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BR WSE Browse is an independent music, arts & culture magazine. Made in Hull 6 - 11 // FAST T 12 - 15 // NEW MUSIC & MUSIC REVIEWS 18 - 21 // ARTIST SPOTLIGHT: MRJOEJOHNSON 22 - 23 // ABSOLUTELY CULTURED @ HUMBER STREET GALLERY 24 // POETS CORNER: VICKY FOSTER 26 // MIDDLE CHILD REVIEW: ‘US AGAINST WHATEVER’ 28 - 29 // INDEPENDENT FASHION: THE MODERN DRAPER 30 - 31 // BROWSE HULL STREET FOOD 32 - 33 // CREATIVES: ALCHEMY
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T T S A F Tim Yeomans should have the respect he deserves. That comes directly from me. He’s been instrumental in shaping, not only club culture here in Hull, but also DJ culture. When he first took to the decks in Juliets, he was a hip-hop DJ, but not just any old hip-hop DJ; he was a technically proficient turntablist in the days when house music wasn’t really mixed together to any degree of competence. If you listen to any early Sasha tapes, even he, the DJ possibly most closely associated with amazing mixing skills, was a bit shambolic in those early days. Tim came into the rave scene with already well-honed skills and was instrumental in creating memories and establishing house music culture in the city in those heady days of 1989-91. To the uninitiated, Juliets, along with Quigleys a few years later is what he’s best remembered
for. But it didn’t start there. Let’s go back… As I said at the beginning, he should get more respect in the city. For someone of his stature, he has a complete lack of ego. I’d be strutting around like a fucking peacock if I had even a tenth of the skills he has, but he’s softly spoken, unassuming and approachable. I mention this to him. He laughs. ‘That’s funny you say that because everyone thinks I’ve got a massive ego because of the DMC stuff, where you’ve got to have a front about you when you’re facing down a hostile crowd in Manchester or London or wherever. People have seen those videos and think I’m arrogant, but it was pure nerves.’ Having known Tim since the Juliets days, I assure him that’s not how he comes across to me.
When Tim was a kid, he listened to a lot of Rock ‘n’roll. His dad was a guitar player and he was brought up on a diet of Eddie Cochran, Buddy Holly, The Who and The Eagles. He used to wake up to that and hate it. As a kid, it’s really uncool to be into what your parents were into. At least it was when we were growing up. But as you get older, you start to appreciate it, and Tim’s come around to the charms of Cream and Hendrix. His dad’s vast records collection meant that some of his early listenings must have seeped in somehow, but he remains impervious to the appeal of Hotel California, which was on a constant loop when he was a kid. His dad bought him a drum kit when he was 8 years old, possibly expecting him to go down the classic rock road. Unlucky. What the drums did was tap into his innate sense of rhythm. He played in
a band at Kelvin school, with such luminaries as Pete Robinson and Jason Fawcett, who still ply their trade to this day. With them, he switched to being a DJ for the band Power Jam X, and the drums were left behind in favour of the turntables. But his dad had inadvertently set him out on his path, as the drums laid the foundations for what would be his lifelong passion: Hip-hop. It was a logical progression. Drums led to the towering beats, which led to scratching and breakdancing. In 1986, when he was 16 years old, his dad bought him a big disco unit. This was the turning point. ‘I learned how to scratch in my bedroom. I’d mess around with the faders and stuff, just taught myself. Breakdancing was everything though. It was all we did. We’d all go to school with our trackie tops on, our badges of breakdancing, and we’d come home and practice. Saturday mornings in Queens Gardens, everyone was at it. Friday nights in Wyke Youth Club was amazing. There was about 200 of us. You wouldn’t see that nowadays. It was like a nightclub. It was rammed. I was only breakdancing for two or three years, but it always seems longer. It was a huge part of my life. We travelled up and down the country to dance competitions. We’d just jump on a bus on a Sunday and go to Sunderland, Stoke, Darlington, all over. We got about. We always crossed paths with Jason Orange, later of Take That; he was fantastic! But then it just went out in 1987, and I concentrated more on DJing.’
‘It started when I got my first decks really. I’d practise scratching in my bedroom with electro and hip-hop records and watch DMC videos on VHS. People like Chad Jackson and CJ Mackintosh, way before CJ became a house DJ. He was a hip-hop DJ first, and did the scratching on Pump Up The Volume. I watched those videos and decided I wanted to have a go, so I entered the first heat at Leeds Warehouse in ’88.
Those nights were pretty special. Memories made. Lifetime friendships forged. Partners met. How did you dictate the music policy?
So, when the breakdancing thing went out, it freed up more time for DJing? ‘’Yeah, I used to set myself little goals. I practised in my bedroom and we used to go to Wyke Youth Club, and I thought, I’d really like to take it out and DJ there, and I did eventually in 1987. Then I moved on to Romeo’s. Mike Mckay, who was the main DJ in Romeo’s, saw me and took me under his wing, and asked me to do a set. I did one at Tower, a DMC-style scratching set, and he was the one that got me the job at Juliet’s. Ricky Jay was the main man at Juliet’s, and when he left, Mike called and asked if I fancied it. I was still mainly hip-hop DJ then, I wasn’t really aware of the different scenes, so it was a learning curve. I didn’t really want to do it at first, but I went from playing electro stuff, to Big Daddy Kane, and more uptempo stuff til I found my feet with the house stuff, through hip-house. It was a seamless transition over a few weeks. I didn’t really think, ‘well I’m a hip-hop DJ, now I’m a house DJ.’ It just seemed to blend together without me noticing.’
I mention that, in Hull, Juliet’s and Quigley’s and being a house DJ is what he’s most celebrated for. Those nights in Juliet’s especially were the stuff of legend. Ramming out a club on a Thursday night, every week would be unheard of now, outside of student nights. It was definitely a momentous time. I often think that we didn’t realise at the time, just what a special time in history it was, and, looking back, what a privilege it was to live through those times. I ask Tim if, from his side, there was a sense that something was afoot, culturally. ‘Well, when I first started, it wasn’t all house or rave, we’d be playing stuff like Eric B and Rakim, Big Daddy Kane, White Lines, a bit of indie with The Farm, the Mondays and the Roses, with a little bit of house, stuff like Get Busy, which was more hip-house, and gradually it crept in. We were playing all sorts at first, it was all over the shop, and then in 1989, it just blew up, but we’d still build the sets, starting off with slower, ambient stuff, and hip-hop, through indie, then at the top of the night move into the ravey stuff. Obviously, ecstasy changed everything. People wanted to walk in and be bang at it, straight into Total Confusion or whatever, but we stuck to our guns, and nobody really questioned it.’
‘This is where Phil Hailstone came in. He used to come, and he was a massive clubber; really knew his tunes. Mike Beckett was going to join me, he wasn’t that keen, but he was happy to lend Phil his records. Before he started DJing, Phil would stand next to me, and say ‘put that on next’ and it’d work. He was a massive tune-head. I had the more obvious stuff, but he was into the more obscure stuff, he’d go to the Haçienda on a Friday night, pick up what they were playing there, come back and we’d play them on a Saturday. So, we started pooling our records, he joined me as a DJ, and then we started buying records together. That’s when it really took off.’ Are there any stand-out tunes from that era that really stick in your mind? ‘Everyone went mental to Last Rhythm, which I thought was strange at the time because it’s quite slow and more ambient. The same with Go by Moby. That was massive too. Crystal Waters’ Gypsy Woman, the first time I heard it, I was, like, ‘what the fuck?’ but it was massive. ASHA J.J. Tribute, Kym Sims Too Blind to See it, Collapse My Love. Too many to mention. It used to make the hairs on the back of your neck stand on end when you dropped them, and cause such a reaction. Nobody really cared about mixing then, but I definitely caught the house bug.’ There’s a big emphasis on mixing now, and there would be shortly after that initial spurt, but listening back to some of the early rave tapes, the mixing was a bit shoddy, to say the least. For someone such as yourself, who was more of a turntablist primarily, did this irk you?
‘No, not at all. It made the job easier. No-one noticed if you pulled off a top mix anyway, haha. It was all about the tunes, not how you presented them, which was fine.’ What sets Tim apart, though, is his supreme technical ability. Something that has seen him perform at the UK DMC events over the years. The DMC Championship is an annual DJ competition hosted by Disco Mix Club (DMC) which began in 1985. It’s basically a DJ mixing battle, where DJs are allowed a period of six minutes to perform. What got you into the DMC events? ‘It started when I got my first decks really. I’d practise scratching in my bedroom with electro and hip-hop records and watch DMC videos on VHS. People like Chad Jackson and CJ Mackintosh, way before CJ became a house DJ. He was a hiphop DJ first and did the scratching on Pump Up The Volume. I watched those videos and decided I wanted to have a go, so I entered the first heat at Leeds Warehouse in ’88. You’d have heats during the day, and eventually, the winners would go through to the night heats and onto the regional and national competitions. But the first time I
entered, everything went wrong. I fucked up big time. I didn’t even get through to the night. There were about 30/35 DJs, and it was terrifying playing to a room full of DJs. I’d done it in my bedroom and to a crowd of punters, but now I was playing to Chad Jackson and CJ Mackintosh, who were judges, and all those other DJs, who were judging. The pressure was unbelievable. We did 3-minute sets, and I had to wait all afternoon until every DJ finished, then 6 or 7 names were called out to go through to the night. Mine wasn’t one of them.’ Obviously, you didn’t let this experience dampen your spirits. ‘ Well, I went home devastated, but I went home more determined. I practised for a full year, locked away in my bedroom. I went back to Leeds in 1990 and won. Then, I went on to the Haçienda and won that heat; then it was onto London for the UK final. The Haç was quite intimidating, everyone from the Manchester music scene was there, and I was really nervous. I didn’t practise all day; I was too nervous. But when all my mates turned up, I relaxed a bit and smashed it.’
So, your confidence must have been sky high. How did you get on in the final in London? ‘It was a fantastic experience, but a London DJ won it. They only place the winner. It was obvious that lad was going to win it. He had the whole room willing him on. It was a great time. DMC was massive at the time. It was all over the radio and TV; it was great to be a part of it all. Rebel MC and Norman Cook were judges and it was held in Leicester Square. It was good to get it out of the way though, because you practise with the same records all year for your few minutes up there. The same set for a year. You get sick of hearing those records, but that set is new to everyone else, so you just have to keep at it, get it out of the way so you don’t have to listen to those records, in that sequence ever again (laughs). You think ‘I never want to hear this again.’ You know exactly where the break is and where the needle goes, so it was good to finally finish that journey.’ When did you go back? ‘I took a couple of years off after that. I entered again in 1992 and got to the UK finals again. I didn’t enter again until 1996/7, when
Photo by Chris Pepper @jemstar Images
I made it to the UK finals again. After that, I just entered for fun. I encouraged other people to enter, and I’d go along with them for the ride. We’d all get through the heats, and we’d be nudging each other, trying to make each other nervous. It was just a really good laugh, and we had some great experiences.’ As well as Juliet’s, Tim is wellrespected for his and Pete Lawford’s celebrated nights in Quigleys, above Oasis Wine Lodge. He started there in 1994 and went on for 5 years as he breathed new life into Hull’s club scene, along with Terry Spamer’s legendary Déjà Vu nights. Between them, they have created some amazing nights in Hull, and put Hull firmly on the map, as far as clubbing is concerned. Quigley’s was famed for its fantastic atmosphere, and at one point, you’d go to Déjà Vu at Room on a Friday, power on through, hit Quigleys on a Saturday night and make it back home sometime on a Monday morning. In the days before Facebook and the ‘Missing Persons’ statuses, this was quite normal and no real cause for alarm. In the mid-90s we were spoilt for choice, and there was little need to traipse across the country searching for a 4/4 beat and a
room to go crazy in. Although a lot of us did sporadically, but more for a change of scenery than anything else. And Tim can go down in Hull history as being one of the main orchestrators of that whole period. As we wrap up, I ask Tim what he makes of the current crop of DJs and the scene in general. Has he succumbed to the current digital trend? ‘I’d much rather it be 2 turntables and a mixer, vinyl just sounds better. I don’t know if it’s just the old tunes, but they just sound warmer on vinyl. But I do have a laptop and a controller, it’s more practical, as you have more music at your disposal, and it’s much lighter to carry (laughs). You’ve got to embrace technology. People think because I’m older and associated with turntables and vinyl, that I only use vinyl, but that’s not the case at all. I do draw the line at using Spotify for DJing though. I guess if you’re using vinyl, you’ve got your set and you don’t deviate from that too much; with digital, you’ve got more scope, but sometimes it’s too much scope. With vinyl, you have a clear idea of where you’re going. As for DJs today, I think some of the art form is lost now. People want a fast-track to the top rather than put
the graft in, so a lot of current DJs are just selectors, which is fine too. A lot of DJs nowadays are all about the show. I’d rather be out of the way. Room was perfect when the DJ booth was under the stairs (laughs).’ And with that, we bid each other farewell. It’s been an illuminating conversation, and I’ve learned a lot. I’ve followed Tim since his days at Juliet’s, through Quigleys, onto Rewind and beyond, to the hip-hop nights he still regularly plays at, but it’s been fascinating listening to his story and the progression of his DJ career. He mentions that he’s only just started to say ‘yes’ to some of the numerous requests he gets for DJing classes, but stresses that he only acquiesces to the ones who have a real hunger for it, which shows remarkable integrity. I’m reminiscing about those days, and it’s always a great conversation topic for people of a certain age. At the time, we probably didn’t appreciate the work done by those who brought us those nights, which remain etched in our memories forever (or not in some cases). Now is the chance to show your appreciation for a true Hull maverick.
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HULL 2017: SEASON 2 ROOTS & ROUTES
Photo: Stewart Baxter
By Nick Boldock
NEWMEDS There’s so much new music coming out of Hull at the moment anyone would think we were a City with some sort of celebrated Cultural heritage... or something. We take a look at the best of the current crop of new bands and releases… Low Hummer Rising from the ashes of the now-defunct La Bete Blooms (which this writer is moderately gutted about), Low Hummer are essentially a reboot of that band with an all new sound. The familiar angularity (and unavoidable Pixies influence) is still there, but Low Hummer are an intriguing evolution from the insistent post-punk of La Bete Blooms. Debut single “Us Up North” largely dispenses with LBB’s chopping guitars in favour of a new synth-driven groove. It sounds not unlike labelmates My Pleasure in places (which is absolutely not a bad thing at all). Steve Lurpak has already given it national radio play. Oh, and it’s ace. Go see ‘em. soundcloud.com/lowhummer
NEW BAND Newmeds
Having only made their live debut at the end of last year – a raucous riot of noise that took place in the compact and bijou Dive Bar on Princes Avenue – NEWMEDS are clearly a sonic force to be reckoned with. Or at the very least, to shake the artex off your ceiling. Recent track “Cognitive Behaviour” is a hardcore punk monster with nods to the likes of Black Flag and Amen. Subtle it isn’t, but it sounds great with the volume on eleven. Definitely a band to watch out for.
Bunkerpop’s much anticipated debut LP (a double vinyl release no less) has been in the pipeline for the past two years and after much delay, it’s finally here. Lead single “(Are You Ready) For Something” is released digitally for one day only on April 19th (with the album following on CD and 2LP in June). AYRFS is a delight – there’s a healthy splodge of Fonda 500-style eccentricity in there, and the pumping bassline sits nicely behind the synthesised vocal mantra. It’s also got a bonkers video to go with it. If this is what they’ve been creating for the past couple of years then it’s been time well spent.
(Are You Ready) For Something
KATIE SPENCER Weather Beaten Katie Spencer seems to have been around for yonks now, but somehow she is still only 21 years of age, a fact even more surprising given the musical maturity on display across the breadth of this remarkable album. “Weather Beaten” is Katie’s first full length release and it’s an incredible piece of work. There are obvious parallels with the equally wonderful Laura Marling, though if anything Katie is moving closer
to Joni Mitchell territory these days. The arrangements on the record are hauntingly beautiful, particularly the clever use of upright bass which lends a Pentangle-style fusion of jazzy folk to proceedings. And of course that delicate finger picked guitar. All but one of the ten tracks on display here are original compositions (the exception being a sumptuous stroll through the traditional “Spencer The Rover”). If she is writing songs with this level of skill at 21, one can only wonder just how far she can go in years to come. This is an album of contemporary folk as accomplished as you will hear absolutely anywhere. It really is that good. Katie Spencer will be massive one day – stick your mortgage on it. www.katiespencer.net
Bud Sugar Gambia (Endoflevelbaddie Remix) The original version of “Gambia” dropped in 2018 as a funky slice of sunny afro-beat, and it’s now back but with the added bonus of having had Endoflevelbaddie’s electro magic sprinkled all over it. Transformed into a six-minute big beat bouncer, this is a guaranteed dancefloor filler. It’s a marriage made in heaven - the sound of summer, with ice and a slice. Very lovely indeed.
PHOTOS BY PAUL NEWBON WORDS BY DANILO SWIRE
Hull’s crown jewel of music venues is in no doubt the famous Adelphi Club, staying true to its roots for over 35 years championing local unsigned artists and bands. The Adelphi has played a pivotal part in providing a real platform for local artists to emerge from. On Friday as the week came to a close, celebrating Independent Venue Week 2019 it was the turn of the Novelist the official ambassador for the IVW 2019 to perform at The Adelphi. Dubbed the ‘Poster Boy Of Grime’ he was accompanied by BBC 1Xtra broadcasting the event live, and he was joined by home town favourite Chiedu Oraka. The anticipation of the night could be felt outside the venue early on as the camera crews flooded the car park, keen to observe a momentous night in honour of Hulls irreplaceable Adelphi Club. An unfamiliar sighting on De Grey Street was the Yorkshire Tea van situated outside providing a proper Yorkshire brew for the people, showing their support for independent music week and the importance of the truly significant remaining venues across the country. It’s worth noting that the night as a whole felt like it could have been headlined by Chiedu Oraka, who has proven to attract a tremendous amount of local support to wherever he performs and rightly so. Chiedu carries the baton for Hull’s urban music scene and has had recent success with Darcy hitting one million streams on Spotify and Mike Skinner recently playing his single on BBC Radio 1’s Future Sounds. As it was nearly time for him to grace the stage, it was clear to see he had the support of the venue as
NOVELIST + CHIEDU INDEPENDENT VENUE WEEK FRIDAY 1/02/19 his Lock Down merch could be seen represented within the crowd. As BBC Radio 1xtra played their part in the event and broadcasted it live on DAB Radio it was time for the support act to kick off the night. Chiedu, Deez Kid and Joe the Third, sensed another opportunity to showcase themselves to a wider audience and they delivered a high-energy performance that represented exactly what they’re about. It was now time for the Mercury Prize nominee Novelist who already boasts a catalogue of achievement’s and has featured on Skepta’s 2016 Mercury Prize-winning album, Konnichiwa. After releasing his long-awaited self-produced album in April Novelist has been making a huge impact on the Grime scene with his politically charged lyrics that represent hard-hitting truths. It was clear to see the twenty-one-yearold Grime MC and producer from South London had a big following and filled the Adelphi with an atmosphere from the start. He set the pace with the crowd responding to his every word. The enjoyment was cemented on his face from the off and the venue bounced its way through his set as he represented why independent venues such as the
Adelphi Club are still so vital today. The set oozed brilliance and the stage presence that came alongside his catchy catalogue of tracks from his debut album, Novelist Guy was highly impressive. The crowd was in full voice all evening but most notably for Dot Dot Dot and Stop killing the Mandem. As the night came to an end there was one last moment that was a joy to observe, Novelist was joined on stage by Chiedu Oraka for a memorable end to an evening that showcased independent venue week.
PUBLIC SERVICE BROADCASTING SUPPORT FROM KITTY VR THE NEW ADELPHI It takes a special kind of act to sell out The Adelphi on a Monday night in January for 24 quid a ticket. And while the Novelist gig a few days later might have been the one attracting the attention of the national BBC, those who packed in to watch Public Service Broadcasting could be forgiven for thinking they were the ones who’d scored the real prize of Independent Venue Week. Support came in the willowy form of York-based Kitty VR, who managed to quiet the hyped crowd with her solo, ethereal set of songs she apologetically called ‘miserable’. Actually, her performance was beautiful and haunting, bringing to mind Mazzy Star and the darker edge of Beth Orton. She captivated the growing crowd, gathered waiting for the main event. While we waited, you couldn’t help but check out the kit on stage. For anyone more used to seeing the standard band set-up of guitars, bass, drums and a few mikes, the stage for
Public Service Broadcasting looked more like a music store display; with multiple synths, computers, brass, an array of percussion instruments I hadn’t seen since high school, and wires, wires everywhere. The headliners were preceded by a cheeky blast of David Bowie’s Sound and Vision. Entirely fitting for a band whose on-stage backdrop is old newsreel footage, and who use audio samples in place of a traditional lead singer, to provide a backbone around which to wrap some pretty nifty instrument-playing. Far from being some impenetrable po-faced clever nonsense, they never took themselves too seriously – even bringing on a presumably sweltering guy in astronaut costume during the encore. PSB’s blend of live instruments, synths and samples has real heart. They’re heavy as a rock band in parts, electro-funky as Prince in others, by turns cinematic or delicate to match the mood of each track. And with a jam-packed floor of enthralled fans beaming back at them,
the band clearly loved every minute of playing in such an intimate venue, grinning and joking with us, and each other. Standout tracks included three from their album The Race for Space: their best-known number Go! had the room all chanting and pointing along; and the soul-funk Gagarin – a tribute to Yuri of course - which got our groove on. Less showy but entirely entrancing was The Other Side, with atmospheric samples from Apollo 8’s Mission Control supported by the lightest touch of instrumentation to emotive effect. Hard to define and extraordinary to watch, this was a band I knew only a little about before I went in, and immediately fell in love with. In a hot, sweaty little place called The Adelphi, I wasn’t the only one. Hope to see them again very soon. WORDS BY: SIAN ALEXANDER PHOTOS BY: IAN ROOK
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Rich Sharp Wilson Chats To Mr Joe
You’ve been on the graff scene a good while now. You have a very distinct style, how did that develop and what are your influences? I still feel like a bit of a baby as most Hull writers my age started painting long before me. I guess my style developed like anybody’s, just from drawing shit loads. The more you do it the more you it becomes. I know that sounds cheesy but I couldn’t think of a better way to put it. I was talking to someone recently and I pulled a face and did a little jig and they said I reminded them of one of my characters, and I thought that was a massive compliment - even though my characters are really flippin’ ugly haha. It just made me feel like I’m doing something right, like I’m making something honest or that represents me. Know what I mean? I used to accredit a lot of my style to this amazing trip I had about 5 or 6 years ago, but I recently looked back at some of my work from around then and it was proper crud ha ha, I was trying too hard to make something mind blowing. I guess dreams and the inbetween stages of sleep have always been a massive influence.
People will likely recognise your work in some of the bars in Hull. But more recently Bankside Gallery has become a blank canvas for street art. How do you think that has changed graff and street art culture in the city? Bankside Gallery’s definitely helped Hull’s graff scene blossom again. It definitely got me and a few others out of the woodwork too. It’s nice to see a lot of new faces out as well. Street art/graffiti/whatever seems a lot more accepted & appreciated in Hull than it was this time last year. Ollie, Kain & David have put a lot of work into that place. Good blokes. You’ve travelled quite a bit through your art and worked with the infamous Pinky. What’s been one of your best memories of working on your art outside of the city? Pinky’s one of my best friends, I look up to that man. I think my favourite is definitely the one you mentioned, China blew my flippin’ schnitzel off. We were literally only there for the weekend, it was like going to China for a fag run or something. We were rushed around with a reporter and a translator – who were amazing people – and we painted on two giant inflatable teapots in the middle of this mad city. We were taken to a few galleries and ate some mental food. One of the gallery owners was wearing a flippin’ Philip Larkin T-shirt!! He couldn’t understand a word of English and had no idea who Philip Larkin was. We got shit faced with him.
You recently did a residency in the Dr. Martens shop in Hull, customising people’s Docs. How did that go? And how did you end up getting the gig?
I thank Christina that works there put my name forward and it went from there. My mate Charlie told me that they had a look on my Instagram to see what my stuff was like, and the first photo on it at the time was a really obscene drawing I’d done of myself haha. But for whatever reason, they decided to go ahead. I had a great day. Live art used to freak me out but I really enjoy it now. The weirdest members of the public are the ones most likely to approach you, so you end up meeting some interesting people.
With so many artists emerging on the street art scene, who is grabbing your attention at the moment? Definitely Pesh & Pete Tommo, they’re like the newest generation of psychedelic Hull graff weirdos. Really nice lads too. It’s good to see Peak back out too, but he needs to focus more on his painting and less on his Jägerbombs. Outside of graffiti, I’m really fond of Jake Machen, Alise Tipse & Joanna Krolewicz’ work.
Any projects coming up that you can tell the readers about? I decided to stop taking on 90% of the jobs that came my way and my head feels a lot better for it. So in terms of commissions I don’t have anything on the horizon. It feels good to say that. I used to take on every job, I’m glad to be doing things more on my own terms now. It’s early days but I’ve been talking to Form about having an exhibition in their shop sometime next year. I’d like to get some new prints and another zine out too. Who knows, I’m good at talking about stuff and bad at doing it!
Instagram accounts Iâ€™m staring at a lot: @b_virot @dyl.moss @robertbeattyart @pelucaspilasbubbles @badvilx @muretz @mudwig, @82eliote
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VICKY FOSTER “A WOMAN OF WORDS” The founder of Women of Words, Hull poet Vicky Foster spoke Danilo Swire about all things poetry, her new book and Bathwater, an emotionally gripping one-woman show of poetry, and monologue supported by a sound score from the Broken Orchestra. Bathwater is based on Vicky’s real-life experiences with domestic abuse and the impact on how violent crime can affect families and how the tragic events affected her own.
When did you first put pen to paper with Bathwater?
As a poet who inspired you first and made you want to pick up that pen?
I started writing Bathwater in the months of May and June in 2018, I wrote it for a performance at contains strong language for the BBC which took place in September that year. It was a tight deadline, a bit of pressure really I suppose but sometimes that’s a good thing because it gets you cracking on with it. I had to get to a certain point with the writing so we could take it to Broken Orchestra and develop the music around it.
When I was a teenager I was really weird and loved Shakespeare and Thomas Hardy I don’t know what happened I just absolutely loved it. My English teacher introduced me to Dr John Cooper Clarke and I came across evidently chicken town and all that and whoa it just blew my mind.
Do you plan to perform Bathwater again? I would love to do it when I do workshops, and at women centres. Performing it for 8 weeks twice a week would be really full on but something I would really like to do. It’s obviously a very emotionally piece for me it’s about some really difficult experiences and performing it for the first time was daunting going back to it.
Do you feel it was Hull 2017 that provided more of a platform for female poets? It’s hard for me to say because I only did my first open mic night in 2015 and then a year later, I set up women in words and since then I have been so fortunate to make friends with so many other poets and people I admire like Toria Garbutt. I have always been surrounded by supportive people and creative women from the start, I’ve been really lucky. Seach Vicky Foster “Bathwater”
T H E AT R E
Middle Child are a super-talented super breed; the next stage of human evolution. I’ve been convinced of this since I spent two hours in a tent with them last summer. So it’s safe to say I had a sense of excitement about Us Against Whatever hours before I got there. Hull Truck was packed. I could tell before I even got inside the building, cos people were thronging about outside – and as soon as you got through the doors, there was a buzz. People have come to know that when they walk into a Middle Child show, they’re gonna be getting something a bit special. The set didn’t disappoint. The theatre had become a gig – customary for Middle Child’s evolutionary style of fusion-theatre – and the actors were on stage in character, faffing about on the instruments, and mingling with the crowd as we took our seats.
The whole thing had a modern Gothic circus feel – the make-up, costumes, set, the sassy ringmaster narrator – and if a story about Brexit isn’t modern Gothic, then I don’t know what is. I was already with them. The female-heavy cast helped keep me on-side, as did the central love-story between two female characters. But if those things hadn’t done it, the singing would have won me over – it was faultless, with some beautiful harmonies; commanding and tender in all the right places. The choreography was spoton too, and the inevitable tension in the subject matter was relieved by a smidgen of humour here and there. It had everything. I wouldn’t be honest if I said that some of the descriptions of Hull and its struggles made me uncomfortable. If I said that the heartbreaking scenes of racism in the city I love weren’t hard to watch, I’d be outright lying. But we all know they’re happening. Hull voted overwhelmingly to leave Europe and reports confirm that racist incidents here and
across the country have increased. Middle Child didn’t shy away from this. They hit it head-on, and their portrayal of the white Hull lass who didn’t have to think about it gave me pause, especially as I had friends in the audience who I knew, only too well, we’re feeling the effects of Brexit full-force. Discomfort is an essential part of good art, in my opinion. It means you’re looking at something differently, from a new point of view. And that’s important. In the interval, me and my mate discussed that we didn’t know how they were gonna tie everything up at the end. The answer? They didn’t. How could they? No-one knows what’s gonna happen next. We’re all stuck in this uncomfortable place where conflicts have been stirred, and no-one knows how to resolve them. And that’s right where Middle Child left us. But with this proviso: we’ve all got big hearts here in this country, in this city and in that room. They ask that we use them to get through this. And right now, that’s probably the best we’ve got. Hats off to everyone involved. I honestly don’t know how they do it all. But I do know that I’m really glad they do. Words by: Vicky Foster Photos by: Sam Taylor
Finesse Digital is a full service Tech, Digital and Marketing agency. Based at C4Di, the city's digital innovation hub, in the heart of Hull's growing creative quarter.
Our Development team has a long and successful track record of creating eﬀective and intuitive web sites and apps, innovative software, and intelligent e-learning and e-management systems.
Our Digital Marketing team is a leader in the ﬁeld of digital transformation projects, putting together creative campaigns to help tell (and sell) your story more eﬀectively. Empowering and upskilling you and your staﬀ along the way, to help you put digital at the heart of your business.
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FINESSE DIGITAL - MAKING DIGITAL WORK FOR YOU
The Modern Draper The Modern Draper is a Men’s lifestyle store situated within the area of Beverley called North Bar. It is owned by partners Chris Terry and Lisa Brown. As you walk in it is clear to see that they wanted this to be more than just a premium men’s clothing store, and they want this to be more about the experience. The high-street could be a daunting place for many independent shop owners but Chris is confident that his years of experience is what can set The Modern Draper apart from the rest. Chris, who is originally from Hull, got his first insight into the business of Fashion whilst working at L’Homme in Manchester. L’Homme was one of the first places outside London to stock Gaultier, Yamamoto and Comme Des Garcons. After his 3 years at L’Homme in Manchester, Chris moved home to Hull and opened up Evolution down Dagger lane, soon followed by Space, the more streetwear orientated fascia.. But after five years of success, Brighton seemed like the right move to make. Chris worked as a buyer for Design-Lab, before managing womenswear brand Get Cutie. His final job was as Senior Account Manager for Original Penguin, a job he had for almost 12 years before moving back up to Hull to open The Modern Draper.
The move back up north coincided with the City of Culture and the buzz around the place meant Chris and Lisa knew they had they made the right move. As a couple they want The Modern Draper to be appealing to all, and they manage that. It isn’t daunting when you walk in like some high-end shops can be. You are greeted when you walk in and asked if you would like a coffee, of course, provided by another Hull independent The Blending Room. This is important for Chris and Lisa they want the shop to have what they call “good old-fashioned customer service” Chris thinks this is what makes independents stand out - the one-to-one service you receive. The Modern Draper has a focus on globally-sourced Heritage Brands and contemporary collections, the story behind each product is something that really suits the aesthetic of Modern Draper. Design classics mixed in with the more fashion-forward seasonal lines mean that The Modern Draper can appeal to a diverse customer base. A big focus within the shop is the denim and workwear. Stocking brands that you wouldn’t find elsewhere within the area are really important to Chris, brands like Nudie Jeans, Lee 101, Vetra and Edwin. As the fashion focus of the consumer switches, people are becoming more aware of sustainability and
this is something Chris is also aware of. Nudie Jeans, Lee, Oliver Spencer and Sandqvist are all companies that have used their company sustainability ethos to promote their products. Another sustainable brand stocked by The Modern Draper is Veja footwear. Veja’s trainers have fast become the trainer to have thanks to their design aesthetic and the companies sustainable and ethical business model. Although The Modern Draper at the moment stocks a wide range of brands there are plans underway to expand into another unit in Beverley. The new location which is scheduled to open in time for Autumn 2019 will focus on the growing market of Outdoor Lifestyle, Sportswear and Streetwear. Stocking brands such as Dickies, Carhartt, Fjällräven, Best Company, Champion and Vans. The original Modern Draper store will then offer Denim, Heritage Brands, Workwear. Premium Footwear and Contemporary lifestyle labels such as Nigel Cabourn, Universal Works, Norse Projects, APC and Albam.
Browse The Modern Draper socials Facebook.com/moderndraper Instagram: Moderndraper WORDS BY: KIZZIE WHITE
Contemporary Menswear & Lifestyle Store Albam Armorlux Baracuta Barbour Best Company Carhartt Champion Edwin Engineered Garments Folk Fred Perry Reissues Gramicci Hartford John Smedley Norse Projects Novesta Nudie
Maison Labiche Paraboot Rains Red Wing Sebago Sunspel Universal Works Vans Veja Vetra Yogi Accessories Grooming Products Books & Cards
1 North Bar Within â€˘ Beverley East Yorkshire â€˘ HU17 8AP 01482 873947 the moderndraper.co.uk facebook.com/moderndraper instagram.com/moderndraper
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Enjoy the food court in Trinity Market, and take a pew in the beautiful Hull Minster. Search for Hull Street Food Nights on Facebook for more information
Hull BID’s urban banquet and street food event return this Spring with the first edition of Hull Street Food events in 2019 with an exciting relocation back to its original residence in Trinty Square. In preparation for this mouth-watering spectacle, we spent a day in Trinity Market sampling the delights of Shoot the Bull and the Grecian God that is GREKO... If you’re unfamiliar with the gyros, allow us to acquaint you; delectable chicken or pork comes straight from the spit to be served in a handmade pitta . Greko also offers a vegetarian option so that everyone can experience the taste of Greece. Locally sourced, fresh tomatoes join the wrap, along with red onions, oregano marinated chips, and their famous homemade Greek tzatziki sauce - you can thank their dad’s family recipe for that.
Shoot the Bull @ Hull Street Food
A couple of years back, if you wanted to get your hands on one of Shoot the Bull’s masterful burgers, you had to track them down at your local street food pop-up. Now, a stroll down the cobbles of Old Town will lead you to Trinity Market, where one hell of a lunch awaits you. Over the past year, Shoot the Bull have refined their menu to the point of perfection. If you’re looking for a bite at breakfast, a beast of a burger, a hundred-yard hotdog or a pot of poutine, then there really is only one place to go, and you won’t leave disappointed. Even with a pared-down menu, it took us more than a few minutes to make our decision. We settled on a mix - the STB Gold Burger and the Char Siu Dog, with a portion of chips thrown in for good measure. The STB Gold is a champion of a burger - double stacked for impact and loaded with smoked bacon, then lavished with bacon ketchup and honey mustard mayo. The whole thing is stacked and served in a unique Bretzel roll for a finishing touch. For something a bit more adventurous, the Char Siu Dog should be the top of your list. Shoot the Bull have heaped on the flavour with smoky char siu pulled pork for a distinctive oriental taste. Combined with layered pickled carrot and spring onion, sprinkled with Sesame Seeds and brought together with enough Wasabi Mayo to pack a tasty punch, it’s not one to miss. Shoot the Bull’s eclectic taste can be found in more places than one. Alongside Trinity Market, they have offerings in The Old House, Hull Truck Theatre, and they can still be found at street food events around Yorkshire.
Greko Welcome to sunny Greece! Alright, not really, but on a warm day in Hull you’ll be forgiven for thinking you’d woken up in the wrong country, especially if you’re taking a trip to Trinity Market. Maybe it’s just us, but we reckon that Hull is a whole new place in the sun, and with bright spring days approaching, we were on the hunt for something to eat in the sunshine. Enter Greko - an authentic, family-run business with a passion for Greek Gyros. This is a family who wants to show us Hull lot how to eat like a Greek, and they’re doing a bang on job. When the family moved over from Greece several years ago, they missed a couple of things about home. At first, it was just the weather, but they soon found themselves craving an authentic gyros. Unable to find it on Hull’s cobbled streets, they took to their own kitchen and began to make it themselves. What began as sharing a family recipe with friends has grown into Greko - you’ve probably seen the queues snaking around Trinity Market as people eagerly await one of their iconic gyros. With all key ingredients supplied directly from Greece, it’s a taste most people in Hull aren’t willing to miss out on.
When we visited for a bite, our eyes were far bigger than our bellies. Between us, we attempted to demolish both a chicken and Por Gyros, as well as a portion of halloumi fries. The gyros were packed full with ingredients - so much so that we could barely keep our hands wrapped around them - and the halloumi fries were a perfect blend of savoury and sweet, with the pomegranate seeds serving extra bursts of flavour with every bite. For a Greek experience like no other, Greko is the place to be. There is a God after all...
C R E AT I V E S
Setting up and running your own business can be very liberating and rewarding, but as anyone who has tried it will also confirm, it can be incredibly daunting and challenging. Especially in an uncertain economic climate, which seems to be our collective fate, for the next couple of years at least.
hole of all, advertising and marketing. Ensuring that your business presents itself in the best possible light, tells its story in the most effective way, and most importantly actually reaches enough of the right people that matter, is a never-ending task. Not to mention potentially quite complicated, confusing and costly.
Having a great idea, and then the courage to actually follow it through is just the start of the journey. You can find yourself pulled in so many diversionary directions in pursuit of your aims. So much so that you can lose sight of your original vision and focus. In fact, many businesses with massive potential often fail before they ever get the chance to properly take flight, for this very reason.
Sure, there is help out there. For some of the above, there are grants, loans, & funding you can apply for and training courses you can attend. But how do you separate the wheat from the chaff when it comes to working out which ones are right for you? For advertising and marketing, there are ads you can buy and plenty of companies whose marketing services you can hire, but it’s not always cheap. Often far from it in fact. And neither of these options come with any guarantees they will actually work. As the age-old adage goes, if you knew it would work, you’d have no problem paying for it.
Admin, legal, invoicing, purchasing, budgeting, debt chasing, planning and managing staff all take up vast amounts of valuable time. And that’s before the biggest potential rabbit
The fact is, there are many companies out there with great ideas and huge potential, but basically, they often lack the confidence, experience and perhaps most critically the finances and resources to capitalise on this potential and the opportunities out there. One Hull-based company has been looking at these long-standing dilemmas and come up with an alternative approach which may benefit some who fall into this category. Finesse Digital, a Tech, Digital, and Marketing agency based at C4Di, has a long track record of working on with businesses of all types and sizes from multinationals and SME’s through to start-ups, small businesses and aspiring scale-ups. As a result of their experiences with the latter groups, the company has just launched a new initiative, aimed at helping businesses, products and brands whom they feel have real potential, to access support and services which may currently be beyond their means.
Deal or No Deal
The present and the future
Their project is called Alchemy and aims to offer a hands-on partnership programme, rather than simply being an arms-length service provider. The real twist, however, is in how they are proposing to let companies finance their Digital and Marketing projects. As they will only be working with companies and brands they have looked at and are confident they can make a real and measurable difference to, they will be giving them the option to either pay in the traditional way (which they can then potentially help them finance via the additional support network they have put in place for Alchemy). Or they can work on the basis of an agreed revenue share of the increased sales and turnover they achieve. In certain cases, where discussions demonstrate that there are a real synergy, a good fit and an appetite on both sides for such an option, they may even propose to take a stake in that business.
So as well as finance, it seems part of the more unusual element of the Alchemy project will be the actual partner selection process, which flips the normal model of agencies pitching to a client on its head a little. The idea is that this becomes a two-way process. This also possibly increases the appeal to the curious, neutral observer as well. They have already had various media outlets express an interest in being able to follow the fortunes of those taking part. We asked Adrian from Finesse if this was a fair summary of the situation. “Yes, I guess it is, and it has to be this way. Unlike in a traditional service arrangement, the risk is primarily ours here, particularly in the early stages. If we don’t deliver, we don’t get paid. So we have to be selective, partly to ensure the fit is right for both us and the participants. We also need to ensure it doesn’t detract or impact on the important work we do for our existing clients. Which is why we have a separate team and system set up for Alchemy. The experiences and successes from Finesse will feed into and inform this project. We work at very close quarters with our existing clients, often basing ourselves at their premises when doing their work, and this produces a deeper understanding of, and insight into, their business, systems, staff and customers. Where appropriate we will seek to replicate this, even if again in some cases we flip it on its head and they come to work with us sometimes. I guess you could count the whole project as an example of ‘disruption’, with a small d.”
So what’s the procedure from here on in? “Alchemy officially launches in May 2019, which is when the first partners will be selected. They are now accepting submissions from interested parties, who they will be talking to very soon.” How do they see it going from there? “Well, we’re viewing this first phase as a soft-launch. From there, we aim to expand the number of participants, and also increase and widen the external support network we have put in place as part of this. We also envisage that other companies like us may want to get involved in due course. Not every potential participant will be right for us, and vice versa. There may be another agency with a specific set of hard or soft skills and experience which could really suit a particular project, and also these people may have really great knowledge of a specialist product or sector. There are a couple of companies I really rate who I’d love to get involved, but happy to hear from others also. In this day and age, collaboration really is key to progress, but it’s got to be right for everybody.”
Director Adrian Gosling, one of the team at Finesse who will be working on this project, said there was already a good deal of excitement about it, both within the company and outside: “We haven’t even officially launched the project yet and we’ve already had several referrals and enquiries about becoming a part of it, based purely on the conversations we have had about it whilst we were in the research and planning stage.” “We love working with start-ups as you get to forge a relationship with the founders. And because they are invariably smaller, they are agile, flexible and often open to creative and ambitious approaches, as they are still experimenting with their identity and looking to find their voice and narrative. This is sometimes harder for larger or longer-established companies, as with their success comes a certain expectation from their audience and customers. That’s not to say they can’t still be creative, it’s just that they also have to be more measured and analytical about what will and won’t be acceptable or appropriate.”
So it clearly won’t be without its pressures to make it work then. Do you think it’s something you might live to regret? “Possibly, but then there is an element of risk in every business decision. And we also aim to have a bit of fun with this as well. Something else that often gets lost in business along the way. The Dragon’s Den and Deal or No Deal elements will probably see to that, but hopefully so will the relationships we will establish with these partners. When you set up your own venture, you’re doing something amazing, and you shouldn’t deny yourself the chance to reflect on and enjoy this from time to time.
As they say, watch this space. We’ll be watching developments with interest.
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