So, after a day of sleeping and staggering groggily about the flat with Supernoodles dangling from my slack gob, I've officially recovered from Latitude festival 2009. My voice is still pretty buggered, so no arias for a week or so, but aside from that I'm compos mentis so woot.
Despite intermittently shitty weather, this year turned out to be a bit of a corker. I was performing every day, doing sets in the Poetry Arena and also reading from We Can't All Be Astronauts in the Literary Tent. The reading from my book was a particularly nice surprise - they told me to tell the audience that I'd be signing copies afterwards, and I cringed at a vision of me sitting glum and alone behind a pile of my books. Instead, we sold out of copies! I felt incredibly flattered and a tiny bit fraudulent, but, you know, I think in these instances it's best to drop the self-effacement and just enjoy it, which I did. Thanks if you bought a copy. You made me feel really chuffed.
In the Poetry Arena the audiences seemed bigger than we've had in previous years, and on Thursday and Sunday they were particularly enthusiastic. I didn't catch everyone who performed, but I felt Nathan Filer, John Osborne, Kate Tempest, Dockers MC and MC Angel had particularly good innings. Kate Tempest with her band Sound of Rum managed to get a crowd who had started out listless and subdued up on their feet and dancing by the end of their set, which was incredible to watch. John Osborne did the best performances I've ever seen him do - I particularly enjoyed the point where audience members started spontaneously yelling out names of bands that only use the vowel e. One guy shouted out ELO, to which John responded: 'That's a rubbish attempt. There are three letters in that name. One of them's e, and one of them's l. Do you see where you fell down?'
The tent on Sunday just got warmer and warmer as the evening went on, until it was rammed and the crowd were really up for it, whooping and cheering and belly laughing. My highlight of Aisle16 and Friends was watching MC Angel start a rap battle with Keith Allen. Keith Allen was better at freestyling than you might have guessed, and it was great, drunken, knockabout fun that had the audience laughing and questioning their sanity in equal measures. Aisle16's late night sessions in the Poetry Arena always teeter on anarchy, and the upside of that is that amazing bits of performance can arise spontaneously and give everyone present one of those festival 'moments' that we're all fiending after. Watching Ross Sutherland carry the mic into the middle of the audience to lead the tent in a rousing chorus of Total Eclipse Of The Heart was another bumper, albeit silly, moment.
Thank you to everyone who came to watch us, or gave poetry a try over the weekend. It's really salutory to do it and basically not be crap. It reminds me of why we do it in the first place - we just want to give people something fresh and new that can be funny and exciting and emotional all at once. That sounds gushy and pretentious until you're in the middle of a show that's going really well, then you realise, oh, it's true.
In another news, yesterday I stumbled across the Decemberists for the first time. Someone mentioned them in the same sentence as Jonathan Coulton, and I was like, aha. I love what I've heard so far. After my nap yesterday I got up and had a little dance around the living room with my wireless headphones on. Here are just two, Valerie Plame and The Legionnaire's Lament. Funtimes.
Showing posts with label Dockers MC. Show all posts
Showing posts with label Dockers MC. Show all posts
Tuesday, 21 July 2009
Wednesday, 11 March 2009
The Performance Poet Interviews - #4: Yanny Mac
Previously, we've heard from Dockers MC, Polarbear and Nathan Filer. This week, I spoke to gravelly-voiced raconteur Yanny Mac.
Yanny Mac has performed at Glastonbury, The Edinburgh Fringe, Latitude and the Port Eliot Lit Fest. He compered the Poetry Arena at Latitude in 2007, with his buddy Pikey Paddy, and until recently, they both hosted Norwich Birdcage’s 'Benefit Scams'.
An acrimonious split led to a minor nervous breakdown, and Yanny’s subsequent retirement to the Suffolk countryside, where he now writes self-help poetry for trainee Domestic Goddesses. Yanny draws inspiration from prescription anti-depressants, and the fact that his door-hinges are shinier than any of his contemporary poets. Yanny is married to Aussie chanteuse Sooz McKenzie-Close (Librarian Girls). Rob Da Bank thinks that Yanny’s name is funny.
How did you get into performance poetry?
I was Aisle16’s dealer. The early years were incredibly booze and drug-fuelled, whilst we were finding our own poetic voices, and I provided 'the band' with a fully-expensed company car AND the ability to get hold of class Bs & Cs. Luke Wright used to call me Super-Yans.
How would you describe your work?
'Complete'.
I’ve spent the past ten years developing performance-characters such as The Chav Poet and Domestic Goddess, but only really ever performed ranting monologues and a few issue-based poems. In that time, I’ve written over 200 page-poems, and this current period of enforced retirement is an opportunity to collate them into some sort of anthology. 'Suburban Myths & Misses' has been a work-in-progress for over a decade!
Do you think there's a difference between 'page' and 'performance' poetry? If so, what?
Yes. I think the answer’s obvious. You only have to go to a ‘poetry-reading’ at somewhere like Aldeburgh and then follow up with a set from Dockers MC at say, Latitude Festival, to see that they are completely differing art forms, done by similar people (i.e. poets!).
Why should someone come to a performance poetry gig?
Because they like performance poetry?? I dunno the answer to that one. It’s not a trick question is it?
What do you think your best poem is, and why?
Ah! The million-dollar question!I’ve written so many now, it’s hard to have a favourite.I certainly regret writing one or two! I’ve always been proud of 'Searchin For Me Chav Princess' because it was my first attempt at ‘going it alone’ having left Aisle16. I had so much to say about prejudice, inequity, class snobbery and Great Yarmouth, but was sick of hearing preachy performance poems. It got me noticed, and I received some special reviews on the telly and in the broadsheets.
I think the poems that most people remember are 'Once We Were Chavscum', 'Prince Of Wales Road' and 'I Was A Teenage New Romantic'. Punters love simplicity!
If you could nick one other person's poem and claim it as your own, which poem would it be, and why?
Luke Wright’s 'Ode To Cigarettes' was once stolen by a twat from Peterborough, and caused the Big Gay Face much consternation, so I’d probably nick that one and do a slightly better job of performing it, than the little MySpace plagiarist did! 'Stenhousemuir' by John Osborne still has the ability to make me cry & wee at the same time. Byron Vincent’s 'Bob' is pure genius!
What typifies bad performance poetry to you?
Angry little white boys in baggy jeans & beanies, using rap & grime-slang to communicate their middle class angst.
What do you think of the state of the UK performance poetry scene at the moment? Is it okay to talk about a 'scene', or is that a bit unhelpful?
Yeah. There is a scene, but it’s created by the arts media, not the poets themselves. It’s very busy. There’s a lot of talent out there, but there’s also a lot of bandwagon jumpers. Look at Scroobius Pip ffs!?!
Tell us about a particularly memorable reaction you've had to your work.
Had it not been pissing it down, the rapturous applause I received from nearly two thousand Glastonbury Cabaret Tent squatters, could be classed as memorable. I did however enjoy meeting Ralph Steadman at the first ever Port Eliot LitFest, and stealing from him the much used quote: 'They [Aisle16] do with words what I try to do with art.' At the time, I didn’t really know who he was!
As our token 'disabled poet' spokesperson, can you tell us a bit about how your disability has affected and/or informed your work as a poet?
Quite substantially really.
The fundamental reason for leaving Aisle16 was due to having increasingly more frequent flare-ups of my chronic disease (Psoriatic Arthritis), and therefore not being able to commit to being an integral part of a show, or going on tour. I felt that being my own boss, on my own terms, was preferential to constantly letting others down. A good lesson learnt.
I was inspired to learn that my TV lit hero Dennis Potter also suffered from psoriatic arthritis, which led to his characterisation of The Singing Detective. Debilitating disease leads one into a selfish desire to create art that serves as a living post-mortem & autopsy!
With your various stage personas, your taking on of zeitgeisty contemporary topics, and your Rolling Stones esque bimonthly cycle of retirement and comeback, you're something of a master when it comes to creating a buzz around yourself. Have you got any advice for aspiring performance poets on how to self-promote without being a wanker?
No. I always believed that I was that that self-seeking wanker! I’m rather disappointed to learn that I’m not.
And finally... got a good Yanny celeb anecdote you fancy sharing with us?
No anecdotes. Merely historical fact.
I once broke up a fight between the owner of the Pleasance Theatre and Simon Amstell. The latter was being chastised for flyering his new show, and I took the blame. In Aisle16’s first TV interview, Simon from Eastenders (Tiffany’s gay brother) suggested I replaced the then departing Beppe Di Marco. At the first ever Port Eliot LitFest, I went skinny-dipping with G.K Chesterton’s niece & the Earl of St.German’s god-daughter.
Yanny Mac has performed at Glastonbury, The Edinburgh Fringe, Latitude and the Port Eliot Lit Fest. He compered the Poetry Arena at Latitude in 2007, with his buddy Pikey Paddy, and until recently, they both hosted Norwich Birdcage’s 'Benefit Scams'.
An acrimonious split led to a minor nervous breakdown, and Yanny’s subsequent retirement to the Suffolk countryside, where he now writes self-help poetry for trainee Domestic Goddesses. Yanny draws inspiration from prescription anti-depressants, and the fact that his door-hinges are shinier than any of his contemporary poets. Yanny is married to Aussie chanteuse Sooz McKenzie-Close (Librarian Girls). Rob Da Bank thinks that Yanny’s name is funny.
How did you get into performance poetry?
I was Aisle16’s dealer. The early years were incredibly booze and drug-fuelled, whilst we were finding our own poetic voices, and I provided 'the band' with a fully-expensed company car AND the ability to get hold of class Bs & Cs. Luke Wright used to call me Super-Yans.
How would you describe your work?
'Complete'.
I’ve spent the past ten years developing performance-characters such as The Chav Poet and Domestic Goddess, but only really ever performed ranting monologues and a few issue-based poems. In that time, I’ve written over 200 page-poems, and this current period of enforced retirement is an opportunity to collate them into some sort of anthology. 'Suburban Myths & Misses' has been a work-in-progress for over a decade!
Do you think there's a difference between 'page' and 'performance' poetry? If so, what?
Yes. I think the answer’s obvious. You only have to go to a ‘poetry-reading’ at somewhere like Aldeburgh and then follow up with a set from Dockers MC at say, Latitude Festival, to see that they are completely differing art forms, done by similar people (i.e. poets!).
Why should someone come to a performance poetry gig?
Because they like performance poetry?? I dunno the answer to that one. It’s not a trick question is it?
What do you think your best poem is, and why?
Ah! The million-dollar question!I’ve written so many now, it’s hard to have a favourite.I certainly regret writing one or two! I’ve always been proud of 'Searchin For Me Chav Princess' because it was my first attempt at ‘going it alone’ having left Aisle16. I had so much to say about prejudice, inequity, class snobbery and Great Yarmouth, but was sick of hearing preachy performance poems. It got me noticed, and I received some special reviews on the telly and in the broadsheets.
I think the poems that most people remember are 'Once We Were Chavscum', 'Prince Of Wales Road' and 'I Was A Teenage New Romantic'. Punters love simplicity!
If you could nick one other person's poem and claim it as your own, which poem would it be, and why?
Luke Wright’s 'Ode To Cigarettes' was once stolen by a twat from Peterborough, and caused the Big Gay Face much consternation, so I’d probably nick that one and do a slightly better job of performing it, than the little MySpace plagiarist did! 'Stenhousemuir' by John Osborne still has the ability to make me cry & wee at the same time. Byron Vincent’s 'Bob' is pure genius!
What typifies bad performance poetry to you?
Angry little white boys in baggy jeans & beanies, using rap & grime-slang to communicate their middle class angst.
What do you think of the state of the UK performance poetry scene at the moment? Is it okay to talk about a 'scene', or is that a bit unhelpful?
Yeah. There is a scene, but it’s created by the arts media, not the poets themselves. It’s very busy. There’s a lot of talent out there, but there’s also a lot of bandwagon jumpers. Look at Scroobius Pip ffs!?!
Tell us about a particularly memorable reaction you've had to your work.
Had it not been pissing it down, the rapturous applause I received from nearly two thousand Glastonbury Cabaret Tent squatters, could be classed as memorable. I did however enjoy meeting Ralph Steadman at the first ever Port Eliot LitFest, and stealing from him the much used quote: 'They [Aisle16] do with words what I try to do with art.' At the time, I didn’t really know who he was!
As our token 'disabled poet' spokesperson, can you tell us a bit about how your disability has affected and/or informed your work as a poet?
Quite substantially really.
The fundamental reason for leaving Aisle16 was due to having increasingly more frequent flare-ups of my chronic disease (Psoriatic Arthritis), and therefore not being able to commit to being an integral part of a show, or going on tour. I felt that being my own boss, on my own terms, was preferential to constantly letting others down. A good lesson learnt.
I was inspired to learn that my TV lit hero Dennis Potter also suffered from psoriatic arthritis, which led to his characterisation of The Singing Detective. Debilitating disease leads one into a selfish desire to create art that serves as a living post-mortem & autopsy!
With your various stage personas, your taking on of zeitgeisty contemporary topics, and your Rolling Stones esque bimonthly cycle of retirement and comeback, you're something of a master when it comes to creating a buzz around yourself. Have you got any advice for aspiring performance poets on how to self-promote without being a wanker?
No. I always believed that I was that that self-seeking wanker! I’m rather disappointed to learn that I’m not.
And finally... got a good Yanny celeb anecdote you fancy sharing with us?
No anecdotes. Merely historical fact.
I once broke up a fight between the owner of the Pleasance Theatre and Simon Amstell. The latter was being chastised for flyering his new show, and I took the blame. In Aisle16’s first TV interview, Simon from Eastenders (Tiffany’s gay brother) suggested I replaced the then departing Beppe Di Marco. At the first ever Port Eliot LitFest, I went skinny-dipping with G.K Chesterton’s niece & the Earl of St.German’s god-daughter.
Wednesday, 18 February 2009
The Performance Poet Interviews - #1: Dockers MC
Hey folks. Here's the first in my promised series of weekly interviews with the great and good of the UK performance poetry scene. Hopefully they'll build into a nice little collection for anyone looking to find a new fave poet or find out a little more about an old one - I might give everyone scores so you can use them as Top Trumps. I've deliberately gone a bit cookie-cutter in my interview technique, so I don't squander the whole thing grinding axes. Don't worry, I'll be continuing my impotent clench-fisted jeremiads in-between.
This week - Dockers MC:
Biog: Born in Brixton, 1986. Went to Brit School to study theatre and then to Middlesex University to study creative writing. Taken part at both Royal Court and Soho Theatre Young Writer's program. Art work, cd covers and merch for Kate Nash.
'Hold To My Ear' released June 2008, 100 print limited edition with Pure Groove Records then 'Mistakes In The Background' published in October 2008 by Harpercollins Fiction.
Next book is out June 2009 'Ugly Shy Girl' - there will be a big event to launch the book at the book at QEH on the 11th of July.
myspace.com/dockersmc
How did you get into performance poetry?
I've written poetry since I was little and always performed it at home. What I really wanted to be was an actress, but I found the audition process way too scary mixed with soul destroying. It wasn't until Kate Nash put on an event at The Foundry, Old Street, and asked me to do something, I thought, I know I'll read a poem. From that gig alone I got three other offers to play nights and it went from there really.
How would you describe your work?
Somebody once said like a baby and an old lady mixed into one person which I think is true.
Do you think there's a difference between 'page' and 'performance' poetry? If so, what?
Yes, certainly, there is lots of work that I wouldn't bother boring my audience with. I think with performance poetry you have to write with an audience in mind; every poet (I'd hope) would like to be listened to, and if you write too enclosed it's a lot to ask. In my case, my page poetry can be a lot like a stream of conciousness and I don't expect an audience to have to listen to four minutes of that. I'd say the difference is your audience - there are just some things that read better on page.
Why should someone come to a performance poetry gig?
To expand their imaginations, to inspire, to not put artists into boxes. Poetry is so diverse. I try to put music, comedy and art into all my poetry.
What do you think your best poem is, and why?
It's a poem that nobody has heard yet because it's too long and difficult to learn, but I'm proud of it because it's a good story, and structure is what I struggle with. I can safely say it has a beginning, a middle and an end. Its working title is 'Cowboy'.
If you could nick one other person's poem and claim it as your own, which poem would it be, and why?
'The Leanover' by Life Without Buildings.
I'm just jealous because she has the guts to talk about whatever she wants... plus her voice is lovely.
What typifies bad performance poetry to you?
Performance wise... I don't like heads tucked into paper/books too much. If you are going to perform... PER-FORM. I come off stage... and so do you Mr Clare, sweating, starving hungry with a migrane... for fuck's sake... per form.
Poetry wise in general, write about what you know or believe in - you need to believe in your poetry and yourself as a writer.
What do you think of the state of the UK performance poetry scene at the moment? Is it okay to talk about a 'scene', or is that a bit unhelpful?
No, scene works just fine. I think it's really exciting. We have got so much to say. I'm pretty proud of it, because we are all apart of this movement, plus because it's such a small circuit it makes us look like we're big names... so that's lucky... phh... No really, it's very exciting for me - when we were young there was no myspace, no poets playing at underage gigs, it was impossible to know where to go to put your work up or get feedback. Nobody to show your work to, poetry was not cool to any of my friends - now they love it. The trick is to fool everybody that you are some cool, new scenster type poet, get them in the trap and then feed them your heartache, angst poetry...
Plus we have some amazing talent, all the Aisle16 boys, MC Angel, Scroobius Pip, Nathan Filer, Byron Vincent, Derek Meins, Excentral Tempest, Berkavitch... who couldn't be totally excited?
Tell us about a particularly memorable reaction you've had to your work.
It's lovely when people just shut up and take it all in, but there is always someone, always, always, always, who thinks just because you are on stage, you are now blind and they can pull any distorted, unimpressed face they want at you. I had one of these at GOLD. He was sitting there, with a grimace on the face of death, sometimes looking dramatically confused at my work... (really putting me off actually) So I worked him out and I thought, I bet you're one of those 'serious' readers aren't you? So I performed Refulgent, a poem about a suicide, and I did it for him and him only... (it was totally dramatic) and at the end he clapped and said 'Amazing. Absolutely amazing.' And in my head and my heart I had a party.
As a performance poet, you end up appearing in front of lots of very different crowds. Some are music audiences, some are literary, 'bookish' audiences, some are comedy audiences, and some - heavens above! - are poetry audiences. How have you found having to face such a wide variety of people?
Luckily, I now get to be picky about what gigs I agree to do or not. I usually can suss a night out (thanks to the internet, obviously) beforehand and that is really just to see if the audience are likely to 'get' poetry or not. It is taxing though, working out every single audience, every single time - you just sit there, lurking in the corners of the venue thinking, 'is this going to work? is this going to work? how am I going to get out of this?' The audience is the TOUGHEST part of what I'm doing - it's the most necessary and unnecessary part of the game.
Do you have certain poems that work with one type of audience and struggle with another?
Funny ones work mostly in most places, but in music venues, where people come to see music, they go down like a shit stand-up - it's horrible. I hate it. In those moments, I wish I had a trap door in the stage.
Do you have a favourite type of crowd?
Yes - sitting down people who are quiet and know that the performer and audience have to play a tennis match. If they hit me, I'll hit them back... that's when they will see my best show.
Do you think UK performance poetry needs a club circuit like stand-up has, or do you think poets benefit from not really fitting in anywhere?
I do and I don't... that fitting in bit really gets on my nerves, promoters think: ooo she's poetry, she can fit in anywhere, we shall just chuck her on while the last band clear away their drum kit, and I'm changing the lights, and we don't have to pay her... cos she like fits in anywhere...
On the other hand, I get the benefits of raising my profile, performing in environments where people wouldn't normally get to see poetry. I've often been the first poet that has ever played in a venue or that a promoter has ever booked... and that means that the times they are a changin'... I'm just not sure if it's for the better or not?
This week - Dockers MC:
Biog: Born in Brixton, 1986. Went to Brit School to study theatre and then to Middlesex University to study creative writing. Taken part at both Royal Court and Soho Theatre Young Writer's program. Art work, cd covers and merch for Kate Nash.
'Hold To My Ear' released June 2008, 100 print limited edition with Pure Groove Records then 'Mistakes In The Background' published in October 2008 by Harpercollins Fiction.
Next book is out June 2009 'Ugly Shy Girl' - there will be a big event to launch the book at the book at QEH on the 11th of July.
myspace.com/dockersmc
How did you get into performance poetry?
I've written poetry since I was little and always performed it at home. What I really wanted to be was an actress, but I found the audition process way too scary mixed with soul destroying. It wasn't until Kate Nash put on an event at The Foundry, Old Street, and asked me to do something, I thought, I know I'll read a poem. From that gig alone I got three other offers to play nights and it went from there really.
How would you describe your work?
Somebody once said like a baby and an old lady mixed into one person which I think is true.
Do you think there's a difference between 'page' and 'performance' poetry? If so, what?
Yes, certainly, there is lots of work that I wouldn't bother boring my audience with. I think with performance poetry you have to write with an audience in mind; every poet (I'd hope) would like to be listened to, and if you write too enclosed it's a lot to ask. In my case, my page poetry can be a lot like a stream of conciousness and I don't expect an audience to have to listen to four minutes of that. I'd say the difference is your audience - there are just some things that read better on page.
Why should someone come to a performance poetry gig?
To expand their imaginations, to inspire, to not put artists into boxes. Poetry is so diverse. I try to put music, comedy and art into all my poetry.
What do you think your best poem is, and why?
It's a poem that nobody has heard yet because it's too long and difficult to learn, but I'm proud of it because it's a good story, and structure is what I struggle with. I can safely say it has a beginning, a middle and an end. Its working title is 'Cowboy'.
If you could nick one other person's poem and claim it as your own, which poem would it be, and why?
'The Leanover' by Life Without Buildings.
I'm just jealous because she has the guts to talk about whatever she wants... plus her voice is lovely.
What typifies bad performance poetry to you?
Performance wise... I don't like heads tucked into paper/books too much. If you are going to perform... PER-FORM. I come off stage... and so do you Mr Clare, sweating, starving hungry with a migrane... for fuck's sake... per form.
Poetry wise in general, write about what you know or believe in - you need to believe in your poetry and yourself as a writer.
What do you think of the state of the UK performance poetry scene at the moment? Is it okay to talk about a 'scene', or is that a bit unhelpful?
No, scene works just fine. I think it's really exciting. We have got so much to say. I'm pretty proud of it, because we are all apart of this movement, plus because it's such a small circuit it makes us look like we're big names... so that's lucky... phh... No really, it's very exciting for me - when we were young there was no myspace, no poets playing at underage gigs, it was impossible to know where to go to put your work up or get feedback. Nobody to show your work to, poetry was not cool to any of my friends - now they love it. The trick is to fool everybody that you are some cool, new scenster type poet, get them in the trap and then feed them your heartache, angst poetry...
Plus we have some amazing talent, all the Aisle16 boys, MC Angel, Scroobius Pip, Nathan Filer, Byron Vincent, Derek Meins, Excentral Tempest, Berkavitch... who couldn't be totally excited?
Tell us about a particularly memorable reaction you've had to your work.
It's lovely when people just shut up and take it all in, but there is always someone, always, always, always, who thinks just because you are on stage, you are now blind and they can pull any distorted, unimpressed face they want at you. I had one of these at GOLD. He was sitting there, with a grimace on the face of death, sometimes looking dramatically confused at my work... (really putting me off actually) So I worked him out and I thought, I bet you're one of those 'serious' readers aren't you? So I performed Refulgent, a poem about a suicide, and I did it for him and him only... (it was totally dramatic) and at the end he clapped and said 'Amazing. Absolutely amazing.' And in my head and my heart I had a party.
As a performance poet, you end up appearing in front of lots of very different crowds. Some are music audiences, some are literary, 'bookish' audiences, some are comedy audiences, and some - heavens above! - are poetry audiences. How have you found having to face such a wide variety of people?
Luckily, I now get to be picky about what gigs I agree to do or not. I usually can suss a night out (thanks to the internet, obviously) beforehand and that is really just to see if the audience are likely to 'get' poetry or not. It is taxing though, working out every single audience, every single time - you just sit there, lurking in the corners of the venue thinking, 'is this going to work? is this going to work? how am I going to get out of this?' The audience is the TOUGHEST part of what I'm doing - it's the most necessary and unnecessary part of the game.
Do you have certain poems that work with one type of audience and struggle with another?
Funny ones work mostly in most places, but in music venues, where people come to see music, they go down like a shit stand-up - it's horrible. I hate it. In those moments, I wish I had a trap door in the stage.
Do you have a favourite type of crowd?
Yes - sitting down people who are quiet and know that the performer and audience have to play a tennis match. If they hit me, I'll hit them back... that's when they will see my best show.
Do you think UK performance poetry needs a club circuit like stand-up has, or do you think poets benefit from not really fitting in anywhere?
I do and I don't... that fitting in bit really gets on my nerves, promoters think: ooo she's poetry, she can fit in anywhere, we shall just chuck her on while the last band clear away their drum kit, and I'm changing the lights, and we don't have to pay her... cos she like fits in anywhere...
On the other hand, I get the benefits of raising my profile, performing in environments where people wouldn't normally get to see poetry. I've often been the first poet that has ever played in a venue or that a promoter has ever booked... and that means that the times they are a changin'... I'm just not sure if it's for the better or not?
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