The ink Magazine - November by The ink Magazine

THE INK MAGAZINE SPOKENWORD + THE ARTS + DOPENESS

Krystal Orellano The Gypsie

Open Mic Spotlight

Po’Boys and Poets

From the Grave With

James Weldon Johnson PLUS

Paying the Poets Poets are Super-heroes November ‘21/NO. 18

Inside the

Notebook Another Issue

We've got a new website up. Theinkmag.com has been redesigned as we continue our upward journey through the world of SpokenWord.

I was speaking to a friend a few days ago. Shoutout to Verb Kulture. We were talking about the things that we've started and how we wanted to quit.

But the problem with quitting is that when you've started building something for the people, the people will want it. So, you can't stop-- even if you wanted to.

It's at that moment that you realize that your life isn't just for you. It's not about doing what you feel like doing. It's about doing what you're supposed to be doing. Using your God-given gifts to touch people across the world. If you live for yourself, then you're not living. You're just alive.

So, I keep going. I keep producing. I keep writing. I give myself to everything I put my hands to. Because, to whom much is given, much is required.

When God gives you talent, He expects a return on his investment. So, don't give up. Whatever it is that is in your hands, don't put it down.

Don't give up. Whatever it is that is in your hands, don't put it down.

It will get hard. You will be pressed. You will be burnt out. But, that's when you recharge. Vacation. Getting around driven friends and companions. And after that recharge, you start building again.

If you lose your passion, remember why you started. It was never about you.

TYRAN SAFFOLD JR

Open Mic Spotlight:

Boys and Poets stop by to Po talk about their trio of peots that decided to help change the perception of Nashvillee, TN.

Poets are Super-Heroes

Spilled Ink

A group of poets spill their ink onto the pages in this months issue of The ink Magazine.

From the Grave James Weldon Johnson was destined for success at a young age. Find out what drove him to be one of the greatest of alltime.

20 Get the Bag, Poets

As a poet, there is a time to perform for free. And there is a time to get paid. We help show you how to make sure you get the bag.

Krystal Orellano Krystal is the Gypsie. And there are levels to the name. She's been merging the world of modeling and SpokenWord. Now, she has created a new lane for poets to perform.

Table of Contents

Yes, they are. And words are their super powers.

The Ethically Immoral Podcast. In-depth interviews with creatives from all around the world. Available on your favorite streaming platform.

The Perfect Gift

Introspectum By R. Sen the Poet

Buy this item

The ink Magazine

Teejay tha Protege

Open Mic Spotlight Po'Boys and Poets

When you think of Nashville, Tennessee, what's the first thing you think of? It's probably country music. Something along the lines of Blake Shelton or Dolly Parton. That just shows you how well country music has been marketed in the city because, even now, country music is not the most popular genre. But underneath the country music shadow cast over the city is a group of poets that are helping change the image of Nashville. And they are doing it with SpokenWord.

Po'Boys and Poets host one of the most popular open mic sets in the state. What started as a place for poets to hang out and perform has turned into a staple for the arts community in Nashville, TN. The ink Magazine had a chance to speak with 2/3rds of Po'Boys and Poets, Mo Christo and Teejay the Protégé to learn more about the group changing the face of SpokenWord in Nashville.

"We had poets in the area; they just didn't know where to go," Mo Christo stated." Presentation, prose, and pitch. That's what we focused on. A lot of open mics (in the area) were straight from the page, literally. We offered performance art —past the page and onto the stage."

They started at a restaurant that specialized in serving po'boys. So, that's how the name Po'Boys and Poets came about. "We all shared the connection of poetry," Teejae said, speaking of the trio's connection. "I knew business and marketing. Spoken-n-Words and Mo Christo were SpokenWord performers, so we just put it all together."

It takes a special kind of love for the art form for an open mic to have longevity. Generally, the shelf life for most open mics doesn't last long. But, for Mo Christo, it was about more than creating a temporary place for the moment. It was about giving life to his passion.

"It was more about the art for me," Mo Christo added. "I was doing shows before po'boys and poets. It's about the passion for me. Being able to give the space for people to perform. When I saw SpokenWord for the first time, it totally changed my thought capacity on how big it could be. I feel like we give that inspiration to a lot of artists."

We built friendships and relationships with people that come. We know them by name. If they're showing up to the spot late, we're calling them out," Mo Christo said, laughing.

"Not in a mean way, but in a way that lets them know we appreciate them coming. To let them know that they matter to us, not just for the sake of being in the audience, but because we truly care about everyone that steps through our doors." He added, "We embrace the fourth wall and make the crowd feel that they are right there with us."

Mo Christo

Spoke-N-Words

Po'Boys and Poets

Po'Boys a

and Poets

Nashville, TN

It takes more than a venue and a host to create an open mic. It takes people that know how to make a connection with the crowd. They have to know how to keep people coming back week after week. So, that dose of "Mo Christo" passion is something that can't be bought or taught. You're simply born with it, or you're not.

"We built friendships and relationships with people," Teejay reiterated, "You know, word of mouth is still the most powerful marketing tool, and you have to make people believe in you before they tell other people about you. So, we focus on the people every time they come."

Whether it's friendly teasing when someone shows up late or incubating the next great poet or host in Nashville, that's what they do. This trio of poets uses all their talent and resources to pour into the community and show the world that Nashville isn't just about country music. It's about soul food. It's about a living, breathing community of poets that are changing perceptions one bar at a time.

They weren't always as popular as they are now. Like most open mics in the nation, they had a slow start to their climb. "We had like two or three people at the first few open mics we held," Teejay said, laughing, as he recollected the initial open mic experience.

"But we had grown so much over time that we had to run down the street and borrow chairs from another venue just so our people would have somewhere to sit," Mo Christo added.

Throughout the process, they seamlessly merged the business side of poetry with the entertainment side. But it's more to Po'Boys and Poets than open mics. They are an incubation of sorts for other poets and hosts. They help people develop their talent as a poet or host and then watch them soar to new heights.

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The ink Magazine

"As a group, we are well-rounded and polished. We build each other up and develop each other," Teejay added. "That's what it's all about. We make each other better."

Nashville, TN, is no longer home to just country music. It's not a place where people play banjos and walk around with a guitar and a piece of straw hanging out their mouths. It's now a place where stages get set on fire with words. Where poets are born and pump inspiration into the Nashville air. It's where poets perform and leave their mark on the world. It's not about country music anymore; it's about soul food. And Po'Boys and Poets have a lot of it to give.

"Nashville is full of creatives, and people would be blown away if they saw it for themselves. We're not just country music down here. Not anymore."

If you're in the Nashville area and looking for a little southern hospitality on the stage, contact Po'Boys and Poets on IG @PBnPNash or any of the group's members, and they'll point you in the right direction. Get yourself a little southern home cooking and connect with Po'Boys and Poets.

Poets Are

SUPER-HEROES

by Tyran Saffold Jr

Photo by Nkululeko Mabena

Poets don't have the typical capes. They don't wrap anything around their necks and let their flag hang off their backs while they fly. Most times, no one even notices that they have a superpower. They are the Clark Kents' and the Phoenixs' of the world. They remain hidden until it's time to touch the stage. Then, their powers are revealed to the world.

They remove their shyness. Their introverted personality. They shed everything they are in the world. Their 9-5 shifts. Their "mom" or "dad" titles. Their criminal past, political stance, and any other identifying marker the world uses to put them in a box—and they become something else right before our eyes.

It isn't until then. Until they've poured their hearts out on the stage that the audience realizes what they just witnessed. They know they've met a real-life superhero.

Superheroes save lives. That is the goal. They keep people from danger. They inspire, uplift, and encourage people to be better. Now, what have that Poet's words done? Why do words make someone a superhero?

It takes the story of a suicidal person to tell you. The way a poem kept that person from pulling the trigger and ending their life prematurely. The way that the Poet's words sunk into that person's mind and gave them a reason to fight. A reason to keep living and overcoming obstacles. You tell that person that poets aren't superheroes. Who else can help save a life by reciting? By performing? Who else has that kind of power?

I'll wait.

Superheroes are real. They save lives every day. Pens are swords. Words are superhuman weapons pouring out of mouths like the burst of wind from Superman. Like a sweeping tornado harnessed by Storm. That's power. Do you think you're merely a poet? Merely. A poet. The first Poet created the world with words. Words give life and present death. They rescue and condemn. They bless, and they curse.

Your weapon is yours. How you choose to use it is up to you. But one fact remains—whether you use it for the good of others or your selfish desires. You will have to give a report on how you used your superpower. Not everyone is born with this gift. Not everyone will use it the way it was intended. But you, nonetheless, are a superhero.

So, save the world, hero. Save the world.

From the Grave Exclusively

with The ink Magazine

If you've ever heard any rendition of "Lift Every Voice," then you've heard the work of one of the greatest writers of all time. One of the Harlem Renaissance pillars, James Weldon Johnson, set out to give a helping hand to black folks during his time. When a lot of people talked a good game, his actions spoke volumes. As the field secretary for the National Advancement for the Association of Colored People, he increased membership rolls in southern states and organized mass demonstrations against Jim Crow Era laws, racism, and violence. Oh, and his pen game was crazy, too. For November's issue of The ink Magazine, we had to pleasure of speaking with Mr. Johnson From the Grave.

Mr. Johnson. It's a pleasure to have you here with me. Sitting with one of the poetic greats of all time means so much to me. I appreciate everything you've done, not just for poetry but for blacks as a whole. The pleasure is all mine. You, young man, are young, gifted, and Black. We must begin to tell our young that there's a world waiting for you. Yours is the quest that's just begun. I feel like that in many ways. Even though at times, I feel like I've failed, you know. Like, I haven't done what I was supposed to by now. It's all a process, son. You haven't known success until you've been acquainted with failure. And, even in failure, God teaches. I remember a newspaper that I started.

It was called the um, the Daily American. It was devoted to issues that we as blacks faced during my time. I was primarily the one running every aspect of it. Well, after about a year into it, I had to close everything down because of a lack of funding. To me, that was an utter failure. But, through that publication, I was able to meet the likes of Booker Taliferro Washington and William Edward Burghardt Du Bois. And those two men would be the same gentleman that would help me fight against racial discrimination in more ways than one. So, through that "failure" of mine, I forged relationships with men that changed the course of my life for the better. Yeah. That's definitely a positive. Those were some great men to have in your corner.

James

Weldon

Johnson

They were very instrumental in our fight for racial justice against the atrocities of lynching and prejudices across the nation. This country can have no more democracy than it accords and guarantees to the humblest and weakest citizens. So, I simply did my part, and it was God's plan. You know, young brother, God has his plan, and you can't fight against it. One way or the other, His plan will come to pass. Young man, your arms are too short to box with God. Indeed. I'm not trying to, either. So, how did you get involved with writing poetry? I know that your activism stemmed from that. My dear mother taught me and my brother, John, before we were able to attend school. She imparted her great love and knowledge of English literature and the European tradition in music. I lived between my music and books, on the whole, a rather unwholesome life for a boy to lead. I dwelt in a world of imagination, of dreams and air castles--the kind of atmosphere that sometimes nourishes a genius. So, that's when my love for writing and reading started. My brother turned to music, and he would eventually turn into a great musician. Little did I know that together, we would create "Lift Every Voice." Man, every time I hear that song and all the voices come together, it's just. I don't know, man. Did you think it would have that type of effect on people? People may become great through many means, but there is only one measure that recognizes and acknowledges its greatness. The final measure of the greatness of all peoples is the amount and standard of the literature and art they have produced. The world has never looked upon any people that have produced great literature and art as distinctly inferior. We didn't know what we had, but over time, we knew.

That's a staple in the black community today. I can't explain how it makes me feel when I hear it. Lift every voice and sing Till earth and heaven ring, Ring with the harmonies of Liberty. Let our rejoicing rise high as the listening skies; Let it resound loud as the rolling sea. Any musical person who has never heard a Negro congregation sing these old songs under the spell of religious fervor has missed one of the most thrilling emotions that the human heart may experience. So, you said your mother inspired your love for writing. But you didn't really give yourself to it until later. Why? My father was a big inspiration in my life. Most young boys want to be like their fathers when they grow up. And mine was a preacher, and he was um, he was the headwaiter at the St. James Hotel. That was a big thing, you know. He was a businessman. So, because of that, I wanted to be a businessman, too. I went to that university to study law. But, while I was enrolled, I saw the racial issues that um—I guess I was oblivious to at a younger age. We didn't really experience prejudices in my neighborhood growing up, but there were racial debates, and my awareness of the prejudices in America took center stage when I got there. So, I wanted to do something about it. I had to do something about it. During the summer holidays, I would go to the poor districts of rural Georgia and teach the black students. That's when it really started—my desire to help my people. But, you pushed on and eventually passed the Florida Bar. The first black person to do that. Yes, I did. I pursued it because, again, I wanted to be like my father. But, it didn't take long for me to realize I wasn't cut out for it. I practiced law in a partnership with one of my Atlanta University classmates for about four years before I stopped.

You know, as I said, young brutha, the good Lord has His plan, and one way or the other, He's going to get you to it. That passion for writing never left my heart. I had so much satisfaction from writing poetry, so that's when I knew I no longer wanted to practice law. Was it hard to walk away from law? Even though you knew you could disappoint your father? You have to make yourself as happy as possible and try to make those happy whose lives come in touch with yours. But to attempt to right the wrongs and cease the sufferings of the world, in general, is a waste of effort. You have to do what works for you. My arms are too short to box with God. Do you believe that you chose the right path? The fight against racism and prejudice? Evil is a force, and, like the physical and chemical forces, we cannot annihilate it; we may only change its form. We light upon one evil and hit it with all the might of our civilization but only succeed in scattering it into a dozen of other forms. The fight against racism, I suppose, shall continue as long as there are people on this earth. It's a force. Yes, Mr. Johnson. Sadly, we are still fighting the same fight. People aren't being lynched from trees, but we're being killed in other ways. It's sad. All this time has passed, but you're right; that force is still here. It's just in a different form. Indeed, that is sad. You know, I do not see how a people that can find in its conscience any excuse whatever for lynching or slowly burning to death a human being, or for tolerating such an act, can be entrusted with the salvation of a race.

Your fight against lynching was your main fight. At least, from what I can see. The fight for racial injustice was about improving every aspect of black life in America. Lynching, however, was at the forefront. It was the preeminent threat to Black life in America. When you have mobs of white folks killing, lynching, and mutilating other black folk and treating it like a carnival of sorts, enough is enough. We were tired of it. I was tired of it. So, I launched attacks against it with the NAACP. I organized the Silent Protest Parade of 1917. It was the first major street protest against staged lynching in America. My success moved me to become the NAACP's executive secretary, and I advocated for introducing the anti-lynching bill in 1921. The southern democratic party shot that down. We did everything we could to end racial discrimination. We wanted to make it better for people like you and everyone else that was to come after us. They felt like we were inferior. In some cases, I know they still do But if the Negro is so distinctly inferior, it is a strange thing to me that it takes such tremendous effort on the part of the white man to make him realize it and keep him in the same place into which inferior men naturally fall. It is a struggle, for though the black man fights passively, he nevertheless fights, and his passive resistance is more effective at present than active resistance could possibly be. He bears the fury of the storm, as does the willow tree. Now, I don't want you to think that it was all of us black folk vs. all the white folks. Some of our strongest allies were white, and they understood the cause. So, every race and nation should be judged by the best it has produced, not by the worst.

SPILLED INK

By Kiana Donae

Black Unicorn

@Kiana_donae

fanciful

whimsical

I be the vision from your sweet dreams

always

imitated

you be the replica; merely a fantasy

I am the Black Unicorn

chasing noble moonbeams

the black sheen of my mane

a legendary truth

displays a brilliance

impressive

you will never tame

majestic

I can never be tamed

so, so blessed

yet you continue this game

and I humbly reject your portrayal of me

to whitewash everything

hoodwinking societies thoughts

afraid at the way I move

depicting me as violent or parody

I am the Black Unicorn

my true magic remains unseen

and I deem you inept

to handle the splendor of my excellence

January 2019

Invigorating

The smell of you gently lingers upon your old sweater

I wrap myself in the shell of your ghost

Comforted by the very fabric that hung upon your body

Long gone

You still touch me

Giving me goosebumps and memories of you

Wrapped in the very fabric of you

by Brittanei Wayne

INVIGORATING

BY MARCOS CERVANTES

QUE THE WAKE I want to be pulled into the sky

and surf the last of

the moving suns tractor beams

a pathway to salvation

grazed by Midas’ conundrum,

the clouds make for

a suited swell

I pass the moons half smile a stubbly cheek

it seems to mouth the word made my kids giggle

when they were little

“showoff”

heaven wasn’t so far away

the tow has me, helpless.

the earths 5 oclock shadow I didn’t long for it

like I wish for wings now.

a familiar haven

Their feathers I plucked

like my hand across

with my ignorance.

my chin deep in thought,

I love me. I love me not.

I remember,

I’ve blown the seeds

of the present to the wind.

Foolish me.

Dandelions get so

many second chances

@LIFEJUGGERNAUT and I am not a flower.

If I was I don’t know

what my water would be.

That answer holds on to itself

but I’m getting there

maybe the clouds will

let me in on their secret...

The Words I Never said

A podcast for Poets

Get the Bag, Poets By Yeshe Writes

Paid the musicians? Check. Paid the host? Check. Paid the venue? Check. Paid the poet?

"Well, we're providing exposure for you, poet! We're going to have a couple of hundred people in the audience, and that's a chance to expand and grow your brand!" – Promoter/Host/Event Organizer/ETC.

As a poet, we've heard it before. The money stretches until it gets to us. Sometimes, that's ok. In the beginning, you just want the chance for exposure. An opportunity that you'll perform and meet someone that can provide another stage for you to perform on so that you can do it all over again.

Just like any profession, you have to start somewhere—and that somewhere is along the lines of unpaid internships. If you want SpokenWord to become your career, some of those free performances translate to unpaid internships. But there comes a time when performing for exposure isn't enough. If you're going to thrive as a full-time poet, those minutes on the stage need to become dollars in your bank account. That's just how it is.

"I've worked hard at this. I've practiced and rehearsed and proven to be a good poet and a great entertainer. My fee is my fee. These words aren't free anymore."

Initially, it's alright to perform for little to nothing —especially if you're still figuring out how much you should get paid. If someone wants to pay for your gas to and from the venue, take it. You're not coming out of pocket for any expenses, and you get to perform.

For example, we all know the movie Friday. The Ice Cube and Chris Tucker hood classic that coined the phrase, "bye, Felecia,"—a saying that is still in rotation over twenty years later. Chris Tucker was only paid $10,000 for his role in that movie. But it was the role that catapulted his comedic career. The next time we saw him in "Money Talks," it was 1997—his salary was just about $2 million.

Sometimes, you have to take a little less just so you can perform, kill it, and then hit them with your new asking price. By that time, you'll be well worth the price they pay for your performance. But what should you charge?

The first thing to do is determine your rates. Some poets charge $60/hour, and some shoot up to $120 or more. It's just a matter of what you think your talent and entertainment combination is worth. There's no cookie-cutter way to determine how much you should be paid. Here are a few factors to consider when setting your price for an event.

• How many people are attending?

• Is there an admission fee?

• How long are you going to be on stage?

• How far is the event from you?

My fee is my fee. These words aren't free anymore If you're traveling far, you'll want to factor in the price of gas so that you're not coming out of pocket for the trip. The flight, room, and board should be on the event planner if it's out of town. But these are all things that should be discussed well ahead of time.

If there is an admission fee of $20 and they are expecting 400 people, then a payment of $40 might not cut it for you. For significant events, it's also good to have everything in writing, so there is no confusion when it is time to pay.

THEINKMAG.COM

But, when you set your price, just know that there is always another poet who is willing to perform at a lower price in another city. You just have to make sure you stand firm on your feet.

"You have to make it so that people want poetry from you instead of another poet. You're constantly trying to create that thing that makes you stand out." – Ed Mabrey

There are layers to the business side of poetry, and setting your rate is just the beginning. If you want to take this seriously, there are ways to go about it. Stay connected at theinkmag.com to get more tips on creating your brand and solidifying your place in the world of SpokenWord.

The ink Magazine

Krystal "Gypsie" Orellano There are layers to her. A level of depth that you won't get until you hear her on stage. Until her voice penetrates your soul and leaves you with the residue of her prolific thoughts. It's natural for her. Yes, she had to work at it. She had to spend time perfecting her gift so that when you get the polished version on stage, there's nothing left to desire. She combines runway modeling with SpokenWord, creating a new lane for poetic entrepreneurs around the nation. If you don't know who she is, let us be the first to introduce you to Krystal Orellano. But, she calls herself the Gypsie. And you'll soon understand why.

How do you spend your days off? I've just been working on pushing my brand. I'm a full-time student, but I am a teacher by trade. From pre-school to middle school, I've taught everyone. I'm hoping to teach college at some point. But I've been doing runway modeling and things like that. But I'd probably travel. I'm going to Destin, Florida, later this month for a modeling contest. But, I'll be going to the panhandle to visit the beach and things like that. It's work, but it's not work. Poetry and modeling take me places I've never been. When I'm not working, I just love to travel. To be able to see brand new things and explore new places—that's something I'd do on my day off. When you were younger, did you think your life would turn into this, or did you have other aspirations? I didn't know writing would take me where it has taken me so far. If you would've told me that writing would take me all across the world or I could do it as a particular study in school, I wouldn't have believed it. I didn't see it as a way that could make money. At one point, I wanted to be a singer or songwriter. But, in some ways, I'm still writing lyrics, so it's close to the same thing.

You call yourself Gypsie. Where did the name come from? I was homeless at a very young age, and I had to jump from place to place to survive. Gypsies had to jump from place to place to survive. So, for me, Gypsie manifested to me as just moving around to survive. Now, I'm always moving around to the next step. I never stay still. There's a significant meaning behind everything I say and do. Some people get offended when I say my name, but I pushed it to Krystal Gypsie Orellano. That's not my real middle or legal last name. I use my mom's maiden name as my writing name. So, if you try to look me up, you're not going to find me. I'm like visible, but invisible—just like a Gypsie. When did you find out you had the gift of poetry? I was oblivious to the fact that I could write for years. I journaled, and it wasn't until I got to college that I realized I could write poetry. My friend introduced me to poetry and spokenword. So, then I guess that's when I started to tune into what I was doing a little more. That's when I realized I was fascinated with it. Do you still have any of your original journals? No, I don't. I know it's kind of sad. I still journal write, but a lot of my poetry has become hi-tech, so it has been transitioned to a computer. There are a few that I wished I still had. But, when you move around a lot, a lot of it just disappears. But now, I write most of my work backed up on the computer. That's where my poems live now. I've lost a lot of poetry, though. I re-wrote a few of them off memory, but I know I've forgotten many of them. I had one called "Fortress," and I used to perform it, but that's one that's gone forever. It's disappointing. Is it a different feeling you have when you journal vs. the computer?

It depends on the mood. Sometimes, I feel like putting pen to paper, and sometimes I feel like doing it on the cell phone or computer. It depends on what I have going on because sometimes it's easier to write on the phone. It's more convenient to use your phone. But I think pen to paper is more personal for me. Some of the things I write in my journal will never be seen or heard by anyone. So, you said your college friends helped you understand that you had a poetic gift? Yeah, that's what happened. For me, when I went to college, I learned more things about myself. I didn't know that there was anything past writing in my journal. I would just write things in my journal. My feelings, problems, and stuff like that. Sometimes it rhymed, and other times, it didn't. But it was all about my emotions. I never thought that what I wrote could be read out loud sometimes, you know? Since you weren't familiar with SpokenWord, did you have any stereotypes about poets?

The ink Magazine

The Gypsie's

Quick Hitters Favorite Musician:

Mariah Carey Favorite Pass Time:

Traveling Favorite Food/Drink:

Avocado Smoothie

In the beginning, it was more like a hobby or extra-curricular activity. I was around younger people, and then it was more of a free-verse spokenword type thing, you know? But when I went to a grammar university when it was more about structure and form, that's when I was stereotyped. I didn't write poetry the way they did, so that's when I felt the judgment. It was more structured, so I had to get used to the difference. I wasn't used to it. So, when I left that open mic atmosphere and free verse stuff, I saw how different it was. Did it frustrate you when you realized you had to be more structured than you were used to? You have to learn the rules before you break them. I kinda broke them first, so it was reversed for me. You have to be able to take the criticism and go with it. They say that poetry is something you can't criticize, but it can be when you hit certain levels. Like, if you want to get your work into a certain magazine or something, you have to have a certain structure. You can't submit anything if a certain publisher says, 'hey, I want a Haiku' or 'I want a sonnet,' but you give them free verse. It's gonna get rejected and criticized. So, it happens. Do you think you can teach somebody how to write poetry, or is it natural? I'm more of someone who got it naturally. I can go months without writing poetry, and then it'll just hit me, and it'll flow effortlessly. It's just a natural gift for me. But I do believe you can teach someone how to write poetry. There are a lot of different styles to learn, so you can definitely teach someone how to write poetry. Free verse poetry is one thing, but there are so many different styles, you know? It can be taught. You can teach people how to avoid writer's block and show them other methods to grow their ability naturally. How do you avoid writer's block? I do different writing workouts and writing exercises. Also, one of the best things a writer can do is read a lot of books. Read, read, read. Read books about different types of poetry and even some fiction books. Fiction can be very motivating and help you overcome writer's block whenever it comes up.

Gypsie So, and I hope you're not offended by this, but your appearance doesn't match your stage presence. Are people surprised when you step onto the stage and turn into an absolute monster? With the hard bars, aggressive voice, wordplay, and everything? I think so. I posted a video recently on Instagram about a poem I did call "F*** me." So, in the video, this guy is walking by, and he stops when I say the magical words. When I say, "F*** me." He was in the band because they had a band with the open mic. You could see the guy stop everything he was doing, and he just looks like, 'whoa,' you know? Like, he didn't expect it, and that's it. People don't expect my voice to be so powerful because I'm so little. I'm like 4'11, 100 pounds. They don't expect me to say the things that I say, the way that I say them. They don't expect that from me unless they really know me. I had to shut some people down because they think that writing uncensored poetry means something else. And I'm just like, 'um, no. Sorry. That's not how it is. Is there a difference between your onstage persona vs. your off-stage persona?

Yes. Sometimes, when I'm off stage, I feel like an awkward person. I feel insecure and nervous, and I feel like I'm going to mess up. But, when I get on stage, I'm fearless. All of those insecurities are gone. It's not on purpose. It's just natural. It's the same thing with modeling. I might get nervous at a runway show or get yelled at for not doing a certain type of pose. But, just like when you do poetry, you have to go slow. So, I do feel different sometimes. I'm not trying to put on an act to get attention. I'm just me, all the time. The changes between me on stage and off stage are natural, and some things don't need to go on stage, and I know that. Some things you have to keep private. Yeah, I keep my personal life and business life separate. I don't post everything on social media. Some things aren't supposed to be on there.

You can't just put your whole journal or diary on social media. You need to keep some things private. Social media has ruined a lot of friendships, relationships, and everything. You've gotta know how to tone it down. And everyone has that one family member that likes to blab everything, so you watch what you say. But that's them, and you can't save everyone. You said that modeling on stage is like performing. What are the similarities? You have to stay in character. When you practice how things are going to be, they don't always go that way. Your partner may mess up if you're doing a poetic duet. But, you gotta keep rolling. It separates the amateurs from the professionals. So, whether you do runway or poetry, you still have to perform and stay in character. There were times when I've had to

master my walk on the runway while performing because I've learned to marry the two art forms together. So, there are many similarities between the two. You have to prepare for your performance, know how to carry yourself and roll with the punches. So, you perform your pieces while you're on the runway? Yes. I don't know if I'm the first or the only person to do it, but that's something that I do. I like it, though. It's a way for people to remember my brand and introduce another side of me and my business to a new audience. People in a fashion show or at a fashion show may have never heard of poetry.

And, when they hear me spit, they're like, "oh, I like this. I like what she's saying. What is she doing? I'll follow her because I want to see more of it." If I'm in a fashion show, I'm standing out. You're not competing with other poets. So, you don't have to worry about who is saying this or that because you're the only one saying this and that. Did modeling come first or poetry? Poetry came first. I just started modeling a few years ago. I did it three years ago when my book came out. I did a few photoshoots and started networking with others. So, photoshoots led to YouTube videos. YouTube videos led to acting and podcasts. Podcasts led to magazine appearances and features. One thing always leads to another. I didn't expect these things to happen, but I've been busy. Once I understood what I had and what I could do, I just went for it. And it always starts by knowing someone who knows someone and goes from there. What are some tips for marketing? You've gotta go out there and network with people and not wait around. You gotta push your brand, no matter what. It takes a lot of resources and money. You have to be able to invest in yourself, and it's not just money. It's time, its energy; it's all the intangibles that driven people have. When you invest in yourself, that shows everyone that you're serious about your success. How do you want to be remembered? As somebody who pushed change. Who opened doors for the next generation to get through so that whatever struggle I go through, the next generation doesn't have to.

Dopeness.