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OAF
a new digital music channel that showcases the best music from all genres around the world
CONTENTS
VOLUME 1 - SEPTEMBER 2013 The “Rebirth” Issue
9 Why did I get into a gang? Duro Oye tells us what it was like growing up in a gang
30 DRENGE These brothers are one of the hottest new bands around at the minute
12 BMX’ing at clifton We went down to Clifton Skate Park to take some photos of a BMX’r
32 MATHS TIME JOY He makes amazing electronic music
15 Jobs For The Boys This guy quit football because he hates how kids are being taught 19 tasty This girl makes herself look hot in next to nothing 24 NATHAN KNOWLES He drew the cover illustration. Cool dude. 28 RANDOM STUFF TO WASTE YOUR WAGES ON Becuase we all know saving is for pussies 6 OAF
34 DON’T Some guys sent us some photos in of them doing crazy stuff when they were fucked 36 I CAN SKATEBOARD The OAF AW13 skate-inspired lookbook 43 GLOBE X BEAVIS AND BUTT-HEAD For the 90’s rock n’ roll kids 44 NIKE AIR MAX COUNTRY CAMO We love camo, so we love this new Nike collection
Editors Letter
Fuck, this is it. I’m sat here after a long day writing the first editors note for the launch issue of OAF. Yeah, we got bored and rebranded for the third time in 18 months, but we feel now that we have found our identity and moved away from the boring and now mainstream ‘student culture’ market. We remain heavily focused on music, fashion and youth culture and that will never change. However, you’ll see a different approach in our content. The magazine is packed with exclusive products and photoshoots, which you now expect from us, we know. The print magazine lets us do things differently to how we do it online, it really allows us to concentrate on brining lifestyle features to life more than we will ever be able to online - which is why we love print so much. I spent a Sunday in Nottingham with Millie Hunt and Stephanie Williams taking photos of Jono Martin trying to look good in the pieces from Nike, Puma, Rocawear and more, in our skate-inspired photo shoot. This was our first attempt at a fashion shoot and the results are pretty damn good. I’d like to especially say thanks for Cube Company and Radiator PR for making the project happen. Another highlight of the launch issue is the interview we did with one of the bands of the moment, Derbyshire’s Drenge. All you have to
do is Google “Drenge” and you can see how fucking big this band is at the minute, so when Eion agreed to the interview, I was buzzing. We have always been big fans of Nathan Knowles illustrations, so we got him to design our front cover in return for an interview and a few of his pieces being showcased in the magazine. Not a bad deal, eh? In terms of other interviews, you can look forward to an interview we did with Maths Time Joy about his music and plans. Also, Daniel Henshaw interviewed a former football coach who is so pissed off with football and how they are teaching young kids to play, he quit the sport. As you can see, a fully packed and sick looking print edition is waiting for you to read, share and fucking enjoy. Don’t forget to head down to Nottingham’s Bodega Social Club on Saturday September 14 for our launch party. Dekrux, Monroe and Hardy are playing live DJ sets. It’s free too, so bring yourself and friends down and skank out until your feet are bleeding. Greets Ash
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Why did I get into a gang? By Duro Oye Photography by Gundeep Anand
Below is a new story by Duro Oye. Taken from our series “Why Did I Get Into Gangs,” in partnership with Duro’s youth foundation 2020 Change. Seven years ago things could have gone either way for Duro, but they went the right way. He takes us back to the beginning when it all started to the end when it all stopped in this short story for OAF. Now go and make a brew, turn off your phone, Twitter and Facebook and enjoy a few moments of silence while enjoying this piece of reading.
The real question would be was I a member of a gang as a youngster? In my opinion I wouldn’t call what we had then a gang, even though looking back on it now, “society” would call it a gang. We were a group of friends who looked out for each other, like a family we would ensure everyone was fed, clothed and well looked after. The problem was how we made sure this happened. Why did I get involved? It was out of boredom really, it was something to do, and we didn’t really see it as “bad”. We started by hanging out by the shops then going to one of our homes to play monopoly till early hours of the morning, walk home, sleep then do the same thing again the next day. We quickly grew in numbers; things didn’t start getting serious until we noticed there were other groups of young people growing in other areas, word started to spread, egos got involved and points need to be proved. We had to show we were the “HARDEST” group out there. Looking back now, yes it was stupid and pointless, but at that moment in time that was all we cared about.
Being part of a gang gave me that sense of belonging, for once people listened to me, my opinion was valid, what I said was done. I was a leader now, I gave instructions and people carried them out, I never got that at home, school or anywhere else. The younger ones used to come and tell me they wanted to be like me, this was it. I thought “I have become someone others look up to”. Completely blind to the damage I was causing. This went on for two years all through my college days. Yes college days, although I was a “gangster/ gang-member:’ whatever you want to call it, I was also very “book-smart”. I had a split personality I was one person at home and a different person on the street, teachers would always tell me I had potential but then what’s potential to someone who is thinking about pound signs? I thought potential was for the future. Money was for the now, so I would rather focus on that. Back to the story. I spent two years at college, came out with good grades at the same time my street credibility; my team and my monOAF 9
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“six of my boys got arrested and sentenced to a total of seventy years between them for a series of robberies committed that summer” ey grew. Before I knew it I was into organised crime, I was in tight with the older boys they liked me because I wasn’t like the rest of my friends, I was quiet and didn’t dress like a hoodlum so they could take me places and show me things. “They taught me the Game which I in turn taught my boys”. Things were good; we had money, cars and girls. I was still on the come up. If it were left up to me I wouldn’t have gone to university but I was somewhat “forced” to go by my family, to keep the peace I caved in and agreed. I looked for the easiest/shortest course and selected that. At the same time things were pretty heated on the streets six of my boys got arrested and sentenced to a total of seventy years between them for a series of robberies committed that summer. I thought going to university would be a good break for me, and the fact that I was going outside London meant I could have a break from it all.
I held on to the picture of me becoming a better person, channelling all my energy in something constructive, something I would be able to proudly share around the Christmas dinner table and have my mother smile. Fast forward to now, seven years down the line I am still on that journey of becoming a better person in a daily competition with myself to become a better man than I was yesterday. Not only am I a successful film-maker but I have also launched my very own youth foundation called 2020 CHANGE. The aim of the foundation is to help young people who have been affected by street culture and are looking for an exit route. Our main focus is placed on ex-gang members, ex-offenders and those who have or are likely to be influenced by gang culture. We are here to help those who have reached that vital turning point in their lives when they realise street culture will not get them anywhere in life. Our goal is to help them make that transition from “Street2Life” and help them become upstanding members of society.
Coming out of the gang
I would say the change of environment and the fact that I didn’t know anyone at my university was the start of my exit route from gang/ street culture. I was exposed to new opportunities and possibilities over the years I started to think is this really what I wanted to do for the rest of my life? Could I be more? How long can I really live like this? These were questions that bugged me while I was out there. I graduated with a 2:1 in Graphics and Advertising at the university of Bedfordshire. I made it back to south London and thought “I can’t go back to the life I was living” and just like that I left. Well it wasn’t easy but I made it through, OAF 11
MARK NAYLOR Clifton Skate Park, Nottinghamshire 12 OAF
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Jobs For The Boys How the coaching system in England is stunting youth development Interview and words by Daniel Henshaw
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As the draw for the Under 20s World Cup was made back in March, England’s talented young footballers must have felt an air of confidence as they were placed in a group with Iraq; a country with a footballing heritage the size of Saddam Hussein’s formerly well-groomed moustache. Fast-forward three months, and it appeared to be shades of Mike Bassett as our boys threw away a two-goal lead to scrape a draw. Another draw with Chile and defeat to Egypt (a country in political turmoil) saw our boys dumped out in the first round. However, they were not the only ones. In addition to this, there were utterly disastrous campaigns this summer by the England Under 21s and our women; all three national sides falling at the first hurdle. Hence, those age-old questions have cropped up again about what the English are doing so wrong and what the Spanish, Germans and… Egyptians are doing so right. Common phrases are carelessly flung around, such as: “We’re just not as technically capable as Chile.” But this only raises a simple question: why not? There are numerous factors that “experts” point the finger at, and one of those is the standard of coaching throughout the country. To try and get to the bottom of the problem, I spoke to former coach, John Hunt, who, becoming disheartened by the game, now has no involvement with football whatsoever. Hunt was involved in coaching young players for around 15 years, is qualified at UEFA-B level
“If Gianfranco Zola had been born in England, we’d have never heard of him because, according to this expert from the FA, he wouldn’t be able to cope with the physical aspects of the game.” 16 OAF
and did both scouting and coaching for several Football League clubs. After I asked about the state of coaching in England, Hunt began to share his views. “It’s very much a ‘jobs for the boys’ system. When I was working towards my UEFA-B License, I was 1 of 3 coaches - out of 18 – who had never actually played football at a professional level. And when it came to it, all 3 of us ‘failed’ the first time whereas all of the ex-pros passed. The people running the courses are reluctant to criticise the former ‘stars’ but will make the rest of us an easy target.” Hunt gained his UEFA-B at the second attempt but when it came to the UEFA-A License, it simply came down to costs. “I would have had to take 4 weeks off work and pay about £1,800. So, on top of the loss of wages, I just couldn’t afford it. With the obscene amounts of money now in the game, why are these opportunities not being funded?” “In my experience, I came across a number of bright, innovative coaches,” Hunt continued, “However, they have to follow the ‘coaching bible’ or they will fail to progress in terms of qualifications. So most of the coaching I came across was unbelievably flat, dry. It was mainly encouraging ‘when to play to space, when to play to feet’ – which is an important part of the game – but there was never any encouragement of creativity, flair.” “If you’re setting a team up to play against England, you don’t need to be a rocket scientist. They’re going to play 4-4-2. Full backs will overlap and they cross it into the box. It’s predictable. Watch the England team. They know when to play to space and when to play to feet. But what’s missing? Flair, skill. And we don’t coach enough of it, certainly at grass roots level.” So there are excellent coaches are out there but it’s “the system” that is halting their progress (and essentially slowing the development of our young players). But surely if there are enough quality, skilful players out there then
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we shouldn’t need the greatest coaches in the world, should we? “You’ll always have those players that are a natural talent - whether they come from Manchester, Alfreton or Kettering – you’ll always have those kids at 7, 8, 9, 10 years-old that have natural skill as well as pace and aggression. Beating a player, to them, comes naturally – like it was to George Best, like it is to Cristiano Ronaldo. What happens in this country is that we ‘coach the flair out of players’ – they’re told to ‘Stop! Don’t do that there!’ when we should be encouraging it. Just show them the right areas to do it. So many coaches smash them into the ground and there is too much criticism. One bad touch and they’re on the kids backs. Next time he gets the ball, he’s thinking ‘I daren’t do that again’, his chin’s on
“After being told that the ex-pro only wanted players who can “run and run and run until they’re sick”, Hunt told him to get “Paula fucking Radcliffe” his chest and he’s not playing his natural game. Whatever you do in life, if you’re confident then you’ll work better.” “When I coached my youth team, I always coached and encouraged them to play in what I perceived as ‘the right way’. But, for a while we were out-muscled a little bit and we didn’t win any titles. We played the better football but there were kids who were 6 foot odd at 14 years-old, smashing balls past our four foot goalkeeper. When the lads reached 16, and they filled-out, they’d been coached in the right way and other teams couldn’t live with us, which is why we won the league and only conceded 6 goals in an entire season. We then broke numerous records when they were under 17s and 18s.” 18 OAF
Hunt revealed that he tried to take that successful group of young players to a semi-professional club, willing to work under and answer to an ex-pro who was far less qualified, in terms of coaching, than himself. However, after being told that the ex-pro only wanted players who can “run and run and run until they’re sick”, Hunt told him to get “Paula fucking Radcliffe” and gradually became disheartened with the game. “It’s a shame that those players couldn’t go on and play at a higher level but sadly it is a fact that when it comes to young players, professional clubs in England only want those bigger players who can smash balls past two foot goalkeepers. When I worked as a scout for a Championship club, a guy from the FA came in and did a presentation about the type of player they were looking for. He showed us the torsos of two 14-year-old lads, without their faces. One physique was excellent, the other wasn’t so big. He said ‘if you see a player at 14 with a physique like that, that’s what we want.’ I was astounded. So if Gianfranco Zola had been born in England, we’d have never heard of him because, according to this expert from the FA, he wouldn’t be able to cope with the physical aspects of the game. The same goes for Messi, Iniesta, Xavi and co? But where were they brought through? Spain. And that’s not England is it? Very frustrating.” Clearly these stories are limited to Hunt’s experiences in coaching. However, if coaches around these shores are seeing the same things, then we evidently have a bit of a problem on our hands. Does Spanish coaching have a ‘jobs for the boys’ system? Would they ever ‘coach the flair out of players’? Are they only looking for 14-year-old body-builders? I suspect the answer to all of these questions is “no”. I suspect the same answer applies to Germany, France and Iraq (maybe).
Photography by Brian Groom, Image Red Studio
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NATHAN KNOWLES Interview by Ashley Allen
Hello. Tell us a quick bit about yourself and your work. I’m Nathan, I’m 22 yearsold and I’m a Interior Design graduate from Ilkeston. I’m a lover of all design and my work tends to be quite experimental and involves a range of all the different skills that I’ve picked up over the years. How did you find yourself doing design work and illustrations? Throughout school I always enjoyed art and graphics, I always saw them as "bunking off" from real studying because it all came so naturally and I used to always get A’s for my drawings, so it seamed easy. When school finished I really didn’t know what I wanted to do as a career so I decided to stick to what I liked and what I was good at and decided to do a B-TEC in art and design. I learnt so many different skills in this course which has probably influenced me to be so experimental with my work. I’ve always loved sketching and drawing and it was during my time at University that I started scanning drawings and manipulating them with pho24 OAF
toshop...accidentally my passion for illustrations began. Talk us through your design process from the idea to the finished piece? Instead of writing myself a boring brief, I like to sum up the concept in one key word. I then like to research the word rather than actual physical ideas and create a mid map. Any words that crop up more than once become my "brief" and are used to then influence my designs. I then research the hell out of these key words and slowly but surely images emerge. Depending on the project I’m doing, I then go through all the trial and errors of design meeting reality, i.e budgeting and health and safety until its finished. What influences your designs and concepts? Depends of the project really. I guess mainly the client! Understanding your client is extremely important but at the same time I’m there to show them something new and give them a piece of ‘me’ and the way I work. What’s been your favourite
piece of work so far? Ermm, I’ve enjoyed all the projects I’ve done so far. The most challenging was a barn conversion in Wales, passing Welsh planning permission is no easy task! But I guess my favourite piece of work was while I was in my first year at Uni. Along with two friends, I entered and won a live competition to design a innovative christmas tree for the City Inn Hotel in Manchester. Our design was a wine glass tower sat on top of a light box and we was given £1000 to do it. This is my favourite piece of work because it was the first time I actually got to turn my work into reality and seeing the finished product at the opening night celebrated with friends and family was a really nice feeling and it cemented the fact that I was doing what I loved at Uni.
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RANDOM STUFF TO WASTE YOUR WAGES ON Saving money is for pussies
You’ve always wanted to eat egg and soldiers in the shape of the Queen’s Guard. £10, therandomshop.co.uk
Sneaker Freaker magazine is for all y’all sneaker lovers out there. £4, sizeco.uk
Dr Dre made over the head headphones cool. So did Sol Republic with these V10 HD’s. £68, ebay.co.uk 28 OAF
Not that we give a fuck about squireels, even though they are cute. This is just funny looking. £15, red5.co.uk
We all need to do out bit for the environment. Put these up to raise awareness. £23, cafepress.co.uk
Put loads of this this on a gret fuck off burger. Big up Levi Roots. £3, tesco.com
We can’t find the words to desribe these new adidas Nitrocharge boots. £150, prodirectsoccer.com
You’ll be the new superhero of the town if you put this mask on. Take our word for it. £9, amazon.co.uk
An 18ft beer bong. Dangle this where ever you want and get totally wankered. £25, beerbongbros.co.uk
A pussy can never be moist enough, no matter where you are. Spit on your hand no more. £3, sextoys.co.uk
It’s a dream come true to have a bacon shaped air freshner in your car, £7, therandomshop.co.uk
Nothing says you are a huge cunt more than a wearing a t-shirt with saying “FUCK OFF” on it. £10, kultclothing.bigcartel.com
Gangsters. Hooligans. Proper hardcore lad DVD, this. Drink Stella whilst you watch it. £3, amazon.co.uk
Parties will never be the same once you have one of these shot belts. £12, drinkstuff.com
Drinking shots out of a normal shot glass boring. This is well cute. £9, drinkstuff.com
Who said notebooks were for geeks? Camo ones are for hipsters. £10, opumo.com OAF 29
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DRENGE Interview and words by Ashley Allen
How would you describe Drenge to those who have not heard you before? A rock band consisting of guitar and drums. Other useful adjectives: loud, young, aggressive, fraternal. Where did the name Drenge come from? Does it stand for something or was it just a random decision that you stuck with? It comes from the Danish word for boys. It’s an English pronunciation because Danes don’t pronounce the g. We used it for a while as our own term for something that was socially awkward, but it became our band name when it sounded like the best description of what we do without using words that people understand. Has there ever been any moments where you want to punch each other in the face, or is it all brotherly love? It’s a consistent marriage of the two. Most of the time it’s total obliviousness to each other. The Guardian said you are “Derbyshire’s Black Keys”. Do you want to say anything back to them about this compliment? I’d argue that the dearth of musical output where we live qualifies us to be Derbyshire’s U2, Led Zepplin, Beatles or Jedward. It’s a pretty meaningless sentiment. People say you live in Sheffield now? Does this mean you get all the Arctic Monkeys, Pulp, Milburn comparisions. Do you ever feel like telling them to “shut the fuck up” because you are Drenge and you have your own style? Or do you enjoy the pressure? We still live with our mom and dad in Derbyshire. Each band has their own style. Pulp have their amazing pop tunes. Monkeys have that indie sound nailed down. We’re just
a rock band. The Sheffield comparisons are alien. We got compared to Human League once. Let’s carry on with the comparisions. Your latest track “Backwaters” reminds us of early Editors stuff and more recently White Lies. The video is pretty fucking rock n’ roll too, what was the thinking behind this? The song is about being trapped in the countryside and having no way to get out. The director had a similar upbringing so we could really understand each other’s points of reference. Being removed from the ‘excitement’ of the city means that you’re more likely to make your own fun. Nine out of ten times, it ends up with an ambulance and crying/vomiting. A lot of artists and bands think that they can only make it if they go on X Factor, which is utter crap. As a band that got signed off your own accord, what would you say to these people? and to the people behind X Factor? I don’t really care. To be fair, if you want to do pop music then I’d argue going through X Factor is a legitimate route. We live in the same village as Shane Ward. He’s just built a big house. I think he’s just been in Rock of Ages in the West End. What does your record label, Infectious, have in store for you for the rest of 2013? Will you be touring, releasing any more singles or videos? Our album came out on August 19 and now the festivals have gone to bed we’re on the road until the year falls out.
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MATHS TIME JOY Interview and words by Ashley Allen
Who is Maths Time Joy and what do you do? MTJ is the main name I produce under although it’s just one part of what I do really. I’ve been producing for the last three or four years and the MTJ stuff is where I think I can be the most creative and have tried to establish my own sound over the past year or so. I produce other music under my real name Tim Worthington as well as making hip-hop with a friend from University, but it’s important to try and keep all those aspects as separate as possible I think. Where did the name come from? It’s an anagram of my first two names Timothy James. What made you want to make your own music? I guess it was just a progression from learning to play an instrument. I think since being a teenager I’ve always been like an active listener of music rather than a passive one, as in I would never really just listen on a surface level, I’d always be more interested in what was going on and how they were making those sounds. I started out just writing more acoustic/singer/songwriter type songs I guess just as a way of expressing myself. How long did it take you to learn? I don’t think anyone could say they’ve really stopped learning. My first EP Lightyears was like a year or so into me having started producing, but when I revisit that now it seems a long way from where I am now as a producer. I would spend ages trying to fig32 OAF
ure out how music was made, but I think I’m passed that stage now and more into wanting to express myself and my own sounds. Do you ever get bored of the electronic scene and feel like putting some One Direction on? This question rings true for me a lot of the time, minus the One Direction bit. I don’t really listen to that much electronic music in my spare time, even though I’m part of that scene I feel kind of removed at times. I always listened to more hip-hop and singer/songwriters when I was younger so I think those things have stuck with me, really. Dance music in general is something I’ve always struggled to really connect with so the more housey-techno sounds that are popular right now I find difficult to really get into although occasionally a track will stick with me. What are your guilty music pleasures? A good pop song I guess, but I think I’m old enough now that I wouldn’t ever really pretend to dislike something for the sake of appearance, whereas when you’re younger there’s that kind of front that you put on where you pretend you’re not into anything commercial. I like a lot of soul music, like Motown era but I’m not sure if you’d call that a guilty pleasure or not. Will Smith – anything by Will Smith. Finally, what’s next for Maths Time Joy ? I’m working on lining up a few shows at the moment, here and abroad. There’s lots of new material I’m working on right now though, a new EP with different collaborations, a new single, a couple more remixes and production stuff for other people.
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STYLE GUIDE
Model wears Rudeboi Clothing t-shirt
AW13 STYLES, KEY TRENDS & NEW RELEASES
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I CAN SKATEBOARD Model: Jonathan Martin Stylist: Millie Hunt Photographer: Stephanie Williams
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Adidas Back Pack
Puma shorts, Diadora sneakers
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Judge & Jury Clothing shorts, Nike Snkears
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Nike sneakers
Outcast-shirt, Judge & Jury Clothing shorts
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Rocawear t-shirt, Nike back pack
GLOBE X BEAVIS AND BUTT-HEAD
Globe and MTV announce the release of the Globe x Beavis and Butt-Head capsule collection. Designed as an homage to the fuck you style, heavy metal attitude of the original Beavis and Butt-Head series, the new Globe x Beavis and Butt-Head capsule collection brings together original and first time fans with products that look cool, but are also collectable. OAF 43
NIKE AIR MAX COUNTRY CAMO
Nike pays homeage to the countries and cultures that have made the Nike Air Max a worldwide icon by releasing an updated version of the the classic sneaker with a series of country-specific camouflage patterns.
Initially released in 1987, the Nike Air Max running shoe was crafted for sport but was quickly adopted as a piece of streetwear. The Country Camo collection honors and evolves this heritage by updating the shoe with vintage camo prints from countries such as France, Germany, Italy, Japan and the UK – and with Nike Hyperfuse technology, too. France leads off the new collection, with the transformation of the Air Max 1 and Air Max BW with a French camo stamp, while Italy rocks the Air Max 90 and Air Max 97 in a motif from the early ‘90s. Germany’s print was first issued way back in 1999, and now it supports the Air Max 1 and Air Max 180. And both the Japanese and British textiles - which are both from around 1991modify the Air Max 90 and Air Max 95.
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OAF’S ULTIMATE GUIDE TO INNER CITY LIFE AND CULTURE
LAUNCHING 01.10.2013
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