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BROGUE

Brogue Magazine , Book Two, March 29th 2014

Brogue Magazine The Holy Brogue Sinners & Saints First edition Brogue Magazine is the Official Magazine for Brighton Arts Club Editor-In-Chief: Spirit de la Mare C. Spirit de la Mare and Goddamn Media Published by Goddamn Media 2014 2


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Photo of Brogue Moustache

This page: photograph by Gareth Gregg. (page)

CONTENTS BROGUE II-THE HOLY BROGUE– SAINTS & SINNERS Page: 6....................................................................Employee of the month 7.....................................................................Editor’s Letter 8.....................................................................A Wolf in the Stomach Phillip Why 10...................................................................Predator: A Psychological review Dean Armstrong 14.....................................................................Adamski Interview 17.....................................................................Oli Spleen 20...................................................................The Flesh Happening, Pink Narcissus & Queer culture in rock ’n’ Roll 3‘

22....................................................................Del O’Connor Interview 27......................................................................Forgive me father 29.....................................................................The EDL March 38.....................................................................Normanton Street 42......................................................................The Phoebe Freya EP 45......................................................................Passion for Street wear: Fuud London 48......................................................................Rhatia Renee 52......................................................................My Mother’s Gun Jessica Radcliff 53......................................................................Poetry 54......................................................................Introducing The Coolness


4 This page: Photo by Miz Brixz.

Right: Photograph by Goddamn Media

CONTENTS BROGUE II-THE HOLY BROGUE– SAINTS & SINNERS 56......................................................... The Corpse Leapt Up & Pissed on My Table Jupiter John

75...........................................................Come & See

57..........................................................The Great Big Sell Off Pete Gioconda 58..........................................................Words & Poetry

77............................................................Choose Your Own Documentary Nathan Penlington 78...........................................................Sugar– Ade Sluzky

59..........................................................Fauna Sylvester 64...........................................................Chrissie Nicholson-Wild 69..........................................................Miz Brixz 70...........................................................Reviews: Pharoahe Monch & Veronica Fearon 72...........................................................Wu-Tang is for the Children

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The Chapman Brothers


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CONTRIBUTORS PHOOS

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BROGUE’S EMPLOYEE OF THE MONTH Olivia Rosenthall Not only is she Brogue’s best loved music journalist but Olivia sings backing vocals for one of our favourite bands at the moment: Dojo. Dojo were featured in our first ever issue and continue through our speakers on a daily basis. Just in case supporting Ground Nation wasn't quiet enough, Olivia writes for two other publications. The girl’s got game. Read her review of the Phoebe Freya EP by Normanton Street on page 6

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FROM THE EDITOR A thank you It all started with a facebook page. Even when the idea of Brogue was in its infancy, before the first word was written and the first photo placed Brogue evolved, changed hands and grew. Nothing good is easy as they say. With no budget and no staff, just a sense of urgency and a pocket of creative people stationed at the renowned Brighton Arts Club the magazine was carved and produced in under five weeks; an incredible feat by anyone’s standards. We took to the stage with such zeal and tenacity and my word did it pay off. The first issue received an incredible amount of public and press support , thanks and recognition. More than could ever have been hoped for. We received a breathtaking number of views online and sold out of our first edition before we had even recovered from that incredible launch party. Thank you. Our aim is to pioneer a new style of media; writing for the people by the people if you’ll excuse the naff catch phrase. The pages are full of strange and interesting topics and perhaps a more honest look at what the wonderful public are up to and/or inspired by. We were so inundated with submissions for ‘The Holy Brogue’ that I have spent nearly every waking moment reading and deliberating as to what to include. Something I am certainly not complaining about. I have laughed hard and at times been emotional, often slightly perplexed. Within these pages we have explored the theme of sinners and saints, right and wrong and all things sinful or otherwise. We have remained agenda free as always leaving you to decide who are the sinners and who was sanctified. We have packed the pages with great photography, more comical illustrations, great reviews...and of coarse the unabridged interviews we know you love. Read on Brogue army!

THE FUTURE OF BROGUE

Brogue submissions and requests have dramatically broadened within a very short space of time. We have therefore decided that Brogue will no longer be centred around the artists at Brighton Arts Club alone nor will it be the official magazine for the club. Brogue will be branching out and hunting further afield for our page fillers. Brighton Arts Club will be launching it’s very own magazine spear headed by owner Pasha du Valentine. BAC Mischief will no doubt be filled with yet more exciting art, film and media meat. I will remain as Editor at Brogue. These are very exciting times for both Pasha and myself. Spirit de la Mare Editor-In-Chief

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picyure

A Wolf in the Stomach (after Neil Gaiman) Short story by Phillip Why Photograph By Goddamn Media. Brighthelm Church Yard Opposite page: Photograph by Goddamn Media

How she was found and the butcher shop display he’d made of her, so violent, so destructive. The doctor, a man not given to emotional outbursts, had to steady himself on the dresser as he breathed deeply and spoke as how he’d never seen the like. He was an animal, this killer, this wolf in the coat of a man. Posing the body like that, they muttered darkly in the corners of the candle lit room, is either the work of an evil man, or as one wag quipped, an ordinary demon.

it seems. Detective Inspector Lumberjacke sat in the corner, a procession of vague figures came and went, some to scrape and clean, some to catalogue and box. He considered her earlier journey as he watched her take her last, seeing it in his minds eye like a magic lantern show, slide after yellowing slide painted in gay colours, stained with cigar smoke and dust.

Lumberjacke, eyes closed, could see Miss Hood skipping to the shop along the cobbles by gaslight, choosing the cake and wine, and bidding the shopkeep good day intending to return. But the dark figure in the doorway blocked her path. The shopkeep said only that the man was tall, and all that could be seen of him in light from the gaslight under the shadow of his broad brimmed hat was his whiskers and his large, stained and long teeth as he smiled. The shopkeep, Mr Redcap, said he didn’t hear all of what was said to the girl by this imposing gentleman, but he described the tone of voice as a sort of low rasping whisper. The snippet he heard was The girl, Miss Hood, had begun her journey back to the something about not liking cake so much as apple dumplin’s, house of medium repute from the local shop in Wood Lane, and all looking at her bosom. The voice sounded like the Grandmother, an honorary title at best; also slain with a single, terrible knife swipe to the throat after hearing the screams of her ward and arriving at the bedroom door, lay in the hallway, her boots peeking around the wainscoting at its foot. It was she who had sent the red haired girl to the shop for wine and cake; to be shared between her and the other girls who worked at Grandmothers house down here at Three Oaks in the East End of London.

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9 throat of the speaker was full of earth, he had said quietly, and adding with a visible shudder that it was not a voice he would forget in a month of Sundays. The shopkeep viewed her listening to the man’s proposal, nodding and smiling sweetly, and waving a slightly distracted farewell to Mr Redcap, she had accompanied this wolf back to Grandmother’s house. Any other man making so untimely a proposal would have a sharp reply; “that’s my eye, Betty Martin” or “shut yer bone box” she normally would have shot back. But this proposal, these silken, gritted syllables were delivered in such a tone you would not refuse, or so it seemed. Of the journey back nothing was known, but upon being observed arriving back at Grandmother’s house, the girl gave the basket of goods to one of her “sisters” Elizabeth Bones, and said to go with the other girls and eat, she wouldn’t be long. Miss Hood turned and ushered the man into the downstairs front bedroom. Miss Bones stated when questioned that the man was tall, as tall a man as she had ever seen, a giant likely, and she momentarily feared for the safety of Miss Hood, for she might be crushed beneath his enormous frame. But she had brushed this thought aside, she added tearfully, with thoughts of cake… Doubtless she could have done nothing against this monster even if she had come to Miss Hood’s aid, Lumberjacke mused.

It was there, he could feel it. Try as he might, the scene was so, disarrayed. So seemingly random. What was the motive? Then he felt it. It was not a pleasant feeling, but it welled up like a sudden fear of heights or a noise in the night when you are sleeping. The thought, like a tiny apologetic sliver of doom, beckoned to him, just outside of his notice, a small thought which asked politely to be heard. He dismissed it angrily three times before he relaxed and squinted cutty-eyed out of the corner of his mind, reluctantly and helplessly, and let it in. Was the man real? Was he a demon? A wolf demon come to Earth to slay the weak and the beautiful for his own psychotic pleasure? That was nonsense, he protested weakly, base hysterical tosh! But was it? Was the unknown a lie simply because it was as yet unknowable? The thought tried again. It craved his attention more strongly and he listened grimly to it’s message. Do the fallen gods crave to mutilate and destroy the bodies of men and women for their own edification? In the absence of our praise and worship do the fallen reach out and take the red water of our life and meat of our bones? In these cobbled streets of night do they take their red and pink worship in the form of our blood and flesh? With the still, cold ripple of realisation in the pit of his stomach, like the flickering knife which had just stolen worship from the flesh and blood of poor Mary Hood, he knew in his heart it was true

What then? Miss Bones had turned, thoughts of cake in her mind, but as the man entered the room she caught a fleeting glimpse under the shadow of that great hat of one huge eye and one enormous ear. She recalled ruefully thinking they would be all the better to see and hear with, but chided herself for such frivolous thoughts. That cold eye would give her nightmares, she said after a long pause. Miss Hood shortly called for drink, and after a graveled reproving voice in the background repeated verbatim, “…and the gentlemen says not one of them short bawdy house bottles, a proper size.” The ale was brought, and the door was closed into its hole. Then the crime. Within minutes of the door touching it’s frame, the first screams, then the last cut horribly short. Lumberjacke rubbed his beard and asked one of the passing constables to give him a cigarette. The young man obliged, first rubbing a bloodied hand on his rough dark trouser, and carefully teasing the smoke from its box without hardly touching it. Although he very much needed to know what had happened here in order to assemble clues and form some idea of who had done this horrifying thing, the crime itself was unobserved by any living soul. The ferocity of the blows and the cuts bespoke a large and strong man, and the intricacy and precision of the posing spoke of a derangement far beyond Lumberjacke’s experience. And the girl, Miss Hood, so pretty in the single vignetted photograph by the bed, now slick with dark fresh blood. How had she come to this end? What crime had she ever committed which fit such brutal punishment? He exhaled and rocked back in the chair as the work continued, letting the men complete their work while he tried to marshal his thoughts and regain his composure.

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Predator : A psychological review By Dean Armstrong When I first saw Predator I was a young impressionable teenager living the bad dream of post Thatcher Britain. Around this time M.C. hammer was all over MTV, anyone one who was cool (like me of course) had NWA’s ‘Straight Outta Compton’ album blasting out of their tape deck. Although, this did lead to a few unfortunate souls finding their faces on the wrong end of my fists – but boys will be boys: “oh shit man them black gangsters are at it again. I wonder who they fucked up today” (Screeching tires) YOU! MOTHERFUCKER (Gunshots) Got him! -NWA: Gangsta Gangsta 1988

of course the fear of women. In Dog Soldiers, this same fear is represented as a Werewolf transforming during a lunar cycle or woman’s menstrual cycle. “Being nice to women will get you nowhere Cooper, being nice to me will get you killed. You may think they’re all bitches but I’m the real thing.” “It s that time of the month” -Megan, Dog Soldiers 2002

Written and directed by Neil Marshall, director of the acclaimed The Descent. It is possible that he picked up on this theme from Predator and ran with it in Dog Soldiers. Although this fear of female sexuality is cleverly hidden and easily overlooked in Predator, it is actually obvious once you know. If you watch closely, you’ll notice that bleeding, open wounds are deliberately associated with the only feLike most teenage boys, I thought Predator was best thing since male character in the whole film. This is done by stealth and deJames Cameron’s Aliens and even took to running around the local signed to slip into the subconscious using symbolism. First, when the woods between smoking bongs to act out parts of the movie. As I alien does some DIY surgery to a bleeding wound on his leg (quite said, boys will be boys and this is seemingly a boy’s movie. (Free near its crotch), it clamps the wound, roars like a beast and then the feminists punches later.) I never thought it would still have such a camera cuts straight to Anna, who herself was looking at the Aliens hold on my imagination twenty years on. Even in the 21 st century, blood that was on her trousers – also near the crotch. The second, this typically formulaic, action B-movie from the 80’s is still very when Mac goes kill crazy on a low flying wild pig, leaving a large popular, even scoring 78% on rotten tomatoes – not bad. Spawning a bloody gash on its hairy body. Again, the camera cuts straight to franchise that managed to cross over into Ridley Scott’s Alien legAnna. So subtle, you might not even notice that the film shows imacy, Predator is part of popular culture and one of my favourite ages of bleeding wounds, followed by images of a woman. Also comic books to date is “Batman Versus Predator”- (Please, somewhen Anna reveals the fact that the Alien left blood on some leaves, one make this graphic novel into a movie). the response isOK, so why? Why does this resonate, and particularly resonate with the male of the species? Now, I know what’s coming: the clamour of ‘Gay subtext, symbolism and homoerotic themes’, but NO SALE! I’m not buying that. In this over sexualised culture of today, anything that involves men being physical and showing any camaraderie or affection to each other is labelled as ‘gay’. No doubt, the film plays on the theme; male fear of female sexuality, but this is a story about the development of the male psyche; complete with religious references; original sin, the fall from the Garden of Eden, the ‘Shamanic journey’ and Joseph Conrad’s Heart of Darkness. The film starts off like any teenage male fantasy of power and sex; big men with big guns, blowing away anyone whose dick is not as big as theirs. Especially, ‘Ole Painless’, the gun carried by Blaine: The sexual tyrannosaurus in the pack! This gun looks like it should be part of the Ghostbusters Zombie killing kit and reek’s of penis symbolism. But later on there are no guns, no boys toys – just a man and his wits. The film starts off like any RPG shoot ‘em up, and develops into a Ray Mears survival lesson with a twist. Rather than the theme; male fear of female sexuality, the film is perhaps more about male maturity and accepting responsibility for your actions. As teenagers we all dream of sex without consequence and violence without casualties and this is a part of the films hidden narrative as we will see. "What scares you coop?" "Women.... and spiders... And spider women" -Dog Soldiers 2002 The werewolf movie Dog Soldiers has many similarities to Predator A group of soldiers on a covert mission that goes wrong, the attack by a superior and supernatural force leaving a single survivor, even wounded animals unexpectedly dropping into the camp at night and 10 10

“If it bleeds we can kill it” This line is typical of a teenage male’s attitude towards violence and sexuality (or mine anyway) fuck, fuck, fuck – kill, kill, kill. Throughout the first part of the film we see swaggering soldiers casually killing and telling jokes about sex and female genitalia. Plenty of pussy jokes for the boys. Men, and particularly men of violence naturally associate blood with violence, but a woman’s period is a stark reminder of responsibility and consequences of adulthood. This is why men are freaked out by the idea of the part of a woman’s body that offers so much pleasure and joy, actually bleeds once a month. Sex brings birth, babies and life just like violence brings death, bodies and blood. This is the small print we as men don’t like to think about. We just wanna role like James Bond, kill men and shag women, no comebacks, sweet! But life just isn’t like that. This responsibility that comes with sex is played out when we see Schwarzenegger’s character; Dutch and Anna playing parents by carrying a wounded soldier (the baby), through the jungle like a nuclear family on a camping trip, while Anna constantly bickers like the archetypal nagging wife. A lot of young guys would rather be carrying a big gun shaped like a dick through the jungle then play mommy and daddy on holiday. This is the fear; the fear of pregnancy, birth, children and families and the responsibility that comes with it – growing up! I mean what happened to playing Call of Duty and having things our way? Predator is a film aimed at men and deals with what dominates the minds of young men. Sex and violence; but this film brings home the consequences, after all the fun of the fuck and the fight - Blood. Blood is the price of violence and sexuality and Predator subtly tackles this issue of man’s responsibility to himself, others and the world around him.


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ORIGINAL SIN AND THE GARDEN OF EDEN Now, it had been a long standing idea in religion that all women bore the punishment of Eve’s original sin, in the form of her menstruation. This is unfair seeing that it is actually a sign of a girl blossoming into maturity and womanhood but I believe that Predator negates this idea by shifting the blame on to both man and woman. Religious themes are subtle but strong in Predator. The sign of the cross appears prominently in the film; mainly through crosshair targets and crosses at various points during the action. For example when Blaine sneaks up to the nest to ambush the guerrillas, two twigs make the sign of the cross next to him. Also, when the guerrilla’s fuel tanker explodes after the ambush, parts of this scene are shot through a cross made of twigs in the guerrilla’s hut. And, later Anna tells a story of the old women of her village ‘crossing themselves’, after finding mutilated bodies of dead men. Themes of the Garden of Eden are inconspicuous but they are there! The only survivor of the team, Dutch, is singled out early on in the film after the first of his men are killed by the ‘demon’. While seeking the unseen assailant, Dutch see’s an enormous snake slithering towards him in a symbolic meeting of Adam and serpent in the Garden of Eden. Minutes later, the second man to be killed; Blaine, has a snakeskin band around his hat - just to remind us. The idea of the serpent/devil is deliberately injected into the undercurrent of the story from the start. Most films that involve extra terrestrial invaders have the alien descending from the heavens, from above, to emphasise their being above and beyond our puny human capabilities. In Predator, the spaceship shoots the alien form up to our world from below the earth – from Hell. There are other motifs of original sin and the devil at work too. The theme of temptation and ‘pride before the fall’ is played upon in the film. Anna provides temptation when she makes sexual advances to her captor to facilitate her escape, which ends in the killing of the first soldier by the Alien. Later, when the team decide to dig in and make a last stand, Dutch is tempted by pride to coax the Alien out into the open himself after being mocked by a fellow soldier. This results in disaster as the alien, who is still invisible at this point, fires a weapon that resembles a lightning strike from above, akin to the wrath of God and then all hell breaks loose, literally. In the original Genesis stories Adam is created from soil of the earth. Adam and Eve’s sin is that they eat from the tree of knowledge and this is the cause of the fall from Eden. -How does Dutch survive his encounter with the Alien Killing Machine? After the team’s failed last stand, he falls into a beautiful lagoon within a mini paradise. As he crawls out of the lagoon and across the shore, he becomes covered in soil. When the predator follows him out of the water, Dutch, attempting to escape, crawl’s up to the exposed roots of a tree and then entangles his arms in them. At this point Dutch, totally vulnerable but covered in muck, gains insight into how to defeat the alien. The alien cannot see him as he is caked in mud – soil of the earth. This is the beginning of his rejuvenation and return. This motif acts like Adam’s symbolic return to Eden and the tree of knowledge and of his redemption.

jungle and encountering dark forces and evil. In Predator we see a group of US soldier’s rock and roll their way into the jungle, like Colonel Kilgore in Apocalypse Now, complete with music and helicopters. “we're gonna have some fun tonight” – Little Richard’s Long tall Sally, blaring out as loud as Kilgore’s Ride of the Valkyries in Vietnam. These soldiers are heading straight into the heart of darkness, where men meet dark side of themselves - the shadow. In Apocalypse Now, the psychological shadow is Colonel Kurtz. In Predator, it is the Alien, described by the DVD scene selections as ‘the demon’. The Predator is the shadow of these soldiers, the ultimate killing machine; a hunter, merciless and efficient. This is how the movie touches on the development of the male psyche. Dutch must learn to rise above his dark side, represented by the ‘shadow demon’ or he will be overcome and swallowed up by it. All of his dark impulses motivated through violence and sex must be mastered for him to become a full, well balanced man. And, he must learn to do this without relying on the technology of superior fire power or fancy guns (materialism). This is an even more potent message today than it was in 1987. Today, most men are naked without their tech and toys; jeeps, hummers, laptops, games consoles and smart phones. This is the age of ‘hittin’ switches’ and watching your enemy disappear in a flash on a monitor screen. Yep, modern man is a pussy without his mod cons. The message - to develop as human beings we need to go back to basics and leave the materialism behind and learn to be effective without it, just like Dutch does. The dark side of modern man- the shadow- is twisted up in his material power and this is exemplified in the under trained but over equipped soldier of the modern era. In Apocalypse Now, Colonel Kurtz is critical of the US’s military approach to Vietnam crisis- ‘too many men and equipment and not enough will.’ In Predator, it is the soldier’s overreliance on hi-tech firepower that leads to their downfall.

CONCLUSION It’s hard to believe that what seems to be, on the surface, just a dumb action movie could have so much depth and I don’t believe all of it was deliberate. I reckon things just came together like that. Great stories that resonate always have a little bit of magic to their creation and Predator is no exception. The movie appeals to men on many psychological levels which is why it has become part of popular culture. We see the hero, Dutch going through the classic stages of the shamanic journey-darkness, descent death, dismemberment, rejuvenation, return

I’m not going to illustrate how these stages are played out in Predator; as I’m lazy, somebody else has already done this better than I could and I feel that people can come to their own conclusions on stuff like this. But, despite the touch of the old ultra-violence, Predator has a lot of positive messages to it and that’s the beauty. Reel in the guys with action, violence and guns and actually communicate something worthwhile to them. An exposition of mans psychological growth to fullness played out in the modern mythology that is the "...and almost we are persuaded that there is something, after all action movie. And for the ladies who are mystified by its popularity — something essential, waiting for all of us in the dark areas of the among males – maybe this will help you understand why. world: Aboriginally loathsome, immeasurable and certainly nameless.” *Note from the editor: Brogue magazine and Brighton Arts Club do not necessarily support the opinions expressed in this article, we do -Orson Wells however enjoy sparking a healthy debate. For the record I love all the Joseph Conrad’s Heart of Darkness 1938 films mentioned and am certainly not mystified by their success. One of the first things I noticed when I first watched Predator all those years ago was its similarity to Francis Ford Coppolla’s Apocalypse Now, which is a modern retelling of Joseph Conrad’s Heart of Darkness. I picked up on the echoing theme of men going into the

THE SHADOW IN THE HEART OF DARKNESS

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ADAMSKI COMPLETELY UNABRIDGED I got homesick and I'm back in broken Britain

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I spy some punk influences, certainly in your styling, name choices and even collaborations (Nina Hagen). Definitely, my idol was Malcolm Maclaron. When I was nine or ten the sex pistols were obviously highly charismatic, talented, stylish characters but without his vision and scheming I can't imagine they would've got it together and had the impact on culture that they did . My first cat was called Malcolm. I was an avid John Peel listener- transistor radio under the pillow -I was only a little kid with strict parents. Even though 'Never mind the bollocks' is obviously a blinding rock album I preferred 'The great rock n roll swindle' because It was so eclectic. Sid doing rockabilly, the disco, classical tracks etc. That all fired my imagination and showed me that I could do what the fuck I liked musically. I sent a bedroom -recorded, cassette demo of me on a toy guitar and my five year old brother on vox (the stupid babies) to hip indie label du jour. Fast forward and they released it! John peel used to regularly play it. That was me playing at ‘maclarenism’. It never occurred to me this time was precocious and remains one of my proudest moments, much more so than 'killer' ...my childhood was surreal and indeed fuelled by punk rock! Were you always into dance music or are your roots from elsewhere? The 1st time I danced in public was at the school youth club to 'gangsters' by the specials. I loved two-tone and that was def a dance craze. When that lost it's energy Terry hall (hero) continued spectacularly with fun boy three (introducing drum machines) and there was Vince Clarke (hero) with DM and Yazoo around that time, human league and soft cell; all brilliant dance music. So yeah dance music, then Mantronix, Public Enemy and so on. I moved to London in the mid 80s and didn't really get into serious soulful stuff until early Chicago house circa ‘87, though at that point my mind was really opened. I come from the new forest, there was only one black kid in my school ! You are a Hampshire boy, now you live in Berlin, or is it Spain or maybe Italy, rumours are rife. Can you tell us how that journey happened? I was born in the village where 'Aice in wonderland' was created , magic mushrooms were rife. I know Lewis Carol’s game! I loved tripping. I'm long term clean now but my head is still stuck in that space. Yes, I've lived in Barcelona and Berlin, my places beginning with B trilogy, all inspired me and I learnt a lot but then I got homesick and I'm back in broken Britain. Is Europe more sympathetic to your new projects or are you planning a fresh British invasion? My whole thing is about the waltz now. I'm obsessed with it. I DJ exclusively in 3/4 tempo but it's waltz with contemporary sound palette and BASS! I have to make most of my own beats because not many electronic artists do and I kind of mash in bits of waltz time tunes, from all eras and genres as reference points... and to generate an atmosphere. I've done a few successful parties in Vienna where waltz was born, people are gobsmacked that I have the audacity to bring it back there and they love it. Learning to waltz is compulsory in school there. I played a Shostakovich waltz in its entirety last time with no added beats and the place went off like a 1988 acid house after hours do. I'm serious...it was fucking mental! It's also worked well in elite Paris fashion parties, heavy drug raves in the UK ,gay clubs in East London and supporting Peaches in Brighton the other day. I'm enjoying myself a lot. You are renowned and well remembered as one of the movers and shakers in the rave scene and acid house days. Were they really happy carefree days as one of our readers described

them? Mostly yes, fantastic. I'd discovered acid house in Detroit, techno through London pirate radio but had no idea there was a 'scene' until I went to Ibiza in '88. I had a major epiphany (and my 1st experience of those pills that were all the rage in those days) and got well stuck in on returning to London. It was all loved up and sweaty hugs with unlikely strangers on the dance floor, the pioneering early illegal raves were phenomenal but there was a dark side. Behind the scenes with all that money floating around and promoter rivalry came sawn off shot guns and pit-bulls. Then obviously a lot of people lost it and ended up in mental hospitals, prisons and graves. The other downside for me was being surrounded by sycophants and moody chancers because of my position. What part did drugs play in the whole rave scene? Did they undermine or enhance the creativity of what was a pretty epic genre? The synchronicity of sexy and spiritual music that sounded like it was from outer space and the discovery and availability of a drug that compelled people to dance around the clock, everyday of the week and made the music sound even better than it already did... was like a gift from god to humanity, much better than Jesus and his bread ‘n’ fish. It was like the zenith of popular culture. BUT unfortunately cocaine infiltrated the scene and pretty much killed the creativity including my own. What is your newest project? How has it evolved? Well it's all about the waltz as I explained before. I call it neowaltz, future-waltz and 3step. It is not a gimmick, novelty or the self indulgence of an old pop-star, check it out. I’ve got untold super hot young MCs and singers involved. It takes serious skills to spit in 3/4 time. Then I have older legendary people like Lee 'scratch' Perry, Congonatty (rebel mc) and some more soulful stuff with David Mcalmont and Gerideau (long term collaborator) and many others; all of whom are being enthusiastic about my concept which makes me feel very blessed and happy. “3STEP4EVER!” There are thousands of young aspiring music producers who will read this. Can you tell them your best career move or stroke of luck, worst day of your career that you would prefer to forget, any advice about getting into the scene without totally selling out or advice about making it big regardless of who gets in the way. My best career move was to be brave and follow my gut instincts in spite of having low self esteem and being a cynical and a negative cunt. I'm constantly at war with myself, stopping drink and drugs eighteen years ago was a very good idea. I've never had the same level of commercial success but I'm 100% more prolific than I ever was and still have the same passion and enthusiasm for making music as a teenager. I FUCKING LOVE IT! I see you have a daughter. Would she ever be up for collaborating do you think? I've got two daughters actually, the older one I got to sing on stage with me in Berlin when she was fourteen, she only agreed to do it if I promised not to tell anyone she was my daughter. Then she was in a state of total shock when one of her classmates had a tune of mine on her iPod. She changed her tune at seventeen though, when I could get her and all her mates into all the top Berlin night spots. The younger one likes punk, rockabilly, grime and Rihanna (who I like too.) I probably come across like a smug, arrogant egotist but such is my reality... art before commerce always. Photograph: Adamski 2014 with permission from HeadNod agency.


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Photograph by Goddamn Media . Oli Spleen performing live in Brighton 2014

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OLI SPLEEN Musician, artist, creative power house and muse BROGUE CATCHES UP WITH OLI AND JUST ONE OF MANY ARTISTS THAT HAVE FALLEN UNDER HIS SPELL. INTERVIEWS ARE COMPLETELY UNABRIDGED Above: ‘My mothers chains’- Sarah Abbott.

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From where do you hail ? I’m originally from Hastings, it’s the place that most shaped or maladjusted me. I also lived in London for bit but I tend to say I’m from Brighton now as I’ve been here the last 1twelve years and am certainly happier here. Describe yourself in one sentence: you can use colons. I guess I’m a sensitive and sometimes troubled and self destructive person with a high sex drive who is somehow finding a way to get through life and have a creative release through the catharsis of art and music. You are truly a crossover artist working in music/ performance/film/art/writing probably other things too. Do you feed off of all your branches? Is one thing or aspect of your creativity more powerful than another or do you have creative spurts in one field to the detriment of another? I have pretty much entirely abandoned visual art, which

was my first love and what I was formally educated in, for the sake of song writing. Performance has also been something I was interested in and able to do, as well as writing prose and poetry but being in a band or a solo artist is a great way to encompass these skills and funnel them toward a singular output. Music videos for instance can be a great way to realise the songs visually and bring them to life. You have a lot of women fans who seem to genuinely love you and you are something of a muse. How do you think that has happened and can you give any tips to Mr Average hetero dude not getting anywhere with women? Maybe because I don’t fuck them, I think sex can get in the way of strong friendships hence gay men can often find a stronger bond with women than with other gay men for instance. Also I have a strong affinity with women and consider myself quite a feminist, my strongest role models growing up were all women and I could relate to them far greater than I could your average male. Maybe “Mr Aver-

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18 age hetro dude” doesn’t do as well as he has too much desire and longing in his eyes when he looks at women, people are often attracted to that which is unobtainable. Your back catalogue is pretty impressive, what about the future? Do you have plans you can share with us? I have a pile of ideas that may become Pink Narcissus songs or another Oli Spleen album but I don’t have fixed plans for them as Pink Narcissus is going through a bit of a reshuffle. PN are recording our first song entitled Home with our new guitarist Liam tomorrow and it’s sounding great, so I can certainly envisage doing more songs with him, though there has been a gap of over a year for us to get back on track and start writing again after Paddy, guitarist and co founder of the band, had to take a break due to health issues. In this interim I took it upon myself to release my debut solo album Fag Machine which I had worked on with a team in France over the last couple of years. I also launched a weekly alternative queer Brighton club night of the same name with my friend Sam Culpeck which lead to a ten year anniversary reunion of my old band The Flesh Happening which was a great success so I’m not ruling out other gigs with them, though I’m doubtful we’ll produce any new Flesh Happening material. Last year was very much a year of releasing things, aside from Pink Narcissus’s “Blood On The Page” and my “Fag Machine” album there were videos for the singles “Fag Machine”, “M.F.”, and “Brother Let Me Live”. I also released an alternative Christmas single “A Carol For Joseph” in collaboration with Benbo. This year I hope to get back to proper song writing again but I’ll also be gigging with Pink Narcissus, The Flesh Happening and solo as Oli Spleen which can leave me feeling quite schizophrenic as each project is stylistically very different, with different vocal delivery and performance technique. When the creative alter-egos take over I sometimes lose track of who I really am.

SARAH ABBOTT ALL ABOUT OLI SARAH ABBOTT TALKS OF HER MUSE

Above and right: Both untitled by Sarah Abbott. Both paintings featuring Oli Spleen.

Left: The Reader by Sarah Abbott

www.saraabbott.com

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"Sometimes I see a face, so lovely it hurts, a presence, an aura that sets me alight and burns. My human paintings are created thus - not because I'm asked to but because I have to. It's a desperate attempt to capture the magic that seeps from these beautiful creatures and weaves a captive net around my mind, and I have to purge them from my being with paint before their beauty destroys me. Oli and his then band The Flesh Happening crashed a PV at a gallery I was running several years ago and I was transfixed - if I remember correctly within a couple of days, paintings I'd made from photos lifted off line were in the gallery window, it was these that stopped Oli in his tracks the next time he walked past. Following a formal introduction new works were created together and I view these among the best I have ever done. My fickle artist heart is soothed through the exorcism of painting these wild and wondrous beings and goes searching for a new 'love' - there have been many, I hope there will be more but Oli was one of the best."


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THE FLESH HAPPENING, PINK NARCISSUS & QUEER CULTURE IN ROCK ‘N’ ROLL By Oli Spleen Left: Painting by Sarah Abbott .Album cover A/W for The Flesh Machine

Rock ‘n’ Roll has a rich queer heritage going back at least as far as Little Richard’s appearances in the early 1950’s, caked in make-up, squealing and screaming provocative lyrics about anal sex. The original version of his song Tutti Frutti had such overtly sexually explicit content it had to be toned down for radio, resulting in the version we know today. The original lyrics read- ”Tutti Frutti, good booty. If it don’t fit don’t force it. You can grease it, make it easy.” Even his other major hit Long Tall Sally seems to be a song about a transvestite, which might explain why she’s so tall- “I saw uncle John with bald headed Sally.” (Without the wig.) “He saw aunt Mary coming and he ducked back in the alley.” Equally Glam and Punk Rock came out of a queer tradition with the very name Punk deriving from American prison slang for a guy who takes it up the arse. Early Punk, Glam and Pre-Punk acts such as The Velvet Underground, The Stooges, The New York Dolls, Wayne County, Bowie and The Buzzcocks drew their whole aesthetic from queer culture be it the New York drag scene, Music Hall and Vaudeville or the work of writers such as Burroughs, Ginsburg or Crisp. In 1970 The Rolling Stones released a track called Cocksucker Blues. Written from the perspective of a ‘lonesome schoolboy’ visiting London for the first time, it has the chorus “Where can I get my cock sucked? Where can I get my ass fucked? I may have no money but I know where to put it every time”.

this mornin’ with my pork-grinding business in my hand. Lord if you can’t send me no woman, send me some sissy man”. Other British rock artists referenced the gay culture, from Joe Meek’s Tornado’s to The Kinks. In 1978 Tom Robinson has a surprise hit with his poignant and affecting protest song “Glad To Be Gay” and later The Smiths and singer Morrissey’s solo work would more than hint at homoeroticism with songs ranging from their first hit This Charming Man to Morrissey’s solo album Bona Drag who’s title and opening song Piccadilly Palare uses the gay slang (often spelled Polari) which was the code of the, then illegal, burgeoning British gay scene of the 1960’s. Many other music scenes were born out of gay culture too, most notably disco. Out gay singer Sylvester’s “You Make Me Feel” provided a soundtrack to Harvey Milk’s gay revolution in 70’s San Francisco. In Britain in the 1980’s under Thatcher’s Section 28, which forbade the “promoting” of homosexuality in schools, the reactionary gay culture became mainstream with a constant influx of gay pop acts, many of whom originated from London’s Blitz Club. From Visage to Culture Club, Soft Cell, Bronski Beat, Frankie Goes To Hollywood, Erasure, The Pet Shop Boys, Dead Or Alive, Marilyn and many more. The Metal and Rock scene of the time also had its queer moments from the flamboyant Queen with singer Freddie Mercury’s ‘gay clone’ look to Judas Priest with Hell Bent For Leather.

The Stones were by no means the first to do a queer blues, just as the drug culture was reflected in many early blues recordings so was the Though the Post-Punk genre “Queercore” was thriving in parts of gay culture. From Bessie Smith’s Foolish Man Blues to Kokomo America by the time I formed my first band, my take on it was someArnold’s 1935 song Sissy Man Blues which has the lyrics “I woke up what different. My idea was to create a band that combined all the in-

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your-face confrontational energy of Punk with the performance and theatrics of Glam as well as taking influence from performance artists such as Leigh Bowery, whilst at the same time conveying some (often deeply personal) anxieties and truths. This included revisiting some of the gay themes that had been prevalent in the 70’s and 80’s from the perspective of the aftermath of the AIDS epidemic.

Whilst the subject matter of The Flesh Happening was largely gay specific I changed that approach for Pink Narcissus. I have no intention of concealing my sexuality by writing or singing love songs to a female object of desire but there are many ways to suggest things without being explicit. Morrissey’s use of language is subtle and clever, hinting at things whilst never fully revealing his true self. Equally Freddy Mercury managed to get thousands of heavy rock In the summer of 2003 I put together The Flesh Happening with the fans to wear the word Queen on their chest without suspecting the idea of bringing back confrontational and often uncomfortable queer true meaning behind the name. themes to Punk Rock and Rock ‘n’ Roll. I was deeply into some of the filthier nineteenth-century French poets at the time, particularly It’s not too many years ago when it was unthinkable that a perthe works of gay lovers Rimbaud and Verlaine whose absintheformer could be openly gay and still hope to be mainstream, those fuelled hell raising seemed a template for the musicians of the Rock who came out - such as Bowie and Elton John - did so only after era. they were firmly established as recording artists. During an encounter with a PR woman in the early days of The Flesh Happening I The Flesh Happening, achieved cult success but was probably des- was first told “the most important thing as a performer is to be yourtined not to go very far. The songs covered all angles of the subjects self” then when I mentioned I was gay she said; “I don’t think you that are often a part of gay male life- anal sex, promiscuity, STD’s, should be gay”. drug use, mental illness, self mutilation, self-hatred and sadomasochism. Much of this was, at least in my case, the by-product of Thankfully nowadays the younger generation seems to give less of attitudes created under the homophobic society I grew up in and a fuck as to the sexuality of their idols. Even the notoriously homoviolence directed against me by sexually repressed boys at school. phobic genres of Hip Hop and modern R&B have artists who are starting to come out, with singer Frank Ocean bravely leading the I could have guessed the band would not have too wide an appeal; way. The music culture is suffering however, due to shows such as the X-Factor whose focus is on technical skill over raw energy and the male section of the gay scene consists primarily of people who imagination and commercially proven genres over music as art. want music as escapism; empty dance music and optimistic pop. People who desire a sense of unity in what they perceive it is to be gay are often greater conformists than the straight crowd and care We as consumers don’t have to accept the crap that the mainstream little about authenticity in music, preferring instead to worship the tries to spoon-feed us. As long as individuals keep expressing their plastic pop princess Kylie or some other heterosexual female idol. truth through music the culture will continue t thrive. Whereas most racial minorities have parents like themselves and subsequently carry an inherited sense of identity and cultural struggle; the gay scene often seems in denial, oblivious to its musical or cultural heritage. We did a gig to raise money for a local AIDS charity but none of the gay magazines would promote it as it wasn’t in a gay venue, equally none of the gay venues would have bands on, so it was a catch22 situation, as a protest I pulled a full size rainbow flag out of my anus (footage of this can be found on YouTube). Aside from the barrier that guitar-based music presented to the gay crowd, The Flesh Happening would never appeal to a mainstream gay male audience, as I was singing about some of the very subjects they were going out dancing to forget. Ultimately the audience we attracted were disaffected and unusual people from all walks of life queer and straight. I’d get old Hippies, Punks and Goths coming up to me after a gig saying the same thing, that we reminded them of the bands they used to see when they were younger and they never see bands like that any more. The Flesh Happening split up in 2008 when drummer Tim decided to give up music to become a hypnotherapist and tarot reader. Although I was deeply upset at first, I decided to take this opportunity to start a new band that could encompass a wider range of subjects than The Flesh Happening whilst being just as heartfelt, with lyrics that could appeal to all, regardless of gender or sexuality. This band is Pink Narcissus. Taking its name from a cult gay porn/art film, Pink Narcissus is a wholly appropriate title for the band as, when I started masturbating as a teenager, I would masturbate to my reflection in the mirror, as gay porn wasn’t readily available.

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“Glam and Punk Rock came out of a queer tradition...”

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22 All the hatred on these occasions were directed at London’s gay, black and Bangladeshi communities. As you can imagine those that weren't hurt were almost buried in fear. Though O’Connor was not convicted perhaps you’d begin to question yourself if you are the go to man for initial questioning. As the evening progressed O’Connor explained that he was a reformed man and that he would be releasing a book about his life. He spoke emotionally about how he has been left with an empty life and no contact with his children; writing this book is all he could do. The journalist in me had so many questions and even more opinions. Can a man ever really see the light from this far down?

100% VIOLENCE (COMPLETELY UNABRIDGED)

DEL O’CONNOR

It’s 1978. Where are you, and what would a day entail for you?

In 1978 I was living in South West London, a son of an Irish immigrant mother. My dad had died when I was very young, When you have nothing, you so we were pushed from pillar to post, living in a poverty I suppose, which at the time was no different than many of my have nothing to loose. friends. The area still full of bombsites from WW2 . Also that year I first became a skinhead. It was the height of punk rock, but although I loved the music, I felt more at home with the Once described by Steig Larsson (Girl with the Dragon Tattoo) hard edged image of skinheads, who had made a significant reThis page: as the most dangerous extremist in Europe; Del O’Connor growth, since the earlier culture of the late 60's. The new skinArchival talks to Brogue about his reformation, the epiphany and just heads in my area were sham 69 supporters, known then as the photohow one man can sin to that extreme and settle into a life of Sham Army. My first experience of their gig, was when they graph of writing. Del aged played in a very posh area of south west London. My friends 21. and I attended the show, fighting and aggro, being displayed I first met Del by accident in Brighton on the south coast. Very all night. After leaving, fuelled on adrenalin, and the buzz, Opposite: typically he is a charismatic man with a seemingly well massomeone decided to throw a brick through a Rolls Royce del O’Connor today tered gentle demeanour. I had no idea I was not only standing showroom window, The car being seen as a symbol of wealth photobut talking to the Del O’Connor. and the upper classes, who were our sworn enemy. It quickly graphed by turned into a full riot, and a few other shops, in fact the whole Symond O’Connor was one of England’s most wanted men for over of Kingston got bricks through the windows. We wanted to Lawes twenty years. He has spent much of his life in and out of show the residents of the area, what we felt about them. prison not just in this country but worldwide; most of it in solitary confinement. The man should come with a health warnWhen did you first go to jail, and what for, How did you ing. He stands around six foot tall and bragged on several oc- cope with it casions about his twenty-four inch, face pounding calves. I first went to jail, very soon after the Sham 69 night. I had As a woman of mixed heritage, what I know of O’Connor I been nicked for carrying an offensive weapon, the police had find hard to stomach. So little is reported in the mainstream captured us, but I took the wrap for my friends weapons as media about extremist groups that the majority of the general well as my own, I could see no point in all of us getting public are blissfully unaware of quite what it means to be afnicked, a very short while later I was caught as passenger in a filiated with the neo-Nazi subculture, let alone be a comstolen car, which was a regular right of passage back then. mander. TDA (touching a ducks arse) or officially, Taking and driving away. Cars were so easy to steal then, any key would fit a O’Connor was the second in command of the Combat 18 neo- Morris minor or a Ford escort. So joy riding was just a bit of Natzi group in England. His brotherhood, known as the White fun for the lads. When entering the prison system, you have to Wolves, was initially thought to have been involved in masgo in with a mindset of 'get through it' don't be a victim, not terminding the bombing of a gay nightclub among several much different than the streets I lived on. The first sentence other locations in London. The thirteen day bombing campaign was only for a month, although at the time felt like a big deal . in April 1999 killed three people, including a pregnant woman, I just focussed on thinking about getting my haircut and the injured 139, four of whom lost limbs. One 23 month old todwelcome home beer, that my friends would have waiting for dler had a four inch nail embedded in it’s brain. 22 22


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me.

Where did the hate you acted upon stem from?

The hate stemmed from my experience of growing up, I had been bullied for most of my child hood, by kids at school because I had Irish blood, The early 70's IRA campaign This page 'The most wanted man in Britain' title came about due to the caused a lot of damage to Irish living in the UK. We took the above: Archival pho- London nail bombing. By this time I had made my way up to brunt from local people, and kids especially. I never thought tograph of the top of the countries extreme right wing. First with a group of myself as Irish, I was an English Londoner, just like all my del from his called Combat 18, then a splinter group in the North called friends. Looking back I guess that’s where the violence bepersonal The White Wolves. I was well known to the security forces, came such a part of my life, it was all around me, being collection. who after the collapse of the Berlin wall were worried about beaten and attacked in the street, to come home to be beaten Above left: the growing links across Europe and the World of the extreme by my mothers latest drunken Irishman. Archival photograph right wing. We were fighting a battle against what we saw as of Del suita- the demise of Britain, of its culture and history, the symbol of Presumable at that time you justified xenophobia, racism bly kitted that being mass immigration of cheap labour into the cities, and homophobia, how was that rationalised in your own out. sanctioned and supported by the ruling elite, and on the mind? streets, by the Left Wing. When a lone man set bombs off in London the finger was pointed at me, I had gone to ground, Racism wasn't originally part of my life, kids were kids, I so they put out a big search for me. But before arresting me guess I suffered my own form of racism, being the son of an for suspicion, they managed to capture the real guy responsi- Irish immigrant. Our fight was much more on the streets with ble, who did have very lose links to the more established or- kids from surrounding areas, any gang. But with the ever ganisations, but was nothing to do with me. So in answer to growing numbers of blacks moving into our area, they started your question Britain's most wanted man , was it hype? I to create their own gangs, drugs appeared, abuse of women, don't know. Was I more dangerous than a predatory paedowhole areas falling into no go zones, we became angry, and phile, was I more dangerous than the IRA, or a local heroin felt we had to fight for our own culture as well as houses. The dealer, or human trafficker? I wasn't responsible for the nail government seemed uninterested, but there were groups setbombing, had no connection or knowledge of its planning. ting up, who were going to take the fight to the streets. The But was I danger? Perhaps! original Jamaicans mixed well with us, we enjoyed their music and culture, but the Pakistanis, who came slightly later brought in a 'foreign' culture. They refused to mix, often refused even to learn our language. Homosexuals weren’t really 24 You were once noted as Britain's most Wanted Man. Do you feel this accolade was deserved, or just hype?

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Photograph: Del and his spliter group The White Wolves. Photo is from Del’s personal archival collection.

seen as an enemy to fight, odd perhaps and inhuman. But its true that the sex industry in London preyed on the vulnerable, the runaways, abused children, luring them into prostitution and drug addiction. There were always widely spoken rumour of skinheads working as rent boys around the West End, at least one Skinhead lad was killed by homosexual serial killer Nielson, which created a big distrust. But on a personal level, the most horrific thing happened when I was a young skinhead, when one of my close friends was gay raped by two black doormen at the 100 club in Oxford Street. He later committed suicide.

the authorities looking for you, how had you become embroiled in terrorism?

When the London nail bombs happened, I was running a group called the white wolves, a splinter group of Combat 18. We had set up in the North of England, and were learning and training ourselves in guerrilla warfare. Things had moved on from street fighting and demonstrations, we were getting ready to take our fight to another level, our objection was not to cause physical harm or death to human life, but to make the Government and people wake up to what we felt was being ignored. Power lines, infrastructure was to be our target. I guess by this time I had really become radicalised, it was no But the media seemed to lump any minority into groups and longer about myself but about a national, worldwide cause. the left would stand on their side, with the swastika sometimes When the nail bomb happened, the security services immedibeing used, often as a sign of rebellion (used previously by ately responded by concentrating their search among the esbiker gangs, and punk) Also the media loves to attack the most tablished extreme right wing groups, such as The White defenceless in society, we were labelled as Nazi, which kids Wolves. The media had also linked the nail bomber to our played up to, not much different than today’s youth being group, which was completely untrue. But warrants were issued branded hoodies and chavs. Skinhead would be reported as for my arrest, The media put out a statement, calling me Briteverything from neo-Nazi to brain-dead, glue sniffing granny ain’s most wanted man. But by this time I was already living bashers. Therefore it bred a real distrust for the media, and in the USA, and already disillusioned by Combat 18. those that worked in it. Our enemies were all around us, but instead of destroying us, it bonded us to fight a real enemy. You spent many years in and out of jail, much of it in soliUs, the white working class being seen as the enemy of the tary confinement, how did you cope, and has it had a long state, often suffering police brutality as a result. We felt like a term effect on you ? minority ourselves but with no one listening to our voice. Our communities under attack, industry closing right across the Going to jail, was just a part of life, a battle the State had won country, a whole generation thrown into unemployment. this time, but a war they would never win. From the first time as a teenager, to confinement as an adult. You learn to put You have to also consider that Communism was seen as a your mind somewhere, never be a victim. Concentrate on the national threat. The Berlin wall a symbol of East and West life you will live in the future, make plans, plans and more segregation and danger. A fear of Nuclear strikes. The govplans. Solitary confinement can destroy some peoples spirit ernment and media regularity attacked the left as antagonists, but I learned to make a positive from it. I would spend hours backed by Russia, but also supported them, to stoke the fire. working out and reading. But the positive made me comfortMiddle class Socialism - Communism, Verses working class able in my own skin, in my own mind and thoughts, that even Patriotism-Nationalism. The IRA planting bombs in London. today, I find myself escaping to solitude sometimes So many mixed messages and fears around us. The one thing we had and could trust was our brotherhood. Skinheads! At what point did you have your epiphany, was there a trigger ? You were linked to the London nail bombing, why were 25

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26 The day my life changed was when I received a phone call. I was driving into work as a security operative in St Louis. The person on the phone told me that he had just found out a very close friend of mine and been shot through the head whilst laying in his bed. The news of a close friends death is always one of the worst things to bear, but this was worse, not only was it murder, but the facts from the phone call didn’t ring true. The call was from one of our brotherhood. I started to think about the things he had said: Apparently he turned up at the victims house to find police outside, who had told him the facts of the killing– something I knew the police would never tell to a member of public, how did he know the facts that my friend Dave had taken a bullet to the head and torso? Dave was a leading member of the American Front, a white power group, with charisma and deep respect. The guy who made the call had been expelled for drug use (meth). The whole thing shook me to the core, all my beliefs just crashed down around me. The bond and belief in my friends and family. I felt alone and deeply betrayed. For two years I struggled with it, I started to distrust everything I had ever known and believed, but I guess, from all the battering I have taken, times in jail, rejections, this was the straw on the camels back. I had to question my life, to look at where I was, how I had come to this place. And what my future held. I resigned from all political groups. What has the effect of your past life had on your family? My family life has suffered through my own selfishness. I have children I have not seen for most of their lives and grandchildren I have never met. As I think about that, yes I take responsibility for the person I was. But I also know they were in a better place without me in their lives, bringing them danger, hate and anger. I sincerely hope they have found happiness, and a normal life. I would hate to think of a child of mine suffering abuse and jail, like I did. But above all, I wouldn't want them to walk around with hate in their heart. You are currently writing a book, What lead to you start Writing, and has it been Cathartic in any way?

self or anyone else, but perhaps make people realise why someone becomes radicalised. It doesn't matter what the 'cause' is. But every oak tree starts as an acorn. Its easy to just condemn and jail, ignore and kill but to listen and understand takes bravery. Do you think you will ever shake off your past? I don't know if I will shake off my past, or if I want to shake it off. I don't stand here as a reformed cured born again, but just someone who had come to a cross roads. The best thing is that at least I understand the why's and wherefores. I am sure that people will have big opinions on my story, many will hate. But if just one person, who is perhaps as angry as I was as a young man, takes my story and turns his life around before he causes damage on anyone else, or himself, then that's a success. What does the future hold for you? As for the future, who knows what that will bring, too many of my friends are laying in a graveyard. I consider myself lucky to still be here. I do hope that I can bring something positive to the world. In the modern day, with war and radicalisation still as prevalent as it was forty years ago, something hasn't worked, maybe someone who has felt the way that others are feeling today can make a difference to them. Who knows, but my future is not written Do you have any regrets? I don't think we can ever regret for ourselves, because how does that help anyone? I suppose my only real regret is that I wasn't there for my children. That I never got to know them and see their growing years. One thing I would like to add, I have never fought through anger. Its always been for a reason, a cause. Rightly or wrongly, but its a discipline I have acquired through real life experience ….its just business!!

I have decided to write a book, to try and make sense of my life, not to impose my beliefs on the world, not to condemn or condone, my

“I don't know if I will shake off my past, or if I want to shake it off. I don't stand here as a reformed cured born again, but just someone who had come to a cross roads” Photograph left: Del O’ Connor working as security.

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FORGIVE ME FATHER FOR I HAVE SINNED... Pastor Phillip Wells sets the record straight, is there such a thing as a life without sin? His letter to Brogue

Dear Brogue, I've a feeling that you asked me to write something because you don't often get church ministers popping in to the Brighton Arts Club for a chat – maybe I'm the only one that does! Maybe I should explain to your readers. I'm Philip Wells, I'm the minister of the Calvary Church at the bottom of Viaduct Road, next to the Fire Station. One of the things I do is get out to visit local traders – on the basis that if I wait for the local traders to visit me then I might have a long wait! Back in 2008 there was an outcry in the press about “the state of London Road”: people talked about “street drinkers” and “drug dealing” and so on. There was a public meeting to bring together all the interested parties. I offered the use of the church building and so “London Road area Local Action Team” was started. It aimed to bring together all the people interested in London Road – residents, traders, Councillors, agencies like Brighton Housing Trust, CRI, plus police and anyone else. Someone said “we need a Chair” - I was the person who looked at the floor slowest … and became the Chair of the LAT. Since then I've been voted back in 4 times. – enough about me, and I'd like to say something about “Saints and Sinners”. There's lots of versions of Christianity and sad to say they're not all versions that Jesus would approve of. Some “churches” make a big thing of “saints” as super-people, and almost worship them – I don't think Jesus would go along with that at all, not even for his own mum. Saints just means “holy people” and these are all the people that truly belong to God. But what about sinners? Sin is real too – as many of your readers will agree. Sinners are people who have lied, have let others down, have broken promises, failed to live up to their own code – let alone the code built into us by the Big Artist. Sin messes up lives. Jesus was very positive about the value of people, but he was also very realistic about the way that we all fall short. Later his follower Paul said “all have sinned and fall short of the glory of God” - even if no one else thinks it applies to them, I certainly believe it applies to me. So that's a bit of a show stopper for the possibility of anyone becoming a saint, right? Well, no actually. Jesus said – and you might not believe him, but I do – he has “power on earth to forgive sins”. That's something he claims – not by rituals of the church, not by churning ourselves up inside, not by turning over a new leaf, but by his say-so. In my experience there is something there so deep that it can turn a person's life right around. This is the touch of God and makes sinners into saints. Thanks for letting me write my bit, wishing you all good things, Philip Wells – pastor, Calvary Church, Viaduct Road, Brighton Photography: Another day in Paradise. Phillip at work in the troubled London Road Area Illustration by Jamie Blackett

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EDL MARCH BRIGHTON

ABOVE: ALWAYS OUT NUMBERED

Photography by Pasha du Valentine for Goddamn Media Three years ago Brighton became the unfortunate host to the EDL march. In the spirit of freedom of speech for all the march goes ahead annually. However, so strong is the anti-fascist sentiment in Brighton that police from several different counties have to be ferried in on the day of the march. On this particular day the EDL protestors were cordoned off for their own safety and could not give their speeches; such is the strength of the opposition in Brighton. There was even a moment where ANTIFA protestors became a force to be reckoned with striking fear into everyone. The sight was breath taking. Here Goddamn Media presents a selection of photographs from the day. 29

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NEVER OUT GUNNED

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NO SMOKING

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ENGLAND

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SMOKE

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FOUR POLICE DEEP

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SHAME

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LEFT: KB CH007 ABOVE: FASCISTS FUCK OFF

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NORMANTON STREET From Bradford to Brighton and beyond in 2012, a great Italian sax player who was in town for the summer and plays on our second EP. That summer we met Elliot Tomas, our drummer. Later both Hannah Ned: Three of us are from Bradford. Jack is from Mac- Lynn and Phoebe joined. Also there is Tom Alterman clesfield. It wasn’t quite upping sticks. We we’re in who played a few shows with us and plays sax on our different cities/countries already. We just decided to Moves EP. congregate here. We wanted to rent a house it was PHOTOGRAPHY BY MARK tough because only one of us had a job, if we didn’t get “We’ve been evolving but I feel like STUBBS AND KIERAN STUBBS. the place on Normanton Street we could have been anywhere. We were thinking of Berlin, Bristol I think we’re here now” Paris got thrown in there as well. Nicholson: We don't really decide on the line up as it were. There's just a group of us that play tunes together Nicholson: I thought it was always going to be a BTown. As we had already been down here to visit, we and then the set-list for each gig determines who'll be decided against Bristol and bounced from Bradford to playing. Brighton instead. You’re renowned for your live shows and rumour Is there a permanent line up within the band, or are has it you performed over sixty shows in under six months. Do you consider your live music better you continually evolving? demonstrates what Normanton Street has to offer and does recording really do the band justice? Ned: We started as four (Myself, Jack, Bukky and Nicholson) then we met Jamie Gilder who was our first Phoebe: I enjoy playing live to a room full of people. I drummer and George Art Baker was the first to play saxophone with us. Both play on our first EP. We had like the interacting with the crowd. I had a great time a manager called Nicci McKenzie at the time. George supporting The Mouse Outfit at The Hootanny in Brixton because the venue was packed. Felt like everyone and Jamie left the city and we met Stefano Bertolotto 38 BROGUE CATCHES UP WITH NORMANTON STREET TO DISCUSS THE PAST, PRESENT AND FUTURE AND OF COURSE THE MUSIC

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From Bradford to Brighton...what made you guys up-sticks and head down south?


39 enjoyed everything we were doing.

Left: Normanton Sreet photographed in London 2014. Photography by Mark and Kieran

Ned: We’re a band, we like playing. This city is great because there are loads of venues in close proximity. Don’t think we played sixty shows in six months though. Maybe if you include after parties and house parties. Nicholson: In all honesty, the recording is constantly improving but is still far from where it should be. The next release will be a next thing as we're constantly improving at the QM Studio. To add to that; I reckon playing live is always more special as there's always a different vibe which is dictated by both us and the crowd. Ned: Our first two EPs were more or less was done in one or two takes. We didn’t spend too much time on mixing, didn’t have the money. We recorded and mixed The Normanton Street EP in eight hours. All For You was ten hours I think. More time was spent on Moves and The Phoebe Freya EP because we had the QM Studio by then. You have recently added a female vocalist to the band, is she here to stay and do you feel the band has increased its audience? Ned: It was great meeting Phoebe, she’s a star. She’s really talented vocally also a great songwriter. Phoebe: I like playing in Normanton Street. The whole thing is just gathering momentum and it feels really exciting. Ned: We’ve been working on increasing our audience since we started. It’s important. Moves increased our audience there was a great buzz for it. The Phoebe Freya EP has pushed things further. This particular EP has been brewing for quite a while – Phoebe just kept killing shows. She killed it at The Debonair Club last May, one of the first gigs she played with us. Nicholson: Phoebe's a real G and is definitely part of Normanton Street. The increase in audience is certain and is probably down to many factors; for one her voice is beyond comprehension, we're getting better at doing behind the scenes band stuff and we're putting more time and practice into the songs. Which member is responsible for the lyrics? Ned: If someone sings something, they’ve written it. Phoebe: We’re all responsible for our own lyrics

planned out or was it accidental? Phoebe: I didn’t know we were the talk of Brighton. That’s great! Nicholson: This is a lovely question. I think we've always wanted to expand without limits but never really had an idea about how long it would take to get to a certain place. Its just constant moves, some more audacious than others but MOVES nevertheless. Ned: It’s just from wanting to play. Promoters advised us not to play too much. But that’s how we practice. That’s how we make links. We’ve got music on-line and videos we want the people to see.

Nicholson: Each member pens their own verses. Who writes the music? Ned: The music is more complicated. Someone will have a groove me or Nick will jump on the bass if needs be. Elliot brings the beats – he’s so efficient. He drives down in his Corsa, he hears something and just puts a beat on it. We discuss harmonies, sax parts. Diplomatic. Nicholson: Same as the lyrics to a certain extent. Sometimes we'll suggest more ideas for each other, other than that, we're on that creative freedom hype. You stormed Brighton with your free gigs and professionalism seemingly fitting in everyone and everywhere within a very short amount of time. This has obviously paid off as you are the talk of Brighton. Was this plan for domination 39

I disagree, we don’t dominate Brighton. It’s a city with so many good acts. There are acts that grew up in the city like Ceezlin and Rum Committee, Frankie Stew and Harvey Gunn. There are bands like Time For T who have come into the city similar to ourselves - and are making massive moves. There’s also a big garage scene going on as well with loads of bands going in. We like being busy. We just want to cool out with the people and play. We started a record label on the 16th of August 2013, the day before we dropped MOVES – QM Records. Phoebe Freya EP is on QM as well. You recently went on a mini-tour, how did you find playing to audiences to which Normanton Street were lesser known and how were you received?


40 Phoebe: I felt really southern, I’m from Bristol. Furthest north I’ve been. I felt well received, a taxi driver laughed at my accent in Sheffield. It was a great gig at The Royal Standard the guys there were really nice. Ned: We loved it in Leeds. We loved Sheffield. We do our thing, the people normally like it. I like the exploring aspect. We made some good links. Nicholson: In a way it was refreshing yet a positively nervous excursion whereby we felt like we'd travelled back in time to when we'd first got to B-town. Do you guys still busk? Phoebe: No Nicholson: Not really. We don't seem to have the time. Might catch us opposite Taj sometime soon. Probably summer time. Ned: We’ve never busked as a full group. During the summer 2012 Jack, our sax player at time Steffano and I played a bit to raise money to prolong Steffano’s stay in the city so he could record with us. We used to busk outside the coffee shop in the South Lanes aka the bling district. We did it on and off for a couple of weeks. It worked quite well. I think Hannah Lynn busks. What plans do you have for the coming year, will we see Normanton Street hitting the festivals or going further out of town? Ned: This year we're ground working round the country to build a broader audience. Excited about the shows we’ve got coming up. We’re playing our first show in Bradford on March the 28th it’s at a little club called The Love Apple – we use to sneak in when we were underage. Saturday 8th of March at Audio we’re supporting Clear Soul Forces a really good rap group from Detroit. We’re also excited about first shows in Leicester and Essex in March. We're with a great promoter in London called Jack Clover who's lining up some really exciting shows. Nicholson: That's exactly the plan, plus making moves abroad. One of your earliest gigs was at Brighton Arts Club, how does performing at an alternative, underground venue compare to more traditional venues? Ned: We'd been going to Brighton for eighteen months before playing at The Brighton Arts Club. It was great to find a place that let us play for as long as we wanted. We had great jam session there which ended up as songs. Nicholson: For me, it simply rid my body of nerves and thus ultimately play better as everybody there had good energy. We played so much that I fell asleep on the sofa.

“I disagree, we don’t dominate Brighton. It’s a city with so many good acts.” 40


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GIG LISTINGS: APRIL 2ND-LONDON-FLOIPA 11TH-BRIGHTON (QM RECORDS DJ SET)-THE SIDEWINDER 12TH-LONDON-SILVER BULLET 13TH-BRIGHTON-THE HOPE 16TH-LIVERPOOL-STUDIO 2 17TH-BANGOR-THE BELLE VIEW 18TH-CARDIFF-GWDIHW 19TH-NEWPORT-WAREHOUSE 54 23RD-LONDON-OLD QUEENS HEAD 25TH-BRIGHTON-(QM RECORDS DJ SET)THE MUCKY DUCK (UP TO DATE AT TIME OF PUBLISH)

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42 The Phoebe Freya EP is available for download at www.normanton street.com To listen to all tracks check out soundcloud.com/ normantonstreet Photography on both pages by Mark Stubbs and Kieran Stubbs . London

Normanton Street: The Phoebe Freya EP By Olivia Rosenthall Since their forming in 2011, Normanton Street has gotten big-

Pearce’s voice shines on songs such as “This Way” and “You

ger and better. Having just released their third EP online, they

Know Who You Are”. The repetition of certain phrases en-

have not only taken the Internet by storm but they have played

hances Pearce’s haunting melodic voice and her tone empha-

numerous times across Brighton, building up a large following.

sizes the somber observations of life and relationships that

Normanton Street’s “The Phoebe Freya” is fairly stripped back

make the tracks. The EP also features upcoming hip hop artist

in comparison to their last EP, “MOVES”. The songs are at

Frankie Stew on the track “So Wrong”, having previously col-

times mournful; contrasting with the likes of upbeat tracks such laborated with Normanton Street on “MOVES”. as “Empty Space (Mud Riddim)” their second single from

The final track is a cover of Notorious B.I.G’s “Juicy”, one of

“MOVES”.

the most upbeat songs on the EP. All in all, “The Phoebe Freya

The EP opens with “Take a Walk With Me”, a slow blissful

EP” is something remarkable. Though their new sound is not

track and a beautiful introduction to Normanton Street’s latest

completely estranged from their previous work, Normanton

vocal addition to their band, Phoebe Freya Pearce. Pearce offers Street have managed to thread together soulful vibes with their a wonderfully raw, soulful voice reminiscent of Corrine Bailey

outstanding initial hip hop influences, and it actually works

Rae, but after a big night out and twenty fags. The simplistic

incredibly well.

instrumentation and Pearce’s sweet, scratchy tone give the EP an easy elegiac sound. 42 42

www. normantonstreet.com


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PASSION FOR STREET WEAR: FUUD LONDON PHOTOGRAPHY BY GARETH GREGG Styling by Fuud London www.fuudlondon.com Photography by Gareth Gregg. www.garethgregg.co.uk Hair/MUA: Ruth Couthino/Helen Lewis Models: Damola Egbeyemi Madge ‘Leopard’ Clay.

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RHATIA RENEE PHOTOGRAPHY STUDIO The new kid on the block Brogue were lucky enough to be invited along to the launch party of Brighton’s new fashion photography studio. And what a night it was. A suitably cool bunch let their hair down to a hip hop soundtrack fuelled by wine and Haribo...What more could you ask for. American born Renee gives Brighton a taste of her high end style, spearheading a team of make-up artists, photographers, stylists and fashionistas. The studio boasts a choice of sets, large open warehouse space and a creative team to boot. There will also be a monthly social held at the venue so watch this space. Rhatia Renee’s studio specialises in fashion, beauty and editorial. For more enquiries and bookings visit : www.rhatiarenee.com

Above and left: A little behind the scenes shot of Alicia Sandeman Make-Up Artists academy creating a new look on one of the models.

www.rhatiarenee.com t: @rhatiareneefoto f: rhatiareneephotography 48

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Candy Fair; as featured in Golden Age Magazine– Issue 18. Make-up artist: Natalia Anakkar Model: Diana Savickaja of Elliot Brown Agency

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51 This page Fish and Bread by Goddamn Media

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SHORT STORIES

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MY MOTHERS GUN A short story by Jessica Radcliff Photograph: Instillation by unknown artist. Photographed by Goddamn Media with special permission.

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I personally have only shot a gun once, while living in a 1952 Alma travel trailer next to my friend Sally’s house out in the country. Jimmy K liked Sally so much, he shot out the street light just for her. She didn’t ask him to do it, but he wanted to please her. The street light ruined the dark of night, stars and moonlight at her beautiful tumbledown cabin. She came home one evening and it was done, and of course we immediately realized his feelings for her must be serious. He hung around her house as much as he could, and one afternoon we had target practice out back, tin cans on the old fence and BLAM! That was fun. This was different. One morning my mother called to tell me she was working for my ex boyfriend, the dope dealer with a heart of gold. She was a stash house. Someone had tried to break in through her kitchen door. She was scared, and decided she was going to have to buy a gun. Growing up in East Texas during the Depression, her father taught her how to drive and shoot at the age of 13, just like that song- she had to drive the car when he’s too drunk to. Mom hadn’t actually had anything to do with guns or shooting since then, so she asked me to accompany her to the gun store, for moral support. I felt slightly guilty, being the link between her wanting a gun and my dangerous ex, so even though shopping for a pistol sounded like a horrible way to spend the day together, I agreed to go. We parked in the hot weedy lot and entered a small cement block building at the back of a strip mall. Glass cases were full of guns and more guns. It was all very foreign and overwhelming to me, but my unshakeable mother knew just what she wanted, and the nice gun shop man helped her. They talked about how she should go practice at the shooting range. She paid for her gun and

ammo in cash, ill gotten no doubt, and we left. It was easy. A few days later Mom called to tell me she’d been to the shooting range for target practice and she was still a pretty good shot. She said she’d been able to hit the man shape inside the big bulls eye in some very important places. The next time I went to her house, she had the shot up target from the range taped to her kitchen door window, facing out. Nobody ever bothered her again. Once she was coming to pick me up at the airport, back when you could still go through security and meet someone at their arrival gate. Mom got there early, wearing her purple overalls and sandals and heavy Mexican gold hoop earrings, carrying a big brown leather purse. In the purse, only three things- keys, gun and a five dollar bill. Moving awkwardly out of the crowded airplane and into the arrival area with a lot of hand luggage, I looked for her but she wasn’t there. A nervous looking young black porter approached and asked if I was Jessica. Yes I was, and , “where’s my mom?” It turned out that she couldn’t enter the arrivals area with a gun, so she did the logical thing she offered to tip the porter five dollars to hold it for her while she met me at the gate. He refused and suggested she tip him five dollars to meet me himself. Visiting my Mom, the gun was always turning up where it was least expected. Sitting on the couch for forty five minutes watching TV…what’s this lump under the cushion? Oh, it’s the gun. My kids would be hanging out on her high, old fashioned four poster bed on the heavy white bedspread, petting one of several cats, and, what’s this under the pillow? Mom, it’s the gun! When my amazing mother died, my mother who loved to


sing, who would be forever nine years old and only wanted enough to eat and to have her own pony and for her dad to leave her alone when he was drinking; my mother who was a Grey Panther and a force to be reckoned with; my mother who became a radical socialist and got the wrongfully imprisoned out of jail, who would give you one if she had two… died at 64, in poverty, as idealists often do. She had a heart attack, driving alone in her unheated car on a cold ride to the city at Christmas time. She hung on until Dec 28th. All four of her living children and our partners met at her little house. My sister had our mother’s ashes in a small cardboard box from the funeral home. Mom’s friends had given us permission to hold a little ceremony and bury the box anywhere we wanted on their land. We were greeted by two elderly very bohemian ladies who said how much they had loved her. It was January and bitter cold outside but the boys managed to dig a hole under a stand of trees near the road. I sang one of her songs, “Believe Me If All Those Endearing Young Charms”, and we buried the box, hugged each other, and drove back to our mother’s little rented house which had to be cleared out immediately. There were tears, and everyone seemed so young and lost, and I am the oldest, and my sister is the most organized, and my brothers were so sad and I remembered them in their high chairs a long time ago, eating peaches from the garden. One brother said, “I don’t want this stuff, I want my Mom!”, and I told him we couldn’t have our Mom but he had to have some stuff and he had to choose it now. The other brother, who’d been searching through her clothes, held up the gun. Our mother’s gun. We all told him he couldn’t have it and besides we didn’t have the papers for it. He took it. He wanted it. He probably got it re registered.

Tiny Spider A poem by Jupiter

POETRY

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Tiny Spider He rescued a tiny spider from the bath Then he made a golden wish with the torn flag of the underclass to own St John's head on a silver dish And the broken heart of Wonder Lass He spied the secrets of the wood The blasphemy and yin & yang Rescued that lass from her maidenhood Using flowers, grapes, gin and cheap slang To prove her a whore And him a man They will come and say to him “You left a child there deep inside her” And he will say “Forgive me that, For I did save a tiny spider” Subtracting that they'll add the grope And hang him from six feet of rope ©Jupiter John 2014

Traveller A poem by Jean-Michel Hatton

Judge me easily A poem by Esther Smith Judge me easily For it makes it easy For you to call me slutty Make sex sleazy. All I want is two bodies entwined What's mine is yours, & yours is mine.

It was cold I picked up an old road which I wrapped around my shoulders sometimes the wind whispers small towns or parched fields leaking into the horizon it was late I climbed over the gate

Fours hands touching Exploring land Hills & rivers rushing Becoming grand

and fell off the edge of the world I am still falling, open shirt and free

Canyons of emotions Floored by tremors Until we're stations Still our embers.

took my pencil, paddled without reason

a pauper or king or revolutionary it all began when I cut the cord

other than the cold that preyed so I picked up an old road. 53

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INTRODUCING THE COOLNESS In their own words Photography: An intimate portrait of the coolness. 2014 - Shaun Shoots

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Blue Steel or Red Velvet, it's incredibly difficult being cool nowadays. On that note The Coolness is a three-piece electronic-funk-rock collective. Our current line-up consists of three humans from Portsmouth who now reside in London. Having played across Europe and America and seen a

bit of this thing we call life, the joys of The Coolness now include: backing tracks on an iPod, unusual outfits, curly hair, stage invasions, sing along choruses and stage moves. Imagine T-Rex born into the future creating music with Logic and Ableton. Throw in Daft Punk, Churches and some retro 90's noises and you're somewhere near. This is love. This is the future. This is the Coolness. For all event information on planet cool check out: www.thecoolness.net


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WOULD YOU DARE DATE THE COOLNESS?

SS

CHAZ JOHN RO

I am lead singer and front man of The Coolness, but I think I'm pretty down to earth LOL! I also organise Club Cool, a London club night where trashy urbanites meet futuristic themes and smoke machines. Not only am I an artist, I am also an artiste, I also like to draw and paint, checkout my artwork. I am also a Buddhist, YOLO! Would like to meet a small TV lady or BBW, under 4�2. No internet connection. Likes: Bright colours, Brick Lane and small recording spaces. Chinese tea, Orange Wednesdays 2-4-1, power ballads, Casio keyboards, Miley Cyrus, Cup-a-soups, abbreviation and mustard. Dislikes: Conformity, DJs, poor hygiene. And BMWs. Guilty pleasure: Wearing ladies clothes. What kind of bird are you? Owl

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DAVID ROBINSON I am a curly-haired twenty-something guitarist with a GSOH, and I very much enjoy watching dogs during strolls through London's suburban parks. I have a sharp wit, cool temperament and am probably a great loss for the diplomacy corps LOL for them. I am also an avid surfer so you might just see me splashing around Europe's coastal resorts. I would make an excellent husband. Likes: Surfing, afro-beat, adventures, hummus, history and culture, yoga, boxing and Elton John Dislikes: Tangled wires., overly-hot jacket potatoes, mushrooms, centipedes and millipedes. Feeling trapped. Guilty pleasure: Hair products.

S EDDIE LYON I am the rhythm beast...with a GSOH. I learnt to play drums on upturned Tupperware pots and saucepans at the tender age of two. I have been playing professionally ever since. I am also a noteworthy canal boat enthusiast, and you might just see me on a sunny day speeding down London's very own Regent's Canal possibly munching on Turkish snacks. I am an excellent problem solver that likes to care and share. Burly and bashful I am a catch for any classy lady. No time wasters or STDs please. Likes: The construction industry, dungarees and work belts, 1970's Jamaican-funk. Beards, hippie festivals, beer, electronic circuitry, computing and D.I.Y. Dislikes: Environmental destruction, people blocking the canal, spilt beer and mornings. Guilty pleasure: Collecting small animals and wildlife. What kind of bird are you? Kestrel


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THE CORPSE LEAPT UP AND PISSED ON MY TABLE BY JUPITER JOHN I told him true, with my tongue aflame: Photography by Goddamn Media.

The corpse leapt up and pissed on my table "Now steady on old fellow,” I said

St Mary and St Abraam Coptic Orthodox Church.

"This is not the way to impress…you have trodden on the feast with your rotten feet, those ragged socks and broken shoes, it really is not on you know?"

"You are dead my friend, and so begin to stink, your flesh is green. There is no work left in you and your memory fades. There is no whisper of a lover in your ear to ease your pain when the going gets tough, no-one to stroke your hair in Sunday’s gloom…”

"Ah -ha!" he cackled "Now I have you by the balls!" and with he took a swig from a flagon of good red wine…and chomped and chewed on some pheasant flesh, spitting feathers through green broken teeth

Then she walked in-- my love so fine-Her eyes on fire at the sight of my enemy the corpse urinator, spraying emerald green unto her pretty ankles with electric splash

"Your life is nought,” said the malevolent intruder --“I And so he stole her from my arm shall thieve your worldly chattels and undo your purseAnd took all that he said he would strings and your head…your life does not add up to much— your precious heart pumps such dull blood…” And with his rotting member pissed his contempt on the curtains, the library, my writing desk, the paintings and in "I beg to disagree my dead friend,” I said… "For life is my ear…me!-- the once Lord of the Manor! good and kind to me-- there are daisies there in Albion’s fields, my lover plays the grand piano, her perfume lingers In the garden I hide and can hear her moans of ecstasy subin her braided tresses as she walks by with holy grace…the mitting to his deathly charms for I was pantry is full as the big fat moon, my cellars stocked high Cuckolded by a stinking corpse with the treasure of the vine….there is nothing that ye can do, be gone stink-death for the sight of you most offends!” So it is that I live on worms and butterflies --as my lover reclining on a velvet cushion Yet he stood and still he pissed there plays her grand piano to the stinking cadaver who cavorts all over the sweetmeats, pies & game; with a grimace borne in my favourite chair with a fat cigar, farting in great triumout of the drumbeat of the malevolent deceased: the reced- phant trumpets of death ing gums, his teeth in stumps, his braces filthy with earth and slime… And oh that I would die to win her over my bladder as full as my aching heart! "Fool!" he yelled. "For I am back to haunt you with my piss and stink! You shall not be rid of me…this corpse reneges © jupiterjohn 2014 on death!” 56 56


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THE GREAT BIG SELL OFF

Or rent us your tunnel vision ~ along endlessly updated precincts We dream of what’s gone, in simulation Buy yourself back on subscription

By Pete Gioconda

The great big sell-off continues apace ~ all hail to the human race Grabbing at trinkets wherever they can In the colossal trade-off, delusion and gain Always on a knife edge, to evenly split us up We beg for products of no relief

Losing weight so we can go shopping again … Come on a spree with me, in the shopping sanctuary We’ll buy what no one needs Every penny we’ve not got ~ we’ll spend on fantasies And throwaway luxuries ~ at the great big sell-off The man in the car accelerates ~ and offers to break my fingers off It’s too late to apply the brakes He squeals as I try and cross “Get off the streets ‘cos I’ve got a job At the great big sell-off” He works for the masters of money, who pay his salary There’s a sale on and he’s in a hurry With half the species gone already ~ it’s an extra special feeding frenzy “Welcome to the Pleasure dome!” ~ the grey-bearded tramp explains, Having forgotten why he came, With a child’s megaphone and a voice like a drain: “So have yourself a drink, grab another plate; The beast that feeds on mincemeat says: ‘What you need is some vacuous temptress To tempt you like the adverts …’ ” The diners look on in stylised bleakness, while he drags his carcass Through the restaurant; But unable to persuade to get what he wants (Whatever that was) ~ he stumbles off Yelling into hell’s extravaganza And crying about the great big sell-off “I wanna be high, when it’s my turn to die They’ll sell it all, by and by When they finish up the forests ~ where’ll be left to hide? They gobble up each new purchase As the world melts before their eyes” … The sellers sell on at the great big sell-off

[tramp’s voice] “They drive our rents through the roof ~ then call us spongers to boot Please sell me a new excuse To be a coward ~ with the scent of flowers I see beyond the dust of their gleaming towers …” [aggressive voice] “We don’t want your rags or smell around ~ These idle trappings that drag you down ~ will sell well down the river Sellers may turn in their accounts later When the Earth’s core is in liquidation And human teeth and hair are up for consideration” The great big sell-off When the last buyers have brought it all in When the owners have gathered it up Dead ducks float past gold-plated yachts Did they ever get what they want? The great big Hypnotic jolly ~ a sticky end to end gluttony When the meat puppets have their funnels in the stink of money When you think it’s all funny … what else can you sell me? The great big, can’t wait … their great ….. big great …….. De-humanised … sod-all … Sell-off

Soon we shall be stuffed with stuff ~ a casino wheel speeding up Or starving in the midst of surplus Templates from the shopping circus Who creates this madness lit up by adverts? In Sponsor’s Row, where anything goes Classic art has turned into logos And with pretty much everything else flying off the shelves The Earth is going cheap in the sales And when they divide up the boats Losers shall be trussed up like goats Or help lords reinforce their moats Ghettos in the North East ~ to be bulldozed over cliffs After they’ve asset-stripped And you in your portly daze ~ talk about a living wage As if doling out for children ~ 57

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SHE RAN OFF WITH DAVID BAILEY Illustration by Jamie Blackett

WORDS

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CONFESSIONS FROM THE COUCH: Sarah Brandis OK, let's start with the facts. Dexter is cool. Being dark and brooding is cool... when it is fiction. In reality, a 'dark passenger' is a heavy burden.

Mine isn't blood lust (phew), it is bitterness. Most of the time I function very well. As people go (and we all have our bad days), I am mostly an optimist. But in my weaker moments, when someone pulls my trigger, I am my dark passenger. I hadn't realised it was there for such a long time. But that is the magic of talking therapy, it unearths feelings you didn't even know you had. A lot of stuff has come out since I started seeing my counsellor. Not all of it dark. But the bits that are dark scare me a little.

As an ‘elective orphan’ I have chosen a life without my parents. Although in all honesty it never really felt like a real choice, more of a no-brainer. And I guess that is where the bitterness began. A choice that wasn’t a choice; the sort of decision that most people would never have to make. And now for the bit that really scares me the most. I work in a caring profession. So what does my bitterness mean for my ability to empathise? I am so bitter about people who come from loving families, have unconditional support, and still can’t take care of themselves properly. I spat this particular confession out from the ‘hot seat’ (my counsellor’s couch) today. Then she asked me if that made me concerned about my current career path. And I answered yes, yes it does.

Should I be in a caring profession? Maybe I should be one of those scary-ass boot camp trainers? Yelling at people and inflicting pain might be really cathartic. Or maybe I would just be facilitating my dark passenger. Not so much ‘releasing the beast’ as feeding it ‘roids and cheering it on. Yep, this idea is probably scarier than my confession earlier today.

So for now, this issue is unresolved. But emotional baggage doesn’t get resolved overnight. My challenge is to let go of my bitterness and find empathy for everyone; regardless of how privileged they may seem from my perspective. It is only a matter of perspective at the end of the day.

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By Jupiter Johm I got this bird in Bayswater but me I live in Tooting she's a photographer in Peckham but I can't take all the shooting met her in a Camera Club she got me all asthmatic with her fancy Science-Fiction piece up against my Instamatic Thought that I'd impressed her but a snap or two did fail me my negatives depressed her... she ran off with David Bailey I met a bird in Bayswater but now I have left Tooting you'll find me out in Peckham ‘cos I'm ready for the shooting ©jupiterjohn 2014

SEPTIC LEG By Oli Spleen Oh, sing me a song Of your soul’s sweet salvation Don’t dig yourself deeper In dark degradation Don’t lay there and languish In leper’s repose With a cunt for a mouth And a cock for a nose And a mouldering mind And a festering fist As your pinpoint eyes weep Like the pus from a cyst And all of the things You should never have caught Like the herpes and scabies And genital warts And the crabs in your pubes And your legions of lice You’re scratching it raw now But isn’t it nice? As the skin flakes away And you wank yourself red I’ve kept a space warm for you darling Come back to bed


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FAUNA SYLVESTER Once upon a time in Dalston Down town Dalston way, when Fauna was a fledgling artist, she was cutting her teeth on the Hackney art scene. Long before it became the hipster idyll that it is today. We are talking pre internet days when finding information required a little more than a simple click of the mouse. She was living in a run down gothic mansion populated with artists, drifters, and students. One day, while rifling though the mountains of clutter that seemed to accumulate in that house she found a huge collection of Italian hard core porn, which had been gifted to one of her housemates (or at least that is what he said). It was the kind of stuff which is readily available just about anywhere on the internet now, but back then to a naive twenty-something, it was an eye opener. The pages were filled with bizarre scenarios, some beyond acrobatic, others, like Cicciolina verging on the artistic, as Jeff Koons was later to show. Fauna always had a sexualized view of things and this acted as a catalyst.

She also produced a small book of drawings titled ‘The Little Book of Fucks’ which she would tout around the East End bars and Private Views. The arrival of the internet changed the landscape, with it came access to places that previously Fauna had never thought to go. The fetish clubs of London. She recalls her first visit to a fetish club which was the Torture Garden. she said ‘ I felt like I had arrived home. It may have only been one night but it seemed as if I had been on a trip’ Real life tableaux, scenarios, and exotic costumes were paraded in front of her eyes, which filled her with inspiration for many of her works. Currently she is working on a series of drawings which she hopes will be the basis for an exhibition later this year.

From an early age Fauna had always imagined people as animals. At school, rather than paying attention to the teacher, she was reinventing her class mates as different breeds of dogs, and would doodle those characters prodigiously across her own and other people’s exercise books. She has always had the sharp satirical eye of a cartoonist, and was bought up on a diet of artists like Ralph Steadman, Gerald Scarf, and Giles. Having blagged her way into art school with the minimum academic requirements she set aside her doodling habits for more serious artistic pursuits. She spent six years in total studying fine art, from the traditional such as life painting, to what was considered at that time, Avant Garde. Performance art. Her art school studies were concluded in the south of France, where she developed a sideline in order to support herself, doing cafe sketches and water colours, selling them to locals and tourists alike, or to pay off her bar tab at her favorite cafe. Back to that pivotal pornographic moment in Dalston. Fauna could not get some of those crazy orgiastic scenes out of her mind. Some verging on ritualistic, others so absurdly complex, that one has difficulty imagining the reality of it. There is clearly a creative conceit of a twisteresque nature, in order to follow the required sexual narrative. Fauna discovered that in drawing her characters as animals rather than people, that no matter how hard core the activities expressed in the drawings, they were viewed with humour and amusement. This allowed Fauna to show the surreal nature of some of these themes, with a style that is almost reminiscent of an old fashioned children’s story book. Indeed Fauna thinks of them as a bit like fairy tales for adults. She refers to these works as Faunography. A play on words, across between fauna as in animal, and pornography. Initially she started out with a series of intricate prints, which at the time were influenced by the works of Keith Haring and other graffiti style artists. Although not a graffiti artist herself she was still deeply influenced by street artists, their energy and playfulness, and of course the subversive nature of their art. She exhibited these works mainly in small gallery events around London.

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Above: Dear deer by Fauna Sylvester

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Above: For the love of shoes– Fauna Sylvester Opposite– Mods and Togs-Fauna Sylvester

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This page: Spider woman– Fauna Sylvester 62


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This page: Essex Birds-Fauna Sylvester 63


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CHRISSIE NICHOLSON-WILD In her own words Talk is cheap. Mainly because there is so much of it. If you come

builder bikini's and all sorts of weird and wonderful costumes.

down below the clouds of hot air there are many grafters and doers working behind the scenes and Curve Couture prides itself on being one of the underground suppliers of custom made garments to the

Much of my work has developed from a simple curiosity of wanting

movers and shakers within the hub of Brighton's creative sect.

to know how things work and how do I make them. I see influences everywhere, from the garden next door to the Fine Arts, everything

Brighton is a nice fit for Curve Couture, it's creative, open and a city that I find beautiful and interesting excites my senses and eventually not prone to following trends. I love going to London to be in the

creeps into the work. Indeed it has lead me into new avenue's of ex-

thick of it and I would love to be in a position to show in London or

pression, such as photography, and collaborations with new people.

Paris in the future, making a stand for the unsung specialists dili-

This lead to my Reine Des Abeilles photography shoot, as featured

gently working behind the scenes.

here, which was a collaboration with Zoe Van Spyk, Zoe Della Rocca, Natasha Gatward and myself. It's great to work with such an

Curve Couture started off as a company that just made bespoke cor-

inventive team and each shoot pushes our comfort zones, skills and

sets, and from there people began asking me to make all sorts of

creativity further.

things. It allowed me to expand my horizons creatively, learn new skills and practice them.... the 'getting stuck in there' drives my

I was once asked if I would ever do a range for Primark, and my

knowledge and design process forward. As a corset maker, bored

answer was simple: Nope, I strongly believe you get what you pay

with reproducing the same small selection of historical examples I

for. I think that it devalues all the talent and hard work it takes to

quickly moved on to making my own patterns and experimenting

make good clothes, the designer, pattern cutter, seamstress,

with materials and finishes.

presser.....all these positions require thought, time and expertise. Aside from the ethical concerns of manufacture I am strongly ad-

Corset making, like tailoring is a specialised skill in the field of fash- verse to the throw away culture that it symbolises. I want to make ion design. It is governed by different rules and requires a higher

things that stand the test of time, that are cared and looked after,

degree of precision and engineering, although being a shit hot dress-

even passed on from one generation to the next. Everything I make

maker certainly helps. It became my obsession and it never occurred

has a piece of me in it, I want that to live forever.

to me when I began just what I was getting myself into. Every single corset is different., individually pattern cut and personally fitted. And every person's bodies and requirements are different so frequently the working out process takes longer than the actual construction of the piece. A full on bespoke corset with hand made embellishments can take over a hundred and fifty hours, it can get pretty intense. When it comes to fabrics I will always choose the best that the budget allows. I hate compromising on fabrics and embel-

“Talk is cheap, mainly because there is so much of it�

lishment, flimsy and weak fabrics and second grade embellishment can totally spoil an otherwise beautiful garment, and shorten it's life span. Branding is a word I don't like to use too much with reference to my work as it implies a corporate mission of some kind, and I feel that

Website: www.curvecouture.co.uk E-mail: chrissie@curvecouture.co.uk

can sometimes get in the way of the creative drive. Having said that Curve Couture definitely does have it's own aesthetic values, and to deviate too wildly from those would make it confusing for clients, but that never stops me doing the things I want to do...I just don't release it under that brand name. Clients flock to Curve Couture for their interest in corsetry, whether that be a bespoke corset or a wedding dress although I have turned my hand to all sorts of disciplines and garments, from tailoring to feathered head dresses, to body 64

Photograph: Chrissie Nicholson-Wild. Make-up: Zoe Della Rocca. Styling: Zoe Van Spyk. Wardrobe: Curve couture.


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Photograph: Chrissie Nicholson-Wild. Make-up: Zoe Della Rocca. Styling: Zoe Van Spyk. Wardrobe: 66 Curve couture.


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Photograph: Chrissie NicholsonWild. Make-up: Zoe Della Rocca. Styling: Zoe Van Spyk. Wardrobe: Curve couture.


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MIZ BRIXZ

We are constantly bombarded with images and stories of economic hardship, the lack of available work and diminishing industry. Some however ignore this common misconception and instead of waiting around for work to find them, they create a vacancy all of their own...or two.

Left: Trooperfly by Miz Brixz. Available as a print/t-shirt or card.

Laura Cotterell, is a perfect example of such industriousness, running two successful businesses despite being diagnosed with MS and the tender age of twenty-five. After having to retire as a professional dog groomer Laura introduced Miz Brix as an outlet for her creative side. Her work feature s comical, staged photographs of well known characters available for purchase on T-shirts, canvasses, greetings cards, prints, stickers and just about everything else you can think of. By her own admission a hobby has become an obsession with an incredible backlog of design choices. More purchase information and designs can be seen on her facebook page: Miz Brixz. As if all this wasn't enough, Laura is also the founder and creator of ‘Out of the Ordinary’; Cotterell’s bespoke furniture customizing business. Taking pre-loved furniture into the homes of many celebrity clients.

Left: Arson by Miz Brixz.

Left: Moonlight rendezvous, canvass by Miz Brix.

When asked how a mother with MS copes with the demands of two business, Cotterell said: “You just do”.

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PHAROAHE MONCH AT THE CONCORDE II Monch together with partner Prince Poetry released three albums in the early 90s as rap duo Organized Konfusion, later going solo with his debut album ‘Internal Affairs’ (1997). Even the most reluctant of hip hop fans indulged in his classic single ‘Simon Says”. ‘Desire’ (2007) ‘W.A.R’ (2011) and P.T.S.D EP followed. Monch’s sophisticated style and political undercurrents are above and beyond the macho rap we have become accustomed to. A style we know so well and love just as much. He does however provide you with a lot more food for thought. Brogue was delighted to be invited to see the man himself perform at the Concorde II in Brighton. We arrived to a packed and mixed crowd. As Monch delivered his eloquent, multi-syllabic rhyming perfection every person in the room was elevated; not least by his incredible presence and ability to involve the whole crowd in his performance. When he finally dropped ‘Simon Says’ the crowd did all but loose their minds. I have been to a gig or two in my time and I have to tell you; the energy in the room at that point goes unrivalled. When those first few bars unravelled... We were all on stage with him, powerful and defiant, just like all good hip hop should be. Expect to be educated. Brogue.

V.A FEARON The Girl with the treasure V A Fearon was born in Hackney, in the East end of London to West Indian parents. She has a degree in psychology and has worked as a criminal lawyer in London for most of her adult life. Her work in criminal law brought her into contact with some of the most dangerous and some of the most vulnerable people in the capital. Echoes of this can be seen in the characters penned in the DANI series, the first of which is The Girl with the Treasure Chest. The Girl with the treasure chest is a fast paced urban tale. With incredibly realistic character depictions Fearon will no doubt have a loyal fan base amongst those that love this genre. A great first novel packed with action and drama. Roll on book two.

The Girl with the treasure chest is available for purchase on Amazon.com

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Illustration by Judi Thomas

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REVEIW

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WU-TANG IS FOR THE CHILDREN “I don’t know how you all see it, but when it comes to the children, Wu-Tang is for the children. We teach the children.” -ODB, Grammy Awards Show, 1998. Fifty artists have come together to draw inspiration from Wu– tang’s monumental back catalogue to create a multi -media exhibition of artworks ranging from ceramics to animation to embroidery to graffiti, showing how truly universal and influential Wu-Tang Clan are. It’s been over twenty years since Wu Tang released their seminal studio album Enter the Wu-Tang (36 Chambers) and with their influence showing no sign of letting up it is of no surprise there were so many willing participants. Gemma White did a splendid job of curating such a bulk of work having received full and official backing from Wu-tang themselves. The show was packed and got rave reviews, even strong praise from RZA himself. There was such an eclectic mix of work on view; everything from embroidery to graffiti. An exhibition that proved Wu-tang clan really does appeal to just about everyone in one way or another. The Wu fan isn't type cast and neither was the art on show. I really look forward to what else the London Newcastle project has in store.

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73 Opposite page far left: Art work by Lucas Dupuy. Top left: Art work by Florence Blanchard‘Frenchvanilla, butterpecan, chocolatedeluxe This page: Art by Chris from Calm and Collected. Just a small sample of the immense collection curated by Gemma White for the LondonNewcats sle project.

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This page: One of the stunning pieces of work on show at the exhibition. By Zophiel Webb.


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COME AND SEE The Chapman bothers The Serpentine Sackler Gallery plays host to yet another hypnotic and surrealist show by the Chapman Brothers, you are instantly transported and made into a reluctant voyeur to some intense scenes. The Sounds of nervous laughter harmonized with a heavy metal soundtrack makes the atmosphere that much more absorbing. The Chapman brothers present an exhibition that is challenging, questioning, chaotic and yet witty. They show us an epic postapocalyptic diorama that feature Ronald McDonald, Nazis and Dinosaurs. Alongside these mini worlds of destruction sit defaced paintings and rainbow socked Klu Klux Klan models. All of the above add to this confusing yet encapsulating environment that toys with absurdity. Tom Gibbs Above and Right: Photographs of work by Jake and Dinos Chapman. Exhibition now shut.

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I USED TO DREAM OF ADVENTURE Nathan Penlington

few years ago, I found someone on eBay selling the first 106 Choose Your Own Adventure books in one lot – from #1 The Cave Of Time right through to #106 Hijacked. The night the auction ended I calculated my maximum tactical bid, took a risk, waited and placed a bid in the final minute. I won the books for a total of £41.01. If I’d made a different decision the rest of this story wouldn’t exist. A few days later a huge parcel of books arrived. I cut through the tape, ripped back the flaps and began pulling books out – a tumble of titles that ranged from the prosaic Mystery Of The Secret Room, through the genre defying Space Vampire, to the suggestively ambiguous The Trumpet Of Terror. The distinctive red and white covers instantly transporting me back to when I obsessively read and reread them as a child, turning down the corners, so if I hit a dead-end, I could go back and try again. As I reached for the last book in the box: book number one, The Cave of Time, out fluttered four small pages. It was only as I grabbed them, I realised they weren’t pages from the book, they were pages of what seemed to be an old diary. A name scrawled across the top in blue biro – Terence Prendergast. Those pages are one of the most heart-breaking things I have ever read. The diary contains the thoughts of a child growing up the 1980s, a child who has been bullied, has no self-esteem, and even though he loved Choose Your Own Adventure does not think of his own life in terms of possibility and choice. I became obsessed with the diary, with those enigmatic scrawlings of the unknown author. The obsession haunted my sleep, hung over my days. I had a gnawing need find out the truth behind the pages, I needed to know that Terence, who would now be a man around the same age as me, overcame those difficulties and emotions that had threatened to overwhelm him. It was almost as if the child I used to be responded to those pages like a letter in a bottle. Collaborating with a team of filmmakers, Fernando De Jesus, Nick Watson and Sam Smaïl, we decided to document my quest to find Terence Prendergast. And for the past few years my life has become a real-life Choose Your Own Adventure book: my search for Terence Prendergast has spanned four continents, and brought me face to face with the octogenarian originator of Choose Your Own Adventure Edward Packard, a self-help guru, a sword-swallower, a graphologist, a seaside arcade owner, and some ghosts from my own past. And in doing so we’ve made a documentary with a difference; part spoken word, part stand up, part film. With over 1500 possible versions, and multiple endings, every performance is different. At each twist and turn it’s the audience who dictate which path the documentary takes – whether I meet with success, failure, or the unexpected, depends on the choices the audience make via remote controls. The hardest challenge of making any documentary is that you can’t write reality, and the challenge of making such a complex Choose Your Own Adventure style documentary is that you definitely can’t write multiple realties. Despite this complexity, every story the show tells is true. Those stories are funny, emotional and profoundly human, and they are ultimately an exploration of what happens when you flip back to a corner you’ve folded down and turn to a different page.

Like millions of children in the 1980s I grew up reading Choose Your Own Adventure books. The simple mechanic of choosing where the story would go next, and which page to turn to, redefined storytelling for a whole generation. As readers we became responsible not only for the outcome of the story, but for the journey, and in doing so Choose Your Own Adventure books neatly illustrated that our own lives are a tangle of narrative possibility. That is powerful stuff for an eight year old. I’ve still got the books I had when I was a kid, and I’ve collected quite a lot more over the years from second hand shops. I loved them – falling through the 5th dimension and meeting the author Edward Packard inside his own book, breaking the rules and finding Ultima the planet of paradise, being trapped in a time-loop with an old man that keeps looming over you – are moments that I vividly remember. I loved them, and I still love them, but I was never even close to owning a complete set. 22nd May.

Choose Your Own Documentary is at the Komedia, Brighton, on 28th-29th May. The Boy in the Book, the full story of Nathan’s obsession with Terence Prendergast’s diary of will be published by Headline on

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SUGAR By Ade Sluzky Above photograph: Vivienne by Goddamn Media Opposite page: Image by Goddamn Media

This text is a selection of excerpts from a collection of writings entitled “Sugar.” Once upon a very long, long time ago, a literary cliché was born. The Adam and Eve, Garden of Eden, creation story. It lays the foundation for our Western quest for meaning. Sadly, it appears to drag its Armageddon ending along with it. So that you know what page I am on; fuck the Armageddon, I vote we continue living. I mean that with all due respect of course. Hey, let me break for an etymology moment. Respect means to look at something again; to “re-inspect.” I do not respect those that expect that their demands for respect be respected because, true from my heart, they get it from the start and by ill-will I shall not be infected.

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sanna moment, please do remember how new scientific discoveries continue to render former truth claims to become metaphor; let's hold hands a little longer with some wellintentioned hope. Well propagated myth + highly testable theory = best we can hope for a coherent beginning to the story of human life. Seems we'd been monkeys. Seems we've lived on mushroom -dotted plains of Africa. Seems we shared the trees with snakes. My suggestion is we found out how to make fire and burned down our fucking trees by mistake. We've been either admonishing ourselves or blaming other monkeys for it ever since. After we were rendered homeless and hence, nomadic, the wilderness times came. The environment brought floods and ice ages, killing people we know nothing about and leading us to accepting the one-sided tales of survivors. For example; there was once a story about a flood that people survived because they had a boat. Through history, humans have doubted whilst nodding at the anecdotes of mass murderers in hopes of getting out of the room alive. If you can't quite establish what happened last Tuesday in Iraq, can you really do anything but conjure a well-read fantasy about what occurred in bronze age Mesopotamia over a thousand years ago? If you are waving a sword around after cutting off a few heads, you can rest assured that many in the room are nodding out of relief that their heads are still attached, rather than you having created a communally successful final solution to civility.

OK. Platform established and time to introduce the theory of evolution. We are all related to a common ancestor; some kind of gloopy, transcendent, blobular goo that may or may not have come from elsewhere in the universe. There is an Adam and Eve in our heritage. I imagine a murderous, monkey couple that just followed their impulses and managed to keep the gene line in the running. Yes, DNA has established that we are all related although the gene pool is spread thinly enough... and before you religious people grab onto this ho- Descendants of Adam and Eve got annoyed with having to


79 travel about all the time and someone figured that the universe's personality had a vested interest in real estate. Growing crops and fending off hungry bandit marauders was no way to live and so the idea of formulation of State occurred. To cut a long story short, the rest of the world took this idea on.

and we can get into the EU just to simply be referred to as the Party Party Party. We are not after support; we are after ideas to support. Fuck the Armageddon, I like this planet and I dare you to find a better one.

Let's be honest, which nation does not have blood on its hands? Which nation does not have skeletons in its closet? Aren't nations physical extensions of human psychology, surrounded by other entities, with an inherited history that feed into the history we create for ourselves? How much do we owe to history? There is a living history unveiling before our eyes every moment; as true for the young as it is for the old. We are living with our defences pointed inwards and outwards; a Mexican stand-off... well, when in Rome.... Here is how to be a prophet. Firstly, announce that everything is going to go tits up and secondly, announce that everything will be fine. Whatever happens, you will have been right once. You can automatically dismiss the incorrect prophecy as the time you befell hard times by listening to the wrong guidance and then pass on a humble well-done to those who knew the difference at the time. Ah state of mind and the mind of State. But States we have and states of mind we transcend... Another etymology break. “Adam” means “man.” The word “heaven” derives its meaning from the same root as “harmony.” The word hell means “to build a wall around something.” If a castle is “helled” there is no getting in or getting out. “Satan” has its Hebrew language history and mixed reports suggest that it means enemy or adversary. Next time you see angry middle eastern referring to your state as Satan, they are merely pointing at your aggression and letting you know they mean business. Mock them if you care to but never doubt their hatred of you and their moral code that justifies your slaughter and the slaughter of all you love. Don't sell yourself to Satan and end up helled; be in harmony. Don't work for the Romans! Speak the truth and this will all come crumbling down. I assure you, though, things will be better afterwards for those chosen to survive. Well; who likes those odds? The Romans were like the Nazis, only more successful. Our islandised nation states reside in the hell of geopolitics with their guns pointed inwards and outwards and upwards with satellites pointing downwards whilst good ideas fall by the wayside because we've fallen into an individualistic dream of using resources and not being parasitic; being global but mistrusting the foreign; being free but not speaking our mind. I take the lesson this way. Seems Jesus was a proto-psychologist philosopher with a messianic complex. To me, his nailed up body conveys a very straight forward example, “Pay your taxes and do not piss off the Romans.” If I am not academic enough to criticise religion with this amount of research, what percentage of followers are academic enough to know what the hell they are believing in? Culture is a singular and planetary phenomena that varies by nuance from nation to nation. The multitudinous, multi-culturalism idea was a kindly thought out cop-out that attempted to make permanent the divisions between peoples. It was the last remnant of the 20 th centuries attempts to hold this global beast down to an ism-ismesque, permanent state of being so we could all just stand still for a cosmic moment. This cosmos does not stand still and there is no reason to expect this to change throughout its entire scale of the subsub atomic to the larger than the super massive. I hereby propose a political party to be called The Party Party. If successful enough, other countries can have their own Party Party 79

“Well propagated myth + highly testable theory = best we can hope for for a coherent beginning to the story of human life”


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BROGUE KNOWS BEST THE ADDRESS BOOK COMING SOON The Brogue address book is due for launch in May with our first listings appearing in the spring issue. The address book will be a combination of local and UK advertising, gig listings and reviews. For all advertising inquiries or to submit your business for review please contact us via email: broguespirit@gmail.com

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USEFUL LINKS www.spiritdelamare.wordpress.com www.facebook/broguemagazine Twitter: broguemagazine Twitter: xspiritdelamare Instagram: brogue_magazine Instagram: spiritdelamare

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Brogue Magazine Issue Two Saints & Sinners Editor-In-Chief Spirit de la Mare Including: Spirit de la Mare, Fuud London, Miz Brix, Olivia R...