logo
For the love of Benjamin Zephaniah - poems planted among the trees at Newtown event

For the love of Benjamin Zephaniah - poems planted among the trees at Newtown event

Yahoo19-04-2025
An inspired 'trees and poems' legacy is being created in the heart of Birmingham to remember the city's literary genius Benjamin Zephaniah.
The trees – a mixture of fruit trees and other species chosen for their stunning blossom or autumn foliage – were planted in Newtown's Burbury Park during the winter to create what will grow into The Zephaniah Forest, in memory of the nature-loving poet and writer of Trees Please, who died aged 65 in December 2023.
And this Easter weekend, 65 poems will be attached to the growing trees, all of them crafted by winners of a 'Trees Please, Poetry Please?' writing competition judged by Zephaniah's youngest brother David Springer, poet, performer and filmmaker Zakariye, and Charley McDermott of charity Birmingham Tree People, which is co-ordinating the Zephaniah Forest project.
READ MORE: Pledge to make Birmingham an anti-racist city in 'moment in history'
McDermott said: 'Benjamin and his family lived on Farm Street when he was a child, so we will be able to retrace steps that he has taken many years before.
"The poems will be laminated and tied to the trees, so this method of display doesn't disturb or damage the trees.
"We hope the wonderful poets will return to replace their poems when they are worn out.
'We want to encourage the community and those involved with this project to come back, ensuring the trees are healthy, and the forest is thriving for Benjamin.'
The poetry event is this weekend (Easter Saturday). Twelve fruit trees were planted on 19th December by children from three local schools at an event attended by Lord Mayor of Birmingham Cllr Ken Wood and Zephaniah's sister Millicent (Milly) Springer.
African drummers played and poems were recited by schoolchildren, local resident John Bailey and performance poets Zakariye and Bradley Taylor.
Springer said: "I know he's looking down thinking what a beautiful, wonderful tribute to him this is.
'From a very young age, he stopped eating meat as he thought it was cruel and he just loved nature.
"He was passionate about green, he was passionate about human beings. Benjamin never forgot his roots."
Zakariye said Zephaniah "taught me you can be from Birmingham and a poet."
He added: "I never got to meet Benjamin, but a lot of my work has mirrored a lot that he's written."
Yeabsera, who took part in the project and is in Year 8 at Holte School, said he enjoyed putting stakes in the ground and nailing them to the protective wire mesh that goes around the trees.
"With all the tools, it was really heavy but really fun to do," he said.
Debra Gordon, committee member of Burbury Park Community Forum, said: 'All of us in our own way are here to honour the memory of Benjamin Zephaniah by the fact we are able to do a wonderful thing, which is take one of his most precious memories and passions which is about nature.
'We live in an urban area where nature is very precious and squeezed in.
"We are really blessed to have not just Burbury Park, but all the other green spaces in Newtown. We really need to protect them and look after them."
Bishop Desmond Jaddoo of Birmingham Empowerment Forum, a school contemporary of Zephaniah's, said the aim of the Forest was about "getting our children to understand the importance of the Park and of trees'.
It should also be about residents "being involved in long-term planning and taking ownership of Burbury Park,' he said. 'Let's start pushing positivity in this area."
At a final tree planting session on February 13, attended by city council Cabinet Member for the Environment Cllr Majid Mahmood, Benjamin's widow Qian Zephaniah told attendees: 'Those trees are not just roots and leaves - they are poems.
'Benjamin loved pear trees, especially when you take the pear off and it's really soft and juicy!" she said.
"And he loved fig trees. He learned if you really want a perfect fig, it should be in the early morning, because after that all the bees and butterflies will want it.
'We should always live with the trees. We can't have housing without trees; where are birds and other animals going without trees?"
Maria Aio, one of the competition-winning poets said: "Benjamin was so talented and such an inspiration for me as a young black poet.
"He brought so much into my life. He was all about radical authenticity.
"I really try to encapsulate the healing of nature through my poems."
Dan Hooks, aka Alienpoet, said: "Benjamin's legacy is great - he's a strong political voice, he's an anarchist, he's a vegan, he supported all the animal charities. I'm really proud to have a poem on one of the trees."
The Forest project came about after David Springer contacted charity Birmingham TreePeople on behalf of the Zephaniah family.
Birmingham TreePeople and Benjamin Zephaniah Family Legacy Group teamed up with Burbury Park Community Forum, Birmingham Empowerment Forum and the parks department of Birmingham City Council.
In a few weeks, more than £28,000 was crowdfunded for the forest from 106 backers, with support from tree-planting charity Trees for Cities.
Separately, also on Easter Saturday, Aston Villa Foundation are hosting a ceremony for six winners of the inaugural Benjamin Zephaniah Localism Award at Villa Park, for people who have made a positive contribution to their local community and inspired others in Birmingham, in a similar spirit to Zephaniah.
A story and poem by Zephaniah called Leave the Trees Please, a plea for and celebration of nature, was posthumously published last week.
The first annual Benjamin Zephaniah Day was held at Brunel University on April 12.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

The Science of Why Humans are Obsessed with Stadium Concerts
The Science of Why Humans are Obsessed with Stadium Concerts

Time​ Magazine

time6 hours ago

  • Time​ Magazine

The Science of Why Humans are Obsessed with Stadium Concerts

August 15, 2025 marks the 60th anniversary of a pivotal moment in live music history: The Beatles' infamous performance at Shea Stadium. What began as an unprecedented attempt to accommodate the Fab Four's overwhelming popularity has evolved into a touchstone of pop culture—the modern stadium tour. Today's stadium concerts are more than just supersized live shows; they have become cultural phenomena and socio-economic markers. Perhaps most intriguingly—at least to me—they are also neuroscientific experiments in mass synchronization. In 1965, pop music's demographic was dominated by teenagers with disposable income and a desire to break the self-imposed boundaries of their post-Depression-era parents. The Beatles' audience at Shea was overwhelmingly young, predominantly female, and distinctly American. In the decades since, stadium audiences have expanded in every conceivable way. Through the '80s and '90s artists like U2, Madonna, and Michael Jackson drew increasingly global, multi-generational crowds. Today, truly global music acts like BLACKPINK and Bad Bunny play to stadium audiences worldwide, reflecting the increasing multicultural appeal of contemporary music. And touring artists like Bruce Springsteen, Paul McCartney, Cyndi Lauper, and The Rolling Stones now draw in new followers aside lifelong fans, with three generations of family members often attending together. Fandom itself has transformed. Where fans once relied on the vagaries of radio play and magazine spreads to engage with their favorite artists, today's fans form tightknit communities on social media platforms like TikTok and Discord. Through these digital spaces, enthusiasts exchange theories, share memes, decode Easter eggs, and coordinate elaborate travel plans and ticket-buying strategies months in advance. The shift from passive consumption to active participation has transformed how fans engage with pop music, turning concerts into global events that have expanded well beyond geography and generations. Yet this evolution has created new challenges, chief among them, the skyrocketing cost of being part of the experience. We've gone from $5.10 to see the Beatles at Shea Stadium to Eras Tour tickets with face values ranging from $49 to $449 reselling for up to $20,000 on StubHub and SeatGeek. When my mother wanted to surprise me with tickets to Bryan Adams' Waking Up The Neighbours Tour in 1992, she lined up at the physical box office hours before opening with other eager fans. She forked over $42.50 for two, side-view seats in the lower bowl. Compare that to last year when I battled bots and refreshed my browser every few milliseconds in the hope of scoring four tickets to Olivia Rodrigo's GUTS World Tour before they soared to mortgage-level proportions. By some miracle, I was able to take my three teenage daughters to their first arena show for a relatively low $600. They're now saving their babysitting money and diligently tracking price trends for Benson Boone's American Heart Tour while I'm (half) considering dipping into their college fund to see Bryan Adams again this fall. At what point does the price of admission outweigh the joy of participation? When it came to the Eras Tour, like many other disappointed Swifties, we had to settle for movie screenings and grainy live feeds. Swift didn't stop in our hometown of Montreal. We considered travelling to Toronto, Boston, New York, or Philadelphia. When calculating the costs—tickets, travel, accommodations, meals—our cheapest option turned out to be Lisbon, Portugal. That three-day excursion would have set us back about $6,000 CAD. While that was substantially less than the resale tickets in any nearby city, the financial cost and complicated logistics of participation were too great. Economists often argue that high ticket prices are simply a reflection of market forces—artists, and resellers, can charge more because demand far outstrips supply. Sociologists counter that this trend deepens cultural divides, turning concerts into exclusive experiences for the financially privileged. Despite the costs, stadiums continue to sell out at record speed, raising the question: what is it about live music that makes us willing to pay such a premium? Is it the music itself, the sense of community, or something even more basic? For 30 years, our lab has been exploring why music moves us—literally and figuratively. Many of our studies focus on memory for music, demonstrating that people have a remarkable ability to recall melodies, pitch, tempo, and loudness with surprising accuracy, even without formal music training, suggesting that musical memory operates differently from other forms of memory. We conducted some of the first neuroimaging studies to map the brain's response to music—showing how it lights up the brain, engaging areas responsible for hearing, memory, movement, and emotion all at once. This is why a song can transport you back to a specific moment in time, evoking vivid memories and emotions. Our studies show that when people listen to music they love, it activates brain regions associated with pleasure and reward, helping to explain why a favorite song can feel as satisfying as a good meal or a warm hug. Music's ability to give you chills and make you feel euphoric is tied to the release of natural opioids in the brain, the same chemicals that help relieve pain. Years ago, our lab showed in brain scans that listening to the same piece of music caused people's brain waves to synchronize. Recent studies conducted in real-time, in concert halls, demonstrate that people enjoy music more when the performance is live and experienced as part of a group. Live music triggers stronger emotional responses than recorded music due to the dynamic relationship between the audience and the performers. The visual cues, collective energy, and real-time responsiveness of live music engage more sensory and emotional systems than listening alone, deepening our visceral connection to the experience. Attending a concert is associated with increases in oxytocin, a bonding hormone, enhancing our sense of social connection. When we move together to music—clapping, swaying, or singing in sync—we engage neural circuits involved in motor coordination, empathy, and social prediction, reinforcing our sense of being part of a group. We're literally on the same brainwave! What ties all this together is the simple but profound idea that music is more than just entertainment. From the joy of discovering a new banger to the comfort of an old, familiar tune, music may well be a biological necessity, a fundamental part of being human, wired into our brains and bodies in ways that shape how we think, feel, and connect with one another. Our innate desire for connection might also, in part, explain why a friendship bracelet exchange (inspired by Swift's You're On Your Own Kid) is trending at modern stadium shows: the simple act of swapping beaded bracelets cultivates a microcosm of human connection within a macro-scale experience. It's a ritual that transforms a crowd of thousands into an intimate community, where strangers become momentary friends, bound by shared enthusiasm and a tangible token of group membership. It's a small, tactile gesture that taps into our deep-seated need to bond, to feel seen, and to belong. In a world where digital interactions often replace physical ones, these trinkets are a reminder of the power of touch, of giving, and of creating memories that extend beyond the concert itself. Music has always been a social glue, a way for humans to synchronize their emotions and movements, whether around a Neanderthal campfire or in a packed stadium. And in an era of increasing isolation, these moments of connection feel more vital than ever. Making friendship bracelets to share with your fellow Swifties may be part of the solution. But today's stadium shows aren't just about emotional connection or even entirely about the music—it's also a masterclass in sensory stimulation. The Beatles may have pioneered the stadium format, but their setup was quaint by today's standards. Early stadium shows featured little more than musicians standing in front of a static backdrop, struggling to project their sound through subpar sound systems designed for sports announcers, not music. By the 1980s, technological advancements had changed the game. Pink Floyd's The Wall Tour in 1980 set a new standard for large-scale stage production, with elaborate sets, visual projections, and theatrical storytelling. U2's Zoo TV Tour in 1992 introduced multimedia screens that transformed the stage into a digital playground. More recently, Taylor Swift's Eras Tour involved 70,000 wristbands pulsing in unison, and stage sets transforming from slithering snakes to whimsical fairy-tale forests to cinematic cityscapes. And Beyoncé's 2023 Renaissance Tour incorporated cutting-edge robotics and high-fashion couture, proving that stadium concerts can be as much about visual effects as they are about the music. While many fans view these advances as improvements, others argue that the intimacy and simplicity of early stadium shows have faded, and been replaced by a commercialized, high-stakes industry. The Outlaws Roadshow stadium tour in 2012 left me feeling as though I had overpaid for a lights and lasers show that happened to include the Counting Crows phoning it in somewhere in the background. In the pursuit of grandeur, has some of the raw, unfiltered magic of live music been diluted? And what does all this mean for the future of live music? If the past 60 years of stadium shows (and tens of thousands of years of human music-making) have taught us anything, it's that music, at its core, is about shared experience. We crave the pulse of the bass beneath our feet, the collective chant of a catchy chorus or killer bridge, the unspoken understanding between strangers who, for just one night, are part of something bigger than themselves. As technology continues to evolve and fan communities grow more interconnected, one thing is certain: the stadium concert will remain a space where we come together, not just to listen, but to belong.

Taylor Swift's 'Life of a Showgirl' Black Bob Is Her Boldest Hair Yet. Here's How to Recreate the Look.
Taylor Swift's 'Life of a Showgirl' Black Bob Is Her Boldest Hair Yet. Here's How to Recreate the Look.

Elle

time11 hours ago

  • Elle

Taylor Swift's 'Life of a Showgirl' Black Bob Is Her Boldest Hair Yet. Here's How to Recreate the Look.

Taylor Swift just unveiled her most dramatic hair transformation yet, debuting a short black flapper bob during a photo shoot for her upcoming album, The Life of a Showgirl. She revealed the striking new look on Instagram through a series of elegant, sparkling shots inspired by the glitz of the iconic showgirl—featuring both her signature blonde locks and a blunt bob that we've never seen on the singer before. The style is certainly a wig (she was later spotted with her natural hair during an appearance on the New Heights podcast, filmed afterward), but like her signature Easter eggs and surprise tracklists, we're here for the drama. The look itself is a glamorous box bob in a jet-black hue, paired with a sharp, blunt bangs. A major departure from Swift's trademark golden waves, the bold, graphic cut renders the singer nearly unrecognizable—in the best way. Thinking of recreating Swift's glam bob? Here's what hairstylist Holly Fairley previously told ELLE about the trending cut: 'A box bob is a super clean, blunt bob. For someone with finer hair, it's great because it creates the illusion of thickness—it just looks healthier when it's blunt, rather than wispy. 'A box bob works for most textures, but if the hair is thicker or curly, it can take on more of a triangular shape—flatter at the top, heavier at the bottom. If someone with that hair type still wants the look, I'd just add some texture through the ends to soften it out.' Swift's playful (if only temporary) look will likely make repeat appearances throughout the visuals for her upcoming album—a rollout we'll be eagerly watching until its release on Oct. 3, 2025. In the meantime, we're keeping an eye out for more beauty Easter eggs, like the vibrant orange lipstick she wore during the album's surprise announcement.

Mom's Honest Take on Parenting Goes Viral: 'One Window of Enjoyment'
Mom's Honest Take on Parenting Goes Viral: 'One Window of Enjoyment'

Newsweek

time19 hours ago

  • Newsweek

Mom's Honest Take on Parenting Goes Viral: 'One Window of Enjoyment'

Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. Parenting comes with challenges, joys and a fair share of chaos—but according to one mom, there's a surprisingly narrow "sweet spot" when it comes to truly enjoying it. In a clip on TikTok, Nicole Collings from the southeast of England (@nicoleisthisme) explained what she called the "one window of enjoyment" in raising children. Her verdict: it's roughly between the ages of 5 and 11, with 12 being the outer limit "and that's being generous." Mom, 40, with blonde hair wearing white shirt speaking to camera for TikTok video. Mom, 40, with blonde hair wearing white shirt speaking to camera for TikTok video. @nicoleisthisme "The baby stage? Hard—cute, but hard," the mom of three said in the video. "Once they get on the move—impossible. Especially when you've got more than one." Collings, 40, explained that things start to get easier around age 3, and by 4 or 5, parents can "see the light at the end of the tunnel." But from there, the real magic begins, until it suddenly vanishes. "When they turn 11 or 12, the magic leaves," Collings said. "Father Christmas, the tooth fairy and the magic of Disney movies vanish. "All those cute little days out that you used to have at theme parks, the farm, the park, picnics? Gone. That is replaced with being a constant taxi driver and an ATM machine." Collings told Newsweek she first came up with her theory during a sleepless night while her three teenagers—two 13 year olds and a 15-year-old—were chatting loudly on FaceTime and raiding the kitchen. "I realized how different things were compared to when they were younger," she said. "It made me reflect on those magical early years, which inspired me to share my perspective on TikTok." For Collings, that 5-to-11 window wasn't defined by a single memory but by a season of life filled with wonder. "I used to go all out for Christmas, Easter and Halloween, transforming our home into a wonderland," she said. "Seeing my children's faces light up with excitement was incredibly rewarding. Family outings to water parks, theme parks, or even simple picnics were such special times." But as her kids approached their teens, the shift was swift. "They became less engaged in family activities and more focused on friends," she said. "The bedtime stories and cozy movie nights faded away, and I felt like the magic had slipped through my fingers." Collings' clip struck a chord online. Amassing over 350,000 views and hundreds of comments, many other parents said they'd experienced the same bittersweet shift. "You've hit the nail on the head. My eldest is 13. We're currently on holiday and constantly been called cringe, embarrassing and been told this is the worse holiday ever," one user wrote. "Eleven-25 could really have dodged those years. They're lovely after that though," another parent shared. Collings' message to other parents with babies and toddlers would be to savor every moment. "Don't wish it away," she said. "Embrace the messiness of toys and a chaotic house because, before you know it, those toys will be replaced by iPads and iPhones, and you might find yourself missing the noise and chaos."

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store