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the joy magazine

artist profile of jo tromp

Tongues and strings poetry

The Decline & Fall of Cicestrian Civilisation

In association with I Am Joy and The Joy Gallery

march 2010 Issue three

Joy Gallery Reopens

street art and graffiti


flies are spies from hell album review

i am joyComedy

CONTACT I AM JOY WEBSITE THE JOY MAGAZINE Submissions/Enquiries/Advertising I AM JOY MUSIC & ARTS FESTIVAL THE JOY GALLERY 3 Guildhall Street, Chichester PO19 1NJ Tel: 01243 776530

MAGAZINE TEAM Chief Editor Chris Soul Design/ Editorial Cat Gillison Art Review Joe Worthington, Sam Worthington and Chris Soul Music Chris Chapman and Cat Gillison Performance/ Culture Pete Walsh, Cat Gillison and Chris Soul Photography Sam Worthington, Jordan Ring, Jenny Lewis and Stephen Kennedy Illustrators Mike Stout, Joe Worthington, Hannah Clear, Lucy Eldridge, Zoe Scammell and Emily Jones Cover Photgraph Flies Are Spies From Hell Sam Worthington

The Joy Magazine Issue Three | March 2010


Illustration by Joe Worthington


Spring is here and the elements of ‘I Am Joy’ are aligning again. After hibernating in an ever-lasting winter, Joy is returning. The reopening of the Joy Gallery on Guildhall Street has fired up the artistic scene again; boiling the creative soup that was the Minestrone exhibition. Revolving in the winds of cosmic cyberspace the new ‘I Am Joy’ website is coming to keep you informed of movements. Ideas for this year’s fourth ‘I Am Joy’ arts and music festival are trickling down; a sea of possibility. And here in the streets, ear to the ground, is the revamped Joy Magazine in a new handy pocket size A5. If you are unfamiliar with ‘I Am Joy’ and its associations, then here is a tickler:


Reopening of The Joy Gallery Joe Worthington and Sarah Wilk Poetry Karlene Heath News Colour Doomed Sam Worthington Tongues and Strings Michele Baker Poetry Michele Baker Jo Tromp: Artist Profile Laurence Elliott The Decline & Fall of Cicestrian Civilisation Mark Devonshire I Am Joy Festival: Looking Back and Looking Forward Poetry Luke Gibson A Tribute to Mark Horwood Travel Writing Jennifer Barclay Dirty Cabaret Rachel Billinghurst Flies Are Spies From Hell Album Review Grant Light Shadow Cabinet Briefing on Developments in Street Culture Guinness and Cheese Sam Worthington First Impressions Pete Walsh

5 6 7 9 10 11 12 14 16 19 20 22 24 26 27 29 30

‘I Am Joy’ is a local arts organisation with the aim of giving a platform and voice to emerging creative talent at a grass roots level; to shake up the city, inspiring new generations of fresh talent to engage in the arts: in music, writing, art, performance and innovative practices of all kinds... Enjoy the read and get in touch.

Chris Soul, Chief Editor



The Joy Magazine Issue Three | March 2010

Opening Times: Monday Tuesday Wednesday Thursday Friday Saturday Sunday


CLOSED 10am - 6pm 10am - 6pm 10am - 6pm 10am - 6pm 10am - 8pm 10am - 5pm


The Joy Magazine Issue Three | March 2010



Joe Worthington and Sarah Wilk

The Joy Gallery now in Guildhall Street

Minestrone exhibition in The Guildhall, Priory Park

There is an art heartbeat somewhere in Chichester; it’s the reverberating rhythm of bongos in the subways and the sound of a wooden spoon mixing up painters and print makers in The Guildhall. The New Year has been a gruelling time for many, but now the daffodils are popping-up the feeling of relief is as imminent with the arrival of spring. From sweet shop to music shop, The Joy Gallery on 3 Guildhall Street has now revived one of Chichester’s many unused buildings. The legacy continues and evolves but the memories of what it was before are still safely held within the walls. Now March is behind us it’s time to look back over the first month of The Joy Gallery’s return. It was a pleasure to host this first exhibition named MINESTRONE, organised by local painter Becky Rose. It has got to be said; that girl’s got guts! From our first meeting last year where light was shed on some good funding opportunities, Becky has galvanized 9 young artists, prepared and chopped the ingredients, sprinkled some seasoning, boiled and served piping hot, not just in The Joy Gallery but the Guildhall too. The installation of MINESTRONE showed the group’s enthusiasm as most of the nine artists sweated together over two days in the freezing Guildhall to have everything ready for the private

view. Regardless of the bitterly cold weather, over 100 people eagerly came to the celebrations, only confirming the high standard of work and the effort put into the project by Becky and her artisan chefs. This broadening of horizons exemplifies the youthful outlook and positive nature of what MINESTRONE was aiming to achieve. The work was diverse but the continuity flowed well between the two spaces. From Amy Albright’s ethereal abstracts to Mike Stout’s peculiar and witty pen drawings the union of imagery and medium made for a receptive response from the public, both young and old. In particular, Ben Pickersgill’s intense and honest paintings showed immense promise and captured the imagination of many who came along. The Joy Gallery has many things up its sleeve for 2010. This includes a photography competition, book swapping evenings, local band CD launches, a brand new website and many more exhibitions to whet your appetite. We look forward to seeing you all soon. Next exhibition will be the winner of Colour Doomed, Jo Higgs, previously known as Jo Tromp. The show will be from Wednesday 31st March – Wednesday 7th April. (Read an interview with her in this very magazine.) The Joy Gallery:



PHENOMART Row upon row of mannequin face. Beautiful outfits fit for beauty queens. One-sized fashion designed for one style race. Botox. Nip-Tuck. Polyester-lace. Razor sharp acrylics from the salon scene. Row upon row of mannequin face. Hair dye. Lash tint. Choose colour-cut and paste. RedKen scooped up, Straight from the magazine. One-sized fashion designed for one style race. Catwalk, conveyor belt models amaze. Buttons pressed. Zips checked. All torn at the seams. Row upon row of mannequin face. Slim build, large chest. Identity erased. Big breakthrough photo shoot; builds self-esteem. One-sized fashion designed for one style race. Boss, Prada, Gucci. Fashion is unchaste. Dolce, Nicky Clarke. Part of the machine. Row upon row of mannequin face. One-sized fashion designed for one style race.

Illustration by Hannah Clear

By Karlene Heath



The Joy Magazine Issue Three | March 2010


Chichester had its most successful year in 2009 with prizes of £40,000. This rivals any Open Art Competition in the UK and with Gavin Turk, Catherine Lampert and James Stewart of Zimmer Stewart Gallery, Arundel as judges the standard was by far and away the best ever as widely reported in the art press, including The Guardian. The 2010 Call for Entries allows Art Photography for the first time and a leading photographic judge will join the panel. Look at the new website and this year you can enter and pay online and you are allowed up to 6 entries all at £20 per entry. Last entry and download is August 31st. The exhibition will open at The Minerva Theatre Gallery on Saturday October 30th and run for 2 weeks. A Retrospective of Neil Lawson Baker’s work will be shown April 27th - May 8th at The Oxmarket.

NEW STUDIOS IN CHICHESTER Unity Arts Trust has opened a studio space in St James industrial estate (Westhampnett Road, near Sainsburys) in which a number of interesting and ambitious artists are now working and being mentored by professionals who are helping them to build up their careers. With the help of Unity Arts Trust these artists also aim to give back to the community through events and educational workshops. The studios will be open to the public during the Chichester Open Studio Art Trail on Saturday & Sunday 8th/9th and 15th/16th May 2010, from 10am until 5pm. More details can be found at

FRAN RICHARDSON EXHIBITION Local artist Fran Richardson will be showing paintings and drawings with printmaker Daphne Casdagli in her studio at Newark Farm House, Chichester Road, West Wittering as part of the Chichester Open Studios Art Trail. Saturday 8th and Sunday 9th May - 10.00 to 17.00 Saturday 15th and Sunday 16th May - 10.00 to 17.00



The Joy Magazine Issue Three | March 2010

Colour Doomed drawing competitions have been a lively series of shows of creativity, inspiration and improvisation in Chichester. It is a vehicle for the appreciation of artistic talent and innovative ideas that, in previous years, Chichester has sorely missed. The contestants are given a blank canvas. They must use only black and one colour and rely on their creativity to produce a piece within the specified time. The drawing that gets the biggest cheer from the audience at the end wins. The first drawing battle kicked off before it officially began, with Spanish revolutionary Consol Pomar breaking the rules left, right and centre by refusing to use only “black and coloured marker” saying, “I’ve got a paint brush, all I need is a bucket of water!” The first round saw another outsider from Spain, Dagma, compete alongside Consol against two local boys, Jordan Ring and Mike Stout. Jordan became very rowdy, winning the hearts of the crowd to get through the heats as the underdog, alongside Mike Stout who was backed by his army of followers. It was a brilliant start to the competition, as high standards were set. The competition was fully on its way.

colour doomed Sam Worthington

The next two heats saw Laurence Elliott, Jo Tromp, Jake Why and Joe Worthington progress through the knockout stages to battle with Mike and Jordan in the quarterfinal. I was happy to see such a fast rate of progress from the artists as their work came together before my eyes in only three hours. We saw images of babies crying babies, monsters eating each other’s limbs, moronism, milk, angels with apples in their hearts, motorbikes and graffiti. After five heats, the Colour Doomed winner emerged quietly, surprised by her unexpected success. On behalf of anyone who came, saw, or took part, I would like to congratulate Jo Tromp for her efforts and phlegmatic approach to the competition. Her work is surreptitious as it unfolds before your eyes. It is humorous and erotic and straight to the point, with an underlying sense of personal or otherworldly mythology. A well deserved pat on the back Jo! MORE COLOUR DOOMED? The drawing battle will be looking for a new venue. If you are interested in supporting or taking part please email:


Karlene Heath

Tongues and Strings has been running for over fifteen years now. It has won awards and been a springboard for so much talent from the south east, and from the University of Chichester’s bright, young musicians, poets, writers and performers. This year has seen an immense revival for the night, that runs once a month at La Havana bar in Little London, Chichester, under the loving attentions of Michele Baker, Luke Gibson, Mitchell Callum Orriss and Alice Rowe, who are all studying English and Creative Writing at the University.

Michele Baker

The first three events at the end of 2009 took place at Slug and Lettuce on South Street and were hugely popular, featuring the extraordinary talents of musicians such as Ry Byron, an inspired young guitarist and songwriter from Brighton, whose Bowie/ Elton John-influenced work is wittily interspersed with deliciously tongue-in-cheek covers of artists from Morrissey, The Who and Coldplay to The Fresh Prince (which needs to be heard to be believed!), and the exquisite, heart-rending melodies of Bethany Spink, a second-year student at Chichester.

Luke Gibson

In February 2010, the event returned to its faithful home at La Havana, where jaws dropped at the wildly spontaneous and deeply charismatic Ashley French, a regular to slam poAll pictures courtsey of Mr Dougal Wallace


The Joy Magazine Issue Three | March 2010

etry nights in the south east, who, alongside the Burroughsinspired, twisted poetry of Josh Tauben, and music from the hugely talented Grant Melin, who recently featured on Radio 1’s ‘Band of the Week’, settled the night back into its old haunt with all the originality and fresh energy that has been the trademark of Tongues and Strings for so long. In March, we were lucky enough to have a rare performance from the prizewinning Jo Mortimer, a gorgeous and highly accomplished writer and poet who runs Sparks, a massively successful live poetry and short story night at Upstairs at Three and Ten on Steine Street, Brighton. Other performers included the musician Jack Boyd, who runs La Havana’s Wednesday night openmic evenings. Basically, Tongues and Strings is a blast. It is a wonderful, lively arena where creative bods get together and fire up those musical, literary, poetic synapses. To get involved, drop Mitchell and Michele an email on or make friends on Facebook (search ‘Tongues n Strings’) to keep up to date with the latest events and network with the loyal following whose enthusiasm and love is quickly regenerating one of the friendliest, most vivacious poetry and live music nights around.

The Joy Magazine Issue Three | March 2010


poets We feel that too. That space where the ribs meet Just below the heart. It hurts too for us to be in An empty house, rattling round like dice in a cup, With somebody we used to love but do no more. It is a tiny, secret, etheral joy for us too when A spectrum of light shoots off a puddle as a rainbow Even if we know it’s only oil. We see that too. See this wheelbarrow? Yes, this one. That’s what it’s like, Isn’t it? You know what I mean. Have the wheelbarrow, It’s a gift: be assured it’s real. You’re not alone. And we’ll still smile when you say a poet’s useless; Selfish, indulgent and only living for herself Even as she writes the words, “Come closer, I’m here to give your heart a home.” By Michele Baker (Tongues and Strings)

Illustration by Lucy Eldridge



The Joy Magazine Issue Three | March 2010


AN ARTIST PROFILE Laurence Elliott

As a part of Artel, I Am Joy and winner of the Colour Doomed live draw-off events held this winter at The Hope, Jo Tromp has won a solo exhibition at the new Joy Gallery in Guildhall Street, Chichester from 31st March - 7th April. She studied Fine Art and it’s history at Hogeschool voor de Kunsten, Amsterdam, then moved back to her nearby native Haarlem to work in various studio spaces with other artists, musicians and designers (once squatting a disused railway storage facility); to arrange various exhibitions and events to promote their activities and paint back-drops for stages; and also had a brief stint studying drama. Since moving to Bognor two years ago, Jo has noticed her work grow more offensive than it was in Holland, but also more colourful. I asked her if this might be some sort of reaction to the atmosphere of the elderly upper-middle class mindl-ock/block and cathedral control sense of choking felt in


Chichester? “Not really,” she says, “I just wanted bigger surfaces to work on... in Haarlem, I used to gather boards and materials before the council could collect them. I had the space to work it out the right way here, that’s sadly lacking (at present)”. Jo works primarily from memory and the subconscious, with a few observational fragments thrown in. There is a fairly uniform fluid black line which defines the forms she finds in her dirty water-tortured acrylic paint alchemy, which gives a perverse sense of familiarity, or perhaps acceptance because of the similarity to cartoons (to which everyone is familiar), allowing the work to sneak round the back-door of the observing mind, a tactic also used by artists like Antoine Bernhart, Peter Saul, Frank Kozik and the majority of the ‘low-brow’ pop surrealism movement. Jo was more traditional when she started painting, was com-


pelled to conform to the tradition of the Hogeschool, “... they wanted me to be more abstract...”, then she made more cartoon-styled work “...cartoon like, but confrontational...”. Each work is ideally finished in a single day. The acidic summertime colour schemes & cartoon-esque black lines convey imagery which seems oddly intimate, with Rorschach test like bits of brushwork helping fan the flames of the odd fire. Jo’s influences and inspirations include Bacon, Munch, Klimt, Bukowski, Ted Hughes, Ensor, Van Gogh’s ugly baby paintings, Egon Schiele’s fingers, toes, elbows and knees, and Robert Crumb’s work. When asked if her work intends to allude to “an underground”, she replies; “Maybe, I don’t want to produce ‘easy’ work. I don’t think about what other people might think, I just need to do it. It’s difficult to do, I push myself hard. If it doesn’t feel right, paint over it. The work’s autobiographical, perhaps, about my feelings and

Jo Tromp’s final piece from Colour Doomed at The Hope

Stages 1 and 2 of Jo’s piece from the Colour Doomed drawing battles

The Joy Magazine Issue Three | March 2010

Since moving to Bognor two years ago, Jo has noticed her work grow more offensive than it was in Holland, but also more colourful. inhibitions. Whatever goes on in my head, that’s what comes out, when it’s out, I can make the link. I need to be alone when I work, which was a reason for participating in Colour Doomed, and am just not aware of what I’m doing at the time. I don’t think of famine, war etc, I know that sounds cruel, but, still...” For her exhibition at the Joy Gallery, Jo will show smaller works, some recent, some older & a number of drawings. Jo Tromp’s solo exhibition will be held at the new Joy Gallery in Guildhall Street, Chichester from 31st March - 7th April.



The Joy Magazine Issue Three | March 2010

The Decline & Fall of


The Hogshead, now Trents Wine Bar

The Swan, now No 12 Fish Restaurant and Wine Bar

Change. The inexorable passing of time claims all things, from the dinosaurs to shellsuits. Some will be mourned, some will not, but it is the way of things. We must adapt and move on, no future in clinging to the past, unless you happen to be Amish or the ghost of Ned Ludd.


The change I am interested in here is that of Chichester’s social glue, the businesses that once outnumbered even the mobile phone shops: the pubs. This cathedral city has been around for centuries, and dines out on this fact every day. But while it is easy to wander the walls, admire the cathedral scaffolding, take out a mortgage on a cream tea or be patronised by the arts council, it gets harder and harder to find somewhere to enjoy a pint and reflect on the events of the day. At the end of the 20th Century, there were many more pubs around, but this last decade has been cruel, and many establishments have disappeared, swallowed up by gentrification, or victims of puritan council policy (according to the conspiracy theorists). Maybe it was revenge for what used to be the Slurp-

ing Toad (now Wests bar), the hermit crab of revelry easing itself into the abandoned shell of thou shalt not. The White Horse was the first to fall. Once a bastion of the lager set, where students feared to tread, there came the day of leather sofas and those bundles of sticks in ‘ethnic’ vases to distract you from the fact that the Stella was now Peroni and chicken goujons had arrived. There was a period when the faithful wouldn’t let go, but the plasma screens and wine racks couldn’t replace the old projectors and promise of violence. It died in its sleep and came back as an Italian brassiere of some kind. The Hogs Head went a similar way, another lamb bled at the altar of style over substance. The Bull, once the best Friday night in town with its music by-the-people-whocare-for-the-people-who-listen made more memorable by the impossibility of getting to the bar, the one bonus being that dehydration was preferable to using the facilities. Why so rammed? Character. Energy. Spirit. All these things: the buzz of the place. The George & Dragon used to be exactly the same, with

...there came the day of leather sofas and those bundles of sticks in ‘ethnic’ vases to distract you from the fact that the Stella was now Peroni and chicken goujons had arrived. menopause? The Punch Bowl, the most honest name since Toys’r’Us, disappeared in a fiery incident. It is now just another shop. Another unsmiling soldier standing to attention in the High Street parade: homogeneity, be the rest. Sadlers was genuine. It was certainly no pub, but it never tried to be, and had more charm than the whole of South Street has now. Developers took it away for reasons we may never understand.

in as you wait for your turn to talk, but as far as soul goes, the Fountain is winning. Apologies for omissions, many go unmentioned, but they have never really changed. The Nags has always been good; the Hole in the Wall has its share of good memories; the Old Cross has always been, there. But as time marches onwards, why is it the special ones get left behind?

The White Horse, now Prezzos The Fountain, still The Fountain

This may seem strange. The Vestry is livelier (and has a more popular queue), the Slug has more reflective surfaces to admire your haircut

The George & Dragon

The Swan became a fish restaurant after decades of faithful service. Where are people going to relax after their GCSEs now? Under previous ownership possibly the Chi, whose over 21 or 25 bar at the front caused me to fear old age. Were you still allowed to go into the back-bar after that birthday or were you trapped with the grey hairs talking mortgages and

There are two real contenders left: the Hope and The Fountain. The Hope has the broad minded, optimistic feel that the Bull had; youthful enthusiasm trickling downhill from the university perhaps. Good bands play and the atmosphere is positive. It is almost the offspring of the Fountain, Chichester’s best pub.

The Hope, closing down

orange walls, gibberish poems about panthers, and even less chance of getting served.

The Slurping Toad, now Wests Wine Bar


The Joy Magazine Issue Three | March 2010


a look back... When someone asks: “What did you do in the summer?” I reply, “Organised a Festival!” This is an understatement as it felt like organising Satan’s Wedding! 6 days, 6 hours sleep a day and 6 am starts! This year I Am Joy took a huge leap into the unknown and accomplished 6 days of events. Spread all across the city the Joy was apparent inside and out, hidden in the corners and pushed blatantly into people faces. “The youth are starting to change” echoes in my ears! The most triumphant element of starting I Am Joy was the people. 2009 was an amazing team effort. There was an incredible belief and strength in everybody wearing those obnoxious orange T-shirts! It gets forgotten how to have fun when you put so much hard work into a project. Yet we all managed to push the limits and exert energy into playful banter and manic frolicking! Some people just have the JOY in them. I could talk about the admirable acts, the art works, the performers but it seems irrelevant because I have such a strong kinship with the people who help make I Am Joy operate. Don’t get me wrong, I was enthralled by the Wannabe-Warhol’s sublime pick of theatrical performances and the ramshackle interior of The Hope after Hakuna Pesa had their way with the place! But for me the JOY was to be found in the people who made it happen. Otherwise there would have been no garden in the Joy Gallery, or kids not knowing how to spray paint Futurama characters on dilapidated walls! I hope the pictures (many on the magazine centrefold) give inkling into how the festival went, because I just want to thank every person that lifted a finger out of apathy and into jovial adventures. Joe Worthington, Chairman of I Am Joy


IDEAS, EPIPHANIES AND PROPOSITIONS CAN BE EMAILED, FACEBOOKED, MYSPACED, OR SHOUTED OR WHISPERED INTO OUR EARS……………………………… WHO WOULD YOU LIKE TO SEE MAKING NOISES OR SCREAMING AT THE WINDS?? ---------------------------------------------------------------------------------------------------------------------------FACEBOOK GROUP: Search ‘I AM JOY’ ---------------------------------------------------------------------------------------------------------------------------MYSPACE: ---------------------------------------------------------------------------------------------------------------------------!!! BRAND NEW WEBSITE !!! ---------------------------------------------------------------------------------------------------------------------------ARTISTS / BANDS / THEATRE TROUPES / DANCE GROUPS / POETS /COMEDIANS / WORKSHOP LEADERS / MUSICIANS / VOLUNTEERS / PERFORMERS / FILM MAKERS – GET IN TOUCH…………...….……..!!! Chris Chapman, Hair of I Am Joy



1 - 7 APRIL @ THE JOY GALLERY Exhibition of artwork by Jo Tromp

2 APRIL @ THE CHICHESTER INN Hold Your Horse Is/ Crooked Mountain, Crooked Sea/ Betray the Cartel 3 APRIL @ THE CHICHESTER INN Munroe Effect/ Watermelons + Guests 7 APRIL I AM JOY COMEDY @ THE VESTRY Pat Burtscher, Gareth Morinan and Rhys Jones 9 - 23 APRIL @ THE JOY GALLERY Affordable Art Show 9 APRIL CANDLE CLUB @ LA HAVANA UTE / Wise Children/ Shoes and Socks off + Guests 10 APRIL @ THE CHICHESTER INN Golden Section Charity Fundraiser 13 APRIL @ THE CHICHESTER INN Bora + Guests 16 APRIL @ THE HOLE IN THE WALL Lauren Halliday/ Running with Scissors + Guests 17 APRIL @ THE CHICHESTER INN Alright The Captain + Guests 22 APRIL @ THE CHICHESTER INN Mask Of Judas + Guests 22 APRIL BOOK SWAP @ THE JOY GALLERY5pm - 8pm Bring along your old books and take something new to read at home! 23 APRIL @ THE CHICHESTER INN Sorrow Of Mastema + Guests 1 MAY I AM JOY @ THE CHICHESTER INN Flies Are Spies From Hell/ From Light To Sound/ Tacoma Narrows Bridge Disaster/ Io Monade Stanea


The Joy Magazine Issue Three | March 2010

SORE THROAT nursing the raw strips and shreds that remain of my exiled voice, I imagine your fingertips, through tepid flannel, pressing my forehead like tiny buttons, and I wait to see if any of them are connected; if anything moves, or if I start to drift away with you as my dream pilot and your hostess digits dancing across the temple of my missing voice By Luke Gibson (Tongues and Strings)

Illustration by Emily Jones


Mark’s feet

Jamming in the studio

Mark Horwood performing on Later with Jules Holland


The Joy Magazine Issue Three | March 2010

A TRIBUTE TO MARK HORWOOD From the start Mark posessed an original and unique style and depth to his playing that seemed to appear from nowhere. He was obsessive about his work and spent endless hours honing and shaping it. He worked with a huge melting pot of musicians through the years, collecting a vast range of styles and sounds. He was extremely gracious in his collaborations and well respected for his boundless ability. Mark’s restless creativity knew no bounds. He composed, performed and orchestrated scores for feature films and documentaries, created dance music, pop music and classical, music for computer games and dance companies, the list is endless... So how do I sum up Mark Horwood? It’s almost impossible, his complexity, his originality, his creativity, his intelligence, his humour, his contradictions, his kindness... Matt Gray The night I met him was warm and he was in the centre of a vibrant set of friends. He took me to see the birds singing away in the aviary. As the night went on his stories got so funny he couldn’t get to the end for laughing. I got home with the feeling

I had met a kindred spirit. Mark was exceptionally intuitive to work with, he composed all the music that Nimblelimbs Dance performed to, I always felt so lucky. We both loved using chance proce-

dures and had Cunningham and Cage as our legends. Once, we ran a workshop for 60 girls at Chichester High School. The end result was completely magical I shall never forget it. Jennie Dodd

THE OPEN TICKET From The Fountain to Later...

A good friend once told me that being a musician is like possessing an open ticket. In many ways it can unlock doors many keys won’t. It is a journey without destinations yet with challenges, highs and lows, moments of euphoria mixed with occasional frustration. The good news: Like any trip despite all, one gets a sense of fulfilment, a satisfaction of achieving something. My journey so far has taken me from many a pub gig playing blues with Electric Circus touring France and Holland, appearing at the Chichester Real Ale and Jazz Festival and supporting the Fun Lovin Criminals at Rox in 2006. I have been privileged to perform with many great musicians under various guises from live house music at the (in?)famous Thursdays nightclub, drum and bass at Illusion’s, Worthing supporting Radio One’s Grooverider, to funk marathons with the Funkologists at New Cross/Pompey and with Equilibrium on Bognor Pier at the Rox Fest 1999 in front of a seven-or-

so thousand audience. After a recent debut TV appearance on Later with Jools Holland with The Mummers, it seems strange to recall playing at The Fountain many moons ago. Every gig has been a stepping-stone to the next. You win some you loose some. I would never have believed some orchestration on a cover of Riverman by Nick Drake a few years ago would spawn The Mummers. Big trees can grow from acorns. In today’s climate earning a crust from music can appear to be the most difficult task of all. Making music however, is not about making money; it’s about making music. I currently subscribe to the idea of chasing the music: Perhaps one day, everything else will then fall into place. Those that wield the power and magic of music should never under-estimate it. Or take it for granted for that matter. Mark Horwood, 12th June 2009


The Joy Magazine Issue Three | March 2010 I was at The Treehouse, sat on the bog to be precise. I could hear Mark in the control room approaching boiling point with something. After a few more bangs and expletives there was a crack then a Basil Fawlty-esque “right” followed by a lot more crashing, then Mark knocks the bog door open on his way through the studio clutching the Treehouse Master Keyboard. The gist of it was he’d pummelled part of it into oblivion and was going to finish the job off by chucking it off the balcony. Which he did. Then he, joined by Richard Earnshaw jumped up and down on the thing. Keys flying everywhere. Steve Scott

To listen to Mark’s music please visit: The Mummers:

I didn’t see this personally but legend has it that Mark on at least one occasion fell asleep at/on his keyboard during the middle of a gig. Steve Scott I was friends with Mark for more than 10 years and was very fond of him. His capacity to get incredibly enthusiastic and excited about other’s ideas and plans was wonderful. I think he was one of the very few people I have known who actually listened to others, very intently, and thought about what they said. He was a lovely man with a big heart. Hannah Scott Mark Horwood’s influence on my life is im-

measurable. Not just because I use the same music software, or like Stella Artois, Miles Davis or because I worked with him for 3 years. I moved to Chichester because of Mark, I met my wife because of Mark. The 17 month old air raid siren, tearing my house apart while I try and write this is here because ... you get the picture. Steve Scott He was so full on, wasn’t he?! His mood and manner so infectious, a larger than life individual who I found exciting to be around. It was a wonderful experience recording at The Treehouse Studios with Mark around giving advice. Richard Flahant He basically inspired me to get into music. He had the ability to turn even to most mundane of tasks into real adventures. And that is what I think sums up Mark to me... Matt Carter I think it’s clear that Mark was a musical genius. And great gifts often come at a price. It’s well known that creative, artistic people often suffer bouts of depression; it’s that empathy with the reality of life that produces some of the most beautiful work. But I just want to thank you (and Mark) for the sublime Tale To Tell. An amazing legacy Mark has left behind. Pip, Mummers fan Mark’s legacy is now up to the rest of you. His music and influence

lives on with you and you really now have a very important Tale To Tell. Jonathan Capehart, Mummers fan Mark was bursting with magic, so much so that I believe he was too amazing for this world, and too sensitive for the troubles it holds. He gave me so much love, inspiration and happiness that I feel blessed to have been his friend. He has changed my life forever, and now every time I sing, it’s with a stronger passion, because of him. Suzi Ihouirne and Simo Lagnawi I’m heartbroken and I never even knew the man. I’ve just been listening to his film scores on Myspace and they are just beautiful...especially The City Score. Glyn Griffiths On this planet there is only a handful moments that I will remember forever. One of which was my introduction to a highly talented and gifted individual, inside an inebriated room of musicians. My attention will always be guaranteed towards those who can inspire others, focus on hard work and keep an open mind to generate truly creative ideas. Dominic Dandridge Mark was a good friend & massive inspiration to me. He was generous in spirit and nature, and a man of peace. His musical expression was amazing as was his friendship. Dan Jones

Mark Horwood

Mark with The Mummers (Top right)

Mark at a Mummers photoshoot

The Treehouse Studio


The Joy Magazine Issue Three | March 2010

Jennifer Barclay, editorial and rights director at Summersdale Publishers and author of Meeting Mr Kim, talks about travel writing

My first memory of Summersdale Publishers involves a G string. I was working as a freelance editor and writer, based in the south of France, and was thinking of moving back to the UK after years in other countries. I’d worked as a teacher in Greece, then for a Toronto literary agency, and had just appropriately enough edited an anthology AWOL: Tales for Travel-Inspired Minds. Trawling the aisles of the London Book Fair to keep up my contacts in the publishing business, I came across a colourful stand full of coollooking paperbacks of the kind of travel writing I loved. Draped across the stand was a clothes line hung with skimpy underwear – Summersdale had just published UK on a G String by Justin Brown about a guy who busks his way around Britain, and they were advertising the fact in a typically lighthearted way.


It’s been almost five years now that I’ve had the luck to work at such a vibrant independent publishing company and publish adventurous, hilarious, sexy travel memoirs like Lost in the Jungle, Chasing Dean, even Peter Moore’s new book Vroom by the Sea. We also get the dubious accolade of being the publishers of cult classic Pets with Tourette’s, The Deranged Book for Old-Timers and F in

Exams (which between them have sold 150,000 copies). Summersdale is a leading publisher of humour, gift, travel writing, self-help and general commercial non-fiction. When I tell people I work for a local publishing company, they assume it’s the friendly giant Wiley. We’re better known around the country than we are around here. At our tiny office above a


dentist’s on West Street, we can’t welcome visitors, but we would love to receive manuscript submissions from writers looking for their first break in one of our core publishing areas, especially travel writing. A lot of travel memoirs we receive are lazily put together – they’re what I like to call ‘what I did on my holidays’, where the author has pieced together their entire gap year’s worth of emails home (including ‘what I thought of the airline food’) and thinks strangers will pay good money to read them. If someone shows talent, I often send them away to take a long look at the kind of books that do well – a strong story set in an exciting or interesting destination, written with real scenes and characters that will grip the reader from page one. I say that as if it’s easy, when I know it’s not. It took me about seven years to polish my own first book, pulling together stories written for newspapers and magazines about my three months in South

Jennifer Barclay

The Joy Magazine Issue Three | March 2010

Korea, seeing if there was a way of making them into a cohesive narrative about a woman finding the soul of this little-explored country. Then I found an editor who politely showed me that half of the first chapter was unnecessary and had to go – a rookie mistake! When Meeting Mr Kim was published by Summersdale, alongside books I admired so much, it made me incredibly happy, and also somewhat relieved that I’d never have to rewrite it again. Then when Elly, our PR guru, managed to get me onto Excess Baggage to talk about it on Radio Four, I remembered how lucky Summersdale was that she was willing to commute to Chichester every day from Brighton. This little publishing company, founded by Chi natives Alastair Williams and Stewart Ferris, has drawn talent from around the country to settle here and work on a fun list that’s really

made its mark in the last few years. And we pride ourselves on being a creative bunch – writers, artists and musicians (our design and production manager is better known locally for fronting popular band I Am Jack). Alastair and Stewart started the company after writing a book about busking around Europe, and since then it’s become a company tradition to get involved and write. We’ve been shortlisted for a few awards lately so we must be doing something right. But of course we would still string underwear across our book fair stand. For information about Summersdale’s books and guidelines for submitting a manuscript, see our website Jennifer Barclay can also be found at, and at MeetingMrKim on Twitter.



The Joy Magazine Issue Three | March 2010

DIRTY CABARET At The Joy Festival 2009 Written by Rachel Billinghurst

If ever there were two words that would make me prepared to be amazed, they would have to be Dirty Cabaret. These two simple words conjure images of splendour, of immensely dark thrills and general astonishment, be it from shock or awe. Thankfully, this night well and truly lived up to its name, and was very much worthy of the ‘over 18’s only’ tag attached to it.

Sac the Clown

Illustration: Zoe Scammell


Inspired by such diverse themes such as Burton’s Red Triangle Circus, the boat ride from Charlie and the Chocolate Factory and the child catcher, the Dirty Cabaret’s organiser, Cat Gillison explained that her desire to stage her cabaret nights was borne from “boredom of the same old same old in the Chichester nightlife, and of Chichester’s clear need for alternative entertainment, such as circus performers at gigs.” Furthermore, despite the fact that the evenings could take anything up to 6 months to organise, Cat claims an immense satisfaction in seeing her ideas come to life, and this sentiment itself, of having an idea and having it come to life is exactly the lifeblood of Chichester’s I Am

Joy organisation; who strive to breed creativity throughout the South. And a beautiful vision it was. The entertainment was sublime throughout, kicking off with live music from Brighton’s Le Band Extraordinaire (now renamed Crow Claws) whose use of enticing synths and soothing wind instruments juxtaposed with a frenetic beat and driving bass give an insight into what mixing QOTSA, the Arctic Monkeys and a child’s music box together would (probably) sound like, smattered with handclap breakdowns, creating songs so infectious that they MUST be danced to, despite the dark content of some of the lyrics, particularly sinister throughout Control. Frontman Jez Berns was pleased to have been approached to play the Dirty Cabaret, as it would give them not only both the chance to play to a new audience, but also to be able to see how Birdeatsbaby have progressed since they last played together around 18 months ago. I’m sure he wasn’t disappointed. The quintet combine haunting


All photographs courtesy of Steve Kennedy

The Joy Magazine Issue Three | March 2010

Photographs (clockwise from bottom left) Monsieur Porpourri Le Band Extraordinaire Mark Ulrich breathing fire Sophia St. Villier Kate Egerton with fire poi Birdeatsbaby

vocals reminiscent of Nightwish’s Tarja Turunen combined with highly dramatic strings and sardonic lyrics create a sound that it whimsical, yet cynical and darkly sexy, and songs that make you want to weep and dance a jig simultaneously…. Stunning. However talented these two bands are, I must admit, the highlight for me was the real-life fire breathers. Honestly being in the presence of anyone who can blow huge fireballs, lick flames and spin the fire into circles is pretty amazing. Apparently a rather commonplace talent on the festival circuit, the verve, dedication, flexibility, and frankly drop-dead amazing ability of the fire performers led to a lot of whoops of astonishment, and what’s more, we were treated to a big sexy finale, in which Donkey extinguished flames in his trousers… NICE!

When it comes to pure sex appeal, burlesque artist Sophia St. Villier, had it in absolute bucket loads. Nay, barrel loads. She performed twice, a butterfly and a paper doll routine, and brought the house down, with her confident, charming and uber- feminine brand of sensuality winning over both the male and female contingents of the audience as she stripped down to not much more than a dazzling smile. The happiness of the crowd at this point prompted I Am Joy founder Joe Worthington to comment, “Joy is felt by all, which is the most beautiful thing of all.” I don’t think anyone who attended the Dirty Cabaret could disagree - just don’t bring the kids! To find out more about future events please visit: or search for ‘Dirty Cabaret’ on Facebook



Cover design: Joe Worthington

The Joy Magazine Issue Three | March 2010

FLIES ARE SPIES FROM HELL Red Eyes Unravelling album review Grant Light

I remember once reading somewhere that the thing that made post-rock great was its taking the essentially staid format of rock ‘n’ roll and twisting it into something wider and grander, something strange and beautiful to behold, but that this same element was fundamentally also its downfall - that it could also veer into bloated, self important overindulgence, prone to lacking individuality and overt repetition. In listening to the new Flies Are Spies from Hell record I was pleased to see that they had overcome this potential pitfall by retaining a tight, measured sense of structure and demonstrated a carefully controlled sense of melodic development. Although Flies are an intense, visceral band with a complex layered


sound, the effect achieved is neither overindulgent nor cluttered, with a mature emphasis on the instruments working in devious cohesion to create a glorious cacophony; their music segues from the dizzyingly intricate guitars demonstrated in Swimming in Streets to the furious baroque assault of Mountain Language and back again seamlessly. The rhythm section provides an intense yet at the same time sublime accompaniment to the delicate forceful melodies from the piano and guitars; the use of space, texture and dynamics demonstrated throughout their arrangements belies an understanding of song-craft that bands seldom achieve so early in their career. In their manufacture of this album Flies have taken per-

haps some of the strongest identifying factors in the genre and made them all their own; the use of repeating phrases, layer upon layer of brilliant, shimmering texture and the majestic, grandiose spirit that (at least to me) lies at the heart of post-rock is present at the very core of their music. In conclusion, Red Eyes Unravelling is a fine example of its genre and an intelligent, considered introduction to Flies’ music, only to be surpassed by witnessing their electric live performances, for which the band have cultivated a sterling and well-deserved reputation. Their UK tour commences with dates throughout April into May. (See P8) For more information visit:


The Joy Magazine Issue Three | March 2010

SHADOW CABINET BRIEFING ON DEVELOPMENTS IN STREET CULTURE Dear Shadow Cabinet Minister, Whilst you are travelling from A to B on foot, by train or car there are unexpected things you may see. In densely populated areas you are likely to see images and words in places that shouldn’t be there in a lawfully functioning environment. However, there is no such thing as a fully functioning lawful environment; this is why you may see in the street, on walls, signs, doors, underpasses (to name a few) a placed, written, drawn, stuck, painted placement of expression. In the broadest sense this is known and popularly labelled as ‘Graffiti’.

Yarnbombing in Canterbury

As public urban expressions develop, the term Graffiti no longer covers every form of visual expression in the streets. The established term for a particular set of street expression is now

widely coined as ‘Street art’. To understand this term, a brief scope over Graffiti must first be looked at: Modern day Graffiti has its origins in 1970s New York and became a major fixture in international public knowledge in the mid 80’s. At the very root, the original Graffiti way of expressing oneself was and still is the repetition of writing a name (individual pseudonym identifiers). The painted lettering for these names developed stylistically and extravagantly, from the simplest or quickest forms of ‘tagging’ territory to more detailed, larger pieces using varied colours. The greater exposure of a ‘tag’, the more respectful they become to their peers and achieve more value. This value manifests itself in many factors encompassing; risk, coverage (territory) and style. “…Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we’re a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.”(1) Sandra “Lady Pink” Fabara, Graffiti Artist (continued overleaf)



The Joy Magazine Issue Three | March 2010 around each other, as polite respect develops through knowledge of etiquette in expressive street systems. There will always be unofficial daubing, comments, characters, gum, willies, shapes, patterns, spittle, fingerprints and discarded food; traces left deliberately for others to find thereafter, for better or worse.

Mr Wrong

To draw this report to a close a quote from Cedar Lewisohn, the curator of the recent show ‘Street Art’ at the Tate Modern: The term ‘Street art’ is now agreed to cover many aspects of public expression that isn’t Graffiti (2). Street Art can take the form of wheat pasted posters, stickers, stencils, drawings and now is also fast encompassing developments of guerrilla gardening, light projections, and Yarn Bombing (the positioning of knitted, often colourful fabric wrapped around trees, poles, and objects in the street.) Street art (through motifs, phrases, slogans etc) communicates an idea rather than achieving ‘name fame’. Street artist Blek Le Rat, was originally influenced by the New York Graffiti from the early 80’s, but believed that American styled graffiti lettering wouldn’t work with the architecture of Paris and so decided to spray stencils of rats running amok, believing them to be the only free living creatures of the city (3). Within the displays themselves, Street artists tend to provoke more of a reaction to a specific idea, be it politically inclined or social commentary. Graffiti was in its original state, an urban social phenomena, a form of social commentary and idea in itself. The popularity with the arrival of Street art has provoked some amount of animosity in the urban expression environment from Graffiti artists. This comes as no surprise taking into consideration the value Graffiti artists place on territory in conjunction with the amount of history now attributed to their craft. Street Art’s coexistence with Graffiti is currently in infancy and through hook, crook, trial & error, they will eventually coexist


‘The difference between graffiti writing and street art is as great as that between, for example, jazz and techno music. Just as techno could arguably never have come into existence without predecessors such as jazz and blues, street art derives from graffiti writing. There are, of course jazz musicians today who work with techno and there’s jazzy techno if you want it. No genre is ever pure. Similarly, many street artists will have come to their work through an interest in graffiti writing

and may even do a bit of graffiti on the side. Many hardcore graffiti writers don’t like street art, just as some purist jazz musicians don’t have much time for techno.’(2) Matt Redman 1. Chang, Jeff (2005). Can’t Stop Won’t Stop: A History of the Hip-Hop Generation 2. Lewisohn Cedar, Street Art: The Graffiti Revolution, Tate Museum 3. Blek Le Rat talking in Bomb It (2007) Director: Jon Reiss


The Joy Magazine Issue Three | March 2010

GUINNESS & CHEESE So, what are your main influences? Stockholm, 80’s 90’s digital music, culture, skateboarding in Barcelona, it’s changed a lot now though! Your style has changed over the years, what are you working on at the moment? Erm, realising now and looking outside the UK, I’m taking inspiration from the Netherlands and maintaining my own individual style whilst taking influence from the Netherlands wildstyle, but adding my own funk and power to keep representing the Uk.


Just quickly, Guinness or cheese?

Situated in a local pub with Chichester’s most prolific graffiti artist I found out what’s been going down in a subculture that seems to be bombarded with misinterpretation, ideals and loudmouths. Graffiti is about style not fashion. Here “Kwid” separates the Guinness from the cheese and lays it down to those who are unsure of shortness. You’re writing “Mr. Wrong” at the moment, you’ve not always stuck to the same name like most graffiti artists, how come?

Guinness mate, with out a doubt. Where’s the most memorable place you’ve painted? Slovenia and Berlin, Berlin was good. Graffiti artists seem to knock street art. Or stencils? Because they are done on the street and called graffiti by the media. Where do you stand?

Its like being a schizophrenic, its not uncommon in graffiti artists, once you’ve got your style down, people recognise your style so it doesn’t matter, people know its you. It’s about experimenting to see how strong your style and technique can be, once you’ve got that down you should be able to master all the letters of the alphabet.

None are the same! Graffiti is about symbolising letters. It’s like fruitbooters, skateboarders and BMX-ers, they are all part of the same genre. They’re just different, But seeing a stencil on a train…. that looks shit.

You’ve been involved with graffiti for a while, how long and when did you first become involved?

If you could paint anything, what would you paint?

I’ve been bombing for 10yrs, I was never really into Graff; it came from skateboarding around Europe where Graff took over from skateboarding.

Trains, Trains, Trains, Trains, and more trains. Whatever really I’m an opportunist!!!

How did it affect your lifestyle? Yeah, I became an insomniac, looking for the latest spot, I was constantly thinking about concentrating on Graffiti. It’s like a drug, but with a different edge.

Situation and photos are most important, it depends on whether it’s legal or illegal, and you can’t just be scrappy with it. Sketching up has to right. It’s got to be professional and clean, placement on the wall is also important... you’ve got to keep stepping back to get that funk. Backgrounds too. Sometimes you have got to keep going back.


When you paint what key elements are most important to you?




The Greek deity Proteus, a seagod, you could say was the first impersonator. It is written that he could not only mimic people but would even transform to a leopard, a pig, a tree or even water. I wonder if he has any stuff on YouTube...? Everyone has at least one good impression or funny voice in them. Be it the voice of your parents, teacher or boss. These people are usually figures of authority. There is an element of mockery, but also of flattery. At least that’s how I justify it when several of my bosses have caught me entertaining my work colleagues. I’m sure Proteus is smiling at some of those impressions somewhere. I started doing impressions when I was 5yrs old I think. I remember copying the meow of my Aunts cat and her being slightly bewildered. Then it was regional accents. My cousin was from Manchester and I would decide to be Mancunian for a day. It wasn’t always for laughs but for people genuinely thinking that I was from elsewhere. As a chubby teenager it was desperately trying to pull girls using funny voices and impressions to some mild success (Proteus smiles). Impressions used to be big business in Britain. The comedian Mike Yarwood in the 70’s regularly attracted 10 million viewers a week. In the 80’s, Spitting Image was a huge success due to its topical appeal. It launched the careers of Harry Enfield, Alastair McGowan and Steve Coogan. For the 90’s, ‘impressionry’ (my new word) evolved into character comedy, with comedians creating believable three-dimensional figures that didn’t rely on racist or misogynistic elements but were funny in their own right, such as Steve Coogan’s Alan

The Greek deity Proteus


Pete Walsh

The Joy Magazine Issue Three | March 2010

Partridge, a hybrid of every British chat-show host from the last 20 years with pathos and cringeworthy-ness thrown in. Since 2005, YouTube has allowed budding bedroom-impressionists to upload their own clips. I myself have taken advantage of this. Criticism is immediate, with people freely stating whether your Terry Wogan impression left a lot to be desired or your Christopher Walken speech truly moved them. Many users have posted videos of themselves performing up to 50 different voices in one routine, and have earned millions of views. Some play all parts in a scene then edit them easily on their computer. Technology has revolutionised ‘impressionry’ (last time). Talent and practise will always be more beneficial than technology. For me, Kenneth Williams was one of the true greats. In the 80’s towards his decline in health he voiced a children’s animation called Willo the Wisp. Rather than voicing each individual part, he would read the whole script in one, alternating between each character. I’d like to see him turn into a leopard though.... Pete Walsh is an impressionist and comedian. His work can be found at : *Pete apologises for the awful title of this article.


The Happiest Sausausage Mike Stout

The Joy Magazine Issue Three | March 2010

SUBMISSIONS We are looking for short, snappy journalism/ creative writing. We will not consider anything over 450 words unless you approach us first with a stonking good idea. Send us your news, views, feedback, creative writing and journalism to: Include a title and a brief description of yourself with any relevant links. We accept submissions from all ages and abilities, but on a first come first served basis. Our next issue deadline for submissions is Friday 4th June. Illustrators: send us samples of your work as we may ask you to illustrate articles and creative pieces.


Please send enquires to:

ACKNOWLEDGMENTS Great thanks are due to Jim Shimmer and Matt Redman for the invaluable help they both gave in saving the magazine from the infected spleen issue. Thanks to Tim Sandys-Renton of Chichester University’s Fine Art department for his continual support and to Matt Gray for collecting such touching tributes to Mark Horwood. Thank you also to all the contributors and supporters, and to Chris Chapman’s bumbag.


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