In Concert: Rachel Chinouriri Rachel Chinouriri is overwhelmed with love. Mid-way through her one-night-only London show at Camden’s KOKO her fans start holding up landscape sheets of A4 paper. They read, “Remember I’ll always love you”, a line from her single 'So My Darling' off the project of the same name released in 2018. The pages of affirmation have even ended up in the hands of her parents, who she earlier informed her social media community had flown over from Zimbabwe to see their daughter perform. And so after composing herself and sharing the story of how the song came to be, Rachel performs 'So My Darling'. Supported by an intimate band and with set design reflecting her highly anticipated album, What Devastating Turn of Events , Rachel twirls and dances in front of a staged bedroom. In some songs she enters the bedroom and performs from the bed, effortless and intimate. Rachel’s vocals are strong, as she belts out her hits from over the last few years; 'I’m Not Perfect (But I’m Trying)', 'All I Ever Asked' and 'Ribs' to name a few. She also performs heavy hitting singles from her upcoming album, 'The Hills', 'Never Need Me' of course, album title, 'What A Devastating Turn of Events'. Her joy for storytelling and the music is infectious, the alt blend of soft rock/pop fits her voice (and outfit, Rachel wears a sparkle filled top/skirt combo) perfectly as she crescendos on 'Never Need Me', a song about being better off without someone you thought you wanted in your life. "I love seeing you all sparkle," she exclaims at one point. Many of her fans adopting her signature style of multiple oversized clips in their hair. Rachel herself wears six clips, three either side of her head, mismatched yet, coordinated. As her set drew to a close, fans were desperate for more and she delivered with a toned down encore, unreleased song, 'Pockets'. Between her parents dancing along on the balcony (iPad in hand) and the grounding moment where Rachel almost forgets what's next up on her setlist, this Alternative Pop Princess is set to shake up the scene when her debut album drops later this year. Previous Item Next Item Review of Rachel Chinouriri's headline show at KOKO Camden.

Mental Health & Mumble Rap Let's address the musical elephant in the room. Mumble rap is (subconsciously) drawing attention to mental health issues. The subject is gaining more and more recognition through artists like: Lil Uzi Vert, NAV and various others. These rappers have had a positive effect on people taking mental health seriously, especially the younger generations, but this factor seems to be a by-product of their music and not the main objective- as many think. The correlation between this up-and-coming rap genre and mental health may be further explained through drugs. The relationship between the two could be described as symbiotic. There is a possibility that music works as a form of escapism for many artists. The same could be said for substance abuse. In NAV's single, Myself , released earlier this year- the Canadian rapper clearly states that he feels normal and a better person under the influence. This is not the only song where he expresses personal mental health issues. NAV shows symptoms of depression on his mixtape (produced by Metro Boomin), in particular- the song Call Me . "Do you know how I feel, I feel alone. Bought myself a house to feel like I ain't home" The song revolves around a girl who won't answer his calls. Similarly, Lil Uzi Vert also highlights the concern for his mental health in regards to a relationship. A well-supported theory behind the hit, XO Tour Llif3 , is that the lyrics depict the end of his relationship with his long-term girlfriend. After arguing with her, Lil Uzi contemplates suicide by shooting himself in the head. These lyrics are followed by the XXL Freshman, calming his suicidal thoughts with "Xanny" or Xanex. You starting to see a pattern? This doesn't mean that all rappers follows the same pattern. There are ways to consciously put mental health on a social pedestal without using yourself as an example. Logic made the Suicide Hotline number, 1-800-273-8255 , a song title to prove this. The song talks about suicide not being an option or solution to a problem no matter how tasking or troublesome it may be. An example of this is the music video. A black teenager fears coming out as gay and considers suicide, rather than telling his family. These comments are not being made to decuct any positive awareness that has arisen from these artists. Instead, it is important to highlight the trend that is forming in certain areas of the music industry and for what reasons. If anything, these cases are ones to learn from rather than condemn. Mental health is an elephant we can longer ignore. Previous Item Next Item Let's address the musical elephant in the room. Mumble rap is (subconsciously) drawing attention to mental health issues. The subject is...

Beginner's Guide to Manga Manga is a great alternative or substitute to anime, especially if your weekly animes are on hiatus (or you're too impatient to wait). The majority of anime shows are based on/originate from Manga. The arcs and plots in anime deviate on occasion to keep fans on their toes but they usually follow what the Manga dictates. If you are reading Manga for the first time and need suggestions and tips, you have come to the right place. *Cue angelic choir* Although Manga is renowned as Japanese, many well-received 'Manga' are named differently depending on where the mastery is hailing from. Korea's 'Manhwa' market is equally as popular. The main differences between Manwha and Manga are the distinct art styles. The majority of Manga is in black & white, whereas a lot of Manwhas are webtoons , which are in colour (first-time readers are more likely to choose colour over black & white). This is the same for 'Manhua'. Originating from China, Manhua is more of an even split between traditional Manga styles and modern webtoons. 1. Manga is read from right to left Try to remember, it's important. There tends to be an order to reading the panels from right to left. It may be something you need to keep reminding yourself at first, but it becomes second nature very quickly. This tip mostly applies to Japanese manga, and not Chinese and Korean (which are usually read left to right). 2. Take time to enjoy the art The illustrations make the story far more than the dialogue does. Think of the speech as guidelines, rather than verbal communication. The art in manga is usually more detailed and graphic in comparison to anime and therefore deserves more credit, time and appreciation. Make sure you pay attention to the Japanese characters that appear in the panels that offer another dimension to the reading experience. 3. Buying manga is expensive, there are apps Manga is not cheap, in the slightest. Paperback versions are normally sold in volumes and buying numerous volumes together can amount to around £30 or more. Luckily, there are apps such as Manga Rock and Crunchyroll that can provide the latest chapters for free. The only downside is that, due to licensing problems, not all of the popular titles are featured. Investing in physical copies is still a good idea, especially when it comes to your favourites. 4. Be patient Anime and Manga are similar in many ways but they are ultimately two different artforms. It is imperative not to compare the two in terms of grasping your attention. A typical anime episode could possibly include 3-4 chapters of the manga it originates from, to keep the show fast-paced and 'interesting'. Manga explores arcs intricately so that the plot is not rushed. It may take a while to sink your teeth into a story, but when you do I can guarantee letting go will prove difficult. Lastly, before you delve into the abyss that is Manga- a vague insight into genres may help. Action and Adventure are two genres that seem to be symbiotic in the world of Manga. There are countless tales of those seeking items, knowledge and powers in far away lands and even though the foundations are the same, people will engage with the story every single time because of the variations in subgenres that give a unique narrative. For example, Seven Deadly Sins is a very action-packed Manga that uses mystery to its advantage. Romance is another interesting genre because it is layered. It is more of an umbrella term with smaller niche genres underneath it, but that is something you can explore for yourself. In general, it acts as a guilty pleasure that warms the heart. Most settings for romance Mangas are realistic or ones that the reader can relate to because love is a universal feeling. Magic and fantasy are thrown into the mix every so often to show how enchanting romance can be. Fruits Basket is a perfect example of this, with a blend of romance in a school setting and the reoccurring problem of a cursed family. Psychological Manga is supposed to make you feel on edge as if you are watching a thriller. Whether it is with a battle of intellect or witnessing mental, physical and emotional pain- this genre will make you think in advance, and then shock you when your prediction is false. Tokyo Ghoul is an approved and admired Manga that embodies the psychological genre to a tee. Trauma is the main focus throughout where pain is seen in a multitude of ways and on a spectrum too. Hopefully, you now have what you need to start your Manga journey. Remember there are a plethora of genres and art styles so no matter who you are and what you enjoy, there will be something out there for you. Good luck and enjoy. Manga suggestions Boku no Hero Academia Black Clover World Trigger Manwha suggestions Noblesse Red Storm Tower of God The Breaker Manhua suggestions 1/2 Prince Zui Wu Dao Song of the Long March Previous Item Next Item Manga is a great alternative or substitute to anime, especially if your weekly animes are on hiatus (or you're too impatient to wait)....

Euphoria: Addicted to Music The music on Euphoria is as compelling and riveting as the cinematography used. The soundtrack perfectly narrates the social-media-crazed lives of the Gen Z characters. From Meg Thee Stallion to Too $hort and Donny Hathaway - the score seamlessly oscillates from genre to genre, decade to decade. Executive producer, Drake, had some role in the final product of the show but it was Euphoria music supervisor, Jen Malone, alongside composer Labrinth, series creator Sam Levinson and editor Julio Perez who brought the magic to life. In the series' pilot, the show's protagonist and recovering drug addict, takes drugs at a house party. As Rue isolates herself in a bathroom to take a hit, Jamie XX and Young Thug - I Know There's Going To Be (Good Times) crescendoes in the back. As her psychedelic experience transpires, the track distorts in sound all without losing the essence of the song - it's brilliant. Each episode of Euphoria has its own anthem. An instant captivator is the score used in the season's opener. From the piano falsetto sounds of the first 8 bars, the clattering drum patterns and hypnotic chord progressions, each component was perfectly placed by Labrinth to move the listeners. The show's official song, All For Us produced by Labinrth, is a euphoric melodic narration of the season. The song perfectly channels and depicts all elements of Euphoria - it's emotive, exhilarating, powerful and motivating. As Labrinth explains 'It's a rounding up of Rue's dream, and her dream is to be clean, to be a better version of herself'. In the show's final scene, Rue ricochets between all parts of life, seemingly trying to make sense of the chaos. Draped in red, Rue makes a final ascension to her obvious goals of peace, sobriety and stability. The song stays true to the show's name as it's a sheer state of Euphoria. Previous Item Next Item The music on Euphoria is as compelling and riveting as the cinematography used. The soundtrack perfectly narrates the social-media-crazed...

Ones To Watch Vol. 11 23 Apr 2024 March Digital Cover: Xavier Omär & ELHAE 7 Apr 2024 Kwoli Black: New EP is "the cheapest form of therapy I’ve ever had" 3 Apr 2024 Album Review: Tyla Is The African Pop Star We Have Been Waiting For 27 Mar 2024 In Concert: Rachel Chinouriri 9 Mar 2024 Aqyila: A Career in Full Bloom 7 Mar 2024 Ones To Watch Vol. 10 1 Mar 2024 February Digital Cover: Shallipopi 17 Feb 2024 King Kerby Enters His Superstar Era 16 Feb 2024 Top 5 AFCON Official Theme Songs 10 Feb 2024 Ones To Watch Vol. 9 9 Feb 2024 Women in South African Jazz 31 Jan 2024 Ones To Watch Vol.8 26 Jan 2024 The Inevitable Rise of Kenyan R&B 1 Dec 2023 In Conversation With Joeboy: On The Pop-star's Journey To Global Domination 1 Dec 2023 Ones To Watch Vol.7 24 Nov 2023 4 Black Owned Vinyl Stores You Need To Visit 31 Oct 2023 In Conversation With: Sydney Lowell 30 Oct 2023 September Digital Cover: Dankie Sounds 14 Sept 2023 Coming out on top with Champion's Malcolm Kamulete 4 Aug 2023 Crayon Album Review: Trench to Triumph 28 Jul 2023 Stylist Spotlight: Alizé Demange 8 Jul 2023 In Conversation: SOLOMON 30 Jun 2023 In Conversation: Devon Gilfillian 25 Jun 2023 Amaarae Album Review: Fountain Baby 23 Jun 2023 In Conversation With: Dare Balogun from Vandelay Radio 19 Jun 2023 June Digital Cover: Suté Iwar 13 Jun 2023 Cross The Tracks 2023 @ Brockwell Park 7 Jun 2023 "Feat. Cardi B" is a cheat code 3 Jun 2023 In Conversation: DARKOO 24 May 2023 Kel-P Album Review: Bully Season Vol.1 3 Mar 2023 Kelela Album Review: Raven 24 Feb 2023 In Conversation With: Kel-P 23 Feb 2023 The Women Setting Dance Floors Ablaze in Kenya 16 Feb 2023 Review: ‘Chicken Burger N Chips’ @ Brixton House 11 Feb 2023 In Conversation With: Tyla 27 Jan 2023 On Repeat: Essy Maliya makes her official debut with "Same Way" 23 Jan 2023 Review: BNXN @ indigo at The O2 23 Dec 2022 Split The Bill: Lojay @ Stork 24 Nov 2022 In Conversation With: Indyanah 22 Nov 2022 Celebrating Juls @ The Lower Third 10 Nov 2022 In Conversation With: Moliy 28 Oct 2022 Titan Festival Review 7 Oct 2022 In Conversation With: Lizzie Berchie 18 Sept 2022 AdeJosh EP Review: All For Me 22 Aug 2022 In Conversation With: Kamille 15 Aug 2022 August Digital Cover: London 9 Aug 2022 In Conversation With: AYLØ 8 Jul 2022 In Conversation with: The Hics 30 Jun 2022 July Digital Cover: DLT 25 Jun 2022 Music

Festival Review: Bare Lit May 25th marked the opening ceremony for Bare Lit and I was honoured to be covering such a groundbreaking annual event. The weekend-long festival, founded by Henna Zamurd-Butt and Mend Mariwany, was created in response to the lack of diversity in the literary arts. Being a writer, fan and advocate for the cause, I knew I could not miss the event as it is something I am deeply passionate about. Everyone present was open minded and mutually agreed on the fact that Bare Lit was necessary in order to inflict cultural change within various industries. The weekend commenced with an opening ceremony on the Friday, which consisted of a short play. Gala Mae was written by Annette Brook and set in 1950s Soho. The snippet of the drama shown followed the love story between a Chinese sailor and a mixed-race barkeep who had lived in Britain her entire life. The performance was the perfect way to open the festival due to the nature of it. There was a suffocating tension during the 50s that resulted in xenophobic behaviour. It was still illegal to be gay and there was also prejudice towards ethnic minorities. Soho operated as an area where people were free to express their sexuality and culture accordingly. This is seen through the piece, as one of the characters is gay. In the opening scene, we see the man come home from work and pull down his top to become a dress. The play was an embodiment of everything Bare Lit stands for. The discussions, panels and readings all began on the second day. I had the pleasure of sitting in on Literary Battlegrounds of a Historic Struggle, which focused on UK Black Pride. The panel was comprised of a poet, a barrister, a publisher and the host who was in affiliation with the UK Pride movement. The talk was centred on oppressive struggles and how their work counteracts the discrimination they face as members of the LGBT community. It was interesting to see how although their methods and professions differed, they ultimately shared similar sentiments against their oppressors; which can be summarised by a line in one of PJ Samuel's poems: “fuck you”. Live Storytelling was the session that surprised me the most. Mara Menzies performance was particularly fascinating and captivating. She told a forgotten tale of a Yoruba deity called Orisha, and the origins of his story. Not only did Mara give a gripping recount, but it was also animated as she used her body to accentuate certain parts. She commanded the space that she was in and brought life to her words. After the reading, I was able to ask Mara a few questions and what stood out was how she had crafted her skill. She doesn't write the stories down and so she said, "every story I tell is different". I feel as if this method of storytelling brings ingenuity to a traditional custom. It adheres to how this particular tale was told with a modern twist, that interests listeners irrespective of their cultural backgrounds. Sunday emanated a different atmosphere from the previous days, which was a testament to the miscellany present at Bare Lit. A screening that I believe held incredible significance was (Em)bodying Lit: D/Deaf and Disable Poetics. It allowed the audience to gain insight on a perspective that is arguably overlooked. It was the first time I regarded sign language in a poetic fashion and thought about how the visuals could be interpreted without sound. The afternoon began with a live poetry reading by Kayo Chingonyi, accompanied by the members of Mostly Lit, a literature and pop culture podcast. Kayo went on to recite a selection of verses from his collection, Kumukanda ( loosely translating to 'initiation' or 'rite of passage'), that explored concepts of music, race, identity and masculinity. His poetry heavily resonated with me as a young black man and fellow poet. His influences were evident to myself but when executed with emotive language and literary technique, his message became universal. He then joined the rest of the panel and answered questions centred around his work. The bubbly and lively personalities of the Mostly Lit cast gave birth to a relaxed, intimate and entertaining discussion that I believe enabled the crowd to get the most out of Kayo's poetry. The main event didn't disappoint. The highly anticipated keynote speaker came to read, drop knowledge and leave all in the space of 30 minutes. Nii Ayikwei Parkes gave a profound talk on how everything is, "by design" and used the world of literature as an example. He spoke on privilege and how inequality is not by chance, rather, something that has become entrenched with a purpose. Similarly, Parkes briefly touched on the impact of language and the design of it too. Language holds a sense of authority within a certain place, giving those who speak it a certain confidence. This brings to the light the question: how do we utilise something that isn't designed for us ? The Ghanaian writer and poet gave guidelines as a solution to the problem: starting with redesign. He stressed that the initial design was never obligatory, it was only favoured. To do this, the design has to be understood, so that the redesign can be camouflaged within. Parkes coined this, "interior design". He was informative whilst keeping his speech light, with humorous anecdotes and personal examples. It rounded off the festival faultlessly. Bare Lit had the objective to redesign the lack of diversity in literature and it is safe to say we are one step closer to change. Previous Item Next Item May 25th marked the opening ceremony for Bare Lit and I was honoured to be covering such a groundbreaking annual event. The weekend-long...

Concert Review: Raye To put it simply, seeing RAYE live was the surprise I never knew I needed. My view of her music was largely shaped by the songs I had heard on the radio, accompanied by the assumption that: if KISS plays it, then it has to be pop. Although some of her discography may fall into the pop category, she explores a multitude of sounds. RAYE is nothing short of diverse. The concert marked a plethora of 'firsts' for me. It was the first music event I attended by myself, the first show I reviewed strictly as press and the first (and last) time I went to a gig with minimal knowledge of the artist. Another first included seeing a performance at Village Underground. The venue feels as if it has an element of secrecy to it. The building is unassuming from the outside, whilst the interior is edgy with brick walls and dark colours. The bright and eye-catching sign that read "RAYE" stood out with a colourful pop because of the contrast. It set the scene perfectly for an intimate, yet lively audience. The set was opened by Tara Lily, a jazz singer with a modern twist to her songs. She took to the stage with only a keyboard but the basic set really displayed the regality of her vocals. Her voice was simultaneously commanding, controlled and light. My only reproval was that her set wasn't long enough. The factor that kept me entertained from start to finish was her undying vivacity. RAYE came out with an energetic agenda and adhered to it throughout. She performed Crew ft. Kojo Funds and RAY BLK from her new EP, Side Tape . The song immediately set the tone and the crowd were responsive in a way I had yet to experience. The atmosphere was similar to an exclusive party rather than a concert, and the vibe seemed to suit her style. She went on to play more songs from her latest project, including a standout performance of Wife Me , which she dedicated to her women in the audience. The song showcased RAYE's talents, not only as a performer but as a songwriter too. She sang with passion and it clearly resonated with a number of listeners as they sang the chorus back to her louder than she could with the mic. Confidence also sparked an excitement within the building. She brought Maleek Berry onstage, who features on and produced the record. The melody is very playful and not typical of rhythms we are used to hearing her on, but the difference is refreshing all the same. Kojo Funds made a cameo too. The East London rapper came to support RAYE by singing Check . I was able to catch up with him after the show and it is clear that he has a lot of respect and admiration for her as an artist. Owing to the adage, 'the show must go on', she continued to play some of her older tracks as well as some unreleased ones, which came as a treat to many diehard fans present. Her final guest of the night is arguably one of the most influential in terms of building her career. She brought out Jax Jones to sing their hit, You Don't Know Me . This was the song I was most familiar with and described as "pop from the radio". To my surprise, I savoured and appreciated the song just as much as any other I heard at the show. RAYE has a lot of support from artists and producers within the country as well as internationally and I got visual confirmation as to why. It was the first time I arrived at a concert as press and left as a fan. Previous Item Next Item To put it simply, seeing RAYE live was the surprise I never knew I needed. My view of her music was largely shaped by the songs I had...

In Conversation with: AKS AKS has always wanted to be a father; “you know when people would ask teenagers what they wanted to be when they were older, I would say I want to be a great father. It’s something I actively prayed for.” For the last two years, the South London based lyricist has been living his dream. He speaks fondly of the time he has had with his son as he playfully mentions that he is “two and a half going on twenty.” “Having people celebrating with me has been a beautiful thing,” he adds. His new role as dad partly fuelled his decision to prolong his musical hiatus, not only so he could be fully present, but also so he could prioritise materially providing for his family. Like for many independent artists, out of pocket expenses were not at all uncommon, he explains; “having to reconcile with putting down money for something and not having money was something relatively easy for me, but now I’ve got a son and wife people dependent on him beyond those two.” But while he was living one dream, another was at an all time low. “The shift in focus put me in a position where I wasn’t being creative. I had lost passion for music and would have nagging feelings about my purpose, you know.” AKS details how the hiatus sometimes felt like the crash a creative might experience after long periods of highs- which aptly characterises his career pre hiatus. The rapper boasted two successful projects, The Bus Stop and Train of Thought , the latter earning him two nominations at the Unsigned Music Awards as well as plaudits from musical pundits. Among the things he is lauded, AKS’ lyricism is undoubtedly high up on the list. Considering lyricism is the cornerstone of his music, and words are a huge part of his creative process, I wonder how he coped with no longer being able to write. “Writing is 100% cathartic for me. I actually started going to therapy on the back end of last year.” As his music often feels like a reflection of his lived experiences, he laments no longer having his music to spill (albeit meticulously) his inner thoughts onto, “I didn’t have that outlet anymore, I had to go to therapy out of the fact that I wasn’t writing.” He confesses that no longer being able to create felt like “rock bottom,” but then optimistically adds, “and then you know, you look at the world and say the only way from here is up.” That optimism is the bedrock of his newly released single, Up&Up (Heaven’s Above) as well as his upcoming EP, AKS reveals, “they’re a testament to going through that period, and then returning to claim my position an artist.” Dubbed a motivational rallying cry with soul infusion, Up&Up (Heaven’s Above) explores themes of resolve and responsibility as AKS vulnerably pens his frustrations, triumphs and anxieties about his comeback and new found responsibility. The accompanying lyrical visual takes us back to some of his first releases, which were also lyric visuals. In this way the release feels like a full circle moment, a re-introduction. “No man is an island,” the South London lyricist quotes the adage, as he expresses his gratitude for those that had a hand on his single as well as his upcoming project. When writing and creating is as personal as it is to AKS, it is only fitting that he is also intentional with the community, musical or otherwise, that he keeps around him. “People just being around me, or having an interaction with me, similar to what we are doing now, rubs off on me and whatever emotion that makes me feel will likely rub off on the studio sessions.” This sense of empathy translates into his appreciation for teamwork in his creative process, “I’m heavy on collaboration,” he declares, “it's seldom that a beat from a producer will come and stay the same, my input will definitely take it somewhere else.” A kind of signature input clear in his music is the infusion of soul and jazz in his music. You would be hard pressed not to hear a saxophone solo or the hearty sound of a bass in the beats he raps to. AKS owes his love for this sound to his musician dad who often woke the rapper up to “playing scales on his saxophone or playing Miles Davis, the sounds in my household were always jazz centric.” He continues reminiscing, “we had a stand up piano in our living room and for as long as I can remember, my dad would sit us down and teach us theory of music and all of that kind of stuff, you know.” AKS admits that although he did not enjoy spending his free time learning music as a child, it has had a massive impact on the way he consumes music in his adulthood. But his musical sensibilities are not the only thing the South London rapper inherited from his father. “My dad is a stout Nigerian man and one of the people that he loves, from a musical perspective, is Fela Anikulapo Kuti. So having those kinds of political themes and you know, rebellious kinds of attitudes are part and parcel of what I listened to growing up.” The attitude that embraces the idea that his music should strive for something bigger than him, the way Fela’s consistently did, are not only mirrored in the soul sounds that influence his music but also his lyrics about family and generational inheritance. You can trace the influence from his father to him, and the hope that it will carry on to his son. "Planted my seed, I hope he reaps off the legacy / There’s music in my blood and I heard it’s often hereditary!” [from Up& Up (Heaven's Above] AKS cleverly used transportation imagery as the titles of his projects and overarching themes in his music to share the growth is musical journey. He first released The Bust Stop , and then Train of Thought and he is now in the midst of creating As Plane as Day: Departures and Arrivals. In addition to exploring his progress, AKS upcoming project will aptly focus on the fluidity of life; the natural gains and losses; “I’m living through moments where there are great arrivals like the birth of my son as well as departures. I've said goodbye to my mother in the past, and more recently I've lost a friend in the legendary rapper Ty.” On what future success would look like to him AKS simply responds, “I just want to be a staple in this scene, and somebody that’s considered for doing the lyrical thing and sharing his emotions.” Previous Item Next Item AKS has always wanted to be a father; “you know when people would ask teenagers what they wanted to be when they were older, I would say...

Insecure: Egg Hunt for Lawrence's Return The 5th episode of Insecure’s Season 3 ‘High-like,’ easily the best episode of the season thus far, sees the return of Lawrence, Issa’s ex. This episode featured an adventure-filled-girls-trip-type weekend, involving a few too many drinks, one too many pills, and quite possibly the spiciest induction into the mile high club I have ever watched (HBO has to get that sex scene one way or another). It is only at the very end of the episode that we find out that we have been bamboozled. Our dreams of seeing an ex actually disappear forever (and to have #LawrenceHive finally shut up) have died a sudden death. While she is at a 7-eleven, Issa bumps into Lawrence, who shares the same look of befuddlement as her. If you, like me, are still wondering how you did not see it coming, I’m here to confirm that you actually just ignored all the signs. After frantically rewinding through the episodes, here are 5 clues the writers of Insecure left to hint at Lawrence’s return: 1. The first clue is in the 4th episode of Season 3 when Molly is helping Issa get rid of past memorabilia in the spirit of a fresh start. There is mention of CDs mixes featuring Adele that Lawrence made for Issa after their first date. This is the first time in a long time we hear his name. 2. The second is the bench with Chad’s face on it that Issa and Nathan stumble upon whilst they were on their impromptu date. This serves as a hint because Chad’s only relevance in Issa’s life (and the show) is his friendship with Lawrence. 3. Thirdly, we see Issa, who is getting the hang of being a Lyft driver, coincidentally picking up her old Blood neighbour. I admit that this one might be a bit of a reach but it came off as a hint because he was their neighbour at the apartment, in which Issa spent most of her tenancy in a relationship with Lawrence. 4. And then there is the one that was actually an attack on our comprehension skills. When asked about whether Lawrence would return or not, Issa Rae responded that her character was "taking a break from Lawrence.” The keyword there is ‘break’, which insinuates that he would eventually return, not permanently leave the show like many of us assumed. 5. Lastly, and perhaps the most obvious clue is simply that we had a full episode with Issa making good decisions. She moved out of Daniel’s place and into her new apartment and she quit her unfulfilling job. She also spent time with someone new, Nathan (her partner in mile-high crime). Things were starting to look up for her. As little of a fan I am of Lawrence, it would be remiss of me not to admit that this was a fantastic move on the writers’ part. If art indeed imitates life, the return of an ex when you least expect is the most realistic, and quite frankly entertaining turn Issa’s storyline could take. In the next few episodes, it will be interesting to see what Lawrence’s life has been like and how it will change after their encounter, and how his return might affect Issa’s current trajectory, if at all. Previous Item Next Item The 5th episode of Insecure’s Season 3 ‘High-like,’ easily the best episode of the season thus far, sees the return of Lawrence, Issa’s...

BAFTA Breakthrough 23: Adjani Salmon Adjani Salmon and I sit across from each other through a Zoom call. Behind him, rows and rows of books with sprawling plants and a single skylight. As a newly appointed member of 2023’s BAFTA Breakthrough cohort, I ask Adjani what he would have gained had he been a participant in the programme back when he was in film school. “The opportunity would have been invaluable” he says. “The key messages from a few people at film school still ring true now, it would be invaluable to have conversations in real life with those I look up to and, not only to give my flowers, but to ask for advice from the people whose careers I’ve followed and tried to mirror.” What does BAFTA Breakthrough mean to you? Getting into it is humbling. I know I’ve received recognition before, but I’ve never had an official mentor or scheme to promote my career. Since film school I’ve been trying to let it myself and with my friends so to have this kind of recognition from BAFTA means a lot, and I’m looking forward to this opportunity. What are you looking for in particular from the participants of Breakthrough? Honestly, I’m looking forward to conversations I could potentially have with industry people. To have a conversation with the Issa Rae’s the Jesse Armstrong’s, the Jordan Peele’s. Asking, "How do you balance being a multi-hyphenate talent in the industry?" "How do you avoid being trapped in a box?" "How do you escalate to the next level?" You know? “I can’t imagine what I could learn in my career if I had access to the people I look up to". You managed to get your breakthrough in independent cinema, an avenue seemingly getting harder and harder to get into. Do you have any thoughts on how young filmmakers can enter into these spaces and create the type of content you’ve created? To be honest my advice would be to try everything. I can’t tell you that the web series is the way because I didn’t know it was the way. I knew they did it in America, but I’d never seen it here [in the UK]. There was at least a year and a half before anybody picked up the web series so I was already back to ‘okay, let me write two more short films’. The key thing to do is, before you stress yourself about getting in, focus on developing your talent. You don’t necessarily need many resources to do that. We made [the web series] Dreaming Whilst Black with the camera on auto focus the whole time. Most of it was shot in the day because we had no lights. There are barely any professional actors in the web series. Most of them are my friends from architecture school or film school, because we didn’t have money for actors. But it was still an opportunity to develop our craft, our writing skills, our directing skills. "Shoot your shot in any way possible." What was the reception like to Dreaming Whilst Black [the BBC series] from your point of view? Man, it’s been humbling. It’s exceptionally hard to make TV. I genuinely don’t judge any show, you don’t know what they went through to put that on screen. To make something good or great or to make something people love, is a whole other level. To see the love from our community and the wider British public. It’s in America, it’s in Australia, it’s all over the world! We screened it in Uganda. Where do you see the comedic space in the UK going? Is there anyone that you see as next up? Who’s next!? Oh my gosh, Abdou Cisse, Runyararo Mapfumo, Teniola King, Rashida Seriki .... Who else? There are so many [people]! I really hope we get a series two, cause there are so many new directors I’m trying to put on. Are there any places you go to in London to catch a comedy show? The real joke is I’m a person who writes comedy who doesn’t go and watch comedy. What are some dramas you’ve been engaging with? Dreaming Whilst Black is my first comedy. The short films I’ve done prior, the feature film I’ve done with Film 4, those were all dramas. For me when I think about stories and what I want to say, I think about who I want to tell it to. Then I think about how best they'll receive what I want to say. That’s why Dreaming Whilst Black became a comedy. It was the best vehicle to speak to our community and have that conversation about the different themes in the show. I am writing another comedy, but when I’m tryna chill I like to watch a serious Bong Joon-ho, Paolo Sorrentino, Barry Jenkins. That’s where I naturally sit. How do you identify your key audience or is it always for your community? Bro who else am I tryna write for? There are loads of people writing for everybody else. I’m tryna feed our people with more content. Having had tremendous success, who would you want to give those flowers to and learn from now? I’ve followed Issa Rae to this point, I’ve followed Donald Glover to this point. I’ve followed Michaela Coel, Phoebe Waller-Bridge. I would like to follow Jesse Armstrong. I would like to Step into the film space and move like Barry Jenkins or Bong Joon-ho. Those are my people. BAFTA Breakthrough is supported by Netflix. To learn more about the individuals in this year's cohort click here . UK BREAKTHROUGHS (20): ● Adjani Salmon, writer/performer/exec producer – Dreaming Whilst Black ● Bella Ramsey, performer – The Last of Us ● Cash Carraway, creator/writer/exec producer – Rain Dogs ● Charlotte Reganm, writer/director – Scrapper ● Cynthia De La Rosa, hair & makeup artist – Everyone Else Burns ● Ella Glendining, director – Is There Anybody Out There? ● Funmi Olutoye, lead producer – ‘Black History Makers’ (Good Morning Britain) ● Georgia Oakley, writer/director – Blue Jean ● Holly Reddaway, voice and performance director – Baldur’s Gate 3 ● Joel Beardshaw, lead designer - Desta: The Memories Between ● Kat Morgan, hair & makeup designer – Blue Jean ● Kathryn Ferguson, writer/director – Nothing Compares ● Kitt (Fiona) Byrne, 2D artist/game designer - Gibbon: Beyond the Trees ● Michael Anderson, producer - Desta: The Memories Between ● Pete Jackson, writer/creator – Somewhere Boy ● Raine Allen-Miller, director – Rye Lane ● Rosy McEwen, performer – Blue Jean ● Samantha Béart, performer - The Excavation of Hob's Barrow ● Talisha ‘Tee Cee’ Johnson, writer/director/presenter – Too Autistic for Black ● Vivian Oparah, performer – Rye Lane US BREAKTHROUGHS (12): ● Amanda Kim, documentary director - Nam June Paik: Moon Is The Oldest TV ● Aminah Nieves, performer - 1923 and Blueberry (Film/TV) ● Apoorva Charan, producer - Joyland ● Cheyenne Morrin, senior games writer - Star Wars Jedi: Survivor ● Edward Buckles Jr. documentary director - Katrina Babies ● Gary Gunn, composer - A Thousand and One ● Jingyi Shao, writer & director - Chang Can Dunk ● Maria Altamirano, producer - All Dirt Roads Taste of Salt ● Santiago Gonzalez, cinematographer - Shortcomings ● Shelly Yo, writer & director - Smoking Tigers ● Sing J Lee, writer & director - The Accidental Getaway Driver ● Vuk Lungulov-Klotz, writer & director - Mutt INDIA BREAKTHROUGHS (10): ● Abhay Koranne, writer - Rocket Boys ● Abhinav Tyagi, editor - An Insignificant Man ● Don Chacko Palathara, director/writer - Joyful Mystery ● Kislay, director – Soni ● Lipika Singh Darai, director/writer - Some Stories Around Witches ● Miriam Chandy Mencherry, producer - From the Shadows and The Leopard's Tribe ● Pooja Rajkumar Rathod, cinematographer - Secrets of the Elephants ● Sanal George, sound editor/mixer/designer - Gangubai Kathiawadi ● Satya Rai Nagpaul, cinematographer – Ghoomketu ● Shardul Bhardwaj, performer - Eeb Allay Ooo! Previous Item Next Item The BAFTA Breakthrough 2023 is here! We spoke to cohort member Adjani Salmon on his comedy series Dreaming Whilst Black.

Insecure Review: S4 E1 'Lowkey Feelin Myself' The much-anticipated HBO comedy, Insecure is back, albeit not with a happy start, with a hint fairly early in the episode that Molly (Yvonne Orji) and Issa’s (Issa Rae) friendship is in jeopardy. We see Issa on the phone saying “[she] don’t fuck with Molly anymore,” in what looks like a flash-forward and as the episode unfolds, we start to get a glimpse of what might have triggered this fallout. It’s hard to tell whether the tension between the two BFFs is a truly reliable foreshadowing of the rest of the season but the episode seems to be pushing us towards that. With that said, here are my hopes and predictions. After three seasons of heavily centering their romantic relationships, I am ecstatic at the likelihood of a season with friendship as the main theme; and possibly a friendship breakup. Sure, romantic breakups suck but friendship breakups can be incredibly devastating and their exploration deserves just as much screen-time. Issa and Molly’s friendship has mostly revolved around whom they are dating (or not dating) and far too many of their decisions are fueled by this fact, its getting a little boring at this point. I want to see a slow unfolding exploration of the little ways in which they fail each other; bad timing, wrong tone, projections, all the seemingly minor things that slowly corrode friendships. If there is any justice in the Insecure writer’s room, the main cause of conflict this season will not be a man...again. “That missionary really be hitting though.” “I mean church is always the answer” Now, I’m not calling for a total erasure of romantic encounters with men in the show. And even if I were, HBO’s unspoken ‘at least 2 sex scenes per episode’ policy wouldn’t let me. Is 3 sex scenes a new record for Insecure? I think it might be. The show loves a naked man’s butt, and one that we got a generous viewing of this episode belonged to Issa’s friends with benefits: Gabe a.k.a TSA bae (Paul Mabon). Hopefully, this is a season-long addition to the show as well as in Issa’s life. He makes her feel comfortable, the henny and weed “courtesy of TSA confiscations” was a sweet gesture, he wholeheartedly shows up for her during the mixer, and “welcome to a full size nigga”? *chef’s kiss* Gabe genuinely seems to be a great friend as well as, you know…beneficial. And a casual romantic relationship is also probably the best thing for an Issa trying to grow beyond her romantic life. On growth beyond romance, the previous seasons offered glimpses into interesting storylines that haven’t been addressed since and I can’t help but wonder if abandoning these is depriving us of crucial insight into some of the characters. Molly’s parents and Tiffany’s (Amanda Seales) marriage are some examples but the biggest one for me is Kelli (Natasha Rothwell). We are now four seasons in and the show has offered us barely anything beyond a load of sexual innuendos when it comes to her character. Scripting a plus size black woman as mere comedic relief, when literally no other female character (even the peripheral ones) gets the same treatment, is edging onto trope territory. I sincerely hope they do better this season. I don’t know that I thought this was as strong season opener but it did leave me hopeful and curious enough to save my judgment until more of the show unfolds. In the mean time, here are some random parting questions: who are Issa and Molly without each other? Will Molly let her fear of vulnerability get in the way of her and fine ass Andrew (Alexander Hodge)? Is Issa and Condola’s (Christina Elmore) friendship actually sustainable? Which other male butt are we going to see? Are they going to bring back Chad (Neil Brown Jr.)? That better be the last Nigerian joke they try to make. The last one was not a question but felt necessary to mention nonetheless. Here is episode one's soundtrack, enjoy! Previous Item Next Item The much-anticipated HBO comedy, Insecure is back, albeit not with a happy start, with a hint fairly early in the episode that Molly...

Director Roxy Rezvany talks all things ‘Faded’ ‘Faded’ represents a meeting poi nt of two worlds both artistically and socially as the creative brain child of singer-songwriter Lyves and film director Roxy Rezvany. The video forms part of the singer’s project 8 room which aims to explore the complexity of human nature as conveyed through a variety of intimate stories. Roxy is a British filmmaker of Iranian-Malaysian-Chinese descent, recognised by The Dots as a Creative Trailblazer of 2018, and was commissioned by Lyves to visually represent the emotions explored on the song. The music video tells the story of a young Iranian immigrant living in 1970s London who becomes deeply entwined in a romantic relationship as opiate to realities of life. The tale is beautifully narrated by Lyves’ enchanting vocals and colourful lyrism. Inspired by the eventual demise of a relationship, the visuals follow the protagonists denial as everything slowly begins to fall apart. Roxy explains, “the idea was to explore a side to the era that often evades depiction in British popular culture: the cultural complexity of interracial relationships, the isolation of pioneering immigrants without a community, and the struggle maintaining an idealism in the face of adversity that is essential to helping you chase your dreams.” Director Roxy attributes her work with cinematographer Beatriz Sastre as one of the key drivers of the music videos success, combining Super 8 film footage and digital footage shot with the Arri Alexa mini to produce the desired throwback effect. “Beatriz and I worked towards a colour palette that we felt would evoke the era, and colourist Tim Smith did a lot with the grade to evoke the 1970s building out from there.” Moving from colour schemes to character portrayals it is evident that the details often considered to be minute truly matter to Rezvany . “The styling team,Georgie Roberton on wardrobe, Georgie St John James on hair, and Grace Ellington on makeup, did a lot of work from references we had pulled of 70s styling to bring the characters to life”. However whilst trying to capture the essence of the era the crew took care to avoid a stereotypical depiction of the characters. A dose of social realism shrouded in the magic of a budding romance, the cinematic brilliance of the video was found in the way that it flickered between these contrasting perspectives. Extending beyond it’s filmic effects, ‘Faded’ contained numerous visual references which were central to its 70s setting, one of the most notable being the launderette. “The launderette is where 'Sherry' the lead character works”, the Roxy shares. “It was also a subtle homage to the British film 'My Beautiful Launderette', which is one of the few British films I feel portrays three dimensional and realistic 'immigrant' families and characters.” In light of the B word nobody wants to mention, there is something to be said about the importance of the story at time where the social attitude within UK seems be fuelled by hostility largely aimed at its immigrant population. “I think that in an era of growing resentment towards immigrants, there are many people with 'cultural amnesia' (to quote Stuart Hall) who seem to have forgotten the contribution of immigrants to the UK, or even worse, live in denial of the colonial heritage that encouraged many to migrate to the UK.” Brining back an element of humanity into the conversation ‘Faded’ captures those from other cultures experiencing the emotional rollercoaster of love in a very authentic way, with a view of bringing the gap in the on-screen portrayal of the immigrant population. “My hope with this story is that it'll encourage people to learn more about the stories that don't necessarily get told in the mainstream, but are an equal part of British history and society.” Previous Item Next Item ‘Faded’ represents a meeting point of two worlds both artistically and socially as the creative brain child of singer-songwriter Lyves...