📚 Tale Teller Club Press (TTCP)

🎭 Brighton Arts Club & Goddamn Media: The Archive Membership Step behind the velvet rope and into over a decade of underground art, music, and mischief. From 2005 to 2018, Brighton Arts Club and Goddamn Media became a pulse point for radical creativity — a collision of live music, provocative performance, boundary-pushing exhibitions, and the kind of unforgettable nights you had to be there to believe. Now, for the first time, the full archive is unlocked for members. 📽 What you get: Rare & unseen video : Live gigs, performance art, behind-the-scenes chaos, and intimate moments never released to the public. Audio gold : Recordings, mixes, soundscapes, and spontaneous jams from the club’s most electric nights. Flyers & ephemera : Digitised posters, invites, and handouts that defined the era’s visual style. Social media relics : The memes, promos, and bite-sized clips that spread the scene’s legend far beyond Brighton. ✨ Why join? Relive the raw, unfiltered energy of Brigh...

NotWiki Page for Sarnia de la Maré (Pasha du Valentine) (iServalan) Sarnia de la Maré FRSA (also known as Pasha du Valentine and iServalan) is a British feminist artist, writer and digital creator. Comprehensive artist archive for Sarnia de la Maré FRSA — also known as Pasha du Valentine and iServalan — featuring verified press coverage, punk origins, Brighton Arts Club history, and official citations. Quoted from i-D magazine ......“I was definitely rejecting feminine beauty ideals. I hated the passivity of the status quo female look,” she recalls of the motivation for her punk beauty manifesto. “I hated the sameness, the normality, the lack of imagination. Most of all I detested the lack of power… The ‘come get me fluffy rabbit’ look.” This NotWiki page is an archival record for the artist and writer Sarnia de la Maré FRSA and her performance identities Pasha du Valentine and iServalan . It collates names, aliases, key cultural contexts, and links to external so...

Countess Diaries Ch 5, The Phantom Gallery of Challenging Art The evening finds me in a contemplative mood as I admire the latest addition to the palace’s burgeoning art collection: the “village chief” mask from Dennis Druvo’s Ghanaian treasures. It now occupies a position of quiet dignity within the pantry, nestled between the jars of lentils and the baking powder. If its spirit is indeed as wise as Dennis assures me, it shall surely preside over my culinary endeavors with benevolence—though I fear even spectral guidance may not redeem my attempts at soufflé. This, of course, is not the first time I have found myself navigating the delicate dance of artful diplomacy. Over the years, I have become something of an expert at the subtle relocation of "challenging" pieces to less conspicuous corners of my palace. The gallery beneath the stairs, for instance, boasts a particularly enthusiastic abstract of what I believe to be an elephant balancing on a turnip, though I have never ...