The Hook Up And Other Love Stories

The Hook Up is just another love story. Love story in the sense of sharing an experience between 2 people. 

Whether it is a conversation, a coffee, a desire, or one more moment in time. All these experience have one thing in common; it takes you and me - two souls to meet x

REVIEW: BRC BAND OF GYPSYS TRIBUTE at BAM

It is so nice to be in NYC among so many great and legendary musicians. Any night you have the opportunity to witness live in action so many of the adventurous artists we feature on our weekly radio show Is Black Music on London's Resonance 104.4 FM.

On September 18th, the 46th anniversary of his passing back in 1969, The Black Rock Coalition (BRC) presented a tribute gig to the late, great Jimi Hendrix. The gig took place at Brooklyn Academy of Music (BAM).

Hendrix liked to describe his sound as "electric church music", and it felt like the BRC held a revival meeting in his honour. A notable difference between this and a typical Hendrix tribute night was the focus was on Hendrix's Band Of Gypsys that he formed with Buddy Miles and Billy Cox after the demise of his original group the Jimi Hendrix Experience. 

The event was conceptualised and curated by bassist Darrell McNeill, and the show opened with Kelsey Warren of the band Pillow Talk doing a version of Who Knows from the first Band Of Gypsys LP. The next artist to perform was Stew, who did some serious damage to Message To Love, hollering out the vocal riff "come alive" with gospel-blues repetitive phrasing.

The man that McNeill credits with putting the blues into the BRC, Michael Hill, ripped into Hear My Train A Comin’ next. Hill broke the jam down, insisting that it isn’t a blues show unless we have some audience participation. And he got it.

Corey Glover of the band Living Colour followed up, accompanied by Chogyi Lama (who also happens to be Ritchie Havens’ grandson) on guitar, for a cool version of Machine Gun.

Maritri Garrett sung an amazingly sultry version of Electric Ladyland next. Where Jimi's original makes you wanna go there, Maritri’s version takes you there.

The biggest surprise guest was Juma Sultan. He was Hendrix's conga player, was part of Jimi’s Woodstock band, and is on countless recordings with him on congas and other percussion, as well as playing with Archie Shepp and many others. He was part of the Black Rock Coalition Orchestra this evening, playing on every jam along with Darrell McNeill, Zac Alfred, Dean Williams and Andrea Lasalle. Lasalle had the particular challenge of playing Jimi's guitar parts throughout the evening, and was the pivotal musician of the night.

Another very special guest was the great Vernon Reid. He was one of the original co-founders of the BRC, and has always seemed to encompass the spirit of the organisation. And as always, he played soulfully.

AUTUMN 2015 TOUR

Berlin September 4th Manouche Grimmstrassa 10967 

Berlin September 5th Lipopette

Warthestrasse 9, 12051 

New York October 3rd, The Living Room In Willuamsburg Brooklyn

Los Angeles TBC

I am beginning my Autumn 2015 Tour today. There will be 2 shows in Berlin. The first show is at Manouche Friday night the 4th of September, Grimmstrassa 10967

The following night I will play the second show at Lippetto. Warthestrasse 9, 12051 Berlin

Being back in Berlin is being back home. It was where I was artistically born 30 years ago when I lived here in Kreusberg with the Berlin Wall.

Why I did not stay is a story I will one day tell. 

I was living and working with Stew at the time, who hinted to those times in the theatre piece Passing Strange, which Spike Lee turned into a movie.

I was and am so happy here. The smell of Berlin is so precious to me. 

I hope you can make one of the shows here, or in the U.S.

WHEN I WAS ON ACID

I Was On Acid, is a love song. It is about a love of nature, a love of religion, a love of science, a love of everything surrounding me. 

When I was on psychedelics, I followed Timothy Leary's careful instructions to have people around you who you felt safe with. Those were friends. Friends who were present in my heart,  even if they were not actually in the room with me.

So this song is about more than acid. It is about that powerful radiance you feel throughout your entire being, that lights you up when you experience something's grace. That something is often someone. 

Further and further out you go, with the stream of bright light shooting out of your core. As you reach the irresistible point of no return, only one thing can persuade you to return to crude reality. That would be your core light that originates from that grace which is unique to this planet, this existence, this love.

The song was played at a party last Saturday night with musicians who had never heard it before.

I no longer am interested in synthetic drugs. But I Was On Acid remains for me a love song inspired by a lover's aura, which is compared to a tab that is only a millionth of a gram of matter.

ART TERRY LATE NIGHT INTERVIEW BY PATRICIA VINCENT

ART TERRY LATE NIGHT INTERVIEW BY PATRICIA VINCENT

We broadcast the last live Is Black Music radio program of the summer last Tuesday night at midnight.

104.4 Resonance FM's studios will be closed in August for the holidays, and just playing pre-records.

This is an interview done by Patricia Vincent in the wee small hours of the morning at the end of the last show. We speak about my recent American shows and travels, becoming British, and The Church Of Pussy.

Video by John Murphy

HIPSTA SISTAS

The alternative black music radio show titled 'Is Black Music', that I present, did a one hour special focusing on black women making underground and alternative music

While compiling the tracks for the show, it made me think about where I'm from...

In Los Angeles there were many girls around. All types of girls. The neighborhood was diverse. They were all wondorous in their own way...

They wore different colours in the California sun, and when we were old enough to go out in the world, they began to become bright lights in the nightclub nights, and the days looked better when they smiled...

Conversations rarely went far enough...largely because I didn't know what to say... I was so in awe... In the end I took the Mean Mr Macho path, and they inevitably disappeared...

But I hadn't lost them forever. Because now here in London we are surrounded by people from every wondrous corner of the world. And there are some very hip sistas among them...

After I selected the songs for this ladies-only show, I was surprised to find that I had spent meaningful times with most of these artists. The tracks are all fairly recent releases (2013-14). Other than Neneh and Valerie, they are all but ignored by the media. The courage and conviction that an artist exhibits when working in such shadows is inspiring.

March 8th is International Women's Day, and I hope you enjoy listening to this radio show, and our sistas that participated...

IS BLACK MUSIC February 26, 2014
, ALTERNATIVE SISTAHOOD Playlist:

Sun Ra - I'll Wait For You

Art Terry - Hipsta Sista

Kandia Crazy Horse - California

Mantana Roberts - Responsory

Neneh Cherry - Blank Project

Renu - Midnight Radio

Radikal Queen - Shout

Vedina Mosé - Warrior

Krystal Warren - Tuesday Morning

Errollyn Wallen & Bonnie Greer - Yes

Valerie June - Tennessee Time

Miryam Solomon - Simply Beautiful

Mantana Roberts - River Ruby Dues

Listen to the show on Soundcloud

MISS THANG

For all of us who miss something...or someone that's close by, but out of reach...

This song is for all the people who want to be together but are far apart. Particularly mentally... Particularly sexually...

Though not exclusively sexually. It could be a friend or a relative. It's just someone you love dearly, want to share with passionately. But for some reason, or some reasons, that isn't always possible. No matter what you do, there is always some thang. Some thang in the way of that metaphysical connection we call relating. Love and understanding are too often two different things...

So...Happy Valentine's Day to Miss Thang, and to everyone else we are forever missing...

xxx

THE CASUAL SEX RADIO SHOW

This week on the 'Is Black Music' radio show on Resonance FM we explored the theme of Casual Sex.

Casual relationships, non-monogamous relationships, hooking-up, friends with benefits... This is rarely talked about directly, or used in art. Perhaps that's cause they're too busy doing it...?

On the show we wanted to isolate the concept of pure casual sex, and see how it works in and through black music. So songs like Marvin Gaye's 'Let's Get It On' were omitted because the characters appear to be in a pre-meditated dating situation. 'Sexual Healing' was also not chosen, because again the protagonist's relationship seemed to have a history.

The archetypal casual sex encounter is improvisational and spontaneous by nature. We chose Gaye's under-rated composition 'After The Dance' instead, because there you have a situation where the singer has clearly just met the girl for the first time at a dance.

We also omitted songs that were about infidelity, cheating or polyamory.

Casual Sex to me is when two people just have sex. That's all. That's where it begins, and that's where it ends.

Simple.

Or is it...?

Listen to the Casual Sex Show here:
http://m.soundcloud.com/resonance-fm/00-00-00-is-black-music-26

DANIEL CHAVIS & THE NY ALTERNATIVE ROCK EXPERIENCE

We play and refer to a lot of music that is from the Big Apple on our radio show.

New York has consistently been a central focus for underground and subversive art. It was where the Harlem Renaissance nurtured the undiscovered African American artists of the 1920s. It was where much of the European Avant-Garde fled to escape the rise of Nazi fascism in the 1930s & 40s, and it was where experimental musicians, writers, & visual & conceptual artists created the Downtown loft scene in the '60s.

Speaking with Daniel Chavis on last night's show helped me realise that these "scenes" in New York are often disjointedly connected.

The Chavis brothers came from North Carolina in the late '80s, to a New York City that was not sure how to relate to Black musicians performing music that was not easily recognisable as 'Black Music'.

Like many of the artist who have come looking for a home in New York, the brothers Chavis' experience was unexpected and incomparable.

Listen to our show with Daniel Chavis here:
https://soundcloud.com/resonance-fm/00-00-00-is-black-music-25?in=resonance-fm/sets/is-black-music-2014

Last Poets, Lost Prophets

For many Black Americans, it was a Where were you when you first heard the Last Poets moment… 

The Last Poets were the most militant sounding thing we had ever and never heard before. It was beyond our middle class Martin Luther King I had a dream dreams…

Abiodun Oyewole (The Last Poets)

They sounded scary! 

Our reaction was - they sounded like they wanted kill all the white people. They were talking about revolution. They were talking about bringing down the government...

And then they used the N word on record. They said it! We couldn't believe our ears! This was before Richard Pryor. We all used the word affectionately with each other in the streets. But you didn't use it around the general public. Especially you didn't spray it all over your record.

Don Babatunde (The Last Poets)

There they were, on the front of the album with their Dashikis and Afros looking fearless and dangerous. Not scared of nobody, the Government, the CIA. the police, the FBI…Yo Mama, The KKK, the president…

They would say anything on their records. And they were the first to put the lyrics on the inner sleeve. Which was weird to see. Nobody had done that before them. It was like they wanted to make sure you knew exactly what they were saying. 

Umar Bin Hussan (The Last Poets)

Hip Hop was to arrive 10 years later…

Eventually, rapping in an assertive, confident, irrepressibly aggressive manner would become the pervasive fashion. But they were there first. Their home-style recordings came out before anyone's. Gil Scott-Heron, The Watts Prophets... They stepped out first, from the corner of Harlem to your living room.

Don Babatunde, Umar Bin Hussan, Kunga Dred, Abiodun Oyewole

They were performing on the South Bank, and Kunga Dred brought them over to the Resonance studio so we could reason together…

https://soundcloud.com/resonance-fm/unknown-is-black-music-last

Art Terry, Don Babatunde, Umar Bin Hussan, Abiodun Oyewole

THE UNDERGROUND

                                       

Boy, the freaks are out tonight! 

Has it really been this long since I was in the underground? 

I forgot how freaky London can get. Maybe it's something about the heat.

But any city can get funky like that. From Madrid to New York. Here we have all kinds of folks.

When I first came to London, I was fascinated by "The Underground". The whole concept of an unseen esoteric thriving culture was so attractive to me. And to have a transport system with that same suggestive name just beckoned my imagination, when I read NME articles about all those Post-Punk bands.

So when I arrived in London from LA via NY (via Napoli, via Dusseldorf, via Paris, but that's a different blog) in 1983, I couldn't resist making The Underground my second home.

I was squatting on The Front Line in Brixton at the time, and The Underground seemed like space travel to me. We had nothing like it in LA. and it was free! In those days, none of the stations had barriers. You could just walk thru, cause they rarely checked your ticket.

Eventually I collaborated, and did sessions in London with many of the Post-Punkers whose stories and music had inspired me.

But still when I hear Iggy say "Things get too straight, I can't bear it",  I hear Russell Thompkins Jr whisper discreetly in my ear, "Go underground young man".

RICHIE HAVENS

Imagine 3 young black teenagers who are feeling restricted by conventions, sitting down in a theatre to watch this Woodstock film that we had heard of.  We expected to see a bunch of blonde hippy girls on the screen, and other people that looked nothing like us. And the first musicians we see are these totally funky brothers sitting, not standing but sitting down on the stage, blues funking some folky roots soul stuff. And seriously making it sweat! Not playing some loud guitar solo, but playing acoustically, like they are stuck inside a mobile freak-out located somewhere between Nassau and Harlem. 

If Woodstock was the landmark event of 60's culture, it was Richie Havens that announced and proclaimed the event, gave the initial spark, by being the festival's opening act. His dignity, and humility gave validity to the word 'hippy'. 

You hope when you die you go to the same place that he is.

http://m.soundcloud.com/resonance-fm/00-00-00-is-

ME AND BILLY GOULD, WASN'T THAT TIGHT, BUT WE WAS COOL

                                                       

I'm riding the train to hear my old mate Billy Gould play bass with his band Faith No More. I've known Billy for over 30 years. At the age of 19 I was the elder in our musical network, in late 70's L.A.  He was the youngest, still with 2 years to go in High School.

In some ways he was the coolest and most adventurous of us all. He was the only white kid in a band of black dudes, called The Animated. I was originally in a different band called Pending Spectrum that shared a guitarist with The Animated (Stew, later of The Negro Problem), but I started playing with The Animated when Pending Spectrum's bassist Jon E. Edwards fled the West Coast for Manhattan.



I wasn't that tight with Billy. We would see each other at rehearsals and gigs, and we would hang together as a group socially. We didn't do a lot of one on one bonding, but things were always cool with Billy. For a sixteen year old he was incredibly hip.

It was 1979, the time of Post Punk (though most of us in the US were so late on the bandwagon that many were still having their first taste of Punk).

Billy eventually graduated High School and left L.A. to study in Berkeley. I later left the States completely to dodge Reaganomics, and find out if it was true what I had heard about arty Europe.

Billy and I rarely saw each other, and just kept in touch through mutual friends.

By the time his band got big we had lost touch. Then in 1998  I phoned the Brixton Academy where Faith No More were playing, and left a message backstage, not expecting for it to reach him, or for him to be able to respond to it. 20 minutes later the phone rang.

After all these years Billy was still cool.

Gospel Porn

Gospel music and sex have been connected unwillingly from the beginning of the African American church’s history. The natural sensuality in the culture has always inadvertently seeped through that emotional music form, also referred to as spirituals.

If you have been to any of our gigs during the last year, you will know that we are exploring this link.

When I first wrote the song Can’t Get No Pussy, it was during a very happy but dry time in my life. It was a private joke that I enjoyed singing to myself. When I showed it to members of my Orchestra, they really thought it was a powerful song, and it has led us into this place of spiritual and sexual exploration.

The African American religious imagery we use, mixed with the urban mythical text and song forms, can be confusing if you are expecting something that fits into a pre-fabricated box.

From the Isaac Hayes influenced orchestrations, to the preacher pussy infused raps, the fantastic musicians and artists I am working with are creating a post-urban music experience that seems to speak to those who remember where soul music came from; those that want to feel the spiritual conviction of the Black church coupled with the carnal relevance of their life experience.

NORTHERN LIGHTS

Just 5 days till the tour and I'm excited about getting out of warm sunny London for a while and seeing ENGLAND! It isn’t so different from London, but it is totally different...

People come to London to work hard and play hard. Most don’t have serious intentions to spend their lives here. If you don’t have a need to be directly connected to the arts culture offered here, I find that you are likely to do the sensible thing eventually and move to a different place...

A place that isn’t so expensive, polluted, crime ridden and generally stressed out. Actually it seems to me there are not a lot of great bands that germinate from London or big cities like New York and LA. Most classic bands come from outside of these major music industry big cities because it is so hard to find time in London to do anything but pay bills...

So I am gonna give a sigh of relief as soon as we hit that M1 carriageway leading to the Northern lights. Away from a town were people appear to look like they are in a magazine or on smack. Peoples' complexions look clearer to me who live away from big cities...

But we will be going to some big cities. One big place I’ve never been is Scotland. We are playing Glasgow! That feels like a different country. Probably because it is...

First is Newcastle this Sunday Nov 14th at The Tyne. Sounds like an intimate pub like venue. I haven’t seen Newcastle for 20 years, and I have been told it’s gone from grimey industrial to modern metropolis! It used to be a deadly beautiful grey is my memory...

Then Glasgow at the Halt Bar Nov 15th. I feel like I know exactly how Scotland will smell - very psychedelic...

Then the big gig at Manchester’s Night & Day Nov 16th. This is Manchester’s hottest spot so we are excited about playing there...

Then to Liverpool at Melo Melo Nov 17th. I have family in Liverpool who I haven’t connected with in 5 years, and they say they are coming!

Then back South for The Gladstone in London on Nov 18th. This is truly coming home cause I live around the corner. It is the best music bar in the world!

A couple of days off and we are playing in Birmingham Nov 21st. We are playing at the Chaos Acoustic Club The Old Moseley Arms. We have played in Brum a few times, but never have I seen Moseley, which is supposed to be the hip part of town...

Then on Nov 22nd we finish in Oxford at Far From The Madding Crowd. A very cool town to finish in. And I think my daughter Naomi will be there...

Hope you will too.

Art x

You can find all the venue details and other info on the tour here. Most of the shows are free entry!

PINK TOES

Pink Toes, the musical theatre piece based around songs I have written, is a fragile masterpiece staring Alicia Cubells and written by David Ncube...

We are filming a 'secret' performance of it this Monday, November 8th in London at The 12 Bar Club on Denmark St WC2 8NL This will also be somewhat of a warm up gig for the coming DAVID GARSIDE/ART TERRY UK TOUR which begins on November 14th... http://www.facebook.com/event.php?eid=148984358475404

I wrote in an earlier blog that the best songs often tend to be the sad ones. Pink Toes investigates this phenomenon via music and performance. Afro Dave Ncube’s insight into the music (which is mainly taken from the Anutha Kinda Brotha album) is poignant. His script follows a relationship and how it is disconnected and connected not only from and to the songs but what is actually surrounding us in our singular and shared relationships...

Pink Toes explores the dreams of couples, male and female, rich, not so rich and poor, sexual and non-sexual, sane and mentally ill, promiscuous and platonic, co-habiting and living apart, married and un-married, present, past and future...

It asks the question of us all - Can we find away to be together? Since this is what everyone secretly or openly truly wants...

I have tried to write this song over and over. It took Alicia and David to bring it to life.

ORANGE TREE, RIVER PEOPLE, THE BLACK BOHEMIAN & SEX MADNESS!

Wow, looking at FRIZZ TV’s latest Episode brings back good memories of the last UK tour and really makes me look forward to the November UK Tour. Hope we can try some of the new songs that we have been working on in the recording studio...

We record at Gizzard Recording (www.gizzardrecording.net) which is an analogue tape studio. That means we don’t record digitally, instead we get that warm sound of tape that all those records had before computers started taking over...

You can really hear the difference. Ed Deegan is the engineer there, and he really knows what he’s doing. Raphael Mann is in the producer's chair, so we can’t loose...

We are actually recording 4 albums right now. I love writing songs, and have stopped counting how many I have in my drawer. So we have taken 30 of them that fitted in with the different albums' concepts...

There is the RIVER PEOPLE album, which I think is gonna be the most passionate of the 4 LP’s. It is all about people who live near water, and rivers in particular - which happens to include most cities. Isn’t it interesting that almost any major city you think of has a river in it...

The second LP we are doing is titled ORANGE TREE. The idea behind this record is to fill it with playful songs and beautiful childlike melodies. I love songs that contrast sweet melodies with profound often dark lyrics. This record is my personal favorite...

Then THE BLACK BOHEMIAN album deals with ideas and myths about culture- Black culture in particular. This album is the furthest along, and likely to be finished first...

But our next album will be the SEX MADNESS record. It will include the track most people say is their favorite of mine “Cant Get No P****”
It is due out in 2011. I hope the others can be released very soon as well...

A Song For You

Still. Were the Temptations the baddest or what?

I just watched a clip of Dennis Edwards singing Leon Russell's A Song For You. Dennis Edwards sang lead for the Temptations after David Ruffin left. And as great as Ruffin was, Dennis Edwards and co didn't let his departure stop them from making some awesome albums, including the psychedelic soul classics Cloud Nine, Puzzle People, Psychedelic Shack, and Masterpiece.

The last great album they made was titled A Song For You. It had Richard Street (who sang with the group before the were called the Temptations) taking leads on the eloquent song Firefly ("Even when I have to lie, I shouldn't have to lie, to make the world seem alright.") and the stylised signifying Hey Girl. Ultimate modern soul template.

But when Dennis Edwards takes back the mic to sing A Song For You. No one can touch him. He is the souliest Soul Brotha to have his feet on the planet. He takes a great sentimental ballad and flips it into a provocative declaration of heartfelt present moment manifestation. He brings the past to the present. He brings the future to the present. All time and space is in his rendition of this song.

But the greatest astoundment is the BV's (backing vocals). When the Temps themselves all pick up their mics you can't believe what you hear. You think this must be a record. No! They sound that great singing together live. It is not a record. The Temps pull out their experienced Doo Wop chops and hit us with harmonies so in tune that they climb out of your toes.

The band that accompanied them is super bad too. They smooth the ballad into a funk chill. Even though the recorded sound quality here isn't technically pristine, it still is there to bare witness to the Temptations phenomenon.

Ladies and Gentlemen. Treat yourself to this viewing and prepare to be hit with frank glory:

http://www.youtube.com/watch?v=XE18boJIVrY&feature=related

SOUL MEME

A meme is a unit of cultural ideas, symbols or practices, which can be transmitted from one mind to another through writing, speech, gestures, rituals or other imitable phenomena. Supporters of the concept regard memes as cultural analogues to genes, in that they self-replicate and respond to selective pressures.

The British scientist Richard Dawkins coined the word "meme" in The Selfish Gene. Examples of memes given in the book included melodies, catch-phrases, beliefs (notably religious beliefs), clothing fashion, and the technology of building arches.

The sad songs are the best ones. This is often said. Whether we are talking about 'Yesterday', all the Burt Bacharach classics, 'Lilac Wine', Dylan's coveted tunes, there is an endless list of sad tracks that support the irony that a miserable subject can invoke a lovely joy. Sad songs tend to be the best. Seem to have the most profound sentiments. Or is this just a learned reaction? A belief? Something I picked up from my upbringing on classic Soul? Is this my Meme?

The Delfonics, Stylistics, Blue Magic, all come from the underrated producer Thom Bell. He specialised in Orchestrated Soul. But listening to it, you can hear it's other-worldliness. The arrangements are executed perfectly by some of the greatest musicians this planet has known. But all the lyrics are about Love that AIN'T happening like it could be.

James Brown screams in Love Pain, for the loss of his mother. Curtis recites line after line about "how should I tell her - that it's over now?". Harold Melvin and the Blue Notes give words to Teddy Pendergras such as "To Be True, is such a hard thing to do, it's hard when each time you look around, someones saying 'Hey you, you looking for something to do?'"

I love these songs, I woke up to those songs during the formative years of my life. They seduced me to life. To love, to the challenge of life and love. To sadness, because they made sadness seem so cool! So beautiful.

So now whenever I am in a relationship, where things are going good, I don't know what song to sing. I only feel passion for the sad songs!

Are we what our genes are? Or are we what we believe we are?

The David Garside song 'Mr Wise', is so profound, because he resolves it by saying "now I see myself through my own eyes". He seems to be saying we are what we believe we are.

And this is the thing, no matter how desperate or desolate the song's situation, you can still find some sense of redemption in the song. You can still find some sense in those classic soul songs that they, and you, can rise above the worst situation. If nowhere else, you can usually hear it in the bass drum's heart beat.

And nothing we know of, is worst than the loss of love.

June 12 we begin the 2010 Art Terry/David Garside UK Tour, at Matsu Gallery in London. It will be a very special performance that brings the spirit of those soul classics to life. NOT TO BE MISSED. NOT TO BE REPEATED.

Black Ivory sing "Man forsakes his love, and love escapes from man, like a spinning wheel spins, always beginning where it lands, searching for a melody where he might touch completely. Wo-ah-ah-o,  Love is a magic moment, Love has no sense of time..."

She decided to be a Playa

Sometimes people wonder where the text for a song like Playa from my 'Anutha Kinda Brotha' album comes from. Sometimes I wonder if I’m so twisted that I imagine lyrics that way.

Then something happens that helps me realize that life is weirder than any of my songs portray.

I was sittin' on the top of  a double decker near Liverpool Street station the other day and overheard this conversation behind me. It was a girl on the bus who was speaking about how she would meet older men and game on them in petty ways:

 "I’ve been doing it since I was 16. My parents know how I get my money. I don’t fuck some big old man. They just come to me, this one guy, he took me and my friends out to eat and we built up a bill. The bill was £37 and he paid for it. I was talkin' on the phone and this Indian man was staring at me and I said what you staring at, then I said I’ll take your phone, and he said that wouldn’t be very nice. I said I’ll take your phone. Then I said give me your phone number. And I kept calling him. I made him go down to the chicken and chip shop and bring me something, I met him in the street. I didn’t let him go to my house. Sometime I take my brother, my parents know how I get my money. They asked me to stop, but I keep on doing it. My brother has a alias. I have an alias to, my alias is Samantha."