The Regenerate is back!

It’s been a while.  But now The Regenerate is waking up from a long hibernation.  As a sister site to The Medway Broadside, we’ll be showcasing and promoting Medway’s cultural and creative side.

For the moment, we’re busy gathering submissions, and going around the site with a big broom to tidy it up a bit.  We’ll be properly open for business again from early April 2015.  Do visit us again then.  Add us to your favourites.  And if you live in the Medway Towns, and you happen to be an artist, or a writer, or a musician or a photographer, or you make eccentric patterns with string, or do anything at all that’s creative, do consider submitting some of your work to us (details on the Submissions page, rather obviously).

Oh, and if you have a relevant website or blog of your own, drop us a line and we’ll set up a link to it.

See you in April.

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Admiral Elliott

This is the first in an occasional series of short memoirs, centred on past and present Medway pubs that I’ve had some association with.  This one, Admiral Elliott, has been recently displayed as part of the ME4 Writers exhibition, ‘Letters Home’, in Rochester and Walderslade libraries.

I recently came across an old photograph of the Admiral Elliott, taken sometime in the 1950s, I think.  There are a couple of coaches drawn up outside the pub, and a crowd of monochromatic people, most of them looking older than they probably are, pose for a group photograph.  They are heading off on a daytrip, perhaps, to Margate or Broadstairs.  The men are in suits, baggy-trousered, caps firmly planted on heads; many of the women appear to be shrouded in their raincoats.

I grew up with the Admiral Elliott.  It stood on the corner of the street where I lived, East Street in Gillingham, until I was twenty-two.  I grew up with its presence, but I never went in there, at least not until about twenty years after I had left home.  By then it was a rundown, ramshackle sort of place.  I was performing at a benefit for the Socialist Alliance.  I don’t recall much about the event, now, except that it was tinged with sadness at the state of the old pub.

You see, I not only grew up with the Admiral as a physical presence.  It was that, sure enough.  I passed it on the way to and from school.  I passed it as I went around the block, playing on my little blue scooter, rattling along the same pavements over and over.  I passed it on errands, or running round to the odd little DIY corner shop that sold Airfix kits swathed in the incense of sawn wood.

Towards the end of my time in East Street, I had to pass the Admiral when making my way to and from my own preferred drinking haunts.  Foliate heads, a family of Green Men carved in stone, watched me from the pub walls whenever I walked by.

And, digressing for a moment, the odd thing about the photograph is this.  In my memory, the Admiral gleamed like a palace, dressed in the green-glazed tiles of an earlier age.  I’d always assumed the tiles must have been stripped off when the pub was bought up and converted into apartments, a few years ago.  Yet in the photo, those tiles aren’t there.  It’s as if my imagination had placed them there, and they disappeared when I left.

Instead, what I see in the picture is a neat, tidy sort of pub, flowers in hanging baskets and window boxes, a place scrubbed clean inside and out.  It was, and remains even now, the container for a hundred family stories.  The Admiral Elliott was the favourite rendezvous, decades past, for my maternal grandparents, great-uncles, great-aunts and any number of other relatives.  They were a big family, big enough that I could never remember all the names or always fit the right names to the right faces.

There was a whole platoon of them, at least.  On Sunday afternoons, during my childhood, they’d gather at my grandparents’ little terraced house in Granville Road, drinking tea and maybe something stronger too, regaling each other with those same stories of the old days at the Admiral, over and over, laughing together at the same jokes and the same anecdotes.

At the time, sat in the middle of that crowd and often feeling barely visible in the present, I was too often bored.  Now, with sufficient hindsight, and my own history with my friends and comrades collecting dust, I can see that those Sunday afternoons were a vital bonding, a means to keeping alive all their personal and connected pasts as an uncertain future loomed ahead.

By the 1970s, their numbers were fewer but there seemed to be more stories than before.  Inflation, immigration, strikes, pop music, short skirts, legalised homosexuality, extra television channels, technology spiralling faster and faster; the world was altering so swiftly, a bewildering maelstrom of changes around the survivors of their generation.  They needed their stories more than ever.

I can remember one of the anecdotes.  It seems they’d all been drinking in the Admiral Elliott, the whole clan of them, and at the end of the night someone had ordered a taxi.  The person who had ordered it climbed into the back seats when it arrived, then out of the opposite door as the next person clambered in, who then did the same as another followed, and so on, till the whole pubload of people were passing through the back of the taxi.  And naturally, as they came out of the taxi everyone sneaked back round to climb through again, and again, and again.

There were probably hundreds of other such stories.  Small stories, inconsequential really.  I’ve forgotten all but that one, and I have no idea why it’s that one in particular that has stuck so firmly in my memory.  The people who told them are long dead, and most of the stories lost for good, but in that single surviving anecdote something of them survives too, something of their lives, and of their laughter.

As a teenager, I stopped listening to those tales.  The Admiral Elliott was considered a rough old pub by this time.  There was sawdust on the floors and the windows were left dirty.  There were no hanging baskets or window boxes any longer.  My family didn’t go there.  It was a den for the kind of people who lived at the top end of East Street, just across from the dishevelled Admiral; angry looking men with cheap tattoos, women with missing teeth, unkempt children.  The foliate faces were still peering out, but they looked forlorn now.

One of those families kept a dog.  It was a skinny black thing, and more or less left to run wild in the street, but it was friendly enough.  It would come up to be petted whenever I walked past the Admiral Elliott.  Until, one day and for no apparent reason, as I was on my way home from school, it bit me.  To be honest it wasn’t much of a bite.  But it frightened me enough that I avoided the route past the Admiral, and past the dog, for a while.

The reason I’ve come to that story, recounted it now, is that it doesn’t mean anything, but at the same time it means a great deal.  Some stories are like that.  It’s why we tell them to one another, and to ourselves, over and over.

Philip Kane

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Images from Medway’s past

by Philip Kane

One name, in particular, drew me to visit this exhibition, which was thoughtfully organised by Medway Libraries along with the Medway Archives and Local Studies Centre way back in July.  The name was that of Richard Dadd, the Chatham-born artist who notoriously went insane, murdered his father in Cobham Park, and spent the rest of his life in Bethlem where he proceeded to paint extraordinary scenes of the faerie realms.

As it turned out, Dadd was disappointingly under-represented.  Along with an account of his rather sad life, there was but one reproduction of his work, in this case Puck and the Fairies, and a very small, fuzzy, monochrome photocopy at that.  His vibrant paintings, full of life and wit, deserved better.

In a way, that sums up the exhibition.  Or more accurately, the display, as exhibition seems too grand a term for the array of reproductions and biographical texts that adorned the walls of Strood Library.  No blame attaches to library staff for the inadequacies; on the contrary I feel they should be congratulated for their initiative in drawing attention to the eight artists with local connections whose work was included.  It’s more a testament to the generosity of Medway Council when it comes to the arts that such a potentially important and valuable exhibition should end up having to be assembled so blatantly on the cheap.

The artists themselves turned out to be a largely conventional bunch.  The madness of Richard Dadd was fairly unique, but unfortunately so was his visionary art.  Apart from one artist – Evelyn Dunbar, who was also the only woman included – they were all Victorians by birth.  And judging by their work as represented they were all (with the exception of Dadd, of course, and Dunbar, of whom more in a moment) drearily Victorian in their approach.

If you like that sort of thing, then that is all well and good.  There were boats and ships aplenty, and to be fair the scenes of a Medway long past were quite interesting in a historical way.  But the Victorian fashion in painting generally favoured sentimentality, patriotism and stodgy morals, and all three were present in some quantity within this little show.

There did not even appear to be any personal eccentricities that would suggest a direct connection or affinity with a more contemporary crop of Medway artists, with the debateable exception of Dunbar’s devotion to Christian Science.  Actually, where the display did come up trumps was in its thorough accounts of the artists’ lives.  These were researched in some depth, and given that most of the information is not readily accessible even in this age of the internet, it was worth taking time to read the biographical texts that accompanied the reproduced artworks.

Of the paintings and drawings themselves, at least the ones included, it’s Evelyn Dunbar’s work that stood out.  From 1940 until 1945 she worked as an official war artist, and so many of her paintings draw on wartime experiences on the home front.  The Queue at the Fish Shop shows a scene from Angel Corner in Strood with humour and attention to detail.  Others, like Girls Learning to Stook and Men Stooking suggest a Modernist angularity to her figures, redolent of influences from Vorticism to Stanley Spencer.  Evidently much of her art was laced with allegory and allusion, reflecting her Christian Scientist beliefs.

Evelyn Dunbar, Girls Learning to Stook and Men Stooking

Dunbar opened the short-lived Blue Gallery in Rochester, in 1938.  It’s a shame there isn’t more knowledge surviving (or so it seems) of that period in Medway’s artistic history.  Dunbar herself died in 1960, at the young age of 53.  Much of her output remains, apparently, unaccounted for.  The period following Dunbar’s death remains a blank.  It would be interesting to see the same level of research put into an exhibition around locally connected artists of the 60s and even the early 70s.  Assuming any can be found, that is; their absence would in itself raise questions about the resulting hole in the chronology of the arts in Medway.

For now, we have had this small but interesting display – which will hopefully be repeated soon – to remind us that even in the Medway Towns, the arts have a past.

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Chatham Works – Nick Evans

Reviewed by Sophie Jongman

This wonderful exhibition is currently showing at the Nucleus Arts Centre Gallery in Chatham (272 High Street) until the 17thNovember.

Chatham landmarks are clearly depicted with colour and drama. Chatham and its icons are boldly represented with fond familiarity and exuberant colours in their surround.

The artist selects just a few significant places, ones with presence and maybe their beauty somewhat hidden, such as the Brook Theatre.

Is this really our home town? Yes it is; not only the landmarks, but also the atmosphere and its not gloomy either, rather it’s exciting and dramatic.

Of course Chatham is not known as a beauty spot or for its artistic attributes, but at this exhibition, artist Nick Evans captures from his Chatham studio what we know and love about the town, so impressive are the outer representations, we can feel its familiarity and admire them too.

Chatham is not without its victims of life, it’s a hard town with a history of hardship, such that it was an inspiration for many of Dickens novels. Artist Nick Evans demonstrates an understanding and appreciation of this essence. In one corner of the Gallery; as you
travel around the paintings of our beloved town there are two people (opposite the painting of flowers) a man and a woman in separate paintings, they are naked. Their vulnerability for all to see, these are our Chatham people, a boy and a girl.

The two pictures bring to a close our journey through Chatham and there follows in the same style, paintings of beautiful places in Cornwall perhaps representing our dreams of escape.

It’s a wonderful and moving exhibition, one that tells a story (or three).

A guest post from Word to the Sophie, posted here with thanks.

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Sedimental reviewed

Stephen Turner’s art, as tidal as the River Medway it explores in such depth, is fundamentally psychogeographic.  Turner’s work focuses on a continuing exploration of the river and its relationship with the people who live (and have lived) alongside it.   Human population and nature are conceived not as separate and competing identities,
but as a collaborative process.

This newest exhibited work, titled Sedimental, is a narrative made up of many layers.  An associated text suggests that Sedimental “examines threads interweaving geology with history, flora with fauna, hydrology and river archaeology, purity with contamination and other such contrasts”.

It does so with much emphasis on the successive deposits of the river itself.  Found objects – whether a plastic doll’s arm or crab shells from the shoreline – are collected and painstakingly catalogued.  Paints and pastels are manufactured from mud, chalk and driftwood and used to illustrate the ebb and flow of their origin.

At one point I found myself mesmerised by video shot with cameras that had been placed beneath the river surface.  The sky overlaid with water, overlaid in turn with the drift of flotsam, forms a visual rhythm that is meditative as well as fascinating.

There are layers, too, in the ongoing creation of this project, as further elements are developed through working with other artists and the local community.  In this sense,
at least, Sedimental is as much a portrayal of the Medway’s life in this particular moment as it is a reflection and summation of the river’s rich history.

Sedimental will be at the Visitor Information Centre in Rochester until 11th November 2011, with a further installation being unveiled (following a panel discussion on a River Medway Manifesto) at Light Vessel 21 on 22nd September.  There are many things to interest and inspire the psychogeographer, here; a visit is highly recommended.

Philip Kane

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Rag Lady

Rag lady, that’s what the locals call her, as she pulls her bright red canvas shopping trolley through the streets.  A straw boater in summer, a knitted bobble hat in winter, she’s always careful to keep her waist length greying hair neatly in its plait.  Today, unusually, her socks match; pink striped knee highs which, she feels, complement the black gypsy skirt, yellow blouse and practical red mackintosh.

She’s off to work, where she can be found most days, always exuberant, always enthusiastic, behind the counter of the town’s charity shop.  Her work is her life, she needs it to survive.  It makes her feel part of the community, a community she doesn’t really understand, and that doesn’t understand her.  She strikes an imposing figure, of massive build, but her demeanor is that of a slow, unsure child.  She would never intentionally upset or scare anyone, although she secretly chuckles to herself when she thinks of her great-grandmother who, at one time, was the most notorious serial killer in England.

Today, she must face the people who don’t understand her, the people who will whisper behind her back.  It amuses her that people respond this way, just because she’s different.  She doesn’t know how to be upset, but there is a distinct sadness in her small, close-set sparkling eyes.

She puts the key in the lock to open the door and the oppressive smell of musty old clothes and books hits her nostrils.  She loves the smell, it feels like home.  The scent of old, discarded and unloved items that no one wants.  It reminds her of herself and she feels at ease. She turns the closed sign to open, removes her coat and with ruddy cheeks and a huge smile, she greets the first customer.

Vikki Thompson

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Rare find in local charity shop

Last Thursday proved to be a very eventful day indeed for Mr Roger Penrose of Luton Road Chatham. Whilst rummaging for secondhand book bargains in the Chatham High Street branch of Oxfam, Mr Penrose found one of the only known copies of the Necronomicon, a mediaeval book of evil written by the mad Arab sorcerer Abdul al Hazred sometime in the middle ages.

 

“I knew it was old” said Mr Penrose “because most modern books are written on paper, whereas this one seemed to be written on cured human flesh.”

 

Although many later translations of the work exist, only three copies of the original manuscript are known. The whereabouts of this particular copy, lost at the time of the Third Crusade, has been a subject of fierce debate among historians for many years. Despite this, Mr Penrose says he had no idea of the books significance:

 

“I thought a fiver was a bit pricey for a second hand book” he said “I don’t usually like to spent more than about £2.75, but I decided it would look good on the sideboard, next to my Franklyn Mint figures.”

 

However, he decided to contact authorities the following week when a friend and neighbour – Mr Youseff Khan, also of Luton Road – saw the book and attempted to “stab him in the neck with a butter knife whilst screaming death to the vile necromancer and all his unholy works.” According to Mr Penrose this behaviour was “Quite out of sorts.”

 

The book is now in the care of the British Museum, under armed guard, where experts are studying it. A worker from the shop where the book was found, when asked how he felt that an object well known to be able to rent asunder the very fabric of reality, unleash ageless horrors upon the world, and inflict both irrevocable madness and cancer of the soul in any sane person, had found its way onto their shelves, commented: “Blimey, just goes to show you doesn’t it?”

Historians are asking that whoever donated the book, believed to have been left outside the shop in a carrier bag in with some old Dennis Wheatleys, contact the British Museum immediately.

Steven Gray

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Rochester lion

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Seahorse

The aluminium spider of a broken umbrella hangs in its black web among the branches of a tree.  A one-eyed bull prances on the bank of the river.  Leaves hiss.  Rain is burning away the pavements.  The startled face of an office chair looks out from a high office window.

I am naked but for the waistcoat of my tears.

O city of my birth, unhappy city, sacrificing your own children in your despair, your ghostly ziggurats piercing the rounded belly of the sky…

O city of death and family, tumbling from the valley slopes, breaking in long waves of grey into the crepuscular river…

O scabrous, raddled city, my dear and poisoned mother…

I swim like a seahorse through your asphalt veins.

Philip Kane

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