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First to the Bar

In the first of a new series on local people and places,
Mister Adam looks at a woman who tore up the rulebook

When the whistle came through from Whistler HQ asking if I’d do a column on local history, I dusted off my books and compiled a list of olden days notables from this part of town. 

While the list is shorter than those of more seaward neighbourhoods, its demographics surprised me. The pre-railway districts are dominated by moustachioed fancy hats who look like Sherlock Holmes villains, whereas a surprisingly high percentage of historic Diallers were pioneering women.

So who better to pick for a first column than someone who achieved more firsts than a hangar full of Old Etonians? Helena Normanton (1882-1957) was the first woman to qualify as a barrister. Many other female legal firsts followed; becoming a King’s Counsel, prosecuting a murder trial, taking a case to the High Court and Old Bailey, winning a divorce trial, conducting a case in the USA… the list goes on. She was also the first married woman to demand and receive a British passport in her maiden name.

Helen’s father died in uncertain circumstances when she was four – his body found in a tunnel under Paddington station – and they relocated from London to Brighton. As was often the case with widows from the ‘lower classes’, mum turned their Brighton home into a boarding house to make ends meet. Thus 4 Clifton Place became Helena’s home and part-time workplace for 15 years. 

She later spent a year on Hampton Place at either number 11 or 26 (they renumbered the whole street that year so records differ).

Probably the most pivotal Brighton location in Helena’s trajectory is even vaguer. It was a solicitors office, likely in the Dials area, but where isn’t recorded. Aged 11 she explained mortgage law to her mother, receiving a pat on the head and a slightly patronising “you’d make a great little lawyer” from the solicitor. She decided to take him up on this suggestion – a ballsy move given that no female (let alone a lower class one) was allowed into barrister school back then.

This set Helena on the path to Edge Hill in Liverpool, leaving Brighton in 1903. It was a hotbed of the Suffragette movement which she became heavily involved with. Fast forward to Christmas Eve 1919 and Helena banging on the doors of London’s Middle Inn. The Sex Disqualification Act had just become law. Women were no longer barred from the Bar. Helena was first and her whirlwind of female legal firsts had been set in motion.

She would never forget her upbringing, citing her “gratitude for all that Brighton did to educate me”. You might imagine that crowdfunding was invented by Kickstarter, but the litany of buildings and monuments with ‘by public subscription’ bronzes tells another story. In the final year of her life, Helena repaid the debt she felt to the town and chalked up another first, becoming the first person to donate to the crowdfunder that would create the University of Sussex.

While her name adorns the UK’s only dedicated legal outfitters for women and the only barristers chambers named after one, Brighton itself has been slow to recognise her. The University has fellowships named for her and a number 50 bus bore her name until quite recently, but is a blue plaque on 4 Clifton Place really too much to ask for? 

If you want to pay your respects, Helena Normanton’s ashes are interred at St Wulfran’s in Ovingdean, not far from a moustachioed fancy hat called Magnus Volk.

You can check out Mister Adam’s video series on Brighton history at factmeup.com and his magazine about Brighton’s awesome women’s roller derby team at issuu.com/turnleftmag

Exotic creatures

Dominic Smith talks to Caraline Brown about her novel and “the best feeling in the world”

I took myself to Ibiza for a month with a copy of “How To Write A Novel In 30 Days”. I thought I could just go there, set up my desk, look out the window and I’d be able to write a book.”

It might have taken more than 30 days, but it’s paid off because last month Caraline Brown’s debut novel The Candlelit Menagerie hit the shelves last month. 

With a background in journalism and particularly PR – Caraline set up Midnight Communications, one of the biggest, most successful PR companies in the country – writing has always been a way of life. Fiction though came with its own challenges.

“Writing fiction is so much more difficult than I ever expected. You think as a businessperson you can just approach it like a business task. But writing complex, realistic, character development is not that simple. You forget that you’re telling the story, so all along the way the decisions from one character will impact the others.”

Set in 18th century London, the story follows Lillian; a young maid struggling to find her place in society, who yearns for something else. When she wakes to hears lions roaring in the distance, her intrigue leads her to discover a candlelit animal emporium – the Menagerie. She quickly begins to find her calling and befriends the exotic animals.

While it’s up to the reader to make their own meanings, Caraline said there was one theme her writing kept coming back to. “The idea of being an outsider and being out of your own environment.” 

The relationship between human and animal is an important aspect of the novel, as Lillian finds her feet in the Menagerie. Trying to give the animals voices and personalities, without them being able to speak, was a challenge: “I was trying to show this without over-anthropomorphising, but our relationship with animals is two ways.” 

Caroline came across the subject matter for book when “By chance I came across a non-fiction book called ‘The Georgian Menagerie’ which coincided with an exhibition in the Brighton Pavilion. I wondered what it might have been like to work in such a place.  I also thought it was quite an unusual setting for a novel.”

The Candlelit Menagerie was first released in the USA, receiving positive feedback online. “I’m delighted, it’s the best feeling in the world when someone reads your book, likes it, and leaves a really positive review.”

The Candlelit Menagerie is published by Arcade Publishing.

Caraline welcomes any questions regarding her novel and would be delighted if you chose it for your book club. She can be contacted via her web site www.karibrown.uk

Pic: Kenny McCracken

Creature Creature

And the music scene in Brighton? It’s a blessing and a curse.
Daniel Scully tells Mick Robinson why

Fast guitar hooks, complex keys, intelligent songwriting… What more do you want? 

Creature Creature have just released their debut album, ‘Two Finger Tantrum’ – described by Rock Lifestyle as ‘the best debut of 2020’ – and one day will tour “although this time we’ve had to be patient. It’s been like the longest and most boring game of chess ever.” 

When and where did the band form?

We’re East Brighton born and raised. We started off as very folk-punk and were called 40 Shillings On The Drum, but we slowly gravitated towards straight up rock and punk. We changed the name to Creature Creature to be more fitting with the sound. 

Who came up with the name?

Seb, our keyboard player, saw the film Critters 4 when he was young and it gave him nightmares, so for a while after he told us, we’d shout ‘Creature Creature!’, – a line from the film – and we joked we were going to call the band Creature Creature to remind him about it. Then we did. 

What’s the inspiration for the album? 

The album’s about being unapologetic for who you are and how you want to live your life. As long as you’re not hurting anyone, do what you want. I write all the lyrics and my inspiration comes from many different things; films, tragedies, love, drunken nights, the never-ending tendency of those in power to oppress hardworking people. I tend not to be overly political but there’s definitely messages in there if you dig in. 

Biggest gig you’ve played?

Angmering Social club. No, just kidding, getting abuse and drugged up wasters in our faces and wanting to fight… that was a real low. Biggest would be Beautiful Days festival down in Devon where we met Feeder’s guitarist, Tommy Gleeson, who became the producer of our debut album. Favourite gig would be supporting punk legends UK Subs at Lewes Con Club. 

Fave venue to play?

Hope and Ruin have nailed it as an intimate venue with a big sound. Accessible by up and coming touring bands and local ones alike. They put on some killer shows. We’re still waiting to grace the Concorde 2 though…

Fave venue to watch bands at?

Speaking of Concorde 2, you can’t beat it. Great atmosphere, great people, fine sound system. Always love a show there! Can I praise them anymore? What have we got to do to get a support slot there? Our drummer Matt gives good back rubs. 

What’s your thoughts on the local scene?

The Brighton scene is great, or was great pre-pandemic. Very much hoping we can get it back to where it was once live music starts happening again. To live in an area with a thriving music scene is both a blessing and a curse. It’s great that there’s lots of places and opportunities to play, but also the competition is fierce so you have to work extra hard to stand out. Actually, that’s not a bad thing either. 

Any particular bands?

There’s the obvious ones flying the flag like Royal Blood and Architects, who have deservedly just scored a number one album. If you dig deeper though, there’s a wealth of varied artists to discover. Nice Guy Dave’s just released some more music and he’s always entertaining. 

Any tips for Brighton bands just starting? 

Find the right people with the same aspirations as you. Be sure you’re all on the same page for what you want, it’ll save the ballache of finding new members when you tell them it’s time to make the leap and do a tour. And practice, practice, practice! And then practice some more. A lot of artists gig before they’re ready. It’s important to get a feel for playing live, just don’t put yourself out there until you’re tight. 

Fave bands UK or worldwide ?

So so many, but right now I’m really enjoying some of Bring Me the Horizon and Frank Carter’s new material. It’s so good to hear some heavy artists actually breaking through to commercial radio. From a totally different scene I always enjoy Frank Turner and the Pogues. That folk-punk style of lyrics really helped me develop as a writer myself and is something I’ve brought through to Creature Creature even though the style is different.

And although I’ll never get to see them, I’ve been a long-time fan of The Clash and have recently been rummaging around their live shows on YouTube. That’s perfection right there. 

What bands did you listen to growing up?

Cliche but Oasis got me into music. I wanted to be them for a while but with fuzzy hair, it was just never going to work. From there I went to the Beatles, funny that, then to the Sex Pistols, The Jam, The Clash, The Stooges – anything with some attitude. 

First thing you’ll do when lockdown ends?

Get the bloody band back together in one place! Blast through our album live and loud, then go to the pub for an ice cold pint or ten. We’ve just booked a Brighton show for 14th August, that’s an exclusive! Put it in your diary, full details announced soon (so keep an eye on the Whistler website – ed)

Facebook: 

http://facebook.com/creaturecreatureuk

Twitter:

Instagram:

http://instagram.com/creaturecreatureuk 

YouTube:

http://youtube.com/creaturecreatureuk

Official Website:

http://creaturecreature.co.uk

Tales From Our City

“It might sound glib, but I wrote it
because I think Brighton is so special.”
Daren Kay tells Katrin Johannessen why

‘The Brightonians’ is the debut novel of former advertising copywriter, Daren Kay. It tells the story of a social group in Brighton uncovering a mystery of the past, sparked by an old letter found in a hymn book at the funeral of iconic former (fictional) mayor Grace Davidson. It spans multiple decades and different generations of mostly queer people.

It was important to Kay, that the novel included different generations, as there can sometimes be a disconnect within the queer community between age groups.

“As a younger gay man, I learned a lot from older queer people and I think it’d be great to foster that intergenerational communication again, which is why in the novel I wanted to make sure there was a full spread.”

“What I really felt was important is I think a lot of queer history has been erased, it’s been forgotten, it’s been purposefully left to one side and so I wanted to do my little bit to make queer history interesting to another generation.”

Not only is there a spread over generations, but the characters also come from different parts of the UK and have different accents, Polari is also represented.

“It was largely a reflection. There isn’t anyone that is based on anyone that I know, but I would say that the characters are a mixture of a couple of people and lots of the characters have bits of me. I think Brighton is a melting pot. It might not be the most multicultural place, but I do think it is a melting pot. One thing I will say about Brighton is you very rarely meet people in Brighton from Brighton.”

Although the social scene is shown as quite competitive and perhaps even cynical at points, there is a definite sense of community throughout the book. Kay himself has experienced how the LGBT community has come together during times of struggle, such has the HIV crisis and the introduction of Clause 28.

“I was in my early twenties when that happened. My experience in Birmingham and Sheffield was that there was a separatism until that happened. I think the HIV crisis and Clause 28 brought lesbians and gay men together for the first time in a big, big way.

“I know from historian Alf Le Flohic, who is quite known in Brighton for his knowledge of queer history, he lived in Brighton in the ‘80s and he said that the lesbian community was very supportive of gay men during the crisis. So, it’s been solid for a long, long time. Particularly with older people. I think age is a great leveller.

“I’ll be really blunt, I think sometimes the different communities within our community spend too much time arguing with each-other, when we have a common enemy, which is quite obvious out there.”

Kay replaced the security of his job in advertising and started freelancing and following his passion for writing, resulting in the ‘The Brightonians’.

“I wrote it for me. As a copy writer, I went into advertising because I loved writing and as you go further up the ladder you get more and more removed from the reason you went into the job in the first place. So, when I left that job, I rediscovered my love of writing through this book.

“The other thing I wrote it for was Brighton. It might sound glib, but I wrote it because I think Brighton is so special. I just find it such an incredible place and I wanted to capture what I love about Brighton. That amazing concentration of some quite unusual people.”

In the novel one of the characters at one point ‘plays the Brighton card’, when she uses her love of Brighton to score social points.

“I’ve invented that, but I do think it exists. I think I have played the ‘Brighton card’. I’ve gone even further and played the ‘Kemptown card.”

“I think the proximity of Brighton to London is one of the things, that has made it so unique. I lived in London for 25 years and I find Brighton even more sociable than London. I think the geography of it, because it is quite small or concentrated people are much happier to do things.” Kay said.

Brighton is more than setting in the book and through a fantastical seagull it gets a chance to speak for itself.

“Brighton is so much a part of the book, I needed a way for Brighton to speak, so Charles de Gull basically became the voice. I’ve referred to seagulls in interviews as nature’s CCTV, because they’re just always there. For people who write, they are just always watching us. It seemed like the most obvious vehicle for Brighton to have a voice. What I liked about the seagull is that in my head the seagull has been there for 200 years, so it’s almost like a fantastical seagull really.

“Brighton has always been a really significant town on the south coast, because of its proximity to France and London. But Brighton in most people’s heads didn’t really become a place of any interest until the 1750s, when Dr. Russell recommended our seawater as this great sort of cure for everything, and people started to come down. So, I wanted Charles de Gull to have existed since that time. So, he allows me to set the scene and say this is a town, which has always been a centre of liberal thinking and artists.

The people in Brighton might like to complain about the seagulls, maybe especially when having their food stolen by a shifty one, but they still have a special status in town.

“It’s weird. The book cover was designed by my friend Sarah Arnett. In her work, she has lots of birds, but she’s never done a seagull. It’s a very divisive thing in Brighton. It depends on if you’re being shat on, I suppose.”

His next novel is already in progress and it’s called ‘The Brightonians Under Siege’ and is about the last year and Covid.

“One of the things I wanted to capture and celebrate was the social scene and parties and what I sometimes call ‘competitive partying’ that I see in Brighton and now to suddenly have that stopped I think it’s really fascinating.

I do think that when people read this book still on the ends of lockdown, they will feel nostalgic for those fancy-dress parties and for being able to meet up with people and having a gin and tonic.”

The Brightonians will be released on April 23rd.

Anyone who signs up to www.darenkay.com before 30.04.21 will be entered into a prize draw for the chance to win a porcelain mug featuring the cover design by Sarah Arnett

The book is available to order now at Waterstones, Book Depository & Foyles:

linktr.ee/darenkayauthor

View From The Hill – Nicholas Lezard

At time of going to press it looks as though – although we cannot be sure, so let’s touch wood – we’re going to be allowed out soon. 

The days are getting longer, we will be able to meet friends again, or at least do so with a clean conscience. One of the great pleasures I have rediscovered is the simple act of walking along the seafront. It is a hard and damaged heart that cannot be cheered, even when it’s nippy out, by a promenade among the various citizens of this city. 

I’ve lived here for two years and a bit, but I first fell in love with the place in 1984, when I was among the first on the scene when the Grand was blown up by the IRA in 1984. I was staying with journalist friends of mine – they got a call from the desk of their national tabloid telling them to get down there immediately; they brought me, in those days not anything even like a journalist at all, along for the ride. 

Every time I look at the Grand I remember the huge chunk taken out of it by the bomb, and then salute the way that Brighton coped with the event. Ever since then I have been visiting regularly and now I am delighted to have settled here. Every day I love the place more and more. 

   My youngest son is studying at Sussex, living in Brighton. We have got into the habit, once a month or so, no deliberate timetable, of having a beer on the shingle while chatting and looking at the sunset and freezing our bits off. 

The latest dilemma, from a couple of days ago: do we sit against the seawall facing the potentially glorious sunset but being chilled by the wind, or sit with our backs to the wind, on the other side of the wall (or groyne, a word that never fails to delight me) and miss the sunset? In the end we chose to shiver and look at the sunset. Which was glorious. 

A group of young women about my son’s age were sitting a few feet nearer the sea and they asked us to sing “Happy Birthday” to one of them. My son is sternly against the idea of public performance. “No,” he said, firmly, “but I will wish you a happy birthday.” I would have sung my heart out to the birthday girl had I been on my own, and drunker, but I did not want to embarrass either my son, or myself. Or indeed the young women. 

   I asked my son, as we climbed back up the shingle, whether he was going to be staying here for a while after his term finished. I was worried he wasn’t loving the place as it should be loved. “Oh God yes,” he said. He paused to take in the life, the light. “This place is great.”

Covid-19 and vaccines – a (retired) doctor writes…

Not only is Andrew Polmear our intrepid wine and cheese man, he’s also a retired doctor and asks… Does delaying the second dose till 12 weeks after the first put us at risk?

One of the joys of being a retired doctor is having the satisfaction of responding to people’s concerns about medical matters without the worry of being responsible for them. So I enjoy queries from friends; and of all the questions I’ve been asked about Covid-19, the commonest is about the 12 week delay between jabs. Is it safe?

The short answer is yes, but, of course, it’s a bit more complicated than that.

The first bit of the answer is the straightforward one that Matt Hancock, Health Secretary, gave when he announced the change. If you have a vaccine that’s in short supply it’s better to give everyone at risk a first dose rather than give some a second dose and others nothing at this stage. The first dose gives a better “bang for your buck”. That means Matt Hancock made the right choice for the country; but it doesn’t stop us, as individuals, wanting that second dose.

But does delaying that second dose reduce our protection?

Things are easiest to understand with the Oxford/AstraZeneca vaccine, because there’s published information about this. The Oxford researchers had intended to test a single dose. But after they’d started the trials they found that, when they gave a second jab to a small group, they got a better antibody response. They went back to the regulator and got permission to change the trial, so they could give a second jab 28 days after the first. However, by the time they gave their subjects the second dose, some were at least 90 days after the first. So they could compare the effect of early and late second jabs:

  • second dose given early (between 22 and 90 days after the first) – 76% of cases of Covid were prevented, with no sign that protection was tailing off towards the end (and none of those who did get Covid were bad enough to go to hospital).
  • second dose given late (more than 90 days) – 82% protection. What’s more, subjects had higher antibody levels than those who had an earlier second dose.

So, with the Oxford/AZ vaccine, we can say that a 90 day gap is fine, possibly even better than a 28 day gap.

With the Pfizer vaccine it’s more difficult because all of those taking part in the trial got the second dose at between 19 and 42 days after the first. So Pfizer are correct to say that there’s no evidence that delaying the second dose until 90 days is safe. The World Health Organisation hedges its bets by recommending that the gap go up to 6 weeks. So why does our own, highly regarded, Joint Committee on Vaccination and Immunisation recommend 3 months? There are two reasons:

  • The first is that most, possibly all, vaccines give better long-term immunity if the second dose is delayed. The HPV vaccine, for instance, given to girls and boys to protect against certain types of cancer, works best if the second dose is given between 6 months and two years after the first. Immunity from vaccination doesn’t fall off rapidly. It takes 2 – 3 weeks after a jab to develop. It doesn’t then suddenly disappear, at least not for months or years.
  • The second reason is a detailed look at the Pfizer trial. Patients in the week before the second jab were 89% protected against Covid-19. After the second jab they were 95% protected. Such a small improvement in protection from an early second dose isn’t statistically significant.

 So, the chances are that a delay in receiving a second dose of the Pfizer vaccine will do no harm. And it’ll certainly mean that more people will get their first jab sooner; which is good for everybody.

This is an area of science where new information is coming out every day. By the time this article is published it may already be out of date. And please bear in mind that it is the opinion of one retired GP, not a leading scientist. Andrew regrets that he cannot enter into correspondence with individual readers.

A passion for appassimento

We’re still in lockdown. It’s cold. There’s snow on the ground. Let’s go to southern Italy and talk about wine.

About two years ago, I was introduced by a friend to a wine, currently available at Waitrose for under £10 (sometimes well under £10), that has become one of our favourite weekday wines. It’s made by a firm called Terre di Faiano which is based in Chianti but they have vineyards in Southern Italy and Sicily.

The grape is Primitivo, the same grape as Zinfadel in the USA, and it’s from Puglia. It’s extraordinarily full-bodied, creamy smooth, and unlike almost any other Italian wine I’ve tasted.

For two years I’ve puzzled over how this wine comes to be so good and only discovered the answer when Waitrose put another wine on the shelf alongside it. This is also by Terre di Faiano but the grape is Nero d’Avola and it’s from Sicily. And the giveaway is that on the label it mentions appassimento. The penny dropped. Perhaps the Primitivo is made the same way, I wondered, and a look at Waitrose’ website shows that it is.

What is appassimento? It means ‘dried up’ or ‘tired out’. The basic principles of winemaking are pretty standard: once ripe, the grapes are pressed, the juice is put into some sort of container and left to ferment, then bottled, sometimes after spending some months or years in oak casks. But if the wine is made by the appassimento method the grapes are left to dry before starting the whole process. They used to be left out in the sun on a bed of straw, which is why it’s called in English ‘straw wine’. The purpose is to increase the sugar content of the grapes and reduce the water content. The resulting wines are more alcoholic or sweet or both, a deeper red and packed with flavour.

They’ve been making wine like this since the Ancient World. Hesiod (he’s the one who was roughly contemporary with Homer but less grand, more personal) described it in around 700 BCE and it’s been used in Sicily and Puglia for centuries. But the most famous wine to use it is in northern Italy, just north of Verona, where the local wines tend to be thin and bitter. Amarone della Valpolicella is made this way. It gives a red wine of extraordinary power, nearer to a port than to an ordinary Valpolicella, which can be thin and bitter. Just to complete the northern Italian story, they even keep the lees left after draining off the fermented Amarone and pour ordinary Valpolicella wine on top. There follows a second fermentation and you get another beefy wine that’s called Ripasso (‘re-passed’ in English) though less full-bodied, and much cheaper, than Amarone. Finally, the winemakers may deliberately leave enough sugar unfermented to make it sweet. It’s called Recioto and the Italians drink it at the end of the meal.

I’ve had other wines from Puglia made by the appassimento method and I’ve found them too much. The heaviness is overdone, the flavours too ‘jammy’. The Terre di Faiano from Sicily is a bit that way, to my taste, although it gets great customer reviews. It’s made with the Nero d’Avola grape which has no trouble making dark, robust wine without the need to dry the grapes. But somehow, with the Primitivo from Puglia the winemakers seem to have hit the spot. I plan to get a good supply in before this article goes to press!

Art in public spaces. What do you think? Here’s your chance to say

Morris Singer Art Foundry Ltd|Bruce, Romany Mark; Tay (AIDS Memorial); ; http://www.artuk.org/artworks/tay-aids-memorial-245784

What do you feel when you see a statue to some historical figure you’ve kinda heard of but don’t really know anything about? Do you think… “It’s just there. It’s always been there, so let it be there”? Do you think… “Who is that? I’m going to find out about that right now. Now, where’s my Wikipedia…?” Do you think… “Whoever it is, it means nothing to me. I wish there was something there I could feel something positive about”.

Well… strangely enough now we’ve got a chance to say what we think about public art in our city. We’re not talking about private exhibitions, shows, gigs, festivals, that’s one thing, But what about the art that’s out there in the public spaces. Statues. Outdoor installations. Spaces in parks. How do we, as a city, feel about that stuff? We saw last year, particularly in Bristol, that historic statues can be… problematic. How do we deal with those subjects and feelings? Remember the Mary Wollstonecraft sculpture that was unveiled in London in November?

Brighton’s an arty city, a creative city. It’s one of the reasons we’re here. The public art should reflect that – and now’s a chance to make that happen.

The Brighton based arts charity Lighthouse has launched an online public survey and series of short films under the banner “Let’s Talk Public Art” to encourage us to say what we think about public art in the city.

“Public art can provoke intensely divided public opinion, as we have seen recently with historic statues being removed because of their connections to slavery. These short films feature discussion points such as heritage, inclusion, sustainability and wellbeing so we can delve into how people feel about public art” says Alli Beddoes, Lighthouse CEO & Artistic Director.

https://youtu.be/vOdgSpyqJoM

Films:

Places & Spaces with Matt Adams – Blast Theory and Atif Choudhury – Diversity & Ability An exploration of what and where the spaces and places can be for public art. It should be more than standalone works in the public realm, they should be integral to the ways in which we experience and understand our city.

A Green City with Ami Rae – Onca Gallery and Claire Potter – Claire Potter Design What doers it mean to be green – and can you green the city through public art. Brighton & Hove aims to be carbon neutral by 2030 – how can public art support this?

Wellbeing with Elsa Monteith – Writer & Artist and Emma Frankland – Artist What does public art mean for our sense of identity and belonging? How can it help us connect and care?

Heritage with Judith Ricketts, Artist and E J Scott, Historian & Curator What is a successful piece of artwork that celebrates heritage in our city? How can public art hold onto the past without erasing it but use it to be informed and carve out a better future for the next generation?

Connectivity & Community with Amartey Golding – Artist and Bobby Brown – Music Producer & Careworker, Hangleton & Knoll A film discussion of the ways commissioning public art can connect to community groups in the city.

There’s an event – online, natch – called Let’s Talk Public Art – Digital Campfire(10am to 12 noon, Fri 5 February) which might be interesting. To join, take part in the survey, watch the films or register for the event visit: lighthouse.org.uk/events/lets-talk-about-public-art

End of the road – but for who?

Our Australian correspondent Justin Simpson ponders life post-Brexit for the Mother Country

From far away, it feels like the end is nigh for the mother country as it drifts into irrelevance off the northwest coast of Europe like some rusty old trawler long past its use by date heading for the scrapyard and many Brits in Australasia, me included, feel greatly aggrieved at the loss of trading, cultural and many other links with our long-term neighbours across the Channel…

Holidays won’t be the same now we have to buy a visa to visit places where previously we could travel freely. Nor will the inevitable sharp increase in price of goods now required to incur a tariff or other financial surcharge as the price to be paid for ‘taking back control’ – of what, it’s not quite clear – as we are all governed by and/or accountable to someone…

Does it make any difference whether that someone is your local mayor, UK prime minister or EU president? You get to vote for them all, regardless of their accent, gender, class, race etc but now, the UK will have to enjoy those ‘sunny uplands’ of economic prosperity all on its own – or will that be endure instead?

We shall know all too soon…

News: Christmas comedy at the Dome… Live!

Live at Brighton Dome is the venue’s flagship showcase of top comedy talent with each night offering a mixed bill of the UK’s finest entertainers. Headliners are the brilliant ventriloquist and British Comedy Award winner Nina Conti (Friday 18 December); since winning Comedy Central’s Funniest Student Award in 2011, Phil Wang has earned critical acclaim for his playful stand-up routines, with regular slots on television and BBC radio (Saturday 19 December) and Britain’s favourite pub landlord, Al Murray makes a welcome return with a barrel full of Christmas crackers (Sunday 20 December).

Joining the line-up is Taskmaster champion Lou Sanders and star of cult TV hit Top Coppers John Kearns performing each night, alongside hosts Travis Jay (Friday 18 Dec) and Jayde Adams (Sat 19 and Sun 20 Dec, pictured).

In line with government regulations, Brighton Dome is able to offer live socially distanced performances to household and bubble groups in its Concert Hall. The venue has received the ‘Good to Go’ mark with enhanced safety measures in place throughout the building to ensure audiences can safely enjoy some seasonal entertainment after being closed for most of the year.

Listings – Live at Brighton Dome Christmas Specials

7.30pm, Friday 18 December 2020

Nina Conti

John Kearns

Lou Sanders

Host: Travis Jay

7.30pm, Saturday 19 December 2020

Phil Wang

John Kearns

Lou Sanders

Host: Jayde Adams

7.30pm, Sunday 20 December 2020

Al Murray

John Kearns

Lou Sanders

Host: Jayde Adams

Tickets £22.50 advance booking only

Member tickets on sale Tues 8 Dec at 10am

General sale Wed 9 Dec at 10am

Brighton Dome, Church Street, Brighton BN1 1UE

Ticket bookings:

W: brightondome.org

T: 01273 709709 open Tue-Fri, 10am-2pm

Ticket Office counter open Tue-Fri, 10am-2pm from Tue 8 Dec until Fri 18 Dec