a Preview of this years
I Am Joy Festival
In association with I Am Joy and The Joy Gallery
JUNE 2009 Pilot Issue
the joy magazine
New Writing, Art and Culture in Chichester and beyond
PLUS FREE PULL-OUT POSTER
CREATIVE WRITING INCLUDING
HUGH DUNKERLEY
THE CHICHESTER WRITING FESTIVAL
Mike Stout
illustrated interview
CHICHESTER UNIVERSITY FINE ART DEGREE SHOW
music
The Gods of Post Rock Collide the mummers
i am joy you are joy we are joy spread the word spread the joy
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Judges PA I chaired N T I N G Sby , DGavin R A W I Turk NGS
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24 JULy 31 JULy
31 JULy
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dEAdLINE NOw ExTENdEd R E G I S T E R O N L I N E N O W & S U B9M IT Y OUR North Pallant PALLANT PA I N T I N G S , D R A W I N G S & O R I G I N A LChichester PRINTS
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The Joy Magazine Pilot Issue June 2009
JOY
Illustration Joe Worthington Balloonhead Man
Hello! Welcome to the first page of the Joy Magazine. If you’re new to Joy, don’t despair, this first issue is a means of introduction: a big happy grin, a flying-wombat monkey in your hands! THE JOY MAGAZINE is a new publication for Chichester showcasing established and upcoming creative talent of ALL AGES, including: Creative writers, artists and art critics, musicians, performers, social commentators, comedians, historians, cartoonists and illustrators.
The aim of the magazine is to promote and encourage such talent, furthering an awareness of Chichester’s growing arts scene and cultural vibrancy. At its heart the magazine will endorse and support the activities and events of the I Am Joy arts collective, including The Joy Gallery and the I Am Joy Festival. It will also embrace all aspects of the creative arts in Chichester and beyond, from schools to universities to art groups and galleries.
CONTENTS
Chichester: City of the Arts Neil Lawson Baker 5 Mike Stout Illustrated Interview Joe Worthington 6 Chichester Writing Festival 2009 A Review by Helen J Beal 8 Poetry: What is it to you? Stella Mandella 10 This is The Joy Gallery Joe Worthington and Oli Baker 12 Hugh Dunkerley Tongues and Strings 14 Poetry Illustrated by Mike Stout 15 If A Picture Tells A Thousand Words Mark Wigan 16 Interview with I Am Joy Chris Soul 18 Poetry Victoria Bantock, Ruth Warner, Laura Barton and Maik 26 Poetry This Is Art University of Chichester degree show 28 The World on your Doorstep Allis Moss 30 The Gods of Post Rock Collide Chris Chapman interview with Pete Lambrou 32 The Open Ticket: From The Fountain to Later Mark Horwood 33 Oxmarket Round up Gill Collins 34 Express Yourself Youth visit to Pallant House 35 The Dead House Short story by Sarah Jones 36 Unemployed Actually Monty Cantsin 38
It has been a monumental upheaval to do something like this in a recession and a lot is owed to all who have supported, contributed and helped fund such a project (now referred to as ‘the troll’!) Chichester is striving to become the City of the Arts, but it is already demonstrating and warranting that label. The I Am Joy collective (including the I Am Joy Festival, The Joy Gallery and now the magazine) consists of volunteers passionate to create opportunity and to nurture creative talent in even the hardest of times... So get involved, you’ll be mad not to!
I Am Joy You Are Joy We Are Joy
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MAGAZINE TEAM I Am Joy Management Joe Worthington, Chris Chapman and Oli Baker Chief Editor Chris Soul Design/ Editorial Cat Gillison Creative Writing Editorial Olivia Stevens, Andrew Bailey and Chris Soul Art Review Joe and Sam Worthington Cultural Review/ Music Chris Chapman and Cat Gillison Community Matt Redman and Cat Gillison Photography Maria-Aurelia Riese, Matt Redman, Christoph ‘Toff’ Rigert and Jordan Ring Illustrators Mike Stout, Joe and Sam Worthington, Jenny Lewis, Lawrence Elliott, Matt Redman and Chris Soul Advertising Robert Palmer, Katie Lewis and Chris Soul
SUBMISSION GUIDELINES Creative writing Short stories, travel writing and experimental writing: Max 1000 words. Word document. Poetry: no more than 40 lines. Include images if necessary. Art, Culture, Community, Comment No more than 1000 words. Word doc. Include images if necessary. Illustrations, Cartoons, Photography Send high resolution images as JPEG attachments. Send all submissions to thejoymagazine@googlemail.com
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Exquitite Corpse illustrations by Joy Magazine team
ACKNOWLEDGEMENTS All of the magazine team above are amazing! Thanks have to go to Joe Worthington for allowing ‘the troll’ to be born from a mad proposal by the editor! Thanks to Matt, Oli and Chris C! All the contributors for submitting lots of brilliant material. Massive thanks to Gemma Finlay and the District Council for help with funding. Thanks to Olivia for invaluable advice. Thanks to Amanda at that coffee house! But a massive acknowledgement must go to Cat Gillison (yes you!) who, despite writing this before going to print, I know has done an absolutely amazing job on the magazine’s design and layout. She deserves big cheers and hugs! CHRIS SOUL, CHIEF WOMBAT
CONTACTS
I Am Joy website www.iamjoy.co.uk
Information on forthcoming events, the I Am Joy Festival, The Joy Gallery plus links to Joy’s Facebook and MySpace pages Magazine Submissions/Feedback thejoymagazine@googlemail.com Details of submission guidelines opposite Advertising please email enquiries to thejoymagazine@googlemail.com The Joy Gallery 18 Southgate, Chichester, West Sussex PO19 1ES Pop in! Right now! I Am Joy email iamjoy2007@googlemail.com
CHIEF EDITOR PLEA!
Have you seen my blue book of draft poetry and plays? It has my name in it: Chris Soul but I have lost it! Please contact the Joy Magazine if anyone has found it.
The Joy Magazine Issue One June 2009
Peak time viewing and a recent one hour programme on TV’s Channel 4 on BIG ART showed incredible enthusiasm in seven UK towns and cities where the local people were fired up to see Public Art make their environment nationally and internationally famous. This was the very powerful message, today’s way of drawing visitors in to make the local economy thrive and uniquely transformed through the arts. Wilfred Cass and his fabulous Cass Foundation at Goodwood were introduced by “This is probably the most important sculpture park in Europe and certainly the best kept secret”. Chichester was not even mentioned!!
ART
The good news is that we are NOT being left behind but we desperately do need to get out there and publicly proclaim what we are and what we have. CHICHESTER: THE CITY OF THE ARTS and why not? We have The Cass Foundation, the most amazing collection of British Sculpture 5 minutes from the centre of Chichester. Pallant House Gallery with one of the finest collections of Modern British Art in the world. The Festival Theatre one of the finest theatres outside London. Chichester Cathedral a strong backbone to all of our arts facilities and offering the new commission for a work of art which must survive a thousand years, probably the most important art commission in the UK for many years. West Dean is hailed as one of the finest post graduate arts institutions in the world and in the grounds next door The Weald and Downland Museum one of the world’s best working museums. Chichester University is reaching great heights in many fields and the art at the recent degree show was fabulous, giving their students a superb start to careers in the art world. Chichester College too is very strong musically and has a lovely campus. Chichester also has the annual Chichester Festivities for 2 weeks in late June and early July with a host of activities every year...
chichester city of the arts What if we could have a contemporary statement in the centre of our city: a major sculpture? Why can’t we? If other city centres nationwide are all talking so much about it and drawing in visitors why are we being left behind?
Chichester’s best kept secrets By Neil Lawson Baker
Roots Around The World also brings music from numerous nationalities to our city and its surrounding villages. I AM JOY produces its own festival and THE JOY GALLERY has at last given us young contemporary art within our main shopping streets... Need I go on... Chichester definitely is THE CITY OF THE ARTS Don’t you think it is about time we made it official! Neil Lawson Baker is a Chichester and London based painter, sculptor and artist. He is also the Chairman of Chichester’s National Open Art Competition.
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Photomontage courtesy of Toff
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CREATIVE WRITING
The Joy Magazine Pilot Issue June 2009
CHICHESTER
WRITING
FESTIVAL
Kate Mosse in interview with Ian Rankin, Chichester Writing Festival 2009
Greg Mosse (far left) leading a panel discussion at the Chichester Writing Festival 2009
2009
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In 2006 I was living in West London, my mind wavering at a fork in the road. Should I continue climbing up the corporate ladder I had been steadily ascending for the past decade, or could I pursue my dream of being a writer, specifically a novelist? I had embarked upon many novels for as far back as I could remember but none of them had blossomed and so at this point writing was not really much more than a bit of a hobby on a quiet evening in the company of a glass of wine. A friend recommended a book to me; Labyrinth by Kate Mosse. On the back page of the book, I saw that Kate had a website which I duly visited to discover that she and her husband, Greg, offered creative writing courses in Sussex not far from where my parents lived. Seeing an opportunity to combine a weekend out of the big smoke with a couple of evenings with my folks and some consideration of the possibility of my capability of a writer, I signed up. I had lived in West Sussex (Crawley and Turners Hill) from the ages of six to sixteen and during the weekend of the creative writing course in the stunning surroundings of West Dean College, I fell deeply back in love with the county. I went back to work on the Monday dreaming of the Downs and the coast and with a creeping realisation that I was never going to make this novel thing happen if I continued with the apparently endless circuit of nights on the piss in Town. In December 2007 I moved into the centre of Chichester, having realised that a house right on the beach, although romantic, was too isolating a prospect and that this city is a thriving, compact bastion of creativity and beauty. I have not been disappointed. I have discovered Pallant House, the Joy Gallery, Oxmarket, the Festival Theatre, West
CREATIVE WRITING
The Joy Magazine Pilot Issue June 2009
articulate. Most were aspiring to be professional writers, others massive readers curious to see how these book things come about. It was a kind of bliss to be able to talk about words, ideas, lives continuously for the next two days.
Writing is a solitary task and yet what struck me most at the Festival was the collaborative and extremely generous nature of the souls involved.
We talked about our writing and how we arranged our day jobs and personal lives around our creative compulsions. We considered the dichotomy of our humility versus the need to believe in the marvel of our own selves in order to have the confidence to try. We shared details of who had helped us and we made earnest recommendations. We discussed the integrity of what we wanted to achieve, who we admired, what we disagreed on.
Wittering and Kingley Vale. And I have written half of what I consider my first ‘proper’ novel. And I can see how I will finish it.
All of these conversations were inspired and driven by the sessions that the Festival directors had organised. An astounding collection of novelists, screenwriters, teachers, biographers, agents, editors and publishers shared their wisdom and experience in a series of panels.
So when I heard about the Chichester Writing Festival, again in West Dean with the Mosses, I enrolled online instantly. As details of the line up emerged, so my excitement heightened. This was nothing though in comparison to how overwhelmed I felt at the end of the Festival weekend by the sheer prodigiousness of the talent that the event had attracted – within both the published on the panels and us, the great unpublished, in the audience. Writing is a solitary task and yet what struck me most at the Festival was the collaborative and extremely generous nature of the souls involved. And also how much they like to laugh.
Julie Walters signing copies of her autobiography at the Chichester Writing Festival 2009
The Festival began with lunch on the Friday and I was delighted to bump into familiar faces from the course I had attended over two years previously. And there were new faces too; every one of them bright, funny,
William Nicholson had us in fits of laughter about how his new novel The Secret Intensity of Everyday Life, available in May, was intended to be set in the floods in Lewes several years ago and yet he discovered that, opening the novel several months before the event, half of it was suddenly written over the course of just three elapsed days leaving the floods far away on a distant horizon. Adele Parks charmed us with her stories of wagging off school, pretending to be ill, and escaping into a world of reading. RJ Ellory encouraged us with his tenacity; twenty-three novels written and yet only six published; but to steadily increasing acclaim. Sam North (who runs the MA in Creative Writing at Portsmouth University) entertained us with the story of how, on completing his first novel, he passed it to his mother for review, who promptly mislaid it, permanently. After each day’s sessions, Kate Mosse interviewed a giant of the creative world in the Sussex Barn; on the Friday, Julie Walters; on the Saturday, Ian Rankin and my personal favourite on Sunday, Sandi Toksvig. Waterstones in Chichester had very helpfully set up a bookshop in the Dairy so that we could acquire the works of the writers we had listened to and talked with and have them sign their books. By teatime Sunday my brain was blown away, fused by the intensity of everything I had heard, thought, felt and at five o’clock I was laid out on a bench at West Wittering, watching the sun lowering itself in the sky, trying to reorder my mind, listening just to the sweet, simple sound of the waves. A Review by Helen J Beal
Images courtesy of West Dean College
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POETRY
Along with poetry’s formal traditions, what pleases or offends the ear; fires, heals, or breaks the heart, is for each individual to divine
POETRY
Although ‘poetry’ now refers to a specific area of the creative arts rather than to all creative makings, including music, dance, drama and visual art too, as it used to long ago - for me - it encompasses the lyric and the epigram; the greetings card verse and the best-selling anthology; the blush-ably secret pursuit and the brazen rant; the minstrel John Hegley and the rapper Eminem; and remains a most extensive and diverse field. What does it mean to you? Is poetry the stuff of a barely remembered schoolroom, or do you seek it week by week in the library, the bookshop, and the listings? If you write it, is it your therapy, your puzzle, or your light relief? Do you declaim and distribute it every chance, or is it your secret guilty pleasure? I recently met a woman who told me none of her friends, colleagues, or acquaintances were poets; said she’d never even met one before, and demanded to know why I practised such an unpopular and anachronistic
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Stella Mandella One Thousand Plateauxs
WHAT’S IT TO YOU?
Stella Mandella
The Joy Magazine Pilot Issue June 2009
art. It seems to me - on the contrary - that poetry is not only popular, contemporary, and widely practised, but, with numerous courses; journals; groups; competitions; one-off and regular poetry events all either established or sprouting, poetry is fast expanding. Locally, for example, Senior Arts & Cultural Development Officer at Portsmouth City Council, Laura Weston allocated funding for a series of ‘Lost Hour’ cultural events for the clock-forwarding night last month, involving a ‘Poetry Magic Bus’ and an event I co-coordinated with Gunwharf Quays’ events manager John Sackett: a trail leading to poetry readings on Milton Common, Portsmouth, under a designated ‘Poet Tree’ with the tying of 60 ‘poem leaves’ to its branches, 1 for each lost minute. Despite hailstones earlier in the day, 25 people showed up to punch beams of torchlight into a freezing, sea-windy, post-sundown hour that was to be light (and warmer) the next day - all for the sake of (the) poetry. (Poet Tree?) During the following 23 hours before the ‘leaves’ (we’d left) were removed, hardly a dog-walker, jogger, stroller or cyclist could pass without stopping to read a poem or several or many. Laura, John, and I, are all planning more of the same.
POETRY
The Joy Magazine Pilot Issue June 2009
Illustration Laurence Elliott
Where, while one poet declares, ‘This is poetry - my rules!’ another replies, ‘But what about this?’ and yet another asks, ‘I think this is poetry - is it?’
Keyboard Choreography
They dance in the castles we build in the air, The dancers that dance to be heard and not seen, And dance in our hearts and we need dancers there To remind us hearts beat and what those beats mean And dance till the beat and the dance make one sound, The dancers that dance to be heard and not seen. They pound on the bars every day the years round That stretch black and white between practice and skill And dance till the beat and the dance make one sound. Wired as cats to each movement, wired to hold still, Piano and forte their steps stay the course: That stretch; black and white; between practice and skill. Since what comes from love will return to the source They open our chambers with ivory keys: Piano and forte their steps stay the course. The ten dancing fingers that nobody sees, They dance in the castles we build in the air, They unlock our chambers with ivory keys And dance in our hearts. And we need dancers there.
Stella Mandella
In Portsmouth, the poetry and music performance evening Tongues & Grooves has run monthly for almost 6 years and goes from strength to strength. One of Tongues & Grooves’ inspirations was Chichester’s kindred Tongues & Strings (I recently heard a poet say of Tongues & Strings, ‘sounds dangerous’) which has been running years longer. Similar nights - Havant’s Versed Friday and Petersfield’s Write Angle - are relatively new, but Write Angle’s already bagged an entertainment award and branched into an additional venue. All these events attract plenty special guests and open mic performers from the neophyte to the professional. A spanking new monthly Portsmouth poetry and music night opens this summer. Where one poet might read with an attitude of confident superiority knowing her or his poems have won prestigious prizes and publications administrated by intellectuals and academics who also happen to be famous poets (although, as poet Lemn Sissay says, ‘famous’ and ‘poet’ are oxymorons) and the next might captivatingly and articulately recite, script-naked, a batch of poems nobody’s ever thought worth a print. Not even the poet. That is, where poets from the ‘page poet’ to the ‘stage poet’ and those with every performance style in between and adjacent, might deliver their version of poetry, unified by one venue, one audience, one spotlight. Where, while one poet declares, ‘This is poetry - my rules!’ another replies, ‘But what about this?’ and yet another asks: ‘I think this is poetry - is it?’ all applauded, but possibly perceived differently according to the specialised context of the event. That a boundary to one is a springboard to another is as true of poetry organisations as it is of poets. Tongues & Grooves publicises a wish to promote ‘the quiet voice’, for example, whereas Write Angle’s manifesto is to ‘provide as much entertainment as possible’ - although both the ‘quiet-voiced’ poet and the ‘entertaining’ poet might successfully appear at either setting. The modern definition of poetry is a never-ending work in progress, belonging to the living - existing, as it ever did, in the now, playing out at retreats; at slams; in periodicals; in anthologies; and at locations - near you. To speak of poetry’s variety isn’t to say ‘anything goes’, but although I’ve studied and practised poetry for many years, when working as a poetry workshop facilitator I repeatedly see wonderful poems produced by children with no previous poetry tutoring or writing experience whatsoever. Along with poetry’s formal traditions, what pleases or offends the ear; fires, heals, or breaks the heart, is for each individual to divine and possibly even defend. But personal preferences aside: to me, poetry’s something potent, dynamic, and golden - innately within us, and for us, all. (Including the woman who argued she’d never met a poet.) So - what is poetry to you? Stella Mandella www.stellamandella.com
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Joe Worthington Joy Angel
(opposite) The Joy Gallery opening night, December 2008 Photo by Matt
ART
the joy gallery
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The Joy Magazine Pilot Issue June 2009
this is...
A space. A Shop. A place of Art fuelled perplexity. A epicentre. A very hot place in the sun. Possibly the most interesting and inspiring thing to be seen in Chichester for a long time. A shopper stopper. Next to Argus. Lovely to strangers. Perfect for exhibitions. A location to advertise events. A community. Full with rousing skill and triumph. In Chichester. Run by Oliver Baker and Joe Worthington. A platform for young artists. An expanding realm of possibilities. Atmospheric to the point where you get comfortable and don’t want to leave. An offspring from the I Am Joy Arts Festival. We are trying to work towards an ideal
The Joy Magazine Pilot Issue June 2009
Photographs (clockwise from above) Mike Stout Exhibiton Private View by Matt Redman The Joy Gallery by Toff Becky Rose Exhibition by Toff Mike Stout setting up his exhibition by Matt Redman
for an outlet in the centre concerned with freedom and creativity. Designed to provide contemporary art to the people of Chichester. An H.Q. Exciting and invigorating. Home to artists such as Catherine Barnes, Mike Stout, Robert Olliver-Jones, Joseph Loughborough, Hannah Clear and Laurence Elliott. Is free to enter and enjoy. Made out of brick and mortar, plaster and paint. Sells hand crafted T-shirts and jewellery. Available for hire. Situated on South Street some 200 yards north of the train station. Green on the outside and white on the inside. Multifaceted. Abrasion to the norm. Looked at strangely by people who have not noticed before. Cabbages and parsnips are better than carrots. And don’t forget to brush your teeth kids. Now 6 months old. Befriending everyone and no-one as it is a building. Using Facebook, join our group to be kept in the know of upcoming exhibitions and events. A place to network and GET INVOLVED.
ART
POETRY
TONGUES AND STRINGS
The Joy Magazine Pilot Issue June 2009
POETRY...POET TREE!
by Hugo Dunkerley
Tongues and Strings started life in 2000 as part of the Chichester Fringe Festival. Dave Swann and I were asked to put on two nights of readings of local writers at Waterstone’s café. We asked staff and students from what was then the university college to read. We also had music. We were a little concerned that very few people would turn up. On the two nights the place was packed out. People then asked us when the next event would be, so we looked around for a larger venue. After that we began to put on events every month, first at a cellar bar. Changing circumstances meant we moved to the Oxmarket arts centre, then to The George and Dragon in North Street. We now have a home at La Havana in Little London. Throughout the nine years of its existence, the ethos of Tongues and Strings has remained the same – to provide a platform for local writers, musicians and performers. We don’t select work, lay down any guidelines or edit any work. We only ask anyone who wants to perform to let us know in advance so that we can make up a running list. Weird highlights have included a selection of pieces from light opera followed immediately by punk band The Shags. We also sometimes invite published writers to perform. These have included Brendan Cleary, Maggie Sawkins, Stephanie Norgate and Alison MacLeod. In addition to this, we have published two anthologies of work by performers at Tongues and Strings, Mouth Ogres and Dreaming Beasts, both of which are available to buy. 14
LAVANT
All winter the river seethed, a dark tonnage of water sliding through the city, could hardly contain itself, spilled out onto the streets quickly gagging the drains, then boiling up half a mile away. Nothing, it seemed, could live in that flow, the underwater avalanche of stones, branches, abandoned trolleys, an enormity of water that could only be tamed by pumping millions of gallons away from the fragile culverts the city sat on. But now this: rumours of a small translucent smelt inhabiting the summer waters, thousands of salt-water ghosts nosing into the flow, migrating under the city, emerging into the clear, slow upper reaches of the reborn river. Hugh Dunkerley West Sussex Poet Laureate since 2000 Senior Lecturer at the University of Chichester We are now looking to relaunch Tongues and Strings in the autumn with a new season. If you are interested in performing poetry, short stories, music, comedy or just getting involved, do get in touch. Our website is www.tonguesandstrings.org.uk. You can contact us by e-mailing H.Dunkerley@chi.ac.uk or ringing 01243 816186
The Joy Magazine Pilot Issue June 2009
POETRY
ILLUSTRATIONS BY MIKE STOUT Andrew Donaldson is currently applying for an MA in Creative Writing Bob Emms is 17 and studying at Chichester College. He has always wanted to be in print
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ART
The Joy Magazine Pilot Issue June 2009
street style.
The work is anthropology a go-go, pictograms and snatches of babble and chat and painstaking diagrams of classification. There is a commitment to intuition, graphic directness, spontaneity and the power of the imagination; the approach is multi-medial, interdisciplinary and experimental. His paintings feature teeming flat totemic schematised figures, electronic incubuses, hybrid creatures, boss eyes, wiggy antennae, ideograms and urban biomorphs forming intricate maps and psychic patterns drawn from Wigan’s kaleidoscopic automatic encyclopaedia .The paintings and drawings and animations are
Warhol endorsed Wigans four floor high mural at the London Limelight club describing it as HOT! urban, social and cultural hieroglyphs, a visual anthem for the 21st century, Hieronymus Bosch meets Walt Disney in Dreamtime. The work arises partly from an intuitive journey into the collective unconscious and partly from observation and suffusion of global subterranean night-club and media culture and links with remote times and a mnemonic reservoir of symbolic otherness. He is the ultimate nightclub artist as The Independent commented, “He paints pictures of nightclubs and nightclub people and is commissioned to decorate nightclubs with similar scenes. He also runs nightclubs and likes to relax in… nightclubs”. Wigan is named after the legendary Wigan Casino Soul Club he frequented in the 1970s, the epicentre of the Northern Soul scene, big baggy trousers
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Mark Wigan Urban art pioneer, illustrator, educator and writer
IF A PICTURE TELLS A THOUSAND
WORDS and some spectacular acrobatic dancing. In 1985 NME stated that, “Paris had Toulouse Lautrec, London’s got Wigan, that’s the nom de nib of Mr Mark Williams an artist whose poser packed drawings immortalise the murky menagerie of late night London hipsterdom”. Journalist Keith Watson wrote, “Looking at these pictures is like walking into a room with a ghetto blaster cranked up high”. During 1988s Acid House Summer of Love Wigan’s artwork was everywhere from the walls of Kensington Market, The Scala Cinema, The Astoria, The Royal College of Art bar, record sleeves for Frankie Bones and A Guy Called Gerald to Mantronix music videos, flyers, T-shirts and zines to murals at seminal underground nightclubs including P. Picasso in Tokyo, Buddha in Nagoya and The Brain Club in London. He has co-produced a number of London clubs fusing art ,music and fashion including The Brain club, LoveRanch, Merry England, Blow Up, the IT Bar and Wang Dang Do. When the going gets tough the tough make biting and satirical graphic art and Wigan’s black and white pen and ink illustrations chronicled demonstrations, riots, gigs, club and street culture during the early 1980s recession. Philip Hoare wrote, “Wigan observes Britain in recession where an alternative economy of warehouse parties and market stalls provide work for the dispossessed,
Image courtesy of Mark Wigan
Urban Art pioneer, illustrator, educator and writer Mark Wigan first gained recognition for his meticulous illustrations for NME and I-D Magazine in the early 1980s. Wigan has been described by London Weekend Television as Britain’s foremost Pop Artist. He has exhibited his paintings with Miles Davis and John Lennon in Japan and was commissioned by Andy Warhol to paint murals in New York in 1986. Warhol endorsed Wigan’s four floor high mural at the London Limelight club describing it as HOT! recommending him to paint the New York Limelight club and introducing him to Keith Haring and New York’s East Village and SOHO art, music and club scenes. A compulsive archivist and prolific graphic artist Wigan’s illustrations and paintings have chronicled and celebrated club culture around the world since the 1980s. Wigan has a progressive approach to illustration and works internationally in a broad range of media and contexts. His work has evolved into a multi-media archive chronicling the changing worlds of club culture and
The Joy Magazine Pilot Issue June 2009
ART
its not all despondency, however and the humour in Wigan’s work comes through”. The Face magazine commented that Wigan’s reportage observations “revitalise more stoic forms of social realism with a neon bright parade of semi fictitious cult classics, snap crackle and popping their way through the heated hordes of clubland”. Alix Sharkey writing in The Independent noted, “Some of the early works from the 1985 London Subterraneans series are now revealed as astonishingly accurate maps, showing the development of attitudes, hairstyles, clothing and interests that defined a sub-culture. If a picture tells a thousand words, Wigan’s drawings are worth an entire library of professorial works on pop culture”.
Images courtesy of Mark Wigan
Wigans black and white pen and ink illustrations chronicled demonstrations, riots, gigs, club and street culture during the early 1980s recession.
Many of his projects take place in Japan where he achieved celebrity status appearing in TV commercials that he art directed for Parco and on NHK and FUJI TV shows including Genki TV Beat Takeshis show which Wigan created the sets for in 1988. Wigan also painted live on TV created installations and launched his own branded merchandise shops across Japan selling his beach towels, pyjamas, futon covers and T-shirts, featuring the characters that populate Wigan’s psychosymbolic world such as the one-eyed, semiamorphous Bubble Man and the insanely grinning W Man. His drawings and paintings are now held in private and public collections worldwide and he has exhibited at The Circulo des Bellas Artes Madrid, Stackhouse New York, ICA, Victoria and Albert Museum, Hunt Jennings Gallery, Selfridges Ultralounge, Brick Lane Gallery, Submarine Gallery, Smiths Gallery London, PPQ Gallery with Gary Hume, Gallery Blanche and the Pompidou Centre Paris, Spiral Hall, Laforet and Parco Gallery Tokyo, Picasso Museum Hakone Japan. Since 1993 Wigan has lectured on Illustration and Graphic Design at leading art and design institutions worldwide and led the BA Hons and MA Illustration courses at Camberwell College of Arts and BA Hons Graphic Design at the University of Salford. He has written a series of five books on illustration for AVA Publishing-Basics Illustration Thinking Visually, Sequential Images, Text and Image, Global Contexts and The Visual Dictionary of Illustration. The books feature historical, contextual and practical information on contemporary illustration and artwork and insights by the world’s leading illustrators. Mark Wigan continues to lecture about the Graphic Arts at colleges and universities around the UK and also runs his own Independent Academy of Illustration offering short courses in all aspects of illustration from narrative and sequential, for example children’s book illustration, graphic novels, comics, zines and book arts to animation, editorial, music industry, fashion and advertising illustration. Short courses are now available in London, Brighton and in Chichester contact The Mark Wigan Academy of Illustration via markwigan@hotmail.com
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ARTS
The Joy Magazine Pilot Issue June 2009
Joe Worthington, Chris Chapman and Oli Baker An interview took place at I Am Joy HQ, Chichester, with I Am Joy gurus: Joe Worthington, Chris Chapman and Oli Baker. For about an hour a fantastic interview took place, until Chris Soul (editor) was met with wide eyed stares after the record button had not been pressed. The interview picks up on Take 2, with teas stirred indignantly in the background. This is Joy... Joe Worthington Is it recording? Chris Chapman We have been talking for about an hour and it’s all gone! (Nervous laughter) Joe Worthington Is it recording now? Is it DEFINITELY recording? (He reads the question to himself again) What is I Am Joy and what are its aims? I Am Joy is a collective of artists putting on events: art, music, poetry, dance, theatre, workshops, anything and everything that is creative. This is because there is a distinct lack of it in Chichester, especially for young people. Oli Baker No it has got loads of it. It’s just not publicised. Chris Chapman I Am Joy is about bringing together people who are already doing it and helping them to do it, hopefully inspiring young people who were so great at the last two I Am Joy festivals. Hopefully they will do great things for the future... Chris Soul It’s about involvement. JW GET INVOLVED!! CC I Am Joy. You are Joy. We are Joy. CS How did I Am Joy begin? JW It was after a drunken poker game when Chris Chapman, Guy Adams and I had a chat until 4 or 5 in the morning about what we should do to galvanise all the creative elements in Chichester and we decided upon doing a festival. And we met the next morning at Cafe Nero and had our first Joy meeting, deciding upon a five day festival. CC We had a bit of a moan that not enough was going on. We could either moan more or do something about it. JW We got our first funding for the first festival in April 2007. There were 16 bands
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We could either moan more or do something about it
imusiam joy c and arts festival THE THIRD ANNUAL
A 5 day arts and music festival that celebrates the creative talents of artists from the south coast. A host of events from cabaret to comedy, live music to theatre all within the city limits.
11th - 15th August Monday 10th August Sedition Hushed private view
TUESDAY - FRIDAY Daily workshops for all ages and abilities 12 – 4 pm @ The Boys Club Youth Centre.
Tuesday 11th August
Art exhibition held in the Guildhall 6 – 9pm
Live music at The Boys Club
This runs for the whole week Open 10am to 5pm daily
Comedy Night @ la Havana
Wednesday 12th August Multi media visual and sound experiment @ The Boys Club
An improv performance between sound artists, visual DJs and performers that will blow you away 5.30 – 8.30pm (All ages)
Open Mic @ la Havana 7.30 - 11pm (18+)
Friday 14th August
6pm – 10pm (All ages) 7 -11pm (18+)
Thursday 13th August Film Afternoon @ The boys club 5 – 8pm (18+)
Post rock @ The Hope 7.30 – 11pm (18+)
Saturday 15th August Joy In The Park!
New Theatre Performances
I Am Joy takes over Priory Park check the website for updates! (All ages welcome)
Dirty Cabaret @ The Hope
12 - 8.30pm
5 – 8pm @ The Happy Medium (18+)
Bands, burlesque and circus performance 7 – 12pm (18+)
Live Music @ The Hope 8 – 12pm (18+)
Only £2 for the whole week of events! Wristbands available from The Joy Gallery or on the door
www.iamjoy.co.uk
Design: Jordan Ring
Joe Wells and I Am Joy present...
Live Comedy PAT BURTSCHER
Finalist in both The Hackney Empire and Laughing Horse New Act Competition 2008
Andy Davies (MC) ‘Loud, brash, cheeky and charming’
Flyer design Cat Gillison
PLUS Anthony Miller, Ben Lentz and special guests!
Tuesday 28 July @ La Havana 7.30pm
£3
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The Joy Magazine Pilot Issue June 2009
JW It happened over 11 days. Ollie asked if we wanted to open a gallery in place of an old shop and 11 days later we, as in the I Am Joy collective, we all put our hands in, emptied the shop, sold everything in it, repainted it, rang artists I knew from previous festivals... and from that it kind of flourished and still is. More people heard and more people got involved. CS The amazing thing is that from conception to reality it took 11 days. OB It was hard work. JW But that shows the strength of people and the strength of mind. OB We were there from 10 in the morning to God knows what time at night everyday. And the support and borrowing carpet cleaner off a mate’s Mum was amazing. Poet Tiger Cub Hidden Smile and friends
CS And you flogged the old shop’s kitchen on the street? OB The cooker must have been about a thousand pounds but we flogged it for less. Bargain. CS Continuing from a previous question, do you think the arts is necessarily connected to politics or the community, just as the sun will always rise tomorrow? there for one.
sweet actually.
OB Art is a politic unto itself.
CC Talk about the snowball metaphor...
CS And what about this year’s festival?
JW It started as a single flake, a single flake of Joy!
JW For this year’s festival we hope it to be bigger, better, more fluid, have a lot more continuity, a lot more going on and making it fun for everyone. Get involved!
CC It depends on how you define politics... If politics is about the small changes in the community around you then art is part of that because art is part of the community around you.
JW We are Joy! We have Joy! CC We create it ourselves. It is a human thing. OB Except for monkeys! JW Yeah, monkeys are descendants from Mars... We’ve all been arty by the way. (Answering a previous question about what hybrid creature they would be. Points to Chris Chapman.) He would be a Minotaur. (Pointing to Oli) He would be a flying wombatmonkey. And I would have my head on a Griffin: half eagle and half lion thing. I do like Griffins. Anyway, the first Joy festival was ******* fun. A kid, Tiger Cub with a Broken Smile, had a book with him full of poetry. He asked the audience to pick a number between one and a hundred and he would read one of those poems. No one knew him and he just turned up with his girlfriend... Everyone was taken aback. CC He got quite nervous at one point but his mates came on to the stage with him and gave him some moral support. It was pretty
OB More fun than fun house. CS Earlier you were talking about a breach
OB Art is just a louder way of talking. JW It’s like the painting we have of Jade Goody. Jade was all over the press and yet
‘He got quite nervous at one point but his mates came on to the stage with him and gave him some moral support. It was pretty sweet actually.’ of liberties in terms of saving the world... CC Freedom is important, man. OB Freedom is an internal thing.
people find it hard to look at a painting of her. OB The thing I’ve learnt working at the gallery is that it is a lot harder to paint something horrible than something ‘nice.’
JW The imagination. CC But if government stops you doing things... OB No amount of whinging to the government is going to help anything. The real fight is inside yourself. CS Next question: how did the Joy Gallery come about?
Oli Baker at The Joy Gallery
CC It rolled down the hill of creativity and more people got involved...
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ART
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The Joy Magazine Pilot Issue June 2009 JW It’s hard to paint despair with beauty, like having a painting that is about death or war while remaining beautiful. CC There’s something fundamentally beautiful about someone expressing themselves with whatever state of emotion. JW A painting is always representational... politics is about people. Around here young people want a venue, whether it’s Joy or not. It is kind of political but it’s about community, society. It would be cool to pay bands with a painting. Come play! We will pay your expenses, your beer, here’s a hug and a painting! CS An exchange of art within the community. OB An exchange of ideas. That’s what it should be about: a community run ideas exchange. We all learn stuff so let’s exchange that information. CS Which leads to the next question: why should Chichester be a city of the arts? Why should we be positive about Chichester? JW Neil Lawson Baker is trying to rally people to make Chichester a city of the arts. From opening the Joy Gallery we’ve found there are a lot of artists out there. CC Do we get more support if it becomes a city of the arts? If so I will support it. OB It will separate Chichester from other cities that aren’t. CS It’s just recognition. OB It’s a rich city with a lot of bored kids. JW But it’s taken six or seven artists to open up a gallery with nothing and we are not rich. Six artists can do that! An arts council guy came to one of our exhibitions. (We had to keep filling up his glass of wine) But he said we must be the youngest art dealers in the country. We are young but we are trying to use our creativity in some positive manner. Whether it is trying to support young local artists like Mike Stout who is now getting headhunted. He’s that talented. We don’t care if he goes to New York, he started through Joy. We were there, we nurtured that. It makes me feel good about what we are doing.
There’s something fundamentally beautiful about someone expressing themselves with whatever state of emotion
CS It offers a platform and nurturing... JW We work like a platform... CS Like this magazine... getting creative writers to submit and giving them the chance to do so when usually they might not. CC People are just people. There are no heroes or icons. You should be able to read an amazing piece in the magazine then meet the writer or artist in the gallery and go ‘oh it’s you’ and you have a drink with them... CS How long is a piece of string? JW That long.
Photographs (from top) Montage of Joy Artists’ work, Guy Adams taking part in the Drum Workshop, Graffiti Workshop, Matt Redman film still from The Glorious Infection, Joe Worthington and Chris Chapman
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The Joy Magazine Pilot Issue June 2009 CS Who is your personal favourite artist at the gallery? JW I love Joe Loughborough. I just love his work. Every single painting is like Gustav Klimt, Goya, graffiti all mixed together. His work should be in galleries in London and they will be. Jo Trump is good too. Andrew Waites paintings; gestures, colours, shapes all work really well. Even Mike Stout. His illustrations are lovable. He’s talented.
Photograph Louise Adams from Chichester Observer July 2008
CS I think gesture is the most important thing... the meaning is in the brush strokes or the scribbles. That human element... which leads to the next question: what makes a masterpiece? JW Time. Time for one mate. OB The viewer. CC Certain things get put into the canon of great works or great albums and music. They will be remembered forever. Who decides that? The masterpiece is being at that gig at that moment when something really touches you. That piece of music, or that moment, that moment then. That is the masterpiece. If one person is moved then it is worth it. JW Music is different. Why is the Mona Lisa a masterpiece? CS It’s just been canonized. JW There are other paintings I find more mesmerising. Going to the Pallant Gallery in Chichester and looking at Frank Auerbach’s paintings, staring at them. CS I will go to question 146, as it relates: Do you think art should be defined by canonical theories such as modernism and post-structuralism or is art just art, and all these pipe smoking art critics and philosophers should just go and bake an apple tart to avoid tangling their deconstructive knickers, realizing that the inside is the outside so it doesn’t really matter after all?
The original I Am Joy Festival organisers (from left) Joe Worthington, Guy Adams and Chris Chapman masterpiece is the person who painted it. Everything... this whole festival, this movement is art... it’s a community. CC In terms of intellectualizing creativity it can put you in a box. You can lose the idea of making connections with people. Human expression is what you are trying to do as an artist. If you intellectualize too much you can lose that. CS What colour should the sky be? OB Whatever colour it wants to be. I don’t think humans can ever recreate anything as beautiful as what is already in nature... JW They’ll ****ing try though mate... Leave
He said we must be the youngest art dealers in the country (There is riotous laughter and cheering!)
it blue.
OB Can I just give a high five to that one first!
CS What’s your theory of the universe?
JW Can we just leave a dot dot dot...? To be honest, this morning, I’ve been fretting about my university work. I’ve looked up post-modernism, I’ve had lectures on it, but what I do is I subconsciously forget it. I don’t want all that stuff in my head while I paint. Why should I? I think you’ve just gotta do! The more you do the more you get inspired. Inspiration doesn’t come if you don’t do anything.
OB I think it’s just beautiful. We’re a part of everything and everything is part of us. Joe, you talked about it, you put your foot down and you get a spiral of dust.
OB Our lives should be the painting. The
JW Maybe the whole universe is just thinking. The universe is just a thought. Maybe it will continue with another thought... CC The human mind is just an organic structure. It is quite arrogant to think we can actu-
ally conceive of the meaning of life. Just believing in human beings, to be good to each other, that’s cool. The meaning of life is in the small moment when someone smiles at you... CS Or makes you a cup of tea. JW That is it! That is love! OB Once I was in a bad place and this cat sat on my lap for 3 hours to comfort me. CC Maybe that is the meaning of life: the sum of all those moments. JW Like with this festival, compiling all the scraps of creativity and information... You fill yourself up with experiences. CS A final question: Is there another word other than Joy to define ‘I Am Joy’? OB I Am Evolving? JW Maybe ‘Giving’ is the word.... A lengthy discussion continues debating the alternatives of ‘Joy’ but soon it is realized that Joy is the best word. Joy encompasses all that Joy is trying to achieve. JW Would you rather Joy than Hate? What’s the opposite of Joy? Joy is a catalyst.... That is it... when you do it you create joy and you are joy. It’s great. It seems quite infectious... THE FULL INTERVIEW CAN BE HEARD AT www.iamjoy.co.uk
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POETRY
The Joy Magazine Pilot Issue June 2009
Between turning on the lights and shutting the curtains Wide sheets of dirty glass dilute my gaze As deepening dark reflects the inside out. Trees rust beneath the cold afternoon change. A standard lamp now sits within the boughs, Lighting the carpet of soft paper leaves; That sit upon the grass in growing gloom. I see this ‘til I get too close and breathe; The pane’s brume brings me back into the room. Yellow warmth holds me gently, I inhale. Behind melting mist the grey-greens are exposed. The folio shows brightly from the maple Settled in the garden; shelves against the branching bows. I look back to the room and as I close My eyes, I’m in the trees. The standard glows. Ruth Warner English Student (19) former Creative Writing Magazine Editor
Illustration by Jenny Lewis
Looking Without Seeing
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Is it enough? TV’s, nine to five, You’ve only got one life. Turn down the sound The world makes as it spins, And hear the things, That mean. The beech trees, the green, The birds that sing, The oil painting of the scene. The woodland path, The moon, the stars, The child’s rumbling belly laugh. The words upon a page, The music people made, The things that never fade. Each day, thrown past, As the world turns too fast. Looking without seeing. Victoria Bantock (28) Mature Student of English & Creative Writing
Navigation of Proto-stages
POETRY
“Because all experiences on this Planet, in this Life, Are merely the incidents of your Learning. You will not need these incidents now.” ____________________instruction____________________ photon sunrise will ascend before you here at the point of neutron dawn_ the event horizon (the journey has begun) please relax and adopt whatever position you have practiced for dispersal close your eyes and focus your complete attention on yourself check your pulse and regulate your breathing accordingly seek internal vision and lose contact with that which constrains you (it is only your past which constrains you the past exists only in your mind) lose contact with the past of your mind and begin a descent without gravity into the void
Illustration by Chris Soul
you are now releasing you from yourself do so in darkness and with a single moment’s elation clearing the darkness to the next instant allow the shell to fall away power is a powerless thing now you will sense a truer state of you and perhaps some shape of movement there will be no conscious will in you after the next phase from here until your release of all concept_ as you take to total intuition you will know that nothing written_ even here_ is true the silence inside you is now outside you curved light is beginning to shift ____________________dispersal____________________ at the point outside space in the moment beyond time you will dissolve_ without heat without light or sound without force or anything at all you will unravel_
and all knowledge instinctual, conscious, intuitive,
BY MAIK psy_warrior@graffiti.net
will be gone
_
The one Numb lust transforms my brain Into an empty shell, can’t stand the pain. My eyes are open, but I see only him My hunger and desire pulls me in. Every night blissful dreams, It’s amazing just how real it seems. But these hopes are all-together entwined, Trapped inside my jumbled mind. It happens unexpectedly, I’m acting normal, then suddenlyHe crystallises in my visionA symbol of pure passion. I was just talking to a friend, But then I let my mind bendI saw straight through her and instead Watched a film inside my head. Reeling slowly back through Memories of us two, The rare moments when I felt truly happy, but thenI recall him holding My face whilst kissing, I can stand it no moreHe’s locked inside my core. I want to be young foreverThen we could be together, But I can always daydream That this dream is a realityIt might be.
Laura Barton University of Chichester student 27
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The Joy Magazine Pilot Issue June 2009
THIS IS ART UNIVERSITY OF CHICHESTER DEGREE SHOW
Up Northgate, past the Hope pub and up a hill is Chichester University’s Fine Art Department. Recently there was an eclectic exhibition of final year’s work called ‘this is art’. There was a great range of work on display and in keeping with Steve McDade’s (Subject Leader Fine Art) comments on ‘community’ we’d like to show you a glimpse of some of the artist’s and their work. Well done to James and Hayley for jumping for joy. Photographs by Christoph Rigert with Jordan
THESE ARE THE ARTISTS....
fine art c.2009
THIS IS HAYLEY CROFT
Untitled, digital photography, video projection I am interested in the idea of taking a photograph and by using distortion and deconstruction transforming the image from its original state. My work consists of digital photographs of buildings; with these I create layered images that through manipulation and editing produce imagery that has subtle transitions of movement. Fragmentation and modification alters the imagery to a point of abstraction, encouraging the viewer to look deeper into the slow moving videos. www.hayleycroft.wordpress.com haycroft20@hotmail.com
THIS IS DERVIS DERVISOGLU These coil built earthenware contorted figures represent the mythological characters in a well-known European story. The myth of Mars and Venus getting caught in an invisible net by Vulcan has been re-written and told in many different cultures, altering throughout the generations of human history. A story about human nature and behaviour as relevant to contemporary times as when seeded from the origin of life. www.dervisdervisoglu.blogspot.com derviskenan@googlemail.com
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ART
The Joy Magazine Pilot Issue June 2009
THIS IS JAMES NORTON
Untitled I, newspaper, cable-ties, ribbon, tags and fabric, 500cm x 40cm x 40cm These works have been informed by my fascination with natural and organic forms combined with my interest in multiple utilitarian objects as material. The forms and colour combinations within my work have been greatly influenced by aspects of nature. In making work I challenge the function of materials and explore the relationships between them and the way they connect. Using weights and gravity to pull the pieces down I create tension throughout the work. www.jamesnorton.org info@jamesnorton.org
THIS IS CHRISTOPH RIGERT Uncanny Spaces, digital photographs
My work is about creating new uncanny spaces. I take photographs of the world around me and seamlessly stick them together digitally, to create new fictional photographs. Some of the pictures I have constructed are a combination of up to 50 different photographs, which I have taken of my surroundings. The world and what I see of the world is a mystery to me and I want my images to feel the same. I am trying to show through pictures what I cannot express in writing. What is true? What is real? www.akatoff.com toff@gmx.com Toff is also a regular photographer for I Am Joy including The Joy Magazine
THIS IS JANE ASKEW My work is inspired by the view from my suburban home which overlooks a vestigial fragment of countryside gradually being subsumed by suburban sprawl. The view fascinates me, with its dissonant combination of banal 1970s suburban housing, majestic trees and distant landscape. The paintings I make are derived from photographs taken through a net curtained window and seek to enhance the sense of melancholy, distance and poignancy of the diminishing landscape as viewed from the domestic interior. The painting process of layering transparent oil glazes is also analogous with the veiling of the landscape. I am especially influenced by Cezanne, Peter Doig and the Swedish artist Karin Mamma Andersson. jane@smallhouse.co.uk
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CULTURE As a homing pigeon of London then Paris and now Chichester, I’m used to living in a city. The city is a wonderful thing. It is uplifting and humbling. It can swallow you up and enfold you in a crowd, if you need it to. You can lose yourself in a narrow street or find yourself beneath a soaring pinnacle. An eighteenth century vicar and poet Charles Caleb Colton put his finger on it when he said ‘if you would know but not be known, live in a city.’ But in London one night I suddenly found I’d had enough of its own particular brand of living in the city. After ten years of catching the tube east-west for my grinding daily commute of elbows shoving me out the way, I decided to move to Paris. It offered a jaded commuter like me the chance to buy bread still warm from the oven as I walked home from work along the river, a well-run state-subsidised transport system - and more culture than you can shake a baguette at.
The Joy Magazine Pilot Issue June 2009
This city is a bit like the old curiosity shop, you never know who or what you might meet
But there was one snag. I missed home. And the makings of a great civilisation like fish and chips and a decent curry. But on this front I needn’t have worried. If it was an elbow that sent me to Paris then a leg brought me back again, following an argument with an orthopaedic consultant’s ill-aimed syringe. And so it was, by a quirk of fate, that I found myself in the small English city of Chichester, runner-up to Richmond, Yorkshire (where?) in Great Town of the Year 2009! If a French newspaper once claimed Paris ‘twenty arrondissements were a tenth of the size of London, then Chichester is to Paris what the moon is to Betelgeuse. And yet there was something similar or so I thought as, out of hospital and on the loose again, I hobbled about my business one morning along South Street. Something about the streets, the shops and old buildings, something in the air - perhaps the amplified Tosca and Peruvian pan pipes from rival buskers converging at the Market Cross. There was a compacted energy about the place.
* Parisien **Marocain
The Old Curosity Shop by Maria Aurelia Riese
In its older parts, you feel like you’re on a leyline to other times. Sitting on the ground with your back to the sun-warmed wall of the 900 year-old Cathedral, you’re within the embrace of the ecclesiastical powerhouse. This city is a bit like the old curiosity shop. You never know who or what you might meet. One night I accidentally ran into a group of three devoted Francophone scrabble players in a back room of the Fountain pub. Two of them were English and devoted to the cause and they didn’t so much as speak the French language as search for anagrams like aspirine* and macaroni** or Sbrinz, the name of
THE WORLD ON YOUR DOORSTEP
Allis Moss
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The Joy Magazine Pilot Issue June 2009
CULTURE I use my bike in town, the road links aren’t bad, and you’re only a commuter journey away from London and international rail and airport connections - when the service runs on time! The one thing that will have this bird flying off again will be the somewhat unreliable nature of the trains. Great when they work, dire when they don’t. Just as well, then, that most of the world is on my doorstep.
There’s a cultural world on our Chichester doorstep from the Pallant Art Gallery showing pop artist Patrick Caulfield to the old jazz club across the way in South Pallant. It not only plays the music of the 1950’s (amongst others) but looks as if no one’s changed the furniture since then either, adding to its timecapsule charm. While bateau mouche it may not be, but a chug down to Hunston in the boat Richmond (hope the Yorkshire town has one called Chichester) is a peaceful meander on a canal that used to be part of an earlier eighteenth century waterway, offering an alternative route to the Channel, where you were always at risk of attack from those dastardly Frenchmen. Today, the canal’s being restored and you can throw duck food at the moorhens not the French. From Wittering surf to Goodwood turf, from farmers’ markets to Polish delis and Parisian patisseries, there are baguettes and a pleasing lack of elbows. And you can get a very good curry at the Old Cottage on West Street and a similar standard of fish and chip at Harry’s and LA Fish. So this homing pigeon has built her nest in a little nook within the old city walls. But what about my old bête-noire the transport system?
The Cross by Maria Aurelia Riese
a Swiss cheese. I have to ask where you might find that apart from Chi? The New Park Cinema can also give the Latin Quarter a run for its money on foreign film like the daring cartoon Persepolis, the story of an Iranian girl’s repressed sexuality during the country’s revolution or the Edith Piaf pic as well as all your Daniel Auteuil and Gerard Depardieu favourites. We’ve also four world premiers at the Festival Theatre this year such as Friedrich Schiller’s Wallenstein – reminds me of that Swedish detective series the Beeb adapted last year. But this is a sort of Prussian War and Peace about the saviour of the Holy Roman Empire who is fighting the war on two fronts, across Europe and in major domestics at home.
Allis Moss Chichester based Journalist and broadcaster Allis Moss’ adventures returning from Paris to Littlehampton The Jigsaw Journey will be available next year from Sussex Stationers and local tourist information centres.
New Park Cinema by Jordan Ring
The Oxmarket by Jordan Ring
In its older parts, you feel like you’re on a ley-line to other times
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MUSIC
The Joy Magazine Pilot Issue June 2009 Smiths. Awesome. Chris I’d be Jay-Z because he is the richest, and I am shallow and superficial. You have been playing in bands for a while now so do you have any advice for young bands? Are there any experiences from playing in The Landing for example that you could share? Any pitfalls that you’ve experienced?
The Gods of Post Rock Collide Chris Chapman of Flies are Spies from Hell interviews Pete Lambrou of Monsters Build Mean Robots, Last Days of Lorca, 129 Die In Jet, and Nice Weather For Airstrikes Records... Chris Chapman Hello there Pete, how are things? Pete Lambrou Things are damn well Christopher. And yourself? Chris Pretty swell, cheers. So, you’ve recently come back from your Irish jaunt with Monsters - how did that go? Pete Very well. Only 3 dates - Belfast, Dunannon and Strabane. All great, loved by all, and not too messy. Chris Loved by all, eh? That’s pretty good going. How does playing in Ireland compare to playing in England? Pete Well, limited experience it may be, but audiences actually seem a lot more accepting, and up for it. Maybe we are used to Brighton and London shows, but Ireland certainly gave us some of the best responses we have ever had. Chris I know what you mean about the cynicism and jaded attitudes that you can be confronted with as a band. Something quite bloody minded in me quite enjoys playing to the stoney faces now and again - just as a f*** you, if you’re going to be a miserablist I’m just going to turn up and ruin your night! Anyway, for those who don’t know your band, Monsters Build Mean Robots, could you describe your sound? Pete Hmmm. Well, previously it was a hybrid of loop guitar lines and electronica, with a cosy post rock feel... but that was the first album. Live was never as good as the album,
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so after trying for about a year we sort of morphed into a more live style. So, organic is now the thing. A desire to welcome the end of all things with arms held high. A sing song. Looped guitars. Lots of chanting. Slow building. Post rock. Chris So the new album will be more of a band record? Are you working on the second album at the moment? Pete Work begins in June… we hope. We have a free download out shortly that will be from the new album, and then work begins! More of a band record, conceptual. A full circle. You’ll see. Chris I’m hoping for cool packaging again... Pete Of course! That’s half the battle. Chris There’s a new track on your MySpace Psalm57. Will that be the download? Pete It will - it’s not a finished version yet actually, but I was too impatient to wait. A bit different from the live version or the old stuff, but we have a plan for the album where it fits quite perfectly. Chris It features some child-like vocals - is that your voice pitched up? And, since you are following in the footsteps of Jay-Z, Pink Floyd, The Verve and The Smiths in using child vocals? Which of those would you rather be? Pete Hmmm. I think that’s Alice’s vocals actually. Given the choice... Pink Floyd and The
Pete Many. I think there are always two things that all musicians need to know, or learn - understanding how the music business works, and that just playing music ain’t gonna get you anywhere...unless you are extremely lucky - this is not based on ability, its luck. So, you have to work hard yourself. I mean really hard. The trouble is not knowing where to concentrate your efforts. That is different for everyone. I’m aiming to do something in the future to teach musicians the basics of the music industry... I’m not sure how or what yet but I think it’d be a good way to help. No one understands the industry at all, and they should. Chris I agree that it’s very hard to make ends meet. For example underground gigs are a false economy really. And when you release music it can be accessed by huge numbers of people but also quite easily stolen and shared. Where do you see the industry at large going? Pete That’s a big question don’t you know! Hmmm... nutshells, nutshells. Well, I think soon there will be a ‘music usage allowance’ - whereby all the ‘free’ music given away or streamed via media companies, TV or ISPs shall be paid for in a monthly section of your entertainment bill (tiny small print in your phone bill) and all this will go to a new collecting society, and be divided up between labels and recording artists - its complicated - but soon I’ll put a future manifesto upon the Nice Weather For Airstrikes website for all to see... its a good future actually... no more paying off needlessly (ie. the paying off of all recoupable costs and still not owning your own recordings) and such... Chris Time for the quick-fire round! Who’s your favourite band? Pete Not so good with quick fire... Favourite locally or internationally?!! Well... locally it’s between A Genuine Freakshow, Instruments and The Psyche Out Musikland Big Band who have all played or are playing for you I believe? Internationally - A Silver Mt. Zion obviously. Chris Indeed! Your name comes from the line ‘Monsters build mean robots launching rockets into the air’ from the Horses in the Sky record. I said Silver Mt. Zion as my favourite in our Joy interview too! I agree with you on those local bands and I’m looking forward to playing with Psyche Out. What about your favourite Chichester band?
The Joy Magazine Pilot Issue June 2009 Brighton. That was good.
MUSIC
Chris Favourite guitarist? Pete Johnny Greenwood or Omar Rodriguez-Lopez Chris Favourite singer? Pete Thom Yorke for what he does. Ian Curtis for his truth. Jeff Buckley for is ability. Chris Favourite chord? Pete What a strange question. Depends on its context. Monsters Build Mean Robots
Chris If you could only play one chord for a whole song - actually a perfectly good idea what would that chord be? Pete I do that a lot. A minor. Simple. Effective. Lots of room for diminishing. Pete Yeah, Psyche Out are great. They played the Chichester Inn for me a year or so ago, and were naked by the end of it. Weird. But hugely entertaining. Yeah, Horses in the Sky has some great lyrics in it - 20 band names in the song at least! Favourite Chi band… well apart from us and Flies Are Spies from Hell, and Last days of Lorca. Do Hunting The Minotaur count as a Chi band or are they too Worthing-ish? Chi has some great bands, lots of whom split up last year unfortunately. I think Lulla Violet are definitely
ones to watch though... Chris My next question was what was your favourite gig? But I guess it must have been the Chichester Inn Psyche Out gig as there were naked men involved... Pete It wasn’t just the nakedness don’t you know. Er, actually there were a few great gigs - Bossk, Winchell Riots, Psyche Out. Yup, good days. Apart from local ones, I saw Silver Mt. Zion in St George’s Church in
Chris And favourite piece of equipment? Pete Fender Telecaster. Chris Cheers Pete! You just broke my interviewing cherry! One final question - Why exactly do you suggest that people burn down their homes? Pete To find truth. For more information on the bands www.niceweatherforairstrikes.co.uk
THE OPEN TICKET
Mark Horwood performing with The Mummers on Later with Jules Holland
From The Fountain to Later...
A good friend once told me that being a musician is like possessing an open ticket. In many ways it can unlock doors many keys won’t. It is a journey without destinations yet with challenges, highs and lows, moments of euphoria mixed with occasional frustration. The good news: Like any trip despite all, one gets a sense of fulfilment, a satisfaction of achieving something. My journey so far has taken me from many a pub gig playing blues with Electric Circus touring France and Holland, appearing at the Chichester Real Ale and Jazz Festival and supporting the Fun Lovin Criminals at Rox in 2006. I have been privileged to perform with many great musicians under various guises from live house music at the (in?)famous Thursdays nightclub, drum and bass at Illusion’s, Worthing supporting Radio One’s Grooverider, to funk marathons with the Funkologists at New Cross/Pompey and with Equilibrium on Bognor Pier at the Rox Fest 1999 in front of a seven-or-so thousand audience. After a recent debut TV appearance on Later with Jools Holland with The Mummers, it seems strange to recall playing at The
Fountain many moons ago. Every gig has been a stepping-stone to the next. You win some you loose some. I would never have believed some orchestration on a cover of Riverman by Nick Drake a few years ago would spawn The Mummers. Big trees can grow from acorns. In today’s climate earning a crust from music can appear to be the most difficult task of all. Making music however, is not about making money; it’s about making music. I currently subscribe to the idea of chasing the music: Perhaps one day, everything else will then fall into place. Those that wield the power and magic of music should never under-estimate it. Or take it for granted for that matter. Mark Horwood myspace.com/markhorwood www.themummers.co.uk Upcoming Live Dates Jun 28 Glastonbury Festival Jul 4 Faraday Festival Jul 17 Latitude Festival Jul 26 Secret Garden Party Festival Sep 9 End of the Road Festival Sep 12 Bestival
ART
The Joy Magazine Pilot Issue June 2009
Illustrations (from top): Forgot2Forget Stephen Williams Classic Conversation Averil Marks Bullitor Alan Tobias Williams
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Oxmarket Round up
Spring at the Oxmarket Centre of Arts has seen a lively and varied exhibition programme which is set to continue into the summer. Some of the highlights being exhibitions by Slindon based designer Robert Pontet showing his work for the first time in a public exhibition with his solo show Barcelona; a Pollock-esque riot of colours reflecting his impressions after a visit to the Spanish city; and artist and designer Dan Jubb’s show in March, both of which proved to be immensely popular. The end of March and beginning of April saw the return of the popular annual Sculpture Competition, which this year attracted over 100 pieces of work, in a variety of materials including iron and steel, wood, ceramic porcelain, clay, cardboard and wood as well as recycled materials; all made by artists living within a 20 mile radius of Chichester. The competition was judged by West Sussex based sculptor and tutor at the West Dean College, Jon Edgar who said “The works I see for final exhibition have a real breadth. Technical competence and freshness is much in evidence. My considerations have been warmth and sensitivity, honest observation, true credit to the base materials and the mass conveyed, along with the vigour tempered by ambiguity.” The winning entry in the traditional sculpture section was Averil Marks Classic Conversation about which Edgar commented that it was selected as the winner because it demonstrated a “warmth and sensitivity ; balance and good tonal qualities.” The winner of the prize for a 3D work was Annie Flitcroft for her organic piece in raw unglazed porcelain Mother Nature. Both prize-winners received a cheque for £150 and an exhibition space at the Oxmarket during 2010 and were presented with their awards at the private view evening by David Dailey. The late Spring into the Summer sees a variety of exhibitions including following from his recent success at the Joy Gallery, the comic genius of Mike Stout; a welcome return in May/June by popular landscape artist Peter Iden, as well as the contemporary photography of Maria-Aureila Riese and Celia Henderson. With the 3 week summer exhibition Artists from the South running alongside the Chichester festivities, the two Spring and Summer Galleries mixed group shows and the specialist Printmakers exhibition in August the coming months promise an exciting visual feast of work by local artists. Gill Collins Management Board for Oxmarket Centre of the Arts, Chichester
ART
Guitar sketch Finlay Whitfield
Joe Worthington, Eleanor Fowler, Finlay Whitfield, Chris Soul Photographed by Jo Losack
The Joy Magazine Pilot Issue June 2009
youth trip to the pallant gallery
Drawing and poem Eleanor Fowler
Express Yourself
Eleanor Fowler, aged 13 and Finlay Whitfield, aged 12, Youth Councillors from Chichester District Youth Council, were given the opportunity to attend a private viewing of the artist Patrick Caulfield at Pallant House Art Gallery. Armed with pens, pencils, crayons and paper, they produced sketches in a similar style to the artist, and reflected on why art is important to young people and it’s role in the local community. The Youth Council has 33 members who represent the young people of Chichester District. They meet regularly to discuss issues that are important to young people, and decide what they can do about them. Jo Losack Youth Engagement Officer Chichester District Youth Council 35
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The first in a series, these works are formed part of an exhibition of short stories and paintings recently shown at the National Theatre.
The Joy Magazine Pilot Issue June 2009
THE DEAD HOUSE PART ONE He has his favourites. He his ravens favourites. Fivehas of the have a wing clipped, but Five of the ravens wing clipped, there are two I amhave nevera to touch. Hard but there are two I am never to touch. enough to catch without scars so I Hard let him enough catch without scars so I let him have histoway. have his way. He sends them from the tower to spy over our He sends them night from they the tower city and every return.to spy over our city and every they return. He listens at thenight window for the sky to He listens at dark, the window for the skya to wrinkle after splintering soft, low wrinkle after dark, splintering soft, low applause, pins and needles on thearoof. applause, pins and needles on the roof. He does not use his eyes, for in each ear He does not for in each ear everything is use one his andeyes, immediate. Everything everything is one and immediate. Everything he was and could be is lifted up into his he was and could is lifted intoeither his imaginationevery be detail of theupday imaginationevery or detail of thehoping. day either fondly reminiscing fervently fondly or fervently hoping. The cityreminiscing of his dreams is poured in by the The city of his dreams is poured in by of thea bell. ravens’ voices that purr with the edge ravens’ voices that purr with the edge of a bell.
THE DEAD HOUSE On the following evening I sleepwalk under smiling clocks. Ten to two and the Thames is so still that every reflection is more perfect, more razor-sharp bright than the boats that are creeping with the tide. They are waterclocks, thieves that sink and rise, sloop and smuggle, scouring the horizon. The stealthy filthy river is irreconcilable, masked with the spoils of the day. I am not afraid; the night is close around me. Walled, roofed, my footsteps echo across the South Bank. I am not here by mistake, by the way. I have deliberately followed someone here. There he stands with his back to me now, a little way off, leaning on the wall. I lean on the wall too. He has not seen me, or if he has then he makes no signs of recognition. Every night I look at him and he looks away. Every night he disappears behind that wall. At first I thought he drowned. In my half-sleep I ran down to the bottom of the flooded steps and tried to rescue him- for all my efforts I saved a handful of sodden clothes and one shoe. The other must have still been on his foot when he entered the under-water palace, knocking three times on the stony blue lion. So here it is where river creatures emerge from their passages and the halls buried alive beneath the surface. The mermaids are riverine angels going up and down the steps, nightly inviting guests to the chambers hidden amongst crustaceans. The South Bank is tunnelled under, shadowed with cold-blooded fish-likes that shift about in the lamplight attracting new and slipperier shades from the crevices. I peer over the water where he has slipped through and glimpse for a second his pale face looking back at me before the water becomes opaque. I knock three times and walk down the steps to where the water joins. When the tide is out, there is no way in- the key to that other staircase is in reflection. I move down one more step, to the hidden platform and know that the beach is gone. Instead the stairs go on. As I slip through the water the light shines back on my face in fragments. The river exhales a chord of breath, the filthiest choir you ever heard, a sighing trail as it closes its cavernous mouth over my head. It covers my tracks with petrol blacks and shining saliva until, dripping, I reach the end of the stone staircase. Under the wharves it curls like a dried up old seahorse. Under grates and craters I pass through derelict slums uninhabited for years. The walls are sloping in and mould is blooming in the widening cracks of the paving slabs. Here underwater it is always spring, over-ripening, blackening. *** I push open a door left half-open in the corridor. The paint flakes are soft
The Joy Magazine Pilot Issue June 2009 blossoms dissolving in mould, light is shuttering through the diamond windows of this desolate house. An old man is scrubbing with dustpan and brush. I know he sees my shadow.
CREATIVE WRITING
The cellar dwellers are dismally arrayed left and right, their matted outlines emerge from dark and green in painted arms. In the gloom they are weighed down by swords and crowns, strangled by sashes and wreaths. Captains are attached to their boats like anchors. The little girl who threw down her comb and mirror in the same place has sprung a forest of wolves under water. These mummified trenches are dead houses. They are inhabited by hollow souls embalmed in everything they left behind. Faces recede like hairlines, mouths grow wider, bodies uncurl and mutate. As instruments in an orchestra their lungs are noisy as bagpipes, every breath a bellow. They are made up of everything they discarded and not what they valued. Every speck of dust they shed, every single newspaper shred is a negative, should there ever be a request for developing photographs. *** The fissured walls are cruel with mouths arcing drowsily. When I finally find the staircase I feel my ankles are in glue. I shake their teeth off with the loss of a shoe.
Meantime Sarah Jones
Under the bed of the Thames are the settled ruins of palaces. They have fragmented in abbreviated archipelagos, a long and strange immersion in clay. The walls have succumbed to worms, giving away their rotting secrets.
Fallback Sarah Jones
‘Why are you sweeping?’ I ask. He does not answer me and I suddenly feel I have been here before. When he has cleared a perfect rectangle, the man straightens and opens a door in the floor. I know I must follow him through before I wake in the cold sweat of a sudden lightmare.
Unfettered I float to the surface, hammocking, cradling, spinning lightly with sycamore wings until I re-emerge from the scarring tide. Everything is brighter, reversed. The water laps with duplicitous frailty, descending halftransparent, doubling back on itself.
Sarah is 28 years old and on the MPhil course at the University of Chichester, having completed a creative writing MA in 2003. She has had exhibitions of paintings since 2001 in Chichester at the Oxmarket, Chichester Gallery (in the Hornet, now closed), CFT and Minerva theatre. She has also written an essay on the Cathedral artwork for a book on Chichester and the Arts. She is currently working on some portraits and new experimental writing for another National exhibition in 2010.
Lost Sarah Jones
I will not look back at the one who followed me here- or wonder at the shoe left on the melancholic bank. The river has slunk into a well of shadows, one of them my own, old and sorrowful, wringing its hands. I have seen the faces eaten into that glass- a million scribbled out portraits and not one single true likeness. To be continued... Sarah Jones
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COMMENT
The Joy Magazine Pilot Issue June 2009 involved, but also to remind job seekers they are in a legally binding agreement, that in exchange for said bank transfer they have been and provided a written account of “Actively Seeking Work”. But like many things habitual, complacency can be engineered and blatant shirking shrouded. It’s quite easy to populate the Job Centre work diary five minutes before the allotted signing-on time, and usually with a knackered pen leaning suspiciously against a pebble dashed wall around the corner, a good two week’s worth of frankly put; lies, deceit and humour. Of the best, worst and quite clearly jaded entries, this is a favourite: What I did: Asked for job in theatre What Happened: Roles all filled - Told to come back in Autumn What I will do next: Go back in Autumn When: Autumn About 12 similar entries have to be made every two weeks in order to convince the government one has looked for work sufficiently to get that £120 put into the bank without steely questions from a civil servant... With a few months practice, it’s easy to think of and write down at least 12 convincing entries in 5 minutes. There are 12 fives in 60 minutes. £120 x 12 = £1440
Illustration Laurence Elliott
I’m on... £1440 an hour PRO-RATA I’ve always wanted to make use of the sneakily cosmetic term pro-rata. It is blatantly used as a way of making a cheap job look good, but that’s for another article entirely, perhaps one about job descriptions. £3 million a year pro-rata.
UNEMPLOYED ACTUALLY
Or 54,960 Wispa bars and an Action movie box-set. Pro-rata.
An article by Monty Cantsin
Forget the return of the Wispa chocolate bar, enforce the pathetic nostalgia of Wispa Gold, surely? Does anyone else recall the bubbly chocolate husk commanding a soft caramel interior with that satisfying gooey crumbling effect as the two forces met like a royal wedding? No, I didn’t think so. Unless of course you are long term unemployed, in which case you have the time to ponder on such challenges, you have more time to trawl the internet, get upset and sit with friends to discourse on such matters or even worse, reply to online threads about them on forums. With unemployment rising fast, from Monday to Friday, nine till five, cheap bars and parks are no longer haunts for the retired and addicted, but also now places for the
38
generally disillusioned jobless. What better time to finally visit the Chichester Museum, perhaps. I’ve been on the dole for a long time, discovered many inner city short-cuts and lied to the Government in some cases for up to four weeks on end about how I’ve (not) been “Actively Seeking Work”. All this and I’ve still avoided obtaining Grand Theft Auto IV to play. Even though it’s a computer game, playing it could be classed as having a job, but one on a different maybe psychologically twisted level and one with long unsociable hours, but at least with some satisfaction. The idea of making job-seekers produce their signature every two weeks in order to receive the 120 quid or so from the Treasury is not only to provide an official record as money is
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Station House
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Guitarist TJ Johnson discovered blues in the mid 80’s, after first working with Sam Kelly in Germany in the Precious Wilson Band, and alongside him is Winston Delandro whose long running career has seen him working with some greatly acclaimed artists, such as; Joan Armatrading, Billy Ocean, Eric Clapton, Jimmy Ruffin, Mica Paris and Osibisa.
Second-Hand Records & CDs Bought & Sold
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