emotions of identity come into conflict with<br />

someone else’s, which is exactly what terrorism is,<br />

what war is, what religious fundamentalism is…”<br />

Alex Leith<br />

Regency Town House, Brunswick Sq, 2nd-24th <strong>May</strong><br />


<strong>Viva</strong> ad 94x66 april2_Layout 1 12/03/<strong>2015</strong> 16:36 Page 1<br />

Concerts<br />

Sat. <strong>May</strong> 23 – 7pm<br />

Anna Tilbrook (piano)<br />

Phillip Dukes (viola)<br />

Benjamin Hulett (tenor)<br />

Schubert, Britten,<br />

Vaughan Williams, Gurney<br />

Sat. June 20 – 7pm<br />

Louis Schwizgebel (piano)<br />

BBC New Generation Artist<br />

Mozart, Beethoven, Schumann,<br />

Schubert<br />

Sat. July 18 – 7pm<br />

Esther Yoo (violin)<br />

BBC New Generation Artist<br />

Robert Koenig (piano accompanist)<br />

J.S.Bach, Beethoven, Debussy<br />

Glazunov, Tchaikovsky<br />

House open <strong>May</strong>/June & August<br />

Bank Holiday.<br />

<strong>2015</strong><br />

For tickets & information:<br />

www.glyndeplace.co.uk Tel: 01273 858224

ART<br />

.....................................<br />

FOCUS ON: Toyopolis by Bernard Lodge<br />

Linocut, 400 x 288mm, £160<br />

Is this a stylised representation of <strong>Brighton</strong>?<br />

The Pavilion comes to mind, with Old Steine in<br />

front of it… It’s nowhere, in particular. Everything<br />

I do has a whole jumble of influences. This one was<br />

vaguely influenced by photographs of New York<br />

with the park in the front and the cityscape in the<br />

background, but the buildings are all imaginary and<br />

the roads are a nonsense, leading nowhere, one just<br />

there to complement the shape of the other.<br />

Why did you choose linocut as a medium? It’s<br />

more reliable than wood engraving – a medium I also<br />

enjoy - because it’s easier to cut and you don’t get interference<br />

due to the grain. This one used three lino<br />

blocks for the three main colours and then overprinting<br />

to get more of a variety of colours in there.<br />

How did you come to be a screen printer? It was<br />

a long journey. I studied at art school, in Canterbury<br />

and the Slade, for seven years. Then I worked at<br />

the BBC in the 60s, designing, among many other<br />

things, the opening sequence of the first Dr Who<br />

series [Bernard’s highly experimental graphics were<br />

used in the series until 1980]. I ran my own design<br />

company for a bit, and worked for five years at the<br />

Moving Picture Company. As that job was finishing<br />

I decided to study Italian at Morley College. They<br />

also study screen printing there, and when I saw the<br />

machines they had, I dropped the Italian and took<br />

up etching and printing.<br />

Has anyone particularly influenced your style?<br />

So many people! I’d like to single out Edward<br />

Bawden, and the German wood engraver HAP<br />

Grieshaber. I found one of his books in the British<br />

Library and liked his loose style so much I have<br />

been collecting his work ever since. And then there’s<br />

Pinterest. People do send out a load of rubbish but<br />

there’s a lot of good stuff as well, and it keeps me in<br />

touch with what’s going on.<br />

Where do you work? I have converted the garage<br />

of my house in Clayton, just below the mills. It’s<br />

very cramped and was a bit dingy, till I took out the<br />

south-facing wall and replaced it with glass. I love it<br />

there. Plus my studio indoors, with my iPad.<br />

Which painting would you hang from your<br />

desert-island palm tree? An Eric Ravilious image<br />

of the Downs. I can’t do the Downs, because every<br />

time I look, I just see Ravilious. I can’t improve on<br />

what he’s done. Interview by Alex Leith<br />

A selection of Bernard’s screenprints will be in the<br />

gallery of The Old Market, as part of Artists’ Open<br />

Houses, throughout <strong>May</strong>.<br />


ART<br />

.....................................<br />

FOCUS ON: Arrivals by Keith Pettit<br />

Wood engraving, 4x4”<br />

Is there a subtext to the subject matter of this<br />

piece? <strong>Brighton</strong> is filled with tourists throughout<br />

the summer, but not all our foreign visitors are human.<br />

These are swallows, flying around the minarets<br />

of the Pavilion.<br />

It’s a wood engraving. That’s quite an intricate<br />

process, isn’t it? It’s perhaps the only art form we<br />

can claim as being truly English, developed in the<br />

1700s by Thomas Bewick. This one’s done ‘in the<br />

round’, or, to be exact, in the shape of the piece of<br />

box-wood I carved into to make the print. Each<br />

engraving involves making thousands of cuts using<br />

specialist tools called spit stickers and scorpers.<br />

And everything is done back to front? As the image<br />

is then printed onto paper directly off the wood,<br />

it has to be. There are various techniques I use, from<br />

a grid system on tracing paper, to using as a model<br />

a photograph (or a photograph of a sketch) that has<br />

been flipped on the computer.<br />

How long did it take to do? That’s the question<br />

everyone asks! I’m usually working on a few pieces<br />

at once, so it’s hard to tell, but recently I did a <strong>Viva</strong><br />

Lewes cover in one go, and it took me 21 hours, so<br />

that’s a good guide. The smaller pieces, by the way,<br />

tend to be more intricate, so take just as much time.<br />

Do you ever stab yourself? Lino cuts and wood<br />

cuts (where you go against the grain) are far more<br />

dangerous, but on a wood engraving your thumb is<br />

in a much safer position. I very occasionally puncture<br />

my forefinger.<br />

Is wood engraving art or craft? I like the fact that<br />

it’s a bit of both. It serves a purpose – for example as<br />

book illustration – but also can be hung on the wall.<br />

The pieces are small, but because they are so full of<br />

detail, they can command a big space around them.<br />

What would be your desert island image? It’s<br />

funny, I’m not really inspired by other artworks. I’m<br />

more inspired by reading about nature in books. I<br />

love the work of Oliver Rackham and Roger Deakin.<br />

Interview by Alex Leith<br />

Keith’s engravings will be on show in two Artists<br />

Open House venues, the Poets Garden Studio 18A<br />

Arthur Street and 56 Tivoli Crescent. He will also be<br />

speaking (about his amazing East Hoathly Bonfire<br />

sculptures) at our Pecha Kucha night at the Velo Café<br />

on <strong>May</strong> 7th (see page 13).<br />


ART<br />

.....................................<br />

Michelle Mildenhall<br />

Latex artist<br />

How did you become a latex artist? I was working<br />

on a piece of appliqué detailing for a latex<br />

outfit when the idea of creating art using latex<br />

came to me in a flash of inspiration. I’d made hats<br />

and clothing before, but nothing like this. I started<br />

creating the images digitally and stripping them<br />

back, developing my work around the limitations of<br />

the material. Each piece is cut out by hand and then<br />

meticulously constructed to make the final image.<br />

Why did you choose to use figures like Margaret<br />

Thatcher and the Queen in your work?<br />

I love to touch on taboo subjects like subversion<br />

and fetishism – that’s what excites me. Combining<br />

these with ‘normal’ people works brilliantly. My<br />

work is all about portraying the state of mind of the<br />

individual: they look vulnerable, but really they’re<br />

not, they’re both people in positions of power. I had<br />

one of them up in a gallery in London recently and<br />

the curator said that it had provoked a lot of talk.<br />

Has any of your work provoked negative talk?<br />

I did a piece called Pleading, depicting a woman<br />

wearing a ball gag, and one lady did take offence<br />

to it. She felt it was degrading for women – but<br />

it’s not. They might appear vulnerable, but these<br />

women are getting what they want out of a sexual<br />

relationship. I think most people who see my art<br />

appreciate that.<br />

Does it make you feel vulnerable putting your<br />

work out there for people to judge? Yes, I do get<br />

quite nervous showing people one of my pieces for<br />

the first time, but very excited too. I’m so passionate<br />

about my pieces and I get such a thrill out of<br />

making them, that I want everyone to see them. My<br />

work is quite risqué and very personal, so it really is<br />

putting my heart on my sleeve.<br />

Where can we see your work this month? I’m<br />

showing some latex pieces and prints at Brush gallery<br />

as part of Artists’ Open Houses, including my<br />

most popular piece, QE2, which depicts Her Majesty<br />

wearing a fetish collar. I’m also working on a<br />

new collection which will be on display at She Said<br />

boutique throughout <strong>May</strong> and June. These pieces<br />

will be more stripped down, focusing less on the<br />

eyes and more on showing the expression through<br />

the mouth and posture of the individual.<br />

Interview by Rebecca Cunningham<br />

Brush gallery is no. 14 on the Central Trail, 84<br />

Gloucester Road. michellemildenhall.co.uk<br />


CINEMA<br />

..........................................<br />

Festival Films<br />

Cinema galore in Europe’s largest multi-arts event<br />

This month, there’s really only one game in town,<br />

in film terms: the <strong>Brighton</strong> Festival. And, happy to<br />

report, there’s a greater proportion of quality cinema<br />

than in recent years, as Ali Smith presides over<br />

a wonderfully eclectic mix of artistic goodies while<br />

putting the silver screen front and centre.<br />

Foremost is the extensive season focusing on the<br />

work of one of the most important filmmakers in<br />

history, and certainly an icon of feminist-inspired<br />

cinema specifically and subjective cinema generally,<br />

French director Agnès Varda. Often described as<br />

‘the godmother of the French New Wave’, Varda<br />

has been creating highly innovative and challenging<br />

work for over sixty years and is – along with<br />

the irrepressible master himself, Jean-Luc Godard<br />

– amongst the very few filmmakers still active<br />

from the times of the birth of modernist cinema<br />

in the 1950s and 1960s, a period that changed the<br />

language and appreciation of cinema forever.<br />

In addition to screenings of three of her most<br />

important works – La Pointe Court (1955), widely<br />

regarded as the first manifestation of the French<br />

New Wave; Vagabond (1985), a heartbreaking film<br />

focusing on a young homeless woman found frozen<br />

to death in the French countryside; and From Here<br />

to There (2011), a five-film, part travelogue, part<br />

art documentary visual essay – there’s a wonderful<br />

installation of her photography at the University<br />

of <strong>Brighton</strong> Gallery on Grand Parade throughout<br />

the duration of the Festival. This varied selection<br />

amply demonstrates Varda’s stated aims: ‘I need<br />

images. I need representation which deals in other<br />

means than reality. We have to use reality but get<br />

out of it. That’s what I try to do all the time.’<br />

Perhaps the most thrilling aspect of this retrospective<br />

is the fact that La Grande Dame will be joining<br />

us in person. The Duke of York’s will be hosting<br />

a very special illustrated lecture on Sunday 3rd<br />

<strong>May</strong> with Varda discussing her screen career with<br />

extracts from many of her most significant films.<br />

Beyond this well-deserved tribute, the Festival<br />

presents two very special live events. Peter Strickland’s<br />

highly praised ode to 1970s erotica, The<br />

Duke of Burgundy, stars Babett Knudsen and Chiara<br />

D’Anna as two entomologists entwined in a series<br />

of complex sadomasochistic games; in a UK premiere,<br />

the film’s dreamlike soundtrack is provided<br />

by Cat’s Eyes – the collaborative project of The<br />

Horrors frontman Faris Badwan and Italian-Canadian<br />

singer and composer Rachel Zeffira – blending<br />

orchestral instrumentation, psychedelic sounds<br />

and Zeffira’s soprano.<br />

In addition, How We Used to Live is the latest film<br />

collaboration between the band Saint Etienne and<br />

filmmaker Paul Kelly; it is also being screened with<br />

a live soundtrack (see p.37). A cinematic tribute<br />

to post-war London, the film is created using rare<br />

footage drawn from the British Film Institute’s National<br />

Archive and original music by Saint Etienne<br />

with a narration by Ian McShane.<br />

Yoram Allon<br />


cinema<br />

..........................................<br />

Yoram Allon takes a look at other film highlights<br />

Away from the Festival, contemporary world<br />

cinema continues to be extremely well served in<br />

the city, with three fine examples screening this<br />

month; each of which – something that Agnès<br />

Varda would be particularly pleased about – are<br />

directed by women.<br />

First up is Girlhood, Celine Sciamma’s wonderful,<br />

celebratory insight into female friendship. Far<br />

more than simply a coming-of-age story, and<br />

quite unlike Richard Linklater’s coincidentally<br />

titled Boyhood that has rightly been winning<br />

plaudits around the world, the film follows<br />

Marieme – oppressed by her family setting,<br />

dead-end school prospects and the ‘boys law’ in<br />

her neighbourhood – as she starts a new life after<br />

meeting three free-spirited girls. She changes her<br />

name and her dress code, and quits school to be<br />

accepted in the new gang, hoping that this will<br />

bring her the freedom she craves. The film opens<br />

at the Duke of York’s on 8th <strong>May</strong>, and is very<br />

highly recommended.<br />

And now for something completely different!<br />

A Girl Walks Home Alone at Night is a blackand-white<br />

skateboarding vampire western from<br />

Iran. Now re-read that last sentence. Ana Lily<br />

Amirpour’s widely praised debut film is a joyous<br />

eulogy to everything we all love about cinema<br />

– it’s a riotous mash-up of genre, archetype and<br />

iconography, explicit in its influences such as<br />

German expressionism, classic film noir, graphic<br />

novels, spaghetti westerns, horror films, and<br />

modernist ‘new waves’ from French to Iranian<br />

varieties. Somehow, the film works perfectly. It<br />

screens at the Duke of York’s from 22nd <strong>May</strong>,<br />

and simply must be seen.<br />

Lastly, Honeytrap, a brilliant debut feature from<br />

Rebecca Johnson, based on a tragic true story.<br />

Set in Brixton, the film tells the story of 15-yearold<br />

Layla, who sets up the boy in love with her to<br />

be killed. With superb performances throughout,<br />

and directed with incredible assurance, the film<br />

presents a rare opportunity to witness the brutality<br />

of gang culture from a female perspective.<br />

Currently only one screening is scheduled for<br />

the film, on Friday 29th <strong>May</strong>, to be followed by a<br />

Q&A with its young British director.<br />

And finally… it’s competition time! Those good<br />

people at Wallflower Press, specialist publishers<br />

of books devoted to cinema and the moving image,<br />

are offering three copies of their acclaimed<br />

volume The Cinema of Agnés Varda: Resistance<br />

and Eclecticism, by Delphine Bénézet (2014) to<br />

the first three lucky people who contact alex@<br />

vivabrighton.com with the correct answer to<br />

this question: what is the title of Varda’s greatly<br />

praised documentary from 2000 focusing on the<br />

moral and political implications of plenty and<br />

waste? Good luck.<br />


design<br />

.....................................<br />

It’s Nice That<br />

Creativity champions<br />

The popular arts blog It’s Nice That began as Will<br />

Hudson’s interpretation of a final year brief at<br />

<strong>Brighton</strong> University: to put something in the public<br />

domain to make people feel better. Inspired by his<br />

friends’ projects, Will decided to showcase their<br />

work. Soon enough, his somewhat personal blog<br />

blossomed into a lucrative on-and-offline publishing<br />

platform, events programme and design studio<br />

(INT Works) that he partners with university friend<br />

Alex Bec.<br />

It’s Nice That had maybe 100 visitors in its first<br />

month, and Will thought “wow!” even then. Now<br />

the website has “a reach of half a million”, I imagine<br />

his mind must be truly blown, but he says there was<br />

“never a grand plan”. Many of the early days were<br />

spent adding friends on MySpace: time that proved<br />

to be ‘worth little’ after Facebook and Twitter<br />

changed the landscape. “A big part of our success is<br />

down to luck,” says Will. “In April 2007 you could<br />

quickly build something online that didn’t cost very<br />

much... and it was a time when not a huge number<br />

of people were doing it.”<br />

The accessible and positive tone of It’s Nice That contributes<br />

to its success, but Will says “it’s not about the<br />

best of the best. We’re not trying to elevate this stuff<br />

and create a clique of people that are in the know...<br />

Part of our point of difference is the breadth of creative<br />

content we cover and the breadth of experience:<br />

the established and the emerging.”<br />

When he and Alex graduated, Will says graphic<br />

design was still “of that mindset that you enter as a<br />

junior; do your time; become a middleweight; do<br />

your time...<br />

“I think that’s changed drastically. When you look<br />

at all the big tech successes: Zuckerberg, the guys<br />

behind Tumblr... they’re all twenty year olds. I think<br />

that’s fed into our industry in that you get illustrators<br />

who are mid-twenties and they’re superstars;<br />

they get seen everywhere.”<br />

Another arm of It’s Nice That is the bi-annual Printed<br />

Pages, but Will confirms the popular view that the<br />

way print and online content are read differently can<br />

be challenging. “I still massively believe in print, because<br />

it gives the opportunity to deliver content in<br />

the same way a talk does.” On a good run, however,<br />

just 5000 people read Printed Pages; it can’t compare<br />

to the near 50k that saw the It’s Nice That post ‘Cats<br />

in Famous Paintings’ within 24 hours.<br />

A post like ‘Cats’ can completely skew the stats,<br />

which is something Will and It’s Nice That want to<br />

limit. Editor-in-chief Rob Alderson is concerned<br />

with “credibility and integrity,” and Will says, “clickbait<br />

is not sustainable.”<br />

“Online is changing,” says Will. “You are able to<br />

serve up longer content now, but you’re still battling<br />

‘new tweet’, ‘new DM’, ‘new email’... [Publishers]<br />

need to give the reader a little bit more credit. If<br />

they’re looking for an article, serve them the article,<br />

and at a certain point, start pointing them in the<br />

direction they might want to go... It should be about<br />

time engaged.” Chloë King<br />

itsnicethat.com<br />


ighton maker<br />

...........................................<br />

Hartley Bespoke Metal<br />

Noisy furniture designers<br />

Why did you start Hartley Bespoke Metal?<br />

We’ve both always been into tinkering and<br />

getting our hands dirty. We met a few years<br />

ago while looking for a lock-up space, initially<br />

because we wanted somewhere to work on our<br />

motorbikes. As we amassed more tools and<br />

machinery, we started putting our efforts into<br />

producing furniture for our own homes - I<br />

guess that was the start. Simon is a metalworker<br />

by trade, so he handles the manufacturing and<br />

fabrication processes, whereas I’m from a design<br />

background so I aid the creative process as well<br />

as mucking in on the builds.<br />

Where do you create your furniture?<br />

We have a fully-equipped workshop is out in<br />

Falmer village, looking out over the Sussex<br />

Downs. It’s ideal because we have no neighbours,<br />

so we can work in there all evening and make<br />

lots of noise. The workshop is great, we have just<br />

got to the point where we have everything we<br />

need to hand - it’s a pleasure to work in.<br />

What types of projects do you work on?<br />

We love working on private commissions, seeing<br />

people’s ideas for a bespoke item and showing<br />

them that it might not be as difficult or expensive<br />

to create as they may think. There’s a big trend<br />

for reclaimed and industrial-inspired furniture at<br />

the moment. We were recently commissioned to<br />

build a front desk for The Fireplace at Fiveways,<br />

which features an interesting metal frame with<br />

the top and sides clad using floorboards they<br />

recovered from an old school hall – it’s going to<br />

look great! The tools and experience we have<br />

mean we can cater for all kinds of metalwork.<br />

Where can we find your work?<br />

Most of our furniture can be seen on our<br />

website. At the moment, we’re building up a<br />

collection which showcases what we can do, so<br />

that by the summer we can show our work at<br />

the markets in and around <strong>Brighton</strong>. We are also<br />

looking to collaborate with a few local stores<br />

that are interested in having a few of our items<br />

on display, the Fireplace being one of them.<br />

Interview by Rebecca Cunningham<br />

Simon Hartley & Jonathan Coupland,<br />

hartleybespokemetal.co.uk.<br />


ighton maker<br />

................................<br />

Rogue Saddler<br />

Twee-free utility<br />

How did Rogue Saddler begin? After studying<br />

Fashion and Textiles at <strong>Brighton</strong> Uni I realised<br />

that I didn’t particularly like the fashion industry.<br />

I stumbled around doing bits of freelance work, a<br />

lot of which was using reclaimed materials. I had<br />

a reclaimed bridalwear company, sourcing dead<br />

stock from other retailers and completely deconstructing<br />

it. Then I went on to work at Traid, designing<br />

and running their clothing line. We would<br />

use donated clothing, sometimes last-season’s<br />

fabrics and old stock donated by large retailers, to<br />

create one-off, vintage-inspired collections. I used<br />

to just make bags and things for myself, and then<br />

started working on custom pieces for barbers and<br />

tattooists and it’s grown from there.<br />

Where do you source your recycled materials?<br />

Trawling charity shops, flea markets, upholstery<br />

leathers – you can unstitch a leather jacket and<br />

re-cut pieces from it, and leather has a stretch to<br />

it so it’s happy to mould around things. But there’s<br />

been less and less to recycle recently. I’ve been<br />

working with reclaimed materials for the last 16<br />

years, but because of our throw-away society it’s<br />

becoming much harder to find and the quality of<br />

the fabrics just isn’t as good.<br />

Have you always had a functional style? I work<br />

a lot with leather, denim and canvas so it’s been a<br />

bit of an organic thing that my style has become<br />

more utilitarian. I enjoy using these materials<br />

because they’re so durable, you can be quite aggressive<br />

with them and they give you a lot back.<br />

I would find delicate fabrics like chiffon really<br />

frustrating – I’m just not suited to that kind of<br />

sewing. And I’m interested in the ageing process;<br />

these materials tell more of a story than the average<br />

fabric.<br />

Did you watch The Great British Sewing Bee?<br />

I was actually asked to be one of the judges in<br />

the very first series, but it started filming when<br />

my daughter was due so I said no. I don’t think it<br />

would have suited me though, it’s very twee. I’m<br />

not really twee...<br />

Paula Kirkwood interviewed by Rebecca Cunningham<br />

<strong>Viva</strong> <strong>Brighton</strong> readers can get 10% off any order<br />

from Rogue Saddler this <strong>May</strong> with the promotional<br />

code ‘VIVA10’. Visit roguesaddler.bigcartel.com.<br />


FREE<br />


at the <strong>Brighton</strong> Health and Wellbeing Centre<br />

The BHWC on Western Road is one of the first NHS GP surgeries in the country to<br />

integrate alternative therapists within the practice, as well as offering a Healing<br />

Arts programme.<br />

Narrative Workshops involve writing exercises, reading and group discussions,<br />

encouraging self-reflection and personal development. Describing events, thoughts<br />

and feelings can have a surprising effect on your wellbeing. The physical act of<br />

writing acts on the mind like meditation. Your breathing slows down and words flow<br />

freely from your head. Writing can relieve stress and boost your immune system,<br />

helping you cope with illness, trauma, addiction, depression or anxiety.<br />

NEW TERM STARTS 7th MAY <strong>2015</strong> • Thursdays 10am-12pm<br />

Led by authors Imogen Lycett Green and Barbara Doherty at BHWC<br />

CALL 07702 036735 FOR MORE INFORMATION<br />

<strong>Brighton</strong> Health and Wellbeing Centre<br />

An integrated NHS GP Practice and Healing Arts Centre<br />

Winner ‘Innovators of the Year’ General Practice Awards 2014<br />

www.brightonhealthandwellbeingcentre.co.uk<br />


literature<br />

..........................................<br />

Polly Samson<br />

The kindness of strangers<br />

Polly Samson, who lives on Hove seafront with her husband<br />

David Gilmour (from Pink Floyd) and their four<br />

children, writes novels, short stories and song lyrics. Her<br />

new novel, The Kindness, has been described by Esther<br />

Freud as ‘a life-enhancing treat of a book’.<br />

I write lyrics whilst walking, listening to David’s<br />

music through headphones, singing nonsense to<br />

myself. I walk for miles. I must look like a nutter, but<br />

in <strong>Brighton</strong>, nobody minds! I feel so at home in this<br />

town, I am beginning to think one of my ancestors<br />

must have lived here. Not much variation on the<br />

routes. Either I walk left to the Marina, or right to<br />

Adele’s at Hove Lagoon. That’s what we call that<br />

end of the beach. We’re not even sure she actually<br />

lives there.<br />

I pulled a drowning man out of the sea, on the<br />

day I was due to start writing The Kindness. I walked<br />

towards Adele’s and I noticed a body in the sea, face<br />

down, floating in and out with the ebb and flow of<br />

the breakers. There was no one about so I waded<br />

in. He was a huge tattooed bloke, half naked, and I<br />

grabbed him by the shoulders. Luckily someone else<br />

came along and we pulled him out together and put<br />

him into the recovery position, not sure if he was<br />

dead. Then he sat up! He ran back into the sea, we<br />

pulled him out again and he chased me down the<br />

beach trying to throttle me. Then he scooped up<br />

the shingle and tried to eat it. That man wanted to<br />

die. Eventually, he was taken away by ambulance,<br />

strapped to a gurney. I did think, what the hell have<br />

I done? I also admit there was a split second before I<br />

waded in when I worried about my new trainers.<br />

I didn’t start my novel that day. Instead I wrote<br />

about the drowning man. My father, who was a journalist,<br />

said it was the best thing I have ever written,<br />

though I’ve never published it.<br />

My father died in 2013 and my mother cried for<br />

two years, so I didn’t feel it was my place to grieve<br />

in that way. He copy-edited all my work, though<br />

that’s not the only reason I miss him.<br />

My husband asked me to write a signing-off<br />

song for the band. With Louder than Words - written<br />

for Pink Floyd’s final album, The Endless River - I<br />

wanted to express how the band communicated<br />

through music, not talking. The studio was always<br />

a silent, sulky, stultifying place. Now they’re either<br />

dead or they don’t speak to each other. I am working<br />

on David’s new solo album.<br />

Julie Burchill fancies my dog. I don’t know her but<br />

I read an article Julie wrote recently in which she<br />

described seeing a big Alsatian on the seafront, so<br />

handsome he elicited a ‘PHWOAR!’ from her. I like<br />

to think she was looking at my dog. Black Mustard<br />

Polly Samson appears with David Nicholls (author<br />

of One Day) at Charleston Festival on <strong>May</strong> 15. The<br />

Kindness (Bloomsbury) is out now.<br />


flash fact competition<br />

..........................................<br />

The First Time<br />

By Carrie O’Brien<br />

When I first met Georgie, she was already eleven.<br />

I had moved away from Shoreham when I was<br />

eighteen, but went back regularly to keep an eye<br />

on my mother. Although she was still in her fifties,<br />

my father’s leaving had broken her, aged her.<br />

She had become fragile. I had not seen my father<br />

since the day he had announced he was off. He<br />

did not say he had met someone else (he never<br />

was honest), but I had seen him walking through<br />

town hand in hand with another woman. She<br />

was not much younger than him at least. It was<br />

not that kind of a cliché. I don’t know if he knew<br />

that I knew. I wasn’t even sure he cared. But one<br />

day, three years after he left, he called my mobile<br />

phone and asked me if I would be able to meet<br />

him. There was something important he needed to<br />

tell me. He was sorry about how things had turned<br />

out with my mother, he assured me, but this was<br />

not about him. This would help me understand<br />

a lot of things. Help me understand. Those were<br />

his actual words. How could I say no? I had to<br />

grab any chance on offer to come to terms with<br />

the fact that my father had decided to throw away<br />

a twenty-five year relationship for someone he<br />

had only just met. I waited for him by the pizzeria<br />

where we used to eat every Friday evening when<br />

we still lived all together as a family. He looked the<br />

same. The breakup had not aged him the same way<br />

it had aged my mother. He told me we would go<br />

for a drive, so I got in his car and waited, throwing<br />

monosyllabic answers at his questions until we<br />

approached an isolated white house. A woman and<br />

a young girl stood on the doorstep, staring steadily<br />

at the approaching car, as if they had been waiting<br />

for hours. It turned out they had been waiting for<br />

years. I recognised the woman to be the one who<br />

had been holding my father’s hand that day; the<br />

girl, skinny with long blond hair, I had never seen<br />

before. As I looked at her features, beginning to<br />

see a resemblance to both her parents, my father<br />

leaned closer to me and said, “There she is. That’s<br />

Georgie. She’s your sister.”<br />

Illustration by Lucy Williams, www.totallylucid.com<br />

Next month’s prompt is ‘The Party’. True life stories<br />

of no more than 400 words, in by 15th <strong>May</strong> please.<br />

The winning entry gets published here and receives<br />

a £25 book token from Kemptown Bookshop. Please<br />

send entries to barbara@blackmustard.co.uk<br />


literature<br />

..........................................<br />

bookends<br />

<strong>Brighton</strong> author (He’s ours! He just moved down!)<br />

Matt Haig’s The Humans (2013) is announced<br />

this month as the choice for <strong>Brighton</strong>’s <strong>2015</strong> City<br />

Reads, the longest running ‘big read’ in the UK.<br />

Over a three-week period in October, the book is<br />

debated through a series of performances, workshops<br />

and special events. Described as “troubling,<br />

thrilling, puzzling, believable and impossible,”<br />

by Jeanette Winterson (right), The Humans tells<br />

the supernatural story of a Cambridge professor<br />

who disappears after solving the world’s greatest<br />

mathematical riddle. So get reading.<br />

Prize-winning Jeanette Winterson is coming<br />

down herself for the <strong>Brighton</strong> Festival, taking<br />

the podium for the New Writing South Annual<br />

Lecture at the Dome on 7th <strong>May</strong>. Talking about<br />

‘Boldness in the Face of a Blank Page’, Ms Winterson<br />

OBE promises to elucidate on the craft of<br />

writing. Only those with writer’s block need apply.<br />

Who knew that Margaret Atwood was joint<br />

president with her partner Graeme Gibson of<br />

Birdlife International’s Rare Bird Club? We didn’t.<br />

At the Dome on 24th <strong>May</strong>, she will be on stage<br />

with Graeme, author of The Bedside Book of Birds.<br />

The couple will talk about conservation, birds and<br />

humans, birds in history, and well... their passion<br />

for birds. Bring your binoculars.<br />

For further bobby dazzlers of the literary firmament,<br />

take a shuttle bus from Lewes station to<br />

the Charleston Festival ‘where books, ideas and<br />

creativity bloom’ on the farm where that pesky<br />

Bloomsbury crew hung out in the 1930s. Charleston<br />

celebrates the anniversaries of the Magna<br />

Carta, Waterloo and Alice in Wonderland, but there<br />

is plenty else on offer, including Colm Toibin<br />

(swoon), David Lodge (double swoon) and the<br />

marvellous, outspoken artist Maggi Hambling.<br />

Back in <strong>Brighton</strong>, one of the dottier fringe events<br />

in <strong>May</strong> takes place at 35 North, the contemporary<br />

art gallery on North Street, on Saturday afternoons<br />

during the festival. You press a button on a<br />

sculpture and local authors Felstead and Waddell<br />

pop out from behind a screen and deliver one of<br />

the 100-word stories from their collection of flash<br />

fiction, House Paint & Other Stories. Felstead and<br />

Waddell say, “We are your genies. You hit the button.<br />

We appear. One story, fast and upfront. Flash<br />

fiction on a plate.”<br />

To round things off, we thoroughly recommend<br />

you encourage your child to read Circus of Thieves<br />

and the Raffle of Doom written by William Sutcliffe<br />

and illustrated by David Tazzyman, so that they<br />

can join with the Young City Reads event at the<br />

Theatre Royal on 20th <strong>May</strong>. Ali Smith, guest<br />

director of this year’s <strong>Brighton</strong> Festival, believes,<br />

“the more we read, and the earlier we start reading,<br />

the more fruitful the big wide world becomes,<br />

and the more thoughtful and versatile our understanding<br />

of it. Young City Reads is a gift to young<br />

minds.” Black Mustard<br />

www.brightonfestival.org; www.cityreads.co.uk;<br />

www.charleston.org; www.felsteadandwaddell.co.uk;<br />

www.35northgallery.com<br />


Get the<br />

factor<br />

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Downs National Park just outside Worthing and within easy access of<br />

London, <strong>Brighton</strong> and Southampton. It is fully licensed for civil ceremonies<br />

and offers you stunning architecture, modern facilities and first class food. All<br />

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Clapham | Worthing | West sussex | Bn13 3xn

the way we work<br />

A big part of the festival experience is the food, so in keeping with<br />

this month’s ‘festival’ theme, Adam Bronkhorst has been visiting<br />

some of <strong>Brighton</strong>’s vintage food vans. You’ll find most of them<br />

dotted around the city during this month’s festival.<br />

www.adambronkhorst.com<br />

Claudio at Pizza Fuoco, in front of <strong>Brighton</strong> Station<br />

How do you like your chips? I like the ones you get down by the seafront.<br />

I’m Italian and we don’t really eat chips as much as people here do<br />


the way we work<br />

Mark at Campervanatics, campervanatics.co.uk<br />

How do you like your chips?<br />

I like my chips to closely follow gammon and egg<br />


the way we work<br />

Arnold at The French Revolution, thefrenchrevolution.net<br />

How do you like your chips?<br />

I like sweet potato chips, with home-made chilli sauce<br />


the way we work<br />

David at Cin Cin, cincin.co.uk<br />

How do you like your chips?<br />

Crispy, salty and overcooked. Soggy chips be banned!<br />


the way we work<br />

Victoria at Vintage Scoops, vintagescoops.co.uk<br />

How do you like your chips? I like my chips the old-fashioned way,<br />

wrapped in newspaper and smothered with salt and vinegar<br />


trade secrets<br />

..........................................<br />

The Specky Wren<br />

Independent opticians<br />

What makes The Specky Wren different<br />

from other opticians? We’re independent,<br />

but we strive to compete with the<br />

high-street opticians on value. Many of<br />

our patients have come from high-street<br />

opticians and want the better quality and<br />

service we can offer, but we also get a lot of<br />

patients who have found other independent<br />

opticians too expensive. We offer something<br />

for all members of <strong>Brighton</strong>’s diverse community,<br />

but at affordable prices.<br />

What can you offer your customers,<br />

which high street opticians can’t? We<br />

recognise our patients when they come in;<br />

we know their names and who they are.<br />

We take more time in conducting eye tests<br />

and our team is highly experienced. With<br />

mainstream opticians, you often end up seeing<br />

a whole chain of different people, whilst<br />

we prefer continuity of care. We especially<br />

pride ourselves on our frame-styling service<br />

where we tailor frames to faces and personalities,<br />

ensuring our patients are not only<br />

seeing well but also looking great.<br />

Which eyewear brands do you stock? We<br />

work with a lot of independent designers, so<br />

we stock quirky ranges like Black Eyewear<br />

by Robert Roope, who designs each frame<br />

based on a different jazz musician. William<br />

Morris is another great British-designed<br />


Photos by Neil Fraser neilfraserphotography.com<br />

brand – this season they’ve brought out an<br />

entire range of frames covered in glitter. Our<br />

glasses offer people another way to express<br />

their personality and creativity.<br />

How do you compete with the major<br />

opticians on price? By employing a small,<br />

but well-experienced team, our overheads<br />

are lower because we tend not to make many<br />

mistakes. Also by choosing to set up our shop<br />

just by the Open Market, we pay lower rent<br />

than if we were to have our premises in a<br />

prime high-street location. This reduction in<br />

our overheads allow us to significantly lower<br />

our costs, which translates as excellent value<br />

for money.<br />

The atmosphere here is very different<br />

to most opticians... I’ve worked in several<br />

mainstream opticians and I didn’t like the<br />

starchiness of the surroundings. We designed<br />

the space to fit <strong>Brighton</strong> and also to reflect<br />

what’s important to us. One of the most amazing<br />

things about vision is colour, so we’ve<br />

used splashes of colour all over the shop. The<br />

Open Market is a great community hub, and<br />

every day we have a lot of people coming in<br />

just to say ‘hi’ – you wouldn’t get anything<br />

like that at most opticians.<br />

Marco Wren MCOptom, interview by Rebecca<br />

Cunningham<br />

1-2 Marshalls Row, thespeckywren.co.uk<br />


out of town<br />

..........................................<br />

Wine Country<br />

The Rathfinny Estate<br />

“One day, in October 2009, Mark came back<br />

from work and told me ‘I’m going to give it<br />

all up by Christmas’, and my first thought was<br />

‘oh no, what’ll I do with my husband round the<br />

house all day?’”<br />

Mark is Mark Driver, who had been working in<br />

the City for 25 years. He was by then co-running<br />

a £3-billion-a-year business, following the global<br />

stock market from breakfast to bedtime, trading<br />

bonds, equities and commodities. I’m talking to<br />

Sarah, his wife.<br />

“Soon after he retired he was helping with<br />

UCAS application forms for one of our children,<br />

and he said ‘look at this!’ and read out an ad<br />

for a two-year full-time course in viticulture at<br />

Plumpton College, and I just heard ‘two-year’<br />

and ‘full-time’ and I said ‘go for it!’<br />

We’re sitting at a table in the elegant Tasting<br />

Room in the ‘Winery’ building of the Rathfinny<br />

Wine Estate. Sarah seats me so I can look<br />

through the floor-to-ceiling window over that<br />

part of the estate: below us stretches a gentle<br />

south-facing slope neatly striped with thousands<br />

of young vines; beyond that a sheer gorsecovered<br />

ridge blocks out the sea. This is ‘Cradle<br />

Valley’. It’s a sunny day. It’s a gorgeous view.<br />

I’ve been doing some research. I’ve heard when<br />

it’s in full production, this might be the biggest<br />

vineyard in Europe. At 600 acres, it’ll certainly<br />

be the biggest in the UK. I’ve heard there are<br />

plans to produce a million bottles of premiumend<br />

sparkling wine a year. I’ve heard this’ll be<br />

one of the cornerstones of Sussex getting its own<br />

Protected Designation of Origin for bubbly.<br />

“Mark was due to start the course in September<br />

of 2010; in the summer the Rathfinny Farm had<br />

come up for sale,” continues Sarah. “They’d been<br />

growing arable there. With its chalky/clay-loam<br />

soil, its sunny microclimate and the proximity to<br />

the sea minimising any frost, we realised it was<br />

perfect sparkling-wine-growing country, just like<br />

the Champagne region. So we bought it.<br />

“In one of his first lectures at Plumpton, Mark’s<br />

teacher came into the class, waving a magazine<br />

around with the news that Rathfinny Farm had<br />

been bought and was going to be turned into a<br />

vineyard, and said to the class: ‘if you’re really<br />

lucky, one of you might even get a job there’.” So<br />

did Mark say anything? “He had a quiet word at<br />

the end of the lecture.”<br />

The couple had contemplated following their<br />

owning-a-vineyard dream in the late eighties,<br />

before realising they were ‘too poor’ to follow<br />

through. This time round, there clearly hasn’t<br />

been a lack of money to invest. Sarah, who ‘deals<br />

with the detail’ at Rathfinny, gives me a tour<br />

round the site, and it soon becomes apparent that<br />

there hasn’t been any corner-cutting going on,<br />

in terms of investment or careful planning. From<br />

the smart reception building, which doubles<br />

as an administrative office, I’m driven in her<br />

Range Rover to the Winery, and shown round<br />

its shiny-new interior: I climb up steel steps to<br />

check out the pressing machine; I take photos of<br />

the huge silvery tanks the wine will mature in;<br />

I’m wowed by the biggest unit of solar panelling<br />

I’ve ever seen; I listen to the amazing acoustics<br />

in a warehouse-sized unit which doubles up as a<br />

concert venue.<br />

In a corridor upstairs, we pop into a tasting room<br />

that looks as clinical as a dentist’s surgery: steel<br />

spittoons are built into the table; a strip of the<br />


out of town<br />

..........................................<br />

wall is lit up to enable you to check the wine’s<br />

legs. Next door, we bump into Jonathan Medard,<br />

coming out of his lab. A Frenchman, Jonathan is<br />

perhaps the most important employee at Rathfinny:<br />

he’s the winemaker. I ask to take a photo<br />

of the lab, all test tubes and hubbly-bubbly pipes,<br />

where he checks for acidity, and works out how<br />

to maximise the quality of the mix of Chardonnay,<br />

Pinot Noir and Pino Meunier, before it<br />

undergoes its three-year fermentation period in<br />

those vast tanks below.<br />

Onto the final group of buildings, at the bottom<br />

of the valley. This was once the Rathfinny farmhouse,<br />

destroyed in the 1987 storm and left derelict<br />

and roofless for 20-odd years. This and its<br />

out-buildings have become ‘Flint Barns’, providing<br />

communal-yet-comfortable accommodation<br />

for up to 47 visitors, whether they are working<br />

on the autumn harvest, or just staying a couple of<br />

nights while visiting the area. We’re in the South<br />

Downs National Park, of course: there’s a special<br />

space created to leave muddy boots.<br />

Sarah drives me into nearby Alfriston, where<br />

Rathfinny have converted what was once a store<br />

for a large Napoleonic cannon into The Gun<br />

Room, a gateway into their estate, a local-goods<br />

shop, and something of a museum for the village,<br />

where (there’s no phone signal) I call for a taxi<br />

home. I feel fairly overwhelmed with all the<br />

visual and verbal information I’ve consumed<br />

in the last hour. And, it’s fair to say, extremely<br />

impressed. Though, of course, it’s important to<br />

reserve judgement a while yet: the ultimate test<br />

of Rathfinny will be how good the wine tastes.<br />

There are still a couple of years till their first<br />

sparkling wine is out; in June their first batch of<br />

still white – a blend of Chardonnay and Pinot<br />

Noir grapes - goes on sale. My bet is that it’ll be<br />

spot on. Alex Leith<br />

More information at www.rathfinnyestate.com.<br />

From June 12-14th the London Conchord Ensemble<br />

perform in a weekend festival of chamber<br />

music and wine at Rathfinny. See rathfinnyestate.<br />

com/events/<br />


we try<br />

..........................................<br />

Made with Love<br />

Feed your face<br />

It’s not every facemask that’s worthy of a serving<br />

suggestion but it’s certainly true of the papaya,<br />

mango and almond preparation that I slather on<br />

to my face after a Made With Love workshop. It’s<br />

surprisingly effective too, leaving my skin brighter,<br />

softer and definitely tastier than before.<br />

Earlier in the day, ten of us have gathered in the<br />

Little Beach Boutique to learn how to make raw,<br />

organic and largely vegan body and haircare products.<br />

Workshop leader Leigh-Anne has expertly laid<br />

out everything we’ll need to buff, polish, nourish<br />

and nurture. The table is piled high with fresh fruit<br />

and veg, oats, olive and coconut oil, salt, sugar,<br />

ground almonds and coffee. The most controversial<br />

ingredient is honey (easily left out for vegans) and it<br />

seems the only things we can’t eat are witch hazel,<br />

almond oil and a couple of essential oils.<br />

The three-hour workshop begins with an explanation<br />

of some of the more unecessary ingredients<br />

in mass-produced skin-and-hair-care products and<br />

the reason Leigh-Anne came to establish the Made<br />

With Love product line. She found many of the<br />

baffling substances listed were more to do with<br />

consistency and shelf life than skin care. Keen to<br />

avoid the chemicals whilst expecting her first baby,<br />

she sought out a more natural solution: creating<br />

products from ingredients she’d be happy to put in<br />

as well as on her body. The natural next step was to<br />

share the know-how through workshops.<br />

Her philosophy is simple: to keep skin and hair<br />

care unrefined and close to nature. If you follow<br />

her advice, you’ll never throw anything fresh away<br />

again – instead you’ll mash it up and put it in on<br />

your face. It’s sage advice if her flawless skin is<br />

anything to go by.<br />

The workshop is both fun and fact packed with<br />

recipe suggestions to embrocate and enliven all<br />

skin and hair types. She’s put together some of her<br />

favourites and introduces each one by explaining<br />

the science behind it. We then work in pairs -<br />

chopping, mixing, mashing and snacking our way<br />

through the recipes - until, through our combined<br />

efforts, we each have 15 products to try and all the<br />

information we’ll need to recreate them at home.<br />

Amongst the line-up are anti-aging pomegranate<br />

and oat facemask; invigorating mojito body scrub;<br />

cucumber and rosewater toner; tomato and witch<br />

hazel skin brightener; and nourishing banana and<br />

avocado hair mask.<br />

There really are no nasties here – as evidenced by<br />

the many fingers dipped and licked throughout<br />

the morning – and, having mixed more mango<br />

facemask than will fit in the pots, we simply eat the<br />

excess. If it sounds like a nice idea but you’re wondering<br />

how you’ll find the time, think of the time<br />

you’ll save making breakfast. Lizzie Lower<br />

£35 per person. Workshops in <strong>Brighton</strong> and Burgess<br />

Hill. Next course 30th <strong>May</strong>. madewithlove.uk.com<br />


17 Jubilee Street, <strong>Brighton</strong> BN1 1GE<br />

T: 01273 900383 W: www.thechillipickle.com<br />

‘Indian Food with passion and flair’<br />

National Restaurant Magazine<br />

Top 100 UK Restaurants 2011-14<br />

British Curry Awards<br />

Best Restaurant Delivery Service 2014<br />

Best Restaurant Casual Dining 2012<br />

Thalis, Kebabs, Curries,<br />

Dosas, Street Snacks, Kulfis,<br />

Great Beers, Wines,<br />

Cocktails, Lassis, Coolers

trade secrets<br />

...............................<br />

Blind Ate<br />

In January Terre à Terre chef Matty Bowling went to Vancouver, Canada, to<br />

cook a meal at The Parker restaurant; on <strong>May</strong> 21st TP’s Felix Zhou is coming<br />

to <strong>Brighton</strong> to return the favour. It’s all part of the <strong>Brighton</strong> Food Festival’s<br />

International Chef Exchange. Here’s what they thought of one another…<br />

Matty on Felix…<br />

Describe the style<br />

of his cooking.<br />

Modern European,<br />

minimalistic, good<br />

technique and<br />

flavours.<br />

Did any cooking<br />

methods surprise<br />

you? I was more surprised at how they had embraced<br />

the family-sharing style of dining. It’s an<br />

area we are currently looking to develop.<br />

Are there any ingredients you came across<br />

in Vancouver that you’d love to be able to<br />

source in <strong>Brighton</strong>? Chinese spinach and celery,<br />

Japanese cucumber, Thai eggplant and a very<br />

interesting selection of potatoes.<br />

What did you cook there? Eurasian soused spaghetti<br />

salad of daikon, carrot, buckwheat noodle<br />

in mirin broth; Chargrilled cauliflower florets<br />

with a cauliflower cream onion and ptitim; Yorkshire<br />

pudding and roasted king oyster mushroom<br />

with walnut and rapeseed tarator. I could keep<br />

going, there were many dishes.<br />

What’s Vancouver’s signature dish? If you go<br />

you have to try poutine.<br />

If Felix gave you a ‘loonie*’, would you be<br />

pleased or not? Yes, and I’d put it towards buying<br />

him a well-deserved beer!<br />

What was the most important thing you<br />

learnt from the trip? It made me aware about<br />

how passionate I am about Asian-influenced food.<br />

Felix on Matty...<br />

What did he cook<br />

in The Parker?<br />

Some classic fare<br />

from the renowned<br />

Terre à Terre.<br />

Describe his cooking<br />

style. Refined<br />

and professional.<br />

Any awkward moments?<br />

Smooth sailing throughout<br />

What preconceptions do you have about<br />

<strong>Brighton</strong>? That it’s beautiful and by the sea. Two<br />

things we in Vancouver greatly appreciate.<br />

If Matty asked you to turn on the tap, would<br />

you know what to do? Unless it’s a jazz step we<br />

don’t know, then we’d try the water handle?<br />

Could you describe what the Vancouver<br />

culinary scene is like? Dynamic. Being on the<br />

Pacific Rim we have a multitude of influences<br />

and unique clime that create an extraordinarily<br />

diverse culinary adventure.<br />

What’s the best way to cook a turnip? BBQ.<br />

Will you swim in the sea while you’re in<br />

<strong>Brighton</strong>? Happy to take a tour by dinghy.<br />

Marks out of ten for Matty as a chef. Easily<br />

ten. We look forward to seeing and working with<br />

him again soon!<br />

*A ‘loonie’ is a Canadian dollar.<br />

<strong>Brighton</strong> & Hove Food & Drink Festival <strong>May</strong> 15-<br />

31. ICeX meal, <strong>May</strong> 21st, Terre à Terre, £55 per<br />

head, 01273 729051<br />


LocaL vegetabLes, fruit,<br />

meat, dairy & more<br />

for more info:<br />

07966 972 530<br />

www.finandfarm.co.uk<br />

deLiveries twice a week<br />

to brighton & hove<br />

4th<br />

box<br />

free *<br />

*New customers only – please ask for full terms.

food review<br />

...........................................<br />

The Royal Oak, Wineham<br />

A serendipitous Sunday lunch<br />

“Oh no,” says Imogen,<br />

where I might have used a<br />

different word.<br />

We’re in a ‘peloton’ of<br />

three, training for the<br />

London-<strong>Brighton</strong> ride, and<br />

we’ve cycled over Devil’s<br />

Dyke into the Weald; to<br />

Wineham, near Henfield. It<br />

seems more a collection of<br />

posh houses than a village.<br />

She’s ridden through a pothole and got a puncture.<br />

We have no recourse to mend it. Johnny, peloton<br />

leader, and as usual 50 yards ahead of us, senses<br />

trouble, and circles back. He pulls an OS map out<br />

of the back pocket of his Lycra shirt.<br />

“Check if there’s a pub nearby,” I venture, fancying<br />

an opportunity. It turns out, rather miraculously,<br />

there is: The Royal Oak, about a mile away.<br />

Ten minutes later (Imogen sits on my back-rack<br />

and Johnny manages to negotiate two bikes at the<br />

same time) we’re sat in the front garden of a real-<br />

Tudor half-timbered country inn. It’s 12pm. It’s<br />

Sunday. They do food.<br />

And, it turns out, Harvey’s Best. I buy the beer<br />

from the ruddy-faced father in a two-generation<br />

team behind the bar. The interior of the place<br />

is wood-panelled, and inhabited by well-spoken<br />

locals, hiding from the sun.<br />

The weather is, I should mention, glorious.<br />

Carefully carrying the three glasses back outside,<br />

I notice a beautiful white horse has arrived on<br />

the scene. Imogen offers to buy us lunch, for the<br />

trouble her inner tube is putting us through. As<br />

we wait, the twenty-or-so wooden tables, scattered<br />

among a smattering of apple trees, fill with<br />

an assortment of punters, from a young woman<br />

loudly over-mothering her two<br />

wanderlustful children, to a tattooed<br />

biker, who is charmingly<br />

generous with her cigarettes.<br />

The horse turns out to be called<br />

Jasper; its rider is carrying a<br />

hunting crop.<br />

The food is middling-to-good.<br />

I choose a smoked fish platter,<br />

Imogen goes for the calming<br />

comfort of cauliflower cheese,<br />

Johnny for a pork belly roast. The platter includes<br />

funnel-mouthed sprats, which I’m not sure how to<br />

eat, and prawns, and roll-mop herrings. There is<br />

red and white caviar. It comes with a great hunk of<br />

white bread, and a great slab of yellow butter. Each<br />

dish costs around a tenner.<br />

Imogen can’t get a call through to a lift-potential<br />

friend, so she rings a taxi. There is a discussion about<br />

whether or not Johnny and I should stay to see that<br />

she and her bike can fit in it OK, or whether we<br />

should cycle back home, leaving her there, with only<br />

her phone for company (Jasper’s gone).<br />

We do the gallant thing: Johnny takes his helmet<br />

and gloves off, and I get another round of drinks.<br />

We people-watch the other diners, and surmise<br />

that they haven’t come up from the coast. That<br />

they are from-round-’eres. The place is just off the<br />

radar of your average <strong>Brighton</strong>/Hovite, and all the<br />

better for it.<br />

The taxi, with its familiar telephone number<br />

written on the door, takes about 20 minutes to<br />

arrive, which suggests that it’ll be worth returning,<br />

using less leg-sapping transport, on another sunny<br />

day in the near future. Or maybe I should let this<br />

serendipitous oasis-in-a-desert experience remain<br />

a rather lovely one-off memory. Alex Leith<br />

Illustration by Joda, jonydaga.weebly.com<br />



ecipe<br />

..........................................<br />

Mackerel Passion Fruit Pomegranate<br />

Head chef Sam Lambert prepares a fresh, fruity, fishy dish from the frequently changing<br />

menu at 64degrees, in keeping with the restaurant’s ethos: prep hard, cater easy<br />

A lot of people think ‘64degrees’ is something to<br />

do with our cooking philosophy. Before we set up<br />

the restaurant, Mike (the owner) and I used to work<br />

at Due South on the seafront together. The water<br />

bath there had broken, so the temperature was permanently<br />

stuck on 64°; everything we cooked from<br />

then on had to be at that temperature, so the name<br />

stayed. We still cook a few of our specials at 64°.<br />

Before I started working in kitchens, I spent eight<br />

months eating my way around the world. I visited<br />

America, the South Pacific, New Zealand, Australia<br />

and South East Asia - which had some of the best<br />

food in my opinion. It wasn’t until a few years later,<br />

when I moved to <strong>Brighton</strong>, that I actually started<br />

cooking. Being in the kitchen is all about hard<br />

work; I trained on the job, working in events hospitality<br />

and then at 24 St Georges in Kemptown.<br />

My advice to anyone else wanting to become a chef<br />

would be: just get in the kitchen and start cooking.<br />

This dish is called ‘mackerel passion fruit pomegranate’<br />

and is adapted from a recipe which was<br />

introduced to us by Egbaar, a chef we met last year.<br />

He had come to <strong>Brighton</strong> to learn English and<br />

towards the end of his visit he spent a few weeks<br />

working with us in the restaurant. When he arrived,<br />

the first thing he did was to make this dish. We’ve<br />

adapted it to work with different types of fish in<br />

the past – it works perfectly with something like<br />

tuna or salmon, rather than delicate white fish – but<br />

mackerel is great for this time of year as there’s<br />

plenty available locally. It’s served raw in a ‘leche<br />

de tigre’ (tiger’s milk) dressing, the acidity of which<br />

would be enough to cure the fish alone. The mackerel<br />

we are using is so fresh that it doesn’t really<br />

need to be cured beforehand, but we usually salt the<br />

fish to firm up the skin.<br />

I begin by laying out the pieces of mackerel, each<br />

topped with a single shallot ring and one pomegranate<br />

seed, on the plate. I’m quite a perfectionist<br />

when it comes to presenting the dish – my dad’s an<br />

engineer so he probably instilled it into me. There<br />

are only a few ingredients going onto the plate, so<br />

attention to detail is really important here. If any<br />

one ingredient isn’t quite right, the dish can be lost.<br />

Mike’s partner, Carla, is a photographer and can be<br />

über-critical, she really doesn’t mince her words.<br />

Having somebody like that heavily involved in the<br />

process of creating our menu is helpful.<br />

Our version of the ‘leche de tigre’ is made using<br />

passion fruit juice, garlic, scotch bonnet, ginger,<br />

celery and lemongrass, all blitzed together in a food<br />

processor. I add some whole coriander leaves after<br />

blending, so that they don’t turn the dressing a<br />

brown colour, along with some sesame oil, Tabasco<br />

and mirin. Leave the mixture to steep for about 40<br />

minutes in the fridge and then strain it to remove<br />

the coriander leaves. Add a little Xanthan gum to<br />

thicken it - the consistency of the dressing should<br />

be somewhere between a liquid and a purée. Then<br />

add this to the dish, covering all of the mackerel,<br />

just before serving.<br />

As told to Rebecca Cunningham. Photo by Lisa Devlin,<br />

whose food-photography website is cakefordinner.co.uk<br />

64degrees.co.uk<br />


Food & Drink directory<br />

Semolina Café/Bistro<br />

The name of this small independent restaurant is inspired<br />

by the versatile ingredient made from durum wheat used<br />

in many different cuisines. This bistro on Baker Street has<br />

monthly changing seasonal menus served Wed-Sat, 12-<br />

10.30, weekly set lunch, Saturday brunch and Sunday roast.<br />

Special offer for <strong>Viva</strong> readers: Free glass of house wine<br />

with bistro, brunch or roast menu during <strong>May</strong>!<br />

15 Baker Street, semolinabrighton.co.uk, 01273 697259<br />

29 Tidy Street, 01273 673744, rockolacoffeebar.com<br />

Rockola<br />

Named by customers<br />

as <strong>Brighton</strong>’s best kept<br />

secret, Rockola is tucked<br />

away just off Trafalgar<br />

Street. With its 50s/60sstyle<br />

decor, and owner’s<br />

private collection of<br />

memorobilia, Rockola<br />

is the perfect place to send you back to a bygone<br />

era. With food ranging from home-made burgers<br />

& breakfasts to pancakes, waffles, wraps and thick<br />

shakes, Rockola has something for everyone, including<br />

vegans and veggies. Also it has an original<br />

1960s jukebox with a selection of 200 songs, and<br />

it is FREE to play. Open 10.30-4.30 Mon-Fri,<br />

and 9.30-4.30 Sat. Friday nights are Burger<br />

Nights and include the massive Elvis Burger (6-<br />

9pm). And you can BYO.<br />

71 East Street, 01273 729051, terreaterre.co.uk<br />

Terre à Terre<br />

Terre à Terre, proud<br />

sponsor of <strong>Brighton</strong><br />

Festival and <strong>Brighton</strong><br />

Fringe collaborator, is<br />

the local go-to for the<br />

most creative vegetarian<br />

food in <strong>Brighton</strong>,<br />

always delivered with<br />

a cheeky little pun!<br />

Open 7 days a week<br />

offering brunch, lunch<br />

and dinner options<br />

from small plates,<br />

sharing tapas to threecourse<br />

set meals and<br />

not forgetting their magnificent afternoon<br />

tea menu, multi-tiered savoury, sweet and<br />

traditional delights available from 3 till 5pm<br />

daily, and lots of chocolate goodies!<br />

No.32<br />

No.32 has it all and more in this all-in-one venue. A restaurant, bar and<br />

club in the heart of <strong>Brighton</strong>, serving freshly made food and drink seven<br />

days a week. From traditional grills to fashionable burgers to freshly<br />

made cocktails. With the sound of great music from local DJs you can<br />

eat, drink and dance at this all-encompassing modern setting, so come<br />

and visit us for an evening to remember!<br />

Burgers, grills, bites, platters, sandwiches, salads. Modern & classic<br />

cocktails. Craft & draught beers. Happy hour Sundays - Fridays 5-7pm.<br />

No.32 is a restaurant, bar and exclusive late night venue in <strong>Brighton</strong> with<br />

regular live music and special events.<br />

32 Duke Street, 01273 773388, no32dukestreet.com

advertorial<br />

Boho Gelato<br />

6 Pool Valley, 01273 727205, bohogelato.co.uk<br />

Ranging from Vanilla to Violet, Mango to Mojito and Apple<br />

to Avocado, Boho’s flavours are made daily on the premises<br />

using locally produced milk and cream, and fresh ingredients.<br />

24 flavours are available at any time (taken from their<br />

list of now over 400) and for vegans, Boho Gelato always<br />

stock at least five non-dairy flavours. Gelato and sorbet<br />

is served in cups or cones or take away boxes.They were<br />

recently included in the Telegraph’s top ten ice creams in the<br />

UK and last summer were featured in Waitrose magazine.<br />

Saint Andrew’s Lane, Lewes, 01273 488600<br />

209 High Street, Lewes, 01273 472769<br />

Pelham House, Lewes<br />

A beautiful 16th-century four-star town house<br />

hotel that has been exquisitely restored to create<br />

an elegant venue. With beautiful gardens, a<br />

stylish restaurant and plenty of private dining<br />

and meeting rooms it is the perfect venue for<br />

both small and larger parties.<br />

pelhamhouse.com<br />

Facebook: Pelham.house<br />

Twitter: @pelhamlewes<br />

Flint Owl Bakery, Lewes<br />

Our breads contain organic stone-ground flours,<br />

spring water, sea salt and that’s it. No improvers of<br />

any kind. Long fermentations bring characteristic<br />

flavours and a natural shelf life. We wholesale<br />

our craft breads and viennoiserie in <strong>Brighton</strong> &<br />

Hove and deliver six days a week. Contact: info@<br />

flintowlbakery.com. Visit us at our shop/cafe on<br />

Lewes High Street where you can buy our full<br />

range of breads, croissants, cakes, salads and enjoy<br />

Square Mile coffee in our courtyard garden.<br />

Ten Green Bottles<br />

Wine shop or bar? Both, actually... wine to take away<br />

or drink in, nibbles and food available. Many wines<br />

imported direct from artisan producers. We also offer<br />

relaxed, fun, informal private wine-tasting sessions from<br />

just two people up to 30 and for any level of wine knowledge - we encourage you<br />

to ask questions and set the pace. We also offer tastings in your home or office,<br />

and will come to you with everything you’ll need for a fun, informative and even<br />

competitive evening. The best-value destination for great wine in <strong>Brighton</strong>!<br />

9 Jubilee Street, 01273 567176, tengreenbottles.com

drink review<br />

...........................................<br />

Sea Cider<br />

‘It goes down too easily’<br />

“We made our first batch back in January. I thought<br />

we’d made enough to see us through the year, but<br />

we sold out after nine weeks.” I’m with Matt Billing,<br />

brewer at Goldstone Brewery in Ditchling, who<br />

has just launched his own cider, Sea Cider Sussex.<br />

“I still use the same methods I used when I was<br />

brewing cider at home, just on a much larger scale.”<br />

His traditional recipe contains apple juice, and not<br />

much else. “We use a little champagne yeast to<br />

crisp it up slightly, but while a lot of producers will<br />

sweeten the cider with water and sugar, I sweeten<br />

mine with more apple juice. We have some of the<br />

best apples in the world here – you want to be able<br />

to taste them.” And taste them you can. We crack<br />

open one of the last remaining bottles from January’s<br />

pressing and it bubbles up into a thick froth as<br />

we pour it into the glasses. “This one actually used<br />

to be still,” Matt explains, “but we experimented<br />

with Champagne Method fermentation, so the<br />

cider carries on fermenting in the bottle.” So while<br />

this variety was ‘medium’ when bottled, now it’s<br />

closer to ‘medium-dry’. And while it tastes like a<br />

scrumpy – and smells a little of hay, which I always<br />

take to be a good sign – it retains the fresh flavour<br />

of the apple juice. It’s refreshing and goes down a<br />

bit too easily. I’m glad I’m not the one driving. RC<br />

Pubs stocking Sea Cider include The Prince Albert<br />

and The Office. You can also buy it at Middle Farm<br />

near Firle. facebook.com/SeaCiders<br />


food news<br />

...........................................<br />

Edible Updates<br />

West Street is taking a turn for the better, with<br />

independent Neapolitan pizza specialists Nuposto<br />

- short for ‘nuovo posto’ (new place) - setting<br />

up a smart new eat-in pizzeria. Nuposto already<br />

have two very successful pizzerias operating in<br />

Naples, one of which made the news in March for<br />

making the first ‘on the go’ pizza delivery to the<br />

Pope. They’ve gone the extra yard to make this an<br />

authentic experience: two monster volcanic mortar<br />

pizza ovens have been shipped over from Catania,<br />

and the pizzas they make will be of the Neapolitan<br />

variety (the base is springier and more substantial<br />

than pizzas made in other parts of Italy). There<br />

are 150 covers, and diners will be able to witness<br />

out-front, show cooking. The premises also has<br />

a street-facing bar decorated by local graffiti star<br />

Aroe, from which Nuposto will be serving sparkling<br />

wine on tap sourced from the ‘Champagne’<br />

region of Italy, Valdobbiadene, as well as Prosecco<br />

cocktails and Peroni on draught. With a licence<br />

running from 7am to 2am, Nuposto will also be<br />

open all day for coffees, cakes and Italian-style<br />

tapas dishes. Pizzas will be available for collection<br />

and delivery as well as straight to the table from<br />

a quick stint in one of the ovens. Launch date is<br />

April 29th, and Nuposto are offering all food at<br />

50% off ahead of the Bank Holiday weekend.<br />

Meanwhile, <strong>May</strong> being <strong>May</strong>, there’s plenty happening<br />

on Hove Lawns, with the Foodies Festival<br />

returning for its sixth year on <strong>May</strong> 2nd, 3rd and<br />

4th, and the <strong>Brighton</strong> Food & Drink lot back on<br />

30th-31st <strong>May</strong> for their free-entry World Weekend.<br />

Antonia Phillips @pigeonpr<br />


coffee<br />

...........................................<br />

Coffee Guy<br />

Small Batch’s Alan Tomlins<br />

A lot of people say they like<br />

their coffee bitter, but they<br />

don’t always realise that the<br />

bitterness has often been<br />

created by the makers overroasting<br />

the beans in order to<br />

mask the fact that they aren’t<br />

very high quality, or are old.<br />

This is why you have to add<br />

milk and sugar to neutralise<br />

the carbonic taste.<br />

There’s nothing wrong with<br />

a strong taste: a full bodied<br />

Brazilian or Indonesian Arabica<br />

bean, for example, will<br />

pack plenty of punch. And<br />

there’s nothing wrong with<br />

putting milk and/or sugar in a strong coffee. But<br />

your coffee shouldn’t taste bitter. Bitterness, after<br />

all, isn’t pleasant on the palate.<br />

People tend to know their tea much better than<br />

they know their coffee. They’ll know how to distinguish<br />

their Oolong from their Rooibos. They’ll<br />

realise that green tea is best drunk on its own:<br />

nobody would think of putting milk in that, even<br />

though it’s essentially from the same plant as black<br />

(traditional) tea, only it’s prepared differently.<br />

But people don’t tend to be so educated when it<br />

comes to coffee. They seem to be set in their ways.<br />

I say: be experimental. Try out different coffee<br />

beans from different countries, and see what you<br />

like. At Small Batch, for example, we sell a different<br />

single-origin filter coffee every week, and our<br />

different cafés will have different options.<br />

If you’re making your own coffee, and buying your<br />

beans from the supermarket, choose them carefully.<br />

The best coffee will tell you when it’s been<br />

roasted, so make sure, if possible,<br />

it’s this year’s date on<br />

the packet, and it’s from the<br />

latest harvest, too. Be careful<br />

of some of the established<br />

brands who don’t advertise<br />

this information. They can<br />

treat coffee as a commodity,<br />

buying it in bulk when the<br />

price is low, and stockpiling<br />

it. They might use 20<br />

different beans in a blend,<br />

and some of them might<br />

have been harvested three or<br />

four years ago. It won’t be<br />

off – beans don’t tend to start<br />

going mouldy for five years<br />

or so. But it could be well past its best. Hence that<br />

masking bitter taste.<br />

I love this time of year, because the Kenyan and<br />

Ethiopian beans, fresh from harvest, arrive for<br />

roasting, and they provide a much fruitier, more<br />

subtle cup of coffee than the more robust flavours<br />

of the South American beans we tend to use in the<br />

winter. These beans suit being light roasted, and,<br />

after grinding, being filtered. Drink the coffee<br />

black, and you’ll notice a caramel sweetness, and<br />

blackcurrant and citrus notes. Coffee beans come<br />

from a fruit, of course, and plenty of sweetness is<br />

produced in the roasting in what’s called the Maillard<br />

Reaction; there’s no need to add sugar.<br />

Enough for now: I’m looking forward to spending<br />

the second week of <strong>May</strong> in Rwanda, hunting out<br />

some coffee to roast in our Hove roaster later this<br />

year. I’ll be looking for farms where the workers<br />

get a good deal – and the quality of bean they produce<br />

is good. More on that in my next column.<br />


a pint with...<br />

................................<br />

Dame Dixon<br />

Hove Monster Raving Loony Party candidate<br />

“Anyone who wants to play the part of Dr Who will<br />

have to be fully qualified by the British Medical Association,”<br />

says Dame Dixon, a panto veteran who<br />

is the Monster Raving Loony Party’s prospective<br />

parliamentary candidate for Hove. “All scarecrows<br />

should be in the image of Worzel Gummidge.”<br />

Those are her health and environment policies,<br />

respectively. The Dame met us at the Basketmakers<br />

Arms on a Thursday lunchtime, and gave a spirited<br />

defence of her plans, while delivering panto-style<br />

asides to my tape recorder.<br />

What are the biggest issues facing Hove today?<br />

The biggest one is the ridiculous price of ice<br />

creams. Also, the fact that there are only seven<br />

days in the week. I think we should be fighting for<br />

another day in the week.<br />

Only one more? That’s not very ambitious. How<br />

dare you question my ambitiousness! Alright then,<br />

we’ll have two more days in the week, and we’ll call<br />

one of them Steve, because that’s your name.<br />

Any other pressing local issues? Oh yes, we’ve<br />

got lots of Hove-based policies. For instance, the<br />

official colour of Hove will be mauve. We have an<br />

immigration policy for Hove – any people named<br />

Ronnie will only be allowed into the area in twos.<br />

And during engineering works, trains will be<br />

replaced with magic carpets.<br />

Has that been fully costed? Let me tell you the<br />

truth, Steve. I’m the only politician that can tell you<br />

straight that we won’t deliver on any of our policies,<br />

because our policies are undeliverable nonsense.<br />

However, I have to say, there are other candidates<br />

who are coming up with policies that sound<br />

very similar to undeliverable nonsense, though I<br />

couldn’t possibly say which ones.<br />

Who’s your political hero? I probably should say<br />

Screaming Lord Sutch, our original leader, but<br />

I’ve always had a penchant for Neil Kinnock. He’s<br />

a lovely boy, isn’t he? Do you remember when he<br />

sang that song with Tracey Ullman and fell over on<br />

the beach? I do.<br />

How much decision-making experience do<br />

you have? Yesterday I decided that I’d have steak<br />

and chips for tea instead of fish and chips. Both<br />

were chip-related, but that decision was difficult,<br />

and I made it myself. So I’m quite good at making<br />

decisions.<br />

Are you happy to be accountable for your<br />

actions? Absolutely. If we can’t bring you magic<br />

carpets when the trains are cancelled, I will hold my<br />

hands up and say ‘yes, I’m sorry, I didn’t deliver on<br />

that promise. Aladdin couldn’t help me.’<br />

What do you think about MPs’ expenses and<br />

second homes? Will you be claiming the full<br />

amount? Oh, without a doubt. I shall need at least<br />

80p a day for a sausage roll, and I don’t know if I<br />

can claim for Chardonnay, but if I can, that’ll be the<br />

bulk of it.<br />

Has your panto work been good preparation for<br />

the House of Commons? Oh, I should think it<br />

has. It’s all shouting and audience participation, isn’t<br />

it, Prime Minister’s Questions.<br />

What is politics for? Politics can be a force for<br />

good, and a force for change. It used to be, many<br />

years ago, but it isn’t now. It’s been taken away by<br />

the spin doctors, by career politicians. All we’re<br />

trying to point out is look, politics is good, voting is<br />

good, but it’s all turned silly.<br />

How did that happen? In Westminster, people are<br />

interested in politics – the politics of keeping your<br />


a pint with...<br />

................................<br />

seat, keeping that £68,000 a year. The politics of<br />

getting a promotion, getting into cabinet, not upsetting<br />

your leader. That’s what politics has turned<br />

into. I’ll tell you something about the £68,000 a<br />

year. I can promise you this faithfully. When I’m<br />

elected in Hove, all £68,000 will go back into the<br />

local economy; specifically, the off license at the<br />

end of my street, and the Greggs on Western Road,<br />

because I do love a steak bake.<br />

Are you good at dealing with stress? Very good.<br />

What I do is, I go and dance with Craig Revel<br />

Horwood; that releases my stress. It doesn’t<br />

release his stress, because he doesn’t know who<br />

I am; I just grab him.<br />

What’s your policy on the economy?<br />

One day every year, Monopoly money will<br />

become legal tender, but you have to guess<br />

which day.<br />

Welfare? We shall make sure that all<br />

fairs are done very well. Each one will<br />

have to have a helter skelter.<br />

Crime? It will be banned.<br />

Science? The periodic table will only be<br />

used periodically.<br />

The deficit? Oh yes, that’s very easy. We’ll<br />

print more money, lots of it. Fifty-pound<br />

notes, though, because they’re worth more.<br />

Transport? We’ve done transport… are you<br />

not listening, dear? [Aside:] He’s lost the<br />

will to live.<br />

Don’t you just make up policies on the<br />

spur of the moment? How dare you!<br />

I’ve given you a leaflet with things that<br />

are printed! Also, I would suggest that<br />

lots of the other politicians just make up<br />

policies on the spur of the moment.<br />

Anything else? I’ve developed a new<br />

policy while sitting here. We’ll make<br />

sure everybody has a bonny leather<br />

jacket like you do. What’s David Soul<br />

from Starsky and Hutch wearing today, because<br />

you’ve got his coat on? [Aside:] He’s desperately<br />

trying to do a serious interview and it’s not working.<br />

Interview by Steve Ramsey<br />

General Election, <strong>May</strong> 7th, at a polling<br />

station near you<br />


health<br />

................................<br />

Holistic marathon<br />

Twelve treatments in two weeks<br />

There’s a needle in my third eye. Two more on<br />

either side of my neck, in my wrists and ankles too.<br />

As I lie in a darkened room, feeling more voodoo<br />

doll than serene goddess, I wonder what I’ve got<br />

myself into.<br />

It’s the second day of my holistic tour de force,<br />

designed to provide an insight into alternative<br />

therapy and to release some of this clingy tension<br />

I’ve accumulated over the years. For the next two<br />

weeks, I’ll be visiting About Balance Studios almost<br />

every evening to try out twelve different therapies.<br />

About Balance is an unassuming yet rather darling<br />

therapy studio situated above Vbites Cafe on East<br />

Street. It provides therapists with an affordable<br />

space to practise, which in turn means they can<br />

offer affordable sessions. If you purchase a monthly<br />

‘Karma Card’, you will also get massive discounts<br />

on over 20 options available.<br />

I’ve gone for acupuncture, healing yoga, massage,<br />

scenar therapy, shiatsu, constellation mapping, art<br />

therapy, life coaching, dance, reflexology, craniosacral<br />

and Thorough Touch Technique.<br />

I’m going in search of a life overhaul - I want a<br />

transformation and I want it now. I soon realise this<br />

is part of my problem. Many of these treatments<br />

require you to focus on one issue - and it’s never an<br />

overnight fix. I cherry pick ‘anxiety’ and take it with<br />

me, poorly wrapped, to present at each session.<br />

Of the twelve therapies, three stand out the most.<br />

Shiatsu combined with acupuncture is my new favourite<br />

thing. The pressure point focus of this form<br />

of physical therapy is perfect for someone who,<br />

like me, carries a lot of tension in their joints. I also<br />

trust the practitioner, Marcus, immediately. I don’t<br />

have to tell him about my anxiety, he knows as<br />

soon as he feels my pulse, and he seems well-versed<br />

in dealing with it. Acupuncture, now prescribed<br />

through the NHS, works by stimulating nerves<br />

under the skin and in muscle tissue. The Eastern<br />

philosophy also believes it balances the flow of<br />

energy around the body. The effects are almost immediate.<br />

Although I find it hard to relax during the<br />

treatment, with needles in my pressure points and a<br />

mind on overdrive, I leave feeling almost euphoric.<br />

Constellation mapping surprises me. I admit, at<br />


health<br />

................................<br />

Illustration by Joda, jonydaga.weebly.com<br />

first, I’m extremely sceptical. The idea is to address<br />

certain issues or identify blockages that may be hindering<br />

the ability to move forward in a healthy and<br />

happy way. You map these issues physically, using<br />

post-it notes on the floor, and identify the relationship<br />

each has with the centre point, which represents<br />

yourself. I take part in a group constellation with<br />

two other women and Sinead, the facilitator. I’m<br />

uncomfortable talking about myself, especially to<br />

strangers, and when I’m chosen to be the bearer of<br />

the group issue - the one we’re looking for a resolution<br />

to - I have no real clue what I’m doing.<br />

It’s hard, even as a writer, to put this experience into<br />

words. I felt deeply moved by the intimacy of the<br />

situation and by my ability to allow myself to be<br />

vulnerable. Constellations are used among families<br />

and communities, to help address trauma or to reach<br />

a tricky group decision, but it seems the real value<br />

behind the process is the connection it encourages<br />

between the members of the group. We physically support<br />

each other as our issues take human form – one of<br />

the women becomes my anxiety and I stand behind her<br />

with my hands on her back, telling her to relax.<br />

Thorough Touch Technique is a bespoke massage<br />

tailored to my body’s needs. I’ve had hundreds of<br />

massages, looking for a cure to persistent back pain,<br />

but I’ve never had one that works on all four sides<br />

of the body. My limbs are gently pulled in all directions<br />

so that it’s as much a workout as it is a relaxing<br />

experience. Carolina is a passionate Colombian who<br />

was inspired by the way cats knead, to communicate.<br />

I find that fascinating and, as she moves my aching<br />

limbs in ways they don’t often bend, she tells me<br />

how she’s worked all over the world - in circuses,<br />

festivals, and for sports professionals.<br />

This is a recurring theme. All of the therapists I’ve<br />

seen have lived, worked and studied in the parts of<br />

the world reserved for the brave and curious. They<br />

are all open-minded, although I find talk of “being a<br />

healer” a little hard to swallow.<br />

I didn’t get the life overhaul I’d been looking for - it<br />

turns out that one is down to me - but after two weeks<br />

of prodding, pulling, balancing and soul searching, I<br />

feel more present or, at the very least, in less pain.<br />

I wouldn’t recommend a therapy-a-day approach<br />

for relaxation and well-being. It was emotionally<br />

exhausting. However, it did give me an amazing<br />

insight into eastern philosophy and the power of<br />

touch, and it did make me want to discover more.<br />

At the end of a very busy 14 days, the anxiety’s still<br />

there, she’s just feeling slightly more zen.<br />

Sophie Turton<br />


the lowdown on...<br />

................................<br />

Tourette’s<br />

Touretteshero’s Jess Thom<br />

Performer Jess Thom has an<br />

elegant way with words, which is<br />

somewhat masked by her frequent<br />

and random use of the word ‘biscuit’.<br />

She has Tourette’s.<br />

I have regular tics, and more<br />

one-off tics. Why certain<br />

words stick around is a mystery.<br />

They aren’t words I’ve chosen,<br />

they’re just words that arrive.<br />

Sometimes they creep in and<br />

sometimes they burst in.<br />

Most people with Tourette’s have some ability<br />

to supress their tics. That varies from person to<br />

person. Tics have a particular sensation to them,<br />

so suppressing can be very uncomfortable, and<br />

they still have to come out at some point. It also<br />

can make it very difficult to concentrate on something<br />

else, if all your energy is focused on trying to<br />

be still or quiet.<br />

Very common motor tics include blinking,<br />

head nodding, shoulder shrugging, and neck jerking.<br />

There are more complex tics, like jumping<br />

or twirling. Vocal tics might include whistling or<br />

sniffling, or humming. They can include simple<br />

words, singular noises, or complex statements.<br />

Lots of people with Tourette’s also have<br />

echolalia or echopraxia, which is copying other<br />

people’s sounds or movements.<br />

There can be an element of ticking that’s<br />

saying the worst thing in any given situation.<br />

For example, I’m not very good at keeping secrets.<br />

If it’s someone’s birthday, I often really struggle<br />

with not telling them what I’ve got them. And I’m<br />

pretty rubbish at I-spy.<br />

My thoughts are completely biscuit free. Tics<br />

don’t relate to what I’m thinking about, and my<br />

mind is clear, which is why I can<br />

get on with having a conversation<br />

without any difficulty. The tics are<br />

an automatic interruption, and they<br />

often reveal really funny ideas, or<br />

notice details about my surroundings<br />

that I would never consciously<br />

have picked up on.<br />

One of my all-time favourite<br />

outbursts is ‘replace every chimney<br />

in London with a penguin’. I’ve got<br />

a lot of different tics that I like. One<br />

that really caught my imagination was ‘the hippies<br />

of outrageous fortune weigh heavy on the minds<br />

of dogs’, which is obviously Shakespeare and all<br />

sorts of ideas mashed up together. To suddenly<br />

have that interrupting your day is an amazing gift.<br />

I haven’t always appreciated that.<br />

The turning point for me was a comment<br />

by my friend Matthew, who I co-founded<br />

[awareness-raising organisation] Touretteshero<br />

with. He described Tourette’s as a crazy languagegenerating<br />

machine, and told me that not doing<br />

something creative with my tics would be wasteful.<br />

That was the moment my mind started to open to<br />

the creative possibilities.<br />

I’m neurologically incapable of staying on<br />

script at all times. Every day what I’m going<br />

to say is a surprise to me. So doing that on stage<br />

is not drastically different. Thankfully I’ve got a<br />

fantastic co-performer called Jess Mabel Jones. We<br />

created the show together, and she’s absolutely key<br />

in helping me stay on track and say the things I<br />

want to say in a playful way. Steve Ramsey<br />

Backstage in Biscuit Land, Thurs 7 and Fri 8 <strong>May</strong>,<br />

<strong>Brighton</strong> Dome Studio Theatre, 8pm.<br />

See brightonfestival.org or touretteshero.com<br />



L I N K I N G T H E TO W N W I T H T H E D O W N S<br />

Right on the edge of Lewes, the gentle sloping fields of<br />

Landport Bottom offer panoramic views across the South<br />

Downs and the meandering River Ouse. These scenic<br />

meadows are a special place for people, wildlife and history.<br />

Thanks to a grant awarded as part of the<br />

Governments Nature Improvement Area (NIA)<br />

Scheme, Lewes District Council and Lewes<br />

Town Council, who own and manage the<br />

area, have completed a three year<br />

conservation project to improve the quality of<br />

the downland at Landport Bottom, including:<br />

• Extending fencing and clearing scrub and<br />

saplings to expand the chalk grassland.<br />

• Producing charcoal from fallen timber to<br />

demonstrate how local woodlands can be<br />

managed sustainably to generate resources.<br />

• Introducing grazing of Southdowns sheep<br />

to create a mosaic of habitats benefiting<br />

chalk downland wildlife.<br />

• A local school and<br />

residents have taken<br />

part in education<br />

days and guided<br />

walks to learn about<br />

the rare wildlife that<br />

lives in the meadows.<br />

The CHALKlife Festival<br />

Landport Bottom is the official site of the<br />

Battle of Lewes which took place on the<br />

14 <strong>May</strong> 1264. In spring 2014 a festival<br />

was held commemorating 750 years since<br />

the Battle. With the help of local Wallands<br />

Community Primary School and Nevill<br />

Juvenile Bonfire Society, The CHALKlife<br />

Festival celebrated the history and wildlife<br />

of the chalk downland landscape and all<br />

that it offers. Including, contributing to the<br />

local economy, a place for recreation and<br />

providing a fresh water supply, via chalk<br />

aquifers to the town of Lewes.<br />

A visit to Landport Bottom is truly worthwhile.<br />

This wildlife haven is easily accessible from<br />

the main road, and perfect for those wanting<br />

to spend a short time venturing up the hill to<br />

take advantage of the unique panorama of<br />

rolling chalk hills, glistening wet meadows<br />

and the historic town of Lewes.

the bluffer’s guide to...<br />

......................................<br />

Road Cycling<br />

‘Own the road’<br />

Everyone seems to think that<br />

having a good bike is the most<br />

important thing if you want to<br />

start getting serious about doing<br />

long recreational road rides.<br />

I disagree. Just make sure the<br />

wheels are round, the tyres are<br />

good, the brakes are working,<br />

and your gears are in order.<br />

The main piece of equipment<br />

you have is you. The fitter you<br />

get, the stronger a rider you<br />

will become. And you can get<br />

fit clocking up the miles on the<br />

bike. Core exercises won’t do<br />

you any harm, either.<br />

People take the piss out of<br />

cyclists for wearing Lycra, but it’s not just for<br />

show. Try cycling a long distance in jeans and<br />

you’ll wish you’d bought some padded Lycra<br />

shorts and leggings if it’s cold. Cycling jerseys dry<br />

quickly, and they have pockets in the back, for<br />

your phone, keys, wallet and wind-cheater. Don’t<br />

wear anything baggy, or that flaps around. Also<br />

take a gilet for extra warmth. Don’t worry about<br />

how you appear; there’s always an element of looking<br />

like Max Wall when you start taking cycling<br />

seriously. Anyway, when you’ve got fit and lean<br />

from cycling, nobody will smirk when you walk<br />

into a room wearing skin-tight gear.<br />

Think about safety. Wear a helmet. Wear something<br />

hi-viz, too, and make sure you have working<br />

lights for when it’s misty or dark. Never, ever, ever<br />

jump a red light.<br />

Don’t cycle too close to the kerb. Own the road.<br />

A lot of accidents happen when cars think they can<br />

overtake you and by the time they realise another<br />

Photo by Sarah Bane Avelo Images, 07771928201<br />

car is coming they’re going<br />

too fast to avoid you.<br />

Keeping a yard or so from<br />

the side of the road makes<br />

drivers slow down.<br />

Cycling suits all body<br />

types. And there are plenty<br />

of older cyclists, because the<br />

sport is kind to your joints,<br />

unlike running. It suits<br />

all personality types too,<br />

whether you’re competitive<br />

(there are plenty of races you<br />

can get involved in), nerdy<br />

(lots of gear and gadgets),<br />

adventurous (you get to<br />

learn a lot about your local<br />

area, or further afield) or sociable (go for a drink<br />

afterwards).<br />

Choose a route carefully. Avoid A-Roads and<br />

major roundabouts, which are particularly dangerous,<br />

especially if you’re a beginner. There are<br />

plenty of great routes around <strong>Brighton</strong>, and nowadays<br />

you can get help from websites, like Strava.<br />

Join a club. This is a good way to get out on road<br />

trips at the weekend. I run one called On the Rivet<br />

Velo Club which is open to all levels. We look after<br />

beginners, knowing they won’t be that way for<br />

long, and soon they will be looking after us, too.<br />

Enjoy yourself. Not only is cycling a costefficient<br />

form of transport, it can become a way of<br />

life. Wherever I’ve cycled I’ve made friends, too,<br />

many of them life-long friends. Rupert Rivett<br />

Rupert is the director of ‘cycling event creators’<br />

SRS Events: srs-events.cc/srsevents@ntlworld.com<br />

and runs the <strong>Brighton</strong>-based cycling club On the<br />

Rivet Velo Club ontherivet.ning.com<br />


*Based on an adult ticket at £465 on our 12 month free direct debit scheme.<br />

**On public transport within our extended travel zone.

football<br />

....................................<br />

Cup Fever<br />

Whitehawk FC manager Steve King<br />

I’ve arranged to meet Steve King outside Eastbourne<br />

Station – he lives in the town – and he<br />

makes quite an entrance, arriving on a Harley<br />

Davidson electric bike, wearing a grey buttonless<br />

blazer, sporting a blond Robbie Williams hairdo.<br />

Steve is the manager of Whitehawk FC, who are<br />

playing Lewes FC in the final of the Sussex Senior<br />

Cup on <strong>May</strong> 16th, at the Amex Stadium. This is<br />

a big deal for both clubs’ players and fans, and it’s<br />

quite a big deal for Steve: he was twice manager<br />

of Lewes FC, and was in charge of the club when<br />

they jumped up three divisions in three years<br />

between 2005 and 2008.<br />

His football teams are just as eye-catching as he is.<br />

He favours attacking formations with two wingers,<br />

overlapping full backs, and clever midfielders; this<br />

year, his first full year in charge, Whitehawk FC<br />

have been chasing promotion to the Conference. If<br />

they succeed, next year they might be playing the<br />

likes of Bristol Rovers, Wrexham and Halifax.<br />

Five minutes later we’re sat in Wimpy, with cups<br />

of tea. “Football is an entertainment business,” he<br />

says. “There’s no point in trying to win 1-0. You’ve<br />

got to entertain the fans. That’s my way.” He<br />

knows I know this – we go way back.<br />

I ask him if he’s been extra motivated by the fact<br />

that Lewes are the opposition. Steve was replaced<br />

twice by the club, despite delivering positive results<br />

on the field. The first time he lost his job, he<br />

had just won Lewes promotion to the Conference.<br />

The second time, they were third in the Ryman<br />

Premier table. He refuses to be drawn. “I just want<br />

Whitehawk to win, because the owners of the club<br />

asked me to try my hardest to win this trophy.”<br />

But is he happy that it’s Lewes he’s facing? “I went<br />

to their semi (against Loxwood FC). I knew they<br />

would win. And yes, I wanted them to. It’s going to<br />

be an interesting final.”<br />

We talk about old times, and new times. How he<br />

dedicated the last Sussex Senior Cup trophy he<br />

won, with Lewes against Horsham FC in 2006, to<br />

two of their oldest fans, Ethel, and her husband<br />

Gordon, who passed away before the final was<br />

played. How much he values the contribution to<br />

the team of Whitehawk’s Argentinian midfielder,<br />

Sergio Torres, a clever box-to-box all-rounder,<br />

and the darling of the fans. How Whitehawk’s<br />

extremely loud behind-the-goal fans, the ‘Whitehawk<br />

Ultras’, motivate the team. “They have<br />

bugles, and drums, and the biggest flags you’ve<br />

ever seen,” he says. “They sing all through the<br />

match, whatever the score is. Mad songs. How’s it<br />

go? ‘Meat pie, sausage roll, come on Whitehawk<br />

give us a goal.’”<br />

And finally, the venue. Is it good that the match<br />

will be at the Amex? “It’s brilliant, for the players,<br />

and the fans. Like a local Wembley. Half of Lewes<br />

will be there, I bet… but I also bet our lot will<br />

make more noise.” Alex Leith<br />

Lewes v Whitehawk, Sussex Senior Cup Final, Amex<br />

Stadium, <strong>May</strong> 16. Tickets from whitehawkfc.com or<br />

at the gate.<br />

Photo by JJ Waller, jjwaller.com<br />


inside left: skateboarding, 1975<br />

...................................................................................<br />

“That’s my brother, David, aged about 14, coming down the slope towards the Aquarium,” says<br />

Steve James, who took the shot back in 1975. Dave and Steve were part of a group of teenage<br />

surfers, who used to skateboard instead when the waves were calm. These guys were pioneers:<br />

this was a full year before the (first) skateboard craze went national, in the hot summer of ’76.<br />

“We used to get Hamaco [roller-skate] wheels and trucks from Alpine Sports, on the rare occasions<br />

they stocked them, and make our own boards,” continues Steve, four years older than his<br />

brother. “This was before the urethane wheels: they were made of nylon, and they used to slide<br />

all over.” There were two gangs of teenage surfer/skateboarders, each about 15-strong: Steve<br />

and David’s based near the West Pier, another near the Palace Pier; both would skateboard<br />

when they weren’t in the sea. “Wherever there was smooth asphalt, we’d be there doing turns<br />

and 360s, and all sorts,” he remembers. “<strong>Brighton</strong> Station, the road they were building down to<br />

the Marina construction, the roof of the Aquarium, the slope in front of [old] Churchill Square.”<br />

Of the latter: “WH Smiths used to have these ceiling-to-floor glass windows, and sometimes<br />

the boards would smash into them, and we’d all have to leg it.” The soundtrack to all this was<br />

Pink Floyd, and the Alex Harvey Band; they’d get their second-hand American gear from a<br />

shop called Max’s, on Union Street, off the Lanes. In the picture David is sporting a Pittsburgh<br />

Steelers jacket, inherited from his brother. Steve is still into surfing, and professionally fashions<br />

boards, from his now home in Bude Cornwall, for MellowWave (mellowwave.co.uk). Thanks to<br />

MellowWave’s Mark Iles for helping source the picture.<br />


eeze up<br />

to the Downs<br />

kids go<br />

FREE!<br />

See leaflets<br />

for details<br />

77<br />

You can now breeze up to Stanmer<br />

Park and Devil’s Dyke by bus<br />

seven days a week, and up to<br />

Ditchling Beacon at weekends.<br />

For times, fares, leaflets and walk ideas,<br />

go to www.brighton-hove.gov.uk/breezebuses<br />

or call 01273 292480<br />

Or visit www.traveline.info/se<br />

to plan all your journeys.<br />


SUNDAY<br />

28 JUNE<br />

01273 709709<br />

brightondome.org<br />

reginalddhunter.co.uk<br />

mickperrin.com<br />




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