Black Lives Matter 2020 ‘A London Story’

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


WE OUT HERE FESTIVAL – Abbots Ripton, Cambridgeshire 15-18/8/19

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




garybartz_ig_kingsdavis_DSC6004 garybartz_ig_kingsdavis_DSC6048














Nile Rodgers & CHIC kick off the 2019 Meltdown Festival (London UK)

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.


‘Don’t Touch My Hair’ A Special Q&A in 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.



The Black Panther European Premiere ‘Inspiring the next generation’






‘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



‘Chasing Visual Play’ with Martha Cooper in London.

“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



Barrie Sharpe: ‘In the right place at the right time’

Barrie Sharpe is one of London’s most original characters from the last 4 decades. Whether it be bringing 1970s American Funk music to the masses or heading up the seminal shop “Duffer of St George” he has never been far from the spotlight. His new autobiography, This Was Not Part of the Masterplan, is Sharpe’s first venture back into his youth.

As described in the book’s introduction by Skin (Skunk Anansie), Barrie’s words are his and expressed directly. The book is an engaging read and indeed expresses the ‘tears, pain, joy, and laughter’ of an influential person. The story is one that will resonate with all people whether part of the original scene or not.

We are living in very different times now but as a self published author I appreciate that a single minded vision is what takes you to the next level. I caught up with Barrie recently to discuss production of the book but as he describes the ethos still applies in 2015 – ‘I was a product of the times and the product became the producer. I designed the clothes, ran the club, played the records, was in the band and made the music, which created the scene that changed youth culture worldwide.’

Barrie Sharpe ' This Was Not Part of the Master Plan '

What inspired you to get the book produced?

There were too many people out there re-writing history…

How did you go about producing it and did you get all the people you wanted involved?

I started a Kickstarter campaign to raise the money. Most of the people I wanted were involved…

Was it a free flowing process or did you have many challenges?

It was free flowing…

What were the challenges?

I am dyslexic…

Tell us about the process you went through in launching the book?

I financed using Kickstarter & promoted via Facebook…

What would you do differently on a future one, if there is a future one?

I would use the same process…

How is the book selling and will further copies be printed to meet demand?

The book is selling well in the limited market I have exposed it to. If need be…

What is your philosophy/mantra according to ‘Barrie’?

“My game my rules” – “Forget that shit, you can’t hold me back”…

Barrie's flight boxes

The book, funded on Kickstarter, is self-published and out now.

A Black History Month Special Oct 2014: Ishmahil Blagrove discusses his book ‘Carnival’

Further to a very special launch event at Notting Hill’s Tabernacle in August, it was a priority to speak to the man behind ‘Carnival’ A Photographic and Testimonial History of

Book launch of 'Carnival' A Photographic and Testimonial History of the Notting Hill Carnival.

the Notting Hill Carnival. Ishmahil Blagrove Jr – writer, founder of Rice N Peas Films and publisher Margaret Busby have created a visual document of one of the biggest street parties in the world. It is no surprise that the book has been selling well so it was a pleasure to find out about the process and why it is wise to get hold of a copy now…

What inspired you to get ‘Carnival’ produced?

The book came about as the result of a campaign to correct the false historical narrative that had been in circulation for many years and to get Rhaune Laslett and the real pioneers of the carnival their deserved recognition for establishing this world renowned event.

How did you go about producing it and did you get all the people you wanted involved?

We began by researching all the historical articles and documents published about the carnival, spending a considerable amount of time sourcing photographs and interviewing the surviving pioneers of the event. We then established a editorial committee made up people who were instrumental in the development of the carnival and began filtering segments of the story through them as the book was being written.

Was it a free flowing process or did you have many challenges?

There were many challenges involved, not least the fact that we were deconstructing the established belief that Claudia Jones had started the carnival. This was a false historical narrative and Intellectual fraud that had been validated over the years by many reputable individuals and institutions like the BBC, The Guardian, Evening Standard, Time Out and many of those involved in key positions within the modern carnival. The true genesis of the event had always been known because many of the key pioneers like Hoppy Hopkins, Barbara Shervington, Russ Henderson and Sterling Betancourt are still alive and they are in no doubt as to how the carnival came about and who started it. The reality is that it has always been uncomfortable for many people within the black community to accept that it was a white woman who started the carnival. Many see it as blasphemy to even suggest such a thing but the story is more complex than that – Rhaune Laslett along with community activists in Notting Hill started the carnival as a means of bringing people from different nationalities together, as a direct result of the racism, discrimination and marginalisation that many communities felt at the time.

'Carnival' A Photographic and Testimonial History of the Notting Hill Carnival.

What were the challenges?

In order to contest the established history it was important that we produced a book of exceptional quality that could sit on the shelf alongside any other book and be respected and valued for its intellectual, creative and professional output. Achieving this result without the supporting capital necessary was a challenge but we were extremely creative in the ways we went about achieving this.

Tell us about the process you went through in launching the book?

The launch was a success because the community of Notting Hill and the pioneers who made the event happen took ownership of it. Throughout the production we had an open door policy whereby anyone could walk through our doors at any time and discuss the project, identify characters in photographs or fill in gaps in the story. The launch was hotly anticipated because the audience were involved at every level of the production. This is a beautiful thing because this is exactly how the carnival is produced – so to produce a book that is produced out of the same energy was just sheer magic.

What would you do differently on a future one, if there is a future one?

I embrace the challenges and mistakes of each production and see them as a part if the process. There is nothing I would do differently, the book has arrived as the energies have delivered it, typos and all. Given that the book is now in the public domain, no doubt more photographs and memorabilia will surface that we would have liked to publish – but such things are beyond our control.

The launch was a memorable occasion – what did it feel like to finally launch it and see people’s reaction to it?

It was a relief to finally see the hard work pay off and to hold a physical copy of the book. I’m an avid people watcher and it was a great pleasure to see how the public reacted to the book at the launch and the excitement it caused amongst those who lived the story and recognised many of the faces and characters featured. The pioneers, contributors and myself were subsequently mobbed as people raced about and joined long queues to get their books signed. Over 1000 people attended the book launch which is fantastic for any book. We sold almost £7,000 worth of books on the launch night alone which is quite an achievement and this will go a long way in helping to cover our printing costs.

It is currently Black History Month and I often take part in discussions on whether a month is really enough to celebrate such rich history. I recently heard a suggestion that it should be moved to August to coincide with the Notting Hill Carnival – what are your thoughts on this?

I think black history month has become quite stagnant over the years. We have failed to coordinate a type of national curriculum that would help bring some focus to the event and establish an annual theme or uniformity. We need to be doing more than just pasting up the same posters of the same black icons each year. We need to be more adventurous and expose the achievements of those great icons of African history both past and present and elevate the the debates surrounding the present black experience. This is something that should be a part of our daily responsibility not something that we half heartedly celebrate for one month of the year.

Do you think the younger generation are really aware of the true history of Carnival and how can we educate them?

I don’t think many people were informed about the true history of the carnival and it was for this reason that the book was produced. Carnival: A Photographic and Testimonial History of the Notting Hill Carnival, is a very important document that goes a long way in correcting the historical fallacies and establishing a coherent timeline to the event.

Finally how is the book selling and will further copies be printed to meet demand?

The book has been selling very well and we are almost out of print. At this stage I don’t believe we will be reprinting the book. When we are down to the last 200 copies these will be reserved for academic institutions and libraries as we believe that it is important that the book is available and accessible for future generations who wish to research and investigate the history of the event. We have a fully signed up copy of the book that was signed by all the contributors, people such as Russ Henderson, Sterling Betancourt, Hoppy Hopkins, Leslie Palmer, Darcus Howe, Mike Laslett, Claire holder, Margaret Busby, myself and many others. We received a bid of £1000 to buy the copy and a couple of days ago that bid was surpassed but we are waiting to determine the size of that bid. Such contributions have helped us to cover the immense costs that were incurred in producing this book and has also contributed in making this book a collectors edition that will no doubt be sought after for many years.

The book is available from

Ishmahil Blagrove at the launch of 'Carnival' A Photographic and Testimonial History of the Notting Hill Carnival

OSGEMEOS – An exclusive insight into the minds of two artists

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.

 The current exhibition is a big departure from the previous work, how did you create the concept?

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.


 Who and what inspires you?

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…

  Who are your icons, past and present?

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).


What did you think of the 2014 World Cup and Brazil’s performance, what impact will this have on the nation?

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.

 I visited Sao Paulo in June and took a lot of pictures of the amazing street art. A lot of it had themes protesting against the World Cup and the amount of public money being spent – is the best art inspired by protest?

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.

 What is your favourite lyric from a song?

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



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



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



Just a little pin prick

There’ll be no more


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



Emanuel Harold : Drummer, Producer, Composer, Educator.

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!