THE LAKE WE ARE FOOLISHLY Ambitious
#21/ 150618 “No. This is only the land of take-what-you-want. Anarchy means “without leaders”, not “without order”. With anarchy comes an age or ordnung, of true order, which is to say voluntary order... this age of ordung will begin when the mad and incoherent cycle of verwirrung that these bulletins reveal has run its course... This is not anarchy,
Eve. This is chaos.” - Alan Moore, V for Vendetta
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Stalker 10 Un/Settled 38 Eat Crow 60 About Town 66
News Wax Junkie Print Run Plimsoll
04 70 74 76
ART: Mongezi Ncaphayi Matthew Hindley
MUSIC: Fuck Forever
LIFESTYLE: Sailing the seas of cheese Ride the lightning
cONTENTS PHOTO Salym Fayad
Hayden Phipps Greg Allan / Bex Nicholas Stefan Naude Lighting Retouching
Photography Cover Art Direction Big Time Studios Naomi E’camara
David Wein Oliver Kruger Mosako Lowsso Chalashika Hayden Phipps Sydelle Willow Smith Simon Spencer Gerhardt Coetzee
Jacqueline Flint Simon Slater Richard Kilpert Xavier Nagel Rick De La Ray Joubert Van Staden Dan Charles Olivia Rose Walton
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NEWS VANS X MARVEL COLLECTION Sharing a rich heritage rooted in creative expression and empowerment, Vans and Marvel join forces once again to launch their largest collaboration to date. Celebrating the “Off The Wall” Super Heroes of the Marvel Universe, Vans introduces an extensive range of co-branded footwear, apparel and accessories featuring an all-star roster of iconic personas including The Avengers, Black Panther, Deadpool, Iron Man, Hulk and more! The Vans x Marvel collection is an epic collaboration. INFO: www.vans.com
BLK JKS & Alekesam BLK JKS & Alekesam with Hugh Masekela ft. Selema - THE BOY’S DOIN’ IT - The BLK JKS return, with their first wax in 9 years to pay tribute to the late great Hugh Masekela in this stellar cover of his song - THE BOY’S DOIN’ IT. Made especially powerful with both Bra Hugh’s son, Selema of Alekesam & Selema his nephew on vocals.The flip side of the 7” is an otherworldly extended family affair with Bra Hugh, his son Selema & Sunny Levine of Alekesam on the song IN AN AGE. INFO: www.permanentrecord.co.za
adidas Originals / Trevor Stuurman To mark the return of the Samba, one of the most beloved silhouettes in 3-stripes history, adidas Originals South Africa turned to Trevor Stuurman to bring to life a local campaign featuring photographer Uno Gondo and digital curator Lindiwe Ngubeni. Released in the 1950’s as an indoor soccer model, the Samba has since firmly cemented its position in both sport and culture. On home ground, soccer is the most widely played community sport, with the game and its traditions bringing unity to the people. INFO: www.adidas.co.za
Sony Alpha a6500 Meet the A6500 — the APS-C interchangeable lens compact camera that puts the power to shoot professional-looking stills and movies solidly in your hands. An enhanced buffer for continuous shooting of up to 307 shots, in-camera 5-axis optical image stabilization, touchscreen control, super-speed AF and High-density Tracking AF Technology extend the range of your shooting capabilities. This product is compatible with Final Cut Pro X and iMovie INFO: www.ormsdirect.co.za 04
DARE THE UNKNOWN
#PALLADIUMBOOTS THE LAKE
NEWS NEW BALANCE / Numeric Performance meets everyday style in our New Balance Numeric 440 men’s skate shoe. A reinforced toe helps resist wear and tear, while a foam wedge in the heel adds soft cushioning. A mix of suede, perforated leather and durable synthetic create next-level style you’ll love on and off your board. The suede and mesh upper provides comfort and durability, while the Ndurance rubber outsole delivers superior grip and durability. INFO: www.newbalance.co.za
Art Eat Art Art Eat Art is a South African based online art prints and designer toys company with an unhealthy obsession to root out the most groundbreaking artistry from around the globe, works from Ron English, Frank Kozik and Butcher Billy are some of the international artist we have on showcase. We are pretty much into everything amazing and would like to offer our vision and astounding fountainhead of finds with you. May your collection stand strong, have fun and never grow up. INFO: www.arteatart.co.za
Sony Alpha a6500 that puts the power to shoot professional-looking stills and movies solidly in your hands. An enhanced buffer for continuous shooting of up to 307 shots, in-camera 5-axis optical image stabilization, touchscreen control, super-speed AF and High-density Tracking AF Technology extend the range of your shooting capabilities. This product is compatible with Final Cut Pro X and iMovie INFO: www.ormsdirect.co.za
PUMA / Outlaw Moscow - a.k.a AYTΛO For their latest SELECT Collaboration, PUMA partners with up-and-coming fashion brand Outlaw Moscow (a.k.a AYTO). From the streets of Russia’s capital, designer duo Maxim Bashkaev and Dilyara Minrakhmanova are behind Outlaw Moscow and have a reputation as an independent brand standing for diversity and freedom. The debut PUMA x Outlaw Moscow collection is a fusion of streetwear and high-end fashion, grime and luxury. INFO: www.pumaselect.co.za 06
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bers; and providing a sense of community. The team behind Work & Co thrives on connections, networks, and relationships – creating a platform for connection; and so accelerating business opportunities. We endeavour to give our members a supreme working environment with facilities and support networks so you can get to the important stuff.
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> Creative Director - Lulama Wolf
Photography - Andile Buka
Lulama Wolf adidas Originals ARKYN is more than a sneaker, it’s an idea
In celebration of the launch of their latest female-focused silhouette, ARKYN, adidas Originals South Africa turned to Lulama Wolf to conceptualize and create a local lookbook while also sharing her perspective on culture, creativity and individuality. We sat down with Lulama to weigh in on the conversation and get her insight within a South African context.
Self-expression requires so much bravery - How have you found the courage to start creating and sharing your art? Self-expression happens naturally, what requires bravery, in my opinion, is sharing your art and the ability to create. I have been fortunate enough to be surrounded and inspired by some of the greatest artist’s of my time and have learned through their work, about bravery. It becomes a self-confidence issue when an artist has to share their creation with the world and what ever happens after that shouldn’t matter a great deal. As an emerging artist in an industry as tight gripped as the art industry, bravery is compulsory. As an emerging female artist in South Africa, what motivates you in moments of self-doubt? Self-doubt motivates me. I have had moments of imperfection while creating and those moments mean the most to me because I am never aware of the beauty that my moments of self-doubt create. I have been painting for most of my life and learning the art of pottery for about 4 months and that has taught me to be more expressive with the things I’d like to share.
How are you balancing what you keep IRL and what you share on social media with regards to your artistic journey? How important is keeping your online community informed with what you are up to while you create?
affect each other as it is a gateway to touch on environmental and societal issues and those issues rest on the backbone of culture.
My online presence as artist vs. my online presence as a digital content creator are different because I am more cautious about what I put out artistically as it is more personal and tells a more intricate story which I’d love to be experienced offline first, followed by online at a later stage. I consider myself very lucky to balance the two and still maintain my understanding and love for art.
I have been working with adidas for about 3 years and what I appreciate about the brand is that it gives you freedom of expression and creative control. It inspires a creative to create a momentum that most lifestyle brands don’t offer because it isn’t all about them. adidas has tailored it’s aesthetic to support those that are on a creative journey because that makes the brand relatable and diverse.
How does culture influence you as well as what you are create and how do you stay true to yourself in this process?
#TLKS is a global platform, which inspires creators to initiate an open dialogue and share their perspectives on various topics. The diverse panel and conversation is inspired by the core values of the ARKYN campaign, celebrating the multi-faceted, creative mindset. The full TLKS and Q&A can be found on the adidas Originals youtube:
Culture is a prominent influence in how I get to know myself as artist, I am a Xhosa woman exposed to different cultures and that has helped the bulk of my work. One can argue if art shapes the mood of culture or if culture shapes the perspective of art but I believe that they do
How best do you see the adidas brand empowering those on their creative journey?
INFO: www.adidas.co.za INFO: @adidasza / #ARKYN
Model: Lulama Wolf - @lulamawolf / Make-up Artist : Khumo Ngwenya - @mkasouthafricabeauty Assistant stylist: Azania Forest - @azaniaforest / Photography - Andile Buka - @buka_andile THE LAKE
> WORDS - RICK DE LA RAY
PHOTOGRAPHY - DAVID WEIN
STALKER DAVID WEIN “Hometown territory and the people youre forced to be surrounded by will naturally have an effect on you as you move through your formative years. It definitely bread a sense of resilience in me but mostly developed a taste for mischief and curiosity.” Where did it all start for you? What is your earliest memory of a camera?
bred a sense of resilience in me but mostly developed a taste for mischief and curiosity.
My father was a D. O. P so it was almost decided at a young age that I would follow suit. So I’ve been around cameras my whole life. My earliest memory I’d say, was from when I was about 7 and my dad brought me onto the set of his movie Death Train, sat me down next to the camera and instructed me to stare at the wall while all the cameras were pointing. I, being 7, was confused and bored, and was starting to lose the patience needed to keep staring whilst all the checks were getting called around the set. I kept looking up at him while he was looking through his viewfinder in total awe, he had real presence. The first AD checked if everyone was happy and then, ‘3,2,1 Action!!’ followed by a fuckin’ train bursting through the wall I had been staring at. I think I tried to run home.
When you first started taking pictures what was your original approach and are you still focusing on similar subjects?
Where did you grow up and do you feel it has influenced your work in any way? Johannesburg and yes of course. Hometown territory and the people you’re forced to be surrounded by will naturally have an effect on you as you move through your formative years. It definitely
I think my approach was initially far more technically focused. Trying to figure out how to take just a genuinely good photo in a traditional style. I’m a firm believer in being able to technically back up whatever it is you’re doing especially in an artistic format. I’m definitely focusing more now on concept, and developing narratives and series that affect people on a deeper level, rather than merely aesthetically pleasing stuff and hopefully will be able to constantly refine both spheres, technical capabilities and impactful content. What drives you to capture an image? What type of situation appeals to you? To create balance in otherwise chaotic instances to find small wonders that would otherwise pass us by. You are exceptionally good at understanding lighting especially in dark badly-lit
HIGH FIVES Felix Laband
4/4 Down The Stairs
Noah and the Whale
Fresh Fruit for Rotting Vegetables
The First Days of Spring
African Dope Records
rooms - How did you acquire this particular skill ? It comes back to having a solid technical grounding. Know your gear, know your stock and adapt yourself to the situation. Badly-lit dark rooms offer a huge advantage as all the areas of light are accented. I shoot mostly in dark, moody spaces as I try to reference influences I have, such as Edward Hopper’s Night Hawk for example. How do you go about choosing the subject matter of your images or do you allow it to come spontaneously? I let subject matter grow organically. Where I am, where my head is and what’s next in my current state of being will all tie in to creating subject matter. The subject is not normally about me, but more about reacting to the environment I find myself in. The strive is to create something I feel is a genuine reflection. What would you say is your preference between colour or black and white images; do you decide beforehand what format you will be shooting in?
I mostly shoot in colour in an attempt to create a spectacle. The world is a barrage of colour, why not show it? Preparation is key when dealing with this so yes, absolutely. What other work are you currently doing when you are not shooting and are you aiming to become a full-time photographer? I produce and write music which is another all-time passion of mine. The EP is in the works. I can see myself working with cameras and sound for my whole life. But otherwise? I mop a lot of floors. How do you see your work evolving; do you see yourself dabbling in cinematography? Completely. Walking in my father’s footsteps seems to be a theme in my life. I would love nothing more than to shoot and score my own movies. What camera are you using at the moment and what makes it relevant to the type of photography you focus on? Pentax Sp 1000. It doesn’t, it’s just a camera. I need THE LAKE
to use an SLR to achieve certain looks I go for; Pentax have a great system, as shown by the decades that my shutter’s been going, and it’s incredibly versatile. Which photographer(s) would you say has had the most influence on you as a person? My father. What is the most uncomfortable moment you have encountered so far while shooting? Having a preacher slowly and ominously drive past the set-up I had unknowingly made outside his house. The set was a pink doll’s house on a long dirt road in the middle of a storm. The model was shirtless. Needless to say the awkwardly long drawn-out stare we received from our man of God was not very pretty. My question is, what the fuck was he doing out at that hour? Are you busy with any projects at the moment? A few. INFO: @Future.david 15
> WORDS - Percy Mabandu
PHOTOGRAPHY - OLIVER KRUGER
Which Way is East? Mongezi Ncaphay
Mongezi Ncaphayi’s latest body of work – produced for his 2017 solo exhibition, Which Way is East? registers a fresh iteration in what is becoming the young painter-printmaker’s unfolding search for the sublime. This new selection of work comprises a series of vast horizontal vistas of abstract formulations; works on paper that grow and extend the pictorial vocabulary of his previous works; works that seem to notably privilege his interest in the art of painting over the medium of print-making.
Ncaphayi’s new paintings employ rich, dynamic, spreading expanses of light, colour and marked planes on paper. The work presents us with a kind of boundless energy and limitless space that speaks to an artist bent on crafting a cartography towards the profound – pictorial maps to the sublime in an age of trivial joys and the politics of popular bruising.
measured surrender. It is the same kind of thoughtful, searching submission to mystery we find in the jazz record he marshals to name his most recent solo exhibition – Which Way Is East. Recorded in January 2001, the album is a result of a musical conversation between masterful saxophonist, Charles Lloyd, and his lifelong friend, sagacious shaman drummer, Billy Higgins, who was learning how to embrace his imminent death following a long battle with cancer. He passed away five months later, in May 2001. The hallowed music they make together beautifully matches Lloyd’s sublime melodic styling with Higgins’ high-powered rhythmic formulations. It issues with refreshing, spontaneous ventures as the duet enter into some of the most intimate musical conversations in the history of recorded music. They are as tender and energetic as a river and, at times, as wide as the panoramic blue yonder.
If we think of cartography as a science or aesthetic practice that builds on the premise that corporeal reality or its imagined variant can be modelled to communicate spatial information, then Ncaphayi is in the business of teaching us how to navigate, illustrating the nature of its affective force. His work points to his interest in harnessing the power of abstract painted forms and jazz music, along with their capacity to speak to the grand and awe-inspiring world within man. The two forms share a focus on rhythm, tone, and willed intensity as potent carriers of meaning. Abstraction in painting provides him with abundant precedence in his apparent pursuit of something deeper than the everyday. As Robert Rosenblum famously observed, in the works of English Romanticist painter William Turner and others, the sublime “aims at nothing short of God’s full power, upheaving rock, sky, cloud, sun, moon, stars and sea in the primal act. With its torrential description of molten paths of energy, it locates [the viewer] on a near-hysterical brink of sublime chaos… A brink that is again reached when we stand before a perpetuum mobile of a Jackson Pollock, whose gyrating labyrinths re-create in the metaphorical language of abstraction the super human turbulence depicted more literally in Turner [et al].” Ncaphayi’s search for sublimity, on the other hand, points us to the often-turbulent interior life of the mind and heart. In a human-centred way, Ncaphayi turns from the aforementioned pantheism toward a kind of
Mongezi Ncaphayi, Inner Sanctum II, 2016. Mixed Media, Indian ink and Watercolour on Cotton Rag. 170 x 130 cm
‘paint-theism’, in the sense that he centres painterliness in the service of his faithful search for a grand, redeeming meaning. The 34-year-old artist’s work does not register the sublime with regards to grand, wanton energy, but rather a will to an elegant, calculated navigation of man’s awesome interiority. Ncaphayi’s work plunges his viewers into a spatial infinity that requires a kind of THE LAKE
Ncaphayi seems to have eavesdropped well. His listening has resulted in paintings that consist of expansive coloured voids and washes, rhythmically varied with tone and light values; the variations and mutations of intensity, translucency, and opacity occur on the picture’s extensive plane at intervals that resist predictability. The other apparent registrars of a plot or meter come from a rhythm of lines and other marks of complementary colour that chart the implied boundlessness. There’s the suggestion of something akin to the ever-perennial struggle between intuition and reason. It’s clear that the washes of colour – which function as the bases for the galaxy of the ultimate work – are created employing random splashes of wet paint. Their clear, unpredictable shape and texture are a metaphor for chance, which is a vital ingredient in Ncaphayi’s process. This centrality of process in the art-making method speaks to his jazz sensibility too; an artistic willingness to forego the safety of tested pictorial solutions for the risky business of the intuitive search, employed by the jazz improviser. 17
Mongezi Ncaphayi, Maiden Voyage, 2017. Indian Ink and Mixed on Canvas. 200 x 800cm
Mongezi Ncaphayi, Corridors and Parallels I, 2018. Indian Ink and Watercolour on Cotton Paper. 136 x 124 cm.
Mongezi Ncaphayi, Corridors and Parallels II, 2018. Indian Ink and Watercolour on Cotton Paper. 136 x 124 cm.
As a competent saxophone player, Ncaphayi’s creative ventures into the realm of music permit him to answer questions of pictorial composition with a jazz man’s improvisational dexterity. In jazz, to improvise is not merely to make things up as one goes along, but to be tested to reach into the more profound and inner regions of one’s consciousness with the least mitigation of rehearsed reason. It is to be challenged to be elegant and unguarded at once.
Where our waking minds might fail us in the search for methods of navigating life’s often raging, tumultuous, Turner-esque visions, Ncaphayi’s work points to a disciplined voyage into our profound inner vastness. It challenges the viewer to trust in the mythic, musical order of improvisation in order to find the most sublime manifestation of human vitality: elegance.. INFO:www.smacgallery.com
Mongezi Ncaphayi, Mirage, 2017. Indian Ink and Mixed Media on Paper. 199 x 140 cm.
> WORDS - JOUBERT VAN STADEN
PHOTOGRAPHY - Mosako Lowsso Chalashika
Sailing The Seas Of Cheese Vans - Gaborone TRIP It’s a strange feeling not knowing what to expect from a city that’s only a few hundred kilometres from your hometown, literally just across a border that’s even closer than Durban. It was the perfect destination for a trip for the newly-formed Jozi Vans connection of Trae Rice, Brendan Dyamonds and Tkay Modise. Wynand Herholdt and I, with our photographer and guide for the trip, Mosako, made our way up from Cape Town to start our bitter-sweet journey to Gaborone. Mosako hails from Gaborone and has been crafting his photography skills in Cape Town for the past few years. He has been working to put Botswana on the map and was a big influence in making this trip a reality. By constantly pushing the local scene and getting kids involved he had now succeeded in bringing over a proper skate trip from SA to his valley. While it’s always a good idea to have a tour guide in a new city, this time we were even more fortunate enough to have an insider’s guide who not only knew the city but had a trained eye for capturing moments along the way. Before Mosako, I hadn’t seen or heard of any skate content coming out of Gabs, which is hard to believe as the city is pretty skate-friendly; smooth roads, nice pavements and good architecture. The trip started with Brendan’s car getting stuck in a huge puddle on a 100km stretch of dirt road not far from the border. After bouncing the car out of the water by moonlight with the aid of a few helpful travelers, we were given advice to ‘Back up, get into 2nd gear and accelerate as you hit the water…’. It didn’t sound kosher to me as we weren’t in bakkies, but convoying in a tiny rental trailing behind Brendan. However the silver lining was that after knocking off about 34 more baby rivers, we had now acquired the life-skill of driving micro-machines through swimming pools.
off-duty cop. “It’s dangerous out at this time, get in...” he said. Once in the car he was shown the stranger’s firearm, and taken with to go get beers and pick up another dude, before being dropped back at our Air BnB. My first instinct would have been obvious - don’t get into anyone’s car after midnight, especially if the dude shows you his gun. But things are different in Gabs. People look out for one another and are always friendly. Plus skateboarding is fun when you’re in a place where it hasn’t become a general annoyance and where people are intrigued by the skill and good energy it carries. On our first day Wynand jumped a small fence to get into a Government building, trying to check out what we could do with all the smooth marble. Within one minute the security guard was charging towards him, but by the next the two were all smiles and hugging. Turns out from the moment the guard heard Wynand speak Afrikaans he was stoked on everything we did. On more than one occasion we were actually welcomed into tall, fenced-off office complexes to see how the marble would grind. It was as though security guards were more interested in getting a selfie with us than con-
cerned about the scratched paint. Brendan took advantage of this every chance he could; he is the newest addition to our squad, and he brings a lot to the table. There is no spot he won’t charge and he always keeps the motivation going. He was also one of three handpokers on the trip, which meant tour tjappies got handles quick! This trip was a Australian accent training course for Tkay and Brendan, just thinking about their ‘Big Les’ impersonations puts a giggle in my talk. I feel like I’m stuck in the 90s when I examine TKay’s fashion, he’s tip top in that regard. He had no problem keeping his pants dry when our suburb started flooding. The rainfall felt bleakly similar; humid, drawn out and with almost no chance of sunlight on the horizon. Depressing, to say the least, for our purposes. With water running down the walls and dripping from the kitchen light of our Air BnB, it was time to get out of town and track down a 12ft concrete halfpipe. That’s right, the Government built the most insane Skate ‘picnic’ area in Lobatse that’s built better than most of the parks in SA. After Mosako showed me a picture a few months back, I knew we had to make a mission here, even if this is the only thing we skate. It’s a rare thing coming
HIGH FIVES Siouxsie and the Banshees
Sailing the Seas of Cheese
Satan Worshipping Doom
1978 - 81
Once Upon a Time
There’s something about Gaborone that’s strangely familiar, similar to Jozi and also much like any other city we’ve travelled to, yet there’s a sense of compassion in the air that the people show towards each other every day. We realised the full extent of this halfway through the trip when Trae, unable to sleep, walked out to buy cigarettes in the middle of the night. Trae has a knack for making friends wherever he goes. He’s a charming dude - charming at lunchtime, not breakfast. But walking along the road that night, he was approached by some dude in a car, claiming to be an
There’s something about Gaborone that’s strangely familiar, similar to Jozi and also much like any other city we’ve travelled to, yet there’s a sense of compassion in the air that the people show towards each other every day.
up on a skate structure of this size and angles that havenâ€™t really been skated before. There were some lengthy procedures needed in order to get ourselves anywhere near the thing and lucky for us Mike, one of Mosakoâ€™s homies and a ripper on the board, took all those efforts onto himself. Thanks to his efforts he made it possible for us to skate the sickest concrete in Africa. The day was spent with good vibes, new choms and more than enough skating for a rainy day on tour. As the days pass by, our bodies slowly wear out; Gaborone was exactly what we needed, 8 days of searching to destroy takes its toll. Thanks to Warren and Leeman at VansZA for getting so many different personalities funneled into one direction.
Color Theory Inspired by Individual Expression Vans, the global icon of creative expression, introduces the Color Theory collection, an extended offering of unisex footwear inspired by the beauty that comes from the creative output of individual expression.
As the boundaries between menswear and womenswear continue to blur, silhouettes are no longer constrained to traditional gender representations. Upholding the value of creativity, the Color Theory collection can be mixed and matched by anyone to define their own personal color spectrum. Unisex footwear has been part of Vansâ€™ design make-up since first opening in 1966, allowing fans to make any design their own. The Color Theory collection is featured on the Vansâ€™ five Classic icons; Authentic, Classic Slip-On, Era, Sk8-Hi and Old Skool.
PHOTOGRAPHY: @rickrodneyphoto / Talent: @siiickbrain / @torraine / @debnever @shammaurice / @marleycamacho
> WORDS - Dan Charles
PHOTOGRAPHY - HAYDEN PHIPPS PHOTOGRAPHY LIVE - laura.mccullagh
FUCK FOREVER The Medicine Dolls
“I don’t really consider myself a talented musician at all but I do think that there is something to be said for just being honest. Where I come from, when I’m writing my music, is a place where it’s all about baring all of your shit without editing, glorifying or dumbing down anything.” What’s the use between death and glory? That question, posed by Pete Doherty, isn’t simply an exultant and unsubtle homage to The Clash made to impress Mick Jones. It’s a contemplation of the purgatory between the ecstasy of success and the utter misery of failure that one might find oneself trudging through - particularly in the world of a working musician. Is the pain of fighting through that space worthwhile when one side so often ends up being a cyclical means to the other? I’m sure that this is a question that Greg Allan, the frontman of Cape Town based garage rock band The Medicine Dolls, has asked himself from time to time. However, for an artist like Greg, that question is futile. Adorned in a leather jacket, a wedding garter slid over the thigh of his tights and hair that looks as if it’s being held together by the tears of Robert Smith - Greg has torn himself apart across stages all over South Africa for many a year in pursuit of that aforementioned rock ’n roll glory. This pursuit found The Anti Retro Vinyls - an indie rock band consisting of brothers Chris and Carl van Reenen and Harry and Greg Allan - moving from Durban to Johannesburg in 2013 after being signed to independent music label Just Music. But the success of a record deal and an affably received debut album was shortlived as the band imploded towards the end of that same year. Greg soon found himself without a band, moving back to Durban and waning ever further away from glory and leering ever so closely to the opposite end of that scale. “I was doomed after the breakup of that band. I mean, it was my brother and my two best friends in the world and none of us were talking. I was a very broken person. But then I moved back to Durban for about a week and that was when Bex came back into my life. She found my suicide note, man.”
at the time, had reached out to him upon his return to Durban at a time when he felt as if all of his bridges had been burned. “At that time there were a lot of lines drawn in the sand so I didn’t feel like I had any friends - especially not her because of the drama that we’ve had in the past. But she had heard that I was in Durban and she sent me a message to know if I wanted to hang out and I was like: Yeah, that would be amazing! I have no one else.” After weeks of consolation, Bex convinced Greg to move back to Joburg to give the band another try and, one Facebook status later, the second iteration of The Anti Retro Vinyls was formed with Sarel Reynolds and Tate Sutton (two COPA-trained musicians with exceptional hair), and the band was gigging within a week of their formation. But the vindication of the band’s reformation was shortlived. The murkiness of an underlying drug problem was beginning to corrode the band’s relationship with their label and, ultimately, each other. “Once CAT got a hold of us, it went to a really dark place. We weren’t recording anything at all and we
were too fucked up to approach our label in a professional way so we built up this animosity in a very juvenile manner. Once that starts happening - it’s not fun and games anymore.” At the time, Bex had moved into a “nasty little cottage” in Melville with Greg and was working in a strip club while Greg resorted to selling drugs and instruments on top of frantically gigging in order to cover their rent and fund their lifestyle. This unsustainable situation led to the inevitable demise of the band and the decision for Greg and Bex to use what money they had left to buy two tickets to Cape Town. “I looked at Bex and said: We’re going to move to Cape Town, I’m going to teach you how to play bass and we’re going to start a new band. In the last band, I had chosen members based on different things and this time I just wanted to have a band with nice people. I didn’t care if she couldn’t play, she was a lovely human being and that’s what I was looking for at that moment.” That band became The Nasty Narcotics - a name that would be shortlived due to a devastating case of di-
HIGH FIVES Joy Division
Up the Bracket
Bad Music For Bad People
The Jesus and MARY CHAIN
Blanco Y Negro
Bex Nicholas, who would eventually become the bass player for The Medicine Dolls, an ex-girlfriend of Greg’s who was managing a scuzzy pub in Pinetown THE LAKE
vine intervention in the form of Greg being Ubered into a hospital after an overdose. “Once I had come to and I was lying in the hospital bed thankful to be alive, the nurse asked what I did and I told her that I played in a band. She asked what the band was called and there was this pause in the fucking universe while I was lying there after an OD and then I said that we were called The Nasty Narcotics. She was not impressed.” The name proved to be a bad omen of sorts. Soon after Greg’s incident, their guitarist at the time was also hospitalised due to the side-effects of an evening that unfortunately proved to be too eventful - forcing him to leave the band to recuperate and forcing the band to, ultimately, change the name. “The day we changed our name to The Medicine Dolls, there was a real gear shift. Before, I always felt like there was this wall in front of me and I was kicking against it trying to make shit happen. But since we changed the name, it’s just been a forward motion.” This forward motion has led to The Medicine Dolls (Greg, Bex, and Daniel Paulse on drums) becoming one of the THE LAKE
hardest-working bands in the country right now, having already released three EPs over the course of a year as well as committing to a life of constant touring through any town in the country that will have them - no matter what the attendance is like. “We play for the people that are there, we’re not upset about the people that aren’t. A band is one percentage of a gig - if you don’t have the we’re all in this together mentality then you’ve got it wrong.” But you don’t tour through every pass-by town from Ramsgate to Vryheid just because that’s the only way to make sure that the rent is paid on time (even though that may be true in this band’s case). The music that The Medicine Dolls plays and the people in the band are everything to Greg Allan. His aggressive commitment to the life that he leads is something that he bleeds into every Medicine Dolls show and, for the duration of their set time, you are invited to share in that same commitment - to stave off death and reach for glory. INFO: www.facebook.com/themedicinedolls INFO: www.soundcloud.com/themedicinedolls 37
“All of my parents friends were white, all of my friends were white. It wasn’t really a thing. I had domestic workers. That was really the only blackness I had around me. Thats just the way it was. My great great grandad on my dad’s side, he was sent to South Africa after suffering some injuries after the war. He was set up with his family, I guess pretty nicely. You know just come to one of the colonies and start new. I remember I went to a private Christian girls school, there were two black teachers. I remember I was always one of the early kids. There were a couple of other black girls who were also early. Because they would carpool together. The Zulu teacher came in, there was only one for the whole school. She started talking about it. In the beginning of FMF people were trying to decipher whether it was a race thing. She just came in, saying after Apartheid they just left me so many threads and they have started to unwind and people have started to get mad. Thats when I started to think about all this stuff. It was pretty eye opening. ” Wes Leal, February 2018
> WORDS - Olivia Rose Walton
PHOTOGRAPHY - Sydelle Willow Smith
Un/Settled exploring white South Africans’ histories, privileges and reflections on identity
Un/Settled is a participatory project that seeks to stop forgetting. In Sydelle’s interviews and images, she is asking white South Africans to step outside for a minute – to look at the house from the outside in and acknowledge histories of migration and settler colonialism. At the end of apartheid, there was no miracle of revelation among apartheid’s captains, only a moment of political astuteness on the part of some National Party leaders and a compromise. Still, white South Africans seem to have taken the peaceful turn to genuine democracy and public acts of healing like the Truth and Reconciliation Commission as absolution. This was not absolution. The master’s walls still stood...
“Because I was born a girl, after me my mother had three sons and she had them to educate so I never went to college. I started out as an apprentice, as an architectural drafts lady and thats where I met my husband. He was in mining. We came here in 1964. I didn’t want to come, I had been boycotting South Africa before that. I wanted to go to Canada. He wanted to come to South Africa. We moved with our three babies just after the Sharpeville massacre. I found that it was very hard to find someone who had voted for the National Party. If nobody voted for them how the hell did they get in? I was involved in the progressive party, Helen Suzman’s party. I never thought of leaving. I was driven by this fact of if we could just get these gangsters out we would be ok. Ive been disappointed with the ANC they haven’t held up to what I expected. I believe that prejudice is in people. Like in Scotland the prejudice is between Catholics and Protestants. Humans beings are just prejudiced people. They’ll find something to be prejudiced against and usually it is without any real thinking. Human beings are the worst of the species. Animals don’t kill each other for nothing. I joined Helen Suzman’s party because I believe in justice. She was a lone voice in the wilderness. Like John the Baptist. The sins of the father will be past on to the second and the third generation. I used to think that is a curse you putting on. Then I thought you know its not. Its just stating a fact. That is what happens. I believe everything has to be paid for. One way or another. Who does that , I don’t know ? People who say they never had a choice, they didn’t know what was going on, its not true. Of course white South Africans are more privileged than black South Africans. We should be grateful. I think South Africa has a violent history, mankind has a violent history”. Mary Weir, born in Glasgow in 1935, Cape Town
“I come from a family of Voortrekkers. I consider myself South African, but it is still a question of what exactly South Africa means. Land means belonging. It is an existential question. It is such a given. It is very much that idea of a fish swimming in water without the concept of water. Human beings are mobile, especially Afrikaners. Even the urbanised Afrikaner middle class has a definite belonging to the land. When an Afrikaner guy gets rich he buys a farm. Whenever it is abstracted to something as simple as “giving the land back”, what does giving the land back mean? Which exact land?” Carel Boschoff, June 2017, Orania, President of the Orania Movement
> WORDS - Jacqueline Flint
PHOTOGRAPHY - OLIVER KRUGER
THE DEVIDED SELF Matthew Hindley
In 2009, I fell in love with two girls on a couch. A redhead – sleeping peacefully…passed out? – and a raven-haired, thigh-high-boot-clad beauty, looking me straight in the eyes. Whether it was the aesthetic influence of the acid-yellows and neon shot through teal that hooked me, or the sense that I had disturbed these girls, I don’t know. Painting was never my thing, really. But this painting was. It was the gateway drug, and I’ve never looked back. The painting was Matthew Hindley’s Kill the Lights! At the time, Hindley was causing a stir for switching from the modus operandi of an up-andcoming, left-of-centre new media artist, to that of a painter, exclusively. He had spent some time in Berlin, painting and soaking up the wonders of painters, including Neo Rauch and others associated with the New Leipzig School, who dedicated their practice to technical skill and figuration, without losing a sense of the fantastic and surreal in their work. Kill the Lights! belonged to a body of work called Like, like, like, like a circus, comprising a number of monumental paintings, scaled like the great masters of painting – think Adolf von Menzel – with all the titles pilfered from Britney Spears. I wrote about that show, calling it “a lilting, uneasy dialogue – a multi-faceted narrative that is as lyrical as it is unsettling…the strange sensation of being simultaneously watched and watched over. The viewer-turned-voyeur is caught witnessing private or intimate moments between larger-than-life characters whose story is underscored by a nuanced darkness. In the same disquietened moment, one is overcome with a sense of reassurance that this darkness is one that sits at the base of our humanity and a kind to which each of us can relate.” Ten years later (almost) when I visited Hindley in his studio to look at what he’s doing right now, I was confronted with a larger-than-life painting in progress. It was of two girls on a couch. One fair, one dark. One looking off into the distance, the other staring straight at me. Both girls are wearing shift dresses, purple and yellow, and the couch is strewn with other clothes.
stands social media and uses it to his advantage. He also paints his studio walls raw umber, just like the Flemish old masters and Lucian Freud did, in order to not be dumbed down by white, to feel true colour pop as he paints. He still constructs shoots with his models in his studio. In so doing he discovers the parameters of the studio as creative utopia, and surveys his capacity to fascinate the viewer by way of perceived voyeurism. The mirror also showed up shifts. Although Hindley’s practice over the last decade or so has been dedicated mostly to portraiture, he took two years off from the genre to pursue an interest in painting fires and explosions – an exploration of the sheer, sick beauty of violence to which we are all so accustomed via the media. His source images were gleaned mainly from the internet – pictures of bomb wreckage, say, captured by someone on their smart phone and uploaded to Instagram along with a string of emojis and hashtags. During this time, he did some work at the David Krut Print Workshop. He went there to discover the monotype
technique. He discovered instead that drypoint was far more interesting to him, and therefore yielded remarkable results, only one of which is the Ruin Lust series of candy-coloured drypoint prints. Drypoint is an intaglio technique, in which the artist draws straight into the copper plate with a sharp tool. The result is a line that is crisp on the inside, with a glowing halo of ink around it – the result of metal moving metal. As the artist scratches into the plate with his tool, like a plough through dirt, the copper forms a lip next to the line. Once the plate is inked up and then hand-wiped, ink remains inside the burr and is visible on the printed impression as a furry accompaniment to the line. With drypoint, it’s the artist’s hand against the copper, and the physical demands of the technique are real. Technically, the artist must also hone his understanding of drawing, because the presence of the burr is both unpredictable and greatly influential on the final image. As often happens in the print workshop, the printmaking process cracked open areas of Hindley’s practice that might otherwise have been left unex-
HIGH FIVES The Wailers
Live Through This
Label, Tuff Gong
Eric Burdon & the Animals
Fascinating Koto Vol.1
The Twain Shall Meet
I have looked at a lot of what Hindley has made between the then and the now, and in this fabulous moment of mirroring, I realised that most of what came through in that very first body of work that I loved, still holds true… He still engages with popular culture in an intensely meaningful way. He underTHE LAKE
Boy with a Pearl Earring 3, 185 x 142cm, ink, acrylic and oil on canvas, 2017
The Divided Self, 120 x 80cm, oil, acylic and ink on canvas, 2017
drawing #1, 90 x 140cm, oil on canvas, 2017 Left / Prayer 2, 90 x 140cm, oil on canvas, 2018
posed. Making drypoints re-awakened Hindley to the power of the drawn line. The effect was immediately visible in his painting practice, in which he began to favour deft line work over colour manipulation to describe form. In his studio, the walls are scattered with the evidence: in order to achieve his decisive, form-shaping lines, Hindley needs exactly the right amount of paint on his brush. To get to that point, he paints first on the wall next to the canvas, and when it’s just right, onto the canvas itself. Now that he has returned to portraits, painting once again from images shot in his studio, these preliminary and investigative lines make an appearance in the paintings too. While Hindley has always remained diligent to figuration, he has concurrently danced with abstraction. In earlier work he did this by creating abstract studies of the surfaces of his paintings – flipping canvases on their heads to let wet paint drip “upwards”, haphazardly spraying a pristinely painted ankle or crisp shirt collar with bright and unexpected colour; or speculating on the potential for abstraction in hair and fabric and flesh. In his most recent work, the forms are more crisply defined as a result of the line work, and abstraction makes an appearance via the studio walls – experiments for paintings as experiments in paintings. Hindley’s own act of painting serves as a record of the moments and the happenings of the space he occupies. But it is also an extension of the space itself – both physical and metaphorical. Hindley’s work – still – tackles the fundamental schizophrenia that comes with confronting issues of identity, sexuality and death. These days it also contains the kind of self-reflexivity and poise indicative of a kind of creative maturation. And it’s tasty, like the best good wine INFO: www.everard-read-capetown.co.za
Untitled couch painting, 140 x 200cm, oil on canvas, 2018
> WORDS - Jason Cramer
PHOTOGRAPHY - Joe Spencer
RIDE THE LIGHTNING RAD LIFE
I’m not sure exactly when BMX first started here in KZN but I remember it didn’t take long to boom. The first off-road bicycle racing I witnessed was at the old Roy Hesketh track sometime in 1981 and it wasn’t yet BMX. Most of the riders were on sturdy old single-speed bikes that had been adapted for what was then known as cycle cross.
Soon though, every kid either had a BMX or dreamed of owning one. Most started off with department store bikes and the more fortunate graduated to race ready brands like Redline, Kuwahara or GT. BMX Action and BMX Plus were both popular American magazines filled with reviews of new bikes and products as well as features on the first generation of BMX racing heroes like Stu Thomsen, Harry Leary and Andy Ruffel, who inspired countless local kids to do the same. Although the first events had only a handful of kids competing, new tracks were popping up all over and in no time at all hundreds of competitors were racing at meets all across the country. BMX manufacturers saw a sizeable market emerging here and many set up lucrative dis-
tribution deals for their bikes. Most established bicycle shops completely shifted their focus to cater to the demand, while new specialist stores opened, offering some of the most lusted after high-end products from the States. For the first time our riders were able to set up their bikes with the lightest, toughest components. Many of the expert class riders could be seen riding bikes like Patterson, Hutch and JMC just like their American peers, who they soon got to line up against. From time to time the top riders from the States were flown here to promote the fledgling sport and compete at our race meetings where a handful of local kids proved to be competitive against the likes of the American factory riders, Brett Allen, Greg Hill and Jon Anderson. Even though the strength of the early eighties Rand was comparable to the U.S dollar, these parts and bikes were out of reach for most. The kids that were not able to have these bikes rode
HIGH FIVES Mötley Crüe Shout at the Devil
Ride the Lightning
Eye of the Tiger
Born in the U.S.A.
Bob Haro became the rider that introduced many to freestyle BMX, which soon saw the sport split into two different divisions, freestyle and racing. At the same time the South African political situation sent the Rand on a downward path, which had a massive impact on the cost of these imported items in the mid-eighties.
the more affordable options like the Mongoose expert, Raleigh burner or popular local brand le Turbo but BMX bikes were everywhere. Every major town had a racetrack and in almost every suburb the locals had found a patch of vacant land that served as a makeshift BMX track, where kids would spend their weekends from sun up to sun down. Bob Haro became the rider that introduced many to freestyle BMX, which soon saw the sport split into two different divisions, freestyle and racing. At the same time the South African political situation sent the Rand on a downward path, which had a massive impact on the cost of these imported items in the mid-eighties. Inevitably the cost of these products increased dramatically in a fairly short space of time, which affected the retailers most. The inflated costs THE LAKE
played a part in the decline of BMX in South Africa. The sport no longer seemed able to attract the same number of kids while others had outgrown BMX and moved on to motocross and other pursuits. While interest in BMX was in a rapid decline, mountain bikes saw a surge in popularity and by the end of the eighties most of the specialist BMX stores had closed their doors for good. Many desirable race bikes from the early part of the eighties sat gathering dust in garages, completely neglected. Others were just given away and by the mid-nineties the odds of seeing a Mongoose or Redline BMX cruising down the street were very slim. The golden age of BMX was over. INFO: www.radlifebmx.wordpress.com INFO: www.freeagentbmx.co.za 55
AKA X Reebok / Classic Street anthem - “Practice” the release of the epic street anthem “Practice” – the fruits of an inspired collaboration between AKA, Africa’s largest selling hip-hop artist, and Reebok Classic – the world’s most iconic street culture brand.
“AKA is a fantastic fit for Reebok Classic as a brand. He personifies confidence, style and performance.” Comments PJ Morilly, Brand Director, Reebok South Africa. “There is a shared ambition of excellence between both AKA and us as Reebok, to always be acutely relevant and produce stuff that surprises and delights fans and followers.” People have been able to watch the collaboration develop over the last few weeks on social media – with a unique window into the world of sessions in the boardrooms, gyms, recording studios, clubs, and restaurants that have gone into this endeavor. The track samples an interview with the charismatic Allen Iversen – iconic basketball player, and Reebok athlete. Iversen talks about “Practice” in a way that sounds as if it his words were purpose-built to intertwine with the lyrical brilliance of AKA. “I wanted to create a Classic. Something iconic. Something timeless” says AKA “I got thinking about how there’s no shortcuts to greatness, y’know. You gotta put in the work. You want to run out of space in your safe? And trophy cabinet? You gotta sweat.” Clearly drawing on his own commitment to his craft, AKA went on to say “that lead me to the concept of
‘Practice’. When I came across the Iversen interview about practice, and realized he was a Reebok athlete, I knew I was onto something special.” “We wanted to create a campaign that did just justice to these two epic brands” said Johnny Marques Chief Creative Officer of Hats+Rabbits Advertising, Reebok South Africa’s agency of record. “People are willing to be loyal to brands, but they want true value from them. They want access, and experiences. This campaign was all about providing a window into the world of an epic colab, and bringing fans along for the ride.” Jasyn Howes of Direction Films was the Director chosen to deliver the visual articulation of “Practice” for the music video. “I’d always had the idea that it would be great to shoot a music video in a single take. This concept presented itself, and felt like a perfect fit. To execute a 4 minute, 20 second video in a single take would be the ultimate physical manifestation of practice – and completely impossible to do without a lot of it!” Jasyn went on to say “AKA was equal to the task, and then some. Top tier talent. He not only nailed it, but made it look easy”.
INFO: ReebokDelta.co.za INFO: @reebokclassics_sa THE LAKE
“I wanted to create a Classic. Something iconic. Something timeless” says AKA “I got thinking about how there’s no shortcuts to greatness, y’know. You gotta put in the work. You want to run out of space in your safe? And trophy cabinet? You gotta sweat.”
> WORDS - Richard Kilpert
PHOTOGRAPHY - Gerhardt Coetzee
Eat Crow the Tygerberg Raceway
Kraaifontein can be a kak place. Just do a search. Especially on Youtube where the popular list of street fights and shootings is balanced by the angry wail of drifting sedans.
Even a virtual drive-by in Streetview is time-travel to decades before the virtual 2010 of Google. Even the cars are from the 80’s. This is so far past the Boerewors Curtain that it is beyond the White Wall. But some brave ones do venture out there on chilly week-nights and on monthly pilgrimages to the dirt oval in the northern reaches of Cape Town’s urban sprawl. It is places like this that call to Gerhardt Coetzee, who for the past five years has been secretly shooting in neglected corners of the over-photographed Mother City. Coetzee looks for empty places. His Instagram is full of emptiness. If there are people in the frame, their backs are turned, or they are brutally cropped, or are playing precariously close to a compositional abyss that yawns across the image. Here in Kraaifontein he matches moments of stilllife – a Red Bull, Red Heart and Johnny Red on a bonnet – with an unguarded moment on the faces of the inhabitants of this temporal zone. Portraits in limbo. This portfolio of sunburned photographs is a lesson in form and composition. If you can get past the initial story struggling to hide from the sharp focus, your eyes might return to the image to find hidden details that provide the irony and pathos that Coetzee feeds off. He is the artist that allows the viewer to see the invisible – the stuff that
hides from lazy everyday eyes. Here is a moment of pause in a very noisy pursuit. Customised rides drift incessantly day and night of the event weekend around the short, round track. Armoured cars battle it out physically around the course, some straying into each other, some into the barriers and dust on the edge of the road. The families who come to inhabit this world of petrol, oil and braaivleis know this is their place, safe from the scrutiny of the politically correct, where the only danger is the self-made one of speed and spirits. This is a ‘Goldblatt in Boksburg’ moment - a quiet revelation of the impact of the political macrocosm on the lives of the ordinary citizen. A witness to a truth in the pursuit of escape. Whereas
Goldblatt’s searing black and white documents are a testament to how the ordinary survived an extraordinary world, these images of Tygerberg Raceway are how ordinary people create their own temporary world so as to survive the complicated one which can no longer be understood in black and white. Gerhardt Coetzee is an Afrikaans photographer based in Cape Town, South Africa, who explores shifting micro-utopias in South Africa, especially the hangover of apartheid amongst the Afrikaans community, ‘Die Volk’. INFO: www.gerhardtcoetzee.com INFO: @gerhardtctz
HIGH FIVES Juanita du Plessis
The Razors Edge
Uit die diepte van my hart
PHOTOGRAPHY: ZANDER OPPERMAN (@uglybruv) / STYLIST: KYLE BOSHOFF (@kylebxshxff) / JACQUES BAM (@bamjaker) / Hair and Make up: TATUM CLARK (@tatum.tomic) Model: ANTHONY OLU at ICE MODELS (@anthony_bukola_semra) / SHANTE GAINSFORD at ICE MODELS (@shante_gainsford) - @icemodelsjhb THE LAKE
Look 1: LHS - Clothing SHEILA-MADGE x ANDEL OLIVIER / RHS - Clothing SHEILA-MADGE x ANDEL OLIVIER Look 2: LHS - Ensemble BAM BY JACQUES BAM / RHS - Ensemble BAM BY JACQUES BAM Look 3: Clothing SHEILA-MADGE x ANDEL OLIVIER - Socks FACTORIE - Shoes ZAXY Look 4: LHS - Clothing SHEILA-MADGE x ANDEL OLIVIER / RHS - Clothing SHEILA-MADGE x ANDEL OLIVIER 68
> WORDS - Zach Lees
PHOTOGRAPHY - OLIVER KRUGER
WAX JUNKIE Zach Lees As stupid as this might sound it initially started because I was trying to look cool. You know, all hipster style circa 2013. I found some of my dad’s old records and saw a copy of John Lennon’s ‘Imagine’ and put it up on Instagram for the world to see how cool I was; little did I know then how quickly records would consume my daily life, from personal listening to DJing, and to my small scale record label called Dirty Disco Records. Outkast Aquemini 1998 / LaFace
Sadao Watanabe Rendezvous 1984 / Elektra
The first hip hop album I ever picked up on wax is also an album which helped me truly grow to love and appreciate hip hop. Some of the bars and beats on this album remain my favourite of all time, especially Andre 3000’s verses on the title track and also ‘Rosa Parks.’ I cherish this album for the outlook it enabled me to have on a genre I hadn’t delved into before.
This album is one I inherited from my dad. Japanese jazz is incredibly difficult to come by on wax outside of Japan and as such I’m extremely lucky to have this album. Sadao is one of the big guns in Japanese jazz and it is evident why from the production value and ‘smoothness’ that the album offers. If jazz is your thing I’d highly recommend the stuff that has come out of Japan, the quality and intricacy is incredible.
Tuxedo Tuxedo II 2017 / Stones Throw Records
Childish Gambino “Awaken, My Love!” 2016 / Glassnote
Tuxedo II is probably my most prized record in the collection. By far my favourite release from 2017, this record really just gets me in a great mood. It is undeniably funky and feel-good, great for starting a day or getting a party started. I have never listened to it without a smile on my face and highly recommend that if you listen to one album from my picks that it be this one. Tuxedo II heralds in a new age of funk and disco.
Admittedly I couldn’t make this list without including this record. In my opinion this album is this generation’s version of Queen’s ‘A Night At The Opera’ in that it’s overall a fantastic album from top to bottom with one song (‘Bohemian Rhapsody’ – or in this case ‘Redbone’) that will span generations of music listeners regardless of their preferred genre. The album is already in my best of all time (no matter how ever-changing that list is).
Ata Kak Obaa Sima 2015 / Awesome Tapes From Africa
C418 Minecraft - Volume Alpha 2011/ Self-released
Ata Kak’s sound is something else, honestly. The Ghanaian musician has this charm and allure with songs that sound like they’ve been produced on a Blackberry. ObaaSima is a great example of this bizarre production value, though it has such a phenomenal beat and groove and really wants to get you grooving. The song represents my favourite aspect of West African music – unusual beat patterns and a sound that distinguishes it from generic European material.
This is a record that reminds me of my early teenage years. Aside from the somewhat nerdy associations it has, this is seriously an amazing ambient album that helps me chill the fuck out. C418 is a German producer with a knack for making beautiful music and it just so happens that I think that Minecraft Alpha is his standout album. Seriously, give it a listen – it’s beautiful.
THE SPIRIT OF Borganes Reyka Vodka: A spirit as inventive as the land that inspires it... Living in a place like Iceland, gives one an interesting perspective of the world. It’s a beautiful place, but it’s also rugged and provocative. It requires its people to live creatively and take an inventive approach. And so when it comes to making vodka, Reyka followed this path. You can see it in their unique distillation method and innovative process. And you can surely taste it in the distinctive flavour of Reyka’s award-winning vodka.
A product of Borganes, a small village steeped in Viking history, Reyka Vodka is hand crafted in preciously small batches in Iceland’s first vodka distillery. Hailing from a land of fire and ice, Reyka makes the most of Iceland’s resources – using nearby glacier spring water and lava rocks as a natural filtration system. On top of that, the distillery is also powered by geo-thermal energy from nearby hot springs. This gives every drop of Reyka its smooth taste and silky finish.
tillation, Reyka Vodka is able to bring you the essence of Iceland by producing a smooth tasting vodka unlike any other.” Reyka started in Iceland in 2005 and was designed to be the cleanest and smoothest vodka in the world. It has developed an exceptional taste reputation internationally; in 2011 it was awarded the Vodka Trophy at the International Wine and Spirit Competition (IWSC) and in 2013, the Gold Medal in the San Francisco World Spirits Competition and ‘Very good— strong recommendation’ at the Ultimate Spirits Challenge.
“Fuelled by living on the edge of the Arctic Circle, Icelanders come from a tradition of self sufficiency and making many things by hand, infusing nature and their own unique perspective in virtually everything they do,”
With a taste described as exceptionally smooth and rounded with a soft natural sweetness and a slight hint of wild fruits, Reyka Vodka is now available at leading liquor stores in South Africa.
said Shaun Stemmett, Brand Manager for Reyka. “From the resourceful use of lava rock and glacier spring water, to being the only vodka in the world that uses a Carter-Head Still in dis-
INFO: www.www.reyka.com INFO: @reyka_vodka THE LAKE
PRINT RUN REVIEWS - XAVIER NAGEL
The Black Consciousness Reader There is a current revival of Black Consciousness in South Africa, as political and student movements – as well as academics and campaigners working in decolonisation – reconfigure the continued struggle for socio-economic revolution with this ideology at the forefront.The Black Consciousness Reader (R280) is an essential collection of history, interviews and opinions about the philosophy being revived to finally bring revolution to South Africa. This would be not so much a violent overthrow as a deep change to a nation’s thinking to properly acknowledge its Blackness, and through that its entire past, a broader sweep of its heroes and a wider understanding of its intellectual and political influences.
SUPPLIED BY - BIBLIOPHILIA
Holiday Henrik Purienne’s photography has the unmistakable mixture of ethereal natural and physical beauty, with a warm and often exotic ambience. All of this is interwoven with domestic and voyeuristic sexual imagery, which converge at a point between provocation and profundity. With Holiday (R595), his second volume of photography, Purienne presents a series of holiday outings with friends and girlfriends captured between his native South Africa, the Mediterranean, and his new home, Los Angeles. Shot exclusively in his trademark 35 mm format, Purienne’s images often include imperfections that belie the sophistication of his technique, resulting in images at once reminiscent of the past and the future.
Facing the Other Way: The Story of 4AD
This Mortal Coil, Birthday Party, Bauhaus, Cocteau Twins, Pixies, Throwing Muses, Breeders, Dead Can Dance. Just a handful of the bands and artists who started out recording for 4AD, a label which went on to be one of the most influential of the modern era. Combining the unique tastes of Ivo Watts-Russell and the striking design aesthetic of Vaughan Oliver, 4AD records were recognisable by their look as much as their sound. In Facing the Other Way: The Story of 4AD (R180) Martin Aston explores the fascinating story with unique access to all the key players.
Pallets 3.0 Pallets are a universal symbol of the globalized world. The properties of this transport platform – standardization, stability, simplicity and internationality – are carried over into the work of architects and designers who use pallets as the material for their own creations. Pallets 3.0. - Remodeled, Reused, Recycled: Architecture + Design (R990) shows the variety of possibilities that can emerge from the creative interaction with an inconspicuous everyday article. 74
Milk Fever An extraordinary debut, Megan Ross writes the uneasy truths about unexpected motherhood and all its emotional detritus. In deftly and experimentally navigating the angst, joy and self-reckoning that comes with the choices and misadventures of young womanhood, this is a collection that brings together the evocative with the provocative, and the feminist with the personal, in a bold and startling poetic style. Hallucinatory, image-wet, and navigating the eternal tides of spirit and body, Milk Fever (R180) is a chimerical dreamscape in which a woman reconfigures, remembers and rebirths herself.
HAND POKED Hand Poked / No Electricity (R475) is a love letter to stick and poke tattoo culture and is a work of art in itself. Not only an artist’s handbook but a resource book, a history book and a visual feast of everything single colour. Since the dawn of time people have been using needles and sticks, whatever comes to hand, to push ink into their skins to make tattoos. Away from the cul-de-sac of reworked tattoo traditionalism, hand-poking has been free to experiment and play. At the forefront of this movement stands Sarah Lu Needle and Chopstick.
Sailor Jerry lake magazine.indd 2
2018/02/01 8:42 AM
VANS - SK8-HI (Marvel) Deadpool / Black Unisex
VANS - SK8-HI (Marvel) Captain Marvel / True White Unisex
VANS - SK8-HI (Marvel) Black Panther / Black Unisex
VANS - OLD SKOOL (Marvel) Avengers / Multi Unisex
VANS - CLASSIC SLIP-ON (Marvel) Spiderman / Black Unisex
VANS - CLASSIC SLIP-ON (Marvel) Black Widow / Black Unisex
VANS - AUTHENTIC 44 DX (Anaheim Factory) OG Bright Blue / Square Root Unisex
VANS - AUTHENTIC 44 DX (Anaheim Factory) OG White/Square Root Unisex
VANS - AUTHENTIC 44 DX (Anaheim Factory) OG Bright Purple / Square Root Unisex
VANS - AUTHENTIC (Marvel) Avengers / Multi Unisex
VANS - AUTHENTIC (Marvel) Multi / Women Unisex
VANS - SLIP-ON 47 V DX (Anaheim Factory) OG Black/Black Unisex
REEBOK - FREESTYLE HI NOVA ENH - WHITE womens
REEBOK - RAPIDE RUN SKULL GREY / VITAL BLUE TWISTED BERRY / CHALK MENS
REEBOK - RAPIDE RUN SKULL GREY / WHITE COLLEGIATE NAVY / PRIMAL RED MENS
REEBOK - CLASSIC NYLON SP NOVA - womens OG BLOCKING-MARS DUST cALK / WHITE / BLACK
REEBOK - CLASSIC NYLON SP NOVA - womens OG BLOCKING-FIERCE GOLD CHALK/WHITE / MARS DUST
REEBOK - CLASSIC NYLON SP NOVA - womens OG BLOCKING-BLACK / COAl CHALK / FIERCE GOLD / WHTE
REEBOK - CLASSIC NYLON TOP-DARK CYPRESS / TERRAIN GREY / SKULL GRY / GREEN MENS
REEBOK - CLASSIC NYLON PLATINUM / JET BLUE MENS
REEBOK - CLASSIC NYLON SEASONAL-INFUSED LILAC PALE PINK womens
REEBOK - CLASSIC LEATHER INT-BLACK / GUM MENS
REEBOK - CLASSIC LEATHER INT-WHITE / GUM womens
REEBOK - CLUB C 85 INT-WHITE / GREEN MENS
NEW BALANCE - Numeric - 212 White / Burgundy
NEW BALANCE - Numeric - 212 Aqua / Pink
NEW BALANCE - Numeric - 255 Light Navy / Grey
NEW BALANCE - Numeric - 345 Black / White
NEW BALANCE - Numeric - 358 Black / White
NEW BALANCE - Numeric - 440 Sea Salt / Forrest
ADIDAS - CAMPUS W chalk orange / ftwr whitE crystal white womens
ADIDAS - SAMBA OG core black / ftwr white GUM5 MENS
ADIDAS - SAMBA OG ftwr white / core black clear granite MENS
ADIDAS - SAMBA OG DTC ftwr white/core black clear granite MENS
ADIDAS - SAMBAROSE W ftwr white / core black GUM5 womens
ADIDAS - SAMBAROSE W core black / ftwr white GUM5 womens
ADIDAS - Futurepacer GREY ONE F17 / ftwr white core black MENS
ADIDAS - YUNG ~ 1 chalk white / core black collegiate navy MENS
ADIDAS - Falcon W core black / core black light granite womens
ADIDAS - RASCAL core black / scarlet collegiate navy MENS
ADIDAS - RASCAL ftwr white / scarlet collegiate navy MENS
ADIDAS - SAMBA RECON LT crystal white / core black GUM4 MENS
Converse CONS x Chocolate CTAS Pro QS White
Converse CONS CTAS Pro QS Purple Program Hi Purple / Black / White
Converse CONS x GX1000 Jack Purcell Black / Black
Converse CONS Jack Purcell Pro Black Cherry / White
Converse CONS One Star CC Slip On Black / White
Converse CONS One Star CC Slip On White / Black
PALLADIUM Pampa Solid Ranger VO Vintage Indigo / Dusty Olive Apricot
PALLADIUM Pampa RECAMO OC Christopher Raeburn, Castlerock / Coral
PALLADIUM Pampa RECAMO OC Christopher Raeburn, Castlerock / Coral
PALLADIUM Pampa RECROW OC Christopher Raeburn, Nimbus Cloud / Coral
PALLADIUM Pampa RECROW OC Christopher Raeburn, Castlerock / Coral
PALLADIUM Pampa RECROW RR Christopher Raeburn, Dark Olive / Cora
Emerica - Wino G6 Slip-On Black / Grey / White
Emerica - Wino G6 Slip-On White / White
Emerica - Indicator Low Black / White
Emerica - The Reynolds Low Vulc Black / Tan
Emerica - The Reynolds Low Vulc Black / White
Emerica - Reynolds G6 Brown / Gum
> Photography - Wayne Reiche
Hakim Malema #OneObsession Whether you are a professional athlete or more of a weekend-warrior, pursuing your sports obsession is a demanding endeavor. Through the global #OneObsession campaign, Oakley caught up with Hakim Malema who runs the inner city streets of Johannesburg.
How did you get into running?
while chasing your obsession?
“I have the body of a runner and when I was a child I rarely walked once I learnt how to run. I used to compete in track and field in school, I was actually a pretty accomplished 100/200m sprinter. I wasn’t into long distance running until about 2014 when I started using a running app. I basically was in competition with myself to run faster times, last year I joined a crew and that’s when running became a big part of my lifestyle”.
“I am a vegetarian, I have a pretty strict diet and right off the bat I started making dietary sacrifices because I knew this would greatly improve my performance not just as an athlete but as a human being. I’ve had to ration my social life, I’m fortunate that in my crew I’ve made many new friends, but on the whole, I’m not half as social as I was before I decided to commit to certain things. ‘One must Die’. That’s a phrase I live by”.
Talk to us about balance. How do you find time for it all?
What does an average day look like for you?
“I am an entrepreneur so I have the blessing and the curse of being able to conduct my time. A lot of what I do is around running: my nutrition, my workouts, content that I create. These elements of my life are attached to running in some way. The hard part is staying motivated to continue searching for new barriers to break. Balance is the underlying factor, it is the chemistry that allows for small levels of success and consistency ensure endured success”. What is the biggest sacrifice that you have made
“My days are different, I could spend the day making juice and smoothies at home, working with my partner Jermain Stallenburg - we run a clothing brand that is called Method Mode ‘Inspired by our body’s effortless ability to transform into any shape with ease’, researching new running techniques and workouts to improve my performance. My day could also be spent out in the woods, hiking with friends and exploring the wilderness, or they could be spent at home making music - I make scores and I’m hoping to do scores for video games in the future”.
The right equipment is essential. What can’t you live without? “Obviously Oakley eyewear, I can’t imagine being out there on bright mornings anymore without them. Their eyewear really changes the way you engage with your environment, the comfort on your face and the eyes, being protected from projectile fragments in the air and they look amazing - this is a perfect product. What advice have you got for youngsters wanting to get into running? “I would encourage any athlete to compete as much as possible in all events and find what you’re good at. You might like 1500m but find you’re more adept to 3000m, for example, there are so many events which means many opportunities to be the best at something no one has done before. As Eliud Kipchoge says “ No Human is limited”.
INFO: www.oakley.com #oakley #Cantstop #oneobsession