World Equal MagBook Autumn/Winter 2023 by WORLD EQUAL Magazine

MUSIC ARTS & CULTURE MAGBOOK AUTUMN / WINTER 2023

Walter Mosley

A Master at the Top of his Game..

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WORLDS COLLIDE ''Geometry will draw the soul toward truth and create the spirit of philosophy'' -Plato The old world and the new world are in transition and the merge with the overlap could be a phenomenon experience to witness. The evolution of technology and development of AI and Quantum physics which is the study of matter and energy at the most fundamental level. It aims to uncover the properties and behaviours of the very building blocks of nature. While many quantum experiments examine exceedingly small objects, such as electrons and photons, quantum phenomena are all around us, acting on every scale. A quantum (plural: quanta) is the smallest discrete unit of a phenomenon. For example, a quantum of light is a photon, and a quantum of electricity is an electron. It is all about light. Einstein postulated that although light sometimes behaves like a wave, it also consists of discrete packets of energy that he called quanta (now known as photons). The concept was not only central to a more complete understanding of the photoelectric effect, but the behaviour of light in general. Natural sources of light include our sun and other stars, where the source of energy is nuclear energy (recall that the moon does not produce light but merely reflects sunlight), lightning, where the source is electrical, and fire, where the energy source is chemical. Understanding of the elements has changed the direction of humankind, sustainable energy, natural resources and building an entirely new infrastructure to increase quality of life within the realms of nature, health, and the general rebuilding of our world. 4

Restoration is a process to support the recovery of degraded, damaged, or destroyed ecosystems and bring more nature and biodiversity back everywhere, from agricultural and forest land to marine environment and urban spaces. Nature has the incredible ability to bounce-back when we let it, and this can happen as soon as our nature-restoring actions outnumber our nature-harming. Ecosystem restoration can improve health, well-being, and quality of life for people by increasing the availability of green spaces, mitigating pollution, and reducing the risk of diseases spilling over from animals to humans. Nature enhances working memory, restores focused attention, relieves fear and stress, and produces beneficial reductions in heart rate, blood pressure, and cortisol levels. Sacred geometry is considered an ancient science that explores and explains the energy patterns that create and unify all things and reveals the precise way that the energy of creation organizes itself. It is said that every natural pattern of growth or movement comes back to one or more geometric shapes which is at the centre of the solution.

“It is our collective and individual responsibility to protect and nurture the global family, to support its weaker members and to preserve and tend to the environment in which we all live.” — Dalai Lama

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The goal is to achieve net-zero emissions by 2050. How is that possible for a company in the energy-intensive chemical industry? It is ambitious, for sure. There is confidence we can get there. That is because, in our pursuit of change, we are leaving no stone unturned, questioning everything that can be questioned, and finding inspiration in surprising places. The natural world is teaching human beings the way for an example through scientific studies Deep-sea sharks help recycle carbon and remove it from the equation by eating and scavenging dead animals on the bottom of the ocean. Without these sharks, that carbon would rise to the surface. It is estimated that sharks remove up to half of

the manufactured carbon in the atmosphere. There is no time to lose if we are to keep global temperatures at a stable level for humanity. Every business, regardless of size or sector, must take climate action now. Responsibility goes beyond company boundaries. We must deliver a fair EQUAL and inclusive journey to a net-zero, resilient future where people and nature thrive. It is time to work together and be strong in our actions. Allow the world to sing again in harmony with a combination of the old and the new. Letter from the Editor

“An understanding of the natural world and what’s in it is a source of not only a great curiosity but great fulfilment and importance ” — David Attenborough 5

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Shelley Rodgers Founder & Partner at World Equal ® Editor, Digital Creator Photographer & World Equal Designs

Corinne O'Neill Partner at World Equal ®

Graphic Designer at World Equal. Owner & Founder at Mourneprints.com Corinne O'Neill is an artist with over fifteen years of experience in metal smithing, embroidery textiles, drawing, painting & digital art /graphic design. She runs and owns her company mourneprints.com which specializes in personalized clothing and gifts. From digitizing embroidery of her own artwork, she runs a popular stall at the famous St Georges Market in Belfast City Northern Ireland nearing ten years.

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Teddy Hayes Co Publisher & Partner at World Equal ®

Skyler Jett Partner at World Equal ® Owner and Founder at musicforglobalchange.com Skyler Jett leads the way as the Global Messenger in his quest to make the world a better place; with his musicforglobalchange.com platform as a driving force. This is done through songwriting, singing, and inspiring positive lyrical content within the genre of socially conscious music. He is an award winning, Grammy Recognised vocalist and one of the most sought after singer songwriters and vocal producers in the music industry today. Skyler s impressive resume includes some of the biggest recording artists of our time. His accolades include receiving a Grammy Award embossed plaque from NARAS for singing with Celine Dion on her Grammy winning hit song My Heart Will Go On, adapted from James Cameron s blockbuster hit film Titanic. This was also record of the year (1998) and is still the highest grossing movie theme song of all time. Prior to this Skyler succeeded in becoming the new front man for The Commodores after Lionel Ritchie s departure.

World Equal ® The publisher of World Equal Magbook takes responsibility for the accuracy but not any inaccuracies of the content placed in its publications. For the avoidance of doubt, World Equal Magazine gives no warranty or guarantee in regard to any information placed in this publication. This publication is proudly designed by worldequal.com Contributors: Teddy Hayes - Skyler Jett - Mourneprints - WMC Construction

Contents

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Walter Mosley Novelist Extraordinare............................................................................12-23 Dale A. Goode An Abstract Treasure Unveiled.............................................................26-37 Larry Batiste Grammy Award winner Director..........................................................40-49 Shelley Rodgers What is AI?................................................................................................51-63 Vinnie Arianna Esposito Music Manager/Agent/Publicist, Film Producer.................................66-75 Valentine Strangford Lough Bee keeper.................................................................78-85 William Mickey Stevenson Songwriter and Record Producer forMotown ....................................88-99 Crime Writers of Color Article by Teddy Hayes.......................................................................102-105 Jeﬀrey DeLong Photographer .......................................................................................108-119 Georgia Hudson Artist & Director................................................................................122-131 Maxim Jakubowski Crime, Erotic, Science Fiction & Rock Music Writer & Critic. ................................................................................................................134-139 Poetry....................................................................................................142-143 9

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Events, Magazine, Advertising for all Artist, Genres & Talents. Phone: +44 (0) 07368 973155 Email: worldsequal@gmail.com 10

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Walter Mosley

Novelist Extraordinare

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A Real Diamond Geezer Gets the Diamond Dagger Award “Diamond Geezer” is a London Cockney slang term used for a special individual: a reliably good, solid, mature and trustworthy person who would do anything to make sure his people are okay and in a good position. As diamonds are among the most valuable of the world’s gems, a Diamond Geezer is considered a very special top-class title for a great bloke. Walter Mosley is the embodiment of that description, so it is befitting that he has been presented with the Crime Writers Association Diamond Dagger award for 2023. With more than 30 years in the writing game and with over 60 books to his credit, Walter Mosley has consistently proven himself to be one of the master storytellers of all time. Among the many awards he has won over the years are the Edgar Award for Best Novel, the O Henry Award, the Mystery Writers of America Award, several NAACP Image Awards, the PEN America’s Lifetime Achievement Award, the Robert Kirsch Award from the Los Angeles Times Festival of Books and in 2020 he received the National Book Foundation Medal for Distinguished Contribution to American Letters, the first black man to receive the honour. His body of work is both expansive and impressive. He blasted onto the crime writing scene in 1990 with Devil In A Blue Dress, his East Rawlins detective character leading the investigation along with Mouse, his loyal and murderous companion. This effort was both a critical and commercial success that not only put him on the crime readers’ map, but the movie map too when a Hollywood film was made of this book in 1995 starring Denzel Washington as Easy Rawlins and Don Cheadle as Mouse. Along the way he also created other detectives like Leonid McGill and Joe King Oliver. In addition, there are an array of other main characters who merited their own books; notable personalities like Fearless Jones, Ptolemy Grey, and Socrates Fortlow. Many people might be surprised to know that Mosley is also a dab hand at turning his craft to other genres including science fiction. He has penned a number of well received sci-fi novels including Futureland, Blue Light, The Wave, and Jack Strong: A Story of Life After Life.

Interview By Teddy Hayes

I first met Walter over twenty years ago in the late nineties when we shared the stage at the London Book Festival. I had just published my first detective novel, and he had published six or seven Easy Rawlins novels and was already world famous. We talked and he was very encouraging and even sent me to meet his New York agent in the hopes that it might help me get an American publishing deal. This act of supreme kindness let me know that he was a very special guy who had not only a very big talent but also a very big heart. As life has played out some twenty years later, I found myself a member of the Crime Writers Association in London serving as a judge on one of the panels. As a result, I discovered would be attending the same Awards dinner as Walter Mosley who would be receiving the Association’s highest honor, the Diamond Dagger Award. I thought it would be a great opportunity to reconnect and to talk about writing, race and a few other things. I decided that I didn’t want to talk about what many interviewees might have covered before; questions about his getting started in his career or how he came upon ideas for his various books etc. But rather, I wanted to have the kind of conversation where we discussed some things that may not take place outside of an African American writer’s insider’s context. As we are both black American crime writers and share similar cultural and political references; in addition to being born four months apart and both having lived in New York during the 80’s and 90’s, I realized that we shared a kind of insider’s perspective that many readers may not have experienced or heard discussed before. As a result, reading this interview might be like listening in on a conversation that normally one would not have access to. So, I welcome you to a conversation of two guys doing what African Americans of our generation call “kickin it.”

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Teddy Hayes... Walter, I know that some of your books have been made into films. I understand that you were always involved with the development and presentation of your work. Even when you were doing your first film, Devil in a Blue Dress, you were involved as an associate producer. Walter Mosley… Yeah, I was, and that was fine. I mean, it’s not like I did that much as an associate producer but the big thing was to decide who was going to direct it and who was going to write it and it was the same person, Carl Franklin. And also who was going to produce it, and that was Jonathan Demme. And once I knew who was doing all that, then I knew that if it was possible for it to be a good movie, it was going to be a good movie. So many people do second rate work which might even be more successful but it’s not going to be lasting. So I really was a producer and it was before Denzel Washington or Don Cheadle had been cast, and I said, “Well, I’m going to work with Carl Franklin, and Jonathan Demme. If it can be good, it will be good.” Teddy Hayes… And you have continued in that role because you got involved with a lot of TV projects of your works such as, Always Outnumbered, Always Outgunned, starring Lawrence Fishburne and Snowfall produced by the late John Singleton Walter Mosley... Yeah, Snowfall was funny. I was in my house in New York and John Singleton called me. And I don’t even remember why I knew John but we knew each other, and he said, “So Walter, I got this show,” and he explained the show to me. “This is going to happen and that’s going to happen, it’s going to be a crack epidemic, there’s going to be black people, going to be CIA,” and I was like, “God John, that sounds great.” And he said, “Yeah, I want you in the room.” I said, “But John, I don’t know how to write television. I never wrote television before, and he said, “I don’t care, man, you just come in there and back me up. You don’t have to write anything.” And so, you know, for the first two years I didn’t write anything, and then after a while I started writing. And I was a good part of the room so I ended up being executive producer which is amazing. It was fun.

Teddy Hayes… But from the director’s standpoint, it made all the sense because nobody writes black people like you do. I guess I feel a kinship with you because we’re only three months apart in age, and we grew up in the same culture when black people were kind of chained together not by anything but race. And you wrote that so beautifully in one of your Fearless Jones novels. You wrote, “black people, the only thing they had in common was race. But there was nothing unusual about that because in America, being black was a simple fact of not being white.” And I remember growing up in a segregated community in Cleveland, Ohio during the fifties and sixties, everybody was black, Lawyers, doctors, police, politicians, everybody. Walter Mosley…Yeah, the undertaker and the minister. Teddy Hayes… Yeah. But the great thing about it was that it was not a homogenous community. Everybody was different, and that’s what I really enjoy about your books. In the Easy Rawlins books, even though it’s a very tight-knit community in many respects, everybody’s different. They are full of people with very diverse backgrounds and origins, in characters like Mama Jo, Mouse and Jackson Blue. Walter Mosley… Yeah, I love Jackson. Teddy Hayes… Jackson Blue, he’s an anomaly, but there are those people in the black community. Walter Mosley…Yeah, and in the white community he would be anomaly too because I mean, how many people are there that are actually geniuses? I was just writing about Jackson the other day and also Paris Minton the bookstore owner in the Fearless Jones’ novels. And they’re both in this new Easy Rawlins novel I’m writing. And Easy was saying, “Well, Jackson and Paris are the only two geniuses I know, and they’re both afraid of everything. So they must be smarter than me and they understand how dangerous every step they’re taking is, whereas I don’t quite get it.” And it’s fun to kinda deal with how one learns from other people in their community. Easy listens to Paris and to Jackson.

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Teddy Hayes… I read that you’re influenced by people like Dashiell Hammett and Raymond Chandler. I read those guys too but I didn’t really get the bug for writing until I read Chester Himes. Walter Mosley… I didn’t get the bug for writing from any of those people. I have some criticisms of Alice Walker but when I read the Colour Purple, I said, “Wow,” I understand this language. It’s not like I didn’t understand a dozen other European writers but I understood her writing, as far as language, as far culture and stuff like that, and so I just started writing... and then all of the stuff about Chandler and Hammett and Ross MacDonald that I had already read started to come into play. I didn’t realise, I wasn’t thinking about it, I hadn’t read Himes until after that. But, you know, it’s like I went, “Wow, I’m writing in this mystery genre.” It’s not the only thing I do but back then it was the only way I could get sold. I wrote Gone Fishin’ which I sold to Paul Coates at black Classic Press but nobody else wanted to publish that because it was two black men and their coming of age. There’s no black women, there’s no white people, so the white publishers were thinking Who’s going to read that book?, Black people don’t read books.” And you could say to them, “What about Donald Goines?” and they would say, “Who?” Teddy Hayes…Yeah and Robert Beck aka: Iceberg Slim who wrote the book Pimp. Walter Mosley…Yeah. Absolutely. But they had a certain attitude about the book which is crazy because publishing is about selling books, it’s not about liking what the books say. I mean, if you’re a publisher, you’re not worried about the content. Editors worry about content, but not publishers. And then you look at Donald Goines. Donald Goines was selling books, and the book Pimp was such a gigantic seller. Teddy Hayes… Growing up, I used to read a lot of Donald Goines who was considered the best-selling black author at the time. But none of my friends read, only me, and I was reading stuff and telling them about it, but they were like, “What the fuck is he talking about?” They didn’t have a clue.

Walter Mosley… And that’s true about most people anyway. I mean, about 10% of people are really readers, right? And the rest of them, you know, they learn from TV and from their friends. They’ll talk to you and you’ll say, “Well, you know, I read this story once and this happened.” And they go, “Wow, man, that’s interesting.” They’re not going to read it but that’s how we share information. Teddy Hayes… In your books you’ve managed to infuse humanity into your characters. But you do this on every level, and that’s tricky to do. You seem to write the kinds of characters many black people of our generation may have experienced growing up at a time in America when black people had no choice but to look to other black people and black institutions for the development of their communities. Consequently, people like Haki Madhubuti, who is a great writer, educator publisher, activist and poet, emerged. Walter Mosley…Well, you know, I really love Haki. In the beginning, Haki didn’t quite get me because I’m so much out of his sphere of people and he’s like the most important unknown black man in America,... but some years after meeting him he had some trouble with a school he was running. I think he bought like a Catholic rectory or something to turn into a school and he had to replace the roof but he didn’t have the money. And at that point the city was against Haki. They changed later but at that point they were against him and he needed money. And so he went to all of the political people and said, “I got trouble, I need to fix this roof up” and they’d go, “Man, I hope you do know how to do it.” And that was it, they didn’t help. But then he came to me and to Wesley Snipes who were not part of Haki’s world. Wesley had more money than me but both of us said Ok, and I’m thinking, “You have all those schools in Chicago, this is how much I got, and so here’s all of the money I can give you.” And I don’t think it was the money that saved him but it was the idea that there are all these black people out there that he didn’t know about, that were willing to be there for him because we understood what he was doing, and it wasn’t political. Well, it was political but it was a political in a social kind of way.

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And there was that kind of unity involved and that’s what people don’t know about or recognize sometimes, especially during the period I call post-integration, when everybody was saying, “Okay, we’re going to go up the ladder our own way, it’s everyone for themselves blah, blah, blah, blah, blah.” And we know segregation was a terrible thing, but on the other hand, we don’t have that kind of cohesion within the community now, that was forced on us as a result of segregation. Walter Mosley…And we should have, because who’s going to help each other but each other, you know what I mean? It’s not even racist, it’s just people saying, “Well, I help the people I know,” whether they are Irish Catholics or Polish Catholics or they’re Chinese or whatever. Teddy Hayes… I think sometimes it seems African-Americans as a group have gotten further away from that attitude than in the past.

Teddy Hayes and Walter Mosley hanging out at the CWA awards dinner. Teddy Hayes…No, but I think that’s very important because when I started on a black newspaper it was those guys who took me under their wings, taught me what to do, as well as Melvin Van Peebles, [filmmaker, theatre producer, novelist, playwright, considered the Godfather of black cinema] who I worked with for four years.

Walter Mosley… Well, it’s hard for us to know because we have been set one against the other from the beginning. I mean, you got Malcom X who said, “Well, you got the house nigga and you got the field nigga. And they don’t like each other.” And that’s the thing, thinking is such an important thing, You read Malcolm or you hear those speeches and you’ll say, “Oh, okay.” And then the thing you’re supposed to think is I’m supposed to be helping other black people, period, that’s just it. And that’s what Malcolm was talking about. I don’t have to get armed, I don’t have to have a revolution, I have to just do shit. It’s just that if there’s a kid down the street who’s really smart, who needs to get into a school, you’ll say, “Well, here’s how you can get into that school, make the call.” I was talking to a woman, a friend of mine, a black woman from Houston and she was talking about her child who was kind of on the spectrum and I’m looking up all the stuff and I said, “Well, you could go here, you can go here, you can apply there, you can do this. These people might be able to help you.” And you just do those things and you do it because that’s what we should be doing. That’s what all tight-knit groups do. Teddy Hayes… Listen man, that’s why you sent me to your agent 25 years ago. You didn’t know me from Adam but you sent me to your agent in New York in the hopes that I might get an American publishing deal.

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Walter Mosley…Yeah. Well, sure, of course, why not? Teddy Hayes… No, that’s rare. Nobody does that. Only two people in my entire career have ever reached out to help me in that way, Melvin Van Peebles and yourself. And I said to myself at the time, this guy really understands and is committed to building community ties and I realised that that’s why you write the way you do because you are part of a continuum that has seen and understands the importance of that. Walter Mosley… Well, that’s what Easy Rawlins does. Teddy Hayes…Yeah, exactly. And I think that’s why people have fallen in love with your books because your characters exude that kind of humanity. And getting back quickly to production, I saw The Last Days of Ptolemy Grey on a streaming channel recently. What a masterpiece! Walter Mosley… Well, thank you. Teddy Hayes… It was off the scale. Samuel L. Jackson was great, there’s nobody better. Walter Mosley…He did great job, he’s amazing, yeah. Teddy Hayes… And the character wasn’t overbearing, he was just trying to negotiate his way through the whole nuances of all that was happening to him in a sensitive way, and telling his story about how he fucked up when he was young, and how he wanted to make amends. Walter Mosley… And he helped the girl. She came in to help him and he said I’m going to set you up to be able to do something. Teddy Hayes… And you’ve also written a book about how people can start to write their own books. Walter Mosley… Oh, yeah, it’s called “This Year You Write Your Novel.”

Teddy Hayes… And you’re saying “Hey, you want to be a writer? Start it. Get into a pattern, start to do it.” Walter Mosley… Yeah, yeah. Everybody has to do it themselves. But I mean, it’s very simple stuff. But you have to say it, and I mean, you don’t just think it. Teddy Hayes… Writing a book is a commitment. You have to get up every day and do it whether you feel like it or not. Walter Mosley… Well, mostly everybody, we come from a working life, and any job you have, you don’t really want to do. I mean, you might be working for some dude serving ice cream cones. And you don’t like it. But when you’re writing, it’s all for you, and it’s a very different thing. And it’s hard for people to understand, because most people don’t live their lives like that.

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Teddy Hayes… I was browsing through a bookstore a while ago and saw the book “The Awkward Black Man” which is a book of short stories that you wrote about black men who don’t quite fit into society in the way most people would expect them to. The two stories that jumped out at me were The Pet Fly and Almost Alyce. In Almost Alyce, the guy Albert is not at all who you expect him to be. On the surface he is an aimless, lonely character with seemingly no underlying philosophical fibre that could take him through life, but the way the story ends is a tremendous surprise and it drives home the old adage, that you can never judge a book by its cover. And that’s the beauty of you knowing your craft, you can switch a story around and turn it on a dime. Walter Mosley… That was a fun story. And that book was so important to me because like in all of the so-called minorities in America and elsewhere, people say Mexicans are like this, Chinese are like this, Indians are like this, black people are like this and we have all these stereotypes which means I could be a pimp or a shoe shine, or a lawyer or a partner in a business or a criminal, but the thing is, there’s all these other black men out there that don’t fit into that scenario in any way. Teddy Hayes… And in this book, you show these black men as being atypical of the stereotypes, and full of humanity. Walter Mosley…Right, and they are men who actually know things that everybody else doesn’t know, in fact they know more. At the end of the book in a story called An Unlikely Series of Conversations. This dude Laertes Jackson, the main character is having a job interview and the interviewer says, “We’re trying to hire African-Americans,. Laertes says, “Well, I’m not an African-American,” and she says “Well, if you’re not AfricanAmerican, we can’t hire you. You need to be African American.” And then he says, “look Africa is a continent, you can’t be a continent. Even if my mama was from Guinea, you’d do better to call me a Guinean or a Guinean-American rather than an African American.” And he’s asking, like what are you trying to say to me?”

And to be committed to that kind of intellectual clarity is almost to be against yourself. So why doesn’t he just say what she wants him to say? But you then have to ask yourself if the character is thinking, “So how long have I been sayin’ what they wanted to me to say?” Teddy Hayes… It brings to mind something I read about what happened to you when you were writing some Star Trek episodes. Walter Mosley… Yeah, someone went and told the studio that I had used the word nigger and the studio called me up and said I’m in trouble. And I said I am not in trouble and they said, “Well, you used the N word. Now in reality, saying “the N word” is much worse than saying nigger because you can say “the N word” as much as you want. You can say “N word, N word, N word”. And it’d be like Pulp Fiction, you know. And I told them, “No. I can say that because I was telling a story in the language that was used in the story, and that’s Ok.” And so I quit, of course. And it’s great to be able to do that. And so many people got in touch with me, gay women, Chinese people, all kinds of people who had the same problem and they couldn’t quit because they needed to pay the rent. And I didn’t have to, so I was happy. Teddy Hayes…So what excites you now? You’ve been in the game and successful for what, thirty something years? Walter Mosley…What year is this? ‘23? So yeah, I’ve been successful for 33 years. You know, it’s interesting. Writing is what I do. It’s like you’re a farmer, you know, in the old days, you’re a farmer in the countryside of France and you get up every day, you’re doing the farming and that’s it. It’s not like it excites you, but that’s who you are. If somebody took you away from it, you wouldn’t even know who you were anymore, and it would be crazy, it would be l like a painter losing their eye sight. But what really excites me is the stuff that we’re talking about, for instance being able to say to somebody, “Oh, why don’t you do this? Why don’t you do that?

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Why don’t you get in touch with them? Why don’t you try it this way?” Some people now come up to me and they say “I want to write.” And I say, “Well, I got a book. You don’t have to buy it, go to the library, they got it. Read the book, take a year, write a novel. That’ll be the beginning. At the end of that first year, that’s the beginning of your life right there.” That stuff still excites me. I mean, I really enjoy it. And I enjoy solving problems. I enjoy sharing stuff and doing things. Yeah, I mean, one of the reasons I love Melvin Van Peebles and Haki Madhubuti, is these are people who did shit. They just did it. Nobody else was doing it, not anyone, white or black. You’ve got people like the filmmaker Charles Burnett who made Killer of Sheep and he’s just as important as John Cassavetes [the filmmaker of A Woman Under The Influence.] I was at this writers convention thing and these writers were talking about their films and movies, and they’re talking about these bubble gum movies which by the way I really like. However, they’re not important. Teddy Hayes… They’re not Killer of Sheep. Walter Mosley… Right. And that’s exactly what I said. I said, excuse me, what about A Woman Under the Influence and Killer of Sheep? I said those are great pieces of art on their own. There’s a thing in Killer of Sheep. There are these two dudes who come by to talk to the main character and they say, “Listen, we’re going to kill this dude and we need a get-away guy because it takes the two of us to kill him, and all we need is for you be in the car outside and we give you a third of the money.” And his wife comes in and says, “What are you doing? Why are you treating my husband like this? Why are you trying to lead him in the wrong direction?” And they say, “Lead him in the wrong direction? Your husband ain’t never owned a new pair of pants and you’re saying we’re leading him in the wrong direction?” I just went, “Oh my gosh.” It’s like it’s so true. Teddy Hayes… I think good writers often see things that other people can’t see. And as a writer sometimes, you think other people see it too, but they don’t, and they have to be told.

Walter Mosley…Well, over time you begin to learn. It’s like, you know, somebody came to me and they said they’d read War and Peace and I said, “Uh-huh. Okay, what’s the number of times you read it?” They said, “Well, I just read it once.” I said, “Well, you haven’t read it yet,” because there’s a lot of stuff in there. I’ve seen Killer of Sheep 15 times, and the first time I didn’t get that line about the pants. I thought it was silly the first time I heard it and then I reflected and heard the woman character talking and I got it and thought to myself, “Wow, man.” I couldn’t imagine living a life where you never had a new pair of pants, and you’re still thinking I’m supposed to obey this man’s laws? Teddy Hayes… Yeah. I get what you mean. That’s what was great for me about working with Melvin Van Peebles. He had that same kind of storytelling insight, which he told me he had acquired when he lived in Paris and worked with Chester Himes. Walter Mosley… Oh, I didn’t know that. Teddy Hayes…Yeah. Chester was working on this French magazine and when he left the magazine, he gave Melvin the job. And so, I met Chester Himes on one of the rare times he came to America, because Chester had lived in Europe since the early fifties. I’m working for Melvin, and he says, “Would you like to go to a party?” I’m 23, 24 years old. I say let’s go. So, at this party there’s people like Quincy Troupe, [writer poet, best known for his co-authorship of the Miles Davis Autobiography ] Richard Wesley, [award winning playwright and screenwriter, with many Broadway] and Woodie King [theatre director and producer of Colored Girls Who had Considered Suicide When The Rainbow Is Enuff.] All those guys were there and I’m sitting among them and listening to all of their conversations and stories and taking it all in. I felt like a ball bumping around in a pinball machine. I’m hearing about all these things but I don’t really understand them yet. Walter Mosley… Oh, right, yeah, because you have to take so long to get into it. Those are some great people, man.

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Teddy Hayes…. Serendipity is very funny. Somebody called me from the Crime Writing Association a few years ago and asked if I wanted to be on a panel, I said, “Yeah, sure. And as it turned out I’m on the panel for the John Creasey New Blood Award which is the same award that you won many years ago from the Crime Writing Association. Walter Mosley… Oh. Yeah, yeah, true. The John Creasey Award. Do you know this organisation I belong to? Crime Writers of Colour? I helped start it. Look them up. Because Crime Writers of Colour are not only black people but people who are Indian and Chicano, and Southeast Asian, Samoan and others. it’s people of colour who write crime novels. And we have like 350 members and it might be an interesting thing for you to know. I mean, a lot of people are very young and they’re writing. I love these people. When I started there were like 10 or 12 of us, Gary Phillips, Gar Anthony Haywood, Valerie Wilson Wesley. And it was much harder then to get published in America. They [the young writers] don’t know it today, and some of them say things like, “Yeah they published me, but they didn’t give me a million dollars”, and I’m like, “Well, yeah, okay.” But it used to be you didn’t get nothing, period. Teddy Hayes… That’s right. One of the reasons I moved to England was that for nine years I tried to get my novels published in America and couldn’t because the publishers said black guys don’t read and that’s our audience. I said, “Ok, what about Walter Mosley’s he’s selling and then there’s Donald Goines and Iceberg Slim and others and they’re selling”, and the publishers said, “Yeah, but they’re a one-offs.” Walter Mosley… Yeah, It’s like they say, “We already have our black writer”. But there’s a whole bunch of white writers, so what is that supposed to mean? But things went better for you here? Teddy Hayes… Oh, yeah, the first year I moved here I got published by a small black publishing company, and after my third book with them I got a three-book deal from a company in America.

Walter Mosley… Wow. Teddy Hayes… But that’s the way it goes. You just have to keep at it. And even now, it’s not an easy road, especially for a black writer. Walter Mosley… And the reason that some white people in America are upset nowadays is because it’s not easier for them anymore, it’s just as hard. And they get mad, they say to me, “You must’ve done something.” I say “No man, I know you think it’s me, but I didn’t do it to you. It’s your own people did it.” And then people come to you and they start talking about artificial intelligence. They’re saying artificial intelligence does this, does that. And they do it, they include a lot of stuff like that, not really thinking about it. I’m saying, the best example of artificial intelligence is capitalism. Capitalism is an inhuman system that judges human life. And it always judges it to its benefit, not yours. And really, it’s hard for everyone, and nobody understands that and I say, “But that’s good, capitalism works, Yeah?” Teddy Hayes… It works for who though? Walter Mosley… Yeah, exactly, nobody. Not the CEOs, not the grunts, Teddy Hayes…Because in a moment’s notice, if AI makes the decision, everything can be turned on its head. Walter Mosley…Yeah, and you do anything they don’t like, and you’re out. Teddy Hayes… I know you have lots of calls on your time, but finally speaking of artificial intelligence and what’s going on in Hollywood now with the writers, what are your thoughts about that? Walter Mosley… Well, I’m not worried about the artificial intelligence writing. It might at some point suggest what could be interesting and give me three different choices and I’d go,

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“Oh, well, that’s interesting, I’m going to do this... I see what that means, and I’m going to do this over here.” But I’m not worried about that yet. Another thing that’s going out right now is that people are using AI trying to alter genetics, to make people more intelligent, make them stronger, make them more this, make them more that, and at the same time we’re taking mechanical things and attaching it to our bodies. For example the AI says OK, you already got eyes and they’re pretty good. But we’ve got this eye that we’ve invented, it sees 10 times more than your eyes sees and we can put that in your head, and what about that? So yes, artificial intelligence, along with a hundred other things that we’re developing, is going to change our lives and of course, if we could look in a hundred years in the future, we’d say, “Oh my God, this is crazy.” This is like people a hundred years ago, if they could look into the future and see what we have now they’d have said, “Man, that’s crazy.” Teddy Hayes…Yeah, even forty years ago who would have thought you’d be able to talk on the phone to the other side of the world for free? For free, come on. Even in our lifetime. I mean, the closest thing we had to a cell phone when we were growing up was Dick Tracy. [American TV series] Walter Mosley…And that was fiction, right? That’s a big part of everything. That’s what we do. We create. And listen, I’m on a strike because them motherfuckers should be paying me, should be paying the new people, for what we create. It’s like I create a story and they pay me for it, and then they make money out of it for the rest of your life and their lives. Well, they didn’t do shit, but they can take what you made and make money., Ok, but I want to make mine too. And I mean, that’s why we’re on strike, you know, it’s about money. And actors have to worry about artificial intelligence too because AI can take their image and their voice, and then the companies can just hire somebody and say, “Okay, we want you to say it and it’s going to go through this thing, and it’s going to make it into something else.”

Teddy Hayes… At this point in time, the company that hires the writer has the rights to that writer’s work. With artificial intelligence, who owns the rights? Is it the person who wrote the story, or is it the people who own the AI programme or is it the company that hired the writer? Walter Mosley… I’m getting ready to write a thing saying that it should be the unions. I mean, the rights, all those rights should go to the union because it’s for the worker, right? Because one day when machines are doing everything, people are not going to be working as much. How do they get money? How do they live? Teddy Hayes… Cause the AI can’t buy things, can it? Walter Mosley… No….. and it doesn’t want to. It doesn’t have the desire. It’s saying hey I don’t need that. Well you ask it, what about pussy man, you need some pussy? AI says no, I don’t need no pussy, what I need is electricity, plug me in. I need more electricity, plug me in some more. Teddy Hayes… Ha ha, yeah that’s great. Thank you for your time and again congratulations on the Diamond Dagger Award. Walter Mosley… Thank You We could have talked a lot more, but because Walter was only in London for a few days and had lots to do, I felt it was only considerate to cut the interview short and let him get on with the rest of his busy schedule. But I was glad to discover that the next Easy Rawlins book was on the way and that the Diamond Geezer would still be shining in the future as brilliantly as ever.

Teddy Hayes... The other thing that immeditatly comes to mind for me is who is going to own the rights? Walter Mosley… Yeah, exactly.

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BUY ONLINE AVAIL ABLE NOW

https://www.waltermosley.com/

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''Literature is the adventure. It's the story, it's the fight, it's people falling in love, it's people with deep personality disorders who succeed anyway beyond themselves. That's what great literature is.'' Walter Mosley

Photography - Gary Stratmann 23

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How can we clean up our

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water? We will never be able to remove every single piece of plastic from the oceans. However, by intercepting plastic in rivers, and cleaning what is already out there, a significant decrease of floating debris in the ocean's accumulation zones can be achieved. The aim is to remove 90% of floating ocean plastic by 2040. Every year, millions of tons of plastic waste pour into the ocean, much of coming from about 1,000 hyper-polluting rivers. And with overall waste generation poised to increase over 75% by 2050, the problem is only set to worsen. Companies around the world have turned their attention to the problem of river waste, building various barriers, fences, and wheels that help to contain and remove trash as it flows downstream. The approaches range from trash-scooping solar-powered barges to stainless steel fences, and different rivers will necessitate different methods. Here's three companies, Clearwater Mills, The Ocean Cleanup, and AlphaMERS are approaching the problem. Katie Brigham @KATIE_BRIGHAM WATCH LIVE 25

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Dale A. Goode

An Abstract Treasure Unveiled

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ome sixty plus years ago in the northern US industrial town of Cleveland Ohio, an African American lad named Dale A. Goode started on a life-time’s journey of abstract artistic expression that during and despite many years of hardship and anonymity would continuously evolve and grow. Dale began his journey in the sixties as a student when his talent was recognized by his art teachers John Brewton at Rawlings Junior High School and Elizabeth A Kent at East Technical High School who he credits with giving him guidance, direction and focus. Mrs. Kent told him that abstract art was one of his strong points and encouraged him to pursue it. She introduced him to materials like oil paints, linseed oil, paint thinner and poster paint, all of which were not being utilized by black artists at the time. The only thing she asked in return was that he not waste her materials. Needless to say, he jumped in with both talent and passion and never looked back. Developing his artistic skills and talents at Cleveland Institute of Art under the late George Schrader and then at Hiram College and Kent State University where he received bachelor’s and master’s degrees, Dale continued to develop and decided that he would strenuously avoid what he calls “the cookie cutter mode” that many painters employ. And as a result, whenever he has produced a series of work he has made sure there was only ever a very limited edition of them. His life as an abstract artist had begun. What is it about us as human beings that makes us respond emotionally to something? It may be a group of colours or shapes or words, movements or sounds. Whatever it is, it creates in us a need to experience that emotion repeatedly and want to share it with others. In many cases it may be something we cannot even fully explain or articulate, yet it evokes such a strong response and resonates so deeply within us that that it begs to be recognized, explored and reflected as something that we then define as artistic expression.

Nowhere does this expression find a purer platform than in the area known as abstract art. This art does not attempt to represent or mirror an accurate likeness of any known reality but rather employs and combines various techniques in the form of shapes, materials, colours, sounds and space to express its idea. How does one define abstract art? Often it takes meaning and sustenance from interacting with the emotions and minds of the viewer. A subliminal effect could be transmitted by seeing a series of dots or lines or colours on a crumpled canvas or a lump of wood or steel hanging from a bridge. The concept of abstract almost defies a common definition, much like the concept of beauty which is said to be in the eye of the beholder. Famous abstract artists include Picasso, Miro, Pollack, Kandinsky, Gabo, Mondrian, Malevich, de Kooning, Rothko, and O’Keefe. What is amazing is that Dale survived, developed and prospered despite never having lived outside of Ohio, the state in which he was born. And despite the lack of support and frequent indifference from acknowledged art critics, combined with the lack of a flourishing local market for abstract works, he has continued to create and flourish with his own brand of nonconformist art.

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In this respect he shares a similarity with some other wellknown abstract artists who are now considered hidden gems and were only discovered by the general public later in life and some even posthumously who went on to become world famous like Hilma af Klint, Lyuba Sergeyevna Popova, and Richard Diebenkorn. Abstract art may encourage our brains to respond in a less restrictive and stereotypical manner than representational art, exploring new associations, activating alternative paths for emotions, and possibly forming new creative links in our brains. A study published in the Proceedings of the National Academy of Sciences suggested that viewing abstract art actually causes notable cognitive changes in the brain creating something called Aesthetic Cognitivism. Aesthetic Cognitivism is an idea born in philosophy which states that engagement with the arts not only moves us emotionally but also creates cognitive benefits.

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Love Gone Astray

This scientific conclusion would imply that an abstract painter like Dale Goode may well feed into deeper human emotions than a representative artist. In addition, his work might evoke a similar kind of cognitive development that researchers have concluded is more akin to music than to representational art. Although black abstract artists were not publicized very much when Dale started out in the early seventies, there were some black artists like Frank Bowling, Richard Mayhew, Alma Thomas and Sam Gilliam who were hard at work but had not yet gained international notoriety and success. Along the way, Dale was deeply motivated by African American artist Sam Gilliam whom he met and visited in his Washington DC studio as well as other non-black abstract artists like Anselm Kiefer and Julian Schnabel. Generally Dale’s work is not pre-conceived but rather grows organically out of the processes he applies to materials that may include crushing industrialized construction bags with his car to create a certain texture or some other printmaking process that may involve him physically working with huge and cumbersome printing presses. He is also very concerned with the presentation, preservation and symmetry of his work. He credits Mindy Tousley of Artists Archives of the Western Reserve with showing him the importance of hanging artwork with precision, keeping in mind most people’s height and attention span.

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Just Funkin 30

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Sanctuary

''A study published in the Proceedings of the National Academy of Sciences suggested that viewing abstract art actually causes notable cognitive changes in the brain creating something called Aesthetic Cognitivism. Aesthetic Cognitivism is an idea born in philosophy which states that engagement with the arts not only moves us emotionally but also creates cognitive benefits'' 31

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According to Mindy, Dale is very disciplined and his work follows the rules of abstract art with respect to lines, form and colour. She is especially complimentary of his “gold bags” sculpture which is composed of a combination of discarded objects and clothing. “His historical use of gold paint over the entire sculpture is a statement about what is valuable and what is not in terms of both humans and objects and the comparison between socio- economically and racially divided classes of people” she explained. Although he has covered many ideas in his work ranging from domestic violence to salvaging the future of the planet (using recycled materials in his sculptures) his work is always changing, challenging and daring and reflects a personal passion and a recognizable style of his own. Over the years some people suggested he change his style to something more representational, and in some cases even denigrated his work by saying it looked like something their grandchildren could do! But he has always resisted and persevered. Now after 50 years, his determination is paying dividends, both reputationally and financially. These days, Dale Goode’s art is among works that collectors are noticing and buying. At a recent showing at the Hedge Gallery in Cleveland he sold 15 paintings. Appolo

Hilary Gent the owner of Hedge Gallery who has successfully displayed and sold Dale’s work for the past three years says “ he is a multifaced talent with his painting, sculpture and printmaking but nevertheless, is still underrecognized.” Her game plan is to get him wider exposure by selling his works to larger organizations like corporations and hospitals. At seventy five years old, Dale is finally being acknowledged as a success, and has had a number of corporate commissions, gallery shows and critical acclaim as proof. After a fifty-year journey, the popularity of his most recent exhibitions show the public as well as the artistic community in Ohio what it is like to have a hidden treasure in their midst.

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Venus

Gone Bad

Just Funkin' Around

Satyr 33

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Artist Contact teddyhayes@hotmail.com

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“ he is a multifaced talent with his painting, sculpture and printmaking but nevertheless, is still underrecognized.”

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''What is it about us as human beings that makes us respond emotionally to something? It may be a group of colours or shapes or words, movements or sounds. Whatever it is, it creates in us a need to experience that emotion repeatedly and want to share it with others''

h of Th

ree

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'' The longer you look at an object, the more abstract it becomes, and, ironically, the more real.'' Lucian Freud

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'' I've got my Grammys on top of my piano and I look at them when I play'' Taylor Swift

Larry Batiste Director

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arry Batiste’s career in the entertainment years. He has worked ٤۰ industry spans over with some of the most successful new, and legendary artists of all time. Batiste, best

known for musical directing at the GRAMMY Awards and the TEC Awards at NAMM, has a natural talent for understanding and working in all genres of music. His recording career started with the group Bill Summers & Summers Heat in 1979. He co-wrote and produced four albums along with Claytoven Richardson and Bill Summers, including the group’s top ten hit singles, “Call It What You Want”, “Jam The Box”, and “At The Concert”. After a few years of recording and touring with Summer’s Heat, he went on to work with various multi-genre artists including Whitney Houston, Michael Bolton, The Dazz Band, Natalie Cole, Al Jarreau, Patti Austin, The Stylistics, Lenny Williams, Huey Lewis & The News, Ledisi, Mickey Thomas, Pete Townshend, Stevie Wonder, Lalah Hathaway, Young Jeezy, Keyshia Cole, Santana, Yolanda Adams, Trombone Shorty, and Hugh Masekela. As a vocalist, he’s lent his voice to The Magical World of Disney (theme song), NBA Warriors’ Basketball theme, California Raisins (“I Heard It Through The Grapevine”), Wendy’s Restaurants, Sims (Playstation), Leap Frog Education; and the films. The Hunchback of Notre Dame, Stuart Little, Snow Dogs, Rent (contractor), and over 500 recordings and commercials.

Tom: Welcome to the show, Larry Batiste. You are a vocal arranger, music producer and songwriter, and have been in the entertainment industry for over 40 years. You've worked with the likes of Natalie Cole, Patti Austin and Al Jarreau, just to name a few. You're best known for your musical directing at the GRAMMY Awards, Pre-Telecast and the NAMMs, the TEC Awards, and so much more. You've been involved in so much stuff, Larry, it's so great to have you on the show with us. It is your second time around with us. You've been on the show before. Please, our audience, if you want to go off and find that, you can do it. It's great to have you back with us, Larry. Thank you so much for joining us. And please do tell us more. Tell us what you've been up to. Larry Batiste: Thank you, Tom. It's so good to see you guys again, and I love the work you guys are doing. You guys are doing stuff that's changing the world. I really appreciate it. Skyler Jett: Using music? Larry Batiste: Music. Medicine, right? Skyler Jett: Yeah. Tom: Absolutely. Skyler Jett: It's emotion, right?

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Skyler Jett: You have to have another tool to give it some light. But vocals were the first instrument ever. That's how they got everything else from there. But when you're writing lyrical content, that can heal the world, educate the world, and help us solve problems. If we use it like that, there are 5 billion love songs, but only 192 million socially conscious songs. Larry Batiste: Right, exactly. Skyler Jett: And so we can change how things feel. And I watched what happened with the Vietnam War. It was the young people in music that stopped that war. Larry Batiste: As you said, music is our first instrument and everything that comes along, whether it's technology or whatever, it's all good, but it depends on what you use it for. Skyler Jett: That's right. La Sugar Bear Entertainment

Larry Batiste: Yes. Skyler Jett: It's how it makes you feel. You can go to school for music all your life and learn all the right stuff, but how does it feel? Larry Batiste: Yeah. How does it make you feel talking about things that are making an impact on lives, that's changing lives? With all the crazy stuff going on, it's almost like music is the only thing that matters at a certain point to take you away from all the madness. It's the only thing that's consistent, is universal. It's just everything. So it's a life lesson, it's everything. Skyler Jett: Well, there are two different unions. There's a musician's union, there's a vocal union. There's a reason for that, right? Larry Batiste: Right, exactly. Skyler Jett: You can't plug your vocal into the wall, right?Larry Batiste: Right, exactly. 42

Larry Batiste: It's how you use the tool. I think God gave us all a gift. It's how we use that gift, how we make the best of it. I just came back from the White House celebrating 50 years of hip hop, and I'm so glad. I'm from Oakland, California, and our Vice President of the United States, Kamala Harris, is from Oakland, California. And she decided to be fit we bring hip hop and 50 years celebration to the White House and personally to her residence. So it was just awesome to be a part of that, to be a part of a great, great movement of music. And what I love about hip hop, most of all, is that it's not... And I grew up in a time of Black and white, musically. But hip-hop is a culture. And again, of course, it could be used for good or bad. But on the positive side, it's brought a lot of people together and enabled them to express themselves in a very powerful and meaningful way. So anyway, I was just so glad to get an invite, be a part of this, and witness all the greats, the Slick Ricks and the Doug E. Freshes and who else? Fat Joes and MC Lytes, are our female rap pioneers and stuff. So anyway, Too Short from Oakland. So we were blowing the whistle up at the White House. So to recognize us in that way was just very impactful and powerful and just a beautiful event. So anyway, I was just so happy and honoured to be in that number.

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Skyler Jett: Well, hopefully, the next time we go back, we're going to talk about the impact of positive music. I played love songs all my life. I'm 57 years old. I've been... years of playing music. But I've never had this type of joy doing socially conscious music. It's because I heard Marvin Gaye, John Lennon, Bob Marley Nina Simone, and so many others. They were writing this music, but there's never been a platform. And that's what we're creating here. I want to run this differently than the system that's been going on with love songs and whatever. This is going to be different. We're doing festivals. We're going to find talent that writes amazing socially conscious music and put on shows and grow that. That's what we're trying to do.

When I walked off the stage, they had press, and the press came up to me and I wrote this one... I said, "One song called Rwanda." And, "Did you write that for my country, brother?" And it was amazing. He said, "Man, all them other guys come over there, pants hanging down. They got gold teeth, all that. And here you are coming over here trying to help us with your music." It was uplifting, right?

Larry Batiste: Oh, that's so awesome. That's awesome. You're creating music and you're local, and that inspires the world.

Skyler Jett: Larry, you and I both know recording is cool and all that kind of stuff, but it's nothing like performing in front of music lovers.

Skyler Jett: Exactly. And I find out there's a lot of it. I echo all these countries, and they have amazing artists, man. They might not be speaking English with us, but when I go to Portugal, man, it's... Do you know it's only 10 million people in Portugal and damn near everybody that played music, they played three or four instruments and sing?

Larry Batiste: Right. And encouraging us to love one another and lift each other up. That's it. That's what we're supposed to do as humans. Our music does that. But when we use our first voice, which is our instrument, our first voice, when it comes out, we lift each other. That's our job.

Larry Batiste: Yes. Skyler Jett: Instant gratification. Larry Batiste: Yes, sir.

Larry Batiste: Yes. When you go to these different countries and you see people, you don't speak their language, but you see how happy they are, you feel the joy in their hearts. And no matter what language it is, they're laughing, whether it's Africa, or wherever you go, music just brings out life to everyone. It's so awesome. We're so lucky. Skyler Jett: We are so lucky. Joey Blake got me a gig, man, in Rwanda, Kigali, Rwanda. And I headlined the weekend. And everybody else did love songs, man. I came up there. I used the same kids from the college where he was teaching. And God bless him. He went in there and he taught them my songs, man, note for note. And they're like, "Hey, man, we're about to sing with this American artist." And I get up there, Larry, and I do the tunes, and the most beautiful thing happened to me.

On the Town

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Skyler Jett: You know what I mean? I say this all the time because when you give to the technology thing, it's out of this world. After all, we didn't have that back in our day. But now everybody has a phone. It's right in the palm of your hand. So now we on stage, you and I on stage, and we out there gigging, and we can see everybody's into the song. After the song, you can go, "Hey, did you like that? Text me right here." And they buy it right there. Larry Batiste: Right, exactly. That's right. Again, technology, we use it to be our friend. It's good. That's how we should use it. Skyler Jett: That's exactly right. Man, I've been collaborating, and doing duets with people in Ghana. It's so beautiful because when I'm there, I'm watching. They study the West, right? Larry Batiste: Yes. Skyler Jett: They still put their feet on it, but they study the West, man. What we have over people in the West, is one thing. But man, if you go there and see their talent and there's no labels for it, there's no radio, there's none of that. I'm going to change all that because music for global change is like you said, you get people from different countries involved. Larry Batiste: Yes, exactly. Exactly. And so to that point, I've been involved with the Recording Academy for a long time. I'm not a spokesman for them or anything, but I stick around because I see that we're trying to make change, and trying to be a part of a powerful organization that really their idea is to make lives better for music creators. And we're getting there by changing some of the rules, by adding. We include African music now in the GRAMMY process for this year, the first year we have a new category of music for social change. Skyler Jett: What? That's me. Larry Batiste: That's you. Tom: That's exactly... Yeah, exactly.

Larry Batiste: That's you. We have a new category for that. And then, I'm advocating for artists with disabilities. So in my position, I'm trying to bring things to light, and luckily I have a lot of people around me that want to do the same thing. So we're in a good position now. So what you're talking about, is that you've been way ahead of the game for a long time, and the world is starting to slowly catch up with you. So I'm really proud of you for being a trailblazer, and innovator and people are starting to get it. This is something that we want. Skyler Jett: I've been doing this since 1984. I wrote a song. George Wallace, a pretty racist governor, was in office down there in Alabama. And Ronald LaPread and I, the bass player of the Commodores, wrote Brick House. We wrote a song that we gave to the state of Alabama. It's for every family that has four kids. One of them would get a college degree. We were going to use the song for that. And we did. But the tricky thing, we had to go talk to Governor Wallace, man, about this. Larry Batiste: Uh-oh. Skyler Jett: And Ronald said, "I'm only going to do this if you put it on every radio station, 362 stations. If you put it on every radio station simultaneously at the same time." And man, we went on TV to do this song, and we gave it to the state of Alabama, man. And I left the next day to go back to Hollywood, where I was living at the time. I walk on the plane and I walk through, and you make that right through first class. And there sat Alex Haley. First of all, when I came through that other little part, they gave me a standing ovation because they saw me on TV last night giving this money to the state of Alabama. And I'm saying, "We can do that? Do you mean we can do that? We can use money to..." So I get up to my seat, man. The lady comes up. She said, "Alex wants you to sit with him." In the first class, man. He bought me a couple of drinks, man. I'm like, "This dude is rude. He's rude." But when I saw that you can do that, that was part of it right there.

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Larry Batiste: Yeah. It's power. It's powerful. Social media is a powerful outlet, and for you to make sure that you are seen. It really helps people know what you're doing... Success doesn't happen in isolation. So you need to do that and let people know what you're doing. And that's how you create win-win situations. You could say, "I'm a singer," but unless you're out there singing, you will never create the opportunity that you need. Because you might be out there putting yourself out to the world and somebody hears you and sees you, go, "Oh, I'm looking for this guy." But that doesn't happen in your bedroom. Skyler Jett: No, that's why we're doing this program here. But the way we're going to expand in the next couple of years is going to be amazing. It's really wonderful for this to be happening like that. Tom? Tom: Well, you've mentioned a little bit about you being an advocate for artists with disabilities, Larry. Also, you're involved or trying to be involved in archiving and preservation of traditional art forms. Can you tell us a bit about how that manifests?

Larry Batiste: Well, I'm on the board of an organization called the Arhoolie Foundation, and that's what we do. It's about the archival and preservation of traditional art forms and music. And it's multigenre. So it's everything from Mexican music to gospel spirituals to all music that's not electronic where you're not using computers and synthesizingSkyler Jett: Love it. Larry Batiste:.. to create it. Skyler Jett: A human being. Larry Batiste: It's pretty huge. Currently, unfortunately, our founder, Chris Strachwitz, passed away in May. So actually, this weekend we're planning a public celebration for him. So we've been involved with that. But he's been such a pioneer for the last 60 years. He's won Lifetime Achievement Awards and Grammys and all that business. But for his work, he's the kind of guy that would drive back in the '50s, 200 miles with a microphone and record someone sitting on their porch playing a guitar. Skyler Jett: I love it. Larry Batiste: And singing. Skyler Jett: A true musician.

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Larry Batiste: And then make records out of these cassettes and things like that. So he'd just bring in... discovering artists and making people aware and keeping their music and their roots music alive. So I've been really involved with that. And recently, we got funding for us to do a project. I forget what we're calling it. I think it's called The Way We Swing. But it's about the Oakland music scene, and he did three days of filming, and then he passed away. Tom: Oh, no. Larry Batiste: So we're dealing with that. And then we're going to come back to it in the next six months or so. So I'm excited about that. But it's all music. It's all music, and it's just honouring our legacies and all cultures. Because people tend to... people that are older out to pasture. So when young blues artists come along, while we have Christone "Kingfish" Ingram and other young blues artists that come along, we really cherish them. Because what they're saying to our youth in terms of paying it forward is the blues is cool to play. Now, since him, he's my little nephew, I've now gained another 20 nephews, all in their 20s of people playing soul, old school blues music. And they're doing festivals all over the world. So it is wonderful. So I'm totally into archiving, preservation, and keeping people like Skyler and me relevant and sharing our message.

Skyler Jett: Yeah. See, I wanted to do a demonstration with a 10year-old kid, take him up on stage and take somebody. You guys can take your studio in the back room there and pull it up on the stage. I wanted to do this on Oprah Winfrey, just put the stuff on stage. Do you remember those old movies where they could put a light right on the piano? Larry Batiste: Right, exactly. Skyler Jett: The rest of the stage was dark, right? Larry Batiste: Right, right.

Skyler Jett: You know what, Larry? Over here they call R&B soul music.

Skyler Jett: I wanted to put that on somebody's computer in the corner. And take a 10-year-old kid up on the stage. I say, "Now, would you like to hear some drums?" And I'll have somebody to program some drums, man. Everybody in the audience gigging, "Yeah, yeah, yeah." Three minutes later, cut that off and I'm going to have a drummer walk in with the drums to bring it up on stage in front of this 10-year-old. Take all the stuff out, put all the bells and whistles on cymbals, stuff like that. And this kid... Because if we don't see it pretty soon, it's going to be good. He watched him put it together. Then he takes some sticks, and he's doing it like this. And that little kid's like, "Whoa." But all the old people in the audience are going, "That's my shit. That's my stuff." Larry Batiste: Exactly.

Larry Batiste: Yeah. Okay.

Skyler Jett: Right?

Skyler Jett: "Oh, won't you play that soul music?" "No, that's R&B." That's how they know it, as soul music. Larry Batiste: Right. The cool thing too, it's keeping us working, keeping us alive. Providing a platform for people to do their thing is so important. That's how we help each other. That's how weSkyler Jett: And thatLarry Batiste:... The world, to educate them to see live musicians playing. And they... "Where that comes from?" "Oh, that's the drummer. The drummer's really good. Oh, the bass player. Oh, that's where that sound is coming from." It's cool. HANGING IN THE HEART SPACE 46

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Larry Batiste: Exactly. Skyler Jett: I wanted to say, "You want to hear some bass now?" And then have bass there. Bring that amp down the stairs and put it up on the stage, and he starts plugging in stuff. The kid's 10 years old, he's like, "What the hell?" Larry Batiste: Exactly. Skyler Jett: "What is that?" Then he starts breaking it out. Then he plays with the drummer and the kid's like, "Whoa." And all the old people, "Hey, that's my stuff, kid." Larry Batiste: Also for the kids, it inspires them to want to pick up that instrument and play it. "That looks really cool, I want to do that." Skyler Jett: That's what I'm talking about. But I wanted to build a whole band of earth, wind the fire around this kid, and have him sit right in between the drums and the bass. Larry Batiste: Wow. Skyler Jett: It'll blow... It goes to show you, that you can't beat the sound of a human being. Larry Batiste: No, you really can't. That's why there's a lot of talk about AI and stuff like that, and there are so many pros and cons. And you can use it. It's very scary because in terms of one's intellectual property... Well, no, if you could say, "Look, give me a Skyler Jett and then mix it with some Beyonce, then I want some Coldplay and a Drake beat." But by the time you get 15 things in there, 15 elements in there, it's hard for you to identify even your stuff. And so there are concerns about intellectual property. And because it could always be used to... Right now, the copyright law is if it's derived by a human, you can use it to enhance that, and then you could copyright it. But if it's derived from AI and then they start using your stuff, it's a problem there.

Larry Batiste/ Tracy L. Reed/ Christie James

Skyler Jett: That's cold. Larry Batiste: We have to find a way to embrace technology because it is not going away. It's not going away. So we have to find a way to embrace that and try to get our copyright laws around it and define that. So I think that's the biggest thing in the industry right now. Skyler Jett: Well, the whole thing is driving everything. It's going crazy. It's stupid, man. But like I said, we're going back now. Because if you unplugged all that electricity, like the people you were talking about that play music all over the world, but it's not plugged in. Larry Batiste: Right, exactly. Skyler Jett: They can still make a living. Larry Batiste: Yeah, exactly. So if you come down, what is a song? A song is a melody, words and music chords. Chords, melody and then lyrics. That's a song. If you could break it down like that, you could do a song without any accompaniment, or you could do a song with just a guitar and piano or whatever... You know what I'm saying? Skyler Jett: Yeah.

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Larry Batiste: When you know you have a song, you can get the message. It's not about production. A production without a great song is like building a mansion on quicksand. It just doesn't work. Skyler Jett: Yeah. Ronald, the bass player of the Commodores, I lived with him down in Alabama. And he said, "Skyler, if you can't hear a hit song in between either the piano and the vocal or the guitar and the vocal, I don't care how many tracks you put on it, it's not a hit." Larry Batiste: Exactly. It's not a hit. We start right there. And just your messaging is so, so crucial because you never know who you're going to touch. That's the power of music. Somebody could hear your song and you'd be speaking to an individual. You might have thousands of folks out there, but if you could just touch one person, and that's what the power of song does. It could change your whole life. Skyler Jett: Yeah, change the whole world, man. Larry Batiste: Change the whole world. Skyler Jett: I love you, brother. Thank you for taking the time. Thank you for the privilegeLarry Batiste: I love you too, Skyler. Skyler Jett:... of your time coming on the show, man. And Tom's going to get all your information so we can stay in touch. Larry Batiste: I do want to mention that my book is in production and I've been writing forever. And I want to encourage people when it comes out, maybe at the beginning of the year. It's called the Art and Business of Songwriting. It's on Oxford University Press, which is the publisher. And so anyway, look for that book, and I appreciate all your help and support. Tom: Are you on any kind of social media at all, Larry? Available on Facebook or anything like that?

Larry Batiste: Right now I have Instagram accounts and stuff, but I'm never on it because I'm too busy. But I'm mainly on Facebook. Tom: All right. Okay. What we'll do is put the links to your socials at the bottom of the video. People can come andSkyler Jett:And your book too. Tom: And the book as well. If we can get the link to that, we'll pop that on the video as well for people to go andLarry Batiste: I appreciate both of you guys for taking the time to talk to me. (singing) Tom: Thank you so much

Interview by

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The Kimball Hooker Show

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SECURITY

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What is AI? 52

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What is AI? At its most basic, AI is software that generates human behaviours – planning, generating ideas, understanding speech and visuals. Its ability to scale human intellect will have a profound impact. In simple terms, artificial intelligence is a way for computers to mimic human thinking. It uses certain rules, known as algorithms, which allow the computer to learn from data, a process known as machine learning. This way, the computer can do things usually done by humans like recognizing faces or suggesting songs you might like. By using a lot of data and spotting patterns in it, these computers can get good at these tasks.

Artists and AI Some artists such as Sougwen Chung and Anna Ridler have incorporated AI into their artistic practice, and for those in the commercial art world, mainstream AI-powered productivity tools are already being harnessed. Artsy spoke to a cross-section of the art market, including gallerists, advisors, auction houses, and entrepreneurs, to find out how they believe AI will impact buying activity in the market. This is still in major research and debate. What are the 4 Types of Artificial Intelligence (AI)?

Reactive Machines The most basic type of AI, operates without past memory, responding to inputs with specific outputs based solely on the current state. For instance, Google’s AlphaGo, which defeated Go world champion Lee Sedol in 2016, used this approach, making each move without any memory of past games beyond its training data.

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Limited Memory This type of AI includes machines that can learn from historical data to make decisions. However, the length of the ‘memory’ is shortlived and not permanent. An example of this type of AI would be self-driving cars that can observe the behaviour of other vehicles over a period of time to make better decisions.

Theory of Mind This is a more advanced type of AI that does not yet exist. Theory of Mind AI is proposed to have its understanding and beliefs about the world, entities, emotions, and the ability to interact socially like humans.

Self-Aware This is the ultimate stage of AI development. These types of AI systems are not only aware of the world around them but also have consciousness and emotions. They would understand, interpret, predict human emotions and act accordingly.

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Weighing The Pros & Cons Of Using AI Anything in excess can turn a blessing into a curse. And any medicine that has taken too much can become a poison. So, the question begs, is it the same case for AI? Artificial intelligence in the workforce is not anything new. But the science and engineering of making intelligent machines is continuously advancing and always bettering the simulation of human intelligence in machines. There is not any doubt that technology is an essential part of the development of humans and the work world, but we do walk a thin line between evolution and mistakes that could lead to disruption or destruction. While this conversation can speak to AI as a whole, it can also be understood within the work world. AI is constantly advancing in how it serves the workforce across every industry. Everything from the medical industry to the transportation industry is being shaped by the advances of AI.

Artifcial Intelligence Can Improve Workplace Safety Improved safety in the workplace is a big pro for AI. Artificial intelligence, unlike humans, does not get tired, sick, or stressed, which are the three main causes of accidents in the workplace. AI robots can easily collaborate with or replace humans for tasks that are considered dangerous. This is especially important in industries such as construction, engineering, chemical plants, and skilled trade construction workers and contractors. These are generally considered high-risk jobs where the incorporation of AI can decrease the rate of human accidents and increase workplace safety.

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AI Can Automate Mundane Tasks This is one of the best selling points for AI in the workplace. Integrating AI into your company in a way that relieves your employees from mind-numbing mechanical and mundane tasks is a great way to not only increase employee satisfaction, but also to give them the space and time to invest most of their energy into creativity, innovation, project building, and relationships. This shift ultimately increases the success and growth of your business while also keeping employees happy. Even something as simple as bookkeeping or planning with a custom notebook and customized pen, versus an app or platform can make a world of difference for productivity, communication, and organization. All thanks to AI.

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AI Healthcare The future of AI in healthcare holds immense promise. AIdriven innovations will further advance diagnostics with increased accuracy and speed, particularly in detecting rare diseases and early-stage conditions. AI will enable precision medicine by tailoring treatment plans to individuals based on their genetics and medical history. Remote patient monitoring through wearable devices and AI analysis will become more prevalent, facilitating initiative-taking healthcare interventions. Natural language processing will improve medical data extraction and interpretation. Robotics and automation will aid in routine tasks, enhancing the efficiency of healthcare facilities.

AI National Lauage Prossesing (NPL) The future of AI in Natural Language Processing (NLP) is poised for remarkable growth over the next decade. AIpowered NLP systems will continue to advance in understanding and generating human language, making interactions with technology more conversational and contextaware. Multilingual NLP models will become more accurate and accessible, facilitating global communication. Sentiment analysis, language translation, and chatbots will see improvements, enhancing customer service and global business operations. NLP will also play a pivotal role in content generation, aiding authors, marketers, and creators.

Artificial Intelligence Replaces Workers One of the biggest worries about bringing AI into the workplace is that it can replace the jobs that would otherwise be taken by humans. As AI, robots, and other software and hardware become more affordable, it is easy to bring them in to replace human jobs. AI does not need everything that humans need including sick days, lunch hours, bathroom breaks, benefits, salary, company uniforms, or promotions. AI can effectively make many blue and white collared jobs

redundant, which could make the whole feel of your company more robotic and less human. A good example of this is selfcheckout robots, which automate the check-out process at the grocery store. While this is an easy job to automate, it also makes the shopping experience less human and personal for customers who want a more engaging experience. This is an example of how AI can also affect the customer and client experiences of your business.

AI Poses Dangerous Privacy Risks Surveillance is all too easy when it comes to AI. When workers comment about their concerns with introducing AI into the workforce, their first concern is that they will become redundant, and their second biggest concern is that they will lose privacy. When AI is introduced into all corners of a company, it is hard to maintain a sense of privacy. Technologies that may seem harmless, such as facial recognition technology, can be used for passive, warrantless surveillance without anyone knowing about it. Data-driven systems can also threaten workers’ interests and rights to privacy and autonomy. We all know that big companies are constantly tracking your behaviours as you are browsing the internet and even listening while talking on the phone, and some employees may not feel comfortable with their company having access to all their digital information and data. While the pros and cons of using AI in the workforce are not exactly tipped in one direction, it is also difficult to know where the balance lies. It is a thin line between too much AI and not keeping up with the evolution of the world and your industry. Deciding to implement AI into your company is a personal decision based entirely on your business's unique needs and operations.

Skills to have in a generative AI world: Light at the end of the tunnel. The rapid advent of AI may create fear among many of us, but it is also helpful to remember that no one is alone on the path to becoming AI-ready. Only a couple of decades ago, the global job market was compelled to adapt to the Internet in 59

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the workplace–while it did make many workers redundant, much of the world persisted, quickly adapting its workforce, and cultivating IT skills on a massive scale. The future of AI will bring a transition like none other, but it will also stimulate humans to finally develop skills that are, well, inherently human– those would not be easily replaceable by computers. Therefore, from a certain perspective, these skills inspire us to uncover the best of our potential. Crafting laws to regulate AI will not be easy, in part because AI comprises a variety of technologies that companies use for different ends, and partly because regulations can come at the cost of AI progress and development. The rapid evolution of AI technologies is another obstacle to forming meaningful regulation of AI, as are the challenges presented by AI's lack of transparency that make it difficult to see how the algorithms reach their results. Moreover, technology breakthroughs and novel applications such as ChatGPT and Dall-E can make existing laws instantly obsolete. And, of course, the laws that governments do manage to craft to regulate AI do not stop criminals from using the technology with malicious intent. The story of AI is an evolving tapestry of human curiosity, ingenuity, and ambition. From symbolic AI to machine learning and deep learning, we have embarked on a remarkable journey of discovery and innovation. The benefits are evident in numerous aspects of our lives and society, but so too are the challenges that demand our careful attention. As we steer the narrative of AI’s future, it is our responsibility to create a harmony between technological advancement and the preservation of human values. After all, the essence of AI is not just about creating intelligent machines, but about enhancing human life, and creating a world that reflects our highest ideals and aspirations. However, regulations and licensing should be strictly controlled at the highest level around the world.

“Artificial intelligence would

be the ultimate version of Google. The ultimate search engine that would understand everything on the web. It would understand exactly what you wanted, and it would give you the right thing. We are nowhere near doing that now. However, we can get incrementally closer to that, and that is basically what we

”

work on.

—Larry Page

Photography Shelley Rodgers 61

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“By far, the greatest danger of Artificial Intelligence is that people conclude too early that they understand it.” 63

—Eliezer Yudkowsky

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Green

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Vinnie Arianna Esposito Music Manager/Agent/Publicist, Film Producer ''If you through enough spaghetti at the wall some of it is bound to stick''

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ver the past six decades Vinnie has worked with many well-known artists and rarely does interviews. WORLD EQUAL is especially honoured and appreciates Vinnie taking time to tell us about her fascinating life in the music industry in the USA. A must read for any PR and behind the scenes enthustiasts!

Vinnis Arianna Esposito : I moved to Bloomfield I met my best friend Dorene at Junior High school and our church was having a talent contest. Dorene and I sang together. My dad loved the way we harmonised with a third girl called Ruthie. We won the State of New Jersey finals in a talent competition. My father was approached by an agent who was looking for a backing singer.

Shelley Rdgers : Tell WORLD EQUAL a little bit about yourself just to get the ball rolling, where are you from and what is your profession? Vinnis Arianna Esposito : I was born in 1948 in Newark, New Jersey. Music was in my blood. My family moved to Bloomfield, New Jersey and I spent most of my life there. My profession as a young woman was as a recording artists. From there I did choreography for local stage shows. I got married, left the business and had children.

I got the gig. Later Dorene, my singing partner joined and we were asked to perform in two live shows for Jimmy Charles as ’The Revelletts’. After the two live concert shows I was later told by Jimmy’s manager that he preferred to recruit three teenage black girls instead. I wasn’t bitter over the change.

During this period I became a private investigator working for my dad for about five years, I loved it. In 1985 my children were old enough to look after themselves so my husband and I then opened up an independent record label that was distributed by RCA.

I understood why Jimmy’s manager wanted to make the change. In my mind it just seemed right to make that change, aesthetically. However, after this Dorene and I were signed to RSVP records. I carried on the name ‘The Revelletts’ which I invented but could not use it I wasn’t happy to learn is that Jimmy’s manager kept the name I created, for the new girls.

The international Northern Soul superstar Benny Troy, sixties pop legend and movie star Frankie Avalon (whose biggest hits were “Venus” in 1963 youtu.be/_mA1k-b9UNw and “Beauty School Dropout” in 1978 youtu. be/0TOxhzAm7fY) and a young singer Christina Aguilera were all signed to our record label. My role was manager to Frankie and Benny while my husband focused solely on managing Christina. By 1997 Christina was signed by our label and distributed by RCA. After she received her first Grammy she signed with RCA and had a fall out with the manager my husband had assigned to her. She is still with RCA. I eventually moved into the movie industry. I am the founder and CEO of the “Creative Mind Group Entertainment LLC” Shelley Rdgers : Tell us all about your girl band ’The Revelletts’ in the sixties?

Benny Troy & Vinnie Arianna Esposito

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We were then renamed ‘The Party Favors’. In late 1964 my dad took Dorene and I into the recording studio to record two songs written by my cousin, Benny (LaManna) Troy. In 1965, we were signed by Jerry Simon, President of RSVP records. youtu.be/SZcZf2ZOcBo Although we enjoyed the ‘B’ side “Changed Disposition” youtu.be/ZR29kjl9gWo more so then the ‘A’ side, “You’re Not the Marrying Kind”, the ‘A’ side was climbing the charts rather quickly. Having performed on a few local and National TV shows we had the pleasure of touring with The Clay Cole Review as well as being on Clay Cole’s TV show on WPIX. We toured with the likes of Johnny Maestro, The Capri’s, The Del Satins, The Ly-Dell’s and so many other great groups of that era. ‘The Party Favors’ were performing throughout Philadelphia,

MD, Delaware, Upstate New York, Connecticut and Palisades Park, NJ, when we received the news we were booked to appear on the national hit TV show ‘American Bandstand’, hosted by Dick Clark in Philadelphia. Excited was an understatement for Doreen and I until the day before the taping of the show. On that fateful day I was notified that my grandfather, whom I was very close to, had passed away. With a heavy heart I asked my dad to cancel the taping. I was unable to go on the show as if nothing had happened. Then Dorene had decided to back out of the duet due to some personal reasons, which now left me as a single act. The record label wanted me to continue on as a solo act but I had made the decision to quit all together. Never regretting my decision or ever looking back I only looked forward to other great possibilities.

Benny Troy & Vinnie Arianna Esposito

Suzanne DePasse de Passe Jones Entertainment Group

Benny Troy

Vinnie Arianna Esposito

The Party Favors (Previously The Revellettes)

Suzanne De Passe & Berry Gordy founder of Motown

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Shelley Rdgers : Was this the first music production you worked on? Vinnis Arianna Esposito : Yes, the work with Jimmy Charles. Then when we signed to RSVP records as ‘The Party Favors’, we were touring and doing live TV shows. There was a teenage show that was almost as popular as ‘American Bandstand’ with Dick Clark. We were booked to play in both shows because our record was climbing the charts. The day before we were meant to play these my grandfather died and I backed out, two days before we were supposed to leave for Italy. It wasn’t in my heart. I’ll be honest with you, it was never in my heart really to perform live in front of an audience. I did enjoy it but I was always fascinated with behind the scenes. Being in the recording studio, working the soundboard, how to make a record, how to equalize. What I could hear with my ear, what I felt should be the next step forward for a song. I consider it a genetic factor as all my family could sing and play many instruments and were all self taught. I received more satisfaction in helping someone than putting myself out front. Shelley Rdgers : Who has inspired you the most over the years? Vinnis Arianna Esposito : First and foremost my parents, then the rest of my family and of course my cousin Benny Troy was a big inspiration. Also Frankie Avalon, I was his manager, publicist and agent. I was booking him on stage shows and TV shows. He didn’t have to do anything, he always said I was the best agent he ever had as he would just have to turn up and everything was sorted out for him. I am a typical Virgo. Everything has to be in order. I get flustered if something is not organised. Shelley Rdgers : How did you transition from the music business to working as a film producer in the entertainment industry?

Vinnis Arianna Esposito : That was funny how that happened. Benny was performing in this club and I knew the owners of the club, one of whom, Jerry had aspirations to be an actor. He knew I managed Benny Troy, so he approached me and asked “How do you feel about taking on an actor?” I said “Well, I will be honest I came up in the music business”.He reckoned it was no different. I knew how tough the music business was, but let me tell you, the film TV business is tougher yet, it’s harder than music. I said sure I’ll give it a try so I put his name forward to castings for movies. I sent out his biography with professional images. I received a call from Sean Cross. He loved Jerry’s look and the way he performed in a wise guy type movie he’d seen him in before, he played an attorney in it. Sean and I just hit it off and were on the phone for two or three hours. He said I should get into this business rather than music. I thought about it, I was only concentrating on Benny Troy’s music at that time.So I wound up getting involved with a movie that Sean wrote and was able to get a deal for it. Unfortunately, Paramount Studios and its executive wanted to take it all away from us after we had worked so hard on it. Sean, being the writer and director, they wanted to cut him out of all of it and just give him a very small percentage. We had already Mark Wahlberg as the lead actor ready to go with the movie. It was a political suspense thriller movie and it was eighteen years agoWe are still working at it today and believe it or not it was very accurate then to what the political scene is today. Sean was ahead of his time with this movie. So Jerry got the part as costar, Mark Wahlberg as the lead and we were starting to cast other actors and it fell apart when Paramount didn’t want to give Sean what he was asking for when it was his script and his screenplay. It never diminished mine, or Sean’s relationship with each other, in fact it strengthened it.Shelley Rdgers : Can you tell WORLD EQUAL about some of your other film and music productions? Vinnie : Taking a much, needed break from the business in 1970 I married and began to raise a family. My focus was on being a wife and stay at home mum, raising our two sons. Then in 1985 I felt it was time to get back into the business. By 1998 my husband and I ventured into starting an independent record label, Mirror Records, under our company called “The Montclair Organization” Under TMO, we also started a movie/ TV production 69

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company, partnering with award winning actor Paul Sorvino. You may also remember him as the Mob Boss character ‘Pauly’ in the very famous gangster movie “Goodfellas”. He starred alongside, Robert DeNiro, Joe Pesci and Ray Liotta. We soon added another label, Pony Records, which was distributed by RCA Records. With this came the signing of Christina Aguilera, debuting her first successful album. By the year 2000, after receiving her first Grammy award, Christina left TMO, signing exclusively with RCA. TMO also signed Frankie Avalon (whom I also began to represent from 1992 to 1995 and still close friends with till this day), international recording artist Benny Troy and a group called ‘Point Blank’. In 1995, I began overseeing (my cousin) Benny Troy’s successful international career. Sadly now he has passed away but at present, we are working on his film documentary along with working on other films, music and TV projects. In 2005 I had the pleasure of meeting Sean Cross, an up and coming film writer, director and producer. Our first venture was a film Sean wrote, titled “Joe Citizen”, starring Mark Wahlberg. I touched on this earlier in the interview. Shelley Rdgers : Do you think women have had as many opportunities and equal respect in the music and film industries as their male counterparts? Vinnis Arianna Esposito :Most of my career I have had equal respect and opportunity throughout. Shelley Rdgers :You work in multiple areas such as film, TV, music, specifically what is your preferred or most experienced area? Vinnis Arianna Esposito :They all have their pluses and minuses. TV, money wise is far better because you get your weekly royalties and there are always re-runs, which keep it coming in. With movies, there is four weeks to get the big money in at the box office, if it does not do well within the first one or two weeks you have a good indication it’s going to go in the red. Movies are a big risk financially.

“Most of my career I have had equal respect and opportunity throughout.”

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The time, often many years of your life can go into the preparation for one movie. Producers and actors get paid the most but they deserve it especially those who may have put seven or ten or even twenty years into preparing and trying to get a movie off the ground. They are entitled to the big money. Redd Foxx for example took seven years. Shelley Rdgers :Tell us all about ‘Benny Troy’ the international Northern Soul superstar, as his name keeps popping up? Vinnis Arianna Esposito :Benny Troy is a worldwide legend and icon in the Northern Soul music genre. His big hit was ‘ I Wanna Give You Tomorrow’ on the De-Lite Record label (written and produced by Billy Terrell in 1975) youtu. be/8Jr06Gg29bw He was my cousin and I managed him for many years until he sadly passed away last year. At present, we are working on a film documentary about Benny’s life and career, along with other films, music and TV projects. Shelley Rdgers :WORLD EQUAL would love to know how you and the highly respected Suzanne de Passe start working together. Tell us a little about that? Vinnis Arianna Esposito : I still work with Suzanne de Passe. We crossed paths in the 60’s in New York City in a huge dance club called the ‘Cheetah’. Suzanne began her career in show business here as a promoter. Through her friendship with Cindy Birdsong, who replaced Florence Ballard as a member of The Supremes in 1967, she began working at Motown as a Creative Assistant to company founder, Berry Gordy. Early in her career, Suzanne developed Michael Jackson and his brothers into ‘The Jackson 5’ with TV and live concerts around the world, turning them into household names! She was instrumental in taking the record label to television with a host of critically acclaimed and highly rated specials, including the multiple award-winning ‘Motown 25: Yesterday, Today, Forever’ were produced while she was President of Motown Productions. When Motown was sold, she partnered with her mentor in Gordy/de Passe Productions and subsequently 72

beauty school dropout

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established de Passe Entertainment in 1992. De Passe’s long association with Berry Gordy was featured in the December 2008 issue of Vanity Fair: “Motown the Untold Story, The Label’s Greatest Legends, In Their Own Words”. Many years later Suzanne and I hit it off over a three hour phone call. She invited me to the Benjamin Hotel and told me to order whatever I wanted on the menu, on her. I am only 4 foot 11 inches tall. When she met me she lifted me off the ground and gave me a big bear hug, swinging me around. We have remained great work friends and business partners ever since. I am so humbled that Suzanne considers me a partner. She has said I am the best partner they ever had because I am patient, I don’t demand or get angry with anyone and just get my job done. Shelley Rdgers :Is there an artist you want to work with that you have not had the opportunity yet? Vinnis Arianna Esposito : In film I would love to work with Julia Roberts & Whoopi Goldberg. In fact Whoopi already has one of my movie projects. In music it would have to be Ariana Grande. I am very close to her aunt. I said to her from the very beginning this kid has serious chops like there is no tomorrow (meaning amazing vocal ability). I just hope she doesn’t go in the direction Christina Aguilera went and end up with the wrong handlers who get her into the skimpy outfits. She didn’t need that with the vocal ability she had like Celine Dion or Whitney Houston. Just keep it straight about the singing like the greats. Be classy and sure enough that is the direction Ariana went. Shelley Rdgers :What was the last great movie you watched? Vinnis Arianna Esposito : There are so many!! “The Notebook” starring Ryan Gosling is my top favourite. Shelley Rdgers : Billy Terrell was a legendary music producer in the 60’s you worked with and he helped Benny Troy. Could you tell WORLD EQUAL what that was like? Vinnis Arianna Esposito :In the early 70’s Billy Terrell had heard a lot about Benny Troy on the New Jersey circuit and other musicians kept saying to him Benny was phenomenal. Billy went to

a gig of Benny’s and he agreed and said “I gotta record him” and so he did. youtu.be/hqTleDcu1Bc Billy had worked a lot with the legendary producer Dave Appell who had produced one of Benny’s early singles “I Don’t Know You Anymore” youtu.be/ X5K8KhOk6mI Shelley Rdgers :What is your favourite quote that inspires you? Vinnis Arianna Esposito : “If you throw enough Spaghetti against the wall something’s bound to stick” I heard it from my parents years and years ago. I love it. It’s funny too. Shelley Rdgers :Tell us about one of your main films Redd Foxx? Vinnis Arianna Esposito :I am the Executive Producer with Suzanne de Passe who is the CEO of ‘de Passe Jones Entertainment’ for the life story of Redd Foxx, a TV movie in pre-production. You may be familiar with him through a movie that starred Eddie Murphy called ‘Harlem Nights’. He plays Benny the half blind man who wore the big thick glasses. He was a comedian. depassejones.com/press?lightbox=dataItem-j5dt4t246 Shelley Rdgers :Tell us about Joey Dee and the Starliters with Benny Troy, Jimi Hendrix and Joe Pesci. That is an incredible list of names grouped together, what is that all about? Vinnis Arianna Esposito : Many musicians passed through ‘The Starliters’; Jimi was a guitarist making his way in the world and got a start in the band before he became the legend many know him as today. Joe used to cut my cousin Benny Troy’s hair. Before Joe became an actor he was both a singer and a barber on the local circuit. My Dad had a local trio band at weekends. Frankie Valli used to always ask my dad to sing in his band here and there. Frankie and Joe grew up in the same housing development back then and that is how my cousin Benny got to know them too. We all came from the same neighbourhood. I knew ‘The Four Seasons’ because of my dad. I knew Nikki the baritone singer of the band. Back then ‘The Four Seasons’ were called the ‘The Four Lovers’. My Dad gigged in the high end restaurants up and down New Jersey everyone knew him.

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Shelley Rdgers : Discovering talent seems to be your calling. What gives you a feeling about a person that they have something special? Vinnis Arianna Esposito : All I need to hear is one bar of singing coming out of their mouth and I’ll know. I can tell right away with actors too. Shelley Rdgers : What advice would you give young people starting out their careers in the music and/or film industry today? Vinnis Arianna Esposito : That’s tough. I’ll give you an example. My son introduced me to a young lady who sings. This young lady sent me a demo of her singing. She had a beautiful incredible natural voice.Then she sent me a video, and the young lady is gorgeous but let me say it changed my mind. There was too much skin on show. I just want to hear the amazing voice. I’m not into today’s look where kids are practically naked in their music videos. Image wise I love the classic Audrey Hepburn style, a bit of class and style. Young girls today are showing too much skin. I worry about my granddaughters. They are being exposed to too much bare skin, twerking and over sexualisation from the music industry at a very young impressionable age. Shelley Rdgers : What was your most memorable year in your career and why? Vinnis Arianna Esposito : In ‘The Party Favors’ with my friend Dorene our record was out and climbing the charts and we we’re booked to do our first TV show upstate New York. Travelling ten hours through a blizzard, we first had to perform in a huge Arena and we had second billing to the main act who were then called ‘The Detergents’ later known as ‘The Archies’ who had a hit with “Sugar Sugar”. We both had songs climbing the charts at that time. We sang what was called Bubble Gum music. Anyway we were second billing to them but they didn’t make it through the blizzard so we became top bill at the arena through default. Next morning we had breakfast next before going to the TV show and we had seen lots of fans outside. So many that the police had to be called. They we’re ripping at our clothes it was incredible. That was very memorable.

One time I myself and Dorene went for a cigarette and walk to a coffee shop at a recording studio and Cher walks out for a smoke too, then Mick Jagger and Keith Richards. We all went down seven floors in a lift to go to the coffee shop. Dorene and I were only fourteen years old. We were in a lift with The Rolling Stones. I could hear them earlier recording “Time Is On My Side” and Cher recording “I Got You Babe”. It was very memorable. Shelley Rdgers : What has been one of your funniest moments over the years? Vinnis Arianna Esposito :There are so many but one funny story was when Dorene and I got back from a recording and we got caught smoking in a very unusual way. My parents would not let us smoke. We sneaked up to the bathroom in my parent’s house and opened the window to let the smoke out. Next thing a fire engine is heard and we are wondering, oh dear someone’s house is on fire. Next thing I see it racing down our driveway. Then in comes the firemen to the bathroom and they find us blowing smoke out the window. We got in trouble that day. Shelley Rdgers : Has the development of technology over the years changed the industry for the better or the worse? Vinnis Arianna Esposito : For the better I think. Shelley Rdgers : Are you working on anything at the minute? What is your current project we are all bursting to know? Vinnis Arianna Esposito : Currently I am working on the Redd Foxx movie. I am the Executive Producer with de Passe Jones Entertainment for the life story of Redd Foxx; it’s a TV movie in pre-production. I am doing a movie as Executive Producer for the life story of Eric “Uggie” Bowens, a beloved disabled young man killed in his hometown of Newark, New Jersey on November 11, 2016, two hours shy of his 46th Birthday. I am doing that with scriptwriter Frank Orefice. Finally I am also working on a very, very special musical variety show. I would love to tell you more on this but it’s top secret at the moment.

Interview By Shelley Rodgers

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The Party Favors

Benny Troy & Vinnie Ariana Esposito

The Party Favors

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ECO

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HOME ook

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V alentine S L B trangford

ough

ee keeper

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Interviewed By Corinne O'Neill

ased in the beautiful countryside of Co Down, Northern Ireland, Valentine and Chris established Loughshore Apiary in the main aim of helping to develop a haven for the natural Irish black bee Apis mellifera mellifera who like most other species of bees are in decline.The honey is a mixture of nectar gathered from a wide range of flowers in a three mile radius of our apiaries which are sited across the Ards Peninsula. To make one single jar of honey the bees will visit about 2 million flowers! Back at the hive when the nectar is brought in it is put into honeycomb cells the bees themselves have made. The water from the nectar is evaporated by the bees fanning the honeycomb with their wings. When the honey is ready each individual cell is sealed with a white beeswax capping. At Vees Bees we have recognised the increasing demand for more natural, locally produced, quality skin care products and the natural honeybee, native to this island for thousands of

years needs all the help and support we can muster.Honey has been used since medieval times to treat wounds and burns and to fight infections . In fact wax and honey have been found in the tombs of the pharaohs. Over 3000 years old and the honey was found to be still edible!Under certain conditions –such as contact with skin – all honey can produce hydrogen peroxide, which fights bacteria and in recent years scientists have paid special attention to honey, which after many studies has been proven to have powerful antiseptic properties.We aim to use the profits to provide funding that will help improve the bees habitat which in turn will help our environment, by promoting the introduction of wild flower meadows and the local native bees. These bees can withstand our local climate and especially our harsh winters.

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'''The bee's life is like a magic well: the more you draw from it, the more it fills with water' - Karl Von Frisch

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Valentine's journey into beekeeping is truly remarkable, marked by her dedication to preserving the native Irish honeybee species and her commitment to educating others about the importance of pollinators. Here are some key points from her inspiring story. Beekeeping Background:

Valentine and her husband Chris have been keeping bees for approximately 20 years on the shores of Strangford Lough, managing up to 100 colonies of native Irish honeybees in several apiaries on the Ards Peninsula. They started their beekeeping journey after reading about Colony Collapse Disorder in the US, prompting them to take a beekeeping course advertised in the local paper.

Educational Initiatives:

Valentine is actively involved in educating others about pollinators and honeybees, regularly visiting local schools to assist with the development of the school year 4 "mini beasts" primary curriculum. She and her husband teach beekeeping courses on behalf of the Ulster Beekeepers Association (UBKA).

Challenges and Opportunities in Irish Beekeeping:

Beekeeping in Ireland faces challenges such as imported pests, diseases, lack of forage, and the impact of pesticides. The native Irish honeybee species, Apis M. M, has unique DNA, and efforts are being made to preserve and revive this species.

Historical Significance:

Beekeeping in Ireland has historical significance, with monks keeping honeybees for beeswax, which was used for early printing. The "Congested District Board" introduced beehives to tenant farmers in Ireland and Scotland during the famine, leading to the creation of the unique Congested District Board0. hive.

World Bee Day:

Valentine acknowledges the importance of World Bee Day (observed on May 20) in drawing attention to the essential role of bees and other pollinators in maintaining ecosystem health.

Advice for Aspiring Beekeepers:

Aspiring beekeepers are advised to contact the Ulster Beekeepers Association and participate in training courses. Valentine emphasizes the importance of hands-on experience and learning from local beekeepers.

Vision for the Future:

Valentine envisions a symbiotic relationship with honeybees, where caring for bees leads to mutual benefits. She is passionate about getting young people interested in nature, the environment, and beekeeping, emphasizing the importance of passing on beekeeping skills to the younger generation.

International Engagement:

Valentine is actively involved in international beekeeping events, such as the International Meeting of Young Beekeepers (IMYB), to encourage young people to continue the skills and art of beekeeping.

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Valentine's story highlights the interconnectedness of beekeeping, environmental conservation, and the importance of passing on knowledge to future generations. Her commitment to preserving native species and educating others reflects a deep appreciation for the role of bees in our ecosystems.

Where can readers buy your products? I have a stall in St Georges market every Sunday and online at Veesbees.com What are the benefits of using honey-based beauty products?

Benefits of Honey-Based Beauty Products:

Honey has anti-inflammatory, antimicrobial, antibacterial, and anti-fungal properties, making it beneficial for various skin conditions. Honey is a natural moisturizer that draws moisture into the skin, promoting skin health and anti-aging effects At VeesBees we recognised the demand for a range of natural, locally produced quality products and given our passion for our native Irish “black” bee we use the hive products as the base for our ingredients without any detrimental effect on the bees. We keep over 5,000,000 bees in the Summer on the Ards Peninsula. Our “Bee” Products We have developed a range of products all utilizing our award-winning honey and beeswax. “Bee in Love” , “Bee Gentle” and “Bee Kind” are moisturisers designed to sooth irritating dry skin and have excellent cooling properties. (“Bee Kind” is fragrance free and especially popular with men. We have it marked “Drone Friendly”)!! “Bee Soft” is our calming and healing body butter for dry and rough elbows, arms and knees. It is especially good for eczema, gardeners’ hands, irritated skin and in the winter “hacks”. Our beeswax lip balms are “Bee Pretty, Bee Happy & Bee Natural”. Regularly used they can help prevent cracked or dry lips and they each have a different flavour and a natural oil base. “Bee Relaxed” is a soothing and relaxing “balm” for use on the forehead to calm, help relaxation and ease tension. It contains pure lavender essential oil. When possible, we offer for sale our honey which we brand “Bee Sweet”. However, this is not always available as we only harvest this in the late summer and stocks are totally dependent upon the weather and the bees! With excess wax available we often produce 100% beeswax candles and honey soap to complement our range of natural products. Are your products handmade? Where are they made? All my products are handmade by me in my workshop in Greyabbey.

Many studies have found that honey has numerous components that promote skin health. It has a strong anti-inflammatory effect when applied to the skin, making it useful for a variety of inflammatory skin conditions, including eczema, psoriasis, and atopic dermatitis. It has the ability to fight skin infections due to its powerful antimicrobial, antibacterial, and anti-fungal properties. Manuka Honey from New Zealand is widely used by medical professionals for wound and burn care. Honey is also an effective remedy for chapped and cracked lips and our natural lip balms prove this point! Honey is also a great moisturiser. It draws moisture deep into the skin, making it useful for dry skin conditions and anti-ageing. To add to this list of benefits, honey also contains amino acids, antioxidants, vitamins, and minerals. We even know of some of our customers who use honey to relieve the pain and help heal the effects of sunburn! Our winter honey as also been known to help with chest infections -some people love it ! Not my favourite as it tastes like cough mixture! It mainly comes from Ivy

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Our objective is to create natural products based on our bee ingredients The products are not tested on animals and where possible the range is free from preservatives. Only the cream moisturiser has the minimum amount of preservative to protect the product and the user.I personally have a number of allergies and suffer from psoriasis & know how important it is to understand sensitive skin and people. I mix and test all the products on myself to ensure their suitability. All the products are produced in small batches at our apiary using traditional methods. The wax is in fact melted on our wood-burning stove!

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'It was the bumble bee and the butterfly who survived, not the dinosaur' – Meridel Le Sueur

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Reduce Reuse

Designer: Julia Knight 82

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Recycle Plastic

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Learn All You Can, Can All You Learn.

William Mickey Stevenson Songwriter and Record Producer for Motown

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Interview By Skyler Jett illiam "Mickey" Stevenson (born January 4, 1937) is an American former songwriter and record producer for the Motown group of labels from the early days of Berry Gordy's company until 1967. He was born William Stevenson and, after spending his formative years recording doowop and gospel music,joined Tamla/Motown in 1959, the year it was founded. He was head of the A&R department there during the company's "glory" years of the mid-1960s when artists such as the Supremes, Marvin Gaye, the Temptations, Four Tops, Stevie Wonder and Martha and the Vandellas came to the fore. Stevenson was also responsible for organizing and establishing the company's inhouse studio band, which came to be known as the Funk Brothers. He wrote and produced many hit records for Motown, some with co-writer and producer Ivy Jo Hunter. They included his biggest successes, "Dancing in the Street", which he co-wrote with Hunter and Marvin Gaye; "It Takes Two" (Gaye and Weston), "Ask the Lonely" for the Four Tops, Jimmy Ruffin's "What Becomes of the Brokenhearted" (produced), "My Baby Loves Me" (Martha and the Vandellas), "Uptight (Everything's Alright)" (produced) for Stevie Wonder and Gaye's first hit, "Stubborn Kind of Fellow". He also wrote "Devil with a Blue Dress" in 1964 with Shorty Long, which became a hit for Mitch Ryder and the Detroit Wheels in 1966. He also wrote under the pseudonym Avery Vandenburg for Jobete's Stein & Van Stock publishing subsidiary.

In 1969, he founded a label called People Records, which recorded Kim Weston and other acts such as Hodges, James & Smith, but the label dissolved around the time James Brown's unrelated label of the same name was founded in 1971. He was appointed head of Venture Records in 1969, a subsidiary of MGM, with a brief to develop their share of the soul and rhythm and blues market, continuing in this role until the mid-1970s. Subsequently, he owned another California label, Raintree, releasing a single by Willard King in 1975. In recent years, Stevenson discovered and produced the R&B female artist Jaisun for an album that reached No. 1 in major breakout markets, but he has largely been involved in producing stage musicals. The latter include Swann, Showgirls, Wings and Things, The Gospel Truth, TKO, and Chocolate City.[4] He married Michelle Stevenson on November 11, 2021.

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Tom - Welcome to the show, William Mickey Stevenson. You spent your formative years recording Doo-wop and gospel music and joined the Tamla Motown label in its founding year, 1959. You were head of the A & R department, during the company's glory years of the mid-sixties, with artists such as The Supremes, Marvin Gaye, and Temptations Four Tops, Stevie Wonder and Martha and The Vandellas. You are also responsible for organising and establishing the company's inhouse Studio Band, which came to be known as The Funk Brothers. You wrote and produced many hit records for Motown, and co-wrote and produced several as well. Your biggest successes were records such as Dancing in the Street, which you co-wrote with Joe Hunter and Marvin Gaye, and you also did It Takes Two with Marvin Gaye. Jimmy Ruffin's, What Becomes of the Broken Hearted that you produced. So you've done an incredible amount of work in the music industry. There's so much more to talk with you about, Mickey. It's so fantastic to have you with us. Thank you so much for joining us. Please do tell us more. Mickey Stevenson - Pleasure to be here. By the way, did you get my book? You have to get the book because everything you want to know and the history of Motown is in this book. Tom - Okay. Where can we get it from? Is it available? Mickey Stevenson - Well, you can get it on my site, but you can also get it from Amazon. All right? Tom - Brilliant Mickey Stevenson - The A & R Man Motown's First, William Mickey Stevenson. Now, this is the whole story, the Motown story, from day one. All right? Well, they tried to make a movie three times with me, and I refused to do it because I didn't want them to change anything. Three different companies called me. "This is a great movie." I said, "Yeah, but you got to keep it realSkyler - That's right. Mickey Stevenson - So people understand it's real. Don't put some false stuff in there, because there's enough real things there to know and learn about." All right? 90

Skyler - That's the trippy thing. People always want to change your story. Mickey Stevenson - Once somebody gets shot and somebody gets stabbed and all that kind of dumb crap. Let's get down to the real deal. When you have a God-given gift, you want to know how to work it. That's what this book tells you. Skyler - That's right. Mickey Stevenson - You follow me? No matter who you are, if you got gifts, we wouldn't be talking. You know what I mean?

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what I mean? Just to draw the audience and then go someplace else and do something else completely. That bothers me, and I don't think they're going to change for a while. I think the young people are now beginning to reach for some of the traditional, original stuff for some reason. And that's a good thing. Skyler - A really good thing. Mickey Stevenson - Because it's really strange out there. Really strange. That's my opinion now. Skyler - I'm an advocate for the human sound, and you can't beat the sound of a human being because it's instant gratification. Right? Mickey Stevenson - Yes. Tom - Absolutely. Skyler - That's right. I played with a couple of Motown acts as well, back in the day. I sang with Stevie on Lou Rawls' United Negro College Fund. Mickey Stevenson - Fantastic. Skyler - I sang, and then I'm the guy to replace Lionel Richie in the Commodores. Mickey Stevenson - Oh, okay. All right. You know what I'm talking about here. Skyler - Yeah. I got a little history on there, you know what I mean? But Mickey, what are your feelings about today in the music world and what needs to change as far as, especially because you can't make money from streaming? Mickey Stevenson - No, no. That's a real setup there. Unbelievable. Where do you want to start? Because there are so many things that I think should be more comfortable for the artists and creative people that's not happening. It's almost like they're being set up for other things to sell and not the purpose of the gift that was given to them, for the people to enjoy. You know

Skyler - I always say, if you want to hear something like how real humans are, if a guy's going to play some blues tonight, step on his foot before he goes on the stage, it's going to sound a little different. Mickey Stevenson - That's good. Oh, that's good. That's good. Skyler - And it might be the notes you played every night, but you got a little pain in there now. Mickey Stevenson - Yeah, right. Yeah, make it real. Skyler - Yeah. You can't get that from a computer. You got to go program that into the computer. And the other one I want to say is because Bette Midler, sued Spotify and Pandora because they spun her song 4 million times and they sent her a check for $114. Mickey Stevenson - Oh, ridiculous. Skyler - You can't make a living. Mickey Stevenson - No, that's ridiculous. Skyler - The good thing about it. Mickey Stevenson - Because they run the commercials and the bought time and they could get commercials.

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Skyler - Yeah. Mickey Stevenson ... all that kind of stuff between, whatever. It's not the same. And I don't know if it's going to be fixed other than people, the new artists or the artists that are here, they got to come together like they're doing with strikes that's going on right now. The strikes that were going on in Michigan with the automobile people, they got strikes going on with the unions. They got writers and producers in the entertainment business, they're striking because they're getting none of what's happening. And all the funds are going in the other direction, and they're supplying the audience. That's insanity. Now, unless they strike on it, they got to strike on it, it'll change. You know what I mean? Skyler - Well, that's what they need to do. I lived in Hollywood for many years back in the eighties, but the tricky thing is, when I go to a meeting, I would always tell those guys, "Just remember, it's the music business. It's not the business music. Without the music, you don't have a business." Mickey Stevenson - Very good. Yeah, brother. Yep. They have to do something about it. We got to strike. That's the bottom line. And stop it or make them change it [inaudible 00:06:47] forget it. Skyler - Yeah, because a lot of these guys that are doing this, they ain't never wrote a song in their life. Mickey Stevenson - Never. Have no idea what it's about. Skyler - Yeah, man Mickey Stevenson - But they know how to make money off of it, that's for sure. Skyler - They do, but they're doing it to people that creating the content and we got to. Mickey Stevenson - Well, how about this, man? What about the BMI? They should have something to say about this situation. I mean, that whole operation there should be involved in changing everything for the future and future generations.

Skyler - Yeah, that's right. But see, what we're doing at Music for Global Change is, Marvin Gaye was my hero because I was a youngster at the time. I watched music from that time, John Lennon, Bob Marley and Nina Simone. They helped stop the war. Mickey Stevenson - Tell me about it. Skyler - With music. It was the young people that stopped that war. I just watched Woodstock again this morning and it was the young people that played a few of their songs. Then they play one about the war, and we need to stand up. You're right. We need to stand up and start our own thing. With Music for Global Change, I'm looking for all the young people that write positive music. Mickey Stevenson - Oh, boy. We can use the help and we got to come together. The best part of this is that the creative people, whether they're writing the songs or playing the instruments or giving poetry or whatever, they got to come together. They can't be you over here, I'm over here and nobody's ... They got to come together. The more they come together, the the statements get more powerful. Individual statements don't mean as much. So we should be on the news, talking about what's happening with the music and the writing and artists on all these news stations. They got what, 25 of them on the air? Somebody talks every 10 minutes, and a whole new presenter is talking. You never hear about what's going on with this whole industry that we are in. Those things should be stated like they mention all the other wonderful things that are going on. Skyler - Exactly. Mickey Stevenson - You know what I mean? Skyler - Yeah, I do. Because I want to start festivals and I'm going to go get people that ... I want to have a museum at the festival so I can show Marvin Gaye and how they stopped the war. Right now, we need to use it to stop racism.

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Skyler - And we got to teach young people about the industry. If I go see some young people, they're turning around. They're looking at the band. They haven't learned any stage etiquette.

Mickey Stevenson - That's a whole nother ball game. That needs to be examined mainly for the youth, man. We can't keep holding on to this old traditional garbage. And while they're holding on, they're shooting the young people. Get out of here. This doesn't even make sense. If you're going to be in charge of the industry and demand and manage everything, we remove the guns, remove the this, put the knowledge back in the picture. It makes no sense. Especially for America, it makes even less sense.

Mickey Stevenson - Well, that's true. That's a whole nother ball game there. But some of the shows that are out now, the only ones that really pop are the history people, like the Marvins ... Not Marvin, but the artists that ... because they came to entertain and really expressed themselves. Where now, the other stuff that's just amazing to me that you could tell by Earth, wind and Fire, people like that. When they come on, when they're there, the audiences just line up forever. They come to see and get the real deal. And I just use them as an example, but right on down the line, the Stevie, the Smokey's. I mean, when you go see the show, you get a show, and they'd be honest with you. They expressed themselves honestly. You know what I mean? Skyler - Yes. Mickey Stevenson - It should be more of that. I don't know. I have no solution. All I know is we have to come together to make a difference.

Skyler - Yeah. Mickey, so you said we should organize.

Skyler - We're going to come with you.

Mickey Stevenson - Yeah, we got to come together. There are different ways of doing it. Different artists, and production companies. We got to come together and have an idea of how we're going to work with the news, the internet set up, the way they're taking the records and you punch you on your phone. You get the sound, you get the look. Then all of a sudden, 10 commercials go by. I mean, they got set up where you're in a nolose position. So we got to come together.

Mickey Stevenson - That's the bottom line. Yeah. I'm doing a couple of musical plays right now. I'm doing Singing From the Heart. It's being mounted and put together. And what I did was, go back to Bill Holiday, Josephine Baker, Donna Washington, Mahalia Jackson, Bessie Smith, Dorothy Dandridge, Eartha Kitt, Lena Horne. Then I bring you in a young group now. So now, the young girls and guys, they are looking at the artists who fought and battled to become our stars. And they want to know what energy you put there? What can we do to get that going so that we can be recognized for our talents? Because gifts are given to everybody. So this show is based around history, artists, and the young ones coming in. And they talk back and forth and it's all done in music, of course.

Skyler - Yes. Mickey Stevenson -As artists! The managers can't be happy about it. They're losing money like a big dog. So you got to come together.

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are you doing that for? What's that going to do? That means nothing." They try to discourage you. If you listen to that voice, you can't move on with the gift that's given you. You have to find a way to walk away. Have you ever had this happen? You're creating something and maybe the phone will ring or something and you get into a conversation. And right away, they go in a whole nother direction. You put it back down. Now you can't remember where you were going with what you were dealing with. You know what I mean? The negative forces working, you know what I mean? The positive forces that you're creating, the negative force don't want you to go anywhere. So the phone rang. If you get into that conversation, you have to get your head back into the creative mode. You got to learn to say, "Hey, can I get back to you?" Bam. Because they'll cut you right off. Skyler - My mom took me to see the Motown Review when I was 10 years old in Oakland, California. You know what I mean? And what I loved about it, the Funk Brothers blew my mind because they didn't move off the stage. You'll have the Supremes come up, Smokey Robinson and the Funk Brothers were playing with segues to the next act. Now this is what was mind-blowing. They didn't have monitors back then. Mickey Stevenson - You're right.

Skyler - I love it. Mickey Stevenson And it's called Signing from the Heart. The bottom line is if you do it, you have to come from the heart. You just can't do it. You have to come from a place that stables you and makes you want to do more and be better. You know what I mean? Skyler - I always say, you can go to school all you want, learn everything that you want to learn, but it's still going to come down to one thing. How does it feel? Mickey Stevenson - Yes, that's very good my brother, because that's exactly what it comes down to. And see we all have gifts, see, and those gifts, you got to work with it. Other than that, it just sits there. I mean, not a gift, some of us have two or three gifts. And the negative forces around us will try to tell you, "What

Skyler - You couldn't hear ... but they were in perfect pitch because they practised so much. You know what I mean? All the groups back there, The Temptations, had perfect pitch. They didn't need somebody to tune their vocals up and all that stuff like that. We have to get back to that, to singers actually reaching the note. Reach up to the note, that's good enough. Some of these engineers, "Hey, I can take it from there." I don't want you to take it from there. I want to do it right. Mickey Stevenson - Well, you're absolutely right about that, and I got to tell you, and bringing the Funk Brothers together, it was not just musicians that are someplace playing and they got a contract or a deal to come and record. In the beginning that was going on all over the place. For me, I had to pick musicians that was not just the instrument that they were playing, but that they were thinking, they wanted to be special themselves. For each artist, each

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musician, I maybe went through about 10 or 15 bass players or guitar players and all that. And I would talk to them. I could see them playing, but I would talk to them about, "Well, are you creating anything on your own?" "Well, no man, I'm just playing a session here. This is what I do." "Well, don't you ever feel writing something special?" "Well, I'm trying to ..." So I pulled out for them to see if were they just making a living playing, or if they wanted to say something with their instrument. But I got good answers for me. And I would go to their clubs where they're playing, in a club here or a gig there. I'd go around just trying to find ... Maybe I need a good guitar player. I need this, I need that. And when I find say like a James Jameson, I had to watch him maybe five or six times because I heard the playing, but the look on his face was so stern. Then I would hear him sing the notes while he was playing them. In other words, he'd be singing the notes. I remember I got to tell you when I got him, he was on upright. You got me? Skyler - Right. Mickey Stevenson - So he'd be ... But it was a sad look on his face, but he's playing notes. So after watching him about four or five times, I called him over. I said, "Man, I hear you humming the notes while you playing. I hear you humming the melody in your head. You always do that?" He said, "Yeah, man, because I got to sing. So I got to make my show inside my ..." I said, "You know what? Why don't you come and play with me at Motown, play the bass first?" He said, "Well, man ..." I said, "Hold up. How much money are you making?" He told me. I said, "Man, I'll double that. Forget that money. Come over here. Be with me." He said, "Why?" I said, "Because you got a passion for this, that you can't express playing these stupid songs out here with this situation. I'm sure you're going to get tired of it. And then that gift you got is going to just go down. Why don't you come with me where you can stretch out? If something goes wrong, we can listen to it. You can change it." He said, "You go through all that?" I said, "For you? Yeah." He said, "Why?" "Because we need this with our show. We need this with our music. And just playing is not enough. We need creative stuff happening." He said to me, "Man, you got a

passion for this thing, haven't you?" I said, "I got the same passion you got, but I got a way to work it out. You sitting here, but you can't work it out. Now, you come with me. You can work it out." He said, "Okay." The day he walked into the studio, he never stepped out. I went after each musician looking for, other than just playing, "What is in your head? What do you want? If you want the same thing that I want, let's go together." Now, it got to the point that the five or six guys, each one picked now, and the ones that were there before I got into it with them, they said, "Well, how you brought him? I play this." I said, "Well, you can play this over there. Right now, he's going to play it." "Why?" I said, "Because he lives it. You just come to make money. He lives it. That's two different things." Do you follow what I'm saying? Skyler - Oh, yeah. It is the differenceMickey Stevenson - Anyway, I don't want to get carried away with it, but each guy was picked specifically because of their feeling, their heart and their desire to make it happen. You put those minds together. Now, I learn from you, you learn from me, he learns from him. They get into it. All of a sudden you're cooking with every song. Now, we also learn the style of the producers. When the producer comes in, or a writer says, "Man, I want to do this, like this," they pick up his style. They'll get that and I've seen them take the lead sheet or the music sheet, put it aside. They know how it's going, now let's get [inaudible 00:21:28], and they get playing and it turns into a whole nother ballgame. You see? That's gifts being developed and worked for its natural purpose in your body, in your heart. I say God gave it to you. You can say whatever you want to say, but we all have gifts for a reason. When you find it and you work with it, you can't lose it. You got it? When you find others with the same gifts, it gets greater. Anyway, I don't want to get carried away with it. Skyler... you've helped change people's lives.

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Tom - Absolutely. You've mentioned it already. Your move now you've made towards stage music and stage musicals. What was your reasoning behind moving to the stage, moving to that era? Was there anything particular that drew you into it? Mickey Stevenson - Yes. When I left Motown and came to California, I went into ... they had a building in the ghetto that the city gave to the people in the ghetto, that they could use it to sing and dance and stuff like that. It was like a token gift to them. And they had a guy named Cliff Roquemore who was from Detroit. He was in charge of the theatre part. They had someone in charge of dancing and people could come, young people could come and learn, at no charge and develop the arts. And at the same time, Cliff was handling shows. Not musical, it was just shows, theatre or something. And I knew him from Detroit. So when I came in, he said, "Man, why don't you come by, man? Because the artists, the young people would love to hear you speak and see something because they love your music and it would be a joy for you to come in and just say something to them." So I said, "Okay." So I went to the building, Inner City Cultural Center, it was called, and they had an auditorium and he brought me on the stage and I spoke and I talked. They said, "How'd you do this?" Or, "How'd you write that?" And they had a thousand questions. And I said, "Listen, I'll come back and we'll go right now. I'll tell you what, I'll give you more information, but right now, let me see what you're doing." So they got on stage and they did a moment of a play that they were all working with. And one of the students said, "Could you write a song for us, for this show right here?" And I said, "Write a song? Well, this is theatre. I mean, I do regular shows, but this is you acting." And they said, "Just one song, so we can have something to work with." And so Cliff said, "Man, why don't you write him a song?" And I said, "Okay, let me see a couple of scenes." So he did a couple of scenes and I said, "Okay, I'll put a song right there. I'll write a song for that moment right there." I said, "Now, I'm going to write a song about what you are doing. So in the song, it's what you're doing so you don't have to turn around and then talk dialogue, the same thing. I'm going to give it to you in song. You can move on with your show, past that point."

He said, "What do you mean?" I said, "I'll show you." So I wrote them a song, whatever, I can't remember the song, but at that moment in the show, the song came up and they loved it and the audience gave him an ovation and all that. They said, "Could you write us another one?" I said, "Wait a minute." So to cut this long story short, it got around and I was sitting, watching plays being developed and saying, "Well, why would you not put that into a song?" So I found myself with Cliff Roquemore and these young talented people, I found myself in a whole nother world. When they ran out of money and they couldn't do certain things with the show, I said I'd tell the owners ... Well, not the owners, but the people that's running it, Cultural Center. I said, "Look, I will pay for that for them. Just open it up. You can just charge for an audience to come in and see them," and I'd get my money back. They said, "Well, that's going to be X amount of thousands of dollars." I said, "That's not your problem. That's my problem." So I would do that because I was learning something from them. That's the whole point of this conversation. It got to the point now, let me tell you some of the people that were in this theatre, this Cultural Center, Forest Whitaker, Josephine Baker, these were younger people at this point, right? And now, I'm showing them we start developing. And it got to the point that the shows that I did were happening. So the people from the city would come and see these plays. And I found myself in a whole nother world of entertainment. But it was good for me because I could see them develop. And I did a show called Swan, LG Swan. I took Jackie Wilson, Teddy Pendergrass, blah, blah, blah. Made a whole character who was a great performer on stage, a real asshole offstage, right? So I had this going, but Forest was so good. When it was over, he came to me one day and said, "Man, would you manage me?" I said, "Forest, I don't know anything about managing actors and stuff like that. I'm in a whole nother place. But you see this video, you show this to whoever you want to handle you. And if they can't understand how good you are, go someplace else." I said, "Because you are incredible." That was the beginning of his career is what I'm saying to you. And about five different artists, all of them made it in the film industry because of working at that Inner City Cultural Center. And by the grace of God, me being there, giving them what I knew.

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Skyler - Yeah, but man, you got to write some songs for it too

Mickey Stevenson - It's a whole nother world. You got me?

Mickey Stevenson - It's in the book. Everything I'm telling you, it's all in here.

Skyler - Yeah, but you got to

Skyler -Are you still mentoring young people today? Skyler - My mom used to say, "It's 24 hours in a day. If you don't take eight hours out for yourself, by the time you get to the end of your life, look back, you made sure everybody else was taken care of and you didn't take care of yourself." Mickey Stevenson - She's absolutely correct. Now, personally, I can spend 24 creating. I'll tell you why. It is a joy. People say to me, even at Motown, they say, "Man, you always working. It's eight o'clock and you still here." I say, "It's working for you. It's a joy to me. What are you talking about?" Me and Holiday, [inaudible 00:29:25] and Smokey and them, sometimes we would never leave. You know what I mean? We'd go get something, go grab some food to bring it back. You know what I mean? We were supposed to go to our homes and our relationships, but we'd say to them, "Hey, hey sweetheart, why don't you come on down here? I'm right in the middle of his stuff?" You know what I mean? Skyler - Wow, Mickey.

Mickey Stevenson - But you got to spend that time. That's all! Once you get into it, you're on. And it doesn't have to be music. It could be anything that the gift has given you. If you spend time on it, they can't stop you. Skyler - You got to do that movie. Mickey Stevenson - Yeah. Well, I've turned down a few people. I didn't want to deal with it because they wanted to bring in some drugs and some shooting and all that kind of stuff. I said, "Forget it. Stick to the book, or no." "But you can make a lot of money." "I don't need your money, my friend. God took care of me. My job is to make sure that the people need to know how it works." Skyler - That's exactly Mickey Stevenson - So for that, you can't pay me more to throw in some stuff that's not real. Some drugs or some this, no. Just believe in yourself. Feel for yourself. Spend time on what your dream is. Go for it. Stay away from negative forces. That's what you earn from this right here. Don't care what you do. Be a doctor, a lawyer, a musician, whatever. If you don't spend that time to develop those gifts given to you, it's over. Skyler - Yeah, I love it. Because your passion for music is just contagious. I want to be a part of what you're doing too. You know what I mean? But Tom, get another one in. Tom - Oh, I was just going to ask, back to your book slightly for you, Mickey, how long did it take to write and was it a long process to write it? What was the process behind that? Mickey Stevenson - Well, it didn't take long once I got into it. My daughter, when I first started writing, putting stuff down there, she took the book. She said, Okay, Dad, what is this?" I say, "I'm writing a book." She says, "Dad, write like you talk." I said, "What do you mean?" She says, "

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"Dad, write like you talk." I said, "What do you mean?" She says, "If you write as you talk, people will get way past all this stuff and they'll get into it personally. If you write like other people right, then it won't be the same." So I said, "Okay. Man, I don't like that shit. I think it should be ..." She said, "Write like you talk." So I started doing that and every time she looked at it, she said, "Okay, this is not you right here, come on. You read like a news reporter. Could you rewrite this part. Skyler -She could tell? Mickey Stevenson ... again, please?" You know what I mean? And once I got the flooring with it, and you'll see, I write like I talk. And everybody said, "Man, this is great. You ought to do a talk version." My wife keeps telling me the same thing. But if I do a talk version, I have to have some music behind me. You know what I mean? So I'll get into it. But I got tons of music here. I got about the best arrangers in the world. I have a studio in the back of my house and I said, "Well, if I do it, I have to go back there and find which tune going to be behind this dialogue right here." You know what I mean? Like a production. Tom - Absolutely. It could be fantastic, Mickey. It really couldSkyler - Yeah, because you can direct it yourself. You know exactly how Mickey Stevenson - I want to do it. I'm going to start, maybe next week, I'll get into it. Right now, I'm working on these plays and shows that I'm dealing with, but I'm going to get to that. She's convinced me to do it my way. You know what I mean? Underscore. You know where you're talking, at a certain point, put a little underscore there. You know what I mean? Skyler - She's right. Tom - How do people see what you are doing? Are you on any kind of social media outlets, anything like that? Mickey Stevenson - Well, pull up Mickey Stevenson on your computer, everything that's going on. I got some kind of something that my wife set up for me, that you can find when you pull me. That's there.

Tom - We'll get the links to your book into the description of this video. We'll also ... any websites like that, any kind of things that I can find, I will pop into the description as well so people can go off and find The A & R Man book that you're displaying. I want to go off and buy a copy myself. That's incredible. It's something that people Mickey Stevenson - When you get it and you read it, you call me Back. We'll have a great conversation. Tom - I'll do that. Mickey Stevenson - I can't talk about it like this, but it's in the book. You know what I mean? Tom - Yeah. Some great stories. Mickey Stevenson - And it opens with Berry Gordy and Smokey talking about me, not me. They opened it, and said, "We doing the first page." Berry did the first page. Smokey did the second page. I didn't know about that for maybe months. Tom Oh, wow. Skyler - Mickey, thank you for the privilege of your time, my brother, for coming on our show. Tom - Yeah, fantastic. Skyler - We appreciate it and this has been wonderful. Hopefully, we can stay in touch with you and so soon as your movie comes out, we can promote that too. Mickey Stevenson - Oh, that'd be great. And the plays. It was great talking to you fellows, man. Tom - Great to meet you. Skyler - You too. Thanks for coming on, brother. Mickey Stevenson - All right. Skyler - Much love. Mickey Stevenson - Much love.

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“Mickey Stevenson is my brother, brother. He has not received his props. He was our first A&R man at Motown. Marvin wanted to be a crooner. Mickey was the one who turned Marvin around to become what we know and love! He convinced Marvin Gaye to sing rhythm and blues.” Quote from Legendary songwriter and performer, Smokey Robinson “Mickey Stevenson was one of the first producers I met at Motown” (Quote from Stevie Wonder, Motown Artist for Life, via the Hollywood Walk of Fame ceremonies for the Funk Brothers.

''Stevenson’s new book is a must read about the man who “carried a big stick and knew how to use it.” He tells how Gordy made him the “backbone” of the company – as portrayed in Gordy’s “Motown: The Musical”

Mickey alongside a new and upcoming artist Michelle Credit: Michelle Stevenson 99

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I recently spoke with award winning crime author Kellye Garrett who is one of the three co-founding members of Crime Writers of Color (aka: CWoC) along with crime author Gigi Pandian and the world renown novelist Walter Mosley.

In 2018, Kellye Garrett and Gigi Pandian had the idea of starting a kind of group where crime writers of color could be in touch with each other and become involved in sharing information. She posted about it on Facebook. A friend mentioned that world renown crime novelist Walter Mosley also wanted to start a group. Then as serendipity went to work and short time later, she found herself sharing a stage with Mosley After mentioning her own desire to start a group to Mosley, he asked for her details and later contacted her to discuss his own ideas, and the Crime Writers Of Color was officially born. And even though they are not a formal organization as such, they are nevertheless a magnet for established crime writers as well as people who want to become crime writers. One of the remarkable things about the organization is that they’ve only been around five years and they already have more than 400 members. Because they don’t want to be the kind of organizations that excludes new comers, all one has to do to join is want to become a crime writer and sign up through their website. https:// www.crimewritersofcolor.com/ The sharing of information that is encouraged by the CWoC provides an environment where writers can recount and share their experiences in areas of artistry, and business awareness as well as personal encounters in what Garrett refers to as a noncompetitive safe space. I can see how this can be especially useful for younger or newer writers who may be able to benefit from experiences of authors who have been around for a while. On the listserv there is a “good news thread” where writers can update the membership on something good that has happened to them or someone they know. For writers looking to get their first novels published, this kind of positive affirmation can be a breath of fresh air in a desert of seeming unending rejection which so many writers face.

Although at this point all of the organization’s interaction with their members are online there is talk about holding physical events in the future. And members have met up at local crime fiction festivals and conferences. Also, information might be passed on about upcoming events where writers can plan to meet or even become a part of the upcoming program. Over the years, when speaking with other crime writers I have often heard them talk about is the dearth of information surrounding publishing deals and agents. This is the kind of information that can now be shared online. Speaking of online; It seems that before the internet culture took hold of the world, book publishing was a mysterious industry peopled by those who often sprouted suppositions that many considered to be the holy grail of statistical knowledge and literary authenticity, thereby damning and hobbling the enthusiasm of many crime writers of color who did not fit their prescribed crime- race niche. But because the online culture has fragmented traditional markets to a huge degree ie: Amazon, niche and self-publishing), traditional publishing companies are now under more pressure than ever before to push their product in any market in which they can make a sell; and as a result, the cloak of mystery publishers once so cleverly hid behind is starting to melt. Economic survival is forcing them to look beyond the stereotypical race-niche crime stories so many publishers had traditionally reserved for writers of color. Now they need to find any writers who can make the cash flow in whether they are telling stories relating to race or not, thus giving crime writers of color a better shot at selling in major markets. The website is a treasure trove of goodies. The EVENTS SECTION is where writers can find out about upcoming events both online and in different locations. In addition, there are Zoom meetings where authors talk about the nuts and bolts of writing with respect to how various elements of novels pertaining to characters and plots can be developed. The PODCAST SECTION has interviews with various crime authors talking about their books including their writing styles and habits, as well as how they came to write certain aspects of their books. This is an excellent section to find out about upcoming books as well.

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The SPEAKERS SECTION has a list of crime writers that can be contacted for speaking engagements in both the USA as well as internationally. The YOUTUBE SECTION has videos from CWoC members talking about 10 questions relating to their writing process. What is great about these videos is they are easy, informative, and concise. The BOOKS SECTION reaches out to bookstores and libraries to help them include crime books by authors of color in their catalogues. A major milestone was achieved this year when the organization received the Raven Award from The Mystery writers of America Organization. Garrett says that it was totally unexpected and welcomed. I think receiving The Raven Award shows the world that CWoC is being taken seriously as a place publishers and producers can look to for crime writers. So if you are or know of someone of colour who is writing crime books or films or know someone who is seriously interested in becoming a crime writer, put them in touch with CWoC.

“When we first started talking about the idea that became Crime Writers of Color, we never imagined the small informal group would become such a big and thriving community in just a few years. Our goal was always to create a safe and supportive space for fellow writers of color to network and thrive. So, to know that the group is making a positive impact in the mystery community as a whole is so gratifying, and to be recognized by MWA in our fifth year is such an honor! We thank you on behalf of all our 350-plus members who are in all stages of their career.” —Cofounders Walter Mosley, Kellye Garrett, and Gigi Pandian

Article by Teddy Hayes

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Jeffrey DeLong Photographer

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effery’s current role is an Advisor with Warner Media, his leverage includes cuttingedge trends and builds promising new revenue- generating opportunities for clients and partners of industry.

In the realm of conservation Jeffery contributes his best efforts towards sustainability, creating and helping to maintain the conditions under which humans and nature can co-exist in productive and peaceful harmony that permits fulfilling the social and economic requirements of present and future generations. Photography is one string the this incredibly creative artist/creative.world Equal has had the special pleasure and honour to chat with him personally. World Equal : What made you first pick up a camera? Jeffrey DeLong : Curious how a memory could be captured . World Equal : What is your favorite camera? Jeffrey DeLong : Leica M10 digital. World Equal : What is your favorite subject to photograph? Jeffrey DeLong : Roads with majestic backdrops.

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World Equal : What do you think is the most important thing to remember when shooting landscapes?J effrey DeLong : Shoot as much as you can and edit later. World Equal : What equipment and tools are vital for you to have no matter where you are photographing? Jeffrey DeLong : Backup batteries. World Equal : What is your experience with editing photos? Jeffrey DeLong : I do all my own editing so I have lots of experience.

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World Equal : What editing software do you like to use for your finished photos? Jeffrey DeLong : Adobe. World Equal ;Tell me something you struggle with as a photographer. How do you work to overcome it? Jeffrey DeLong : Struggle shooting at night. Practice. World Equal : What are the essential characteristics of a successful photographer? Jeffrey DeLong : Stay passionate about the art. Always be willing to learn.Stay passionate about the art. Always be willing to learn.

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“When words become unclear, I shall focus with photographs. When images become inadequate, I shall be content with silence.” — Ansel Adams 112

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“What makes photography a strange invention is that its primary raw materials are light and time.” – John Berger

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World Equal : What formal training do you have as a photographer? Jeffrey DeLong : I have no formal training. World Equal : What professional photographers have influenced your work? Jeffrey DeLong : Inspiration : Conrad Hall and Michael Mann . World Equal : Among all your work as a photographer, which is your favourite and why? Jeffrey DeLong : Sunrise pics - the start of a new day World Equal Are you comfortable working on your own or do you prefer to work in a team setting? Jeffrey DeLong : I prefer working alone.

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World Equal : What are some of the most important skills a photographer should have? Jeffrey DeLong : Patience! World Equal : How do you decide which camera settings to use for a particular shot? Jeffrey DeLong : Experience and guesswork. World Equal : Provide an example of a time when you had to be creative in order to get the shot you wanted?J effrey DeLong : Climbing up onto a roof to get the ultimate shot. World Equal : Can you explain to World Equal copyright laws in the photographic realm? Jeffrey DeLong : Title - It's all about the image big

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“I photograph all the time – it’s a way of being alive and being connected,” – Harry Gruyaert 117

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Created by joni from the Noun Project

“If you can smell the street by looking at the photo, it’s a street photograph.” – Bruce Gilden

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“The artist’s world is limitless. It can be found anywhere, far from where he lives or a few feet away. It is always on his doorstep.” – Paul Strand 119

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Notice that the stiffest tree is most easily cracked while the bamboo or willow survives by bending with the wind Bruce Lee

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I love the creative feeling you get in your stomach when you're set alight and you can make something for other people."

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Georgia Hudson is a director and artist, born and raised in London. Georgia’s reverence for humanity, beauty and culture is at the core of her work. Her signature attention to atmosphere and movement fuses with her love of people, making visually radical films with a lot of heart. Georgia came up through music videos - rising to a nomination for “Best Director“ at the UKMVAs 2019. Georgia has repeat collaborations with a long list of high-grade talent, including PINK, Lenny Kravitz, Jorja Smith, Tom Misch, Loyle Carner amongst many others - She loves to make a conscious contribution to pop culture, collaborating with like-minded artists. Georgia’s passion for dance, style and empowerment combined with her dedication to clear communication and emotion-driven storytelling continue to be reinvented and harnessed to create award-winning commercial films for the most influential global brands and creative agencies. Only two years into her commercial career Georgia was awarded “Director of the Year, Europe” by Shots for her body of work in this industry. Georgia continues to work prolifically, making conscious, relevant work with a distinct point of view. 2021 saw the global release of ‘TEMPER’ - a documentary exploring the human condition. 2022 saw the exhibition and launch of her poetry book on recovery ‘ORANGE EYES’. 2023 brings about ‘RADIANCE FM’ - A mentoring scheme that creates opportunity and high-frequency guidance to ambitious creative talent across the world.

Tom Bryant: Welcome to the show, Georgia Hudson. You came up through your work in music videos, directing and rising to the nomination of best director at the UK MBAs in 2019. You have collaborations with a long list of high-grade talent, including Pink, who you got nominated for best director for at least one of her videos, Lenny Kravitz, and Georgia Smith. Not only that, you've also got a passion for dance style and empowerment, combined with a dedication to clear communication and emotion-driven storytelling, which comes through very much in the way you present your work and your videos. Just two years into your commercial career, you were awarded Director of the Year Europe for your body of work in the industry. You continue to work prolifically, making conscious, relevant work with a distinct point of view. It's brilliant to have you with us, Georgia. There's so much to talk with you about everything that you've been doing. Thank you so much for joining us and please do tell us more. Georgia Hudson: Well, thank you for having me, Tom and Skyler. I'm pleased to be here. Is there some specific direction that I could tell you more about? Tom Bryant: Anything you like. I mean, we've just touched the surface on some of the music videos and so on that, you've been involved in. How did that sort of start for you? Was it just you were in the right place at the right time for some of those projects? Georgia Hudson: I think with most creative careers it's a combination of different things and some of it has to do with being in the right place at the right time and then a myriad of other things as well, I suppose. I mean, for me, what happened, was I went to art school and I studied ceramics, so I wasn't destined to work in film or music. I remember seeing a sidekick when I was a teenager who told me one day I was going to work behind the scenes in music, somehow behind the scenes. And I was like, "Really?" I can't sing.

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I couldn't imagine what that meant. And certainly doing ceramics, I didn't anticipate that. I made music when I was at art school. I made soundscapes and I sang in bands and I ended up filming a lot of things and photographing a lot of things and my ceramics work became quite conceptual. And then once I graduated, I wanted to work in an industry with other people. I didn't like working in an isolated way. And at that point, I could go on Gumtree and look for people who had no money, who needed someone to turn up and film something. And I just started educating myself by throwing myself into the deep end basically, and just doing whatever I could with the resources I had at the time. And a lot of the work that I put out was really messy and scrappy, but that just became my style and I just owned it. And I think there's a part of fake it till you make it and kind of luckily I never judged myself so harshly that I paralyzed myself into not being able to just put stuff out. So some balls started rolling and then it just was like playing basketball, met some guy who was a music video agent, this, that, and then it started developing in that way just through experience and willingness and curiosity and a bit of courage. Skyler Jett: Of course, that's what it takes. What are some of your favourites? Georgia Hudson: Some of my favourite work that I've made would include, definitely include the videos I've done for Pink. I've actually done three videos for her, but only two were released. We first collaborated about five years ago and it was a real moment for me in my career that this big pop star was interested in having me make a music video for her because up to that point I'd done a lot of UK acts, but much smaller in terms of their reach and impact. And she's an icon, she's been around for a long time and she's made a real significant dent on the music scene and done a lot for contemporary pop-punk and that spirit of things put into a pop dynamic and done a lot for women on screen too. And in music, she's stood by her values. So I was amazed to be able to do something for her and very much true to the idea of who we might think she is.

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She gave me a lot of freedom and wanted to support me and back me and back my vision and she saw me as an artist and wanted that to come through. So she didn't micromanage it at all and they put a lot of budget in. So that was one video about five years ago and that was kind of when she was launching a new album and it was her more like emo, epic emotional song off the album. And we did a great job with that. It was incredible. We got to work with a helicopter and huge dance cast and multiple locations and it was absolutely epic. I had the time of my life. And then the second time we worked with her, which was this time last year, she called after five years and again, releasing a new album. It was the emotional epic off of the album and she wanted me to do that for her. And again, even this time it was even more like, "Do what you want. I just want you to hear the song. Tell me what do you see? What do you feel? I want to make other people feel." That's what's so exciting is when you work with someone who really lets you do what you want to do. Tom Bryant: You run with it. Yeah, yeah. Georgia Hudson: Yeah. Skyler Jett: Yeah. I love that your dad worked with Sophia Lauren and on the show he told us that was amazing for him because she's like the same thing, just be yourself, you know what I mean? When you get to do that, I mean. Now you say you sing too, right? Georgia Hudson: Yeah. Skyler Jett: So are you going to do your video? Georgia Hudson: I don't know. I think it's good to have a few things that are reserved as hobbies just for myself. Skyler Jett: I love it. Tom? Tom Bryant: Well, I also want to talk a little bit about other work that you've done. You did an exhibition of poetry that you've done called Orange Eyes, which you did in 2022. Can you tell us a little bit about the work you did with that?

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interested in how creativity can feed the globe and how we can give back through our art. I'm very driven by social change and want to be a part of sending love outwards towards society by using my own experiences, I suppose, as material for that. And I hope that that comes across in my music videos as well as my commercials and the poetry and all of it. It's not really about the medium for me, but it is about the heart being like, "Well, what can I give back?" So I vibe with that message that you also seem to stand for. Skyler Jett: Now, have you turned your poems into lyrical content?

Georgia Hudson: Yeah, and that segues nicely off the singing question because also when I was a teenager I used to, I wouldn't say rap, but I used to play around with the rhythms of wordplay. Tom Bryant: Wordplay, yeah. Georgia Hudson: Yeah. And I definitely performed a few raps with humility and comedy attached to it. But that's really because I always loved words and I loved performing and it was just trying to find a way to do that. So anyway, fast-forward 20 years and I still had the same urge and I write poems, I collect poems. I believe they're all hanging out in the ether and they just want to be collected, kind of words. And so I was doing that. I also found it very therapeutic to use words to dig through a chapter of my life where I had had a lot of transformation. So I collected these poems, made a book of works and otherwise, and I wanted to raise money for a charity that also offered transformational help to children. So we had a big launch and an event and sold the books for charity and they're beautiful little items with some kind of, I wouldn't say the best poetry in the world, just some that I've written. And again, it's like just trying not to judge too harshly what I produce otherwise I don't think I'd put anything out. But yeah, so that exists and that was very deeply gratifying and much like you guys are called Music for Global Change, I'm really

Georgia Hudson: I did actually. I worked with, when we came to do the event last year, I wanted to perform a few of the poems and I collaborated with some musicians from South London that I know, a DJ, a musicians type, and a couple. And we went into the studio and I recorded my reading the poems and they mixed them and made them into a kind of interesting artistic score, which I also show [inaudible 00:08:46] for. So one of those things does exist out there. It's called Orange Eyes. Oh no, that's the book. The poem we made a video for is called Camberwell Green, which is on my website and is an ode to the part of London I've now lived in for 20 years, in all its bittersweet nature. So we did do that and I love collaborating with musicians in many ways. Yeah. Tom Bryant: Is it something you'd consider doing again, doing the poetry book, stuff like that? Was that a one-off thing that you've now done or will you feel that it would be something you'd continue to do? Georgia Hudson: I will continue to do work like that. I think that that very much was a moment in time, the nature of that book. So we'll see. I think maybe, I'd love to do that, I'm writing a feature film at the moment, I'm writing a short film and I'm setting up a community project called Radiance FM, which is about connecting people together who want to raise the vibration of their communities and the work they're making and like to help people uncover their authentic self. And when I say people, I mean young people especially. So it's a community that can support young people to emerge radiantly. 125

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exactly what the best way to serve them is through this work and really how to focus the energy into something that's genuinely productive. Often, even better than talking to young people, is just engaging creatively with them on a project. And then everything gets learned by the side, alongside it in more subtle ways, which I think works well. Tom Bryant: I just want to know what's next for you, Georgia, really what's next on your plan?

So those are the things that are taking my attention at the moment, along with the commercial work and my lovely son who's eight years old as well, he also needs to be raised. So there are those things, the poems are always collecting themselves and getting made in some way. And we'll see. It always becomes clear when something wants to arise. I almost feel like a part of putting on that event and writing that poetry book was for me to remember how to do something for the first time so that as I'm doing more of my youth mentoring, it's just a bit fresher in the memory about what it takes to do something that terrifies you. Skyler Jett: Wow. So you do speaking engagements for young people? Georgia Hudson: Yeah, at the moment, last year I did a couple of seminars, I suppose for people, not within schools, but outside of schools in, I don't know what they're called, GCSE equivalent type spaces, that kind of age, teenager age. And what I've been doing otherwise is on all my commercial jobs, running a mentoring scheme where we take young people alongside it to help to, well, it's just a perfect little structure. They come and they make their behind-the-scenes film, and they get mentoring as they go. So we're still figuring out

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Georgia Hudson: Well, it is October, it's the beginning of October. So we have a kind of industry, commercials industry event coming up in Berlin in a month where I'm giving a talk on how we work with dance and how dance is like a physical therapy and kind of how to creativity dance and how to upstand your values in a capitalist environment. And then after that though, I'm going to get a commercial job in I imagine for November. So I'm just waiting for that. Skyler Jett: Yeah.

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Georgia Hudson: That's normally what happens. So I'm on the bit where we pitch and then see about that. And then otherwise just developing the projects which I mentioned, which is a kind of ongoing. Skyler Jett: Do you pitch yourself or do you have an agent? Georgia Hudson: I pitch. Yeah. So I receive opportunities and we decide whether they're right, and get invited to pitch by creative agencies. And then when we say, "Yes." My team comes together and we build a pitch and then you are one in three chance of winning it. Well, if you win it, then you have to do what you've promised that you'll make and that depends on where you're shooting it and you just start the process of production, which as a director means that essentially you have to communicate whatever vision you've had or responded to. You have to communicate the vision to teams of people, get everyone aligned, and then respond to the options that they bring you, whether that's from all the different teams because it's so many people come together to build short-form commercial music videos. It's a hundred people or so. But I just talk to the heads of departments and then it goes down and we create it together and it kind of creates itself too because often things aren't possible. And so then you have to choose other things and be clever like this. That's creativity though, isn't it? It's a little bit of let's do this and a little bit of let's see what happens. I think that's the best result. Leave space for nature to intervene.

Skyler Jett: Yeah. Now do they send you the lyrics and you kind of look them over and say, "I see this there or see this here"? Georgia Hudson: With a song, normally what happens is they'll send me the track and I'll listen to it quite a few times and then I normally break it down into the time codes of when I feel like visually it's shifting. So it's like maybe that's an intro and then you need to move here and there. So I break it down and then I start plotting out the visuals that I've seen. I think everyone responds and works differently, but I see visuals and I see atmospheres and things that want to happen and I feel it. And then I translate that into a story that kind of mirrors, find imagery that supports what I've seen and kind of create a detailed plan of what I'd like to do. And then we respond and work with the artists and with budget parameters as well. I've got quite good at thinking being like, okay, cool, we have X amount of money, so that means we can only really do two setups. This has to work in a day. So how's that going to... Yeah, so it's a practical thing that goes into the visionary stuff as well.

Skyler Jett: I imagine some things happen faster than others. Georgia Hudson: The best ideas I've had come straight away, I'll just close my eyes and listen to the song and it's there.

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Skyler Jett: Yeah. Georgia Hudson: So I don't think it ever has to be forced. I think it's such a myth that work needs to be like... Creative work needs to be laborious or hard. I think the more you relax and just allow it to arrive, the better quality it is. Because it's not mine, comes through you, not from you. That's how I feel. Tom Bryant: Well, I've got a twofold question. Firstly, when you do a music video, for example, how much of the vision is coming from the... Does any of it come from the artist? Would they give you an idea here, "This is my song, here's how I would like it," and then you mould it or is it all from you? And secondly, how long, if you can put a timescale on it, how long do you get and how long does an average project like that take?

So some artists want to collaborate and some want to know what you think and sometimes someone will come and say, "I want to wear a suit," and that will be their brief, which is fine as well. So it's completely varied. I think the more confident the artist is in their work, the more confidently they let someone else come on board. And then the second question was, how long does it all take? Well, we don't get given lots of time. So normally what will happen with a pitch is I'll have about a week to do a pitch, send it in, and they'll take any amount of time they like to decide, normally about a week or so. And then production has to budget everything, all of this dah, dah, dah and then once it's been signed off and they're like, "Cool, the money's yours. We love the idea, let's go," it's probably about anything from two weeks to three weeks prep and then however long it's going to take to shoot, a day or two. We don't get much time for music videos because the budgets aren't big. Commercial will be more days, depending on how many shoot days. And then you stop, you have a rest day, and then you go into the edit, which takes a minimum of a week, normally two, sometimes a month if it's commercial and then grade it, which is another day. So normally about two months, I'd say per project.

Georgia Hudson: The first question, it depends. It totally depends. Sometimes with Alicia Pink, she was like, "What do you think? Just tell me what do you feel? What do you see?" Totally open. And then I've had other artists like Loyle Carner, the first time I worked with him, he was like, I see that this video is about me and I want my partner to be in hospital and she's just had a baby. And he saw it quite clearly. And so we kind of did that and I was like, "Cool, we'll use that as a backbone. How about we then have a group of dads with babies and we put your mom on the ceiling overlooking and make it a bit surreal." And so then we developed it together. 129

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Skyler Jett: You know what? We're going to get all your information so that we can add it to our network. Tom Bryant: Just want to know, basically for people out there, if you are on any kind of social media platform, where people can see what you're doing, see what you've done in the past, how to interact with what you're up to. Georgia Hudson: Yeah, thank you. Yeah, I mean my website, georgiahudson.com hosts a lot of my work and I use Instagram daily and I'm Georgia_ _ Hudson. Tom Bryant: All right, good stuff. I'll put those links in the video as well so people can take a look at the bottom of the video and there, check it out. Georgia Hudson: Thanks, guys. Great to talk to you. Skyler Jett: Thank you. Tom Bryant: Appreciate you coming on. Skyler Jett: Thanks for coming on the show. Really wonderful to have you here, cousin. Thank you so much. Georgia Hudson: Thank you, Skyler Skyler Jett: All right, namaste, namaste. Georgia Hudson: Namaste.

Interviewed By Syller Jett

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"I love the creative feeling you get in your stomach when you're set alight and you can make something for other people."

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''Please tread carefully and keep away from the shadows; you are about to enter the abyss''

Maxim Jakubowski Crime, Erotic, Science Fiction & Rock Music Writer & Critic.

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axim Jakubowski was born in 1944 in England to Russian-British and Polish parents, but raised in France.Jakubowski has also lived in Italy andhas traveled extensively. Jakubowski edited the science fiction anthologies Twenty Houses of the Zodiac (1979), for the 37th World Science Fiction Convention (Seacon '79) in Brighton, and Travelling Towards Epsilon, an anthology of French science fiction. He also contributed a short story to that anthology. He has edited works on Jack the Ripper. He is also a reviewer having had columns in Time Out London, The Guardian and Crime Time. Teddy Hayes : You published your first book at only 16 years old. Tell us a bit about that. What were some of the first important steps in what has turned out to be a long and fruitful journey? Maxim Jakubowski : I began my literary life as an avid reader and SF fan. As I was bilingual I contacted a French SF magazine and offered to do translations for them. Along the road I realised that fiction contributors were paid more than translators and thought I'd try my hand. Succeeded early with my initial attempts and then began a magnum opus which I proposed to a Paris publishing house who acquired it without knowing how young I was. I had to get my advance cheque made out to M. Jakubowski , as I didn't have a bank account and my father had the same initial as me! The book was terrible, a sentimental space opera which is now well forgotten (and somewhat immature). Needless to say it was well over a decade before I published anything else again (although of course, studies and girls had by then become a more important focus point in my life...)

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Teddy Hayes : In your speech at the CWA dinner, you mentioned that you inadvertently found yourself speaking several languages, how did that come about? Maxim Jakubowski : My parents moved to Paris when I was just three years old so I grew up bilingual and have never actually been to school in the UK, bar one final year to complete my curriculum at the French Lycée in London. I later lived a few years in Italy and picked up that language. Teddy Hayes : You have had years of experience as an editor. I think many people would be surprised as to how the role of an editor can have a major impact on a crime novel series? How would you describe some of the ways in which this might happen? Maxim Jakubowski : I was more of an acquiring editor throughout my publishing career or came up with ideas which I married up with authors (in the non fiction field of course) . I have never been a structural/development editor and worked closely on the actual manuscripts with authors. But a good editor can be an important factor in helping an author improve a book. My own approach as both editor and writer has always been instinctive and, dare I say, somewhat idiosyncratic. Teddy Hayes : You have been involved with writing for a long time, with crime, and science fiction as well as erotica. That is an interesting mix. Do any of these subjects dove tail into one another in any of your crime novels, or any novels that you have worked on? If so what are they? Maxim Jakubowski : All those elements somehow keep on converging and returning like a bad penny in everything I write. As a result I have always been outside of fashion and trends; which is fine with me. Editors would dislike the sexual elements in my SF and later in my crime books. Eventually, the tide turned and they remembered this feature of my writing when FIFTY SHADES arrived on the scene and everyone was desperate for a counter and I got commissioned to write something specifically erotic, and with no SF or crime elements.

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The initial 3 book contract expanded into 10 volumes and a bestselling series (under a female pen name) which has now sold to 31 countries and reachged 7 million sales! But I was happy when that tsunami calmed down and my last 2 novels have been, respectively, a dystopia, a magical fantasy story and, coming out in November, JUST A GIRL WITH A GUN, a love story cum bloody thriller, all with strong erotic elements. Teddy Hayes : Some writers are very pristine about not mixing genres, do you have any problems with this approach to crime fiction writing? Maxim Jakubowski : You write what suits you , whether it's in fashion or not, Tastes change and sometimes the market too! I am now cushioned by the fact that I no longer have to rely on new books to sustain a good living. Teddy Hayes : There is ever so much around about True Crime, why do you think it has such an appeal and especially to women? Maxim Jakubowski : I've never been a great fan or had much personal interest in true crime and, at Murder One, it was certainly my least favourite department. It also worries me that so many women are 'into' it; possibly a 'there but for fortune go I syndrome'! Teddy Hayes : I first met you twenty years ago, when you still had your bookshop, Murder One. You have seen a lot of changes. In the past fifteen years, what's been some of the biggest changes in crime book publishing? Maxim Jakubowski : The fact that publishers no longer have a sense of history and tradition and marketing/sales departments now dictate acquisitions, and those guys just want more of the same that's selling and that stifles creativity.

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Teddy Hayes : You are also a creator of major crime events. Will you continue to produce The Crime Scene Film and Literary Festival? Maxim Jakubowski : That came to an end a decade ago, when sponsorship became too difficult to find any longer . Which applies to not just film and books, but anything to do with the arts. Teddy Hayes : Although you have stepped down as Chairman of the Crime Writers Association you are still very much involved in the world of crime, and now you will be acting as Executive Producer on the new ‘Factory’ TV series being produced by the FX Network. What new vistas are you hoping to open in this role, especially as streaming now offers more and more opportunities for crime writers? Maxim Jakubowski : I've done my 2 years at the helm of the CWA and leave it in good hands but I remain on the board and will remain involved as Chair of the Daggers subcommittee, overseeing the judging and the awards dinner. It's all volunteer work which I'm happy to do. The 'Factory' TV series has now been dropped by Disney after they took over F/X Fox, as too dark! No surprise! However, it's moved to the Altitude Group and is now again in development and I remain connected with the production through my role as Executor for Derek Raymond, who wrote the books and was a close friend. Sadly, it's my only involvement with film and TV now.

Interview by Teddy Hayes

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To contact the artist email us for details for details @ worldequalmag@gmail.com

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To contact the artist email us for details for details @ worldequalmag@gmail.com

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Everything & Nothing I like suicide slow Death comes on tick I like heroins glow And how the needle will prick Nothing to show But my soul and its sick Sat on the couch low Falling into the trick I crave this self harm For a live of no charm To add to the track marks tattooing my arm Using to live & Living to use Everything gone & Nothing to lose Only fear dying if it happens alone That il be by myself If my flesh sends me home If I close my eyes I hope I sleep the whole day If I had company I would like that they stay What if I die? Will I reach the sky? Will heaven tell me the chance passed me by? God might not know me I might not get in Kicked out of limbo Forced to re-live that sin Open my eyes I was trapped in a dream I'm back with myself Sober and clean. Leon Rodgers 142

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I Wonder I look to space and wonder It glistens through the night Does anybody live there That shining star so bright

A Sad World Hurting The world is hurting what's happening not fair Sad to say, we all must share

I have a look around me at this world where I live And soak in all the beauty That nature has to give

Floods and fires destroying this land

There is honey from a little bee There is gold deep in the ground There is diamonds in the rivers And food there all around

We have all never seen the likes before

The air we breathe is endless There is sunshine from above There is trees and lakes and rivers There is family to love The earth's open offer To take the things we need To help us through our journey With hungry mouth to feed Oor mother earth is wonderful She has no time too slack And all the things we take from her Just what do we give back? We come to hate each other To war, to fight, to kill We generate our energy On our soil blood spill

Death takes over, I don't understand

Everyday we hear of more and more Innocent people killed by the score Children listened hard can't take anymore No food or water how can they live To the evil men ordering death, Gods can't forgive Peoples homes destroyed no place to live How they'll survive we will never know We turn to the gods and speak of grace To those evil men remember Gods they must face Mavis Rodgers 2023

So praying to the heavens I gaze upon a star And wonder could I live there Oh why are you so far? Terry Rodgers NOV 23

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Viktor & Rolf is a Dutch avant-garde luxury fashion house founded in 1993 by Viktor Horsting (born 1969, Geldrop) and Rolf Snoeren (born 1969, Dongen). For more than twenty years, Viktor & Rolf have sought to challenge preconceptions of fashion and bridge the divide between fashion and art. Viktor & Rolf have designed both haute couture and ready-to-wear collections. The duo is renowned for their avant-garde designs, which rely heavily on theatrical and performative fashion runways

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ISSUE 4 | 2018

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EARTH

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HARMONY AGE

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JUSTICE JUSTICE INFINITE

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HEALTH GENDER

VOLUME 1 // 2015

EDUCATION

RACE

LOVE

COLOUR BALANCE EDUCATION

RIGHTS INFINITE SEX SEX

SEX

JUSTICE HARVEST SEX

COLOUR

CULTURE

OPPORTUNITY

BALANCE EDUCATION PEACE

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SEX

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RACE EARTH

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AGE =EQUAL =EQUAL

COLOUR BALANCE

AGE

SEX

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COLOUR

GENDER RACE HARVEST

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HARVEST

INFINITE SEX EARTH AGE LOVE COLOUR BELIEFS

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VOLUME 2 // 2015

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VOLUME 4 // 2016

RIGHTS INFINITE

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AGE SEX SEX RACE RACE RACE

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AGE LOVE

AGE RACE LOVE

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AGE

worldequal.com

EQUAL

MUSIC ARTS & CULTURE MAGBOOK AUTUMN / WINTER 2023

Shelley Rodgers

P hotographer & Digital Creator WORLDEQUAL.COM