THE LAKE # 013 by THE LAKE MAGAZINE

BOMBASTIC CHILDREN OF THE SUN

THE LAKE WE ARE FOOLISHLY Ambitious

#013 / 010217

CHILDREN OF THE SUN “We are going to inherit the earth . There is not the slightest doubt about that… We Are not afraid of ruins. We who ploughed the prairies and built the cities can build again, only better next time. We carry a new world, here in our hearts. That world is growing this minute.” - Buenaventura Durruti

CONTENTS REGULARS:

PUBLISHER

News 04 Print Run 56 Plimsoll 58 Fashion Mens 60 Fashion Ladies 62 ART: Lhola Amira Frozen Chicken

16 38

12 22

MUSIC: Thor Rixon TCIYF Dope Saint Jude Tumi Mogorosi

07 28 34 42

LIFESTYLE: Endless Daze Wax Junkie Myciti

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

PHOTOGRAPHY: Stalker Aberration

THE LAKE MAGAZINE PTY LTD info@thelake.co

46 50 52

COVER Oliver Kruger Photography Stefan Naude Art Direction Dope Saint Jude Cover Dope Saint Jude Styling Chantal Jacobsen Hair / Make Up Studio GLOW HIRE Lighting GLOW HIRE Retouching Oliver Kruger photographers

FASHION

Hayden Phipps Oliver Kruger Jacqui Van Staden Madelene Cronje John Bekker Neil Burton Gabrielle Guy

Kristi Vlok kristi@thelake.co

CONTENTS PHOTO

COPY EDITING

Jacqui Van Staden

Christine Stewart

Contributors

ONLINE / SOCIAL

Matt Vend Lloyd Gedye Lani Spice Sandiso Ngubane Dan Charles Astrid Gebhardt Neil Burton

* thelake.co.za * issuu.com/thelakeco * instagram.com /the_lake_ magazine * facebook.com /TheLakeMagazine

Advertising / MARKETING Brett Bellairs brett@thelake.co

Submissions info@thelake.co 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.

PRINTING NOVUS Novus Print Solutions Tel: +27 21 550 2500 Email: info@paarlmedia.co.za

THE LAKE

NEWS FINNI Cape Town based brand Finni started in 2013 with a single cycling top designed for a corporate consulting company. The numerous “where did you buy that?” remarks that followed sparked a dream. It was time to serve a niche hungry for quality and design driven active wear.We have a passion for design. The Finni slogan is ‘cycle de style’, French for ‘cycle in style’. Our main drive is not profit, but the pursuit of creating unique, eye-catching items. Our inspiration comes from the simplicity of crisp clean lines and contrasts from an era not so long ago. We add a contemporary spin on things by sewing in current cutting-edge innovations. Every Finni design is fashionable, inspiring, nostalgic and innovative. Our range includes cycling-, active-, casual wear, and socks. INFO: www.finni.co.za

Research Unit

PAX 2

Research Unit (RU) is the brainchild of husbandwife-duo, Chad and Erin-Lee Petersen. Established in 2011, RU was born from a desire to make products not found on the South African market. A small but highly skilled team brings the brand to life with meticulous hand-stich techniques inspired by Japanese craftsmanship.

Luks brands, lifestyle brand distributor welcomes PAX premium vaporizers to the family.

RU designs are progressive, functional and timeless with a street-style sophistication and art inspired edge. RU products are authentic, made to last and comes with a 10 year quality guarantee. For more information about the brand and to get your hands on product, visit the store and website.

Designed for use with loose leaf plant material, the PAX 2 is beautifully-crafted, easy-to-use with remarkable battery power and more importantly, low-profile. PAX 2 boasts a powerful oven with four temperature settings that evenly heats and preserves your material. R3500

Research Unit / Shop 44 / V&A Waterfront

Expect pure vapor in less than a minute.

INFO: www.researchunitstudio.com

INFO: www.luksbrands.com

With over one million devices sold globally, PAX premium vaporizers apply advanced technology and intuitive design for an unforgettable vapor experience.

penny skateboards No matter who you are, no matter what you’re doing, keep the good times rolling with Penny in your life! Our latest collection is the most tropical to date and in limited supply, so round up your friends and get everyone enjoying the fun of penny boarding. We took four different groups of mates out skating for an adventure that takes you from beach side chilling to forest road trip adventures, afternoon car park skates and weekend trouble making. The latest Penny range comprises graphics in subtropical themes with a comic twist. From palm trees and Toucans to Easter Island figures on a Hawaiian vacation. This collection plays with reality in the most colourful of ways. Check out all the new products! INFO: www.pennyshop.co.za

PUMA / BASKET HEART

HI-ONLINE AND JBL

The Classic Sneaker Gets a Glossy Makeover Global Sports Brand PUMA introduces the Basket Heart, a court classic from the PUMA Archive refreshed with a feminine twist. Heroing PUMA’s sport heritage by staying true to the OG silhouette, the Basket Heart celebrates a sweeter side of the sport. The latest lifestyle drop from the PUMA Women’s range, the Basket Heart continues to drive the ‘DO YOU’ campaign message and inspire women to showoff their confidence and style.

You can #BringTheMusic with TFG’s mobile and lifestyle electronics store, which has introduced a wide range of portable JBL speakers to suit your on-the-go lifestyle - whether you’re playing DJ at a weekend braai with friends or chilling at the beach.

It comes with two lacing options: create the perfect bow with the satin ribbon or funk it up with chunky laces. These kicks are available in an array of pastel iterations with satin and suede finishes. Follow @PUMASportstyle and @PUMAWomen INFO: www.puma.com 04

Portable Bluetooth JBL speakers from www.hi-online.co.za.They all stream music via Bluetooth and are compatible with iOS and Android devices.Rechargeable batteries offer between 5 and 15 hours of continuous playtime, depending on the model, while the splashproof feature takes care of spills and makes them perfect for poolside fun.Wherever the summer vibes may lead you, #BringTheMusic with your portable JBL speakers. INFO: www.hi-online.co.za THE LAKE

NEWS ETNIES / BUY A SHOE - PLANT A TREE

a Tree collection for men, women and kids, etnies will make a monetary donation to our not-for-profit partner, Trees for the Future, who then has their expert field representatives in São Paulo, Brazil plant your tree to ensure that it grows properly.

The Etnies Buy a Shoe, Plant a Tree project started in 2011 when etnies Owner and CEO, Pierre-Andre Senizergues decided to invest in the future by planting a tree in the Costa Rican rainforest for every pair of Jameson 2 Eco shoes sold. The following year, the program expanded to Brazil and the next phase of planting will take place in Africa. Thanks to the help of a partnership through Trees for the Future, the reforestation program has expanded to three continents in five years. etnies is proudly celebrating the milestone of reaching one million trees in the Buy a Shoe, Plant a Tree program.

Etnies has planted over ONE MILLION trees in the Buy a Shoe, Plant a Tree reforestation program across THREE different continents in only FIVE years. The reforestation project is now proudly supported by the Jameson Bloodline. For every shoe purchased within the Jameson Bloodline collection, a tree will be planted in areas of the world that desperately need the reforestation help, representing your individual contribution and commitment to the planet.

Etnies designed the Buy a Shoe, Plant a Tree project to be simple for you to get involved in international reforestation while you shop. If you choose to buy a pair of etnies shoes from our Buy a Shoe, Plant

INFO: www.etnies.com

M.O.O.D

SKULLCANDY BARRICADE

M.O.O.D Apparel is the brainchild of James Hammerton, who is also known by his creative alter ego Jim Hazard. M.O.O.D is inspired by Dada/fluxism and retro futurism as well as DIY stoner/punk stuff and bands like The Cone Heads, The Make Overs and TCIYF. Its snotty and has a sense of humour and doesn’t take anything too seriously, the design of Sheila Madge Bakker is also a big inspiration and Duane Peters as well as weirdo artists like Ed Big Daddy Roth and the tattoo artist Scumboy.

The Skullcandy Barricade is an adventure-ready portable Bluetooth speaker, designed for indoors or out.

To help with managing the order process and the demand especially with the range expanding into rings, T-sirts with designs by Leigh Taylor Lobotomy and denim jackets etc - M.O.O.D is opening up an online store in 2017. INFO: www.facebook.com/moodgear

Thirty-three feet of Bluetooth® wireless connectivity range and an eight-hour battery let you enjoy your music anywhere, and don’t spare the abuse thanks to an impact-resistant design. Take it three feet under water and watch it float to the top thanks to an IPX7 waterproof and buoyant design. The Barricade comes in three compact sizes, including mini and XL. INFO: #STAYLOUD INFO: www.luksbrands.com

Johnny Boy Johnny Boy, a Cape Town based unisex clothing label, launched in May 2016, brings a minimal aesthetic and gender fluid garments to its customers . Relentlessly pushing the boundaries, this label strives for design excellence, and it’s no wonder that the very talented Jimmy Wong was called on to join forces with the unique clothing brand. Jimmy Wong’s designs come to life on trusty tote bags, each tote being one-of-a-kind, hand made and hand drawn. The mixing of Johnny Boy’s minimal, with the quirky charm of Wong’s incredibly intricate hand drawn illustrations creates a middle ground between two aesthetics, showcasing the intimate ties between the culture of fashion and art. Be sure to keep tuned as there’s more to follow and only fantastic results can come from the fanciful play of these talented creatives. INFO: @world_of_johnnyboy

DEAR DEER / SATIN PILLOW SLIPS

Meraki Jewellery Design

Dear Deer has adopted the motto “LOOK GOOD – FEEL GOOD”While my customers are enjoying thier “Sweet Dear Deer Dreams” they can also rest up knowing they are supporting a brand that supports those helping make this world a better place. Being a polyester material, satin doesn’t absorb moisture the way natural fibres like cotton do.As we all know, one of the many reasons our skin can look tired, dry and lined is due to a lack of hydration. Sleeping on satin minimises facial lines, wrinkles and puffiness. Another plus ? Satin won’t absorb your expensive night creams. Dear Deer pillow slips help your hair maintain it’s natural moisture, and this helps prevents dry fizziness, split ends and breakage. Recommended use – 8hrs daily for best results.

Using raw stones, Sterling Silver and recycled Brass, Megan creates delicate, timeless pieces that draw inspiration from geometric forms in nature, her travels and an appreciation for well made objects and heirlooms. Meraki jewellery pieces range from playful to effortlessly elegant, always with a subtle, sophisticated edge. Each piece is designed to age with grace and serves as an affirmation of each wearer’s personal style.

INFO: www.deardeer.co.za

INFO: www.merakijewellerydesign.com THE LAKE

Every piece of jewellery is hand made with care and given special attention to detail, embracing natural imperfections of the hand at work and staying true to the beauty of the materials used. Each and every piece is carefully manufactured by Megan in her Cape Town studio.”

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ONLY THE ESSENTIALS adidas Originals EQT Support 93/17

In 1991 Adidas reset, turning to it’s history. Stripping away everything that is unnecessary to create a design to solely meet the athlete’s needs, a tip of the hat to the philosophy of ‘Everything that is essential, Nothing that is not’. Marking EQT as one of the iconic Originals.

The latest evolution of the EQT series, the EQT Support 93/17 is a bold new manifestation of the EQT design philosophy. A completely new sense of innovative design has been added to this latest version of the EQT lineup, which is still strongly based on the blueprint of the original EQT Support 93, an iconic 90’s performance sneaker. The sneaker comes with a woven knit upper in a pixelated noise motif, which then gets overlaid with premium nubuck panels and webbing-tape 3-stripes, with further embroidery details and a contrast heel unit adding even more refined design details to this new adidas silhouette. On the technical side the EQT Support 93/17 is built for performance, and comes with an OrthoLite® sockliner, TPU support panel, and a full-length BOOST midsole unit.

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SCRUBBER Thor Rixon STORY - Dan Charles

PHOTOGRAPHY - JANSEN VAN STADEN

Multi-instrumentalist, songwriter and accomplished producer, Thor Rixon, is sitting outside the Molten Toffee coffee shop in Kloof Street waiting for the vegan roti that he has ordered - squinting and frowning at his phone. He has just been notified that the physical copies of his latest album, Songs From The Bath, have arrived in the country, but there was a problem - instead of the albums being pressed to the beautiful turquoise vinyl that he had ordered, the albums had all been pressed to standard black vinyl. This disrupts the aesthetic of Thor’s vision that would have tied in with the soothing blue waves that he plans to hand-paint on all the album covers. “It’s important to think of the whole sphere of a creation - if you release a good piece of work, like a song, it’s good to have a strong visual with it because it creates a more unified and stronger piece of work.”

“I like that weird stuff. We’re so often bombarded with very serious music and sometimes it’s nice to have something a little bit more light-hearted - a little bit more strange.”

When I asked Thor about how he came to choose this particular title for the album, he had little more to say than that it just seemed appropriate for the songs he was writing.

packed dance floor - these are songs that are meant to be played in quiet moments of calmness and contemplation, such as when you’re sipping a cup of tea or soaking in a hot bath.

Thor never forces the weirdness though; it just comes to him naturally.

“I keep a list of names for bands and songs and albums on my phone that come from conversations that I’ll have with friends. Sometimes I’ll refer to it when looking for a name for a track and when I thought of the name Songs From The Bath it just fitted the music.”

“It’s about setting a tone or a place where you want the person to listen to the album-you want them to be in an open-minded and relaxed space. These songs are designed to be enjoyed while one is relaxed.”

“I suppose I started getting into the stranger realm of things back when I had started making music with two good friends of mine and - just because

He seems a bit perturbed by this unfortunate turn of events but doesn’t dwell on it for very long - maintaining the calm and patience that must come from devoting almost three years to writing and producing a solid body of work. He assures me that he’ll still get the vinyl that the project needs. His facial expression remains unchanged; however, it’s a look that I had come to recognize from a number of his press photos.

“When I was younger, I remember seeing a guy that came to visit my parents and he was squinting the whole time. I remember thinking that this guy looked really cool because of whatever he was doing with his eyes so then I started doing it as well. Now I realize that I have this thing where I’m permanently frowning with a bit of a squint a lot of the time.” I’m not entirely sure whether to believe Thor as he regales me with this peculiar anecdote from his childhood that led to the genesis of one of his signature looks. Was this Thor speaking as the sensitive and vulnerable character that I had seen in the music video for his critically acclaimed single “fuk bread”, getting his hair shaved off whilst musing about making salads and crying? Or, was this him, in the same video, speaking as the quirky, tongue-in-cheek entertainer that was thrusting and gyrating his body about whilst giving tips on how to make an extravagant raisin bun by adding humus? It’s difficult to really pin down Thor Rixon as he seems to have based his career on traversing a line that connects both sincerity and absurdity within his music. His strange and intriguing amalgamation of electronic and acoustic instrumentation allows him to traverse a vast array of unusual sonic terrains that many songwriters wouldn’t normally explore - if only because they aren’t willing to get weird enough.

To help people ease into the spirit of the album, Thor will also be selling his own unique blend of handmade bath salts with the deluxe version of

discography THOR RIXON Songs From The Bath - LP 2016 ROASTIN RECORDS

THOR RIXON Tea Time Favourites 2014 BANDCAMP

of the people that we were and the humour that we shared - we put a lot of our humour into the music and that ended up making it quite strange. That was probably the foundation for the next work that I would create - it wasn’t like I just started out trying to make strange and avant-garde stuff.” His writing process is very loop-based now so he’ll just write loops and then proceed to play stuff on top of each other until he likes the way that it sounds - trusting the loop to take him wherever it needs to go within the sonic spectrum, no matter how strange the destination may be. This time around, the loops had taken him down into the depths of the bathtub. His latest album, Songs From The Bath, is described as “a futuristic ride into the vast sphere of neo-psychedelic electronica, laden with jazz influences and a multitude of sounds”, and features an impressive list of accompanying artists such as the likes of Alice Phoebe Lou, Olmo, Hlasko and Itai Hakim. The album is designed to accompany you “as you soak in a warm bath, reflecting on the many mornings gone by and the many evenings still to come.”

It’s worth mentioning that other notable titles that Thor read to me from his phone included names such as I Read The Occasional Poem, Clothes With Narrative, Late Night Decoupage and It’s All About Track 6 Though.

THOR RIXON Shared Folder 2013 BANDCAMP

Much the same as with the title of his previous album, Tea Time Favourites, the title of this new album seems to suggest that - outside the context of these songs pulsating out of the speakers of a

HIGH FIVES Burning Spear

Nicolas Jaar

Alice Phoebe Lou

Garvey’s Ghost

Space Is Only Noise

Orbit

Devendra Banhart

Floating Points Elaenia

Mala

1976

2011

Island

Circus Company

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2016 Motor Entertainment

2013

2015

Nonesuch

Luaka Bop

“What I wanted to do with the album was start off somber and then move into a more intense space before coming back down to give the listener a bit of breathing space and then immediately taking them back to that intense space and ending off bringing them back down again.”

the album so that people can hopefully be enticed to spend an evening soaking up the sweet sounds and smells of the full Thor Rixon experience. But Songs From The Bath is not exactly the typical sort of easy listening album that you put on while lathering yourself up in assorted products from The Body Shop, with a vanilla scented candle glowing dimly in your bathroom. This album serves as a transcendental journey that takes you through a realm of different emotions. “What I wanted to do with the album was start off somber and then move into a more intense space before coming back down to give the listener a bit of breathing space and then immediately taking them back to that intense space and ending off bringing them back down again.” However, Songs From The Bath is not only a sonically engaging listen. Lyrically, Thor can be heard cryptically contemplating issues surrounding mortality - with two songs directly addressing the topic: Death pt II (ft. Alice Phoebe Lou) and Death pt I. In the track listing, Death pt II precedes Death pt I; as Thor explains, the songs weren’t initially meant to join together, it just made sense, sonically, to arrange them in that order. But then he noticed that the lyrics seemed to overlap and they were both telling a similar story. Death pt II has Alice Phoebe Lou asking the listener over a thumping bass line “where would you go to die?” before exclaiming that she would “go to where the ocean meets the sky” and then Death pt I has Thor ruminating over a gentle Spanish-esque guitar that he “can’t wait for the day where we all separate.” These two tracks then transition into the eerily sparse track Softly In The Distance (ft. Olmo) that refrains with 10

the rather haunting yet oddly soothing line “I look forward to living in nothingness with you.” “Those songs were gearing towards an idea that when you die there’s nothing that happens and that we, as humans, can’t really fathom what will happen and I don’t claim to know what’s going to happen after death - I mean, no one can, really. So it’s sort of a nod to looking forward to being in nothingness and then, at the same time, being in everything with everyone.” The bath is more than just a place to get clean in the same way that Songs From The Bath is more than just a pleasant arrangement of sounds. After a long day, we bring a lot of our burdens with us into the bathtub in hopes of melting them away in the warm water. Rather than letting you soak alone, these songs from Thor’s bath soak alongside you - keeping you company and reminding you that you don’t have to carry the heavy thoughts in your head alone and you can leave them in the water as it washes down the drain. These songs were written to be enjoyed while people relax but they serve just as well as a way to soothe and comfort people as well - just like a nice hot bath would. Sylvia Plath once wrote in her novel, The Bell Jar, “There must be quite a few things a hot bath won’t cure, but I don’t know many of them.” The same can probably be said about Thor Rixon’s Songs From The Bath. INFO: thorrixon.bandcamp.com INFO: soundcloud.com/thorrixon INFO: http://roastinrecords.com

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STALKER Gabrielle Guy QUESTIONS - LANI SPICE

PHOTOGRAPHY - GABRIELLE GUY

“I seem to go through phases of either mostly black & white or mostly colour. I think black & white is my original preference, it reminds me of the beginning, when I was studying photography and only shooting on black & white film, we even had to process our own films and print in a dark room.”

You are a well renowned and respected art book designer and your photographs are a clear indication of your talent. Has photography always been part ofyour upbringing? I think I have always been fascinated by images. When I was younger I wanted to become a photographer but I ended up studying graphic design which importantly included photography as part of the course. It seems you mainly shoot digitally, what devices do you use? Just my iPhone 6 – I don’t consider myself an actual photographer, taking images just forms part of my larger aesthetic / process / way of seeing. They’re sort of like studies, or sketches.

their own respective characteristics. Would you say you have a preference? I seem to go through phases of either mostly black & white or mostly colour. I think black & white is my original preference, it reminds me of the beginning, when I was studying photography and only shooting on black & white film, we even had to process our own films and print in a dark room. You get a different understanding of photographs having gone through that early on. It’s important to see in black & white and composition first, and then later you start filling in what you’re seeing with colour. There appears to be a minimalist feel to your work. Is this intentional? I’d say it’s unintentional, it’s just an area I seem to have developed into. Perhaps my work in a formal sense comes across as Minimalism, but that’s not my point of entry, I didn’t choose to be a Minimalist and I don’t necessarily identify as one. Through self-publishing, photo books have become increasingly popular. Have you considered producing a photo book of your work?

Do you ever shoot on film? Sometimes... I struggle with taking portraits on my phone, I want to look at a person through a view finder. I have my mom’s old 35mm point-and-shoot, so I mess around with that taking pics of friends, and holiday snaps. It’s easier to take photos of the built environment with my phone as I can get the perspective and angles lined up perfectly. VSCO Cam is a platform in which you feature a lot of your photography, and a beautiful one too. Do you edit your images in any other platforms or programs?

I have yes, but it’s quite a big undertaking and I haven’t found the time to think about it properly. I would need to work on putting together specific groups of pictures... But I’m not sure, as I don’t consider myself a photographer only (I draw as well), I wouldn’t want to box myself in to just being seen as photographer (especially as I don’t even own a proper camera). I’m still trying to work out the best way of showing my work. I’m not convinced that a traditional photo book is the way to go. What projects are you working on currently?

HIGH FIVES

No – because I often use Photoshop for my commercial projects, it feels too much like “work” and not like “fun” – I’d rather play around with my own stuff on my phone in VSCO. I hate being in front of my computer if it’s not work-related.

Commercially, some special edition books for Zander Blom of his Paintings Volume II that we’ve just done (launching with Stevenson at the Cape Town Art Fair), and some design work for The South African Pavilion at this year’s Venice Biennale. Personally, I’m still busy with a series of Monolith drawings that I started doing in 2013 – I’ve done about 115 so far. Maybe I’ll figure out what to do with them soon, probably a combination between these drawings and some of my photographs.

Colour as well as black and white photography – both in which you work – each have

INFO: www.vsco.co/gabrielleguy

SQÜRL Jozef Van Wissem Only Lovers Left Alive

the Dave Brubeck Quartet

Blood Orange

Talking Heads

Restless Idylls

Cupid Deluxe

Speaking in Tongues

Tropic Of Cancer

Time Out

2014

1959

2013

1983

2013

ATP Recordings

Columbia

Domino

Sire

Blackest Ever Black

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Lhola Amira - As Long as the World is Anti-Black Of Course It Is Personal Nothing Personal 2016 SMAC Gallery Stellenbosch Painting in background - Katlego Tlabela - Negro Sunshine (After Ligon) 2016 / Gold Pigment Screenprint & Enamel on Canvas

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LHOLA AMIRA APPEARS Lhola Amira WORDS - Astrid Gebhardt

IMAGES - SMAC

And all I ever wanted as a young black girl was to be visible, but all the spaces I entered, performed an extreme violence of either making me silent or loud. But I might be known if I die or when I’m killed. - Lhola Amira 2016

Lhola Amira - 2017 - Title Transcend Bitch - Gicleé Print on Hahnemuhle / Photo - Rag Baryta / 100 x 150 cm

Lhola Amira was borne from the realisation of an obligation to say and, if necessary, shout what others could or would not. Lhola Amira is imagined and yet powerfully real, her body navigating boundaries between ‘self’ and ‘other’. In this vein Lhola Amira is interested in the intersectionality between that which is ‘real’ and that, which is ‘imagined’. While maintaining an invariably accessible dialogue, she produces work that deals with global issues of contention, such as socio-economic and political conditions of race, gender, sexuality and geographical location. Lhola Amira is primarily considered a ‘performance artist’ however; she refuses to adhere to any preconceived theories of ‘art’ or ‘performance’. She unashamedly intertwines definitions that academia attempts to separate, such as ‘activist’, ‘poet’, ‘philosopher’, ‘artist’ and many more. Lhola Amira questions the idea that a performance is a farce or a temporary ‘pretend reality’ from which audiences can take an interval ; in her own words “You cannot perform being black. Only the black body is viewed by society to be in a perpetual state of performance.” Due to her extensive research and dedicated quest to gain differing experiences, she is able to

reject the notion that her statements are available for consideration, the conviction of her appearances is palatable and unequivocal. It is for this reason that her unconventional ‘performances’ are notably only ever referred to as ‘appearances’. To limit her practice to the medium of ‘performance’ would not only be inadequate, but also misleading.

Born in Gugulethu, South Africa in 1984. Lhola Amira consistently builds and edits her practice in relation to both contemporary discourses, and past misconceptions. She continues to meticulously calculate her circumstances, through both her own understanding as well as others’ interpretations. Lhola Amira has made appearances both locally and internationally. Each appearance and interaction becomes site-specific, through the exploration of both physical and geographical limitations of the environment in which it takes place. Adding to her appear-

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ances’ unique nature, Lhola Amira engages with observers or passersby, encouraging interrogation of the “junctions between blackness, queerness, revolution and love”. Viewers are invited to interact with Lhola Amira throughout her appearances while she seamlessly negotiates between the roles of orator, activist and sage. For example, in 2016 on being asked to contribute to the group exhibition Nothing Personal at SMAC Gallery, Lhola Amira articulated herself within the context of: As long as the World is Anti-Black, then of-course This Is Personal. This appearance saw the artist coaxing viewers into an assembly of, initially, avid listeners, and later immersed believers. As Lhola Amira approaches center stage, in a medley of sculptors, painters, and photographers all of whom have had their practice inseparably preceded by the term ‘African’, she disputes and rejects this simultaneously sparse and generalized description. Her most recent project is the first of many endeavours to physically investigate assumptions, contradictions and associations placed on contemporary definitions of Africa, this larger thematic direction is described by the artist as “Looking for 18

‘Africa’ In ‘Africa’…”. Selected photographs, installation and a video piece will be presented in the upcoming exhibition titled Looking for Ghana and The Red Suitcase to open at SMAC Gallery, Stellenbosch in early February. The various media included in this exhibition are all rooted in Lhola Amira’s aforementioned project based in Ghana. The artist tackled her own preconceptions of the first sub-Saharan country to demand independence from colonialism, through a number of appearances and interactions that saw her engaging with local and current issues in Ghana. In her signature fusion of politics, economics and arts, Lhola Amira worked with local photographer, Francis Kokoroko and videographer Immanuel Kubolor to produce a body of work that took place in Ghana but left residues that could be exhibited in South Africa. For more information about Lhola Amira and her latest exhibition, Looking for Ghana & The Red Suitcase contact the SMAC Gallery. INFO: www.smacgallery.com

Lhola Amira - Okada 2017 Gicleé Print on Hahnemuhle - Photo / Rag Baryta / 100 x 150 cm

Lhola Amira approaches center stage, in a medley of sculptors, painters, and photographers all of whom have had their practice inseparably preceded by the term ‘African’, she disputes and rejects this simultaneously sparse and generalized description.

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Lhola Amira - Title Mkwande - é mli aléé - 2017 - Gicleé Print on Hahnemuhle / Photo - Rag Baryta / 100 x 150 cm (left)

Lhola Amira - De/Colonial Love III - Barcelona Spain - 2015 - MITTE-Barcelona

Lhola Amira - De/Colonial Love IX - Barcelona Spain - 2015 - MITTE - Barcelona

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ABERRATION Neil Burton

My memories of Softball and Baseball go back as far as the late 70’s, which was during the height of the Apartheid Regime, so you could say I grew up with it. I guess this is what inspired me to shoot these portraits. My father played baseball (more of a social experiment) as well as many of his friends at the time.

My teenage years were mostly spent going from one party to the next or from The Galaxy to the Space Odyssey (coloured nightclubs) and most of my friends at that time all played ball, I was the only one who did not as I was always a very shy kid. I looked up to lots of the guys that I hung out with as most of them were older than me, although not by much. They always seemed so tough and were always ready to fight at the drop of a hat, it was always about alcohol, girls and fighting. Fun times and I am really happy to have come out on the other side unscathed, well kinda. One thing that I have always wondered about was how something so American found roots in such a marginalized oppressed community in Apartheid South Africa in the 70’s. I haven’t done enough research on the subject, so all I can do is speculate, i’m pretty sure it had something to do with all of Americas propaganda at the time. America was seen as ‘cool’ and everyone wanted to be American, so much of the style and dress sense on the Cape Flats at the time and today still was and is influenced by this. My dream at the time was to own a NY Yankees baseball jacket, but it never materialized . I don’t think I ever really got over that as I now have one hanging in my closet. Another reason the sport could have taken hold was that it could have been kind of a ‘fuck you’ to the Apartheid government at the time, a sort of a ‘we won’t play your sport” but rather do our own thing. What ever it was that gave rise to Softball and Baseball being played on the Cape Flats, one thing it did do was create a rich history and culture surrounding it. It also showed that one does not always have to follow the mainstream, you didn’t have to play rugby, cricket or football, there are always alternatives. It has even created some famous baseball families for eg Bell and Burch, these are names that are synonymous with the sport and quite a few guys and girls have even gone on to play overseas.

neilburton.net

THE LAKE

Bukkake TCIYF STORY - Matt Vend

PHOTOGRAPHY - JACQUI VAN STADEN

Johannesburg is a place with which I will always have a strange connection. It’s shattered my spirit on various occasions. It’s left me feeling quite helpless and alone yet with always this enduring kind of Stockholm syndrome. It’s robbed me of musical equipment before leaving for international tours, coupled with hopeless goodbyes to lovers in sterile airports.

Jozi is a city where I’ve made friends and enemies alike and I always find myself returning in some way or another because in this country all roads lead to the city of gold.

groups getting along which served as an example of how it is entirely possible for this to be a simple reality – a rainbow nation prerequisite that is often preached about but rarely seen in the flesh.

‘Soweto is more punk than us’, states Puleng, the band’s vocalist, who refers to informal butcheries as ‘chop shops’.

The band members are drunk but you can see that even the fun loving act from the Highveld are starting to feel the beating the road can often dish out. They are looking weary after a grueling week of shows and parties in the mother city and even though there are smiles and jokes being passed around just as the beer bottles are, the reality is they don’t have enough money to get back to Soweto, which is literally in the opposite direction at the other end of the country.

Its grimy exterior and interior just seem to have a certain presence that is unshakeable, even in the most immeasurable circumstances, strangely keeping outsiders coming back. However, in recent times I felt little reason to come back and nostalgia did a grand job in keeping me away, until I had the chance of meeting and performing alongside a group of reprobates from Soweto, not far from Jozi. Soweto forged in the height of oppression has slowly but surely become an area that breathes its own life and energy through the people who give it life, the people who have given it its eccentric charm and often dangerous magnetism. I have only ventured to this part of South Africa on a handful of occasions and every time it’s because of this particular aforementioned punk band, who whether they like it or not were born from everything that is Soweto. ‘Soweto is more punk than us’, states Puleng, the band’s vocalist, who refers to informal butcheries as ‘chop shops’. Naturally I’m intrigued to know what’s it’s like being a punk band from this part of the world as surely this kind of anomaly is rare in a community which is very much Kwaito, House, Jazz, indigenous African music and Hip Hop orientated. ‘They saw us as bizarre and taboo, they pretty much thought we were Satan worshipers, and then once you start bringing in some white people because you throw a show at your house, they start liking you. We realized this when we moved into a house in Dobsonville. Initially they didn’t like us; only once we started throwing shows did they see us as something that wasn’t negative to their community’. The last show I was fortunate enough to attend at ‘The Dog Pound’, the old TCIYF headquarters, was an affair that reminded me of some of the punk shows we used to put on when we were younger. Kids skating everywhere, hot coals on the fire and an audience who were there for a good time regardless of the genre of music.

Some of the touring party are starting to feel the pressure more than others and the air reeks of a certain urgency to get home. The night before, the band had spent their time in a park and you could see they did not want a repeat experience. However these obvious forks in the road aren’t slowing them down as the conversation moves towards the subject of local and international touring. ‘The Skate Rock tour to the Kimberly Diamond Cup skate contest was wild - we shouldn’t have had that as the first tour because it spoilt us, we realized without all these sponsors this is what you would be but then again it was all the people I grew up with, watching skateboarding, the pros, our heroes. It was a walking fucking dream right next to you as you stop by the robots to check, it’s got your hand and it takes you over the road’, says Puleng. The tour featured the Thrashers skate team with bands such as Bad Shit, Arctic and the Honey Crew.

Jazz the drummer; ‘he’s basically a love child’, replies Thula. However as soon as the passport issue is sorted the band plans on doing shows in any country that will have them with any act that will share the stage with them. However their trips outside of Soweto have not always been met with praise. Their inclusion on the Skate Rock tour to the Kimberly Diamond Cup with top international skateboarders and skate rock bands saw them have altercations with the cops that left them with a supposed ban to Kimberly for 6 months minimum. Thula recalls the incident:

‘We like to steer away from politics because it’s following the masses and that’s the last thing we want to do’. ‘We were drinking outside the plaza under some random tree on a hill. When these cops from hell came with their horses, guns and vans, they kicked our asses, broke all our beers and looked for guns and drugs. Luckily for us, all we had on us was cannabis. Mark Waters the skate rock tour manager saved us and calmed the cops down. They got all

AVAILABLE FOR DOWNLOAD TCIYF THE CUM EP 2016 SOUNDCLOUD

It would seem Home Affairs and passport issues are keeping these punk rockers from getting overseas. ‘Home affairs say I gave birth to myself’ comments

HIGH FIVES the Beatles

the Misfits

Black Sabbath

Bad Brains

Rubber Soul

Static Age

Black Sabbath

Paranoid

Black Dots

1965

1978

1970

1996

Parlophone

Caroline Records

Vertigo

Caroline Records

People supporting each other whether they were into hip hop or punk and people of different race THE LAKE

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‘We didn’t make a band to replicate the government, we made a band to have fun, people are so caught up in a lot of things that keep them from being happy and politics is one of them, so fuck politics, I want to sing about sex, drugs, alcohol, skateboarding and all the things that make me squirt’.

pissed when they saw Mark had paid us R3000 for our show the day before, then we were escorted to the taxi rank and told not to come back for 6 months; we also went there with SSS (Soweto Skate Society) and TCYF three years ago when the band was still new, not sure if that had anything to do with them being so hostile this time round.’ The cum in your face are a macabrely important band in my eyes for no other reason that their message is nothing more than having fun and in a weird way I think that’s exactly what a lot of kids from communities like Soweto need right now. However I’m very aware that this statement would be met with contention, something which surrounds the 4-piece on various occasions, which has brought them to the conclusion that being political just isn’t their thing. ‘We like to steer away from politics because it’s following the masses and that’s the last thing we want to do’. However TCIYF aren’t steering away from politics because they don’t know what’s going on or because they are ill-informed - they steer away from them because they feel its necessary not to indulge in them at all. ‘Puleng states, ‘We didn’t make a band to replicate the government, we made a band to have fun, people are so caught up in a lot of things that keep them from being happy and politics is one of them, so fuck politics, I want to sing about sex, drugs, alcohol, skateboarding and all the things that make me squirt’. That said, without even noticing it, their lyrics are delving into the realms of social commentary with songs such as ‘Fatherless Son’ and ‘Church Wine’. The first is a rather apt comment about how many children within society grow up without fathers and the second is a quirky comment on how often people go to church just for the wine. ‘I’ve done it, I’ve gone to church just for the wine’, laugh members of the band. The band is surprisingly tight for the fact that they never actually find the time to practice. ‘We don’t know what’s wrong with us, we never find the time to rehearse, things just come up’ and this is an undeniable statement to the raw talent that lingers beneath the blatant, brash, unapologetic peripheral. If they got into the practice room every now

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and then imagine what they could do. Their debut album ‘Buddha’s Cum’ was recorded in a very similar vein with very little added production techniques, for the sake of capturing this rawness. The guys find themselves in Lower Main road, Obs with nowhere to go on a typical Cape Town Monday night so I agree to let them crash over for the night. As we navigate our way towards Kloof Street, a middle-aged white woman stops her car and sticks her head out the window to ask if I am ok, presuming that this motley bunch could be lurking around in order to mug me; the boys are tired and lagging behind. I explain that we are in fact all friends and she drives off embarrassed, with a surprised ‘Oh just checking’. We carry on walking only to be searched by security guards and police minutes from our final destination. We finally get back home relieved that there was no incident of anyone being locked away. The whole experience reeks of a South Africa still desperately trying to come to terms with integration and an urban environment soaked in suspension. We later learned the corner shop had been robbed a few hours earlier, which kind of enabled me to justify being searched literally a couple 100 meters from where we were in fact supposed to be. ‘The police always like to give us a hard time’, says Puleng, totally unaffected by the interaction. The group just wants to sleep so they can try to get home the following day; they have been touring with both the Hidden Commandment, a metal band from Soweto, and Zeffe, a kind of stoner rock/punk act from Jozi. A day before this they had taken their brand of punk to a poetry reading with mixed results, ‘it didn’t end well’, laughs the band members, ‘but we’ll play anywhere’, even a quiet poetry session in Observatory. If anything these 4 troublemakers are teaching us all a lesson, which is often hidden in our capitalist-driven consumer society, and it would seem being an individual and having fun has become not just a happy pastime but also an act of defiance and rebellion. Whether we like it or not TCIYF is the soundtrack to this quiet new revolution. INFO: www. soundcloud.com/tciyf

THE LAKE

MARTYR Dope Saint Jude WORDS - SANDISO NGUBANE

PHOTOGRAPHY - OLIVER KRUGER

There’s much to be said for South Africa’s ever-growing music industry. For one, the number of music festivals in the country mean many artists, outside of the mainstream, can find work. Online tools like Soundcloud have made it easier for many to break through and find an audience, and indeed this is where many of us first discovered rapper and producer Dope Saint Jude (real name Catherine Saint Jude Pretorius).

be jetting off to Paris to meet the management team she recently signed with. “I will be there in January for a residency with a few producers they have lined up for me. I am happy to finally have the support I need as an artist.”

For many, like myself, her track Keep in Touch, featuring multi-disciplinary artist Angel-Ho, was like a revelation with it’s commanding beat, and “fuck-you-I’ll-wys-you” lyrics. It demonstrates a determination for doing things on her own terms. “I’m a soldier. I’m a Queen. Tattoos, but I’m still pristine,” she raps, later adding: “You want to tame me, baby, so, I’ll never be your lady.”

It’s likely that many would think of her as lucky, with all this happening barely three years since she first started posting music online, and grabbing the attention of bloggers and other rappers, but the journey has not been a short one, neither is this the destination. “I still feel like this is the beginning for me. I have not reached even ten percent of my goals yet,” she says.

“On the rare occasions I experience homophobia or sexism, I usually am quite amused, because it almost always stems from jealousy. People get mad that I find it so easy to be myself and I enjoy being me so much.” It seems that refusal to be tamed spreads to a rejection of mainstream sensibilities, as she sticks to her guns with a sound many have described as alternative. “I’m on that existential, academic, freaky and intense. Get off the fence, you’d best dilate your lens,” she commands on Kak Validation. Both tracks were a prelude to her Reimagine EP, which dropped just months ago, earning her much praise and adulation from various quarters. But in spite of many sitting up to take notice, and earning profiles in respected publications like the Mail & Guardian, Dope Saint Jude remains steadfast in her pursuit of artistic integrity, and success on her own terms. Hailing from Elsie’s River in the Cape Flats, Dope Saint Jude has played to audiences across the globe, from San Francisco to Paris, among other international cities, and part of her vision is to continue working to grow her audience beyond our borders. “There is an appreciation for my individuality overseas and there is a big enough industry to support smaller artists,” she explains. “There is certainly an appreciation here at home too, but the industry is not yet developed enough to support artists like me financially. I believe in building the local industry, and I contribute as much as I can, but I have an urgent need to earn money at this very moment, to support my education, my family and myself. Earning dollars and euros makes that possible.”

In her teens, Dope Saint Jude started writing poetry, and teaching herself how to play guitar. She would later start performing in Cape Town’s “Queer District”, as Saint Dude, a drag king. Three years ago, she retired the drag persona, but still credits her time in the scene for the early lessons. “I owe a lot to the drag queen community in Cape Town. They taught me an immense deal about the discipline of performance, and continue to show me support.” The stint in the drag scene would soon be followed by a concerted effort to break into the rap scene. “I created Dope Saint Jude, initially as an alter-ego that embodied everything I aspired to. I released a few tracks and worked tirelessly doing countless shows for free, until I eventually garnered a small name in the Cape Town scene. It has taken a lot of work, discipline, determination and consistency to got me to this point.” But has being queer, in an industry that is notorious for hyper-masculinity, and at times, straightup homophobia, been a problem for her? “Not really, but I think that has to do specifically with my personality,” she posits. “I am not easily swayed or put down by discrimination. In fact, I like to use people’s prejudices to my advantage. I’m privileged to not have to deal with too much sexism or homophobia, and maybe I am just oblivious to it.”

People get mad that I find it so easy to be myself and I enjoy being me so much.” Does the label “queer rapper” bother her? “I sometimes get annoyed when people refer to me that way, but it is more a reflection on them and their need to categorise me. I am queer, but I am not a ‘queer rapper’. If that is what it takes for people to make sense of me, so be it. I don’t really give a fuck as long as I am booking shows and getting paid.” While making Reimagine, confronted with her mother’s passing, Dope Saint Jude says the grieving process resulted in a realisation of her own strength and resilience, something she hopes is coming through in her creative output. “I am a lot more in tune with who I am and this makes it easier for the audience to receive me. It is important to always be honest about who you are, and my mom’s passing has forced me to realise exactly who I am.” Reimagine, then, becomes the anchor to ground her in reality. “I wanted to create something sincere and honest,” she says. “It was important to me to do my own production. I was in a really delicate space while creating it, and it shows a lot of my vulnerabilities. I am anticipating a big change in my lifestyle and Reimagine will remain that anchor, reflecting who I am, no matter where I travel, how much I earn or who I meet.”

INFO: www.dopesaintjude.bandcamp.com INFO: www.soundcloud.com/dope-saint-jude

AVAILABLE FOR DOWNLOAD Dope Saint Jude Reimagine EP 2016 BANDCAMP

“On the rare occasions I experience homophobia or sexism, I usually am quite amused, because it almost always stems from jealousy.

HIGH FIVES Tracy Chapman

Burni Arman

2Pac

Carole King

Lauryn Hill

Tracy Chapman

Sweet Science

All Eyez on Me

Tapestry

The Miseducation of

1988

2015

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1998

Elektra

Sweet Science Entertainment

Death Row

Ode

Ruffhouse

Lauryn Hill

It seems the door has been flung open. On the day THE LAKE shot Dope Saint Jude for our cover, she announced on Facebook that she would THE LAKE

“I am not easily swayed or put down by discrimination. In fact, I like to use people’s prejudices to my advantage. I’m privileged to not have to deal with too much sexism or homophobia, and maybe I am just oblivious to it.”

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MORNING PRESS FROZEN CHICKEN TRAINWRECK COPY - RICK DE LA RAY

IMAGES - CHOPPED LIVER PRESS

Like the posters, Frozen Chicken Trainwreck literally appeared over night in 2014. It is a compilation of strange, funny and sometimes very straightforward tabloid headlines that appear on the street poles during peak hour morning traffic.

Many of them end up hung up in bars, dorm rooms or in my case were used as racing sleds down dry wintered grassy slopes while my dad was busy watching my brother play rugby in the early 90’s. Now in its second run we decided to revisit the book, the idea behind it and were delighted to find out that a second edition was on its way. Laurence (Hamburger) compiled the book by literally collecting the various posters one by one off the street poles the day they appeared. If he didn’t take them down on that particular day, there would’ve been no other way to have actually preserved them as they get replaced early the next morning with new headlines. It was the contrasting reality of their being both unique and ephemeral, that the prints inherently carried as objects, that motivated him to find a suitable way to preserve and re-present them. “The publishers and I finally settled with what hopefully captures something of this raw, cheap, disposable quality, which we re-created by using an old, mid-20th C printing technology – kind of a 4-colour photocopy. It’s quite ‘punk’ like that: a messy celebration of something defiantly common, yet not without an apparent skill. While potentially banal and inconsequential, their truth is in their spirit.” Archiving them this way allows us to see them as both the word on the street, and of the street. The poster headlines are basically epigrams - succinct

and memorable, sometimes surprising satirical statements’. They appear to be witty, crude, truthful, painful, and challenging, often even simultaneously. Sitting somewhere between Reportage and Advertising, the compression of an idea into a short singular statement is the key to its their success. To Hamburger, they appear as both perfectly literal as well as metaphorical signposts to the temperature of our age. Their language of miscegenation and their mashing together of different culture’s words, lives and ideas are clear indicators that we have a unique version of English here, and it’s one that has it’s own beauty.

Freedom of Speech is not just about the right to say what you like; it’s also about the right to say it how you like. Hamburgers aim was to collate, and present a personal selection with a sense of the universally popular. He wanted the book to read like a kind of poem, a series of bizarre, surreal one-liners that you could open anywhere, read in any direction, finish wherever you wanted, and as a result always be aware of it’s very localized flavour. Even though some have found the project fickle and representing the press as tacky and dumbed down while giving oxygen to the salacious tabloid

culture that is probably most represented by The Daily Sun, his was not to judge them but merely to display them as a contemporary media form. As to their evaluation - their quality, import or significance – that he has left open to the interpretation of the viewer. He refuses to entertain the conclusion that we are shallow and careless as a nation because tabloid culture has been embedded in the creation of modern SA for over 70 years, - magazines like Zonk! were huge in the 50’. Accepting and re-engaging with it as something that is part of who we is far healthier than to casually dismiss it, pretending it’s not there. More critically though, many of these posters are spontaneous daily acts of national self-recognition; that provide a distance from our news and brings a light respite from the country and it’s conditions. The fact that these posters can be so outrageous in their blatant disregard for authority, their sheer chutzpah and bloody nerve, their often reducing the quite serious and even terrible events of the day to a bald pun, or subjecting it to some silly bar room wit is a significant positive: that despite all attempts to the contrary, SA is still very much a real, and active democracy. We now know more than ever that a true democracy, one that works for it’s people, is not really about the vote. It’s how vigorous its various institutions actually are – for instance it’s legal system and it’s press. A real living breathing democracy is a constant and determined act of human imagination, and these posters support a belief that we are very much living in that kind of environment. Freedom of Speech is not just about the right to say what you like; it’s also about the right to say it how you like. ‘Catalogues, posters & advertisements of various sorts – these all contain the poetry of our age’ - Guillaume Apollinaire INFO: www.fourthwallbooks.com INFO: www.dittopress.co.uk

THE LAKE

sanctified TUMI Mogorosi WRITER - Lloyd Gedye

PHOTOGRAPHY - Madelene Cronje

Sitting around a coffee shop table in Melville Johannsburg, I asked young South African jazz drummer Tumi Mogorosi what his first musical memory was. He responded slowly, in a considered manner, with a tale his grandfather had shared with him just the other day. “It had completely slipped my mind,” he said. “Opposite my grandfather’s house there was a church and they had a brass orchestra that used to go around the neighborhood playing before the sermon.”

“My grandfather says I was less than a year old, but I used to go crazy whenever I heard that brass band. They still do it today, and it had never dawned on me that this had anything to do with playing jazz,” said Mogorosi. “But now that I think about it this has everything to do with it.”

He said the album takes aim at Eurocentric notions about how an individual gets divine inspiration. Mogorosi says that the perception that one individual is the catalyst of all this greatness disregards all the interactions the individual had to get to that point. “So to think about Sanctum Sanctorium in a secular artist way, it is the space where one can achieve a connection with the ‘pure’, with ideas beyond our limited understanding,” said Mogorosi. “It’s a communal accumulation of ideas and there is a need to move away from narcissistic self-indulgence.It’s important for me, not to be a singled out from here onwards, I want to co-create, I want to move beyond who it is and get to what it’s saying,” he adds.

“It’s that whole primal absorption playing out later in my adult life,” he said. “A classic Freudian case.” “It’s that whole colonial presence, deconstructed by circumstance,” he adds. “Using the instruments of oppression to articulate freedom. That is a big narrative on how I see the world.” Mogorosi’s music is situated very much in a space that actively deals with “the genocide of identity” in South Africa.He says many in his family sing, but none plays musical instruments. Amongst his cousins, he counts filmmakers, actors and actresses. “My mom was a professional dancer,” said Mogorosi, “I think that’s where I get my rhythm.” “She gave up because of me,” he added. “So I have this burden to make this work.” Mogorosi’s latest album is called Sanctum Sanctorium and it’s a collection of duets with the jazz musician sharing compositional duties with his life partner and musical collaborator Gabi Motuba. Motuba’s introduction to jazz was through a Sunday “family ritual” where her father would play his records. “He played them throughout the day but when he came across a record he really liked he used to sit down really close to the radio and just listen,” she said. “Two of his most favorite albums were Miles Davis’ Kind of Blue and Abdullah Ibrahim’s Knysna Blue. “My favourite was the Abdullah Ibrahim record though. I just gravitated more toward it, I don’t know why,” said Motuba.

Motuba said that more personally for her, the compositions she penned, like Letters to Akani, Thari e nntsu and We will be home, were personal messages to her new born daughter, Thari. She said that all the compositions are intensely related, due to the period of composition coinciding with the birth of the couple’s daughter. “We had similar emotions, anxieties, and apprehensions,” she said. This explains why the songs cohere so well as a a body of music, making it hard to tell which songs were penned by Motuba and which by Mogorosi. “We wrote them seperately, but also helped each other in configuring them to fit the aesthetics of the sound we were confronted with,” said Mogorosi.

One person that was amongst those paying attention to Project Elo, was Swiss pianist Malcolm Braff. Born in Rio Janeiro, Braff grew up in the Cape Verdes Islands and Senegal, but now lives in Switzerland, where he performs and teaches. Braff is no stranger to these shores having in the past collaborated with South African musicians and toured the country too. Mogorosi said he shares a French agent with Braff and the elderly statesman of jazz reached out to Mogorosi through the agent to congratulate him on Project Elo. The two started up an email conversation and when Mogorosi was awarded a residency in Switzerland, he let Braff know he was coming to see what could materalise. “Pro Helvetica paid our flights and accommodation and said go see what you can do,” said Mogorosi. Making the album was a pleasure and a learning experience,” says Mogorosi. “The musicians are amazing; I cannot put into words how much of an honor it was for me personally to play with Malcom Braff.” Besides Braff, the album features Swiss cellist Andreas Plattner and German bassist Sebastian Schuster. Mogorosi and Motuba’s revere for Braff is self-evident when they talk about the man.

discography Tumi mogorosi Sanctum Sanctorium 2016

Back in 2013 Mogorosi’s Project Elo took the South African and international jazz world by storm, earning him critical praise and a loyal following. Blending epic vocal performances, soaring horns and propulsive percussion that deeply mined the soundscape of South Africa for inspiration, Project Elo was a spiritual statement of deeply resonating proportions. At the same time, it echoed previous work by jazz legends like Max Roach and Donald Byrd. A jazz sextet with four chorally trained voices, Project Elo was unusual, but riveting, and it seemed to perfectly resonate with the socio-economic quagmire that South Africa found itself in when the album was released in 2013.

Makotopong Sound Studios

Tumi mogorosi Project ELO 2014 JAZZMAN rECORDS BANDCAMP

HIGH FIVES Hugh Masekela Home Is Where the Music Is

Brian Blade and the fellowship

John Coltrane A Love Supreme

Season Changes

Ethnic Heritage Ensemble

Johnny Dyani Quartet

Mamas house Live

Song For Biko

1972

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Blue Thumb Records

Verve

Impulse!

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SteepleChase

Mogorosi said their duet record was sparked by the idea that humans live and create their lives in relation to their neighbors. “The name of the album is based on the idea of sacred spaces, it literally translates as “holy of holies”,” said Mogorosi. THE LAKE

Mogorosi describes him as a “walking library” and the veteran pianist stars on Sanctum Sanctorium, contributing to a fascinating musical dialogue with Mogorosi’s drums and Schuster’s bass. Mogorosi says it was important for him and Motuba to engage with musicians who can see beyond “the comfort”.

“My mom was a professional dancer. I think that’s where I get my rhythm. She gave up because of me. So I have this burden to make this work.” “I can’t make art with people who can’t acknowledge privilege and the lack of privilege,” says Mogorosi. With Braff being very familiar with South Africa and Schuster having played with Louis Moholo and travelled to South Africa a few times, made this musical conversation easier. “Everything was so effortless,” says Mogorosi. “We rehearsed once before we recorded.” Mogorosi said he has only known Schuster a short time. “But from the first gig we played we had chemistry that opened so many possibilities,” said Mogorosi. “His touch, feel and listening is welcoming of how I interact with sound, space, and intensity.”

Motuba said it was great to work with “Papa Malcolm” and the other musicians. “Papa Malcolm is a really sweet man with a generous heart,” said Motuba. “I didn’t really speak to him much; we communicated more through the music.” “He definitely embraced me in terms of my musical ideas,” she said. “The energy was strong and focused amongst us as musicians but you could also feel a sense of ease and that made it really easy to create and interpret the music however we felt.” “Cellist Plattner was the wild card of the group with no improvisation history,” said Mogorosi. “It created a real dialogue of worlds, form and fluidity that came together beautifully because of how he sees.” “We had an idea of the mood the cello would create but at no time did we know just how beautiful it would turn out,” said Mogorosi. For evidence, look no further than the song Thari e Nntsu, which starts out with just Braff on the piano, playing a melancholic introduction for almost a minute and a half, then Motuba comes soaring into frame, the drums, cello and bass building epically behind her voice, like ripples in a pond, echoing her vocal flights. Motuba owns this song for almost four minutes but then Schuster plays a meditative bass solo that is just transcendent. The nine-minute opener Letter to

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Akani, feels plaintive, meditative at first, the cello carrying the melody alongside Motuba’s gorgeous voice. But listen deeper and you’ll start to hear the fantastic rhythmic interplay coming to the fore. Braff, Mogorosi and Schuster, like fireflies in the night sky, dart in and out of frame, whizzing past each other as they create a rhythmic bed for the composition, which becomes more complex and fascinating the longer they are at it. It is clear that Mogorosi, alongside peers the likes of Braff and Schuster, has taken his craft to a whole new level. On Nefetari, Motuba and Plattner again set up the melody, before the rhythm section lifts the cello and voice upon its shoulders. After two minutes, the dialogue between Braff, Mogorosi and Schuster springs back into life, this time a gentler strut with a bit more swing.Braff’s piano work is exquisite. It is clear on first listen and second listen and tenth listen that Mogorosi and Motuba, along with their European peers, have produced a very special album indeed; one where every member of the band delivers standout performances. Their recent tour of Gauteng and KwaZulu-Natal in mid-November to officially launch Sanctum Sanctorium was well received too. INFO: www.sanctumband.com INFO: www.gabimotuba.com INFO: www.tumimogorosi.com

THE LAKE

DAZED AND CONFUSED Closer To The Top Of The Sky STORY - Dan Charles

PHOTOGRAPHY - John Bekker

It was Saturday morning and I was desperately waiting for the rehydration solution that I had taken earlier to rescue me from the festering hangover that was looming over the rest of my festival experience.

But I wasn’t alone in my fragile state. It seemed as if everyone else who had managed to crawl out of their tents to find a spot around the Velvet Morning Stage had also failed to show any restraint in their festivities the previous night. After all, there was very little reason to show any restraint at all that weekend - this was the weekend of South Africa’s first ever psych rock music festival: Endless Daze.

promotor’s mind: “Will anyone even come?”Any doubts of that kind must have certainly been put to rest by the swarms of tents being clumsily assembled on the first day by groups of predominantly pale skinned people looking to apply some much needed sunblock and quickly change into their outfits (that were probably planned out more thoroughly than the entire festival) before they delved into the festivities - with no restraint.

The words “Meet us at the top of the sky…” have always served as something of a mantra for Psych Night - the Cape Town based collective dedicated to organising events that celebrate the art of psychedelia and the vast spectrum of sounds that accompany it. This rather lofty expression has always alluded to the idea that the vision of Psych Night was always meant to extend beyond the confined corners of the smaller venues such as The Waiting Room or The Manilla Bar that they had occupied in the past.

The words “Meet us at the top of the sky…” have always served as something of a mantra for Psych Night.

Endless Daze is the grand manifestation of this vision: a vision that saw a carefully curated lineup consisting of the finest names in the burgeoning South African psych rock scene (such as as Sol Gems, BCUC and Medicine Boy) aswell as two international acts who are both highly revered within the global spectrum of the genre (Froth and The KVB) that spanned over two days within a picturesque setting of Silwerstroom.

“When you see these people almost everyday, you sometimes forget just how talented they are.”

However, a vision as sublime as this could not have been undertaken without a certain amount of risk involved. Without any of the obvious commercial draw cards that can usually be found on the lineup of more established festivals such as Oppikoppi or Rocking the Daisies, the organisers of Psych Night must have at one point asked themselves the question that plagues the back of any sensible

The following day, while listening to Emile van Dango croon a haunting rendition of Mac Demario’s My Kind Of Woman on The Velvet Morning stage, a friend of mine remarked:

You can’t really sum up the abundance of artistry within Cape Town and the rest of the country better than that. This is why it’s so important for grand events such as Endless Daze to showcase musicians who aren’t as frequently considered for prime festival slots - but are more than capable of filling them - on as big of a stage as they really deserve. And as I felt my hangover slowly start to subside during the closing of The Velvet Morning Stage, I looked forward to heading over to the main stage to meet of the rest of the tremendous lineup as they begin to plug in and lift themselves and the crowd a little bit closer to the top of the sky. INFO: www.endlessdazefest.com

HIGH FIVES BCUC

FELIX LABAND

FROTH

MEDICINE BOY

BLACK MATH

Our Truth

Deaf Safari

BLEAK

Kinda Like Electricity

Black Math EP

2016

2015

Nyami Nyami Records

Compost Records

lolipop records

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2016

Roastin’ Records Permanent Record

2014 Bandcamp

“But I wasn’t alone in my fragile state. It seemed as if everyone else who had managed to crawl out of their tents to find a spot around the Velvet Morning Stage had also failed to show any restraint in their festivities the previous night.”

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WAX JUNKIE Jonathan Brandon Cavanagh / JONNY RAZOR WRITER - Sean O’Toole

PHOTOGRAPHY - OLIVER KRUGER

“BARBER , GYPSY AND LOVER WAX . I’m a barber. I once joined the circus, i’m friends with a bearded lady, a strong man and a dwarf. My love of this plate of incredible sound waves has come from a life in a home filled with records and music. I’ve been collecting vinyl since I finding them at the church fair as a kid or picking them from my uncles brown box labelled rubbish.It grew into a obsession for all records and the story behind its paper cover. ” The Cramps Songs The Lord Might Have Taught Us 2004 / Alien Records

Suede Coming Up 1996 / Nude Records

The Cramps music is by no means pretty, but they created a whole new rockabilly genre on their own with sounds incorporated from 60’s, punk , surf rock, psychedelia and instrumental rock, making this band truly unique. It has this infectious riff and superb lyricism by Lux, who sounds like a hybrid Elvis Presley and Frankenstein’s monster. Bottom line is that The Cramps are just as vital today as they were in their prime and while there have been many imitators, nothing can compare to the raw power of this tantalizing travesty. I found this for a minor rash of funds, it’s a special edition transparent orange with the face of Lux on side A and the face of Ivy on side B. Just give it a listen, it’s a timeless horror story trapped on vinyl for the greater good of mankind.

This was one of those records I could never find on vinyl for ages , so I ordered this one because I just had to have it in my collection of obscure rhythms that take you back into some dingy East end London pub with smelly leather jackets and cigarette smoke climbing the carpeted walls. The lurid, absurdly glossy cover art is matched by its equally glossy collection of hit tracks contained therein. I first came across this band on a journey when I heard a friends cd and it sounded like nothing I had heard before. The melodic, mixed, hard riffs and distorted sounds, kinda like a drunk Kate Moss stumbling round a jol kept me wanting more of this weird geekyness that is Suede. I did not pay too much for it, but it must have been one of the more expensive ones I have added to the collection ...

Depeche Mode Some Great Reward 1984 / Mute

The Pirates Out Of Their Skulls 1977 / Warner Bros

Is one of those classic UK Essex albums. This album composed by Martin Gore made them one of the electronic bands that not only shaped things to come in the future of electronic music. It’s flowing, crisp pulses and hi-hat recreations , a snarky bass and distorted woodwind feeling melody grabbed me the moment I had first listened to it. It’s a record that I hunted down to complete my collection of the first 4 major Depeche Mode albums. This particular one was found in a basket where you kinda go “hey let me just have a quick looksy in there now”. I first gained knowledge of Depeche Mode through an uncle of mine who already by then had a Mode collection that inspired me. All in all it was like finding a piece of history, so many of the songs whether they be quirky or soppy love songs still make sense and sound rad .

Lead by Johnny Kidd, The Pirates were one of the original influences on the Britsh punk-era pub rock scene . The explosive, raw, energetic power, riffs and smashing bass makes this one for that ‘knock your teeth out’ day when work’s just been too much now, yeah !. It’s a half live set with a six track studio recorded on side on B. I found this gem hiding in a music store, it had been sitting there since the copper age. I took it home, put the needle down and it blew my gwaai right out my mouth ! I played it twice just to make sure I was in the time zone. It gives me goose bumps when the track ’Don’t mention it‘ comes on, a kinda hard, fast paced riff with this intensifying back beat that seems like you’re being punched in the face, a real sweet find.

the Damned Damned Damned Damned 1977 / Stiff

Stray Cats Stray Cats 1981 / Arista

Ok, this one I found in a bakkie at the market and the guy was trying to hustle me to buy it. It’s a picture disc and I had not seen one like that, so of course being a lover of vinyl and of punk I grabbed my chance while he entertained some Tannie looking for Bles Bridges, I finally got a deal and I happily parted with the shrapnel in my poor wallet, baked beans on toast will have to do my bru. The Damned were one of the first British punk bands. No matter what happened, they always had Dave Vanian singing for them , dressed in vampire gear and wearing white makeup. Lots of ‘thumpa,’ ‘thumpa’ drum beats makes this one a “skop uit met jou dop uit”, you can thank Rat Scabies for that. They appeal to that really fun situation of coming into your boots as per say. Its goes down as that needs to be in the punk box. Electric, awesome vampire punk.

The Stray cats was one of those records that I needed to have, it’s a essential to the new rockabilly movement. Having grown up around 50’s bands from my Grandad, I saw the hair, the clothes and wanted to be that. Their sound has been a constant playlist to my life, especially songs like ’Runaway boys ’ and ’Stray cat strut ‘ with its single stand up drum, smooth basslines and those good ‘ol classic rockabilly riffs make this album a no brainer when it comes to choosing something to dance to at anytime, anywhere. I found this in a brown box named ‘rubbish’, bought it for R20. The songs on this album licks of badass basslines, raging guitar and a slinky, stylish drum backbone make the Stray Cats timeless. Big hair, creepers, biker jackets and Pomade rolled into a rhythmic rockabilly concoction... Drink up. THE LAKE

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IN TRANSIT MYCITI / milnerton Black Hat and Nimbus This station overlooks the fields of Milnerton High School, and many of the passengers using it are from the school.Artists Hannah Williams and Mark Henning called their work Future, involving the scholars and examining their thoughts and feelings about the future.

Based on responses to a survey presenting future scenarios, the artists used a “steam graph” format to produce a graphic image, “reminiscent of a ray gun or graffiti from a distance”. This visual serves the information well, as it clearly shows areas of strong agreement. There were many events listed in the survey so there is enough detail for the work to be interesting even to commuters who see it many times over. Some of those future events assessed by the scholars include the probability of whales becoming extinct, discovering a cure for HIV/AIDS and a woman being elected as president of South Africa. About the Artist Hannah Williams and Mark Henning, partners in design company Black Hat and Nimbus, completed artworks for six stations between the city centre and Table View. The designs are all infographics, with data relating to the surrounding areas. INFO: www.myciti.org.za/en/myciti-art

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MYCITI / mITCHELLS pLAIN Mak1one / Rayzer / Drone / Ice7 / CONFORM Situated in the business hub at Mitchells Plain Town Centre, the artwork in and around Mitchells Plain station brightens up the surrounding area. Near the entrance to the station, the glass walls are covered in a collage of vinyl graphics and opposite this are several wood cut-out installations rendered in vibrant colours.

This is the collaborative work of five local artists, four of whom have their roots in the Mitchells Plain area. Working with the theme, Know Your Roots, the artists wanted commuters to relate to the ‘characters’ they have created in the artwork. “We created a diverse set of characters. Each artist created a fictional character that they thought people could relate to when they pass through this hub,” says Wayne Beukes, also known as Conform, who worked with Maxwell Southgate (Mak1one), Rayaan Cassiem (Rayzer), Andre Beukes (Drone) and Tony Coetzee (Ice7). Conform also worked on the station art at Turf Club and Circle East with Mak1one creating the work at Omuramba and Ice7 at Zoarvlei. Rayzer adds that the inspiration came from the colours, sights and sounds of the city. “We wanted to bring colour to the area because colour is like a form of therapy.” Their style can be described as urban art, a mixture of street art and graffiti. Street art is a visual art for that is usually found in venues that are not traditional locations for art, including public space. The name became well known in the 1980s during the graffiti boom and is still applied today. Street art is also cost-effective and can be used to regenerate urban developments. Cape Town has a vibrant street art movement that has enabled many self-taught artists to develop. 54

About the Artists Tony Coetzee studied graphic design and works in the formal sector, but he continues to do public art as that is his first love. He also experiments with other art forms, such as fine and street art. Mak1one grew up in Mitchells Plain in Cape Town and has described the environment as one where poverty was rife and choices were limited. In the late 1980s he discovered the medium of graffiti art, describing it as a liberating and pivotal moment. He has been involved in the art form ever since and his distinctive murals can be seen all over Cape Town and in many other cities. Wayne Beukes (Conform) is a Cape Town-based graffiti and street artist. He has a three-year qualification from the AAA School of Advertising in Randburg, specialising in illustration, graphic design, art direction and marketing. Rayaan Cassiem (Rayzer), born and raised in Heideveld, studied graphic design at the then Peninsula Technicon, now Cape Peninsula University of Technology. His work can be found all over the city and he also regularly exhibits at art galleries in Cape Town and Johannesburg. INFO: www.myciti.org.za/en/myciti-art

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print run REVIEWS - XAVIER NAGEL

SUPPLIED BY - BIBLIOPHILIA

Africa Rising / Fashion, Design and Lifestyle from Africa

I Am Brian Wilson

Modern Rasputin

For the first time in his own words, the legendary musical genius of The Beach Boys reflects on his tumultuous life and astonishing 21st-century comeback to live performance and renewed creativity. I Am Brian Wilson (R315) is the story of Brian Wilson’s life, told by Brian Wilson. But he’s not the same man who had a nervous breakdown on an airplane in 1964 or the one who ballooned to 300 pounds and couldn’t get out of bed in the 1970s. This Brian Wilson is older, calmer, filled with perspective regarding his extraordinary accomplishments and forgiveness for the people who complicated those accomplishments, and his life.

Eclectic, eccentric and eloquent, Modern Rasputin (R150) establishes Rosa Lyster as one of South Africa’s most exciting young writers. Diving into a (not entirely made-up) world of precocious children, hand-poked tattoos, minor royalty, Russian prisons, and electrocuting water faucets, Lyster’s debut is a testament to the wild machinations of imagination and the soft poignancies of friendship and young womanhood. With found poems and other poetic anarchies, Lyster expands traditional concepts of narrative poetry, providing one of the most unpredictable and cosmopolitan collections from South Africa in recent years. Her work has appeared in The New Yorker, Prufrock, The Millions, The Hairpin, The Toast, the Sunday Times, and many others.

In the Darkroom “In the summer of 2004 I set out to investigate someone I scarcely knew, my father. The project began with a grievance, the grievance of a daughter whose parent had absconded from her life. I was in pursuit of a scofflaw, an artful dodger who had skipped out on so many things - obligation, affection, culpability, contrition. I was preparing an indictment, amassing discovery for a trial. But somewhere along the line, the prosecutor became a witness.” In the Darkroom (R330), Susan Faludi’s extraordinary inquiry into the meaning of identity in the modern world and her own haunted saga. 56

The African artistic spirit extends far beyond the canvas and studio; a new wave of African creatives is on the rise and making a name for itself in design, fashion, photography, and architecture across Africa and abroad. Africa Rising - Fashion, Design and Lifestyle from Africa (R935), co-edited by Design Indaba, calls stereotypes and archaic clichés into question. Insightful essays from experts and artisans contextualize each portrait and provide insight into talented pioneers, outstanding projects, and the way craft can be a catalyst for social and economic developments. Africa Rising celebrates the way art strengthens and unifies cultures and, most importantly, invokes the multi-faceted richness of Africa.

Bookshops Zombie ZA Being a zombie in modern day South Africa comes with its own set of problems. How do you act at a braai? How do you tell your family? Zombie ZA (R130) is your guide to coping with being undead in SA, while biding your time until that pesky Apocalypse catches up with you. Stuffed with tips for the recently reanimated and tricks for the undead, it helps you to hide in plain sight without anyone noticing that you’re dying to take a bite out of them. Let the Apocalypse begin! All in an easy-to-understand volume for the living impaired!

In Bookshops (R375), Jorge Carrion takes his reader on a journey around the world, from Shakespeare & Co in Paris, Green Apple Books in San Francisco, Librairie des Colonnes in Tangier to the Strand Book Store in New York. Written in the midst of a worldwide recession, Bookshops examines the role of these spaces in today’s ever-shifting climate of globalisation, vanishing high streets, e-readers and Amazon. But far from taking a pessimistic view of the future of the physical bookshop, Carrion makes a compelling case for hope, underlining the importance of these places and the magic that can happen there. THE LAKE

The Theatre of Apparitions The Theatre of Apparitions (R740) is an immersive and groundbreaking new monograph by the critically acclaimed art photographer Roger Ballen, best known for his psychologically powerful and masterfully composed images that exist in a space between painting, drawing, installation and photography. This book is both a departure from his existing oeuvre and the culmination of his unique aesthetic linking image-making and theatrical performance. Separated into seven chapters or “acts,” these Ballenesque images take readers on a journey deep into the subconscious. Fossil-like facial forms and dismembered body parts co-exist uncomfortably with vaporous, ghost-like shadows - these images have the capacity to shock, inspire, amuse and even elate viewers.

A Child of Books A little girl sails her raft across a sea of words, arriving at the house of a small boy and calling him away on an adventure. Through forests of fairy tales and across mountains of make-believe, the two travel together on a fantastical journey that unlocks the boy’s imagination. Combining elegant images by Oliver Jeffers with Sam Winston’s typographical landscapes shaped from excerpts of children’s classics and lullabies, A Child of Books (R350) is a stunning prose poem on the rewards of reading and sharing stories.

Get A Life Vivienne Westwood began Get A Life (R350), her online diary, in 2010. One week, you might find Vivienne up the Amazon, highlighting tribal communities’ struggles to maintain the rainforest; another might see her visiting Julian Assange in the Ecuadorian Embassy, or driving up to David Cameron’s house in the Cotswolds in a full-on tank. Then again, Vivienne might be hanging out with her friend Pamela Anderson, or in India for Naomi Campbell’s birthday party, or watching Black Sabbath in Hyde Park with Sharon Osbourne. The beauty of Vivienne Westwood’s diary is that it is fresh and unpredictable, as well as being generously illustrated with her own selection of images.

South Africa: 3 Million Years of Art

South African archaeology preserves some of the earliest evidence of artistic thought and production anywhere in the world. Today, South Africa has an established and vibrant contemporary art scene that is often in dialogue with the deep and recent past. South Africa: 3 Million Years of Art (R550) explores this relationship between past and present, showing contemporary and historic art objects alongside each other, bearing witness to the important events in South Africa’s history. Published to accompany an exhibition at the British Museum.

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PLIMSOLL

VANS - Authentic (Decay Palms) Black / True White

VANS - Old Skool (Suede Canvas) Ultramarine Green /True White

VANS - Old Skool (Premium Leather) Black / True White

VANS - Old Skool (Premium Leather) Wild Dove / True White

VANS - Old Skool (Suede Canvas) Imperial Blue / True White

VANS - Old Skool Zip (Leather) Wind Chime / Blanc De Blanc

VANS - SK8-HI Re-issue (Decay Palms) Black / True White

VANS - SK8-HI (Suede Canvas) Ultramarine Green / True White

VANS - SK8-HI (Canvas) Port Royale

VANS - SK8-HI (Canvas) Grape Leaf

VANS - SK8-HI (Suede Canvas) Imperial Blue / True White

VANS - SK8-HI Slim Zip (Leather) Wind Chime / Blanc De Blanc

ONITSUKA TIGER - MEXICO 66 Asics Blue / Black

ONITSUKA TIGER - MEXICO 66 True Red / Asics Blue

ONITSUKA TIGER - MEXICO 66 Yellow / Black

ONITSUKA TIGER - GSM White / black

ONITSUKA TIGER - GSM White / Tandoori Spice

ONITSUKA TIGER - GSM White / Agave Green

ASICS - GEL-LYTE III White / Valentine’s Day Pack

ASICS - GEL-LYTE V Black - Valentine’s Day Pack

ASICS - GEL-LYTE V Taupe Grey / Rose Gold Pack

ASICS - GEL-LYTE V Black Rose Gold Pack

ASICS - GEL-LYTE KOMACHI Black

ASICS - GEL-LYTE KOMACHI White

PUMA - Basket Heart Patent Wns BLACK

PUMA - Basket Heart Patent Wns WHITE

GLOBE - Chase Brown / White

GLOBE - Mojo Legacy Black / Tan

GLOBE - Dart Lyt Black / Grey / Orange

GLOBE - Dart Lyt Caramel / White

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PLIMSOLL

ETNIES - Jameson Vulc Black / Brown / Grey

ETNIES - Jameson Vulc Navy / white / Gum

ETNIES - Scout XT Navy / Grey

ETNIES - Scout XT W’S Navy/ Pink

ETNIES - Scout Black / Black

ETNIES - Scout Navy / Grey / red

ADIDAS - EQT SUPPORT ADV PK PINK / WHITE / BLACK

ADIDAS - EQT SUPPORT FUTURE BOOST PINK / WHITE / BLACK

ADIDAS - EQT SUPPORT ADV PINK / WHITE / BLACK

ADIDAS - EQT SUPPORT ULTRA PINK / WHITE / BLACK

ADIDAS - EQT RACING PURE PINK / WHITE / BLACK

ADIDAS - EQT EQT SUPPORT ADV PINK / WHITE / BLACK

ADIDAS - BUSENITZ VULC

ADIDAS - LUCAS PRO

ADIDAS - MATCHCOURT

ADIDAS - SAMBA ADV

REEBOK CLASSICS CL LEATHER BOXING RUGGED MAROON / GUM

REEBOK CLASSICS CLUB C 85 HYPE BLACK / WHITE

REEBOK CLASSICS CLUB C 85 TG HUNTER GREEN / GUM

REEBOK CLASSICS BOLTON GOLDEN NEUTRALS BOLTON GOLDEN NEUTRALS

REEBOK CLASSICS EXOFIT LO CLN GARMENT GUM WHITE / GUM

PALLADIUM - Pampa Hi Incense / Putty

PALLADIUM - Pampa Hi Brown / Stucco

PALLADIUM - Pampa Sport Cuff AMBER GOLD / MID GUM

PALLADIUM - Baggy Lite Mouse / Vapour Vibrant Orange - WOMeN’S

PALLADIUM - Baggy Lite Emberglow / Vapour Wild Dove - WOMeN’S

REEBOK CLASSICS CLUB C 85 TDG SKULL GREY / GUM

PALLADIUM - Pampa Sport Cuff AMBER GOLD / MID GUM

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ICONS MARK GONZALES

17 20

16 6

1 VANS - SEIBERT BUTTONDOWN SHIRT / 2 The Quiet Life - Periodic 7 Panel / 3 GLOBE - GOODSTOCK JOGGER STONE PANTS / 4 BRIXTON - FIDDLER DARK OLIVE CAP 5 Benny Gold - Day Off Tote Bag 6 ADIDAS - BUSENITZ VULC / 7 ADIDAs - EQT SUPPORT ADV / 8 JOHN COLTRANE - RED GARLAND TRIO LP / 9 VANS - CONDUCTOR WEB BELT 10 Benny Gold - Creative Roll Bag / 11 ETNIES - Jameson Vulc / 12 VANS - Authentic (Decay Palms) / 13 VANS - Alpe Dâ&#x20AC;&#x2122;huez Backpack 14 The Quiet Life - Periodic 7 Panel 15 Benny Gold - Socks / 16 BILLABONG - VACAY ELASTIC 17 BILLABONG - SPINNER LO TIDE / 18 BILLABONG - NEW ORDER / 19 VANS - Torrey Coaches Jacket / 20 KROOKED - No Thank You LS Tee 60

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ICONS JEAN SEBERG

5 12

4 3

1 Brixton - Nelson wool felt fedora / 2 Screened - New York Herald Tribune T-shirt / 3 Saint Laurent - Cropped Linen Trousers / 4 Lomo - Instant Boston Edition 5 Michael Kors - Pleated stretch-cotton poplin shirt dress / 6 BREATHLESS - MOVIE POSTER / 7 Ã&#x20AC; bout de souffle - BREATHLESS SOUNDTRACK LP / 8 ORLEBAR BROWN - Cottesloe Black Swimsuit 9 Mansur Gabriel - Tumble Leather Bucket Bag 10 Tabitha Simmons - Daria Ballet Flat / 11 Vero Moda - Felicia Shoe 12 Cheap Monday - Love Cat Eye Sunglasses 13 SEDGWICK - MATTE BLACK / 14 Country Road - Linen Midi Skirt / 15 Comme des Garcon Play - Striped Long Sleeve T-shirt 62

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GEL-LYTE KOMACHI