Viva Brighton Issue #52 June 2017

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find out why so many<br />

students choose<br />

sussex downs college<br />

year 10 taster days<br />

eastbourne campus: 10 th & 11 th July <strong>2017</strong><br />

lewes campus: 13 th & 14 th july <strong>2017</strong><br />

To book your place please visit:<br />


vivabrighton<br />

<strong>Issue</strong> 52. <strong>June</strong> <strong>2017</strong><br />


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

Most things in life are nicer if you take a little time over<br />

them. Lean back into them. Luxuriate in them.<br />

This is the domain of print. The artfully bound book, the<br />

hushed aisles of a bookshop, the beautifully made magazine.<br />

While whole libraries can be contained on a single harddrive,<br />

and information zips around without even the need<br />

for wires, there is no substituting the tangibility of print.<br />

It’s sensory. You can smell it in the air: the aging paper in<br />

a library, the inky whiff of a newly minted magazine. You<br />

can feast your eyes on the art of the cover. Linger over the<br />

illustrated plate. Hear the promising creak of a freshly broken spine. Feel the slip of a coated<br />

page beneath your fingers, the breeze of a turning page. It’s a quality-of-life thing.<br />

So ‘print’ is the (slightly self-indulgent and somewhat meta) theme of this issue. And, as ever,<br />

its content has been discussed, commissioned, researched, written, photographed, illustrated,<br />

sub-edited, proofread, laid out, and proofread again. Any minute now we’ll be consigning it to<br />

print. Sending it off to the printers who’ll take our pages and, in a time-honoured yet stateof-the-art<br />

process, print, bind and check them. Make flesh our words and pictures. All 15,000<br />

copies. Then our distribution team will get it to you. So consider this an invitation to sit back<br />

and spend a little time with us. We’ve earned it. And you probably have too.<br />

THE TEAM<br />

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

EDITOR: Lizzie Lower lizzie@vivamagazines.com<br />

DEPUTY EDITOR: Steve Ramsey steve@vivamagazines.com<br />

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

WRITER/DESIGNER: Rebecca Cunningham rebecca@vivamagazines.com<br />

PHOTOGRAPHER AT LARGE: Adam Bronkhorst mail@adambronkhorst.com<br />

PUBLISHER: Becky Ramsden becky@vivamagazines.com<br />

ADVERTISING: Hilary Maguire hilary@vivamagazines.com, Sarah Jane Lewis sarah-jane@vivamagazines.com<br />

ADVERTISING/ADMIN: Kelly Hill kelly@vivamagazines.com<br />

DISTRIBUTION: David Pardue distribution@vivamagazines.com<br />

CONTRIBUTORS: Alex Leith, Amy Holtz, Andrew Darling, Ben Bailey, Cara Courage, Chloë King,<br />

Chris Riddell, JJ Waller, Jay Collins, Joda, Joe Decie, John Helmer, Lisa Devlin, Lizzie Enfield,<br />

Mark Greco, Martin Skelton, Michael Blencowe and Nione Meakin<br />

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

For advertising enquiries call 01273 810 296. Other enquiries call 01273 810 259<br />

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

Sussex Community Festival<br />

Join us for a day of<br />

entertainment and discovery<br />

SUNDAY 25 JUNE <strong>2017</strong> – 11AM TO 4PM<br />


Visit the beautiful University of Sussex campus for our free one-day Community Festival.<br />

Bring your family and friends and enjoy a packed programme of entertaining events and activities.<br />

See how scientific discoveries are made with a guided lab tour.<br />

Learn about law courts by engaging in a mock trial.<br />

Explore a ‘bee’s eye view’ of the world using virtual reality.<br />

Try out a range of exciting sports, including handball and extreme Frisbee.<br />

Enjoy live music at our Attenborough Centre for the Creative Arts.<br />

Discover the beautiful South Downs on a campus boundary walk.<br />




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

Bits and bobs.<br />

8-21. A stallroom political agitator. A royal<br />

‘shampoo surgeon’. A stern librarian. A<br />

disorganised cartoonist. A plate-spinning<br />

illustrator. A meta pub sign. And a (partly)<br />

naked peloton.<br />

8<br />

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

22-23. Ignoring the death-of-the-book<br />

rumours since 1981: Inge Sweetman,<br />

from City Books.<br />

Photography.<br />

25-29. Super Mario, Trump, and (too much)<br />

flesh: Brits in Benidorm, by JJ Waller.<br />

43<br />

46<br />

Columns.<br />

31-35. Lizzie Enfield ponders The<br />

Enigma of William X, John Helmer<br />

meets some indolent cats, and Amy Holtz<br />

has her mind melted (for six minutes and<br />

24 seconds).<br />

On this month.<br />

37-49. Staging Shakespeare plays<br />

(hurriedly). Losing one’s faith (nervously).<br />

Embracing life’s confusion (confusingly).<br />

Being Scummy Mummies (wittily).<br />

Illustrating children’s books (prolifically).<br />

Celebrating DIY publishing (informally).<br />

And Funking the Format (musically).<br />

....5 ....


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

Art and design.<br />

50-59. From passports to paintings: the<br />

now-legit forger David Henty. Plus, a Pink<br />

Floyd album cover artist, and a goblinlyric-inspired<br />

oil painting.<br />

The way we work.<br />

61-65. From letterpress text to abstract<br />

jumpers: the diverse world of printmaking<br />

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

Food and drink.<br />

67-73. Word-of-mouth gets out of control<br />

in North Laine. The whole coffee-culture<br />

system is overthrown on St James’s Street.<br />

And a greasy hangover cure is sought but<br />

not found on Trafalgar Street.<br />

82<br />

58<br />

68<br />

Features.<br />

74-97. 3D-printing body parts. Organising<br />

a snap election. Writing to cancer<br />

patients. Ignoring cranefly scare-stories.<br />

Founding a radical publisher. Printing<br />

this magazine. Running an old-document<br />

hospital. And remembering the Argus’<br />

glory days.<br />

Inside left.<br />

98. George Street in Hove, during its<br />

brief trackless-tram experiment.


SUMMER OPERA FESTIVAL <strong>2017</strong><br />




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

A few months back, we gave local illustrator<br />

and book designer Olivia Waller a list of our<br />

upcoming themes, and asked if she’d be interested<br />

in designing a cover for any of them. One jumped<br />

out at her: “I saw ‘print’, and that’s such a big part<br />

of my process,” she says. “When I was at university<br />

in Kingston I worked in the print rooms a lot,<br />

and after I finished studying I worked there as a<br />

print technician. I was originally going to go up<br />

there to print the cover, but it’s deadline time for<br />

students at the moment so it’s really busy.” Instead<br />

she decided to create the design as a stencil print.<br />

“The process of making the cover was drawing<br />

out the whole image, and then working out the<br />

layers that I wanted. Then I cut out a stencil and<br />

used a paintbrush and a sponge to create each layer<br />

individually. I made a few different versions to get<br />

the textures that I wanted, and then I scanned each<br />

layer and put them together on Photoshop, so it’s<br />

kind of like a cross between a real-life print and<br />

a not-real-life print...” Using a mixture of digital<br />

and manual processes meant she could tweak the<br />

colours of the layers to get them just right. “There<br />

are only actually about four different layers, so<br />

the dark greeny colour is the yellow and the blue<br />

colour on top of each other, and the orange is a<br />

mixture of the pink and the yellow.”<br />

Olivia spent last year working for Penguin,<br />

in central London, but this year she’s back in<br />

<strong>Brighton</strong> and focusing on freelance work. “I’ve<br />

been working for local book publishers, and I’ve<br />

done some freelance work for Penguin, mainly<br />

book cover designs, and some illustration as well.<br />

Working freelance is really good fun but it’s a<br />

case of spinning plates, having a lot of different<br />

things happening all at the same time and trying<br />

to give each one a bit of attention.” She’s managed<br />

to fit in a few of her own exhibitions alongside,<br />

including one called Sassy Ladies, a series of 40<br />

portraits of women. “Some of them were women<br />

from real life, and some were women in fiction<br />

that I wanted to give a bit of a boost. So there was<br />

one of Persephone from Greek mythology – the<br />

story is that she accidentally eats this pomegranate<br />

and then accidentally becomes queen of the<br />

underworld… I wanted her to be more like, ‘I<br />

wanted to be queen of the underworld and now I’ve<br />

got it!’ All of the ladies had power to them, which<br />

was the important thing.<br />

“Another side of what I do is comic-based stuff. I<br />

....8 ....


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

started a graphic novel called Hotel Limbus as part<br />

of my degree show, and I’ve done more work on it<br />

since. It’s a non-linear story about these characters<br />

in a hotel over one night, and it’s told through the<br />

answerphone messages they leave to one another<br />

while something happens… and you’ve got to<br />

work out what’s going on. Another project I did<br />

was a runner-up for the Jonathan Cape/Observer/<br />

Comica Graphic Short Story Prize 2015 - it was a<br />

story inspired by the small towns that I grew up in,<br />

and the way rumours in small communities can be<br />

spread so quickly about people. It’s about a butcher<br />

who runs into a bit of trouble around Christmas<br />

time because he’s being pushed out by a trendy new<br />

butcher’s over the street, and he’s a gay man but he<br />

feels like he can’t really come out in this community,<br />

so he’s really troubled in that sense, and it all kind of<br />

builds up on him… it’s not a happy ending. It’s part<br />

of a collection of stories I’m working on based on<br />

rumours, and they’re so much fun to write because<br />

the more you ask around, the more stories you hear.<br />

Some, you wouldn’t believe…”<br />

Olivia is currently working on a solo exhibition<br />

that will be opening in Kensington Gardens this<br />

summer. Find out more at oliviawaller.co.uk<br />

Interview by Rebecca Cunningham<br />

....9 ....


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


What do you do at Grassroots?<br />

Our focus is suicide prevention.<br />

Our core belief is that suicide is<br />

preventable and that each life lost to<br />

suicide is a tragedy in its own right.<br />

How do you reach out to people<br />

in need of help? We’ve developed<br />

an app, designed to help those<br />

who are worried about others - what they should say,<br />

what they shouldn’t say - as well as people in crisis.<br />

We also provide training for individuals and other<br />

organisations in how to spot the signs that somebody<br />

may be at risk. When suicide does happen it has a<br />

devastating impact on the community. People often<br />

ask themselves, why didn’t I know? Why didn’t I ask?<br />

Those are the questions we address with our training.<br />

How can we be more aware of people being at<br />

risk? Be alert. Not everyone who thinks about suicide<br />

will tell someone, but there may be<br />

warning signs. Be honest. Tell the<br />

person why you’re worried about<br />

them, and don’t be afraid to use the<br />

word ‘suicide’. Listening is one of the<br />

most helpful things you can do, but<br />

try not to judge or give advice. Get<br />

them help - there are ideas on our<br />

website if you’re not sure. And take care of yourself.<br />

How can people get involved? Go online and take<br />

our ‘Tell Me’ pledge, and download the ‘Stay Alive’<br />

app. If you see one of our graffiti boxes, share it on<br />

Facebook and Twitter. Join our fundraiser on <strong>June</strong><br />

1st at the Hope and Ruin, or if you’re interested in<br />

organising your own, get in touch – we welcome<br />

all donations. Rebecca Cunningham interviewed Stella<br />

Comber and Tiffany Ansari<br />

prevent-suicide.org.uk<br />

Often, a change<br />

of direction is<br />

all you need…<br />

The Link Centre is a friendly, relaxed professional learning environment,<br />

which runs flexible part-time courses in psychotherapy and counselling.<br />

We also run a number of regular weekend and weekday short courses,<br />

including our popular Introduction to Transactional Analysis course,<br />

and a variety of top-up-skills workshops.<br />

We have limited spaces available on our<br />

<strong>2017</strong>/18 courses. To find out more, or to<br />

apply, please call us on 01892 652487<br />

or email us on info@thelinkcentre.co.uk<br />

www.thelinkcentre.co.uk<br />

Training in Counselling & Psychotherapy • Personal Counselling, Psychotherapy<br />

& Coaching • Transactional Analysis Courses • Mindfulness Courses

kids go<br />

free!<br />

See leaflets<br />

for details<br />

breeze up<br />

77<br />

to the Downs...<br />

Breeze up to Devil’s Dyke,<br />

Stanmer Park or Ditchling<br />

Beacon by bus!<br />

For times, fares, leaflets and<br />

walk ideas: Visit<br />

brighton-hove.gov.uk/breezebuses<br />

Phone 01273 292480<br />

Or visit traveline.info/se<br />

to plan any bus or train journey<br />

6170<br />


Elaine Baird joined the County Borough of <strong>Brighton</strong> library services in 1954,<br />

at a time when librarians were stern keepers of the peace. Colleagues of Miss<br />

Baird, as she was invariably known, remembered her as ‘tall, imposing and<br />

commanding respect’ and that she ‘epitomised how you expected a typical<br />

librarian to look, with her dress and bearing’. Scary, then.<br />

More at home with books than people, she became a reference librarian in the<br />

late 60s. An obituary in the Library Association Record noted that ‘relationships<br />

with the Lending Library and with <strong>Brighton</strong> Museum and Royal Pavilion…<br />

were not always smooth’ and that ‘managing staff was not her forte’. That said,<br />

she was protective of her team. The same obituary recalled her administering<br />

Stone’s Ginger Wine in the midst of winter and how, when spotting a ‘suspect, bomb-like package’ in the<br />

library, she ‘hurled a Kompass directory at it, while telling her staff to duck behind the counter.’ A tactic, no<br />

doubt, learnt in her time in the ATS (Auxiliary Territorial Service).<br />

She retired from the library in the early 80s, but never quite left public service. She joined Worthing<br />

Borough Council as a Conservative, and felt so strongly about the pot-holed streets that she opted to serve<br />

on the highways committee. Fitting, then, that her name should grace the front of a bus. Although she’d be<br />

furious about the state of the roads. She died in October 2008 aged 88. Lizzie Lower<br />

With thanks to Wendy Barrett, Wendy Jackson, Alison Minns and the staff at Jubilee Library<br />

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



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


From A to Be<br />

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What did I miss?<br />

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Primary colours:<br />

Highlight colours:<br />


PechaKucha is back on Wednesday <strong>June</strong> 28th, with the theme ‘Peeps’<br />

- stories to see from <strong>Brighton</strong> folk. The format is simple: ten or<br />

so presenters talk in the 20 images x 20 seconds format with<br />

their slideshow projected on screen. It’s quickfire, it’s<br />

informative, and it’s extremely entertaining. It also sells<br />

out every time, so if you’re interested, get in fast – ticket<br />

details at pechakucha.org/cities/brighton.<br />

It’s curated by designer/artist/educator Zara Wood,<br />

aka Woody, and <strong>Viva</strong>’s Alex Leith. The full line up<br />

hadn’t been announced as we went to press, but<br />

presenters include architect Nick Lomax, ethnographer/<br />

photographer Curtis James, artist and Skip Gallery<br />

founder Catherine Borowski, and photographer Adam<br />

Bronkhorst, whose work you will be extremely familiar<br />

with if you’re a regular reader of this mag. As ever, it takes<br />

place at the Nightingale Room over Grand Central, Surrey Street,<br />

from 7 to 10pm. Tickets cost £5.<br />



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


<strong>Brighton</strong>’s leg of the World Naked Bike Ride returns<br />

to the city streets on Sunday the 11th. This year the<br />

theme is ‘One World’, and it’s an opportunity, in<br />

politically divisive times, to raise awareness of global<br />

issues like the right to clean air, a stable climate and<br />

safe shared road space for cyclists. And, if that weren’t<br />

reason enough, <strong>2017</strong> marks the 200th anniversary of<br />

the invention of the bicycle. Which are all things the<br />

event organisers suggest you celebrate by taking your<br />

clothes off and joining the ride.<br />

Assemble at the Level from 1pm for a 1.30pm<br />

departure. Whilst nudity is a powerful symbol of<br />

cyclists’ vulnerability, it is not compulsory - the dress<br />

code is ‘as bare as you dare’.<br />

There’ll be a (ticketed) post-ride party at the Volks<br />

Club on Madeira Drive from 6.30pm, with food, local live musicians, bike cocktails, dancing and a raffle. Dress<br />

code: pants (minimum)! worldnakedbikeride.org/brighton<br />

Illustration by Jiaqi Wang<br />

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Call us on 01273 838 674 for an immediate and no obligation quote.<br />

QualitySolicitors<br />

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BRigHToN oFFiCe - 96 Church Street, <strong>Brighton</strong> (just up from the Dome)<br />

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Please see our website for full Terms & Conditions

Painting by Jay Collins<br />


Is there a better pub sign in the city than the<br />

three-dimensional, eight-pointed, red-andblack<br />

affair, surrounded by iron foliage, which<br />

announces that you’ve made your way to the<br />

Evening Star?<br />

It’s a clever bit of marketing. Until 1992 the<br />

pub was a bog-standard Courage pub, albeit one<br />

handily placed near the station with interestingly<br />

shaped windows and a sun trap of a front yard.<br />

They had an everyday flap-in-the-wind sign, with<br />

the words ‘Evening Star’.<br />

Then it became a free house, and soon had a<br />

micro-brewery in its cellar, run by brewer Rob<br />

Jones. The brewery was given the same name<br />

as Jones’ popular porter – Dark Star – and their<br />

logo was fashioned as a star, after the name of the<br />

pub as well as the beer. Real-ale lovers have been<br />

flocking to it ever since, even though the brewery<br />

moved to bigger premises near Haywards Heath<br />

in 2001 (and then on to Partridge Green). And in<br />

2009 Dark Star – who by now owned and ran the<br />

pub – got the new sign fashioned, by a blacksmith,<br />

to give body to the logo, and to evermore<br />

fuse the two institutions. How meta is that?<br />

Surrey Street was built in the 1830s, and the<br />

first listing I can find of the Star is from 1850. It<br />

looks like its first landlady, a Mrs Anne Scott, was<br />

responsible for knocking down the wall between<br />

two terraced houses, Nos 55 and 56, to create<br />

space for a bar and tables. Then, as now, it was off<br />

the beaten track. 170 years’ worth of DFLs fresh<br />

off the train have never had a clue that it’s there:<br />

those who go to the Star go because they want to.<br />

And the main reason is the beer. As well as three<br />

or four of Dark Star’s own ales, there’s always a<br />

great selection of guest ales, including lagers and<br />

ciders, written up on their idiosyncratic blackboard,<br />

nicknamed ‘The Wall of Ale’.<br />

The pub was closed for three weeks in February/<br />

March for a refit, which had punters worried that<br />

somebody, somewhere was thinking of rebranding<br />

it. There was no need. The floor has been<br />

scrubbed, there’s a fab new hand-crafted mirror,<br />

and its facade – and that hanging star – have had<br />

a lick of glossy paint. Otherwise – thankfully - it<br />

hasn’t changed a bit: no music, no hot food, just<br />

beer and conversation. As I find one hot May afternoon,<br />

when I toast the place anew, standing in<br />

that sun-trap yard, with a frothy pint of Hophead.<br />

Alex Leith<br />




WIFI<br />

IS IT SAFE?<br />

SUNDAY 11 th JUNE 12.30-6.30PM<br />

All Saints Centre, Friars Walk, Lewes BN7 2LE<br />

Book in advance please as spaces are limited<br />

Bob: 01273 726401 / 07971 761816 or brighton.bobby@gmail.com<br />

Peter Gane: 01935 423002


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

© Royal Pavilion <strong>Brighton</strong><br />



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



This month sees the opening of Jane Austen by<br />

the Sea, a display in the Royal Pavilion that will<br />

explore the great novelist’s relationship with the<br />

seaside, sea-bathing and the Prince Regent. Print<br />

culture in every form was hugely important in<br />

Austen’s time and, of course, to her personally.<br />

We have therefore included first editions of her<br />

books, early guidebooks of ‘watering places’,<br />

ephemera from early libraries, Regency magazines<br />

with colourful fashion plates, and hilarious<br />

Georgian caricatures and political cartoons.<br />

Among the exhibits is a print I particularly like<br />

(left): an image of a man of Indian origin, dressed<br />

in what appears to be Indian clothing, standing<br />

against an imagined landscape. The building is<br />

reminiscent of both the Royal Pavilion and the<br />

images created by Thomas and William Daniell,<br />

two artists who had spent years in India in the<br />

1780s and 90s, and subsequently painted an<br />

impression of India for a Western audience keen<br />

to see pictures of the unfamiliar East.<br />

The man in the print is Sake Deen Mahomed,<br />

one of the best-known early entrepreneurial<br />

Asian immigrants to Britain. He was born in<br />

1759 in Patna, north-eastern India, joined the<br />

Native Infantry of the East India Company,<br />

and had a successful military career. In 1784 he<br />

moved to Ireland, where he studied English and<br />

fell in love with an Irish woman whom he later<br />

married. In 1794 he published a book in English<br />

about his travels and moved to London with his<br />

family in 1807. There he opened a Hindoostane<br />

Coffee House, and introduced Indian cuisine to<br />

the English palate, before becoming a professional<br />

‘shampooer’ in <strong>Brighton</strong>, where he opened<br />

Mahomed’s Baths near the seafront in 1812. His<br />

business was described in advertisements as ‘The<br />

Indian Medicated Vapour Bath, a cure to many<br />

diseases and giving full relief when everything<br />

fails; particularly Rheumatic and paralytic, gout,<br />

stiff joints, old sprains, lame legs, aches and pains<br />

in the joints’. He eventually became ‘shampooing<br />

surgeon’ to George IV and William IV.<br />

The print, a lithograph by Thomas Mann Baynes<br />

printed by Charles Joseph Hullmandel, is one<br />

of many images of the illustrious Sake Deen<br />

Mahomed. It is a testament to Georgian society’s<br />

continued fascination with the East in general,<br />

and respect for Mahomed in particular. The<br />

dress he is wearing in this picture was a cultural<br />

hybrid, probably invented by Mahomed himself<br />

and worn at court, with the intention of looking<br />

both exotic and modern, combining Eastern<br />

and Western features. Under the thigh-length,<br />

long-sleeved silk coat in the style of Indian court<br />

dress, for example, he wears a pair of tailored<br />

long breeches that are in fact a very early pair of<br />

trousers. Astonishingly, Mahomed’s extraordinary<br />

outfit survives in our collection, and we will<br />

display it alongside the print in the Jane Austen<br />

exhibition. A large portrait of Mahomed, in Western<br />

dress, can be seen in the history galleries of<br />

<strong>Brighton</strong> Museum.<br />

Alexandra Loske, Curator, Royal Pavilion Archives<br />

Jane Austen by the Sea opens at the Pavilion<br />

on 17th <strong>June</strong>. brightonmuseums.org.uk<br />


Fine décor and many<br />

original features are woven<br />

into this wonderful house.<br />

Expansive, beautiful and<br />

sublime, this is a home that<br />

makes perfect sense.<br />


TO HOME<br />



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


Oh, <strong>Viva</strong>. We’ve liked you since<br />

we first met. A proper, wellwritten,<br />

beautifully illustrated<br />

local magazine, not driven by<br />

press releases, and free. I mean,<br />

what’s not to like?<br />

Your monthly themes intrigue us.<br />

How do you choose? Whatever<br />

they are, we always accept the<br />

challenge of finding one of our<br />

magazines that is properly related<br />

to your theme.<br />

And then you go and choose<br />

‘print’ as this month’s theme. You want a column<br />

about a small-circulation magazine where the<br />

publishers and owners spend hours thinking about<br />

the right paper on which to print and then actually<br />

go to the printers to watch their magazine roll off<br />

the press, making sure everything looks just right?<br />

One magazine out of the hundreds we have on our<br />

shelves? Come on. That’s just unfair.<br />

Until, that is, John Coe unexpectedly came to our<br />

shop with the first issue of a new<br />

magazine he publishes. It’s called<br />

Pressing Matters, and it’s good. As<br />

the cover says, it’s all about the<br />

passion and process behind modern<br />

printmaking. In this issue,<br />

you can read about printers and<br />

print designers, about how they<br />

do it, why they do it and where<br />

they do it. You can look at a wideranging<br />

series of different prints<br />

across a range of printmaking<br />

techniques and approaches.<br />

So there it is. Our selection problems answered by<br />

John’s appearance in the shop. Even if <strong>Viva</strong> hadn’t<br />

chosen print as the theme of the month, we would<br />

have wanted to let you know about Pressing Matters<br />

as soon as possible. Now we’ve hopefully given<br />

Pressing Matters a little more public awareness and,<br />

yet again, we’ve linked the <strong>Viva</strong> theme to a magazine.<br />

Let the presses roll.<br />

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


You don’t always get what you want and this is,<br />

for our toilet-graffiti correspondent, a painful reminder<br />

of what can go wrong when you air your<br />

political views on a pub-toilet wall (or Twitter,<br />

Facebook etc) rather than a ballot paper.<br />

Get yourself to a polling station on the 8th.<br />

That’s the politics over (for now).<br />

Last month’s answer:<br />

Presuming Ed (again)<br />


Photo by Adam Bronkhorst, adambronkhorst.com<br />



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

MYbrighton: Inge Sweetman<br />

Co-owner of City Books<br />

Are you local? I’m not. I was born and bred in<br />

Twickenham. But my husband, Paul, is a <strong>Brighton</strong>ian.<br />

We met many moons ago when we were<br />

both employees of WH Smith’s, when they had<br />

proper bookshops. Our eyes met across a training<br />

room. We’ve worked in every branch of Smith’s<br />

from Hastings to Portsmouth between us.<br />

When did you set up City Books? 31 years ago.<br />

We could see the way it was going, we were still<br />

young, and we thought: ‘It’s now or never’. We<br />

were living in Portsmouth and Southsea, which<br />

we loved, but we knew that a bookshop wouldn’t<br />

work down there. Not what we wanted to do. Paul<br />

knew that <strong>Brighton</strong> was where we needed to look,<br />

and there was a remainder bookshop already here,<br />

which we bought. A lot of what we do is recommending<br />

books to our customers and expanding<br />

their reading. That’s part of the pleasure: ‘You<br />

liked that, well have you tried this?’ We also love<br />

to bring authors to speak in the city. Will Self was<br />

the first, about 17 years ago, and since then we’ve<br />

had the likes of Tony Benn, Vic Reeves, Vivienne<br />

Westwood and David Attenborough.<br />

Who are your customers? With two universities<br />

in the town, we get a lot of students. Then<br />

there’s the customers who come in every other day<br />

and we’re part of their social network. They’ve<br />

convinced their families to just give them book<br />

tokens and can normally get from Christmas to<br />

their birthday without spending too much of their<br />

own money. We get to know some of them very<br />

well, and they all love independents and are keen<br />

to make sure that we survive. I do wish people<br />

wouldn’t always keep talking bookshops down.<br />

Stop talking them down or they will die. That happens<br />

with books too. We’ve lived with the ‘death<br />

of the book’ since I started bookselling in 1981,<br />

and the books are still here, strong as ever.<br />

Why do you think people still want print? Isn’t<br />

it so lovely? To feel it. Smell it. You can mark it if<br />

you want to (which gives me the heebeegeebees),<br />

you can turn your pages down (which makes me<br />

feel quite ill), you can break the spine (which I<br />

hate). And you can snoop on a train and see what<br />

people are reading. You can’t do that with screens.<br />

We’ve struck up wonderful conversations with so<br />

many people just because of what they are reading.<br />

Is <strong>Brighton</strong> a good place to run an independent<br />

bookshop? It is. People want something<br />

alternative, something unusual. They don’t want<br />

pile-it-high-and-sell-it-cheap, necessarily. They<br />

want us to have a whole section on Africa, on<br />

North Korea, they want the latest book on Brexit.<br />

Stockholding bookshops do well in <strong>Brighton</strong><br />

because people want to be better informed.<br />

What do you like most about the city? I love<br />

the fact that you can walk down the road and<br />

nobody bats an eyelid at who’s who, who’s wearing<br />

what, who’s doing what. No one worries. Anything<br />

goes. There isn’t really anything I don’t like, apart<br />

from maybe the parking. I feel really proud of our<br />

city. Even in miserable weather it’s an inspiring<br />

place to be.<br />

What do you do on a day off? We don’t often get<br />

weekends off, but I love to meet friends for lunch<br />

or tea. I love the dippy eggs upstairs at I Gigi, if<br />

I go in the morning, and their bubble & squeak.<br />

If I’m going for tea, Terre à Terre is really special.<br />

And the Hidden Pantry on Blatchington Road is<br />

wonderful for breakfast. I’m an early bird. Once it<br />

gets dark, I just want to go to bed.<br />

Interview by Lizzie Lower<br />

city-books.co.uk<br />

23 Western Rd, Hove, BN3 1AF<br />


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

JJ Waller<br />

People-watching in Benidorm<br />

Photo of JJ Waller by JJ Waller<br />

“Yes, there is a certain<br />

theatricality in my pictures,<br />

and I think that harks back<br />

to my performing days,”<br />

says JJ Waller, who this<br />

month shares with us a selection<br />

from his new Benidorm<br />

project. “A lot of my<br />

pictures are shot square on,<br />

as if looking at a stage set. I<br />

find a location and wait for<br />

something to happen, and<br />

it usually does. It’s life. I’m<br />

inquisitive about the world<br />

around me. I think there’s a popular word for it<br />

now – a flâneur – and I definitely see myself in that<br />

category. Wandering, absorbing, watching people<br />

moving around as if extras on a giant film set.”<br />

There was a time when things were the other way<br />

around, and people watched JJ. First in Covent<br />

Garden, as a street entertainer, then later on stage,<br />

at festivals and comedy clubs. His transition from<br />

performer to photographer was “not planned and<br />

not based on any particular ambition. Just a series<br />

of swinging doors and taking steps through them.<br />

I was performing at the time, and I was beginning<br />

to feel stale and uninventive.” So a photography<br />

evening class turned into an editorial-photography<br />

degree, and a change of career. “It took a few years<br />

before I developed a style that might have been<br />

recognisable as a JJ Waller style.” It’s a style that<br />

has been described as ‘beyond the postcard’ and<br />

‘saturated with life’.<br />

Having captured <strong>Brighton</strong> in his first two books,<br />

his third was shot over a nine-year period further<br />

along the coast. “My wad of train tickets was thicker<br />

than a pack of playing cards. I’d been to Hastings<br />

a few times and thought it was interesting,<br />

but I soon realised that the story, for me, was in St<br />

Leonards. It reminded me<br />

of aspects of an eighties<br />

<strong>Brighton</strong>, rough around<br />

the edges with a faded<br />

grandeur, but also a town<br />

on the cusp of change.<br />

It’s an amazingly eclectic<br />

little town.” Next JJ<br />

headed north, having won<br />

a commission to capture<br />

modern-day Blackpool.<br />

“I chose a long weekend<br />

when there was a same-sex<br />

ballroom-dancing competition,<br />

Blackpool Pride and an air show. I was<br />

out for ten hours a day; the place really captured<br />

my imagination. I loved it, and went seven times<br />

that year.” The Blackpool book didn’t sell as well<br />

as the others. “Blackpool’s visitors have a nostalgic<br />

vision. I tried to present the town in a very positive<br />

light, but you have to be honest, and I couldn’t fill<br />

a book with just pages of donkeys and trams. I’m<br />

very proud of the final book, though.”<br />

Thinking about where to go next, he concluded<br />

that it had to be Benidorm, “because it carries on<br />

the continuity of the British on holiday. The package<br />

holidays of the 60s changed the Brit holiday<br />

experience forever. Benidorm seemed the logical<br />

place to carry on my picture story.” What did he<br />

think of it when he got there? “It’s like Blackpool<br />

with sun. There’s a whole area called the British<br />

Square that offers loads of picture opportunities.”<br />

Whilst he’s made a career of watching the British<br />

at play, the work has taken on a serious purpose<br />

for JJ. “I think my images will offer up an insight<br />

and significance for future generations. I would<br />

like to think that I’m making a contribution to the<br />

towns I photograph and their evolving histories.”<br />

Interview by Lizzie Lower<br />



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



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



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



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


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COLUMN<br />

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

Lizzie Enfield<br />

Notes from North Village<br />

I’ve been suffering from a Smiths earworm,<br />

triggered by crossing the railway bridge at London<br />

Road station.<br />

“William, it was really nothing,” starts droning inside<br />

my head.<br />

Not even an accurate earworm, because clearly it must<br />

have been something, whatever it was that caused<br />

whoever it was to paint the words on the pavement<br />

just before you cross the bridge.<br />

“THANKYOU, WILLIAM X” it read in large, bold<br />

print that everyone who passed through or over the<br />

station would see.<br />

Whatever William did, it was clearly something, for<br />

someone to go to such lengths. But who is William?<br />

And what did he do that it merited indelible thanks?<br />

“Belated thanks - to William The Conqueror?”<br />

suggested a North Village resident who is no stranger<br />

to pavement declamations.<br />

“It was on the Level, before it got re-done,” he<br />

reminisces. “Dribbled in white paint. ‘HOW<br />


“Perhaps it was William,” I mused. “And he’s finally<br />

atoned.”<br />

After the appearance of the pavement words, another<br />

friend, Will, started smiling an irritating, slightly<br />

enigmatic smile and saying, softly under his breath:<br />

“My pleasure to be of help.”<br />

Meantime, my out-of-town nephew thought it<br />

was “obviously written by a time-travelling knight,<br />

thanking Elizabeth II’s eighth great-grandson,<br />

William X, for sending him back in time to foment<br />

anti-European sentiments and trigger Brexit. His<br />

actions saved the island from the robot wizard<br />

apocalypse that obliterates Europe in 2023. In 2202,<br />

London Road Station is the court of the House of<br />

Middleton, official residence of William X.”<br />

But this is the North Village.<br />

“William E Cross, Jr, PhD is a leading theorist and<br />

researcher in the field of ethnic identity development,<br />

specifically black identity,” said a resident who prefers<br />

not to identify herself.<br />

Someone else suggested another William we know.<br />

But when I agreed it might be him, because the words<br />

were right outside the Open House pub, which is<br />

one of his regular watering holes, he started acting<br />

miffed, saying I was creating the impression he’s a<br />

hard drinker, when really I thought I was creating the<br />

impression that he was the sort of person who did<br />

things that merited large painted public declarations<br />

of gratitude.<br />

Over the days the earworm morphs. “William, it was<br />

really something” I find myself singing, in a kind of<br />

upbeat not-very-Morrissey-ish way.<br />

And then the rain starts. Turns out the paint is not<br />

quite as indelible as it looked. The thanks to William<br />

becomes fainter until, finally, it disappears altogether.<br />

I’m hopeful that the earworm will do the same,<br />

but it simply morphs again – back to it being really<br />

nothing, William.<br />

It’s deeply irritating, as is the fact I am none the wiser<br />

as to William’s identity or kind deed.<br />

But here’s to hoping that by putting this story into<br />

8pt Janson font, it might prompt someone who knows<br />

to tell me.<br />

William, what did you do? The North Village wants<br />

to know…<br />

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


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COLUMN<br />

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oldmill park<br />

Amy Holtz<br />

EcoHomes For Sale<br />

The truth is, I’m a Minnesotan<br />

Every other week, on a Thursday<br />

evening, I spend six minutes and<br />

twenty-four seconds carrying out<br />

the world’s most mind-melting<br />

task: schlepping the council’s<br />

black recycling bins from the<br />

little alleyway in front of our<br />

block of flats up to the road for<br />

the morning’s collection.<br />

Part of me hates doing it because<br />

it unleashes in me a special kind<br />

of German prissiness, modelled<br />

after that of my great-grandmother, who always<br />

wore an apron and despite her relatively genial<br />

demeanour, spent a lot of time saying ‘Fiddle!’<br />

and ‘Bah!’ at people exhibiting their ineptitudes.<br />

If there was a ‘Bah!’ in the vicinity, someone had<br />

said or done something extremely dumb, and<br />

the resulting shame that welled up inside was<br />

2400mm<br />

of a sort that has yet to rival any of my adult<br />

emotions. But part of me loves doing it because<br />

it gives me the opportunity to tap into this<br />

hand-me-down affectation and use it to sniff,<br />

loudly, in embarrassment at my neighbours for<br />

the ridiculousness of the objects they toss in the<br />

recycling. In our aversion to throwing things<br />

away, they end up, perversely, in these black bins.<br />

Right now, for example, I’m hauling a box full of<br />

magazines, Kleenex boxes, Dolmio and soy sauce<br />

jars (glass box, I mentally note), discarded maths<br />

homework, an empty diaper box and 6,472 halfempty<br />

cans of Tyskie lager. On top, juxtaposed<br />

just for my amusement, are a Boohoo and a<br />

Boden catalogue, both sporting a moody teenager<br />

on their front covers, but with one wearing a<br />

vertical strip of sequins, the other in khakis and<br />

tasteful Breton stripes. I put down the box and<br />

start digging. There’s gotta be something to look<br />

Mill combines the sophistication<br />

rban living with the freedom &<br />

ce of the English Countryside<br />

at in here between sequins and<br />

khaki, because I think that’s the<br />

stage of life I’m at now. And<br />

honestly, I snort loudly, no one<br />

in our building is at the Boohoo<br />

stage of life anymore. It dawns<br />

on me that this also includes<br />

myself; this is its own minitragedy.<br />

But then my hand settles<br />

on something clunky and, I<br />

deduce with my recycling radar,<br />

unrecyclable. “LEGOS? Bah!”<br />

Then, a fingertip later: “Ribbons?” I shout,<br />

incredulous. “Seriously, who the fu...oh, hi,<br />

David.” One elderly neighbour is making his<br />

hourly perambulation down the steps and over<br />

the road to Sainsbury’s. I make sure he’s ok and<br />

on his way before scrabbling further into the<br />

creaking box.<br />

At the time, volunteering to be recycling monitor<br />

seemed conscientious, virtuous. I puffed up with<br />

misplaced pride when I was asked to take on the<br />

responsibility. Of course, when you’re the person<br />

who naturally springs to mind to haul masses of<br />

tuna tins - reeking with the intensity of a cadaver<br />

left in the sun - or the sad, trampled heap of<br />

cardboard shoe boxes that will never be called<br />

upon to hold someone’s love notes or the fossils<br />

that you found with your dad when you were<br />

nine, it’s probably time to readdress your publicfacing<br />

persona.<br />

‘Oooh, yay, Vogue.’ It’s from March, 2016, but this<br />

too, is probably the stage I’m at - at least a year<br />

and a bit behind. Chucking it in the garden for<br />

safekeeping, I lug the last box onto the sidewalk<br />

(yes, sidewalk).<br />

Job grudgingly - yet satisfyingly - done.<br />

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Evening Standard<br />

What’s on:<br />

Blue CAmel Club 12 JUN<br />

Shell Shock 20 - 22 JUN<br />

TOM’s FILM CLUB:<br />

The ELEPHANT MAN (1980) 15 JUN<br />

Twin Peaks: Fire Walk with me<br />

(1992) + After-Party 16 Jun<br />

ALIEN (1979) + ALIENS (1986) 6 JUL<br />


(1964) 19 JUl<br />

NEW YORk, NEW YORK (1977) 20 JUL<br />

I, DANIEL BLAKE (2016) 15 AUG<br />

KES (1969) 16 AUG<br />

The wind that shakes the barley<br />

(2006) 17 AUG<br />

Hove’s Independent, High Quality<br />

Live Theatre and Venue<br />

êêêê THE METRO<br />

êêêê THe SKINNY<br />

24 JUN<br />


I was a teenage Christian<br />

theoldmarket.com<br />

JANE<br />

AUSTEN<br />

BY<br />

THE<br />

SEA<br />

The Royal Pavilion<br />

17 Jun <strong>2017</strong> –<br />

8 Jan 2018<br />

<strong>Brighton</strong> BN1 1EE<br />

Free with Royal Pavilion admission<br />

Members free<br />

03000 290900<br />

Open daily Apr-Sep 9.30am-5.45pm<br />

(last admission 5pm)<br />

Oct-Mar 10am-5.15pm<br />

(last admission 4.30pm)<br />

Closed 24 Dec (from 2.30pm)<br />

25 & 26 Dec<br />

Walking Dress, 1818<br />

© University of Sussex<br />

special collections<br />


COLUMN<br />

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

John Helmer<br />

Neko Time<br />

‘Bob is the store manager. He sits in a box by<br />

the entrance and greets the visitors. All the<br />

others look up to Bob and love his easy-going<br />

ways. Except Mikan, who will often try to punch<br />

him...’<br />

I’m at a cat café in Kyoto. I’ve come to Japan<br />

with my wife and two daughters. Number<br />

Two Son Harvey is already here, studying at a<br />

Japanese university, while his big brother Fred<br />

came last month on tour with his indie band. We<br />

justify this shameful carbon footprint as a family<br />

by the fact that last year we went nowhere. Last<br />

year, my wife was undergoing treatments for<br />

breast cancer. One of the things that saw her<br />

through that difficult time was the thought of<br />

this trip to Kyoto, in cherry-blossom time, when<br />

Buddhists celebrate the beauty and transience of<br />

life. And now here we are, celebrating the beauty<br />

and transience of life at the cat café, which for<br />

Poppy, 13, is the high point of the holiday.<br />

Felines sprawl around their boxes, towers and<br />

cots with an air of indolent entitlement. Poppy<br />

coos, they yawn; Grace puts out a hand to<br />

stroke and they recoil. Only the proffering of<br />

cat treats will induce them to show any interest.<br />

Nonetheless, it seems I am alone in picking up a<br />

clear f**k-off vibe.<br />

So I settle into a cushion on the floor with a cup<br />

of execrable canned coffee and scan a binder<br />

that details in breathy, anthropomorphised style<br />

the various moggies’ likes and dislikes, their<br />

alliances and spats, and the precise set of social<br />

circumstances under which Mikan will land one<br />

on Bob. It reads like the plot of an Elizabeth<br />

Jane Howard novel, but with the adulterous sex<br />

left out.<br />

The wife catches my eye across the room and<br />

directs it towards a salaryman who has just come<br />

in – alone. He eats his packed lunch, beaming<br />

at the cats. The cats yawn contemptuously in<br />

his face.<br />

I’m stifling one or two myself. We have spent<br />

the morning climbing Mount Inari through<br />

glowing amber tunnels formed by thousands of<br />

torii gates, just one stop in a packed itinerary<br />

of shrines, temples and insane shopping<br />

experiences that leaves very little time for<br />

sit-downs (life is for living). Not that there<br />

are any chairs in Japan if you were to get the<br />

chance. Everyone sits and sleeps and eats on the<br />

floor – and what with the constant bowing and<br />

squatting and removal of shoes, it’s like you’ve<br />

done a course of pilates before you’ve properly<br />

said hello.<br />

The freneticism of our trip reached its peak<br />

the night before when, hopelessly lost in the<br />

Japanese railway system, we took seven trains to<br />

cover the 27 miles<br />

back from Osaka.<br />

At one point –<br />

tired, hungry and<br />

in bad need of<br />

a bio-break – I<br />

turned to my<br />

other half and<br />

grumbled: “this<br />

isn’t much fun.”<br />

“Well it’s better<br />

than chemo,” she<br />

purred.<br />

Illustration by Chris Riddell<br />


09/06 | The Old Market, <strong>Brighton</strong><br />

The Staves<br />

11/06 | Komedia (Studio), <strong>Brighton</strong><br />

Six Organs of<br />

Admittance<br />

28/06 | The Prince Albert, <strong>Brighton</strong><br />

Aquaserge<br />

22/07 | Victoria Park, Ashford<br />

Create Festival <strong>2017</strong><br />

The Selecter<br />

20/09 | Revelation St. Mary’s, Ashford<br />

This is the Kit<br />

21/09 | The Greys, <strong>Brighton</strong><br />

Michael Nau<br />

03/10 | Komedia, <strong>Brighton</strong><br />

Micah P. Hinson<br />

and the Holy<br />

Stranger<br />

12/10 | Komedia, <strong>Brighton</strong><br />

Jolie Holland &<br />

Samantha Parton<br />

12/10 | The Haunt, <strong>Brighton</strong><br />

The Mountain<br />

Goats<br />

25/10 | Quarterhouse, Folkestone<br />

Jane Weaver<br />

10/11 | Green Door Store, <strong>Brighton</strong><br />

Ulrich Schnauss<br />

02/12 | Revelation St. Mary’s, Ashford<br />

LAU<br />

04/12 | Komedia, <strong>Brighton</strong><br />

LAU<br />

Tickets for shows are available from your local record shop,<br />

ticketweb.co.uk or the venue where possible.<br />

Jason Eyre<br />

Painting and Decorating<br />

jasoneyre2@gmail.com<br />

07766 118289<br />

01273 858300<br />


MUSIC<br />

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

Ben Bailey rounds up the local music scene<br />

POG<br />

Thu 1, Prince Albert, 8pm, £6<br />

Though they’ve long been regulars at DIY shows<br />

and benefit gigs around the city, it’s still a shock<br />

to learn that folk-punk stalwarts Pog are set to<br />

release their fifteenth album this month. By our<br />

calculations, that means there have been only two<br />

years since the millennium in which the band<br />

hasn’t put out a record. Slackers. Having previously<br />

veered through indie, ska and gypsy styles,<br />

the latest offering sees Pog adding a disco track<br />

(about being stalked at Three Bridges, naturally)<br />

to their repertoire. The entry price includes a CD<br />

of the album Little Trophies and a rare chance to see<br />

the band perform as a full seven-piece, replete with<br />

accordion, violin and clarinet.<br />


Sat 3, Sticky Mike’s Frog Bar, 6pm, £4<br />

Oli Spleen’s former<br />

band, The Flesh Happening,<br />

were banned<br />

from several <strong>Brighton</strong><br />

venues for their<br />

aberrant behaviour<br />

(you’ll have to ask them yourselves), but his current<br />

outfit has swapped the confrontational stance and<br />

bare-bones garage rock for a diverse form of punk<br />

metal, albeit with agonisingly confessional lyrics.<br />

Straddling both glam and goth, Spleen lives up to<br />

his name in Pink Narcissus, with songs of angst and<br />

self-doubt leavened by a smidgen of defiant hope.<br />

Here, the band are fundraising for Sea Shepherd<br />

UK, a direct-action marine conservation group.<br />

The night starts early with a guest speaker from the<br />

charity, followed by a five-band onslaught including<br />

Auxesis, Insides, Compulsory Primal Response and<br />

the delightfully named Dog Sick.<br />


Sun 11, Prince Albert, 8pm, £5<br />

‘That’s pretty... hang on,<br />

what did he just say?’<br />

These might well be<br />

your first thoughts on<br />

hearing local songwriter<br />

Paul Murray strike up a tune. His gentle acoustic<br />

finger-picking lulls you into thinking the lyrics will<br />

float by unnoticed, but if you’re paying attention<br />

there’s something subtly wayward going on.<br />

Songs about a desultory holiday romance and rude<br />

relatives at a family reunion take an odd tack, but<br />

there’re enough familiar blues/folk tropes along the<br />

way to keep the songs happily afloat. With a simple<br />

yet effective backing from his band, Paul Murray<br />

will be launching his new EP tonight with support<br />

from fellow troubadours Night House and Justin<br />

Saltmeris.<br />

JJ SYMON<br />

Fri 30, Green Door Store, 7pm, £5<br />

If you’re going to ransack the treasure trove of<br />

mid-century Americana for inspiration, you may as<br />

well grab the tunes while you’re sifting through the<br />

vintage clothes and beatnik paperbacks. JJ Symons<br />

goes straight for the earworms, leaving behind<br />

most of the stylistic trappings that make artists like<br />

Jake Bugg or The Raveonettes seem so painfully<br />

contrived. Coming to <strong>Brighton</strong> via Manchester and<br />

Melbourne, JJ Symons (who also fronts rock‘n’roll<br />

trio Black Rooster Black Shag) has got a real knack<br />

for investing what he calls his ‘spitfire-garagefolk-blues’<br />

with instant melodies and sassy lyrics.<br />

He brings a strong local bill including Fukushima<br />

Dolphin, Lucas & King and Mike Newsham to the<br />

Green Door Store for the launch of his fifth solo<br />

album, his first for six years.<br />


MUSIC<br />

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

Alice Russell<br />

‘We are hardwired to dance and sing’<br />

Alice Russell is a soul<br />

singer with a big<br />

voice whose unique<br />

take on the genre<br />

has led her into<br />

collaborations with<br />

the likes of Quantic,<br />

Mr Scruff and David<br />

Byrne. We spoke to<br />

the <strong>Brighton</strong> singer<br />

(and mum) as she<br />

prepares for a topbilling<br />

appearance at<br />

Funk the Format in Hove later this month.<br />

Have you been to the festival before? No, but<br />

I’ve heard great things and it’s in our manor, so it<br />

was an easy yes when I was asked to play. I’m looking<br />

forward to playing a hometown gig.<br />

When did you start making music here? I<br />

moved here in the 90s to start college, and it was<br />

only really the years after that I met Quantic and<br />

TM Juke and the other producers I would go on<br />

to work with. The city has changed a lot. And so a<br />

city should. Places morph and move on.<br />

How do you find touring with young children?<br />

I took my little girl with me to the States and<br />

Europe when she was small, and it was pretty easy.<br />

Trains, planes, automobiles. But when the little<br />

ones start to move around it takes a lot more planning.<br />

Also I now have a son! His first outing was<br />

to Glastonbury this year when he was four weeks<br />

old, as I was guesting with Quantic. Ear defenders<br />

at the ready!<br />

You got into music at a young age too, right?<br />

Music was around me from day one. As I would<br />

go to sleep I remember hearing my dad playing<br />

the piano downstairs. He was a choirmaster and<br />

conductor, so I got to<br />

experience classical<br />

concerts from a young<br />

age, and I loved it. But<br />

it was the radio where<br />

I found my love of<br />

Aretha and Stevie.<br />

I hope both my<br />

children enjoy music;<br />

I think everyone does.<br />

It’s intrinsic; we are<br />

hardwired to dance<br />

and sing!<br />

Do you prefer recording or performing?<br />

This is a tough one. I love the immediacy of live<br />

shows, the fact you get one crack at it, and of course<br />

the communication with the audience. Once I did a<br />

guest spot with a French hip-hop group and there<br />

was an audience of 50,000. The power of the crowd<br />

hit me. It was electric, head to toe. There’s nothing<br />

quite like it... but you also get a different energy<br />

when a song pops out. Every now and then you<br />

have those moments where it all comes at once, the<br />

melody, lyrics and feel. And when you get a take<br />

like that in the studio, it’s golden.<br />

Have you been working on another record?<br />

Well, I was working on new music up until the<br />

birth of my son last <strong>June</strong>, but this year it’s been<br />

harder for me to find the headspace to get back<br />

into the studio. I’m halfway through an album and<br />

the sleep-deprived fog is starting to lift, so I’m<br />

starting to get that itch to go back. Having said<br />

that, this hiatus is defo worth it, and I don’t want<br />

rush for the sake of it.<br />

Interview by Ben Bailey<br />

Funk The Format, Hove Park, Sat 17th <strong>June</strong>.<br />

funktheformat.co.uk<br />


FAMILY<br />

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

Nick Sharratt<br />

Drawing Tracey Beaker<br />

<strong>Brighton</strong>-based Nick Sharratt<br />

has illustrated hundreds<br />

of books for children, and<br />

works with authors including<br />

Jacqueline Wilson and Julia<br />

Donaldson.<br />

The illustrations in the picture<br />

books you have as a child<br />

often live with you for the rest<br />

of your life. When I was three<br />

or four I had a Michael Foreman<br />

book called The General<br />

that affected me hugely. I lost<br />

it in a house move, but I never<br />

forgot the bright, exciting pictures. Some 40 years<br />

later I was given another copy, and I recognised<br />

each page with crystal clarity.<br />

I think the most important thing as a children’s<br />

illustrator is that you make a connection<br />

with your young readers. They have to believe<br />

in your illustrations. Children seem to relate very<br />

directly to my pictures - maybe because I draw in<br />

a way that’s not very different from the way I drew<br />

as a boy. Perhaps it makes them think they could<br />

draw like that too. I’ll be doing some drawing<br />

at Funk The Family, as well as reading from my<br />

latest book.<br />

In the past year I’ve achieved a longstanding<br />

goal and written a chapter book. The Cat and<br />

The King is out now, and I’m extremely proud of it.<br />

Drawing is something that comes naturally to me,<br />

but I find writing hard work, so it’s wonderful to<br />

have broken through that barrier. It’s taken me 50-<br />

odd years, but I’ve finally achieved paragraphs!<br />

The book began when my editor asked me<br />

what I liked drawing and I said: ‘cats and kings’.<br />

When I’m making my own books<br />

I think about characters I’d enjoy<br />

drawing then find a story to ‘cast’<br />

them in. I once heard another<br />

illustrator say that doing a picture<br />

book is like directing a film and<br />

it’s true. You ‘direct’ your characters<br />

around on the page; you have<br />

to decide whether you’re going to<br />

do a long shot or a close up.<br />

I studied graphic design rather<br />

than illustration at college.<br />

There weren’t many specialised<br />

courses around then. The course<br />

gave me a good insight into design and typography,<br />

which has proved very useful as an illustrator<br />

who likes to think about how pictures integrate<br />

with text. I do the lettering on practically all my<br />

books and I even have my own typefonts now –<br />

Sharratt and Sharratt Bold.<br />

I enjoy the challenge of illustrating books for<br />

other people. I like trying to work out how the<br />

writers want the worlds they have created with<br />

their words to look. Usually, by the time I’ve read<br />

the manuscript I have a very clear idea of the<br />

characters. As soon as I read Jacqueline Wilson’s<br />

Tracey Beaker I knew she would have exaggerated<br />

curly hair.<br />

I have developed a few rituals when it comes<br />

to drawing. I have to sharpen my pencils with a<br />

scalpel – never a pencil sharpener. But my studio<br />

is very untidy, so every single day seems to begin<br />

with a hunt for the scalpel. I really ought to tidy<br />

up. Nione Meakin<br />

Funk The Family, Hove Park, Sun 18th <strong>June</strong>.<br />

funkthefamily.co.uk<br />


MUSIC<br />

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

Richard Dawson<br />

On angles and edges<br />

Photo by Nigel John<br />

“Some things have to<br />

be blurry. The best<br />

we can say them is in<br />

quite a blurry manner,”<br />

the singer-songwriter<br />

Richard Dawson told<br />

me, during a cheerful<br />

but often vague phone<br />

interview in early May.<br />

He apologised at one<br />

point for “rambling”;<br />

he’d just moved house,<br />

and joked that “I’ve<br />

got paint fumes in my<br />

brain. I think I might be completely high off<br />

paint fumes”.<br />

I don’t think that was the explanation for his<br />

vagueness, though. It sounded more like philosophical<br />

uncertainty: that things are often too<br />

complicated to explain clearly and simply. He<br />

said: “I think the big flashing word that I have<br />

in my brain a lot of the time is ‘contradiction’. I<br />

definitely see that things are more than one way<br />

at once. Even objects can be in two places at once.<br />

But we don’t experience it that way. If we did it<br />

would be horrendous, we’d go crazy. But there’s<br />

lots of different versions of everything, slight<br />

permutations.<br />

“That’s even without people in the equation. Once<br />

you start putting eyes into the equation, everybody<br />

sees things in a different way, you know. I’m visually<br />

impaired, so I don’t see a hard edge on any object;<br />

everything has a blurred edge to it. So where<br />

is the edge, really? Even if I were to feel it with my<br />

finger, how does that correspond to what my eye’s<br />

seeing? It’s electricity sending the signal through<br />

the nerves, into my brain; there’s a delay there. So<br />

how can I know? How<br />

can you know?”<br />

‘Right’, I said, hesitantly.<br />

‘And…’<br />

“I know it’s going to be<br />

difficult to write this<br />

up. What a nightmare.<br />

How many words<br />

have you got?” Five<br />

hundred. “Oh, shite.<br />

Well, be careful with<br />

this historical angle.”<br />

The historical angle<br />

was what this article<br />

was going to be about. The angle was that his new<br />

album, Peasant, is set during the Dark Ages. He’d<br />

been quoted, at least twice, as having said so pretty<br />

plainly. But with me, he was more vague. “On the<br />

surface of it, it’s old. I get that, but there’s… If it’s<br />

in any way a historical record, or it’s not a modern<br />

record, then I’ve failed. It has to be relevant to<br />

now and the future. It has to fit…<br />

“I don’t mean to be obtuse. It’s very difficult to<br />

speak about the album because I don’t want to<br />

spoil it in any way by giving away too much. So<br />

I’m trying to be as clear as possible, but sometimes<br />

the only way to be clear, or to be direct… the most<br />

direct way is still incredibly blurred.”<br />

Though somewhat confused about the historical<br />

angle, I tried to reassure Dawson that I’d do my<br />

best with it. I certainly wouldn’t be doing a big<br />

headline saying: ‘This is Richard Dawson’s Game<br />

of Thrones album.’ He replied, laughing: “Well, I<br />

would deserve it if you did.”<br />

Steve Ramsey<br />

Peasant is released on <strong>June</strong> 2nd. Richard plays The<br />

Old Market on Jun 25th, 8pm, £15<br />



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

Shakespeare in a Day<br />

DAFT at BOAT*<br />

DAFT director Nicholas<br />

Quirke talks to <strong>Viva</strong><br />

about guerrilla Shakespeare<br />

and the special<br />

intimacy of impromptu<br />

performance.<br />

Directing isn’t always<br />

my day job – but I<br />

would love it to be;<br />

every year, we did<br />

Shakespeare in the Park at St Ann’s Well Gardens<br />

with Festival Shakespeare Company. Our last<br />

production there was in 2013; DAFT Theatre<br />

Company grew out of that.<br />

The story of <strong>Brighton</strong> Open Air Theatre is<br />

amazing. Adrian Bunting, a theatre practitioner,<br />

always dreamed of having an open-air theatre in<br />

Dyke Road Park. Sadly, when he was diagnosed<br />

with pancreatic cancer he was given only a few<br />

weeks to live. He told his close friends, ‘I want<br />

to build a theatre; I’m going to leave you what<br />

money I have. If you can get it built, that would<br />

be fantastic.’ After he died, his friends set about<br />

realising this dream. We’re doing Shakespeare in<br />

a Day to help raise money for them.<br />

For Shakespeare in a Day, I prefer to choose<br />

a lesser-known work, so we discover something<br />

about a play that we don’t know much<br />

about. Initially, I chose Cymbeline, and last year<br />

we did Pericles – plays that haven’t had much of<br />

an airing. I love the idea that we don’t let the<br />

audience know what we’re going to perform<br />

in advance, so for them it’s also a discovery.<br />

Obviously, I have time to prepare as I know<br />

what we’re doing but the actors also won’t know<br />

what the play is or their character until a day<br />

beforehand. For the actors, it’s a real challenge<br />

to see their character<br />

and think ‘What can I do<br />

with this?’.<br />

My job is to pull it all<br />

together on the day;<br />

we’ll work through it so<br />

that by the evening we<br />

can put it on in front<br />

of an audience. You’re<br />

keeping yourself on<br />

your toes all the time, keeping the immediate<br />

creative excitement, which throws up fresh<br />

insights. The first ‘play in a day’ was absolutely<br />

terrifying; I suddenly thought, ‘You’ve got 16<br />

actors here and they’re all expecting you to<br />

stage a play!’ With Pericles there was a dance<br />

the actors learned that day. They did a fantastic<br />

job even when it got slightly out of kilter. But<br />

ultimately, we want to tell an exciting, thrilling<br />

story - and enjoy ourselves.<br />

I love when theatre happens all around you.<br />

Sometimes in an auditorium you’re a bit trapped<br />

by what you can do and where you can put actors.<br />

It feels less real – whereas the open air is so<br />

much more liberating; the actors can be with the<br />

audience and the audience can be involved and<br />

feel like they’re part of it.<br />

I get the impression that Shakespeare had a<br />

sort of ‘guerrilla-theatre’ aspect to his work;<br />

I don’t think he was someone who thought, ‘My<br />

words are precious’ – he just wanted to get the<br />

play on. As told to Amy Holtz<br />

DAFT perform dark comedy The Plain Dealer<br />

from 7th-11th <strong>June</strong>, and Shakespeare in a Day on<br />

24th at <strong>Brighton</strong> Open Air Theatre.<br />

(*Droll and Funny Theatre at <strong>Brighton</strong> Open Air<br />

Theatre)<br />


COMEDY<br />

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

Photo by Karla Garlett<br />

Katy Brand<br />

Losing my religion<br />

“Any worries I had about it, I think I definitely<br />

squashed initially,” says Katy Brand. Aged 13, she<br />

had converted to Christianity, joined a “very charismatic”<br />

church, and become obsessed. For a while<br />

“it was 90% of my life, definitely”. Brand would<br />

do things like “preaching in shopping centres on<br />

a Saturday morning, and doing full-school assemblies.”<br />

She was once involved in an exorcism.<br />

“I was just very scooped up in it all, and the activity<br />

of it all, and I had a crush on the worship bandleader…<br />

It was all very thrilling, and there was<br />

always activities going on, so I felt… I think, any<br />

doubts that I had were quite gentle doubts, and I<br />

would voice them, and people were sympathetic<br />

and would pray about it, and then I would sort of<br />

convince myself they’d gone away, I think…<br />

“[The doubts] worried me at first. Definitely when<br />

I started to really feel - probably around 15 or 16 -<br />

that it wasn’t a certainty that I was definitely going<br />

to spend the rest of my life in the Church, feeling<br />

this sure about the world, this sure about my faith<br />

and about Jesus, there was a rising sense that this<br />

was not going to be part of my life forever, that<br />

the doubts were becoming stronger. I remember<br />

feeling a bit sick, and worried. And you feel a kind<br />

of strange identity slip, a bit, because it’s become<br />

so much a part of your identity, being a Christian<br />

– my nickname at school was Christian Spice, and<br />

everyone knew that about me.<br />

“This idea of what I would… who I would be<br />

without it, becomes a bit frightening. So definitely<br />

I remember feeling a bit intimidated at the<br />

prospect of what I would do if I didn’t believe it<br />

anymore. But I think as I grew in confidence in<br />

myself and got older… by the time it got to the<br />

point where my church was trying to ban Harry<br />

Potter, I think I started to just view it as ridiculous,<br />

and I started to have a sense of myself away from<br />

the church. So I definitely think that helped…<br />

“Weirdly, I don’t think I have regret about it. I<br />

certainly don’t think I wasted my time. Because I<br />

did a lot of stuff, I had a lot of life experiences, you<br />

know. I sang in a band and went out and did lots of<br />

things. It was a very sociable group, and I preached<br />

and learned things and got the opportunity to lead<br />

groups and stuff like that. I don’t think I could<br />

quite say that I regret it, or that it was wasted, but<br />

I think it was… I wish I had pointed all that energy<br />

at something else, I think is probably what I’d say.<br />

I wish I’d had another hobby.” Steve Ramsey<br />

Katy Brand: I was a Teenage Christian, The<br />

Old Market, 24th <strong>June</strong>, 8pm, £14/£12<br />


COMEDY<br />

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

Scummy Mummies<br />

‘Like Women’s Hour in the pub’<br />

When mums Ellie Gibson and<br />

Helen Thorn launched the Scummy<br />

Mummies podcast in 2013 it<br />

was an instant hit, going to number<br />

one in both Australia and the UK.<br />

It’s now listened to in over 100<br />

countries and is accompanied by a<br />

book and a live stage show. Ahead<br />

of their <strong>Brighton</strong> show, Helen (left)<br />

– aka ‘the Aussie’ – talks to <strong>Viva</strong>.<br />

Ellie and I met in 2013, when we<br />

were both doing stand-up at the<br />

same open-mic gig. We discovered<br />

that our baby boys had been<br />

delivered by the same midwives,<br />

and that we only lived around the<br />

corner from each other.<br />

It was kind of clear from the<br />

get-go that we were both<br />

scummy mummies. We started meeting in the park<br />

with our boys and used to make each other laugh by<br />

telling funny stories about how many times we’d had<br />

fishfingers that week, or what we had eaten off the<br />

floor. Ellie came up with the idea of turning these<br />

conversations into a podcast.<br />

Being a parent comes with a lot of anxiety. When<br />

I had my first child I was so nervous and uptight,<br />

wanting to make sure everything was ‘organic’ and<br />

‘educational’. With the second, the keywords became<br />

things like ‘survival’ and ‘that’ll do’. And this was<br />

pre-Instagram, and Facebook wasn’t huge either.<br />

Now you have two distinct camps: the glamorous,<br />

aspirational Insta-parents… and the rest of us.<br />

What’s really nice is people feel that they can<br />

share their secrets and confessions with us. As<br />

soon as you say something like, “Oh my God, my<br />

kid closed down the pool because they pooed in it,”<br />

all these stories suddenly start to come out. When<br />

we do the live show we ask everyone in the audience<br />

to write down a Scummy Mummy confession on a<br />

card. Over the last four years we’ve<br />

collected thousands. We included<br />

many of them in the book to<br />

show that these things happen to<br />

loads of us – they’re just not the<br />

episodes that anyone boasts about<br />

on social media.<br />

My daughter was quite proud<br />

of one of the confessions I put<br />

in the book. She basically drank<br />

all the apple juice on a flight<br />

between London and Singapore<br />

and did so much wee they had to<br />

replace the entire chair. There<br />

was a wonderful moment when<br />

the tiny Singapore Airlines hostess<br />

went down a manhole in the<br />

plane and came out with a new<br />

seat covered in clingfilm. Just<br />

because of my daughter.<br />

There’s lots of ridiculousness during the podcasts,<br />

but we’ve also covered more serious things,<br />

like post-natal psychosis and miscarriage. A lot of<br />

the stuff we talk about is sad and raw and honest.<br />

We want the podcast to feel like a glass of wine<br />

with friends. Because, of all the things that get me<br />

through motherhood, I think it’s those chats with<br />

friends where you’re able to admit you’re not coping,<br />

or you’re bored, or you’re worried you’re doing<br />

everything wrong.<br />

The stage show is a bit of stand-up, songs,<br />

games, sketches, characters – and lots of middleaged<br />

women in lycra catsuits. It’s more of a variety<br />

show than the podcast, which is, as someone once<br />

described it, ‘like Women’s Hour in the pub’. Our<br />

audiences are wonderful. We had an NCT group in<br />

recently and it was the first time they’d all been out<br />

since their babies were born… oh, the cocktails they<br />

drank. Nione Meakin<br />

Scummy Mummies, Komedia, 28th <strong>June</strong>, 8pm<br />


23 – 25 <strong>June</strong> <strong>2017</strong><br />

All Saints Centre / St Michaels Church<br />











www.leweschambermusicfestival.com<br />


box-office@leweschambermusicfestival.com | 01273 479865<br />




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

Refrain<br />

A projection of objection<br />

“I’m hoping to give voice to men who didn’t<br />

have a voice.”<br />

So says Verity Standen, the composer behind<br />

Refrain, an experimental a cappella male choir<br />

performance taking place in Newhaven Fort<br />

from <strong>June</strong> 9th to 11th.<br />

The men in question are the 16,000 or so<br />

conscientious objectors who chose not to bear<br />

arms during World War One, and particularly<br />

the ‘absolutists’ who refused to do anything that<br />

might constitute aiding the war effort.<br />

The Fort will be the third site where Verity’s<br />

piece will have been put on this year. This<br />

particular show has been put on in association<br />

with producers Situations and Attenborough<br />

Centre for the Creative Arts - the first outside<br />

performance the Sussex University venue has<br />

been involved in - and will be performed by a<br />

group of local male singers.<br />

I’m talking to Verity in the Green Room at the<br />

Attenborough Centre, and she lets me into the<br />

reason for choosing the Newhaven venue, picked<br />

like the others due to its connection with the<br />

conscientious objection movement. Among the<br />

most stringent of the absolutists were a group<br />

known as ‘The Seaford Seven’, who were interred<br />

in a wing of a military training camp in Seaford.<br />

“We looked around where the camp had been,”<br />

says Verity, “it’s a lovely bit of coastline but it’s<br />

[too] exposed.” She discovered, though, that the<br />

internees had been put to work building the road<br />

from Seaford to Newhaven, which opened up a<br />

new possibility: the Fort offers a distinct connection<br />

to local military history. “[There are] lots of<br />

lovely little nooks and crannies; I can really play<br />

with sound and throwing that sound around.”<br />

Don’t expect a traditional choir standing together<br />

on a stage. The men will be positioned in little<br />

groups all around the fort: “[the audience] are told<br />

to follow the song and they can sculpt their own<br />

journey through… We’re setting up lots of little<br />

pockets of sound-worlds.”<br />

Don’t expect, either, any sort of traditional narrative<br />

structure. The music – layers of wordless<br />

composition – is Verity’s emotional response to<br />

a good deal of research about the plight of the<br />

conscientious objectors, and involves a lot of<br />

improvisation. “No one performance is ever going<br />

to sound the same as another, depending on how<br />

that group of men is feeling,” she says.<br />

Verity is an interesting choice to lead this piece<br />

of work: her aversion to the strictures of formal<br />

composition make her a very good fit to give<br />

voice to a group of men who risked execution in<br />

order to assert their right not to conform to expectations,<br />

and take up arms. The composer, who<br />

developed her practice after going to art school<br />

rather than a musical academy, never even learnt<br />

to read music. “I genuinely believe,” she says, “that<br />

the musicians I have met in my life that are the<br />

most free and willing to experiment and do interesting<br />

things are the ones who aren’t inhibited by<br />

strict classical structures.” Alex Leith<br />

Newhaven Fort, 9th-11th <strong>June</strong>, refrain.online<br />


PRINT<br />

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

Zine scene<br />

Sometimes incoherent, but free, speech<br />

Most people probably know what a zine looks like,<br />

yet they’re tricky to define. A homemade photocopied<br />

booklet - usually, but not always. Full of<br />

subversive underground content - sometimes. A<br />

labour of love that never makes any money - often.<br />

Are you reading one now? Who can say?<br />

It would take a complicated Venn diagram to map<br />

the various origins of zines. Another way of looking<br />

at it would be to ask what a Victorian man of letters,<br />

a sci-fi nerd and a punk rocker have in common.<br />

The answer, if you ignore Steampunk Conventions,<br />

is zines. Some date them to the birth of the<br />

amateur-press movement in the late 19th century;<br />

others point to the rise of science-fiction fandom in<br />

the 30s; others again cite the comic-censorship laws<br />

of the 50s.<br />

Basically, wherever there’s been official printed<br />

material, there has been an informal flipside. Zines<br />

are almost always self-published, cheaply produced<br />

and independent – both in terms of censorship<br />

and the pesky hindrance of having to turn a profit.<br />

This is what freedom of speech looks like, even if<br />

it sometimes takes the form of a barely legible and<br />

incoherent rant.<br />

Of course, the major appeal of making zines is<br />

that anyone can do it. It was this that made them<br />

a natural part of the original punk movement, and<br />

the riot grrrl scene of the early 90s. Back then,<br />

everything was mail-order. Beneath the radar of the<br />

media there existed a huge network of individuals<br />

sharing ideas, music and art through the postal<br />

system. Nobody can ever know how far it spread,<br />

but it must have been huge.<br />

Enter the internet. All the things that zines made<br />


PRINT<br />

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

possible – the distribution of underground music,<br />

the dissemination of alternative ideas and the creation<br />

of specialist communities – suddenly exploded<br />

with the web. For a while it looked like zines would<br />

perish in the new climate of blogs, forums and chat<br />

rooms. But they never went away - not really.<br />

One of the best known such publications to come<br />

out of <strong>Brighton</strong> was SchNEWS, a weekly activist<br />

newsletter that was originally based in The Levellers’<br />

Metway building. It ran for an incredible 20<br />

years, and gained national notoriety for its witty<br />

coverage of issues like the Criminal Justice Bill, anti-globalisation<br />

and fracking. When it finally wound<br />

down in 2014, the crew signed off claiming their<br />

A4 newsletter now looked like “something Gerrard<br />

Winstanley might have knocked out”. References to<br />

17th-century pamphleteers aside, it was a sentiment<br />

shared by many.<br />

Political news now comes to us instantly, in whatever<br />

flavour we choose. It’s the same with music.<br />

It was not uncommon for gig reviews in zines to<br />

be over a year out of date before readers got hold<br />

of them. However, just as many newspapers have<br />

opted to focus on commentary and analysis in a bid<br />

to sidestep obsolescence, zines have also adapted by<br />

carving a niche for themselves.<br />

Though some still persist in the old mould, and<br />

others enjoy being a quaint throwback, many new<br />

zines flourish because they offer something the net<br />

can’t do, or at least not as well. Illustrations and<br />

comics are still best enjoyed on paper. So too, for<br />

many, are stories. But it’s not like the move from<br />

photocopied rag to ‘art object’ is a reluctant survival<br />

strategy. Most people who make zines like the handmade<br />

aesthetic, and probably take a secret pleasure<br />

in getting messy with scissors and glue. It might<br />

just be that, like <strong>Viva</strong> readers, they prefer something<br />

tactile over an intangible stream of web data. In a<br />

world that sometimes seems to be going up its own<br />

digital orifice, maybe it’s nice to have something to<br />

hold on to. Now that’s a topic for a good rant.<br />

Ben Bailey<br />

The Rose Tinted Spectacular zine fair takes place at<br />

The Rose Hill on Sat 24th <strong>June</strong>, 2pm, £2<br />



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

Hannah Berry<br />

‘Words can be quite noisy things’<br />

“Comics were like a dirty habit of mine,” says the<br />

graphic novelist, Hannah Berry, of her time at<br />

<strong>Brighton</strong> University. “The illustration course I<br />

was on was quite loose and conceptual, and comics<br />

didn’t really fit into that, so I did a lot of my early<br />

work in secret, in my own time.” It was one of these<br />

furtive endeavours that would go on to become<br />

Berry’s 2008 debut graphic novel, a noirish murder<br />

mystery called Britten and Brulightly. “The final<br />

project on the course was an open project where<br />

we could do whatever we wanted to do. I went off<br />

and started writing this story about a detective and<br />

a teabag that was his partner… although it’s not as<br />

whimsical as that sounds. By the end of the project<br />

I had the story written but nothing drawn, which<br />

was perhaps a problem for an illustration degree. I<br />

didn’t show it to anyone. I don’t even remember it<br />

being marked. I carried on working on it after uni<br />

while doing a series of fun temp jobs, before sending<br />

it to Jonathan Cape and Vertigo. Jonathan Cape<br />

said yes. It was so simple. I felt I crept in through<br />

the back door of publishing.”<br />

Berry, who had grown up obsessed by Bill Watterson’s<br />

Calvin & Hobbes strip and the work of<br />

Raymond Briggs, immediately found her feet in the<br />

world of graphic novels. “There’s something about<br />

the combination of the visual and the written that<br />

really appeals to me. There are so many possibilities<br />

and ways you can play with what you’re saying. The<br />

idea is that whatever you write and draw shouldn’t<br />

correlate exactly. There should always be a slight<br />

distance between the two things, which creates this<br />

extra layer of meaning. Words can be quite noisy<br />

things, and there’s something about the silence and<br />

stillness of graphic novels that I really like.”<br />

Berry’s third novel, Livestock, came out last month.<br />

A sly satire on the media, it has turned out to be<br />

worryingly prescient. “The book is about a world<br />

celebrity who is used to saturate the media whenever<br />

anything politically embarrassing happens. I<br />

started writing it in 2014 before the news became<br />

quite so… apocalyptic. But some bits have begun to<br />

come true. Now we actually have a reality-TV star<br />

as the president of the United States. I think I need<br />

to be more careful about what I draw next.”<br />

She tries to steer away from overtly political themes<br />

in the weekly strip she produces for the New Statesman:<br />

“Not because I don’t want to – I’m very angry<br />

– but because the deadline is a week or so before<br />

it’s published, so it’s hard to do anything too timely.<br />

What that does mean is that sometimes really awful<br />

things will happen in the world and I’ll have produced…<br />

a comic strip about a dog.” The strip usually<br />

begins with Berry deciding on a character she<br />

would like to draw that week and ‘working it out<br />

from there.’ Inspiration also strikes while peoplewatching.<br />

“<strong>Brighton</strong> is a great place for it. You see<br />

some fantastic sights. A while back I saw a guy stop<br />

on the street to punch the crap out of a basil plant,<br />

then turn away before coming back to punch it<br />

again. How can you not want to do something with<br />

that?” Nione Meakin<br />

Hannah Berry appears at the International Comics<br />

Expo at <strong>Brighton</strong>’s Hilton Metropole on 10th <strong>June</strong><br />


Copy of Caravaggio’s ‘The Taking of Christ’<br />

ART<br />

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

David Henty<br />

Forgers are artists too<br />

David Henty had liked art long before he went<br />

to prison, in the 90s. And he’d presumably been<br />

interested in the technical skill involved in<br />

forgery, as it was his role in a fake-passports scam<br />

that he’d been imprisoned for. But his first art<br />

lesson as an inmate was evidently important. For<br />

the purposes of a brief article, we could call it the<br />

Damascene moment.<br />

He’d attended the class expecting to be able to<br />

simply sit and read up on the subject. But he was<br />

told to actually create something himself. So he<br />

copied a Sickert picture from a newspaper. “I<br />

actually sold that painting,” he recalls. “I gave it<br />

out on a visit, and it sold for £1,000.”<br />

Henty carried on painting copies, quickly<br />

expanding the range of artists he could do. “I put<br />

them out on visits, and they were selling. I was<br />

actually making money while I was in prison.<br />

I was in prison for forgery, and I was doing<br />

forgeries in there.”<br />

‘He was quickly seduced by the technicality of<br />

copying’, as his website puts it. “I have done my<br />

own work,” Henty tells me, “but I prefer… I<br />

suppose I have a technical type of brain. I like<br />

to work out how someone’s done something. It’s<br />

almost like taking something apart and putting<br />

it back together again. That’s what interests me -<br />

how they got that effect, you know.”<br />

Before Henty tries to replicate a particular artist’s<br />

work, he likes to read up on them, watch<br />


ART<br />

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

documentaries, see their work in galleries,<br />

and “go and lay in the bath and read about<br />

a certain [artist]… Then close my eyes and<br />

envisage the painting, and work the painting<br />

out. And it’s almost like you’re stepping into<br />

their shoes and seeing through their eyes.<br />

Because I’ve got a visual memory, I like to<br />

see it.<br />

“I can take a scene, like Picasso’s girlfriend<br />

Dora Maar - I’ve seen lots of photos of her<br />

in real life - and then see how he painted her.<br />

You can take a photograph of her in your<br />

mind, and then change it round to a Picassostyle<br />

painting. So that’s what I’m looking to<br />

do, in my technique.”<br />

Henty says that he experiences “the up and<br />

down of being an artist” – the days when<br />

every stroke is right, and the days when it’s<br />

a struggle to accomplish anything. Which<br />

would be strange, if copying was a purely<br />

mechanical process. It really isn’t, he argues.<br />

“When I paint a Caravaggio… I have painted<br />

them exactly, but sometimes I don’t, because<br />

I let myself go, and I paint as he would have<br />

done it. If he painted the same painting<br />

twice, there’d be a variation. And sometimes<br />

you just get so into it, you start making the<br />

marks that he would have made, and they’re<br />

not always exactly the same as the ones he’s<br />

done before, you know; they might be looser,<br />

they might be tighter. No, no, it’s a very<br />

creative thing. To copy someone else’s work<br />

very closely is technically very difficult, and<br />

also creatively it’s a bit of a challenge, because<br />

you have to understand the artist first.<br />

So you’ve got to do a lot of research.<br />

“But yeah, it’s funny - sometimes I walk up<br />

and down, bang my head and I just think<br />

‘aah, I’ve lost it, just lost it’, you know... But<br />

I think it’s part of being an artist. And, you<br />

know, I am an artist.” Steve Ramsey<br />

David Henty and Billy Mumford’s joint exhibition,<br />

A Question of Attribution, is at No Walls,<br />

114 Church Street, from 10th-17th <strong>June</strong><br />

Copy of Van Gogh’s ‘Sunflowers’<br />

Copy of Picasso’s ‘The Seated Woman’<br />


匀 挀 甀 氀 瀀 琀 甀 爀 攀 匀 甀 洀 洀 攀 爀 匀 挀 栀 漀 漀 氀<br />

眀 椀 琀 栀<br />

匀 椀 氀 瘀 椀 愀 䴀 愀 挀 刀 愀 攀 䈀 爀 漀 眀 渀<br />

䌀 漀 洀 攀 愀 渀 搀 攀 渀 樀 漀 礀 攀 砀 瀀 氀 漀 爀 椀 渀 最 猀 栀 愀 瀀 攀 Ⰰ 昀 漀 爀 洀 愀 渀 搀 猀 琀 爀 甀 挀 琀 甀 爀 攀 眀 椀 琀 栀 愀 氀 椀 昀 攀 洀 漀 搀 攀 氀 Ⰰ 椀 渀 挀 氀 愀 礀<br />

愀 渀 搀 搀 爀 愀 眀 椀 渀 最 Ⰰ 洀 愀 欀 椀 渀 最 爀 攀 愀 氀 椀 猀 猀 挀 漀 爀 愀 戀 猀 琀 爀 愀 挀 琀 猀 挀 甀 氀 瀀 琀 甀 爀 攀 ⸀ 䄀 氀 氀 氀 攀 瘀 攀 氀 猀 眀 攀 氀 挀 漀 洀 攀 ⸀<br />

㔀 ⴀ 㜀 䨀 甀 氀 礀 ㈀ 㜀 愀 洀 ⴀ 㐀 瀀 洀<br />

䐀 䤀 吀 䌀 䠀 䰀 䤀 一 䜀 䴀 唀 匀 䔀 唀 䴀 伀 䘀 䄀 刀 吀 ☀ 䌀 刀 䄀 䘀 吀<br />

ꌀ㈀ 昀 漀 爀 琀 栀 爀 攀 攀 ⴀ 搀 愀 礀 挀 漀 甀 爀 猀 攀<br />

䈀 漀 漀 欀 椀 渀 最 猀 戀 礀 攀 洀 愀 椀 氀 㨀 猀 椀 氀 瘀 椀 愀 洀 愀 挀 爀 愀 攀 戀 爀 漀 眀 渀 䀀 戀 戀 渀 琀 攀 爀 渀 攀 琀 ⸀ 挀 漀 洀<br />

漀 爀 琀 攀 氀 攀 瀀 栀 漀 渀 攀 㨀 アパート㈀アパート 㐀 ㈀㈀アパート 㜀

ART & ABOUT<br />

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

ART & ABOUT<br />

In town this month...<br />

The Art of Puppetry<br />

They’ve painted buildings in the favelas of Brazil, the barrios<br />

of Colombia and the neighbourhoods of Buenos Aires.<br />

Now the well-travelled artists from Art + Believe have returned<br />

home to paint a rooftop on <strong>Brighton</strong> seafront. The<br />

1,000-square-meter Sky Gallery is 18 floors up, so you’re<br />

going to have to go up the i360, wait for Google Earth to<br />

update, or watch the film on their website, to see it.<br />

[artandbelieve.com]<br />

Featuring works of<br />

literature and bird<br />

specimens, Stories<br />

on the Wing: British<br />

Birds in Literature<br />

illustrates how<br />

birds have inspired<br />

stories, myths and<br />

folklore throughout<br />

history. It is,<br />

of course, at the<br />

Booth Museum,<br />

which is also running<br />

a series of<br />

three related talks.<br />

This month’s, Birds in the Victorian Imagination, is<br />

on Thursday the 15th, at 7.30pm. Over at Hove<br />

Museum, The Art of Puppetry: Making Magic in the<br />

Museum is an exhibition of this most traditional of<br />

seaside entertainments. Puppets, sets and props by<br />

local artists Philip Sugg and Amanda Rosenstein<br />

Davidson, and others, are on display.<br />

Artists, whether budding or established, are invited<br />

to set up their easels and create in <strong>Brighton</strong>’s Royal<br />

Pavilion Garden on Friday the 30th from 10am-<br />

5pm. Works made on the day will be shown on the<br />

Pavilion website. There’ll also be drop-in talks, the<br />

chance to meet the team of gardeners, and a seedand-plant<br />

giveaway. [brightonmuseums.org.uk]<br />

The University of<br />

<strong>Brighton</strong> opens its doors<br />

for the annual Graduate<br />

Show from Saturday the<br />

3rd until Sunday the<br />

11th. As well as visiting<br />

the main building on<br />

Grand Parade, don’t<br />

forget to go round the<br />

corner to Edward Street too, where this year’s 43<br />

photography graduates have their work on show.<br />

[arts.brighton.ac.uk] Festival <strong>2017</strong> continues at<br />

Cameron Contemporary Art until the 11th.<br />

One of the gallery’s biggest shows of the year, it<br />

features paintings, prints, ceramics and jewellery<br />

from exhibitors including Rowena Gilbert,<br />

Claire Beattie, Luke Hannam, and David<br />

Storey. [cameroncontemporaryart.com]<br />

Sea Cruise by David Storey Photo by Rebecca Shears<br />

Photo by Sam Moore, Visual Air<br />

aerialphotographysussex.co.uk<br />


ART & ABOUT<br />

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

Out of town<br />

© Sheila Donaldson Walters, <strong>2017</strong><br />

This month it’s the creative community of<br />

Worthing that opens its doors to art lovers<br />

(and nosey parkers). Worthing Artists’<br />

Open Houses takes place on the 17th, 18th,<br />

24th and 25th of <strong>June</strong> and the 1st and 2nd<br />

of July. Hundreds of artists and makers will<br />

show a huge variety of work in 70 venues,<br />

with workshops, activities, refreshments,<br />

music and spoken-word performances (see<br />

pg 57). [worthingartistsopenhouses.com]<br />

In 1964, Sheila Donaldson Walters, who was a close<br />

friend and colleague of Roland Penrose at the Institute<br />

of Contemporary Arts, created a series of paintings entitled<br />

Infinite Spirals. These, and other works collected in<br />

a new exhibition at Farleys Gallery, reflect her passion<br />

for colour and her indomitable energy. Infinite Spirals<br />

and Joie de Vivre opens on the 11th. Sundays only until<br />

the 13th August. [farleyshouseandgallery.co.uk]<br />

Michele Morrod, Venue 35<br />

Eric Ravilious, ‘Commander looking through the periscope’ c.1941. Towner Art Gallery<br />

To coincide with the 75th anniversary of<br />

Eric Ravilious’ death, Towner Gallery<br />

present a major new exhibition of his work.<br />

Ravilious & Co: The Pattern of Friendship explores<br />

his relationships and collaborations<br />

with friends and affiliates including Paul and<br />

John Nash, Enid Marx and Peggy Angus,<br />

amongst others. Key Ravilous works hang<br />

alongside pieces by his contemporaries. Watercolours,<br />

woodcuts, lithographic prints,<br />

book jackets, patterned papers, and wallpaper<br />

and fabric designs tell a chronological<br />

story of their overlapping and interweaving<br />

careers. Continues until September.<br />

[townereastbourne.org.uk]<br />


ART & ABOUT<br />

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

Installation views: The Outside Art Now,<br />

Tate Britain and Spring Rain, Bristol<br />

Also at Towner, and also inspired<br />

by Ravilious, Ous by Becky Beasley<br />

explores her ongoing interest<br />

in the qualities of space,<br />

flatness, light and abstraction in<br />

a series of installations over six<br />

rooms. Until the 9th of July.<br />

The inspiration reverberates further still with Enid, Peggy, Eric and Edward at the Emma<br />

Mason Gallery in Eastbourne. Ceramicists Vicky Lindo and Bill Brookes have created<br />

a collection of specially commissioned works inspired by Enid Marx, Peggy Angus,<br />

Eric Ravilious and Edward Bawden. Mid-century prints by artists working in the same<br />

tradition hang alongside. Until the 24th.<br />

[emmamason.co.uk]<br />

Vicky Lindo and Bill Brookes<br />

Quentin Blake at work. © Linda Kitson<br />

In The Only Way to Travel at Jerwood<br />

Gallery from the 14th, Gallery Director<br />

Liz Gilmore has given Sir Quentin<br />

Blake complete freedom to explore<br />

themes that concern him. More than<br />

100 works – ranging from postcardsized<br />

pieces to huge twelve-foot murals<br />

– will occupy the whole ground<br />

floor, and reveal his thoughts on mental<br />

health, the ‘squeezing of creativity’<br />

and the refugee crisis. Serious subjects<br />

explored in his inimitable (and far from<br />

gloomy) style. Not so much a retrospective<br />

of his 84 years, as an introspective.<br />

[jerwoodgallery.org]<br />


Contemporary<br />

British Painting and<br />

Sculpture<br />

We look forward to welcoming<br />

you to our gallery in Hove.<br />


Mon—Sat 10.30am—5pm<br />

Sunday/bank holidays 12pm—5pm<br />

Closed Tuesday<br />

For more details visit<br />


CA_<strong>Viva</strong>Lewes_Advert_66x94_April<strong>2017</strong>_v1.indd 1 17/04/<strong>2017</strong> 13:51<br />

MA CRAFT<br />

Learn to think about<br />

your craft in a new way<br />

Starts September <strong>2017</strong><br />

www.brighton.ac.uk/craft<br />

Contact Patrick Letschka<br />

p.letschka@brighton.ac.uk<br />

<strong>2017</strong><br />

17/18 JUNE • 24/25 JUNE • 01/02 JULY<br />

For more information visit www.worthingartistsopenhouses.com<br />

or find us on

ART<br />

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

Focus on:<br />

The Goblins<br />

of the Night<br />

by Gary Goodman<br />

Oil on Board<br />

30x42cm<br />

£350<br />

I was listening to a Roy Harper song and one<br />

of his lines, ‘the goblins of the night’, gave me this<br />

image of a girl, sitting on her bed, by her window.<br />

It made me think about being there, all safely ensconced<br />

in your world, surrounded by your things.<br />

But what’s happening outside the window?<br />

Animals don’t have any conscious symbolism for<br />

me, but someone once said ‘there’s a lot of animals<br />

in your work but no men. It’s all women and animals.<br />

Do you think the animal represents yourself?’<br />

I’d never actually thought about that, but maybe.<br />

I just paint, and reflect afterwards, but obviously<br />

whatever’s inside comes out. I’ve never drawn a male<br />

figure in my life. It’s true that I love women, but<br />

maybe it’s just because I can’t draw men.<br />

About five years ago I had an exhibition at the<br />

London Centre for Psychotherapy. The private<br />

view was on a Saturday afternoon, and there had<br />

been a conference all about psychopaths and killers<br />

and stuff, and quite a few of the psychotherapists<br />

stayed around. I did a poetry reading and there was<br />

a painting of a woman in a forest holding hands with<br />

a wolf. Imagine! They had a field day with that.<br />

I try not to think about it too much. I love the<br />

mystery that you just make something and somebody<br />

else can have a view on it. These days, even<br />

when you watch a football match on telly, there’s<br />

two hours of post-match analysis. Everything has<br />

to be analysed, thought about and dissected. Why<br />

can’t you just experience it?<br />

I don’t think I have an imagination. I just draw<br />

the same thing over and over again. Like a woman<br />

and a dog and a tree. But when I write my poetry<br />

it’s all about experiences and my own personal<br />

thoughts. It’s all autobiographical. What I’m saying<br />

is that I can’t really make things up... I’ve always<br />

believed that one of the greatest gifts we can offer<br />

as human beings is our honesty and the truth about<br />

how we feel. I’m not trying to shock or upset, but if<br />

it’s relatable to anyone in the audience, that can be<br />

a good thing. As told to Lizzie Lower<br />

Gary Goodman will be at Venue 49 of Worthing Artists<br />

Open House, 24 West Park Lane.<br />

worthingartistsopenhouses.com<br />


DESIGN<br />

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

George Hardie<br />

Pink Floyd album cover artist<br />

I speak to <strong>Brighton</strong> University Professor George<br />

Hardie on a Bank Holiday, distracting from<br />

his preparations for a teaching trip to Porto,<br />

a nerve-wracking home visit from a panel of<br />

expert gardeners, and work on his forthcoming<br />

monograph.<br />

The book, to be published by Unit Editions<br />

this year, is described by designer and editor<br />

Adrian Shaughnessy as ‘a comprehensive study<br />

of George Hardie’s vast body of work’. It follows<br />

on from Hardie’s 50th-anniversary retrospective<br />

at <strong>Brighton</strong> University this spring, and ‘will<br />

chart the connections, influences and allusions<br />

that are embedded in Hardie’s work’.<br />

This is no small undertaking, as George hit the<br />

big time as a graphic artist while studying at the<br />

Royal College of Art in the 1970s. He illustrated<br />

the cover of Pink Floyd’s Dark Side of the Moon,<br />

as well as other iconic albums by the likes of<br />

Led Zeppelin and Black Sabbath, with design<br />

group Hipgnosis.<br />

You might imagine that creating work to such<br />

high-profile briefs would be hard to beat even<br />

years later, but no. “They’re not incredibly interesting<br />

to me,” says George, “except of course,<br />

that’s terribly unfair because I was incredibly<br />

grateful, and lucky, to be working for such<br />

important clients so early.<br />


DESIGN<br />

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

“I don’t have problems with them,” he says,<br />

“but I’ve always found it more fun working on<br />

words than music.”<br />

George’s second retrospective was entitled 50<br />

Odd Years, and cherry-picked a large number of<br />

works grouped by theme, subtly revealing common<br />

patterns of influence applied to every kind<br />

of brief: from postage stamps to ad campaigns.<br />

His fascination for visual puns, ‘very short stories’<br />

and collecting things (“you couldn’t be in a<br />

better place than <strong>Brighton</strong> for that”) are motifs<br />

that reoccur in ingenious ways.<br />

“I do enjoy looking at everyday objects, trying<br />

to puzzle them out,” he says. “I collect rulers,<br />

sometimes I draw them. I collect things that I<br />

think look like trees. It all goes back into jobs…<br />

but if you were to ask me where they are now,<br />

I’d say, ‘in a suitcase somewhere!’”<br />

“One lecture I really enjoy giving is called<br />

Reading Objects,” says George. “When you’re<br />

faced with something you don’t understand,<br />

try to work out why someone made it like that.<br />

The moment you get into the handle, or where<br />

a finger might go, you can start to invent what<br />

it is, you can know what it is, and I love that.”<br />

As with these objects, the more you look at<br />

George’s work, the more you discover. This too,<br />

of course, is by design. “If you do a picture for<br />

a calendar then someone has to look at that, go<br />

on enjoying it and finding things out in it for a<br />

whole month,” he says.<br />

This strikes me as a pleasing and subversive<br />

thought. In the digital age, readers have simultaneously<br />

more information to look at, and less<br />

time to absorb it. A web page does not have<br />

the same lifespan as a record sleeve, on which,<br />

as George says, you might notice something a<br />

month, even a year after purchase.<br />

“It’s the opposite of designing road signs,” he<br />

explains. “I like to build time into things.”<br />

Interview by Chloë King<br />

uniteditions.com<br />


Saturday 9th<br />

September<br />

Open to anyone over 1.2m tall<br />

A giant inflatable<br />

foam - filled<br />

obstacle course<br />


kapow!<br />

Early bird entry<br />

Book before 30th<br />

<strong>June</strong> <strong>2017</strong><br />

www.themartlets.org.uk/events<br />

T 01273 747455<br />

䠀 礀 瀀 渀 漀 琀 栀 攀 爀 愀 瀀 礀 挀 愀 渀 愀 挀 琀 甀 愀 氀 氀 礀 氀 愀 礀 挀 氀 愀 椀 洀 琀 漀 戀 攀 椀 渀 最<br />

琀 栀 攀 眀 漀 爀 氀 搀 ᤠ 猀 漀 氀 搀 攀 猀 琀 琀 栀 攀 爀 愀 瀀 礀 Ⰰ 搀 愀 琀 椀 渀 最 戀 愀 挀 欀 猀 漀 洀 攀<br />

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栀 礀 瀀 渀 漀 琀 栀 攀 爀 愀 瀀 礀 挀 愀 渀 攀 渀 挀 漀 甀 爀 愀 最 攀 愀 渀 搀<br />

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Registered charity number 802145<br />

w_vivaad.indd 1 11/05/<strong>2017</strong> 12:00


This month we sent Adam Bronkhorst and his camera to explore <strong>Brighton</strong>’s<br />

diverse printing scene, asking each of the printmakers he met:<br />

What’s your favourite colour of ink?<br />

adambronkhorst.com | 07879 401333<br />

Gary Parselle, screenprint (theprivatepress.org)<br />

“Fluorescent red.”


Sophie Darling, textile screenprint (sophiedarling.com)<br />

“My favourite currently is blue; I love working with denim at the moment and<br />

those denimesque blues are always an inspiration.”


Helen Brown, woodcut print (bip-art.co.uk)<br />

“Mine is phthalo green.”


Jane Sampson, screenprint/letterpress (inkspotpress.co.uk)<br />



Livvi White, risograph printing (dopplepress.com)<br />

“My favourite ink is the fluro pink!”


Food & Drink<br />

Terre à Terre<br />

With the sun shining high, why not enjoy a leisurely meal with fabulous cocktails<br />

or organic wine on the terrace at Terre à Terre, the local go-to for the most creative<br />

vegetarian food in <strong>Brighton</strong>, and always delivered with a cheeky little pun! Open all<br />

day offering lunch and dinner options from small plates and sharing tapas to 3-course<br />

set meals and not forgetting their magnificent afternoon tea menu, multi-tiered<br />

savoury, sweet and traditional delights available from 3-5pm daily. 71 East Street, 01273 729051, terreaterre.co.uk<br />

The Better Half<br />

The Better Half pub has put the heart and soul back into one of the oldest public houses<br />

in the city, just off Hove seafront. There’s a superb wine and spirits list and some great<br />

ales and ciders on offer, as well as a hearty and wholesome menu to enjoy, making the<br />

best of local ingredients. The Better Half is relaxed, friendly and easy-going, making all<br />

feel welcome and comfortable when you visit.<br />

1 Hove Place, Hove, 01273 737869, thebetterhalfpub.co.uk<br />

Fin and Farm<br />

Summer is just starting to filter through and we have fresh local asparagus and<br />

early strawberries now. Make the most of really good produce, that is freshly<br />

picked at local farms, in your cooking.<br />

Fresh food is better for you. We buy picked to order - to help you keep your<br />

carbon footprint as low as possible and remain a nearly-zero-waste company.<br />

finandfarm.co.uk<br />


We specialise<br />

in a wide variety of honeys<br />

which have been sourced from sustainable regions<br />

across the world.<br />

TEA<br />

& HONEY SHOP<br />





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

Manjus<br />

Soon to be your favourite Indian<br />

As I sit down to type up<br />

this review, I receive a text<br />

message from a friend ‘Are<br />

you free on Friday night for<br />

dinner at Manjus?’ Sadly, I’m<br />

not. ‘Have you been yet?’ she<br />

asks, ‘It’s my new favourite<br />

place’. Mine too.<br />

Another friend and I had<br />

visited the Friday before,<br />

entering through a throng<br />

of the hungry and hopeful<br />

milling around outside the<br />

unassuming and fully-booked<br />

eatery. Manjus, at the bottom<br />

of Trafalgar Street, has only<br />

been open a matter of weeks,<br />

but good food news travels<br />

fast, and I’d already been hearing murmurings<br />

about its seriously good Gujarati (ergo vegetarian)<br />

dishes and sweet Indian treats. It’s smart, too.<br />

Deepest peacock-blue walls decorated with gleaming<br />

platters and tiffin tins, stripped-wood tables,<br />

bright Indian textiles and Bollywood crooning<br />

make for stylish blend of subcontinental cool and<br />

hipster hangout.<br />

The menu is long and tempting and requires careful<br />

consideration, so we’d bought a little time with<br />

a pappad platter (£5) - a tray of crispy poppadum,<br />

rice wafers and a dish of spicy puffed rice and crispy<br />

noodles surrounded by intriguing little dishes of<br />

assorted pickles. The tastes of tamarind, sweet<br />

tomato and pepper, and tangy fruit chutney are so<br />

fresh that I doubt if they’d ever seen the inside of a<br />

jar. I washed it all down with a mango lassi (£2.50),<br />

served thick, just sweet enough, and bejewelled<br />

with pomegranate seeds and mint.<br />

Main courses soon followed. Surtu Shaak (£10)<br />

for me; a signature dish of<br />

mixed vegetables sautéed<br />

in a masala gravy accompanied<br />

by delicate pilau<br />

rice, gently spiced thikka<br />

thepla flatbread and lemon<br />

pickle. It was delicious, as<br />

was the Palak Paneer (£10).<br />

I’d never really understood<br />

the appeal of paneer (for me<br />

it occupies the same bland<br />

territory as tofu) but Manjus<br />

serve theirs in a rich and<br />

spicy tomato gravy good<br />

enough to change my mind.<br />

It’s pretty standard for me<br />

to experience food envy<br />

towards my dining companions,<br />

but rarely do I feel it towards the whole<br />

restaurant. I tried to keep a mental note of all the<br />

intriguing dishes coming out of the kitchen; the<br />

pani puri looked puffed to perfection, the masala<br />

dhosa alone looked worth a revisit, as did most of<br />

the various glinting dishes that came out in waves<br />

of shining pots and platters. All contain Gujarati<br />

dishes that I’ve not heard of before, but am very<br />

keen to try.<br />

So, back at the office, I’m wondering about the<br />

wisdom of waxing too lyrical about the place. I’m<br />

thinking perhaps I should wait a while before<br />

adding to the rave reviews. Give myself a little<br />

more time to revisit and sample the menu before<br />

the place is mobbed, when, ‘Hey Lizzie’, comes an<br />

email from regular <strong>Viva</strong> contributor Nione. ‘Is new<br />

restaurant Manjus, on Trafalgar Street, on your<br />

radar? It’s my new favourite place to eat…’<br />

Lizzie Lower<br />

Manjus, 6 Trafalgar St, 01273 231870<br />


RECIPE<br />

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

Photo by Lisa Devlin, cakefordinner.co.uk<br />


RECIPE<br />

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

Spring tonic lemonade<br />

By Tom Daniell, co-founder of Old Tree Brewery<br />

There’s quite a lot behind Old Tree. Myself<br />

and Nick met when we were managing a<br />

woodland and, after getting involved in local<br />

growing projects and forest-gardening initiatives,<br />

we decided to set up a project together.<br />

But we realised we needed to raise some money<br />

to do it, so we used elderflower champagne<br />

as a fundraising tool. The elderflower invited<br />

us to start looking at what all the other plants<br />

could do, and everything we read in books<br />

started to paint this idea of people using the<br />

plants that grew where they lived to make seasonal<br />

brews, which kept them going through<br />

the winter, whether they were soft drinks or<br />

vinegars or beer or cider. We all share a really<br />

rich cultural history of using plants to drink -<br />

that’s what interested us and inspired us to set<br />

up a brewery.<br />

This spring tonic lemonade comes from a<br />

book that’s inspired a lot of our drinks, called<br />

Sacred Herbal Healing Beers. It’s an amazing<br />

book about the anthropology behind<br />

fermentation, and one of the stories it tells us<br />

is about these spring tonics and cold teas that<br />

people used to make, which were infusions<br />

of spring water with whichever native forest<br />

herbs came up first in the spring. So you’d<br />

have nettles, which have lots of minerals, and<br />

cleavers (known as ‘sticky weed’) that give<br />

a really good cucumber flavour. We’ve also<br />

added some rosemary to ours because that<br />

grows really well here, along with dandelions,<br />

which have a long history of human use, that’s<br />

been almost completely forgotten today.<br />

I would say you’d want to make around<br />

four or five litres of lemonade to make it<br />

worth your while. We’re using lots of fresh<br />

ingredients, so in order to stop the lemonade<br />

from fermenting it has to be pasteurised. Start<br />

by juicing your lemons or other citrus fruits.<br />

You’ll need a litre and a half of juice, so start<br />

with around 30 fruits. Cold-steep or gently<br />

simmer your fresh herbs (around 500g) in two<br />

litres of water. I’d recommend using a ‘sparge’<br />

bag (or muslin bag) to do this so you don’t<br />

have to fish them out at the end. You can also<br />

add some zest from the fruits if you want an<br />

extra-citrusy flavour.<br />

Remove the sparge bag and bring the water<br />

to a gentle simmer, then dissolve in around a<br />

kilo and a half of sugar. Add the citrus juice<br />

and bring the whole mixture up to 75° - that<br />

temperature will pasteurise the organic<br />

material without damaging the flavour of the<br />

citrus. Bottle it straight from the pan using a<br />

funnel, and tip the bottle upside down while<br />

the lemonade is still hot – this will pasteurise<br />

the lid and neck too. The lemonade will last<br />

for months and months without needing to<br />

be kept in the fridge. When you are ready<br />

to enjoy, dilute one part lemonade with four<br />

parts still or sparkling water.<br />

As told to Rebecca Cunningham<br />

Old Tree hold monthly film screenings and<br />

regular forest-gardening events at FIELD<br />

House on Lewes Road. Visit oldtree.house<br />


FOOD<br />

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

Twin Pines<br />

Overthrowing the coffee-culture system<br />

I had a conversation with someone recently about the future of coffee. About how<br />

the cups seem to have been getting smaller and smaller, and the ratios of coffee to<br />

milk to froth more and more complex until, as if in some kind of backlash, hipster<br />

London coffee shops started serving bowl-sized vessels full of milky coffee, which<br />

seemed to defy all the rules of what you’re supposed to drink nowadays. So I can’t<br />

decide if it’s more or less hipster that now, in the midst of macchiatos and cortados<br />

and piccolos, there’s a coffee shop in <strong>Brighton</strong> that has overthrown the whole system.<br />

At Twin Pines on St James’s Street, the menu board simply offers ‘black drinks’ (£2.50) and ‘white drinks’ (£3). I’m<br />

unsure how to broach this situation, but the friendly guy behind the counter asks, “What do you normally drink?”<br />

“I like… a flat white,” I say hesitantly - are flat whites still ‘in’? “I can make a nice flat white,” he smiles. Phew. I add<br />

a chocolate-and-almond croissant to my order and sit at the back, at a table piled with indie magazines.<br />

The coffee is, as expected, delicious, but our standards have become so high here that coffee shops can’t get away<br />

with anything less. And it is expensive - I can’t remember the last place that I paid £3 for a flat white. But then<br />

you’re not just paying for the coffee; you’re paying for the beautiful interior and the zen atmosphere, and for the<br />

locally made coffee cups and small-batch coffee, and for the three different types of tap water on offer. I think it’s<br />

worth it. Rebecca Cunningham. 11 St James’s Street

delicately aromatic<br />

distinctively rose<br />

mix with gin for a delicious<br />

and unique cocktail<br />

[ Fentimans Rose Lemonade ]<br />

EST<br />

ḍ<br />

1905<br />

FOOD<br />

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

Hash House<br />

A sprint not a marathon<br />

It’s a sunny Sunday afternoon, the day of the <strong>Brighton</strong> Marathon. I can<br />

remember hearing the cheers as the frontrunners came through North<br />

Laine early this morning, but I was only distantly aware of the noise. I’m<br />

in recovery after a big night; now it’s gone four and I’ve got that emptiness<br />

in my stomach that only a high-salt, high-fat carb feast can cure.<br />

An aimless wander leads me to Hash House, tucked under the station in Trafalgar Arches. The sign outside<br />

says ‘WAFFLES HASHES SHAKES’, so I think I’ve found exactly what I’m after. I order a cheese and wild<br />

garlic waffle with a fried egg on top (£6.50), and have a seat on one of the benches outside. Lycra-clad passersby<br />

stroll up Trafalgar Street, with only their stuck-on paper numbers giving away the fact that they’ve run 26<br />

miles already today. I feel a pang of inferiority. Nevermind.<br />

My food arrives and it’s so much more than I expected. The waffle is unlike any I’ve tried before - a savoury<br />

potato one, but soft and light and fluffy. The cheese pools in its little wells with the wilted garlic leaves on top,<br />

and when I cut into the egg it runs all over everything. I want to savour every mouthful, but it’s all over way<br />

too quickly.<br />

So it turns out this isn’t the grease-fest I’d thought I wanted; it’s so much better. RC<br />


Ping-pong,<br />

cocktails and<br />

tropical vibes all<br />

topped off with a<br />

fresh new look!<br />

Come & enjoy<br />

some of our old<br />

favourites, as well<br />

as a brand new<br />

line-up of<br />

delicious drinks.<br />

Artist Residence<br />

33 Regency Square<br />

<strong>Brighton</strong><br />

BN1 2GG<br />

01273324302<br />

<strong>Viva</strong> Ad.indd 1 14/05/<strong>2017</strong> 22:23

FOOD<br />

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

Edible Updates<br />

Illustration by Chloë King<br />

Congrats to The Salt Room’s Mike White, newly crowned <strong>Brighton</strong>’s Best<br />

Emerging Chef at the inaugural English’s of <strong>Brighton</strong> competition, which brings<br />

together new talent and stalwarts of the city’s food scene.<br />

More celebration for The Salt Room: their new Tower Bridge branch launches this<br />

autumn. Plus, Stoneham Bakehouse has opened on Poet’s Corner – hooray!<br />

Home cooks sometimes get a raw deal in this round-up, so hello to local start-up Seven Sisters Spices, whose<br />

new Spice Club will help diversify our repertoires. [sevensistersspices.com] Shape Up is a new ten-week programme<br />

from B&H Food Partnership promoting gradual weight loss and healthier lifestyles - and it’s free!<br />

[bhfood.org.uk] The College of Naturopathic Medicine are hosting a talk on nutrition and skin health on 14th<br />

<strong>June</strong>, and a new food and recipe-sharing group starts at Hove Methodist Church on 7th <strong>June</strong>. [cookingandcompany@gmail.com]<br />

Could <strong>Brighton</strong> become the fermentation capital of the UK? Silo are working on it, by hosting<br />

guru Sandor Katz on <strong>June</strong> 19th.<br />

Also filed under ‘events’: the Tearfund Action ‘Renew Our World’ campaign launches on 23rd <strong>June</strong> with a free<br />

Food Waste Feast at One Church (see Eventbrite). We also have Lerato’s Wild African Vegan Feast (11th);<br />

Chef Sammy Smith (River Café/Chez Bruce) in residence at Cin Cin (1st- 3rd) and Tina CanTina’s first athome<br />

supper club of <strong>2017</strong>, inspired by acclaimed chef Skye Gyngell (16th). Chloë King<br />



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

Melissa Williams<br />

Head of Conservation at The Keep<br />

Tell us about your job. This<br />

is the ‘hospital’ section of the<br />

building. All documents that<br />

need conservation treatment<br />

come here. I look after them<br />

and the environment they’re<br />

stored in. So we keep careful<br />

control of the temperature,<br />

humidity, light levels, mould<br />

contamination, dust. And<br />

people - we have a clear space<br />

marked for tea!<br />

Is anything not reparable?<br />

We’ve never thrown anything<br />

away. Things are only sent to<br />

me that are worth keeping. Not<br />

because of their financial value,<br />

but because of what it means<br />

to the next person who comes<br />

to read it.<br />

Tell us about your studio.<br />

My favourite section is the<br />

illuminated, custom-built map<br />

wall. The huge guillotine is<br />

from Germany. We have map<br />

tables with wheels, lit from underneath.<br />

All the surfaces were<br />

chosen specifically to have no<br />

bumps, to protect documents.<br />

The windows are 99% UV<br />

filtered. We’ve got a height-adjustable<br />

tilting sink for washing<br />

documents. A lot of things are<br />

adjustable, because we wanted<br />

this space to be as accessible<br />

as possible. The blender and<br />

microwave are because I make<br />

my own glues and pulps. Our<br />

favourite thing, and what we<br />

spend a fortune on, is a transparent<br />

film called Melinex. It<br />

protects documents from light,<br />

insects and fingers.<br />

What’s the process? Everything<br />

we do must be chemically<br />

inert and fully reversible. The<br />

full conservation treatment<br />

process involves visual<br />

examination, micro-chemical<br />

testing and documentation.<br />

Dirt penetrates the layers of<br />

fibres, causing tears and holes,<br />

so taking it out is vital. Treatment<br />

begins with mechanical,<br />

or ‘dry’ cleaning (using an<br />

eraser, sponges and brushes).<br />

We humidify the document<br />

to flatten it. Then comes the<br />

wet, or aqueous, treatment;<br />

de-acidifying and stain removal.<br />

We dry the item between blot-<br />



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

ters when it’s clean, the PH is<br />

returned to neutral and we can<br />

repair any holes or rips. That’s<br />

the highly-skilled side.<br />

What are the most interesting<br />

things you’ve handled?<br />

Gundrada’s tooth. And I’ve<br />

been working on a sketch<br />

by Eric Ravilious of Edward<br />

Bawden in his studio from 1930<br />

that’s going up in Towner.<br />

How did you come to do<br />

this? My degree was in art<br />

history at Sussex, but I wanted<br />

something more hands-on. So<br />

I did an MA in conservation at<br />

Camberwell Art School. I then<br />

volunteered at the East Sussex<br />

Record Office, who didn’t have<br />

a conservator, and gradually<br />

started getting paid, until it<br />

became a full-time position.<br />

What do you most like about<br />

your work? Teaching and supporting<br />

the volunteer team.<br />

What qualities do you need<br />

to do it well? Attention to<br />

detail, hand skills, patience,<br />

perseverance and a jigsaw mentality.<br />

If you like doing the sky<br />

in jigsaws, you can do this.<br />

How can people take care of<br />

their family documents and<br />

photos? We’ve been asked that<br />

so many times, we’re starting<br />

to run workshops, explaining<br />

handling and cleaning<br />

processes, so people can learn<br />

to care for their home ‘archive’.<br />

The next one is on Wednesday<br />

the 7th of <strong>June</strong>, from 2-4pm.<br />

Bring something you want to<br />

conserve. Emma Chaplin<br />

Preserving Old Documents sessions<br />

cost £10, booking essential,<br />

01273 482349, thekeep.info<br />

Photos by Lizzie Lower<br />


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WE TRY<br />

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

Woodcut printmaking<br />

Think ink<br />

I’m spending the day at Charleston,<br />

on a woodcut-printmaking course<br />

led by <strong>Brighton</strong>-based artist Helen<br />

Brown. It’s a lovely place to be, and<br />

a lovely day to be here; it’s chilly<br />

outside but the sun is shining and<br />

nine of us are huddled inside the<br />

little studio, mugs of tea in hand,<br />

watching Helen demonstrate the<br />

printing process. We’re going to<br />

be carving our own woodblocks inspired<br />

by details of the house, so we<br />

each take a clipboard, a pencil and<br />

several sheets of sketching paper,<br />

and head down the little lane to the<br />

farmhouse for a tour.<br />

We’re shown around by curator<br />

Darren Clarke, who points out interesting<br />

details and tells us stories<br />

about the house and its residents,<br />

while we sketch anything that<br />

interests us. I love pattern, so I’m<br />

drawn to the beautiful geometric<br />

designs hand-painted by Vanessa<br />

Bell onto the walls, woodwork and<br />

pieces of furniture. My favourite is<br />

the pastel, centrifugal painting of<br />

the dining-room table, so I focus<br />

on this one in particular. After the<br />

tour, we’re left to wander around the garden,<br />

sketching some more, until we’re ready to go<br />

back into the studio.<br />

Once we’re back inside, Helen hands out carving<br />

tools in various shapes and styles, and encourages<br />

us to practise the woodcutting technique before<br />

we sketch out the design for our first woodblock.<br />

It’s a worthwhile task - once I’ve tried out some of<br />

the finer details I had planned for my woodblock, I<br />

realise I need to come up with something simpler.<br />

We’re only working on practice blocks to begin<br />

with, but Helen suggests inking up<br />

and making a print early on, so that<br />

we can see how the different marks<br />

will come out on the paper.<br />

One of my favourite things about<br />

the workshop, as the afternoon goes<br />

on, is that there’s no being precious<br />

over your work. Helen encourages<br />

us to keep printing and experimenting<br />

- once we’ve made a print, we<br />

lay it out to dry on the large table<br />

next door, and then we ink up and<br />

print again. She teaches us different<br />

techniques, like Chine-collé, where<br />

the image is printed onto coloured<br />

paper or tissue before being bonded<br />

onto the paper, so that an extra<br />

layer of colour can be introduced.<br />

The only limitation is time; we’re<br />

just here for a few hours, so we<br />

won’t have time to wash and dry out<br />

our woodblocks when we change<br />

between ink colours. Instead we<br />

have to be clever about the order<br />

in which we print, starting with the<br />

lightest colour and working toward<br />

the darkest.<br />

Each time I lay one of my prints on<br />

the drying table, I get to see what<br />

everyone else has been working on. It’s amazing to<br />

see how many different prints can come out of one<br />

woodblock design, by using different coloured inks<br />

and papers, and layering up in different combinations.<br />

By the end of the day I’ve carved out three<br />

different woodblocks and have around 20 different<br />

prints to bring home. What a lovely way to spend<br />

a day.<br />

Rebecca Cunningham<br />

Charleston’s programme of creative workshops run<br />

throughout the year, visit charleston.org.uk<br />



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

Photos by Rebecca Cunningham<br />



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

The Family Store<br />

Andrew Garnett, owner<br />

What do you sell? Pins, patches,<br />

t-shirts, comics, small-press books,<br />

zines - and there’s a gallery space<br />

we’ve just opened upstairs. We’re<br />

actively trying to make it a space<br />

that is affordable, essentially, and<br />

accessible, because illustration is<br />

a very broad beast and I think (in<br />

the nicest way) we work at the bottom<br />

end of it. I never want to sell<br />

anything that’s super expensive up<br />

there; I’m not interested in that side of things. If<br />

something’s affordable I don’t think it has any less<br />

value; a £3 zine has got as much heart and soul as a<br />

£1,500 Pure Evil print, as far as I’m concerned.<br />

What got you interested in illustration? I don’t<br />

really know, I just always was. The Spiderman Annual<br />

1984 - that’s probably what.<br />

Are you an illustrator yourself? I work with<br />

illustrators, but I am utterly talentless within that<br />

realm; I can’t draw for toffee. I suppose people<br />

like me are required because… I’m not saying that<br />

illustrators don’t get things done, they absolutely<br />

do, but sometimes people who can’t do that,<br />

they’re driven in a separate way. Obviously I want<br />

to run a business and that is key, but<br />

it’s all done out of the love of it. At<br />

the end of the day, I’m a massive<br />

nerd for that sort of stuff.<br />

How much of what you sell is<br />

by local illustrators? Quite a bit,<br />

but we don’t really do that thing of<br />

pointing it out. I just think that that<br />

almost colloquialises it, saying, ‘oh,<br />

look at quaint little <strong>Brighton</strong>’. We<br />

want to put local work at an equal<br />

footing with everything else.<br />

And you’re behind the <strong>Brighton</strong> Illustration<br />

Fair? It’s me and three other people, but it’s kind<br />

of my brainchild. We thought about doing it<br />

during the Festival again this year but there’s so<br />

much else going on that we decided to move it to<br />

October instead. David Shrigley is going to be a<br />

guest, and we’ve got Tuesday Bassen, and Jordy<br />

van den Nieuwendijk, and Lucy Sherston, who’s a<br />

<strong>Brighton</strong> illustrator. This year we’re ramping up<br />

the involvement of the students, so there’s going to<br />

be a dedicated space for them, too.<br />

Interview by Rebecca Cunningham<br />

familystoreuk.com<br />



BOOKS<br />

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

Chris Riddell<br />

Out-going Children’s Laureate<br />

“It’s never real when you are<br />

writing it. It’s not even real<br />

when that first copy arrives. It’s<br />

only real when you see someone<br />

with it.” So says author, illustrator<br />

and out-going Children’s<br />

Laureate, Chris Riddell, of his<br />

books. “That’s why I love going<br />

to festivals, because I meet my<br />

readers and they are actually holding my book.<br />

I have conferred ownership. They have taken it<br />

over… I’m that bloke who wrote it and illustrated<br />

it, but it’s their book now. Because they found it<br />

and they read it and it’s in their imagination.”<br />

It is this passion for books - the words and especially<br />

the pictures - that he’s been busy sharing in<br />

his tenure as Children’s Laureate. It’s been a busy<br />

two years, and he’s looking forward to handing<br />

on the baton later this month. “It’s one of those<br />

interesting things. It’s going to be joyful. I’m going<br />

to be delighted, but at the same time it’s been fantastic,<br />

so I’ve got to compose a face that conveys<br />

all that. This isn’t me saying ‘phew, that’s over’, but<br />

at the same time it’s really nice, this feeling of approaching<br />

the finish. All I want people to say about<br />

my time as Laureate is that I tried hard.”<br />

I think it would be fair to say that he has. It’s been,<br />

he tells me, “a cornucopia of different organisations,<br />

different situations. Part of the invitation to<br />

be Laureate is to put yourself in lots of different<br />

situations that you wouldn’t normally be in.”<br />

So he’s found himself illustrating on the radio,<br />

drawing along to Lauren Laverne’s playlist and<br />

broadcasting the images live on Periscope. He’s<br />

illustrated six hours of back-to-back poetry performances<br />

at the Royal Festival Hall, drawn along<br />

to performances in the National Theatre, worked<br />

with the Centre for Literacy and Primary Education,<br />

and visited scores of schools and libraries.<br />

His advocacy work will continue,<br />

with a special focus on school libraries<br />

- an endangered resource<br />

that Chris feels very strongly<br />

about. “As Laureate that’s been<br />

a real centre of what I’ve been<br />

doing. When I finish as Laureate<br />

I’m going to become the new<br />

president of the School Library<br />

Association, as I’ve got this opportunity to carry<br />

on in another capacity.” He’s also recently become<br />

patron of Young City Reads. “For as long as I<br />

can remember, City Reads have been doing great<br />

stuff in the literary life of the city. It’s a wonderful<br />

initiative, to place a specific book in the hands of<br />

school children right through the city. So that everyone<br />

is doing this great thing, which is communal<br />

reading. You can read a book and then go and talk<br />

about it, meet the person who wrote it, meet the<br />

illustrator... This wonderful process of animating<br />

the whole thing is fantastic. Then everyone comes<br />

together at the Dome and the author and illustrator<br />

are there. I know, as an author and illustrator,<br />

just how brilliant that is.<br />

“It’s humbling. I call it the inscrutability of the<br />

eight year old - where a little person comes up<br />

and looks at you and you’ve no idea what they’re<br />

thinking. Probably something like ‘Goodness me,<br />

I didn’t realise that this slightly scruffy looking<br />

man wrote this book that<br />

I like’, or, ‘Wow! He’s real.<br />

He exists, he is a person’. It’s<br />

probably a mixture of both,<br />

but it’s a thrilling thing to<br />

meet one’s readers. They are<br />

not harsh critics but truthful,<br />

unmediated. They tell you<br />

what they think.’ LL<br />

collectedworks.co.uk<br />


LOWDOWN ON...<br />

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

Printing <strong>Viva</strong><br />

Mark Tulley from Gemini explains<br />

The printing officially starts<br />

with our repro team. They’ll<br />

process the files that you’ve<br />

sent over, and then impose<br />

them into the right order so<br />

that when we back up the pages<br />

they back up correctly. The<br />

magazine is A5, but it’s printed<br />

on larger sheets in 32-page sections,<br />

with 16 pages on either<br />

side of each sheet. Our team<br />

check for any potential issues,<br />

but essentially this is done by<br />

the computer.<br />

Once the files have been<br />

processed, we need to<br />

create the printing plates<br />

[templates] for each spread. Colour images are<br />

made up of four colours – CMYK (cyan, magenta,<br />

yellow, black) – so for every colour spread we need<br />

to produce four plates. We need 28 plates in total<br />

for one issue of <strong>Viva</strong>. The process used to involve<br />

lots of chemicals, but now the<br />

images are burnt onto the plates<br />

using a combination of thermal<br />

and light exposure. It’s a very<br />

environmentally friendly way of<br />

printing. The aluminium plates<br />

are recycled after use.<br />

<strong>Viva</strong> is printed on one of our<br />

large presses – the Heidelberg<br />

XL press. The clever<br />

thing about this is the colour<br />

control; the colour is recalibrated<br />

every 14 sheets. This<br />

means that as the sheets are<br />

moving through, the computer<br />

is scanning the images to make<br />

sure they’ve got the right<br />

amount of colour in them. If a page is low on, say,<br />

magenta, it automatically pours in more magenta<br />

ink to make sure there’s colour consistency. Before<br />

this technology existed it would have been done<br />

by eye, with one person standing at the end of<br />


LOWDOWN ON...<br />

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

the press, systematically pulling out sheets and<br />

manually adjusting the ink. This press prints up<br />

to 18,000 sheets per hour, and all the inks now are<br />

vegetable-based.<br />

The printed sheets are fed by hand into a<br />

folding machine. This folds each B2 sheet into a<br />

16-page A5 section – we’ll end up with six lots of<br />

these per magazine. We then deliver the finished<br />

sections to a company called Kensett’s in Hove<br />

to be bound together. You might wonder why<br />

we don’t do this in-house – we have a machine<br />

here which can bind publications up to a certain<br />

number of pages by stitching a wire through the<br />

spine, but for a magazine of this size, the stitching<br />

wouldn’t hold together. The sections are glued<br />

together instead - or PUR bound - and the covers<br />

are fitted. Finally the edges are trimmed off, leaving<br />

the finished magazine.<br />

We keep our presses running 24 hours a day,<br />

five days a week, and eight hours on Saturdays –<br />

sometimes longer if we have a big job to finish.<br />

Gemini has been going over 40 years and we’re<br />

doing really well, but we invest most of our profits<br />

back into improving our equipment and upgrading<br />

our technology. We employ about 125 local<br />

people and we’re still busy – sometimes that’s<br />

enough. As told to Rebecca Cunningham<br />

gemini-print.co.uk<br />

Photos by Adam Bronkhorst, adambronkhorst.com<br />


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PRINT<br />

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

QueenSpark Books<br />

A radical community publishing house<br />

“I don’t know if you know Queens Park” says John<br />

Riches, of QueenSpark Books, “but it’s got a school<br />

in it which, believe it or not, was going to be a<br />

casino back in the 70s.” I do know Queens Park,<br />

and it’s the last place in <strong>Brighton</strong> that I’d think to<br />

put a casino. Nor would I think of it as a fermenting<br />

ground for a radical publishing house, but<br />

that’s what it became back in 1972, when a group<br />

of residents, opposed to that casino plan, started<br />

a campaign newspaper called QueenSpark. One of<br />

their number, Albert Paul, a lifetime resident of the<br />

area, offered to write a book about his childhood to<br />

help raise funds. Poverty - Hardship but Happiness, his<br />

vivid account of a working-class childhood in early-<br />

20th-century <strong>Brighton</strong>, was published in 1974, with<br />

a second volume, Hard Work and No Consideration,<br />

following two years later.<br />

>>><br />


PRINT<br />

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

From ‘<strong>Brighton</strong> Transformed’ and ‘Zap, Twenty-Five Years of Innovation’<br />

>>><br />

More stories were gathered and QueenSpark<br />

Books grew into a community publishing house<br />

documenting the lives and social histories of<br />

working-class people and, more recently, other<br />

under-represented minority voices in the city. “It<br />

became a movement about working-class histories”<br />

John tells me “because, at the time, nobody<br />

was doing it and history was that classic top-down<br />

stuff, and so QueenSpark Books became quite<br />

political and joined the Federation of Worker<br />

Writers and Community Publishers.”<br />

The FWWCP represented a country-wide movement<br />

of alternative community-based publishing.<br />

Its members all grew out of campaigns and the<br />

sort of local direct action that typified the political<br />

and social protests of the period.<br />

“For quite some time they published mainly<br />

white-working-class histories, and a lot of local<br />

people wrote their own stories,” John explains,<br />

“talking about where they grew up, the slums, the<br />

work situation. There were books by the fishing<br />

groups on the seafront, the Pullman craftsmen that<br />

worked at the station.” Many of the authors had<br />

little or no experience of writing for publication,<br />

and much of the material was printed verbatim<br />

from recorded interviews. The inclusion of all the<br />

‘ums’, ‘ers’ and conversational repetitions made<br />

some of the early books hard to read, but preserved<br />

the ‘authentic voice’; an important principle<br />

of a movement that valued substance over style.<br />

“In the early days it was maybe more big ‘P’ political,”<br />

says John. “In the late 1970s there were these<br />

quite dense books; socialist analyses of <strong>Brighton</strong>’s<br />

local economy. Fascinating if you’re into that sort<br />

of stuff, but a hard book to read if you’re not into<br />

economics and Marxism.” Who was Harry Cowley?,<br />

published in 1984, was an account of the local<br />

activist and left-wing firebrand. “He was such<br />

a fascinating local character. A very polarising<br />

character. He used to take over empty properties,<br />

put workers and ex-soldiers in there with their<br />

families. He was a big local agitator. The council<br />

hated him. A few years ago we did a small reprint<br />

of that book, about who he was, how he rubbed<br />

people up the wrong way and why, but that whole<br />

accommodation thing, the arguments he made, are<br />

exactly the same as [people are making] now. So<br />

we need to make sure that is still heard.”<br />

These books were published at a time when<br />

Arts Council funding was plentiful, and staff and<br />

publishing costs were easily met. 107 books later,<br />

and with funding being much harder to come by,<br />

QueenSpark endures as one of the last (if not the<br />

last) publishers of its type. John, who joined the<br />

organisation in 2004, puts its longevity down to its<br />

willingness to change with the times and ‘locality’.<br />

“Both in terms of being about local people, but<br />

also the fact that you can’t walk down the street<br />

without bumping into a writer. There is that history<br />

of creativity and cultural change and interest.”<br />

As Director of Development, his job is to keep the<br />

organisation relevant and viable, and his plan is to<br />

broaden that early remit of documenting ‘lesserheard<br />

voices’. More recent projects have included<br />

books about the Bangladeshi community and the<br />

experiences of transgender people in the city.

PRINT<br />

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

From ‘<strong>Brighton</strong>, the Graphic Novel’<br />

There is no new book in the offing this year.<br />

Instead they are concentrating on making their<br />

early content more accessible. “Some of it is really<br />

sociologically important. There is a book called<br />

Daring Hearts which was about gay and lesbian<br />

lives during the 1950s and 60s in <strong>Brighton</strong> and,<br />

although it was seen as quite a decadent place, it<br />

was still completely underground. About 20 years<br />

ago they produced this book of brilliant interviews<br />

with people that were so sharp and that tell these<br />

brilliant stories. There’s no point in that just being<br />

in an archive. People need to know about it.” So<br />

ongoing projects include digitising early books,<br />

as well as developing the photographic archive.<br />

They’re also gathering content for the development<br />

of a geolocation app that will match oral and<br />

written histories to locations on a walking trail of<br />

the city, and working with <strong>Brighton</strong> Museum on<br />

new and expanded displays for the local history<br />

galleries. They’re engaging young people with<br />

how <strong>Brighton</strong> history is told and presented. “The<br />

feeling about the organisation is very positive.<br />

This last year or two we’ve got a lot of young<br />

people involved, particularly with the <strong>Brighton</strong><br />

graphic novels, and they’re going to be the ones<br />

who tell the stories of the future. Given that history<br />

can be seen as a dry thing, the fact that we can<br />

get them engaged now, see their reaction when<br />

they hold the book… That’s the thing about print<br />

which you can’t beat. I’m absolutely sure that they<br />

wouldn’t have had the same reaction looking at<br />

their work on a Kindle.” Lizzie Lower<br />

QueenSpark are currently seeking volunteers<br />

to review early texts with a view to compiling<br />

anthologies about city life. If you’d like to add your<br />

own memories to their archive, they’re looking<br />

for <strong>Brighton</strong> stories, photographs and memories<br />

from around 1972 ahead of their 45th-anniversary<br />

celebrations in October.<br />

queensparkbooks.org.uk<br />



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

From me to you<br />

Letters for cancer patients<br />

When Alison Hitchcock<br />

met Brian Greenley<br />

it turned out to be<br />

the start of a remarkable<br />

friendship…<br />

I met Alison at a<br />

yoga retreat in Goa.<br />

We kept in touch<br />

when we got home<br />

and in <strong>June</strong> 2010 I met<br />

Alison and another<br />

friend from the retreat at a bar in London. We<br />

were updating each other on our lives, so I told<br />

them that I had been diagnosed with cancer two<br />

days earlier.<br />

Alison made a random promise. She told me<br />

she was going to write to me to cheer me up. I<br />

wasn’t holding out much hope that she’d stick<br />

to it, but two weeks later a handwritten letter<br />

landed on my doorstep. It was the first of over<br />

100 letters she sent me during the two years I<br />

had cancer treatment.<br />

Her letters were not sympathetic or empathetic,<br />

but an insight into her life, rather like a<br />

diary. They were often funny. She became quite<br />

good at observing life around her, and would<br />

send me amusing anecdotes. I found them fascinating<br />

and very entertaining.<br />

When you’re dealing with cancer you long<br />

for things to be normal again. Your daily<br />

routine completely changes while everyone else<br />

is getting on with their lives. What a letter does<br />

is it reaches out to you. It connects you back to<br />

the outside world. Alison’s letters made me think<br />

about the life I’d had. While that made me sad,<br />

it also made me more determined to get back to<br />

what I was missing.<br />

I started to show Alison’s letters to friends<br />

when they visited, and they would all comment<br />

on what a talent she<br />

had for writing. I<br />

passed on their comments,<br />

and I think<br />

that encouraged her to<br />

pursue writing more<br />

seriously. She was<br />

accepted for an MA<br />

creative-writing course<br />

at Birkbeck University,<br />

and spent the next 18<br />

months writing stories and novels. Meanwhile, I<br />

kept being well.<br />

Our story was eventually turned into an hourlong<br />

programme for Radio 4’s Listening Project.<br />

It made us think there could be something<br />

bigger to all this, and we decided to launch From<br />

Me to You, to encourage others to write to friends<br />

or family members with cancer. We run workshops<br />

to help people get started, and we also offer a<br />

forwarding service where people can choose to<br />

donate a letter to a stranger with cancer.<br />

Often people just don’t know what to do to<br />

help when someone is ill, but I think writing a<br />

letter is a great start. It’s very different to a text<br />

or email. You can say things in a letter that you<br />

might feel inhibited saying face to face. It also<br />

gives the recipient a choice about where and<br />

when they read it.<br />

People come to our workshops not knowing<br />

what to write or how, but we’ve yet to have anyone<br />

not leave with at least two sides of writing.<br />

Not everyone can write humorously, but most<br />

people can write about their daily lives, and often<br />

that’s what works best – writing about everyday<br />

things, making a life that’s been turned upside<br />

down feel normal again. Nione Meakin<br />

Visit frommetoyouletters.co.uk for details of the<br />

next <strong>Brighton</strong> workshop or to get involved<br />


HEALTH<br />

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

3D-printed body parts<br />

BSMS’ novel teaching tool<br />

Back in history,<br />

medical students were<br />

given a box of bones<br />

to take home with<br />

them, to carry on with<br />

their learning. But over<br />

time that’s become too<br />

expensive, and under<br />

the Human Tissue Act<br />

of 2004, you can’t have<br />

specimens less than<br />

100 years old. We don’t<br />

have the resources to give each of our 150 medical<br />

students a skeleton that’s over 100 years old.<br />

Our students are taught using the very generous<br />

gift of human cadavers, which have been<br />

donated by amazing individuals to medical education,<br />

so they get to practise surgical techniques<br />

and they get to understand anatomy by literally<br />

hands-in working, which is fantastic. They then<br />

want to continue their learning outside of the lab,<br />

but they don’t have access to human body parts.<br />

Gray’s Anatomy has been the bible for years, but it’s<br />

a two-dimensional book, and we know that using<br />

your hands is a crucial part of learning, gaining<br />

perception, touch and feel, learning how things<br />

work in relation to each other. My research is in<br />

understanding spatial abilities and how students<br />

learn in a three-dimensional way, and I wanted<br />

to make resources that they could take away with<br />

them on the bus.<br />

I had the idea that 3D printing might work, and<br />

the engineering department at <strong>Brighton</strong> University<br />

helped with my research. After getting legal clearance,<br />

we took a recently deceased individual, put<br />

them through a very-high-res CT scan, and then<br />

took the file of the scan, worked on it, and sent the<br />

file to the 3D printer.<br />

And then, like a piping<br />

bag with icing, it sent<br />

out the plastic according<br />

to the file, and the<br />

body was made. At the<br />

moment we only print<br />

out in plastic, but we’re<br />

looking at different<br />

textures. We’ve a range<br />

of colours, and we can<br />

do body parts to scale.<br />

We’re the first medical school in the UK to do<br />

this, and we say to all our students, you can have<br />

a skull for ten pounds, a foot for five pounds and<br />

so on, and if at the end of the module you want to<br />

bring the parts back, we’ll refund you, like a library<br />

system. But they’ve all found it so helpful that<br />

no-one’s brought anything back, and we’ve printed<br />

out around 700 pieces in two years. Some students<br />

like the parts as pieces of art: anatomy and art have<br />

always been intertwined.<br />

Human bodies are just amazing – we’re learning<br />

things all the time, and 3D printing can help<br />

immensely: clinicians need to be able to deal with<br />

variations – for example about 20% of the population<br />

has the sternalis muscle in the chest - and if<br />

we scan and then do a print of a cadaver with that<br />

variation, students will become aware of it rather<br />

than suddenly encountering it in surgery.<br />

Some things can’t currently be printed: spinal<br />

fluid and the blood supply for instance. 3Dprinting<br />

technology is rapidly developing, though,<br />

and one day we’ll have a completely lifelike print.<br />

Probably not in my lifetime, though.<br />

As told to Andy Darling by Dr Claire Smith, Head Of<br />

Anatomy at <strong>Brighton</strong> and Sussex Medical School<br />



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

Adam Trimingham<br />

Argus legend<br />

There was a time, well within living memory,<br />

when the Argus was so ambitious and wellstaffed<br />

that they’d even send reporters to<br />

meetings of Peacehaven Parish Council.<br />

They’d have journalists at every local courtroom,<br />

to cover every case. They could do<br />

that kind of thing; they were regularly selling<br />

about 110,000 copies a day, Adam Trimingham<br />

recalls. People cared enough about what<br />

the Argus wrote that sometimes, as a court<br />

reporter, “I would be offered bribes or threats<br />

of violence to keep cases out [of the paper].<br />

But we never did.”<br />

There were two other <strong>Brighton</strong> newspapers<br />

back then, weekly titles which sold well, but<br />

“I think the Argus in particular was essential<br />

reading. Everyone read the Argus. Some<br />

people even got two editions a day... It covered<br />

everything - every court case, all the councils.<br />

There was always a reporter everywhere, and<br />

the reporter would stay to the end of any<br />

meeting. This was just accepted; the Argus was<br />

the news.”<br />

No local paper, surely, could ever be this<br />

mighty nowadays; it wouldn’t get the circulation,<br />

and it couldn’t afford the staff. Trimingham<br />

says he doesn’t know exactly how many<br />

journalists the Argus employs nowadays, but<br />

“it does an amazing job really, considering<br />

how few reporters there are.” He argues that<br />

in some respects the paper is better than it<br />

was decades ago, citing its design, appearance,<br />

and number of feature articles. In terms of the<br />

overall-industry picture, though, ‘the Sage of<br />

Sussex’ is less bullish.<br />

Are local newspapers in decline? I think<br />

they have declined tremendously. And if you<br />

look at local papers now, they’re a shadow of<br />

what they were. Most weeklies have only got<br />

one paid-for reporter... Whereas at one time<br />

they’d all have had considerable staffs; the<br />

Sussex Express at Lewes would have about 20<br />

reporters. Now I doubt if it’s got more than<br />

two. And if you look at them they’re rather<br />

empty, with a lot of stuff contributed from<br />

press releases…<br />

What effect does all that have on civic<br />

life? Well, it’s very difficult, because people expected<br />

the papers, for many years, to sort of be<br />

their eyes and ears. Sussex Council meetings,<br />

there was a sort of guarantee that things would<br />

be above board. The fact you had a reporter<br />

in court meant that he or she was seeing that<br />

justice was being done. I rather regret the fact<br />

that that’s gone, and I don’t think it’ll ever<br />

come back. But there’s nothing that can be<br />

done about it.<br />

Is it solely down to the internet? No, there<br />

are other factors. Papers were very indulgent<br />

when they had the power, and they didn’t<br />

invest in putting out more editions and that<br />

sort of thing, and getting more people in the<br />

habit of reading newspapers. And I think the<br />

print unions were very greedy, and managements<br />

were very greedy; a lot of money and<br />

time and effort was wasted. So it was suicide as<br />

well as murder.<br />

Was it difficult to predict the effect the<br />

internet would have? Having seen off other<br />

competitors, including other newspapers, radio<br />

and television, I think the powers that be that<br />

ran these papers thought they were pretty well<br />

able to cope with anything. But the internet<br />

took everyone by surprise, not just them.<br />



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

In this kind of climate, for a newspaper<br />

to be surviving, I guess it must be doing<br />

something right, showing some initiative…<br />

Well, the reporters all work incredibly<br />

hard now... I still get the Argus every day, and<br />

it still has, always, some stories which I find<br />

interesting, and which other people do too.<br />

Unfortunately, we’re all very old and we’re<br />

going to die sometime, and then I think most<br />

papers will have had it. With some exceptions.<br />

I think there’s various small towns, like Lewes,<br />

and Henley in Oxfordshire, and Swanage<br />

in Dorset, that have quite a small but very<br />

well-heeled base of residents who are very<br />

interested in what’s going on, who are prepared<br />

to pay for their news, and who all back<br />

enterprises such as the Henley Standard, or<br />

indeed like <strong>Viva</strong> in Lewes… I think in places<br />

like that, print journalism will survive for far<br />

longer than it will in other places.<br />

Overall, are you optimistic or pessimistic<br />

about the future of print media? I think permanently,<br />

I am pessimistic, but there will be<br />

these outposts. And you never know, because<br />

I can remember times when the film industry<br />

seemed to be heading for the buffers. And<br />

radio, when television came out, wasn’t doing<br />

very well. And even newspapers themselves<br />

were supposed to be trodden underfoot by television,<br />

and yet none of that really happened,<br />

and in most cases there was a revival. So it may<br />

be that print will go down to a certain level<br />

and survive. I hope it does. But somehow I<br />

doubt it.<br />

What is about print journalism which has<br />

held your interest for so long? You’re a<br />

creature of your time, really. I’m a creature of<br />

growing up in the 40s and 50s, when newspapers<br />

were really very powerful, had their biggest<br />

circulation… I love the feel of them, and<br />

the smudgy ink, the ‘stop press’, where you<br />

had the latest news; the sense of urgency there<br />

was about them. And I still like it today. In this<br />

house, we get three or four papers a day, and I<br />

doubt if anyone else does in the whole street. I<br />

have a friend who commutes to London; when<br />

he stands in the carriage he’s nearly always the<br />

only one who’s reading a paid-for paper. We’re<br />

dinosaurs really, but we like it. Steve Ramsey<br />

Photo by Steve Ramsey<br />




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

<strong>Brighton</strong> and Hove at your fingertips<br />

Mapping the city through the ages<br />

The fifth furlong of North Laine. Dating from approx. 1792 and showing the area roughly between the station and New England Road. Ref ACC 9495<br />

The shifting of buildings and streets in<br />

<strong>Brighton</strong> and Hove has long been captured<br />

in map form. As well as being a means to<br />

find your way about the city, the maps tell a<br />

story of its development from a scattering of<br />

villages and homesteads to the city that we<br />

know today.<br />

Old maps are a form of historical evidence<br />

that offer a distinctive perspective on the past,<br />

and The Keep holds maps of <strong>Brighton</strong> and<br />

Hove that go back to the first farmers and<br />

landholders. Situated on Lewes Road towards<br />

Falmer, The Keep is the archive centre for the<br />

East Sussex Record Office (ESRO), the Royal<br />

Pavilion & Museums Local History Collections<br />

and the internationally significant University<br />

of Sussex Special Collections. An hour<br />

to two at its architecturally state-of-the-art<br />

library, or on its website, and one can go back<br />

in time - by house, street, neighbourhood and<br />

parish - through its collection of maps and<br />

public records dating back 900 years.<br />

As well as conveying actual information – the<br />

location of town halls and other infrastructure<br />

– the design of maps is often more intuitive<br />

than factual, capturing how we make sense of<br />

our places and spaces and our particular psychogeographies.<br />

How we see the map of the<br />

city in our mind’s eye, depending on whether<br />

we are driving, bussing, walking or cycling,<br />

will differ greatly, as will the maps that depict<br />

those routes. The bus-route map shows a different<br />

city from that of the cycle routes.<br />

The present-day maps of <strong>Brighton</strong> and<br />

Hove tell a story of how we use the city and<br />

consider its heritage. There are maps for<br />

travelling around the city by foot, bike or<br />

bus, as well as maps that place <strong>Brighton</strong> and<br />

Hove in the larger South Downs and Sussex<br />

coastline routes. There’s a map of arts venues<br />

in the city. Maps of our past and present pubs,<br />

and our heritage buildings. The My<strong>Brighton</strong>andHove<br />

website is a rich source of local<br />

maps. There you’ll find a map of the twittens<br />

(those narrow pathways between roads) that<br />

together make for a walking tour of the city.<br />

Also to be found there are survey maps from<br />

the 1800s, maps of the city’s neighbourhoods<br />

from different eras, and contemporary maps<br />

of areas of regeneration.<br />

Our ecological assets are also mapped; a map<br />

has recently been published of <strong>Brighton</strong>’s<br />

Elm Tree Collection. The marine seascape is<br />

mapped too – head to MyHarbour.com for<br />

harbour plans and approach charts.<br />

As a collection, the maps of the city reveal<br />

much about our relationship to the place,<br />

reflecting our values and priorities. The city<br />

is undergoing rapid change to the built environment.<br />

What will the maps of our future<br />

depict? Cara Courage<br />

thekeep.info<br />


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琀 ⸀ ㈀ 㜀 アパート アパート アパート 㠀 㐀 ㈀<br />

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<strong>Viva</strong> <strong>Brighton</strong> & <strong>Viva</strong> Lewes<br />

Original editorial, honest reviews and in-depth interviews<br />

26,500 magazines printed every month<br />

15,000 delivered to homes in Lewes, Kingston, <strong>Brighton</strong> & Hove<br />

11,500 distributed to high-footfall locations and cultural destinations<br />

hello@vivamagazines.com | 01273 810 296


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

Organising a snap election<br />

Three constituencies, seven weeks…<br />

“We didn’t get any advance<br />

notice or any kind of tip<br />

off,” says Michael Appleford,<br />

the city council’s Electoral<br />

Services Manager. “My team,<br />

like local authorities across<br />

the country, heard the<br />

announcement along with<br />

everyone else, when it was<br />

broadcast on the morning of<br />

Tuesday 18th April.<br />

“I joined <strong>Brighton</strong> & Hove City Council just<br />

five days before the election was called, and it’s<br />

certainly made for an interesting start to a new job.<br />

On my first day, there was no major election on<br />

the horizon until the local elections in May 2019.<br />

By the end of my first week, we were planning for<br />

one of the biggest responsibilities we ever have to<br />

face as electoral services, working to the shortest<br />

timescale imaginable.”<br />

At the time of writing, mid-May, “one key concern,<br />

given the condensed timescale, is making sure<br />

everyone who wants to be registered to vote meets<br />

the deadline of 22nd May… Currently we have<br />

about 200,000 registered voters in the city. We’d<br />

expect this to rise to about 210,000 by the time of<br />

the election. We also have about 35,000 postal voters,<br />

and we would expect to see this rise too, given<br />

that the election has been called at the start of the<br />

holiday season…<br />

“There are 127 polling stations in the city, and an<br />

additional ten across the border in Lewes District,<br />

included in the <strong>Brighton</strong> Kemptown constituency.<br />

In usual circumstances, we give months of notice<br />

to venues we use as polling stations. This time, everything<br />

has had to happen at a much faster pace.<br />

Sorting the polling-booth locations was a priority,<br />

and one of the first things<br />

we had to do.<br />

“There’s also a huge<br />

amount happening behind<br />

the scenes. We’re managing<br />

all the administrative<br />

and legal duties driving<br />

the election in <strong>Brighton</strong><br />

& Hove. This essential<br />

paperwork and data management,<br />

which is time<br />

consuming and often invisible to the public, builds<br />

the foundations supporting the rest of the election.<br />

“Staffing is another major logistical feat. Again,<br />

this is complicated by the election date falling at a<br />

time when a lot of people are booked to be away<br />

on holiday…<br />

“In total, we have 411 staff in the polling stations,<br />

and 233 lined up to work overnight counting the<br />

votes… With a deadline like this one, we need<br />

to work with staff who understand the system<br />

and have experience of what’s expected. We need<br />

people who can hit the ground running. Almost<br />

everyone who’s been asked to work on the day [or]<br />

the overnight count has [worked] with us before…<br />

“There are also plenty of apparently small details<br />

which can have a big impact if overlooked. For<br />

example, we need enough pencils to go round…<br />

“I will certainly be in need of a break [after the<br />

result]. Along with my team, we’re using every<br />

minute to prepare as the date races towards us.<br />

Holidays have been cancelled and leave postponed<br />

so we can make the most of the time available.<br />

This is a job we take very seriously. The deadline<br />

isn’t moving. We’re going to be ready for voting<br />

first thing in the morning on Thursday 8th <strong>June</strong>.”<br />

Steve Ramsey<br />


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Funded by Department for Transport’s Access Fund.

INVASION! 200 Billion GIANT Daddy Longlegs to<br />

attack Britain due to warm, wet summer!<br />

Illustration by Mark Greco<br />


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

Craneflies<br />

I read the news today, oh boy.<br />

We all know craneflies; gangly, long-legged insects.<br />

Mildly annoying but harmless. Sometimes they’ll<br />

blunder into your kitchen at night as you open the<br />

door to put the recycling out. But last autumn they<br />

blundered straight past Trump and Brexit and into<br />

the headlines.<br />

There are 327 species of cranefly in Britain but<br />

the one you’ve been chasing round the kitchen is<br />

probably Tipula paludosa. Each autumn this cranefly<br />

emerges in huge numbers, finds a partner, mates,<br />

lays eggs and dies. It’s a tight schedule but paludosa<br />

gets it done and dusted in a day. The eggs hatch into<br />

underground larvae (‘leatherjackets’) which nibble on<br />

grass roots. Leatherjackets thrive in damp soil, and<br />

as last year started damp, they could potentially have<br />

had a better-than-usual survival rate. In the spring<br />

the metamorphosis begins, and then each autumn the<br />

adult craneflies emerge from lawns and fields to share<br />

the planet with us for a few days. So last autumn the<br />

headlines should have read; ‘Something that happens<br />

every year about to happen again’.<br />

But for some reason last year’s cranefly emergence<br />

spawned dozens of crazed newspaper articles. Journalists<br />

claimed an impressive 200 billion craneflies<br />

would be emerging. Now, I have no idea how many<br />

craneflies emerge in an average year but 200 billion<br />

of anything sounds like trouble. To make the whole<br />

story more menacing our biggest cranefly Tipula<br />

maxima (a rare species which I’ve only seen once<br />

and is only found in wet woodlands in summer)<br />

was chosen as the threatening face for this invasion.<br />

Invasion? The language used painted craneflies as a<br />

foreign force arriving on our shores. Craneflies have<br />

been here since the ice retreated. Surely a residency<br />

of 10,000 years qualifies them for British Citizenship?<br />

The headlines became more confusing because<br />

craneflies are commonly known as Daddy-Longlegs<br />

(which I always thought would be a good name for<br />

me if I ever decided to become a rapper). However<br />

this colloquial name is also applied to eight-legged<br />

harvestmen and to those spindly spiders that live in<br />

the corner of the ceiling. By being part of the Daddy-<br />

Longlegs franchise the cranefly was now implicated<br />

in an infamous urban myth. Apparently Daddy-Longlegs<br />

are the world’s most venomous creatures but<br />

without a sting or mouthparts they have no way of<br />

administering their poison. Whether you’re a cranefly,<br />

harvestman or spider, it’s all complete cobblers.<br />

Nevertheless headlines urged us to ‘brace yourselves’<br />

as the ‘plague’ of ‘venomous’ insects was heading our<br />

way. We reached peak panic when the Star screamed<br />


bugs FOUR INCHES LONG coming to UK<br />

homes.’ In the autumn I saw 14 craneflies.<br />

This time last year many people relied on the press<br />

to help them make a rather big decision. And we’re<br />

about to go through it all again this <strong>June</strong>. Call me a<br />

cynic but I’m now suspecting that, if the press aren’t<br />

entirely honest about flies, they might be making up<br />

some other stories too. Michael Blencowe<br />



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

The photographer who took this picture was standing bang in the middle of George Street in Hove, in<br />

order to achieve perfectly symmetrical perspective, with the Cliftonville Press Printers (then at 2 Goldstone<br />

Villas) visible at the vanishing point. The building the printers was housed in was later demolished, and<br />

replaced with the red-brick one, with its classical façade, that now houses Peacocks.<br />

George Street was then, as it is now, one of Hove’s principal shopping streets, with every building selling<br />

wares: there was a gramophone store, a Freeman Hardy Willis shoe shop, a Singer sewing machine outlet,<br />

and countless other shops, including a butcher’s, a confectioner’s, a fishmonger’s and a funeral parlour. Hove<br />

Volunteer Fire Brigade was based at No. 85 (on the left of this picture), the Hove Electric Empire cinema<br />

was at 77.<br />

It was not initially intended as such: the street was built in the 1850s, as two terraces of two-up-two-down<br />

residences, part of the second big development in Hove – after Brunswick Town – called ‘Cliftonville’.<br />

They were by far the smallest plots in the development, designed to house a less well-off resident than the<br />

posher streets around them, and were often extremely crowded: in the 1861 census no fewer than 17 people<br />

were listed as living in number 18. One by one, the ground floors were converted into shops: the last purely<br />

residential household to hold out, number 19, finally became a baker’s in 1925.<br />

There wasn’t much traffic in those days – though note the motorbike and sidecar on the right of the picture<br />

– and, of course, there is no traffic during the day today. The pedestrianisation of George Street was long<br />

mooted and highly controversial, with many shopkeepers adamant that it would damage their trade: it was<br />

finally implemented – at first as a trial – on 19th March 1998.<br />

Back to 1914, and we hope the photographer was minding his back: from the wires attached to the lamppost<br />

we can see that the picture was taken in September, during the trials of the trackless trolleybuses which<br />

took place in that month. The trials were not deemed a success, and the wires were soon taken down. AL<br />

This picture comes courtesy of the Regency Society, who hold the James Gray Collection archive of old photos<br />

of <strong>Brighton</strong> and environs. There is much more material on George Street at hovehistory.blogspot.co.uk<br />


a principle...<br />

...we apply to everything<br />

we undertake<br />

Nutshell:spaces. Imaginative ways of making homes more<br />

interesting, practical and different.

1 Malling Street, Lewes, BN7 2RA . 01273 471 269 . alistairflemingdesign.co.uk

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