The Soundtrack of Magical Blackness.

I’ve been writing a lot of magical Black folks this week. Not just in the Daiyuverse but, another mermaid story, a high fantasy story about a cat woman and her female King lover.

I always have a soundtrack. I don’t write well without music. When I’m working on these particular stories, I feel both weight and lightness. I feel the weight of representation and the constancy of the fight to be visible in the lit world.

I feel the weight of navigating this world as both a reader and a creator. I hear shit from people like this, (seriously read that hashtag), I watch known abusers and rapists get airtime and still have to deal with shit like:

So, I detach and try to immerse myself in Magical Blackness because there, I don’t have to deal with this shit. I can write what I want to write and be magical as fuck and it feels okay. It feels comfortable. I don’t have to think about the pitches gone unanswered, the unpaid predatory “opportunities” extended to me, the attempts to exploit my emotional labor all of the things that make the industry part of writing hell for me.

So I escape.

I work.

I create worlds where me and my ilk don’t have to fight. Well we do but it’s not the sort that takes food off of our tables and out of our children’s mouths.

This is the world we POC and especially multiply marginalized folks navigate. And sometimes, I really just gotta get away from it.

I go to this place of safety even though I know I probably won’t sell a single bit of it.

I know and I go anyway because if I don’t, I’ll just be angry and my stomach will hurt and nothing will ever feel better.

So I keep doing it. I go back to this place and write in it and read in it. I daydream about living a fantasy Artist life and then I go pay bills and juggle and struggle.

So I’ll keep my soundtracks going and go back to my magical words because I have to.

She looked down at the purring cat in her arms and smiled.

“I love him so much. What is his name?”

Before Dr. Emryss could speak the cat opened his eyes, yawned and spoke.

“My name, my dear beauty is Bastien Chevalier DuPuis. I do love you too, you are so brown and big and warm. I never want to leave your arms my love.”

Her eyes widened and she tried to say something like, nice to meet you but nothing came out. She’d seen and heard of shapeshifters resting in animal shapes, heard of those with an understanding of animals but never, one that spoke.

“Bastien, bad cat. I told you not to speak to her. I was going to introduce you two eventually.”

“Forgive me old friend but, she’s just she’s so soft. And so tall. Why didn’t you tell me you had a giantess coming for tea?”

The cat put one of his huge paws on her cheek, when he met her gaze he rubbed his face across her nose and nibbled her cheek.

“Forgive me being forward dear Linda. I can’t help myself. I’m a fool for someone like you.”

I have my little escapes and days like today when I watch the perks of Whiteness elevate the work of a rapist and abuser, and watch folks use their privilege to make money off of shit that they don’t even experience- I need to escape.

I do what I have to in order to be able to write what the fuck I wanna write.

It’s not lucrative, it sure as fuck won’t make me famous but, it still feels damn good.

I’ll end with this. And please do enjoy my soundtrack.

Musings on Patronage

After a really great month for my Patreon, Like the best month ever and I celebrated with some stickers for my planner, a couple of thrifted books and a double credit card payment. I also got a nice lil tip in my Venmo that netted me a couple of coffees and some time to sit down and make some plans.

This morning, I got a long rambly angry note from an anonymous person at a throwaway email address all about how they KNOW I take advantage of people and how I am a (this phrase is verbatim) Welfare Lady in Waiting and how I’m just fleecing people because my writing is not good enough to get the big bucks and shit from publishing.

Now, aside from the sheer saltiness and the fact that they cherry picked things I post about freely on social media as examples of how I’m rooking folks into funding my lavish lifestyle, I noticed that what came across was that this person is bitter as fuck but follows me closely.

Obviously their welfare lady in waiting thing is a racist as fuck, sexist as fuck and comes from what I think is probably a place of hurt that I, a Black person has dared to carve out an artist life of sorts.

Let’s use a super famous and successful White person as an example here. Now, I cannot stand her for many reasons, but Amanda Palmer is gonna be our example.  She literally makes more money per thing than I do in a year.

Cruising through the top writing creators, most of them make anywhere from 1200$ up through 12,000$.

The thing is, there is a very long and rich tradition of patronage to artists. All kinds of artists, writers, painters, singers etc. Folks giving people money to live so they can create is something that has gone on forever. What I find interesting about modern life is that in reality, often the argument I hear from people against my own search for patronage is wrapped up in age old stereotypes about Black people.

The uppermost layer revolves around the idea that unless you are extraordinary, if you don’t have ties in the world you work in you have zero access. If you are not the right negro, often the gatekeepers want nothing to do with you unless they are tickled by you.

If you can be an exotic pet for them to talk about to their friends. Or they will fuck you or display you or, at worst steal from you.

Some of those things have happened to me. Way back when, I had the “opportunity” to deal with some mentors who were older White men with money and pretty much they wanted a literate fuckdoll. They wanted to be the one to say they bagged the next Maya and I wasn’t having it.

I have read a lot of artist bios and in so many, patronage of one sort or another was the way through. It provided what we as humans need and what we creatives often need to make our work great.

Stability.

Less stress.

Time.

Now, Whiteness alone doesn’t necessarily protect an artist from being taken advantage of but often it protects against the insults and accusations.

You can even be an actual fraud and frankly, if you’re white enough a lot of people won’t ostracize you. Granted, some fare better than others, but, I think history shows us this is pretty true.

I think I’ve been painfully aware of these things since I was a baby potato writer dreaming of having patrons. I remember reading Henry Miller when I was 14 or whatever and after jerking off, I’d dream about mailing pages to publishers and getting wired money and having beautiful places to visit, having that life and writing wonderful broken things.

I outgrew thinking that was my path, but looking back, I see where Blackness became the thing I believed would keep me from having that access and support because I didn’t know about any living Black creators who had it.

I couldn’t have said it at that age, but I felt it.

I think that’s all. This topic/area has been on my mind because I’m writing about things that intersect with Blackness, patronage in the arts, fraud, etc.

So to wrap up, if you really follow me closely enough to know when I last was published by another person, when I bought new boots etc you know that I hustle.

So fuck off.

Before I go, later this week or next I am going to make some announcements about things. And for right now, you can read a free Daiyuverse story I posted on Wattpad. I will probably post more there as I write them if I don’t submit them places. You can follow me. Enjoy.

 

On my Mind

Yours truly is dog shit sick again and was flat on my ass for two days and I’m at work struggling to stay awake.

Very well meaning friends often send me listings to residencies and y’all I STILL have questions.

One of the very famous ones closed not too long ago and a friend was like OMG GO GO GO.

I added up the cost to basically take 3 weeks off of work and y’all. It would cost me (I estimated costs only eating once a day) more than I make in a month. Not including missed wages, my own travel anxiety etc etc.

For someone like me, breadwinner on a working poor budget, there is just nothing that would justify the cost and it makes me sad. Are there, residencies for folks like me? For single parents? For other folks with limited financial or other support?

Since switching shifts I’ve been looking into lit stuff locally and I run into a lot of the same issues on a smaller scale. I see some regular writer meet ups that are mid week, for me that’d mean during my work week, having to stay in the neighborhood with all my shit. Then either Lyft home (at least 35$) or take the bus and walk home carrying my laptop. Not really optimal because I’d not get home until late and have to get up early for work the next day.

It just feels so terrible. And honestly, if ONE more mother fucker talks to me about sacrifice.

What should I sacrifice?

My partners medication? Electricity? Eating? Menstrual products? My job and thus my home at some point?

Tis the season for poor folks to be salty I guess. I go through it a lot because I know that folks pressure me sometimes and think that I demur because of a self-esteem thing but honestly, I just don’t usually have the energy to math it all out for them.

It’s like trying to explain that while I know why some lit mags charge, I’m not all in it. Like, to give myself good odds to get something place in one of them, I’m going to have to spend like 80-100 bucks and nah son. I’d rather get some sushi or some underwear.

Being poor often feels like having to constantly explain that it’s not that I don’t feel like my work is good enough, or that I’m good enough or that no I’m not wasting all my money, yes I know how to fuckin budget etc- so I don’t give the FULL breakdown every time because it’s just so exhausting.

I feel like I have to say this quarterly but you know, when folks talk about being poor, please don’t poorsplain to them. Please don’t assume they just don’t know how/how much something really costs. I feel like I get down this way every few months when whatever residency folks think I should go to opens up and honestly it just makes me sad.

Listen to us when we say what we need or why we’re not doing something. I had an aquaintance insist she needed to know why I wasn’t applying for a residency and it got to the interrogation point where I had to really go ALL the way into the finances of my life and no I don’t think I suck as a writer and just y’all…

Shit is exhausting.

So if y’all will excuse me, I need to do some work.

 

Staying in my Lane- Patreon reprint.

Enjoy a reprint for free from my patreon. To get the file referenced, click here.

 
First, please have a look at this amazing blog post
I was directed to it by K. Tempest Bradford  and have had it bookmarked because the questions in it for non-native authors really got me. Inside my ongoing project the Daiyuverse, several of our main characters are native. I have yet to get into their personal cultures/where they are from because I have plans for it. 
That said, I also am very concerned with staying in my lane. I want to talk about one of the questions from that post. 
Why did you select this particular tribal nation for your story? 
Without revealing too much I want to talk about why I chose X people from the PNW as the tribe of my Crow family. 
First up, it took me sitting down and comparing dates and plot elements and quite frankly location. I have a bit of knowledge about Indigenous people from the PNW. I really wanted to focus one of the Coast Salish peoples because geographically, it works with my needs in creating this work. 
Now, specifically what are those needs? 
  • Representation in an urban fantasy setting.  
  • To explore the impacts of colonization and assimilation on magical POC.  
Those two are uppermost in my thoughts. While I was doing research on creating my native characters, I started to look at the late 1890’s and the forced removal of Native children from their homes during that time. I had read an article about Native boys being forced to cut their hair last year and something clicked for me. I want to go back to that period in time in WA and (we’re getting to it in the verse) follow the fallout from being a victim of that practice to the creation of a space to counteract it. 
I come back to the original question quite often. The way I am working with my native characters, I feel that because I am not working from the perspective of trying to be an expert or speak for these peoples, I can tell this particular story. On one hand, I worry very deeply that I’m on entirely the wrong track here. I in no way want to position myself as an authority or one of those bhole types who thinks just because they can, they should. 
That said, I do want to talk more about why a large part of my cast is native. I really felt like in this world, creating The Institute would play a vital role in the idea of reclamation I thought who that I might meet in the Meat World, would benefit from that here in Seattle. I thought immediately of native people. I was partly inspired by a man I met who is native and we had a really great conversation about how so many of his own relatives were still cut off from their culture and how so many of us Brown folks just don’t have our cultures and myths close to us. 
With that conversation in mind, as well as having followed a lot of the fails of (generally speaking) White authors who decide to write a culture and position themselves as an authority and knowing how terribly that often goes, I am treading carefully and working to stay in my damn lane. My goal with these characters is to have them going through the entirely human struggle of reconnecting with their own roots and using The Institute (in this iteration of the ‘verse we are JUST getting to it) as a counter to assimilation. 
Writing extra-culturally especially when it comes to my fellow POC, is something I am still not sure is the best idea. On one hand, my plot arc for these characters is (at least so far) human first and foremost. They are whole living beings who are not trapped by the Mystical Native (or Negro) tropes. They have some foibles, we don’t know the whole of their history yet but, it is coming. 
I want to quote further from the blog post linked up top: 
The Devil is in the details . . . and the overall tone. Authors can have all their facts historically correct according to accepted sources available. But it is the interpretation of the facts into a story that makes the book harmful or helpful. I’ve seen a number of books that get most of the ‘facts’ correct, but the overall tone is that of stereotypes (which may be difficult for non-Indian writers, agents and editors to see when that has been the prevailing mode of American Indian representation). I’d highly recommend that agents and editors read the Revised Criteria from How to Tell the Difference: A Guide for Evaluating Children’s Books for Anti­-Indian Bias. Reading a manuscript through that lens and thinking deeply about Eurocentrism and colonialism will make all the difference. You can find guidelines, suggestions, statistics and a number of resources here at Writing
About Native Americans. It is a long post (as was this).  
Bolding for emphasis. 
My decisions as I work in this ‘verse are deeply influenced by the bolded. I am very mindful that I have the potential to cause harm and am doing the work not to do that. As I get further into the lives of the Crow family, I will start to include more specifics. Where they come from, how they got their names, what the curse on their family is about. I don’t want to spoil things but, most of the hardship they have gone through is a direct result of one of those forced boarding schools. 
I’m being a bit vague because we’re not quite there yet in terms of the story and I don’t want to give too much away. I am getting into some of the back history (before our heroine Daiyu is born) and honoring my native characters and their histories and culture has been uppermost in my mind. 
I’ll revisit this again when we start going back in time some more.  
For now, how about a peek at who I’m talking about here? 
First up Papa. Who along with Daiyu is as far as characters go, essential and part of the backbone of this whole universe.  
I’m keeping a neato spreadsheet with my characters, their full names, associations, list of magical abilities and other notes. I’m not going to give you everything but here’s a taste:
Papa Crow- 
Magical Abilities (so far, subject to change) Cursed-Prolonged life. Powers: charm, tactical aggressive magicks including but not limited to: elemental control, telekinesis, low level telepath (possible mentalist)- 
Nick Names- Papa, Old Crow, Crow, Bird, Nathan
Misc- Daiyu’s God father, estimated age between 180-300 years old, very good liar
Father Crow-
Magical Abilities- Lesser prolonged life curse. Summoning, Apothocary, traditional herbal healing, elemental magics, seer, demonaic tongue
Nick Names- Crow Jr, Black Wing, Joshua
Misc-Papa Crows grandson, inheritor of the Institute
Maria Crow-
Magical Abilities- Demoniac tongue, World walker
Nick Names- Maria- TBA
Misc- Father Crow/Joshua’s biological Mom
~
That isn’t everyone in the family.  
To wrap up, I am still so excited about this world I’m creating. I am very mindful of the temptation to just write what the fuck I wanna write and damn what anybody else feels but that’s not really who I am as a creator.  I am challenging myself here and putting a lot of trust in my readers to let me know if I’ve fucked up.
Does this tickle your fancy?
How about a bite from the current iteration of the Daiyuverse?
Download the PDF to get a context free look at some stuff happening in the Daiyuverse. Want to read more?
One buck a month gets you access to the full novella in progress, usually a love letter or an essay or an extra goodie.
Also, your contributions are real live, tactit change. Your support helps actual human beings and that’s pretty cool.
Can’t donate? Please boost my signal. Share the link all over. 

On Rejection and Returning to the Lit World

I don’t think I’ve mentioned it, but I’ve been doing a little slow step back into the lit world. By that I mean doing a little submitting here and there.

So pardon me being in a really navel gazing mood here, but I’m in need of reflection.

If I look back 20 years, what was I submitting?

I had about ten “done” stories (done as in I could only ruin them) I printed them out for five cents a page on paper I was ashamed of at the library. I bought expensive envelopes and hand addressed them to various magazines. I probably had about a 20% answer ration. Zero actual publications. I recall hiding my few rejection slips because I didn’t tell anyone I was doing it. I wish I’d have kept them to be honest.

My stories back then were sort of erotic horror mainly, a little slasher, gore and a few that I thought of as literary. Not one character was Black or queer. They were all nice White folks who were attractive and I was very careful not to reveal or infuse any Blackness because, the places I was submitting didn’t really publish a lot of Black stories aside from the occasional racial pain porn or paean to Maya Angelou penned by White women.

I was also deeply reticent about the literary because I bought into the idea that in order for me to be a writer on that level, I had to be in a writing program.

My earliest publications on the internet were all porn or horror. My favorite early publication was Gay smut and that story is still one of my favorites. If I can find it, I’ll reprint it.

After a couple of years I went for it in the lit community but, I kept my stories either pretty White or unspecified so White by default. I was a very nervous submitter. I probably ruined more stories editing and trying to hone them for specific publications than I did submissions sent. Looking back, I have to laugh a little bit. I wanted so badly to get published, I pushed my instincts and real desires down and tried so hard.

Fast forward another few years and I read this piece on the Rumpus. It low key changed my entire writing life. I mean as far as writing advice goes this:

So write, Elissa Bassist. Not like a girl. Not like a boy. Write like a motherfucker.

Now um, y’all.

That set me on a whole new trajectory.

I hit literary fuck it.

For the next four or so years I wrote and submitted like a mother fucker. Sometime in HA I found it 2011 I stumbled on a thing by Brett Elizabeth Jenkins (who is a badass poet) and it took me a while but I got there. Proudly. I wrote Blackness into my work purposefully and with zero fucks given.

It was liberating and telling.

All these years and submissions and rejections have served to teach me some invaluable lessons in how I submit.

Lesson one: If I find guidelines too confusing or too twee, fuck that publication.

Lesson two: Write whatever the fuck you want to write. Regardless of whether or not you think it will be published. Really, write that shit.

Lesson three: Every now and then, it is okay to pushback against a rejection. For instance: once upon a time yours truly got a sweet job writing custom porn. I passed the initial writing test magnificently, the editor was all about it. And then he looked me up and read my personal online diary (anyone remember Diary-x?) and decided to question me. He wanted to know if- because I am Black and Queer and Out in my personal life) I was capable of writing not those things. I was fucking livid and though I desperately needed the money I read him the riot act and flounced from the job. Sometimes, you just gotta tell somebody they done fucked up. That said, do not be the asshole who emails editors back wanting all their damn time or telling them how stupid they are for not publishing your brilliant treatise on whatever bullshit.

Lesson four: Do please read, the places you are submitting to. That said, if you want to blaze a trail for representation, don’t stop get it get it. On the other side of that coin, you are under no obligation to blaze the trail. Remember, care for your heart y’all.

Lesson five: If you can’t be a certain type of writer, accept it and do what you can do. Don’t be like me and punish yourself for years because you suck at quick turnaround work. Don’t be me. Do you boo.

Lesson six: If you write some bullshit, be ready for blow ack. Also, understand that if you write something offensive or deadass wrong and people call you on it, question the editor this is not censorship. This is what’s called consequences for maybe showing your ass. Don’t be a douchebag about it.

Lesson seven: Trust your Weird Voice. Read all about what I have to say about that in the archives of my newsletter here.

Last, cherish the great rejections. I got one earlier today for one of my weird essays and it was wonderful.And when they say we like your voice or something, submit again.

Now that’s all for now. I’m off to get rejected some more.

You go do you boo.

Do. You.

 

The Soundtrack of the DaiyuVerse

If you’ve been here for a minute y’all know that I have a Patreon where I’m posting an in progress urban fantasy novella that I refer to as the Daiyuverse. How about a lil bite? No context.

“That sounds perfect. Assure her it is in no way permanent. We just want to see how her body responds to less rigorous magical training. Other than that, she is a perfectly healthy young woman.”

Later that night, both doctors, Daiyu, Josh and Papa sat around a table at Papa’s house with chicken and sides from Ezell’s spread across the table, music played in the background and they all laughed and talked long into the night. At one point while they were each on their third serving Josh sat back to look at them, he felt his vision widen out until he was both looking at them from his eyes and looking down from above from his sight.

He watched Daiyu, her dimples flashing as she snatched food off of Papa’s plate. It made him feel better, maybe his visions were off. Just as he felt himself ready to settle back into his body, the scene slowed down. Stretched into a long moment that felt like it was happening somewhere between this world and the one his sight resided in.

Daiyu looked up, he could tell it was not her physical eyes. The face that wasn’t her face smiled at him, her mouth spread across her face until it nearly split her head. It was the sort of thing she’d done when she first learned to throw a glamour. Josh smiled.

“Stop showing off Little Bird.”

The eyes, he could no longer think of them as her eyes, changed. It wasn’t overt, it was something about the glimmer of them that made him stop smiling. The voice that came out of her mouth was not her own. It was a voice he’d heard distantly before, a slow speech with an accent he couldn’t quite place.

“Do be careful looking my boy. I will see you ever so soon. Tirrah, Black Wing.”

The scene cleared and he blinked, Daiyu was waving a drumstick in his face.

“Earth to Josh, you going to eat this?”

He shook off the dread and snatched the chicken out of her hand.

“You know I don’t hit girls but I will fight you if you eat more of my chicken.”

Daiyu jumped up, menacing him. He narrowed his eyes, showed his teeth.

“I’m going to drink your soda.”

He put down his chicken and jumped up, flexing and growling. With a howl they took off running, Daiyu flying tackled Josh and the two of them went tumbling out of the room. Papa shook his head slowly.

“See, that’s why you can’t take them anywhere. They’re like puppies. I’m surprised they don’t piss on the floor.”

Both doctors smiled like a proud auntie and uncle. Dr. Linda stole the drumstick off of Josh’s plate.

“I have eight older brothers. Abandoned plates are fair game “

The three adults split up the leftover food on the kids plates laughing.

One of the things that is central to how this story is shaping up is my soundtrack. I have a very deep connection to my soundtracks at any given moment. I need specific sounds to either elevate/deal with my moods, help me stay awake, write, poop do life.

The writing of the Daiyuverse reaches deep into my literarily and stylistic influences. I’ve been heavily influenced by Dune for this work. I have been working on creating these magical traditions while not erasing the identities of the folks in the story. I’m drawing on the huge amount of magical shit I’ve read from fantasy books/dictionaries to various cultural traditions.

So let’s talk some tracks.

Let me show you some of the inside of my brainmeats.

Billy Paul- Me and Mrs Jones. Y’all, I mean.. like. Just listen to it.

Stevie Wonder- Superstitious OBVIOUSLy.

Funkadelic- Maggot Brain

William Elliott Whitmore- Mutiny

Concrete Blonde- God is A Bullet

Nick Cave & the Bad Seeds – Murder Ballads

I also use this big ass Spotify playlist.

I’ve always had to have a soundtrack to stuff I’m doing. Occasionally they are very specific to the work. I will probably make some more Daiyuverse specific playlists. Things that go with my loose time periods, themes.

I was thinking about this in a convo with another writer about the spaces we work in. I don’t have anywhere private to work. I don’t have an office. I have to work in public, on the bus, at the dayjob. Get it in where I can fit it in. I think for me, getting my writing playlists going is that brain cue that it is time to work.

My headphones are still my office.

And it’s time to get to work.

Writer Financials- #1 for 2017

So welcome to my first money post of the year.

Like last year around this time I’m looking at another increase in my cost of living (rent increase, transportation cost increase) to the tune of about 250$ dollars a month.

And no increase in income.

I’ve been mathing things out and budgeting and things aren’t quite dire but it’s not awesome.

I knew that 200 of the increase was coming for a while and as y’all might remember set up a gofundme to try and get a bit ahead. I am not fully funded, but I was able to do stuff like get a tablet, and a real winter coat. Stuff I absolutely wouldn’t have been able to do. I was also able to pay off last years rental insurance entirely and remove the monthly cost.

I also have Patreon. Last year my Patreon money was used mainly for things like some software, I saved up for and bought a new office chair and a desk for my laptop. And I got a new laptop. For a few months I had some treats, Audible and about 15 bucks to buy a fancy coffee once or twice a week.

My Etsy store made 60$ (the bulk of sales in April 2016) and my biggest selling item of the year is my little chapbook The Motherfuckess Manifesta.

This year I’m working on restructuring what I have to stretch.

I’m feeling pressed but not panicked. I have kept my promise to myself to not fuck myself up trying to freelance.

I have three book projects to finish (SCLAB, Poetrybookbabies) and other stuff to do.

So, I have been rebudgeting and it is a bit of an austerity budget. I am-

how do I feel?

I feel very tired. I feel torn about my desire to return to my more lit mag oriented roots because most of the ones I like and that I would like to be published in don’t pay.

I’m not acclimated to working dayshift yet so I’m not sure if my energy will pick up enough to freelance at least a bit. Or pick up enough for me to get a part time job.

Honestly y’all, I will likely not write about this type of thing that much this year. Mainly because of shit like this, I wrote a piece on Medium about why I’m not writing about racism for free right now. Here’s a chunk:

I have been more than open about the rock bottom of how to start working out how privilege functions in our lives, how to start not being or behaving in a racist manner, I’ve wept while I wrote about Black children being the victims of state sanctioned extra judicial murder.

Thousands of words.

Thousands of hours of work, the majority of it unpaid.

Hundreds of hours of being harassed, dealing with the hurt feelings of people I wasn’t talking to on a personal level.

Enough bullshit that I shut down my author facebook page, I limit the contact I have with strangers all so I can do the shit I’m supposed to be doing.

That’s writing.

I am a working writer.

And frankly, if you can’t be arsed to look into my back catalog for the stuff I’ve already said, if you can’t be bothered to say hey, I want to pay you to write/teach about this thing- what are you doing?

One of the responses I left public was from Autumn Cole the founder of something called Writer Beat.

This article has to do with racism and I didn’t pay to read it.

There is a conversation with someone else on that thread and it is tedious.

There were a couple of other comments that were a bit more aggressive about their shitty pettiness and I just don’t have the emotional bandwidth to be out there showing my belly only to see this shit. Especially if I am not getting paid.

Also that shitty ass response is a whole OTHER post in and of itself and is a fine example of how Black people are disrespected so casually so often and folks wonder why some of us just stop doing what we’re doing.

Overall, I’m feeling like poverty has me by the throat. The current US regime will dance on my grave and I have too much to say.

That said, other work is going well.

That’s it for now.