On Connection: 'Powerful' MATT HAIG (Faber Social)

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In dit essay - geschreven tijdens de eerste Covid-19 golf - gaat Tempest op zoek naar de essentie van creativiteit en de zin daarvan in hun en ons leven. Hoe gedetailleerder zij naar zichzelf kijken en hoe eerlijker ze dat beschrijven, hoe universeler hun boodschap; schrijven ze zelf en daar raken ze meteen nagels met koppen. Tijdens de jaren in Antwerpen die volgden op mijn soloreizen naar India greep ik steeds terug naar dat ene woordje om mezelf bij de kraag te vatten als ik in een alledaagse valkuil trapte: opgenaaid in een ellenlange rij van de supermarkt, ongeduldig op het treinperron, struikelend over kleine tegenslagen. De krachtterm ‘India’ stond lange tijd voor (zelf)relativering, geduld en het besef dat je altijd (altíjd!) kunt kiezen om de dingen anders te zien; om van een verloren gewaand moment iets waardevol te maken. Het gif van gehaastheid trachtte ik te neutraliseren met de herinnering aan Indiërs die een halve dag rechtstonden in een gammele bus met de neuzen in elkaars okselvijvers. De saaiheid van een wachtkamer, de traagheid van een rij aan het loket, het groeiende besef van een baaldag, de sleur van werk, poogde ik te compenseren door datgene te gebruiken wat je te allen tijden bij je hebt: je hoofd. Herinneringen, dagdromen, de geuren en kleuren dankzij je zintuigen, het inzoomen op gezichten en het uitzoomen naar een ander sterrenstelsel van waaruit het waanzinnig is dat ik hier überhaupt (be)sta… Nietigheid vernietigt niemendalletjes. Tempest schudt je wakker, zet je voor de spiegel, opent je ziel en laat haar vrij. De wereld in. Het moment waarin je je bevindt - het moment dat telt. Kijk om je heen. Alles leeft. Land, zie, voel tot in het diepste van je zijn. Van je kruin tot in je tenen. Voel je het al? Al dat leven?

Beaumont-Thomas, Ben (6 August 2020). "Kate Tempest announces they are non-binary, changes name to Kae". The Guardian . Retrieved 7 August 2020. This whole album, and this process, and me coming out, is me squaring myself with the idea of what being a musician is,” they say, “and how that differs from being a playwright or an author, where you can be less visible.” Part of Tempest longs for that invisibility. “At the same time, what am I scared of? It’s my life.” Maybe, they say, openness might be healing. “The pain of what it used to be – to be interviewed or on telly, that pain is also about [gender] dysphoria,” they say. “And because I’m doing something to treat that, maybe it’s not going to hurt this time.” Drawing on two decades of experience as a writer and performer, Kae Tempest champions the role of creativity — in whatever form we choose to practice it — as an act of love, helping us establish a deeper relationship to our true selves, and to others and the world we live in. and this book feels like the other end of the parentheses that palmer opened. i don't Know tempest's work, beyond let them eat chaos which ? i have no solid recollection of ? so i came at this at a slant, as a curious stranger to their life and ideas. & on connection is, from where i'm standing now, better than the art of asking -- it's more politically oriented & critical of the systems of value that both art & self have to navigate, it feels generally less complacent, less self-celebratory. but it also, as a closing parenthesis, doesn't feel particularly new or exciting. its ideas are ones i've been turning over in my head over the last few years, it echoes shifts i've already started trying to make & realisations i've come to from other angles & conclusions i've formed slightly differently. The heartbreaking story of an emotionally battered child delivered with captivating candor and grace.

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It's been the prime function of my life. It's how I solidify friendships, it's how I have fun, it's how I made my name in my neighbourhood, and then in the wider world," they explain. At some point in the book Tempest recalls how they met a homeless person who carried a poetry book with him that connected him with his mother who gave the book to him. It brought him comfort.

Let Them Eat Chaos Kate Tempest06.10. Tempelhof Hangar 5". volksbuehne.berlin . Retrieved 19 June 2018. [ permanent dead link] To really be useful to the connective power of the text, rather than interrogators, we must be the conductors. We, the readers or listeners, are crucial to the text, story or song becoming powerful. We are not impartial observers; we are a fundamental part of the circuitry; if we are not connected, the charge will not be able to flow. Tempest has an excited energy when recounting each passion project and career high. But when it comes to discussing more personal topics during our interview, they cut themselves off – lots of pensive staring. In August 2020, Tempest came out as non-binary, began using they/them pronouns, and changed their name to Kae. [15] Tempest performs hip hop, namely their signature piece Let Them Eat Chaos, at the 2017 Treefort Music Fest in Boise, Idaho Career [ edit ] Since the release of Everybody Down, Tempest has increased touring as a musician, [22] playing at festivals and headlining shows with their live band which consists of Kwake Bass on drums, [23] Dan Carey on synths and Clare Uchima on keyboards. [24]

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Alexis Petridis (27 July 2017). "2017 Mercury shortlist fails to spotlight truly exciting British music". The Guardian. a b Donadio, Rachel (6 March 2015). "Kate Tempest, a British Triple Threat, Crosses the Pond". New York Times . Retrieved 7 September 2022. The surgery went ahead, with three full weeks of total vocal rest to follow. “I was reduced to the corporeal. After a lifetime of trying to escape my body, trying to be more than my body, trying to excuse my body, needing to talk my way out of my body because it was the wrong body and it didn’t look like other people’s bodies, I was my body entirely,” Tempest writes.