Black History Month South - 2026 Programme

DREAM LEAD THINK WRITE BUILD SPEAK EDUCATE BELIEVE CHALLENGE

WELCOME TO BLACK HISTORY MONTH SOUTH 2026

CHANGING LANDSCAPE LOU TAYLOR DIRECTOR The landscape surrounding many of us is changing. We can all feel it. The political landscape, the obvious climate change and the rising cost of day-to-day living are placing pressure on communities. These past few months I’ve heard one particular phrase on more than one occasion from people across many diverse communities “It feels like the clock has turned back.” If we’ve learned anything from the past, it is that history has habit of repeating itself, particularly when progress is taken for granted. That is why this year’s Black History Month theme “Honouring our communities” feels timely. It gives us an opportunity to recognise the people, past and present, who have placed themselves at the forefront of change, sometimes at great personal cost. Social media is now part of everyday life, with all the positives and negatives that it brings. However as an accessible platform, used positively, that voice can challenge racism, share knowledge, celebrate achievement and remind people that Black history is not separate from British history, but part of it.

When Black History Month South was founded by Don John and Jayanti Shah, its aims were: • • •

To promote knowledge of Black history and experience To share information about positive Black contributions To strengthen the confidence and awareness of Black people in their cultural heritage

These aims are more important than ever. As we enter Black History Month 2026, we must move forward together with confidence and purpose. By celebrating our inventors, artists, composers, political leaders, community champions, allies and friends, we honour those who came before us while inspiring those who follow. Progress may sometimes feel slow, but our communities remain strong, creative and determined. Together, we must continue to inform, inspire and create lasting change. Welcome to Black History Month 2026.

LOU TAYLOR – BHM SOUTH DIRECTOR DON JOHN – BHM SOUTH FOUNDER MARK JAMES – EDITOR / DESIGNER KEELEY DICKINSON – CONTENT ANDRÉ LEWIS – INTERVIEWS & PHOTOS NOSA MALCOLM – PHOTOGRAPHY INJEKTMEDIA.COM - COVER & BOOK DESIGN CUBIC DIGITAL - PRINTED IN SOUTHAMPTON THANK YOU TO OUR PARTNERS AND FRIENDS FOR THEIR CONTRIBUTIONS

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‘26 KEY NO HAKIM ADI BRITISH HISTORIAN & SCHOLAR

Professor Hakim Adi stands as one of Britain’s most prominent historians, renowned for his rigorous scholarship on PanAfricanism, African politics and the global diaspora.

In 2015, he became the first historian of African heritage to be appointed a professor of history in the UK, later launching the world’s first online Master of Research (MRes) in the History of Africa and the African Diaspora. His extensive bibliography includes seminal works such as Pan-Africanism: A History and Africa and Caribbean People in Britain: A History, which was shortlisted for the prestigious Wolfson History Prize and translated into multiple languages. Beyond traditional academia, Professor Adi is deeply committed to grassroots education, public engagement and mentorship. He was instrumental in founding the History Matters initiative and serves as the founder and consultant historian for the Young Historians Project, an organization dedicated to empowering the next generation of researchers. His expertise is frequently sought across television, radio and documentary film, successfully bridging the gap between academic research and public consciousness to ensure that marginalized narratives are amplified and widely accessible. In recognition of his lifelong dedication, his work has garnered significant international acclaim, including the 2024 Outstanding African Studies Award from the African Studies Association of the UK and the Amilcar Cabral Centenary Medallion. As a keynote speaker for Black History Month South 2026, Professor Adi brings an inspiring wealth of knowledge, challenging audiences to reflect on historical truths while actively shaping the future of education and representation.

OTE SPEAKERS COUNCILLOR PAT EVEMY LORD MAYOR OF SOUTHAMPTON

Pat Evemy, a resident of the Polygon since 1985, was first elected to Bargate ward in 1988. During her initial tenure, she served as Chair of Planning for seven years, led the Strategy & Development Committee, and acted as Deputy Leader before stepping down in 1996. Professionally, Pat trained as an interior designer and later worked in urban regeneration for the Southampton Regeneration Partnership and the Church Urban Fund. She returned to the City Council in 2023 representing the Banister & Polygon Ward. With seven halls of residence and numerous student homes in her ward, Pat works closely with local universities to encourage student civic engagement. She also serves as vice-chair of the private rented sector scrutiny panel, ensuring housing meets high standards. Passionate about built heritage, Pat has served as Southampton’s Community Champion for Heritage. After completing a term as Sheriff from May 2025 to May 2026, she assumed office as the 804th Mayor and 5th Lord Mayor of Southampton in May 2026, deeply enjoying engagement with the city’s diverse communities, schools, and volunteers.

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‘26 KEY NOTE SPEAKERS... DR SABRINA COHEN-HATTON KFSM CHIEF FIRE OFFICER - HAMPSHIRE AND ISLE OF WIGHT FIRE AND RESCUE SERVICE

Sabrina began her fire service career with South Wales Fire and Rescue Service in 2001. Sabrina served as a Deputy Assistant Commissioner for London Fire Brigade and has held senior fire service roles in Surrey and West Sussex, where she was Chief Fire Officer and led the service through a significant programme of improvement. Throughout her career, Sabrina has taken on secondments with the National Operational Guidance Programme, National Fire Chiefs Council and His Majesty’s Inspectorate of Constabularies and Fire & Rescue Services. In September 2025, Sabrina joined Hampshire and Isle of Wight Fire and Rescue Service as Chief Fire Officer. In the 2024 Birthday Honours List, Sabrina was awarded the King’s Fire Service Medal for distinguished service and gallantry. Sabrina has studied at the Open University, Middlesex University and then at Cardiff University, completing a PhD with research focused on Behavioural Neuroscience whilst serving as an operational fire officer. She is recognised as a leading international expert on risk-critical decision-making in crises. Her research into incident command in the emergency services has not only won awards but has also influenced policy at a global level. Her operational experience includes the terror attacks at Westminster and Finsbury Park, as well as the aftermath of the Grenfell tragedy. She is the National Fire Chiefs Council Improvement Committee chair, as well as the National Lead for working dogs.

Sabrina is an Honorary Fellow and Professor in the School of Psychology at Cardiff University, and she holds numerous further Honorary titles in recognition of her research. Sabrina was recognised as being within a select group of the best leaders in the UK and beyond when she was awarded prestigious chartered companion status by the Chartered Management Institute. In 2018, Sabrina also achieved chartered psychologist status, the highest standard of psychological expertise with the British Psychological Society. Sabrina is a strong advocate for social mobility and is an advisor on ending homelessness to Prince William for Homewards, as well as an ambassador for The Big Issue and Street Vet.

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LOCAL ROOTS, LASTING IMPACT IN MEMORY OF ROBERT ‘BOB’ PURKISS MBE 11TH NOVEMBER 1945 – 29TH MAY 2026 Bob Purkiss MBE, who sadly passed away in May 2026, leaves behind an extraordinary legacy of more than four decades spent challenging racism, promoting equality and standing up for those whose voices were too often unheard. From his work within the trade union movement and the Commission for Racial Equality to his influence within football, policing and public life, Bob’s commitment to fairness was unwavering. He worked alongside leading equality campaigners and helped lay foundations for initiatives that transformed the way racism and discrimination were confronted within football.

Here in Southampton and Hampshire, Bob was equally committed to making a difference. His contribution was recognised by Black History Month South in 2022, honouring his campaigning for race equality at local, national and international level. Bob did not simply talk about equality he devoted much of his life to achieving it. His warmth, integrity and determination touched countless people and organisations. Black History Month South remembers Bob with enormous gratitude and respect. His work made a difference, and his legacy will continue to inspire those who carry the fight for equality forward. 05

THE NORMALISATION OF It all started with the demonisation of “Wokeness” fuelled by the Brexit vote and the presumption that anti racism was not necessary. The fear of strangers has always been an intrinsic element of British culture from bygone days when a foreigner was someone from the next village. Wokeness originated from African American vernacular and meant being alert to systemic racial prejudice and injustice, but evolved into a broader, often contested term for awareness of social inequalities (race, gender, etc.) So traditionally being woke was recognising and challenging existing inequalities and doing something about it. There are many today who now use the “accusation” of Wokeness as a justification for not responding positively to Racism or any other inequality. Unfortunately, anti-racism was always going to be challenged by those who wanted to hold on to the power and control they still had (mostly middle-aged White men’), and they were not going to let go of that advantage easily. Brexit helped to continue the identification of “foreigners” as the pantomime villains responsible for all the ills of society. More recently it was the Poles, and the Romanians, but of course the Asians and Blacks have always occupied the default position of strangers/foreigners as our Prime Minister recently reminded us in his quote reminding us that without strict immigration controls, the UK risked becoming “an island of strangers”. We now have many from Black and Brown communities who are the vanguard in defending the positions of White supremacists who have duped them into believing that they are “one of them”. Having completed two successful years of exhibitions relating to “Colourism”, it has become clear that we have only scratched the surface; because

RACISM underneath some of those light skins there lies an unacknowledged African heritage, which some refuse to acknowledge. Within our own Black and Brown communities we are still disentangling the legacy of the traumas that have afflicted us regarding our identity and how we value ourselves. Our very language are indicators of our condition and the choices that we make are very often a continuation of inherited trauma of our Race. There are so many avenues to explore that showcase the desire of those that are not white to try to be as close to Whiteness as they can! This reminds me of the famous Malcolm X quote which has resulted in psychological traumas for many “Black” people: “Who taught you to hate the texture of your hair? Who taught you to hate the colour of your skin? To such extent you bleach, to get like the white man. Who taught you to hate the shape of your nose, and the shape of your lips? Who taught you to hate yourself, from the top of your head to the soles of your feet? Who taught you to hate your own kind? Who taught you to hate the race that you belong to, so much so that you don’t want to be around each other? …. you should ask yourself who taught you to hate being what God gave you”. I wrote a paper some years ago re-examining the notion of who the “We’ are as Black people and when I hear commentators speaking of “We’ I am even more sure that we all have different definitions of what constitutes the “We”. The redefinition of what it means to be “Black” has contributed to how “we” value ourselves. The thing is Colourism, which fractures the notion of the we, is real and not just a debating point and there are many who are anxious to associate with Whiteness either physically or ideologically because

they see that as a protection and a statement that they are not like the other troublesome “Blacks” who they sometimes despise. The thing is that the racists make no distinction and lightness is not a protection even from their own delusion. Far Right ideology from people like Sarah Pochin who believes that there are too many Black people in adverts or Jim Ratcliffe who fears “Black Colonisation” does not differentiate regarding complexion and we would be foolish to believe that our complexion protects us as it will only be used to further demonise those of a darker hue and I still come back to the question of how dark brown do you have to be to be Black. The euphemistic use of the terminology “migrants” is also a tactic that we all know primarily means Black and Brown people which was further demonstrated when White English families were inviting White Ukrainians to live in their homes, and this was promoted extensively. I have rarely seen White families inviting Afghan refugees into their homes, and these are people who supported the Brits over there and had to escape the Taliban because of that support. The normalisation of Racism started when the systems to recognise racism and respond to racism were dismantled and we did nothing. The normalisation of racism continued with the failure of institutions to not only deny institutional Racism but failed to set up systems that those subjected to Racism were comfortable with…..and we did nothing. All these mainly White organisations did was to nominate token Blacks to widely represent the views of their communities to mimic the illusion of diversity. This continued with the failure of Black and Brown communities to vocalise their own experiences of Racism and lacking the courage to do something about it, not appreciating that such behaviour encouraged further racist behaviour and the blatant expression of racist views as we have seen in the regular marches of the so called “Patriots”. The anti-racist alliance of Black, Brown and White peoples have also dismally failed to forcefully challenge the lies and disinformation perpetrated by the far right sympathisers. Furthermore, the values and contributions of Black and Brown peoples born here and those who are migrants has not been promoted; almost as if we do not want to irritate a general public who refuse to value us as we should be valued! Lies are regularly perpetrated by the far right and authorities do nothing to challenge the lies or promote the values and contributions of Black and Brown communities.

Sadly, Black and Brown communities have chosen not to acknowledge the normalisation of Racism and believe that the old-fashioned celebration of Diversity that include saris, samosas and steel bands will win the day as we parade in our ethnic gear and try to convince the “patriots” that we are not a threat!.... Well good luck with that as the policies of Reform sweep the country and other political parties lean further to the Right. The ultimate irony is that the civil rights movements of the seventies and eighties empowered many Black and Brown people who are now using that empowerment to sustain White supremacy and find a place for themselves! Have we not seen that before!

There was a time when we used to challenge Racism but for too long too many of us believed that Racism was a thing of the past and we are now so divided that it is hard to envisage a time when we properly recognise the commonality of the Racism we all face as some of us invest in the possibility of our families becoming whiter and whiter through the miscegenation of generations or tightly clutch onto our connections with our so called “Mother Countries” who very often see those who return periodically as “outsiders” anyway. The reality is that the more we try to deny who we are the more the far-right lobby will appreciate how uncomfortable we are about our identity. Yes, Racism has been normalised and the longer we refuse to challenge that condition the longer it will take for us to appreciate that silence is not neutrality….. silence is complicity……whether we are Black, Brown, or White.

DON JOHN RACE & DIVERSITY CONSULTANT (HON. DOCTOR OF ARTS) & BLACK HISTORY MONTH SOUTH FOUNDER www.donjohn.co.uk don@donjohn.co.uk

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THE COMMUNITY VOICES

SHAPING THE ANTI-RACISM JOURNEY Hampshire and Isle of Wight Healthcare Trust is part of the local NHS and runs a large range of health services for the two million people living in this area. The 13,000 people who work in our trust are also members of our local communities. Our aim is to support everyone to live their healthiest lives – but we know that people from different communities can have very unequal experiences from the health service. We want to change that. For the past two years we have been working with people from ethnically and culturally diverse communities to improve their experiences when they use our services. Feedback from these communities, and local and national evidence, is stark: People from diverse communities have poorer experience and outcomes from the NHS compared to people from a white background. To tackle this, the NHS needs to become an actively anti-racist organisation. Last year we published our first Anti Racism Plan – it was developed with the voices and priorities of our communities and staff at its core. The plan outlined our initial commitments and actions that would help to ensure fair, inclusive and equitable services to everyone that needs them. It represents an important step in our ongoing journey to tackle racism and reduce inequalities for our staff and the communities we serve. Throughout our conversations when developing the plan, our communities and staff were clear that to demonstrate genuine commitment to delivery of the plan visible leadership and accountability was needed starting from our most senior leadership – from the Board right through the organisation to supervisors in the wards. As a direct response to this our Board of Directors agreed and published its commitment to turning the Trust in to an actively Anti-Racist organisation:

Anastasia Lungu-Mulenga

“We are committed to being an anti-racist Trust. We have no tolerance for racism in any form towards our staff, patients, or the communities we serve. Everyone has the right to feel safe, respected, and valued, when receiving care and in our workplaces.” To ensure accountability and oversight of the Anti-Racism Plan, the Board of Directors approved the creation The Patient and Carer Race Equality Framework Community Advisory Board (PCAB); made up of people from the communities we serve and independently chaired by a community representative. The Board’s role is to provide constructive challenge, offer insight and help hold the Trust to account for the progress made in delivering the plan. Another key message from our communities was the need for the Trust to have regular ongoing conversations with them. This will enable the Trust to know when they are getting things right for them and when they are not. As part of our work we have committed to more regular community conversations to give our communities multiple opportunities for feedback and to continue to shape the way we work. For more information about the Trust's commitment to tackle racism you can email: Anastasia.Lungu Mulenga1@nhs.net

THE

MANGROVE NINE STANDING UP

FOR JUSTICE

In 1970, nine Black British activists made history by standing up against racism and unfair treatment by the police. The Mangrove was a Caribbean restaurant in Notting Hill, London. Owned by Frank Crichlow, it became an important meeting place for the local Black community. However, the restaurant was repeatedly raided by police, despite little evidence of criminal activity. In August 1970, around 150 people marched peacefully to protest against this harassment. Nine protesters, Rupert Boyce, Frank Crichlow, Rhodan Gordon, Anthony Innis, Altheia Jones-LeCointe, Rothwell Kentish, Godfrey Millett, Darcus Howe and Barbara

Beese, were later arrested and charged with serious offences, including incitement to riot. Their trial lasted 55 days at the Old Bailey. The defendants challenged the way Black people were treated by the police and the justice system. Five were cleared of all charges, while the others were convicted of lesser offences. The trial became a landmark moment because it publicly exposed racial prejudice within the Metropolitan Police. The courage of the Mangrove Nine helped inspire future generations to challenge discrimination and demand equality. Their story reminds us that ordinary people, working together, can help create lasting change.

A BIG THANK YOU TO

HAMPSHIRE & ISLE OF WIGHT FIRE & RESCUE SERVICE

Black History Month South would like to thank Hampshire and Isle of Wight Fire and Rescue Service for hosting our 2026 launch event and for their ongoing support of Black History Month. Your partnership is invaluable in helping us celebrate and honour Black history and culture.

THE POWER OF POETRY BLACK HISTORY MONTH 2026

CANCER OF LIES

Truth lies dead in our streets; The blood of the innocent cries and weeps. The construction of a twisted lie Caused someone’s child to bleed and die. A cancer is spreading, sowing division; It cannot be cured by an oncologist’s decision. There is no chemotherapy or radiation That can halt this disease sweeping the nation. It’s a liar, it’s a robber, and it brings only hate; It’s creed is to divide and conquer a creed we must not tolerate. This disease has spread to my birthplace and city; I look on in despair, with shame and pity. Righteous anger has its rightful place; When turned into violence, it becomes a disgrace. When evil festers, it causes decay; “Where is your God?” I hear people say. He is ever present, looking down with tears in His eyes; As wayward children, we must be chastised. Yet He is patient and loving, righteous and just, Calling us back when we’ve traded truth for distrust. When blinded by hatred, humans seldom agree; When our hearts are opened, forgiveness is key. When good men do nothing, it’s a terrible sin; Don’t stay silent and let the devil win. Will we ever discover a cure for this cancer? I suggest you look up, and you may find the answer.

Poem by

STEVINA SOUTHWELL

There is blessing and strength in unity, for it is God who created community. He has given us free will to do as we please; Let us be the solution, and not the disease

AFRICA

Africa, did it hurt when they stole your name?

We are taught that you had no history, no civilisation

Alkebulan did it hurt when they stole your name?

We were savages, beasts of deep dark Africa

Those who control names control memory

Just waiting for our white saviours to be born again, washed clean of our original sins

Those who control memory control the future There is an African proverb that says: Until the lion learns to write The story will always glorify the hunter

Long before Romans carved you arbitrarily into random countries colours and lines

Made us believe for centuries that we were less than

You were....the cradle of humankind

But not anymore

The garden of Eden

Akebulan we reclaim you

You were not discovered You were not empty You were alive

We will find you in our ancestors dreams in the stories of our griots

You were known for birth The birth of humanity You reflected pride and strength so why were you erased from history cut out of textbooks?

@lamelleymel

Ripped us from ourselves, from our ancestors? That lie made slavery acceptable made erasure necessary

A name carried through oral memory from generation to generation before you became known for poverty, famine and war

LAMELLE SHAW

Is this why you took us down?

Long before Europeans crossed the seas

With empires and civilizations with science, spirituality trade systems

Poem by

Tell me what was our sin? pride? Pride cometh before the fall

Why does your absence feel intentional? history is as much about what is written and passed on as it is about what is deleted

In our forests and our lakes, we will piece you back together we will unite some day ubuntu -;I am because we are We have not forgotten We carry you in our DNA Even into foreign lands our souls remain uncolonised We will remember and remembrance is dangerous to systems built on forgetting We will remember We will remember We will remember And we will rise again.

They did not only rape us of our land they stole language and memory conquering not only our people, but our identities Stealing not only our bodies but raping our minds 13

RHYTHM IN THE

HEART OF THE For many years, Love Soul Choir has been a proud and vibrant part of the Black History Month South celebrations. From stopping shoppers in their tracks at Southampton’s Westquay Shopping Centre to lighting up spaces across the region, our goal has always been to bring people together through the incredible power of music and singing. Inspired by Black Musical Heritage Whilst the choir itself is predominantly white, our heart and energy stem from a deep appreciation for music of Black origin. As much as we’re able, we consciously consider our repertoire choices to ensure representation across the board. Choir Leader Dan Cooper grew up deeply inspired by legendary Black artists including Stevie Wonder and Boyz II Men, to name a couple. His inspiration from these artists is woven directly into the fabric of each and every Love Soul Choir song arrangement. When we deliver energetic, heartfelt renditions of beloved songs, we hope to foster a deeper connection to the music’s roots and the powerful stories behind them too.

SOUTH

Cultivating Inclusion & Allyship For us, honouring our community means actively engaging with it and creating spaces where everyone belongs. Our commitment to building a stronger community extends beyond the stage through our internal “IAA (I’m An Ally) Programme. This internal initiative educates and encourages our members to be genuinely accepting and supportive to people from all backgrounds. By exploring topics like race and representation, the IAA Programme ensures Love Soul Choir remains a safe, welcoming, and empowering environment for all - reflecting the very spirit of unity that Black History Month South embodies.

“Supporting and being involved with Black History Month South is a privilege, a joy, and a relationship that we treasure dearly.” Dan Cooper, Choir Leader

www.lovesoulchoir.com | info@lovesoulchoir.com

CELEBRATING BLACK HISTORY MONTH WITH MUSIC, FILM & DISCUSSION Experience a powerful fusion of film, music, and cultural history, as Tomorrow’s Warriors presents John Akomfrah’s ‘The Stuart Hall Project’ with Miles Davis’ soundtrack performed live. 100 years since the birth of Miles Davis, Peter Edwards and Mark Kavuma lead a five piece Nu Civilisation Orchestra Ensemble that honours the jazz legend. John Akomfrah’s acclaimed 2013 documentary paints a portrait of Stuart Hall – pioneering thinker and one of the most influential voices in British Cultural Studies.

their eponyous album. Recorded in the Gambia and Mali, this intergenerational, cross-cultural project celebrates the powerful ‘griot’ narratives of traditional Manding folk tales and stories, told through modern musical styles. Platform is Turner Sims new series showcasing the next generation of talent. It kicks off with a jazz double bill. The night features Southampton alumni Genevieve Namazzi’ s quartet’s mix of modern jazz, modern classical and East African traditional. Plus Christ-Stéphane Boizi, a trombonist, composer, bandleader, and a Tomorrow’s Warriors Emerging Artist, already making his mark on the London jazz scene and recently signed to Banger Factory Records.

21 years after the devastation of Hurricane Katrine, this event explore the environmental disaster through film, discussion and music. The evening begins with Spike Lee’s moving documentary ‘When the Levees Broke’, followed by a discussion before Byron Wallen’s extraordinary composition ‘Hurricane Bells’. Performed live by a five-piece band comprising some of the UK best jazz musicians, ‘Hurricane Bells’ is a piece of music commissioned around a set of bells cast from the data extracted from Hurricane Katrina. Bells as a warning toll, as ritual and as memorial combine in a piece that remembers the impact on the communities around New Orleans. ‘Manding Melodies’ brings together Mali’s greatest guitarist and singer Habib Koité and charismatic Gambian kora maestro and singer Sura Susso in collabroation for the first time on the release of

WHAT’S ON DURING OCTOBER Sat 03

Nu Civilisation Orchestra: The Stuart Hall Project

Sat 17

Byron Wallen Hurricane Bells + When the Levees Broke

Sat 24

Manding Melody featuring Habib Koite and Sura Susso

Fri 30

Jazz Platform + VIBE Lounge

For full details & tickets visit turnersims.co.uk 15

MAYFLOWER THEATRE:

CHAMPIONING BLACK ARTISTRY This Black History Month, Mayflower is celebrating the stories, artists and communities that enrich Southampton's cultural life. For almost a century, Mayflower Theatre has been a place where unforgettable stories come to life. As the largest theatre on the South Coast, we bring world-class musicals, drama, ballet, opera, comedy and live music to Southampton. Mayflower Studios champions bold new work, emerging talent and local communities in an exciting programme of theatre, dance, family shows, music, cabaret and spoken word. As a registered charity, we believe everyone should have the opportunity to experience the arts. Through our participation programmes, we work to remove barriers, nurture talent and create opportunities for people from all backgrounds. Our Community First Nights programme is central to this mission. By providing subsidised tickets, tours and transport, and enriching theatre experiences

for schools, young people and community groups, the programme makes it possible for more people to experience the joy, excitement and shared connection that live theatre can bring. Alongside this, Elevate Ensemble offers free professional training for young performers from underrepresented backgrounds, while WOVEN, delivered in partnership with Tangle Theatre Company, creates a supportive network for African, Caribbean and Global Majority live performance artists to connect, collaborate and develop their creative practice. Our long-standing partnership with Our Version Media continues to strengthen relationships with Southampton's Black communities, champion authentic storytelling and inspire more people to discover live theatre, whether as audience members, participants or future performers. Whether you're visiting for the first time or you're a lifelong theatre lover, there's something for everyone at Mayflower. We look forward to welcoming you soon to one of our venues. •

BHM SOUTH 2026 CALENDAR This year’s BHM events schedule is packed with an incredible line-up, featuring renowned national and touring Black performers.

OCTOBER 1st OCT

ARTS/CULTURE

Southampton Black History Month Flag Raising

Annual flag raising ceremony to celebrate and honor the contributions of the Black community. Southampton Civic Centre

7th OCT

Nubiyan Twist + Webmoms

3rd OCT

MUSIC

Nu Civilisation Orchestra: The Stuart Hall Project

Experience a powerful fusion of film, music, and cultural history, as Tomorrow’s Warriors presents John Akomfrah’s ‘The Stuart Hall Project’ with Miles Davis’ soundtrack performed live. 8:00pm / TICKETS £10 - £30 turnersims.co.uk Turner Sims, 52 Salisbury Rd, Southampton SO17 1BJ 4th OCT

MUSIC

Zion Train

British dub reggae pioneers bring their unmistakeable sound to the Brook 2nd OCT

COMEDY

Stand up comedy with Stephen K Amos & Friends

Stephen K Amos has charmed and entertained audiences all over the world with his natural, assured delivery and his honest, original material. Come along to The Attic for an evening of stand up comedy not be missed.

MUSIC

7:00pm / TICKETS £18.50 the-brook.com The Brook, 466 Portswood road, Southampton, SO17 3SD

Basingstoke African Caribbean Catholic Association (BACCA): Black History Month Church Service

Nubiyan Twist head to The Brook, Southampton on Wednesday 7th October as part of their upcoming UK Tour. Expect ultra-tight musicianship and unstoppable energy as Nubiyan Twist bring their electrifying blend of jazz, afrobeat, soul, hip-hop and dance music to the stage with a brand new line-up and live show for 2026. 7:30pm / TICKETS £27.50 the-brook.com The Brook, 466 Portswood road, Southampton, SO17 3SD 8th OCT

ARTS/CULTURE

Steve McQueen’s Small Axe anthology

As part of Black History Month, we will be screening your favourite film from Steve McQueen’s anthology Small Axe, a quintet exploring West Indian life in London from the late 1960s through the early ’80s. 6:30pm / Free admission godshousetower.org.uk God’s House Tower, Town Quay Road, Southampton, SO14 2NY 10th OCT

COMEDY

Kane Brown: Crowd Work King

Coming off the back of his SOLD OUT Don’t Listen To Me UK tour, Kane brings you his brand-new show Crowd Work King. One hour of purely unscripted, unplanned comedy; all based around audience participation.

7:45pm / TICKETS £16.50

BACCA celebrates Black History Month with a special Mass and community gathering

theatticsouthampton.co.uk

11:00am - 2:00pm

mayflower.org.uk

The Attic, 32 Winsor Road, Totton,

St. Bede’s Church, Popley Way,

MAST Mayflower Studios, Above Bar

Southampton SO40 9HQ

Popley, Basingstoke RG24 9DX

Street, Southampton, SO14 7DU

7:00pm / TICKETS £21.25

blackhistorymonthsouth.com From thought-provoking exhibitions to captivating theatre performances, live music and comedy shows, there’s something for everyone.

10th OCT

COMEDY

24th OCT

MUSIC

Michael Akadiri: Don’t Call Manding Melody Feat. Habib Koite & Sura Susso Me Uncle! Tour Following two hit UK tours, Biggest Award in Comedy nominee and resident (junior) Doctor Michael Akadiri prescribes Southampton with a potent dose of his latest offering, Don’t Call Me Uncle!

Soulful vocals, shimmering kora melodies and complex rhythmic Malian guitar in this special collaboration.

7:00pm / TICKETS £17

Turner Sims, 52 Salisbury Rd,

theatticsouthampton.co.uk

Southampton SO17 1BJ

29th OCT

ARTS/CULTURE

Honouring Our Communities, Black Stories Screening

The Attic, 32 Winsor Road, Totton,

Join us for an evening celebrating real-life stories from the region’s African, Caribbean and Black British communities. The event showcases Our Version Media’s work amplifying black voices and equipping people with digital media skills to tell their own authentic stories.

Southampton SO40 9HQ

7:00pm / TICKETS £14.50

8:00pm / TICKETS £10 - £25 turnersims.co.uk

mayflower.org.uk 17th OCT

MAST Mayflower Studios, Above Bar

ARTS/CULTURE

Street, Southampton, SO14 7DU

Byron Wallen: Hurricane Bells - When the Levees Broke

21 years after the devasting Hurricane Katrina, we explore the environmental disaster through film, discussion and music. We finish with Byron Wallen’s extraordinary composition ‘Hurricane Bells’, performed live by a five-piece band comprising some of the UK’s best jazz musicians. Talk 7:10pm, Live performance starts 8:00pm / TICKETS £10 - £26 turnersims.co.uk Turner Sims, 52 Salisbury Rd,

28th OCT

MUSIC

Chali 2na & A-Skillz Live Band

Hip-hop, funk, soul and breakbeats collide as the unmistakable voice of Chali 2na joins forces with the incredible A.Skillz Live Band for one unforgettable night at EngineRooms. 6:00pm / TICKETS £20 engineroomssouthampton.co.uk

30th OCT

EngineRooms, West Quay Road

Jazz Platform Double Bill: Genevieve Namazzi & Christ-Stephane Boizi

Industrial Estate, Southampton,

Southampton SO17 1BJ

Hampshire SO15 1GZ

MUSIC

Don’t miss EST Gee in Southampton as his “Bigger Than The Devil Tour” arrives for an unforgettable night of pure energy and authentic MUSIC.

Jazz Platform comes to Turner Sims on 30 October, as the first night in a new series at the venue showcasing the next generation of jazz talent. It’s part of Tomorrow’s Warriors’ Warriors Rise initiative, which supports emerging artists across a seven-date run of UK gigs.

7:00pm / TICKETS £30.80

8:00pm / TICKETS £5 - £15

the-brook.com

turnersims.co.uk

7:00pm / Free admission

The Brook, 466 Portswood road,

Turner Sims, 52 Salisbury Rd,

Good Things, 5 Canute Rd,

Southampton, SO17 3SD

Southampton SO17 1BJ

23rd OCT

MUSIC

SOUL 45 at Natty’s Jerk

Having Natty set up roots in Southampton is a massive addition to the city’s food scene and the vinyl dj duo SOUL 45 are back to provide the soundtrack. Smokey jerk, crisp vinyl, and heavy bass. Get down here and eat well.

Southampton SO14 3FH

29th OCT

MUSIC

EST Gee Bigger Than The Devil Tour

PEOPLE

HONOURING OUR

This Black History Month, the theme is honouring our communities. So we went looking for the people who make ours. Not the names on plaques, but the ones on the ground right now: behind the decks, behind the camera, on the airwaves, on stage. Over the following pages you’ll meet a handful of them, in their own words.

Southampton is a city that struggles to hold on to its talent. It has a world-class university, and every year it sends bright people out into the world. The people in these interviews are the ones who are here, doing the work. They are booking the gigs, running the radio shows, teaching kids to develop film, building something in the local area because it matters to them. If reading about them nudges someone to start something of their own, that’s the point. What follows is a slice of life rather than a definitive list. We spoke to a few different people to get their say, and we know there are thousands more across the city with stories just as worth telling. Think of this as a starting point. We hope you enjoy meeting them as much as we did. Interviews by

ANDRE LEWIS ARTIST & WRITER www.ayem.london @ayemldn Edited by Mark James

Torrell 18, listening Torrell was Bowers was 18, to house music with his listening to house music mates, when one of them with his mates, when one bought decks. “Since of themsome bought some then I’ve been hooked decks. "Since then I've on it, really. ” Eight years been hooked on it, really." on he works for Engine Eight years on he works Rooms andRooms is headand is for Engine booker at Suburbia, head booker at Suburbia, deciding deciding who who plays playsone oneof of Southampton’s clubs. Southampton's clubs. He was born and raised in the city, and He was born and raised in the city, and can trace his roots to both ends of it and can trace his roots to both ends of it and a long way beyond. “One of my parents a long way beyond. "One of my parents lived in Harefield, so he’s a Bitterne boy lived in Harefield, so he's a Bitterne boy to some degree. My mum, she’s Jamaican, to some degree. My mum, she's Jamaican, but she was adopted in England, in but she was adopted in England, in Wolverhampton, and then at some point Wolverhampton, and then at some point made her way down to Southampton and made her way down to Southampton and met my dad, a white man. And then they met my dad, a white man. And then they made a beautiful mixed race baby, made a beautiful mixed race baby, named Torrell.” named Torrell." He was always sporty. “If it wasn’t He was always sporty. "If it wasn't skateboarding it was BMXing, it was skateboarding it was BMXing, it was rollerblading. There was a bit of football rollerblading. There was a bit of football when I was younger as well.” Skating when I was younger as well." Skating didn’t properly stick until 2019, when he didn't properly stick until 2019, when he decided he could be doing something with decided he could be doing something with his time — and it was the Guildhall that his time — and it was the Guildhall that made the difference. “I eventually got out made the difference. "I eventually got out skateboarding at the Guildhall first, and skateboarding at the Guildhall first, I met some really nice people who were and I met some really nice people very welcoming. I was from Eastleigh who were very welcoming. I was from originally, that’s where I was in secondary Eastleigh originally, that's where I was in school, so I didn’t know anyone in secondary school, so I didn't know anyone Southampton central. in Southampton central. Thankfully the Thankfully the Guildhall opened Guildhall opened a really beautiful avenue." a really beautiful avenue.” He doesn't see skating and music as He doesn’t see skating and music as one culture. "Skating is its own thing. one culture. “Skating is its own thing. It's another creative, but there's quite a It’s another creative, but there’s quite a demanding discipline to it. No one's telling demanding discipline to it. No one’s you to go out here and jump off these telling you to go out here and jump off benches or stair sets, but you still do it, and these benches or stair sets, but you still you push through that. There's always been do it, and you push through that. music around it, but it's never been, 'Yo, we There’s always been music around it, need a DJ for every event.'" but it’s never been, ‘Yo, we need a DJ for every event.’”

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Music is what took over. He’s been producing as long as he’s been DJing. “If you DJ, you want to be able to spin your own tunes in a set. In today’s day and age, if you’re a male DJ, you need to make tunes, otherwise you’re not gonna be DJing long, unless you have some serious connections.” In 2022 he launched his own brand, Dial +44. “That was a real good push. I managed to meet one of my best mates through that, James Saladin.” Promoters started asking for the name, and Torrell moved from playing nights to running them. He now works for Engine Rooms and is head booker at Suburbia. “I’ll be finding talent to bring, or people will come to me about hiring the venue. Another thing I do is production — I edit the DJ sets or bands, that’s something I really enjoy. And I also help build and de-rig the stage and lighting, transfer it city to city. It’s really good fun, getting to know a bit more about the industry that not many people would see. I’m a bit of a nerd. I’d love to do lighting and sound if I could as well, but there’s uni for that. Maybe one day.”

He’s honest about the city’s new skate park too. “It’s such a nice gesture of them to try and make us a new skate park, but they haven’t spoken to any real skaters. There’s a Spotify logo in the middle of the floor, and there could be a rail, or just something a bit simpler. That redo has been long overdue, so it’s nice for them to consider it, it’s just a shame some things aren’t quite polished.” As for what’s next: “Obviously I’d love to make it out of the hood in some degree. I’d be keen on having some sort of record shop selling CDs, maybe a little bar in there, like Planet Wax in East London — a vinyl shop with a DJ setup and a bar. It’s just a good concept. I’d still like to be working with Engine Rooms, still being a head booker of a club. I love being able to put on events, find new talent, and find different stuff which you just wouldn’t normally see. And I’d just love to be able to DJ more and produce, the whole way through life.” And the skating? “Can’t imagine skating for too long. My knees are already on their way out.” 21

Nosa learned to develop film in a Southampton primary school at seven years old. Four decades on, the city’s galleries, concert halls and communities come to him. Nosa Malcolm doesn’t hesitate on where he’s from. “Born and bred in Southampton. What used to be called the Jungle, which is quite controversial nowadays, but I think there was a lot of pride taken in the name. Inner city Southampton. I’ve been here all my life.” The photography started early, and locally. “I went to Mount Pleasant Primary School, and there was what was then known as Mount Pleasant Photography Workshop. It was a community project, based in the school. We could access the darkroom and all the facilities in the evenings. I got involved really young – about seven or eight.” This was the mid-80s, and everything was analogue. “They gave us cameras, they gave us a bunch of film, let us take cameras home for the weekend. We’d go take photographs, then go back to the workshop, develop the film, then develop and print the photographs. They taught us the process from beginning to end. Everything was black and white.”

DOORS

Later came skateboarding, and with it filming. “Whilst I was living in Northam, I met a guy who ran City Eye from a community centre. Richard. He was just a gem of a guy. He used to let us use his video cameras, he taught us how to use his editing suite.” Then life got in the way. “Late teens, got into the teenage stuff – music, clubbing. It kind of fizzled out. I started working when I was 18. Healthcare, noncreative. Started a family.” It was his younger brother Martin, another Mount Pleasant workshop alumnus, who reignited it. “He got a bit more of a serious camera, and it reminded me of that side of that creativity. Then my other half bought me a DSLR for Christmas, and I probably haven’t looked back since.” On Martin’s insistence he opened a Flickr account and posted shots from a Jay Electronica gig. “I literally had this account up for a couple of weeks. And I get an email from Spin Magazine in New York saying, we like your pictures, we’ll pay you $150 for one picture. I thought, wow, that’s huge. And then I thought, this is what I’m gonna do. And then I quickly discovered it ain’t that easy when you want to do it officially.”

THAT KEEP Ten years of unpaid gig photography followed, much of it hip hop, and with it a way of working. “I like to take photos of people that don’t know I’m taking photos of them, because I want it to be natural. I am the elephant in the room, the majority of the time. I’m shooting in art galleries, schools. Everybody knows I’m right there, but I put on this thing where I think they don’t know I’m here. And one of the most common bits of feedback I get, they go, I hardly knew you were there. I’m thinking, come on. Especially if I’m in a white space. You all know I’m here.”

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The pandemic changed everything. George Floyd was killed and Black Lives Matter became more prominent in the UK. “I went to a few protests, shot those, and started getting more interested in the documentary side. The Black Lives Matter movement being so prominent and so close to home really got my juices flowing. Turning photography into a business really came out of the pandemic. And the movement meant there was attention on black-owned businesses.” He joined a local black business register, run through Our Version Media and Veronica Gordon. “Within a couple of weeks, the John Hansard Gallery reopened, and their opening day coincided with an Africa Day event. They looked to the black business register because they wanted to get someone 'from the culture' to document the culture. That was 2022. I’ve practically worked for them ever since. It was one of those doors that opened and just kept going.” Since then: university departments, four years with Turner Sims concert hall, and a Hansard commission for a local Windrush portrait project. A colourism portrait project followed. “The feedback from that has been amazing. I’m connected to the community, and that understanding has played a big part in those projects being successful. A good photographer can take really good pictures. But without that connection there can be something missing.” He has watched that conversation open up. “I saw a post by the team, they hired to photograph Reggae Land – the whole team of photographers and videographers. Immediately, first thing I saw, they were all white. I went to the comments and the comments were all over them. The next day it was deleted. It’s not that they’re not good photographers. But in all industries, particularly in the arts, there are people from communities that are just as talented, just as skillful, but they’re not getting the jobs.”

OPENING

Which is why he counts himself lucky. “I feel really blessed. From trying to get access to photograph hip hop artists, to doing my own thing through the art gallery and people coming to me – you can’t ask for more than that. And it takes a lot to sit back and recognise that, to be fair.” • www.nosamalcolm.com @nosamalcolm 23

If you have been to a jungle or drum and bass night in Southampton, there is a good chance you have heard Whoopi Goldbarzz before you have seen her. MC, producer, model and vintage seller, she has become one of the busiest young voices on the city’s stage. Whoopi Goldbarzz has been an MC in Southampton for four years. Ask her how she got here and the answer is refreshingly unvarnished: she never really planned it. “I got into music through a friend in Bournemouth,” she says. “I started playing my own house parties and free parties that I held at uni, and through that, people just kept asking me to play gigs for them. It snowballed from there. One gig led to another, and I just couldn’t say no to things.” Even the name was a happy accident. She started out as Indica, until she discovered a DJ in Manchester already using it. “My friends always said I look a little bit like Whoopi Goldberg when I laugh,” she explains. “It just came about one day, and Whoopi was born.”

for the community,” she says. “And blending it, allowing the music community and the fashion community to exist in harmony rather than as separate entities.” Outside music and modelling she runs a vintage clothing business, Rag_Rat, on Vinted, thrifting and reselling as much as she can. “Vintage is one of my main passions,” she says. “Everyone should be entitled to a cool fit.”

FINDING HER JAMAICAN SIDE

Whoopi’s mum is English and her dad is Jamaican, and she is candid about the fact that, growing up, her English side did most of the shaping. “I don’t have a huge amount of influence from my dad’s side. I’m very proud to be English and British,” she says. But music has become a way back to the other half of her story. “As I’ve grown up and developed my music, I’ve allowed myself to explore my Jamaican side a lot more, and that’s developed into a massive love for jungle.” Jungle, the sound that grew out of Jamaican soundsystem culture colliding with British rave, is now the main thing she produces and makes.

FROM THE UNDERG

A few years and a great many gigs later, the accidental MC is sharing bills with some of the biggest names in drum and bass. Supporting Fatman D and Amplify last year was, she says, “a real ‘I’ve made it’ moment.” Voltage and Harriet Jaxxon followed, and then Andy C a few months ago. “If you’d told me a year ago that this time this year I’d be playing alongside massive names and people would be recognising me like that, I wouldn’t have believed you. But it’s amazing to see it happening now.”

TWO SCENES, ONE COMMUNITY

Music is only half the picture. Whoopi also models for Solent Models, a student collective at Solent University, and the way she describes it says a lot about how she operates.

“That came about because I needed some press photos for my music. It was an ‘I help them, they help me’ situation.” A friend asked her to do a shoot a couple of years ago, she realised she loved it, and she carried on. Since then she has walked catwalk shows and shot campaigns for small local brands, and the press shots, in turn, mean she doesn’t have to pay for photography on the music side. What she is proudest of, though, is not the exposure but the crossover. “I love helping people out and providing

Her influences reflect the same blend: Lee Scott and Ocean Wisdom from the UK rap scene; Doechii, Noname and Little Simz (“if I’m writing hip hop, Little Simz is playing very often”); and, less predictably, psychedelic rock bands like All Them Witches and the “spaceship noises” of ELO.

WOOHPI GOLDBARZZ

for a woman.’ People are just ignorant sometimes.” She sees a wider assumption at work, too: “A lot of men, especially, tend to view female MCs and female DJs as people who only got into the industry for clout. I don’t think that’s the case.” Yet she is equally clear that being a woman in the scene has brought her allies. “Some of the best gigs I’ve booked and some of the best networking I’ve done have happened because I’m a woman, because people recognised that I’m a minority in this industry and they wanted to give me a hand forward.” Being a person of colour in music, she says, “has never really been a negative. There are so many beautiful things that can come out of it. I’ve had a lot of positive experiences, with people wanting to reach out and give me a rung up the ladder.” Fashion has been kinder still. “If I modelled more commercially, I’d have a lot more issues around my weight, my height and my image. But I’m very lucky to be modelling in an area where there isn’t a lot of discrimination. There’s only a lot of love and nurturing.”

THE CONVERSATION NOBODY’S HAVING

“A 50-50 SPLIT”

Drum and bass remains a heavily male-dominated scene, and Whoopi does not pretend the road has been smooth. “It can be really daunting. I’ve had people come to my sets and give me backhanded compliments afterwards, like ‘you were really good,

Asked what she would most like people to know, Whoopi does not talk about herself. She talks about money. “I’d like this to be my permanent main job, to have enough time and enough money to do it full time. But it’s not talked about enough in the music industry how little we get paid.” She wants to raise the conversation, not just for herself but for the scene around her. “This could be every day for us. You could have sets every week. But I need enough support to be able to do that, and I don’t think there’s enough support or enough funding in the music industry right now for all of us to access it.” Her own advice for keeping going is simple. “Just keep trying. If you’re pulling your hair out, come back to it. If you don’t love what you’re doing, you’re in the wrong field, and when you start hating it, it’s time to stop, or just take a break. Don’t let it become something that consumes your life. It should be something that helps your life flourish.”

GROUND

UP

She is booked up until December. Her next big date is Codename: Amen, a jungle night where she supports Virgo, an artist she has followed since she first started making music. “My dream is finally coming true,” she says. “It’s probably going to be my favourite event this year. Everyone should come.” •

25

Jonathan Fashole-Luke came to Southampton in 2004 to study music and never left. Two decades on he has played Montreux, Ronnie Scott’s and Glastonbury – and shared a track with Dolly Parton without leaving Bitterne. “Jay” to most people – is a multi-instrumentalist in high demand, particularly for live piano. He has played jazz festivals across Europe – Montreux, Vienne, North Sea, Vienna – jammed with Roy Hargrove, Marcus Miller, India Arie and Isaiah Sharkey, performed with Gary Crosby OBE, Jay Phelps and Omar OBE, and appeared on BBC Two’s *Later... with Jools Holland*. Glastonbury, Bestival and the Isle of Wight Festival are on the list too. He is also, by choice, a Southampton musician.

the cello and the sound of a saxophone – I think that’s probably why I chose to try those first. But in terms of playing, I really love playing the piano. It gives you so much scope, so much control over the musical environment you’re in. You’re not just playing one note at a time, you’re creating a whole soundscape.” A favourite tune to play is harder still. “I couldn’t tell you, honestly. My favourite thing to play is just pure improvisation – to get behind the piano and try and channel whatever emotion I have or whatever idea I have, without any preconceived ideas. That’s what I do when I’m writing. I’ll just try and let the ideas flow, record it all, and then pick through to see if there’s anything I want to use.”

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“I came here in 2004 to study music at Southampton Uni, did a degree there and decided to stay and get involved in the music scene, and carry on my career as a musician. I’ve really enjoyed it.”

The pull of music came much earlier, in a church in South London. “I remember very early on going to church on Sundays and seeing a band and choir. That was a really big influence for me, because there’s not many opportunities for five-year-olds to go and watch live music. Seeing the church band, the choir, everyone’s just happy, dancing – it had a really big effect on me, and I wanted to be one of those people creating that atmosphere.” The piano was not his first instrument, or his second. “I learned the recorder like everyone in primary school. Started learning the cello when I was seven, then saxophone when I was eight. I got into the piano when I was nine or ten and stuck with that one.” Ask Jay for a favourite and he pauses. “That’s a hard one. I’ve always really loved the sound of

He has played some of the most storied rooms in jazz, but his favourite venue is one Southampton has lost. “My favourite in Southampton’s got to be the Soul Cellar. Unfortunately it isn’t here anymore. That was a very formative part of my career as a music graduate – getting a job there as music manager, booking events, getting involved with the jam sessions, meeting musicians, having the opportunity to book and run my own events, and watching a load of incredible live hip-hop, soul, funk, jazz and drum and bass shows. It was really inspiring.”

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Then there is London. “Another favourite is the Jazz Cafe in Camden. I’ve been going there since I was a kid, and any opportunity to perform there is an honour. And Ronnie Scott’s. I’ve been in the house band for jam sessions on and off over the years, and the calibre of musicians and singers that come in always leaves me with a new idea I’ve picked up off someone else – something I didn’t enter the building with.”

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His inspirations are, naturally, pianists. “Herbie Hancock, who’s one of the most, if not the most, innovative jazz pianists of all time. He’s spanned a multitude of genres, and everything he’s done is such high quality. Stevie Wonder wrote so many of my favourite songs, and the ethos and the message behind his music is full of joy and love and brings people together. I’ve been to see him five times, and every single time everyone in the crowd makes friends with the people next to them. There’s something really beautiful in the music that has that effect. And Hiromi Uehara, the Japanese jazz pianist – an absolute virtuoso who writes the kind of music I want to be writing.”

JONATHAN FASHOLE-LUKE

The recording that means the most to him was made last November, in a few hours in a studio in Bitterne, for a client in Nashville. “We did the recording remotely. I didn’t know at the time, but it turned out that Dolly Parton ended up recording the backing vocals for that record, and it was one of the last things she ever recorded. With her recent death it’s probably become my most meaningful recording. It was a real honour

NASHVILLE to be on the same track as her, even though we never met throughout the process. Listening to the two of them singing and my piano – unbelievable. It just blows my mind.” And next? Two bands at once. “I’ve been working on a trio album, which I’m planning to release next year. In the meantime I’ve started another trio, an improvised trio with different musicians. So I’ll essentially be running two original trios at the same time.” He laughs. “I like to make life easy for myself, don’t I?” • www.goldengroove.co.uk @ jayefel 29

FORTY YEARS ON THE STEVO

When Stevo arrived in Southampton in the early 80s, the city had hip hop DJs and house DJs and nothing in between. Forty years on, he’s still filling the gap – and still buying records.

Legendary status is earned through longevity, influence, and the ability to keep providing the soundtrack to people’s lives. By that measure Stevo – DJ, renowned record collector and self-confessed “sponge of music” – has earned it several times over. “I listen to anything and everything,” he says. His journey began in São Paulo, Brazil, in 1964. “I was adopted when I was two weeks old by my natural parents’ best friends, the Dawkins family. They were missionaries over there, from Liverpool.” Brazil was then under military rule. “If people wanted to adopt a child, they could. Otherwise they had another way of taking kids off the street: they used to put them in orphanages. If they were brainy, they looked after them. If they weren’t, they were kicked back on the streets – and we all know the stories of what happened to street kids in Brazil.” At three he moved with his parents to Los Angeles, where their mission had been based before Brazil. He went to school in Pasadena until an earthquake sent him to a school in the Compton area – one run by the Black Panthers. “They had breakfasts, health care, schooling. They had a yellow bus. It was all good, and my parents liked them as well. They were white English and they were accepted, because they weren’t in the room of American politics. I never saw any hardcore violence, like you see in the movies and documentaries. It was good.” His adoptive family never hid his roots. “They said I had real family in Brazil still, and there’s quite a lot of them. They kept in touch – to this day. So in LA I got to know my brothers, sisters, uncles, aunts. I knew where I was at, but I wanted to keep on my journey. It was a good journey to be in.”

It was his older brother who, unknowingly, set that journey’s course. “He bought me a Miles Davis album and asked, ‘Are you into jazz?’ I said, ‘What’s jazz?’ I was a six-, seven-year-old kid – I wasn’t into genres of music. But I loved it, because he bought it for me. It was like a prized possession.”

In 1976 Stevo came to Liverpool, liked it enough to stay from 1977, and spent the next few years crossing the Atlantic as punk broke on both sides. “I got into the Clash, the Stranglers. In America, Television, Talking Heads, Blondie, and lots of other crazy underground bands.” When school finished, college didn’t appeal. “I used to work in factories in the holidays, and that’s what I wanted to do – get a job. You get paid weekly, and I was out buying records all the time, getting a mini collection. Not quite as mad as the collection I’ve got now.” A part-time post office job came with the offer of full-time work elsewhere in the country. There was an opening in Southampton, his parents had a daughter living there, and so in 1981–82 he moved. “I came to Southampton, and there was a good vibe at that time.” He wasted no time finding his people. “I saw one black person and said, ‘Hey, where do the black people hang out here?’ He said, ‘It’s a Friday, man – let’s go down to the West Indian club. You can make friends there.’ And there were guys playing what you call rare groove. I went there every Friday.” His first girlfriend, who worked behind the bar, pointed him towards the nightclubs – “I wasn’t really feeling the music, but I was feeling the vibe” – and her sister, a dancer, spotted something else. “She said, ‘I watched you. You’re pretty good at dancing.’ I used to copy styles growing up, including popping. I tried break

Stevo found himself djing at the Rainbow Club, but it changed hands and became the Escape Club, with younger owners. the said “’We saw you at this house party, you’re really good…’ So I did Saturday nights at the Escape Club. Then it changed hands again and became the Rhino Club, and that was me. For ten years I was the resident DJ downstairs, playing all kinds of music, mainly hip hop.”

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“Meanwhile, my record collection was getting bigger and bigger and bigger.” So did the connections – Newcastle, Manchester, Birmingham, Liverpool, Sheffield, “odd nights here, there, everywhere. Keeping

DECKS dancing, but it wasn’t for me. They said, ‘We’ve got this team.’ That’s how I got into the dancing part of it, If you know Southampton, you know where it was. It was called Partners. They used to have parties. The DJ – his wife was having a baby, or he’d double-booked himself – already had his equipment in the place. So they said, ‘Who knows about music?’ Everyone knew about me. So I played all the top 20, then some 70s, and it was easy.” What he found in Southampton was a gap. “When R&B started getting up-tempo again – samples, breaks, the new jack swing era – I thought, now I can play R&B as well. People were saying, ‘We need an R&B DJ.’ I couldn’t believe there were no R&B DJs at all. They were either hip hop or house, nothing between. You had the northern soul lot, but they were old men and they didn’t do nightclubs – they used to hire them out for bank holidays.”

my finger on the pulse, even though I had a day job. I had to juggle it. Basically, for 40 years my DJ life has been based in Southampton.” He turns 62 this year, and people keep asking about retirement. “I like music too much. I see a lot of DJs in their 70s still DJing, still doing festivals. So I’m doing it now. And I love it.” • Catch DJ Stevo every thursday night at The Social, 21 Lower Banister St 8pm -1am 27

MOOD & ER

Some music does not fit into one category, and some artists thrive from being outside the box. Often people migrate to new cities and create movements and collective energies which affect their environment in a positive sense. Defcon Lawless is one such person. From Norristown to Southampton Aaron Sanchious is from Norristown, Pennsylvania, a suburb of Philadelphia. “About 15, 20 minutes outside the city, but we still represent the burbs no matter what.” Family from Jamaica brought him across the Atlantic, with relatives spread through South West London, but it was Southampton that held him. He arrived in October 2011 and has been here ever since.

“I got a lovely son who inspires me in everything I do, and really helps me push the envelope on everything I do, to try to inspire him. And he inspires me too.” SPY NAMES AND GAMER TAGS The name goes back to high school in Pennsylvania, banging on desks and freestyling with friends. “The Ocean’s Eleven movie came out and I was jokingly making up spy names for all the homies. I called one of my homies Cornelius Sabotage. We all laughed about it, and then they said, ‘Aaron, what’s your name?’ And it just rolled off the tongue. Defcon Lawless.”

It became a gamer tag and stuck. He had been making music as Lacklustre, “but it kind of seemed a bit self-deprecating for no reason. So we ended up sticking with Defcon Lawless. Here we are.”

MOODS AND ERAS, NOT GENRES Aaron comes from a musical family. He played keyboards, baritone and trumpet at school, freestyled hip hop with friends and wrote poetry. “I got all of my interests and amalgamated them into one thing, and that’s kind of what’s going on today.” His influences run from ‘80s R&B and new wave to ‘90s hip hop. “Anything that sounded different, alternative. From a young age, I never cared for genres. I was always inspired by moods and eras. That’s why when anybody asks me what genre I do, I tell them I’m involved with moods and eras. If it sounds fly and it makes me feel something, then I’m going to resonate a little bit.” His tracks move between rap, vocals and instrumentals, and the only rule is not to repeat himself. “I like not to put the same genre out twice. Even if it is within a genre, I want it to be a different feel. I’m real conscious about boring myself.” Skateboarding culture is part of it, the Tony Hawk soundtracks where every song was a different genre. “Any genre, I want all of them, like the rings on Thanos. I’m the Infinity Gauntlet of different sound.”

@defcon_lawless @lawlesscollective lawlesscollective.co.uk

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DEFCON LAWLESS

THE LAWLESS COLLECTIVE The Lawless Collective grew out of the creative people Aaron kept meeting in Southampton. Its motto: who are you when no one’s watching? “We’re in a world now where everything is driven by algorithms. It’s not very human. Over time, being in this lovely city, I’ve come in contact with just extremely creative individuals, and I really wanted to find a place where we’re moving in a human, authentic, real way. I don’t care what your medium is. Are you a sculptor? Are you painting? Do you plant plants? Do you do ballet? As long as you’re authentic in yourself, and you move in that way.” The collective works to three Xs: expression, execution, expansion. Events, music, art galleries. “Let’s all work together, like different cogs to a machine.” He calls himself the catalyst rather than the leader, and avoids the word ‘scene’. “I try to bring it back to what it’s supposed to be about. Less political and more straight heart and expression. It was my brainchild, but I’d like to be less and less involved over time, and let these wonderful people take over and let their movements speak for itself.” ON REPEAT RIGHT NOW Ask what he’s listening to and the answer is minute to minute. As the nights draw in he’s heading into his “goth bag” – Bauhaus, Depeche Mode, The Cure – alongside a return to R&B: D’Angelo, Erykah Badu, a whole playlist of Janet. The band he keeps coming back to is At the Drive-In, specifically Relationship of Command. “They’re raw, and it gets me going.” There’s Alkaline Trio in the mix, maybe even some Sixpence None the Richer. “It’s very activity driven.” Kele Okereke of Bloc Party is a big one for him. So is Santigold. “A woman from Philly, really unapologetic, doing her thing. Incredible artist. All her songs sound like a different genre.” WEIRD, FUN AND PASSIONATE Aaron has tracks in his back pocket and is working both solo and with a full band: Jacob Hayden, an incredible Southampton DJ who runs the city’s IO venue; artist Jack Prent; and Will Palmer from Arid Wave. The band has already played three shows this summer, including Wanderlust, and there is more on the way. “I think we got some really exciting stuff. It’s gonna get weird, it’s gonna get fun. I think it’s gonna be passionate. But we’ll do that when it feels right.” Wherever it lands, one Southampton stage will always feel like home. “I love me some Heartbreakers. Really cool crowd, great staff, sick vibe. That feels like my lair. That’s the spot.” • 31

TURNING OVER THE ROCKS

Often people come to a city and create movement and visual change in the environment. From the Saxons through to the newest of migrants, the skills, the willingness to share and the involvement in one’s surroundings are part of our constant evolution and cultural landscape.

Edgar Lushaju is an architect by training and a self-taught illustrator, graphic artist and muralist. Since arriving from Tanzania in 2020, a large part of his art journey has taken place in Southampton. Edgar can’t remember not being able to draw. His first picture, aged four, was of his mum, pregnant with his younger sister, sat on the sofa. An uncle stood over him, “questioning me like, oh, you forgot to put this in, or what about that? And I just kept drawing.” His parents built the habit from there. “All my pictures would be in a folder and every time guests would come, they would tell me to bring it out. I’ll bring out my folder and show these guests, and then they would always give me money. It wasn’t much, but they would always be like, oh, this is really good. So that encouraged me to keep going.”

Art was never the plan, though. “Growing up, I’d always wanted to be a robotics engineer, because I watched Star Wars and Short Circuit and I was just so into robots.” Tanzania had no robotics course at the time, so friends pointed him towards architecture. He studied it, worked as an illustrator and research assistant at Tanzania’s Architecture Heritage Centre, and drew on the side. Then, at the end of 2020, he moved to the UK with his wife, a Southampton-born teacher starting her training. It was meant to be two years. COVID, work and life shifted it. Six years on, he’s still here. The first stretch was hard. His architecture qualifications didn’t translate easily, and retraining cost money he didn’t have. “In the beginning it did feel a bit alien, and it felt like there was no space for me as an artist. Every job you’re trying to get, it’s just rejections. It’s so easy to drift into the space of, why are they not giving me work?”

In 2024 he took an idea back to Tanzania. Ujamaa, a socialist philosophy of togetherness from the country’s first president, is also the name of a style of carving: figures stacked on figures, holding each other up. Edgar wanted to bring that into Southampton. The John Hansard Gallery backed a small-scale version, which became the stool and sculpture now in the library, and a film.

So he set up a graphic art business and started hunting on LinkedIn. His first UK commission was a charcoal portrait of a teacher’s grandparents. Then he met lettering artist Nathan Evans, at a point when Edgar had decided “there’s nothing here. Maybe I have to go to London.” Nathan told him about A Space Arts, God’s House Tower and a Go Southampton call-out for artwork to go on the city’s bins. Edgar applied and won. “The bins are still around. You can see some of them in town. That was my first official commission.” From there the rocks started turning. A window mural at the John Hansard Gallery. The Lucky Dip bursary at God’s House Tower, which funded his first Southampton exhibition. Public art with Dr Abdoulie at BBAM (Black Business, Art and Music). He still works front of house at God’s House Tower now and then: “My roots in Southampton as an exhibiting artist sort of start there. I never want to let go of that space because of how it helped me.”

To make it, he needed a carver. His brother found one, and it turned out to be a man Edgar had taught English to at the wood carvers’ market as a student. “It used to be my student and now I was his student, because he was then teaching me how to carve.” His advice to anyone who thinks the city has nothing for them is simple. “There are so many things in Southampton, it’s like they’re under rocks and you just need to turn the rocks. But if you don’t know which rocks to turn, you might think there’s nothing.” And which rocks? “If you’re working as an artist for yourself, like, I just want Edgar to rise, it might be a bit challenging. But if you are like, how can I give, then there are so many opportunities.”

EDGAR LUSHAJU @drawhapa

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RULES OF HIS OWN

It’s heavy in the family, on both sides. “On my dad’s side, they actually create music. On my mum’s side, they’re very passionate about lyricism and lyrics, just good music. Not your usual music fans, they’re the types of people who dissect it and break it down. They know the samples of beats. I love those kind of dynamics.” His dad, Aaron Soul, gave him his first taste of a studio without him even realising it. “At the time I didn’t even know I was in a studio. My dad would just walk in, pass me a laptop with Fruity Loops on it. I didn’t know what

With so much hype around music and performance, the thinking behind it is seldom spoken about. Rai2Rai, Southampton artist and part of $¥N crew, speaks on family, purpose and the city that shaped him. “Born in Southampton. Moved to London when I was very young, my sisters were born there. Then come back down to Southampton and was in and out for a little bit between here, Luton and London. The family kind of spread out. But majority of my life, Southampton. A lot of my key moments were here.” Music, he says, was there from the beginning. “It starts from the heartbeat, and then you grow up listening. I’ve never met anyone who hasn’t grown up listening to music. How do you survive without music?”

I was doing, just clicking around. That’s the first introduction to music. And because I was around it, I started to develop my own taste in what I liked.” WRITING BEFORE RAPPING He never thought about making music until he was 19. “It wasn’t even intentionally to write music. It was just writing at first. It was a hard time for me. Other ways I used to express myself weren’t as available, so it became writing. Which then turned into playing YouTube beats and freestyling, writing to the beats, and so on and so forth.” The moment he committed came while working at JI Media. “Big up Dwayne, he had that shop. I was there one day and I had a real conversation with myself: is this what you want to do? Do you want to take it seriously? I said yeah, and from that point

I just went with it. Screw it, put yourself out there. See what happens.” His first project, Chest Hair with his friend Josh, was mostly YouTube beats. “Around that time I didn’t even know what a producer was. To me it was just, people make beats. I didn’t know what mixing was, what mastering was. Very fresh and new into it.” Since then he’s worked with local artist and producers Sean Country, Babs, Esso and Gavin Ford on his first independent singles, and more recently Sera Bless. In the background he’s built his own collective: Pedro, Project Rito, C4 and Dani Lee. “Not all of them have come out with music yet, but we’ve been working on stuff. I’ve been playing around with beats myself as well, but I don’t know if I’ll ever share my production.”

name for myself. That’s what really gave me the battery in my back.” Third on his list: opening for GoldLink with the Sean Country Collective.

WHAT’S NEXT He works on multiple things at once. Seven features on Country’s Double Pill (“being in the studio and seeing how other artists work, that’s been a transformational thing”), a new remix Tipsy with Melina Green (“a very different vibe than I’ve

PURPOSE KEEPS EVOLVING Ask him what music is for and the answer is a philosophy. “Purpose is always evolving. If it’s not, you’re usually in a loop and you’re not expanding. Creativity is supposed to be trying different things and being open to new things. “At the beginning it was just expressing myself truly, for myself, getting true emotions across. Then it started to develop into communication and connection. How are you communicating with people? What are you communicating? And then: what’s the purpose behind it? Right now it’s evolved into trying to motivate people.” That’s what made Principle land. “’You got that one rule, make your own rules, build your own game, collect your own tools.’ These were things I was rehearsing to myself. I believe in having strong independence, especially in music. So currently I’d say strong sense of integrity and self-motivating.” MAKING A NAME IN THE CITY His favourite performance was his first solo show, upstairs at The Loft. “It was my first time putting on my own show independently. I put other artists on stage, Chimney, Led, Sinsound crew, Melina, Nadia. I was jumping in the deep end. How do I continue what I’ve started? Well, you gotta perform it. No one’s gonna do a show for me. Let me go and make my own, and it turned out amazing. We got 270 people through the door. I did not expect that.”

ever done before”), and the $¥N tape, a collective project featuring Aaron Soul, Forbes, Led, Afra and production from Dani Lee. “It goes crazy.” He plans to preview it supporting EST Gee at The Brook in October. “A big part of what I believe in is diversity. I see myself as an artist overall, not just a rapper or singer. Hopefully eventually people see and understand that.”

RAI 2 RAI @rai_2_rai

What followed was The Drop, in Shirley. “It was rammed. I’m pretty sure some people were stood on tables. I don’t know if I would have followed up with them if I didn’t do my solo event and made a 35

HONOURING COMMUNITIES WITH HERITAGE & HOPE

Connecting culture, wellbeing and community, Heritage & Hope brings people together across Hampshire and Wiltshire through volunteering, education and community partnership. Communities are strongest when people feel seen, valued, and connected. At Heritage & Hope, this belief sits at the heart of everything we do.

Based in Andover, Heritage & Hope was established to bring people together through culture, community engagement, education, and shared experiences. We believe that celebrating our differences while recognising our shared values helps create stronger and more inclusive communities. The theme “Honouring Our Communities” reflects not only what we do but why we do it. Over the past year, we have worked alongside residents, community groups, local businesses, charities, churches, schools, and volunteers to create opportunities for people to connect and learn from one another. One example of this was our involvement in the Andover Soap Box Derby. While many people saw a fun race day, we saw something deeper. Families stood side by side cheering on participants. Local businesses sponsored teams. Volunteers gave their time to make the event possible. People who had never met before found themselves sharing conversations and laughter. Our Heritage & Hope soap box car became a talking point throughout the day, allowing us to introduce our organisation to hundreds of local residents and

discuss ways we can continue building community connections. Heritage & Hope participating in the Andover Soap Box Derby, bringing together residents, volunteers, local businesses, and community organisations through a shared celebration of community spirit. We are also part of Cultural Sharing Group, which creates opportunities for people from different backgrounds to come together and learn about one another’s cultures. At one of our recent community events, visitors explored displays from different countries, sampled traditional foods, listened to stories, and shared experiences from their own cultural backgrounds. What began as simple conversations quickly turned into new friendships and lasting connections. Events like these remind us that diversity is one of our community’s greatest strengths. We have also supported local carnival activities and multicultural celebrations, recognising that culture has a unique ability to bring people together. Whether through music, dance, food, storytelling, or shared traditions, these events create opportunities for people to learn from one another while celebrating what makes each community unique. Perhaps one of the most rewarding moments has been seeing people attend one of our events for the first time and leave feeling more connected to the community around them. We regularly hear from residents who have met new friends, discovered local support networks, or learned something new about a culture different from their own.

environment where everyone feels welcome. Visitors will enjoy live performances, cultural exhibitions, community stalls, food, music, educational activities, health and wellbeing information, and opportunities to connect with people from across Hampshire and beyond. We are also currently producing our annual Black History Month South Magazine, which will highlight inspiring stories, community achievements, local role models, and organisations that are making a positive difference. At Heritage & Hope, we believe that honouring our communities means investing in people, creating opportunities for connection, and ensuring that everyone has a place where they feel they belong. Together, we can continue building stronger, more inclusive communities for future generations.

Looking ahead, we are excited to be preparing for our annual flagship event, Heritage & Hope: Andover Black History Vibes, taking place on Saturday 3 October 2026. This event is much more than a celebration. It is an opportunity to recognise contributions that have shaped our communities, promote positive conversations, support local businesses and organisations, and create an

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AFRICA,

CHARMAINE FRANK

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SOUND

Charmaine will tell you she’s an introvert. It’s an unlikely admission from someone about to spend her Tuesday afternoons talking to Southampton over the airwaves, but she says it without a trace of apology. She would rather listen than speak, she explains, and that is precisely what makes her a good fit for a show built on other people’s stories.

The show is Voices of Africa on Voice FM, and this autumn, as Black History Month asks us to think about “Honouring our communities,” it passes from one pair of hands to another. Victoria Ugwoeme launched it in November 2022. At the time, nothing like it existed in Southampton: an African radio show, made by and for the city’s African communities, on a local station. Three and a half years on, Victoria is stepping away to concentrate on a different kind of community work. Elected Chair of Southampton Food Partnership in 2024, she is now shaping the future of food and health policy across the city.

Her successor came to Southampton by way of Gweru, Zimbabwe, and a radio studio in the Midlands of that country, where she co-hosted on 98.4 FM Midlands alongside DJ Blake. Three years ago she moved to the UK. Between then and now she has become a wife, a mother of two and a support worker for adults with learning disabilities, a job that draws on the same instinct as her broadcasting: a genuine interest in people and what they have to say.

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For someone who describes herself as naturally quiet, Charmaine is unusually drawn to connection. Sharing a meal, playing music, sitting down for a conversation that actually goes somewhere: these, she believes, are where the best moments of life tend to happen. Moving to Britain changed the scale of that. In Zimbabwe she knew her own culture and loved it. In Southampton she found herself among friends from right across the continent, and realised that the Africa she had grown up in was one small corner of somewhere far more varied than she

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had ever imagined. Different languages, different histories, different traditions, and above all different music. That realisation is the seed of what she wants to do with the show. Rather than speaking about Africa, she wants to travel it with her listeners, one sound at a time. Zimbabwean Zimdancehall. South African Amapiano, Gqom and Kwaito. Congolese Rumba and Soukous. Tanzanian Bongo Flava. Zambian Zed Beats and Kalindula. Nigerian Afrobeats, Fuji and Juju. Ghanaian Hiplife and Highlife. Kenyan Gengetone and Genge. Namibian Shambo, Ethiopian Ethio-jazz, Senegalese Mbalax, Gambian Afro-Manding music. The list runs on, and she intends to play all of it. The audience she has in mind is anyone with a radio, African or not. What she wants to offer is discovery: an artist you’ve never heard, a tradition you didn’t know existed, a version of the continent that isn’t defined by its difficulties.

“I want people to see Africa through a different lens. Yes, every country has its challenges, but that’s only one part of the story. Africa is full of incredible music, beautiful cultures, talented people and rich traditions. From Zimdancehall to Amapiano, Congolese Rumba to Bongo Flava, Hiplife to AfroManding music, every sound tells a story. If my show helps someone discover a new artist, learn about a different culture or see the continent in a new light, then I’ve achieved exactly what I set out to do.” • Listen to Charmaine on Voices of Africa, Tuesdays at 4pm on Voice FM: voicefmradio.co.uk/on-air/shows/

“I want people to see Africa through a different lens. Yes, every country has its challenges, but that’s only one part of the story. Africa is full of incredible music, beautiful cultures, talented people and rich traditions.

AT A TIME 39

UNITY 101 HONOURING OUR COMMUNITIES THROUGH CONNECTION For over two decades, Southampton’s Unity 101 Community Radio has served as a vital anchor for the region’s diverse cultural landscape. Born out of extensive community conversations and a successful 28-day trial, the station secured its full-time license in December 2005. Today, it operates as a volunteer-led, not-for-profit initiative broadcasting 24 hours a day, 7 days a week, in ten languages across 101.1 FM, DAB, online, and mobile apps. Operating without long-term funding and with no shareholders, Unity 101 relies heavily on its dedicated team of volunteers and partnerships with public, private, and voluntary sectors. These collaborations help deliver informative, educational, and entertaining content that keeps listeners connected at home, at work, and across Hampshire and Dorset. By celebrating culture, art, literature, music, food, and fashion, the station ensures that every community finds a platform to share its voice, learn about different backgrounds, and foster true unity.

GET INVOLVED: To find out more about Unity 101 Community Radio, tune in, or discuss partnership and broadcasting opportunities, please contact Ram Kalyan “Kelly”, Project & Station Manager, on 07773 713 736 or email kelly@unity101.org.

Now broadcasting 24/7 on FM, online, and DAB | www.unity101.org | @unity101fm

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BLACK GENIUS,

HIDDEN IN PLAIN SIGHT:

Traffic lights. Doorbell cameras. Gaming robots. Space telescopes. Behind all of them are Black inventors whose names rarely made the history books. Here are ten worth knowing, starting close to home.

MADE IN BRITAIN

SILAS ADEKUNLE Moved from Nigeria to the UK at 12 and earned a first-class robotics degree at the University of the West of England in Bristol. He then created MekaMon, a four-legged gaming robot that battles in both the real world and augmented reality, which went on to be sold in Apple stores in the UK and US.

DAME MAGGIE ADERIN-POCOCK Was diagnosed with dyslexia and attended 13 different schools, yet built her own telescope as a teenager. She has since built instruments ranging from handheld landmine detectors to part of the James Webb Space Telescope, and led a satellite instrumentation team just along the coast in Portsmouth.

SIR GEOFF PALMER Came from Jamaica to join his mother in London at 14. He went on to invent the barley abrasion process, which cut two days off malting and was adopted by some of the UK's biggest breweries. In 1989 he became Scotland's first Black professor. He died in June 2025, aged 85.

MORE GENIUS FROM AROUND THE WORLD GARRETT MORGAN

MARIE VAN BRITTAN BROWN

Created an early gas mask in 1914, then went on to patent a three-position traffic signal, the ancestor of the amber light that gives drivers time to stop.

Co-invented the first home security system in the 1960s, complete with camera, two-way microphone and monitor. Every video doorbell owes her a debt.

LEWIS LATIMER

DR PATRICIA BATH

Developed an improved carbon filament that made light bulbs last longer and cost less, helping bring electric light into ordinary homes.

Invented the Laserphaco Probe for laser cataract surgery, restoring sight to patients around the world.

LONNIE JOHNSON FREDERICK MCKINLEY JONES Patented a roof-mounted cooling system for longhaul trucks. Fresh food travelling hundreds of miles to your supermarket starts with him.

A NASA engineer, invented the high-pressure Super Soaker, one of the best-selling toys of all time.

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ROOTED & PROTECTING READY: OUR FAMILIES THROUGH PREPAREDNESS:

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History shows that our communities in the south of the UK have always thrived through mutual support, resilience, and a deep-rooted sense of care for one another. Honouring our communities means actively protecting them, starting right on our own doorsteps. It’s always helpful to be prepared for the unexpected. UK government guidance suggests keeping a small emergency bag, often called a “grab bag,” somewhere easy to reach at home. You can fill it with useful everyday essentials that may be needed during a power cut, severe weather or if you have to leave home at short notice. Preparing one in advance can help you and your family feel safer, calmer and more confident if an emergency happens. Your emergency supplies could include: • A battery powered or wind-up torch. Torches are generally safer to use than candles. • A portable power bank to help keep your mobile phone charged. • A battery powered or wind-up radio so you can listen for important updates during a power cut. You may also be able to use your car radio, although it is often safer to stay

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indoors during severe weather. Spare batteries for your torch and radio, along with a backup battery for any medical equipment you rely on. A basic first aid kit. This might include waterproof plasters, bandages, sterile dressings, antiseptic, eyewash solution, gloves, medical tape, a thermometer and tweezers. Hand sanitiser and wet wipes to help with hygiene if the water supply is unavailable. Bottled water. The amount needed will depend on your household and how long the emergency lasts. As a guide, the World Health Organisation recommends at least 2.5 to 3 litres of drinking water per person, per day, for survival. Around 10 litres per person, per day, will also help cover basic cooking and washing. Remember that babies, pets and some medical equipment may require additional water. Food that will keep and does not need cooking, such as ready-to-eat tinned meat, fruit or vegetables. Remember to include a tin opener and food for any pets. Baby supplies, including nappies and formula. Ready-made or “ready-to-feed” formula is a good option, as you may not be able to boil water or sterilise bottles.

There is no need to buy everything at once. You can build your emergency kit gradually, adding one or two items whenever it is affordable and convenient.

WHY DO BLACK GIRLS STRUGGLE TO GET AN AUTISM DIAGNOSIS? For too long Black children, including Black girls, were less likely to receive an autism diagnosis and were often diagnosed later than White children. Diagnostic criteria for autism were developed and tested mainly on White boys, so traits that presently differently in Black autistic girls are frequently missed or labelled as something else. Black autistic girls often want to please, and will spend all day trying very hard to do the right thing and be like everyone else. They often do not want to draw any attention to themselves, and don’t want other people to know that they are different. Sometimes they spend all day pretending everything is fine; only to go home and have a meltdown or a shutdown because they are exhausted. This is called masking.

Masking can hide many of the signs health professionals traditionally look for when assessing autism. As a result, health professionals may overlook autism or mistake autism in girls for another conditions. This really hinders Black girls getting an autism diagnosis. More widely available community support, and better-trained medical professionals will help to ensure that many more Black autistic girls are diagnosed and supported in good time, so they can be their truly brilliant selves.

SARAH WILD

HEADTEACHER, LIMPSFIELD GRANGE SCHOOL

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YOUNG VOICES, ROOTED LEGACIES: HONOURING BLACK BRITAIN

Students at St George Catholic College have embraced the Black History Month theme of Honouring our communities through powerful original verse. Eleven young writers explore the strength of unity, the legacy of past trailblazers, and the diverse cultural threads shaping their generation. Their poetry captures the collective spirit of honouring those who came before while carving out a path forward.

For Black History Month, We honour well‑known leaders and celebrated names like Martin Luther King Jr or Paul Stephenson, but there are others whose work deserves equal acclaim —the people who build our community day by day, through steady effort and quiet, caring ways. They run local groups, share wisdom and skill, and keep our history and traditions alive still. They lend a hand when support is most needed, and help bring neighbours together, united and seeded. They do not seek fame, awards, or public praise, yet their work improves our lives in countless ways. Every act of kindness, every helpful deed, forms the strong foundation our communities need. These are the people who truly shape where we live, we thank them for all the good they give.

By Delva Kamani

Our souls glistened in the morning light yet still our hearts endured the darkest hour we held our pride beyond the reach of night and quietly hoped of feeling everlasting power Through cruel winds bent many fields full of weeds Its root held tight beneath the wounded land for truth still buried but still longed to take a lead and justice rose because of our faithful hands Now let us praise the footsteps left behind Whose courage lit the path we battled to find Their strength still blooms in every heart and mind Different from the pack but one of a kind

By Lauren Kanabe

Pride in our ways We have stood strong, remembering our pride to do our best.​Our dedication passes every single earthly test.​Our pride now stretches far into the deepest realms of space,​As Jessica Watkins leads the torch of excellence and grace.​ ​ With women like Angie Thomas spreading love across the land,​They show our communities the struggles where we stand.​ Writing all our sorrows into books that win acclaim,​Like The Hate U Give, which gave a voice to hidden pain.​ ​ Neglected by dignity, we chose to make our own,​Building up a legacy from seeds that we have sown.​Nothing can stop us when we stand united and awake,​We hold pride in our ways, and in the future we will make. By Katriel Naa Amanuah Ankrah Every smile, every helping hand, Builds the strength across our land. Teachers, parents, friends, and neighbours, Show us love through daily labours. They lift us up, they help us grow, With quiet kindness they may not show. Our stories, cultures, voices, pride, Stand together side by side. From every street and every face, We find belonging, hope, and grace. Today we thank the ones we see, Forever we may believe. We honour dreams of justice long, Of Martin Luther King who stood for right, not wrong. His words remind us, loud and clear, That love and courage conquer fear. Kindness, service, voices strong, Together we can right the wrong. With hearts united, hand in hand, We build a brighter, fairer land. Ndi ojii di mkpa Black People Matter

Being black is an honour. Sometimes it doesn’t feel like it Our hair, our culture, our language, our names Civilization turns it to shame It’s sad because who could ever hate Our golden skin and the wreath of coils That crown our heads, growing Like a buoyant tree. And roots that lead back to our history Our music, our rhythm, our beats And traditions carried through generations. Rosa Parks, Mandela, Simone Biles, Bob Marley All alike, Shining light on black rights Being black is an honour and Is something to be proud of.

By Cherechukwu

By Tehila Nnaemeka

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What is Community? My home, My school, My nation My God, My sports, My communities From Michael B Jordan to Rosa Parks. They shape the way we live our lives Inspiring us, leading us, honouring us Black, white, tan alike Guiding each other on our heavy hike Our homes, our school, our nations Our Gods, Our sports, Our communities A thousand hands can build one home So, none of us will stand alone Kindness, echoes louder than a single voice A community can grow if hope is shown From Beyoncé To Martin Luther King Your home, your school, your nation Your God, Your sports, Your communities So, stand together Cherish every difference Because My home, your school, our nation.

By Skylily Joy-Janettee Maria Mary Nnamala Ssendaula

In streets alive with echoes past, Where stories carved in stone will last, We rise, we sing, our voices claim, The rightful place in history’s frame. From roots that clung to earth with pride, Through trials where hope would often hide, We forged a path through fire and night, Each step a spark, each soul a light. The artists, leaders, dreamers, and kings, Whose courage still within us rings, Their whispers guide each striving heart, A timeless song, a sacred art. In classrooms, corners, songs, and rhyme, We honour battles lost to time, Yet lift our gaze to futures bright, Where every shade finds love and right. Not bound by month, nor limited space, Our heritage holds a lasting place, From ancestors’ dreams to present day, Their spirit walks with us, lighting the way. Celebrate the gift, the strength, the voice, In every heart, in every choice, For Black History is ours to hold, A living story, brave and bold.

By Annafelie

As time goes on, we always hope That advancement is being made So, in the case of black history We must never let progress fade. Stephen Wiltshire’s History is made by his profound Contributions to the art world and his advocacy for autism awareness. Today we gather, proud and strong, To celebrate a story long. A journey built through hope and grace, By those who paved a brighter place. Black History Month reminds us all To hear the voices, great and small. To honour courage, dreams, and pride, And those who stood for change worldwide. A future shaped with unity. Our community shines with heart, Each person plays an important part. Together learning, hand in hand, Building a future where we all can stand. Thank, To all our Black history Expert For guiding us along the way. Through stories shared and lessons told, You keep alive our treasured gold. May we remember, may we grow, With deeper understanding as we go. For history lives in all we do, In every dream made strong and true. Together we honour the past with care, Celebrate the present we all share, And inspire tomorrow’s voices to be

By Josephine Akinseye

Dear black child, With pride, you must wear your smile For those very curls upon your head you share with role models, alive or dead. I wonder what you’re taught in the classroom. Surely you know Martin Luther King, or Rosa Parks, who refused to give up her seat Today, people in black communities Are making great change in our world

In our classrooms we remember voices that shaped this land— from Windrush decks to city streets, strength carried hand in hand. Stories of courage and culture, of music, hope, and art— Black Britain lives within us, a beating, brilliant heart. We honour every journey, every step that made us see that Britain’s greatest power is in its shared identity.

By Romeo Zola

Like Barack Obama, carrying Martin Luther King’s dream into leadership and change. Like Oprah Winfrey, a voice of hope lifting hearts everywhere. Like Serena and Venus Williams, breaking barriers and showing us strength. Like Kemi Badenoch, standing tall in leadership and opening doors for others. Like Lupita Nyong’o, a young girl from Africa shining on global stages with pride and possibility. Like my mum, shaping the lives of offenders through her work in justice. Like my dad, healing the sick with steady hands and a caring heart. I am Caroline-Pearl, a young person. Like you, We will grow, We will continue to change things, We will continue lift our community

We honour those whose names may never grace, The pages history chose to write, Yet every morning, every street, Still carries echoes of their light. We honour teachers planting seeds In minds too often overlooked; The elders who are remembered by their stories Keep us rooted when the world has unhooked The carers offering quiet comfort, The nurses calming fear with grace; The drivers, cleaners, artists, builders— Every person is needed in a place. We honour voices raised in bravery, In music, laughter, food and song; The cultures carried through generations, Reminding us of where we come from. We honour those who challenge the wrong, Who organise, uplift and lead; Who turn anger into compassion, Answering every human need. Not only in moments of triumph, Nor only through struggle endured, But in quiet work, open doors, In love that silently reassures.

If we dare to dream Like Martin Luther King did And when we rise, When we shine, When we change the world Let’s remember to be proud of our curls.

So today we pause to celebrate The ordinary made profound— The people whose unwavering love Keeps our community’s sound. May we see them. May we appreciate them.

By Caroline-Pearl

May we honour every tale still unfolding. For together, through care, courage, and compassion, These people shape, support, and sustain The heartbeat of Black Britain.

By Matisee Less

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WHAT HOLDS OUR COMMUNITIES TOGETHER Over the past few years, we’ve all seen signs of growing division in society. From the riots we’ve witnessed in some of our communities, to increasingly heated debates online and tensions around issues such as housing and immigration, it can sometimes feel as though we’re being pulled further apart. As a housing association, that’s something we think about a lot at Abri. While our role is to provide homes, we know that thriving communities are built on more than bricks and mortar. They’re built on trust, mutual respect and a sense of belonging. They’re places where people feel connected not just to where they live, but to the people around them. That raises an important question: what holds a community together? That’s one reason this year’s Black History Month theme, Honouring Our Communities, feels particularly relevant. At a time when public debate can often focus on difference, the theme encourages us to recognise the people and organisations helping to build understanding, connection and belonging. At Abri, we’re trying to play our part. Strengthening community cohesion is a priority for our Executive Board and a focus across the organisation. Colleagues from different teams are working together to better understand what’s happening in our communities, build partnerships with local authorities, police and community organisations, and identify practical ways we can help create safer, more connected neighbourhoods.

One part of that is our Community Fund, which supports local projects that boost wellbeing, strengthen community connections and create opportunities for local people. In 2025/26 alone, we awarded almost £90,000 to 55 community projects across our regions. We’ve seen how these projects can help people feel more connected to where they live. In one of our community cohesion programmes, four in five participants said they felt a sense of belonging in their neighbourhood or community. One recent example is Gosport Community Safety Partnership’s Summer Passport programme, which we helped fund this year. The scheme offers free summer activities for secondary school-age young people, giving them the chance to try new experiences, build confidence and spend time with others from across their community. Projects like this don’t solve the wider challenges communities face. But they can create opportunities for people to meet, build relationships and develop a stronger connection to the place where they live. So I’d like to leave you with the same question we’re asking ourselves at Abri: How can we bring people together? If you’re part of a charity, voluntary organisation or community group with an idea that could strengthen local connections, celebrate diversity, tackle isolation or create a greater sense of belonging, the Abri Community Fund may be able to help. Grants of up to £3,000 are available to support projects that make a positive difference in local communities.

HELEN WILSON

REGIONAL MANAGING DIRECTOR, SOUTH REGION AT ABRI

LEARN ABOUT OUR OWN CITY’S RICH

BLACK HISTORY A Black History of Southampton

Black Stories: Southampton

by Don John & Stella Muirhead

by Don John

Shining a light on a crucial, yet often overlooked, facet of Southampton’s history is the book ‘A Black History of Southampton: 16th Century to 21st Century’ by Don John and Stella Muirhead. This comprehensive work provides a layered exploration of the city’s Black history, countering the common misconception that Black presence in Southampton began only with The Windrush Generation. John and Muirhead meticulously chart a timeline from the 16th to the 21st century, bringing to the forefront the significant roles that Black individuals and communities have played in shaping the city’s identity. Beyond a catalogue of events, this book offers a vivid portrayal of real lives and stories, underscoring the enduring impact of Black contributions to Southampton. ‘A Black History of Southampton’ serves as a valuable resource for those keen on understanding the breadth of the city’s history. By spotlighting the untold stories of Black individuals and communities in Southampton, the authors offer readers a unique opportunity to appreciate the diverse influences that have shaped the city over centuries.

Unearthing a rich array of narratives from Southampton’s past, ‘Black Stories: Southampton’ by Don John offers readers an engaging journey through the city’s history. The book features 20 carefully curated stories and events, tracing the presence of Black individuals from the 16th century to the present. Showcasing a spectrum of personalities, from the noteworthy Jacques Francis the diver, to Alexander Patterson who managed a Southampton pub at the turn of the century, and even pop culture icon Bob Marley, who had surprising connections to the city. These stories serve to illuminate the diverse experiences and significant contributions of Black people in Southampton. ‘Black Stories: Southampton’ is more than just a collection of tales; it’s a call to recognise and appreciate the depth of Black history in the city. The stories in this book, often tied to recognizable human faces, provide a personal and relatable perspective on the issues they represent.

Both books are available at October Books Portswood & The John Hansard Gallery

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FRESH CUTS AND GROOMING SERVICES FRESH CUTS AND GROOMING SERVICES

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FOSTERING MAKING A DIFFERENCE, TOGETHER. Southampton City Council need more foster carers to provide safe, caring homes for children of all ages. The children are from a wide variety of backgrounds, and all have different reasons for being in care. Sometimes children stay with foster carers for a few days, and some stay for a few years, but the difference a foster carer makes, may last a lifetime.

To become a foster carer, you will need to be aged 21 or over, have a spare bedroom, some childcare experience and be able to offer flexibility. There are different types of fostering available, including respite, short term, long term and ‘parent and child’. You may be able to work whilst fostering.

Find out more by visiting our website www.southampton.gov.uk/fostering Search ‘fosteringsouthampton’ on Facebook Call 0300 1312797 or email fostering@southampton.gov.uk

Want to advertise with us next year?

BLACK HISTORY MONTH 2027 ADVERTISING RATES FULL PAGE £120 HALF PAGE £85 QUARTER PAGE £45

For more information or to place an advert in next year’s issue please email us : blackhistorymounthsouth@gmail.com

Funding that makes a difference Abri's Community Fund supports local projects that boost wellbeing, strengthen community connections and create opportunities for local people. Applications are now open until Friday 21 October 2026 so if you’re a charity, voluntary organisation or community group, you could apply for a grant of up to £3,000. Visit www.abri.co.uk/what-we-do/community-funding to find out more and help us build stronger, healthier and more connected communities.