BN1 Magazine November 2024

COMES TO ACCA

MOONCHILD SANELLY

DRUNK WOMEN SOLVING CRIME

IN THE BOX IMMERSIVE FESTIVAL

BLAST THEORY

FEAT.

After the Act

A new 1980s-inspired musical about pride, protest... and abseiling lesbians.

Trim? Fresh. Skin? Glowing. Vibes? Immaculate.

Ages 14+

CONTRIBUTORS:

STUART ROLT

ROSIE PALDI EDWARDS

DEAN HARRINGTON

CLARE BEST

EDITOR IN CHIEF: CHRIS SADLER

CHRIS@BN1MAGAZINE.CO.UK

EDITOR: STUART ROLT

STUART@BN1MAGAZINE.CO.UK

COVER:

MOONCHILD SANELLY

IMAGE COURTESY OF COLORSXSTUDIOS

NEWSDESK/ GENERAL ENQUIRES:

INFO@BN1MAGAZINE.CO.UK

BN1 MAGAZINE

UNIT 28. FLOOR 6

NEW ENGLAND HOUSE

BRIGHTON

BN1 4GH

01273 022991

LOCAL NEWS & EVENTS

BN1 CHATS WITH MOONCHILD SANELLY

DRUNK WOMEN SOLVING CRIME

GOODWOOD’S FESTIVAL FUTURE LAB

BRIGHTON’S RISING STAR EVA

WORTHING THEATRES & MUSEUM: CULTURAL GEM

CINECITY UNMISSABLE FILM FESTIVAL

QUIZ FACE CROSSWORD FUN

BLAST THEORY BRINGS AR EXPERIENCE TO ACCA

IN THE BOX: CUTTING EDGE IMMERSIVE FESTIVAL

JORDAN STEPHENS HONORED WITH NEW AWARD THE SPITFIRE EXPERIENCE

TISBURY ROASTS @ THE LEWES ROAD INN

DO MORE, STRESS LESS

TV & STREAMING GUIDE LATEST

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BN1 Magazine has taken every reasonable care to ensure the information contained within this periodical is accurate on the date of publication. It is advisable that you verify any information before relying upon it. BN1 Magazine accepts no responsibility for the consequences of error or for any damage or loss suffered by users of the information, materials or third parties featured within this magazine.

EVENTS

Book a Christmas Party at Pinot & Picasso UK:

Season of Celebration!

Pinot & Picasso UK is here to make your end-of-year celebrations truly unforgettable. With 15 brand new artworks designed specifically to get you in the festive spirit, it’s the perfect opportunity to gather your colleagues, friends, or family for a memorable and creative Christmas party. Whether you’re painting your colleague as a mischievous elf, being a perfectionist with painting delicate snowflakes, or adding a personal touch to Christmas cards and candles, they have plenty of options to choose from.

Picture this: your team swapping out spreadsheets for paintbrushes, a glass of Pinot in one hand and a palette of colours in the other. It’s

a chance to give your team more than just a pat on the back and to celebrate the end of year together. This is about making your team feel appreciated, whilst having a lot of fun.

Pinot & Picasso’s artists will guide you through step-by-step instructions, so don’t worry, no talent is necessary. And to make your party even more festive, they offer a range of drink packages from their studio bar (that’s where the Pinot comes in). If

your group isn’t quite large enough for a private booking, don’t worry. Pinot & Picasso will offer you a 10% discount and do their best to sit your group together in one of their public sessions. It’s all about making sure everyone has the chance to join in the celebration.

Book a Christmas party with Pinot & Picasso Brighton and unwrap your inner artist this season of celebration.

Get in touch via brighton@pinotandpicasso.uk

UCFT: Ultimate Crisp Fighting Tournament comes to Bison Beach Bar 27 Nov

Few things ignites British passion like the humble crisp. Forget politics, football, or tea preferences - nothing stirs the soul like a good bit of crisp chat. And now, the time has come to answer THE ultimate question once and for all: Which humble snack truly reigns supreme?

The stage is set, the contenders are ready - welcome to the UCFT, the Ultimate Crisp Fighting Tournament! In this epic clash of crunch, eight crisps and snacks will battle for the crown, but only the strongest will survive. Round by round, YOU will taste, YOU

will chat, YOU will vote, and with every decision, the competition will narrow.

Who will survive the crunch, and who will crumble under the pressure? Only one snack can rise to the top and claim ultimate victory!

Weds 27 Nov

Bison Beach Bar @ Sea Lanes

£2 per person (includes your crisps!)

No max people per team - but recommended group size of 4-6 people

Please arrive at 7pm to find your seats. The Tournament will start at 7:30pm sharp!

LOOKING FOR THE PERFECT EVENT SPACE?

Our stunning Nightingale Room comes complete with a stage and gin bar, ready to host your celebration in style!

Plus, don’t miss out on our weekly deals:

Sandwich & a Drink – £13 (Mon-Fri, 12-3pm)

Burger & a Pint – £15 (All day Tuesday)

2 Cocktails for £16 (Mon-Fri, 5-7pm)

Catch all the live action with TNT & Sky Sports!

HIDDEN GEM ALERT: Relax in our Secret Roof Terrace – a peaceful escape from the hustle and bustle.

The Grand Central, 29-30 Surrey Street, Brighton, Sussex, BN1 3PA grandcentral.brighton@fullers.co.uk

GrandCentralBN1 grandcentralbn1 CentralBN1 AT PETWORTH HOUSE 30 NOV 2024 TO 5 JAN 2025

LEONARDSLEE LIGHTS 2024

This winter, visitors to Leonardslee Lakes & Gardens in Horsham, West Sussex will experience a breathtaking after-dark light trail as this world famous attraction transforms into an enchanting realm – awash with light, sound and colour.

Now in its sixth year, the annual winter light trail returns with a brandnew route, promising to be bigger, better, and even more magical than before - running on select evenings from Fri 22 Nov to Mon 30 Dec (16:15 – 20:15).

“We’re thrilled to unveil a new route for this year’s Leonardslee Lights,” says Adam Streeter, Managing Director of Leonardslee Lakes & Gardens. “Visitors will have a captivating 60 to 90-minute journey through our woodland gardens, experiencing aweinspiring installations that transform Leonardslee into a multisensory wonderland.”

New for 2024, visitors can now experience the magic in peace with their Quiet Night. Designed for those seeking a more tranquil atmosphere, this offers a sensoryfriendly experience with reduced crowds and lower sound levels on Thurs 5 Dec.

Leonardslee Lakes & Gardens are also offering hassle-free travel with a free shuttle bus service. This offers a convenient round-trip journey from Horsham Station directly to Leonardslee Lights with a special ticket.

This event will transport visitors into an enchanting world as the gardens come alive with stunning illuminations, captivating large-scale installations, mesmerising fountains, ethereal soundscapes, and meet

enchanting characters along the way. It features an exciting lineup of local artists and enchanting characters - one of our most stunning new features this year is a field of 300 illuminated crocuses.

Witness the mesmerising Sea of Light installation by Brighton-based Ithaca Studios, known for their work with Coldplay at Glastonbury 2021. This collective of light artists, sound designers, composers, and experimenters is set to create an unforgettable audio-visual experience.

Complementing the visual spectacle, a renowned sound artist Dan Fox of Sound Intervention will present his new work, “Glittering Grove.” This innovative sound installation promises to add another layer of immersion to the event, engaging visitors’ senses in new and exciting ways.

Adding a dynamic, interactive element to the event, Third Space, a local group of young performers, will bring the light installations to life as visitors meet enchanting characters along the way.

Beyond the light trail, Leonardslee Lights offers a festive atmosphere with a small boutique Christmas market. Here visitors can indulge in delicious seasonal food and drink, enjoy vintage funfair rides, and peruse local artisans’ wares before or after their light trail adventure.

As you wander through Leonardslee Lights trail, you can also immerse yourself in a captivating blend of nature and artistry. This year, Leonardslee proudly commemorates the Surrey Sculpture Society’s 30th anniversary by highlighting a remarkable collection of sculptures by local talents.

Breathtaking works seamlessly integrate into the surrounding landscape, including Surrey Sculpture Societies Leonardslee Sculpture of the Year: Graeme Lougher’s captivating installation of Prowling Wolves and In Haste. You can also be captivated by the winter-themed artistry of Nicholas Baker’s “Flowering Proteas,” the playful “Let’s Dance” by Jeremy Moulsdale, and the giant “Mycelium Major” by Abby Martin.

Tickets start from £17.50 for adults, with children under 2 going free. Leonardslee members can enjoy free or discounted tickets, and parking is complimentary for all attendees.

For more information and to book tickets, please visit www. leonardsleegardens.co.uk/lights

All Images by James Ratchford

Image by James Ratchford

Ilustration by Rachael Horner

Varnish comes to Ropetackle Arts Centre, Shoreham, Weds

20 Nov

“You simply must see it - Dazzling, sharp and hilarious” - Binge Fringe

In an explosion of sequins and songs, our prince of stage and screen is every inch the superstar.

Varnish is an outrageously funny one-man-show created from the real-life story of stand-up comedian Jonathan Mayor which explores trans-racial adoption and the struggle for identity.

It’s been a tough journey from the cobbled streets of Oldham to the glamour of Hollywood. Tougher still for a ScottishMauritian ADOPTED son of white parents. But let’s not dwell on that… Your fabulous host will be here to entertain you!

Exploring trans-racial identity using theatre, music and song in a cabaret audience-style show, we invite you to become part of Jonathan’s star-studded, fictitious audience and brush shoulders with the likes of Oprah, Dame Judi Dench and Angelina Jolie.

Jonathan appears in and hosts comedy, cabaret, burlesque and Pride events, including Europride, Glasgay Arts Festival,

Homotopia, Queer Up North and Manchester/Leicester Comedy Festivals and this play marks his first theatre show. It has been written by new playwright Janet Taylor.

Produced by Doubletake Theatre, a new collaborative theatre company which relishes in work which is curious, witty, queer, and genre-bending, this quirky and emotional yet hugely entertaining show previously had a successful run at VAULT, London’s home for immersive theatre and alternative arts. So, snap up your hot ticket to join Jonathan’s live, star-studded audience and buckle up for belly laughs in this darkly flamboyant, varnished version of the truth.

Age Suitability: 14+

Running time: 60mins (no interval)

Tickets available online at www. ropetacklecentre.co.uk/events/ varnish/ or call the Box Office on 01273 464440.

Alternatively, pop into the Centre between 10am and 4pm (café on-site!)

Winter Makers Fair

Sat 23 - Sun 24 Nov

The British Engineerium

(10:30 - 4:30)

It’s full steam ahead as an iconic piece of Brighton & Hove’s history comes alive again

After being closed for nearly 20 years for repairs and renovation, the magnificent British Engineerium, which was once responsible for supplying water to the whole of Brighton & Hove, has re-opened its doors. Paper Daisy’s Winter Makers Fair will be the first public event held there since becoming a Lifestyle and Wellbeing Centre run by The Happy Campus.

The beautifully restored 19th Century Heritage Victorian Pumping Station is steeped in engineering history. You will have the opportunity to take a stroll around the museum to see all its mechanical antiquities held within the Boiler Room and Engine Rooms during your visit to The Winter Makers Fair, for a perfect day combining local community, art & history.

The High Victorian Gothic buildings are a prominent landmark in Hove, with their towering 95-foot chimney. The industrial architecture of the large exhibition hall and mezzanine gallery floor, which was the former Coal Storage Shed, is the perfect backdrop to complement the Winter Makers Fair.

Featuring 85 talented exhibitors each day, attendees can expect to discover high quality, unique and original artists, makers

& designers with an array of diverse, contemporary and traditional products set in a festive atmosphere. The Winter Makers Fair promises to be an exciting opportunity to connect with local independent businesses, meet the makers and learn about their craft.

In addition, there will be a specialist small batch food & drink area located on the mezzanine floor, ideal for picking up a variety of seasonal & specialty gourmet gifts.

Visitors will also find pop-up Italian street food, licensed bar, freshly brewed coffees & home baked sweet & savoury treats - all supplied by local businesses, where a break can be taken from all the shopping and exploring.

“We are so excited to breathe new life into this historical space and provide a platform for local makers, artists and small businesses to showcase their talents. This event is not just about shopping; it’s a celebration of creativity, community, and history,” says Bryony Reynolds, Event Organiser.

This event kicks off Paper Daisy’s busy Winter/Christmas schedule for hosting events across the local area from Saltdean to Shoreham. Each event offers different exhibitors and attractions. For further information, please visit paperdaisyevents.co.uk

ENGLISH DISCO LOVERS COME TO BRIGHTON WINTER FAIR

Brighton Winter Fayre are welcoming the English Disco Lovers to their beautiful wood framed Yurt venue on Sat 14 Dec. It forms part of the threeweek festival’s Winter Night’s programme next to St Peter’s Church - which includes live shows, music, DJs and cabaret that’ll keep the festive vibes flowing.

EDL will be taking over the site’s lovely (and heated) tent, packing it with their trademark decor and full-on production. There’ll be some mulled wine to get you in the mood, alongside all sorts of festive disco, funk and house tunes to see in Christmas!

Tickets are £10+bf. For more info, get yourself to: www. brightonwinter.org

WINTER ARTISTS OPEN HOUSES

30 NOV - 15 DEC

The Winter Artists Open Houses returns for 2024 with over 50 houses to explore across Brighton & Hove this festive season. From Hove and Portslade to Fiveways, Seven Dials to Kemptown, stunning seaside neighbourhoods will come alive with arts and crafts displayed in the homes of a vast range of artists and makers. This year’s festival takes place every weekend between Sat 30 Nov and Sun 15 Dec.

Celebrating over 40 years, the focus of the winter festival is Christmas, with venues selling a range of artworks and handmade crafts as unique gifts. Many houses also offer a glass of something mulled, and a chance to meet the maker - perfect for a winter weekend. Houses are also listed online, so you can choose an area of town to explore, or simply look for your favourites.

Neighbourhoods will come alive with festive colour and craft from Seven Dials to Kemptown to Hove and Hurstpierpoint.

THIS YEAR’S HIGHLIGHTS

Popular returning open house 11 Wellbeck, featuring an array of local artists and makers including Matt Hall’s turned wooden bowls, James Price’s forged metalwork, carved wooden spoons from Annie Slack and much more.

Colourful creations in paint and print can be found at Amber Elise Studio, featuring works by Amber Elise and Amy Isles Freeman.

Unique gifts can be found everywhere at Winter Artists Open Houses, but why not try the wonderful Milton House or Starling Studio for an array of giftable products from homewares to artists prints.

Near the South Downs, visit Helen Twigge-Molecey’s glass blowing studio for fungi inspired unique mouth-blown and hand-sculpted objects.

BELTA Community Hub and Studios will open the doors to their studio for the first time this Winter, housing seven artists studios, artists will present selected personal works alongside resident work produced as part of the new BELTA Creative programme.

Painters and printmakers across the city will be opening their homes including; Jessica Ford, Dion Salvador Lloyd, Clara Wilkinson and many more.

When buying from AOH for Christmas you are safe in the knowledge that your money is going straight to the maker, and that you are supporting artists’ careers in the process. There is a fantastic choice of work to buy this Christmas, including ceramics, textiles, paintings, jewellery, original prints and many other artworks by both emerging and established artists.

Judy Stevens, AOH Director, said, “December is a magical time in Brighton & Hove, with houses across the city opening their doors to welcome the public inside. Visiting Open Houses is a great way to discover new arts and crafts from Sussex makers and meet members of the local creative community. Everyone is welcome to visit open houses in their local neighbourhood, as well as those further afield, and to support our fantastic range of artists and makers across the city and beyond.”

For more details, and a full list of participating artist and house, go to: www.aoh.org.uk

Artists Open Houses Winter 2024

Brighton, Hove and beyond

Weekends, 30 November-15 December

November with Connected Brighton:

Make new connections by supporting local!

How are we doing Brighton?

Survive October with its tricks and treats? We LOVED the Halloween parties! Now we turn from ghouls to garlands as we start to get festive. We have our Christmas Party ready for you with music from the incredible trio Hit The Silk followed by DJ Roy Gill spinning the tunes till midnight for us at La Piazza (with pizza - of course!) Head to our website or download our app (search Connected Brighton on the app store) and grab a ticket to join the party with us!

And as the nights draw in and the winter chill arrives, November is of course the perfect time to connect with your community and support

local businesses. At Connected Brighton, we’re all about helping people build new friendships and connections while championing Brighton’s vibrant independent scene.

This month, we are taking you out for a truly unique experience with sunset kayaking to catch the murmurations from the water (bring a woolly hat!) with Brighton Watersports. And we have Sherry Tasting with Fourth & Church, Christmas ‘Posh vs Plonk’ Wine Tasting with our favourite wine expert Georgie from Bright On Wine. Plus we will be taking a trip outside the city for a Sunday Roast at Tottington Manor for

those in need of a countryside fix - we’ve got you! Keep up with all our events via our weekly city tips newsletter where we promote what’s happening across Brighton & Hove for you to have the best time while supporting local.

Talking of, our Connected100 preferred suppliers list continues to grow with amazing local businesses, providing exceptional services. Check out our full list of the Best Brands in the city including Mansell McTaggart, Vale Property Solutions, Go Succeed, Servo Private Wealth, Brighton & Hove Financial Consultants, BozBox and Well-Tech World Summit alongside some of our

Courses taught at the Tech Park - University of Chichester

The Tech Park at the University of Chichester brings together creative and digital technology courses for the creative industries. Taught by award-winning lecturers with industry backgrounds, our range of courses cover film, animation, gaming and audio, producing students ready to enter the workforce with sought-after enterprise skills and technical knowledge.

The £35m Tech Park on the Bognor Regis campus opened in 2018, and offers students access to worldclass facilities, from professional recording studios and a unique sound stage, to high-powered computer labs and edit suites.

For games design and esports students there are dedicated labs, with classes delivered by industry professionals, whilst our 3D Animation and VFX courses are designed and led by two-time BAFTA winner Max Tyrie from the Walking with Dinosaurs, The Amazing Spiderman and Kingsman franchises. Along with Max, our film production staff include multi-award winning writers, directors, cinematographers and editors with decades of industry experience.

The building also houses a dedicated 75 square-metre green stage for motion capture, virtual production and chroma work, nine edit suites, a ‘Soho’ standard dubbing and master suite, and professional recording studios.

And the three-storey Sound Stage is one of only three in the south of England that can host a full professional orchestra and includes high end equipment such as cranes and tracks for the cameras and lighting rigs used in the film industry. Audio production courses are taught by Professor Stephen Baysted, who has worked with the London Metropolitan Orchestra to score the soundtracks to several award-winning video games such as the Project Cars franchise. We have also most recently hosted Apple TV to record the score for their feature film Emancipation starring Will Smith.

Ideas labs and co-working spaces also foster a great environment for collaborative working among different disciplines, and students use the same equipment and technology used by employers in the industry.

favourite venues Red Roaster, Fatto O Mano, Dilsk, The Joker, Sea Lanes and The Southern Belle. Too many to mention - check them out for your personal or professional needs, and if you need a particular product or service and need some advice get in touch! Ready to make new friends and support local? Check out Connected Brighton today!

See you soon Brighton, Love, Lyndsey

www.connectedbrighton.com @connectedbrighton

Courses taught at the Tech Park include undergraduate degrees in 3D Animation and VFX, Audio Production & Music Technologies, Digital Film Production, Screenwriting, Esports, Games Design & Development, Media & Communications, Sports Media and Screen Acting & Film Production.

Michael Holley, Head of Creative Industries at the University of Chichester, said: “Since moving into this amazing facility we have seen graduates starting their

creative careers with some of the biggest names in the industry, including Industrial Light and Magic, Creative Technologies International, Hawkeye and Shepperton Studios as well as a host of streaming and broadcast outlets. We are immensely proud of all their successes.”

To find out more about the Tech Park, and creative industries courses by the University of Chichester, visit: www.chi.ac.uk

FARESHARE SUSSEX & SURREY LAUNCHES BIGGEST WINTER CAMPAIGN YET - VOLUNTEER YOUR TIME THIS CHRISTMAS

FareShare Sussex & Surrey is calling for volunteers to support its Tesco Food Collection this November, as the charity aims to gather 18 tonnes of food donations in just three days to help prevent hunger this winter.

On Thurs 28 - Sat 30 Nov, FareShare Sussex & Surrey will be collecting customer donations of dry goods and cupboard essentials at ten large Tesco stores across both counties, and volunteers are needed to greet shoppers and to help pack the items.

In addition to stores in Lewes, Hove, Portslade, Shoreham, Littlehampton, Burgess Hill, Gatwick and Crawley in Sussex, this year there will be collections at large Tesco supermarkets in Haslemere and Guildford in Surrey too, making this year’s annual campaign the charity’s biggest yet.

Last year, 89 volunteers provided support across seven stores, collecting more than 16.5 tonnes of food over a three-day period. All donations collected during the Tesco Food Collection will top up the charity’s existing supplies

to help feed those in deprived communities across Sussex and Surrey this winter, including over the Christmas period.

“We couldn’t do the important work we do without our brilliant volunteers,” said FareShare Sussex & Surrey CEO, Dan Slatter. “This year, as we expand the Tesco Food Collection to ten stores, we’re looking for more generous supporters across Sussex and Surrey to help us gather donations, which will help ensure we can meet demand this winter.

“Giving just a few hours of your time will make a big difference to us and to the communities we support.”

FareShare Sussex & Surrey works with a variety of community groups and charities, including organisations which provide communal meals for those who would otherwise be alone at Christmas.

Food served:

Tuesdays: 6pm - 8:30pm

Wednesdays to Fridays: 12pm-2.30pm & 6pm-8.30pm

Saturdays: 12pm-4pm and 6pm-8:30pm

Sundays: 12pm-5pm

Emma Selby, volunteer manager at FareShare Sussex & Surrey, said: “Volunteering for the Tesco Christmas Food Collection is so important. Having volunteers there increases the donations we receive, which is why I love going along. The generosity of people is truly astounding and it’s a great way of getting into the Christmas spirit.”

The charity helps those who live in areas with the highest levels of deprivation, working with groups that provide healthy meals as well as groups offering advice, guidance, health support, counselling and befriending, to help break the cycle of poverty.

Volunteers can choose between four different three-hour shifts between 9am and 9pm over the three-day period from Thursday 28 to Saturday 30 Nov. For more information about the charity’s work and how to support them, visit: www.fareshare.org.uk

• Full Menu plus our NEW Grazing & Burger Menus available on our website

• Carvery on Sundays

• Fresh, Homecooked Food

• Discounts for Blue Light Card Holders

• 10% OAP Discount on Wednesday’s

• £10 Burger & Pint on Thursday’s

• 10 Minute Walk from Cooksbridge Train Station

• Room & Courtyard available to Hire for Parties, Events & Wakes

Resting Oak Hill, Cooksbridge (Near Lewes) BN8 4SS • Tel: 01273 400134 Email: contact@rainbowinn.co.uk • www.rainbowinn.co.uk

PHOTO FRINGE IN NEWHAVEN Fri 1 – Thurs 14 Nov

An incredible programme of exhibitions is coming to Newhaven during the first two weeks of November.

Part of Photo Fringe 2024, and running on Fri 1 – Thurs 14 Nov, A Land Within has been put together by Jane & Jeremy at the Marine Workshops

For A Land Within, a group of female artists engage with distinct geographical places – from a forgotten Bronze Age settlement to the moon – and imagined landscapes such as interior fantasies or possible futures. Often steeped in history and research, their projects are linked by psychological vigilance, whimsical force and a spirit of exploration and adventure.

Kathryn Martin’s studio, in the South Downs, overlooks Itford Hill. Once a Bronze Age settlement excavated in the 1950s, its layers of chalk have long since resettled. For the project Come, See Real Flowers Of This Painful World (2020), Martin collected and photographed 49 native wildflowers. Isolated against a graph paper backdrop, their

thin stalks and delicate features belie their persistence. Her most recent project, Ossa (2023), draws together archival imagery from the original excavation with new photographs of the land’s contemporary rhythms. Flocks of birds fly across decades, and the moon shines and wanes. Like the tweedy archaeologist, we long to stick our head in the dirt and know its secrets. If visitors fancy a country walk, then you can join her on Sun 3 Nov (2pm) at Southease train station for a trip to Itford Hill.

Véronique Rolland gives us exact coordinates for the geographical centre of Britain: 54°0’13.176”N 2°32’52.278”W. Set in the Forest of Bowland in Lancashire, it is a protected Area of Outstanding Natural Beauty, accessible only by a 6-hour hike. Rolland’s long trek pitted her against harsh elements, and she was at first unable to carry out the photographic survey she’d intended to make. She returned later, to a more peaceful reception, while the looming Scottish referendum threatened to decentre its symbolic meaning. Her images take multiple forms, offering undulating and immersive views of the heart of this uncertain collection of nations. In Memories of an Unknown Island, Rolland inverts her quest, looking inward to create a place full of lush natural textures and surfaces that become connected by the force of imagination.

Alison Lloyd forensically recorded her walks. In an approach

she called contouring, she endeavoured “to follow the contours in the land, to enact a more sympathetic relation to landscape.” Through rugged wildernesses and urban centres, Lloyd set out alone, armed with tools for mapping and documenting. In 144 x 30 Seconds (2016-2022), a chronologically sequenced selection of iPhone recordings offer snippets of observation over time, a kind of landscape journal that includes moments from pandemic isolation when she was unable to reach the Moors. Lloyd’s quiet journeys were a commitment to her connection to the landscape.

The recently cancelled project dearMoon sought to bring a group of artists, including Rhiannon Adam, on a trip to circumnavigate the moon. Funded by Japanese billionaire Yusaku Maesawa, the idea was to offer a new perspective to inspire new work and ideas among the civilian passengers. Adam would have been the only woman and one of eight travellers selected from over a million applicants. In Rhi-Entry,

Adam pieces together images and ephemera to explore the dream of this journey, the intense physical and psychological commitment it required, and ultimately the grief of its failure.

A Land Within rounds out with a few smaller ancillary projects in the Atrium space, including selections from wildlife photographer Eric Hosking’s images of Len Howard’s communal life with birds in the 1950s, found images of women reading in the landscape from Sara Knelman’s collection Lady Readers, and Molly Maltman’s poetic reading of Cosmic Certainties with an accompanying film. An interactive area invites visitors of all ages to reflect on the meaning of nature. Participants can examine objects from nature and create their own book, while a reading room curated by Photoworks invites viewers to linger and contemplate, reflect and dream.

For further details, visit: www.2024.photofringe.org/ exhibitions/a-land-within

Kathryn Martin - Ossa

Great Tit on Miss Len Howard at her house 1950, Bird Cottage, Ditchling Sussex

Eric Hosking -

Len Howard using a typewriter

Eric Hosking -

Rhiannon Adam - Rhi Entry

Kathryn MartinOssa

CHRISTMAS MAKERS FAIRS

Wreath Making Cafe, Street Food + Bar

Children’s Craft Zone • Facepainting Visit from Olaf • Live Entertainment British Engineerium Museum Open to Visitors

HEAD TO OUR WEBSITE TO FIND FULL DETAILS OF EACH EVENT

23rd + 24th Nov @ british engineerium

The Droveway, Hove, BN3 7QA 10:30AM–4:30PM

SUN 1st dec @ saltdean lido

The Oval Park, Saltdean, BN2 8SP 11AM–4:30PM

2 Pond Road, Shoreham, BN43 5WU 10AM–3.30PM Sat 7th December @ the SHOREHAM CENTRE

14th + 15th Dec @ wagner hall

2 Regency Road, Brighton, BN1 2RU 10:30AM–4:30PM

ATTRACTIONS + EXHIBITORS DIFFER AT EACH EVENT

Ken Kiff, Family, 1969. © The Estate of Ken Kiff Ltd

FESTIVE FUN COMES TO BRIGHTON & HOVE MUSEUMS

Brighton & Hove Museums is bringing Christmas magic to life this year with a range of festive activities for families across the city. From Father Christmas’s return to the Royal Pavilion to an exciting mystery trail at Preston Manor, there’s no shortage of holiday fun for all ages.

For the first time in years, Father Christmas will be back at the Royal Pavilion, welcoming children to the stunning historic palace. Families can book private time slots, allowing little ones to meet Father Christmas, share their wishes, and receive a gift in a relaxed setting. To make a fabulous day out visitors to the Royal Pavilion Ice Rink can take advantage of a new Regency Rate offer giving skaters reduced entry to the Royal Pavilion.

Adding to the festive experience, entry slots before 4.30pm include a puzzle trail round the Royal Pavilion to be enjoyed before a visit to the Grotto, with plenty of games, photo ops and seasonal treats along the way. With limited tickets available, visitors are encouraged to book early to ensure they don’t miss this magical experience.

While at the Royal Pavilion, guests can marvel at Regency Christmas trees and learn about festive traditions from King George IV’s era. Visitors will also get to experience A Very Victorian Christmas upstairs, where Queen Victoria’s holiday celebrations at the Pavilion are brought to life.

Children can follow the Royal Pavilion Mice trail, searching for mischievous little mice as they prepare for their own festive

celebrations. The trail extends to Brighton Museum & Art Gallery and Hove Museum of Creativity, with the mice popping up in mini scenes featuring Christmas parties, tasty food, and gifts.

Visitors will love the magnificent Christmas trees, including one that recreates Queen Victoria and Prince Albert’s iconic Christmas tree, which popularised the tradition in 1848. Before leaving, families can also pick up unique gifts at the Pavilion shop, including cute mice decorations and unusual Christmas tree decorations and admire the Bridgerton-inspired Christmas tree in delicate pastel colours.

Over at Preston Manor, families can test their detective skills with the Mince Spy Mystery. In this playful escape-room-style adventure, Mrs. Claus’s mince pies have been stolen, and a mischievous elf is to blame. Families will need to solve riddles and follow clues to save Christmas in this fun-filled whodunnit.

It’s not just for the kids – Brighton & Hove Museums have lined up plenty of activities for adults, including glamorous Christmas banquets and a carol concert in the Pavilion’s stunning Music Room. Tickets for these events are selling fast, so early booking is advised. For those looking to get crafty, there’s also a range of workshops on offer, from Christmas wreathmaking to tree decorating and decoupage baubles.

For more information and tickets, visit: www.brightonmuseums. org.uk

BN1 CHATS WITH MOONCHILD SANELLY

BY STUART ROLT

There’s no time for enjoying the start of the Johannesburg summer. Moonchild Sanelly has only a few more days at home, before flying over to Australia for some shows.

“I’ve still got the UK,” she tells me.

“And then we’re finishing other tours in Europe, then more in the UK. Then we’ve got more in Europe into December, then I’ll be able to say: ‘I’ll be here for the summer. So busy…” Before our chat over Zoom, I’d known she was a rising star. There’s been collaborations with Beyonce, Gorillaz, Steve Aoki, Ezra Collective and Self Esteem, which have all brought her to growing global attention. But I hadn’t anticipated just how much of a big deal she is in her homeland.

Born Sanelisiwe Twisha, and growing up in Port Elizabeth, her signature sound is ‘Future Ghetto Funk’, a subgenre of her own invention which seamlessly blends pop, afrobeat, hip-hop and Amapiano traditional polyrhythms. It’s infectious and impossible to ignore. These songs seem equally at home shaking stadium stages as they are on the hatchback bass bins on your local high street. The music Moonchild Sanelly produces could well be her ticket to global stardom. Something which is only confirmed by her compelling new album, Full Moon, which gets its release in the UK on Fri 10 Jan.

“I’m so happy with it. Being ‘full moon’ is in my journey. When you’re focusing on your goals, you don’t

have time to deal with anything which will slow you down. This album deals with situations like that. I’ve gotten here, but it wasn’t all roses. I was able to let go, because I chose forgiveness so I could move forward. And so, I found words to express the things that I went through on my journey to being in this moment right now.”

Recorded last year, the album was produced with Johan Hugo (who’s previously worked with Self Esteem, Kano and MIA). She says the entire process lasted about four weeks, spread over several months – the time between giving her space to reflect and perfect. “When I write, I write quick. Maybe this is because I speak quick. Because the thing is, there’s like.. a tape that’s running. Should I cut that tape by slowing it down? I’m so passionate in the studio. It doesn’t matter how much I achieve, how much my greatness is, how I’m viewed, whatever anyone says… the fact that I’m in a studio, able to just cook is awesome to me.”

The crux of Full Moon is an unabashed vulnerability, which sits comfortable alongside its emancipation. Songs like Gwara Gwara, Scrambled Eggs, Sweet & Savage and Big Booty ooze commercial appeal; the album offering huge basslines, captivating rhythms and sing-a-long choruses. But beneath the pop sheen, there are layers of complexity; with lyrics telling tales of regret, understanding and empowerment. “Being able to find words to all those things came with me having chosen forgiveness.

One of the songs is like a letter. I forgive my dad for just not being there. I did know him, as I lived with his mom, but he was married and whatever... He wasn’t necessarily present financially when I was with my mom, just to help us with lunch money and things like that.”

That titular full moon refers to many things, including a new stage in Moonchild’s life, where she’s become capable of rationalising her own life experiences, the people around her and how she can learn. She swore to start seeing a therapist the moment she could afford one. “A lot of times, music comes from a dark place. You just get into music being a channel. It’s expression and escape, which ends up touching people. But you forget to heal, because now everything else happens around you.” She says the common denominator between music stars who’ve died before their time was often how they remained unable to confront a troubled past. Her experiences have gone into her music, but it’s been part of a wider process.

“It’s helped get me to my ‘full moon’, which is about carrying things I don’t want to carry. I can write about those conversations I’ll have with myself without excluding someone who doesn’t come from the same narrative. For instance, one is about having run away from home after sexual harassment from my uncleswearing it would be great to name and shame him, because I’m too cute for prison...” After leaving home,

Photo by Chantelle K

she’d had to grow up very fast on the streets. Coming to terms with the events has been a long process. Perhaps surprisingly, Moonchild has reframed this experience from a holistic perspective, finding empowerment and liberation in her understanding of what happened.

“I’m grateful for his animalistic behaviour. It wasn’t right, but it’s restamped what I stand for. When I named and shamed him in the New York Times, during 2015, I realised in that moment it was bigger than that. You get to understand those things.” Her rationale is that the whole experience consolidated her worldview and voice, but it took a long time to get to this place.

She’s willing to revisit those situations, viewing them from different angles and trying to establish a universal truth. Her song To Kill a Single Girl (Tequila), is at first hearing a soaring anthem to good times. But behind the gloss might be a paean to bad choices and sex-positivity. Like most of her work, it’s complex. Like a puzzle box which refuses to easily give up its secrets.

A feckless baby-daddy gets similar lyrical treatment. She says if he wasn’t so useless, she couldn’t have lived in Johannesburg or launched a music career. “I wouldn’t have grown up fast. I wouldn’t have been tough enough, you know. I’m like… grateful for his laziness.” The music comes from a personal place first, before addressing everyone else’s experience. But the world she

MOONCHILD SANELLY

Photo: Grace Pickering

creates is one where the absent fathers take accountability, rather than one where they’re simply handed forgiveness. On Big Man, her track with Self Esteem, they create a masculine identity predicated on the willingness to change. “I am that irresponsible father coming back to explain and now knows better. I won’t allow you to emotionally blackmail me into staying together. We’re all going to take accountability, and we’re going to let me make that decision myself. That’s the man I’m designing for my world. But that man is rare.”

In public, she hasn’t spoken much about spirituality but, in a way, it has lent to her positivity and sense of purpose. Her late mother was an Inyanga. Through an unsophisticated European lens, the role could be described as a healer. Although the term’s literal translation is ‘moon’, with practitioners offering leadership and a connection to tradition and nature to the community around them. “She used to ‘dream’. I feel like my manifestation and knowing how to use my words comes from being brought up by someone like that. I know my own channel is through music. I’m in my purpose… but definitely there’s a level that is beyond me.”

When performing live shows, she says she often accesses a similar state of reverie. “There’s a point where I just lose my shit, and I don’t know what happened. It doesn’t feel like an hour… It feels like: ‘Oh my God, let’s go!’ When I get offstage, and I’m just like: ‘What happened?’ It’s crazy.”

Later, she tells me much of her energy comes from being able to see who she is speaking to. “I can see who I’m liberating in that moment. I see who I’m touching. No matter what session it is, when I’m in the studio I always imagine my audience hearing the song for the first time – not knowing the words but being able to sing along. I want everyone to feel included, because this is bigger than me. It’s about all of us.” No lie, she’s exhilarating to talk to, her mind racing ahead and pulling together seemingly disparate ideas and making them cohesive. And this barrage of ideas and raw energy flows throughout her work. .

This seems like the next big thing she’s set to explore, telling me none of us realise the magic of our ears. “When you write, there’s a combination of the things you’re in control of and the things there as a part of your being in your purpose. I’ve been in a studio and hear four different songs in one. You know, it’s crazy.” While she might hear music differently, she’s been able to construct an album with international appeal. The roots of this are debatable, but my personal take is it’s the product of coming from a complex and diverse part of the world.

like I would be limited if I kept it at home. I already viewed myself as a global artist.” This is essentially the beginning of Future Ghetto Funk. She’s been exposed to jazz, reggae and classical, but wanted to develop something which was truly hers.

“I want to have fun. I want to exercise this licence of being an artist. It makes no sense to be operating according to parameters or being limited. I want to touch people. This is when I proceeded to not listen to any other people’s music. That’s when it started, because everything is safe. I needed edge.” In her head was a picture, a feeling and dance moves. It was time to write her own story.

“Yeah, that was the beginning. And then I had to fight. Labels didn’t understand it. Mind you, I had this in red!” She smiles and points to her (literally) trademarked hair. “They were like: ‘What the fuck is this?’ I’ve got my own music; I’ve got my own flag and I’m so sure... That was wild.”

Several years down the line, and she’s a rising star back home, with endorsements, hit albums and music plastered across the airwaves. With an uncompromising message around sexual health and body positivity, she can still be a handful for TV and radio executives. “They’re usually on the edge of their seats, because they don’t know what I’m going to say next. And they’re shaken by the truth,” she says with the hugest smile. “I’m just honest though.”

“I feel like my voice is just an instrument to be added into production,” she says modestly. But there is something distinctive in her approach to singing. “I think there’s a playfulness which evokes something. One of the biggest compliments I get is: ‘We never saw it going there!’ I think it’s how I hear.” Recently she had a revelation about how she perceives rhythm and sound. Dancing at a party in South Africa and minding her own business, she looked up to notice everyone else seemed like they were moving to a different beat. “We were all listening to the same song. My approach to music might be because of how I hear it. And I think that’s what contributes to the limitlessness of my storytelling.”

Not many aspects of South African society reach our shores, apart from news of politicians and sportspeople. My own knowledge doesn’t stray too far from Trevor Noah, the work of Kevin Carter and that chap who ruined Twitter. Moonchild does partially remind me of the fearless and singular Brenda Fassie, but I don’t really know enough about this 70s pop goddess to bring it up in the interview. The wider picture is that South Africa stands as a diverse melting pot – whether that’s on a cultural, ethnic or economic scale. The US might have exported their corporations, TV and music everywhere, but I’d argue the streets of Durban and Johannesburg might offer a better picture of what’s going on in the world. In response, she’s created a sound which is very global, but also connects with her community – including singing many verses in Xhosa.

“I come from a household where I was allowed to express, be onstage and dream. I wasn’t told all this was a hobby. My mom paid for me to study fashion, and so it started there. I resonated with the outside and when I started making music, I quickly realised my creativity is so wild that I felt

The truth is, should the stars align, and this tour and new album sees her breakthrough into mega-stardom, the music industry might not be big enough for Moonchild Sanelly. When she moved to Johannesburg, she wrote down how she wanted her career to progress. There were things like having her name on billboards and foreign travel, which promptly happened. “Then in 2016, I wrote down that I was going to have three hits through collaborations in South Africa, and not change my voice. I ticked those boxes in 2017; all three hits, commercial successes, everything. Now, I’m taking whoever wants to jump on the wagon to my world. To my Future Ghetto Funk. Which is what differentiated me when I came into the commercial space. My approach is always just mine. And that’s a contributing part of my full moon. I’m definitely still on script.”

Moonchild Sanelly plays Brighton’s Attenborough Centre for the Creative Arts on Tues 19 Nov.

Her new album Full Moon is realised on Fri 10 Jan, via Transgressive Records

www.attenboroughcentre.com www.moonchildsanelly.com

Photo by Phatstoki

SATURDAY 9 NOVEMBER

DEVO

(DIR. CHRIS SMITH)

PAVEMENTS

(DIR. ALEX ROSS PERRY)

SUNDAY 10 NOVEMBER

36 HOUR FILM

CHALLENGE

(UNIVERSITY OF SUSSEX FACULTY OF MEDIA, ARTS & HUMANITIES)

MONDAY 11 NOVEMBER

RESISTANCE: NEW WAYS OF SEEING FROM NORTH AFRICA

TUESDAY 12 NOVEMBER

BLUE ISLAND

(DIR. CHAN TZE WOON)

WEDNESDAY 13 NOVEMBER

EARTH (ZEMLYA)

(DIR: OLEKSANDR DOVZHENKO) WITH LIVE SCORE BY ROKSANA SMIRNOVA & MISHA KALININ

FRIDAY 15 NOVEMBER

SCANNER:

HARRY SMITH AT 100 (PRESENTED IN ASSOCIATION WITH SPIRIT OF GRAVITY)

SATURDAY 16 NOVEMBER

UKRAINIAN CITIES TALKING

UKRAINIAN SHORT FILMS

UKRAINE DISPLACED

UKRAINIAN SHORT FILMS

REAS

(DIR. LOLA ARIAS)

THE CAPTAIN

(DIR. JAMIE PATTERSON)

Image: Devo by Barry Schultz

DRUNK WOMEN SOLVING CRIME

Hit podcast brings live show to Komedia

By Stuart Rolt

It’s not much of a secret, but I’m a big fan of drinking. I’m even more enthusiastic about laughing at people’s bad decisions. So, the acclaimed podcast, Drunk Women Solving Crime ticks a lot of boxes.

The concept is simple, hosts Hannah George and Taylor Glenn invite some guests in, crack open a bottle of prosecco and delve into some of history’s most epic and elaborate criminal failures. And, like all brilliant ideas, it started with just the title.

“It’s not the way you’re supposed to do things,” Glenn tells me. “You’re supposed to come up with a format first. But it was a great title, and it was sort of a question of, what could we do with this?” Both Glenn and George have stand-up and comedy writing backgrounds, so for a while toyed with the idea of turning the punchy moniker into a sketch show. But, while sat in the pub, they began to flesh out a format which delved into absurd, misguided and unfortunate cold cases and turned

everything into a cross between a banter-laden chat-show and a pub quiz.

“It fails miserably at both, to be honest,” George says with a laugh. “But that is part of the fun. We have a guest every week. They can be really silly or someone who takes it all very seriously, who wants to be right and gets quite competitive. They’re equally fun.” Show guests have included Lucy Porter, Christopher Hall, Scroobius Pip, Sooz Kemper and Arabella Weir, each bringing their own insight to the unlikeliest of lawbreaking.

Our cultural fascination with crime is booming, whether that’s with TV procedural dramas, chart-topping detective novels or the explosion in documentaries and podcasts exploring real-life criminality. There’s something strangely compelling about mysteries and murders. “As comedians, we’re very conscious of what you’re allowed to make fun of,” says Glenn. “We definitely want

to punch in the right direction. Our approach is to either pick a crime from the 18th or 19th century, so there’s that old adage of time plus tragedy equals comedy. Or if anything’s more recent, it’s going to be a non-violent crime.” Recently they did an episode around an unlikely group called the Pink Panthers, who pulled off some of the biggest jewellery heists in the past few decades. “It feels like we can tackle that sort of thing. We’re not going to do recent murders where there are living victims. There’s just no reason to touch that. There are enough other podcasts that are tackling those…”

“A murder where there’s living victims?” George breaks in. “That’s not murder?”

“Is that what I said?” Glenn says with a sigh, which turns into a chuckle. “It’s too early, guys! Living victims… that’s good news then, isn’t it?!”

George agrees that it’s about

choosing the right cases. “When our guests come on, they also tell us about a time they’ve been a victim of a crime. Invariably, they’re women, as we allow four men on the podcast a year. We start from a point of almost vulnerability, where somebody says: ‘This is how I was a victim of a crime.’ We also have a listener crime, which is a nice way of getting the audience involved.”

The pair have recently been taking the show on the road, and are set to bring their sleuthing skills to Brighton’s Komedia for a festive special on Mon 16 Dec. Here they’ll be recording two episodes. They say it’s brilliant to present their debut Brighton show at Christmas time, especially seeing as Glenn has lived in the city for a while now and loves the North Laine club.

“It was always one of my favourite venues,” she declares. “No joke. Brighton audiences are just the best. They’re like Londoners, but they’ve taken their antidepressants. Yeah,

sea air. That’s why the Victorians sent everybody to the seaside. There you go. It was the Prozac of its time.”

“What’s great about the podcast is that there’s no way I would go back to stand up, but it gets to sort of scratch that performing itch. We get to do shows in front of people who know our shtick and already like us. That is just unlike any standup comedy gig so it’s amazing.”

The whole podcast industry is increasingly embracing the live arena. George says it often works so well because the audience share a strong commonality. “Hopefully our vibe is a little bit like being in the pub with your friends,” she says. “It makes us realise that these listeners that we see stacking up on the stats are real people.”

Glenn suggests Drunk Women Solving Crime already has an air of unpredictability, which is amplified in a live environment. “We’re truly improvising,” she says.

“We’re not pretending that the guests don’t know the details of the case. It’s thinking on your feet, and the audience get really excited about what’s going to come out of their mouth. Which is fun.”

But can true crime neatly fit into the season of goodwill to all? George seems to think so. “Our Christmas shows are always especially festive. I know that sounds weird, but they really are. I recently found a crime which is Christmas-based. I always try and find one, but they’re sort of quite limited. We did a bank robbery where the robbers dressed as Santa.”

At the live shows, they also invite an audience member up onstage to recount their own brush with illegal activity. “We had a woman in Edinburgh who was falsely accused… we hope… of a murder,” says Glenn. “Her parents gave her phone number to the police which I guess is what you’re supposed to do, you know. It was just a misunderstanding. So, yeah, there’s some wild stuff.”

George tells me that when they started, they both quickly realised that the format could transfer into a live show. “A lot of people that we have on are comedians,” she adds.

“We did one with Jenny Eclair, and if anyone knows how to work a room, it’s her. So that was fun. Sometimes I’ll also choose a case for a live show which has bigger twists. Hearing a whole room of people gasp is almost as much fun as them laughing.”

While it might be called Drunk Women Solving Crime, the success of the podcast isn’t predicated on its participants getting rip-roaringly pissed. Which is probably a good thing. “The drinking is optional,” says Glenn. “We didn’t know this was going to go on for six years. So, it’s not all about having to be hammered for this format to work. It’s about the vibe you get when a group of women get together. We try to solve the world’s problems, and we are convinced we are the best armchair detectives… if not real detectives.”

“I do worry that I would step in if I was in that situation,” George says, with an agreeing nod. “If someone’s said to call the police. I’d be like: ‘Guys… I’m here!’”

“I’m a long-time podcaster!” shouts Glenn. “You’re all in good hands!”

It leaves me wondering if the pair would be adept at investigating. If decades of Hart to Hart, Miss Marple and Murder She Wrote have taught us anything, it’s that the Police service is always happy to accept assistance from plucky amateurs. “It’s funny because I’ve definitely started to see patterns in cases,” says Glenn. “Although, I’m always amazed at how I’m still surprised by the outcome of some things. It just shows you can’t necessarily become an expert in this just by repetition.” She’s learned more about history by doing this podcast than she ever did at school. There’s a geeky joy in what they do. “I love that, because we’re so silly and not above really puerile dick jokes - which is what everybody loves... We talk about these cases, where I’m like: ‘Well, if you taught me this in school, I would have paid bloody attention.’ You know?”

George has written for several big children’s TV shows, while Glenn (who was born in Pittsburgh) worked as a psychotherapist for eight years. “That lends itself to some good detective work, I suppose,” she says. “Part of the fun is this contrast of me being American, and looking through that lens, and Hannah grew up on the Isle of Wight, so she’s obviously repressed.”

If the podcast demonstrates anything, it’s that the world’s

prisons are filled with stupid people. Some of the crimes it covers are characterised by mishaps and the inexplicable. “You do realise that you don’t have to be clever to be a criminal,” says George. “If anything, the people who think they’re clever are often the most stupid. It’s stunning how people think they can get away with stuff, when they really can’t.”

“There’s an arrogance to it that has seemingly been there for hundreds of years,” chips in Glenn. “We might do a case that’s 300 years old, but not much has changed.”

On the flipside of this, there are always the impressively complex crimes, which require elaborate planning. It does make you wonder why this type of villain doesn’t simply start a legitimate business. “There’s lots of lots of people, particularly the con artists, who have obviously got something about them which makes people buy things from them,” says George. “Why not invent a type of spoon, or something?”

“It is about time somebody updated the spoon,” agrees Glenn. “But it is true, there’s so many people who should have just gone into business. Sometimes they’ve been born into the wrong time or place, so they can’t. A lot of times, I’m just like: ‘You should have done a show at Edinburgh Fringe!’ Some of them just need attention. They need to be actors or comedians themselves.”

“That’s the biggest crime of them all,” sighs George.

What the podcast has revealed is a salacious attitude towards crimes committed by women, despite there being fewer with significantly less violence involved. Perhaps it attracts so much interest and more speculation because it’s rare, or maybe it’s just double standards. “Statistically, it’s more men that commit violent crime, says Glenn. “We did one show about a woman called Lady Bathory, who lived in what became Dracula’s castle, or the inspiration for it.” There is academic suggestion she became the subject of a witchhunt, something which led to her and her servants being accused of murdering hundreds of young women. This led to (very much unsubstantiated) speculation that she’d drank the blood of her victims. The noblewoman quickly became a mainstay of European folklore and even got a death metal band named after her.

“What’s interesting is that crimes across time, especially ones which

are a little bit far fetched, have to be taken with a pinch of salt,” says George. “Particularly with women as well.”

“For all we know, she just asserted herself one day,” chips in Glenn. “But everyone is like: ‘She drank his blood!!!’ It depends on who’s writing all this up and what lens they’re looking through.”

Over the last few years, they’ve had lots of laughs, drank a few cases of wine and, most importantly, researched a lot of wrongdoing. Do the pair think they could become successful criminal masterminds, or is the world of podcasting excitement enough? “I’m a pretty terrible liar, which I think is a nice trait,” ponders Glenn. “I go bright red.”

“I think I’d be like Robin Hood,” offers George. “Because I’m such a great gal! But I think it would worry me, being a criminal. I’d always have too much anxiety.”

Broadly, there’s two groups of people who go wrong, Glenn tells me. It’s either those who are so desperate they have to turn to crime, or sociopaths who just don’t have the guilt factor. “I’m definitely not that. I’m proud to say, six years of this, I’m pretty sure I’m not a sociopath. Hannah, you might feel differently now that you’ve worked with me?”

“We were talking the other day about somebody who’d smuggled their mobile phone into prison,” says George. “Taylor was very much like: ‘It’s to call his wife!’ And I’m like: ‘No, he doesn’t.’ But I think what we do on the podcast is, if a woman has become a criminal, we’re always assume she was properly pushed to it by a man,” she starts laughing. “Yeah, let that lady off! She’s fine!”

Drunk Women Solving Crime makes its Brighton live debut at Komedia on Mon 16 Dec.

www.komedia.co.uk

www.drunkwomensolvingcrime. com

FUTURE LAB

Goodwood’s Festival of Speed looks to the horizon

The world’s most glamorous summer garden party isn’t just about celebrating cars and motor racing, it’s also looking ahead to how the world of tomorrow might shape up.

An increasingly popular attraction at the annual motorsport festival is FOS Future Lab, a glimpse at emergent technology and wondrous inventions. A pavilion packed with cutting edge inventions, this area has the air of a 1930’s world fair, where visitors flock to see the innovations which could be a daily sight in only a few years. The only thing which is missing is nuclearpowered jetpacks and flying cars.

Except, that’s not entirely true. Drawing gasps of admiration this year was Lilium’s eVTOL jet – which is now being developed for practical applications by the UK’s largest helicopter and private jet operator. Audiences also got to marvel at a range of exciting innovations, including live motion capture technology, interactive experiences, robot puppies, cargo drones and healthcare solutions. This is a unique chance to glimpse where science, technology and engineering will be advancing in the coming decades.

As preparations get underway for next year’s Festival of Speed, we spoke to Amey Turner, Goodwood’s Technology & Future Lab Project Manager, about what we can

expect from the expo and how these emerging technologies might benefit all of us.

Is there such a thing as an average Future Lab participant?

Not at all! Future Lab explores the theme of ‘Technology for a Better World’ and every year we have exhibitors from all over the world showcasing the very best in future mobility, digital experiences, sustainability, space and robotics. The one thing they all share is that they’re pioneers with cutting-edge technology impacting the way we will live.

We’ve had biodomes for living on Earth, Mars and beyond; the world’s most dexterous robotic hands; satellites that clean up space junk with a huge arm; solar race cars and even jet packs!

Who is Future Lab aimed at? Is it prospective STEM graduates, science enthusiasts or industry specialists?

Future Lab is for everyone – it’s a completely unique experience and we’re very proud of that. All our exhibitors have a Science, Technology, Engineering and Mathematics (STEM) angle for children to explore or to pique the fascination of young adults just discovering their path into STEM. This year we hosted the Durham University Solar Car team at Future

Lab who brought their two solar race cars and it was amazing to see how much engagement they got and how inspirational they are. They even set the very first time for a solar race car on the iconic Goodwood hillclimb.

But the exhibition isn’t just for young people, adults also enjoy the opportunity to get hands-on and have a go at drone racing or rubric hand challenges. One of the best things about Future Lab and the technology we showcase is that it gives us the ability to surprise and delight our guests who may never have thought about how technology is changing the way we live, or the role it plays in our homes, work and schools.

It seems that there’s a historical link between Goodwood and emergent technologies. Is Future Lab part of carrying on that tradition?

Absolutely. Future Lab sits under FOS TECH (Festival of Speed Technology) in tandem with our STEM Programme. The Duke of Richmond brought motorsport back to Goodwood in 1993 and from the very beginning has recognised the important role technology plays not just in future-proofing motoring and motorsport, but also in how we live.

Future Lab and STEM are ways for Goodwood to share the technology we think is so vital to our futures

and inspire young people to get involved. It’s how we bring this ethos to life at the Festival of Speed, but it runs through everything we do at Goodwood. For example, this year’s Revival was the world’s first historic motorsport event to run all its races on sustainable fuels – it’s a huge achievement we’re incredibly proud of.

How much of a part do green technologies play at Future Lab?

Sustainability is a huge part of what the exhibition explores each year as part of ‘Technology for a Better World’. In 2024, visitors could discover the future of mobility with a full-scale model of an electric vertical take-off and landing jet, as well as explore stories of decarbonisation and cleaning up space junk.

Green tech is essential in preserving our future and having exhibitors that can bring it to life is so important. The Durham University solar race car was an incredible crowd-pleaser, and the student team’s work in solar tech is paving the way for mass market technology.

Have there been any previous exhibitors who have brought their innovations to the mass market?

Definitely. As well as delighting our visitors, Future Lab is also a platform for B2B conversations

S E A S O N

and we’re always excited to see businesses move along their journey from start-up to scale-up and beyond.

The Lilium vertical take-off jet first exhibited at Future lab in 2023 with a model of the cabin, this year they returned with a full-scale model and next year we may even have the real thing as the business prepares to go to market.

about the way we live and how emerging technologies will shape our near and distant future.

Having STEM activities as part of Future Lab alongside a speciallycurated STEM programme is also essential to engage and inspire the young people who will become the next generation of groundbreakers, innovators and pioneers.

This year we also had the dynamic debut of the DEX-EE – a new dextrous hand made for machine learning by Shadow Robot in collaboration with Google DeepMind.

We even linked the European Space Agency (ESA) with Epic Games to launch their vividly immersive ‘Lunar Horizons’ moon mission game in Fortnite, which was unveiled at Future Lab in 2023.

How much do you think exhibitions like Future Lab can help shape our world?

Exhibitions like Future Lab are vital in bringing important topics around sustainability and our collective future to the public in a fun, interactive and engaging way. Our mission is to give our guests an amazing, immersive experience but also challenge them to think

M E N U P A R T I E S

Goodwood Festival of Speed returns on Thurs 10 – Sun 13 July 2025. Prices start from £67, Half price Young Persons tickets for those aged 13-21 and children under 12 go free. Tickets go on sale Monday 4 Nov, at 9am

www.goodwood.com/motorsport/ festival-of-speed

S E T M E N U

Red Arrows enjoying Future Lab at the Festival of Speed.

Photo by PA Media

Visitors enjoying Future Lab

Photo by Jonathan James Wilson

Brighton’s Rising Star

Catching Up with 2023 Youth Music Award Winner

BY ROSIE PALDI EDWARDS

From interning at Sony Music in New York to hosting radio segments for the legendary Glastonbury Festival, Eva has been making waves in the music world. Now, she’s taking things a step further with the launch of her own radio show, StationBabe. It’s been a whirlwind journey, and she’s just getting started!

Last time we spoke, the singer shared her experiences about university life, performing at Glastonbury, and how she crafted her music and videos with the help of her NextGen funding. Eva also opened up about the excitement of winning three awards at the Youth Music Awards. With this year’s awards approaching, it feels only fitting to catch up with her once again.

The singer joins the Zoom call from a spot outside a restaurant, sheltered from the grey, rainy London weather. Fresh from a university lecture, Eva greets me warmly, and we dive into a friendly catch-up before getting into everything she’s been up to. Casually, she brings up the Youth Music Awards, reflecting on how winning three awards last year gave her the affirmation she needed. She explains that, after pouring so much hard work into her music, the recognition made it easier to step back and truly appreciate where she is right now. I asked the singer how University life is going? From being a student myself I can relate to her position, being in third year is tough and takes a lot of hard work. Eva agreed, reflecting back to last year saying, “I was trying to do too much at once. I’m in my third week now of my final year at King’s. I’ve been really enjoying it, I think because I’ve realised this is it now, third year, I need to focus and hone in.”

EVA

ran from February to April and I was there from January to May, so I was like, this is literally perfect. What happened is that Sony and all their subsidiary labels, get told you’re going to have an intern and it normally gets advertised on the Sony website. However, the record label that I was working for, Ultra Records, only found out last minute that they were going to have an intern. So they just had to advertise it word of mouth. It’s literally the power of social media, someone saw it, then they sent it to me. I applied and it turned out that they didn’t have many applicants, because it was so hard to find someone that fit that specific criteria. I got really, really lucky. That was also just such a great experience.”

Before digging in too deep about dissertations and her studies, I want to rewind back to the start of the year where she jetted off to New York. Having applied to go there as part of the university’s study abroad programme. “You can go to Seoul, you can go to loads of different places, South Carolina, some people went to Berlin, and I just thought, okay, I’ll apply. It’s a once in a lifetime opportunity. Obviously it’s such a fantastic opportunity to be able to study in a different country, especially somewhere like America, where visas are getting more and more difficult to obtain. They also sort out your health insurance, school fees, you don’t have to pay any fees. They give you a bursary on top of your student loan, so it’s just a really fantastic place to go for four months.” Continuing about her experience Eva explains how her studies went in the states, “I did Liberal Arts, so I had to pick four different classes. I did one called Newsroom Video Production, which is a Journalistic class, and then two in Literature, and then another one that’s related to Nonprofits and stuff like that. It was really good studying there.”

The importance of travel for fun and for developing as a human to deepen your understanding of the world, is a special thing to do. On top of that, Eva happened to be in the right place at the right time to apply for a Sony Internship. “I got really, really lucky, I found out about the internship from a friend of mine. He sent me a story of someone else’s story, saying, looking for an intern, must be a student living in New York, and must be into dance music, and have some creative background in producing visuals. It said it

Eva goes on to explain the ins and outs of what she was doing at the internship and how that helped her get some new skills under her belt. “The internship was really, really good because it was teaching me a lot of skills that I would need for myself as an artist. I was doing video editing, graphic design, making single covers, visuals, interviews and coming up with campaigns. I had to come up with something for Earth Day, so I thought we’d make a playlist of all the songs that are Earth-related. Then I made a cover, it was like a Spotify playlist. The internship was really flexible, I wasn’t doing any kind of admin stuff. I was just doing loads of editing, which was so helpful for me. Now I’ve come back from that experience feeling like I can edit my own videos, I can use photoshop much better.”

Coming back from New York to a sold out gig and presenting at Glastonbury Festival on Worthy FM. Eva spills all the details from working behind the scenes at the Festival to landing a sellout gig with Jodie Bryan. Bryan is well known for putting on events for emerging artists. Eva adds saying “Her events sell out every time so for her to ask, I felt pretty special, So I came home to do a sold-out show which was really nice. All my friends came, it was just such a great show” Eva beams happily at the memory, before going to talk about Glastonbury. “It was definitely full-on, the FM broadcasts were from the Monday before the festival starts to the following Monday. I hadn’t done radio before.” Luckily Eva had two lovely co-hosts to lean on for support and guidance with the radio show. “I was co-hosting with two guys, both of them a bit more experienced than me, which was really good because it meant that I was able to just kind of be like what’s this? What’s going on? How do I turn the mic up?” Looking back at the different tasks she was doing at the radio station, the artist comments on what it’s like to be interviewing when she is normally the interviewee.“I interviewed Joe Wicks, so random but so fun. He’s got such an aura. I don’t usually feel star-struck towards people, but I did his fitness routine thing in lockdown, and then after talking, there was a line of like hundreds of people queuing up to have a picture with him. He was so friendly, so nice and just really chatty. Most people are like this, you probably found this? I’d never been the interviewer before, but it’s so nice they’re just excited to tell you what they’re doing and to actually have someone inquire. It was such a great experience. Doing radio is so fun, choosing the show, choosing the songs, getting people in, doing all the little soundscapes.”

After asking the singer about any performances over the summer, she explained, “I’ve been in lots of sessions and stuff but in terms of gigs I think I’ve definitely just been enjoying my summer. I’m definitely someone that will take on so much, do so much and just constantly try and be everywhere

Image by Jiksaw

at once.” This is proven from the musicians’ busy track record. Instead of gigging the singer has been back in the studio, “making loads and loads of music like so much. I recently worked with an artist called Mossby John, who is big in the dance world. It’s very sort of like Skinner-ish vibes, spoken word and like British rap.” Eva went on to share her new found hobby, which I imagine comes to no surprise for someone who loves music and has worked on radio, it’s about time Eva started DJing. “People would always say to me like you should do it and I’d just be like, oh I don’t know, but when you actually start If you’re an artist or a producer or whatever, a musician, I think DJing can be so underrated developmental because of how much music you’re being exposed to.”

“I think I’ve just been consuming and creating, definitely creating a lot and just being more conscious of what I’m listening to.” For Eva to take a step back from performing and spend more time enjoying creating and listening to music. It has opened the artist’s eyes to a plethora of new music at her fingertips.“What’s so good about Spotify is that you go to the radio and then you’re like, oh, there’s just a whole world of music out there. You can get lost in it so easily.” The artist also explained how tempting it is to fall into the trap of listening to the same music over and over again. “I’d probably listen to the same five songs for the rest of my life. Like, 90s R&B, but I’m forcing myself to branch out into all these different genres. Looking at different styles of music and just expanding my intake, I think it has really helped me be conscious of what I really want to make.”

It was really interesting to hear that response from the musician, how DJing has helped her be an active listener and think about music more critically. I added how it makes you look at music differently once you start DJing. Eva agreed and added that, “you see music almost as a currency.”

Eva has now got the taste for the airwaves and has been inspired to run her own show called StationBabe on KCL Radio. “Like Babe Station. It’s a feminist show about the London underground, and so it’s quite tongue-in-cheek.” Eva explains how it came to fruition after enjoying presenting on local Brighton radio station Platform B and at Glastonbury this year, realising; “I actually really like curating a sonic experience. It’s like a bit of journalism and a bit of DJing, just a bit of everything.”

The singer explained the fun premise of the show, “there’ll be a cryptic message relating to one of the Tube stops. So, for example, if I would say, I’m one of many daughters, that’s seven sisters, and So every show, I’ll say, okay, text in what you think the station is and then once I reveal it, I’ll give a feminist or just femaleadjacent piece of information about the station or the area.” This quirky concept sounds fun for the listener and come on who doesn’t like a fun factoid? Eva also opened up how student radio is a good place to start, everyone is at the same level and there’s no judgement. “It’s most people’s first time doing radio. No one thinks they’re better. I think it’ll be a low commitment project alongside my studies. it would just be an hour a week and then I’ve also got an hour slot for DJing. I’m just trying to make everything easier by kind of combining it all into one, like everything’s at uni. I can do the DJing, the radio show, my lectures and my studies all in the same place.” Having everything in the same place sounds like a good strategy. I’m excited to see what new sounds Eva brings us and to dive into decoding the latest cryptic clues on StationBabe!

Check out EVA’s music and radio show live every Tuesday 6-7PM on KCL radio.

www.youtube.com/@VIDADELADIVA

Image by Jiksaw

Also coming up:

Randall Munroe

What If? A Decade of Imagining The Impossible

Wed 13 Nov, 7:30pm

The international best selling artist and cartoonist will be live on stage giving serious scientific answers to absurd hypothetical questions.

Laura Murphy A Spectacle of Herself

Thu 28 Nov, 7:30pm

Join Laura on a mission to serve herself up [in]appropriately for your consumption in a bold, cinematic, acrobatic odyssey through the frontiers of mental health, queerness, rage & the 21st-century space race.

The Unthanks In Winter

Sat 7 Dec, 7:30pm

The band performs their new work that captures the warmth and nostalgia of the festive season, the chill of the winter months, and the reflective ritualisms of the turn of the year.

James Wilton Dance

Bach Reimagined

Tue 11 Mar, 7:30pm

A captivating exploration of tradition meets innovation that will leave the most seasoned dance enthusiast amazed and inspired.

Swan Lake

Robin Hood The Panto

Milton Jones

WORTHING THEATRES & MUSEUM: THE CULTURAL GEM YOU NEED TO VISIT

Worthing Theatres and Museum (WTM) is an independent charity transforming the local cultural scene with a clear mission: Together, we’ll keep culture at the heart of Worthing.

WTM boasts a diverse range of historic venues, offering everything from touring theatre, stunning circus performances to renowned comedy acts.

A must-see in Worthing, the museum is famous for its nationally acclaimed costume collection and permanent local history displays. These exhibits are complemented by rotating showcases from both local and international artists. Recent highlights include exhibitions featuring Alison Lapper and The Lee Miller Archive, perfectly paired with screenings of the film Lee at the Connaught Theatre.

The Connaught Theatre, a historic gem in its own right, recently celebrated its 110th anniversary. Known for launching the careers of many prominent actors, the Theatre now presents a diverse cinema program that includes classic and new films, theatre recordings, and live performances ranging from music and comedy to drama.

WTM’s Assembly Hall is a go-to destination for those seeking bigger-name entertainment. It has a history of hosting legendary performers like David Bowie and The Who and continues to attract top acts such as John Bishop, Katherine Ryan, and Jason Donovan.

Worthing’s cultural offerings are further enhanced by the Pavilion Theatre, located on the iconic pier. This venue is home to WTM’s children’s theatre and circus program is also the proud host of WTM’s traditional Christmas pantomime, with this year’s production being Robin Hood: The Pantomime.

WTM’s dedication to preserving the historical charm of its venues while simultaneously offering a diverse and vibrant cultural program makes it a standout attraction. With easy access by bus or train, WTM is a cultural experience well worth the visit for anyone seeking arts and entertainment.

To learn more about upcoming events, visit wtm.uk/whatson.

Copyright: Phocus Images

Worthing Theatres Circus Launch Image © Simon Dack/Vervate

CINECITY 2024

The 22nd edition of Brighton’s independent film festival comes to venues across the city and Lewes on Fri 8 – Sun 17 Nov. This annual celebration of cinema and the big screen experience features the very best in international cinema with a diverse programme of premieres and previews. treasures from the archive, artists’ moving image, talks and special events. The festival gives audiences first sight of highly anticipated titles ahead of UK release and showcases many others brought to Brighton from around the world for one-off screenings.

Presented with the support of the BFI Film Audience Network, CINECITY is the region’s biggest celebration of cinema. Patrons include Nick Cave and Ben Wheatley. Events are taking place at venues like Duke of York’s Picturehouse, The Depot, Fabrica, Attenborough Centre for the Creative Arts, Duke’s at Komedia and Horatio’s Bar.

This year there is a free exhibition at Fabrica and a special programme strand celebrating the cinema of Ukraine past and present, that also expresses solidarity with the country at this critical time.

CINECITY opens and closes with previews of two eagerly awaited films, both tipped for success in the awards season. The festival opens on Fri 8 Nov, with the witty and heartfelt A Real Pain starring Kieran Culkin and Jesse Eisenberg as two estranged cousins who travel to Poland to pay their respects to their Jewish grandmother. The festival closes on Sun 17 Nov with Nightbitch starring Amy Adams and directed by Marielle

The Ukraine on Screen strand will feature a set of screenings and special events around the work of two pioneers connected to Ukrainian cinema, Oleksandr Dovzhenko and Sergei Parajanov, and programmes of new short films specially curated by Kyiv International Short Film Festival. Highlights include a new live soundtrack to Dovzhenko’s silent classic Earth (Zemlya), made in 1930. One of cinema’s supreme visual masterpieces, it’s a uniquely poetic cinema of the countryside. Ukrainian musicians Misha Kalinin (electric guitar) and Roksana Smirnova (piano) perform a new live soundtrack on Wed 13 Nov, adding new dimensions to the iconic close-ups and sweeping landscapes.

To mark the 100th anniversary of his birth, we celebrate the enduring legacy of visionary director Sergei Parajanov. Born in Georgia to Armenian parents, Parajanov spent most of his working life in Ukraine. He once declared: ‘I am an Armenian, born in Tbilisi, incarcerated in a Russian prison for being a Ukrainian nationalist’.

The Temple of Cinema #1: Sayat Nova Outtakes exhibition at Fabrica, which runs until Sun 10 Nov, has repurposed over three hours of newly scanned, unseen film footage and camera tests from Parajanov’s masterpiece The Colour of Pomegranates (1969).

Described by Martin Scorsese as like ‘opening a door and walking into another dimension, where time has stopped and beauty has been unleashed’, the

film was inspired by the life and work of 18th-century Armenian poet and musician Sayat Nova. Never seen before in the UK, this stunning exhibition presents these rare moving images embedded in a series of specially constructed platforms containing 24 monitors.

The exhibition is complemented by a brand-new restoration of Parajanov’s classic Shadows of Forgotten Ancestors (1965) on Sun 10 Nov - a highly colourful and beguiling mix of folklore and dream-like mysticism set in southwestern Ukraine.

It’ll be screened with Kyiv Frescoes (1966), a series of screen tests collaged together after the feature production was terminated by the Russian authorities and they destroyed all his negatives.

In a special collaboration, Kyiv International Short Film Festival curated two programmes for CINECITY of recent short films made by Ukrainian directors, home and abroad on Sat 16 Nov.

CINECITY also presents a host of award-winning international films all screening in the region for the first time ahead of UK release. There are feature films from countries including Argentina, Brazil, India, Iran, Laos, Algeria, Belarus, Latvia, Iceland, Denmark and Canada. Just some of the highlights include:

Cannes Grand Prix-winner the Mumbai-set drama All We Imagine As Light; the latest feature from renowned UK auteur Mike Leigh, Hard Truths (not on UK release until 2025); papal thriller Conclave starring Ralph Fiennes and Stanley Tucci

Unmissable film festival returns to Brighton

CINECITY comes to Brighton & Hove and Lewes on Fri 8 – Sun 17 Nov.

Tickets are available to book now. For full programme details, visit: www.cine-city.co.uk

Heller (A Beautiful Day in the Neighborhood).

SAYAT NOVA OUTTAKES

directed by Edward Berger (All Quiet on the Western Front); rural Irish drama Bring Them Down starring Barry Keoghan; the black comedy Rumours with Cate Blanchett and the award-winning animated feature from Latvia, Flow

Documentary highlights include the UK premiere of Flowers of Ukraine which depicts 67-year-old Natalia’s rebellious spirit and humour as she sets out to protect her land from property developers and then the Russian invaders. Also screening the stunning documentary Mother Vera about an unorthodox young nun in Belarus, and Birdsong, about one man’s mission to record the sound of every species of bird in Ireland.

Accomplished Ukrainian composer and pianist Roksana Smirnova takes to the stage with long-term collaborator and countryman Misha Kalinin to provide a powerful and evocative live score to silent classic Earth on Wed 13 Nov 8pm

Harry Smith (1923–1991) was a great American eccentric, experimental filmmaker, musicologist, graphic designer, bohemian and anthropologist. He was also a collector of found objects and sounds. The Anthology of American Folk Music is perhaps his most famous contribution. British artist Robin Rimbaud, also known as Scanner, performs a live soundtrack to Smith’s films Early Abstractions (1946–57) and Untitled Seminole Patchwork (1965–66) on Fri 15 Nov .

Acclaimed filmmaker Chris Smith (Wham!, Fyre) captures the gloriously radical spirit of cult band Devo over their 50-year career. Sat 9 Nov matinee

Pavements, an examination of the iconic 1990s indie band Pavement is partdocumentary, part-biopic, part-stage musical – but all Pavement is being screened on Sat 9 Nov.

The best local film-making talent also features as CINECITY presents the premiere of The Captain directed by Brighton-based Jamie Patterson. Starring Patrick Bergin as a retired sea captain who strikes up an unlikely friendship with his Greek caregiver, Leni, sparking a journey of self-discovery for them both. Shot entirely on location in Brighton, The Captain was created by local production company Jump Start Productions in association with MetFilm School Brighton. The film championed new talent and gave many students an opportunity to gain invaluable production experience.

CINECITY comes to Brighton & Hove and Lewes on Fri 8 – Sun 17 Nov. Tickets are available to book now. For full programme details, visit: www.cine-city.co.uk

ALL WE IMAGINE AS LIGHT

NIGHTBITCH

CONCLAVE

BLAST THEORY BRINGS AR EXPERIENCE TO ACCA

Brighton’s Attenborough Centre

For The Creative Arts welcomes Blast Theory’s cutting edge game to the University of Sussex this month.

One of the first location-based games in the world, Can You See Me Now? Is played on a mobile phone, with participants navigating a landscape while being pursued by the mysterious runners. Heading to ACCA and the University of Sussex’s iconic campus on Tues 19 – Thurs 21 Nov. With up to 100 people playing online at a time, players use text chat to exchange tactics and send messages to the runners. An audio stream from the runners' walkie talkies also allows players to eavesdrop on their pursuers.

This project was developed in collaboration with the Mixed Reality Lab at the University of Nottingham, a long period of research and development exploring different uses for Global Positioning Systems and wireless networking. Can You See Me Now? takes a physical location and overlays it with a virtual city to explore ideas of absence and presence. By sharing the same ‘space’, the players online and runners on the street enter into a relationship which is both adversarial and playful.

Ahead of this thrilling chase game heading to Brighton, we spoke to Blast theory’s Nick Tandavanitj, the lead artist on Can You See Me Now?, about its development and what it could mean for the intersection of art, entertainment and technology.

What was your initial intention for Can You See Me Now?

We first created the game back in 2001. It came from us trying to imagine a future where it’s possible to be online and in the physical world at the same time. What would

it feel like? What would change and what might be lost?

In light of the mass adoption of smartphones it sounds a bit quaint, but this was 23 years ago. Most people only used their mobile for calls and texts. The iPhone was still six years away.

Our idea was to take a simple playground chase and see what happens when you play that game online and in the real world: putting runners on the street and having online players in the same space. Would it collapse distance and what potential would there be to remake the relationships between people?

Have you found participants acting in ways that you didn’t anticipate?

What surprises us every time is the buzz of adrenaline that comes with playing. When you play online, there’s a moment when runners on the street single you out – they call out your name and everyone around you starts to flee. It brings an unusual kind of jeopardy and hysteria to the game.

We’ve had online players who’ve returned nearly every time – yes you, Willy Ramke. We’ve had flocks of local children following runners around their neighbourhood. We’ve had a group of online players jumping in their car to track down runners out on the street.

Can the game offer new context to the environments it’s played in?

As a runner on the street, you’re looking back and forth between what’s on your phone and projecting that over what’s actually in front of you. It adds a degree of strangeness to how you look at your environment. And we actively encourage runners to share this in the live audio that’s

part of the game: to narrate this experience of chasing players who are online.

When a runner catches an online player, they also take a photo of the spot where they were caught. Sometimes it’s a detail on a building they’re standing next to. Or something on the ground that’s caught their eye. Throughout the game, hundreds of these photos are taken and shared with the online players.

How does the game relate to your wider practice?

When we talked about relaunching CYSMN?, what resonated for me is how the game raises questions about the value we attach to the physical space. Today, a lot of our attention and our competencies are tied to our use of digital interfaces. The effect of this is that physical spaces can sometimes feel like they only have value as supporting infrastructure for our digital life - like a backstage to a richer and more social, cultural life online. Part of CYSMN? is how it reflects on the relationship between these spaces.

These questions about how we live with technology are at the heart of what we do.

Are you aiming for people’s reactions to and experiences of your projects to become the actual art?

We often refer to Brian Eno’s maxim that interactive art is ‘unfinished’. That it’s the audiences’ engagement with the work which completes it. So, we’d agree that people’s experiences are central but we’re not so worried about whether it counts as art or not.

Do you think gaming has become isolated from real-life human

endeavour? We’re presented with games which are increasingly elaborate, yet many fail to offer any true consequence for the choices made by players.

I think games can be spaces to learn, and even reflect on real life or develop new perspectives. Though, in reality, it seems that the intent of a lot of media - including games - is to just hold our attention, and do little else. The power to hold attention is often held up as a measure of success, but it’s not necessarily a positive thing. CYSMN? is designed to be playful and reflective but it’s also very quick to play! Is there any limit to what alternate reality games can be?

We’ve found a few challenges in producing our games. On a practical level, it can be tricky trying to communicate novel experiences to audiences. Games can be exciting but what you’re asking of audiences can also be intimidating. There’s also challenges in working with large numbers of audience.

Scaling up projects often seems to come at the expense of reducing interaction to superficial transactions. And this is probably the hardest challenge: making interactions where what you have to offer is meaningful enough that audiences are willing to contribute something genuine of themselves. Then it’s possible to make games that are genuinely exciting, that can carry real weight or create real change.

ACCA and Blast Theory bring Can You See Me Now? to the University of Sussex on Tues 19 – Thurs 21 Nov. For more information, and details of how to participate, visit: www.attenboroughcentre.com

www.blasttheory.co.uk

IN THE BOX

“This is a culmination of years of various projects,” Helen Jewell, the Creative Director at The Old Market, is telling me about In The Box – the Hove venue’s ever-evolving immersive gig experience.

“Its infancy was in pre-pandemic times, when we put 18,000 people through headset-based VR and XR live work. Covid made us desperate to bring people back together in a communal environment and celebrate us being a live venue. We wanted to take the headsets off.”

The concept is quite simple; place some of the most exciting artists and performers in the centre of TOM’s main room, surrounded by a 360° visual landscape and 3D sound. The work going into making this happen is markedly more complex. “We were very lucky to get some project funding from Arts Council England for our first iteration of In The Box, which was a two week festival. We had amazing artists come and help us test what the immersive space might look, feel and sound like.” For 2024, they’re pushing the boundaries of what can be done with this format even further.

On Thurs 21 Nov - Sat 30 Nov there’ll be a treasure trove of shows in this unique space, including sound designers, spoken word, experimental artists and underground electronic music acts, like Third Bloom and Wes Banderson. “We’re hoping to have a few surprises to announce as well. We had quite a diverse array of artists in the last season, with a mixture of electronic and live bands, and even a dancer in the space. This year, it's going to be eclectic. There's going to be a mixture of some real parties and some chilled vibes, with a blend of different genres.”

Among the shows is A Night With The Trees, where storyteller Xanthe Gresham-Knight, singer-songwriter Kate Daisy Grant and multiinstrumentalist Nick Pynn will utilise the technology on hand to recreate the sights, sounds and atmosphere of ancient forests in the centre of the city.

This evening of stories and original songs is all based around trees featured in the Druidic or ‘Ogham' tree calendar – which assigns a tree to each of the year’s thirteen lunar divisions. The trio’s show is the culmination of a project Xanthe has been running at Newhaven's Guest House Storytelling Club. Kate and Nick are its musicians in residence, contributing music and lyrics inspired by each tree. “We've been doing this since January, so we've built up quite a repertoire. Now we're exploring how we can connect those stories and songs together.”

The author of Herba Mythica: Myths and Folk Tales of Sacred Healing Plants, Xanthe continues to explore our place amongst nature. “We’ve been looking at the way trees work medicinally and symbolically, as well as their stories and souls.” She says there’s a strong connection between humans and the forest. “If

Cutting edge immersive

festival returns to The Old Market

By Stuart Rolt

you take the birch, that's the tree of new beginnings. Or the oak which represents strength and shelter. I think we instinctively resonate with these qualities and want to meditate on it. Also, because of the climate crisis, it’s been highlighted how precious the natural world is. It's nice to have some kind of cycle which you can keep connecting with. Which is what the tree of the month is a little bit like.”

Kate Daisy Grant is a familiar face at TOM, and is adamant A Night With The Trees will provide a unique experience. “Xanthe is a very fluid performer,” she tells me. “She might be in one place or wandering around the beanbags. People can just lie back. They don't even have to look at us. Frankly, you know, it might just be a lot more atmospheric. Our hope is to have people in a kind of liminal space… just losing themselves a bit.”

There’s thematic links between this show and Kate’s previous work at the venue. Back in 2019, she and Nick performed around 100 international lullabies in harmony with each other. “We had projected visuals of the moon all around, and people were on beanbags in this kind of floaty, otherworldly space, so it was the closest thing to this.

I'm really glad to be back to The Old Market with another sort of transporting project.”

Helen tells me that TOM intends to place performers in the centre of everything, rather than using the venue’s traditional stage. “We discovered something magical happens when we put the artist in the middle of the space. There’s a kind of connectivity… not only with the artist, but the audience, connect with each other as well. We wanted to build on that.”

Many emerging music acts are multimedia creators, from filmmakers to producers and spatial sound artists. “We want to develop a canvas which can host that sort of multidisciplinary skill set,” Helen tells me. “It feels like there's a real appetite for this kind of experiential gig.” They test-drove the concept last year, when superstar DJ and longtime TOM supporter, Norman Cook, came down with his world class AV show. “Having a really high-profile artist with really high production values come in and test it with us, felt like a real gift. It can be super powerful. The technology is there to have these visuals react to the music. There's so much more capacity for interactivity. We've got lots of exciting plans...”

The Box - Standing format

Photo by Myles Burrell

Preparations for A Night With The Trees have involved Kate and Nick Pynn heading into the countryside to capture film footage of woodland at dusk. “We've been able to go and see them, be inspired by them. We've spent a bit of time going amongst them and waiting for the ‘tree muse’ to strike.” What they’ve captured will be projected all around the venue on huge screens, images layered over each other with effects on top. “There's a possibility of doing one 360° piece of video. It does need some quite specialist rendering. There's a couple of other possibilities we're looking into, which will expand and extend that immersion.”

Kate says she’s never seen a music experience on this scale before. Although the visual art world has become accustomed to using technology in new ways to inspire audiences. “I think artworks are very easy to do in that sense,” she says. “More introverted performers like Nick and I are completely fine with not overtly getting people's attention, instead creating atmosphere for an experience. I think that's maybe where gigs are heading as well.”

At a base level, these kinds of immersive visuals can act as simply something pretty to look at. They can just as easily play a part in creating emotions or enhance narratives. “Everybody's forming their own ‘personal cinema’ of a story that you're telling,” Xanthe says. “So, it's entirely appropriate to have such an immersive environment… It’ll be a little bit like being in a forest. There’ll be trees projected around, with stories and songs, which it will give quite a lot of dream-space and relaxation. You're not sitting in conventional chairs, but on beanbags. It can

almost be like a festival experience, but with all the comforts of a venue.” She tells me that forests are so prevalent in all stories. A great deal of European folktales and literature involve getting enveloped by a forest. “You want to let yourself get lost in a story, and then find a way out which is satisfying. That's how storytelling works. So, I imagine the visuals will create some enchantment.”

Xanthe points out that few of us are able to enjoy the thrill and uncertainty of getting lost in a forest in the modern age. “We know exactly how big they are now. We go in, we get out. But we all know what it feels like to be metaphorically lost, in our own life and not able to see that way out. Stories can provide an archetypal map which resonates with our psyche and souls. I think the dark night of the soul could also be called the dark forest of the soul. Stories are like a red thread leading you safely through, with a breadcrumb trail.”

She tells me about her own journey into the world of storytelling, which started with the traditional recounting of quite male-orientated mythology. “Then I got interested in the feminine voice and goddesses,” she says. “I did that for about 15 years, when it occurred to me that the deities are embodied in plants and trees. It was like coming full circle back to the Earth, and what's important. You can name a tree like the oak, and you might think of Zeus, or think of the birch as the mother of the forest. It’s quite nice to look at the myths of the gods and connect them to the trees. It’s just re-sacralising the landscape, I suppose. You have a responsibility to make something that is pleasing and respectful of our

values today. Obviously, when a lot of these folk tales and myths were written down, they had different values in society…”

When Kate was asked by Xhanti to write songs for that original storytelling night, she began looking at the pastoral works which mentioned trees. “I loved the historical depth of that, and knowing our ancestors sung them,” she recalls. “But they didn’t mention Druidry or symbolism so much. It was all about humans falling in love under an apple tree. They were beautiful, but I wanted to write folk songs which hadn't existed before, while using the old material and themes.” There was an ambition to create something which didn’t come from any individual perspective, so she went through the mythology of each tree on that Ogham calendar, seeing what sang to her out of the information. “It's been a real pleasure to immerse myself in that.”

Folding into the visual and performance elements of the festival, Nick says they’ll be further experimenting with 3D sound. “I had an interesting bit of work last year doing a threedimensional mix for a heritage project at the Corn Exchange. I was collating historical ingredients for the periods of time that were covered. I'd find things like horses and carts coming around the corner and the chimes of St Nicholas Church’s clock.” Then there was the process of putting these sounds into the correct elevation and position, to simulate what the sonic soundscape would have been like back then. “That got me interested in a new way of doing things, which is very much the future of entertainment.”

The Box - Beanbag format

Photo by Chloe Hashemi

Third Bloom

Fatboy Slim - ITB 2023

Photo by Rosie Powell

A multi-award-winning composer and songwriter, Nick seems to bring together the worlds of tradition and technology. Performing on a variety of instruments including five string violin, guitars, mountain dulcimer, mandocello and banjo, he builds up intricate textures with the aid of looping. This in turn can be mixed into different spaces on the venue’s surround sound system. “It offers me 18 or more channels. So that's quite a bit of a challenge; I'm perusing the possibilities.”

The festival also welcomes the launch party for Nick’s latest album, Visions / Revisions and Impressions. “Half of it was based on the work of impressionist painters. So, what I'm doing there is having projections of the works which inspired the pieces of music. I play them live alongside soundscapes that I'll be putting together.”

Blurring the intersection between art, music and performance, In The Box could well point the way for how we consume live music. And it could be a timely evolution. Helen tells me that the nation is losing grassroots venues, especially those of a similar size to TOM, at a rate of knots. “We are literally the greenhouse for all these beautiful emerging artists, and a pipeline for a much bigger industry. We're a really important part of the jigsaw. We've had to think strategically about how we keep going.” TOM has always been pioneering in its attitude towards new work, staging a lot of innovative (and potentially commercially risky) shows.

The idea of immersive entertainment isn’t new. There have been several projects which have used the work of dead artists to create successful experiences. “That doesn't feel exciting,” says Helen. “It's not what we're about. We're a cocreation space, and very much want to work with artists who are alive and kicking. There's an exciting interplay between young musicians, young artists and how they might approach this kind of interdisciplinary concept.”

Kate suggests music isn’t at the zeitgeist’s centre right now. “It’s a little bit separate to some cutting-edge technologies. It is a beautiful thing, but often you've got to co-mingle it with other art forms for it to be most effective.” While the 60s and 90s were boom periods for music as an artform, it’s recently stagnated in terms of innovation and public perception.

“It's so unusual to even consider paying for music unless you're going to a gig. That's just kind of snuck in. There’s a general devaluing of music. It's now this kind of background noise which gets made for free. That’s part of a bigger issue about people not being asked to value it.” She tells me music can be a multi-pollinating art form. It speaks to every part of us. For whatever reason, people demand more from live shows now, so music has to do more. It must speak to people's life experiences. “TOM are so cutting edge in terms of their collaborations and how forward thinking they're willing to be about the whole venue,” she says. “They're so willing to cross pollinate their art forms and think outside the box. No pun intended.”

So, TOM’s In The Box festival is not only a response to developing technologies and an emerging wave of artists utilising them, but is ushering live music performance truly into the 21st century. Helen tells me the production team at the

venue are still discovering new ways of presenting live shows, helped by astute collaborations and a lot of vision. “There is no limit really,” she says. “The more we go into this format, the more we realise what is possible, both with the sound, visuals and interactivity. Every time we've gone ‘into the box’ we've been able to add another layer.

“This is another step up in terms of production values for that kind of show. A lot of the artists we're inviting are very conceptual in the way they work. It's a very music-focused program at the moment, but the space also lends itself to amazing storytelling, spoken word and cross-disciplinary artists. We're hoping it will become a kind of treasure box for all sorts of different work.”

A Night With The Trees comes to The Old Market on Thurs 28 Nov, while Nick Pynn’s albums launch for Visions / Revisions and Impressions is at TOM on Weds 27 Nov, all as part of In The Box festival.

www.theoldmarket.com

Nick Pynn

Forest Swords

Ah! Kosmos

MAKE TIME FOR CREATIVITY

Painters, poets, weavers, welders, gardeners, gilders, calligraphers, conservators…

Whatever your craft, whatever your level, there is a short course for you at West Dean. Learn from expert tutors in state of the art studios. Be inspired at westdean.ac.uk

JORDAN STEPHENS HONORED WITH NEW AWARD FOR CHAMPIONING YOUTH MUSIC

BY ROSIE PALDI EDWARDS

Youth Music is the UK’s leading young people’s music charity. The Grassroots Hero Award recognises an outstanding individual who has advocated for young people and supported the grassroots music scene. Jordan Stephens says: “I am absolutely buzzing to receive this award from Youth Music. I love everything they stand for. They're one of my earliest supporters and I've done whatever I can to repay the favour. Love them. More support for the creative arts. More joy for Youth Music. Thank you so much.”

Best known as one half of the chart-topping duo Rizzle Kicks, Jordan Stephens has been rewarded for his advocacy efforts and for the backing of overlooked, underfunded and unrepresented projects in the grassroots music scene. Having been publicly open with his own struggles surrounding mental health, Jordan has been very active in creating awareness around the stigma. His mental health campaign #IAMWHOLE reached over 120 million people online and was mentioned in the Houses of Parliament. His children’s book The Missing Piece was recently shortlisted for the Waterstones Children’s Prize. His new book Avoidance, Drugs, Heartbreak and Dogs was released in August 2024 and went straight in as a Sunday Times Best Seller.

The award follows recently published research in the Youth Music Sound of the Next Generation (SONG) Report, that found over half of grassroots music projects have reported a fall in income and Youth Music faces a 45% fall in real term donations. This means that the charity is only able to fund less than 1 in 5 applications (17%) – a historic low. As a result, the grassroots organisations that rely on this funding are at risk of closure, which would affect thousands of young people. Grassroots youth and community music projects play a vital role in supporting the diverse talent pipeline. In fact, the last two Mercury Prize winners were supported by projects like these, funded by Youth Music. So, in its 25th year, Youth Music is celebrating the work that has been done to equalise access to making, learning, and earning in music, whilst campaigning for a more diverse and more inclusive industry.

On receiving the Grassroots Hero Award at the Youth Music Awards 2024 ceremony the other week, Brighton-based Jordan Stephens slammed the underfunding of the arts by the Government in his acceptance speech. Stephens said: I can’t believe that the creative arts are underfunded by the Government, and then they’re in a position where they’re complaining about the consequences of young people who don’t have a purpose or a place to find community and joy and passion. You’ve just got to do the maths.”

To find out more about what Jordan Stephans is doing visit www.instagram. com/jordanfstephens

Sussex attraction recreates the drama of cherished aircraft

By Stuart Roly

THE SPITFIRE EXPERIENCE

In a small quiet corner of Sussex, the golden age of British aviation is being kept alive and accessible for all. During World War II, the Supermarine Spitfire played a key role in defending Britain. Produced in huge numbers, it was a regular sight over the South East for two decades; accompanied by the distinctive roar of its engines it became the stuff of legend. Many examples of this fighter aircraft survive in working condition, but you can still experience its thrills without having to leave the ground.

Brian Smith, who served with the RAF and worked as a pilot with British Airways, has constructed a unique flight simulator next to his home in Wisborough Green. “When I retired, I didn’t know what to do with myself,” he tells me. Inspired by seeing a basic model of the cockpit at The Air Transport Auxiliary Museum in Maidenhead, he discovered nobody had built a Spitfire simulator at that point. He and his team spent a year building an ultra-realistic replica of the iconic Mk XIV’s cockpit, complete with authentic controls and displays, supported by the latest computer technology and a large-scale sound system. Three huge screens surround the pilot, giving the impression of being above a real landscape.

Smith has had his own experiences with real life Spitfires. One would be a regular sight over his village, owned by a local who stored it at Goodwood. “In the summertime, he’d go to various air shows, and on the way back from the air show, he’d ‘beat up’ that village, flying across the cricket pitch. Which is totally illegal…” Enquiries in the local pub revealed the pilot’s name, and after a phone call, Smith was able to blag a ride and was soon also swooping low over his neighbours.

Learning to fly at White Waltham airfield during 1962, Smith obtained a commercial pilot’s licence and joined British United Airlines to work on Bristol Freighters. From there he moved to BOAC flying B707s and 737s. Becoming a flight instructor and examiner, he coached pilots from all over the world, before retiring with a hefty 25,000 flying hours.

He’s keen to support his extended flight family, with all profits from The Spitfire Experience going to The RAF Benevolent Fund – who support exservicemen and their families. “It’s a really good

charity. I thought I’d see if they’d be interested. So, I phoned their headquarters in Oxford. That was it, the deal was done. In the last 11 years, we’ve raised over £122,000 for them.”

So, how do you go about putting together something this complex, especially when its success is so reliant on accuracy? “The short answer is slowly and carefully…” Assisted by a group of craftsmen, he also found a chap who lived up north who was something of a Spitfire fanatic. He’d made some full-scale replicas of the aircraft, and still had the plans. “I paid him for those, and we started putting it all together. The actual building of the cockpit was straightforward carpentry.” Putting the technological side of things in place was a lot more complex.

It’s an immersive experience. You can fly over an airfield, pull up and do a victory roll, and you feel as though the whole thing’s moving. “We had one chap who joined us when he was 16 (he’s now 27 and still with us) who’s a whiz kid and has done a fabulous job of setting it all up.” They started off basing the graphical element on Microsoft Flight Simulator, which threw up a few reliability issues. Now they’ve deployed a version of Prepar3D, which has created an astonishing representation of flying.

” It’s a fabulous program. Every time we fly it around, I see something which I haven’t seen before. When people come back, as they often do, we take them somewhere different.” The default environment for the simulation is the west coast of America, which offers lots of interesting islands to buzz over and bridges to fly under. Although pilots can visit any location on the planet, including flying out of Goodwood and Shoreham.

No previous flying experience is needed for this award-winning attraction. A team of six volunteers, all retired aviators, staff it – talking participants through any manoeuvres. “I think around 90% of our customers are not pilots. We also found the ladies better than the men, as they’ve got a lighter touch. This is very sensitive to fly.” Participants can enjoy 45 mins flight time, which includes two take offs and two landings, and even a few aerobatics for the daring. To get you in the mood, there’s also a faithful replica of a WWII crew room to transport you back in time.

With a flight in the real thing often costing thousands of pounds, the Spitfire Experience seems to be a genuine alternative for those willing to get close to Britain’s most iconic aircraft. “Some of the people we get say it’s just like the real thing. It is pretty good.” After the simulation ends, Smith says you can often see emotion etched on people’s faces. “When we shut down the engine, there’s total silence. I’ve had grown men cry. It’s such an evocative aeroplane.”

Erland Cooper

There’s around 70 Spitfires flying across the world, which is incredible considering the first was constructed in 1963. The plane holds a special place in the public’s imagination, particularly because of its crucial role in the Battle of Britain, and other cities around the world.

The Hawker Hurricane, the Spitfire’s sister fighter plane, is often overlooked regarding its impact on the war. Smith suggests this could be because of its more clumsy-looking design aesthetic. “It doesn’t look as sleek as the Spitfire. The hurricane was a really good aeroplane, and anyone who has flown it knows it was a really good gun platform. But it is a bit chunky… like a biplane that somebody’s just taken the top wing off. A lot of these legends built up because they made that film about The Battle of Britain, which itself was pretty iconic.”

Martin Davidson and James Taylor’s book, Spitfire Aces, perfectly sums up the aircraft’s appeal, saying: “In an age that has become jaded, even cynical, about historical myths, uneasy about the sentimentalities they play on, the Spitfire legend is impressively resilient.” There remains something utterly compelling about this 90-year-old plane, which goes beyond its looks or exploits, drilling deep into our nation’s psyche. Perhaps the greatest artefact from recent history, it’s as potent a symbol as Big Ben or heraldic lions. “There is something about the Spitfire. You know when there’s one in the sky, because you can hear that Merlin engine. It’s just so evocative.”

The Spitfire Experience is situated at Wheelers Farm, Wisborough Green, in West Sussex. For more information and to book sessions, visit: www. thespitfireexperience.com

Kris Drever

Black Doldrums

King Creosote SOLD OUT

Unthanks in Winter HASTINGS

Mikey Kenney

Awake Arise KENT

Sophie Jamieson

Mary Ocher

Jim White Trio

Nasty Little Lonely 20TH ANNIVERSARY TOUR

Alan Sparhawk

The Weather Station

Duo Niepold/Cutting

Joan as Police Woman

Tisbury Roasts @ The Lewes Road Inn

BY ROSIE PALDI EDWARDS

Autumn is well and truly here, and with that comes Sunday roasts! Back on the menu and with a wide selection of roasts and even bigger portion sizes, I think I've found the next best pub to visit for Sundays! BN1 got invited down to try out one of Russell Tisbury’s famous Sunday roasts. My colleagues have covered his food before in the magazine, so I was excited to try for myself after hearing so much about them. Arguably one of the best chefs around the city and combined with the recent refurb the pub is ready for “pubbin szn”!

The bright blue exterior cannot be missed, a fresh lick of paint really does wonders. The elevated seating area outside the front, invites you to sit down and come inside. As you walk through the doors, the space opens up into a big room filled with loads of comfortable seating, a pool table and a colourful garden area. The vibes were perfect, on Sundays you can expect DJ’s to be playing chilled tunes and a good hustle and bustle of people coming in and out for food and drinks. From the get go the staff were really attentive and welcoming, checking in regularly with us. It was really appreciated as we were quite a big group and with two babies at the table, it was chaotic to say the least, but in the best of ways.

After ordering drinks we sat down to dissect the menu, all a little bit too hungry as usual, we made up our minds quickly and got the orders in. Most of my friends went for the pork belly, my boyfriend went for the roast vegetables, herb and polenta loaf and his sister opted for the other veggie option, the wellington with roasted butternut squash, portobello mushrooms, goats cheese, puy lentils and caramelised onions. On the other hand I went for the four meat roast having everything on it from chicken, lamb, beef and of course pork belly. All the roasts came with; garlic and herb roasted potatoes, glazed beetroot and carrots, root vegetable puree and buttered mixed greens. Don't forget a massive fluffy yorkshire pudding to top it off. I have to say again, the portion sizes were no joke, you seriously got your money's worth. We couldn't stop there though, ordering some sides, we went for the truffle cauliflower cheese and the honey mustard pigs in blankets.

quiet for about ten minutes trying to make a dent in the tastiest and biggest looking roast I've had in a long time. The cuts of meat were tender and just melted in your mouth. Everyone loved the pork belly, especially with that perfect layer of crackling on top. As for me, my favourite of the meats was a toss up between the pork belly or the lamb. The flavours were on point and combined with the tenderness of the meat, it was just delicious. Let alone the sides, don't even get me started on them. My friends were practically fighting over them. I cannot recommend the pigs in blankets and truffle cauliflower cheese enough, they were packed full of flavour. That honey mustard glazing in particular was something else!

parfait cheesecake. Again just like the roasts, the flavours of the puddings were sensational. All the sweet and tangy sauces perfectly complemented the rich puddings. The brownie was by far my favourite, not only for my love of chocolate but the texture, oh the texture was so creamy and gooey. Absolutely perfect, no complaints. Same for the sticky toffee, really moist and covered in a delicious sort of caramel sauce. Lastly, the banana parfait cheesecake was next level. I wasn't expecting it to be like ice cream or for me to like it so much, but the flavours together worked so well with the coldness of the ice cream. It was actually really refreshing after such an enormous feast. Before leaving, I saw their week day menu that captured my eye. Fom juicy burgers, traditional Neapolitan pizzas, nachos, loaded fries and saucy wings. This has left me with a feeling of unfinished business. I will have to return soon. I then left the pub slightly overdosed on food and bimbled back home with friends to lie down, digest and do nothing. A perfect sunday all in all.

Lewes Road often gets overlooked in Brighton as a food destination, but with more cafes, restaurants and breakfast spots opening up than ever before, it is slowly becoming quite the food hub. It still has a way to go, but with the likes of The Lewes Road Inn and their chef Russell Tisbury in charge of setting the standard I look forward to returning.

To book a table or get more info head to their website at www. thelewesroadinn.co.uk

As expected when all the food arrived we were all

After doggy-bagging up the leftovers, we moved on to the pudding. No matter how much food I eat or how full I am, I will always make space for pudding. A few of us ordered desserts and we decided to share them around, so we can all try a bit of everything. Personally, I had to get the brownie, I love all things chocolatey and gooey. Whilst my friend opted for the sticky toffee pudding and my boyfriend ordered the banana

Do More, Stress less.

After another soul-stirring trip to India—and a glorious dose of jet lag—I returned to a schedule that would intimidate a robot: 14-hour-plus workdays with barely a moment to think, let alone write. Could I really whip up an article this month? The odds were slim. But then, like a stroke of inspiration from the literary gods, a quote from Ernest Hemingway popped into my mind: “Just write one true sentence, the truest sentence you know.” And voilà—I had a starting point.

The first “true sentence” that came to mind was something I’d once read. Then again, read doesn’t fully capture it-it felt more like an epiphany or déjà vu. You know those insights that feel like an ancient truth you knew all along. Like when a long-forgotten childhood memory suddenly resurfaces—it feels distant, almost foreign, but undeniably yours.

I digress. I once read that life should be lived, and every action carried out, as if it were an offering. Now, to whom or what isn’t the point here, but the part that really made me sit up straight was this: everything received should be accepted as prasada.

As I type this, I’m debating just saying “gift” for those who haven’t spent their Saturday nights deciphering Sanskrit. Now, “gift” might come close, but it’s like calling the Mona Lisa “a nice picture.”

Let’s just say that this gift is precious, yet it’s given and received in the purest sense, without expectations, price tags, or fear of either under- or over-doing it.

As I dive back into writing, I aim to connect with everyone, regardless of their beliefs. However, I’d also feel rather disingenuous if I didn’t mention where I found this insight on prasada buddhi (a graceful acceptance of whatever comes with reverence): in a translation of the Gita by Swami Dayananda Saraswati. My best friend pointed out that Patanjali’s Yoga Sutras could be helpful here. They take ancient wisdom and make it digestible for all, no matter your faith—or even in its absence.

So, if I may be so bold as to offer some wisdom, it must come from a reliable source.

The challenge we face is how we deal with life—what we do and what happens to us. Sage Patanjali

simplifies anxiety and stress to a relatable formula: anxiety stems from inaction, while stress arises from fre ing over the results.

If inaction is the culprit, then action is the obvious antidote. But let’s be real; mere motion isn’t enough. If we can agree that we’re all part of a bigger picture, then every action we take ripples out, impacting everything else. Remember what Buddha said after his enlightenment? He declared that the whole earth was simultaneously enlightened too. Talk about a team effort!

So, here’s the takeaway: anxiety? Act-purposefully. And stress? Let go of the need to micromanage the universe.

Accepting everything as a gift- the good, the bad, and even the “what on Earth was that?”- unburdens us from control.

Remember, action is inherently creative and part of human nature. We’re wired to act, and ignoring that invites anxiety. While reactions like anger or jealousy are just mechanical responses. If we can truly accept all as a gift, our likes and dislikes are neutralised, letting us gracefully accept what, let’s be real here, we'll never fully control (except maybe the TV remote.)

And when we inevitably reap what we sow-be it a glorious harvest or a weird butt-shaped vegetable-embrace it with gratitude.

To wrap it all up, I think we can agree on one overriding piece of advice: read more Hemingway.

by Clare Best

TV GUIDE

THE DAY OF THE JACKAL

THURS 7 NOV

SKY ATLANTIC

A lone wolf poses a global-scale threat in this brand new thriller, based upon Frederick Forsyth hugely successful and critically acclaimed 1971 novel of the same name. breathing new life into this espionage classic, this ten part adaptation stars Eddie Redmayne (The Theory of Everything, Les Miserables), alongside Lashana Lynch (Captain Marvel, No Time To Die), Úrsula Corberó (Money Heist, Snatch) and Charles Dance (Game Of Thrones, The Crown)

An unrivalled and highly elusive lone assassin makes his living carrying out hits for the highest fee. But following his latest kill, he meets his match in a tenacious British intelligence officer who starts to track down ‘the Jackal’ in a thrilling cat-and-mouse chase across Europe.

YELLOWSTONE

MON 11 NOV

PARAMOUNT+ UK

This neo-Western drama is finally releasing the second half of its fifth season, and there’s plenty of chaos on the horizon. We’ve been following the Dutton family, owners of the largest ranch in Montana. This power-hungry dynasty has fought with everyone around them, but the tension is about to crank up even further.

The head of the family has been appointed governor, a position which is enabling corruption on an industrial scale. However, there’s an army of activists and lawyers lurking in the shadows, waiting for the family to make a mistake so they can be taken down. But perhaps the biggest threat is closer to home…

BAD SISTERS

WEDS 13 NOV

APPLE TV+

The compelling and unabashed drama gets a welcome second season. We check back in on the lives of the Garvey sisters. It stars Sharon Horgan as Eva, Anne-Marie Duff as Grace, Eva Birthistle as Ursula, Sarah Greene as Bibi and Eve Hewson as Becka, as a family unafraid to take matters into their own hands.

Two years after the ‘accidental death’ of Grace’s abusive husband, the close-knit Garvey sisters seemed to have moved on. But, when past truths resurface, the ladies are thrust back into the spotlight. Suspicions are at an all-time high, lies are told, secrets revealed and the sisters are forced to work out who they can trust.

CROSS

THURS 14 NOV

PRIME VIDEO

Aldis Hodge (Leverage, Straight Outta Compton) stars as a decorated Washington DC homicide detective and forensic psychologist in this crime thriller series. Based on the Alex Cross novel series, it also stars Ryan Eggold, Alona Tal, and Johnny Ray Gill.

He must face a sadistic serial killer leaving a string of bodies strewn around the city. As Cross and his partner, John Sampson (Isaiah Mustafa), track this monster. But as he begins to untangle the lives of the victims, a mysterious threat from Cross’ own past appears - aiming to destroy what he’s done to keep his grieving family, career, and life together.

COBRA KAI

FRI 15 NOV

NETFLIX

Here we go. It’s the long-awaited final stretch for the Karate Kid spin-off. Only, this isn’t quite the end – as the action is now moving back into the cinemas. It seems that stars Ralph Macchio, William Zabka, Martin Kove, Xolo Maridueña, Jacob Bertrand, Mary Mouser are not quite done with the personal drama, noble battles and roundhouse kicks.

In the meantime, there’s still plenty of drama to be found. We pick up just after Cobra Kai has been eliminated from the Valley. Now, our heroic senseis and students must decide if and how they will compete in the Sekai Taikai — the world championships of karate.

COBRA KAI

THE DAY OF THE JACKAL

Sometimes the best things come in the smallest of packages Hanningtons is Brighton’s hidden gem and home to your locally sourced, unique, and perfect gifts this Christmas. Peruse a range of gifts from independent and artisan retailers and step into a world of Christmas wonder at Hanningtons. We have a range of merry events for you to enjoy too, including live music and festive food and drink. Why go anywhere else?

FILM

JUROR #2

FRI 1 NOV

Academy Award winner Clint Eastwood brings together Nicholas Hoult (Superman, The Menu), Oscar nominee Toni Collette (The Sixth Sense), Oscar winner J.K. Simmons (Whiplash), Chris Messina (Air, Based on a True Story), Gabriel Basso (The Night Agent) and Zoey Deutch (The Politician, Zombieland: Double Tap) for this inventive courtroom drama.

It follows family man Justin Kemp (Hoult). While serving as a juror in a high-profile murder trial, he suddenly finds himself struggling with a serious moral dilemma. He has the power to sway the jury verdict and potentially convict, or free, the accused killer. Can justice be seen to be done, or is it more complicated?

BLITZ

FRI 8 NOV

Steve McQueen’s new epic follows the wartime journey of George (Elliott Heffernan), with an ensemble cast which features Harris Dickinson, Benjamin Clementine, Kathy Burke, Weller, Stephen Graham, Leigh Gill, Mica Ricketts, CJ Beckford, Alex Jennings, Joshua McGuire, Hayley Squires, Erin Kellyman and Sally Messham.

As a 9-year-old boy in blitz-torn London, his concerned mother Rita (Saoirse Ronan) sends George to safety in the English countryside. Defiant and determined to return home to his mom and his grandfather Gerald (Paul Weller) in East London, the youngster embarks on an adventure, only to find himself in immense peril, while a distraught Rita searches for her missing son

PADDINGTON IN PERU

FRI 8 NOV

Everyone’s favourite illegal immigrant puts on his misshapen hat, pops a marmalade sandwich in his pocket and heads out for more fun. Ben Whishaw, Hugh Bonneville, Emily Mortimer, Antonio Banderas, Olivia Colman, Julie Walters, Madeleine Harris, Samuel Joslin, Jim Broadbent and Imelda Staunton star in this third instalment of the phenomenally successful family comedy franchise.

Now we bring the adventure to Peru, as Paddington returns to visit his beloved Aunt Lucy - who now resides at the Home for Retired Bears. With the Brown Family in tow, a thrilling adventure ensues when a mystery plunges them into an unexpected journey through the Amazon rainforest and up to the mountain peaks of Peru.

GUIDE

RED ONE

FRI 8 NOV

In case you hadn’t noticed, Christmas is round the corner. Keen to ever expand his range, Dwayne ‘previously The Rock’ Johnson does us the great honour of offering up some festive fun. Also helping work out if you’ve been naughty or nice are Kiernan Shipka, J.K. Simmons, Bonnie Hunt, Lucy Liu, Kristofer Hivju, Mary Elizabeth Ellis, Nick Kroll and Wesley Kimmel, with Jake Kasdan directing.

After a villain kidnaps Santa from the North Pole, an E.L.F (Extremely Large and Formidable) operative (Johnson) must partner with the world’s most accomplished tracker (Chris Evans) to find Santa and save Christmas. What follows is an action-packed mission, to dish out some old fashioned Lapland justice.

SMALL THINGS LIKE THESE

FRI 8 NOV

Oscar winner Cillian Murphy (Oppenheimer) delivers a stunning performance as devoted father Bill Furlong in this film based on Claire Keegan best-selling novel of the same name. Directed by Tim Mielants and adapted by Enda Walsh, the cast also includes Eileen Walsh, Michelle Fairley, Clare Dunne, Helen Behan and Emily Watson.

While working as a coal merchant to support his family, he discovers disturbing secrets kept by the local convent. Unfortunately, he also must confront some awful truths of his own. Undaunted he tackles both his past and the complicit silence of a small, close knit Irish town which seems to be controlled by the Catholic Church.

THE BEST CHRISTMAS PAGEANT EVER

FRI 8 NOV

Dallas Jenkinson directs this adaptation of the classic and much-loved children’s book by Barbara Robinson. It stars Judy Greer (Archer, Married), Pete Holmes (Crashing, How We Roll), Elizabeth Tabish and Lauren Graham

The Herdmans are absolutely the worst kids in the history of the world, with tales of their rowdy misdeeds the stuff of legend for miles around. But this Christmas, they’re taking over their local church Pageant. Will they appropriately portray Mary, Joseph and the wise men, or will everything just end in the usual chaos? Perhaps they just might unwittingly teach a shocked community the true meaning of Christmas.

WICKED

FRI 22 NOV

Directed by Jon M. Chu, and written by Winnie Holzman and Dana Fox, this first instalment of a double-handed adaptation of the wonderful stage show is going to be, quite simply, epic. Featuring characters created by L. Frank Baum, this musical fantasy film stars Cynthia Erivo and Ariana Grande, with Michelle Yeoh, Jeff Goldblum, Jonathan Bailey, Ethan Slater and Bronwyn James.

Set in the Land of Oz, largely before Dorothy’s arrival, the plot follows green-skinned Elphaba’s studies at Shiz University and the beginning of her path to ultimately becoming the Wicked Witch of the West. There’s an unlikely friendship, and later rivalry, with a classmate who is a little more principled and kinder.

BLITZ

Winter Wonders at Brighton Dome

Brighton’s Big

Drag Pageant: On Ice

Wed 4 Dec

Awake Arise | Thu 5 Dec

Brighton Gay Men’s

Chorus Presents: The Rocky

Holly Tinsel Show

Sat 7 Dec

Crafty Christmas Family

Workshop | Sun 8 Dec

Christmas with the Royal Philharmonic Orchestra

Sun 8 Dec

Only Fools and Horses

The Musical

Wed 11-Sat 14 Dec

The Snowman | Sun 15 Dec

The Big Christmas Singalong

Mon 16 Dec

Starchitects Save Santa!

Fri 20-Sun 22 Dec

Let It Be A Tale

Fri 20-Sun 22 Dec

ORGANOKE

Fri 20 Dec

Afrique en Cirque [pictured] Sat 28-Tue 31 Dec

Scan for our full winter programme

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