GWENNO POPPY ACKROYD PUB IN THE PARK THE COAST IS QUEERPlus... MAGAZINE | SEPT 2022 BRIGHTON // SUSSEX // LONDON MUSIC FOODEVENTSFILMRECIPES ARTGUIDE STYLE MARK SIMONTHOMASRIMMER Anastacia CULTURE
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If you do find your household drifting into financial trouble, don’t stay silent. No self-respecting business wants to see their customers destitute, whether they’re a commercial bank, credit card corporation or energy company. If you’re struggling with debt, do tell someone it’s becoming
On a lighter note… Q: What did the Disaster Capitalist say when they heard inflation was at an all-time high?
bn1magazine.co.uk 5 30 42403632302823201816148-12 666260585656545250484644PoppyNews Ackroyd Simon Rimmer PubAnastaciaBIMMInThe Park The Coast Is Queer Simon AdamSouthMarkGwennoDayThomasEastDanceFrost The Filter Generation Tim Crosland The Ivy Asia Lost In The Lanes BreakfastOeuf Club QuickFilmTVCrypticRecipesRecipesCrosswordGuideGuideCrosswordEDITORSDAYSIMON
The causes of this sorry situation are manifold, and we could argue about the best solutions or who to blame. So, let us just offer one small piece of advice.
Photo Credit Tony Pletts
Usually, we’d use this humble patch of white space to print something light-hearted - a whimsical piece of nonsense to gently ease the readers into a new month. Times are getting quite serious, as the cost of living crisis begins to spiral.
LETTER:
unaffordable for you. If you need time of flexibility to get through the month, they should be able to help. There is nothing wrong with needing some assistance. Do not be ashamed.
A: That really peaks my interest! Have a good month!
6 bn1magazine.co.uk CONTRIBUTORSEDITORINCHIEF: CHRIS CHRIS@BN1MAGAZINE.CO.UKSADLER COVER: ImageANASTACIABy©Peter Svenson EDITOR: STUART STUART@BN1MAGAZINE.CO.UKROLT SUB EDITING TEAM: THOM PUNTON MAGAZINE DESIGN: AMELIA HARRIS GENERALNEWSDESK/ENQUIRES: INFO@BN1MAGAZINE.CO.UK BN1 MAGAZINE UNIT 28. FLOOR 6 NEW ENGLAND HOUSE NEW ENGLAND STREET 01273BN1BRIGHTON.4GH022991 CONTRIBUTORS: TALLULAH TAYLOR AMY KYLEMILLIELYDIASTANBOROUGHWILKINS(AKA@MMINDFULMILLS)GARLAND BN1 IS A CULTURE, COMMUNITY AND LIFESTYLE PUBLICATION DISTRIBUTED ACROSS THE WHOLE OF 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 AND SEE HOW WE CAN INTERNSHIPSHELP! AND JOB OPPORTUNITIES: Want to become a part of the BN1 Magazine team and gain valuable media skills or submit articles, content and im Variousages? internships are avaliable for writers, photographers, marketing, sales, creative types and enthusiasts to join Brightons leading culture and lifestyle magazine! just email your CV and a little about yourself to: info@bn1magazine. Allco.ukrights reserved including rights of reproduction and use in any form by any means, including the making of copies by any photo process or by any electronic or mechanincal 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. ADVERTISING: CONTACT: JENNY RUSHTONHEAD OF SALES / JENNY.RUSHTON@BN1MAGAZINE.CO.UK07917752133 @bn1magazine
Book Now The Downs Hotel HOTEL, PUB & DINING Now open following a £1 million refurbishment 01273 076518 | Warren Rd, Brighton BN2 www.classicinns.co.uk/downs-hotel-brighton6BB
CIRCUMNAVIGATE
Sun 11 Sept is a day of Permaculture Discovery, with orchard tours around the National collection of Heritage Sussex apple varieties. You’ll find out more about a range of greener lifestyle courses, visit their own growing plot and attend an exclusive FREE screening of the Origins of the Apple film. This event will be part of Autumn Arrival: Celebrating the Heritage of Stanmer Park. Rounding the season off on Sun 18 Sept is the Permaculture Fete. Join residents in the beautiful Stanmer Village and Home Farm Orchard for Stanmer Park’s very own Village Fete A simple, fun, family event with food, music, stalls and much more. Our cider bar will be selling juice and cider made by our Scrumping team from apples picked from a tree near you. Find out more at: www.brightonpermaculture.org.uk
Film Highlights include:
Splashing around the UK this autumn, the Ocean Film Festival World Tour comes to Brighton Dome on Thu 29 Sept. This travelling film event is pack with mesmerising ocean adventure, bringing together a new collection of the world’s best oceanthemed films at venues around the country. From big wave surfing to tiger shark conservation, the Ocean Film Festival is a cinematic celebration of the planet’s oceans, with inspirational short films from above and beneath the waves. “Dive into a night of wild seafaring voyages and astounding marine life – without getting your feet wet!” says tour director Nell Teasdale. “We’re so excited to be bringing this brand-new collection of captivating films to ocean- loving audiences around the UK – and we guarantee you’ll be inspired to have an ocean adventure of your own too.”
TIGER SHARK KING
Sun 4 Sept sees the Permaculture Picnic, where participants will be walking from their local community orchard to Stanmer Park for a picnic. Guided walks will be leaving from orchards in Bates Estate, Bevendean, Coldean, Hollingdean, Moulsecoomb and Patcham, and Racehill at 1pm. Bring an apple to donate to their special recipe PermaFest Juice and enjoy a day of family fun, storytelling and apple juicing with your picnic in our 75-year-old Home Farm Orchard.
BRIGHTON NEWS
SeahorsewithPierbeneath-SavoieGianna CaseyJulesCreditPhoto
From the film - Eyre
More than 20 years ago, conservationist and diver Jim Abernethy discovered the ‘affectionate’ side of large predatory sharks after removing a fishing hook from the jaws of a tiger shark. Since then he has removed thousands of hooks from sharks in the warm, clear waters off the Bahamas, and has brought divers to safely encounter these apex predators with the goal of de-stigmatising sharks as mindless killers. To find out more, watch the trailer and book tickets, visit www.oceanfilmfestival.co.uk.
OCEAN FILM FESTIVAL WORLD TOUR 2022PERMAFEST
The Ocean Film Festival originated in Australia, with the aim of inspiring people to explore, respect, enjoy and protect the oceans. As well as captivating films, each screening will see a free prize giveaway to win ocean-related goodies. The UK tour works with two fantastic charity partners: the Marine Conservation Society and Surfers Against Sewage.
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This September sees the first ever PermaFest: A trio of Sundays jam-packed with apple-tastic, permaculture-perfect, family-friendly
Allactivities.events are based in Home Farm Orchard and the Fruit Factory in the beautiful Stanmer Park. Once again, Brighton Permaculture will be juicing apples and have their regular stall outside the Fruit Factory. Pick up some delicious fruity treats: freshly pressed juice, jams, chutneys and cider as well as plants and teas from our permaculture plot. You can also find out more about volunteering, donating apples for juicing and their amazing range of projects which support a greener lifestyle.
Father of three Brendon Prince, from South Devon, attempts to become the first person ever to stand-up paddleboard around mainland Britain – a challenge that many have tried, but none have achieved. Circumnavigate joins Brendan on his gruelling journey around Britain’s spectacular and often treacherous coastline, in an attempt to break five world records and raise awareness for water safety education.
Engaging with communities through creative workshops and activities, the annual transformation of the Main Gallery at Brighton’s Phoenix Art Space into a dedicated space which celebrates local art projects takes place this month.
Takeover:CommunityJourneys is at Phoenix Art Space, 10-14 Waterloo Pl, Brighton BN2 9NB on Sat 3 - Sun 25 Sept (Weds – Sun) For more information, head to: www.phoenixbrighton.org/Events/community-takeover-journeys
“It’s such a pleasure to be able to share our lively community engagement programme with the public,” says Community & Learning Programme Manager, Chloe Hoare. “Much of what we do takes place behind the scenes or outside our building, and the Community Takeover exhibition is a fantastic opportunity to make this important work visible.
Journeys will also host a programme of supporting workshops for everyone aged 5yrs+ is also taking place throughout September with artists Daniel Locke, Hannah Chater, Jenny Staff and Leap Then Look.
BRIGHTON NEWS
Activities include talks and presentations from artists & arts organisations, family fun days, short courses, one-day events & drop-in Communityworkshops.Takeover:
As part of Community Takeover: Journeys, Leap Then Look re-creates some of the activities which took place with the young people attending the Extra Time Project at the Russell Martin Foundation. Using their innovative and unconventional approach to making contemporary art, Leap Then Look offered the young people new ways of thinking about what art can be and how it can be experienced. Visitors to the exhibition are also invited to reflect on these topics as they engage with gallery-based activities such as drawing to music, designing your own star, and hand dancing.
“Our new base in Brighton will feature some of the best equipment from Canon who are also looking forward to mentoring our students.”
For more information please visit www.semmuk.com
PHOENIX ART SPACE HOSTS A TAKEOVERCOMMUNITY
A new specialist music and media college opening in Hove this month, to support vulnerable and disadvantaged young people.
The college is equipped with a stage, recording studio and radio and podcast suite, and students will be able to access monthly work experience opportunities and gain the skills and qualifications needed to get into further education or the music business.
“Visitors will have the chance to learn about what we’ve been doing over the past year, try out some fun, creative activities in the gallery or come along to a free workshop. We’re very much looking forward to welcoming everyone to Phoenix.”
SUPAJAM TO LAUNCH NEW MUSIC COLLEGE
Established as a charity in 1995 and located in the centre of Brighton, Phoenix Art Space provides and maintains a range of creative opportunities including: 100 affordable artists’ studios, two public galleries, around 15 free exhibitions per year. The learning and community engagement programme at Phoenix Art Space offers everyone the chance to be creative.
“We are so excited to be finally opening in Brighton,” said Court. “It’s been a long-time dream for both Nick and myself and we are thrilled to be bringing SupaJam to such a diverse and musical area.
Run by the award-winning education provider Supajam, the post-16 specialist college will be based at 47 Cromwell Road and on Mon 5 Sept to a new cohort of neurodiverse students seeking an alternative to mainstream education.
Founded in 2013 by David Court and Nick Stilwell, Supajam aims to help vulnerable young pceople who have previously fallen out of formal education to engage, achieve and progress in a unique, inclusive learning Theenvironment. Brighton and Hove college is the first Supajam base to open in Sussex and the third to open in the South East, alongside colleges in Swanley and Canterbury in Kent. Students in Brighton and Hove will be offered additional modules in music journalism and photography.
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Community Takeover: Journeys runs on Sat 3 – Sun 25 Sept, and reflects on the past year’s activities, recent projects, people we have met and experiences we have shared. Everyone is welcome to come along to the exhibition, find out more about how the gallery engages with the communities around it or even get involved in a creative activity or Theirworkshop.journey takes you through a neighbourhood star-map to explore drawings of constellations created by residents of the Edward Street Quarter. These artworks were made in a series of workshops with artists Hannah Chater and Daniel Locke; and have inspired artist Bruce Williams’ new public artwork in the area. Also on display are pieces created by members of The Art Club, a collaborative programme involving the Probation Service and Sussex Partnership NHS Foundation Trust. Visitors are invited to explore a library of book-works that were made by members of The Art Club during workshops with artists Daniel Locke and Jenny Staff. Sit and spend time with these books, and experience the artistic journey that has been shared by everyone involved in the project.
SupaJam students are given exciting opportunities for industry work experience, personal interactions with industry professionals and are supported to prepare for life beyond college. One of their key partners is the Black Deer Festival of Americana in Kent, who in 2018 gave the college its own stage, becoming the backbone of an extensive careers programme for students both during and after their studies.
David Blandy presents new exhibition at Towner Eastbourne
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SUSSEX NEWS
The exhibition also includes a collaboration with Fine Art students from East Sussex College Lewes. The students worked closely with Blandy to create an outsized children’s fantasy. Together they reimagined key scenes from the film, enlarged and built out of cardboard, from observatory domes, mangrove roots to figures, all rendered in the style of theatre flats, that will populate the ground floor studios.
A new exhibition by David Blandy will open at Towner Eastbourne this autumn. Running on Tues 20 Sept - Sun 2 Oct, this free show will encompass new video works and an immersive cardboard installation created in collaboration with fine art students from East Sussex College Lewes. The Edge of Forever (2022) is a new video work that will premiere at Towner that centres on two questing children seeking to unravel the mysteries of a damaged world in a landscape loaded with symbolism. Their journey begins at Cuckmere Haven, Sussex, with its cliffs formed from the remains of plankton from 100 million years ago, continues to a Cold War era observatory and concludes with their visions of the cosmos. In this work, Blandy investigates connections between specific sites, personal histories and geopolitical events to reflect on our place in the world. These ideas are tackled through the lens of his grandfather’s experiences interred in Japanese POW camps during the Second World War in Singapore and Taiwan, merging the personal with larger shared histories. These histories are intimately tied to the South Coast of England; from the abandoned telescopes of Herstmonceux Observatory in Hailsham and the winding meanders of Cuckmere Haven, a landscape steeped in the history of World War Two; to the sci-fi of HG Wells that preempted many of our technological advances.
“How do we come to terms with the past?” asks David Blandy. “And how do we build a better future on a broken planet? Scientist and writer Rachel Carson implored us to see the beauty in moments of nature, but we also have to find ways to reconcile ourselves with the world as it is, to find ways to live and die together as the world changes and, as author and philosopher Donna Haraway says, to “Stay with the Trouble”. That’s why I want to surround the viewer with multiple types of realities, from science fiction to collage poem to cardboard monoliths, to create a multidimensional set of stories that repeat and resonate with each other”
Soil, Sinew and Bone (2022) is a second new video work that features in the installation. Working with film footage from Screen Archive South East, spanning the 1930s to the 1970s, Blandy charts the protracted revolution from the age of horse power to the Atomic cold war era. The film reflects on how humanity has now found itself on the brink of environmental collapse. Mechanization and increasing industrialisation, in the field and the factory, becomes a shadow of the automation of the present age. Much of the archive footage was shot around the Eastbourne area, and in the South Downs in Sussex. The work has been created as part of the artist’s residency at Towner and alongside the two video works, Blandy will present his research into the relationship between food production and weapons development, space exploration and ecological disaster.
Collecting and exhibiting contemporary art for nearly 100 years, Towner Eastbourne presents an ambitious and high-quality programme of historic, modern and contemporary art through temporary and collection-based exhibitions, talks, events and creative activities for as many as 160,000 visitors each year. Founded in 1923 as a result of a bequest by Alderman John Chisholm Towner to create ‘an art gallery for the people’, this founding ethos remains at the heart of Towner’s mission.
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A series of activities and events are planned in Dover next year, celebrating Mercedes’ Gleitze, the town’s Channel Swimming histories and the relationships between local people and the sea, produced with Future Foundry and Dover Museum.
For her exhibition in Brighton, Vanessa has collaborated with artist and musician Ruth Clinton in creating a new film installation. In this new work for Fabrica Vanessa will give visitors a unique insight into the experience of long-distance swimming. The artwork maps both the inward monologue and the physical journey of the open water swimmer.
A new exhibition by Dublin-based artist Vanessa Daws, At Home in the Water will tell the fascinating story and history of sea swimming in Brighton, alongside that of Mercedes Gleitze (1900–1981), who is the artist’s inspiration for the new artwork. The exhibition will take place from ember 2022 at Fabrica, Brighton. Born in Brighton in 1900, Mercedes was the first Englishwoman to swim the Channel in 1927 and was a huge celebrity in her day, lauded for her recordbreaking endurance swims. With the recent revival of public interest in sea swimming and its health benefits, especially during the Covid-19 pandemic, this has reinvigorated interest in the swimmer and her achievements. In 2022, a blue plaque was unveiled at Mercedes’ place of birth at 124 Freshfield Road, Brighton to a large and appreciative crowd of sea swimmers and other supporters.
SALWT. Cork Endurance Swim Photo Brian Cregan SALWT Swimposium ©Brian Cregan SALWT Donaghadee Lighthouse projection.
Visually, the film hovers above and below the waterline, inviting us along with the swimmer to wonder what strange fascination the sea has for us, why we choose to immerse ourselves in it and feel compelled to try to navigate it. “In part, the film is documentary footage of a marathon swim by Vanessa,” says Fabrica Director, Liz Whitehead.
SUSSEX NEWS
Running at Fabrica on Sat 15 Oct – Sun 27 Nov, At Home in the Water at Fabrica is one element of an international ongoing project called Swimming a Long Way Together, a multi-sited three-year arts project produced by Vanessa Daws and curator Rosie Hermon. The project follows and celebrates Gleitze’s notable endurance swims in Ireland, Northern Ireland and England, connecting with local swimming groups along the way and raising awareness of Mercedes’ sporting achievements with each Swimmingevent.aLong Way Together has emerged as a project from Vanessa Daws’ own long-distance swims, which include the 22km length of Lough Mask in County Galway. It was during Vanessa’s preparations to attempt to swim the English Channel in 2019 that she first came across Gleitze’s fascinating story. Vanessa’s art practice sits at the intersection of art, swimming and place and the conversations connected to that, as well as the sensation of being in open water. These first-hand swimming experiences are always the starting point for her projects. Mercedes Gleitze undertook many challenging and pioneering swims in the 1920s and ‘30s, in Ireland, Britain and beyond. She was the first British woman to swim the English Channel and the first person to swim the Strait of Gibraltar. She also completed record-breaking endurance swims of up to 47 hours in public swimming pools. From humble origins Mercedes became a celebrity through her swimming achievements, with huge audiences assembling to cheer her on or to greet her whenever she emerged from the water.
Also in June 2023, an endurance swim relay and performance is planned for the newly built (May 2023) Sea Lanes Centre, Brighton. The event reimagines Mercedes Gleitze’s 47-hour endurance swimming record at Worthing Corporation Baths in 1933, as a 24hr event involving local swimmers, musicians and performers. For more information, visit: www.fabrica.org.uk
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Music played a central role in her swims as an accompaniment and support, often helping to create a festive atmosphere on the pool deck and raise her spirits as she swam vast stretches of open “Whenwater. passing a body of water, be it pond, lake, river or sea, it’s hard for me not to resist the urge to take a swim,” says Daws. “My work investigates where this drive to swim long distances comes from, the desire to keep on swimming for hours upon hours on end without stopping. Is it the sheer thrill of the unknown, to feel the water on our skin, the cold through our body, to adapt our breathing and feel we exist.”
Like Mercedes Gleitze, Vanessa often invites musicians and other performers into her projects.
“Vanessa swims continuously, whilst Ruth, plays the pump organ from a boat, accompanying her on her journey. The labouring of the pump organ, the pushing of its pedals for hours, mimics the kicking legs of the swimmer. Its music, like the swimmer’s movements, is produced through physical exertion, and the regular intake of breath.”
At Home in the Water celebrates first British woman to swim the Channel
Photo by Brian Cregan Vanessa Daws
bn1magazine.co.uk 13 The Dance Space, BN2 9AS | @southeastdance | southeastdance.org.uk Built in Brighton & Hove for dancers like you
Photo Credit Kat Gollock
BN1 CHATS WITH.... POPPY ACKROYD
What I love about exploring the rest of the instrument is that you can get so many different sounds with a similar kind of resonance. They all still sound like the piano and blend together so well. It feel like those sounds are meant to be used together. As you suggest it is also about seeing the limit of what sounds the instrument can produce and I think I have only really scratched the surface.
Poppy Ackroyd - Sun 2 Oct Attenborough Centre for the Creative Arts
I am currently rehearsing for the tour next month but I am also thinking now about where I want to go next. I have big plans for the next project but I need to find a way to make these realistic and possible. For now it is quite nice to dream!
Using extended technique is not a new idea at all but often it is used in a more experimental context. Something I have always loved in electronic music is the arrangement of the more wonky and imperfect sounds into something more intricate and delicate. This is something I have tried to do with sounds from the body or inside of the pianocelebrating the imperfect sounds and arranging them into something beautiful whilst still keeping their original qualities.
Do you get a lot of support and understanding from your record companies, or are labels more open to diverse music now?
Although you’re predominantly known as a solo artist, do you enjoy working with other players? Does it bring a new dimension to your creative process, or even influence how you look at your own output?
It can be a challenge. Some tracks just do not work live as some of the sounds I have made in the studio cannot be recreated live or if I was to try and create everything on the track in front of an audience we would be there looping and layering for hours! I have always tried to find a way to deliver something close to the original but with as many elements live as possible.
This tour will be the first one without a visuals show which has been part of my live show since the very beginning. My latest album Pause was so intimate and quiet I wanted to reflect that in the live show and am stripping things right back.
Pause was really taking things back to basics. Ten tracks of solo piano with some extended technique - mainly plucking, strumming or muting the strings. In some ways it is the simplest thing I have done but interestingly it was the hardest to pull off. I have just finished a sheet music book for Pause and a project that takes some of the tracks on the album in a new direction. Both of which should be out in the next few months.
All of those influences have organically come together. Even though it sounds like it at times I have not used any electronic sounds in my music, everything I have written up til now has been made using acoustic instruments, I just use electronic means in order to manipulate, compose, and structure my ideas.
My label One Little Independent are totally wonderful. I am so supported in whatever I want to do and I feel really lucky. They just really love music.
You blend both contemporary classical and electronic music. Are the two forms closer than people might realise? For starters they both involve a lot of repetition and progression.
Does the use of machines in your practice allow for greater freedom? It does seem like classical music still has a set of selfimposed rules. Writing in the way I do gives so many more possibilities than just two hands on a piano. I tend to start with an idea and then record a lot of improvisation - percussive, harmonic and melodic. I then mine those recordings for little hidden gems - little riffs that I would have forgotten about or ‘mistakes’ that are more interesting than anything intentional. Being able to play with the sounds themselves and quickly try out new structures or other ideas is also invaluable. I have never really set out to write classical music, I am just writing what comes to me and what I want to hear. There are no rules it just has to be something that I would want to listen to or to share.
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On my previous release Resolve I invited guest players to record for the album and it completely opened up the sound - percussion, cello, woodwind and brass. This is something that I will absolutely be doing again and exploring further. I couldn’t do this for Pause as we were all in lockdown. I love performing with others. I have been part of Hidden Orchestra for nearly 20 years now, I have had to miss the last few shows but I will be with them again in November at The Queen Elizabeth Hall for the London Jazz Festival. There’s a strong visual aesthetic which accompanies your work. Do you see this as a core part of your output, or is it merely complimentary? My father and brother are artists and my mother owns an art gallery so I grew up with visual art around me all the time. It is in my blood and I find it really inspiring. I have a really strong feeling of how I want things to look and I think creating a visual world around a project is really important. When the album starts to come together I tend to start imagining the whole package, this is a really fun part of the process. In recent years I have also started making my own etchings for the cover artwork.
What’s next for you? Are you going to continue with electronic manipulation in your music, or are you taking it back to basics? Have you even started reaching the limits of what you can do?
Your music is undoubtedly cinematic in it’s scope. Do you have ambitions to move into film scores if given the opportunity?
Is there a challenge to bring your compositions to the live arena? Or do you see it as an opportunity to evolve the work?
I am not intentionally blending those two forms, the music I make is a direct result of studying classical music from a young age while listening to a wide variety of music, in particular electronic music.
I have just finished a soundtrack for an animation by the wonderful Ainslie Henderson which will come out later this year or next. I absolutely loved working on it, although it is a very different way of working - my instruments were pine cones, apples and wine glasses as well as the piano and violin. Other things have come up but I am looking for the right fit. I will definitely do more if the right projects come along.
I was actually about to start work on my first feature film when the pandemic hit but because of that the project sadly never happened.
You use your instruments in some untraditional ways. Is this part of a desire to become closer with them and explore the limits of the sounds they can produce?
BN1 chats with British composer Poppy Ackroyd ahead of her show at the Attenborough Centre on 2 Oct. A Live performance of the stunning album Pause, written during the pandemic and shortly after the birth of her first child, the title refers to the feeling of normal life being temporarily put on hold.
RIMMERSIMON
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As Pub in the Park comes to Brighton for the first time, Simon Rimmer chats to BN1 about the importance of saying “yes” to new experiences
This sense of risk is what initially made Simon so triumphant in getting onto television. He first worked for Granada Breeze in 1999, when a customer and producer of the channel asked him to do something about vegetarian food. He explains that he thought it would be good promotion for his veggie restaurant Greens, but believed it was his authenticity that made him victorious. “I wasn’t trying to be anything or anyone, I was just being me”, which is something that certainly comes across on Sunday Brunch when working with his co-host and close friend Tim Lovejoy. Being friends for nearly sixteen years, he says that humorous interactions are natural; “we will deliberately try and make each other laugh, where we will mutter things to each other or we will say a word in rehearsal that has made you laugh, most of it too rude to tell you”. One story Simon does share though was the time when a salt baked seabass for Ricky Gervais went particularly wrong. He tells, “unbeknown to me during the process of it cooking, the oven decided to switch itself off”, “so instead of opening [the oven] to this beautiful smell of an incredible seabass that has been baked in salt, I opened [the oven] to just raw fish and Ricky Gervais taking the micky out of me”. Trying to find the silver lining to this story, I suggested that Ricky Gervais is probably a hilarious show guest to have at the back end of something going wrong on live television, but Simon actually informs me mistakes are really fun. He says you either say “”oh my god, it’s a disaster’, or you own it and have a laugh” which is evidently something Simon is talented at. Owning his lack of seriousness, Simon took to Strictly Come Dancing in 2017 knowing that “I can’t dance, and I never have danced” but “I am a big believer in trying to put myself outside of my comfort zone every now and again” and ended up having a
Looking ahead to hosting this year’s Pub in the Park on Friday the 16th of September, restaurant owner and TV Chef Simon Rimmer tells me that “this year it feels like everybody has been very joyous about it all” and you can hear the passion in his voice as he speaks. He describes Pub in the Park 2022 as a “proper party again” because last year people seemed a little bit tentative and afraid to have a good time. Pub in the Park will be a festival of the good old English summer as it draws to the end of the season, and hopefully the end of the doom and gloom we’ve all experienced over the last couple of years as festivals and events had to be put on pause . Telling me what he loves about the event and festivals in general, Simons explains how “everybody is in a good mood, everyone is there for a similar reason, to celebrate and have fun”; this year the jubilence will only be amplified on the third weekend of September. Besides the excuse to have a drink over some delicious food, Simon tells me how he is most looking forward to Human League headlining the main stage on the Friday night. “I haven’t seen them live in about twenty years” he exclaims, embodying his sixteen year old self again who was a huge fan of the band. “As well as working [Pub in the Park], I am also a very happy customer there as well” he continues, making me want to go along and join in on all the fun. Going to Brighton is especially exciting for Simon because he explains how each venue has a different emphasis on the way that it is. Brighton is “a new venue, new experience, new customers” making it even bit more special as a festival location. And if there is any city in the world that loves the laid-back nature of a pint, good grub, and a catch up with friends, it has to be Brighton! Telling me more about his career, I realise that a huge attribute to Simon’s personality is saying “yes” to experiences he has never done before. He opened his first restaurant Greens in Manchester in 1990, “naively, with no experience” but with zero regrets. Thirty-two years and twenty-seven restaurants later, the risk clearly paid off and Simon tells me that he still loves it. Asking why he would take this leap in the first place, he described it as an itch that he needed to scratch after falling in love with hospitality while working in restaurants as a student studying design. Considering he has developed experience and success in the kitchen, I was curious to know what Simon considers one essential kitchen appliance. “A really good blender is a great thing to have” is his answer because you can make sauces, dresses, soups and purees with a glossiness that just can’t be achieved by hand, so “it will take your cooking from one level to another.”
You catch Simmon Rimmer at Pub In The Park on 16 - 18 SEPT 2022 (Preston Park).
A holiday to his beloved San Sebastian in Spain sounds well deserved as there are also more adventures lined up for Simon. He has Richard Osman’s House of Games coming out in September, and hopefully doing another veggie book next year. As well as this, he is continually opening new restaurants which is super exciting, especially considering the effect of the pandemic on the hospitality industry. On the effect of COVID, Simon says that he “did not ever stand still” and was very fortunate that Greens was so successful, therefore “continual consultation with landlords, with suppliers, with our staff and trying to move forward” is exactly how Simon managed to pull through the struggle.
can
bn1magazine.co.uk 17 great laugh on the show. Despite the fun of it all, he says that competing on television (he also appeared on the first series of Great British Menu) is much more terrifying than hosting Sunday Brunch. One again, Simon will be pushing himself out of his comfort zone when he records radio shows for Scala Radio. They will explore his journey of discovery into classical music as he tries out a new genre for the first time and allows his vulnerability to be broadcasted on Angelica Bell’s show. While Simon is obviously curious and keen to learn, vegetarianism seems to be his area of expertise. Greens opened as, and still is, a vegetarian restaurant with dishes including truffled mushroom wellington or handmade gnocchi which sound devine. He informs me that his excitement for vegetarian food comes from the necessity “to do something to pretty much every ingredient and that makes you creative in a very very different way.” Providing evidence, he suggests that to cook a good steak you put it in a pan but “it is slightly more difficult with an aubergine”. It only requires a brief look at Greens menu to indicate that a lot of the flavours of the dishes are thoroughly thought through. Traveling is something which greatly inspires Simon’s cooking “not just in terms of food but also in terms of culture and atmosphere” and when I ask what is next for Rimmer and his projects, he says he would love a holiday at the end of September.
Opening new restaurants and hosting events such as Pub in the Park epitomises that “you come out the other side having learnt stuff so [COVID] did have an impact and not all of it negative.” Hopefully one positive impact of COVID will be that we can really appreciate Pub in the Park this year, and celebrate its arrival to Brighton without the tentative nature that Simon earlier described. And once that is done and out of the way, Simon will finally be flying off to Spain for some well-needed rest!
We even had our own stage at Brighton’s iconic Hope & Ruin, which saw ARXX, Bicurious, Phoenix Laoutaris, Mantra, The Nu and Freddie Lewis take the stage.
STUDENTS GET A TASTE OF FESTIVAL SEASON
Not to mention the students who performed on our stages, including BUKKY, GIYA, Vernon Jane, Martha Eve, Fifi Robo, Freddie Lewis, Welly, Miss Kill, Hutch and loads more.
London’s Head of Bass Andrew McKinney and Drum lecturer Adam Betts made an appearance playing with the enigmatic Jarvis Cocker as part of his performance on The Park Stage, and BIMM Birmingham Drum tutor Collette Williams and Vocals lecturer Suzi Dian performed alongside their band, Blossoms.
2000Trees was another really busy one. We had over 70 students from all our colleges working in various roles, including site build, decor and breakdown, artist liaison, artist and customer accreditation, rider management, backstage runner, trader liaison, stage crew, lighting and sound engineer, stewarding and more. Giving our students tons of
2000Trees
Emanuel J Burton says: “Glastonbury was definitely an interesting experience! It’s nice to share your talents and energy with any crowd, no matter where in the world, but on such a platform, it’s special to be a part of it. Shout out to Little Simz and the team for working this hard to get to this stage!” Would you like to work at these festivals and gain valuable industry experience? You can – just apply through clearing.
Glastonbury Festival is always one of THE stand-out events in the global music calendar and this year was no different, with over 200,000 people in attendance.
Phew, it’s been a jam-packed summer of festivals for the BIMM students and graduates... As a sweltering summer draws to a close, so does a busy season of festival excitement. With the music industry recovering from the impact of Covid and the events industry following suit, this year’s festival season has been stacked. At BIMM, we offer our students many unique opportunities to gain experience at festivals by working or playing at them. This year has been no different.
We’ve been at all the big local events including The Great Escape, Brighton Music Conference, Love Supreme, Brighton Festival, Brighton Fringe and Bad Pond Festival. Then, further afield, we were at the legendary Glastonbury Festival, 2000Trees, Black Deer, Electric Woodlands, Liverpool Sound City, Cornbury Festival, NASS, Truck Festival, BST Hyde Park, Camp Bliss, ArcTanGent, Boardmasters, Bingley Weekender, Lost Village and Victorious Festival… The list grows and grows every year! Here’s a round-up of some of our favourites from this year: The Great Escape Loads of students and graduates performed in Brighton across The Great Escape weekend. Lime Garden played Amazon’s New Music Stage, one of the biggest stages at the whole festival, Working Men’s Club played a late-night show at Chalk and Phoebe Green was at the seafront’s Coalition. Brighton natives Kaisha and Kymara played Platform B’s packed Jubilee Square stage and Birmingham’s SIPHO. rocked The Brighthelm Centre. Other acts booked throughout the weekend included DITZ, Edie Bens, Orchards, Penelope Isles, The Elephant Trees, The Hara, Thumper and many more. Some of our session players were out in force during the weekend too. BIMM Institute London guitar graduate Aaron Forbes played alongside the festival headliner Tems, at the iconic Brighton Dome, as part of her impressive live show.
There were also 150 students across all BIMM campuses volunteering at The Great Escape in roles including delegate registration, stage managing, venue assisting, event control, wristband exchange, live sound, and lots more.
opportunities in loads of areas allows them to gain valuable experience and network with industry professionals and fellow students alike.
Glastonbury Festival
We ran two stages, The Word Stage and the Forest Sessions Stage. Students were solely in charge of the stages, with a couple of professionals on standby in case they needed anything.
A massive performance from BIMM Institute Dublin graduates Fontaines D.C. on The Other Stage, secret sets from George Ezra and IDLES on the John Peel Stage and the BBC Introducing Stage, respectively. Not to mention the host of graduate and lecturer session musicians that made their mark on the festival: BIMM Institute London guitar graduate Isabel Torres played with Declan McKenna on Glastonbury’s The Other Stage; BIMM Institute Manchester drumming graduate Emanuel J Burton appeared as part of Little Simz’ fantastic band as a headliner on the West Holts Stage.
Not only that but some of our excellent students and graduates were also billed for the festival, including CLT DRP, DITZ, Witch Fever, The Hara, Orchards, The Wytches, Tigercub, and headliners IDLES.
Once again, we were lucky enough to put on acts at the bandstand of the legendary Croissant Neuf field, with students and graduates performing and working. We saw sets from Freddie Lewis, Body Water, Isaac Hughes-Dennis, Welly and GIYA. Four students were working across the area and provided integral input into the smooth running of the Alongsidestages.the acts on our own stage, the larger stages were packed full of BIMM talent as well.
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20 bn1magazine.co.uk ANASTACIA ICONIC OUTTAPREPARESSONGWRITERSINGER/FORI’MLOCKDOWNEUROPEANTOUR All photo credits: Remi Laudat BY LYDIA WILKINS
American Night is a Neo-noir film that was released earlier this yearand for the first time in her career, Anastacia was asked by the director to provide the title song: “I’d never done that before, and he wasn’t done with the movie, nor did he show me any clips from the movie, he just had a title and gave me like a paragraph of y’know, a moment of ‘this is kind of what’s going on in this movie I’m making.’ As the world begins to open up in moving towards a post Covid 19 universe, so to do the live acts begin again. Anastacia her will be back in Brighton next month with the tour Asked what she’s looking forward to, the witty reply is almost instant: “Seeing if I can remember all my lyrics!” She quickly adds: “The most I’m looking forward to is being in front of people, giving them a show. Whether it’s me or not, I know how excited people are going to be to see a live show, me aside.” While suggesting there is something of a thirst for live performances. And what about set lists? She hints that there will be songs that have never been played live before. “It’s such a ‘palaver’ ” she muses, a jocular throwaway to my own British accent. Asked for specific examples, an expression of mischief flashes over her face, topped off with a cockney impersonation: “It’s top-secret Ma’am”. We both laugh: “I can’t tell ya me secrets or I might have to put ya in the corner..”
Self deprecation is perhaps a rare quality in some singers and artists, particularly perhaps when you have previously been dubbed or branded in terms such as ‘diva’. A breakout star of the early 2000s, you may remember Anastacia thanks to songs such as I’m Outta Love, Not That Kind and One Day In Your Life. The ‘little lady with the big voice’, known for trademarked darkly tinted glasses and bearing her midriff also endured something of a very public battle - twice - with breast cancer, later going on to raise an awareness around the world. The pandemic saw a delay of her 20th anniversary; Anastacia will be touring this autumn however with I’m Outta Lockdown, a 22nd anniversary tour instead. “I really wish I could have written during the pandemic, cos usually when I am working it’s all at the same time” she muses - with a routine revolving around studio time, touring, promotion and more. She adds: “That is when I work best, though, and I realised that during the pandemic that for me to find a melody, for me to feel creative enough to make words work and make emotions happen, and make a metaphor happen in a song, it is having other people there to make it a team effort.” A studio allows for interaction between individuals, a producer to take a lead in the creative process, a process she herself describes as dancing with each other. Interjecting a note of humour into the slightly somber, she takes a voice similar to that of Goofy, the Disney character: “Unfortunately I was absolutely worthless as a writer during this pandemic” she intones, before breaking character - “and I was listening to everyone else’s new music and so I probably listened to more music than I ever listened to in my life, over this lockdown!” Describing herself as a “big variety girl” - and someone who believes in a “buffet of music”, musical choices included individuals such as Chicago [the band], Rag & Bone Man, and Ariana Grande. “My eclectic joy is finding music attractive to the ear either melodically or the voice has to pull me in.” Anastacia Overreflected.the course of the pandemic she had initially been planning to release new music, but had found it difficult to create due to lockdowns and other worldwide restrictions. With the 20th anniversary officially postponed, she described it as something of a “reality check”, complete with something of a mourning process attached to comfort zones we were all use to. Instead, she had noticed people putting out singles, sans an attached album - with the current creative process of: “Let’s not worry about the whole album, let’s just write some great songs, and whichever ones we like, let’s just start with the single and leave it at that.” Whereas fans will want to know if a new album is incoming, that is an unknown currently: “So we’re putting out a single with the unknown of when the album will come, or is there a full album with this single or two or three or what? I don’t know and I don’t have the answer.”, she says. And it’s okay not to have the answer right now as the world is different, she added.
Asked if there is anything else she’d like to say, Anastacia says: “I thank people for using music as a way to get through this pandemic, first of all” - despite the lack of live performances. The mischievous look appears again as the Zoom call comes to an end: “Don’t sleep on this old broad, cos I’m comin’ at you this year, is what I’m sayin’!”
Anastacia plays Brighton Dome on Mon 31 Oct www.brightondome.org
For a business notoriously fickle, many will not stay the course for 2 decades; what does the lady herself have to say to this? “I’m grateful. This was not promised, this is not [a] normal thing in many artists lives” she says, contrasting the record stores and cassette tapes of 1999 to streaming and the availability of illicit music today. The last decade, she says, has been spent making music and touring when she felt like it. “And that is an honour because if I didn’t put out any more music, my fans still want to see me perform and a lot of artists that are older like me - antique, ha ha ha - we do have that ability to not have to be number one on the chart to actually fill an arena or a theatre. And I’m very grateful for that because I really love performing later in my life than I did at the beginning” she says, expressing feeling tired at the start of her career due to her busy schedule.
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Fresh from its massive debut in Marlow & Chiswick last summer, The Firepit Stage is being brought to Brighton. Hosted by Adam Purnell AKA Shropshire Lad, this will be your one-stop shop for sizzling cooking sessions from a variety of chefs across the weekend, all served up on the incredible Kadai Firebowls! On Friday, there’ll be a range of delights for any outdoor gastronome, including the BBQ Magazine Hero Competition and Pete Dantanus from new Brighton hangout Burnt SaturdayOrange.
Leading the charge on Saturday afternoon is Peter White from the city’s iconic Riddle & Finns, along with some innovative demos from Atul Kochhar and Tom Kerridge. Sunday welcomes demonstrations from incredible plant-based chef Sophie Gordon, Yes Chef winner Chris Baber, gluten-free advocate Becky Excell and Tom Kerridge.
am sees MasterChef winner (and owner of Worthing’s The Bayside Social) Kenny Tutt and Tom Kerridge both showing off their skills over the flames. Later, Simon the Butcher will be continuing his mission to change the face of British butchery along with some savoury sensations from Shropshire Lad. Closing it all on Sunday will be tasty treats from future hero Aston Prideaux, a head-to-head from Simon the Butcher & Shropshire Lad and trail-blazing barbecue cook DJ BBQ whipping up a storm.
If you fancy building up an appetite, there’s going to be a plethora of sensational sounds for you to have a boogie to. The musical delights on Friday include the esteemed talents of local chart-topping hero Russell Small, alongside UK soundsystem pioneers Soul II Soul and synth-pop legends The Human League. Joining the fun on Saturday’s first session is the exceptional talents of Lucy Munden, Sussex stars Toploader and a certain Spice Girl by the name of Melanie C! Taking fans into the evening on Saturday will be UK HipHop superstars Stereo MC’s and a thrilling DJ set from the irrepressible Basement Jaxx. Sunday sees proceedings keep it fun and funky, with UK indie-rock darlings Two Weeks In Nashville, timeless good vibes with Craig Charles, evergreen guitar-pop from Dodgy and the absolute queen of British soulGabrielle. Chef demos are a core part of Pub In The Park, bringing you the latest flavours and techniques to inspire and delight. A host of experts will be showing why they’re recognised as the best in the business, serving up everything from brunch classics to dinner party show-stoppers and innovative healthy options. On Friday, be sure to catch Lisa Goodwin Allen from the Michelin-starred Northcote and our main man Tom Kerridge. Joining in on Saturday morning is Cin Cin’s Jamie Halsall demos, the pioneering twice Michelin-starred Atul Kochhar, more from Lisa Goodwin Allen and a Q&A with the ubiquitous Marco Pierre White.
PARKTHEINPUB
After becoming a huge success on the national foody calendar, Tom Kerridge’s roving Pub In The Park festival is back. And for the first time it’s coming to Brighton. Feeding the heart, soul and stomach, it offers everything from sublime pop-up restaurants to iconic British music acts. Heading to the city’s majestic Preston Park on Fri 16 – Sun 18 Sept, Tom Kerridge, Simon Rimmer and Marco Pierre White host a weekend of great food, drink and music.
bn1magazine.co.uk 23
There’s going to be an extensive marketplace, filled with some of Britain’s most innovative and iconic brands. You’ll also be able to pick up some treats at the artisanal food market, which is stocked high with some of the best local produce and exotic delicacies. You can even dip into the festival’s bookshop, and find that new set of awesome recipes to liven up your own dinners. There’s even book signings across the weekend from Tom Kerridge, Atul Kochhar, Chirs Baber, Becky Excell and more. As it’s intended for the whole family, there’s plenty for the youngsters to do at Pub In The Park. The SuperPirates are coming down with
So, you’ve seen some mouth-watering cooking demonstrations, had a bop to some of Britain’s best bands and dine a spot of shopping, so maybe it’s time to grab a tasty bite to eat. Well, lucky for you, Pub In The Park is bringing a selection of sensational pop-ups to town. These include The Hand & Flowers, the first pub to receive a pair of Michelin Stars. This will be recreating Tom and Beth vision of what a proper pub should be – a friendly atmosphere, where everybody’s welcome, built around bold, unpretentious cooking with brilliant, seasonal ingredients.
The brilliant Kenny Tutt is setting up his Ox Block in Preston Park, the MasterChef champ offering an exciting new smokin’ robata grill of great seasonal meats – just like you’d find down at his Shelter Hall site. Head Chef Joshua Moroneys’ extensive experience in the world of smoked barbecue will be on full display at Cue Point. This world-famous eatery explores diverse cooking techniques, flavours and methods whilst fusing it with an array of inspirations and experiences. Born in Jamshedpur, Atul Kochhar started his career with The Oberoi Group working in Delhi. In 1994 he was at the forefront of Indian fine-dining cuisine in the UK. Now his skills come to Brighton in all their glory, showing why he’s one of the first Indian chefs to receive a Michelin Star.
Lose Weight for Good and encouraging Brits to adopt healthier diets. He’s also the author of five best-selling cookbooks and has been working with Brand Events on a successful series of innovative pop ups and festivals.
Now he’s turning Brighton into the hottest foodie destination with a carefully curated line-up of award-winning and Michelin-starred eateries. The idea for Pub in the Park is about getting together with your friends, and celebrating awesome music, delicious food and all-round great vibes. Get ready for the last big weekend of the summer, it’s going to be a blast.
Tom Kerridge’s Pub In The Park comes to Brighton & Hove’s Preston Park on Fri 16 –Sun 18 Sept. www.pubintheparkuk.com/brighton
24 bn1magazine.co.uk their inflatables, circus skills, giant football, mega Jenga and more, creating a space where the kids can go wild. There are also delightful treats from Kingdom Of Sweets and Sweet As A Doughnut or Mr Whippy – or they could check out the pizza experts at Nonna Luigi if they fancied a delicious authentic creation. They can get in the festival spirit, as the experts at Foxy Faces can kit them out with the finest in face paint, or even dress up with Festival Pride to get that perfect festie outfit. There’s even a big wheel where you can see all the action across the park.
The Half Moon is a beautiful Grade II Listed building in Kirdford, West Sussex, but now it’s bringing its sensational menu to Pub In The Park. It provides a warm, homely space where guests can unwind and enjoy fine food in the beautiful Sussex countryside. From the ingredients they source, to the food served, everything is founded in honesty, quality and nature. Established by Chris and James Tanner in 2014. The Kentish Hare was awarded ‘Best Newcomer’ because of its fresh local food and great selection of beers and wines. A true British pub with a contemporary attitude, now they bring their vision to Preston Park for the weekend. Since opening The Hand and Flowers in 2005, Tom Kerridge’s career has flourished. Along with the pub becoming the first to receive two stars in the Michelin Guide, he’s gone on to win BBC Two’s Great British Menu twice. Since then, he’s become a familiar face on our small screens, presenting shows like
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Subjects include: Business, leadership and management CIPD
End 2022 by embracing the future - why not return to the classroom and challenge yourself to try something new? We know flexibility is important to you, so all our courses are designed to fit around your home and work commitments. With blended and online learning, on-campus daytime and evening classes, you can take advantage of our state-of-the-art facilities no matter what your schedule is. Take the next steps in your career! We offer a range of professional qualifications, all delivered by industry experts. Invest in yourself with our tailored study programmes which will ensure you feel inspired and motivated to unlock your potential and transform your future.
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Our range of leisure and hobby courses keeps growing, with even more fun and exciting courses starting from September. The opportunities for learning and refining your skills are endless - try out digital photography, make your own jewellery, learn massage techniques or nurture your creative talents with arts and crafts. These courses are a great way to meet people with similar interests whilst exploring something new. Dedicated tutors will help you boost your skills, and could even encourage you to turn your hobby into a career.
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COASTTHEISQUEER
bn1magazine.co.uk 29 BRIGHTON & HOVE’S LGBTQ+ WRITING FESTIVAL RETURNS
By Stuart Rolt N
The festival has also highlighted inspiring new works from Kate Davies, CN Lester and Sharan Dhaliwal. “LGBT writers write about the width, breadth and depth of life’s experiences, not everybody is writing about being ‘LBGT writers.’ Having said that, we do have Sarah Winman, whose book Still Life was a big seller recently. It has that rarest of things, an older lesbian character. Worse than that… she’s sexually active. Whoever thought that was going to happen? But it’s not focussed around that. We’re just showcasing the fact that it’s a broad Joiningchurch.”Winman on The Coast Is Queer’s lineup are Huw Lemmey and Ben Miller, authors of Bad Gays: A Homosexual History, which is published by Verso 2022 and based on their hugely popular podcast series. New for this year is Pushcart Prize-winning author, Julia Armfield, whose novel Our Wives Under The Sea was published to anonymous critical acclaim, and in-demand novelist, screenwriter and journalist Juno Dawson returns with another edition of her Lovely Trans Literary Salon. A consistent part of the festival, this year it meets Travis Alabanza - who was recently recognised as “one the world’s brightest young stars” in Forbes 30under30 list - whose new title None of the Above was published last month. Another highlight of this year is activist, actor and politician Michael Cashman CBE, who was one half of the first gay kiss in a British soap. “He’s written a memoir which is really interesting. It’s very important to me that people know about what’s come before.” A founder member of Stonewall and Member of the House of Lords, his extraordinary life of campaigning and trailblazing is described with brutal honesty in his 2020 memoir, One of Them. Also receiving a warm welcome is Tice Cin, author of the thriller Keeping The House, a canny, intriguing take on the North London heroin trade, and Shola von Reinhold, who discusses their breakout debut, LOTE, a decadent queer interrogation of the removal and obscurement of Black historical figures. Adding to the packed program is Jon Ransom whose distinctive prose has won wide praise in his debut novel The Whale Tattoo and Elizabeth Chakrabarty, whose first novel, Lessons in Love and Other Crimes, was inspired by the author’s own experiences of hate crime. Wood says curating the festival takes a significant amount of research and reading. She liaises with independent publishers, and David Sheppeard from Marlborough Productions is very involved with the performance side of things. “We’re trying to be as broad as we possibly can. The biggest problem is fitting everyone in, because there are a lot of very good LGBTQ writers out there.” In its short life, the festival has done a sterling job of presenting both high-profile and emerging writers who resonate with audiences. The last festival saw them book the much-celebrated Douglas Stewart – four days before he won the Booker Prize. I raise the question of if there’s still a vital need for specialist LGTBQ sections in libraries and bookshops, when so many writers are being absorbed by the mainstream. Wood says, broadly, it’s positive that they still exist. “It’s good for people to find their niche interest relatively easily. Being able to look at a bookshelf and the variety that’s there, you’re likely to be able to find what you need. There are many, many books in the world, so anything which helps you find your interest is a good thing. It’s also good for LGBT writers to have their work reach that audience.” There’s so much competition for writers in getting their work seen and heard. The mechanisms for promoting books are far from simple, particularly if these are being distributed by smaller publishers. Unless you’ve got lots of money to have your book sat on one of the tables by a bookshop’s door, then there’s a lot of luck involved.
ow in its third year, The Coast is Queer is gathering writers, poets, performers, academics, activists and readers for a weekend of celebrating queer lives and literature. “There’s a really highquality range of writing out there,” says New Writing South CEO, Lesley Wood. “People will see their own lived experiences reflected in these books. It doesn’t all happen to be in that shelf and a half of the LGBT section at Waterstones. We’re trying to connect the writers and bring new audiences to the work.” With a new home at Brighton’s Attenborough Centre for the Creative Arts, it’ll showcase some of the nation’s boldest, brightest and best LGBTQ+ literary talent on Fri 7 – Sun 9 Oct with accessible live events and workshops. A collaboration between New Writing South and Marlborough Productions, the festival has become an exuberant part of the UK’s literary landscape. Now returning to in-person events after the pandemic forced them to take proceedings online, it builds on a reputation for providing powerful, transformative interviews, discussions, readings and films. Wood says their first year almost happened by accident. “There was a new funder who popped up, who was the LGBT Consortium, I just saw it as an opportunity to pull together a small festival. When we started to put the word out, it was surprising just how much support we had from writers who wanted to be part of it.” It’s grown into a significant literary event. Over 2,000 people have enjoyed and been inspired by a range of moving and exhilarating events with over 80 participating writers since 2019. The list of past speakers includes luminaries like Alan Hollinghurst, Dean Atta, Val McDermid, Golnoosh Nour, Douglas Stuart, Niven Govinden, Patrick Gale and Valerie Mason-John contributing to the range of diverse and fascinating voices.
The Coast Is Queer comes to Brighton’s Attenborough Centre for the Creative Arts on Fri 7 – Sun 9 Oct
www.coastisqueer.comwww.marlboroughproductions.org.ukwww.newwritingsouth.com
It’s why small publishers and these festivals, and organisations like New Writing South or Marlborough Productions, who support and encourage new, emerging and established creatives from diverse communities, are vitally important. They’re nimble and innovative enough to platform new experiences and encourage fresh approaches to work. By enabling participation in overlooked segments of the industry, they can help us all better understand the world around us and embrace new ways of thinking.
The pandemic has seen the retail sector look at itself in new ways, and bookshops are no different. Many independent outlets are realising the value of building a community around themselves. “We’re blessed with independent bookshops in Brighton. We’ve seen three open in the last two years. They’re doing a fantastic job.” This year The Coast Is Queer collaborates with The Feminist Bookshop, and during its first year City Books were involved. Both stores are brilliant examples of how the industry can support local writers and develop audiences with events like workshops and talks. The core aim of The Coast Is Queer is to develop community amongst creatives using a range of methods. The festival’s new venue, the Attenborough Centre for the Creative Arts, is going to be a perfect home for what they’re trying to achieve. “We’ll be having things going on in three or four areas, pretty much all weekend. The staff there are fantastic, they’re so helpful and fun.” Following the online edition of this flagship UK festival of LGBTQ+ writing last year, Wood is not averse to producing hybrid events in the future, opening the festival up to viewers from all over the Interactionworld.with audiences demonstrates that writers are just people. “Especially if young people are interested in writing,” says Wood. “They can see it’s not some unattainable and unreal thing. By the nature of their industry, writers spend a lot of time on their own. She offers a comparison, learned from her time working in the music industry. “You can write a song and if doesn’t work, it’s only three minutes worth. If you write a book and nobody like it, that’s a year and half.” So, establishing a connection with your readers, and a wider community with publishers and book-sellers, is increasingly important for writers. This shift in attitudes towards audiences and festivals like The Coast Is Queer is slowly bringing about a democratisation of the publishing industry. Things are changing, but many of the gatekeepers are still the usual suspects. There are endless stories about people of colour being told there’s already a book by ‘a black person’. Or that they’re ‘not black enough’, and not telling the story that people expect. “It’s the same with LGBT writers. If you end up with an industry controlled by heterosexual, middle-class, white, young, and in publishing, quite often women, then you’re going to get a certain perspective. I’m not suggesting those people have evil intent. It’s just what you know is what you know.”
Three of his best caricatures are coming out on tour this year. There’s the be-blazered music-hall almost-ran Tommy Cockles, dangerous criminal Tony Beckton and the evergreen eco-geezer Dave Angel. And each of them has undergone an evolution. Often accompanied by the rarefied sounds of Mike Oldfield’s Moonlight Shadow, Angel was perhaps the least likely candidate for an environmental activist. “I don’t do him that much live, but he’s really popular. So, he’s coming out for this tour. He’s now got his own
SIMON DAY
LEGENDARY CHARACTER COMEDIAN HEADS OUT ON TOUR BY STUART ROLT
treatment and therapy thing. He doesn’t get involved in global warming anymore, because it’s not funny, is it?” He suggests people like the character’s walk, and he just takes it from there. Moving aways from drawing attention to lost tribes or the ozone layer, his approach to people’s often valid problems is a little extreme. “It’s very popular with the parents because he employs a kind of 1950s army discipline. Having got two kids, one is 15 and one 13, it’s very different now. You can’t just tell them to shut up and get on with it… Which would be really helpful now and again,” he says with a big laugh. His portrayal of reformed criminal Tony Beckton is very much based on celebrity gangsters who write books or appear on mawkish Danny Dyer documentaries. “He has just been released from prison, he’s an old violent armed-robber, and I was just looking at how he’d cope with coming out. It worked very well for stand-up because everyone knows those characters…” As with so many of his creations, the habitual offender seems threateningly plausible – even when he’s striving to keep out of jail and confront his foibles with some inspirational talks.
30 bn1magazine.co.uk “All my characters I write myself, so they’re quite easy to pick up,” Simon Day tells me, considering the challenge of performing several different comedy roles in a single show. “I’ve done Tommy Cockles for 25 years now, so it’s like putting on an old jacket.” Right now, he’s in Greece, enjoying a relaxing holiday before starting his brand-new tour. Charging up and down the country for 25 dates, Simon Day & Friends brings together some of the Brian Pern and The Fast Show veteran’s most celebrated characters, with a few new twists. Calling in at The Hawth in Crawley on Weds 14 Sept, Hove’s The Old Market on Fri 30 Sept and Kino-Teatr in St Leonards on Sea on Sat 19 Nov, he says he’s excited to be getting out on the road again. “And I love Brighton, I used to live there, in the good old, bad old days. The town always used to look like it’s helping the Police with their enquiries.” A stand-up, Radio 4 regular and recognisable screen presence in productions as varied as Shakespeare In Love, Red Dwarf, Pennyworth and King Gary, it was with the BBC megahit The Fast Show that brought Day’s comic creations to international attention in the 90s. The catchphrases of his creations, like the relentless pub bore Billy Bleach or the eternally shouting John Actor, soon punched their way into the British zeitgeist. The latter offered almost limitless opportunities, much like its real-life inspiration. “That was based on that formula that came in, where they got someone like Nick Berry. After Heartbeat, they thought; ‘I know, let’s put him in Dorset and make him a dock worker.’ They’d choose a location and an actor. It’s not really an organic process.” Similarly, John Actor was astonishingly versatile, appearing as a tough, uncompromising doctor, a tough, uncompromising vet and a tough, uncompromising police inspector. Offering creations which are founded in satirical tropes is a big part of Day’s comedy. But none of them come from a scornful place. You need a genuine affection for your point of inspiration, or it can’t become truly amusing. “That’s what Charlie Higson said. You’ve got to love the character, otherwise they’re not funny. You can’t look down on them. I really do like all my characters.” He says often they’re based on people he’s come across in real-life. The inspiration for The Fast Show’s uncompromising Competitive Dad, a patriarch with an almost sociopathic need to be best at everything came from a visit to Day’s local swimming pool. “He was racing his kids, who were very young - one of them had water-wings. He virtually killed himself trying to get to the other end. Then the kids eventually caught it, and he’s sitting there triumphant. That was before I had kids, but I was still thinking it was a bit sick.”
“Creating the characters is something I find very easy. It’s weird. I might do acting, and there might be a part written which I have to go along and audition for which I find difficult when trying to personalise it. Maybe I’m not very adaptable to other people’s writing. If it’s mine, I’m fine. I can be a lot more confident and steam straight in.” He says that coming from a comedy background can help with timing in more serious roles. “But you’ve still got to know the character. And some people
Day has spent the last couple of years appearing on BBC’s King Gary. A hilarious slice of suburban life, it centres on the misadventures of a grown-man struggling to establish himself in the world. Day plays his father, Big Gary, whose love of banter consistently ends up being another trigger for his offspring’s petulant outbursts. “I really enjoyed doing that because that was a character I really inhabited. The mum’s horrible too. She’s like ‘you’re always picking on him.’ But she’s picking on him as well.” He says role was fun to do because of writer and star’s Tom Davis’s ability to draw from personal experiences. “He’s from Croydon and knows people like that. He’s a good writer and put loads into those kind of characters.”
Arguably, Day’s greatest creation is the hapless rock superstar, Brian Pern. Across three seasons, Day and Rhys Thomas built a vivid world of daft guitar solos, middle-aged relevance, and strange addictions. This labour of love is a glorious pastiche of solemn, almost-whispered homages to long-forgotten guitar bands. “It was based on all those documentaries with those really dull producers, and people taking it really seriously. They’re not particularly interesting…” It started as original online shorts for BBC Comedy but quickly grew into a cult favourite. A mixture of awkward cinema vérité, mock archive material and increasingly bizarre talking heads from stars like Vic Reeves & Bob Mortimer, Roger Taylor, Chrissie Hynde, Rick Parfitt, Rick Wakeman and Melanie C, this labour of love has produced one of Day’s most enduring characters.
MELTING VINYL LIVE 2022 WITH MV might disagree. All the best 70s sitcoms didn’t have comedians, they were all trained actors.”
A more recent addition to the repertoire is Geoffrey Allerton, who appeared on Day’s long-time collaborator, Rhys Thomas’ Down the Line and Bellamy’s People shows. Yorkshire’s most famous unpublished poet, he’s enthralled and inspired by the strangest of things, his peculiar poems offer poignant observations on the nature of life – almost to the point that you’d be forgiven for believing he was being earnest. It’s a devilish cross between Alan Bennett and a pompous Radio 4 pseudo-intellectual.
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Pern might not be coming back, especially after a final instalment which hinted at his demise. But who knows? “We might do a special one day. But, we did three series, and it was always a very niche show on BBC Four. I thought it was really good. And I didn’t have to do a lot because he was so shy.” Like any serious actor in the modern age, Day’s own onscreen exploits have been brought to a comic book franchise.
Pennyworth is a spin-off from the Batman comics, transplanting Bruce Wayne’s faithful butler, Alfred, into a gothic reimagining of Swinging Sixties London. “It was really cool to do that. I’ve never done one of those big American things.” Day plays Sid Onslow, licensee of the Severed Arms - a local pub frequented by the show’s protagonists. “It was just lucky for me because it was a character I can play. A grumpy landlord!” he chortles. “And the guy who directed it, who also did CSI, remembered me from The Fast Show!”
Simon Day & Friends comes to Crawley’s The Hawth on Weds 14 Sept, Hove’s The Old Market on Fri 30 Sept and St Leonards on Sea’s Kino-Teatr on Sat 19 Nov. www.simondaycomedian.com
“Every time you have a musician on TV, they’re always like Keith Richards. So, it was good to do the opposite of that, with this shy, educated nerd.” Ostensibly, the character is a pastiche of Peter Gabriel, who Day says he’s a huge fan of, but has evolved to embrace 70s rock excess in all its strange majesty. The superbly oblivious Pern has a crippling inability to deal with even the simplest of situations, despite being a global icon, which offers a rich vein of comedy. His band-mates in the million-selling Thotch, played by a thoughtful, gentile (and former The Fast Show colleague) Paul Whitehouse and a startingly debauched Nigel Havers, aren’t really much help. It’s clear that the only thing binding them together is the music and the promise of even greater riches. Runing the whole circus is Michael Kitchen’s robust portrayal of John Farrow, the group’s foul-tempered manager – who occupies a hellish space between legendary Hollywood agent Ari Emanuel and Led Zeppelin’s manager, Peter Grant.
Photo Credit: Claire Marie Bailey
“ WGENNOOTHER WAYS OF BEING: The transformative power of music and a language that refuses to die. by Thom Punton
Photo Credit: Claire Marie Bailey
Releasing music in a language that’s spoken by so few people has the potential to alienate, but this clearly hasn’t been the case. Rather, it has shown that there is still interest in these regional languages and a desire to stop them dying out. Cornish became extinct as a living community language in Cornwall at the end of the 18th century but somehow managed to endure. “It sort of just survived without any help,” Gwenno says, “so it makes it really exciting to think, god, this language must really want to live. Because no one’s helping it here and everything’s against it, but for some reason it really wants to exist, like there’s a robustness to it. And I think, gosh, that’s really interesting as a sort of entity because all languages have, I think, their own spirit and their own personality. I see them as living things and they’re all different from each other.”
The Mercury Prize shortlist invariably features a diverse range of artists and styles, but in a first for the prize that celebrates the best albums released by UK and Irish artists, this year’s list includes an entirely non-English language album: Tresor by Gwenno. It’s a dreamy, transporting album of sultry psychedelia and is sung mostly in Cornish with one track in Welsh. It’s a well-deserved accolade for an artist who has been pushing boundaries and forging a truly unique artistic path, combining elements of ancient folklore with messages of hope for the overthrow of late stage capitalism, and creating a transcendent musical world where it really doesn’t matter that you can’t understand the words.
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Gwenno originally found musical success here in Brighton with the noughties girl group revival band The Pipettes. Though this project was worlds away from the depth and direction of her solo work, she enjoyed the chance to have a bit of fun and try something new: “I just learned a huge amount, because I was in a band with a lot of people who had some very varied musical backgrounds and interests. It was quite a unique situation that I managed to throw myself into… What appealed to me about it really was this idea that the concept was so strong and I was always interested in conceptual things in various art forms, and things with a sense of purpose. So it was a great schooling in getting to understand how music works all together when you’re trying to do something deliberate.”
As such, Cornish holds a more personal, private character for Gwenno, and allows her to tap into more emotional lyrical themes than Welsh, which is a public language and still widely used. “It gives me the intimacy to share my deepest emotions, and being an introvert it’s great because I don’t feel like I impose too much on the listener by doing that, which is something I’m really conscious of. Because I think music’s the tool to express those emotions…I feel like there’s a real magical element to where the language is at the moment that I’m taking full advantage of as an artist because it just gives it a sense of intimacy and I suppose it’s just in quite a unique position as a language. It’s very malleable and useful.”
Listening to Tresor, it can feel like private, magical things are being sung, that maybe you’re not even supposed to know the meaning, or maybe that you can almost grasp the meaning without understanding the language. The songs at times feel like rituals, like primaeval forces are being summoned, a rift in the space-time continuum being opened. At other times, like the folky Anima, it feels like we have broken on through to that older time and are voyeurs watching an ancient rite in action. Gwenno was actually raised in a very multicultural part of Cardiff amongst Somali, Bangladeshi and Pakistani communities, and Cornish was only spoken in her house, so she has a truly unique perspective on the culture. Though she went to St. Ives to write the songs for Tresor, she has no real lived experience of Cornwall itself. For her, the language is separate from the place. In many ways, this is a similar experience to the people speaking Arabic, Bangladeshi and Bengali whilst living their whole lives in Cardiff. They were given those languages through a random chain of events, passed down from parents. And there is something to be learnt from the fact that a language is being used in a new context.
When I speak to Gwenno Saunders over Zoom, I ask her about this dynamic of a listener experiencing her music without understanding the words – and seeing as there are only 500 fluent Cornish speakers in the whole world, this will likely be the case. “I really like music when you can’t understand the words and lyrics,” she tells me. “Elizabeth Fraser is one of my favourite singers and I think she just excels at communicating. I mean she’s an exceptional genius of a singer and songwriter but I think it’s trusting that meaning exists. It’s transcending lyrics in a way.” This mention of the Cocteau Twins singer is the first of many references to other artists and thinkers Gwenno admires and is influenced by in a fascinating conversation that touches upon Aphex Twin, neolithic stones, existentialism, secularism and the capitalism realism of writer Mark Fisher. It’s clear that she’s passionate about exploring as wide a spectrum of cultural experience as possible. The Mercury Prize nomination is another widening of that range, giving her the opportunity to share a stage with headline artists like Harry Styles, Little Simz and Sam Fender. Financially, The Mercury Prize is a rare levelling of the music industry playing field. All that is needed to enter is a £175 entry fee. She says it’s “wonderful” to be nominated, “it’s one of the only awards where it’s not based on your budget, which I think others are, because it’s a bit harder to get anywhere near the more mainstream awards. From a very DIY artist perspective, it’s incredibly helpful just to share a platform like that with other artists that have done so well.”
“Generally, in the anglo sphere people would question the point of speaking a language that so few people speak,” she explains, “but there are other values to it. And I think particularly in an age of such huge change, which is happening regardless of whether we wanted what’s happening to happen or not, it’s trying to find positives in the change and I think that perhaps looking at the other languages, the indigenous languages that we have in the UK, but also all of the other languages, the global languages that are integral to communities that have been here for many generations as well, it allows you to imagine other ways of being.” continued...
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After the group disbanded in 2010, she went back to Wales and was once more immersed in the Welsh and Cornish languages she grew up speaking. This return to her homeland made her re-evaluate what she wanted to do. “It was a bit of a full circle moment, I suppose,” she tells me, “And a chance to lay down foundations and roots creatively as to what I wanted to pursue for the rest of my life. Because I think as an artist you need to work out what those foundations are and then you get on that journey and then it’s an endless journey. I tried out a lot of different things with different projects that weren’t my own, and so it was a moment of clarity, of going, ‘well, if I was going to do my own thing what would it be?...What’s the artistic pursuit here? Where does it become endless conceptually?’” This strong sense of artistic purpose was apparent even from her first solo album Y Dydd Olaf, which came out in 2014 and was mostly sung in Welsh, with one song in Cornish, a musical rendition of a poem by her father, who had taught her the language. Her second album Le Kov was entirely in Cornish and gained widespread acclaim for bringing awareness to the language, which at the time had just had its education funding cut by the UK government.
and community are key to Gwenno’s output, whether that’s through musical collaboration, political activism or the championing of regional languages. It’s invigorating to see an artist balance real messages and deep, powerful symbolism with a pop sensibility. Also, more than anything, it’s refreshing to hear a perspective that’s full of positivity for what we can do as small communities of people, whether that’s Wales or Cornwall or indeed somewhere like Brighton. BaileyMarieClaireCredit:Photo
Gwenno plays Brighton Komedia on Mon 19 Sep
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It’s that combination of the transformative power of music and the experience of hearing a new language that make the album so full of tantalising meaning and symbolism. The themes and ideas of the record are expanded upon in a short film made in collaboration with a filmmaker from Anglesey called Clare Marie Bailey. Excerpts from the film can be seen in the video for An Stevel Nowydh, the first single from the album. Shot on grainy Super 8 film it features Gwenno wearing a tall pointed hat designed by Lally Macbeth, a founding member of prehistoric revivalist group Stone Club. Inspired by the Padstow ‘Obby ‘Oss, it’s a striking red, a colour which pervades the film, as well as Gwenno’s last two album covers, both of which feature her wearing a red dress. I ask her about the symbolism of this colour. “I’ve been wearing red since Le Kov. I was really inspired by Peter Lanyon’s artwork and he’s always got a strip of red [in his paintings]. I guess it’s blood, it’s life, isn’t it? And it’s such a good colour on film as well, and there are obviously socialist connotations. So a lot of it’s to do with the symbolism of the left, you know, the red flag.”
The 22-minute Tresor film will be shown at the beginning of her shows on her upcoming tour and will feature a score of new music she recorded on her own. Gwenno tells me she’s excited to be performing again with a full band. After a couple of years where playing in a group has been a risky prospect, especially in the form of a month-long tour, she feels she can now finally throw herself into the idea of being in that situation again, amongst people, expressing. Tresor means “treasure”, and this treasure, she says, is “how we express ourselves artistically as human beings. It’s such a valuable thing and it tells us everything about the time and the place that people have lived in and I think it’s very easy to dismiss that as anything that’s of value and it was just trying to say, well, it is really valuable.” But also, in the song Tresor it becomes “our ability as human beings to make decisions that don’t impact negatively on each other. It’s that aspiration to wanting to make the right choice by others as well and trying to work out what the foundations are of our society.” That social conscience is also reflected in the song N.Y.C.A.W. which stands for “Nid Yw Cymru Ar Werth”: “Wales is not for sale”. This was a slogan made popular in the nineties as a protest against the influx of people buying second homes in Wales. The song itself is a rallying cry for people to come together and fight against the free market individualism represented by capitalism. Reflecting on Mark Fisher’s observation that we can see the end of the world sooner than the end of capitalism, Gwenno says, “what excites me about being part of these much smaller cultures – that are not unique, because there are many of them – is that I think they are where perhaps alternative ideas can come from. Because when you’re so far on the periphery of the centralist system that’s dictating everything and making things worse, and also when you are in no way benefiting from it and or ever have, I think it’s easier for you to see alternative ways of doing things. So I think that’s what I took from [Fisher’s book, Capitalist Realism]. I’m really positive about the fact that I’ve seen people organise themselves differently and whether it be geographically or linguistically or culturally, that probably gives you access to a positive outlook with a potential for a different outcome. So it’s quite Communicationexciting.”
Thursday 29th November to Friday 2nd December Connaught Theatre wtm.uk/othello01903206206
THOMASMARK“ALAUGH,ASONG.LOTSANDLOTSOFJOKES.ASMALLIN-SURRECTIONMIGHTNOTSTARTTHEREVOLUTION,BUTCERTAINLYWILLBECHEERING.”
Photo Credit: Tony Pletts
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“One entry notes my presence at an antiwar demo, describing what I am wearing and what sort of bike I am riding, the police continue, ‘he said hello to us as he passed and seemed very happy’. This chatty tone noting my emotional wellbeing on their database is wonderfully odd in an Ealing Comedy meets the Stasi sort of way and has all the reassurance of a stalkers smile but does make for bewildering reading.” He is now engaged in a prolonged court case alongside seven other Journalists appearing soon at the Supreme Court to contest their place in this surveillance list.
A commitment from Margaret Thatcher and the last ten years of Conservative government has depleted their efforts, and the NDEDIU has put the rest under surveillance. Although what they do with these pencilled notes is a mystery to all. Judging by the fact that many cops became lovers and partners to female activists in an official quest to subvert the weary efforts of female activists to free factory farmed pigs, my guess is not naive.
ark is fiery, provocative, and derisively political. He quickly launches into a stream of consciousness about trade unions, railway strikes and the condition of current politics. His emotive face is framed by a small white kitchen behind him on our Zoom call. He has been at the Edinburgh Fringe since Monday, and I catch him a few hours before he goes on stage to perform his new show to a likely audience of theatricals, agents, playwrights and other comics. He tactically (or transparently) avoids answering my questions about this new show and I can’t help but smile when I see that the summary keywords of our zoom call are people, fucking, politics, blacklist, censored, comedy, domestic extremists and natural impulses.
Mark was awarded an honorary doctorate by the University of Bradford, for services to peace and for his work as a comedian, political activist, presenter and investigative journalist, written numerous books, reported on the arms trade as well as participating in grassroot political activism for many decades. His manner is abrupt, and his politics direct but he is not a dangerous man. His political ideals centre around increasing the minimum voting age and campaigning for proportional representation not storming parliament and inciting a coup.
In 2013 it was revealed that Mark had been put under surveillance by the Metropolitan Police Service’s National Domestic Extremism and Disorder Intelligence Unit (NDEDIU) for his investigative journalism and work for Channel 4 and The New Statesman. This unit is the same one which was recently exposed for undercover agents’ deceptive and abusive relationships with female political activists, dubbed ‘spy cops’ by the British media. He was able to obtain the data collected on himself when the spy cops’ case was blown up by the Guardian and surveillance data was handed over the Metropolitan Police. Mark describes what he found in the data as a bizarre list of events monitored by the police, lectures given, panels attended, even petitions he had supported.
The dedicated police trail of Mark through anti-war demo’s, on his bicycle, at protests or demos is an elegy to the police state. Marks efforts to destabilise the Government by banning Tories from his gigs and participating in anti-war demos do not warrant him a domestic terror threat but would perhaps qualify him for ten years in prison under the newly passed Police, Crime, Sentencing and Courts Act 2022 for being a ‘public nuisance’.
ByNEWCAREERPOLITICALHISABOUTSPEAKSCOMEDIANALTERNATIVELONGANDSHOWTallulahTaylor
He remembers going to see his career’s advisor. “As I walked in, he said now, before we say anything, I just want to say there’s nothing wrong with working with your hands. And I said I know! My dad is a builder.” These influences set up a firm class consciousness within him, establishing a precedent for his concerted efforts to disarm the establishment. He spent a while helping out his father scaffolding in South London, before his comedy career took off. But the whole time, he spent Monday’s thinking about his gigs over the weekend and Friday planning his next ones. His father kindly told him to take off Monday and Friday so he wouldn’t be so distracted.
I ask him how he deals with the emotional overwhelm of being involved with social justice movements; picket lines, protests or walking the length of the Israel Palestine border. He says it is our natural impulse to help people who are in need.
Like many political men who came before him, abject and vague political sentiment flows from his mouth, eloquent and instinctive. Insistent on obscuring anything so much as alluding to emotions, at the cost of sometimes sounding incoherent. It is hard to paint a picture of him. I try with his childhood and am compensated with conflicted memories, permeated with rage for things other than Markhimself.was born in Clapham and, reaching secondary school age won a scholarship to Christ’s Hospital, a ‘charitable’ boarding school which has a sliding scale of school fee’s corresponding to parent’s wealth. The morning the letter arrived his parents ran upstairs beaming, rousing him from sleep, Mark jolting awake and bumping into someone, causing him a nosebleed. The son of a midwife and construction worker, the day he got in was amongst the proudest of their lives. But his experience at the school was a crash course in class alongside violence and bulling.
“The core of humanity is to help.” He responds simply. He paraphrases Eddie Dempsey, the Deputy General Secretary for RMT. “We get all sorts of people. We’ve got patriotic working-class members, we’ve got patriot, we’ve got anti patriotic, we’ve got Republicans, we’ve got religious people, we’ve got pro-Brexit, we’ve got anti-Brexit. But what unites everybody is the pay packet.” I add another in my head; power. continued...
The description of Marks activities, scribbled in a policeman’s notebook, as they observe a crowd gathered together in front of a foldaway table, hastily printed leaflets and tired speaker in crumpled trousers and student unions’ megaphone is an ode to the state of political resistance in Britain. Mark represents the ‘uncontrollable’ minority, those the ‘Establishment’ fears and has pumped huge amounts of money into subduing. They operate in pubs, old bookshops and sticky floors of Student Unions.
Mark Thomas comes to Hove’s The Old Market on Sat 15 Oct. Tony Pletts
www.theoldmarket.comPhotoCredit:
Almost everything he says has the capacity to be quoted for a rally, demo, or committee, apart from a few select statements he asks me not to print over fear for his son’s safety. He credits mostly Punk and the Church for his politics. He says both provided him with an awareness of the power of the State. Until he was nine, he took the teachings of the Lord quite literally. The natural sense of justice in the church appealed to him, especially the teachings around helping people in need, doing things for your community. The Church led him to believe that any people who are exploitative are “fuckers”, he smiles.
“I was raised in the Church of Nazarene which is a Wesleyan Church. And we were encouraged to proselytise because lots of my family are vicars and preachers and all that kind of stuff.”
After school he went up North to drama school in Yorkshire, which was facing a dire political situation under Thatcher. Many of the minors would come to drink in the student union bar for its cheap beer and sympathetic politics. Mark became friends with them and joined them on the picket lines and in organising. Like all student led efforts in Britain’s class war, the theoretical became real for him when he saw his friend’s become pawns in Thatcher’s war against the Unions. His performances, be they theatre, protests, comedy or picket lines seem to act as a cathartic release for the rage and pain of societal inequality. His statements; radical, unrehearsed and unafraid, push him into the fringes of society and into the plush sofa of the culture war plaguing the press. But he is unafraid of this. He labels himself as; a mix of stand up, theatre, journalism and the odd bout of performance art. He says he is 57 years old and doesn’t care if it sounds pretentious. He has been arrested, in court numerous times, held many public bodies accountable and formed a people’s manifesto during his last show. His new show asks “how did we get here? What are we going to do about it? Who’s up for a singsong? After lockdowns and isolation, this show is about the simple act of being in a room together and toppling international capitalism.”
Shake out the sequins, Strictly Come Dancing’s returning to our screens on 17 September. Now that Brighton & Hove has its very own dance house – The Dance Space - what better time to dip your toe into dance –whether you’re an absolute beginner or a bit of a Bill OfferingBailey.more than 30 classes from two accessible, light and airy dance studios in salsa, contemporary, Indian, tango, movement classes for boys, Pilates and more, The Dance Space is definitely the place to get moving this Autumn. Remember John and Johannes’ 2021 fiery salsa performance to We Are Family by Sister Sledge? Now you can harness your hip action with a beginner’s salsa class, led by Latin dance teacher Federico Bedoya. Salsa is a mixture of Cuban rhythms such as mambo, Pachanga and rumba, as well as American dances such as swing and tap. Fede teaches all the basic routines for non-partner dance and all ages and abilities are welcome.
If you fancy hitting the studio to the drama of flamenco, former resident Flamenco dancer at Sadlers Wells, Helena Benge is running beginner’s classes on Monday evenings - castanets optional. Flamenco is a form of song, dance and instrumental music associated with the Andalusian Roma of southern Spain, and Helena’s class is aimed at both beginners and adults who’ve danced this style before. There are two children’s classes for 4-7 and 8-11 year olds too. Performer, choreographer and teacher Anna Alvarez’s Argentine tango class will take place on Tuesday evenings – beginners welcome.
STRICTLY FEVER IS ALMOST UPON US, LEARN TO DANCE THIS AUTUMN AT BRIGHTON’S NEW DANCE HOUSE - THE DANCE SPACE
Argentine-born Anna is also teaching a Limon-based contemporary dance class for more experienced dancers on Thursday evenings. This is one of three contemporary classes available this Autumn, alongside an open class and a professional class featuring a range of guest teachers with different styles and experience. To kick off the weekend, lunchtime class Pop to the Barre is a sweaty combination of cardio and conditioning using the ballet barre; followed in the evening by Indian classical dance for beginners with Priya SomeBhawaneedin.oftheclasses at The Dance Space are directly curated by the team at South East Dance – the arts charity behind it – with others brought by friends and partner companies, ensuring that the programme represents the city and reflects the charity’s vision of challenging perceptions of dance and what it can be.
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One such partner company is Project Female, the dance company set up by Brighton born and bred dancer Ellie Bishop-Williams. After studying fashion and business, Ellie started Project Female in 2017 to create a safe space for young female dancers to develop and express themselves through dance.
Every Saturday Project Female takes over The Dance Space, offering a range of classes for those who identify as female – from minis aged 4+ right up until the age of 18. As they say on Strictly: ‘it’s all about the journey’, and that’s the emphasis at Project Female too.
“We create a positive, supportive, family-like environment based on self-expression. We see girls grow in confidence week to week, which is really important to us – especially in an age when there is so much pressure on girls and young women to look and act a certain Classesway.”forolder adults are on offer at The Dance Space too. Three Score Dance runs contemporary classes for anyone aged 55+ every Thursday lunchtime; and in a collaboration with Brighton-based dance company Ceyda Tanc, on Tuesdays a creative contemporary class inspired by Turkish traditions.
The Dance Space is part of the new Circus Street development, just off Grand Parade. To explore the full Autumn Season programme at The Dance Space visit www. southeastdance.org.uk/whatson or pop in for a chat.
YOUR CHANCE TO DANCE
Also on offer at The Dance Space this Autumn, South East Dance will be working with the University of Brighton, Worthing Theatres and Brighton & Hove film stalwart Cinecity to stage the first Brighton Screen Dance Festival 16-19 November. This four-day festival will offer a glimpse into the intriguing world of dance for the screen. New independent films made locally and internationally include a work for the screen by one of top British choreographer Siobhan Davies.
“The idea is that if participants really fall in love with dance – which many do – there’s a journey they can follow that empowers them to learn how to move, enjoy music and feel safe in their bodies while really young and carry that through to early adulthood with us.
Fungi Festival Emmetts Garden Connecting all life on earth, fungi help to keep the world turning. Join us at Emmetts Garden for our first ever Fungi Festival, where we’ll be celebrating the humble mushroom with a month of talks, tours, workshops, a market - and more. 1 - 30 October 2022 The Mushrooms at the Edge of the Rainbow, Seana Gavin, 2022 © The Artist, Commissioned by the National Trust as part of the Emmetts Garden Fungi Festival 2022 © National Trust 2022. National Trust is a registered charity 205846. nationaltrust.org.uk/emmetts-garden Emmetts Garden, Ide Hill, Sevenoaks, Kent, TN14 6BA @emmettsgardennt Ceramics, wood, textiles, leather, jewellery, willow and more! Meet and buy from Britain’s designer-makersbest BEAUTIFUL & USEFUL CRAFT FAIR AT SUSSEX PRAIRIES SATURDAY 17 & SUNDAY 18 SEPTEMBER, 11-5PM www.beautiful-useful.co.uk EAST SUSSEX’S PREMIER MULTI-ARTS FESTIVAL 9th - 25th September ryeartsfestival.org.uk2022 Rye Arts Festival CIO Reg. No. 1175309
He’s off on tour with An Evening with Adam Frost, which calls in at Worthing’s Pavilion Theatre on Thurs 29 Sept. It’ll be packed with smiles, a few naughty bits and plenty of poignant moments, alongside some useful advice for any anyone looking to take their garden to the next level. “It’s literally my life in gardening, which has not been without its moments.” He had quite a difficult childhood, spending much of his time with his grandparents on their allotment, developing a love for growing things and so much of his story centres on what he learned from them. Then we follow him getting moved to Devon at 15, and how that all went wrong. His job at the parks department, wonderful stories about older park keepers and binmen, looking after seafronts and all the interesting things he found along the way. “Then I moved back to London, and was lucky enough to get a job with Geoff Hamilton…” The impact of his six years with the legendary gardener, broadcaster and author can’t be downplayed. Frost credits the Gardeners’ World presenter as being way ahead of his time and having a profound effect on his own moral compass. “By the end of the show, you should have an understanding of why I care… and why people are important to me… having your hands in the soil and that connection, that safety...” The tour is offering a chance to be brutally honest, and perhaps share things which he’s not said in public before. “If you’re going to do that, you might as well do it in front of a live audience.” He suggests his own attitude to horticulture is about chasing moments, rather than looking at the bigger picture. Frost’s appearances on Gardeners’ World present a more holistic approach to managing things. It’s about a state of mind rather than a set of demands. “Rarely will you get me saying ‘jobs for the weekend’. I’ll say: ‘here’s something for the weekend, if you fancy it.’ The last couple of years has reconnected people in a certain way. There’s so much to be had from that little space outside your backdoor, which is far more joyous than going to the gym. There are people who conceive it as chore, but there is a growing group who see it as something more.”
There’s quite a lot of science involved, although sheer enthusiasm can take you a long way. “If you can explain something in three words, why use six? There’s still a bit of snob factor with horticulture, in how you pronounce things and the right or wrong ways. To be fair, most of it’s a load of old crap…” He says there are certain rules in gardening which you can follow, but the more you understand your own space, the region, the soil and what you can get away with, the better. Really, gardening is just one big experiment.
“How do you become a ‘gardening celebrity’?”
I suggest that talking about gardening requires a special breed of person.
FROSTADAMGardeners’WorldfavouritecontinuestobreakdownbordersByStuartRolt
Perhaps this is what makes it special. You don’t need lots of money in your pocket to buy a packet of seeds and grow something on your windowsill. That idea of growing and nurturing can play a part in almost anyone’s life.
asks Adam Frost, letting out a chuckle at the implausibility of his circumstances. “That’s madness. What I feel privileged about is that there’s a decent group of people who think I’m alright.” The star of Flower Show TV coverage, Gardeners’ World regular and award-winning British garden designer is still a little bemused at being recognised in the street, regardless of where he is in the world. Obviously, being on the BBC’s beloved long-running gardening programme has brought him into millions of homes, but now fans are about to discover more about his fascinating story.
The wellbeing benefits are increasingly being acknowledged, with a less traditional demographic getting into the hobby. “There’s definitely a more diverse audience turning up at the shows like Hampton Court and Gardeners World Live. I’d say there are younger people in that environment being drawn into it. I’m lucky that they come and talk to me, so you do get a feeling of what they’re getting out of it.” Frost’s cheery disposition and quiet modesty directly feed into his appeal as a presenter.
This constant experiment with blending shapes and colour, taming the landscape and creating something truly personal has become a British obsession over the centuries. From the Romans’ enclosures and Medieval practical spaces to the formal symmetry of the Restoration and Capability Brown’s grand landscaping, that humble patch of land beyond the back door has evolved into something which can inspire and delight. “For the upper classes, you could say this,” concedes Frost. “But for the working classes, it was just about growing food. We live in a part of the world where there’s a huge diversity in what we can grow, so that’s part of it and it’s become part of our psyche. It maybe bridges everything. It doesn’t matter if you’re Prince Charles or Old Jim on the allotment when you’re talking about gardening.”
His advocacy for growing plants wherever possible stems from his own experiences. “At my first bedsit, I didn’t have an outside space, so I’d grow stuff on the windowsill. Then I had a balcony, so I’d grow herbs and things. Then I had a tiny little garden. As I’ve got older, all that stuff I did early on has played its part on what I do now.” He says he’s been trying to simplify life, so has taken on a slightly smaller home garden. “But I like creating. I love using these,” he says, holding up his hands. Obviously, this has me wondering if his new neighbours have upped their game now a famous gardening expert lives down the road. “A couple have wanted to come round and have a look. But my direct next-door neighbour isn’t that interested in gardening, so we have some lovely chats. But he does keep nosing over the fence, and saying: ‘You’ve turned all the front garden into a veg patch?’ I’m like: ‘You’ve got room to do that, boy.’ I keep joking that I’ll have his garden off Whenhim…”asked about his secret for creating prize-winning Chelsea Flower Show gardens, he enigmatically suggests: “I just keep doing it.” The Royal Horticultural Society’s spring event seems to be in his blood. His father was a landscaper, who built early gardens there for the renowned John Brookes MBE. Frost would be labouring for him as a teenager, so it was part of his life from early on. Later working with Hamilton, he’d be given tickets. “Let’s be honest, the Flower Show is the closest thing gardening has got to rock and roll. You’d see all these celebrities and think ‘WOW!’” He received some training from David Stevens, who is a massive Chelsea name. “I can remember being at a show and was walking by where he’d built a garden. He pulled the rope up and beckoned me in. I was stood there looking out, and it felt good. This man had created this thing. And was stood there talking about how he’d put the design together and why. I found that Afterfascinating.”working with Hamilton, the next journey was setting up a business of his own with a van and a cement mixer. “Somehow that turned into seven gold medals at the Chelsea Flower show, and me ending up on telly on a Friday night.” While running his own company, and quietly designing for other people, he built a garden for Terrance Conranwho took some time to ask about his plans for the future. “We’re stood on the main avenue at Chelsea, and I said: ‘I’d love to do this, but who the hell is going to let me.’ He stopped me and told me why Habitat was set up.” Conran was a joiner, and department stores wouldn’t sell his furniture. So, he opened his own outlets and changed the face of retail. “Somehow I convinced Mrs Frost to spend £18,000 on our first Chelsea garden.” He describes it as an itch he had to scratch. That debut year saw him win his first Gold Medal. It seems to all come from that one chance conversation. But his projects and ambitions have kept getting bigger. “I’d have these ideas, put them on paper and align them with the people I was making them for. The medals did mean something, but I never really celebrated any of them. I sound terrible, but I just went and did the next one. I love the craic of the 20 days from a blank space.” These successes meant he was a natural choice for helping present Gardeners’ World, when the Friday night fixture introduced a new hourlong format. But, despite reaching around 120 million people on TV, and building gardens for people all over the world, he says he’s never really had a plan. “I suppose I’ve got up, worked hard, fancied doing something, had a go at it and moved on to something else.” He’s just finished two busy days of filming, a process which he genuinely enjoys. There’s lots of banter and messing about with the crew and producers, but at the end of the day they’re just filming what he’d probably doing anyway. The celebrity status won’t ever stop him wanting to get his hands in the dirt. “Obviously, like everyone else, the last few years has made me rethink. The garden design practice is my true job, and the rest of it is a lovely little add-on. It’s a load of stuff I can write down at the end and tell my grand-kids about…”
An Evening with Adam Frost, comes to Worthing’s Pavilion Theatre on Thurs 29 Sept, as part of a UK tour
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After countless justifications from myself, and understandable concerns from my parents, we finally met in the middle and the decision was made that if I was going to have Instagram, my dad was to have it as well. We would follow each other and keep up with our posts and comments via the online world. This seemed more than fair. I had nothing to hide and was certainly not embarrassed to have my dad’s interactivity on display for my followers to see. If anything, I was
W
Instagram felt more like an artistic expression of our lives, and as pretentious as it sounds, I feel like I knew that social media was going to be more than just connecting and chatting to friends. It was going to be a real defining aspect to our modern history. It was this that I did not want to miss out on.
hen I was fourteen, I probably wanted school to give classes on how to take the perfect selfie, or which is the best filter to use, instead of learning things like algebra and the periodic table. I remember once googling when is the best time to post online?. When I was sixteen, my perspective shifted to wanting classes on how to not care about social media and these questions I was asking myself. Worried about whether my photos made me look awkward, too posed, too airbrushed, not smiley enough or too smiley, I grew up as Instagram grew too. From using apps such as Retrica, Camcorder, VSCO and Picsart, to being exposed to colours and funny faces and editing tools built in the app, I consider myself as part of a “filter generation”. What I mean by this is the conditioning of teenagers, especially girls, to view filters as a necessity. Filters once meant making a picture look better, but now as social media has adapted with the times, filters are crafted and used to make us look better. Once upon a time, female adolescence compared themselves to beauty queens in Hollywood productions, or the epitome of femininity plastered across magazines. Nowadays, we only need to look down at our screens to be reminded of beauty standards. All of a sudden, we are comparing ourselves and our lives to our own bestfriends, and cannot take a group picture without masking the camera with an enhancement of some description. I sometimes scroll through my phone and wonder if my future children will ever really know what my own best friends used to look like without the addition of virtual eyelashes or skin smoothing touches. I wonder how many of my memories have actually been captured by a photograph, or if the memory itself has become a performance for the camera. Social media apps in themselves must hold some sort of accountability. Instagram for instance seems to not know whether to hold up the knife and fight against beauty standards, or whether to drop the shield and continue to let us battle adverts for supplements. The world of social media is spinning in its own entirety, and I do not think there will ever be a map to help navigate us towards a healthy relationship with it, but trying to develop a healthy relationship with social media is something I have never been quiet about. While I still ask questions like when is the best time to post online, it is for completely different reasons. Instead of just wanting the post likes possible on my posts, my aim with posting online now is to reach a specific audience: an audience who have similar goals and interests as me. I have had my fair share of Instagram accounts, with my first being made behind my parents back after they said no to the use of social media. This was possibly around 2014, and privacy settings and security were still tightrope subjects. It was not until a few years later where it was introduced that you needed to insert your date of birth to your Instagram log in to prove that you were over thirteen, thus allowed to use the application. It is crazy to me that I risked (and then completely betrayed) the trust of my parents simply for the sake of not wanting to miss out on a world online. While it caused many rows and tiffs, a part of me does not regret the sneaky late night scrolling on my ipod, and the monotonous process of delete and redownload the app in the days when my dad would check my devices. It was not an addiction and I did not want to deliberately upset my parents, but I could not deny this curiosity I had for the motive of these apps. It was, and still is, fascinating that our lives could be posted online and shared in the matter of seconds. I did not make a Facebook account until about 2017, but there was something about Instagram and the aesthetic function of images which seemed to engross me.
THE BYTOMYGENERATION:FILTERRELATIONSHIPINSTAGRAMAMYSTANBOROUGH
excited to share the navigation of social media with my dad and to learn together. I got a real thrill out of helping him choose his username, bio and posts; having to tell him “no that’s the sort of thing you put on Facebook, not Instagram’’ and having no real explanation as to why. This ‘follow for follow’ rule was made when we were on our way to Australia in 2015 for three weeks, and social media was a way for me to share photos of beaches and good food with my friends. From this point, I tried to vouch to myself that social media would be a space of memory sharing rather than a hunt for validation. The emphasis on connecting instead of comparing was luckily instilled from the early days. Except this was (is) not an easy process everyday. I eventually made a “private” Instagram account where I could spam my feed with photos that I enjoyed or made me happy without the pressure of thinking, is this worthy of my main feed? I had only my close friends on this following list - people I knew wouldn’t judge how bad the memes were or how ugly the hungover selfies were. Such “spam” accounts are still very common across the platform, and I find it interesting that people require a space separate from their own for true expression. A secret place to post whatever they like, whenever they like.
Eventually, after leaving school and therefore running from the judgment that comes with secondary school cliques (it turns out that your online identity starts to shape the way you are perceived in real life too) I ditched the private spam account and did exactly that. I started posting what I wanted when I wanted on the one and only Instagram page I owned and it felt incredibly liberating and self-accepting. Instead of relying on posed photos of myself for content, I started filling the square spaces with pictures of my friends and landscape shots; images of food and silly little videos. My feed became colourful and a true representation of myself, instead of something I thought it “should” look like or be. Irony is, my writing just got interrupted by a notification from ‘BeReal’. For those who may be unfamiliar, it is a social media app where all of your friends have to post a picture at the same time so that you can see what everyone is up to in that exact moment. It celebrates authenticity of the two minutes you have to snap your shot, and not having to retake the image over and over in order for it to be ‘postworthy’. A demand for authenticity seems to be sprouting across the world of social media as a demand to ‘make Instagram Instagram again’ has been transferred into a petition in response to the app’s latest update. It is considered that Instagram is now providing us with too much unwanted content from suggested accounts, when really, we just want to see what our friends are up to. It seems we are returning to an era of being real, scrolling past the influencers, and only ever liking posts from people we actually like. And in my captions too, I am trying to be more real. To post my thoughts and feelings seems more valued than captioning my images with random song lyrics or emojis.
I no longer fear what people have to say about my feed, and use Instagram as a way to network and sell myself as a writer and a journalist. I am constantly on a mission to rave about independent businesses to get them the exposure they deserve and unapologetically share images of my name printed in magazines.
Shouldn’t all Instagram accounts be like this?
I have noticed more of my friends deactivating their Instagram accounts because they find no satisfaction from posting and scrolling anymore. Meanwhile, other friends still find entertainment in seeing who has viewed their story or liked their pictures. I would describe my own use of Instagram as a way to express snippets of my lifestyle in a way which is mediated but professional. I am not ashamed to construct an aesthetic of myself and search for the perfect lighting or ideal angle, but I am aware of the fact that Instagram is a construction. I think that is the most important lesson I have learnt from being a part of the filter generation. Having an awareness and acceptance of Instagram’s performative nature is the first step in learning to use social media in a way which is more real.
Delusion is a word which comes up a lot when you search Tim Crosland. There is a provocative clip of him being grilled at COP26 by Sky’s Adam Boulton. Again and again, Tim tells Adam that not enough is being done to confront the climate crisis. Adam’s clipped smile labels him childish and delusional. His remarks cut deeper as the segment continues.
“What we’re doing is, in a way challenging something very fundamental to the overarching ideology, which is based on the carbon economy. And based on infinite growth, we’ve just got to keep growing and growing, because that’s the only way we service our debts. That’s the only way we can counter inflation, or whatever it is. And what we’re proposing is somehow a challenge to that. Well, that’s, that’s very different. I mean, this is threatening to, to that entire, you know, carbon based, carbon addicted, growth addicted order.
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Last year Tim Crosland and three young people with family in Ghana, Nigeria, the Caribbean and Mexico, took the UK government to court for infringing on their right to life by not complying with the Paris Agreement.
By Tallulah Taylor
And I think there is a very real question about whether the establishment can make the necessary changes politically; I don’t mean as whether it can Constitutionally. But
He tells Tim that this is not how geopolitics works, that scientists and politicians have made “significant progress” through existing structures and diplomatic infrastructure. But Tim understands geopolitics, and the economic and political underpinnings of the climate crisis. His case is based off complex economic and political theory around growth and political responsibility. Such resistance, Tim believes, is because of the type of campaign this is. It differs from historical civil rights movements which expanded the right to vote, to marriage or to property. These battles had clear demarcated lines between good and evil. To fight for the LGBTQIA+ right to marriage was to ask for one group to have something that another had.
“What we’re doing is, in a way challenging something very fundamental to the overarching ideology, which is based on the carbon economy. And based on infinite growth, we’ve just got to keep growing and growing, because that’s the only way we service our debts. That’s the only way we can counter inflation, or whatever it is. And what we’re proposing is somehow a challenge to that. This is threatening to that entire carbon based, carbon addicted, growth addicted
The European Convention of Human Rights never anticipated the climate crisis when it was drafted in 1945, Judge Spanner, President of Strasburg court, told the world a few years ago. A precedent in one of the most powerful courts of Human Rights would have influence in the worlds court rooms but it would not be the silver bullet to save us all.
Kobina Jerry Amokwandoh (22), Adetola Onamade (24) and Marina Tricks’ (20) were hoping to uphold the government’s obligation to safeguard the lives and family life of its people and to do so without discrimination (Convention Articles 2, 8 and 14). They attest that the government is not acting in its citizens best interests by ensuring that the planet does not exceed 1.5 ˚C of warming, as stated in the Paris agreement. They say their families are being directly impacted by climate change and this infringes on their Right to Family Life. They are seeking to prove that the defendants; The Prime Minister, The Chancellor Of The Exchequer, and The Secretary of State for Business, Energy and Industrial strategy, have acted illegally in their policies by not ensuring that we do not exceed 1.5 degrees of Timwarming.Crosland the director of Plan B; the group that led the case in the courts, also led protestors in the streets, waving the now infamous green flag adorned with the black hourglass, as well as the documentation heralding the Judges decision to the masses. The former stuck him in the back of a police van and the latter in contempt of court. In Autumn of last year, the case was rejected first by the Supreme Court who held that there was no arguable case that the Government has a legal obligation to address the threat to the public. The small team are now taking the case to the European Court of Human Rights to join other climate cases. Tim is hoping for a significant precedent which would force governments into action.
Answers to the unarguable threat of terror came unfiltered through the upper echelons of government, uncontested from the people or large corporations. Dramatic political changes were justified because of the perceived threat awaiting western ‘democracies’ from a shared enemy.
Tim has utilised the metaphor of post-911 to explain how the Government would implement legislation to confront the climate crisis.
Many turned on the news on 11th September 2001 to find a changed world. The changes that came were immediate and extreme.
“Suddenly, what the government does, following the US lead is to introduce legislation around terrorist financing, and proceeds of crime and suddenly, all finance institutions have to conduct due diligence tests. And I’m not saying that’s an unproblematic example, it might be a problematic example, in all kinds of ways. But it’s an example of governments acting quite quickly to require financial institutions to undertake due diligence. So of course, it can be done.”
Iforder…”Tim,Amokwandoh, Onamade and Tricks get this passed in Strasburg, how it will play out in real life is also guesswork.
TIM CROSLAND Plan B director takes government to court over climate change, with the help of three Sussex students.
When Tim first started with Plan B, he was working closely with a few Sussex students, two of whom were claimants in their first case. He just happened to meet them at a conference in Brighton on climate and the law. The relationship grew from there and they became involved in Plan B’s legal case against the government. They discussed why people did not care enough about the planet, and they told him that trying to get university students attention at that moment would be futile as there were too many conflicting issues going on. A few months later XR was born, and Tim joined them because he didn’t believe any real change could be made without “mass mobilisation”. But even if the case is won in the European Court of Human Rights, and the world mobilises together to confront the crisis, steadfast change is not set to come. Plan B’s outline this in their alternative chronology of events on their website; 25 million years ago
The Public Accounts Committee says the government has “no plan” to meet its climate targets. 2050 The4˚C?grounds for defence from the defendants; Secretary of State for Business, Energy and Industrial Strategy, HM Treasury and the Prime Minister were: “Even if a positive obligation does arise on which any of the Claimants could rely: I. the overnment is plainly doing enough to comply with it; and ii. the Court should afford the Government a wide margin of discretion in this area given the complex and cross-cutting nature of tackling climate change; the choice of means is a matter for the Government.
And “The claim itself does not challenge any particular policy or decision but is an attack on the Government’s programme of legislation and policy across an array of economic, social and environmental spheres, alleging failures to meet a “positive obligation” to take measures to prevent breaches of the Claimants’ rights.” If the courts decide in favour of the claimants, the responsibility to not exceed 1.5 degrees of warming will fall into government hands. But the existing inertia of the government, despite the issue already residing in their realm of responsibility, forewarns us that this culture of responsibility will persist beyond any successful court cases. You can follow the appeal at www.planb.earth
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bn1magazine.co.uk 47 I mean, whether politicians who have got into the position that they’re in can make the decisions that need to be made with the processes we’ve got… I think it was probably quite difficult for one of those politicians to come out and say, ‘Yeah, you know, I’m not sure we can keep growing the economy’.”
X The tone Tim uses to talk about the climate is of someone who has long listened to the prophetic proclamations of an earnest religious sermon to an unsettled church congregation. It is like he expects a fidgety audience who do not often grace the pews and have been forced there because of cultural conventions surrounding Easter or Midnight mass. His words are perfectly writeable, no likes or but’s, almost as if he is expecting to be mis-quoted by a ruffled Hisjournalist.position is one of a ‘goodie’ though, surely. He is taking the government to court over their inability to protect its citizens from global warming. Why, then, does he have such resistance from journalists, politicians, judges and citizens? At the moment climate change is so deeply connected to western economies that to demand any change is to sever the nets hauling in such profit. Those at the top of the nets also have a political agenda, and according to Adam Boulton from Sky News also have a responsibility to geopolitics and international order. By suing the government over the Right to Family Life, on the premise that their families live in countries affected most by climate change, is acting in the absence of international convention surrounding issues of responsibility. If their case gets passed in the Strasburg court this will act not only as international legal precedent but also as a moral precedent over whose job it is to sort out climate change. Clearly something not many judges are willing to do. Tim hopes that it would get to the European Court of Human Rights for this point alone.
Last time temperature on Earth was 4˚C in excess of pre-industrial levels”
1956 New York Times runs the headline: ‘Warmer Climate on Earth May be due to More Carbon Dioxide in the Air’ March 2021
They draw on key political events to frame the crisis in terms of responsibility; 1441 Start of European enslavement of Afrikans in Afrika. The Portuguese captains Antão Gonçalves and Nuno Tristão capture 12 Afrikans in Cabo Branco (modern Mauritania) and traffick them to Portugal.
Representatives of all the colonial powers of Europe and America meet in Berlin at the Berlin Conference, convened by Otto von Bismarck, to divide Afrika into 50+ countries, and arbitrarily draw up borders that exist to this day, most of which cut across the logic of nationality, geography, language, culture and other unifying factors.
Having opened its doors in July this year, The Ivy Asia is an add-on to The Ivy in the Lanes, Brighton’s incarnation of the ever-growing chain of restaurants springing from the original Ivy restaurant in London’s West End. That restaurant gained fame as a haunt of celebrities from the theatre industry in the 1940s and has since expanded to over 30 off-shoots across the UK. The Ivy in the Lanes has been open on Ship Street since 2018, and now shares its building with this iteration of The Ivy’s Asian fusion sideline. Indeed, if you go the wrong direction on the way to the toilets (as I did) you will find yourself in the butter and garlic scented atmosphere of the European side. From the moment you enter the door, The Ivy Asia is visually stunning, like a hyperreal technicolour reconstruction of a lost continent. The floor of the lobby is paved with a path of uplit red onyx, as if the restaurant has been built on a seam of precious stone, whilst the walls are covered in pictures of swirling red and gold dragons and flying fish. An ornate statue of a samurai looms in the corner, like a time-travelling security guard you half expect to ask for your ID. The staff are immaculately attired in traditional dress and immediately make you feel like you’re as important as one of the original restaurant’s VIP patrons. The interiors of the main restaurant are even more impressive. It expands out with the vaulted skylight giving a sense of luxurious space. The onyx floor turns a luminous green, forming an ersatz forest floor out of which seems to be growing the room’s centrepiece, a cherry tree kept in a permanent stasis of pink blossom. The bar is a glowing black and gold pagoda, the table lamp is an elephant, whilst the walls and ceilings teem with more dragons, samurai and burnished gold. It’s a riot of opulence and colour. It feels like entering another world – not just another continent but also a different, secret echelon of high society, where the rules are different. There’s even a live DJ playing some fairly pumping house music. For all the neon Tokyo futurism of it, there is also a touch of the exoticism fetish – as well as the art deco lettering – of the roaring (nineteen) twenties and the Hollywood cinematic universe that the original Ivy’s thespian diners would have been familiar with.
Review:Restaurant
The Ivy Asia
bywithfoodieTechnicolourexoticismatouchoftheatreThomPunton
The touch of theatre continues when we order cocktails. The K-pop Passion, made with vanilla vodka, passion fruit purée, orange juice and kumquat liqueur, comes topped with a passion fruit shell rippling with blue fire that our waitress spritzes with something flammable to make it puff flames like one of the dragons on the wall. It’s great fun. Who doesn’t like an element of danger to their dining experience? The cocktail is piquant and fruity with a kick, and is accompanied by a shot of Bottega Gold Prosecco on the side to cleanse the palate of any sourness. It’s not entirely clear what the K-pop element is, but I suppose they wanted to get Korea in there somewhere. The cocktail menu is made up of variations on classics, which all sound fabulous. The Yuzu Old Cuban – the waitress’s favourite, we are told – is sweet, intoxicating and aromatic, essentially doing exactly what you want a cocktail to do.
A slab of black cod – a meaty fish more akin in texture to red snapper than normal cod – with an unctuous miso sauce was a pleasing main with sides of steamed rice and chilli and ginger stir-fried greens. We were given a further taste of theatricality when our waiter brought over the barbeque lamb rump, which arrived covered with a glass cloche filled with smoke that he twirled off to reveal the slices of tender pink meat, leaving a lingering woodsmoke cloud. This was served with lots of crispy garlic, miso, fresh micro herbs and silky aubergine.
As our first starter, the sesame crusted prawn dumplings were crispy on the outside and succulent on the inside, sitting in a puddle of sharp and salty ponzu, sprinkled with dried chilli, crispy garlic and spring onion, the kind of sauce you want to lick off the plate. Then, the Chinese Char Sui barbecued pork belly skewers came. The thick layer of fat on these had been persuaded no doubt over many hours of slow heat to become perfectly soft, with a dark, sticky glaze, sesame and a spicy red dipping sauce reminiscent of sriracha. Both dishes were absolutely faultless.
Closing time is 12am Monday-Saturday and 11pm on Sunday, so you have plenty of leeway to take your time and savour the experience.
We ended with the Red Dragon dessert platter, which billowed dry ice from its nostrils, engulfing our waitress as she named the many constituent parts, which included vanilla ice cream laced with mochi and dusted with matcha, warm passion fruit doughnuts, peanut brittle, honeycomb, berries, coconut, chocolate sauce, even some of those little crispy chocolate balls you get in Müller Corners. It was a tasty little buffet finale that would make for a fancy, alternative afternoon high tea.
All the meat and fish was cooked with utter precision tonight, making it deserving of its premium price tag. If you go all out here, you’ll be looking at at least £100 a head. It is The Ivy after all. But it never felt like any corners were being cut, as can be the danger when a renowned institution is sold and expanded. At every point we were made to feel special. Even though the place was full to the brim on a Tuesday night with the DJ keeping the tunes coming, we never struggled to hear each other talk. Neither were we made to feel rushed at any point.
For bookings visit www.theivyasiabrighton.com
For an immersive pushing-the-boat-out dining experience, perhaps as a special celebration or to really impress a date, where all your senses – even your sense of time and space – have been catered for, where the food is not only delicious but also a lot of fun, The Ivy Asia is an ideal, entertaining, little dreamworld of a solution.
There are quite a few different approaches one can take to the Ivy Asia menu. There’s a whole sushi and sashimi section with the “Silver Shell” and “Black Shell” platters which are most likely spectacular, and the aromatic duck for two people that the table next to us ordered which came as a tottering tower of do-it-yourself elements looked like a good time. Sharing experiences for four or six people are available for an accessible £55 or £65 per person. These include variations on all the platters. However, we went á la carte, with a selection of small and large dishes.
up is the Baharat cauliflower, aubergine, baba ghanoush, with pomegranate, harissa, preserved lemon, and naan bread. This feels more like a lunch. I may still be spinning from the pork, but this is a decent offering – the naan bread begs to mop up the delicious sauce and again the suggested pairing of Gaia, ‘Monograph’, Assyrliko, Peloponnese, Greece 2020 is very well matched. Their small, carefully chosen wine list, is complemented with a delightful cocktail menu crafted by local mixologist Thanasis Karvelis to “incorporate seasonal flavours and elements from our dishes”, but as I said the downside of lunch being the new dinner is that I’ve got to return to work, so that will have to wait for a time when I’ve a more relaxed afternoon ahead of me.
Instead, I opt for a smoothie to go with the vegetarian breakfast. I wisely choose not to go for the ‘Gold’. A coffee, peanut butter, dates, almond milk that sounds marvellous, but is also a breakfast in itself. The ‘Tropical’ turns out to be a good idea; a refreshing and subtle mix of pineapple, mango, and passion
LOST IN THE LANES
I’llfruit.admit that the halloumi, smashed avocado, mushrooms, roasted cherry tomatoes, new potato hash, organic poached eggs, and sourdough toast was a meal too far, as I’d broken the golden rule of not eating everything on the plate in order to review it.
By Mark Davis
This may be a strange place to start, but the Oxford Academic has over 500 peerreviewed journals spanning across a wide range of disciplines. One of those is the American Journal of Clinical Nutrition. Volume 104, Issue 4, October 2016 was, surprisingly, the first study to evaluate the relation between high energy intakes at lunch compared with at dinner on weight loss and cardiometabolic risk factors in women during a weight-loss program. The clinical trial (NCT02399280) showed stunning results; a significant reduction in anthropometric measurements and similarly significant improvements in cardiometabolic risk characteristics were observed. In addition, lunch over dinner may also offer clinical benefits to improve insulin resistance. The findings were reported around the world, and Women’s Health championed the news that “eating the bulk of your daily calories at lunch, as opposed to dinner, can help you lose weight over time.” Why am I starting here? Because lunch can be the new dinner, if you can have a two-hour lunch break and cook for yourself at home or, more likely, find the right restaurants. In August 2017 LOST opened its doors. Their goal was that “good food shouldn’t be reserved for evenings only”. They specialise in daytime dining from breakfast through to late lunch, with small chef-lead menus, using ingredients from local producers. Head chef, James Flavell, describes his style as ‘rustic refined’, taking seasonal products and creating, what LOST call “beautiful plates of food”.
On request, Natalie, the owner suggests a white wine pairing that is not listed on the menu; Carminucci, ‘Belato’ Pecorino, Marche, Italy 2021 (the suggested red Finco Bacara, ‘Time waits for no one’ Monastrell, Jumilla, Spain, 2020 is understandable, but I’ve work to do this afternoon) – there’s no doubt the small wine list is equally as curated as the Nextfood.
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So, I walk past a sun-trapped outdoor seating area and enter the Nile Street venue with high expectations. First impression is that this doesn’t feel like a five-year-old restaurant. It turns out, it has recently had a makeover. An impressively spacious and relaxed interior for Brighton, leather banquettes, concrete walls and copper table tops, with a cocktail bar and a big open kitchen. I’m told that the redesign allows up to sixty people without feeling cramped, and the chefs now have space to expand their food offerings and techniques. So, lets see… Their approach is simple, offering small curated menus; an all-day breakfast menu alongside weekly specials. My wife and I choose from the Lunch specials. And purely for scientific reasons, we also share a Ibreakfast.can’thelp but dive into the, as advertised, beautifully presented Korean pork belly. It comes with stout & xo black beans, kimchi, panko and a black sesame egg. It is delicious. I’ve eaten pork around the world and this tops the marinated delight of Hawaii’s best offering. The accompanying beans, kimchi, panko and egg work a treat if, like me, that’s your kind of thing - a contrasting mix of velvety and pickle-punch that prevent it from becoming too heavy and losing its delight. My wife is no fan of pork, but admits the sample is good.
LOST points out on its website that it is “also a neighbour to a whole new vibrant community of entrepreneurs in the beautifully designed “The Projects” co-working space in neighbouring Nile House”. From the marvellous food and venue we experienced, it would be fair to say that they fit right in with that description. And as for my ‘scientific’ experiment with lunch. I didn’t need dinner at all that day, and seems I lost a pound in the process. Win, win.
But the breakfast was tasty and importantly, not awash with oil. A quality meal, akin to the kind Rust deliver. I’d go there again for breakfast as well as lunch I thought. But maybe not at the same time when I return. I should confess by this point I’d also had a rudely delicious side of crispy potatoes, black truffle oil, lemon, parsley, and aged parmesan in what was now a serious test of the aforementioned clinical trial. As if to add to my calorie experiment marathon, I then ordered cake and coffee.
LOST’s single-origin espresso is roasted by Lewes based Pharmacie Coffee Roasters and their cakes are hand made by local pâtissier, Jakub Fedon. The chocolate and carrot cakes were as delicious as the meal, and the coffee a very pleasant roast, bucking a trend of acidic strong offerings endured from recent visits to other restaurants.
Lost in the Lanes 10 Nile St, Brighton BN1 1HW Openwww.lostinthelanes.comEverday9am–5pm
The ByOeufCriticUndercoverVisitsinHoveAmyStanborough
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Greeted by a smiling host at the door, we were led to our table. It is recommended that you reserve a table at Oeuf, because even on a random Wednesday morning, I couldn’t help but notice that most tables were full. The interior screams grand pastel chic as the walls were painted white, but contrasted by velvet sofas. Pampas grass hanging from the corners of the pillars emphasised the sense of glam while the hanging chandeliers took the subtle away from the muted pink accents spread across the vases and chairs. Just to add to the pastel flamboyance, on the ceiling was a mural painting of cherubs and ponies. We took our seats and first ordered our drinks. My friend ordered a matcha latte, and the menu requested that we ask about the rainbow lattes on offer. So I asked, and there was a choice of candyfloss, lavender or raspberry flavoured latte. Curious, I opted for the raspberry latte which was served in a glass mug to fully display the exuberant pink hue of my hot drink. Each beverage was beautifully presented, decorated with floating flowers and a butterfly crafted by foam on top of the drink. If you do not fancy a specialty hot drink, there is also a list of coffees and teas to choose from, as well as an extensive list of delightfully light sounding cocktails to choose from, with a range of fruity notes and citrus flavours. We were tempted by the range of mimosas too, with a simple orange mimosa not being lavish enough; fresh lemon and gin, grapefruit and honey, and pineapple and chilli flavour mimosas are also options. In addition, there are smoothies, mocktails, juices, other alcoholic beverages to choose from, and crisp, fresh sparklings or sodas. When it came to ordering food, we already had a solid idea of what we liked the look of based on images of indulgent dishes we had seen online. Amongst the brunch choices were a classic avocado smash, and full english breakfasts; in the ‘lighter bites’ there were the options of mushrooms on toast or granola and yogurt. There are also seasonal specials which sounded splendid and large stacks of pancakes smothered in berry compote or opt for the lemon cheesecake stack for more unusual but delicious flavour choices! The two most
A menu full of completely unique brunch dishes, an Instagram feed full of egg framed photos, and an interior colour scheme of emerald green and dusty pink – I am of course talking about Third Avenue’s Oeuf. I first noticed this Hove hotspot from the queen influencer of Brighton and Hove, Zoe Sugg, when she posted their famous ‘frumpets’ onto her Instagram stories. A tower of toppings on a medley of french toast and crumpet, I was instantly hungry to try something so bizarre. Instagram seems to be where most restaurants catch my eye these days, and this particular brand is in a league of its own. From the pretty presentation of the food, attentive service, attractive decor, and of course stunning flavours, this brunch spot is a must-visit. Even from the outside, Oeuf looked like an art gallery amongst the strip of residential homes. Away from the rush of Church Road, it literally is a stand out amongst the hospitality choices. Checkerboard steps of black and white leading up to a floral framed sage green door, it is an entrance fit for a wedding. I love that the aesthetic of the restaurant is established and noticeable from across the road. With bistro sets of the same shade of green and a quirky handwritten note saying “please mind the step”, it is immediately comforting and welcoming.
iconic sections are ‘Oeufs’, of course being French for egg, featuring crab on toast with a poached egg, or trout benedict (and more). But we were really eager to devour the ‘Frumpet’ - an invention which crosses French toast with the good old English crumpet. With savoury options including bacon and chilli jam, or sweet ones like ‘apple crumble’ or ‘coco berry’, we wanted them all. Knowing the French toast as a traditionally sugary dish, we played it safe by avoiding the savoury options, but ordered the weekly special of a peaches frumpet. That is another great thing about Oeuf. The menu is constantly on rotation; the chefs are always coming up with something new, so you have to go regularly to get a taste of each recipe. We also ordered another classic Oeuf dish called The Hashinator to share.
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We started with the Hashinator, attempting (and actually succeeding) to chop a large brioche bun loaded with breakfast goodness in half. Inside the soft bread was the thickest hashbrown I have ever seen, a fried egg, chilli jam, and cheese squashed between two homemade sausage patties. The chilli jam was the highlight for me, working as a powerful middle man between the sweetness of the bun, and the saltiness of the sausage patty. The meat was flavoursome and the egg yolk oozed beautifully over the fluffy but crisp potato wedge. It is appropriately named as a machine to tackle, but is definitely a feast to dive into and works pretty perfectly as a sharing dish. It just takes a bit of dismantling, that’s all! Then, we tucked into our ‘pudding’ - the peach frumpets. Three crumpets fried in a french toast manner, this is a dish trademarked by Oeuf. Our three tiered breakfast was layered with a berry coconut yogurt, topped with caramelized peaches and sprinkled with a gentle, sugary crunch of meringue and almonds. Ultimately, they were not as sweet or as sickly as I anticipated but in the most ideal way. The nuttiness of the almonds and softness of yogurt is evidently a great cocktail with honey and cinnamon. I think I was expecting the stodgy syrupy texture of classic french toast, but instead the use of crumpet offered an alternative to bite into and taste, and I could tell it would work amazingly for a savoury stack too. Topped with edible flowers and served on crockery which lets the dish do the talking, it was all pretty enough to hang on display next to the large mirrors and faux plants. Our experience at Oeuf was such a good one, we wanted to come back for lunch the next day to snap up the salad bowl and crab and avocado wrap from the seasonal specials while we can. Unfortunately, they were already fully booked but I would plan another trip to Oeuf in a heartbeat. What attracted me to this independent restaurant, and still entices me, is pure curiosity to try the flavours they have crafted. I have honestly never seen a menu quite like this one and I want to try every combination of ingredients possible. Whether it is topped with an egg, a decorated crumpet, or mixed with alcohol in a glass, every dish or drink is undeniably well planned and crafted into a mini art project. What is even more surprising is it did not cost a fortune either. Our total bill came to £29 without service charge included. I would not be surprised if Oeuf pops up in a store in London soon, or other major cities in the UK. Make sure you get yourself down to Oeuf while we can keep it our humble yet dramatic and luxurious Hove gem.
8OeufThird Ave Hove BN3 2PX FlatIngredients:mushrooms 80g Red peppers 40g Watercress 5g Cherry tomatoes 40g 3 oz fillet medallion 2 ChopDirections:skewersthemushrooms, steak and peppers into equal sized 1 inch pieces. Load each skewer up with the mushroom, pepper and steak pieces. Grill in a pan until cooked how you like it (medium rare, medium etc.). While the skewers are cooking, chop up the tomatoes and toss them in with the water cress. Serve the skewers with the salad and www.allbarone.co.ukenjoy! All Bar One - 30 Day Aged Fillet Steak Skewer: All Bar One in Brighton has just had a stylish makeover, giving the Pavilion Buildings even more pizazz. We caught up with Aidan, the assistant manager, to give us a delicious yet simple recipe from their new menu.
We began with a sharing board termed “Disco Mac” (£12.00) which included a duo of Mac & Cheese and Disco Fries (basically the best loaded fries you’ll ever taste with lashings of harissa, lime cured red cabbage and chimichurri). We also opted for the new Birra Pulled Beef Sandwich (£12.50) and the Vegetarian Club Burrito” with Halloumi (£9.50). Both were very tasty and fresh and truly hit the spot. It’d be rude not to, so we finished the meal with Blueberry Pancakes which were piled high and topped with luscious vanilla-bean ice cream and generous servings of syrup. Fluffy is an understatement here! For drinks, we checked out several of the cocktails on the menu and they were truly fantastic. Firstly, a “Raspberry Gin Thing” (gin, raspberry, lemon, egg white, sugar and bitters - £10.00). Here, the balance of delicate flavours expertly and lovingly created was a summery delight with the flavour profile of sweet and sour hitting all the right notes. Next up we enjoyed a “Watermelon Daquiri” (white rum, watermelon and lime - £10). All the elements of a daiquiri with an explosive and fun watermelon twist which worked extremely well. Finally, we opted for a “Ferrero Espresso Martini” (vodka, Frangelico and hazelnut syrup - £10.00). This was served with a Ferrero Rocher on the side – a lovely touch and a perfect way to end a superb meal.
The Breakfast Club 16-17 Market Street, Brighton, BN1 1HH (Check website for opening times)
When visiting restaurants, of course, food is important to an experience, but service plays a big role in the overall experience. It’s therefore only fair to give a very warm shoutout to both John and Ed, the charming and hospitable waiters who looked after us so well throughout the evening. It’s always great to see top service in multilocation restaurants within tourist hot spots. It really is comforting and reassuring to know locals and visitors are being represented the very best of our famously open and convivial city.
All I can say is this: don’t be put off by the name…whilst The Breakfast Club remains one of the most popular Breakfast and Brunch spots in Brighton (and beyond), their dinner offering is equally excellent with a menu with something for everyone. Service with a smile in a central location, an art-deco interior and food and drinks served with love and character – what’s not to love? Do check these guys out next time you’re wandering The Lanes!
ClubBreakfastTheKyleGarlandvisitstofind there’s more to “breakfast”.
Brighton from many of the nearby hotels, enjoying after-work drinks with colleagues, or simply looking for somewhere to sit and watch the world of Market St and beyond go by.
out if
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Breakfast is often termed the most important meal of the day, and for good reason. As the name rightly suggests, breakfast breaks the overnight fasting period. It replenishes your supply of glucose to boost your energy levels and alertness, while also providing other essential nutrients required for good health. Brighton certainly isn’t short of delicious local breakfast and brunch options, from Lost in the Lanes to Sugardough, Meanwhile to Trading Post, all offering an array of delicious delights to do exactly that – break that fast! Rather the juxtaposition, we ended up in The Breakfast Club for dinner. Despite the name, The Breakfast Club Brighton, along with their other branches across the UK in locations such as London, Essex and Oxford, is venturing into a brand-new evening focussed market. For me, it’s always exciting to see (and eat) late-night blueberry pancakes on a menu alongside traditional “evening fare” such as mac and cheese, buttermilk fried chicken and Reuben sandwiches! Breakfast Club really is Brighton’s go-to place for delicious brunches and comfort Duefood. to popular demand (clearly!), we were unable to sample the legendary and newly curated “Lasandwich” (a vegetarian lasagne complete with rich bechamel and marinara sauce encased within a crispy ciabatta bun - pictured in circle). However, not to worry - there were a plethora of enticing dishes on the A3 menu which filled the table, and they certainly did not disappoint.
Happy Hour is fabulous and generous here too if you’re on the hunt for a real hidden bargain – £4 pints, £6 cocktails* and £6 glasses of house wine come readily available and flowing between the hours of 16:00 pm and 19:00 pm. Perfect for when you’re visiting glorious
16 • 17 • 18 SEPTEMBER TICKETS NOW LIMITED GOODWOOD.COM
• 1/2 Tsp ground cumin. • Salt & pepper.
SPRUCED UP BUTTER BEAN DIP.
INGREDIENTS:
2. Then add in minced garlic and Basil stems, fry for a minute or so.
1.METHOD:
Meet our guest cook Millie, known in the world of social media as Mmindful Mills! Millie will be sharing her fresh, plant-based recipes to our readers for you to try at home. For more information on upcoming events, popups, live cooking workshops and collaborations, follow her on Instagram @mmindfulmills
• 1 Glug of rapeseed oil. • 1 Tsp fennel seeds. • 1 Tsp coriander seeds.
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• Dry-fried courgette with lemon zest. • Basil. • Roasted walnuts.
4. Let this simmer until all liquid is on the brink of being soaked up and then gradually add water and a light sprinkling of nutritional yeast. Chuck in a blender and blend until smooth.
RECIPES
Here is one of my creations from my new dip series ‘Dips for Everything’ I made this a while ago and decided to give it a bit more of an upgrade. Plateau (one of my favourite wine bars in Brighton) always seem to kill it with their dips and I felt inspired from my last visit.
GARNISH (optional):
• Zest of a whole lemon. • Juice of a whole lemon. • 1 Tsp nutritional yeast.
5. Garnish however you like, I chose to go for some fry-dried courgettes with a little lemon juice to lift it up, roasted walnuts and some basil (to chiffonade something; to cut into ‘very thin delicate ribbons’).
Firstly add all spices and rapeseed oil into the pan and fry off for a few minutes. This will set an extended tasting profile of your dip.
3. Chuck in whole can of butter beans and it’s aquafaba (aquadaba is the residue liquid with all pulses).
• Sea salt (amount based on preference).
EASY TOMATO TART
57 WHIPPED CHILLI FETA
• 1/2 Chilli (go spicier I dare you, I had to make this one family proof).
INGREDIENTS:
• Couple handfuls of tomato variants.
• Large handfuls of carrots (any will do).
• 1 Tsp caster sugar. • Sliced red onion (I had some left over in the fridge, this is optional).
• 1 and 1/2 Tsp chopped capers.
ROASTED
1. Roll out pastry, fold surrounding sides to create a border (crust) and pierce the pastry inside the border with a fork (by doing so this will avoid unwanted parts of the pastry to rise).
Cheers @mob • Whole block of vegan feta.
METHOD:[Preheat 150C]
• 1/4 Tbsp dried oregano & dill. (INTO A BLENDER 4 WHIPPED FETA)
Once I start on a pastry roll I can’t stop. It’s a simple, quick way to create a decent snack or attribute to lunch.
• Cracked pepper (amount based on preference).
• Cracked pepper (amount based on preference).
1. Onto a tray add your carrots coated in rapeseed oil, dried herbs, salt and pepper. Then put in the oven for 30 minutes.
4. Let the carrots cool down a little before assembling and assemble however you like! It’s optional but I garnished mine with extra-virgin olive oil, garlic chives, red amaranth and toasted walnuts and enjoy!
• 2 and 1/2 Heaped Tablespoons of wholegrain mustard.
2. Mix together vegan cream cheese and mustard, spread out on pierced pastry.
• 1 Tsp dried herbs. • Sea salt (amount based on preference).
3. Then sprinkle over the garlic powder and bread crumbs (to avoid a soggy bottom). Layer on tomatoes and red onion, a glug of fancy olive oil then add a fair pinch of salt, pinch of sugar, dried herbs and pepper.
Thank you for having a read and checking out my recipes! Feel free to check out my Instagram page @mmindfulmills for more or to let me know if you have anything else I should try!
5. Once she’s out, again, add some more extra-virgin olive oil, fresh herbs and capers. I loved this! I hope you do too. Would be perfect to have as a snack option and will store in the fridge for a few days. Or could even be something to bring to a picnic.
• 1 Tsp lemon zest. • 1 Tsp lemon juice.
• 1 Tbsp coconut yoghurt.
bn1magazine.co.uk & HONEY CARROTS (VG)
• 1 Heaped tbsp vegan honey (syrup made with cup of hot water).
• 2 and 1/2 Heaped tablespoons vegan cheese spread (I find Violife do a good one).
• 1 Tsp extra-virgin olive oil.
3. Whilst the carrots are cooking blend up your whipped feta and set aside.
4.Chuck in the oven for 20 minutes.
Carrots are usually pretty easy to get hold of, so why not pump them out and serve them up to your loved ones. Don’t worry this dish isn’t as complicated as it may seem and it went down a treat at home!
• Glug of rapeseed oil.
• ‘jus-roll’ puff pastry.
• 1 Tablespoon garlic powder.
• 2 Tablespoons bread crumbs.
• Small handful of dill and coriander.
2. After 30 minutes add a rehydrating source - I went for diluted vegan honey, but orange juice could work too. Then cook for another 10 minutes.
METHOD:[Preheat 200C]
• Dash of almond milk.
INGREDIENTS:BLEND/WHIP/WHATEVER…
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WEDS 14 SEPT NETFLIX School is officially back in session at Hartley High, with a bold reboot of this enormously influential Australian young adult drama. Inspired by the original ‘90s series, but totally reimagined for a new generation, Heartbreak High sees Hannah Carroll Chapman, Ben Gannon and Michael Jenkins offer a crash course on the turbulence of being a teen. A discovery makes the brash working-class Amerie an instant pariah in the cliquey world of Hartley High, and it also causes a mysterious and very public rift with her ride-or-die best friend – the very punk Harper. With new friends in the form of outsiders Quinni and Darren, she must repair her reputation, while navigating the numerous trials of love, sex and heartbreak.
Growing up is rough. There are other kids, embarrassing families, and obviously puberty. The need to fit in is crushing, all-consuming and can lead us to make questionable decisions. And Netflix’s upcoming series sees exactly how far two teens are willing to go to gain prestige at their high school. But have they made a huge and possibly grave Zoemistake?Christensen (Emilija Baranac) and Rebecca Li (Jennifer Tong) are two best friends, who start out just trying to make it through the year. Sorting out fake IDs for their peers becomes a big business. When they decide to scale up the operation, they fail to appreciate the dangerous personalities who’ll start entering their orbit.
FAKES FRI 2 NETFLIXSEPT
IVY & BEAN FRI 2 NETFLIXSEPT
60 bn1magazine.co.uk
This new safe, fun and elevated live action comedy focuses on two unlikely friends. There’s the loud and fearless Bean, and the thoughtful and quiet Ivy. Yet the pair discover that an adventure can reveal that even seemingly different people can become the best of friends. Adapted from the wildly-popular 12-book series by Kathy Waugh (Judy Moody And The Not Bummer Summer, Molly Of Denali), it promises to be something the whole family can enjoy. These two 7-tear-olds were never meant to like each other. They both live on a cul-de-sac in a suburban environment in a faceless town, but still have little trouble in causing considerable mischief and finding wild adventures with the neighbourhood’s colourful characters.
GUTSY FRI 9 APPLESEPTTV+
Based on The New York Times bestselling book, The Book of Gutsy Women, Hillary and Chelsea Clinton’s new eight-part series features intimate conversations with trailblazing women including Kim Kardashian, Megan Thee Stallion, Dr Jane Goodall, Gloria Steinem, Wanda Sykes, Amy Schumer, Goldie Hawn, Kate Hudson and many more. The Clinton’s embark on a thought-provoking journey to speak with pioneering women artists, activists, community leaders and everyday heroes who show us what it truly means to be gutsy. The series shows this former Furst Lady and First Daughter as you’ve never seen them before, revealing their special bond and the unique, multigenerational way the pair approach the important and timely issues highlighted in each episode.
TV GUIDE
HEARTBREAK HIGH
ANDOR WEDS 21 SEPT DISNEY+
SANTO FRI 16 NETFLIXSEPT This intriguing new spin on the cop genre tells the story of the world’s most-wanted drug dealer. Although his identity has never been revealed, two very different, but dedicated, police officers are determined to catch him. Cardona and Millán are initially radically at odds, but they will have to learn to collaborate and understand each other in order to deliver justice and hopefully stay alive.
CREDIT BEN ROTHSTEIN PRIME VIDEO
Created and written by Bunk’d’s Jeff Hodsden & Tim Pollock, this is directed by Emmy Award nominee Linda Mendoza (Ugly Betty), and stars Lily Brooks O’Briant, Artyon Celestine, Vanessa Carrasco, Kevin Rahm (Madam Secretary, Mad Men) and Mary Faber (Parks and Recreation). With a new attitude and her best friend by her side, Ella is ready to tackle everything she was too afraid of before - and determined not to let the minutia of fake friends and social media status distract her.
FRI 2 APPLESEPTTV+ After a life-changing experience, 13-year-old Ella is eager to seize the day. She learns to appreciate each moment, as she faces the fears which once defined her—and encourages others to do the same.
THE LORD OF THE RINGS: THE RINGS OF POWER
LIFE BY ELLA
It stars Raúl Arévalo (The Fury of a Patient Man, Black Beach) and Bruno Gagliasso (O Sétimo Guardião, Rising Sun). Victoria Guerra (Auga Seca, 3 Mulheres), and Greta Fernández (Elisa & Marcela, A Thief’s Daughter). Spanning continents, this fast-paced thriller offers an original approach – bringing together an explosion of action and creativity.
As the Star Wars Universe keeps on expanding, it takes us back to look at one of the Rebel Alliance’s most important warriors. We travel back five years before the events of Rogue One to follows thiefturned- spy Cassian Andor as he fights to survive in a brutal galaxy. Filmed at London’s Pinewood Studios, and on location around the UK, there’s introduction for a few well-loved characters as a rebellion starts to take shape against the tyranny of the Galactic Empire. Diego Luna, Genevieve O’Reilly, and Stellan Skarsgård star is this muchwelcomed prequel. From open cynicism to an undying devotion to creating a better system, Andor is the story of perhaps the most overlooked characters in this sprawling space-opera. May the Force be with you.
FRI 2 PRIMESEPTVIDEO That other much-anticipated fantasy franchise finally flies into our telly-boxes. An epic drama set thousands of years before the events of JRR. Tolkien’s The Hobbit and The Lord of the Rings follows an ensemble cast of characters, as they confront a long-feared reemergence of evil. We go back to an era when great powers were forged, unlikely heroes were tested and hope hung by the finest of threads. From the darkest depths of the Misty Mountains to the majestic forests of the elf-capital of Lindon, a familiar villain is about to rise. In the breath-taking island kingdom of Númenor and the furthest reaches of the map, the fight back is about to begin, carving out a legacy which will last for millennia.
bn1magazine.co.uk 61
Director Nick Hamm and writer David Hudgins look at a real-life unusual pairing. Nate Gibson is a young man with big dreams for the future. Then his life is turned upside down, after a nearfatal illness leaves him quadriplegic. From here, moving forward seems near impossible until help comes from an unlikely source. Paired up with service animal, he finds a new outlook on life. Gigi is a curious and intelligent capuchin monkey. Although she is primarily trained to assist Nate with his basic needs, Gigi helps Nate find what he needs most of all. Starring Charlie Rowe (Rocketman, Angelyne), Oscar-winner Marcia Gay Harden (Pollock, Mystic River) and Jim Belushi, this is the compelling story of a search for hope.
HONK
// CINEMA
YOURJESUS.FORSAVESOUL
Written, directed, and produced by Adamma Ebo (in her feature directorial debut), this satire is based on Ebo’s 2018 short film of the same name. It stars Regina Hall (The Hate U Give, Scary Movie) as Trinitie Childs - the proud first lady of a Southern Baptist megachurch. Sterling K. Brown (The People v. O. J. Simpson, This Is Us) plays her husband, Pastor Lee-Curtis Childs, who once served a congregation in the tens of thousands. But after a salacious scandal forces their church to temporarily close, Trinitie and Lee-Curtis must begin the fightback to start again, spread the good word and rebuild their congregation to make the biggest comeback that commodified religion has ever seen.
62 bn1magazine.co.uk FILM GIGI & NATE FRI 2 SEPT // CINEMA
FRI 2 SEPT
FILM TRIVIA DID KNOW:YOU Disney’s Pinocchio appeared in Robert Zemeckis’ Who Framed Roger Rabbit (1988).
THURS 8 SEPT // CINEMA
John Michael McDonagh writes and directs this psychological thriller, which is based on Lawrence Osborne’s 2012 best-selling novel. It take place across one debauched weekend in Morocco’s High Atlas Mountains. Fleshing out an already stirring plot is a sublime ensemble cast, including Ralph Fiennes (Schindler’s List, The English Patient), Jessica Chastain (The Help, Zero Dark Thirty), Matt Smith (The Crown, Dr Who), Ismael Kanater (Queen of the Desert) and Caleb Landry Jones (X-Men: First Class, Get Out). An accident impacts the lives of both locals and Western revellers in a raucous house party at a grand villa. The following events cast an unwavering eye on self-loathing, privilege, martial problems and atonement, as two very different cultures find themselves in conflict.
PINOCCHIO
bn1magazine.co.uk 63 THE FORGIVEN
FRI 2 SEPT // CINEMA
Here’s a no-strings-attached fantasy suitable for the whole family. Robert Zemeckis offers a live-action adaptation of Walt Disney’s 1940 animated classic. Gathering for the fun is the omnipresent Tom Hanks, Cynthia Erivo (Bad Times at the El Royale, Widows), Giuseppe Battiston (The Complexity of Happiness) and Luke Evans with Benjamin Evan Ainsworth, Joseph Gordon-Levitt, and Keegan-Michael Key in voice roles. Geppetto is a kind-hearted toymaker, who lives in a picturesque Italian village. Desperate for company, he builds and raises a wooden boy as if he were his real son. Then along comes The Blue Fairy, who brings Pinocchio to life, and promises to turn him into a real boy if he proves himself brave, truthful, and unselfish.
TICKET PARADISETO
DARLINGWORRYDON’T
FRI 16 SEPT // CINEMA Ol Parker and Daniel Pipski’s romantic comedy stars George Clooney and Julia Roberts as two divorced parents. They’re travelling to Bali, after learning their daughter plans to marry a local she’s only just met. Joining the star couple is Kaitlyn Dever, Billie Lourd (Star Wars: The Last Jedi ), Lucas Bravo, Amanda O’Dempsey, Murran Kain, Vanessa Everett and Rowan Chap man. Disapproving of the rash decision, the pair decide put aside their differences and work together. Soon, they’ve hatched a plan to sabotage the imminent wedding, and so prevent Lily from mak ing the same mistake they both made twenty-five years ago. But can they get over their loathing of each other to see the nefarious scheme through?
Sign me up for this! Wilde directs this skillful exploration of the ‘American Dream’, as an idyllic 50s setting starts unravelling into a nightmare. Alice is a young, happy wife, whose marriage to company man Jack comes with just one caveat: never, ever ask him about his work on the secret Victory Project.
FRI 23 SEPT // CINEMA Olivia Wilde (Booksmart, House) AND Florence Pugh (Black Widow, Fighting with My Family) in a tense psychological thriller?
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While her fellow wives cook and clean, Alice becomes consumed by Jack’s secrets and haunted by hallucinations. Harry Styles (Dunkrik), Chris Pine (Star Trek) and Gemma Chan (Humans, Crazy Rich Asians) lend stand-out performances, as the tension builds in this creepy and clever drama.
FRI 30 SEPT // CINEMA A Disney cult classic gets a sequel, almost three decades after its release. Directed by Anne Fletcher (High School Musical, Descendants), this fantasy comedy horror film sees Bette Midler, Sarah Jessica Parker, Kathy Najimy and Doug Jones reprising their roles, alongside Whitney Peak, Lilia Buckingham, Belissa Escobedo and Hannah Waddingham. Twenty-nine years after the events of the original film, three high-school students must work together to thwart the nefarious plans of the sinister Sanderson sisters. After once being defeated, this villainous and comedic trio of witches has finally returned to present-day Salem with the intent of causing havoc and widespread despair. Winnifred, Mary and Sarah have got all the spells, but is the biggest obstacle actually their own incompetence?
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BROS
POCUSHOCUS
FILM
Bros is a smart, swoony and heartfelt comedy about how hard it is to find another tolerable human being to go through life with. It centres on two men, whose hectic lives seem to deny them the time to discover true love. However, fate unexpectedly brings them together, and they soon develop a hesitant relationship.
FRI 30 SEPT // CINEMA Let’s overlook questions as why it’s taken quite so long, as Universal Pictures present the first gay rom-com from a major studio. It brings together the ferocious comic mind of Billy Eichner (Billy On The Street, The Lion King, Impeachment: American Crime Story), the filmmaking brilliance of Nicholas Stoller (Forgetting Sarah Marshall) and Judd Apatow (The King of Staten Island, Trainwreck, The Big Sick).
Despite the film Ticket To Paradise being set in Bali, Indonesia, the film was filmed in Queensland, Australia
2
FILM TRIVIA DID KNOW:YOU
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