THE INK MAGAZINE SPOKENWORD + THE ARTS + DOPENESS
July / 2021
K. Love The Rewind
Open Mic Spotlight
Tongue & Groove From the Grave With
Paul Laurence Dunbar
PLUS SPOKENWORD 101 OPEN MICS WILL SAVE THE WORLD
Our Team R. Sen the Poet
CONTRIBUTING WRITER
R. Sen is a NJ- based poet, author, spoken word artist, Activist, healer, and dog mother. You can follow her on Instagram at @r.sen_thepoet
Mike Mcalister
CONTRIBUTING WRITER
£12.00
Mike is a poet based out of Milwaukee, WI. He is a passionate wordsmith and the host of the Ethically Immoral Podcast, available on all streaming platforms. @ethicallyimmoral on Instagram.
Darrell Dulaney Sr.
CREATIVE DIRECTOR
Darrell is a visual artist and sculptor out of Milwaukee, WI. His Saturdays are usually spent with smooth Jazz and documentaries.
Guest Writer
Anna
Weaver
Anna Weaver is a poet and host of Raleigh’s Tongue & Groove open mic (on IG @tongue_n_groove_openmic). She’s performed in 33 states and counting and shares tips for open mic hosts and performers at openmictourist.com.
Contents
06
Open Mic Spotlight
We visit Tongue and Groove open mic in Raleigh, NC and chat with host Anna Weaver about her event.
12
From the Grave We chat with Paul Laurence Dunbar, the first poet to hustle his chapbooks at work and go on a world tour. That right there is legendary.
16
Spilled Ink
In this Podpoets loungue collaboration, two winners of the game show drop off some poetic HEAT for our readers.
20
K. Love
Thiis is the rewind. KLove featured exactly a year ago from now. A lot has changed, but one thing will always be the same--K.Love will be one of the realeast, dopest, kindest human beings on the face of the earth. Read it to believe it.
FOUNDERS DIARY
Ok, we messed up. Or, I should say, I messed up. A year ago today, we released The ink Magazine's July issue featuring K.Love. And well, to put it short, I dropped the ball. Some errors. I mean, a few errors. Ok, A LOT OF ERRORS were made on her feature. And, she contacted me about it. I remember her gentle words to this day.
"Peace, King. I appreciate the love that you gave me in your magazine. But, I caught quite a few errors in the article. But, still, I appreciate you taking the time to put me in your magazine as a feature.
That was like, I don't know-- do you remember the times you used to get in trouble and your parents would say that they are disappointed in you? They didn't say they were mad or anything, just disappointed. And that stung worse than a belt a lot of times.
That moment was one of those times. So, I thank you K.Love, for giving me a soft kick in the behind when I needed it. The ink Magazine needs to run with excellence and vigilant editing checks. I learned that at that time. Although we aren't perfect, and you still may spot something small here and there, the goal is to make the small things NO things at all.
So, to show love to her for that gentle push-- and to run it back for the sole reason of correcting an otherwise dope interview, this is a rewind issue. Coming to the stage for the second time, K.Love.
Sincerely,
Tyran
Saffold Jr.
THE WORDS I
NEVER SAID
Podcast
LISTEN ON SPECIFICALLY FOR POETS
TONGUE & GROOVE OPEN MIC Raleigh, NC
The Tongue and Groove Open Mic came about as a way to connect poets and musicians for one night. “The Tongue represents the poet, and the groove represents the musicians,” Anna Weaver explained. She is the host of the Tongue and Groove open mic in Raleigh, North Carolina.
For the past five years, Tongue and Groove has been a creative gem in Raleigh. They make sure their audience is fully vested in the event and performers, ensuring that everybody is comfortable when they touch stage. Host Anna Weaver helps this open mic become the standard in her city. And, she is doing her part to make sure that this open mic will help save the world. “Open mics, in small little pockets, are saving the world by preserving a space for creative people to come together, create things and share them,” Weaver added.
She explains that creatives of the world are essential. It’s their responsibility to create something that wasn’t there before, and the open mic is a melting pot of creativity. And, to her, that is when the magic takes place. That is when every open mic moves in a way that’s not tangible. It’s a feeling. It’s an emotion. It’s a connection found nowhere else except behind four walls with a stage and microphone and an audience ready to be inspired.
“One person is speaking, and all the au listen and accept. Not respond, counter Then, you connect and build an under continued. “Open mics set the st figuratively. All you have to do is listen Listen to people whose lives and experi from yours. You learn to accept people a Those are facts, but she has more though, she loves hearing what other more.
“I love it when a poet comes up a awkward because then I’m learning something whenever somebody touch explained.
Outside of saving the world, Weaver a further to make sure that their op remember. One that the creative com North Carolina, looks forward to every the month.
“We call it the DoveTail,” she explain from another open mic. They called it essentially, it’s a notebook. At the begin write a seed line. From there, we p encourage everybody to add a line. W
The DoveTail is creativity. It’s a way to engage the audience and, even if someone writing the line isn’t a poet or performer, they’ve still added to the electricity of the night.
“We keep them engaged. We explain that this (open mic) is not a library, and we don’t have to be quiet. We show them how to show appreciation to the performers, and we encourage sing-alongs throughout the night,” Weaver added.
She added that they had a bag of kazoos that they would pass around and allow people to play on. But, this was pre-covid, and now that the doors are reopening this month, they may have to shy away from that element. As far as the excitement for the first Tongue and Groove open mic since 2020, it’s all there—every last drop.
“I had some t-shirts made for the event,” Weaver explained, “but it’s just going to be special for everyone to come back. I want everyone to enjoy it for what it is. We’re all excited, and that goes without saying, but we’re just going to play it gently and not overwhelm everyone on the first day back.”
An open mic can only be as passionate as its host. The audience can only feel as welcomed as the host allows. One person controls the creative thermostat of the event— and well that comes with a lot of responsibility. One person can make or break an event. One person can become a magnet for new performers each week or a repellent.
udience has to do is r, critique, or argue. rstanding,” Weaver tage, literally and n and pay attention. iences are different as they are.”
to say. Even more, people have to say
and makes me feel something. I learn hes the stage,” she
and her team move pen mic is one to mmunity in Raliegh, y second Sunday of
ned. “It’s piggyback the group hug, but nning of the show, I pass it around and When the poem is
Host, Anna Weaver -- @openmictourist
THERE IS NO PLACE IN THE WORLD I'D RATHER BE-THAN AN OPEN MIC -Anna Weaver
Get on THE MIC:
Every Second Sunday
List opens at 7 pm; show starts at 7:30
Tongue and Groove Open Mic
Downtown Raleigh
Glenwood avenue south
old creamery building
For the Tongue and Groove Open Mic, Anna Weaver fits the mold. She’s passionate. She’s dedicated. And she has a lot to say.
“There’s nowhere I would rather be on any given night than an open mic. It’s inspiring, and it keeps me honest and grounded. It keeps me connected,” she says. And after our conversation with her, there’s no reason in the world why we wouldn’t believe her.
The Tongue and Groove open mic is set to return on July 11th, in downtown Raleigh at the old creamery building. As for continuing the virtual open mics, she’s not sure if they will continue that.
“I’m a working mom, so it will be hard to find the extra time,” she relents. “But, I know that the virtual open mics were more than just a stop-gap. We connected with many people during that time, and our open mic meant a lot to them and meant a lot to us. So, that part of it is hard. It’s still a question mark right now.”
If you’re in the Raleigh, NC area, or you’re a poet looking for open mics to visit out of town, make plans to connect with Tongue and Groove. They will welcome you with open arms, good vibes-- and maybe a sing along or two.
ENTERTAINMENT
WE. ARE. SPOKENWORD
Theinkmag.com
SpokenWord: 101 Written by Tyran Saffold Jr. I'll be honest here. The best thing I've ever learned about performing poetry on stage was from a comedian. I know. I can hear you now.
"Why are you learning how to perform SpokenWord from a comedian?"
I get it. I also understand that, for the most part, poetry and comedy are like oil and water. Most times, you can't fully accept one without causing damage to the other. What do I mean?
It's hard to go to an open mic and go through the shifts that poetry and comedy take you through. Going from LOL to a poem about molestation, or vice-versa, might be too much for an audience to handle. If they give in to the jokes, they might not be able to accept the realness. Whatever way you want to split it, it happens.
But it brings me back to the original question: Why are you learning how to perform SpokenWord from a comedian?
To put it simply, they know how to control the crowd. They know how to read a room and cater to the audience. Spokenword is 15% talent and 85% entertainment. People don't just want to hear you spit some hot bars or tell a dope story; they want to be entertained as well. Comedians know that. They'll pick and pull at the audience until they find what works—and once they hone in on it, it's game over.
If one side of the room seems to be more engaged than the other, the comedian will address it.
"Ok, yall ain't laughin' on this side, so I'm a go to the other side and talk to them. After that, it becomes a sort of competition. One side doesn't want to seem less engaged than the other side, so now, they're paying attention. Now, you got them," said Damone Jones, comedian and actor out of Dallas, TX.
Sometimes, you have to address the elephant in the room. Sometimes, in the middle of your set, or your poem, you have to stop and ask a question— especially if you feel like the audience is not paying attention. "Hold on, yall hear me? Yall feel me? If yall feel me, say, 'word.'” As a poet, you have to set the atmosphere. That’s all on you. It doesn’t matter what poet went up before you or what they said. You have to shift the room. You have to get them on your side. Make them understand that, yes, you know they’re in the room, and you know the energy is off. Bring them into the poem.
“When I say feelin’ good, yall say feelin’ great, feelin’ good? (audience: feelin’ great).” – Rage Almighty (RIP).
A comedian knows how to engage a crowd. They crack jokes. They talk directly to some of the people in the room. They break away from the act and make it personal for the audience.
And, if you want a crowd to remember you. If you're going to win a crowd over, that’s how you do it. You put them in the show as much as you can. As a poet, that is valuable information—and I didn’t have to talk to one hundred comedians to see that. I watch them. Youtube is one of my best friends.
I watch Chappelle. Chris Rock. Kevin Hart. Damone Jones. I watch them all and not because I want to laugh all the time. It’s because I like the crowd to rock with me from the moment I step on the stage. I want them to know that this is personal. I want them to remember how I made them feel. After that, they’ll keep coming back for more. Be the drug.
Premium Construction Serving the DFW Area When you own a home, extra expenses come with it. Roofs are damaged from storms and flooding damages your interior. Those repairs can quickly add up, but there's a better way to get it done-- and at a lower price.
That's where we come in. Timothy Castillo's construction services will take care of the heavy lifting while offering the lowest rates in the DFW metroplex.
We take care of exterior repairs as well as cosmetic remodeling of your bathroom or kitchen. We offer services for:
• Painting
• Pergolas
• Electrical
• Countertops
• Carpentry
• Flooring
• Roofing
• Additions
Timothy Castillo
214-622-1421
Opening Time
7:00 AM- 8 pm
From the Grave With
Paul Laurence Dunbar Paul Laurence Dunbar's life is one that all other poets should take note of. He is one of the first nationally recognized poets and, perhaps, the first poet to do a world tour. I would even venture to say that he was the first poet to hustle chapbook purchases while at work. If you were to look up "full-time poet" in the dictionary, his picture SHOULD appear next to the definition. He performed his works whenever he got the chance. He was so talented that those who read or heard his poetry couldn't resist pouring into his life—financially.
He is one of the greats and a pioneer of the art form. So, it is with our great pleasure that we introduce Paul Laurence Dunbar as July's feature From the Grave. Grab a cup of coffee, tea, or whatever it is you drink—and enjoy the conversation.
Thank you for taking the time to visit us From the Grave this month, Mr. Dunbar. I reckon I didn't have much else to do, right Nah. So, the pleasure is all mine. I appreciate you all taking the time to think of me over a century beyond the time I produced my work. You are a great poet, Mr. Dunbar. It was just a matter of time that we connected with you. Yes, indeed. And please, you can call me Paul. We can ease the 'Mr.' part. It makes me feel like my father is nearby Well, Paul, it is then! So, do you think writing chose you? Or did you chose writing as a way to express yourself? Well, I'd say that—(pauses and looks to the left for a moment before reconnecting with me) – writing chose me. I think I was around the age of six when I wrote my first poem. I can't recall the title, but I remember writing it, and Ma took a liking to it. She thought I was messin' around at; first, ya' know? But once I continued with it and showed her more, she was completely invested in my talent. Was she an integral part of your foundation as a writer? She was key. I mean, I'd say that it was me that picked up the pen on account of my own will. But, once ma recognized my gift, she was all in. She assisted me with my schooling, you know? She helped me learn how to read better. I remember the days we sat up at the kitchen table, goin' over the bible. She'd read a few verses and then pass it to me, and I'd read a few. For a kid in those days, the bible wasn't the easiest thing to understand. The language was a bit different from the way we spoke, ya' know? Our dialect was different. But, she taught me the best she could, and I held on to what I could. And um (he looks to the left for a moment again), I believe that I kept reading and writing from there, and by the time I turned 9, I gave my first public reciting.
What do you remember about that? I was nervous, you know? A little black boy in front of all them people, both colored and white folk, you know? It was a scary moment, but I spoke, and it turned out well. So, during this time, I know that slavery was still a thing. Black folks were escaping and struggling to gain their freedom. But, with you performing in front of a few whites back then, it makes me think that your experience wasn't as bad. Well, Nah, let me stop you right there. "Bad" is relative. What's bad for you may not be bad for the next person, so on and so forth. I wrote "We Wear the Mask," and in it, I said, 'We wear the mask that grins and lies, it hides our cheeks and shades our eyes—this debt we pay to human guile; With torn and bleeding hearts, we smile.' So, did I have negative experiences with white folks? Yes, indeed. That came with the territory, and, truthfully, I met a lot more bad than I did good when it came to them. But, the ones that kept their prejudice in check and accepted me were the ones that became pivotal to my career as a poet. They helped me in more ways than I ever thought was possible. It gave me hope. And hope is tenacious. It goes on living and working when science has dealt it what should've been its death blow. And when you wrote your poetry, initially, you stayed true to your black dialect. It was a big thing for you. It's a part of who I was. Where I came from. You know, my parents and grandparents and great grandparents. For the most part, our people weren't taught English. You had the outliers like Phillis Wheatley and Frederick Douglas, you know? They were taught the language by, um, I guess, benevolent dictators is what I would call them. You know, the slave owners that showed benevolence to some of their slaves. Cause', slavery was, and still is, evil. So, to call a slave owner 'good' doesn't rub me the right way, you know? But our people weren't taught English. We picked up on words here and there and then put it together on our own accord. So, 'now' became 'nah,' and 'get' was 'git' and 'tomorrow' was 'tamarah,' so on and so forth. So, I wrote my poetry like that. I felt I had to stay true ut perspiciatis unde omnis iste natus error sit voluptatem to my experience, and Sed as a poet, we all have to be true to our accusantium doloremque laudantium, totam rem aperiam, eaque ipsa experiences. People wanted me to write inetstandard English, quae ab illo inventore veritatis quasi architecto beatae vitae dicta sunt ipsamat voluptatem sit aspernatur aut but I refused. I mean, explicab. Nemo I could, andenim I did times, quia butvoluptas I didn't odit aut fugit, sed quia consequuntur magni dolores eos qui ratione want to forget what I'd gone sequi through. voluptatem nesciunt.What ptatem. my parents had gone through. Our language is a part of us. Earlier in my career, a lot of the poetry was inspired by the stories my folks told me about their life on the plantations. See, both my parents were slaves, and they escaped shortly after my birth. Imagine that. A man and woman escaping slavery with a newborn baby to tend to. It's by God's grace that we made it out alive. So, by age 14, you were in high school, and you had poems published in the Dayton Herald in Dayton, Ohio. Yes, indeed. I um (snaps his finger to recollect) I had a good friend by the name of Orville Wright. He had a brother named Wilbur, and they went on to do great things. But, Orville was one of my classmates, and he published a black newspaper called the Dayton Tattler. So, my work appeared in the Herald and the Tattler as well. And, see, this goes back to the few white folks that were very influential and helpful to me and my M a rschool, c h 2 0 2 1 um, Issue writing career. I was the only colored boy in the Central High in Dayton. And, like I say, I had problems cause' everybody wasn't as tolerant, you know? But, with Orville's help, I became well-accepted in the school. I was
elected as president of the school's literary society and became the school newspaper editor and a debate club member. I reckon that, if it wasn't for my talent as a writer, I might not have been as accepted there. So, after High School, you were unable to attend college because of financial shortfalls. So, you had to take a job as an elevator operator. How did that affect you mentally? I know why the caged bird sings. When his wing is bruised and his bosom sore. When he beats his bars and would be free, t is not a carol of joy or glee but a prayer that sends from his heart's deep core. A plea, that upward to Heaven he flings—I know why the caged bird sings. That is what comes to mind. I was a caged bird. I was unhappy because I have all this talent as a writer, but I'm working a job makin' $4 a week. It was humbling, and I was ready to give up, but I remembered my good friend Orville Wright. I asked him and his brother if they could publish my dialect poems in book form, but they didn't have a print book facility. So, I subsidized the book's printing, and after that, I ended up selling copies of my book to passengers on the elevator. I always kept a satchel with a few of them on me, and I made small talk, and about two weeks later, I'd earned my investment back. It was well worth it. You were hustling your books at work! That's dope! I'm sorry? I reckon I don't quite understand what ya' mean. My apologies. That's some 20th century, urban dialect. In other words, You were selling your books while you were at work. That is a brilliant and amazing move on your end. Well, yes. I suppose that is, dope, then. Thank ya', kindlay. So, shortly after that, you started to gain more recognition for your poetry. One of your high school teachers invited you to read your poems at a meeting of the Western Association of Writers, and you were being recognized all over the city. How did that feel?
Back then, you could never be too sure. Am I some kind of zoo animal that people look at because 'the monkey can speak well,' or is it truly because of my gift? People take it for granted that the negro ought not to work with his head. And it is so easy for these people among whom we are living to believe this; it flatters and satisfies their self-complacency. But I think you shifted the narrative completely. Shortly after you moved to Chicago, you connected with Frederick Douglas, and through that friendship, he arranged for you to read a selection of your poems. He said that you were 'the most promising young colored man in America.' You had your poems in the New York Times. You were poppin'! I mean, you were the man at that time. Poppin'? Did I hear you correctly? Yes, sir!. I see. The 20th century has an exciting new dialect. In any case, yes, things were happening for me so fast. I was able to embark on a six-month reading tour in England. Fully funded. It was an amazing time for me, and I felt like I was on top of the world. When I came back to America, I received a clerkship at the Library of Congress in D.C. and married Alice. She was indeed an inspiration and a great writer herself. She wanted me to focus on writing full-time and, after a bit of convincing, that's what I did. We wrote poetry together, and I published Lyrics of Lowly Life and regularly performed public readings. It was a great time for me. For us. I hate that it was cut short. Is there anything you want to say before I let you go? Live. Live your truth, and don't waste time. You won't live forever, and once it's over, it's over.
Photo cred: aaihs.org
I hoped there is something worthy in my writing and not merely the novelty of a black face associated with the power to rhyme that has attracted attention. That's interesting
Answers inspired and provided by:
Poet.org
Wikipedia
AZQuotes.com
Inspire.
Paul Laurence Dunbar (1872-1906)
Spilled I @_themaskedpoet They confuse them as patriots. I cannot help but think, what do they say of us? The 1%, the
1,018,000, that wake up, at o'dark thirty, bidding good riddance to the moon, doing more that
most do before the grand rising of the sun. This hardly seems to be an honest comparison. 1993 Yes, they were carrying guns. Some even had on the traditional garb. But let's ascribe some key differences. i.e. the distances they travelled, the bodies of waters they crossed, passports to foreign lands, simply at the beck and demand of the Commander in Chief; Congress;
constitution; constituent; championing another's cause, no matter the flaws in the plan, not for
applause, but for job; God; country; We surrendered our families; with wanton recklessness,
abandonment. Wreaked and bore havoc, there were tragic lives lost, roger'd our boss said "Yes
sir" "Aye Aye ma'am" while many were screaming "yes we can'' we stood; stand; placing it all on
the line. We stood when it was too much. When we did not find the reasons you sent us over.
Weapons of mass destruction were never brought to bear. We marched while the mission was
unclear, when protesters wouldn't cheer. We bore the burden, the brunt, when plane loads of
our bodies resembled a PR stunt. We never punted; we were always striving to put the enemy
down. It is funny what white people storming the Capitol does to the English language. How it
places Merriam Webster, at a loss for words. How news media outlets, misappropriate terrorism for heroism, when the terrorists aren't wearing hijabs. No one finds it odd, words like coup are hard to pronounce. We seem to forget grade school advice on how to sound it out.
No one seems to pay attention to the violent context clues. Voice boxes refuse to admit sedition. It is stuck and strangled in vocal cords. None of these "Patriots" slept on floors, toured Baghdad.They were escorted, walked down the steps, took flights home, flew at their convenience, slept in their beds. They will barely be held responsible for the bloodshed. However, let us be more responsible with the words we choose to use instead. Instead of patriots; protesters. We should rightfully call them rioters, seditionists, white supremacists, terrorists, insurrectionists, enemies of the state, murderers. We should treat them like everyone else we hate. Ship them to the bay. Bury them under the jail. Hang them by their fingernails, make them tell their secrets, minutes, board members. Matter of fact, we should arrange a meeting, between them and their God, to include every politician; president, that gave them their nod.
Ink
@_tayeuhuru
This is dedicated to everybody trying to make it
Never forget the greatest virtue is patience
Praise the ancients in the afterlife awaiting
Reconnect through deep breathing and meditation
Pass the medication fresh fruit and vegetation
And plant the seeds for the next generation
to change the destination and manifest a better nation
With melanin representation to elevation
Of mind , body and soul
Let your thoughts travel free throughout the globe
Close your eyes and let the rest unfold
Discover your purpose and grab a hold
Keep your destiny under control
It's all mental like the pictures you envision without the instrumental
I'm like Pacaso with a pencil
Whether its astrological or incidental
It was written
My name across the sky like a stencil
TAYE UHURU
Aka the international guru
May my rhymes penetrate minds like a spear from Shaka Zulu
K.Love
Podpoets Lounge Trivia Paul Laurence
Dunbar
1) You can visit Etsy.com and find the KLove audiobook that is available on a USB in the shape of a...?
a) Heart
b) Pen
c) Key
d) Book
2) It has been exactly one year (July 2020) since KLove appeared in the Ink Magazine (#Facts or False)
3) An artist created a drawing for KLove that made her very emotional.. who was the picture of?
a) her sister
b) Maya Angelou
c) her father
4) What is KLove's theme for the 39th year of her life?
a) Only The Real Allowed
b) Stay Woke
c) Live It, Write It, Recite It
d) Only Love Allowed
5) On June 21st KLove performed her piece Million Dollar Melanin in front of a live crowd. What year was in the background?
a) 1875
b) 1865
c) 1960
d) 2021
6) Among her line of KLoveShop products is the inclusion of a KLove Kapsules good for...?
a) Mind and womb health
b) Heart and oral health
c) Elimination of copycat poetry
d) Open mic anxiety
7) Finish this line from this poem by K Love inspired by @carririchardson_
I watched with mad bliss
As she ran to her grand-mamas arms as if it was her last wish
To see her baby triumph in the face of tragic
Ain't it just like Black girl magic for her to...
a) make herstory a movie or an epic
b) make even more magic out of nothing
c) blaze trails like matches
d) make world history
Follow us on
social media:
1) Paul Laurence Dunbar was a summer baby born in July in 1872. (#Facst or False)
2) Paul Laurence Dunbar also wrote...?
a) for the newspaper
b) stories about George Washington
c) short stories
d) screenplays
3) Who was Paul Dunbar's friend?
a) Malcolm X
b) Frederick Douglas
c) John Quincy Adams
d) James Johnson
4) Paul Laurence Dunbar was also the class poet and the what?
a) class president
b) class clown
c) class achiever
d) class assistant
5) Dunbar expresses the plight of Black people in America in his poem titled?
a) Ode to Ethiopia
b) Sympathy
c) Oak and Ivy
d) Ice Ice Baby
6) Where did Dunbar work as a clerk after returning to the United States in 1897?
a) United Negro Organization
b) Trilateral Commission
c) NAACP
d) Library of Congress
7) Finish this line from “Little Brown Baby”
Little brown baby wif spa'klin' eyes,
Who's pappy's darlin' an' who's pappy's chile?
Who is it all de day nevah once tries
a) Fu' to be cross, er once loses dat smile?
b) Whah did dat dimple come f'om in yo' chin?
c) Whah did you git dem teef? My, you's a scamp!
d) Little brown baby wif spa'klin' eyes!
@the_podpoets_lounge
How Open Mic Might Just Save the World
Written by Anna Weaver
Talking with open mic regulars, I’ve heard more than one say that “this place” or “these people” saved their life. Some refer to their local open mic as a safe place where they always feel accepted. Some call it a second home. Some call it self-care.
Some say it gave them a reason to keep living, in part, by giving them a reason to keep writing…
which is catharsis…
which is therapy…
which is healing.
Not many events offer that much, or anything close, to even one participant. But an open mic can and does. Often. For many of us who call ourselves regulars.
But I say there’s more.
I say your local open mic might just be quietly saving the world.
Engineered for Active Listening
I say the magic of open mic surpasses the obvious delights of entertainment and variety and spontaneity and the richness of ephemeral creative soup.
I say open mic renews and deepens our humanity, tenderly wrenching us out of our habituated and commoditized selves by placing us in a shared space where a few humans prove that they—and we—are alive by sharing something they created.
(and everything about open mic makes yes the default answer), we experience a no-shit beautiful shift into a curious, accepting, and empathetic version of ourselves.
And that, I say, makes open mic an act of defiance. Of resistance.
At the open mic, we reclaim what we are when we’re not being “influenced,” or bought and sold by data miners, or co-opted by our lesser inclinations.
Unpacking the Magic
I’ve spent a lot of keystrokes blogging about the unmissable magic inherent in an open mic—the surprise factor, the spontaneity, the creative inspiration. I’ve written plenty about the unique value of open mic for the amateur poet or musician.
In my unerringly upbeat evangelism, I keep it pretty practical: A fangirl’s play-by-play of open mics I’ve gone to. Tips and techniques for hosts and performers. And in the last year, ideas for virtual open mics.
I stand by it all.
But it’s time to consider just how it is a free (or really cheap) event made entirely out of amateur talent can reliably brighten one intimate corner of a city or town for the people who show up to it.
Because what we do as hosts and organizers—coaching firsttimers in audience etiquette and creating a space where poets dare to bring their vulnerable work—matters.
We set the rules. We are the rudder that guides the audience and performers toward their better-behaved selves. We tune the energy in the room, helping the audience process and accept the poems that make us a little uncomfortable. The ones that sting a little. The ones the poet needed to share and we needed to hear.
I say this is no accident.
Because it’s those poems, those moments, that make us better people. People with what it takes to save the world.
I believe open mic is engineered to draw up our essential and most human faculties: Curiosity, acceptance, and empathy.
———This is an abridged version of a three-part series on the open mic as a defiant act of humanity. Get the full version here.
The genius of this engineering is that open mic assigns usas-audience exactly one job—to listen—and gives us remedial instruction in how to do it. If we accept this job
K.Love
The Rewind
On the microphone, KLove is a beast. Getting compliments from lyrical greats like Black Thought, creating viral spoken-word videos that still get plays years after creation, and performing on international stages all attest to her talent as a poet. If you haven’t heard about her now, you either haven’t been listening, or it’s intentional.
But KLove is more than that. KLove is the embodiment of her name. Kendria Love. That’s not her government name, but she’s all about Love. When she has to set you straight, she does it in love. When she has to give you the hard truth, she does it in love. She loves to hug and her warm, loving touch is felt the moment she is in your presence. She has a much softer side to her--and, based on her lyricism and BARS, that may be hard to believe. But, it’s facts. KLove — loves hard.
Let’s introduce you to a side of her that you may not know. Hit the REWIND button on this one. This is KLove. Back to back. Southside. Chicago.
It's all love
When people meet you for the first time, what is something that surprises them about you? If anything. People can’t believe how soft-spoken I am when I’m off the mic. But I’m a loving person. I’m very serving, you know? I love to serve people. I’m just a very warm person, but when people hear my poetry, they don’t think that’s who I am. But those are the people that only know me from my poetry, so I get it. Yeah, you come off very aggressive in your poems. I think it's the punchy bars and your stage presence.
How is the program going now? I took a break from it. I was doing it for four, almost five years, until my girls hit their teenage years. After that, we took a break. A lot of them are still active with poetry and starting their own movements and things like that. I’m proud of them. (The program) definitely did what it was supposed to do. How much trouble did you get in when you were little? All the trouble. I wasn’t disrespectful, though; I was just unafraid to say what I thought. I was
I don’t think it’s aggression; I think it’s passion. In
inquisitive, and people would take that as me
general, I’m passionate. And I perform my poetry
challenging them. Even at a young age, things had
the way I live my life. I’m very passionate about
to make sense, and if they didn’t make sense to me,
what I do, both on and off stage.
I would ask about it, and people took it as me being
Is there a difference between KLove on stage vs. KLove off stage? Not at all. I’m multi-dimensional. I don’t think there’s any difference between the two. For some, there is a difference, but for me, I’m the same every day. I’m extremely passionate. Whatever I’m doing, I’m passionate about it—if it’s loving someone, making love, making somebody something to eat— having a debate or anything. That’s just who I am, and the microphone doesn’t change that. If anything, it just makes me more of what I already am. That passion started young, too, right? Back when you called yourself a “smart mouth little girl.” (laughing) Yes, it started young. And now, you’re mentoring those same kind of
disrespectful. So, that got me in trouble. I was dealing with family issues in middle school. I was sort of a bully, you know? I was lashing out because I couldn’t cope with the stuff that was going on at home. And social/emotional learning wasn’t really a thing back then. Teachers weren’t really concerned about how things were for students when they went home. It wasn’t a priority to them. It was just teach, teach and then send them home to whatever problems they were already having. So, that was tough for me, and I didn’t know how to handle it. And then, I was witty. I always had a comeback, and the teachers couldn’t handle it. You still got those argument bars today? (laughing) See, I don’t argue often. I don’t like conflict. I’m so much of a lover. I just want to love. That’s it. It’s the craziest thing, but I just want to love.
“smart-mouthed little girls” in your Princess Program. What’s that about?
See, just based on your stage presence, I wouldn’t believe that. It just seems like KLove is thuggin’
Yes, yes. Really, it’s showing them where to put their fire. If the redirection is needed, I help them with that. But for the most part, it’s just learning how to control your words.
No, I am thuggin’ though, just in a different way. Like, I just love to love. My parents would’ve told you that I was sweet. That hasn’t changed, but the thug doesn’t come out until someone tries to attack
Whatever about it. If making having
I'm doing, I'm just very passionate
f it's loving someone, making love, g somebody something to eat or
a debate. That's just who I am.
-K.LOVE
someone I love. That’s going to push me to the edge real fast. Don’t even breathe on someone I love. Don’t look in their direction. Don’t even almost say anything about them. After that, I switch gears.
Is that what motivated you to connect with the youth?
The beast comes out for real then.
Whenever I see you performing for the youth, it’s like you switch gears. That’s just my opinion. Do you feel you shift your performance aspect when you perform for youth?
Absolutely. Don’t play with mine. So, how do you keep it real when it’s a hard truth that you have to tell someone?
Absolutely
I’m firm, but I’m loving. I’ma tell you exactly what I think and how I feel, but I’ma do it with love. I’m not going to say what comes off the top of my head. I’ma put some thought into it. I understand that my words and ability to use words are gifts, and I don’t want to use my gift to hurt someone. It’s like a giant not realizing his strength. Sometimes people that have these gifts don’t understand that you can’t say anything and everything. These people belong to God, and you’re responsible for how you treat them. You have to be careful.
No. Well, maybe depending on the age range. Younger children, I’ma slow down and be more intentional with how the bars land because I’m in teacher mode. I’m trying to see if they understand it, and with children, sometimes, it takes them longer to react. With teens, they get so caught up in the bars, and they can go on and on about how dope it was. But, overall, I don’t want to go too fast. I want to pay attention to the expressions on the listener’s faces. I want to be understood, and I want to make sure they understand me when I speak. I don’t do this just to be heard; I do it to be understood.
How long did it take you to learn how to temper your words?
Do you think it’s possible to teach someone how to be a poet?
I think it’s an ongoing process. I’m always attempting to master that. Things happen, and it reminds me that people are fragile. Self-included. Life is hard, and you have to be gentle with people. Sometimes, you just have to take that extra care not to hurt people. People are battling things that you don’t even know about. You have to be nice, but it’s hard because people can feel like if they’re too nice, it shows weakness. It’s not weak at all. It’s strength. I think my biggest flex is that I’m nice. People might say it’s a weird flex, but I pride myself on being kind. That’s my flex, for real. With a name like KLove, I guess you can’t be mean
I can teach poetry, but I don’t know if I can teach you how to be a poet, per se. If you write poetry, you probably are a poet. But, I teach the youth how to express themselves through poetry. Do you think it’s possible to teach someone how to be a poet? If I said Teach me how to write poetry, what’re the first things you would say to me. I would start with what’s going on in your life. Where you come from, things that have made an impression on you personally. And then I would encourage you to write from there. What did you miss about performing on stage?
(Laughing) Yeah, that won’t work. What did you want to be when you were younger? A teacher. Second grade. I always loved children. I love to teach and share knowledge and watch somebody grab something that I’m explaining.
Facial expressions. Being able to see people's emotions in real-time. Hugging people. That part was really hard for me because I love to hug people. I love to be close to people. That’s what I missed the most.
The ink Magazine
Has the hugging resumed? Has the hugging Absolutely. I’m hugging people. I’m a lover. I’m a hugger. That’s what I do. You said that your gift belongs to God first and you second, and you don’t force poems out. So, have you ever wanted to write a poem, but it wasn’t time? Absolutely. A billion times. How frustrating is that? When I first started, it was frustrating. But now, I know that when it’s time for (the poem) to come, it will come. I don’t claim writer's block. I don’t give way to that. I just believe that when it’s time its time. I think writer's block comes from being too hard on yourself. It comes from insecurity. When you don’t know that you have (the gift) naturally, you’ll overthink every line and beat yourself up when you feel you can’t come up with something good enough at that moment. When you’re secure with your gift and you know it’s there and it’s yours, you’ll be a little easier on yourself. I think that grace that you give yourself will make the poem come easier and more fluid. It’s not a lot of pressure after that. I know that you had a hard loss during the last year and my condolences to you about the loss of your Father. What did he mean to you as a woman, as a poet, as an artist? I know that you had a hard loss during the last year and my condolences to you about the loss of your Father. What did he mean to you as a woman, as a poet, as an artist? My father was my friend. I could call and laugh with him. We had the same sense of humor. We had all the jokes with each other. My last two phone conversations was nothing but us laughing and making jokes with each other. We were on the phone and he was in the hospital. He thought he was going to get out in a few days and so, we were on the phone—
Kenneth (Dad): I keep tellin’ yo mama to bring my clothes up here. She ain’t bringin’ my clothes.
KLove: Daddy, what you need clothes for? You in the hospital.
Kenneth: Kendria, I ain’t got no draws up here.
KLove: Daddy, I stopped wearing draws 10 years ago. At least you in the hospital with no draws on. I’m at Wal-Mart with no draws on.
And he just started crackin’ up laughing. That’s how me and my dad was. We would share all kinds of jokes and my mama would be over there, clutching her pears, in disbelief about what we’re joking about. I got some of my best qualities from my dad. He will always be honored and memorialized my mind and through my life. He has a drink named after him, right? Yes! My friend, Christopher Lamar, came up with Coffee, Hip-Hop, and Mental Health. It started as a movement and turned into a store front. He wanted to honor my father. So, he called me and asked what my father’s favorite drink was and it was sweet tea. So, he named a drink after my father for Father’s Day and said he was going to keep it for a while. That meant so much to me. Thank you for sharing that, knowing you had every right not to answer the question. No. I pride my brand on transparency, vulnerably, authenticity and honesty. People run away from uncomfortable situations, but I go directly to them. But, having such a strong relationship with my father in the physical realm makes embarking upon a relationship with him in the spiritual realm a little scary because it’s not the same. I understand that energy is never destroyed, its just transferred. If I can believe that God, Jesus, anything I can’t touch right now exists, then I have to believe that my father exists in the spiritual world. The same way I accept, recognize, and honor signs that I feel are from God is the same way I have to accept, recognize, and honor the signs I get from my dad in the spiritual realm as well. I’m in the process of converting my mind and heart over to accepting this type of relationship with my dad. All I’ve ever known is him in the physical, so it’s just going to take some getting used to
A Glance at K. Love Favorite Movie – Hollywood shuffle (Quotes every line from the movie)
Favorite Actor/Actress – Denzel Washinton/Taraji P. Henson
Favorite Pastime – Thrifting (Thrift Store Shopping. Can spend hours doing it. Wants to open a thrift shop eventually)
What era would you want to live in – The 50s. Loves the long skirts/baby doll shoes/ruffle dresses.
Dopeness.
In memory of:
Kenneth Harris Sr.
1960 - 2021
