BN1 Magazine June 2022

n a o J & Flo ABBA VOYAGE Plus...

UEFA WOMEN’S MY CHILDHOOD, MY COUNTRY: EURO 2022 20 YEARS IN AFGHANISTAN SUSSEX WIDE EVENTS

JUNE 2022

BN1 CHATS WITH BAFTA-WINNING BRITISH DOCUMENTARY FILMMAKER PHIL GRABSKY ON

CULTURE MUSIC EVENTS STYLE RECIPES GUIDE ART FILM FOOD BRIGHTON // SUSSEX // LONDON

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Image © Derek D’Souza

MAGAZINE COVERS 1977-82 26 April – 2 October 2022 Brighton Museum & Art Gallery brightonmuseums.org.uk

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A N E W ADVE NTU RE B EG I NS

SOUTH DOWN S

6 -7 AUGUST 2022

G UAR ANTEE YOU R ENTRY

GOODWOOD.COM/EROICA

WE ST SUS S E X

BUY YOU R TICKET ONLINE

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CONTENTS 8-13

The latest news

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Goodwood Cycling returns

16-18

BN1 chats with Flo & Joan

20-23

Culture Guide

24-26

ABBA Voyage

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Festival Guide

30

Property Advice

32

BN1 chats with Chris McGlade

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My Childhood, My Country: 20 Years in Afghanistan

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Live Review: Low

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The Specky Wren opticians

42-44

UEFA Women’s Euro 2022

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BN1 chats with Richard Durrant

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Brighton Creatives - Lily Wolter

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Trundle Art

52

World Ocean Day

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Fresh Salmon Spaghetti recipe

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Film Guide

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TV Guide

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Quick Crossword

JUNE 22

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Editor’s Letter...

If you’re a big fan of flags, or just noticed there’s an extra day off this month, you’ve probably noticed it’s the Platinum Jubilee of Elizabeth the Second, by the Grace of God of the United Kingdom of Great Britain and Northern Ireland and of Her other Realms and Territories Queen, Head of the Commonwealth, Defender of the Faith. Aside from having a business card with a tiny font, she’s reached the milestone of being the longest serving monarch in world history. So, celebrations are going to be quite epic.

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My Childhood, My Country: 20 Years in Afghanistan

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UEFA Women’s Euro 2022 Brighton fixtures

Across the world there’ll be street parties and tributes taking place. London’s bridges will be lit up, along with the landmark BT Tower, and several English cathedrals. Church services across the land will be giving thanks, and some 22,000 people are expected to attend the BBC Platinum Party at Buckingham Palace. And there’s the traditional palace balcony appearance.

As always, there are discussions about our need for a monarchy which has been thrust upon us by the will of God, especially when there’s a cost-of-living crisis and society has evolved so much during the last 100 years. The existing system provides a major obstacle to true constitutional reform.

We live in a democracy where, implausibly, the head of state is unelected.

If the monarchy were abolished tomorrow, the sale of The Crown Estate and the opening of previous royal residences would have a huge positive impact upon the economy. After all, The Palace Of Versailles still sells a few tea-towels, centuries after the French Royal Family’s… err… departure. Today, The Tower of London is no longer run by the Crown, but persists as one of the country’s busiest tourist attractions.

But the expenditure of keeping the Monarchy in the manner to which they are accustomed is negligible compared to some national endeavours. They also provide a focus for the nation, whether that’s a sense of pride and belonging or simply being an archaic super-posh version of Hollyoaks. From those who swear undying loyalty to her service, to anyone inspired to send a large jewel-encrusted hat as their proxy at an unpromising work event, there is something she can teach us all.

In a country where many people openly make a mockery of ‘duty’, she remains a beacon of hope – a sign that some remain capable of accepting a higher calling with dignity and diligence. Because, love her or hate her, HRM The Queen has provided a sense of stability for a nation which has undergone profound changes during her reign.

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LILY WOLTER TATTOO ARTIST

Do we ‘need’ the Royal Family? No, we don’t. But can they perform a relevant function in the modern age? Absolutely.

Of course, these conversations will always be useful. We shouldn’t blindly accept something because it’s what has always been. But the one thing the Queen and the Royal Family do is bring communities together and make them feel good.

Even the staunchest republican can’t deny their neighbours of this simple pleasure. The Royal Family are complicated, fallible and often a bit daft, but they’re ours. And for now, that should be enough. This is probably just like any other familial unit, only with bigger hats, more horses and a picture of their matriarch on legal tender.

CONTRIBUTORS EDITOR IN CHIEF: Chris Sadler chris@bn1magazine.co.uk

EDITOR:

COVER: Flo and Joan photo by Matt Crockett

Stuart Rolt Stuart@bn1magazine.co.uk

SUB EDITing team: Thom Punton charlie tomlinson

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Advertising:

Contact: Jenny Rushton - head of sales / 07917752133 Jenny.rushton@bn1magazine.co.uk or Charlie Tomlinson / charlie@bn1magazine.co.uk BN1 Magazine is a culture, community and lifestyle publication distributed across the whole Brighton, Sussex and into London on a monthly basis - found in shops and venues. if you would like to reach a large target audience, get in contact today and see how we can help!

CONTRIBUTORS: Lucy Sheehan Thom Punton Amy Stanborough Benjamin left tallulah taylor Ellie Talebian

INTERNSHIPS AND JOB OPPORTUNITIES: Want to become part of the BN1 Magazine team and gain valuable media skills or submit articles, content and images?

Various internships are available for writers, photographers, marketing, sales, creative types and enthusiasts to join Brighton’s leading culture and lifestyle magazine! Just email your CV and a little about yourself to: info@bn1magazine.co.uk @bn1magazine All rights reserved including rights of reproduction and use in any form or by any means, including the making of copies by any photo process or by any electronic or mechanical device (printed, written or oral), unless permission in writing is obtained from the copyright proprietor. All textual content, design graphics, images and specific photographs used in the magazine are copyright © BN1 Media Ltd 2022 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.

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JITNEY AUGUST

WI L S O N’S

★★★★★ ‘Rich, poignant drama impeccably staged’ THE TELEGRAPH

★★★★ ‘Tinuke Craig’s meticulous production … quietly compelling, utterly believable’ THE GUARDIAN

★★★★ ‘A powerful, intense study of characters tackling problems caused by class, race and generational divide...deserves to be seen by as wide an audience as possible’ THE STAGE

★★★★ ‘Pin-sharp performances drive this August Wilson revival’ THE TIMES

Tinuke Craig’s acclaimed production of August Wilson’s JITNEY comes to Worthing this summer, direct from London’s Old Vic. A poignant drama set in 1970s Pittsburgh, Jitney explores the lives, loves and work of unlicensed taxicab or ‘jitney’ drivers in the Hill District, where licensed taxis refuse to travel A groundbreaking modern classic from one of America’s greatest and most ambitious writers, Tinuke Craig’s (The Colour Purple) searing production of August Wilson’s JITNEY explores the fragile bond between eight men in a racially segregated, post-Vietnam America.

Don’t miss your chance to experience the very best in British theatre right in the heart of Worthing!

Tue 19th to Sat 23rd July | Connaught Theatre wtm.uk 01903 206206

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SOUTH OF ENGLAND SHOW RETURNS BIGGER AND BETTER Fri 10 - Sun 12 June - Ardingly, West Sussex The South of England Show is back this year in all its glory – reminiscent of pre-Covid days and with a real focus on going back to its roots as an agricultural show. With more than 100 fun things to see and do, the three-day programme sees the return of equine and livestock competing as well as new appearances including displays from the Army and a garden design competition.

Taking place at the iconic South of England Showground, the annual family-based event allows every generation to see, meet, and learn from farmers, landowners, rural businesses, and local artisan producers to truly connect with the countryside – and ultimately have a fun-packed day out.

Beloved classics such as the cattle parades and international show-jumping will be returning to the main ring this year, as will heavy horses, hound displays, scurry driving and inter-hunt relay competitions. The outer rings will see a welcome return to a full programme of cattle, goat, sheep and pig judging as well as equine showing which includes ridden hunters, moorland ponies, sidesaddle and more.

Shoppers can whet their appetite in the Food Hall and Village which will feature culinary delights from local and independent producers.

Also, the Grape & Grain Walk will bring together local vineyards and microbreweries for some light refreshment, while the ever-popular sound of Great Gatsby band Casablanca Steps plays live.

There will be the best of countryside shopping on offer, including clothing, pet accessories, rural crafts, plant and garden supplies and independent boutique stands. You can even pick up a top of the range car or tractor. Visitors looking to experience traditional countryside activities and crafts are also sure to enjoy the hedge laying and trug making, as well as country sports with gundogs, hounds, and birds of prey.

A children’s trail will take the little ones through the show to experience a variety of activities including learning about where food comes from and how it’s produced. The ever-popular

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sheep show will have everyone laughing out loud, and the Discover the Countryside area will provide amazing experiences for all ages with forestry, fly casting and the NFU Discovery Barn. There’s also live music, farm machinery through the ages, pay and play golf, a mediaeval reenactment zone, axe throwing, archery, tug of war, cookery demonstrations, and a whole lot more.

“We were very fortunate that we were able to hold The South of England Show in 2021, albeit on a much smaller scale.” said Corrie Ince, Show Director for the South of England Agricultural Society. “With restrictions lifted, we are delighted to be coming back with a bang and offering an action-packed programme.

Visitors to the show will be able to meet rural businesses and farmers, learn first-hand about countryside industries and see a huge variety of horses and livestock strutting their stuff in the main rings. A day at the show offers a unique opportunity to see and sample all the wonderful things our countryside and region have to offer.”

The South of England Agricultural Society is a registered charity founded in 1967 from a consolidation of agricultural societies going back to the 1830s. The Society owns and operates the South of England Event Centre, a 150-acre venue situated just outside Ardingly in the West Sussex countryside.

Working across Berkshire, East Sussex, Hampshire & the Isle of Wight, Kent, Surrey and West Sussex, the Society’s aims are to showcase agriculture, horticulture and the countryside through annual shows which also raise funds that help serve the community through the provision of education, grants, awards, and bursaries for people with an interest or involvement in agriculture, horticulture and land-based industries. Visitors attending the Society shows and clients of and visitors to the Event Centre help to fund initiatives and projects that support agricultural education and countryside learning.

“As a charity, we are grateful for the support of the general public,” continues Ince. “Their attendance at our shows means we can raise vital funds to support people with an interest or involvement in land-based industries including agriculture, horticulture, viticulture, forestry, and more. We look forward to seeing you!”

Tickets are available from www.seas.org.uk and cost £21.60 for adults, £19.80 for senior citizens/students (inclusive of 10% online discount until 2.06.22). Under 16s go free (suggested donation of £2 for children aged 5-15).

For more information about the South of England Agricultural Society and its shows visit:

www.seas.org.uk

INDEPENDENT BOOKSHOP WEEK Sat 18 – Sat 25 June After two years of virtual and hybrid celebrations due to the lockdowns, Independent Bookshop Week is back in full swing across the UK and Ireland Sat 18 – Sat 25 June. Its packed programme includes literary festivals curated by indies, nationwide bookshop crawls, podcast recordings taking place inside indie bookshops, poetry showcases, exclusive releases for participating stores, one-toone clinics for aspiring illustrators, and events in partnership with local schools.

Independent Bookshop Week was launched in 2006 and is part of the Books Are My Bag campaign. It is a celebration of independent bookshops nationwide, and the role ‘indies’ play in their communities. At the end of 2021, the number of independent bookshops in BA membership grew to 1027 shops, up from 867 in 2016. The headline sponsor of Independent Bookshop Week is Hachette UK. Brighton’s Afrori Books and The Feminist Bookshop will be launching the first Brighton Book Festival on Fri 24 – Sun 26 June, with headline names including Guvna’B, Yvonne Bailey Smith, Dorothy Koomson, Leroy Logan, Sabba Khan and Alison Rumfitt. It will offer discussions covering the myth of the mainstream, masculinities, feminist futures, queer books in Brighton and British culture in books. There will also be a variety of workshops focusing on adapting books to film, pitching your novel, and developing soundtracks for books.

National treasure Rev Richard Coles will be doing a UK tour of independent bookshops during IBW, signing stock of his crime debut Murder Before Evensong (Orion), which includes a visit to Hove’s City Books on Weds 22 June.

The Summer Bookshop Crawl will be

setting up nationwide bookshop crawls, taking place between Fri 17 – Sun 19 June and covers ten different towns and cities, including Hastings. As well as indie bookshops, their tours will include second hand and charity bookshops.

Participants interested in doing a self-guided bookshop crawl will be able to download a welcome pack from the website including the map, downloadable routes, and a bookshop crawl ID that they can use to claim any discounts and perks from the local bookshops they visit.

London’s Confer-Karnac Bookshop will be celebrating IBW and the first year in their new Spitalfields home with all-day celebrations on Saturday 25 June, 11– 5pm. Expect a book launch with author Anne Power, 15% off on all books all day, a talk on ‘How to Get Published’ with Christina Wipf Perry (Publishing Director) and Catharine Arnold (Author and Editor of The New Psychotherapist), an afternoon of tea and cake, and much more.

As well as in-person events, Independent Bookshop Week celebrations will include lots of online activity. Simon Savidge and Melanie Sykes will be hosting the official Book Club for Indie Bookshop Week again this year. They’ll be reading a book from the Indie Book Awards shortlist for their June Book Club, which they will then discuss on their YouTube channel. Also, influencer Lauren and the Books will be hosting a Cosy Reading Night on Sat 25 June.

Round Table Books (London) will be hosting a podcast recording of Down the Rabbit Hole, the podcast for grown-ups who love children’s books, hosted by Caroline Carpenter, Hannah Love, Charlie Morris and Sam Sedgman. The episode will see the special guest Namina Forna, YA author of The Merciless One (Usborne) in conversation with guest host Stacey Thomas, book reviewer at Bad Form Review and judge on The Diverse Book Awards longlist. The episode will air on Saturday 18 June, the first day of IBW. “We can’t wait to celebrate Independent Bookshop Week,” said Emma Bradshaw, Head

of Campaigns at The Booksellers Association.

“From author events to school initiatives, and from podcast recordings to their own literary festivals, independent booksellers are proving ever full of creativity and dedication, not only as they curate a special week-long line-up of activities, but also in their everyday work, as pillars of their high streets and local communities. We invite everyone to join us as we celebrate the brilliance of independent booksellers, during and beyond Independent Bookshop Week!”

With nearly 700 independent bookshops confirmed to take part, celebrations taking place up and down the country include: literary festivals organised by independent bookshops, including the inaugural Brighton Book Festival; special podcast recordings taking place inside the bookshops; poetry showcases; nationwide bookshop crawls; exclusive early releases for indies; beautiful window displays; local school events; and much more. Returning with lots of exciting activities, Independent Bookshop Week is a great way for book-lovers of all ages to visit their local independent bookshop and join the celebrations this June.

For more details, head to: booksellers.org.uk

SPIN OUT FREE EVENTS RETURN TO WORTHING

WORTHING THEATRES AND MUSEUM HAVE ANNOUNCED THE LINEUP FOR THEIR ANNUAL SPIN OUT FESTIVAL. THIS SEASON OF FREE EVENTS BRINGS INCREDIBLE OUTDOOR PERFORMANCES TO VENUES ACROSS THE TOWN ON SAT 9 JULY SAT 10 SEPT Sat 9 July - Sat 10 Sept

Photo Credit Matt Austin

This summer, immerse yourself in a range of mesmerising open-air performances from the best and most exciting performers in theatre, circus, street arts, music and dance. SPIN OUT offers residents and visitors of all ages the opportunity to engage with thrilling and innovative outdoor performances. This season is the result of collaboration and support from Worthing Borough Council, Time For Worthing, and the Town Centre Initiative.

‘It is wonderful to be able to welcome so many fantastic companies to Worthing as part of SPIN OUT 2022,” says WTAM’s Head of Programming Gemma Curtis.

“It allows us to showcase incredible performances to the town, making sure everyone in Worthing has access to performing arts, as well as supporting talented companies from across the UK.” SPIN OUT 2022 opens with an energetic and playful dance piece Jham! (Sat 9 July). The following week you can enjoy joyfully raucous The Grimm Sisters (Sat 16 July), a fun-filled show that sees the Grimm Sisters return to set the record straight about their story-stealing brothers!

Also scheduled is Motionhouse’s return to Worthing with their breath-taking and acrobatic outdoor show Wild (Sat 23 July), which sees dancers atop a forest of 5m metal poles. Dizzy O’Dare are also back for SPIN OUT 2022 this time with whimsical show Phileas Fogg: Day 79 (Sat 30 Jul), a hilarious roam-about take on the classic adventure Around the World in 80 Days.

Enjoy a colourful explosion of puppetry, comedy, and clowning with The Lost Colour (Sat 6 Aug), you can even have a go at creating your own puppet in a fun creative Puppet Making Workshop after the show (Sat 6 Aug, 2:10pm, £6 per person). Or get involved and have a go yourself with The Swings (Sat 13 & Sun 14 Aug). A giant swing set will be installed in Steyne Gardens, and the public will have the chance to try these magnificent larger

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Photo Credit Suzanne Heff

Photo Credit Dan Tucker

Photo Credit Half A String than life swings in between multiple aerial dance performances!

This year’s SPIN OUT also includes a free Saturday Morning Picture film screening of Madagascar 3 Escape to Europe (Sat 20 Aug). Watch Alex, Marty, Gloria and Melman embark on a riotous adventure as they join a travelling circus, to get back and evade capture by Animal Control.

This summer’s festival also welcomes back Joseph Toonga with dance piece Born to Protest (Sat 27 Aug), an emotional hip-hop dance piece that challenges racial stigma, dismantles presumptions about the black male and female figures, and highlights the constant battle to prove oneself.

In September, you can see Brainfools’ Lucky Pigeon (Sat 3 Sept), a comedic and acrobatic show about a man who is turned into a pigeon. Stopgap are set to close the season the following weekend with Frock (Sat 10 Sept), a quirky dance piece that explodes into a punkish celebration of individuality and difference.

“Outside of our festive Pantomime, this is our biggest project of the year,” says WTAM CEO, Amanda O’Reilly. “Amazing outdoor shows for all the family that are absolutely free. You can see incredible acrobats, dazzling dancers, perfect puppeteers, fantastic film and more! There’s even a chance for you to have a go yourself, so make a date to enjoy Worthing in the sunshine with some brilliant outdoor entertainment.”

You can find out more about Spin Out at: www.wtm.uk/spin-out

NEGLECTED BRIGHTON SEAFRONT HOTEL TO BE RESTORED A derelict building and former hostel on Brighton seafront could be transformed into a boutique luxury hotel with a rooftop bar and restaurant, under plans submitted to the city council by two local businessmen.

restaurant, which would be open to the public. The proposed fifth floor extension would be set back from the building’s façade, with seating areas for visitors along the front and sides of the building, providing panoramic sea views.

Lucky said: “Currently there are hardly any rooftop bars and surprisingly, no Michelinstar restaurants in Brighton yet. Our city attracts millions of visitors every year, yet we know there’s a shortage of accommodation and an appetite for more high-end options.

“The Louche would help fill this gap, as well as providing a vibrant new venue for local people to enjoy, and local jobs.”

Plans for The Louche have been drawn up by awardwinning London architects Dexter Moren Associates; specialists in designing hotels and hospitality venues.

Darren Johnson, conference and business development manager at VisitBrighton, has already voiced support for breathing new life into 10-12 Grand Junction Road: “The Tourism & Leisure Department

James Randall and Lucky Gohler want to refurbish the empty Hostel Point building on the corner of Grand Junction Road and Pool Valley and turn it into a 40-bedroom hotel.

Called The Louche, it could help attract more high-spend visitors to Brighton, grow the city’s tourism economy and support the regeneration of Brighton seafront.

Built in 1830, 10-12 Grand Junction Road was originally divided into three separate houses, which were combined and run as a private hotel by 1861. An additional floor was added to number 11 by 1897, and from 1911 the building was known as the Palace Pier Hotel, until the mid-80s when it was re-fitted and re-named the Princes Hotel. In 2015 it reopened as Hostel Point, offering cheap accommodation to backpackers, but has since closed and fallen into disrepair.

BEFORE

The new owners, James and Lucky, aim to restore this neglected building to its former glory as a seafront hotel with stunning views of Brighton’s Palace Pier and the beach.

James said: “Our vision for The Louche is to bring this beautiful seafront building back into use and restore its former purpose as a hotel, attracting more high-spend visitors to the city and providing a boost for local businesses, as well as creating new jobs.

“This corner of Brighton is ripe for respectful redevelopment, as part of a broader regeneration of the seafront. It needs major investment as the site at 10-12 Grand Junction Road has been neglected. If a successful outcome cannot be reached, there is a danger that this site will remain derelict for at least another decade and negatively impact the building next door – Pier Nine Casino.

“Lucky and I both grew up near Brighton in Lancing, so we know the city well and we want to create something here we can be proud of.”

As part of the renovation, they plan to add a rooftop extension for a terrace bar and

AFTER

AFTER

would be supportive of any works that would bring the building back into use and to renovate the exteriors in an area which acts as a city gateway to our business and leisure visitors.”

The application is currently live on the council planning portal. To see the proposal and offer your opinion, visit:

www.tinyurl.com/msk92ex4

FOOTPRINT+ LOOKS TO REDUCING CARBON EMISSIONS FROM THE BUILT ENVIRONMENT Tues 7 – Thurs 9 June Hove Lawns

Bringing together every section of the UK’s property ecosystem, from policy-makers in public office and retail healthcare to experts in logistics and leisure, FOOTPRINT+ is looking at how we can build a better future.

The event features exhibition spaces, meeting spaces and over 140 speakers, and will attract around 1500 attendees all exchanging cutting-edge knowledge on how the property sector can reduce its 40% share of the UK’s carbon emissions.

Taking place in purpose-built open-gable, naturally through-ventilated exhibition pavilions on Hove Lawns, it will offer authorities and businesses the opportunity to meet and engage with UK experts and solution-providers. Exhibitors are as varied as energy companies, local authorities with exciting new regeneration projects, developers who specialise in sustainable building, investment institutions looking for new green opportunities and innovative and sustainable manufacturers.

The conference element at FOOTPRINT+ seeks to build a consensus around better practice in the development and construction sector. The Retrofit And The Circular Economy section will look at how we can reuse existing buildings and how projects can better cut carbon emissions in use, saving the embodied energy in the structures of these buildings. Discussions will cover the circular economy, designing out pollutants, and how we can radically reduce consumption of raw materials and the generation of waste.

The Efficient Buildings stage at FOOTPRINT+ will consider how the operation of a building significantly impacts its whole-life carbon emissions. This stream will look at different design decisions that can be made to optimise buildings and reduce emissions and whether they deliver in reality with insights from real-life case studies.

Over at the Zero Carbon Energy stage

they’ll be a programme of discussions about energy generation and decarbonisation of the National Grid and gas networks.

Using best practice examples, industry benchmarks and new tools for carbon prediction and accounting.

Financing The Carbon Revolution presents fantastic opportunities for companies to do business. The belief that environmental measures cost too much is out of date.

This stage will examine the structural and regulatory changes already in progress that are enabling specialists to capitalise on these opportunities.

The extensive list of speakers includes Tom Hayes from Oxford City Council, Lord Callanan, Under Secretary of State at the Department for Business, Energy and Industrial Strategy, University of Cambridge’s Alexander Reeve, Director for Net Zero and Greener Buildings at DLUHC Catherine Adams and Ryan Jude Programme Director at the Green Finance Institute.

For FOOTPRINT+’s final day it is inviting in students who are considering a career within Britain’s ever-changing property industry. This Careers Afternoon will offer a platform to meet people who are already making a difference. It will be a once-a-year opportunity to make these potentially lifechanging connections, be you a fledgling architect, engineer, lawyer or financier.

Presently reduction in CO2 inhabits a condition called ‘externality’ where neither producer nor user benefits financially by reducing it; it’s not a market driven condition.

All this will presumably change when carbon is taxed at source; but in which countries will this actually happen?

FOOTPRINT+ has brought together the cleverest people we can find in the UK to talk to us about how to do this. The event will be attended by companies who want to know what to do; they need to because their investors are making them do it. This is a fascinating world where technology is moving fast, laws are changing and massive investment is being introduced.

Find out more at: footprintplus.com

LEWES CHAMBER MUSIC FESTIVAL

Thurs 9 - Sat 11 June The Lewes Chamber Music Festival began life in the summer of 2012, when eight musicians were invited by the Festival’s founder and violinist, Beatrice Philips, to perform six chamber music concerts to Lewes audiences across one weekend.

These proved so popular that audiences insisted it happen again.

Now in its ninth year, the LCMF has gained itself a reputation for exciting and inspired performances of not just the best-loved pieces in the chamber music repertoire, but of more obscure works which have been unjustly neglected. Previous programmes have featured living composers, Edmund Finnis, Melanie Daiken and Huw Watkins, along with two world-premieres presented at LCMF by Kate Whitely.

This year’s talented performers include violinist and Artistic Director Beatrice Philips, pianists Alasdair Beatson and Bengt Forsberg, violist Adam Newman, violinist Bogdan Božović and cellist Amy Norrington. Across the festival they are performing pieces including George Enescu’s Toccata from Suite Op.10, Edward Elgar’s String Quartet Op.83, Franz Schubert’s String Quintet in C major D956 and Ralph Vaughan-Williams’ Romance & Pastorale. Trinity St John sub Castro Church, All Saints Centre and St Michael’s Church are the beautiful venues hosting this year’s performances.

The LCMF specifically focuses on bringing a mixture of professional musicians of international repute, those at the start of their career, and several who may still be studying. By playing together, they give both performers and audiences a unique musical experience.

In a similar way, pieces by lesser-known composers are explored and shared alongside well-loved works, ensuring a sense of discovery for audiences at every concert. The concerts are held in church venues across Lewes, providing a more intimate experience than a formal concert hall. The rare opportunity to hear music performed at such a level outside the big cities of the UK, and in the intimate ‘festival’ atmosphere makes it an unmissable weekend of concerts for music-lovers.

leweschambermusicfestival.com

LCMF Founder Beatrice Philips (Image by Anna Patarakina)

SMACK TACOS Sat 2 July Studio by Sea, 46 Brunswick St East, Brighton A Pop-Up originally started in London and now taking over Brighton, the Smack Tacos concept is simple – you buy an art print and get free tacos on top.

The Pop-Up’s mascot TAC MAN is based on the iconic Mexican Taco. At each Pop-Up Smack Tacos collaborates with a selective group of street artists who produce their own interpretation of the mascot. Those personal takes can then be purchased on the day and a free taco on the go.

For more updates and ticket details, follow Smack Tacos on: Instagram

@smacktacos

An annual celebration of Sussex-made gins and sparkling wines is returning to the beautiful surroundings of Southover Grange Gardens in Lewes.

Over two sessions, visitors to The Sussex Gin & Fizz Festival can sample and buy from some of the area’s most well-loved producers – sixteen local gin and sparkling wine producers will be in attendance and all will be offering samples to visitors as well as drinks by the glass. The event will also be a chance to purchase vineyard and distillery experiences plus a bottle or two of your favourite Sussex tipple.

The daytime session promises a familyfriendly garden party-style affair with live music and DJs, plus a host of great local food stalls selling everything from cakes and pastries to more hearty fare, including vegan options. It also features a programme of fascinating talks by English

THE SUSSEX GIN & FIZZ FESTIVAL

Sat 11 June Southover Grange Gardens

wine and spirits industry insiders, including an interview with Ridgeview Wine CEO, Tamara Roberts.

With a wealth of incredible producers on our doorstep, there’s never been a better time to enjoy what Sussex has to offer.

Tickets are on sale now from: onlineticketseller.com or Lewes and Seaford Information Centres.

Mark Beaumont

A FABULOUS CELEBRATION OF CLASSIC AND CONTEMPORARY CYCLING n

Toby Adamso

Eroica Britannia is expanding to include contemporary cycling with a varied racing programme, brand exhibitions and special cycling experiences to appeal to cyclists of all ages and interests.

The event will continue to honour cycling heritage, with three Classic Rides on Sunday 7 August for pre-1987 bikes. With a choice of 20-, 60- and 100-mile routes, the Classic Rides will embrace the spirit and camaraderie of the Eroica events that take place across the world each year.

There will also be opportunities to ride on Goodwood’s historic Motor Circuit for both vintage and contemporary bikes as the scope of the cycling festival broadens to create Britain’s biggest celebration of classic and contemporary cycling.

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One of the most exciting new developments is the Future Now Zone. Visitors will have the opportunity to test ride the latest models from a number of the industry’s leading bike manufacturers. These taster rides will see prospective customers following in the tracks of past and present motorsport and cycling legends such as Sir Stirling Moss, Jenson Button and Sir Chris Hoy. The Future Now Zone presents an incredible opportunity to ‘try before you buy’ in a uniquely thrilling environment. Featuring products from brands such as Canyon, Factor, Forme, Moulton, Pashley and Quella, the Future Now Zone will celebrate the bikes of today that will become the collectables of tomorrow.

On top of what is already planned for Eroica Britannia, including the popular Collectors’ Market, Penny Farthing Polo and country fair-style festival, event-goers can expect some exciting new experiences. Races will include a Path Racer Cup, Folding Bike Race, Single-Speed Race and a One-Lap Dash, plus many more. Riders of all ages will be able to participate in a range of

activities, and on Saturday evening, the much-loved Twilight Ride will round off a special day on the 2.4-mile Motor Circuit.

Other highlights across the weekend include appearances from cycling icons, including Sir Chris Hoy, Pippa York and Jody Cundy, along with 1982 UCI Road World Champions Mandy Jones and Giuseppe Saronni.

With local food and award-winning wine, cycling exhibits and demonstrations, a fun fair, and live entertainment, the festival will have something for all the family.

Goodwood is thrilled to confirm a special 2-4-1 offer on all Saturday, Sunday and Weekend festival tickets from now until Friday 1 July (excludes The Ride ticket).

Children aged 12 and under go free and for those aged 13-21, tickets are half price.

So what are you waiting for? Take advantage of the special offer on festival tickets and get ready to enjoy the best weekend of the summer!

Eroica Britannia Goodwood Sat 6 Aug - Sun 7 Aug

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FLO & JOAN

BY STUART ROLT ROSIE AND NICOLA DEMPSEY “We just write things that come into our brain and we think are funny. Things that you know, things other people say. Anything that feels human,” Rosie Dempsey tells me. She and her sister Nicola are behind the joyous (and artfully awkward) Flo & Joan, earnest suppliers of unconventional musical-comedy and quirky wordplay. “We do like a good handful of human, then a good handful of nonsensical and strange.”

Armed with another set of songs hilariously over-examining everyday events, the multi-award-winning sibling sensations have been on a 64-date tour since February. Named Sweet Release, it calls into Brighton’s Komedia on Tues 14 Weds 15 June, fully loaded with melodic eviscerations of kids with rich parents, alien boyfriends and regretting every single thing you do for the rest of your life. “The songs are a good indication of what era we’re singing in, and you can make a pretty solid guess about what era we were born in,” adds Nicola. “But we also talk about Shirley Bassey. So, you could be on the nose and say we were 90s kids, or you might think we were born in the 50s…” Calling yourself Flo & Joan only adds to the quirky mystique.

The unprepared might be expecting a pair of pensioners, which sits at odds with the occasionally robust nature of their material.

“That was never the intention to provide that dichotomy,” says Rosie. “It’s just the name of our nan and her sister. And we thought Nicola and Rosie just didn’t seem fun enough for an act, or the Dempsey Sisters...”

It’s recently been a hectic time for the pair, not only are they dragging their percussion and piano across the nation on their largest ever tour, but they’ve found time to produce Alive On Stage, a one-hour special for Amazon Prime. And, as we speak, they’re just getting ready to fly down under for the Melbourne International Comedy Festival.

While they’ve already grabbed attention through spots on shows like Live at the Apollo, Royal Variety Performance and The Russell Howard Hour, this new show demonstrates a big evolution in their ambitions and attention to stagecraft. They were in the middle of their last outing when Covid brought everything to a stop. Having two years off gives you a lot of time to stop, not in a deep and meaningful way, but just being ‘I want to do more of this.’” Nicola says. “There were lots of bad things in the last two years but having that breathing space was very helpful for us.” It helped them realise they barely acknowledged each other during performances, an awkward quirk which once worked but now just seems strange.

Most of this show was written during lockdown, and the last year has been spent previewing, refining and perfecting. Rosie tells me the pair try not to overthink it and just write things which make them laugh.

“The first year we did stuff, we were just doing it for fun. The next year, we knew we had to write another show for Edinburgh.

So, you just get stuck in that hamster wheel of having to try to do the best you can, because it’s your job. When everything fell away, there was no pressure to be good,

because there was no reason to do it. So, when we came back, we realised what we enjoyed about it. Which was nice. A pandemic reminded us that we should be more fun.”

A big expansion for this show is the betweensong banter, which now seems looser – as the sisters passive aggressively battle for domination. It shows the Dempseys are now viewing their work as a holistic performance instead of a simple procession of songs. “It was like ‘how do we have fun in-between?’” says Nicola. “We can write funny songs, so what else can we do? It’s been fun to figure out our boundaries.”

The pair grew up reading Roald Dhal and Spike Milligan, with their mother often reading poetry to them, which has manifested in a love of whimsy and absurd pocket-universes. “Revolting Rhymes and all those things. It’s the rhythm of words,” says Nicola. “If you read all that stuff, it’s set-up - punchline - set-up - punchline, and they also rhyme. You don’t notice it as a kid obviously, but that was what we were really drawn to. As an adult, that’s what permeated… permeated? What a horrible word!” Rosie breaks in: “That’s a great word. I love that.” Nicola cracks a wry grin and continues. “It’s permeated…without us realising.”

Their skills were honed away from the British performance circuit’s spotlight. Nicola, followed by Rosie, studied at America’s iconic Second City school. The world’s premier comedy school, whose alumni include Bill Murray, Alan Alda, Tina

Photo Credit Matt Crockett 16

bn1magazine.co.uk

Photo Credit Matt Crockett

Photo Credit Matt Crockett Fey, Amy Pohler, Steve Carrell and Mike Myers. “I was a huge fan of American comedy,” says Nicola. “30 Rock and Parks And Recreation were really in their prime when I was at uni. I found a lot of the people in those casts were from Second City. They also have a school in Toronto, so when my American visa ran out, I went there to finish it all. At the time there wasn’t anywhere where you could learn how to do all that stuff.” They went out and studied improvisation, which is what the school is primarily known for, but it also allowed them to try sketch writing, stand-up and music comedy courses, enabling the pair to zoom in on what they were really good at.

The experience of performing abroad also had its benefits. “It gave us a different rhythm of saying things and energy,” says Rosie. “Everyone out there is quite easygoing and fun. So, we just fed off that.”

They were able to perform little shows, and remain under the radar – skipping along and having some fun, whereas there’s a bit more pressure in the UK. “The UK has so many venues and places where you go and do stuff,” Rosie tells me.

“If you want, you could do a gig in Edinburgh in the morning and one in London at night.

Canada and America are quite different, because if you want to tour you have to fly.

You couldn’t do dates like we are in a car.”

“There’s the history of music hall in the UK,”

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adds Nicola. “Every city has a massive theatre, as well as arts centres, church halls, music venues and pubs. It’s so cool that people, at all kinds of levels, are able to go somewhere and do a show if they want to.”

Contributing five original songs for the West End musical Death Drop, as well writing and performing for television shows including Horrible Histories, Rob Delaney’s Stand Up Central and Radio 4’s The Now Show, the pair make no secret that they’d like to compose for voices other than their own. “One of our things over the lockdown was looking at some of the bigger projects we’ve put off for a long time,” says Nicola.

“We’re making baby steps towards those kinds of things. A musical is the big one.

We’ve played around with some ideas, and when we find the right one we’ll move towards it.” The pair say they enjoy writing for other people, especially because it omits the fear of walking onstage and singing. It enables greater objectivity as well. It can be difficult recognising what really works when performing something. “We write for our capabilities we have as singers. We’re not terrible, and we’re capable of doing the job we need to do. But we’re not writing huge ballads for ourselves. Writing for a musical or something is nice because you’re not limited. You can write for people who are legitimately professional singers, and they make your stuff sound amazing.”

With targets varying from Jackie Weaver and Britney Spears to drinking culture and ‘Irish goodbyes’, after Sweet Release finishes its tour, the Dempsey sisters will be heading for a tasty slot at this year’s Edinburgh Festival.

With songs like The 2020 Song and A Song for Anti-Vaxxers effortlessly clocking up over 55 million views online, and sold-out shows, Flo & Joan seem to have taken a big leap forward. Mixing the absurd and the poignant, their sharp satire and lightning wit has been taken to a whole new level.

It’s even offering a bit more of the pair’s personalities onstage. Or at least some version of them. “I don’t know if that is a good thing,” confides Nicola. “I don’t know if people want more of our personalities. But they’re getting them, whether they want it or not.” “I don’t even know what I do onstage,” chips in Rosie. “I’m just trying to be as normal as I can... Which I probably don’t achieve.”

Flo & Joan’s Sweet Release tours the UK until Sun 19 June, including performances at Brighton’s Komedia on Tues 14 – Weds 15 June.

floandjoan.com

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sussex Culture picks THE REGENCY WARDROBE Until Sun 7 Aug Worthing Museum and Art Gallery In 2017 Stephanie Smart established The House of Embroidered Paper; a unique fashion house come fine art studio. Each garment produced is a work of paper textiles, created using only paper and thread; inspired by period and place, history and story. At the end of 2019 Stephanie began a 15-month period as Artist-in-residence at The Regency Town House. There, with the help of volunteers, she began to develop this unique project.

THE UNFRIEND Until Sat 9 July Minerva Theatre, Chichester This new play by award-winning writer Steven Moffat sees him reunite with Sherlock and Dracula collaborates Mark Gatiss (Hangmen at the Royal Court and Inside No 9), who directs this unwavering satire. After twenty years of marriage, Peter and Debbie are enjoying a cruise as a break from their annoying teenagers. Peter can’t resist exchanging views on Donald Trump with an American fellow passenger. There’s something slightly unsettling about the eagerly friendly Elsa Jean Krakowski – but there’s no point in rocking the boat when you’re about to get off it.

A beautiful and intricate collection of fine art wardrobe pieces, The Regency Wardrobe is centred around 11 life-sized outfits, complemented by 12 accessories, four wall-hangings and a jewellery box. In order to inform her understanding of Regency fashion Stephanie has made a series of visits to see garments from the Regency period currently held in private collections and museum stores; which she has documented on her website, stephaniesmart. net, under the title The Hidden Wardrobe. Each piece is accompanied by related research text and imagery but, in accordance with her practice, it also stands alone as a piece of intricate and intriguing decorative fine art. Developing her use of paper as a medium for garment construction, with embroidered and applied decoration, she has created a collection broader in scope in terms of its relationship to local social history and a particular historical era than any she’s worked on previously.

Amanda Abbington (Sherlock, Mr Selfridge, The Son) makes her Chichester debut as Debbie. Frances Barber (The Mezzotint, Silk, Film Stars Don’t Die in Liverpool), last seen at the theatre in Uncle Vanya, returns as Elsa; her extensive screen work includes. When the characters return home, an email arrives from Elsa, followed by Elsa herself. And when Debbie googles their house guest and turns up some hair-raising evidence, their good nature is challenged as never before. What kind of danger have they allowed to take up residence in their spare room? And can they bring themselves to say anything about it? Sometimes, the truth is just too impolite. The Unfriend takes a hugely entertaining and satirical look at middle-class England’s disastrous instinct always to appear nice. Manners can be murder.

HOLD ME UNTIL THE BUS COMES Fri 3 - Sat 25 June 35 North Gallery, Brighton A collection of urban tree portraits in acrylic and oil, Hold Me Until The Bus Comes is the first solo exhibition from Brighton artist Tony Felstead. By combining urban tree scenes with voices both heard and seen on the city’s streets, Tony’s paintings bring into focus the passing lives and voices to which these living ghosts bear witness day after day. Felstead graduated from Sussex University’s first degree in Ecology and Conservation in the early 90s. A passionate artist of the natural world around him, and having studied illustration at Brighton University, he has combined his love of nature, the city and story-telling in this first solo exhibition, which celebrates our street trees and how the natural world is interwoven with city life.

Inspired by Tony’s pictures, Simon Smith has produced binaural field recordings to accompany each picture. Recorded at the location of each tree at different times of day and night the soundscapes evoke the changing rhythms of the city, the hum of traffic, the murmur of conversation, the stillness of night, and the charm of the dawn chorus. Whilst we come and go, the trees remain immutable and silent but for the wind. To experience the sound of the trees, bring your smartphone and headphones to the gallery.

sussex Culture picks SHOWSTOPPER! - THE IMPROVISED MUSICAL Fri 10 June Pavilion Theatre, Worthing Direct from the West End, this spontaneous and superb improvised musical comedy heads to Worthing. With twelve years as an Edinburgh Fringe must-see phenomenon, a BBC Radio 4 series, a critically acclaimed London run and an Olivier Award for Best Entertainment and Family Show to their name, The Showstoppers have been delighting audiences across the globe. Their ingenious blend of comedy, musical theatre and spontaneity creates a brandnew show at every performance. It starts with a hapless musical composer on a deadline, and he needs the audience’s help. They must shout out ideas for a setting, musical genre and the title of the show. With these key ingredients, they’re then off for a night of true melodic madness.

LUCY WERTHEIM - A LIFE IN ART Sat 11 June – Sun 25 Sept Towner Eastbourne One of two exhibitions showcasing pioneering female gallerist Lucy Wertheim’s vast contribution to mid-20th century modern art, this show draws from her own vivid recollections from her 1939 memoir – Adventure in Art. Born in the late 19th century, Wertheim challenged the established art scene conventions. She was a woman without formal art training, driven by intuition and a belief that young British artists should have the same opportunities as their European counterparts. Wertheim was embedded in the interwar art scene; she surrounded herself with artists such as Edward Wadsworth, Frances Hodgkins, Christopher Wood, Helmut Kolle, Phelan Gibb and Henry Moore and sought out young and unknown talent to show at her gallery in central London, at the heart of Mayfair.

Suggestions are transformed on the spot into all-singing, all dancing productions with hilarious results. The Showstoppers’ incredible cast and band are guaranteed to impress as they create shows packed with drama, dazzling dance routines and catchy melodies. Whether Hamilton in a hospital or Sondheim in the Sahara, you suggest it and The Showstoppers will sing it. Showstopper! The Improvised Musical has been a huge hit since its creation in 2008. Since then, it has had 11 sell-out years at the Edinburgh Festival Fringe, two West End runs, and an Olivier award in 2016. Every night with them is a premiere, so why not witness the next big hit in musical theatre?

Wertheim also bequeathed over 50 works to the Towner Collection, and A Life in Art will feature many of these works by artists such as Christopher Wood, Alfred Wallis, Cedric Morris and Frances Hodgkins, alongside Edward Wadsworth, Walter Sickert, Matthew Smith and Henry Moore, revealing the significance of Wertheim’s hidden legacy within public collections. This sumptuous new show will shine a light on the pioneering female gallerist Lucy Wertheim and the celebrated young artists she supported in her gallery from its opening in 1930 until its closure at the outbreak of World War II in September 1939.

CLUEDO Mon 13 - Sat 18 June Théâtre Royal Brighton Nobody leaves this house! There’s been a murder… Starring Michelle Collins (Eastenders, Coronation street, Thoroughly Modern Millie) as Miss Scarlett, Cluedo is an exciting, comedy thriller based on the hit 1985 film Clue and the classic board game loved by generations.

Directed by Mark Bell, director of the award winning The Play That Goes Wrong and A Comedy About A Bank Robbery just like the game, this brand-new stage production promises a nostalgic, fun and thrilling evening of entertainment.

It’s a set-up we should be familiar with, who knows how it will turn out? When Miss Scarlett, Professor Plum, Mrs Peacock, Reverend Green, Mrs. White and Colonel Mustard arrive at a country house one dark and stormy evening, they are surprised to find they have all received the same intriguing invitation from Lord Boddy. It soon becomes clear that they all have something to hide as the mystery and hysteria grows and the inhabitants and guests of Boddy Manor are killed off one by one, with a variety of familiar weapons, leaving everyone to wonder, who will be next! This hilarious spoof of a thriller will keep you guessing right up to the finale, as both the guests and audience try to work out whodunnit…. with what... and where!

Photo Credit Craig Sugden bn1magazine.co.uk

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sussex Culture picks DEAD LIES Tues 14 - Sat 18 June Devonshire Park Theatre, Eastbourne Britain’s number one crime novelist Hilary Bonner presents a bold new stage production - a fast-moving, hard-hitting English thriller which offers a feast of murder, scandal and sexual indiscretion.

This World Premiere is helmed by critically acclaimed director Joe Harmston (The Rubenstein Kiss, The Trial of Jane Fonda, Witness For The Prosecution) and stars Holby City’s Jeremy Edwards. The deadly action takes place during a fiercely fought election campaign, where Peter George (Edwards), is politician promising to deliver a new kind of politics – free of sleaze and spin.

WALK RIGHT BACK Tues 21 June The Hawth, Crawley From the producers of smash-hit show That’ll Be The Day, this phenomenal new production tells the story of the most successful musical duo of all time – The Everly Brothers. Featuring hits such as Bye Bye Love, All I Have To Do Is Dream and Cathy’s Clown, this unique concert-based musical entwines the wonderful, sad yet glorious story of Iowa’s most successful siblings.

Initially George is welcomed as a messiah by a British public who are growing weary of scandal and corruption, and he’s expected to restore trust in a long- broken system. But a shocking secret lies in the past of our country’s hero, which threatens to obliterate all he has fought to build. As buried truths rise from the ashes, will his rise to power be destroyed by ghosts from another time? Personal and political influences begin to shake the faith of those closest to him, and a media cascade threatens to bring down British democracy’s new saviour. How far will he go to save his own career, and how far will those around him go to save their own skins? Expect the unexpected. No one is safe.

Following an incredible sell-out tour, Walk Right Back comes to The Hawth stage, to look at these brothers’ incredible rise to fame from humble country beginning to superstardom. We see everything from their decade-long feud to their glorious reunion which gave them back to each other, and back to the world. With ‘harmonies from heaven’ that influenced The Beatles, The Beach Boys, and Simon & Garfunkel, The Everly Brothers were unmatched in their talent. Also featuring songs from a couple of the Everly Brothers’ good friends, Buddy Holly and Roy Orbison.

This was a unique act, who had a sound like nothing else. Their harmonies were so tight that every group wanted to emulate them.

Before thjis, the normal set-up featured just a singer, a band and backing vocals, The Everly’s entwined all of them to create ‘the harmony group’. Now, Walk Right Back is the first show of its kind to tell this phenomenal story of two brothers and their unforgettable music.

JIM WHITE Weds 22 June Komedia Studio, Brighton Americana maverick Jim White returns to the UK to tour his acclaimed current album, Misfit’s Jubilee. His most upbeat, hallucinogenic record to date, upon its release in 2020 this was hailed by UNCUT as “the friskiest, most rock’n’roll album of his career”, while MOJO effused that “the timeless fury of these songs is just what we need more of right now”. Noe White is bringing these songs to the live stage for the first time, joined by virtuoso players Geert Hellings and Nicolas Rombouts.

Known for his catalogue of dark ruminations on all things Southern, White’s latest outing features a nonstop parade of manic, blue-collar conflagrations exploring realms dark and light, mystic and mundane, cynical and heartfelt; all presented within a buoyant, hook-laden sonic framework. Misfit’s Jubilee is a sublime landmark album draws from an array of original songs penned by White over the span of several decades—scattered among the recent compositions are songs back-burnered in previous epochs by White’s major label handlers, this after said songs were deemed too extreme for his “brand”. With no such middleman constraints this go-round, in Misfit’s Jubilee White has found the perfect vehicle to unleash his compelling and twisted take on southern folk rock.

sussex Culture picks STEVE FORBERT Weds 22 June The Hawth, Crawley Years before Americana music earned its own category at the Grammy Awards, Steve Forbert helped pioneer the genre’s mix of folk, roots-rock, and richly delivered storytelling. He’s been a torchbearer of that sound for more than four decades since, navigating the twists and turns of an acclaimed career that’s taken him from gold records to Grammy nominations, from New York City’s CBGB to Nashville’s Bluebird Cafe, from his 1978 debut album to 2022’s vital and versatile Moving Through America.

Photo Credit Nrman Seef RUFUS WAINWRIGHT Thurs 23 June Worthing Assembly Hall Known for his incredibly engaging live performances, Rufus returns to Europe with a brand-new band for the tour: LA musician Brian Green as music director, guitar and backing vocals; Jacob Mann on keyboard, piano and backing vocals; and Alan Hampton on bass, guitar, ukulele and backing vocals. Playing a set list of classics and new cuts from his highly anticipated new album, this show will be one of the musical highlights of the year.

His sixth full-length release and first live album, Rufus Does Judy at Carnegie Hall was recorded and produced by Phil Ramone over two sold-out nights in New York, backed by a full 36-piece orchestra and special guest appearances from his sister Martha Wainwright, his mother Kate McGarrigle, and Garland’s daughter, Lorna Luft. The album proved an immediate cultural landmark, feted by worldwide media attention and critical acclaim while earning Wainwright his first-ever GRAMMY® Award nomination (for “Best Traditional Pop Vocal Album”). Due to popular demand, Wainwright recreated his momentous tribute to Garland with sold-out, star-studded performances at such renowned venues as Paris’ L’Olympia, Los Angeles’ Hollywood Bowl, and the London Palladium, the latter of which was filmed and released on DVD as Rufus! Rufus! Rufus! Does Judy! Judy! Judy!: Live from the London Palladium.

The songs take centre-stage once again on this new album. Filled with character portraits and quirky insights, it unfolds like a mosaic of modern-day American life, delivered by someone who’s been crisscrossing the country for nearly half a century. With an author’s nuance and a humourist’s wit, Forbert offer glimpses into the everyday lives of his characters: a dog running from the sky’s thunderclaps; a Houston man preparing to take his girlfriend out for fried oysters; a former drug dealer celebrating his freedom after incarceration; a road-tripping motorist steadily making his way across the Midwest.

Forbert inhabits each character, turning their storylines into firstperson narratives that blur the lines between subject and scribe. In 2020, he sounds every bit as spirited as he did in the late 1970s, back when he left his hometown of Meridian, Mississippi, and headed to New York in search of new horizons.

Photo Credit Marcus Maddox ST VINCENT Thursday 30 June De La Warr Pavilion, Bexhill Hailed in a 4-star Rolling Stone review as “a mutant strain of retro pop steeped in New York lore”, Daddy’s Home, the sixth album from Annie Clark AKA St. Vincent, is the latest facet of an ever-evolving artist widely regarded as the most consistently innovative and intriguing presence in modern music. In the winter of 2019, as her 2017 masterpiece MASSEDUCTION’s title track won the GRAMMY for Best Rock Song and the album won Best Recording Package, St. Vincent’s father was released from prison. She began writing the songs that would become Daddy’s Home, closing the loop on a journey that began with his incarceration in 2010, and ultimately led her back to the vinyl her dad introduced her to during her childhood.

The records she has probably listened to more than any others.

Music made in sepia-toned downtown New York from 1971-1975.

Gritty. Grimy. Sleazy.

The first full broadcast of this new work came in the form of Pay Your Way In Pain and The Melting Of The Sun played live before a crowd for the first time during her recent return to Saturday Night Live. St. Vincent is now taking 2021’s most talked-about record on the road, giving audiences a chance to hear these remarkable recordings performed as only she knows how. bn1magazine.co.uk

23

A B B A

V O Y A G E

ICONIC POP QUARTET UNVEIL STATE OF THE ART CONCERT CONCEPT B Y

S T U A R T

R O L T

“There’s been a lot of firsts,” Ludvig Andersson tells me. “Of course, music is music. And I’ve been around that my whole life. We have an enormous building project, an enormous music project and an enormous logistics project, all wrapped into one. I’ve had to learn a few new things. But that’s part of the fun.” Together with Svana Gisla, the pair are not only producing the most ambitious concert ever seen, but they have become partly responsible for an iconic pop band’s legacy.

walk out thinking it’s the greatest concert you’ve ever been to.”

is music which innately understands and unites people.

It’s seemingly sparked a fresh period of creativity for the Swedish chart-toppers.

Their new album, also titled Voyage, was released with very little warning, receiving widespread acclaim and opening another chapter in their prestigious career. “We didn’t make them do that, but it was a nice addition to the adventure,” Gisla admits, with a laugh.

After a five-year project, which has seen tremendous evolution of ambition and scope, the building of an entirely new stadium venue and the wrangling of leadingedge technology, the pair are just about to unveil the ABBA Voyage experience to the public. They’re talking to me just hours before the show’s debut performance to a live audience, and the atmosphere is filled more with excitement than the nervousness you’d expect. “It’s the biggest day yet, really,” Anderson concedes. “To be able to show this to people after all this time… It’s a momentous occasion.” Gisla has worked on David Bowie Blackstar/Lazarus, Beyoncé and Jay Z for HBO and Springsteen and I, while Andersson helped to create And Then We Danced, Yung Lean’s In My Head and Mamma Mia! Here We Go Again, so their credentials are impeccable. But this new undertaking is truly gigantic.

By the time they won the 1974 Eurovision contest at Brighton Dome, ABBA had already enjoyed tremendous success in their individual rights. But the key to their joint achievements was a revolutionary approach to songwriting. They successfully compressed the essence of European music tradition, from folk to classical, in with an appreciation of classic pop like Phil Spector, The Beach Boys and The Beatles, then gave it all a brilliant polish.

Recreating such iconic songs live for a modern audience and meeting those high expectations is obviously demanding.

Especially for anyone entrusted to do justice to Benny Andersson’s pristine pianism.

Gisla and Andersson deliberately recruited a set of musicians who weren’t even born when ABBA originally ruled the charts, but who are more than capable of weaving between beautiful ballads and upbeat glam-rock pop anthems. “As soon as you put this music into the hands of completely new musicians, each one brings their own soul to it,” says Anderson. “It’s ABBA today.

It’s not in any way a nostalgic time-capsule.

We’re not going back, we’re going forwards.

That was always very important for all of us, and it is what ABBA wanted.”

For the first time in four decades of ceaseless speculation, ABBA are finally returning with a revolutionary concert experience. Directed by Baillie Walsh (Flashbacks of a Fool, Being James Bond, Springsteen and I), and choreographed by Wayne McGregor CBE (The Royal Ballet, Company Wayne McGregor, Paris Opera Ballet), it will see Agnetha Fältskog, Björn Ulvaeus, Benny Andersson, and Anni-Frid Lyngstad performing digitally alongside a live ten-piece band. “It’s very simple, for a project that’s this complicated,” Gisla says.

“We use a lot of technology in the show, but if you walk out thinking: ‘that was great technology’ we’ll have failed. We hope you

Simply, ABBA Voyage seems to be a logical step for a band with such a rich history and loyal fans. You can ignore the four-piece’s detractors – maybe they’re jealous, struggle to appreciate music or have no soul. Bridging a gap between heady disco populism and the thoughtful genius of baroque, ABBA crammed all of life’s excitement and melancholy into an immaculate parade of chart-topping singles. Their emotionally rich songwriting covered themes like despair, domestic drama, booty-calls and the fleeting nature of existence, all glossed with breath-taking arrangements and vocal counterpoints.

And they made white kimonos cool. OK, that’s maybe a step too far, but this quartet’s contributions to modern music (rather than fashion) cannot be understated. In just over four minutes, Super Trouper packs in more of the human need for agency than U2’s entire back catalogue. And is there a dance floor which has ever remained empty after Dancing Queen kicks in? It might not always be the height of perceived ‘cool’, but this

There was a distinct ambition to involve a younger generation of players who could bring a heightened energy to the show.

“The music is complex, so you have to be very good to deliver it well,” says Gisla.

“We’re incredibly proud of them.” Also, most of the group are women, which wasn’t a conscious choice but it has worked out nicely. The ten musicians introduce an extra level to this ABBA Voyage experience, and the pair describe them as being the beating heart of this extraordinary thing they’ve created.

It’s probably unrealistic to expect ABBA to undergo the rigours of performing live every night. The four are roughly the same age as Prince Charles, but technological breakthroughs have delivered a perfect substitute. “Someone said to ABBA: ‘Do you want to look into if we can make digital copies of you?’ That’s how it began,” says Anderson. Months of motion-capture and performance techniques have gone into creating the ‘ABBAtars’, taking inspiration from the classic look of their late 70s tours.

An 850-strong team from George Lucas’ legendary Industrial Light & Magic made their first foray into music, surpassing

anything which they’ve done before. “Each frame is ten times bigger than Hollywood film,” says Gisla, with a note of awe in her voice. Over a billion hours were spent on renders for the avatars, and the results are stunningly lifelike.

artist like Michael Jackson or Elvis. But if they’re (for obvious reasons) not directly involved, is it truly their artistry? It provokes some interesting conversations around the creative process, provenance and authenticity.

The scale of the show is also reflected in its crew, which dwarfs even the largest sports events or West End productions. Anderson tells me on any day at the venue, there’s hundreds of people working on the show.

“Being part of a gang or a crew like that is an experience I wish everyone could have, it’s second to none to be part of a group trying to achieve something so complex, but enjoyable.” If we include all the people working on the visual effects side, the number of people involved rises to 1500 people, which is more than most Hollywood films.

There’s nothing in ABBA Voyage which the quartet haven’t given their input on.

For now, this makes the concert series so unique. World-class musicians and revolutionary science are helping to recreate the talent and chemistry of pop’s most enduring phenomenon. This is more than an uncomplicated homage to a band who last played live over four decades ago, because they’ve made sure of it.

“They’ve had every input,” says Gisla.

“There’s nothing in this concert which they haven’t watched and approved. Without the relativity they bring, this wouldn’t be an ABBA concert. Digitally or physically, they got to ‘be’ on that stage...”

The technology used in ABBA Voyage doubtlessly has numerous other applications and could even be used to recreate performances or create a new wave of avatar-centred shows for other disciplines. The pair says they get asked a lot if they think the venture will change entertainment. “I’m not sure, because this is unique and technology isn’t everything,” says Anderson. “Just because you’ve a camera and a sound crew doesn’t mean you can make a wonderful film. There are other aspects to it. You can’t just apply the same theory to everything.” Part of the appeal is clearly ABBA’s direct involvement in the project. You could, theoretically, design a concert with an avatar of an

While Fältskog and Lyngstad might be waiting until opening night to see the concert, the other two are heavily involved with preparations. Anderson tells me that his pop-icon namesake has been onsite for over two weeks. “Benny is musically responsible for it, so he’s been here doing sound and music rehearsals. It’s their show, they’re not going to leave it to…”

Gisla interjects: “A couple of idiots like us?”

Anderson can’t help laughing. “Thank-you,” he says. “That’s what I wanted to say, but I’m glad you did.” This is the kind of forensic approach to music that made ABBA such a successful live proposition at the height of

their career. So, it should be no surprise that this kind of effort is being put into working with the sound crew and musicians. “It’s wonderful to watch,” says Gisla. “And humbling... You’re seeing someone who is exceptionally talented, massaging that music into the arena. It’s so nice to be around.”

Staging the shows in London wasn’t even up for debate. “The UK is a place which has always loved ABBA,” Gisla tells me.

“They’ve played some of their greatest shows here, and they’ve said they feel at home here. London is the greatest city in the world, in terms of culture, art and the people.” The sheer scale of the show meant it was incapable of being housed in any existing hall or theatre. So, a bespoke 3,000 capacity ABBA Arena has been erected in London’s Queen Elizabeth Olympic Park.

Gisla tells me they couldn’t have staged it any other way. “The roof of this building is designed so every single millimetre of it has something hanging from it. It’s been redesigned several times to carry the weight of the technology. You couldn’t walk into another building and do that.” Design came directly from the concept of creating the perfect space to see ABBA perform, and both consider it an immense privilege to not only create a show but the venue it’s presented in.

“Very early on, we realised we’d have to build our own arena,” says Anderson. “It becomes much more than just a building.

It becomes a physical manifestation of this

ABBA Mo Cap Suits (Credit - Baillie Walsh) bn1magazine.co.uk

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idea.” Looking to the future, the Arena can also be broken down and shipped to other locations. “It’s supposedly flat-packed, if you’ll excuse the Swedish pun,” says Gisla.

“Although, it’s a lot less portable than we thought it was going to be.” “It’s the least portable portable concert, in the slowest tour of all tours,” chips in Anderson.

arrangements, but it was kept alive by adoring tribute acts, numerous gay clubs, artists bringing those songs to their own audience with cover versions, and finally 1992’s iconic compilation album, Gold.

More recently, there’s been a jukebox musical and blockbuster film franchise thrilling whole new generations.

Despairing of touring, and after releasing the critically-acclaimed, yet commercially cool, The Visitors album, ABBA’s output had coasted to a halt by 1983. Looking elsewhere, the two men went on to write a musical about a love triangle amidst the backdrop of a Cold-War chess tournament.

Lyngstad released an album with Phil Collins and Faltskog chalked up several hits before moving to the countryside.

Any global reissues of the group’s music were hampered by complicated business

Now, finally, we’re at the point where the impossible seems to be coming true.

Previously, ABBA have reportedly turned down significant sums of money to perform live, saying they’d be unable to offer something all four would be happy with.

Fans had all but given up on seeing the band take to the stage again, but a small army of creatives, a procession of technological advances and a little vision has finally brought the dream to London. “They may not have been writing music together for 40

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years, but they’re very creative, all four of them,” says Gisla. “They’ve been loving this process as much as we have. And it’s been joyful doing this project with them.”

ABBA Voyage is at the ABBA Arena in London’s Queen Elizabeth Olympic Park on Mondays, Thursdays, Fridays, Saturdays and Sundays for the foreseeable future.

www.abbavoyage.com

Art to feed the senses this summer 8 July – 18 September

For details visit kew.org/wakehurst bn1magazine.co.uk

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F E S T I V A L

LOVE SUPREME FESTIVAL - 1-3 July Love Supreme, one of the world’s most iconic jazz festivals, takes place each year in East Sussex, and this year’s lineup doesn’t disappoint. Erykah Badu, Gregory Porter, TLC, Lianne La Havas and Ezra Collective are amongst the star-studded lineup. As the Guardian put it, Love Supreme is where the music comes first, so prepare to hear mind blowing jazz, soul, funk, blues and hip hop from across the globe.

Love Supreme takes place in the paradisiacal setting of Glynde Place, where attendees can enjoy yoga, a massage or unwind in the wellness areas. For night owls, the festival’s afterparties are legendary, with the secret woodland party zone and neon-bathed Arena.

Lovesupremefestival.com

ON THE BEACH (CARL COX PRESENTS) - 23rd July The king of UK dance music brings his high octane show to On the Beach this year, along with a select group of his peers and friends including Andy C, Sub Focus, Wilkinson, Shy FX, Dimension, Friction, and Harriet Jaxxon. Last year’s festival sold out, and there are only a few tickets left for 2022, so act fast!

G U I D E Erykah Badu at Love Supreme

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WASHED OUT FESTIVAL - 2-4 September One of the UK’s most important rock and alternative festivals is back this year, importing giants of the alt scene as well as the cream of the local talent. Washed Out takes place across several of the city’s best loved venues – from Chalk and Wagner Hall to the Hope & Ruin and Prince Albert – and is a guaranteed chance to find your next favourite band.

This year’s headliners are Dinosaur Pileup, joined by Bo Ningen and Babii. You can also catch local favourites making a rare hometown appearance, with appearances from Sick Joy, Orchards, Projector, CLT DRP and Delta Sleep. washedoutfestival.com

BOUNDARY FESTIVAL - 24 September Boundary Brighton returns Saturday 24th September, with over 50 artists confirmed across the diverse field of electronica. This year’s lineup includes some of the best international superstar DJs, iconic electronic DJs, performers and amazing local talent, along with the return of Garage favourites TQD. If you’re into dance music of any kind, this is the festival for you.

The festival takes place at the idyllic Stanmer Park and also features delicious local food, a vintage fair and other unexpected treats.

Both local universities within Brighton are basing their entire fresher’s week festivities around Boundary Brighton 2022. The festival has offered around 5000 tickets to each university to help support the running of each student union. boundarybrighton.com

Boundary Festival

Lianne La Havas Love Supreme bn1magazine.co.uk

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WHY CHOOSING YOUR ‘AGENT’ IS SO IMPORTANT I am sure, like most of us, if we had to think of a person to save us from the likes of Dr. No or Goldfinger the first agent we’d call would be 007 (AKA James Bond). James is suave, reliable and gets the job done and most probably, someone you’d enjoy working with.

Where am I going with this? Well, your home will more than likely be the biggest asset you own, with many memories and emotions attached, so you will want to make sure your agent is up to the job and makes the whole process of selling as pain-free as possible.

Most estate agents are not James Bond but, as mentioned above, you’ll want to work with the best in the business, so you need to do your homework and choose wisely. When you think about it, you are putting this person in charge of selling your home, and if they do a good job they will ultimately save you money in the long run as the buyers they will be working with will (like you) want to work with an agent they like and trust. This goes such a long way when it comes to a buyer making an offer on your property and offering well. If a buyer doesn’t like an estate agent, it can work against their offering.

It sounds bonkers, I know, but over the years I have seen this time and time again. People buy people, and even though we’re talking hundreds of thousands of pounds, this still has a profound effect on the outcome of your sale.

One thing to note: often the sales manager will arrive at your door, value your home and with any luck, they will have won your instruction. But, who will actually be conducting the viewings once your home goes on the market? You need to ask this question to the person who values your home. The sales negotiators who will be showing potential buyers around actually have a much more important job, so you need to make sure they’re up to the task. If you think you know the agent you’re going to use, call them and pretend to be a buyer interested in one of their properties. Are they engaging on the phone? Do they sound knowledgeable? And how would you feel if someone was calling about your property and this was the service they got?

Another huge factor to consider is how the agent markets a property.

Nearly all agents are on portals like Rightmove and Zoopla, which is great, but what is the quality of their photos like? Do they have a floor plan? And does the plan show the room measurements? This is one of my main frustrations: you see a property listed for sale and the photos look like they’ve been taken on a mobile phone, there’s either no floor plan or no room measurements, and the description is badly written. The very least your home deserves is high quality photos, a good floor plan and property description. This too can

have such a huge impact on the number of people who come to view your home and ultimately, drastically affect the price you achieve.

So, I hope this makes sense. Have a look around and see if you notice some of the points raised in this article. There are so many agents out there, you must do your homework and feel comfortable and confident with the one you want to work with and instruct. If I can be of any assistance, please don’t hesitate to contact me. I can even help you myself, though the Aston Martin’s currently in the garage so I may turn up on my bike.

Have a lovely June, Russell

www.russellchilvers.exp.uk.com

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CHRIS MCGLADE

By Tallulah Taylor

Prophet of the Working Class speaks about cancel culture, the woke elite and being discriminated against.

Chris McGlade is the self-professed ‘prophet’ of the working class, according to his twitter handle. He claims to champion their voice in a world which vilifies and mocks them.

McGlade is a stalwart of the comedy scene, having been performing for 30 years. He’s played at the Edinburgh and Glasgow Comedy Festivals, getting as far as being a finalist for Old Comedian of The Year award. He has been seen in the West End run of Billy Elliot, as well as playing a role in Ken Loach’s I, Daniel Blake. Soon he stars in the new Ken Loach film The Old Oak, which revolves around a Syrian refugee in a white working-class coal-mining town. McGlade is perhaps equally as well-known for speaking out against what he terms the “liberal, woke, progressives”.

Growing up in Peterborough in a working-class family, McGlade decided to get into comedy after his ambitions of

becoming an actor never materialised.

Chris tells me that these dreams of acting clashed with Margaret Thatcher’s recession. As she went to war with nearly every major trade union in the UK, the jobs in the steelworks and mines became scarce. At the time, McGlade was 16, had dropped out of school and was working as a junior production trainee for British Steel.

He had received an offer from a prominent acting school, but his dad told him that if he went off to some ‘puffy’ acting school, whilst all the men around them were being laid off, he would be done with him.

The need to perform never left him, and when his traineeship at the steelworks came to an end, he began doing a few stand-up nights in the local pub. With a natural flair for it he soon joined a stag circuit going round the North of England.

These are some of the hardest places to cut your teeth as a comedian. Chris recalls being held at knifepoint in Liverpool, having his car smashed in Southport and being dragged in a headlock around a pub in Nottingham. However, the stark environment of Northern working men’s clubs is where he learnt his trade. Chris laughs and tells me that one stage had a cage around it so the comedians wouldn’t be harmed by the constant objects being thrown at them. Despite this, he has fond memories and friends from the time.

Chris explains that doing the stag circuit meant performing the most uncompromising and crass sketches, because that was what was demanded by the white workingclass men attending the stag dos. A lot of this included offensive and prejudicial language. Chris explains: “If you’ve ever had to go without and you’re struggling to feed your kids, political correctness doesn’t even feature”.

This, I learn, is the basis of McGlade’s robust anti-woke attitude. “People love it when you take the piss out of being fat.”

The cancelling of his show because of an anti-Semitic line in his poem, has further fuelled this rage and resentment against what he terms the ‘liberal elite’ dictating their culture onto him.

Performing to predominantly white workingclass people in clubs in the North meant doing gags which would go down well with white men who had just come off 11-hour shifts in the mines, steelworks or factories.

“That’s traditional working-class humour, we call each other cu*ts and fat bastards.

Working-class people are not precious about how they look. Working class life is brutal. We have to have thick skins to pay the bills and feed the kids.”

An often-provocative subject, ripe for being misconstrued, Chris becomes quickly defensive and aggressive. But when he has had his show cancelled and lost a huge amount of his income, as well as been demonised into something he doesn’t see himself, he feels compelled to justify himself.

McGlade says many white working-class people haven’t been to university and haven’t learnt the history or meaning behind some terms. The political or social history of certain words or phrases, and the culture around not using them, he sees as a privilege reserved to those who have been to university or are friends with people who have. I.e. the Middle Class.

Telling someone to not say things is to underestimate the amount of education in your own understanding. Lacking the proper language doesn’t mean you’re racist, McGlade proclaims.

“Using slang words may make you unintelligent or ignorant, but it doesn’t make you racist.” To him, using words and expressions doesn’t equate to racism because it was not meant with the intent to harm. Not being educated about a subject doesn’t make you a criminal, he shouts angrily at me down the phone.

Working-class culture is often demonised to be ‘racist, sexist and homophobic’ but that is because of the amount of middle-class people in positions of power, according to Chris. Most people in politics, media, TV, comedy, social services are middle class, he says, and place their views on the rest of us. He suggests the residing ‘woke’ middle class create a consensus about how things should be done, and demonise those who speak, work or raise their children differently.

“The things people say don’t make them a bad person. They use them because they haven’t been to university. It’s slang and wasn’t said with malice.”

The pull to comedy came from a natural defence mechanism learnt as a child after being mercilessly bullied in school.

Suffering from his own mental health issues and dealing with the murder of his father in 2011, Chris has always used comedy as a coping tool, comparing it as necessary to him as an organ.

His father’s death prompted a series of mental health issues which he says he has battled through, although he’s not out of the woods yet. Chris says the stigma attached to mental health is also a class issue and features in many of his stand-up sketches.

He recites one of his sketches to me about the differences between working-class and middle-class men talking about their feelings. The first pair, middle-class, take off to ‘pret-a-manger’ to talk about their problems whereas the working-class man tells the other to ‘shut up and have another beer’. Two evident comedic stereotypes, but hard-hitting in their depiction of McGlade’s male relationships.

Whilst this culture war is a sensitive issue, complicated by class, and the sexism, homophobia and racism still rife in Britain.

However, it’s exposing the already existing political and social divisions which exist in the country. The prejudice on both sides only acts to push this divide further.

Despite McGlade’s insistence that his offensive language is part of workingclass culture, stereotypes and prejudicial language influences attacks on women, people of colour and the LGBTQIA+ community. Homophobic and transphobic attacks soured recently during the pandemic. Reports of sexual orientation hate crimes recorded by UK police forces rose from an average of 1,456 a month from January to April last year to 2,211 on average from May to August.

The consequence of prejudiced language is real and undeniable and has been used to oppress white working-class people, alongside black, trans and gay people, for centuries. According to the Met Police website, a hate crime includes verbal assault. “Verbal abuse, threats or namecalling can be a common and extremely unpleasant experience for minority groups.” Maybe it’s not the job of certain communities to educate others on harmful language. It’s up to all of us to learn about and understand those different to us.

Underneath Chris’s anger and rage at ‘cancel culture’ and ‘wokeness’ was something he was wanting to point the finger at to blame for the horrendous suffering and poverty he’s witnessed. It is an easy scapegoat to blame for the demonisation of the working class, but only acts to strengthen exclusion. Perhaps the true enemy is years of austerity and underfunding of the welfare state, which has had direct impact on child poverty and wealth divides in the UK. While performing his set Northern Monkey in 2018, McGlade found himself facing the audience blankly in the midst of a panic attack. Running off stage, he realised there were things he hadn’t expressed and realised he had to learn how to express them. He’s had two lots of counselling and has learned you’ve got to talk.

The years following his father’s murder were difficult and it has been a journey to get to where he is now. The current show, Forgiveness, deals with these issues and focuses on how he processed his father’s death. Chris says that forgiveness came easily to him because that’s the way he was raised.

“This is my father’s legacy. He was a funny, big-hearted, inclusive, tolerant, forgiving man. Humour, passion, inclusivity, tolerance, and forgiveness are things I feel the world could do with a little more of today, peace.”

Chris McGlade’s Forgiveness comes to Hove’s The Old Market on Weds 6 July.

MY CHILDHOOD, MY COUNTRY: 20 YEARS IN AFGHANISTAN PHIL GRABSKY TALKS ABOUT HIS EXTRAORDINARY FILM FOR EXTRAORDINARY TIMES

BY STUART ROLT

MY CHILDHOOD, MY COUNTRY MIR WORKING AT COALMINE © SeventhArtProductions Early in the BAFTA-winning documentary, My Childhood, My Country: 20 Years in Afghanistan, Mir Hussein’s voiceover evocatively reminds us that: “This is a land of tough men.” It’s evidently true. At this stage of this remarkable film, audiences are being confronted by endless searches for firewood on a deforested landscape, the indignity of surviving on butchers’ waste and the practicalities of living with your extended family in what’s charitably described as a ‘cave’. Amongst these occasionally brutal scenes of subsistence is a cheerful and pragmatic little boy. Mir’s story isn’t different to that of many other Afghan kids but viewed on a wider stage it raises conversations about geopolitics, tradition and normalisation.

The timeline for My Childhood, My Country runs parallel to the most recent war in Afghanistan, originally finding the 7-year-old Mir and his family living alongside the remains of an ancient city. “With 9/11, the Taliban were given an ultimatum by George Bush” says Brighton resident Phil Grabsky, the film’s producer and director. “There was then this international intervention, and they were kicked out. I thought to myself: ‘I wonder who the Afghan people are?’ I was fortunate because camera technology had improved and shrank, so I could just get on a plane.” After landing in Kabul and finding a fixer, Grabsky went off in search of the perfect story. Something which offered a more honest version of this misunderstood country.

“Kabul was an extraordinary place at this time. It was totally wrecked, like Berlin in 1945. There wasn’t a lamppost standing. But it was too obvious to make something there, and capital cities don’t always reflect the nation as a whole.” At the time the second most recognisable city was Bamiyan, where the Taliban had recently destroyed two legendary 6th-century Buddha statues carved into a cliff. Hearing of people living in caves nearby, Grabsky headed up there to further investigate. He was met by a landscape littered with mines, destroyed tanks and crashed planes, decades of conflict leaving their mark.

Filmmaking is all about stories, but he initially had trouble finding something genuinely compelling. The population was exhausted and unemployed. They were happy to discuss the past, but there was little to build a cohesive narrative from. Then he met Mir, a

cheeky lad with an infectious smile who lived with his parents, sister and brother-in-law. Basing the film on him will hopefully encourage audiences to think about his future and the legacy of the NATO invasion. “It was the best decision I’ve ever made. No way could I have anticipated just how many adventures he’d go on.” He spent a year filming the youngster’s life, watching him explore, learning to swim and playing games. This footage would go into the acclaimed documentary The Boy Who Plays on the Buddhas of Bamiyan, which was shown on Channel 5.

Returning to see Mir later, for an extended version of his original film, now called The Boy Mir, Grabsky found the young Mir and his family had returned to their village. He was now going to school and dreaming of a future where he became either a headmaster or president. “We decided to stick with him for ten years. There were servicemen and women fighting in brutal conditions every day.

We were spending billions. The question is what are these people fighting, dying and getting injured for? How is this money being spent, is it making long term improvements to the lives of Afghans?

We tried to tell that story through following Mir’s life.”

As a story, this work sits at the intersection of films like Boyhood, Hope And Glory and Belfast. Because they’ve known little different, even the most horrific of circumstances can become normalised for children. Mir is a young person who has never known peace. But he’s optimistic about his future because of the American invasion.

Kids seemingly don’t care about big concepts like the War On Terror, much beyond the sight of an aircraft passing overhead or nervous Coalition troops occasionally visiting their village.

We soon see Mir abandon school, first working on their crops when the family’s patriarch becomes too weak himself, before working at the local coalmine. But in the background are small changes.

Mobile technology is making life easier, businesses are starting up again and the country is seeing some developments. Even Mir goes from walking around with a donkey to owning a bicycle and then onto a motorcycle. The crushing inequalities of life are still very real though. Many of us are cushioned by the convenience of supermarkets and takeaways, yet only 200 years ago 99% of the population were involved in production of food. There are still millions of families like the Husseins, desperately poor and struggling to survive.

Grabsky says his interests have always been in documentaries.

Most of his films have been biographical, drawing the viewer into different worlds and presenting them with a range of new experiences. Internationally, cinemas are now more open to documentaries, but it’s not content broadcasters are screaming for.

“I’ve had plenty of discussions, where people have said ‘no one is interested in art or classical music’. I fight back ferociously, saying ‘You can create an audience. My kids did not want to go to their first sushi restaurant, but now they love it. You can introduce people to things. Maybe someone doesn’t want to read their first Jane Austin.” He acknowledges that his life has been ‘twin-tracked’ for the last two decades. While doing this project about Afghanistan, his company, Seventh Art Productions has grown into one of the biggest suppliers of art films in the world. They’ve created over 30 lavish onscreen exhibitions, at the rate of around 4 every year, exploring the life and work of the world’s most iconic artists and composers. As we talk, Grabsky is spending a few weeks outside Boston, working on a new film about American realist painter, Edward Hopper.

It seemed ten years with Mir and the Hussein family might be enough. Grabsky’s crew had encountered a couple of unpleasant incidents in Afghanistan, and his family were asking him not to return, along with issues with finding backing. “Funding has been very difficult. Trying to get broadcasters internationally to go from ‘That sounds interesting’ to ‘Yes, we’re in’ has proven to be souldestroying.” An enthusiastic commissioning editor in Germany persuaded him to carry on with the project, prompting a third film - My Childhood, My Country: 20 Years in Afghanistan.

This new version travels with Mir for another ten years, combined with footage from the previous two outings. He’s facing many familiar challenges as he ventures into adulthood, along with even more responsibility. He’s also married at his father’s insistence; the couple starting a family long before they learn about birth control. “One thing which has been consistent, is that Mir has been supportive, enthusiastic, tenacious, friendly and open. We were so lucky with his wife, that she was willing to speak, and was a wonderful woman in her own right.” We follow this new family to Mazar-e-Sharif, which proves to be a massive culture shock for the country boy and his spouse.

Despite enjoying a lot more comfort in the large city, they struggle as Mir can’t find steady work. This father of three is despairing of ever being able to properly provide for his family. But the film’s crew

crucially stage their own intervention, helping achieve his dream of making his own films by arranging work for him with a production firm in Kabul. He then spends some of his time filming football matches, but it also thrusts him onto the front line of the nation’s upheaval. Most days see him rushing to document devastation left by suicide bombings. Wide open spaces have been swapped for chaos and daily violence, and life is still uncertain.

For this new film, Grabsky and co-director Shoaib Sharifi blend in archival footage. News outlets from around the world talk dispassionately about events in Afghanistan, alongside politicians offering their opinions on what’s best for its people. “Creatively, that’s a really difficult thing to do. Because you don’t want it interrupting the narrative. You want it as international as possible, so then you’re dealing with foreign languages to find that one sentence, just to get it right so the audience know what’s going on.” This is all in stark contrast with Mir’s daily experiences, whether that involves going to school, tending fields or struggling to provide for his growing family.

He tells us he remains optimistic about his country’s prospects, but the pressure is starting to show. And we already know the future holds the Taliban’s return to power and Covid-19, which lends a certain urgency to unfolding events.

Even with some life-experience, Mir isn’t overly concerned about the Taliban, he’s often only focused on daily struggles. And this is evident amongst the wider population. “They want peace. I’m not sure the Western forces understood that. For ordinary people, both are bad. If the Taliban say ‘If the Western forces leave, we will bring peace.’ That’s very appealing for people, especially men. In an ironic way, suicide bombings have stopped, because the bombers are now in power. It’s safer to walk the streets of Kabul now. Except now ISIS have arrived, and that’s a whole other situation.” What My Childhood, My Country succinctly highlights is that these people are essentially just like us. They have the same desires, they have the same sense of humour, they love music, they want relationships and their kids to be educated.

“It has to be said that Ukrainian refugees are being treated differently to Afghan refugees,” says Grabsky. “People immediately think Ukrainians are just like us, whether that’s because of the colour of their skin or because they’re a European country. Afghans are also just like us. Maybe their skin is different, maybe their facial features are slightly different, maybe their religion is slightly different, but they’re as deserving of our help and love as anyone else.”

MY CHILDHOOD, MY COUNTRY - MIR IN BAMIYAN - © SeventhArtProductions

BAMIYAN ©SeventhArtProductions.

MIR WITH GOAT © SeventhArtProductions

Last month, this moving two-decade long study of survival and hope won the BAFTA for Single Documentary. Being Bafta Award-winning should help the film’s profile, and that of any future ventures. “We’ve had a couple of broadcasters in touch with ideas. The main value of it is ‘BAFTA-winning’ will go on the poster. Anybody who has any interest in good films will see the BAFTA mask on the poster, that should make people go to the cinema to watch it.” There’s now plans to make an amended version for theatrical release in September, which provides a one-year update on Mir’s life.

Life is uncertain for Mir. He’s lived with the war almost all his life, and it’s uncertain what will fill the vacuum left by the withdrawal of Western forces. But life has to go on, and the Taliban are regaining control of a very different country now. The intention was always to make people think and have a chance to forge informed opinions.

There might still be questions as to why we are sending aid to the region, when there’s problems at home, or why so many people leave the country to seek refuge elsewhere. My Childhood, My Country: 20 Years in Afghanistan has let us view a complex set of issues through the experiences of a hopeful young man, and perhaps there’s some lessons we can all use. “What I have to do, as a filmmaker, is offer information,” ponders Grabsky. “I spend time looking and digesting all this, then present it to an audience in as balanced and fair way as possible. You can still come away from this film thinking all military intervention is bad… or thinking that without the intervention there wouldn’t have been the progress

we did have. Before, I’ve seen politicians expressing opinions on Afghanistan who clearly didn’t have a clue. There’s no black or white, it’s all shades of grey.”

Phil Grabsky and Shoaib Sharifi’s My Childhood, My Country: 20 Years in Afghanistan is available to watch now at: www.seventh-art.com, with an updated version coming to cinemas later in the year.

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LIVE REVIEW: LOW

AT ST. GEORGE’S CHURCH, KEMPTOWN, 28TH APRIL 2022

BY THOM PUNTON

Image by Dave Toolan

Until a friend offered me a spare ticket to see Low at St. George’s Church, Kemptown on the afternoon of their sold out gig, I had barely thought about the band in years.

At one point, around 2006, as a student, I had been utterly obsessed with them, shut up in my room, chaining their early albums together. The songs – so slow, so sad, so quiet – were extreme in a way I’d never heard, and gave me a comforting soundworld to retreat deep into, allowing me to lean into an ultimately self-destructive depressive phase. Eventually, I managed to leave my room, got myself a girlfriend, and consciously made a clean break with a band who represented an indulgent rabbithole I couldn’t let myself tunnel back into.

In the intervening 16 years, Low have continued to sculpt their own uniquely transporting identity. They’ve released six albums since then, which I’ve often noticed out of the corner of my eye appearing on ‘albums of the year’ lists. On the few occasions I did cursorily give their new songs a listen, I found their blueprint had remained the same but they’d matured and grown from the sparse, simple Albini-esque guitar, bass and drums arrangements, getting louder and more experimental. The two most recent albums, 2018’s Double Negative and 2021’s HEY WHAT, both critically acclaimed, summon intense digitally-mangled textures for husband and wife Alan Sparhawk and Mimi Parker’s voices to contend with, taking them even closer to the outer edges of alternative rock.

This was the third time they’ve played at St. George’s Church, and it’s easy to see why they keep returning. Alan and Mimi’s Christian affinities aside, their music seems made to echo around beautiful, reverby spaces like this, and though they could sell out bigger venues, the pews limit the capacity to an intimate number. One of the reasons I didn’t go and see them at

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the height of my fandom was I didn’t want the soft parts to have to contend with a chattering crowd of people who didn’t care as much as me. This wasn’t a problem at all here. The crowd sat rapt and quiet like a well-behaved congregation.

The band were lit from behind by three panels of horizontal strips of lights, making them appear as silhouettes for the entirety of the gig, with guitarist and singer Alan’s wild mop of hair the most discernible feature, beside Mimi who played drums and sang, and recent addition to the band Liz Draper on bass. The lights rippled with surges of colour, ghostly figures flitting across, flames, and blooms of static, often intricately synced with the music, making the performance an immersive experience.

They started by playing their new album in full. It worked well to hear the songs in the cohesive whole they are meant to be heard. The extended instrumental sections, like the second half of Hey, particularly lent themselves to sitting and absorbing. They were like carefully carved sound sculptures, with Alan controlling the effects-laden guitar noise with delicate skill. The songs, minimal and hymnal, brought about an appreciation for the dynamic beauty of what music can do when stripped to its bare components.

Days LIke These, one of the standout tracks from the new album, was another highlight, dropping down to almost nothing then exploding back in with a wave of sound, light and emotion.

Later came a selection of older songs, mostly from the previous five or six albums, with a few earlier cuts like the sublime Sunflower and haunting 2-Step. Though in their recent music there is still an exploration of dark themes, and Alan and Mimi’s voices still can sound funereal as ever, there are many moments that show a cathartic overcoming of sadness, which is all the more effective for its relation to the

devastation of their earlier work. Nothing But Heart is absolutely insistent in the triumph of love and connection. The song, so minimal in its content, is like a mantra.

When I Go Deaf, which closes the night, equally proclaims a positive outlook and is a resounding rock outro to the night.

In between songs, Alan made sure to thank everyone involved in putting on the gig, from the techies to the roadies to the promoters, Melting Vinyl. He invited us to reach out, if only in a positive energy kind of way, to those around us, managing in a very non-preachy way to be the wise elder teaching compassion in troubling times. It was clear how grateful they are that they are able to tour again.

Any fear on my part that getting back into Low would take me back to a dark indulgent place were dispelled by this performance.

The journey of their output is one from darkness to light, youthful confusion to mature wisdom – an overcoming. Low’s first album was called I Could Live in Hope*, and that ‘could’ carried a deep sense of yearning back then. Now, their music provides a great deal of hope, and walking out at the end of the evening, I left feeling happier than I had done in a long time. * Hope was actually a town in Arkansas they passed through on one of their early tours

MELTING VINYL LIVE 2022 WITH MV

DAILY CHANGING SELECTION OF NON-VEGETARIAN, VEGETARIAN AND VEGAN DISHES

MAIN DISHES

FRESH SANDWICHES

a wide range of authentic and traditional dishes from across the region

vietnamese banh-mi variety of veg & non-veg baguettes

SAVOURY SNACKS

S W E E T S NAC K S

from spring rolls and chicken wings to samosas and sushi

fresh cakes and pastries, cookies, flapjacks, mochi, ice creams and sorbets

HOT BEVERAGES

COLD BEVERAGES

vietnamese coffee, full range of other coffee & speciality teas

bubble tea, fresh juices, milkshakes & lassi

we also offer weekend specials – singapore laksa and thai spicy papaya salad – and have a full range of asian beers, including Cobra on tap, and red & white wine, including Soul Tree indian wine

Tuesday, Wednesday, Thursday 8am–6pm Friday, Saturday 8am–9:30pm Sunday, Monday closed for updates on our daily menu, please follow us at

x nanima_kemptown 36 St. George’s Road, BN2 1ED • 01273 600932 • nanima.co.uk

Greenness & Lando Manning Jim White Chrystabell Laura Veirs Yama Warashi The Handsome Family Gwenno Josh Rouse N’famady Kouyaté Ezra Furman Kris Drever Eliza Carthy ST. GEORGE’S EVENTS Arooj Aftab One Inch Badge present

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LOOKING TO THE FUTURE WITH

THE SPECKY WREN

by Thom Punton The Specky Wren, the vibrant opticians located at the entrance to The Open Market on London Road, has gone from strength to strength since the practice opened in 2013. Their shopfront has always stood out with its kaleidoscopic artwork adorning the windows, with the range of frames inside matching that vivid aesthetic and sense of fun. Having built up a loyal base of customers, they are taking the business into a new exciting era with some enhancements to the way they run the practice and the services they now offer.

Recent upgrades to their website mean it’s now possible to browse a selection of their vast catalogue of frames online.

Photographed in 360 degrees at high definition, customers can zoom in and rotate the frames to get an accurate sense of what the styles would look like in real life. They can then choose a selection of frames to form a basis for an in-person style consultation, which can be booked through the website, as well as eye examinations and contact lens appointments.

Spectacle style consultations have always been an important part of the Specky Wren experience. Demonstrating the different styles and fits, and offering advice as to what might suit each customer has always been a cornerstone of their approach.

Stocking frames from the classical to the latest styles, they consider face shape, frame fit and compatibility with prescription to find the perfect pair of glasses for each individual and situation – whether it be for the office, driving or just relaxing with a book at home.

Their frames are curated from collections by independent frame designers from Europe and beyond – including uber cool, bold and brave heavy acetate frames from German designers KreuzbergKinder; the slick minimalist styles of Danish designers Lindberg; and Caroline Abram sunglasses that wouldn’t look out of place at Cannes.

Making a selection from such a wide variety of frames can be daunting, so these style consultations help take away that stress.

It’s an interaction that has helped build up a rapport with their customers that is key to the friendly, welcoming atmosphere of the shop.

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One recent change to their opticians practice is the enhanced standard of eye care they are now able to provide.

The optometrist team are undertaking postgraduate qualifications to allow them to manage a wider range of eye diseases using medication. This decision to upskill was made during the pandemic, when the public’s access to diagnostic appointments was extremely limited, and the team understood the importance of being a resource for people with conditions that would become serious if left untreated.

They have also invested in the very latest technology, including an Optomap which allows for much more detailed wide-angle imaging of the retina. This is combined with a specialised machine called an OCT – Optical Coherence Tomography. The OCT gives a high-definition cross-section of the different layers of the retina. It’s noninvasive and simply requires the patient to look into the machine and allow it to record the images.

When these 3-D scans have been taken, the optometrist can then talk through the images with the patient. With the aid of the Optomap, they can demonstrate very clearly what is going on inside the eyes.

Showing the patient a clear picture of their eye makes it much easier to explain the details regarding their eye health, rather than just explaining in abstract, scientific terms. It can also be fascinating to take a voyage into what can be quite a mysterious part of the body, and see the different parts in such detail.

The optometrist can then look at these scans and analyse any anomalies with the aid of computer analysis, to create an incredibly accurate assessment of the health of the eye. This technology has completely revolutionised the way they can assess a patient’s eye health. Before, the appraisal would have been more speculative and subjective, but using

the kind of analysis this new equipment generates, the diagnosis can be so much more accurate. Furthermore, these are the same machines as the eye hospital uses, so they are able to send data directly over to them in a format that is useful to them.

This also means they can detect conditions like glaucoma, macular degeneration and diabetic eye disease at a much earlier stage.

Glaucoma, for instance, was diagnosed in the past by a measurable deterioration in the patient’s vision, but with the new technology they can measure a reduction in the thickness of the nerve tissue around the optic nerve, and detect the disease before it develops further. Being able to make an accurate referral to the eye hospital like this makes the whole diagnostic and treatment process far more efficient.

Upscaling the equipment and skills of their employees and forming those connections with the eye hospital has given the business new life and direction, combining the strong fashion-led element with the best possible eye health assessment.

Through what has been a difficult couple of years navigating the industry regulations imposed to combat the pandemic, The Specky Wren have emerged stronger.

The relationship with their patients is more important now than ever, and they have acknowledged this by introducing an Eye Care Plan available for a small monthly fee. This provides patients with a discount on their first eye examination, then free examinations once they have been on the plan for six months, as well as 10% off glasses. It’s a way of helping their base of loyal customers to save money in the long run and a tribute to the community who have continued to support them.

The Specky Wren Opticians Brighton 1-2 Marshalls Row, Brighton, BN1 4JU

UEFA WOMEN’S EURO 2022

WELCOMING FANS TO BRIGHTON & HOVE The biggest women’s sporting event in European history is coming to Brighton & Hove this summer and it’s nearly showtime…

The flags have been raised, fan events organised, and the players are gearing up for a record-breaking UEFA Women’s EURO 2022.

Brighton England summer.

London, &Leigh.

& Hove is that will be Other host Rotherham,

one of nine tournament host cities across welcoming nations from across Europe this cities include, Manchester, Milton Keynes Sheffield, Trafford, Southampton and Wigan

Brighton & Hove’s Community Stadium will be home to three games during the tournament including two group stage games and one quarter-final match.

Home nation England will be taking on Norway at 8pm in the first game on 11 July with Austria v Northern Ireland kicking off at 8pm on 15 July. With two home nations playing in Brighton & Hove, the Community Stadium is sure to have a lively atmosphere.

MATCHES TAKING PLACE AT BRIGHTON’S COMMUNITY STADIUM England v Norway, KO: 8pm, Mon 11 July Austria v Norway, KO: 8pm Fri 16 July Quarter Final 1: Winner of Group A v Runner up Group B, KO:8pm, Wed 20 July

JOIN THE PARTY Celebrate UEFA Women’s EURO 2022 with a Fan Party at Brighton’s picturesque Victoria Gardens. Victoria Gardens will welcome fans and friends of all ages, from home and abroad, to be a part of the biggest ever European women’s sporting event.

This will be where thousands of supporters will join local families, groups, and other fans to soak up the atmosphere pre match. The fan parties will have something for everyone including music, entertainment, a family fun zone, refreshments, and football-themed exhibitions.

It’s not just for ticket holders, so feel free to pop along.

Fan parties are free to attend and will take place on various match days throughout the tournament.

Visit https://www.uefa.com/womenseuro/event-guide/brighton-hove/fan-festival/

HOW CAN I GET TICKETS? We want Brighton & Hove’s residents to come out and show their support for UEFA Women’s EURO 2022 this summer.

It’s an opportunity to really put the South East on the sporting map, so let’s give a rapturous welcome to players and fans attending Brighton & Hove this summer and get the Community Stadium rocking.

Tickets start at £10 for adults and £5 for under 16s. Tickets are on sale now at www.uefa.com/womenseuro/ticketing

INSPIRING POSITIVE CHANGE The UEFA Women’s EURO 2022 will be a ground-breaking event from start to finish. In a first for the FA and UEFA, a legacy programme is being driven with partners in each host city to enable more women and girls to have equal access to play football in schools and clubs.

In Brighton & Hove our goal is to develop more opportunities for girls aged 5-11 to play football, including helping more schools offer girls football inside and outside the curriculum, and to create more inclusive and welcoming opportunities for women to play, coach and referee.

This should all lead to: • • •

Double the number of FA-qualified female coaches and referees, with more coaches and referees from MK’s ethnically diverse communities.

Establishing 22 new female-friendly school-club links by 2024.

More girls and women playing football for fun, fitness and friendship in grassroots clubs.

PLAYERS TO WATCH: Ellen White, England England women’s record goalscorer will be hoping to add to her tally when the Lionesses come to Brighton & Hove on 11 July. The Manchester City forward has 50 goals in 103 games for her country and she earned the Bronze Boot award at the 2019 FIFA Women’s World Cup in France.

Ada Hegerberg, Norway

UEFA WOMEN’S EURO 2022 FACTS UEFA Women’s EURO England 2022 will be the biggest women’s European sporting event in history The opening match of the tournament takes place at Old Trafford on 6 July 2022

The forward recently announced she will return to play for Norway at the Women’s Euros this summer after a close to five-year absence from the national team. The first female winner of the Ballon d’Or, in 2018, stepped away from international football after the last European Championship in 2017.

The showcase Final takes place at Wembley Stadium on 31 July 2022

Manuela Zinsberger, Austria

More than 400,000 tickets have already been snapped up by fans keen to see some of the world’s greatest footballers on show

The Austrian shot stopper is well known to Women’s Super League (WSL) audiences as the number one goalkeeper for Arsenal, for whom Zinsberger plays her club football. The 26-year-old has 76 caps for her country already and is widely regarded as one of the best goalkeepers in women’s football.

The current record total attendance for a women’s EURO 240,045 for Netherlands 2017. This year’s total attendance is expected to be more than double

The current EURO holders are Netherlands, who were the home nation in 2017 and beat Denmark 4-2 in the final Norway, who will be playing two of their group games in Brighton, are one of the most successful nations in women’s football having previously being European, World and Olympic champions.

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RICHARD DURRANT

Acclaimed folk guitarist and composer talks to us about his Bog-wood guitar and the South Downs.

BY TALLULAH TAYLOR

You might have seen Richard Durrant cycling across the South Downs, lugging his 5000-year-old bog wood guitar with him on the back of his bicycle.

For the past few decades, Richard has experimented with folk and classical guitar compositions, playing in the UK as well as across South America on a guitar made from a 5000-year-old oak tree, pulled out of a bog.

Richard happily explains to me over Zoom from his studio in Shoreham that the UK used to be completely covered in dense forests of oak. When these huge oaks fell, they landed in boggy waters, escaping their destined natural degradation through the absence of any oxygen. Protected from air, they were preserved for thousands of years to then be pulled out by frustrated farmers in the 21st century.

One such Fenland black oak tree, which was preserved in the forest floor for 5000 years, was saved by carpenter Hamish Low and transformed into a guitar by the luthier Gary Southwell. This is the one Richard plays today.

Richard’s new album The Sleep of a King comes out on Thurs 2 June. His Music for Midsummer tour will take the album to cathedrals, theatres and churches from Orkney to Bexhill-on-Sea, all on bicycle. His ‘nimble runs, deft arpeggios and quicksilver fingering’ have garnered praise up and down the country. It is his first solo guitar album in seven years and is made entirely of his own guitar compositions. Inspired by the landscape and shared history of the British Isles, it builds on the connection with the land central to his recent two albums Stringhenge and Rewilding.

Growing up on a Hollingbury council estate just north of Brighton, along with his six siblings, connected him to Sussex’s rich history and folklore. His bedroom window looked out on the Saxon Barrows all the way to Chanctonbury Ring and the top of Devils

“I’ve always looked back as much as I look forward. When I was a kid, I dreamed about being a composer, but I also fantasised about playing Dyke. Richard says,

music in the 13th Century.

I had this curious desire to look inside the ancient barrows up on the downs and soon realised that, whilst playing my guitar, I could.”

The connection to Sussex and its history have always been a main source of inspiration for him. He tells me, slightly embarrassed, that he decided to commute his third year at the Royal College of Music because he missed the sea so much.

Growing up within neolithic relics instilled in him a steadfast sense of curiosity and strong relationship with the area.

His route to primary school was through the Twittens, a neolithic narrow passageway only found in Sussex linking two places together. Richard remembers as a child imagining the people that may have travelled down these paths before the houses were built, thinking about what they were doing and where they were going.

He grins and explains; “I’ve always had that sense because of my kind of strange, whimsical weirdness when I was a kid.”

Richard’s music thread’s themes of history, folklore and politics together by weaving classical and folk. The Sleep of a King features intros of Bach which seamlessly descends into more traditional folk guitar, which Durrant says is possible because of the foundations of traditional folk underlying Bach’s compositions.

Richard told me, “I’ve always felt that that even I’m classically trained, I went to the Royal College of Music that I always feel that that our folk heritage is at the very, very heart of what I am as a musician.”

Folk and Classical music differ not only in form, but also in use. Folk has been a fitting mouthpiece for protest and resistance for hundreds of years, with songs passed down orally and collected by famous British collectors such as, Cecil Sharp. The legacy of folk has carried workers’ rights, anti-war movements and political resistance since the great depression right through to the labour strikes under Thatcher. It has always predominantly been a working-class genre and firmly anti-establishment, expressing grief, worries, longing and societal changes

through the accessible and understandable means of storytelling.

Richard’s music weaves themes of social injustice with a connection to the land.

“Music can be a vehicle for delivering a message. Writing about something makes you feel better because you’re doing something which either has a kind of beauty about it or delivers some kind of emotion that you were feeling.”

He pensively explains that you can make something tremendously positive out of even the most desperate situation.

Something he tried to do with his album ‘Stringhenge’, which drew on the political instability of 2018 and divisive nature of the West after the Brexit and Trump vote.

Not unanimous to politics, but also to expression of feelings; Richard draws on the solidarity created by making music about shared experiences.

Playing on his guitar, which has been around for five thousand years longer than the rest of us gave him a perspective which he found quite comforting. “So, I wrote stringhenge, and it was the most English thing I could do.”

‘We Plough and Scatter’, off his album Stringhenge, is an ironic take on an old folk song, blending his obvious anger to create a simplistic ballad with unmistakable force.

We break our bonds and scatter Our hard work to the winds So much for peace and friendship We sling them in the bin Here’s to our children’s future The beauty that we made As we climb aboard this ship of fools And watch our fortunes fade.

Folk songs collected over the years acted as an angry mouthpiece for pressing issues at the time. Some have remained unique almost nerdy relics to older times whilst others have become national anthems

covered endlessly. Such as The Working Man by Rita MacNeill’s which when covered

by Kathy Durkin became a sentimental Irish chart-topper for many years. Similarly to Woody Guthrie’s This Land Is Your Land and Bob Dylan’s Hurricane, which have remained firmly planted outside the cult folk repertoire, as an ode to the societal rifts of the great depression and police racism in America.

Others have remained sung by children over generations like 18th century Scottish folk song My Bonnie Lies Over The Ocean and Hares On The Mountain, whose many versions were collected by Cecil Sharp and popularised in his Songs Of Somerset. Older songs like the Traveller’s song What Will I Do When I Have No Money or Parting Glass are relics of the culture of folk singing around drinking or worries.

The differences between original folk songs and those of the folk revival is a romanticisation of nature. Anti-industrialisation is at the core of the folk revival, encouraged by song collectors like Cecil Sharp and Alan Lomax, who chose songs which fitted into the rural, idyllic idea of ‘olde’ England.

For most people, life was already interwoven with nature through a subsistence economy.

Those with cattle, poultry or horses were considered wealthy. For the working class, the connection with the natural world was perhaps less picturesque.

The erosion of the natural world and promotion of a traditional lifestyle became core to the new folk movement because society had changed from Industrialisation. People were no longer as involved with the natural world and were instead living in cities. Visiting parks and the countryside became a leisure activity for the upper class, as did singing about nightingales and rivers.

The relationship between nature and folk has existed since the dawn of industrialisation, which folk collectors strove to resist. This later changed when miners’, steelworkers and Millworkers’ songs were collected in the 1960s by prominent Socialists like Bert Lloyd.

Richard says: “Folk music has often showed a way forward politically. People write about their work, they write whilst they’re at work, they write about struggles, they write about their personal experiences, that’s kind of what folk music often is, as well as being descriptive and evoking more sort of pastoral stuff.”

Many contemporary folk musicians, like Durrant, Robert Macfarlane and Lankum, are utilising the genre to talk about the natural world in an age of climate breakdown and loss of natural habitats. As climate change becomes a more spoken about, and a consequently more pressing issue, its language has found its way into folk song.

Richard’s music, from his unwavering location in the South Downs, has employed natural metaphor and folklore into his music uniquely within the last three albums.

Many a musician, writer, painter has been inspired by the Downs and the extensive history surrounding it. Frank Bridge, the

twentieth-century composer, was born in Brighton in 1879. His song Enter Spring listens as a musical response to walking along the coastal path to the Seven Sisters. Many folksong collectors congregated in The Sussex Weald, which was at the foot of the downs and a centre point for nineteenth-century folk-song collectors. Some collectors, like Authur Beckett even refrained from recording some because of their ‘decidedly licentious and unwholesome character.’

His guitar style is also reflective of his different influences and how they make their way into his compositions. Just by changing the shape of his hands he can dip into that folk heritage, with its roots from all around the world.

He says: “English folk Baroque style gives my hands a kind of link with our folk heritage.

Just by changing the shape of my hands I can evoke different sounds. You can twist your hands and it will sound like you’re in the South of Spain or play another way and you sound a little bit like Martin Carthy.”

This connection to the environment is apparent in all parts of him, from how he travels on his tours to what wood his guitar is made from and how he records his sound. The recent album The Sleep of a King was recorded at St Botolph’s Church on the banks of the river Ade, a beautiful old Saxon church.

“There’s always the thought at the back of your mind that your sound is going to come out of two wooden boxes. So, although it’s beautifully recorded, it’s a compromise. The thought of immersive audio for me as a soloist is completely liberating. People are going to hear my guitar in the air space of the environment.”

Richard started cycling his tours because of the environmental impact and to hedonistically glimpse the beauty of the British Isles. He says he just wanted to see how beautiful the landscape was and to remind himself of the British Isles beauty “even though the politics are filthy. And have got even filthier, actually, since then.” Although he says some people tell him he shouldn’t mix politics and art he says, “you know, for Christ’s sake, we have to, it has to be done”. He grins and concedes that it’s nice to do it in a subtle way.

Durrant’s new album, The Sleep of a King will be available on Spotify, and all other streaming platforms, from nine minutes past four on the morning of the second of June, the time of sunrise on Orkney, which is where the Music for Midsummer tour starts.

MEET BRIGHTON CREATIVES LILY WOLTER TATTOO ARTIST

by Lucy Sheehan You might know Lily Wolter from her Brighton-based band Penelope Isles, with whom she’s toured the world and released two criticallyacclaimed albums of beautifully crafted indie on Bella Union Records. Her side hustle, as a stick and poke tattoo artist, is equally fascinating. A speciality for delicate, textural tattoos, and a guaranteed warm, fun experience has made her a highly soughtafter artist.

We chatted through why people get tattooed, what Lily loves about stick and poke, and what Brighton likes to get tattooed.

HOW DID YOU COME TO TATTOOING? It was back in 2017 and I needed a job where I could be my own boss so I could keep touring with my band. I went and got my first hand poke from EuropeanSon.420 and was super interested in the DIY home-made approach. It felt achievable for me (with a bit of practice and some test dummies). Next thing you know, he sent me home with a few needles and I’m using my brother’s legs as a canvas.

WHAT’S THE DIFFERENCE BETWEEN STICK AND POKE AND MACHINE TATTOOING? AND WHAT DO YOU PREFER ABOUT STICK AND POKE? Well I have never experienced using a machine tattoo, but I have had a fair few of them in my time! It really depends on the artist. I’m a fairly light hand-poke artist and depending on the place, people are often shocked by how painless it is compared to a machine and keep returning to me for that very reason.

YOU’VE BEEN GETTING INTO VERY DETAILED PIECES – I LOVE THAT BEAUTIFUL PIECE OF THE DEER – IS IT ABOUT THE CHALLENGE OR IS THAT AN ARTISTIC PREFERENCE? Thank you! I would say both of those things. I realised about six months ago I prefer making tattoos that include less linework and are more texture-based. Anything with fur, scales, fabric, wood, feathers, shading. It lets me use the hand-poke method to an advantage, and I can really experiment with the depths and angles of the needle.

WHAT DON’T PEOPLE KNOW ABOUT TATTOOING AS WORK? How physically it affects the body. From terrible posture to cramped hands, it can really take its toll on you by the end of the day.

WHAT DO BRIGHTON PEOPLE LIKE GETTING TATTOOED? I’m lucky in that I don’t tend to do a lot of the same tattoos, but one thing’s for sure, Brighton peeps love getting ocean-related tats. I have done many a ‘single-line wave’ over the past few years!

WHAT ARE YOUR TOP TIPS FOR GETTING A TATTOO?

But, on the contrary, I have friends that completely disagree and feel like hand-poking is relentless because of the length of time it takes and the many layers. It’s different for everyone!

Make sure that the tattoo you want fits in with the style of the artist you’re booking in with. I once got asked to do a whole shoulder piece of a realistic rose…IN COLOUR! Come on, lady, have you seen my lil’ insta?

I do massively envy how much a machine artist can achieve in the same time as me, but each dot is done with love, care and time, making it so special and unique.

Also, know what placement and size you want, bring a sugary drink, and don’t feel like you have to fill the silences with questions, let the artist crack on if they need to concentrate.

ARE YOU CONCERNED ABOUT THE EXPERIENCE PEOPLE HAVE? WHAT ARE YOU TRYING TO GIVE THEM BEYOND THE TATTOO ITSELF WHEN THEY COME TO YOU?

WHY DO YOU THINK PEOPLE GET TATTOOED?

Absolutely! Let’s be real… we look at our tattoos and often think

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about the experience of getting them done. It is almost as important to me as the tattoo itself to make this person have a wonderful few hours. Hot drinks, great tunes, fairy lights, happy faces paying visits, hearing them out, connecting, making friends – that’s what it’s all about for me! I want them to leave thinking, ‘what a fun way to spend my day, PLUS I got this rad new tattoo!’

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Once you pop, you can’t stop! It’s a pretty addictive hobby. It’s such a beautiful way to express your character! And if you’re sentimental like I am, it’s another way to keep special moments with you forever.

@in.k.a.rainbow

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TRUNDLE ART

by Lucy Sheehan

Hazel is a Brighton-based artist who came to lino cutting in lockdown. Their surreal prints range from bold, colourful figures to large-scale pieces depicting many-eyed humans in strange, jumbled universes.

Hazel’s pieces are now soughtafter prints, cards and t-shirts, particularly for their attention to texture, expression and an element of dreamlike comedy.

As we discussed, it’s the challenge of a new brief that excites them.

What drew you to art, and lino cutting in particular?

Since I was very young I’ve always enjoyed drawing and painting. It was a constant presence throughout my childhood and early teen years. Like most people, when I got a bit older I started to gravitate towards different hobbies, and at around 16 years old I started to focus more on music and didn’t really consider doing any art for a long time afterwards. About five years ago, I started using Photoshop to make surreal mugs and t-shirts for my friends and birthday images.

In 2020, I started practising drawing again to tattoo myself, and in April 2020 I bought a cheap lino cutting kit because I was bored during lockdown. I am autistic so having something to hyper focus on while in lockdown kept me together. I became obsessed and haven’t stopped since.

There’s an element of the surreal in your work. I really like the tripleeyed people and objects with very human faces. Would you say you’re drawn to the surreal?

Yes, I like the surreal. I love adding extra eyes and making friends pop out of eggs.

I didn’t originally plan on making it surreal, but I was trying to make the images I visualised inside my brain. People told me later it was surreal and I realised I have surreal influences. One of my favourite things to watch have been TV shows by Tim Heidecker and Eric Andre; I think their chaotic style of visual storytelling has rubbed off on me a bit. When photo editing it is easy to mash images together, and then when I started doing non-digital artwork it translated into drawing strange compiled images.

Who are your artistic inspirations?

I am a big fan of Rachel Louise Hodgson (@rachellou_h) who does some gnarly

self-portraits, oil pastel drawings and tattoos. Harriet Popham (@harrietpopham) is an incredible lino artist who does some really precise work I could only dream of achieving. Momoko Usami Cotter (@ momoumomo) creates beautiful, surreal and often interactive ceramic work.

Qualeasha (@qualeasha) works with tapestry and punch needles to create huge and detailed modern art.

In other media, I have been influenced by bizarre and intense TV shows by Tim Heidecker (The Tim and Eric Awesome Show, On Cinema at the Cinema, etc.), Eric Andre (The Eric Andre Show) and Derrick Beckles (Mostly 4 Millenials, The F Spot with Derrick Beckles). Other things I am a fan of are: M.C.Escher, Gabbie Barck (@ gab.artandillustrations), Alexander Jace Kelly (@sweetcowboyblues), Kati Akraio (@ kati_akraio), Eva Malley (@evamalleyart), Adam Perocchi (@readfulthings), Santhelia (@santhelia), Harry Mckenzie (@_harrymckenzie), Cynical Elliot (@ cynicalelliot), weird stock images, books I find in charity shops, knick-knacks and trinkets, nature, birds, cowboys and my friends.

You do some amazing larger pieces that are made of lots of textures and different objects and creatures. How do you go about creating something like that?

I normally draw the prominent objects first, which tend to be things which I like, and from the first object I think of things that connect to it in my head (a bit like word association).

I then plan out ways to clearly represent the objects through lino carving, which requires working out how to use the negative space.

Once the main focus of the carving is done I start working out a background texture that would work best. Sometimes, I like to make it a busy, overwhelming image and sometimes a clear-cut one with a simple background. I used to draw directly onto lino and add whatever came to my mind, working out the composition as I go along.

At the moment, I mostly draw all the pieces separately then combine them to make a big picture before transferring the drawing to lino to carve. I am trying to put more thought into composition of the images at the moment, rather than just freeform.

Larger pieces take a long time but are very satisfying when they are done.

Why do you like working with lino? What are the benefits and drawbacks?

I really like all the planning involved. When I get to the carving I enjoy how slow and focused I have to be, it is very meditative and relaxing. The physicality of it is very enjoyable too, slowly carving away pieces of lino until you make a picture. The drawbacks would be that it is harder to show shading (at least for me at the moment), you cannot change something once it is carved without creatively working around it, and it is difficult to use a lot of colours. I like working within these parameters, the limits are enjoyable to me.

Where would you like to take your art in future? Would you ever get into commercial work, e.g. creating patterns for fabric? Or is it more about creating individual pieces for you?

I don’t know exactly what I want to do with my art. I’m open to anything at the moment. I just want to have fun and like being given briefs of what to make. I enjoyed making the new Projector band t-shirt and I’ll see where things take me next. Message me on my Instagram if you want me to make something: @trundle.art.

S U S TA I N A B L E B U S I N E S S S E R I E S : THE THING THAT COVERS MORE THAN 70% OF OUR PLANET Written by Mila Brazzi, Creative Director of Projects, Brighton’s flexible workspace provider with purpose 1. SUPPORT THE GOOD GUYS I went to the year 3,000, not much had changed but we lived under water – who knew that scientist worked with Busted on that hit track, subtly trying to get us to pay attention to the rising sea levels way back in 2002!

It’s World Ocean Day on 8 June, if you don’t fancy the realities of living under water for real, here’s a few things to know and easy ways to have a positive impact.

Of course you know the ocean has a lot on its plate - oil spills for starters, the plastic crisis and climate change, a hearty main and industrial fishing as the sweet finisher - but did you know that we’ve studied the surface of Mars in more detail than we have the ocean floor? Just another fascinating illustration of how we often prefer to examine outwardly.

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Get behind the organisations working to protect our oceans by listening to what they are saying. Here’s a handful to follow on social media to get you started: • • • • •

Greenpeace @greenpeaceuk 4Ocean @4Ocean Surfers Against Sewage @surfersagainstsewage IPNLF @IPNLF REV ocean @rev_ocean

2. REDUCE YOUR DAILY IMPACT Switch to LED light bulbs in your office and your home. They are the most efficient in every way.

Reduce the temperature on your thermostat. Jumpers are sexy Take one less car journey per week. Walk, cycle, get into public transport

3. USE LESS PLASTIC The stats on plastic usage, production and pollution are so inconceivable, all you really need to know is that we all need to use less. Then there will be less in the sea. How you can use less plastic everyday: Use bamboo. Bamboo biodegrades, unlike plastic. You can replace many popular plastic household items with bamboo alternatives such as…

• • • • •

Toothbrush Cotton buds Tupperware Cooking utensils Organic make up pads (bamboo and washable cotton)

Keep a few tote bags on you as habit, don’t get caught out at the shops guiltily saying “oh actually yes please I do need a bag” Reusable water bottle – make sure to keep it clean Reusable coffee cup – most takeaway coffee cups are non-recyclable or are made of products which are not widely recyclable Metal / paper straws – we all know by now that plastic straws = dead turtles Reusable and refillable deodorant – Wild (brand) for example, provide a monthly subscription in which you get biodegradable refill packets for your refillable roll-on deodorant. What’s more, they plant a tree for every purchase!

Swap your plastic hand soap bottles for refillable dispensers or soap bars Reusable razor – replace the blade rather than the whole razor to avoid regular plastic waste. They are often made from bamboo or metal and are widely available. Estrid, a sustainable razor company, donates profits to charities all over the world Choose a tea bag that is plastic free or try loose leaf tea and a tea strainer – plastic free tea bags include PG tips, Yorkshire Tea, Clipper, Lipton, Pukka, Tea Pigs, Twinings (to name a few) Switch to biodegradable dental floss – such as Wisdom re:new Clean Dental Floss from Superdrug which boasts biodegradable packaging as well as animal friendly ingredients Say no to pre-packaged lunches. Make food at home, or go to an independent deli where things are made fresh daily and so they don’t need to use plastic Get into reusable cling film alternatives Paper-wrapped presents. Use paper tape or Sellotape Zero Plastic (available from most big retailers) and use simple wrapping paper, made of PAPER, not shiny plastic Buy in bulk – often results in significantly less packaging Buy in real life or from online retailers with responsible packaging solutions – not Amazon!

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4. LEARN ABOUT THE UN’S GLOBAL OCEAN TREATY

SIGN THE PETITIONS!

Right now only 1% of all international waters are protected.

Scientists say that we need to protect at least 30% by 2030 to halt their decline and the Global Ocean Treaty is our “once in a lifetime” chance. Sign the petition (on the right, QR code)

5. SUPPORT SUSTAINABLE FISHERIES There’s even more to supporting sustainable fisheries than saving marine life and the livelihoods of fishermen. A recent study calculated that bottom trawling fishing methods could be adding more carbon into our atmosphere than aviation! In other words, by not supporting sustainable fisheries, you are directly putting your future self in harm.

Greenpeace are currently focused on putting pressure on our Government, asking they join the fishermen united against destructive industrial fishing by banning industrial fishing in the UK’s Marine Protected Areas. You can help by signing the petition (second QR code down)

GREENPEACE

Really simple, really important – make sure that the sea creatures you eat have been sustainably or responsibly sourced. Apart from processed fish e.g. fish cakes or fish fingers, all fish packaging and fresh fish counters must state where and how it’s been caught – if it doesn’t say sustainably or responsibly fished… then leave it on the shelf, future you will say thank you.

6. TALK MORE Conversation, education and public awareness are key drivers of marine conservation efforts so it’s fundamental that we keep talking between us. Start by telling someone, one thing you’ve learnt from reading this today.

PROTECT THE OCEAN

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Fr e s h S a l m o n S p a g h e t t i Serves 2 g e n e r o u s l y

This light yet indulgent recipe is perfect for summer evenings when you’re after something a little hearty and luxuriant, but not too heavy.

Easily adapted with non-dairy alternatives to make it a touch healthier (the oatly vegan creme fraiche is a superior alternative in my opinion!) or enhanced with additional elements like asparagus or by throwing in a few prawns!

INGREDIENTS

3.

Spaghetti Salmon - 2 filets or 250g approx Creme Fraiche - 100ml (half-fat or vegan) 1 lemon Fresh parsley Tenderstem broccoli - 100g Fresh chilli as garnish Salt Olive oil

Once the salmon is roughly broken into small pieces, squeeze half a lemon into the pan, along with the creme fraiche and the pasta water, with a dash of salt.

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Stir until the cooking water has evaporated, then add additional lemon and salt to taste.

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When the pasta has a minute to go, toss in the broccoli, finely sliced.

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Drain the pasta and broccoli and stir into the pan with the heat turned off.

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Serve with fresh chopped parsley and a grind of pepper.

METHOD: 1.

2.

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Bring salted water to boil and add spaghetti, preserve a small mug full of cooking water at end.

Meanwhile, heat 2 tablespoons of olive oil in a non-stick frying pan and add the salmon. Cook on medium heat, turning the salmon until it begins to break apart into chunks.

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Across 5 Recipient to look after sadder fools (9)

Cryptic Crossword 1

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13 Tom was announced in novel's opening parts by writer (5)

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16 See 8

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18 See 10 Down 19 Newton, head over heels in love, is regularly setting task for writers (9)

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14 See 4

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10/7/18A Ray's newspap maybe lacks heart (7)

1 Poem inspired by petered out uprising (3) 2/12

Honour butter and it will melt (7)

3 Requests jobs with no advance (4)

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Big blue/green plant (7)

5 Mark supported a tip from Ben to give up (7) 6 Uplifting encounters in some empty respects (7) 9 Jam fan to breathe heavily, wanting 'Start!' (3)

Across 5 Recipient to look after sadder fools (9)

10/7/18A Ray's newspaper editing maybe lacks heart (7) 14 See 4

10/7/18A Ray's newspaper edit maybe lacks 17/11/18D Lucky fish found in Castle heart (7) 5 Recipient to look9 Donkey after sadder fools (9) Espie's opening (9) swallowed by chasm (5) 14 See 4 7 See 10 Down 11 See 17 Down 12 See 2 Down 15 Assistant brought up flower (4) Tom was announced in novel's opening 8/16 Are sardines 13inappropriate for parts by writer (5) starters? I doubt16 it!

17/11/18D Lucky fish found in C See 8(2,2) 18 See 10 Down Espie's opening (9) 9 Donkey swallowed by head chasm (5) 19 Newton, over heels in love, is

Across

7 See 10 Down

8/16 Are sardines inappropriate for starters? I doubt it! (2,2)

15 Assistant brought up flower (4)

SUDOKU

11 See 17 Down 12 See 2 Down

regularly setting task for writers (9)

Down 1 Poem inspired by petered out uprising (3) 2/12

Honour butter and it will melt (7)

13 Tom was announced in novel's opening 3 Requests jobs with no advance (4) parts by writer4/14 (5) Big blue/green plant (7) 16 See 8 18 See 10 Down

5 Mark supported a tip from Ben to give up (7) 6 Uplifting encounters in some empty respects (7) 9 Jam fan to breathe heavily, wanting 'Start!' (3)

19 Newton, head over heels in love, is regularly setting task for writers (9) Down

EASY HARD 1 Poem inspired by petered out uprising 58

(3)

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FILM LISTEN

FRI 10 JUNE // CINEMA In the outskirts of London, Portuguese couple and parents of three, Bela and Jota, struggle to make ends meet. When a misunderstanding arises at school with their deaf daughter, the British social services grow concerned for the safety of their children. The directorial debut of Ana Rocha De Sousa, Listen portrays the tireless battle of these immigrant parents against the law and a complex system to keep their family together. Founded in the rich tradition of British social drama films, it highlights London’s diversity and present a new way of looking at the controversial subject of forced adoption and the tireless struggle parents go through to protect their children.

LIGHTYEAR FRI 17 JUNE // CINEMA

Finally, for a whole generation OF kids who spent hours bellowing: “TOOO INFINITY, AND BEYOND!”, we get to explore the back-story of Toy Story’s heroic space ranger.

Keke Palmer, James Brolin, Peter Sohn, Efren Ramirez and Chris Evans voice this lush animation, which looks at the intergalactic inspiration behind the Buzz Lightyear toy. Our square-jawed saviour locks lasers on the fiendish Emperor Zurg - his most infamous adversary. Attempting to fix a mistake which left him and his crew marooned on a hostile planet, Buzz does his first test flight for Star Command. This throws him 62 years into the future, where he inadvertently becomes mankind’s last hope.

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JURASSIC WORLD: DOMINION FRI 10 JUNE // CINEMA

The sixth instalment in this monster franchise brings us even closer to our dinosaur cousins. Directed by Colin Trevorrow, and staring Chris Pratt, Bryce Dallas Howard, Laura Dern, Jeff Goldblum, Sam Neill, BD Wong, Omar Sy, Isabella Sermon, Justice Smith, and Daniella Pineda, it closes the Jurassic World trilogy. We jump to four years after the resort of Isla Nublar has been destroyed and Lockwood estate incident which followed. Dinosaurs now live, and hunt, alongside humans all over the world. This fragile balance will reshape the future and determine, once and for all, whether human beings are to remain the apex predators on a planet they’ve been forced to share.

DASHCAM

FRI 3 JUNE // CINEMA

Breathing new life into the found-footage genre, DASHCAM was shot from the perspective of either a smart phone or a car’s dashboard camera. A woman travels to the United Kingdom to escape COVID-19 lockdowns in America. She spends her time filming a livestreamed show, only to be drawn into a horrific situation when she let’s a blood-soaked stranger into her car. This unhinged horror flick takes a robust look at certain contemporary social attitudes, blended in with some savage comedy. This is going to be a controversial release, but it’s undeniably inventive and relevant. Perhaps the real monsters are way more human than you once imagined. Or maybe not.

FILM TRIVIA DID YOU KNOW:

Did you know Jim Hanks fills in for his brother Tom Hanks as the voice of Woody during the Toy Story Sequence at the start of the film. Jim would also later voice Woody in a Number of Video Games whenever his brother is unavailable to do the job. bn1magazine.co.uk

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THE BLACK PHONE FRI 24 JUNE // CINEMA

Director Scott Derrickson (writer of Sinister, The Exorcism of Emily Rose and Doctor Strange) returns to his horror roots and unleashes a seriously scary new drama. Finney Shaw is a shy, but clever, 13-year-old boy. When he’s abducted by a sadistic killer and trapped in a soundproof basement, a disconnected phone on the wall begins to ring, Finney discovers he can hear the voices of the killer’s previous victims. And they are dead set on making sure that what happened to them doesn’t happen to Finney. Four-time Oscar nominee Ethan Hawke adopts the most sinister role of his career in this compelling and terrifying thriller.

ELVIS

FRI 24 JUNE // CINEMA “And when you smile the world is brighter, you touch my hand and I’m a king.” Baz Luhrmann offers an epic biographical musical drama based on the absolute king of Vegas. A brilliant cast, including Austin Butler, Tom Hanks, Helen Thomson, Richard Roxburgh, Olivia DeJonge, Luke Bracey, Natasha Bassett, Xavier Samuel and Kodi Smit-McPhee, looks at the meteoric rise of a humble small-town boy as he becomes the most famous name on the planet. Luhrmann brings his trademark panache to this lavish charting of the life and career of music and movie’s most iconic star, as well as exploring Presley’s complex relationship with his mercurial manager Colonel Tom Parker.

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FILM

PLEASURE FRI 17 JUNE // CINEMA

The hugely acclaimed Ninja Thyberg’s debut feature is a journey into the American porn industry. The young Bella Cherry arrives in Los Angeles with dreams of becoming an adult film star, but she soon learns that fame won’t come easy. This naïve, but confident, girl from a small town in Sweden begins to navigate the challenging world of the porn industry, determined to get more significant roles and video views by pushing herself to ignore personal boundaries and limits. This mesmerising and uncompromising film, based on Thyberg’s own 2013 short, offers a human and humorous portrayal of a male-dominated world as observed from a female perspective.

FAYA DAYI FRI 24 JUNE // CINEMA

In Sufi tradition, it is said chewing khat, a stimulant green leaf, will show you the way to eternity. It predates the popularising of coffee and is often used in a similar social context among some cultures. Jessica Beshir’s debut feature takes a cinematic trip into the mountains of Ethiopia where a plant chewed for centuries as part of religious meditations has become the country’s most widespread and lucrative crop. Existing at the sweet spot between legend and reality, this hypnotic and incredible black and white documentary examines the numerous experiences of the makeshift economy surrounding this tiny yet powerful leaf.

FILM TRIVIA DID YOU KNOW:

IMDb states that Joe Hill, the writer of the book the film The Black Phone is adapted from, is the son of long time horror writer Stephen King.

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TV GUIDE PHYSICAL

P-VALLEY

Starring Rose Byrne and created by Annie Weisman, this global comedy hit returns to the idyllic but fragile beach paradise of sunny 80s San Diego. A seemingly dutiful suburban housewife is supporting her husband’s bid for state assembly. But behind closed doors she has her own brutal take on life, which the world rarely gets to see.

She’s also battling a complex set of personal demons relating to her self-image - until she finds release through the unlikeliest source: the action-packed world of… aerobics. This starts an epic journey from being a stifled, overlooked enabler to a powerful, confident lifestyle guru.

Created by Katori Hall. And adapted from his play Pussy Valley, this robust drama returns for a third season. We check back in with the misadventures of a group of strip club employees stuck at the wrong end of Mississippi. Sharp, stylish and unashamed, it features a brilliantly diverse cast who eschew raw titillation to offer a range of captivating performances. Amongst the lurid economics of exploiting dirty old men, there’s numerous scams involving the shady inhabitants of the surrounding swampland. It features intriguing, wellrounded and realistic characters, all set on their own paths amongst this most seedy of environments – alongside some physics defying pole-dancing.

THE BOYS

MS. MARVEL

Everybody’s favourite dysfunctional, morality-free superhumans are back for a third outing. There are incredible new characters, needlessly bloody explosions and more intrigue than you can shake a stick at, as our corporately-compromised costumed characters deal with a prospective new generation of evil opponents. Congresswoman Victoria Neuman was revealed to be the mastermind behind all the recent brain-exploding attacks, but she’s not going to be politely keeping her head down. Just to complicate matters, there’s also the ‘return’ of the very first superhero - Soldier Boy. Get ready for more sex, swearing and stupidity, and perhaps even the premiere of the crew’s stupid blockbuster film, Dawn of the Seven.

The Marvel Cinematic Universe expands once again, with this bold and aspirational entry into its canon. Kamala Khan is a teenager from Jersey City who is obsessed with the Avengers, particularly the omnipotent Captain Marvel. When she gains her very own superpowers, her life becomes a constant balance between crimefighting and navigating adolescence. An avid gamer and a voracious fan-fiction scribe, this youngster feels like she doesn’t fit in at school and sometimes even at home— until she acquires the abilities she’s always dreamed of. Suddenly she’s forced to exist between fantasy and reality, while facing criticism from those who barely know her, and those who should know her best.

FRI 3 JUNE APPLE TV+

FRI 3 JUNE AMAZON PRIME

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FRI 3 JUNE STARZPLAY

FRI 8 JUNE DISNEY+

FOR ALL MANKIND

BECOMING ELIZABETH

Apple’s ambitious and woefully unrecognised alternate-history space drama takes another giant leap and sets its sights on Mars. Working on the premises that the space race never ended, it took the Russians and Americans to the Moon and the brink of destruction. Now there’s a new range of problems to face. Is there a spy in the program? What will be the ramifications for disobeying orders? And who is the new player on the field, as attentions turn to the Red Planet? The only limitations are NASA’s ambitions and self-belief, as a brilliant group of scientists and brave astronauts risk everything to conquer space.

Created and lead written by Anya Reiss, we dive into a visceral, dangerous, and very bloody world. It’s a time in which every man or woman of the court is on the wheel of fortune. Judgements are rendered quickly, and no one is truly safe. Becoming Elizabeth is the fascinating, untold story of England’s most iconic Queen - but this is Elizabeth as you’ve never seen her before, a teenager finding her way in a treacherous world. With no clear heir, the death of King Henry VIII has sparked a dangerous scramble for power. His surviving children find themselves between the great families of England and European powers

THE UMBRELLA ACADEMY

LOOT

It’s time to discover what happens between the Umbrellas and the Sparrows, as Netflix’s ludicrous but brilliant superhero caper comes back for more epic banter, ridiculous action sequences, awesome music and awkward family dynamics. After preventing doomsday in the 60s, our disparate siblings are convinced they prevented the initial apocalypse and fixed the timeline once and for all. But there’s a new range of challenges, losses and surprises to navigate, along with an unidentified destructive entity wreaking havoc in the Universe.

And they have to convince Dad’s new (and possibly better) family to help them put right what their arrival made wrong.

Billionaire Molly Novak has a dream life, complete with private jets, a sprawling mansion and a gigayacht. But when her husband of 20 years betrays her, she spirals publicly and becomes easy tabloid fodder. Reaching rock bottom she learns, to her surprise, that she has a charity foundation. It’s run by the no-nonsense Sofia, who pleads with Molly to stop generating bad press. With her devoted assistant Nicholas by her side, and with the help of Sofia and team — including mild-mannered accountant Arthur and her optimistic, pop-cultureloving cousin Howard, Molly embarks on a journey of self-discovery.

Giving back to others might be what she needs to get back to herself.

FRI 10 JUNE APPLE TV+

WEDS 22 JUNE NETFLIX

SUN 12 JUNE STARZPLAY

FRI 24 JUNE APPLE TV+

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1 Most strange (6)

2 See 11 Across

5 Longest or shortest day of the year (8)

3 Went wrong (5)

9 Put in a new context (8)

4 Japanese batter (7)

10 See 11 11/10/2 21 across set on a 5 across (1,9,6,5) 12 Sort (4) 13 Signs that a person shouldn't be trusted (3,5) 16 String-shaped food (6) 17 Belief in an interventionist God (6) 19 Talk / opposite / trainers? (8) 21 Compete against (4) 22 Shiny make-up (4,6) 25 Understands / angels (anag) (6) 26 Something the course of which never did run smooth (4,4) 27 Stately (8) 28 Call for a repetition of a performance (6) 66

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Crossword provided by @thompuntoncrosswords - answers at www.bn1magazine.co.uk

9

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5 Deriving pleasure from the giving and receiving of pain (15) 6 Time far in the future / marathon?

(4,3) 7 Circus apparatus (9) 8 Propels through the air at a high speed (9) 14 Senseless or compulsive repetition of words heard, occurring in forms of mental illness (9) 15 11,10,2?? (5,4) 18 Attitude (7) 20 God of water (7) 23 Purple flower (5) 24 Cut (5)

XXX

Lucy Wertheim A Life in Art & Reuniting the Twenties Group

11 June to 25 September 2022 townereastbourne.org.uk @TownerGallery

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