Where do we go from here? Dinosaurs and Crocodiles; The March 2nd Election.

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On March 2nd, the voting electorate of Northern Ireland provoked a political paradigm shift and dramatically cut the Unionist majority in Stormont. It marks a unique time with unique circumstances, and will raise massive challenges for the executive in the next five years.

But before that happens, the executive must iron out its creases.

How many more times have we to hear about “red lines” and “republican consensus” before cross community progress actually begins? By definition, Government’s main aim is to govern and serve the people that have appointed it. It seems that now, in 2017, the dysfunction of Stormont and the negligence of our political constitutions are clearer than ever.

Whether we like it or not, politics in Northern Ireland is a “Green Vs. Orange” issue, and the majority of the active voting electorate treat it as such. Sinn Fein returned to Stormont with one less seat than the DUP, who seen a ten seat reduction on the MLA’s they have. The SDLP also fared better than many expected, replacing the UUP as the third largest party in the Assembly. Many have been left wondering how this all happened and whether normality will ever resume.

The most popular three-letter abbreviation in Northern Ireland over the last five months surprisingly hasn’t been “IRA”, but “RHI”; The “Renewable Heating Incentive”, overseen by Arlene Foster, was exposed largely by former MLA and DUP Minister Jonathan Bell, who vowed to “tell the truth” about the misgivings of the scheme. The initiative is set to cost the taxpayer approximately £495 Million Pounds, and will inevitably force a halt to vital funding in vulnerable areas such as healthcare and legacy issues.

And whether we blame the implementation of the RHI Scheme ,“radical republican agenda”, the Irish Language, Brexit or hungry crocodiles for the collapse of our political institutions, the fact remains we’re left with a lot of rebuilding to do, and little optimism about the project’s desired results.

Secretary of State James Brokenshire has his work cut out for him. There’s no doubt about that. He’s already been walked out on by a Sinn Fein delegation, who’ve described their conversation with Mr. Brokenshire as “waffle, waffle and more waffle”. And although senior members of both Sinn Fein and DUP (Michelle O’Neill, Arlene Foster and John O’Dowd to mention a few) have claimed there are “no red lines” with regards to a return to devolution, there clearly are many key issues that need addressed.

Screen Shot 2017-03-09 at 23.07.33RED LINES: The key issues which both main political parties will demand action on (credit to “Nolan Live” for the image).

Per the Secretary of State, Sinn Fein and the DUP have three weeks to reach a deal and if a government cannot be formed within that time then under law, another election can be called. In turn, failure from Mr. Brokenshire to fully address these “red lines” will result in a deep political chasm being formed. Ultimately, if no power-sharing government is formed, Direct Rule can be enforced (for the first time in over a decade).

Whilst DUP leader Arlene Foster seen the election results as “a great day for Sinn Fein”, Sinn Fein leader Michelle O’Neill hailed the results as “a brilliant day for equality” and “a great day for democracy”. Both O’Neill and Foster are vital cogs to stabilising Northern Ireland’s political institutions, and the real gauge of how successful these elections are for the North of Ireland will come in whether or not professional, local politics can resume. Without local Government, direct rule is a certainty. And the one thing that’s for certain about Tory led, pro-austerity direct rule, is that nothing is for certain.

CM Punk Broke the Internet.

CM Punk

As UFC 203 drew to a close, it was difficult to take my mind off the cataclysmic failure in which Phil Brooks had just endured.

For those wondering who Phil Brooks is, he’s known by most as CM Punk, a former professional wrestling champion and self proclaimed “Cult of Personality”.

The reason I call him by his real name, rather than his stage name, is to differentiate his past from his present. Nothing in his past could have prepared him for the stark realization that, when it comes to mixed martial arts, you’re either born with it or you’re the other 99.9% of the world.

Brooks got battered. There’s no debate about that. The bout lasted two and a half minutes and there wasn’t a second in the fight when he wasn’t being dominated.

BATTERED: Phil Brooks being pummelled by welterweight prospect Mickey Gall.
BATTERED: Phil Brooks being pummelled by welterweight prospect Mickey Gall.

It was hard to watch at times. Just seconds in, it was abundantly clear that this experiment wasn’t going to have a happy ending for the Chicago native. And although the fight proved brutal, it also proved necessary.

This fight, along with other examples (James Toney VS Randy Couture & Jose Canseco Vs Hong Man Choi immediately spring to mind) are reminders to the general public that, although the term “mixed martial arts” has the word “art” in it, there’s nothing artistic about being punched in the face.

MMA is savage. On the same card, viewers witnessed a man’s finger becoming so badly dislocated that, when the footage is paused, you can clearly see a bone sticking out. Viewers also witnessed Alistair Overeem, a man with over 15 years of MMA experience, being unapologetically knocked unconscious. This isn’t a game folks.

The Phil Brooks experiment, if nothing else, provoked opinions. On one side, many admired the man for chasing his goals and following his dreams. On the other, many seen his move into professional fighting as cocky, arrogant and ignorant. He’s always been considered a controversial character and his move into MMA was cut from the same cloth.

Brooks said, “In life, you go big or you go home” after the fight. It was an admirable act of courage to step into the octagon and the man deserves respect for that alone. But there’s nothing more humbling in life than a punch to the face. And unfortunately for Brooks, he learned that the hard way on several occasions.

His Rocky story didn’t have a happy ending. His face and ego were left battered and bruised. And his reputation? Well, he’s always been known as an entertainer and his journey has certainly entertained fans and spectators alike. So, credit to him.

It’s not clear if we’ll see Phil Brooks back in the octagon. But if we do, I hope it’s to promote a Wrestlemania, rather than to venture into a world that rewards the few and condemns pretenders through violence.

His record reads zero wins, one loss. And with his 38th Birthday fast approaching, I just can’t see that improving anytime soon.

Album Review: Kendrick Lamar – To Pimp a Butterfly.

For those of you that have been living on Mars for a few years; Kendrick Lamar is one of the most highly touted and well-respected rappers to emerge in recent times. Adored by both rap fans and fellow musicians, he has been compared to the likes of Tupac Shakur, Ice Cube and Bob Dylan. And before you ask….Yes, I said Bob Dylan. Well, Pharrrel Williams did.

Album Cover: Kendrick Lamar -To Pimp a Butterfly.
Album Cover: Kendrick Lamar -To Pimp a Butterfly.

After taking an almost 3 year hiatus, The Compton native released “To Pimp a Butterfly”, his first album since the critically acclaimed “Good Kid, M.A.A.D City”. The story behind the album title is a strange one; after ditching several other planned titles, Kendrick claimed, “I just really wanted to show the brightness of life and the word “pimp” has so much aggression, and that represents several things. For me, it represents using my celebrity for good. Another reason is, not being pimped by the industry through my celebrity.”

The anticipation for this album is something that’s been lost from Hip-hop in recent times. In all honesty, the last time I can remember a hip-hop album release becoming so captivating was on September 11th 2007, when both Kanye West and 50 Cent released their respective albums (“Curtis” and “Graduation”).

The pressure was well and truly on Kendrick, who at this point has become a rap deity to his fans. With titles such as “savior of hip-hop” and “the new Tupac Shakur” synonymous to Kendrick, there’s no question many were expecting a classic in the proportions of “Illmatic”.

Did the album live up to expectations? I don’t think it did. I think it surpassed them.

Many expected him to release a music album and what his fans got instead was a socio-political manifesto, the likes of which I personally haven’t experienced through the medium of modern hip-hop music (on this level anyway). The album is both contextually poignant and thought provocative. There are many layers to the album and to mention them all in this article would read similarly to a college dissertation. So I’ll try and keep it brief.

After first listening to the album, I was completely flabbergasted. I was overawed by his consistent challenges to black culture’s ethos, as well as the condemnation and reluctance to allow himself to become “pimped” or bought by the entertainment industry in the name of selling out his morality. This theme has been heard by many black entertainers before; Dave Chappelle for example quit his show and allegedly turned down £50 million dollars to stay, in the name of his morality and racial integrity. “And if I gotta brown nose for some gold, then I’d rather be a bum than a motherfuckin’ baller” sums up his argument in “King Kunta”. Pretty heavy stuff, considering we’re only on track 3.

The constant idea that Kendrick is the new face and voice of the black community is constantly reinforced. He has mixed views on this idea and can be heard In “Mortal Man” interviewing Tupac Shakur posthumously about this. The complexities associated with Kendrick taking on this role are consistently referred to. “I remember you was conflicted, misusing your influence, sometimes I did the same” is heard repeatedly throughout the album to reinforce this.

His overall disgust and confusion about himself is also referred to in “Blacker the Berry” when he says, “So why did I weep when Trayvon Martin was in the street, when gang banging make me kill a n***a blacker than me? Hypocrite”. The mention of both the Trayvon Martin case and black gang culture are very sensitive subjects, but Kendrick shows bravery by going headfirst into it. He holds nothing back and condemns his own actions and thoughts. More importantly, this lyric directly condemns the gang elements related to civil rights cases, such as the events surrounding the Trayvon Martyn case. The term “paradigm shifting” isn’t a strong enough expression for a message as powerful as this, and sets this album apart from other modern hip-hop albums. Truly revolutionary material.

Kendrick’s brutal honesty and constant referral to historical context and political influence is a breathe of fresh air in modern hip-hop. Kendrick’s taken the genre of politi-rapping to a previously unattainable level, and has embedded this poetic message into a beautifully produced music album. His unique commentary on black culture is an audio masterpiece and his take on entertainment and show-business is fascinating. This, in my opinion, is the best album I’ve heard in years and a true lyrical masterpiece. I’d rate this album 10/10, 5 microphones out of 5 and reward the album all the accolades I could. I don’t think anything rap/hip-hop related holds a candle to this. Nothing even comes close.