THE LAKE #15 by THE LAKE MAGAZINE

VISTA OCEAN COLOUR SCENE

THE LAKE

THE LAKE WE ARE FOOLISHLY Ambitious

#15 / 150517

VISTA ““It’s being here now that’s important. There’s no past and there’s no future. Time is a very misleading thing. All there is ever, is the now. We can gain experience from the past, but we can’t relive it; and we can hope for the future, but we don’t know if there is one.” ” - George Harrison

CONTENTS REGULARS:

PUBLISHER

News 04 Print Run 54 Fashion Mens 58 Plimsoll 56 Fashion Ladies 60 ART: Pushing Thirty Ceremony Gold Member

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

14 20 32

PHOTOGRAPHY: Stalker 12 Aberration 26 Chalav and Dvash 38 MUSIC: The Allman Brothers 10 Dr. Feelgood 16 Lapis Lazuli 44

COVER Oliver Kruger Photography Marsi van de Heuveli Cover Girl Stefan Naude Art Direction Lighting GLOW HIRE Retouching Naomi e’Camara photographers

FASHION

Hayden Phipps Oliver Kruger Jansen Van Staden Justus Kotze Antoine-Duhame Tyrone Bradley Warren Van Rensburg Dor Arazi

Kristi Vlok kristi@thelake.co

CONTENTS PHOTO

Christine Stewart

Tyrone Bradley

ONLINE / SOCIAL

2017 - LAGOS, NIGERIA

thelake.co.za

www.tyronebradley.co.za

LIFESTYLE: Ride the lightning Wax Junkie In Transit

THE LAKE MAGAZINE PTY LTD info@thelake.co

Contributors

06 48 50

Rick De La Ray Tim Leibbrandt Xavier Nagel Fred De Vries Lani Spice Dan Charles Lior Raz Tyrone Bradley Bianca Meyer Gavin Bonner

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.

Advertising / MARKETING Brett Bellairs brett@thelake.co COPY EDITING

Submissions info@thelake.co

PRINTING Tandym print Tel: +27 21 505 4200 Email: print@tandym.co.za

THE LAKE

NEWS VANS X PEANUTS With a partnership dating back to the early 1980’s, Vans brings forth the third installment of Vans x Peanuts designs, highlighting characters from Charles M. Schulz’s beloved Peanuts gang. Using vintage illustrations from the late ‘60s, ‘70s and ‘80s, Vans designers bring “Off The Wall” elements to iconic Peanuts moments that remain true to Vans’ unique design aesthetic. The Vans x Peanuts collection features six core designs across a variety of silhouettes within the Vans Classics, Surf and Apparel collections. Peanuts protagonist, Charlie Brown, kicks off the collection quite literally as he is seen on a men’s pocket tee and raglan pushing his way on skateboard in pair of Old Skools. Sidestripe and “Good Grief” embroidered atop the tongue of each shoe. INFO : www.vans.com

Skullcandy / Crusher Completely redesigned and re-engineered, Skullcandy’s Crusher Wireless offers a unique bass sensory experience derived from “dual driver” technology. The Crusher doesn’t just play music, it delivers a complete audio experience that you can feel from the moment you put it on. This headphone replicates the ‘live concert’ feeling. Pair this sensory experience with an accessible price point and a style that’s unmistakably Skullcandy and you’ve got the Crusher Wireless. The Crusher was designed with premium materials and engineered to emphasize fit, comfort and durability. The headphone features a flexible headband, an amplifier and a battery in the ear cup to drive the level-adjustable subwoofer, removable/replaceable cables and collapsible earcups for easy stashing. INFO :luksbrands.co.za

adidas Originals / Campus Originality is constant. It’s not a journey with a distance of thinking. It’s not a calculated and curated process. It’s off the cuff - and hesitancy is its biggest enemy. Campus has always been a genuine participant to the cultures that thrive within the city, maintaining street-level respect over the years. Starting off on the basketball court back in the 80’s, Campus was released as an all round shoe built for sport. Later with the explosion of hip hop the classic suede low top formed part of a powerful moment in fashion that saw key styles being claimed from sport by the street. Today adidas Originals brings back the iconic Campus. The 80’s base trimmed and tweaked, blending elements from the archive to create the ultimate silhouette. INFO :adidas.co.za

Donkerbok

Asics Tiger / Movimentum

Donkerbok,a new South African unisex clothing brand based in Cape Town by tattooer David Chaston with the help of his wife,Rose. Focusing on comfortable casual wear with the odd limited run on selected items.

Asics Tiger Women’s Gel-Movimentum Originally developed as a tailor-made training shoe for the world champion sprinter Nelli Cooman from the Netherlands, the Lady Gel is now being renewed and returned as a Gel-Movimentum exclusively for the ladies.

Donkerbok came about as a nickname,given by a friend years ago whilst tattooing together.After a while it stuck and became synonymous with the tattoos, design work, the odd t-shirt design etc. The focus is to keep things colourful,as long as its black and white with the odd grey. INFO: donkerbok.com @donkerbok_ donkerbokinfo@gmail.com 04

The Gel-Movimentum comes with Asics-typical, simple and elegant silhouette, in contrast to the Gel-Lyte but with a separate mesh tongue, which separates from the leather upper. The distinctive and eye-catching heel cap ensures stability. The white midsole is reminiscent of the original model from 1986 with the indentations, giving it more flexibility at the same time. INFO: asicstiger.com

THE LAKE

NEWS Mami Wata X Hugh Thompson A unique collaboration between Mami Wata and master surfboard craftsman Hugh Thompson. Six boards inspired by six world class African surf breaks, responding to the unique environments and conditions of each location. Each board is custom built to your specifications and shipped anywhere in South Africa. Once the order and custom details are confirmed Mami Wata will send you a complimentary bag of Mami Wata ‘Congo Black’ coffee to enjoy while you wait. Please email any questions to: sales@mamiwata.surf INFO :mamiwata.surf

New Balance / Stance The newly introduced New Balance 1978 silhouette in slate blue and tan pig suede is paired with a Stance 144 Needle crew sock with athletic stripes to evoke the famed beaches and surf breaks of San Clemente where Stance came to life only seven years ago. The kit is as clean and easygoing category once left for dead. “We wanted to collaborate with an innovative brand that has brought fresh perspective and quality design to the market, to demonstrate how the sock and shoe can truly work together,” said Chris Davis, Vice President of Global Marketing at New Balance. INFO :newbalance.com INFO :stance.com

oakley / Crossrange Made with interchangeable temples and nose pads that let you adapt style and performance for a life that never slows down, Crossrange bridges the gap between your lifestyle look and your active interests by giving you ultimate versatility. The nosepads: Easy to exchange nosepads that change the way Crossrange sits on your face. One lifestyle for a relaxed fit, and one performance featuring Unobtanium™ for the ultimate grip. THE TEMPLES: With a simple flick of a switch, you can change from the casual and streamlined lifestyle temple, to the performance version featuring Unobtanium™ earsocks and altered fit, perfect during any activity. INFO :oakley.com

PUMA / TSUGI NETFIT Continuing their commitment to developing game changing innovations, Global Sports Brand PUMA has revealed NETFIT – a unique customizable lacing system that offers infinite performance and styling options. NETFIT is debuting across many of PUMA’s top footwear silhouettes including both performance and lifestyle, including the latest Sportstyle silhouette, TSUGI. Translating to ‘NEXT’ in Japanese, the ‘TSUGI’ incarnates the fusion of modernity, technology and traditions, bringing a new wave of aesthetic to progressive streetwear. With TSUGI, PUMA brings to the table their successful track record Sportstyle Running footwear design and long-standing commitment of pushing the boundaries of innovation. INFO: puma.com THE LAKE

THE LAKE

INTERVIEW - RICK DE LA RAY

PHOTOGRAPHY - JANSEN VAN STADEN

RIDE THE LIGHTNING JAMIE LITT / UBUNTU BIKES

The aim of Oakley’s New One Obsession campaign is to highlight, inspire and encourage professional, amateur and everyday athletes. The mission is to invite and bring together athletes and fans who share the same obsession and mindset. No matter where you are in your journey, nothing stands in between you and your goals. In this feature we look into the mind of lifetime cyclist and bike builder Jamie Litt of Ubuntu bikes in Cape Town as he shares the obsession mindset of his #CantStop moments. You moved here from the UK 8 years ago. How did you end up living in Cape Town? After leaving London, my wife and I drove south from Kenya through Africa. We got as far as here after visiting some incredible places along the way, and simply couldn’t leave again. Cape Town is truly an amazing place. I’ve visited cities all over the world and so many of them offer so much culture and diversity, but Cape Town is next level. Nature side by side with the urban environment, the people, the energy, the creativity. It’s unbelievable how much is squeezed into one city and I try every day to acknowledge how lucky I am to live here. Where would you say your passion and love for cycling stem from? I still remember learning to ride a bike, that joy of motion, pedalling along, wind in my hair, independence and freedom to race around wherever I pleased. That feeling never goes; we just forget about it as we grow up and shift to cars. My love of cycling was always there, it just hibernated for a while and when it came back, it bowled me over. That and the geekery of bikes, the shiny bits, the mechanical parts, the technical chat with other bike-geeks, the fiddling and tinkering. My job title is Man in a Shed and I love it. I love learning new things, overcoming challenges and solving problems and every bike brings something of that to me. And most importantly with a workshop to hide them all in, my wife has NO idea how many bikes I own! What made you start a custom bike-building business and how long have you been building bikes for? Did it start off as a hobby and progress from there? Retrenchment catalysed me into action. Twice in my life I’ve been retrenched and both times have created the most amazing change and paradigm shift into something new. The first time, I went from being a London lawyer to travelling to Kenya to volunteer. The second time, I left the NGO sector to start Ubuntu Bikes after a few years of hobby-tinkering, so I’ve been at it about 10 years now in total. Both retrenchments have been remarkable opportunities. I started Ubuntu Bikes 4 years ago originally to support and celebrate South African artists and promote their artwork to an international market on the unique canvas of a bicycle. But I also started it because I love bikes. Over time my initial idea has morphed into Ubuntu Bikes as it is now and I love the fact that I can provide tailored bikes within the confines of what I have available to the ever-growing cycling scene of Cape Town and beyond.

of cycling, particularly with the younger generation, and urban cycling has really caught on in major cities across the globe. Do you find there is a high demand for custom bikes/city cruisers in South Africa? At the moment, the scene is still tiny in comparison to other places, but I can see the start of the growth that I experienced in London and elsewhere and I’m confident that growth will continue. Cape Town is bizarre because there is such a huge sport and racing scene both in road racing and MTB but the commuter/leisure scene is so small. I think the main growth won’t be from racers crossing over to being commuters, but like you say younger people embracing the culture of bikes. Being into bikes isn’t just about a mode of transport. People who own a bike are attached to it in a completely different way to how one is with a car. A bike is a statement about you as a person, it’s an accessory, an item of clothing, a treasured piece of personal life…and yeah it’s a form of transport as well. But there is a whole host of culture and identity wrapped up in a bicycle and this culture is exploding all around the world. All you have to do to plug into it is buy yourself a bike. Looking at one of these rides, the attention to detail and craftmanship is pretty obvious to see, please give us a run down on the process involved in creating one of these masterpieces. The bike is dismantled completely. Every single part is assessed to see if it can be re-used or whether it needs replacement. Tyres, tubes, cables, brake blocks, chain and bearings are always replaced. All parts to be painted are sent for sand-blasting to have the old paintwork removed together with any rust. Then it’s into the spray booth for as many as 10 coats of primer and paint to transform the scratched and rusted old frame into something brand new again. The wheels are always completely rebuilt and then everything is reassembled and checked all over – I often change wheel types,

tyre combinations, gears, saddles and handlebars to fine-tune comfort, suitability and rideability. Which style of bicycle is your favourite to build and what gems do you have in your personal collection? I used to love building mixtes, which is a French unisex style of frame, they’re such stylish looking bikes, but man they’re a pain to paint. Now I particularly like taking an old gents racer that someone wouldn’t look twice at and transforming it into a neat, sleek, urban machine. Something that whips through traffic and blasts up and down curbs and across the city landscape. I personally own [cough] bikes, sorry my wife will read this, and every one serves a different purpose and I love each one in its own unique way. If pushed I would have to say my Vitus 979 is a favourite, it’s an early aluminium framed bike from the 1980s. It’s so light and fast, but amazingly comfortable and everything about it is crisp, the handling, the brakes, the gears. It’s awesome! After that I have a 1981 Raleigh Ti Team I’ve just finished restoring. The treasure of that is the complete phoenix from the flames transformation that I’ve achieved with it. The joy I get seeing how that bike looks compared to how it used to look is immense. Oh crikey you’ve got me started now, honestly I could carry on about every bike I own now but this magazine isn’t big enough. What are the community projects that you have been involved in with Ubuntu? I’ve done a few over the years. I’m about to provide some training, mentorship and management to some guys in a rural bike project, helping them streamline what they do and improve their skills. Every now and then I come across people that need bikes: sometimes it’s someone that needs a repair or a new tube and I help them out. Sometimes people need bikes: I sourced and fixed up a couple of bikes for 2 urban farms recently, one in Gugulethu (Manelisi’s Urban Farm) and one in Khayelitsha, the name escapes me. Most recently

WORKSHOP HITS The Rolling Stones

Fatboy Slim

Blur

Subhumans

Big Hits (High Tide and Green Grass)

Better Living Through Chemistry

Blur

The Day the Country Died

THE Chemical Brothers

1966

1996

1997

1983

1999

ABKCO

Skint

Food

Spiderleg

Virgin

Surrender

There seems to be quite a big shift from the stereotypical lycra-wearing “I did the Argus in 1 hour” brigade to a more lifestyle form THE LAKE

I’ve got involved with this amazing bunch called Home of Compassion in Delft. They’re piloting a scheme where local community members can order goods and food from local stores via an app using free Wi-Fi. The stores will be equipped with delivery bikes (that’s where I come in) to get the goods to the gogos at home. Safe, cash-free transactions, what an amazing concept! I hope it’s a huge success.

the dozens I have piled around the workshop to just one or maybe 2 candidates. Once a choice has been made, we talk spec, set-up and colours.

What plans do you have for the future of Ubuntu Bikes?

Absolutely, riding a bike brings so much joy, freedom, energy and access. The feeling of flying along with such ease is amazing. And you explore and interact with an environment in a completely different way than with a car. You feel more part of your surroundings whilst at the same time being able to cover so much more distance in a short space of time than when you’re walking. Bikes are pure joy for me, but then I am more than a little biased.

I want to stay small and personal. Ubuntu Bikes is about offering a tailored experience. I love being hands-on with every customer who comes in and seeing them get the bike that works for them and that they take so much pleasure in riding. I hope the scene expands massively, but that there is always a niche part of it for me to continue doing my thing in my own way. When someone is looking at getting a bike from Ubuntu, how much input do they have in the creative process of the bike being built? So, people often see my bikes and check out the website and then they’ll contact me and say like, “Oh, I really want that beautiful one in blue with a basket on the front, is it still for sale?” They’re focused on the aesthetic and they want it now. I have to tell them, this is not an instant gratification process. Also, my job is to match their aesthetic vision whilst providing something of purpose that works for their needs. The consultation process generally takes about an hour if they come in to the workshop or a number of emails if we’re working together remotely. We work through - where do they live? When and why will they use it? How far will they go and how often? Once we’ve got that together we’ve narrowed down what bike will suit them from

I once read a quote somewhere that said, “You can’t buy happiness, but you can buy a bicycle and that’s pretty close.” Would you say that that rings true?

With the latest brand name racers and MTBs ranging anything from R10k upwards, it seems that getting a custom built / vintage bike (besides being way cooler) is also a more cost-effective way of getting into cycling. What would one expect to pay for one? My bikes range from about R4000 up to R10,000 depending on paintjob, components and accessories, but an average is about R6000. #oakley #Cantstop #oneobsession INFO: www.ubuntubikes.com

THE LAKE

WORDS - FRED DE VRIES

PHOTOGRAPHY - SUPPLIED

the Allman Brothers The Road Goes On Forever “For a couple of years in the early seventies the Allman Brothers were the biggest rock band in the world. Bigger than The Who, bigger than Grand Funk Railroad, bigger even than Led Zeppelin.”

Their soulful Southern take on rock and blues filled stadiums, made record executives drool over sales figures and had thousands of young men playing air guitar, hoping that one day they’d be as good as Duane Allman and Dickey Betts, the six-string tandem that gave the band its unique impetus. Behind them, bassist Berry Oakley and drummers Butch Trucks and Jaimoe Johnson laid down an impossibly versatile and elastic foundation; funky, jazzy, whirling and pounding. And then there was Duane’s younger brother Gregg on vocals and keyboards. Even though he had a pretty face, lank blond hair and was only 23, he sounded like an old and wizened blues sage, tortured by female betrayal and longing for ‘the road that goes on forever.’ Long-haired, multi-racial and irreverent, the Allman Brothers Band were the ultimate rock outlaws (multiple deaths, heroin addictions, adultery, stabbings, messy divorces, lawsuits, you name it), giving rise to the Southern Rock movement that also produced the likes of Lynyrd Skynyrd, and which still lives on thanks to the indomitable Drive-By Truckers. The town of Macon is a ninety-minute drive south from Atlanta, Georgia. It has one good coffee shop, one decent record store and a couple of clubs in the downtown area, where the lords of gentrification battle it out with groups of poor black men, standing, waiting, hoping to get a piece job. It’s hard to imagine that this town is a monument in the history of rock and soul. It’s the birth place of Little Richard, while soul giant Otis Redding moved here at the age of three. It was also the spiritual home of the Allman Brothers Band, who for three years (1970-1973) resided in a three-floor mansion on Lineville Avenue, built in 1900, which they christened the ‘Big House’. It was essentially a hippie commune surrounded by hostile rednecks. It’s now a museum with a decoration of a big magic mushroom on the entrance gate and a welcoming sign that says, ‘And the road goes on… forever’, a quote from the Allman Brothers Band’s ultimate loner song ‘Midnight Rider’. When I arrive there on a hot November Sunday afternoon, the Big House is hosting a free country concert on the lawn. Some sixty people have gathered, with a preponderance of grizzly facial hair. Since the museum will close in an hour, I go there first. After admiring the usual rock memorabilia of concert posters, instruments, photos, paintings, a groovy sixties jacket, album covers, contracts, outstanding payments, whatever, I’m left with one overriding feeling: this is basically a shrine to the genius of Duane Allman, and to a lesser extend bassist Berry Oakley. They both died in motorcycle accidents when the band was at the peak of its power, having just released At Fillmore East, invariably voted as one of the top 5 live albums ever. Duane crashed his Harley in Macon on October 29, 1971. Oakley died a year later, on November 11, 1972, after ramming his Triumph into a bus, three blocks from where Duane had his fatal accident.

Given the amount of drama and tragedy it’s understandable that some of the band members, Dickey Betts in particular, haven’t visited the Big House since it became a museum in 2009. ‘There’s a lot of pain for them here’, says museum director Richard Brent, who sports ZZ Top style grey beard. ‘Berry came back to the house after the crash. He marched there to the bedroom… Technically he died at the hospital, but he just…’ Yes Brent, he basically died in the Big House.

Long-haired, multi-racial and irreverent, the Allman Brothers Band were the ultimate rock outlaws (multiple deaths, heroin addictions, adultery, stabbings, messy divorces, lawsuits, you name it), giving rise to the Southern Rock movement that also produced the likes of Lynyrd Skynyrd, and which still lives on thanks to the indomitable Drive-By Truckers. Brent is happy to sing Oakley’s praises. ‘If the only thing you ever did in your life was to write the intro to ‘Whipping Post’ that’d be a career for a lot of people. That is still one of the most iconic bass riffs of all times’. But ask him about Duane, and he’ll have you captivated for hours. He knows all the ins and outs, and sometimes makes excuses when it seems like he’s talking as if he personally knew him (he didn’t, he wasn’t born yet when Duane died). Duane was a proper guitar prodigy, the teacher, the master behind the concept of the Allman Brothers Band, whose impeccable, soulful guitar work also adorns recordings by Aretha Franklin, Wilson Pickett, and of course Eric Clapton’s Derek and the Dominoes. Without Duane’s slide ‘Layla’ would never have sounded as desperate and intense as it does. Duane and Gregg Allman were born in Tennessee, not far from Nashville. The family moved further south to Daytona Beach, Florida, where the two brothers, instead of digging the fashionable surf sounds, fell under the spell of a black rhythm and blues radio station that played songs by Ray Charles, Howlin’ Wolf, Sonny Boy Williamson and Bobby Bland. They befriended local black musicians and hung out in clubs ‘across the tracks’, something quite daring in those early 60s when segregation was the norm in the deeply racist American South. They became known as ‘those white boys who can play that funky music.’ They formed the band Hour Glass, which never made it. Duane’s big break, says Brent, came after he had recorded a passionate version of ‘Hey Jude’ with Wilson Pickett in the Muscle Shoals Studios in Alabama. Word about a long-haired guitar sensation reached a Macon businessman called Phil Walden, who ran Capricorn Records, which until then had specialized in black soul. But when his protégé Otis Redding died in 1967 in an airplane crash, Walden needed new blood. To cut a long story short: Duane

signed a five-year contract with him and put a group together that would follow his vision of twin guitars and two drummers: the Allman Brothers Band. Over the years Capricorn became the supreme Southern Rock label, signing a huge number of bands, none of them even approaching the sheer majesty of the Allman Brothers Band. With their long hair and black drummer, free love and an insatiable appetite for drugs, they were an anomaly in conservative Macon, which was run by mayor Ronald ‘Machine Gun Ronnie’ Thompson, who during the race riots of 1970, made headlines by driving a tank onto school premises to frighten wouldbe criminals. The Allmans were a band of outcasts, hippies and dopers. But they weren’t of the feeble ‘hey peace, man’ kind. They were of tough Southern stock. As Duane once explained: ‘One thing I can say about the people in our band, and that is that they’re straight with themselves. If you’ve got something good to lay on them, you can enlighten them. If you got something bad to lay on them, you can get your teeth knocked clean down your throat, man. Dangerous people. Lovely people.’ Their roadies were even tougher. One of them, Twiggs Lyndon, went to prison in 1970 after fatally stabbing a club owner who refused to pay the band. Another roadie, Kim Payne, was shot by a cop in Macon for trying to resist arrest (after exceeding the speed limit on his motorbike). When they moved from their ‘crash hippie pad’ into the Big House in 1970 they were seen as rubbish by most of the white locals. ‘The town people were always messing with them, calling them names, trying to get into fights’, says Brent. They tried to lay low. They ate at H&H, a black soul food restaurant, run by Mama Louise, who took pity on their skinny white asses and fed them, even if they couldn’t always afford the bill. Their other place of refuge was the sprawling Rose Hill Cemetery on the outskirts of town. ‘There they could find peace, write songs, hang out, do whatever they wanted to do’, says Brent. ‘People think it’s kinda creepy, but it’s not. If you visit Rose you’ll quickly see how beautiful a place it is.’

Which is what I do. Not only to see where the Allman Brothers Band used to hang out, but also to visit the graves of Duane and Berry and see the place that inspired Dickey Betts to write his ‘In Memoriam of Elizabeth Reed’. The elegant title (Elizabeth was an arty Southern aristocrat who lived from 1845 to 1935) hides the banal story behind a mesmerizing composition. ‘It has nothing to do with Elizabeth Reed, except that this was the place she was buried,’ says Brent. ‘Dickey (who was married) was having an affair with Boz Scaggs’s girlfriend. And while he was writing this composition, they used to meet at Elizabeth Reed’s grave at Rose Hill. It’s at the bottom by the railroad tracks, flat and secluded. So, if you’re gonna be at the cemetery with a lady, this is a good place to be.’

With their long hair and black drummer, free love and an insatiable appetite for drugs, they were an anomaly in conservative Macon, which was run by mayor Ronald ‘Machine Gun Ronnie’ Thompson, who during the race riots of 1970, made headlines by driving a tank onto school premises to frighten would-be criminals. After a lunch at H&H (Mama Louise was there, deep into her eighties, saying ‘They were good boys’), I reach the graveyard, which is hot and deserted, save for a group of uniformed detainees who keep up the lawns. After some searching I find the graves: Elizabeth Jones Reed, nicely secluded indeed. And a bit further down, fenced off, lay Duane and Berry, next to each other. I stand and pause, taking in the sound of birds and the river on the other side of the tracks. Someone has thrown a yellow flower on Duane’s stone, which has a drawing of a guitar. The monument for Berry has been engraved with that famous line from ‘Midnight Rider’ which also greeted me at the Big House: ‘And the road goes on forever.’ In the distance, I can hear a train coming. INFO: allmanbrothersband.com INFO: thebighousemuseum.com

ESSENTIAL ALMAN BROTHERS The Allman Brothers

The Allman Brothers

The Allman Brothers Band

Idlewild South

At Fillmore East (Live)

Eat a Peach (Part live)

Brothers and Sisters

1969

1970

1971

1972

1973

Atco

Capricorn

THE LAKE

QUESTIONS - LANI SPICE

PHOTOGRAPHY - Justus Kotze

STALKER Justus Kotze

“My family always had a ‘point and shoot’ camera lying around, I used to sneak photos whenever I could. But to be honest I never took it too seriously until recently. I never had my own camera so I just used friends’ cameras in the past, and they were mostly digital. “

Let’s start with your background, whereabouts are you from? I’m from a small town on the tip of Africa, Fish Hoek. Where the beaches are endless and the people are nutty and old. You are quite the talented individual, and here your film photography has caught our eye. Could you tell us when you started shooting? My family always had a ‘point and shoot’ camera lying around, I used to sneak photos whenever I could. But to be honest I never took it too seriously until recently. I never had my own camera so I just used friends’ cameras in the past, and they were mostly digital. What is it about the medium that you enjoy so much? The spontaneity of taking a photo, the awkwardness of asking someone to pose for a photo and the random moments that you get to capture forever. Do you have a preference for film over digital? I like both for different reasons. I love the digital part for taking a shit load of photos without flinching, because then you could potentially get the best reaction out of someone and then also the fact that you can have a look at the shots instantly. But then again, I much prefer using my point and shoot, because you don’t know how the photo will look until you have finished the roll and developed it. Then you tend to give the photo more thought and feeling. Do you have any frustrations regarding the medium? Well, I guess it sucks because you can’t choose the right settings. My only options are the Landscape icon which I’ve figured out is the focal distance (infinity), and flash / no flash. Then you tend to find a few photos under- and over-exposed. Also, there have been a few incidences where the batteries have packed up just before I wanted to take a rad photo, then I had to pretend that I took the photo and walk away kicking myself. Would you say your style of shooting is

quite candid and almost a kind of visual diary of the people and experiences in your life? Yes, that’s exactly what it is! Hahahaha... I guess a lot of my photos are more personal to my experiences. But I feel like that has some sort of appeal since we have become so socially extroverted, because of social media and reality TV shows that leave you needing more. I try and be a little more artistic than the average Facebook or Instagram photo I take when I’m shooting with the OLYMPUS. You are also really well-known for your skateboarding. When did that journey begin for you and has it influenced your work in any way? I started skating in 1999, I believe it influences me in most things that I do. I think if you do anything for that long it will end up becoming who you are. I like taking my camera along on our skate missions in the streets... the experiences, the grittiness, and the impulsiveness make great subject matter for me to photograph. You recently launched your zine - SMACK MAG with Frantz Birkholtz, could you tell us more about that? It’s a fully illustrated zine that me and Frantz conjured up. We split the production into 2, I illustrated funny situations of people taking drugs, and gave them all to Frantz to create a voice or a conscience for the characters. I then took all his copy, painted it, scanned it all and then finally with some great help from Altus Brand we managed to get the layout done. The whole project turned out to be really fun and it was a good learning curve for us both. Whoever owns a copy of SMACK MAG, thank you very much and I hope you enjoy it.

What or who would you say inspires you? Locally I must say Tyrone Bradley, Jansen Van Staden, Wayne Rieche, Adriaan Louw, Dewald Bruwer… Internationally must be Arto Saari, ‘French Fred’ Mortagne, Kenji Haruta and Mark Gonzales’s Photographs. Any upcoming projects you’re willing to share? Black Lung will be releasing our second album very soon, we have changed so much since our first album with the introduction of me adding distorted bass to the band’s sound. I’m really excited for this campaign because we will also be releasing a very interesting short film music video filmed by Epitome Films and directed by Local Motion Productions. And I have some ideas of another zine that will be interactive, hush hush...

OLYMPUS 700XB only Lastly, where can one follow your work? INFO: memyselfandolympus.tumblr.com INFO: Instagram: @justuskotze

HIGH FIVES Little Walter

Aside from skateboarding and photography, what else do you do or are you involved in?

What kind of camera’s do you use?

The Very Best Of

Lightnin’ Hopkins

Ray Charles

Johnny Cash

Neil Young

Ray (Soundtrack)

At Folsom Prison

Unplugged

2000

2004

1968

1993

Rhino Records

Rhino/Atlantic/Warner

Columbia

Reprise

The Very Best Of

2015 Dolche

I’m a qualified Graphic Designer, but I want to be focusing more on my illustration, making my own Fine art and selling it. It seems to be popular with my friends, but I’d like it to go further. So far, I have done a series of 11 used skateboards that I have rescued and painted my own illustrations on, a series of 14 Wood engravings and the Smack Mag zine. I am also in a band called Black Lung, we have been jamming for +/- 4 years now. THE LAKE

â&#x20AC;&#x153;I started skating in 1999, I believe it influences me in most things that I do. I think if you do anything for that long it will end up becoming who you are. I like taking my camera along on our skate missions in the streets... the experiences, the grittiness, and the impulsiveness make great subject matter for me to photograph.â&#x20AC;?

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WORDS - Dan Charles

PHOTOGRAPHY - Antoine-Duhame

Dr. Feelgood Rus Nerwich

“It’s the most magical thing that’s ever happened to me - it’s purely mystical and full on science fiction. Have you ever seen an umbilical cord? It looks like a fibre optics cable!” Before talking about his new album, prolific saxophonist, composer and MC, Rus Nerwich, is telling me about the bewildering experience of becoming a dad.

RUS NERWICh - DISCOGRAPHY RUS NERWICH THE WHISPERer 2017 Tones Of Note

RUS NERWICH The Wondering Who “You start becoming a dad long before your child arrives. It has a lot do with your ability to be loving and how you conduct yourself in the world before your child arrives so that, when your child arrives, you have an open heart and a generous way of being that allows you to naturally give generously to your child. I found that to be a very natural thing for me.” Newly born Ziggy Nerwich is sound asleep in the office of Rus’s music consultancy agency, Tones of Note, while his father is finishing up a meeting with his team to discuss the release plan for his latest single Dr. Feelgood (an optimistic throwback-influenced hip-hop track featuring Amsterdam rap veteran, Pete Philly) from his new album The Whisperer. The Whisperer is a record with a lot to take in. The album morphs seamlessly between groove orientated genres such as hip-hop and neo-soul to more experimental hints of free jazz and afro house - making it a very intriguing listen. However, within each shift in sonic texture, there are also noticeable shifts in subject matter.

“I’ve had a very full life so far. I’ve had a lot of joy and I’ve had a lot of hardcore shit happen to me that has prepared me to be a parent. The new album was a lot about that.” Just as it blends different musical styles, The Whisperer also encompasses a vast spectrum of Rus’s own personal experiences that have not only prepared him for the responsibility of fatherhood but have also prepared him to release his most vulnerable work to date. “The album was informed by a lot of things that have happened to me - specifically one thing which was that my youngest brother drowned three years ago and I was with him when it happened. There are a lot of tracks that are exploring that experience and visiting that process of making peace with what happened.” The presence of Rus’s brother is something that looms throughout the album. The physical pack-

aging of the album includes a photograph of his brother that was taken on stage one night when he would play a character called Mr. Koslov who would act as Rus’s bodyguard and walk him on stage. In this regard, the spirit of Mr. Koslov remains as a guiding figure within The Whisperer and perhaps in Rus’s life as well. “I’m not a product of myself, I’m a product of my surroundings and upbringing - I’ve had the most amazing guides and teachers in my life. If I was a bad guy, it would be pathetic because I’ve had such amazing role models.” The first track on the album, Dry Your Eyes, both sees Rus directly address the passing of his brother but also sets the tone for the redeeming turns that are found within the album as well as with lines such as: “When you left, a new life began / I went from being a boy to being a man / There are things that I just don’t understand / I have to trust that the Creator has a master plan.”

“’I’m essentially a happy guy - I have a lot of gratitude inside of me and I try to make music that has some substance and a lot of weight. I was originally going to call this album Dry Your Eyes but I decided to call it The Whisperer because I liked the idea of the voice that’s not shouting in your ear. It’s saying what it’s saying but you really have to lean in to hear it so The Whisperer isn’t so much about the person whispering it’s about the person who’s asked to listen.”

album, The Whisperer - a dark and cryptic jazz track that features Rus delivering a nearly inaudible monologue drenched in delay - requiring the listener to really have to hone in on what he’s saying.

2013 Tones Of Note

“This is essentially a song about factionalism and how people get attached to a side of a story that they’re not necessarily educated about but they buy into it because of what they’ve heard or read. The monologue goes along the lines of I don’t know who wrote what you read but what you read is wrong and what I read is right but I don’t know who wrote but I read.”

RUS NERWICH Beyond the Walls

With that being said, The Whisperer is not an easy listening album. It’s an album that teaches you how to listen and encourages you to peel back it’s layers and approach it from numerous angles in order to gauge the rich tapestry of live and produced sounds and stories. It is testament to the generous spirit of Rus Nerwich that allows him to give generously to his listeners.

RUS NERWICH Mantras 4 Modern Man, Vol. 2 - Live at the Armchair Theatre / EP 2011

“There’s a lot of music happening in these tracks and you can play this record to your kid and talk about it. I think it’s interesting. I had a lot of fun making it.”

RUS NERWICH Under the Poetree

2011 Tones Of Note

Tones Of Note

2008 Tones Of Note

INFO: rusnerwich.com INFO: soundcloud.com/rusnerwich

HIGH FIVES Carlo Mombelli

De La Soul

Michael Franks

Miles Davis

Charles Lloyd

I Press My Spine to the Ground

and the Anonymous Nobody...

The Art of Tea

Kind of Blue

The Water Is Wide

2016

1975

1959

2000

Carlo Mombelli

Kobalt

Reprise

Columbia

ECM

In this regard, Rus seems to be challenging his listeners with this new album by allowing them to lean in to these songs as much as they want to in order to reap as much meaning as they feel like getting out of them. The subjects within these songs are not singular - joy and sorrow are as seamlessly intertwined as the various sonic elements. This is evident within the title track of the THE LAKE

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â&#x20AC;&#x153;The album was informed by a lot of things that have happened to me - specifically one thing - which was that my youngest brother drowned three years ago and I was with him when it happened. There are a lot of tracks that are exploring that experience and visiting that process of making peace with what happened.â&#x20AC;?

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WORDS - Tim Leibbrandt

PHOTOGRAPHY - OLIVER KRUGER

Ceremony The Passion of Marsi van de Heuvel “My work is a demonstration of dedication, a practise of discipline and patience. The process is slow and meditative, consuming of time and self. The intention is to broaden perspectives of who we are, and where we are”. Speaking here about her work in 2015, artist Marsi van de Heuvel alludes to the borderline ascetic compulsion to create which underscores her body of work. For van de Heuvel, the process of producing art is very much centred on the act of mark-making, of putting fineliner to Fabriano and leaving a mark. And then doing it again. In a sense, the line serves a similar function to tally marks, a record of the time and labour encapsulated by a particular piece. Van de Heuvel finds this acknowledgement preferable to the way in which a medium such as painting sometimes obscures the hours, days and months which underlie its production. At the same time, as much as her artworks reflect the passage of time embedded within them, the completed works also shift into an ethereal ‘between space’, with the cumulative effect of van de Heuvel’s astute chromatic sensibilities coming to the fore. Inasmuch as the creation of the work serves as a meditative process for van de Heuvel as the artist, the works are intended to be equally as immersive and entrancing for their viewers. Growing up with an art teacher mother, the younger Marsi van de Heuvel was surrounded by paint, clay, pencils and books on old masters. As the artist relates, this served to instil a sense of fervour around art and the role of the artist in producing work:

“I remember as a child, looking through the books and going to galleries that felt like sacred spaces and having this strong idea that art is this big powerful important thing, despite the fact that the life stories of the artists were almost always somehow hard and sacrificial.”

ating ‘underpaintings’ of complementary colours to create the depth and vibrancy which has become so synonymous with her work. Following her time in art school, Marsi spent a number of years experimenting with possible directions for her work, discovering an overarching fascination with the simple beauty of line-making in the process. “One stroke holds a brief moment of energy and intention,” she observes.

“I liked how placing small marks together could suggest something big. At the same time I had a love for colour and painting. I loved how colour radiates when complemented by other colours, I loved how it could make you feel and that it didn’t need form or a meaning to do that.” Her investigation into the expressive mark-making potential of fineliners came into its own in 2014 with a body of work entitled ‘Dark Matter’. Shown at Tonic in Kramerville, Johannesburg, the exhibition featured a number of meticulous black fineliner drawings of starry skies and cosmic bodie,s and also included a series of portraits of figures who the artist felt had shifted her perception of space in different ways at different times in her life. Central to this body of work was a conscious attempt to reduce mark-making to one-directional black lines, in order to focus on the impression of transience, impermanence, movement and expanse. Substantially increasing her ambition of scale, the exhibition included Omega Centauri, a 100 x 100 cm drawing of the brightest star cluster in our galaxy, which took two months to complete. (It was usurped as the largest drawing in van de Heu-

Cementing her desire to become an artist, van de Heuvel observed a certain commonality between art and organised religion, “I had a religious upbringing, and perhaps there was also the relation of how the gallery is like a church, and that artists seem to live a kind of altruistic sacrificial life attracted me too. The idea of devoting myself to art came with the potential to live a meaningful and purposeful life. It was romantic.”

vel’s oeuvre the following year by the ambitious Entanglement, coming in at 150 x 200 cm.) The exquisite portraits included Russian cosmonaut and politician Valentina Tereshkova, Laika the Soviet space dog, Stephen Hawking and Ellen Ripley (heroine of the Alien franchise). Van de Heuvel included the portraits to add a sense of lightness and to instil a warm, personal touch to a body of work which may have seemed a bit cold without it. This idea of lightness and warmth became a crucial part of Marsi van de Heuvel’s subsequent work and, much like the character of David Bowman in 2001: A Space Odyssey, her voyage into space was followed by an immersion in total visual abstraction. Her 2015 ‘Entanglement’ (van de Heuvel’s first exhibition with Cape Town’s SMITH gallery) marked a full-on delving into an emotional and empathetic space of ethereal colour and formlessness. Characterised by a distinctly blue palette, the exhibition took its cue from the work of abstract expressionist artists such as Mark Rothko, and was intended to create a space of emotional and empathetic projection by the viewer. “I feel compelled to make work that contributes,” Marsi observed at the time. “I love that art has the power to convey something complex in a simple way.” Ultimately, printed reproductions prove a poor substitute for the captivating idiosyncratic qualities of Marsi van de Heuvel’s drawings in the flesh. The abstracts steadfastly resist fixity, and continuously shift between uniform swathes of colour and heterogeneous markers of labour and time. There’s an element of Magic Eye autostereograms in the way in which the viewer’s perception is tugged between an array of delicate marks and a greater perception. As the viewer projects upon the works, there is a sense that if

HIGH FIVES Felix Laband

Nils Frahm

Philip Glass

Dark Days Exit

Spaces

Metamorphosis

Boards of Canada

Air Moon Safari

ALBUM

2005

2013

2006

1998

Compost Records

Erased Tapes

B92

Warp

Virgin

Initially dabbling in photography, van de Heuvel found the medium to be too restrictive and departed for more tactile pastures. She went on to study Fine Art at the Ruth Prowse School of Art, graduating in 2010 with a major in painting. She still considers herself a painter in a sense, applying painting theory to her fineliner works and creTHE LAKE

Entanglement, 2015, Fineliner on Fabriano, 150 x 200 cm

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Halley’s Comet, 2015, Archival print on Hahnemüle, 40 x 30cm

Calling, 2015, Fineliner on Fabriano, 35 x 45 cm

“I was interested in existential crises and the fact that we call them that, and saw the connection to natural disasters. We give these natural occurrences negative names because they threaten what we know and what is dear to us, but they also make the ground more fertile for new growth. I think that sometimes a crisis can be a gift.” they stare for a long enough period of time, a previously concealed image may be conjured up. Other artworks assume a more playful approach. The contrasting colours in a piece like Weightless (2015) skirts an interesting line between pattern, abstraction, and ambiguous representation. One second it resembles the texture of scaly skin, the next the reflections cast by sunlight hitting the surface of a swimming pool. The visual effect of examining a slide of single cellular organisms underneath a microscope also comes to mind. The point is that the works are so captivating because of their nebulous, slippery nature. Curiously, ‘Entanglement’ also featured a number of oil paintings which seem to depict smoke clouds billowing either from volcanic eruptions or controlled demolitions. For van de Heuvel, even

these depictions of entropy-in-progress serve to prompt constructive contemplation in the viewer. Bearing titles such as Progress, Undo and Cleanse, they point to a sense of removal for the sake of rebuilding. “I was interested in existential crises and the fact that we call them that, and saw the connection to natural disasters. We give these natural occurrences negative names because they threaten what we know and what is dear to us, but they also make the ground more fertile for new growth. I think that sometimes a crisis can be a gift.” This was a thread picked up in Marsi van de Heuvel’s most recent exhibition in late 2016, ‘Ceremony’. Once again held at SMITH, this latest selection of work focused on ideas of regeneration, regrowth and flourishing, represented by the motif of wild floral landscapes and contrasting abstract colour fields. Figurative pieces like Con-

solations, Harmony and Ceremony attest to the confident, sure-fire draughtsmanship of the artist; each line assertively placed, there is no sense of sketchiness, only precision. Corresponding abstract pieces such as Rose and Fluorescence are some of the most accomplished of her career. Perhaps the most striking element of the works in ‘Ceremony’ is the expanded colour palette. Standing within the exhibition space, the cumulative effect of the works as an ensemble took on an installation-like quality; feelings of warmth and compassion emanated from each drawing.

“Our world is full of challenge, chaos and pain,” Marsi explains. “The only thing that makes sense to me in this sometimes trying existence is

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compassion - those quiet, vibrant moments of connection“. Pressed as to where her work may be heading next, Marsi van de Heuvel is intentionally elusive. Other than a project which she loosely describes as being a “performance film”, she is tight-lipped for now. “There are some unexpected detours but I don’t think I should share those right now. The thing about trying new things is that it’s bound to change along the way and you need to allow time and space for that. I can’t tell you what it is until it’s here because between now and then it might become something else”. INFO: smithstudio.co.za INFO: instagram.com/marsi_vdh

Harmony (and detail), 2016, Fineliner on Fabriano, 55 x 43cm

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Dance (and detail), 2016, Fineliner on Fabriano, 31 x 26cm

Open (and detail), 2016, Fineliner on Fabriano, 41 x 35cm

Glory (and detail), 2016, Fineliner on Fabriano, 42 x 33cm

Radiant (and detail), 2016, Fineliner on Fabriano, 37 x 28cm

Still (and detail), 2016, Fineliner on Fabriano, 67 x 50cm

Blush (and detail), 2016, Fineliner on Fabriano, 67 x 50cm

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WORDS - TYRONE BRADLEY

PHOTOGRAPHY - TYRONE BRADLEY

ABERRATION TYRONE BRADLEY If you don’t know what “Area Boys” are you will find out within minutes of arriving in Lagos. They’re the ones who place nails in front of your car in traffic jams and demand money to remove them but they’re also the ones going out of their way to help you when you most need it.

They’re a crafty bunch with a talent in extortion. If there’s no way for them to offer a service to get money out of you, they’ll create the need for the service. It’s ingenious, brazen, and a nuisance, and it means nothing happens for free. It enforces a culture of bribes that carries itself from the streets all the way up to the political and business tops. With an economy roughly the same size as SA, with over ninety-five percent of all export earnings coming from oil, one can clearly see, by the state of the city, that the money doesn’t spread very far. The lack of infrastructure and public spaces illustrates the level of corruption. This makes Nigerians the kings of hustle. No feeling sorry for yourself. Opportunity awaits, you could be the next millionaire, it’s all up to you. Outsmart everyone. Make it happen. Rise above my brudda. This attitude permeates the nation and the BMXers are no exception. They don’t have spots, they don’t have bike stores, the hospitals are more a threat to their health than the injuries they could get. You won’t hear them complain though, they’re too busy making it happen.

LAGOS, NIGERIA tyronebradley.co.za THE LAKE

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WORDS - RICK DE LA RAY

PHOTOGRAPHY - WARREN VAN RENSBURG

dismembered JASON BRONKHORST “Capitalism is a complicated thing. To be successful there needs to be someone who is compromised. The recent body of work is my way of dealing with that quandary. The moral no-man’s land of trying to make a living as best you can in a system you don’t always agree with. “ Up until now you have mainly been recognized as an illustrator, designer and art director and have paved your way through many creative formats so far. Strangely enough your current job is very different to what you used to do in the past. How did you end up in your current position? Through a series of curious events I now find myself in the defence industry. I ran my own studio for nearly a decade, and after consulting at a client for a few months I was made an offer I couldn’t refuse. Part corporate environment, part gnarly adventure. The other day I found myself at the Kalashnikovv booth, and it wasn’t an art show… Would you agree that your background and style of illustration has influenced your approach of incorporating your concepts into paintings? Yes, one is molded by experiences and I’ve had my fair share of those, good and bad. Tragedy does inform the work, art is born from it. More so than contentment, as Rebecca, a friend of mine once said. ‘Style’ has always evaded me, from the early days of being compared to Ralph Steadman (I’ll never splatter fucking ink again) – it’s that comparison or also-ran vibe I don’t like. I make my own mark/s, literally, and I’ve pursued a unique ‘style’ relentlessly for some time with varying degrees of success. Which leads us to… Your work has recently been compared to Anton Karstel and even as an heir to Robert Hodgins – Do you see your work fitting within that comparison of artists or mindset? There’s definitely a sense of trying to deal with the past of this country. Dealing with that heft of guilt and outrage, insecurity and incredulity that is so particular to living here. A certain defiance; Karstel (those portraits were a while ago) directly so and Hodgins in a more oblique fashion. I love the sense of humour in Hodgins’ work, and he is an influence I wish I could have invited for a beer. Personally I feel that Francis Bacon could also be added within that statement. Do you feel that you are expressing a certain similar intensity and desperation with your execution? I remember seeing Bacon paintings at the Goodman many years ago. It was profound. I feel there’s a certain camaraderie there, those demons and popes form part of my output too. Same same, some might say. I hope to move beyond them at some point, as he did. The materials you use are quite juvenile, from

acrylic to spray-paint and your execution does not really flow within the veins of the great masters. Where does the spirit lie within your painting technique? Well, I don’t grind my own pigment… Dürer had a skivvie to do that! Although I went to an art high school the courses were rudimentary – I had no formal tertiary training in ‘painting’ and ‘drawing’, those lofty pursuits of the bearded and tweeded. I answer a compulsion to paint and draw and I use things I can access easily. I’m lucky to have an art supply warehouse close to me. Between there and the hardware store I have all I need: spray-paint is that great equalizer – used by Banksy and DIY Mom. What thought process led to the initial idea behind the “Board of Directors” series you have been exhibiting over the last couple of years? Capitalism is a complicated thing. To be successful there needs to be someone who is compromised. The recent body of work is my way of dealing with that quandary. The moral no-man’s land of trying to make a living as best you can in a system you don’t always agree with. You’re reading this interview in a magazine that is printed by a commercial enterprise, that is commissioned to do so by a publishing business. That craft beer in your hand… that’s a global multi-billion-dollar per annum capitalist machine. Add to that the South African perspective – the Rand Lords who exploited the land and the people, my position now as a minority trying to come to terms with that painful, shameful legacy, trying to build a future for my two boys in a place they may not be welcome. We’re here because of industry. The board of directors must answer. You have proclaimed that all the characters are a type of self-portrait. How do you feel you associate with your subject matter? They’re all me. Conflicted, arrogant, afraid. All at the same time. You have stated your work explores ancestral legacy and issues of white privilege. Does that only apply within South African and African boundaries or also to the rest of the world?

I don’t believe age matters, but a young artist/person has so much to learn though. You’re still busy fumbling through your own process, emulating your idols, accidentally recreating their masterpieces. I see it all the time, young painters trying to get off the mark too soon. It takes time to develop and grow and build some perspective. Grandma Moses started painting at 78. At 40 now I feel I’ve barely scratched the surface in the type of work I want to make. The Kalashnikovv Gallery currently represents you. A fairly young gallery but very ambitious space. How did you end up on their roster of artists? I never considered myself an artist that needs to be represented. I painted because I had to, and showed them to friends. Warren van Rensburg showed those works to the boys at Kalashnikovv probably 3 years ago now. They liked what they saw and invited me on aboard. It’s been a roller coaster ride ever since. Is there a reason behind why you never started painting sooner in your life – did illustration work keep that door closed for you in a way? Painting was this serious thing serious people did. I was a creative gun for hire, with ambitions of opening a boutique studio and working between sessions at the bar. I did that for a long time, while applying paint and ink to a substrate of some kind. I didn’t know that is how ‘art’ was made. Your sculptures have also slipped into the exhibitions and have been very well received so far. How did they end up within your current series? I started using air dry clay many years ago. Basically, 3D versions of my drawings at the time. I was devastated when those first few figurines were broken in transit. I wanted something more permanent, and moved on to carving wood. I like the tactility of

sculpture, the space they take up in a room. Sculpture forces you to move around it, to acknowledge it, unlike painting which is on the wall. A decoration that can be ignored. Do you approach the two mediums in the same way and how do you rationalize the relationship between the two? Yes, haphazardly, with tools and materials at hand. I eventually found myself dumpster diving for those beautiful bits of pine that pallets and home kitchens are made from. There’s a character to materials that have been discarded. Besides, ‘art materials’ would cost more and be wrenched from a rain forest somewhere. Will the “Board of Directors” be an ongoing theme or will you be moving on to new subject matter after you feel this series is completed? Hard to say. I feel I’ve said a lot with this body of work. It’s been a long hard conversation I’ve had, mostly with myself. I’d like to explore the human figure more, and move away from these menacing portraits. It all depends what happens in front of the canvas. I can’t deny what comes out. Can you describe a normal day in the studio for Jason Bronkhorst? With a day job and two young boys, I steal hours here and there with the blessing of Caron, my very patient wife. At full tilt, I rush out after dinner or breakfast, spend a few tormented hours in my studio either drawing, sawing, grinding or painting. The space is a converted garage at my home in suburbia. The neighbors have yet to make a formal complaint. INFO: kalashnikovv.co.za INFO: jasonbronkhorst.com INFO: @jasonbronkhorst

HIGH FIVES Godspeed You! Black Emperor

Radiohead

Bon Iver

Nick Cave

Tom Waits

OK Computer

For Emma, Forever Ago

No More Shall We Part

Swordfishtrombones

1997

2007

2001

1983

Constellation

Parlophone

4AD

Mute

Island

F# A# ∞

From my point of view whiteness is a pale cloak we’re trying to hide beneath. There are answers sought, globally. The high horse is being brought to account. Do you think it matters at what age an artist’s work gets noticed? A lot of young artists give up a few years after university when big galleries don’t pick them up. THE LAKE

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“There’s definitely a sense of trying to deal with the past of this country. Dealing with that heft of guilt and outrage, insecurity and incredulity that is so particular to living here.”

Res Nullius, 2017 / Oil, acrylic, spray paint on canvas 2500mm x 1500mm

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Dispossessd, 2017 / Black Brushed Aluminium Oil, Acrylic and Spraypaint on Canvas - 1060mm x 1400mm

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What are we coming to?, 2017 / Black Brushed Aluminium Oil, Acrylic and Spraypaint on Canvas - 1060mm x 1400mm

Lay any burden on me, 2016 / Black Brushed Aluminium Oil, Acrylic and Spraypaint on Canvas - 860mm x 600mm

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Monsters Exist Because We Create Them, 2016 / Black Brushed Aluminium Oil, Acrylic and Spraypaint on Canvas - 122 cm x 90cm

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Stylist & art director - Lior Raz

PHOTOGRAPHY - Dor Arazi Props - Amit raz

Hair and makeup - Bianca Meyer

Chalav and dvash

Male model - Theodoreâ&#x20AC;&#x2039; afrika

Female model - India Thomson THE LAKE

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WORDS - DAN CHARLES

PHOTOGRAPHY - hanro havenga

Lapis Lazuli SOL GEMS “Two Chinamen, behind them a third, Are carved in Lapis Lazuli…” In 1935, William Butler Yeats was gifted a piece of chinaware that had an image of three men - an ascetic, his disciple and their servant who carried a musical instrument - carved into the stone. The chinaware would later be immortalized in Yeats’s poem entitled Lapis Lazuli. The poem, published in 1938 as humanity was bracing itself for the throes of the impending Second World War, can be read as Yeats’s comforting musings on how art will forever remain immortalized and unmarred - even as civilizations, past and future, come to crumble. The endurance of artistic legacy can be seen in the men carved into the stone of Yeats’s gifted chinaware (that can still be seen today in the National Library of Ireland) just as it can be heard echo in chambers of South Africa’s few surviving live music venues that have come to house something of the spirit of the 1970s in the form of the rapidly expanding psychedelic rock scene. One of the most prominent testaments to this continuation of musical history would be Johannesburg based psych rock savants, Sol Gems, whose latest album is entitled Lapis Lazuli. In 2016, I had just been gifted an apple and a Rehydrate solution from a friend to help resurrect me from the tent that I had crashed in on the first night of South Africa’s first ever psych rock festival, Endless Daze. As I lumbered towards the unforgiving line in front of the festival’s Seattle Coffee stand, it occurred to me that I had no real idea what a “Lapis Lazuli” really was. This was right before I was scheduled to meet up with Sol Gems, who had just played a tremendous set the night before at the festival. The group had just released their debut body of work at the time and the album was already in steady circulation within the hearts and playlists of alternative influencers and tastemakers. So as the caffeine and Rehydrate eventually melded into my bloodstream, I made my way over to a nearby bench to meet up with Pano and Gabrielle from Sol Gems to fill in some of the gaps in my knowledge.

“Lapis Lazuli is a deep blue gemstone with little flakes in it - it’s the stone of wisdom and truth.” “It’s kind of associated with different things as well. They used to use it to make blue paint which would be used to paint the robes of royalty - apparently, God was often represented in Renaissance paintings with his robes painted in crushed Lapis Lazuli.”

technician at Wits and an artist in his own right. The artwork was all aligned and cut by hand - no computers involved - and he also screen-prints all of the merch. We are, in some regards, something of an in-house production team.” “It might sound kind of corny but we always try to work with people who are our friends. It’s nice to bring your friends along in the sense that we’re all young and starting out with something at the moment - whether it’s someone doing videography or illustration - it’s nice to be able to bring us all out of the mire of averageness together. It’s either that or pay a bunch of money to guys who are already established in their fields and might not really share the vision - you might not be able to work as openly with them.” Sound technician Jethro Harris (who worked as an engineer for Lapis Lazuli and helped achieve the record’s simultaneously crisp and warm psychedelic sound) was sitting with us and felt the need to further validate Pano and Gabrielle’s claims with his own experiences from working with Sol Gems:

But while the group rehearses for the many sets to come, Lapis Lazuli will remain in the archives of online streaming sites and on the shelves of independent record stores as an attestation of a community growing within the realms of festivals such as Endless Daze or wherever else you can find Sol Gems performing. And, quite possibly, this record too will withstand the crumbling and passage of time - much like Yeats’s own piece of Lapis Lazuli. INFO: facebook.com/solgems INFO: soundcloud.com/sol-gems

SOL GEMS - DISCOGRAPHY

“It also makes people amped to help the band out more - like do stuff and collaborate with them because it’s such a cool vibe. I’m always amped to work with Sol Gems because of how well they’ve treated me.”

SOL GEMS Lapis Lazuli 2016

Perhaps the secret to Sol Gems’s rise to the forefront of South African alternative music has had a lot do with their willingness to make their band inclusive to those who are willing to collaborate with them - creating something of a collective of Sol Gems scattered across the country. But I wonder if their gradual rise to critical acclaim has brought any more pressure within the group.

Sol Gems

“I wouldn’t say there’s more pressure but there’s definitely a lot more eyes on us

2015

SOL GEMS Standing With The Sun // Under The Palms

Sol Gems

HIGH FIVES Alexandra Savior

Whitney Light Upon the Lake

Belladonna Of Sadness

Of course, this isn’t to say that Sol Gems have taken something of a religious turn in their music but it could be seen as Sol Gems illustrating an awareness of their prominence within South African psych rock by adorning the cover of their debut album with a shade of blue that is synonymous with regality and divinity. Of course, they would never admit to that as they’re a band that believes more in the power of immersing themselves within a united scene as opposed to towering over one as a singular entity.“The album cover was done by our friend, Niall Bingham, who’s the print

and a lot more people talking. We don’t really ignore it or take it for granted - we think it’s rad - but we just carry on doing what we’ve been doing and starting to explore new things and learn how to play these new songs live. I don’t think that we’ve ever rehearsed as much.”

The Mild High Club

Pond

Prince

The Weather

Dirty Mind

Skiptracing

2017

2016

2017

1980

Columbia

Secretly Canadian

Stones Throw

Marathon Artists

Warner Bros

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“It’s kind of associated with different things as well. They used to use it to make blue paint which would be used to paint the robes of royalty - apparently, God was often represented in Renaissance paintings with his robes painted in crushed Lapis Lazuli.”

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WORDS - GAVIN BONNER

PHOTOGRAPHY - HAYDEN PHIPPS

WAX JUNKIE gavin bonner / Positive Spin Records “I have been collecting vinyl for over a couple of decades. Went through a phase of collecting Metal and Punk followed by Dub and Roots and then pretty much everything. A few weeks ago, I opened Positive Spin Records at the back of The Drawing Room Cafe in Observatory, taking my passion for vinyl to the next level. I also take my love for all kinds of music into my work as a percussionist, poet and storyteller. Hard to choose faves but here’s what is playing a lot lately.” Derek Gripper One Night on Earth: Music from the Strings of Mali 2013 / Matsuli Music

Yussef Kamaal Black Focus 2016 / Brownswood Recordings

For me Derek is one of South Africa’s, indeed the world’s, most innovative guitarists. He has taken the sound of the Kora and transposed it for classical guitar in a way that respects and revitalizes both instruments’ repertoire. Feted by legends such as John Williams and Kora innovator Toumani Diabate, Derek’s album is a must have (Andy Lund bought my last copy just now so must get more). Out on Matsuli, a great label specializing in classic SA Jazz represses; this is their odd one out but no less stellar than anything else on their list.

Something that’s on the turntable a lot at Positive Spin lately. Yussef Dayes and Kamaal Williams have already called it a day after this their 2016 debut. But what an album it is! Jazz impro soaked with flavours of drum n bass, dubstep, soul, house and much more besides. Will be interested to see how they continue individually. Check out Yussef with his brothers as United Vibrations and Williams housey output as Henry Wu.

Archive Londinium 1996 / Island

Malombo Pele Pele 1976 / Atlantic

I bought this for £5 at the Record and Video exchange because my friend Julia plays cello on a track or two. It’s worth a lot now, I’ll never sell it! They apparently blew a large budget from Island in a studio and, dissatisfied, returned to a flat in Clapham Junction to produce most of this great blend of strings, trip hop, great rapping from Rosco and melancholic yet soulful vocals from Roya Arab. Stands next to Massive’s Blue Lines as my fave of the trip hop era. The group continues as a more rock orientated outfit but nothing they’ve done since touches this.

Hard to pick a favorite album from Malombo but this is a special record. I picked this up at Revolution records about 10 years back and it’s done a lot of rotations on the turntable. The combination of Philip Tabane’s guitar and occasional super scat vocals and Mabi Thobejane’s percussion produces some serious magic, taking in jazz, rock and funk influences but with a definite South African flavour. In the process of wearing out my second copy!

Palenque Palenque: Champeta Criolla & Afro Roots in Colombia 1975 - 91 2010 / Soundway

Susana Baca Susana Baca 1997 / Luaka Bop

Absolutely killer compilation of sounds from Colombia’s Caribbean Coast on the formidable Soundway label. Palenque was the first town of free former slaves in South America and has its own musical culture and language. In the 70s and 80s musicians in Cartagena began to pick up on Congolese and South African influences and Champeta music was born, named after a small machete that people would take to dances. Awathule Kancane, by Mahlatini and The Mahotella Queens, was a massive hit (called La Muha) and I saw Colombians dancing Salsa style to this track in more than one bar.

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After his awesome work with Talking Heads, David Byrne turned his attention to Latino-américa with his Luaka Bop label. Susana Baca is my favorite artist on that label. The queen of Afro-peruano music, her voice conveys so much joy, love, pain. I spent a year in Peru in 2015/16 and got to jam with some great Afro-peruano musicians including Los Hermanos Ballumbrosio. I love every track on this album but particularly Molino Molero with its slow but grooving 6/8 feel. Check out her re-recording of this track with Snarky Puppy on YouTube or on 2016’s Family Dinner 2 album.

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IN TRANSIT MYCITI / Circle East Wayne Beukes

Artist Wayne Beukes used the theme of ‘Know Your Roots’ for his work at Circle East, one of the stations linked by a pedestrian and cycle route in the middle of Blaauwberg Road in Table View.

The concept is similar to the collaborative artwork in which he participated at Mitchells Plain station and, he says, shows that the idea can be applied as much to Blauuwberg as it does in Mitchells Plain. The black-and-white patterns on the glass walls at Circle East represent the bark of a tree. “Basically, it’s saying that your heritage and culture is part of you in a unique way, like fingerprints are. And, your roots give you a sense of identity,” says the artist. “The Mitchell’s Plain art explores character representation of different cultures, while the tree artwork is more of a broader offspring.” He adds that commuters should explore their roots and see how

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far the digital world has come and how it affects them. “Africa has a lot of ancient knowledge... take the pyramids, for instance, as well as the Dogon tribe and the San, all very advanced many years ago. South Africans can easily forget this, or do not simply know.” About the Artist 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. INFO: www.myciti.org.za/en/myciti-art

MYCITI / Gardens Wesley van Eeden / Lovell Friedman / Freddy Sam Once a dark and deserted area under the highway, the Gardens station is increasingly becoming the lively heart of this inner-city suburb

Three artists have three very different works at Gardens, marrying the tranquil beauty of natural elements with a grittier expression of urban environment. Inside the station, intricate mosaic work by ceramic artist Lovell Friedman and a team of 20 crafters has created a sinuous sitting area that captures the Cape’s famous flora and fauna, and the sweet waters of the Camissa that once flowed down the mountain slope to the sea. It’s an indigenous garden with hidden creatures for children to discover. The garden theme continues in the exciting work of urban muralist Freddy Sam, exploring the relationship between humans and nature. In his signature style which juxtaposes realism with more abstract elements, and plays with differences in scale, human hands, flowering plants and buck at a watering hole are combined with schematic lines representing sunrise and sunset. He loves the idea that street painting “may inspire an unsuspecting audience.” About the Artists Wesley van Eeden’s mural on the east-facing wall is as much a part of the street and the passing traffic as 52

part of the station. The colourful, vibrant central image is of two large faces, blended with elements of nature such as birds, butterflies, weather and fynbos. Dynamic lines convey a sense of movement, which was central to the artist’s intention because MyCiTi is about “mobilising people”. Lovell Friedman obtained her master’s in ceramic sculpture at the University of Cape Town. Her mosaic art is a notable feature of Cape Town’s public spaces, including the Mitchells Plain hospital, and both Stadium and Gardens bus stations. Freddy Sam, as Ricky Lee Gordon is known, was born in Johannesburg. His large-scale murals can be seen in many cities, including Istanbul, Morocco, Berlin, Basel, Barcelona and Amsterdam. He describes himself as an artist and an art activist, and says that “removing the greyness from the soul of the city is the job of artists, musicians and poets”. In 2008 he started an organisation to foster young street artists. INFO: www.myciti.org.za/en/myciti-art THE LAKE

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print run REVIEWS - XAVIER NAGEL

SUPPLIED BY - BIBLIOPHILIA

The Borderlands African Futures At the African Futures Festivals, which took place simultaneously in Johannesburg, Lagos and Nairobi in October 2015, African artists, academics and cultural professionals imagined their continent of tomorrow. The book African Futures – Thinking about the Future through Word and Image (R490), is divided into four chapters, each summarized with a question: How do we write about the future? Where do we begin when we speak of African futures? How will technology influence the future in Africa? Where do we go from here? In addition to essays, the book explores visions for the future in short stories, graphic novels, photo essays and quotes from writers, artists and thinkers.

South African photographer Jo Ratcliffe has spent the better part of the past decade probing the complex histories of both the Angolan civil war (1975-2002), and the Border War (1966-1989), which took place along the dividing line between South Africa and Angola/Namibia, and documenting their combined effects on the lands in which they took place. In The Borderlands (R1200), Ratcliffe turns her attention to the once militarized lands near the South African border, capturing in particular the dismal reality of the relocation and displacement of South African veterans.

Collective Amnesia Koleka Putuma’s exploration of blackness, womanhood and history in Collective Amnesia (R120) is fearless and unwavering. Her incendiary poems demand justice, insist on visibility and offer healing. In them, Putuma explodes the idea of authority in various spaces – academia, religion, politics, relationships – to ask what has been learnt and what must be unlearnt. Through grief and memory, pain and joy, sex and self-care, Collective Amnesia is a powerful appraisal, reminder and revelation of all that has been forgotten and ignored, both in South African society and within ourselves.

Florence and Watson and the Sugarbush Mouse Florence and Watson and the Sugarbush Mouse (R250) is a whimsical South African tale narrated by Florence and Watson, two honey badgers who use rhythm and rhyme to tell the story of Petal – the sugar bush mouse who saves her village with her unique talents. The little striped mouse undergoes a transformative journey, discovering her hidden talent which is set to save Sugarbush Mountain and the magic Proteas that grow there. Written by South African parents Rob van Vuuren and Danielle Bischoff, illustrated by Lauren Fowler and produced by Siv Ngesi, Florence and Watson has been translated into Afrikaans and Xhosa.

Portraits

Mobitecture Mobitecture: Architecture on the Move (R375) by Rebecca Roke celebrates mobile architecture in all its forms with this visual ode to life on the move. Ranging from quirky to sensible and from rustic to deluxe, featured projects include houseboats, huts and tricked-out caravans, alongside disaster shelters, wearable structures and futuristic prototypes. Compactly designed, it features more than 250 colour photographs and a smart, engaging layout that will appeal to anyone who appreciates the power of good design. Mobile architecture in all its wonderful variety - a lively collection of structures of all kinds! 54

Hipgnosis established themselves as the most important design collective in music history. Their innovative cover art defines the albums of the biggest names of the late 1960s, 70s and early 80s including Pink Floyd’s The Dark Side of the Moon and Led Zeppelin’s Houses of the Holy. Their boundary-breaking conceptual approach earned them five Grammy nominations for package design, and their influence today can be seen in all creative fields from advertising to fashion. Portraits (R985) tells the story behind the cover artwork from germination through to the final sleeve design and showcases the band portraits themselves, whether album covers or otherwise, in beautiful, large-scale reproductions.

Last Night at the Bassline In 1994 Brad and Paige Holmes opened a small, live-music venue in the bohemian suburb of Melville in Johannesburg. Called Bassline, it very soon became synonymous with cigarette smoke, great jazz and nights you wished would never end. In Last Night at the Bassline (R280), David Coplan tells the story, thus giving musicians and jazz fans something to hold on to even after its closure. With more than fifty iconic photographs from Oscar Gutierrez and others, this book is a tangible piece of magic and those who were never there will have the chance to experience this dream.

Unemployable Stencil Type Low-cost and mass-producible, stencil type is the world’s most universally used style, seen on everything from bridges to bags, from street signs to packaging. And because they are an affordable means of mass communication, stencils are often employed by populist, rebellious and street-art movements. With hundreds of international examples, chosen from the late 19th century to the 20th, from a broad range of locations and objects – construction hoardings, footlockers, wine barrels, shipping containers and so much more – Stencil Type (R500) represents a unique and highly curated choice of typographical ideas. THE LAKE

The Tale Of How Out of print for the past couple of years, The Blackheart Gang are proud to finally present the new edition of their sought-after coffee table book The Tale Of How (R500). Following the success of the Tale of How animation, The Blackheart Gang finally got around to finishing the final stage of the project by creating a coffee table book. The 40-page book includes a DVD with the animation, the print series and a biography of the author and the never-before-heard account of how The Blackheart Gang murdered the above-mentioned author and stole his story. Get it while its available.

From the 1970s underground Melbourne skate scene to a company with a presence in over one hundred countries, (R1300) is the story of how three Australian brothers—Stephen, Peter, and Matt Hill—founded one of the world’s biggest skate, street, and surf companies, Globe International. Throughout several iterations, the company was the first Australian skate shoe player; a creator and distributor of leading streetwear fashion labels such as Stüssy, Mossimo, Obey, and Mooks; and a producer of celebrated skate and surf movies. A story about following your dreams, Unemployable will resonate with a broad range of readers beyond a purely skate/surf/street audience.

Life Elevated LUKSBRANDS.COM NOT FOR SALE TO MINORS Â© 2017 PAX Labs, Inc. All rights reserved. - info@luksbrands.com Protected by issued and/or pending US and international patents: www.pax.com/intellectual-property-list THE LAKE

PLIMSOLL

VANS - SK8-HI REISSUE (Peanuts) Snoopy Bones / Black

VANS - SK8-HI REISSUE (Peanuts) Joe Cool / Black

VANS - SK8-HI MOC (Peanuts) Dog House / Bone

VANS - AUTHENTIC (Washed Canvas) Cherry Tomato / Gum

VANS - AUTHENTIC (Washed Canvas) Citrus / Gum

VANS - AUTHENTIC (Washed Canvas) Blue Radiance / Gum

VANS - AUTHENTIC (Peanuts) Woodstock / Bone

VANS - AUTHENTIC (Peanuts) Snoopy / Skating

VANS - OLD SKOOL (Washed Canvas) Blue Radiance / Crown Blue

VANS - OLD SKOOL (Washed Canvas) Citrus / Crown Blue

VANS - OLD SKOOL (Peanuts) Smack / Pear

VANS - OLD SKOOL (Peanuts) Charlie Brown / Black

PUMA - Clyde Veg Tan NATUREl

PUMA - SUEDE SUPER black

PUMA - SUEDE SUPER red

PUMA - TSUGI NETFIT blue

PUMA - TSUGI NETFIT black / orange

PUMA - TSUGI NETFIT WHITE

Converse CONS - One Star Pro Suede Navy

Converse CONS - One Star Pro Suede Buff / Black / White

Converse CONS - CTAS Pro Suede Obsidian / Black / White

Converse CONS - CTAS Pro Shield Canvas White / Egret / Gum

Converse CONS - One Star Pro CC x Sage Elsesser Obsidian / Obsidian / Egret

Converse CONS - One Star Pro CC x Sage Elsesser White / White / Obsidian

Etnies - SLB Mid Black / White

Etnies - SLB Mid White / Navy

Etnies - Helix Black / White / Gum

Etnies - Jameson SC Black / White / Burgundy

NEW BALANCE x stance ML1978ST Tan / Slate Blue / Navy

NEW BALANCE x stance M997ST Sand / Rose Copper Slate Blue

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PLIMSOLL

ADIDAS - BW ARMY UTILITY BLACK F16 / CORE BLACK

ADIDAS - BW ARMY FTWR WHITE / CHALK WHITE

ADIDAS - NIZZA HI OFF WHITE / BLUE VINTAGE WHITE S15-ST

ADIDAS - NIZZA OFF WHITE / BLUE VINTAGE WHITE S15-ST

ADIDAS - CAMPUS EASY ORANGE S17 / FTWR WHITE CRYSTAL WHITE S16

ADIDAS - CAMPUS CORE BLACK / FTWR WHITE CHALK WHITE

ADIDAS - CAMPUS GREY THREE F17 GREY THREE F17 / ICEY PINK F17

ADIDAS - CAMPUS W CLEAR BROWN/FTWR WHITE CRYSTAL WHITE S16

ADIDAS - CAMPUS LEGEND INK F17 LEGEND INK F17 / GREY TWO F17

ADIDAS - CAMPUS BOLD AQUA / FTWR WHITE CREAM WHITE

ADIDAS - CLIMACOOL 1 ANNIVERSARY PACK FTWR WHITE / CORE BLACK GREY TWO F17

ADIDAS - CLIMACOOL 2 / 17 ANNIVERSARY PACK FTWR WHITE / FTWR WHITE GREY ONE F17

Onitsuka Tiger - Corsair Black / Burgundy

Onitsuka Tiger - Corsair Navy Peony / Honey Ginger

Onitsuka Tiger - Corsair White / Black

Onitsuka Tiger - GSM Marzipan / Marzipan

Onitsuka Tiger - GSM Skyway/ Skyway

onitsuka tiger - Tiger Corsair TRUE RED / TRUE RED

ASICS Tiger - Lyte V NS White / Black

ASICS Tiger - GEL-Lyte V Peacoat / Peacoat

ASICS Tiger - GEL Movimentum Black / Black

ASICS Tiger - GEL Movimentum White / White

ASICS TIGER - GEL-Lyte V Open Mesh Pack Women

French Sole - Jaguar Calf Hair Henrietta

French Sole - Navy Stralight Hefner

French Sole - Moocher Cream/Black Quilt

French Sole - Gabi Black Suede

French Sole - Contrast Cap Cream Simple Quilt

French Sole - Patent Cap Black Simple Quilt

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ICONS Keith Haring

11 14 5 9

1 13

1 MAMI WATA - THE BURGER SURFBOARD / 2 Benny Gold - Canvas Duffle Bag / 3 Spitfire - Bighead Hombre Hood / 4 MAMI WATA - Mfazazana Boardshort / 5 MAMI WATA - Tofo Surf Trunk 6 NEW BALANCE x stance M997ST / 7 Converse CONS - One Star Pro Suede / 8 afrika bambaataa - renegades of funk LP / 9 Thrasher - Beer Koozie / 10 SpitfirE - Bighead Air Freshener 11 NAME - Banana Tee / 12 VANS - OLD SKOOL (Peanuts) / 13 SK8-HI REISSUE (Peanuts) / 14 Thrasher - Skate & Destroy Hooligan Scarf 15 Spitfire - Lifer Fingerless Gloves 16 Krooked - Worrest Lost Highway Deck / 17 Vans - Peanuts Jockey Cap / 18 Vans - Peanuts Beanie / 19 Vans - Peanuts Torrey Jacket / 20 Converse - Essentials Jogger/ 21 Altamont - SOCKS 58

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IMAGE - JAcqui Van Staden

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SNEAKER PIMPS ASICS Gel-Kayano Trainer Knit As an ever-changing world continues to present new challenges, urban influences and a desire to be part of a common collective culture are shaping the ideology of the millennial generation.

They are a growing tribe and what they wear unites themselves with each other and acts as an extension of their personality and potential to inspire others to be part of something bigger. The desire to inspire is shared by Asics Tiger and this cross-cultural coming-together is the foundation for the new integrated global campaign to launch the rebirth of an icon: the Gel-Kayano Trainer Knit collection. The Gel-Kayano Trainer has been revered for its iconic design since 1993. Now it’s back with an exclusive full-knit fabric upper to reflect the collective spirit and collaborative creativity of today’s young people. There are five different products in the new range but it’s the full-knit upper that ties every-

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ASICS Tiger GEL-MOVIMENTUM Keep it cool in the ASICS Tiger GEL-MOVIMENTUM unisex lifestyle sneaker. The GEL-MOVIMENTUM was initially created as a tailor-made training shoe for former 2-time world champion in the 60m indoor sprint, Nelli Cooman.

Asics Tiger Womenâ&#x20AC;&#x2122;s Gel-Movimentum Originally developed as a tailor-made training shoe for the world champion sprinter Nelli Cooman from the Netherlands, the Lady Gel is now being renewed and returned as a Gel-Movimentum exclusively for the ladies. The Gel-Movimentum comes with Asics-typical, simple and elegant silhouette, in contrast to the Gel-Lyte but with a separate mesh tongue, which separates from the leather upper. The distinctive and eye-catching heel cap ensures stability.

The white midsole is reminiscent of the original model from 1986 with the indentations, giving it more flexibility at the same time. The lifestyle sneaker model features a clean and simple upper, perched on a sleek midsole.The leather upper comes monochrome with tigerstripes in black or white and the outsole in gum from the rest. #Asics #Asics Tiger #GELMovimentum

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