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Shared Interests Group

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Christopher Evans
Christopher Evans

[S2E8] I'm Nobody! Who Are You



Tina: ...or out of the pub slightly drunk, or on a vacation at the sea, you know, a mother, and the father, and the little brown baby being held, um, that those, that, that those images tell stories. And, those images tell stories that compelled me to look closer at them. And, they also just reminded me of stories that, or stories that my own family photographs tell, um, that I could see, you know, I could see my grandmother here, I could see my grandfather there. And, so, I started thinking about what, what do we try as black people and black communities and black families, what are we trying to express differently through the making of images? And, that was a question that I pursued by looking at these images of black German families. And, then my friend, the artist, Keith Pi, Keith Piper once I started writing about this stuff that I have showed it to him, this visiting with me, and he said, "You have to go to Birmingham." Birmingham, uh, England, where he's from. And, I said, "Why do I have to go to Birmingham?" [Laughter] And, he said, "Because you have to look at the images of my people." Because there was a massive collection of Studio portraits that were made by African Caribbean migrants to the UK, and they were recovered from this studio, uh, photographer, a portrait photographer named Ernest Daish. And, uh, they, it was just, you know, when his studio closed and he actually, when he died, they were going to just, you know, throw away all of these things, but an, um, a brilliant archivist named P. James Sedug[?], "I'm going to rent a truck and I'm going to take all of it." And, I put it into an archive. And, what you saw was a history of this particular area, but it was also the history of Birmingham more generally - the demographic evolution, and the demographic evolution of Britain, um, over the course of the post-war period, and the waves of migration, because they would come to his studio to get these portraits made, and they would get these portraits made, and then we send them back to their families. And, what I was really enthralled by was the function that photography was served for this community, to both document themselves, but to also tell a particular story about, um, who they were, and who they wanted to become, and how they wanted to be seen. And, at that point in time, I focused on the portraits, you know, of individuals, of families, and the tradition of making studio portraits that goes way back, to you know, to the Caribbean. And, also in the South-Asian community, it is one of this kind of Edwardian rituals that was, um, that proliferated throughout the British Empire. And, when they got to the UK, they did the same thing, but the pictures that, I did some more interviews, I did interviews with that generation of the Windrush generation of migrants to the UK. And, I asked them, "Why did you make these photographs? And, you know, and what were you trying to say?" And they said, "You know, we were trying to say we're all right. We're trying because, you know, they could call us. We could say, we were all right, but nobody believed us. They needed to see a photograph."




[S2E8] I'm Nobody! Who Are You



Lynn assures him that the only reason they make him hide in the shed is so that nobody will find him and take him away. They care about him. Then she mentions that the cat juice was fake, because of nothing.


Riker goes to the phaser range, where he and Captain Picard get in some phaser practice. Picard comments that Starfleet thinks it would be a good idea for someone from the Enterprise to participate in the exchange program. He also notes that there is a Klingon vessel, the IKS Pagh, in the area. Riker gets the idea, and volunteers to be the one to participate in the exchange because "nobody's done it before". 041b061a72


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