Independent Leeds Magazine: Issue 6 by Independent Life

Independent Leeds Magazine Issue 06 www.independentleeds.co.uk

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Issue 06

Creative City

Creativity is defined as 'the ability to produce original and unusual ideas, or to make something new or imaginative.' Whether music, art, fashion, craft or film, there is no doubt that Leeds encourages creativity from within, and its people embrace the unusual, the original and the imaginative. Nowhere is this more evident than at Leeds College of Art, a city institution who celebrate their 170th birthday by co-curating this issue of Independent Leeds. Step inside to discover this creative city.

Contents Keeping It Local �� 7 Faith in Leeds ��

Concrete Catwalk �� 13 With These Hands �� 16

The Cover’s Story I've tried to illustrate how I see Leeds as a creative city, through imagery including sculptures of prolific local artists, to the vibrant music scene of today. Another aim of the piece is to highlight Leeds College of Arts' contribution to the growing innovation coming out of the city.

170 Years in the Making ��20

George Addy  @ma.holo

Be the Cinema you Want to See �� 37

Contributors This magazine is shaped by an amazing community of contributors who are each credited at the beginning of their feature. We are open to all, so if you would like to write, illustrate or photograph in future issues, please get in touch with our Editor John to join our growing collective.

pARTy �� 26 Feeding my Habit ��30 Leeds Eye View �� 34

Digger's Island Discs �� 42 For the Love of Leeds �� 45

Editor John Barran : john@independentleeds.co.uk Creative Editors Buttercrumble (Chloe & Abigail Baldwin) : buttercrumble.com

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Delve deeper into the independent scene in Leeds at www.independentleeds.co.uk Twitter: independntleeds | Facebook: independentleeds | Instagram: independentleeds

Illustration: Adam Allsuch Boardman ï&#x2026; @aaab_illustration

Words: Rosie Ramsden Illustration: Christine Jopling

Keeping It Local

It only had meaning as part of a whole... “Leeds is a city with village values,” sums up Ox Club’s Benjamin Iley in detailing the thriving cultural eco-systems that co-exist to make up the lifeblood of Leeds’ creative heart. While ‘village values’ may bring to mind the parochial curtaintwitchings and faux-friendly neighbour relations of small-town busybodies, what Ben is actually referring to is co-operation, coexistence, and conscience. Indeed, the Ox Club chef describes a series of interlinked bionetworks that exist as one in our city, but are powered by the familiarity, unity, and sense of family that one might expect to thrive in a tiny parish. Underpinned by a foundation of communities that function on a spectrum of levels – from the 2,600 strong Leeds bar grafters union to a DIY scene which swaps skills in order to flourish and support its members for mutual benefit – Leeds is unique in its encouraging approach to creative progression. Not only do each of these exist individually and among their own kind, but they interlink with one another in a process of cross pollination that works to see the cultural flowers of the city bloom. Accordingly, Ben explains that Ox Club, Headrow House’s in-house restaurant, is one that exists as part of both the foodie and wider world around it. “We are part of a small group that is growing and

expanding within the city. You only need to look at the event space in Headrow House to see loads of local bands and artists getting a platform to reach out from, so I think we are really adding to the local community.” He goes on to explain that the restaurant not only exclusively opt for Leeds-based suppliers, but that often Ox Club will recommend other eateries to out-of-towners, and provide staff for other restaurants, just to “get them through a couple of shifts.” As Reece Cohen of Lambert’s Yard, a fashion store and event space that showcases local creatives, puts it, such cross-industry relations and community bonds allow Leeds’ scenes to “use each other for support and build collectively to create something bigger than the sum of their parts.” Kirkgate Market is perhaps Leeds' hub for this methodology and two of its street food vendors emphasise the benefits. "Pretty much all I need is on my doorstep," says Kada of Cafe Moor. "Fareda at Spice Corner supplies me with all my herbs every morning, and to me it's like someone bringing me a bunch of flowers!" Jenny's Jerk Chicken agrees; "A strong culture of buying locally is the foundation of a sustainable local economy. It is the ethical choice" she states. Both also reach out to the wider public, hoping, as Kada enthuses, to "bring out cultures, introduce them into the community by using foreign recipes from local suppliers."

This too can be seen in the ethos of new Leeds cafe Stories, aptly named because everyone and everything involved “has a story to tell.” This cafe, both born out of and existing as part of a reflective meta-narrative on partnerships, collaboration, and cohesive relationships, has Leeds at its very heart. Working with fellow independents such as North Star coffee and Leeds Bread Co-op, and holding events with the likes of North Bar and Yoga Hero, means that their “success and longevity as an independent cafe will thrive,” according to Stories’ Emily, who thinks that communication is the key to victory as an independent business. “Sharing ideas and being open to learning from your peers is key in working towards the common goal of keeping the fantastic momentum of the independent food, music and arts scene alive in Leeds,” she says. Importantly, however, success for Leeds' creative communities rests on a backdrop of support and encouragement, which is the real and authentic heartbeat of the city’s microcosmic ecosystems. This is evidenced both in the cafe’s suspended coffee scheme, in which customers can buy a coffee for a homeless person in Leeds and 100% of the profit goes to local homeless charity Simon on the Streets, and in their willingness to provide a free space for local artists to display and sell their work on the premises. “It’s our way of trying to support other local, creative people in their line of work with the mutual benefit of dressing our walls with beautiful things to look at,” explains Emily. In such a bustling connection of interlinked communities, it’s no surprise that this spirit of mutual benefit, inspiration, and reinforcement can be found in pockets the city over. Adam Nodwell of the Brudenell Social Club tells us that “it is great to keep up relationships with gig venues and practice spaces like Chunk, in which we promote their gigs on fliers here, and they can help publicise our events to help the community thrive.”

Myles of Pyre Climber, and Joe Hall of Discordant Sun. Additional output includes EPs, albums and demos recorded by its members for its members, as well as gigs arranged and promoted by locals such as Bomb the Twist and Fancy Claps Promotions. All of these varying and complementary skills help come together in a combined effort to display what the local music scene has to offer. This truly is one of the many communities in Leeds whose ethos is born of encouragement, and where links among members allow a cyclicality of skills, and above all, forges creative progression. This became most apparent to me when I recently noticed that a Chunk member, promoting a gig that she was holding at the co-op, also chose to promote an upcoming gig at the Brudenell Social Club held on the same date, despite the fact that it could draw people away from her own event. The gig, ‘In Memory of Archie’, is one whose entire proceeds go to St Gemma’s hospice, which housed Archie, the beloved Leeds sound engineer, in the last few weeks of his life following a short illness. Nothing demonstrates more clearly that Leeds is a city whose communities and independent businesses thrive on encouragement and love. It is clear that Leeds’ communities are helping one another out from the ground up. While the fruits of this labour, or the flowers that blossom, might never outgrow the sprawling forest that is corporate chains and sweeping shopping centres, they will certainly make for a more beautiful, diverse and interesting flower bed that we can all enjoy in the end. As Lambert’s Yard's Reece concludes, this is about “being able to come together to achieve collective goals otherwise nigh-on impossible to achieve individually.”

With:  @maudecoffee

Chunk, a musicians’ co-op on Meanwood Road, is itself a hub of traded skills and shared experiences. Home to some of the best all-day gigs that Leeds has to offer, as well as equally eclectic night time shows, this DIY space sees food provided by the likes of the Real Junk Food Project, and merchandise and posters designed and printed by a team of multi-talented creatives, including Steve

Feature: Mandeep Dhaliwal Photography: Tom Williamson ď&#x2026; @thetomogram

Faith in Leeds

Earn an honest living. Share what you have with others. Meditate on God. These are the 3 principles of Sikhism. We recently celebrated Diwali, by attending the Sikh temples at Beeston and Chapeltown, where these principles were being carried out by the community in many ways. One example of this was at the Langar, the 'free kitchen', where people cook voluntarily and serve food free to anyone who enters, regardless of faith, creed or background. It is an important Sikh principle to be proud to serve others for no benefit to themselves and embrace inclusion. The Langar is available in every Sikh temple in the world. Many people may have seen the fireworks and heard of Diwali, but what are the meanings behind the celebration? Diwali is known as the festival of lights and is celebrated in Hindu, Sikh and Jain religions.

All three celebrate it for different reasons. In the Hindu faith, Diwali signifies light over darkness and goodness over evil. Jains mark the anniversary of their teacher of equality, compassion and tolerance. The significance for Sikhs is to celebrate the religious liberation for all and is known as Bandi Chorr Divas, when in 1619 the 6th Guru secured the release of 52 Hindu princes from wrongful imprisonment. Today, Diwali holds further significance as a time for reflection and new beginnings, perhaps to pray for oneâ&#x20AC;&#x2122;s own release from the imprisonments of wordly things, such as egotism, pride, peer pressure and morals. When I see the many lights being lit at the Sikh temples in Leeds by people of all faiths, I feel a light of the mind and a warmth inside that the light of diversity prevails over myopic, narrow minded thinking. Let us hope that our community of Leeds grows positively, where everyone can walk down the street feeling free, comfortable and proud of their faith and background, just as the Gurus did for Sikhs and their community.

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Words: Luke Matthews  @lukematthews_ Illustration: Josh Parkin  @joshparkyart

Concrete Catwalk

Fashion is just one big cycle... One day you’re the cock of the walk, the next, you’re a feather duster. One day you’re riding high on the crest of a wave, the next, you’re sinking down into the depths of despair. Some play the game; their style changes like the wind. Others take a somewhat firmer stance, standing by their wardrobe and waiting for their ensemble to come back into fruition in a few years time. One thing that is always worth noting however and this stands for whenever fashion is concerned, is that it is totally subjective; there is no right or wrong and there most certainly is no good or bad.

STREET

A week typically revolves around 11:00am on a Thursday. Astute professionals may even start at 10:55am as they impatiently wait for the Supreme App to update with their latest offering of overpriced obscure objects to wear alongside their box logos. If the remainder of their week isn’t spent on The Basement Facebook forum, it’ll be spent trying to re-sell last week’s purchases to fund next Thursday. Find them at: Mrs Atha’s, conversing with Warren over a Flat White about what colour box logo tshirt they’re going to team with their latest adidas Originals NMD’s they’ve picked up from size? Typically seen wearing: Supreme, Supreme with the occasional piece of Supreme.

Here, we’ve taken a look at a your typical day in Leeds and a selection of the various styles we have on offer in our cultured city.

SKATER

The fine line between street and skate is a hard one to judge on face value, but there are several tips to tell the difference. If the skateboard is scratched, used and under ones arm as opposed to pristine, having no wheels and mounted on a wall in your front room, it’s probably the former. Find them at: Usually at Welcome Skate Store before heading down to the Train Station to film a few kick-flips on the benches outside. Typically seen wearing: An MKI MIYUKI ZOKU Coach Jacket with a pair of turned up Dickies 874 Work Pants.

HERITAGE

So long as the Real Ale bottle has a name nobody has heard of and looks great with a filter and white border on Instagram: they’re in. Japanese denim? Yes please. American workwear jacket? Of course. Have you even heard of this brand? I haven’t, but it’s over £300 and the logo looks relatively old so I’ll take it. Find them at: Rummaging through the vinyl offering in Jumbo Records whilst carrying a blue The Hip Store carrier bag. Typically seen wearing: Edwin or Levis Vintage Selvedge Denim, Clarks Originals Wallabies and an Engineered Garments Down Vest.

MINIMAL

Their mantra is ‘less is more’. Meaning that the brands they wear are less obvious they’re not Topman and most certainly costing more. The ‘Minimal’ look definitely requires an assistant as its hard finding the right angle of yourself reading the latest Kinfolk Magazine on Self-Timer. Find them at: Checking out the new COS store in Victoria Gate before heading to the flower stalls in Kirkgate Market to browse their latest succulents. Typically seen wearing: Common Projects Achilles Low, the latest dusky pink sweat from Our Legacy and an Acne Studios Scarf worn with the brand label perfectly facing outwards.

FBLOGGER

If they’re not posing in front of a textured wall or down an alley-way with an empty Starbucks cup, they’re likely to be deciding which one of the last 45 selfies has the best lighting on the left side of their face. Also, if you wanted a 15% discount on an up and coming watch brand that was started last week, use the code FBLOGGER15. Find them at: The Post Office returning one of the many deliveries they’ve had from ASOS as they didn’t get over 100 likes. Typically seen wearing: Taking tips from Justin Bieber’s ‘Purpose Tour’ merchandise - tying a Checked Shirt around their waist before adding a Bomber Jacket.

Words: Amy Garth, Zuzana Marekova, Jonathan Videgrain Illustration: George Addy  @ma.holo Photography: Max Miechowski  @maxmiechowski

With These Hands

Amy Garth I have a very creative family and was always encouraged by my parents to make things with my hands. My Auntie taught me how to crochet, and I’ve been obsessed with it ever since. Crocheting and weaving can take over 40 hours; it gives me headaches and makes my hand cramp up until the point when I can’t continue. But it’s such an amazing feeling to make something with your own two hands that all of the pain is quickly forgotten. We live in such a throwaway society where everything is mass produced fast fashion, which is quite frankly, boring! We need to slow right down, and support artisans who can make you a timeless piece which will last and be treasured forever. I work in a craft shop, so am constantly surrounded by other artisans and new projects, meaning I am always inspired to try new skills. I’m progressing, constantly learning and improving. I have a long way to go, but I aim to spread my skills and inspire others.

I am currently on the road to setting up my own label, selling a fun collection of coats and cardigans, scarves and bags, made in luxurious and quirky fabrics, all original and individual! Things are only changing for the better, with the resurgence of traditional crafts and the interest in creating handmade pieces.

Zuzana Marekova I am a Slovakian designer based in Yorkshire. I have travelled and worked in Europe as a horse rider and groom before visiting England, where I started to have thoughts about studying art. I have always been very creative but not until I moved to Leeds had I considered taking this passion further. So in 2010 I returned to education at Leeds College of Art to pursue my dream of becoming an artist. Since graduating in 2015, I have been working to establish my business as a printed textiles and surface pattern designer. Starting my own business hasn't been an easy ride and I am still at the beginning. There have been months and months of very hard work and overcoming fear. However, when I have spent my time and energy on creating my products with love and detail, you can imagine the reward when customers love them back. That is the best feeling in the world. I find inspiration in my cultural heritage. Slovakian folklore is very rich in traditions, dance and crafts, and for me, this is a never ending source of new ideas. I print everything myself and I have learned to make products such as lampshades and cushion covers. This means that I can hand make from the beginning to the final touches. I would like to always create the majority of my products by hand. The interest in handcraft is growing as people are looking for authenticity. Maybe it is because if everyone can buy the same product, soon they will start looking for something original. There is so much technology now and the speed in which objects can be produced is incredible. But do we need to be speeding so much? Creating by hand is helping us to slow down, enjoy the process and create a story told with our hands. And you can't make that with a machine.

Jonathan Videgrain I always had a fascination with the more crafty artforms and I found that my practice could be really accessible and unpretentious whilst still using an unusual medium. It was during my Fine Art Degree at Leeds College of Art that I found I could do the same thing through jewellery. I could be as adventurous and boundary-pushing as I liked but still make something beautiful that people would just pick up and love without needing to overcomplicate it. I produce handmade jewellery that is minimalistic without being boring â&#x20AC;&#x201C; or that's what I strive for anyway! The starting point for each piece is the landscape of Jersey, where I am from, so there is some rocky motifs that are quite organic. Yorkshire has this beautiful collision of rural and urban that inspires phenomenal art and culture. It has certainly inspired my jewellery. The fact that everything is handmade is really important to me, that's why I cast everything individually rather than from moulds, so that each piece is unique. I tend to leave little details unfinished. Some joins don't quite meet or some pieces have little marks where you can see a filed edge. I encourage imperfections. The best part is getting to know the customer and their story. Nobody buys jewellery just for the sake of it and I love that something that I made has become something sentimental and part of a narrative. It was never about making money, but it is about sharing my craft with others. I hereby vow to get more involved with the artisan community! With: ď&#x2026; @curiosityallotment

ONE HUNDRED AND SEVENTY YEARS IN THE MAKING Leeds College of Art is celebrating 170 years of delivering art education in an independent art school environment with award winning facilities. We offer a range of creative courses at Postgraduate, Undergraduate, Further Education, & Short Course levels. To find out more visit www.leeds-art.ac.uk

Image: Hana Skarratt BA (Hons) Illustration

Words: Ellie Palmer Photography: Leeds College of Art

170 Years in the Making

Leeds College of Art: Celebrating 170 years of pioneering art modernism and creative innovation. It only takes one look at their remarkable list of Alumni to see just how fruitful and prosperous Leeds College of Art has been since it opened its doors in 1846. The impact the college has had on Leeds, and indeed across the country, is well worth honouring! As we celebrate this special anniversary, we take a look back at the pioneering teaching and creative innovations that remain integral to the College to this day.

After forming in 1846 thanks to help from The Government School of Design, the success of the early years was dominated by the likes of alumni Cecil Stephenson and Jacob Kramer. Stephenson was arguably the college’s most notable pioneer of modernism to date, responsible for the spread of this new wave of creativity nationwide. Having work displayed in the Tate Modern, Imperial War Museum, and the British Museum amongst others opened up the eyes of the country to modernism, but his influence was regrettably delayed. A student

during the very early 1900s, it wasn’t until a good 47 years after his death that Stephenson got even close to the level of recognition that he deserved. "He was an important guy, he just didn’t know it," explains art curator Conor Mullan from the Durham Art Gallery. “He worked in undeserved obscurity for most of his life…he felt unsure of himself. He just didn’t play the game well enough. Much like today, if you’re not into marketing yourself as much as the art then it’s a hard life.” And so it was. Stephenson didn’t even have his first solo show until he was in his 70s. 4 years ago, and 47 years after his passing, his birth town of Durham finally managed to gather together more than 50 pieces of his work and staged an incredible exhibition in his honour. Only now has the art world realised just how ahead of his time his art work was. “Stephenson’s use of colour has really inspired me in my practise," says current third year student Abbey Aaron. “I really love the way the colours match so well and I love the organic colour palette that he uses. This has really pushed me to think about why I use certain colours in my work and how to use them effectively!” His eye for beautifully abstract art was magnanimously unrivalled.

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Principal Eric Taylor teaching in a Vernon Street studio c.1960

Whilst Stephenson represented the success of the early years, the middle years were partly represented by Harry Thubron. In the mid 20th Century, from the 50s to the 70s, art schools across the country were subject to a revolution, which was long overdue. Under pioneering Head of Art, Harry Thubron, the college were able to move forward and introduce a new three-year Diploma in Art & Design, which allowed colleges to present their own degrees and choose themselves what work should be handed in by the students. As it was LCA who came up with and implemented this move, the college became the new model for art education to other art colleges across the country.

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Students at LCA in 1920, shortly after Stephenson had finished teaching at the college.

“If we, ourselves, don't take jobs in colleges, take leadership roles; then nothing will ever change”. - Harry Thubron That’s exactly what LCA did and why they were labelled the most influential art school in Europe at the time. Up until then, art education had been all about learning what other people do. "There is a deplorable tendency in art lectures to seek followers and disciples, which I have sadly seen, but not at the Leeds I knew," explains James Charnley, author of Creative License: Leeds College of Art (1963-1973). “By some fluke of social organisation, groups of disparate people can form powerful units and the whole will be greater than the parts.” There

were many magical moments at Leeds during 19631973 where teaching staff were given permission to innovate. Some of LCA’s most charismatic teachers of this period, such as Miles McAlinden and Robin Page, transcended the times and lifted student work to great heights. They inspired a generation. At this time, there were 45 art schools in the country. Only one mattered. Mr Frank Lisle was heavily involved in this effervescently beautiful period for the college as teacher and Principle from 1946-1977. You might be expecting me to continue by talking about how influential he was, or in which galleries around the world his art work is presented in. But no, Mr Lisle’s humorous side is well worth talking about instead. He is still known to this day for the fact he had only one eye, which tended to baffle students as he never shared exactly what happened to his other eye. “No one has been able to tell me for certain how he lost his eye,” explains former LCA librarian Chris Graham, “until a friend of the Lisle family told me it was the result of an art accident; the calamitous splash of a destructively caustic solvent.” One of the myths surrounding the painting is that because he had only one eye, Lisle perceived perspective rather differently and that to see the painting ‘correctly’, it is necessary to cover one eye (the left) and view the work as the artist would have seen it. “Our late Principal Edmund Wigan used to love to tease visitors with this story when he showed them round the College," Graham continues. “They would all dutifully cover up an eye and almost invariably fall into the trap. “Oh yes, I see what you mean!” "Amazing!" "That’s extraordinary!" etc etc. Of course he was pulling their legs.” Genius.

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Cecil Stephenson’s artwork, 1937

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NDD Painting exams from 1952, before the three year diploma was introduced.

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Mr Lisle, top centre, sporting his eye patch at his retirement party in 1977

Students getting ready for student rag week in the mid 20th Century, 1946

The college continued to make substantial progress and positively influenced the way Art was taught in schools across the country. Following several decades as a Further Education College, undergraduate degree courses were introduced in 1992, currently validated by the Open University, and in 2011 Leeds College of Art became a Higher Education Institution (HEI). In September 2016 the College gained Taught Degree Awarding Powers (TDAP). This means that the College can now award its own degrees. This was such a big landmark in their 170 year history. LCA is still one of the only independent art schools in the country. We hope you can see from this article that it is the alumni, the artists and designers who have both taught and studied at Leeds College of Art who make the history. Let’s hope for another successful 170 years!

Illustration: George Addy ï&#x2026; @ma.holo

Words: Robbie Russell Illustration: Buttercrumble ď&#x2026; @buttercrumblecreative Photography: Martin Musiol ď&#x2026; @martin_with_m

Leeds College of Art 170th Birthday Party Belgrave Music Hall, Tuesday November 8th Frame and hang the DJ 170 years is an awfully long time. In the period between 1846 and now, we've had two World Wars, more that one disappointing World Cup. Darwin had his apes, Thatcher and her miners, Hurst cut a shark in half, and more recently, America spent 6 months mourning the death of a gorilla so voraciously that they ended up electing one to the White House. A lot has changed in 17 decades, in our fair city and elsewhere, but from the inception of Leeds College of Art right up until now, one thing has remained consistent: Everyone loves a good party. 170 individual birthday cupcakes adorn the tables of the Belgrave Music Hall, each representing a year of LCOA's proud existence; cupcake 1864, 1945 and 1966 enjoyed just as much as cupcake 2016. As an institution that deals in knowledge, creative wisdom and individualism, every baked annum gets unconsciously consumed as though sacramental; topped with icing, stuffed with lessons learned and experiences recounted. Or perhaps it isn't that deep.

Turned up cords and fashionably unfashionable haircuts might be congruent to a stereotypical church-goer, but as the Art College congregation engage with the frantic and fantastic devil-funk sermon delivered by Mansion of Snakes, higher powers are of no consequence; and nor should they be. This is a celebration. A rare chance to revel in a glorious past and an equally optimistic future. Unlike the whims of an ill-informed electorate or the ethereal fancies of Internet sensationalists, good art has the holy virtue of longevity. Every single one of the current Leeds College of Art Students that packed out the Belgrave's upstairs gig room makes up one tile of an ever-growing mosaic of history. They tessellate with tiles past and leave room for tiles of the future, and so become part of a much bigger work of art. The 170th birthday party wasn't a grand unveiling or a critical appreciation, but somewhat of a progress-check. A chance to bask in the afterglow of 170 amazing years, and dance around the flames that light the way for 170 more. At least that's how I saw it; it could just have been booze.

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Feeding my Habit

I tend to attract two responses when I tell people that I’m a full-time poet. At first, folk are baffled that poetry can exclusively provide enough income to survive. And they say something like, “that’s the easiest job in the world”, or “well that’s hardly work, is it?”

For me personally, there’s very little separation. In a similar position is Amber Smith, a Course Leader at Leeds College of Art with a BA in Graphic Design. Like me, Amber focuses solely on her main artistic passion to drive her lifestyle; the catalyst for this being Leeds Print Festival.

Now, I do agree that in terms of physical graft, it ranks rather low on the list. And very few poets will carry the kind of burdens that come with working in the emergency services, for example – attempting to save somebody’s life in A&E, or knocking on relatives’ doors when the attempts fail. But the fact is, life as an artist is hard graft. It’s all relative, after all.

Amber commented: “I started Leeds Print Festival because when I print, look at print, smell it, touch it, it feels like the world gets better. I wanted to shout about it but it has been a labour of love. Originally designed as a one-off event, it is receiving international recognition and has become a key event in the calendar for the Northern creative industry. It has been a great opportunity to work with other creatives in the city and the region."

One of the main frustrations lies in the fact that a lot of the time, the actual artistic practice itself seems to be bottom of the priority list. You’re either out working on a booking of some sort, or you’re at your desk sorting your website, social media, invoices, emails, and all that jazz. This is the main reason why a lot of artists opt for some form of part-time work. It brings a little financial consistency, and through that comes a degree of stability. It also eases the pressure on your artistic work: knowing that you’re reliant on your art providing your income can stifle creativity. And most importantly, the part-time work can offer you a degree of separation between art and reality.

In completely immersing herself in her passion for print, Amber has carved out a career which has enabled her to contribute to the wider print scene; enabling other artists to further their own careers, and providing a platform for fellow print artists. I can very much relate to this, in that I run two organisations (A Firm of Poets and Nymphs & Thugs) which are committed to promoting, developing and nurturing spoken word talent across the country. I live and breathe the UK’s spoken word scene, which has a great benefit on my career. Like Amber’s role at Leeds College of Art and with Leeds Print Festival, I see my work with AFOP and N&T as being the “day job” element of what I do, but at the same time my passion for spoken word is at the core.

Serious Sam Barrett is one of the best loved independent musicians in Leeds. He opts for a degree of semi-separation: finding work that is flexible enough to cater for the life of a musician, whilst also providing an alternative secondary passion. Sam explains: “I quit full time work to become a semi-professional musician when I got invited to play South by Southwest Festival in Texas back in 2010. Since then, I've worked between gigs and tours at Opposite Cafe and it's been perfect for me. Apart from the fact that I love working with coffee, the flexibility of working hours has been a godsend for me for the last 6 years." "After all this time, I'll be leaving to work at a new Cafe/Bar/Print Studio in Otley which Tony Wright (formerly of Terrorvision) and his partner Emma Thorpe will be opening, called ‘Bloomfield Square’. Luckily, with Tony also being a touring musician, he understands my need to fit work around gigs. It's always a juggling act but it works for me, and I have a few other friends who are musicians and skateboarders who have ended up working in the coffee industry for similar reasons.” Finally, there comes the need for total separation. Some artists simply can’t blur the lines between creativity and reality, and I completely admire that. The element of escapism must be wonderfully intense; with an ‘all or nothing’ approach to creative output.

Here’s an insight into the world of illustrator Johnny Cosmic: "I am currently barbering part time to fill the gaps financially between my illustration jobs. This bridges the gap between a mundane job and something creative. It was a pivotal moment in my life when my career in the retail sector ended; a blessing in disguise and a road to independence." "Johnny Cosmic is my artistic pseudonym. I’m able to step in and out of the guise as I require. I can give full artistic licence to him without consequence to my actual life. This is particularly important as my work can be controversial. Barbering provides an opportunity to network with a variety of people. This can also inspire ideas for my work and open-up avenues for artistic briefs." "Sometimes I cut hair all day and draw into the early hours, depending on when art jobs arise. This can mean I am inundated with work and at times there is little. It’s a feast and famine life. There is little consistency working as an artist but this suits my personality and lifestyle.” As you can see, it’s all about finding a creative and professional balance to suit your own head. To suit your lifestyle, your personality and the nature of your creative commitments. And ultimately, it’s about finding a balance which maximises productivity and satisfies your creative soul.

Feature: Emily Jackson ď&#x2026; @emilyrosejackson95

Leeds Eye View

I'm an undergraduate at Leeds college of Art studying photography and specialise in documentary. I like the honesty and quick pace of street photography, using it as a tool to document the places I visit and the people I meet. Having grown up around Leeds, I've seen the city grow and develop with the thriving communities who live here. Leeds is a hub of creativity and so I decided to look at independents and individuals that are driving this creative force and bringing people together.

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Words: Laura Ager Illustration: George Addy  @ma.holo Photography: Leeds Film Fest  @leedsfilmfest

Be the Cinema you Want to See

When it comes to culture, in Leeds we’re spoilt for choice. Every week there are hundreds of unique events to choose from. With several cinemas in the city, there should be a huge range of options to watch films too. So why are so many ad hoc film clubs and community cinemas popping up all over town? This November I am enjoying my 10th film festival in Leeds. The Leeds International Film Festival is one of the UK’s biggest film festivals and for cinephiles it is when the city really comes to life. The festival offers unique cinematic spectacles, international retrospectives of rarely seen films, cult cinema and music in hip venues, activist docs in the back rooms of bars or cafes with lively postscreening discussions, and short films of all genres. Leeds also has vintage film theatres you can visit year-round, like the Cottage Road Cinema and the adorable Hyde Park Picture House, where you can become totally immersed in plush cinema surroundings with strong coffee, tasty beer, vegan cakes or gourmet ice cream. These organisations can be rightly proud of their independent programmes and distinctive profiles, but I know from experience that at all levels of independent film exhibition, there’s a lot of work that goes on behind the scenes. The amount of volunteers involved in all of this might surprise you. Whether you’re queueing up for popcorn at the Hyde Park Picture House or being welcomed into one of the film festival’s 30 screening venues this year, the person addressing

you is most likely a regular volunteer for that organisation, or even for both, and often more besides. Underpinning the exciting diversity of film experiences available at the moment there is an army of volunteers and enthusiastic amateurs who help to put on film festivals, support independent venues in a huge number of ways, and even create new cinemas in spaces all over the city, which is what keeps the whole independent film culture of Leeds ticking. So what's the deal? Robb Barham, who is currently involved with both the festival and the Hyde Park Picture House, puts it like this: "It's a consistently exciting and rewarding opportunity to be involved at the very heart of this perfect storm of passion for such a diverse and invaluable art form." I first signed up as a volunteer for the film festival in 2007. I’d recently moved to the city and one thing the festival offers is a way to meet new people, discover unfamiliar places and find out about world cinema. Starting, as many do, as a screening assistant, tearing tickets and running errands for the organisers, I also watched nearly all the films I worked on. After that first year of volunteering, I was hooked! I soon realised that what I had been looking for was a different kind of cinema experience. I missed the Broadway, Nottingham’s multi-screen arthouse independent cinema, which was where my passion for film had been ignited. As time has gone on, it became a source of frustration that these esoteric

film watching opportunities seemed unavailable beyond the festival dates. So the next step was to do something about it, but of course, I wasn’t the first to do so. This October saw the fifth edition of No/Gloss Film Festival, a nomadic and defiant project that simultaneously draws attention to independent filmmakers and some of the city’s unusual spaces. Access to its screenings is available for passholders only, so audiences really have to take the plunge. Minicine too is one of Leeds’ longest standing community cinemas. Initiated by Bradford’s Mike McKenny it was a multi-site project across the two cites that has settled down into a regular monthly film night in the 26-seat cinema exhibit called the Palace Picture House in Armley Mills, Leeds’ Industrial Museum. Where these pioneers led, many of us have followed. They were the inspiration for my first solo project in 2013, which was to develop the back room of a much loved Leeds bar and restaurant into the Little Reliance Cinema. This makeshift screening venue began hosting film nights that were connected to the venue’s food and drink ethos, but quickly branched out into cult and classic films as well. We’ve held partnership screenings with Leeds Print Festival, Leeds Indie Food Festival, Record Store Day and Leeds Beckett University. The Reliance now hosts two monthly screenings, as the Leeds Bicycle Film Club hold regular Monday night events, showing animated features, shorts, sports documentaries

and more; as long as there’s a bicycle in the film, it qualifies.

and LIFF, we've carved out a great programme of thought provoking radical film.”

Films have to be licensed if they are shown to a paying audience. DIY means either limited budgets or no budget at all, at my own screenings I’m always wondering if door sales will be enough to cover the price of the single screening license. If there’s a bit of money left over, it goes straight into the next project. I rationalise these unpaid contributions I make to growing the independent cinema ecology as a form of cultural activism. This year I set up Film Fringe, with my friend Alice Miller, to start cinemas in even more places.

Tina Irving is the driving force at Headingley’s ‘Films At Heart’ community cinema project. Her aim is to show something that “people just somehow didn’t get round to seeing when it first came out” she says. “I can think of very few more uplifting or satisfying feelings than being totally immersed in a brilliant film and I wanted to share that love with other people”.

The annual Scalarama festival every September is an opportunity for the city’s informal film exhibitors to raise their profiles. This year I was one of its regional co-ordinators and saw at first hand just how many of us there are now. Slung Low are best known for their live performance programme, but they like to host occasional screenings to bring in different audiences. “It gives us the opportunity to show off our venue to those that might not otherwise stumble across it” explains Porl Cooper. “I love the passion and diversity of the Leeds film scene” enthuses Liz Ainge, director at Left Bank Leeds, whose programme concentrates on leftfield and documentary films. “Working with Film Fringe

Jack Simpson from the Hyde Park Book Club hosted screenings there during Scalarama, he thinks that working together to support film culture is a worthwhile thing to do. “I'm interested in film as I'm interested in most creative areas, because of its ability to make life better" he says. "There are so many great film makers, and films, that it seems they deserve a better economy around them. With so much growth in Leeds' culture, that seems to be translating into growth in Leeds film.” So while we wait to see what support might be available to help to build this fragile film ecology, the energy in this film scene proves that there are plenty of ways on an individual level to stand up for the cinema you want to see.

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Digger's Island Discs

Digger's Island Discs explores the collections of Leeds' most prolific vinyl slingers and groove bringers to present us with the records they could not live without... This issue it's the turn of Youth Club Sounds, a movement and platform for exciting emerging music formed by Robbie Russell and Xyrenn Maddox out of their love for the current creators, innovators and beat-makers.

Portishead - Dummy

For me this is the perfect example of one of those records where worlds collide. I don’t think I was even born when the album came out, but my uncle put me on to a lot of britpop and hip hop throughout my childhood. His taste influenced me massively. As I grew out of indie and started listening more to US hip hop, Portishead always remained my go to record. Glory Box is pretty much as close as you can get to a perfect song. Geoff Burrows was and still is a genius when it comes to fusing hip hop breaks and bass-heavy synths with delicate vocals and mad personal lyricism. The trip hop movement was an early precursor to the Soundcloud beat scene that Xyrenn and I are now pushing in Leeds, and Dummy will forever remain my favourite LP.

Sango - Da Rochina 2

This record has enormous sentimental value to me and Xyrenn. Sango is a 24 year old producer from Seattle that is a hugely influential figure in the ‘future soul’ movement. Da Rochina 2 is part of a trilogy of Brazilian-influenced records that he’s released over the past few years, and this is number 86 of a limited press of 100. I was lucky enough to interview Sango earlier this year; I had to take the sleeve down for him to sign and Xyrenn had to take the chance to play him some beats, which he said were “flames bro." Sango is only still emerging, but his music has been such an influencing factor in the formation and growth of Youth Club Sounds, and no matter how much success comes to him, this record will stay with me forever.

Kanye West – Graduation

I don't even know where to start with this pick. For me - personality aside - Kanye West embodies a lot of what it means to be an artist and is someone who I get a great deal of inspiration from. Collaboration, creative expression, boldness, music, film, fashion; the man does it all. I remember this record so vividly because 50 Cent was releasing his third studio album ‘Curtis’ on the same day and there was this whole media 'battle' about which of the two would sell more records in the first week. To me, it’s just a classic album from one of my favourite creatives right now. With tracks like ‘Flashing Lights’, ‘Champion’, ‘I Wonder’ and of course the huge chart smash ‘Stronger’ its no surprise that Kanye sold 200k more than Fifty. To top it all off, when I found this at a charity shop in Headingley, I was buzzing that the original poster that comes with the CD was still in there and in tact.

Blade – DVD

It’s not quite one for the vinyl diggers, or a record at all for that matter, but Blade is a badass film that shaped me creatively as much as any album or piece of music has. I can remember watching this movie when I was about 6 or 7 years old with my parents at a drive through cinema in the States. As a youngster, I was obsessed with action and horror films, thinking back though I’m surprised they took me with them to watch this. What made this film stick in the recesses of my memory was the soundtrack. It featured music from some hip hop greats like Bounty Killer, KRS One and Mobb Deep. I had grown up hearing my dads golden-era hip hop records and Blade was the first time I had heard rap music accompanying these mad visuals. The whole vibe of the movie was just dope to me. Combining that with the musical element, and this was something that was always going to stick in my mind as a great piece of film with an even greater soundtrack

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Words: Corinne Bailey Rae Illustration: Phil Dean ď&#x2026; @phildean1963

For the Love of Leeds

Corinne Bailey Rae was born and grew up in Leeds before becoming a world acclaimed musician. On release of her new album, The Heart Speaks In Whispers, she returned to her home city to play Leeds Town Hall and told us what Leeds means to Corinne Bailey Rae. I got into music at school. I went to Highfield Primary in Moortown, and for years me and my sisters went to Horsforth Music Centre, where I learnt to play violin. We used to play concerts at the Town Hall with different schools, which felt really important and fun. I was inspired by diverse Leeds people and places; by youth club culture, which was a big thing, and by this radical young pastor at Moortown Baptist Church.

From there, I moved into the band scene; at that time it seemed like everyone from Leeds was in an indie band. We'd play at great venues like Duchess of York, Joseph's Well and The Cockpit, and see exciting bands like Runston Parva, who became Kaiser Chiefs. I'd go to The Underground and listen to the Dig! Family DJing funk and soul. They pretty much ran that Leeds scene and the guys from the collective still sometimes DJ in the city, at jazz events, or playing salsa at Outlaws Yacht Club. Those old places have closed, but Leeds is still as vibrant with music venues. Sela Bar is important for jazz and soul. Above there, Wax is like a mini Brighton Beach, the club night we used to go to. Brudenell Social Club puts on great musicians, and I like week nights at Belgrave Music Hall.

Being a musician in Leeds is an alternative thing to do. It's not about working in a job to pay the mortgage, it's a bohemian scene. I'd like to see more late night bars in the city, but there are some cool places where at 2, 3, 4 in the morning different scenes get to meet up. Because of Leeds' reasonably small size, it is easy to bump into people and mix communities and cultures. The Afro-Caribbean culture has made a massive contribution to Leeds, and if I'm here when the Carnival is on I will always go. That's a big part of Leeds' identity; it's an important multicultural place. Different backgrounds live happily together and that should be celebrated. If you know where to look, Leeds has so much happening. The food scene has lots of independents I love to go to; Salvos and its Salumeria make delicious regional Italian food with directly imported ingredients, and plays Italian jazz; Sebby's in Headingley serve fantastic gluten free and veggie;

The Reliance does great food and cure their own meats; The Corner Cafe on Burley Road is an Indian family serving authentic fresh options of different spices; and Hansa's is a leading light of Leeds, who does lots of work for the city, with women and children, and makes amazing vegetarian Gujurati food. Other places I have to mention that are so important to this city are West Yorkshire Playhouse, Howard Assembly Rooms, Seven Arts, Hyde Park Picture House and Phoenix Dance, where my mum taught salsa. When I'm touring I'm never in one place at all, but I'm back here playing Leeds Town Hall and I love it here. I still live in Leeds and it is always home.