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EDITOR’S letter It goes without saying that these are difficult times we’re living in. Economic downturn, credit crunch, recession – whatever label the media gives it, the point is that we’ve been forced to reevaluate and inevitably appreciate a lot of the things we’ve always taken for granted. There’s no sense in taking an overly pessimistic view of the day and age we find ourselves in. Instead, we should utilise the fact that the economy has been reduced to an almost meaningless concept and look deep into the cracks that have emerged. Art and culture thrive in times of depression, history has countless examples of this. Perhaps our priorities shift, or maybe we look towards something permanent and meaningful when so many things are dissolving around us. I like to think that culture – and pop culture in particular – provides a way of tackling the difficult questions that confront us. New problems require new solutions, and this is where creativity is essential. one small seed issue 14 exists as a result of this. In an environment where budgets are drying up and print publications are folding in alarming numbers, we’ve managed to persevere and, with this issue, increase our print run by 65 % to 13 000. This can be attributed to a variety of things, not least of which is the effort we put in to bring you the latest pop-culture info. The creative, fascinating, talented, beautiful, intelligent, laterally-minded

people we feature inside these covers have kept us in business, basically. Many of them are doing things in a unique way and creating new possibilities. Take for instance Pieter Hugo’s beautiful and bizarre photographic collection of Nollywood actors (p. 32). Nigeria’s enormous film industry is in itself an example of a new and exciting development that has caused us to rethink America’s status as world-leaderof-everything. Hugo’s sincere and frequently humorous portraits similarly engage us in a new way of seeing. Liam Lynch turns his lens at the progressive yet nonchalant Pretoria music scene (or lack thereof), highlighting the inimitable magic that emerges when we put global issues on hold for a while and collaborate creatively in our own backyards (p. 26). We also reveal the exquisite work of photographer Cara Gillougley, chat to New Holland, Whatiftheworld and The SickLeaves, preview a new ecological housing concept and feature fashion spreads you simply won’t find anywhere else. Times are tough, but there’s still a lot to be excited about. Read on and see for yourself.

Giuseppe Russo Founder | editor-in-chief

ISSUE 14 founder ¦ editor-in-chief giuseppe russo

contributing editor dylan culhane


matt edwards

copy editor

sarah jayne fell

advertising & sales michael littlefield


ezweni distribution

distribution assistant rachel basckin


jessica manim, pieter boon


clothing jacket by photographer sam

jo borkett, pants by blue bay, earrings & sunglasses by ny.lon, trainers by nike @ bonafide norval art direction designed04/giuseppe russo stylist cally palmer @ max models make-up dagmar & danielle van cuyck hair alana stadler models zosia p from zero models

editorial contributors

dylan culhane, jess henson, jon monsoon, maxim barashenkov, lucy heavens, jadan mccullough, sarah jayne fell, HEADLINE payoff, yusuf laher, ximena farfan, liam lynch, jessica manim


sam norval, liam lynch, dylan culhane, neil roberts, jenna bass, robin sprong, george mahashe

special thanks

ryan christian & karen nass (coza productions), luke apteker, pietro russo, amanda fellows, neil nieuwoudt (UCA gallery), althea mcphearson, astrid glaenzel, jody paulsen, timmy wang, andre (Y models), kava, hannes (fusion models), caileigh (boss models), noni, elina (max models), rose & michelle (M1), dave edwards, jimmy strats

editorial address:

5 constitution street, east city precinct, cape town, 8001 tel: +27 (0) 21 461 6973 ¦ fax: +27 (0) 21 461 9558 email:

advertising sales

subscription : back issue enquiries

issue 13 corrections p.44 brian little (fly on the wall) should have been spelt bryan little p.120 clara tilva should have been spelt clara tilve The small print: No responsibility can be taken for the quality and accuracy of the reproductions, as this is dependent on the quality of the material supplied. No responsibility can be taken for typographical errors. The publishers reserve the right to refuse and edit material. All prices and specifications are subject to change without notice. The opinions expressed in this publication are not necessarily those of the publisher. No responsibility will be taken for any decision made by the reader as a result of such opinions. Copyright one small seed South Africa. All rights reserved. Both the name ‘one small seed’ and are copyright protected. No part of this publication may be reproduced or transmitted in any form or by any means without written consent from the publisher. one small seed does not accept responsibility for unsolicited material. This is a quarterly publication. ISSN 977 181 6896 033.



























It’s better to be heard than scene.







PIETER HUGO Nollywood and the death of photography.











Synergising architecture and nature.



NEWSPACE THEATRE Nip-tucking the old Victorian Lady.


























06 10 82 86



88 90 93 96


IN STORE PF FLYERS GLIDE These Italian quilted tekkies are classic Reissue Hi-Tops from PF Flyers, gem of the original American sneaker brands. First produced in 1937, and venerated for its original Posture Foundation ‘PF’ insole technology, by the sixties PF Flyers was one of the largest sneaker brands in America. Women could buy dresses made to match their PFs and for men, PF was standard issue in the US Army. The sneakers were renowned for helping you ‘run faster and jump higher’. Now made by New Balance, PF continues to define classic casual style in authentic reissues and evolved silhouettes. And in ‘Pure ‘70s Action’ gold and black, these PFs can razzle up any old pair of faded, tumbledryer-shrunk jeans and t-shirt when you wanna get down to those dancefloor killers. Available at Poppa Trunk’s


LEICA C-LUX 3 Leica photographers have always attracted admiring glances. The ultra fashionable Leica C-Lux 3 will get even more attention. No other Leica is as small, slim and elegant. It is available in either black or white slim line metal – both in a high gloss finish. This ultra-compact camera is sure to earn a smile. And the Leica C-Lux 3 does a wonderful job of capturing those smiles. The powerful lens, the intelligent automatic mode and the simple operation make it easy to take successful spontaneous pictures. Available at Cameraland

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MUSICAL DRUMMER ROBOT Available at Imagenius


TIVOLI AUDIO: PAL The Portable Audio Library, (PAL), AM/FM radio sets a new standard in portable audio by Tivoli: hi-fidelity sound, great reception, compact design and an affordable price. It’s brightly coloured, weather resistant and iPod compatibile. Its built-in NiMH battery delivers 16 hours of playback and recharges when it’s plugged in. Super convenient, super cute and arguably the finest sound and reception possible from a portable radio. What a pal. Available at Caldis Sound and Furniture

EASY COFFEE TABLE WITH MAGNETIC CORK TOP IN SAND by Easy Now @ Dokter and Misses one small seed


IN STORE NIXON: THE NOMADIC These leather-clad beauties by Nixon will ooze sex appeal to any audiophile. The large earpieces, 40mm driver and 101-decibel sensitivity ensure loud, clear surround sound. The padded headpiece, memory foam ear cushions, ball and socket joints and collapsible ear cans mean these headphones are sturdy, flexible and mould comfortably to the head. The built-in volume knob on the right ear and the detachable cable are über convenient. Throw in a microphone, a custom moulded carry case and iPhone compatibility for good luck, and you might just start planning your next road trip. Sexy, practical, flexible and efficient – the Nomadic sounds like the perfect travel companion.

TINKERBELL SHOES These open-toed, blueberry-scented, periwinkle blue plastic shoes are perfect for a teddybears’ picnic or a frolic in the summer sun should you feel so inclined. They remind me of pink party dresses and cupcakes covered in hundreds and thousands, pigtails and ribbons and pass-the-parcel. So, if you’re having one of those days… by Melissa Available at Imagenius

arc lamp by Liam Mooney Available at Whatiftheworld

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HYDRO-CAR The Hydrocar is a futuristic educational car that contains one of the most exciting and advanced technologies of the 21st century. This car operates on 100% clean fuel produced by a reversible fuel cell that converts water to hydrogen using energy captured from the sun.


Available at the green shop at 210 Long Street

BY LAURA HOPTMAN, IWONA BLAZWICK, JOHN GIORNO From her earliest portraits of musicians like Kurt Cobain, Liam Gallagher and Jarvis Cocker to more recent paintings featuring friends and figures from the worlds of art, fashion, cinema and politics, Elizabeth Peyton’s body of work presents a chronicle of America at the end of the last century. A painter of modern life, Peyton’s small, jewel-like portraits are also intensely empathetic, intimate and even personal. Elizabeth Peyton’s Live Forever is a retrospective of the artist’s major works and a catalogue of the exhibition held under the same title at the New Museum in New York from last October until January this year. It includes a large selection of artworks, photographs and ephemera as well as essays on the artist. Together, her works capture an artistic zeitgeist that reflects the cultural climate of the late-twentieth and early-twenty-first centuries. This beautiful, large hard-covered volume offers a visual biography of the artist and at the same time creates a snapshot of the popular culture of the past decade.

RAYBAN SUNGLASSES Style: red and black Available at Sunglass Hut

Phaidon one small seed




This chronological photo-diary of Stephen Shore’s transAmerican crossing in the 1970s has been exhibited and discussed worldwide, and the weight of his influence is undeniable. Shore photographed every experience relentlessly and, faithful to the conceptual foundations of the project (basically, being a tourist), had his film developed and printed in Kodak’s labs. It reads like an idiosyncratic family album, providing personal glimpses into another era. Shore transmutes the mundane so we are able see the whimsy, the strangeness and the glory of the moments he captured. A must-have for everyone interested in the history of twentiethcentury photography.


For any inquiring mind with a taste for completely brilliant instructive diagrams, visual aids, fun facts and striking design, this is an adorable little companion – and a masterful choice of subject matter makes it the gift that keeps on giving. In this neat guide, you will discover the hows and whys of taste buds, star constellations, poker, cuts of meat, sports balls, hats, photosynthesis, ocean currents, pancakes, French wine regions and much, much more. It’s possible to pore over this book for hours; it is very accessible and rousingly educational. Colourful, curious and engaging, Visual Aid comes highly recommended.


by Shepard Fairey Ginkgo Press

More than just a catalogue of Shepard Fairey’s colossal exhibition at the Jonathan LeVine gallery in 2007, this book incorporates anecdotes and insights. Fairey’s work is vivid and recognisable, and questions the symbols permeating American culture. The title, E Pluribus Venom (out of many, poison), is derived from E Pluribus Unum (out of many, one), an early motto adopted by the U.S. Government. Fairey’s style and message remains consistent throughout. Yet this consistency and the recurring iconic revolutionary images in red, black and tan can begin to feel repetitive. Nonetheless, Fairey is certainly successful in incorporating branding with America’s great ideals: capitalism, nationalism and militarism. 10

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*All books available at Biblioteq


Printed on the back cover of this book in large, bold capital letters are the words: “Type is one of the graphic elements that designers always get addicted to play with.” And it’s true. Type Addicted reveals the diverse range of approaches to contemporary typography, and the selection of designers includes up-and-coming names as well as renowned icons. This is a rich selection of classic and experimental typography from all over the world. It not only explores typefaces, but the surfaces upon which they are set, as well as how they are applied. Ideas on setting tone, adding impact, reinforcing brand identity and lending character to print are abundant in these pages.

SERIALIZE: FAMILY FACES AND VARIETY IN GRAPHIC DESIGN edited by R. Klanten, M. Mischler, B. Brumnjak Gestalten

Limitations can be very inspiring, and Serialize explores five categories in which the variables and permutations to be found in design series exist: colour, typography, images, composition and realisation techniques. Serialised design needs to work within certain parameters and yet be completely fresh every time. To serialise creates an air of expectancy within the realm of the familiar, the familiar being the brand’s ’family face‘. This book features a broad range of approaches and solutions to serialise design. Not all of the examples may be your cup of tea, but this is certainly an interesting investigation of key elements that distinguish one series from another.


Beautifully printed on lovely, heavy pages, these photographs are lush and expressive. Drebin, with years of experience in advertising, explores ardent inner worlds of the young, the beautiful and the rich. Drebin considers love (and other stories) through themes of appearance, façade and reality. His moody images, sometimes embattled and sometimes humorous, are created through detailed environments and staging. Drebin is very successful at giving us the opportunity to create our own story behind the dramatis personæ, but the commercial character of the images can also serve to create quite an emotional distance.

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WhatiftheWorld From Williamsburg to Woodstock

Justin Rhodes and Cameron Munro met in New York six years ago. Inspired by the plethora of small, mini and micro galleries in the hipster district of Williamsburg, Brooklyn, they bought a shoebox-sized space in Cape Town’s East City district, whitewashed the walls and started selling paintings, drawings, prints and t-shirts by a wellspring of unknown local artists for a few hundred bucks a pop. Today their new gallery space in Woodstock’s trendy Albert Road strip represents some of the country’s most exciting new artistic talent, and they’ve been voted by London’s Contemporary Magazine as one of the ‘Top 50 Emerging Galleries from Around the World’.

Their monthly sellout shows have become virtual conventions for the city’s creative scenesters. Though the scale of their operation and demand for the artwork within Whatiftheworld have increased manifold in the four years of its existence, its original intent to be more than a shell with some pictures on the wall remains the guiding ethos. Cameron maintains that the personal relationship they establish with their artists, clients, collectors and curators sets them apart from the handful of Cape Town’s blue-chip galleries, most of which have incidentally followed Whatiftheworld’s lead and relocated to Woodstock on the city’s industrial Victorian periphery. They pride themselves in the diversity of their collectors: from age twenty-two to sixty-two, it seems the only unifying factor is a taste for the new and a kind of ‘get in early’ investor’s zeal. “It’s more exciting buying into emerging talent,” Justin explains. “We encourage our clients to consider the depth of their collection. For the price of one William Kentridge you could buy an entire collection of a younger artist.” An artist who may very well attain Kentridge-like status in due time, it ought to be said. And with South Africa burning a cigarette hole in the art world’s white leather couch, Justin and Cameron are in no short supply of international investors. Though they firmly believe in buying art “because it affects you, and not only as an investment,” some of the names on their roster are goldmines in the making. If you’re drawn towards the work of some of our previously featured artists like Zander Blom, Matthew Hindley, Peter Eastman, Avant Car Guard and Xander Ferreira, then you’ve more than likely already paid a visit to their spacious premises on the second floor of a disemboweled Art Deco building in a lazily gentrifying suburb trying to shake off its gangland rep. Many of the artists they represent were fresh out of art school, or at least totally unheard of when Justin and Cameron took them on board. Today these same artists can sell a single piece in New York and pay back their student loan in cash the next day.


Dylan Culhane

The duo’s ability to spot talent is uncanny, but – to use an outdated gambling metaphor – when they back a horse, they back it to the finish line. Aside from drawing boatloads of patrons to their shows and flogging large quantities of work on exhausting but essential bimonthly forays to the world’s art capitals, Whatiftheworld has also branched into publishing, producing exquisite limited edition books for most of their shows – the kind of books you want to keep forever and ever. As part of their ongoing expansionist plan, they’ve also opened up Whatiftheworld Design Studio in their original Hope Street premises, where product, furniture and fashion designers not only sell their wares, they use the studio as a hub to share and discuss ideas, techniques and generally create a platform for new designers. The showroom also operates as a multi-disciplinary collective, taking on selected interior commisions. Under the creative directorship of Liam Mooney, “the incubator” (as Justin calls it) is starting to discover some criminally underexposed talent in much the same way that Whatiftheworld Gallery has been incubating imminent superstars like Andrzej Nowicki, Rowan Smith and Georgina Gratrix. The main goal is to foster a culture of buying locally conceived and created products, using quality, innovation and affordability to thwart the South African tendency towards stock standard imports. A visit to the studio showroom (or a perusal of their online catalogue for that matter) is all it takes to undo years of complacency. Justin overflows with positivity as he outlines their plans for 2009: New York, Basel, Berlin, Biennales… It’s going to be a busy year for this visionary partnership, but thus far their idealism has been vindicated by massive success, giving us every reason to monitor their progress closely and save up some of those rainy day pennies for the next Whatiftheworld show. After all, you can’t hang groceries on your wall and admire them as they appreciate on a daily basis, now can you?

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LEFT: Virgins in Paradise 2 (2003) 120 x 120cm enamel and varnish on board

Chicks with Guns

profile: ARTIST


Christopher Slack’s art evokes the current global preoccupation with East versus West politics and the role that mass media plays in juggling our viewpoints on the issue. His paintings of bikini-clad pinup girls straddling television sets and brandishing large weapons are treated with hyperrealistic precision and set against saturated enamel backgrounds, a combination which commands attention in much the same way that contemporary advertising does. WORDS:

Born-and-bred Capetonian Chris Slack cuts to the political chase with these Chicks with Guns. His pre-9/11 series’ are entitled ‘Anna’ and ‘Angie’, and look more like Bond or Tarantino girls with their Police sunglasses and semi-automatic weapons. Now, his post-War-on-Terror works star ‘Shamila’, a lovely Muslim waif complete with veil and Sanskrit henna tattoos. Evidently, ‘P’ and ‘C’ are two letters seldom juxtaposed on Slack’s double-edged tongue. But is it not perhaps too evident? It’s hard not to see that these are deliberate, even desperate, attempts to propagate shock value in an age in which news is entertainment for many and violence is as commonplace as, well, switching on the telly. On second thought, maybe that’s the point. “This is a world where religious symbolism collides with the mundane (Elvis is Jesus), and where tragedy and horror stories have marketing potential”, explains Slack. Through his art, he points at the way America stereotypes itself and the rest of the world through mass media, and the way mass media reduces everything to the same value. This in turn makes it increasingly difficult for us to differentiate between right and wrong, especially when the bulk of our information comes from one of those sides.

Sarah Jayne Fell


Courtesy of UCA Gallery

“One has to somehow find an accommodation for this sense of ambivalence, where contradictory points of view can co-exist”, says Slack. This attempt (and possibly the impossibility of it) can be seen in his works that, on the surface present an East-meets-West pastiche, but in fact go far beyond that. Beyond the blatant shock factor lies an intricate web of questions about power, gender, religion, and culture: Questions of how each culture objectifies ‘its’ women, despite opposing inclinations to cover up or expose; how each treats weaponry as fashion accessory; how each condemns the other according to its own decree. And so, in an assertion that at first seems to contradict his work, but which on deliberation is really at its crux, Slack notes: “One should guard against the tendency to define everything according to one’s own terms. Imposing labels upon that which one doesn’t understand is merely a convenient cover for one’s ignorance and prejudice. One should be content to allow the mysterious to remain what it is.” Enough said then. | Look out for Christopher Slack’s fifth solo exhibition at UCA Gallery in Observatory, Cape Town from 1 April – 2 May, 2009.

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ABOVE: Shamila’s Lament (2005) 120 x 120cm oil, enamel screenprint and varnish on board RIGHT: Shamila in Afghanistan No.2 (2005) 90 x 120cm oil, enamel screenprint and varnish on board


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The Ring Mistress


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Dylan Culhane

Having attended my fair share of student photography exhibitions, I can note with some degree of certainty that work on the level of technical and thematic maturity evidenced in Cara Gillougley’s Withdrawal & Emergence is rare. This exquisite collection of nudes suspended in paradoxical states of bondage and freedom is playful and somber in equal measure; conformed by pure visual allure. Needless to say, it garnered considerable attention for this young graduate from the Ruth Prowse School of Art in Cape Town. According to Gillougley, the concept for this exhibition emerged fairly late on in her third year of studies, triggered by trauma and in turn becoming a means to rid herself of these negative emotions. “The driving force behind this body of work was my withdrawal to a dark emotional place, and my emergence from that darkness. The photographs deal with themes of underlying emotional and psychological torment and obsession; both metaphor and catharsis.” Though the recurrence of rope bondage in Withdrawal & Emergence is perhaps most readily associated with fetishism and sexual deviance, Gillougley’s subjects are bound and strung up as a metaphor for internal constraint. The staging of her subjects and the stage itself evoke the circus, not simply as an aesthetic centre point, but also to explore notions of psychological game play, manipulation, strength and vulnerability. Being her first body of work on public display, it seems justified to equate the susceptibility and precariousness of the women in this collection with the art-school-graduate’s own position at the threshold of professionalism. But regardless of any specific context, the photographic act is invariably one of self-implication for Cara Gillougley. “I’ve realised that my work is driven entirely by my emotional state of being. As long as I photograph honestly, my work allows me to view my innermost workings and confront them. Ultimately it’s a piece of me sitting on a computer screen or photographic paper. I cannot separate myself from my work because, in a sense, my life becomes my work.” one small seed




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Jumping Sadness

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Flower Bound


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Saddle Bound

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little angel


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Bunny Free

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Kidofdoom Pretoria Art Museum 18 September 2007


Liam Lynch

It’s better to be heard than scene… There is a feet-on-the-ground, head-in-the-clouds aspect to much of Pretoria’s music that brings to mind another Northern mindset, that of Manchester in its heyday: A laidback sense of confidence that easily combines with a fighter’s stance, something that no doubt harks back to the days soon after voortrekker M.W. Pretorius out-spanned his oxen, said “far enough”, and named the place after his dad.

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Above: Jacob Israel, Tings & Times, Pretoria. 4 September 2008 Right: Kidofdoom, Pretoria Showgrounds. 5 September 2008

Musically there are many aspects to Pretoria, with its proud and longstanding tradition of virtuosos out of Mamelodi (such as Vusi and Philip Thabane) that are renowned the world over, and a hip-hop movement that has earned it the tag ’Cap City, Rap City’. As to my own history, and that of the ’alternative‘ scene, there are the days of Not My Dog, with Lanie van der Walt and his Wolmer Records taking the Northerner stance to an extreme. He and his lads (followers of bands like Thysis, NMD and all who came after, collectively known as the Wolmers, named after a ’poor white‘ suburb in far-flung Pretoria North) became the stuff of legend in the late ‘90s, as much for an onslaught of fists and flying glasses as anything to do with their prodigious musical talent. Since those days Lanie has played a role as a producer and even a lecturer at Technikon Pretoria’s famous Music Department. There are many that cite him as an influence, even if only for his notoriety, and many of these are key figures in Pretoria’s burgeoning ’indie‘ music scene, for want of a better description. 28

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In most cases, they avoid simple descriptions and are ever evolving, driven by new songs, new sounds, new toys and better-than-thelast live shows. The emphasis is certainly on being heard, rather than scene. Genres are of little importance. For example, coming out of left field is Jacob Israel, with his dark electronic compositions leaning less to dance than pure and simple head music. Add to this a penchant for rewiring anything electrical in search of new sounds, and a jaw-dropping music video for Her Narnian Horse Analogy (directed, animated and conceived by Louis Minnaar, and featuring the stunning talents of actress and dancer Tamith Hattingh, both Pretorian), and you have a basis for the realisation that local… works. Along with his own music, Jacob has created remixes for kidofdoom, certainly the most talked about thing to come out of Pretoria of late. Their live shows alone are usually enough to convince the hype-sceptical, as they power their way through cinematic sets with a patented Pretoria nonchalance. And for a bunch of loveable stoners, I have to say, they are extremely good to have around in a fight.

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One wave that kidofdoom constantly make (and surf) is that they are purely instrumental, though not for lack of vocal talent. Key member Richard Brokensha (guitarist, keyboardist and more lover than fighter) has a voice of astonishing beauty, which he brings to fruition in his other role as frontman of Isochronous. Tiptoeing a fine line between indie and jazz, this essentially ‘prog’ outfit is embarrassingly good (as a result of being embarrassingly young) and their only fault seems to be that they are capable of sailing over the heads of bureaucratic critics and fans alike. Yesterday’s Pupil is another highflier, the brainchild and solo project of former Shu drummer Peach van Pletzen, who takes laptop and bedroom production to a new level, even live, when he has the chance to wow fans with his drumming skills in some very unexpected ways. Speaking of live performances, I recently saw an impromptu collaboration with former Shu vocalist and human-bear Werner at Tings & Times (the stomping ground and watering hole of many a Pretorian) whose own project, Wrestlerish, is just starting to turn heads; another perfect example of the city’s constant reinvention and cross-pollination. These are the bands, the musicians I find myself shambling after these days, all possessed of a quality that fascinates me, backstage or on; something undefined that keeps me shooting. I have never been able to categorise it, but whether I say it as a result of years of careful observation, or through simple bluster, the fact seems to be this: Pretorians are simply more in touch with what they are trying to say with their music, rather than who they are trying to emulate. That, and they are usually better fighters. 30

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Above: Yesterday’s Pupil, Tings & Times. 5 February 2009 Right Top: Isochronous, Tings & Times. 14 October 2008 Right Bottom: Werner of Wrestlerish, with Yesterday’s Pupil, Tings & Times. 5 February 2009

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RIGHT: Azuka Adindu (2008) Enugu, Nigeria


Sarah Jayne Fell

Pieter Hugo is quickly gaining notoriety as Africa’s premier photographer for his reinvention of the representation of Africa to the West. Frequently quoted for declaring the death of photography, Hugo is indicative of a generation whose sensibility is fine-tuned to the delicate role of the photographer, realising that to photograph is by no means to capture the truth. “I have a deep suspicion of photography,” he says, “to the point where I do sometimes think it cannot accurately portray anything, really. And I particularly distrust portrait photography. I mean, do you honestly think a portrait can tell you anything about the subject? And, even if it did, would you trust what it had to say?”

The Cape Town-based artist’s keen awareness of his vocation’s complexities is reflected in the quality of his work that has the mark of a perfectionist and an aesthetic so deeply sublime that it can only have happened at the hand of the finest of artists. Hugo has produced numerous captivating monographs documenting the cultural nuances of Africa, with subjects including the Rwandan genocide, people with AIDS and Tuberculosis, and a range of characters symptomatic of their cultural domain, from Afrikaans farm boys and people with albinism, football supporters and taxi washers, to the enigmatic West African ‘Hyena Men’. His most recent series, Nollywood, explores Africa’s largest film industry and the third largest in the world, the cinema of Nigeria. The real ‘Nollywood’ is booming, churning out around 1500 films a year – more than Hollywood can boast – and at just fifteen years old is already a $500-million industry. Nigerian films have even surpassed American films in popularity all over Africa, dealing with topics that concern ordinary modern Africans and relayed in traditional story-telling modes using the symbolism and mythology of much older beliefs. It is a salient instance of self-representation in Africa, singular in the adept utilisation of mass media to retell the tale of a rich cultural heritage on its own terms, a tale that otherwise has been so often misrepresented in its telling. Hugo’s Nollywood is a collection of portraits staged to capture the essence of Nigerian cinema in all its melodramatic voodoo-horror-flick glory. He and the actors work together to recreate the stereotypical myths that inspire their cinema, producing an incarnation of Nigeria’s cultural core, a project that is effectively as viscerally real as it is visually surreal. 32

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The staged nature of the portraits lends them an element of humour that is a departure from Hugo’s earlier work. Hugo is frequently accused of romanticising and exploiting his subjects for their exotic otherness, and resolving this debate is no simple task. Nollywood however is more of a re-presentation than a representation, portraying the so-called ‘marginalised other’s’ self-representation: the exotic characters we see have been reflexively created by the people in the photographs who have chosen to present themselves in this way, not for the voyeuristic lens of the Western photographer but for their own idiosyncratic and flourishing film industry. Hugo is not ‘mastering the exotic’ through his photography but rather being allowed to enter a space of simulation and play with it. And if the results seem bizarre, it perhaps says more about the viewer of the photograph than the photographer himself. The final product is a poignant commentary on the problematics of photography as we see the increased difficulty in distinguishing simulation from the real, fiction from fact, accuracy from truth: these are photographic records of real actors in a contrived setup, imitating their real vocation which is itself an imitation of life. This poignant undercurrent is a common thread binding Hugo’s body of work, ultimately isolating him as a forerunner in his field. Ironic then that a photographer so convincing in his mistrust of photography can nonetheless use a camera to create images so moving that they at once reaffirm the overwhelming value of the person behind the lens.



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LEFT: Escort Kama (2008) Enugu, Nigeria ABOVE: Gabazzini Zuo (2008) Enugu, Nigeria

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ABOVE: Omo Omeonu (2008) Enugu, Nigeria RIGHT: Ibegbu Natty (2008) Enugu, Nigeria


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Live / Sleep / Play by

Ximena Farfan

Architecture and Nature are the two guiding principles behind Ecomo, an innovative new project from Cape Town-based company Designed04. Its goal is not to separate these two elements but rather to synergise them to create designs that are coherent with the environment – where the inside can become a part of the outside and vice versa.

Natural and indigenous surroundings are the source of inspiration behind the Ecomo home. Each predesigned, prefabricated and customised home offers numerous options in layout, size and finish. The flexible design means that it can be situated virtually anywhere and positioned to frame the given natural scenery, dissolving the barrier between inside and outside. Through a variety of modular blocks, Live, Sleep and Play spaces can be added or removed to adapt to the changing modes of living related to the modern condition. According to Pietro Russo, brains behind the Ecomo concept, one of the greatest advantages of this ingenious system is the extent to which it keeps the natural environment intact, eliminating the pollution and destruction normally associated with home building. Construction takes place at an offsite factory, ensuring a streamlined and high quality production process with minimal impact on the new home site since there are virtually no waste materials. “Because the modular design is not limited to a particular configuration, each home has the potential for organic evolution depending on the needs of the homeowner,” says Russo. “This concept affords the opportunity for diversity and a sense of play in each design. It also allows the homeowner to become part of the architectural process, as the buyer can choose from various façades and materials in creating the perfect living space.” Details like overhangs, recesses and louvers all assist in creating well ventilated and shady spaces within the Ecomo home. The use of louvers also lightens the overall construction while creating a porous and free-flowing living environment. They act as outer layers of skin that can glide on the edges of each space, allowing the user to vary the amount of light entering the home. The predominantly wooden homes are designed with an eco-conscience, utilising additions such as solar panels, grey water catchments and double glazed windows to maximise sustainability and environmental integration. The inevitable wood weathering that occurs over time becomes part of the unit’s aesthetic evolution, limiting the need for maintenance and giving nature a hand in the design. The idea is to create unique living spaces that grow organically with the inhabitant, reflecting and respecting the natural landscape. The final result is beautiful, functional and ethically minimalist – an ideal design for life.

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Jessica Manim


Robin Sprong

Nip-Tucking the Old Victorian Lady 44 Long Street, affectionately known as the Old Victorian Lady, has lived many lives. Originally home to the Sea Point tramways when she was born in the 1860s, she has also housed a variety of different projects – from the YMCA to the original Space Theatre to the Parks Board. This building’s life has been more varied and colourful than Winnie Mandela’s hat collection. Throughout its life it has been fortunate to have very little damage done to its Victorian architecture and it is now protected by Cultural Heritage status. Currently home to NewSpace Theatre, the interior of the building has been invigorated by contemporary additions by Kubik – a company specialising in “imagineered” design solutions – complimenting and contrasting the heritage and history of the building with its modern vision and direction.

The NewSpace Theatre, though bearing a similar name, is by no means a rebirth of the famous Space Theatre of the 1970s and ‘80s – one of the grand old ladies of South African fringe theatre. It was founded in 1972 by theatre photographer Brian Astbury and his actress wife, Yvonne Bryceland, in Bloem Street and at the time was known as The Space Theatre. From its conception, The Space Theatre was a site of anti-Apartheid activism, highlighting and interrogating the injustices of the Nationalist government. In a time when it was unlawful for different races to share the same beach – never mind the same stage – a group came together to create an (illegal) space where skin colour didn’t matter. It was the first non-racial venue in South Africa, although more were to follow during the ‘70s. Initially The Space Theatre was more a collective of people than a locatable space but it soon took physical roots when it moved to 44 Long Street in 1976, and the name became The People’s Space/ Die Ruimte/ Indawo Ye Zizwe. In late 1983, the theatre was forced to close its doors for economic reasons. Twenty years on and the Old Victorian Lady is putting her name back in lights and returning to her former cultural life. Fred Abrahamse, Artistic Director of NewSpace, is quick to point out that they’re not trying to recreate the old days of the theatre but rather to create a new cultural space for South Africans. While its main function will be to develop plays and nurture acting talent, NewSpace will also accommodate a variety of activities, from lectures to film exhibitions, creating a hub of cultural activity in one of Cape Town’s hottest party streets. Abrahamse points out that the refurbishment of the building, headed by Robin Sprong, has created “a space in the old for the new”. 44

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Although very little damage had been done to the architecture of the building in its previous lives, it was in serious need of a makeover. Architect Kristof Basson, who worked on NewSpace, incorporated a modular anodised aluminium construction system. Aluminium extrusions are cut precisely to size and assembled into square frames in Kubik’s Cape Town factory. These squares are locked together to form large panels that are multifunctional in their design – being used as anything from walls to doors, windows to floors. Panels are then cut and fitted into the frames. The panels can be made from an almost unlimited variety of materials. The central light well of the building was installed after the building was built, and thus the architect envisioned the centre of the building to be ‘new’, the perfect place to incorporate Kubik elements into the architecture. “The Old Victorian Lady has been given a new heart,” explains Basson. The surrounding areas were kept in their original Victorian style. The building is home to other small businesses besides The NewSpace, including a restaurant, tea shop, dance studio, art gallery and more. In order to separate the theatre from the rest of the building, Kubik used clusters of Tivoli lights, reminiscent of the globes that framed make-up mirrors in the theatre dressing rooms of bygone eras. The theatre’s bathrooms are also distinguished from the others in the building by an illuminated ceiling complete with Victorian patterning to echo the original architectural style of the building. There are plans to build an illuminated rooftop lounge/bar, the likes of which have not been seen on the continent. It will overlook Long Street with a view to Lion’s Head. The entire venue will be illuminated – floors, walls, fountains and bars. Bars and all illuminated aspects will be synchronised with subtle light effects to create a magical nighttime experience. The Old Victorian Lady’s nips-and-tucks have brought new life to an old lass, a revival that will hopefully inspire the growth of a cultural epicentre to accompany the night club hot spots that keep Long Street alive. 46

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This season, for its 60th anniversary as the label with three stripes, adidas celebrates originality in an outstanding collaboration with three of the world’s most unique and creative streetwear and fashion designers of today. Alyasha, Jeremy Scott and Kazuki are the creatives in question who each have produced a collection of groundbreaking adidas Originals apparel and footwear for men and women for the Spring/Summer 2009 range – Originals by Originals.

Originals by Originals (O by O) is a range inspired by the foundational tenet of adidas Originals – to promote originality. According to Hermann Deininger, CMO of adidas Sport Style, “There is no question that these are unexpected designs that have never been seen before in the street fashion marketplace and truly take Originals to the next level.” Originals by Originals is the most diverse, authentic and expressive collaboration the Trefoil brand has entered into. Each of the three new collections is based on the individual artist’s personal interpretation of Originals products, making each line a completely unique form of design innovation. The three designers selected to work with adidas on this project are all internationally recognised and have celebrity status within their own particular niche in the fashion world. These are the minds behind O by O: First we introduce Alyasha. Alyasha Olwerka-Moore is one of if not the hippest - urban fashion designer in the world, though he calls himself a “tinkerer”. A native of Brooklyn yet fluent in Cantonese, Alyasha travels the globe through his network of hip-hop musicians, world-renowned graphic artists, die-hard skateboarders, fresh graf-bombers and other hip masses of the world. This is his universe. Working with distinguished urban fashion houses like Mecca, DC shoes and Nike just to name a few, he has also been the creative force behind many brands, including Alphanumeric, Phat Farm and Fiberops, his “high end, low brow” label launched in Japan and now available in the U.S. His outlook on life: “You are what you do… Not who you say you are.” For O by O he has created a line inspired by classic 1940’s and 50’s styles, with a somewhat contemporary twist. “Easy to wear for the discerning cad,” Alyasha contends. Next up, if you don’t know of him already, meet Jeremy Scott, legendary for dressing some of Hollywood’s most fashionably notorious. This Missouri-born designer is best known for his outrageous and sometimes comical designs. He attended the prestigious Pratt Institute in Brooklyn, NY for fashion design, and after showing in Paris for several years to establish his name, returned to the United States. Jeremy ’s designs 48

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incorporate unconventional looks. His unique creations have been worn by celebrities including Paris Hilton, Madonna, Kanye West, Lindsay Lohan, Björk, Kylie Minogue, Lil Wayne and many more. He was named number 31 in The Face’s ‘Most Important People in Fashion’ issue, ranking higher than Alexander McQueen and Stella McCartney. Jeremy has collaborated with adidas Originals on numerous occasions. O by O sees him indulge his tendency towards the unconventional as he embraces contradictory combinations, giving an insight into his world where mixed-up classic sports silhouettes and fabrics that feature high-end fashion details are key. Finally, we have Kazuki Kuraishi, “jack of all trades”. He is a freelance designer who is also an integral part of Fragment. As part of the Fragment collective, he is actively part of the design process for the likes of Neighborhood, Levi’s Fenom, iDiom and Visvim, as well as designing sleeve covers for underground Japanese music artists. Kazuki has previously worked with adidas Originals as a Neighborhood collaborator and on the adicolor ‘Taro Okamoto’ range. He successfully brings highly technical and modern influences to a stylised, very wearable streetwear collection for O by O. The styles seamlessly incorporate elements such as waterproof zippers, bonding and taping into the design. Footwear highlights call out the KBall Basketball silhouettes that come in exclusive materials. For the official launch of this new venture by adidas Originals, Kazuki curated a major mixed-media event at the Shinjuku Opera City Concert Hall in Tokyo. The magnificentourage behind the designs of O by O and the range of stylistic influences that lie within it are the source and driving force of the innovation that has been brought to life by adidas this season. And following this model, adidas will be able to offer consumers cutting-edge footwear and apparel season after season, with designs that reflect the diversity and creativity of the designers and icons who work with the brand in a totally new and different way each time.

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Hannes wears baseball jacket by Carhartt sunglasses by Ben Sherman Miriam wears metallic sneakers by adidas jeans by Guess oversized hoodie by Lover vest by Ben Sherman


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MEAN STREETS Photography: Neil Roberts @ Infidels Styling: Ryan Forster hair & make-up: Miriam Jochims @ Infidels for Mac & Aveda PhotograpHERS ASSISTANT: Danielle Klopper

ModelS: Hannes @ Fusion Models Petra @ Zero Models

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short sleeve button down by Ben Sherman jeans by Guess tour tags by Depeche Mode

Hannes wears track shorts by Mooks Miriam wears skull & bones jersey by Puma one small seed


Hannes wears grey jersey by Puma


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track shorts by Mooks t-shirt by Ben Sherman reversible hoodie by adidas metallic sneakers by adidas


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Hannes wears track shorts by Mooks a flock of seagulls t-shirt by Lover Hi Tops by adidas Miriam wears ladies’ skull shirt by Lover jeans by Guess sneakers by adidas


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headpiece/necklace by Art Africa feather boa necklace by Oriental Plaza mesai necklace by Art Africa feather armbands Art Africa waistcoat by Pink Ant

AFRICAN WARRIOR Photography: george mahashe Styling: khaya sibiya @ glamourmechanics hair & make-up: Diana Maphapho@ shine STYLING ASSISTANT: athi Photographer’s Assistant: Itumeleng Mthethwa Model: karina silver from angola LIGHTING: glow lighting

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leather warrior straps by Art Africa heels by Europa Art Shoes venda neckpiece by Mama Africa


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blue dress by Thula Sindi all accesories by Art Africa

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purple dress by The Space neckpieces & zulu earrings by Art Africa bangles by Joy Collectibles & Accessorize


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leather zulu skirt by Art Africa jewellery by Art Africa knife by T.Phiri

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JUST FOR KICKS Photography: SAM NORVAL Styling: CALLY PALMER @ MAX MODELS hair: ALANA STADLER MAKE-UP: DAGMAR AND DANIELLE VAN CUYCK Photographer’s Assistant: ferdinand van zyl ModelS: Donnet Dumas @ IcE MODELS NELLY BIENIEK @ topco MODELS Zofia P and Agnieska B @ Zero MODELS Karen Pillet and Kristi Vlok @ Trigger MODELS


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From Left to Right: Agnieska wears bracelets and scarf by Lulu Belle knickers by Janie B Donnet wears t-shirt by Blue Bay knickers by Ny.lon hat by Accessorize Nelly wears t-shirt by Big Blue sequined bow brooch by Lulu Belle knickers by Ruby in the Dust @ Bonafide Kristi wears ring and bracelet by Lulu Belle knickers by Ruby in the Dust @ Bonafide Zofia wears boxers by Lover Karen wears t-shirt by Big Blue jacket by Bonafide bracelets by Lulu Belle knickers by Bonafide

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sunglasses by Dior @ Extreme Eyewear jacket by Jo Borkett t-shirt by Big Blue necklaces and bangles by Lulu Belle sneakers by Nike @ Bonafide knickers by Ny.lon


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shirt by Kluk/CGDT t-shirt by Big Blue boxers by Lover sneakers by Reebok @ Bonafide necklace by Ed Hardy watch by Nixon

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jacket by Kluk/CGDT necklace, t-shirt & watch by Ny.lon knickers Ruby in the Dust @ Bonafide sneakers by Reebok @ Bonafide


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hat by Ny.lon waistcoat by Ny.lon t-shirt by Big Blue mesh shirt by Kluk/CGDT sneakers & scarf by Ed Hardy

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t-shirt by Big Blue jacket by Kluk/CGDT scarf & bracelet by Lulu Belle sneakers by Reebok @ Bonafide sponge hand by Bonafide


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jacket by Kluk/CGDT t-shirt by Big Blue necklace by Ny.lon ring, brooches and bracelet by Lulu Belle earings by Accesorize knickers by Ny.lon

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Jon Monsoon

A lot of people who are bored bored bored with what indie music has to offer postLibertines might like to point an ear in the direction of Klaxons. Jon Monsoon did, but then again, he was ‘into’ them before they were famous, don’tcha know!

If you think theirs sounds like another daft name for a band, consider that the word ‘klaxon’ derives from the Greek meaning ‘to shriek’. Those who have fluoro-pogoed along to a song like their debut album closer, ‘Four Horsemen of 2012’, would have to agree that there is something in the name not entirely inappropriate. Back in 2006, their bassist Jamie Reynolds coined the phrase ‘Nu-rave’ – a description of the way this band occasionally made reference to an all-but-near-bygone era when dance music ruled the UK. It’s a phrase that many would believe is misleading, especially when discussing a fiery guitar band, and yet sometimes bizarrely appropriate. “I don’t think we’re like any other band. We’re out there on our own,” said Jamie at the time when their debut album Myths Of The Near Future (produced by James Ford of Simian Mobile Disco) was being endlessly touted as the ‘next big thing’ by everyone from the young hacks at NME to the sober editors at daily papers like The Sun, to the lads at GQ, to the DJ at your favourite indie night. Certainly, this band was not what people were primed to expect from some fucking Shoreditch neon band. After all, ‘acid-rave sci-fi punk-funk’ (what HMV racked them under) wasn’t really going around at the time; there weren’t any other rock bands doing passable covers of nineties’ rave hits like ’The Bouncer‘ (by Kicks Like a Mule) and ’Not Over Yet‘ (by Grace).

Fittingly, it was an old-school ‘rave party’ held inside a school gym (with the location revealed at the last minute on cellphones – remember that!?) that really sealed the band’s reputation. Hundreds will recall how they were turned away that night and those who made it in will (probably) remember that the dancing went on way past dawn. What followed was a rabid fanbase of kids dressing just like them and going ’glo-stick-wielding mental’ anywhere they showed up to play. Near constant touring across Europe and the US of A, cool songs about sci-fionics (‘Atlantis to Interzone’) and occult leader Aleister Crowley (‘Magick’), and loads of daytime radio play made them unavoidable. Now they’re the band your kid sister might tell you about. All three Klaxon band members come from single parent families. Having known each other since early teenhood, they are a tight-knit unit of musical brothers who manage to remain unfussed by all the fuss. Their lyrics don’t reflect the vacuousness of their music. As one journalist describes it: “a refreshingly far cry from the current trend for bus stop ’n’ chips social realism”. Trainspotters will giggle with glee at in-song references to the writings of Richard Brautigan, Thomas Pynchon, JG Ballard, Alfred Jarry and the likes. Reflecting on the trio’s meteoric rise to pop stardom, the absurdity of sudden fame isn’t lost on Jamie: “It’s great that it started as an in-joke and became a minor youth subculture.”

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Yusuf Laher

In 2008, New Yorkers Andrew VanWyngarden and Ben Goldwasser unhinged the mystical Door to Kukundu. Dressed in matching technicolour dreamcoats, the pair better known as MGMT ushered in a wave of new sound that could be heard everywhere from Cape Town to Japan. “How are you guys going to party now that you’ve got this award?” a journalist asked VanWyngarden at the NME Awards USA show in April last year, just after MGMT won Best Breakthrough Track for ‘Time To Pretend’. “Probably smoke a little bit of pot and drink a couple drinks”, he replied nonchalantly. Goldwasser and Kelly Osbourne giggled to his right. MGMT have been described as “space cadets,” “a sugary feast for the senses,” “a charming mess” and of course, “psychedelic”. In most media appearances they look and sound mashed out of their skulls. And yet there’s a naïvety about them, an anachronistic playfulness that carries through to their futuristic, atmospheric synthesised pop music. They’re like neo-hippy Lost Boys, future gazing with the spiders from Mars and a retro sense of cool. The year 2008 was big for them. No, it was huge. Interviewed backstage before MGMT’s slot at Glastonbury 2008, VanWyngarden described the year ahead: “We’re playing and then we’re leaving tonight and we’re going to Manchester to play with Radiohead and Bat For Lashes. This year we’re playing Reading, Leeds, T in the Park, Oxygen, Roskilde, Summer Sonic in Japan. Then we’re going on tour with Beck, we’re going to Brazil, we’re going to Mexico, Australia, Japan…” But Oracular Spectacular didn’t just happen overnight. Well, not quite – more like over-fortnight. VanWyngarden and Goldwasser shared a dorm at Wesleyan University in Connecticut in 2002. First known as The Management, they released the EP We (Don’t) Care, which featured an early version of their latest single ‘Kids’ in 2004. In early 2005, still known as The Management, they released the ten track collection of demos entitled Climbing to New Lows that featured a six minute ‘Afterschool Dance Megamix’ version of ‘Kids’. Later in 2005, VanWyngarden and Goldwasser released the EP Time to Pretend, featuring both ‘Time to Pretend’ and ‘Kids’, on the small independent New York label, Cantora Records, now under the name MGMT. “There was another band using the name, but we actually like MGMT better. So that’s fine,” is Goldwasser’s zen response to the debacle. In 2006, after touring with American indie pop band Of Montreal, MGMT signed to Columbia Records/SonyBMG and started recording their debut full length Oracular Spectacular with producer Dave Fridmann (who has worked with The Flaming Lips, Sleater Kinney, Clap Your Hands Say Yeah, and Mogwai). Now, I can only speculate, but the lyrics to ‘The Handshake’ seem somewhat autobiographical in light of their transition to a major: “I just shook the handshake, I just sealed the deal, I’ll try not to let them take everything they can steal. People always told me, said don’t forget your roots, I know I can feel them underneath my leather boots.” January 2008 was the beginning of the MGMT avalanche. Sony began an all-out offensive that saw the pair appear on everything from Letterman and Conan O’Brien to teen TV serials like 90210, Survivors and Gossip Girl. Their psychomelodic synthgrunge sound has even been adopted by the latest generation of video games. Thanks to FIFA 09 and Shaun White Snowboarding, I knew MGMT before I’d heard of MGMT. And thanks to all the rest, ‘Kids’ is playing out of all four doors down the corridor right now. Only time will tell if MGMT can sustain the hype and write another hit record or, like the title of their hypnotising 8-bit indie anthem, they’re just fated to pretend. “Yeah, it’s overwhelming, but what else can we do? Get jobs and offices and wake up for the morning commute?” one small seed



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De Nuwe Stijl WORDS:

Maxim Barashenkov PHOTOGRAPHY: Dylan Culhane

Ask me two months ago and I’d tell you that rock ‘n roll in South Africa, in its true Chuck Berry form, is dead. But then under the zealous insistence of their number one fan, Ally from the City Bowl Mizers, I discover New Holland and, boy oh boy, would Mr. Berry be proud.

Their debut album 01 impresses not only with the surprisingly mature sound but also with the lack of the contrived sense of urgency one hears in most rock bands today. These guys don’t try to rock, they simply do. Their music seems to be a throwback to the rock ‘n roll heydays, before rock stars existed and before money mattered more than anything else. The band themselves present a similar paradox to their music – laid back and relaxed yet intense at the same time. And it goes further. These are four Afrikaans boys from Bellville, singing in English at the locus of a scene that has become known almost above all for embracing its Afrikaner roots. “We just figured English would go down better with this kind of music,” offers Teejay, the band’s lead singer and guitarist. While they are honoured by their inclusion on the Bellville Rock City compilation, they are still reluctant to be boxed into any single stable, choosing rather to carve their own niche. And the carving is going rather well, despite them still being somewhat of an undiscovered treasure in the Mother City (“Management…” they grumble). Having recently finished the MK89 Avontoer Tour with some of the hottest emerging SA bands, New Holland have played pretty much everywhere, selling records at shows in alarmingly high numbers and building a solid fan base.

“The MK tour was a great experience, a bit like church camp at times though, You had this schedule where it said exactly when you must go where, when you can relax on the beach, when you can sleep and when the bus is leaving. And if you aren’t on the bus, well…” Such an attitude is once again indicative of their mellow approach to the music industry, yet in no way does it mean that they don’t take what they do very seriously. Just listen to their first record and that will be clear – take it in and rejoice in double time because a second album is soon on the way. “There are a lot more electro influences that will come up on the new record,” says Gerdus, the second guitarist/vocalist (the band being completed, incidentally, by Reyno on bass and Odendaal on drums). They cite The Strokes and The Raconteurs as their inspirations for 01, but I consider this to be an underestimation on their part. Their dark lyrics overlaying anthemic melodies leave their indie idols far behind in terms of sincerity and, well, all-out rock ‘n roll. ‘Waiting, Wanting, Craving.’ is perhaps the most honest song about the boy/girl dilemma I’ve ever heard and the pure kick you get out of the infectious riffs that drive ‘Dire Eyes’ alone makes the album worth buying. Besides, with lyrics that order you to ”spread your legs so I can have another shot”, New Holland simply can’t go wrong.

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Jess Henson


Jenna Bass

One of the best things about freelancing is that you can interview in your underwear. One of the best things about indie music is that you can write what you want like. So what happens when Jezebel and The Sick-Leaves get together with nothing more than a slip of silk and a satellite between them? They talk garage, shop and commercial schlock. There is only one Sick Leaf, actually. And before you jump down my throat because maybe he means ‘sick leave’ – that thing you claim to hide Monday morning hangovers – I’ll remind you that this magazine is one of the few open platforms that lets its readers riddle and rhyme with sense and sentiment, and anyway, I rarely ask bands what their name means. That’s like looking at your lover and asking, “Yeah, but in what sense do you mean ‘I love you’?” So anyway, in what sense is/are The Sick-Leaves only one? They perform as a trio, no? They do. But Eksteen Jacobsz is the enkeleen who writes it all. He and Zebra & Giraffe share more than a penchant for fiddle figures between the studio and the stage. The ‘boy in a bedroom writes an album and then has to come up with a band to perform it’ trend is now something of a trademark at Just Music, the record label that houses both artists. And far from feeling comfortable with a label, he finds, like most other indie artists, a constant confrontation with the cloisters of commercial taste. The media loves his stuff (because it’s gritty, eery, dreamy, big) but the radio stations won’t play it (because it’s gritty, eery, dreamy, big). So he did a cover of a pop song. But even though his latest video is on high rotation on MK and MTV Base, the cover didn’t work – he’s too individual, too unique, too un-mainstream. Which is funny, because it’s also catchy as a cold, and reminds your writer of The Cure, Pink Floyd and David Bowie curdled by The Killers. In a garage. With a sheet of tinfoil over the amps. Or something. It’s a dusty, celestial sound – lunar vocals, purposefully grizzly production, fishbowl finishes. It’s the finest garage style finish I’ve come across in Africa, actually. Which means it sounds kind of live, kind of spontaneous… but it’s solved, it’s balanced, and unlike its NY/London garage-mates, it doesn’t wear out your synapses or your patience after two verses. It’s a “wall of sound”, as Eksteen aptly describes it, but a wall you can climb, or lean against, or write your name on. So next time you’re sitting in your underwear feeling free and uncommon, give Stone the Crows a whirl. Because like the man says, it’s not about what you look like, it’s about content and credibility. “Maybe it’s a little idealistic, but it seems hype and image go hand in hand, and it’s what you say and what you sound like that matters.” one small seed


DEPARTMENTS: Reviews by DYLAN CULHANE (DC), Jadan McCullough (JM), Jon Monsoon (Jo)


O Soundtrack My Heart

Neva Dinova

You May Already Be Dreaming

It is easy to mistake the sound of Neva Dinova for a run-of-the-mill offshoot of Black Keys, Son Ambulance or The Faint, being the second group from Nebraska to collaborate with the Bright Eyes before doing their own thing, and forming part and parcel of the ‘so hot right now’ Omaha clique. Their sound possesses a dirty folk/rock edge with smooth, dare I say, pop undertones that set this band apart from their contemporaries back home, along with deep melancholic lyrics and an evocative overall ambiance in post production. With three guitarists the album is well layered and surreptitiously complex, but there is nothing about it that really slaps you in the face urging you to take notice. (JM)

Another underrated Australian group, Pivot have released their second album to the delight of their small but passionate fan base. Formed by brothers Laurenz and Richard Pike in early ’99, the group’s line-up has changed relentlessly, starting with five members and now down to three as the brothers bring Dave Miller into the electronic mix. The album is an offering of postrock electronica, with strong hints of math-rock that call to mind a digitalised Battles. Some great ideas are occasionally overshadowed by ambient production that detracts from the solid beats and catchy melodies. The electronic nature of the album sometimes clashes with raw musicianship, but at times this works spectacularly. Pivot is proof yet again that Australian musicians have got what it takes to make it big, if only the rest of the world would take notice.(JM)

Mötley Crüe

Saints of Los Angeles

Flying Lotus Los Angeles

‘Flylo’, as he is affectionately known by his fans, is the one-man-laptop-band behind Flying Lotus. With his first full-length album entitled Los Angeles coming straight off the back of his acclaimed 2007 Reset EP, Flylo once again brings us his unique fusion of alternative hip-hop and Brazilian beats with a distinct garnishing of electronica. At worst, the album sounds like one long, monotonous remnant of a once-good track, with a sampled shaker used continuously throughout. At best, it is a truly original blend of hazy ambiance, progressive beats and inventive percussion that is deeply embedded in an innovative approach to song writing and arrangement. Totally bitchen. (JM)


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The good news in 2008 is that all the original members of L.A. sleaze rock kings Mötley Crüe are still alive. Especially considering that their story is one of booze, drug and groupie fuelled excess. Anyone who has read their excellent biography, The Dirt, will have some insight into just how rock ‘n roll this band really is. If the book doesn’t have you convinced, perhaps listening to this, their ninth studio album, will fill in the blanks. Saints is their first recording in eight years, so expectations have been high. Happily, expectations are met and in some cases surpassed as the album offers the listener a gloriously authentic rock ‘n roll swagger down the Sunset Strip of memory lane that will have fans of old shrieking in delight. It’s pure class from start to finish. (JO)

brought to you by musica megastore ¦ www.

The Cure

4:13 Dream

The Jesus and Mary Chain

The Power of Negative Thinking

Anyone who was ever a JAMC fan will wet themselves at the sight of this gorgeously packaged four-disc collection of what surely must be everything this prolific and hugely influential Scottish noise-pop band amounted to. The box set tells the complete tale of the band, from their sketchy though promising 1984 debut single (‘Upside Down’ / ‘Vegetable Man’) through to their final polished and psychotic releases a decade and four years later, all lovingly related through a soundtrack of 81 chronologically listed non-album A-sides, B-sides, demos and covers. You will also find interviews with founding brothers Jim and Willy Reid, a double-sided poster with singles artwork and hand-drawn family tree, rare photos and some never-heard-before stuff besides. Essential.

A bit of an upbeat (gasp!) release from Bob Smith and his hairdo has us all thinking that maybe old age makes you mellower… Or maybe it’s just that after four years of silence, it’s good to be with album again. Who knows? Either way, this is a marvelous album from the lipsticked gods of Goth (a label most feel never really suited them). Alright, so being The Cure, the songs herein aren’t all kittens ‘n rainbows – the album does venture into gloomier moods (‘The Scream’) where hot Emo topics like loneliness and loss are discussed at length, but all in all this album flings us back to classic Cure, and four years of silence is forgiven. (JO)



Tornados (vinyl 12” + CD EP)


Might As Well Go Eat Worms

LOUD guitar-scream-scream, LOUD guitar-scream, soft guitar-pretty-girly-vocals-pretty-music, LOUD guitarscream-scream, LOUD guitar. Next song. That is just about as close as I can get to describing the sound of my new favourite San Franciscan band called Pidgeon. If you already know this band, you have excellent music taste. Not since I first heard The Pixies on a dirty basement club dancefloor back in 1988 have I been so amped on a band that isn’t afraid to experiment with sound and how the human ear perceives it. Completely bi-polar: beautiful, angry, soft, loud, harsh, terrible and cutely fluffy. At last – something that isn’t everything else. Challenge yourself and pick up this Pidgeon. (JO)

Here is a free psychic prediction: if you know Cape Town rockabilly bad-asses Tornados (formerly Them Tornados), you already own – or will soon own – this recording. This is the band’s first official release, and the fans who demanded it certainly won’t be disappointed. Any local band that bothers to press vinyl (red vinyl, nogal) is worthy of your attention, if only because you know they care enough to make you a real record. Seven cuts of their infectious rockabilly goodness on the CD, two singles on the 12” (‘Cash Is King’ and ‘Psycho’) and a whole lot of good times for free – guaranteed. Available at live gigs and selected music stores. (JO)

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Cigarettes & Cinnamon


Universal Mind Control

Common (Lonnie Rashid Lynn Jr. to his mum) drops his eighth studio album which, in your reviewer’s humble opinion, is the Chicago native experimental hip-hopper’s best yet. Most loved for his socially conscious raps, UMC sees the 36-year-old rapper blending synth-driven funk with some deep soul grooves, draped over trademark thought-provoking lyrical toasts that hit the spot. Track credits go to Kanye West (in guest MC mode) on ‘Punch Drunk Love’, Cee-Lo on the soul gospel-tinged ‘Make My Day’, Pharrell (The Neptunes, but you knew that) on ‘Announcement’, and the sublime Martina TopleyBird on the awesome ‘Everywhere’, making this a damn fine progressive hip-hop album to start the year with. Now you know. (JO)

Santigold Santogold

Santogold is the eponymous debut album by Brooklynbased artist Santigold (stay with me), the former Stiffed frontwoman whose latest album has the international music press atwitter. In a sense, singer/songwriter/ producer/creative director Santi White is the planet around which a wide array of musicians, DJs and producers (including M.I.A, Disco D, Freq Nasty, Diplo, Radioclit and Spank Rock) have orbited to create this unique galaxy of sound, ranging from upbeat melodic pop (‘Lights Out’) to dark, atmospheric electronica (‘Unstoppable’ and ‘Creator’). The record calls to mind similarly progressive enigmas like M.I.A, Leila and Björk, though comparisons are perhaps counterproductive with an album as refreshingly indefinable as Santogold. Trust me, you want this. (DC) 84

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Jacobus Johannes van Heerden, better known to fans as Jax Panik, is a child of the eighties. Raised in Bellville (somewhere outside of Cape Town, apparently), young Jaco taught himself to play keyboards and bass guitar. Plugging into some cheap PC software one day meant he became electric, became Jax Panik, and never looked back. After releasing his signature brand of sexy synthpop mainly online where his wacky videos have gained a cult following, he now releases his first full-length CD. It is mostly a ton of fun, with all of the popular tracks off his debut EP alongside three brand new tracks, two remixes and a music vid. See him go at (JO)

Rus Nerwich

Under the Poetree

Those of you who have been attending Rus Nerwich’s regular gigs at The Waiting Room on Long Street will no doubt revel in this beautifully packaged and produced album. Under the Poetree is an aurally gratifying blend of bebop jazz, lounge, hip-hop, dance and soul that Rus has labeled (under duress it ought to be noted) ‘hip-bop’. Drawing on the talents of accomplished local musos including Buddy Wells, Kevin Gibson, Monique Hellenberg, Farrel Adams and Souljaz Pros, the album reveals new facets with each play as it fuses musical genres like a welder let loose in a record store. Rooted in playful experimentation, Under the Poetree yields successful results on almost every track. It’s worth owning as a broad spectrum groove starter for any social occasion, though equally enjoyable with a whiskey and a pipe in the comfort of your own lounge. (DC)



Directed by: David Gordon Green Starring: Seth Rogen, James Franco, Gary Cole Category: Cannabis Comedy

Seth Rogen plays Dale Denton, a stoner process-clerk who bears witness to a gang hit by the city’s most dangerous drug lord (Cole). Confused and quite obviously paranoid, he seeks help from his dealer (Franco), unaware that the roach of Pineapple Express he dropped at the scene of the crime is such a rare strain (“Smoking it’s like… killing a unicorn.”) that it can easily be traced to our ganja-puffing protagonists. Thus begins this hilarious bong-romp; a kind of Lethal Weapon meets Up in Smoke cinematic mutation that unfolds like any other non-narcotic-related blockbuster. James Dean lookalike and Spiderman baddie James Franco makes a Golden Globe-winning turn as the weed dealer we all wish we had. It’s sidesplittingly funny – more so if you’re high! (I didn’t say that. Marijuana’s baaad, mkay?)



Directed by: Barbara Leibovitz Starring: Annie Leibovitz Category: Documentary

24: REDEMPTION (2008)

Directed by: Jon Cassar Starring: Kiefer Sutherland, Robert Carlyle, Jon Voigt Category: Action

Okay, it’s confession time. I watched seasons one through six of 24 in about a month, averaging out at four episodes an evening (with marathons on the weekend). So when the full-length feature appeared on the DVD shelves earlier this month, I’m not ashamed to say I relapsed gleefully. I am however ashamed to say I sat through this 95-minute pile of steaming turd on a Saturday night. I mean, for starters it takes place in ‘Sangala, Africa’. Nice and specific, that. The acting’s atrocious, the storyline tepid at best, and Jack Bauer’s permanent gruff whisper made me want to rip out his larynx and wear it as a tie. In short, it’s like two episodes of the hit series sticky-taped together in the same stale format, minus the cliffhangers and Jack’s hot daughter. Lazy! 86

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A personal look at the life and work of one of America’s greatest photographers, Life Through a Lens charts Annie Leibovitz’s meteoric rise from Rolling Stone staffer to untouchable celebrity specialist. Being a massive fan, I couldn’t wait to check this out and discover a little bit more about one of my heroes’ working method and life experiences. Sure, the exposition of her staggering portfolio made me feel like a complete failure who should never have had the audacity to even look at a camera, but the lack of depth really let me down on this one. As far as documentaries go, it ranks alongside those biographies on the History Channel at 11 a.m. on weekdays. Considering it was directed by Annie’s sister, Barbara, the absence of any unique insight and real intimacy is surprising, even frustrating.


Directed by: Ethan & Joel Cohen Starring: Brad Pitt, George Clooney, Frances McDormand, John Malkovich, Tilda Swinton Category: Caper Comedy

Phwoar! How’s that for a cast, ‘ey? I’m speculating, but after the ridiculous success of No Country for Old Men, it seems Joel and Ethan Coen decided to lighten up and invite all the A-listers on their Blackberries to come and have a bit of fun at the studio’s expense. It’s a pretty good film that ticks all the black humour/ witty dialogue/intricate plot boxes, but it didn’t grab hold of my testicles and swing me around the room the way I expect movies pumped up on celebrity ‘roids to do. Maybe the story was a shade too complicated, or the stakes weren’t high enough, or the actors were all trying too hard? I’m still not sure exactly what was missing, but Burn After Reading belongs on the Coen brothers’ second shelf, not inside the trophy cabinet.


Created by: Ralph Ziman Starring: David Duchovny, Gillian Anderson, Billy Connolly Category: Supernatural Thriller



Directed by: Michael Moore Category: Documentary

With all the hype and scepticism surrounding Michael Moore, it’s difficult to engage in Sicko without a somewhat jaundiced eye. His blatant anti-Americanism and selective focalisation can seem contrived, even to the most irrational leftist. This time he takes on the American healthcare industry, exposing it as a soulless, money-driven and downright evil sham. But we all knew that. The initial emphasis on the system’s flaws is interesting, though rather irrelevant to my life and yours. When Moore ventures to England, France, Canada and even Guantanamo Bay to contrast their healthcare principles with America’s lack thereof, the documentary becomes far more intriguing, stimulating comparisons with our healthcare industry in South Africa. That’s when things get really depressing. Bottom line: Don’t ever get sick unless you’re a gajillionaire.

I wanted to believe that this would be a film to do justice to the legacy of one of television’s most groundbreaking serials but, alas, such satisfaction remained as elusive as unequivocal evidence of the Yeti. It’s pretty cool seeing Mulder and Scully in action again, and they generally hit all the deadpan beats. But with such a wealth of potential stories to explore in this revival, it seems odd that the writers chose to focus on the tale of a clairvoyant pedophilic priest, a boy with a terminal illness, and a demented Russian surgeon kidnapping people to farm body parts for his dying lover. I suppose that’s as good as any X-scenario, but I Want to Believe plays out like a standard murder mystery thriller, with barely a trace of the supernatural elements the franchise was founded upon.

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GAME REVIEWS Resident Evil: The Umbrella Chronicle Wii


Exciting mutant action comes to the Wii as Capcom releases the latest installment in its massively popular gorefilled survival horror franchise, and as an on-rails, pointn-shoot action game, it isn’t half bad either. The controls are a snip to figure out, the locations are atmospherically authentic as can be and the fun – while mostly mindless – is oddly engrossing and even challenging. The storyline follows events of the first few R.E. excursions (0, 1 & 3), so fans will experience some déjà vu along the way, but there is also an all-new episode that takes us back to 2003’s original zombie-busters Jill Valentine and Chris Redfield for some tag team action. Kicking undead ass in solo or in co-op mode was seldom this fun.

Tiger Woods PGA Tour ‘09 PS3

Electronic Arts

Given that 90% of the world’s population loves the silly game and worships Tiger Woods as the Second Coming, this is an extremely dangerous thing to admit to: I do not care for golf. It would take a pretty snazzy electronic version of the game to knock my player (as in Gary) hating socks off. Having spent a few hours in the company of this game, I can happily report that my disdain for the sport remains as intact as ever. The controls are a bit smacky, the soundtrack’s arduous and a working knowledge of the sport is essential. On the plus (four) side, the game is quite forgiving on amateurs (me) and makes even the least competent player (me again, not Gary) feel like they’re advancing. If you love golf, you will love this. But give me a gun over a golf stick any day!

Singstar Abba



Singstar is Sony’s idea of karaoke gaming. Equipped with a couple of microphones, a USB port adapter and a selection of tracks from some karaoke-worthy bands (in this case the Swedish quartet Abba), it is a sure-fire recipe for oodles of personal fun and girlie embarrassment. It is a game and not a karaoke machine, so there are points and a competitive edge to outsing the band (in solo mode) or your friends (in multi-player party mode). Anyone who has ever gone into a karaoke bar and chosen (sober or otherwise) to sing an Abba song should be deported to Sweden. Either that, or at least go and buy this game. I still prefer Guitar Hero. 88

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Wii Music Wii


Guitar Hero proved to game manufacturers that next to killing things and blowing things up, humans like to play music. Nintendo hears us and enters the stage with its first play that, while not bad, is not quite what we hoped for (Wii Fit and Wii Sports have spoiled us). You choose instruments and cue notes rather than making them, and the MIDI (!) track listing of songs to play (‘O Christmas Tree’!?) will find appeal with those under the age of seven or over the age of seventy mostly. Kids and techno geeks will delight in the game’s sheer noise-making ability but, although initially fun, the boredom factor will soon find you.

Scene It? Lights, Camera, Action

Xbox 360 Microsoft

I am one of those people who watch movies but can never remember the lead actor’s name or what other movies he/ she/it was in. This game essentially tests knowledge on all things movie-related between the years 1950 and 2007 and, even if you’re just a casual film fundi, amounts to a heck of a lot of fun! Your usual console remote is replaced by a big funky wireless buzzer-style button controller that already makes game play feel different and puts you in that game show vibe. Up to four friends can play at once amid a variety of themes and film genres, earning points as you go. Good hearty party fun and worth every cent.

Sim Animals Wii

Electronic Arts

Aaaw, lookit the cute wiwwil animwils! Lookit the fuzzy wiwwil bunny. Lookit the big snarling brown bear creeping up behind the fuzzy wiwwil bunny! Quick! Do something! Aah, too late. Bunny is bear breakfast. And that’s pretty much how it goes in this one: keep the land and forest critters in check as you play God and try to maintain the perfect harmonious environment. Direct a hand icon using the Wii Remote to move plants and animals around your little patch of paradise while earning happy points allowing you to progress to the next bit of forest. Not the greatest graphics ever seen, but still a whole lot of trippy fun (for those days off from killing, maiming, racing – and golf).

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NOW SHOWING Rock Out With Your Chop Out The Cape Town International Convention Centre recently hosted Southern Ink Xposure – the first mega tattoo convention on the planet. Some of the world’s best skin artists converged on the Mother City, from the downright demonic to the delicate and dainty, modifying a considerable percentage of the attendees’ skin surfaces over the course of the weekend. Ink and blood flowed amidst the perpetual buzz of tattoo guns and the grinding sound of gritted teeth. were at S.I.X, recording the event and interviewing the inkers, the inked and the onlookers. We even found a woman who had just had an image from one small seed issue 10 permanently emblazoned on her arm. Nice! For all the coverage and exclusive interviews, log on to


NOW SHOWING MTV BASE / DIAGI ART BREAK CHALLENGE In a bid to provide young creative talent with a platform and a voice, MTV Base set aside airtime on its pan African music channel to showcase the creativity of up-and-coming South African designers and filmmakers. The music channel will broadcast a series of stunning animated sequences created by 3rd year students from the University of Pretoria, following a collaboration with international design consortium Design Is A Good Idea (DIAGI). Together, MTV Base and DIAGI challenged students at the University of Pretoria’s Information Design department to produce short animated sequences or ‘art breaks’ with MTV Base as the core theme. Under the watchful eye of Nicci Du Toit (DIAGI’s local design officer) 70 students were briefed to produce a 15 to 60-second sequence. Given just two weeks to conceptualise, design, storyboard and animate their project, they set about creating their works with the strict instruction that all music and visual elements needed to be totally original. After the initial phase, fourteen students were selected to spend a further two weeks at the DIAGI studios in Johannesburg to add finishing touches to their individual projects. Check out all the best art breaks on 90

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NOW SHOWING Gets a Revamp, our online audio-visual platform, has recently been upgraded for your viewing pleasure. Aside from much faster loading times, the new site has an updated look and a far more intelligent interface. Now users are able to make comments, rate videos and navigate the meta-depths of our extensive online library with more integrated search options and tag clouds. Weekly updates are published on the homepage, enabling you to keep abreast of all the fresh material that gets uploaded on a regular basis. Most of the video clips are also now supplemented with more detailed information and write-ups. All in all, onesmallseed. tv is in better shape than it has ever been, making access to the latest music videos, interviews, documentaries, behind-thescenes footage and general AV experimentation faster, easier and more informative. one small seed


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designed04 Our core values are responsive design, technological expertise and exceptional service which are made up of the following: architectural and interior design, exhibition design services, product design and prototypes, architectural renderings and walkthrough, corporate identity, publishing, art direction, premier graphic design, typography, illustration and mixed media. Our superior quality and sophistication acts as a basis for our visually driven creative consultancy based in Cape Town with clients worldwide. 5 constitution st, east city cape town, south africa tel. +27 (0) 21 461 6973 art centre


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photo hire & sourcing specialists in photographic camera and lighting rental canon, nikon, hasselblad, phase one, mamiya, contax, apple, eizo monitors, gitzo, manfrotto, scrim jim, california sunbounce, profoto lighting, broncolor, linhof, sinar, fuji, arri web development, flash design, illustration, video, motion graphics, interactive cd & dvd presentations, 2d & 3d animation, corp id. tel. +21 (0) 21 439 7337 cell. + 27 (0) 83 293 5484

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sunshine company 3 roodehek street gardens, 8001 cape town tel +27 (0) 21 461 0595 cel. +27 (0) 82 781 1710

210 long creative suites New office suites in the creative hub of Long Street for the creative community of Cape Town to share space, ideas, inspiration and hopefully services. Spaces from 10m2 up to 100m2, for short and long term leases. 230m2 of communal boardrooms, meeting rooms, reception, kitchens and toilets included in the rent. Fast and secure internet, Hi tech security, receptionist, VoIP, colour printers, fax, etc. Come and play.

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roodebloem studios tel. +27 (0) 21 447 6326 cel. +27 (0) 82 654 8870 27 roodebloem rd, woodstock

retro-vintage furniture

casamento A subtle marriage of masculine lines and feminine textures, our furniture will transport you back to a time where living was slow and easy. Leather and velvet upholstered couches, oak veneer leaf tables, zodiac chairs, crewel embroidery, vintage dresses, knitted throws, retro art‌ Visit our studio/coffee bar in Kommetjie, or browse our showroom in the heart of Cape Town.

210 long st cape town 8000 +27(0) 82 650 5516

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kingsway, auckland park tel. +27 (0) 11 489 3058

the pixel zoo Specialist website & interactive media design, based in JHB & CT. tel. +27 (0) 21 0200 263 cel. +27 (0) 84 523 0354

49 maynard street, gardens, cape town south africa

friends of design academy of digital arts 60 sir lowry rd, cape town tel.+27(0) 21 461 0971 fax. +27(0) 21461 0974

Your home for exciting theatre and cutting-edge contemporary art

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studio: unit 8a fish eagle park kommetjie tel. +27 (0) 21 783 2188 showroom: 75 loop street cape town tel. +27 (0) 21 422 0366


glamour mechanics photographers, studio, stylists, make-up and hair tel. +27 (0) 11 640 6261 fax. +27 (0) 86 617 5406 cell.+27 (0) 82 610 0771 photographers

shine photographers cape town, south africa Emma Buckland tel. +27 (0) 21 430 4900 fax. +27 (0) 21 439 6525

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coza productions +27 (0) 83 759 2829 +27 (0) 84 096 3979

ny.lon. clothing 210 long street, shop 15 bloem street cape town 8001 tel. +27 (0) 21 422 3465 cell. +27 (0) 72 852 7187

scar hair 22 kloof street, gardens cape town, south africa hair +27(0)21 422 5900 fax +27 (0)21 424 7066

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doktrine multimedia studio cnr of dely and matroosberg rd ,107, Ashlea Gardens, Pretoria tel. +27 (0) 12 346 1445 An urban culture blogazine. Bringing good people together for the good life. Represent. You know you want to.

streetheart studio 3rd floor touchstone building 9 bree street, cape town

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exposure gallery shop e101, the old biscuit mill, albert road, woodstock tel. +27 (0)21 447 4124

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phoenix benedict audio branding specialists francois bezuidenhout audio brand consultant and creator tel. +27 (0) 82 346 9776


THE last word

On the subject of Peter Nose-Pointer BY Headline payoff Dear Peter, It has come to our attention that you have a rather large nose, which always points in the most fashionable, underground and indie places. Now, while your wardrobe is certainly Camden three months ago – that was three months ago. Don’t get us wrong, we just wanted to give you fayre warning that it is time for you to find something new. The ugly hangover you carry from Camden is just an ugly hangover. And it’s infectious. Like a cheap oily breakfast that goes wonderfully with your leftover sweat and smoke smell from the previous night’s indie club (that only 30 people frequent, infrequently) killer dance moves. The music may have been indie to death – three mice playing accordions and a rat eating some cabling, but we assure you – themiceandrat (all lowercase, all italics) are on the way to selloutdom. They were only like that for one night, because they all play in different bands. Indeed, this was a side-project of a band only twenty people had heard of. The mere fact that they played to a crowd showed us all that they have the artistic integrity of a good piece of Emmental, which they all shared after the show, incidentally, with some water-biscuits. We see you lowering your wayfarers in our direction there, Peter, but please, don’t look upon us with scorn, we are only here to help you. We have just received a memo signed by Noir, Jagger and Bowie detailing what the latest sunglasses for ‘09 will be. We can announce to you that if you wear a dildo made of sandpaper, attached to two jam jars (filled with preserved Palestinian figs, which will go just smashingly with your Palestinian inspired scarf with vague pseudo-political connotations) you will be the coolest guy since the other side of the pillow.



Philip Erasmus

one small seed

With concern, H. P. Prudi

One Small Seed Issue 14  
One Small Seed Issue 14  

The South African Pop Culture Magazine.