LeftLion Magazine - September 2020 - Issue 129 by LeftLion

#129 September 2020

For seventeen years and 129 printed issues, LeftLion has shone a light on Nottingham’s culture and entertainment scene. Now we’re asking our readers for a bit of help to get back on our feet. LeftLion is Nottingham’s meeting point for information about what’s going on in our city, from the big companies and issues to the grassroots promoters and community organisations. We are part of what makes Nottingham unique - not many cities in the world have a free press like us. The coronavirus pandemic has hit many businesses hard, including LeftLion. It’s also hit those who support us as advertisers, collaborators and stockists. So we are asking our readers, and the people who love what we do, to support us. All money raised will be used to keep our free printed magazine alive and running, paying our in-house staff for their hard work and towards the ongoing promotion of creativity within Nottingham, at a time the industry needs it the most. Plus you’ll get some exclusive new treats into the bargain too...

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You want to show solidarity and support what we do. Thanks duck! You’ll receive: • Exclusive Patreononly content • ·Early access to the (digital) magazine

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Nice one. As well as the inner joy of supporting our journalism, you’re also going to get: • Exclusive Patreononly content • Early access to the (digital) magazine • Your name printed on page 5 of each issue (or the name of a loved one, your band, your small business, your pet etc)

Agamemnon himself bows down to you. As a thank you for your continued support, you get: • Everything in the Big Cat package • This magazine delivered to your door (UK postage only) • An A4 art print of the cover on 350gsm silk paper each month • A letter from our Editor each month • Other free gifts throughout the year (e.g. when we release a new Overheard in Notts book it’s yours for free)

If you love LeftLion #SupportLeftLion patreon.com/leftlion

Credits

Contents

The New NormAl Alan Gilby (alan.gilby@leftlion.co.uk) Editor-in-Chief Jared Wilson (jared.wilson@leftlion.co.uk) Editor Ashley Carter (ashley.carter@leftlion.co.uk) Assistant Editor Emily Thursfield (emily.thursfield@leftlion.co.uk) Editor-at-Large Bridie Squires (bridie.squires@leftlion.co.uk)

Events and Food Editor Eve Smallman (eve.smallman@leftlion.co.uk)

Naked Attraction

Alex Kuster investigates the phenomenon of OnlyFans, the online platform that allows creators to sell explicit content to paid subscribers

I’m Not From London at 15

The monoliths of the Notts music scene are turning fifteen, so we chat to Will Robinson about the past, present and future of INFL

What Makes You Moan?

MOAN Zine, the brains behind this month’s cover, have been exploring pleasure through the female perspective since 2018

Sub-Editor Lauren Carter-Cooke Designer Natalie Owen (natalie.owen@leftlion.co.uk) Sales and Marketing Manager Adam Pickering (adam.pickering@leftlion.co.uk) Creative Digital Assistant Curtis Powell (curtis.powell@leftlion.co.uk)

An Undertaker in Notts

Sowing the Seed

Party On

Every Witch Way

Generation Hustle

Guardian Angel

Safe Sex

Manga Management

Operatunity Knocks

Out of Time: Frank Stratton

10 18

Videographer Georgianna Scurfield (georgi.scurfield@leftlion.co.uk) Web Developers Tom Errington (tom.errington@leftlion.co.uk) Hamza Hussain (hamza.hussain@leftlion.co.uk) Art Editors Laura-Jade Vaughan (laura-jade.vaughan@leftlion.co.uk) Rachel Willcocks (rachel.willcocks@leftlion.co.uk) Fashion Editor Anna Murphy (anna.murphy@leftlion.co.uk) Literature Editor Kate Hewett (kate.hewett@leftlion.co.uk) Music Editors Eileen Pegg (eileen.pegg@leftlion.co.uk) Becky Timmins (becky.timmins@leftlion.co.uk)

26 29

You might be dealing with grief, death, funerals and sadness most of the time, but being an undertaker isn’t all doom and gloom you know

We talk to Nottingham’s biggest festivals, events and ceremonies about the role of Nottingham and recovering from the pandemicBID.

Hockley Hustle might be off this year, but that hasn’t stopped the team from unleashing the next generation of creative talent on us…

Emilie Mendham explores the importance of POW, Nottingham’s non-profit sex worker charity, by talking to CEO Carys Jones

Rumble in the Jungle

Sneinton-based musician Nathaniel Mann talks about recording the traditional music of the Wauja Indigenous Community

Sharpen Your Pencils

You may have seen her bright, bubbly artwork popping up in recent mags, but did you know Kate Sharp also created her own children’s book?

We talk to Chiara Dellerba, the artist who delivered The Chimera Plantarium Project, to find out what us humans can learn from plantsartist

From serving in the military to being incarcerated in prison as a transgender woman, Witch of the East’s Aeris Houlihan has some story to tell…

We catch up with The Angel Microbrewery’s Ben Rose to chat vegetarian food, surviving lockdown and running one of Notts’ most iconic venues

Jamie Morris talks to illustrator Bon Idle about Henshin, the new comic published in digital manga magazine Saturday Brunch

Notts-based writer Shreya Sen-Handley is the first Indian and South Asian woman to write an international opera

The story of a former printer from Notts who witnessed one of the most infamous events in U.S. history: The Battle of Little Bighorn

Screen Editors Jamie Morris (jamie.morris@leftlion.co.uk) George White (george.white@leftlion.co.uk Stage Editors Rebecca Buck (rebecca.buck@leftlion.co.uk) Dom Henry (dom.henry@leftlion.co.uk) Sports Editor Gemma Fenyn(gemma.fenyn@leftlion.co.uk)

@leftlion

/leftlion

Featured Contributor

Cover MOAN Zine Photographers Ralph Barklam Rich Bell Martyn Cooling Jack Green Valentin Hadzhiyski Ash Holdworth Adama Jalloh Justin Roe Jarrad Thomas

Kasia Kozakiewicz

Illustrators Liv Auckland Alfie Eyden Bon Idle K Kamminga Tsukiko Kiyomidzu Kasia Kozakiewicz Leosaysays Kate Sharp Lowri Virk Carmel Ward

Her primary focus pertains to flora and fauna, indicating and highlighting environmental issues, having recently been given the opportunity to illustrate for two magazines: for LeftLion’s August Issue, an article about an Extinction Rebellion Activist; and for an article about beavers for Polish Pismo magazine.

If you’d like to advertise, contact Adam on 0115 9240476, email adam.pickering@ leftlion.co.uk or visit leftlion.co.uk/rates

Thanks to All Our Supporters These people #SupportLeftLion

Photography Editors Fabrice Gagos (fabrice.gagos@leftlion.co.uk) Tom Quigley (tom.quigley@leftlion.co.uk)

Writers Demi Lloyd Molly Dodge-Taylor Trevor Easton Jason Edgar Christina Geggus Jenny Joss Addie Kenogbon Alex Kuster Alex Mace Ellis Maddison Emilie Mendham Sam Nahirny Henry Normal Nathan Warby

@leftlionmagazine

Kasia, originally from Poland and now living in the UK, graduated with a Masters in Architecture and Urban Design. Having experienced several years of employment within an Architectural environment, followed by a one-year sabbatical to New Zealand, she decided to pursue her dream of becoming an illustrator.

In her free time she enjoys long-distance hiking and experimenting with vegan cooking. You can see Kasia’s illustration for An Undertaker in Notts on page 10

Rob Arthur, Bob Allison Âû, Sue Barsby, Nicola Baumber, Anthony Blane, Jon Blyth, Julian Bower, Kaye Brennan, Jordan Bright, NottingJam Orchestra, Angela Brown, Frances & Garry Bryan, Wolfgang Buttress, Siobhán Cannon-Brownlie, Sarah Colborne, Nigel Cooke, Ashley Cooper, Andrew Cooper, Alan Dawson, Mark, The Sultan, Al Draper, Hannah Evans, Clare Foyle, Kim Fuller, Anthony Gariff, Kay Gilby, Richard Goodwin, Alison Gove-Humphries, Paul Greevy, Nick G (real living wage rocks), Laura Grint, Rachel Hancorn, Alison Harviek, John Haslam, Ant Haywood, Alison Hedley, Helen Hemstock, Claire Henson, Friday Club Presents, Leanne Hoban, Heather Hodkinson, Ankunda, Stuart Jones, Nigel King, David Knight, Alison Knox, D Lawson, Ben Lester, Tracy Lowe, Ben Lucas, Dan Lyons, Roy Manterfield, Sarah Manton, Luke and Flo, Jayne McCormack, James Medd, Sarah Moore, Barbara Morgan, Rachel Morton, Ron Mure, Sam Nahirny, Reg & Lynette, Tracey Newton, Livi & Jacob Nieri, Ellen O’Hara, Erika Diaz Petersen, Alan Phelan, Dr Lesley Prince, Dawn Pritchard, Sue Reader, Mathew Riches, Sarah Roach, roastinghouse.co.uk, Betty Rose Bakes, Jason Rozkalns, @jaychatspodcast, Lizzy Sheppard, In memory of Jenny Smith, Jed Southgate, Spicer, Steve Stickley Storyteller, Irina Surducan, Ivy House Environmental, Nigel Tamplin, Helena Tyce, Alan Walker, Steve Wallace, Jack Warren, Nikki Williams, Martin, James Wright

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 fiver and the money supports this magazine. Plus you get all kinds of other treats too.

patreon.com/leftlion

@kkozdraws leftlion.co.uk/issue129 5

Editorial

Not to sound like a boring old Nana, but how mad is it that it’s already September? Hot take, I know, but with the last six months putting everyone in a state of arrested development, time seems to have lost all sense of meaning, and seeing Christmas cards and Halloween sweets for sale is properly baffling. Did any of you manage to complete anything on your lockdown lists? Learn a new language? Brush up on your ballroom dancing? Me neither. Re-watched The Sopranos for the 18th time and ate a disproportionate amount of cheese though. So that has to count for something. To help ease that end-of-lockdown guilt, we’ve got a bumper mag covering all things from selling nudes and writing operas to embalming bodies and baking cakes. We’re nothing if not eclectic here, you know. Our former Arts Editor Alex Kuster dips her talented toes back into the LL water with a fascinating exploration into the world of OnlyFans – the online platform in which creators can sell explicit content to paid subscribers. She chats to some of the men and women of Notts who have been raking in cash during lockdown, and the impact it has on their self-esteem on page 12. We also catch up with the legends at I’m Not From London as they get ready to celebrate their 15th birthday. As well as looking at some of their future projects, we take a look back at a decade-and-a-half of providing a much needed spine to Notts’ independent music scene. Expect legendary nights, fights and a whole heap of local bands you know and love on page 15.

We have an in-depth chat with mind behind MOAN Zine, the talented hands responsible for our beautiful cover on page 24. If you haven’t already seen, we’ve recently purchased two giant A0 boards for the outside of our offices, and we can’t wait to show it off to the world (well, Sneinton at least). To make best use of that ham-fisted segue, Sneinton and the wider world combine again on page 26 when we catch up with musician and radio broadcaster Nathaniel Mann. He’s got a pretty wild story to tell after he travelled to Brazil to stay with the Wauja Indigenous Community in Xingu, Mato Grosso, where he helped record their traditional music, 3D scan a cave and have a pretty mad encounter with a green parakeet. If that hasn’t wet your whistle, we’ve also got some cracking features on Young Hustlers (page 21), Nottingham sex worker’s charity POW (page 23), a chat with regular LL illustrator and creator of the kid’s book Lions Hate Pigeons, Kate Sharp (page 29), Witch of the East lead singer Aeris Houlihan (page 31) and Shreya Sen-Handley, the Notts-based author who became the first Indian and South Asian woman to pen a western, international opera (page 36). Next month promises a couple more exciting announcements, so keep your eyes peeled. Big things are happening at LL towers… Until the next one…

Ashley Carter, Editor ashley.carter@leftlion.co.uk

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Colt classic Valentin Hadzhiyski - @valentinhadzhiyski

Dome sweet dome Jack Green - @jackphilipgreen

Notts Shots

Everything is up in the air Jarrad Thomas - @jarradtphotography

Less Zoom, more bloom Martyn Cooling - @martyncooling

Canoe believe it Justin Roe - @justinroe99

Like a candle in the window Rich Bell - @richerich

Skate back down to business Jarrad Thomas - @jarradtphotography

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

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Notts Goss with Jenny Joss Want the scoop? I’m not one for wicked whispers, but how can I resist when I can watch you behave like animals from my bedroom window? Thanks to the re-opening of bars and restaurants, this girl can finally say she’s seen it all. From beer cans balanced on hotel windows to unsightly graffiti hidden on a Hockley roof – reading something not too dissimilar to “Chuck Bojo” – I’m really in my element here. Who knew Eat Out to Help Out would not only see the economy thrive, but this treasured gossip columnist too? While I stress my sympathies are with those who’ve suffered losses, one positive to come out of this pandemic is the death of Goose Gate’s branch of Pizza Express, which has finally gone kaput. In my opinion, this imposter was long-overdue its comeuppance, after lording its corporate clutches over a building which has deserved a local's name on it for years. While its neighbouring independent joints have issued pleasantries over its departure, this darling ain’t afraid to say it how it is. On your way, buddy. Leave the door open for a more deserving occupant this time.

Nottingham’s most opinionated grocers on... Goose Fair We’re sad to hear it’s not going ahead this year, but it’s understandable. Our birthday is around then, so we often go for a few pints and then on some rides at the fair to celebrate. We remember going on the Magic Carpet and having never felt so sick in our lives. The Wall of Death is amazing and frightening to watch. How they get those motorbikes round there we’ll never know. We saw a bloke do it on his push bike once too…

In more bewildering news, it’s not just you scoundrels who’ve been behaving like zoocreatures on the streets. Last month saw the great adventure of Po-Po the penguin, who escaped his farm enclosure in Strelley and waddled a mile up the road before finally being apprehended. Given the endearing nickname after posting for photos with police officers, the public have gone gooey-eyed over the fella. Not me, though – he should know better than to come after my crown of the city’s most adorable bird.

Holidays Every year we go to Southwold and stay in the same hotel, but we’ve decided not to this year. Every man and his dog is having a British beach holiday and we’re concerned it will be too busy. There’s only one way in and one way out of there and if everyone stands two metres apart the last person will be in Norwich. We couldn’t possibly think of going anywhere else, either, so no holiday for us this year.

Finally, a lesser local publication made me shudder with embarrassment when they published a poem in their daily rag singing their own praises, supposedly written by a beloved ‘reader’. Now, I’m not saying they orchestrated the shoutout themselves, but old JJ is also quite the dab-hand at lyricism: “Roses are red, I’m not one to boast, but at least I’m not as ghastly as the Nottingham…” You get the gist.

Who Wants To Be A Millionaire? Why is Jeremy Clarkson doing that, when he should be doing Top Gear? When Chris Tarrant did it he was just a regional entertainer in Birmingham and it made him a national name. But Clarkson was already well known when he took it over. Maybe he just needs the work? We don’t watch it, but we enjoyed watching the celebrity version when George Michael was on. He lost it at £64,000 but asked to keep going and put up the money for charity himself. He was a very generous man.

Anyways, this starlet is off to clink some half-priced martinis in a city centre speakeasy. Remember lovers – keep your lips loose, your ears to the ground and your eyes on the goss.

JJ x

illustration: Carmel Ward

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words and photo: Georgianna Scurfield

‘

I’m currently in the process of setting up an online retail site of vintage and pre-loved treasures and unique pieces for women that know what they want and go out and get it. It’s for when you know your style and are looking for unique pieces to add to your wardrobe. Sustainability is at the heart of it, which kind of reflects what I’m wearing today, which is thrifted. It might end up in the shop at some point, but for now I’m wearing it. I did Nottingham Fashion Week in 2016 with something I was selling on Etsy and Depop, and I realised I could make it a proper business. I’m going to sell designer pieces as well as unique, thrifted pieces. I’ve really had to put my serious business head on. You usually find gems when you’re least expecting it. I’ll walk past two or three charity shops, but sometimes I get a calling telling me to go in. When that happens, I have to go in and see. Usually there’s at least one great piece, like this rusty, caramel biscuitcoloured leather jacket I saw a couple of weeks ago. That charity shop wanted me to go in! I’m dressed quite sporty today but, for me, most everyday things feel like a sport. I used to be a dance teacher, but I had to diversify my skills after getting ill about twelve years ago. I’ve slowly been clawing back some kind of existence, and I feel that selling thrift clothing is starting to do that. The act of coming into town to do a food shop now feels like a sport. I love surfing and skateboarding, but I can’t do them very often anymore. It’s hard in Nottingham, especially as an older woman, because I feel a bit self-conscious. Although today I treated myself to my first VR experience in the Victoria Centre. Even fifteen minutes of that was quite a challenge, but this was definitely the perfect thing to wear. It’s comfortable and warm, but I feel ready for action. Madi

Pick Six

This month, we task writer, poet and TV and film producer Henry Normal with picking a few of his favourite things... Henry Normal’s new poetry collection, The Beauty Within Shadow, is available now henrynormal.com

Book - A Short History of Nearly Everything Picking one book is hard. I read many poetry books, but I also read factual books with attitude like Malcolm Gladwell, Alain de Botton and Bill Bryson. Bill's A Short History of Nearly Everything would have to be my choice. There's so much in there that you can read it again and again.

Film - Snowcake Snowcake starring Sigourney Weaver and Alan Rickman is my favourite film and makes me laugh and cry every time I watch it. It is the most truthful depiction of autism on screen. It also happens to be written by the love of my life and mother of my child Angela Pell (so thank goodness it's brilliant).

Song - Three Little Birds My favourite song is Bob Marley & The Wailers - Three Little Birds. It has become the theme tune to our lockdown. Check out the official video on YouTube. Keep it near in case of emergencies.

Meal - Poached Eggs Poached egg on toast with cherry tomatoes - my signature dish. I make this every morning without fail for my son, Johnny. Occasionally I'm allowed it as well. It's a simple classic and sets you up for the day.

Holiday - The Algarve The South Western coast of the Algarve is still quite underdeveloped and natural. It has a quiet unassuming beauty and has inspired me to write probably too much poetry. As a family we like to go off-season and often have the beaches to ourselves. On second thoughts, stay away.

Notts Spot - Wollaton Park I have so many fond memories of Wollaton Park stretching back to childhood. Picnics and walks around the lake, rolling down the grassy inclines, meeting the police horses and visiting the Hall to see the tarantula that arrived in Nottingham in a bunch of bananas.

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an undertaker in Notts There’s no such thing as an average day in my profession, which I guess is a good starting point. As a company we’ve strived to adopt the attitude of never wanting to say no. Funerals have changed completely since I first started, and are much more personalised than they used to be – so as long as the request is legal, we’ll try and accommodate it. Take last week: I did a cremation for a family that requested a Rolls Royce, a 5am exhumation and built an underground vault, so every day brings a new challenge. This isn’t a Monday-Friday, 9-5 type of job – it’s a way of life. A.W. Lymn is a family business. My grandfather set it up with his father in 1907, but just because it’s a family business, you still need to make sure the right people are running it. My father was particularly keen that you only came to the party if you had something to offer – there were definitely no free handouts, even though I’d been helping with the business on evenings, weekends and holidays since I was twelve. But I knew I needed to get qualifications if I wanted to be part of it. After I got my A-Levels, my father told me that I was no good to him without a degree. After I got my degree, I was told that I needed to get qualifications as an embalmer and funeral director. After that, I needed to get my accountancy articles. By the time I’d finished I was 24, but it looked like the business might be closing down because my Uncle wanted to retire. That’s when I decided to join the business full time, and I’ve been part of it for 55 years now. I don’t know if my perception of death and grief was ever the same as most people, because I’ve been around the funeral industry since I was very young. My father was on call every other night throughout my childhood, so him being out moving the body of someone who had passed away, or making arrangements for a funeral, was normal. Fortunately we don’t have the infant mortality rates that we used to, and are far removed from events like World War One, when anyone living in Sneinton, St. Ann’s or Radford would have known one or two people that died. That’s led to people growing unaccustomed to being exposed to death - but I grew up with it just being a normal part of everyday life. It doesn’t mean I’m hard or uncaring, as any death is always sad, but it’s just a natural part of life to me. When your children are born, you definitely do not expect to be attending their funerals. Anyone who has gone through the experience will tell you that it’s incredibly difficult to attend a child’s funeral, but I’d say that it’s just as difficult for a ninety-year-old parent to lose their seventy-year-old child. Your children are simply meant to die after you. Having children yourself is when it really hits you, and dealing with events like that becomes doubly difficult. You have to learn how to marginalise things, otherwise you simply wouldn’t be able to function. Someone once told me that there are two types of people: sponges and bouncing balls. If you’re a sponge, you try and soak up everyone’s grief, sorrow and problems, and it leads to you not being able to cope. But if you’re a bouncing ball, you’re able to help people with their problems without having to absorb them. I suppose you have to be in the latter category to be able to live a normal life in this business.

illustration: Kasia Kozakiewicz

Some people outside of the industry might find it inappropriate, but we often use humour with each other during the day. We got a complaint about twenty years ago from a person who saw us laughing in an empty hearse. My response simply was, “Just a minute – they were telling each other jokes, they might have had Dave Allen on the TV the night before, and they were laughing about it.” They weren’t coming back from a funeral, they weren’t on their way to a funeral, and you just need to have that release valve. It’s human nature, and I think most people understand that. There’s usually more humour within services nowadays too, which helps the families cope. If the person that died had a good sense of humour then it’s good to reflect that in the service. Generally speaking, people are at a complete loss and have a feeling of helplessness when it comes to making funeral arrangements. Our job is to serve people, but nobody ever wants to be in a position to need our services. But if you can leave a family feeling that they’ve got what they wanted for their loved one, you feel like you’ve made a difficult part of their life easier. That leaves you with a tremendous amount of satisfaction and is, without a doubt, the best part of the job.

I don’t know if my perception of death and grief was ever the same as most people, because I’ve been around the funeral industry since I was very young When you lose a loved one, a big part of the grieving process is how you say goodbye, and a big part of that is the style of the funeral. It’s our job to do everything we can to make that experience exactly as they want it. Music is incredibly evocative; even now, after almost sixty years, I’ll hear certain songs that take me back to where I was when I first heard them. Choices like that can help make the funeral more personalised. Ultimately it’s about fulfillment: we want to give people as many choices as possible, for as reasonable a price as possible. That doesn’t mean we’re the cheapest - we don’t set out to be - but I do believe we provide the best value for money. I struggle with modern terminology like ‘closure’, but not saying goodbye properly can definitely have lasting mental health problems. COVID has meant that the range of options available to families has been reduced, which has been really unhelpful to many of them. Grieving families need choice, and it has been difficult to work around. But like I said, every day brings me something new and a different challenge. I’m in every day of the week, except Sundays, and I have no desire to retire. I live and breathe this business, and not for the financial figures, but for the client satisfaction. That’s why, as a business, we’re still here after 130 years.

Naked Attraction

words: Alex Kuster illustrations: Lowri Virk

It’s safe to say that it’s been a pretty manic year so far, and certainly not the vision of 2020 we had hoped for. But through the struggle, a lot of us have found creative ways to feel connected. And in this case, to bring in some extra money. With social media being used now more than ever, especially when each day seemed neverending, OnlyFans – the online platform on which creators can post explicit content for a monthly subscription fee - is one of the businesses that has thrived since the pandemic... For those unaware, OnlyFans is a UK-based subscription service on which content creators earn money from users who subscribe to their pages. It’s a new wave of adult entertainment in which the creator has full control over what they post and how they post it. As of May 2020, the site had 24 million subscribers who were dishing out a total of $725 million to the slew of content creators posting, with the site owners taking 20% of each creator’s earnings. Lockdown only increased the number of people going online everyday, with CEO Tim Stokely reporting around “200,000 new users every 24 hours and 7,000-8,000 new content creators joining every day”. I’d say the proof is most certainly in the figures. The sex industry is changing; there’s no doubt about it. With the rise of OnlyFans, content creators are entrepreneurs who are at the centre of their trade. They are in charge of when they post, what they post, how they pose, what they wear, the lighting, the price. It’s a platform that brings the adult entertainment industry into the social media age – putting the decisions in the hands of those posting the content. So what kind of stuff is on there? OnlyFans is like a racy version of Instagram, in which the subscribers can tip and ask specific requests of the content creators, for a price. One creator, Hannah Cappleman, explained how the business of OnlyFans has changed for her since March: “I have been full time with OnlyFans for over a year now, so I was lucky enough to continue using

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it as normal. However it gained a lot of new traffic and subscribers were much more active, especially throughout the first month of lockdown. This meant I had so many more people to reply to and create custom requests which took up a lot of my time, but luckily I wasn’t busy.”

The way I see it is that men sexualise women every single day and I’m smart enough to make a profit from that Having the extra time seemingly allowed Hannah to use it to her advantage and bring in the cash during those difficult months. She also told me that she’s earning on average £5000-6000 a month and has friends who are earning over £230,000 in one month alone. There aren’t too many other jobs in Nottingham able to offer a young person that sort of income. WIth years of oppression and being held down by patriarchy, OnlyFans is a progressive way for women to take control of their earnings and use their bodies to their advantage. Hannah told me that posting on OnlyFans has given her more confidence than she ever imagined, bringing a newfound love and confidence for herself and her body. She shares, “The way I see it is that men sexualise women every single day and I’m smart enough to make a profit from that. Women have been exploited in this industry for way too long, and I

find it very empowering that women can now take back control of their sexuality.” If Angela Carter can rework fairytales into feminist literature, how different is it for modern day women to reclaim the sex work industry? But this is not just a site for women, as men are also reclaiming their bodies and bringing in some hardearned cash. I spoke to user Hanboy, who says that OnlyFans is just like an uncensored version of his Instagram account and described it as “nothing much to shout about.” He is bringing in around £377 a month and having a pretty relaxed experience on the site. In terms of body positivity, he told me that “it makes me feel free to be who I like to be and also it feels nice to be admired and appreciated by people who find you interesting, that they would be willing to pay money for your OnlyFans.” This is evidence that OnlyFans is really down to the content creator, and they are able to put as much or little into it as they like. Of course, it won’t always be just that. Behind the content comes a hell of a lot of hard work. I asked Hannah how much work a day she has to do to keep her account at its prime and her fans happy: “I pretty much work from the moment I wake up to the moment I go to sleep some days. I give myself 2/3 days a week where I focus completely on making content, and then every day I have to interact and promote on social media - I’d say an average of at least 10-12 hours a day, sometimes more.” Productivity in the modern world is not defined in a way it once was, especially since more and more of us have worked from home during the pandemic. Creating a business and a brand on OnlyFans has

been an entrepreneurial venture for many of the biggest earners on the site, especially when there was so much pressure on us to be ‘productive’ during all the time we spent at home. Some of us baked banana bread, some of us stripped off. Social media never sleeps, and that means the hustle is real. Fans come from places across the globe, all with different time zones, all firing different requests at the content creators at any time of the day. If you want to earn the money, you’re gonna have to put in the graft. For other users, OnlyFans is more of a side-project to bring in extra earnings, especially when many of us were without work or furloughed. User KikiSleek told me that OnlyFans was essential in bringing in money throughout lockdown: “I am a tattooist, so I was unable to earn any money during lockdown, which is why I turned to OnlyFans. It really was a lifesaver. I earned almost £2000. I don’t post the most explicit content, but still earn a nice amount.” I’m sure Kiki isn’t the only content creator who turned to the site to help during the pandemic, and with many of them returning to work and the relationships already established, it should hopefully continue to help bring in money alongside other jobs. In terms of adult entertainment work being a career of longevity, the Internet moves fast and those who don’t keep up get left behind. It’s a cut-throat industry, all about being creative and changing as the times do. If you’re on the top end of earners on the site, you’ll be bringing in a very decent income. The ideal situation would be to work and save for a short amount of time, then have enough to do what you want with it. Hannah elaborates: “This industry is so tough to be a part of, you have to have a very thick skin if you want to succeed. I receive abuse from strangers daily, mostly men who are against OnlyFans. At first this really affected my mental health, but you learn to just ignore it as time goes on.” So the fast pace of the industry is not the only challenging aspect of being a content creator. With the lure of a quick fix, and several users proving that it works, OnlyFans is certainly a tempting route to go

down. Yet, I can’t help but think about the other side of it all. In Ellie Flynn’s documentary #Nudes4Sale she delves into how easy it is for young people to access the site. UK laws are currently set to prohibit anyone under the age of eighteen from selling explicit content, but those boundaries become blurred when it comes to sites like OnlyFans, who are not required to scan their website for underage material. When I was researching content across Twitter, I found a lot of hashtags that included the word ‘teen’, which was quite worrying.

I receive abuse from strangers daily, mostly men who are against OnlyFans A video recently went viral where people were protesting outside PornHub’s offices on International Women’s Day, hosting signs that said ‘Shut it Down’ and ‘Trafficking Hub’. One million people have since signed a petition to shut down PornHub after alleged sex trafficking videos. The Internet is an incredibly vast platform, in which it is very easy to access horrific and illegal content. With sex becoming more and more normalised and websites capitalising upon it, we have to be careful to protect the workers from exploitation and not let things get out of hand. I also spoke to Matt (who chose to keep his real name anonymous for privacy) who has been using OnlyFans during lockdown. He shared that his best experience has been “the networks of people I have from doing this and the support we give each other.” He also told me that many content creators he knows have gone from OnlyFans into the porn industry. The line can be a very undistinguished one and I imagine it is easy to crossover into porn when you’re already posting naked content daily. In terms of keeping himself safe when working with other creators, he says: “if there’s another person in the video you have to get them to sign consent forms and have their ID checked. It’s a long process. Plus finding the right person is also very difficult.” A lot may scoff at this line of work, but these users are nothing but professional. Taking every precaution to protect themselves and those

that they work with, which is a much safer way to continue to promote the sexwork industry. Out of those that I spoke to, I asked if they had received any requests that they didn’t want to comply with or that made them uncomfortable. KikiSleek told me that her strangest request was “to go and sit with a boy in geeky pyjamas whilst he played Xbox” for £200. She told me that although she didn’t comply, it would have been easy money. Requests like this sound harmless and a lot of fans are after that girlfriend or boyfriend experience, but we have to protect sex workers from putting themselves in vulnerable positions. With the growth and destigmatisation of adult entertainment, we have to accept that it is absolutely a legitimate form of work and keep those doing it protected, supported and safe. There are fantastic organisations, such as the International Union of Sex Workers, who are working hard “for the human, civil and labour rights of those who work in the sex industry”. When I asked Hannah if she thinks the industry is changing and if she feels safe, she said “Yes without a doubt, OnlyFans allows people to not just look at porn, but to connect with the creators. It’s also way more ethical and everything on there is consensual, unlike a lot of the free porn sites. Women and men are now able to be in charge of their own work and not risk exploitation from larger porn companies.” There are more options in terms of support appearing regularly, as this type of work becomes more normalised. Hannah said she had been contacted by another content creator who had started SACWU, who “aim to protect you when things go wrong” and focus on building a wider, more powerful community. There is a future for sex work and sites like OnlyFans. Just like people becoming influencers on Instagram and wearing clothes to promote brands, content creators on OnlyFans are taking off their clothes and promoting themselves and body positivity. We need to normalise our bodies and remove the boundary separating social media and pornography. They really aren’t that different. With more and more support becoming available, and the conversations being opened up, we are progressing into a world where this is the present and the future, where technology has undeniably changed the way we do things.

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I m Not From London at

interview: Bassey

Whether lockdown is coming to an end, or there’s still some way to go, time continues unrelenting. So as the legendary Nottingham record label, promoter and publisher I’m Not From London reaches its impressive 15th birthday, it continues to look ahead with a series of exciting projects, including the current Be Scene and Heard, a Youth Music project aimed at helping partial to fully deaf 18-25 year-olds get experience in the music industry. With one eye looking back over fifteen years of shaping Nottingham’s musical landscape, and one firmly placed on the future, we caught up with Managing Director Will Robinson to discuss the importance of I’m Not From London... How did I’m Not From London begin? Label-wise, I was introduced to Hot Japanese Girl who had a really good garage punk sound that I was very much into. I felt strongly about releasing their music and helping them out a bit. I'd been promoting gigs in Nottingham since 2005 when I started working at See Tickets, which gave me a bit of an insight into the industry and a lot of local links with bands, venues and promoters. At the time record labels seemed to have a kind of mystique in what they did, but they also appeared to hold things up as getting signed was almost the end of the rainbow for a lot of bands. We helped Hot Japanese Girl with a tour, shot a video and started recording them with the producers Phil Booth, Danny Clarke and Matt Thomas, who at that time were actually my original partners in the label. We recorded at their house which was a big studio, even the bath had microphones in. How did things move on from that? Things just developed from there with other bands getting involved. Captain Dangerous were recording in the same house, and suggested that we should try recording at their practice room. Eventually the producers moved in there. Phil later took it on as his own project and the result is the mighty recording studio and DIY venue that is JT Soar. It was a big learning process for me and I'm still really good friends with my old partners and most of those involved in the early days, but I'm always interested in what new bands and artists are doing. I mostly enjoy working with new bands who need help and I'm always trying to see how I can give them direction or assistance. They generally come to us with the recordings done and we don't tend to touch the recordings side apart from perhaps recommending our masterer, but we concentrate on helping strategise their release, investment in the bands, videos, online presence, their development and just project managing things they need help with. Fifteen years is a lot of time in any industry. You must have seen a lot of change in music over the years? Yeah, we're approaching our 40th release as a label. It's been both a lot of fun and hard work, with plenty of blood, sweat and tears thrown in. You learn a lot about yourself and how you work with other people in that time, particularly realising and accommodating the differences between the musicians and business people. Fifteen years ago, Myspace was just finishing and Facebook was coming in, the labels were still heavily into releasing CDs whereas a lot of new releases just do digital then want to jump straight to vinyl when their fanbase is large enough. As a label we tend to concentrate on downloads and vinyl. The other big push now is to get artists on Spotify and use playlists to gain attention and introduce them to new listeners, although it's very hard to make a significant amount of money from them unless you're regularly getting hundreds of thousands of streams. So for bands it's important to tour and to be regularly selling the physical music, merch and to be looking at sync placements for their tracks.

On the flip side, artists have a lot more control over their image than ever before and, if they go about things right, they don't need a label. I actually think it's more important and harder for a band to get a good booking agent first to enable them to tour to larger crowds and better bills and then bigger labels will notice them. It puts the band in a better place to make their decision of who they might want to sign to. What state is the UK music industry in at the moment? Unfortunately, musicians in the UK are not valued as highly as in other countries and it has become more difficult for them to earn a reasonable living. Most bands have a side job, unless they're on a major label or they're controlling and marketing themselves really well. Before COVID struck Nottingham we must have had about fifteen or more gigs happening on a Thursday, Friday or Saturday night in just the town centre alone, from tiny DIY gigs to Rock City and the Arena, so it's a competitive market.

I think the public in general have grown to think that music should be something everyone should get for free, which of course it shouldn’t. That should always be the artist’s decision. Promoting can be a lot like gambling, and it can be hard to put on paid gigs every week and still cover all the costs and try and make it work financially every single time, so we often do deals with the bars to make the events free entry so we know that the bands will get paid something for their efforts with an audience and I don't need to worry about guestlist requests from everyone. This is ideal for building up smaller bands or putting on a new touring band as it guarantees them a crowd and a fee in a strange city. It's a fine line though as the more free gigs there are, the less people assume they should pay for them and that becomes a problem across the board when it comes to valuing music. There's a lot of time and money involved in being in a band and there's a worrying trend within venues. I think the public in general have grown to think that music should be something everyone should get for free, which of course it shouldn't. That should always be the artist's decision. What are your plans to celebrate fifteen years as a record label? We were going to hold a big event in May and we had just secured a ten-year licence on a community arts venue, but obviously COVID struck and so everything was shelved. We were involved in the organising of two Nottingham online festivals, the Light Hustle that raised £6000 in £100 grants to help struggling musicians and freelancers in Nottingham and Nottstopping that supported and secured prizes for Notts key workers, which was really uplifting and well received. We released Unknown Era's A State Of Affairs album on vinyl and are just about to release Witch Of The East's Comfort Me single. That's been a lot of fun and definitely kept us busy! We've always liked collaborating on projects and have recently partnered with a local brewery. Beer and music have always been friends and you can't digitally stream a beer so we'll be launching the I'm Not From London

ale in October that will be available to pre-order. We'll be promoting our artists on the back of the cans with downloads to their music and also releasing seven new tracks and videos from bands on the label plus a few more surprises.... Can you tell us a bit about your new Be Scene and Heard project? I'm always looking for new bands or projects, and I was exploring putting signers for partial or fully deaf people at our shows so that they could enjoy the music too. With that in mind we wrote a bid, which was successful, to enable partially to fully deaf people aged 18-25 to get involved in songwriting, recording and producing music videos. They'll be free to do any or all of it, to perform or direct and we already have a fantastic team of videographers and producers at Wigflex's recording studio, West End dancers and choreographers all trained in BSL, as well as BSL interpreters and a collection of very talented Nottingham musicians from different genres to help facilitate this. We hope this will result in some great music videos and a platform to any young deaf or hard of hearing person who wants to get into the music or film industry. How can people get involved? Anyone who is partially to fully deaf, and even people with hearing problems like tinnitus for example, and aged between 18-25. You don’t need experience in the music industry, just an interest in taking part. We need a minimum of ten people registering their interest before we can set a date and I would like to ask anyone interested to get in touch with me as soon as possible. It's totally free and it is a great opportunity to anyone who wants to be a part of the music scene but currently feels excluded. This will be a very organic exercise and once we have the team working together, we will see where it goes. Ultimately the whole team of participants and practitioners will decide the direction the music is taken. We're looking at doing this in February next year. It's a great opportunity and I'd very much like to thank Youth Music for funding this project. Do you see the near future as a continued involvement with local community projects and collaborations with other local businesses? Most definitely! We all need to have each other's backs like never before. We formed our community interest company Dedicated last year for this reason and we really enjoyed working with Trish and Ian Gardiner on the incredible Circle Of Light album project. The entertainment and hospitality industry have taken a massive hit with the pandemic; music was the first industry to go and by the looks of things will be the last one to come back, as it can't recover fully until there's a vaccine. I've always been interested in community projects and with the live music scene coming to a temporary halt, I think these types of projects are much needed. As well as exploring how we can have socially distanced gigs that are safe, fun and economically viable, I think there will be a big focus on live streaming and music videos for a while until the live experience is back again. I'm Not From London have always been very much about community as much as we are in collaboration with music, and as we move forward that's definitely something we'll be focussing on in a big way. If any partially to fully deaf people aged 18-25 would like to register their interest in Be Scene and Heard, please email info@ imnotfromlondon.com imnotfromlondon.com

Turn over to see Will’s best moments from fifteen years of I’m Not From London...

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INFL Timeline photos: Ralph Barlkam

2000 - Will moves to Mansfield from Watford, everyone thinks he's from London. He's not though June 2005 - Will asks a load of Notts bands to play a gig for him but, as an unknown gig organiser, finds it hard to get local bands or a venue October 2005 - First “I’m Not From London” night takes place in Blackpool nightclub The Beat, with Amusement Parks On Fire, Plans & Apologies, Drive By Argument and The Sound Of The Superstring. This is followed by a second night six days later, which goes well. All of the bands are now convinced that Will can promote gigs well, and they agree to play in Nottingham 20 January, 2006 - Will gets his first INFL gig at The Red Room, featuring Spin Spin The Do, Younogodi, Tera Toma and Master. Entry is £2.50 and the gig is rammed. Will gets the taste for DIY promotion... 31 March 2006 - Accidental double-booking at Blueprint means that INFL host a joint-night with an electro promoter. Ends terribly when some local drunken thugs head to the club and a huge fight breaks out. Some bands escape out the fire exit, but Will and most of his friends are attacked, people are beaten with bats and screwdrivers and a car is set on fire. After some reflecting, Will realises the importance of location when it comes to booking nights

2010 - Launched The Nottingham Waterfront Festival with Hannah Larham from Audacious Face which raises over £30,000 for various local charities over the next nine years June 2011 - Captain Dangerous Forgive Us We're British INFL’s first single release Aug 2011 - Baby Godzilla - Powerboat Disaster

26 May 2006 - Will hires Templars bar next door to The Rescue Rooms, meaning a bigger night than ever before. Chicken wire is nailed to the ceiling and floor to create a cage, stick fighters are hired, burlesque is performed. The INFL reputation for chaos is established

9 December 2011 - Practical Lovers Put it Bluntly 1 January 2012 - Baby Godzilla - Oche 24 March 2012 - Hot Japanese Girl Bear, Shark, Laser, Tiger, Fight

January 2007 - Start of mini-festivals in the Caves of Loggerheads going by the name Wire & Wool. After Loggerheads closes, the night moves to The Alley Cafe and features the likes of Jake Bugg and Sleaford Mods. The night eventually becomes INFL’s sister label, signing acoustic acts like The Most Ugly Child and Ryan Thomas. 17 June 2007 - INFL are invited to host a stage at Hockley Hustle by Adam Pickering, who goes on to host and promote INFL nights in Leeds

30 June 2007 - INFL and Audio Massage start Prohibition night at The Maze, a 1920s-themed evening harking back to the days of prohibition to mark the last day of indoor smoking. The night culminates in a rigged boxing match 7 October 2007 - INFL Festival held at Templars Bar, The Horn in Hand and The Speakeasy. The gig features over fifty bands 2008 - Will is made LeftLion booker at the Orange Tree gigs 2009 - Filmed sixty local band's performances and interviews, and the footage is used for the BBC's Documentary Music City in 2017. The project involved organising a sponsored coach full of Nottingham bands to play a sellout London gig

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2010 - Forms INFL Records Ltd with three producer-friends Phil Booth, Danny Clarke and Matt Thomas, recording first at their house and later moving into INFL’s first signing’s practice room, JT Soar

2 June 2012 - Captain Dangerous - The Empire Never Ended 19 May 2012 - Practical Lovers - Textbook Romance. The first release trading as INFL Ltd 2013 - Started an intern programme and begin working with Confetti to deliver a mentoring scheme giving consultation and advice on strategizing their releases and building up a profile as a band

2013 - Started the project ‘Read Hear’, redefining how we view libraries with events where bands would read excerpts from books followed by live music performances 2013 - Collaborates with Michael Wetherburn to launch Bamalamasingsong, which quickly becomes a sell out night

2015 - Organises, promotes and sells out an independent two-day, open-air music and camping festival: Outstanding in a Field 1 June 2015 - 94 Gunships - Dead Bees (Wire & Wool) 25 August 2015 - Gallery 47 - Invasion 28 August 2015 - Whisky Stain - The Lord’s Revolver (Track featured on Record of the Day and used in the promotional campaign for Sky series Ray Donovan)

19 April 2013 - Captain Dangerous - Heather & Tommy

2015 - A Decade of Distortion (Double LP compilation to commemorate ten years of INFL)

2014 - INFL launch Fuzzbox, a garage punk, psyche night and podcast at The Angel

15 September 2015 - Gallery 47 - All Will Be Well

17 March 2014 - Practical Lovers - No Reply 7 April 2014 - Ryan Thomas - Worries & Troubles.

30 October 2015 - Seas of Mirth - Esmerelda 27 November 2015 - Practical Lovers - Agony 4 December 2015 - Three Girl Rhumba - Minnie Driver July 2016 - No Nothings - No Nothings (track A Country Song featured on the Grand Turismo soundtrack) July 2016 - Seas of Mirth - Hark! The Headland Approacheth 2 December 2016 - Chambers - Hostile 4 August 2017 - Chambers - Down the Rabbit Hole 11 August 2017 - Arrows of Love - Product 2018 - Begins supporting artist Max Speed and starts a series of events curating artists of different disciplines 2 March 2018 - 94 Gunships - Tooth Rattle (Wire & Wool) 27 April 2018 - Chambers - Silence 15 October 2018 - Chambers - Tales of Adoration October 2018 - Chambers - Ivory Castle 2019 - Offshoots Ltd hire INFL Ltd as industry consultants on their Circle Of Light project 2019 - INFL and Witch Of The East travel to France for their first international tour 2019 - Will Robinson, Caroline Kerr, Laura Jay Doohan and Lorne Brooks launch The Carabou Club

First EP released on Wire & Wool Records. Goes to #1 on iTunes Blues chart within 24 hours

June 2019 - Louis Cypher- Cypher Sore Eyes (INFL’s first I’m Not From Brooklyn album and a collaboration with Boombap records. Sells out launch at INFL’s last ever gig at The Maze)

7 July 2014 - The Most Ugly Child - A Wicked Wind Blows (Wire & Wool) 2014 - INFL are instrumental in relaunching Hockley Hustle after a three year hiatus

July 2019 - Witch of the East - Queen of Insecurity October 2019 - Circle of Light album 2020 - INFL and two partners invest in a ten year license on a building and start a community arts venue March 2020 - Witch of the East - Fool’s Paradise June 2020 - Unknown Era - A State of Affairs July 2020 - INFL writes a Youth Music Bid which is successful. The project, Be Scene And Heard, helps deaf people write and record music and produce music videos October 2020 - Launch of I'm Not From London Ale promoting bands on the back of the cans as part of their 15 year birthday campaign

2017 - Will joins Bras Not Bombs charity to help with annual live music events 2015 - Launches INFLIGHT label services to help independent labels and bands with releases 2015 - Runs a successful crowdfunding campaign to create a double LP compilation of INFL bands, titled A Decade of Distortion, to commemorate ten year anniversary

24 February 2017 - Chambers - Sister Doom 9 June 2017 - Stacey McMullen - I Wait (Wire & Wool) 23 June 2017 - Arrows of Love - Signal (Redux) 28 July 2017 - Arrows of Live - Desire

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Party On Lukas and Avarni - Wigflex City Festival

Jared Wilson - Nottingham Craft Beer Week

Ben Welch - Hockley Hustle & Nottstopping

COVID meant that, from a business sense, everything we’d worked towards for the past thirteen years could be all over, and it’s been difficult to imagine a way out of it. Our whole world was turned upside down, but I think we’ve managed to make the best of a pretty bad situation. As a business, everything we do revolves around people coming together to have fun and dance, so to lose that for six months or more has been difficult. But Lukas has been able to focus on creating music again, which has been really beautiful.

The pandemic meant we had to change everything. The pubs and bars we work with have obviously been massively affected by COVID, so every event we had planned was either cancelled or postponed.

Unfortunately we’re not going to be able to go ahead with the full festival in the same way this year, but you better believe we’re working out how to get back to it as soon as possible. We were lucky enough to receive some emergency funding from the Arts Council and have three very exciting digital projects that we’re working on. The first of which is Green Hustle, a digital festival happening on 19 September, which focuses on all things green in our city and the world.

Having to reschedule our May festival was definitely the hardest thing we've ever had to do. As soon as the date was rearranged we gave all of our ticket holders the option to receive a full refund, and had everyone taken us up on the offer we would have gone bankrupt overnight. Organising music events is one of the most high-risk businesses at the best of times, let alone in the midst of a global pandemic. So we're thankful to every single person who held on to their tickets for the new date and managed to keep us afloat so far. It's still very touch and go though so we're certainly not out of the clear yet. Nottingham BID were the first local organisation who offered to support us with sponsorship, and for us this was hugely important because it showed us that creative businesses and larger organisations can work together to achieve great things. As a creative and relatively left field business, we are often sidelined by bigger organisations who maybe don't understand what we do. But as soon as Nottingham BID realised that we were keen to get better connected with other local businesses they offered us the sponsorship to make it happen. The way in which they bring businesses in the city together is very special. They are constantly working to better connect our city and so far they have done a fantastic job. facebook.com/Wigflex

Because of the way our venues have to work in the immediate future we basically had to pull the plug on everything we had planned and refocus our efforts into doing different things to support their work and reopening instead. We put together a survey to ask punters what they wanted from Nottingham pubs when they reopened and thankfully 6000 people filled that in, which really helped them to plan. We also put a box of Nottingham Craft beer on sale with Brew Cavern that helped raise thousands of pounds to support local breweries. The final thing we’ll be doing this year is offering artwork giveaways in local pubs. That should launch sometime over the next month, we’ve just been waiting for things to settle down a bit for the venues first. I don’t think Nottingham Craft Beer Week could exist without Nottingham BID. To be clear: the sponsorship we get is for the week’s events and not for the festival (which takes place outside the Nottingham BID area). But the festival itself was only established because the week became so strong. The venues we work with on NCBW pay a small fee to be involved, but the money we spend on events and promotion amounts to more than that alone. With Nottingham BID’s support this event grew from something small that happened at a few venues to being acknowledged as the best event of its type in the country. Without Nottingham BID, we’d either not exist or we’d still be a small provincial event that most people outside of the city would never have heard of. Instead, Nottingham is kicking arse in the UK craft beer industry. Long may it continue. Aside from the sponsorship, the team at Nottingham BID are good to work with and bounce ideas off. They also help to promote what we’re doing through their own channels too. They help to make our city a fun place to go out in. nottinghamcraftbeer.co.uk

Hockley Hustle and Young Hustlers rely partly on public funding to continue creating projects and supporting the bank of freelancers that we work with alongside the core team. However, we feel like we’ve done our best to adapt to the current situation, keeping in touch with Hustlers all over the place and taking some time to look at how we can improve our practice and make sure we are correctly representing the people of Notts. We’re already seeing some proper innovative ways in which festivals and organisations are adapting to the current climate, but it’s clearly going to be a while until we’re back to how it was. Some smaller festivals/organisations that we are in touch with are facing a horrible reality that they may not be able to bounce back from this which is devastating. Nottingham BID has been a fantastic supporter of many events and organisations in Nottingham. We have a strong long-term relationship with the Nottingham BID team who have always been keen to support local organisations and adapt to the best ways to do this depending on the event. Quite plainly, without the support of the Nottingham BID, Hockley Hustle and Nottstopping wouldn’t be the same. They have part-funded both festivals as well as providing huge marketing and resource support. We trust wholeheartedly that Nottingham BID cares about Nottingham’s creative community and see the value that the events they support bring to the city. hockleyhustle.co.uk

Nottingham’s blessed with more than its fair share of events, ceremonies and festivals, many of which have been facilitated by the Nottingham Business Improvement District (BID). Formed in 2012, Nottingham BID has offered support, information and funding to some of the city’s biggest cultural offerings and, with the upcoming ballot to determine whether they’ll continue next year scheduled for October, we caught up with some of the festivals that have benefitted from their support to see how they’ve coped during lockdown, and what Nottingham BID means to them…

Nick Lawford - Young Creative Awards

Patrick Loy - Light Night

Leigh Ellis - Nottinghamshire Pride

The Young Creative Awards has been an annual fixture in Nottingham’s calendar since 2009 – inspiring, supporting and celebrating young creative talent. It’s an open competition for young people aged 11-24 who live, study or work in Nottingham. Over the years the YCAs have received more than 4,000 entries, and given out more than 300 awards. It has helped launch the careers of Nottingham creatives including Rob Green, DJ Philip George, Jamal Sterrett, R-J Tulloch and Bridie Squires.

We’re delighted to announce that Nottingham Light Night 2021 will go ahead as planned. Many of the city’s most popular and well known events have had to be cancelled this year, everything from Splendour, Riverside Festival, community events such as Nottingham Carnival and Nottinghamshire Pride and even the ubiquitous Goose Fair. As a result, the majority of the Council’s Nottingham Events team has been furloughed, with work also drying up for both suppliers and local artists, resulting in Nottingham residents and visitors missing out on some of the city’s cultural highlights.

Notts Pride is a celebration of LGBTQ+ in Nottinghamshire. At the forefront of our ambitions are visibility, education and celebration. COVID affected us massively this year as, aside from our sponsors Sladen Estates and Nottingham City Council, we lost all of our available funding streams and our ability to make an income. We also had to cancel our event planned for 25 July.

Like everything this year, the YCAs have been hugely affected by COVID and lockdown. We had a whole week of live events and activities planned at Metronome in May – our very first Young Creatives Week. Sadly these all had to be cancelled, and we had to find new ways to showcase and promote all of the brilliant work of Nottingham’s young creatives this year. We needed to act pretty quickly to change our 2020 plans entirely - instead of all the live events, we announced the awards exclusively online. We also jumped at new opportunities, and we are grateful to sponsors like Nottingham BID for supporting us to do so. The Young Creative Awards would not exist without the committed support of a network of sponsors and partners. We were pleased to welcome Nottingham BID as one of our newest sponsors at the beginning of 2020, and to develop some really exciting plans to work together to animate the city centre with work by Nottingham’s amazing young creatives. When COVID hit, it meant so much that Nottingham BID – and our other sponsors – continued to support us, helping us to shift things online to find new ways to celebrate the creative talent of young people in Nottingham. Nottingham BID are one of the key sponsors of the Young Creative Awards this year. Their funding has helped to make it all happen, supporting this big, bright burst of creativity for Nottingham. The Young Creative Awards would simply not be possible without the generosity and hard work of amazing sponsors like Nottingham BID. youngcreativeawards.org

From adversity however, there have been some successes this summer as the city’s events programme has pivoted to ensure social distancing and Covid-safe environments. The popular ‘Summer in the Square’ outdoor dining space, sold out Drive in Movies at Victoria Embankment, and the ‘Arboretum Garden Bar and Bandstand’ have become well used open air spaces and venues while indoor venues remain restricted. Many of our cultural and ceremonial events have moved online such as Carnival and Pride, and even the 75th anniversary of VJ Day being broadcast live on Notts TV, replacing the live audience. The support that Nottingham BID gives to Light Night is vital to ensure that the event can continue to dazzle, inspire, and entertain. They’ve supported the event for the last two years. Their support, when combined with funding from Arts Council England and the City Council, means that the event can continue to both commission some of the large scale pieces and some of the smaller commissions that the event supports by partnering local artists with community groups. Without Nottingham BID’s support, Light Night would certainly be smaller and significantly less impactful. Despite the issues with the A52 bridge and the accompanying delays to public transport in 2020, the event still delivered footfall that was over 18,000 higher than a normal February weekend, with estimated attendances of 36,000, and an economic impact that has been calculated at around £750k.

It was clear the impact of COVID-19 was having an effect on our LGBTQ+ community and some big issues were arising around mental health. We wanted to show that throughout this period we could be resilient and there was still hope. That’s why we decided to hold an online event - one that was meaningful and reflected the current situation. We had a lot of support as Pride is vital to Notts as a beacon of diversity and hope. Nottingham BID have been great supporters of Pride and we value that. In our early years in Hockley it was difficult to get the local businesses involved, but Nottingham BID’s experience and resources made it possible. One of the offshoots of having Pride in Hockley is the economic benefit it brings to the area. Nottingham BID knows how to channel that and support businesses in making the most out of the event, which in turn supports us as Hockley transforms into a blaze of Pride colours and support for the LGBTQ+ community. That transcends throughout the year, making the area a more inclusive and great place to be. With Pride 2020 being online-only, they supported us a lot on social media. One thing we really valued was their inclusion of us when shops and businesses began to re-open. Nottingham BID wanted to use the rainbow as a symbol to welcome back people to the city and they consulted with us to ensure this didn’t shift focus away from the Pride flag, and what that means to the LGBTQ+ community, particularly as it was during Pride Month. nottinghamshirepride.co.uk

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AN INDEPENDENT DAY SCHOOL FOR BOYS AND GIRLS AGED 4-18

SCHOOL OPEN DAY

We welcome you to visit our open day to learn more about the school and how we inspire a life-long love of learning

SEPTEMBER BOOK YOUR PLACE TODAY AT NOTTINGHAMHIGH.CO.UK

At Nottingham High School we combine our excellent academic reputation with a focus on the individual needs of our students, for 21st century learning and development. Awarded East Midlands Independent Secondary School of the Year by the Sunday Times Schools Guide 2019

Generation Hustle Meet Nottingham’s Young Hustlers, a group of six 13-16 year olds looking to put their stamp on the city’s creative future... In recent years, Gen-Zs have been given a bad rap, with older generations claiming that the nation’s youngsters are chained to their screens, have short attention spans and lack real maturity. However, this bunch of Notts teens are proving them very wrong. Step up Nottingham’s Young Hustlers: Poppy Parkinson, Ruby Jo Williams, Narisse Poynton, Felix Findley, Karis-Cyanne McFarlane and Eniola-Isabella Falade. A bright, confident and intelligent group of six 13-16 year olds that are breaking down barriers, fighting for change and getting vocal about the issues that matter to them most... The brainchild of the minds behind the city’s popular Hockley Hustle Festival and its sister brand The Young Hustlers Festival, this panel of young adults was formed with the aim of giving a voice to some of the youngest members of the local community.

The six teens have been working on a number of exciting projects and events since their conception at the end of last year. Meeting up regularly via video call, the teens have been working on a weekly podcast where they share their thoughts on a range of topics from mental health, to racial injustice and the Black Lives Matter movement, to more trivial discussions about music, sweet flavours, life in lockdown and Netflix recommendations. And, though the recent nationwide lockdown measures mean many of those plans like co-curating the programme for this year’s Young Hustlers festival in October have sadly had to be put on hold, that doesn’t mean this talented bunch have been resting on their laurels.

words Addie Kenogbon photos: Fabrice Gagos

Poppy Parkinson Age: 16 I love meeting new people, so this group is a great opportunity to do so. I think the rest of the team are such amazing people with so much to say, so it's really great to get the chance to work with them. We don't have specific roles as such, we all come together and work collaboratively to discuss what’s on our minds and current topics for the podcast, alongside any ideas we may have and would like to put forward to the group.

Ruby Jo Williams Age: 14 It’s great being introduced to so many opportunities that I wouldn’t have been given before. The other members are all so clever and they’ve taught me a lot about things going on in the world I didn’t even know were happening. It’s so cool to be involved in something like this at my age, and I would 100% say that if any young adult was thinking about getting themselves into something like this, they should go for it.

Narisse Poynton Age: 13 As a Young Hustler, it’s nice to get to know people. It’s also great having such a varied group because of their different opinions. Through the process so far, I’ve learnt about how to continue conversations in the podcasts without as many gaps as well as how to keep the sound quality up.

Felix Findley Age: 14 I knew a couple of the team through my drama group, The TV Workshop, but everyone I’ve met is so nice and we get along so well. Our podcasts mean we can share what young people see and think of the world nowadays. We also try to get our voices out via social media, spreading information and news that’s important to young people.

Eniola-Isabella Falade Age: 14 Over the past few months, I’ve learnt about how podcasting works and it’s an experience I can put on my CV. I think it’s important for more young people to get involved with things like this because it helps you with life experience. I think, if you're not given the opportunity to do something then you don't know what your full potential will be.

Karis-Cyanne Mcfarlane Age: 15 I knew a few of the others from the TV Workshop and I really enjoy the fact that we get the chance to express our opinions freely. Being a Young Hustler involves getting involved with the podcasts that address lots of current issues. In the future, I hope to start my own small business and in my spare time I love acting. My favourite thing about Nottingham is its culture and the range of different communities. @younghustlersuk

Do a World of Good

words Emily Thursfield illustration: Alfie Eyden

A highlight in our calendar comes every October when, on the last weekend of the month, the streets of Hockley are taken over by musicians, poets, street performers, food vendors and punters for the annual Hockley Hustle festival. For obvious reasons, it won’t be returning for its fourteenth year, but that doesn’t mean Team HH are taking a (probably well-deserved) break. Thanks to funding from Arts Council England, they’ll be treating the people of Nottingham to a few different projects. The first of those is Green Hustle, a digital festival celebrating, promoting and exploring all things green in our city… A recent study conducted by global hygiene company Essity – manufacturer of household brands Cushelle, Plenty and Bodyform – on two-thousand UK adults discovered that environmental issues have become more important to the nation during lockdown, with 81% agreeing they were becoming increasingly concerned by the fate of the planet. They also uncovered that, on average, consumers would happily spend 12% more on products if the items they were purchasing were sustainable. Conversations around sustainability have become unavoidable, and witnessing a shift of attitude towards making a change as small as reusable cotton pads or recycled toilet roll is encouraging. Brought to you by the team behind Hockley Hustle, Young Hustlers and Nottstopping Festival, Green Hustle is a live-stream festival which will take place on Saturday 19 September from 10am - 11pm, aiming to encourage Notts folk to live happier, healthier and more sustainable lives. The all-day event will provide over ten hours of creativity, interactive discussions and workshops, all based around going green. And what better way to ignite change than showcasing all the community-based action already being taken locally to help reverse the climate and ecological crisis? “There are lots of truly amazing, small businesses, grassroots organisations, individuals and community projects dotted around the city that are making our city greener and more sustainable for the future,” says Jack Benjamin, one of the festival’s co-organisers. “You would be surprised how many people volunteer on various projects every week, or put their own money into ensuring our city is a greener space for their neighbours and into protecting the urban wildlife. The level of passion is inspiring.” The festival schedule is split up into six themes: wildlife, food, lifestyle, growth, community and green spaces, with each section illustrated with videos and content shot by the Green Hustle team, who took to the streets to get to know the organisations and people already doing work in these areas. This year, the festival’s main partner is local conservation charity Nottinghamshire Wildlife Trust, who have been doing some valuable work across the county with beavers, badgers, birds and much more, and fundraising efforts on the day will focus on supporting this vital organisation. Throughout the day, you’ll also get to to learn more about the likes of: Shop Zero, the zero-waste lifestyle store next to the Malt Cross run by Notts sustainability-hero Sarah Maloy; local food market and collection service NeighbourFood; Ecoworks community garden; retro and slow fashion stores such as Soul and Flare, Selena's Shop and Piece of Nova; The People’s Forest, Nottingham Open Spaces Forum and many more. “For me, the feature on AMC Gardens in the Meadows is a special one,” says Jack. “When I was a kid, it was just a boggy field and sometimes people would fly-tip there. These days it's this beautiful, abundant garden in the centre of the estate which is volunteer-run and open to everyone. You can go and buy fruit and veg that has been grown there or just relax and enjoy the garden. In non-COVID times, there were even events where members of the community could come down and use the tandoor oven to make food for people.” Hockley Hustle’s Young Hustlers will also be getting involved, kicking off the festival by posing questions to representatives of Nottingham

City Council about all things Carbon Neutral 2028, and Jack and coorganiser Christine Katerere have been collaborating with with various creatives based in Nottingham to discuss intersectionality within sustainability. “It’s probably not the best move to admit this publicly, but I became involved with Green Hustle as someone that cared deeply about the environment but never felt I truly engaged with the green movement for a myriad of reasons, including income and lack of intersectionality,” says Christine. “But I can honestly say that I've been on a journey of discovery and learning while preparing for this festival.”

I became involved with Green Hustle as someone that cared deeply about the environment but never felt I truly engaged with the green movement for a myriad of reasons Christine – and the Green Hustle team alike – wanted to reach other people who, for whatever reason, may have felt unable to engage with the issues of sustainability before, and those who feel the burden of having to do everything perfectly. “As a mother to young boys, my greatest wish is to educate them on how to employ a more ethical way to and help erect infrastructure that will help create a better world for their future,” she says. As well as intersectionality, Christine has been out filming segments on second-hand and sustainable fashion, and has been coordinating all the youth centred projects – linking local primary schools with local practitioners who will be conducting workshops with the pupils. Festival attendees – that’s you lot at home – have got all this to look forward to, but it’s not all a case of you sitting back and relaxing. Rounding off the festival – before live music from local artists and sets from some eco DJs – Green Hustle co-founder Adam Pickering will be hosting Climate Assembly Nottingham, an interactive discussion in which people at home are encouraged to join in via Zoom. The topic in question: What should we do with the future of the Broadmarsh site?

If you’re chomping at the bit to get involved yourself – there’s still time. It wouldn’t be a Hockley Hustle production without showcasing Notts’ diverse creative scene, so the team are seeking musicians, poets, dance troupes, artists and more to submit their work – based on the theme ‘green’ – by Sunday 30 August to be included in the broadcast. The Green Hustle team want to ensure they attract the attention of people who wouldn’t normally engage with content surrounding sustainability, and hope to open up the discussion on this crucial global conversation to all of Nottingham’s diverse communities and every generation. Come on Notts, we’ve got a world to save. Green Hustle takes place on Saturday 19 September via the Green Hustle website and Hockley Hustle’s social media channels. greenhustle.co.uk facebook.com/greenhustlefest

Safe Sex At the time of writing, agriculture is the most dangerous job in the UK, with 167 deaths recorded each year. But rather than ban it, we strive to make it safer, raising the question: don’t sex workers deserve the same? We sat down with Carys Jones, CEO of POW - Nottingham’s charity for sex workers - to discuss legalisation, stereotypes and empowerment... Despite being the world’s oldest profession, sex work remains hidden in the underbelly of society. Although recent years have shown growing traction for the desire to hear about the lives of women working in the industry, rhetoric is still polarised to a fight between two narratives: are they victims, or are they empowered? It might be 2020, but for sex workers to be treated humanely they still have to rely on charities like POW to be seen, heard and supported. Surely, as a society, we’ve moved past that by now. It seems like a battle over whether we should focus on preventing people entering sex work, or keeping them safe once they’re in it. In reality, it should be both. Having been established in 1990, POW is Nottingham’s charity for people involved in sex work, and between 2018-19 alone they supported 266 individuals through their various services and projects. Talking to CEO Carys Jones illustrated just how far from reality our perceptions of sex work really are; their remit is simply to try and fit the needs of those who need help. Some clients come to POW seeking legal help, a friend to talk to or, in some cases, housing. The system at POW works so well because of the staff’s lack of preconceptions; they treat everyone that comes through the door with an open mind and an open heart. Even through lockdown, POW has managed to continue helping people all over Nottingham through its outreach van, helping with housing issues and delivering care packages to those most in need.

There will always be people that work in the sex industry for a kaleidoscope of reasons, whether it’s supporting their families, putting their children through school, or just extra income on the side

Often referred to as ‘Nottingham’s own Red Light District’, Forest Road West is known by locals to be unsafe at night, with one resident, who wished to remain anonymous, telling me that it was “riddled with prostitutes.” Places like Leeds and Manchester use controlled red light zones, which has shown a marked improvement in the safety and wellbeing of those working in them. However, a similar plan for Nottingham was rejected, as it was deemed unnecessary. Whether controlled sex work zones are effective is another conversation, but the idea that Nottingham was any different to Leeds or Manchester is evidently not true. Some say the controlled zones make areas safer due to police support, whereas others argue that it scares away potential punters. POW have made it clear that a controlled zone is a step toward decriminalization, which is what they want, but they’d be interested to hear what their clients want in terms of protection from the city, “we want what is best for the clients, so to back something like this, I’d be interested to see what the people we work with would want.” There will always be people that work in the sex industry for a kaleidoscope of reasons, whether it’s supporting their families, putting their children through school, or just extra income on the side. I finished our talk by asking Carys what a sex worker ‘success story’ looks like for POW: “whatever it means for the individual person”. Meaning whatever their goals are, POW helps them achieve that. And the best part is the door never closes, even if you were previously affected by sex work and want to go in for a chat, the drop-ins at the moment are open Monday and Thursday 1-3pm.

words: Emilie Mendham illustration: Tsukiko Kiyomidzu

From our conversation, the biggest message Carys wants to get across to Nottingham is that the person they work with is a lot more than the stereotypes of sex work. With millions of people involved in sex work all over the country, it’s impossible to pigeonhole them as the same. Whereas one client coming to POW may well be empowered and happy, many more aren’t. Naturally, a large part of that comes down to consent: if someone is forced into sex work owing to their personal situation, POW can offer advice and guidance to help them out. One of their programmes, RAiSE, offers workshops for children who are victims of trafficking and sexual exploitation, “many people don’t know we work with lots of different people, men and women, and even children that are at risk.” As their client’s needs vary so much, their case workers also come from eclectic backgrounds, from migrant workers to progression workers helping men or women get to where they want to be in life. Harm minimisation is essentially what POW are all about, which is why they work to identify sexual predators as part of National Ugly Mugs, as well as offering rape alarms and other preventory services. Though this is the reality of many people’s experiences, it isn’t exclusive, which is why POW are now offering help for people online as well as in person. “Some people call it the whore-archy,” Carys tells me, which is the issue identified early on in the industry. Palatable sex work, such as using sites to arrange meet-ups, facilitate ‘sugar baby’ relationships or selling explicit content on OnlyFans, generates a group of sex workers that occasionally seem, in the mind of the public at least, to be above the sex worker who mainly works on the street. Demonstrating how a person working in the sex industy can only be empowered if society allows them to be, archaic views on how sex work is ‘dirty’ and not a normal part of society makes people not want to be associated with it, even in the context of offering support. As Carys explains, it’s not the individual's fault for not wanting to associate themselves with sex work, but rather our society’s view of the industry being less than other professions. This is perhaps most clearly exemplified when a crime is committed against a sex worker, and the manner in which the media portrays it. From Jack the Ripper to Mark Martin, the Ilkeston-born man who killed three young girls in Nottingham, the incessant reporting of the victims being sex workers (even when, in the case of Martin’s victims, it wasn’t the case) perpetuates the idea that their fate was somehow deserved. It’s a stereotype that is as problematic as it is outdated and, as Carys explains, a sex worker cannot be defined just by their profession. Even documentaries and articles like this can be part of the problem, by providing a voyeuristic lens into the sensationalised lives of sex workers, whether empowered or not. This is a problem that needs public support, Carys explains that the best way to help is to volunteer at POW, donate, and use your own voice to spread awareness.

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interview: LJ Vaughan photos/illustrations: Moan Zine

What Makes you Moan?

Since 2018, MOAN has been exploring female pleasure through the perspective of women. After two successful issues and this month’s LeftLion cover, we chat to the woman behind it all about how it all began, receiving and illustrating stories around desire, and what the future holds for MOAN... Could you start by describing your own background? I’m a Nottingham-based artist who graduated Fashion Communication and Promotion at Nottingham Trent University. After graduating, I largely worked as an illustrator, collaborating with other local artists and UKbased brands and setting up different projects for myself. I was in this strange time where I didn’t really know what I wanted to do, so I did everything instead. Since MOAN became part of my life, everything seemed to fall into place - it has been pretty magical for me. Currently my days are spent as an FCP Lecturer at NTU and the director of MOAN. How did MOAN come about? MOAN was born in 2018. It came from a heated discussion where I realised I had a lot of internalised anger towards the mainstream sex industry. The way women are labelled and represented through porn and the heavy male narrative dominates any healthy conversations around female pleasure. After that conversation I knew I had to set something up. My initial thought was to set up a website titled Pornhun and make it a female perspective to Pornhub but soon realised that was pretty impossible and I would most definitely get sued. Instead, I reached out to a really good friend of mine with a very vague idea of MOAN so we could do this together. We came up with the name, the branding, began planning Issue One and with the influence of my partner, who runs Dizzy Ink, and my love for print, a publication immediately seemed like the most effective way to get this up and running. Why do you feel there’s a need for something like MOAN that represents female pleasure? This is a question I could give many many answers to, and I guess that’s the amazing thing about MOAN. We are part of a larger social movement. With the need to tear down the stigma attached to female pleasure, we work hard to create a safe space and a female community that fills just a fraction of that need. Having a female-led space, we are bringing the power of female pleasures, desires and fantasies back into women’s hands. Rebelling against the mainstream porn industry and educating in a healthy way. This judgement-free zone where women can express their sexual desires, discuss their issues surrounding sex and feel liberated by other women is quite rare to find – it really isn’t a saturated market yet. MOAN compiles a huge range of stories from women expressing their own sexual desires. Can you talk a bit about how you gather these submissions? MOAN gathers submissions from all over the world, it’s pretty amazing the amount of handwritten letters we have received. We keep the brief very open. It should be a personal journal for as many individuals as possible – it’s about writing to us and feeling liberated, not pressure to conform to a certain expectation. As long as it’s around sex, erotica, fetish, kink or educational – there is a place for it here! I also think there is a misconception that only women can submit. We have a few male-written submissions and they are always exciting to receive. This is a conversation for everyone, as long as it is sex positive and female liberating it doesn’t matter who it is coming from. We advertise this through Instagram and have received hundreds of responses via email and post. If anyone is

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interested in submitting, planning for Issue Three is about to get serious so we want to hear your experiences, your fantasies and your sex positive thoughts! The content seems to represent a broad spectrum of female pleasure, and speaks in a very honest way – is this typical of your submissions, or is this part of your curation process? I think that’s the magic of keeping the submission brief so open. Everyone has a different experience, their own fantasy and personal experience that is so unique and exciting to us. I love the ‘weirdness’ in people and we get a lot of that through submissions. With MOAN you have the reassurance that we will never judge. This allows others to speak in an honest way and forget about society's expectations and norms.

My visual inspiration comes from various sources. My search history would be a really funny and somewhat disturbing one to look back on! What inspires your illustration style, and how do you approach capturing the content of stories that are submitted to you? I want my illustrations to be relatable to as many women as possible. I want them to be vague enough that every woman can fantasize about being in that position, and inclusive – there are no defined features or race which is why I use monochrome line drawings. It’s rare for me to illustrate in enough detail that I represent a specific look. My visual inspiration comes from various sources. My search history would be a really funny and somewhat disturbing one to look back on! I recently purchased Madonna’s SEX book and that has seriously inspired me in so many ways. I highly recommend it to everyone. Get yourself on eBay and track it down. But honestly, most of the time my visual inspiration comes naturally after reading an anonymous submission. Our followers will provide me with the story and I will illustrate it.

Female sexuality can be a contested topic. In light of this, how has the publication been received? So far the responses have been really incredible and heartwarming which is much more than we ever expected. It seems to capture a lot of positive attention and for that we’re very grateful. From our first launch in Rotterdam, where we sold out in a few hours, to our most recent fair in London, we have witnessed the most incredible responses. Notts Zine fair is the most special event for us because it’s where we launch a new issue each time, and get to see people interact with it for the first time. It’s always amazing when you get a buyer who, just from a first glance, you’d never put the two together! Saying that, within myself I still feel shame at times, which is really sad to say but I guess highlights the idea of female sexuality still being a taboo in many circumstances. Even though MOAN is received well most of the time and I hold it with pride, I’ve had my fair share of judgement, criticism or immediate sexualisation. Sometimes this motivates me even more. What was the inspiration behind this month’s LeftLion cover? I wanted to truly represent the essence of MOAN. This overall idea of female empowerment, sensuality, confidence and luxury. There is an elegance that comes with MOAN and I do that because I want to visually liberate women. I wanted a modern twist on the extravagant story of a burlesque dancer in a martini glass. The black glove represents the fetish side of MOAN and it also defines women lifting each other up. What can people expect from Issue Three of MOAN? Issue Three will launch November 2020, so expect bigger and better – and submissions are currently open. Aside from Issue Three, there is a lot in store for the future. We now have a distributor (Antenne Books) so after they have flown the nest, MOAN will be sitting on the shelves of local bookshops all around the UK and EU and that makes me a very emotional MOAN mother. You can follow MOAN on social media to keep up-to-date with their future product launches, collaborations and events. To enter a submission, visit their social media or website. moanzine.com @moan_zine

Everyone has a different experience, their own fantasy and personal experience that is so unique and exciting to us

Rumble in the Jungle When Sneinton-based musician and radio broadcaster Nathaniel Mann responded to a 2018 British Council + PRSF opportunity for a musical residency with the Wauja Indigenous Community in Xingu, Mato Grosso, Brazil, he had no idea how much his life was about to change. Two years later, he collaborated with the Wauja’s principal Akari Waura, assisted with the recording and preservation of his traditional songs and produced a BBC Radio 4 documentary about their work together. Now, as the community faces the threat of COVID-19, he’s working with the Wauja to help raise awareness and funds to ensure the long-term protection of a people whose descendants have lived in the Xingu territory for over a thousand years… Firstly, how did a musician and radio broadcaster from Sneinton end up working with the Wauja Indigenous Community in Brazil? I originally applied for a musician residency from the British Council in 2018, but the outline for it was all very colonial and pretty crappy. They wanted someone to go out to Brazil for a month, live with the indigenous community and write a piece of music about their experience, which would be performed by an orchestra in a rich Brazilian city. To me, that was quite problematic in itself, and I actually applied to try and make sure that, even if I didn’t get it, their plan didn’t happen that way. I did a lot of research and was quite critical of their approach during the interview. I said, “Look, whatever you do, whether you pick me or not, please don’t do it the way you’re planning to”. From my perspective, going over there, taking aspects of their culture and repackaging it with an orchestra format was very much the wrong idea. Even though I was critical, they selected me, and I ended up going out there without knowing exactly what I was going to do. My general idea was to enable the community to write a piece of music that embodies their own message. How did that plan manifest itself once you arrived? The community paired me up with Akari Waura, who is the Wauja’s historian, elder and singer. He invited me to stay in his home with his family. Their houses are ocas which are almost like churches – they’re definitely bigger than my home in Sneinton! There were about fifteen of us staying there, all side-by-side in hammocks, so I really felt like I was living in the heart of Akari’s family. I was told that I was the first person outside of his family who had ever been invited to stay with him there, which obviously meant a lot. One of the first things Akari did was tell me his own story, which included the fact that he wasn’t interested in music as a child, but came to it in his thirties after his father – who was a traditional singer – passed away. He learned the traditional songs from old recordings, and he told me it was his dream to be recorded too – for future generations. I told him that I had the equipment, so that’s what we did. Can you explain the process of recording the songs? Akari decided he wanted to do the recording. I wasn’t there to direct him, just to try and facilitate what he wanted to achieve, which was to make a recording that would ensure the music wasn’t lost. A lot of the songs would normally be performed in a ritualistic social context, accompanied by dances from the entire community, with rattles, shakers, hollering, whooping and shouting, but Akari just want to record the songs themselves. The thatched space we recorded in was acoustically dead, so there were no sound reflections, but it was also acoustically transparent, so any outside sounds, those of kids, dogs or motorbikes could also be heard. I recorded the songs, which were all about half an hour long, with four or five different microphones, and when I played them back for Akari, he looked me in the eye and said, “They sound okay, but it’s missing this,” and touched his chest. He’s such a physical, powerful performer, so when he sings in front of you, he’s also stamping his feet, and that sound goes through the ground and up into your own feet, so you’re listening with your whole body. I decided to bury a mic, which is usually used for recording underwater, in the ground beneath his feet. Once that sound was added to the mix, he said, “Okay, that’s it.” That was beautiful because it made me feel that he was comfortable enough to criticise me and say what I’d recorded wasn’t quite good enough. That was a really important moment.

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What role does music play in the Wauja community? Community music is integrated into everyday life – it’s not a spectator activity. They don’t just sit down and listen to music, but rather it mingles with the everyday, they’ll sometimes sing for five hours with village life carrying on around them. It’s an integral interface with the spirit world. I’m certainly no expert, and don’t want to come across as if I think I am, as I’m still learning a lot as I go along, but everything in the Wauja tradition has multiple spirits. The spirits of the jungle can occupy the jungle itself, as well as the animals and the people in the community. They’re all there living as one, but separate at the same time. So music is incredibly important because it serves as a collective gateway into that. It can be used to mark the start of rituals, address certain spirits, to help with healing, protection or mourning within their death rituals. There are also one or two songs that I know which are more celebratory in nature. So traditionally, there’s music everywhere in the Wauja culture, but it’s very, very different to what we in Britain understand as the function of music. How is their way of life currently being threatened? In so many ways, it's hard to know where to start. The Xingu territory is huge, and slap bang in the middle of Brazil surrounded by industrial agriculture. There are over thirty different communities with three different language families, and over thirty different languages. Their land was the first Indigenous territory to be officially recognised and protected by the Brazilian Government in the 1950s, but a sacred cave site was left out of the protected zone. No one knows how old this cave site is, but it forms part of the Wauja creation story and is of huge significance. The inside of the cave is covered with engravings which represent their history, so it’s a place of learning. Every year, children from the village are taken there to learn these incredible, rich stories about their heritage. There were plans to create a road and a railway, as well as a gold mine, which would have meant flooding the site, so this incredibly important cave was facing a real threat. I have connections to a company in Spain which creates 3D scans of cultural heritage sites, so I got in touch with them to ask if there was any chance they could do something with the cave so, if the worst did happen, there was at least a record of the cave engravings. They said yes and sent out two technicians, who worked with the community and showed them how to use the technology so it wasn’t just two white people coming in to save the day – it was empowering and enabling for the community. But when they got to the cave, someone had destroyed all of the engravings with a hammer and chisel. Do you know who did it? We don’t know, perhaps even someone was paid to do it, there was no evidence at all. But there were a lot of motives from people who stood to benefit. Together with the digital technicians, we worked with anthropologists, archaeologists, activists, indigenous historians to collect old photos of the engravings, and eventually we were able to create a digitally restored 3D replica which was then changed and corrected by members of the community. It was like bringing the destroyed engravings back from the dead. It’s probably fair to say that, for most people in the UK, hearing about an indigenous community living in Brazil conjures up a certain image that’s been perpetuated by travel documentaries and literature. Did you have your own preconceptions before visiting, and how different did you find the reality once you’d arrived? The Wauja integrate a lot with the modern cities in Brazil. A lot of the younger members spend time in Sao Paulo, and they’ve got smartphones, Facebook, touchscreen TV, satellite dishes. They’re also entrenched in these

traditions, like music and dance, and they’re living by subsistence farming and fishing, but they’re able to utilise technology to communicate with me here in Sneinton. You know, I get WhatsApp messages every day. Technology has just allowed them to have a platform outside of Brazil. But even inside the country, you’ll find a lot of people in Sao Paulo who have no idea that indigenous people still live in Brazil. They think they’re almost like fairy stories that don’t exist anymore. In an age where social activism plays such a large part in the world, with movements like Black Lives Matter, we’re trying to make sure that people, both inside and outside Brazil are paying attention to indigenous activism too, and providing a platform to raise money and support, particularly now when they’re being threatened by COVID-19. How have they dealt with COVID so far? Luckily, they’ve had no cases so far in the village itself, and one of the members who visited the city caught it but recovered. The older generation remembers the measles pandemic that killed a lot of indigenous people, and some of the younger members are aware of what is going on through social media. It’s the middle generation, who has the most influence, that don’t really understand it completely. So there’s been a lot of work going on to help them understand that this is serious, and to ensure that they don’t need to travel to big cities to trade or secure supplies. We’ve set up a JustGiving page, which has raised over £10,000 so far, and that money has purchased medical supplies, food, and helped to establish new supply routes that don’t go through the nearest big city. On one hand, it’s a sad indictment, because there are only two communities in the Xingu territory that haven’t had any cases, and they’re the two that have had this external help. On the other it’s likely that, without the help, they would probably have COVID in the Wauja villages right now. How have your experiences with the Wauja affected you personally? I can’t pretend that I’m religious or whatever, but when you’re in the village you see and experience things on a completely different level. There was one point during the work to create the 3D scan of the destroyed cave engravings when we ran out of money, everyone was volunteering and relying on donations and we were putting together a publication to try and raise awareness of everything that had been going on. I was working from my house in Sneinton on the day of the deadline to get this document finished, and it was really stressful. I’d been working all day with constant emails and WhatsApp messages coming from Brazil. So there’s a really important figure in Wauja mythology connected to the cave that takes the form of a green parakeet. Just as I finished my work, I closed the lid of my laptop and heard this noise coming from outside. I realised I’d been listening to it for a while without noticing, but I didn’t recognize the sound – I thought it might have been some kids making weird noises. I decided to go for a walk to find out what it was, and as I turned the corner I heard it again. And right there sitting in a tree is a green parakeet. For me, it was the most profound and incredible thing. I know there are some in London, but I’d never seen one in Sneinton before. It was such a remarkable moment, and it felt like I was on the right track. It was pretty mind blowing. If you’d like to support Brazil's indigenous Wauja community through the COVID crisis, visit the JustGiving page: justgiving.com/crowdfunding/ferdinand-saumarezsmith

interview: Ashley Carter

Theyâ&#x20AC;&#x2122;ll sometimes sing for five hours with village life carrying on around them. Itâ&#x20AC;&#x2122;s an integral interface with the spirit world

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After catching our eye with a sweet illustration of our magazine stands you can find around town, we’ve had the pleasure of working with recent-graduate illustrator Kate Sharp for our spot-the-difference series and many other illustrations featured in our past few issues. After she bagged a Young Creative Award for her children’s book, Lion’s Hate Pigeons, we took a deep dive into Kate’s colourful world, discussing her past, present and future plans… Children's books have always been my passion. Even when I was little, I used to draw my own stories; I didn’t need toys, just give me a piece of paper and I was happy. I just love getting lost in a story – books like That’s Not My Puppy and That’s Not My Dragon are so simple, and I like anything that has a bit extra to it too, like with textures rather than just flat pictures. Obviously I loved all the big illustrators like Quentin Blake, but I’d say I’m a big fan of all illustration – so it’s hard to pinpoint people in particular!

Everyone likes a picture of a duck! During the transition between college and uni, I started making what I called daily comics as a way of keeping me creating every day. I found that a lot of the time I had ‘art block’ and I couldn’t think of anything to do. But creating these comics made me look back on my day and see I’d actually done a lot, so why not draw it? It was a good tool for me as well because sometimes I struggle with my mental health and they reminded me that I had achieved things, even if they might be small. It was nice reassurance that I had done things and I was progressing in my life. Even if it was just something like enjoying a cup of coffee on your sofa, having half an hour to yourself, you can still think ‘well I enjoyed that time, not everything is bad.’ Last year I graduated from De Montfort University in Graphic Design and Illustration and now I’m working towards becoming a freelance illustrator. My style is pretty colourful in terms of the illustrations themselves, they’re pretty simple line drawings with a lot of added textures from things I either find or make. I make a lot of my own textures using paint, chalk and all sorts, and find digital textures online too. I have a day job but it’s not creative at all, so at the moment I’m trying to write children’s books as much as I can.

My first proper children’s book was my final year uni project, called How to Pet a Dog. It was an instruction booklet telling children how to behave around dogs and it was a sensory story, so each page had a prop to go with it, like a texture, smell or sound to engage the kids. I was really focused on making it an inclusive story for people who struggle to just sit and look at a book. The inspiration for Lion’s Hate Pigeons was actually the Young Creative Awards itself. I knew I wanted to enter, and the brief was just ‘Nottingham’ – at first I was thinking about Wollaton Park and stories on the taxidermy animals, but I came to the conclusion that the most well-known animals are the statues, and it would be cool to have them come alive. I went to the Square and there were a lot of pigeons around – I like pigeons but I know not a lot of people do! Maybe it’s because they all look a bit scraggly. I started by taking pictures of the statues, and referencing pictures and videos from actual lions as well, and then filled up half a sketchbook with lions trying to perfect them. I then build up the story from there – although crafting the words in a coherent way and making it sound like a children’s story is a challenge. Once I’ve got the story down I start drawing textures and gathering materials for the illustrations, and then spend a lot of time drawing the same thing over and over again! Lion’s Hate Pigeons won the Young Creative Award in graphic design for my age category, 19-24. Lockdown has been challenging. Creative-wise, I feel like my business has taken off and it's actually pushed me to do more because I've had no distractions from work and general life. I’ve been a lot more adventurous too, there’s not as much pressure to make something perfect as nobody is watching over you. But obviously, it came with its negatives too – my mental health has definitely struggled. But I’ve taken up painting recently which I’ve found has helped, because it makes you focus and stay calm.

I’m currently selling vinyl stickers on my Etsy shop and donating the profits to the charity Mind Out, who help LGBTQ+ people who have mental health issues. This year was going to be my first Pride, the first time that I felt fully comfortable being part of the LGBTQ+ community. It was a big thing for me and I was so excited, but then the pandemic happened and nothing came of it. I was constantly going over in my head, ‘I wish I could have done something,’ so I made the stickers in the colours of the pride flag. The slogan, Don't Discrimihate, was from a uni project that I didn't really get to use and I loved the words and thought it was really catchy. I thought it was quite a fitting slogan because everybody in the LGBTQ+ community can agree that it’s not the nicest place to be sometimes. My main goal now is to be a children's illustrator, but I have lots of little goals on the way. I'd love to have my own shop one day. My favourite project to work on right now though would have to be all my animal paintings. There’s some on my Etsy and quite a few more on my Instagram that are being printed as well. There’s just so much variety to animals – I didn’t realise how many breeds of ducks there were until I was researching! Drawing people, it can be difficult to get everyone engaged with them, obviously there’s a lot of diversity in the world and everyone is different. But with animals, everyone likes a picture of a duck! I personally really love goats. They're just a bit daft. For my eighteenth birthday, my mum bought me a zookeeper for a day experience, I got to feed all these exotic animals but the one thing I took away from it was my love of goats. They were all climbing all over me, they all wanted to be petted. They're just like silly dogs really. Lion’s Hate Pigeons and Don’t Discrimihate stickers are available to buy on Kate’s Etsy shop, alongside plenty of other goodies. katersharp.co.uk @kate.r.sharp etsy.com/uk/shop/katersharp leftlion.co.uk/issue129 29

sowing the seed Lenton locals may have spotted the remnants of The Chimera Plantarium Project on Church Drive. Two vividly coloured and curiously shaped murals command a presence that hints towards their leafy beginnings and leaves passers-by turning their heads. They are just some of the work delivered by artist Chiara Dellerba and the children from Years 5 and 6 at Edna G. Olds Academy, as part of Primary’s Making Place project. Working together, they explored and created artwork based on the idea of spontaneous plants – wild, urban flora. Spontaneous plants are resilient creatures and their perseverance to thrive almost anywhere, even in abandoned, overlooked, or routinely neglected areas, is something us humans could learn from. We spoke to Chiara, to find out more about the project… How did the idea of creating art inspired by spontaneous plants come about? I live near Lenton, and on my walks to and from home I came across different species of urban spontaneous plants. I saw how they were changing the aesthetics of ‘the concrete urban jungle’. I then started to imagine how this population of plants might perform if we allowed it to take over the decision-making in spaces neglected or never exploited by humans. I find it fascinating that plants inhabit all spaces, whether they are free, or occupied by people. The presence of the spontaneous plants creates a welcoming territory for diversity which is expelled elsewhere. Being interested in ecology, utopia and collective care practices and their civic impact on the society has led me to develop long term projects to investigate the city, the environment, and the future of our society. For some time now I have wanted to investigate evolutionary mechanisms, reciprocal connections, and the hidden similarities between human and non-human species, to open up a common ground of reflection on the implications of how we can effectively transform the areas we live in if we learn from these other ‘citizens’ of the planet. The Chimera Plantarium was selected as the project chosen by a panel, composed of Year 5 and 6 pupils, Nottingham City Council and Rebeca Beinart (Engagement Curator for the Public programme at Primary). What about the project do you think appealed to the children at Edna G. Olds Academy and how was it to work with them? I am very privileged to have worked with a wonderful school such as Edna G. Olds Academy and Rebecca Beinart from Primary. Also, what a privilege to be selected by a panel of children! I think kids should have more

words: Rachel Willcocks

space and time to raise their voices and share their ideas about the changes they would like to see implemented. For them to be completely immersed both physically and metaphorically in nature in a highly-populated area with very limited green space has been fundamental to rediscover and rethink the area where they live and try to give a different connotation to what is free for them to access in public spaces. They were fascinated by the possibility of becoming involved in the practice of urban plant mapping. To have some special knowledge to share with their friends and their families, alongside feeling empowered by knowing that connecting with the nature surrounding them they can change people’s perspective of the area.

Plants teach us to cooperate, not to compete How did the project re-map and re-imagine the local area? We explored how human and non-human come together as a hybrid species – half-plant and half-human – to reactivate and regenerate the area. Looking at how plants work; how they are made; why they are different from humans, and what they have in common with us; what kind of organisation they respond to, and how their organisation is widespread, deconcentrated and distributed. We have contextualised their properties and capabilities, creating a collaborative herbarium as a starting point to map the area from the perspective of urban plants. During workshops, we came up with the final murals on Church Street. Part of the project was also to create

a narrative of the Chimera Plantarium, starting with designing a plant alphabet. We transformed each letter of the alphabet into half-plant/half-letter, and from this, we created a publication printed by Dizzy Ink. Also, I am looking at expanding the project focussing more on activating new forms of citizenship with the nature that surrounds us. So far it has been an incredible journey! The project’s aim is to be ‘a tool to practice civic imagination, to re-imagine a city [Nottingham] governed by plants, reframing an often-invisible urban ecology as a beneficial amenity that can offer a fresh perspective on how cities perform’. How can we shape the future of humans and non-humans in the city and how can this benefit the future of the area we live in? We can learn many things from plants, both as human beings and citizens of the planet. What is fundamental is that plants help us to forget about the anthropocentric point of view on which our culture is based. Also, plants do not have centralised, specialised organs like we do. Their organisation is widely distributed: they see, hear, breathe and reason with their entire bodies. This makes them much more robust than us. We can learn from plants to not act as individuals, but rather as a network. Plants teach us to cooperate, not to compete. It is only with the cooperation that we offer a fresh perspective to ourselves on how cities perform. We can start to do so, looking at the ‘obvious’ and ‘silent’ nature that surrounds us. The publication will be part of the upcoming exhibition at Primary, which marks three years of Making Place, a long-term community programme that looks at how we learn from the city and how we use public space. Find out more details about the project on Primary’s website. weareprimary.org/projects-archive/chimeraplantarium-project

Every Witch Way With a story that wouldn’t look out of place in a HBO series, Witch of the East lead singer Aeris Houlihan certainly has plenty of experience to draw upon for writing new material. From serving in the armed forces to spending months incarcerated in Eastern Europe as a transgender woman, she talked to Alex Mace about her fascinating story, as well as the band’s upcoming music... Here in Nottingham, we take pride in a local music scene that has a thirst for smashing the status quo – just take a look at the likes of celtic punks Ferocious Dog or underground bassline hero Darkzy to get a taste of what we mean. Valiantly carrying the torch against the aforementioned ‘quo’ is grunge and dark-pop trio Witch of the East – a project of intense emotional vulnerability explored through an indulgence of thriller-based imagery within an expanding catalogue of music videos. With a new single within arm’s reach, a new LP just beyond the horizon and a past seemingly as enigmatic as their future, getting in touch with the band’s founder and frontwoman was a given. So, armed with an arsenal of caffeine, we got chatting to Aeris Houlihan, where the conversation jumped from prison stories to reactions to the ongoing global crisis. We even managed to fit some music chat in there as well. Having served in the armed forces, played for a Sunday League Football Team, been incarcerated for a couple of months in Eastern Europe and lived as a transgender woman in a world that seems to be taking steps back in its support for trans rights, Aeris has enough stories to tell without delving into her musical antics. Be that as it may, it is her elaborate past that gives Aeris her brutally honest lyricism and the band its deep, brooding sound. As such, the pandemic is yet another source of creativity which Aeris has put to good use: “I've written plenty of songs, and I've also done pre-production on a lot too, so I've been super busy. It means I'm way ahead of schedule for when I go in to do the album. I've even done a few music videos and the album's not even recorded fully yet!” With a writing style heavily influenced by her volatile surroundings, predicting the next step in Witch of the East’s discography is no trivial task – almost as insurmountable as following up the band’s debut LP Queen of Insecurities with the same vigour. Aeris explains, “I think people are going to be surprised because there's a bit of a Nina Simone vibe in terms of aiming into the soul. It's going to be more vulnerable than the last record too. I would also say

it's less heavy and there’s a bit more of an electronic side of it as well.” The new album’s expected lyrical poignance stems from a genuinely life-shaping experience. Following a minor altercation with someone at a New Year’s Eve party in Eastern Europe (having moved there whilst in her original band Chambers), Aeris was hardly expecting to be handcuffed on a plane and thrown into a cell a year later: “I wasn’t taking it seriously, to be honest. I thought my friend would be coming to get me in the morning and they’d just let me out”.

I was just thinking, ‘what am I doing here?’... I had to learn broken German in two weeks just to try and survive. It was mental Unfortunately for Aeris, they didn’t. After having faced a judge who told her that she “had brain damage,” Aeris was informed that she was looking at an attempted murder charge; things weren’t making sense. “I was just thinking, ‘what am I doing here?’”, she explains, “and obviously the guards won't speak to you in English, even though they know English, so I had to learn broken German in two weeks just to try and survive. It was mental.” To her luck, Aeris managed to retrieve her liberty with the help of a good solicitor and returned to Nottingham with a story to tell. Aeris recalls: “When I came back, I was determined to turn the circumstances from a bad situation to a good situation. There’s no doubt that all the energy from that experience has gone into it [the new album] as well as this entire lockdown thing.” If it’s not life experiences fuelling her creative fire, it’s other people. Throughout her career as a musician Aeris has immersed herself in a hub of creative people. She clarifies, “Artists, especially ones that are my friends, get together and help one another.” Will Robinson from Nottingham’s own I’m Not From

London (INFL) Records is a fine example: “When I was in Chambers, one of my songs, (Disappear) got onto Radio 1. I was like, ‘Okay maybe we're ready now to start speaking to some record companies?’ So I just dropped INFL a message and they had a listen and we just got on really, really well. And then it blossomed from there and got stronger and stronger; it's like family, it really is like family”. With a proven record label behind her and production wizardry being partly handled by Lee Smith of Greenmouth Studios – whose past collaborations include names like Ellie Goulding and Easy Life – things were coming together. Now, with Arch Femmesis’ Zera Tonin as an official band member, the family just got bigger – a decision that came naturally to Aeris. “I just thought that if we see someone that can add to the project then let's do it, why not? We worked with her more and more and then it just made sense for her to be part of it really!” It’s a true pleasure to see a musical outfit thriving in a world that is currently shaking under its own woes. As she bears witness to a society that “pushes in the opposite direction because they don’t understand it” in the case of both the Black Lives Matter movement and the fight for trans rights, the hunger for live music respite grows. “Being a musician, your therapy is through your songs and your art so it’d be really nice to play gigs again because there’s a lot of energy that can be spent with that.” Aeris concludes, “It’s been tough for a lot of us but, and I say this to my friends all the time, whenever a door closes, another always opens; you’ve just got to find the right door.” Witch of the East’s latest single Comfort Me is out now. From October it will be available to download for free as part of I'm Not From London's 15 year birthday celebrations – you can find the code on the limited edition I'm Not From London beer cans. The new album will be released January 2021. facebook.com/WitchotEast

interview: Alex Mace photo: Ash Holdworth

Guardian Angel Any regular visitors to The Angel Microbrewery or The Golden Fleece will be familiar with Ben Rose. Having turned two of Notts’ most iconic pubs around, he’s one of the city’s original purveyors of veggie food, with both pubs offering a full menu of meat-free options. And if that wasn’t enough, he even dedicated his kitchen to the Open Kitchens project during lockdown, providing hundreds of meals for those most in need. Christina Geggus caught up with him to find out more... Having grown up in a small village on the outskirts of Coventry, Ben Rose was eager to see what the rest of the world had to offer. So, at the age of nineteen, he set off travelling for two and half years. “I ended up starting my own bar in Melbourne, and when I came back to England, I was dead set on wanting to own my own place,” he recalls. By the age of 24 he had opened The Alley Cafe which, at the time, was one of the only places in Nottingham serving vegetarian and vegan cuisine. “I turned vegetarian from the age of 21 as I believe in the strong benefits of being vegan and vegetarian. For me, it’s all about eating a balanced diet and the right types of food,” he explains. This ethos and love for good food was appreciated by many, and he soon became the household name of vegetarian and vegan food in Nottingham. After years of working hard running The Alley Cafe and thinking of ways to extend his business, Ben took on various other projects, such as running the kitchen at the Rescue Rooms and pop-up catering events, as he explains “I am always wanting to push my options and keep trying new things.” As if that wasn’t enough, Ben also put on three of his own festivals and ran bars at Nottingham’s much-loved music festival Splendour. Armed with the ambition of continuing to grow his business options, Ben found himself as the owner of two of Nottingham’s most iconic pubs, The Angel and The Golden Fleece, something he had not quite foreseen in his life plan. “Originally, I was looking to open another Alley Café in Hockley. I went to look at a new building with the landlord,” Rose explains, “The lease for that building had already been signed that morning, but he told me about another building around the corner that he wanted to show me.” He continues, “We walked around the corner and it was the Old Angel, I was like, ‘You are joking?’ When I moved to Nottingham in 2000, it was the first pub I ever went into in Nottingham as a few of my mates lived up here for university.”

But with just three weeks to make the biggest decision of his life, Ben went with his gut: “It was rough around the edges, this kind of crowd and a bit more my kind of scene, so the rest I figured out along the way, which is generally my synopsis to business”. And with that, Ben Rose was the new owner of The Angel Microbrewery, not quite able to believe that he had the opportunity to save one of Nottingham’s most loved and historical pubs.

I have 27 people working for me and have feared over this period that they could lose their jobs. That really hurts me as I care for my staff and believe they make the business Wanting to maintain its history and character came with a massive pressure alongside his previous vegetarian and vegan impact he had on the city, and the inevitability of knowing that he would have to serve meat in his pubs. “If I eliminated carnivores out of the situation, I wouldn’t be here now,” he tells me. He battled with opinions on his choice of menu and many feared that he would gentrify The Old Angel into a ‘hipster pub’. “You just have to ride these storms”, he contonies, “if anything, I think I have opened it up as a bigger platform for people who want to springboard into the music industry”. Since then, he’s showcased a diverse array of live music, such as heavy metal, hardcore thrash bands, death metal, indie, dance and electronica. The resurgence has not been without its setbacks, however, most notably with the recent pandemic, which has made an already difficult industry almost impossible to survive in: “It is one of hardest industries to go into and it’s a lifestyle, not a job. I am at work all the time and my phone goes constantly, but that’s just how it is”.

Lockdown has made the food and beverage industry hit an all-time low, but Ben appreciated that there were many people in states of crisis. That was the main reason behind his decision to take part in the Open Kitchen scheme, allowing his kitchens to be used to create meals for those in need in the community: “The community and society of Nottingham have helped me to get to where I am and I believe these acts are just a small way of me showing my appreciation”. Post-lockdown, Ben has made some significant changes to the way he runs his businesses, believing that it is important for the industry to get back on their feet: “We have a venue in which the bar itself holds 200 people and a music venue holds another 110, but we are now at the capacity of 90 people max, While spending twice as much on labour costs for additional cleaners, a whole new risk assessment and ensuring social distancing is adhered to by customers. You have to adapt to survive”. Like Ben, many are frightened that the likes of Wetherspoons and Greene King may take over many areas in place of independents that don’t have the same financial safety net, warning that, “We will become one homogenised city”. However, with great support from customers during the lockdown, he expressed that “the city has a real comradery and I really value it. I don’t think I would be here today if it wasn’t for the support of my friends, customers and the people in both the food and music industry here”. Although many things have been put on hold, Ben plans to continue spreading his positive energy in Nottingham and hopes to come back to many of the grand plans he had: “I have 27 people working for me and have feared over this period that they could lose their jobs. That really hurts me as I care for my staff and believe they make the business”. Ben hopes he can maintain what he is doing and be in a secure and safe position for years to come, providing great pub grub and beer to his much loved city. The Angel Microbrewery, 7 Stoney St NG1 1LG

interview: Christina Geggus photo: Fabrice Gagos

interview: Jamie Morris illustrations: Bon Idle

Manga

Management Nine years ago, a mysterious explosion plunged a city into a seemingly endless blackout. That is, until a Mark Zuckerburg-like tech billionaire rebuilt it into a futuristic metropolis – but to Journalism student Alex, this shady figure’s motivations don’t quite ring true. Alex’s hunch soon thrusts him into a world of superheroes and monsters in Henshin, a new series from Notts-based artist Mitch Proctor, a.k.a. Bon Idle... This isn’t Bon Idle’s first foray into comics. Alongside his job as a graphic designer, Mitch runs the small-press publisher Koguchi Press, through which he’s published a number of his own comic books including the Dungeons & Dragons-inspired fantasy adventure Sword Hunt. But with Henshin, Mitch’s work joins the ranks of Saturday Brunch, a new digital manga magazine committed to championing LGBTQ+ stories from around the globe. Saturday Brunch published a teaser issue in June to celebrate Pride Month, containing the first installment of Henshin ahead of its official debut in September, which includes the first two chapters alongside a range of comics from other creators. As Brunch is set to be a quarterly magazine, it’s up to Mitch to craft a story that rewards readers’ patience. “I want people to be able to read it and not feel like they've waited three months for nothing,” he says. “You see it with some quarterly manga – and some Western comics as well – when they don't come out very often, and you're like: ‘I'm not very satisfied, it wasn't really enough’.” Both in content and structure, Henshin is inspired by Japanese tokusatsu (special effects) shows such as Kamen Rider and Super Sentai – the basis for Power Rangers – which see colourful costume-clad heroes duke it out with different monsters in each episode. “There's a lot of room to have smaller self-contained adventures and fun little asides, but I do have a beginning, middle and end planned for all of the characters,” Mitch explains. “I have plans to introduce a lot more heroes – you should see the Word Doc I've got, it's huge.” The series also draws inspiration from a number of other anime titles. “I firmly believe that nothing is original any more, but what makes something original is how you recontextualise your influences

and inspirations,” the creator explains. “We are products of our environments and as such, the art we create is a product of our influences and what we consume.” Among these are nineties classics Neon Genesis Evangelion and Sailor Moon, as well as the more recent Kiznaiver; each praised for bringing authentic character drama to typically action-heavy genres. Writing romance is new to Mitch, but it’s something he’s determined to get right in Henshin in order to demonstrate that anyone can be a hero regardless of their sexuality. “This is a tokusatsu-style comic, and the main character happens to be gay,” says Mitch. “That doesn't change how he is as a hero, it doesn't make him less of a hero, it doesn't make him a different kind of hero – he just is a hero, who is gay.” While the first few issues prioritise setting up Alex’s world, what it means to be gay in the world of Henshin will be explored as the story progresses.

I firmly believe that nothing is original any more, but what makes something original is how you re-contextualise your influences and inspirations “It's definitely something that I feel is important and is something that I want to do justice to, so it's also something I don't want to rush… I want it to be meaningful to people who read it.” Mitch notes that this is an area in which mainstream fiction is largely lacking, with many attempts at diversity being performative at best. A perspective shared by Mitch and the company behind Saturday Brunch, MyFutprint Entertainment, is that real diversity is something that can only be achieved by actually hiring creators from different backgrounds. “We're seeing a big groundswell of more independent businesses actually broadcasting minority voices,” Mitch elaborates. “So I think, on the independent side, it's very exciting, and my hope is that will continue to grow, and then that will influence the Disneys of the world to actually follow through on what they say they're going to do instead of putting a black square up during June or a rainbow flag on their profile picture. It's actually committing to those things.” Saturday Brunch’s sister magazines, Saturday AM and PM, are proof that this is a sustainable philosophy. The former was launched in 2013 and has released over a hundred issues sourcing comics from all over the world, and there’s even a print edition titled Super Saturday launching later this year that Mitch helped design the logo and cover for. Henshin isn’t set to join the print line-up just yet, but he says the future of the series is looking bright: “I'm trying not to count my chickens yet, in a way – Henshin has only had one issue out – but the response so far has been really, really positive, and I'm cautiously optimistic that I'll be able to continue making this comic and hopefully people continue to enjoy it. We are trying to bring a little joy to some quite dark times – so download the app, read some comics and hopefully have some fun.” Henshin is available now on the Saturday AM app

saturday-am.com/brunch

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interview: Nathan Warby illustration: K Kamminga

Operatunity Knocks She’s had two books published by HarperCollins, written for international media and was even the regional head of a television channel at the age of 25. It’s fair to say that there are achievers in this world, and then there’s Shreya Sen-Handley. And if that impressive CV wasn’t enough, she’s now become the first Indian and South Asian woman to write a Western, international opera, called Migrations. We catch up with the multitalented writer to find out more... Writer, author, journalist. Nottingham-based Shreya Sen-Handley is undoubtedly skilled with the written word, having penned an award-winning book and enjoyed a prolific career in journalism. Despite her credentials, opera was not necessarily an artform that she would have expected to take on. However, after an email from the iconic Sir David Pountney to an old account, her libretto will feature in Migrations for the Welsh National Opera – making her the first Indian and South Asian woman to write a western, international opera. “I hope it breaks down barriers and opens doors. I want to show other communities, including my own, that opera is for them, it doesn’t have to purely be a posh, white thing,” says Shreya, who credits the WNO for taking steps to improve its diversity. ”Opera is a very universal form of art, but in the past it has always been very exclusive.” As well as being the first Indian woman to write an international opera, she also acknowledges that she is unique locally. “I’ve gathered that there aren’t any other opera writers in Nottingham at the moment, other than Stephen Lowe who I adore,” she explains, “So I’m doing something that is quite individual in the context of my background as well as where I am now.” Shreya has built an impressive catalogue of work during her career, both in India and the UK, from her award-winning book Memoirs of My Body to her collection of unsettling short stories Strange. Her work as a journalist has seen her featured in The Guardian, as well as being the regional head of a television channel in Eastern India at the age of 25. It hasn’t all been smooth sailing though, she overcame a violent first marriage which temporarily brought a halt to her writing. This most recent accolade is the latest in a history of personal and professional triumphs. Breaking new ground has naturally drawn extra attention to her work, but she insists that the potential pressure hasn’t impacted her or the piece. “I didn’t even know I was the first, the press told me after I had written it,” she explains, “South Asia has thousands of years’ worth of tradition when it comes to musical extravaganzas, just look at the Bombay film industry. So, I don’t know if it’s

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because of that, or just the natural rhythm I have when I write, but it actually came fairly naturally.” In spite of being a prolific writer, opera wasn’t something Shreya ever expected to be involved with. “I think I wrote a play when I was in high school, and some poetry that made it into the school magazine, that was the triumph of my poetic career so far,” she laughs, “So opera definitely stood out for how different it was, but I really enjoyed the challenge. I’ve actually got some more opera projects in the pipeline that I can’t talk about!”

Opera is a very universal form of art, but in the past it has always been very exclusive It’s not every day someone of international significance gets in touch with you, especially in an email to a long-forgotten address. “All I ever got on that account was emails from so-called Nigerian princes promising me millions,” Shreya jokes, “Suddenly I have an email from Sir David, a knight for his contribution to the arts, asking me to write something that I’ve never written before.” Although she wasn’t expecting an offer from such a well-known artistic figure, it was her impressive resume that Shreya believes sparked his interest. “I’ve written hundreds of columns and I’m in the middle of writing my third book, but that’s all prose. In that sense, opera stands out for being very different to my usual work,” she explains, “Sir David could have easily gone with an established Indian poet, but I think he wanted a fresh voice who suited the project.” The opera itself, entitled Migrations, which would originally have been opening in October, is a collection of work from six writers of different backgrounds, inspired by the 400th anniversary of the Mayflower crossing over to the ‘New World’. Shreya’s libretto takes place in 1968 and follows Indian doctors within the NHS who have been invited to Britain by then Health Minister Enoch

Powell. It aims to depict the troubles that faced migrants during that particular point in time, but also acknowledge and celebrate the positives that have emerged. “The fact is there is still a lot of discrimination. Sometimes doctors from BME backgrounds are stuck in GP roles rather than moving up to something else. Even during the pandemic, if you look at the number of BME doctors who have died compared to the indigenous population, it’s a much higher number. It suggests that they are the ones who get the frontline jobs regardless of their qualifications. That being said, 72% of the doctors in the NHS in Wales are Indian, people who have settled down and become vital, respected members of their communities. In that sense – it’s a success story.” The subject matter is one of great seriousness, not to mean the show will be without laughs. “It is a black comedy, I want to make people laugh but also keep sensitivities in mind,” she says, “It’s all about balance; you need to have that lighter touch while still making sure that you’re landing your punches. It’s not about shoving things down people’s throats, you want to draw them in and make them feel comfortable. When you’re sharing your life with someone, you’re building a bridge and that is when the message gets through.” Shreya signed off with a message for anyone striving to follow suit, encouraging anyone who wants to pursue written work of any kind to try. “People write in so many different ways and one day you’ll find your niche. I think that writing gives you strength because everything that you’re bottling up comes out and if you’re getting validation from it, it can give you so much self-confidence. You can catch Shreya’s work in Migrations when it opens next year as part of the Welsh National Opera’s 75th birthday, featuring Sir David Pountney, Sarah Woods, Edson Burton & Miles Chambers, Eric Ngalle Charles, Sarah Woods, Shreya Sen-Handley and music composed by Will Todd. shreyasenhandley.com @shreyasenhan

Mental Health: The New Normal It’s good to be back! I feel that somewhere deep down inside, I should have felt lucky to have sustained employment throughout this time of uncertainty and chaos. However, in all honesty I don’t. I am worn out and as fraught as the next person. I am sick of having to regurgitate ever-changing advice that is drip-fed to me on a near daily basis. Some of it makes sense, but with a heavy dose of making it up as you go along.

When I reflect on the journey of those that I support, I have nothing but respect and admiration for their strength in dealing with an extra layer of extreme stress I have worried for loved ones, myself, the world. I am fortunate enough to be mentally quite well currently and have good networks to support me when I’m not. So, when I reflect on the journey of those that I support, I have nothing but respect and admiration for their strength in dealing with an extra layer of extreme stress.

There was an initial surge of people that sought support and advice relating to COVID-19. Thereafter, many people reported a sense of calm. Those with social anxiety said they felt relief that there was no pressure to go out, in fact the government was actively discouraging this. Home shopping delivery was being hailed as the most sensible way to buy food – music to the ears of someone who feels sick at the thought of going out. Many said that they felt less excluded from society, with an increased perception of having a shared experience with the world. This is, however, unlikely to be sustained as we are all encouraged to return to life as best as we can, the ‘new normal.’ I now envisage an overwhelming number of referrals to mental health services as people emerge from this time with grief, trauma and losses. But hope is not lost. New ways of working have been developed and phone/ video consultations are being used for the first time. For many, this technology has provided a physical barrier that has made the first step to seeking help less intimidating and raw. The same help is still available: GP, Insight Healthcare, Let’s Talk Wellbeing, Trent PTS, Samaritans and loads of telephone support lines from charities/selfhelp. So please do not think that you and your mental health are not important, and seek help.

illustration: Liv Auckland

illustration: Leosaysays

food Review: no.12 As the hours turned to days, the days turned to weeks and the weeks turned to months, the prospect of being able to sit in a proper restaurant and eat something that wasn’t home-cooked began to feel like an impossibility. But, as the first few cracks of sunlight began to spill into lockdown life, the mind inevitably started to wander to where that magical first place would be. For a vegetarian and vegan, there was only one choice. It was the place we’d missed the most: No. 12. Obviously things had changed and, after being stuck inside so for long, there was more than a little trepidation. Months of inactivity had inevitably left us feeling like everything was being rushed back to normal. We felt caught between wanting to have an enjoyable experience while supporting a local independent and wondering whether we were being treated like the canary down a coal mine. But within moments of arriving for our pre-booked table, any concerns we had instantly vanished.

The staff were as friendly and helpful as ever, even behind their plastic face visors, and the new dining arrangements were carefully and patiently explained to us. There were fewer tables than usual, and no one would be sitting within two or three metres of us. Pandemic or not, that’s a deal I could happily get used to. As something of a greedy pig, tapas is always a weird experience when it comes to knowing how many dishes to order. Instincts tell me one of everything, but polite society has taught me otherwise. I’ve learnt to ask the waiters/waitresses what the usual deal is, and was delighted when the response came back as “To be honest, a lot of people like to try one of everything.” Excellent, I thought, channeling my inner (and outer) Mr. Creosote. Within two or three mouthfuls I was reminded of just how incredible the food at No.12 is. Everything feels so carefully and lovingly prepared, and the balance of textures and tastes is both sublime and different to any other meat-free food in the city. While it’s hard to pick a favourite from a faultless menu, you can’t go wrong with their Salami & Truffle Verano or Garden Steak #3 (both £6.50). I’m counting the days until it’s time to go again. Jason Edgar 2-3 Eldon Chambers, NG1 2NS no12nottingham.co.uk

food review: roxy ball room Roxy Ball Room has long been a favourite location for a night out. The combination of games, drinks and food makes it perfect for any of the three stages. Pre-drinking? Get warmed up with some beer pong. Staying for the duration? Grab some food and play ping-pong while you wait. After-party? Ease into the comedown with a relaxing game of pool and a final pint or two. As such, we were delighted to be invited back to see how things had changed post-lockdown, and it’s great to say that they’ve adapted faultlessly. Your heart naturally goes out to anyone running a bar during the last six months, but even more so to anyone running a bar whose USP involves touching so much stuff. But from the moment we arrived, everything felt incredibly safe and clean, from the masked staff to the disinfected games tables. What’s more, they’ve managed to ensure your safety without losing any of their atmosphere.

We kicked things off with some cocktails, ordered from their app, which was quick and simple to use. Their Golden Touch (£7.50) was a personal highlight: offering a fresh, sweet take on the classic Old Fashioned. We’re nothing if not competitive here at LeftLion, so a friendly game of ping-pong took a turn for the worst as we browsed the food menu. With the stakes raised to a shot per game lost, my companion channeled her inner Forrest Gump and had me sprawling like a bamboozled octopus. Luckily for me, the app spared me the humiliation of heading to the bar for another tequila after every defeat. Soundly thrashed, I retired to a booth to enjoy the food we had ordered. An extensive bar menu featuring a classic array of burgers, pizza, nachos and wings (with plenty of meat-free alternatives thrown in) fitted the bill perfectly. I went for the BBQ jackfruit pizza (£12), which came fully, loaded with vegan mozzarella, pulled jackfruit, sun blushed tomatoes and spring onions on a tomato base. It was fresh, light and just what was needed to sooth the wounds of defeat. I don’t envy any venue having to adapt to life in the times of COVID, but it’s hard to see how anyone could have done it better than Roxy has. Not only did it feel safe, but they’ve managed to make it so while maintaining the same great ambience they always had. Ashley Carter 1st Floor, 10 Thurland St, NG1 3DR roxyballroom.co.uk

food review:Secret Burger CLub What is the quintessential dirty burger? Close your eyes and picture one. In my mind’s eye it’s the sort of lightly-greasy, sticky, cheesy, properly squidgy burger I imagine Bill and Ted might pick up from a classic Californian drive-thru on their excellent adventure, or perhaps the “Big Kahuna Burger” that piqued Samuel L’s appetite in Pulp Fiction. It’s a fantasy caricature of a burger, dripping juice through the bag held in a clenched fist, with which we’re all so familiar and yet one that’s so hard to find in reality, especially on British soil. Although well-established names in the city are great at piling myriad toppings onto burgers in the name of variety and novelty, it’s Secret Burger Club that delivers the near-fantasy burger.

The West Coast (£7) is the no-faffing-about classic: beef patty, American cheese, onions and pickle and a rate-good slathering of ‘secret sauce’. If you insist on more complex toppings, The Duke (£7.50) won’t let you down, adding stilton cheese, bacon and onion jam to the stack. The Halloumi (in crunchy batter) burger (£7) on offer for veggie visitors is better than most too, and because you’ll want more of the ‘secret sauce’ in and around your face you can get a portion of their excellent and veggie-friendly fries loaded with it for a fiver. All the burgers from a menu featuring regular specials tick the right boxes: squidgy, sticky and tasty-as-hell. Respect to them for using local beef from Clipstone, and searching high and low for the perfect buns (eventually tracked down in neighbouring Leicestershire). Not everyone has honed the skill of proper USstyle burger building as well as Secret Burger Club. While other places keep the crowds coming by heaping on the toppings, too much choice rarely results in the best burger. Leave it to the pros. Keep your peepers on their Instagram for updates on where and when you can get your mitts on one of their bad boys. Alex Traska @secretburgerclub

sweetness refined words: Eve Smallman photo: Lucy Parker

Weaving through the avenues of Sneinton Market, you’ll find an eclectic range of shops that will stimulate your senses for one reason or another. There’s Art of Football, with its multicoloured loud and proud exterior, Blend’s toastie bread, which invites you in with delicious smells from across the street… and Sugarberry Cake Studio: adorned with flowers, glossed with minty pastel, and with tasty goods baked to perfection. Formerly Oozee Boozee Bakes, the studio has rebranded to showcase it can do more than tipply treats. Our Food Editor Eve Smallman chats to owner Fran Jesson to find out more… Sunshine beams through Sneinton Market as it buzzes with punters window shopping and coffee stopping, and when Fran spots me she gives me a big smiley wave. We perch on one of the benches opposite Sugarberry. It’s way too hot to be sitting on the intricate iron chairs outside her bakery today, but I have no doubt that local bloggers, influencers, or the likes of me that like a gorgeous photo for the ‘gram, will be on it very soon. Fran laughs: “When I got the keys to the shop one of the big aims was to make it very Instagrammable and photogenic!” She hasn’t always had her shop – it was only five years ago that she started Oozee Boozee Bakes, whipping up batches of sweet treats in her kitchen on weekends. But she had big hopes for her business and wanted to make her passion project a full-time gig. “My whole mind was bursting with ideas and creativity for it, and I just couldn’t let it go,” she tells me. And what better place than the hub of innovation down the road from her? “I'm sure I'm not the only person who has come around to the Market and wished they could have their dream shop here.” After a stint working at Blend – while supplying them with her cakes, naturally – and keeping her ears to the ground, she finally opened up her own. “Sneinton Market has a wonderful community element to it, and I’m surrounded by other like-minded businesses who are creative in different ways. It's just nice to be surrounded by that energy.” While Oozee Boozee Bakes gave her a unique selling point at the start of her business, the confidence of having her own shop enabled Fran to stand out with her bakes alone. She was also regularly doing none-boozy bakes, so the transition on that end was smooth like buttercream. In January, she decided to undergo the re-brand, completing the finishing touches during lockdown. “Lockdown was very stressful for everybody, but it did start a revival of people wanting to support independents. When people couldn’t physically go to places they really appreciated having that – and

who doesn’t want a friendly face giving them treats?” Fran also started up surprise deliveries for people who wanted to gift their hardworking friends with treats. “I’d be delivering to those on the front line, care workers, people like that. It was really nice to see these gestures of kindness, and to be a part of this little chain. Seeing peoples’ face brighten up was just wonderful,” she tells me, smiling. “Lockdown has allowed me to really reevaluate the business, what I want to do with it, and get the rebrand down to a tee.”

Sneinton Market has a wonderful community element to it, and I’m surrounded by other likeminded businesses who are creative in different ways. It’s just nice to be surrounded by that energy The shop exterior has mostly stayed the same, but the new name has taken a step away from the bottle. “Baking with booze has become a lot more popular since I started, so it’s not that crazy, and I decided I’d like a name that really shows the scope that we do.” She went for ‘Cake Studio’ as opposed to being a ‘Cakery’ to give it a more elegant feel too. “We also do wholesale, so a lot of work with cafes and restaurants, and that name works really nicely in terms of advertising.” Fran also has plans to do wellness bakery workshops in the future, and the name Oozee Boozee didn’t quite sit well with this – after all,

using drinking as a coping mechanism tends to end badly. She says: “They will focus on the therapeutic benefits of baking and cake decorating, and how peaceful it can be. From personal experience, that's what I find from baking.” Something in this resonates with me – I’ve always turned to baking, cooking and eating to focus my mind away from my anxiety. She continues: “It's not about being super technical or being really intricate, the workshops will focus on painting using food colouring, watercolours based on sugar paste, and even make some really beautiful stuff from buttercream. I have done a couple of workshops with residential centres, people who perhaps live in difficult situations like single parents or people with financial difficulties, and it's just about having the eye for it.” If you’re reading this and fancying a slice of something sweet – why should you head down to Sneinton Market to visit Sugarberry Cake Studio? “I wouldn't have got here either five years ago if I wasn’t a good baker. I've had lots of lovely compliments from all over like Nottingham and further afield saying my bakes are the fluffiest and my buttercream is so light. People also come to the shop because they like me, and I love to see and talk to my customers,” she says. “As women, we’re taught to bat away compliments, but I think embracing them and having confidence in what you do is so important. I don't think I’d have this community vibe between me, the market tenants, wholesalers and customers if people didn't love my product, but also didn't love the business and the person behind it, as that is a package.” After chatting about her favourite thing to bake – children’s party cakes and watercolour cakes – she locks up her shop and I walk away feeling as light and bouncy as one of her sponges. The sugarsweet energy that goes into what she bakes and communicates is clearly her unique selling point, and I’m really excited to see how well she’s going to do as Sugarberry Cake Studio. @sugarberrystudio

words: Eileen Pegg photos: Adama Jalloh

Bubbling Up Now in its fifth year, the Gilles Peterson and Brownswood recordings-backed talent discovery scheme Future Bubblers has a long-standing connection to supporting new musical talent here in Nottingham. We caught up with Ella Knight and TONYSPARK, two of the Y5 Bubblers that will follow in the footsteps of many, now household, names that have been through the programme… Future Bubblers has been helping people to ‘bubbleup’ long before it became part of the ‘new normal’. Launching in 2015 with Nottingham as its focus city, it seeks out and mentors the best unsigned musical talent beyond the capital, promoting and motivating artists in the lesser supported cities to aid in creating micro music cultures. Locally, past Future Bubblers include Yazmin Lacey, Three Body, Congi, Snowy, Broadstrokes and Medikul, with other successful names, such as Skinny Pelembe, also coming through the scheme. The no-frills yet supportive formula clearly works, with its reputation only growing with every passing year. Rather than feel intimidated by this, two of its Nottsbased Year 5 Bubblers are excited by the opportunity. Ella Knight is a versatile singer-songwriter and composer who’s just as comfortable laying down vocals on drum & bass tracks (see her collab with fellow Notts artist, Bru-C) as on jazz, soul or hiphop, “It feels great to carry on the legacy - being a few years younger than Yazmin I've always looked up to her as an inspiration,” she says. TONYSPARK is a singer, songwriter, producer, rapper, multiinstrumentalist and part of the LUSTY ARTS collective who, alongside Eddie McCarthy in their band COFFEE CLUB, made a standout appearance at Wigflex City Festival last year. Testament to the community spirit that’s long been known here in Notts, he’s already well-versed with its past alumni, as he explains: “Everyone at Future Bubblers and Brownswood have got really good taste, so they know what they’re looking for. I’ve always been a fan of Gilles Peterson from what he’s done for the music scene in Britain over the years. Shout-out to Snowy, that’s the homie, and to Yazmin Lacey too, everything about her is beautiful.” Mirroring Future Bubblers’ ethos of ‘helping local audiences to discover the hidden musical treasures buried deep in their city’, Nottingham’s connection with the mentoring programme wouldn’t be complete without a mention of Nathaniel Coltraine Wilson - founder and owner of Mimm, and later the rising Nottingham Street Food Club. True to form, TONY credits Nate as

encouraging him to sign up for Y5, something which he’s been responsible for since Future Bubblers first launched, acting as a partner in the early years to help form the local connections from the ground.

Lockdown has shown us that we don’t need major companies and silly record deals, everyone’s been active from the comfort of their own homes. We need more of that “I’ve got a lot of love for him,” TONY says, “He’s selfless, genuinely loves art and is always for the people. He’s a super connector with good taste. These types of platforms [Mimm and Future Bubblers] are important for artists as there are many dope people out there that may not particularly have the confidence or tools to properly execute ideas or visions on their own.” Something that’s different for the 2020 mentees, however, is their introduction to the project. Ella and TONY’s place on the scheme was announced this June - months into lockdown - with a world and music industry in a constant state of flux. Though, as Ella told us, they’d known about the news long before such monumental change happened, “We found out last November, so I've been itching to scream it for so long!” “No one knew how long lockdown would go on for. But that's just life, there are always going to be things in the way, things that will knock you down,” she continues, “there is nothing I or anyone can do anything about it, I just tried to stay positive and think outside the box of how I could continue to progress as an artist.” For TONY, who was on his way to record a Brownswoood Basement Session during our interview, the announcement came at the perfect time, and he’s eager for the connections, collaborations and experience it will bring, “I kind of just went about my business and forgot about it, so when they finally announced it to the public I was excited again myself!” he tells me, “By the middle of the pandemic I was just as lost as everyone else so when they announced that I was like ‘oh yeah!’ I’m just happy to be in with the right kind of people.” Even with her undoubted drive and tenacity, Ella notes the impact that lockdown measures have had on her creativity: “It's been quite nice having loads more free time to create music. Usually I'm so busy juggling jobs while doing a degree, so I have been writing, writing and writing.” “As we’ve been stuck inside it means there has been a lack of things for me to write about. I like to go out,

travel and meet people as it inspires me and gives me things to use in my music.” Alongside some hefty creative sessions, Ella did make an appearance at a live open-air gig in a London park in July, “I think no matter what happens in life if you really love it you will always find alternatives, and that's exactly what I did.” Alongside live music shows switching from latenight sessions to daytime affairs, that’s not been the only topic of focus in the industry over the past few months. As the voices behind Black Lives Matter and other anti-racism organisations grew louder over lockdown, our conversations turned to this in the context of driving inclusivity in music. “I think it needs to start from young. Let's give Black children free studio sessions, let's give them free music lessons, let's educate everyone early. So there is no segregation and stereotyping,” Ella said, “Also, booking more Black acts at festivals, however this won't be changed until there are more people of colour at the top making these decisions. Much music and the culture around it originated from Black people after all, so if everyone kept this mindset and educated one another it wouldn't have to be difficult to make it inclusive.” “I think the conversations being had after all of this are very good,” adds TONY. “There is now space to have the conversations that before would make people feel uncomfortable. Revise the education system, collaborate from the heart, support Blackowned business, support women, support your friends, love is the answer.” When discussing the wider world of music, he continues, “I feel like this whole pandemic has put a huge spanner in the works of the system. I’ve been really enjoying it from the art perspective, everyone has something to say and you can feel it in the music. A lot of people want to go back to the way things were before, but I think it’s time we move on for the better. Lockdown has shown us that we don’t need major companies and silly record deals, everyone’s been active from the comfort of their own homes. We need more of that.” It’s this self-starting spirit that has helped both Ella and TONY get to where they are now, and will only progress them further. Both starting young (nine and six, respectively) these ever-growing artists with a real thirst for creation look set to thrive under the guidance of Future Bubblers’ humble yet knowledgeable network. Both have new music set to be released in the near future - Ella’s will be showcased in her Brownswood Basement set, while TONY’s due to release a year-long body of solo work soon, promising some “straight stank, real funk music” alongside some further “punk shit” from his COFFEE CLUB band. Follow Ella and TONY’s journey online at:

@ellaknight__ @tonysparkz @futurebubblers

Georgie At Home (Album) The release of local legend Georgie’s debut album has always been an exciting prospect, so when it dropped a few weeks ago, imbued with her experiences of lockdown alongside her signature songwriting sincerity, we knew it was destined to be a good’un. And sure enough, At Home is a scintillating and luscious debut, taking us on an emotionally charged journey with pace changes as real as those we have all experienced of late. Cool, joyous and from the heart. Becky Timmins

Fading Blonde Walking Distance (Single)

Jem Woolley Skyscrapers (Album)

Fading Blonde have been playing around Nottingham for a couple of years now, their alt-rock tunes gaining recognition in the local music scene. Latest release Walking Distance features a standout lead guitar accompanying softer vocals reflecting on heartbreak and melancholy. These layers gradually build to the intricate guitar solo which fades to the final echoing lyrics, signifying the agony of love lost. Fading Blonde are anything but fading, and hopefully it won’t be too long until we can see them live again. Molly Dodge-Taylor

Local artist Jem Woolley is a busy musician with his solo work, while also playing with Mighty Lightweights and Edward Stackpoole, but this lockdown release is a belter that deserves your time. Skyscrapers reminds me of the best in seventies experimental synth electronica and has a great 'play and record once only' feel to it. Listen to tracks Night Light, Ghosts and Endurance if you're into the Brian Eno feel. Lockdown just got a little better. Bassey

J Littles Crazy (Single, produced by Claude Money)

Yazmin Lacey I’ll Never Stop Loving You (Cover)

A serene yet empowered backing track acts as a perfect undercurrent for J. Littles’ impassioned lyrics, which provide an emotional, sympathetic testament to the nation’s COVID frontline via classic hip-hop. Jazz-style sax and high-pitched piano keys carry each verse into calm and angelic choruses. With governmental warnings and news bulletins cut into the beginning and end of the beat, Crazy gives a nod to the unprecedented times we’re living through and recognises those laying down their lives for others. Ellis Maddison

With her one-of-a-kind lyricism and timeless performance style, Yazmin Lacey’s reputation as a ‘modern mainstay’ in the contemporary jazz scene has been cemented with an appearance on the upcoming Bluenote Re:imagined collection. Joining Alfa Mist, Jorja Smith and more, Yazmin chose Dodo Greene’s I’ll Never Stop Loving You for her contribution to the future-classic compilation of vintage release reworks. Expect a sharp, bright reimagining that pays respect to the original, delivered by Yazmin’s characteristic tones. Eileen Pegg

If you’re from Nottingham and want to get added to our music writers list, or get your tunes reviewed, hit us up at music@leftlion.co.uk

NUSIC BOX

Your new Notts music tip sheet, as compiled by Nusic’s Sam Nahirny. Want more? Check out the fortnightly podcasts and live sessions on the Nusic website.

Sharp Class Formerly known as Subculture, this lot will drag your ear drums to the centre of the room and have ya bouncing (sorry, dancing) in ways you didn’t know you could. Fierce yet accessible, even your Nan could bop to it in the same way you could mosh to it. And that’s before you talk about leaving the dancefloor, where their mad catchy melodies and guitar licks will be in your head for daaays. You know those songs where you sing the guitar bit? One of them, on steroids. facebook.com/SharpClass

The Crying Violets One of the difficult parts about writing about music is getting across a sound/genre in the written word, but I think we can give TCV a good go. They make really bloody good, soulful pop. Angelic vocals and harmonies, big pop choruses and, while trying to avoid the cliché, it has to be said that there’s more than a few on-point nods to Stevie Nicks. In recent singles we’ve seen everything from the grand type of ballad that wouldn’t sound out of place in a Hollywood romance, and punchy radio pop belters. Diverse. Really good. facebook.com/thecryingviolets leftlion.co.uk/issue129 41

Back in the Day We delve through the archives of LeftLion and Overall There is a Smell of Fried Onions to let you know what was happening in Nottingham on this month many years ago… words: Jared Wilson

Twenty eight years ago From the pages of Overall... magazine... Street Fighter II The seminal fighting game had just been released on the SNES and Johnny Violent decided to forsake techno reviews and spend most of his column deliberating the merits of the game. His favourite characters were Chun Li (“repeatedly press the kick button and marvel as her leg transforms into lightning”) and Blanka (“he must have studied the works of the Marquis de Sade as his moves are surely the most violent and aesthetically pleasing in the game”). He was less impressed by Guile (“hailing from the country that bought us McDonald’s and MC Hammer”) and Dahlsim (“I have completed the game with every character except for him”).

Film Releases Reservoir Dogs (dir. Quentin Tarantino) The Crying Game (dir. Neil Jordan) The Last of the Mohicans (dir. Michael Mann) The Old Vic The venue now known as Das Kino on Fletcher Gate had just re-opened after a refurb which promised “champagne and chandeliers”. Their aim was to showcase the best musicians from around the world in folk, jazz, Cajun, blues and Latin dance. The first artist back on the stage there was John Delafose, the accordionplaying son of a Louisiana sharecropper.

words: George White Following the United States’ abysmal handling of the pandemic, Disney has made Mulan, one of its most-anticipated movies in recent years, available on Disney+ around the globe – for the bargain price of $29.99 (yep, that is over 23 Great British pounds). This marks a dangerous move for the film industry in the UK as more studios could soon follow suit, leaving cinemas without their longstanding ability to show movies before they’re available anywhere else.

Thirteen years ago From the pages of LeftLion Issue 18... Scout Niblett Singer Scout (aka Emma Louise) Niblett was born in the UK and spent her early life in Nottingham. However, by the time we caught up with her she had moved to the States and was working with legendary Nirvana and Pixies producer Steve Albini. “I was always struggling in the UK,” she told us. “I couldn’t get a record deal before I got this deal in America. The music industry in England is different and totally NME-based.” Film Releases The Darjeeling Limited (dir. Wes Anderson) Into The Wild (dir. Sean Penn) Elizabeth: The Golden Age (dir. Shekhar Kapur)

Paul Kaye and Jonathan Glazer Two old uni mates came back to Nottingham twenty years after they graduated at the invitation of the University. Paul Kaye is an actor who had found fame in the midnineties as TV prankster Dennis Pennis and more recently in Game of Thrones. Jonathan Glazer is the acclaimed director of Sexy Beast and Under The Skin, as well as music videos for Radiohead, Blur and Massive Attack. We spoke to them about their eighties Forest Road flat and clubbing at the Garage and the Hippo.

The joy of the cinema trip is at risk of being a thing of the past The move, whether isolated or not, has already triggered a backlash from British movie theatres. The chief executive of the UK Cinema Association told the BBC, “With cinemas across the UK now continuing to re-open and welcome back their customers, the decision by Walt Disney Studios... will be seen by many as hugely disappointing and mistimed,” warning that this trend could damage the future of the country’s cinema industry if it continues.

Eight years ago From the pages of LeftLion Issue 48... Sleaford Mods This was the first time we spoke to Jason and Andy, at a point when pretty much the only people who had heard of them were a few local promoters and record shop owners. “I was in and out of rock bands in Nottingham, but I got sick of the same old guitars,” Jason told us. “One day out of sheer frustration I started ranting over a thrash metal track, which the engineer I was working with turned into a loop. And it sounded good. I felt I'd found my voice.”

Disney has claimed that their decision is a one-off, and will not set a precedent for their films going forward. Yet this announcement follows Universal Studios’ successful digital release of Trolls World Tour back in April, which was downloaded 3-5 million times within the first few weeks. Considering Mulan is a bigger property, and £23 is a bigger rental fee, similar levels of success for this release could quickly change Disney’s mind.

Alan Moore If you know anything about comic books, then the work of Alan Moore needs no introduction. If you don’t, then he is the creator of Watchmen, From Hell, V For Vendetta and The League of Extraordinary Gentlemen, among many, many others. He came to Nottingham to open up an exhibition with his wife Melinda Gebbie and I got to put some questions to him and geek out about meeting a man widely considered to be the best comic book writer who ever lived.

As many people will agree, there is nothing better than watching a brand new blockbuster on the big screen with a room full of other film fanatics. Sadly, though, with the home box office offering a cheaper, simpler and now potentially profitable route of distribution for studios, the joy of the cinema trip is at risk of being a thing of the past. Let’s make sure that doesn’t happen. Support your local theatres if you can – they need you now more than ever.

Film Releases Dredd (dir. Pete Travis) The Master (dir. Paul Thomas Anderson) Looper (dir. Rian Johnson) Fancy a bit more Nottstalgia? If so, head over to read these issues in their entirety online at: leftlion.co.uk/magazine overallmag.com

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BEST OF SEPTEMBER Interview with Henry Normal When: Tuesday 1 September, 7pm Where: Five Leaves Bookshop YouTube channel How much: Free In celebration of his latest poetry collection, The Beauty Within Shadow, the team at Five Leaves pinned down the St Ann’s born poet, Henry Normal, for a pre-recorded interview which will be broadcast on their YouTube channel. The collection, written just before and during lockdown, balances out the darkness and light in our everyday lives. Tune in at 7pm to get involved in the live chat, or simply catch up when you find the time.

Secret Outdoor Cinema When: Throughout September Where: The Magic Garden How much: £9.95 Not only has the Magic Garden (located in the former home of Jamie's Italian) become one of our favourite haunts to frequent as of late, they’ve also been smashing it running Outdoor Cinema nights too, so much so that there’s only a few tickets left for the whole of September. A classic film, popcorn, pick ‘n’ mix and a soft drink for a tenner? Get in there, quicktime.

Boom For Real 001: New Music Showcase When: Wednesday 2 September, 7:30pm Where: Peggy’s Skylight How much: £7 A celebration of Nottingham’s up and coming musical talent including Moneysworth, Rudi and Emily Makis. You’ll be guaranteed a night of exciting, authentic sounds including jazz, hip-hop and funk, with some of the acts debuting new, unreleased material on the night. Don’t forget to pre-book your tickets online to be guaranteed a place.

The Wise Owl Walk When: Tuesday 1 September - Friday 6 November Where: Nottingham City Centre How much: Free The owls are back! A fun day out for the family, set off around the city centre in hunt of the ten wise owls, each of which has been designed by a talented local artist. The goal is to find them all and crack the code to reveal the secret sentence – you’ll be given a map and some hints, but best pack your best detective hat for a little extra luck.

Hockley Hustle presents: Green Hustle When: Saturday 19 September, 10am Where: Online How much: Free

MG Family x Shapes. Rooftop Summer Party When: Monday 21 September, 5pm Where: Alto How much: £13-£17

As sustainable living is an issue more important than ever before, the team behind Hockley Hustle and Nottstopping festival bring you Nottingham’s first digital-only festival on all things green. With segments on everything from community gardens and local-produce delivery services to zero-waste living and sustainable fashion, plus live music and DJs, it’s not one to miss.

Celebrate the last of summer days with a breath-taking view of Nottingham from Alto’s rooftop bar, complemented by electrifying house music. Dance all the way through the sunset while sipping on a tipple from their impressive list of cocktails. Don’t forget to pre-book your tickets in advance to guarantee yourself a spot.

The Sunday Fine Food & Craft Market When: Sunday 6 and Sunday 20 September, 10am Where: The Garage, Chilwell How much: Free but take money to pay for the goods

Nottingham Arboretum Garden Bar and Bandstand When: Finished on Sunday 6 September Where: The Arboretum How much: Free entry

Enjoy a range of food stalls, indulge in a range of drinks and browse the stalls selling bits and bobs including candles, books, pet accessories and much more. Also, the Barton Bros Bar will be stocking an exciting range of beers for you to try - recently they’ve served Black Iris, Brewsters and Thornbridge, perfect for the ale enthusiasts.

As an antidote to the lack of festivals this season, DHP have transformed the Arboretum bandstand into a poppin’ bar and live music extravaganza. Open Friday - Sunday each week, there’s live music and DJs, street food, beer from Camden Town Brewery and more. Your last chance to enjoy it is the weekend beginning 4 September, so get down and have a boogie while you have the chance.

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words: Ashley Carter illustration: Natalie Owen

It was an event that sent shockwaves ringing through the country, and remains the most devastating military defeat the United States had ever suffered against the Native Americans. Not only was the Battle of Little Bighorn one of the most significant moments in the story of America, but the massacre of General George Armstrong Custer and his 7th Cavalry at the hands of Sitting Bull and Crazy Horse remains amongst the most controversial and definitive military actions in U.S. history. And witness to it all was Frank Stratton, a 28-year-old former printer from Nottingham… As the unique events of 25-26 June 1876 began to unfold, Frank Stratton found himself caught between the ironwills of two goliaths of history. The first was a belligerent warmonger and loose cannon, motivated by pride, arrogance and an unquenchable thirst for fame and glory that would ultimately cost him his life. The other couldn’t have differed more: striving for peace at every opportunity, desperate to provide a meaningful life for his people away from the restraints of U.S. Government policy. But as the mid-Summer sun rose on those vast, rolling plains of Montana, the die had already been cast, and the battle between George Armstrong Custer and Sitting Bull was about to reach its bloody, violent conclusion. It’s impossible to imagine what thoughts would have been racing through the mind of 28-year-old Stratton. Born and raised in Nottingham, the former printer had, like so many looking for an escape from the entrenched class system of Europe, ventured to the New World for a fresh beginning. Standing at just over five-and-a-half feet tall, with hazel eyes, brown hair and a fair complexion, you wonder whether it was regret that clouded his thoughts. Regret at ever leaving Nottingham. Regret at enlisting in St. Louis, Missouri less than two years before. Regret at ever putting on the blue uniform of the 7th Cavalry. Regret at following a madman like Custer into that bleak Western wilderness. But it was too late for misgivings. Stratton was part of a war machine that had ruthlessly expanded the American frontier Westward like an unstoppable flood of red, white and blue, establishing forts, farms and towns in what had been Native territory just months before. In 1876, Montana was for all practical, legal and military purposes still Indian Territory, but one small, isolated mountain range would change everything. The Black Hills had become integral to Lakota culture since they were captured from the Cheyenne in 1776. Rising out of the Great Plains like a colossal, cragged onyx, they were subject to an expedition by Custer two years before the events of the Little Bighorn. The discovery of gold meant only one thing and, as prospectors flooded into the region, the U.S. Government became resolute in its decision to acquire the hills one way or another. What followed became known as the Great Sioux War, or the Black Hills War, culminating in a series of legal and military battles, the most infamous of which would take place over two days in June 1876, as General Custer and a force of 750 men of the 7th Cavalry marched deep into Indian Territory. There was nothing extraordinary about Stratton’s nonAmerican roots. A glance at the 7th Cavalry’s roster demonstrates the international make-up of Custer’s force: surnames like Deihle and Schlieper from Germany, O’Brien and Murphy from Ireland, Martino and DeRudio

from Italy, Boren from Sweden. Stratton was even joined by Scott Sterland from Chesterfield in Derbyshire. In fact, only half of the men at Custer’s disposal had been born in the U.S. It wasn’t simply a case of being a fight between white men and Native Americans, either. Custer had thirty Native scouts and interpreters, mostly Arikara, at his disposal, as well as a black interpreter named Isaiah Dorman, who was married to a Sioux woman.

Loading his Springfield carbine, Stratton waited, the afternoon sun beating down onto his face, panic slowly starting to creep into his thoughts. Sitting at the head of this eclectic, multi-national army was a man to whom fame and notoriety were as essential as food and water. With flowing golden ringlets of hair dripping down to his shoulders, topped by a floppy, sombrero-like hat and finished with a brightred neckerchief and flashy buckskin gloves, there was nothing conventional about George Armstrong Custer. Having finished bottom of his class at West Point in 1861, he was spared a life of mediocrity by a Civil War that tore his country asunder. For it was on the fields of some of that war’s bloodiest battles that Custer discovered his true calling. Fighting for the Union at Bull Run, Antietam and Gettysburg, he developed a peerless reputation as a ferociously brave, tactically astute cavalry commander and a born leader of men. As the Civil War reached its bitter conclusion, and attention turned once more toward Westward expansion, he was a national celebrity. It was a role Custer relished, and journalists followed his every move. Despite being against military regulations, he frequently invited press men onto his campaigns, sending them back East armed with favourable reports of daring raids and memorable victories. It’s testament to the importance of the Black Hills that, after an unsuccessful attempt to purchase them from the Sioux, it would be Custer that was chosen to lead the subsequent expedition of federal troops tasked to take the territory by force. Born eight years before Custer, Sitting Bull was known as Jumping Badger in his earlier years, owing to his careful and unhurried nature. It was during a raid to take horses from a camp of Crow warriors that he, aged just fourteen, displayed his bravery by counting coup – the act of touching an enemy with a hand, bow or stick and escaping unharmed – on one of the surprised Crow. He led raiding parties in Red Cloud’s War and continued to

grow as a military and political leader until, at some point between 1866-68, he was made Supreme Chief of the whole Sioux Nation. The U.S. strategy at the time involved persuading tribes, either by policy or by force, onto reservations in which they’d become reliant on government supplies. The Treaty of Fort Laramie saw the creation of the Great Sioux Reservation in 1868, and included ownership of the Black Hills. Many traditional Sioux leaders succumbed to reservation life, so depleted were the buffalo herds which had been hunted to almost extinction by white settlers, that their traditional way of life was almost impossible to sustain without government help. But Sitting Bull refused to be dependent on his wouldbe conquerors. Continuing to live life on the Plains, men, women and children flocked to his camp until it numbered over 10,000 people. Whereas pockets of Native resistance had been easy to pick off and subdue, Sitting Bull was preparing for safety in numbers. Together, they were an enormous, nomadic village, constantly on the move, rendering them almost impossible to capture. By the time Custer and his troops had tracked the moving village West across the Wolf Mountains, it had settled on the banks of a slender river, known to the Sioux as the Greasy Grass. To the men of the 7th Cavalry, it was the Little Bighorn. The sun was only just starting to rise on that Sunday morning of 25 June 1876, and those who were waking up did so in the knowledge that they were part of an encampment larger than any in their lifetime, split into six or seven separate camps, huddled closer together than usual owing to reports of U.S. soldiers in the vicinity. Custer was oblivious to the size of the camp, and suspected somewhere in the region of 800 hostiles – less than 10% of the real number. In a pattern of arrogant behaviour that would ultimately lead to his downfall, he was already making plans for the aftermath of his inevitable victory, with thoughts turned toward how to prevent too many of their number from escaping. Scouting from two-and-a-half miles away, Custer devised a plan to engage noncombatants in the village. By capturing the women, children, elderly and disabled Indians as hostages, he’d force the warriors to surrender and comply with government orders to relocate to reservations. His next mistake came in the separation of his forces into three groups. Of his eleven companies, five remained under his command, three were given to Captain Frederick Benteen, and three went to Major Marcus Reno, including Frank Stratton’s M Company. Half Yellow Face, a Crow scout serving under Custer, warned that it was the

largest Native village he had ever seen, but his caution fell on deaf ears. Custer, it seemed, always knew best. Silenced but not satisfied, Half Yellow Face prophetically remarked to Custer, “You and I are going home today by a road we do not know.” With the size of the village still unknown, it was Reno’s three companies that were first to engage. Fully expecting the enemy to turn and flee, Reno, Stratton and the men of A, G and M companies crossed the Little Bighorn at around 3pm. With his view obscured by trees and brush, he ordered his men to advance blind until, all of a sudden, the full size of the village came into view. Quickly realising that he was inadvertently ordering his men to certain death, he frantically ordered a skirmish line. Frank Stratton did as ordered. Dismounting from his horse and loading his Springfield carbine, Stratton waited, the afternoon sun beating down onto his face, panic slowly starting to creep into his thoughts. Nottingham had never seemed so far away. Suddenly, the order came to fire. Stratton and his fellow troopers discharged several rounds at the village, killing scores of Indians, including several wives and children of Sioux leader Chief Gall. The Native warriors raced out to meet their attackers, and Reno soon found himself overwhelmed and outnumbered 5-to-1. The 7th Cavalry were fighting for a cause that wasn’t their own, whereas the Sioux and Cheyenne were fighting tooth and nail for their very survival, with men, women and children joining the defense. It wasn’t even close. Reno could only hope Custer was faring better. Stratton had survived the early counter-attack, but things were reaching crisis point. Warriors pinned Reno’s men against the banks of the river, setting fire to the brush in an attempt to flush them out. The panic that was doubtlessly paralyzing his men suddenly struck Reno. He gave the order to mount, only to follow it immediately with another order to dismount, and then a third to remount yet again. Looking to his commanding officer for leadership, Stratton could only feel an impending sense of doom. As he choked on the dust, smoke and deafening gunfire, death must have felt like a grim inevitability. Letting out a cry of “All those wish to make their escape follow me!” Reno led his men in a chaotic retreat back across the river, which was constantly disrupted by Cheyenne attacks at close quarter. Stratton was seeing friends drop dead all around him – some to arrow wounds, some to bullets, many to the vicious clubs that they’d all grown to fear. They lived in terror not just of the finality of death, but of the ritual mutilation that followed. Body parts were taken as trophies, and all had heard tales of scalping – the practice of removing part or the entire scalp with hair still attached, often while the victim was still alive. Isaiah Dorman, Custer’s black scout who married a Sioux woman, was found dead with his penis cut off and stuffed in his mouth, his testicles pinned to the ground and his canteen and kettle filled to the brim with his own blood. Almost half of Reno’s men were dead, wounded or missing, but Stratton remained unharmed. The scattered men, depleted and shaken, made their way to the top of a bluff, where they were joined by Captain

Object Walk I guess this was the original Bloody Sunday event. If they had lead pipes and weapons like this, it sounds like it would have been a brutal event. It’s a lot heavier than I expected it to be.

Benteen and his three companies. Due to nothing but sheer luck, their reunion was the only thing that saved Reno, Stratton and the rest of their men from total annihilation. A messenger from Custer arrived, carrying the hastily written note, “Benteen. Come on, Big Village. Be quick, Bring packs. P.S. Bring Packs.” They had heard intense gunfire from the North, but they were in dire circumstances themselves, and in no position to launch another attack, even if it was to help their charismatic leader.

His penis was cut off and stuffed in his mouth, his testicles pinned to the ground and his canteen and kettle filled to the brim with his own blood In the rolling, disjointed Montana plains, confusion reigned supreme, and fighting was constricted to pockets of skirmishes, retreats and counter-attacks. Crests and hills rendered clear lines of sight almost impossible, and it wasn’t until 5pm that D Company were able to move out and attempt to make contact with Custer. Even the ferocity of their earlier fight couldn’t have prepared them for what they were to discover. The precise details of Custer’s fight remain lost to history, as only verbal Native accounts survive which, though useful, are conflicting and often unclear. It wasn’t until June 27, two days after their own battle, that the men under Reno and Benteen’s command would see Custer’s fate for themselves. The darling of the U.S. military and the five companies under his command had been utterly wiped out, without a single survivor. As they approached the site of Custer’s Last Stand, scores of bodies, stripped of their uniforms, ritually mutilated and in various states of decomposition, lay strewn across the battlefield. Custer had two gunshot wounds, one in his left chest and one in his temple. Lakota testimonies would later attest that, in order to avoid being captured, a mortally-wounded Custer had committed suicide at the last, a theory supported by the fact that his body lay unmolested – it was considered taboo to claim trophies from the body of a coward. This final stand had lasted less than an hour, and among the dead were two of Custer’s brothers, his brotherin-law and his nephew. Whereas many facts of the final moments in the life of George Armstrong Custer remain unclear, several accounts agree on one thing: when his body was discovered, his face was locked in a wide-mouthed, maniacal grin. Maybe this was the death he’d been craving his entire life. It was a stunning, unprecedented victory for Sitting Bull and Crazy Horse, who had led much of the fighting on the day. As news eventually made its way East, it brought an abrupt end to the United States’ centenary celebrations. Disbelief gripped the nation, temporarily shattering the notion of Manifest Destiny. It was the news story of the century, with papers lamenting the loss of a true patriot and

martyr in Custer, and stirring levels of anti-Indian sentiment the likes of which had never been seen before. For Sitting Bull and his mighty village, victory was wildly celebrated and short-lived. For all the prestige that came with forcing Custer to make his last stand, Sitting Bull had inadvertently caused a last stand of his own. With game too sparse to support their huge numbers, the Native Americans were forced to separate into smaller groups. The U.S. military response was swift and merciless, and in less than a year the war was over. Sitting Bull escaped to Canada in May 1877, and Crazy Horse surrendered just days later. Four years later, starving and desperate, Sitting Bull returned to the United States to surrender too. The greatest Native leader of them all had been worn down by years of facing odds that would have broken a lesser man. After being moved to the Standing Rock Reservation, he was murdered by police on December 14, 1890. The aptly named Manypenny Commission determined the ownership of the Black Hills in favour of the U.S. Government. Since then, the land has gone on to become the most profitable mine in U.S. history, producing over $1 billion worth of gold and silver. It might seem like another world connected to ours only by films and stories, but the last survivor of the Little Bighorn saw the end of World War II, and a 1951 legal battle over true ownership of the Black Hills ruled that the Sioux were owed compensation. The money they were offered was refused, and the legal case rumbles on to this day. The events of the Little Bighorn shaped legacies. Custer and his famous last stand may have been remembered heroically at the time, but history has rightly condemned him as an arrogant, over-confident glory-hunter who blindly led his men to their deaths. Sitting Bull, conversely, is remembered as the man who never sought war but, once it arrived, seized the opportunity for a victory that made him immortal. And what of Frank Stratton, the former printer from Nottingham turned trooper in the 7th Cavalry? Miraculously, he escaped the Little Bighorn uninjured, but the brutality of what he survived clearly left its mark in other ways. Soon after the battle, he deserted from Fort Abraham Lincoln. He’d seen enough of fighting, enough of dying and enough of what men could do to one-another in the name of greed. Unfortunately for us, that’s where Stratton’s story ends. Men matching his name and rough age appear in several places; perhaps he’s the Frank Stratton who was peacefully breeding horses in Iowa in 1906, the Frank Stratton that left for Canada, dying peacefully in Ontario in 1934, or maybe even the Frank Stratton that returned to live in Britain, disillusioned by life in the United States. From humble beginnings as a printer in Nottingham, Frank Stratton walked amongst giants of history, living through the most infamous event in the story of America. He witnessed the mighty village of Sitting Bull, fought off countless charges from Crazy Horse and saw the mangled corpses of Custer and the men who died by his side. And what’s more, he survived.

We’ve teamed up with the National Justice Museum to put objects from the past into the hands of people of the present. This month, we took a bludgeon used during the 1887 Trafalgar Square protests – also known as Bloody Sunday – to Josh Osoro Pickering of the Nottingham Castle Trust. The events took place on 13 November 1887, when marchers protesting about unemployment and coercion in Ireland clashed with Metropolitan Police and the British Army, ending in three deaths and a further 150 people being hospitalised. The bludgeon, which was used by the protestors, was presumably seized by the police, as the plaque inscription reads: “Presented… The Irish Civil Police. For future use to squelch all malcontents who dare to hold meetings and thus bore us with their famine and other grievances”

It’s almost phallic – this dominating, masculine tool. It’s very primitive too – the classic image we have of people from the beginning of time involves them holding clubs like this.

There’s weariness with holding what could be deemed a deadly weapon which, as a young man growing up and dealing with the police, I always knew never to do.

I actually feel quite moved by it, especially because you still see weapons being used against protestors today. The inscription is unapologetically horrible – it’s been taken from the people to use against them.

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