LeftLion July 2023 Issue 161

Credits

Beginning Al-phabetically Alan Gilby (alan.gilby@leftlion.co.uk)

Editor-in-Chief Jared Wilson (jared.wilson@leftlion.co.uk)

Editor Sophie Gargett (sophie.gargett@leftlion.co.uk)

These people #SupportLeftLion

Assistant Editor Gemma Cockrell (gemma.cockrell@leftlion. co.uk)

Head Designer Natalie Owen (natalie.owen@leftlion.co.uk)

Head of Video and Photography Curtis Powell (curtis.powell@leftlion.co.uk)

Partnerships Manager Adam Pickering (adam.pickering@leftlion. co.uk)

Web Developer Tom Errington (tom.errington@leftlion.co.uk)

Fashion Editor Addie Kenogbon (addie.kenogbon@leftlion. co.uk)

Stage Co-Editor Ian C. Douglas (ian@leftlion.co.uk)

Stage Co-Editor Dom Henry (dom.henry@leftlion.co.uk)

Screen Co-Editor George White (george.white@leftlion.co.uk)

Al Draper, Alison Gove-Humphries, Alison Harrison, Alison Hedley, Anamenti, Andrene Alejandro, Anne Jennings, Ant Haywood, Audrey & Lizzy & Margot, Barbara Morgan, Ben Lester, Caroline Le Sueur, Catriona, Cerys Gibson, Chloe Langley, Chris Jarvis, Chris Mead, Chris Underwood, Claire Foss, Claire Henson, Claire Warren, Clare Foyle, Colin, Cyra Golijani-Moghaddam, D Lawson, Dan Lyons, Dan Hemmings, Darren Harvey, David Knight, Dick Watson, Donna RoweMerriman, Eddie, Eden PR, Ellen O’Hara, Emma Lipinski, Erika Diaz Petersen, Felicity Whittle, Fred Glenister, Freddy Angell, Graye Wilde, Harry Sutcliffe, Hayley Howard, Heather Hodkinson, Heather Oliver, Helena Tyce, Holly's Merry Moggies, Ian Storey, Ian Yanson, In memory of Anna Novak (Bradford and Scoraig), In memory of Jenny Smith, James Place, James Wright, Janine Lees, Jayne Paul William & Pirate Jack, Jem Woolley, Joanna Furniss, John Haslam, John Hess, John Holmes, John Scruton, Jon Blyth, Jonathan Fenn, Jos Potts, Joshua Heathcote, Judy Gray, Julian Bower, Justyn Roberts, Kathryn Hewitt, Kathleen Dunham, Kay Gilby, Kiki Dee the Cat, Koprowskit, Lawrence Poole, Les Hayes, Lilian Greenwood, Livi & Jacob Nieri, Liz Knott, Lizzy Colyer, Louise Duffeld, Mark Barratt, Mark Gasson, Matt Cliffe, Matt Turpin, Matthew Riches, Michael Mc, Mighty Lightweights, MinorOak Coworking, Miri Debah, Moira Scothern, Monica White, Nick Donovan, Nick Waine, Nigel Cooke, Nigel Hudson, Nigel King, Nina Faresin, NottingJam Orchestra, Paul Boast, Paul Woodall, Pearl Quick, Pete Barker, Peter Coghill, Philip Miller, Rachel Ayrton, Rachel Hancorn, Rachel Morton, Raphael Achache, Rebecca Freeman, Redbrick Communications, Rich Fisher, Richard Barclay, Richard Goodwin, Rob Arthur, Roger Hughes, Ron Mure, Ross Balzaretti, Roy Manterfeld, Russell Brown, Sam Hudson, Sam Nahirny, Sam Rose, Samantha Culshaw-Robinson, Sarah Manton, Sarah Moore, Sarah Scriver, Simon Evans, Siobhan, Spicer, Steve Lyon, Steve Riordan, Steve Stickley Storyteller, Steve Wallace, Stewart Berry, Stuart Wilson, Sue Barsby, Sue Reader, Tom Justice, Tom Patterson, Tracey Newton, Will Horton

Fancy seeing your name (or the name of your band, small business, loved one, pet etc) in this mag every month? It only costs a fver and the money supports this magazine. Plus you get all kinds of other treats too.

patreon.com/leftlion

Screen Co-Editor Oliver Parker (oliver.parker@leftlion.co.uk)

Music Editor Amrit Virdi (amrit.virdi@leftlion.co.uk)

Food Editor Julia Head (julia.head@leftlion.co.uk)

Featured Contributor

Photography Co-Editor Fabrice Gagos (fabrice.gagos@leftlion.co.uk)

Photography Co-Editor Nathan Langman (nathan.langman@leftlion. co.uk)

Art Co-Editor Marta Tavares (marta.tavares@leftlion.co.uk)

Cover Evie Warren

Raphic Designer

Raphael Achache

Editorial Interns

Rose Mason

Lottie Murray

Writers

CJ Debarra

Nadia Whittome

Emily Boaler

Lizzy O’Riordan

Dani Bacon

Bassey

Francesca Beaumont

Abi Pitt

Amy Child

Photographers Jake Haseldine

Ian Cumberland

Colin Haynes

Dan Giannopoulos

Nigel King

Ami Ford

Isabel Greed

Charles Gall

Art Co-Editor George Dunbar (george.dunbar@leftlion.co.uk)

Environment Editor Eleanor Flowerday

Illustrators

Tracey Meek

Zarina Teli

Kate Wand

Andy the Illustrator

Resting Up Collective Distribution

Dom Martinovs

Dom has been a big part of LeftLion for almost a decade now and you and us both have a lot to thank him for - but he’s not appeared in this magazine much. That’s because rather than writing articles, taking photos or creating illustrations, he’s the man who makes sure this mag gets to you. Dom is our Distribution Manager and you’ll either see him on the fancy LeftLion distro electric bike or in his big white van - shuttling copies of this magazine across the county borders. If you ever need a friendly van man we are happy to recommend his sideline as Van Hail'n. When he’s not doing that you may also fnd him in fancy dress as Santa or Hagrid, possibly stilt walking, or just dancing ‘til the wee small hours at a venue near you.

facebook.com/VanHail’n

We catch up with the Nottingham icon to hear about her work with Nottingham based

To the City From the Sea

Hannah Bourn shares her venture of making beautiful and unique jewellery, and bringing a touch of the ocean to our landlocked city.

Talking Sport

When language, football and cultures connect, with Emily Boaler.

Class on Grass

We chat to Nottingham Forest’s clinical fnisher Charlotte Greengrass after a very successful season.

Young Creative Awards In Photos

Nottingham’s young creatives have been at it again! We showcase the work of some exciting budding talent in the city.

One Hundred Reasons

Musical artist BEKA and Trent Rocketers Luke Wood and Kirstie Gordon share their thoughts on this summer’s cricket.

Free Range

A joyful introduction to sourcing Nottingham’s wild and edible treasures, with local foraging guru Lucy Buckle.

Take Your Time

When creativity turns into another hustle, it can quickly lose its therapeutic benefts. We talk to the Resting Up Collective, who look to incorporate rest and creativity into lives of chronically ill or disabled people.

All Flesh is Wax

A dark delve into art going over the edge, by Amy Child, winner of the Young Creative Award 19-24 Creative Writing category.

Editorial Leftlion in the wild

It’s been quite a while since I wrote an editorial for LeftLion. Possibly nearer to twenty years than ten. I realise I could have rooted through our archives to bring you the exact date, but I've been quite busy. Partly helping to put this magazine together and partly helping to induct an all-new editorial team.

As George White (our sixth editor) let you know last issue, he’s been poached by the Radio Times. My mother-in-law is an avid reader of both publications and she approves. Whilst LeftLion reached the grand old age of 20 this year, The Radio Times is celebrating its centenary, so we are happy to bow in deference and respect our elders. What is nice is that George has requested to stick around as a volunteer to edit and write occasional articles for our screen section. Big up!

I’m always excited to see a new Editor take over the reins. It feels a bit like introducing a new Dr Who (of which there have now been 13 including Paul McGann) or James Bond (7 including David Niven). So whilst I have the honour of being the original (see William Hartnell or Sean Connery), Sophie Gargett is our seventh (see Sylvester McCoy or Daniel Craig). She will also be ably supported by a

new assistant Gemma Cockrell (who, in Dr Who companion terms is Bonnie Langford).

Twenty years ago when Al Gilby, Tim Bates and I frst started LeftLion - or 237 months ago if you want to be precise - we did it from a fat on Mansfeld Road (the Hovis House directly above ‘Naughty… But Nice’ cafe in Carrington). We put a website online, people liked it and eventually we paid for a print run of the frst magazine off my credit card. Things have changed quite a bit since then and to be honest it still surprises me we’re still going strong. However, our mission of bringing you the best of Nottingham culture each month remains.

Things change along the way and each editor and their team inevitably put their own stamp on things. I’m really looking forward to seeing what this new team brings over the coming months and years.

Thanks Duck,

Jared Wilson Editor-in-Chief

Operetta Higgs

How to lure visiting cats

@OperettaHiggs

Tag us on Instagram @leftlionmagazine to feature in a future issue.

LeftLion Ltd is a carbon neutral company, having reduced our direct emissions by 99% since 2018. We offset the rest via direct air capture from Climeworks. LeftLion Magazine is fully recyclable and compostable, made from recycled or FSC® certifed (C015932) sources, and printed using renewable energy. The emissions of this paper are offset via the World Land Trust.

The Last Dinner Party Ahead of their Bodega gig, Gemma Cockrell catches up with a band who take the internet by storm with only one single to their name.

Lore Blimey Lost Legends of Lazarus creator Andy The Illustrator talks shaping stories and forging fantasy worlds.

Vicky McClure

charity Our Dementia Choir.

“Big

Pick Six

Nottingham’s most opinionated grocers on...

Beer

We are very partial to Adnams, but that’s because we go on holiday to Southwold every year. In terms of the Nottingham breweries we like Harvest Pale by Castle Rock. We like some of the beers from that brewery on St. Peters St in Lenton… what were they called? Nottingham Brewery! We’re partial to a beer or two from Magpie Brewery too!

The AA

Our van broke down outside our house the other day and we tried to call the AA to get them to come and fx it. But irritatingly they don’t seem to want you to phone them anymore. They want you to contact them on your computer, but we don’t have one. We had to phone three times to be able to speak to a human being. At the end of the conversation the woman said “No worries.” We had to correct her. She might not have been worried, but we were.

Wimbledon

Who will win it this year? It’s not going to be Federer now is it? It won’t be Boris Becker either now he’s been deported. It will probably be that Djokovic bloke then won’t it? We only really watch it very occasionally. It’s something we’d like to go to one day, but you’d probably end up with neck-ache.

FIFA Women’s World Cup

We hope our ladies do well again. They were an absolute credit to the nation in winning the Euros and so we don’t see any reason why they can’t go on to go one bigger. They could probably teach the men a lesson or two and it’s nice to see them playing football without all the faff around it.

Ahead of their frst book release Neuroqueer: A Neurodivergent Guide to Love, Sex and Relationships we asked author and journalist CJ Debarra to shout about six things they love…

Book I’m currently writing a history book about Nottingham’s LGBT+ community which is due in July 2024 so all of my reading is around this. I loved Trans Britain: Our Journey from the Shadows by Ms Christine Burns. A friend gifted it to me for my birthday and it has been so valuable to my research. We need to document our history and this is exceptionally well done.

Film

I was tempted to throw something arty in here but there is a place in my heart for anything made in the 1980s. In particular, Heathers, a classic, which was made in 1988.

Meal

Mocky D vegan burgers are my go-to. You can fnd them at Liquid Light on Alfred Street and in my opinion, they are the best vegan burgers in the city. I’m a big fan of supporting independent places when possible, so I have to mention some of our street food such as Mocky, The Hip Hop Food Shop and Slice ‘n’ Brew.

Holiday destination

I’m from one of the most, in my opinion, beautiful spots in Ireland so my holiday destination of choice will always be West Cork. I’m from Rathbarry which is surrounded by natural beaches, woodlands and the coastline. What more could you want?

Song I’m currently listening to Irish band M(h)aol who are great. While their album, Attachment Styles is amazing, my favourite tracks are No One Ever Talks To Us or Bisexual Panic, just because.

Notts spot

This is a hard tie between Five Leaves Bookshop just off Long Row and Broadway Cinema. As a local journalist, I am always running from one story to another so I often fle copy while eating pizza in Broadway. I think I’ve written most of my second book there.

“Teeth…they’re weird really, aren’t they?”

rabbit, or small dog? You can see my confusion, but luckily the owner never found out.”

“Every time I meet her she just smells of candles”

“It's still fashion even if it's from Asda”

“Ooh look, you can get Crocs to go on your Crocs...!”

“This is why I didn’t want to threaten you, mum”

“Just accept the fact that you're going to wake up in Heanor, covered in vomit again.”

“My son and his wife are off to Amsterdam. Very posh!”

Photo: Tom Morley

If the Earth was fat, would we have a Round Earth Society?

Sherwood Sounds

Birds singing too loud after thunderstorm, what do?

Spotted: Bulwell

Hi I have a horses and I have got a big pile of Horse manure Anyone can have some all I ask is a small donation

Spotted: Long Eaton Does anyone know when the 20mph speed limit comes in to force to generate more cash for Derbyshire County council.

Spotted: Sherwood

Whomever did the scarecrows on the corner by the Sherwood manor did a mighty fine job, I wouldn’t like to meet them on a dark night!

Spotted Ilkeston town

Person 1: Peak Pharmacy on Nottingham road is closed

Person 2: He peaked too early

Spotted: Long Eaton

Person 1: This bird has flew into my living room and It doesn’t want to leave. Can anyone tell me what it is or how to get rid of it? Thanks

Person 2: You're welcome to borrow my cat, just put him in the room and close the door, might be a bit messy after but the bird will be gone

Spotted: Stapleford

Lovely bit of singing coming from Windsor Street/Toton Lane : )

Hucknall Community Group

Person 1: Anyone else have problems with BBC??

Person 2: Yes they should be struck o

Person 3: Yes they keep giving Nigel Farage airtime!

Stoney Street

In a city that has such a rich and longstanding history, taking a walk throughout the streets can often lead a person to wonder: what things have happened here?

While many areas have had their glimmers of the past hidden through redevelopment and regeneration, The Lace Market still boasts many features to catch the attention of curious eyes. Running through its centre is Stoney Street, one of Nottingham’s oldest Roman roads, and home to several of the city’s most interesting historical buildings.

Approaching from the intersection with Carlton Street, the frst landmark is The Angel Microbrewery, which was frst documented on the Badder & Peats map of Nottingham inns in 1744. Along with the well-known public house on the ground foor, the building was designed with a chapel upstairs (now a music venue) which held meetings for groups including the Ancient Imperial Union of Oddfellows and the Ancient Order of Druids during the 19th century, while the cellars beneath were used for Luddite meetings during the Framebreakers revolution of the 1810s.

Next, the grand Adams Building, originally built as the Adams and Page lace warehouse in 1855. With high ceilings and lots of windows, its ‘lace lofts’ were designed to provide maximum light for the lace workers, while the grand symmetrical frontage was a welcoming display room showcasing Nottingham’s fnest lace. Following on, the elaborately curved ‘Broadway’, was again home to lace factories, and is one of the city’s most attractive thoroughfares.

Despite the ancient St Mary’s Church having sat promptly at the end of Stoney Street to assert religious rigour to The Lace Market for over 500 years, the area was often a hotbed of illicit activity. Highwayman Dick Turpin is rumoured to have visited the nearby ale houses, while Maiden Lane, which lies just a stone’s throw away was once titled Hore Lane and later Fairemaiden Lane, for reasons you can probably guess.

words: Dani Bacon

words & photo: Sophie Gargett

Nadia on...

Coming Together Through Grief

Last month’s tragic events left the whole of Nottingham shaken and devastated. On Tuesday 13 June, our city was shocked to learn that three lives had been cut short, and a further three people hospitalised, by a series of violent attacks at the crack of dawn.

Nottingham lost three beautiful, talented and cherished members of our community. From the tributes we heard from their families and friends, it’s clear that Grace O’Malley-Kumar, Barnaby Webber and Ian Coates were loved by many, and are dearly missed.

It was incredibly touching to attend the vigils that took place in the days following the attacks, and see our city come together in mourning. In particular, it was impossible not to be moved by the speeches of the victims’ families. It speaks volumes about their character that, even in their grief, the bereaved relatives thought about the impact that those terrible events could have on others.

“Look after each other,” said Grace’s father Sanjoy Kumar. "Please hold no hate that relates to any colour, sex or religion,” asked Barnaby’s mother Emma Webber.

We must remember this powerful message, and resist anyone trying to exploit this tragedy to divide us. Nottingham is a wonderfully diverse place, where people of so many different backgrounds live and work together every day. It’s something to be proud of that our city, with its world-class universities, its rich history and culture and unparalleled sense of community, attracts people from all around the globe. In recent weeks, we’ve seen thousands of Nottingham residents of all nationalities, faiths and walks of life unite in mourning.

Ian was a loving dad and a school caretaker just months away from retirement, as well as a keen fsherman and a dedicated Forest fan. He was known for his kindness and selfessness, and would take underprivileged kids fshing to keep them away from crime.

Grace was a medical student who dreamed of serving her community as a doctor. She had previously volunteered for the Covid vaccination programme, while also playing hockey for the England under-18 squad. Her brother James described her as “not just a sister, but a best friend”.

Barnaby studied history, had a passion for aeroplanes and loved playing cricket as part of the university team. Like Grace, he adored his younger brother Charlie, was hugely enjoying his time in Nottingham and had a bright future to look forward to. A future that was so cruelly taken away from him.

No words can express the enormity of this loss, or fll the hole left in the hearts of their loved ones. Barnaby, Grace and Ian should be with us today, continuing to pursue their passions and to bring joy to those around them. Instead all that’s left is memories of three lives well lived.

Those who seek to harm others are in a tiny minority here, and so are those who try to spread fear and hate. This is not, and will never be, what Nottingham is about.

In the hundreds of messages I received that week, constituents expressed the emotions we all felt upon reading the news: shock, sadness, anger and confusion. It will take time for our city to process what happened and heal. While the police investigation should tell us more about what led to the attacks, we might never be able to fully comprehend the senselessness of these acts of violence. But more than ever, it’s vital that we stick together, support one another and remind each other of the kindness and compassion that humanity is capable of.

We will always remember Barnaby, Ian and Grace, their warm smiles and the mark they left on Nottingham. May they rest in peace.  nadiawhittome.org

It’s vital that we stick together, support one another and remind each other of the kindness and compassion that humanity is capable of

words: Nadia Whittome photo: Fabrice Gagos

Notts Shots

Want to have your work featured? Send your high-res photos from around the city, including your full name and best web link, to photography@leftlion.co.uk

Not very smart phone Dan Giannopoulos

You can park there Nigel King @nigelbig

A tragic loss Nathan Langman @_meadowman2

Water under the bridge Ian Cumberland

Deep in thought Colin Haynes

A river runs through it Ian Cumberland

Dancing is a lifeline Sophie Gargett @ohvirago

Read all about it Nathan Langman @_meadowman2

To The City From The Sea

Interview: Rose Mason

illustration: Zarina Teli

It’s always exciting to discover a new creative in Nottingham. Nature lover Hannah Bourn chats us through her venture of making beautiful and unique jewellery, and bringing a touch of the ocean to our landlocked city…

“I’ve always loved the beach and being in nature,” Hannah tells us. “I studied jewellery at uni and my fnal collection and dissertation was all about human connection with nature, natural materials and shells.”

Now, having developed her fnal collection, she’s selling textured rings, necklaces, earrings, bracelets and bangles online and at markets, each ‘shaped by nature, made by hand’. Throughout the past few years, Hannah’s small business has expanded gradually. “I set up over Covid at the end of my mum's garden in the shed, which was really nic e.” She then moved to Lincoln before settling in a small studio in Nottingham.

Feeling a responsibility to be environmentally conscious, Hannah is mindful of where she sources her materials. Made from solid silver and solid gold, the metals Hannah uses are all recycled, Fairmined and from trusted sources. “The gold platers that I use I think are the only ones in the UK that use Fairmined gold,” she explains. “You can trace it back to the mines it's from and make sure it's from a good background.”

Mindful of giving back to where she takes her inspiration, sustainability is undeniably important in her making. From the Skegness coast to the Great Barrier Reef, our oceans are facing signifcant threats - plastic pollution, chemical contamination, destruction of fsh and coral ecosystems - to name a few. “I like to think that everything is fully sustainable, because I make everything myself,” she says.

She also makes a point about investing in quality jewellery, rather than throwaway fashion, and offers a repolishing service and redipping for gold-plated items to keep them refreshed and everlasting. “The price point, the materials and the idea of the pieces is longevity - pieces that you can pass down to your family. It's not cheap jewellery that'll go green.”

While the packaging used for each piece is currently either fully recyclable or reusable, Hannah has ideas of taking this further. “Because my theme is nature and the sea, I’ve always thought it would be really cool to have packaging made out of ocean waste. In the future I’d love to incorporate that.”

Alongside creating a diverse collection, the day to day life of a small business owner sounds busy and vibrant. In Nottingham, Hannah has been immersing herself in the world of independent creatives, from meeting fashion designers to discovering spaces to rent and selling at markets, from Nottingham Contemporary’s Summer Fair, to the Ay Up Market in the Market Square.

“I think currently I have a market every weekend, which is full on, but that was the main way to get my name out,” she says.

“I do think the ones that are local, people really connect with, because they can meet me. If they want something bespoke, or if they need a ring resizing, they know it's local.”

As well as selling individual pieces on her website, Hannah’s jewellery is stocked in Devon K.Fines in Nottingham’s Cobden Chambers. She also works alongside people to create bespoke pieces like wedding rings, which align with her themes of texture and the sea, but have a personal touch. It is creating these bespoke pieces that Hannah enjoys the most. “I really enjoy meeting people and doing a whole journey with someone.”

From looking at Hannah’s pieces, making fne jewellery is evidently a hard-earned skill, but her next moves include hosting workshops to teach her skills to the community and giving people a special piece of jewellery to take home. “I’m thinking of wax carving workshops, so people would carve their own rings and then I’d cast them and polish them,” she explains. “Teaching to solder can be quite diffcult, so wax carving would be a more accessible thing. But workshops are really popular, people like to wear a piece and think, ‘I made that’.”

@han.bourn

I like to think that everything is fully sustainable, because I make everything myself

words: Gemma Cockrell photos:

Splendour Festival returns to Wollaton Park this month, as does Vicky McClure

MBE and Our Dementia Choir We chat to the Wollaton native ahead of the festival which essentially takes place in her back garden…

Over 850,000 people live with a form of dementia in the UK, and even though progress is being made in fnding a cure, it is unlikely to come quickly enough to help them. Instead, it is essential for these people to fnd the best way of living with their dementia.

This is where Vicky McClure comes in. Inspired by her late Nana who passed away in 2015, she set out to discover the extent of music’s power in combating dementia. Five years later, Our Dementia Choir is a national sensation, appearing in multiple BBC documentary series and performing up and down the country.

While flming series two of Trigger Point, McClure had time to tell us about the choir’s upcoming performance at Splendour Festival in Wollaton Park. But before that, they are preparing to perform at Binks Yard and Southwell Minster at the start of June. “The team behind it is ferce,” the actress says. “They are working tirelessly while I’m working tirelessly on Trigger Point, so I’m leaving it in their safe and capable hands.”

Hailing from Wollaton herself, McClure grew up going to Splendour and Wollaton Park, so she feels a real affnity to the festival. “My mum made trips to Wollaton Park when I was in her belly!” she laughs. “It is my favourite place on Earth. I say that all the time. But I’ve shared so many experiences there. If I need to be on my own and have a bit of time to think, it’s a great place to go and have a walk.”

This isn’t the Dementia Choir’s frst rodeo when it comes to Splendour - last year, they took to the main stage alongside Tom Grennan with the support of the BBC, which was a “real pinch-me-moment” for McClure. “This time, we’re going alone,” she says. “There was a real desire to see them on stage again. Splendour is a beautiful atmosphere, there were 25,000 people there and you could sense that everyone had their back.”

Gaining support from people in the music industry like Grennan is helping to raise awareness about how music therapy can create escapism for people living with dementia. This year, McClure looks forward to performing on the same stage as headliner Noel Gallagher, who is a good friend of hers. “When I saw he was headlining, I messaged him and said, ‘Looks like we’re sharing the same stage in my back garden,’” she laughs, “I think he thought ‘What?’, but I did explain it to him!”

McClure is a self-proclaimed “massive music fan” and uses Splendour’s Confetti stage to discover new artists.

“Sometimes it’s their frst big gig and it’s nice to support that. I always have music on, I love it when songs I’ve never heard come up on my Spotify. I need music. It helps me in my job when I’m flming tough scenes. Music is there for us all. There’s nothing like live music,” she says. The most important message that the choir conveys for McClure is that people with dementia have purpose. “A diagnosis doesn’t mean it’s game over - it’s time to really live your life,” she says. “There’s still a lot of life to live. People can live well with dementia, that’s our tagline. It is a terminal illness, it is the biggest killer in the UK, and there is no cure, so we have to propel our message. The choir represents a force of nature.”

A member of the choir named Julie opened McClure’s eyes to the terminology and language that is often used around dementia, encouraging a shift from saying ‘suffering with’ dementia to ‘living with’ dementia. “I understood it the moment she said it. The language has to change. They don’t want to spend years of their lives feeling like they’re going to be suffering, because they’re not,” she says. “There will be bad days but there are also going to be good days, so it’s important to promote that healthy, positive attitude.”

In their most recent documentary, Our Dementia Choir recorded their frst single at Abbey Road studios. But it hasn’t yet generated the change that McClure envisioned. “I’m sure conversations are being had, and I hope they are, but we need the Government to be more active in letting us know what’s going on. Drugs are being trialled, but they won’t be useful to the choir because of their current diagnosis. So, what are we doing for the here and now?”

McClure recommends the Alzheimer's Society's Dementia Friends training for those who want to learn more, but for the younger generation, her recent children’s novel, Castle Rock Mystery Crew serves as the perfect introduction to dementia for those who may not have heard of it before. “It’s an adventure, mystery tale, with a subtle introduction of dementia. It isn’t focused purely on that but there are little bits in there that will give kids an insight. They’re the next generation and I’m hopeful they will fnd the cure.”

@our_dementia_choir

Vicky McClure and Our Dementia Choir will perform at Splendour Festival on Sunday 23 July

My mum made trips to Wollaton Park when I was in her belly! It is my favourite place on Earth

Emily Boaler was just seven years old when her mum was offered a job teaching English to foreign players at Nottingham Forest. So began a love of languages, football and life-changing connections.

In the early ‘90s there was a wave of new players to Forest, mainly from French speaking countries who spoke very little to no English. It was an exciting time. Forest had just gone back up into the Premier League and the players, over those years, included Mathieu Louis Jean, Thierry Bonalair, Bernard Allou, Jean-Claude Darcheville, Jon Olav Hjelde and Marco Pascolo.

My mum had studied French and German at university and had used her language skills in many roles, whether it was speaking German at ZF Gears/Siemens or French while working in France and Switzerland as a tour manager. She was employed by Forest to help the players and being able to speak to them in French made it easier when it came to teaching English.

From a very early age we had been surrounded by native speakers of French. My parents hosted students from France and after their lessons, we would show them around Nottingham, taking them to attractions like Nottingham Castle, the Galleries of Justice [now the National Justice Museum], and the caves, along with introducing them to some of the Forest players.

It was exciting as a child; sometimes we met up with the players and went out with them and their families, we received free signed photos, shirts, tickets and other merchandise, and had the opportunity to attend open days where we could meet the management and other players.

It was also an eye opener. Football has a huge international element to it and through it I learned that the world was a very big place. We discovered young that not everybody speaks English and saw that languages can bring about interesting opportunities in the multicultural world that we live in. We met people from countries outside the UK, whether that was France, Switzerland, Norway or the Ivory Coast and this was important for us to witness growing up.

The impact that this opportunity had on me and my sister is clear 25 years later. Being exposed to French and football from a young age not only encouraged us to study languages at university, but also to play football. We both went on to study

languages at Nottingham Trent University - I took French, Spanish and Italian and my sister studied French and Spanish. Now I work in multilingual IT and my sister is a Spanish teacher, who happens to work at a school across the road from Forest Fields where the club was originally founded.

Every time I go abroad and I say I’m from Nottingham what I always hear back is “Robin Hood and Nottingham Forest!’’ It’s great to see that Forest are known worldwide thanks to Brian Clough and the European Cup wins.

Last weekend a French friend who I worked with at Disneyland Paris over a decade ago came to visit Nottingham. I had told him how my mother taught English to French speaking Forest players and mentioned some including Mathieu Louis Jean, who it turned out his coach was friends with. He’d been invited to Nottingham many years ago, visited the City Ground a couple of times for a guided tour and a match and had always wanted to come back and visit.

As we reached the City Ground on our walk, I thought about how we might have never met without these fantastic experiences I’d had. He may not have been so keen to visit Nottingham again, I probably wouldn't have taken an interest in French nor football and would have never studied and worked in France.

So for me, football isn’t just a game. Football has the power to bring players, managers, and fans together, regardless of gender, language, race, culture and age. Multiculturalism are omnipresent in football - in the changing room, on the pitch, within the international followings, or the numerous languages spoken between fans that might one day become friends.

@emzyb91

words & photos: Emily Boaler

Football has a huge international element to it and through it I learned that the world was a very big place

Double winner and top scorer in the Premier League Northern Division: It’s safe to say Charlotte Greengrass made the right decision to ditch the West for the East Midlands in 2020, and to shift from centre-back to centre-forward just over twelve months ago. We chat to Nottingham Forest’s clinical fnisher after a very successful season…

To start with the obvious question, what attracted you to playing football in our city? When I was released from Aston Villa in 2020, I was looking at my options and deciding whether to stay with a club in the Championship, or drop down a league [to the Premier League Northern Division]. I’d always followed Forest on their social media, so I knew what they were about. I had some conversations with Andy [Cook, Head Coach], and it became clear pretty quickly that that's where I wanted to be. Straight away, I could tell it was a good club with a good culture. It felt like a place where I could really start to enjoy football again, which was the most important thing for me - as that had been something I’d struggled with for a couple of years.

With Nottingham Forest now and Notts County Ladies in the 2010s, our city feels like it’s been a really good place to hone your craft for a while. Would you say that’s the case? Defnitely. I actually did my dissertation at university about women's football and experiences with sexism, and I interviewed a couple of girls from Forest. They had so many good things to say about the pathway that the city has for girls and women in football. As you say, I think Notts County started something here that inspired everyone to get involved and get behind the sport, and I think it’s only improved over time - especially since I came to the city.

Sexism in football is still a major issue - you only have to look in the Facebook comments of a post about the women’s game to prove that… Is it something you’ve come across in your career so far, and if so, how do you deal with that?

I was motivated to explore the topic at university because of my own experiences. It's something that you get used to, which is unfortunate to have to say. It is hard that we have to deal with it day-to-day, but I think you develop your own mechanisms to overcome it.

We're a very close-knit group at Forest; I wouldn't say that it ever infltrates the group. You have to just keep yourself from looking at those comments, because we're aware that they're there, and sometimes you just have to laugh it off and remember that the game is growing at an exponential rate, and that things are constantly improving. You often see people defending you on social media now, which I think is really important, and more people are happy to be advocates for women's football - people aren't shying away from the conversation anymore, which is a big step. This issue comes up a lot in interviews and people want to have that conversation - I think that’s key.

Last year’s European Championships felt like a big moment, and at the centre of that was Nottingham’s own Mary Earps. Is it a good motivator to see players that have followed a similar path to you go on to have such incredible careers?

Absolutely - especially because Mary developed into the England squad at a later age. I'm only 23 now, so it does motivate me to think that there is a route there that I can follow, and to know that there's no single mould that fts every player’s career. I think it's just good that those opportunities are there, and it seems like a lot of players from different backgrounds are being represented at the highest level - it’s great to see. And it's defnitely nice that we have that little piece of Forest in the England squad.

Is it your hope to become an inspiration for the next generation of women’s footballers yourself?

It defnitely does play on your mind. I try not to think too much about it, because I've never really seen myself as a role model in that sense. But then you see the girls at our games, and they massively look up to us. It would be impossible to ignore that and not appreciate that you are somebody's Mary Earps or somebody's Leah Williamson. It's nice that we have the opportunity to be that for young players.

You’ve certainly had a lot to be proud of this season - winning the FAWNL League Cup and the Premier League Northern Division. How’s it felt being a part of that journey?

It's been really nice seeing the accumulation of our hard work over my three seasons here. It's not always been this way - we've had some diffcult times. So our success this term is a testament to our team, as well as the girls that don't play for us any more - they contributed massively by laying the groundwork for us to build on. Everything's just clicked into place. I look back on my

years here so far and this marks the perfect ending to this chapter - as well as the start of an exciting new beginning, as we push to go one step further and secure promotion.

Things have not only clicked for the team overall, but for you personally - you’ve been scoring goals for fun. How have you made it happen?

I think this is the frst time in a while that I've been fully ft all season, which has obviously helped! That was a big focus of mine at the start of the campaign: I wanted to be available for as many games as possible, especially because I'd fnished the season quite strongly last year. I’d also moved into a new position up top, which gave me an extra drive from wanting to learn and evolve. Going from centre-half to centre-forward was a big change, but it also helped me focus a lot more on my game.

I think I’d become a little comfortable as a defender, and as I changed position, I found myself thinking more about what impact I could have. Maybe I put a bit too much pressure on myself at the start of the season to get those goals, but as I shifted my mindset to focus on just performing and doing my individual bits for the team, it all started to come together. I'm really happy with how I've done and how I've been able to contribute to this season.

You’ve scored plenty of those goals in Eastwood, which has been the team’s home for a while now. Chelsea manager Emma Hayes often talks about how important it is that her side has a place to really make their own, to build into a bit of a fortress. Does that feel the same way for yourselves and the Halbrooke Stadium?

You’re right, it has become something of a fortress for us. We’ve been getting such good numbers this year, and because it's quite a small ground, it allows for that connection with the fans. There have been games where we've really needed them, and - I know it’s cliche - they have been our twelfth player. When you're able to look fans in the eyes and you can properly hear them, it gives you such a lift.

We’ve made it a really special place now. We've got a little shop, there are different food vans, and they set up a little fun zone for the kids - it's a really nice family occasion. And when we play, they’re right behind us. It'll be a diffcult test for us next season; we’ll be pushing to fnish the job and reach the Championship. So we want to get as many people at those games as we can, so we can get that extra boost that’s always massive for us as players.

interview: George White

photo: Ami Ford

I've never really seen myself as a role model, but then you see the girls at our games, and they massively look up to us

Lily McLaughlin

Rosie Allen @rosieallenphotography

Vawn Humphrey-Wilson @Vawn.creates

Brian Lee

Out of the 100 young people who submitted work to the photography category of this year’s Young Creative Awards Nottingham, these eleven photographers were nominated. The fnal winners were; Abi O’Brien (11-15 age category), Deanna Gallacher (16-18) and Eleanor Jarvis (19-24). Our heartfelt congratulations to all who took part. www.youngcreativeawards.org

Shannon Driver

Elsie Monk

Abi O’Brien

Deanna Gallacher @dea_photography18

Eleanor Jarvis @shotby.ells

Mason Dixon

Jogaile Kestenyte

interview: Gemma Cockrell

The Hundred, cricket’s exciting new competition featuring the world’s best mens and womens cricketers alongside live music from The Hundred’s BBC Music Introducing partnership, takes place this August including four games at our very own Trent Bridge – the home ground of the Nottingham based team, Trent Rockets. Featuring live performances from Dylan, rainbow frog biscuits, Cucamaras and our very own BEKA, The Hundred is as much about entertainment as it is fast-paced, explosive cricket.

How are you feeling ahead of your performance at The Hundred?

I am extremely excited! Your hometown is always a very precious place to perform. It has this mix of both absolute excitement to be doing the thing you love in the place that made you and then also a little bit of nerves because you want to do well for your people.

Which other artists are you most excited to see perform during The Hundred?

I am the biggest fangirl of Arxx (who are playing at the Ageas Bowl). They are queens, I met them once at their show, which I had kind of stumbled into and was just so taken by them. We've been fangirling each other ever since, but mostly me fangirling. Also Dylan; what a babe, like a true rockstar, and also just such a down to earth, kind, gorgeous human being.

The Hundred’s musical lineup has been curated by BBC Music Introducing. How have they supported you through your music career so far?

I would say they've been hands down the most supportive people I've had in my journey so far, from before any music had come out or before I'd had any live shows. Dean Jackson putting me on headlining the Latitude stage for BBC Introducing was wild. I just think at every turn when a song comes out, they always back me so hard. It's such an incredible thing as a new artist to have such a prestigious organisation really championing you. I cannot shout about them enough. How has your life changed since your breakout single I’ll Be There was released in 2020?

I've known for a while this is what I want to do. But now people are actually listening to the music and they know it. I was recently in Singapore, supporting a band called Honne. There was a 45-year-old man on the front row screaming the lyrics of the songs to me in my set and it was mind-blowing. So I think life has changed in the sense that feeling much more free to be able to create and the glass ceiling of my belief and imagination has got a little crack in it.

You performed at Dot to Dot festival in both Nottingham and Bristol this year. What was that like?

It was great. I think what's so amazing about England is when people come to festivals, they are so up for the fun and I think that's what I really love. A thing I particularly love about Dot To Dot is that so many people are there to fnd new music which is a very admirable and amazing thing. People are mad attentive and want to hear your stories.

You’re performing at Rescue Rooms in September, as well as other cities in the UK. How does it feel to headline such an iconic venue in your hometown?

Rescue Rooms is somewhere that since I was about 18 I’ve been wanting to play and a place where I saw some really inspiring shows. I remember seeing Ella Eyre there once and just being in awe and completely mesmerised by her. I think even back then I hadn't even really let myself admit that this would be something I'd want. So it feels like a real moment to have done shows that progress enough to be able to play such an iconic venue, it's gonna be mad.

What else have you got planned for the rest of 2023? Is there more new music on the horizon? There is more music! Lots of things I can't tell you yet, but more music, which I would say is some of the most vulnerable yet. I’m really excited to be playing Boardmasters in Cornwall. But playing The Hundred in my hometown is going to be really exciting.

The Hundred starts at Trent Bridge on 1 August, featuring live music from Dylan, with 3 more home fxtures throughout August. Each fxture is a double header featuring both the mens and womens games and tickets give access to both. Adult tickets start from £18, with under 16s £5. Don’t miss out – the fnal game against local rivals Birmingham Phoenix is already sold out so book now at www. thehundred.com/tickets

Tell us about how you frst started your journey in cricket… I have a twin brother and it was our neighbour, because my dad didn’t play, who got us both into cricket when we were about eight. At the time we looked up to Ryan Sidebottom and Wasim Akram, both left-armers. Sidebottom was playing for England at the time and did pretty much exactly what I did as a kid. I was fortunate to play against him at the start of my own career.

Tell us about this year’s Trent Rockets squad…

Most of us have played together for three years now and all the overseas lads are good. It's always nice to play with Rashid Khan, he wasn’t available that much last year but he’s always exciting to play with. The fact we won it last year means we know we can do it, we’ve done it before so there’s no reason we can't do it again. It would be nice to retain the men’s title. This is the third year of The Hundred. Do you feel it’s achieving its mission of broadening the appeal of the sport?

Yes, it goes that step beyond county cricket, the broader appeal, a different concept. The fact that it attracts more families with a great atmosphere, with a DJ, it’s always full and Notts itself is especially good for sport in general. Hopefully this will grow the game at grassroots level.

What does Trent Bridge mean to you?

Trent Bridge means a lot to me as it's where I started playing professional cricket so it will always be a home to me. Some people that go now watched me play back when I was 18. It's where I started my journey and that does mean a lot and to keep playing at the same venue with the same team is also special as you build those relationships.

Tell us about how you frst started your journey in cricket… I frst started playing when I was ten. I loved all sports and at the time my heroes were Freddie Flintoff and Kevin Pieterson. Now to be a professional is really cool. Hopefully we can inspire young people to realise it can be a career option for them.

Tell us about the Trent Rockets squad this year?

I’m new to the squad this year but I've got some good friends in there like Jo Gardner. I’m also excited to play with Alana King and Harmanpreet Kaur. They are two world class players in their own right and it’s amazing to have the opportunity to learn off them.

This is the third year of The Hundred. Do you feel it’s achieving its mission of broadening the appeal of cricket?

It’s defnitely attracting more families and kids to come and watch. The marketing of it has been fantastic and by putting the men and the women on the same platform has been a huge success. The value of it as a day out is an excellent addition we haven’t really had before.

What is the biggest difference between The Hundred and other forms of cricket?

The biggest difference is the atmosphere and the whole theatre of it, that’s what makes it so exciting. It's really fun for us as players as well as for the crowd. There's part of you that wants to take in that moment and enjoy it, but obviously without forgetting we're there to do a job.

You know Nottingham very well. What are your favourite haunts here?

I think all my favourite haunts are cafes; I really like Yolk in the city centre and Okende at West Bridgford near Trent Bridge. No8 is another really good coffee shop with a deli and makes really good sandwiches. I also love the Market Square and Nottingham Castle. Nottingham is just a really cool city to be around.

L’OLIVA BOUL ANGERIE DE SAIGON

The trattoria (that’s an informal ristorante) is almost always fully booked-up (so not a secret to those who are in the know); the venue is intimate, with only a few tables inside, but that adds to its charm. The restaurant is warm and inviting and softly plays Pavarotti, with books and bottles of wine lining the shelves, old Italian newspaper stories on the ceiling, and candles on all the tables - very romantic!

The menu isn’t large, but it changes seasonally, and there is also a changing blackboard menu of specials too. We started with some bruschetta to share with rainbow plum tomatoes and a pistachio paste. For mains, we moved on to a fresh pumpkin gnocchi in a Roman oxtail ragu, and a dish of casarecce (short twisted pasta) with Tuscan sausage, nduja, and broccoli in a tomato and white wine sauce. The gnocchi is heaven in a bowl - it was so light and fuffy, and the sauce was rich and delectable. One of those dishes that you think about long after your visit. They also have tiramisu on the menu so, naturally, we had to end the evening with two of those. Chef’s kiss!

The bill came to £65 for one starter, two mains, two drinks, and two desserts - which we feel is value for money. Prices over the last few years at L'Oliva have generally stayed the same, which is unheard of, but I did notice that the portions were smaller than our last visit. I would have liked a bit more meat in the ragu underneath the gnocchi, if anything to satisfy my decision to eat vegan all day in order to enjoy a rare dish containing beef later that evening (the riveting life of a fexitarian!).

Make no mistake, though, I would return tomorrow and order the exact same thing again. L'Oliva is one of my favourite restaurants in Nottingham and that isn't about to change - in fact, it makes my top fve places to get pasta in Notts guide. Julia Head

loliva.co.uk

62 High Rd, Beeston, Nottingham NG9 2JP

CHAO

CHAO

If you’re in the mood to dress up nice and dig into a cracking katsu curry, Notts boasts plenty of top restaurants that offer the chance to do exactly that. Yet, if you’re wanting to stay in your hoodie, sliders placed frmly on your feet, and wolf one down in the comfort of your own home, you’ll be hardpressed to fnd a better option than Chao Chao - and, with joints in Arnold, Beeston, and West Bridgford, you can rely on them wherever you’re based (well, pretty much).

One of the most delightful things about a quality katsu is that if you drop some fried tofu in there, those babies will soak up all the favour to create delightful little packages of joy - and Chao Chao’s are no different. With each bite comes a taste explosion, a hit of proper happiness for the tastebuds.

Yet, when you’re done with those, the good times continue throughout the rest of the dish. Dumping the rest of the curry onto freshly-cooked jasmine rice is a treat in itself, the simplicity of the rice allowing the spices and aromas to really come into their own.

Then, as a fnal Brucie bonus, the generous topping of edamame beans rounds everything out perfectly. There’s something about edamame beans that just works; they’re so simple, manage to be both hearty and refreshing, and offer a hit of salty serotonin to complement the spices. You best believe they put a positive spin on the term ‘beansing it’.

Forking out £11 for one dish is never fun (although, to be fair, it’s becoming the norm for anything outside of a bag of carrot sticks - thanks Tory Government), and when you frst lay eyes on your neatly-packaged meal, it may not look like much. But, as a struggling Premier League manager might say, trust the process - because, by the time you’re done, you’ll be more than happy with the experience. George White

chaochao.co.uk

Various locations

FOO D AND DRIN K

In true Gen-Z style, I have an issue with buying too many coffees. Good day, bad day, boring day: It’s always the perfect time for a coffee. And, while this habit isn’t great for my fnances, it is good for my happiness. Which, of course, is why I was so excited to see Boulangerie de Saigon open ten seconds away from the LeftLion offce. Plus, why I dragged our Editor along to try it, mere days after the business had opened.

A small Vietnamese eatery, serving bánh mì, bakes, and beverages, I went for the egg coffee upon the recommendation of the server, alongside a vegan carrot cake which I spotted in the display cabinet.

A new type of brew for me, the egg coffee is sort of like liquid tiramisu, with a distinct layer of coffee and cream that mixes together to make a thick condensed milk-esque drink. Really delicious (and not at all eggy), it really did feel like a dessert, and one which I’ll be back for more of. Plus, the carrot cake paired perfectly.

Boasting a whole cabinet of sweet treats, I was also particularly tempted by the macarons, with favours including raspberry, black pepper, and Vietnamese coffee. Plus, the orange and pandan chiffon cake - that’s sure to go well with a cup of coffee. Which, available either hot or cold and with a variety of milk alternatives, is good for the vegan and non-vegan crowd alike.

A very cute space with a small amount of outdoor seating, Boulangerie de Saigon is a defnite new favourite spot - ideal for all the Sneinton Market lovers, and anyone else who likes good bakes and top drinks. Next up, we’re excited to try their bánh mì, the Vietnamese sandwich that looks absolutely sensational.

Lizzy O’Riordan

@boulangeriedesaigon Avenue E, Sneinton Market Avenues

It's beyond silly that it's taken us so long to return to L’Oliva - because this is easily one of Nottingham's best-kept secrets, and we are lucky to have it right here in Beeston.

YOU ARE CORDIALLY INVITED

Ahead of The Last Dinner Party's headline show at The Bodega later this month, we catch up with vocalist Abigail Morris, bassist Georgia Davies, and backing vocalist Lizzie Mayland to fnd out how the band have managed to take the internet by storm with only one single to their name…

Everyone has heard of you following the release of your debut single Nothing Matters, but how did you frst meet? The internet was quick to accuse you of being an ‘industry plant’...

Lizzie: It’s all true! We were made in a lab!

Georgia: My dad is the president of music! No, the three of us actually met in freshers' week at King's College London. It's not a particularly romantic or interesting origin story.

Lizzie: I dropped out in the end...

Georgia: We had a diffcult start with Covid but we practised loads and refned our live show. We took on everything we got offered and didn't stop!

How did your sound come together during this time?

Abigail: David Bowie, Queen, Kate Bush, Sparks, Lana Del Rey, jazz music... Georgia: We all have pretty different backgrounds, musically speaking. Aurora (Nischevi, keys) is a composer, and Emily (Roberts, lead guitar) is a jazz musician. We all have different family upbringings and relationships with music as well so I think we all bring a unique perspective. I think that's why our record and live shows turned out the way they did. It's a broad scope of inspirations coming together.

How do you craft such a captivating live show without having any music released?

Abigail: From the beginning, we were adamant that was how we were going to do it. We focused on the live show and built everything outwards from that. It's appealing because you can see how much fun we're having and how joyful we are, and how much live music means to us. It's the foundation of our relationship as friends, going to gigs and seeing live music and being desperate to be part of it. We're fulflling all our fantasies by doing it and it is where we have the most fun.

Lizzie: I think it allowed us to refne the parts of songs before we went into the studio and recorded the album. We tried out different stuff to a live audience and saw what felt good and what people started singing along to.

How did Nothing Matters come together as a song?

Abigail: It started as an acoustic ballad that I wrote on the piano. It was half fnished, and quite sombre. It wasn't this big, bombastic tune - it was quite emotional. Then, I brought it in, and we turned it into this euphoric, horn-driven beast! I think, for me, it's the truest love song on the album. I fnd it hard to write about good

relationships or things that make me happy. It's easier to write about turmoil. But I wrote it about my boyfriend at the time, to capture the feeling of complete devotion and passion.

Is it representative of what's to come from the rest of the album?

Abigail: Sonically, it's actually very different from the rest of the album. Every song is different but in terms of ethos it's the same - maximalism is the key word. We've got a huge variety of stuff on the album: an industrial Nine Inch Nails kind of thing, a fve-part harmony, an Albanian song...

Georgia: Guitar solos are coming back, in a big way!

How has signing to a record label helped the album come together?

Lizzie: Most of the record was already written beforehand. We did go on to write more but it gave us the confdence that we had an album ready to go and we didn't have to match anyone's expectations based on the back of one or two tracks that the label loved - we already had quite a few tracks they loved.

Georgia: There wasn't the unbearable weight of a TikTok song that had gone viral, which happens to a lot of artists. We already had a back catalogue we were happy and proud of. We're confdent in our vision and what we want to do, we've learnt to assert ourselves. The label hooked us up with James Ford to produce the record, so that's the dream come true!

You'll be coming to The Bodega later this month, what are you expecting from your headline tour?

Lizzie: I've been through Nottingham on the train loads of times, but I've never actually been!

Abigail: Nottingham is unchartered territory for us. But it's exciting to know that everyone will be there to see us - that's still unusual to us. We still haven't got our heads round the fact that we've got fans, or people outside London who want to see us. We haven't become used to it, but it's really cool to know that people will be there to see us.

The Last Dinner Party play at The Bodega on Sat 22 July 2023 @thelastdinnerparty

Bored Marsh – The Big Sad – The Rain Age

There’s a bumper line-up on offer at The Bodega to liven up this lush summer night in July. Catch these three rising Nottingham bands for a show that’s set to be a stunner. Check out the full listings to see even more summer sets over at our fave Hockley hangout.

Fri 14 July

Splendour Festival

Nottingham’s most loved festival returns for another two-dayer at Wollaton Park! Line-up highlights this year include Noel Gallagher’s High Flying Birds, Madness, The Kooks, Sugababes, Sam Ryder, Venbee, Dylan, Rudimental, and a whole host of local talent across all stages too, including Girlband, Vicky McClure, Jayahadadream, Katie Keddie and more. Sat 22 and Sun 23 July

Bama Lama Sing Song

Join us for an epic night of live band singalongs when Bama Lama Sing Song return to Rescue Rooms this summer. Their communal karaoke nights have become the stuff of legend and are a guaranteed good time for you and all your mates on a Saturday night.

Sat 29 July

RECOMMENDS

We still haven't got our heads round the fact that we've got fans

interview: Gemma Cockrell photo: Charles Gall

bexx

Stupid (Single)

Nottingham’s self-proclaimed ‘deranged bisexual and pop rock princess’ bexx leans heavily into the pop genre with her latest single, Stupid. The bubblegum pop-infused track demonstrates bexx’s fun side, even if the lyrics are deeper than they may initially seem. Telling the tale of going through what sounds like a pretty painful break-up, she somehow manages to turn these unfortunate circumstances into something to dance about, which is no mean feat. As she said herself, “Break-ups are humiliating, but at least this song slaps.” Amen. Gemma Cockrell

Lilac Grove

Peace of Mind (Single)

Lilac Grove are poised for a much larger following, and new single, Peace of Mindalong with accompanying track Fell In Love With A Vampire - will only help them to achieve this. Although they are self-confessed lovers of Oasis and Arctic Monkeys, they have worked hard to develop their own individual sound, providing strong bass and drum rock sounds, leaving space for catchy guitar riffs and belting vocals. Indie rock, pop rock or alternative rock - who cares about the label? Just give it a listen!

Bassey

JERUB

Scared to be Myself (Single)

Prior to 2023, JERUB hadn’t released new music since the Feel It EP in 2021. His songs have always had a refective, melancholy tone, but over the past few months his recent singles have demonstrated that he has spent those two years away from the spotlight further developing his sound. Scared to be Myself follows in the same vein as his previous single, Cold, with both tracks taking on a slightly more pop-tinged, upbeat style while maintaining the meaningfulness of his lyrics. I can’t wait to see what he’s got in store for the rest of the year. Gemma Cockrell

Jayahadadream

Top One (Single)

Jayahadadream is a breath of fresh air. A commanding voice within the hip hop industry, she articulates her own personal experiences in a way that makes her stand a level above her peers. This is captured perfectly by her latest single, Top One - a grime-infused track where she delivers powerful bars, fowing uniquely over a dreamy yet simultaneously punchy beat, complete with her signature witty touch. I recommend catching her at Splendour this month, where her engaging persona is guaranteed to command the crowd just as it did at Hockley Hustle last year.

Gemma Cockrell

Ellie Stainsby

Silence no sound (Single)

Ellie Stainsby is one to watch, with music similar to the likes of Birdy. Her smooth vocals on Silence no sound have the potential to captivate an audience if performed live, with the emotive lyrics adding an extra layer of vulnerability to an already excellent track. The piano backing on the song is simplistic yet powerful - a talented singer like Ellie doesn’t need the frills and additions of unnecessary production. If you need something to add to your indie-pop ballads playlist, give this track a listen.

Amrit Virdi

FE S TIVAL SEA SON

words: George White

Have you ever been to a flm festival? It’s understandable if not. From the outside, they can feel quite closed off, like they’re designed solely for people in the industry - but, as someone who’s been to quite a few in recent years, I can assure you that they’re very much open for all.

In fact, going to festivals as a spectator - without the pressure of having to network, secure interviews, or deal with the undoubtedly daunting pressure of knowing a live audience is going to watch and criticise your hard work - is an exciting affair that everyone should experience at least once in their lives. You can unearth a new favourite flm and socialise with like-minded people, all within the glorious surroundings of the cinema.

FIELD OF DREAMS

interview: George White

And, here in Notts, we’re blessed with plenty on our doorstep. There’s no need to travel to the capital or California to fnd some phenomenal flms - just look a few centimetres to your right and you’ll fnd information on quality events taking place within our very county. They’re welcoming, great fun, and you defnitely get your money’s worth: with movies of all different genres being shown back-to-back-to-back-to- well, you get it.

So, if you have a spare weekend and a few spare quid, why not take a punt on a festival yourself this summer? You might just discover a hidden gem, or get to know the next generation of flmmaking talent, right here in the East Midlands.

@LeftLionScreen

The frst of its kind, Mansfeld Town Film Festival is taking over the Palace Theatre later this month for a weekend full of diverse stories from across the globe. Ahead of the event, we catch up with Jay Martin, the brains behind it all…

Why did you decide Mansfeld needed its own flm festival?

The idea came when I had the premiere for my documentary, Redt’Blue, in February last year. We sold out the big screen of Broadway Cinema, and the majority of people that came along to that were normal Mansfeld folk, people that you might not anticipate coming out to support this small-budget flm.

Alongside Redt’Blue, we showed a range of locally-made music videos, short flms, documentaries and so on, and people loved it - so I felt like there was a hunger for more. From there, I went to the local council and told them that I had this idea for a flm festival. We pitched it to the Arts Council, we were lucky enough to get funding, and now here we are!

Nottinghamshire is home to a number of great flm festivals already. How will Mansfeld’s stand out from the crowd?

The big one is that we’re obviously not based in Nottingham. We’re up in Mansfeld, we’re out of the city, in a working class community. It’s got that Sundance vibe, being in a little town slightly nestled away from where you’d usually expect this sort of event.

I think that there’s sometimes a stigma around Mansfeld, that things are a little bit backwards or old-school, but it’s a brilliant town and it’s had a massive revival in recent years. There are some amazing businesses, bars, restaurants, and I think that’s worth celebrating. We’re also based in the Mansfeld Palace Theatre, which is this great venue with a lot of personality, smack bang in the middle of the town. That’s special in itself.

The flm industry often feels like it can be closed off for certain voices, including those from working class communities. Are you hoping that events like this can help to break down barriers?

100%. I come from a working class background, and none of my family have had any involvement in the flm industry, so I’ve had to do it on my own. I’m proud of that, but it did mean I had to work a full-time job to save up the money to invest in these projects, and then put them together in my spare time. That was the only way I could do it, and that is a challenge. It can be a real barrier for people, and we defnitely need to fnd ways to increase access.

What I will say is, the industry is now crying out for working class stories, but they can often be quite fetishised. A lot of the time there are people who have no association with working class life making working class stories, and they speak on our behalf without any qualifcations for it. If we can make sure actual working class people have the right connections and opportunities to come through, we’ll be in a much better place in terms of both representation and the quality of storytelling.

Why are flm festivals important more generally?

They’re great for opening people’s minds to new stories and new perspectives. At a flm festival, in a single day, you might watch a documentary about a family in Iraq, and straight after watch a story about a rapper in St Ann’s. You’re constantly being exposed to narratives that you might never experience otherwise.

We want Mansfeld Town Film Festival to be for more than just flmmakers, we want a wide range of people to come along and have these new experiences with us, as we’ll have a brilliant selection of flms to check out.

Mansfeld Town Film Festival will take place from Friday 14 to Sunday 16 July. Tickets are available on the Mansfeld Palace Theatre website mansfeld.gov.uk/palacetheatre

We want the festival to be for more than just flmmakers, we want a wide range of people to come along and have new experiences with us

There’s no need to travel to the capital or California to fnd some phenomenal flms

LORE BLIME Y

interview: George White illustrations: Andy the Illustrator

LAndy the Illustrator has picked up a mass following for his striking, animeesque art style - and has cropped up in many a LeftLion magazine over the years. Now he’s produced a zine of his own, Lazarus Lore, stocked with tales and characters from his popular online series The Lost Legends of Lazarus

A lot of your usual art-style is very much focused on colour and vibrancy, whereas this zine is built around a black-and-white palette. Why did you decide to take this approach?

There were two primary reasons behind my decision to make the inside pages of the book purely blackand-white. The frst was due to the type of printing I intended to use - Risograph printing - which prints colours separately, and then overlays them to create a full-colour image. This was a new and unfamiliar method for me, and I didn't want to worry too much about separating colours and structuring layers. Therefore, I opted for simplicity by making the inside pages black-and-white which enabled me to focus more on the illustrations!

The second reason was my preference for the retro manga aesthetic found in old manga books, where the inside pages are all black-and-white, and shading is achieved with stippling. This style appealed to me and provided an excellent opportunity to experiment with something fresh while working in a new way.

You've been telling stories within the Lazarus sphere on your website for quite some time, but for those who haven't ready any for themselves, what can they expect from this world?

The Lost Legends of Lazarus is an ancient book from a fctional world that recounts tales and stories from the kingdom. Although each story is set within the same world, they may be set in different timelines, but are often interconnected. My main objective is to create stories that are relatable and explore core themes around relationships, friendships, love, death, and other experiences that we encounter in our lives.

Despite being set in a magical fantasy world, I want each story to strike a chord with the reader's personal experiences. I aim to provide an enjoyable experience by presenting familiar stories but in a different world.

The characters in here are so feshed out even just from their designs - and followers of your Instagram will spot some similar faces. How do you go about creating new characters that feel fresh and unique?

In a strange way, I have reached a point in my worldbuilding where I never create a new character entirely from scratch. Each new character that I design is meant to solve a particular problem, be it putting a face to a character for a story I have in mind or fulflling a particular function within the world: For example, a guard protecting an ancient temple or landmark, or a motorcycle gang leader acting as a protagonist within a region of the map.

Their appearance, attire, and behaviour are all determined by their place within the world and how they interact with the story as a whole. As time has passed, I have developed a visual language for the kingdom, including the type of fashion that exists, the different types of weapons that are available, and the various emblems and symbols

that different groups of people wear and display. It's like having a formula that I apply to each character depending on who they are and where they belong. This approach has been incredibly helpful in creating consistency within the world and giving each character a sense of belonging within the story.

As Andy the Illustrator you're largely known forshock - your illustrations. But your writing is as important to this zine as the visuals, and your Lazarus stories have gained a big following. What makes you want to fex those particular muscles?

Writing has always been a challenging area for me. It's been a big weakness of mine, and I struggled to express my ideas and thoughts coherently in written form. It wasn't until my early twenties that I discovered that I was dyslexic, which explained a lot of my diffculties. In the past, I had the ideas in my mind, but I struggled to translate them into something that I could share with others. Art became my primary means of communication, and I used it to express my thoughts and ideas visually.

There's something for everyone within your workfrom comic strips and stories to puzzles and recipes. How did you decide on what went in the zine?

My goal was to create something that I myself would fnd engaging and entertaining. Rather than a single, lengthy comic or story, I wanted each page to offer something unique and enjoyable. I envision the zines as excerpts from The Lost Legends of Lazarus, a fctional book that chronicles all aspects of life in the kingdom.

The zine includes anything from fctional advertisements and popular recipes enjoyed by wizards to puzzles that reveal your fortune. By offering a variety of content, I hope that it contains something that everyone can enjoy.

Where can people pick up a copy for themselves?

What are your plans for the piece?

However, as I developed the world of The Lost Legends of Lazarus, my ideas for stories became more complex and challenging to convey through a single image or short comic. Many of the ideas I had were better suited for animation, but since I was developing my world alone, the next best option for me was through written stories. Recognising this, I decided to work on my writing skills regularly to get them to a point where I could effectively convey the stories I wanted to tell.

Though it has been a challenging journey, it has been rewarding to see my writing skills improve over time and to be able to share my stories with others.

And what is it about the genre of fantasy that makes you connect with it so strongly?

The genre of fantasy has always captivated me as it allows me to delve into the uncharted territory of the unknown. I'm endlessly intrigued by the possibility of what could exist beyond our tangible reality, and fantasy provides a platform to explore these imaginative realms. The natural world is a great source of inspiration for me, and when I'm surrounded by it, I can easily transport myself to a time before the world was fully explained, where mythical creatures and beings roamed the earth. By incorporating elements of fantasy into nature, it allows me to explore and expand upon the mystery and beauty of the natural world around us. To me, creating and exploring a fantasy world is simply an extension of how I perceive and imagine the natural world in my everyday life.

I will have copies for sale on my online shop and I’m currently looking to sell in some physical shops within Nottingham: I'll be posting a list of those on my Instagram and website once they have been confrmed, so check there if you want to pick a copy up in person. I’ll also be taking copies to comic-cons later in the year!

You can now grab a copy of Lazarus Lore from Andy’s website andytheillustrator.co.uk

Despite being set in a magical fantasy world, I want each story to strike a chord with the reader's personal experiences

One of our favourite artists around, Evie Warren, talks us through bringing her charming creative fair to LeftLion’s front cover…

Tell us a bit about yourself…

I am an illustrator and designer based and born in Nottingham, with a love for colour and creating textures. I am currently working freelance and have been for nearly two years! I like to take on all sorts of briefs, working with charities, schools, and other businesses. I love the wide variety I get from working for myself and the freedom that it brings me!

I knew I wanted to create something colourful, with a hint of magic

What was the inspiration behind the cover?

I knew I wanted to create something colourful, with a hint of magic. The story of Nottingham, represented by the famous Left Lion, off on its summer adventures, overlooking the city and seeing what is going on - just like we can in the magazine. My inspiration for the composition of this Left Lion came from the cover of one of my favourite children's books: Merrylegs, by Pam Smy. From there, I added colour, character, and some sunshine.

How does it compare with some other projects you’ve worked on?

I am usually given a very strict brief, so it has been nice to create something so abstract with full creative licence! I have enjoyed creating something special for Nottingham and characterising everyone's favourite statue. I like that it is a one-off piece, but as soon as I fnished the illustration, I started seeing the same characterised Lion in various settings across Nottingham. I am defnitely used to telling a story in my past work!

Is there anything else you’d like to tell the LeftLion readers?

I hope you all have a lovely summer and enjoy this edition of LeftLion. Fingers crossed for sunshine!

@eviewarrenillustration eviewarren.co.uk

HOW MAN Y GIRAFFE S ARE IN THE AIR WE BREATHE?

words: Francesca Beaumont

Kirawa, constructed by artist Kresiah Mukwazhi, ties art to activism with an array of petticoat fabric paintings that act as subversive visual refections on gender based discrimination.

A particularly striking piece, The Unrest of Ali (2023), seeks to showcase the emotional experiences of female sex workers that Mukwazhi garnered inspiration from in the suburbs of Harare, Zimbabwe. Rich in dimension, it depicts feminine fgures, bodies clouded by garish splashes of paints and faces obstructed by a collage of red bra straps hanging loosely. The collection of half-portrait, half-political pieces transcend past the visual beauty of art and present a uniquely shadowed and private expression of the female form, one that is in equal parts emotionally intimate and spiritually empowering.

Alongside Mukwazhi’s paintings is a shrine constructed of fabrics, plants, stones and animal print; a real homage to nature. In contemporary art spaces there is an increasing aesthetic call toward the digital; an appreciation of the advancement of art. But Mukwazhi’s sacred site, made entirely from, and in appreciation of, natural materials acts as a further piece of protest art. It draws upon the sacred sphere of Zimbabwean communities whilst simultaneously utilising and showcasing nature as a viable playground for artistic expression.

As we move into the second project, Holding a Heart in Artifce, artist Abbas Zahed fnds metaphorical beauty inside the cross-section of medicinal environments and contemporary art scenes. Zahedi, who had previously trained as a medic, has curated an installation held up by several red steel buttresses that span the height of ceiling to foor. Conceptually, they function like cardiac stents. These bright red stents are juxtaposed with the white sterility of a dead space that has only the gentle hum of machinery as audio stimulus. This casts light on the current cultural paradox within contemporary art spaces of the withering connection between modern art and humanity. Art itself, as highlighted by all three artists, is entirely constructed from human interconnection and it is through Zahedi’s structural minimalism we are invited to embrace; refection, conversation, and imagination.

The third and fnal exhibition is called Emergency and Emergence. Curated by artist Eva Kotakova, it infuses the conversational tone of the previous pieces with the innocence of interaction. Overhead is a tannoy with the voice of a young girl telling the tale of Prague Zoo's frst ever Giraffe; Lenka. The tale details the sad reality of

an animal forced into captivity, but when told through the voice of the schoolchild, it is enclosed in a childlike innocence that contemporary culture is entirely devoid of. Utilising the innocence of the informer uses the tools of purity and imagination and moulds an objectively depressive tale into a piece of art that works to inspire us to re-examine our relationship to, culture, news and innocence.

This motif is exemplifed by the physical components of the exhibition. Firstly, there is a large cardboard play theatre with space for a small audience to sit and visitors are invited to play with the props and perform puppet shows. Kotakova's installation provides both children and adults space to connect with the innocence of imagination. Secondly, stretching down a large corridor plastered with the doodles and paintings from

primary school children, we reach a large sculpture of a deconstructed giraffe that acts not only as a highly impressive visual spectacle but also as something that ties the moral aspects of Kotakova’s exhibition together.

In a culture that often fnds innocence and imagination superseded by the advancement in technology and the buzz of capitalist monotony, Nottingham Contemporary's new triad of exhibitions all work together to realign us with the importance of shared experience, imagination and protest art.

Abbas Zahedi: Holding a Heart in Artifce, Eva Koťátková: How many giraffes are in the air we breathe? and Kresiah Mukwazhi: Kirawa is showing at Nottingham Contemporary till 3 September 2023

Through a fusion of bold artistic activism and interactive installations, Nottingham Contemporary's latest triad of exhibitions provides a visual playground for us to re-examine the importance of imagination and innocence.

The innocence of the informer uses the tools of purity and imagination and moulds an objectively depressive tale into a piece of art that works to inspire us

FREE R ANGE

words: Abi Pitt photo: Isabel Greed

ENVIR O N M ENT

We have a wonderful mushroom called the Field Blewit... they’re hardly anywhere else in the country and they’re very very popular

The Nottingham Forager is the ultimate guide to Nottingham’s wild edible treasures, running workshops and events (often on a donation basis) to share her expansive knowledge of our natural pantry. We caught up with Lucy to fnd out what foraging is all about, her top tips this summer and why talking about blue legs is pretty normal around these parts.

Lucy AKA

As a nature lover but a foraging novice, I was intrigued what a day in the life of an actual forager looked like and there’s no better person to ask than Lucy, AKA The Nottingham Forager. I was delighted to hear that some of my romantic notions of The Nottingham Forager were in-fact true. On meeting Lucy she describes how last year she received forty jars of jam as part of her pay-as-you-feel sessions, carries a mushroom knife at all times, and eats some form of foraged food every day.

It’s clear that working with such diverse people in all sorts of places is one of Lucy’s favourite things about being The Nottingham Forager. She explains that “I’ve found that my job has become very diverse and that suits me. I work with all sorts of people; yoga teachers, zero waste shops, substance abuse recovery groups. I’m here, there and everywhere, it’s really nice. I was at a primary school a few weeks ago doing a session with sixty nursery and infant school children, by the end of it they were all chomping away on wild garlic and wild leeks and eating green soup we had made from it - they had a whale of a time, it was so lovely.”

Hearing just how much of a scope and impact foraging can make, I was curious to see whether Lucy felt it was all a bit of a lost instinct. “Yeah I think so!” she goes on, “When I’m out foraging, I do feel very connected and it seems like it’s the right thing to be doing. It’s always felt very natural and I found a lot of the time people take to it very, very quickly... I think we’ve all got it in us a little bit, some perhaps more than others.”

Lucy goes on to explain how her game of ‘Mushroom’ seems to get the forager juices running during her sessions. “I think the competition element certainly helps as well, if you get any group together and make it a competition everybody is suddenly very interested in foraging. I often play a game I call ‘Mushroom’ which is like bingo; I send everyone out into the woodlands and then just wait to hear the shout of ‘mushroom!’ ...I now have people shouting mushroom at me when I’m walking around sometimes, which is fabulous,” Lucy laughs. “Someone messaged me the other day and it just said ‘Mushroom!’ and that was it”.

With the imagination flled with mushroom hunting, my competitive nature wondered whether Nottingham has its own speciality that’s specifc to our region, and it turns out we do. “We have a wonderful mushroom called the Field Blewit... they’re hardly anywhere else in the country and they’re very

very popular. If you ask a lot of people’s grandparents locally they will know what they are, and they’ll call them ‘blueys’, ‘little blues’, ‘blue stalks’ or ‘blue legs’ - there's lots of regional nicknames for them. The good thing about the Field Blewit as well is it’s quite an easy one to identify, so for a lot of people if they only pick one mushroom a year it’s the Blewit, and a lot of people pick that exclusively and not anything else because it is so recognisable. It has little blue and purple stalks on it, hence Little Bluey.”

Sitting with Lucy I started to understand why so many people got the foraging itch after spending time in her sessions. I asked for the lowdown on what to look out for this summer: “July and August is month of the fruits and is a fabulous place for beginners because they are relatively easy to identify, particularly the Prunus family which covers things like cherries and plums. We are really lucky here in Nottingham that the people who were around 50100 years ago all really liked cherries and plums! We have a lot of cherry and plum trees dotted all over, so it’s worth having a look around the estate where you live and looking for cherry trees because they are absolutely everywhere.”

I ask Lucy about any resources she recommends for identifying food and how to make sure you pick the right things, “Wild foods UK, that is my go-to, it’s where I send everybody - I will start charging commission at some point the amount of customers I send their way… Their website has been developing now for about ten years and every guide for everything is on there. They have a great book too, but they also have free resources available online.” Lucy also suggested using the guides to identify the whole plant and not just the edible bit, so you can also compare trunks, leaves, fruit and seeds. Comparing features of the whole plant can help you feel more sure about what you're picking, although it is advised to take no more than 25% of a plant community to ensure sustainability for the crop.

So Nottinghamites, you may be an avid forager, a complete novice, or someone who just fancies picking up a bit of local herbal tea whilst walking the dog - either way The Nottingham Forager is our very own local guide and guru.

Follow The Nottingham Forager on social media for upcoming foraging sessions

THE BIGGER PIC TURE

PSnapping pictures on your phone may be quick and simple, but sometimes you want to go a bit deeper with photography. Luckily, LensFayre in Sneinton Market is here to help. Selling a variety of cameras, offering repairs and advice and providing budding photographers with things to get involved in. We sat down with owners Alecia and Dan to fnd out what they have going on.

Why don’t you start by introducing yourselves?

We’re Alecia and Dan from LensFayre, an indie analogue/flm camera store. We’ve offcially been around for just over three years now. Dan was originally repairing and selling cameras through eBay as a side-hustle from home; it was going really well, so we thought “why don’t we try and turn this into something a bit more legitimate business?”

In March 2020, just before the frst lockdown, we launched on Depop. In the beginning we thought it might just have been the worst possible time to set up a business, but it actually ended up being quite successful. We found that, with more free time, a lot of people had decided to pick up flm photography for the frst time, as well as those getting back into it.

To hear of a local independent business like this that started in lockdown and went from basically nothing to Depop to having a physical location in Sneinton Market after three years is incredible.

Dan: We’re incredibly proud of what we’ve achieved. The intention was never to really start on Depop. We’re now much less active on there and have driven that audience to the website instead. We quickly built a strong reputation for providing excellent customer service and high quality refurbished cameras. In three years we’ve sold well over 2000 cameras and received almost 800 fve star reviews across all of our platforms.

Alecia: Our goal was to be more than just a regular camera store. As two people who have come from low-income backgrounds, it was important to us to be as accessible as possible. We actively source cameras in need of repair and refurbishment, so that we can restore them and sell them on. We’ve always had a community driven focus. During the peak of lockdown we tried to encourage positive social engagement through an Instagram project and hashtag #creativesincaptivity, which we shared on our page. We ran competitions to win free flm, as well raising money to support local charities.

What are the next steps for LensFayre?

Alecia: Now that we have a physical location, we plan on getting a member of staff who can support us with our admin and workload so we can dedicate more time to bringing our focus back around to our community and social engagement. We’re already working on this with our involvement in organising the Analogue Spotlight events. We also co-partnered a project called the United Photo Collective, (initially founded by photographer Lee Kidd) which is a quarterly photography zine that raises money for community nominated charities and social causes. We’re keen to start this back up again in the near future. Since late 2022 we have partnered with Urban Outftters to sell both our refurbished cameras and our reusable camera, the Snap LF-35M, through their websitewhich has kept us really busy!

I’m really excited about your Snap Camera, can you tell us more about how this idea came about?

Alecia: Our preference is always to try and steer customers towards choosing a refurbished camera, but there’s always going to be customers who just prefer to shoot disposables, because they prefer the lo-f aesthetic. We wanted to create a camera that offered this, but was a more sustainable alternative to wasteful disposables. The reusable Snap Camera is entirely carbon neutral, all of the packaging is either recyclable or biodegradable - including the custom stickers. We plant one tree for every camera manufactured and another tree when it’s

sold. Lastly, we operate a recycling scheme for when the camera reaches the end of its life-cycle. As far as we’re aware, the Snap is the only camera to offer all of this so far.

There’s a genuine passion which comes off of you both and I think it shines through in everything that you do.

We’re just creatives who happen to be running our own business now. We’ve had a lot of support from other creatives within the analogue community, such as 35mmc who helped us with our press release for our Snap Camera launch and champions our business, as well as the Analogue Wonderland team, who stock our camera and have collaborated with us a few times. We’ve had a lot of support from the analogue photography community here in Nottingham too - especially from the awesome guys at Make It Easy Lab and London Camera Exchange, who are constantly recommending our business to customers.

We plant one tree for every camera manufactured and another tree when it’s sold

You have just collaborated with the Nottingham Craft Beer Festival, which was a great time, tell us about that.

Alecia: We basically spoke to them and pitched our Snap Camera, they worked with us to create a custom skin for it with the NCBF branding and we did a small run which was on sale here all weekend. It was a fun collaboration and a unique addition to the festival, as a memento for attendees. We’d defnitely be keen to do it again in the future!

Now you have this awesome space, what’s the plan for this going forward?

Alecia: Initially, our space was intended to just be a dedicated workshop for us, as we’d outgrown running our business from home. We needed a proper space to do repairs, refurbishment and package orders, but we also want to do some social events and collaborate more with local businesses.

Dan: We’re also trialling a one on one maintenance/repair workshop, as well as portfolio reviews and even photowalks. We’ll soon be offering a photo restoration service, cineflm conversions, and perhaps even curating and publishing community photo zines.

Anything else you’d like to discuss or promote?

Alecia: We’ve got the second Analogue Spotlight event coming up in October, which will be in Nottingham at Nonsuch Studios this year. Last year we hosted a diverse range of both prominent and emerging fgures within the analogue community, including some bigger brands, like Kodak, Ilford and Intrepid Camera. It’s a great analogue photography convention, with engaging talks, workshops and vendors.

LensFayre can be found at Unit 23, Sneinton Market, Avenue B, Nottingham @LensFayre www.lensfayre.com

interview: Nathan Langman photos: Nathan Langman

TAKE YOUR TIME

interview: Rose Mason images: Resting Up Collective

When creativity turns into another hustle, it can quickly lose its therapeutic benefts. Rose Mason speaks to Jennifer Brough about the Resting Up Collective, who look to incorporate rest and creativity into lives of chronically ill or disabled people.

Jennifer began the Resting Up Collective to bring people together and create freely, however they feel they can. The Collective brings together art therapy, mindfulness and disability representation into fulflling projects. It’s a safe space, free from pressure, providing the chance to make art and build community. Hosting workshops online, and in person at The Contemporary, the Resting Up Collective is open to anyone who feels they could beneft from a slower way of creating, and living. Could you explain how the project began, and what you’ve been doing lately?

It began as a pandemic project when I was feeling worried about what was going to happen. As someone chronically sick, with chronically sick friends, I was feeling very isolated. I contacted people I met online within the art and disability community and asked if they wanted to be part of this small collective, that was very low pressure, where we could create things together and just work slowly. Predominantly at the moment we do workshops about slowness and incorporating rest and creativity into lives that might be chronically ill, disabled and otherwise busy, like many of us are.

What type of creative ventures have you done so far? We do lots of different workshops, with art galleries like The Contemporary, or online to make them more accessible. We also have an ongoing project which is like a slow mail chain called Postcards From Flaresville, which invites people to write a postcard to the next person in the chain about where they currently are, how they're feeling, and offers that slow connectivity that I think so many of us are missing in the digital ageespecially with disabled people who can’t always go out and commune with friends or people in their community.

Amongst our groups we have visual artists, we’ve got a few of their pieces on our Substack, like poems from people in the collective. It's all fow, there's no real deadlines we work to. It's a very generative, restorative project for a lot of us.

We've had a lot of nice feedback from people. Our emphasis is very much on the process of creating is as important as the eventual thing that you make. You can

create as and when your body allows, rather than what society expects you to do.

Would you say it's born from a place of wanting to be creative, but creative spaces aren't always set up for people with disabilities?

The world has been set up in a way for a long time that values productivity over wellness, often disabled people aren't catered for in many spaces, be that going to visit a gallery, or even access a town, without having to do a lot of forward planning. It's not just for disabled people, it's for people that might be shut out of creative practices because they are working class, or because they're people of colour. A lot of these spaces are not geared for accessibility in so many ways.

no. Having that confdence in what you're doing, it really resonates further than you think. We're only a small group, we've only just hit 700 followers on Instagram, but for us it's not about the numbers but these moments and creating spaces that allow people to rest and be gently creative.

Secondly, many of us in the collective are still navigating our own relationship with rest, that push and pull between doing and being, and being gentle with yourself. You will rest, then be able to do lots of things, have a fare for a few days and not be able to do anything. It's a very liminal space to be in when you're ill and wanting to do things. Giving yourself the generosity that you would give to others, and trying to implement that into your own creative restful practice.

Safe spaces are so important for so many communities, is there any advice you would give on creating one?

People are shut out of regular working hours as well. We operate under Crip Time. There's a quote from Alison Kafer that we have on our blog, “rather than bend disabled bodies and minds to meet the clock, Crip Time bends the clock to meet disabled bodies and minds". Resting Up Collective is an alternative space of imagining what things could be like, and that's what a lot of the exercises we do in our workshop are. Considering your ideal space for rest and how we can bring that into being, what we would need.

How do you feel about Nottingham as a place to set this up?

What I like about Nottingham is it’s a very communal city and I feel like if you want to do something, there is space to do that. It's very navigable, so many of the friends I've made are from these little indie projects that are happening. If it's going to happen anywhere, it's going to happen here because it's so open to newness and different voices.

Is there anything you feel you’ve learned during this process?

One thing, defnitely, is that the worst people can say is

I think so much of creating spaces that are comfortable for other people is guided by your own education, and also your own needs. Us predominantly coming from a place of disability and chronic illness, in our workshops we incorporate loads of optional breaks, we say you can use this space for whatever you want. If you want to have your camera off, if you’re lying down, if you wanna get up and move around.

I think being fexible and accommodating to whoever is in the space that you're sharing is the best way. Be open to feedback and ask for responses, don't be afraid to ask people for what they need before you're setting up a space. So many places won’t have seating or an option for sick people. It's important to have awareness beyond your immediate experience. It's really important that everyone feels the space is for them.

If anyone in Nottingham is thinking of ways to create alongside their demanding day to day schedule, whether that's with illness or jobs, family life or caring responsibilities, just drop Resting Up Collective a DM @restingupcollective_

It's a very liminal space to be in when you're ill and wanting to do things

I scrub my bones over the bathroom sink. That’s all teeth are, really: bones, piercing through fesh. Bollocks to collagen and any other technicalities. Those scientists don’t know how it feels to be knocked in the face and see a piece of your skeleton go fying. When nobody’s watching, it’s too much effort being tidy. Warm, frothed-up toothpaste pours over my lips and down my chin. I support myself on the fat ledge of the sink (false marble, as if that’s fooling anyone) and hunch over it like a drunk. Overhead, the yellow bathroom light buzzes – there might be a wasp trapped inside – but I focus on the ceramic bowl, the way it bends the light, its silver press-down plug ringed with mould and the streaky black stains caused by the leaking tap.

I spit into it and there’s blood in the white foam. Could be a sign of gum disease. That’s what mouthwash ads say, but then, they’re just trying to sell you something; they’d rather you think that you’re dying. I turn on the tap, cold water jets, and the blood swirls pink then drains away.

I scoop water into my mouth, the way people did when they drank from rivers, and slosh it from cheek to cheek, threading it between my teeth, before expelling it in a bile-like stream. It burns with the aftertaste of mint. You know you’re in bad shape when your vomit’s clear and burns like that, like your stomach’s trying to strip your throat raw.

I swipe a wet hand down my face, over the beard which isn’t long enough yet to be his, and rinse it clean. The mirror over the sink diagnoses me with another ten years, pitilessly inficted by the overhead lighting. My skin looks like wax, half-melted. The shadows beneath my eyes tug downwards. God, I could do with some sleep.

Then, Francis claps and stands and says, “great work, Myles. Let’s stop there,” and the bathroom lights up and disappears.

At home in my darkened study, Roger Soper stares me dead in the eyes. His prison mugshot’s blown up to fll my computer screen, streaked with bars of light which cut through the gaps in my blinds. I don’t bear him more than a passing resemblance, but that won’t matter; I’ve seen them turn a young man into an old man, a living man into a corpse.

I lift my beer bottle over the box of tissues and stack of semiorganised papers cluttering my desk and take a swig. It’s warm, of course, and sticky. Christ knows how long it’s been sitting there. Soper’s expression is comically deer-in-the-headlights, as if the photo was captured moments before collision.

He doesn’t have his weird hipster look in his mugshot: the too-small coat, the checked waistcoat, the fully buttoned shirt with no tie. His beard and outgrown curls make him look like a werewolf in a ‘70s horror fick. But in other photos, he’s artsy, eccentric. His posture’s awkward and he’s never really smiling, only parting his lips, but all the great artists were fucked in the head – Van Gogh cut his own ear off and gave it to a prostitute –so it’s no wonder no one looked twice at him.

I use the mouse to zoom in on his eyes until they blur. They’re deep set, buried in pits of shadow.

In one YouTube interview, after his US exhibition opened, before anyone knew what was in his statues, he said in that monotone way of his, “art’s about capturing life, is all. If art ain’t got soul, it’s dead.”

He was born in Atlanta, Georgia. He died in Thamesmead, London. Not fve miles from where I grew up.

Oh boy, you gotta see this here goddamn fool, fellas. Now, ain’t that something; mighty strange, real special, I’ll be damned, and dang, I sure as hell ain’t seen nothing like that ‘round these parts, and that’s just about the size of it.

“Uhhh.”

“That’s good. Keep going.”

“Uhhh. Uhhh.”

Does Francis realise that it sounds like we’re fucking?

On the shabby rehearsal stage (cheaper than a studio, though this isn’t for theatre), I stretch my facial muscles in circles, trying to work them like chewing gum until they’re soft and elastic.

I’ve already ‘released the tension’ from my fngers, wrists, arms, shoulders, hips, legs and ankles. It reminds me of that time I saw a therapist, who told me I should start yoga: “that’s it, ladies, aaaaaand release.” They never have a goddamn clue what they’re on about.

Francis sits on a battered prop chair downstage, tapping a ballpoint pen, which might as well be a meat tenderizer, against his knee. He’s got that stupid silk scarf on again, along with a tan blazer and those thick-rimmed glasses which make his eyes too big. His bald head gleams beneath the foodlights: a wannabe Oscar.

“And the brows and forehead,” he reminds me. Forred. That’s how he says it. Brows and forred.

I shut my mouth, which has been working like a cow chewing grass for the past minute, and begin writhing my eyebrows: raising, frowning, questioning. I sculpt my fesh like clay, or wax. I look comically deer-in-the-headlights.

Soper’s artwork’s beautiful, on the surface. The piece that made him famous, Daedalus Before Morning, is the sort of wax statue you can imagine breathing; Daedalus holds up Icarus’s wings and somehow knows he’s going to lose his son.

After Daedalus’ bones were found, the real Icarus, only nineteen years old, held a vigil over his grave for four nights.

I stare up at my darkened ceiling, in bed, and watch the headlights of passing cars stretch and shrink across it.

His artwork’s more beautiful, if you look deeper. Mighty tragic, yes, and real grotesque, I’m not denying it – but it moves you. Art ain’t art without soul.

In a later interview, in which he wore a jumpsuit, Soper admitted it was the idea of reanimation which attracted him; he liked bringing bodies back to life, making them perfect. An artist, in their own way, was God. So, it was an act of Creation, sculpting

those statues, like when God made Woman from the rib of Man. I don’t remember much about church, except that service was on Sunday morning. My bruises were always fresh from the night before. All fesh is grass, is all.

Before he used bones, Soper never got the proportions right. Something was always off. Which makes sense, when you think about it.

God, I could do with some sleep.

Francis buys me KFC. It’s too early for lunch and he’s vegetarian, but he wants me to focus on the sensation of meat.

The chicken legs in the bucket are more brown than golden, and soggy with grease, which has left transparent stains on the cardboard. They never show the stains on the posters.

I lift one out and inspect it, like a critic. The glaring stage lights are too exposing, showing up gaps in the batter, places where it’s almost sliding off. I probe at the makeshift skin with my fngers and the light sticks to the grease.

“Good, now give it a sniff,” Francis instructs. Goddamn fool. Treats me like a dog. Sit. Stay. Paw.

But hell, I haven’t had much for breakfast, only a bowl of dry cereal – the milk was off – so I sniff the chicken as commanded. It’s rich. It still smells warm. My stomach growls. Francis probably wants me to lick it, real slow, porno-style. I sure ain’t doing that.

Instead, I take a bite. Really sink my teeth in. When you’re hungry, it’s hard to eat slowly. Your stomach reaches up through your throat and tries to snatch what’s in your mouth before you’ve even chewed it.

The chicken gives way beneath my teeth, softening with the rush of saliva. Fatty juices spill out. I suck the fesh off the bone. It’s a primal kick, you get from eating meat. No plant-based shit could ever replicate it. I grind the chicken into pulp, listening to the increasingly wet chomp, chomp, chomp. Then, at last, I swallow. In my shed, late at night, I bring the chicken wing back to life. The bone glistens, pearlescent, under the amber-red spotlight of my desk lamp. There is a silence like that of Sunday Mass.

Steadily, I drip wax onto the bone, beginning to form a ffth layer. The wax is from a lavender-scented candle I bought years back, after that same dogshit therapist told me lavender helps you sleep, but then, they’re just trying to sell you something. The heady, thick smell crawls down my throat.

There’s a reason I moved this desk lamp to the shed, to sit amidst the congregation of metal tools: the bulb burns too hot, hot enough to melt wax, if you bring it close. I do, and wax encases my fngertips, smoothing and tightening the skin. When I was young, under the spotlight myself, all my skin felt like that. Now it’s just the scars.

The wonderful thing about sculpting with wax is that you leave no fngerprints.

My cvhicken wing will be golden, greaseless. There’ll be no gaps in the reconstructed batter, no places where the skin is sliding off. I could give back its feathers, if I wanted. Use the smallest screwdriver to draw in the lines. The wax yields, soft, beneath my fngers. I stroke the wing. I cradle it. I hold it up to examine in the light.

Daedalus’ trepidation, fortitude and grief was so well-captured in the wax, it might have been real. I ain’t seen nothing like that before, not ‘round these parts.

The following morning, in the shower, I try to sculpt with soap but it’s not the same without the bone.

“I’d like you to think back to your childhood,” Francis instructs. “Pick a memory; one that stands out. Focus on the sensations. Hone in. What can you see, feel, smell?”

If I gave him a good shove, he’d topple off the edge of the stage, taking his chair and scarf with him.

“Can I take a cigarette break?” I ask, but he’s frowning before I’ve fnished talking.

“After this exercise,” he agrees with a dismissive nod. He’s got his pen between two fngers and is drumming it against his thigh. I wonder which – the pen or the fngers – would be easier to snap. I massage my forehead – forred – grimacing. “I’ve got a bit of a headache. Could do with some fresh air.”

“You can get some after this,” he says. “If I let you go every fve minutes, we’ll get behind on schedule.” I went for a piss once, two hours ago. He’s acting as if I’ve hardly been in the room. He points his pen at me and his glasses fash. “It’ll be quick. Just this exercise.” There’s no arguing.

I sigh and inhale a cloud of low-hanging smoke.

Mum’s slumped on the sofa as if she’s melted into it, smiling, just smiling, with those vacant, glassy eyes refecting the stretching and shrinking light of the TV. She’s watching some soap with a laugh track in the background. The stump of a cigarette hangs from between her fngers.

“That’ll be you one day,” she murmurs, and I don’t know if she’s talking to me or to herself or to no one at all. “You were so good in that school play.”

I gaze towards the TV, at the made-up people strutting and posing in their bright, modern apartment. They look so perfect. So happy. Nothing could ever touch them.

Mum’s eyes shutter and reopen slowly, like a wind-up toy. Tinny laughter rumbles through the room. The dented lamp beside the sofa illuminates the far side of her face, exposing the swollen hint of a bruise on her cheek. Red. Soon it’ll be blue, then purple, then green, then yellow. All the colours of the rainbow.

The same tinny laughter loops as a car pulls up outside. Its headlights pierce the curtains, fooding the room with twin beams of orange light. Mum’s eyes ficker. Her smile wilts slowly. I should have said thank you, when she said I was good in the play, but I hadn’t learnt my lines.

There are heavy feet outside. A key clicks in the lock, boots thud into the hall and in sweeps the stench of rain and petrol fumes and beer mats.

“Now, recall a time when you experienced a specifc, sharp pain,” Francis hisses, in the back of my head.

A damp fst collides with my mouth, dislodging a tooth. It’s like someone’s struck a match inside my skull.

I go in and everything’s just as it was. They’ve got it down to the detail: the burn hole in the arm of the faded sofa; the halffnished sketches on the side table, pinned down by the lamp; the peeling labels of the Blue Moon bottles and the crushed Parker & Simpson cigarette packets scattered on the coffee table. I stand and gaze at the blank, glassy face of the TV which bends my refection.

In TV-land, everything’s technicolour, larger than life. It’s not meant to be real. But, God, I can just smell it.

Francis is leant against the doorway with his arms crossed, saying how he’d like me to stay here for a while, to really get into the headspace; he’s already had the fridge stocked and a key cut and toilet paper put in the bathroom. He’s going on like he’s about to call the place ‘quaint’ and ‘snug’ and joke that he’d live here himself if it weren’t for the wife being so attached to the family pad.

My tongue is a swollen, rotten fruit. It’s as if he could walk in at any second.

I can’t stay here, no matter what Francis says. Damn the paycheque; I’ll call my agent; I’ll pull out; I’ll inject air into his veins with the syringe in the cabinet above the kitchen sink. I can tell from his shiny, bald head that he’s got a mighty fne skull underneath: a skull which could look real pretty with eyes not so big. Could be a lot quieter, too.

“You got a son, Francis?” I ask abruptly, interrupting his spiel. I turn and he frowns at me as if I’m not listening, then answers, “yes.”

“How old?”

“He’ll be nineteen in July.”

“Nineteen! I’ll be damned.”

I wander to the sofa and trace a fnger around the burn hole. I should have him sit down and tell me more about his life. Art’s got more soul, when it’s based on something real. Putting blood in the wax and powdered bone in the clay doesn’t cut it like a story does. It’s body, is all. A story goes deeper. Where would have been the tragedy, the beauty, if Daedalus didn’t really have a son?

“Want to stay and have a beer?” I ask over my shoulder, but Francis says he’s got to get back, he’s got stuff to go over, why don’t I settle in and make myself at home? Which is a goddamn stupid thing to say.

Next thing I know, he’s gone.

As if he were holding me up, I double over and heave in deep, shaking breaths. Then, with a hard lump in my throat, I straighten and coax a Parker & Simpson cigarette from my pocket. I light it and take a long, starved drag. Holding the fumes in my lungs, I pace over to the TV and switch it on, but it just reads: ‘No signal’.

“Where does art come into it?”

Painstakingly, I tap ash into the small, glass tray they’ve set out on the desk. “Art don’t come into it. Art is it. It’s murder, comes into it; murder as a means of creating art. Bones as a,” I sit back and put the cigarette to my lips, “an artistic medium.”

“An artistic medium, you say.” The interrogator’s tone is fat, impassive. “Is that all? Is there anything else about bones which fascinates you?”

I settle back, considering. “It ain’t – was never – about the bones themselves. It was the potential of the bones, what they could create. I thought of them how I guess a painter would think of a canvas, or a colour palette: just as someplace to begin.”

Myself and the interrogator turn pages in unison. “You talk a lot about creating,” he says. “How do you reconcile that with destroying lives?”

I study my words carefully, then suck in another drag of smoke. “You mean, ending lives?”

“Yes.”

“Now, see, I didn’t end lives. Maybe as you understand it – as life of the fesh – but spiritual life, eternal life, I transferred, is all, from one vessel to another. It was about… uhh… preservation, not destruction. And Creation, in a broader sense; as Michelangelo said, ‘I saw the angel in the marble and carved until I set him free’. For me, the… human body was the marble. The angel was what I saw beneath.”

“Considering your references to ‘eternal life’, ‘Creation’, and now ‘angels’, would you say that there was a religious dimension to your murders?”

“Sure, I’d say that was part of it.”

“In what sense?”

I stare into the beam of harsh, white light and part my lips into something of a smile. “God understood Man by becoming fesh. Surely, Man – or more specifcally the artist – could understand God by becoming Him.”

There are a few moments’ silence as my statement settles. Then, the lights go up and my interrogator stands, tugging out the creases in his blazer.

“Good,” he says, clearing his throat. “Good. Let’s skip ahead. Let’s go to…” he ficks through the papers he’s holding, “here. Page twenty-two.” He takes a series of A4 photos from the bottom of the stack and spreads them out before me on the desk. I lean over them, peering closely.

At frst, I can’t tell what the hell I’m looking at. Then, I recognise the scorched shapes, half-submerged in pools of hardened wax: femurs, ribs, the curves of skulls. It’s ugly – sad, even – seeing them dead like this: killed in storage on their way to London, where they should’ve gone on exhibition.

“They’re ruined,” I say, blowing out smoke.

My interrogator glances at his papers then up at me, brows furrowed. “That’s not… I beg your pardon?”

I glare at him, hard, right in his real huge and hideous eyes. “I said, they’re Goddamn ruined, and boy, that’s a mighty shame.”

I must’ve rattled him with that, because soon after, he lets me go. Beneath the yellow eyes of streetlights, I lead him up to the front door. A camera spies at us from the corner of the block; I angle my face away from it, slide my key into the lock and turn. Our wet boots thud into the hall.

I shake the rain from my coat and hang it up, then undo the top button of my shirt, loosening the collar. I take his coat, too, to be a gentleman, and hang it beside mine. He thanks me but hesitates on the mat, so I reach past him to close the door, forcing him to shuffe further inside. Then, I stand against it, smile, hold out an arm and say, “go on through. I’ll get us some beers.”

He sits on the couch and I switch on the TV, then settle beside him with a cold Blue Moon. He braces his bottle in both hands, picking at the label, and glances furtively around at my apartment.

Then, he licks his lips and asks, “do you… mind living here?” He doesn’t look at me. His eyes land on the screen, vaguely longing. I get what he means. It’s not exactly the nicest part of town. “Oh, no.” I settle back and a laugh track rattles distantly. “Suits me fne.”

He nods and takes a swig of beer. I watch him out the corner of my eye. Wax takes time to set, layer after layer; I’ve got practice being patient. There’s a sheen of light on his skin, sticking to the damp. His temple pulses if something’s trapped inside, battering to get out.

words: Amy Child

illustration: Kate Wand

University of Nottingham student Amy Child is the winner of the Young Creative Award 2023 19-24 Creative Writing category.

Bodies hover silently at the peripheral. He doesn’t notice them, of course, nor the syringe poking from my sleeve, which I fll with air as he starts to slacken, melt, from the sedative. He turns large, disbelieving eyes onto me, questioning with his lips but saying nothing, and I gaze at him as if to say, “this ain’t personal, friend. It’s just part of the job”. You can’t make great art, art with soul, without breaking some eggs, and that’s just about the size of it. When nobody’s watching, it’s too much effort being tidy.

@amys.books_

BEST OF THE MONTH

What's Love Got to Do With It?

When: Friday 14 July, 7:30pm

Where: Royal Concert Hall

How much: £22.50–£30

Immerse yourself in this wonderful tribute to the queen of rock ‘n’ roll herself with this touring show celebrating Tina Turner’s unbelievable career. With an invigorating full tenpiece live band playing simply the best of Turner’s revolutionary music, What’s Love Got to Do With It? promises to be a night of high energy, with feel-good greatest hits performed by amazing vocal talent Holly Bannis.

Gladrags: Notts Pride Afterparty

When: Saturday 29 July, 8:30pm

Where: Metronome

How much: £15.45

With the Nottingham Pride Festival happening this month, what better way to keep the parade moving than by dancing surrounded by vibrant pride celebrations at the Gladrags Afterparty! Enjoy music from pop, electro, house, alternative, LGBTQ+ anthems and much more, for what will be a night you won’t be forgetting in a hurry. Expect to see drag performers from across the country, including Nottingham’s very own.

Steampunk Weekend

When: Saturday 8 – Sunday 9 July

Where: Papplewick Pumping Station

How much: £12

Get your bowlers out and try something out of the ordinary! Attracting the most eccentric assortment of individuals, this is a chance to dress up and let out your weird side, with music from chap hop maestro Professor Elemental and gothic steampunk trio Victor & The Bully. Not only will you see the engines in full steaming action, but you can also book an underground reservoir tour to cool down.

Twelfth Night: Open Air Theatre

When: Sunday 9 and Saturday 15 July

Where: Lakeside Arts

How much: £12 (£8 concessions)

Lakeside Arts will be showcasing their production of Shakespeare’s classic in the beautiful grounds of University of Nottingham. Targeted towards families, this event builds a bridge between new generations and iconic, renowned literature. “Expect laughs, mixedup identities and a whole lot of outdoor fun”, but do not fret, Lakeside will provide an indoor space in the *likely* chance that the weather is not on our side.

Archaeology of Loss, with Sarah

Tarlow

When: Wednesday 5 July, 7pm

Where: Five Leaves Bookshop

How much: £4–£17

In her new book Archaeology of Loss, renowned archeological lecturer and author Sarah Tarlow reconsiders the relationship that humanity has with learning about death and loss. In conversation with Graham Caveney, Sarah will use this opportunity to explore the dark discussions around loss through “humour, intelligence and urgency.” Take this opportunity to delve deeper into the “the reality of illness and devastation of loss” through Sarah’s utterly thoughtprovoking work.

Canalhouse Comedy Night

When: Wednesday 12 July, 7:30pm

Where: The Canalhouse

How much: £2

“You never know who may become the next big star!” If sharing laughs with a room full of strangers is your thing, can we tempt you to visit Canalhouse for one of their long standing comedy nights? Expect a range of comedians practising new material and the opportunity to witness future talent in the stand up comedy scene. Tickets are available now so snap them up before they run out.

Kitchen Dancing Class

When: Wednesdays, 7pm and 8pm

Where: Beeston Methodist Church

How much: £6 (£5 with monthly pass)

Get into the groove with an utterly feel good alternative to the typical workout. This dance ftness class is bound to dim that midweek slump and is the perfect opportunity to get a dose of serotonin! So head on over to the wonderful Beeston Methodist Church to join this “energising dance-based ftness routines, disco setting, fun and social” - this isn't one to be missed…

Sherwood Forest Up Close

When: Wednesday 5 – Thursday

10 August

Where: Mansfeld Central Library

How much: Free

Award winning photographer

Alex Hyde exhibits a photo series of Nottinghamshire’s beautiful Sherwood Forest, offering viewers a microscopic perspective of some of the most obscure things that can be found in Nottingham and the best beauty spots across the county. Go to Mansfeld Central Library and submerge yourself into the parts of nature that often go a miss through this wonderful form of escapism.