Bamum Royal Throne

Which artifact was the most challenging to obtain and why?
The majority of the pieces in the current collection were collected over a period of 40 years by a passionate collector of African art named Mr John Wessels, and of course each piece has its own unique history and related story set of stories to tell. During the course of our research we were fortunate enough to get assistance from various great sources, one of whom was Mr Njutapmvuli Mouliom Hamidou, who is a very knowledgeable African art dealer. This was extremely helpful to us as Mr Hamidou’s family have been in the African art business for something like five generations – I believe his father and even grandfather were instrumental in acquiring some of the larger items and he explained that of all the objects in the collection it was the Royal Thrones that were probably the most difficult and expensive items to acquire.

What made the thrones the most challenging to retrieve?
For one thing, the fact that they are royal thrones makes them particularly significant objects – they are often decorated with what represented the wealth of the people (in the form of glass trade beads or cowries) as a visual sign of their opulence and importance and, being created for the use of only a select few individuals on special occasions, they are also quite rare objects. Despite their considerable bulk, many are rather ornately carved or elaborately finished with delicate glass beads and/or cowry shells, all of which requires highly experienced and well- equipped individuals to transport them from their places of origin. More often than not they had to be transported from some of the more remote regions of Africa where the terrain can be extremely challenging for any sort of vehicular transport.

Bamileke Royal Thrones King & Queen

What’s the next step after the piece has been retrieved?
Once a piece has successfully been retrieved from such an area it still has to be shipped or air freighted to its final destination, and so has to be subjected to all the usual issues of customs, quarantine, handling damage and so on before finally being exposed to a Methyl Bromide for 12 hours in order to kill any passengers that may have come along for the ride.

This, however, is only half of the story and only happens once the object has been successfully located, its sale or trade successfully negotiated and the necessary ceremonies performed in order to ‘dis-imbue’ the object so that it can be released, often involving scores of individuals and is not always a simple case of money for goods. It was essential to have a reliable and experienced team of professionals to get the job done. They also needed to be properly funded in advance in order to successfully complete the whole trip.

These expenses could easily run into hundreds of thousands, sometimes even millions of rands, all paid for up front with no guarantees that you will even receive the object.

Bamileke Throne & Bamum King’s Throne

Where did the inspiration for the project begin?
I was always amazed that there was no African art museum in South Africa and that African art was always relinquished to sidewalk or flea market-type sales. I thought that a book would be the first step in introducing people to the magnificent variety and richness of art available on the African continent.

The story behind Oju Ona started in the ’90s when Mr John Wessels aka ‘Pappa Cameroon’ (as he was known to the local African art dealers) asked me to assist him in negotiating with the Museum of Primitive Art in Paris (The Musée du quai Branly). Mr Wessels was hoping to have his collection placed in the museum and needed a fluent French speaker to assist him in the negotiations. At the time I felt that I had insufficient knowledge of African art to be of any assistance and declined the opportunity.

Seventeen years later I was approached by an auctioneer friend regarding a collection of African art that was up for sale. I then made an offer that was accepted by the estate without knowing to whom the estate had belonged. That same night I had a dream in which I had a vivid recollection of John Wessels and his collection, which I had last seen nearly two decades previously. After the dream I felt the urge to keep this unique body of work intact and so I decided to try and preserve and exhibit it for the sake of future generations for as long as possible.

Despite the not inconsiderable difficulties that this decision has presented, I still feel that it was the right thing to do as this project is long overdue in Africa.

After all, art is at the centre of culture and identity. If we want to see African art and culture elevated and celebrated on our terms then it is it is essential that we take the lead in proudly displaying our art to the world and preserving our heritage for the generations yet to come.

I think it would be a terrible loss to the country and the continent for this wonderful collection to go the way of so many others before it and sold off piecemeal to foreign collectors.

Bamileke Royal Throne

The press release claims this museum will rival the Louvre, 1) in what way/s will it pose as a rival and 2) what has been the response to this goal from the general public?
I am the promoter of the concept and registered the name of ‘The South African Museum of African Art’ (PTY) LTD. I identified Park Halt Station as an ideal location and approached Transnet, who are the owners and Johannesburg Development Agency (JDA), who are the lease-holders, with the proposal.

The brief for this concept is to create a building that embodies the future of the country and the continent in scale, style and ambition and which will vie with other world class museums, such as the Louvre in Paris, in capacity.

To visualise this ambitious brief I engaged the expertise of two young architects – a move that I believe has really paid off as their fresh and contemporary approach to building’s design is exactly in line with our requirements. I sincerely believe that their design could be an icon for the city in an area that I think could become the ‘Times Square’ or ‘Piccadilly Circus’ of Johannesburg.

So far, I think that everyone we have spoken to recognise the desperate need, in Johannesburg especially, for properly planned and maintained public spaces that integrate cultural and artistic institutions as well as entertainment and commerce and so on and as a result the responses we have gotten have for the most part been extremely enthusiastic.

Bamenda Tikar Power Figure

The book focuses on a small portion of the entire collection, how did you pick and choose which artefacts to put in the book?
It wasn’t easy, I can tell you. All in all, from concept to final product, we spent three years in the production of Oju Ona. The process began with photographing and cataloguing the entire collection and then using the catalogue we had created we began the long and difficult task of selecting a broad range of pieces, within a set of categories, representing each and every country in the collection. This was done with the museum in mind as the book’s purpose is simply to be a broad overview of the collection that provides a brief introduction to the subject in a South African context. In fact we spent quite a bit of time on the problem of how to group so many pieces from so many places and peoples.

Essentially, our goal was to devise a set of novel yet sufficiently broad categories that maintained a sense of continuity from group to group so we spent quite a bit of time on the problem of how to group so many pieces from so many places and peoples. This was done with the museum in mind as the book’s purpose is simply to be a broad overview of the collection that provides a brief introduction to the subject in a South African context.

Taking the art and placing it in one central location in South Africa makes it difficult for people in different countries to view the art, why one huge museum instead of a series of smaller ones in multiple countries?

The goal of the South African Museum of African Art is to germinate a new vision for the arts in South Africa, which not only celebrates our cultural diversity but also proudly proclaims our role as custodians of an important heritage that belongs to everyone.

In doing so we believe we can inspire the next generation of historians, archaeologists, writers, architects, engineers and academics of every specialty, hue and background. One very important way to do this is to take the lead in shifting the focus of academic research towards the vast and little-understood history of Africa, from an African point of view, by establishing a centre for study and academic discourse that we hope will lead the way in future research and free African art from the shackles of the art/artefact dichotomy.

The museum aims to be the most representative collection of African art – showcasing work from every country in Africa, something that has never really been attempted before and which requires a large central and secure location to house and properly display it. However this is not the whole story – it has always been our intention to tour various elements of the collection around Africa and indeed, the world so that all who are interested can be inspired by it. This will also serve to create the sort of academic focus and interest that we believe will be of great benefit to the country and to the continent.

Bamum Queen’s Throne

Will the museum focus on lost history and artefacts or will it highlight contemporary art and the forward-moving spirit of Africa?
The larger, long-term goal of this museum is to create and foster a broader interest in the cultural heritage and history of the continent of Africa so as to a local appreciation for the art of and artefacts of the continent so that they might be involved in the on-going dialogue on the topic of what separates art and artefact.

We believe that it would be a healthy distinction to make from a local standpoint rather that have the perspectives of Europe and America as the only voices that count when it comes to the topic of what the likes of Sotheby’s and others have branded ‘primitive art’. In fact we feel that once the distinction between what actually constitutes an invaluable and utterly unique piece of cultural and historical heritage fit only for public display for the benefit of all and what is a valuable piece of art, regardless of what form it takes, then we will have taken an important step

… A step towards taking control of our heritage and promoting the talented artists of the continent fostering local and regional appreciation and active participation in both the generation of new forms of art as well as preserving and celebrating cultural heritage.

Click HERE for Part 2 of the interview.

Purchase Oju Ona, here!

Hemba Caryatid Stool

interview by Sydney Chesnut, edited by Chanel Carstens

Bamum Travelling Stool

You describe the book and this whole movement as a call to action, were you anticipating the results you have come by?
We have had some very positive and encouraging dialogues with Transnet, JDA (Johannesburg Development Agency) and various government officials who are all very enthused about the possibilities raised by a project of this sort and want to be a part of the effort to promote and preserve African art, culture and heritage as well as encourage South Africans to take a greater part in the on-going academic research and debate on the subject.

There will inevitably always be one or two detractors, usually with vested interests in the status quo or cynically warped and anachronistic attitudes that are better suited to by-gone eras but those voices are very much in the minority as far as the feedback we have received is concerned. Besides, we have not gotten to where we are now by paying attention to such myopic negativity.

Instead we prefer to focus on explaining and spreading the dream as far and wide as we can by getting as many champions for the cause on board as possible. We are very grateful and honoured to have the continuing support of several notable individuals who have offered advice, support and assistance in making this dream a reality.

Igbo Mmwo Helmet Mask Kongo Mangaaka Nkisi Nkonde

What separates your book from other collections of African art?
Oju Ona is an introduction and overview of a much larger collection and was conceived as the first in a series of books that will further expand on the collection and the museum. With Oju Ona we tried to avoid simply putting together a catalogue with basic descriptions and actually produce something that would give a bit of background and depth to the objects and their intended use, purpose and significance without going too far the other way and coming off as though we were trying to pass ourselves off as experts in the field producing a definitive handbook on African art.

Essentially we wanted to convey the sense of newly discovered wonder and appreciation that we had as laypeople investigating a subject that we were astonished to find was so obscured, exploited and misrepresented and yet was so utterly fascinating and revealing nonetheless.

This is why in parts of Oju Ona we allowed ourselves to take a few detours to tell some of the back-stories, histories and mythologies of some of the more influential cultures and individuals so as to try to ‘place’ the artwork on the page within a human narrative instead of divorcing it entirely from all context as seems to happen all too often in the African art industry.

Djenne Terracotta Figurine

Street artists and handmade crafts are a huge part of the African culture and are the stereotypical idea of African art; will street artefacts be featured in the museum as well?
One of the goals of the South African Museum of African Art project is to provide the right environment for a meaningful dialogue on the problems facing African art and the distinctions separating art from artefact. These are important discussions that are central to an understanding of African identity and vital if we wish to take ownership of the subjects that have a very real impact on us as a country and as individuals as well.

To create a developed and progressive society that is sustainable we have to step up to our responsibility as custodians of our own heritage.

We can only effectively do this by encouraging learning, facilitating academic research, providing a central hub for progressive dialogue and communicating this information and to the people of South Africa and the rest of the World. This is an important question and one that we touch on in the book only briefly as it is one that requires a lot of unpacking and deserves a much larger forum.

For our own part, we feel that without a broader awareness and support from all sectors of society it will be extremely difficult indeed to create the sort of vibrant and dynamic art industry that other developed nations enjoy. The exploitation of Africa’s collective cultural heritage has been as rampant as that of its natural resources but in South Africa this has seemingly been largely ignored – arguably in favour of more pressing matters associated with South Africa’s transition to a free and democratic society.

We feel that it is time that these issues got the attention they deserve and we believe that the time is right for us as a nation to exert ourselves as the responsible custodians and defenders of the heritage that in fact belongs to us all.

Bamileke Royal Throne Cameroon

Many popular museums feature Egypt separately from the rest of Africa in exhibits and contain many more Egyptian items of art, how are you going to make sure that all countries in Africa are fairly represented?
What is amazing to me is that if one goes to the Metropolitan Museum in New York the display on one side is of Egyptian art and on the other side of the hall are displayed the artworks of the major civilisations of the rest of the African continent.

We feel that one of the biggest problems we face is that much of the art that is available is not supported by contextual studies, as is evidenced in the example of the Metropolitan Museum, where the objects in the Egyptian half are accompanied by elaborate descriptions that give context to the work, whereas the art from the rest of the continent is furnished with only the most basic of descriptions and provides very little background.

The rest of Africa has received far less academic attention, which just goes to show how much ground we still have to cover. It is sad that many people today are not aware of any of the other great empires that once existed in Africa apart from those in Egypt – it’s not that they didn’t exist but simply that they don’t get as much academic or media attention.

To read Part 1, click HERE!

Purchase Oju Ona, here!

Bamileke Kwifon Masks Cameroon

interview by Sydney Chesnut, edited by Chanel Carstens

Patterned Tile by Neil Krug

The inspiration for the pulp theme comes from the artists’ collective appreciation of societal life and the artistic expressions of the 1960s and 70s. Old LP jackets, Giallo posters, vintage book covers, and B-movie cinema themes have defined their taste for this project. Initially they set out to capture something simple and sexy; as the shoots progressed, however, natural story lines emerged. The resulting work captures the smell of those decades and expresses them in a fresh way.

Bedroom by neil krug

Coyote 13 by neil krug

Nathalie Kelley by Neil-Krug

Nathalie Kelley by Neil Krug

Pulp Art Book: Volume Two; Luce-Solare

Pulp Art Book: Volume Two; Luce-Solare 5

Pulp Art Book: Volume Two; Mystic White Flight

Pulp Art Book: Volume Two; Rosemary

one small seed’s 25th issue Content Preview from one small seed on Vimeo.

Screenshot

Screenshot

image: pleaseenjoy.com

image: pleaseenjoy.com

image: pleaseenjoy.com

Before I came to New York I was bathing myself in the romantic fantasy of becoming a starving artist like van Gogh. Then I realized there’s nothing romantic about starving. The Fine Arts program was all about the pursuit of such utopian dreams.

Lee continues,

I realized I was more interested in communicating my ideas instead of pursuing this romantic life style. Studying design opened my eyes. In contrast to the exclusive nature of galleries and museums, design offers possibility to communicate with masses of people.

 

image: pleaseenjoy.com

image: pleaseenjoy.com

image: pleaseenjoy.com

Lee has since dabbled in many projects including the renowned Bubble project where he printed 50 stickers that looked like comic book speech bubbles and posted them throughout New York on various advertisements and posters. Offering a new blank canvas, or bubble rather, the public was free to fill in the gap with whatever popped into mind.

image: pleaseenjoy.com

image: pleaseenjoy.com

image: pleaseenjoy.com

Ji Lee’s most recent work is a compilation of words he put together in a graphic design book where he shows words as images. The fonts are visually created in such a manner that it mimics the word itself. Take a look at some examples below to get a better understanding. Witty and intelligent, Words as Images is a definite boredom killer and beats browsing Facebook. It’s worth a Like though.

image: pleaseenjoy.com

image: pleaseenjoy.com

Words: Bianca Budricks

Sources: universrevolved.com, pleaseenjoy.com, lostateminor.com

images: pleaseenjoy.com

image : fashionindie.com

Becoming more renown from the ’2000s, Chicks on Speed formed part of the musical genre – electroclash
 

This multi-disciplinary art ensemble dabbles in fashion, performance art, fine art, music and film. Chicks on Speed put emphasis on the DIY ethic and over-play it with strong Dadaist punk-inspired notions. Their art ranges from print and fashion to installation, photography and music; it covers a whole range of different styles and mediums but remains unique to Chicks on Speed. Along the way, there have been other members who have joined the two girls.

image: artreview.com

Murray-Leslie and Logan focus on interactivity having recently released a print book-cum-bag of their work, a type of rationale compendium as well as a DIY guide. The self-titled, colourful publication gives you a typical ‘Chicks on Speed’ experience; unlike any other book, its textures and format will keep you busy for ages, not even to mention the content (with a bag and poster as extra). Hand-crafted and a little scrapbook-like, the book is designed by the girls themselves and is divided into periods of their lives, ‘Fake Band,’ ’Pressing the Press,’ and ’Sell Out.’

image: craft-victoria.blogspot.com

image: craft-victoria.blogspot.com

image: craft-victoria.blogspot.com

Their work, as they deliver it to their audience, is like the press kit you always wish you could receive. Not the press release you receive way too often. Hands-on reading, Chicks on Speed, (Its a Project) is something you have to experience for yourself, as they say:

The Chicks’ studios are the stages, institutes, streets, theatres, shacks & palaces around the world. The High Art has seldom gone so messy & the Low is always high, dressed up or without dress at all, mixed into an audio / visual triggering frenzy of loops & cut up performances, one could ask ‘where are the shackles?’ More questions please, and don’t expect answers now. Come, look, listen, get angry dance & start a disturbance!

image: the new yooxer

Words: Bianca Budricks

Source: chicksonspeed.com

images: artinbase.com, fashionindie.com, artreview.com, craft-victoria.blogspot.com, thenewyooxer.com

Available at The Book Lounge : thebooklounge.com

Issue 24 of one small seed asks you to ‘Listen to my Colour and Look at my Sound’. Music, motion, words and colour – looking beyond the obvious, our latest issue brings a union of the senses. To follow is an all-inclusive preview of the new issue: a full breakdown of content that resonates with inspiration. Hold on tight…

The human story is told in the language of pop culture. Coca Cola designed Santa Claus and Hugo Boss the uniforms for the Order of the Death’s Head. Jimi played The Star Spangled Banner at Woodstock and the Devil went down to Georgia. David Byrne wore a big suit and Princess Leia that bikini. We couldn’t handle the truth, needed a bigger boat and loved the smell of napalm in the morning. Assorted male models shot JFK, RFK and JR, then Biggy Smalls, Tupac and the Sheriff. And something made Andy Warhol’s Marilyns smile. Maybe it was the hand up the Mona Lisa’s skirt. (Gustav Swart)

This issue’s theme of ‘Listen to my Colour and Look at my Sound’ led us to some odd doors as we sought artists that bridged the divide between the visual and the aural.  An interview with legendary album artist Storm Thorgerson – referred to some as the 6^th member of Pink Floyd – allowed us to revisit the aesthetics of the ’70s, while 21^st Century poster designer Dan Khulken tells us about making posters for bands like Black Keys and The National. Issue 24 is a 30 000-plus words visual explosion, and one such visually exploding artist we spoke to is the infamous Gonzo illustrator and Hunter S Thompson’s partner-in-grime, Ralph Steadman. Another artist that tore through the ’70s and still doing what he does best is Horace Panter – the bass player of The Specials. In this issue, Panter gives us a candid account of his life in music and his life as an artist, from playing with The Clash to his time working as a white van man, he shares memories of his life on a road less traveled.

Our fashion spread this issue comes direct from Tokyo, Japan. Creating a 3D-like effect, reminiscent of Nintendo games and early Star Wars films, Japanese designer Kunihiko Morinaga created his Low Resolution collection around the 8-bit inspired colorful square blocks. Mari Sarai’s lewd black and white nudes feature as this issue’s photography section, her subjects including celebs like Gavin Rossdale’s daughter Daisy Lowe and model Janice Dickinson. We have a feast for the ears in the form of interviews with Kenya’s globe conquering Just a Band and the revolutionary American poet Abiodun Oyewole – the man who robbed the KKK and worked with legendary Jazz musician Gil Scott-Heron on his famous song ‘The Revolution will not be Televised’.

Ever tasted the letter ‘f’? Or smelled the colour blue? Well, some people have! One of our main features this issue is on Synesthesia – the condition that lets people see sound as colour – and trace its path through the methods and madness of some of the brightest stars in the human firmament. Click HERE for a preview of the feature. On the local frontier, we sit down with singer/song writer/actress Sannie Fox, electronic trio Digital Rockit and all four members from Cape Town band iScreamStix. Olmeca Editión Black Tequila joins us in showcasing electronic DJs/Producers, with this issue bringing Blush n Bass and Felix Laband to the party.  We watched architecture dance slowly to visible music in our architecture feature, looking at structures like The Sum of Days, NY; Stillspotting, NY; the Jewish Museum, Berlin; Jetty Square and more.

Ending with the beginning, our cover for Issue 24 is devoted to one of the street artist/videographer Mr Brainwash’s tongue-in-cheek creations. This issue features a six-page interview with the artist, who talked to us from his L.A. home about money, art and Andy Warhol. Showcasing at 34FineArt Gallery in Woodstock, Cape Town is an exclusive selection of Mr Brainwash’s latest artwork, including issue 24’s ‘Madonna’ silk screen on paper with spray paint.

Right, without further ado… Here’s the breakdown for Issue 24 “Listen to my Colour and Look at my Sound”.

FEATURES

American Civil Rights Icon

Abiodun Oyewole: Grand, High Wizard

Founder member of The Last Poets talks about verse, Gil Scott-Heron and robbing the KKK. Click HERE to read our blog ‘The Revolution will not be Televised’ and find out more about the legendary Gil Scott-Heron: a spoken word poet, jazz genius and close friend to Abiodun Oyewole.

Defiant Photographer

Mari Sarai’s Girls on Film

Black-and-white nudes that stare right back and you and challenge the Gaze. Check out a video interview we found with Mari Sarai by visiting onesmallseed.tv HERE.

Aural architecture

Echo Chamber: The Sound of Space

Our investigation of sound and concrete spans the globe and classic art movies. First we took Manhattan, then we took Berlin. Click HERE and visit onesmallseed.tv to watch the video titled Berlin: Die Sinfonie der GroBstadt, which showcases a selection of abstract visual content that portrays the ‘life’ of a city.

Cape Town-based breakout band

iScreamStix: It ain’t Sorbet

A big scoop of local talent

Kenyan Globetrotters

Just an Interview with Just a Band

Meet the voice of East Africa’s ‘superhero’ Makmande. He may not exist but he sure kicks ass

Cross-sensory Exploration

Neuromagic: The Harmony of Synesthesia

We dive into the magical world inhabited by synesthetes: individuals who see, hear, feel, smell and even taste colour. Such people include legends of our time, like Syd Barrett of Pink Floyd, Marilyn Monroe and Vladimir Nabokov to name a few. Click HERE for a preview of the feature and then visit one small seed TV to see a video about this unique condition

Genre-busting rocker

Sannie Fox: Rage with the Machine

This star of stage and screen proves that you don’t have to be a fatbottomed girl to make the rocking world go round.

Gonzo illustrator

Ralph Steadman: Another Freak in the Freak Kingdom

We can’t stop here. It’s bat country

Controversial Pop Artist

Mr Brainwash: Laughing all the Way to the Banksy

We got a call from the man who calls himself ‘Banksy’s biggest piece of art’. We’ve uploaded a snippet of the interview featured in the magazine, simply click HERE and see if you can make out who Mr Brainwash really is…

Jozi Beats

Digital Rockit: The Neon Gods they Made

Local veterans of the electronic scene look forward and back

Classic Album Art

Storm Thorgerson: Dark Side of the Tunes

We get under the covers with the man who designed for bands like Pink Floyd, Led Zeppelin, Black Sabbath, Muse and machineri.

Troubadour’s Poster Boy

Dan Kuhlken: Dreaming of Electric Sheep

The National, The Black Keys, Red Hot Chilli Peppers… just some of the bands that LA-based design team DKNG have worked for

Musical contrasts

eleKTRONIK Dialogues

A new department brought to you in conjunction with Olmeca Editión Black Tequila dedicated to showcasing the best and brightest musical talent.

Ska rocker and painter

Horace Panter: If Music is your Special Thing

The bass player of The Specials went from fame to obscurity and back again

Avant-garde Fashion

Kunihiko Morinaga: Pretty in Pixels

Chic couture meets the chunky pixels of 8-bit arcade games on the catwalk. Check out our interview with Morinaga in the latest issue, and if you’re thirsty for more information on pixel fashion then check out our blog HERE.

DEPARTMENTS

IN STORE

Products for your eyes, hands, and mind…

BOOK REVIEWS

Get the critique on books that will read you.

SELECTED CREATIVES

We reveal the winners for Selected Creatives 06, a showcase of the very best uploaded to onesmallseed.net. Click HERE to check out who made the cut, voted by you on the one small seed network.

FILM REVIEWS

This issue we check out Mike Cahill’s Another Earth; Clint Eastwood’s J. Edgar, Martin Scorsese’s Hugo, Tarsem Singh’s Immortals, Lars von Trier’s Melancholia and Paula Van der Oest’s Black Butterflies.

MUSIC REVIEWS

We dissect the beats that are supposed to move your feet.

NOW SHOWING

Issue 24 showcases some of the most gripping videos we found in 2011, including Influencers; Jeff Staple; Earth time-lapse view from Space; Press Pause Play; Morpho Towers: Two Standing Spirals; Brain Eno’s Imaginary Landscapes and Berlin Die Sinfonie Der Grosstadt, a fascinating video that sheds light on the discourse of aural architecture. Click HERE to watch these awesome videos.

THE LAST WORD

We leave this to South African writer duo Headline Payoff and illustration by Mark Venter.

It’s always been my ambition to write the most influential, most widely read, most controversial book of all time – James Frey

Fresh from his battles with Oprah and Larry King, James Frey’s got a new target: God. In his new book, The Final Testament of the Holy Bible, Jesus Christ is alive and well. He lives in New York. Has sex with men. Impregnates women. And smokes pot.

Have a look at this intriguing video that asks Muslims outside a mosque their opinions on The Satanic Verses, Christians what they think of Darwin and MPs what they think about bills they haven’t even read. Does no one read anymore?

Sometimes you don’t really need to read into things, you just have to know about it.

There is no way every MP reads every bill that they’re voting on.

Words: Yusuf Laher