Interviews: ANNIKA ALLEN, BOLA AGBAJE and LORAINE FFRENCH

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CEO: Annika Allen






AWARD-WINNING PLAYWRIGHT: Bola Agbaje

DIRECTOR: Loraine Ffrench

ESSAY: Italian Vogue: Black Is Beautiful?

Italian Vogue is celebrating black beauty in July.

Or so they say.

Whilst many across the country felt joy at the news, I was still questioning their decision.

According to Vogue's editor, Franca Sozzani, her decision is based on the discrimination that black models face within the fashion industry (as well as the whole Obama phenomenon).

Though I cannot speak for everyone, I have never been in denial of the beauty that exists within my race. I do not need a book, a magazine, or anyone else to tell me what I see every day: in my family, in friends and in black women across the globe.

So I question the need for such a grand display from those who are usually hell bent on making the aesthetics of the black woman appear grotesque, to the rest of the world. For some this moment has been a long time coming, whereas I cannot help but feel a sense of déjà vu. Is it just me or does this reek of the Oscars black out: Denzel, Sydney, Halle anyone?

Is this July issue seriously going to change anything? I doubt it. The fact that Sozzani is reported as having said this will be ‘the worse selling issue’ is not dampening my reservations.

By making a standalone issue the highlight of the debate, ironically takes away from the wider discussion. This should be about a racist institution that makes millions every year from the same women it rejects. This should be about a racist institution that has been allowed to perpetuate its racism without being severely challenged and taken to task. Instead, this is about one magazine doing one good deed for the year, and yet black women are not a charity case. It is not just about the models either, what about the racism amongst the designers, fashion buyers and editors of these fashion magazines?

If it continues to be about the one issue, will this mean fashion no longer has to dole out another pity issue for, oh let’s say, another forty years? If ever again. Maybe I am being a bit too cynical - but can you blame me? This is what the Football Association does when there are cries against racism – they dole out fines that can easily be paid by the clubs and everybody moves on. This is what the (previously mentioned) Oscars did when there were murmurs about the lack of black actors and actresses winning the accolade – they doled out three for the price of one. So now it is the turn of the fashion industry.

Tell me, once the month is out and the sales figures are in, which point will be proven: that black is truly beautiful or that black girls ‘do not sell’?

© Rachelle Hull, 2008

Interview: GINUWINE

He was the sex symbol of the '90s. Creating a whole new meaning for the word pony with his debut single of the same name, Ginuwine graced our screens and ears with his silky smooth vocals, pretty boy looks and candid sex appeal.

Twelve years on and a couple of double-platinum albums later, the former bachelor is older, as handsome as ever and ready for 2008.

Considering his previous success one would think he had a complex about recreating work of the same calibre. But there are no pressure bars set-it's not his style, 'You can't go back and say I want to top Pony because Pony might not have worked now. You've got to deal with today's time and work around that and just try to come up with something for that time.'

It was in 1996, to be exact, when Ginuwine and the prolific producer Timbaland gave us Ginuwine...The Bachelor, his debut album. Back then, both the artist and the producer had been a part of former Jodeci member DeVante Swing's Swing Mob group (which also included Missy Elliott and Tweet at the time) before the group folded. The dynamite combination of Ginuwine's vocal talent and Timbaland's production skills is what made the album explode into double-platinum status.

Following on from his instant success, Ginuwine has gone on to release four more albums. His sophomore album 100% Ginuwine (also reaching double-platinum) in 1999; The Life (a platinum selling album) in 2001; Senior in 2003 and Back II Da Basics in 2005. Spawning numerous hit tracks from each release.

Judging from gaps in release dates it is clear he is not an artist who feels compelled to saturate the airwaves with his sound. His recipe for r n b: a dash of gentleman and a pinch of thug is what keeps his fan base solid. His declaration of, 'I just feel like I've got to make good music' and releasing a catalogue of substantial material when necessary, is what maintains the (level of) respect he receives within the music industry.

Speaking about the industry Ginuwine points out the major difference between the time he came out and now, 'You can do it all over the internet. It's all about promoting and marketing on the net.' Though he is quick to add, 'Make sure you've got a hit though because that's the key to opening any door.'

For 2008 Ginuwine is working on his sixth album, A New Beginning. His disillusionment with the current state of r n b, 'When we were making music it had more substance to it. You can't really knock what's going on right now, but it's not something I care too much for' and the decision, in 2007, to join forces with r n b hit-makers Tyrese and Tank to form the r n b supergroup TGT, one wonders if the title refers more to the genre than the artist.

Speaking of the new material he says, 'More sexy, smooth and laidback. I'm a little older now so I don't do the jumping around – been there, done that. I'm moving on to the Marvin Gaye feel.' For an artist who is known as much for his energetic moves as he is for his music, it is hard to picture a dance-free Ginuwine. Even he admits, 'When you come to a show though I'm a slave to the rhythm, so I'm gonna move.'

Proof that Ginuwine still has love for the occasional club banger is his current collaboration with UK producer Shayal, on the track Baby. The collaboration is the think tank of British-Asian producer Khiza for his 'culture meets culture' project, on the independent label Utopia Records. At a first glance the pairing of a US r n b star and an up and coming UK producer seems unusual. But with Shayal making quality r n b music and receiving support from other US artists, such as Rickey Rush (who has shared the stage with R. Kelly, KC & JoJo and Ginuwine himself), the duo make perfect sense.

Although some things may have changed for the man who brought us hits like In Those Jeans and Differences, one thing remains constant – his motto for success. 'You've got to work to achieve whatever you want in life. You can't lay back and hope it will come to you; you've got to get up and work.'

© Rachelle Hull
Published at www.originsmag.com

Feature: FABULOUS FIVE & Interview: ARTCHA

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FEATURE: FABULOUS FIVE

INTERVIEW: ARTCHA

© Rachelle Hull

REVIEW: Adi-diction

Event: Adi-diction
Venue: Bernie Grant Arts Centre
Actors: Artcha James and Katie P

April 23rd 2008:

With an abrupt entrance, Artcha James and Katie P filled the small stage at the Bernie Grant Arts Centre. I was seated perfectly to watch both performers, as they stood in their positions: Katie lay sprawled on the floor, juxtaposed with Artcha's upright and rigid form. They maintained this for a little longer than necessary and with the promise of 'movement' in the advertising campaign, for a moment I thought I was watching the wrong play.

Adi-diction is about a young man by the name of Joe, who is addicted to trainers (hence the play on the word Adidas and Addiction to form the title). The 'story' does not unfold with your typical beginning, middle and end. Instead, it reveals itself in a sequence of soliloquies and confessions to the audience, often accompanied by music. Starting with Artcha, Joe's struggle is evident as he attempts to theorise the problem. Meanwhile Katie skips the bull and breaks it down, educating us on the variation of brands and styles: Adidas, Nike, Puma, Reebok, Airforce 1, Classic, Airmax, Superstar, Finster, Shox, Campus. Not being a connoisseur of trainers, I was lost among the lengthy list; but was quickly brought back into the fold, when the words 'honeydew', 'French lavender' and 'sweet cotton' escaped her lips - transporting me into her candy coloured world of laces and leather.

Whilst Artcha's role is evident from the get-go, Katie's takes a while to come to light. At one point she curled into the foetal position around Artcha's feet and as he stood, feet cocooned and lost in her embrace, I mistook her for a metaphor. Further on I realised Katie was not there to symbolise the trainer, both Artcha and Katie are Joe, just different sides of the same person. This is classic Freud: the ego and the id, the reality principle and the pleasure principle. Katie revels in the addiction, Artcha philosophizes it. A clever twist occurs when towards the end of the play you see Artcha change into the id, as Katie becomes the ego.

The clarity of roles makes for a more interesting play as it allows you to place yourself in the situation, substituting the trainer for your own vice. The ability to become so caught up in something, or someone, comes so easily to many of us that we are often unaware it is happening.

Although both performers were comfortable in front of their audience I was somewhat distracted by the often awkward mirroring of each other's movements across the stage. I understand the purpose, to convey the confusion and miasma, but at times it looked as if they were moving to justify the use of the word in the play's promotion. Despite this their confidence is evident in their delivery, Artcha floats easily between conversational speech and rap and back again; whilst Katie's palette of emotion, from calm to humorous to rage, emphasises the psychosis of Joe's predicament.

Though not flawless, Adi-diction is an interesting exploration of how a passion for even the most innocent of trappings can spiral out of control.

© Rachelle Hull 2008

REVIEW: Breakin' the Ice

EVENT: Breaking The Ice Karaoke – Valentine’s Special
VENUE: Favela Chic
TIME: 6pm till late

February 2008:

Much noise had been made about this event. The Voice Newspaper demanded it was “definitely a date for your diary’’ so my girls and I decided to check it out.

The venue was a cauldron of South American tapas bar and French fairytale; with hula hoops and umbrellas dangling from the high ceilings. Although the seating arrangement was sparse, the bric a brac décor worked well, lending Favela Chic a certain charm.

Plied with glasses of red wine, my girls and I were feeling ultra confident, and so we trawled through the book of songs, whilst thinking of a catchy group name. Eventually deciding on Whitney Houston’s “I Wanna Dance with Somebody”, we dubbed ourselves “Don’t Get Out Much” and waited for our five minutes of in-house fame.

Our hosts Annika and Natalie kick started the karaoke; the ladies were a great sport as they gave those of us with cat screams for voices a sense of hope. The concept of the event is not to see who has the best voice, but who provides a more entertaining performance. So it was great to see the novice and the intermediate battle it out to become karaoke King or Queen of the night. With renditions of Boyz II Men’s “End of the Road”, Alicia Keys’ “No One” and the Pussycat Dolls’ “Dontcha” it was going to be a tough call.

In between performances the resident DJs spun tunes that kept the large and fairly mixed crowd bumping, grinding and staying on till late; in spite of it being a mid-week event. The vibe was one I had not felt or seen in a long time: plenty of merry faces amongst a crowd who were obviously charged and out to have a fantastic night. During one of the intermissions a free raffle took place - courtesy of it being a Valentine’s special. Although I bribed three tickets from the ticket man, with my winsome smile and an offer of Lindt chocolates, I still managed to come home empty-handed.

Towards the end of the night, “Don’t Get Out Much” were finally called on to perform. Although our threesome had now become a duet (I had sobered up and chickened out), my girls put on an excellent performance. Engaging the crowd with their tuneless crooning, uncoordinated adlibbing and body popping it was only fair they were crowned Queens of the karaoke. Winning a specially branded ‘Breaking The Ice’ bottle of Champagne – of which I was not allowed to partake.

My only gripe for the night was no set finishing time, so it appeared to drag on for that little bit too long. But if you did not come or you came and did not let go, let flow then you missed out. Big time!

© Rachelle Hull 2008

ESSAY: 'We Don't See All of Who We Are'

March 31st 2008:

Wise words spoken during one of Obama’s many speeches; Michelle that is – not Barrack. Throughout history the representation of the black woman has been less than favourable. She is often sexualised and dramatised, whether for comical effect or to further discredit the very foundations of a struggling nation. Her value in society shuffled around like a pack of cards – always the joker, but never the ace. Her very existence often laying at the bottom of the social ladder, or just simply ceasing to exist.

The many complexities of what it means to be a woman, first and foremost, are apparent. Added to this the identification with a race so full of riches and woe, it would seem there are many avenues to choose from. But that has not been the case, until now. Not for a long time has the representation in the media delivered so much promise.

Introducing Michelle Obama: a Vice President of community and external affairs for University of Chicago Hospitals and a graduate of both Princeton University and Harvard Law School. Not to mention wife of Barrack and a mother of two. Impressive indeed, but not the main focus. Her ability to comprise all these areas of her life and not apologise for being active, and determined in each is what makes her a remarkable woman.

I am often bombarded with women who appear to be mere shadows of those I identify with in my own home. Not ashamed of being ambitious, whilst drawing her own guidelines for success along the way and proud of being cultured and passionate beyond belief, I share an affinity with Michelle. For these are parts of the core values passed on to me, like heirlooms, from my mother.

It is rare to see us placed within a context; particularly one that is not limiting and void of any profundity. One dimensional characters are all too easily churned out for the masses to feast on and digest without complaint. All too often we are seen as carrying on in this world alone. According to the media, family is an alien concept for the black woman. With no support system, or rejecting the one that was offered we are portrayed as bitter from our experiences and lashing out at those who look most like us: the male and the female form.

So, what a breath of fresh air to see Michelle and the family unit intact: wholesome and tangible. She is not an apologist for drawing strength from this; recognising the benefits and holding fast. Nor is she an apologist for celebrating selfhood outside of her kin, instead she revels in the dynamics that complete her. She is a card-carrying member of Woman.

© Rachelle Hull, 2008