Last week, a Banksy mural on the side of a South Wales garage was sold to art dealer for a ‘six figure sum’. The new owner John Brandler added to his collection of pre-existing Banksy pieces. The artwork itself displays a child appearing to enjoy a snow shower, however from a wider angle, it becomes apparent that the snow is in fact, ash blowing over from a bin fire. This piece may be interpreted as a critique of the current environmental state, and the risk of disillusionment this poses upon future generations.
Photo Credit: Getty Images
Since his
first emergence into the art world in the late 1990s, Banksy has a pattern of
producing work with a social commentary. He has risen from rags to riches; walls
of alleyways to the homes of millionaire art-collectors. However, in his 2006
book Cut It Out, he states:
“The people who truly deface our neighbourhoods are the companies that
scrawl giant slogans across buildings and buses trying to make us feel
inadequate unless we buy their stuff”.
Now, I don’t deny that Banksy has a valid point within this extract. We can not step outside our homes without being bombarded by the side effects of living in a commercialist world. My issue is with what Banksy has now become. More specifically; his hypocrisy, which has become increasingly apparent in recent years. In Summer 2015, Banksy opened the doors to his ‘Bemusement Park’ titled Dismaland. This was a temporary project organised by himself, described as a ‘sinister twist on Disneyland’. It displayed a collection of various artists, including a giant pinwheel. Which has recently been given a £50,000 government grant to be transported to Somerset. Though I appreciate a giant pinwheel may be seen as a local artefact, £50,000 could have been better placed in practical arts programs, or local community services.
“The people who run our cities don’t understand graffiti because they
think nothing has the right to exist unless it makes a profit….” This statement has become almost satirical. Banksy has created a personality whom
despises capitalism, yet he capitalised from Dismaland, he capitalises from his
art. In fact, his net worth is estimated to be £38 million. His art is praised
for being relatable, accessible and empowering often from a socialist
perspective. However, we cannot deny his new position of privilege, and his
integration into the exact elitist world he was previously fighting against. It’s
interesting to consider the original context of Banksy; a movement of
rebellion. Which is now barricaded and policed 24/7 in public places, and
available exclusively within high-brow institutions, for a small fee of $1.37
million.
Even his attempts to dismantle the establishment have ended ironically. In October 2017, as the gavel dropped for the Girl With Balloon, so did the painting… through an in-built shredder. As a result, it’s value increased dramatically and it became a global viral sensation. As a publicity stunt, this was huge. As a socialist statement, not so much.
Which poses
the question, is Banksy a Sell Out? Has the radical anarchist he once was, become
muted by the glitter and gold of being a multimillionaire?
Wearing make up has always been one of the most radical things a woman can do.
In an article penned for the Independent this week, journalist Julie Bindel claimed that women getting rid of their make up is a ‘far more radical’ statement than burning your bra. To that I ask, what is more radical than not doing what you’re told?
Opinion: Come on feminists, do the radical thing and ditch your make-up bag https://t.co/v13u5ExzwB
Makeup has existed almost as long as modern-day humans have. Egyptians used red ochre to colour their lips, ancient Greeks dusted powder over their cheeks and Romans used fruits as skin dyes.
And as long as women have been wearing it, they have been
criticized.
By reducing make up to ‘slap’, Bindel vastly underestimates the
exact power of makeup for so many women across the world, and across the millennia.
The confidence, control and power that so many people gain from it cannot be
ignored. For her, there may be power in going without it, but for many women
make up has a different name; ‘war paint’.
If Bindel was truly a transformative feminist, she would have read about how the suffragettes fought against sexist depictions of prostitutes by wearing and reclaiming the famous ‘whorish’ red lipstick during their protests. Or about how a few short decades later, the arrival of large quantities of the same red lipstick to the liberated Bergen-Belsen concentration camp became the first step to returning humanity and hope to the starved, abused Jewish women who had had everything stripped from them by Nazi soldiers. That tiny slither of femininity and body autonomy made a huge difference.
Liberated women at the Bergen-Belsen concentration camp, 1945 (By No 5 Army Film & Photographic Unit)
Makeup has been a feminist weapon for decades. Whether women
have been choosing to wear it, or to not wear it, it’s the choice that has
always been debated and fought over. A call for women to throw theirs away isn’t
revolutionary, it’s incredibly anti-feminist.
Whilst we disagree on some things, some parts of Julie Bindel’s article are true. The pressure on women to look perfect, to be constantly working on their appearance and to buy more and more products to do so is a worsening issue in the 21st Century. According to Statista, the market value of the beauty industry in the UK has increased by over €2000 million since 2013 (https://www.statista.com/statistics/491298/beauty-and-personal-care-united-kingdom-uk-market-value/). Making women feel insignificant is a very profitable business. But attacking women for exercising their right to free expression is not a good way to target this.
Women wear makeup for a wide range of different reasons. To
feel confident, to feel powerful, to feel beautiful. To feel as though you own
your body in a world that often likes to remind you that you do not. Makeup has
always been deeply ingrained in human culture, and probably always will be. Any
feminism that tells women what to do is not really feminism at all. So, wear as
much or as little makeup as you want; either way, the fact that you have a
choice is what is important.
In a time where crime in our capital is at an all-time high, the narrative we often see in the mainstream media is that people of colour, are using violence to channel their pain. This is only part of the story. There is a growing group of BAME men and women, using their experiences to inform their art.
In our 10 part feature, we meet some of these artists. These artists are swimming against the tide, creating a lane for themselves. They talk to us about the Cost of Artistry.
5/10 meet Maz Hedgehog
With this feature we want to give our readers, an insight into those whose work we greatly admire, the opportunity to have a serious discussion about poetry/rap – free from the usual angling of “page vs stage” or “new young star brings poetry out of the dusty library”.
We caught up with Maz Hedgehog and spoke to her about her journey as a poet and her relationship with the world of poetry.
When did you discover you had a “talent”?
I’ve been writing for as long as I knew what poetry was. I guess I discovered I had talent when I started performing in 2012/13 and my work got such a warm reception.
What have you had to sacrifice to nurture your talent?
I’ve sacrificed a lot of sleep getting to and from poetry nights; public transport is really unreliable. Otherwise? I really don’t feel like I’ve sacrificed anything. I’m doing what I love!
Who inspires your artistry?
My family; I grew up reading poems with my siblings and hearing my parents tell me stories. I’m inspired by mythology as a way of parsing culture and telling stories. But I’m mostly inspired by fantasy fiction. I mine fantasy novels and fairy tales for poem ideas all the time.
What is the biggest misconception people have about poets?
That we’re all pretentious. Poets can be a really friendly and down to earth bunch, especially in the spoken word scene. I hope even more newcomers dip their toes in and figure out what a thoroughly welcoming broad church we are.
In an age where digital echo chambers are growing wider, what role do you think poetry can play in this?
Poetry can slip in politics when you’re not looking. The stories poets choose to tell and how we choose to tell them says a lot about our social and political outlook. When you read poetry (or fiction, or even creative nonfiction) you’re invited to humanise and come to understand people you may not come in contact with otherwise. That’s a powerful thing.
Has a poem ever humbled or frightened you? What was it? When did it happen and what did you do afterwards?
So many times! Where She Is Opened, Where She Is Closed by Donika Kelly has haunted me ever since I read it. What The Dead KnowBy Heart by Donte Collins is a masterclass in emotional force. Mary Magdelene by (Amy) Kinsman is where I’d like my poetry to be in a few years. For each of these, I’ve turned them over in my head a hundred times and tried to figure out what has made them stick with me so firmly. I don’t try to imitate as such, just learn. I’m trying to make my writing make me feel the way theirs does.
Some poets claim that a poem is like a living creature: once it’s out there is not much you can do to ‘correct’ or ‘improve’ it, while others edit meticulously, not leaving much from the original, draft form. What is your take on it?
My writing process is like a journey to find my poem. I often start out having no idea where its going to end, so it’s almost like an adventure. But it means I have to edit a hundred times before it ends up in a form I’m happy with. So I guess it’s a mixture of the two? My poem is a living thing, it just takes me a few tries to find it and bring it out into the light.
How do you define success?
My idea of success is to be able to walk into a room of amazing poets I admire and know down to my toes that I deserve to be there. I hope I get there soon.
Do you ever regret sharing your work publicly? Do you trust the reader in a world of instant gratification and instant communication?
No. There are some poems I performed years ago that I hate now, but each moment of sharing and vulnerability has helped me grow into the poet I am now I trust my readers because they choose to trust me. Of course I worry that they’ll misinterpret it, but that’s a risk every artist who’s ever lived has taken. I don’t think instant communication changes that very much, other than enabling me to reach wider audiences than I would otherwise. And for me, that’s pretty amazing.
The cover of Maz Hedgehog’s new collection Vivat Regina
Tuesday 15th started as a normal day for me. I woke up early anticipating my looming exam at 9 am. The exam went well, and my first thought was to jump on WhatsApp to share the news to my aunty. I messaged her “Hi tete exam yafamba mushe” translating loosely to “Hi aunty the exam went well”- No reply. A day went by and nothing. Strange I thought she usually replies within the hour. The same was for my two cousins who I contacted. It seemed like my family was on radio silence.
A few days prior, my dad had told me there was a bit of unrest in Zimbabwe due to protesting. President Mnangagwa had announced a monumental change in fuel price on Sunday giving a rise of 150%. This makes cost of gasoline and diesel the most expensive in the world (GlobalPetrolPrices.com). Citizens would be expected pay up to $13 and of course the Zimbabwean people were not happy. People had taken to the streets of Harare and Bulawayo chanting and burning tires in the street. Whilst this was worrying nothing could have prepared me for the events to come.
Protesters gather near a burning tire during a demonstration over the hike in fuel prices in Harare, Zimbabwe, Tuesday January 15th 2019.
The Consequences of the Fuel Price Strike
It was only upon checking social media I knew something was very wrong. Scattered images, videos and tweets told concerning news: “The Zimbabwe government had ordered a shutdown of internet access”. Police and Army troops were deployed to quell the unrest using tactics of force and brutality, against many innocent bystanders and the partial internet block was the perfect way for ZANU-PF to try and hide their use of intimidation. Starting between 14th and 15th of January, the whole country was on radio silence with few managing to evade the block on social media by using VPN’s.
President Emmerson who is currently on an international trip, bidding for investment, has been called to return home to resolve the issue. Intermittent return of connection was seen on Wednesday 16th January in what seemed to be the end of all the chaos. But it has now been revealed this was solely for the purpose of wiring money to the chartered plane company, Mnangagwa was using for the next leg of his Journey to Belarus.
Image credit: Prof. Steve Hanke
By the evening of Thursday 17th January, a complete internet shutdown was put in place; this time affecting emails and hindering the use VPN’S. Econet, the country’s biggest provider, sent an apologetic text message on Friday:
Text message sent by Econet to their customers: Image Credit Charlton Hwende
‘Zimbabwe Association of Doctors for Human Rights’ stated that they treated at least 68 cases of gunshot wounds and 100 plus other cases of assaults with sharp objects, booted feet, batons, etc. It is estimated that between 3-8 people were killed.
Zimbabwe’s History of State Sponsored Violence
Since its independence in 1980, Zimbabwe has experienced low intensity conflict, marked with few but significant escalations in state sponsored violence. The Zimbabwe African National Union – Patriotic Front (ZANU-PF) formally lead by Robert Mugabe, has been renowned for its use of ruthless tactics to gain monopoly of state control. Notable moments of protest and violence include the Gukurahundi between 1983-87. Approximately 20,000 Zimbabweans of the Ndebele ethnic group were killed and tortured as a measure of settling unrest in Matebeleland. More recently outbreak in violence was seen amidst the elections which put Mnangagwa in power. After the “soft coup” in 2017 (commended by its lack of violence) saw the peaceful removal of Mugabe from the presidency, hopes for Zimbabwe’s recovery, were quickly overshadowed by the blood split after the election held 8 months later. Protests took to the street – declaring that elections were rigged and were met with violence from deployed military personnel. It was reported three people were killed as soldiers fired live ammunition, tear gas, and water cannons.
Thousands of opposition party supporters march in the streets of Harare, Zimbabwe, on July 11 2019.
What’s Next?
Econest are said to be submitting a High Court application – against the directive to terminate social media accessibility. The Zimbabwe chapter of Media Institute of Southern Africa (Misa) also announced it would be approaching courts to unblock social media. Currently, human rights activist Evan Mawarire, has been arrested for treason and could be sentenced 20 years after calling for a stay in protest on Thursday or by the government’s claim of “inciting civil unrest”. With so many empty promises given to Zimbabweans, it’s hard to imagine court appeals by the mobile company will hold much power in a system riddled with corruption. After 2017’s removal of Mugabe, Zimbabweans imagined a future of economic growth and change but the recent blood shed seen in the past year highlights that Zimbabwe is most certainly not open for business.
Tanya is currently studying Biomedical Sciences at the University of Manchester and hopes to pursue a career in public and global health. She is a lover of fashion, travelling and has a keen interest in racial- social issues. She enjoys learning languages, being fluent in two and is currently adding Spanish to her resume.
As discussions deepen from the U.S. and China’s ongoing trade war, the reality for the rest of the world is fate akin to cannon fodder. Should this cold war continue?
In July last year President Trump followed through on months of threats to impose extensive tariffs on China, for its alleged unfair trade practices. So far, the US have placed tariffs on $250 billion worth of Chinese products and has threatened tariffs on $267 billion more. China, for its part, has set tariffs on $110 billion worth of US goods, and is considering qualitative measures that would significantly affect US business in China.
Last March, when Trump initially finalised his tariffs, world markets went into a slump. Most importantly tech industries, as they were amongst the worst affected in the immediate aftermath of the “Facebook data scandal”. Market’s appeared to recover later in the month as evidence of behind the scenes negotiations emerged. However, the ongoing uncertainty as to a potential resolution places the global economy in a precarious position.
Together, both countries account for 39.8% of global GDP and with neither Trump nor Chinese President Xi Jinping willing to back down, tensions could erupt into a full-blown cold war. An escalation in the trade war could take a heavy toll on global growth by 2021, creating price pressures that could force interventionist measures to prevent a potential recession.
If you’re wondering why China’s sanctions don’t match Trump’s, there’s an easy explanation; Beijing is running out of American products to target. The U.S. imported $375 billion more products from China than the Chinese bought from the U.S. last year – because of this, Trump has a lot more to punish.
However, while this may mean that China’s leverage on trade is limited, it doesn’t mean that Trump can easily win this confrontation. This is because China has many other ways to retaliate, such as dumping its considerable holdings of U.S. debt or obstructing U.S. efforts in negotiating a nuclear deal with North Korea.
Another option for China is to escalate the confrontation by using its substantial economic leverage outside of trade. China could retaliate by reducing its purchases of American Treasuries or by selling some of the $1.18 trillion in its possession. Overall, China owns almost a fifth of the U.S. national debt currently held by foreign countries.
Though it would probably be less apocalyptic than is sometimes assumed, a Chinese policy of reducing its holdings would substantially drive up the cost of many of the goods that Americans buy every day. The problem with this approach for China is that it would also strengthen the yuan, making products more expensive to import from China.
The reality is that if the trade war between the U.S. and China intensifies, it can lead to a recession. It will cause consumers in the U.S. to cut back on purchases of the now more expensive domestically produced goods. The U.S. producers of those goods will expand their workforces and purchases of raw materials, but other U.S. producers will find less demand for their products from foreign buyers as well as U.S. consumers who are now poorer due to the imposition of tariffs. Those producers will lay off workers and buy fewer raw materials. The adjustment to this new pattern of demand will not be instantaneous and will be painful and costly to the workers thrown out of work, the cannon fodder of the trade.
Kay Ajibade is a graduate of the University of Leicester with a honours degree in Law. He is a chartered accountant, with a keen interest in sports, economics and politics. As an unseasoned journalist, Kay is keen to cover modern day developments at the forefront of global business.
Theresa May announced her Brexit ‘Plan B’ to parliament, but little progress has been made since last week’s votes.
Theresa May today addressed parliament in the wake of Tuesday’s record breaking Brexit Vote defeat, and the subsequent vote of no confidence victory by 19 votes; 325 to 306. With the option of a general election definitely off the table (for now), May spoke about her work on a ‘Plan B’, which began last week after her promise to reach out to the leaders of all opposition parties.
May reiterated her pledge to honour 2016’s referendum result, but the calls for a second vote are growing louder and will not go away anytime soon. Something which seemed unthinkable 18 months ago, is now looking more likely by the day. Former UKIP leader Nigel Farage said:
“I think and I fear that we are headed on a path towards delay and probably, yes, a second vote”
Source: Sky News
The ‘People’s Vote’ has been associated almost exclusively with remain so far, but could another vote actually be the best outcome for leave supporters as well?
Eliminating ‘No Brexit at all’
During The Prime Minister’s Questions in November, Theresa May warned that the UK risk a ‘no Brexit at all’ if her deal was not backed shortly after the Withdrawal Agreement was released. It was said that if MPs did not back the deal, this could be the end result. With the deal now dead in the water, this risk has come to the forefront, along with the threat of a no deal Brexit. If no progress is made in talks between opposition parties and the EU, the government will be left with the choice of no deal, another vote, or to revoke Article 50 all together. Leavers have naturally been very resistant to the idea of a second vote, but there is certainly no guarantee any referendum would be a landslide for Remain.
A ComRes poll, carried out on the day the Withdrawal Agreement was rejected, still had ‘Leave’ polling at 40% and ‘Don’t know/Undecided’ at 16% when participants were asked how they would vote in a second referendum. A YouGov poll the following day dropped slightly, to 38 and 14% respectively. Considering the last few months’ events, these findings are still remarkably close and underline that potential Brexiteers could agree with a second referendum. Many Leave voters and supporting MPs want to avoid a no deal Brexit, and a second result for Leave would provide them with this security, along with a clear mandate to finally push through the Brexit that they want. Yes, there is of course the risk of a Remain result, but is that a risk worth taking?
What happens if the UK vote to Remain?
One of the biggest criticisms of holding a second referendum, is the uncertainty that would follow a Remain victory. It is a question that continues to be asked, but no one seems to have the answer to. Politics is simply not built for a rock-paper-scissors, ‘best of three’ style approach, but this is what may have to happen. The question is when would any third vote be? Straight away, or after another three years of infighting and political discord? Some remainers may argue that the second referendum result should be final, but giving one vote more weight than the first would prove misguided and extremely dangerous. This could result in millions of people refusing to vote again and widen already huge societal divisions.
A second referendum would certainly be to the benefit of remainers, but there is still the possibility that ‘Remain’ may not even be on the ballot paper. Various ballot option combinations have been suggested, ranging from no deal; to May’s deal; remain; or a ballot featuring two questions, to decide what type of Brexit voters want. One potential option that is gathering pace is a Norway Plus style deal, which may become more popular in the wake of Yvette Cooper’s cross-party bill that could force Theresa May to compromise once more. Much like May’s deal however, any Norway style agreement threatens to disappoint Leave and Remain voters alike.
There is zero possibility of the the backstop being changed unless Ireland wants the change. It doesn't. So on to Plan C (which I assume is the same as plans A and B) https://t.co/0mhCF8SZkdhttps://t.co/QhFXKfFHZL
In truth all available options at this point risk not satisfying huge swathes of voters. With today’s ‘Plan B’ drawing criticism for sounding suspiciously like ‘Plan A’, something has to give to break the impasse. If the cross-party bill and discussions succeed in removing the chance of leaving with no deal on 29 March, then hard Brexiteers will be forced to compromise even further. It’s risky, unchartered and unpopular, but a second referendum could prove finite; and that’s why it might be the only answer for everyone going forward.
In a time where crime in our capital is at an all-time high, the narratives we often see in the mainstream media is that people of colour, (particularly south asian men) are using violence to channel their pain. The narratives seem to fall around victim or abuser. (see our previous article on islamophobia)
This is only part of the story. There is a growing group of BAME men and women, using their experiences to inform their art.
In our 10 part feature, we meet some of these artists. These artists are swimming against the tide, creating a lane for themselves. They talk to us about the Cost of Artistry
4/10 meet Shareefa Energy
With this feature we want to give our readers, an insight into those whose work we greatly admire, the opportunity to have a serious discussion about poetry/rap – free from the usual angling of “page vs stage” or “new young star brings poetry out of the dusty library”.
We caught up with Shareefa Energy and spoke to her about her journey as a poet and her relationship with the world of poetry.
When did you discover you had a “talent”?
I discovered I had a talent when I was 13, where I grew to become more impressed with my lyrical abilities and metaphor analogies. By the time I was fifteen, I was able to express myself in a way the Asian girls in my school really admired and they encouraged me to not forget them when I become ‘a famous rapper.’ I wrote two phenomenal pieces called Nine Months Pain and I Believe which were used towards my drama group’s final GCSE performance. My writing was already being transformed for production and performance. I directed others to recite my lyrics into the narrative so there was a spoken word element involved. I have always loved writing, directing and been familiar with the stage.
What have you had to sacrifice to nurture your talent?
I have had to sacrifice being around my family to make sure I marked my territory and that my art was recognised in the capital, London. I sacrificed being financially comfortable when I chose to not conform to a 9-5 job to ensure I had the time to create and do what I love. I now facilitate creative workshops to pass the baton or ‘pen and microphone’ on to others who may need these powerful tools. I have done the whole selling my EP on the Camden strip thing to get myself known and feed myself in 2015/2016, turning up to open mic nights and making sure people became familiar with my work for me to now get the recognition I deserve.
Who inspires your artistry?
I am inspired by various artists, Nneka, Akua Naru, Lauryn Hill, Kano, various hip-hop storytellers who highly influenced my interest in storytelling from being hooked as a child. Engaging with stories and being introduced to whole new worlds through my headphones listening to tapes on my Sony Walkman, hanging on to every word, getting drawn into the rhythm of each artist’s sea.
What is the biggest misconception people have about poets?
The misconception I would say is that we are all one dimensional artists or beings. Sometimes we are perceived as the ‘woke’ ones, which has its place when we discuss societal issues from an intimate space. We are sometimes seen as dreary or monotone but if anyone ever watched Akua Naru perform ‘Poetry How Does It Feel’ or allowed one of my favourite spoken word poets Writer Jones to take them on a journey, they would be blown away. Ghetts is a poet, Kojey Radical is a hypnotising poet, rappers are poets and if anyone sends me a beat and asks me to create poetry, I am able to create profound poetry and articulate myself rhythmically.
“Poetry is in my veins, in the melody of my fathers old Hindi cassettes, so I choose to express and not let the fire burn in my chest.”
Poets need to be recognised outside of the lens of the stereotypical English poets people study in English Literature. There is a whole era of contemporary poets, dub poets, the Linton Kwesi Johnsons, the David J Pugilists, a whole universe of phenomena’s that deserve to be celebrated.
In an age where digital echo chambers are growing wider, what role do you think poetry can play in this?
I would love to perform live on A Colors Show. The digital world is having a strong influence on how people consume art. From live performances with everyone wearing head phones in the audience to engaging virtually. The digital streaming world internationally is more progressive in different regions and spoken word poetry or even poetry for page could be accessed via these platforms e.g. downloading poetry lyrics when downloading audios so people learn to have a balance of how they consume poetry. I read more lyrics on the paper in cassettes whilst playing music than I have read poetry books. Poetry, even if created for VHR would be amazing, virtual journeys and stories created into games. I’m excited for the transformation on how poetry is consumed and perceived in years to come. It is up to us poets to bring new ideas to tables and transform the narrative of where our place is in society and across creative industries.
Has a poem ever humbled or frightened you?
Poetry that has been deeply moving or triggering has humbled me. Immortal Technique You Never Know will always be a signature piece that stood out for me, that really moved me, when a boy who had a crush on me introduced me to it.
The harshness of discovering love to only lose it was disturbing, especially for a teenager who already had a perspective of love being flawed and not believing in the existence of love. I couldn’t stop talking about Immortal Technique’s artistry and the sadness evoked about being the ‘moth who got too close to the light.’ Typical hopeless poet – a sucker for R&B tunes romantic.
Some poets claim that a poem is like a living creature: once it’s out there is not much you can do to ‘correct’ or ‘improve’ it, while others edit meticulously, not leaving much from the original, draft form. What is your take on it?
I am not much of an editor when it comes to my writing but I am learning to look at this through new eyes as there is always room for improvement, especially when writing for page. As a performer, I like to leave my writing in its raw form, to allow the emotion and place the poem was created from to be felt. To me, writing is like a photograph. If a photographer was to take a photo in a café, then go back two weeks later to recreate it but remove the handkerchief that was on the table, the vibe and authenticity has been removed. 99% of the time I create a piece of writing in one sitting, allowing what needs to be channelled to come straight through me unless it is a commissioned piece and I need to be more mindful of what is expected of me, otherwise I prefer to not edit. When I am creating for a long show, there is a editing and refining process as the relevance and chronology may differ. As I am getting my poetry ready for publishing, it is a whole other story.
How do you define success?
Success to me is the result of hard graft, of not giving up on your craft, of being consistent, disciplined, getting your art and skills recognised, with your value tasting the fruit of what it deserves. Success is also when a poem or performance touches an audience member or allows someone to reflect deeply on the message being accurately communicated, successfully planting a seed to challenge a perspective. Finding a way of being able to invest in yourself and not just merely survive through your art, and creative expression to me is also success. Doing what you love and creating your lifestyle around it.
Do you ever regret sharing your work publicly? Do you trust the reader in a world of instant gratification and instant communication?
I don’t regret sharing my work. Yes, there may be times I go back and forth as to whether I should share a poem, but I always have to remember that the piece is for who ever will relate to it and it isn’t solely mine, even though I am the creator. I have battled with fear and I have overcome it to share more, and even become less concerned over who may be offended by sharing my truth or place judgement on my perspective or experience. A poetry visual; ‘Emotional Rollercoaster’ I was unsure of sharing out of concern of the backlash or vulnerability, a woman reached out to me to share her gratitude for providing her with solace and for the poem resonating with her soul. She is now one of my closest friends and if it wasn’t for overcoming my fear of sharing, we would not have connected.
Find out more about Shareefa Energy here: www.shareefaenergy.com Twitter / Instagram / Facebook: @ShareefaEnergy
Natasha Gordon’s sensational depiction of Caribbean culture and how it resides within the UK.
Natasha Gordons’s debut production Nine Night perfectly sums up the key properties of black British culture and generational cohesion despite the differences between the two cultures. The play gives off a similar feel to the 1989 comedy Desmond’s, portraying beauty in the mundane Caribbean lives. It follows the generational and cultural conflicts between a family preceding the death of Gloria, their beloved mother, sister and grandmother during her somewhat traditional Nine Night celebration in England.
On first glance the play may not give away much, convincing the viewer that it will be nothing but an onstage party full of salt fish patties and Wray and Nephews, which is not completely false. However, as the play goes on we are shown a complex intricate story that unfolds beautifully reaching climax after climax to portray the raw rollercoaster of the grief that families face after the death of a loved one. As a second generation black British/Caribbean woman, countless times during the play I was brought to tears due to the similarities and comparisons I could make between the on-stage family and my own, bringing back the nostalgia of my own grandmothers nine night.
Without giving too much of the plot away, while being incredibly funny the play tackles some key issues and aspects of Caribbean culture. A surprising aspect shown is the importance of spirituality within Caribbean culture demonstrated by the characters who believe in the supernatural and religion . This idea of spirituality is manifested through the character Aunt Maggie (Cecilia Noble) who we see burst into gospel during a family disagreement and free the spirit of Gloria in the intense finale.
Cecilia Noble steals the show reflecting pure authenticity in her role with hilarious but true one liners such as “de only decent ting me get from dis teefing government” when regarding the use of her freedom pass (which may or may not be Gordons’s response to the 2018 windrush scandal). Her on stage partnership with Trudy (Michelle Greenidge), Gloria’s oldest daughter and blast from the past gives the play a refreshing tension breaker between some very difficult scenes allowing for a beautiful transition enabling the play to move smoothly.
Alongside the main plot of the play we see the character’s own personal struggles tackling issues such as interracial relationships when in laws disagree (“caffe latte” being used to describe a mixed raced child although funny, had a gaspworthy shock factor coming from a white woman), greed and infidelity which all tie up nicely at the end with a message from Gloria herself no one could have predicted.
Nine Night is what I hope to be the beginning of black theatre on the main stage, it portrays Black British lives in a new positive light moving away from the typical depictions of knife crime and gun violence. Plays with these themes can be a great insight into the lives of black people who do face those issues but it often criminalises black lives as it depicts knife crime and gun violence as our norm which plays into the hand of unhealthy stereotypes. Personally, as a black woman I have never resonated so closely with a play to the point of both happy and sad tears.
Abdelraouf Salhah, a 14-year-old Palestinian protester has died after being shot in the head by Israeli forces, according to Gaza’s health ministry.
Abdelraouf Salhah, who is now the third Palestinian to be pronounced dead since Friday’s protest, lost his life from gun shot wounds by Israeli Defence Forces (IDF) during protests along the Gaza/Israeli border. His death reflects the growing tensions surrounding the fight for legitimacy between Israel and Palestine.
Since March 2018, there has been increased efforts by the Palestinian population to protest openly against the occupation of the Palestinian territories by Israel. The protests have been hugely encouraged by Hamas, an organisation listed by the European Courts as a terrorist organisation; although they hold de facto governing power over Gaza.
These efforts have been labelled by the protesters as the “March of return”, originally triggered by the plans of the Trump administration to move the US embassy from Israel into Jerusalem. This was a controversial and politically de-stabilising move, due to the high value of Jerusalem to Palestinians and Israelis, with both states claiming Gaza as their capital.
The death of 14 year old (left), came after protests had become progressively more violent since their initiation in March 2018. This is as a result of the Israeli Defence Force, becoming increasingly more concerned at the proximity of the protest to their borders and crossings, despite the casualties and deaths being overwhelmingly Palestinian – with over 200 Palestinian deaths since the start.
This has encouraged the further use of force by both sides; particularly with rockets being fired across the border into Israel, according to The Times of Israel. The rising death toll adds fuel to the fire, with many Palestinian protestors adamant that the lives of their fellow protesters cannot be taken in vain.
With tensions at the highest seen since the clash in 2014, many people believe the only stop to the deaths of protesters can be achieved by humanitarian intervention or international diplomacy from surrounding powers such as Egypt.
Votes have began for the 2019 NBA All-Star Game hosted in Charlotte, and things are looking very interesting! The 68th annual All-Star Game this year sees fans make up 50% of voting to determine the 10 starters and current NBA players will make up the remaining votes. The NBA All-Star Game is always full of drama and excitement. With a regular season that can sometimes be dull and repetitive due to the same teams dominating, the All-Star break provides relief and entertainment for both dedicated and causal fans alike.
The third wave of votes are in and the Lebron James still leads the way (3,770,807 votes) despite being out with a moderate groin injury picked up in the Lakers Christmas day win over Golden State. The Lakers are currently sitting 8th in the Western Conference and are looking increasingly less likely to make the playoffs. In the Eastern Conference, Milwaukee’s Giannis Antetokounmpo, leads the (3,626,909 votes) voting as his rise to stardom in the league is becoming more and more convincing. Giannis is definitely in the MVP title race boasting an average of 26 points, 12 rebounds and 6 assists a game, and his team sitting first in the Eastern Conference standings. Toronto Raptors Kawhi Leonard is second (2,882,227 votes) out of the front-court players in the East. Kawhi is also having an impressive season so far, much to the joy of Toronto fans who are really hoping he’ll make a long term commitment to the city. Kyrie Irving leads the guards overall with (3,187,015 votes) and second overall in the Eastern Conference. Kyrie’s Celtics currently sit 5th in the Eastern Conference; far from the kind of form that birthed preseason predictions that they would challenge the Warriors for the title this year.
Unsurprisingly, the popular vote is led by rookie, Luka Dončić, who sits third overall in voting (3,301,825 votes), and is only eclipsed by Lebron James in the Western Conference voting so far. Dončić is having a sizzling start to his NBA Career. Dončić was the 3rd overall pick in the draft for the Dallas Mavericks after an initial swap deal between him and Atlanta’s Trey Young. The former EuroLeague MVP has settled in nicely in the NBA: scoring game winners, showing a range of shooting ability, ball handling and a high basketball IQ. His level of maturity at age 19 is astounding already. Dončić is averaging 20 points and 5 assists a game so far this season, and gathering an eyebrow-raising collection of highlight reels to go along with those numbers! He is most definitely the front runner for Rookie of the Year! The last time a rookie made the All-Star Game was Blake Griffin in 2011 and Yao Ming in 2003, so this isn’t a common occurrence. The Mavericks certainly aren’t firing on all cylinders but they have definitely found a player that can elevate the organisation to the next level as long as they have a proper structure and vision in place.
Luka Dončić is having a flying start to his NBA career
Steph Curry is unlikely to be Western Conference captain this year as he was for the 2018 All-Star Game. Despite receiving 2,979,08 votes and having another impressive year averaging nearly 30 points, 5 rebounds and 5 assists, he still trails behind Luka Dončić and Lebron James in the polls. Many pundits are calling Curry’s position behind Dončić disrespectful; but at the end of the day the All-Star Game fan voting system is practically a popularity contest – the fans get what the fans want! The flaw in the fan voting system is also seen in the absence of both James Harden and Kevin Durant in the running order of starters in this years Game. Without question Durant and James are among the top five players in the game right now, but the voting echoes their popularity (or lack thereof) with basketball fans.
Voting closes on the 21st January 2019 where fans get a 2-for-1 vote, meaning one vote will count as two. The starters will be announced on the 24th January 2019 with the reserves announced on the 31st January 2019 by the coaches.
The draft will be televised unlike last year so we’ll get to see all the drama as it unfolds! What captain will pick who first and who will get picked last. We’re expecting this to make for some very interesting internet comments, headlines and memes across the basketball world. The 7th February 2019 is the date, so save it!
The 2019 All-Star Game will take place in the Spectrum Centre, Charlotte on the 17th February 2019, coverage on TNT from 7PM (ET).
Keep up to date with TCS for the aftermath and more sports related news.
With tax returns due by 31ST January for self-assessment for property income, CGT, Class 2 and 4 NICs , income and interest, are you familiar with the declarations in 2018/19?
Rental income extends to payments by tenants for furniture
use, communal cleaning, hot water, heating and repairs, alongside other
services provided.
From this pre-tax income, you can deduct what you have paid
for buildings insurance, contents insurance, repairs, utility costs (water
bills and council tax), services to clean communal areas, ground rents and
service charges, advertising costs, letting agents’ fees and accountants’ fees.
You can also deduct for part-expenses “If a definite part of
a cost expense incurred wholly and exclusively for the property business”,
according to Gov.uk. If a property is used for private purposes for 3 months
and commercially let for 9 months, then only 9/12 months mortgage interest can
be deducted from the rental income.
Landlords beware – file returns promptly & accurately to avoid HMRC fines
2017-18 tax year allows you to deduct 75% of financing costs from rental income, with the remaining 25% qualifying for basic-rate relief.
This falls to 50% 50% 2018-19, 25% 50% 2019-20 and 0% to
100% from 2020-21.
You cannot deduct capital expenses from your income. This
includes home improvements like an extension built or a new bathroom – these can,
however, be used to cutting the capital-gains tax bill when you come to sell.
Even though the 10% wear-and-tear allowance can no longer be
claimed, you can claim the “replacement of domestic items relief” (RDI) if you
replace moveable furniture, for example, beds, free-standing wardrobes;
furnishings, such as curtains, carpets, linens, floor covers; household appliances
like televisions, fridges, freezers and kitchenware, e.g. crockery and cutlery.
Replacements must be like-for-like, and you can also claim
for disposal costs. Note that this is available in all properties, not just
those that are fully furnished.
Only expenses incurred from 6TH April 2016 can RDI
relief be applied for Income Tax purposes.
Unlike Wear and Tear allowance, RDI relief can apply to
unfurnished, part or fully furnished dwellings. Expenses must be incurred on
purchase on the replacements, not originals, and solely for use of tenants.
The new item must be like-for-like. For instance, changing
the functionality from a sofa to sofa bed means the replacement isn’t substantially
the same. If there is a difference in price, this is then not allowable.
Synthetic to woollen carpets is not substantially the same
as the old item – it is an improvement and not deductible.
Old items can be sold or part-exchanged for the new; with
the allowable deductions the cost of the new item, incidental disposal costs
and amounts received on disposal of the old item.
Rent-a-Room-Relief
Rent-a-room-relief doesn’t require a record of expenses if
you don’t intend to claim them under the scheme. From 6TH April 2016,
if the rent you receive is more than £7500 (£3750 per joint owner) you can opt
to pay tax on your profit in the normal way by deducting your expenses from the
rent received.
Losses arise when allowable expenses exceed rental income. This can only
offset profits arise in the same rental business in future years. Multiple
property expenses and income are collectively assessed, with the exception
overseas property or furnished holiday lettings.
Uncommercial lets to friends or relatives for reduced rents means
expenses can only be deducted up to the amount of the rent received for that
property. Relief for losses is only available if the loss arises from commercial
letting. Profits or losses aren’t made, so excesses cannot be carried forward
to later tax years.
HMRC can charge penalties if records are inaccurate, incomplete, illegible
or missing and for inaccurate tax returns.
Rent books, receipts, invoices, bank statements and mileage logs (for journeys that are solely for your property business purposes).
Theresa May is heading for a crushing defeat on Brexit vote in the Commons today. Despite a series of last-minute appeals to rebel Tory MPs to back her EU withdrawal agreement.
Senior MPs and a number of sources are predicting a defeat for the prime minister of between 100 and 200 votes, which is likely to be followed by Jeremy Corbyn calling a vote of no confidence in the government.
Mrs May’s allies insist that whatever the scale of the defeat, she has no intention of quitting or calling a general election, but she will come under enormous pressure to unveil a Brexit Plan B.
On the eve of the historic vote, the prime minister appealed to MPs during a Commons statement to take a “second look” at her agreement, despite admitting it was not perfect and was a compromise.
In the Commons, she said: “It is not perfect but when the history books are written, people will look at the decision of this House and ask, ‘Did we deliver on the country’s vote to leave the EU, did we safeguard our economy, security or union, or did we let the British people down?'”
Then, in an emotional speech to Conservative MPs that was described by her supporters as a “bravura performance”, she urged them to “keep Jeremy Corbyn as far away from No. 10 as possible”.
Theresa May, the Prime Minister CREDIT: LEON NEAL /GETTY IMAGES EUROPE
Winding up day four of the five-day Commons debate on the withdrawal agreement in the early hours of the morning, the chancellor Philip Hammond told MPs: “We as a House now need to move swiftly and decisively to get behind the deal.
“To make the tough choices that are needed to simultaneously deliver the Brexit people voted for, to protect our economy and our national security and to give them the brighter future they were promised.”
Too little too late
Despite delays by the government, the Brexit deal faces a similar parliamentary arithmetic to the one it did before. The prime minister had promised she would secure additional “legal and political assurances” from Brussels when she delayed a vote on her deal and fought off a challenge to her leadership. However, weeks after and nothing changed. Her vote still faces stiff opposition from the labour party and Tory rebels are set to defy whips and vote against the deal today.
What happens next?
If the deal is rejected by MPs, Mrs May has three sitting days to return to Parliament with a “Plan B”.Some have suggested she would head to Brussels on Wednesday to try to get further concessions from the EU, before returning to the Commons to give a statement about her new proposal by Monday. This could then be put to a vote by MPs.
If this also fails, there is a proposal put forward by senior Conservative backbenchers Nick Boles, Sir Oliver Letwin and Nicky Morgan for a “European Union Withdrawal Number 2 Bill”. This would give ministers another three weeks to come up with another plan and get it through Parliament.
Brexit Secretary @SteveBarclay says the PM has spoken to him about what she will say if she loses Tuesday’s #Brexit vote, but he is not sharing the details with Labour MP @JonAshworth on #politicslive
If this doesn’t work either, they propose giving the responsibility of coming up with a compromise deal to the Liaison Committee – which is made up of the chairmen and chairwomen of all the Commons select committees, drawn from opposition parties as well as the Conservatives.
This proposal in turn would have to be voted through by MPs.
Much of 2018 revealed and all too familiar pernicious relationship between the mainstream media and black men. Negative headlines dominated these papers with global reach and readership.
A study in the book Research in Race and Ethnic Relations found that negative portrayals in the news media affect how police treat black men in the United States and beyond, according to a Rutgers School of Public Health study. The study found that public perceptions of male dangerousness are a factor in influencing police action and the public’s willingness to accept an officer’s deadly actions as legitimate. It also noted that black masculinity is often equated with hypermasculinity, criminality and hypersexuality.
“Unarmed black Americans are five times more likely to be shot and killed by police than unarmed white Americans. We believe that media may play a significant role in these disproportionate deaths,” said lead author Pamela Valera, an assistant professor. “The stereotypes held, consciously or unconsciously, about the criminality and ‘dangerousness’ of black men influence the rates at which they are stopped and engaged by the police.”
Police make an arrest during Ferguson protests in New York City. (Andrew Burton/Getty)
What about the UK?
You’d be forgiven for thinking the UK might be different. With successive Firearms Acts through the 60s, 80s and 90s, black men are no longer frequently shot and killed by police. However, there still exists a disproportionately aggressive relationship between the police and black men. What’s worse is that the mainstream media press often exacerbates this.
Consider that Metropolitan Police officers are four times more likely to use force against black people compared with the white population according to the MET Police
The Met used force 62,000 times in 2017-18 with more than a third of incidents involving black people. Techniques such as verbal instructions and using firearms were recorded. The Met Police said: “The proportionate use of force is essential in some circumstances to protect the public and often themselves from violence.” Facing this news, then Shadow home secretary Diane Abbott said the “disproportionate use of force was discriminatory”.
56 BLACK MEN
It is for this reason that 56 BLACK MEN is grabbing headlines. Against this backdrop, black men are taking control of their own narrative and documenting it. Cephas Williams, Project Founder explains this project;
“This is a visual campaign documenting 56 black men that are doing something other than what is widely plastered about black men across various forms of media. Championing the idea that “I am Not My Stereotype”, the campaign looks to challenge the general stereotype of ‘the black man’ and the negative connotations and stigma attached to the cliché image of a black man wearing a hoody. The campaign makes a visually bold statement by showing black men wearing a hoody, while it also features text on what these men currently do for work. It features men from the world of finance, the arts, law and business, right through to the medical field and more”.
This is generally the opposite of what society has been conditioned to expect of a black man and in some cases even influences how many black men view themselves and their ability. You see this reflected through representation within the work-place also.
“I Am Not My Stereotype”
The online campaign features individual pictures of 56 black men wearing a hood, an image that has been coloured by the mainstream press. These men aren’t dangerous or threatening, on the other hand, some own businesses, are artists, musicians, lawyers and more. Featuring in the campaign is our Founder and CEO, Mike Omoniyi, who talking about the project told us, “Its about time we start to show people what black men have been doing whilst negative headlines dominated headlines. We have been existing, working hard, excelling and we are not a trend or fad; we are here to stay’
“I want to inspire”
Cephas tells us: “I’m looking to inspire a generation of black men both young and old who can also identify with this image of a black man in a hoody but who also may not see these pathways as realistic or accessible to them. If young black boys continually see themselves represented in the media in a negative way this does not give them much else to look up to, neither does it help to change the trajectory of their life. The last strand of the project is the network we are creating, we look to feature new 56 black men on the campaign every year, but as a network we look to expand beyond this number internally in a bid to put black men at the forefront of the conversations that are being had about black men, while also creating a network of black men that help one another internally in various ways.”
Below are all the black men who featured in this project.
In a time where crime in our capital is at an all-time high, the narrative we often see in the mainstream media is that black men are using violence to channel their pain.
This is only part of the story. There is a growing group of BAME men and women, using their experiences to inform their art.
In our 10 part feature, we meet some of these artists. These artists are swimming against the tide, creating a lane for themselves. They talk to us about the Cost of Artistry
3/10 Meet Samuel Cole
I find it frustrating when reading profiles of artists how little attention is paid to discussion of their practice. I have found there to be a tendency to encourage artists to pontificate on current affairs, sensationalising their experiences of craft and work. I frequently cringe at lengthy descriptions of what an artist is wearing, or how they are sitting.
With this feature, I want to give our readers an insight into those whose work I greatly admire the opportunity to have a serious discussion about poetry/rap, free from the usual angling of “page vs stage” or “new young star brings poetry out of the dusty library”.
We sat down with Samuel Cole and asked him
When did you discover you had a “talent”?
7 years ago I signed up to take part in a filmed project to highlight the positive contribution of young people in my borough. It was meant to be a filmed project but for some reason or another, the filming dates kept getting cancelled. Anyway, the project ended up not happening but I said I’d contribute by sending in an audio copy of a poem. I ended up writing a poem called Young Monarch. I sent it in and the lady who received it was blown away – that’s where it all began.
What have you had to sacrifice to nurture your talent?
Pride and ego. Just because I wrote a poem didn’t make me a poet. Neither did watching Def Jam Poetry regularly or reading Shakespeare. I had to move beyond treating it as a casual diary entry, humbling myself, developing a respect for the craft and sharpening my pen. That meant writing constantly, reading constantly and getting feedback on my work.
In sacrificing pride I learned to be vulnerable. That didn’t necessarily mean exposing my pain, but it did mean being transparent. Prioritising clarity and the content of my message above all else. When I performed, I began to see the stage as a place where ego died and the message was in the limelight. I needed to forget about looking ‘cool’ or ‘impressive’, being loud and an entertainer or seeking finger clicks from the audience and instead say something true that might actually change someone’s life.
Transparency meant talking about how I actually I saw the world. The things that actually bothered me or made me laugh. Ultimately I wrote not only to be understood but to understand – not to be admired. I learned that when I wrote about specific experiences, (rather than vague ideas that are detached from reality), my message resonated more deeply with those who listened. It’s a balance. On the one hand I needed to show more of ‘myself’ in order to be transparent, but not so much of myself such that I ended up blocking the message.
CS Lewis because of his command of the english language and his ability to use words to conjure up an entire world in your head.
Lauryn Hill for her emotional rawness, and rhythm through her music.
Jackie Hill Perry for her straight talking lyrical tenacity.
Banwo The Poet for his genius wordplay.
Jolade, Caleb Femi, Theresa Lola for their ability to tell a story in such a way you feel as though you were in it experiencing it with them.
What is the biggest misconception people have about poets?
That we belong to a class of ‘elites’ in society out of touch with reality. Connected to that there is a misconception that all spoken word poets should recite their poems in a similar style – i.e. long pauses, stretched out words, change in tone for dramatic effect and so on. I think poets share a common desire to document in verse something they think is important, but there is no ‘one’ style.
In an age where digital echo chambers are growing wider, what role do you think poetry can play in this?
I think poetry is a useful channel to initiate a dialogue and invite fresh views on topics. It lends itself well to expressing alternative views in a way that is interesting to read or listen to. My favourite poets identify universal themes and still communicate their truth. They can craft a phrase like ‘Treat your homes like you live in them, even if your minds have mansions in the cosmos’ (Jolade Olusanya, Poem: ‘97) striking a chord with many and yet still maintaining the integrity of their own unique story.
Has a poem ever humbled or frightened you? What was it? When did it happen and what did you do afterwards?
I remember one of the first poems I performed publically called ‘How Long’. It was a message about not being lazy and seeking God. I was so eager to share it. I went to an open mic night and performed it. It lasted about 5 mins, and the crowd looked at me with stone cold faces from beginning to end. I was so confused. Afterwards I was told it was far too loud and far too preachy. I was crushed. In hindsight it probably would have worked better as a sermon than a poem!
Some poets claim that a poem is like a living creature: once it’s out there is not much you can do to ‘correct’ or ‘improve’ it, while others edit meticulously, not leaving much from the original, draft form. What is your take on it?
I think as the poet it’s your work and you can do whatever you please with it. I generally don’t tinker with published poems because I like drawing a line under a piece and letting it speak for itself at the time of its release – whether it’s perfect, imperfect, warts and all. Have I had new ideas for a piece after I release it? Of course! But for me, ultimately each poem is a flag pushed into the ground marking a stage and time in my life. There’s always more that could be done to embellish or improve a piece – simply because as time progresses we develop. Ideas which were true and firm for us before become amorphous and ambiguous, feelings that were intense and heartfelt become less impassioned. We change. It’s unfair then to force our current ideas and values to fit our older works. Almost as odd pouring new wine into old wineskins!
I do recognise that what gets posted online, stays online. I’m sharing my work with the world and let’s face it – not everyone has the energy to consume edit 1, edit 2, edit infinity of a piece. That would be exhausting! Imagine if Michael Jackson had 5 versions of Billie Jean or Lauryn Hill rewrote The Miseducation. There’s a misconception I think, that you must keep updating the poem to keep it alive. A piece is alive as long as someone can pick it up and feel something.
The question does feed into a wider conversation about art though. When is a piece of work really ‘finished’? When you publish it? When you think it’s ‘perfect’? For me it’s when you publish it, because I won’t publish something that I don’t think is finished. If it’s a great piece then why change it! If it sucks, then let it be! It’s a starting point which you progress from.
With all this being said I do adjust my pieces for live performances. The poem at its core doesn’t change, but the way I express it might. I may add a verse relevant to theme of the event, or switch a word that I feel is more potent at the time. I gauge the atmosphere in the room and ‘remix’ the words to suit. Through the remix of poems I’ve sometimes ended up creating a completely separate new piece entirely.
How do you define success?
When my message in my poem is clear and it resonates with the person listening.
Do you ever regret sharing your work publicly? Do you trust the reader in a world of instant gratification and instant communication?
No regrets here. By calling myself a poet I have accepted the mantle not just to be a spokesperson but to die to my ego in order that my message is unobstructed and connects with the audience. In stepping up to the mic or writing a piece I am not necessariIy seeking to put my trust in the audience. The real question is does the reader trust me? Do they believe what I am saying? Does what I am saying connect with them and can they find something of themselves in my message?
