One Magazine by Sukruti Staneley

ÂŁ 9.95

JANUARY - MARCH 2012

britain uncovered a photo-led, location themed magazine

britainuncovered

the london breed I love dis great polluted place Where pop stars come to live their dreams Here ravers come for drum and bass And politicians plan their schemes, The music of the world is here Dis city can play any song They came to here from everywhere Tis they that made dis city strong. A world of food displayed on streets Where all the world can come and dine On meals that end with bitter sweets And cultures melt and intertwine, Two hundred languages give voice To fifteen thousand changing years And all religions can rejoice With exiled souls and pioneers.

I love dis overcrowded place Where old buildings mark men and time And new buildings all seem to race Up to a cloudy dank skyline, Too many cars mean dire air Too many guns mean danger Too many drugs means be aware Of strange gifts from a stranger. It’s so cool when the heat is on And when it’s cool it’s so wicked We just keep melting into one Just like the tribes before us did, I love dis concrete jungle still With all its sirens and its speed The people here united will Create a kind of London breed.

Benjamin Zephaniah “Too Black Too Strong” 2001

about editor Phil Clarke-Hill sub-editor Rebekka Hodges art director Camilla Watkins design Sukruti Anah Staneley picture editor Krisztina Kovacs production editor Fabio Pezzarini features editor Wilfred Zeng production 22 Kynaston Road Stoke Newington, London N16 0EX Published quarterly by One Magazine Collective www.onemagazine.com

Welcome to the first edition of One Magazine. Founded by seven photographers who have come together from seven different parts of the world, One is a quarterly, photo-led magazine with each issue focused on a different country. We provide a platform for documentary photographers who are producing interesting photo stories on under-reported subjects. By publishing world-class imagery, One hopes to provoke thought and discussion whilst giving a glimpse into the lesser known aspects of each chosen country. Uniquely for a photographic magazine, in addition to showcasing original and interesting work, at One we endeavour to perpetuate documentary photography by offering hard cash for the stories published. Please see the back page for submission details and the theme for the next issue. As we were founded and are now based in London, it only seemed right to theme the first edition of our vvmagazine on Britain– a country offering a bounty of diversity, contradictions and oddballs, renowned for its music scene and of course, its sense of humour. Let’s hope that One can live up to this reputation. We hope you enjoy the first edition of One as much we enjoyed putting it together for you.

Sincerely,

Phil Clarke-Hill Editor of One Magazine

content

people

tic tac talk

relationships

building bridges

tradition

kings of london

environment

sweet solutions

collection

living doll

play

theatre of dreams

heritage

tongue of fire

made in england

british china

music

cool as folk

community

an arresting mind

reflection

the photographerâ&#x20AC;&#x2122;s diary

tic-tac talk The Cheltenham Festival is the second biggest horse racing event in Britain. Fabio Pezzarini turns his camera away from the jockeys and their horses to give us a glimpse inside the spectatorâ&#x20AC;&#x2122;s stands. Words by Rebekka Hodges & Pictures by Fabio Pezzarini

: people

ike white rose petals seemingly placed to welcome visitors, discarded betting tickets lay scattered across the ground of the Best Mate section at the Cheltenham Festival. Each March on a stage framed by the Cotswold Hills, Gloucestershire, the Cheltenham Festival, a four-day horse racing event takes place. The annual event features a cast of the best horses, jockeys and trainers, playing to an audience of over 200,000 people. Three different tickets can be purchased for the event, giving punters the choice of, and access to one of three separate festival areas. When wandering around the Best Mate area, most of the people here seem engrossed in reading one of the official festival papers, which is distributed free of charge at the gates. Besides being one of the most popular spectator sports in the country, horse racing, together with greyhound racing and football

makes up an essential part of the British gambling industry. Furthermore, for racing’s professionals, winning at the Cheltenham Festival is how one’s career is defined, as years of planning and effort come to fruition. Equipped with a pair of binoculars, a newspaper and occasionally a pint, the people filling the Best Mate section seem to take this sport very seriously, and this competitive spirit prevails above all. The only place in this section where the nerves seem to loosen up is inside The Sun tent where loud music plays and the excitedly intoxicated crowd can be seen enjoying the day’s festivities on the big screen. Despite it being lady’s day, women are noticeably outnumbered by the masses of men, who stand by the betting stations, religiously studying the statistics. Those women who are present however cannot be missed, dressed in colourful and

extravagantly adorned hats, a classic part of the horse racing dress code in the UK. Just before the beginning of the last race of the day, the gates of the opposite section open to everyone. Inside the Tattersall, where ticket prices are almost double that of the Best Mate section, the general mood is more buoyant, where betting is only a small part. A man standing with his pint of beer on the first steps of the terrace wears a purple ladies hat and welcomes the crowd into the Tattersall for the final race of the day.

right: Extravagant womens’ hats are a fascinating feature of horse racing festivals, especially on Lady’s Day. During these events masculinity can often be put to the test.

: people

above: An elderly couple scan the betting statistics while other spectators patiently await the next race.

: people

above: A punter finalises his bet after engaging in tic-tac with book-makers.

building bridges June 15 will mark the one-year anniversary of the opening of the Peace Bridge in Derry, Northern Ireland. Words & Pictures by Rebekka Hodges

: relationships

he bridge, which cost a total of £14.5 million, was funded by the EU’s Peace III program under the Shared Space initiative that supports projects to reunite communities that were formerly divided. Both physically and symbolically, the Peace Bridge unites the two sides of the River Foyle, and is conceived as two distinct structural systems that work in harmony – a pair of identical curved suspension structures, each allied to opposing banks, in a fluid “S” shaped alignment. At the middle of the river both structural systems tangibly overlap, boldly interacting to create a single unified crossing – a structural handshake across the Foyle and an embrace in the centre of the river. “It’s bigger than a piece of engineering,” says Pauline Ross, Founder and Director of the Playhouse, Derry. “It’s bigger than the glass and the seats and the joining of one side of the river with the other, in that there is a spirit, a connectedness and it isn’t tangible but we still see it. The day that the Peace Bridge opened last year, people were crying. For me, it felt like that day in 1992 when we watched the wall in Berlin come down to bring together east and west. And, here in Derry there was a momentous feeling the day of the opening that our two sides were being united. And you weren’t in a bus, and you weren’t in a car. You were on your feet and you could feel the air and the river’s breeze, the smell in your lungs and nostrils, and people were crying and people were hugging as they passed each other, and this is just the beginning of it all.” Despite an initial lack of support from both the Water and City sides of Derry, saying that it was a waste of money and time, no one can deny that the bridge has already become a popular feature of the town, with over 400,000 people having crossed it since it’s opening. “It doesn’t matter what time of day it is,” says Alderman Devenney, Mayor of Derry. “Whether it is morning, noon or night, there are always people on that bridge.” “It is providing the two communities with an opportunity that has never before existed – to deliberately as an act of reconciliation, walk across to the other side, as a declaration to belong to a more diverse community. It’s doing exactly what was intended, it is building bridges.”

kingsoflondon Words by Rebekka Hodges & Pictures by Kirsztina Kovacs

ressed in a dicky dirt1 made from thousands of sparkly buttons, and an equally gleaming tit for tat2, the Pearly King takes his trouble and strife3 by the arm, ready for a day of fundraising in Covent Garden, London. The tradition of the Pearly Kings began in London in 1875, passing down between generations, and now extends to 30 families. The founder, Henry Croft spent his childhood in an orphanage and on reaching adulthood decided he wanted to give something back to others in need. Henry realised that an effective tool for fundraising money was to draw attention to oneself. He took inspiration from his Costermonger4 friends who had smoke pearl

buttons sewn in various patters all over their outfit. As his method for fundraising became increasingly popular, Henry looked onto the Costermongers for help. The group formed the first Pearly family and today, the great granddaughters and great grandsons can be seen in Covent Garden and at Columbia Road flower market every third weekend raising money for charities like the British Red Cross, Alzheimerâ&#x20AC;&#x2122;s Society and Macmillan Cancer Care.

dicky dirt - shirt tit for tat - hat 3 trouble and strife - wife 4 Costermonger - Victorian era, London street vendors 1 2

above: The designs are regularly changed and have symbolic meaning to the Pearlies, often typical to particular families. right: On average, a pearly outfit weighs between 20 and 30lbs, with the hat alone weighing around 1lbs.

: tradition

: environment

sweet solutions Britain’s largest greenhouse, which grows over 140 million tomatoes a year, is powered by the world’s largest sugar beet factory next door. Phil Clarke-Hill explores the symbiosis between the two industries. Words & Pictures by Phil-Clarke Hill

he Wissington British Sugar factory is the largest sugar beet factory in the world, producing sugar for the masses, most commonly in the form of Silver Spoon. The beet is grown an average of just 50km from the factory, rather than being shipped in from faraway countries such as Brazil and Thailand. The factory is a leading example of how a large-scale industrial operation can work sustainably, while producing a variety of commodities from the bi-products produced. At the core of the most efficient sugar factory in Europe is the Combined Heat and Power (CHP) plant. The heat produced from the energy intensive process of making sugar beet into granules is captured and channelled into other means. As well as supplying energy back to the National Grid, the heat is sent just a few hundred metres away to Cornerways nursery. Growing around 140 million tomatoes a year, Cornerways is the largest greenhouse in the UK and home to the largest crop of British grown tomatoes. Covering some 18 hectares, it is an incredible sight to behold, with a system that maximizes energy efficiency; using heat syncs and carbon dioxide distribution channels throughout the building. After the crop is grown, the tomatoes are packed on-site to minimise handling and transit. The produce is then despatched straight to the supermarket shelves direct from the nursery. There are a number of advantages for Cornerways’ close proximity to the Wissington sugar factory. More than 240 miles of piping carries hot water from the factory’s CHP plant around the glasshouse, to maintain the sweltering temperatures required to grow

: environment

previous spread: Cornerways nursery is the largest greenhouse in the UK, producing over 140 million tomatoes a year, which go straight onto the shelves of major supermarkets. above: Rows of plants showing the different aspects of the growing procedure: the metal piping sends the necessary heat throughout the nursery direct from the sugar factory next door; the clear tubing channels the carbon dioxide to improve photosynthesis, and the previous seasonsâ&#x20AC;&#x2122; cropped plants are left underneath to produce mulch for fertiliser. left: The grading machine uses a camera to sort the tomatoes into different varieties and sizes, and to take out the green ones.

tomatoes in the British climate. This hot water would otherwise be destined for cooling towers, so the scheme ensures that the heat is used productively. Another benefit is the productive use of CO2 from the sugar factory, which the plants use during photosynthesis. At Cornerways, carbon dioxide (a by-product from the CHP boiler) is pumped into the enormous glasshouse to be absorbed by the plants, rather than vented into the atmosphere as waste emissions. The site also harvests the rainwater from the giant glasshouse roof. Over 115 million litres are collected annually to irrigate the plants. Inside, over 8,500 bumblebees living in 170 beehives pollinate the crop. This forms part of the nurseryâ&#x20AC;&#x2122;s integrated approach to crop management, using natural agents and predators in preference to agro-chemicals. Overall, the site is an example of a holistic approach to integrating intensive agriculture and industry.

For more information visit www.britishtomatoes.co.uk

on this page: Tomatoes go in for selection and packing.

: environment

above: The view from behind the British Sugar factory as it discharges the processed beet into the waste storage pit.

livingdoll Words & Pictures by Camilla Watkins

: collection

With the largest collection in the world of the notorious ‘love-dolls’, Bobby and Liz Gibbins give an insight into the life of a devoted silicon parent.

hrowing open his arms in a welcoming manner and grinning widely, is Bobby Gibbins. His home, in the countryside that borders England and Wales where he lives with his wife Liz, is also home to their collection of life sized ‘love-dolls’. Having accumulated over 240 dolls, together they have amassed the largest collection in the world. Originating from Japan, USA and Germany, it seems that the love-doll fascination is becoming more than an unusual and alternative interest. The dolls’ original purpose, with their physical structure, lifelike skin and even orifices, is as an object for sexual gratification. Bobby and Liz however, are interested in the satisfaction of collecting, and the platonic non-sexual objectification of these beautiful dolls. The collection of such a specialised object will automatically inspire criticism, but it is a hobby that they share together, seemingly happily. The couple treats and considers their dolls as an extension of their family. They are stored in a spare bedroom as well as in purpose-built rabbit-warren-esque sheds, where they are treated with care and affection similar to how a farmer dotes upon his dog, or a little girl, her Barbie. Bobby’s infatuation began when he was purchasing toy dolls as gifts for his two young children. The interest soon stemmed into a collection of shop mannequins and is now a vast ‘love-doll’ collection, which is his primary focus. “I like collecting dolls, and that is it, but it’s a purely platonic relationship,” Bobby states. The couple have created a fictional world for each one of their dolls, taking them on day-trips out to the supermarket or pub etc, which they document on film or camera. Although Bobby will not refer to one particular doll as his favourite, he speaks of a few regulars who are taken out on day trips more often than others, and who also live with them in their house. “None of the dolls are allowed in our bedroom though,” Bobby adds categorically. “Katie is my favorite,” says Liz as she brushes the doll’s hair. “She has the prettiest face. I just wish they had a little more dignity sometimes. You know, not displaying their

: collection

This is Jessica. She is known as a ‘Real Doll’ and arrives exactly like this from the USA. All ‘Real Dolls’ come in a huge coloured transportation box with a single red rose tucked into their knickers. Also in the box is an authenticity certificate and user manual, the dolls are dressed in lingerie and provocatively positioned.

: collection ‘bits’ so overtly.” Watching Bobby and Liz care for the dolls in such an intimate but overridingly parental manner, it’s difficult to understand how it all began. Though, Liz affirms that since the dolls have become an important part of their life, she and Bobby spend much more time together, sharing the collection as a mutual hobby. “Jody, Jasmine, Charlotte, Jessica, Katie and Lolly, are just a few of the names,” Bobby says, extremely animated as he talks about how each doll was individually named after the couple were able to gauge the true sense of the doll’s unique personality. Each doll is represented by their choice of clothes, hair and makeup. In fact, one can chose the specific hair type and colour, eye colour, skin colour, nail length, breast size, waist dimension, height, foot size and specific additions such as tattoos or piercings of their doll. The dolls are the perfect representation of a female, and according to Bobby, “are correct in every possible way.” Different specifications for the dolls range from their ethnicity, for example, the Japanese dolls are daintier and have a distinctly ‘childlike’ look, whilst the American and German versions are generally sexier, larger dolls, provocatively positioned and seductively dressed. Astonishingly, the lightest of the dolls weighs in at 65 pounds, meaning movement and positioning can be difficult. The most expensive doll cost the couple almost £7000, including transportation, and Bobby admits, “it’s a rather expensive hobby, but they do retain their value; second-hand dolls are equally expensive.” Bobby and Liz will regularly shop for new doll clothes and accessories in local markets and stalls allowing them to vary the appearance of their dolls according to their daily activity. “We have to take care when dressing the dolls,” Liz says, and their actions mimic their worry - as though dressing a real baby. Because most of the dolls are made from silicon, they need regular grooming sessions and are rotated for bath-time to remove the dust and dirt that can collect on their slightly sticky skin. For this reason, some of the dolls are stored in sealed coffins where they can be protected. Here they lie, fully clothed – as if sleeping or in state. The coffins are stacked in one of the sheds, surrounded by other wooden and plastic boxes that have been built to store the dolls. “It’s a full time job caring for these dolls,” Bobby says. “I am often repairing the skeletons and any problems with the skin.” Inside his workshop, Bobby has also engineered specific accessories to help individual dolls to stand, sit and even dance.

It seems that being a car mechanic has had its advantages. The couple’s collection is not entirely from factory purchase; the pair has bought second hand dolls through an online forum run by Bobby, designed for international collectors to communicate. The site has a permanent rotating ‘online’ stream of approximately 40 people worldwide. They have also inherited a large number through ‘online’ friends who want a ‘good home’ for their dolls. Both Bobby and Liz have created a huge community through the forum, making hundreds of new friends with one shared interest. And the forum is growing, with Bobby as the owner, receiving requests from around five new members per day, suggesting that the revolution is just beginning. It’s difficult to decipher whether it is a collection, a fetish or an obsession and indeed psychologists from the 1920’s onwards have published research suggesting that all three are intertwined. But for Bobby and Liz, it’s the friendship, satisfaction and enjoyment

they receive together that encourages them to continue. Doll collectors are notoriously shy about presenting themselves as owners, for obvious reasons, but these two have nothing to hide, and are happy, relaxed and seemingly comfortable in their humble home surrounded by their extended silicon family.

above: Charlotte is from Japan. She regularly attends days out with Bobby and Liz and lives in the spare room. She is resting here with her baby. right: This is Jasmine from the USA. She is known as a ‘boy’s toy,’ and her huge eyes can be closed manually if desired. Bobby always clothes her in a floral red dress.

: collection

: play

theatreofdreams

Words & Pictures by Fabio Pezzarini

hree nights a week when the longest games are held, the busiest place in Tooting Broadway is the old Granada Cinema on Mitcham Road, now the home of Gala Bingo. Walking the short distance from the underground station, it soon becomes evident why people make the slow pilgrimage to the venue each week. Making your way up the stairs to the main entry, players are welcomed by a gentle host before swiping their membership cards and heading inside. The contrast between the interior and exterior décor is striking. Hidden inside the walls of the cold, grey façade, which is covered by giant neon letters spelling the word ‘bingo’, is a majestic theatre foyer decorated with an enormous chandelier. Two outstanding staircases lead to a balcony with a view over the main floor. While no dress code is required in this elegant venue, everyone steps in feeling rather special. For most recurring visitors, playing bingo is merely a background activity. A woman sitting with friends on the balcony, far from the crowded ground floor seats, confesses that she comes here every Thursday night for the pure pleasure of spending time with friends in such a grand venue.

Bringing thermoses of tea and packets of biscuits to snack on between games, the women chat leisurely. “We don’t come here for the money, the ones who win are always the same anyway. We come here to have a chat, be together and because this beautiful place reminds us of a time when we were young and used to come here to watch films!” Although some regular players sit by themselves, seemingly absorbed by the games called over the loudspeaker, there is a great sense of community and most people are involved in activities that one could find in any small village piazza. The Granada Cinema in Tooting, south London is one of the most spectacular pieces of architecture in all of Britain, with the design having been influenced by the work of architect, Theodore Komisarjevsky. The Granada is in fact, the first cinema in the United Kingdom to receive a Grade 1 listing. A Grade 1 listing is the highest listing any building in the UK can receive, putting the Granada on the same scale as the Tower of London, Buckingham Palace, Westminster Abbey and Stonehenge.

: play

tongueoffire Words & Pictures by Krisztina Kovacs

: heritage

trong, muscular legs, rich chestnut coat and docile, yet intelligent eyes characterise East Anglia’s pride, the Suffolk Punch horse. Equestrian author Marguerite Henry lovingly compared it to a “tongue of fire against black field furrows.” Once a popular workhorse, Britain’s irreplaceable farming ‘machine’ is now rarer than the Giant Panda with only a few enthusiasts keeping the breed from extinction. Among these, the biggest farms are Horkesley Park in Colchester with 23 Suffolk Punches still working the land with the animals; and the Suffolk Punch Trust with 20 horses, which was established in 2002 as an educational charity to save the animal. First bred in the 16th century for the purpose of carrying out difficult land work such as ploughing and logging, the Suffolk Punch is the oldest heavy horse type in Great Britain. What modern day machinery allows us to do now, the Suffolk Punch

: heritage

above: Ben and Bowler, two male foals are hoped to become breeding stallions. The pair now pass their time playfully at the Horkesley stable. right: The power of the horse and skill of the horseman can be just as good as machinery and presents no harm to wildlife. Alternatively, a tractor at full operating speed can kill or injure wildlife, while polluting the air.

allowed many farm owners in East Anglia to do for centuries. Before the Second World War there were over 300,000 Suffolk Punches. Unfortunately, this number has decreased to an alarming few hundred, and now with so few remaining, the breed has been added to the Critically Endangered Category in the Rare Breed Survival Trust’s Watch List. The decline of the horse breed was partly due to the vast numbers that were taken away as a warhorse to transport troops and supplies, with most of them never returning. However, the main reason for the decline was the introduction of machinery for land work, after which the breed did not stand a chance. Susan Pratt, forewoman of Horkesley farm, explains that although Horkesley is a working farm, they permit the occasional visitor who has some special connection to these horses. She recalls the visit of an 80-year-old man who had previously worked with the Suffolk Punch. “One day on arriving at work, he was greeted by a brand new tractor. As he went to clock in, his boss approached him and ordered that he take the farm’s horses to the slaughterhouse. While fighting back tears he led over 40 horses to their death.” Such decisions were common and were purely economical, as farmers began to find no use for the animal. While they are not particularly comfortable for riding given their wide back, the Suffolk Punch is now used for pulling carriages at weddings and funerals, logging in areas where it is difficult to get to by vehicle, and a few eco-friendly farms still use the horses for their original purpose of ploughing. It takes a very long time to secure a breed from extinction and the battle is far from safe with only 473 purebreds existing today. The Suffolk Punch Trust claims it is important to keep these magnificent animals alive because they are as much a part of the British heritage as monuments and folklore are.

right: Chris Pratt, head horseman of Horkesley Park and assistant lead two stallions out to plough the fields.

: heritage

britishchina

: made in england

The pottery industry has seen significant growth and decline in recent years. Sukruti Staneley visits Stoke-on-Trent, the centre of British ceramics to explore the struggle of local potters against the industries. Words & Pictures by Sukruti Staneley

alking through the deserted streets of Hanley, the centre of Stoke-onTrent, itâ&#x20AC;&#x2122;s hard to fathom that this town was not only the heart of ceramics in Britain, but also the world. Pottery is an age-old practice of universal origins. Ancient civilizations began making clay pots and tools for different uses; starting what was to become a huge industry. Clay lent itself to the hands of the potter; to be shaped, moulded and fired, therefore unifying earth, water, fire and air, the four elements of nature. From Persia to China, the use of earth to make pottery spread across the world, taking root in each culture to reflect spiritual and mythical beliefs, as well as various traditions. In the 17th century, the practice reached Britain. Quick to realise the great potential in pottery, Britain learnt and perfected new methods of creating exquisite pieces of creamware, and as time progressed, techniques were passed down to the succeeding generations. These families gave rise to some of the biggest names in the industry. Wedgwood was the first to begin in 1759, followed by Spode in 1767. The rich soil in Stoke-on-Trent was teeming with goodness and it soon became the centre of ceramics in the country. Some businesses went on to become international names in British Ceramics and the trade soon split, making rivals between the industry and the local potters. With a market for mass production running parallel to the one for studio pottery, it slowly became a test of survival. Large companies were able to afford heavy equipment and some were also able to import clay from other countries. The local potteries found this almost impossible to compete with, and this period saw the reign of large industrial potters. When the depression of 1930 hit the industry, few large-scale potters survived and studio pottery was re-introduced. â&#x20AC;&#x153;When you hold a pot in your hands, when you go over its walls with your fingers, you

History of British Pottery 1700

England recognised the absence of porcelain manufacturers in the country

Porcelain factories were established in Britain and the influence of Chinese Pottery was identified

Pottery gained aristocratic and royal customs, it was integrated into regal living

1750

1850

1800

An increase in the consumption of tea and coffee along with elaborate formal dining gave rise to the need for extravagant china

: made in england

Wedgwood Museum Trust faces being sold due to liability for debts

Due to economic depression, there was a decline in large-scale industries

2010

2012

1950

1900

An increase in mass manufacturing within the ceramics industry

On-going attempts to revive The Potteries and expand the market for British Ceramics

2000

Rise of studio, small-scale potteries and individual artists around Britain created unique pieces

2009

Spode Factory closes down after being bought out by Portmeirion Group

: made in england

feel the hand of the potter, his finger marks and his touch,” says Otto Natzler, an Austrian ceramicist. It was this feeling and this personal touch that some potters refused to let go of. British pottery has its own character – a cheerful one, which at times is overflowing with humour. Architectural historian, Nikolaus Pevsner believed that, “the Englishness of English Art came from the portrayal of observed life.” And, looking at the long but on-going journey of the pottery industry in Stoke-on-Trent, it is clear to see that each piece of ceramic tells the tale of the British life. Today, pottery has become a part of everyday life, whether or not it is obvious, countless pieces now fill the shelves of many homes across Britain.

on this spread: The 25 year old Emma Bridgewater factory, based in Stoke-on-Trent makes unique pottery for homes across Britain. The clay comes from Cornwall, it is hand-made in Stoke, and is then sold throughout England.

above: A child’s’ plate found in the Spode Factory in Stoke-onTrent from the ‘Winnie the Pooh’ Collection Series. right: Placed on Wedgwood plates are cupcakes - not the kind you can eat. Made of porcelain, they grace the heritage beneath them.

: made in england

coolasfolk Words & Pictures by Phil Clarke-Hill

: music

here’s a resurgence of live acoustic music bubbling up from the hidden corners of East London. Bluegrass, Celtic roots and folk are the styles on offer, and sometimes a fusion of all three. Anywhere can act as a venue, whether it’s a clothes shop come café, such as the Vintage Emporium near Shoreditch High Street Station; Jamboree, a crumbling bar tucked away in the

corner of an old soap factory in Limehouse; or the Russet, a buzzing café in the new arts complex, Hackney Downs Studios. Monday seems to be the night to catch the freshest of folk, such as Max Baillie (pictured on the following page) playing at the Woodburner night at the Russet. Saturday afternoon is also a good time. Be sure to keep an eye out for the bluegrass band, The Good

Time Family if you are around Brick Lane, (shown below at the Vintage Emporium, Bacon Street). Failing that, Colombia Road flower market in Bethnal Green on Sunday is always a good bet for some excellent open-air music, regularly showcasing promising young talents such as female singer songwriters, Brooke Sharkey and Garance Louis.

: music

aren, 36, used to be a sign language teacher before she became a heroine addict. She served multiple sentences, mainly for shoplifting and other minor thefts in order to support her drug addiction. In prison, nobody really helps you to come off the drugs; it’s more to maintain your habits. When you enter, a doctor prescribes you with a dose of methadone to take each day from then on. On a normal day, you have one hour to exercise, shower and spend time in the yard. The other 23 hours are spent locked up on your own, or if you are part of the working team you get a few hours to clean the yard, peel potatoes or other similar activities. So,

when you are sitting alone in your cell for weeks and months, the only thing to get you through is to dream about being on drugs again. While the dose decreases gradually most of the time your sentence is finished before you are completely clear. So when you are released you have a maintained need for the drugs. Once outside, you are also faced with housing problems. When you have been arrested, word reaches the street and people often rob your house. Or your landlord throws your stuff outside because you couldn’t keep paying the rent. You have lost everything and with nowhere to go you have to wait between three weeks and three months for accommodation services

even though they know your release date way before it happens. If you manage to survive this period without falling back to crime, they put you in a hostel surrounded by junkies. Probation services were established to supervise and support offenders. During my probation, I had three different officers, meaning that I was never able to build a personal relationship with them. They always asked the same three questions – how are you, how is your drug use and when is your next appointment? They don’t have time to individually care for 80 people. It’s supposed to be social work, but somehow it’s turned into a government target, blindly ticking boxes.

anarrestingmind Words & Pictures by Krisztina Kovacs I n 2011, 75% of prisoners in the UK were reoffenders, with many returning back to prison as shortly as days after their release. While imprisoning criminals keeps them out of the sight of society and prevents them from committing another crime for the duration of their sentence, does it offer the right solution to stop them from re offending, and to help reintegrate them back into society? Ex-offenders who are now working with User Voice to raise awareness and bring a reform to the British imprisonment system speak out about their experiences.

arry, 31, spent a total of eight years in prison for drug related offences. He was last released in 2008 and now works at User Voice as a Volunteers’ Coordinator. When I was a kid I hated everybody, especially those with any authority. I had no respect for women either because my mum betrayed me by sticking with my step dad. He used to beat me, sometimes for no reason at all. He used to say that I was worth nothing and that I’d never achieve a thing. Then, when I was 13, he told mum to put me into care or he would leave her. Mum chose him. In care you associate with people who are involved in crime. These guys used to bully me and when I tried to speak out to my caretaker he took off his belt and hit me.

Sometimes I felt safer in prison. The first time I was arrested I was 15 years old. I was really scared of going to prison and I didn’t understand why the other guys in the jail bus were so cheerful. Obviously it was not their first time. In prison, I was put with a bunch of other troubled and damaged kids with barely a thing to do to pass the time. Some of them bullied me so badly that once I tried to cut my wrists to escape it. In prison you get very little support – any help from a police officer would be far too much effort on their part. Spending time in prison shouldn’t be a punishment; it doesn’t work with kids with no reference of ‘reward’, which would put ‘punishment’ into context. We just come out even more damaged than we were before.

Most of us were victims ourselves before we committed a crime and that’s what should be addressed. Individual therapy could have helped the most. When I was older I was labelled by my past convictions and had hardly any education or work experience that I could use to find a job. The types of things we get to do in prison are very menial, like working the yard, and they don’t teach us any useful skills that we can use in the outside world. Most people go to prison promising themselves that they will change their life, and prison should catch you while the enthusiasm is there. They should engage the prisoners meaningfully and help them to gain employable skills.

: community

above: Wellington Pier, built as a memorial to the recently deceased â&#x20AC;&#x2DC;Iron Dukeâ&#x20AC;&#x2122; as well as adding an attraction to the seaside town, was built in 1853. Part of the pier was demolished in 2005 due to a lack of maintenance funds. right: View of the harbor from Wellington Pier. Construction of this site was completed in 2009 and was initially used for gas transportation, which is an important contributor to the local energy industry.

: reflection

thephotographerâ&#x20AC;&#x2122;sdiary Words & Pictures by Wilfred Zeng Each edition, One gives their photographers space to interpret the quarterly theme. For Britain Uncovered, Photographer Wilfred Zeng visits the seaside town of Great Yarmouth.

: reflection

here was a day not so long ago when visitors used to flock to Great Yarmouth, Norfolk from all across the country. Now, sitting on a train with only a small handful of passengers, it’s difficult to imagine the route ever being busy. Affordable air travel has given even those on a budget the chance to enjoy the sunshine of Barcelona, Cannes or Sorrento in next to no time, making grand rivals for the once popular British seaside resorts. Arriving in Great Yarmouth, it’s easy to see why this long stretch of beach was once a popular choice. For this issue’s visual column, the images reflect the two states of Great Yarmouth: past and present. The photo on the left shows the beach, with charming but crumbling guest houses dotting the horizon. Perhaps not a reflection of what the locals may think, but for my photography at least, it was fantastic that I didn’t need to worry about people altering my shots, as there were

very few about. “It used to be a really buzzing town,” lifetime resident Richard Doubleday says. “But during the off-season, the place comes to a standstill. Everything closes down and the streets are void of life,” he continues, reflecting on its current state. “Even summer is quiet now. I remember when it was hard to even find a place to sit on the beach.” The second image shows the evolution of the town. To take this photograph, I stood on the exact spot where I took the first, and turned 180 degrees to look out over the ocean where you can see a distant glimpse of the offshore wind farm. It seems a cliché, but in a place so naturally rewarding, as long as the sky is blue, the outcome of my photos is always satisfying. Wind energy is now a major contributor to the local economy. And, although people like Richard might not be passionate about having giant wind turbines scattering their once pristine scenery, they are driving the

town forward. Being involved in the first round of British offshore wind farm development, the Sorby Sand wind farm is a major contributor, making Britain the country to use the most offshore wind energy in Europe. For me, the most attractive feature of Great Yarmouth is its layer-upon-layer history and its connection with what is symbolically British. After 30 years since the publication of Martin Parr’s unflattering images of British seaside resorts, I think towns like Great Yarmouth are still trying to embrace something rather British.

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next issue

brazil april-june 2012

For the second edition, One magazine will be heading across to South America, and we want your stories. The largest country in South America, Brazil is bursting with superlatives â&#x20AC;&#x201C; samba, social change and super scale industry, and letâ&#x20AC;&#x2122;s not forget the oozing seductiveness, sand and sea. If you think you have an unusual side of Brazil that you could or have uncovered, please get in touch.