Irene Donati.

When you are dead, you do not know you are dead. It's only painful and difficult for others. The same applies when you are stupid. (Ricki Gervais)

[irenedonati]

COLONIAL VIRUS

“Ei corona!” Two weeks ago, we went for a PidgenTV recce in Kantamanto, one of the most popular markets in Accra, and it was the first time I heard people calling me “Corona.” It happened again a few days later around Ako Adjei Park where I live; and somebody said it from the streets while I was in a car around Teshie.

Ironically, I was in the market with Wanlov and Sister Deborah preparing a content to draw attention on Covid-19 and waste management in the country.

I admit for one little moment, my mind thought: what if Ghanaians start becoming angry at us because of this virus? But almost immediately another thought became more predominant: what a humbling experience. For once in my life I get to experience the feeling that millions and millions of non caucasian people have experienced in the western world. I tried to think about how it feels to endure something like that almost everyday of your life. I felt like a punch in the stomach. My heart felt heavy.

Meanwhile, in the streets of Accra, a friend experienced something similar, but she posted a quite dramatic Instagram story saying she experienced xenophobia. When I asked her what happened, explaining that in the market people had just called me “Corona,” she said people asked her if she had Coronavirus and someone asked her friend if she came to bring it. That sounded to me more like a legitimate question than an episode of xenofobia to be afraid of. But she insisted: it was such a bad feeling and she wouldn’t trust to go out alone.

As a Ghanaian friend said later while discussing this episode “Ghanaians are anything but white people killers.” We smiled.

But the rumours about a possible Ghanaian discrimination against obroni kept spreading. A contributor to Der Spiegel wrote on the subject in a very superficial way, and like if it wasn’t enough, CitiNewsRoom shared this ridiculous news report on the same matter. ( The woman dragged in the video was refusing to use hand sanitizer entering the supermarket, she wasn’t attacked because white.)

I think that most caucasians have never experienced being unwanted or not welcomed here before. And so the shock is doing significant damage to their psyche. Unless mistaken, no “obroni” is in danger in Ghana at the moment, rather is quite the opposite.

Let’s be real, we all have been revered for no reason just because caucasians or foreigners in Ghana. And that’s why the part for the Citi News report that raises eyebrows is the one of the woman crying discrimination, when she’s the director of Liberty American School, making money in Ghana with private education based on Jesus Christ. Literally.

Maybe, she is a good person, like I know my friend who felt unrightfully discriminated against is not a bad person, but their view is blocked by never being challenged in a country where we are a minority.  And that’s the foundation of the colonial mindset.

This virus wasn’t here. If a mindset that still allows whoever coming from outside to have a special treatment didn’t exist, we probably still have zero cases. This virus was imported, and for those informed it’s easy to recall that Colonization has spread so many diseases. We have killed millions amongst indigenous populations with bacterias and viruses they couldn’t fight. And even if this is a pandemic and scientists will fight me saying it couldn’t be avoided,we didn’t realise that the way this virus was going to hit Africa couldn’t be contained as in other parts of the world.

The government decided to apply the international rule of lockdown, instead of thinking to an afrocentric approach, knowing that the less privileged, even if not infected, are going to suffer, while the more privileged, the minority of the population, will have the chance to be in isolation and probably pay for medical care if needed. In this entire debacle on how threatened we felt we forgot that the most vulnerable will die more. People decided to spend this time to call out a non existent xenophobia because we felt our privilege was notched, instead of thinking how lucky we have been to be here for so long living a life that most of the population will not be able to live.

The word xenophobia means “Fear of the stranger,” not hate.

And it’s challenging because in our imagery, black african people are the ones spreading deadly diseases like Ebola, while we are the ones spreading civilizations and culture and exporting democracy. Aren’t we? Now we have to admit we are responsible for spreading this virus, as a community of human beings living in the developed world.

What I hear in many conversations in the expatriate community sickens me: people don’t understand why the locals are not respecting the social distancing, why the locals are not staying home, why the locals are not using hand sanitizers. Bars, restaurants, shops, the ones whose owners can afford to stay home, are laying off people: where do we think these people are supposed to go? How are they going to feed themselves and their families? As Wanlov said in a recent interview: 

“ If you’re given the choice to fear corona or fear hunger, you fear hunger.”

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The government asked the Nation ( the Christian and Muslim one ) to fast and pray because if there’s any supernatural superpower, that’s the only thing that can save them. And if it doesn’t, they will tell them it is because they didn’t pray or fast well enough. And now a new savior has arrived to take advantage of the lack of leadership: Jack Ma, already busy in being sure the african countries are economically dependent from China as much as from the other colonies, is already at the forefront to “help” us fight the virus.

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I am torn between two worlds because the country where I am born, Italy, is suffering incredible losses, and my family is there, but they are safe. And if you are really there talking about distancing to get closer, disconnect to connect, crying because social distancing is making you anxious, consider shifting your focus to how you can be a better person, better neighbour, better friend for those who can’t protect themselves.

To my adoptive home Ghana, my home for the past 7 years, where I have laughed and cried, fell in love and out of it, where I almost became a mother, this is where now I need to put my efforts to be sure that we learn how to be better human beings. I am still trying to figure out how, but the most powerful thing I know is to spread conversations and content. 

Before you post that IG story from Accra, think you are safe, think we need to re-balance the world order because this virus isn’t the worst thing that can happen to us. Think how, if you are staying, we are going to get through this with the people who have been welcoming us for years. Self isolation can save lives, but let’s be honest, it’s making us also selfish and more self-centered, and makes us lose focus on who is out there. Try to think about the words “others” and “togetherness” when you wake up, it might help you change perspective.

And if for one time people will shout “EI CORONA!” and you feel bad, hold on to that feeling. I was humbled by the feeling, not enraged. If it happens maybe suck it up. Breathe into it, and think that there are so many other people in the world that had to experience it millions and millions of times in their existence just because they don’t look like you.

“We must remain human, even in the most difficult times. Because, despite everything, there must always be humanity within us. We have to bring it to others.” - Vittorio Arrigoni

[irenedonati]

Why Wanlov the Kubolor's "Swim" is the most relevant piece of content we have experienced in Ghana in a while and why we should talk about it.

Wanlov The Kubolor, Ghanaian rapper, songwriter, producer, video maker, and performance artists  recently released a new video and a song called “Swim." 

I don't want to spend too much time talking about who decided, for instance, to report the content on Instagram because their susceptible soul was insulted by the nudity portrayed in the video. Can we blame people for not understanding? Or should we blame a system that keeps brainwashing people through religion and politics so they do their dirty job for them of silencing any voice that sounds too loud?

I realized that we shouldn't draw more attention to ignorance: as Eckhart Tolle says — “Whatever you fight, you strengthen, and what you resist, persists.” So I am not going to spend time strengthening ignorance; I will spend time on what deserves attention, strength, and power.

I have admired Wanlov's work for many years, way before we connected in real life, and now I am able to understand him more as well as explore his energy. I consider him a friend and an ally in the fight for human rights, especially LGBTQ and women’s rights.

I feel Wanlov’s work is becoming more profound and even more fascinating. I recently had some long conversations about him with a friend who is a performance artist. We started tracking analogies that helped me explore the beauty of Wanlov's work and message.

After days of research, thinking, and re-writing from different angles, I realized that we could compare Wanlov’s work to many performance artists who used their bodies to make political statements. I am not comparing to validate. Wanlov doesn't need validation. It is however quite interesting to realize that artists from very different backgrounds and circumstances have ended up using a similar form of expression for related messages or fights. Again, I am not comparing to validate but to show how far from mental freedom those who keep finding offense in a meaningful artistic expression are.

Even though it's an unusual type of performance I watch "Swim" and I think "SOMETIMES DOING SOMETHING POETIC CAN BECOME POLITICAL AND SOMETIMES DOING SOMETHING POLITICAL CAN BECOME POETIC," which is text from the inspiring work of Belgian artist Francis Alÿs and is a poignant description of "Swim".

"A compulsive wanderer, Francis Alÿs is known for his in-depth projects in a wide range of media including documentary film, painting, photography, performance, and video. Many of his works involve intense observation and recording of the social, cultural, and economic conditions of particular places, usually conceived during walks through urban areas".

Even though it's an entirely different performance, "Swim" is something poetic that can become political. It's also indeed political and still incredibly poetic: the statement of swimming naked in an ocean of plastic in a country that is very good at having politicians taking selfies with celebrities, but can't seem to solve fundamental issues like the filth on our streets and shores; to the tone of the voice pronouncing the lyrics; to the music.

I could stop here and you would already have enough to think about.

But I want to go deeper because Francis Alÿs performances are not directly comparable to Wanlov’s, if not by intention. Pushing an ice block through the streets of Mexico City until it melts might look extremely different from swimming naked in plastic or walking barefoot everywhere around the world, but is it that different?

Is Wanlov's use of his naked body different from Ana Mendieta's use of her nude body?

Ana Mendieta is a celebrated Cuban-born artist who used her body as a statement for her entire career. Body Art is an expression that has always forced "the audiences to partake in oftentimes violent, jarring, shocking, or unimaginable experience, asking its viewers to consider the role they were playing in the dark and uncomfortable spaces between innocent bystander and culpable voyeur."

Ana Mendieta started using her body to make statements about the political abuse of bodies of women and about rape. She used her naked body in contact with water, earth, and other natural elements (including blood) to express her pain and her rage and to denounce sexual abuse/violence.

Is it that different from what Wanlov keeps doing in the fight for women’s rights and gay rights? 

The reason why we are disturbed or moved by naked bodies in a non-sexy or non-pornographic state is that they represent the vulnerability of human nature. And we don't want to be vulnerable because vulnerability is considered a "feminine or gay issue:" Naked men are supposed to send dick pics or show their sexual power ( the wrong way ). 

Wanlov is swimming naked in a polluted ocean. Wanlov is making his body look more feminine with clothes and makeup to dissolve gender roles. Wanlov is not afraid to show his naked body in a non-sexual way. People will whisper: "He must be gay," or comment on social media “Stop being gay.”

Is he so different from artists like Ana Mendieta swimming naked in her "Ocean Bird" performance? And is Mendieta applying male facial hair on her face different from Wanlov using makeup and jewelry and clothes to deconstruct gender?

Untitled (Facial Hair Transplant), Ana Mendieta, 1972 Source: Galerie Lelong 

Wanlov: backstage “Mr. Casanova” 2020 - Shooting in Madrid w/Alvar Alonso

The "vagina has always  expanded opportunities to unravel the feminine mystique and multiple voices as a loud and reverberating denouncement of the traditional male gaze." But this was 20, 30, 40, 50 years ago when this work could simply not be produced by a man. 

We have now learned that the intrinsic definition of gender is an issue. So can’t a man use his body to make a similar statement and, at the same time, help to protect the over-sexualization of female bodies, which is an unintentional consequence of some expressions of the feminist movement?

Can a vulnerable male body be leveling the playing field and help to break gender barriers? I have no doubt that Wanlov’s body is carrying a feminist message.

We are recently learning that a body is no more the expression of gender. Trans women and men have taught us that you can be born in a body and not be what that body supposedly represents. In this scenario, Wanlov's sexual life and orientation shouldn’t be the subject of the conversation.

Still, somebody always tries to make it the only part of the conversation so that we don't focus on the critical message.

I am even more keen to believe that Wanlov's work is genius and authentic because of his spontaneity and because, like many true artists, he does it because he feels it, not consciously thinking of all the layers that I am now deconstructing.

"Swim" is offending people because it's telling us in a raw and familiar way that we are bystanders and voyeurs in the destruction of the Ghanaian shores, nature, forests, and with them, the people, the cultures and the dignity of many human beings.

And so it's easy for people just to dumb him down as the weird guy who walks barefoot and without underwear and showed his penis on TV, so they convince themselves that he's not a great artist, but just a controversial lunatic. I find it funny (non-literal please) that we still think we have to use the adjective “controversial” to define artists. All artists should endeavor to be controversial enough to spark a conversation. Or should music artistes simply be “yes” people?

What about being barefoot as an artistic expression? Being barefoot, besides being part of almost all traditional cultures (definitely apart from the Inupiats), is a symbol of innocence and pure energetic exchange with the earth. There's a reason why saints, gurus, and spiritual leaders are usually portrayed barefoot. 

And let’s not forget the children as well. I think Wanlov's inner child vibrates very high.

The same people who are offended by nudity will never understand that walking barefoot is not an action supposed to make them laugh. In a recent conversation with Wanlov, he randomly said something that almost blew me away and sparkled the idea of Wanlov being a Synesthetic artist. 

Could it be that his walking barefoot and continuously experiencing the world with an uncovered part of his body is transferred in his art in a synesthetic way?

Are his music, poetry, performances result of sensations that travel through the constant contact of his skin with the earth?

Is he a sort of superhuman because he's been able to feel and experience the world in ways that we ordinary human beings cannot?

But being myself a believer of energy exchange with the Universe, I find an act of extreme courage the ability to allow yourself to feel so much, especially in a world where desensitization and detachment are a new way of surviving. Preservation at a maximum level is what is guiding individuals who hide behind ridiculous concepts of self-care and self-expression to justify any selfish and stupid act.

Is this form of body art telling us that our level of detaching ourselves from the Universe is indeed creating monsters and destroying human interconnections?

Is he so different from artists like Regina Jose Galindo and her work "Quien puede Borrar las huellas," in which she walks barefoot whit his feet soaking in blood to criticize Guatemalan violence coming from the misconception of morality and gender?

Why is Wanlov's use of his body barefoot with makeup and female clothes and jewelry not awarded and glorified as the Galindo one at art Biennales, as the men who uses his body to criticize the abuse on women and members of the LGBTQ community in Ghana? Is it because he's not a woman? Is it because he's not gay? So he has to be considered funny or weird or crazy?

And I could write for another day if we decided to start talking about his music, his lyrics, and his music videos.

Because Wanlov comedy is Monty Python's deep. I hardly laugh for more than a couple of seconds, and, after a couple of seconds, I squeeze my face, and I think "sheeeit that was deep."

If I have to draw another parallelism, imagine Dave Chapelle barefoot, in a skirt, with makeup and jewelry sending low blows to politicians, religious leaders, foolish humans, and useless institutions. 

And using Pidgin English to dignify a language that could unify the African population, being at the same time hilarious but extremely serious. 

My point: you have not seen anyone like this. And that’s why the way this Ghanaian artist is underestimated is highly disturbing.

I wish we lived in a world where people had the chance to be more receptive to something different and not classified in categories created to make us feel comfortable.

Being attacked for saying truths people don't like to confront and not conforming to what I’m expected to say as a woman in the presence of men and “bosses" has cost me professionally and emotionally. I feel slightly deformed by the systematic punishment put in place via a very subtle system of oppression perpetrated equally by men and women. I had gone into hiding because I felt my courage and vocals chords shrink. So when I see a fellow human being with the courage to keep their voice loud and stay principled no matter what, I can't avoid feeling deep admiration, gratitude, and love.

Thank you Emmanuel Owusu Bonsu aka Wanlov the Kubolor. We need more people like you in the world, and we need more people in the world to know about you.

( Thank you, Guildor Gallo, for the conversation that inspired my words. http://guildor.com/  )

[irenedonati]

Worlasi, Akan, great music, auras ( and social anxiety on the side ).

I admit I've not been out a lot. People see me and ask the usual question: "Where have you been!!" ( with a loud voice, a bit interrogative while they are scrutinizing you to see if they could see a trace of something that can make them understand what’s wrong with you ). If people ask you where have you been with that tone of voice they don't deserve to know where have you been, especially if you have been hiding because your social anxiety hit harder after things have been going bananas during the past months. When you get into this train of thoughts, to go out becomes very difficult, sometimes painful.  

Very few events can force me to step out, get into a fight with an Uber, organize all the little details in my bag to be sure I will not be out there alone in panic, make more yoga to get my shit together and finally pick the outfit that makes me feel comfortable and step out of my house. 

 Worlasi is always one of those.

M. 🙌🏾 #real .. he respected us soo much last night... ..... and that’s mad RESPECT!!! ✊🏾more money more life more blessings!! 📸 by @sardineoil_911

I was recently watching a new Netflix show where a genius Michael Douglas opens with a monologue about acting, which I think applies to the art of performing in general: " The actor is playing God. Because, after all, what does God do? God creates. God says "Here is a world," and bam! That world exists. God says, "Here's life," and bam again! Life happens.  So what does this mean to us? How do we take this information and bring it into our work? The answer, my dear colleagues, is that, like God, we must love our creations. We must imbue them with life, with character, with hope and dreams and fatal flaws, and then... then we must let them go. Because in the end, true love God's love, is letting go." 

In a few lines, this is the reason why it is always a joy to see Worlasi performing. I can see every time he performs or gives us a new production, how much he loves his creations. And that makes him unique. It's a craftsmanship work, and when he finally brings it on stage, he smiles and seems to tell us: ‘look at how beautiful it is what I have done.’

That love sets a big gap between him and other performers.

#Worlafest18... Thank you all for your support!!!!! 📸 by @alorcoming_photography

I have been watching and observing artists for a long time, not only in Ghana. I have seen singers with a nice look and overelaborate styling, or rainbow hair, or Twitter handles more intense than their music careers. I have seen rappers dropping bars considering it a job like any other to make some money ( they are still broke ). I have seen artists not able to get a note right, and for some reasons, people still telling them in a way only in Ghana we can say: "You do all." No, they do not. 

The commodification of music has created products,  sometimes decent to watch ( many times unfortunately also hard to listen to ). Sloppiness in performances is accepted, autotune is making everyone a singer; artists paying their bills thanks to a Ponzi scheme think a car is going to make them have more fans than a good song. 'Something is Rotten in the State of Denmark' because they oddly have more fans than the most talented and focused performers but I can feel what's coming like Cassandra on the tower of Troy and trust me, I can feel the right things on the way of the brave ones. 

I know few people have "unfriended" me ( not that we were friends for real ) because I expressed an opinion about their product or production, some people have done worse. It's also that Ghana is this weird microcosm where everyone knows everyone, and that's why people think you shouldn't say if a song or a music production is disappointing: you might meet the person and then what do you do? You do nothing. Professionals in the public space should be used to criticism. 

Ok, I am so wandering off. 

I met Worlasi in person a couple of years ago, but I remember experiencing the first Worlasi's concert in Alliance and being astonished by the charisma he brings on stage. Being already a M.anifest follower and admirer, it was easy to be guided by him to appreciate this younger artist he seemed to be very fond of. 

There's a difference between being a good performer, being even a good artist and carrying an aura that mesmerizes people. It's like being a good piano player or being Mozart. The world is full of artists that we enjoy, and bless them, but only a few are the ones who can change the world and leave an impact. 

Maybe I am lucky because I had the chance to listen to Worlasi talking about his vision, and I heard him saying things that made me think: this guy is more profound than the average. And it's because he cares so much about what he does, (not because he wants to make a lot of money, which I think it's a plague spreading in the music scene in general, but very seriously in Ghana in particular ). 

A few months ago I was trying to have a conversation with an upcoming female artist and when I was trying to understand the direction she was looking for her music she said: "Man, I'm just trying to make some money." There's no aura, no stage presence, no god's creation.

Worlasi has an ego, which is something artists usually have, you can feel it, and you are drawn to him because of that little arrogance which I also think it might be a mechanism to do a great job on stage. Worlasi has anger and passion that he translates into sounds and productions ( oh yes he composes and produces most of his music ) and lyrics that even when are talking about romance or booze are a search for something under the surface. 

Worlasi doesn't have the typical R'n'B voice, but he has his timbre and tone and captivating rawness ( I'd work a bit on it with a vocal coach tho because I sense some stress on the vocal cords from time to time ). And he can rap, with his peculiar cadence and tone, because he's not imitating any American rapper: I am sure he had influences, but those influences don't overshadow his personality. 

However, for some reasons, Worlasi's performances reach a peak when he shares the stage with other two awesome humans: Akan and M.anifest.

Akan's genius surfaces in a different way from Worlasi. If you can be around them, you will sense Worlasi's restlessness compared to Akan's almost zen presence. Akan's brain fascinates me. 

If when I look at Worlasi, even if he's sitting in a room, I see flames around his body, when is about Akan it's almost like all these rays of light are coming out from his body ( I promise you I am not on LSD ). It's probably the different nature of their energy that becomes such an explosive experience on stage. 

Akan has this aura Buddhist monks have. He seems to tell you "I am at peace." Akan's peace on the outside translates in a rap style that is absolute technical mastery, and it's fierce and poignant and haunting. 

As my friend SwayKidd says in his brilliant review of Akan's recent concert "Akan is a son of tradition." Worlasi seems to scream from the inside of that same tradition and ask questions and try to dissect it, while Akan honors it with his rituals on stage and his absolute control of the language. 

It amazes me how Akan can transform from the kind and gentle human being he is, into that fury spitting words in a language I don't understand between his teeth. If you watch Akan performing it looks like he's always smiling, but it's almost a sneer, it's like if he's telling you "I see you." 

That also balances the Worlasi's very introspective performance: sometimes I have the feeling Worlasi is in search of himself while Akan is telling us who we are. You put them together, and it's like superheroes joining forces. Akan and Worlasi are performing their Love for their creations, like modern gods. And like gods fearlessly they give all they have on stage: "If I must die, I will encounter darkness as a bride, And hug it in mine arms." ( W. Shakespeare ) 

I am a very spiritual person I feel very blessed that after their performance I usually have the chance to hug them: real hugs, not a pat on the back. 

I held Akan's hands look at him in the eyes, and then hugged him and told him how wonderful their performance was: it's always a Namaste moment with Akan, the light in me honors the light in you. I salute you, master. 

I waited for Worlasi to finish the concert, backstage before more crowd arrived: I wanted that moment when that energy is still around. Worlasi calls himself skinny dude, and he's skinny indeed because he's constantly burning energy. It's a machine burning and burning calories. You have a second with him, and you have that moment to tell him it was great. I'm proud of you. 

Then he has to move on, restless as usual. And if you are lucky in that hug, you can try to steal some of the fire and bring it home with you. 

And this is what makes some performers more inspiring and some concerts more cathartic than others. I sometimes think if people are watching me during these live shows they probably think I am a weirdo ( which I proudly am by the way ): my experience with music is spiritual, not only recreational. So you will see me moving on the side of the stage, maybe nervously smoking and looking at what is happening from a different perspective, focused on some details with my eyes on the hands’ movements and the way the shoulders are tense, and the way neck muscles are contracting and the veins are pulsing. 

Worlasi and Akan are a national treasure; they need to be protected. They are not the only ones; I have more than once expressed my admiration for some young artists I have been lucky to observe, and for some less young who are consistent in their quality and in the great respect for their creations and their audience. 

But today this is all for Worlasi and Akan, fire and light, thunder and rain, forces of nature who complete each other (and force me to step out from my isolation).

Namaste.

[irenedonati]

AFRIMAs: I was there.

I went to the Afrima, invited, not as a professional, but as a music fan.

I am a music lover, I have been into music since I was a child. I am a trained piano player and singer. Music is my biggest love. I am always an enthusiast of working with talents, share ideas, see them growing and encourage their journey.

I had the great honor in the past to work in situations were superstars were involved. From Justin Timberlake to Shakira, from Sean Paul to Craig David.I have seen in concert people like Prince, Beyonce, John Legend, James Brown, Mos Def, Jay Z, Cold Play, Oasis, Earth Wind and Fire, Lauryn Hill, Oasis, U2, Florence and the Machine and thousands more.

I was so lucky to be in the production of an opening ceremony, so I am aware of the implications involved in a massive production. However, I was at the Afrima purely as a music lover, so my opinion is expressed as a music lover who got quite disappointed but also very confused.

I’m not judging, I am more seeking for answers.

Why did all that happen?

It is something that has happened many times to me in the past 5. years in Ghana: to go to events and see artists not showing up, showing up late, not been able to pronounce a decent acceptance speech: for me, any time this happens, they have missed an opportunity. 

Every platform is an opportunity, especially when you are young, upcoming, not experienced ( having one good song doesn’t make you seasoned or “arrived” ).

The size of the platform doesn't make it more or less relevant. A smaller platform is an opportunity even to make mistakes that will help you to get to the bigger ones. A big platform gives you the opportunity to spread your message loud and clear to a bigger audience.

The definition of big or small doesn't depend on the amount of money you are making out of it: wake up. 

I love artists in general because I see their talent, their hopes, their vulnerabilities, and their struggle: I see them. However, in many occasions, I find myself very puzzled when is about their management and the choices they make, which I saw becoming more harmful than helpful.

Now, there might be reasons why some artists decided not to show up to an African award televised in 54 countries. Maybe they think the Afrima organization is terrible. Maybe they think Afrima is using them. Maybe they don’t like awards. Maybe they were sick or busy.  

If the issue is with Afrima, which is what a friend in the industry suggested, they are still missing a significant point: to show up and accept the award is not for the organization, it’s for the people who voted for you. The people who took their phones and sent an SMS to support you, they deserve you to show up.

As I said, there might be reasons not to show up: you are not in the country, you are performing somewhere else, and you can’t pull out because you are a professional, you are sick, you have a personal emergency. If that’s the case you send someone, and not just someone: you send somebody who can pronounce one word after the other and give an acceptance speech that offers something to the people who voted for you.

Sarkodie is in DC, and he sent Dj Mensah: it's acceptable, fans know he's Sark's Dj, he could have made a better speech, but he was there. I was sitting with Simi’s team: she couldn’t be around, but if she would have won an award there was the highest level of management in her team ready to go on stage.

Tiwa is in London; she sends a cute video. Maybe she couldn’t care less, perhaps she could have been there, and she was just lazy, but at least she observed the etiquette. Etiquette is essential, etiquette pays in the long term, etiquette is what your management has to teach you if you are a lazy young artist and you don’t understand the importance of it.

I distinctly remember when Worlasi told his fans they shouldn’t spend money on SMS for the VGMA: “WorlArmy abeg make you no use your credit vote gimme 4 VGMA.Ago organise some shows this year save the credit money buy tickets.THANK YOU.” He meant: I am not showing up anyway, save your money for my concert, a smart way to say “I don’t believe in this award.” He used a platform to talk about something I am sure was dear to him: the doubts around the legitimacy of some specific music awards. He was bold, consistent with his brand, and in direct communication with the most important people he has: his fans.  I had many conversations with Worlasi about management and other issues, and sometimes we agree to disagree, but he is aware about the impact of every word he says and he uses it to deliver his message.

Now if you are a young upcoming artist and you can’t find the way to do any of the above, then you owe an explanation to your fans.Are you protesting against Afrima, well you should have the gut to say it. Are you against awards? You should have the gut to say it. And if you had the gut to stand for something you’d have done it live on TV. Connected with 54 countries. That sounds like making an impact. But if you were just lazy and your management was lazier than you ... ( I leave it with an ellipsis )

Only Stoneboy amongst the Ghanaian artists awarded showed up on stage.      I am sure someone is going to say “they paid him.” I have no idea, I am not a super fan of Stoneboy’s music, I never met him, but he was classy, conscious, smart in his speech and very charming. He honored his fans.

As a professional, I found the choice of the artists who didn’t show up, and didn’t send anyone on their behalf quite disturbing.

As a music lover, and someone who has been spending her money to buy and see music since she was a child, I find it rude, and unacceptable.

Let me go back one second to the platform before I close: you have the responsibility to honor every opportunity to say something that can help the industry, create conversations around relevant topics, can help change your country, can help increase awareness for something that is important for you as a human being and as an artist. Kudos to Sandra Nankoma from Uganda who used the platform to talk about colorism and her struggle.

There have been examples of people not showing up for awards to fight a cause or to demonstrate something. 

It becomes meaningful and relevant if there’s a message behind your action. You don't do it for the show. You do it because you don't always have a platform.

The show was dull, sloppy, only a few exciting moments woke up the public (Bobi Wine Awarding Osibisa was my highlight ); Michael Blackson couldn’t pronounce one name right, same for the South African host who even called the second lady Mrs. Samira; Dj Switch is a minor and she shouldn't have been performing after midnight, she should have been in bed; the 4Syte tv CEO was drunk, or not fit for the task of presenting an award ( in both cases he shouldn't have been there ); the room was hot and not air-conditioned enough; Fally Ipupa performance was an unnecessary penis power play, if it was necessary for you it means you need to add more spice to your private life; Mr. Eazi was fun but didn’t stay enough to collect his award for song of the year -weird-; same for 2Face, who literally just performed, and then didn't wait to receive his award

I feel like people should explain why they were not there and they couldn't care less. If your managers are telling you that it was cool, please fire them. There's nothing cool in being rude or disrespectful towards your fans. If you have an issue with Afrima, talk about it so the awards can be improved, so people can discuss and try to change things.

But if you are silent and unbothered, or you are just holding a grudge, then, for me, you're not very professional. To hold a grudge is a children’s behavior, not a professional one. Should we all grow up?

I want to add the few positive things: people still love music a lot; Anita Erskine is a great professional; King Promise live performance was excellent; I saw Bobi Wine, and I told him “Power to the People,” Osibisa moment was beautiful and emotional.

As they say where I come from, “Ad Maiora,” “towards greater things,” and to get constructive criticism is the only way to improve. 

And now the thorny question: MADAM, what are this 4.5 million dollars for? You could have least paid for a decent air conditioning. 

Namaste.

[irenedonati]

About "Grind Day”, Remixes and Big Bros.

Grind Day is one of the Ghanaian songs of 2017. I don't know if it will be "award-winning," like many other overrated songs and artists, but we don't need an award to recognize the power and the greatness of the song. Producer Kayso did an incredible job on it, and he's another talent no one should ignore. Kwesi Arthur is, no doubt, one of the artists of the year, and he also doesn't need any award to confirm it. Kwesi, who I have the honor to know personally, is like a King Midas: everything he touches becomes gold. We have loved his EP; we enjoyed all his features, his live performances and we love even more him as a person: authentic, humble, real. I will not stop to say beautiful things about him because I have experienced him on and off stage. A Grind Day Remix was in the air for few months; if you are in the music business in Ghana you've probably heard the rumor they were working on it and you probably also knew the people involved. In the end the new video with the Remix has been released:

I am not a Medikal fan, I don't know much about him, so I will  not talk about him, because. I met Sarkodie once in the past, I think he's a cool guy, we all know he's a talented artist, and no one can deny his contribution to the Ghana music scene whether you like his music or not. All that said, the central question is: did we need a Grind Day Remix?

CulartBlog has been much more politically correct than I am and simply said: ‘Don’t remix an already banging song unless you are going to make it better’. This has been a sermon I’ve been preaching for a while. But, as it is with artists, a hot song is one they often can’t resist laying a verse(s) on for a variety of reasons.

The remix concept is not something that belongs only to the modern music. It has always been there. It just had a different name. I have a classical music background: I have studied piano, theory, and history of music for years. As we know, in classical music, a remix is called variation. What makes a variation relevant is that it's not merely an ornamental change of the theme, but it's a transformative process: it requires an observation and a deep comprehension to change the form without altering the nature of the composition. It means my judgment on Grind Day Remix cannot be completely objective because I should interview Kwesi,Kayso, Sark, (and Medikal) to understand the process and the intention behind the work to be able to express an accurate comment. But, I can give my emotional reaction to the Grind Day Remix. I understand everyone in the music business in Ghana could have thought "Damn I wish I've written that song," "Damn I wish I could be able to be part of that song." So why choosing Sark? And who made that choice, the upcoming or the established artist? I guess it is what I call “The Big Bro Complex”, and we will talk about this later. It doesn't matter if you are upcoming, established male or female: Grind Day is one of the most meaningful songs for an entire generation and if you are in the Ghana music scene you wish you've written that song. I wish I were Kwesi Arthur; I can imagine how does it feel if you are a not so young male artist who just released an album that was supposed to be the highest point of your career, and it wasn't: if you can't be Kwesi Arthur you want to own Kwesi Arthur. But let's go back to the emotional reaction to the Remix: Kayso and Kwesi have been able to add something compared to the original version and make a real variation: consciousness. My comments come entirely from my gut, but that "Get it, get it, get it, get it, Get it, get it,get get it" at the beginning of the song comes from the comprehension of what that specific transition in the song meant for most of the listeners. So when you find it now at the beginning it makes you want to scream: I swear I did scream. And I don't know how he does it all the fucking times, but Kwesi was able to make a different version of a better himself that sounds like a kick in the stomach (in an entirely positive way): breathtaking. My gut still thinks Kwesi Arthur is the best thing of the Remix of his own song.

Now, did we need Sark (and Medikal) on it? My gut says no, but it could be a yes if I knew that presence has contributed to Kwesi Arthur's music career with visibility, support, recognition, and last but not least money.

Definition of Big Bro Complex: an older and more established artist, generally a male artist, asks you to perform for free at his/her shows or hijacks your songs or asks for a hook or a beat ( still for free ), and then you have to thank them for "exposure." In most of the cases, he/she should thank you for bringing a bit of your light in their old-fashioned careers. The Complex might not be involved in this specific song, but the remix helps me to start this conversation and another one attached to it. I don't know if Sark will read this. Sark if you do I hope you understand where I am coming from and maybe you will want to join in trying to figure out how can we make the Ghana music industry a real industry and, most of all, be sure upcoming artists with such talent survive. Obviously, Sarkodie on a song can be a boost to your career because radio stations or people who snubbed you now will probably pay more attention to your name. What would make that presence more relevant tho, would be if Radio Stations paid royalties to the upcoming artist who owns the song they are now playing because Sarkodie said it's worth pay attention to it. Sark if you are reading I hope you get me: the responsibility is not just to give your blessings to someone like Kwesi Arthur, the responsibility of someone established like you is to protect a treasure like Kwesi Arthur. And the only way to protect him is if he makes enough money from your remix so he can continue to make music and be the amazing artist he is. Sark, when you became established the music business was different: the digital era has changed everything, and there's no way to survive in Ghana as an artist if we don't pay royalties for the use of their music or we don't pay for their performances or their hooks or their beats. And it would be an excellent start for established artists to thank the upcoming ones for their contribution to their songs, concerts, videos, dinner parties, birthday wishes, WHATEVER, not the other way around. I have seen too many new incredible artists coming up this year I am overwhelmed by it, I can't watch them not getting the recognition they deserve because an old-fashioned industry is not able to keep up with the rest of the world and start paying them what they deserve. And, as you can all understand, I am not talking about Grind Day Remix anymore. I am talking about a system built on the idea that if you are old, you deserve respect ( even if you are full of shit ) and if you are young you can't even contribute to a conversation with older people because it's disrespectful. I am talking about a society built on the idea that age, not merit, gives you the right to do things and that's why change never comes. Music can be the mirror of the society we live in, but most of all music, like all art forms, can create the revolution needed in that community. That's why Grind Day should be the song of the year: because it's the cultural and musical manifestation of the Ghanaian life and it's revolutionary. If you are a Big Bro and you are part of the problem, maybe you can think about it and make the first step saying "Thank you, Kwesi Arthur, for giving a breath of fresh air to the industry. We all owe you." And then continue... thank you B4Bonah, Worlasi, Ria Boss, La Meme Gang, Adomaa, Spacely, Robin Hues, King Promise, Amaree, Akan, Ayat, Kayso, Nxwrth, Cina Soul, Bryan the Mensah, Poetra Asantewa, Ebony, Kidi, Juls, Darko, ...  please help me go on... there are more and more and more and we’ve just started... 

[irenedonati]

#SMWiAccra 2017 and my keynote about influence.

(First things first: s/o to Beryl at EchoHouse for putting together this event. Everything is perfectible but as a first edition, I’ve seen great things done. And it has to be given to her. )

I was invited to talk about content, and how influencers are monetizing their influence. So I had to show examples of people making a serious amount of money out of Ghana because as it stands in Ghana nor brand or bloggers or celebrity seems to be doing the right thing to monetize influence.

This will be a long post, but as I’ve been asked by several different people to get the “slides” of my keynote, I decided to summarise my speech in a text. I think that there’s no point to having my slides if you can’t get the references and the thought process behind them so hopefully, this post might help more.

Before I start: we will do the same exercise made at SMW: for the duration of this post, we will not consider the word “bullshit” profanity because no other word in the world can work the same way in this context.

The title of my keynote was “The Bullshit Industrial Complex.” As explained the title was borrowed and inspired by an extremely compelling article I read on 99U about the creative industry being self-referential. It was the perfect headline for the message I wanted to send about the wrong perception of influence in this country ( and not only ).

At the beginning of this year, I wrote a couple of posts on LinkedIn after a company called Clique Africa published the ranking of the most influential social media personalities and brands in Ghana with title “THE INFLUENCE ISSUE: GHANA, THE DIFFERENCE BETWEEN QUALITY AND QUANTITY AND ME ROLLING MY EYES SO BAD.”

The point I was making is that influence cannot solely be considered from a quantitative perspective, but it has to be defined from a qualitative one as well.

In the context of what I was asked to talk about at #SMW was important to make people understand the impact of quality if you want to have a chance to monetize your  “influence” and your social media presence as an “influencer” through partnerships with brands.

I like the definition of influence that I found in an old article in Forbes, which says:

“Influence = Audience Reach (# of followers) x Brand Affinity (expertise and credibility) x Strength of Relationship with Followers.”

These are parameters which should be considered by brands when they decide to invest in influencers. Most of the times they look only for the fan base, and that’s how we get the wrong ranking of the most influential people/brands in Ghana.

“Influential ” for a brand cannot be equal to “famous”: if “famous” is for the wrong reasons, the damage to your brand will be much bigger than the “impressions” you got. And if you as an influencer lose credibility, you will lose your money: no need to mention Tiger Woods, and many others after him, who lost sponsorships because of their loss of credibility.

To define who is an influencer I love to use a clip from a 2010 short documentary which I think is still absolutely legit: “INFLUENCERS: how trends and creativity become contagious.”

What I think is important to understand is that an influencer doesn’t hop on a trend, s/he creates the trend. And to do so, s/he has to create an impact on the culture. Whatever culture … unfortunately even trash culture if you want, but you still have to be impactful.

When brands have the luck to meet this kind of human beings able to take something that is not in mainstream consciousness and make it mainstream, they have to create the longest possible partnership with them, because they have the chance to become iconic together.  See whoever works with Pharrell Williams, or think about Michael Jordan.

Henceforth INFLUENCERS ≠ BULLSHITTERS. Now when I say this, I don’t mean to say that influential people are only severe people with conscious thoughts. But the more they are consistent in their truth, the more they are influential. Read: I don’t think the Kardashians will help us to save the world, but I can’t deny their influence in the modern society.

However, giving a Ghanaian context to the evolution of the digital world, it’s sad to say, I see a circus where everyone is trying to gain likes in the worst ways. If I were a brand, I would look more for micro influencers who can add value with content and who can become very significant in the upcoming years considering how music/fashion/art are growing fast and gaining international attention.

What makes these Ghanaian micro influencers more impactful than big mainstream artists/bloggers, is the power of their content and their storytelling.

I have to talk about two examples of people defined “most influential” in Ghana: John Dumelo and Ameyaw Debrah. Because being the “most influential” celebrity and the “most influential” blogger, right now they should be making money after their influence ( real money ), but they are not making what Rihanna makes from Puma, aren’t they?

Thanks for the wonderful service @telefonikaghana 😇😇

My question in the room was: how many of you feel the urgency to run to Telefonika and buy something after seeing this post? No one raised his hand. We got the same reaction after using an Ameyaw Debrah picture, except that he was in the room and he didn’t like it.

When you arrive at a certain level of notoriety, and you start being tapped by corporations, you have to be careful not to lose the ability to connect with the culture and to influence people for real and don’t become self-referential. If your selfies are a constant masturbation about what you are doing without any story to tell, you will keep getting paid peanuts, and you will never be able to start a real partnership with meaningful brands.

The kind of influencers big brands want to work with don’t conform, don’t follow the rules, they challenge the culture saying “what if," they have the power to become role models. Unfortunately, at this moment, brands in Ghana don’t seem to be ready to engage real partnerships with influencers who are telling different stories, but they will, and that’s why I always love to show Kanye West speech at the 2016 MTV VMA about the power of role models “aka” influencers.

After working for years with different brands in Ghana I recognize the mistake of “counting the impressions, not the impressed” and that makes them go where the big numbers are without evaluating the real influence.

If I think as a brand about who I would invest in, there are so many better ideas than a blogger with a lot of followers but no credible image, posting offensive content, revenge porn and showing off a lifestyle that doesn’t exist.

I presented some examples which are not an exhaustive list of the amazing people I could have mentioned, I keep thinking about people I left out, but I wanted to focus on influencers who can take some brands on a different level if they decide to run together in the long term. Partnership with the right influencer is the future. Frankly, when a blogger comes with a “price list” for a blog post, I want to kill myself. Give me a story to tell, that’s priceless.

What these people I mentioned have, is content. Their image is content; their life is content, their behavior is content, their art is content. And what brands desperately need is content, because people don’t want to deal with your product they want to deal with people’s stories interacting with your product story naturally and organically. That’s branded content.

Serge Attukwei Clottey, Bright Ackwerh, Dj Steloo, Poetra Asantewa, Darko Vibes, Worlasi, Kobby Graham, the Black Girls Glow collective, Crazinist, Efua Sutherland, Papa Oppong and Mukase Chic. I could have added many more… from Accra We Dey to the Serrallio crew (yes they are influencers ), from Official Kwame to Francis Kokoroko, from Stefania Manfreda to Wanlov, from M.anifest to Ria Boss to Adomaa… I was just giving examples of beautiful stories to tell, I wasn’t saying they are the only ones. However, those I mentioned make me want to tell their stories and they have an image so powerful that stands out and were good examples. And the reason why they stand out it’s because there’s nothing fake about what they are doing. There’s authenticity in their message.

Authenticity is what counts when you have to work with a brand/agency as an influencer. As Shelly Lazarus said once: “Here’s the thing: I hate it when people talk about personal brand.  Those words imply that people need to adopt identities that are artificial and plastic and packaged, when what actually works is authenticity.  One of the fabulous things I’ve enjoyed about my career is collaborating with so many leaders across different industries and countries, and without exception the successful ones have been comfortable in their own skin.”

When brands and influencers partner up compellingly, you can get content like what recently Quincy Jones has done for JBL: I don’t see him inviting anyone to buy the headphones in the entire series of documentaries… but it’s more effective than an advert.

My suggestion to blogger and influencers is, if brands and agencies are not ready yet to come up with good ideas for you, go and present a project, go and show your content and how they can use it to improve their brand. If you keep going and begging for small money, they will never consider you when big money will come.

And to conclude, all of us have a responsibility when is about not to give to bullshitters the power they think they have “We all bear responsibility in the war against bullshit. We should discourage bullshitters by resisting the temptation to cave to the clickbait and contribute to page views.”

Quick notes: I never said anything against Shatta Wale; I said if you want to deal with someone mainstream you have to be sure he is representing your brand in the right way to the right target audience. But if the mainstream artist is taking a lot of money to represent a brand and then decides to open his mouth and bite the hand which is paying him, the brand should sue his ass even if the person is Shatta Wale.

I have nothing against John Dumelo, we are actually friendly, and I usually tell him the same things I presented when I meet him or talk to him. He never gets offended. Au contraire Ameyaw Debrah seems to feel like bringing examples of people doing a better job than he does, means to insult Ghana. But all I am actually trying to say is that Ghana artists are as excellent as the foreign ones, deserve the same money and recognition, and they have to start to get what they deserve stepping up the game regarding content. Whoever keeps asking for few cedis to post whatever bullshit a brand asks for, is not doing any favor to his country and the industry.

I have said nothing against Worlasi; I actually compared him to Kanye so the person in the room who had the great idea to tell him I was dissing him on stage, should find the way to open his mind when I speak.

I guess I will see you at the next Social Media Week, in the meantime if anyone is interested in continuing this conversation somewhere else, I think you know where to find me. 

Cheers!

[irenedonati]

On Black Girls Glow, #MotherOfHeirs and me being overwhelmed.

I’m receiving since Sunday messages and acknowledgements for my “help” on the Black Girls Glow project. 

I feel answering with “thank you” or various emojis on twitter cannot be enough to express the feelings of gratitude that I actually have. I remembered I have a blog and that my blog has been silent since forever so... maybe time to start again.

DISCLAIMER: it might be a long post.

It’s my fourth year in a country that I’ve chosen to be my home and it has been four years of ups and downs and rollercoasters. 

One of the reasons why I managed to survive many things it’s because I’ve been able to be surrounded by incredible artistic talents. 

I bless my friendship with Kyekyeku, the beautiful experience with M.anifest in the work environment and the small work I’ve done with Worlasi which is another indisputable talent. All the concerts and art exhibitions and creative power I’ve seen around have nurtured me. And working with Stefania and meeting all these upcoming artists... and then meeting the Nkenten family, which technically saved me. And recently Isaac Opoku and Bright Ackwerh... I feel very lucky for all this. I don’t even want to start mentioning all the amazing people in the fashion industry... you guys know who you are.

I remember the first time I saw Poetra on stage more than 3 years ago, and I remember writing a blog post saying she moved me... and then tweeting “Girl, You Rock!” at Alliance Française, the second time I saw her. 

I know something about art because I come from music... My mum says, I used to fall asleep with Opera when I was a child, my family on my mother’s side has the music in the DNA. I’ve studied piano for 10 years and singing has been my passion for my entire life. Christmas as a kid in my house was special, because of all of us playing music and singing.

Then I’ve worked in the creative industry: advertising is one of the best environments to share passion for art: creatives are usually artists on the side or, like my beautiful friend Guido, they can even decide to finally drop their jobs and pursue their art career. Or like my beloved John, they paint during the night and they go to work during the day. 

I became a buddhist many years ago, and one of my mentors says ‘To strive even higher, to do even better—the creative process is a desperate struggle to go beyond what we were yesterday. It is a battle against resting on our laurels, against the fear of losing what we have. It is an adventure into unknown territory.’

And then I became a Yoga teacher and through Yoga and meditation I’ve been able to express my creativity more. My writings are not public, but I do write.

Now, what happened with Black Girls Glow I would not describe it as me “helping”: what I felt from the moment I’ve started working closer with Ama is that they’ve embraced me. And in a way, they helped me. 

I feel like I needed them more than they needed me: yes I’ve offered my services as Pr, helped with the fundraising, spread the word as much as I could, helped with the event and supported them. But I had the privilege to be chosen to do it. I had the privilege to get their trust. It was my honour to be surrounded by so much talent.

I’m very bad with compliments so all these “thank you” are actually very overwhelming for me. When you struggle with anxiety even too much love sometimes is too much to manage.

But I want to thank you amazing girls. I would like to spend a word for each of you because I am so thankful of the time we’ve spent together in the past days. 

Ama, I feel like in english I can’t even find the words to explain exactly what I think about you. I think sometimes I’m jealous of your strength and the way you know exactly where you are going. I’ve learned so much from you during this experience. Thank you for trusting me.

Dzyadzorm, so much strength and so much fragility.  You are the one I’ve probably interacted less with, but I admire you deeply. And you made me cry... and Bright saw me... and he’s having fun of me now. That poem is a manifesto we should teach in schools. 

Adomaa, you have the talent of those artists who are able to become icons. Amazing presence and personality without making too much noise. Working hard without talking much. Style and brain. And I find you extremely funny which I consider a great virtue. Sense of humour is so sexy :)

Cina, you are a breath of fresh hair (quoting)... like a butterfly. When you are around it’s just easier. And that voice... I don’t know if there’s a god or a someone assigned to give us talent, but that voice just feels right. Keep that spirit through life, you make people feel better when you’re around. 

Ria, ah Maria I feel like we have so much in common. If I could make a wish it would be to duet with you. We share some deep experiences and I see you being able to transform the bad into good through your voice, and I admire you so much for that.

Fu: I didn’t know you, I didn’t even know there was in Ghana a female rapper like the ones I love. Effortlessly musical. You’re a beautiful person and I’m sure other people noticed that you are also very deep. And you rocked the show... you are the biggest revelation of this project and I’m so happy more people have been able to see it.

I don’t know if these words are enough to explain how much I thank you ladies, for the privilege of being around you. And we should all thank you for what you gave us last night.  

I think, Ama who’s been around me a bit more, knows the passion I put in almost everything is the same. But I’m grateful that through this project other people have been able to see it. Yes I’m difficult, I’m blunt, I’m a bit of a troublemaker sometimes, but when I love, that’s how I love. 

So to anyone who expressed appreciation for what I have done, thank you. 

And if you feel we can do more together, my arms are open. Maybe I should work on this more seriously because if I have to tell the truth, it makes me extremely happy.

And let’s keep the attention going on Black Girls Glow because of course, this is just the beginning but we need sponsors and we need to realise what Ama wants: to make it a Pan African platform to help female artists in all the disciplines and performing arts to express themselves. 

Power to the Power.

https://twitter.com/BlackGirlsGlow

https://soundcloud.com/blackgirlsglow 

[irenedonati]

Ryan Reynold's Polite Responses To Horny Fans' Tweets Are Pure Gold

[irenedonati]

Thank You Mr President.

I’m not black, I come from a country where ( with all the contradictions ) public health is still a reality, I’m not gay.

However, yesterday, goosebumps and smiles and emotional silences filled my day.

Behind the Lens: When the President Heard the News of the Supreme Court Decision on the Affordable Care Act. 

A photo posted by Pete Souza (@petesouza)

President Obama made history. We could spend hours debating on the fact that the President of the most powerful country in the world cannot be completely “pure”.

Still, this man, made history in a good way in 24 amazing hours. And there’s no homophobic, racist, reactionary person in the world who will be able to take it away from him, and from all of us.

Thank you President Obama especially for reminding us that LOVE ALWAYS WINS.

[irenedonati]

Epic performance. Erikah Badu and The Roots cover Kanye, Wu Tang, Nas and more in 16 minutes of dopeness. 

[irenedonati]

First and Final Frames

Sometimes things are just so beautiful they don’t need a comment. 

[irenedonati]

But I do realize and understand that my role as a musician, and in the medium that I am, that people are listening to me. Kids are listening to me. We have power to influence minds and influence lives.

D’Angelo, D’Angelo and Bobby Seale on the Past and Future of Political Protest, The New York Times - June 19, 2015

[irenedonati]

When you are dead, you don't know that you are dead. It is difficult only for the others. It is the same when you are stupid.

Ricky Gervais