Viva Brighton Issue #74 April 2019

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VIVA<br />

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

<strong>#74</strong>. APR <strong>2019</strong><br />


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

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

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

Lewes House, 32 High St,<br />

Lewes, BN7 2LX.<br />

For all enquiries call:<br />

01273 488882.<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 />

Have you noticed the humming paving slabs<br />

of Spring Gardens? Or the strange drone that<br />

emanates from the Clock Tower intersection?<br />

Road sweeper and philosopher Joe Henderson has.<br />

She takes a longer, closer look at the streets than<br />

most of us and her observations are alive with vivid<br />

detail. I’d like to see the city through her eyes.<br />

And what, I wonder, did Edward Cresy find in the<br />

backstreets when he was appointed by the General<br />

Board of Health to visit <strong>Brighton</strong> in 1849, to<br />

conduct an ‘inquiry into the sewerage, drainage,<br />

and supply of water, and the sanitary condition<br />

of the inhabitants’? If the slum clearances that<br />

followed are any indication, it wasn’t good. (The<br />

word ‘ooze’ featured in his report.)<br />

I thought I knew our streets pretty well, but this<br />

month I’ve got to know a whole lot more about<br />

them and the people who work in them. Like the<br />

specialist St John Ambulance Service, bringing<br />

essential healthcare to people who are homeless,<br />

and the StreetVets who look after their pets. We<br />

examine street art of the local, international and<br />

revolutionary varieties, talk to a stall holder at<br />

<strong>Brighton</strong>’s oldest street market, and meet five<br />

local window cleaners. Plus, we recall a time when<br />

horses ruled the roads, elaborate on Mr Cresy’s<br />

findings and pay tribute to the late Ken Fines; a<br />

man who ensured the conservation of some of our<br />

most iconic streetscapes.<br />

Next month the city will be thronged with<br />

festival-goers and the streets will be at their<br />

busiest. We thought we’d take this moment to<br />

enjoy them for ourselves. The more you look, the<br />

more there is to see.

VIVA<br />

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

THE TEAM<br />

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

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

SUB EDITOR: David Jarman<br />

PRODUCTION EDITOR: Joe Fuller joe@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 Mechen kelly@vivamagazines.com<br />

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

CONTRIBUTORS: Alejandro Martinez, Alex Hood, Alex Leith, Alexandra Loske,<br />

Amy Holtz, Ben Bailey, Cammie Toloui, Charlotte Gann, Chloë King,<br />

Chris Riddell, David Jarman, JJ Waller, Jacqui Bealing, Jay Collins, Joda, Joe Decie,<br />

John Helmer, John O’Donoghue, Kate Elms, Lizzie Enfield, Mark Greco,<br />

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

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

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



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

Bits & bobs.<br />

8-27. Artist and architect Alejandro<br />

Martinez is on the cover; Ken Fines –<br />

saviour of <strong>Brighton</strong>’s streets – is on the<br />

buses, and Alexandra Loske recalls a<br />

time when Church Street traffic was of<br />

the equestrian variety. Elsewhere, Joe<br />

Decie finds (limited) inspiration on the<br />

run, JJ Waller captures the hard realities<br />

of street life for some, and we meet the<br />

St John Ambulance Homeless Service<br />

who are bringing essential heathcare services<br />

to the city. Plus, Alex Leith happily<br />

loiters at the Black Lion; <strong>Viva</strong> pops up<br />

in Eritrea and Berlin Zoo; we’ve got<br />

city guides to give you the inside track;<br />

books from Jeff Noon and Damian Barr,<br />

and cuddle monster Boris needs a home.<br />

68<br />

31<br />

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

28-29. Philosopher and road sweeper<br />

Joe Henderson on the thrum of <strong>Brighton</strong>’s<br />

streets.<br />

Photography.<br />

31-37. The world-travelling exploits of<br />

street art hunter Tim Jentsch.<br />

Photo by Tim Jentsch. Art by Mantra<br />

Columns.<br />

39-43. John Helmer’s on a one-man<br />

neighbourhood watch, Lizzie Enfield’s<br />

got ideas for an alternative A to Z, and<br />

Amy Holtz is navigationally challenged.<br />

On this month.<br />

45-59. Ben Bailey rounds up his pick of<br />

the gigs and the best of <strong>Brighton</strong>’s first<br />

podcast festival; tales of coming out and<br />

Hers & His by Alej Ez<br />



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

transition in Rotterdam, and the Pulitzer<br />

Prize-winning play Glengarry Glen Ross<br />

are both at the Theatre Royal, and how do<br />

City Reads pick the book for <strong>Brighton</strong>’s<br />

biggest bookclub? Plus, we get an<br />

insight into the state of the world’s plants<br />

at Wakehurst; actor Ian Ruskin brings<br />

Thomas Paine to life, and autobiographical<br />

activist Bryony Kimmings is coming<br />

to ACCA.<br />

Art & design.<br />

60-73. David Jarman visits In Colour –<br />

from Sickert to Riley at Charleston; we find<br />

out what’s up with the Paris 68 Redux<br />

posters that have been popping up around<br />

the city (and much further afield); Chloë<br />

King gets to grips with a giant map of<br />

<strong>Brighton</strong>, and just some of what’s on, artwise,<br />

this month.<br />

The way we work.<br />

75-79. Adam Bronkhorst photographs local<br />

window cleaners and asks what catches<br />

their eye while they’re cleaning windows?<br />

Food.<br />

81-85. Joe Fuller samples his new veggie<br />

local at the Roundhill; we’ve got a recipe<br />

for Gujarati street food from Manju’s, and<br />

just a taster of this month’s food news.<br />

75<br />

Features.<br />

86-95. We meet the StreetVets; find<br />

out how Edward Cresy’s report led to<br />

the city’s slum clearances, and visit Upper<br />

Gardner Street Market. And what<br />

if Volk’s Railway inventor Magnus Volk<br />

had also created a time machine? Plus<br />

professional story teller Jon Mason is<br />

creating a Time Travel Treasure Hunt<br />

for the Festival.<br />

Wildlife.<br />

97. Michael Blencowe gets the gossip<br />

from the nest-hopping Dunnocks.<br />

Inside left.<br />

98. Washington Street, Hanover, 1920.


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

It’s a bit of a shame to confine the work of<br />

Alejandro Martinez (aka Alej Ez) to our A5<br />

cover. His panoramic drawings which capture<br />

local landscapes with the kind of confident,<br />

sparing line you might expect of an architect,<br />

often extend over several metres. One of his<br />

most popular prints is of the view east from<br />

Hove Lagoon on a very clear day. “When I<br />

got back to the studio and zoomed into the<br />

photographs, I could see so much detail. All<br />

the way to Belle Tout Lighthouse [near Beachy<br />

Head]. Would you believe that was possible?!”<br />

He has worked at Archangels Architects in<br />

Kemp Town for the past five years and credits<br />

them with encouraging his art as well as his<br />

architecture. He still produces many of his<br />

preliminary drawings and feasibility studies by<br />

hand. “The job of an architect is complex – you<br />

must be a craftsman, a draftsman, understand<br />

construction, legislation, detailing – so, to<br />

feed my creative side, I began to take my art<br />

more seriously.” He now works four days<br />

a week at the practice and spends Fridays<br />

and weekends at the long-running artists’<br />

cooperative, Studio Greenhouse, where he’ll<br />

work on, say, a study of the ruined remains of<br />

the West Pier, a meticulous rendering of the<br />

Royal Pavilion façade, or plot the elaborate<br />

details of our Regency buildings. “I was born<br />

in Granada, which is very exotic, so it’s lovely<br />

to know that the arches of the bandstand on<br />

<strong>Brighton</strong> seafront are based on the arches of<br />

the Alhambra palace. It’s good to make links. It<br />

makes me feel at home.”<br />

The drawings are then scanned and layered<br />

with sophisticated, saturated colour; the<br />

resulting images presenting the city as the best<br />

version of itself. “I edit the images with some<br />

Photo by Lizzie Lower<br />

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

....8 ....

ALEJ EZ<br />

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

artistic license: I let my eye capture an essence<br />

instead of every last detail. I move things<br />

around until I find them more pleasing. There<br />

are normally no people in them at all – maybe<br />

that comes from my architectural training –<br />

but it makes the scenes look like it’s five in the<br />

morning and nobody is there. It’s very soothing.<br />

It gives them a sense of peace and quiet.”<br />

More recently, Alej has turned his attention<br />

to the wider Sussex countryside. Inspired by<br />

the likes of Eric Ravilious and Paul Nash, he<br />

has been working on views of Firle, Cuckmere<br />

Haven and Devils Dyke, his panoramic style<br />

lending itself to the broad sweep of the<br />

landscape.<br />

This being our ‘streets’ issue, our cover features<br />

some quintessentially <strong>Brighton</strong> buildings from<br />

the Old Steine. They are taken from the much<br />

larger ‘Hers and His’ print, which includes Mrs<br />

Fitzherbert’s house as well as HRH’s Royal<br />

Pavilion, and we highly recommend that you<br />

seek it out in full scale. There is always a great<br />

selection of Alej’s work at Leo Frames (70<br />

North Road) where, quite often, one of his<br />

panoramic prints will be in the window. All the<br />

better to stand back and take in the view.<br />

Lizzie Lower<br />

Alejandro will be exhibiting at Art 83 in Kemp<br />

Town and Number Ten in Palmeira Square in<br />

May’s Artists Open Houses festival. alejez.com,<br />

leoframes.com, aaarchitects.co.uk<br />

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


‘Eritrea is an impressive<br />

country with the friendliest<br />

of people,’ reports West Hill<br />

resident Janet Davies who<br />

recently took a holiday in the<br />

East African country. ‘Whilst<br />

we were eyeing up the camels<br />

at the market in Keren, our<br />

friend Robel took a moment to<br />

get a glimpse of <strong>Brighton</strong> life.’<br />

Meanwhile, in Berlin, our<br />

regular contributor Alexandra<br />

Loske has been dutifully<br />

spreading the word back in<br />

her home town. ‘I have been<br />

distributing <strong>Viva</strong>s to friends<br />

and family here in Berlin’ she<br />

reports. ‘I asked daughter to<br />

take this picture in front of the<br />

famous giraffe and antelope<br />

house in Berlin Zoo.’ Regular<br />

readers will know about Alexandra’s<br />

love of colour and her<br />

fascination with the moon, but<br />

she’s also got a bit of a thing<br />

about giraffes, so we weren’t at<br />

all surprised about her choice<br />

of backdrop.<br />

Keep taking us with you and<br />

keep spreading the word. Send<br />

your photos and a few words<br />

about your trip to<br />

hello@vivamagazines.com<br />


<strong>Brighton</strong> would look altogether different if it weren’t for Ken Fines. In the<br />

1970s Ken pushed for the conservation of the traditional streets of <strong>Brighton</strong><br />

and rejected plans for demolition and car-based development throughout the<br />

town. He was born in Hove in 1923, and, in 1974, became a Borough Planning<br />

Officer, rising to the position of Director of Planning for the Borough<br />

of <strong>Brighton</strong>. He had a vision for the town and opposed plans to build more<br />

high-rise flats along the seafront, instead pushing for the creation of five<br />

new conservation areas. Working with the residents and traders in the town<br />

centre, Ken recognised that sufficient features remained of the Victorian<br />

townscape to warrant conservation status for the area that he dubbed The North Laine, in recognition<br />

of the old field system of Brighthelmstone. It was designated a Conservation Area in 1976.<br />

Ken’s involvement with the community and push for public transport over the creation of a new<br />

network of roads, which would have flattened much of the area, earned him his position in the public<br />

eye as a local hero and a blue plaque (on the wall of Infinity Foods) in his memory.<br />

Fines retired and lived out the rest of his life in Hove, opposing the demolition of architectural heritage<br />

until his death in 2008 aged eighty-five. The next time you are admiring the Victorian terraces,<br />

you know who to thank for preventing their destruction. Alex Hood<br />

Illustration by Joda (@joda_art)<br />


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



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

Stables in Church Street 1826, aquatint after A. C. Pugin.<br />



My office is in the Old Court House, a sturdy<br />

Victorian building in Church Street, directly opposite<br />

the <strong>Brighton</strong> Dome and Corn Exchange.<br />

Church Street is one of the oldest streets in<br />

<strong>Brighton</strong>, leading up from the north-east corner<br />

of the Royal Pavilion Estate towards the parish<br />

church of St Nicholas of Myra. Although it is not<br />

a main thoroughfare through <strong>Brighton</strong>, it is a<br />

street teeming with urban business. I work with<br />

a constant soundtrack of singing, shouting, sirens<br />

and seagulls and general traffic noise drifting up<br />

to my desk. This is what I imagine the painter<br />

John Constable meant when he complained, in<br />

1824, that ‘the magnificence of the sea [at <strong>Brighton</strong>]<br />

is drowned in the din and tumult of stage<br />

coaches, gigs, flys, etc.’<br />

In the last few months I have been preparing a<br />

new exhibition which opens on the 2nd of <strong>April</strong><br />

at <strong>Brighton</strong> Museum. All the King’s Horses, as we<br />

cheekily decided to call it, will tell the story of<br />

George IV’s passion for horses, dating back to<br />

the 1780s, when the royal stables were located to<br />

the south of the Pavilion, to the creation of the<br />

magnificent new Royal Stables and Riding House<br />

(now The Dome and Corn Exchange), created<br />

to designs by William Porden between 1803 and<br />

1808. This is of course what I am looking at from<br />

my window.<br />



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

Stables from Church Street in early 1800s, artist unknown<br />

Stables from Church Street in early 1800s, by ????????????????????<br />

The Church Street façade of the stables has<br />

changed dramatically since first built but has<br />

retained its oriental flair. Images of how it looked<br />

in the early years of the 1800s are rare, but this<br />

delightful small watercolour (above) gives us an<br />

idea, and even shows that the finial of the dome<br />

was originally gilt. A more familiar image after<br />

Augustus Charles Pugin (left), published in 1826,<br />

shows fashionable <strong>Brighton</strong> society promenading<br />

in Church Street. In the 1820s the entire perimeter<br />

of the Royal Pavilion Estate was protected by<br />

the military, seen here on duty flanking the main<br />

entrance to the stables. In 1832 King William<br />

IV added stables for his wife Queen Adelaide to<br />

the east, as well as the new North Gate, seen in<br />

a delicate drawing by Edward Fox from 1838<br />

(right), the year Victoria was crowned queen and<br />

first visited <strong>Brighton</strong>. A stage coach pulled by<br />

four horses can be seen coming down Church<br />

Street at considerable speed.<br />

The façade underwent its most dramatic change<br />

after the Royal Pavilion Estate went into municipal<br />

ownership in 1850. Between 1867 and 1873<br />

the stables complex was converted into performance<br />

spaces, galleries, a museum and a public<br />

library. Further changes to the exterior and<br />

interior were made in 1901/2, and again in 1934,<br />

adding an Art Deco entrance to the west. There<br />

is a restlessness to my end of Church Street, but<br />

also a grandeur and confidence that I cherish.<br />

I have an office with a view of one of the most<br />

exciting 19th century buildings in the country.<br />

Alexandra Loske, Art Historian and Curator<br />

All the King’s Horses: The story of the Royal<br />

Stables and Riding House opens on 2 <strong>April</strong> and<br />

continues until 29 September <strong>2019</strong>. <strong>Brighton</strong><br />

Museum. Free with admission.<br />

Church Street in 1838, by Edward Fox<br />

All images courtesy of Royal Pavilion & <strong>Brighton</strong> Museums.<br />


may festival<br />

23-25 MAY<br />

Featuring the Goodwood Food Show


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


As ever, I spare a<br />

thought for Dirick<br />

Carver, as I walk into<br />

the Black Lion, which<br />

has good claim to be<br />

<strong>Brighton</strong>’s oldest pub,<br />

one mid-March Thursday<br />

lunchtime.<br />

It’s an AFD (alcohol-free<br />

day) so I<br />

order a Virgin Mary,<br />

and the young barman<br />

meticulously prepares<br />

it in a shaker as if it<br />

were a cocktail, while<br />

I sit and wait. I take in<br />

my surroundings in the<br />

leisurely way you do when you’re on your<br />

own, though I’ve been here many times<br />

before. The long main room has a wooden<br />

floor, chunky tables, and scruffy artwork on<br />

the walls. There’s a big choice of cocktails<br />

on offer. Indie-pop filters through the<br />

loudspeakers: Fur, Vira Talin, Dreamgirl<br />

(thanks Shazam). The specials board offers<br />

venison and tarragon pie, and I wish I<br />

hadn’t already eaten. It’s a ‘Laine’ pub, with<br />

a hipster vibe at night, but its position in<br />

the Lanes has always drawn in all sorts, and<br />

today, I figure, it’s largely day-trippers.<br />

When my drink comes, there’s a lump<br />

of celery in it that’s possibly big enough<br />

to constitute one of my five a day, and a<br />

Humphrey straw. There’s an aftertaste<br />

of horseradish. It might well be the best<br />

Virgin Mary I’ve ever tasted, which, at £4,<br />

I’m pleased to be able to report.<br />

I’ve done some<br />

research on the Lion.<br />

The building was<br />

one of the oldest in<br />

<strong>Brighton</strong>, but was<br />

knocked down and<br />

rebuilt, in facsimile,<br />

in 1974. The first<br />

edition of Pevsner’s<br />

Architectural Guide<br />

rather snootily describes<br />

its façade as a<br />

‘deceptive vernacular<br />

pastiche faced in<br />

cobbles, and with a<br />

slate-hung, tall gabled<br />

centre’. I love it:<br />

getting a seat out front on a warm evening<br />

is one of the real pleasures of <strong>Brighton</strong>.<br />

Pevsner’s doesn’t mention Carver, a Protestant<br />

Dutch immigrant who took over a<br />

brewery on this site in 1546, when Henry<br />

VIII was on the throne. Unfortunately<br />

for him, Henry’s eldest daughter ‘Bloody’<br />

Mary took over in 1553: two years later<br />

Carver, a vehement transubstantiation denier,<br />

was burnt at the stake in Lewes, stood<br />

in a beer barrel.<br />

I move to a table in the garden, overlooked<br />

by portraits of Cuban revolutionaries, and<br />

mull over blurred memories of the many<br />

nights I’ve spent here over many decades.<br />

And I raise my near-empty glass to Mr<br />

Carver, suddenly realising that on another<br />

day, I might – with inadvertent disrespect<br />

– have ordered my souped-up tomato juice<br />

with vodka in it. Alex Leith<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 />



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

“My <strong>Brighton</strong> photography centres around the documentation of the city<br />

as I see it now.” Says JJ Waller. “Rough sleeping is a huge issue today but<br />

hopefully, in the not too distant future, this picture and others I have made on<br />

the same theme will allude to a human problem long passed.”<br />


<strong>2019</strong><br />

One of the country’s finest Elizabethan Houses and award-winning gardens.<br />

Set within an ancient deer park below the South Downs.<br />

Photograph: Trevor Sims<br />

Open 21 <strong>April</strong> - 13 October <strong>2019</strong><br />



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

CHARITY BOX #36:<br />


Sharon Agnew, who runs the<br />

<strong>Brighton</strong> and Hove St John<br />

Ambulance Homeless Service,<br />

explains why there’s more to<br />

the first aid charity than many<br />

people realise…<br />

What is the St John Ambulance<br />

Homeless Service?<br />

Essentially, we provide mobile<br />

first aid and health care to<br />

people who are homeless in<br />

<strong>Brighton</strong> and Hove. We have<br />

two kitted-out former ambulances – and a<br />

new, purpose-built unit on its way – where the<br />

homeless community can access our services<br />

every week. You can find us down at the Peace<br />

Statue in Hove every Monday and Thursday,<br />

when we also run an additional clinic at the First<br />

Base Day Centre in Hove. We offer a range<br />

of services including podiatry, dental care, GP<br />

referrals, advocacy and dietary advice. But often<br />

the people we see just want to have a chat over<br />

a cup of tea.<br />

Who operates the clinics? A volunteer nurse<br />

leads the clinics and manages a team of around<br />

four or five support volunteers. A lot of our<br />

volunteers are retired people who have worked<br />

in the medical profession and some do it in<br />

addition to their current jobs. But anyone can<br />

train to be a support volunteer for us as long<br />

as they are willing to go through a DBS check.<br />

They receive training in skills such as first aid,<br />

homelessness awareness, communication skills<br />

and safeguarding, then they usually do some<br />

shadowing with more experienced team members<br />

and then they start. Volunteering for us can<br />

be a great outlet for people who<br />

have some time to spare and are<br />

looking to give something back.<br />

How long has the service<br />

been going? We’ve been operating<br />

for 20 years now. We were<br />

St John’s first homeless service.<br />

The Hastings branch launched<br />

15 years ago. But we are the<br />

only two homeless services run<br />

by St John’s nationally and even<br />

20 years on, many people aren’t<br />

aware of us. They think of St John’s as a first<br />

aid charity but they don’t realise we run units<br />

especially for the homeless community. That<br />

can make it harder to raise funds. Because St<br />

John’s is a big charity, people often assume we<br />

have enough money coming in but the homeless<br />

service is a separate strand and we’re very much<br />

in need of donations to keep running.<br />

What’s coming up next for you? We’re very<br />

excited to get our new, purpose-built unit on the<br />

road in a couple of months’ time. At the moment,<br />

we have been working out of two converted<br />

ambulances, which work well but aren’t ideal.<br />

It’s thanks to a recent fundraising campaign that<br />

we’ve been able to commission a purpose-built<br />

unit that is being made to our exact specifications.<br />

It’s due to be with us at the beginning of<br />

May and we’re hoping to do some road show<br />

events to show it off because we want people to<br />

see what their donations have bought. It’s going<br />

to be great having a third vehicle to work from<br />

and it will mean we can help even more people<br />

in <strong>Brighton</strong> and Hove. Nione Meakin<br />

sja.org.uk<br />


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Join today and start<br />

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




Chunky Cuddle Monster Wants to Love You<br />

Name: Boris (no relation to THAT Boris)<br />

Age: 6<br />

Occupation: Lap warmer<br />

Me: I’m an enthusiastic cuddler with advanced<br />

kneading skills and an abundance of empathy,<br />

ready to soothe you with my strong purr and<br />

loving head butts. You will enjoy squishing my<br />

impressively large, soft belly and no doubt you<br />

will cherish the surprise of my cold wet nose<br />

pressed against your cheek as you sleep in the<br />

night.<br />

Seeking: Calm, catnip-friendly household with<br />

space to roam and multiple humans to sit on.<br />

Must be generous with affection and offer the<br />

occasional lick of a buttery knife.<br />

Interests: Dachshunds, gardening, shoulder-rides,<br />

anything salmon-flavoured, anything<br />

mouse-shaped (especially if it’s stuffed with cat<br />

drugs), singing in the wee small hours.<br />

Dislikes: Recurring bouts of cystitis, being<br />

called too kneady, the drive to the vet, the other<br />

Boris.<br />

Words and picture by Cammie Toloui<br />

cammietoloui.com / Insta: @cammie669<br />

Find Boris and his friends at Raystede Centre for<br />

Animal Welfare. raystede.org<br />

Paracosm. The word means<br />

an imaginary world, the kind<br />

beloved of children working<br />

alone or in cahoots with<br />

siblings and/or friends. You<br />

know the place – Middle<br />

Earth, Narnia, the Brontes’<br />

Gondal. The concept plays<br />

a crucial role in Jeff Noon’s<br />

new novel, his first straight policier. But of course<br />

nothing in Noon’s work is straight and Slow Motion<br />

Ghosts is crime fiction with some Alice in Wonderland<br />

weirdness thrown in.<br />

DI Hobbes is ostracised by colleagues after his<br />

cop mate hangs himself following the Brixton riot<br />

in 1981. Posted to Richmond, he investigates the<br />

murder of Brendan Clarke, superfan of Lucas Bell,<br />

glam rock god from the early 70s. Bell’s stage persona,<br />

King Lost, complete with Aladdin Sane-type<br />

mask, leads Hobbes down some mean streets to<br />

Edenville, an invented village that is both shared<br />

refuge for a bunch of outsider kids from Hastings,<br />

and the source of King Lost.<br />

It’s also where Hobbes finds his suspects. If detective<br />

stories are all about uncovering what’s hidden<br />

– awkward truths, motives, whodunnit – then<br />

where better to locate them than in a paracosm?<br />

This is where Noon both compels and enchants.<br />

For Slow Motion Ghosts has the propulsive power<br />

of a great detective novel, as well as the unique<br />

imaginative quality that’s characterised Noon’s<br />

work ever since his debut, Vurt, won the Arthur C.<br />

Clarke Award in 1994. Will Slow Motion Ghosts win<br />

an award? It would be a crime if it didn’t.<br />

John O’Donoghue<br />

Slow Motion Ghosts, Doubleday, £16.99 hb<br />


Thinkers<br />

Challengers<br />

Innovators<br />

Leaders<br />





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



Damian Barr is a busy man.<br />

When he’s not writing columns<br />

for The Sunday Times and<br />

The Big <strong>Issue</strong>, he’s host at his<br />

Literary Salon, at the Savoy<br />

Hotel in London. With Martini<br />

dry wit he’s talked books to<br />

Armistead Maupin, Bret Easton<br />

Ellis, JoJo Moyes, Patrick Gale<br />

– the list grows longer and<br />

more glamorous by the month.<br />

Below all this swanning about,<br />

though, is a very powerful<br />

drive, stemming I think from<br />

his upbringing in Motherwell.<br />

He chronicled this tough background in Maggie<br />

and Me, his memoir of growing up gay and<br />

bookloving in the 1980s, and now comes his<br />

first novel, You Will Be Safe Here.<br />

On a sunny Spring afternoon I speak to him<br />

down the phone from <strong>Viva</strong> HQ. I ask him why<br />

he’s set the novel largely in Johannesburg. “I was<br />

reading an article about the murder of a boy in<br />

South Africa,” he tells me in his warm, Caledonian<br />

tones. “He looked just like a boy that I’d gone<br />

to school with. The story of what happened to<br />

that boy is part of the inspiration for one of the<br />

contemporary characters in the book.”<br />

This led me to ask about the dual timelines in<br />

the novel. After a short prologue, the book opens<br />

with the diary of Sarah van der Watt, taken from<br />

her farm by the British in 1901, and brought<br />

with her six-year-old son to Bloemfontein<br />

Concentration Camp. The diary is addressed to<br />

Sarah’s husband, who is fighting against her captors.<br />

“Time is the novelist’s tool,” he says, reflecting<br />

on Britain’s relationship with<br />

her former colony. “That history is<br />

being repeated and also ignored is<br />

a strange irony.” He warms to his<br />

theme. “I found it most revealing<br />

to go to the Anglo-Boer War<br />

Museum in Bloemfontein, and to<br />

meet the murdered boy’s mother.”<br />

The depth and commitment of his<br />

research – five years in total – is<br />

evident throughout the novel,<br />

whether in the details of Sarah’s<br />

experiences as a prisoner, or in the<br />

use of slang and Afrikaans that runs<br />

like barbed wire through its pages.<br />

The harshness of colonial history culminates<br />

in an account of a second camp, where young,<br />

awkward Willem is sent at the urging of his stepfather,<br />

who wants Will’s awkwardness drilled out<br />

of him. This awkwardness is the awkwardness<br />

most teenagers go through, which Barr expertly<br />

evokes, as well as creating female characters –<br />

Willem’s mother and grandmother, a black judge<br />

– who counterbalance Sarah’s Boer voice.<br />

We get off the phone and I wonder where<br />

Damian Barr will go next. For there is no doubt<br />

that he has written a moving and brilliantly<br />

written novel, shot through with poetic touches<br />

and characters you won’t easily forget. I have a<br />

feeling we’ll be seeing him on a fair few podiums<br />

in <strong>2019</strong>. You Will Be Safe Here is terrific.<br />

John O’Donoghue<br />

You Will Be Safe Here, Bloomsbury, £16.99.<br />

Damian will be interviewed by Natalie Haynes<br />

at 7pm, Thursday 4th, St. Michael & All Angels<br />

Church, Victoria Road, £10. City Books/Eventbrite<br />


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It takes less than 60 seconds to sign up.<br />

Your help will make a difference. Join us.<br />



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


I’ve been coming to or living<br />

in <strong>Brighton</strong> for almost all of<br />

my life. I carry with me the<br />

big memory of the sea and the<br />

Downs but <strong>Brighton</strong> means<br />

streets to me. It’s in the streets<br />

that the abstract becomes real.<br />

The streets are where you see<br />

kindness and intolerance, variety<br />

and sameness. The streets<br />

are where the life is; the streets<br />

are where towns and cities<br />

come alive or, sometimes, die.<br />

All of which is why, when we<br />

thought of opening Magazine<br />

<strong>Brighton</strong>, we thought first of Trafalgar Street. It<br />

has always been our first port of call, our entry<br />

to the North Laine and our first breath of the<br />

<strong>Brighton</strong> we love. It’s also why we are so pleased<br />

to be here. Our street is one of the truly independent<br />

streets of <strong>Brighton</strong>. Without a chain<br />

store in sight, the mix is just brilliant and the<br />

people are the same.<br />

Do you want an independent magazine, a choice<br />

of great coffee shops, a radiator store, a specialist<br />

hat shop, a craft beer outlet,<br />

three or four great pubs,<br />

Vietnamese, Lebanese, Japanese,<br />

Korean or French food,<br />

something vegan, the best Saturday<br />

burger, your computer<br />

repairing, to buy a rug, or the<br />

best chillies and much more?<br />

Just come to Trafalgar Street.<br />

It’s all here, just seconds from<br />

the station.<br />

In honour of streets, this<br />

month we are highlighting<br />

a series of city guides called<br />

CITIX60. Pocket-sized, we<br />

like them because they contain 60 recommendations<br />

from 60 local creatives who live on and<br />

use the streets of their own town. Each guide<br />

focuses on museums, architecture, outdoor<br />

sculpture, food and drink, fashion, music,<br />

leisure and more. Visit any one of their recommendations<br />

and you’ll be enjoying street life<br />

from the moment you arrive in town. It’s the<br />

best place to be.<br />

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


As we go to press, we’ve no real idea if we’ll still be in<br />

the EU or not by the time this issue hits the streets.<br />

The Brexit negotiations continue to hold all the<br />

promise of a blind alley, so our advice is to seek out this<br />

cubicle, for here sat an eternal optimist. ‘Everything<br />

works out in the end. If it hasn’t worked out, it isn’t<br />

the end yet.’ Tell that to Theresa May and Jean Claude<br />

Junker. But where is it?<br />

Last month’s answer: Presuming Ed<br />



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

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



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

MYbrighton: Joe Henderson<br />

Street Cleaner<br />

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

as I was born in Eastbourne but now live in<br />

Seven Dials, just round the corner from where<br />

my nan had a flat in the 80s. I’ve also lived in<br />

Seaford and Oslo.<br />

What do you do? My ID badge says I’m a<br />

Street Cleaner but sometimes I use the older<br />

term ‘Road Sweeper’. Basically, I keep the public<br />

footpaths tidy and litter-free whilst making<br />

friends with the local cats. The seasons dictate<br />

my workload, whether it’s natural detritus from<br />

the trees, animal waste, dust or bits of flotsam<br />

that wash up from general human activity. I’ve<br />

been studying philosophy at the Free University<br />

<strong>Brighton</strong> (who are based at City Clean depot)<br />

for the last few years so I spend these days<br />

meditating on Phenomenology. It can be a<br />

punishing job but there is a Zen-like quality to<br />

repetitive actions like sweeping.<br />

How does being a Road Sweeper affect how<br />

you perceive <strong>Brighton</strong>? I notice little things<br />

like the humming paving slabs outside the<br />

electricity plant on Spring Gardens, seagulls<br />

doing a rain-dance in the park (they sometimes<br />

do yoga too) or the strange drone emanating<br />

from the Clock Tower intersection. For a long<br />

time I’ve had a curiosity about street furniture<br />

– street lamps, abandoned phone boxes, esoteric<br />

road signs and markings – the ‘equipment’ of<br />

urban places. During major road works I’m<br />

reminded of what’s underground, hidden, but<br />

essential. The job I do is not for everyone, but<br />

there is a sense of camaraderie, diligence and a<br />

necessary love of the outdoors within the crew<br />

that is priceless.<br />

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

of anonymity can be refreshing. I like being a<br />

little fish in a big pond. It’s still a small world,<br />

and you can’t get completely lost (although<br />

many do, there’s a lot of runaways in this town)<br />

but it has a transient nature which is what makes<br />

all the community projects and compassion in<br />

the city so important and special. We are in a<br />

UNESCO Biosphere region which recognises<br />

the unique geography of marine, urban and<br />

Downland. The texture of the climate and the<br />

soundscape of seagulls is a constant reminder<br />

of its coastal nature, which is comforting if you<br />

have grown up near the sea and find yourself in a<br />

new city like I did when I first moved here.<br />

Whilst central <strong>Brighton</strong> can get hectic you can<br />

always get on a bus and escape (the National<br />

Trust have actually funded the number 77 bus<br />

to Devils Dyke for this reason). There are also<br />

parallels with San Francisco, even more so with<br />

the tech work going on at Sussex Uni. In the<br />

future <strong>Brighton</strong> may become ‘Little Silicon<br />

Valley’, and where the Victorian pleasure town<br />

clashes with AI and VR is anyone’s guess. I’m<br />

keeping an open mind.<br />

What don’t you like about <strong>Brighton</strong>? The<br />

cost of living is astronomical. And ‘No pets<br />

allowed’.<br />

When did you last swim in the sea? A few<br />

years ago in Seaford. It’s usually deserted on the<br />

beach, even in summer. Last year I discovered<br />

The Pells outdoor pool in Lewes. It’s the oldest<br />

in the UK. <strong>Brighton</strong> buses are linked up to both<br />

these towns.<br />

Interview by Joe Fuller<br />




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

Tim Jentsch<br />

Street art hunter<br />

<strong>Brighton</strong>-based flight<br />

attendant Tim Jentsch uses his<br />

layover days to photograph<br />

street art around the world.<br />

With 10+ years of experience<br />

in photographing street art,<br />

Tim has built up an impressive<br />

network of contacts, which<br />

helps him find a startling<br />

variety of works to share<br />

with his 23k+ followers on<br />

Instagram.<br />

I document street art<br />

because I think it’s a very<br />

interesting art movement.<br />

Nothing is permanent. Sometimes pieces don’t<br />

last very long, so I catalogue everything in<br />

various cities around the world. I’m involved<br />

with isupportstreetart.com, a not-for profit<br />

street art platform with 100k subscribers.<br />

I’ve been using a drone to photograph my<br />

finds for about a year. It’s absolutely amazing.<br />

Sometimes walls are really high up, and if you<br />

want the perfect picture you need to be in front<br />

of that wall. If you take it from an angle, it’s not<br />

going to reflect the full scale.<br />

With its roots in graffiti, there are now a lot<br />

of elements that we include under the term<br />

street art. From quick throw-ups to stencils.<br />

A throw-up is a T and a J, in bubble letters<br />

for example. Stencils are best known through<br />

Banksy. Huge abstract or photorealistic murals<br />

are the tip of the iceberg. Paste-ups are very<br />

popular too, which involve paper designs stuck<br />

up to walls with wheat paste.<br />

Street art is for everyone, rich or poor,<br />

young or old. Whether you want to look at<br />

it at night or in the day, it’s there for everyone<br />

to enjoy. I love that the wall<br />

or surface that a piece is on<br />

becomes its unique canvas.<br />

This adds character. It’s a oneoff<br />

thing.<br />

A lot of cities support the<br />

street art scene and are now<br />

putting mural trails or street<br />

art maps together to encourage<br />

urban exploring. Unfortunately,<br />

<strong>Brighton</strong> is far behind<br />

compared to other cities.<br />

I feel that <strong>Brighton</strong><br />

hasn’t quite understood<br />

the difference between<br />

vandalism and street art yet. A guy who<br />

tags listed buildings and people’s property is<br />

a vandal, not a street artist. I don’t agree with<br />

that. My vision is that, if the local council<br />

supported this art form more, people would<br />

need to up their game a little bit. It would be<br />

great if we could have a street art festival in<br />

<strong>Brighton</strong>. The city needs a few big walls. At the<br />

same time we could have a few allocated areas<br />

where everyone can get involved. Like Bristol’s<br />

Upfest for example. They put up boards in pub<br />

beer gardens and let everyone be part of it.<br />

The city seems to focus on stopping<br />

vandalism and taggers while neglecting<br />

local talent. It’s important to recognise that a<br />

massive mural by a top international artist is<br />

something completely different from someone<br />

writing ‘I Was Here’ on a wall. That’s neither<br />

street art nor graffiti, it’s closer to people<br />

smashing windows, than people making art.<br />

As told to Joe Fuller<br />

Instagram @timjentsch,<br />

Facebook @TimJentschStreetart<br />



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

Photos by Tim Jentsch. <strong>Brighton</strong> works by: Bordalo II (top), Minty (bottom) & Mr Cenz (right).<br />



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



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

Photos by Tim Jentsch. <strong>Brighton</strong> works by clockwise from top left: Cosmo Sarson, Aroe, Trusty Scribe & Req. Mantra (right, Luxembourg).<br />



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




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

Photos by Tim Jentsch. Artists clockwise from top left: JR (New York), Smugone (Antwerp), Lonac (West Palm Beach, Florida) & Tymon de Laat (Rotterdam).<br />


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COLUMN<br />

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

John Helmer<br />

Street<br />

A flattened clod of earth punctured by the<br />

imprint of studs from a child’s football boot. A<br />

window cleaner going house to house collecting<br />

fees. Two for-sale signs.<br />

A robin. A cat snarling at a dog. A dog barking at<br />

a fox. A fox in the night slinking up an alley then<br />

turning to stare back at us, its eyes two shining<br />

silver discs.<br />

At 7:45 am, a builder parked with the engine<br />

running, shouting into his mobile phone over<br />

the sound of a car radio. Boys in blazers blocking<br />

the morning pavement to pick up a friend –<br />

while the friend’s mother watches nervously<br />

from an upstairs window.<br />

The columnist, running for the bus stop at the<br />

end of the road.<br />

Scaffolding on house-fronts to roof level. A skip.<br />

A spattered cement mixer in the road and planks<br />

placed over the steps up to a front door.<br />

A silver-haired woman and her giggling<br />

granddaughter taking a puppy for its first<br />

walk. Charity bags full of clothes left out for<br />

collection.<br />

The tail end of a queue for hot cross buns from<br />

the baker’s shop round the corner on Good<br />

Friday morning.<br />

Wheelie bins at mad angles, some on their backs,<br />

after a storm. Rust-coloured slugs sprawled<br />

across a garden path following rain. The sound<br />

of scrapers on frosted car windscreens.<br />

Six magpies in the street’s only tree. A tax rebate<br />

on the doormat.<br />

Dawn, fog, rain, sun, twilight, dusk, night.<br />

A dog-walker watching his cockapoo distractedly<br />

as it squats in front of the columnist’s house.<br />

Later, the columnist walking out of his front<br />

door, stepping in the dog poo and swearing.<br />

A bike shed, blown over a wall by high winds,<br />

blocking the path to a neighbour’s front door. A<br />

further bike shed, home-built out of pallet wood.<br />

Dogs barking at postmen.<br />

A skateboarder misjudging the camber of the<br />

road and falling off.<br />

A suited man standing in the porch of his house<br />

with mobile phone held high to hail his Uber.<br />

Children in demonic costumes going from<br />

house to house, begging for sweets.<br />

A flute being practised.<br />

Members of a book group arriving at the door,<br />

clutching Prosecco.<br />

Ocado vans ventilating on a Friday evening.<br />

An English teacher in a kilt, playing bagpipes on<br />

the steps of his house at New Year, while friends<br />

and neighbours cavort in the road.<br />

The erratic chime of glass bottles being<br />

placed in a recycling bin by a hungover<br />

householder as the recycling van<br />

approaches remorselessly<br />

from two doors down.<br />

An unexpected<br />

spring day in<br />

winter; the<br />

warmth<br />

of dusty<br />

sunlight<br />

belied by an<br />

underlying<br />

air-chill.<br />

A child crying<br />

in the night.<br />

An unnoticed<br />

earthquake.<br />

Illustration by Chris Riddell<br />


COLUMN<br />

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

Lizzie Enfield<br />

Notes from North Village<br />

Illustration by Joda (@joda_art)<br />

There’s a new street at the end of our street.<br />

They have a habit of appearing, almost as if<br />

by magic, in places where previously there was<br />

just a bit of space on the map.<br />

Not long after moving into our current home,<br />

a new street was created where previously<br />

there had been garages and a large skulk of<br />

foxes. (I had to look up the collective noun<br />

for foxes and, given the amount of skulking<br />

around they do here, found it particularly apt.)<br />

I thought the street namers might have given<br />

a nod to the foxes’ former home when they<br />

came up with a name for the street. There<br />

are plenty of precedents for this elsewhere:<br />

Lamb’s Conduit Street in London, for<br />

example, which is now all artisan dining and<br />

select clothes shops, was once the way along<br />

which sheep were driven through the city.<br />

And in Norwich, where my daughter is now<br />

at university, there is a Rampant Horse Street<br />

where the mind begins to boggle imagining<br />

what must have gone on there…<br />

So I thought that the new street would be<br />

named something like Fox Skulk Street or<br />

Cunning Vixen Close but instead the namers<br />

just added ‘Close’ to the name of the street it<br />

turned off.<br />

So far, so unimaginative. I was hoping for<br />

better with the new new street, which has just<br />

materialised beside the railway line.<br />

Murderous Crow Street perhaps or, better<br />

still, name it after a notable local resident,<br />

like on the buses – one of my closest friends<br />

was surprised and delighted to see her father<br />

heading towards her along St. James Street<br />

several months after his death. He’d been<br />

immortalised on the front of the bus, which<br />

gave her family much pleasure.<br />

This particular part of town is full of writers<br />

and, where Hove has a Poet’s Corner, here we<br />

could start a Writers’ Enclave. Grant Street<br />

perhaps after my illustrious neighbour Colin?<br />

Or Chris Riddell Close? I wouldn’t presume<br />

after an Enfield Street although there is<br />

one in Birmingham and I do have a whole<br />

London borough to my name.<br />

So I was eagerly looking forward to the<br />

naming of the new street and a little<br />

disappointed that, again, it’s taken the name<br />

of the neighbouring street and simply turned<br />

itself into a mews.<br />

A lost opportunity and also, it turns out, a<br />

generator of lost people.<br />

This new street is not on the map. Phones<br />

and Satnavs are about as useful as the very<br />

first Satnav I owned. It took so long to load<br />

all the maps, back in the dark ages, that I<br />

gave up after a while and, whenever we went<br />

beyond the loaded map area, the Satnav would<br />

behave as if we had entered a vortex and start<br />

shouting at us to go back to the road.<br />

I’ve a mind to position myself near the<br />

entrance to the new street and shout<br />

directions to some of the people spotted<br />

staring at their phones and vainly trying to<br />

find it.<br />



I’M A PHOENIX,<br />

BITCH<br />

“ Unmissable”<br />

Lyn Gardner<br />

3, 4 & 7 MAY 8PM<br />

5 & 6 MAY 4PM<br />

PREMIUM £18/£14<br />

STANDARD £16/£12<br />

01273 678 822<br />

attenboroughcentre.com<br />

University of Sussex, Gardner Centre Road, <strong>Brighton</strong> BN1 9RA<br />

HHHHH The Guardian<br />

HHHH The Stage<br />

HHHH Time Out<br />

HHHHH What’s On Stage<br />

Gareth<br />

Treason<br />

Southgate<br />

Productions<br />

Ate My Credit Card<br />

A new comedy by Paul Hodson (<strong>Brighton</strong> ’Til I Die & Fever Pitch) &<br />

Mark Brailsford (The Treason Show & Southern Fail the Musical)<br />



“Savagely funny - fantastically silly” The Guardian<br />

The Latest<br />

chortle.com<br />

The Argus<br />

Broadway Baby<br />

Northern Echo<br />

Fringe Guru<br />


How love and football can ruin your life: a comedy<br />

Thur 9th - Sat 11th May<br />

7.30pm<br />

Tickets £11.50 & £13.50<br />

Box office www.brightonfringe.co.uk<br />

or call 01273 917272<br />

Thurs 23 - Fri 24 May @ 8.30<br />

Sat 25 & Sun 26 May @ 9.30<br />

Tickets £10 -£15<br />

Meal deals & Cocktails!<br />

Tickets www.treasonshow.co.uk<br />

or via fringe box office 01273 917272

COLUMN<br />

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

Amy Holtz<br />

The truth is, I’m a Minnesotan<br />

“You know where we can get a<br />

taxi?”<br />

It’s Saturday night and the outof-towners<br />

are still relatively well<br />

behaved. They’ll be disappointed<br />

in a moment though, that they’ve<br />

asked me.<br />

“Yeaaaaahhhh,” I exhale and start<br />

to open all the little drawers in<br />

my mind where street names<br />

go. As always happens, only bats<br />

fly out. “Er, just go down there<br />

a ways, past the buses, and it’ll be just there…”<br />

I check my hands for the tell-tale L, “on your<br />

right.”<br />

It’s not a diagnosable problem, I’m sure, but it<br />

probably shouldn’t take a person 14 years to<br />

learn the street names in <strong>Brighton</strong>. I mean, I<br />

know what the names of streets are, just not, you<br />

know, where they are. This, and I’m not 100%<br />

sure of the difference between Hangleton and<br />

Hanover, except there are hills involved. And<br />

one of them is actually called Muesli Mountain.<br />

Either way, I find it hard to visit neighbourhoods<br />

that exist at the top of an incline, with their<br />

own microclimates. (Little known fact –<br />

Woodingdean is actually Brigadoon.)<br />

Last week, on the way to a work meeting on<br />

Middle Street, I led everyone down the wrong<br />

lane. I was feeling confident because there was<br />

that church with all the art, and those shoe stores<br />

and then that store that sells bins and toilet<br />

brushes AND greeting cards and then that’s<br />

where things got a little muddled.<br />

“Um. Well. It should be here.” The trouble<br />

was, I didn’t know which direction – now that it<br />

clearly wasn’t here – Middle Street was in. “Let’s<br />

go down this alley –” I said, confidently, “I’m<br />

sure it’s just down this way.”<br />

It only took an hour for<br />

other people to exit the<br />

Bungarooshed path, and then<br />

we took our turn to tramp<br />

through, westward. It spat<br />

us out somewhere between<br />

Kemp Town and Portslade,<br />

which seemed promising.<br />

We appeared to be at the<br />

hellmouth of one of the less<br />

picturesque bottom lanes (a<br />

term not widely used, but accurate), where the<br />

buildings all match; grimy doors and windows<br />

sitting flush with their dull façades. Is this<br />

actually a bottom lane? Or bottom laine? Or is<br />

it actually spelled ‘lahaigne’? Does anyone know?<br />

Then it started to rain. I hand-checked left... and<br />

then right. A loud sigh (not uncommonly heard<br />

when I’m in charge of geographical pursuits)<br />

sounded behind me.<br />

“It’s this way,” someone says, taking the lead and<br />

my elbow and guiding me, not unlike their nan,<br />

down the road.<br />

The biggest issue, for me, is that nothing makes<br />

sense here. Sure, there’s no poetry whatsoever in<br />

our stateside street nomenclature, but at least – if<br />

you can count – you can find 7th from 8th Street<br />

(with the exception of 7½th Street, but we won’t<br />

get into that).<br />

But whoever cast ill-devised names willy-nilly<br />

through old <strong>Brighton</strong> was quite the jokester, like<br />

the one they called North Street, which changes<br />

its mind just around the time it actually starts<br />

going north and turns into something different.<br />

But hey, why be ‘lane’ when you could be<br />

‘lahaigne’? How charming to be both… despite<br />

my perpetual bewilderment.<br />



Sun 7 Apr<br />

UB40 FT ALI & ASTRO<br />

Mon 8 Apr<br />



Sun 5 May<br />


Wed 8 May<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 />

1.4 | The Greys Pub<br />

Melting Vinyl & terrace cred present<br />

Rose Cousins<br />

9.4 | The Rose Hill<br />

Alex Rex<br />

12.4 | St George’s Church<br />

So Recordings presents<br />

Band of Skulls<br />

27.4 | St George’s Church<br />

The Unthanks:<br />

Unaccompanied, As We Are<br />

30.4 | Komedia<br />

C Duncan<br />

30.5 | Westgate Chapel, Lewes<br />

Melting Vinyl & Lewes Psychedelic<br />

Festival present<br />

Death and<br />

Vanilla<br />

3.6 | The Old Market<br />

Julia Holter<br />

10.6 | The Prince Albert<br />

Vanishing Twin<br />

21.6 | St George’s Church<br />

Joan as<br />

Police Woman<br />


24.10 | The Hope & Ruin<br />

Melting Vinyl and Love Thy<br />

Neighbour present<br />

Pom Poko<br />

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

seetickets.com or the venue where possible.<br />


MUSIC<br />

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

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

CURRLS<br />

Tue 9th, Hope & Ruin, 7.30pm, £7/6<br />

<strong>Brighton</strong> trio<br />

Currls have only<br />

released one song<br />

so far, yet they’ve<br />

spent the last year<br />

playing ever-bigger<br />

support slots and local festivals, including<br />

<strong>Brighton</strong> Pride and The Great Escape. All this<br />

based on the strength of last year’s single <strong>April</strong> Fool<br />

(and yeah, it’s that good). Currls’ sound is a mix<br />

of post punk and power pop – channelling The<br />

Strokes, Gossip and Blondie – with strident vocals<br />

that somehow signal both nonchalant cool and<br />

pure exuberance. This gig, which also includes a<br />

support set from Djuno, is the launch party for<br />

Currls’ second single Let Down. With expectations<br />

set so high, let’s hope the title is ironic.<br />


Fri 12th & Sat 13th, various venues, £22<br />

Festival season<br />

starts earlier every<br />

year in <strong>Brighton</strong> as<br />

new events arrive<br />

and settle for an<br />

unclaimed weekend<br />

either side of the summer. The first Washed Out<br />

took place a couple of years ago and has since<br />

expanded across eight central <strong>Brighton</strong> venues.<br />

The founder of the festival risked his student loan<br />

on the original line-up; luckily it paid off. Though<br />

the acts are from all over, the event is rooted in<br />

the city’s DIY scene and covers every sub-genre<br />

on the spectrum between indie and punk.<br />

<strong>Brighton</strong> bands dominate the bill, such as Arxx,<br />

Big Slammu, Beach Riot, Ditz, Egyptian Blue,<br />

Squig and Gender Roles (pictured).<br />


Sat 20th & Sun 21st, Concorde 2, 2pm, £35/22<br />

Jamie Lenman and<br />

Three Trapped Tigers<br />

headline this year’s Bad<br />

Pond Festival, alongside<br />

a strong line-up of over 20 bands. What began<br />

as an all-dayer at the Green Door Store in 2015<br />

has grown into a proper weekender down at the<br />

Concorde. The music is leftfield and experimental,<br />

with an emphasis on the rockier side of what<br />

that might mean. There’s electro-punk from<br />

CLT DRP, folky alt-rock from Wild Cat Strike,<br />

classic instrumental prog courtesy of Poly-Math<br />

and some upfront fuzz pop from rising grunge<br />

rockers Beach Riot. Harder tastes are catered for<br />

by Broker’s post-hardcore barrage and The Guts<br />

(pictured) who describe themselves as a “mathcore<br />

jump scare scream team”.<br />



Fri 26th, Unitarian Church, 7pm, £16<br />

Naomi Bedford was singing<br />

at a party in <strong>Brighton</strong><br />

when she was overheard<br />

by the guys from Orbital<br />

who ended up getting her<br />

to do the vocals on their 2001 hit Funny Break.<br />

These days she’s found playing Appalachian<br />

ballads with her partner Paul Simmonds from<br />

folk punk stalwarts The Men They Couldn’t<br />

Hang. This gig is a benefit for the Peter Tatchell<br />

Foundation, a human rights charity set up by the<br />

LGBT campaigner (Tatchell himself is appearing<br />

as a guest speaker). The event is billed as ‘A Night<br />

of 21st Century Folk Music’ and also features<br />

Robb Johnson, Bird in the Belly, Lisa Knapp and<br />

Sarah Clarke Kent & Sue Tyhurst.<br />


Hugh Bonneville<br />

Liz White<br />


By William Nicholson<br />

Hugh Bonneville plays writer C.S. Lewis in this multi award-winning play<br />

about his life-changing relationship with Joy Gresham, played by Liz White.<br />


£<br />

10<br />

26 <strong>April</strong> – 25 May<br />

cft.org.uk<br />


BOOKS<br />

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

Let Me Be Like Water<br />

The <strong>2019</strong> book for City Reads<br />

What does it take for a novel<br />

to win over the panel of City<br />

Reads, arguably <strong>Brighton</strong> and<br />

Hove’s biggest book club?<br />

The answer is: quite a lot.<br />

“It has to have really meaty<br />

themes but it’s also got to be<br />

easy to read,” explains City<br />

Reads’ artistic director Sarah<br />

Hutchings. “It doesn’t have to<br />

be set in <strong>Brighton</strong> but, if it’s<br />

a good read and it’s set here,<br />

that would probably give it<br />

the edge on another title. And<br />

since it’s going to be read by<br />

thousands of people, it’s got to<br />

be a book that will get everyone talking.”<br />

Fortunately, the panel were “pretty much<br />

unanimous” when it came to this year’s<br />

choice – SK Perry’s Let Me Be Like Water.<br />

Hutchings had previously had her eye on Perry<br />

as a promising young poet; in 2013 she was<br />

longlisted for London’s Young Poet Laureate<br />

and was later a resident artist at Camden’s<br />

Roundhouse. “So when I heard she had just<br />

published her first novel and it was set in<br />

<strong>Brighton</strong> I got quite excited.”<br />

The novel tells the story of twenty-something<br />

Holly who impulsively moves to <strong>Brighton</strong><br />

from London as she grieves the death of her<br />

boyfriend. Lost and alone, it is only when she<br />

meets retired gay magician Frank that the<br />

tide begins to turn. As she is introduced to his<br />

eclectic group of friends, all with their own<br />

stories to tell, she starts to heal. “You can tell<br />

she’s a poet,” remarks Hutchings. “There’s a<br />

sparseness and lyricism to the language she<br />

uses and it’s incredibly moving. Parts of it<br />

made me cry. But then there’s<br />

also humour, there’s punch;<br />

you really feel for the central<br />

character.”<br />

The novel is not a “pedestrian<br />

read”, says Hutchings, but<br />

she is confident the thousands<br />

who take part in City Reads<br />

every year will embrace it. In<br />

its 14-year history City Reads<br />

has highlighted titles ranging<br />

from Matt Haig’s tonguein-cheek<br />

sci-fi The Humans<br />

to Ali Smith’s challenging,<br />

post-modern novel Hotel World;<br />

Bethan Roberts’ <strong>Brighton</strong>-set<br />

love story My Policeman to Rose Tremain’s<br />

groundbreaking Sacred Country – and not<br />

forgetting the year they outraged fans by<br />

choosing Ian Fleming’s From Russia With<br />

Love. “A lot of our hardcore fans were appalled<br />

and didn’t like it at all,” says Hutchings. “But<br />

generally, the lovely thing about our readers<br />

is that they’re pretty up for anything. People<br />

who love reading tend to like recommendations<br />

from other people who love reading.”<br />

Nione Meakin<br />

A range of events will support the city-wide<br />

reading group, including a book swap at Jubilee<br />

Library from 5pm on World Book Night (<strong>April</strong><br />

23), when book-lovers are encouraged to bring<br />

a beloved title to swap; a live interview with<br />

SK Perry by fellow poet Bridget Minamore<br />

at <strong>Brighton</strong> Festival on May 12 and Amongst<br />

Friends, a special literary salon on May 2 where<br />

four writers are invited to read from books that<br />

explore friendship – one of the themes of Let Me<br />

Be Like Water. collectedworks.co.uk<br />


4 – 26 May<br />

Young<br />

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

Festival<br />




26th - 28th <strong>April</strong> <strong>2019</strong><br />

From infants to Instagrammers,<br />

<strong>Brighton</strong> Festival is packed with<br />

opportunities for younger people<br />

to get involved - find out more at<br />

brightonfestival.org<br />

Illustration ©<br />

Simon Prades<br />



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

Rotterdam<br />

A trans story on stage<br />

When director Donnacadh O’Briain first<br />

came across Jon Brittain’s Rotterdam in a pile<br />

of scripts still to be read at new writing hub<br />

Theatre 503, he knew he had found something<br />

special. The story is, at heart, a simple one:<br />

Alice is finally about to come out to her<br />

parents when her long-term girlfriend Fiona<br />

announces that she is transgender and wants<br />

to transition to live as Adrian. What follows is<br />

a wry and bittersweet exploration of identity,<br />

sexuality and love. “It just kept making me<br />

cry,” says O’Briain. “Even when I read it out<br />

loud with other people I would keep having<br />

these moments when I had to stop and pretend<br />

I was about to cough or something. I was very<br />

affected by it. I found myself really fascinated<br />

by these people and the difficulty of their<br />

situation.”<br />

Brittain, who also wrote cult hit show Margaret<br />

Thatcher Queen of Soho and the Fringe First<br />

Award-winning A Super Happy Story (About<br />

Feeling Super Sad) was inspired to write<br />

Rotterdam after a friend transitioned from<br />

female to male when they were both in their<br />

20s. The same friend later acted as a script<br />

consultant on the production, along with<br />

input from many other people from the trans<br />

community. “The storyline is a very central<br />

theme in the lives of trans people – it’s a<br />

difficult situation for a lot of couples. But there<br />

are elements of universality too because it’s<br />

a story about what happens to a couple when<br />

something major enters their relationship; it<br />

could be a child or an affair. It’s essentially<br />

about whether a couple can survive something<br />

really difficult.”<br />

Rotterdam premiered at Theatre 503 in 2015<br />

and transferred to New York and then the<br />

West End before winning an Olivier award<br />

in 2017. Does O’Briain feel it was the right<br />

play at the right time? “To me it seemed like<br />

a real story about real people but one that<br />

wasn’t being presented. When you see that,<br />

it’s always a play for now because it must mean<br />

a story is being sidelined or censored in some<br />

way. But it became apparent as we approached<br />

the production that there was a shift in the<br />

movement towards recognition of trans people<br />

and in the level of understanding about what it<br />

means to be trans. I felt we were in a position<br />

to not just be seen as a fringe event but as part<br />

of a much bigger conversation.”<br />

It is now touring the UK, including a stint<br />

at <strong>Brighton</strong>’s Theatre Royal. Touring is<br />

important, says O’Briain: “Because these are<br />

characters in a situation that is not one people<br />

understand as everyday. We’ve seen such<br />

positive things happening when people have<br />

watched it in London and in New York and we<br />

aspire to create the same feelings and changes<br />

in people’s outlook on the tour but we’ll just<br />

have to wait and see what happens.”<br />

Nione Meakin<br />

Theatre Royal <strong>Brighton</strong>, <strong>April</strong> 8–10.<br />


Experience Horrible Science activities this Easter holiday<br />

6 – 22 <strong>April</strong><br />

For details visit kew.org/wakehurst<br />

Horrible Science® is a registered trademark of Scholastic Ltd. And is used under authorization. All rights reserved.<br />

Based on the bestselling books written by Nick Arnold and illustrated by Tony De Saulles. Illustration copyright<br />

©Tony de Saulles. Licensed by Scholastic Children’s books through Rocket Licensing Ltd.<br />



7 APRIL<br />




STATUS<br />

9 APRIL<br />


THE SWIM<br />

14 APRIL<br />


26 APRIL<br />

APRIL<br />

01273 678 822<br />

attenboroughcentre.com<br />

University of Sussex, Gardner Centre Road, <strong>Brighton</strong> BN1 9RA<br />


NATURE<br />

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

Surviving or thriving<br />

Exploring the state of the world’s plants at Wakehurst<br />

If your grandparents ever told you that bananas<br />

don’t taste like they used to, it turns out they<br />

were right. They might have developed a taste<br />

for the Gros Michel, a variety that was all but<br />

wiped out in the 1950s by the fungus Fusarium.<br />

It was replaced by a resistant cultivar, the<br />

Cavendish, that we all know today, but all<br />

monocultures are susceptible to disease and<br />

the Fusarium fungus has evolved a deadly new<br />

strain to which the Cavendish has no resistance.<br />

The race is on to find a replacement.<br />

It is research like this that is going on at Kew<br />

and in plant science laboratories the world<br />

over, and the subject of a new exhibition –<br />

Surviving or Thriving – at the Millennium Seed<br />

Bank at Wakehurst.<br />

“Scientists at Kew are involved with the Crop<br />

Wild Relatives project, which is looking for<br />

wild relatives of vegetables, fruits and grains<br />

that we know exist all over the world,” explains<br />

Astrid Krumins, Interpretation Manager at<br />

Wakehurst. “We’re looking for traits that<br />

might have been bred out over time, like<br />

resistance to pathogens and good water use.<br />

Commercial crops like cotton and maize need<br />

huge amounts of water to grow, so, if we can<br />

selectively breed them with varieties that need<br />

less, we can continue to grow them as the<br />

climate changes.”<br />

This is just one strand of the interactive<br />

exhibition that draws on Kew’s landmark State<br />

of the World’s Plants reports. “It’s a real mix of<br />

news,” says Astrid. “Surviving and thriving<br />

are relative terms and good or bad depending<br />

on your view point. Some plants that are<br />

thriving are things we may not want. Invasive<br />

plants like Rhododendron Ponticum which<br />

was introduced to the UK in Victorian<br />

times and is now taking over huge areas<br />

of Downland.” Other plants we are only just<br />

beginning to understand. “We are still finding<br />

new plants; around 2000 a year are discovered<br />

in a scientific sense, which is different from<br />

stumbling across a plant in your garden or on<br />

holiday.”<br />

If you haven’t visited the Millennium Seed<br />

Bank before, you might be surprised to<br />

discover that it looks more like a NASA<br />

research facility than a greenhouse. As its<br />

name suggests, it was built to store seeds<br />

from all over the world – an underground<br />

ark preserving plant genetics for future<br />

generations – but it is also a hub of scientific<br />

activity, conservation and propagation. Visitors<br />

to the exhibition can watch the scientists at<br />

work in their glass-walled laboratories whilst<br />

learning about the kinds of research going on<br />

inside. How plants are changing to cope with<br />

an uncertain and more extreme climate; about<br />

the threats they face from pests, pathogens<br />

and illegal trafficking; about their diverse uses<br />

from medicine to Marmite, and cutting edge<br />

innovations in genome sequencing.<br />

It’s a fascinating insight into the power and<br />

potential of plants to tackle the challenges of<br />

a rapidly changing world, and<br />

how, of course, their survival and<br />

ability to thrive is inextricably<br />

linked to our own.<br />

Lizzie Lower<br />

kew.org/wakehurst<br />


Award-winning independent<br />

3 screen cinema<br />

Next to Lewes station<br />

Pinwell Road, Lewes BN7 2JS<br />

01273 525354<br />



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

Bryony Kimmings<br />

Autobiographical activist<br />

I get the sense, trying to get hold of Bryony Kimmings,<br />

that she’s a busy woman. Which is what<br />

you might expect for someone who bills herself,<br />

on her website, as ‘director, activist, musician, performance<br />

artist, comedian, writer, theatre maker,<br />

feminist, playwright, loudmouth’.<br />

I finally nail her down when she’s sitting still in<br />

the same place for an hour – on the 14.48 to Victoria.<br />

She’s going up to London from hometown<br />

<strong>Brighton</strong> for a performance of I’m a Phoenix, Bitch<br />

at the Battersea Arts Centre, where it’s enjoying<br />

a second run before a five-show <strong>Brighton</strong> Fringe<br />

stint at the Attenborough Centre, at the University<br />

of Sussex, in May.<br />

“It’s the story of one woman surviving the most<br />

traumatic year of her life, in which she gets sick<br />

and she loses her mind to a psychosis,” she tells<br />

me. That woman is Bryony herself: in 2015<br />

she suffered from a crushing case of post-natal<br />

depression, during which she lost her partner and,<br />

very nearly, her child.<br />

Her career, too, was jeopardised. Bryony had<br />

made a real name for herself with well received<br />

shows such as Seven Day Drunk, in which she<br />

examined the effect of alcohol on creativity by<br />

boozing from 10am to 7pm then performing, and<br />

Credible Likeable Popstar, in which she acted out<br />

her nine-year-old niece’s fantasy celebrity, with<br />

the resulting pop songs getting Radio 1 airtime.<br />

But then “I got it so badly that I stopped going<br />

on stage. I was just terrified and really underconfident,<br />

it’s taken a lot to change that narrative in<br />

my head.”<br />

The very act of creating I’m a Phoenix, Bitch<br />

helped her come through the crisis. “[I’ve used]<br />

theatre as a sort of cathartic therapy for both myself<br />

and the audience to look at who we become<br />

after something traumatic happens, and how you<br />

repair yourself after that,” she says. The first run<br />

was a tremendous five-star success: Time Out<br />

described it as a ‘metaphysical glitter cannon of<br />

trauma being fired straight at your chest’.<br />

In the show she displays much of the versatility<br />

she’s famous for: I’m a Phoenix is part musical,<br />

part pop video, part horror film, with Bryony<br />

playing various versions of herself, while battling<br />

with her interior monologue, which takes the<br />

voice of “a straight, white, misogynistic, middle-class,<br />

male TV drama exec.”<br />

She has described herself in the past as a ‘washing<br />

your dirty laundry in public sort of girl’ and she<br />

calls this “a baring of the soul”. This soul-baring,<br />

it seems, comes naturally: “The ability to deconstruct<br />

the self and be able to talk about things that<br />

people really don’t want to talk about, that’s just<br />

very inherent in my family.”<br />

But is there the danger, I wonder, as the train<br />

pulls into the station, of Bryony straying into<br />

self-obsession territory? She thinks of herself<br />

more as an ‘autobiographical activist’, it seems.<br />

“If I sacrifice my own secretiveness, it might help<br />

other people… I’m sent to be the jester, so the<br />

world can change.” Alex Leith<br />

ACCA, 3rd-7th May<br />


Join us at Polpo <strong>Brighton</strong> for 10% off<br />

your meal and a complimentary bellini!<br />

Offer runs until September 1st.<br />

20 New Rd, <strong>Brighton</strong> BN1 1UF<br />

www.polpo.co.uk | @polpo


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

Glengarry Glen Ross<br />

Mark ‘The Machine’ Benson<br />

I’ve heard that the David<br />

Mamet play Glengarry Glen<br />

Ross – also, of course, a<br />

Hollywood movie – contains<br />

so many swear words, that in<br />

the acting world it’s acquired<br />

the nickname ‘Death of a<br />

F*****g Salesman’.<br />

“We counted how many swear<br />

words were used,” says Mark<br />

Benson, who plays the role<br />

of Shelley ‘The Machine’<br />

Levene, so memorably<br />

performed by Jack Lemmon in<br />

the movie. “I had the most. It<br />

came to 74.”<br />

If you don’t know who Mark is, you probably<br />

haven’t watched much TV over the last<br />

20 years. He played Eddie in Early Doors,<br />

Howard in Northern Lights, and Chalky in<br />

Waterloo Road. He hosted the game show The<br />

Edge, starred in the 2017 Marks & Spencer<br />

Christmas ad, and reached round ten of the<br />

2013 edition of Strictly Come Dancing. More<br />

recently, he’s played the private detective Frank<br />

Hathaway in the BBC series Shakespeare &<br />

Hathaway. He’s big, he’s scruffy, and, hailing<br />

from Teesside, he’s irrevocably northern.<br />

But not in Glengarry Glen Ross. “The play is<br />

set in the cut-throat world of salesmen, selling<br />

plots of land, near Chicago,” he says, “so I’ve<br />

learnt to do a Chicago accent… The David<br />

Mamet script has us all speaking really fast –<br />

like people do in real life – so it’s been really<br />

hard to learn. It’s probably the hardest part<br />

I’ve ever had to do on stage: but when we get it<br />

right it’s brilliant, it just goes like a train.”<br />

Mark is the most recognisable name in a cast<br />

of seven, but he feels that this is very much<br />

an ‘ensemble’ production.<br />

“What’s nice about it,” he<br />

says, “are that there are<br />

no egos at work. Everyone<br />

has their moment to shine,<br />

so everybody’s satisfied,<br />

everybody’s happy with what<br />

they’ve got to do. We’re like<br />

a little gang, going round the<br />

country.”<br />

Mark’s character is in trouble:<br />

Shelley Levene used to be the<br />

top man in the sales team, but<br />

he’s having a run of bad luck,<br />

his leads are lousy, and he’s<br />

facing the sack. Meanwhile,<br />

his daughter’s ill, and the medical bills are<br />

mounting. I wonder how easy Mark finds it to<br />

unburden himself of his character’s problems,<br />

once he’s finished performing the role. Or<br />

has he been taking all Levene’s pent-up<br />

frustrations home with him?<br />

“That could be a problem, he says, “especially<br />

with a heavy role, like this one. But I’ll tell<br />

you what. When I’d just started out, I worked<br />

with Mike Leigh. You improvised with Mike,<br />

and he always had a cut-off point where he<br />

said ‘come out of character.’ So you’d come out<br />

of character, and then you’d talk about that<br />

character, objectively. From then on, I’ve been<br />

able to become myself again when I wanted to.”<br />

So did all the profanities not leak into Mark’s<br />

day-to-day conversations? “Oh, that. It became<br />

second nature, to tell you the truth. I went<br />

home once, after rehearsals, and my wife said:<br />

‘would you please stop swearing so much?’ It<br />

took a while to get back to normal.”<br />

Alex Leith<br />

Theatre Royal, <strong>April</strong> 22nd-27th<br />



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

Wave Festival<br />

Pick’n’mix podcasts<br />

Angela Barnes appears with Richard Herring in the Leicester Square podcast at TOM<br />

Given the rising popularity of podcasts over<br />

the last few years perhaps it’s only natural that<br />

there should be a festival in <strong>Brighton</strong> dedicated<br />

to them. Wave is a two week programme of<br />

events at venues across the city featuring some<br />

of the UK’s favourite podcasts recorded live, in<br />

front of an audience.<br />

Local promoters One Inch Badge have been<br />

putting on gigs in <strong>Brighton</strong> for years, but this<br />

is the first time they’ve turned their attentions<br />

to the art of talking. For Wave, they were able<br />

to drill down into the data to find out what<br />

people in the city are listening to.<br />

“<strong>Brighton</strong> is hugely up for this kind of<br />

content,” explains festival programmer<br />

Ollie Catchpole. “These are all<br />

shows that I listen to, but they<br />

are shows that we know local<br />

people listen to as well. There<br />

are a couple of other podcast<br />

festivals around the country,<br />

but we wanted to make sure<br />

that <strong>Brighton</strong> had its own<br />

version. We wanted to be one<br />

of the first to present a whole<br />

festival with some of the most<br />

popular podcasts out there.”<br />

On <strong>April</strong> 3rd, Richard Herring<br />

brings a version of his longrunning<br />

Leicester Square podcast to<br />

The Old Market for a double set,<br />

one with <strong>Brighton</strong>-based comedian<br />

Angela Barnes. The week after,<br />

Romesh Ranganathan comes to the<br />

Theatre Royal to interview Rag ‘N’<br />

Bone Man for a special edition of Hip<br />

Hop Saved My Life. Other shows in the<br />

programme take a light-hearted look<br />

at subjects such as parenting, films, lifestyle<br />

tips and historical mysteries. “Because it’s the<br />

first time we’ve done this we wanted to offer a<br />

variety of different genres that anybody could<br />

pick up on. We’re giving people a chance to<br />

be a part of these conversations and see them<br />

in a radio show environment. Most podcasts<br />

don’t launch with the idea of going out live, but<br />

some like No Such Thing as a Fish do massive<br />

rooms and Brett Goldstein [who hosts Films to<br />

be Buried With] tours constantly. Then we have<br />

smaller shows like Unexplained that are doing<br />

their first ever live event.”<br />

On the strength of early ticket sales the<br />

organisers have already announced plans<br />

to turn Wave into an annual fixture. But<br />

what explains the popularity of podcasts<br />

in the first place?<br />

“I think it’s because they’re so userfriendly,”<br />

says Ollie. “It’s the same<br />

as having a music library. There’s<br />

such a variety out there, and people<br />

can pick and choose what they<br />

download and listen to without<br />

having to rely on the radio.<br />

“I’m a huge podcast fan myself. It’s<br />

like any new format, it takes a while<br />

for people to understand what it is.<br />

But some of the podcasts now, with<br />

people like Simon Mayo and Mark<br />

Kermode, they’re absolutely huge. I<br />

think audiences are warming, in vast<br />

numbers, very quickly to the idea of<br />

podcasting. People can approach it<br />

quite easily now, because everyone<br />

has a smart phone. It’s there in<br />

front of them.” Ben Bailey<br />

brightonpodcastfestival.co.uk<br />



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


Tues 2nd, <strong>Brighton</strong> Dome, 7.15pm, £21<br />

One of the<br />

biggest<br />

podcasts<br />

going, No<br />

Such Thing<br />

As A Fish,<br />

started out<br />

five years ago<br />

as a fun side project by the researchers from<br />

the TV panel show QI. Since then they’ve<br />

won numerous awards, sold out the Sydney<br />

Opera House and bizarrely released an album<br />

of their first 52 podcasts on vinyl. The team of<br />

four typically take turns to share facts they’ve<br />

learned that week, each responding with quick<br />

gags or even weirder nuggets of knowledge.<br />

And, no, technically speaking, fish don’t exist.<br />

The show is highly entertaining, potentially<br />

educational and not as nerdy as it sounds.<br />


Sun 7th, Sallis Benney Theatre, 7.30pm, £15<br />

“It’s a WhatsApp group<br />

chat come to life,”<br />

says Audrey Indome,<br />

discussing the broad<br />

appeal of the Radio<br />

1Xtra podcast she hosts<br />

alongside Tolani Shoneye<br />

and Milena Sanchez. Realising there was<br />

nothing out there that connected with the<br />

experiences of black British women, the group<br />

got together after another podcaster claimed a<br />

show like this wouldn’t be possible. Clearly, they<br />

were wrong. The Receipts is three women talking<br />

honestly and openly about... well, whatever<br />

they feel like. The group’s refreshingly frank<br />

banter covers plenty of ground from race and<br />

relationships to daily frustrations and sexual<br />

misadventures – all peppered with pop culture<br />

references and everyday swearing. There’s<br />

occasional group singalongs as well.<br />


Sun 7th, The Old Market, 7.45pm, £16<br />

This podcast does for<br />

movies what Desert<br />

Island Discs does for<br />

music – but with a<br />

macabre twist. “I’m<br />

sorry to tell you this,<br />

but you’ve died,” Brett<br />

Goldstein informs his<br />

guests, before encouraging them to furnish<br />

the details. “How did it happen?” Goldstein is<br />

a stand-up who’s appeared in Doctor Who and<br />

Derek, but here he takes a backseat as his guests<br />

discuss their favourite films. The show often<br />

takes a nostalgic turn through movies both<br />

great and naff, and sometimes even dips into<br />

reflections on mortality. Previous guests have<br />

included Ricky Gervais, Katherine Ryan and<br />

Scroobius Pip. For Wave he’ll be chatting with<br />

Asim Chaudhry from BBC comedy People Just<br />

Do Nothing.<br />


Fri 12th, The Old Market, 7.45pm, £17<br />

On the podcasting<br />

timeline The Bugle<br />

is the dinosaur that<br />

refused to die. First<br />

commissioned way<br />

back in 2007 by The<br />

Times, Andy Zaltzman’s comedy news podcast<br />

was originally a co-production with John<br />

Oliver before the latter became a TV staple<br />

in America. Now an independent show with<br />

a long roll-call of comedy guests, The Bugle<br />

examines current affairs through the lens of<br />

Zaltzman’s deadpan humour. His scattershot<br />

approach and love of wordplay means every<br />

topical skit is linked by endearingly silly<br />

detours. It’s like Radio 4’s The Now Show, only<br />

funnier and more freewheeling. As the blurb<br />

explains, it’s full of ‘freshly-hewn satire, lies,<br />

puns and high-grade bullshit’. Ben Bailey<br />



with over 800 arts and craft short courses<br />

Expert tutors and fully equipped workshops | Inspiring surroundings<br />

www.westdean.ac.uk<br />

West Dean College of Arts and Conservation,<br />

Chichester, West Sussex PO18 0QZ<br />


LAUNCH<br />

North Gallery, University of <strong>Brighton</strong><br />

Saturday 6 <strong>April</strong> | 17.00 – 19.00<br />

Join us for the launch event of our ten-year vision<br />

for new ways of thinking about art and art history<br />

in education.<br />

On Saturday 6 <strong>April</strong> at the University of <strong>Brighton</strong>’s<br />

North Gallery. The manifesto builds on the work<br />

of the Association for Art History to develop new<br />

exchanges and collaborations across the arts,<br />

education and society. Free and open to all.<br />

@forarthistory<br />



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

To Begin The World Again<br />

Ian Ruskin on his Life of Thomas Paine<br />

Your one-man play gives an<br />

airing to Tom Paine’s life<br />

and ideas. How did you go<br />

about writing it? Is much<br />

of it in his own words? I<br />

began by reading (most) of his<br />

writings: a long list! Then,<br />

biographies – starting with<br />

the first. This gave me a clear<br />

idea of the changing attitudes<br />

to the man over time. And I<br />

was lucky enough to have five<br />

leading Paine scholars review<br />

my writings and point me in the right direction.<br />

Yes, much is in his words. I present them within<br />

the context of when they were written.<br />

It’s striking that Paine was read by so many,<br />

and rejected by so many (only six people<br />

at his funeral). Was he, above all, a plain<br />

speaker – thus, a threat to all as a threat to<br />

the status quo? Exactly! What made Paine<br />

dangerous to the establishment was his ability<br />

to use language that the ‘common man’ could<br />

understand and find inspiring. He wrote in<br />

short, simple sentences and his works, beginning<br />

with Common Sense, broke all sales records. At<br />

the same time, he attacked slavery, the power of<br />

monarchy, and organised religion – particularly<br />

through a scathing review of the Bible. No<br />

wonder he had as many enemies as friends!<br />

You’re interested in extraordinary people?<br />

Nikola Tesla, Tom Paine, Harry Bridges.<br />

What do they have in common? To my<br />

mind, each is, in his own way, a genius. They’re<br />

certainly among the most maligned, misused<br />

and misunderstood men in history – a line<br />

from the play. Their visions and aims were<br />

Photo by Tom Dempsey<br />

to revolutionise the systems<br />

they lived in and bring about<br />

a world with greater equality,<br />

democracy and power to the<br />

people. No wonder their<br />

legacies have been so efficiently<br />

suppressed and distorted.<br />

Why is it important to you<br />

to tell their stories? Living as<br />

an actor in Los Angeles, and<br />

working mainly in television,<br />

I grew tired of playing the<br />

intelligent bad guy in shows<br />

such as Murder She Wrote and MacGyver. The<br />

discovery of these men changed my life. I had<br />

found stories that I believed in, that meant<br />

something to me, and that took me back to the<br />

reason that I wanted to be an actor in the first<br />

place. Now I get to tell them across America,<br />

in Canada, Hawaii, Australia and England,<br />

including Lewes, where Paine spent so many<br />

important years of his life.<br />

Have you been to Lewes? Once before.<br />

My last three years in England I lived in<br />

Sharpthorne, Sussex, and in 1984 my girlfriend<br />

and I came to Lewes for Guy Fawkes night. I<br />

had never seen such a combination of pageantry<br />

and rebellion, and in such a beautiful English<br />

country town. The celebration of the fact that<br />

he was caught (the burning at the stake) and<br />

that he nearly pulled it off (the fireworks) –<br />

that, at least, is my interpretation. I’m eager to<br />

return, if not with the same pageantry, at least,<br />

I hope, with some of the rebellion!<br />

Interview by Charlotte Gann<br />

Attenborough Centre, 25th, 4.30pm,<br />

All Saints Centre, Lewes, 27th, 7.30pm<br />


Contemporary<br />

British Painting and<br />

Sculpture<br />

We look forward to welcoming<br />

you to our gallery in Hove.<br />


Mon—Sat 10.30am—5pm<br />

Sunday/bank holidays 12pm—5pm<br />

Closed Tuesday<br />

For more details visit<br />


CCA_<strong>Viva</strong>Lewes_Advert_66x94_June2018_v1.indd 1 17/06/2018 09:0

ART<br />

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

Kitchen Still Life, 1948 by William Scott<br />

© Estate of William Scott <strong>2019</strong>, Image courtesy of Southampton Art Gallery<br />

In Colour - Sickert to Riley<br />

Exhibition at Charleston<br />

In Colour – Sickert to Riley is the second exhibition<br />

in the new Wolfson Gallery at Charleston.<br />

Curated by the textile designer Cressida Bell, it<br />

runs until the 26th of August. Thirty one paintings<br />

by thirty one twentieth century British artists,<br />

all engaging with colour in their sometimes very<br />

different ways.<br />

While evoking ‘a grey dusty withered evening<br />

in London city’ in Our Mutual Friend, Dickens<br />

conjures up a wonderful phrase – ‘the national<br />

dread of colour’. And indeed, we often seem<br />

to have had an ambivalent attitude to colour.<br />

Reviewing the 1910 New English Art Club<br />

exhibition, Huntley Carter identifies and praises<br />

a small group of ‘colourists’ within the club’s<br />

ranks – Lucien Pissarro, Harold Gilman, Robert<br />

Bevan and Spencer Gore (the last two also feature<br />

in Cressida Bell’s show). However, he then<br />

cautions that ‘three fourths of the human race<br />

are unaffected by colour, except in a hostile form.<br />

Pure, clean colour arouses in their honest bosoms<br />

an exasperation only equalled by that called forth<br />

by the so-called indecent forms of art.’<br />

I don’t know whether Cressida Bell would agree.<br />

<strong>Viva</strong> Lewes readers may remember the (very colourful)<br />

cover she did for the February <strong>2019</strong> issue.<br />

In the accompanying interview with Joe Fuller, she<br />

expressed a wish that people would try wearing<br />


ART<br />

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

Portrait of a Girl, 1912 by Mark Gertler. © Tate, London <strong>2019</strong><br />


ART<br />

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

Warm Up, Cool Down by Wilhelmina Barns-Graham<br />

Courtesy of Wilhelmina Barns-Graham Trust<br />

more colour, ‘because it’s so life enhancing’. So<br />

perhaps we’re not there just yet. But it would be<br />

wrong to see the Charleston exhibition as any<br />

part of a colour crusade. True, there are big bold<br />

pictures just bursting with colour by the likes of<br />

Terry Frost and Howard Hodgkin. It would be<br />

surprising if they weren’t featured. But I think<br />

Cressida Bell is trying to do something rather<br />

subtler, choosing paintings where the arrangement<br />

of colours, the patterns, the colour balance<br />

are paramount. This might explain the presence<br />

in the show of artists such as Charles Ginner,<br />

Ethel Sands and Sickert, especially Sickert, that<br />

you would not associate primarily with colour.<br />

And as she said in the <strong>Viva</strong> Lewes interview: ‘I’m<br />

trying to look for works of art where you can<br />

tell that the artist has superimposed colours on<br />

the painting, rather than actually seeing them.’<br />

This would apply, for example, to Stanislawa de<br />

Karlowska’s At Churchstanton, Somerset.<br />

What, I suspect, is of primary importance to<br />

Cressida Bell is that we have a totally unmediated<br />

response to the paintings. So, for example,<br />

no distracting captions. If you want to know the<br />

identity of the painter, the name of the picture,<br />

where it’s usually to be found, you have to refer<br />

to the printed handout. Even on that, Cressida<br />

Bell’s thoughts on individual paintings, and there<br />

are only a handful of these, are so tentative as<br />

to be positively endearing. It’s all tremendously<br />

refreshing.<br />

One criticism. The walls of the gallery have<br />

been painted in four different colours, especially<br />

for the exhibition. Far from enhancing the<br />

paintings, it positively distracts from them, from<br />

the colour in the paintings. A disastrous decision?<br />

I think so, but perhaps it wasn’t Cressida Bell’s<br />

idea. And maybe I’m just wrong. David Jarman<br />

info@charleston.org.uk<br />

The Pond at Charleston by Vanessa Bell. Estate of Vanessa Bell<br />

courtesy of Henrietta Garnett and The Charleston Trust<br />

Oranges and Quinces by Robert Dukes.<br />

Courtesy of Robert Dukes<br />


ART<br />

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

ART & ABOUT<br />

In town this month...<br />

‘It’s pretty inconvenient having more than half your<br />

garden a mile or more away but there’s some magic about<br />

allotments that is uniquely theirs,’ writes artist Kate<br />

Osborne of her <strong>Brighton</strong> allotment. ‘They straddle the<br />

boundary between wild and cultivated... If I get there early<br />

enough in spring I am greeted by a hearty dawn chorus,<br />

and I can sit with a cup of tea and watch the occasional<br />

ship pass across the distant V of the English Channel.’<br />

Drawing inspiration from the joys of this oasis, Allotment<br />

– an exhibition of Kate’s vibrant, abstract watercolours – is at 35 North gallery from 6th-27th <strong>April</strong>.<br />

(Open Thurs/Fri/Sat 11am-5.30pm)<br />

<strong>Brighton</strong>’s festival of international experimental music and art -<br />

Colour Out of Space – returns for an eighth edition from 26-28th<br />

<strong>April</strong>. Described as ‘three packed days of high sonic weirdness,<br />

performance and audio innovation’, the programme features sound<br />

poets, noise artists, electro minimalists, cassette manipulators,<br />

avant-rockabillies and free-guitarists. If that’s not sufficiently<br />

intriguing, there’s a free daytime arts trail with installations and<br />

performances at <strong>Brighton</strong> landmarks like the Pepperpot, the littleknown<br />

Tarner Tower and the Open Market. Sound art radio station<br />

Resonance FM hold a ‘free university’ on Friday the 26th at<br />

Phoenix <strong>Brighton</strong>, and ONCA host the first ever UK exhibition<br />

by Finnish multidisciplinary artist Jan Anderzen. There are<br />

workshops and films too. See colouroutofspace.org for details.<br />


ART<br />

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

Luella Martin is the artist in focus at Cameron<br />

Contemporary this month. She produces her prints of the<br />

local landscape with solar plate etching – an eco-friendly way<br />

of working which uses sunlight and tap water to process lightsensitive<br />

plates without the need for harmful chemicals. She<br />

often combines her printed images with loose gestural painting,<br />

blurring the boundaries between the two media.<br />

‘Mad Hatter’ From 2013 ©<br />

Tessa Hallmann/Royal Pavilion<br />

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

Chinoiserie-on-Sea – the extraordinary exhibition of hats by Stephen Jones –<br />

continues at the Royal Pavilion. More than 150 hats from across Stephen’s fortyyear<br />

career as a top-flight milliner are on display throughout the royal pleasure<br />

palace. Created for anyone who is anyone, from pop stars to couture houses, the<br />

whimsical creations are perfectly suited to their exotic surroundings. (Quite literally)<br />

fantastic! Continues until 9th June. (Free with admission.)<br />

<strong>Brighton</strong> & Hove Arts Council has been in existence since 1974 and this<br />

month they hold their Annual Spring Exhibition at the Friends Meeting<br />

House, from Wednesday the 10th until Saturday the 13th of <strong>April</strong>. More<br />

than 100 works in a diverse range of media will be on display, drawn from<br />

members of the B&H Arts Council, Attic Art Club, St Thomas More Art<br />

Group and the <strong>Brighton</strong> branch of the Embroiders’ Guild. (Open 10am-<br />

5pm on the 10th-12th and 10am-4pm on the 13th. Free entry.)<br />

Man in a Deckchair by Sandra Emery<br />

<strong>Brighton</strong> artist/illustrator Lisa Holdcroft’s cards, puzzles and prints capture <strong>Brighton</strong> in glorious,<br />

loony-toon detail; the closer you look, the more you see. This month, her latest work – a 12-footlong<br />

panorama of the West Pier (below) as it was in its heyday – goes on display at The West Pier<br />

Centre (by the i360). Complete with daring divers, performing dogs and floating tea parties, it<br />

includes all sorts of seaside antics and curious characters for you and the kids to discover. Opens on<br />

the 19th of <strong>April</strong> and continues throughout the summer. (Free. Open Fri-Mon, 11am-5pm.)<br />


Artists Open Houses<br />

<strong>Brighton</strong> & Hove, along the Coast, over the downs to Ditchling and beyond<br />

Weekends 4-26 May <strong>2019</strong> aoh.org.uk

ART<br />

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

Out of town<br />

©www.leemiller.co.uk<br />

Farleys House, gallery and sculpture<br />

garden – the Sussex home of Roland<br />

Penrose and Lee Miller – opens for the<br />

season on Sunday the 7th of <strong>April</strong>, and then<br />

every Sunday until the 27th of October,<br />

with guided tours setting off every half hour<br />

from 10.30am. In Farleys gallery is Deanland;<br />

a collaborative project between the artist,<br />

Alexander Johnson and photographer, John<br />

Brockliss, who together documented the<br />

ghostly WWII Sussex airfield.<br />

The Weekend Book (by Francis Meynell)<br />

Dust Jacket (1926) Private Collection<br />

Draw Me In –<br />

Towner’s annual<br />

schools’ exhibition –<br />

opens on Friday the<br />

6th of <strong>April</strong>. Open<br />

to all local children<br />

and young people<br />

aged from 0 to 21,<br />

the call for works<br />

went out last October and the entrants have<br />

been busily making in artist-led workshops<br />

at schools, in the community and at the<br />

gallery. The fruits of their creative labours,<br />

in a multitude of sizes and formats, will be<br />

on display until the 2nd of June.<br />

There’s a last chance to<br />

see the extraordinary<br />

maps of Max Gill at<br />

Ditching Museum<br />

of Art + Craft. The<br />

exhibition of work by the<br />

well-known illustrator,<br />

letterer, map-maker,<br />

architect and decorative<br />

artist closes on the 28th of <strong>April</strong>.<br />

British painter Harold Gilman produced a view<br />

of modern urban life in the early 20th century<br />

that was entirely distinct. He combined the gritty<br />

formality favoured by the Camden Town Group<br />

and his mentor Walter Sickert with the vitality of<br />

post-impressionism, with its thickly-applied paint<br />

and vivid colours. His paintings infused scenes of<br />

everyday domestic life and captured a moment<br />

in time around the First World War when<br />

perceptions of gender, class and urban living were<br />

rapidly changing. Pallant House gallery is home<br />

to an exhibition of over 50 works by the artist<br />

whose career spanned just 15 years, before his<br />

untimely death during the influenza pandemic at<br />

the age of 43. Continues until 9th of June.<br />

Tea in the Bedsitter 1916, Kirklees Collection,<br />

Huddersfield Art Gallery<br />


ART<br />

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

Paris 68 Redux<br />

50 years on and nothing has changed<br />

It started, like most<br />

good projects, as a<br />

drunken conversation.<br />

We were looking at a<br />

book of posters from the<br />

May 1968 Paris uprising<br />

– La Beauté est dans la Rue<br />

– and a lot of the images<br />

were still relevant. The<br />

students were protesting<br />

about capitalism, censorship,<br />

the poor treatment<br />

of immigrant workers…<br />

I’m of that generation<br />

that thought by the time<br />

I got to 50, everything<br />

would have changed for the better. That’s one<br />

of the driving forces behind the Paris 68 Redux<br />

project. We’re living with a more extreme<br />

version of capitalism than they were. If anything,<br />

we’ve got more to protest about.<br />

The original posters were made by the group<br />

of artists and students Atelier Populaire.<br />

No one actually claims<br />

authorship of the posters<br />

but we wanted Philip<br />

Vermés – one of the original<br />

members of Atelier<br />

Populaire and author of<br />

the book – to know that<br />

we were doing this project.<br />

We tried calling him,<br />

we tried emailing him<br />

and eventually we turned<br />

up on his doorstep in<br />

Paris with a bunch of<br />

posters. He said we<br />

needed to come up with<br />

our own stamp, which is<br />

when we came up with Paris 68 Redux.<br />

We started pasting up posters in <strong>Brighton</strong><br />

last year, on the anniversary of Paris 68, but<br />

then it grew. We visited Berlin, where there’s<br />

been a big fight with Google who wanted to<br />

build a huge campus in Kreuzberg, the creative<br />

centre of Berlin. Locals were really upset about<br />


ART<br />

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

it because rents doubled within a year. So we<br />

reworked two of the ’68 posters, creating the<br />

Google head, and an updated version of On Vous<br />

Intoxique and pasted those in concentric circles<br />

around Kreuzberg. They have a great attitude<br />

to street art in Berlin. When you paste there,<br />

people come up and ask you what the posters<br />

mean and have a half-hour conversation.<br />

Then we created posters and placards<br />

for the Trump demonstration in London,<br />

and we’ve just done paste-ups in two stores<br />

in Brooklyn. We did a lot of new designs for<br />

placards for the Brexit March on the 23rd of<br />

March, and we’re doing something for Pride<br />

in Manchester. With the Gilet Jaune movement<br />

in France and what’s happening with<br />

Trump and Brexit, it feels like a good time<br />

to be doing this. 50 years on and nothing has<br />

changed. That’s very much the point.<br />

As told to Lizzie Lower<br />

@paris68redux<br />


“Transforming Lives Through Art”<br />






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Book now for our Open Day:<br />

THURS 16th MAY <strong>2019</strong><br />

Charity Trust No. 1098710<br />

10–14 Waterloo Place · <strong>Brighton</strong> BN2 9NB<br />


& CAFÉ<br />

OPEN<br />

www.tobiasart.org<br />

Tobias School of Art and Therapy, Coombe Hill Road, East Grinstead<br />

West Sussex, RH19 4LZ, United Kingdom<br />

Email: info@tobiasart.org Telephone: +44 (0) 1342 313655<br />

<strong>2019</strong><br />

Over 100 artists<br />

phoenixbrighton.org<br />

PREVIEW: Fri 17 May 6–9pm<br />

OPEN: Sat 18 May 11am–5pm<br />

Sun 19 May 11am–5pm<br />

<strong>2019</strong><br />


DESIGN<br />

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

<strong>Brighton</strong> Map<br />

Malcolm Trollope-Davis<br />

“It’s certainly an exercise in focus<br />

and patience,” says Malcolm<br />

Trollope-Davis, creator of the<br />

newly-launched, newly definitive,<br />

<strong>Brighton</strong> Map. “I don’t<br />

think of it as one drawing. It’s<br />

thousands of small drawings.”<br />

Malcolm’s map is sprawled out<br />

in front of us on a café table – a<br />

giant A0 print detailing the<br />

many streets of <strong>Brighton</strong> &<br />

Hove and pinpointing its notorious<br />

residents, favourite pubs,<br />

and dramatic historical events.<br />

It’s impossible not to be<br />

impressed with the sheer effort<br />

and skilful draughtsmanship<br />

that went into this. The <strong>Brighton</strong><br />

Map has more in common<br />

with those of centuries ago than<br />

it does Google Earth, in spite of<br />

the fact the latter has made its<br />

creation possible.<br />

Malcolm drew the map entirely<br />

freehand, beginning simply by<br />

drawing a line. This became<br />

the city’s main artery – North<br />

Street and Western Road. Once<br />

this was drawn, he worked in<br />

concentric circles outwards, a<br />

block at a time like you might<br />

with a patchwork quilt.<br />

The roads are miniaturised<br />

somewhat – a street of maybe<br />

50 houses is reduced to 15 or<br />

20. “I don’t think it’s important<br />

to draw every house,” he<br />

explains. “If I did, I would be<br />

copying an aerial photograph,<br />

and those are actually very<br />

boring to look at – not the<br />

most emotive things.”<br />

This approach, says Malcolm,<br />

“makes everything bigger and<br />

more visually engaging, and<br />

yet everything is still in the<br />

right place, so people can look<br />

at a street and go, ‘that must be<br />

my house.’”<br />

The <strong>Brighton</strong> Map is sequel<br />

to the Lewes Map which Malcolm<br />

began after noticing that<br />

Photo by Chloë King<br />


DESIGN<br />

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


DESIGN<br />

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

there were so few town maps around,<br />

and those that were, were stylised and<br />

inaccurate. “I wanted to create the<br />

ultimate, definitive map,” he says. “It’s<br />

functional art, which is really important<br />

to me.”<br />

“You don’t get projects like this appearing.<br />

It took me a year to draw. You<br />

don’t get paid during that year, and for<br />

someone to commission a project like<br />

this, it would cost too much. The last<br />

time you would have seen something<br />

like this would have been back in the<br />

1700s when manuscript hand-drawn<br />

maps were state of the art. These days<br />

it’s a much more frivolous, explorative<br />

project.”<br />

Now that the art prints, tea towels and<br />

tote bags of the Lewes Map have sold in<br />

their hundreds, the map’s popularity has<br />

made Malcolm’s speculative endeavour<br />

more than worthwhile. “It has allowed<br />

me to do this…” says Malcolm, “…to<br />

commission myself, effectively, which is<br />

every artist’s dream.”<br />

“It is almost like an old friend,” he says,<br />

pointing at the bottom quarter of the<br />

<strong>Brighton</strong> Map. “When I got down to<br />

here, I felt what I can only describe as<br />

separation anxiety because it was going<br />

to be finished soon.”<br />

Perhaps this is why Malcolm has<br />

decided the <strong>Brighton</strong> Map will be a ‘live<br />

artwork’. In time, he will add to it and<br />

amend it to reflect the city’s development.<br />

He also plans to create limited<br />

editions to mark big occasions... Just<br />

like the city itself, he says, the <strong>Brighton</strong><br />

Map, “is going to get busier and richer”.<br />

Interview by Chloë King<br />

brightonmap.com<br />

Photo by Dörte Januszewski @lewesmap<br />



Do something life-changing<br />

Train with the College of Naturopathic Medicine<br />

Kezra Powell, a CNM naturopathic nutrition<br />

graduate with a keen interest in women’s<br />

health, makes a difference to people’s lives<br />

every day.<br />

As a Nutritional Therapist I find it rewarding<br />

to make a difference to peoples’ lives every<br />

day. I love being able to schedule appointments<br />

around my family life and earn enough<br />

by working part-time. Studying at CNM has<br />

been one of the greatest and most valuable<br />

achievements I have accomplished so far.<br />

I worked in the care sector for many years,<br />

both in nursing homes and within the community.<br />

I wanted an accredited qualification that<br />

would allow me to work as a recognised practitioner,<br />

yet which also had a holistic approach.<br />

I enrolled at CNM where I truly loved the<br />

content and felt inspired by the lectures.<br />

I especially loved the balance between the<br />

clinical, scientific content and the holistic/naturopathic/functional<br />

approach. This has made<br />

me an ever-curious practitioner committed to<br />

lifelong learning. I also valued the large number<br />

of clinic hours, which made the transition<br />

into practice smooth and less daunting.<br />

I’m excited about where my career will take<br />

me, as my qualifications opened many doors.<br />

I’m currently working for myself from two<br />

popular clinics and I have a particular interest<br />

in women’s health and hormone disorders<br />

such as PCOS and Endometriosis, as these are<br />

matters very close to my heart.<br />

Personally, the course has taken my health to<br />

the next level. Professionally it has equipped<br />

me with the knowledge and skills to be a<br />

confident and successful practitioner, and<br />

enabled me to follow my dream of building a<br />

career doing something I am truly passionate<br />

about. I feel very honoured to be making such<br />

a positive contribution to healthcare.<br />

CNM has a twenty-year track record in training students for successful<br />

careers in natural therapies. There are CNM colleges across the UK and<br />

Ireland, offering a variety of courses in class and online.<br />

For more, please visit www.naturopathy-uk.com


This month, Adam Bronkhorst caught up with five local window cleaners.<br />

He asked them: What’s the most interesting thing you’ve seen while cleaning windows?<br />

adambronkhorst.com | 07879 401333<br />

Matt Norman, Blue Skies Window Cleaning<br />

‘A toddler who was pointing and telling me that I’d missed a bit from inside the house.<br />

He followed me all around the house. Maybe I should’ve hired him on the spot!’


Jason Minter, Aquaclean<br />

‘A lady in her birthday suit who had not heard the doorbell before I started<br />

the upstairs windows... thank goodness we now have reach and wash poles!’


Matt Harrington, Hove Beach Window Cleaning<br />

‘Probably someone dressed in full armour. Turned out they do re-enactments<br />

of battles, but at the time it was rather random, even for <strong>Brighton</strong>.’


Paul Bramhall, Hanover Window Cleaning<br />

‘The diversity of the people.’


Adrian Hulme, New Leaf Window Cleaning<br />

‘The spectacular views that we have available to us. I am in a fortunate position<br />

to see views which I wouldn’t otherwise be able to experience.’

<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 />

9 Duke street <strong>Brighton</strong> BN1 1AH<br />

www.croqueshop.co.uk<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 />

39 Kensington Gardens, North Laine<br />


FOOD<br />

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

The Roundhill<br />

Vegan invention<br />

The botanical and the industrial<br />

collide in the newly redecorated<br />

interior of The Roundhill. The<br />

pub has recently been renamed<br />

back to The Roundhill from<br />

The Jolly Poacher – a popular<br />

reversion according to the<br />

staff I chat to. It feels light<br />

and airy, but noisy enough<br />

to be atmospheric, and there<br />

are flowers on the tables,<br />

illustrations on the walls, a<br />

model aeroplane on the ceiling,<br />

but nothing too overbearing.<br />

The menu is wholly vegetarian,<br />

and we are told that all of the dishes can be<br />

made vegan. This prompted discussion between<br />

me and my guest: vegan and vegetarian places<br />

often seem to try harder to come up with new<br />

ways to flavour and present food. Even as a<br />

carnivore, I’m increasingly starting to seek out<br />

nice vegan and vegetarian places, to explore the<br />

invention on offer.<br />

This Shackletonian spirit of exploration<br />

certainly bore fruit at The Roundhill. The<br />

cauliflower wings starter (£5.50) came<br />

recommended so my friend plumped for that,<br />

while I opted for the mushroom & tofu gyoza<br />

(£6.50) with a coriander dip. The gyoza were<br />

good: the wrapper was chewy, the mushroom<br />

bits moreish. But the wings had a brilliant smoky<br />

and sweet coating, and the cauliflower was<br />

succulent. The cauliflower gazumped the gyoza!<br />

It beggars belief: I love gyoza. A gyoza is an<br />

oily indulgent treat whereas cauliflower is a sad<br />

vegetable, to be tolerated rather than savoured…<br />

right? No! Folly! It was also fun to eat healthily<br />

while feeling like you’re eating something more<br />

Photo by Nammie Matthews<br />

indulgent, with the wings<br />

designed to emulate buffalo<br />

wings.<br />

The main was similarly<br />

revelatory for my dining<br />

companion. She went for<br />

The Roundhill Burger,<br />

which included vegan<br />

smoked gouda, gherkins,<br />

fries and slaw (£12.50). She<br />

raved about it being the<br />

best vegan burger she’d ever<br />

tried, explaining that it tasted<br />

proteiny and even meaty,<br />

feeling more substantial<br />

and heartier than lesser vegetarian patties. “It’s<br />

like sorcery!”, she exclaimed. We even liked the<br />

vegan cheese, and having tasted it myself I can<br />

confirm that it worked as a tasty burger.<br />

I chose the green pesto tagliatelle with a winning<br />

combination of good things: cashews, heritage<br />

tomatoes, spinach and parmesan (£8.50). The<br />

pesto (always a champion flavour) was subtle and<br />

fresh: I enjoyed every mouthful of the simple<br />

but effective main, while also appreciating a<br />

deceptively deep plate.<br />

We were too full to try out the vegan pancakes<br />

on the dessert menu, a damned shame since the<br />

candied pecans and hazelnuts called out to us<br />

both. We settled for Scrabble and pints however,<br />

with a strong selection of ales, lagers and ciders<br />

to choose from, including Harvey’s Best and<br />

a Gun Pale Ale. A welcoming pub and a great<br />

restaurant, either for bites and beers (skin-on<br />

fries for £3 is generous by <strong>Brighton</strong> standards),<br />

or for a full meal with friends and family.<br />

Joe Fuller<br />

100 Ditchling Road, 01273 235884<br />


RECIPE<br />

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

Photo by Alex Leith<br />


RECIPE<br />

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

Bataka Poha<br />

Naimesh, from Manju’s,<br />

on a simple but tasty Gujarati rice dish<br />

Our restaurant, Manju’s, is named after my<br />

mother. She’s the chief inspiration behind<br />

everything on our ever-changing menu which<br />

offers traditional, entirely vegetraian Gujarati<br />

food, and she still does a lot of the cooking.<br />

Manju was born in India, but brought up in<br />

Uganda, like a lot of Indians. She became famous<br />

for being a brilliant cook – there’s no traditional<br />

Gujarati dish she doesn’t know how to make,<br />

having been taught by her mother, my nan.<br />

In 1972 the family was deported by the Idi<br />

Amin regime, and we came to live in London,<br />

with just a suitcase full of belongings. Manju<br />

got a job as a machine operator, which she<br />

worked at till she retired.<br />

Myself and my brother Jamie grew up to run a<br />

lot of different businesses, first in London, then<br />

in <strong>Brighton</strong>. But we always wanted to help my<br />

mum run a professional kitchen and when this<br />

place became available in 2017, we converted it<br />

into an Indian restaurant. Her dream had come<br />

true – at the age of 80.<br />

We pride ourselves on serving our customers<br />

authentic Gujarati food, and we don’t cut<br />

any corners, making everything from scratch.<br />

There’s room for no more than 24 customers,<br />

and we have limited the group size to four, to<br />

make sure everybody is given proper attention,<br />

and served at the same time.<br />

The experience, then, is very different from<br />

what people might expect from a traditional<br />

Anglo-Indian restaurant: we tend to get foodies<br />

coming, expecting freshly cooked, authentic<br />

food. A lot of our customers have spent time in<br />

India; we like to treat them well, and they keep<br />

coming back!<br />

This dish, served hot or cold, is perfect as a<br />

snack any time of the day, and is the sort of dish<br />

that will be served as street food.<br />

I’m no chef. With my brother, I deal with<br />

all the other sides of the business. So for the<br />

cooking instructions I’m going to hand you<br />

over to Manju, and my wife Dee, head chef.<br />

Method (serves one):<br />

Heat up 1 tbsp of sunflower oil – we never use<br />

ghee in savoury dishes – in a pan, and when it’s<br />

hot add ½ tsp cumin seeds. If you like nuts, you<br />

can sprinkle in some cashew nuts or peanuts<br />

at this stage. When the cumin starts sizzling<br />

add a finely-diced potato. Once that’s cooked<br />

(when a fork goes through) add half a cup of<br />

flattened rice, which has been rinsed to get rid<br />

of the starch. Add one or two chopped chillies<br />

(according to taste), 1½ tsp turmeric powder,<br />

1½ tsp red chilli powder and 1 tsp sugar. Stir<br />

with a wooden spoon, until it’s nice and hot,<br />

and squeeze in some lemon.<br />

As garnish, you can add sev noodles (the dry<br />

crispy ones you get in Bombay mix), fresh<br />

coriander, pomegranate seeds, anything that<br />

takes your fancy, and serve with extra lemon<br />

segments.<br />

You can get everything you need in Asian<br />

specialist grocers, but also, nowadays, at all the<br />

big supermarkets. This is authentic Gujarati<br />

snack food: it’s often on our menu, but you can<br />

easily knock it up at home. Enjoy! Alex Leith<br />

Manju’s, 6 Trafalgar St, 01273 231870<br />


A-news bouche<br />

Find us at 7 Church Street, <strong>Brighton</strong>, BN1 1US,<br />

for breakfast and lunch.<br />

Vegetarian and vegan options available.<br />

crunchandco.co.uk<br />


brighton’s BIGGEST CELEBRATION<br />

OF FOOD, DRINK & live music<br />

with top chefs<br />

brighton<br />

hove lawns<br />

4, 5, 6 may<br />

Tickets are now available for <strong>Brighton</strong>’s<br />

Foodies Festival, returning to Hove Lawns<br />

in May. Including live performances from<br />

Queen tribute band Flash, Katy Hurt and<br />

The Din, top chefs and MasterChef winners<br />

cooking live, and sweet treats with The<br />

Great British Bake Off winners. There will<br />

also be the opportunity to sample<br />

new wines, champagnes and<br />

cocktails, delicious street food<br />

from around the world and<br />

more. 4th to 6th May,<br />

foodiesfestival.com<br />

Discover new approaches to sandwiches at<br />

an All About Bao Buns session with Kitchen<br />

Academy. You will make all sorts of bao<br />

buns from Japanese sandwiches to Chinese<br />

snowballs. 17th <strong>April</strong>, 6pm to 9pm, £45,<br />

The Community Kitchen. The College<br />

of Naturopathic Medicine present a<br />

Fermentation Demonstration for healthy<br />

guts, which will include introductions<br />

to kombucha, milk and water kefir<br />

and vegetable fermentation.<br />

27th <strong>April</strong>, 10.30am to<br />

12.30pm, £10, BACA,<br />

naturopathy-uk.com<br />

foodiesfestival.com<br />

Fancy a delicious sandwich for lunch?<br />

Crunch & Co is now open at 7 Church<br />

Street and offers delicious deep-filled, grilled<br />

sandwiches and speciality soups,<br />

to eat in or take away.<br />

Finally, London Road’s<br />

Greek restaurant<br />

Yefsis have opened a<br />

second branch at 52a<br />

Lansdowne Place.<br />



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

StreetVet<br />

Caring for animals on the street<br />

StreetVet is a volunteer<br />

service that supports<br />

animals belonging to<br />

people who are homeless:<br />

dogs, in the vast majority<br />

of cases. Launched by two<br />

vets in 2016, StreetVet<br />

is a registered practice<br />

with the Royal College<br />

of Veterinary Surgeons,<br />

operating in multiple<br />

locations around England.<br />

We spoke to Hove<br />

resident and StreetVet<br />

volunteer Roz Wright, from the <strong>Brighton</strong><br />

branch – which has one of the largest workloads<br />

nationwide – to find out more.<br />

StreetVet <strong>Brighton</strong> runs alongside Sussex<br />

Homeless Support’s regular soup kitchen at the<br />

Clock Tower, every Sunday 1-3pm. “We hand<br />

out food, treats, coats, harnesses and more to<br />

people who need them for their pets. We’ll also<br />

treat any dogs that need a check up. Sometimes<br />

a dog might need emergency care during the<br />

week, so their owner might message us about a<br />

concern. Occasionally we’ll organise for them<br />

to go to a practice if they need to be seen before<br />

we can get to them. And we have an out-ofhours<br />

service that can see them if it’s a critical<br />

emergency at night”.<br />

One important part of StreetVet’s work is to<br />

counter the common perception that people<br />

who are homeless should not own animals. “A<br />

lot of the time those dogs have either come<br />

along prior to them being homeless, or they’ve<br />

been acquired as a result of the dog being in<br />

worse circumstances, and the homeless person<br />

is effectively rescuing them from that situation.<br />

It can be very traumatic<br />

for a dog who might<br />

have spent all their life<br />

with one person, albeit<br />

on the streets, to then be<br />

taken away and put into a<br />

different environment that<br />

they’re not used to, like<br />

kennelling.<br />

“We’ve also got quite a lot<br />

of dogs who are medical<br />

assistance dogs to their<br />

owners, who can help<br />

with things like seizure<br />

assistance, PTSD, anxiety. So to remove that<br />

animal from the owner would be distressing on<br />

both sides. You don’t want to see a dog sitting<br />

there looking sad in the cold, but actually a<br />

lot of dogs are happier being with a person all<br />

the time, being out and about, socialising with<br />

people, rather than sitting at home while people<br />

are at work. There’s pluses and minuses in both<br />

camps really.”<br />

Another aspect of StreetVet’s work is to build<br />

relationships with people who are homeless, and<br />

getting to the bottom of what treatment their<br />

dogs might need. “A huge part of StreetVet is<br />

gaining the trust of people who’ve had some<br />

very difficult experiences. They’ve lost trust with<br />

a lot of people. Having the same people coming<br />

to see them makes a huge difference, so they can<br />

convince them that their dog does need a blood<br />

test, vaccination, or a micro chip for example”.<br />

Joe Fuller<br />

Donations are welcomed of dog food, toys, treats,<br />

harnesses, leads, coats etc. Contact streetvet.<br />

brighton@gmail.com if you are interested in<br />

getting involved. streetvet.co.uk<br />



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

Map from the 1849 Cresy report. Images courtesy of Royal Pavilion & Museums, <strong>Brighton</strong> & Hove<br />



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

<strong>Brighton</strong> slums<br />

The end of pigs in<br />

Paradise Street<br />

Carlton Hill area, prior to slum clearances.<br />

An eminent local historian once said to me, “If<br />

you really want to understand the history of a<br />

town, have a look at the health reports.” It might<br />

seem a strange suggestion, but if you’re interested<br />

in the lives of ordinary people in <strong>Brighton</strong> in the<br />

Victorian era – away from the grand crescents and<br />

squares, theatres and promenades – health reports<br />

make compelling reading.<br />

The growth of <strong>Brighton</strong> in the 18th and early<br />

19th centuries was driven by three key factors:<br />

the popularity of sea bathing and the town’s<br />

reputation as a health resort; its proximity to<br />

London, and the patronage of the Duke of<br />

Cumberland and, later, the Prince Regent. The<br />

influx of affluent visitors created a demand for<br />

services, and the people who provided these also<br />

needed somewhere to live. Unlike the elegant<br />

seafront properties, workers’ houses were small,<br />

damp, badly ventilated and horribly overcrowded.<br />

In 1848, local physician Dr William Kebbell<br />

observed that the streets in deprived areas, in<br />

particular those around Edward Street, were ‘a<br />

disgrace to any civilised people’. Not surprisingly,<br />

disease was rife.<br />

Edward Cresy was appointed by the General<br />

Board of Health to visit <strong>Brighton</strong> in 1849 to carry<br />

out an ‘inquiry into the sewerage, drainage, and<br />

supply of water, and the sanitary condition of<br />

the inhabitants,’ after the passage of the Public<br />

Health Act the previous year. Consider this<br />

description, which introduced his street-by-street<br />

report: ‘Many of the houses are wretchedly damp,<br />

being constructed of inferior bricks, and mortar<br />

made of sea sand. No methods are adopted for<br />

getting rid of even the pluvial waters, and the<br />

walls are covered with lichens; so that, added to<br />

the want of drainage, a constant decomposition of<br />

vegetable matter is going on.’<br />

Cresy spent several days in <strong>Brighton</strong> and, during<br />

his inspection, he would have come across<br />

slaughterhouses in densely-populated streets, pig<br />

yards kept ‘in a filthy condition’, shared privies,<br />

and open cesspools that were rarely emptied. In<br />

Carlton Hill, he noted, ‘the drainage and soakage<br />

of the privies come down into the rooms and<br />

ooze through the walls.’ In Paradise Street, ‘the<br />

pigs are much complained of,’ while in nearby<br />

Cavendish St, ‘the well water is turbid and<br />

positively green in colour.’ He reported scarlet<br />

fever in Richmond Square and Essex Cottages,<br />

smallpox in St John’s Place, typhus in Chesterfield<br />

Street and widespread sickness elsewhere. It’s<br />

ironic that a town priding itself on its fresh sea<br />

air should harbour such poverty and disease in its<br />

back streets.<br />

If some of these street names sound unfamiliar,<br />

that’s because many have disappeared. The<br />

houses in Chesterfield Street, for example, were<br />

demolished in the 1890s and those in Paradise<br />

Street 30 years later. Further slum clearances took<br />

place in the 1930s, but not before the streets were<br />

photographed by officers from the environmental<br />

health department (above), creating a poignant<br />

visual record for future generations. Meanwhile,<br />

Cresy’s recommendations were slowly taken on<br />

board; a new sewage system, widely considered a<br />

feat of Victorian engineering, was completed in<br />

1874 and is still in use today. Kate Elms<br />

Cresy’s report, along with a wealth of related<br />

material, can be viewed at The Keep, thekeep.info<br />


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

MY SPACE<br />

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

Photo by Alex Leith<br />

Keith Willcocks<br />

Upper Gardner Street market stall holder<br />

I’ve been running a stall in the Upper<br />

Gardner Street Market on a Saturday since<br />

the late 80s, and the place has changed a lot<br />

over the years. It used to be a very crowded<br />

antiques market. Back then it was crawling with<br />

dealers. You’d have to get there by five in the<br />

morning, and you’d be home by midday.<br />

Now we don’t have to set up till 9am, and it<br />

runs until 5pm. You’d think everyone would get<br />

there early to get the best stuff, but it’s quiet in<br />

the morning: peak time isn’t till after lunch.<br />

The nature of what’s on offer has changed<br />

completely. Now it’s all bric-a-brac, and food.<br />

Until recently there was a lady in front of me<br />

doing a roaring trade in cupcakes. She must have<br />

made a fortune.<br />

What I sell has changed over the years, too.<br />

At first, I sold antiques, and then I moved into<br />

vintage ladies’ clothing. Now I mostly sell<br />

vintage furs and leather goods. I source most of<br />

it in Northern France.<br />

The customers have changed, as well. The<br />

Japanese and Chinese always ask if they can take<br />

a picture of me; the Italians love their brands,<br />

and are keen on haggling. The British are a bit<br />

more reserved, but most everyone will try to<br />

beat the price down. That’s part of the game.<br />

Most of my customers are young women<br />

between the ages of 20 and 35. There are<br />

older regulars, though, some of whom have been<br />

coming for years and years. Most people who<br />

come to the stall like to have a chat, but there<br />

are a few ‘look won’t buy’ types who have a good<br />

rummage and move on without saying anything.<br />


MY SPACE<br />

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

Photos by Lizzie Lower and Alex Leith<br />


MY SPACE<br />

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

All the stall holders are on first name terms,<br />

and a lot of us have nicknames. I’m ‘Captain’<br />

because of the sailing hat I wear. Stall holders<br />

tend to stay around for the long haul, so the<br />

market is like a social occasion for us.<br />

That’s just as well, because times are hard.<br />

All the Brexit uncertainty has led to people<br />

being very careful with what they spend. In the<br />

last five months sales have dropped off and off<br />

and off. Winters are always difficult: this one<br />

has been exceptionally so.<br />

I have an arrangement with Steve, who runs<br />

the stall next to me. He books the stalls from<br />

the Council, and I give him and his stuff a lift in<br />

the morning, in my Toyota High Ace van. The<br />

Council, it must be said, have been very helpful<br />

over the years with any concerns we’ve had.<br />

The market has been going since 1843, and<br />

Steve has been operating since then. Joking<br />

apart, John, on the other side, has been<br />

running a stall since he was a boy working<br />

alongside his father, who went back to who<br />

knows when.<br />

The most expensive item I’ve ever sold? I<br />

remember the occasion well. It was a Zandra<br />

Rhodes dress, for £75. Happy days.<br />

As told to Alex Leith<br />



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

Place and time<br />

A time travel treasure hunt for Our Place<br />

“No place is ever boring,”<br />

says Jon Mason (pictured).<br />

“Wherever you live you<br />

know that something has<br />

happened there, something<br />

that has led to the design of<br />

the streets and the names<br />

they’ve been given. People<br />

will have lived there before<br />

you – and will live there<br />

after you.”<br />

As a professional storyteller, Jon is fascinated by<br />

how events of the past impact on the present and<br />

the future of specific landscapes, and how we tell<br />

those tales; the blurry line, he says, between fact<br />

and fantasy.<br />

Last year he retold <strong>Brighton</strong>’s past through a<br />

treasure trail at the Open Market. Visitors were<br />

encouraged to go from stall to stall to pick up<br />

clues and learn about the colourful heritage of<br />

the city.<br />

In May, as part of the <strong>Brighton</strong> Festival, he will be<br />

doing something similar in Hangleton.<br />

Children and their accompanying adults will be<br />

able to discover more about the local buildings,<br />

street names and former residents through<br />

the Time Travel Treasure Hunt that starts at<br />

Hangleton Community Centre.<br />

But it’s more than a history tour. Jon, who<br />

often incorporates myths and legends in his<br />

storytelling, says: “We’re imagining that Magnus<br />

Volk, the inventor of the Volk’s Railway in<br />

<strong>Brighton</strong>, also created a time machine that’s been<br />

lost and shattered across time.<br />

“Meanwhile a local villain – based on a real<br />

person in <strong>Brighton</strong>’s history – is trying to find the<br />

pieces to put it together. So we’ll be travelling<br />

through history, from the old fishing community<br />

to Regency <strong>Brighton</strong>, maybe<br />

even to the 1960s Mods and<br />

Rockers and beyond, to try<br />

to stop him.”<br />

The event, part of the Our<br />

Place community celebration<br />

in Hangleton, has also had<br />

input from academics and<br />

undergraduate students from<br />

the University of Sussex’s<br />

History Department.<br />

Jon, who studied for a Masters in History at<br />

Sussex, says: “The students do a final-year project<br />

that has to be public facing, so last year they<br />

helped me to create content for the <strong>Brighton</strong><br />

Open Market. This year, not only will they do it<br />

again, they’ll also produce material that audiences<br />

can access digitally through their devices.”<br />

The plan is that, in addition to being enthralled<br />

by the excitement of the storytelling, audiences<br />

can learn about local landmarks, such as St<br />

Helen’s Church (reputed to be the oldest building<br />

in <strong>Brighton</strong>), and an old train track that used to<br />

take visitors from <strong>Brighton</strong> to Devil’s Dyke.<br />

“I have always loved history, and did it as an<br />

undergraduate degree many years ago in Wales,”<br />

says Jon. “The great thing about studying for the<br />

MA at Sussex was being reminded that history<br />

isn’t only written by academics and historians.<br />

We can all gather it, we can all write it. History is<br />

simply about people’s experiences.”<br />

Jacqui Bealing<br />

Time Travel Treasure Hunt is on 25 May and<br />

begins and ends at Hangleton Community<br />

Centre. The duration is 90 mins. Recommended<br />

for ages 6-12, accompanied by an adult. Our<br />

Place is sponsored by the University of Sussex.<br />

jonthestoryteller.com<br />


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You can become a Lewes FC owner, too,<br />

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Join us and feel great.<br />



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

Lewes FC Academy<br />

The future is bright…<br />

“This Academy is absolutely<br />

the real deal,” says<br />

Charlie Dobres, Lewes<br />

FC Director, sitting on<br />

the grassy bank by the side<br />

of the Dripping Pan pitch,<br />

in the early spring sun.<br />

There’s some big news,<br />

which he’s clearly excited<br />

about: Lewes FC have<br />

teamed up with Plumpton<br />

College in order to<br />

expand their ‘Academy’ set<br />

up, offering courses starting in September. I’m<br />

here to find out more.<br />

“We are offering young men and women, who<br />

want to become professional footballers, the<br />

chance to study for two years for their ‘A’ Levels<br />

and BTEC,” he says, “whilst simultaneously receiving<br />

intensive and high-level football coaching<br />

from our team of experienced coaches.”<br />

Seasoned Lewes FC-watchers might be<br />

thinking ‘hang on, wasn’t there an academy<br />

before? Didn’t it all get folded up?’ “Yes and<br />

no,” says Charlie. “We had a boys’ academy,<br />

where we used virtual educational providers to<br />

teach the lads, here at the Dripping Pan, while<br />

we provided the football training. This was<br />

successful, with the likes of Ronnie Conlon and<br />

Harry Reed making it to the first team. But for<br />

financial reasons, we realised that wasn’t the<br />

best model for the students or for us, so we had<br />

to have a rethink.<br />

“More recently we have been running an<br />

academy for young women, which has been far<br />

more successful, because we teamed up with<br />

an academic establishment, Newman College.<br />

Basically, they provide the education, and pay<br />

us to do the football training. It’s a much more<br />

sustainable model.” So<br />

far Ava Rowbotham has<br />

made it all the way to the<br />

first-team squad; there<br />

are sure to be others<br />

behind her.<br />

The link-up with<br />

Newman will continue<br />

for young women; the<br />

courses at Plumpton<br />

College will be on offer<br />

for a new intake of both<br />

sexes, though the Boys’<br />

Academy won’t open its doors till 2020. Charlie<br />

is negotiating with another local educational<br />

establishment, so boys can also have a choice of<br />

environments to study in.<br />

“All the football training will take place at The<br />

Rookery 3G training pitch on Ham Lane,” he<br />

continues. “The girls will be given three training<br />

sessions a week – like the first team players<br />

– and a match. The coaches are of exceptionally<br />

high quality. There’s Fran Alonso, the Lewes<br />

FC Women’s manager, who used to coach the<br />

likes of Wayne Rooney at Everton; there’s Simon<br />

Parker, who used to be the manager of the<br />

hugely successful Southampton Women’s team;<br />

and there’s Jesus Cordon, another UEFA-qualified<br />

coach.”<br />

Lewes FC are not just in it for the sake of the<br />

kids, of course. The best of these youngsters,<br />

Charlie concludes, will graduate to play in the<br />

first XI of both the men’s and women’s teams.<br />

“We are doing what we can to nurture budding<br />

talent, for the good of the players, and the good<br />

of the club. This is the dawning of an exciting<br />

new era.” Alex Leith<br />

For more details, including of trials in <strong>April</strong>, see<br />

lewesfc.com<br />



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

Illustration by Mark Greco<br />

Dunnock<br />

A scandal in suburbia<br />

“Anyway, I’m not one to gossip, but I flew down<br />

to the bird table at number 30 yesterday and I<br />

bumped into that house sparrow. You know how<br />

sparrows love to chatter, well we got talking over<br />

the fence. You know that Dunnock that lives in<br />

the hedge at number 26? Well, she’s certainly<br />

nothing to look at is she? But that’s Dunnocks<br />

for you, all greys and browns. Not exactly the<br />

most striking bird in the garden. Keeps herself<br />

to herself.<br />

“Well these Dunnocks aren’t like the rest of us.<br />

All sexual equality they are. So in February it was<br />

her who was first out there in the garden establishing<br />

a territory. Then she started seeing this<br />

fella who had a territory next door. Well, it was<br />

all innocent enough but that’s when it all kicked<br />

off. This other neighbouring Dunnock showed<br />

up and he started strutting and serenading her<br />

like he was bleedin’ Casanova. Well, her fella<br />

was having none of it – there was fighting and<br />

feathers everywhere and he soon saw him off.<br />

But old Casanova didn’t give up – he sat in the<br />

hedge warbling and wooing her. Well, when her<br />

fella’s back was turned she was over there like<br />

a flash, twirling her tail at him. In no time they<br />

were ’avin’ a bit of ’ows yer father right under the<br />

hedge. Then she flew straight back to her other<br />

fella looking like butter wouldn’t melt in her beak<br />

and then they went at it. It was then that the third<br />

fella showed up and she snuck off with him too<br />

for some rumpy-pumpy behind the pampas grass<br />

in the front garden of number 24.<br />

“Well, it was like this for the next week apparently.<br />

She was at it 100 times a day! Gets my feathers<br />

ruffled just thinking about it. By <strong>April</strong> she was<br />

proudly sat in her nest incubating four sky blue<br />

eggs which hatched into four little chicks. But the<br />

thing was, all three of her fellas thought that they<br />

were the father – so she had them all scrabbling<br />

’round searching for bugs. Her babies must have<br />

been the most well-fed chicks in the street. I<br />

reckon that was her little game all along.<br />

“But that wasn’t the end of it. It turns out that<br />

her first fella was bringing bugs to another<br />

Dunnock in the next garden who also had his<br />

chicks. And the other two were the fathers of<br />

another Dunnock’s chicks two gardens over. You<br />

couldn’t make it up. There isn’t even a word for<br />

what these Dunnocks get up to. Well, there is.<br />

Polygynandry they call it. Scandalous I call it. If<br />

the people of <strong>Brighton</strong> only knew what goes on<br />

in their very own backyards.”<br />

Michael Blencowe, Senior Learning & Engagement<br />

Officer, Sussex Wildlife Trust<br />



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

They didn’t call Hanover ‘Muesli Mountain’ in<br />

1920, when this picture was taken. This view,<br />

looking north down Washington Street towards<br />

Islingword Road, shows quite what a bleak area it<br />

was back in the day.<br />

One wonders who commissioned the picture – in<br />

the James Gray Collection – to be taken. It surely<br />

wasn’t a picture postcard.<br />

Consider the year the photo was taken, and the<br />

picture gets bleaker. Everybody in the town would<br />

have known somebody who was killed or injured<br />

in the war, but Washington Street was particularly<br />

badly affected. Spare a thought for poor Arthur<br />

and Jane Riddles, who lived at number 12, just<br />

to the right of the place the photographer was<br />

standing. They had two sons – both still in their<br />

teens – killed in action within a few months of<br />

one another in 1917. In March, 19-year-old James<br />

‘died of wounds’ in Italy. In July his younger<br />

brother Reginald – just 16 – went down with HMS<br />

Vanguard, which was sunk at Scapa Flow.<br />

Another war casualty was Frederick Cook, who<br />

lived at number 23, with his wife Ethel. He was 28<br />

when he was killed in Flanders, in <strong>April</strong> 1918.<br />

Washington Street first appears in the directories<br />

in 1864, when the Church of the Annunciation<br />

was built on behalf of the Rev Arthur Wagner to<br />

serve the working-class residents of the new area<br />

of Hanover. At first there was a cluster of shops<br />

and services around the church; the two rows of<br />

terraces weren’t completed until 1889. Believe it<br />

or not, these grimy houses were just 31 years old<br />

when the picture was taken.<br />

It’s a far cry from the Washington Street of today.<br />

Hanover remained a poor – some might say slum<br />

– quarter throughout the majority of the twentieth<br />

century, but it was designated a ‘general improvement<br />

area’ in the late 1960s, and, having escaped<br />

the massive redevelopment of many other crowded<br />

residential areas of <strong>Brighton</strong>, has undergone a<br />

complete transformation of character.<br />

Stand in this spot today and, all the road-clogging<br />

cars apart, the view will be much jollier. You’ll see<br />

the same bungaroosh-filled buildings, for sure, but<br />

now painted in colourful pastel hues, and affordable<br />

only to those who can stump up something in<br />

the region of £400,000. Alex Leith<br />

Many thanks to the Regency Society for letting us<br />

use this image from the James Gray Collection.<br />

regencysociety.org<br />


Springfield Mews, <strong>Brighton</strong>, BN1<br />

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• 4 x four bedroom houses<br />

• Gas fired central heating<br />

• Contemporary kitchens with appliances<br />

• Contemporary bathroom suites (1 en suite)<br />

• A mixture of carpet and engineered oak floors<br />

• Good size rear gardens<br />

For all enquiries contact:<br />

Hamptons International <strong>Brighton</strong> and Hove<br />

01273 230 230<br />

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Visit our shop and workshop<br />

37 Gloucester Rd,<br />

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

BN1 4AQ<br />

01273 692110<br />


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