The Occhi team is proud and honored to interview the many talented individuals showcased on our platforms, particularly when they provide inspiration and illustrate a level of drive and tenacity we all need, especially as artists. I’m particularly honored and happy to share this article on the very talented and inspirational Gary Thomas KYPA. I’ve grown to know this London-based multidisciplinary artist as a tremendously humble, heavily grounded, highly principled human being I have the utmost respect for. Gary kindly shared time with us to talk about his career and much more.
Thank you for agreeing to catch up with Occhi Magazine. You’re an interdisciplinary artist, with an MA in Fine Art Drawing from Wimbledon School of Art, and an impressive photographic resume. How were you introduced to the arts and when did you decide to fully pursue what has become your multifaceted and successful career?
My first glimpse of the arts predates back to the 70s, my early childhood at Colegrave Primary Infants School in Stratford, East London. I was completely fascinated by Walt Disney cartoons, DC and Marvel comics, music and then gradually I moved onto the science behind Renaissance Art. I was a visual learner and did not care too much about the text which often supported epic scenes of art. My visual interpretation or understanding – in others words, if the image looked good that was all I needed to know. Everything else was about having excessive amounts of fun. Taking matters further, I became known for joking around and starting a musical interest with my very close childhood friend Odell Johnson. Odell was unique – his approach to music was effortless, especially on the piano. And because we both had mothers who came from a Pentecostal church background, it seemed natural to synchronize my love for visual art and music with another creative individual who loved music.
Back to the infants, I can remember one particular art lesson with Mrs. Mason, the Deputy Headteacher. She was and my form tutor. I saw a collage made by classmate Linton Bennet on Black sugar paper of a man skiing made out of torn pieces of magazine paper stuck down with glue. To me, this was where art was not just about a comic book superhero ready-made up and presented to me all glossy and perfect. This was hands-on and I was building my own interpretation without the restrictions of rules and perfection and using tools to create outcomes to my satisfaction. I wanted more.
By the time I entered the last phase of primary school, Hometime, school holidays, and so on were entertained with the aroma of Mrs. Johnson’s delicious cooking and music, then I would come home to enjoy my mother’s culinary skills. Entering the Juniors at Colegrave I found myself always drawing. Not sure of the exact year, music and art gave me somewhat an unexpected direction. I remember being asked to compile a series of drawings I drew from a book that was also a children’s television show and this became my very first solo exhibition on display, covering an entire wall. These large size drawings overlooked the lunchroom for all to see and then I had another idea.
Between 1978/79, my next adventure, I began forming my own school band without a name. Just as the band was coming together, I was not ready for the next transition of my youth. I became very attached to the school and the people with it. I was not ready to grow up and face a new decade. Once I attended Rokeby Comprehensive School in 1980-85/86 (one year of Sixth Form Study) and was exposed to art lessons and seeing my art teacher Colin Merrin’s portfolio in 1984, I knew from that point I was going on a creative journey. It took two attempts with my ‘O’ Level GCE Art exams to realize my potential and it was time to settle down from being the class clown. On the first attempt, I was entered a year early in 1984 and not satisfied with a grade C. The second attempt in 1985, I shared the exam room and space with Lee McQueen regarded by millions around the world as fashion guru and icon Alexander McQueen. He earned a B for his ‘O’ Level GCE Art exam and this time round I humbly produced a grade A, and then I always wanted each day to be art and music and no other subjects to exist. Access to the drama studio and its piano. The assembly hall grand piano. The art department. They were my world.
I give God thanks for my art lessons, as they saved me from a life of negative energy which so easily snared a number of my peers. About to leave school with a few GCEs, I had to turn away from the crowd and see the reality of my life mapped out. It was not looking too good.
At this point, it all began to make sense. I am taking ‘A’ Level Art early (Adhoc) earning a placement at East Ham College, under a different tutelage at Arthur Ruff’s Life Drawing classes once a week. This was me and I loved the challenge, the setup, and subject material – Life Drawing.
Entered for the art exam a year early and, having a better understanding and the meaning of ‘Balance’ in my creative life, I earned an ‘A’ Level Art Distinction and this was where I became eager to explore other interdisciplinary art forms. Once Sixth Form was over, I became keen to explore graphic design as a means to an end. It took 2 years to complete an Ordinary National Diploma in Graphic Design at East Ham College. I liked Typography and commercial art, posters, and so on. However, my heart was drawn to life drawing. I just love drawing figures.
Not satisfied with my portfolio of work, I did not make as much effort in all areas of graphics. I decided on one last attempt to see if going on to complete a Higher National Diploma in Graphic Design would finally make a difference and award some prosperity. I enrolled at Swindon School of Art & Design in Wiltshire but, yet again life drawing was the driving force more than the whole course curriculum.
At the start of the 1990s, with only a few months to go before the end of year show, the UK economy was beginning to stagnate and, looming over the latter part, I was going to have my first experience of an economic downturn. My hopes and dreams of working for an established graphic design company quickly disappeared and over a hundred CVs I sent out returned in the post.
So I spent the next seven years doing menial temporary jobs and going freelance. Our Price Records shop in Ilford High Street, C&A, and Stratford Social Services were stop-offs and the ambition to be a graphic designer was ebbing away; then along came the DTI (Department of Trade & Industry) in Old Street in the middle of 1995, working part-time gave me a second chance and to re-think my next move. In that time I learned to sing – watched a vocal coach work with some of my young people who attended Friday night youth club. I examined the technique of breathing and voice control and went away to master this art form for myself. So if I was not creating visual art I was singing.
Working to briefs or creating letterheads just was not my drive anymore. I missed attending life drawing classes where I could really express myself. By 1997, I looked around in my local library for art courses and found the exact gateway into the next dimension for my creativity to grow. The perfect drawing course and discipline – An MA in Fine Art Drawing Practice at Wimbledon School of Art.
From time to time I notice myself looking back and forth at graphics and wondering why. Not wasting all of my learning with graphic design, I found a way to combine elements of typography, composition, and design layout and incorporated them into the work I produce today. And I really liked the flexibility to do so.
In the summer of 2008, I wanted to find another way to document my findings, explorations reference material. I began to sort after a camera – my visual aide, but what brand? Decisions, decisions! So I went to Currys, the electrical appliance retailer, and was swamped with a row of cameras and just could not make up my mind of which one to buy. Assisted by a camera expert, my choice came down to a promotion and cashback reward, so I bought the Sony A300 entry-level. For most of the time, it served no purpose until 2014. I would take it everywhere with me.
Then one day I met Roger Thomas a professional photographer at an event called Nexus One world Music at St George’s in Bloomsbury, Central London. This event showcased the non-mainstream talent and the freedom of expression and then a light came on. I watched Roger and listened to him describe his musical background. I was ready to take the camera with me to every performance. For the next 3 years, that camera became my version of a degree course. I would be at an event at least once a week just practicing and retraining my eye. However, on May 28th, 2015 began a whole new experience. I was invited by a great friend of mine Robert Blenman to John Saunderson’s Notting Hill Music Network Monthly opening night at Tileyard Studios, Kings Cross, London.
About an hour and a half into the evening, I politely went over to John and asked if he had someone to document his event. John replied, “No mate.” I said, “..well I have my camera with me would you like me to take some pictures for you?” John placed both hands on my face and said “Thank you mate. You’ve just saved the night.”
Once John and I partnered together as a team, my first ever publication was featured in Music Week dated 17th August 2015. I had no idea what Music Week was all about. When my second feature happened dated 7th September 2015, I had a chat with Steve Salvari, one of the subjects in the photo over the phone.
Steve says “Do you know what you have just done?… You got your picture into Music Week again.” I replied, “What is Music Week???” Steve answered, “You taking the p**s!?” I responded with little care or no reaction at all. Anyway. It just did not register what was the importance.
Now I am looking at using better tools and equipment for this very important role for John’s event. The Sony A300 was starting to show its limitations. For a brief moment, I began to use one of my ex-student’s camera from the Canon range of cameras. I liked the results. By the end of 2017, my salary as a supply teacher went into building my interdisciplinary art form to another level. I had invested more money to upgrade from an entry-level camera to a professional-level camera with gear and, at this time, I was beginning to see a new purpose and prosperity.
And that being said, I have a handful of photographic pieces the can be found on my website which went live on the 31st January 2021 in the service section Photography and Updates. Having said that, my photographic music-journalism subject material, content from 2017 onwards were now becoming more frequent. Back then 2017, the work that was featured had grown into 10 editions and 14 publications of Music Week – Today 2021, It has reached 29 editions and 38 publications in Music Week. When I compartmentalize and divide the work of team workmanship and my own individual professional work, 25 entries into Music Week were about John Saunderson’s positive impact within the music industry.
The remainder 13 publications are of my clients:
(this includes 2 of John Saunderson in the online News section of Music Week) Sir Tom Jones (Live Nation), Boyz II Men, Mo Pleasure, Gladys Knight (Kennedy Street/Live Nation), Dionne Warwick, Stephen Duffy (BMG, UK), Teddy Riley, Blue Weaver, Simon and Diamond, Errol Reid, Rob Hallett (Robomagic), Blackstreet & Dru Hill. It is most certainly all about teamwork…Teamwork makes the Dreamwork and I love what I do!!!
The great thing about Notting Hill Music Network Monthly was the quality of the music industry people who attended. Just by speaking to the right person doors open. I knew exactly what I wanted to do and made it happen. I am not interested in gatekeepers. Once I find the key major players look for results and that is how the job was done.
I did not get into Wimbledon School of Art the first time around. My portfolio seemed at odds and I could not talk about my work confidently. I just did not have the right portfolio and passion. Going to the interview was nerve-racking. I did not have a signature to my work – something distinctive and recognizable;
However the constructive criticism at the end of the interview from the head of the course, Bob Mason set my biggest challenge and that was to redo my portfolio and re-apply to the course again for 1998. And that I did.
I was so determined not to fail. At the end of 1999, and approaching the months of 2000, dealing with abusive siblings, two sick parents, and working full-time, I managed to earn myself an MA in Fine Art Drawing. But it did not come without a price. Within a week I went from 11 1/2 stone down to 9 1/2 stone. The stress levels were too high and one day coming home from a life drawing class I went upstairs to lay down. Once I awoke I could only move my eyes. It took about 20 minutes before I could slide and raise myself off my futon. I was in a state of paralysis.
All I can remember from that moment onwards was not being to walk properly. It would normally take me at least 7 to 8 minutes to walk from home to Stratford Station – instead, it took 20 minutes and this stayed with me for over 6 months. Also, I forgot how to sign my name. I was referred by my GP to a Neurologist and was diagnosed with Post Traumatic Stress Disorder. My head was very tender and I found myself only able to sleep for 1 hour per day. I had to slow down but it was difficult, my siblings for the past 20 years or more made my home life very unpleasant! The bullying, harassment, victimization, and abuse were just too much!
I knew what was happening to me, but was not mentally strong enough to cope at this time. As for the next 16 years, my health was fluctuating. From 2013 to 2016 I was at my lowest. I relied on natural medicines such, marjoram and ginseng for the stress levels and a healthy selection of aromatherapy oils, including marjoram oil for its relaxing calming effects.
Unfortunately, I collapsed at home midway through January 2015 in front of my computer and again in February on top-off my piano. My heart was racing too fast. It happened a third time, the warning signs were telling me it is time to let go. For too long I was lost in a fragile world of Isolation and abuse. ‘Letting Go’ of what my siblings were doing to me became a theme for a series of art & dance pieces and discussing my weight loss and purpose with my great friend Molly Miller, who helped restore the willpower to get up and start again and focus on me and bring about imminent change. I became Facebook friends with Dance Choreographer Frankie Lee Peterson III from the USA and he collaborated with me online with some of the pieces. This was a release and I was ready to start a new chapter in my life and continue to surround myself with positive energy.
Being discovered on Instagram by 2 Times Emmy Award-winning TV journalist and news anchor Efrem Graham from Studio 5 and CBN News in 2018 gave me the biggest art expose. As part of his ‘5 days of Thanksgiving’ in America, the show aired during America’s Thanksgiving day. On Studio 5.
As the producer and presenter of Studio 5, Efrem placed a spotlight on my portraiture of him in mixed media entitled ‘A Window of Possibilities’ to be featured alongside the likes of Quincy Jones, Michael B. Jordan in 2018. This unique TV Magazine show is a hit. The title of the show was CREED II.
One of his favorite subject areas in media for newsworthy material is entertainment. Red Carpet entertainment and close-up behind-the-scenes footage with major headlining stars and so on. So this was a breath of fresh air and the right direction needed to expand my horizons. He then commissioned my fine art skills as a gift for his friend KCWII (Kenneth Craig Williams II). I was given a list of photographic images to work from. I tailored it down to two images. A positive rewarding result, but only focused on the one.
However, the second image surprisingly makes another appearance this time from the owner KCWII in the latter part of 2019. I will come back to this part of the story later on and the huge risk factors involved and surprising outcomes.
Anyway, the next thing that ensued and added on unexpectedly was the day I rediscovered my photograph of my colleague John Saunderson, which I took on the 15th January 2018, and did not realize he was a number 1 hitmaker.
The photo was turned into an iconic image on the BBC World Service for a documentary on the 1st October 2019 and then on 3rd February 2020 another photo in Music Week, this time for the 2020 Eurovision Song Contest which has an audience of 220 million people.
On the first day when the BBC WS film documentary was aired and optional playback for BBC listeners as a podcast, it was viewed by 80,000,000 people around the world. It is still visible to date. Don’t ask me how many views it has today… so now I am in 2019 scheduling my work in order.
Back to KCWII, who wears many great titles particularly the tile of Grammy, Dove, Stellar, CMA, BET, Soul Train, and Rhythm of Gospel Award Winning Artist Management -clients included Jennifer Hudson, Usher Raymond, Kelly Rolland, Karen-Clark-Sheard, and The Clarke Sisters, he decided to commission me to create a piece of artwork from the second image without a brief.
Just as I was about to execute the work for KCWII, I had a sudden change to my day around 30th December 2019, my dear mother was in a critical stage. It was life-threatening and required immediate medical attention. I had to put everything on hold! I started the new year without her being at home.
2020 became a year of reflection and making difficult decisions. I was alone and committed to restoring my mother’s health without any support from my siblings. And that became my entire focus day and night without fail and very taxing! Until I was able to remedy my mother back to excellent health – reversed her kidney failure, heart failure, blood sugar, blood pressure and cognitive impairment, mobility, and healthy diet which took over 6 months to achieve; I took up the reigns once again and got my artistic mojo flowing.
It was around the start of the autumn I got back in touch with KC (for short) and allowed him to get a glimpse of a quick sketch from the second photo as mentioned above. It was meant to be only a gimmick although it had the potential of being the final piece in its own right in I guess in an Instagram DM (message) to him. He really liked it. I, knowing myself on the other hand did not feel this was my best and so took advantage of the moment, the pressure and in the worst-case scenario just bit the bullet and hope for the best and start again.
I gave myself a week to complete going back and forth examining any imperfections and repositioning my viewing objectively on the easel, holding the work in front of the mirror, from a distance in the passageway, close up until I was satisfied. On the 5th day, I was happy with the results.
The next challenge was to convince KC to see the same as I. Phew! The moment of anticipation and getting the finished piece of artwork packaged for delivery was beginning to show my nervous disposition. Over to the post office and filling out the Parcel Force label for its destination was a race against the clock and collect my receipt then it was just a waiting game.
I believe it arrived on 27th November 2020. I am thinking to myself this is going to make me or break me. I open up my DM on Instagram and read from KC something on the lines of “it’s here. I am speechless!”
My heart was pounding and then subsequently, KC posts a video about his experience with my artwork on his Instagram page. I burst out laughing! Every time I watch his reaction of surprise and utter joy of his absolute honest pleasure, I often press loop or watch it again, smile, and repeat the same laughter! What a humbling experience. Phew!
What lessons have been learned from all 3 major project accomplishments are: You never know who is out there watching you or your work. In the midst of all chaos, trauma, and uncertainty, I was able to develop and adopt the art of healing my mother and recognizing this to be a new art form or science I can use on myself and also planning or mapping out my next move has no guarantee unless I believe it!
Having an eye for detail is regarded as the ultimate tool and just being myself equipped with a large variety of resources to support my ideas. For art orientated specifically figurative projects the music that flows through my being defines the outcomes to any piece of artwork along with the use of space.
I am a people person. I like to bring to the fore, the room to relax and feel comfortable in front of the camera and not to take the moment too seriously – in fact, I have noticed by removing the elements of intrusion which to some people the camera does present, I like to use my voice, humor and my mannerism to reassure the client. It works!
Fundamentally music has to be in the same space where I am producing ideas, development, and outcomes. Please refer to my website Updates section for different examples.
My faith in God. I could be going through moments of living hell and still be able to produce my work of a high-end standard which would seem impossible without his divine intervention.
Molly Miller has been a long-time friend from my days working at Stratford Social Services back in 1994 when I was one of the post room boys. She is a top businesswoman consultant. Her coaching skills are superior and she possesses a mastermind of words.
In 2016, I was without a purpose and she gave these one-on-one inspirational talks to get me back on track during my days of drought to become fruitful and raise my benchmark. These talks would happen on the top floor restaurant in M&S Stratford, Westfield over cups of tea and nibbles.
Roger Thomas presented a different kind of experience to grow and become my own person with a camera in 2014 when we first met. His calm therapeutic approach and relaxed idea to focus and work with what you have made my training days far more rewarding and achievable and at no time did he display signs of ego or felt threatened by my presence.If Roger was a book about photography, from cover to back his method was easy to register. He exhibited a charm and accessibility to read him at my own leisure and always having the freedom to delve into his every artistic nuance like an athlete passing on the baton. An exceptional man of the highest humanitarian qualities.
Colin Merrin was the art teacher from Rokeby Comprehensive School who steered my future towards fine art. His portfolio, what more can I say, and to this day I’m thankful to be reunited with his gift and physical presence!
Young people inspire me. They present so many different levels of experiences, whether it be fractured and fragmented by social-economical downturns and what they do to survive during those types of extreme conditions; or it is the way they are not easily fooled and how they have found a way to take advantage of today’s technology, social media outlets and so on and above all it’s their energy.
Greenwich Music Time and the organizer Cuffe & Taylor had a week of top performers for each day back in July 2018. The event was supported by Live Nation. My publicist at Live Nation helped secure two nights at the event. The first being Sir Tom Jones and the other was for Nile Rodgers and Chic.
To set this up properly an exchange of emails between myself and my publicist and the person in charge of PR outlined all the terms and conditions. I was cool with that. I then emailed the Deputy Editor of Music Week about my coverage of this event and what to expect from my work.
I turned up for Sir Tom, and the reception was warm and inviting until the time came to meet the in-house photographers who discovered I had an exclusive photoshoot backstage with Sir Tom and Cuffe & Taylor just minutes before he went on stage ready for publication in the No1 music industry bible Music Week.
Music Week is on the same level as Vogue magazine. Covers everything from artists, record labels, charts, promoters, songwriters, news worldwide, and so on. This is really big.
As I conducted what was from my side a healthy conversation with both in-house photographers, I sensed an uneasiness with their responses after I had taken the photograph. It was obvious from their body language, in an indirect way I was not welcome, so they set themselves up to speak to the person in charge of PR to prioritize the in-house photographers exclusively and only get to photograph the headlining acts.
I politely said my goodbyes and stayed calm. I come home and email the Deputy Editor at Music Week and included the person in charge of PR about Nile Rodgers. PR replies and states thank you Gary I will take over from here and forwards onto the Deputy Editor a press pack. Why I don’t know?
I am told from PR they will photograph Nile for Music Week and do I still want to attend the show. I replied “yes. Of course.”, and presented a request from my good friend David Nathan from Soul Music.com who knows Nile very well to have a photo for his website. PR said no.
I returned on the Friday evening for the Nile Rodgers and Chic event. I was met by the PR’s Assistant who seemed very warm at the time and she gave me my Press Pass and Backstage Pass.
I have a quick chat with Cuffe & Taylor requesting for them to have a photo with Nile Rodgers for David Nathan’s Soul Music.com and they were keen and they gave the thumbs up to set it up outside. I was told you are allowed anywhere backstage except on stage. Things were looking great at this point until the in-house photographers showed their faces. Then things just suddenly turned sour. Nile Rodgers casually walks out of the entrance to the promoter’s building as I am backstage and heads over to the railings which overlook a park and the River Thames and he is seen by a small number of passersby.
I walk over towards him keeping a certain distance as he starts filming on his mobile phone. The in-house photographers spot me with Nile and contact PR while DJ Pat Sharp is doing his set as there is plenty of time before the main headlining act comes on. Staff are now gathering outside backstage. The PR person heads over to where I was standing and says you are not allowed to photograph Nile backstage. I replied okay and I have not.
The person in charge of PR stands and stares into my face as the in-house photographers look on and moments later he turns his back and radios his assistant to come outside. Just before she arrives, Cuffe & Taylor now appear and she comes with a pair of scissors ranting, ‘I want you on the other side of the fence’ and cuts my wrist band and takes away my backstage pass. I was told the in-house photographers have full rights and exclusivity with the headlining artist. I felt publicly humiliated, but kept my composure and just stayed very calm whilst being ushered out of backstage by security into the main ground where the public were settling down to their seats.
I look back and notice a smug look on the in-house photographer’s faces as I continued to accept what had just happened and stayed calm. Pat Sharp finishes his set and now it is time for the photographers to enter the photographer’s pit as they came with an arsenal of camera equipment hanging from shoulder to shoulder and across their chests.
I said to them I did not take any photos of Nile backstage. Nile comes out and does a little crowd warm-up with the audience and later returns to begin his classic show. Not put off by what happened I compose myself and get into position with my camera. PR comes over to me and says you only get to photo 3 songs.
The stage is high up and I only brought my 16-35 wide-angle lens and not a 70-200 telescopic lens for close-ups taken from a distance. Classic ‘Everybody Dance’ is the first number performed live and gets the crowd going and I cannot get the shot I am looking for and the pressure is on.
I tried standing on the photographer’s seat to reach up and get a better view, but the person in charge of PR told me to get down. As I looked to my left and right, I could see the in-house photographers grinning or smirking. Time is running out and then all of sudden Nile comes in view dead center of the stage looking down at me, then click. By the time the 3rd song was playing out the outro, PR signaled it is time to go.
I left the event feeling satisfied and contented. I got the shot!
Once home and completed all my edits, I contacted Music Week. The Deputy Editor tells me, not to worry about sending photos of Nile next week, there is a big feature on Nile Rodgers done a few weeks ago coming on Monday’s issue.
The following week I go into WHSmith to purchase a copy of Music Week for the Deputy Editor’s page ‘Frontline HotShots’ only to find my picture of Sir Tom Jones and a mention of Cuffe & Taylor/ Live Nation made it to print and it was position beside Quincy Jones who just completed his Q&A at the O2 Arena.
I was thrilled to bits and began checking all the pages for photos by the in-house photographers – There was nothing to be seen. I smiled and thanked God. Job done. This was my15th edition and 20th publication in Music Week.
I showed my mother my work and immediately phoned Cuffe & Taylor to tell them of the good news about my photo of them with Sir Tom Jones with blurb that was featured in this week’s edition of Music Week. To me, this was about knowing oneself and in the midst of adversity accept the situation whether it be positive or negative, and deal with it. I can also see who I am not in other people and the way they operate and get things done.
Patience. Calmness. Professionalism. Focus and being strategic and ready for action is fundamentally important when opportunities present themselves and face the fact not everything is going to run smoothly. Remain humble, in control, and choose your battles carefully.
Nineteen years of teaching in the capacity of a supply teacher is the best move I ever made. For a while, working in an academic institution defines a set of rules and systems that are routinely beneficial if you like staying in a box. Once I discovered how to challenge the box, and take the lid off, this is where the institution becomes a great exploration with a different set of rules and an open-creative-playing field. I brought my own ideas outside of the curriculum that students wanted to get involved sticking to the guidance of safeguarding with management.
Firstly, I wanted to play the piano, but my approach to the instrument at the time was clawing at the keys. The Head of Music in waiting or responsibilities were slowly shifting over to music teacher Ms. Rachel McGaw as Tim Rossell the Assistant Head Teacher and current Head of Department were needed elsewhere with the management team.
One day I asked for a manual for self-teaching and began to practice the basics principles. It took a while to get used to the method and then it was over to a keyboard shop and buy a slimline electric piano fully weighted 88 keys. I struggled to learn to read music and decided to teach myself how to play the piano by ear.
Once I demonstrated the impossible is possible and plant the seed of believing in the students can do this or anything they want, then we were going on an adventure. My music projects for example with students such as The Khameloids 2006/7 centered around the needs of the student and what he or she wanted to achieve.
It was never about the pupils replicating their musical heroes. To facilitate their interests was by creating a believable model or scheme of work and picture me as if I were them. I stripped away the hierarchy of being the teacher and came down to their level. I felt it was the right time to step back, give them the freedom to explore their full potential and that meant taking them away from the classroom after a series of rehearsals into a recording studio, a place outside of their comfort zone, and giving them control.
On lead vocals was Stephanie Levi-John, Drummer and bandleader Daniel Johnson, Laurence Hiller on Drums and guitar, Conrad Clayden on keyboards, and Quincy Roberts on percussion and Bass. Daniel was an ex-pupil from St Pauls Way Community School and part of two previous independent school music projects The Anomalies and The Anomalites.
He was responsible for putting The Khameloids together. Only Quincy was a current student at SPWCS. School holidays became rehearsal time on the school premises. Promising. It was just a countdown of the days and weeks before we were stepping into a professional recording studio.
For me it was about let’s do this – For The khameloids, this was a novelty and a funfair excursion. The atmosphere was buzzing with positive energy. The communication was mutually uplifting and rewarding to see how things just naturally took shape. It was a great learning ground.
The recordings are complete and each band member was eager to hear their sound and parts. Some are more critical than others. The next phase was to turn the recordings into a manufactured CD album that was tangible, durable, and indeed the finished product to share with their family and friends. In my opinion, It is also my best example of a collective piece of work made by a group of students.
This year marks 15 years ago when this project began. The rewards of this particular project go beyond making an album. The focus is truly about believing in the dream and that is why it continues to be the benchmark for the work I do now with any young person.
I have had the opportunity to mentor in between the years and be available at their request, and it is fortunate to say a few months ago we all reconnected by phone or text and I can humbly celebrate each of their successes:
Daniel earned a BA (Hons) in Film & Drama and is working as a film actor. Laurence also graduated and has become an architect. Conrad graduated and has become an architect. Stephanie has become a film actress and starred in a TV hit series The Spanish Princess (Starz) and Quincy tours globally with his steel pan band.
Looking back specifically at the origins of Keep Young People Alive long before The Khameloids Project, 2003, the playground area was the backdrop or the main setting to explore what the students would do to preoccupy their minds, and what I came across from time to time was shocking and sad at the same time. Pockets of gangs, drug-taking, weapons – the mentality to cause harm was rife.
Something needed to change and this is where I came up with a very simple plan. I stayed behind after school one afternoon and went over to the Music Department and spoke to the Head of Music Mr. Tim Rossell to use the main band practice room to practice on the congas.
Moments later, I pause and head over to the window and saw two students walking by the play area. They heard me playing asked if it was okay to come up. And they did. It was Daniel Johnson and his former friend Anhar Miah. What should have been a moment of curiosity turned into a jam session from 3.40 pm till 7.00 pm.
It was the next day’s morning break time word had got around about yesterday’s little jam. Come lunchtime, I went back to the music department only to be overwhelmed with over 100 kids all wanting to jam with (me) Mr. Thomas. The main band practice room was filled to the rafters, the foyer, and the corridor leading directly into the music department. It was absolutely crazy!!!
However, the atmosphere and enthusiasm were amazing!!! Gang member boys and girls were soaking up the vibe creating a healthy buzz. Once the peeps went for lesson time, Tim came over to me and said I have always wanted to create a buzz in the music department and you have managed to achieve it.
This is a team effort and I share the success of the project and aim my gratitude at the music department and its leadership. This event became popular with over 100 kids a day for 7 years it was known as “Jammin with Mr. Thomas” and that was how KYPA was born and the point of reference was Daniel; However, all of this could not have been achieved without the support of the Music Department.
Not to use one’s background as an excuse to fail. There are perhaps many reasons to fail in this life and they are equally many good reasons to succeed. I am naturally a self-motivated individual and I combine this with education. The next thing I do is apply myself to whatever interests me to get results.
And I don’t mean education can only be found in the confinements of an academic institution. Learning can take shape or form anywhere the mind is open to receive. I am always studying people, traits, outfits, body types, and all the different nuances.
Since 2015, I like to focus on how I can make more of a situation, a time, a moment so they all become something special. I am very spontaneous, and I am about teamwork. I like creating win-win situations for all.
I am collaborating with a top musician in the classical music industry and we are going to produce a photograph for a famous recording studio in the UK.
My website gary-thomas-kypa.ukKeep Young People Alive! My Instagram page @pianonkypa is also an alternative route or a shortcut for visual documentation of my creative journey. Back catalogs of Music Week www.musicweek.com BBC World Service John Saunderson. Efrem Graham at Studio 5 Creed II @efremgraham, https://www1.cbn.comand @KCWII, and soulmusic.com
Images:
- Unsavoury Characters VII ┬® Gary Thomas KYPA 2019
- ‘Untitled’ Charcoal © Gary Thomas KYPA 2019
- Dance Strata I Mixed Media © Gary Thomas KYPA 2020
- /GT..Nile Rodgers Greenwich Music Time (Live Nation-Cuffe & Taylor) © Gary Thomas KYPA 2018
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