Leslie "Teacher" Palmer

Palmer participated in the annual Notting Hill Carnival street festivities since its inaugural event in 1966,[11] and had also been back to Trinidad to study the organisation and artistic forms of the carnival tradition there.[12][13] He had been thinking of how the London event could be improved, by broadening it to make it more inclusive of all the Caribbean islands as well as of British-born black youth, and he was given the opportunity to begin implementing his plans after taking on the role of carnival organiser in 1973.[9][10][14] Anthony Perry, former director of the North Kensington Amenity Trust,[15] who provided Palmer with premises from which to operate at 3 Acklam Road,[16][17][18][19] has said: "I don’t think there was a Notting Hill Carnival as the world knows it until 1973 when Leslie Palmer really put some juice into it and turned it into an all-island event".[20] In the words of Tom Vague: "Under the administration of Leslie Palmer, the Notting Hill Peoples Carnival was transformed into an urban festival of black music, incorporating all aspects of Trinidad’s Carnival... getting sponsorship, recruiting more steel bands, reggae groups and sound systems, introducing generators and extending the route. The attendance went up accordingly from 3,000 at the beginning of the 70's to 30–50,000."[21][22][23]

Palmer encouraged traditional masquerade, and for the first time in 1973 costume bands and steel bands from the various islands took part in the street parade,[24] alongside the introduction of stationary sound systems, as distinct from those on moving floats,[25][26] which as Alex Pascall has explained: "created the bridge between the two cultures of carnival, reggae and calypso."[27] According to Claire Holder (Carnival organiser 1989–2002):

"Leslie Palmer brought the Caribbean community together because at the time when he became chairman of the carnival it was a purely Trinidadian thing. Leslie said, ‘there are so many aspects to Caribbean culture and it should all be represented.’ That act alone didn't just bring people into carnival; it actually impacted on our whole perception as Carnival people. His impact went beyond Carnival. It had an impact upon our existence as black people in this country."[28]

Palmer also arranged for photographs from the Carnival to be exhibited at London's Institute of Contemporary Arts.[2]

In late 1975, he took up a job working for Chris Blackwell's Island Records, promoting reggae worldwide and travelling with artists including Toots and the Maytals.[2][29][30] Palmer went on to start his own management agency, representing young British acts such as Aswad, Steel Pulse, Janet Kay and Alton Ellis. Then with assistance from the Ministry of Labour he founded the Brent Black Music Co-op (BBMC) to mentor young musicians on getting ahead in the music industry, with Geraldine Connor as head of education.[2] In the 1980s he had his own music career as an artist, performing and recording under the name Wounded Soldier.[31][32][33]

He subsequently returned to teaching, retiring in 1996, after which he began to divide his time between London and the Caribbean. From his base in Bon Accord, Tobago, he wrote about the island for visitors, producing a popular magazine and a website, What's On ... in Tobago, and eventually compiling eight years of this work into a book entitled Tobago Exposed – The Essential Fun Guide.[34][35]

Palmer heads the annual Notting Hill Carnival Pioneers (NHCP) Community Festival, established in 2013,[36][37] now held in Horniman’s Park, Kensal Road.[38]