Brenda: 00:10
Hello and welcome to Kiss My Black Side with me, Brenda Emmanus. This is a celebratory look at art from a Black perspective. In this show, we talk to some brilliantly talented creatives who have made their mark in the world of dance, film, fashion, music, theatre, and the visual arts. We discuss their work and inspiration, and then we get to do a little deep dive on issues related to their specific art form.

And as we’re talking, we figured it would be nice to end each programme with a specially commissioned spoken word tribute to our chosen topic, which in this episode is Film. This podcast is produced by Free Spirit Productions Ltd and brought to you by Sadler’s Wells. Sadler’s Wells is one of the world’s leading dance organisations, and in 2022, they’re celebrating work by Black dance artists with Well Seasoned; a year-long programme of live performances, dance films and more from Black choreographers, dancers and artists of colour.

Now, excellent talent is what we’re bringing you in this episode in the form of writer, composer and director Jeymes Samuel, whose debut feature film The Harder They Fall, has been a truly exciting and refreshing cinema offering. This all-star, all-Black, unique take on the Western film genre was so original and thrilling, and featured a to-die-for A-list cast which included the likes of Regina King and Idris Elba. Our other guests are the dynamic duo behind We Are Parable, an award-winning company that provides audiences with opportunities to experience Black cinema in culturally relevant, memorable and unique ways. Anthony and Teanne Andrews have taken the cinema experience of watching Black films beyond sitting with your mates and a box of popcorn to creating a legacy of bespoke experiences for Black audiences.
A Kiss My Black Side special welcome to you all.

02:06
[MUSIC]

Brenda: 02:18
Jeymes, I’m so glad we got you. I was absolutely ecstatic about the film; it was so genuinely refreshing. What do you think resonated with audiences because it was well-received?

Jeymes: 02:29
I think the reason why it was so well-received is just, you know, giving people something that they’ve been… they’ve been missing from the Western, Western genre, something that they’ve been missing from that genre and… In a… putting a new perspective on it, right? I would say a correct perspective on it. One in four cowboys were Black, cowboys was something that was given to Black people. It wasn’t even the name for white folks, they were called Cow hands. So, I think when you put all of these things into context and you create from that, from that standpoint, you’re always going to have something that, that touches a nerve and strikes a chord with the message because it’s something that they’ve never really seen before.
And also just, you know, the… the unapologetic approach to the filmmaking. I think that’s why, that’s why it was received in the way it was. And also, you know, I’m a G, so when I do… [Brenda laughs] So, yeah, I can give you a Shakespearean answer and sound all intelligent, but the fact of the matter is, I’m a G, you know.

Brenda: 03:43
But I think being a G means that you are authentic, and it is that, I think it’s that authenticity of the work that also resonate with people but very, not many Black filmmakers have the opportunity to do what they want in such a bold way. How comes you find yourself in that position?

Jeymes: 03:59
I think it’s just who I am as a person. You know, it took me, like, probably over ten years to put this, put this film together, so, the only way, the only reason why it took so long for me is because I wanted to do it in the fashion and the way that I wanted to, I wanted to do it. If I shot it, you know, like ten years, ten plus years ago, it would’ve been a much smaller film. I would’ve had to make a lot more compromises and this, that and the other but in you putting it together. You kind of have to wait for the universe to catch up, so to speak. You know, the reason why a lot of us creatives in general, not just Black people, don’t find themselves in that type of position is because they, you know, they want to make something, and they need to make it kind of immediately. They need to make it as soon as they get the opportunity. I had opportunities to make a version of this film, but it wouldn’t have been the way I wanted. So just was a longer wait. And that way, when I do do it, it was in the fashion where I have the freedom and the creative where with all to do what it is I need to do.

Brenda: 05:12
I remember interviewing Spike Lee once and asking him whether he felt a weight of responsibility when he was filmmaking in the fact that Black audiences are starved of original narratives, you know, and there seems to be, we put a lot of pressure on our filmmakers to deliver something that we’re gonna be excited about and good. When you have a cast which is so amazing, and you’re redressing historical balance in terms of narrative. Did you feel a sense of responsibility?

Jeymes: 05:37
Yeah, I think you feel a sense of responsibility. Kind of just brushing your teeth in the morning, like, just being Black and then the position that we’re in. And I don’t mean in successful business. I just mean, you know, working in this industry and in this business on any level. I believe you do have a responsibility, whether you want the responsibility or… or not. You know, I can’t really speak for anyone else, but I welcome the responsibility. And you do have a responsibility to tell the story and to give your people something that they… they can hold up and be proud and be proud of and something that represents us, you know, in the dope, in the dope way. So, you do it, you have a strong responsibility to not be careless with your, with your narrative and not be careless with your, with your presentation. And also, that responsibility makes you stand by your guns even more with things that you’re, that you’re going to put in a movie or put in your, you know, your artistic endeavour and that you’re not going to change. You refuse to change. So, there’s a lot of those things but it does boil down to responsibility a lot of times.

Brenda: 06:53
And before you cut your teeth as a director, you were an accomplished singer-songwriter who went with the moniker The Bullitts. And you’ve worked with such an eclectic mix of artists from Damon Albarn and Mos Def to Charlotte Gainsbourg. How important is it to you to mash it up in that way to work with such a diverse mix of people?

Jeymes: 07:11
It’s super important. I think, you know, the people I work with are people I listen to, right? I don’t have a track record of working with a bunch of randos that I don’t actually revere. So, people I work with, I love them. And, you know, that’s super important because then your ideas, your ideas keep flowing, your ideas come to you. But if you’re working with people that you don’t really love or don’t move you in that way, for me at least I’m stifled, idea wise, my ideas stream keeps flowing, but I think that’s because I keep collaborating with people that are just super dope and inspire me with ideas.

Brenda: 07:55
Now, speaking of super dope and inspiring, you have a special relationship with Jay-Z, which is long and has been formed over a long and solid time. How would you best describe your relationship and how you collaborate and what you learn from each other?

Jeymes: 08:09
We’re just brothers. We met by Jay Electronica when I was producing Jay Electronica’s album, like in 2010? We did a song called Dinner at Tiffany’s with Charlotte Gainsbourg and Jay Elec. From then we were just brothers, a brotherhood. And when you meet another creative, like a super creative you’re going to have a stronger bond because of that, because of that reason. And, you know, in the spirit of collaboration, the world would call it collaboration, but it’s not as if we go in to collaborate, we’re just always creating stuff when we’re talking like, oh, it would be wicked if… could you imagine when… and what if? It’s just, it’s almost like a normal conversation. It’s just that those things end up… er… guns go bang with Kid Cudi or The Harder They Fall, you know, er… it’s uh, it’s just, really brothers just kicking back and forth and uh, having fun. But then you present that to the world, and you have, you know what I mean? You have, like, pure gangsters in the mix and a huge hit called The Harder They Fall.

Brenda: 09:23
And you create magic. You know what really fascinates me is your whole approach to filmmaking and who and what inspires you. For example, you mentioned Alfred Hitchcock and Roald Dahl. I mean, Roald Dahl, his approach to chaos. Tell me a bit about that, why those two in particular?

Jeymes: 09:39
I think those two in particular were just the ones that touched me the most as a kid. Roald Dahl is possibly the best children’s storyteller since the Brothers Grimm, right? And he… but also Roald Dahl, you never grow out of Roald Dahl as a storyteller. As a kid, you’d be drawn to Charlie and the Chocolate Factory, James’s Giant Peach and all of that stuff. But… and Matilda. As you get older, you find the stories of Roald Dahl that were adults like the, you know, like Pig or Royal Jelly, the short stories or The Wonderful Story of Henry Sugar, which is my favourite book of all time. You grow up with Roald Dahl and you don’t stop. You don’t stop really reading him in his approach to narrative storytelling.

With Hitchcock, I mean, Alfred Hitchcock was just against the master of suspense, and he just, the way he mixed, like, dark humour with, you know, with drama and stuff and his balls in his shot composition where he’ll place the camera and Psycho killing off the lead actress halfway through the movie just to, you know, Alfred Hitchcock is the reason why we go to the cinemas on time.
But why we get there at the beginning of the movie. Before Hitchcock, you’ll get to the movie halfway through. It was just like… going to the movie was like, going to the movies was like going to the bar, going to the wine bar. And then he released Psycho and because he was killing off his lead early, he made a deal with the theatres not to let people in after the beginning, after the film starts, that’s when people started going to the theatres and making sure they got there at the beginning of the film. So, this guy was just a trailblazer in so many different ways. He doesn’t seem like he was the nicest guy, but art wise, he was always a G.

Brenda: 11:36
Now I want to turn to two really nice guys who make sure that we go to the cinema on time to see Black film in the most bespoke and inspiring way. Anthony and Teanne Andrews, tell us about We Are Parable, it’s such an amazing concept. How did it evolve and how did it start?

Anthony: 11:52
So, I mean, it really started from just having a love for Black cinema while growing up, but really that the nucleus of the idea came from us being at home, being a bit depressed and watching Coming to America, which is both of our favourite film. So, for anyone who doesn’t know myself and Teanne, we’re husband and wife. We got two small children and yeah, it’s one of those films that you put on when you’re feeling a little bit low and we put that film on in 2013, and one of us said, “You know that film’s celebrating its 25th anniversary soon.”

And actually, you know, I don’t think we’ve ever seen it in the cinema. So, we thought, okay, look, there’s an opportunity here to put on into our local cinema and, you know, let’s have a chance to see it on the big screen and we feel our peers and our friends would feel the same way. And so that’s exactly what we did. We got in touch with our local cinema, and we put on the screening of the film. But then, me and Teanne, we kept on talking about, you know, just the, just the pomp and the, the environment of that film. We thought look, there’s more than we can, there’s more that we can do when it comes to actually screening this film. Could we, for example, have rose berries throwing petals on people’s feet as they walk in? Could we turn a cinema foyer into an African marketplace where arts & crafts makers and designers and fashion makers all come together to sort of show the best of Africa? So, we did all of that. We created those moments around cinema, almost to try to redefine what it means to go to cinema and watch a film.

We had dancers, we had drummers, we had, I think we had a poet there as well. We’ve come together to create this performance of cinema, kind of a, just kind of combination of things going on at the same time. And yes, it came out of that, and we just continue to create amazing experiences for audiences who really want that culturally relevant unique and memorable moment when they go to cinema.

Brenda: 13:42
And Teanne, what is it that your work has taught you about what Black audiences want and what Black filmmakers need?

Teanne: 13:49
In terms of audiences, you know, I guess they want to show that they’re being represented, but also, they want an experience. I think a lot of the work that we’ve done is really looking at our audience and coming from all the events that we’ve produced over the years that we’ve been going. The stream, that’s kind of, the feedback that’s come back is that they’ve enjoyed coming to the event because they’ve enjoyed being around other people, Black people, they’ve enjoyed looking at our culture but doing it in different ways, different art forms, but also gives them a new way of coming to the cinema, new reason to want to come to the cinema.

Brenda: 14:28
Now, you credit film director Spike Lee for having had a massive impact on what you do. What happened and how did you meet him?

Anthony: 14:34
So, but I’m a massive Spike Lee fan, I really grew up with his films in the early 90s, watching Do the Right Thing on BBC Two, and I was like 11 years old, was a game changer for me. So, I’ve just always grown-up with his films. And then when we started, We Are Parable, I always had the idea of creating a Spike Lee retrospective and that turned into Spike is 60. So, in 2017 Spike Lee was celebrating his 60th birthday. So, we had the idea of thinking, wouldn’t it be great if we could create a nine-month long film festival of Spike Lee’s films, showing 12 of his films across two different cities, London and Manchester and do it in a way that only we could, by creating that really memorable and culturally relevant experience in the round.

So, we’ve done like, we did loads of events such as in the Rio cinema in Dalston, East London which is an Art Deco cinema. We have a saxophonist and music over the top of Mo’ Better Blues. To really further immerse people in the world of the film. We did street parties for Do the Right Thing. So, we have all of these events taking place over the nine months. And then halfway through the festival we got a call from the man himself, Spike Lee. We got an email in fact, saying, “Hey this is Spike Lee, I’m going to be in London for a few days, we should meet.” I we thought…you know what, this is something that we’ve been dreaming about that could happen. But when we spoke to him a little bit more, we were like, look, can we get a picture with you? Can we just have a chat with you? And he was like, “no, no let’s do an event together, Let’s actually try and sell some tickets and get people to come down and hear me talk.” So, we thought right we can do that.

So, we had three days to put together an audience with Spike Lee, where he spoke to a UK audience, the first time he had done that in 15 years, 400 people sold out within minutes. You got full-fledged access to the man himself doing the talk for about an hour and a half, talking about his career, his life, his passions, his dreams, and then meeting and greeting all of the people that came along, the people with their merch, people with like, with kind of like, all of their memorabilia for Spike to sign and that was the event. And being able to get Spike Lee at our event was the thing that really trajected us forward. So, I always say that Spike Lee can change my life twice. And, you know, sitting in like watching my black and white TV when I was 11 in 1990 while watching Do the Right Thing for the first time and then in 2017 when he was part of our event, that really changed our lives, he was able to speak to that audience and that was an amazing moment for us.

Brenda: 16:55
Jeymes, what you’re hearing, do you see value in what Teanne and Anthony are doing? Do you think that encourages audiences to go to the cinema and have a different experience?

Jeymes: 17:04
I think it encourages people to go to the cinema and have a kind of more immersive experience in general, not just Black people. When they were talking. I was like, oh wow, we should do something like that with The Harder They Fall. Put live musicians in there. And you know, that’s a really amazing, amazing thing. I think it is something that cinema needs as well. Because it pushes the language of cinema forward. It actually pushes the IQ forward of cinema in general. I think it expands kind of like way beyond Black people. When you hear something like We Are Parable, doesn’t have a colour, it’s just that it started from, because of Spike or whatever the reason it was, but the actual, actual format is, is amazing. It’s amazing. I think it goes much further beyond any, you know, demographics. It’s interesting because we are, we are Black and we want to do as much for our people, our community and our culture as, as possible. But, you know, also we got to think beyond, beyond that and how to maximise the potential of, of what we create because what happens is, is We Are Parable will be, will be so, so dope. And while we’re sitting around saying, you know, great for us, this, and that and the other, the white folks will just come take it and it will be like `Parable We Are’, bringing that to this worldwide… make billions, billions off it, but I think, you know, in short, what I’m saying, what I’m saying is, yes, it is, it is dope, a dope format, it’s a dope thing. It brings everyone together.

Teanne: 19:04
Yeah totally and I think we actually worked on The Harder They Fall with Netflix when it came out, and one of the things that we wanted as part of the event, we were able to get the costumes and that went down with the audience because it was a way of kind of them looking at the artistry craft and really kind of being able to kind of get with that moment as well of the films that I think…
Yeah, it was kind of transcends over with, not just kind of Black audiences, but we always say, you know, fans of Black cinema. (Jeymes: That’s Awesome) So. You know, outside of that, if you just love kind of what we’re doing, then come down. But yeah, totally right. I think it’s a kind of thing where we’re seeing that a lot of people from all different races are coming to our events because they’re just lovers of Black cinema. And I think that’s something that we’re really kind of passionate in terms of putting forward…

Brenda: 19:59
I think you’re right because I think Black cinema does appeal beyond our audiences. If you look at the likes of Moonlight and Black Panther and The Harder They Fall, they’ve all penetrated a much wider audience. So, do you think do you agree, or do you think that Black Cinema is in in rude health? Do you think we’re in a good place?

Jeymes: 20:16
Yeah, you know, I’m an odd one to ask because my perspective on that is totally different. I’ve always hated the term Black Cinema because Black people don’t wake up and feel Black, which just seems like, well, that’s what happens, when we leave our house, we’re made to feel Black. Right? The Harder We Fall is not a Black Western, it’s a western, what happen, if Star Wars is not a white Sci-Fi movie, then The Harder They Fall is aint a Black Western. It’s just about those peoples. I remember going into HMV in a megastore. Virgin, no, it was an HMV in Oxford Circus. And it had, this was years ago, and I went to buy some DVDs and it had Black cinema…shoved, Black cinema. And on the top of the Black cinema stock was Hitch. I got so angry. I moved them to the regular section, but Will Smith was the only Black person in it, literally the only Black person in that movie is Will Smith.

Literally, just for me, I think like, like I’m really proud of who we are, and I wouldn’t want it, I wouldn’t want it any other any other way. But man, like Hollywood has done a number on us. They always find ways to marginalise us. And one of them is, is the labels they give us every time out the gate. Right? A lot of times we embrace those. We embrace those, those labels. But, you know, it’s a, it’s a… I do think there’s two sides to that point. But in answer to your question, I think we are, we are in a great place because there’s just an array of amazing creatives right now operating in front of and behind the camera. This is, we’re in a, I’m really happy, I’m in this era with amazing directors and visionaries of the same background as me. You know, I mean, it’s a, it’s really mean and Black. So, it’s a really awesome time. I think we are in a great place. And also, we can get things done easily now by using the phones and YouTube.

You, you’ll see a lot more opportunities for creatives than we had, you know, when we were kids, when there was only cinema really but now it’s just that even televisions in the healthiest and the most amazing space it’s ever been and then streamers, you know, which is a big answer to having movies with black people made. Because that Black cinema thing is the reason why Hollywood wouldn’t fund movies with Black people. They’ll use this racist foreign distribution model and talk about how much your film is worth.

That’s why it took so long to do The Harder They Fall. How much your film is worth in Germany, in Russia, in Ukraine, wherever. They’ll go all around and if you had a Black cast, they would, erm, they would say, it’s just not worth anything, we can’t sell it. We sell it for the budget it costs, which is which is B.S. And then the streamers came about; Netflix, Amazon, Apple TV, and they would be all around the world at once. So, they don’t care about a foreign distribution, theatrical market because they don’t, they don’t use it. And so, The Harder They Fall can get made. I don’t believe a studio, even though they say they would have done, I don’t believe the studio would have made The Harder They Fall. If they would have done, then where were they? All those years when I was trying to get it made. You know what I mean?

Brenda: 23:55
It’s fascinating and insightful. Now Anthony and Teanne, your, part of your work relies on Black creatives having the opportunity to deliver and create what they want and in the way that they want. Are you excited by what you’re seeing, how things are evolving?

Anthony: 24:12
Yeah, I’m definitely excited. You know, I definitely echo what Jeymes says. I am excited about what’s happening. I think it’s really important that we see a sustained movement towards more of this happening because I think, you know, the 2020 was clearly a watermark for everyone in terms of, you know BLM in terms of the pandemic, in terms of Black people dying from the pandemic more than white people.

You know, there were all these opportunities that all of a sudden came to fruition. And I think now we’re seeing, you know, we are seeing that the benefits of that. But I think a lot of our job is about ensuring that that continues. And one of the things that we’ve done to ensure that it continues is a new product that we’ve created called Momentum. We’ve partnered with Channel 4 to provide mentorship for 60 Black British filmmakers in the UK to give them mentoring for six months with industry professionals, to give them access to industry masterclasses, to give them mental health support. Because obviously it’s a very tremulous and challenging industry that they work in and give them the opportunity to get work made. So, the partnership for Channel 4 came about because we want to get work from these Black British filmmakers commissioned to see on screen. And so it’s not just about screening work for us anymore, it’s really about enabling and helping filmmakers to get their work made in the first place and then hopefully to get their work seen by audiences.

So, I am very hopeful about the state of the industry at the moment, but there is a lot of work to do, and I’ll always remember, I’m always reminded of Kobe Bryant. I think it was game two of the NBA Finals one year, and he’d won the second game. So, there were two more games to go into the NBA Finals championship. And you know, a commentator said to him, “Are you happy? are you going to give us smile?” and he was like, “jobs not finished” he’s like “If the job was finished, I’d give you a smile, but the job isn’t finished.” And I feel that same way about, about the state of the industry. You know, we’ve made great progress in the last couple of years, but there’s so much more that needs to be done. And I see us as being a true part of that.

Brenda: 26:05
I want to ask you guys; Tyler Perry has managed to do something phenomenal to create the largest production studio in the United States and to be the first African-American to outright own a major film production studio. Is it ever possible to have even a humble equivalent of that here in the UK? Jeymes, what do you think?

Jeymes: 26:22
Absolutely. Absolutely. Everything starts with the vision. Absolutely. I think it is possible. Before he did it, literally the day before he did it, we would have asked ourselves, is it ever possible to have the largest film studio, like that in in the U.S.? Right? And he had the vision and, you know, and he he that was his goal. And he and he’s done it. I think it’s absolutely possible to have that in the, in the UK. And also, we have the, you know, really the only currency in this industry of any value, the only real currency of any value is ideas. And those were the ideas always, always win. It’s the only currency of any value. Everyone will be, so it’s who has the ideas? It always comes down to who has the ideas, and you know from even speaking to the folks behind We Are Parable, it shows that, you know in the UK there are, a slew of great people in front of them behind the scenes with great, with great ideas.

All it takes is us coming, is us coming together. As soon as we come together, it sounds cliché because it never happens, but as soon as we come together like there’s no there’s no stopping anything. United Artists was made by Charlie Chaplin, Douglas Fairbanks. I think Mary Pickford, three artists come together. DreamWorks was Spielberg, Katzenberg, Geffen, you know what I mean? But you never, ever get Spike Lee, Tyler Perry, duh, duh, duh, you just don’t for whatever reason, you know. There’ll be more arguments in front of the camera than there will have been behind the scenes. I’m like, look, what the hell? We need to…Tyler’s got the studios, Spike’s got the films, you know. Everyone, as soon as everyone comes together, you know, Me, We Are Parable, Rapman. Just…Idris. There’s no, there’s no stopping anything.

There’s no commodity like the gold that is Black people. There’s no more valuable commodity. I don’t care where you go there’s no more valuable commodity systems. Everyone comes together we… that’s how I got The Harder They Fall made, bringing Jay-Z, Idris Elba. I brought everyone together before I even hit Netflix. We were all doing this thing and it just showed what happens when, when, you know, we all work in tandem are working in unison. I think when you were talking about responsibilities earlier, it’s our responsibility, is to empower each other. But I have to empower We Are Parable. We both have to empower you. Us three has to empower the British Black list. It goes on as soon as everyone comes together, there is no stopping us. It’s just that Black people do not come together for whatever reason, Brenda.

Brenda: 29:26
But I’m getting goosebumps at the prospect, I really genuinely am. Let’s hold that thought and energy. Let’s do that. Let’s definitely do that. Now it’s been such a revelation speaking to you all but before we go, I’d like to end the programme with our, `pass the baton’ moment, which is where I invite you to tell us about someone who’s inspired you from the past and why, or someone you’re currently inspired by so that our audiences can share and know more about these wonderful creatives. So why don’t we start with you, Anthony, and then Teanne, and then James.

Anthony: 29:55
I think someone who I’m inspired by, if we’re thinking about film specifically, I’d say Horace Ové just because of the stories that he wanted to tell. Just because of the time that he was telling these stories, he just felt like a fearless artist. And, you know, I feel like although we’re working in slightly different fields, I feel like I want to take some of that philosophy going forward into the projects that we do. So, I’d say Horace Ové for his incredible body of work.

Brenda: 30:21
Good call. Tea?

Teanne: 30:21
For me, it’d have to be Ava DuVernay. I admire her storytelling through documentaries, but also through the empire that she’s building. Yeah, that’s what I’d put forward.

Brenda: 30:38
Oh, I love every inch of that woman. Jeymes?

Jeymes: 30:42
The one person that I’m inspired by the most is myself. I am a G of the highest degree, and I make no bones about saying so. I’m inspired by myself. Like, I wake up every day, I was saying the word ‘yourself’ is like the most misused word in the dictionary, right. The phrase `Enjoy yourself‘ I was saying this the other day, it’s the most misused phrase. ‘Enjoy yourself.’ I’m inspired by myself. I come from, I was in Mozart Estate, I was like so I’m going to make a Western, who’s in it? Everyone, watch. I’m inspired by myself. I wake up every single morning. I open my eyes. The Lord says, action, everything is possible. Everything is possible. As we’re speaking the birds are singing right, outside. Look at our lives. All right, so, you know, I’m awesome.

Brenda: 31:42
You are. You know, I can’t even complain about gratitude myself. I so desperately want to have you on our, on our podcast. Now, I want you to sprinkle that self-assurance throughout the whole of our community.

Jeymes: 31:53
So, you know, it’s always awesome to take inspiration from other people, which I, which I do. You know, our sister was saying, Ava DuVernay you know. It’s awesome to take inspiration from other of people. But it’s also, it’s also like, it becomes, you get to a stage, the older you get, it’s politically incorrect to give yourself praise. Right? Some will say, you know, self-praise is no praise at all. That’s actually a phrase that’s live in the universe. Self-praise is the only praise that matters. Everything else is just noise, self praise, the only praise that matters in that regard.

Brenda: 32:30
Preach, my brother, preach, my brother.

Jeymes: 32:33
Inside you all, there’s a G

Teanne: 32:38
I’m here for it.

Anthony: 32:41
Yeah man, I wanna take that energy into the rest of my years. 100%.

Brenda: 32:45
Me too. Me too. I’ve got a smile like a Cheshire cat on my face right now. That really is so true, so true. Sadly, we’ve come to the end. So, I want to thank all three of you for such an insightful chinwag. I’ve learnt so much that it really has been brilliant. Now we end the programme with a specially commissioned spoken word contribution by a flow poem inspired by our film theme. So, a big thank you to Floacist, Natalie Stewart on the flow spoken word vortex, for sourcing these brilliant creatives. The title of the poem is Every Frame A Painting, and the Flow Poet is Alchemy. So, enjoy everyone and do join us again for the next episode of Kiss My Black Side.