AUDIO: Cornel West & Mumia Abu-Jamal

Mumia Abu-Jamal's Radio Broadcasts

Higher Quality Audio files available info@prisonradio.org

Copyright 2010 Mumia Abu-Jamal/Prison Radio

Cornel West & Mumia Abu-Jamal a Conversation

Recorded 3-3-10  at Labyrinth Books in Princeton NJ

================

 

Re Mumia Abu-Jamal

PLEASE CONTACT:
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[Check out Mumia's latest: *WE WANT FREEDOM:
A Life in the Black Panther Party*, from South
End Press (http://www.southendpress.org); Ph.
#1-800-533-8478.] 

"When a cause comes along and you know in your bones that it is
just, yet refuse to defend it--at that moment you begin to die.
And I have never seen so many corpses walking around talking about
justice." - Mumia Abu-Jamal

For additional information and to order Mumia's new book We Want Freedom,

visit: southendpress.org

Check out Mumia's NEW book:
"Faith f Our Fathers: An Examination of the Spiritual Life of African and African-American People" at www.africanworld.com

 

 

 

 

 

 

 

 

INFO: Priest Sex-Tape Horror > from The Daily Beast

Priest Sex-Tape Horror

by Dom Phillips

Dom Phillips

 

 

Brazilian street vendors are hawking a video of an elderly priest molesting an altar boy. Dom Phillips reports from Brazil on the pope’s brewing crisis in South America.

BS Top - Phillips Brazil Priest

In the small Brazilian city of Arapiraca, tucked away in the poor, conservative northeast corner of the country, a hidden-camera video showing an octogenarian priest having sex with a young altar boy is being hawked on the street. For $5 to $10, vendors here will sell you the video, downloading it directly into your cellphone via Bluetooth. The price depends on the quality and length of the footage. According to one street vendor, the most popular download is the “complete” version. Buyers, he says, are “almost everybody—not just the curious.”

Even as the Catholic Church reels from abuse accusations that go straight to the pope, the incidents in Arapiraca are developing into a full-blown disaster that will land it near the top of the Vatican’s growing stack of crises. The sex tape is part of a scandal enveloping three of the city’s most venerated priests, and its release has led to threats, blackmail allegations, and counterattacks from the local church. In a place like Brazil—a country obsessed with sex, religion, and overwrought soap operas—one would expect nothing less than the bizarre narrative currently unfolding.

Asked if he had ever abused an altar boy, the priest responded, “I can’t tell you this. I can only tell my confessor any sin of mine. I don’t need to admit or deny.”

The accusations, exposed on the TV show Conexão Repórter (Reporter Connection) last month, are deeply damaging. A reporter interviewed three altar boys who alleged years of abuse at the hands of three Catholic priests. With his face hidden, one of those altar boys, now identified as Fabiano Silva Ferreira, alleged that a priest named Monsignor Luiz Marques Barbosa has abused him for years. Police say Barbosa’s abuse began when Fabiano was 12.

“He was hugging me, stroking me, kissing me,” Fabiano said of Barbosa, who is now 83. He claimed that Barbosa told him, “I love you, I really like you… I want you forever,” and that the priest would attempt to grope him during Mass, warning him, “Don’t tell anybody… This is something between me and you.”

Fabiano is the boy who appears in the sex tape that is being trafficked through the streets of Arapiraca. On the tape, he performs a sex act on Monsignor Barbosa, whose face is clearly visible. The tape was secretly shot by another altar boy, Cícero Flávio Vieira Barbosa (no relation to the priest), who also alleges years of abuse at the hands of Monsignor Barbosa, also beginning when he was 12. Asked why he shot the film, Flávio said, “Because there has to be a good end to this story. I was already his victim. And it brought a lot of fear to do something… I wanted proof.”

The case is front-page news in Brazil, and has sent shockwaves shuddering through what is still a very Catholic country. Meanwhile, incendiary commentary is spreading like wildfire across Brazil’s garrulous blogosphere. “This is the demon in the middle of the Church of Our Lord,” reads one blog comment about Barbosa, written in Portuguese.

“They are already condemned for being pastors of God and to do something like this is shameful and nauseating for us who are Catholics.”

When the interviewer on Reporter Connection asked Barbosa if, in his 58 years in the priesthood, he had ever abused an altar boy, the priest responded, “I can’t tell you this. I can only tell my confessor any sin of mine. I don’t need to admit or deny.”

The two other well-known priests accused of abuse are Father Raimundo Gomes and Father Edílson Duarte. Brazil’s Civil Police agency has begun an inquiry into the charges against all three priests. The local diocese has suspended the trio. And the Parliamentary Inquiry Commission into Pedophilia, which is being conducted by Brazil’s senate, showed the sex video to a shocked audience in the city in April. Monsignor Barbosa, stony-faced, sat watching. He told the inquiry that this was the only time he had had sex with the altar boy.

The priests are fighting back—and thickening the plot. A lawyer for Barbosa says the altar boys, Flávio and Fabiano, attempted to extort about 5 million reals (US$2.8 million) from his client. Reporter Connection showed a copy of a document signed by Barbosa and the altar boys in June 2009 in which the boys agreed to destroy the video in return for a payment of R$32,000 (US$18,000). Fabiano says money was paid, but that he kept a copy of the tape. According to police, both boys ultimately received just R$500 each. “They received the money but not the total,” lead investigator Angelita Sousa told The Daily Beast. “The rest went to other places.” She would not elaborate.

Brazil is a paradox: a deeply conservative country with a pragmatic and open attitude toward sex. Love motels, where one can rent a room by the hour, line every city’s major highways. Romance and lust are the main themes in every soap opera. In a recent survey, 82 percent of Brazilians said they were confident that they know how to have a happy sex life. Casual sex doubled between 2004 and 2008, another survey reported.

Yet homosexuality remains an awkward subject here. Many gay couples never come out to their parents. “Bicha,” or “bitch,” is slang for a gay man, and is used as a popular insult. Gay-bashing is common. And yet the winner of the latest season of the reality-TV show Big Brother was forced to backtrack on homophobic comments he made about the show’s gay contestants. When it comes to gay issues, Brazil seems awkwardly wedged between the past and the present.

This awkwardness has been made crystal clear as the sex-abuse case unfolds. The local bishop, Dom Valério Breda, told Brazil’s biggest broadsheet that the sex tape wasn’t all that shocking because it simply showed consensual sex between two adults. (Fabiano was 18 when the video was shot in January 2009; Barbosa was in his eighties.) “It was a homosexual act, because the actors of that scene were of age,” the bishop insisted. He went on to tell the paper that he, too, had been subject to a blackmail attempt of R$1 million, and that he had known about the video’s existence for a year but had not alerted his community because the information was “nebulous.”

Other bombshells dropped during the three days the senate inquiry took place in Arapiraca. Father Duarte admitted he had sexually abused both Flávio and Fabiano, but suggested his victims were wrong to come forward. “I regret that these accusations have come from people who ate at my table,” he intoned. “Just as Jesus said: ‘Those who ate my bread are those who betray me.’”

And the third accused priest, Father Gomes, denied that any abuse took place at all, insisting he was victim of “revenge,” and accused a third altar boy, Anderson Farias Silva, of attempting to extort money from him. Silva said that Father Gomes had abused him since he was 14.

Furthermore, because Father Duarte is cooperating with the investigation, Brazilian police say he fears for his safety. “He asked for protection during the [senate inquiry] because he had denounced the others and he was scared,” says Officer Sousa. Father Duarte also said he believes Father Gomes to be “dangerous.”

The case has forced Brazil to confront the same issues that much of the Catholic world is now facing. “Brazil will no longer tolerate more abuse against children and adolescents,” concluded Senator Magno Malta, president of the senate inquiry. “What was seen in these three days (of inquiry) was a mosaic of hate, shame, and disgust.” Both the police and the senate inquiries continue, and Brazilian police tell The Daily Beast that theirs is nearly complete. “Probably in the first week of May we will be delivering our investigation to the judiciary,” said Officer Sousa.

This week, following the pope’s lead, the local bishop, Dom Valério Breda, sent a letter to his flock asking for forgiveness. “We feel, yes, shame and dishonor at the violation of the dignity of the human person and we regret the blow delivered to the church,” he wrote.

He said he had talked to Monsignor Barbosa, but that the two men did not discuss the abuse allegations directly. “He is a certain age and I didn’t want to treat him like any boy,” said the bishop. Instead, he said Monsignor Barbosa used a Latin phrase from the Psalms of David: “Peccatum meum ante me est semper.” Or, “My sin is always in front of me.”

In many ways, the scandal rocking Arapiraca feels like a backwater version of the Catholic Church’s larger crisis, its secrets and lies even darker, its coverups even more inept. Priests accusing the alleged victims of blackmail, using Latin psalms to talk around child-abuse charges, and defending the incidents as sex between consenting adults (even though gay sex is forbidden by the Catholic Church.) No wonder this institution is flailing on the ropes.

As for the alleged victims, they appear to be struggling to reconcile their faith with what’s happened to them.

“I believe a lot in God,” Fabiano told Reporter Connection. “Unfortunately, I don’t believe in any church anymore.”

British journalist Dom Phillips moved to Sao Paulo, Brazil, in 2007 to write his book Superstar DJs Here We Go (Random House/Ebury 2009) and works as a correspondent covering news, economics, and celebrity. He now writes for The Times, People, Financial Times, Observer, and Grazia.

For more of The Daily Beast, become a fan on Facebook and follow us on Twitter.

For inquiries, please contact The Daily Beast at editorial@thedailybeast.com.

 

INFO: The Saartjie Project

‘What is The Saartjie Project?’

Behind the Scenes of The Saartjie Project’ (august 2008)

<p>Inside the Saartjie Project from safidi tyehimba on Vimeo.</p>

The Saartjie Project on FOX 5 Morning News (july 2009)

Who is Sara Baartman

Spokenword Artist DeDe Hunt aka Quietstorm created a short film called “Who is Sara Baartman” (2007) that chronicles her life and its impact today.


________________________________________________

Rachael Holmes author of African Queen discuss how Saartjie came to England, why she became an overnight sensation, how colonial sexual fascination impacted her and how attitudes towards large bottoms have shifted over time.


________________________________________________

Films:

The Life and Times of Sara Baartman: The Hottentot Venus by Zola Maseko


Links:

Saartjie Baartman -Wikipedia

Special South Africans

Center for African American Genealogical Research

Saartjie Baartman Centre for Women and Children

‘Hottentot Venus Goes Home’ BBC

Carla Williams’ Hottentot Venus bibliography


Articles and Books:

Alexander, Elizabeth. The Venus Hottentot, Charlottesville: University Press of Virginia, 1990.


Arnold, Marion. Women and Art in South Africa, New York: St. Martin’s Press, 1996.


“Black Bodies, White Bodies: Toward an Iconography of Female Sexuality in Late Nineteenth Century Art, Medicine, and Literature, in Gates Jr., Henry Louis, ed. “Race,” Writing, and Difference, Chicago: The University of Chicago Press, 1985.


The Hottentot Venus Is Going Home

Source: The Journal of Blacks in Higher Education,

No. 35 (Spring, 2002), pp. 63


Collins, P. Black Sexual Politics: African Americans,

Gender and The New Racism. 2005. Routledge: New York.


Chase-Riboud, B. Hottentot Venus. 2003. Doubleday: New York.


Crais, C. and Scully, P. Sara Baartman and the Hottentot Venus:

A Ghost Story and a Biography. 2008. Princeton University Press


White, Luise. The Traffic in Heads: Bodies, Borders and the

Articulation of Regional Histories, Journal of Southern African

Studies, Vol. 23, No. 2, Special Issue for Terry Ranger

(Jun., 1997), pp. 325-338. Published by: Taylor & Francis, Ltd.


Musée de l’Homme en relief par les anaglyphes [stereographs featuring the body cast of the Hottentot Venus], Paris: Musée de l’Homme, 1939.


Magubane, Zine. “Which Bodies Matter? Feminism, Poststructuralism, Race, and the Curious Theoretical Odyssey of the "Hottentot Venus". Gender and Society, Vol. 15, No. 6 (Dec., 2001), pp. 816-834. Published by: Sage Publications, Inc.


Gourdine, Angeletta K. M. “Fashioning the Body [as] Politic in Julie Dash's "Daughters of the Dust", African American Review, Vol. 38, No. 3 (Autumn, 2004), pp. 499-511. Published by: St. Louis University.


Parks, Suzan L. The Rear End Exists.


Brandes, Kerstin. "Re-Considering Saartjie Baartman: Configurations of the 'Hottentot Venus' in Contemporary Cultural Discourse, Politics, and Art," in Helene von Oldenburg and Andrea Sick, editors, Virtual Minds. Congress of Fictitious Figures. Bremen (thealit) 2004.


Reiss, Benjamin. “P.T. Barnum, Joice Heth and Antebellum Spectacles of Race,” American Quarterly, Vol.51, No. 1 (March 1999).


Williams, Carla. “The Erotic Image is Naked and Dark,” in Deborah Willis, ed., Picturing Us: African American Identity in Photography, The New Press: New York, 1994.

 

INTERVIEW: Billy Kahora > from Granta Magazine

Interview with Billy Kahora

Ollie Brock talks to Billy Kahora, Granta’s latest New Voice and author of the story ‘The Gorilla’s Apprentice’. Click here to see a full list of New Voices and read their stories.

OB: When did you first become interested in writing?

BK: I was always interested but had too much reading to worry about writing my realities. I started writing in my early twenties, when everything around me started contorting in unprecedented ways. And there emerged a reality that was so unexpected across society that, for me, the only way to deal with it was through writing. And that has never really stopped.

Your story ‘The Gorilla’s Apprentice’ is ostensibly about animals – three humans and a gorilla. But politics boils away in the background. Is this central to the story’s thesis, or simply inevitable given the setting of Kenya in the aftermath of the 2007 elections?

Yes, it is central to the story’s thesis but also to the background – it is both the context and the text of the story. I wrote this story in January 2008, when the full implications of the post-election riots were yet to be realised. And so I could get away with pushing the ‘boiling politics’ to the background because I did not have all the details of what was going on... Also, the full ‘emotional’ impact of it all was yet to seep in, though I felt a huge anger with what I saw as the great stupidity and futility of it all. It is not every day that you watch your world burn – or watch it almost coming to that. So the story was written at a time of great apprehension, and was also cathartic in many ways.

But before all this I had always been gripped with the common idea that some Kenyan political elites in the 90s had been accused of harbouring Rwandese war criminals who were ‘genocidaires’. Genocide was an idea that was being bandied around when the violence in Kenya broke out. And that the very notion that we could degenerate into a ‘Rwanda’ was the kernel of the story. So I wondered, what if what was being perpetrated had something to do with certain ‘expertises’ learnt from the genocidaires? That was the main thread in the genesis of the story.

Also, I have always liked stories – film seems to do this well – where a character’s life is disintegrating quietly as the world burns … and that was another thing I wanted to capture. Spike Lee’s Summer Of Sam is an example, as is Dark Blue, set during the L.A riots of 1992.

Towards the end of the story, there is an important revelation about Rwandan war crimes. Are you concerned about reinforcing a negative stereotype of Africa by bringing this, and the political violence, into the story? How do you feel it changes the character to give him a past of that kind, that sits outside the story?

For me, a stereotype is basically an unwarranted idea, image or conclusion about a place, based on ignorance and generalisation. It would be flattering to think that this story will create or reinforce negative stereotypes of all the things that are discussed within it. The world is saturated with a generalized ethos, with generalized lenses; these are part of our unavoidable lot. This piece tries to tell a specific story about a young man, his mother, an older man and a gorilla within a specific time and space – I do not see the older man as really coming from outside or having a past that is outside the story. One only need know Nairobi to know that everyone belongs – and that means no one belongs. But hopefully, the characters and time are as individualized and as specific as possible, sitting outside any generalized settings such as the Africa of the generalized lens. That’s as much as I hope it does.

Also, tough as it is to accept that people take machetes against one another, I can’t as a storyteller worry too much about repainting that picture. I leave that to governments seeking aid, tour companies wooing Western visitors, African ‘entrepreneurs’ looking for investment, and all those who profess to ‘love’ Africa. I cannot afford to worry about that just because of a whole bunch of hand waggers flinching at Africa’s ‘realities’ – despite the sad fact of a whole slew of parties on the other side of the divide waiting to jump on those very facts of famines and genocides and make a meal of them and ignore similar things going on elsewhere…

Illness is a prominent feature – the protagonist Jimmy’s friendship with Sebastian the gorilla seems an important part of a recovery. Are you interested in the idea of therapy and healing? Is there a message here about our distance from nature, our inhuman pursuit of violence and power?

I am interested in how human beings react to a collective ‘wounding’. I wanted to play around with the possibility that in a time of human madness, a primate that might have experienced a similar kind of wounding before would make us understand and see something we couldn’t see for ourselves … that in a time of conflict and war, we lose everything that we are and maybe we need other kinds of ‘intelligences’, in this case, animal, to decipher the foolishness and futility of some of our acts. Or simply make us realize that our inhumanity makes us something worse than any other forces around us. So, for me, Sebastian is greater than all of the human characters in the story, and it is that greatness that might help them recover.

One of my other stories, ‘The Applications’, also tries to explore the idea that in times of great upheaval, madness can be another away out, a coping mechanism. And of course, this is also a story of our distance from nature and everything that really matters, and our inhuman preoccupation with a lot that doesn’t.

Your online journal, Kwani, is very impressive. Could you talk a little about how it came about? What do you hope to achieve with it, and with your writing more generally?

Kwani began when an informal group of writers, civil society activists, artists, journalists, filmmakers and newspaper editors started meeting regularly to find channels to showcase their work, discuss it, and fulminate on the social and mostly political goings-on in post-millennial Kenya.

At the time, there was quite a dearth of contemporary expression and narrative in text and publishing in Kenya. Literary offerings were limited, at least in bookshops, to older post-independence writers like Ngũgĩ Wa Thiong’o and Meja Mwangi. These individuals I mention felt that their day-to-day realities hung in a kind of limbo outside text and the page even as they read about contemporary realities similar to theirs from other countries, both on the continent and in the West. Kwani came about as a solution to a perceived vacuum.

Kwani hopes to continue putting into text all forms of contemporary expression and narratives in Kenya that cannot find a home anywhere else.

I want to do the same with my writing, but in a more specific way – from the spaces that I have more knowledge of. I leave the rest to other contemporary writers and artists who have more knowledge of what is foreign to me even if it ironically seems physically close. And because there are so many upcoming and established writers, Kwani is a great place for a mix of all these things.

What is the greatest challenge facing young writers today, in Africa and elsewhere?

All young writers will thrive in a space that provides literary succour – a space with a history which respects and exalts writing; where good writing is easily available; a space that has produced successful older writers; and finally a writing community of one’s peers. Beyond this, the writer must not only access a space of non-literary ideas – a place of ‘knowledges’ that can help him/her make sense of his/her realities and translate this into content but also learn the basic tools of the language that writer works in, in most cases English or French.

In Africa, these things are mostly found in isolated pockets. It is no coincidence that most contemporary successful ‘African’ writers are located in the diaspora or come from middle-class- or Western-influenced backgrounds with easy access to spaces that can provide those things that I’ve mentioned.

Read Billy Kahora’s story ‘The Gorilla’s Apprentice’ here for free, exclusive to granta.com

PUB: The New Quarterly Online - Poetry Contest

The Nick Blatchford Occasional Verse Contest
1,000 dollars for one glorious poem

sweater poem

 

 

 

 

 

 

 

 

 

 

 

Sponsored by TNQ editor Kim Jernigan and family in celebration of the man who sparked their love of poetry, this contest is for poems written in response to an occasion, personal or public-poems of gratitude or grief, poems that celebrate or berate, poems that make of something an occasion or simply mark one. We are interested in light verse and in verse more sober, in the whole spectrum of tones and occasions. One of Nick's own poems, which we think captures the broadness of his (and our) sense of 'occasion', is pictured at left. For a bit lengthier background on the genre, you can also turn to Amanda Jernigan's funny and thoughtful essay on poems and occasions, linked below. Both originally appeared in Issue 100 of TNQ.

We will award a grand prize of $1,000 to the poem judged most worthy. Another $1,000 in prize money will be distributed as the judges fancy. However the prize money falls, the best of what we see will be published in The New Quarterly, at our usual rates, and posted on our website.

Entry fee: $40 for up to 2 unpublished poems, $5 each for additional poems. Submissions include a one-year subscription (or subscription extension) to The New Quarterly, and may be accompanied by a brief paragraph describing the event that occasioned the poem. 

Eligiblity: Entrants must be Canadian or currently residing in Canada. Entries may not be previously published, accepted, or submitted for publication elsewhere. There are no restrictions on length or number of entries, so long as the appropriate fees are paid. Entrants anonymity will be carefully preserved throughout the judging process. Every entrant will receive notification via email that his or her entry has been received. The decisions will by made by August 31; winner(s) and finalists will receive notification by letter. 

Deadline: Postmarked May 1

How to Enter

via tnq.ca

 

PUB: Spoon River Poetry Review Poetry Contest

2010 Editors' Prize Contest

$1,000

2009 Contest Winners

2008 Contest Winners

2007 Contest Winners

2006 Contest Winners

2005 Contest Winners

2004 Contest Winners

2003 Contest Winners

One winning poem will be awarded $1000 and two runners-up will be awarded $100 each. Winning poem, runners-up, and honorable mentions will be published in the 2010 fall issue. This year's judge will be announced after judging is completed.

Guidelines: Submit two copies of three unpublished poems, maximum of ten pages total. Name, address, and phone number of poet should appear on each page of one copy only. Entries must be unpublished and will not be returned.

Entry Fee: Each $16 entry fee entitles entrant to a one-year subscription, or a gift subscription. Please indicate your choice and include current address for each subscription or gift subscription. Include SASE for notification of results.

Mail Submissions to:

The Spoon River Poetry Review Editors' Prize
4241 Dept. of English
Publications Unit
Illinois State University
Normal, IL 61790-4241

Entries cannot be received by FAX or e-mail

Deadline: Postmarked by May 1, 2010

 

 

PUB: Janet McCabe Poetry Contest

Janet McCabe Poetry Prize PDF Print E-mail

The finalist judge for this year's contest is Vito Aiuto, poet, pastor, and musician from the band The Welcome Wagon.  We invite you to enter your work now! Please read the following submission guidelines carefully and let us know if you have any questions. 

Guidelines:

-The submission deadline for the prize is midnight May 15th, 2010.
-The entry fee is $15 (includes a free copy of the Fall 2010 Issue).
-You may submit up to three poems per entry, no longer than 40 lines each.
-$800 will be awarded to the winner and publication in the Fall 2010 Issue will be awarded to the winning poem and runner-up poem.     
-All entries will be read by a blind panel of readers, who will select twenty poems as finalists.
-The final judge will be reviewing the finalist poems and selecting the winner and runner-up. Close friends and students (current & former) of the judge are not eligible to compete, nor are friends or family of the RUMINATE staff.
-All submissions must be submitted via our online submission form below. We will not accept mail or email submissions.
-You may pay online below or mail your payment.
-Winner will be announced in the Fall Issue, September 2010.
-Please remove your name, bio, and any contact info from the file that you submit.

 

Submission is a two step process:

1. You must first pay the submission fee by selecting the "Pay Now" button below. A new window will open at the Paypal website where you can either pay by credit card (you do not need a Paypal account to do this) or with your Paypal account if you have one. 

 

 

Poetry Prize Entry Fee

 ($15 per entry)

 

 

 

  Poetry Prize Entry Fee
and 1 Year Subscription

(Save $10 off the regular
subscription price with this
special offer)  

 

 

2. After paying the submisison fee you can fill out the submission form and upload your poetry by selecting the link below.

Submission Form  

 

*You may also pay by mail. Upload your work using the above submissionform and then mail a check made payable to RUMINATE MAGAZINE, attention Poetry Prize at 140 N. Roosevelt Ave., Fort Collins, CO 80521. Along with your entry fee, please let us know the title of the piece you have submitted and make sure your entry fee is postmarked by May 15th, 2010.

 

Please Note: RUMINATE adheres to the following Contest Code ofEthics, as adopted by the Council of Literary Presses and Magazines, ofwhich RUMINATE is a proud member: "CLMP'scommunity of independent literary publishers believes that ethicalcontests serve our shared goal: to connect writers and readers bypublishing exceptional writing. We believe that intent to actethically, clarity of guidelines, and transparency of process form thefoundation of an ethical contest. To that end, we agree to 1) conductour contests as ethically as possible and to address any unethicalbehavior on the part of our readers, judges, or editors; 2) to provideclear and specific contest guidelines -- defining conflict of interestfor all parties involved; and 3) to make the mechanics of our selectionprocess available to the public. This Code recognizes that differentcontest models produce different results, but that each model can berun ethically. We have adopted this Code to reinforce our integrity anddedication as a publishing community and to ensure that our contestscontribute to a vibrant literary heritage."  

VIDEO: “Why We Laugh: Black Comedians on Black Comedy” > from Shadow And Act

New On DVD – “Why We Laugh: Black Comedians on Black Comedy”

I actually never did see this, when it aired on Showtime in February. I’ll give it a look when it’s out on DVD, which will be tomorrow, April 27th.

Why We Laugh: Black Comedians on Black Comedy, directed by Robert Townsend, “traces the evolution of black comedy from the days of Stepin Fetchit to the present,” and features interviews with comedians including Bill Cosby, Chris Rock, Keenen Ivory Wayans, Steve Harvey, Katt Williams, and countless others. Pick up a copy on DVD HERE.

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VIDEO: M.I.A, Born Free on Vimeo

M.I.A, Born Free
1 day ago 1 day ago: Sun, Apr 25, 2010 8:11pm EST (Eastern Standard Time)

 

 

Director : Romain Gavras
Director of Photography : André Chemetoff
Producer : Mourad Belkeddar
Production company : elnino.tv
Executive Production : Gaetan Rousseau / Paradoxal
Special thanks to Lana & Melissa from The Director's Bureau