Mother explains why she charges her 5-year-old rent

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Essence Evans says she charges her daughter rent to teach her the value of money. (Facebook)
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This is Essence Evans’ daughter, who at five-years-old pays $5 a week rent. What she doesn’t know is that Essence is saving the money in a fund for her daughter to use later in life. (Facebook)
Updated 22 January 2018
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Mother explains why she charges her 5-year-old rent

A US-based mom has hit the headlines after she revealed she was charging her five-year-old daughter rent.
Essence Evans explained on Facebook she gave her daughter $7 every week, but charged her $5 rent, utilities and food. That leaves her daughter $2 spending money.
Essence said she was saving the $5 which she will give back once her daughter decides to leave home – to use as rent.
She explained on: “This strategy not only prepares your child for the real world, but when they see how much real bills are they will appreciate you for giving them a huge discount.”
Since her initial posting she has attracted widespread media attention and a lot of support for her parenting methods.
Cee St Vic wrote on Facebook: “You are an awesome young lady!!”
And Johuna Esper added: “To teach a child independence and the value of money and hardwork is the best gift a parent can give to their child.”
But not everyone agrees. Tia Kaulana wrote: “…Let your kid be a kid and enjoy their youth before they have to spend the rest of their life worry about bills.”


Chip Wickham ushers in winds of change on the jazz scene

Updated 22 May 2018
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Chip Wickham ushers in winds of change on the jazz scene

PARIS: The hotly hyped “British jazz invasion” has been the toast of international scenesters for some months now, with breathy adjective-heavy sprawls penned on both sides of the Atlantic paying tribute to a fresh generation of musos who grew up not in the conservatoires but the clubs, channelling the grit and groove of grime into a distinctly hip, 21st century strain of freewheeling, DIY improvised music.

Now the Arab world has its own outpost in the form of Chip Wickham, a UK-born flautist, saxophonist and producer whose second album grew out of extended stints teaching in the GCC. “Shamal Wind” takes its name from the Gulf’s primal weather patterns, and there’s a distinctly meditative, Middle Eastern vibe to the title track, a slow-burning, moody vamp, peppered with percussive trills, with hints of Yusef Lateef to be found in Wickham’s wandering woodwind musings.

There’s rather less goatee-stroking to be found across the four further up-tempo cuts, which swap soul-searching for soul-jazz, soaked in the breezy bop of a vintage Blue Note release. Recorded over a hot summer in Madrid, a heady Latin pulse drives first single, “Barrio 71” — championed by the likes of Craig Charles — with Spanish multi-percussionist David el Indio steaming up a block party beat framing Wickham’s gutsy workout on baritone sax.

Having previously worked with electronic acts, including Nightmares on Wax and Jimpster, one imagines the dancefloor was a key stimulus behind Wickham’s rhythmically dense, but harmonically spare compositional approach. Phil Wilkinson’s sheer, thumped piano chords drive the relentless nod of second single “Snake Eyes,” Wickham’s raspy flute floating somewhere overhead, readymade to be skimmed off for the anticipated remix market.

In truth, Manchester-raised Wickham is both too thoughtful, and too thoughtless, to truly belong to the London-brewed jazz invasion — Shamal Wind yo-yos between meditative meandering and soulful strutting with a wilful disrespect for trend.