THE LAKE #007 by THE LAKE MAGAZINE

BARRACUDA PROTECT ME FROM WHAT I WANT

DEALER ENQUIRIES: 021 709 0084 - AVAILABLE AT STOCKISTS NATIONWIDE

01 THE LAKE

THE LAKE WE ARE FOOLISHLY Ambitious

#7 / 051215

PROTECT ME FROM WHAT I WANT “Destroy superabundance. Starve the flesh, shave the hair, clarify the mind, define the will, restrain the senses, leave the family, flee the church, kill the vermin,vomit the heart, forget the dead. Limit time, forgo amusement, deny nature, reject acquaintances, discard objects, forget truths, dissect myth, stop motion, block impulse, choke sobs, swallow chatter. Scorn joy, scorn touch, scorn tragedy, scorn liberty, scorn constancy, scorn hope, scorn exaltation, scorn reproduction, scorn variety, scorn embellishment, scorn release, scorn rest, scorn sweetness, scorn light. It’s a question of form as much as function. It is a matter of revulsion.” ” - Jenny Holzer

CONTENTS REGULARS:

PUBLISHER

News 04 Print Run 54 Fashion Mens 56 Fashion Ladies 58 Plimsoll 62 ART:

Editor / Art Direction Stefan Naude’ stefan@thelake.co Existential ADVISOR Brendan Body brendan@thelake.co

Michael Taylor Tony Gum

20 26

COVER Hayden Phipps Photography Tony Gum Cover Girl Kristi Vlok Art Direction / Styling Clothing Jacket / CHANEL from ‘Afraid of Mice’ Earrings / WAIF hello@waif.co.za Studio The Ground Floor Studio Lighting Big Time Studios Retouching Frances van Jaarsveldt

PHOTOGRAPHY: Stalker 12 Abberration 30 Fashion 36 Quick Fix 46

FASHION photographers

Hilton Schilder Jennifer Eaves Black Lips Wax Junkie

Hayden Phipps Oliver Kruger Jacqui Van Staden Danielle Bischoff Robyn Park-Ross Melissa Williams Franziska Anastasia Lentes

10 14 42 48

LIFESTYLE: Bantu Wax

16 PRINTING

PAARLMEDIA Paarl Media Group Tel: +27 21 550 2500 Email: info@paarlmedia.co.za The views and opinions expressed within the editorial and advertisements of THE LAKE do not necessarily reflect those of its staff, nor any of its associates.THE LAKE and anything contained within is copyright. No part of this publication may be reproduced in any form whatsoever, copied or stored electronically without prior permission in writing from the publisher.

Kristi Vlok kristi@thelake.co Advertising / MARKETING Brett Bellairs brett@thelake.co

CONTENTS PHOTO

Brendan Body brendan@thelake.co

Dean-James Honey

INTERN

Contributors

Illana Welman lani@thelake.co

Sandiso Ngubane Malibongwe Tyilo Nabeeha Mohamed Fred De Vries Ruan Scott Rick De La Ray Lani Spice Calum Macnaughton Xavier Nagel

COPY EDITING Christine Stewart ONLINE / SOCIAL thelake.co.za Submissions info@thelake.co

instagram.com/caveyone

MUSIC:

THE LAKE MAGAZINE PTY LTD info@thelake.co

THE LAKE

NEWS Asics Gel-Lyte Evo

GLOBE / Unemployable

Asics has just unveiled their all-new Gel Lyte Evo “Samurai” Pack.If you’re not familiar with the Gel Lyte Evo, it’s basically a modified version of the popular Gel Lyte 3. This new “Samurai” Pack is inspired by the Japanese Samurai O-Yoroi armor of the 12th century and features a sleek, seamless, upper-reinforced by a diamond pattern TPU rubber and liga suede splittongue.

30 Years of Hardcore, Skate and Street. From the 1970s underground Melbourne skate scene to a company with a worldwide presence in over 100 countries, Unemployable is the story of how three Australian brothers-Stephen, Peter and Matt Hill-founded one of the world’s biggest skate, street and surf companies, Globe International. Unemployable traces the origins of the Hill brothers’ passion for skateboarding to the founding of their initial company Hardcore Enterprises and subsequent entities, Die Hard streetwear, Globe, Dwindle Distribution and Globe International. Following the Australian Super skateboard tours of the 80s, the streetwear fashion explosion of the 90s and the arrival and growth of Globe in California (the heart of the action sports industry), the Globe story is one of loyalty, stumbling, dealing with change and ultimately, succeeding.

The sneaker features a new 4-piece tooling and Dual-Density midsole, which are overlaid with lightweight materials that actually enhance breathability and support for dynamic movements. Onitsuka T-shirts available at Jack Lemkus Sports. INFO: www.asics.co.za

INFO: www.globebrand.com

House Of Marley

PUMA / ADVENTURER PACK

Wirelessly stream music with the Get Together™ Bluetooth® portable audio system. The built-in rechargeable battery, Bluetooth, and convenient 3.5mm input make it simple and easy to connect hundreds of devices and fire up your tunes whenever and wherever you need them. The exclusive REWIND™ fabric cover and natural bamboo front and back panels are beautiful and sustainable.

Global Sports Brand PUMA releases a collaboration with Hanon Shop, the Scotland-based sneaker store, as the final chapter in the Adventurer Pack trilogy following drops with Sneakers ‘N’ Stuff and Solebox earlier this year.

• • • • • •

The PUMA Adventurer Pack references a time in the late ‘90s and early 2000s, when resourceful European sneakerheads ventured to the United States to source rare, vintage or new footwear that was unavailable in their local markets. Selling these exclusive imports turned out to be a profound business model and in some cases laid the foundation for the opening of an actual store.

Bluetooth® and Speakerphone Natural Bamboo Wood Portability REWIND™ Material Top-Mounted Controls Style: Midnight

INFO: www.musica.co.za

INFO: www.pumaselect.co.za

CONS CTAS Pro Hi x Sage Elsesser Converse CONS has just released a signature Chuck Taylor Pro Hi colourway for ambassador Sage Elsesser. The leather CTAS Pro also features a Lunarlon insole for the comfort and support demanded by skateboarding. Unique features introduced by Sage are gold rose detailing on the tongue and Francisco Goya’s artwork ‘Saturn Devouring His Son’ on the insoles. Sage Elsesser rose to prominence in Supreme’s first full-length feature skate video called ‘Cherry’ in 2014 and is also a team rider for the influential skateboard brand ‘Fucking Awesome’. He is currently travelling the world on the Converse One Star Pro ‘World Tour’. Available at Baseline Skate shop or via their online store at. INFO: www.baselineskateshop.com

Oakley / FROGSKINS

Lomo

In pop culture, it was a time like no other. Ronald Reagan was in the White House, The Terminator was in the box office and Run DMC was in certified gold. It was also the time when Oakley created one-of-a-kind sunglasses called Frogskins. Oakley resurrected the original tooling from the ‘80s giving you a chance to own a piece of history.

Lomography’s Sprocket Rocket 35mm Film Camera is an ultra wide-angle film camera that delivers a unique photographic look, with sprocket holes (used to advance the film and usually invisible in photos) and dual winding knobs that allow you move the film backwards and forwards in the camera, for easy multiple exposures.

HIGH DEFINITION OPTICS® High Definition Optics® (HDO®) is a collection of patented technologies that allow Oakley eyewear to meet or exceed the testing standards of the American National Standards Institute for optical clarity, visual fidelity, and impact resistance.

INFO: www.oakley.com

INFO: www.superbalist.com THE LAKE

J A C K

F R E E S T O N E IN

P L I M P T O N

THE LAKE

NEWS adidas Originals EQT Creation Center Adidas Originals presents the EQT Support Creation Centre Pack for FW15, using the EQT Support model as the foundation for a release that celebrates creative hubs around the world. Consisting of three individual models, each shoe in the pack was designed in a different place Herzo, Tokyo and Portland with each design taking inspiration from the culture and history of its surrounding environment. The Herzo edition uses premium leather and nubuck construction with brown rope laces and a tonal forest green palette to reference the area’s verdant landscapes and history in traditional dress shoe manufacturing. For Tokyo, the shoe takes a strictly street level approach with all-over camo and snakeskin designs as a tribute to the city’s enduring global influence in streetwear fashion. The Portland design then pays tribute to the USA’s rich sportswear history using iconic heather-grey textures and a tanned leather heel stabilizer as references to the country’s diverse athletic heritage. Presenting three unique perspectives through a unified central concept, it’s a testament to the creative minds around the world and the influences that inspire them. INFO: www.adidas.co.za/originals

OAKLEY PRESCRIPTION EYEWEAR / NINE-TO-FIVE Perfect for those seeking all-day comfort, NineTo-Five is constructed from lightweight, durable acetate and ultra-thin temples with flexible spring hinges. A feminine design inspired by a masculine retro rectangular frame style results in a shape that is on-trend, yet flattering for any face. KEY FEATURES NO-SLIP GRIP: No-slip nose pads ALL-DAY COMFORT: Hybrid frame material of durable acetate and lightweight C-5TM with flexible spring hinges PRESCRIPTION: Available in Oakley Prescription. Single vision (+2.0 to -7.00) and Progressive (+2.0 to -3.00) INFO: www.oakley.com

TURNTABLE GUY / Lenco L90 The Lenco L90 is a classic design with a good main bearing and an aluminium platter. The tonearm and headshell is all metal with a decoupled and calibrated counterweight for easy set-up. The L90 has a built in phono stage so that you can plug it straight into a line level input. It also has USB output for capturing vinyl onto your laptop or PC.

The Lenco L90 turntable comes with a dustcover. Every Lenco L90 comes with a full warranty. • • • • • • • • • • • •

Wooden case in walnut veneering Aluminum platter with a diameter of 332 mm USB Port for PC connection Integrated stereo pre-amplifier 2 rated speed settings 33 RPM and 45 RPM Moving Magnetic Cartridge (MMC) Removable aluminum headshell Adjustable counterweight Belt drive Semi-automatic Anti-skating Auto stop

INFO: www.turntableguy.co.za

CRAP EYEWEAR Crap® Eyewear is an independent sunglass brand from Los Angeles, CA. “In 2009, Peter Nussbaum launched Crap Eyewear, a bold, flamboyantly colored line of frames with names like “The Nudie Mag” (an Adam Sandler reference), ‘The Beach Party’, and ‘The TV Eye’ (after the Iggy Pop song). ‘We were punk-ass kids and thought the market was so boring,’ says Nussbaum, which explains the company moniker. The glasses’ playfulness and reasonable prices were are key to the line’s appeal. Born in reaction to an expensive and often all-too-serious eyewear market, we create quality sunglasses that are design-driven, fashion-forward and accessibly-priced. Now available in South Africa through Babette Clothing, info@babetteclothing.co.za INFO: www.crapeyewear.com 06

THE LAKE

S達o Paulo -Brasil THE LAKE

NEWS ‘Strictly Twobop’

Herschel Supply

2BOP’s ‘Strictly Twobop’ capsule collection from Spring 15 draws its inspiration from legendary New York house music label, Strictly Rhythm Records. Strictly Rhythm defined house music during the 90s era - A decade which is so regularly and fondly reflected upon by the laanies at 2BOP.

The cylinder shaped Retreat backpack by Herschel Supply is a paired down version of the ever-so-glamorous Little America silhouette. Added elements include a reinforced bottom and large woven label. INFO: www.ibags.co.za

Much like the record label’s signature sound, the tees from this capsule are loud, colourful and bold. An ode to the innovators. OGs paying homage to OGs. INFO: www.twobop.co.za

Permanent Record Permanent Record’s latest vinyl offering, Van Coke Kartel’s ENERGIE EP, is a fun-filled homage to the band’s varied influences.

Permanent Record is also teaming up with Cape Town’s atmospheric black metal torch bearers Wildernessking to release an exclusive 7” with 2 new tracks in early 2016. The release will see the band further pushing the boundaries of their creativity.

Pressed on ruby red wax, the record spins at 45RPM and exemplifies their role as one of South Africa’s most exciting rock & roll acts. This EP consists entirely of covers, some more expected than others, like the album’s name sake ENERGIE, by Johannes Kerkorrel & Die Gereformeerde Blues Band, HELP! by The Beatles and GOT TO GIVE IT UP by Thin Lizzy.

Also on the horizon, the almighty K.O.B.U.S confirmed a 2016 vinyl release of some of their most loved tracks throughout their prolific career. The album title ‘Die Kronieke van K.O.B.U.S.’ serves as an indication of what can be expected.

It also features atypical renditions of Lana Del Rey’s BORN TO DIE and the James Brown classic I GOT YOU (I FEEL GOOD).

INFO: www.permanentrecord.co.za

ASICS TIGER / “LIGHT NIGHT”

PUMA / STAMPD

Since ASICS Tiger’s GEL-LYTE III and Hanon are celebrating their 25th Anniversaries, it is only fitting that these long time collaborators have come together to mark the occasion with a new take on the iconic sneaker.

PUMA collaborates with luxe streetwear brand STAMPD. Merging a reinvention of PUMA’s sporting heritage with STAMPD’s knowledge of modern youth culture, to create the cutting edge street style of the future. Chris Stamp, a west coast ‘Avant Street’ influencer, founded STAMPD in 2011 and received the GQ award in 2015 for Best New Menswear Designer in America. His line has evolved into contemporary luxury while retaining its iconic styling cues.

The “Light Night” GEL-LYTE III is inspired by the longest and shortest days of the year, where the effects of these yearly changes are felt the strongest in northern countries like Scotland, where Hanon is based. The collaboration revisits the night skies and astronomical theme from past projects. Hanon’s northerly location and “the gloaming” – also known as twilight, casts a rich blue hue over the night skies during the summer months.

STAMPD embraces modern youth culture, creating high quality streetwear products mixed with simple forms for the every-day consumer. INFO: www.pumaselect.co.za

INFO: www.asics.co.za

ToePorn Hamzah Diamond SOCKS Hamzah Khan is the winner of a competition we ran with The Stylista for the ‘ToePorn Design Your Sock Competition’. ToePorn produced his winning design and this is currently being sold in stores. “Behind the diamond sock: When I drew up the diamond sock for ToePorn, I had traditional argyle socks in mind, which are commonly referred to in South Africa as “diamond socks”. Argyle being a timeless pattern in mens socks, the diamond sock I drew up used diamonds in a different form, drawing influence from pop art and iconography. I wanted to create a sock design which had reference to pop culture and the new-school art but still maintained a classic feel. Hence the “Hamzah diamond sock”. 08

SUPRA / Hammer Run

Featured are the Hamzah Diamond ToePorn socks, R90 each available at the Watershed, V&A Waterfront; 27Boxes, Melville and online: INFO: www.toeporn.co.za

Hammer Run - Introducing the Hammer Run from Supra Footwear. A deconstructed sneaker based on Jim Greco’s signature Hammer Skate shoe, the ruggedness is reinterpreted with a running influence. A simple diamond mesh upper provides a lightweight, breathable upper while suede and micro-fibre overlays hold the shape together. Sitting atop a white SUPRAFOAM midsole with contrast traction pads, the Hammer Run offers a simple everyday style, ready to tackle the streets. (Available at Boogaloos). INFO: www.suprafootwear.com

THE LAKE

Cape Gypsy HILTON SCHILDER WRITER - Calum MacNaughton

PHOTOGRAPHY - Franziska Anastasia Lentes

“I’m totally into music as a composer. It’s my whole life. It’s my philosophy. It’s my religion. I started composing very young and the compositions have grown until now. Actually, it’s all just one long composition.” It’s the opening sequence of the 2011 Cape Town music documentary Mama Goema. A camera glides through the streets of Bridgetown and comes to rest at the home of composer Mac McKenzie. Music score in hand, McKenzie hums the opening bars of an orchestral work he has just completed. Cut to Hilton Schilder playing a guitar at his home in Ottery. “We normally play a guitar like this,” he demonstrates with a flourish of notes. “But what’s wrong with doing it like this?” He flips the guitar on its back, hammers on the neck with his fingers and a whoosh of unfamiliar sound pours from the instrument. McKenzie (bass and vocals) and Schilder (piano and vocals) were the songwriters of the Genuines, a band that yielded three albums of some of Cape Town’s most ambitious rock and jazz in the company of drumming titan Ian Herman and electric guitar wizard Gerard O’Brien between 1986 and 1993.The dichotomy of the group’s creative core plays out in the Mama Goema documentary as we follow McKenzie’s telescopic trajectory through rock and jazz into the hallowed realm of classical. In contrast, Schilder’s narrative is that of a gypsy, bleeding into the fabric of Cape Town’s music underworld and emerging in a variety of guises as composer, collaborator, bandleader and soloist. Hilton Schilder’s narrative is rooted in heritage. “I come from a huge family of musicians. We are one of the biggest musical families in the world and I’m the sixth or seventh generation. I started playing at the age of three. I’ve done nothing else all these years. Draw and compose, that’s what I do.” Born in 1959 to revered jazz pianist Tony Schilder (1937-2010) and nephew of Chris Schilder of 1970s jazz fusion supergroup Pacific Express, Schilder was exposed to music as a lifestyle from an early age. “As a child there were always musicians in the house. Winston Mankunku and my uncle, to name a few. Piano players, bassists and guitarists.” Forged in the fiery cauldron of mid-80s South Africa, the Genuines provided an outlet for his distinct approach to composition. The group’s tenure with the independent Shifty Records label spawned a handful of memorable Schilder compositions that included “Narrow Escape” in 1986, a menacing account of a drunken bar scene in which a sinister voice of conscience chastises Schilder for provoking a fight with a group of bikers. “Ou Kleine Jannie” on the group’s sophomore album, Mr. Mac & The Genuines, wears a frivolous goema mask while recounting the story of an abused farm labourer moved to murderous retribution. The Genuines then immersed themselves in the Cape Jazz sound brewed by Mountain Records in the 1990s. The instrumental “Wie is Frank?” from Nights with the Cape Gypsies was written for a friend but could easily be taken for a homage to Frank Zappa in its glorious, unpredictable, angular peculiarity.

is akin to channelling and Schilder’s muses inhabit an etheric cloud that manifests elusively. His first solo release, No Turning Back, saw him use the Khoisan mouth-bow in “Email to the Ancestors” to great effect.“I’ve got an interesting history with this instrument,” he explains. “I was playing it for about 10 years and I kept hearing this voice, a name in my ear. It took me about 5 or 6 years to find out who it was. He’s a shaman and he played the bow and I feel that I’ve got some of his spirit in me.” The early-2000s reunited Schilder with McKenzie in the Goema Captains, which saw the recording of the timeless document Healing Destination with a cast of Cape Town’s finest during the Wondergigs concert series in Sea Point. The ensemble featured trumpeter Alex van Heerden (19742009), who harboured a penchant for electronic arrangements and went on to partner with Schilder as RockArt, producing the compelling electronic release Future Cape in 2006. Shifting shape once again, 2009 saw Schilder teaming up with South African music stalwarts Errol Dyers and Steve Newman in the acoustic trio All In One to create sonic tapestries with influences as varied as rumba, tango, maskanda and goema. In 2010, Hilton Schilder fought cancer and lost a kidney in the process. While in hospital, he heard what would become the composition “Rebirth” during a morphine-induced lucid dream. Waking up bedridden and without access to an instrument, he memorised what he could recall of the piece by moving his fingers over the mental projection of a piano keyboard on the ceiling. “Rebirth” is a spiritual masterwork by a seasoned musician at the height of his powers - a sonic journey of sweeping light and shade that is both personal and universal in the depths it traverses.

“Rebirth” has been issued over two sides of a vinyl 7-inch single in a sleeve featuring Schilder’s hallucinatory ink drawings. The composition is part of a solo-piano album that includes two works from an ever-evolving song-cycle dedicated to Schilder’s wife, Tesna. “Birsigstrasse 90” was composed at

the song’s namesake address in Basel, Switzerland. “The Art of Flying” is inspired by the Rukma Vimana, a mythological flying palace described in ancient Hindu texts. Hilton Schilder’s journey to optimal health shapes his present lifestyle and is spurring a new wave of creativity. He became a proud grandfather to Aiden Ryan Schilder earlier this year. INFO: www.sharp-flat.com

LATEST RELEASE Hilton Schilder Rebirth 2015 Sharp-Flat Records

discography All In One Errol Dyers, Hilton Schilder & Steve Newman

2009 Swett Shoppe

RockArt Future Cape 2006 Dala Flat Music

Hilton Schilder Group No Turning Back 2003 Mountain

The Genuines Nights with the Cape Gypsies 1993 Mountain

The Genuines Goema 1986 Shifty Records

To say that Schilder ‘penned’ the moving sound-portrait “Khoisan Symphony” for trumpeter Robbie Jansen’s classic Cape Doctor album in 2000 is a misnomer as his compositions are not written. An instinctive, self-taught musician, Schilder carries his songbook around in his head. The act of creation THE LAKE

THE LAKE

STALKER ROBYN PARK-ROSS QUESTIONS - LANI SPICE

PHOTOGRAPHY - ROBYN PARK-ROSS

“A while ago my digital camera was stolen which forced me to only use film. I never felt the need to replace it and now I feel much more comfortable with film. In general I think it totally depends on a personal preference and it’s best to be open to both.” When did you first pick up a film camera? I got my front teeth really late as a kid but when I did my dad was so excited that he bought me a little camera as a present. It was an Olympus point and shoot and I don’t actually remember taking any photos, although I remember being really obsessive about having it with me all the time. What inspired you to explore analog photography? A few of my friends in high school were taking photography as an extra subject and that’s what initially inspired me to get into it. They were playing

work there, and buying 5 spools at once eases my anxiety about running out at an important moment.

learnt most of what I know and also through just messing around and making lots of mistakes and taking lots of bad photos.

What cameras are you currently using and what is your dream model?

Despite the mass appreciation for film, people still talk of it possibly being a dying art. Would you agree and why?

At the moment I use a Minolta X300 and a Canon EOS 500N. The Canon is really sentimental because it’s the same model my dad had when I was growing up and the camera I initially got into shooting film on. But the model has a factory fault so at some point the battery receptor stops working. When one dies I just hunt down the next one and my fourth one of that model just died the same death. I think I also have an attachment to that model because it’s not fancy or valuable so I feel like I can take it anywhere and do anything with it which is the defining feature of my dream camera. I don’t like the idea of having a camera I feel too precious about, I want to be able to take it everywhere with me. I was dreaming about getting a Pentax K1000 and I just got gifted one last week so am excited to play around with it.

PORTRAIT - ADAM KENT WIEST

What are your feelings towards digital and film? Which do you use more?

around in the darkroom, making photograms and messing around with effects and I was really captivated by what they were doing and the beautiful images they ended up with. I hunted down my dad’s old camera and after that, started messing around in the school darkroom myself.

A while ago my digital camera was stolen which forced me to only use film. I never felt the need to replace it and now I feel much more comfortable with film. In general I think it totally depends on a personal preference and it’s best to be open to both. Both have limitations and benefits but for me at the moment I continue to feel most excited by shooting on film.

Your photos seem to have quite an ethereal theme to them, would you say that’s how you perceive these moments you capture?

What truly draws you to shooting on film and what are the biggest frustrations around it, if any?

I think that film has an inherently dream-like quality but that’s a look that I specifically try to achieve. A lot of the time I am just trying to capture exactly what I am seeing in front of me. I’m more interested in photography as a medium for recording and documenting, from my living space and my pets to what’s happening in the city, rather than creating or constructing a specific look or feeling. I hope that any feeling or look that comes across is therefore a true reflection of those individual moments, whether it’s ethereal, awkward or joyful.

I am a bit obsessive about documenting things so shooting on film is appealing to me because it makes me a bit more conscious of each photo that I take. I have the potential to over-document things so film helps me value each individual image more. I also find the process of shooting on film really addictive because there’s a lot of anticipation and excitement involved. I have had some really frustrating experiences with whole spools being blank or not having film when I need it but I think those experiences are balanced out by the enjoyment of the process of using film.

Is there a particular kind of film you enjoy using the most? I’m quite scared of black and white film, but aside from that I’m not very fussy. Fujicolour Proplus II might be my number one choice because I think it’s really nice film and I can get it in 5 packs from Tothill’s Pharmacy. It’s a really fun place to visit and absorb knowledge from the camera geniuses who

I’m not sure that there is mass appreciation for it in South Africa. It seems like a lot of people I interact with don’t see the benefits or the point and feel like it’s a waste of money. Despite this I feel lucky to be part of a community of people who appreciate it and I think that there will always be those people who choose to continue to use it for its value as a medium and that’s what will keep it alive. You don’t consider yourself a photographer, yet you are constantly photographing your surroundings. Why would you like to distance yourself from this title? I really love taking photos but I don’t feel like it’s a formal thing for me. I don’t want to make it seem more than it is for me which is more a compulsion to keep a visual record than anything else.

Whose work locally and abroad would you say has influenced you the most? I find most of my influence from a broad range of local work, from Faith47, Pieter Hugo, Sebastian Borkenhagen, Anke Loots, Travys Owen, to name a few. Anyone who I perceive as pursuing an individual style in their chosen field influences me. The National Geographic photographs have also been really influential to me. I also really love Aiwiewie’s black and white photography. I’m really influenced by that kind of work because it’s simple glimpses into his day-to-day and I think it’s really effective in capturing a mood and giving insight into his life. Any plans for future projects involving your photography? Next year I’ll be studying City and Regional Planning and I want to start a personal project that runs concurrently with my studies where I try and document different public spaces across Cape Town and how people are excluded from, or able to access, those spaces and how they engage with them. I also want to make some videos and be more adventurous with mediums I use.

Many of your photos feature cityscapes, why is that? Cities really fascinate me, especially Cape Town because the physical layout of the city is so oppressive, discriminatory and contradictory but aesthetically it’s quite beautiful. I’m really interested in how people move through and engage with the built environment and how they are able to reclaim public space in a way. I’m also really drawn to how layers of buildings make interesting patterns and textures

MINOLTA - X 300

What are your thoughts on sharing your work online or through social media? I really love having access to other people’s work online and I find it hugely inspiring and influential to see other people’s work curated by them personally. Despite that it’s not something I feel is necessary for me at this point. I’m still quite sentimental and private about my photos. CANON - EOS 500 N

HOT HITS gill scott-heron jamie xx

drake

Fleetwood Mac

John Wizards

spoek mathambu

take care

Rumours

lusaka by night

mshini wam

we’re new here

2011

1977

2013

2010

Cash Money

Warner Bros

Planet Mu Records

BBE Records

2011 Yung Turks, XL Rec

Have you had any formal training regarding the arts or are you self-taught? Not since high school but I’ve been lucky enough to be surrounded by really talented, creative and helpful friends who not only inspire me with their own work but are willing to sit through an onslaught of questioning from me. That’s really where I’ve THE LAKE

THE LAKE

WORD COUNT JENNIFER EAVES INTERVIEW - FRED DE VRIES

PHOTOGRAPHY - Danielle Bischoff

Jennifer Eaves is South Africa’s answer to the late great British folk singer Sandy Denny - her voice that rare mix of cool and sexy, clarity and emotion. Eaves, who studied classical music at UCT, was previously in folk rock outfit Burton Lane. Ten years ago she went solo, recording several albums and EPs.Then she ditched her piano ballads and teamed up with fiddle player James Hall and multi-instrumentalist James Harvey. As Jenny and the Jameses they recently released an exquisite album called Untitled. Eaves has two children and lives in Fish Hoek, where she was born some 33 years ago. FISH HOEK, HMMM. IT IS KNOWN AS A ‘DRY TOWN’ AND HAS AN INCREDIBLE NUMBER OF CHURCHES. IT IS, AS THE CLICHÉ GOES, A PLACE FOR ‘NEWLY WEDS AND NEARLY DEADS’. WTF? Haha. Yes, and in-between you find a quiet space and you get left alone. I’m a beach person and if I had to choose between mountains and sea I’d go for beach. And now my children are with me on the beach all the time, so that was a big pull. JENNY AND THE JAMESES ARE A PROPER FOLK OUTFIT, COMPLETE WITH TRADITIONALS, BALLADS, BLUE GRASS STOMPERS AND IRISH JIGS. WHY FOLK? Folk is one of those words that has often been abused. If I go back to my first love of music it’s always been about story-telling. Not necessarily personal stories, but stories of people around the world. I love how folk music was used, like a sounding board for the people. It goes back to the travelling troubadours, who took news and spread it. I have gravitated towards the Celtic folk sounds, also in my tunings: DADGAD, which gives that open Celtic sound. When I studied at UCT I realized that a lot of those [students] are very pure classical musicians. They won’t listen to anything else. I realized then how out of that box I was. ON THE ALBUM YOU COVER ‘BROTHERS IN ARMS’ BY DIRE STRAITS. AREN’T THEY THE DULLEST BAND IN THE WORLD, AFTER COLDPLAY? My parents weren’t musicians at all. When I tried to fall asleep as a child they would play Dire Straits, Cat Stevens, Neil Young. I attached myself to ‘Brothers in Arms’ when I heard Joan Baez sing it. So I started playing it every now and then in pubs, and people said they loved the way it sounded with a female voice. When it came to do the album we wanted to have it on it. So it has more sentimental value to me. My memory is me being put to bed and then lying in the dark listening to the music my parents were listening to. YOU ALSO COVER SCARBOROUGH FAIR. It’s so well-known because of what Simon and Garfunkel did with it, but has its origins in the 1600s. The story behind it is that it was written about a man who is presenting a series of impossible tasks to a woman he would like to marry. If she completes them, he’ll marry her. The way we do it is quite ironic, with me as a woman singing that this is not the way life is anymore. Haha. It was Simon and Garfunkel who brought in the canticle, about being at war and fighting for the country. So it’s a strange mix of messages coming out. We use the traditional lyrics, but live we often do the canticle version. You’ll get these

contrasting melodies that are equally important with equally important messages. So as a listener you draw from these two worlds the whole time. THE OVERALL FEEL OF THE ALBUM IS QUITE MELANCHOLIC. ARE YOU A SAD PERSON? No, I’m actually a very happy person. I do experience sadness, but in general not. I like to delve into the deeper things in music, I like that outlet and enjoy telling deeper, darker stories, but that’s not what I am. So I often tell a story in the third person. THERE’S A SONG THAT DEALS WITH YOUR HUSBAND’S DEPRESSION. My husband works in the NGO world and has been involved in the anti-corruption campaign and the marches. He’s a deep person and dives deep into depression and then rises out - up and down. It was only when I wrote the song that I realized how much of a journey it has been for both of us. And that no one ever speaks about it or brings it to light in a slightly different way. So it was a kind of spontaneous outpouring of what I was feeling. IS THERE CAMARADERIE AMONG THESE ‘FOLK’ MUSICIANS?

DEPRESSION DOES HAVE A STIGMA, DOESN’T IT? It does. It’s definitely an unspoken thing. It has almost been healing for me to be able to say it, because the amount of people that have interacted with me after I played it and said things like: wow, my wife or husband has been like this, and no one ever said it out loud... Sometimes you don’t have to fix the problem, but you have to actually be in it and navigate through it. And that was what the song was about: basically pointing to the fact that it is just a journey and we just have to exist in it. To be able to say that was quite meaningful for me too. HOW DID YOUR HUSBAND FEEL ABOUT YOU PUTTING THIS INTO A SONG? He was totally for it. We first talked about it and he was in a place in his life where he was ready to say it was actually ok. Sometimes it’s better for people to know [about your depression] so you don’t have to cover it up all the time. Like when he was getting depressed and going through these dark stages, I used to make apologies to everyone, saying sorry we can’t come to dinner. It gets exhausting. Eventually we realized: we have no one to apologize to, this is what our life is. It was almost like a burden had been lifted. PEOPLE TALK ABOUT THE CAPE TOWN FOLK SCENE. IS THERE ONE? I played at the Cape Town Folk and Acoustic Festival twice and I think that the folk word should be dropped. Just call it Cape Town Acoustic Festival. Because that’s what it is: people playing their guitars. And that’s great, but it’s not really folk. When people talk about folk they mean singer songwriter stuff. Well, at least there’s respect for acoustic music, which wasn’t the case ten years ago. Back then it was the louder the better.

There’s always a little bit of hierarchy. There’s the people who have been in industry for a long time, they call the shots, like Caroline Blundell. Then people like myself, skilled and equally able to make good music. We are generally friends. And then there’s the newcomers, the little girls, and they are very backstabbing, bitchy. Not nice. When I was emerging after having children I was lumped with that group for a little while, and it was awful. I felt like giving up. It’s very competitive, people look down on you, will never invite you, and boycott your gigs. They feel very threatened by the fact that there’s someone else, also singing. But as soon as you go above that level, with contemporaries who appreciate the fact we are all making music, it comes together. Who? People who play similar circuit, like Hatchetman, Emma du Preez, Digby and the Lullaby.

ter someone said I reminded them of her. I watched a whole documentary. I don’t know how I could have missed out! She has a light, elastic way of approaching her folk trills, and the ability of crossing over from folk into mainstream. The only folky female singers I listened to were Joni Mitchell and Joan Baez. My influences were the things my parents listened to: Cat Stevens, Dire Straits, UB40. And when I was a teenager it was Alanis Morisette, the Cranberries, Nirvana. Now I really love Tori Amos for her honesty and bravery in music. INFO: jennifereavesmusic.com

LATEST RELEASE JENNIFER EAVES Land of Lonely / EP 2015

OK, AND THEN SANDY DENNY. HERO? You’re not the first person to say that I sound like her, but I had never heard her until about a year ago. I actually went and did some research on Sandy, af-

FAVOURITES Neil Young Harvest 1972

Damien Rice O 2002

Reprise

14th Floor

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The Avett Brothers The Carpenter 2012 American

Noah Gundersen Carry the Ghost 2015 Dualtone

Glen Hansard Once 2007 Sony Music

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MAMI WATA BANTU WAX ARTICLE - Malibongwe Tyilo

IMAGES - BANTU WAX

Unlike its western counterparts, the all too familiar surf brands whose campaigns are typically fronted by blonde blue eyed models, Bantu’s models are a mix, reflecting urban Africa, a range of skin tones and hairstyles: dreadlocks, afros, shaved heads, it’s all there. There’s no denying that beach culture is a regular part of life in many African countries. How could it not be? Considering that the continent has 26 000 kilometres of coastline, much of which is home to beautiful beaches. In addition to general beach culture, there is also a surfing culture in different coastal parts of the continent. From Taghazout in Morocco, to Senegal’s world-class surf, all the way down to South Africa’s West Coast and around to Jeffrey’s Bay, there is a multitude of beloved surf. However, that being said, surf and beachwear brands that speak to and are targeted at Africans have been a rarity. One brand trying to fix all of that is Bantu Wax, a beachwear and surfwear brand founded by 30 year old Yodit Eklund in 2010. Unlike its western counterparts, the all too familiar surf brands whose campaigns are typically fronted by blonde blue eyed models, Bantu’s models are a mix, reflecting urban Africa, a range of skin tones and hairstyles: dreadlocks, afros, shaved heads, it’s all there. As for the actual trunks, board shorts, bikinis and sweaters, they take their inspiration from the Dutch wax prints that have become synonymous with west Africa, and they are designed and produced right here on the continent. When we ask Yodit how she deals with some of the oft-mentioned challenges of mass production on the continent, she seems to take it all in her stride as she tells us, “One day at a time.” “When I started Bantu we were mostly doing wholesale around the world with very little presence in Africa,” explains Yodit. Indeed, initially Bantu Wax was primarily available in stores like Barney’s, JCrew, and Opening Ceremony. However, in 2014, unhappy with the fact that she had built an African brand that was popular overseas but not available in Af-

rica, she decided she would restructure her company. She eventually said goodbye to her global stockists, and opened a flagship store in Senegal, the country where she took the inspiration for the label’s name, which she informs us means ‘gateway’ in Senegal. The store, which is a retail concept based on a shipping container, on a beach in Dakar, was built with the help of local architects, Issa Diabaté and Mardochée Diané. It was followed up with another store in Cape Town’s Woodstock. “In order to be close to what’s happening on the ground we shifted our direction a bit. We opened the store in Dakar, and we selected that location because of its cosmopolitan nature combined with the number of killer surf spots. We now also have our Cape Town store and we’re looking forward to opening another store in Morocco in early 2016.” She adds. Born to an Ethiopian mother and an American father, Yodit herself grew up travelling different parts of the continent - Ghana, Sudan, Kenya, Ivory Coast, and Egypt - before moving on to study Environmental Science and Economics at the University of California in the States. The surf culture she celebrates through her brand is one she has experienced herself. As someone who grew up in diverse parts of the continent, and got to look back at it from outside, she has a keen understanding of the opportunities that lie here, “Africa is the youngest continent in terms of age demographics in the world. It is only natural that people will look to Africa when exploring creative areas, like art, music, fashion,” she adds. INFO: www.bantuwax.com

AFRICAN BEACH GROOVES Nigeria Disco Funk Special Lagos 1974-79 2008 Soundway

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FELA KUTI Yellow Fever 1976

NGOZI FAMILY 25,000 volts 1977

Afrodisia

Chris Editions

Cazumbi African Sixties Garage 2009 Nosmoke

Zulu Stomp!! South Africa Garage Beats 2010 Nosmoke

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PANTONE Michael Taylor INTERVIEW - Nabeeha Mohamed

PHOTOGRAPHY - OLIVER KRUGER

“It’s the imaginary that interests me. I think working with narrative to communicate ideas will always involve using your own imaginative voice. And so do my paintings – I rely on personal history and fantasies to describe this interest in the imaginary.” With eight solo shows behind you, you’re a fairly established name in the discourse of contemporary South African artists. But for those who are unfamiliar with you and your work, could you tell us a little about your background and career thus far? I studied Visual Communication at Stellenbosch University, which I immediately followed up with my Masters Degree in Fine Art. Ever since my first year doing honours I have had a website and was posting my sketch projects online. In 2005, after seeing some of my Immediate Nonsense drawings online, Lucinda Mudge and Francesco Nassimbeni, of The Drawing Room, invited me to be part of their second exhibition to be held at a brand new gallery in Cape Town, called Whatiftheworld. The response to my work was really great and I decided to continue partaking in small exhibitions and build a relationship with Whatiftheworld Gallery. Ten years on, I’m still working predominantly in the drawing medium, and still prefer to make narrative style art. And, yes, Whatiftheworld is my representative gallery. Beyond producing a final art object, the process of making is usually of paramount importance to an artist. Would you mind giving us a little insight into your art-making process? The process is fairly straightforward. I put pencil or brush to the paper and make something or someone happen. Everything to me is about the drawing. Lines and marks happen all over the place. Sometimes when I’m working on a series or sequential body of images, then maybe I’ll do some sketches. But most of the time - where it starts is where it finishes. How and where does the language of painting assist you in unearthing conceptual curiosities, where pure illustration might prove insufficient? My work is predominantly about narrative ideas and making sure that a very particular kind of character, or attitude, comes forward in the image. Intense colour use and exaggeration of elements draws focus to deliberate visual peculiarities. Visual contradictions. I want the viewer to look twice, constantly rethink the drawing’s narrative. I’m sure you’ve heard comparisons drawn between your work and that of Dana Schutz. Your paintings share a playful and expressive gesture as well as a tongue-in-cheek undertone. Are there any particular artists that you feel a close creative affinity to? David Hockney is always at the back of my mind. And my favourite storyteller is Edward Gorey. Cindy Sherman’s portraits I also find influential. There’s a strong sense of the imaginary in her work that I’m very drawn to. In Dana Schutz’s work, there’s a kind of hysteria that I think shows up in my images as well. Also her deliberate painterly mannerisms, that’s something I do too. I’m such a big fan of George Condo’s and John Currin’s paintings. And I think Rose Wylie is my fave faux naïfist.

In 2013 you were shortlisted by Thames & Hudson as one of 100 Artists to Watch. Whilst we seem to have finally passed the dried-out critique of painting as a “dead” medium, do you have any suggestions for aspiring painters on how to cultivate a relevant and contemporary practice of their own? Satisfy your own visual needs first. Keep the work interesting and relevant for yourself. If you can find a way of creating the time for yourself, then spend it by making stuff. Maybe put a little bit of yourself in the work… Could you talk to us more about your interest in fiction and memory in creating your paintings? It’s the imaginary that interests me. I think working with narrative to communicate ideas will always involve using your own imaginative voice. And so do my paintings – I rely on personal history and fantasies to describe this interest in the imaginary. Your work is a very strong example of how the personal is political. For example in Trophies, your most recent show at WhatiftheWorld, you scrutinize your own role as a “male homemaker. Could you elaborate on the theme of the male ego in your practice? The male ego has been my theme of choice for the last three years. And I’ve been doing mainly group portraits of different types of men in themed scenarios (‘end of the world’, ‘yoga class’, ‘skinny dipping’) over this period. These are fictional scenes, or fantasies, and the men of these representations are all quite different in character, and the drawing style for each of them tends to show that. Sometimes funny, sometimes surreal, sometimes abstract - these portraits are all actually meant as self portraits. Me in conversation with myself. Me, stroking my own ego. Me, having a good laugh.

Beach bats VIII, 2014 Gouache and pencil on paper 40 x 37.5 cm

I’m very curious about the digital flipbooks that you use to create. Could you tell us a little more about them and if there is anywhere online that we may still find them?

Satire seems to be a sort of device you find useful in creating your narratives. How do you think humour contributes to encouraging viewer engagement with your paintings?

As part of my Maters degree work, I created an online sketchbook project called ‘The Book of Immediate Nonsense’. E-zines were very popular at that time, and I thought I’d create an online version of my sketchbook that challenges people’s understanding of looking at, and reading through, a sketchbook. I made these little onscreen flipbooks for almost 10 years, but this year decided to stop that format (you can still view all the collections at www.immediatenonsense.blogspot.com). And I still do these drawings, which anyone can look at – on the Immediate Nonsense Facebook page – and I’m planning on bringing out a book with a selection of my favourite drawings from those 10 years in 2017.

It’s there to disarm the viewer. It makes them see themselves in the image and to help create personal narratives.

STUDIO HITS

There is a persistent hum of the theatrical in your work – in the geography of the scenes of Mumbo Jumbo and I Was Born Yesterday to the often tragicomedy composition of your narratives. Are these theatrical elements very conscious decisions in your creating process?

What does it mean to you to be a practicing artist in South Africa today? I feel lucky to be able to do this full time. People recognise the kind of work that I make and support it so keenly. And a lot has to be said for gallery representation in South Africa. Whatiftheworld supports me in every way. I realize that this is hot-on-the-heels of your most recent show, but are you working on anything new yet? I’m about to start work on a series of large colour drawings, which will be a personal interpretation of the Stevie Smith poem, ‘The Jungle Husband’.

INFO: www.michaeltaylor.co.za

The B-52’s

Julia Holter

Daughn Gibson

Moloko

PJ Harvey

Wild Planet

Have You in My Wilderness

Carnation

I Am Not a Doctor

Rid of Me

1980

2015

1998

1993

Island

Domino

Sub Pop

Sony

Island

Absolutely. I like nothing more than to create a space where foreground and background merges, where characters seem to hang on or fall over each over, and where there’s almost always some sort of drama about to unfold. THE LAKE

Boy meets world II, 2014 Pastel and charcoal on paper 150 x 118.5 cm

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The runaways, 2014 Gouache, acrylic and pencil on paper 170 x 150 cm

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The Neighbourhood Watch, 2015 Gouache, flashe, acrylic and ink on paper 150 x 180 cm

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The Yoga Suite, 2015 Gouache, flashe, acrylic and ink on paper 150 x 180 cm

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Juicy Fruit TONY GUM ARTICLE - SANDISO NGUBANE

PHOTOGRAPHY - HAYDEN PHIPPS

I would soon figure out what Tony’s antidepressant is: a rebellion against boredom. That is why, she tells me, she gave up fashion blogging in spite of the fact that the glossy mags were pining over her. “I don’t think I should be here in the company of people that have worked so hard to be where they are.”

This was in 2014, but her journey from blogger/ instagrammer to performance artist – and a very well received one at that – begins in earnest at the Cape Peninsula University of Technology,

for taking her to the Jo’burg Art Fair. “She was a rapid fire explosion onto the art world, and we like it like that! Her composition is precise, direct, in your face, with no tricks. You get what you see,

I’d personally first met Tony in cyberspace, and she’s obviously now light years away from the days of being cast as the South African Tavi Gevinson, which is what we tend to do as South Africans – it’s not good enough unless it can be given some Western comparison. Meeting her at Clarke’s gallery on a Monday morning to chat about her work, her quiet confidence is unconcealed behind her generous smile and unpretentious, slightly shy, but unflinchingly wise gaze. I’m reminded of Chanel Oberlin, the mean-girls type character on the TV show Scream Queens, and her question to her nemesis, Grace Gardiner: “You’re so confident without being mean. What antidepressant are you on?”

“I still don’t think of myself as an artist, but rather as an artist in learning.” These are just a few of the things that came up when I spoke to Zipho Gum about her work. At the 2015 Jo’burg Art Fair, she became the poster-girl of the whole Fair, sharing the limelight with much more established artists like Mohau Modisakeng. Unlike most artists, however, Zipho is no Michaelis alumni, but she is Tony Gum – the blogger and Instagrammer whose Black Coca-Cola series is without doubt engraved in the memory of all who have seen it.

I would soon figure out what Tony’s antidepressant is: a rebellion against boredom. That is why, she tells me, she gave up fashion blogging in spite of the fact that the glossy mags were pining over her. That is why, after discovering Steve Biko, along with a few of her friends, she started a blog and even shot an amateur doccie. “It was cute, but short-lived,” she says of the blog, which they named The Conformist.

Made as an Instagram post, her first image in the Black Coca-Cola series, titled “Pin-Up Lady”, saw Gum assuming the character, a black woman with a crate of Coke bottles perched on her head in the way black African women, across the continent, are known for being able to expertly balance heavy loads on their heads. The red crate, her white-and-red stripe top, Tony’s own brown skin and nicely kempt fringe falling over her forehead and close to her thick eyebrows, stand out in stark contrast against a backdrop of green leaves. The composition is striking indeed.

Humble would be too boring an attempt at describing Miss Gum, but I can’t think of any other adjective in a world filled with overnight social media stars, who, at the drop of a hat, are often referred to as ‘icons’. Many of them allow the hype helium to infiltrate their heads, lifting their feet off the ground. My conclusion is that this young lady’s feet still remain firmly on the ground. At least for now.

“I was bored at home and I was, like, maybe I should just update my blog because I hadn’t done that in a long time,” she says. “I didn’t even have any coke, there was just a crate full of bottles at home, so I mixed up a whole lot of things, dark things, like coffee and Lazenby sauce to pass as coke.”

I ask her what it felt like being called “probably the coolest girl in Cape Town” by British Vogue. “I don’t think they know a lot of Capetonians. Vogue is great but that’s not the be-all and endall of everything. Coolest person? There are so many cool people in Cape Town, and South Africa, but I was grateful that they had me in Vogue.”

Necklace by RAKKY - info@rakky.co.za

I’m enthused by the child-like playfulness in her crafting of that image, which caught the attention of many, garnering record likes on her Instagram page and rampant sharing of her blog post, where she wrote:

“Figured Coca-Cola needed a black woman in their presence. This is evidently not a racist remark - just a proud one. A woman derived from the 60s, as well as an African woman (which explains why the crate is on my head) merged into one to create an image of a Black Coca-Cola lady. An image relatable to every Mom, Pink and Larry.”

and what you see seems so straightforward until you think about it and realise that you are in the midst of a very different post-postmodern afro-global creature.”

INFO: www.tonygum.blogspot.com where Tony set out to solicit some advice from her film theory lecturer, the renowned cultural analyst Dr. Ashraf Jamal. “When I saw the Coca-Cola series, I was immediately struck by the cool wit, the fresh spoof on commodification, the interplay of tradition and the contemporary,” Ashraf says of his student’s work. “It’s a wildly effortless take on the now! Here was a young artist - a young black woman - who has arrived at just the right time, to turn around the vision of Africa in the greater world. An artist who - contra the history of pain and underdevelopment - embodied ‘high art lite’.”

STUDIO HITS Fourplay

Michael Franks

Dornik

Tribe Called Quest

Jamiroquai

A Backward Glance

Dornik

People’s Instinctive Travels and

A Funk Odyssey

1998

2015

the Paths of Rhythm

2001

Warner Bros

PMR Records

1990 Jive/RCA

Epic

Ashraf introduced Tony to gallerist Christopher Moller, and the two of them became responsible THE LAKE

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Aberration JANSEN VAN STADEN

“only one thing made him happy and now that it was gone everything made him happy” Leonard Cohen - ‘Book of longing’

Stepping out into the world, with uncertainty and a camera, you can learn so much about the people, the culture, the struggles and the untold stories of your time. A greater sense of understanding and intrigue follows as you start relating to others. You start unraveling how your current situation, and how you got there, measures up against the history of the people you encounter on the streets. To learn about myself in my reactions toward others is my primary concern. Photography is just a tool. I have a personal conundrum I find confusing sometimes. Are you taking pictures because you want to take pictures, or are you taking pictures because you are genuinely concerned with other people?

NOTABOUTTHEPHOTOGRAPHER.TUMBLR.COM

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REBECCA & ELECTRA FOR THOSE WHO THINK YOUNG STYLIST - KRISTI VLOK

PHOTOGRAPHY - CAROLINE MACkiNTOSH

MODELS - ELECTRA / REBECCA : 20 MANAGEMENT all swimwear worn throughout AMERICAN APPAREL, all t-shirts worn throughout THE SALVATION ARMY THE LAKE

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lip service Black Lips / SOUTH AFRICAN TOUR ARTICLE - RUAN SCOTT

PHOTOGRAPHY - Leigh Taylor

The Psych Night and Vans recently brought out the Black Lips from Atlanta, Georgia to South Africa for three epic shows. Great planning resulted in fun, energetic and sweaty shows. Formed around fifteen years ago while still teenagers, the band’s immutable sound and almost unchanged line-up since their inception in 1999 is evidence that hard work, relentless touring, good music and sticking to your sound can get you places. And by places I mean playing shows on all seven continents including Antarctica. Carfax in Johannesburg was the first stop on their SA tour where they were supported by local acts The Moths, Sol Gems, and BCUC. Followed by two shows in Cape Town, the first one at The Assembly supported by Sakawa boys (the best indy shoe gaze band in recent musical history), The Sisters, a two piece formed from the now disbanded Black Math, and The Gumbo Ya Ya’s. The other show was a secret show at Colourbox studios in Paarden Eiland with Medicine Boy and Retro Dizzy.

our music” attitudes found in many fans of the psych and indy sub cultures? Yeah! We want to get our music out there to the fullest extent. Where and how did the name Black Lips originate? It was kind of an homage to the Rolling Stones logo but an alternate version. Like I mentioned Black Lips have been together for a decade and a half. At what point would you say a band goes from being a new band to an old band?

He left for more or less family reasons, he got married and moved. Once he got settled in we invited him back and he obliged. Black Lips have a really energetic set. You play a low fi supped up psycedlic sound with a punk attitude. Where would you say your sound and influences sprout from? 70s punk mixed with 60s grave rock You have performed with Roky Erikson who is considered one of the pioneers of the psych scene. What was that like? And how did it come about? Was he amped on you guys?

Yeah we like exploring new places ‘cause there’s always new fans hiding under rocks. What would you say is different from fans when you started to your current fans? Our early fans were older record nerds. Now our fans are a lot younger. I read in an interview you are strongly opposed to the “Let’s shelter and not share

black lips We Did Not Know the Forest Spirit Made the Flowers Grow 2004

In The Red

black lips Good Bad Not Evil 2007 Vice Records

The Black Lips have a reputation for partying and getting loose on stage. There weren’t too many shenanigans on this trip like vomiting or bloodshed, only some french kissing between Alex and Jack. None the less Black Lips played hard and made new friends and fans. Here follows some words I had with Alex:

This tour introduced me. and I am sure others too, to Black Lips, it must be good to know you are still gaining fans?

Bomp!

black lips Let it Bloom 2005

Donning leather boots and jackets, knitted pullovers with slicked hair, trainers and military jackets, oversized shirts and bandannas, the Black Lips resemble a bunch of bad boys or bullies at a milkshake bar in the 70s. Except milkshakes have been replaced with liquor and cigarettes, and the juke box, with guitars, mics and drums. Their style suits their sound and after seeing them at both Cape Town shows I must say they are a band that actually looks the way they sound.

It’s kind of like being married. I feel like it’s for life, we get mad at each other and fight sometimes, but we haven’t broken up like some bands.

black lips Black Lips 2003

Bomp!

Their low fi, bedroom recording, garage punk sound is a mix-match of influences and attitudes ranging from the soundscapes of Roky Erikson to the energy of a punk band and even Charlie Manson.

Black Lips have been together for 15 years. What would you say has kept your line-up consistent over the years?

DISCOGRAPHY

black lips 200 Million Thousand 2009 Vice Records We say after ten years together you’re a grown up band. What stage in your career would you say was a turning point, in the sense that you guys are doing it right and it’s worth it to continue as a band? ‘Good Bad Not Evil’ is where we really got off the ground, but the album before, ‘Let It Bloom’ is where we came through musically. What were you guys doing job- and education-wise when you started Black Lips? Dishwashing, waitering, construction, business school. Jack Hines was part of Black Lips from ‘02 to ‘04 and joined again in 2014. Why the departure and what has he been up to in those ten years?

I don’t know how aware he was of us, but we were super pumped on him. He’s a big influence. We were able to play with him because we share the same booking agent. Your songs Bad Kids and O’Katrina from the 2008 album Good Bad Not Evil, seemed to be crowd favourites at your South African shows. What were some crowd favourites before those songs where written?

black lips Arabia Mountain 2011 Vice Records

‘Dirty hands’ and ‘Hippie hippie hurrah’. What were the influences behind those songs?

black lips Underneath the Rainbow 2014

Beatles, Dutronc, French 60s Pop, and low fi bedroom recordings.

Vice Records

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“‘Good Bad Not Evil’ is where we really got off the ground, but the album before, ‘Let It Bloom’ is where we came through musically.” Is it true that you guys paid a visit to Charles Manson for some lyrical inspiration? No, although we are fascinated by him. You guys tour feverishly and you just finished playing in South Africa for the first time. How did the idea of a South African stop come by? Psych night crew asked and we were stoked. Our friends Night Beats came too and they said it was awesome. You have stated you would like to play countries where rock music doesn’t exactly feature a lot? Yeah. I want to go to Cuba next and hopefully Malaysia.

How was the after-party in the Middle East? Hahah. Kind of chill, we had to go to Christian neighbourhoods for booze. Did you ever play the show in Antarctica? No. We wanted to and still plan on it. Then we can say we’ve played all 7 continents. It’s said that you guys got pretty raucous on stage in your early years? Care to elaborate? We pretty much do all the same stuff - it just happens when it happens. What is a stand-out incident or the craziest shit you got up to or endured as a band? Violence and bloodshed. INFO: www.black-lips.com 45

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QUICK FIX MELISSA WILLIAMS QUESTIONS - LANI SPICE

PHOTOGRAPHY - MELISSA WILLIAMS

“I love the idea of documentary photography and I love that any moment, anywhere, could be and is beautiful, depending on how you see it.” Where does Suzy Snakes come from? Well it’s kind of a long story combining old writing pseudonyms with girl gang names and cheesy movies and not wanting to be found by old high school friends on Facebook and kind of wanting to be a bad ass, but actually just taking photos of flowers, haha. Each of your images are thought out from your subject to your composition. Did you always photograph this way within the app? When did you start taking it more seriously? At first I was definitely a happy snapper. I was just kind of documenting the things that I was doing with Black Lung and The Pit mostly. I always tried to make a rad photo and thought definitely went into it, but I feel very differently about it today. I’m not sure when it all changed, probably a bit more than a year ago when I started taking care of the RVCA Instagram account. It made me think more about culture and communication, which probably made me rethink what I was doing with my own account. I guess I started valuing Instagram more as a legitimate channel of communication, and more consideration started going into what I “published”. These days people upload images taken from other devices such as SLRs and even analogue cameras. What are your thoughts on that? Do you feel people should rather stick to the availability and the capability of the particular phone they’re using?

azine a week after I finished school, so I just picked things up along the way. I still have very little technical knowledge. Do you make plans to shoot any subject matter ahead of time or is it purely imagery that presents itself to you at a certain time and place? I very much shoot whatever presents itself, which I guess is why I have so many flower photos on my account. I love the idea of documentary photography and I love that any moment, anywhere, could be and is beautiful, depending on how you see it. It’s super fun and it makes me incredibly happy, haha. Taking into consideration all the effects and filters that come with photography apps these days, is there still such a thing as a “purist” within the Instagram community? I am such a sucker for VSCO filters, it’s really bad, I can’t stop myself from over-editing most of the time, haha. I don’t know, I guess it’s just that we live in such a filtered visual world I feel like you need to keep up and be on the same level. But this also comes from picking up bad habits from shootings just with my phone and having to compensate for bad quality with cheap filters, haha. I’m sure there are still loads of purists out there, but I say, heck do whatever makes you happy. You once made up a zine of iPhone photographs called “Tranny Tramp”. Could you tell us more about it?

Ja, it really bummed me out in the beginning. For a long time I didn’t have a film camera or a proper digital camera so my only tool was my phone and I spent so much time taking photos with it that I felt I really learnt how to manipulate and use it to get some really good imagery out of it. I loved the challenge and I loved that I was able to produce something good using something so basic. With everyone only posting iPhone photos on Instagram there was obviously a very clear quality level and it was great to be able to take photos that pushed those boundaries. So when people came out posting fancy camera photos I felt a bit sad because I definitely think a unique thing was lost along the way. But now I use the Fujifilm X100T and it’s changed my life. It’s incredible to be able to shoot with the same portability but to have way better definition and light sensitivity.

I once went on a skate trip with a bunch of friends and the Anker Rampen crew, who build incredible concrete skateparks all over Europe. We went from Germany through to Norway and Sweden to skate all of Pontus Alv’s spots. Hannes, who started Anker Rampen, took us to something like 3 incredible tranny spots or parks a day and we skated our brains out for over a week. I’m a big fan of transition spots (thus Tranny Tramp) and because we didn’t really have any spots like that in South Africa, I was losing my mind and photographing everything with my phone along the way. Every transitions was unique and beautiful in its own special way. So by the end of the trip I had an incredible collection of tranny porn basically, haha, so I decided to do something with it and released the zine to be able to share the experience with people.

Photography plays a big role in your life now, did you have any formal training?

You’ve just spent some time travelling, where did you go and were you inspired?

Growing up as a kid and then teenager, photography was my way of being a part of something without having to actually play in a band or skate well. That’s where it all started for me, loving bands and music and skating and graffiti and street art, but not being able to do any of it. So when I was 16 I picked up a cheap film camera (in those days there were no such things as digital cameras) and started sending photos to Blunt Magazine and making punk zines with friends. I was going to study photography after school but I started working full-time at Blunt Mag-

I just went on a trip to Sri Lanka and it was definitely inspiring, particularly for surfing and nature adventure. We travelled from the West Coast to the East Coast and back again through the South Coast. It was such a unique place, I’ve never experienced anything like it before. It was incredibly beautiful but also very third world and rural at the same time. I found the people to be really nice out there and it was pretty rad sippin’ coconuts on the beach. I thought that I was going to take a million photographs there because it’s a tropical, exotic, Buddhist, far off island

in the middle of nowhere. In the end I took very few photos and struggled with the ones I took because everything around us was just too obvious; a local at a rural fruit market, palm-tree laden prestige beaches, huge Buddha statues, local fisherman. I don’t know, I just felt like a tourist taking tourist photos to go and show off to my western friends at home. It was a month ago and I still can’t bring myself to post a photo from the trip, haha. As you can see, I’ve totally over-thought this, but it was a super inspiring trip, it’s an insanely beautiful place with great food and surf and truly incredible local people. Within photography, is there a particular discipline you like to shoot the most, such as cityscapes, people, nature etc.? I probably enjoy shooting people the most, but in the context of something like a skate trip or a skate mission where you are photographing more of a lifestyle and a culture that’s pretty raw and real. There’s a lot of visual stimulation there for me. I also think that the imagery is so interesting because skateboarding is so shut off from the rest of the world. No regular dude is going to stumble upon a backyard pool session or a ghetto street mission. In contrast I actually really love photographing flowers in nature, they’re obviously super beautiful and I enjoy the challenge of finding that unexpected, hidden angle. I also love taking photos of food, I do a lot of the stuff that’s up on the @clarkescapetown account at the moment. How do you think Instagram is changing the field of photography? Well I suppose because the platform is fast and hungry, the speed at which photographers have to create content is much faster. I would say that people are generally posting once a day, so that’s a huge demand for a large quantity of content all of the time. I can’t really speak much for the photography industry because I don’t know that world, but defi-

nitely for me it’s just incredible to see photographers having a platform for showing their work and being able to communicate and reach people that they would otherwise never have reached, with their art form. I think it has probably encouraged a lot of people to take and share photos a lot more, which I think is pretty damn cool. What would you say are your biggest influences when it comes to photography in general as well as in the Instagram community? I don’t have any great classic favourite photographers or actually even any favourite photographers really. I don’t really follow that stuff too much. I had spent a lot of time watching what the RVCA photographers were doing, because that was my job and that was really interesting to me. It’s also always cool to see what people are doing over at Monster Children and Huck Magazine as well as people like Deadbeat Club and Ed Templeton of course. A lot of photography coming out of surfing at the moment is super cool, so I follow people like Morgan Maassen. Locally I love the work of friends like Danielle Clough, Adriaan Louw, Lani Spice, Leon Bester, Anke Loots and Pinkhard to name but a few. I could probably do with a bit more education. INFO: www.instagram.com/suzysnakes

high fives david bowie

sonic youth

the rise and fall of ziggy

dirty

stardust

1992 DGC Records, BMG Direct

1972 RCA Victor

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the shins

Oh, inverted world

2001 Sub Pop

fugazi end hits

1988 Dischord Records

The B-52’s The B-52’s 1979 Warner Bros. Island

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“I started listening to vinyl because it was the major format when I started buying my own music. I bought tapes and CDs for years, but I’m so glad I got back into vinyl. I love the sound and the large format artwork. You also really need to consider what you feel like listening to before you put something on. It’s a small event.”

Fugazi In On The Kill Taker 1993 / Dischord records

Beirut The Rip Tide 2011/ Pompeii records

It was really difficult choosing 6 records for this article. But picking one Fugazi album was the hardest task. Their music has been the soundtrack to my life for the past 20 something years. My good friend Adrian got me into them sometime in the early 90s. They’ve been on hiatus for years and it doesn’t really look like they’ll be re-forming anytime soon. I never had the opportunity to see them play live, but there is no band I’d give more to see. I think I chose this album because it’s one of the ones I listen to most. They originally recorded it with Steve Albini but scrapped it as unsatisfactory. Weird, but I’m glad they did.

I saw Beirut play at the Brooklyn Academy of Music with my wife Pam while we were on honeymoon. It was a toss-up that day to either see them or go to a Crystal Stilts show. Pam and I had both been fans of the band before but seeing Zach Condon play with a full brass band was quite something. Choosing the Beirut show was a good call – one of the best shows I’ve seen. Their new album, No No No has just recently been released and it’s good, but The Rip Tide is much more solid for me. Every song is fantastic.

Wu-Tang Clan Enter the Wu-Tang (36 Chambers) 1993 / RCA records

Joy Division Unknown Pleasures 1979 / Factory records

This is an album that I’ve been listening to for the past 22 years. In my opinion it’s the best hip-hop album ever recorded. It really is hard to beat the Wu. This crazy guy in high school, Elton, introduced me to it and I’ll never forget driving at high speed to White Horse listening to it. I saw Wu Tang play in at the Brixton Academy in London a few years later while touring their Wu-Tang Forever follow-up album. Absolutely the worst show I’ve ever seen. I think it was documented somewhere as the worst show they had ever performed. RZA missed his plane, so the rest was chaos. I really want to see them again though.

I remember being at a vinyl sale a few years back when there were no real record stores in Jo’burg. A vendor asked me what I was after and I mentioned this record. He laughed a very dismissive laugh and said “no chance”. I’d been on the hunt for a copy ever since and eventually came across this picture disc in a Berlin flea market. It’s not in the best condition and picture discs are never the best quality sound-wise, but I had to buy it. It’s a seminal album by one of my favourite bands, containing one of my all-time favourite songs, New Dawn Fades. I have my friend Justin to thank for introducing me to them. I remember listening to dodgy mp3s on dodgy computer speakers – the picture disc is much better.

The Stone Roses The Stone Roses 1989 / Silvertone records

Nick Cave and the Bad Seeds Abattoir Blues/The Lyre of Orpheus 2004 / Mute records

Whenever I’m not sure what to put on, I keep going back to this record. It’s brilliant from start to finish. It’s difficult to pick a favourite song. Maybe Made from Stone. Well, for this week anyway. I can’t remember where I picked up this copy. The sleeve is in pretty rough condition, including a chopped off corner but the disc is perfect. My copy is a UK 1989 original Silvertone version without the Fools Gold addition of later re-releases. It’s got a great warm sound. Another band that I would have loved to see in their prime. They’re touring again, might be worth a trip. An essential album and one of my best.

There are so many reggae records I could talk about but“Super Ape” is a classic. Recorded at Lee Perry’s Black Ark Studio in the mid-seventies, this was a great time for Jamaican music with loads of iconic albums being cut there. Groups such as The Wailers, Junior Murvin, Mighty Diamonds, Max Romeo and The Congo’s all recorded here. It pushes all the right buttons, with sounds I want out of this genre. The pace is slow and super laid back with belly deep bass and trippy vocals. The cover is also fantastic. A big ape with a spliff in one hand and a ripped out tree in the other. He looks mad or maybe just hungry. Smokey dubbed out mystical roots reggae at its best.

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Street Craft The Heart Goes Last In Margaret Atwood’s latest novel The Heart Goes Last (R320) Stan and Charmaine, a married couple living in their car and surviving on the tips Charmaine makes at a bar, are struggling to stay afloat in the midst of economic and social collapse. “When they see an advertisement for the Positron Project in the town of Consilience – a ‘social experiment’ offering stable jobs and a home of their own – they sign up immediately.” And the cost? Every second month, they swap their home for a prison cell.

I’ll never write my memoirs Living legend Grace Jones has recently published her cheekily titled autobiography I’ll never write my memoirs (R330). Written with Paul Morley the book offers a “revealing account of her spectacular career and turbulent life, charting the development of a persona that has made her one of the world’s most recognizable artists.” Singer, model, and actress, Miss Jones has always been an “extreme, challenging presence in the entertainment world since her emergence as an international model in the 1970s”. Recording classics such as “I Need a Man” and “La Vie en Rose”, her provocative shows saw her hailed as a “disco queen, gay icon, and gender defying iconoclast.”

M Train Green Lion In Green Lion (R240), the latest novel by Henrietta Rose-Innes, an old school friend of main character Constantine is mauled and he steps in to take care of Sekhmet, the last remaining blackmaned lioness in the world. Set in a Cape Town where “fences keep people and wildlife apart” Con is seduced by a member of “a cult of animal lovers with obscure alchemical aims [that] seeks to claim the lioness as their own.” When she escapes, the lioness stalks the “city’s imagination, stirring up rumours of terror and magic.” In the author’s own words Green Lion is a book about “extinctions, and loss, and the impossibility of bringing things back from oblivion; and also about the mythic importance of animals in human lives.”

In The Lake #5 Just Kids by Patti Smith was reviewed. Now forty years after the release of Horses comes M Train (R385). “As perceptive and beautifully written as its predecessor” the book makes the reader the companion of a “lifelong pilgrim”. Illustrated with Smith’s own black-and-white photographs, M Train is less linear than Just Kids, more episodic. “In fact, M Train is a bibliophile’s trove,” with striking insights into the books and authors that have inspired and continue to do so.

Street Craft (R499) is a hardcover book that claims “Street Craft is the next chapter in the story of Street Art – an explosion of creativity that is reclaiming and transforming urban space around the world”, and features artists active in Guerilla gardening, yarnbombing, light graffiti and street sculpture. “Whether mini-gardens or guerilla sculptures, uncommissioned street installations enhance the city’s environment and are a kind of gift to the community”.

Can art change the world?

The World Atlas of Tattoo Donker Stroom: Eugene Marais en die Anglo-Boereoorlog In ‘n onlangse resensie van Donker Stroom: Eugene Marais en die Anglo-Boereoorlog deur Carel van der Merwe (R375), noem Daniel Hugo dat “ons Nobelpryswenner J.M Coetzee het na Eugène Nielen Marais verwys as “one of the few potentially mythic men white South Africa has produced”. Rousseau believes this time in London is lost to history.” In die nuwe boek vind ons uit wat Marais in Londen gedoen het gedurende die Anglo-Boereoorlog. 54

The World Atlas of Tattoo (R795) by Anna Felicity Friedman is a colourful and well-researched showcase of the top 100 tattoo artists at work in the world today. “Organized geographically, each section is introduced by a concise overview of the types of tattooing prevalent in that region.” Spanning a huge aesthetic range, “from stark geometric blackwork to vibrantly coloured painterly masterpieces, and from tiny hand-tattooed shapes to vast machine-drawn designs that cover large areas of the body”

Björk: Archives Movement Cape Town Björk: Archives (R1360) was published earlier this year by Thames and Hudson to accompany the exhibition at The Museum of Modern Art. Designed by top graphic design agency M/M as a slipcased world of wonders, this publication is composed of six parts: three 16p booklets, one 24p booklet, one 120p paperback and a colour poster. It’s the first complete retrospective of a contemporary icon, prepared with Björk’s active creative involvement. Archives covers the artist’s seven studio albums. A must have! THE LAKE

Movement Cape Town (R350) edited by Zahira Asmal, provides “insights by top urban researchers, academics, designers, artists and activists who are creating, shaping and observing the movements that have made Cape Town the city it is today. Explore the city’s development through essays, maps, illustrations, photographs and interviews with Cape Town’s great-thinking leaders. This book is a resource for both residents and visitors eager to understand the city’s changing form.

Can art change the world? (R890), the “first major, in-depth retrospective monograph on JR, the enigmatic and anonymous Parisian photographer, artist and activist behind some of the world’s most provocative large-scale public photography projects”, was recently published. The 112 page hardcover with 300 colour illustrations and 200 black-and-white illustrations, includes the whole body of work of the artist The Guardian called “the hippest street artist since Banksy.” By way of introduction a “specially commissioned graphic novel by comic artist Joseph Remnant,” charts JR’s meteoric rise from his street artist roots. As TIME. com said, Can art change the world? Is “sure to be a popular feature on this year’s Christmas lists.”

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