I wrote this poem about my generation’s relationship with social media, simultaneously the most connected generation and most antisocial.
what does it take
to show people that being me
is not all that it seems
the tweets, texts and likes
you watch my socials
my rants on race, and the memes
I go against the grain
I say bye bye brain
to keep up this social charade
it’s a pain pretending to be okay
I’m not a person, I’m a thing
Yahoo, Google and Bing
you pay me in kind
I pay you in use
you pay me in anxiety
the stunned logos
of Instagram and Facebook
millions sky high
on reacts and likes
like my neck trapped in a noose
part of the most connected generation
that likes to Netflix and chill
the shrill of android millennials
so connected, but so antisocial
I’m so tired, my life can be shown
in charts, it’s patterned, global
in how I truly feel
if an affliction hasn’t been diagnosed
can I prove that it’s real
my analytics are hegemony
like religions, trial by media
altered millennial minds chemically
in this cyber flu
lives have terms and conditions
that media tycoons provide you
sacrificing real-life conversations
for syntax through a screen
comment threads, conversations
written in emojies and memes
vines posted for millions of hits
Snapchat selfies, Instagram selfies
the young ones call it lit
seeing the world on fire
has put my head into disarray
terrorism streamed to the masses
this is the social media age
I want light, happiness
and I’m not finding it in a screen
I want calm and order
but the truth is
artists need social media just to be seen
the system is a broken machine
where viral content speaks louder than talent
I’m not a social media addict
but I can feel it numbing my mind
I don’t want to be a drone
but Facebook’s pulling down the blinds
I didn’t want to be lonely
but social media has us in a bind
this thing, I don’t want this
but this is the bane
of the 21st century artist.
So I wrote this poem inspired by ‘Art Class’ by Rhiannon McGavin, an American poet. This poem also derives my poem Genocide and its inspirations.
Despite society being an abstract noun, I have characterised society as a man. So for the nature of this poem, society is a he.
Society thinks you can’t swear in poetry.
So unto Society I say,
“Raise your hands if you have heard of Auschwitz.”
Instantly, he raises his hands
like mustard gas rising out of a trench.
Okay, hands down.”
Now raise your hands if you have heard
of the Morant Bay Massacre.
Rolling eyes blended with curious stares
a shaking hand ascends
half-raised like a lone soldier
struggling to stand at Passchendaele.
“Are you sure about that?”
“That’s what I thought”
“Society – what’s truth?”
They won’t let you hear it at school
if that person says “fuck.”
Can’t even talk about “fuck”
even though Education’s
been fucking students for years.
You can’t teach a 16-year-old in school
how to swear, how to use language,
how to wear words like body armour
There’s children in London
who carry knives to the library in case they get jumped
and you want to censor language.
“Society – what is history class?”
Your books leave out the Maroons and the Arawaks
Call themselves ‘World History’ and omit
Cecil Rhodes and Zimbabwe, King Leopold,
blood diamond mines and the Congolese Genocide
Fifteen million dead Africans,
call themselves ‘Politics in the Modern World’
and fail to mention Enoch Powell or Apartheid.
Why Black children hide in lighter skin,
dark-skinned girls under the boots of colourism
those with natural hair thrown to sin bin.
Folks thinking Edward Snowden
was a politician educated in Oxbridge.
How can education not include
Julian Assange or Jimmy Carter?
Schools are built in shadows
the grinding teeth of money,
designed under coins and corporations.
They’re sterilising children,
injecting classrooms, drilling
independent thought with silent poison
stifling creativity, making a killing.
Jack hung himself in his bathroom
because he wasn’t smart enough
to meets school standards.
Hannah started bleaching
her daughter’s skin
the day before she started school.
She carves curved lines into her
beautiful brown skin so
she can remember her ancestors.
I wrote this poem inspired by a post on Instagram by London-based poet, rapper and, well, lyricist, Nate, about the British Museum.
Additionally, ‘The Evidence Room’ is inspired by ‘Custard and Curry’ by Canadian poet Robyn Sidhu.
London’s ‘The British Museum’ is the blackface of British History. Will Britain ever give these items back? Not a chance!
Though, I do recall reading an article saying they’d loan items back to Nigeria and Ethiopia; to this day Britain still acts like it’s 1834.
Our introduction to Erik ‘Killmonger’ Stevens (Michael B. Jordan) in Marvel’s Black Panther just sums all these feelings up so well.
This video was filmed last night (September 26) at Studio 88 on Leicester Square by SFP videographer, Kevyn Ricard (big up yourself!)
One day in January, I was caught in a conversation with a man who thought imperialism was GREAT! That the British Empire was awesome! With the constant questions and statements, it felt like a date so that’s what I’m going to call it.
And so I thought, should I really be here?
I was in fear of his mind, confined to nostalgia –
bits of bunting swaying in the breeze,
like nooses hanging from trees in a Jim Crow South.
I think of The British Museum… should I really be here?
I haven’t quite decided yet. Look, when
I see those artefacts I see quashed rebellions and resistance.
I see livelihoods as blood sports, so I begin to think
of The British Museum and the Victoria & Albert too…
When I tell my White friends this, they are confused.
I tell them “Yes I am British.”
Well, British-West Indian-West African
maybe a bit of Indian and Chinese
there as well I don’t actually know.
They are confused
since my passport says British Citizen,
that makes me British, right?
Or does it make me part-white?
Or was it just when
my grandparents and great-grandparents
sacrificed white beaches for Windrush anthems?
And a few centuries earlier,
my five, six and seven times grandparents
traded the Gold Coast for slavery;
that doesn’t mean I am any more or less British
than John, Jack or James because
I have the pigment of a cocoa bean.
On our date, I sip on my water.
He sips on his coffee, he talks about
how he prefers it without sugar.
I think Demerara.
Just the beans and water you know?
Sugarcane plants from bank to bank,
slaves outflanked by overseer ships.
Nationality in binary terms is messy
because it’s not binary.
He reveals a bacon sandwich
squirts ketchup onto it
and presses the bits of bread together.
Bits of red slipping sliding
oozing abusing the paper bag –
dripping down onto floor
as he lay his heritage before me –
a quarter this, a third that.
I concur that I share this fractured history.
If you dissect my body,
if you cut into my torso and limbs,
you will find rivers of European blood
that swims with the gene pool of colonisers.
I am the red wine gushing
from the wounds of little Ashanti boys.
I am the Caribs of Grenada
jumping to their deaths from Leapers’ Hill
to escape the French slave traders.
I am Jamaica and the Maroons.
Nanny, she was Ashanti you know.
Came over in chains
but she never forgot who she was
despite the British putting them
to work sugarcane fields,
beaten and raped to yield harvest.
The Maroons resisted, Nanny persisted.
Ran for the hills,
fighting off the British for eighty years.
Ran for the Blue Mountains,
put colonisers’ heads on spikes.
No White man was safe
from the Maroons in the moonlight.
Maroon masters of camouflage,
attired in leaves. Still as trees
before they struck in the dark.
The Brits had the tech
but the Maroons had
the will, determination, magic…
this is the birth of Jamaica… real independence.
I am watered down White man,
colonisers who forced their way
onto my family tree
entwined themselves with
each bit of branch, bark and leaf
became part of the canopy –
mixed, meshed and mingled with soil
hijacking stem cells, membranes and nucleus
claiming they created photosynthesis.
I guess the concept of privilege
can be traced to history.
His presence, his words, are warning me
he is here to pillage the uncivilised
to steal a bounty for his wife.
On our date,
I watch his hands grasp his coffee.
I try to imagine them touching me.
I am uncomfortable, unnerved,
he smells like Rwanda being burnt to ash.
The woman that waits on him helps give birth
to his malignant anti-migrant mentality.
I may be immigrant,
grandchild of colonialism,
birthed from chains,
child of slaves and servants,
who worked the fields,
as our last names were
gambled with the ocean.
I may father multiracial children
who will be forced into cold welcomes,
but you are what sullied my pigment,
forced my flesh from
Mother Africa to begin with,
like a C-section
for gold, minerals and artefacts –
from the Ashanti in Ghana
to the Edo People of Benin,
my ancestors that lost their souls
so you could talk about Great Britain.
On this date that’s not a date,
he tells me I look mixed-race.
What does that even mean?
I could be half-white.
Should I take that as a compliment?
Being part-slave part-coloniser,
as if colonised is the new black,
as if being the same colour as the people
who plundered and slaughtered
those they thought lacked civilisation is ideal.
On our date,
he expects me to educate him
on centuries worth of colonial history
after he was previously defending it.
Instead I say:
I am one of the many voices
of the African Diaspora.
Yes, I am European. Yes, I am British.
Yes I am Caribbean. Yes, I am African.
I hear rumours
of Indian and Chinese in my lineage as well.
This is why we shouldn’t talk
about nationality and ethnicity as binary terms.
I tell him I am not the final resting place for his White guilt.
I will not carry his pride and mind in brass pots
like the water my forbears used to carry on their heads.
I am tired of talking to people like him
who seem to think I need validation
from someone who talks
like they grew up on a slave ship.
I can’t settle for this shit any longer,
that giving a big tip
to an Indian waiter isn’t
the first step towards repairing
centuries of racism and degradation.
He pauses, finishes his coffee.
Tries to keep face, tries
to recover his bravado and breathes…
Semiotics is the study of signs and I wrote this poem inspired from ‘Motives and Thoughts’ by Lauryn Hill.
The severe lack grammar and punctuation is to show that thoughts and signs are not scripted. They just exist.
This is one continuous ramble with no structure. How we think is not always linear from point A to point B.
mumbling rappers confusion of sound
negative messages holding us down
time and capitalism socially constructed
human consciousness motives corrupted
impulsive reactions brexit and war
from slavery to windrush injustice galore
western media tools for
synthetic mythologies modern folklore
global newsreaders creating misdirection
claiming munitions are for our protection
wicked news anchors killing our brains
misleading us with newspeak again
war is economics designed for profit and gain
mr trump glows in the dark motives exposed
we can all see through his baggy clothes
this klansman confines kids to cages and woes
with human rights disposed written into code
Tory government party of jokers court jester logic
always answering questions with statements off topic
uncivilised people with colonialist knowledge
system decline and still wont concede
using religion as a saviour analysing behaviour
eton MPs kings and queens of corruption and greed
impulsive politicians on prescription meds
wishing brexit negotiations were all in their heads
ethical standards pride is the source
born with silver spoons on the back of a horse
imperial leaders led by whitewashed history
churchill and nelson racists it’s no mystery
global economy in for number one
banks hiring mercenaries and guns
war designed to kill fathers and sons
to the sound of cannons and drums
as number ten paints beautiful pictures
from myths into theology and scriptures
both west and east are after diamonds and pearls
as lies and deception take over the world
blind with hate deep in our hearts
neo-colonialism is a poison dart
deceive your neighbours so well get ahead
modern day deceit is what we’re being fed
I wrote this poem inspired from my schooldays and my reflections on that now as an adult, and its related connotations.
Also, this poem talks about how discrimination can happen between privately-educated / state-educated people of the same ethnicity.
This poem was deeply-inspired by ‘Privilege’ by Lacey Roop. She’s a slam poet and author poetry collection And Then Came the Flood.
At fourteen, I was educated with the children of the rich and entitled.
At lunch I sat with them – children who lived in big houses.
Honestly, I disliked most of them. I didn’t want to be one of them.
My mom was a teacher, my father worked in IT.
The parents of these children were lawyers and businesspeople.
In other words, they sold lies for a living; however, like my colleagues, I never knew the meaning of without or hungry.
Some of the friends I made at school were people who had never encountered people of colour before – other than those they saw on television.
I grew up around people who had names like Seonai and Winston and Darius and Precious and Paris and Isaiah.
And they grew up with people who had names like Mary-Kate, Anna-Grace, Elizabeth-Anne, Tom-Harry and John-Paul.
By today’s standards, they’d be known as progressive white folks who had more money than they knew what to do with.
They were the offspring of people who felt uncomfortable around someone like me, a child – whose last name wasn’t Jones or Smith, whose skin tone was a shade too dark, too dug up earth for their white picket fence.
One time, I was invited to a party. Drugs and underage girls littered it like confetti. The houses of lawyers and CEOs and surgeons, people who had inherited everything they owned.
When other Black people here how I talk, they question who I am. They question my ethnicity and identity.
Just because when I spill the heart contents of my chest, they ask if I am really Black. Because I talk too well for this colour.
As if my blood is not infested with the same slave plantation mud as theirs. I do not hate my skin but I’m often ashamed of those who share the same melanin as me.
Judging me on my RP and how I was raised, not what I say or how I behave. I hear people say, “If you know better than do better.”
This is why I can’t gawk from the side lines when I see Black people putting each other down. When I see colourism dividing us by our different shades of brown.
Black Privilege is feeling the bitterness of other people who look like me. This private school childhood is being the token Black.
It’s knowing my mouth is more bulletproof than Charlottesville which is why I use this mouth loud, even in the face of that bitterness.
To keep certain ears attuned to “You know better so be better.” For my eyes to be whitewashed and imperialised. Black privilege is a fiction, a fantasy.
It’s the assumptions people make because they hear my softly-spoken syntax – this relaxed tone of voice. This privilege-sounding tongue-tied man subverting stereotypes.
It’s the judgements we take without thinking. I was stop and searched by police for simply blinking… wrong place wrong time.
Having privilege is never having to think or talk about it. I’m always thinking and talking about it.
And if we all have voices to use, why on Earth should we stay silent?