Saturday, 10 March 2012

I MOVED TO TUMBLR COS I'M A COOL KID

I'm here now.


Also wondering whether I should go back on this and delete all the embarrassing things I've said about wanting to bang Louis Theroux and throwing up internet gun fingers at every opportunity. Nah, sure it will be fine and NONE OF THE PIECES I WROTE 5 YEARS AGO WILL JUMP UP AND BITE ME IN THE ARSE.

XXX

Wednesday, 19 October 2011

I've been using hyphens completely wrong for years.

This goes out to Steve Yates (no relation) one of the best mentors in the world, and the best sub-editor of all time. He has taught me how to punctuate properly.

Also big ups Tom Lloyd on photoshop help!

Thursday, 29 September 2011

I wrote about how much I love Erykah Badu for The Guardian

As part of the 'My favourite Album' series, where Guardian writers pick, well, work it out. Mine was Mama's Gun by Erykah Badu.

http://www.guardian.co.uk/music/musicblog/2011/sep/06/mamas-gun-erkyah-badu

Or below:

My favourite album: Mama's Gun by Erykah Badu

Guardian and Observer writers are picking their favourite albums – with a view that you might do the same. Here, Kieran Yates is gunning for Erykah Badu

Sleeve for Mama's Gun by Erykah Badu
Mama's Gun … 'Erykah Badu at her most raw'

As a grown woman, I probably shouldn't still have posters on my bedroom wall but I make an exception for Erykah Badu. The reason why is simple: Mama's Gun. Hip-hop purists may cite Badu's 1997 debut, Baduizm, as her best and that's hardly surprising – it was, after all, the one that defined neo-soul and announced this then 26-year-old singer's talent to the world. For me, though, there will only ever be one Erykah album that matters. On Mama's Gun Badu represented the woman I wanted to be – a woman with something to say who could be weird and funny and clever and sexy at the same time.

I still remember watching the video to the first release from it, Bag Lady. I was at a friend's house where I would go to tape hours of MTV on to VHS. Badu jumped straight out from the screen – a dazzle of multicoloured headscarves bearing a message of sisterhood unlike anything I'd heard before. However, being a late bloomer (at that time I was still wearing fake Chinese tattoos and livin' la vida loca) I still didn't quite understand Mama's Gun. It was before I had ever been kissed on the neck (or anywhere for that matter), before I had felt the sting of green eyes and before I'd ever had my heart broken.

But I stuck with it. I began to realise that Badu brought a welcome alternative to the hackneyed version of feminism played out in the mainstream by the likes of the Spice Girls. It wasn't until university, though, that my love affair with Erykah deepened. I was becoming a woman and the lyrics on Mama's Gun suddenly felt like they spoke directly to me. Every track had the power to make you feel something; Green Eyes is punctuated with faux confidence; In Love With You is a simple declaration of love; Orange Moon provides a disjointed, stripped-back tale of emerging from darkness. The funk-filled breakdowns, disjointed beats, smooth piano and deeply soulful vocals blew my mind. This was light years ahead of any R&B I'd heard.

One of my favourite tracks, Didn't Cha Know, is Badu at her most raw ("Trying to decide/ Which way to go/ Think I took a wrong turn up there somewhere"), capturing those moments of being lost, of losing your sense of logic. In contrast, the explosive entrance to the album, Penitentiary Philosophy, is a ball of gutsy, jazz-infused energy complete with ?uestlove's frantic drumming. It has the power to make you reach for the nearest microphone-shaped object, take a deep breath and commit to every vowel in the opening "WOOOOOOOAAAAAAOOHHH!" Elsewhere, Cleva struck a chord with my insecurities about being, well, a bit of a geek: "I got a little pot in my belly/ nowadays my figure ain't so fly/ my dress don't cost no more than 7 dollars/ but I made it fly/ I tell you why/ 'cos I'm cleva." In singing those words, Badu invites you to see the sensuality of intellect, the fact that having something to say was sexier than how you looked while you were saying it.

All great albums will lead you to discover others – this one took me on a journey through D'Angelo, Jill Scott, the Roots and beyond. And it clearly wasn't just me who took the ride – you can sense Badu's influence spurring on Janelle MonĂ¡e, Ledisi and, perhaps less subtly, the five-piece London soul band Mama's Gun.
But these discoveries aren't what I love most about Mama's Gun. What I love most is how it can still help me through my more insecure moments. That's why it will always be my favourite ever album. And that's why sometimes I look over at that poster on my wall and whisper: "Thanks."

I was on the Guardian Music Podcast

I was recently invited on to the Guardian Music Weekly Podcast for the Notting Hill Carnival Special show. Was good fun, and was joned by Alexis Petridis and the delectable Emma Warren.

Listen to  it here:

http://www.guardian.co.uk/music/musicblog/audio/2011/aug/26/notting-hill-carnival-special

MTV Staying Alive- 'Wrapped Up'

http://www.staying-alive.org/en/2011/09/wrapped-up-%E2%80%9Cthis-is-abuse%E2%80%9D/

Wrapped Up: “This Is Abuse”


MTV UK’s urban blog The Wrap Up launch a campaign with ‘This is abuse’ using celebrities to talk about abuse in relationships – Blogger and Wrap Up columnist Kieran Yates talks about why it’s relevant to Staying Alive.

Being a blogger for MTV UK’s Urban Music blog – The Wrap Up and MTV Staying Alive, I like to think that I represent music fans that can feel passionately about issues like HIV, global development, and sexual health.

The Wrap Up’s is supporting the “This Is Abuse” campaign – by using UK based artists such as Wretch 32, Mz Bratt and Miss Dynamite to speak out about violence in relationships . I wanted to dig a little deeper the issue itself, and the possible links abusive relationships could have to issues such as HIV.

MsDynamite_2
Ms Dynamite talking about the "This Is Abuse" campaign

A simple Google search found that according to a 2006 report by the United Nations one out of every three women around the world have been beaten, coerced into sex, or otherwise abused in her lifetime, usually by someone known to her.

As a response to the levels of abuse and a lot of the time, the taboo surrounding the issue, ‘This is Abuse’ aims to lay out exactly what abuse is, and the effects it can have. Artists in the public eye such as Mz Bratt and Wretch32 are increasingly important in speaking out against abuse, especially in the UK, where thousands are suffering in silence.

But what of the global impact? One of the most devastating global effects that abuse can have, which is  not an obvious link, is the spread of HIV infection –  an issue that has spurned ongoing research into causes and effects, exploring the relationship between the two.

Abuse is widely seen as a reason why women in particular, are open to extreme sexual vulnerability-in countries where HIV is prevalent, sexual faithfulness and protection is a massive issue, while the risk of HIV transmission increases during violent or forced-sex situations (the abrasions caused through forced penetration can facilitate entry of the virus.)

When you told feel like your voice is not being heard, it’s harder for you to fight your corner in getting protection. When you are trodden down, it is harder to suggest counseling or help when you first see problems beginning to show. If you are ashamed, it may feel impossible to push for sexual health awareness and testing, leading to devastating consequences.

One of the central factors in which abuse thrives is simple: silence. Silence is what ensures things carry on, uninterrupted. Hearing young voices, like that of Ms Dynamite is important, not because if they talk about it we will have a magic wand over the problem, but because it spurs debate, gets column inches like this written, and shows artists accepting a responsibility to look after many of the young people they influence. I support campaigns like this for that reason – using people with loud voices to help those with quiet ones. They do say the simple ideas are the best.

Check out Ms Dynamite talking about “This Is Abuse” exclusively on The Wrap Up Here and let us know what you think…

REVIEW: Hip Hop a Cultural Odyssey for Red Bull Music Acadmy

http://www.redbull.co.uk/cs/Satellite/en_UK/Event/Hip-Hop--A-Cultural-Odyssey-021243053852332


Library time Red Bull Company LTD
On Friday night the Red Bull Studios housed the launch of the celebrated hip hop book, Hip Hop: A Cultural Odyssey- a compendium of artists and cultural figures featuring in the hip hop world over the last 50 years. The books took centre stage in the studio lounge, with people pouring in to lust after its thick glossy pages. At 15 lbs, the sheer weight of the book is a fitting representation of heavyweight influence that hip hop has had on contemporary culture as we know it. The content reads like any hip-hoppers wet dream, chock full of a cross section of hip hop culture including the often omitted graffiti artists, along with producers, DJs, and of course, some of the biggest artists in history- my favourites were Snoop Dogg in a Burberry shower cap followed by more poignant ones of Eminem looking strung out surrounded by crumpled lyric-covered scraps of paper. Beautifully shot, they show the diversity, humour and rise of a culture that was bubbling underground for many years in the US, and has re-written how we see beats, rhymes and life today.
  
null Ghostpoet & Pauli Stanley-McKenzie
The night paid homage then, to the book at the centre of the hip hop storm, with Dizzee’s personal selector DJ Semtex warming the crowd up with high energy pop/hip hop injections, followed by Kayper who flawlessly mixed impressive remixes of Wiz Khalifa’s Black and Yeloow into a Tribe called Quest. Catching up with Semtex after his set, he commented, ‘these kind of events are important because hip hop is one of the most underrated art forms. People documenting the art are always needed-I’m glad to be a part of it, and we hope we get more things like this. The book’s amazing and it really puts the history into perspective.’ Other fans were Red Bull Studios regular, Ghostpoet and Pauli Stanley-Mckenzie, who I caught admiring pictures amongst the noise, commenting, ‘the book is amazing.'
null Reggie Yates, Mr Hudson and Manny Norte
Next up on the decks were DJ twosome Reggie Yates and Manny Norte, who shouted and hyped the crowd while playing big bad bumper hip-hop tracks by Nas, Dre and Biggie, with the loudest cheers reserved for Rick Ross (who still continues to make drinks go up in the air). Every recognisable beat made sure I was soaked before the intro had even dropped-such is the power of bassy hip-hop legends. I wasn’t sure how more preened guests which included Gok Wan, Pussycat Doll Kimberley and Kelly Brook might fare, under a barrage of riotous skanks, gun fingers and jumps, but I can report that they were undeterred.


null Hudson Mohawke
In contrast to the bangers and bravado of Yates and Norte, headliner Hudson Mohawke crept behind the decks, low-key as ever (he has no visible ego which is in my opinion the best thing about watching him perform-he always looks like a fan first and performer second) and mixed old school hip-hop from Busta and Dilla into ambient soul and jerky electronica. Despite not playing any of his classic remixes (like Tweet’s Oh My’) his set sounded fresh and clean as expected, while his blend of slow and steady broken beats were controlled and interesting enough to stand and listen with no more than a slight head bob- only surpassed by his scratching, - a delicious surprise for the audience who cheered and applauded his cross fader control - a rare treat. In fact, that’s a fitting conclusion for the whole night.

Riot Reportage for The Independent

http://blogs.independent.co.uk/2011/08/10/views-from-the-streets/

Peckham riots: views from the streets

120693289 300x231 Peckham riots: views from the streets 

Kieran Yates headed down to Peckham in the thick of the riots this week to hear some of the female voices coming from the ground.

Yesterday, along with most of London, I was transfixed by the BBC live coverage of looting and riotous behaviour taking place across the capital, a capital that I describe as my city, my home. In normal circumstances, a TV screen can provide an effective distancing technique between the events on screen and where you are- however, this comfort is shattered as soon as you hear a familiar name. As soon as riots were reported to be starting in Peckham, I felt like an old friend was under attack. I needed to go down there and see the anger and movements first hand and ask fellow young people what their motivations were,( if possible) and at least, see for myself what the general feeling was on the streets. My journalism career has taught me that answers can usually be found on the ground when in doubt.

So, myself and co-journo Mervin Martin walked down, armed with phones to record/capture/film, but mostly to see for ourselves what wasn’t being reported-voices of young people in the community. We walked until we hit Peckham Library at around 7pm last night, the tension was severe, and conflict between police and the crowd was just beginning.

As part of the minority of girls in the crowd, I felt a different atmosphere to one of pure tension- on one hand, lots of guys approached me asking if I was ok and advising that I should leave, “Before things get heavy” while others smiled and gestured protectively, making me feel at ease. In contrast, I also  felt suddenly a lot smaller than the guys around me and felt I could easily get crushed in the crowd.

As a result, looking around, one of the things I was fascinated by was the number of girls present, some young, some very small, falling into two distinct camps from what I could overhear. One, encouraging boys to grab things from ‘Blue Inc’, the shop in front of us which was being ransacked in a midst of broken glass and smoking debris, where I heard demands of, “ Go get me some jeans!” and the other, providing a voice of reason to boyfriends, friends, maybe even brothers, berating them and telling them to leave the scene, “Get out of here you dickheads, what are you trying to prove?” (This did prove to be quite effective, it has to be said).

Comparatively, much of the older female voices we’ve heard from within these news stories have been split: On one hand, we witnessed inspiring scenes from Diane Abbott, an MP who has actually taken the initiative to walk around Hackney (her local constituency) and engage with local shopkeepers and frightened locals. An  example of strength and compassion, in direct contrast to Theresa May’s bullish ‘Dolores Umbridge’ (as I describe her) like approach to severe zero-tolerance policy who sounds so out of touch with the true thoughts of the people, rejecting the idea of recent events being a response to social or ideological unrest. I know which camp I’d like to see more of.

In the midst of the aggression of guys standing near us throwing bricks, holding on to shards of glass and running towards the police line, I (mainly through worry of being trampled) stood aside with some young girls and asked why they were there.

After tentatively sparking up conversation, I ask them if they’ve seen their boys being stopped and searched and they laugh:  “Yeh, it’s why we’re always late” from a girl known only as Keisha, while one other girl simply stared me down and spat, “Obviously”. This anger and helplessness of young girls (the group I spoke to were 16-18) was fully felt in the stoical way in which they talked about episodes of police targeting their friends and though they had not felt police brutality first hand, “It’s the principle innit?” says 17 year old Ayesha, “ You just have to stand back and watch, because what can you do? Not saying this is the answer” pointing to the debris being set alight in front of us.

Our conversation is halted by a sudden surge of the crowd moving forward and I stay back, overhearing a pair of girls behind me swearing. I had just spoken to a looter who declared “We run this city” moments before and I turned around to ask them if they agreed. They giggled and quoted Beyonce’s ‘Who runs the world (girls)’ track, which I also noticed was one of their ringtones, but as I press the question they shrug, “That’s a hard one” and no more is said. They seem far more animated vocalising their incredulousness at the looting going on in Blue Inc, a “ shit shop” where clothes are sold at cheap prices and when I ask if they shop there, they look at me with a mock-frown and respond, “Just cos we’re from Peckham doesn’t mean we dress shit.” I take that as a no.
I watch the guys causing trouble and remember a headline in the Daily Mail last November scaremongering about the rise of girl gangs and female violence, especially within the student protests, and I ask them if any girls they knew would be involved, and almost in unison, they respond indignantly: “No, these guys are just angry and see it as fun, I think it takes more for a girl to get involved in this kind of madness. We would have a reason.” What reason, I ask? A friend interjects, “Well, I don’t know, I suppose I would understand how angry some of these guys are if I was pushed against bars and walls being searched by police, like I’ve seen happen to my brother. He’s never had anything on him.”

As things get slightly out of control what with the police being heavily outnumbered, and a girl falling over after a crowd surge, I quickly ask Natasha, one of the girls why she’s there. “I just wanted to see these dickheads” she responds. I look around and am suddenly hyperaware of the anger felt around me- from boys throwing bottles at police, to boys watching their peers with disgust. Gesticulating to the police and crowd, I ask Natasha, “So, how many people here are just dickheads?” She laughs and shouts, “Everyone is a dickhead-these ones just use a different language to the ones in police stations!” and with that, we run away.