This year has been one we will look back on and remember for a long time. On May 31st London marched in solidarity with protestors in the US sparked by the murder of George Floyd. I had joined the protesters who began in Trafalgar Square before marching through Westminster to Downing Street. A second demonstration was also held outside the US embassy. While I was taking pictures I captured a shot of a striking woman leading the march on the bridge approaching the Houses of Parliament. At the time I had no idea how significant this moment would be. This was Imarn Ayton – Actor, Activist & Model. Here Imarn describes in her own words, what happened that day, and the moment in that picture.

“This was a momentous day- this was the day that everything changed and happened ‪on the 31 st May.‬ This was the day I was genuinely flung into the whole world of protesting! It was interesting as I was going to get toothpaste, it was very much accidental – finding myself at the forefront of this whole movement.

The first protest was in Peckham where I met a group of people who told me about another protest that was happening ‪on the 31st May.‬ I got there (Trafalgar square) and thought that it lacked energy and that there was a lull in enthusiasm. I am from a Jamaican & Nigerian background so I am use to energy and enthusiasm when we are altogether, I expected no different at the protest As I arrived, I looked around and there didn’t seem to be any pockets of leaders anywhere. So I stood on the pillar to get a better look, as we all chanted. I soon realized there was no pocket in the crowd were the leaders stood and as I looked out at the crowd, the crowd looked straight back at me.
I was then approached by a mysterious lady who tapped me on the ankle and handed me a megaphone, then she walked away.

To this day I don’t know who this woman was – she mentioned her organization but I did not hear it properly. When she handed it to me I had to make a snap decision as to whether I would use it or not. So I decided to use it! That was one of the most surreal moments, as this mysterious woman didn’t know that this would ultimately change my life.

Everything happens for a reason. I did not see one leader hence why I ended up leading the protest. Shortly after my speech, another young lady who I had met at Peckham, spoke with anger and talked about burning down everything.This caused mixed opinions/body language – don’t forget there are thousands of people listening. As soon as she said that, I offered my opinion. Something along the lines of, “I am not an ignorant black woman, if I was to be raped, mugged or hurt, the first people I would call would be the police! We are not here to condemn ALL police, just those that are racially prejudice and abuse us and oppress us! We are not here to say F*** ALL Police and cause chaos and anarchy. We ARE here to say F*** the Police who are racist!

After that speech, this girl and I then lead the protest.
If there were any leaders, they did not surface and approach me during the whole three months of protesting.

I didn’t know at the time that Misan Harrisman (black photographer for British Vogue magazine) took my picture when I held the megaphone up on the pillar and sent it to Edward Enninful (Editor-in-Chief of British Vogue) Edward Enninful then posted it on his Instagram and on the British Vogue website This was a very special moment, not just because I was noticed by the incredible British Vogue team, but because the lady who gave me the megaphone had no idea how much she would ultimately affect my life and neither did I. This would not have happened if I was not given that megaphone.

The picture – It was a beautiful day, I can’t put into words what it meant to me. How it felt, the energy, passion,empathy and determination – we were determined to conquer this problem. This is what resonated the most, to see so many like minded people come together. We are mad, we are sad, we are tired so lets march! let’s scream, lets shout, express our pain, galvanize and seek equality and justice for black people.

I had to stop myself from getting emotional – this march started and ended with every ethnicity. That’s the thing I really take away from this.

That day was crazy. It started with the girl who was leading the march with me. I decided to be un-apologetically me, (black, loud and proud) which gave other people the confidence and license to do so also.

It started with me walking from section to section of the crowd to motivate people and help with keeping the energy alive. (after all I had a megaphone)
This beautiful picture…I remember getting to the bridge and I remember thinking..right – this is our moment to galvanize and show the world what it is we are truly here for! So lets be loud and lets be proud. So I stood on the bridge barrier to do exactly that!

I used the megaphone and helped everyone that passed me, to continue to be confident and chant with unapologetic energy! Everyone that passed me I connected to and they connected to me.

The chant was probably the ‘Black Lives Matter’ chant. Every single person felt the energy – It did something for them and it did something for me! -for you to get a picture of this, is amazing as it captures everything in that moment. I love it. The picture shows all the different placards (‘denounce white supremacy now’ and ‘stop murdering us’) as well as the face masks (marking 2020 as the year of the pandemic). Racism is a pandemic and has killed more than COVID!!

I’m so glad you caught this moment as no one else has given me this picture.”

What a day!! What a spiritual day!!

Words: Imarn Ayton & Kings Davis

instagram @imarnayton @flipthescriptbook

The new festival curated by Gilles is on the site of the old secret garden party festival in Abbots Ripton, Cambridgeshire. An ideal setting that was busy but still had an intimate feel. The line up included an eclectic mix, of contemporary ‘up and coming’ bands/Dj’s and established artists from the Jazz/Soul/HipHop/Reggae/Dub/Electronica genres.

Gary Bartz was a joy to behold with a specially curated group including Dwight Trible, Saul Williams and Zara Mcfarlane. Gary is probably best known for the song ‘Music is my Sanctuary’ – the title track from classic jazz funk album produced by the brilliant Mizell brothers. However we were really spoiled for choice with the amount of talent across the stages and tents. Just a few names that delivered high impact shows included Nubya Garcia, Moses Boyd, Steamdown, Laura Misch, Lee Fields & The Expressions and the incredible selection of Dj’s with Theo Parish, DJ Krust, Errol & Rita and of course the Love Dancin tent featuring Dingwalls (see image below).

The Sunday line up boasted Dennis Bovell on the Rhythm Corner. Dennis presented a true and heartfelt short history of his legendary career in UK Reggae music alongside Zara McFarlane, could honestly have listened to that all day and be totally satisfied. So roll on 2020, this year has been unforgettable.

Please do not use or reproduce these images on Websites/Blog or any other media without explicit permission.

© All Rights Reserved Kingsley Davis

M

The ‘hit maker’ is in town. Nile Rodgers is back and it is no secret that he refers to London as his second home. A true legend personified, especially when the term is often over used. Nile is curating the 2019 festival taking place from August 3 -11 which CHIC opened on Saturday. Over the 9 days Thundercat, KOKOROKO, Alfa Mist, Anitta, Johnny Marr, Dave Stewart and many others will perform as well as DJ Jelly Bean Benitez who will recreate the vibe of the iconic Studio 54 nightclub.

Nile is the latest in a prestigious list of artists to curate the festival including the likes of David Bowie, Patti Smith, Ornette Coleman, Robert Smith, James Lavelle plus many more.

Nile in conversation before the show was a special opportunity to hear jaw dropping and often funny stories which he is great at delivering. One of these was the background of how the song ‘Lets Dance’ was created involving both Nile Rodgers and David Bowie being recently dropped from their respective record label’s.  David had asked Nile ‘to create a hit’ and shared the process of producing the song from beginning to end. This included playing a recording of David laying down vocals for the first time after hearing Nile’s version presented to him. This was the very first time Nile had shared this in public! David Bowie’s original music had a very strong Folk influence so Nile essentially re-wrote it. In the recording you can hear David unsure at the start of demo but by the end he has completely fallen for what Nile has created ‘This is it – we got it.’

The 2019 festival runs from August 3 -11 at the South Bank Centre, London.

I’ve been looking forward to this book for a while!! Penguin have published Emma Dabiri’s ‘Don’t Touch My Hair’. Emma – a Historian, Author and Visual Sociologist, has created a timely and much needed study of this area. The book is about why black hair matters and how it can be viewed as a blueprint for de-colonisation. The book documents the link through pre-colonial Africa, through the Harlem Renaissance, Black Power and on to today’s Natural Hair Movement, Cultural Appropriation and beyond. Read on…

  On May 3 2019 a Q&A was hosted by Ayishat Akanbi at Waterstones (Gower St, London) where Emma discussed her personal experience of growing up in Ireland – ‘My mum was white and did not know about the hierarchy of hair in the black community.’ In addition to these challenges Emma described facing issues of rejection from both black and white communities and the effect that language has on how we see our hair. These descriptions include ‘coarse, nappy, unruly as opposed to ‘silky and flowing.’ From these examples it is clear to see our hair (i.e the black community) is being judged by a standard and narrative that is negative. The book discusses all these extremely important areas while reflecting on hair in a historical context. In Yoruba culture, for example, hair is significant and also Emma’s parental ancestry. Yoruba traditional hairstyles have always been artistic, particularly with their complicated structure, formed with multiple braids of different size, with additional accessories and stunning. Maybe more exposure to this celebration of natural hair is what is needed, especially in western culture?

A chapter in the book entitled ‘How can you love yourself and hate your hair?’ recognizes that hair it self is political. It is worthwhile noting that in the historical context of slavery, the systematic dehumanization of black people and the negative portrayal of black culture has contributed to the stigma around hair. There are thankfully now more questions about who controls the ‘image and perception of black hair’ plus increasingly raised awareness of how the media can influence perceptions. This includes an increasing celebration of black culture in entertainment (notably the featuring of natural hair) film and advertising. There is a huge shift towards black women and men wanting to be accepted for being themselves while the stigma is gradually being eroded.  Emma has described that ‘subtly, over time I went from tolerating my hair, to enjoying it to loving it.’ Yes… we are enough.

‘Black Panther has the potential to inspire the next generation of black children’

I was watching the BBC’s One Show last week featuring the lead actor from the new Black Panther film – Chadwick Boseman. The guest host who was Jeremy Vine had asked how special it must be for Chadwick to be in a mostly ‘all black’ cast for this film and he replied ‘It’s special, but I do it all the time.’ Will we ever get to a place where epic films like this are less of a novelty and have a regular place in main stream cinema? I think for many this film signifies many boundaries being pushed on all levels, not least with a black super hero in a major film franchise.

As Oliver Pometsey said recently ‘This film is more than an exercise in diversity for Hollywood, it’s a lesson on how to recover and move forward from society’s mistakes.’ It is certainly empowering to witness black children finally get an opportunity to truly see themselves as heroes on screen. This has been celebrated with whole cinema screenings being booked for schools to see the film together.

The Black Panther film is the 18th installment in the Marvel series but not the first black comic-book character to have an exclusive film (Check Spawn and Blade). However The Black Panther is the first to embrace ‘Afrofuturism’ – a concept to science fiction and fantasy with roots in the black experience and the cultures of the African continent. The creators of the film have aimed for authenticity by drawing on research trips to Africa, historical resources and specific cultural references. The cast is a mixture of African and African-American actors, and the national language of Wakanda is, in fact, Xhosa. On first impressions it seems to be a movie of substance as well as style.

I made it a priority to drop by the European Premiere in Hammersmith (London) not just to see the film but soak up the energy of the people. The buzz on the street was apparent all through the evening, many turning up in Black Panther and other super hero costumes (see images below). There is a sense we are witnessing a special moment in cinema while inspiring the next generation of black children.

IG @flipthescriptbook

“I was willing to take some risks to get the pictures I wanted and in general that paid off. “

Martha Cooper

London’s Stolen Space Gallery is currently hosting a solo show of works by the acclaimed photo journalist Martha Cooper. This is running from 5th Feb 16 -­ 28th Feb 2016. ‘Life Work’ feature’s Martha’s iconic images of graffiti and street art from the 1970s to the present day. In addition Central Saint Martin’s hosted a public talk about pursuits of graffiti and visual play which featured Martha Cooper, Yogain Chandarana (Barrister, specialized in graffiti/street art) ) and Tom Oswald (ex-graffiti bomber, artist and film maker).

Martha has traveled from the USA to Asia and beyond capturing urban play through her photographic work. Martha’s publication ‘Subway Art’ is still recognized  as one of the ‘visual bibles’ of graffiti and urban creativity. Martha has worked with newspapers and magazines including the ‘New York Post’ and ‘National Geographic’

Martha kindly agreed to share some priceless stories and insights on her unique photographic journey …enjoy.

Visual Play has been a central element to your work – where did this interest originate from?

My parents always encouraged creative play so I felt a personal connection when I saw kids being inventive.

‘Play’ is becoming is becoming rarer as children and young people are doing this less – especially in developed countries Would you still choose this subject matter if you were starting out as a photographer now?

I wouldn’t say that play in general is rarer but the kind of play I like to photograph on the street, at least in New York City, has disappeared for many reasons. Parents are more watchful and there are fewer vacant lots filled with raw materials. The photos were inspired by activities I happened to see so no, I would not choose this as a subject if I didn’t come across anything to shoot.

At the recent public talk in London ‘Chasing Visual Play’ – an observation was made about the relationship between play and danger. Do you see them as two sides of the same coin?

There are plenty of examples of very creative play activities that aren’t at all dangerous. But the ones that are might make more interesting photos.

 As a female, and in many cases going into neighborhood’s that were dangerous at the time – How did you cope with situations that might have put you at risk?

I was willing to take some risks to get the pictures I wanted and in general that paid off. Being a female might possibly have made some situations less risky.

Subway Art was published in 1984 and has gone on to be a ‘visual bible’ for many. What advice would today’s Martha pass on to the Martha back then?

The fact that Subway Art became so popular has validated what seemed like dubious career choices at the time, for example quitting a staff job at the New York Post to spend more time shooting photos of trains. I don’t really have any advice for myself. I’m pretty happy the way things turned out.

The iconic 5 pointz building that was located in Queens New York covered almost an entire city block attracting many graffiti artists, hip hop groups and tourists. It was once called the ‘United Nations of graffiti’ but was destroyed despite a passionate campaign by artists and fans. Is there a view that (as sad as this was) it encourages the evolving of graffiti and the scene it self?

I wasn’t that sad about the destruction of 5 Points. For many years it was a nice, legal graffiti spot located on some prime real estate. It’s days were always numbered. Bushwick and Bed Sty are now taking up the slack. Graffiti spread around on many buildings is more interesting than on just one.

Who was your favorite artist ‘back in the day’ and why?

I don’t play favorites.

On the subject of evolving – Fire extinguisher art is really growing. When did you first become aware of it?

It’s been around for quite a few years so hard to remember when I first noticed. I don’t think I took any photos on film of extinguisher pieces and I switched to digital cameras around 2001 so that’s probably when I began to notice. With analog, I was more cautious about shooting because of the expense of film and developing. Digital cameras encouraged me to take more photos of more kinds of things.

Which camera/s and equipment do you use now? how has it changed and why?

I use a Nikon 810 digital camera.I’ve always used Nikon’s so have a lot of lenses. As I said previously, film was expensive so I’ve been able to shoot a lot more with digital. I also like the flexibility of being able to change the ISO or color balance photo by photo instead of having to change the film or add filters. However the editing and adjusting of digital photos is very time consuming.

You have traveled far and wide taking iconic pictures of many cultures – is there anywhere you would still like to go that has not been possible yet?

Not really. I’m enjoying the randomness of being invited here and there, flying from Tahiti to Cape Town to Quito to Detroit to the Azores and beyond. I enjoy not knowing where I’ll go next. I’m always hoping for some fun surprises when I get there.

‘Lifework’ is running from 5th Feb -­ 28th Feb 2016  at The Stolen Space Gallery 17 Osborn Street, London UK E1 6TD

instagram: @flipthescriptbook

http://www.stolenspace.com/shop/product/martha-cooper-subway-art-pre-order/

On June 29 2014 Galeria Fortes Vilaça opened the show A ópera da lua [The Opera of the Moon] by the artists OSGEMEOS. The artists present new works, in an immersive environment, where their narrative world takes on a new dimension.

 Throughout their artistic career, OSGEMEOS have resorted to a variety of techniques and supports either concurrently or alternately, ranging from drawing to graffiti and mural paintings, from painting to kinetic images, sculptures and installations. The show A ópera da lua features about thirty paintings, three sculptures and a 3-D video installation. The works on display include the largest sculpture ever made by the artists, a secret project that was only revealed on the show’s opening day.

OSGEMEOS | A ópera da lua

 Introduce yourself (what would you like people to know about

you, who you are, what you do etc…): 

OG:  We are Gustavo and Otávio Pandolfo, known as OSGEMEOS (“the twins” in Portuguese). We were born in Sao Paulo, Brazil, and we are artists that live in between São Paulo and New York.

OG: We are working in the exhibition “Opera of the moon” for over 2 year now. For us, all our projects are developments from each other, always the next step, closer and closer to the world that exist in our minds. The concept of this exhibition has lots to do with the way our minds work – its an opera! A big opera composed by many different and special elements, such as the sound and the movement – that’s why we explored the movement more than ever in our work this time, playing with the concept of animation. Like the opera and the music, our show has a beginning and an end, but also lots of silences in the middle.

OG: We are inspired 24 hours per day, receiving and filtering everything we see, feel and experience. We get inspiration in life, dreams, travelling, people, cities, women, sex, music, love, hate, family, friends…

OG: In general, the nature, god and his creations. There are also lots of artists that inspire us, such as Slava Polunin (Russia), Roger Waters (UK), Aryz (Spain), Blu (Italy), Barry McGee (US), Doze Green (US), Martha Cooper (US), Henry Chalfant (US), VLOK Crew, JR (France), Todd James (US), Mark & Vaughn Bodé (US), TSK Crew, Banksy (UK), Montana Colors (Spain).

OG: We were never big soccer fans actually.  When younger, we were always very excited for the world cup period – not because of the soccer, but because everyone else would be inside their homes watching the matches, leaving the streets empty! This meant that we could go out and explore our city to paint, and no one would bother us. We think that the nation shouldn’t feel impacted at all because of soccer, as we have more important issues to deal with this year – elections year.

OG: The best art is the one that comes from your soul and from your truth. It doesn’t matter if the art is protesting or not. There is space for all kinds of art, and that’s the beauty of it. If the art can touch others, you did it.

 What is the OSGEMEOS philosophy/mantra?

OG: Believe in your dreams and imagination.

OG: It is so hard to mention only one, because there are so many lyrics we love! But we will tell you one as a gift:

Comfortably Numb – Pink Floyd

Hello

Is there anybody in there?

Just nod if you can hear me

Is there anyone at home?

Come on now

I hear you’re feeling down

Well, I can ease your pain

And get you on your feet again

Relax

I’ll need some information first

Just the basic facts

Can you show me where it hurts

There is no pain, you are receding

A distant ship’s smoke on the horizon

You are only coming through in waves

Your lips move but I can’t hear what you’re saying

When I was a child I had a fever

My hands felt just like two balloons

Now I’ve got that feeling once again

I can’t explain, you would not understand

This is not how I am

I have become comfortably numb

I have become comfortably numb

Ok

Just a little pin prick

There’ll be no more

Ah!

But you might feel a little sick

Can you stand up?

I do belive it’s working, good

That’ll keep you going, through the show

Come on it’s time to go.

There is no pain you are receding

A distant ship’s smoke on the horizon

You are only coming through in waves

Your lips move, but I can’t hear what you’re saying

When I was a child

I caught a fleeting glimpse

Out of the corner of my eye

I turned to look but it was gone

I cannot put my finger on it now

The child is grown

The dream is gone

And I have become

Comfortably numb

 Will OSGEMEOS be coming to exhibit in London any time in the future?

OG: So far, we don’t have any projects planned for London in the near future, but we would love to go there soon!

FTS: Thank you so much for your time and inspired art. Very best wishes from all at Flip the Script.

OSGEMEOS A ópera da lua Photo: Eduardo Ortega

This month we have a special interview with Emanuel Harold. Drummer, Producer, Composer, Educator Native of St.Louis, MO, Harrold began pursuing drums at age sixteen.  His professional career began at the age of seventeen playing with the Willie Akins Quartet. Currently, Emanuel’s Dynamic drumming is recorded on the 2010 Grammy Nominated Album “ Water” for Best Jazz Album Of The Year (Artist) Gregory Porter. Since relocating to New York he has worked and or recorded with great jazz and contemporaries musicians such as Gregory Porter, Kidz in the Hall, Hypnotic Brass Ensemble, De La Soul and Damon Albarn.

Who / What inspired you to take up drums?

I grew up in a musician family. My father & mother are ministers. My grandmother Rose Evers was a gospel recording artist and my grandfather Frank Harrold sr and his siblings along side CQ Ross performed in competitions 30-50 years ago around the USA. I meet people who know them all the time after I perform in new York.

When I came along, my grandfather had the drum and bugle corp based out of Kinlock Mo, an all black community in St Louis. So marching, drum line, horns and pit percussion was constantly available since I can remember. My brothers, cousins and friends used to explore, get kicked off and find or voice on any and every instrument. So, what really drove me to the drums was not being able to have that choice being, my grandfather strictly wanted us/me to learn and play horns. But of course we would sneak on the drums and get in trouble. Learning melody and harmony from learning horn parts sticks with me today. So one day, the drummer was missing at a church service I went to with my mom and time after time after that. I finally made that step eventually. Years later I committed full time. That was the transition for me. But I always was a drummer at heart..

 Is there any other instruments you can play or are interested in?

I can play at the piano. Not trained though. I can play a few songs on baritone horn (G clef). I do producing and remixes using Native Machine, Pro-tools.

 Whats the most memorable performance you have done abroad and at home?

Most memorable concert was touring with Hypnotic Brass Ensemble and performing with Prince. Eating breakfast and talking to George Duke, and after performing with Gregory Porter in France – Herbie Hancock going out of his way to tell us we had a great vibe..

What are the most important qualities you demand of the musicians who accompany you onstage?

Qualities I look for is for every band mate to do their job. Come to play every night and enjoy themselves. Lastly to be respectful and responsible..

 Where would you most love to perform live?

At the Super Bowl and The Grammy Awards.

What are your favorite films and have they influenced your work?
The Matrix basically had me picture the inner workings of something, a tune, a rhythm or situation. This thought process challenged me to go inside myself. Like a deeper awareness to do the job, the gig, the drum solo. Learning the rule to break the rules.

 Is there any one thing you take on tour with you where ever you go?

I take my camera, cymbals, studio and and a good open positive attitude.

 Is there any musician (alive or dead) that you’d love to work with – why?

Herbie Hancock and Quincy Jones because they are musical genius and a part of the past and the future for this music. Nile Rogers because he is funky. Derrick Hodge because I enjoy his approach to music. Q-Tip, Nas, LL Cool J, Common, Madlib and Rev Run because they like the funky drummer. Max Roach MBoom, Betty Carter, Ella fritz Gerald, Coltrane, Miles, J Mac, T Monk and Ahmad Jahmal because of the legacy of the music.

The projects you have worked on show an open mind to different genres of music – whats planned for the rest of 2014?

Well the 2014 Liquid Spirit Tour with Gregory Porter, working on writing and finding time to practice and transcribe more. Also been talking with renown DJ’s about some recordings and shows.

The Liquid Spirit Tour continues through out the UK!