Raphael Saadiq - Skyy, Can You Feel Me

Video source: You Tube

Gloria Bosman's finest, Tranquility

Thandiswa Mazwai sings about 'empty promises from the government'

‘mina ndithenjiswa yonke into engaphantsi kwezulu
ngathenjiswa inkululeko nes’thunzi
ngathenjiswa imfundo nezibhedlela
kwenzeka njalo phambi kolukhetho
ngenene lababantu abananyaniso
he wabona impilo abaiphilayo
njengoba wena ubavotela kangaka
bakusizangani?
bakwenzelani?
uyabona mina maje ng’funimpendulo
ukuthi kanti inkululeko ngenene yintoni
ngoba kudala sasithi amandla ngawethu (kanti ngenene yintoni?)
ene kudala sasithi ilizwengelethu (kanti ngenene yintoni?)’

Transcribed from Thandiswa Mazwai's song 'Ngimkhonzile', featured on the album Ibhokwe.

Buitengracht, Cape Town, 20/01/2010

Language and love

Sometimes I wish language
could be more obedient
for me to say: "I love you"
much better than I do.

~ Deon Simphiwe Skade

An encounter with Leonard Cohen

Leonard Cohen's live performance DVD reminds me of halcyon days of my dreams. It also reminds me of the fragments of the past that are covered with nostalgia; a reminder of great people who once lived.
This performance demonstrates just how incredible and serene Cohen's approach to music is. He's a bona fide gentleman with an inevitable knack of creating tranquility with his deep voice, together with all the instruments that make up his repertoire. Thus his evocative crooning heightens the awareness of what would otherwise be subtle and somewhat inconsequential' thoughts. I should indicate that this heightened awareness should not suggest a meditative phenomenon. It's
something more complex, almost indescribable.

 ~ Deon Simphiwe Skade

Letlapa Mphahlele's Child of this Soil

''Letlapa Mphahlele, APLA, is that rarest of creatures: a military man with a sensitive, seeking soul. In Child of this Soil, Mphahlele tells his story, giving us an insider's view into the heart of the armed struggle.
 After a childhood marked by a questing, rebellious nature, the young Letlapa flees South Africa in search of his destiny. His exile will not end for many years, as he embarks on the turbulent, nomadic life of a guerrilla: swept from one end of Africa to the other, migrating from refugee camp to prison cell to High Command. Enduring rigorous training, political infighting, and the loneliness of a life led underground, the young cadre develops into a mature political thinker and effective commander.
 Letlapa Mphahlele gives the reader a unique combination of blow-by-blow action and thoughtful commentary. Emotional, quirky and analytical, Mphahlele bursts our notions of a battle-scarred guerrilla: he is a philosopher and a poet; above all, a man of principle. He does not shy away from tough moral issues, nor does he shirk responsibility for his own often controversial decisions.
 Child of this Soil is a lively read, full of adventure, and packed with affectionate anecdotes about struggle leaders, politicians, cadres and other vivid characters - brightened by Mphahlele's delightful self-deprecating humour.
 At a time when political parties now represented in Parliament were outlawed, for many the armed struggle promised the only way forward. In this telling account, Mphahlele's words remind us of the passion, risk and sustaining hope of those trouble years,''

~ a blurb from the book, Child of this Soil.

The screening of The Uprising of Hangberg at Democracy Centre, Cape Town, 3 Feb 2011

"Zimology Quartet Live at Bird's Eye"

Hector Kunene is Free State Author of the Year

Hector S. Kunene

Hector Kunene is Free State Author of the Year

The Eclectic Writers’ Club in Bloemfontein has announced that Hector Kunene, poet and columnist, is the latest Free State Black Author of the Year (2010). By walking away with this Award, Hector will be presented with a special Certificate and other gifts.

Flaxman Qoopane, renowned writer and long-standing Chairperson of the Eclectic Writers’ Club has released this statement to the literary world: “We (the Eclectic Writers’ Club) are happy to confirm any rumours or speculations some might have been hearing that Mr Hector S Kunene is the 2010 FS Black Author of the Year. The award is made mainly on the basis of the two impressive books Hector published in the year in question (2010)

Hector's first anthology of poems

“The Eclectic Writers’ Club Award has a proud history and is world recognised. We recollect that in previous years literary icons like Ntate P Moroe, O Bolaji, Saint George Vis, and Mme M A Mokhuoa have won this particular accolade. Hector Kunene deserves to join these illustrious names, thanks to his contributions to Free State writing in 2010. But we must point out that we are also very proud indeed of other newly published writers like NMM Duman, Nthabiseng ‘JahRose’ Jafta, and Teboho Masakala.

“Hector Kunene published two books in 2010, one on poetry and the second what we can call literary appreciation. Both books, though not free of blemishes, are quite qualitative and very much show the talent and flamboyance of the young man, Ntate Kunene. On a personal note, I am happy that I have these two lovely books in my library at home.

Hector's appreciation book on Chief Omoseye Bolaji

“However I must point out that it is the promise and vibrancy of Hector Kunene as a literary craftsman that impress us most. He is not yet the finished article; hence he must keep his feet firmly on the ground. On behalf of the Eclectic Writers’ Club, my warm congratulations to Hector Kunene, the latest Free State Black Author of the Year”

"Stay Woke"

"I long to stay awake; beautiful world I'm trying to find" Ms Badu

 .

The Uprising of Hangberg: The soundtrack

This digital download is available through this link

 .

"The Purple Shall Govern" - Corner Burg and Church Streets, Cape Town, December 2010

Conrad Botes' creation at the corner of Burg and Church Streets

 
"On September 2 1989 anti-apartheid protesters marching on Parliament were stopped by police near this spot. They mounted an impromptu sit-in and police retaliated with tear gas, batons and a new weapon: a water cannon laced with purple dye to stain demonstrators and make them easier to identify and detain. As protesters scattered, one climbed onto the armoured vehicle with the cannon and turned the purple jet on police. Purple dye stained most of the surrounding buildings, including the National Party headquarters and the white-washed walls of the historic Old Townhouse. The next day graffiti all over the city proclaimed "The Purple Shall Govern". This was one of the last protest marches outlawed by the apartheid government. Eleven days later, 30 000 people marched through the city without police intervention..."

You may visit Sunday Times Heritage Project to read further on this part of South African history. The extract above is taken from the same site.

Infatuation

The worst thing next to lust may be infatuation.
 ~ Deon Simphiwe Skade

Milnerton, Cape Town - some time in December 2010

The life of Gerard Sekoto

Deon's interpretation of Ntate Gerard

 
Sekoto befriended artists Alexis Preller and Judit Glukman, who taught him to work in oil. Within a short time he started exhibiting his work and had build up a reputation in the Johannesburg art scene. However, Sekoto was restless, and unhappy in the racial and claustrophobic work of Johannesburg. Therefore in 1942, he decided to visit Cape Town.

In Cape Town he lived in District Six. That period was one of his most productive and saw the development of his distinctive style. He befriended trade unionist Max Gordon, artists Solly Disner, Louis Maurice, Lippy Lipschitz and Paul Kosten, who become a life long friend. Here he participated in the new group exhibition.
In 1945, Sekoto moved back to the Transvaal, to the black township of Eastwood in Pretoria. In 1946 and 1947 he held a number of successful exhibitions and began to make plans to move abroad. It was in 1947, just before the Afrikaner Nationalist party came to power, when Gerard Sekoto left South Africa for Paris. His exile was heavily influenced by his perception of the lack of potential freedom and growth as an artist in South Africa. The social, economic, and cultural context at the time did not supply a fertile ground which would allow him to enrich his experience, and properly establish himself as an artist.
When he arrived in Paris, Sekoto faced the hardships of adapting to another culture. He was confronted with the reality of a world where black and white people could coexist indifferently of each other’s race. With this began his realization that South Africa was a country conditioned by colonial racism. He began to take drawing lessons at de la Grande Chaumière, and soon enough, he made the acquaintance of other foreign workers and students. These included those who lived in Saint-Germain-des-Prés, where he moved in early 1948.

Sekoto is renowned and respected in South Africa for his two-dimensional art. A lesser known fact is that he could play several musical instruments. As the son of a missionary, music was a part of his life, and he was introduced to the family harmonium at an early age. Further, he composed his own musical works. In Saint-Germain, his musical abilities were what earned him a living, and he was employed as a pianist purely by chance at L’echelle de Jacob (Jacob’s ladder), a trendy nightclub/bar reopened for business after the war. Later, Sekoto recounted how this came about while walking with a Jamaican photographer friend:

I was in a good mood. We saw people going in and out, carrying guitars. I suggested we have a beer. We went inside and saw a young girl there and I wanted to know what was happening. She told me that there was an audition in progress and if I was a musician, why did I not take a try. I told her that I was a pianist. … She suggested I ask the patron for an audition. The patron was just in the area then and she told him that I played the piano. He suggested I play for him. I did. Remember, I was in a good mood. I do not know if I would have been able to have done it otherwise. I strummed and chanted and groaned and shouted.

This extract was sourced here
  

A man and a woman

I ask him:
‘What is it that you are first; a man, or you?’
He giggles like he's been tickled in the most sensitive spot, after which he wears a bemused smile and says:
‘Well, I think I'm me first.’
His confidence is not as one would expect of a confident person. It’s shadowed by a degree of insincerity.

I turn my attention to the lady who shares a table with us:
‘What is it that you are first; a woman, or you?’
She appears to think for a moment, and then says:
‘I'm a woman whose name is Mosadinyana.’
‘I see. Is it Mosadinyana as in ‘little woman?’
‘Yes; that mosadinyana. That’s what they call me.
‘I see. Thank you!’
I carry on with my Friday night business. It’s quite an exuberant affair.

‘Wait! Did I answer your question properly?’ she enquires after I sink into my silence.
‘Yes, you did. Allow me to wrap my mind around it!’
I turn back to the night and savour what it has already given. More of its revelations will permeate the excitement of flashing lights, voices in song and bodies that are doing all sorts of things allowed by the night of such a pulse.
I go back to Mosadinyana’s answer: She’s a woman who has a name, while the man on the other hand says he’s himself before anything else. I hope he can trace himself back to the concept of manhood and understand it in the same way as he understand himself.
A man and a woman; these concepts never cease to amaze.

Deon Simphiwe Skade

Tony Kaye's American History X

American History X has an unusual structure: The main plot is depicted in color, and events in the past are shown in black and white. Derek Vinyard, a neo-Nazi with a large swastika tattooed over his heart, is released from prison as the film opens. Derek has served three years for killing a black vandal who had broken into his car. His younger brother Danny (Edward Furlong) emulates him, adopting a skinhead mentality. He thinks nothing of confronting a group of black students in the school lavatory. When assigned to write a paper on a civil rights leader, Danny submits one about Adolf Hitler. His teacher turns to Dr. Sweeney (Avery Brooks), the principal, for help. Sweeney asks Danny to submit another report for their private seminar to be called “American History X.” The topic is to be his brother, Derek. Unknown to Danny, Sweeney has been visiting Derek in prison. Under his guidance, Derek has abandoned his radical views and now rejects hate groups. When he is released from prison, Derek is greeted as a hero by other members of the hate group, including their remote charismatic leader, Cameron (Stacy Keach). In a private meeting, Derek rejects Cameron and his neo-Nazi philosophy. As he leaves, Derek is hooted down by the others. He then sits down with Danny to explain why he changed his views in prison. He noticed the skinhead clique in jail were into marketing drugs, and he realized they were merely self-serving phonies. After he was beaten and abused by this group, Derek kept to himself and was befriended by a black convict who saved him from being a target of the black gangs behind bars. Sweeney visited him regularly and helped him gain parole. Together, Derek and his brother remove the Nazi paraphernalia from their bedroom, including their collection of Hitler photographs and white power posters. Danny completes his paper for Sweeney, noting why Derek originally turned to hate groups and how he came to repudiate their message. When Danny returns to school to hand in his paper, he is shot to death in the lavatory by one of the black gang members he confronted at the start of the film. As the end credits roll, Danny’s voice is heard on the soundtrack reading the last paragraph of his paper, concluding with a quote by Abraham Lincoln.

Movie summary sourced here.

Shaluza Max Mntambo

ShaluzaMax Mntambo is a visionary artist. A composer, producer and arranger, his tenor voice easily adapts to a range of vocal expression. Strongly rooted in African tradition, ShaluzaMax incorporates contemporary jazz with global rhythms to a repertoire that is voracious and versatile. Born in Kwa-Mashu, Durban, the vibrant musical township that continues to spawn a host of exceptional artistic talent, ShaluzaMax began his vocal training in classical choirs, at age 14.

Strongly influenced by gospel music, the young singer conceived and formed what was to become a promising exponent of African-jazz fusion - the group JAMA. Moving from Durban to Johannesburg in 1986, JAMA soon became regulars on the jazz circuit. The young musicians honed their skills in the company of groups like Stimela, Sankomota and Tananas in venues like Jazz Joint, Kippies and Jamesons Jazz Club. Towards the end of 1987, JAMA, moved to Cape Town and toured with bands like Sakhile, Johnny Clegg and Savuka and Bayete.

The young group disbanded in "88 and seized the opportunity to tour with the blockbuster musical, SARAFINA. Seven of the original eight band members took to the stage under the watchful eye of Mbongeni Ngema. After five sold-out months at Johannesburg"s Market Theatre the musical toured Europe for 30 months, and played to sell-out crowds in Tokyo and Osaka in Japan. Max played the male lead vocalist and behind the scenes was appointed voice trainer for the whole group at the tender age of 20. In "92 he resigned and returned home to Durban to focus on a bold career move, music.

He worked briefly with Durban-based musicians, including vocal powerhouse Busi Mhlongo. He also featured as lead vocalist on Sakhile"s "Welcome Home" album. The release coincided with the return of many exiled musicians. ShaluzaMax went on to perform at Hugh Masekela"s second show in South Africa after 30 years in exile.

The world watched the inauguration of Nelson Mandela and the subsequent lifting of the cultural blockade in South Africa. Attracted by the limitless talent boasted by South Africa, record company B&W saw the opportunity to launch the new legendary OUTERNATIONAL MELTDOWN series. In "94, over 40 virtuoso musicians from South Africa, the US, Cuba, Brazil and the UK came together to make music. Max composed and arranged and sang on most of the thirty tracks recorded. The fruit of a heavyweight jam session featuring artists like Jose Neto, Airto Moreira, Sipho Gumede, Flora Purim, Pops Mohamed and Moses Molelekwa were pressed into a 3-CD collectors item set. In the true spirit of jazz, nothing was written down before the artists came together. During the three-week studio session, ShaluzaMax"s ability to spontaneously create and interpret ideas into melodies and rhyme was exemplary.

Continuing in the vibe of the Outernational Meltdown series, B&W Music brought together three South African musicians and two British musicians to form the group BARUNGWA (a Pedi word meaning "The Messengers"). All established musicians in their own rights, Max was called to be the lead vocalist, lyricist, composer and arranger of the progressive jazz outfit. "96 saw Barungwa on tour in the UK, Ireland and a debut tour in South Africa. Their music, inspired by traditional Zulu, Xhosa and Pedi rhythms and melodies, spiced with brash London acid-jazz flavour, forms conscious aural currency to trade on the global market.

Max co-wrote and co-produced the soundtrack of the celluloid version of South African classic, Jock of the Bushveld. His voice can also be heard on the children"s cartoon hit, The Lion King, along with fellow South African musicians under the direction of Lebo M and Tim Rice...

This biography continues here.

Hector Kunene interviews Mbalenhle (Mbali) Xulu

Hector Kunene conducted a short e-mail interview with Mbalenhle (Mbali) Xulu, a lady who has just released a new book called The Undying Spirit of a Woman. Below is what they spoke about.

Hector: Who inspires Mbali?

Mbali: I am inspired by my mom. She’s been through a lot, yet she survived and still going strong. I am also inspired by other women who go out there and actually make it for themselves instead of losing their self worth to men. Women who realize that what they experience or go through shouldn’t define their goals in life.

Hector: What did you have in mind when you wrote your book?

Mbali: I thought of other women who aren’t that strong, those who have lost hope because of the hurt, betrayal, heartache and a whole lot of bad experiences they had in life; they too need a little inspiration. It’s amazing how many lives you can touch, motivate, inspire and enrich through writing, especially poetry.

Hector: Why is the book only dedicated to women?

Mbali: They are very close to my heart and not only because I am a woman, but I also experience things they go through. There’s a lot they have to deal with and it’s imperative that we create awareness around empowering themselves.

Hector: What is your message with this work?

Mbali: Rise after every fall; it doesn’t have to be the end of you because you’ve had a bad experience in life. God gave authority over every situation and we just need to exercise it. Do not allow to be defeated by problems, you are greater than them because you are a child of God, the Almighty, and these problems are just things. Even when you’ve fallen, you can still rise and there’s no way you can go wrong if you have God on your side.

Hector: How does it feel to have a copy of your own poetry?

Mbali: I can’t begin to express how happy I was when I held my first copy; it really was a great achievement for me. It also means that it’s a start of great things, so you can be sure you haven’t seen anything yet.

Hector: May you kindly tell us more about Mbali?

Mbali: Mbalenhle Xulu was born on the 21st October 1980, in a hospital called Mantobela not so far from Pietermaritzburg. I am the first born and the only girl in the family. Since both my parents were working I then had to go and stay with my grandmother, uMaNgobese in Nkadla Manyane reserve. I stayed with her until I had to start school and that’s when I went back to live with my parents who were then staying at Esikhawini, Richards Bay. I did both my primary and high education at Esikahwini and thereafter proceeded to M.L Sultan Technikon, which now known as Durban University of Technology. Before I could finish my diploma in Public Management, I got a job at SARS in 2003 and at that time the plan was to proceed part time. It got too much and I stopped until last year (2010) where I decided to register with UNISA for Bcom Internal Auditing, which I find very challenging but achievable. I am still working for SARS as an Inspector.
I guess writing has always been part of me, but it’s just that maybe I didn’t realise then that it was a talent. As child I was very reserved and was the kind of child that wasn’t able to stand up for myself and was also very, very shy. That is when the writing had a role, whether I was sad or feeling left out (you know how cruel kids can be in their own way), or my mom had just given me a smack or I was cross for whatever reason, I’d resort to jotting down what I thought of the situation or how I was going to go about dealing with the situation at hand. That time it wasn’t mostly poetry, but it would just be a one line phrase trying to console myself or even a paragraph with positive thoughts.
In 2008 we had an Aids Day function at work and there wasn’t much on the program, and it surely looked like it was going to be boring, so I decided to write something. That’s when I did my first complete poem called; I REFUSE TO GIVE UP, which is in my book, The Undying Spirit of a Woman. It surely touched many lives and from then on, I never stopped.
I still perform at work when we’re having functions, in which I am given a theme for the day to write something about. The Undying Spirit of a Woman is my first book to be published, and at the moment I’m working on the second one for married couples called, Marriage that Actually Works.

Burning Spear's "Marcus Garvey"

Language and thought

To what extent does language inhibit the clear expression of a thought?
Despite all the known languages, how would one know that all of them explore the thought to its core and express it perfectly without any ambiguities or paradoxes?

 ~ Deon Simphiwe Skade

SA timeline (Opp. Good Hope Centre, Cape Town) - 18/12/2010

Moloko is not dead

Many musical groups have managed to add their names to a growing list of outfits whose mentions are preceded by phrases such as ‘the defunct act -’, which only reminds fans of their musical loss. Groups such as Toni, Tony Tone, Sakhile, Lucy Pearl, TKZee (until their recent come back, Home Coming), The Wailers, Harold Melvin & the Blue Notes (even though Melvin continued the group until his sad passing in 1996), Boom Shaka, and NWA come to mind when disbanded groups are recalled.
One notable 'defunct' collective worthy of a respectable mention is Moloko, a UK outfit originally made up of singer/songwriter Roisin Murphy and bassist/composer/producer Mark Brydon. Their unique sound may have bore elements of other genres, but they were mainly categorised as an Electronic band.

With four albums under their belt, critical success on the artistic and commercial level, it's baffling why they chose to mutually disband such a formidable union. There were some rumours that Murphy and Brydon’s ‘romantic’ breakup a few years prior to the release of their only DVD, 11, 000 Clicks, may have informed their decision to never pursue any future projects under Moloko. The pair was said to have been dating since the group was formed. Unfortunately, for the fans, the consequences of this personal disagreement has left a huge void in this market.
All is not lost though. As in their true professional style, the outfit managed to record their last shows in London, and packed the best moments into a 17-song DVD released in 2004.
This rare recording is a perfect way of introducing new audiences to the legacy left by this enchanting collective. But sadly, this may be a traumatic experience for the die-hard fans as the performances are simply sterling. Murphy is vocally very impressive in this recording, and her stage presence together with her performance, a very pleasant watch. This is complemented by a highly spirited band that presents one of the best live performances I have ever seen.

The DVD contains only the best of Moloko's songs over the years, from the hugely popular Sing it Back, Familiar Feeling, Statues, Cannot Contain This and The Time is Now, which the audience at the show rave to animatedly when the group performs it. For people who cannot imagine dance/funk/house music performed live, this performance is one to possibly change that mindset and encourage electronic music to be looked at differently. I'm almost certain that even the most cynical non-electric instrument lovers may acknowledge that Moloko's performance in this release is simply phenomenal.

As with the tradition of music groups’ breakups, Roisin Murphy went on to launch a successful solo career that has seen her release two albums, Ruby Blue and Overpowered; the finer one of the two being Overpowered. In many ways, this recording seems to have elevated the bar in the true legacy of Moloko. If you thought Moloko is dead, know that they live through their electrifying performances captured in 11, 000 Clicks.

Deon Simphiwe Skade

Did I tell you what I use my cellphone for?

I’m perched on a chair outside a friend’s place typing away on my cellphone. The night is perfect for the ideas I have in mind for the novel manuscript I’m working on. It’s just as perfect for the jolly party unfolding inside the house. I just had to excuse myself for a short while so that I could record important details for the protagonist’s narrative to work better.
I hear the door open from behind. The thud that had murmured while I sat on the porch becomes music that makes sense. It’s Zakes Bantwini’s Clap your Hands. A lady clad in a black dress comes out and sits on the chair next to mine. I acknowledge her presence with a polite nod and continue to type on. I hope this to suffice in making her keep her silence while I also keep mine. But she has other ideas as with the ambiance of the night.
'Are you also on MXIt?’
‘No! I'd rather lift weights instead,’ I reply.
‘You must be on Facebook then?’
‘No; I'm not. I have very few friends. I'm writing a book.’
‘I must say you have a very dry sense of humour.’
‘But I'm really writing a book,’ I say extending my hand, catching a glimpse of her quizzical face.
‘My name is Deon.’
‘I'm Nosipho.’
‘I'm pleased to meet you Mr. Writer!’
‘Me too Nosipho. It’s rather risky to call me Mr. Writer though.’
‘Why?’
‘Because that name is too heavy to carry. I prefer my real name.’

She lights up a cigarette and offers me one. I politely decline and this masks her face with a cynical frown. I suspect she may be thinking that I'm a loser, a freak who not only makes dry jokes, but doesn't smoke either.
‘What are you writing about then DEON?’ Her tone is mocking.
‘'It's nothing interesting really. But if you should know, it's about a boy who discovers what life is all about.’
‘Dude, I'm sure I wouldn't be asking if I didn't want to know, would I?’
‘Well, the story is not quite about discovering life. It's more about allowing good and evil a fair chance to state their respective superiorities complexes,' I say, avoiding her tempered question.
‘But the evil is much stronger, isn't it? I mean look at the world today!’
Smoke puff escapes her lips creating a view like a scene in Tarantino’s Death Proof, where Arlene, otherwise known as ‘Butterfly’, sits on the porch of Warren’s bar and discovers Stuntman Mike’s car in the parking lot, except it’s not raining in Cape Town.
‘Well, I don't know. Evil is a very powerful force. But I don't think it's more powerful than the good. If that was the case, people would never have known repentance.’
‘But you know what I mean.’
‘Of course, I do.’

To be honest, I'm kind of upset that Nosipho came by for a small talk. Her timing was awful. She defeats the very same reason I excused myself from all those revellers, so that I could record this crucial narrative I have in my mind. Understandably, it's not her fault, so this issue lies with fate. I don't register things I would notice when I speak to people on first encounter. That's how engrossed I am into my cellphone. Apart from her black dress, I notice her holding a pair of silver shoes in her one hand, a suggestion that she may have been dancing earlier. I know this may get me into trouble later if she were to read this piece. Perhaps it would be less troubling if I had taken note of her eyes or something of that sort. But I’m certain she may forgive me once she discovers just how important it was for me to record that thought.

‘You're not very big in the social chapter, aren't you?’ she mocks me again.
‘Well, that's not true at all. It's just that you caught me at the wrong time.’
‘Oh! Sorry then Mister. Forget we spoke!’ she says putting her cigarette off and rushes back to the house where all the happy and sociable people are.
I want to call her back but I know it won't work, so I let her go. I feel bad that she walked away. I try to carry on 'writing' but can't seem to remember the last thought I had.
I go back and read the piece from the beginning hoping to remember, but that too doesn't help.
My thoughts are stuck on Nosipho. Damn! I should have told her that I have written many pieces with my cellphone already. Maybe that would have created a sense of empathy, even though I know she may have been incredulous. I would have asked for her number and sent her a message that would validate my claim. That message would have said the following:

"Hi Nosipho, I'm the guy who's standing next to you right now. I see you don't believe my cellphone story. You may visit my blog, Acoustic Strings, at www.deonsimphiweskade.blogspot.com (I could insert a hyperlink here but my phone doesn’t support it). If you should know upfront, my blog's primary role is to celebrate life – there’s so much to celebrate! Please make some time and read up on posts that bear my name at the bottom to validate my earlier revelation. Oh! I might as well tell you that I will be publishing a book ‘written’ with a cellphone in the next few months. The working title had been A Series of Undesirable Events for a while, until I acquired an ISBN record for it. It’s ISBN 978-0-620-49145-7, in case you want to authenticate this claim too.
Now, the narrative I was typing before you spoke to me was for a novel manuscript that I had ‘written’ about 95% percent of using the same medium. I wonder what Marshall McLuhan would have said about my little practice. His theory about the medium and the message has been manifesting with great excitement.
I had been chopping and changing a chunk of the manuscript in a bid to maintain consistency with the story I'm trying to tell. Can you believe that some characters were trying to do their own thing? I know it’s their story but I’m the one tasked with the responsibility of telling it as best as it can be told. I know you may think that they have a nerve to have done that, but hey, it’s their story. Know that they have since become more cooperative, and our relationship has become stronger.

 I would have loved to release the novel about good and evil before A Series of Undesirable Events, but the inspiration for the soon-to-be-released project was overwhelming - I just could not stop typing on my Sony Ericsson keypad, telling stories of friends who have misfortunes befall them at different times. I like the concept I used to bring all their stories together in one book. Some lady I spoke to about this project said a similar endeavour had been done somewhere in Africa, even though she couldn’t remember the name of the author in question. Well, my intention was not to set a precedent; I was just writing a book in a particular way. Each story stands on its own but is very much related to others because these people are close friends. The final part of the book puts their misfortunes into perspective, thus complete the final stitch of the whole book. Wait, you'll see it soon.

My phone’s keypad is not the QWEARTY type like the sophisticated BlackBerry's, but it's the best thing that has ever happened to me and no substitute would do. I suppose this trivial distinction of keypads I'm making may well address the question you may have on why I got stuck in the time machine while BlackBerry continues to dominate the market.
Thank you for reading this long SMS. Well, an MMS as it has turned out. I'll make it short next time. Perhaps then, we'll be evaluating my efforts in the imminent book release. I would really love to know what you think of it. I may also give you details on how I really do all this writing. Perhaps it will remind you of our encounter today.
As a parting shot, I'd like tell you about Aryan Kaganof and what he did with a cellphone. He scripted, directed and wrote a full length movie using cellphones. He called it SMS Sugar Man. It’s a phenomenal film, Nosipho; you should see it. I wish I could have met him while he was in production. I would have asked to be on the set so that I may write about that experience. Even though I started writing my novel manuscript at the end of 2008, and only learned about Sugar Man in 2010, I feel this knowledge and experience would have benefited me much more.

In conclusion, may you kindly buy my book when it comes out please?
May you also SMS me your full name so that I may send you a friend request. I have a feeling you're on Facebook too.

Bye for now.
D”

I'd excuse myself after this MMS and join the party inside. It has become merrier.

Deon Simphiwe Skade

Note: Deon was on Facebook when this piece was written. He had since de-registered for personal reasons.

Thabang Nale at Seventies 80s store

I wonder when my lover will return (with the flock)

I wonder when my lover will return (with the flock)

To you, dear reader: