You can spot a Kimberly Lemming book from a mile away by the hilariously unforgettable title and its cover art of a painting illustration to match. Two years in, and the fantasy romance author has made a name for herself with her humour forward, sex positive, adventurous books. We sat down with her to talk about how she got her start, writing choices, and her ever growing fanbase. What got you into writing romance? Well, I've always just loved reading romance. In 2021 I got to a point when I really just wanted to escape. I hated my job at the time and needed a break from everything. My husband was like ‘well, you've been talking about this romance novel, you've been thinking up in your head, why don't you just quit your job and just rest for a few months, and then write it and see what happens.’ So, I did just that. I took a break and then everyday I wrote a little bit more of “That Time I got Drunk and Saved a Demon,” and it was so relaxing and so fun. When I was done, I put it up on Amazon. Why fantasy, why is that the sub genre you chose to go with? Because anything can happen in a fantasy. You’ve got werewolves, you could throw sticks of cinnamon and secure a dragon from a curse, whatever you want. The world you build sometimes feels at odds with the language that you use. Some of the characters use casual language against a backdrop that is medieval. Tell me a little about that choice. Was it deliberate? It was a little bit deliberate. I feel like a lot of fantasy just gets slotted into medieval Europe but really you can have it go off any kind of culture you want. You can have any kind of dialect. And even if we do go back all those years, they still used slang depending on what region you were from. So there aren’t any set rules on what the language has to be. The women in your book are all super strong characters, except when it comes to their romantic affairs. Desire and lust for their partners turns them into completely different people. Tell me a little about that. I think it's funny when someone gets all flustered around the person they like. I think it's adorable and pretty universal. Like Cinnamon is not scared of an alligator, she's used to them. But when it comes to this man that comes in guns blazing and he’s like, ‘you're my wife now, and I adore you.’ She’s like, ‘whoa, first of all, take several seats. Calm down. Let's get some tea.’ I just think that's just a fun dynamic to keep going with. The couples in your book have an interracial element, although it’s hard to call it that because they’re not all human. Talk to me about how you toed the line with racial parallels from the real world but also just making sure that the books remain fantasy books. So, I would say when it comes to picking interracial romance, I wrote it based on how I interact with my real life. I grew up in very diverse areas. So I'm thinking in this fantasy world, why does everything have to be sectioned off in the race? It could just be anyone. When I was thinking about the dragons, I thought it'd be so much fun if I had an Asian style dragon instead because in a lot of fantasy romance it’s usually just European style dragons. So I made Fallon. And I wanted to keep it going. Because honestly, men of all different cultures are gorgeous, and deserve to be in a romance. Why did you choose to start off self-publishing instead of going through the formal publishing route? Well, I never thought a traditional publisher would actually take me seriously. Like my book title was “That Time I got Drunk and Saved a Demon.” It was like a goofy fantasy romance. So I chose to publish on Kindle Unlimited. What has it been like building a readership that is now massive and really resonates with your books? It's been a crazy ride. I never would have guessed that was gonna happen. Especially when the second book came out and they launched it to like, the top five of fantasy romance on Amazon. It's like, I turned around one day and all these people were here cheering me on. Like, this is amazing. But also, where did you all come from? Being self-published means you interact with your readers a lot more, so you're really privy to every opinion they have about your book. What's that like? Do you enjoy that? Is it weird? I love it. And especially when I was first starting out, it was a lot of fun to just jump on a discord chat with some of my readers and talk about what they were reading, what they liked about the book, what they wanted to see in the next book. Some of them actually dared me to put the word “cheese puffs” in book two of the series. When they actually saw “cheese puffs” in the second book, they just lost their minds. And because they felt closer to it I feel like they were more than happy to just become super fans and spread it everywhere. So honestly, I love being able to interact with my fans. I think they’re a lot of fun. I've met so many kind people, I wouldn't change it. You incorporate astrology in your character profiles and I don't know if that was intentional, but it taps into a whole other fanbase that is also very passionate. I thought the astrology girls might enjoy it. But also, when I was creating different characters, I had a hard time thinking of how to make them sound different. So, I went to the astrology chart and was like, ok, well, Fallon can absolutely be a Scorpio, it just fits. And that kind of helped me flesh out the characters a bit more. What do you think of the criticism around book-tok, and particularly romance book-tok and their penchant for likening characters to real life people? I think it's more of a symptom of the internet as a whole. It definitely gets bolstered on book-tok. I think that the whole situation with the hockey player can be boiled down to, spending all your time on the internet in these more sexually positive spaces. You have to remember to stand up, go outside and touch some grass. Because the internet is not real life. And you cannot be screaming obscenities at real life men thinking they're going to enjoy it. Do you feel like you have any kind of control when it comes to situations like that as an author? So I've been lucky that my fans, and a lot of my readership have just been wonderfully polite. Like, they sort of just keep themselves in check. I don't really have to do anything. What can we expect next? Well, right now I'm writing Ambrose and Usha’s book. That’s been a lot of fun just because there is a lot of adventure. And then I've also been taking breaks to explore the idea of an alien romance.

I am always busy. There have been days where I’ve resigned to that fact – I’ve justified it by explaining (to myself), that I am somebody who “thrives off of being busy”, and that I in fact, would hate to be bored. There are other days however, where the busyness becomes all-consuming. Days where I need to work, need to write, need to manage, need to eat, need to sleep, need to make money, need to save money, need to plan for the future, need to live in the moment. It’s a lot, and almost always ends with me facing the same conclusion – that there’s little I can do about it at this moment in time, that I am not alone in feeling like this, and therefore I should probably just accept and embrace this chaos. The little we can do though? Search for stability in things that generally provide comfort. For me, that search has led me to TV, and in particular, rewatching shows that I know and love. I'm not alone in this. There’s definitely been a resurgence of show re-watching; the evidence being the multiple Twitter threads and TikTok posts that circulate weekly, featuring clips from shows like ‘This Is Us’, ‘Scandal’, ‘Grey’s Anatomy’ and more. There’s usually a pattern with the shows that resurface too - they’re big on drama and they tend to have had cult followings on initial release, so much so that a ten second clip floating about on social media can generate discourse for days amongst fans. I’m currently re-watching ‘Scandal’ and re-revelling in the whirlwind that is Fitz and Olivia, reciting lines that are ingrained in my memory, but enjoying the twists and revelations as if I was watching them for the first time. It doesn’t feel like repetition, and there feels a marked difference between repeating a show, and re-watching a show. When I’m writing, I often have to repeat a show or film – to take notes of quotes, to learn character names. It’s a more clinical process. Rewatching a show though? Well, that’s an immersive experience. There are modern stimulators of course – things that act as triggers, gently encouraging you to re-enter the world of a show you’ve already been in. One verbal mention of Grey’s Anatomy and TikTok will take the opportunity to greet you with not just one, two or three parts, but more likely parts one through twenty-four of a random, but harrowing scene or storyline that you kind of remember, but kind of don’t. Next thing you know, you’re in the comments, searching for the guardian angel that has thoughtfully typed out which season and which episode the clips are from. Season two, episode six. And, before you know it, you’re re-watching the rest of the season. The immersive experience has begun. As somebody that works in the film industry, a self-confessed TV fanatic (I can attest to this) and my sister, Moyo Abiona explains the thrill that comes with social media prompting you to revisit old shows. “I love reading the comments whilst I’m watching the content. Because the content isn’t new to me, I’ve seen it, I remember it, but sometimes the comments point something out to me that I didn’t even notice. They’re also so funny on TikTok. It could be the most serious, tear-jerking clip and the top comment will have you bursting out in laughter. Rewatching becomes a social activity”. There’s also an undeniable comfort in knowing what comes next, and I think that plays another key part in the reason we’re re-watching shows. There’s something quite nice about knowing which parts make background television, which parts require intense concentration, which parts you can completely skip. It adds an autonomy to watching television that weekly episodes and new content just can’t offer. On the flipside, there’s also a mild discomfort that can come with a re-watch. The disappointment that the show you told everyone was so great, was actually not the timeless classic you thought it to be and was great in 2010 only. The self-growth that can be both accessed and assessed when rewatching a show can also be a bit of an uncomfy realisation. The character you so boldly proclaimed as your favourite, turning out to be just as flawed as the characters you so boldly proclaimed you hated (see Toni Childs in ‘Girlfriends’). Gaz Otim, ¼ of 14HQ’s Post Credit Scene Podcast, picks “The Wire” as a show that made him reevaluate the thoughts he had when he first watched it years ago. “Our relationship with the police is a by-product of how we’ve been treated. And that distrust is both inherited and learned, but rewatching The Wire, there’s a nuance to the characters that makes you think about that whole cycle more holistically. The writing, the character development, there was something on the second watch that gave me a bit more insight towards characters like McNulty (the lead detective in the HBO show)." The point being, rewatching shows is more than just living in the past and mindlessly basking in the delights of nostalgia. It’s a prioritisation of self, an acknowledgement of one’s need to embrace both comfort and growth, but to enjoy whilst doing so. There’s something quite beautiful in the idea of experiencing newness whilst conceptually doing acts already completed, and so to that I say, long live the era of the rewatch.

Meet Tunde, Jimmy, Sama and Kaz, the four masterminds behind the events collective spearheading Amapiano and African dance music in the UK. With a connection founded on a shared love of house music, African roots, and event planning, the Dankie Sounds founders have taken their vision globally. Since their first event attended by 130 people in London, they’ve sold thousands of tickets, graced several UK festival stages and even thrown parties on the African continent. Dankie Sounds is a testament to the chemistry shared between the four, fuelled by a passion for house music, and a desire to place a spotlight on Africa’s contribution to the genre, inspired by their own heritage. Despite suddenly bursting on to the UK event scene in 2021, Dankie Sounds didn’t happen overnight. It is the culmination of over 10 years of experience in events, lessons learned, work put in during the pandemic lockdown, and the execution of a clear vision between friends and colleagues. Similar to other cultural heavyweights like No Signal and DLT, social media is at the heart of the Dankie Sounds story. The four entrepreneurs joined forces after Sama spotted a poster on Jimmy’s Snapchat story promoting a Dankie Sounds prototype. As recounted by Tunde, it was “one phone call, one venue visit and the rest is history”. Dankie Sounds came at a crucial point. The COVID-19 pandemic and lockdown devastated London nightlife. Many businesses were forced to close indefinitely, further adding to the already challenging time for many communities facing the mental, as well as physical toll of the pandemic. When the lockdown lifted, people were ready to get back out there to socialise and enjoy the nightlife they had missed. At the same time, the buzz around Amapiano was reaching a fever pitch, so when lockdown was lifted, Dankie Sounds were able to meet consumers where they were at, satisfying their demand for a re-energized party scene, and for Amapiano. Their first event at Near and Far in Camden, was attended by 130 people. Despite the relatively small size of the event, compared to university raves they threw previously, the founders describe a euphoric energy captured in the motive. The event had an impact that had not been felt prior, on both the founders and partygoers, which let everyone involved know that this was the beginning of something special. A key part of this was the way Black Londoners embraced Amapiano and Afro-house. London’s Black diaspora is overwhelmingly made up of people of Nigerian and Jamaican heritage, which is reflected in the dominance of Afrobeats and Dancehall in the events scene. With Amapiano and Afro-house originating in South Africa, personal ties to the roots of the genre are not as strong, but they soon found that Londoners couldn’t resist the log-drum beats, infectious melodies and smooth dance moves of Amapiano. The collective believes that the success of the genre with London audiences is down to the fact that Amapiano music encapsulates the emotions and feelings that came about following our emergence from lockdown; a renewed lust for life. The music makes you want to get out there, dance and have fun. According to Kaz, “It brings together people from all different walks of life with the common aim of having a good time.” “Amapiano music encapsulates the emotions and feelings that came about following our emergence from lockdown; a renewed lust for life.” Whilst Tunde, Jimmy, Sama and Kaz are at the core of Dankie Sounds’ inception, over time other characters have come into play to make Dankie Sounds the unforgettable experience we know and love. From hosts Terminal 4 and BernitaZM, the MCs who energise the crowd and keep the atmosphere buzzing the entire event, to the House of Piano dancers, displaying the skill and mastery of their choreography to the hottest Amapiano tunes. Not forgetting the instrumentalists, who add the crucial live music element that sets Dankie Sounds apart from its counterparts. In Sama’s word’s “People don’t come to Dankie just to party, they’re watching a live performance.” Key to this ensemble are the DJs that grace the Dankie Sounds stage. Regulars like DJ Morgan Black, L.A.J and Nicky Summers spin the best of amapiano and african dance music, with masterful mixing to include staples sounds of the London club scene like afrobeats, RnB and dancehall. These are some of the people that make up the DMF, or Dankie Mafia Family, affectionately coined by Sama. The rise of Amapiano globally has played an important part in deconstructing false narratives around Black people, their association with, and connection to, dance/ house music. Despite a long history of evidence to the contrary, younger Black millennials and Gen Z’s in the UK have grown up with the notion that dance/house music is not for us. The emergence of Amapiano in the UK club scene has called that notion into question for a lot of people, as the links between Black & African music culture and house music become more obvious. Many classic house/dance tunes use the voices of Black women, or sample songs created by Black people. The most prolific example of this being ‘Show Me Love’ by singer Robin S., remixed by Swedish duo StoneBridge and becoming one of the world’s biggest house anthems, with little recognition (until recently) of the Black singer at the heart of the song. For some, Amapiano acts as a ‘gateway drug’ to discovering other dance genres with a heavy African influence, such as Gqom & Deep House - also pioneered in South Africa. Whether or not it was by design, Dankie Sounds is helping to bring back dance music into the hands of young Black people in the UK, whilst reinforcing a sense of pride in their roots. In Tunde’s words, each Dankie member is a ‘house head’. Their love for House and EDM has been fuelled by multiple trips to Ibiza, the dance capital of the world. So, holding the first Dankie Sounds Festival in Ibiza was a no-brainer. The importance of Ibiza to EDM cannot be overstated, so it only made sense for an Amapiano/Afro-house festival to be held there, platforming the EDM music coming out of Africa to a wider audience. It's also a chance to highlight some of the parallels between the two worlds, allowing more people to connect. Similarly to European dance music, the DJs are the artists, core innovators and drivers of their sound in a way that doesn’t exist in other genres. Thousands are set to descend on Ibiza from 15th - 17th September for the first edition of Dankie Sounds Ibiza. In addition to a takeover of the iconic Ibiza Rocks Hotel, partygoers can expect beachside parties and stellar performances from the likes of Amapiano stars: Felo Le Tee, Vigro Deep and Justin 99 & Pcee. Looking beyond Ibiza, the Dankie Sounds juggernaut shows no signs of slowing down. Not limiting themselves to their own events, Dankie Sounds has graced festivals such as Stormzy’s This Is What We Mean Day, and DLT Malta. They even have a booking form on their site to play at weddings and other private functions. Beyond events, Dankie Sounds Music is another new venture the team has started to develop. They recently released an Amapiano remix of J Hus & Drake’s summer smash hit ‘Who Told You’ revealed that they have over 30 unreleased tracks worked on over the last year. But timing is everything, and this team has no intention of rushing the process. Though not without its challenges, it is a process they have approached with the same carefree, fun-loving attitude as the rest of their work. For the boys, this is a natural evolution from the Dankie Sounds party experience. Where normally partygoers would leave a Dankie Sounds party with a light up bracelet, glow stick or LED fan, soon they’ll be able to leave with a new favourite Dankie Sounds song too.

Zadie Smith - The Fraud The author of highly acclaimed ‘White Teeth’ returns with a brand new novel, The Fraud. The Fraud is Smith’s first historical novel, telling the story of Kilburn in 1873. Scottish housekeeper Mrs Eliza Touchet is captivated by The 'Tichborne Trial', as is all of England who are at odds over whether the defendant is who he claims to be - or an imposter. Mrs Touchet is a woman of many interests: literature, justice, abolitionism, class, her novelist cousin and his wives, this life and the next. But she is also sceptical. She suspects England of being a land of façades, in which nothing is quite what it seems. Andrew Bogle meanwhile finds himself the star witness, his future depending on telling the right story. Growing up enslaved on the Hope Plantation, Jamaica, he knows every lump of sugar comes at a human cost. That the rich deceive the poor. And that people are more easily manipulated than they realise. Purchase here Kelechi Okafor - Edge of Here Edge of Here marks Okafor’s debut collection, which tackles contemporary womanhood. Okafor combines the ancient and the ultramodern to explore tales of contemporary Black womanhood, asking questions about the way we live now and offering a glimpse into our near future. Uplifting, thought-provoking, sometimes chilling, these are tales rooted in the recognisable, but not limited by the boundaries of our current reality-where truth can meet imagination and spirituality in unexpected ways. Purchase here Aleema Omotoni - Everyone's Thinking It Within the walls of Wodebury Hall, reputation is everything. But aspiring photographer Iyanu is more comfortable observing things safely from behind her camera. For Iyanu’s estranged cousin Kitan, life seems perfect. But as a Nigerian girl in a school as white and insular as Wodebury, Kitan struggles with the personal sacrifices needed to keep her place – and the protection she gets – within the exclusive popular crowd. Then, photos from Iyanu’s camera are stolen and splashed across the school – each with a juicy secret written on it. With everyone’s dirty laundry suddenly out in the open, the school explodes in chaos, and the whispers accusing Iyanu of being the one behind it all start to feel like déjà vu. Each girl is desperate to unravel the mystery of who stole the photos and why. But exposing the truth will change them all forever. Purchase here Okwiri Oduor - Things They Lost Set in the fictional Kenyan town of Mapeli, Things They Lost tells the story of four generations of women, each haunted by the mysterious curse that hangs over the Brown family. At the heart of the novel is Ayosa Ataraxis Brown, twelve years old and the loneliest girl in the world. 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But when the path of young love didn’t run smooth, and Liyah found her heart bruised by Daniel, they parted ways forever… until they are seated together on an aeroplane fourteen years later, butting heads just as badly but consoling themselves that at least they will never have to see each other again. Purchase here Arusa Qureshi - Flip the Script Flip The Script explores many of the phenomenal women who have paved the way in UK hip hop both at the forefront and behind the scenes, through interviews, research and Qureshi's lifelong love of the form. From the influence of the genre's beginnings in the Bronx to formation of distinctive regional scenes across the country, the barriers women faced to the magazines and club nights that fostered thriving hip hop communities, readers get to know the women who led the charge in one of the country's most innovative and exciting music scenes, and those picking up the torch today. 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Ayanna Lloyd Banwo wants us to know that ghosts are not scary. And even when they are, they can guide us, point us towards love and steer black lives out of danger. In her debut novel, ‘When We Were Birds’, Banwo seamlessly weaves fate and love into an interdimensional dialogue with ancestral spirits. We begin on grandmother’s lap; not the most unfamiliar location for storytelling and the theme of ancestors. Granny Catherine is telling her granddaughter, Yejide the story of creation, but not the one we know. It is a creation story of animals, humans and flesh-eating birds known as corbeaux. Ayanna Lloyd Banwo uses the metaphor of birds to explore black womanhood, Caribbean heritage and the thin lines between love and loss, birth and death, the deceased and the living. The novel follows Yejide and her transition into being the new matriarch of the St Bernard family who can commune with the dead. Yejide’s story is not the only one. The novel also follows former Rastafarian turned gravedigger Emmanuel Darwin as he navigates the dark world of Port Angeles, the fictional urban centre of Trinidad. Darwin desperately moves to the city in the hopes of making money for him and his sick mother. His Rastafari religion restricts contact with the dead and the job quickly turns sour when he is pulled into an underworld of crime and grave robbing. His new reality is made worse with the spectre of his absent father who too escaped to the city decades ago to earn money for a young Darwin and his mother. Both protagonist’s stories begin halfway, at the height of their grief and desperation, as if we already know them. Banwo writes with abandon focusing on the liminal moments rather than concrete form. The breathless prose leaves some questions unanswered, particularly of the relationship between Yejide and her childhood companion, Seema who plays a significant role in Yejide’s characterization but is for the most part left undeveloped. Despite this shortcoming, the lethargic language makes up for the lack of characterization and as a result, the novel is more visual than literary. This visual language mirrors Yejide’s own transformation as the heiress of being able to see death, emotion and the ancestral plane. When her mother dies she teaches Yejide to tap into her strength, instructing her to “stop trying to see one thing, one place”. This power is one that has been passed down over generations of women in her family, beginning with the original woman, Maman, a fierce spirit-woman who burned down a plantation house where a couple that tried to escape the violence of slavery were horrifically lynched and hung for all to see. Caribbean storytelling is often linked to slavery. When We Were Birds refers to this painful period of history as one not to be overlooked but also is not the central story. Love, however, is the thread that runs through timelessly weaving in and out of the narrative. Ayanna Lloyd Banwo is stating that black love need not be central to black suffering, and that black suffering can be acknowledged without being the focus nor the conclusion. She reminds us that black love is multifaceted, as simple as holding hands, and as heavy as a fated, supernatural meeting. Black womanhood is also explored as a saving grace, not only to Yejide but to Darwin too. Yejide’s inheritance of death functions as a rebirth for both, offering them a lifeline. It is refreshing to see a narrative that positions black women not only as the protagonist but also as the hero. Banwo shows that crucial to black storytelling is the focus on aesthetics. Her language leaves convention styles of plot and characterization, instead capturing intimate moments and weighted pauses. When Yejide’s mother dies the moths that gather in the house are described as “tiny white cotton whispers''. Other forces of nature such as rain, storms and heavy winds act as forces of transformation bridging the gap between the natural and the supernatural. The supernatural functions as a character too - ancestors take centre stage, showing themselves in the flames of candles and the natural world of winds and storms. Banwo’s unique style and subject matter have gained her several accolades such as the 2023 OCM Bocas Prize for Caribbean Literature and recognition from The Guardian and The Economist. It is as though she is setting the scene for more books and charting the path for an exciting new direction in black speculative fiction, contributing to a rich tradition established by writers such as Octavia Butler’s Kindred (1979) and more recently, Tomi Adeyemi and Nnedi Okorafor’s works. Black speculative fiction - particularly by black women authors - is crucial to black imaginations. It is thus exciting to know that Banwo is committed to building on this genre with her second novel which is “set in the same world” as When We Were Birds. At the heart of it, When We Were Birds is a touching story of black love and mystical reckoning. Despite the gaps in the novel, Ayanna Lloyd Banwo’s novel functions as a sensational debut in a genre that blends crime, black folklore, and romance with hallucinatory results. To read her work is to be transported to a near fantasy world where ancestors and descendants walk alongside each other - a dream that many black readers can identify with. When We Were Birds distinguishes Ayanna Lloyd Banwo as a writer and storyteller to watch.

Being listed as #Merky Books’ first ever RomCom isn’t a small feat, but Taylor-Dior Rumble has always had Merky in her sights. Launched by Stormzy in 2018, #Merky Books is an imprint of Penguin Random House UK, one of the top publishing houses in the UK. It’s desire; to publish books that will ‘own - and - change the mainstream’. “Twenty Nineteen was a big year, that was the first time I ever made a vision board. I always knew from the beginning that I wanted to tell this very Black British story with a very Black British publisher. I just felt like it was the perfect match.” And it appears to have been so. Rumble’s book is set in South London and true to her word is very Black British. It tells the story of Tia, a journalist and her shock when she realises that the man she was hedging her bets with romantically returns from a work trip with a girlfriend. Tia’s situation(ship) is something you’ve experienced either directly or indirectly. It’s something social media can't seem to get enough of unpacking and Rumble takes us through the motions as Tia uncovers her own desires both in relationships and her career aspirations. In the workplace Tia is lifted up by the Black women in her life, this is something which Rumble relates to in her own life. Before jumping into writing Rumble worked for the BBC as a journalist, covering entertainment news and culture stories. It was there she met her mentor, Brenda and fostered strong female relationships, which are reflected in her novel in the characterisation of Gbemi; Tia’s main work friend. “So with Yvonne, [Tia’s mentor] she was directly inspired by a mentor that I have, Brenda Emmanus. Growing up, Brenda was one of the first Black women I saw like prominently on TV, during prime time. She was just and still is just so elegant and gracious.” Yvonne embodies ‘elegant and gracious’. Throughout ‘The Situationship’ we’re introduced to a range of characters who rally around Tia during moments of need, “my Black women friends.. they got me through a lot of crappy days.” Rumble tells me fondly and it’s the same for Tia both inside and outside of the workplace despite those who might attempt to steer her off course. I’d first read an extract of 'The Situationship' after being handed a booklet at #Merky Book Literature Festival. I devoured it on the train home and reached out to the Penguin publicity team soon thereafter. I’m hearing it again months later at a debut authors party held by Bad Form Review, (if you don’t know get to know, quickly). Rumble reads the opening pages of her book confidently and yet you can hear the anticipation in her voice as she gets to the climax. She leaves the room on a cliff’s edge. What would you do in Tia’s situation? Having abandoned the apps for well over a year now. Rumble wanted to ensure her novel touched on the intricacies of dating in your youth. Protagonist Tia throws herself into dating apps, something which ends the similarities between Tia’s world and Rumble’s own, she tells me she’s not used any apps in well over a year. On the topic of London’s dating scene, “It's a damn mess. I feel like because of the book’s presented, people assume I'm this dating expert or whatever. And it's like babes, I'm just as confused as the next person.” Rumble draws on fears experienced by many in the dating world and lays them all out in the form of Tia and her quest to create meaningful romantic connections. It’s real and honest. Tia struggles with her worth and not wanting to feel ‘mugged off’, but at the end of it all Rumble is optimistic. Regarding her own love life, “I'm a romance writer, so I have to be hopeful. My whole thing right now is I'm just gonna live my best life, have fun and go on my journey towards the kind of life I want to live. And if the right person comes along and wants to jog by my side towards those goals, then great. We can we can do that jog together.” She throws the question back at me and I tell her about the last failed attempt at my own situationship. She’s quick to impart advice and we muse on dating in your 20s for a little longer. On who’d play Tia if ‘The Situationship’ became a tv show or film. “I don’t want to sound like an arsehole,” She cringes, “but I’d really like to play Tia…I do identify as an actor and it's something that I've always loved doing.” Rumble explains how she’d been a part of the National Youth Theatre’s Summer Programme in 2019, how it reigned a passion she thought she’d left in school. “I've never felt that kind of euphoria before,” she exclaims. Throughout this entire conversation Rumble’s been euphoric and impassioned about her debut. She tells me before we wrap our conversation that she’d always known how her debut was going to end and her reasonings behind it all inspired by TV shows like Sex And The City and Insecure (she’s Team Nathan, if you wanted to know) along with a desire to make something her younger sister can read “once she’s old enough”. As for that ending, you’ll have to pick up a copy of ‘The Situationship’ to find out if Tia gets a HEA. ‘The Situationship’ is on sale now, where all good books are sold.

In this witty contemporary romance, we follow office manager Sam in her developing career as an assistant for a Boudoir photography studio. She's eventually given the grand task of executing a photography bus idea for a summer festival, exciting but overwhelming. She's grumpy, smart and strategic with a love for to-do lists and strikingly gorgeous. Russ is used to moving around but has recently settled back to Chicago with a mutual group of friends shared with Sam. He's used to unpredictability. He's trying hard to navigate his career, with ambitions of becoming a chef. He's also set with a big task of helping execute a food bus at a summer festival. He's level-headed, goofy, and attractive with a massive crush on Sam. At its core, this book does an excellent job of illustrating the different dynamics of relationships including romantic, familial and platonic and the complexities of them. I absolutely love that we get to see healthy, supportive friendships between women which overlapped with work. In contrast, we see some unhealthy family dynamics as toxic relationships in Russ's childhood are unravelled, similar to Sam, an unfortunate element they can relate to in different ways. We interestingly see how Russ copes with trauma and how Sam's experiences shape her expectations for love, particularly the behaviour of men. Although there is hurt revealed within some of these relationships, there's also potential for healing and transformation. I cherished Russ's attention to detail to little things about Sam and being a good listener. How he remembered specific elements such as a drink she pretended to hate but secretly loved and seeing his consistent support towards her career was so precious. An extremely necessary topic discussed was Sam's diagnosis of Graves' disease, an autoimmune disorder that negatively impacts the thyroid hormones. One of the markers of the illness included experiencing a change in weight, which lead to Sam struggling with self-perception and desirability. The author's choice to integrate these feelings felt like an attempt to normalise the discussion of chronic illnesses. We also dive into other implications of her diagnosis including the harsh reality of adjusting to a body that she failed to recognise. It was empowering to see Sam's body confidence journey evolve throughout. I believe this element can teach us to be patient with ourselves as body acceptance and navigating health issues can be challenging and promotes compassion towards others. Jackson demonstrates that despite our appearance or state of health, we're still worthy of love and affection. In addition, having representation from plus-size women, Dana and Cassie was refreshing to see. Initially, I struggled to learn the characters as I felt too many were introduced at once. However, as time progressed, I became more familiar with them and can see how having many characters could create a nice sense of community and allow readers to feel immersed in their lives. To some extent, I feel the story could be condensed for the sake of the plot and Russ and Sam's journey. Certain aspects felt repeated e.g. Sam's illness and Russ's childhood. Overall, a noteworthy lesson I learned is that even if you're a strategic planner with a to-do list like Sam, there are some things you simply can't plan in life and that's the magical mystery of it all. Whether that be career, relationships or love. Sometimes the happy "accidents" are the best ones.

Nicole Crentsil is the Founder and CEO of Black Girl Fest (BGF). Black Girl Fest is a global creative studio designing solutions to better the lives of Black women, girls and non-binary people. The Floor Mag caught up with Nicole ahead of the start of last week's BGF, held at Somerset House. How did you come up with BGF? What gap did you seek to fill? The need to see more Black women taking centre stage sharing our stories, experiences and being our most authentic selves is the core reason for the festival. For too long cultural spaces didn’t include such an intersectional voice bringing together the complex, creative and captivating lives of our community. I remember attending my first festival in 2019, what’s changed since then? The business has changed massively. In previous years the festival was all we did, over the last 3 we’ve pivoted to become more than the fest. We now operate as a global creative studio designing solutions to better the lives of Black women, girls and non-binary people. This year’s theme is JOY, what are you hoping attendees take from this year's Festival? I’m so excited that our festival will be returning and for the very first time, taking place across two days this summer at Somerset House. Having spent the last few years pivoting the business post covid-19, it was important for us to bring back one of the UK’s most highly favoured events which set the foundations for who we are today. Joy has always been an intrinsic part of our culture but one that often takes a backseat in our everyday lives. This year, we hope to bring back familiar joyful moments by inviting our community to explore what joy means to them. You took a break in 2020 to really foster growth within your community. Can you tell us what you’ve been up to? Our first three years were spent producing iconic festival experiences all whilst still operating as a side project to a full-time job. Covid and the social shifts that followed challenged us to think differently about community, connection and growth. Over the last 18 months, we’ve hired a brilliant new team, moved into a beautiful office & event space, established our CIC arm, launched multiple programmes and built our very own web app. We took our time to carefully consider every detail of our brand to give BGF a new, sleek and futuristic look that reflects the progressive energy of the work that we do. In addition, each project now has it's own recognisable, fun and bold branding. Projects include; BGF Academy, The Club, BGF Creative Fund, BGF Studio and of course our renowned Festival. Since starting BGF is there a particular standout memory for you? It’s got to be our most recent Girlhood project – a series of events programmes and opportunities for young Black girls. It’s a project so close to my heart and definitely a piece of work that makes my inner child smile. What can we expect from the Glossier x Ebay partnership? An in-depth look into grantees and sellers from our programmes with both brands. You’ll get to engage and buy from founders directly whilst hearing their story on the main stage. As an organisation you’ve poured so much into young people. Why? We strongly believe the next generation are a powerful force is shaping the way society views our community. It makes sense for us to work closely with them creating a pathway for their success. How can people not attending support BGF? Follow us on socials, attend one of our events or sign up to our programmes over on www.blackgirlfest.com

The Situationship by Taylor-Dior Rumble Genre: Romance Themes: Dating, Dating apps, Love, Self-love Expectations of dating apps are low, so it's a surprise when she instantly connects with handsome photographer Nate. He's everything she's looking for; he makes her feel safe, seen, and desired. Tia assumes they're on the same page - the only catch? They're yet to have The Talk. In a generation that's normalised competing over who cares the least, can Tia overcome her fears and lay her cards on the table, in the pursuit of something real? Plantains And Our Becoming by Melanie Luisa Marte Genre: Poetry Themes: Identity, Belonging, Culture, Home In this imaginative, blistering poetry collection, Marte looks at the identities and histories of the Dominican Republic and Haiti to celebrate and center the Black diasporic experience. Through the exploration of themes like self-love, nationalism, displacement, generational trauma, and ancestral knowledge, this collection uproots stereotypes while creating a new joyous vision for Black identity and personhood. Locks by Ashleigh Nugent Genre: Fiction Themes: Historical Fiction, Family, Crime Aeon, a mixed-up and mixed-race teenager from a Liverpool suburb, is desperate to understand the Black identity thrust upon him. But Aeon’s journey of self-discovery is hampered by the fact that the only Black people in his life are his dad and his cousin, Increase. Aeon’s ambition to find his place in the world takes him to Jamaica. Here, Aeon soon finds that smoking loads of weed, growing messy locks and wearing massive red boots don’t necessarily help him to fit in. Within days of his arrival he is mugged, arrested and banged up in a Jamaican detention centre. Seen as the ‘White boy’, he finds that his journey of self-discovery has only just begun - and he’s going to have to fight for the respect and recognition he deserves. Catalyst edited by Ayoola Solarin Genre: Comics Anthology Themes: Change, Chance/Coincidence, Euphoria, Catastrophe From tales of misplaced memories to battles with the id, Catalyst offers a look at the consequences of big and small acts alike. Showcasing a mix of established and emerging artists, this collection imagines the myriad ways in which a chain of events might end in either euphoria or catastrophe. Sometimes both. This provocative, intriguing and revelatory anthology invites readers to consider the situations, people and events that might accelerate change in their own lives and in our society as a whole. The Gosling Girl by Jacqueline Roy Genre: Fiction Themes: Systemic Racism, Police system, Childhood, Media Michelle Cameron's name is associated with the most abhorrent of crimes. A child who lured a younger child away from her parents and to her death, she is known as the black girl who murdered a little white girl; evil incarnate according to the media. The Gosling Girl is a moving, powerful account of systemic, institutional and internalised racism, and of how the marginalised fight back. It delves into the psychological after-effects of a crime committed in childhood, exploring intersections between race and class as Michelle's story is co-opted and controlled by those around her. Jacqueline writes with a cool restraint and The Gosling Girl is a raw and powerful novel that will stay with the reader long after they have turned the last page. The Heaven& Earth Grocery Store by James McBride Genre: Fiction Themes: Community, Race, Class, Love In 1972, when workers in Pottstown, Pennsylvania, were digging the foundations for a new development, the last thing they expected to find was a skeleton at the bottom of a well. Who the skeleton was and how it got there were two of the long-held secrets kept by the residents of Chicken Hill, the dilapidated neighbourhood where immigrant Jews and African Americans lived side by side and shared ambitions and sorrows. As these characters' stories overlap and deepen, it becomes clear how much the people who live on the margins struggle and what they must do to survive. When the truth is finally revealed about what happened on Chicken Hill and the part the town's white establishment played in it, McBride shows us that even in dark times, it is love and community-heaven and earth-that sustain us. If I Don't Have You by Sareeta Domingo Genre: Romance Themes: Love at first sight, Career, Self-love, Sex Afro-Brazilian filmmaker Ren is recovering from a romantic betrayal. Kayla is a Black British artist and journalist keen to make her mark. Thrown together during a string of interviews in New York for Ren's latest film, they're struck by an irresistible attraction. The two surrender to one night of searing honesty and passion, which leaves them with more questions than answers about the future. With secrets lurking between them, letting their romance continue could upend the separate lives Ren and Kayla have so carefully built. But can they really risk losing their miraculous connection? Here Again Now by Okenchukwu Nzelu Genre: Fiction Themes: Family, Father-son relationships, Love, Queerness Achike Okoro feels like his life is coming together at last. His top-floor flat in Peckham is as close to home as he can imagine and after years of hard work, he's about to get his break as an actor. He's even persuaded his father, Chibuike, to move in with him, grateful to offer the man who raised him as a single parent a home of his own. Between filming trips, Achike is snatching a few days in London with Ekene, his best friend of twenty years. Achike can put the terrible things that happened behind him at last. But after a magical night, when Achike and Ekene come within a hair's breadth of admitting their feelings for each other, a devastating event rips all three men apart. In the aftermath, it is Ekene and Chibuike who must try to rebuild. And although they have never truly understood each other, grief may bring them both the peace and happiness they've been searching for.

This interview took place prior to the SAG strikes. “Confusing”, that’s how Malcolm Kamulete describes the complex character of Bosco Champion; one of the lead roles in author Candice Carty-Williams’ new BBC drama of the same name, Champion. Champion tells the story of sibling rivalry and music. Bosco is a musician who's been recently released from prison and is back to reclaim his title as top dog. Vita, played by Deja J Bowens, is his sister, who’s looking to carve her own path in the industry. Rapper and actor Malcolm has been on a steady projection since appearing in former projects; Channel 4’s Top Boy and Plan B’s Ill Manors, yet getting the call to play Bosco still came as a surprise. “I was making tea when I got the call… When I heard the description of the character, it felt like my role in it all was reaffirmed.” Malcolm had lost a friend in 2014, Champion Ganda, to knife crime and it felt like a sign to him to push for the role and honour his friend in the process. On working with newcomer Deja, Malcolm said that the sibling vibes carried on even when the cameras weren’t rolling, “the relationship was quite strong from early on as we were in the same castings and are signed to the same agency”. Their trailers were next to each other and throughout filming the series the two played pranks on one another. Reading for Bosco was something that came relatively easy to Malcolm, but becoming him was another skill altogether. A complex character; Bosco suffers from what appears to be frequent panic attacks throughout the show, “anxiety and PTSD” Malcolm informed me. Speaking and studying with mental health experts aided Malcolm in becoming Bosco Champion and in showcasing the issues Bosco faces. The opening scene of episode one sees Vita hunting down Bosco ahead of his first performance home from prison. She finds him in the midst of an anxiety attack and has to talk her brother down. In the early episodes Vita is the only family member who seems concerned for her brother’s mental health issues. Malcolm told me that whilst those scenes stretched him, the moments rooted in music were the ones he enjoyed the most. When I asked what he’d rate Bosco’s bars out of 10 he didn't hesitate before telling me, “10”. “I think the music was the fun part for me because that's where I got to let the creative juices flow. That's where I got to basically be in my element. Because rapping, it's not really something I shout to the rooftops about…. So just being able to be in a space where people understand you're good enough or they trust you to be good enough to do it was empowering. Put me in a [good] space for my confidence, as well in terms of my own music.” Malcolm told us that a lot of the show's performances were filmed live in front of a crowd. This amped up the pressure at times but also made him want to perform better. There’s a level of attachment, he said, to the songs he performs as Bosco. The lines were often blurred and he had to work to not take notes on his performances too personally. But in being a show about music first and foremost, it was only natural that the best of the best was on board to work on the soundtrack. Singer/songwriter Ray BLK and rapper Ghetts serve as music execs for the series, along with Debbie, M1llionz and Corey Weekes, who plays Bulla, Bosco’s musical rival, also contributing heavily to the soundtrack. With Ghetts’ penning lyrics for Bosco’s raps and Ray BLK writing for Vita; along with starring in the series as Vita’s best friend Honey, it was an honour for Malcolm to bring Ghetts’ lyrics to the screen. “I think we might even get a shoutout for ‘Original Music: Fiction’ at the BAFTAs… Ghetts is an elite writer, he can write out of this world content,” he told me boldly. It’s clear the music means a lot to him and to have an artist believe in the content and storyline scripted really transfers well to the screen. Throughout the interview, Malcolm continued to stress just how much of a family was created on set, and how refreshing it was to have a Black team throughout the process steering conversations and directing the show’s narrative. On the the artists Bosco would bring on tour with him, Malcolm’s sticking with the people he loves, “I’d have to lean on my mates rates and bring on J Hus and Lancey Foux.” Champion is available to watch now on BBC iPlayer.

Like everybody else in the country, I was swept up in the Barbenheimer whirlwind. It’s not the first time two ‘big’ films have been released on the same day – fifteen years ago, both ‘The Dark Knight’ and ‘Mamma Mia’ opened across US cinemas on July 18, and I don’t remember anyone losing sleep over it. But Barbenheimer fever (an amalgamation of ‘Barbie’ and ‘Oppenheimer’) has taken over, with people captivated by the idea of two seemingly opposite films being released on the same day. For anybody that enjoys cinema as an all-consuming experience, the thought of watching two films by two superstar directors in two sittings on the same day? Well, it’s delightful. Not just for self-professed cinephiles, but for the cinemas, which, particularly since the Covid pandemic, have been surrounded by stories of declining profits and closed down theatres. For me, both films coming out on the same day wasn’t a matter of competition. It was a celebration of cinema, and the only conundrum that became instantly apparent was “how can I see both of these films on the same day, and if it’s possible, what’s the most appropriate order to do so?” After careful consideration, I decided on Oppenheimer first – the longer of the two, and a political and scientific biopic. It made sense to get the heavy hitter done first, to allow myself the room to breathe and recuperate before ending the night with Barbie as light relief. However, what ensued was two knockout films unanimously surpassing the hype that surrounded them, and my plan to watch one heavy film and one lighter finisher, irrevocably and emphatically, smashed to pieces. Oppenheimer is Christopher Nolan’s latest film, a biopic that recalls the efforts of J. Robert Oppenheimer, a physicist who is often referred to as “the father of the atomic bomb”. It’s a three-hour long spiral that puts Oppenheimer, or ‘Oppy’ as he’s affectionately referred to by those that revere him, at the centre of the story. Cillian Murphy plays the titular character and delivers a career-defining performance, taking both the character and the viewer on a journey – one that starts with a young, ambitious, self-assured genius, a scientist with America in the palm of his hand. It ends however, with a tortured man, one isolated with his thoughts, riddled with the outcome of his naivety. It's not necessarily a film that sympathises with Oppenheimer. It acknowledges the horror and weight of the decisions made by people portrayed in the film, and instead of positioning them as victims, it centres the viewer, giving us autonomy to decide what we think. There’s an intentionality here that means that no real opinion is given overtly, which adds an uneasiness but attempts to mitigate the potential moral dilemma of watching the film. It’s skilful writing from Nolan, who strikes the perfect balance of anxiety-induction, despair and intrigue throughout the film, with a script that is considerably more dialogue-heavy than some of his previous films. There's dark humour throughout the film too, which has gone largely under the radar. Matt Damon is word-perfect as army officer Leslie Groves, often at the helm of the humour. But one scene stands out as a note-perfect example of the ‘humour’ in the film – it’s a short scene, where some unnamed army higher-ups are deciding where to drop the bomb in Japan. One of the older, presumably more senior military men, mentions that he would like to avoid Kyoto – he and his wife vacationed there and it was “lovely”. It’s an awful, sharp moment, indicative of both Nolan’s pen and western imperialism, all rolled into one. The writing, direction, visuals and acting were all an extremely slick affair, and the pacing across the three hours was handled incredibly well. Emily Blunt, one of only two female actors within the main cast, was a standout as Kitty Oppenheimer, the long-suffering wife of Oppy. There was both a tenacity and sadness that she approached the character with, that instantly made me like her, and Blunt stole multiple scenes throughout the film. Oppenheimer was a film that left me in awe, with thoughts and feelings to process. I treated it as my main course, with Barbie to follow as a fun dessert. Before viewing, I was acutely aware that these two films were supposedly markedly different. One was a pink-saturated, perfect movie, set in the fictional utopia of Barbieland. The other took me back in time to a bleak lab in Cambridge in 1926, to meet a homesick scientist who eventually created the bomb of all bombs. So yes, of course – very different. But opposites? The gag is, these two films shared more in common than is obvious. Barbie is directed by Greta Gerwig (Ladybird, Little Women) and is set between Barbieland and the real world. It follows Margot Robbie as the titular character, and we quickly see her perfect little Barbieland bubble get burst, when intrusive thoughts of existentialism and mortality creep in. This then kicks off an investigation, leading Barbie and her Ken, played by Ryan Gosling, into the real world. The two leads are sensational - Gosling is almost worryingly good at playing the facetious Ken, and delivers lines that I wouldn’t even be able to say out loud in an empty room, with a seriousness and sincerity that only adds to audience amusement (one particular stand out is an exclamation of the word “SUBLIME!”, a line that both Gosling and Robbie have explained was improvisation). There are two musical numbers from him too, and they are so much more hilarious than words will allow me to adequately explain, with his cover of Matchbox Twenty’s 1996 single ‘Push’, the more audacious of the two. Like Oppenheimer, the cast for Barbie is stacked, and after watching both films back-to-back, I’m convinced I saw the entirety of Hollywood in a five-hour sitting. Barbie’s standout for me alongside Gosling, is America Ferrera, who is the heart of the movie. There’s a warmth with which she carried Gloria, a Mattel employee and mum with a somewhat strained relationship with her young teenage daughter. It’s a genuinely moving performance, capped off with a gorgeous monologue that left me reeling. When Barbie enters the real world, where she meets Ferrera’s Gloria, she discovers that it’s a world devoid of equality, the opposite to what she’s used to in the plastic façade that is Barbieland. Barbie is ambitious and large in scale, but with the unique ability to feel almost indie at times - despite the big budget and global hype, stylistically it fits comfortably within Greta Gerwig’s filmography. It’s a wildly creative love letter to womanhood, that also serves as a cross examination of patriarchy – and is also incredibly fun. Both films are absolutely worth seeing, and both left me with thoughts so big that I’ve thought about the films, or topics to do with them, daily since. Both provide a potent dose of reality, but just in differentiated ways. One is a candy-coated look at human conditioning, whilst the other examines the deterioration of morality. Both are more extreme portrayals, yes, but you won’t struggle with finding parallels in day-to-day life. There’s a quality and timelessness that both Gerwig and Nolan have approached these films with, so I reiterate – the conundrum should not be about which one to see. It's “which film should I see first?”

Back in 2021 we sat down with young Nigerian talent Crayon who stormed onto the scene with his debut project Cray Cray. The So Fine singer was officially signed by Mavin Records in 2019 and after spending time in the studio watching and learning from established co-workers, developing and refining his sound over the past few years, Crayon’s debut album Trench to Triumph is here. The project takes listeners on a journey from the expectant and welcoming introduction of Calvary Kid to the party-starting chop life anthem The One (Chop Life). Crayon and his collaborators certainly set out to leave his mark and assert his presence across the powerfully dominating Afro scene. The stream-busting Ijo (Laba Laba) is a famed single with a super fun video. But even without the visuals accompanying the track, it puts listeners into a fun colourful setting where you just want to groove. On first listen, I hailed Modupe as the gratitude and chop life anthem, but its succeeding track The One (Chop Life) takes the cake. The Amapiano infused track injects a burst of energy into the latter half of the project, whilst vocalists proclaim they're “oga [and] the one who shut down the bar.” -Mozambican trio the Yaba Buluku Boyz serve as a fitting feature for the track. Super Woman is slightly reminiscent of one of a late 2000s/early 2010s Afrobeats tracks, it definitely transported me back in time. I’d almost say he went young Banky W on us, but with the more modern/contemporary Amapiano drums & synths. The vocal layering towards the end of the song is also a standout feature. Shoutouts are due for Ngozi (ft. label-mate Ayra Starr), as well as the most recent single, the sweet song Belle Full- someone saying ‘only your love makes my belly full’ can only make you feel special. Also, the gorgeous outro that is Good Day deserves a mention. One would think that final track was recorded live because of how fantastic it sounds. Crayon and team enlisted a number of producer-turned-friends on the project including Mavin-signed Andre Vibez, Babyfresh, Sarz, Ktizo, Ozedikus, Sarz and more. It’s been great to hear them all speak about the process but also the growth Crayon has made over the past few years before their eyes, both musically and personally. When speaking on the album Crayon shared "Trench To Triumph is a carefully put together body of work where I have poured myself. When you listen carefully, you will hear my story as it's unfolding, my relationship with Calvary and how it's been instrumental in my growth.”. Recorded over the better part of a year, Crayon’s Trench to Triumph is a great listen with a storyline that’s easy to follow and makes you want this hard-working talent to win. He sets the scene in the beginning and shares his humble beginnings, then takes us to the triumphant current day where he’s finding love, chopping life & everyday is a Good Day. Executively produced by the esteemed super-producer and Mavins CEO Don Jazzy, the album is a welcome debut and demonstration of what to expect from Crayon next as he continues to grow and master his artistry.