Viva Brighton Issue #80 October 2019

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PLACES<br />



Waldorf School<br />

Apply Now<br />


An International Curriculum<br />

OPEN DAY<br />

At The <strong>Brighton</strong> Waldorf School, our Teachers are dedicated<br />

to creating a genuine love of learning within each pupil.<br />

Saturday 19 th <strong>October</strong> <strong>2019</strong><br />

10:00am - 2:00pm<br />

For more information, please visit:<br />

www.brightonwaldorfschool.org<br />

For any enquiries please call 01273 386300<br />

Limited Company No. 2395378<br />

Registered Charity No. 802036

VIVA<br />

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

<strong>#80</strong> OCT <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 />

Back in 2017, my experiment with ‘Dry January’<br />

extended into a two-year period of total<br />

abstinence from booze. It was only a tiny triumph<br />

in the grand scheme of things, but it did give me<br />

plenty of time to reflect on my relationship with<br />

the grape and the grain.<br />

I didn’t once miss the corner shop bottle of<br />

generic New World red, or the so-so pints<br />

of carbonated draft lager, but I did miss the<br />

opportunity to raise a glass of flinty Sussex fizz<br />

and to sip a carefully crafted Saison beer, full of<br />

hedgerow-foraged flavours.<br />

These days, I’m a much more discerning drinker.<br />

I prefer to pay a little more and drink a little less<br />

in appreciation of these finer things and to taste<br />

the fleeting essence of the landscape.<br />

So, in these pages, we’re raising a glass to the<br />

local people who have elevated their offerings<br />

to an art form, and whose reputation reaches<br />

far beyond the county line. Just ask Greg Dunn,<br />

Curriculum Manager at the Plumpton Wine<br />

Centre, who’s traded New South Wales for the<br />

South Downs and the UK’s rapidly expanding<br />

wine business. Or Emma Inch, who knows just<br />

about everything that there is to know about<br />

beer. Plus, we learn about a long (long) line of<br />

Sussex millers; hear from Oli Hyde, on the rise<br />

and rise of The Flour Pot Bakery; find out why<br />

gluten is giving some of us such a belly ache, and<br />

much more besides.<br />

So, here’s a toast to the local makers and their<br />

masterful ways with the grape and the grain.<br />

I’ll drink to that.

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: Alex Leith, Alexandra Loske, Amy Holtz, Ben Bailey, Charlotte Gann,<br />

Chris Riddell, Galia Pike, Inky, JJ Waller, Jacqui Bealing, Jay Collins, Joda, Joe Decie,<br />

John Helmer, Lizzie Enfield, Mark Greco, Martin Skelton, Michael Blencowe,<br />

Nione Meakin, Paul Zara and Rose Dykins.<br />

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

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


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

Bits & bobs.<br />

8-25. From toytronica to terroir, the<br />

multi-talented Galia Pike is on the<br />

cover; Forfars forefather Charles<br />

Cutress is on the buses, and Alex Leith<br />

settles into The Jolly Brewer. Elsewhere,<br />

Alexandra Loske is entranced by<br />

treasures from the Royal Collection;<br />

New Note Orchestra is working on<br />

their Kind Rebellion, and Carolyn Trant<br />

celebrates British women artists. And<br />

much more besides.<br />

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

26-27. Oli Hyde on the rise of The<br />

Flour Pot Bakery.<br />

Photography.<br />

29-33. Emma Croman has a passion for<br />

Emma Croman<br />

On this month.<br />

29<br />

food (and knows how to capture it).<br />

41-53. Ben Bailey rounds up his pick of<br />

Columns.<br />

the gigs; there’s an interactive exploration<br />

of empathy at Lighthouse; Jess Phillips<br />

35-39. John Helmer is under doctor’s<br />

MP calls it how she sees it (and encour-<br />

orders, Lizzie Enfield and friends drink<br />

ages us to do the same) and Jonathan Pie<br />

the cellar dry, and Amy Holtz gets<br />

brings his Fake News tour to The Dome.<br />

busted.<br />

Also on this month, a Feast of Fools<br />

at <strong>Brighton</strong> Early Music Festival; Roy<br />

Will Blood<br />

Orbison and Buddy Holly appear (holographically)<br />

at the <strong>Brighton</strong> Centre and<br />

the Theatre Royal serves up Nigel Slater’s<br />

67<br />

Toast. Plus, Elizabeth Hughes unearths<br />

some interesting legacies at The Keep,<br />

and ‘For the Birds’ creator Jony Easterby<br />

is back with his latest woodland odyssey.<br />

10<br />

....6 ....


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

Art & design.<br />

55-67. A lifetime’s work in wood – David<br />

Nash at Towner; Charleston celebrate the<br />

radical beginnings and lasting legacy of the<br />

Omega Workshops; Lexi Laine’s ethereal<br />

underwater photography at the Sussex Art<br />

Fair, and Will Blood’s craft beer can designs.<br />

The way we work.<br />

69-75. Adam Bronkhorst asks some of<br />

<strong>Brighton</strong>’s publicans to step out from<br />

behind the bar (and finds out what they<br />

like to drink when they do).<br />

Food.<br />

77-81. Lizzie Lower has brunch at Back-<br />

Wood, Joe Fuller has a feast at The Coal<br />

Shed and we’ve got a recipe for onion<br />

pakora from The Chilli Pickle.<br />

Features.<br />

83-95. We get a beginner’s guide to<br />

gluten; talk to Greg Dunn – Curriculum<br />

Manager at the Plumpton Wine Centre –<br />

about the rapidly expanding English wine<br />

industry, and Emma Inch – Beer Writer<br />

of the Year, founder of <strong>Brighton</strong> Beer<br />

Week and beer broadcaster – about her<br />

favourite subject (beer!). Plus, we meet a<br />

64<br />

local co-op who've got plans to turn our<br />

food waste into clean energy; go scrumping<br />

with the <strong>Brighton</strong> Permaculture Trust<br />

and meet a Sussex Uni professor who’s<br />

on a mission to get us growing our own.<br />

Plus, Paul Zara finds out about a recently<br />

reimagined mural in Embassy Court.<br />

Wildlife<br />

97. Blencowe's hazy days of sloe hunting.<br />

Inside left.<br />

98. The draymen of Tamplin & Son,<br />

c1920.<br />

Lexi Laine<br />

Galia Pike<br />

8<br />

77<br />

....7 ....


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

Galia Pike has what you might describe<br />

as a portfolio career. She is one half of the<br />

‘toytronica’ duo Psapp, who write music for<br />

TV shows and commercials and have<br />

released critically acclaimed<br />

albums. The “parallel<br />

Psapp universe” that<br />

Galia created, “filled<br />

with monochromatic<br />

cats, imaginary<br />

keyboards and<br />

friendly monsters”<br />

appeared on<br />

merchandise and<br />

in the band’s<br />

animated<br />

videos before spinning off into all sorts of<br />

commissions. Postcards, album covers, posters,<br />

flyers, tattoos, comic strips, prints and even a<br />

range of condom packaging followed, as did<br />

murals, art installations and exhibitions in<br />

London and Paris.<br />

She has also created a range of jewellery and<br />

homewares and has been illustrating lesson<br />

plans and collaborating on songs for The<br />

Big Think who are doing great things to<br />

promote wellbeing, social responsibility and<br />

empowerment in primary schools. And she<br />

writes the hugely popular ‘Dogs of Lewes’<br />

column and draws the ‘Craig’ cartoon for our<br />

sister magazine <strong>Viva</strong> Lewes.<br />

Galia’s portfolio, it occurs to me, is more<br />

....8 ....


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

varied and expansive than most. “I just really<br />

like making stuff,” she says “and it’s not always<br />

important to me what it is...”<br />

She and her husband Adrian (who also worked<br />

in the music business) have recently turned<br />

their creative talents to winemaking, taking<br />

over the running of the Westwell Wines<br />

Estate in Kent in 2017. Adrian is in charge of<br />

the winemaking while Galia takes care of the<br />

branding and marketing.<br />

“I didn’t know much about it,” she tells me,<br />

“so I started a blog called Sussex Uncorked and<br />

went around all the local vineyards interviewing<br />

people about winemaking. It’s been great – if<br />

you want to know something about something,<br />

start a blog.”<br />

The couple have doubled the size of the<br />

vineyard and are experimenting with different<br />

grape varieties and fermentation methods,<br />

gathering a growing reputation for creating<br />

interesting and unusual single-estate wines as<br />

they go. They recently married grape and grain<br />

in a collaboration with master artisanal brewers<br />

Burning Sky, whose ‘This Land’ saison was<br />

aged with Pinot Noir and Ortega grape skins<br />

from Westwell. By all accounts it was delicious (it<br />

all but sold out as soon as it was announced) and<br />

another brew is in the pipeline.<br />

Galia has been busy designing a new label<br />

for Westwell's sparkling wines. So far, their<br />

labels have sported her intricate line drawings<br />

of the soil structure, macerating grape skins<br />

and a microscopic cross section of a vine,<br />

“acknowledging the beauty of the vineyard<br />

and referencing back every part.” They are<br />

meticulously detailed and refined – quite a<br />

departure from her space-cat Psapp aesthetic. I<br />

wonder what she has planned for our <strong>October</strong><br />

'grape & grain' cover?<br />

“Sometimes I’m very intricate and<br />

other times I’m quite cartoony”<br />

she explains. “I’m often really torn<br />

about what will work, but there’s an<br />

immediacy about a cartoon and I do<br />

love anthropomorphising things, so<br />

I’ll probably do something with<br />

that…” she muses. “There are lots of<br />

different elements to what I do.”<br />

From where I’m sitting, that’s<br />

quite the understatement. See for<br />

yourself at monstrouspencil.co.uk;<br />

sussexuncorked.wordpress.com;<br />

psapp.net; westwellwines.com and<br />

the-big-think.org. Lizzie Lower<br />

....9 ....




They may be in the cloud, but<br />

digital assets are assets all the<br />

same. To make sure your executors<br />

can access all your assets, an<br />

element of ‘old school’ might be<br />

required, as Kerry Young explains.<br />

The “paperless office” is for some a clutter free<br />

nirvana; others prefer the physical certainty of<br />

paper and books.<br />

The reality for most of us is that we are running<br />

evermore aspects of our lives online, via digital<br />

devices. Providing families and executors<br />

with access to our digital assets after death<br />

is essential for both financial and sentimental<br />

reasons.<br />

The starting point is to list what assets you<br />

hold digitally, accessed by an online account<br />

(e.g Facebook, Apple, emails, photos, bank<br />

accounts, investments and utilities), and to make<br />

a written record of the logins and passwords<br />

for the accounts and your devices (particularly<br />

important for Apple). Ensure this record is stored<br />

securely – consider depositing the list with<br />

your Will in your Solicitor’s strongroom, or use<br />

a password manager. Review and update the<br />

record regularly and let your executors know<br />

where to find it, but don’t give them a copy.<br />

As an extra safeguard, you might consider<br />

printing hard copies of key documents, or<br />

downloading family photos onto a USB stick.<br />

Read the terms and conditions of your online<br />

accounts so that you know what happens to<br />

those assets on death. Some internet service<br />

providers will permanently destroy your assets<br />

after a specified period of inactivity. Facebook<br />

and Google allow you to name an account<br />

nominee, and Facebook allows a deceased’s<br />

account to be “memorialised”.<br />

There are two certainties in life – death and<br />

taxes. Your executors will need the information<br />

about your digital estate in order to fulfil<br />

their obligations to HMRC – to account fully,<br />

accurately and promptly for all assets in your<br />

estate. Failing to do this can lead to fines for<br />

non-disclosure of assets and/or interest on tax<br />

that is paid late.<br />

Paperless or not, we all cherish the mementos<br />

of loved ones who are no longer with us; it really<br />

is worth taking time to plan how you wish your<br />

mementos to be preserved and accessed.<br />

Kerry Young is a senior associate<br />

at DMH Stallard’s <strong>Brighton</strong> office.<br />

You can contact her on 03333<br />

231580. dmhstallard.com



The Cutress family worked as millers in the <strong>Brighton</strong> and Hove area<br />

as early as the Stuart period, according to hovehistory.blogspot.com.<br />

We know more about their culinary lineage from the 19th century<br />

onwards however: Edward Cutress owned a bakery in London Road<br />

in the 1870s, while Charles Cutress purchased Port Hall Mill in 1874,<br />

and Round Hill Mill on Ditchling Road in 1879 (later known as Tower<br />

Mill and Cutress’s Mill). Charles Cutress died in 1912, aged 83, but his<br />

work was taken up by his grandson, Charles Cutress Junior. Charles<br />

Junior’s son, John Stephen Cutress, was born above one of the family’s<br />

bakeries in Ditchling in 1920. In 1936, the Cutress family took over<br />

Forfars, which ran two businesses: breadmaking and outside catering. After serving as an apprentice<br />

baker at John Barkers in London in 1938-39, John returned home to work at Forfars.<br />

Charles Junior’s other son, Tony, focused on the bakery side of the business while John Cutress<br />

focused on the family’s hotel, restaurant and catering businesses. This included running the Pump<br />

House, Eaton restaurant and Courtlands Hotel, as well as catering for events in the Royal Pavilion<br />

(for as many as 3,000 people at times). In 2012, Forfars ran ten bakeries across <strong>Brighton</strong> and Hove,<br />

including premises in Hassocks, Rustington and Lewes. The long-running local chain was put into<br />

liquidation in 2015. Joe Fuller<br />

Illustration by Joda (@joda_art)<br />

John Davis<br />

MA BACP(reg)<br />

Integrative Counselling & Psychotherapy<br />

Based at Coach House Clinic in the centre of Lewes,<br />

I offer therapy to those experiencing particular difficulties<br />

or individuals feeling somewhat lost in life.<br />

Please feel free to get in touch.<br />

Call: 0780 135 4803<br />

Email: jd-therapy@outlook.com<br />

www.johndavistherapy.co.uk<br />

FIRST<br />


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Asthma Eczema Bronchiolitis Acne Wheezing Coughs<br />

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brighton@saltspace.co.uk<br />

www.saltspace.co.uk<br />

Tel: 01273 973843<br />

372-374 Portland Road, Hove BN3 5SD

SANTA S<br />


Opens 23rd November <strong>2019</strong><br />

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BOOK<br />

ONLINE<br />

NOW<br />

NEW animated displays for <strong>2019</strong>!<br />

Meet Santa and receive a gift<br />

From £6.50 per child<br />

Last year we raised £23k+ for The Budding Foundation<br />

Book online at www.thebuddingfoundation.co.uk<br />

(charity no. 1155335)<br />

A273 <strong>Brighton</strong> Road HASSOCKS<br />

Sussex BN6 9LY 01273 845232<br />

www.tatesofsussex.co.uk<br />

SANTA’S<br />

NEW Grotto experience for <strong>2019</strong>!<br />

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£9.50 per child<br />

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Raising money for The Budding Foundation (charity no. 1155335)<br />

Book online at www.thebuddingfoundation.co.uk<br />

OLD BARN<br />


A24 Dial Post, HORSHAM<br />

Sussex RH13 8NR 01403 710000<br />



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



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

An 1820s view of the Music Room, showing the pagodas, uplighters and mantelpiece garniture that will return to the Pavilion.<br />

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



By the time this issue of <strong>Viva</strong> <strong>Brighton</strong> goes<br />

to print six of the state rooms of the Royal<br />

Pavilion and the King’s Library will be filled<br />

with more than 120 spectacular objects, including<br />

clocks, cabinets, candleholders, oriental<br />

porcelain, Chinese nodding figures and 16-feet<br />

tall porcelain pagodas, most of which were<br />

originally made or purchased for the Pavilion<br />

during George IV’s lifetime. They are coming<br />

to us from Her Majesty the Queen’s Royal<br />

Collection on a two-year loan basis, directly<br />

from Buckingham Palace. They were removed<br />

by Queen Victoria in 1847-48 following her<br />

decision to cease using the Pavilion as a royal<br />

residence. In the new east wing, or ‘Blore<br />

Wing’ (after the architect Edward Blore) of<br />

Buckingham Palace, Victoria and Albert reused<br />

and reinterpreted the exotic interiors of the<br />

Royal Pavilion, creating several rooms in the<br />

Chinoiserie style they had admired in <strong>Brighton</strong><br />

(despite not liking the place in general). It<br />

could be argued that many of the Pavilion’s<br />

interiors only survive because they liked the<br />

style so much.<br />

Many original objects were returned over the<br />

years by Victoria and other monarchs, such as<br />

the spectacular chandeliers in the Banqueting<br />

Room and the paintings on the Music Room<br />



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

walls, but many others became part of the fabric<br />

of Buckingham Palace and are rarely on public<br />

view. They are now returning to their original<br />

location (although in some cases the story is<br />

more complicated than that) as part of a major<br />

reservicing project at Buckingham Palace. It is<br />

fair to say that among them are some of the most<br />

beautiful objects in the Royal Collection.<br />

At the time of writing, our two teams of experts –<br />

comprising curators, project managers, conservators,<br />

administrators and other staff from the<br />

Royal Pavilion and the Royal Collection Trust<br />

– have been working on A Prince’s Treasure for<br />

many months and we are now at the beginning of<br />

the end of a complex and exhilarating journey.<br />

Over the years I have read, talked and written so<br />

much about the Pavilion that I have in my mind<br />

created a near perfect vision of how it looked in<br />

the 1820s. The recent Saloon restoration project<br />

gave me a real sense of the splendour created by<br />

George and his architects and designers, but I<br />

never dreamt I would see the state rooms of the<br />

Royal Pavilion return to their almost complete<br />

1820s glory, with so many of the original<br />

decorative objects and fittings brought back. It<br />

is hard to describe what this means to me, as I<br />

have been walking through George’s rooms in<br />

my imagination for so long. This exhibition is<br />

a unique opportunity to see and experience one<br />

of the most important, exuberant and carefully<br />

designed interiors of the early 19th century. Once<br />

the Royal loans are all in place, I guess I will feel<br />

like local writer Richard Sickelmore, who noted<br />

in c1825 that ‘it is scarcely in the power of words<br />

to convey an accurate idea of [the Pavilion’s] rich<br />

and glowing magnificence’.<br />

Alexandra Loske, Art Historian and Curator<br />

A Prince’s Treasure – From Buckingham Palace to<br />

the Royal Pavilion. The Royal Collection returns<br />

to <strong>Brighton</strong>. 21 September <strong>2019</strong> to Autumn 2021,<br />

Free with Royal Pavilion admission.<br />

brightonmuseums.org.uk/royalpavilion<br />

A Chinese porcelain vase in the shape of two carp, set on a French Rococo<br />

glit bronze mount. Royal Collection Trust © Her Majesty Queen Elizabeth<br />

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

A magnificent Chinoiserie clock from one of the mantelpieces of the<br />

Banqueting Room. Royal Collection Trust © Her Majesty Queen<br />

Elizabeth II <strong>2019</strong><br />

A purple speckled Chinese porcelain vase with gilt bronze mounts from<br />

the Music Room Gallery. Royal Collection Trust © Her Majesty Queen<br />

Elizabeth II <strong>2019</strong><br />


Plus X<br />

A competition for <strong>Brighton</strong>’s<br />

most inventive minds<br />

hub.plusx.space/disruptors<br />

Win six months desk space and<br />

mentorship to get your product<br />

idea off the ground.<br />

The theme? Sustainability<br />

12th November <strong>2019</strong><br />

6:00 - 9:30 pm<br />

Unbarred Brewery, <strong>Brighton</strong><br />

ABOUT US<br />

Innovation hubs driving business<br />

growth, innovation, collaboration<br />

and positive social impact across<br />

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Launching in <strong>Brighton</strong> Jan 2020.<br />

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plusxspace<br />



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


If you are walking down<br />

Lamb’s Conduit Street in<br />

London you are likely to<br />

work nearby, have a particular<br />

guide book in your<br />

hand, have a literary bent<br />

or a friend who has tipped<br />

you off. It’s not exactly<br />

out of the way but it’s not<br />

central either. On the edge<br />

of Bloomsbury, about five<br />

minutes from Clerkenwell<br />

and parallel to the Grays Inn<br />

Road that leads up to King’s<br />

Cross, it’s a street that feels<br />

secret even after multiple visits.<br />

Within a short distance, you can visit the<br />

Charles Dickens museum, buy some very fashionable<br />

clothing, buy a wonderful book reprint<br />

from Persephone Books and have a pint at a very<br />

good pub. You can also have a good meal with<br />

some fine wine at a restaurant called Noble Rot.<br />

(In case you think I got all of this from Google, I<br />

used to work around the corner.)<br />

The people who run the restaurant also produce<br />

a magazine of the same<br />

name. Noble Rot is mostly<br />

about the grape rather than<br />

the grain. This is no amateur<br />

effort from people who<br />

like wine and drink a lot<br />

but a really good mag from<br />

people immersed in different<br />

aspects of the wine trade all<br />

the time. Which also means<br />

that they can pull some pretty<br />

impressive contributors.<br />

In the current issue, Alistair<br />

Little argues for taking good<br />

olive oil rather than poor<br />

wine to your next supper, Simon Hopkinson<br />

writes about cooking with cognac, and Ruby<br />

Tandoh writes about fantastic feasts. But, amongst<br />

the 24 authoritative articles, you can read why<br />

low-alcohol wines are often better than their high<br />

alcohol counterparts, explore the Loire Valley’s<br />

best wine fair and find out about the new wine<br />

stars from Portugal. And that’s only the first sip.<br />

The perfect autumn companion to the next bottle<br />

you open. Martin Skelton, Magazine <strong>Brighton</strong><br />


So true! Life can be tough – and, if we crash out of<br />

Europe on the 31st, it might get even harder – but<br />

you’ve got to keep on keeping on. You can do it. (We<br />

tell ourselves.)<br />

But where did we find this powder room pep talk?<br />

Last month’s answer: Pavilion Garden's public toilets<br />


The Montpelier Inn is a place<br />

where we like to do our best to<br />

make everyone feel at home. Our<br />

newly renovated pub is a very<br />

unique place, with its rich history<br />

and our friendly atmosphere.<br />

We show all the sports and also<br />

host live acoustic jazz, as well as<br />

a monthly throwback disco event.<br />

We also serve a variety of foods<br />

with our international Street<br />

Food menu.<br />

Join us and get a pint and main<br />

for £10 with this advert!<br />

Plus, bookings of 3 or more<br />

people receive a complimentary<br />

bottle of house wine.<br />

7-8 Montpelier Place | <strong>Brighton</strong> BN1 3BF | 01273 640195


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


I get a bit lost looking for the Jolly<br />

Brewer, and ask an old fellah for directions.<br />

“I’m going that way, follow me,”<br />

he says in a gruff Glaswegian accent.<br />

“A couple of years ago I’d have advised<br />

you not to go in, but now…”<br />

When I see the pub, rising high on a<br />

street corner on Ditchling Road, I realise<br />

that it’s that odd-looking mosquelike<br />

building I’ve seen from cars and<br />

wondered about. It is, unmistakably, a<br />

former Tamplins pub, and not just because<br />

the defunct brewery name is writ<br />

large on the wall: it’s crowned with a<br />

splendid dome like the Grand Central,<br />

or the Alibi.<br />

I immediately feel at home when I walk<br />

through the ornate doorway, and not<br />

just because my wife is already sitting<br />

at a table inside. We’ve arranged to<br />

meet at 7.30pm; I’m ten minutes late.<br />

I’m taken by the pub’s unlaboured<br />

flea-market-furniture feel, the dim<br />

lighting, the way the clientele look as<br />

if they’ve settled in for the night. “We<br />

have a vast array of delicious crisps,”<br />

the cheerful barmaid says, when I ask if<br />

they do food. “Or you can order takeout,<br />

and eat it here.”<br />

They have a wide array of delicious<br />

beer, too, it turns out. I order an Abyss<br />

Brewery Dank Marvin; Rowena goes<br />

for a Gun Pale Ale. We phone in pizzas<br />

from PizzaMe, and decide, from the<br />

pile of games in the corner, to play<br />

Scrabble rather than Trivial Pursuit, because<br />

we don’t want to fight in public.<br />

We’re onto our third pint by the time the pizzas arrive, and<br />

I realise that we’ve settled in for the night, too. I get chatting<br />

to a guy on my intermittent trips to the smoking yard: it<br />

turns out he works in the pub, but he’s come on his night<br />

off because he likes it so much. He lives around the corner,<br />

but he never used it before it got taken over: it was a right<br />

roughhouse. It’s a sister pub, of sorts, to the Hand in Hand<br />

in Kemp Town, where the landlord used to work. That’s my<br />

local chatting pub: another good sign.<br />

We finally spill out at ten thirty. Naturally, considering our<br />

beer-fuelled mood, we chat to our taxi driver, who knows<br />

the pub well. They do quiz nights, and live music, and the<br />

beer’s great, he tells us. “It’s a far cry from a couple of years<br />

ago…” Alex Leith<br />

174 Ditchling Road<br />

Illustration by Jay Collins<br />



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


“Kindness is so important<br />

in terms of recovery<br />

from addiction,” Molly<br />

Mathieson says. “Addicts<br />

have to consider what it is<br />

that made them spiral out of<br />

control and what they need<br />

to do to stay sober. Often a<br />

big part of that is being kind<br />

to themselves and to others.” We’re talking about<br />

Kind Rebellion, the latest work by <strong>Brighton</strong>’s New<br />

Note Orchestra, which was founded by Mathieson<br />

in 2015 to help people recovering from drug<br />

and alcohol addiction. The music, composed by<br />

artistic director Conall Gleeson in tandem with<br />

the 22-strong orchestra, is set to be performed<br />

at ACCA on November 13 as part of a collaboration<br />

with the University of Sussex, which has<br />

an entire research department dedicated to the<br />

study of kindness. Playing live is a big deal for the<br />

orchestra, which rehearses every Tuesday at St<br />

Luke’s Church on Old Shoreham Road. “It’s the<br />

thing we all work towards,” explains Mathieson.<br />

The former TV producer founded New Note on<br />

the back of her 2014 Channel 4 TV show Addict’s<br />

Symphony, which followed a group of addicts as<br />

they were invited to perform with the London<br />

Symphony Orchestra. “As I was watching the<br />

show unfold, I was so moved by the process,” she<br />

says. “It was clear that music really helped people<br />

with addiction issues. That was it really. We had<br />

just moved to <strong>Brighton</strong> and I decided to set up an<br />

orchestra.”<br />

After taking a course with the School of Social<br />

Entrepreneurs, she held a one-day pilot in <strong>Brighton</strong>.<br />

“I expected about four people to show up but<br />

there were 20. So there<br />

was obviously a need for<br />

it. Then I did an extended<br />

pilot to look at whether<br />

people would commit to<br />

coming every week and<br />

whether the music we created<br />

would be good enough<br />

to put on a performance. It<br />

was yes, yes, to all those things. There are three<br />

core orchestra members who were there at the<br />

very first session back in 2015 and they’re still<br />

with me today. It’s felt like this thing we’ve built<br />

together.”<br />

Members come to the orchestra in a number<br />

of ways: “Sometimes a support worker will<br />

recommend us; sometimes people find out about<br />

us through someone already in the orchestra.<br />

But a lot of our members have just walked in<br />

one evening.” Members are not required to have<br />

any prior musical training. “The only criteria for<br />

joining are being in recovery and wanting to stay<br />

in recovery. Hardly anyone in the orchestra reads<br />

music when they come to us. But there’s a high<br />

aspiration, and commitment is important – it’s<br />

something to turn up for every week, and people<br />

will expect you to be there.” The group does<br />

not talk about addiction or recovery. “But you’re<br />

with people who have all been through the same<br />

things as you. That peer-to-peer support is very<br />

powerful. Then there’s the confidence boost that<br />

comes with learning and playing music; everyone<br />

is given the chance to shine. People come in feeling<br />

like addicts and leave feeling like musicians.”<br />

Nione Meakin<br />

newnote.co.uk<br />



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

‘Cocktails came to mind’, writes JJ Waller when he first heard this month’s theme.<br />

‘An early Friday evening stroll along the front (Hen Party arrival time) soon<br />

offered up this colourful encounter with matching straw and nails, that I couldn’t<br />

resist photographing. A snowball on a scorching hot day is a thing of great beauty.’<br />



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



Sylvia Pankhurst, daughter of Emmeline, was<br />

a political activist and campaigner for women’s<br />

rights. She was also an artist. ‘Her art’, writes<br />

Carolyn Trant in her new book, Voyaging Out,<br />

‘became her way of bearing witness, showing the<br />

monotony of the repetitive work done by women,<br />

from packing fish to stooking corn; enduring the<br />

heat of the mills or cold in the fields.’<br />

The book’s packed with fascinating life stories<br />

of British women artists over the last 150 years:<br />

how they did and didn’t manage to work, how<br />

they organised their lives, who they lived with,<br />

who they worked with; and how that work was<br />

then received – or not – by the establishment of<br />

the day.<br />

The effect of this “narrative non-fiction” is<br />

compelling, and cumulative: all these lives<br />

lived, and lost – and the extraordinary art that<br />

emerged. The pictures dotted throughout are<br />

an education. And Carolyn is herself, of course,<br />

an artist, not historian: the emphasis stays firmly<br />

with the work.<br />

The idea for the book came, Carolyn tells me<br />

when I visit her in Lewes, after she wrote and<br />

published her 2004 life of Peggy Angus. Peggy,<br />

born to a mining family, one of 13 children, was<br />

always an outsider when it came to the art establishment,<br />

and deliberately so. “She was being<br />

an outsider definitively, so she could say what<br />

she thought”, says Carolyn. “This could seem<br />

intimidating, but she was totally fearless.”<br />

Carolyn knew Peggy well – from the age of eleven,<br />

when Peggy was her art teacher at her North<br />

London school. They remained close until<br />

Peggy’s death in 2004. “And there were so many<br />

other women artists I encountered through<br />

her. I wanted to write about her wider group of<br />

friends. That was the seed. This book grew from<br />

there. At one stage it was three times the size!<br />

And of course it was a joy writing it because I<br />

know a lot of the next generation: they’ve been<br />

so generous.”<br />

She was also politically motivated. “I’d been<br />

part of a group called Women In Print. Of<br />

course, I’ve cared about how women have been<br />

overlooked for simply being women. And the<br />

relevance today is important. We’re at a period<br />

where we’re rethinking what art is. Grayson<br />

Perry – who I think is brilliant – is Peggy Angus<br />

today. It’s to do with looking at art as something<br />

you do as part of life – nothing to do with<br />

galleries etc.”<br />

Throughout this account, of course, women<br />

juggle their art with other roles and constraints:<br />

financial, class, marriage, security, children, the<br />

kitchen sink. Their courage and determination<br />

shine through these potted histories. And<br />

Carolyn also thinks that politically and socially<br />

we have things to (re)learn. “Now is so like the<br />

1930s – with the rise of fascism. These women<br />

were so inspiring, had such integrity.<br />

“Perhaps they didn’t have so much to lose”, she<br />

says. “But they lived by their beliefs, and they<br />

stood up for things. Today, we could do with<br />

remembering this.” Charlotte Gann<br />



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

Photo by Adam Bronkhorst<br />



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

MYbrighton: Oli Hyde<br />

Founder/Managing Director of The Flour Pot Bakery<br />

Are you local? I moved to South East Asia<br />

when I was 17, lived in Hong Kong for three<br />

years then moved to <strong>Brighton</strong> about 93/94.<br />

Some guys that I caught up with in Hong Kong<br />

who were in <strong>Brighton</strong> invited me down for a<br />

weekend… I ended up sleeping on their sofas<br />

for six months.<br />

What do you do? I am the founder and<br />

managing director of The Flour Pot Bakery<br />

and The Flour Pot Kitchen. We are a <strong>Brighton</strong>based<br />

business, started here from scratch. We<br />

began about seven years ago supplying about<br />

a dozen croissants a day to the Small Batch<br />

group. We currently employ about 130 people<br />

in the summer months, over seven sites and our<br />

production facility in Portslade.<br />

Most recently we opened on the border of<br />

Portslade and West Hove on Portland Road<br />

(pictured). I teamed up with fifth generation<br />

florist Matt Gunn and we’ve connected the<br />

two shops. At the end unit I’ve put in a young<br />

designer called James Wilson and a young<br />

jeweller called Charlie Carr-Gomm. They use it<br />

as a workspace, and for retail.<br />

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

the seasonality. Probably of all the places I’ve<br />

been in the UK, you get the best of everything<br />

here. The sun sets over the sea in the winter.<br />

The long summer days can make for the best<br />

days out.<br />

I’ve been working with Varndean College’s<br />

business course for the last four years,<br />

mentoring students. One thing I always tell<br />

them is that it’s a bit of a microclimate here.<br />

You can develop your idea, and if you can make<br />

it work in <strong>Brighton</strong>, you can make it work<br />

anywhere in the UK.<br />

I think <strong>Brighton</strong>’s a really good testing ground<br />

for young enterprise. Its proximity to London<br />

means that there’s more money here than in<br />

most seaside towns. We’ve got higher visitor<br />

numbers – in excess of eight million a year.<br />

We’ve got a population of 250,000 people which,<br />

in term time, can be 25% students. We’ve got<br />

foreign students throughout the city all summer<br />

long, bringing new energy to the streets.<br />

What would you like to change about<br />

<strong>Brighton</strong>? A little underinvestment down in<br />

Madeira Drive kind of winds me up. We’ve<br />

probably all, at some point, thrown £20 into one<br />

of the many fundraising exercises on Facebook<br />

or what have you, but nothing seemed to<br />

happen. It’s such a shame to let that go and<br />

for the council not to consider the Regency<br />

Seafront of enough value. Especially with all the<br />

events we put on down there in the city.<br />

What’s next for The Flour Pot? I’ve been<br />

talking to a local brewer about using waste<br />

bread to make beer. What happens is, you take<br />

the waste bread, you slice it, you use the latent<br />

heat to dry out the bread (which is energy<br />

efficient) and in the process of making beer,<br />

the starch is turned to sugar. So it’s an exciting<br />

opportunity for us to use waste bread in a clever<br />

way, and to make beer, which most of us like.<br />

And we’d like to continue to open Flour Pot<br />

shops as well. Interview by Joe Fuller<br />

theflourpot.co.uk<br />



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

Emma Croman<br />

Foodie photographer<br />

How did you come to<br />

be a food photographer?<br />

I used to be a picture<br />

editor for magazines,<br />

and after I packed that<br />

in, I decided to become a<br />

nutritional therapist and<br />

did a three-year course.<br />

I had a car accident, and<br />

taught myself how to use<br />

a new camera while I was<br />

recovering. So food was a<br />

natural subject for me. It’s<br />

not the only thing I do – I<br />

take a lot of portraits, for<br />

example – but a lot of<br />

my work is food-focused<br />

editorial.<br />

Can you sum up your<br />

philosophy? I like to see<br />

a natural scene in a frame. Some people shoot<br />

very conceptual food shots, and it looks nice, but<br />

it doesn’t happen in real life. I like all the asides:<br />

close-ups, individual ingredients, prep shots,<br />

someone putting a record on, empty plates at<br />

the end of the meal, that sort of thing.<br />

Is a good food photo more about the photographer’s<br />

eye, or the equipment they use?<br />

It’s two-thirds the photographer’s eye, I’d say.<br />

You can take a good food shot with an iPhone if<br />

you know what you’re doing. A lot of the shot is<br />

about the styling, and framing.<br />

Everyone’s a food photographer nowadays…<br />

It’s great that food is encouraging people to<br />

get creative. And it helps me that everyone<br />

puts their dinner on social media. My clients<br />

want pictures that are better than they see on<br />

Instagram: as long as I keep upping my game, I<br />

can provide that.<br />

What camera do you generally<br />

use? I use a Canon<br />

Mk 4, with a 50mm lens.<br />

It hits the sweet spot – you<br />

can go as wide or as tight as<br />

you like. I always shoot on<br />

manual: for close-up shots<br />

I’ll shoot on an f5.6 aperture<br />

and adjust the shutter<br />

speed accordingly.<br />

Does the food generally<br />

get cold while you’re at<br />

work? Do you get to eat<br />

it? Some foods, like soup, or<br />

freshly cooked meat, need<br />

to be shot while they’re hot.<br />

Most other dishes go cold<br />

during the shoot, and you’d<br />

never know. You can get to<br />

eat them afterwards if you<br />

want, but usually they’ve been prodded around<br />

with so long, you don’t want to.<br />

Are you a cook yourself? By no means a chef,<br />

but a home-cook, yes. I love cooking in the<br />

evening, with my partner or for dinner parties.<br />

Big spreads with lots of different dishes. My<br />

favourite chefs are Yotam Ottolenghi – I love<br />

his Simple cookbook, and the Persian cooking<br />

of Sabrina Ghayour. Luckily, we have Taj, so the<br />

ingredients are easy to find!<br />

Do you ever meet food producers? I often go<br />

out and shoot them at work. It’s a real pleasure<br />

working with such passionate people, and an<br />

education seeing the source of the food that<br />

ends up on our plate.<br />

Give us a top tip… You’ve got to know what<br />

you want to communicate with the image before<br />

you even pick up the camera. As told to Alex Leith<br />

emmacroman.com<br />



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

Photos by Emma Croman<br />



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

Photo by Emma Croman<br />



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

Photo by Emma Croman<br />



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

Photos by Emma Croman<br />


Award-winning independent<br />

3 screen cinema<br />

Next to Lewes station<br />

Pinwell Road, Lewes BN7 2JS<br />

01273 525354<br />

lewesdepot.org<br />




Renee So, Woman I, 2017, Stoneware. Photo: Angus Mill.<br />

Courtesy of the artist and Kate MacGarry, London<br />

LIVE<br />

EVENTS<br />


Saturday 28 September – Sunday 12 January 2020<br />

In partnership with West Dean College of Arts and Conservation<br />



Saturday 28 September – Sunday 19 January 2020<br />

A new co-commission with Project Artworks<br />





SEEDS<br />


Sunday 24 November Tuesday 11 February 2020 Friday 20 March 2020<br />

Charity number: 1065586<br />

<strong>Viva</strong> Lewes - half page ad.indd 1 12/09/<strong>2019</strong> 18:21:35

COLUMN<br />

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

John Helmer<br />

Gripe and Groan<br />

Illustration by Chris Riddell<br />

“Is this a good moment to talk?”<br />

“Given that I'm waiting at baggage reclaim<br />

and my suitcase hasn’t yet shown up, as good a<br />

moment as any.”<br />

“It’s about your test results...”<br />

This is never a good opening to a telephone<br />

conversation with a healthcare professional.<br />

“Should I be sitting down?”<br />

“Actually, you should be sitting down less.<br />

Ideally you need to be doing as much exercise as<br />

possible… But come in to see me when you get<br />

back home and I’ll run you through it...”<br />

It seems I’m pre-diabetic. I have high blood sugar<br />

levels – as well as high blood pressure and high<br />

cholesterol. All three cherries.<br />

I’m allowed to eat cherries, by the way, since<br />

although fruit contains a lot of sugar, it also<br />

comes with fibre, which is good. But cherryflavoured<br />

yoghurt is out, as are any number of<br />

cherry-oriented puddings or the sort of cakes<br />

that typically come with a cherry on the top.<br />

No more Mr Kipling’s Cherry Bakewells for me<br />

then, (other brands of life-shortening snack are<br />

available). And, of course, I should drink less. Has<br />

anybody over fifty ever been to a doctor about<br />

any complaint at all and not been advised to<br />

drink less? If such a person exists, I don’t want to<br />

go to their dinner parties.<br />

I’m entered in a programme which is going to<br />

encourage me to make lifestyle changes. Since I<br />

already exercise a fair bit and am not overweight,<br />

the main thrust of this is to steer me away from<br />

roast potatoes, little pastries at 11am and all the<br />

sweet things of life, and towards wholegrains,<br />

porridge groats, dark, heavy German bread and<br />

brown rice. It seems like cruel but, perhaps,<br />

fitting revenge for all those jokes we used to<br />

make in the Eighties about the customers of<br />

health shops: “Have you seen those people in<br />

Infinity? None of them looks remotely well…”<br />

I lose a stone and start running more regularly<br />

and soon feel bursting with health. Eating<br />

smoked salmon on pumpernickel bread for lunch<br />

actually doesn’t seem too grave a punishment for<br />

a life of chips and carb overload. And something<br />

I learn when I start to tell people about my<br />

condition is that just about everybody in my<br />

friendship group and extended family is in the<br />

same boat. It’s just that they maintain a stoic<br />

silence while I like to whinge. “We’re<br />

those old gits in the corner we<br />

always hated,” I say to a friend,<br />

“discussing their ailments”. From<br />

rock and roll to gripe and groan.<br />

But these are First World<br />

problems. Meanwhile<br />

British politics are<br />

in meltdown and<br />

the Amazon is<br />

on fire, and my<br />

wife informs me<br />

that our next<br />

jaunt to the<br />

continent will<br />

be by train,<br />

not plane (no<br />

more baggage<br />

reclaim, at<br />

least). It<br />

seems a lot of<br />

us are going<br />

to be making<br />

lifestyle<br />

changes soon.<br />





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COLUMN<br />

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

Lizzie Enfield<br />

Notes from North Village<br />

Illustration by Joda (@joda_art)<br />

This feels a bit like going to the doctor and<br />

having to fill out one of those forms: the<br />

ones where they ask you how much you<br />

drink and smoke. It's for your own good – if<br />

the doctor knows your drinking habits, he<br />

may be able to save your liver. But you can't<br />

quite face the ‘you might want to cut down<br />

on the amount you drink’ admonishment. So<br />

you tick the box that says ‘no more than one<br />

glass of wine a week’.<br />

In reality, it is no more than one a day – most<br />

days. You go out for a few drinks, every now<br />

and then, and there's always wine in the<br />

fridge. In fact, there is always wine in the<br />

fridge of everyone you know. They pick it<br />

up in the supermarket, along with bread and<br />

milk, so there’s always something to offer<br />

guests, expected or unexpected – except for<br />

when it gets very late and you realise the<br />

wine has stopped flowing and the corner<br />

shop is closed.<br />

We recently had dinner with neighbours.<br />

We brought two bottles with us, because one<br />

between two people is never quite enough.<br />

There seemed to be a lot of wine when we<br />

arrived, but by the end of the evening it had<br />

run out.<br />

Our host began rooting around in cupboards.<br />

“I knew there was a bottle somewhere,”<br />

he said, producing a dusty one, which he<br />

uncorked and poured.<br />

By that stage of the evening, wine<br />

appreciation was not really on anybody's<br />

mind but at least one person commented,<br />

“This is very good.”<br />

No one else thought anything of it, until the<br />

hosts took a sip and remembered where the<br />

bottle came from.<br />

Very old friends had brought it when they<br />

came for the weekend. It was their wedding<br />

anniversary. They’d told them it was a very<br />

good wine that they’d been saving to drink<br />

with very special friends. But they’d put it to<br />

one side and forgotten to serve it, promising,<br />

when the friends left, to save it and drink<br />

with them the next time they saw each other<br />

(the friends had been a bit put out by its nonappearance).<br />

“I'm sure you can replace it.” Another guest<br />

produced his phone and an app that tells you<br />

the nearest stockist of a particular vintage.<br />

It was apparently in Mayfair, which should<br />

have alerted us to just how good the wine<br />

was.<br />

“Here they have one in!” said the wine app<br />

man, triumphantly.<br />

And then a slight look of consternation<br />

passed across his face.<br />

“It was nice wine,” he said handing his phone<br />

to our host.<br />

“Not that nice,” said the host, who was<br />

already sitting down but looked as if he<br />

needed to lie down – despite the sobering<br />

fact that the wine we’d just drunk cost<br />

£300…<br />


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Dine Behind Britannia<br />

5 course silver service gala dinner as you<br />

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A week of Halloween fun and games.<br />

Fancy dress competitions, crafty fun and much more.<br />

Lost your broom?<br />

Catch the train from Sheffield Park or East Grinstead Stations.<br />

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Special offer applies on 26-30 Oct & 1-3 Nov. Discount available on advance bookings<br />

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COLUMN<br />

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

Amy Holtz<br />

The truth is, I’m a Minnesotan<br />

It all started because my<br />

partner was watching<br />

something called ‘cricket’ on<br />

TV. From what I can tell, no<br />

one scores points and this<br />

one guy keeps taking off his<br />

face cage and wiping down<br />

his glasses with the speed and<br />

concentration of someone<br />

restoring a Rembrandt,<br />

so everyone else is just<br />

meandering around on the<br />

grass in little hats, like zombies.<br />

“What are those stupid caps? And why does the<br />

Australian commentator keep saying ‘Bumble?’”<br />

I grouse to my partner, sculling my wine. He’s<br />

very absorbed, though, just like the men in the<br />

stands. So, I turn my attention elsewhere.<br />

Most of the houses and flats across the street<br />

have Victorian bay windows – and I perk up<br />

when I spy a man leaning over the sash on the<br />

top floor with a cup of tea and, my eyes narrow,<br />

a biscuit. Custard cream, I think, nodding. The<br />

flat’s been empty for ages, no curtains to hide<br />

its bareness and, from what I can tell, squinting,<br />

the wall behind him is in the process of being<br />

exposed from its tired blue wallpaper. Leaning<br />

against it is a ladder. The window to the left<br />

is frosted, and a shadowy figure stands there,<br />

immobile.<br />

“Hey, look,” I say, slapping my partner’s<br />

shoulder. “There’re people up there.”<br />

I’m about to Rear Window this business only to<br />

realise that, sadly, I don’t own binoculars.<br />

I pull out my phone.<br />

“That’s not creepy at all.”<br />

Nor, it turns out, is it useful in terms of<br />

espionage. Technology hasn’t made everything<br />

better – as my phone’s camera zoom just makes<br />

everything blurry. With cricket<br />

on, it’s hard to keep my gaze<br />

from that window, but, as I say, it<br />

was only the beginning.<br />

‘What are they doing today?’<br />

I think the next day, settling<br />

into my spot on the couch – the<br />

perfect perch for neighbourwatching<br />

with a coffee or, the<br />

next day, a beer. Today, I’ve got<br />

Horlicks, and they’re tearing<br />

at the paper, a giant spotlight<br />

persistently focussed on the north-facing wall as<br />

dusk descends.<br />

Other times they’re sitting there, late into the<br />

night, the ladder silhouetted at the same angle as<br />

that first day. Mug in hand, leaning out of that<br />

window, or washing up behind the frosted glass.<br />

Some days pass without a word, others with just<br />

an affectionate tug of their paint shirt. Honestly,<br />

who needs Netflix when you’ve got real-life DIY<br />

romance on demand?<br />

“They’re not making much progress,” I say, one<br />

Tuesday. The walls look distressed, tattered<br />

and sad. I wonder if this reveal will seem more<br />

satisfying than on TV, since I’ve invested so<br />

much time in it. Time, I huff to myself, is<br />

ticking.<br />

“Maybe they’re working on the floor. Or<br />

another room.”<br />

Suddenly, the man’s head turns sharply – down<br />

and right. He’s looking my way, eating his<br />

biscuit in a slow, deliberate fashion.<br />

I squeak an expletive. I’ve been rumbled.<br />

“Do you honestly think they’ve not spotted you<br />

before, Jimmy Stewart?”<br />

“Grace Kelly, please.” I retort, yanking at our<br />

curtains, face aflame.<br />

“You’d make a terrible spy.”<br />



Join us for 35 events<br />

across <strong>Brighton</strong> &<br />

Hove featuring 700<br />

years of music, from<br />

concerts, dance and<br />

drama to a modern<br />

take on the medieval<br />

Feast of Fools.<br />

Full programme and ticket booking at<br />

bremf.org.uk or 01273 709709<br />

BREMF<br />

brightonearlymusic<br />

brightonemf<br />




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



MUSIC<br />

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

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

CIEL<br />

Tue 1st, Green Door Store, 7.30pm, £10/8<br />

It’s always intriguing to hear of the appeal that<br />

<strong>Brighton</strong> has for musicians from elsewhere.<br />

Dutch singer and multi-instrumentalist Michelle<br />

Hindriks decided to stay here after a decade of<br />

trips to the city convinced her it was the place to<br />

put down roots – not that it’s stopped her band<br />

CIEL going back to play festivals and tour supports<br />

in the Netherlands. The trio have recently<br />

been recording the follow-up to their 2017 EP<br />

which situated Hindriks’ breath-like vocals in a<br />

pleasantly upbeat dream-pop bubble. They’ve<br />

been booked by Melting Vinyl here as support<br />

for Brooklyn alt-rockers TEEN, alongside <strong>Brighton</strong><br />

shoegazers HANYA – another likeminded<br />

trio out to make a FULL-CAPS statement with<br />

their band name.<br />

ARXX<br />

Mon 28th, Hope & Ruin, 7.30pm, £5/3<br />

Arxx can expect a proper<br />

homecoming party at<br />

this show after being on<br />

the road for two months<br />

touring in Europe and<br />

the UK. The ‘gal pal’<br />

duo have been going in<br />

their current form for just a couple of years, but<br />

they’ve already honed a powerful sound that<br />

bristles with the kind of confidence that only<br />

comes from incessant gigging. Their latest single<br />

Y.G.W.Y.W. (You Got What You Want) is even<br />

more strident than the last, channelling the angst<br />

of early Hole into what could genuinely be called<br />

an anthem of empowerment. Like the rest of<br />

their set it’s heavy on the riffs and easy on the<br />

ears, but only in the sense that the drums and<br />

distortion never get the better of the melody.<br />


Tue 29th, Komedia Studio<br />

Bar, 7.30pm, £5/3<br />

This Halloween charity<br />

special showcases music<br />

from three young <strong>Brighton</strong><br />

acts ranging from hip<br />

hop to grunge and R&B,<br />

but the line-up seems to<br />

make a certain sense in<br />

that we’re assured they’re<br />

all ‘local witches here to ward off evil spirits with<br />

their wicked songs’. Boudicca (pictured) has<br />

come up strong in the last year or so, delivering<br />

fiercely political rhymes with mischievous melodies<br />

that have won her freestyle battles as well as<br />

some decent support slots. Tilda Allie brings her<br />

determined fusion of pop, jazz and electronica,<br />

while the punchy fuzz of Kids R Kruel rounds<br />

off the night as only a ‘shed punk farm family’<br />

know how.<br />


Thu 31st, Rialto Theatre, 7pm, £10/7<br />

Buffo’s Wake are a homegrown gypsy punk gang<br />

who have toured all over Europe and beyond,<br />

but rarely play in <strong>Brighton</strong>. Here they’re expanding<br />

into an eleven-piece orchestra for one<br />

night only to celebrate the release of their second<br />

album and lament the country’s supposed<br />

break from the EU. The band’s fondness for the<br />

continent is clear both in the Balkan influences<br />

that drive their raucous cabaret folk and the anti-Brexit<br />

shtick of their launch party theme (DJ<br />

Brexit Banger Bus will be hosting the afterparty<br />

with a pun-addled playlist). Get there early to<br />

catch some jubilant banjo shredding from Dr<br />

Bluegrass and a high-energy brass workout from<br />

Town of Cats.<br />


ART<br />

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

<strong>Brighton</strong> Digital Festival<br />

Exploring empathy<br />

“Empathy is about finding echoes of another<br />

person in yourself”. Brisbane-based multimedia<br />

artist Georgie Pinn employs this quote – from<br />

Indian novelist Mohsin Hamid – to illustrate<br />

her intention in creating Echo, one of the<br />

works in Alternate Realities, a free exhibition at<br />

Lighthouse as part of <strong>Brighton</strong> Digital Festival.<br />

Georgie explains that upon sitting in her photo<br />

booth installation, visitors will be greeted by<br />

Echo, “a female AI character that recognises<br />

that you’ve entered. She says ‘I am your echo; I<br />

can help you connect.’ Her character forms out<br />

of pixels and then dissipates. You never quite<br />

see her. She takes your photograph and wants<br />

to really look at your face, and understand your<br />

expressions.”<br />

A touch screen will then offer visitors a menu<br />

of people’s faces to choose from, each one<br />

telling a different story. “It then glitches out,<br />

this person appears and they’re looking at you<br />

in life scale. They start to tell you a story of<br />

their life: all are about four minutes long. As<br />

their story slowly rolls out, the face starts to<br />

glitch… by the end, the storyteller transforms<br />

into you. Ending with them uttering the last<br />

words of their story with your mouth, and<br />

blinking with your eyes. It’s a slow, subtle<br />

transition: you almost don’t realise that the<br />

transition of identity is happening.”<br />

Georgie has been exploring interactive forms<br />

of technology throughout her career. One of<br />

her previous works, Electric Puppet, utilised<br />

motion tracking in an interactive installation<br />

for children. “Kids could create kind of robot<br />

characters with found objects. The head<br />

might be an old TV, the arms from a deer, the<br />

body a Transformer.” The child could then<br />

dance as they saw fit, seeing the character on<br />

screen move in time: Georgie was moved by<br />

how their faces would “light up” after seeing<br />

their characters coming to life. “There was<br />

this beautiful emotional connection with the<br />

content.”<br />

Georgie grew up in an “unusual environment”,<br />

living in remote places in 25 different<br />

countries. “For me to survive in different<br />

environments I had to learn how to shape<br />

shift, so this is the driving force of my creative<br />

practice”. She was therefore excited when she<br />

discovered facial tracking, used in Echo to<br />

create the transition of identity.<br />

After watching another person’s story, visitors<br />

will be given the opportunity to tell their<br />

own. “As it’s travelled around the world it has<br />

slowly built this archive of personal stories…<br />

experiences that change your life and make you<br />

reflect on who you are, or change your value<br />

system or perspective on things.” Joe Fuller<br />

Lighthouse, 11-20th, 12-7pm (closed Mondays<br />

and Tuesdays)<br />


TALK<br />

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

Speaking Truth to Power<br />

Jess Phillips calls time on bulls**t<br />

I’m scheduled to speak with<br />

Jess Phillips MP about her new<br />

book Speaking Truth to Power:<br />

7 Ways to Call Time on BS, but<br />

the phone hasn’t rung. I’m not<br />

surprised. It’s the morning after<br />

one of the most momentous days<br />

in British politics and Jess has<br />

given an excoriating speech in<br />

the House of Commons calling<br />

out the Prime Minister for<br />

playing a “bully boy game” over<br />

his plans for Brexit, declaring<br />

that there was “literally no distance” that she<br />

would trust him on anything and shaming the<br />

“cowardly” members left on the Conservative<br />

benches for sitting silently by as 21 of their<br />

colleagues were suspended for rebelling against<br />

the PM. Delivered with righteous rage, it was a<br />

masterclass in calling time on BS.<br />

Since taking office as MP for Birmingham<br />

Yardley in 2015, Jess Phillips has developed a<br />

reputation for calling it how she sees it. Her<br />

plain-speaking is a refreshing change from<br />

parliamentary in-speak. (“Let’s just call it<br />

shutting down parliament. I literally hate<br />

the word prorogation” – another thing she’s<br />

bloody angry about.) But it’s won her plenty of<br />

enemies as well as supporters. In the book, she<br />

reveals that she sleeps with a panic button next<br />

to her bed, installed after her close friend and<br />

colleague Jo Cox was murdered by a far-right<br />

extremist. She is constantly threatened for<br />

speaking out and viciously trolled on social<br />

media with vile and hateful comments. I can’t<br />

help but wonder if the price of speaking up is<br />

too high?<br />

Of course, she admits, the backlash is<br />

distressing and the most<br />

difficult part of speaking truth<br />

to power. ‘Backlash usually<br />

means you have hit a nerve.’ she<br />

writes. ‘It can be terrifying and<br />

tiring and you should expect it<br />

and prepare for it, but it is also a<br />

force we can use for good if we<br />

learn what to amplify and what<br />

to ignore.’<br />

As well as how to channel<br />

the fear, the book is full of<br />

practical advice for getting<br />

your message across in the most effective way<br />

and with the maximum impact and – in case<br />

you’re thinking your voice is too small to make<br />

a difference – interviews with ordinary people<br />

who were compelled to speak out. People<br />

like Zelda Perkins who blew the whistle on<br />

Harvey Weinstein, Sarah Rowbotham who<br />

refused to be silenced having discovered the<br />

child exploitation scandal in Rochdale, and the<br />

families of Grenfell United campaigning for<br />

safer social housing.<br />

It’s an inspiring and emboldening read. A battle<br />

cry as well as a ‘how to’ manual. A reminder<br />

that, if you want to be heard, you’ve got to<br />

speak up. If you’re not ready to start a onewoman<br />

crusade just yet, Jess advises that we all<br />

start with not being a ‘bystander to bullshit’.<br />

As world politicians continue to behave in<br />

unspeakable ways, it falls to us to call them out.<br />

‘If you don’t speak back to the bully, the bully<br />

always wins.’<br />

Lizzie Lower<br />

Jess Phillips MP will be discussing her new book<br />

on Thurs 3rd <strong>October</strong> at the Brighthelm Centre,<br />

7.30pm. Visit city-books.co.uk/events for tickets.<br />


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

Nina Conti, Lou Sanders,<br />

Jessica Fostekew and Glenn Moore<br />

Comedy | Sat 5 Oct<br />

Trope<br />

Francesca Beard, Rosy Carrick,<br />

Connor Byrne and Amber Burgoyne<br />

Spoken Word | Tue 15 Oct<br />

Mithras Trio<br />

Classical Music | Sun 20 Oct<br />

The Unthanks<br />

Contemporary Music | Mon 21 Oct<br />

Theatrical Makeup Workshop<br />

Workshop | Mon 28 Oct<br />


Wed 9 Oct<br />


OF ALL<br />

Fri 18 Oct<br />

Drag Queen Story Time<br />

Children & Family | Tue 29 Oct<br />

Giselle by Dada Masilo (pictured)<br />

Dance | Tue 29 & Wed 30<br />

brightondome.org<br />



Tue 22 Oct<br />


Fri 25 Oct<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

COMEDY<br />

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

Jonathan Pie<br />

Fake News tourist<br />

Jonathan Pie has been a constant and<br />

entertaining presence on social media ever<br />

since things started getting weird in 2016.<br />

Tom Walker, the man behind the character, is<br />

bringing his wayward newsreader to <strong>Brighton</strong><br />

Dome this month on his Fake News Tour.<br />

This show is about Pie coming to terms<br />

with the fact that he’s spent his whole life<br />

shouting. And we all seem to be guilty of<br />

that these days. We don’t listen anymore. If<br />

someone voted differently from you, they must<br />

be a bigot. They must be! And you don’t win<br />

an argument like that, you know. It’s about Pie<br />

beginning to realise that it’s not helpful.<br />

Look at the referendum and the Trump<br />

vote. It was keep things as they are – or<br />

kick the system up the arse. And we were<br />

all amazed when the working classes, who<br />

haven’t had a pay rise in a decade, voted f**k it.<br />

What people were voting for was change. And<br />

that was something Hillary and the Remain<br />

campaign were not offering. In<br />

hindsight it’s hardly surprising, is it?<br />

Writing this show has been<br />

a cathartic exercise. A lot has<br />

changed for me personally. I<br />

mean, I was a struggling actor and<br />

suddenly I became this...<br />

um... leading political<br />

satirist. Which is<br />

something I never<br />

signed up for, but<br />

I went with it! I<br />

was a darling of<br />

the left for a<br />

bit and then<br />

I started<br />

taking the piss out of the left as well, so I was<br />

suddenly this alt-right stooge.<br />

This woke culture is very virtuous, but<br />

there’s an insidious element to it. If you dare to<br />

stray from the prescribed norm, the Twitterati<br />

will destroy you. That’s a big part of the show,<br />

that so-called liberals are so illiberal when it<br />

comes to anything they don’t believe is liberal.<br />

It’s a bizarre paradox. That said, I need to<br />

reiterate that the show is far more funny than<br />

I’m making out!<br />

I think Donald Trump is well on his way to<br />

a second term. I did a thing for the BBC last<br />

year where I went to America and interviewed<br />

loads of Trump voters. I genuinely want to<br />

know why people voted for him so maybe we<br />

can stop them voting for him next time! The<br />

reason I take the piss out of the left is because<br />

I care about the left. And I’m fed up with them<br />

getting it wrong.<br />

We’re about to get a general election<br />

before the end of the year. For very<br />

selfish reasons I’m hoping they wait<br />

until December when my tour is over,<br />

so I don’t have to rewrite the bloody<br />

thing! But all bets are off. By the end<br />

of the year you could have Corbyn in<br />

number 10. You never know. What I<br />

will say with some measure<br />

of authority is that Boris<br />

Johnson will continue<br />

to be a self-serving<br />

arrogant prick. You can<br />

quote me on that!<br />

As told to Ben Bailey<br />

<strong>Brighton</strong> Dome, Sun<br />

27th Oct, 6.45pm<br />



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

Feast of Fools<br />

A medieval musical extravaganza<br />

The final show in this year’s <strong>Brighton</strong> Early<br />

Music Festival is a medieval extravaganza<br />

involving no fewer than three choirs and a<br />

teenage dance group.<br />

“The show is based on the #‘Feast of Fools’,<br />

in which social hierarchies were reversed and<br />

general bawdiness was, for the only time in the<br />

year, allowed,” says Leah Stuttard (pictured).<br />

“So, as well as a lot of delectable Renaissance<br />

polyphony, there will be an ass dance, and some<br />

audience participation in the break. It’ll be<br />

full of surprises, and super-varied.” Expect the<br />

unexpected, in other words. Just don’t expect<br />

any po-faces in the house.<br />

There aren’t many who know more about<br />

medieval music than Leah, who is charged with<br />

the tough task of musically orchestrating the<br />

whole shebang, with help from co-director,<br />

Saskia Wesnigk. Leah’s a self-confessed<br />

‘manuscript geek’ and has translated into<br />

modern notation several of the pieces that are<br />

being performed, adding some of her own<br />

improvisations. She’ll also be in the four-strong<br />

band, which will feature some excitingly obscure<br />

instruments, like the trumpet marine and Leah’s<br />

buzzing bray harp.<br />

The Feast of Fools was an annual winter<br />

celebration in France and England until the<br />

16th-century, when it was banned by bishops,<br />

worried about all the unruliness it engendered.<br />

“It involved the whole of the community in the<br />

parish,” she explains. “Children had to deliver<br />

a sermon. Sub deacons got to do what bishops<br />

normally did. There was a lot of revelry, with<br />

clergy carousing on the streets and people<br />

bashing on doors, asking for money. The world<br />

went topsy-turvy for a few days.” In Tudor<br />

times, the feast transmogrified into Twelfth<br />

Night; Lewes’ Bonfire Night has its origins in<br />

the celebration.<br />

The theme of this year’s Festival is<br />

‘transformation’. “The Feast of Fools concert<br />

was festival director Deborah Roberts’ idea,”<br />

says Stuttard. “She’s also the director of the<br />

Consort of Voices choir, who will be joined<br />

by the BREMF Community Choir (directed<br />

by Andrew Robinson), and a choir made up of<br />

students from two <strong>Brighton</strong> primary schools,<br />

Westdene and Goldstone. The youth dance<br />

group Streetfunk, with their choreographer<br />

JP Omari, will add some youthful dynamism<br />

to the evening. We’ve decided to give young<br />

people a big part in proceedings to acknowledge<br />

their importance in recent campaigning against<br />

climate change.”<br />

The concert will be held in <strong>Brighton</strong>’s biggest<br />

church, St Martin’s, on Lewes Road. “It’s a<br />

beautiful church,” says Leah, “and big enough<br />

for us to recreate that medieval community<br />

feel.” If you’re not quick enough to book a ticket<br />

during the Festival proper, the concert will be<br />

reprised on January 5th – Twelfth Night – and<br />

Jan 6th, in two nearby churches that date back to<br />

medieval times, St Mary de Haura in Shoreham,<br />

and St Margaret of Antioch, in Rottingdean.<br />

“Two more occasions you can let your hair<br />

down, medieval style,” says Leah. “Just don’t<br />

expect the normal, static dynamics of a classical<br />

concert.” Alex Leith<br />

St Martin’s Church, Sun 10th November, 7pm,<br />

bremf.org.uk<br />




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

The Latest<br />

chortle.com<br />


The Argus<br />


19-23 Marine Parade, <strong>Brighton</strong>. BN2 1TL<br />

New<br />

Venue<br />

Book Online www.treasonshow.co.uk<br />

Broadway Baby<br />

Northern Echo<br />

Fringe Guru<br />



FILM<br />

MUSIC<br />


Thursday 31 <strong>October</strong><br />

The Con Club, 139 High St, Lewes.<br />

8pm<br />

Tickets£16 (£12 members)<br />

Book online www.treasonshow.co.uk<br />

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

01273 678 822<br />


MUSIC<br />

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

Roy Orbison & Buddy Holly<br />

Hologram concert<br />

You might have heard about the growing trend<br />

of dead superstars performing in holographic<br />

form, but this month gives us a chance to see it<br />

for ourselves at the <strong>Brighton</strong> Centre. We spoke<br />

to Martin Tudor, CEO of BASE Hologram, a<br />

US-based company specialising in developing<br />

and promoting the nascent form of live<br />

entertainment.<br />

Why are Roy Orbison and Buddy Holly<br />

performing together? It is Roy Orbison and<br />

Buddy Holly sharing the bill. They do not play<br />

together because Roy and Buddy never really<br />

did play together, although they did at one<br />

point share a bill. We try to be as authentic as<br />

we can. We think it will be a great, fun evening<br />

for audiences since every song’s a hit. So it’s<br />

pretty special actually.<br />

All quite short hits too… Exactly. It’s hit<br />

after hit after hit. Because then, songs were<br />

two or three minutes, not three, four, five, six,<br />

seven and so on.<br />

The show’s blurb mentions ‘mixed reality’,<br />

what does this entail? There’s a big screen<br />

with some videos that give you some history on<br />

both of them. People in their lives<br />

talk about them both, so you<br />

get a real flavour of who they<br />

were as artists and individuals.<br />

Are they backed by a band<br />

or an orchestra? You’re<br />

seeing a live band<br />

but hearing the<br />

artist’s actual<br />

voices, from the<br />

holograms. This<br />

is about as close<br />

as it could be to<br />

seeing the two of<br />

them live. Most people never got to see Buddy<br />

Holly, because he died so young. And Roy died<br />

at such a young age too, only 52 years old.<br />

What recordings do you use for the vocals?<br />

In this case they are all studio recordings,<br />

because the quality of the live recordings from<br />

back then is just not good enough. We have<br />

remastered all the vocal recordings, so it sounds<br />

as good as one can sound in today’s world.<br />

Where does the video of them performing<br />

come from? We create the video, starting<br />

from scratch. We use original videos as<br />

reference, so we can get their movements<br />

correct. We do it exactly the same way as how<br />

they created Carrie Fisher in the Star Wars<br />

movie [Rogue One].<br />

How does it work, technically? We use<br />

military grade laser technology to project a high<br />

quality hologram onto the stage… for this tour<br />

we’re using one very powerful Epson projector.<br />

Have the shows proved popular? Audiences<br />

cheer and act at these concerts in a similar<br />

way to how they would if the performers were<br />

really there. There’s a great party atmosphere.<br />

Do the performers appear solid?<br />

They appear solid from a distance<br />

– anyone particularly close can<br />

see through them, because<br />

ultimately, of course, the figures<br />

are just projections. But<br />

people tend to get swept up<br />

in the atmosphere and feel<br />

so immersed that no one<br />

remembers.<br />

Interview<br />

by Joe Fuller<br />

22 Oct, 7.30pm,<br />

brightoncentre.co.uk<br />


Advertorial<br />

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is home to over 500 acres of diverse landscape,<br />

featuring rare plants from around the world.<br />

Run and managed by the Royal Botanic gardens, Kew,<br />

Wakehurst is brimming with colourful foliage as it<br />

enters autumn, with stunning woodlands and<br />

hedgerows teeming with jewel-like berries.<br />

Autumn in the garden is a delight for all the senses,<br />

as the leaves turn to vibrant hues of red, orange and<br />

golden yellows. Picture perfect vistas can be seen<br />

throughout the gardens and woodlands, with a favourite<br />

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Home to the Millennium Seed Bank, step inside to spy<br />

on scientists at work as they strive to conserve seeds<br />

from around the globe. Scramble over our daring log trail,<br />

Tree Trunk Trek, hire an Explorer Rucksack and head to<br />

the Children’s Heritage Garden to get cooking in our mud<br />

kitchen (open until 3 November).<br />

Wakehurst is open daily from 10am. Adults £13.95,<br />

children 16 and under free. National Trust members<br />

can enjoy free entry to Wakehurst, however car parking<br />

charges apply.<br />

Upcoming events<br />

Bountiful Botanics<br />

12 – 13 <strong>October</strong><br />

A fun-filled weekend celebrating nature’s<br />

bounty, with an exciting programme of<br />

family activities.<br />

<strong>October</strong> Half-term fun<br />

26 <strong>October</strong> – 3 November<br />

Plenty of fun for all the family during<br />

<strong>October</strong> half-term with a range of<br />

activities and workshops.<br />

Glow Wild<br />

21 November – 22 December<br />

The winter lantern trail returns, bringing<br />

the landscape alive with lanterns,<br />

soundscapes and torches of fire.<br />

To find out more about Wakehurst and upcoming<br />

events visit kew.org/wakehurst


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

Nigel Slater's Toast<br />

A feast of nostalgia<br />

Photo by Piers Foley<br />

“When I say ‘Jammy<br />

Dodgers’ the audience<br />

goes crazy,” laughs actor<br />

Giles Cooper, “And as for<br />

‘Cadbury Mini Rolls’…”<br />

It’s one of many nostalgiaevoking<br />

moments in Toast,<br />

the stage adaptation of<br />

Nigel Slater’s bittersweet<br />

foodie memoir that<br />

arrives at the Theatre<br />

Royal this month. The show follows the<br />

longstanding Observer food writer – played by<br />

Cooper – from his 1960s boyhood in suburban<br />

Wolverhampton, through his teenage sexual<br />

awakening, to his first proper job at The Savoy.<br />

A different dish – some of them recreated on<br />

stage – prompts each memory; the burnt toast<br />

his adored but short-lived mother made for<br />

him; the family’s early experimentations with<br />

then-exotic spaghetti bolognese, and of course,<br />

Slater’s infamous masterclass in seduction via<br />

Walnut Whip. “It’s a total nostalgia-fest,” says<br />

Cooper. “One of the unifying things between<br />

us, regardless of race, gender, politics and so<br />

on, is that we all know and love food. It’s such<br />

a part of our identity and memory. That’s what<br />

Toast, and what Nigel as a writer, encapsulates<br />

so perfectly.”<br />

He has worked closely with Slater throughout.<br />

“That’s a unique experience as an actor, to<br />

have the person you’re playing present or at<br />

the end of a phone.” He now prides himself<br />

on having the writer’s mannerisms and vocal<br />

inflections down pat. “We did a radio interview<br />

together the other day down a phone line. The<br />

DJ asked us a question and Nigel and I both<br />

started chatting. She had to stop us and say she<br />

was terribly sorry but she didn’t know which<br />

of us was talking. I was<br />

delighted.” Cooper has<br />

also had a few cooking<br />

lessons from his subject<br />

in preparation for a<br />

scene where he cooks<br />

live on-stage. “I enjoy<br />

that moment in the show<br />

immensely because I<br />

don’t have any lines. I’m<br />

on stage for the whole<br />

two hours so it’s nice to be quiet for a while.”<br />

It’s not something one is prepared for in drama<br />

school, however. “There was one moment<br />

in London, during the press night, when I<br />

looked up and saw Nigel Slater and Nigella<br />

Lawson in the audience watching me cook. I’ll<br />

be honest and say I did lose my stomach for a<br />

second there. I decided I wasn’t going to look<br />

up again.”<br />

Contrary to assumption, Cooper says he<br />

doesn’t actually get to eat on stage: “It wouldn’t<br />

be very pleasant for the front row.” But, as a<br />

child with ‘an enormously sweet tooth’ the<br />

section about sweetshop favourites – which<br />

involves handing out the likes of Black Jacks<br />

and Parma Violets to the audience – is one<br />

of his favourites. “I love seeing people’s faces<br />

when we start passing them round. There’s so<br />

much affection and excitement.”<br />

Slater’s story touches people in all kinds of<br />

ways, he adds. “I’ve had people come up to me<br />

afterwards who knew nothing about Nigel but<br />

liked the look of the show and then had such<br />

a powerful reaction to the memories the show<br />

evoked they felt compelled to come and talk to<br />

me afterwards. That, as an actor, is gold…”<br />

Nione Meakin<br />

Theatre Royal <strong>Brighton</strong>, <strong>October</strong> 28-Nov 2<br />


THE KEEP<br />

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

The dead CAN talk<br />

Where there’s a will…<br />

Much of what we know about<br />

the lives of our East Sussex<br />

antecedents can be gleaned from<br />

the bureaucracy cataloguing<br />

their demise.<br />

Did you know, for example, that<br />

the 18th-century inhabitants<br />

of Battle had a penchant<br />

for peppermint? “Or so it<br />

appears from the inventory<br />

in the probate of one Francis<br />

Bellingham, landlord of the<br />

George Hotel,” says Elizabeth<br />

Hughes. “The document lists<br />

every item that was in every room of the hotel<br />

after his death. In the cellar there was what<br />

you’d expect: beer, wine, madeira, claret, port,<br />

rum, brandy… but also, oddly, eight gallons of<br />

peppermint.”<br />

Elizabeth was the county archivist at the<br />

East Sussex Record Office and, on <strong>October</strong><br />

30th, she will be sharing some of the original<br />

material held at The Keep, in an event entitled<br />

Where there’s a Will… Archives and Records<br />

Relating to Death and Burial.<br />

“We can also find out information from<br />

coroners’ inquests, funeral arrangements,<br />

family documents and wills,” she continues.<br />

“We can work out where people lived and how<br />

they died, how rich or poor they were, what<br />

sort of friends they had, what type of funerals<br />

they were given, and much more.”<br />

The causes of death draw a picture of how<br />

very different people’s lives were, in the past.<br />

“Before modern medicines were discovered,<br />

many people were killed by epidemics of TB,<br />

smallpox and cholera, of course. But there are<br />

examples of people drowning in privies and<br />

wells. There are a lot of horse-related deaths.<br />

Before people were killed by<br />

cars, they were killed by carts.”<br />

There are also some interesting<br />

parallels to be drawn with the<br />

present. “It appears that deaths<br />

due to accidental drug overdoses<br />

were as common in the 19th<br />

century as they are now,” she<br />

continues, “only people used<br />

different drugs.” She cites the<br />

example of a young man who<br />

died in 1826 in The George pub<br />

in Rye: the Coroner’s Inquest<br />

suggested he had overdosed on<br />

opium. “You could buy it at the chemists as<br />

easily as you can get cough mixture today.<br />

Many people would have been addicts. They<br />

took it as laudanum, in an alcohol solution.”<br />

Not all deaths were accidental. “We can learn<br />

a lot about the chaotic lives of the protagonists<br />

of the Second Trunk Murder, in <strong>Brighton</strong>, in<br />

1934,” she says, “from the Coroner’s Inquest<br />

into the case. The victim, a dancer and<br />

prostitute, was named as Violet Kaye, but she<br />

had a number of different aliases. As did the<br />

man accused of her murder, Henry Mancini.<br />

The report of the policeman who opened the<br />

trunk and found the remains is particularly<br />

gruesome.”<br />

The majority of people who consult the<br />

archives at The Keep are doing so to draw<br />

up their family trees. But, Elizabeth says,<br />

they generally get much more than they<br />

expected out of the process. “People end up<br />

learning a lot of social history. And the records<br />

surrounding their antecedents’ deaths is<br />

particularly rich in information.”<br />

Alex Leith<br />

The Keep, Oct 30th, 2.30-4.30pm<br />


Tree & Wood<br />

Jony Easterby returns to the Sussex woods<br />

“My work is starting to feel a bit prophetic,”<br />

says artist Jony Easterby, only half-joking.<br />

We’re talking about Tree and Wood, his<br />

new outdoor show about mankind’s uneasy<br />

relationship with nature. When we speak,<br />

the forest fires in the Amazon are still raging.<br />

“We began this project three years ago<br />

but it has just got more and more intense,”<br />

he explains. “Now I can’t think of a more<br />

pressing narrative than trees.” Inspired in<br />

part by American writer Annie Proulx’s<br />

environmental epic Barkskins, the show is a<br />

song cycle created by Easterby in collaboration<br />

with sound artist and ‘avant-folk’ musician<br />

Nathaniel Mann (The Dead Rat Orchestra).<br />

“My favourite part of the performance is<br />

playing an eight-foot long forestry saw,”<br />

he says. “We went out into the woods as a<br />

company and engaged the services of a couple<br />

of foresters. They brought a few of their tools<br />

along and I started bowing this saw. It just<br />

sounded incredible. It makes this otherworldly<br />

sound somewhere between screeching and<br />

harmony.”<br />

Tree and Wood picks up the themes of<br />

Easterby’s 2017 <strong>Brighton</strong> Festival promenade<br />

piece For The Birds, of nature as a source of<br />

both wonder and anxiety. “The idea of the<br />

‘greenwood tyrant’ runs through the show –<br />

this fear of the wild. It’s particularly prevalent<br />

in New Zealand and the American North<br />

West, where cutting down 2,000-year-old<br />

trees is seen as a celebration of man’s dominion<br />

over nature.” Easterby has had a passion for<br />

“all things arboricultural” since his early days<br />

woodcarving in rural Wales, when he was first<br />

introduced to the ‘living sculptures’ of land<br />

artists such as David Nash – “a revelation.”<br />

He says: “It was like, oh right, you don’t have<br />

to do things in a gallery. You can work in this<br />

really free way.” Performances will take place<br />

at dusk – “There’s an almost hallucinogenic<br />

quality to being in the woods as the light starts<br />

fading, it’s like God dimming the house lights”<br />

– within Leonardslee Lakes and Gardens<br />

near Horsham. While the Grade I listed<br />

gardens, planted in the early 1800s, are “far<br />

from a naturalised landscape”, Easterby feels<br />

the conservation they represent chimes with<br />

the themes of the show. “The original plant<br />

collectors started laying out the gardens 200<br />

years ago in the grand tradition of Victorian<br />

plant hunters, and generation after generation<br />

have added to them. Over that period many<br />

of the wild environments the plants have<br />

come from have decreased – so some of these<br />

plants are probably the only ones of that genus<br />

that still exist.” Easterby’s intentions for the<br />

touring show are practical as well as artistic,<br />

he tells me. He is adding a 15 to 20 per cent<br />

‘rider’ that will go towards replanting ‘vast<br />

quantities’ of new trees around the UK. “It’s<br />

not about us saving them. If we can focus our<br />

energies enough, then trees can save us.”<br />

Nione Meakin<br />

<strong>October</strong> 24-27 & Oct 29-Nov 2, Leonardslee<br />

Lakes and Gardens, Lower Beeding, near<br />

Horsham. thecapitalhorsham.com<br />


(EAST)<br />


Freshfield Road, <strong>Brighton</strong> BN2 9XZ<br />


11th <strong>October</strong> <strong>2019</strong> (6pm - 9pm)<br />


12th & 13th <strong>October</strong> <strong>2019</strong> (10am - 6pm)<br />

Artwork: Jody Craddock<br />



Preview Evening Tickets also available for purchase online.<br />


ART TO BUY<br />


120 ARTISTS,<br />



sussexartfairs.co.uk | #sussexartfairs | @sussexartfairs

ART<br />

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

David Nash<br />

The Wizard of Wood<br />

You get the feeling, when you talk to Anglo-<br />

Welsh sculptor David Nash, the internationally<br />

respected sculptor and land artist, that he<br />

really loves his primary material, wood.<br />

In <strong>October</strong> the Towner in Eastbourne is<br />

showing a retrospective of his career, 200<br />

Seasons at Capel Rhiw, an indoor forest of his<br />

raw abstract sculptures, in all their charred,<br />

chipped and chain-sawed glory. The exhibition<br />

celebrates the artist’s long relationship with<br />

Wales, where he has been working in his studio<br />

– a converted chapel in Blaenau Ffestiniog – for<br />

50 years. He also has strong connections with<br />

East Sussex, where he sources much of his wood.<br />

“Every species speaks a different dialect of the<br />

language of wood,” he tells me, over a glass of<br />

elderflower cordial, on a hot July afternoon.<br />

“Each has its different qualities. Oak has<br />

longevity, birch has a short life. Holly is so<br />

dense and white they use it to make piano keys.<br />

Elm doesn’t split, but it can smell funny. In<br />

fact, it can smell like dog shit. I had to remove<br />

a sculpture from an exhibition once, because<br />

everyone was looking at the soles of their shoes.”<br />

Another sculpture that had to be taken away,<br />

for a different reason, was Big Bud, a fourmetre-high,<br />

6-ton oaken carving that was<br />

briefly on show, in Grange Gardens, as part of<br />

his 2007 With the Grain exhibition, in Lewes<br />

Town Hall. “It was vandalised,” he says, “and<br />

we had to put a fence round it, and a guard,<br />

with a dog. It became too much bother, so we<br />

removed it. My wife didn’t like it anyway.”<br />

Nash has utmost respect for his materials.<br />

He would never kill a healthy tree, to make a<br />

sculpture. “I only work from dying, or dead<br />

trees, or ones that have fallen, or become<br />

dangerous. After a storm, people ring me up<br />

about a fallen tree; if they’re any good I go and<br />

quarry them.”<br />

Wooden Boulder was a case in point. In 1977<br />

he was alerted that an oak had fallen on a<br />

hillside of the Ffestiniog Valley, in North<br />

Wales. He hewed out a huge, asymmetrical,<br />

half-ton lump, and attempted to work it down<br />

a stream, so he could take it in his truck to his<br />

studio/home at Capel Rhiw. It got lodged in a<br />

waterfall, and he chose to leave it there, visiting<br />

it regularly to see how it changed, through the<br />

seasons. Over the next 25 years, rainstorms<br />

moved it down the stream to the estuary below<br />

and it disappeared, presumably washed out into<br />

the Irish sea.<br />

“I never thought I’d see it again,” he smiles.<br />

“Then, ten years later, in 2013, it mysteriously<br />

reappeared, in the same estuary. It was like a<br />

lap of honour.” Two years later, it disappeared<br />

anew. “I doubt I shall ever see it again,” he says,<br />

“but it’s still somewhere, it’s just out of sight.<br />

No energy dissipates.” Alex Leith<br />

200 Seasons at Towner Gallery, 29 Sep–2nd Feb<br />

2020, free entry<br />


ART<br />

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Opening room of the Omega Workshops, 33 Fitzroy Square, London. © The Charleston Trust.<br />

Post-Impressionist Living<br />

The Omega Workshops<br />

It is one hundred years since the Omega<br />

Workshops closed their doors at 33 Fitzroy<br />

Square, in London – just six years after the<br />

pioneering design enterprise had opened.<br />

Their bright, bold colours, abstract patterns,<br />

Cubist-style lampstands and Fauvist-inspired<br />

textiles were perhaps a little too avant-garde<br />

for the mainstream audience. But a major new<br />

exhibition at Charleston – featuring around<br />

200 Omega objects – explores the workshop’s<br />

lasting influence as well as its radical<br />

beginnings.<br />

The Omega Workshops were founded in<br />

1913 by the painter and influential art critic<br />

Roger Fry. He had been instrumental in the<br />

introduction of modern art to England in<br />

the early years of the twentieth century and,<br />

in 1910, had organised an exhibition that<br />

included works by Cézanne, Matisse, Seurat,<br />

Van Gogh, Gauguin and Picasso – all of them<br />

largely unknown in the UK at that time.<br />

The exhibition shocked and outraged the<br />

establishment, but it energised younger artists<br />

– Vanessa Bell and Duncan Grant among them<br />

– and changed the way they painted.<br />

As well as Fine Art, Fry was also interested<br />

in domestic design, but was frustrated by the<br />

British tendency to constantly reference the<br />

past. “He wanted to get that Post-Impressionist<br />

aesthetic into the home,” explains Dr Darren<br />

Clarke, Head of Collections at Charleston and<br />

curator of the exhibition.<br />

To that end, Fry set up the Omega Workshops,<br />

bringing this new sensibility to the decorative<br />

arts. “It was seen as quite a novelty but there<br />

was an excitement to it,” explains Darren. “In<br />


ART<br />

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

the exhibition, we’re trying to capture what it<br />

would have been like, going into the Omega<br />

Workshops in Fitzroy Square. Coming from an<br />

Edwardian world of polite and tasteful things,<br />

and then going through the doors and seeing<br />

the wild designs and fantastic colours. Fry liked<br />

surfaces to be rough and tactile; lumpy paint<br />

and lumpy ceramics. It would have taken quite<br />

a lot of guts for people to have that furniture<br />

in their homes, and to buy Omega clothes and<br />

wear them in the street.”<br />

The workshops were also a source of steady<br />

income for Fry’s artist friends. He invited<br />

them to work three mornings a week, giving<br />

them time and money to carry on with their<br />

own work. Vanessa Bell and Duncan Grant<br />

were employed as co-directors and designers<br />

from the outset, with other artists working<br />

on an informal basis, contributing designs for<br />

products including ceramics, textiles, children’s<br />

toys, clothes and furniture.<br />

It was Fry’s intention that the pieces be<br />

available to everyone, but customers came<br />

largely from friends, artists and the cultured<br />

elite. “George Bernard Shaw supported the<br />

workshop from the outset, and Sickert and<br />

Picasso both visited. It was a real hotspot for<br />

people visiting London in that period. It was a<br />

very trendy place to be seen.”<br />

In 1916, Bell and Grant moved from London to<br />

Charleston, furnishing their home with Omega<br />

furniture, textiles and decorations. Whilst<br />

the Workshops themselves were short-lived,<br />

closing in July 1919, Fry’s forward-looking<br />

vision found its most complete expression in<br />

the unlikely setting of a Sussex farmhouse.<br />

“The whole of Charleston is that quintessential<br />

Post-Impressionist house”, concludes Darren.<br />

“The ethos of the Omega Workshops in its<br />

living, breathing state. That’s very much<br />

why we’re doing this exhibition here. It’s like<br />

bringing Omega home.” Lizzie Lower<br />

Post-Impressionist Living: The Omega<br />

Workshops continues until January 2020<br />

charleston.org.uk/omega<br />

Lampstands with geometric decoratIon, designed and<br />

made by the Omega Workshops, 1913-1919.<br />

© Victoria and Albert Museum, London.<br />

Invitation card to an exhibition at the Omega Workshops Ltd by Duncan Grant. Mid-1910s. © The Estate<br />

of Duncan Grant. All rights reserved. DACS <strong>2019</strong> / Victoria and Albert Museum, London.<br />

Omega chairs and table in the Dining Room at<br />

Charleston. © The Charleston Trust.<br />

Photograph by Penelope Fewster.<br />


ART<br />

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ART & ABOUT<br />

In town this month...<br />

Floating Worlds – an exhibition of Japanese woodcuts from<br />

the Edo period (1615-1868) – is at <strong>Brighton</strong> Museum<br />

& Art Gallery. The style of prints on display is known<br />

as Ukiyo-e, which means ‘pictures of the floating world’,<br />

capturing the sights of 19th century Edo – modern day<br />

Tokyo. The exhibition has been specifically designed to<br />

offer a calm space to relax and a series of events including<br />

yoga, Tai Chi, meditation and haiku poetry run alongside<br />

to promote mindfulness and wellbeing.<br />

© <strong>Brighton</strong> Pavilion and Museums<br />

Oska Bright, the world’s biggest learning<br />

disability film festival, returns to The Old<br />

Market from the 23rd-26th. Challenging<br />

perceptions of who can create and star in films,<br />

this year’s festival offers dozens of animations,<br />

documentaries, dramas, film surgeries and a new<br />

‘After Dark’ slot where ‘the most unexplained,<br />

unexpected and experimental films’ will be<br />

screened. An awards night takes place on Friday<br />

25th, with winning films screened on the 26th. (oskabright.org)<br />

Sunset on <strong>Brighton</strong> Beach by John Whiting<br />

Our congratulations to 35 North Contemporary Fine Art,<br />

who are marking five years in their North Road gallery.<br />

To celebrate, they’ve invited a selection of their favourite<br />

painters to submit work<br />

on the subject of Autumn.<br />

Alexander Johnson,<br />

Philippa Stanton,<br />

Michelle Cobbin,<br />

Charlie Day, Tori Day,<br />

Harvey Woodward and<br />

John Whiting will all be<br />

exhibiting in this group show which opens on Saturday 12th<br />

<strong>October</strong>. Along the road in Hove, another seasonal exhibition –<br />

Into Autumn – continues at Cameron Contemporary until the<br />

6th. Then, from the 12th, Introducing… does just that, with an<br />

exhibition of work by artists who are new to the gallery’s stable.<br />

On the Edge by Sam Lock<br />


From<br />

Buckingham<br />

Palace<br />

Treasure<br />

A PRINCE’S<br />

to the<br />

Royal Pavilion<br />

21 SEPTEMBER <strong>2019</strong><br />

– AUTUMN 2021<br />

Admission payable<br />

Members free<br />

brightonmuseums.org.uk<br />

The Royal<br />

Collection returns<br />

to <strong>Brighton</strong><br />


Images: Royal Collection Trust / © Her Majesty Queen Elizabeth II <strong>2019</strong>

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In town this month (cont...)<br />

This month Sussex Art Fairs bring together more than 125<br />

artists, galleries and collectives at <strong>Brighton</strong> Racecourse from the<br />

11th-13th. Visitors will be able to chat to the artists and gallery<br />

owners whilst browsing thousands of affordable artworks.<br />

(Preview 6-9pm Friday 11th, £12 entry. General admission<br />

10am-6pm Sat 12th & Sun 13th, £6 entry. Free for children<br />

under 12. See pg 54 for reader offer. sussexartfairs.co.uk)<br />

Richard Pelling<br />

<strong>Brighton</strong> Digital Festival returns for its 8th<br />

edition this month, with upwards of 50 events<br />

taking place across the city from the 12th-25th.<br />

Choose from a two-person immersive digital<br />

installation using two smartphones and a projector<br />

(Loop by Kate Shields at Gallery Lock In);<br />

an exhibition that dares to imagine how life in<br />

alternative, sustainable and socially just systems<br />

might unfold (Hidden Paths at ONCA), or hear the latest release from Canadian electronic composer<br />

and ‘contemporary master of volume and texture’, Tim Hecker (Anoyo at ACCA). <strong>Brighton</strong>’s<br />

collaborative innovation hub, The FuseBox, sets up camp at 3 Hanningtons Lane for a week of<br />

interesting, informative and fun hands-on experiences and talks about new technologies, society and<br />

you. Explore Virtual Reality, the arts, creative performance, 360 film, and more (wiredsussex.com/<br />

events). Plus loads more besides. Keep an eye on brightondigitalfestival.co.uk for full listings.<br />

Out of Town<br />

Post-Impressionist Living: The Omega Workshops is at the<br />

galleries at Charleston (see page 56). Tickets include<br />

entry to Coming Home: Virginia Woolf by Vanessa Bell;<br />

part of a major National Portrait Gallery project that<br />

sees portraits of iconic individuals from the national<br />

collection travelling to the towns and cities most closely<br />

associated with their subjects. Vanessa Bell’s portrait<br />

of her sister, Virginia Woolf, was painted at nearby<br />

Asheham, Virginia's Sussex home in 1912 and where<br />

Vanessa first experimented with the interior design ideas<br />

that she would go on to develop at Omega. The painting<br />

is displayed at Charleston for the first time.<br />

Virginia Woolf by Vanessa Bell, 1912 © National Portrait Gallery.<br />

The Estate of Vanessa Bell, courtesy of Henrietta Garnett<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 />


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Out of Town (cont...)<br />

From 3rd <strong>October</strong>, Studio+ Gallery in Seaford present The<br />

Unexpected – an exhibition of new paintings by Lewes-based artist<br />

Peter Messer. His intense and watchful tempera paintings explore<br />

unseen elements of a world ignored by many of us until he, deftly<br />

and persuasively, reminds us of it. (21 Church St, Seaford. Continues<br />

until 3rd Nov.) Just next door, the Crypt Gallery has a full month<br />

of events with a group exhibition, a guitar recital and an interactive<br />

sound and vision installation inspired by the Sussex Downs. Visit<br />

thecryptgallery.com for details.<br />

Night Garden by Peter Messer<br />

© Desmond Morris<br />

<strong>October</strong> is the last month to visit Farleys House and Gallery – the Sussex<br />

home of the Surrealists – before it closes for the winter. The house is open from<br />

10.30am until 3.30pm on Sundays up to the 27th, with tours starting every<br />

half hour. BODYWORKS A Surrealist Anatomy – an exhibition of paintings by<br />

Desmond Morris – is on display in the gallery until Sunday 13th. Best known as<br />

a zoologist, author and television presenter, he is also an artist who first became<br />

interested in surrealism whilst at boarding school during World War II. Morris<br />

maintained a studio throughout his career and, having recently celebrated his<br />

91st birthday, continues to produce art works and to exhibit.<br />

Towner Art Gallery<br />

David Nash 200 Seasons<br />

29 September <strong>2019</strong> – 2 February 2020<br />

Devonshire Park, Eastbourne, BN21 4JJ<br />

www.townereastbourne.org.uk @townergallery<br />

#200Seasons #EastbourneAlive<br />

David Nash, Nature to Nature, 1985. © Jonty Wilde, courtesy David Nash. Tate Collection

Single Use Plastic I<br />

ART<br />

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

Lexi Laine<br />

Freediving photographer<br />

I’ve been a professional photographer for<br />

twelve years. I’m a wedding photographer,<br />

and I love it. But I needed a more artistic<br />

outlet that was just for me, so in 2013 I took<br />

up underwater photography, which I’d done as<br />

a project at art school.<br />

I use a mirrorless digital camera – a Sony<br />

A7R3 – with an underwater housing, which is<br />

perfect for the job.<br />

I make otherworldly and ethereal<br />

underwater images that usually depict a<br />

single female. My aim is to try and capture<br />

how beautiful and peaceful the underwater<br />

world is. I also want to comment on the harm<br />

humans are doing to the ocean, particularly<br />

with plastic.<br />

People say they find my work symbolic.<br />

There’s usually a journey involved, often<br />

towards the light of the sun reflected on<br />

the surface of the water. Some people see<br />

the journey from life to death; others say it<br />

represents for them some personal transition<br />

they’ve made.<br />

Two years ago, I joined NOTANX, a freediving<br />

club based in <strong>Brighton</strong>, where I’ve learnt<br />

to stay underwater for longer. I really enjoy<br />

dynamic apnea – I can swim around 90 metres<br />

underwater – but I’ve also learnt to hold my<br />


The Unknown<br />

Aktun Ha<br />

ART<br />

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

breath for much longer, up to three-and-a-half<br />

minutes. The current world record is nearly<br />

twelve minutes!<br />

But the ethos of NOTANX isn’t about<br />

obsessing about figures and numbers. It’s<br />

about relaxation and enjoyment of the water.<br />

We train in swimming pools twice a week and<br />

go on excursions to more exciting locations.<br />

The most difficult element of my art is finding<br />

models. It can be dangerous – they often need to<br />

swim underwater in clothing, which weighs you<br />

down, and it takes a long time for them to build<br />

up the trust in me that’s required.<br />

Five years ago, I met Iara, running a<br />

jewellery stall in Formentera. I love that<br />

island: I’ve been going all my life, and I use<br />

it for a lot of my shoots. I told her what I did,<br />

and she said: ‘I’m a mermaid’. I arranged an<br />

underwater photoshoot with her the next day.<br />

It turns out it was true: she was a mermaid. I’ve<br />

been working with her regularly ever since.<br />

Iara features in an image that I entered for<br />

the Beautiful Bizarre Art Prize. I received<br />

an item in the post and to my horror it was<br />

wrapped in huge sheets of plastic. I did an<br />

underwater shoot with Iara, who made shapes<br />

with one of these sheets, representing the<br />

different land masses. The image is a composite<br />

of ten different shots, stitched together to<br />

make a map of the world. I’ve called it Single<br />

Use Planet, and, I’m delighted to say, it’s been<br />

shortlisted for the prize.<br />

The worst thing about doing underwater<br />

shoots? The jellyfish. I’m on constant lookout<br />

for them, so my models don’t get stung.<br />

Jellyfish can completely scupper a photoshoot.<br />

As told to Alex Leith<br />

You can see more of Lexi’s work at the Sussex<br />

Art Fair, <strong>Brighton</strong> Racecourse, Oct 11th-13th.<br />

Instagram @lexilainephoto<br />


“The”<br />

Showcasing the design process of the city’s<br />

biggest selling annual publication<br />

...known affectionately as<br />

“The”<br />

<strong>Brighton</strong> and Hove Calendar.<br />

20th<br />

and final edition.<br />

Images from this year<br />

and the<br />

first 19 calendars.<br />

<strong>October</strong><br />

2nd - 28th<br />

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

Please feel free to come in<br />

and help us choose the images.<br />

11 Dukes Lane<br />

(Next to Oasis)<br />

BN1 1B<br />

Submissions welcomed ASAP / Uptil <strong>October</strong> 10th / brightoncalendar.com for details.<br />

Sea differently<br />



Prints | Books | Cards<br />

brightonphotography.com | 52-53 Kings Road Arches | 01273 227 523

DESIGN<br />

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

Will Blood<br />

Crafting an image<br />

Creating visuals for the craft beer realm plays<br />

to the strengths of <strong>Brighton</strong>-based designer,<br />

illustrator and muralist Will Blood. His<br />

fantastical, playful, intricate illustrations with<br />

a nod to the macabre, express the individual<br />

streak of industry that sets itself apart from the<br />

mainstream.<br />

“I think Beavertown played a huge part in<br />

the way cans look now,” says Blood. “They<br />

were one of the first to make beer exciting and<br />

interesting. A lot of breweries tried to copy<br />

that, or at least it made them think differently<br />

about how to package their product. Now,<br />

more of them take the time to tell a story.”<br />

Blood cites the early masters Doré and Durer<br />

as influences on his style – artists famed for<br />

their illustrations depicting epic biblical scenes.<br />

“I loved their precise cross hatching and the<br />

way they could create such depth,” he says. “I<br />

was also obsessed with insects as a kid, so insect<br />

anatomy books played a large part, too.”<br />

The alternative nature of craft beer labels –<br />

with a nod to heavy metal – is an authentic<br />

medium for Blood. “I came from being in<br />

bands and skateboarding, so a lot of my early<br />

work was within those fields,” he says. “I<br />

became known for my pop character skeletons,<br />

which continue to be my main income<br />

to this day, selling prints<br />

and merchandise.<br />

Right now, I do a<br />

lot of dot shading<br />

– it works well<br />

with bones as<br />

it lends itself to<br />

the texture. I’m<br />

creating more<br />

and more with<br />

brushes and spray paint as I progress, and am<br />

introducing a lot more bright colours.”<br />

Blood has designed packaging and logos for<br />

about 15 breweries internationally. Here in<br />

<strong>Brighton</strong> and Sussex, he’s created special<br />

edition bottles for craft beer companies<br />

including Bison Beer and Sussex Small Batch<br />

Brewery. “The Bison Beer See Side APA bottle<br />

was for an exhibition of work where I made<br />

cartoons out of Argus headlines,” says Blood. “I<br />

took their bison and gave him a deckchair on<br />

the beach reading the Argus. And for the Sussex<br />

Small Batch brewery cans, I used the base of a<br />

traditional English crest and incorporated the<br />

ingredients of the beer’s flavour.”<br />

What needs to be considered when illustrating<br />

for a craft beer can? “Font is really important,<br />

from font choice to kerning [adjusting the<br />

spacing between characters],” says Blood. “It’s<br />

often overlooked by illustrators that just want<br />

to push their image or drawing. I use a mix of<br />

set fonts, generally hand-drawn.”<br />

Want to see more from Will Blood? “<strong>Brighton</strong>wise,<br />

you can see my work in Brush on<br />

Gloucester Road along with some other great<br />

artists and also at Studio 45,” he says. “I’m<br />

working on a new body of work called Neon<br />

Futures – I update my instagram daily<br />

(@iamwillblood), that’s a pretty good way<br />

to keep up with me! I had a solo exhibition<br />

in Brisbane recently, and I’m also part of a<br />

big Expo called ArtNext in Hong Kong in<br />

November.”<br />

Rose Dykins<br />

willblood.com<br />



This month Adam Bronkhorst photographed local publicans<br />

He asked them: 'What's your favourite tipple?'<br />

adambronkhorst.com | 07879 401333<br />

Simon Stern, The Better Half<br />

‘A pint of Timothy Taylor Landlord.’


Ali Charlesworth, Haus on the Hill<br />

‘<strong>Brighton</strong> Bier South Coast IPA.’


Niamh Barker, The Montpelier Inn<br />

'A Doom Bar Ale.'


Sarah Davies, The Cleveland Arms<br />

'A nice vodka, soda and a squeeze of lime.'


Jen Left, Hand in Hand Brew Pub<br />

'A pint of Shaka.'

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FOOD<br />

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

The Coal Shed<br />

Quality across the board<br />

The memorable meat at The Coal Shed<br />

certainly isn’t surprising, but the flavourful<br />

seafood and great sides, starters and desserts<br />

make for an impressive meal overall.<br />

On a bleak early September evening, we ask for<br />

defiantly summery drinks: Jamie goes for a fruity<br />

Beach Session IPA from local brewery Lost Pier,<br />

and I choose a crisp Hallets cider, handmade in<br />

the hills of Wales (both £5.50).<br />

We dovetail: I go fish then steak, Jamie pork<br />

then fish. His smoked old spot pork belly, with<br />

apple and radish slaw (£8) is a louder affair: with<br />

a tang and a kick to it. My fire-roasted prawns<br />

with broad beans and jersey royals (£9) are<br />

fantastic, with large, smoky, fluffy prawns – and<br />

the secret sauce is fresh and fragrant too.<br />

We indulge in the à la carte options, but it’s<br />

worth noting that there is also an express menu<br />

available at off-peak hours. Jamie settles on<br />

the south coast fish stew, with scallops, prawns,<br />

smoke liquor and more crustaceans (£23). He’s<br />

gleeful, exclaiming that “it tastes like eating the<br />

cast of Finding Nemo”: a salty, vibrant cornucopia<br />

of fish, brimming with the tasty echoes of<br />

colourful personalities.<br />

I’m thrilled with my steak too: an attractive<br />

Himalayan salt aged sirloin (£24), which is<br />

tender, and perfectly cooked over coal to a<br />

consistent, delicious, medium texture. The outer<br />

third is neatly fire-tinged; the inner is pink and<br />

succulent. Waiter Georgi suggests salsa verde<br />

sauce to accompany the steak. It’s an aromatic<br />

way to vary the flavour at times, but I prefer to<br />

enjoy the steak as is, or paired with some chunky<br />

chips, cooked in beef fat to joyful effect (£4).<br />

Photo by Jamie Wilkinson<br />

The sides at the bottom of the menu look<br />

irresistible, and prove delightful. The garlic field<br />

mushrooms are generously infused with a treacly<br />

oil (£4), while the truffle mac’n’cheese, adds a<br />

contrasting rich and cheesy tone to the meal,<br />

with a lovely crispiness on top (£5).<br />

The service is attentive and efficient: Georgi<br />

politely wonders if we can possibly fit in<br />

dessert. Maybe a bit of ice cream, to share, if<br />

they have any? They do! We order a selection<br />

of homemade ice cream for £6. We’re told the<br />

options change weekly: the lemon thyme is our<br />

favourite, joined by a somewhat savoury honey<br />

and walnut, and a sharp berry flavour.<br />

Quality permeates the whole menu. In addition<br />

to the treats listed above, I appreciate their<br />

fantastic loose-leaf Assam tea (£3), for example.<br />

Furthermore, Georgi explains that they aim to<br />

make as much in-house as possible, down to the<br />

mayonnaise we dipped our chips in.<br />

Joe Fuller<br />

8 Boyce's Street, 01273 322998<br />


RECIPE<br />

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


RECIPE<br />

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

Four-onion pakora<br />

Alun Sperring, from Chilli Pickle,<br />

on an Indian street-food staple<br />

I had wanderlust as a young man and worked<br />

my way around the world, learning my trade in<br />

eight countries over five different continents,<br />

under a variety of brilliant chefs.<br />

I particularly developed a passion for Indian<br />

cuisine, and when my wife Dawn and I had<br />

our first child – in Dubai, twelve years ago –<br />

we decided to set up our own restaurant in<br />

England. The idea was to produce amazing<br />

Indian food, inspired by all the regions of the<br />

country, espousing authenticity of style and<br />

method, tweaked a little to suit our own style<br />

of cooking.<br />

I was brought up in <strong>Brighton</strong>, and it seemed<br />

the obvious choice of venue, a city that is<br />

open-minded enough to embrace something a<br />

little different. We started in a little 40-cover<br />

space in the Lanes, and moved to our current<br />

building, in Jubilee Street, nine years ago. It’s<br />

all about teamwork: Dawn is front-of-house,<br />

I’m head chef, and we make sure everyone who<br />

works at Chilli Pickle does so with enormous<br />

passion, both in the kitchen and the restaurant.<br />

We see ourselves as being in the entertainment<br />

business: we’ve made the restaurant reflect the<br />

vibrant colours of India, and there’s always a<br />

wow factor when the food arrives on the table.<br />

But the most important thing is the taste,<br />

which involves, of course, sourcing fresh produce.<br />

So all our meat and vegetables are locally<br />

produced, while we import the best quality<br />

spices from India (you can use Taj!)<br />

Onion pakora are eaten throughout India,<br />

as a street food or starter, and are always on<br />

our menu. They are easy to make at home,<br />

especially if you have a deep-fat fryer (though a<br />

chip pan will do fine). And, of course, they are<br />

absolutely delicious.<br />

Method (makes 24 pakora).<br />

Finely slice 400g of white English onion, 100g<br />

red onion, 50g shallots and 50g spring onion,<br />

and mix well in a bowl with 20g fresh chopped<br />

coriander, 30 torn-up curry leaves, a finely<br />

sliced green chilli, 15g freshly roasted coriander<br />

seed, 15g freshly roasted cumin seed, 10g<br />

fennel seed, 5g asafoetida, 35g Masoor red dal,<br />

5g turmeric, 8g salt, 4g baking powder, 250g<br />

chickpea flour, 150g of rice flour. Add 225ml<br />

of cold water, and mix with your hands, being<br />

careful not to squeeze too much, otherwise<br />

excess water will release.<br />

Heat 1 litre of vegetable oil to 165c (you can<br />

use a thermometer). Create small pakora<br />

shapes with the tips of your fingers and your<br />

thumb, carefully dropping into the oil pan. Add<br />

eight or nine at a time: cook until light golden<br />

colour, turning a few times so the colour is<br />

even. Drain onto a paper towel, and repeat,<br />

until all the pakora mixture is cooked. When<br />

you’re ready to serve, heat the oil to 175c, and<br />

fry the pakora patties a second time – again in<br />

batches – until they are crispy. Serve with the<br />

best mango chutney you can get your hands<br />

on: we source a wonderful Alphonso mango<br />

chutney direct from India. Enjoy!<br />

As told to Alex Leith<br />


FOOD<br />

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

BackWood<br />

Zero waste, maximum taste<br />

I’ve missed the buzz on Circus Parade since Plenty packed<br />

up and moved, so, I’m pleased to be having Friday brunch<br />

at BackWood, recently opened in the same – somewhat<br />

upgraded – spot. The exposed brickwork has been painted,<br />

there are new tables made of some clever composite<br />

material, comfy banquette seating and, placed prominently by the door, a bank of clearly labelled<br />

recycling bins. You see, BackWood are on track to be a zero-waste operation. Already all of their food<br />

waste is composted and nothing goes to landfill. Their sustainability manifesto is set out on the back of<br />

their menu: lovingly prepared, locally sourced food, minimal, compostable packaging, and absolutely no<br />

single use cups (loan cups are available if you can’t supply your own). They’ve also eliminated the most<br />

environmentally damaging ingredients, which means no avocadoes or almonds on the menu.<br />

They do, however, offer my favourite breakfast food: potato hash. I choose the one with halloumi<br />

(£8.50) and an iced latte (no straw, obvs. £3). The crushed new potatoes are mingled with fried<br />

peppers, caramelised onions and a generous helping of halloumi, all infused with herby, smoky oil. It’s<br />

a seriously tasty combination and the coffee is great too. I make a mental note to come back soon to<br />

try their homemade cucumber, mint and basil sherbert and one of their bulging pittas. ‘Collectively,<br />

our small steps can make big change happen’, reads the menu. If that means forgoing my smashed<br />

avo on sourdough, so be it. With brunch this good, it’s no hardship at all. Lizzie Lower<br />

gobackwood.com<br />

Christmas lunches and dinners for 10-90 guests in the impressive State Rooms<br />

Book now for 22 November – 22 December<br />

INVITATION: Come to our free Christmas Taster Evening, Thursday 10 <strong>October</strong>, 5.30-8pm,<br />

with canapés, live piano and drinks. Email christmas@westdean.org.uk or call 01243 818258 to book.<br />

www.westdeanvenues.org.uk<br />

West Dean College of Arts and Conservation, West Dean, Chichester, West Sussex PO18 0QZ

FOOD<br />

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

A-news bouche<br />

The <strong>October</strong>BEST restaurant festival returns<br />

for its fourth year. 28 of the top restaurants<br />

in the city (as selected by <strong>Brighton</strong>’s Best<br />

Restaurants) put on special £20 menus or<br />

offers: Chard, Easy Tiger, Lucky Khao,<br />

Halisco, Baby Bao, Kujira and Polpo are all<br />

new on the list. Supplier partners such as<br />

Ridgeview, The Cheese<br />

Man and Bolney Wine<br />

Estate will also be offering<br />

their produce on many<br />

of the menus. 4th to 20th,<br />

brightonsbestrestaurants.com<br />

www.horshamfoodies.co.uk<br />

Grab some wheelbarrows at the Pumpkin<br />

Picking Patch in Sompting if you’d like<br />

to browse 20 different varieties, including<br />

munchkins for little ones. Wand making and<br />

broomstick making are available too! 12th-13th,<br />

19th-31st, 9.30am-4pm, pumpkinpickingpatch.<br />

com. Last month saw <strong>Brighton</strong> Square<br />

welcome Coppa Club, with ‘uncomplicated<br />

dishes’ including small<br />

plates, burgers, pizza,<br />

pasta, breakfast and a<br />

special non-gluten menu.<br />

coppaclub.co.uk/brighton<br />

In dessert news, Gelato Gusto on Gardner<br />

Street won the Great Taste Golden Fork for<br />

the “perfect balance” of their salted caramel &<br />

liquorice, a vegan gelato which leaves “such joy<br />

on the palate.” gelatogusto.com. And the <strong>Brighton</strong><br />

Chocolate Festival will be showcasing<br />

award-winning chocolatiers, tastings, educational<br />

talks on topics such as sustainability and new flavours,<br />

and more. 12th-13th, 11am<br />

to 5pm, <strong>Brighton</strong> Hilton<br />

Metropole, brightonchocolatefestival.com<br />


Join us at The Salt Room or The Coal Shed<br />

throughout December for a festive<br />



celebration.<br />



Enquire about availability at www.saltroom-restaurant.co.uk and www.coalshed-restaurant.co.uk<br />

Seen me,<br />

Seen you?<br />

Make sure you are visible<br />

to other road users.<br />

Share the Roads<br />

Share the Responsibility<br />

f Share the Roads, <strong>Brighton</strong> & Hove


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

A beginner's guide to...<br />

Gluten<br />

I was recently advised by a nutritionist to<br />

eliminate gluten from my diet and I feel a<br />

whole lot better for doing so. But what is gluten<br />

and why is it such a problem for an increasing<br />

number of people? Elle Fox, from the College of<br />

Naturopathic Medicine, explains.<br />

“Gluten is a protein that is found in quite a few<br />

grains. The reasons it has become a problem<br />

are manifold, but we can boil them down to one<br />

main thing: human intervention. We've come<br />

a long way from the ancient agrarian societies<br />

who discovered that they could cultivate grasses<br />

for food. We’ve cross-fertilised and hybridised<br />

modern wheat to produce something that is<br />

(supposedly) bigger and better, with greater<br />

yield and greater resistance to pests. But it bears<br />

no resemblance to the original steppe grasses<br />

that our ancestors were used to, and the gluten<br />

content is higher.”<br />

Gluten gives bread its body and its springiness,<br />

but it is a complex molecule that is hard for<br />

our bodies to break down and modern food<br />

production methods don’t help. “If you look<br />

at traditional societies, bread was not made in<br />

two and a half hours, as the bread you find in<br />

supermarkets is today. Now we use genetically<br />

modified yeast to make the bread rise very<br />

quickly, so there isn’t enough time for the<br />

micro-organisms to break down the gluten and<br />

starches. That’s why wholegrain sourdough, made<br />

over 24-48 hours, can be very well tolerated by<br />

people who are otherwise intolerant to gluten.<br />

The micro-organisms have started the digesting<br />

for you.”<br />

Other even more insidious substances find their<br />

way into our food and further compound the<br />

problem, explains Elle. “We have also introduced<br />

pesticides and other toxins. For example,<br />

glyphosate – a weed killer and mould reducer – is<br />

sprayed on the crops many times a year and at no<br />

point is it effectively removed. So, when you pair<br />

a difficult to digest substance like gluten – which<br />

is effectively like glue – with a toxic agent like<br />

glyphosate, it hangs around in the gut, setting<br />

off alarm signals from the immune system. The<br />

gut is intimately connected with the skin and the<br />

lungs so allergenic reactions might manifest as<br />

problems with the sinuses, the ears, the throat or<br />

the skin. And gluten is the major aggravator for<br />

sufferers of inflammatory bowel conditions like<br />

Coeliac and Crohn’s disease. Any amount will<br />

make them very poorly.”<br />

Elle believes that many of these conditions are<br />

the inevitable result of a broken food production<br />

system and takes the naturopathic perspective<br />

that they can be greatly rehabilitated by healing<br />

the gut with good bacteria and by eating foods<br />

that are gut friendly.<br />

“Processed food is not friendly to the body.<br />

At CNM we’re hoping to re-educate people<br />

that local food, organically grown and eaten in<br />

season is the best thing you can give yourself.<br />

It’s not grains that we should demonise but the<br />

production methods. It’s part of a larger problem:<br />

the commodification of food.”<br />

Lizzie Lower<br />

Visit naturopathy-uk.com to find out more about<br />

CNM courses or join them at their open events<br />

on the 2nd of <strong>October</strong> or the 9th of November at<br />

<strong>Brighton</strong> Aldridge Community Academy.<br />


MY SPACE<br />

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

Greg Dunn<br />

Curriculum Manager at Plumpton Wine Centre<br />

What courses do you offer at the<br />

Plumpton Wine Centre? A whole<br />

variety, from degrees to day courses.<br />

We offer a BA and foundation degree in<br />

Wine Business, and a BSc and Masters<br />

in Viticulture and Oenology, which<br />

trains people to grow grapes, make wine<br />

and to work at a relatively high level in<br />

the wine industry. There’s currently a<br />

shortage of practical vineyard workers,<br />

so we also offer a level three course and<br />

we’re about to launch an apprenticeship<br />

scheme. The Sussex wine industry has<br />

created a lot of job opportunities and<br />

it’s still expanding.<br />

What facilities do you have? We’re<br />

extremely well set up to teach every<br />

aspect of wine making. We have a<br />

commercial winery, three different<br />

types of labs, a research winery and two<br />

vineyards. As a country, we don’t produce<br />

a lot of wine (last year we produced 15<br />

million bottles against, say, Champagne,<br />

which produced 300 million bottles) but<br />

the teaching facilities that we have are<br />

excellent.<br />

Our well-qualified tutors come from<br />

all over the place: Australia, Cornwall,<br />

America, Brazil and we’re about to<br />

welcome another lecturer from India.<br />

We’re a bit of a United Nations and<br />

all well-connected in the world’s wine<br />

regions, which comes in useful when<br />

arranging placements for our students.<br />

Where do your students go on to<br />

work? Most people working in the UK<br />


MY SPACE<br />

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

wine industry have received at least some of<br />

their training at Plumpton. Winemakers, cellar<br />

hands, assistant winemakers, buyers, marketers,<br />

sales managers, consultants, specialists… The<br />

UK wine business needs all sorts of skills, but<br />

we also train people for international careers.<br />

There’s a lot of movement in wine making.<br />

Wine makers and grape growers move all over<br />

the world.<br />

You’re Australian. What brought you<br />

to Sussex? I’ve spent the last twenty years<br />

working in viticulture and wine making – I<br />

was the director of a research facility in New<br />

South Wales, a lecturer at the University of<br />

Melbourne, and my PhD is in Botany – but<br />

I was aware of Plumpton Wine School from<br />

Australia. I’ve been here for close to two years<br />

now. It’s nice to be part of a rapidly expanding<br />

industry and I love teaching.<br />

The English wine business appears to<br />

be booming. What do you put that down<br />

to? One of the drivers is climate change.<br />

Historically, the UK had a very marginal<br />

climate, but this is changing, allowing us to<br />

ripen grapes and make some pretty smart wines.<br />

The English climate and terroir are well suited<br />

to the production of high-quality sparkling<br />

wines, some of which have won international<br />

awards, giving the UK wine industry a fair bit of<br />

profile. South African companies are buying UK<br />

vineyards and Taittinger have bought and run a<br />

vineyard in Kent.<br />

It was an unbelievably good vintage last year<br />

and, with all the planting and expansion going<br />

on, Wine GB envisage that we’ll be producing<br />

40 million bottles of wine in ten years time.<br />

Plumpton’s wine school has been here for 30<br />

years which is a testament to the foresight of the<br />

people who originally set it up. Sussex is well<br />

placed in the middle of a swathe of vineyards<br />

that start in Essex and reach to Hampshire, and<br />

it's growing massively all the time. Lizzie Lower<br />

plumpton.ac.uk/courses/wine<br />

@plumptonwine<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


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

Emma Inch<br />

Founder of <strong>Brighton</strong> & Hove Beer Week<br />

How is <strong>Brighton</strong>’s beer scene changing?<br />

Previously, there was very little brewing<br />

going on in <strong>Brighton</strong> and Hove compared to<br />

other cities. There aren’t many old industrial<br />

buildings in <strong>Brighton</strong>, whereas in other parts<br />

of the UK, perhaps it’s easier to get an old<br />

industrial unit. And we have very high rents<br />

here – so good on our local brewers for doing<br />

it. Part of the reason for Beer Week was to<br />

show that <strong>Brighton</strong> and Hove’s brewing scene<br />

has really grown.<br />

You founded <strong>Brighton</strong> and Hove Beer Week<br />

in 2018. What were the highlights this year?<br />

All seven of <strong>Brighton</strong> and Hove’s breweries<br />

came together to brew a collaboration ale,<br />

released exclusively for the festival. It was called<br />

Provenance, and it was a Rhubarb and Ginger<br />

saison. They used local rhubarb from one of<br />

the brewer’s allotments. It was a really, really<br />

nice beer – people loved it.<br />

How do you hope our brewing scene will<br />

develop? What are you excited about? I<br />

guess it’s about recognising how powerful<br />

beer tourism can be as a way of selling a city,<br />

and for attracting people to come down and<br />

visit. In Sussex, we've got way more beers<br />

per head than they have in London – it’s so<br />

brilliant that we have Harvey’s and Burning<br />

Sky just up the road. I’m also really pleased<br />

with Unbarred, who are new on the scene in<br />

<strong>Brighton</strong>. Jordan Mower, the head brewer, he’s<br />

a creative, interesting brewer who works really<br />

collaboratively.<br />

Your job sounds fantastic! How did you<br />

become a beer journalist? Writing was always<br />

what I wanted to do. Previously I worked<br />

in mental health, which I loved, and I used<br />

to write for academic journals. I also had a<br />

Rockabilly music show on Radio Reverb. And<br />

then the whole beer thing started to happen,<br />

and Radio Reverb allowed me to do a beerthemed<br />

show, which became the first regular<br />

beer show on FM radio. And that sort of grew<br />

bigger and bigger – it was released on podcasts,<br />

and I won the Best Beer Writer Online. That<br />

encouraged me to start pitching to write for<br />

magazines. And it kind of snowballed from<br />

there!<br />

And last year you were named British Beer<br />

Writer of the Year! It sounds like beer<br />

writing is so much about storytelling… I<br />

rarely write about what a beer actually tastes<br />

like. Occasionally I do, but most of what I write<br />

about is the story of who made it, where the<br />

ingredients are from, what kind of beer it is,<br />

and what it says.<br />

Favourite pubs in <strong>Brighton</strong>? I have a really<br />

soft spot for the Basketmakers Arms. I love the<br />

feeling in there, as if time can<br />

stand still for a little bit and<br />

you can ignore what’s going<br />

on in the world, with all<br />

the tins on the wall with<br />

handwritten notes inside.<br />

As told to Rose Dykins<br />

Emma produces and<br />

presents an audio<br />

magazine. Listen at<br />

fermentationradio.com<br />


The state of medicine today has its challenges. If you’re suffering from ill health, and<br />

you’re feeling lost and overwhelmed, there is a path for you to become wholly aligned if<br />

you’re willing to take responsibility for your healing.<br />

In this insightful book, nutritionist and yoga teacher Ciara Roberts shows us the path to<br />

happiness and healing through her personal journey of dealing with a lifelong kidney<br />

condition charting from childhood to teenage dialysis to transplantation and beyond.<br />

She shows us:<br />

●<br />

How to heal, with simple steps to help you take charge of your own<br />

medical condition and wellness<br />

● The pivotal role of yoga and nutrition on your healing journey<br />

●<br />

●<br />

How to find joy in your healing through the tools that truly resonate<br />

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Ensure that your Wellbeing Fund is balanced so you are able to face<br />

whatever physical or mental challenges arise<br />

When we each awaken our inner physician, everyone wins. Ourselves first and foremost,<br />

our family and friends too as we are in a better place and, of course, our health systems<br />

and environment. Because then we are truly awake to our human experience.<br />

Ciara Jean Roberts is a yoga teacher and nutritional therapist with a<br />

previous credit risk background in private banking. She loves<br />

variety! Wholly Aligned, Wholly Alive is her first book and follows the<br />

successful publication of a number of articles across media such as<br />

Journal of Kidney Care, Yoga Magazine and Elephant Journal. She<br />

considers her kidneys amongst her wisest teachers. She lives in<br />

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often be found skipping through.<br />

Wholly Aligned, Wholly Alive<br />

Awakening your inner physician<br />

by Ciara Jean Roberts<br />

ISBN 978-1-912635-96-2<br />

£12.99<br />

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“The CNM course is<br />

a very worthwhile<br />

experience”<br />

By Ciara Roberts, CNM<br />

Naturopathic Nutrition<br />

Graduate and Author<br />

of ‘Wholly Aligned,<br />

Wholly Alive’<br />


WHOLLY<br />

aligned<br />

WHOLLY<br />

alive<br />

Awakening your<br />

inner physic ian<br />


I found my CNM studies comprehensive, enjoyable<br />

and affirming and loved my three years of training<br />

in Naturopathic Nutrition. CNM is a combination of<br />

hopeful endeavour and academic excellence which<br />

makes it a very worthwhile experience.<br />

My first book ‘Wholly Aligned, Wholly Alive’,<br />

launched in June <strong>2019</strong>, details my journey and<br />

includes the tools of nutrition and yoga and how<br />

they have helped me. I went into renal failure at 14.<br />

I had hospital dialysis treatments until age 21 when<br />

I had a kidney transplant. I lost transplant kidney<br />

function 3 years ago and whilst waiting for another<br />

transplant, I currently support my health with both<br />

conventional and natural medicine treatments.<br />

Having been raised by a mother very interested in<br />

natural health, I considered a Master’s in Nutrition.<br />

It was through that process I ‘happened’ upon the<br />

CNM course and it immediately sang out to me. It<br />

literally felt like the course had been designed just<br />

for me.<br />

I was still working full-time in private banking<br />

credit risk in Canary Wharf when I started at CNM,<br />

however, I knew in my heart there was so much<br />

more I had to offer in this lifetime. I resigned from<br />

banking in 2013, having been supported by an<br />

Ciara Roberts, CNM Naturopathic Nutrition Graduate<br />

Photo by Josh Goodwin<br />

amazing Global Head to go part-time for a year<br />

prior – highly unusual in my type of role. When<br />

you believe you are supported, this becomes<br />

the reality.<br />

I loved the lecturers, whose calibre was<br />

excellent, and meeting like-minded people,<br />

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practise after graduation, were helpful antidotes<br />

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Having also qualified as a yoga teacher, I set<br />

up my own business, Wholly Aligned, in 2012.<br />

Wholly Aligned draws upon the wisdom of<br />

nutrition and yoga to help people reconnect<br />

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The CNM course enriched my knowledge and,<br />

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CNM has a 20-year track record training successful<br />

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Visit naturopathy-uk.com or call 01342 410 505


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

BHESco<br />

Food waste into energy<br />

Got a few quid to<br />

spare? Then how<br />

about investing in an<br />

anaerobic digestor<br />

plant? If you’ve never<br />

heard of one – it’s<br />

understandable –<br />

then essentially it’s a<br />

mechanism to produce<br />

‘clean’ energy<br />

from food waste, of<br />

which <strong>Brighton</strong> and<br />

Hove produces some<br />

400,000 tonnes every year. <strong>Brighton</strong> and Hove<br />

Energy Services Cooperative – aka BHESco –<br />

wants to build one in Sussex with the support of<br />

the local community. If the scheme is successful,<br />

it will be the first community-owned anaerobic<br />

digestor in the country, capable of supplying renewable<br />

energy to more than 10,000 local homes.<br />

Although the project is still in its early stages –<br />

the not-for-profit social enterprise must first find<br />

a suitable site for the plant – the idea is to collect<br />

waste from local restaurants, cafés and bars that<br />

have signed up for the scheme. “Businesses would<br />

need to separate out their waste because it can’t<br />

be anything cooked and we don’t want to take<br />

anything that could be redistributed within the<br />

community,” explains BHESco’s marketing coordinator<br />

Dan Curtis. “So it would be vegetable<br />

peelings, egg shells…” A local contractor – they<br />

are in talks with waste management company<br />

<strong>Brighton</strong> Paper Round – would then collect the<br />

scraps and take them to the plant, where it would<br />

be transformed into gas that could be added to<br />

the National Grid’s supply.<br />

The project is expected to cost “a few million”<br />

Curtis says – which is where the rest of us come<br />

in. “We will be doing what we do with all our<br />

projects and operating<br />

a community<br />

share offer. Anyone<br />

can invest up to<br />

£100,000, in return<br />

for which they<br />

would get a five per<br />

cent return on their<br />

money.” Aside from<br />

the financial rewards,<br />

it’s an opportunity to<br />

do something positive<br />

for the environment,<br />

he says. “People would see their money<br />

being used for something good – to help combat<br />

climate change – rather than it just sitting in a<br />

bank or building society. We hope people would<br />

find it quite an inspiring thing to be a part of.<br />

We had a public meeting at the Friends Meeting<br />

House earlier this year and 60 people including<br />

representatives of organisations and groups<br />

attended. So, there’s definitely interest. We just<br />

need to nail down the land.”<br />

In the meantime, there are other BHESco<br />

schemes in need of support. The cooperative is<br />

currently fundraising to install solar panels on<br />

five local schools, plus a church and a brewery.<br />

“We need to raise half a million by the end of<br />

this year,” says Dan, “So I’d definitely encourage<br />

anyone who’s interested in what we do to take<br />

a look at our website.” And it’s always worth<br />

taking care of the basics, he emphasises. “Clean<br />

energy is quite sexy and exciting but it’s much<br />

better to just not use as much energy in the first<br />

place. We’re big champions of people using their<br />

energy more sensibly, changing to LED light<br />

bulbs and so on. Even the smallest changes can<br />

make a big difference.” Nione Meakin<br />

bhesco.co.uk<br />


www.bigplantnursery.co.uk<br />



PALMS<br />

BAMBOO<br />

MAPLES<br />

TREES<br />

SHRUBS<br />

FERNS<br />


Hole Street, Ashington, West Sussex RH20 3DE<br />

e: info@bigplantnursery.co.uk<br />

t: 01903 891466<br />

IVA-AD-94x66-print.indd 1 08/08/<strong>2019</strong> 15:18


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

Scrumping project<br />

Apple addicts<br />

The Fruit Factory, <strong>Brighton</strong> Permaculture<br />

Trust’s headquarters in Stanmer Village, is home<br />

to the scrumping project, which turns waste fruit<br />

into raw or pasteurised apple juice, cider, cider<br />

vinegar, chutneys, jams and more. These are<br />

then sold outside the Fruit Factory every Saturday<br />

and Sunday, 11am to 4pm – we recommend<br />

the apple & cherry juice. <strong>Viva</strong> spoke to BPT’s<br />

Schools Project Manager, and co-ordinator for<br />

the project, Stephan Gehrels.<br />

The scrumping project launched around<br />

eight years ago. We were seeing a lot of fruit<br />

going to waste, whether that’s in farms or<br />

people’s gardens, or here in Stanmer Park, where<br />

there were a couple of orchards not being used<br />

[the scrumping project now maintains three<br />

orchards in the park]. Out of that came the idea<br />

of trying to make good use of all this fruit, and<br />

to turn it into yummy products.<br />

People can come along on a Saturday or<br />

Sunday to drop off their fruit. We can swap it<br />

for a few bottles of juice if they want, but mainly<br />

the idea is that people can bring fruit and see it<br />

go to good use. Sometimes they can see it being<br />

juiced there and then.<br />

Members of the public can come and have<br />

a look, or join in, or throw a few apples in<br />

the mill. We use a cold pressing method, called<br />

a hydro press. Once the juice goes through a<br />

mill, it goes into a container with a giant balloon<br />

in the middle. As that water balloon fills up, it<br />

presses the juice out of the fruit. It’s amazing raw<br />

juice: you can really taste the difference.<br />

When we pasteurise, I also play around with<br />

different flavours: we’ve got a ginger apple<br />

juice, classics like mint, a fiery and a super fiery –<br />

Photos by Sarah Davenport<br />

we have quite a few chilli addicts who come and<br />

get the super fiery. We do a turmeric and black<br />

pepper one, which really changes the taste of<br />

the juice. It almost tastes tropical, like mango or<br />

passionfruit.<br />

Apple Day is our biggest event, at the end of<br />

September every year. At one of our most well<br />

attended events, we sold nearly 2,000 litres of<br />

cider. It’s about showcasing what our project is<br />

trying to do. For thousands of years, people have<br />

celebrated the food around them, so this project<br />

is about trying to bring that back. To minimise<br />

eating food from abroad, and to focus on our<br />

local resources. A huge part of our carbon<br />

footprint is how we get our food, so trying to eat<br />

local is one of the biggest things we can do as<br />

individuals to make a difference.<br />

We are always encouraging and welcoming<br />

volunteers to get involved. Some of the most<br />

popular activities are picking the apples, making<br />

the apple juice, helping with pasteurising. People<br />

can go onto the website for more information.<br />

They then get an email with volunteering<br />

opportunities, such as working on the scrumping<br />

project, planting fruit trees or helping in a local<br />

school. As told to Joe Fuller<br />

brightonpermaculture.org.uk<br />



How to find your ideal architect<br />

Talk through your ideas at RIBA Sussex’s Design Day<br />

So you’ve decided you need to extend or<br />

renovate your home. If you need planning<br />

permission, you are likely to need an architect’s<br />

services; and even the smallest project will<br />

benefit from an architect’s professional advice.<br />

Sarah Miller of the RIBA, who is coordinating<br />

Hove Design Day for RIBA Sussex at<br />

Cornerstone Community Centre on Saturday<br />

19 <strong>October</strong> suggests:<br />

MAKE A WISH LIST which focuses on what<br />

you want to achieve and includes all your<br />

requirements and any problems to be solved.<br />

By all means, add swatches and inspirational<br />

images – but also include your overall budget,<br />

so that you have realistic conversations from<br />

the start.<br />


talk about your project, so that you feel the fit<br />

is right. The RIBA’s Find an Architect service<br />

www.architecture.com/findanarchitect can<br />

help you to create a shortlist; and Hove Design<br />

Day is an excellent opportunity to meet with<br />

individual local architects. Chemistry is really<br />

important: you will know when you have<br />

found ‘the one’.<br />

CHOOSE THE PRACTICE that has experience<br />

of your type of project and follow up<br />

references. How effective were they in<br />

managing their clients’ budgets?<br />


DO FOR YOU before work begins. Discuss<br />

the scope and cost of architectural services<br />

and the fee basis, and put your agreement<br />

in writing. How much or how little you<br />

commission from your architect is up to you:<br />

their services range from coming up with an<br />

initial design, to seeing a project through to<br />

completion.<br />

Hove Design Day is the no-obligation chance<br />

to ask questions and bounce ideas. Each<br />

participating architect will have a table, so<br />

you’ll be able to sit and chat through ideas as<br />

well as go through their work with them.<br />

sarah.miller@riba.org<br />



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

Embassy Court Mural<br />

by Edward McKnight Kauffer<br />

We humans have always liked decorating the<br />

walls of our dwellings. 64,000 years ago the<br />

Neanderthals were painting symbols on the<br />

walls of caves in Iberia, and we’ve been following<br />

suit ever since.<br />

In the 1930s any luxury apartment block<br />

worth its salt would have incorporated<br />

artworks; maybe stained glass, decorative<br />

mosaics, statues or carvings, and always something<br />

splendid in the entrance lobby. Embassy<br />

Court, the Grade ll* listed apartment building<br />

on <strong>Brighton</strong>’s seafront was, in its day, the most<br />

luxurious accommodation on the south coast.<br />

It was packed with celebrities who were waited<br />

on hand and foot, with bellhops and porters<br />

in the lobby, maids living on the top floor and<br />

chauffeurs in the basement. Rumour has it<br />

that biplanes landed on Hove Lawns bringing<br />

wealthy Londoners from Croydon Airport.<br />

Wells Coates, the architect of Embassy Court,<br />

was fascinated by technology and one of his<br />

more successful experiments was the mural<br />

in the entrance lobby of Embassy Court,<br />

completed in 1935. It was designed by Edward<br />

McKnight Kauffer, who made use of a new<br />

invention by cinema and theatre designers<br />

Eugene Mollo and Michael Egan: a system<br />

of projecting photographs directly on to a<br />

wall treated with a sensitised film. McKnight<br />

Kauffer was an American designer who lived<br />

mainly in the UK. Perhaps best known for his<br />

London Underground posters, he was also an<br />

artist, illustrator and theatre designer.<br />

The mural was destroyed decades ago, possibly<br />

in the 1960s, and it was a long-held ambition<br />

of some residents of Embassy Court to re-create<br />

it. The project was led by Andrew Birds,<br />

Sue Milnthorpe and Paul Roberts, working<br />

alongside architect John Cook who recreated<br />

the images digitally, working from only two<br />

black and white photographs that survived<br />

from the 1930s. The main features are John<br />

Nash’s section through the <strong>Brighton</strong> Pavilion<br />

and photographs of two Parisian sculptures,<br />

taken from a trip made by McKnight Kauffer.<br />

The sculptures were identified as the god<br />

Triton in the Place de la Concorde and Fame<br />

and Pegasus from the Jardin des Tuileries.<br />

The colours are, of course, guesswork to an<br />

extent, though based on research in to what<br />

McKnight Kauffer was doing with his work<br />

in that period. Using that research, graphic<br />

designer Andie Airfix helped to develop the<br />

colour palette. The four wind turbines in the<br />

new mural (pictured above) were added as<br />

a contemporary nod to the changing local<br />

landscape, making the point, the team behind<br />

the project say, that the mural is not an<br />

absolutely accurate re-creation, but a ‘faithful<br />

re-imagining’.<br />

The public can view the mural during Heritage<br />

Open Days and <strong>Brighton</strong> Fringe tours.<br />

Keep an eye out for opportunities to visit the<br />

building at embassycourt.org.uk or take a peek<br />

through the front door for a glimpse.<br />

Paul Zara<br />


Located in the sought-after<br />

Seven Dials district 0.8 miles*<br />

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

15min stroll to the beach<br />

A unique opportunity to buy<br />

a new home in hove.<br />



Actual photography of development.<br />

OWN A NEW<br />


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

Dig for Victory (again)<br />

Grow your own to save the insects<br />

With the human population<br />

expanding (currently at 7.5<br />

billion globally), and flying<br />

insect numbers rapidly declining<br />

(down by 75 per cent in<br />

the past 25 years), the big<br />

question for the future is how<br />

are we going to grow enough<br />

food to feed everyone?<br />

Dave Goulson, Professor<br />

of Biology at the University of Sussex and an<br />

expert in crop pollination, has described the depletion<br />

of bugs as an “ecological Armageddon”.<br />

Without them we’re all doomed, even if we can<br />

control temperature rises.<br />

But there is something we can do, he says.<br />

And it’s not that far removed from the ‘Dig<br />

for Victory’ advice of World War Two, which<br />

encouraged the British public to turn their<br />

lawns into vegetable patches to help cope with<br />

food shortages.<br />

Dave, a keen gardener with a two-acre plot,<br />

carried out a citizen science project that involved<br />

urban gardeners in <strong>Brighton</strong> monitoring<br />

visiting insects. They also described their<br />

pesticide use and weighed the produce from the<br />

insect-pollinated crops.<br />

Despite the bug decline, Dave was relieved to<br />

see there were still sufficient bees and other<br />

pollinators buzzing around his plot and those of<br />

other amateur gardeners.<br />

What most impressed him, however, were the<br />

crop yields, particularly given growers’ low use<br />

of pesticides.<br />

“People were getting the equivalent of 35 tonnes<br />

per hectare, which is a lot more than industrial<br />

farming produces,” he says. “A wheat crop gets<br />

around eight tonnes per hectare, and that’s after<br />

it’s been sprayed several times with insecticides.”<br />

The other eco benefits<br />

included zero food miles and<br />

packaging, while studies have<br />

shown that allotments are<br />

now the best places in urban<br />

environments for biodiversity.<br />

“You only have to look at the<br />

variety of things being grown<br />

to see that,” he points out.<br />

His argument now is that<br />

more land should be made available by the<br />

government for those who want to grow their<br />

own produce. The UK has 300,000 allotment<br />

holders, but there are currently another 100,000<br />

people on waiting lists – with the average wait<br />

being ten years.<br />

“Lots of people are interested in growing their<br />

own food, particularly in <strong>Brighton</strong>,” he says.<br />

“They are interested in organic and getting<br />

back to proper local and seasonal food and<br />

cooking. And because of that they are less keen<br />

to use pesticides, which is much better for the<br />

environment.”<br />

While small-scale farming is more labourintensive,<br />

Dave suggests this could even be a<br />

route into employment in a time when jobs are<br />

becoming redundant or lost to automation.<br />

It’s also been shown that gardeners tend to<br />

have better physical and mental health in old<br />

age than non-gardeners, which is no surprise<br />

to Dave. “They’re active, they get to enjoy the<br />

bees and the butterflies, and they eat their own<br />

veggies.” Jacqui Bealing<br />

Dave’s latest book is The Jungle Garden, or Gardening<br />

to Save the Planet (published by Jonathan<br />

Cape). He is also the founder of the Bumble Bee<br />

Conservation Trust and the author of bestselling<br />

guides to bees, A Sting in the Tail, and A Buzz in<br />

the Meadow.<br />


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

Illustration by Mark Greco<br />

Blackthorn<br />

Sloe times with Betsy<br />

From up there it felt like I could see the whole<br />

world: the Oak trees adorned in summer’s fading<br />

leaves, the fields at harvest, the city far in the<br />

distance. Each <strong>October</strong> my Grandad would load<br />

me and a bucket into Betsy, his faithful 1963 Ford<br />

Anglia. Together we’d cruise the county’s back<br />

roads. Every few miles he would ease Betsy to a<br />

halt and inspect the landscape until finally declaring<br />

“this is the place”. My bucket and me would<br />

be hoisted high up on his shoulders and from<br />

there I’d get my Grandad-stand view of the world.<br />

More importantly though, it’d put me within<br />

reach of the treasure. The jewels we sought on<br />

our expeditions were sloes, the round purple-black<br />

berries that bedecked the Blackthorn bushes. My<br />

Grandad was convinced that the finest fruits were<br />

located high on the hedge. And the best sloes made<br />

the best sloe gin.<br />

Each spring the Blackthorn hedges bloom, their<br />

brilliant white flowers blanket the countryside<br />

temporarily creating snow-white drifts against<br />

the woodlands and along our roadsides. These<br />

ephemeral petals soon fall and the Blackthorn<br />

becomes cloaked with small, oval leaves capturing<br />

the energy which powers production of the sloes.<br />

A Blackthorn bush is a prickly character and as approachable<br />

as an enraged porcupine. Each twig is<br />

armed with spikes which deter cattle and Grandads<br />

from helping themselves to its leaves and berries.<br />

This spiny spinney fortress also safeguards a<br />

wealth of wildlife. Nightingales, Turtle Doves and<br />

other birds nest under its protection and the elusive<br />

Brown Hairstreak butterfly lays its miniature<br />

sea urchin-like eggs on the bush’s black bark.<br />

Many years after my Grandad and Betsy had<br />

departed, I decided to honour them both and<br />

concoct my own sloe gin. I found an online recipe<br />

and, in what was and still remains one of the biggest<br />

disappoints of my adult life, I discovered that<br />

the main ingredient in sloe gin… was gin. After<br />

watching my Grandad making his moonshine I<br />

had genuinely believed that by submerging a load<br />

of sloes in a bottle you would magically turn water<br />

into gin. It seems my Grandad couldn’t perform<br />

miracles, indeed looking back our hedgerow pillaging<br />

raids could easily be dismissed as forced child<br />

labour. Was he exploiting me and my tiny hands<br />

to bypass those thorns and reach the best berries?<br />

A few decades earlier he’d probably have sent me<br />

down a mine or up a chimney. But my Grandad<br />

wasn’t some Fagin-like character. Now I think of it<br />

I never once saw him actually drinking any of his<br />

sloe gin. Perhaps just being out in the countryside<br />

in the autumn sunshine on an adventure with<br />

Betsy and his grandson was the truly intoxicating<br />

ingredient.<br />

Michael Blencowe, Senior Learning & Engagement<br />

Officer, Sussex Wildlife Trust<br />



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

It’s inspection time for the Tamplin & Sons draymen,<br />

standing ‘at ease’ in rather military fashion,<br />

in front of the Phoenix Brewery, with their marvellous<br />

horses. We don’t know the exact date: the<br />

James Gray archive notes read, simply, ‘1920s’.<br />

Theirs was a vital job: delivering beer brewed on<br />

the site to the 200+ pubs owned by the company,<br />

throughout <strong>Brighton</strong> and Hove.<br />

Tamplin & Sons was set up in 1820, by Richard<br />

and Henry Tamplin. Their first brewery, in<br />

Southwick, burnt down within a year, so they<br />

built a second between Southover Street and<br />

Albion Street. At the bottom of Hanover. Designed<br />

by Amon and his son Amon Henry Wilds,<br />

it opened for business in 1821. It was named<br />

‘Phoenix’ as it had risen from the ashes of the<br />

previous brewery, and the mythical bird became<br />

the symbol of the company. You can still see the<br />

Phoenix logo in the brickwork of a handful of<br />

pubs in town.<br />

Tamplin & Sons grew and grew, over the years,<br />

swallowing up rival breweries and taking over<br />

their pubs, eventually owning over half the hostelries<br />

in town, and producing over five million<br />

gallons of beer a year.<br />

The brewery was itself taken over, by Watneys, in<br />

1953, but until 1969 the London giants continued<br />

brewing beer for the area using the ‘Tamplins’<br />

brand. Between 1969 and 1973, when the Phoenix<br />

Brewery was demolished, they brewed their<br />

own keg bitter there.<br />

The site was redeveloped in the 1990s and now<br />

houses a University of <strong>Brighton</strong> student residence<br />

building, named ‘Phoenix Brewery’. Two adjoining<br />

streets – Phoenix Rise and Tamplins Terrace –<br />

also acknowledge the area’s boozy history, as does<br />

the Phoenix <strong>Brighton</strong> art centre. The brewery’s<br />

former office building still stands, now the Phoenix<br />

Community Centre.<br />

Look to the far right of the picture, and you can<br />

see a curious figure poking his head out of the<br />

doorway at the foot of the building. Was this<br />

chap surprised to see the photographer at work,<br />

or was he cheekily trying to get into shot? He<br />

lends this rather serious image a welcome touch<br />

of humour: buy the man a pint.<br />

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 />






Scan to download<br />

the Course Guide!<br />

Email: admissions@escg.ac.uk<br />

Visit: www.escg.ac.uk<br />

Tel: 030 300 39699<br />

E A S T B O U R N E | H A S T I N G S | L E W E S | N E W H A V E N

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