Do you feel like it's an answer because of the way you're sharing it with people or because it's a physical book? I mean, how can we remedy that where culture is, in general around the world, different cultures seem to be getting kind of diluted and sometimes even lost?

We've managed to put together a really interesting collection of writers, poets, and to contribute to the book.

So, um, that's really given it a bit of, a bit of status, uh, I suppose.

And, uh, the words that, that are in the book, the words that they have written really help to tell the story, the history, and the heritage of what carnival represents, you know? And I think you've got an older generation who w- who probably came over in the '50s, uh, who understand carnival because they lived it.

They were a part of that transition.

They, they, they get it.

And then you have this younger generation who they know the carnival because it's a place to go drink rum, eat chicken, dance, get high.

How did the, the work of the, the other contributors affect your sequencing of the images? And, and did it, in reading their work, did it change your feelings about, about your own images?

Um-

I, I suppose the work that I had begun with Celebration of Demonstration was all around protests.

And, uh, little did I know that the pictures that I'd been taking at the Notting Hill Carnival over the years would, would, would slot into that.

You know, Notting Hill Carnival was born out of resistance.

It, uh, was something that happened after the, the race riots that were happening in the 1950s in West London, uh, then the killing of, um, uh, Kelso Cochrane.

Um, so there was all this tension that was, that was happening, uh, in West London.

When I look at the Notting Hill Carnival, especially growing up, Carnival was always something you did for fun.

[laughs]