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issue 004










FRAYED is a free, independent creative arts & culture magazine concerned with the exploration and documentation of expression. Investigating the inspiration behind the art, it provides a canvas for creative people to document their life and work. FRAYED is for those who love creativity in all its forms but long to know how and most importantly - why it exists.

06 BARCELONA 16 LYN ACTON 24 TV 32 ADELPHI 30 Frayed Issue #004 November 2014 for submissions & advertising enquiries Created by Josh Moore, Luke Chambers & James Ash Social media: Dave Adamson All rights reserved. No part of this publication may be reproduced in whole or part without permission from the publisher. The views expressed in Frayed Magazine are those of the respective contributors and are not necessarily shared by Frayed and its staff. As we are concerned with the freedom of expression, the interviews presented in Frayed Magazine are documented as spoken. The opinions and perspectives do not necessarily reflect those of Frayed and aspects of the language used may be deemed inappropriate for younger readers.


uring the 1980s, weekends were spent rolling around the back of a Land Rover with a couple of mud encrusted Raleigh Super Burners and my cousins Matthew and Simon, on our way to yet another BMX competition. The summers felt endless then, with glorious days stretching out in front of us; the sun beating down on our freckles whilst my sister and I whooped and clapped on the sidelines, watching the riders skid, fall and finally cross the finish line. Nobody ever told us it had started back in the 1970s, on the dirt tracks of Southern California, and we’d definitely never seen the iconic pictures of kids riding abandoned swimming pools in San Diego. Back then we never knew the full extent of the craze for bicycle motor cross, and we presumed it only happened somewhere between Hull and Scarborough. We were wrong. The physiological and psychological benefits of skateboarding and BMX riding are well known. Thrill seeking, friendship and an accidental harmony with architecture are just some of the intrinsic reasons for engaging in this pastime. Most retired veterans of both sports are happy to wax lyrical about the strong camaraderie, and the creative freedom they’re allowed to interpret the otherwise bland landscapes of inner city areas. Recent decades have seen Barcelona become an accidental mecca for BMX fans, with unfailing Mediterranean climate, varied concrete terrain, vast public parks in abundance and a relaxed, liberal attitude to the swathes of cycling tourists who travel from all over the globe to experience the city’s banks, rails and ledges. FRAYED documented the experiences of four avid BMX riders from Hull, amidst the giant Spanish playground, in a bid to find out what drives them to return there each summer.

Luke Smith started riding seven years ago and feels that it’s “one of those sports where you can travel from place to place, witness lots of other cultures and be inspired by meeting people from all over the world. Back in England you’ve got to really plan your day, check the weather reports, make sure you’ve always packed a waterproof jacket because you never know if it’s going to be boiling or fucking raining – but here in Barcelona you can wake up and just know it’s going to be sunny. So you pack shorts, a vest, and ride all day long – everything’s perfect, going from A to B, enjoying the ride, drinking in all the amazing sights you see everywhere around you.” For most kids in Hull, the recent renovations to Rock City have been instrumental in the revival of both skateboarding and BMXing, with Josh Wood noting that “ Hull used to be really good when we were much younger, there were always loads of older people to ride with and learn from, but then things started to die down a bit. Now that Rock City has re-opened we’ve got a load of new spots to ride, and kids from all over the area are riding all the time, so we can always find someone good to sesh with.” The social aspect is key, and forging strong trust with one another other in situations where you are effectively endangering yourself are paramount to the nature of the sport. Josh Christmas started in the skate park on Hull’s Beresford Avenue, with a BMX of questionable quality from Halfords. Riding now for five years, the community angle is important to him “It’s not something you want to do on your own. What’s the point? You can still enjoy it when you ride solo, but it’s not the same. It’s nice to meet people, be social. Most of the good friends I met through BMX – it gives you a boost, that motivation.”

Injury is par for the course, and rarely a week passes without some kind of gruesome incident. The A&E department of Barcelona’s hospitals are accustomed to the broken bones of passing BMX casualties, and during filming Josh Christmas experienced the European healthcare system firsthand when he saw “a gap from the road, to a little path with an 8ft drop, and I called it thinking ‘I’ll give that a go!’. I remember riding it, and then nothing, just slamming the floor, eating the handlebars. I didn’t really understand what had happened to my face until I saw my reflection in Josh’s camera lens. My teeth were pushed flat and my lip was hanging off. A local who was passing called the ambulance, and after being stitched back together by two Spanish doctors I was out after four hours. I’d had a similar incident last year and it really knocked my confidence, but I was just so glad it wasn’t my legs or arms so I could still move about. When I was younger I’d fall and just get straight back up, but now it seems when you come off it gets worse and worse each time. I’ve broken my knees, ribs and elbows – sometimes it makes me wonder why I’m still doing this!”

Listening to the riders, there appears to be an inbuilt capacity to interpret failure as a signal to try harder next time. An admirable philosophy not only for BMX, but also for life in general. The determination to carry on regardless hinges, in part, on physical fitness, and after eight years continuous riding, Barry Rowland hopes his “knees and ankles will last, because getting hurt is all part of it. You want to do it for yourself, and if you don’t master it the first time then you’ve got to keep trying until you’ve cracked it. That’s really what this is all about.” Luke agrees – and rounds up the ethos of the trip perfectly, “what happened to Josh was tragic, maybe some of us have got more balls than sense. The week we had together in Barcelona was awesome – that break from reality. Sunshine. Bikes. Beer. After the accident happened we headed back to the hostel, dusted his teeth off the bars and went out for some paella. We couldn’t have asked for a better time.”

Leanne Cloudsdale contributes to various international publications, including Inventory, Riposte, AnOther and Arena Homme+. She co-wrote the book 30 Years of Research in Style, published in 2013, and gives lectures regularly all over the U.K.

27 Princes Avenue, Hull 01482 441800

Lyn Acton Mother. Musician. Inspiration.

The Lyn Acton story is an inspirational one. Please take us back to where it all started. I’ve been around for a long time. I started doing music a long, long time ago but seriously doing music, I guess it’s... 28 years ago. I started working with a guy called Matt Hogg and we worked together again at Adelphi 30 because we did the musician’s night - The 100 Club. We used to do a lot of stuff together and we formed many bands, like Pink Frankie, which morphed into Mambo Jambo. Lots of people were in that band in various times. Then we had another band that ran alongside it called The Fabulous Boots where we did Soul and Motown covers and that’s how we made our money really. It meant I could give up my job. So after giving up your job, where did you go next? After a year of doing RAF camps and all that circuit with an agent, it just became too much. It was horrible. It’s a horrible way of doing music really. Yeah, it’s good money but I found that on a night I’d be halfway through a set and thinking, “Thank heavens for that!”. But it funded another band that we set up called The OK Consolers who nearly got signed to Sony but somebody in the band got in a fight with a guy in London. So yeah, that never happened. And then various things happened and that all fell apart. And then I became a bit of a session singer for anybody that wanted backing. Then I got rung up one day by The Ferens Art Gallery who said they were putting an exhibition on and they needed a jazz singer. It had Billie Holiday and all these jazz singers. I’d never really sung jazz before that and because I had this policy of, “Yeah, I’ll do it!” and deal with it later, I said, “Yes, yes!”. So I got into the jazz world and I found I had quite a good voice for jazz. Maybe I was a bit older and I had that resonance that seemed to fit really well. Suddenly I was singing songs from like my parents’ record collection that I used to secretly like but at the time I just wanted to listen to Punk to annoy them! But there are some brilliant songs to sing from The American Songbook - which is what it’s called - and as a singer I started to learn a bit more about my voice. People who are just getting into your music now may only know you from the reemergence of Pearl’s Cab Ride. When and how did the band originally come together? I formed Pearl’s Cab Ride before I went into the jazz world because I got together with a guy called Karl who was doing some stuff at The Warren and he said, “Would you mind singing on some songs that I’ve written?”. And then we kind of got friendly and decided to form this band called Pearl’s Cab Ride. We went and toured a lot with that. It was during the Acid Jazz days so there was even a little bit of jazz influence popping up there. That was an amazing time really because that’s when I really started to write. Before that, even though I was in an original band with Matthew Hogg, I kind of sung his songs. I didn’t really have a great input in it because I was a bit - I don’t know really - maybe I just didn’t feel I could. His songs were brilliant. He was an amazing songwriter and still is to this day. As Pearl’s Cab Ride we were together for about seven years and for about five of those years it was the same lineup. Then things happen. Life happens and bands don’t stay together for life.

When did writing your own songs become so important to you? Suddenly, when I was working with Karl Arthur, I just thought, “I’d like to have a go at this!”. I was just singing mens’ songs again! So then, I just started to write. I started writing really good things and Pearl’s Cab Ride started to take off! We’re now performing those songs that I wrote back then and I’m discovering that I was actually good at writing so I’ve started writing again. A lot of the songs that I’m writing are kind of like - they’re not melancholy - but I’ve written a song with Emma Fee from the Happy Endings and it’s called…. well... it’s a song for Jack. It’s not a melancholy song but it’s about what my life was like because I do feel there are two sides to my life now. There’s before Jack and there’s after Jack. You know? It’s taken quite a lot to get to the after of Jack but music for me has just been the best therapy. I’ve learnt an awful lot about what I particularly want from music. I don’t think I’d ever go down the jazz route as I did before because I don’t really need to do that anymore I suppose. I’m not hungry for work and gigs in that way because I’m older. Some days, I don’t even want to come out of the house. I’m not an emotionally imbalanced person but because I’ve had such a major trauma in my life, I pick and choose what I do. I have to. I’m not strong enough. Losing a son at such a young age must be absolutely devastating. How has music and writing helped you deal with such a traumatic experience? I lost my son Jack in 2011. He was nearly 22 and he was one of the best things that ever happened to me and my life. We were very close and it’s sometimes very hard to not be able to share a lot of the things that I do now with him. I mean, he was a little boy when I first did Pearl’s Cab Ride and I can remember him dancing. We do one song called Cooking Pot which a lot of people remember and I can remember Jack singing that in the car. I got back on stage about three months after Jack had died and people said to me, “I don’t know how you could have done it.” but to me, when I’m on stage and when I’m singing, I can’t look back. It’s very much in the now. That’s what I mean about the therapy side of it. I have just that to focus on. It’s a weird feeling, it’s a very weird feeling. I’m not trying to sound like some hippy and say that Jack’s with me because he’s not. But, it’s a bit like, I don’t have to think about anything. It’s all just about me. It’s me in my little world and very much of the now. It’s a way of expressing things. Writings songs is different now. It was a massive thing that happened and everybody has massive things in their life and I’m more fortunate than a lot of people who lose a child because I do have another child and I’ve got three amazing grandchildren who live in Manchester and have a great life. I’m saddened and everything is tarnished but I was saying to Mal - his father - the other day that we’re never going to be happy again but we can be happier. That’s how we view life. Do you feel like the music offers you a connection to Jack? I think with most things I do, I’m connected to Jack. Like the days when I feel I can’t go out. If Jack knew he would be so upset to think that I wasn’t functioning and to be the cause of that - it would just destroy him. That keeps me going. He was so proud of everything I did musically and he came to all my gigs. I used to have this regular night at Nelly’s when I was doing the jazz stuff and he’d sit on the door with his friend Lucy and they’d take all the money and then he’d go round getting money off everybody for the raffle. He was very much part of everything and he was proud. He liked the life that we gave him that included the music. Massively so. He was just really getting to grips with doing more stuff really. He DJ’d for Home Sweet Home and for those who don’t know - he was Cosmo. Hence the caps and everything. I remember, one of my last few texts from Jack was, “I hate Ableton, I can’t get to grips with it!”. I’ve got one of his final mixes where you could just see he was on the cusp of just doing something. He was always into learning. If he wanted to do something, he’d do it. And I remember, when he died, a lot of his friends said, “Who’s gonna make us do stuff now?”. For his funeral, there was five hundred people there. Lots of people I didn’t know. It was really funny because on Saturday my grandchildren were here and as we were walking down Newland Avenue, my grandson said, “Granny, do you know everybody?” and that’s what Jack always used to say to me. But, when I was at his funeral I said to Mal, “It wasn’t just me who knew everybody, was it?”. Jack always had time for everybody.

Since the loss of Jack, you’ve set up the Cosmo Foundation to support young people in music and sport. Did you feel that the foundation was something yourself and the city needed? We set up the Cosmo Foundation because we were at a loss any trying to make some sense of something. It was Polly and Endoflevelbaddie who came to us and they wanted to do some t-shirts originally and then it went into the caps. Jack was known for his trucker caps. He had hundreds of various descriptions. That’s how the Cosmo caps came about and then we had a night at The Lamp and it just went crazy and everybody seemed to want to get involved. I think it helped everyone. Everyone needed something to put it on because when you’ve got a load of grief you don’t know what to do with it. It feels like you’re carrying it around but when you’ve got something that you can put it on, it makes it a little bit easier. We just tried to make some sense of this ridiculous thing that happened. It’s like we all went to bed on Sunday night, woke up on the Monday and our world was absolutely torn apart. We spent the two weeks before the funeral at our house just putting people back together again. For the first year I was just completely in shock. I just walked around helping everybody. I think, about two years in - and the last year actually has been really hard - I’ve found it a real struggle a lot of the time. I think it’s because… everybody’s moving on. As they should. All these people who were such a massive part of Jack’s life are now growing up and moving on. Music seems to have been the one constant in your life despite everything else that has happened to you. Why is it so important? When I was a very little girl, all I ever wanted to do was be a mum and be a singer and I’ve achieved both. I don’t feel like I’ve been given this gift of a voice because everybody’s got a voice, it’s just that I tend to use it! I enjoy being on stage, I love doing live stuff. In fact, I love doing live stuff more than I love studio stuff really. I’ve discovered a passion for writing again and that’s brilliant. I wish I’d spent a little more time learning instruments because I was a terrible pupil. I had music lessons but if I’m not a concert pianist within three lessons… that’s it. Forget it! Why is it so important? Music is the best thing that’s happened - apart from the things that I’ve said - and I couldn’t imagine life without it. I’ve always sung, I’ve always listened to music and I’ve always been into music. All different types. And the reemergence of Pearl’s Cab Ride has been absolutely brilliant for me. Getting the Pearl’s Cab Ride stuff out there is really my next big thing. And just carrying on for as long as I can and at the moment, I don’t see that it’s a problem really. Even though I am becoming a very old lady. It doesn’t bother me because it doesn’t feel that there is an age limit. You’re never too old to sing. You’re never too old to enjoy music. So I’ll be dragged off a stage kicking and screaming.

Most people who have had a night out in Hull know who she is. Her quick wit, profane language and legs that never end are her trademarks. Frayed magazine presents a portfolio of Hull’s superstar tranny, Dee Colby.






he converted house down De Grey Street has undoubtedly presented some of the most respected talents in its 30 year history and its recently celebrated 30th Anniversary was no different, adding BRIT Award Winners Kaiser Chiefs and Hull’s own Fonda 500 and Paul Heaton to the bill. With no external funding, but with the help of a voluntary production team, including marketing firm Sowden & Sowden, the 30th Anniversary took place from 29 September – 05 October and consisted of a hashtag #Adelphi30, 7 days, 7 events, an orange ticket box, an array of musical acts, a shed load of people and a whole lot of memories. In order to make the events happen, a team of volunteers set to work on planning the event. Sowdens created an Adelphi website, with features such as a ‘Locals page’ which asked for local band bios. Twenty one bands have since added their details to the page, with the aim of increasing their profile to a wider audience. One of the featured bands, LIFE, supported headliners the Kaiser Chiefs during the celebrations on Friday 3 October, along with Freedom Festival Bridge Stage winners, The Black Delta Movement. The new website includes listings of upcoming Adelphi gigs, in addition to ticket information. A huge shipping container, soon to be the ‘Ticket Box’ was painted orange and craned in to the Adelphi car park to act as a brand new ticket mechanism for the gigs (neighbours 83, 85 and 87 were abruptly removed by the Luftwaffe during the war, leaving room for the now car park). Creating memories that last a lifetime A film box was created with the help of a local film maker, Josh Moore and photographers Mark Richardson and Anna Bean to capture some rare acoustic footage from the artists as they prepared to don the Adelphi stage, some for the first time and others for their 100th, in the case of those who played for Monday’s Musician’s Night. All of the films were uploaded and shared on a new Adelphi YouTube channel. Tuesday 30 September brought a unique Indie-Reggae infusion evening hosted by Easy Skankin’ guests The Ship-Tones. The beautiful This is the Kit headlined the Wednesday birthday party with support from local girl gone south, The Sarah Johns Music Party. Thursday drew a crowd to watch the Great Scots; Glastonbury headliner Mogwai’s Stuart Brathwaite and RM Hubbert with local guest Tom Skelly opening the evening. Kaiser Chiefs headlined Friday with support from Life and Black Delta Movement. Saturday welcomed back Fonda 500 for a rare one off gig with local band Streaming Lights to support. Paul Heaton & Jacqui Abbott with The Housemartins guests ended the week on the Sunday night.

It wasn’t long until the news of the #Adelphi30 message reached the locals and even the nation. There were four sell-out gigs in total and coverage included 5 BBC Radio interviews, 3 BBC Look North TV reports, masses of on and offline press and a three page feature in the Yorkshire Post reaching an astonishing potential of 2.5 million* people. It was only 2 hours until the sell-out for the Kaiser Chiefs gig and 1 hour until the sell-out for the Paul Heaton gig. During the campaign week, there were 35,000 views to with one killer Facebook post receiving 1,036 Likes, in addition, there were 564 #Adelphi30 uses. The best part? The New Adelphi Club has raised enough funds to buy a new roof. Paul Jackson commented: “In what was a seamless and hugely successful operation can I just raise my Yosser mug in thanks to the good folk who came and managed to get tickets for their good humour and impeccable behaviour. I hope we delivered some memorable and inspirational nights for you and that you are sitting there in your Adelphi knickers and T-shirts sipping from your Adelphi mugs with a bunch of happy memories that will stay with you for a long time. I know I won’t forget it!” A poignant end to a special week, and at nearly 30 years to the day that Paul Heaton approached Paul Jackson and asked for the opportunity to play, Hugh Whittaker and Stan Cullimore, former Housemartins, took to the stage to perform a magical finale of ‘Me And The Farmer’ and ‘Caravan of Love’ with Paul Heaton and Jacqui Abbott. Polly Sowden, Director of Sowden & Sowden commented: “The #Adelphi30 week welcomed local musicians from Hull, Scarborough and Barnsley, showcased bands from Bristol and Paris, Glastonbury headliners from Scotland, triple Brit Award winners The Kaiser Chiefs from Leeds and Hull’s own Fonda 500. We tried to give local bands as many opportunities to support too. The week ended with a finale show with Paul Heaton, Jacqui Abbott, Stan Cullimore, Hugh Whitaker and was hosted by Richard Hawley, which was one of the most special musical nights in history. Not bad for a converted house down De Grey Street “ “The performances, the vibe and the energy were terrific. It couldn’t have happened without the tireless effort of the voluntary production team and without the loyal supporters who bought tickets, some of which came every night! We thank you all.” It was important to the team that the local community got involved, especially using social media, and a personal thanks goes to everyone for their continued support. It doesn’t end there, there will be celebrations throughout the year, be sure to check to keep up to date with more #Adelphi30 news. Special thanks must go to the full production team: The Dimmacks, Tony Clark, Samantha Robinson, Anna Bean, Mark Richardson, Sue Reid, Bob Reid, Paul Pacitto, Wendy Chatterton, Chris Carter, Phil Graham, Erik Lawrenson, Lorraine Allen, Julie and Tony Wickenden, Ian Rook, Pete Peterson, Josh Moore, Paula Edwards, Darren Rogers, Christine Cassanell, Steve Left, Jim Nutter, The Adelphi team, Polly Sowden and the team at Sowden & Sowden.


Frayed Issue 4  
Frayed Issue 4