CARTER™ Magazine Fall Issue: Exposing The Foundation

Ray Charles

ONTENTS

Features 12 Exposing The Frame 16 Photo Journal

Ray Charles Photographed by Chuck Stewart

Departments 2

Editorial Letter

What’s Poppin’

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Fashion - Alexander Allen Music - Creative Boys Culture Spotlight - 66 Blackbirds Good Looking Out - Rayon Richards Get Right - Laylah Amatullah Barrayn Film - Keith Beauchamp Homage

Editorial Letter

Queon Martin Ceo/Founder

Datwon Thomas Co-Founder/Spokesperson

Brian Christion Operations

Aidah Z. Muhammad Creative Director

Syreeta Gates Editor-in-Chief

Sundree Art Direction

Randolph Carty Designer

Alexander Allen Fashion Director

Rayon Richards

F

oundation. It’s something that we all stand on. Regardless if you stand for something or nothing at all, you have a history rooted in the foundation of what has created you. Through time, we as a people have been lead off the path of finding our true selves, sometimes discovering who we are and where we come from by unreliable sources. Many historians have tried to piece together a puzzle of gigantic proportions to approximate who we really are. The cool thing about today’s history is that it no longer has to happen and we wait for the breakdown in an encyclopedia. We can now watch, tweet and facebook uprisings in the eastern part of the world and the collapse of an economic power in the western part of the world in real time. All this history, being documented at the speed of light. But who is there to capture the reams of what is valuable for the next generation? Who says, “Wait a minute. This needs to be consumed and distributed for the future leaders of us?” We are, that’s who. Those of us that are on the front lines of culture building and the keepers of tradition through words, visuals and sound.

The theme of this special issue is fitting for our times...the Photo Issue gives us the chance to sit and observe the frailties and force of life in detail. History can’t leave our stories out if we document them from every angle. As important words are to the world, the gift of seeing a picture that goes along with them strikes an accord like no other. I salute all the visionaries in this issue as keepers of a flame that needs to stay continuously lit, as young eyes are watching the flickers of the most important times ever lived.

My foundation of belief in the new crop of creators is strong. I know Carter Magazine will stay among the ranks as truth tellers and messengers of hope to the vessels of change agents that are on the horizon.

Now picture that,

Datwon Thomas, Founder

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Photographer

Amelia Rawlins Copy Editor

Alex Alsup Copy Editor

Chimene Teixeira Public Relations/ Amada Entertainment

Sherniece & Darnell Smith Contributor

Marvin Scott Contributor

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Presented By

SEPTEMBER 14-18 | NYC | 2011 Proud Media Partner September 2011

www.urbanworld.org

Contributors Alex Alsup Writer/Developer

Alex Alsup is a writer and iPhone game developer living in Crown Heights, Brooklyn. His projects include the only fixed gear bicycle app worth a track stand -- Hipster City Cycle -- and, currently, he acts as Director of Fundraising for the Brooklyn-based Internet radio station, BBOX Radio. He is thrilled to contribute his services to Carter Magazine.

Brianna Walker

Najah Archer

Epyana Smith

Shanice Little

Naima Arbaoui

Shyann “Freedome� Pena

Who Run This... GIRLS With each issue of CARTER, new and enthused youth are given an opportunity to share their passions and voice with the world. We usually meet these young creative minds through organizations and formal institutions, however this issue is different. These talented teens formed an eclectic group of young women who were referred by CARTER readers, supporters and the community. Each writer brought a personal perspective to their piece and represented diverse interests of young woman all around the world.

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NYC 2012

FASHION

Alexander Allen

UNCOMMON THREADS

by Shyann“Freedome” Pena

CARTER: When you were younger, what do you remember to be the first thing you designed?

Alexander: I’m not really a designer, I’m a stylist, now I’m an image director. I never really was interested in design, and it’s still the same case as of right now. I am more of an editor, I can go into a collection and see something and I can love it as is or I can visualize how to enhance it, that’s were I am in design.

Which 5 words do you think describes your personal style?

Comfortability, sporty, classic, effortless, and just me. Effortless because I don’t really think about it, the most I think about my personal style is when I go to an event. I just want to make sure it’s something I haven’t worn before or something that is next level, because I know there’s going to be a lot of pictures.

Who was your first celebrity client?

The first celebrity I’ve ever dressed was Ananda Lewis, she use to be a disc jockey on MTV, I was very familiar with who she was, as a public figure. I was extremely nervous because it was my first time, my nerves were on a thousand. I still get nervous every time I have something to do and that’s because I want to do a great job.

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What was your most defining moment where you felt you finally made it as far as your career?

My first defining moment was when Eve and I won the VH1/ Vogue Breakthrough Style Award. I believe that was my first year into her transformation. My most recent defining moment I would say is working with Lil Kim. I love Lil Kim, I love her because she’s from Brooklyn, she’s a female rapper, she’s an under dog* right now. Everybody is doubting her and I just hate when people doubt greatness because you can’t deny talent. Whether someone else is popular now, you can’t just doubt them especially if they’ve reached heights before. So I just really want to work on this project to bring her back to where she was and take her to new heights.

Living or deceased, would would be your dream client to style?

My two dream clients are still alive, thank God! They are Mariah Carey and Janet Jackson, I need both of them! I love them both. I’m still a fan of entertainment although I’m in it. This is what I wanted to do for forever, so when I was in college; high school I just loved everything entertainment. Music, film, theater, everything about about it, with Mariah Carey I was a fan since “Vision of Love”, the same

With Janet, I was a fan since the Control album era. To you it’s probably about Beyonce right now but Janet was that Beyonce when I was growing up, Janet is still fire right now. Sometimes she was like Michael very futuristic, to me personally my own opinion that is not what I relate to fashion. Fashion is labels and looking fire wearing something that is in the new collection that no one can get for six months, and Janet is doing that now.

Janet never did that consistently prior to now. I wanted to do that for her but I still feel like I can put my own stamp on it if I got the opportunity. With Mariah there’s so much I can do for her, she is fire in her own element, and again people doubt her and figure she’s washed up. The voice is still there, she still writes, produces and arranges, she’s a beast.

Photo: King Boyett

How do you separate your style from your clients style,how hard is that?

I don’t really separate it too much because what I do is indicative of who I am. I don’t go into a project and just push myself or push my style on them. What I do is bring my sensibility, trends that are happening now, and that’s about to happen. I incorporate their personal style, target audience, what they want to convey, what their managers and record company want to convey and I marry all of that. That’s hard, it’s pretty challenging but you have to get it done because you have to make sure that everyone is happy.

Why is fashion and style your passion, how did it spark?

It just happened organically, I’ve always loved entertainment and I didn’t know what aspect of the industry I wanted to go in.

I knew I loved fashion, film, music, Broadway theater, the celebrities and the models. I didn’t know which way to go until I started interning, that’s why I feel internships are key to people who are a little apprehensive about what they want to do. I started out in magazines, magazines were great because that’s what I looked to for inspiration. But I didn’t love going home at midnight every night, that was crazy. I was fresh out of college, I wanted to live life. I came back to New York wanting to hang out, so I loved some aspects of it but some I didn’t. Then I went over to public

relations and loved that too, I had a little more flexibility but I had to get up early in the morning, and was partying all night so I had to figure it out. Once I had assisted a stylist, this was better, I was my own boss, time flexibility, great money, celebrities, fashion, music, everything I wanted to do. I knew from the very first time I had styled, when I was assisting on a shoot for Pink at the time before she was who we know her to be now, that the spark had been lit.

In your opinion , what’s one accessory that compliments any outfit?

We are in fall now but I’m going to say a nice pair of shades or frames. They are cool because it accentuates the face. Everyone notices the face first. When it’s cold,a nice bubble vest being from New York. Moncler is great but I love DSquared2. The designers live in Italy but are from Canada. Dean and Dan know about Arctic weather temperature. They also know and are fashion. They combine the two like no other.

What would you share with the CARTER reader about pursing their passion and dreams?

The one tip I want to share with CARTER readers is to think from a recession proof aspect. Inevitably, everyone is going to have highs and lows in their careers. Everyone likes to go the creative route. I went the creative route, but luckily I’m smart enough to know how to keep the projects coming in when things are slow.

How important is work ethic?

Work ethic is everything, thankfully I have that, my Mom instilled that in me. Again I feel like today’s generation is seeing that from people like Lady Gaga and Beyonce. Work ethic should not be confused with not having a life, it should be something that is authentic. That’s why if you’re passionate about something; if you love to do it in your personal time it will never feel like work when your doing it as a profession. Also when you research and you do your homework it will still feel like fun.

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MUSIC

CREATIVE BOYS CULTURE

by Najah Archer

CARTER: What is the value in forming a brand?

Tev & John: Becoming a brand gives you something you can market, and marketing is the most important part of the music industry. You can have the greatest music in the world, but without great marketing or strategy, it will go unheard, or very few people will feed into it.

In what way would you most like to improve the community?

Everyone: We would like to improve most in gang violence, mainly because most of the guys in the group are former gang members that changed their lives to help younger kids and steer them away from making the same mistakes we’ve made.

What comes first, your education or being a hip hop artist?

Tev: Education, of course. You’re always going to need something to fall back on if, later down the line, things don’t work out how you expected them to. I love performing, and I love the craft of being an artist and being able to create music and videos and things of that nature, but I also have to foresee that this isn’t 100% guaranteed.

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If you had a chance to compete in the Olympics in Track & Field, or tour with a major artist, which would you choose?

Tev: I would tour with a major artist. I love track and it used to be my dream to run in the Olympics, but realistically I can’t compete with those guys in the Olympics. Besides that, track is treated like a job now; there’s no fun in it as you get older. Now, when performing with a major artist, I know I can keep up because it’s what I love to do: perform.

So, I think I’d have a better time doing just that.

What is the relationship like between you and your fans?

Tev: I keep it on a personal level. I update on Facebook a lot so they can always chat with me there and I post relatable, everyday situations so they can see that I’m a regular kid like they are. Like, I have talents but I eat Lucky Charms too!

How is the chemistry within your group?

Everyone: The chemistry is okay. We don’t see eye to eye all the time, but of course chemistry in the studio is always a great mixture.

“

...I post relatable, everyday situations so they can see that I’m a regular kid like they are. Like, I have talents but I eat Lucky Charms too!”

What do you and your group bring to the table besides rap?

Tev & John: Creative Boys Culture. The “Creative” aspect stands for the talents of every member; rapping, singing, dancing, modeling, management, photography and so forth. “Boys” don’t just represent males, but females too; Building Our Youth’s Success. But since we’re predominantly boys, we use it. “Culture” is the culture of maturing from boy to man, or girl to woman.

supporters were in the crowd!

How was the group’s experience on 106 & Park?

Everyone: Mind-blowing! Probably one of the best experiences we’ve ever had. It was our first time performing on 106’s stage and meeting Rocsi.

Tev: I was really nervous, but after a while it just felt like another performance. Plus, I was hyped because all my

Is it hard trying to balance school and being an entertainer?

Everyone: It is extremely difficult, but time management fixes everything. Being in college teaches you how to manage your time not only in school, but in life too. I just take the same lessons and apply it to my life, which is what they want you to do anyway! So it works out.

What is your definition of hip hop?

Everyone: To us, hip hop is a mixture of different sounds, from different cultures. I know with us, we blend the Carribean sounds, sometimes rock, or even pop. As long as you can dance and hold a vibe at the same time, then you have hip hop.

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FASHION

BALLER

The iPad Case

GUCCI iPad cover $155 Gucci.com

FRUGALLIST

JONATHAN ADLER iPad cover $32 Nordstrom.com

BALL OR

BALLER

CHRISTIAN LOUBOUTIN $1,000 Christianlouboutin.com

To

oe h S e Th

FRUGALLIST

ARMY NAVY STORES $30.56 http://tinyurl.com/66mq3zq

FRUGALLIST

REEBOK KAMIKAZE $100 Reebok.com

BALLER

LOUIS VUITTON army hat Price upon request Louisvuitton.com

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The Hat

The Watch

FRUGALLIST

BALLER

NOOKA Zub Zoo EL 20 $130 nooka.com

UNDRCRWN $28 shopundrcrwn.com

FRUGALLIST

The Tee

NEFF Flava $20 zappos.com

R tBUDGE

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hat is the q uestion

by Alexa nder All en

The Sun glasses

BALLER

SUPER Cicclo unisex sunglasses $126 karmaloop.com

BALLER

DSQUARED2 $178 raffaello-network.com

FRUGALLIST

NYC STREET VENDOR on the corner of 23rd and 7th for $10

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EXPOSING THE FRAMEWORK

by Epyana Smith

I CANNOT BEGIN TO THINK OF A WORD TO DESCRIBE HOW AMAZING CHUCK STEWART, JAMEL SHABAZZ AND DELPHINE FAWUNDU-BUFORD ARE AS PEOPLE AS WELL AS PHOTOGRAPHERS. FROM JAZZ TO HIP HOP, THESE PHOTOGRAPHERS PLAY MUSIC THROUGH THEIR LENSES.

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CS

CS

CARTER: What is your approach with insecure subjects?

CS: I always wanted my people to look good. I learned a little more about it when I was working for TV five years ago. There was a very famous actor, I can’t remember his name, he had cometo read Christmas stories to children for a television show. During the break he came out and he was working with makeup. I pulled out my camera and he held up his hand. I wasn’t close enough to say anything so I turned my back to let him know I understood that he didn’t want his picture taken. When he finished with his makeup, he called me over and said, “Thank you.”

I told him I didn’t understand and he said, “Well, actors and actresses are the only people that know what they look like, and I make my money being other people.

I am famous for the gravel in my voice and the cleft in my chin.” So after that, when I would photograph people, I knew that they didn’t know what they looked like, so I would select moments when they looked best and then, Click.

tograph me?” It’s because you think they are beautiful.

JS: One of the things I did, too, is I always carried a portfolio with me to show the images that might mirror what I am trying to capture. I find that in having that body of work that I’ve always kept, kind of loosens the subject up.

In your approach, you might want to carry some of your work with you.

JS: For me, what I try to do with a lot of my subjects is tell them how beautiful they are to make them feel good first.

Then what I strive to do is help them visualize what I am trying to create.

I tell them to have faith in me. After I take the picture I’ll complement them again and give them a copy later on and they say, “Wow, you really made me look good.” Now, with digital photography, I can just show you instantly and it makes me feel so good to take someone who has doubt and convince him or her that they are beautiful.

JS: I met a young woman not too long ago and she said, “I’m a photographer and I have an archive of over fivethousand images. I’ve been doing this for three years.”

I was like, wow, if I had a digital camera for twenty years I could say the same thing. When I grew up - and I do not hate on anyone that is shooting right now - for me, I had one roll of film. Thirty-six shots and every shot had to count. I used the one shot, one kill method. I had to get it right the first time because there was no shooting one picture twenty times and hoping, like brother Chuck said, to get lucky. You appreciated photography better back then. Today, it is very easy for anyone to pick up a camera and call him or herself a photographer. I just say I am a documentarian. The main thing is to document.

Everyone should have a camera and shoot, but you have to maintain a degree of humility. Don’t get arrogant because you can put your camera on automatic and go.

It’s easy now - it is too easy - but you have to understand the tradition. I find with a lot of young people now everyone is a photographer and it’s too easy to get large.

We have to remember the shoulders of our elders and the doors they opened and struggles they went through.

DF-B: Sometimes you see people and you are automatically attracted to their beauty. Sometimes they are people who don’t think they are photogenic, but you see that they are. You can see the beauty in their eyes, or in the way that they are posing. It could be something that they are doing for two seconds that you capture and it’s like, “Wow, do you see how beautiful this is?” I feel like there is something about people and about the connection of spirits that just attracts you to them. When you can communicate that to them it actually may make them feel special because they are like, “Why would you want to pho-

Do you think it is easy to call yourself a photographer in this day and age when everyone seems to have access to a camera?

CS: The new technology says anybody in the world can take a better picture than me because they can shoot continuously. **CS makes a whole bunch of camera-shooting noises** Finding one good picture is luck. If they need somebody that knows what they are doing, then they need someone like me. It’s not about getting lucky. That’s fun if you get lucky, there is nothing wrong with that. It’s just -- how do you think of yourself as a photographer if you have to be lucky to take a good picture?

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JS JS

DF-B

One of the greatest gifts you can give a person other then knowledge is a camera so they can document their world.

DF-B: What I tell people, especially young people, who say they want to get into photography is; please pick up some film and learn photography so that way you will know what you are doing. So, that way, at least you learn the mechanics of what you are doing and you can then understand because I am sure that when you, Jamel, pick up a digital camera you are shooting it like you would shoot film?

JS: Yes! DF-B: Know the tool that you are using and respect the craft. A painter can illustrate and paint things, but if he or she doesn’t know anything about mixing colors then what you are doing is null and void.

Do you believe that darkroom photography is a dying art? Is it an art in itself?

CS: You can do things in the darkroom that you can’t do digitally unless you are a computer expert. Pictures are what they are.

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Have you ever questioned your passion for photography?

CS: No, no. Simply because I was fortunate to be able to work hard enough to make enough money to take care of a wife, three children, a mother-in-law and a dog. I was doing something that I loved, with people that I admired, and I earned a living. So what it was for me was a job because I was trained as a photographer.

JS: For me, photography is a way of life. It has been a way of life for me now for thirty-five years and I live it, so I never challenge it. I wake up every day surrounded by beautiful images, so it’s something I have to do. If I had a chance to do it all over again, I would do it the exact same way I’m doing it right now. I never question it at all. I love it.

DF-B: When I discovered this is who I was, there was no turning back. N.E.R.D. has this song and they say, “I hear sounds,” like he is crazy and I’m like, “I see images everywhere, I see photographs everywhere!” So it is just something that you are, you don’t get rid of it. I’ll always do it; there is no retiring for me.

Is there an image that you want to capture that you have not been able to? If so, what is it?

JS: Oh yeah, it’s everybody here! (Laughs) I hope you’ll work with me brother Chuck. Other than that, I’m all right.

CS

DF-B: This is an impossible question. You know why it’s impossible? Because sometimes you can be somewhere, or in the midst of taking the photograph, and you’re actually getting goose bumps. So you never know. You think it already happened, then sometimes it happens again.

There is something about being in the midst of things.

Like, I have this project I am working on and I can always visualize ahead of time what I would want it to look like, but there’s something about actually printing the photos that kind of gives you- it’s almost like, I don’t want to say it (laughs) it’s like you just feel like, “Wow!” (Everyone laughs) You don’t know until you’re in it.

JS: I have to go back; there is an image I would like to get and that is my daughter graduating college. That’s that shot.

CS: Ah, no, not that I can think of. The reason why is because the way I went about taking pictures, I am physically unable to handle the equipment anymore. I think I still have the eyes but I don’t have the body. What I needed was a quality image that was better then most people with 35-millimeter cameras going click-clickclick-click-click. I would take a 602 unit, that’s a strobe unit, to a recording session with me. So I said, no, it’s

DF-B

time to stop. Extra, Extra Read All About It! What you may or not know.

CS: A picture is that last thing people reach for and the thing they want to pay the least for. Now they are sending out contracts stating that if one hundred of their people use your picture and make a mistake you are the one that is liable. What I tell people is “Get your pictures somewhere else”.

Hating on the cell phone cameras CS: I went to a family reunion last year and one of my nieces, her husband came up to me and said, “Chuck, I wanted to take this picture of you but my phone ran out of film.” I think he meant battery. (Everyone laughs) JS: That is bad, Brother. I’m going to have to hate on these people for a minute. My wife always tells me I look terrible in the pictures but it’s because they are holding the phone up like, “Hold on a minute, hold on a minute.” So my expression is always, “What is that?” Then they ask “Do you want to see it?” “No! What is wrong with you?” Back in the old days we went to the drug store [to get film developed]. You see, I can relate to that. Keep the cell phone thing for yourself [I don’t need a copy].

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© Epyana Smith CARTER-MAG.COM

Photography by Epyana Smith

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Š Epyana Smith

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© Jamel Shabazz

Jamel Shabazz has been documenting the « Urban Life » for over 30 years. Born and raised in Brooklyn, NY, he picked up his first camera at the age of 15 and proceeded to record the world around him. Bro. Jamel has drawn inspiration from the great James Van der Zee, Gordon Parks, Robert Capa, Chester Higgins and Eli Reed. The author of 3 monographs, “Back in the Days”, “the Last Sunday in June” and “Time before Crack”. He is presently working on his fourth book entitled “the 90’s”.

Photography by Jamel Shabazz

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© Jamel Shabazz

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© Jamel Shabazz

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© Jamel Shabazz

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Photography by Rayon Richards

© Rayon Richards

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© Rayon Richards

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© Rayon Richards

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Photography by Delphine Fawundu-Buford Delphine Fawundu-Buford is a photographer, artist and educator. “The human identity is a broad and complex entity. I am interested in identities that internalize and counteract the social-political norms in Westernized and post-colonial societies. In addition, I would like to explore the African origins of ideologies and physical expressions outside of the continent.� Her latest works explores hip-hop culture in Africa, self-portraiture, and women issues.

Afrika Bambatta, Harlem, NY circa 1993

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© Delphine Fawundu-Buford

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Hip Hop Ladies, Brooklyn, NY

© Delphine Fawundu-Buford

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Hip Hop fans, Ghana Beach Party, 2008

Miles Davis, Dizzy Gillespie and friend

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Photography

by Chuck Stewart CHARLES STEWART, also know as “Chuck”, is an afro-american photographer from New York who has been a part of the jazz world since the early 1950s.

In his book “Chuck Stewart’s Jazz Files” hed said that he probably worked for more record companies, and produced more photo-visuals for albums, than any other free-lance, independent photographer in the world.

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Bill Evans

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Billie Holiday

© Chuck Stewart CARTER-MAG.COM

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John and Alice Coltrane listening to a playback at Van Gelder Studio

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Gil Scott Heron

© Chuck Stewart

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66BLAKBIRDS Tell us why the SPOTLIGHT is on 66BlakBirds?

Carlos: The spot light is on 66 Blak Birds because Briian and I are two young men who have decided to take a gamble and jump in the game rather than sit on the side lines. I think most people are attracted to love and passion and that is what we have built this store on.

Talk about the artistry of the companies.

Carlos: At YakBlak Sunnies and Specs we believe that “What is old is New” We take old vintage and dead stock glasses and fully restore them. We replace the lenses, realign & polish the frames and replace the hardware where necessary to ensure that we provide our customers with a products that functions as well if not better that new glasses on the market.

Briian: With Bsixtee6 I hand-craft the entire line. Hand sewing is becoming a lost art, but for me it’s freeing.

Why did you team up?

Briian: Carlos and I have been friends for many years and have watched each other grow and move. You can see consistency and when you talk about partnership, you want to feel like your partner has your back and you have theirs and i feel that with Carlos. It was a no-brainer!!!!-Passion for style and creative expression Being Black Entrepreneurs...

Carlos: I love being a young black Entrepreneur. It works on multiple levels: 1) It serves as a inspiration for your kids of color to see folks that look like them and come form the neighbor hoods they have come from doing well and trying to turn their passions into a living. 2) It also serves as example to greater society that young people of color do things other that play basket ball of Rap, or any of the other stereo typical things they associate with us.

Where did you get your passion for style and creative expression and love for the Hip Hop Culture?

Briian: I was telling a friend of mine that it’s ironic that although I was not heavily influenced by hip h op growing up in Richmond, VA in the 70’s and 80’s, my clothing definitely has an urban appeal and is embraced by the hip hop community.

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PASSIONATE PORTRAITS: Rayon Richards CARTER: What do you love most about being a photographer?

I have the opportunity to meet some really amazing people. Most of them famous, some of them not famous, but all people that are doing something good. [I love] being able to go all over the world and have these experiences.

Which do you prefer, freelance photography or staff photography?

I would much rather do what I do now, which is freelance; where I can work for any magazine or any record label.

One day I’m shooting some executive for Black Enterprise, then the next day I’m shooting some rock star for Rolling Stone, and the next day I’m shooting a rapper for XXL. That is what makes it interesting.

Who inspired you to pursue photography and why?

The photographer that inspired me to shoot was Jamel Shabazz. I came across his work when I was in high school

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by Shanice Little

and I was just becoming interested in photography. There was an issue of The Source Magazine with LL Cool J on the cover, and inside they did a whole retrospective on Jamel Shabazz’s work. I remember being in high school, being in the cafeteria, and saying, “Dang, I want to get a camera,” because I wanted to take pictures like these that capture people in their purest form, just as they are, and to show their natural beauty. And that’s really what inspired me to get into photography.

So, what was the defining moment when you decided that photography was right for you?

The summer right before senior year when I first got my camera, I met my mentor, Ernie Paniccioli. We met haphazardly in the street and we talked about photography. I was 17 years old, and he said that if I ever wanted to come to the studio and shadow him I was welcome to. And from

Which do you prefer, film or digital?

I prefer film. There is nothing that can compare to film.

I haven’t shot film in a while, but there’s nothing like it.

Digital is like a clone of a real person. Film is real. Once upon a time people would ask, “Do you have a digital camera,” now, it’s expected. If it was up to me, I would only shoot film, and only shoot 4x5 large format films.

Who are you dying to shoot but haven’t had the chance to do so yet?

If I had a chance to shoot anyone, anywhere in the world right now, I would want to shoot Minister Louis Farrakhan.

those experiences of hanging out with him, being in the studio, and going to the magazine, the excitement of the photo industry and the business made me say, “I want to be photographer.”

What was the most entertaining photo shoot that you have ever been on?

If I had to pick just one shoot, [it would be] when I shot Terrence Howard. It was right before he was headed to a black tie affair, and it was in a suite that I shot him in.

There was a piano there, and he brought his guitar. He was really excited about the shoot. And even though it was only about 25 minutes that we were there together, he was playing his guitar, and he was showing me all this stuff. Then he jumped on the piano, and was singing. He sort of put on a whole show! So yea, that was an entertaining shoot!

Besides photography, what do you do for fun?

I try to draw and paint stills. I love to listen to music and I love reading. The thing about photography, especially when you’re photographing people, is to be exposed to everything. I try to soak up a little bit of everything. I’m also thinking about taking martial arts. Oh, and I’m an avid bike rider!

What makes a great photographer?

What makes a great photographer, is a person who can use photography to properly tell a story. He or she doesn’t even have to be there; [as long as] someone can look at the photography and get exactly what the photographer was trying to communicate without an explanation, or a caption.

What is Heart Gallery NYC? [Heart Gallery NYC] is an agency that I partner with that helps young children who are in foster care find a permanent home. Being a person who has been blessed to grow up with two parents in a household, I realize that is not the case for everyone. So, being able to use my talent to help someone else is truly the greatest feeling.

How did you get involved in Heart Gallery NYC? I got involved with HGNYC because of a woman that I was working with. She was contacted by Heart Gallery and they were in need of photographers. She asked me to do it, and once she told me what it was all about, she didn’t even have to explain anymore, I was in.

What made Heart Gallery interesting to you?

Just being able to meet these cool kids. They are in these situations, but they don’t allow their circumstances to overrule their ability to have fun. That’s the best thing we can all take from a child; not allowing your circumstance to dictate your day.

What advice would you give to a young aspiring photographer?

My advice would be to shoot on a regular basis, even if it’s as little as a picture a day. Train your eye to see in composition, in a frame and within that rectangle. Also read, watch movies, and expose yourself to different things.

Look at other photography, go to galleries, go to the museum, and see what photography is really about. Check out the history of photography. One of the most important and vital parts of being a photographer or anything, is knowing your history.

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Edible Stills WITH

LAYLAH AMATULLAH BARRAYN

by Naima Arbaoui

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hen I was first told that I was going to interview Laylah Amatullah Barrayn, I had no idea what I was walking into. I did all my research, but I was a bit hesitant or I guess being honest with myself, I was scared. To have the opportunity to interview such an amazing person I felt as if I was unworthy, but the moment I met Laylah face to face, all was well. Interviewing her felt right and I came to learn that she was a beautiful soul. She was someone unmatched by many. Laylah Amatullah Barrayn is one of the most amazing women I have

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met in a very long time.

She is not only an endearing person, she is a human being filled with love, passion and a fighting spirit. I fell in love with not only her amazing work. While interviewing her, I have learned not only more about myself, but I have learned more about the world around me and the opportunities that it offers. Her work is widespread and yet so personal, allowing the viewers to walk away with a little piece of happiness. That’s how I felt when I walked away from her house that night. I walked

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away from this interview with a better sense of self, understanding me more and a little piece of happiness.

What do u think about the new media and its effects on the world of photography, cooking and education, since you’re also a teacher?

I’m really excited about the internet because when I was growing up and started getting into journalism, we had print. The internet was out but it was not as wide reaching as it is now. Not everyone had a personal computer; it was a very exclusive thing. I like that the internet has given people a sense of independence and it has inspired people to become entrepreneurs. People are creating brands, making money and taking things into their own hands now because of it. I think that in the world of photography the whole digital movement has somewhat hurt photographers because now since images are free, editors and publishers can just go online and get any picture they want and use it. That hurts people who want to take pictures for a living, and social media outlets don’t really help, instead they take away all of your rights in the fine print and that hurt photographers.

What do think of the youth, that claim to be photographers but don’t really know the history of it?

I think it’s awesome because now people feel like they have access to photography whether it’s through their phone or DSL cameras. I don’t see any entity out there [geared] towards kids that encourage them to learn or enjoy a certain craft. What bothers me is that what they may be missing is that most of these kids don’t know that there’s a manual side to the camera now. If you’re out there in the field and you’re in a situation where you want to take a picture of someone playing a sport, you look at the camera and you see someone running and you set the camera to that setting and take a picture. I mean that’s fine and dandy, but there’s also a manual side to the camera which can produce amazing pictures and give you control over how your pictures are telling the camera what to do instead of the camera taking the picture.

I think its wonderful people give kids the feeling that they can be a part of the exclusive world of photography.

I just wish that the push to learn the craft was in all of the kids that picked up a camera and said I want to take a picture. With art programs going away in schools, I don’t think most kids understand the idea of craft because all they have is their academics. They don’t learn the discipline; that energy to get up and learn a craft and spend years mastering it isn’t there, some kids just wake up thinking, there is going to be this great singer or athlete without putting the work in that involves being great.

What have you learned from cooking that you haven’t learned from photography or teaching, or vice versa. What have you learned from one aspect that helped you understand the other one better?

With everything that I do there’s no short cut to anything;

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there’s no short cut to cooking a great meal or to taking an amazing picture. There’s no short cut to anything.

You start off with a concept or an idea. You know I want to cook this meal or I want to take a picture like this, from that idea to the end there’s so much work involved. If you’re cooking you have to think about the ingredients, the cooking techniques, whether or not you want to make everything fresh or if you want readymade. The time and patience you put into things always gives you a better outcome. If I’m taking a picture with my manual camera, it’ll be a process. I have to get the right film, I have to figure out the light, I have to get out my light meter, I have to then figure out how I want to light you, do I want to give you a showdown, do I want to put the light directly on you. Then I have to actually pick up the camera then fix my lens. The whole process to doing things I think what I learned is patience and the importance of mastering something Speaking of cooking, what do you think of the new wave of farmers’ markets?

I love the farmers markets, but what made me happy one day was seeing a farmers market in Brownsville, I mean you’re used to the farmers’ markets being in Parkslope or those type of areas where the demographics are usually seeking out different types of food because the education they were given about food. When I see them in places like Brownsville, it educates another group of people to healthier food because there is so much genetically modified food out there. I mean I still don’t even know what that fully means so these farmers’ markets help educate as much as the feed. I love farmers’ markets; I love shopping there and I love that other neighborhoods that aren’t “cool” are starting to get them too because they need it.

Do you teach the importance of good healthy food to your students?

I do, but it’s difficult because here I am a teacher that they see for 6 hours of their lives, but their parents have the final say. If their mother or their father has a certain lifestyle then I’m competing with that and it’s really difficult. New York City Department of Education is extremely conservative and you can’t say the slightest thing to a kid because the principal or parent might get offended. I remember when there was the earthquake in Haiti I had the kids make signs that said I am Haitian and took them home and the parents were like hell no my kid isn’t Haitian. When parents only know negative things about Haiti and their kids come home with a sign that says “I’m Haitian”, they have a fit so you have to be careful when you introduce new things to a kid because you never know who you’re offending. There are a lot of red tapes that you can’t cross and it’s frustrating at times I try to convey information at the end of the day but it’s a tuff line to walk.

When you take a picture of your food what exactly are you trying to capture?

I’m trying to capture the succulence of it. I’m trying to capture the aroma and the juiciness. I am trying to convey to the viewer that this is extremely delicious and flavorful. I want to let them know that the cooking process was organic and full of love, but at the same time I’m trying to convey my talent and the fact that I’m a great photographer. I’m trying to let the viewer know what I can do with lighting and shadowing and show that I’m on my technical game.

Speaking of technical things, how do you decide on how you’re going to take a picture and what helps you decide those important technical aspects?

Well first of all I don’t like to photograph food in black and white because food is colorful, beautiful and amazing, so I’m always hooting in color. I try to photograph food the way we eat it[for example] if I was taking a photo of bread I would take a picture of a piece or slice with some jam or something on it, not the whole loaf just sitting there. I try to photograph it in its natural place or highlight certain features that I like [such as] seeds or chunks in food. I like to highlight distinctive things as well.

You once said that you “wanted to translate elements of truth into your photographs.” How do you go about that?

I try to do that by having a connection with my subject, and sometimes, I let my subjects pose themselves. I let them show me how they want the world to see them and I think that’s one of the most truthful things you can do. It’s straight from the horse’s mouth so to speak.

Does giving a subject full control stifle your creativity? What if they arranged themselves in a certain way and you didn’t like it, would you rearrange them?

I mean I don’t think people are used to being told they have free range to do whatever they want to do while I follow. I would expect some hesitation or a few mistakes and I will just have to speak to get them comfortable and shoot them when they are ready. I don’t know how in touch people are with themselves so it’s something that you work with as you go. It’s a learning process for me too; here I am with this person explaining to them how to have ownership of their image. I’m growing with them and learning with them through the process. I’m not stifled at all, I’m growing and learning with them because it’s an amazing collaborative process and I love those

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types of photo shoots.

“

I mean there are so many flavorful herbs out there... if used right, it can take a dish to another level.”

Why did you decide to stay as a self-taught photographer instead of going to school for it?

I’ve been around my mother my whole life and she was a photographer so when I first got my camera I just sort of fell into it and I loved that feeling. I actually went to school for writing and reporting, but photography was something I was around. I was surrounded by a community of photographers and that was my school. I was taught on the streets and it was all trial and error. I appreciate the lessons I’ve learned, going out breaking my camera, destroying my lens; all that experimenting stuck with me and was ingrained into my art.

Did your upbringing and family have an impact on your style of photography?

Yeah my mother loved taking portraits of our family members and the portraits she took allowed the later generations to see who the uncles, aunts and great-grandmothers were and I fell in love with that. I absolutely love portraits.

Why do you love portraits so much?

Portraits are beautiful. Portraits place people on this throne of a platform and it gives them this regal air and highlights the individuality.

How does religion play a part in your photography, your cooking or your teaching?

Well, being Muslim, that influences everything. With cooking, there are just certain things I have to stay away from. Islam teaches you to honor our body and others and to view God. If you’re viewing God, then you cherish his creations.

With my photography, it goes back to having a love for God, cherishing his creations and wanting to do right by them, so with the images I create I’m always trying to be accurate, truthful and authentic.

How has the world around you, everything from dance to teaching

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influence you’re cooking?

Well, the world around me expands my knowledge. I’m constantly being exposed to new recipes and new cultures.

I feel like the world around me is giving me a lesson on humanity.

Do you prefer cooking organic foods? How do you keep your food healthy?

Try to stay away from as much posed stuff as possible. I mean there are so many flavorful herbs out there that if used right, can take a dish to another level. Rosemary and thyme are two I love. When I shop at a supermarket, I try to go around the perimeter to get as much fruits and vegetables as possible. I try to stay away from dairy and I try to substitute things that have a lot of cholesterol.

What is your favorite food to cook, eat or take a photograph of?

My favorite food to eat is lamb. I love lamb, it’s amazing!

I find that since it’s not so popular in the United States you can get some pretty healthy pieces. I love grilling it, I love the texture and the flavor is just so distinct. My favorite food to take a picture of is desserts, because you can highlight the sweetness and texture. Desserts are usually pretty so they make for great pictures.

On love.carbonmade.com, you have your photography divided into sections. Tell us why?

I divided them into the top things that I love: live music, food, weddings, and portraits. I try to choose pictures that would stand out and be intriguing. I try to put the most visually satisfying pictures upfront.

How do you capture energy in a still photo?

That’s the challenge. In portraits there’s something in trying to capture someone in their authentic self and trying to get them to see themselves in their own picture. It’s about connecting with that person and I think your own energy and intentions has a lot to do with it as well. All of those things move faster than your intellect and the analysis’ that you put forth. I think your energy travels so you should always try to have good intentions when you’re taking pictures.

When you take pictures, what are you trying to tell your audience?

It depends on the time or the picture, but in general it goes back to being truthful. I want to convey the truth in this picture. Whatever that is at that moment, that’s what I try to do all the time. In all my pictures, but especially in my portraits, I try to convey the essence of that person, the truth and authenticity.

Do you prefer to take pictures of raw or cooked foods?

I like cooked food, the final product. I really like plating food What do you like about plating food?

I love conveying the experience of eating the food with the viewer. I love creating a meaning and experience to food.

You are a chef, a teacher and a photographer. These are three professions are different in themselves, but yet somehow you find a way to make them come together as one. What motivates you to do so?

They each have a function. I teach because I have to support myself, that’s just keeping it real. I can support myself in many other ways but I chose teaching because kids are fun. I love kids; they have good energy and are just full of positivity. They remind me to stay trustful and to stay connected to the world; they look for the best in you.

Kids are a good example of how to live well. Photography… I just love it. It’s a challenge because I’m still learning and it’s so meticulous and I think anything meticulous helps with your discipline and you need discipline to be a photographer.

If you could teach a cooking and photography class what would be on your itinerary?

Well first they have to learn the basics of the camera and how to set it up in any lighting situation. The cooking part would be a collaborative thing. I would find out what they like then research the field, the culture and history behind it. There would be a lot of historical and technical aspects to this class.

What advice would you give to upcoming photographers vs. upcoming chefs?

Learn your craft and be a master at it.

When did you take your very first picture that made you decide that this was something you wanted to do for the rest of your life?

My very first picture was of my uncle, he wanted to be a model so I took some head shots. I was five [years old] and I think the pictures were awesome. But when I took a picture that I loved for the first time was at the Million Woman March. It made me feel really important and powerful,

like I could offer something to the world and bring a piece of the march back to people who weren’t there.

Based on your travels and your trip to Senegal, how was the food there compared to American food?

The food was interesting. I was wondering why I was eating a lot but loosing weight and then I realized that everything was organic. It was all fresh, I had my first mango in Senegal and it was amazing they grow everywhere and I would pick one and eat it and it was amazing even their ice cream is organic. Everything is killed or picked that day straight from the land. I remember wanting some apple juice and having to wait for it because they had to go and juice the apple. It was amazing. I loved every moment of it and I wished I could have that experience here; everyone would be so much healthier. Over here we have McDonalds destroying oatmeal. I mean its oats. How do you manage to find preservatives to add to oats? They took something healthy and made it into some money making unhealthy thing and that’s just what we do in America.

When people look at your artwork what do you want them to see?

I want people to be happy when they see my work. I like it when people are happy I want them to have a euphoric feeling I want them to feel intrigued and I like to inspire feeling or curiosity. I want them to feel connected to my work in one way or the other. I want them to feel like they can go and experience it themselves. I just need and want a connection and I know it’s hard because everyone is different t and is coming at different angles but I just try to stay positive so that they can walk away with a good feeling about the picture.

Is there a picture of something that you look at every day and wish you took that picture?

There’s a food photographer named Andrew Scrivani. I love most of his work, but there’s this picture that he took of a blueberry smoothie in a clear glass. He poured the entire smoothie out and left some in and it looked like someone just finished their smoothie. All the ice is dripping down. It looked how a picture of food should look.

What advice would you give a young CARTER Magazine reader, about life and pursuing their dreams?

Research, research, research. There’s too much information out there for you to walk into any situation not knowing anything. There’s a wealth of information out there, anything from people to books to twitter. Go out there and interact. There’s never enough research.

There’s no excuse for not doing anything, we live in an information age. Everything is out there, just go and get it. Research information and analysis are key.

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THE FACE OF CIVIL RIGHTS

A CONVERSATION WITH KEITH BEAUCHAMP

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fter reading this headline a lot of questions may run through your mind. Who? Why? Where? But would you ever consider when? Well the unfortunate truth, is that this is still happening in communities all across the nation. This particular headline speaks to the tragic; yet catalytic story of the young face of civil rights. It was August 24, 1955 and the boys name was Emmett Louis Till. A 14-year-old African American boy from Chicago, Illinois living with his mother and stepfather visited his great uncle over the summer in Money, Mississippi. A whistle, a white woman and group of young fools sparked one of the most controversial incidents of our history.

Young Emmett whistled to Carolyn Bryant a young white woman, as he excited a store with his cousins. Later that night Emmett was abducted from his family’s home, taken to a barn, tied to a chair, beaten and had one of his eyes gouged out. After his brutal beating he was then thrown into the Tallahatchie River with a cotton gin fan wrappe around his neck with barbed wire. 3 days later, Emmett’s body was discovered and retrieved from the river.

His mother, Mammie Till-Mobley was devastated, horrified and heart broken when she had to identify her

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BY BRIANNA WALKER

son’s body days later. Emmett mutilated and unrecognizable; this was a strong woman, even in her mourning. On September 6th, 1955 Mammie Till-Mobley decided to have an open casket funeral to show the product of hate by the face of Emmett Till. She expressed her decision by saying “There was just no way I could describe what was in that box. No way. And I just wanted the world to see.” His body was interned in Alsip, Illinois not far from his birthplace.

You would think that whoever did this would be prosecuted to the fullest extent never to see the light of day again, but you would be wrong. Roy Bryant (Carolyn Bryant’s Husband) and J.W. Milan had more than enough evidence that led to them being the murders to have them prosecuted to the fullest extent of the law, however they walk freely out of the court house on September 23rd, with a verdict of “Not Guilty”. This was the true beginning of the Civil Rights movement and the world was watching.

Keith Beauchamp was 10 years old when he decided to go into his parents study to look through their collection of Jet magazines and that’s when he saw this picture on the front page of this 14-year-old boy that resembled himself. What he didn’t suspect was that on the other side of

the page was a monstrous face of the same boy. He then called his parents into the study and asked what this was.

His parents explained the story to him of that day and the boy. He was shocked to find that this young boy was killed so gruesomely over such a simple gesture. This opened his eyes and It wasn’t until two weeks before his high school graduation when he really felt this was apart of his reality; racism was real.

He attended his pre-graduation party and decided to have a dance with a white girl. A bouncer comes over pushes him along, saying, “Nigger mess with your own kind”. Keith was in shock and after words were exchanged they began to fight on the dance floor.

He was then taken outside and hit with a metal keychain and taken to a prescient. Keith was then handcuffed to a chair while an undercover officer that was at the party that also had apart in his beating on the dance floor, beat him until he found out that one of Keith’s close friends had a Police chief for a father.

Keith said the only thing he thought about while he was being beat was Emmett Till. He was relating to him while he was being discriminated against and accosted. The men who abused Keith Beauchamp, were not prosecuted either.

From that day on Keith was determined to reopen the Emmett Till case and connect the pieces. He decided to go to college and study criminal justice to be a civil rights attorney. After graduation, Keith began his quest to reopen this case and gathered all information that he could on Emmett Till. He began interviewing people that were never interviewed, getting the unspoken story. Keith knew that the main person he needed to get in contact with was Emmett Till’s mother. He thought that she would be bitter and not want to talk about her son. He shortly found that to be false and learned she was the most supportive person ever in solving her son’s case. She had faith for all those years after her Emmett

had passed. Mammie Till had faith that her son would have justice some day and that Keith was the person that would bring it to Emmett, as well as her.

His own parents supported his mission to help make a film out of his discoveries and interviews after looking deeper and deeper into Emmett’s injustice. One of his most shocking discoveries was that 5 of the 14 people who took part in helping torture and kill Emmett were Black.

Keith thought that they were forced to do this but after interviewing them he felt that some of the things they said didn’t add up, that they were still trying to cover up something that happened so long ago.

I asked Keith in our interview if there was ever a time where he wanted to quit the Emmett Till case and he answered with a definitive, yes.

“After the passing of Mammie Till in 2003, I went into a long depression.” Keith says he always thought he was so determined to reopen the Emmett Till case for him, but in all actuality it was for her. Realizing she would want him to finish this, to get her son justice, was motivation to keep going.

In 2004 the case reopened and justice was finally served. At the time the people who partook in the killing of Emmett Till were mostly dead except Carolyn; the women he whistled to all those years ago.

Keith has a motion picture based on all his findings, interviews and the reopening of the case called, “The Untold Story Of Emmett Louis Till”. www.emmetttillstory.com. He is also continuing to fight the injustices of the untold stories of civil rights and human rights still happening today. You can catch his show “Injustice Files” on the I.D. Network this fall.

As we wrapped up our interview, I asked Keith if he has some advice for youth of the Hip Hop generation to fight social injustices. He says adamantly, that all the greatest revolutions, boycotts, movements in history started with the youth… so don’t be afraid to stand up for what you believe in.

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Homage

Coretta Scott King (1927 - 2006)

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SHE GAVE US KING I

by Syreeta Gates

n the late 80’s a generation of young ladies were inspired by Queen Latifah’s “Ladies First“ anthem. We had the privilege of watching on our televisions, as Oprah showed us what generations of greatness look like with the “Legend’s Ball”. As our minds took photographic snapshots of all the women whose “persuasion can build a nation” , we too believed that ANYTHING is possible. These tunes and images have inspired millions, but what is there to be said about the woman that gave us KING? Before the world knew Martin Luther King Jr., there was Coretta Scott. We have always heard the saying “In order to know where you’re going, you must know where you came from”. Well this still is relevant today. Scott’s father was an entrepreneur and knew injustice all to well, when his business was burned down. Despite challenging odds her mother risked her safety by busing her children and the children of others, to the only Black school in their vicinity. Her older sister was a pioneer, becoming the first African American to attend college on integrated terms. Coretta’s parents symbolized the essence of Jay Z ‘s lyrics, “So far ahead of their time they had to start another life” , which is exactly what they did. The tools that her family instilled in her such as perservence, ambition and hope, prepared her for one of her greatest roles. Being the foundation of a people, lead by one man.

Coretta graduated valedictorian of her high school and studied music and education in college. For these experiences, along with her families quest for justice, became the building blocks for her activism. She was active on her local school board, NAACP and her college’s Race Relations and Civil Liberties Committees. Because Scott used music as a way to create change, it only made since to bring life to it in her civil rights work as well. To say the least, as famously quoted by Tupac, Mrs. King “sparked the brain that changed the world”. She met Martin at Boston College and later married young. For what the future held there, was no other woman on the planet that was built to deal with threats that occurred due to Martin’s involvement with the movement. Her background and “backbone” helped shape King to manifest into the man we admire, honor and love.

As Beyonce says in her songs lyrics, “Strong enough to bear the children, then get back to business” , Coretta did. She raised her four children while actively participating in the movement, after losing her spouse. Mrs. King assumed the role as CEO of The King Center, did LGBT activism work, assisted in the Women’s Movement and received honorary doctorates from over 60 colleges and universities. The list continues, she authored three books and a nationally-syndicated column and served on, and helped found, dozens of organizations. Mrs. King spoke before thousands of people all around the world and in 1983 made her husband’s birthday a national holiday!

What’s phenomenal about Mrs. King besides all of her accolades was her pioneering vision and strength. For her ability to think about future generations, is what literally fed millions of people through King, both literally and figuratively. For if one day went by that Martin went without eating, the people he sought to assist would go unfed as well. We learned from this brilliant, strong, healthy woman what it takes to strengthen a nation. If we already have the tools necessary to feed a country, tell us what would it take to inspire others to change the world? And how can we make it a reality today?

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CELEBRATING 15 YEARS OF FILM EXCELLENCE