THE LAKE #018 by THE LAKE MAGAZINE

THE LAKE

THE LAKE WE ARE FOOLISHLY Ambitious

#18 / 101217 “Music has always been a matter of Energy to me, a question of Fuel. Sentimental people call it Inspiration, but what they really mean is Fuel. I have always needed Fuel. I am a serious consumer. On some nights I still believe that a car with the gas needle on empty can run about fifty more miles if you have the right music very loud on the radio.” - Hunter S. Thompson

CONTENTS REGULARS: News Print Run Plimsoll

04 74 76

ART: Vusi Beauchamp Michaela Younge

16 44

PHOTOGRAPHY: Stalker Liam Lynch Saskia Koerner

12 38 50

MUSIC: Black Lung Markus Wormstorm

22 56

LIFESTYLE: Avuyile Ndamase

cONTENTS PHOTO

PUBLISHER

Advertising / MARKETING

THE LAKE MAGAZINE PTY LTD info@thelake.co

Brett Bellairs brett@thelake.co

Editor / Art Direction

COPY EDITING

Stefan Naude’ stefan@thelake.co

Christine Stewart

Existential ADVISOR

ONLINE / SOCIAL www.thelake.co.za

Brendan Body brendan@thelake.co

Submissions

COVER

info@thelake.co

Hayden Phipps Avuyile Ndamase Lighting Retouching

Photography Cover boy GLOW HIRE Naomi e’Camara

photography

contributors

Oliver Kruger Jarred Figgins Liam Lynch Saskia Koerner Alon Skuy Hafeez Floris

Frantz Birkholtz Jacqueline Flint Xavier Nagel Dan Charles Tymon Smith Lani Spice

Lungile Zaphi

Jacqui Van Staden

“Asleep at the wheel” - 2017 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 Tandym print Tel: +27 21 505 4200 Email: print@tandym.co.za

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NEWS Vans / The North Face Vans and The North Face, outdoor apparel, equipment and footwear leader, join forces for a new Holiday 2017 collection. Championing values of innovation and adventure, Vans partners with The North Face this season to create an exclusive collection of apparel, accessories and footwear .Vans unveils four iterations of the Sk8-Hi MTE and Old Skool MTE, each featuring The North Face logo on the back heel counter, The North Face custom eyelet and a checkerboard lugged outsole. INFO: www.vans.com

Jack Daniels Jack Daniel’s Tennessee Whiskey is charcoal mellowed, drop by drop through 3 metres of hard sugar maple charcoal. The packed charcoal acts like a filter, absorbing any bitter characters remaining from distillation, mellowing the whiskey so that its natural flavour shines. Jack Daniel’s Double Glass Pack: This gift pack includes a 750ml bottle of Jack Daniel’s Tennessee Whiskey and two Jack Daniel’s rocks whiskey glasses. Gentleman Jack Double Glass Pack: Raise a glass to the finer moments and memories this festive season with this stylish and sophisticated gift pack that includes a 750ml bottle of Gentleman Jack with two weighty bespoke Gentleman Jack whiskey glasses. Gentleman Jack Tennessee Whiskey gets it extra smoothness from a mellowing process that it undergoes not once but twice. Even though it was thought to be an extravagant process. INFO: www.jackdaniels.com

Sealand Rooted in Cape Town’s southern peninsula where mountains and ocean so vividly connect, Sealand was born with a conviction of keeping the environment front and centre alongside inspired functional designs and longevity. Smart material selection, compelling functionality and product durability are all palpable features of what we make. Our start-up team lives the Sealand brand with combined passions for business, for the wondrous outdoors, for life. INFO: www. sealandgear.com 04

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www.toeporn.co.za

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NEWS adidas EQT Cushion ADV PK / EQT Blue - An evolution of the original EQT Cushion 91 model, the EQT Cushion ADV shoe design features a fluid Primeknit upper with welded synthetic overlays and structural nubuck quarter panels, accented by webbing tape 3-stripes marks, and reflective accents. Finishing touches include a nostalgic ghillie lace system, placed atop an EVA midsole with a molded PU heel cage for support. Paying tribute to the 1995 generation of EQT. INFO: www.adidas.co.za

REYKA VODKA Living in a place like Iceland, gives one an interesting view of the world. It’s a beautiful place, but it’s also rugged and provocative. It requires its people to live creatively and take an inventive approach. And so when it comes to making vodka, Reyka followed this path. You can see it in their unique distillation method and innovative process. And you can surely taste it in the distinctive flavour of Reyka’s award-winning vodka. INFO: www.reyka.com

RAY-BAN PRESCRIPTION Marrying innovative lens technology with frame design has been at the core of our brand for decades. In 2017, we’re going one step further, offering lenses that allow Ray-Ban lovers to combine the style they love with the prescription they need. Launching first in Italy and globally by the end of 2017, prescription lenses are a natural extension of our brand. Each pair of Ray-Bans can now be made completely unique to its owner. Your favorite Ray-Ban frames are perfectly fitted with our authentic prescription lenses. INFO: www.ray-ban.com

Markus Wormstorm Friends With Benefits. Friends With Benefits is a compilation of the electronic music coming from South Africa pressed on vinyl. Side A’s got attitude with genres like Electro, Glitch Hop and Techno. Side B has a sunday afternoon easy listening feel with genre’s like Synth Wave, Ambient and Electronica. We will be releasing a Friends With Benefits each year for the next 3 years. The Artists Include: Narch (PhFat), DJ CAVIAr (Sedge Warbler), Jason Barty, Buli, KUMODI, FRNGE. INFO: www.biblo.tv INFO: www.roastinrecords.com 06

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NEWS PUMA / TRAPSTAR There’s a star trapped inside everyone and London-based lifestyle brand Trapstar sets it free. Founders Mikey, Lee and Will dig through every decade and artistic discipline out there in their pursuit of inspiration. The latest PUMA x Trapstar collection outfits archive sportswear silhouettes with utilitarian details, adding their tough-as-nails attitude to streetwear. Linking the collection together are graphics that will seem familiar to every Trapstar fan. INFO: www.puma.com

Anatomy X DEAD. Anatomy, Johannesburg’s pre-eminent sneaker store situated in the culturally-rich, inner-city district of Braamfontein, has collaborated with iconic South African street brand, DEAD. The exclusive Anatomy x DEAD. collaboration, plus Anatomy’s very first apparel collection, will be available in-store and online. Anatomy opened its doors in July 2015 with a globally exclusive capsule collection by New York City designer, Heron Preston. The Anatomy x DEAD. collaboration is Anatomy’s second capsule collection since the store’s launch. INFO: www.anatomystore.co.za

CONVERSE x SHELFLIFE Converse has created an instantly recognizable aesthetic that thousands of brands have attempted to copy, but as the saying goes – you can’t beat the real thing. Shelflife will be officially stocking Converse in their Cape Town, Johannesburg and online store from the 2nd of November. To kick off the release of Converse, Shelflife have dropped a few exclusive sneakers! Check out collections like the Engineered Garment, One Star Clot and Fastbreak sneak. INFO: www.converse-sa.co.za

Crystal Birch Crystal Birch is a maverick milliner whose irreverent designs of classic hats have become beloved adornments on the heads of South Africa’s fashion conscious. Born in Pretoria, Crystal studied fashion design at Elizabeth Galloway Academy of Fashion in Stellenbosch. Never one to follow the status quo, Crystal decided to skip the conventional fashion design route and go straight to the top(hat). Widely regarded as one of the country’s most daring stylists, her renewed focus on hats will undoubtedly reinvent the headscape of South Africa. INFO: www.therealcrystalbirch.com 08

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> WORDS - LANI SPICE

PHOTOGRAPHY - HAFEEZ FLORIS

STALKER Hafeez Floris “For me, shooting street is the most challenging. Things are always changing; emotions and movement are continuous. You have to think on your feet. Street is finding the beauty in everything that people ignore.” To start things off, could you tell us a bit about your background and where you grew up? My parents were active members in the ANC at the end of Apartheid. So I was lucky enough to have a vibrant childhood in Athlone. My mother, brother and I moved all over the Southern Suburbs. This is where I was introduced to all the cultures Cape Town has to offer. When and where did photography begin for you? It all began, I believe, when I was 10 years old. My dad and I went to see a ship that ran aground at Scarborough, Kommetjie. He handed me his Nikon Fm2 (which I still have) and showed me how to set my exposure, framing and focus. That image of the ship in the mist has stuck in my brain ever since. You seem to shoot predominantly on film. Could you expand a little on why you choose this format and if you find yourself working with digital at all? I see shooting on film as a challenge and an art form. Everything manual from reading light to processing film. I use both mediums for different purposes. Film is my side-chick; digital is my girlfriend. Do you ever feel frustrated with film photography and its process?

For many years I have been in love with an idea of having a Leica. I am in love right now!

You certainly seem to move through the city a lot. Do these exploring missions correlate with your work/day job or does it happen mostly in your spare time?

You have an amazing ability to capture the essence of the city/space that you’re in, could you tell us how you enter a space and the relationship you have/build with your subjects?

I am a filmmaker by profession, so the locations I go to are often unusual areas and those are the areas I find beautiful. I take advantage of this and capture moments as I go along. Some days, I just have the feeling to go out and explore. It’s my fix!

I believe in centreing any space with an open mind and no judgement. People allow me in their space and I show my respect by doing what I do best. I have a responsibility to tell the untold story the way I see it.

Your images are shot mainly in colour. What are your feelings regarding shooting in black and white?

Which camera do you use most in your work?

Street and documentary photography can be quite challenging at times. Could you tell us about any of the challenges that you may have faced? For me, shooting street is the most challenging. Things are always changing; emotions and movement are continuous. You have to think on your feet. Street is finding the beauty in everything that people ignore.

Black and white photography is beautiful and it’s easier to make a picture to look good. It’s classic. It also depends on what story you are trying to tell. Colour is more challenging; you have to match colours that go with each other and include a subject. Colour is more difficult to master. I’m not there yet. In a recent interview, you spoke of idolising the work of Henri Cartier-Bresson, commonly known as the founder of modern photojournalism. Do you feel his concept of “The Decisive Moment” when it comes to street and documentary photography is something that

HIGH FIVES Bonobo Migration

Childish Gambino

Alina Baraz

Galimatias

The Roots

Urban Flora

Young Chimera

Things Fall Apart

Awaken, My Love!

I find it rewarding. Learning and being patient is the name of the game. Film and its process is expensive, but you are not wasting a frame on our president.

2017

2016

2015

2013

1999

Ninja Tune

Glassnote

Ultra

MCA

Your work seems to be shot mostly on 35mm. Do you experiment with other film types? Medium format 120mm is one of my favorites. I have an old Yashica mat 124. Film cameras need your attention and mine has been on my Leica! THE LAKE

resonates with you in your work? H C-Bresson is like my guideline when walking the street. You must foresee what might happen and you must be ready to capture it in a matter of seconds. You have to react before your subject even knows you are looking at them. Taking a shot and putting your camera down should be so fluid that they just see you as a regular pedestrian. Could you tell us more about who or what else inspires you? Robert Capa. As a war photographer and artist in one, he was a brave soul and a mind-blowing art14

ist. Painters like Gustav Klimpt inspire me because they show me what is possible on canvas. They capture a reality, dimensions and colour. They put their mind into a reality. Do you have any exciting plans/projects in the pipeline? My next project is to have an exhibition early next year. I am working on a few personal documentaries also. And Iâ&#x20AC;&#x2122;m living life and being a dad! INFO: www.hafeezfloris.com INFO: INSTA / Hafeez Floris THE LAKE

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> WORDS - TYMON SMITH

PHOTOGRAPHY - Lungile Zaphi

dead uprising Vusi Beauchamp

It’s the day on which the beginnings of the rumblings of change in neighbouring Zimbabwe are being reported on the airwaves and in End Street in downtown Johannesburg. Just across from August House where artist Vusi Beauchamp has his studio, the buses that ferry many Zimbabweans from Johannesburg to the border are doing a brisk trade.

In his studio Beauchamp is listening to Jagger sing Paint it Black; he’s surrounded by several of his distinctive works – mixed media paintings with mashed-together slogans, Basquiat-inspired scribblings, and “coon” imagery taken from Tintin comics and other pop culture – in various stages of completion ahead of an upcoming open studio day. For the Mamelodi-born artist, the rumblings of change in Zimbabwe are of keen interest, concerned as he is with reflecting in his work the struggles and horrible ironies of his own country in an age increasingly characterised by kleptocracy and the rise of self-interested elites. Born in 1979, Beauchamp is the only artist in a family of lawyers and teachers and became determined to follow a path as an artist in high school, before going on to study printmaking and painting at the Tshwane University of Technology, and later graphic design at Damelin. He says that while he’s beginning to carve a reputation on his own terms thanks to his association with the Kalashnikovv Gallery, which mounted a solo show called Terrorist last year, it’s been a long journey in which he’s had to face many an outcry about his imagery and its uncomfortable associations. The Tintin-like images of black characters with wide eyes and big red lips have been a constant motif in much of Beauchamp’s work and while that’s led to protest from viewers and reluctance on the part of many galleries to show his work, Beauchamp is adamant that his use of the images is “about exorcising it and trying to destroy the perception of what it was intended do – dehumanise a certain group of people. You still find these types of artworks in Europe and people don’t see anything wrong with that. “He points out that, “the Dove ad and the Gold Bar ads in America show that those perceptions haven’t really gone away, and people still seem to think that there’s nothing wrong with that, so with my work I play around with that and make a social and political

commentary about stereotypical views of certain people. Especially where we are in this political turmoil at the moment.”

On a wall in a corner is a new piece in the beginning stages of creation – a “coon” image silkscreened onto a canvas, bright luminous patches of colour beginning to surround the face, a slogan spray-painted across the top – immediately recognisable to anyone who’s examined walls across the city and evocative of placards and posters carried by protesters seen on evening television reports. For Beauchamp, the inexactness and sometimes incompletion of the slogans “was directly inspired by newspaper headlines where you find people bulldozing their own toilets because they don’t have books and you see people with these posters where words are misspelt and so the message is lost and you realise there’s a major section of South Africa that’s totally uneducated.

The people that are trying to get their voices out there can’t express what they really want to say.” While from a distance Beauchamp’s paintings may seem to be a messy conglomeration of disparate elements, there’s a cohesive use of imagery and elements beneath their initial angriness, which plays on the border between beauty and ugliness, satire and social reflection. They are posters of a sort but not the bright, clean informative ones that you’re taught to create in graphic design class. Rather, as Beauchamp sees them, “the work plays around with the idea of posters as being informative and nice and colourful – most people who view the work see exploding colours and are entranced by the colours.” A recent show with agent provocateur Ayanda Mabulu saw many in the media critiquing Mabulu for his in-your-face depictions of politicians in flagrante delicto; perhaps Beauchamp was somewhat overshadowed by the directness of Mabulu’s paintings but his work, in its own carefully assembled chaos, is just as critical of the current political situation.

HIGH FIVES Jimmy Hendrix

Kanye West

Portishead

John Lee Hooker

Morcheeba

Are You Experienced?

Yeezus

Dummy Go!

House of Blues

Big Calm

1967

2013

1994

1960

1998

Track Records

Def Jam Records

Beat Records

Chess Records

Indochina Records

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Vusi Beauchamp: Madiba Magic

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Vusi Beauchamp: The Blk God - 2017 / 1240mm x 11540mm

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Vusi Beauchamp: False Magik 1- 2017 / 670mm x 860mm

Vusi Beauchamp: False Magik 2 - 2017 / 670mm x 860mm

“the work plays around with the idea of posters as being informative and nice and colourful – most people who view the work see exploding colours and are entranced by the colours.” While he’s beginning to sell his work and get to the point of surviving off his art, Beauchamp is also critical of the local art market and the demands it makes on black artists - to work within a framework that’s dictated by white gallery owners and curators. This has lead to what he sees as a spate of paintings of “smiling black babies,” and works “about colonialism expressed by accepted black artists that I feel are deflecting from expression about where we actually are and the issues we’re facing – the rise of black elites etc. I try to reflect in my artworks what’s happening now.” With a solo show scheduled for the Johannesburg Art Gallery early next year, Beauchamp is well on his way to continuing to knock down the doors of racial stereotyping and perceptions in an increasingly singular form of expression that, as he describes it, is “exciting and scary at the same time.” INFO: www.kalashnikovv.co.za 20

Vusi Beauchamp: Dead Uprising - 2017 / 400mm x 1830mm

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Vusi Beauchamp: False Magik 3 - 2017 / 670mm x 860mm

Vusi Beauchamp: Eat Free

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> WORDS - FRANTZ BIRKHOLTZ

PHOTOGRAPHY - JACQUI VAN STADEN

HACK A DART BLACK LUNG They were sitting on the train they regularly ride back and forth between Cape Town and Fish Hoek. A blind beggarwoman and her son were on the same train and the lady was singing this hauntingly charming song. These gloomy yet memorable lyrics crept out of her weak mouth and sang, “The devil’s a liar, I’m free…”, and for a second they (BL) were drowning in a dark ocean of emotions. “You had to be there to witness how cruel yet beautiful the world could be simultaneously. A bid to expose the cruelty of this world, n spite of the beauty within it, drove Dylan to write the song, “Devil’s a liar”. The way they make music, write music and live music comes from within. No bullshit to catch the spotlight. These guys are as real and honest as it gets. The band seemingly has the most fun on stage. These three dazzling rock stars have a highly childlike manner on stage where their playfulness takes control and for a brief period it seems as though three mischievous boys are just playing for themselves. You see the exhilaration on their faces as they prank with each other whilst keeping it tight and professional. Prime friends joking with each other relentlessly, having the absolute best time of their life on the playground we call the stage. The energy bleeds into the crowd and it’s received with immense enchantment. Black Lung is not pretentious. These boys, undoubtedly, know how to have spontaneous fun

If we went back a good couple of years, you would understand how this brotherly bond came into being. Skateboarding was the bridge which brought Dylan Rooibokkie and Justus Kotze together about sixteen years ago in Fish Hoek, or the dirty South as they like to call it. This is where they, as kids, shared their love for skating, the ocean and of course music. They lived a certain punk lifestyle growing up, not always following the rules but fully taking advantage of the freedom to do what they love and mature into the iconic individuals they are today. Without having a fool proof plan for starting a band, Dylan moved to Cape St Frances where, for a full year, he aggressively cut his teeth on writing songs, not knowing at the time that he was laying the foundation for a band he hadn’t yet dreamt of. In 2012 Dylan met up with Melissa Williams aka Suzy Snakes (drummer), who was the ingenious instigator in forming the band. Highly organically, the puzzle pieces found their way into place with ease, and the rehearsals began, with Dylan, Melissa and Justus birthing the dark horse, Black Lung. Not long after, Warren Fisher took over the role from Melissa,

HIGH FIVES Joy Division

Ty Segall

Night Beats

Unknown Pleasures

Melted

Sonic Bloom

A Place to Bury Strangers

the Strokes First Impressions of Earth

ALBUM

1979

2010

Factory Records

Goner Records

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2013 TRAS

2012

2006

Dead Oceans

RCA

They lived a certain punk lifestyle growing up, not always following the rules but fully taking advantage of the freedom to do what they love and mature into the iconic individuals they are today.

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When not making music, this gang of mischiefs finds pleasure in skating the streets of Cape Town, surfing waves or shooting kettie till the midnight hours, as long as they get to spend time with close friends, having philosophical conversations...

and the three (Dylan, Justus & Warren) have been making unearthly yet stupendous instrumental sounds ever since. When not making music, this gang of mischiefs finds pleasure in skating the streets of Cape Town, surfing waves or shooting kettie till the midnight hours, as long as they get to spend time with close friends, having philosophical conversations that could make them grow. “Enjoy the experiences with the ones you love, what more could you want”. Over the years, with their distinctly experimental approach, Black Lung has noticeably ventured into some fresh sounds. Fortunately for BL their drummer, Warren Fisher, is also a highly skilled sound engineer; this gives them a broader range of opportunities, which they have been firmly grabbing with both hands. Their music has evolved through garage, surf, punk and rock influences, to name a few, and as they mature, one can definitely sense a considerably darker sound. After all is said and done though, they still have the aesthetic of BL from 2012, and have achieved something of a cult status in Cape Town. Recently, after working on it for a year, they released their newest album, Into the Sea, which was received with great affection, and accompanied by a short film / music video. If you truly feel this article resonated with you, and you want to experience a deeper understanding of Black Lung, I would highly recommend you go on this spiritual journey and become familiar with their latest album and video. INFO:www.facebook.com/blacklungband INFO:www.facebook.com/nownowjustnow THE LAKE

DISCOGRAPHY BLACK LUNG THE SEA & FACE 7” 2017 Now Now Just Now

BLACK LUNG Into The Sea 2017 Bandcamp

BLACK LUNG BLAME BLACK LUNG 2015 ANGRY AFRICA RECORDS FIGHT OR FIT IN BLACK LUNG 7” SPLIT WITH THE MAKE-OVERS 2014 ANGRY AFRICA RECORDS 27

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> WORDS - ANDY DAVIS

PHOTOGRAPHY - HAYDEN PHIPPS PHOTOGRAPHY SURF - MARCK BOTHA

BUSH DOCTOR Avuyile Ndamase

Second Beach Port St Johns was once an African surfing paradise. Roots. Consistent waves, warm sub-tropical waters, lush foliage, wild banana palms, lazy nguni cattle, feral dogs and a row of houses along the river, just behind the beach. A right hand point that sometimes broke as an A-frame because of the swell direction. A big grinding left on the far side of the small bay that mesmerised the eyes but no one ever really surfed. Maybe it was the sharks, maybe it was the rocks. Maybe it was because the right and the A-frame were more than enough. This is where Avuyile and Zama Ndamase grew up. In one of those houses on the river, with mama. Pops had long since split to Umtata where he worked for the municipality. It wasn’t poverty, but they were poor. One day, Mike Gatcke, a Transkei tour guide who made his crust doing airport runs for tourists between Umtata, East London and Port St Johns, and lived at the end of their road, established the Iliza Surf Academy. Avuyile and Zama Ndamase quickly fell in with surfing and suddenly had a shot at becoming the African equivalent of the Florence sprogs, the Irons bros, the Hobgoods. Surfing gave them a glimpse of a future. Second Beach was their own private Ehukai Beach Park and they drank the kool aid. All of it. Surfing would be their lives. When I first met Avuyile “Avo” Ndamase, it was April 2008. He was a gangly 14 year old alive with the joys of surfing. His younger brother Zama was no different. We were making a cheesy documentary about the shifting demographic of South African surfing, called Moving On. The Second Beach surf scene became the centre-point, the Ndamase bros, our stars. Later that year Avo was selected for the Border Surf Team to compete in the National Champs. At the same time he got the call from the Ajax Footballing Academy in Cape Town with the offer of a scholarship. Now football is a job. A potential career. Big boy money. Surfing… not so much. You’re lucky if you get a tracksuit and a sandwich. But Avo was hooked. There was no hesitation. That decision had been made firmly, long ago with the feeling of accel-

eration and release of a piece of fibreglass as it planes between dimensions along a breaking wave.

“For me that was a big achievement.” Says Avo. “And ever since then, it’s just been a vicious chase, you know, finding myself a place in surfing.” And then the sharks. Port St Johns has always had a reputation for it. But no one ever really looked too deeply. Maybe because it was the Kei and the Apartheid government didn’t give a shit and the ANC government couldn’t get round to giving a shit either. But the attacks started just as the Iliza Surf Academy was taking off. And it was tragedy for one of South Africa’s first indigenous surfing communities. First a lifeguard. Then a swimmer. Then a German tourist. Another lifeguard. Then Luyolo Mangele, one of the Iliza kids. All fatal. All Zambezi sharks. The surfing slowed. The enthusiasm waned. Mike tried to get shark pods for the kids, so they could still surf, but the technology

was heavy and the kids were ripping. Undeterred they surfed, but more selectively, only worth risking it all when it was cooking. And then the strike that changed everything. Zama was fast becoming one of South Africa’s best surfing prospects, threatening to eclipse his older brother - and fuelling a healthy competition and rivalry between the siblings, as it should be. The Zambezi shark came from nowhere. Hit Zama from beneath the bite tore open his leg, severing the femeral artery. He died on the beach. “When he got off the board after the big bite on the back of his leg, he was about 10 meters away from me.” Says Avo deadpan. “That moment I’m obviously going to re-live for the rest of my life. Seeing the whole thing happen.” On a wave your mind travels. It was a turning point for Avo too. When Zama died so did the Iliza Surf Academy and surfing in Port St Johns. But he wasn’t ready to quit. The ocean had her cold wet hand firmly wrapped around his heart. Avo redoubled his commitment to making a name for

HIGH FIVES J. Cole

Peter Tosh

4 Your Eyez Only

Bush Doctor

2016 Dreamville

1978 Rolling Stones Records

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Bob Marley and the Wailers

Childish Gambino

TreeJay & DJ Clockwork

Babylon by Bus

Awaken, My Love!

Smoke Till I’m Dead

1978

2016

Tuff Gong/Island

Glassnote

datpiff.com

“I’m not scared. I don’t have fear. People don’t believe that, but I don’t have fear. The only reason I got through it was surfing. I just needed to surf and to let go of that vibe.”

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“Ah whatever man.” He smiles. “Hopefully my performance grows. I’m a built athlete and I’ll get better at what I do each day. I know that. I believe in myself.” He pauses. “I’m just trying to figure out where I belong.”

himself riding waves. He negotiated with his mother to move to East London, accompanied by his friend Zithobile Msesiwe, to finish school in a place where they could surf. Eastern Beach became his second home. Sometimes Nahoon too. He surfed for Border. He got better. Won the Quiksilver Future Stars competition, finished on the podium in many others, scraped through Matric and started working at the Sugar Shack backpackers, teaching tourists to surf, pouring their drinks at night behind the bar. Always searching for the next move, plundering opportunities, pulling closer to the dream. “I’m not scared. I don’t have fear. People don’t believe that, but I don’t have fear. The only reason I got through it was surfing. I just needed to surf and to let go of that vibe.” In 2013 he moved to Durban, surf city South Africa. But this is no golden age. A paying brand sponsorship is rare for even the most gifted talents. Avo ended up working in a surf shop. Grinding retail. Short, frustrating early morning sessions in the offshore and longer shitty afternoon sessions in the onshore, before the sun sets. Paddling in to the lights along the pier. Always good with his hands, he did a stint as an apprentice carpenter, building cupboards in Umhlanga. He lived in the Surfer’s Not Street Children Surf House as an unofficial mentor, coach and kindred spirit. Moved on, bounced around. Picked up a small sponsorship from a start-up African surf brand called Mami Wata. Went back to the surf shop to make ends meet. Won the Kushay’ iGagasa surf contest in 2016 and the Natal trials in 2017. Scored a photographic surf mission back to the Kei alongside Ricky Basnett and Emma Smith for Zigzag surf mag. Then at SA Champs he blazed a trail to a Quarter Final finish at Nahoon, only to be knocked out by eventual winner and SA Champ, Brandon Benjamin. Avo knows he probably won’t make it onto the QS. But still holds out hope he could THE LAKE

make the SA team for the Olympics in Japan in 2020. Maybe, maybe not. “Ah whatever man.” He smiles. “Hopefully my performance grows. I’m a built athlete and I’ll get better at what I do each day. I know that. I believe in myself.” He pauses. “I’m just trying to figure out where I belong.” My child that is not a spell, but a blessing. “Surfing for me, right now, it’s my world.” He continues. “It’s where I’m going to find myself, whether it’s in board building, or opening my own shop or running a surf school, a surf camp, a surf backpackers. Whatever I do will be surfing. Right now I’m trying to find myself.” He laughs at the seriousness of it all. “I’m at a good young age to figure out where I need to be. To figure out who am I in the surfing world, what I can give back and what I can take from it. Surfing is where I belong. It’s my place.” He pauses and then lays it down. “Whatever I do, however far I get, I want to be an inspiration and an influence for other African kids. It’s never that hard. Never that complicated. I want to keep the Ndamase legacy burning. I like to see myself as an ambassador of change for all those Pondo kids growing up in the Transkei, not being able to see further than the sticks and dung. I am that person. I want to be an inspiration to the people that inspire me.” “I want to tell my story and just be pure to who I am. I’m an African surfer. I grew up in a changing South Africa. The future looks good man! I’m part of a big global community of wave riders and I’m proud of it. And I want to be a pioneer of that community in Africa.” As the nyangas say, the power we get from the sea will change you in strange ways. INFO: www.mamiwata.surf 33

FRANK CASINO, was born & bred in the heart of Tembisa, Johannesburg.

Though many would argue this because of his creatively international sound, Frank Casino is, in fact, a native of South Africa, with his musical history dating back to 2004. Having only discovered his ideal genre in high school, Frank Casino and his friends formed a group/band under the mononym “Krunk Era‟, which soon after got signed by independent record label owner Vusi Leeuw.The 5-year contract deal lasted long enough to see the group change their name to “Blaque Print”. They began working with the likes of Amunishin, Mr. Selwyn and TXL to name a few industry veterans in their genre. In 2010, leading to the end of “Blaque Print’s” recording contract; Frank, Dellz and Parley started exploring the possibilities of building a stronger and versatile band, when they later decided to record and release a project titled “Casino Royale” which featured former members of Blaque Print. In 2012 Frank went on to feature on Parley ‘s first official solo project titled “Points to Prove,” which led to them actually proving that signing yourself is, in fact, the best way to grow as an artist – they co-founded Dapper Gang Records. On the 7th of February 2015, Dapper Gang Records launched officially , and Frank Casino has since been releasing music under the label’s creative wing online. 27th April 2016 marks the day Frank Casino released his first official radio single titled “Whole Thing”, to which he owes the steady growth of his following. To-date, the song – which has a sound that deviates from conventional hip-hop, has been playlisted on multiple radio stations and counting, promising to be a successful debut single. If the response the song is receiving is anything to go by , the Dapper Don will be a force to be reckoned with.

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CANDELARIA “LELE” TINELLI is a 26 year old artist, born and raised in Buenos Aires, Argentina. She is known to have entirely covered her body with tattoos, her loves for sneakers and her style of a mixture of rock, sexy and modern fashion. Since Candelaria Tinelli got her first tattoo, until today, she lost count of how many drawings she has on her skin. The number, in this case, is the least. The important thing is to find that place uncovered to fill it with ink. One of those who opposed the use of ink in mansalva, was her mother, Soledad Aquino. It was a topic that mother and daughter talked about, but we already knew who won the discussion. In fact, after Cande had tattooed her entire black collar, the day she showed the finished work, she cut herself off with a “sorry, Mom.” However, over time, going to fine work, it seems that Lele, managed to pass on her passion to her mother and now go hand in hand to tattoo together. Young Tinelli warned that she plans to go ahead with her passion and that she considers it an art that arouses euphoria. Her dad was encouraged and surprised with her first tattoo dedicated to the person who made her venture into this new world that apparently fascinated her. On his right arm, she made a horseshoe and underneath, the word Candelaria. A tribute that filled Cande with emotion.

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TYDE LEVI MELLET (born February 15, 2000) is an up-andcoming Australian YouTuber, blogger, and DJ. Tyde’s family consists of his brothers Troye and Steele, his sister Sage and his parents Shaun and Laurelle. Tyde has collaborated in videos with brother Troye Sivan, and his friends and family. He has also done videos with Tyler Oakley and Connor Franta. Levi was born in Mirrabooka, in Perth, Australia on February 15, 2000 (Is now 17.) He is Jewish and went to a normal school up until March 2015, afterwards, he started homeschooling to have more time to travel and create more content for his viewers. Like older brother Troye Sivan, Tyde has embraced his middle name, Levi, as a stage name. Levi has also entered various DJ contests Tyde was also given the opportunity to act in Spud 2 after his older brother Troye Sivan was cast the lead role. Tyde is only visible in one scene where the ‘crazy eight’ are at the hot dog eating contest, he was cheering them on as an extra.

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FIFI COOPER is a South African recording artist. She started her music careeer as a R&B singer before her musical versatility saw her release her breakthrough rap single “Chechela Morao” in 2010. In 2015, she released her award-winning debut studio album 201FIFI. Regarded by the local media as the “First Lady of Motswako”, Fifi Coopers’ musical versatility can see her rap and sing. Credited as the vocalist on Khuli Chana’s hit single “Mnatebawen”, she does the hip hop and Motswako genres of music. In an interview with YoMzansi, Fifi Cooper describes her style of rap as “unpredictable, punchy and hearty”. Fifi Cooper was the last of three children in Montshiwa, Mahikeng, South Africa, where she had her early education and also harnessed her ability in singing and dancing. She completed her secondary school education at Batswana High School, Mahikeng and her higher education at Boston Media House where she studied Media. In 2015, Fifi Cooper signed a recording contract with Ambitiouz Entertainment, a South Africa-based record label. In early 2015, she released an AB Crazy-produced song titled “Kisses”. On 13 November 2015, Fifi Cooper released 20FIFI her debut studio album which won her three categories at the 15th Metro FM Music Awards and further earned her nominations at the 2nd edition of the South African Music Awards. On February 2017, Fifi departed from Ambitiouz Entertainment to start her own record label as an independent artist.

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ABERRATION LIAM LYNCH Trinity

I’ve long compared photography to literature rather than other visual arts – as Stendahl paraphrased in Ondaatje’s The English Patient, that a novel is a mirror walking along a road, to the imagery of poetry as it is captured within structure and brevity – akin to a photographic frame or moment. Since my last solo show in 2008, I’ve drawn on Irish writers’ ideas on exile, language and identity, the specificity of my family’s history since leaving Ireland after the famine, and on through to my daughter’s life, within a cultural tradition of storytelling and myth. As people of this immediate era lean towards self-discovery in the context of groupings (imposed or chosen, from within and without) as well as the primacy of the individual, I find myself searching more often for a sense of who I am, adrift within the flow of scenes I have photographed across these nine years.

www.liamlynchphotographer.tumblr.com www.instagram.com/liamlynchphoto THE LAKE

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> WORDS - Jacqueline Flint

PHOTOGRAPHY - OLIVER KRUGER

Phantom Bride Michaela Younge

I met Michaela Younge to chat about her recent work in felt at the Power and the Glory, where three of these works are currently hanging. Michaela also works at the P&G, as the locals refer to it, and just before meeting me, was busy updating the menu chalk boards with fresh new scenes of foliage, strange insects and animal skulls. It felt a most appropriate place to meet and the conversation meandered from her artwork to her process and on – to where the best place is to buy naturally dyed wools (Waldorf Constantia, fyi); the important differences between mauve and purple (and why one is rad and the other not so much); the houses we lived in as children, the strange neuroses we developed there, and how they serve us as adults. Michaela is not the only creative in her family – her dad is a sculptor. He loves cooking, apparently, and approaches it with gusto and an experimental attitude. One Christmas, Michaela’s dad bought a large expensive turkey, it being his duty that year to feed the extended clan. With a view towards efficiency, he decided to investigate the turkey-cooking capacity of the kilns at the Michaelis sculpture department. Needless to say, he ended up with a pile of ash, no back-up plan, and many festive mouths to feed.

This story made me think of those dreams that you have – you’re sitting in a Great Hall, and the Maths Final Paper is in front of you. You can neither escape, nor have you studied an iota. You’re at the bar, it’s packed full of people, but you haven’t a stitch of clothing on. Your mother-in-law is there, and your Grade 4 crush. The bizarre anxiety of the anecdote struck a chord.

uncomfortable and absolutely hilarious. There are people and animals and people-animals; limbless figures and slot machines, doilies and cowboys, rivers of molten lava, dancing monkeys and decapitated dogs. In one piece, an office scene, a nun with a revolver sits at an old bureau, with a menacing, horrified look. A naked man with an erect penis chats on the landline at the next desk, on which sits an old desktop computer. At his feet lies a man impaled with sharp stakes. The foreground of the picture fills up with sacrificial lambs and bunnies, while a sexy intern makes photocopies of her lady bits in the corner. The office lights burn orange overhead. A crocodile stalks a flying weasel. The house plants are healthy, and the sun shines bright on the flower-filled garden outside. The characters that Younge conjures, as well as the interactions between them, are diverse and uncanny, and they couldn’t give a fuck about you – which is the mark of a good tableau, after all. Michaela records her dreams. Salvador Dali, it is rumoured, went to bed with a silver coin in his hand and a silver platter next to him. As his body relaxed

into sleep, he would drop the coin, which would wake him as it clattered onto the plate. Whatever dreams had formed in his mind, he would commit immediately to paper without analysis or judgment – raw material for paintings. Similarly, Michaela makes a new note on her phone every time she wakes up with a dream fresh in her mind. The notes collect there, along with screen grabs of things that interest her. She harvests vivid figments while working in a bar – drunken pasty-faced men hitting on girls, and the shitty things that people say to each other. She reviews them all from time to time, making sense of what they meant to her then, and what they can mean to her now in her work. These colourful scraps are resources for her work, and the piecing-together of the narrative relies very much on the process of making. Needle-felting is a time- and labour-intensive activity that involves drawing together wool fibres and repetitively stabbing them with a felting needle. Irregularities on the end of the needle cause the fibres to break up and eventually re-join into a span of textile. As she works the wool, Michaela adds colours and shapes,

HIGH FIVES Annie Lennox

Erasure

Glass Candy

Nancy & Lee

Nina Simone

Medusa

The Innocents

B/E/A/T/B/O/X

Again

My Baby Just Cares For Me

1995

1988

2007

1972

1982

RCA

Mute

Italians Do It Better

RCA

Charly Records

Michaela’s felt tableaux are loosely narrative-based and figurative, but disfiguration is perhaps a more accurate term. The complex scenes have something of Hieronymus Bosch in them, but they’re cuter. They have something of a blood-and-guts Tarantino scene in them, but they aren’t as gratuitous. There’s a Darger-esque quality to them that is both THE LAKE

Michaela.Younge: Season 53 / 2017 - Wool fibre on felt / 830mm x 900mm

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Michaela.Younge: When she wants a pony, but cannot ride / 2017 - Wool fibre on felt / 600mm x 500mm.

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Michaela.Younge: Work in Progress (Something about a buffet) / 2017 - Wool fibre, cotton thread on fabric / 480mm x 480 mm

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Michaela.Younge: Nothing Bad at the Hunting Lodge / 2016-2017 - Wool fibre on felt / 2420mm x 1450mm

Michaela.Younge: Affairs with Fish End Badly / 2016 - Wool fibre on felt / 1800mm x 1450mm

layer upon layer. She seldom has the full picture in place before she begins. Being such a concentrated, obsessive pursuit, it is only possible for Michaela to focus wholeheartedly on the small piece she is crafting, shifting her focus as she works and allowing each fragment of the whole to follow on intuitively. This is not to say that Michaela does not have a very sure and detailed sense of each element. Although the narratives are rambling, when speaking to any particular character, a fully-formed background story emerges… The wealthy frog got mangled by his own car during an accident. He didn’t die as

a punishment for being rich, Michaela assures me – but he was really not so nice in many ways. (He probably had affairs.) The pig man is very strong and exceptionally evil – one whack from him and your whole arm is gone. Also, she says, there is not as much sex in them as people think – “That guy over there, for instance, is actually just throwing that lady off the bridge.” These figures are intimate insights into Michaela’s wild imagination. The vision that creates these fantastical scenes is simultaneously myopic and expansive. Michaela doggedly details each and THE LAKE

every appalling and amusing aspect of her lucid hallucinations in felt, as a way to stave off an overall sense of doom – as if imagining the worst could prevent it from happening. Like giggling through the horror film to make it less terrifying. Michaela’s freshest work will be on show at Smith Studio as part of their summer exhibition, opening 14 December. INFO: www.michaelayounge.tumblr.com INFO: www.instagram.com/michaela_younge 49

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> WORDS - SASKIA KOERNER

PHOTOGRAPHY - SASKIA KOERNER

LIGHT WAVES A STORY OF SINGLE FIN WOMEN SURFERS FROM AROUND THE WORLD In this photographic portrait series I seek to explore and celebrate the untold story of female surfing in iconic surf spots around the world. I have been immersed in the culture my entire life and heritage and nostalgia are a strong force behind my project.

Single fins are where we came from in surfing and this retro trend has brought a new wave of single fin riders with more and more women gracing the lineups.The elegance of the female form combined with the single fin surfboard results in a movement on the water that is truly quite mesmerizing. I started this project in 2013 while doing my Bachelor of Fine Arts at Brooks Institute of Photography in Santa Barbara, California. Surfing the iconic right hand point break Rincon, the Queen of the Coast, I was intrigued by the many incredible women of all ages I met in the water. I started capturing them with an old 8 x10 large

format analog camera. After graduating I went on to work in New York City but did not get to surf much. I was however greatly compensated by working with Nan Goldin and the legendary Mary Ellen Mark. In 2016 I went back to my old local break in Bali and saw how things had changed in Batu Bolong, the popular surf village of Canggu. It was here that I decided to continue capturing the single fin movement and document the diversity of women that surf there. The portraits are all taken at sunrise and sunset before or after our surf sessions to capture the women in a natural and informal mood. After showing Light THE LAKE

Waves Batu Bolong at the Deus Gallery in Canggu I headed to a small town in Australia that stole my heart many years ago: Byron Bay. I knew a lot of the girls there and love the strong feminine energy of this area. The famous Pass surf spot is home to many incredibly talented surf lady sliders. Light Waves Byron Bay was part of the Byron Bay Surf Festival in February 2017 with a warm welcome and great enthusiasm from the local surf community. I ventured on to New Zealand and searched for the single fin women there. The scene is a lot smaller but I found a few spread across North Island. 51

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South Africa is where I was born and raised and it was calling me to come home and tap into my roots. I am currently busy capturing the lady sliders along the coast from Cape Town to Jeffreys Bay and up to Durban. The response and enthusiasm for this project has been amazing and Lightwaves South Africa has been accepted as part of the Wavescape Surf & Ocean Conservation Festival ( Cape Town) end of 2017.

acutely aware of the issues regarding gender inequality, marginalization and sexualization of women in the surfing world. Maybe in my subconscious these issues made me portray this series in the most natural and informal manner to show that we are all just women of all shapes and sizes and its about our passion for the ocean and riding waves and not looking sexy as they want you to in the magazines.

I am slowly surfing my way around the world and aim to document the mix of single fin women everywhere in places such as Malibu, Hawaii and Biarritz but also more unknown spots like Jamaica, Papua New Guinea, Russia, China and Japan showcasing that all types of women of all ages surf with the same strong passion.

Without providing any definite answers I think my work does raise questions about attitudes towards image and gender and can be viewed on different levels. However, I donâ&#x20AC;&#x2122;t think my portraits are limited by that and I hope they transcend, go beyond and provide a space for debate, acceptance and growth.

My experience so far has been that my work is raising issues about image and gender that I had not anticipated. I have always been

INFO: www.saskiakoerner.com

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> WORDS - DAN CHARLES

PHOTOGRAPHY - JARRED FIGGINS

Archivist Markus Wormstorm

“Theres this story of a man that spent his money building a castle. He claimed that the wealth had doubled. Because in the end all the builders got paid and he had a palace.”

Prolific electronic powerhouse, Markus Wormstorm, is sitting in front of an orchestra of audio equipment at his home base, Honeymoon Studios. Amidst all of the lights blinking across his desk, we start discussing the foundations of the sonic empire that he has built from within his studio: Biblo.tv. Sitting on a coffee table beside us is a physical copy of Biblo’s latest project, a compilation of South African electronica entitled Friends With Benefits. The compilation consists of tracks sourced from select members of the Biblo family that have been curated by Wormstorm and pressed to vinyl through Cape Town’s revered independent record label and distributer, Roastin’ Records. The record as a whole serves as something of a time capsule preserving a period in South Africa’s electronic music scene that stands out to Wormstorm. Each side of the record is tailored to cover a particular part of that period’s sonic spectrum - with Side B consisting of an array easier listening tracks from the likes of Jason Barty, Kumodi and FRNGE and Side A covering grittier terrain with Narch, DJ CAVIAr and Wormstorm himself. The compilation consists of songs from the past that had stuck out to Wormstorm - such as DJ CAVIAr’s song, SCOPE 87 and NARCH’s track Premonitions that Wormstorm sites as being legendary within this area of South African electronic music.

Wormstorm’s work through Biblo.tv has certainly established him as something of a sonic archivist of the South African electronic scene as well as one the scene’s most prolific contributors (with an illustrious career of producing his own compositions and working with iconic electronic artists such as Sibot, Spoek Mathambo and Waddy Tudor Jones. Since late 2012, Biblo’s vast music library has acted as a vital source for emerging and established filmmakers, editors and creators to select the right soundtrack that will bring their projects to life while also lining the pockets of local artists.

as we’re used to here so that cash can go straight into the creative industry here. That way we won’t have to be so dependant here on what’s happening with our own stupid politics.”

“Young directors that we started working with are now doing feature films and stuff and so we’ve been able to help push these guys along. There’s also a bigger sense to what we’re doing. I’ve been doing some work in South and Central America to see if we’re able to create a kind of cultural exchange or portal to these places. If Biblo is able to sink its teeth in deeply over there we could run more international currency into South African artist’s pockets. Places like Panama run on the dollar so the amount that they pay on licensing tracks is like four times as much

“I’ve always been like an outsider - to my detriment, sometimes. I suppose that i could have handled things differently and capitalised more on what was happening in the scene at that time but that never really came naturally to me. Even though some of my work might have been seminal to what was happening at the time - I was never really equipped to integrate into groups of the scene. That’s part of why I have to do Biblo because I can only ever do my own stuff - there’s no real place for me to fit in here. After I did that classical album Not I, but a Friend I

Expanding Biblo’s reach beyond the shores of Cape Town isn’t only a necessary move to break beyond South Africa’s economic limitations for more experimental artists such as Wormstorm. Biblo’s existence also serves as a way for Wormstorm to carve his own place in a music scene that he has, at times, felt a bit disconnected from.

HIGH FIVES Cypress Hill Temples of Boom

A Reminiscent Drive

Aphex Twin

Vangelis

Autechre

Richard D. James Album

Blade Runner

LP5

Mercy Street

1995

1997

1996

1994

1998

Columbia

F Communications

Warp

EMI

Warp

“The idea behind Friends With benefits Vol. 1 was to put history together. Friends With Benefits Vol. 2 will probably be fresher stuff but I thought that it would be important to capture these tracks particular tracks. My hard drive almost died today so I guess that it’s good to take this stuff that was like the sound of South Africa electronic circa 2017 and put it on a medium that will last. I think that could be my purpose - to archive these things and help put them on wax.” THE LAKE

“The idea behind Friends With Benefits Vol. 1 was to put history together. Friends With Benefits Vol. 2 will probably be fresher stuff but I thought that it was important to capture these particular tracks.”

thought that I was done. People also didn’t know where I fitted in for booking shows anymore, which I think was good because I took four years off to try to get my head right. Going out to try please everyone is going to fuck your head up. I think that’s what fucked my head up for a while. But now I just want to play because it’s fun - I just dig playing.” Despite operating within a scene that can oftentimes seem so detrimentally divided, Wormstorm sees that it might be his role within it to create a new world around his studio and Biblo that is able to sustain himself and benefit other sonic constructors - much like a terraformer cultivating life on a new uninhibited planet. The archives of Biblo.tv and the release of the Friends With Benefits compilation will stand as a record of the development of that world - a world that’s history will grow richer with each new addition to the archive.

DISCOGRAPHY / FULL ALBUMS Markus Wormstorm Figure In Field 2015 M=MAXIMAL Kompakt.fm

Markus Wormstorm Four Corners 2014 M=MAXIMAL Kompakt.fm

Markus Wormstorm Not I, but a Friend

DISCOGRAPHY / EP’s and other ALBUMS Markus Wormstorm Friends With Benefits

Sweat.X Ebony Ivory Tron

2012

2017

2007

M=MAXIMAL

Biblo.tv Roastin Records

Citinite

Markus Wormstorm Cast and Fracture

Sweat.X Saviour and Messiah

2016 Biblo.tv

Markus Wormstorm Akira

Kompakt.fm

Markus Wormstorm Rachel the Bear 2006 Sound-Ink

2009 Citinite

Markus Wormstorm Markus Wormstorm

Markus Wormstorm Markus Wormstorm - EP

2003 African Dope

2014 Biblo.tv

The Real Estate Agents Pizzas

2004 Sound Ink Constructus The Ziggurat 2002

2005 African Dope

African Dope

“I kind of like that idea of just investing into an entity that’s bigger than yourself - especially something with a purpose, like giving artists the opportunity to make some money or to get their stuff on wax. I feel like there’s a bigger purpose than just making cash. But that’s the best way to make some cash, to have a purpose.” INFO: www.markuswormstorm.tv INFO: www.biblo.tv

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> WORDS - tymon smith

PHOTOGRAPHY - ALON SKUY

WAX JUNKIE TYMON SMITH I’ve been collecting vinyl for about 17 years, ever since I left home with a selection of my parents’ records in a box, and a battered Gemini belt-drive turntable inherited from a friend. The records I’ve chosen here reflect the more fortuitous moments from the early crate-digging days when you had to get yourself to Shaun Baskind’s Deer Hunter store in Greenside on a Saturday morning or pick your way through Mr. Opera’s stand at the Rosebank Rooftop Market to find the magic pieces of plastic that sometimes seemed to have just being sitting there waiting for you to come along. THE LOUNGE LIZARDS NO PAIN FOR CAKES 1987 / Island Records

THE CONTORTIONS BUY THE CONTORTIONS 1979 / ZE records

I got into the Lounge Lizards because I was totally taken by how effortlessly cool John Lurie was in Jim Jarmusch’s film Stranger than Paradise. The title track is this eerie, dirge-like mashup of carnival, klezmer and tango sounds that gets me every time I hear it.

I’m not really a label-spotter but when it comes to ZE records I’ll pretty much buy anything. I found this during a crate-digging session at Collector’s Treasury with fellow wax junkie and music journalist Fred De Vries. “Contort Yourself” is one of my all-time favourite tracks and the rougher, less polished version on this album is a sterling example of the uniquely strange genius of James White and his blend of free jazz, mutant disco and no wave styles.

HERBIE MANN LIVE AT THE VILLAGE GATE 1970 / Atlantic Records

LENNY BRUCE THANK YOU MASKED MAN 1972 / Fantasy Records

These days my jazz states run more to the astral mind-fuckery of Sun Ra and the deep black consciousness-inspired jams of The Art Ensemble of Chicago, but I still have a soft spot for this demonstration of the often-underappreciated skills of flute-maestro Herbie Mann. It’s one of the first albums I got into from my parents’ stash and the version of “Comin’ Home Baby” featuring virtuoso bass and vibe solos from Hagood Hardy and Ahmad Abdul-Maliak, really makes you feel like you’re sitting in a smoke-filled New York Jazz Club witnessing a magical moment between talented musicians enjoying the hell out of themselves.

One of the first records I ever bought from a store that used to be in the arcade opposite The Market Theatre. At the time I was a complete devotee of Bruce who I still view as the tragic genius godfather of modern comedy. I’ve collected Bruce albums ever since, along with albums by Woody Allen, George Carlin, The Pythons, Richard Pryor, Peter Cooke and Dudley Moore. This is a great example of Bruce at his bitingly-satirical-riffing best, before he was hounded to an early grave by obscenity charges and lawsuits.

NATIONAL WAKE NATIONAL WAKE 1981 / Wea Records

DOLLAR BRAND GOOD NEWS FROM AFRICA 1979 / Enja Records

This is a record that’s tied up with a bunch of memories from my childhood. There’s footage in Deon Maas and Keith Jones’ Punk in Africa documentary of my mother dancing to the band in a club in Yeoville before I was born; my parents’ friend Rob Muir designed the cover artwork, and I remember banging on a drum set belonging to drummer Punka Khoza at a house in Crown Mines when I was a kid. “Bolina” is a piece of reggae punk perfection as good as anything The Clash ever did, and I’ve been playing it in my sets a lot over the years as a tribute to a truly great but sadly short-lived South African band.

Recorded in Germany when both of these giants were still in exile, with no idea of whether they might ever see home again, this is still one of the most beautiful and moving records I own. The opening track “Namjhane” is a remarkable evocation of longing, love and memories of home and it’s only made more poignant in the light of Dyani’s death in Sweden in 1986.

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THE STORE where all good things live

A love of the ocean, rebellion and travel inspires The Store to bring you a collection of the best beach and street lifestyle brands. Based in the iconic surf village of Jeffreys Bay the small team infuse a laid back vibe into everything they do. In a world of mass market chain stores The Store aims to offer a boutique experience with an emphasis on spreading the stoke. With 10 stores across the country, The Store, is where all good things live.

SHOP ONLINE www.thestorestuff.co.za

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> PHOTOGRAPHY - Zander Opperman

STYLIST - Armand Dicker

EMPTY ROOM Leviâ&#x20AC;&#x2122;s footwear summer collection

MODELS - Campbell Jessica Meas, Anthony Semra, Faraj Elfergani, Curtis Cornwall

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\\ PHOTOGRAPHY - Rodger Bosch

IN TRANSIT myciti / Wood Christian Nerf One of the installations along a “sculpture route” beneath the blue-gum trees in Blaauwberg Road, “Working with Obstacles” is the work of artist Christian Nerf.

He says that his projects revolve around ideas. The drawing is one of a series of works resulting from a process in which the artist was prevented from making a straight line because of a physical impediment.

scious of the fact that it is in a public environment. Usually my public work is more performance-based so I’m seeing this as a performance that will last for 10 years.”

“The idea behind this work is that it’s like life – you have to work with obstacles. It is about not fighting. It is about taking advantage of the unexpected that comes daily and the unusual.”

Christian Nerf was born in Johannesburg in 1970 and relocated to Cape Town in 2005. For 15 years he worked mainly in collaboration with other artists, but since 2011 has focussed on solo projects. He works with moving and still images, wood and metal, printmaking and live performance.

The work involved exploring new ground. “The sculpture is different from a lot of my usual sculptures because I’ve been con68

About the Artist

INFO: www.myciti.org.za/en/myciti-art THE LAKE

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myciti / Atlantis Faith47 For the MyCiTi bus station in Atlantis, street artist Faith47 has created a mural of herons in flight, spray-painted in a range of colours from sepia to luminous white.

Apart from the immediate connection with transport and being on the move, the image conjures up flight, escape, transcendence and beauty in an historically marginalised context. Her work largely focuses on disenfranchised people or endangered creatures and is simultaneously allusive and enigmatic. In response to her murals, people often talk about the feeling of stillness and calm they evoke.

for her street art, though she also exhibits studio work. She travels extensively and has an international following. Her work can be found in cities all over the world, from Shanghai to Berlin and New York. She makes art in overlooked spaces in the cities where she is working â&#x20AC;&#x201C; on the sides of old buildings or under bridges, on derelict doors or walls, often monumental, sometimes more intimate in scale.

About the Artist Faith47 is a young South African artist based in Cape Town. She is best known 70

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PRINT RUN REVIEWS - XAVIER NAGEL

SUPPLIED BY - BIBLIOPHILIA

The First Law of Sadness 2023 /

the justified Ancients of Mu Mu

Well we’re back again, They never kicked us out, twenty thousand years of SHOUT SHOUT SHOUT Down through the epochs and out across the continents, generation upon generation of the Justified Ancients of Mu Mu have told variants of the same story - an end of days story, a final chapter story. But one with hope, even if the hope at times seems forlorn. The story contained in 2023 (R275) is the latest telling. Here it is presented as a utopian costume drama, set in the near future, written in the recent past. Read with care. REMEMBERED - TOLD – TRANSCRIBED for K2 Plant Hire Ltd.

Connected by more than their exquisite prose, Nick Mulgrew’s new stories in The First Law of Sadness (R210) delve into a world of killer eagles, tattoo removal parlours, hardcore punk guitarists-cum-auditors, turtle sanctuaries, plane crashes, amateur pornographers and biltong-makers – a world concurrently too strange and too familiar for comfort. A collection of startling imagination and sympathy – set primarily in South Africa’s least fashionable cities and suburbs – these stories maintain a precarious balance between rich comedy and despair throughout their explorations of grief, spectacle, sex, nostalgia, and the lives of animals, both human and not.

Race Otherwise / Forging a New Humanism for South Africa

In Race Otherwise: Forging a New Humanism for South Africa (R350) Zimitri Erasmus questions the notion that one can know race with one’s eyes, with racial categories and with genetic ancestry tests. She moves between the intimate probing of racial identities as we experience them individually, and analysis of the global historical forces that have created these identities and woven them into our thinking about what it means to be ‘human’. Starting from her own family’s journeys through regions of the world and ascribed racial identities, she develops her argument about how it is possible to recognise the pervasiveness of race thinking without submitting to its power.

The World Atlas of Street Fashion

The Visual History of Type (R1800) is a comprehensive, detailed survey of the major typefaces produced since the advent of printing, from movable type in the mid-fifteenth century to the present day. Arranged chronologically to provide context, more than 320 typefaces are displayed in the form of their original type specimens or earliest printing. Each entry is supported by a brief history and description of defining characteristics of the typeface. This book will be the definitive publication in its field, appealing to graphic designers, educators, historians, and design students. It will also be a significant resource for professional type designers and students of type.

Undercity / The Other Cape Town

Filled with eye-catching images of 100 styles from around the globe, The World Atlas of Street Fashion (R515) is a celebration of those who dare to think differently. From the Chinese skinheads of Beijing to the feminist funkeiras of São Paolo, the raggare of Stockholm to the Junglists of Whistler, this is world street style as you’ve never seen it before. Organized geographically by continent, this book examines street style in all its international diversity, by tracing the many and varied ways in which it has developed in different regions of the world, from the streets to the catwalk.

The Visual History of Type

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Since the end of apartheid, Cape Town, South Africa’s metropolis par excellence, has become a major tourist destination, offering sunny backdrops for commercials and homes for the moneyed classes. Obscene levels of unemployment and the daily struggle for survival among the impoverished are rarely visible behind this veneer. David Lurie unmasks the “other” Cape Town, in the early morning hours, when the city is still asleep, delicate and vulnerable. Undercity – The Other Cape Town (R1200) considers the city’s surfaces: urban landscapes that include billboards, street signs, graffiti and street art. What are they saying? How do they direct society, and to where?

“GOOD WORK AIN’T CHEAP, CHEAP WORK AIN’T GOOD”

PLIMSOLL

VANS - SK8 - MID REISSUE Black / True White

VANS - SK8 - MID REISSUE Checkerboard / True White

VANS - SK8 - MID REISSUE Parisian Night / True Navy

VANS - OLD SKOOL Gum Bumper Black / True White

VANS - OLD SKOOL Gum Bumper Glacier Gray / True White

VANS - OLD SKOOL Gum Bumper Dress Blues / True White

VANS - OLD SKOOL Suede / Canvas Dark Earth / Gum

VANS - OLD SKOOL Suede / Canvas White / Gum

VANS - OLD SKOOL Suede / Canvas Winter Moss / Gum

VANS - STYLE 238 Native Suede Black / White

VANS - SK8-HI 38 DX Anaheim Factory OG White

VANS - CLASSIC SLIP-ON 98 DX Anaheim Factory Suede / OG Black

ADIDAS - EQT CUSHION ADV FTWR WHITE / CORE BLACK SCARLET

ADIDAS - EQT CUSHION ADV CORE BLACK / SUB GREEN S13 FTWR WHITE

ADIDAS - EQT CUSHION ADV CORE BLACK / FTWR WHITE COLLEGIATE ROYAL

ADIDAS - EQT CUSHION ADV FTWR WHITE / CORE BLACK COLLEGIATE ROYAL

ADIDAS - EQT CUSHION ADV COLLEGIATE ROYAL / FTWR WHITE CRYSTAL WHITE S16

ADIDAS - EQT CUSHION ADV GREY FIVE F17 / FTWR WHITE CRYSTAL WHITE S16

ADIDAS - EQT RACING ADV PK W CREAM WHITE / BOLD ORANGE CORE BLACK

ADIDAS - EQT SUPPORT RF W GREY ONE F17 / GREY ONE F17 BOLD ORANGE

ADIDAS - EQT SUPPORT RF W CORE BLACK / CORE BLACK SUB GREEN S13

ADIDAS - EQT SUPPORT ADV CORE BLACK / CORE BLACK FTWR WHITE

ADIDAS - EQT SUPPORT ADV FTWR WHITE / FTWR WHITE CORE BLACK

ADIDAS - EQT RACING ADV W BLUE TINT S18 / ASH BLUE S18 FTWR WHITE

NEW BALANCE - 247 LUXE PACK GREY KHAKI - MENS

NEW BALANCE - 247 LUXE PACK FATIGUE GREEN - MENS

NEW BALANCE 574 SPORT SUEDE - WOMENS CAPPACINO

NEW BALANCE 574 SPORT SUEDE - MENS black

NEW BALANCE 574 SPORT SUEDE - MENS BLUE

NEW BALANCE 574 SPORT SUEDE - MENS KHAKI

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PLIMSOLL

CONVERSE - ONE STAR MID EGRET

CONVERSE - ONE STAR SUEDE DUSK PINK

CONVERSE - ONE STAR SUEDE MINT FOAM

CONVERSE - ONE STAR ENGINEERED OLIVE

CONVERSE - ONE STAR ENGINEERED BLACK

CONVERSE - ONE STAR ENGINEERED WHITE

CONVERSE - PRO LEATHER AL DAVIS WHITE / BLACK

CONVERSE - FASTBREAK â&#x20AC;&#x2DC;83 AL BLACK

CONVERSE - CHUCK TAYLOR ALL WHITE

CONVERSE - FASTBREAK SNAKE BLACK

CONVERSE - FASTBREAK SNAKE WHITE

LEVIS - ADELE PINK WHITE

LEVIS - ADELE SILVER WHITE

LEVIS - RIHANNA PINK WHITE

LEVIS - RIHANNA BLACK GOLD

LEVIS - TRUCKER LO 2 CANVAS BLACK FLORAL

LEVIS - TRUCKER LO 2 CANVAS WHITE FLORAL

ASICS - GEL-LYTE V DARKGREY / PEACOAT

ASICS - GEL-LYTE III BIRCH / HAMPTON GREEN

ASICS - GEL-LYTE RUNNER BLACK / BLACK

ASICS - GEL-LYTE RUNNER WHITE / WHITE

onitsuka tiger - GSM RUSSET BROWN / RUSSET BROWN

onitsuka tiger - GSM COFFEE / COFFEE

FILA - The Bubbles Navy / Blue / Red

FILA - Spaghetti Black /Cream

FILA - Spaghetti Desert / Cream

FILA - Cage Fuscia

FILA - 96 Quilted White / Gum

FILA - Tawny Tawny / Port / Gold

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The Snow White A CHILDHOOD CINEMATIC CLASSIC MEETS A TIMELESS DESIGN IN THIS FAIRYTALE COLLABORATION

Once upon a time there was a film that changed cinema history. 80 years since ©Disney’s Snow White & The Seven Dwarfs first entertained audiences around the world, ASICSTIGER now partners with ©Disney to create a collection to celebrate this iconic movie’s anniversary.

“The Snow White” GEL-LYTE (TM) shoe fuses copious amounts of references and details, from the apple print sockliner, to the red bow and velvet overlays (referencing Snow White’s cape), the story is played out with every stride. Similarly “The Evil Queen” GEL-LYTE (TM) shoe incorporates wicked details for the mischievous street stylist. From the premium colour palette and materials, such as the crown designed tongue, the purple pop and the gold glitter outsole relating back to the Evil Queen’s distinguishing clothes.

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The Evil Queen

For the first time ASICSTIGER brings the GEL-LYTE (TM) shoe to kids, with the launch of the shoe models, “The Seven Dwarfs” GEL-LYTE GS (TM). Doc, Grumpy, Happy, Sleepy, Bashful, Sneezy and Dopey are all brought to life in their own unique way, with fleece lining , black laces, print and material combinations inspired by the Dwarfs’ bedframe and colour palettes matching each Dwarf outfit. To launch the collection, ASICSTIGER partnered with Amsterdam based dance school, Global Dance Crew, weaving the classical musical fairytale with a contemporary hip-hop narrative. INFO: www.asicstiger.com

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In the ‘70s, the One Star sneaker was designed for basketball. Then skateboarding happened and the sneaker was given a new reason to exist. Materials, colors and details evolve over time—but its style is true.. The best parts are still here, like the vulcanized rubber outsole and iconic star design, and now it’s even more durable and comfortable. Built with modern materials,, it has proven to be yet another incredibly versatile sneaker for Converse. Constantly transcending and adapting over time, the One Star has proved itself timeless by moving forward while still respecting Converse’s heritage.

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@iseeadifferentyou

#OneStar

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