Viva Brighton Issue #60 February 2018

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For girls aged 3-18<br />

www.bhhs.gdst.net<br />

SENIOR OPEN DAY with Y4&5 MASTERCLASSES | Saturday 24 th <strong>February</strong>, 9am<br />

Senior Open Doors | Thursday 1 st March, 9:30am<br />

Prep Open Doors | Friday 2 nd March, 9:30am<br />

PREP OPEN DAY with U-9 NETBALL TOURNAMENT | Saturday 3 rd March, 10am<br />

Registered charity no 306983

VIVA<br />

B R I G H T O N<br />

<strong>#60</strong>. FEB <strong>2018</strong><br />


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<strong>Viva</strong> <strong>Brighton</strong> is based at:<br />

<strong>Brighton</strong> Junction,<br />

1a Isetta Square, BN1 4GQ.<br />

For advertising enquiries call:<br />

01273 810 296.<br />

Other enquiries call:<br />

01273 810 259.<br />

Every care has been taken to<br />

ensure the accuracy of our content.<br />

We cannot be held responsible for<br />

any omissions, errors or alterations.<br />

Chemistry was my favourite subject at school.<br />

Not just for the Bunsen burners and explosives<br />

(I went to school before health & safety was a<br />

thing), nor for the transformational wizardry of<br />

combining this gas with that metal, but because I<br />

had a series of inspirational teachers who infused<br />

the subject with equal parts awe and wonder. It<br />

was a blast.<br />

With the Science Festival back in town this<br />

month, we’ve taken chemistry as our theme, and<br />

there’ll be plenty of the laboratory-certified stuff<br />

as well some more mad-cap experiments besides:<br />

rocketry in a theatre, bike rides to the edges of<br />

the solar system, and slime making workshops,<br />

for starters. And, given it’s the most romantic<br />

month of all, we’ve gone in search of the more<br />

elusive, highly magnetic chemistry, too. The starcrossed<br />

kind that has had us mooning over one<br />

another since Adam was a boy.<br />

So, in the name of Science we’ve gone behind the<br />

laboratory doors at Sussex University and spoken<br />

to chemists up to their elbows in ytterbium and<br />

ruthenium, and neuroscientists experimenting<br />

with our (slippery) grasp of reality. We examine<br />

the chemistry between mother and child, sisters,<br />

spouses and lovers. We’ve a matchmaker for the<br />

lonely hearted, a love potion for the amorous<br />

and a Valentine’s day heart dissection for the<br />

curious (what could be more romantic?) We go<br />

ghost hunting at Preston Manor, uncover the lost<br />

women of science and if none of that appeals,<br />

we’ve got some heavy metal cellists.<br />

Put your safety goggles on and we’ll get started.

VIVA<br />

B R I G H T O N<br />

THE TEAM<br />

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

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

DEPUTY EDITOR: Rebecca Cunningham rebecca@vivamagazines.com<br />

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

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

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

ADVERTISING: Hilary Maguire hilary@vivamagazines.com,<br />

Sarah Jane Lewis sarah-jane@vivamagazines.com<br />

ADMINISTRATION & ACCOUNTS: Kelly Hill kelly@vivamagazines.com<br />

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

CONTRIBUTORS: Amy Holtz, Andrew Darling, Ben Bailey, Cara Courage,<br />

Chloë King, Chris Riddell, David Jarman, Emma Chaplin, JJ Waller, Jacqui Bealing, Jay Collins,<br />

Joda, Joe Decie, John Helmer, John O’Donoghue, Lizzie Enfield, Mark Greco,<br />

Martin Skelton, Michael Blencowe, Nione Meakin and Saskia Solomon<br />

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

Please recycle your <strong>Viva</strong> (or keep us forever).

Open Morning<br />

Saturday 3 March <strong>2018</strong><br />


hppc.co.uk<br />

Admissions: 01273 836936 or registrar@hppc.co.uk

We can do anything you want for special occasions.<br />

We don’t have limits. Talk to us. Challenge us.<br />

15 Duke Street BN1 1AH.<br />


Photo © Penelope Fewster<br />


OPEN 1 MARCH<br />

Book your tickets online<br />



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Bits & bobs.<br />

12-29. Animator-turned-artist Mark Charlton’s<br />

50s-style cover design; <strong>Viva</strong>’s Asian<br />

winter; Joe Decie’s clever chemistry; Prinny’s<br />

state-of-the-art paint formulae; Hove’s<br />

pioneering chemist-cum-moviemaker; a<br />

tasty concoction at The Plotting Parlour;<br />

Lizzie Enfield’s time-travelling book; a forensic<br />

examination of the <strong>Brighton</strong> bomb,<br />

and much more, besides…<br />

51<br />

49<br />

Photo by Brinkhoff & Mögenburg<br />

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

30-31. Counsellor Sheila Auguste helps<br />

couples couple.<br />

Photography.<br />

33-37. <strong>Brighton</strong> mum (and renowned<br />

photographer) Lisa Creagh recontextualises<br />

motherhood and breastfeeding.<br />

Photo by Christian Ripkens<br />

33<br />

Columns.<br />

39-43. Lizzie Enfield studies physics; Amy<br />

Holtz gets the needle, and John Helmer<br />

ch-ch-ch-ch-changes. But don’t we all, as<br />

the years go by. And, yes, it is four ‘ch’s. We<br />

counted.<br />

Photo by Lisa Creagh<br />

On this month.<br />

45-55. Ben Bailey’s <strong>Brighton</strong>-band round-up;<br />

Robin Ince’s flibbertigibbety mind; Samantha<br />

Baines uncovers the lost women of science;<br />

Apocalyptica’s stringed take on Metallica;<br />

<strong>Brighton</strong> as seen by early photographers;<br />

Hastings’ very Hastings answer to Mardi<br />

Gras; Ed Byrne’s spoiler alert; orchestral video<br />

game music, and an open-heart Valentine.<br />

....9 ....


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Art, design & making.<br />

56-65. Emigrée designer Elizabeth<br />

Friedlander at Ditchling Museum<br />

of Art + Craft; William Blake at<br />

Petworth House; what’s on where<br />

art-wise, and where to print stuff,<br />

really big.<br />

The way we work.<br />

67-73. Getting up close and personal<br />

with the very stuff of the universe, we<br />

ask six chemists at Sussex Uni ‘what’s<br />

your favourite element?’ (with complicated<br />

results).<br />

56<br />

A Vision of the Last Judgment, William Blake, 1808, National Trust Images. John Hammond<br />

Food.<br />

75-79. Refined excellence at 1909;<br />

a love potion (for goats?) at The<br />

Cocktail Shack; we warm our cockles at<br />

Pharmacie, and other edible updates.<br />

64<br />

Features.<br />

81-89. Match making; stand-up scepticism;<br />

backing Equality FC; <strong>Brighton</strong>’s<br />

most haunted house (no ectoplasm); the<br />

grandfather of all botanists, and enough<br />

with the plastic already.<br />

Photo by Adam Bronkhorst<br />

67<br />

Inside left.<br />

90. <strong>Brighton</strong>’s earliest seafront cinema<br />

and its next-door chemist’s role in a<br />

murder case.<br />


Archie<br />

Lower Sixth<br />

Scholar<br />

You are warmly invited to our<br />

Senior School Open Morning<br />

Saturday 10 March <strong>2018</strong><br />

9.30am to noon (Entry at 13 and 16)<br />

HMC – Day, weekly and full boarding Boys<br />

and girls 13 to 18<br />

To register please contact:<br />

admissions@bedes.org<br />

T 01323 843252<br />

or online at bedes.org<br />

Bede’s Senior School<br />

Upper Dicker<br />

East Sussex BN27 3QH


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“I get asked a lot if my work’s science-fiction<br />

based,” says this month’s cover artist Mark<br />

Charlton. “It is and it isn’t. I love science fiction,<br />

2001: A Space Odyssey, things like that, but that’s<br />

not necessarily what inspires my work. It’s more<br />

to do with man’s enthusiasm to go out into the<br />

galaxy. I absolutely adore mid-century design and<br />

that whole era of science and mankind coming<br />

together. There was a famous comic in the 50s and<br />

60s called The Eagle, which was very much aimed at<br />

getting young boys into engineering, and they had<br />

articles in there about mankind living on the moon<br />

in, like, 50 years’ time. It was just an idea, but I get<br />

excited about that idea, about a 50s perspective<br />

on man jetting off into space, so my work sort of<br />

stems from that feeling.”<br />

Mark’s background is actually in animation,<br />

rather than print design. For years he worked as<br />

a freelance animator, creating music videos and<br />

projections, before taking a change of direction.<br />

“I’d always wanted to try screen printing, so I<br />

bought some bits off eBay and learnt from videos<br />

on YouTube. I then started experimenting with<br />

screen printing onto different materials – onto<br />

wood and mixed media pieces – and that was the<br />

really early beginnings of trying to find my style.<br />

Now I have stacks of different paper sources in my<br />

studio and over time they age and discolour, so I<br />

have a whole bank of this material, which produces<br />

these really lovely textures.<br />

“When you see my pieces up close, you can see<br />

that they’re quite decayed and weathered. I like to<br />

destroy what I’ve made, and I find the inner beauty<br />

within the destruction of it. I build the composition<br />

up over several weeks. In order to see the previous<br />

layers I have to really weather the piece, so I might<br />



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

sand it through and use heat guns and all sorts<br />

of things. This might actually destroy a piece of<br />

work, but I find there’s a spontaneity in that. I<br />

make my pieces over several months, so they’re<br />

constantly changing composition and tone and<br />

colour, but I get a real kick out of having lived<br />

with a piece of work and taken it as far as I can.<br />

I can’t make something within half an hour.<br />

“The future of my work has slowly moved from<br />

exploring Space to an examination of brutalist<br />

architecture. The nuclear age, as it were, the<br />

Cold War. I’m looking at concrete structures<br />

and bunkers and buildings that all came<br />

through the 1950s and 60s. So it’s the same sort<br />

of period, I’m just taking it from Space back<br />

down to Earth.” Rebecca Cunningham<br />

markcharltonart.com<br />



Here’s <strong>Brighton</strong> resident, Steve Collins, enjoying<br />

some zzzzz’s on his last day in Tangalle, Sri Lanka.<br />

He and partner Louise Gasparelli recently spent<br />

ten days touring the country before relaxing on the<br />

beach (a tour put together for them by <strong>Brighton</strong>based<br />

travel company Selective Asia, and one they<br />

highly recommend).<br />

Elsewhere in the Indian Ocean, Patnem Beach<br />

lifeguards Manor and Arvind momentarily take their<br />

eyes off the Goan surf to check out what’s what back<br />

on <strong>Brighton</strong> beach.<br />

Keep taking us with you on your adventures and keep<br />

spreading the word. Send your pictures and a few<br />

details about your trip to hello@vivamagazines.com<br />



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ON THE BUSES #34: JAMES WILLIAMSON (Routes 1, 1A)<br />

Born in 1855 in Pathead, near Fife, and raised in Edinburgh, James Williamson was<br />

a prolific pioneer of early film-making. A member of the ‘<strong>Brighton</strong> School’, he is<br />

known for his experimental short films, which were ahead of their time, with their<br />

extreme close-ups and use of multiple shots.<br />

After training as a master chemist in Scotland, Williamson settled in Hove in 1886,<br />

where he set up a pharmacy. The shop soon became a developing agency for Kodak,<br />

prompting Williamson’s relationship with film. He befriended the likes of George<br />

Albert Smith, Esmé Collings and William Friese-Greene, who were spearheading<br />

the local film movement, and with Smith’s encouragement, Williamson made his first<br />

foray into film-making with his short piece on the Devil’s Dyke Fun Fair.<br />

Upon moving his family and work to Western Road, Williamson set about expanding his film business and made<br />

the transition from pharmacist to full-time film-maker in 1898, a year that saw the creation of 39 films. Every<br />

Saturday night, the shop hosted Williamson’s Popular Entertainments, a weekly showcase of his work.<br />

In 1902 Williamson moved the business, renamed The Williamson Kinematograph Company, to Cambridge<br />

Grove and opened studios in both London and New York, making an average of 50 films a year until 1912. Whilst<br />

his own film-making tapered off, he patented several film-making devices, including projectors that enabled the<br />

insertion of title slides into projected films. Williamson died in Richmond of a heart attack in 1933, aged 78.<br />

Saskia Solomon<br />

Illustration by Joda (@joda_art)<br />

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 />


'Fantastic place, full of beautiful magazines. I just love this shop.’<br />

the world of great indie mags is here in <strong>Brighton</strong>.<br />

22 Trafalgar Street<br />

magazinebrighton.com<br />

@magbrighton<br />



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In a recent BBC documentary<br />

HM the Queen discussed<br />

George IV’s tastes, commenting:<br />

‘He loved jewellery and…<br />

COLOUR!’ Her Majesty has a<br />

point. The interior of <strong>Brighton</strong>’s<br />

Royal Pavilion, George’s<br />

playground away from London,<br />

boasts one of the most vibrant<br />

colour schemes of any building<br />

in this country.<br />

These were partly informed by<br />

objects, fabrics, wallpaper and<br />

images that were imported from<br />

the Far East by the East India<br />

Company. George admired<br />

and collected colourful ‘export<br />

ware’. Another influence<br />

was the recent invention of<br />

several so-called ‘synthetic’ or<br />

‘modern’ pigments, produced<br />

through chemical processes<br />

or interventions, often on a<br />

commercial scale. George<br />

embraced the use of new<br />

pigments and used them<br />

extensively in <strong>Brighton</strong>, in<br />

order to emulate the richness of<br />

oriental interiors.<br />

He wasn’t alone with his passion<br />

for colour: there was a great<br />

interest in all aspects of colour<br />

in the early 19th century, from<br />

colour theory to research into<br />

the durability of pigments. The<br />

fashion for colourful palettes<br />

distinguished the Regency<br />

period from the previous<br />

(neoclassical) generation’s<br />

penchant for pale decorations.<br />

The chemist George Field<br />

became the most prolific and<br />

influential colour researcher<br />

in 19th century Britain. He<br />

supplied ‘colourmen’ or retailers<br />

with pigments, tools and recipes<br />

for making paints. It is likely<br />

that his pigments and books<br />

strongly influenced the interiors<br />

of the Pavilion.<br />

Here are a few of the synthetic<br />

pigments that have been<br />

identified in the building.<br />

Prussian blue, also known as<br />

Berlin blue, is an intense, deep<br />

colour, and often considered<br />

the first ‘modern’ pigment. An<br />

iron compound, it was invented<br />

by the chemist Heinrich<br />

Diesbach in Berlin in c1706.<br />

At the time he was working<br />

with the alchemist Johann<br />

Konrad Dippel. It was a good<br />

alternative to the expensive<br />

mineral pigment ultramarine,<br />

created from lapis lazuli, that<br />

Images courtesy of Royal Pavilion & <strong>Brighton</strong> Museums<br />



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

Prussian blue Chome yellow Blue verditer<br />

had be sourced from remote<br />

caves in Afghanistan. In 1826 a<br />

synthetic form of ultramarine<br />

was invented in France - too<br />

late for George’s Pavilion!<br />

Prussian blue was used for<br />

both opaque and transparent<br />

blue finishes all over the<br />

Pavilion; one good example<br />

is on the wallpaper for the<br />

Banqueting Room.<br />

Another 18th century blue<br />

found in the Pavilion in large<br />

quantities is blue verditer, also<br />

known as mountain or copper<br />

blue. This luminous sky blue<br />

is based on copper and can be<br />

seen in the North and South<br />

Galleries on the upper floor.<br />

It was particularly suitable for<br />

distemper and therefore often<br />

used for wallpaper designs. It<br />

was produced as a by-product<br />

during silver refining and is<br />

not very common today, but<br />

has recently been used on the<br />

replacement dragons on the<br />

Great Pagoda at Kew.<br />

Chrome yellow, a lead<br />

chromate, was a new pigment<br />

discovered in 1797 by the<br />

French chemist LN Vauquelin.<br />

This brilliant, warm yellow was<br />

used extensively in the Pavilion<br />

almost as soon as it had<br />

become available commercially<br />

in Britain. The wallpaper in the<br />

Yellow Bow Rooms was printed<br />

on a chrome yellow ground,<br />

and it was probably also used<br />

to create greens by mixing it<br />

with blues. Chrome yellow is a<br />

good example of how George<br />

IV embraced new technologies<br />

and fashions, with little<br />

concern for the costs involved.<br />

Alexandra Loske, Curator, Royal<br />

Pavilion Archives<br />



Harney &<br />

Wells<br />


S O L I C I T O R S<br />


LGBT History Month takes place during <strong>February</strong><br />

to coincide with the 2003 abolition of s28 of the<br />

Local Government Act 1988 which provided “a<br />

Local Authority shall not intentionally promote<br />

homosexuality or publish material with the intention<br />

of promoting homosexuality.”<br />

Since 2003, there have been a number of positive<br />

changes in family law in respect of LGBT rights:<br />

1.Civil Partnerships were introduced providing rights<br />

and responsibilities similar to those couples who are<br />

married i.e. parental responsibility for a partner’s<br />

children, property rights and pension benefits.<br />

2. Civil Partners became associated persons for the<br />

purposes of domestic abuse protection (same-sex<br />

married couples fall into the category of married<br />

people since 2013). This means that they are able<br />

to apply for orders from the family court to protect<br />

them from harm.<br />

3. Same-sex marriages were introduced<br />

providing these couples with the same rights and<br />

responsibilities as married opposite-sex couples.<br />

4. Parental rights – the “psychological parent” has<br />

become recognised by the Court when considering<br />

the welfare of the child and the importance of the<br />

child’s experience of being parented.<br />

If you are in a same-sex relationship, you should<br />

ensure that you take legal advice to ensure that your<br />

legal rights are protected as the law is complex and<br />

depends on the circumstances of each situation.<br />

We offer an initial one hour consultation at<br />

£100.00 plus VAT to advise you about the<br />

applicable law and possible outcomes, the<br />

various ways your case could be funded and<br />

provide an estimate of the costs involved.<br />

This includes a letter to you to confirm the<br />

advice given during the appointment.<br />

focus<br />


Dog Carer Kevin<br />

enjoying a walk<br />

with his holiday<br />

guest, Bailey.<br />

“Bailey had such a great holiday, and was totally<br />

at home with Heather and Kevin.<br />

Wagging Tails is such a wonderful service<br />

and I’d recommend to any dog owners!”<br />

Give dogs a holiday!<br />

Where happy dogs holiday<br />

A franchise owned and operated under licence by Emily Deacon<br />

like us facebook.com/WaggingTailsBN<br />

Wendy, Bailey’s Owner<br />


01273 286 165 / 07736 665 888<br />

bn@waggingtailsuk.co.uk<br />

www.waggingtailsuk.co.uk/bn/carer-enquiry<br />

Share the Roads,<br />

<strong>Brighton</strong> & Hove<br />

LOOK<br />

LISTEN<br />

42% of collisions in <strong>Brighton</strong> & Hove<br />

occurred because people were<br />

not looking properly<br />

6241_road_safety_A4.indd 1 14/09/2017 15:08

Social icon<br />

Rounded square<br />

Only use blue and/or white.<br />

For more details check out our<br />

Brand Guidelines.<br />


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



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BOND WITH THE 007<br />

The No.7 bus to the Marina operates day and night<br />

For endless adventures at the cinema, bars & restaurants,<br />

casino and more — you’ve got a licence to be thrilled.<br />

For more information, visit www.buses.co.uk<br />

7<br />



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


Literally one minute before<br />

writing this month’s review, I<br />

saw a headline on the Guardian’s<br />

new tabloid-shaped website,<br />

about the EU saying that by<br />

2030 all packaging must be<br />

reusable or recyclable. It’s been<br />

driven, of course, by the curse of<br />

plastic, that chemically created<br />

material once seen as the saviour<br />

of the world and now seen as a<br />

villain.<br />

But fifteen minutes before that,<br />

I brought home from the shop<br />

a copy of Works that Work. In a loose sense, it’s a<br />

magazine about design that contributes to a good<br />

life. So, pretty obviously, there’s not going to be<br />

much about plastic in there.<br />

Except that a number of articles are about designing<br />

things to last: obviously, in our throwaway<br />

culture, a good thing. And guess what? There’s a<br />

piece about a ‘chair that is everywhere… a design<br />

that has become part of everyday life all over the<br />

world’. Cheap, comfortable and long lasting, you<br />

might have sat on one on the<br />

seafront here in <strong>Brighton</strong>, in<br />

a food court in Singapore or<br />

in someone’s back garden. It’s<br />

made of plastic. That villainous<br />

material turns out, like most<br />

things, to be both bad and good.<br />

Well I never.<br />

Works that Work is full of stuff<br />

like this. In the current issue,<br />

you can find out about hospital<br />

clothing that is good for<br />

patients as well as quick-drying,<br />

about how reintroducing<br />

returnable deposits on glass bottles is dramatically<br />

reducing the use of - yes, you guessed it - plastic<br />

bottles, and the rise in vertical farming which is<br />

increasing food production in urban places. And,<br />

of course, much, much more.<br />

All of which makes it a shame that this is Works<br />

that Work’s last issue. We should have given it a<br />

shout-out before. Our apologies to them but it<br />

richly deserves its moment in the <strong>Viva</strong> spotlight.<br />

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


Our graffiti correspondent spotted this one<br />

on the way to post their Valentine’s. When<br />

the chemistry is right, it’s right; so lay one<br />

on her (or him).<br />

Just check you’re reading the signals right<br />

before you do.<br />

But where is it?<br />

Last month’s answer: New England Road<br />


BITS & BOMBS<br />

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‘That’s definitely<br />

not thunder’.<br />

Steve Ramsey - who<br />

worked for many years<br />

for both <strong>Viva</strong> <strong>Brighton</strong><br />

(as founding Deputy<br />

Editor) and <strong>Viva</strong> Lewes<br />

- has written a book<br />

about the aftermath of<br />

the IRA bombing of the<br />

Grand Hotel in 1984, Something Has Gone Wrong,<br />

published by Biteback (£12.99).<br />

My opening quote is from a policeman after the<br />

bomb went off, and it definitely wasn’t thunder:<br />

it was the noise of an assassination attempt on<br />

Margaret Thatcher and her cabinet, which put<br />

<strong>Brighton</strong> in the world news spotlight.<br />

It’s a highly unusual book, with the narrative<br />

driven by the voices of over 60 people involved<br />

in the disaster, interviewed by the author. These<br />

include policemen, hospital workers, firemen,<br />

journalists, MPs and civil servants. The writer’s<br />

voice seems almost non-existent, which is cleverly<br />

achieved: he deftly provides the conjoining<br />

sentences between quoted memories.<br />

I’m glad to say that it works, and extremely well,<br />

too. In fact it moves along at a cracking pace,<br />

especially towards the end, as the police draw<br />

their net around the perpetrator of the crime. It’s<br />

222 pages long - knowing how much research<br />

Steve did it must have taken some editing - and I<br />

read it in a sitting.<br />

One of the most prominent voices is that of<br />

Norman Tebbit, who of course was badly injured<br />

in the bombing. He writes the foreword of the<br />

book, whose title is a masterwork of Blitz-spirit<br />

British understatement, culled from the Argus<br />

report on the disaster the next day. AL

BITS & BOOKS<br />

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



In an alternative reality you<br />

are writing this review and I<br />

am reading it. You’re Susan,<br />

the girl who gave me my first<br />

kiss, in the playground of St<br />

Joseph’s Primary School round<br />

the corner from where we<br />

lived in De Beauvoir Road,<br />

Hackney. In this reality we<br />

never moved away, so you<br />

and I went through school<br />

together, my parents never<br />

died when I was a teenager,<br />

it was you who got into<br />

difficulties as a young woman,<br />

and when you’d come through<br />

we went travelling, came back<br />

to go to university, graduated<br />

together, lost touch, met five<br />

years later at a mutual friend’s<br />

party, and got married. You wrote a couple of<br />

books, I worked in local government. Strange how<br />

it all turned out, as if it was meant to happen, you<br />

writing this review, me reading it.<br />

Elizabeth Enfield’s new novel plays with this idea<br />

of the lives we could have lived if only our walk<br />

through the garden of forking paths had gone a<br />

little differently. In a series of chapters dated from<br />

2032 back to 1965, Ivy Trent and Abe McFadden<br />

trace a series of roads not taken, meeting<br />

when fate is either working in their favour, or<br />

sometimes against them. Enfield cleverly sets up<br />

expectations in the reader over the course of the<br />

first few chapters, leading us to believe Ivy and<br />

Abe will always be together, which is what love<br />

stories promise, but she is adept and sometimes<br />

not a little cruel in subverting these expectations.<br />

Novels, of course, are about more than stories. It’s<br />

their architecture which<br />

can also impress and bring<br />

the reader pleasure, and Ivy<br />

& Abe is as much about its<br />

architecture as Peter Ackroyd’s<br />

Hawksmoor, or David<br />

Mitchell’s Cloud Atlas, or<br />

the Daddy of Them All,<br />

James Joyce’s Ulysses. Her<br />

backward flowing narrative<br />

has certain features we<br />

meet again and again, so<br />

that Ivy’s love of swimming,<br />

Abe’s career as a fountain<br />

designer, a lorry carrying<br />

hay bales, all get worked<br />

through as if they were aspects<br />

worn and weathered<br />

by time. It’s part of the fun<br />

of the book, seeing where<br />

the story will shift to when the central characters<br />

are elderly empty nesters, middle-aged adulterous<br />

lovers, youthful sweethearts, teenagers on holiday,<br />

childhood best friends. Enfield handles this backward<br />

narrative very adroitly, so that we are curious<br />

not just about where the story is going, but where<br />

it’s been.<br />

With this novel, Enfield has herself taken a new<br />

road. Regular readers of <strong>Viva</strong> <strong>Brighton</strong> will know<br />

her as Lizzie, doyenne of the North Village,<br />

chronicler of family life in that odd invention of<br />

hers, somewhere between the villas of Fiveways<br />

and the terraced houses of Preston Circus. Her<br />

elevation to Elizabeth signals a change in direction.<br />

Her writing is still as funny, still as wry. But<br />

this novel marks a new ambition and depth in her<br />

work. John O’Donoghue<br />

Ivy & Abe, Michael Joseph, £12.99<br />


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

A sign at an open Kemptown church door offering conversation plus free tea and cake was<br />

an invitation that JJ Waller couldn’t pass up. “The conversation didn’t disappoint” he reports,<br />

“nor did the stunning church interior. And the cakes and pastries were worthy of afternoon<br />

tea at the Grand Hotel. Whilst there, I was more than fortunate to photograph twin sisters<br />

Elizabeth and Pauline. The chemistry between them was a delight. I will be back.”<br />

Tea & Company, Mondays 3.30-5pm. St Mary’s Kemptown. All welcome.<br />



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


The earliest listing we can find<br />

for the establishment currently<br />

known as ‘The Plotting Parlour’<br />

is back in 1822, when the place<br />

was known as ‘The <strong>Brighton</strong><br />

Packet’, referring to the ‘packet’<br />

ships which would take passengers<br />

to Dieppe from the nearby<br />

beach: in 1823 the Chain Pier<br />

was built to facilitate this trade.<br />

Another famous local landmark<br />

built in the vicinity was the<br />

<strong>Brighton</strong> Aquarium, which was<br />

opened with much fanfare in<br />

1871. The pub’s proximity to<br />

such a popular tourist destination<br />

prompted a change of name by<br />

proprietor George Phillips, who<br />

attempted to cash in by renaming<br />

the place ‘The Aquarium Inn’<br />

in 1873.<br />

And so it remained until winter<br />

2012, though in the years<br />

preceding that it was known –<br />

with tongue slipping into cheek<br />

– as the ‘Aquarium Theatre Bar’.<br />

In these latter years it was very<br />

much a gay bar, with a rainbow<br />

flag attached above the doorway.<br />

It was famous for the musical<br />

entertainment on offer, including<br />

regular karaoke nights led by<br />

landlord Michael Conran, quite<br />

the crooner. It was nicknamed<br />

‘the fish tank’. Michael sadly<br />

passed away shortly before The<br />

Aquarium closed down.<br />

The establishment remained<br />

empty until October 2014, when<br />

it reopened in a very different<br />

guise, as a shabby-chic cocktail<br />

bar, with its current alliterative<br />

moniker. I pop in one midweek<br />

early evening, and perch on a<br />

table in the front section of the<br />

place, facing the bar. The fittings<br />

are upmarket quirky in this room<br />

and the adjacent one: flip-up<br />

theatre seats, red velvet furniture,<br />

burnished copper walls, ceiling<br />

murals, you get the picture.<br />

After scrutinising the menu<br />

for some time – it needs it – I<br />

choose a ‘Santini Sour’ (£9.50)<br />

which is formed, I’m told, of<br />

Martell VS, yuzu, blood orange<br />

and rosemary, and is described<br />

as ‘A short and fresh reminder<br />

of the summertime. A rosemary<br />

sugar rim counteracts the dry<br />

and sharp flavours of orange and<br />

yuzu’. I have to consult Google<br />

to understand what the latter<br />

ingredient is. I also get given a<br />

jug of water, and some wasabi<br />

peas I’ve ordered. These are so<br />

powerful, they make me hiccup.<br />

I sip my drink between gulps of<br />

water to make it last. Truth be<br />

told, I could have ordered anything<br />

on the menu. In choosing<br />

this one, I ignore cocktails such<br />

as ‘Sage against the Machine’,<br />

‘Flight of the Buffalo’ and<br />

‘Mange Tout, Rodney, Mange<br />

Tout’. Judging from the smashing<br />

combination of tastes I get<br />

from my drink, it’s not going to<br />

be all about the names, though.<br />

I’ll be back, perhaps for a pickme-up<br />

before going to a gig in<br />

town. Alex Leith<br />

6 Steine Street<br />

Painting by Jay Collins<br />


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



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

MYbrighton: Sheila Auguste<br />

Relationship counsellor<br />

Are you local? I consider myself to be local<br />

now because I’ve lived here for 20 years, but<br />

I was born and brought up in East London.<br />

I managed bookshops for ten years, then I<br />

moved here in 1997. I’d been thinking that<br />

I wanted to get out of London and one day,<br />

when I was on my way to work, I had this<br />

vision. I saw myself walking along the seafront,<br />

really, really happy. Two weeks later I said to<br />

my friend, ‘I’m moving to <strong>Brighton</strong>’.<br />

What does your job involve? I’m a psychosexual<br />

therapist as well as a relationship<br />

counsellor. I have a private practice and I also<br />

work at Relate, near Preston Park. I’ve worked<br />

there for over ten years now. I work with a<br />

cross-section of <strong>Brighton</strong>’s diverse population,<br />

so all sexualities, different ethnicities, all ages,<br />

couples and single people. Helping people<br />

work through their relationship difficulties<br />

is a privilege and very satisfying. Every day is<br />

different, which makes it such a great job.<br />

What led you into that line of work? I’ve<br />

always been really interested in doing therapy.<br />

When I first moved here I kept sending off for<br />

the University prospectus, then Relate had an<br />

open day and that’s what got me started. As a<br />

young person all my friends always told me<br />

their ‘stuff’ and in any job that I’ve done, I’ve<br />

always preferred the one-to-one aspects and<br />

listening. I think it’s always been my thing.<br />

What do you like most about <strong>Brighton</strong>?<br />

It’s the perfect size for me. You can get around<br />

easily and I’ve found that my friendship<br />

group spans lots of ages and people who do<br />

different things. In London you tend to hang<br />

out with people who do similar things to you.<br />

In <strong>Brighton</strong> it feels more rounded and it’s<br />

easier to follow your interests. I used to do<br />

horticulture at Stanmer Park (that’s still one<br />

of my favourite places) and I used to sing in<br />

a community choir – <strong>Brighton</strong> Goes Gospel.<br />

That was a wonderful thing to be a part of.<br />

What would you like to change about the<br />

place? I find it really shocking that we don’t<br />

have the accommodation for homeless people<br />

that we used to have. It seems that the people<br />

who are already suffering the most end up<br />

suffering even more.<br />

What do you do with your time off? I’m a<br />

big reader, I walk a lot and I like to eat. One<br />

of my favourite places at the moment is a pub<br />

across the road from me called The Independent.<br />

On Sundays I like to go to the boot sale<br />

at the Racecourse or the Marina. There used<br />

to be so many second-hand bookshops - there<br />

are far fewer now - but I’m always in and out<br />

of the charity shops. I like public transport,<br />

so I’ll come out of work and think ‘you know<br />

what, I’ll get the 12 and go to Eastbourne’. I’m<br />

always on a bus, listening to an audio book,<br />

watching great scenery go past the window. I<br />

love it.<br />

When did you last swim in the sea? I’m not<br />

a confident swimmer but I am by the sea a lot.<br />

One of my weird habits is that anywhere I go<br />

in <strong>Brighton</strong>, I have to go via the seafront. I’ll<br />

go out of my way and then cut back in. Why<br />

live in <strong>Brighton</strong> and not see the sea every day?<br />

I spend a lot of time walking up and down,<br />

listening to waves hit the beach. That’s my<br />

therapy. Interview by Lizzie Lower<br />

07796 161707 / sheilaauguste6@gmail.com<br />


Dignity in Dying invites you to join us for<br />

a discussion on the issues raised in the<br />

Assisted Dying debate.<br />

Our guest speaker Mr Anthony Kenny<br />

(retired gynaecologist) will be giving<br />

insight from a medical perspective.<br />

<strong>Viva</strong> <strong>Brighton</strong><br />

We print 15,000 magazines every month<br />

delivering 7,500 to houses in <strong>Brighton</strong> and Hove<br />

with 7,500 at high visibility pick ups<br />

Reach our audience from just £95 a month.<br />

V I V A M A G A Z I N E S . C O M


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

Lisa Creagh<br />

Holding Time<br />

Essentially I see myself as a<br />

feminist practitioner. I’m trying<br />

to answer the question ‘where<br />

is women’s experience in art?’<br />

Art has always been funded for<br />

public spaces, and breastfeeding<br />

and childbirth are very private,<br />

intimate acts and therefore we<br />

don’t see them because they’re<br />

behind closed doors.<br />

My own experience of<br />

breastfeeding in public, even<br />

breastfeeding in front of<br />

friends and close family, was<br />

that I was very embarrassed.<br />

Women are convinced by the<br />

medical arguments for breastfeeding but there<br />

is very little to help them overcome the cultural<br />

barriers, and the cultural barriers are enormous.<br />

The one that’s most talked about is the visibility<br />

and the fact that you might have to show a part of<br />

your breast in public. Another less spoken about<br />

aspect is the amount of time it takes to breastfeed<br />

and the type of connection that you have with<br />

your child when you do.<br />

Culturally we have this idea that having a baby<br />

should fit into the workplace, a busy life, a<br />

social life. The fact is it doesn’t, but there isn’t<br />

any other cultural place marked out for it. All you<br />

need to breastfeed is a comfortable chair and you<br />

don’t even really need that. You can do it standing<br />

up. But where do women situate themselves in<br />

order to find that space? It’s a mental space, it’s<br />

a cultural space, it’s a geographical space that’s<br />

missing from our cities and even sometimes from<br />

our own living rooms.<br />

I photographed each mother every five<br />

seconds whilst feeding and the images are<br />

animated together. Although it’s in real time it<br />

actually feels slower. I was trying<br />

to create this feeling of a sleepy<br />

slowness, of what breastfeeding<br />

felt like to me. The idea of time<br />

being different because you’re<br />

not doing something in a hurry.<br />

Rather than talking about losing<br />

time, or making time, this is<br />

about growing a baby.<br />

Alongside the portraits<br />

there are interviews with<br />

the mothers which I put up<br />

on The Parlour website. The<br />

Parlour is a social enterprise<br />

about breastfeeding [set up with<br />

sociologist Lucila Newell] which<br />

enabled me to reach a much wider audience. I<br />

really wanted to show women talking intelligently<br />

while breastfeeding. This is what women do. They<br />

are using their hands and their bodies and they<br />

are using their minds. Breastfeeding is a creative<br />

space, it’s an intellectual space. Motherhood is a<br />

great intellectual opportunity.<br />

I hope that it inspires women to breastfeed<br />

and I hope that women who already<br />

breastfeed feel represented by it. It’s an<br />

environmental issue, it’s a mental health issue,<br />

it’s a health issue, it’s a big cultural issue in terms<br />

of how we see our lives. Is there time to sit and<br />

hold a child or isn’t there? What does it say about<br />

society if we are made to feel we don’t have time<br />

to mother and that parenting is something that<br />

has to be rushed through?<br />

As told to Lizzie Lower<br />

ONCA Gallery, 22nd Feb – 4th Mar. Lisa will<br />

be in conversation with writer and sociologist<br />

Lucila Newell on Sat 24th, 2-5pm. Together<br />

they hold a workshop on Wed 28th, 2-5pm.<br />

See the-parlour.org<br />

Photo © Toby Aimes 2016<br />



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

Imogen and Lyra<br />



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

Bethania and Luna<br />



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

Sarah and Joachim<br />



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

Liz and Hunter and Wren<br />


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01273 678 822<br />


COLUMN<br />

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

Lizzie Enfield<br />

Notes from North Village<br />

“If you think you<br />

understand quantum<br />

physics then you<br />

probably don’t,” says<br />

quantum physics<br />

advisor.<br />

He is a doctor of<br />

gravitational lens fields<br />

– or something like<br />

that. It’s a complicated field. I’ve been reading the<br />

Dummies Guide to Quantum Physics and, frankly, the<br />

bar for dummies has been set too high! It’s more<br />

like rocket science, and trying to get to grips with<br />

it has been making furrows in my forehead that I<br />

think have become permanent.<br />

But I’m taking the gravitational lens doctor’s<br />

pronouncement as a good sign. Because I<br />

definitely don’t understand it. So perhaps that<br />

means I do?<br />

Why the attempt? And why is this relevant? This<br />

month’s theme is chemistry after all. Did she get<br />

the wrong email from the editor?<br />

No. Nor has it passed me by that it’s Valentine’s<br />

month: love is in the air and the Tinder test tubes<br />

will be overflowing with sexual chemistry.<br />

And I know that sexual chemistry is driven by<br />

pheromones, the chemical signals that trigger<br />

sexual interest. Some bright spark has even<br />

invented a dating app that involves a mouth swab<br />

to match you with someone with compatible<br />

pheromones. Maybe the police could run it?<br />

They have the DNA database and maybe helping<br />

people find love is the way forward in crime<br />

prevention?<br />

So, theoretically, chemistry is the perfect theme<br />

for me this month. I have a new book coming<br />

out. It’s a love story,<br />

told over a lifetime, in<br />

reverse. But it’s inspired<br />

not by sexual chemistry<br />

but quantum physics.<br />

In reality, my reality,<br />

rather than a quantum<br />

one, this was initially<br />

just multiverse theory:<br />

the one that says our universe may be one of<br />

many parallel universes peopled by many versions<br />

of ourselves, leading multiple possible lives.<br />

The novel’s called Ivy and Abe. They meet at<br />

different times of their lives, in different parallel<br />

universes. Each time they are drawn to each other<br />

but in each universe things play out differently.<br />

It’s a potentially endless book but I’ve restricted<br />

it to ten or eleven different scenarios played out<br />

across 75 years.<br />

Once I’d started with the concept, I got reading<br />

a little bit about quantum physics and watching<br />

a lot of Brian Cox. I found that there are other<br />

aspects of quantum physics, which can be applied<br />

to love. Quantum entanglement is one: a theory<br />

that two particles which have once interacted<br />

will continued to be affected by the other, even if<br />

separated by great distances.<br />

That’s Ivy and Abe too. So I’ve spent the past couple<br />

of years trying to understand a little of quantum<br />

physics and then apply it to these two gravitationallens-field-crossed<br />

lovers. With some success.<br />

“You know an awful lot about quantum physics,”<br />

my editor said, having read the first draft.<br />

Which may, as my friend pointed out, mean I<br />

know nothing at all. Just a bit more than I do<br />

about chemistry.<br />

Illustration by Joda (@joda_art)<br />


Bad day,<br />

bad week,<br />

bad year.<br />

At the <strong>Brighton</strong> & Hove Clinic we are here to<br />

help you if you have experienced the following<br />

problems frequently in the last two weeks:<br />

• Loss of interest and enjoyment<br />

in day to day activities<br />

• Low mood, feeling down and hopeless<br />

• Lack of energy, very tired<br />

• Unable to sleep or sleeping too much<br />

• Unable to escape the negative thoughts<br />

• Trouble concentrating<br />

To book an appointment<br />

today, please call<br />

01273 282045<br />


COLUMN<br />

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

Amy Holtz<br />

The truth is, I’m a Minnesotan<br />

So, it’s taken 35 years, but<br />

I’ve gotten a tattoo.<br />

Rebellion claims many a<br />

young soul, of course. In my<br />

bulk-buying, responsible<br />

recycling, gardening years,<br />

though, I don’t have that<br />

excuse. But there’s something<br />

I feel strongly enough<br />

about to leave a mark. Now,<br />

this very ‘<strong>Brighton</strong>’ club’s<br />

membership eludes me no<br />

longer.<br />

Over the Pond before<br />

the reckoning, I’m in sweatpants with my best<br />

friend since braces and New Kids on the Block<br />

posters, recalling for our partners the first time we<br />

went into a tattoo parlour to enact the ultimate<br />

millennium ritual: belly button piercing. Our storytelling<br />

relationship is as old as rain, a well-worn<br />

rhythm of call and response. It’s a comfort to know<br />

the telepathy hasn’t worn off.<br />

“So they make you lay down and get this big ass<br />

needle –”<br />

“Needle?” I chip in. “I thought it was a clamp<br />

thingie.”<br />

“No,” my bestie continues, as assured in her<br />

memory as I am in mine. “It was a needle.”<br />

“But they do it so quick you don’t even know it’s<br />

happening. Maybe to get you out of the shop or<br />

maybe they knew we were going to... you know.” I<br />

mime fainting with a roll of the eyes.<br />

“Anyway, they stab us and then we stood up to go<br />

and then whooosh –” her hands fly up – “Totally<br />

gone.”<br />

“All the blood left my head and I saw stars.” I say,<br />

like it was yesterday. “A bigger adrenaline spike<br />

than anything else we’d experienced in Willmar,<br />

Minnesota up to that point.<br />

This big dude wearing a biker<br />

vest gave us a cup of orange<br />

juice and made us sit on a<br />

couch till we drank it.”<br />

“And a chocolate bar,”<br />

she finishes. I nod. I don’t<br />

remember that part. But if<br />

she says it happened… “Then<br />

we laid in bed all day because<br />

it hurt and we had to tell my<br />

mom we were sick.”<br />

Ah, youth. We laugh at the<br />

melodrama that flavoured<br />

our teenage years, but the morning’s inked finale<br />

is looming large. Poking a couple of holes in your<br />

body when your brain hasn’t fully formed is one<br />

thing. But, tattoos have always been next level in<br />

my mind.<br />

When I get to the parlour, which is bright and full<br />

of women who have been in the club a long, long<br />

time, time condenses into a dot. My limbs feel like<br />

they’re someone else’s. The stencil goes on my<br />

wrist and I freeze. My heart’s racing, but I don’t<br />

know why.<br />

“Not there,” I say, apologetically, panicking. Can I<br />

really do this? If I don’t, I’ll have to tell everyone<br />

back in <strong>Brighton</strong> that I bottled it. Nope. It’s time to<br />

woman up. “Maybe just up here? By my elbow?”<br />

“Closer to your heart,” the tattoo artist affirms. “A<br />

good choice.” Which is what I needed all along.<br />

Endorsement of adult life choices.<br />

I lay down and I hear the needle, meet the sharp<br />

heat. When I stand again, I don’t get dizzy or lose<br />

time, but I feel somewhat alarmed as the tears fall<br />

wildly down my cheeks. Because now it’s done and<br />

it’s there. And even though my grandma isn’t, I’ve<br />

got another little bit of her somewhere close.<br />


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Jewellers | Restaurant | Bar<br />


COLUMN<br />

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

John Helmer<br />

Old-school<br />

“You haven’t changed a bit, Susie!” says Nick.<br />

“Thank you, but I have.” She runs a hand briefly<br />

over her still-lustrous dark hair as if brushing off any<br />

particles of insincere praise that might have adhered<br />

there. “But John looks like David Bowie.”<br />

“David Bowie with cancer,” I retort.<br />

Some laughter round the table, but also a couple of<br />

shocked faces. Do we joke about cancer?<br />

(Chez Helmer, we certainly do. It’s what got us<br />

through the last two years while my wife Kate was<br />

being treated – successfully, and doing fine now,<br />

thank you very much – as regular readers of this<br />

column will know.)<br />

“So what about this Indian restaurant then? Where<br />

is it?”<br />

I’m in a Marylebone pub, meeting school friends.<br />

The old chemistry is there, but its constituent<br />

elements have seen ch-ch-ch-ch-changes. Life has<br />

knocked us about. In the course of all our illnesses,<br />

marriage breakups, bereavements, it’s taken the<br />

piss and vinegar out of us. We’re in the cross-hairs<br />

now; no more big plans to boast of, just stories. We<br />

face each other uncertainly without the protective<br />

carapace of potential. What we are is what has<br />

already happened.<br />

We adjourn to eat curry and fill in the years. And<br />

where are we now? All disturbingly respectable:<br />

Art Historian, Classics Professor, TV Producer,<br />

Architect, columnist for a local lifestyle magazine...<br />

We certainly would have made jokes about cancer<br />

back in the day. We made jokes about everything:<br />

iron lungs, leprosy, Aberfan, Ibrox… We were school<br />

kids: everything was a joke. The sicker, the better.<br />

In the sixth-form art room where I had an easel<br />

alongside two of these people, we performed regular<br />

re-enactments of samurai movies using the medicalschool<br />

skeleton provided for our life study, with red<br />

paint pumping out of squeegee bottles...<br />

Now we’re more sensitive to others, more<br />

circumspect. Though conversely, less guarded.<br />

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

Later that night, as Nick the TV producer and I<br />

are having that last one before bedtime, he tells me<br />

exactly how difficult things were for him back then,<br />

with his parents going through a break-up. I never<br />

knew. In return I tell him about the meltdown in the<br />

Helmer household that made me glad to leave home<br />

when I did to come to <strong>Brighton</strong>.<br />

He looks astonished. “But those parties at your house<br />

I went to: you were all laughing and singing the<br />

whole time. It was like something out of Dickens.”<br />

“Smiling through the tears.”<br />

We talk about the others. I tell him about my<br />

shocked reaction when Susie – my best friend Nev’s<br />

girlfriend in those days – turned up on the Top of the<br />

Pops one evening without warning, dancing to Thin<br />

Lizzy in her Biba top and maxi-skirt. “Somehow<br />

I couldn’t quite believe it was her. She looked<br />

too grown-up and cool to be anyone I knew – no<br />

offence.”<br />

“And now she writes art books.”<br />

People change. And the past, too, changes.<br />

Illustration by Chris Riddell


Thur 25 Jan-Sat 10 Feb<br />



Sat 24-Sun 25 Feb<br />

Fri 2 Feb<br />

Dear Esther Live<br />

Sat 3 Feb<br />

Live at <strong>Brighton</strong> Dome<br />

With Rob Delaney, Kiri Pritchard-McLean,<br />

Tim Key and compère Nish Kumar<br />

Sun 11 Feb<br />

<strong>Brighton</strong> Philharmonic<br />

Orchestra<br />

Mon 12 Feb<br />

A Square World Age 3–6 years<br />

Fri 16 - Sun 18 Feb<br />

Snow Mouse Age 3 months – 4 years<br />


Wed 7 Mar<br />


Sat 10 Mar<br />

box office 0844 847 1515 *<br />

www.brightoncentre.co.uk<br />

*calls cost 7p per minute plus your phone<br />

company’s access charge<br />

Fri 16 Feb<br />

Trope New spoken word showcase<br />

Next month<br />

Sat 3 Mar<br />

International Women’s Day<br />

Celebration<br />

01273 709709<br />

brightondome.org<br />

brightondome<br />

brightdome<br />

Image: Dear Esther Live

MUSIC<br />

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

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

Photo by Annick Wolfers<br />

TOM<br />

Tue 6, Bom-Bane’s, 8pm, £15/5<br />

A band that’s impossible to Google comprises two<br />

guys, neither of whom is called Tom. Whatever the<br />

reason for the misleading name, at least the music<br />

made by this acoustic duo is accessible and upfront.<br />

Sussex songwriters Colin and Lance mix comedy<br />

ditties about politics and vegetables with rambling<br />

banter and the odd melancholic folk ballad. There<br />

are echoes of Dylan in the stripped-back guitar style,<br />

but it’s the gentle humour of the doubled-up vocals<br />

that make Tom’s tunes worth a listen. After playing<br />

in far-flung places like Peacehaven and Piddinghoe<br />

the guys are celebrating their first anniversary in a<br />

Kemptown restaurant. The £15 ticket includes a meal<br />

prepared by everyone’s favourite chef, singer and<br />

novelty hat-maker Jane Bom-Bane.<br />

THE GO! TEAM<br />

Sun 11, Concorde<br />

2, 7pm, £16<br />

The Go! Team are<br />

back in the ring.<br />

Last month saw the<br />

release of their fifth<br />

album, Semicircle, and it’s their most compelling for<br />

a while. The result of a wildly inventive collision of<br />

sounds and styles, the album sees original vocalist<br />

Ninja return to the fold to lay down some urgent<br />

and old-school rap over the top of songwriter Ian<br />

Parton’s meticulously layered samples. The band<br />

are currently touring as an eight-piece, which<br />

suggests the shows will be as energetic and diverse<br />

as ever. Parton enlisted a Detroit youth choir for the<br />

album, alongside what sounds like a wayward and<br />

hyperactive marching band. How they’ll pull that<br />

off on stage is anyone’s guess, but that’s possibly part<br />

of the appeal.<br />

Photo by Mayumi Hirata<br />


Tue 20, Concorde 2, 7.30pm, £16<br />

Like many bands<br />

that put out records<br />

last year, British Sea<br />

Power’s latest material<br />

was informed by a definite<br />

sense of political<br />

unease. While the lyrics on Let the Dancers Inherit<br />

the Party may have been inspired by the era of dread<br />

inaugurated by the ‘bare-faced liar in the White<br />

House’, the musical tone of their crowd-funded<br />

album took a strangely upbeat turn. After a four-year<br />

hiatus and a slew of sombre film soundtracks, the<br />

band returned in rude health, issuing a positive<br />

affirmation in the face of uncertainty and fear.<br />

This <strong>Brighton</strong> date, which ends a month-long UK<br />

tour, will be a glorious get-together for those lucky<br />

enough to bag a ticket.<br />

SQUID<br />

Fri 23, Green Door Store, 7pm, £3<br />

Atmospheric post-rock jams don’t usually get much<br />

traction on the radio, but Squid’s single Liquid Light<br />

nevertheless found its way onto BBC Introducing and<br />

Tom Robinson’s 6 Music show last year. The song<br />

has a motorik pulse compelling enough to carry the<br />

swirling krautrock soundscape; it’s also about half<br />

the length of the band’s other tracks, which surely<br />

helped. The <strong>Brighton</strong> five-piece, who met and<br />

started playing while at university here, channel the<br />

hypnotic sounds of My Bloody Valentine and Stereolab,<br />

but probably owe more to modern torchbearers<br />

like Flamingods and Floating Points. If you get<br />

there early you’ll also hear the lo-fi saxophone songs<br />

of Leatherhead, some shoegazing post-punk from<br />

Red Deer People and a set of ‘sadcore alt-country’<br />

courtesy of M Butterfly.<br />


COMEDY<br />

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

Samantha Baines<br />

Renaissance woman<br />

Comedian, writer, actress, pun-builder; it’s safe<br />

to say Samantha Baines is a Renaissance woman<br />

for our times. She brings the critically acclaimed<br />

1 Woman, a High-Flyer and a Flat Bottom to the<br />

<strong>Brighton</strong> Science Festival.<br />

The show explores the lost women of science<br />

– interwoven with silly stories from my life.<br />

Margaret E Knight, an inventor, Lilian Bland, an<br />

aviation engineer, and Sally Ride, an astronaut,<br />

championed the way for women of the future.<br />

Sally’s the most famous in the sense that there<br />

are books about her. But in the British Library,<br />

which houses 20 million books, Margaret E<br />

Knight and Lilian Bland don’t come up when you<br />

search for them. No books. You have to laugh at<br />

the ridiculousness of the injustices<br />

they faced.<br />

Before Sally became<br />

the first American<br />

woman to go<br />

into space, the<br />

engineers at<br />

NASA asked her<br />

if 100 tampons<br />

would be<br />

enough. For seven<br />

days. Obviously,<br />

I have a whole<br />

section on tampons<br />

in the show! It’s also<br />

incredibly sad that<br />

Sally couldn’t be<br />

open about her<br />

LGBT status;<br />

it only came<br />

out after she<br />

died that<br />

she’d been in<br />

a relationship with a woman for the past 20 years.<br />

#MeToo is an amazing movement; society is<br />

just becoming conscious of how many of us have<br />

been made to feel uncomfortable at some point<br />

in our lives for being who we are. But now we’re<br />

realising how common it is, and are gaining the<br />

confidence to say ‘No, I’m not going to put up<br />

with that’. Once, I won a stand-up competition<br />

against all men, but at the end of the gig, the promoter<br />

in charge said to all the men (who I’d just<br />

beaten), ‘I always remember the ones with the<br />

big tits’. Everyone just laughed. But, the comedy<br />

industry has been very supportive of people who<br />

are brave enough to tell their stories - which is a<br />

good thing.<br />

When I first trained as an actor I had clear<br />

goals - I wanted to be onstage at The National.<br />

But life’s just taken a different turn and I<br />

like being a ‘yes’ woman. I’ve gotten to do really<br />

amazing acting projects like The Crown and Call<br />

the Midwife, Silent Witness. I’m constantly told<br />

I have a period face (not the Sally Ride-tampons-menstruation<br />

one) – I definitely have 50s<br />

hair! Wonderful women like Victoria Wood<br />

showed us that you can be a comedian and a<br />

dramatic actress and write comedy sitcoms and<br />

do lots of things.<br />

I was the first woman ever to be in the Pun<br />

Championship finals, run by the Leicester<br />

Comedy Festival. You’re asked to produce 100<br />

puns and on the day you perform them, in a<br />

boxing ring, in rounds. One of my favourites, on<br />

dogs: ‘I’m trying to convince my husband that we<br />

should get a dog and I’m doing it subliminally<br />

through the wallpaper. I’m not going to lie, I’ve<br />

got an all-terrier motif.’<br />

As told to Amy Holtz<br />

Komedia, Tues 13th Feb, 8pm<br />


MUSIC<br />

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

Apocalyptica<br />

Heavy metal string quartet<br />

A classical training and a love of thrash metal<br />

prompted arranger and cellist Eicca Toppinen<br />

to throw his two passions together to see what<br />

would happen. The result was a hit crossover<br />

album - Plays Metallica By Four Cellos - and a<br />

career in music that’s lasted two decades. The<br />

popularity of Apocalyptica’s debut release has<br />

proved to be so enduring that the band are still<br />

on tour two years after they set out to celebrate<br />

the record’s anniversary.<br />

“I’ve been listening to heavy metal since I was<br />

a teenager,” Eicca explains. “We started playing<br />

metal on cellos at parties and people were loving<br />

it, but it was just for fun. Then someone from<br />

an independent record label asked us to record<br />

some songs and we laughed at him. That first<br />

record has now sold over a million copies.” When<br />

Apocalyptica visit <strong>Brighton</strong> Dome this month<br />

they’ll be playing the album from start to finish,<br />

as it was recorded, beginning with Enter Sandman<br />

and finishing with Welcome Home (Sanitarium).<br />

Then, after an interval, audiences will hear another<br />

set of Metallica songs, arranged for drums and cello,<br />

some of which they’ve never recorded before.<br />

“We’ve been playing lots of concert halls, with<br />

seated audiences, and it attracts more classical fans.<br />

They tend to be allergic to heavy metal vocals,<br />

but when they hear us do an instrumental they<br />

can appreciate it and hear the beauty. I think their<br />

respect for metal is on the rise. But we also have<br />

fans trying to headbang in the seats. You can see<br />

people sometimes looking around, thinking ‘what<br />

the hell is this?’”<br />

There’s a certain appeal to picking out familiar<br />

tunes played in a different style, and it’s interesting<br />

to hear how the quartet handles the heavier<br />

sections of songs, yet Apocalyptica’s music<br />

manages to transcend these novelties by being<br />

sensitive and bombastic all at once.<br />

“Classical music is not as complicated as<br />

people think,” says Eicca. “If you look at the<br />

themes and the chords they’re sometimes quite<br />

straightforward, but it’s the variations on those<br />

themes that brings in the complexity. Personally<br />

I like early 20th century classical music.<br />

Shostakovich, Stravinsky, Prokofiev. I prefer<br />

melodic and melancholic music, the dark Russian<br />

stuff. There are often rhythmic melodies that<br />

repeat throughout a piece, like a riff in a metal<br />

song. And they are both going for the dramatic<br />

moments, the big powerful emotions.”<br />

Though they make it look easy, it can’t be a simple<br />

matter capturing the power of a heavy metal band<br />

on four-string acoustic orchestral instruments.<br />

“The technique was difficult at first. It’s not really<br />

how the cello is meant to be played and we have<br />

broken many cellos over the years. I have a nice<br />

expensive cello which I use in the studio, but I don’t<br />

take it on tour! You can’t be worrying about that. It<br />

can’t be a heavy metal show without letting rip.”<br />

As told to Ben Bailey<br />

<strong>Brighton</strong> Dome, Tues 27th Feb, 8pm, £31.50/24.50<br />

Photo © Ville Juurikkala<br />






20 JANUARY - 8 APRIL <strong>2018</strong><br />

townereastbourne.org.uk<br />





01323 434670 @TownerGallery<br />

Image: Lis Rhodes, Dresden Dynamo, 1971-2, Arts<br />

Council Collection, Southbank Centre,<br />

London © the artist

MUSIC<br />

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

Photos by Mark Richards<br />

Fat Tuesday<br />

Hastings’ Mardi Gras<br />

Fat Tuesday is an annual five-day music festival,<br />

now in its ninth year. The name is an English<br />

translation of ‘Mardi Gras’, the huge New Orleans<br />

street party, involving a wild night of excess, the<br />

night before the traditional fasting period of Lent.<br />

We talk to co-organiser Bob Tipler.<br />

How did it start up? I met organiser Adam at<br />

our kids’ school gate and we decided to create a<br />

musical event for the town to cheer up a gloomy<br />

month. It’s been getting larger and more successful<br />

every year.<br />

How come the New Orleans feel? I’m a musician<br />

with the Cajun Dawgs, and have always been<br />

interested in the culture of Louisiana.<br />

What can we expect? More than 154 acts (all<br />

kinds of music, folk, funk, jazz, rock) in multiple<br />

venues. There’s a Grand Masked Ball and a parade.<br />

It ends with the Fat Tuesday Tour, when 24 emerging<br />

and established bands play in Old Town pubs<br />

and venues.<br />

What’s the highlight for you? I love Unplugged<br />

Saturday, on which 18 venues each have ten acts<br />

appearing throughout the day.<br />

Who comes? It used to be mostly locals, but we’re<br />

getting lots more people and families from further<br />

afield now.<br />

How much is indoors? Most of it, other than the<br />

Sunday Umbrella Parade.<br />

What’s that? Anyone can bring a decorated<br />

umbrella and march behind bands playing from<br />

The Stade to St Mary in the Castle. This idea of<br />

parading with fancy umbrellas comes from the<br />

New Orleans jazz funeral tradition, when smartly<br />

dressed mourners (some with matching umbrellas)<br />

would follow the coffin and a jazz band playing<br />

melancholic tunes. When the body is laid to rest,<br />

the music goes up-tempo and everyone dances.<br />

But you don’t have a coffin? No, just the umbrellas!<br />

It’s very colourful and joyful.<br />

What’s special about Hastings? It’s a place where<br />

there’s been a lot of disadvantage, so it has remained<br />

hidden away and been left alone. We’ve grown our<br />

own scene in our own way. The low rents and cheap<br />

housing have led to a place stuffed with people who<br />

don’t earn much money but are very creative, plus<br />

lots of specialists – musicians, photographers, sound<br />

engineers, roadies, graphic designers, film and PR<br />

people. We’ve got recording studios here. There’s<br />

a strong community of musicians in Hastings and<br />

St Leonards, and that makes it the perfect place to<br />

organise a music festival.<br />

Do you have to pay? Some events, such as the<br />

Grand Masked Ball, are ticketed (see the website)<br />

but most events are free.<br />

How is it funded? The pubs taking part chip in,<br />

we’ve got sponsorship, some Arts Council funding<br />

and some other little bits. It’s not a problem persuading<br />

people to help or take part. The hard part<br />

is organising it all, as well as having businesses and<br />

full-time jobs! We love it though. Emma Chaplin<br />

Hastings Fat Tuesday Music Festival, Fri 9th - Tues<br />

13th Feb. hastingsfattuesday.co.uk<br />


COMEDY<br />

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

Robin Ince<br />

Pragmatically insane<br />

Sometimes the<br />

correct reaction to<br />

reality is to go totally<br />

insane. This is something<br />

that both Philip<br />

K Dick and psychiatrist<br />

RD Laing said, and it<br />

inspired the title of my<br />

show: Pragmatic Insanity.<br />

I took a two-year<br />

break from stand-up<br />

because I thought I was<br />

going insane, and when<br />

I came back I thought the world does seem to<br />

have gone insane.<br />

We’re in this arena where evidence is dismissed<br />

and people are perpetually angry. So I<br />

thought I would do a happy show, a joyous show<br />

about art and physics and human potential. And<br />

it’s also about a stuffed goat I saw at a Robert<br />

Rauschenberg exhibition. One of the things he<br />

said when he first started as an artist was: “A lot<br />

of people say that their art comes from their pain,<br />

why can’t art come from our joy?”<br />

It’s very easy to be continually confused, at the<br />

moment. That’s partly because there are so many<br />

voices. On our screens, in our newspapers, on our<br />

televisions, all these people with opinions. Sometimes<br />

we get dragged into fury that we don’t need.<br />

That’s pragmatic insanity. What do you actually<br />

need to be insane over? Are you being pulled into<br />

arguments you don’t need to be pulled into, when<br />

you can be looking at the rings of Saturn through<br />

a telescope instead, or a stuffed goat, or the flowers<br />

and pelvic bone pictures of Georgia O’Keeffe?<br />

People say you have to live in the real world, but<br />

there are lots of different<br />

versions of the<br />

real world. And you<br />

can choose to try and<br />

live in a better one. It<br />

is a struggle though,<br />

I’m not saying it’s not<br />

a struggle.<br />

In some ways I don’t<br />

even know what I do<br />

anymore. I just go on<br />

stage and start talking,<br />

I just chuck out all<br />

the things that are in my head. I’ve got such a<br />

flibbertigibbet mind. It’s not that the audience is<br />

necessarily going to learn a huge amount, but with<br />

luck I’m going to throw out enough ideas that it<br />

will inspire people to go on a bit of an adventure<br />

themselves. Hopefully they’ll go off and find<br />

out more about the behaviour of ravens, or what<br />

bonobo apes get up to in their spare time.<br />

Working on The Infinite Monkey Cage with<br />

Brian Cox means that every week I get access<br />

to these incredible minds. Most of the time<br />

we end up recording much more than we need,<br />

because once you have people in that room, you<br />

just want to keep asking them questions. It gives<br />

me an excuse to keep on learning. And because<br />

I’ve been doing arenas with Brian, it gives me<br />

a chance to lure people who don’t really know<br />

what I do. And, more often than not, they kind of<br />

like it. Some of them think it’s really weird. They<br />

might find it a little bit insane, but they might<br />

enjoy the ride.<br />

As told to Ben Bailey<br />

The Old Market, Wed 28th Feb, 8pm, £15/12<br />



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

Matters of the heart<br />

And the head, and the neck, and the feet...<br />

Dr Claire Smith, Head of Anatomy<br />

at <strong>Brighton</strong> and Sussex Medical<br />

School, and fellow anatomist<br />

Catherine Hennessy, are putting the<br />

(animal) heart into Valentine’s Day.<br />

Catherine and I are really looking<br />

forward to our live dissection on<br />

Valentine’s this year. I don’t think<br />

I’ve ever dissected anything<br />

when I’ve had a pint in my<br />

hand or people have been<br />

sat there with their crisps.<br />

I’m looking forward to the<br />

reactions on people’s faces,<br />

their questions.<br />

When we teach medical<br />

students anatomy, we do so thanks to<br />

the amazing gift of people donating their<br />

body to medical science, but we can’t use<br />

human hearts in this situation. There are some real<br />

similarities between, say, pig or sheep hearts, and<br />

ours. So we’ve ordered some animal hearts, which<br />

may contain some blood; we’ll do our best to make<br />

it only a little more than you’d see when you pick<br />

up a fresh steak from the butchers. And if people<br />

want to put gloves on and feel the hearts, hold<br />

them – they’re welcome.<br />

Gray’s Anatomy is on my desk (it’s about as tall<br />

as my coffee mug); I think I do know most of it,<br />

but if you don’t use it you lose it. I always loved<br />

biology at school and did loads of dancing – so I<br />

was always interested in how muscles work.<br />

As an anatomist you have to get your hands on<br />

those physical specimens, get your hands inside<br />

an abdomen and feel for structures, to hold a<br />

heart or brain and show it. But I’ve also done a lot<br />

of research into spatial ability and how we learn<br />

in three dimensions – how our<br />

brain interprets 3D images, how<br />

we rotate them, how we understand<br />

depth; so, for example, if<br />

you’re a doctor, when you<br />

take blood from someone<br />

how do you know when<br />

that needle is actually in<br />

there? The truth is, the<br />

more you train your brain<br />

through repetition or simulation,<br />

the more it’ll learn.<br />

Personally, I don’t like feet<br />

at all; but I enjoy the head,<br />

the neck – and a good bit of<br />

abdomen or thorax. Inside, the<br />

abdomen has lots to explore; the<br />

head and neck are very complex. I’d<br />

like for people start to think of their<br />

heart as a muscle that needs exercise;<br />

my goal is to help people understand a<br />

bit more about their body, to think about their own<br />

health or help a relative who might be suffering<br />

with a heart condition.<br />

The intestines would be fascinating to dissect<br />

next. I’ve worked with ITV on a segment about<br />

diabetes, understanding where fat is in the body<br />

and that everything you put in to your body goes<br />

through your intestines. So it’d be great to get<br />

some intestines and understand different components<br />

of diet; to show how fats and sugars are<br />

absorbed. The intestines would probably smell a lot<br />

more like being in a butchers than the heart though<br />

– so we’ll see how that goes first. Amy Holtz<br />

Anatomy Night: Matters of the Heart gets visceral<br />

at The Walrus on Valentine’s Day, Wed 14th Feb,<br />

6.30pm<br />


COMEDY<br />

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

Ed Byrne<br />

‘I’m now complaining about people complaining’<br />

Photo by Roslyn Gaunt<br />

What’s the new show about? The show is<br />

called Spoiler Alert and it’s about how spoilt<br />

we are as people, as consumers. And how I’m<br />

contributing to that by the fact I have two small<br />

boys who I am currently in the process of spoiling<br />

the shit out of.<br />

In what ways are we spoilt? I’ve owned four<br />

cars in the last ten years. Not fancy cars, not<br />

Ferraris, yet every single one you started not by<br />

turning a key, but by pressing a button. Who<br />

decided that was a drudgery we needed to be released<br />

from? Who decided we’re too important<br />

to turn keys now? I have to turn a key? Like a<br />

f**king savage?<br />

Does your kids’ upbringing differ much<br />

from your own? Fairly, yes. There’s a marked<br />

difference between being a parent in the 70s and<br />

being a parent today. One of the reminiscences<br />

I pull out is about sitting in the car drinking<br />

lemonade and eating crisps while my parents are<br />

in the pub, which seems utterly<br />

alien now. And my dad was not a<br />

bad dad, by any stretch of the<br />

imagination. But when I look at<br />

the amount of parenting I’m expected<br />

to do, I feel a little short<br />

changed if I’m honest.<br />

So is it a good or<br />

bad thing? It’s a<br />

little of both. If I<br />

wanted to bounce on<br />

a trampoline when<br />

I was a kid I had to<br />

go to an amusement<br />

park and queue up.<br />

My kids have their<br />

own trampoline, in<br />

their back garden.<br />

And it’s bigger than<br />

my first flat. And even<br />

then they’ll lie on it and go: “Daddy, bounce us!”<br />

That’s the level of spoilt I’m talking about.<br />

Is there a flipside to all this? As consumers we<br />

demand quite a lot. I want my semi-skimmed<br />

milk! I want my push-button start! But when it<br />

comes to politics, we aren’t quite spoilt enough.<br />

People have a tendency to shrug and just accept<br />

the way things are when it comes to big stuff,<br />

and then complain and whine about little stuff.<br />

I say this as a man who has basically made his<br />

living out of complaining and whining about<br />

little stuff for 24 years.<br />

Do you plan to continue in that vein? Haha,<br />

it’s a dirty job but someone’s got to do it! Having<br />

spent my life complaining about the little things,<br />

about losing my luggage, about not<br />

understanding my wife’s point<br />

in an argument, whatever it<br />

may be, I’m now complaining<br />

about people complaining.<br />

Let’s talk chainsaws...<br />

Every time I do another<br />

show my manager says we<br />

need to get some more<br />

photographs done. Yep,<br />

yep, very important<br />

that people know<br />

much I’ve aged in<br />

the last two years.<br />

We definitely need<br />

to remind everyone<br />

that I still have a face!<br />

They told me to bring<br />

clothes, and I thought you know<br />

what? Just for the fun of it I brought my<br />

chainsaw along. It’s not relevant to the<br />

show, I just thought it was an eye-catching<br />

image. A tuxedo and a chainsaw. A<br />

strong look. Interview by Ben Bailey<br />

Theatre Royal, Thur 15th Feb, £28.15


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

Dear Esther<br />

Jessica Curry, computer game composer<br />

You’re putting on a live performance of<br />

a video game, Dear Esther, with classical<br />

orchestra, conductor, narrator and player.<br />

Gaming and classical music sounds like a<br />

Venn diagram with very little shaded area…<br />

It’s been a really interesting crossover! It’s like<br />

two worlds colliding in a really new way. We’ve<br />

had a lot of diehard fans coming to the show<br />

who’re absolutely obsessed with the game but<br />

have never been to a classical concert hall, and<br />

we’ve got classical fans who’ve never played a<br />

game before. That really interests me, that collision<br />

of such disparate worlds. I present a show<br />

on Classic FM about game music, and that’s<br />

been the same thing, these two different worlds<br />

actually finding a lot in common.<br />

Dear Esther sounds like a name inspired<br />

by That’s Life, and the letters complaining<br />

about shoddy goods sent to Esther<br />

Rantzen… What? No! It’s from a song by<br />

Faith No More. My husband, Dan Pinchbeck,<br />

who wrote the game, loved the cadence and<br />

the sound. He was doing a PhD on first person<br />

shooter games, and rather than write about it,<br />

he decided to actually make a game. I wrote<br />

the music, and we put it up for sale in 2012,<br />

and then just watched the sales figures rising<br />

and rising and rising. Last year we put out a<br />

5th-anniversary edition for consoles, because<br />

until then it had only been out for PC and Mac,<br />

and we had a really strong emotional response to<br />

it. I was then in London talking about live film<br />

events, and I met a chap from the Barbican who<br />

programmes music events, and we’ve ended up<br />

with it live onstage!<br />

It’s not a typical game – exploring a Hebridean<br />

Island, hearing a narrator’s letters to<br />

his dead wife. No one gets their car nicked<br />

or their genitals shot off… Before I started<br />

working on Dear Esther, I didn’t think there was<br />

anything for me: there was FIFA, Call Of Duty,<br />

sporty or very aggressive, none of which much<br />

interests me. But then I discovered the work of a<br />

Belgian couple called Tale Of Tales. They make<br />

very beautiful, ruminative, expressive games,<br />

and I thought, hang on, there’s this whole world<br />

of people doing something more experimental,<br />

deeper, more profound. There’s some snobbery<br />

in the classical world about game soundtracks,<br />

but that tide’s turning, and I’m a really vocal<br />

advocate for it. I’m involved in a Royal Albert<br />

Hall concert later in the year that Sony Playstation<br />

are putting on. The best orchestras and the<br />

best concert halls are now getting involved, and<br />

that’s great. I heard this beautiful classical music<br />

coming out of my 14-year-old son’s bedroom<br />

the other day, and I asked him what it was. I<br />

knocked first! He said ‘I’m playing Destiny 2.’<br />

That’s insane, that’s so beautiful! Andy Darling<br />

<strong>Brighton</strong> Dome, Fri 2nd Feb, 8pm<br />


倀 䄀 匀 匀 䤀 伀 一 䄀 一 䐀 圀 䄀 嘀 䔀 匀<br />

圀 栀 攀 爀 攀 愀 戀 猀 琀 爀 愀 挀 琀 愀 渀 搀 爀 攀 愀 氀 椀 琀 礀 洀 攀 攀 琀<br />

吀 栀 攀<br />

䌀 唀 䈀 䔀<br />

䜀 䄀 䰀 䰀 䔀 刀 夀<br />

琀 栀 䘀 攀 戀 爀 甀 愀 爀 礀 ⴀ 㐀 琀 栀 䴀 愀 爀 挀 栀<br />

匀 漀 甀 琀 栀 䐀 漀 眀 渀 猀 一 甀 爀 猀 攀 爀 椀 攀 猀<br />

䄀 ㈀ 㜀 アパート 䈀 爀 椀 最 栀 琀 漀 渀 刀 漀 愀 搀 Ⰰ 䠀 愀 猀 猀 漀 挀 欀 猀 Ⰰ 圀 攀 猀 琀 匀 甀 猀 猀 攀 砀<br />

䈀 一 㘀 㤀 䰀 夀 ㈀ 㜀 アパート 㠀 㐀 㜀 㜀 㜀<br />

眀 眀 眀 ⸀ 猀 漀 甀 琀 栀 搀 漀 眀 渀 猀 栀 攀 爀 椀 琀 愀 最 攀 挀 攀 渀 琀 爀 攀 ⸀ 挀 漀 ⸀ 甀 欀

TALK<br />

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

Christopher Horlock<br />

Early <strong>Brighton</strong> photographs<br />

The West Pier, 1868<br />

In 1972, James Gray brought out a book<br />

called Victorian and Edwardian <strong>Brighton</strong><br />

from Old Photographs and I thought ‘wow!’<br />

My interest in the history of <strong>Brighton</strong> was just<br />

starting and I’d been taking photographs myself<br />

of the changes I’d been noticing in the town. I<br />

had to meet him. He worked in insurance and<br />

lived with his wife in a little bungalow in Shirley<br />

Avenue. They had no children and I think, in<br />

some respects, I was the inheritor of his knowledge.<br />

I went to see him every couple of months<br />

for 20 years. He was the historian of the period.<br />

He lived to be over 90 and his earliest memory<br />

was of a horse bus outside <strong>Brighton</strong> station. A<br />

horse bus!<br />

I’ve managed to collect well over 20,000<br />

items related to <strong>Brighton</strong>’s history – mostly<br />

photographs – over the last 45 years. The talk<br />

I’m giving is about the earliest photographs in<br />

my collection. The first photographs of buildings<br />

were seen in the 1830s but as soon as you get<br />

into the 1850s and 60s you see people. I have<br />

a picture from the early 1860s with all these<br />

fashionable people on the seafront in crinolines<br />

and top hats. The Grand Hotel is being built, the<br />

West Pier doesn’t exist yet and the Chain Pier is<br />

in the distance. The whole place comes to life.<br />

As soon as portraiture became fashionable, in<br />

around 1860, everyone wanted it. There were<br />

lots of photographers in <strong>Brighton</strong>. Some of them<br />

had studios on the seafront to take portraits of<br />

the wealthy but occasionally they turned their<br />

camera out of a window and captured the building<br />

of the Grand Hotel, the piers being built…<br />

These are rare views. There were some bath<br />

buildings on the seafront - one called ‘Brill’s<br />

Baths’ was a great round bathhouse that stuck<br />

out into the road. It was known as ‘the bunion’.<br />

I have a photo of it from 1871, just before it was<br />

demolished. Another photograph shows all three<br />

piers. The West Pier, the Palace Pier being built,<br />

and the Chain Pier in the foreground. It just<br />

shows how progressive <strong>Brighton</strong> was.<br />

As told to Lizzie Lower<br />

The Keep, Sat 24th Feb, 2pm, £3 per person. Visit<br />

thekeep.info or call 01273 482349 to book your<br />

place. Christopher’s book ‘<strong>Brighton</strong> from Old<br />

Photographs’ is published by Amberley<br />


ART<br />

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

The Sea of Time and Space, 1821. Arlington Court, National Trust<br />

William Blake in Sussex<br />

Visions of Albion<br />

The three years, from 1800 until 1803, during<br />

which William Blake lived in the village of Felpham<br />

on the West Sussex coast, was the only time<br />

in his life that he spent outside London. He came<br />

to Sussex with his wife, Catherine, at the invitation<br />

of his fellow poet, William Hayley, whom Blake<br />

had visited at Felpham in July, 1800. Hayley was a<br />

great patron of the arts – John Flaxman, George<br />

Romney and William Cowper all benefitted<br />

from his largesse – and the arrangement that<br />

he and Blake seem to have ironed out was that<br />

Blake would take up residence in Felpham and<br />

Hayley would engage him on various design and<br />

engraving projects. And so the Blakes left London<br />

on 18th September, 1800. At first, all went well.<br />

In turning his back on ‘London’s Dungeon Dark’,<br />

Blake was delighted to be ‘Away to sweet Felpham<br />

for Heaven is there’. It was ‘the sweetest spot on<br />

Earth’. In May 1801 he wrote in a letter: ‘Hayley<br />

acts like a Prince’. But the relationship between<br />

patron and ‘patronised’ is always a tricky one. By<br />

January 1803 Hayley had become the ‘source’ of<br />


ART<br />

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

all Blake’s difficulties. Blake felt<br />

increasingly that all the engraving<br />

and other commissions had<br />

encroached upon his creative<br />

independence. By April 1803<br />

Hayley was being stigmatised<br />

by Blake as ‘the Enemy of my<br />

Spiritual Life while he pretends<br />

to be the Friend of my Corporeal’.<br />

Soon Blake had resolved<br />

‘not to remain another winter’<br />

in Felpham, and by July 1803<br />

he had determined to return to<br />

London to ‘carry on my visionary<br />

studies… unannoy’d’.<br />

Alas, on 12th August, 1803<br />

everything got a whole lot<br />

worse. A private soldier in the<br />

1st Regiment of Dragoons, one<br />

John Scolfield, entered Blake’s<br />

garden. Unaware that he was<br />

there at the invitation of the<br />

gardener, Blake ordered Scolfield<br />

to leave. Scolfield refused,<br />

angry words were exchanged,<br />

and Blake manhandled the<br />

soldier out of the garden ‘by<br />

the elbows… and pushed him<br />

forward down the road’. Three<br />

days later, Scolfield went before<br />

the Chichester Justice of the<br />

Peace and accused Blake of<br />

seditious expressions favouring<br />

the French and damning the<br />

King of England, not to mention<br />

assault. Having gone back<br />

to London, Blake returned to<br />

Chichester to stand trial. Fortunately,<br />

several witnesses testified<br />

on Blake’s behalf and he was<br />

acquitted on all charges. Hayley’s<br />

moral and financial support<br />

at this time did much to repair<br />

their fractured relationship.<br />

The story of Blake’s time in<br />

Sussex is told in an absolutely<br />

splendid exhibition at Petworth<br />

House that runs until 25th<br />

March. Petworth is proud of<br />

being the only major country<br />

house to hold original works<br />

by William Blake which were<br />

collected in the artist’s lifetime<br />

or, in one case, acquired from his<br />

widow.<br />

Petworth’s own holdings are<br />

supplemented by extensive<br />

loans from, among others, the<br />

Victoria and Albert Museum,<br />

the Fitzwilliam in Cambridge,<br />

the British Museum, Tate and<br />

Manchester City Galleries. All<br />

the court documents relating to<br />

Blake’s trial are also on display.<br />

David Jarman<br />

William Blake in Sussex: Vision<br />

of Albion is at Petworth House<br />

until the 25th of March. Entry<br />

by advance booking only: 0344<br />

2491895 / nationaltrust.org.uk<br />

William Blake, William, plate 29 from Milton a Poem, 1804-1811 © The Trustees of the British Museum<br />


DESIGN<br />

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

Elizabeth Friedlander<br />

From black propaganda to Penguin covers<br />

Successful designer Elizabeth Friedlander<br />

arrived in Britain in the thirties as a refugee<br />

from Nazi Germany, but she could initially<br />

only get work as a maid. During the war the<br />

Political Intelligence Department became<br />

aware of her, and recruited her as head of<br />

design in the ‘black propaganda’ unit, forging<br />

or inventing Wehrmacht and Nazi rubber<br />

stamps and ration books. Befriended by poet<br />

and printer Francis Meynell, who helped her<br />

get freelance commissions, she remained in<br />

Britain, becoming responsible for many of<br />

Penguin’s post-war designs.<br />

Katharine Meynell, granddaughter of Francis,<br />

has curated an exhibition of her work at the<br />

Ditchling Museum of Art + Craft. “Francis<br />

had a fierce sense of social justice and antifascist<br />

conviction,” she says. “He had been a<br />

firebrand in his youth and he never quite lost<br />

that. I remember him taking me in his car<br />

to rip down posters supporting Ian Smith’s<br />

apartheid regime, in what was then Rhodesia.<br />

He kept the engine going and sent me out to<br />

remove them. I was about eleven.<br />

“He took us to The Mikado and Annie Get Your<br />

Gun, sang along to Harry Belafonte records,<br />

taught us ping-pong, how to prune roses and<br />

mix cocktails.<br />

“The name Friedlander was familiar to me,<br />

but it was only a few years ago that I discovered<br />

two calligraphic anthologies she had<br />

done for Francis in the back of his bookcase.<br />

They startled me, even amongst all the beautiful<br />

volumes he had, so I wanted to know more.<br />

“Friedlander has been more or less ignored. It<br />

was by chance I came across the biography of<br />

Millls & Boon 25th anniversary card. Pen and paint on paper. 1957-8.<br />

Collection of University College Cork. Photography by Sam Moore<br />

Elizabeth Friedlander. ‘Precious’ patterns for The Curwen Press. Paint on paper, 1950.<br />

Collection of University College Cork. Photography by Sam Moore<br />


DESIGN<br />

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

her by Pauline Paucker. Her<br />

story resonated with me. We<br />

face a terrible displacement<br />

of people today. Alongside<br />

this, right-wing ideologies<br />

are resurfacing, so I see her<br />

story as relevant to us, not<br />

only to reassess the contribution<br />

of women in design,<br />

but also because we face<br />

many of the same issues.<br />

“Friedlander is the only<br />

woman of her generation to<br />

have produced a Western<br />

typeface. Elizabeth type<br />

was a terrific success and<br />

it became her calling card<br />

when she fled Germany. It<br />

has an enduring elegance<br />

and has been digitised by<br />

Bauer Type, so is available<br />

for modern use.<br />

“Looking at the laws introduced<br />

by Nazi Germany,<br />

Fascist Italy and the immigration<br />

processes that made<br />

it so difficult for Friedlander<br />

to come to the UK or<br />

emigrate to the US, we see<br />

that she was one of the lucky<br />

ones, she had exceptional<br />

skill and good friends. But<br />

it could so easily have been<br />

different for her.<br />

“I have made a short ‘essay’<br />

film about Friedlander,<br />

describing what is known of<br />

her life, using archive footage<br />

interspersed with landscape,<br />

speculative images and<br />

text, probing the practical<br />

and political life of women<br />

surviving on wit and skill in<br />

mid-twentieth century Europe.<br />

The film forms part of<br />

the exhibition. Much of the<br />

rest is being loaned from the<br />

Friedlander Archive at Cork.<br />

There is a wonderful range<br />

of book-covers, commercial<br />

work, elegant<br />

patterned<br />

papers<br />

and fine<br />

calligraphy.<br />

The work<br />

is simply<br />

lovely.”<br />

Emma Chaplin<br />

Ditchling<br />

Museum of Art<br />

+ Craft, Elizabeth Friedlander<br />

exhibition continues<br />

until 29th April. Tues - Sat,<br />

10.30am-5pm. £6.50/5.50.<br />

ditchlingmuseumartcraft.<br />

org.uk<br />

Elizabeth Friedlander. Page from Friedlander’s design book. Collection of University College Cork. Photography by Sam Moore<br />

Cover paper designs by Elizabeth Friedlander. Collection of Katharine Meynell<br />


Give Art<br />

Give Love

ART<br />

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

ART & ABOUT<br />

In town this month...<br />

Adventuring printmaker Beatrice von<br />

Preussen spent eight weeks in the High<br />

Arctic last summer, sailing on a tall ship with<br />

30 scientists and artists from all over the<br />

world. See her photographs, sketch books,<br />

prints and diaries from Svalbard and hear<br />

audio recordings of bearded seals singing<br />

beneath the ice, at ONCA Gallery from<br />

the 10th until the 15th. There are three<br />

accompanying workshops for children:<br />

geology in association with the Natural<br />

History Museum; science in the Arctic<br />

in association with the British Ecological<br />

Society, and an Arctic animals printmaking<br />

workshop. [onca.org.uk]<br />

Ian Boutell<br />

H_A_R_D_P_A_I_N_T_I_N_G continues at Phoenix <strong>Brighton</strong><br />

until the 11th. Seven contemporary abstract painters, Ian Boutell,<br />

John Bunker, Philip Cole, Stig Evans, Tess Jaray, Johanna<br />

Melvin and Patrick O’Donnell ‘explore the possibilities inherent<br />

in space, colour, line and edge’ in a collection of paintings that<br />

have been developed through premeditated and choreographed<br />

processes, favouring intention over accident.<br />

The Museum of Ordinary People is a new project<br />

described by its founders Lucy and Jolie as ‘celebrating<br />

the ripples that ordinary people leave behind. Forging<br />

connections between generations and gathering stories<br />

of everyday objects, exploring and documenting the<br />

magic and mundanities of everyday life.’ They are<br />

looking for people who have a collection of objects and<br />

documents that are important to them, and that tell a<br />

story, to take part in their series of free workshops over<br />

six Tuesday evenings, culminating in an exhibition at<br />

<strong>Brighton</strong> Fringe. To find out more, contact them at<br />

museumofordinarypeople@gmail.com.<br />


ART<br />

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

The steps of <strong>Brighton</strong> Unitarian Church in New Road are one of the city’s most<br />

lively impromptu stages, but the building is approaching its 200th birthday and the<br />

iconic portico frontage is in need of urgent repair. A programme of essential works<br />

begins this spring and the building will host a range of events to celebrate its place<br />

as a cultural, as well as spiritual, centre for the city. Photographer Tony Tree has<br />

been capturing a year in the life of the church and his project Snaps on the Steps will<br />

cover the hoardings whilst the conservation work takes place behind. An original<br />

piece of theatre about the building and its history - The Prince and the Pillars - takes<br />

place on the 2nd, 3rd and 4th of March, and there’s also a series of lectures by<br />

prominent local historians and Friday lunchtime concerts. Tickets for are free but pre-booking is advised.<br />

Contact 01273 696022 or buc@brightonunitarian.org.uk<br />

You won’t have missed the giant Snowdogs<br />

last year, each decorated by a local artist<br />

contributing to the hugely popular public<br />

art trail and subsequent auction that<br />

raised more than £300,000 for Martlets.<br />

This autumn the city will be besieged by<br />

50 giant snails for Snailspace and the<br />

organisers are asking local artists to submit<br />

designs for these unusual 3D canvases.<br />

Those chosen will be paid a commission to<br />

bring their design to life. To find out more<br />

visit snailspacebrighton.co.uk and submit<br />

your design by the end of March.<br />

Aliens, Zombies<br />

and Monsters! The<br />

Weird World of<br />

Aaron Blecha is at<br />

Hove Museum<br />

and Art Gallery<br />

from the 10th.<br />

The exhibition of<br />

work by the Hovebased<br />

children’s<br />

writer, bestknown<br />

for books<br />

like Goodnight,<br />

Grizzle Grump! and the Shark School series, will<br />

give museum visitors an insight into the process<br />

behind his work, starting from initial ideas and<br />

doodles to creating characters and finished<br />

books. This interactive display has plenty of<br />

opportunities for getting hands-on and a series<br />

of events, some with Aaron himself, continues<br />

throughout the exhibition. Until September.<br />

Out of town...<br />

Passion & Waves, an exhibition of abstract paintings by Zed Zdravko Talijan, is<br />

at The Cube Gallery in Hassocks from the 10th. Raised in former Yugoslavia,<br />

Zed worked as a journalist before moving to France and has spent the last 20<br />

years living, working and painting in West Sussex. ‘Painting, I feel, is a way of<br />

replacing concepts usually lost in translation, a way of talking. My art is a blend<br />

of cultural backgrounds that create a new visual language.’<br />


ART<br />

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

Out of town...<br />

Mary Poppins illustrated by Karl James Mountford<br />

In celebration of World Book Day on the 1st of March, Seaford<br />

Contemporary Illustrators & Printmakers present The Book<br />

Show, an exhibition of illustration and printmaking inspired by<br />

children’s literature. This five-day show is at Arts@theCrypt<br />

in Church Road, Seaford from the 28th of <strong>February</strong> until<br />

the 4th of March and features work by upwards of 20<br />

professional artists including award-winning author/<br />

illustrator Benji Davies, Karl James Mountford, Lesley<br />

Barnes, Graham Carter, Helen Musselwhite,<br />

John Bond and Bjorn Rune Lie. For the duration<br />

of the exhibition, the medieval Undercroft will be<br />

transformed into a reading room, filled with hundreds<br />

of books for families to enjoy, with readings by<br />

local authors and creative workshops for<br />

kids. Visit wearescip.co.uk to find<br />

out more.<br />

Bambi Goodman<br />

On a Night Like This is at the Studio Gallery in<br />

Worthing Museum & Art Gallery from the<br />

10th. Father and daughter Gary and Bambi<br />

Goodman exhibit paintings, printmaking and<br />

poetry inspired by a trip to Japan. Expect hanging<br />

scrolls with ink drawings of animals and girls, a<br />

cardboard sculpture menagerie and large-scale<br />

figurative paintings. The themes are, Bambi<br />

explains, ‘possibly eerie with a hint of sexy’.<br />

Gary Goodman<br />

2017 winner: Deception © Katie Ponder<br />

Glyndebourne are once again<br />

inviting emerging artists (aged 16+)<br />

to design a cover for their <strong>2018</strong><br />

Tour Programme, with the theme<br />

of (essential operatic ingredients)<br />

‘Love and Money’. The winning<br />

artwork will grace the cover of<br />

10,000 copies of the programme and<br />

appear in an exhibition at the opera<br />

house this autumn. The closing date<br />

for entries is the 6th of July. Visit<br />

glyndebourne.com for details.<br />


MY SPACE<br />

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

Photo by Adam Bronkhorst<br />

Spectrum<br />

25 years of <strong>Brighton</strong> printing<br />

Spectrum Photographic first opened its doors in<br />

1993 in Hove. “We were a purely photographic<br />

lab,” explains Klair Bird, who now co-owns<br />

the business with colleagues Hazel Watts and<br />

Paul Lowe, “so we were a primarily film-based<br />

processing and printing studio.”<br />

“We did E6 [slide] processing, C-41 processing,<br />

black-and-white processing,” Paul says,<br />

“and then suddenly film disappeared. Almost<br />

overnight; one Friday we had 50 people in the<br />

lab processing film, and the following Monday it<br />

was like… tumbleweed. We were very fortunate<br />

that the chap who used to own Spectrum liked<br />

to keep ahead of the trends, so at the same<br />

time that we were processing film and doing<br />

analogue, he bought himself a digital light jet<br />

printer, which meant we were already set up to<br />

do digital.”<br />

“It was a pretty scary time, because lots of services<br />

disappeared, so a lot of staff disappeared,<br />

and we went quite small,” continues Klair. But in<br />

the time since, the lab has undergone a number<br />

of changes, moving to new premises in North<br />

Laine and expanding their services to cater to a<br />

broader range of clients. As well as C-type printing,<br />

Spectrum offers Giclée printing for artists<br />

and illustrators. “We have an online service for<br />

both C-type and Giclée orders. It started with<br />

a few local illustrators and photographers using<br />

us and now we’re getting more and more – it’s<br />

fantastic! It’s nice to see such a variety of work.”<br />

On the photography side of things Spectrum<br />


MY SPACE<br />

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

specialise in large-format printing for exhibitions.<br />

“We’re the print sponsors for FOCUS<br />

Festival Mumbai, Fotopub in Slovenia – and<br />

<strong>Brighton</strong> Photo Biennial, which is coming up<br />

in October,” Hazel says. “We get to see some<br />

fascinating work.”<br />

“And we print the touring exhibition for the<br />

Wildlife Photographer of the Year,” adds Paul.<br />

“We produce multiple sets of the images and<br />

send them off to different countries around<br />

the world.” But the team are keen not to<br />

limit their clients to professionals and large<br />

institutions. “We work with independent<br />

photographers, artists, illustrators and hobby<br />

photographers - students as well. People<br />

sometimes get intimidated because we don’t<br />

have a shopfront, and coming in and seeing all<br />

the equipment maybe does seem overwhelming<br />

– but we’re extremely friendly!” RC<br />

spectrumphoto.co.uk / 01273 708222<br />

Photo by Adam Bronkhorst<br />



This month, Adam Bronkhorst has visited the labs of six chemists at the University of<br />

Sussex. We asked each of them: ‘which is your favourite element, and why?’<br />

[Adam says: “GOLD! Because of Spandau Ballet…”]<br />

adambronkhorst.com | 07879 401333<br />

Raysa Khan<br />

“Ruthenium. It’s a photocatalyst; photochemistry is when you work with the<br />

effect of light in chemistry – that’s what I’m working on at the moment.”


Professor Wendy Brown<br />

“Carbon. It’s our model dust grain; we use carbon to simulate the dust grains<br />

which make the molecules that you find in space.”


Dr Shane Lo Fan Hin<br />

“Ytterbium. During my PhD I started working with samarium, another lanthanide, and<br />

for two years nothing worked. Then ytterbium appeared… and light shone.”


Aidan Fisher<br />

“Cadmium is my favourite element because you can use it to make fluorescent<br />

nano-crystals. These are important in applications such as biological imaging agents,<br />

solar technology and new generation displays.”


Dr Samantha Furfari<br />

“Thallium. It was actually used as a poison, but the reason I like it is when you<br />

put it into a flame it goes green – that’s where it gets its name from, it’s origin is the<br />

Greek word ‘Thallos’ meaning ‘green shoot’.”

John<br />

Pasfield<br />

Specialist in traditional &<br />

modern wood floors<br />

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Floorboards, parquet, stairs, panelling,<br />

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Daniel Commandeur<br />

“Carbon is my favourite. I’ve just begun working with graphene at the moment, and it’s just<br />

fascinating how different forms of carbon have massively different properties.”


in the award-winning West Dean Gardens near Chichester<br />

SELECTED DATES AVAILABLE FOR <strong>2018</strong><br />

Call us on 01243 818258 to arrange a viewing | weddings@westdean.org.uk<br />

www.westdeanvenues.org.uk | West Dean Gardens, Chichester, West Sussex, PO18 0RX<br />

Image credit: Helen Cawte<br />

AS WELL AS A<br />





DO EVENTS,<br />




HERE FOR A<br />

CHAT!<br />






GIFT BOX<br />


£25 PICK UP/£30 DELIVERED<br />




BEFORE 12/02/18<br />



FOOD<br />

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

1909 at Pressleys<br />

The finer things...<br />

When George Harry Pressley<br />

opened his first watchmaker’s<br />

and jewellery shop, in Worthing,<br />

in 1909, he instilled in his family<br />

a taste for the finer things in life.<br />

A predilection still in evidence<br />

five generations later in Jonathan<br />

Pressley, who not only has the<br />

family eye for very fine jewellery<br />

but a taste for fine dining too. So<br />

much that, late last summer, he<br />

combined his passions, enlisted<br />

head chef Jake Northcote-Green,<br />

and opened 1909 in Pressleys<br />

elegant East Street store. The<br />

casual fine-dining-meets-fine-jewellery-meets-<br />

(newly added)-aperitivo bar continues to dazzle.<br />

There’s the feel of a private member’s club when<br />

we ring the bell. We’re greeted and guided past<br />

gleaming display cases and upstairs to a dining<br />

room set around an open kitchen. With room for<br />

around twenty diners it’s intimate without being<br />

awkward and, as you’d expect from the proprietor,<br />

every surface is carefully considered and honed<br />

to perfection. From the marble-topped tables, to<br />

the bottle-green banquette and the hand-made<br />

ceramics, to the brushed golden bar where you’ll<br />

soon be able to linger amongst the jewellery, the<br />

finish is beguilingly luxe. The menu is every bit as<br />

carefully considered, a monthly curation of sixteen<br />

small plates and meticulously sourced organic<br />

wines. It’s suggested to us that we might like to<br />

start with three or four dishes but we select six<br />

then seven then eight. I’ve eaten here before and<br />

recall how each plate was a delight. A few well<br />

chosen ingredients, skilfully prepared and allowed<br />

to shine is a beautiful thing.<br />

First to the table is pan carasau and labneh: shards<br />

of the thinnest flat bread with a<br />

coolest, creamiest cheese. Also<br />

wafer-thin pickles in tart ponzu.<br />

Next is maltagliati pasta with<br />

raw milk Beaufort cheese and<br />

truffle. ‘Maltagliati’, I learn,<br />

translates as ‘poorly cut’ and the<br />

torn edges of the pasta are the<br />

only rough edges in the place.<br />

There’s nutty purple broccoli,<br />

al dente and dressed in a deep,<br />

umami miso butter; slivers of<br />

sharp Cox’s apple and crunchy,<br />

vivid carrots, flecked with black<br />

sesame; a translucent filet of<br />

gurnard atop the lightest creamed celeriac and<br />

skordalia. Each dish is delicious but none more<br />

so than the ‘baked mids’: cracked potatoes, baked<br />

soft but with slightly caught, crispy edges, salted<br />

and infused with tarragon. Simple but sublime.<br />

We have both the (excellent) cheese dishes:<br />

Jurançon Bleu with warm, poached quince and<br />

walnuts, and a delightfully creamy Burwash Rose,<br />

drizzled with golden, truffle-infused honey. And -<br />

sated but driven by curiosity - we order desserts; a<br />

pomegranate doughnut with J Cocoa (like refined<br />

churros dipped in voodoo-grade chocolate), and a<br />

baked apple sorbet (an intensely apply frozen fluff<br />

studded with crisp, popped corn).<br />

All told, we’ve eaten our way through twelve of<br />

the sixteen plates on offer, and each is a gem. Such<br />

an accomplished meal in so refined a setting is a<br />

rare and delightful thing. Our bill for two (with<br />

wine for one) is £83.50, which seems a fair price<br />

for such exceptional craftsmanship.<br />

Lizzie Lower<br />

26 East Street, 01273 778674.<br />

1909brighton.co.uk<br />


RECIPE<br />

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

Photo by Rebecca Cunningham<br />


RECIPE<br />

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

‘I goat you babe’<br />

The Cocktail Shack’s head mixologist Sergio Jimenez has<br />

concocted this ‘love potion’ specially for Valentine’s Day…<br />

This is a milk punch, a classic cocktail<br />

dating back to the 1600s. Milk punches<br />

are made using milk that’s clarified, so<br />

they have the flavour of the milk but not<br />

the colour. They’re slowly coming back<br />

into fashion; I’ve been trying out a couple<br />

of different recipes recently. They’re<br />

usually made with cows milk but I much<br />

prefer this version using goats milk. It’s<br />

much creamier, and it gave me the idea<br />

for the name.<br />

To make a punch you use five ingredients:<br />

alcohol, fruit, tea, citrus and spices. I<br />

wanted to make something special for<br />

Valentine’s Day so I researched to see<br />

which aphrodisiac ingredients I could<br />

use: the ginseng, the chocolate and the<br />

pumpkin in the liqueur, the almonds in<br />

the amaretto - even the goats milk itself is<br />

aphrodisiac. It’s a strong cocktail, but the<br />

flavour is very mellow.<br />

There are a few different methods when<br />

it comes to milk punches. With some<br />

recipes you use agar or gelatine to clarify<br />

the milk; in this recipe it’s the citrus<br />

which curdles the milk. The cocktail is<br />

then strained to remove the curds, which<br />

also takes away the cloudiness, but leaves<br />

the creamy flavour.<br />

This recipe makes a big batch. It takes<br />

quite a long time to make, but the idea is<br />

that the cocktail can then last for months<br />

without refrigeration.<br />

Ingredients: 450ml dark rum, 25g lime<br />

zest, 3 green cardamom seeds, 450ml<br />

green ginseng tea, 80ml Mozart Pumpkin<br />

Spice Chocolate Cream liqueur, 20ml<br />

amaretto, 20ml crème de figue, 30ml<br />

orange juice, 215ml whole goats milk.<br />

Method: Combine the rum, lime zest<br />

and cardamom seeds in a lidded container<br />

and leave to rest at room temperature for<br />

at least 12 hours. Then strain and remove<br />

the zest and the seeds.<br />

Pour into a different container the<br />

ginseng tea, Pumpkin Spice Cream,<br />

amaretto, crème de figue, orange juice<br />

and goats milk, and gently whisk.<br />

Mix the rum mixture and the milk<br />

mixture together and stir with a spoon.<br />

Let it sit for at least 30 minutes; if you<br />

have enough time, refrigerate the mixture<br />

for 24 hours.<br />

Pour the punch through a cheesecloth<br />

or coffee filter to remove any impurities.<br />

Filter again a second time for best results.<br />

As a finishing touch, I added a sprinkle of<br />

edible glitter. Serve in a chilled glass.<br />

We’ll have this on the menu for<br />

Valentine’s; the idea is that a bottle will<br />

contain a sharing serving - enough for<br />

two. We’re also planning a singles event<br />

in our second bar – the details will be on<br />

our website. As told to Rebecca Cunningham<br />

The Cocktail Shack, 34 Regency Square.<br />

cocktailshackbrighton.co.uk<br />


FOOD<br />

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

Pharmacie Coffee Roasters<br />

Coffee in a cabin (sort of)<br />

“I’m not sure it’s open…” I say, approaching the<br />

turquoise-painted garage door tucked away on Cambridge<br />

Grove. I’ve asked Lizzie (editor) and Gracie (canine<br />

assistant) to try out Pharmacie Coffee Roasters with me.<br />

We set off early on a crisp winter morning for the walk<br />

across town, and we’re all hoping it’s about to end with<br />

something warming and delicious. But the doors appear<br />

to be shut.<br />

I try one of the handles and, thankfully, the door opens.<br />

The space inside has the feel of a cosy, dimly lit cabin.<br />

There’s a counter with pastries and cakes and a smiling<br />

woman stood behind it, who is particularly pleased to<br />

meet Gracie. We ask for two vegan sausage rolls and<br />

two flat whites. “We’ve got the fire going in the other<br />

room,” she says, so we go through and take a seat around<br />

a makeshift palette table in<br />

front of the wood burner.<br />

A few minutes later she<br />

brings the food through. The coffee is lovely, of course.<br />

The rolls are delicious: puff pastry filled with vegan<br />

‘sausage meat’, chestnuts and cranberries. They’re a<br />

two-handed affair, with extra limbs required to fend off<br />

Gracie’s attempts to join in. Luckily she’s distracted with<br />

plenty of attention from her new human friend until we’ve<br />

finished, and she’s allowed to gobble up the leftovers.<br />

Feeling warmed up and full up, it seems like it’s time to<br />

embark on the journey home. The barista puts another<br />

log on the fire. Maybe we have space for some cake as<br />

well… RC<br />

18b Cambridge Grove, Hove. Open Saturdays 9am-4pm<br />


19 Kensington Gardens, <strong>Brighton</strong> BN1 4AL<br />

The mother & daughter duo transforming their<br />

back-of-napkin idea into a real life, kicking and<br />

screaming, hustlin’ and bustlin’ tea and coffee<br />

house are Sarah and Georgia Grue.<br />

Producing smile-on-your-face fresh food in the<br />

heart of North Laine, their aim is not only to transfix<br />

you with their house blend coffee, but also with<br />

their deliciously handcrafted cakes, pastries and<br />

breads that melt in your mouth. They produce a<br />

lunch menu to tickle your tastebuds with smashed<br />

avocado on toast, bagels and homemade soups.<br />

Look out for their charming marketing campaigns<br />

and pick up a loyalty card in the café.<br />

At Dexter’s they use 100% compostable takeaway<br />

cups and lids made from recycled corn, which can<br />

be composted alongside your normal food waste.<br />

They even offer 10p OFF any hot drink or soup<br />

when you bring in your own reusable cup!<br />

Every supplier they use is local or independent,<br />

for example, their tea is supplied by Bluebird Tea<br />

Co which is less than 100 steps away. Pelicano’s<br />

Roastery co-roast their coffee just down the road!<br />

Keep your eyes peeled for Rose Lattes, Glitter<br />

Cappuccinos, vegan, vegetarian, gluten and dairyfree<br />

options which are continuously changing, and<br />

ever-exciting innovative dishes.<br />

Book now by calling 01273 622880 or<br />

emailing hello@dextersbrighton.co.uk<br />

in time for Valentine’s Day dates.<br />

Check out their website for gift<br />

boxes and merch.<br />

www.dexters-brighton.co.uk<br />

@dextersbrighton<br />

01273 622880


Food & Drink<br />

Edible Updates<br />

Fin and Farm<br />

Transform the dark<br />

nights in <strong>February</strong> with<br />

comforting, warming<br />

meals using fresh, ethically<br />

farmed, local produce. Onepot<br />

dishes which are full of nutritious veg and<br />

very easy on the wallet are always a winner. Take<br />

a look at our veg box subscriptions or buy all<br />

local produce as you need online. Fin and Farm is<br />

a zero food waste company. finandfarm.co.uk<br />

West Hill Tavern<br />

An independent, familyrun,<br />

family-friendly local<br />

pub, perched on the hill just<br />

two minutes from <strong>Brighton</strong><br />

station. ‘The Westie’ is a<br />

super cosy pub serving home-cooked traditional<br />

pub food, a superb Sunday roast, local ales, a gin<br />

list as long as your arm, gluggable wines, craft<br />

beers, and a bloody-good-Bloody-Mary. Plus,<br />

there are quiz nights, DJs, Jazz Thursdays, open<br />

mic nights and more. Bring your friends, bring<br />

your dog, bring your family, bring the GOOD<br />

TIMES! 67 Buckingham Pl, thewesthilltavern.com<br />

Terre à Terre<br />

The local go-to for the most<br />

creative vegetarian food in<br />

<strong>Brighton</strong>, always delivered<br />

with a cheeky little pun!<br />

Offering lunch and dinner options from small<br />

plates and sharing tapas to three-course set<br />

meals, not forgetting the afternoon-tea menu,<br />

multi-tiered savoury, sweet and traditional<br />

delights available from 3-5pm daily. Enjoy one of<br />

the unique cocktails, or a glass from the organic<br />

wine list, with a little nibble off the à la carte.<br />

71 East Street, 01273 729051, terreaterre.co.uk<br />

The centre of town has seen a wave of new<br />

openings over the past few weeks, including<br />

family-run café Dexters on Kensington<br />

Gardens, serving brunch, lunch and cake daily,<br />

from 10am till 6pm. Just round the corner (sort<br />

of) there’s Dough Lover, on Trafalgar Street,<br />

which has a surprising number of vegan and<br />

gluten-free choices on the menu, given its name.<br />

There’s plenty more to come in the not-toodistant<br />

future, including our<br />

own branches of burger<br />

chain Patty & Bun<br />

(opening on the 13th)<br />

and The Ivy Brasserie<br />

(coming this Spring),<br />

both on Ship Street.<br />

Be Chocolat on Duke Street are getting in<br />

the mood for Valentine’s Day with a weekend<br />

of balloon installations, chocolate tempering<br />

demonstrations and the chance to pick up a gift<br />

for that special someone (even if that special<br />

someone is yourself...) on the 10th and 11th.<br />

Our pick of the foodie events this month starts<br />

with a wine tasting at Hove’s Hixon Green,<br />

hosted by organic and biodynamic winemakers<br />

Paxton. [Tues 6th, 7pm] On the 15th, there’s<br />

an anti-Valentine African Supper Club by chef<br />

Lerato Umah-Shaylor. [leratolovesfood.com]<br />

The menu is made up of sharing plates and<br />

canapés. Couples and singles welcome, tickets<br />

start at £35. Finally on the 23rd,<br />

the No Kill Grill pitches<br />

up at The Richmond Bar,<br />

serving three courses<br />

of vegetarian/vegan<br />

street food. Tickets from<br />

£14.95, via Eventbrite.

吀 爀 愀 渀 猀 昀 漀 爀 洀 礀 漀 甀 爀 栀 漀 洀 攀 眀 椀 琀 栀 漀 甀 爀 昀 椀 渀 攀 猀 琀 焀 甀 愀 氀 椀 琀 礀<br />

匀 㨀 䌀 刀 䄀 䘀 吀 洀 愀 搀 攀 ⴀ 琀 漀 ⴀ 洀 攀 愀 猀 甀 爀 攀 椀 渀 琀 攀 爀 椀 漀 爀 猀 栀 甀 琀 琀 攀 爀 猀 ⸀<br />

琀 ⸀ ㈀ 㜀 アパート アパート アパート 㠀 㐀 ㈀<br />

攀 ⸀ 挀 漀 渀 琀 愀 挀 琀 䀀 戀 攀 氀 氀 愀 瘀 椀 猀 琀 愀 猀 栀 甀 琀 琀 攀 爀 猀 ⸀ 挀 漀 ⸀ 甀 欀<br />

眀 ⸀ 眀 眀 眀 ⸀ 戀 攀 氀 氀 愀 瘀 椀 猀 琀 愀 猀 栀 甀 琀 琀 攀 爀 猀 ⸀ 挀 漀 ⸀ 甀 欀

SPOOKS<br />

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

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

Haunted house<br />

The ghosts of Preston Manor<br />

Who might I meet at Preston Manor? The White<br />

Lady, the unhappy spirit of an excommunicated<br />

nun, a ghostly child on a toy tractor? This house<br />

comes with a reputation. First built in the 17th<br />

century, the original manor house has been demolished,<br />

rebuilt, and undergone major renovations<br />

over the centuries. The last was in 1905 by Charles<br />

Stanley Peach, who had previously designed electrical<br />

sub stations.<br />

“Somewhat utilitarian,” comments venue officer<br />

Paula Wrightson, about the exterior, as she greets<br />

me at the entrance. She’s taking me on a tour of<br />

the entirely more remarkable interior. We start in<br />

her splendid office, overlooking the park (originally<br />

the main guest bedroom, where Princess Beatrice,<br />

Queen Victoria’s youngest daughter, once slept; the<br />

Stanford family were highly regarded hosts).<br />

Paula has worked for the <strong>Brighton</strong> Royal Pavilion<br />

and Museums for 27 years. Her association with<br />

Preston Manor began in 2006, when a decision was<br />

taken to run ghost tours. This followed interest<br />

raised by an episode of Living TV’s Most Haunted.<br />

She’s currently writing a book on the history of the<br />

Manor’s ghost stories, and tells me she loves finding<br />

interesting stories about people who lived and<br />

worked here, as well as meeting their descendants.<br />

She is an excellent storyteller and tour guide, and<br />

Preston Manor certainly has atmosphere. The<br />

lighting is dim, there’s a slightly peculiar aroma,<br />

and odd noises. All explicable, no doubt. Echoes<br />

down chimneys, old furniture and floors, damp. But<br />

even a sceptic like myself wouldn’t want to be here<br />

at night on my own. As we walk round, she shows<br />

me the Blue Room, once a bedroom, now a library,<br />


SPOOKS<br />

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

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


SPOOKS<br />

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

where the White Lady is said to have appeared at<br />

the deathbed of the lady of the house, and the head<br />

maid’s bedroom, where a guide dog became agitated,<br />

and a staff member saw a ghost of a woman<br />

making the bed. She points out the corridor where<br />

a phantom child has been seen playing. Paula then<br />

shows me the room where, in November 1896,<br />

celebrity ‘psychic’ Ada Goodrich Freer ran a séance.<br />

It was Ada who started the story about a ghost nun<br />

who had been excommunicated. “If you pay a medium,<br />

they’ll come up with a good story.”<br />

That Christmas, the Stanford family were troubled<br />

by a smell from the drains. After investigation, the<br />

skeleton of a woman was discovered. But, Paula tells<br />

me, the son John Benett-Stanford was a notorious<br />

prankster who liked mucking about with skeletons.<br />

“I think he might have planted it.” I like Paula’s<br />

way of weaving sinister tales with pragmatism and<br />

historical context. My favourite story is about the<br />

holes in the leather wallpaper. “The twin daughters<br />

used to throw darts at the monkeys embossed<br />

in the pattern”.<br />

Lots of school children go to Preston Manor on<br />

Victorian-themed trips. It’s well worth a visit, even<br />

if you don’t believe in ghosts.<br />

Emma Chaplin<br />

House opens April. Open all year for group bookings.<br />

brightonmuseums.org.uk/prestonmanor. Ghost Hunt<br />

by Psychic Gold Events/Ghost Hunter Tours, Sat<br />

17th Feb, 8pm, from £21<br />

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


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

Photo by Ed Robinson<br />

Tara McDonnell<br />

Your Matchmaker<br />

Tell us about your job… I’m the founder of the<br />

dating agency Your Matchmaker. The job involves<br />

guiding clients through the matchmaking process,<br />

assessing what exactly they want from a relationship<br />

and providing potential matches. Each case is<br />

different, which makes it so interesting.<br />

How did you get into matchmaking? I spent<br />

twelve years in Sussex Police, followed by several<br />

years of studying law and working as a paralegal. I<br />

was always looking for a way out to start my own<br />

business, so when I was made redundant from my<br />

legal job I saw it as an opportunity to do what I<br />

had always dreamed and create my own dating service.<br />

The company went live in December 2014.<br />

What does your job require? It’s a tightly run<br />

operation. Sheer determination, hard work and<br />

good communication skills are required to keep<br />

everything in order. My experience as a police<br />

officer has given me a gut instinct for people. I<br />

interview all my clients before taking them on, to<br />

make sure they are worth my while. If they say<br />

something during the call that makes me think<br />

they’re not serious, or that they’re fresh out of a<br />

long-term relationship, I won’t work with them.<br />

They need to be ready and willing to find love,<br />

otherwise it will be a waste of everyone’s time. One<br />

of our newly married clients told me the reason he<br />

chose Your Matchmaker was because he knew that<br />

I wouldn’t put up with any nonsense.<br />

Who are your clients? Young professionals, in<br />

their late twenties to early thirties, and people who<br />

have been previously married or had a partner for<br />

a considerable amount of time. Our oldest client<br />

to date was 68 years old.<br />

How does Your Matchmaker differ to online<br />

dating? The clients are not in charge of selection,<br />

we are. We give our clients one potential match at<br />

a time, and encourage them to go on at least one<br />

date with them. Feedback is conducted over the<br />

phone with me and is completely confidential.<br />

What tips/advice do you give your clients?<br />

High standards can prevent people from finding a<br />

match. Sometimes people have an inflated image<br />

of themselves. It is not about lowering standards,<br />

but being more open to meeting someone you<br />

would never have considered before. After all, if<br />

you really do have a ‘type’, then why aren’t you<br />

with them?<br />

What makes a good date? The trick is to go with<br />

the flow. Looking at phones on dates is a complete<br />

no-no. Meeting for a drink is always a good option,<br />

but we’ve also had people go on walks along<br />

the seafront and attend daytime events. Eating<br />

out can often be too formal for a first encounter,<br />

although when it goes particularly well, ‘going for<br />

drinks’ sometimes turns into dinner… We always<br />

recommend a second date, since people are generally<br />

less anxious and more themselves after the first<br />

meeting. Interview by Saskia Solomon<br />

yourmatchmaker.co.uk<br />



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

Photo by James Boyes<br />

Equality FC<br />

‘Unlock the Gate’<br />

Carole Richmond, marketing manager of <strong>Brighton</strong> &<br />

Hove Bus and Coach Co, talks to us about their sponsorship<br />

of the Lewes FC women’s team, and the Unlock the<br />

Gate campaign, encouraging more people to come along<br />

on match days.<br />

‘I met <strong>Viva</strong> Lewes editor Alex Leith at the Lewes<br />

Business and Enterprise Awards, who introduced<br />

me to Kevin Miller of Lewes FC, with the idea<br />

that we might like to sponsor the women’s team.<br />

He was spot on. We’re pleased that we’ve already<br />

got a great presence in the Lewes community, but<br />

we’re keen to increase it even more. Lewes FC<br />

became ‘Equality FC’ by paying their women’s and<br />

men’s team the same, and that fits so well with the<br />

<strong>Brighton</strong> & Hove Bus Company ethos.<br />

Lewes women play on the same pitch, on the same<br />

terms, and our company believes in recruiting<br />

from all walks of life. We have a signature ‘Diversity’<br />

bus which we use for Pride and to promote all<br />

kinds of equality. The wrapping tells people what<br />

we believe: #moreincommon #diversity #equality.<br />

It will be going along to the Lewes ‘Unlock the<br />

Gate’ match on the 25th of <strong>February</strong>, driven by a<br />

woman and full of supporters.<br />

I like Lewes FC, its ability to do things differently<br />

and make things happen. You can watch a match at<br />

the Dripping Pan and see the surrounding beauty<br />

of the Downs. Supporters can take their dogs. It<br />

feels authentic, open and family friendly.<br />

I am sporty. I firmly believe if I’d been allowed<br />

to play football, I’d have been bloody good at it.<br />

I played competitive hockey in my teens for the<br />

school and county. My father took my brother to<br />

football practice and supported him at matches,<br />

but never came to watch me.<br />

In terms of getting more support for women in<br />

football - how many men’s clubs run at a loss? So<br />

why does the women’s game have to make a profit<br />

immediately? Why does anything to do with women<br />

have to be 100% successful? It’s an easy way of<br />

saying ‘get back in your corner – come back when<br />

you’ve got it all figured out’, when they don’t have<br />

it figured out either.<br />

One barrier has been childcare. A lot of men who<br />

take part in sport and regularly watch it don’t think<br />

twice about taking that time. Women are more<br />

likely to feel guilty. I didn’t re-engage with sport till<br />

I was in my forties. If we want women regularly taking<br />

part and watching sport, we need it to be more<br />

family friendly, perhaps offering a crèche.<br />

The national women’s cricket team are very good<br />

and regularly sell out. The rugby team are great<br />

too. Watching women’s sports means opening<br />

up your eyes to a good experience and enjoying<br />

yourself. It isn’t just about superior knowledge and<br />

analysis. I love watching women’s rugby, and I’ve<br />

learnt more about the game the more I’ve seen.’<br />

Emma Chaplin<br />

Lewes FC Women v Gillingham, the Dripping Pan,<br />

Sun 25th Feb, 2pm, £5. lewesfc.com<br />


Illustration by Mark Greco (@markgreco)<br />


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

Nicholas Culpeper<br />

Better living through botany<br />

Just over 400 years ago, in 1616, a legend was born: a<br />

rebel who partnered up with Mother Nature to revolutionise<br />

British medicine. The herbal hero, the botanical<br />

bad boy, the father of alternative medicine, ladies and<br />

gentlemen, I give you... Nicholas Culpeper.<br />

Culpeper did his growing up in Isfield, near Lewes,<br />

where the country lanes and the starry Sussex skies<br />

were his classroom and the hedges and the heavens<br />

taught him botany, astronomy and astrology. And he<br />

learnt about love, too. In 1634, Culpeper and his secret<br />

Sussex sweetheart planned a clandestine Lewes wedding<br />

followed by a hasty elopement to the Netherlands.<br />

But tragedy struck when his love-struck lady’s carriage<br />

was struck by a lightning bolt en route to Lewes. She<br />

died instantly.<br />

There’s no cure, herbal or otherwise, for a broken<br />

heart and Culpeper left Sussex and started a new<br />

life in London. He threw himself into his work as a<br />

lowly apothecary’s assistant, cataloguing medicinal<br />

herbs on Threadneedle Street. At this time medicine<br />

was only practiced by elite physicians. They would<br />

charge exorbitant prices for their secret remedies and<br />

would not even demean themselves to talk to patients,<br />

instead requesting a sample of urine to make their<br />

diagnosis. Culpeper agreed with them on one thing:<br />

they were certainly extracting the urine. He believed<br />

medical treatment should be available to all - not just<br />

the privileged.<br />

Setting up his own practice in a poorer part of London,<br />

Culpeper started treating 40 patients a day with herbal<br />

cures derived from English plants. Then he dropped<br />

his botanical bombshell. He published an incredible<br />

book which instructed people how to pick their own<br />

remedies, free of charge, from the hedges and meadows.<br />

The book was The English Physitian (1652, later enlarged<br />

as The Complete Herbal). His book promoted and<br />

preserved folk remedies at a time when physicians and<br />

priests were discrediting village healers and preventing<br />

them from passing along their traditional knowledge.<br />

The medical establishment was enraged, they even<br />

accused Culpeper of practising witchcraft. But his book<br />

endured. It’s been in continuous print longer than any<br />

other non-religious English language book, running<br />

rings round the tales of Tolkien and Rowling.<br />

Perhaps some of Culpeper’s herbal remedies could<br />

come in useful for you: wild privet (for headaches),<br />

blackthorn (for indigestion), rosemary (for flatulence)<br />

and the juice of ivy berries ‘snuffed up into the nose’<br />

(for hangovers). Culpeper also had cures for sore<br />

breasts, worms, itches in the ‘privy parts’ and bruises.<br />

Hey – I don’t know what you lot get up to over the<br />

weekend. So keep your copy of The Complete Herbal to<br />

hand and raise your Nutribullets and ginseng teas to<br />

the healing properties of Mother Nature and to four<br />

centuries of Nicholas Culpeper.<br />

Michael Blencowe, Sussex Wildlife Trust<br />



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

Reality check<br />

The ‘Hallucination Machine’<br />

Ever had a hallucination?<br />

Did you know that you’re<br />

having one right now?<br />

Our grip on reality is,<br />

according to neuroscientists,<br />

much less tangible than we<br />

believe. It seems our brain is<br />

largely guessing what’s going<br />

on around us, which it does<br />

by combining input from our<br />

senses with our expectations<br />

developed from previous experiences.<br />

In fact, as University of Sussex neuroscientist<br />

Professor Anil Seth points out in his 2017 TED<br />

talk: “It’s only when we agree about our hallucinations<br />

that we call it reality.”<br />

Such fascinating mysteries of the mind-brain are<br />

the focus of research at the university’s Sackler<br />

Centre for Consciousness Science, of which Seth<br />

is a director.<br />

As part of the <strong>Brighton</strong> Science Festival this<br />

month, two of the centre’s researchers, Dr David<br />

Schwartzman and Dr Keisuke Suzuki, will be<br />

demonstrating research straight out of the lab<br />

that both confirms and confounds our notions of<br />

what is – and isn’t – real.<br />

Being Somebody will showcase interactive virtual<br />

reality (VR) that explores how our experiences<br />

of the world are shaped by our bodies and how<br />

bodily experience itself is actively constructed,<br />

moment-to-moment, by the brain. For example,<br />

they will show how easy it is for us to be momentarily<br />

fooled into believing that a fake limb, or<br />

even a fake body, could be part of ourselves.<br />

They will also give visitors a simulated taste of<br />

the trippy world of visual hallucinations.<br />

While in normal life the balance between the<br />

brain’s expectations and sensory input works<br />

just fine, in some altered states – for example<br />

brought on through<br />

psychoactive drugs, or by<br />

mental disorders such as<br />

schizophrenia – perceptual<br />

hallucinations<br />

can become strange and<br />

disturbing.<br />

To explore how and why<br />

these unusual hallucinations<br />

occur, Suzuki and<br />

Schwartzman have combined<br />

Google’s Deep Dream algorithm, which<br />

is an artificial neural network that finds and enhances<br />

patterns in images, together with a virtual<br />

reality headset with 360-degree panoramic video<br />

of pre-recorded natural scenes, to create what<br />

they are calling the ‘Hallucination Machine’.<br />

The setup simulates the visual hallucinatory<br />

aspects of a psychedelic trip. Anyone who puts on<br />

the headset is soon experiencing a weird world in<br />

which vivid hallucinations of dogs, cars and peacocks<br />

appear in the sky, on buildings, on humans<br />

– in fact, all over the panoramic view.<br />

This is because the system was trained to categorise<br />

a thousand different types of images. The<br />

network looks for patterns that might resemble<br />

a dog within the image – in the same way that<br />

humans see faces and other images in meaningless<br />

patterns, such as clouds.<br />

Suzuki points out: “This is purely an engineering<br />

system. It’s not really modelling the brain, but<br />

there are a lot of similarities between the human<br />

visual system and this neural network.”<br />

Importantly, the research may help clinicians to<br />

understand what’s happening in a neurophysiological<br />

sense during hallucinatory episodes.<br />

Jacqui Bealing<br />

Sallis Benney Theatre, 17th <strong>February</strong>, part of the<br />

<strong>Brighton</strong> Science Festival. brightonscience.com<br />



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

Plastic Free Pledge<br />

The final straw?<br />

<strong>Brighton</strong> & Hove is synonymous<br />

with the sea and the beach. It’s<br />

our largest area of public realm<br />

and is integral to our wellbeing<br />

and economy, and something we<br />

should be proud of. Every day<br />

though, five van loads of litter<br />

are removed from the beach by<br />

the Council, and much of this is<br />

plastic. Alongside the Council,<br />

there is a two-person team in the<br />

city that is determined to wipe out this blight at<br />

source: through the Plastic Free Pledge.<br />

Plastic Free Pledge, started here and now going<br />

national and international, was conceived by Hovebased<br />

designer Claire Potter and founded with her<br />

studio partner, Jake Arney. It has a simple ask of<br />

businesses and individuals – to stop using single-use<br />

plastic, and in particular, plastic straws. Across the<br />

city 68 venues have signed their anti-plastic-straw<br />

pledge, from independents, to local chains like<br />

Small Batch Coffee, to nationwide franchises, like<br />

Jamie’s Italian and Wahaca. Claire and Jake also<br />

influenced <strong>Brighton</strong> & Hove City Council to<br />

unanimously approve motions last year to tackle<br />

single-use plastics.<br />

<strong>2018</strong> sees the duo broaden the scope of Plastic Free<br />

Pledge, to include alternatives to the plastic lined<br />

takeaway coffee cup – those that hit the news in<br />

January as the ‘Latte Levy’ – and plastic pint glasses,<br />

and they have some of the larger city events in their<br />

pledge sights.<br />

Whilst there is nothing wrong with plastic per se,<br />

it’s the overuse of plastic and the damage it does to<br />

our environment that is an issue. Its low production<br />

cost means that a good deal of plastic – a plastic<br />

straw for example – is only in use<br />

for around twenty minutes.<br />

Claire explains: “one of the<br />

issues with marine plastic is the<br />

accumulation of toxins from the<br />

water that attach themselves to<br />

plastic over time, which, when<br />

eaten, ‘bioaccumulate’ up the<br />

food chain. This is why larger<br />

fish and cetaceans are dying from<br />

toxic accumulation, or as seen on<br />

Blue Planet, whale calves are dying from drinking<br />

toxic milk from the mother.”<br />

Council research shows that 8 out of 10 residents<br />

are fed up with the amount of litter in <strong>Brighton</strong><br />

& Hove and there are numerous ways that we<br />

can tackle our beach litter problem. Individuals<br />

and businesses can sign the Plastic Free Pledge<br />

at plasticfreepledge.com/take-the-pledge and use<br />

paper, metal or bamboo straws instead.<br />

The Council’s #StreetsAhead campaign is calling<br />

on <strong>Brighton</strong> & Hove residents and visitors alike to<br />

help stem the flow of litter onto the beach and into<br />

the sea. It has organised silent disco beach cleans,<br />

exhibited a giant fish made from the beach litter,<br />

and has a ‘trash converter’ scheme, where litter is<br />

traded for treats. The Seafront Team has joined the<br />

#2minutebeachclean campaign, alongside several<br />

local businesses, encouraging everyone to spend two<br />

minutes when they leave the beach to pick up litter.<br />

Cara Courage<br />

#StreetsAhead is funded through litter fines, and<br />

details of upcoming beach cleans can be found by<br />

following @RecyclingRefuse on Twitter as well as<br />

#2minutebeachclean, visit beachclean.net and the<br />

local Surfers Against Sewage, sas.org.uk<br />



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

Your eye might be immediately attracted in this<br />

1956 picture to the minimalist Art Deco façade of<br />

the Palladium Cinema, but the main reason we’ve<br />

chosen it is because of the unassuming-looking<br />

chemist’s next door, which played a small part in an<br />

infamous <strong>Brighton</strong> murder case.<br />

This elegant building was on Kings Road; the<br />

cinema was abandoned in 1956, and the whole block<br />

demolished in 1963 in order to enable a seafront<br />

development that didn’t see fruition until 1977. In its<br />

place today sits the Brutalist-style <strong>Brighton</strong> Centre.<br />

First up the cinema, originally opened as a theatre<br />

in October 1888, with a more ornate Victorian<br />

frontage, and called the Alhambra. It changed its<br />

name to the Palladium in 1912, becoming a cinema<br />

in 1914. After a brief spell as the Odeon from 1935-<br />

7 (and a second façade designed by Andrew Mather)<br />

it became the Palladium again in 1939, with yet<br />

another facelift. The last film shown there was a rerun<br />

of the comedy, Genevieve, featuring the London-<br />

<strong>Brighton</strong> classic car rally. Now that’s entertainment.<br />

The chemist stayed open for a bit, and as James<br />

Gray mentions in his notes (this picture is from his<br />

archives and comes courtesy of the Regency Society)<br />

by 1956 the space had housed a chemist continuously<br />

for nearly 100 years. The first listed in the directories,<br />

in 1859, is a Mr Julius V Schweitzer. Schweitzer<br />

was an orthodox physician from Germany who<br />

converted to homeopathy and moved to <strong>Brighton</strong><br />

– then as now a centre for non-traditional medicine<br />

– to set up a clinic and dispensing chemist.<br />

It was Schweitzer who got caught up in one of<br />

<strong>Brighton</strong>’s most famous crime cases, the so-called<br />

‘Chocolate Cream Murder’ in which Christina<br />

Edmunds poisoned a number of people in 1871 by<br />

lacing chocolates bought at Maynards Confectioner’s<br />

in East Street with strychnine, and returning<br />

them to the shop’s shelves. A child of four – Sydney<br />

Albert Barker – died as a result of her nefarious<br />

actions. Edmunds went to Schweitzer’s with a batch<br />

of chocolates she had poisoned, for analysis, in order<br />

to try to blame John Maynard for the poisonings.<br />

Edmunds was found guilty at a well documented<br />

trial which started in Lewes then got moved to the<br />

Old Bailey: she died in 1907 in Broadmoor Criminal<br />

Lunatic Asylum.<br />

Quite a historic space, then: the <strong>Brighton</strong> Centre<br />

has itself hosted countless big-name bands: it will<br />

go down in posterity as the venue for Bing Crosby’s<br />

final concert in 1977, and The Jam’s last hurrah in<br />

1982 (see end of para 3). Alex Leith<br />

Many thanks to the Regency Society for the use of<br />

this picture: you can see the whole of the James Gray<br />

Archive at regencysociety-jamesgray.com<br />



For your heart pumping, life changing moment.<br />

FOR THE NOW.<br />

Take on one of the world’s most iconic trekking trails with<br />

Chestnut Tree House. This classic Inca Trail challenge in Peru<br />

encompasses three high mountain passes – the highest at<br />

4,200m - as well as hiking through sub-tropical vegetation,<br />

cloud forest and summiting snow-capped peaks. The trekking<br />

will be tough, but worth it when you reach the unforgettable<br />

sight of Machu Picchu.<br />

Chestnut Tree House cares for local children with lifeshortening<br />

conditions – giving them the chance to do all<br />

sorts of things that kids love doing. These children live in the<br />

moment, for the now. When you are facing the greatest of<br />

challenges, it’s the smallest of moments that really matter –<br />

taking the time to relax, knowing your child is safe; splashing<br />

in the hydrotherapy pool together; talking to one of our<br />

nurses who understands exactly how difficult things are.<br />

Join us on this mystical Inca trek and take on the challenge.<br />

For yourself. For local children and families. For living.<br />

For the Now.<br />

www.chestnut-tree-house.org.uk/inca<br />

CHALLENGE 2019<br />

Limited places<br />

1-10 November 2019<br />


www.chestnut-tree-house.org.uk/inca 01323 725095<br />

Registered charity number: 256789<br />

Inca Trail 2019 Seaford Scene 153x109 AW.indd 1 08/12/2017 12:49

1 Malling Street, Lewes, BN7 2RA<br />

01273 471 269 / alistairflemingdesign.co.uk

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