PUB: CALL FOR PAPERS: 2013 EMP Pop Regional Conference at Tulane University

CALL FOR PAPERS:
2013 EMP Pop Regional Conference
at Tulane University

Due South: Roots, Songlines, Musical Geographies

2013 EMP Pop Regional Conference at Tulane University

April 18-21, 2013

New Orleans, LA

 

Jointly sponsored by Experience Music Project and

 The New Orleans Center for the Gulf South at Tulane University

 

 

"The South" has a hold on the cultural imagination as tangled as its musical geography: it represents tradition even as its musical pasts are repurposed for tourism and new genres emerge from cross-pollinations. John Hiatt sings to an imaginary rider, "so when you're feelin' down and out / Come on, baby, drive South," as if the entire region is a balm for modernity. Where is this romanticized South? It depends on who's asking and who's driving. Are they headed to the Upper, Mid-, Deep or Gulf South, to Appalachia or the Delta? Are musics still aligned with geography or specific sites? Along Southern roads lie the elusive roots of many American genres and a host of sonic signatures: Nashville and Memphis, Macon and Athens and the A-T-L, Lafayette and New Orleans, Muscle Shoals and North Mississippi. Yet "the South" still signifies as roots Americana to some outsiders or backwards and bigoted to some others. We'll do the South by driving straight into its tensions: tradition vs. modernity, faith vs. transgression, racial nostalgia vs. new immigrant populations, authenticity vs. performance.

 

Join us at the bottom of the South in New Orleans for discussions on the following themes and panels:

 

-Faith/transgression

-modernity vs. tradition

 

-Hip hop, bounce and rap: Dirty South aesthetics of country and city

-DJ culture

 

-Studio sounds and record labels

-Noise ordinances and city streets

 

-blues highways

-Southern dancefloors

 

-cultural creolization

-Americana roots music

 

-country musics

-Selling the South: Nashville, country, and the business of Southern music

 

-jazz and blues as world musics

-jazz and blues diasporas

 

-gothic

-gospel

 

-songwriting

-accordions

 

-Cajun music

-regionalism vs. nationalism

 

-Appalachia and its roots

-African/Cuban/Caribbean roots

 

-New Orleans and brass band funk

-Memphis and rock'n'roll

 

The EMP Pop Conference, launched in 2002, joins academics, critics, performers, and dedicated fans in a rare common discussion. This year, there are five regional conferences meeting on the same weekend as repercussions of a decade's worth of musical exchange. The Southern Regional is jointly sponsored by the New Orleans Center for the Gulf South at Tulane University and by the Experience Music Project/Science Fiction Museum and Hall of Fame. This year’s program committee members are: Joel Dinerstein (Tulane), Alison Fensterstock (New Orleans Times-Picayune), Alex Rawls (myspiltmilk.com), Gwen Thompkins (WWNO-FM, New Orleans), Holly Hobbs (Tulane), T.R. Johnson (Tulane), Ben Sandmel (author, Ernie K-Doe: The R&B Emperor of New Orleans), David Kunian (WWOZ-FM), Nick Spitzer (American Routes, Tulane), Karen Celestan (Music Rising @ Tulane), Matt Sakakeeny (Tulane, Los Po-Boy-Citos), Melissa A. Weber (WWOZ-FM, Tulane, "DJ Soul Sister")

 

Please send abstracts of individual papers, with 50 word bios, to Joel Dinerstein or Karen Celestan (Tulane University) at GulfSouth@Tulane.edu, jdinerst@tulane.edu, or kcelestan@tulane.edu. Deadline for proposals is February 13, 2013. Panel proposals (90 minutes) or special types of panels (roundtable, performance) should include overview, individual papers or presentations, and bios. We welcome unorthodox proposals aimed explicitly at a general interest audience. Registration is free for presenters and the public. For more information, go to http://www.empsfm.org/programs-plus-education/programs/pop-conference.aspx

 

PUB: Tupelo Press — 2012 Dorset Prize Guidelines

2012 Dorset Prize Guidelines

September 1 – December 31, 2012
(postmark or online submission-date)
Final Judge: Kimiko Hahn
Prize: $3,000

The Dorset Prize includes a cash award of $3,000 in addition to publication by Tupelo Press, a book launch, and national distribution with energetic publicity and promotion. Manuscripts are judged anonymously and all finalists will be considered for publication. Please read the complete guidelines before submitting your manuscript.

Who May Submit

The Dorset Prize is open to anyone writing in the English language, whether living in the United States or abroad. Translations are not eligible for this prize, nor are previously self-published books. Employees of Tupelo Press and authors previously published by Tupelo Press are not eligible.

Poets submitting work for consideration may be published authors or writers without prior book publications. While the first three winners of the annual Dorset Prize were first books (the anonymous process seems to work), we receive many submissions from poets with significant publishing histories, including previous books, so the competition is intense. Please take this into consideration when deciding whether to enter a manuscript for the Dorset Prize.

Manuscript Requirements & Ethical Guidelines

Submit a previously unpublished, full-length poetry manuscript of between 48 and 88 pages (poems only count toward the page length) with a table of contents. Include two cover pages: one with the title of the manuscript only, the other with title of manuscript, name, address, telephone number, and email address. Cover letters or biography notes are optional; if included, these will not be read until the conclusion of the contest.

Individual poems in a contest manuscript may have been previously published in magazines, journals, or anthologies, or chapbooks, but the work as a whole must be unpublished. If applicable, include with your manuscript an acknowledgments page for prior publications.

Simultaneous submissions to other publishers or contests are permitted, as long as you notify Tupelo Press promptly if a manuscript is accepted elsewhere.

Before you submit a manuscript to a Tupelo Press competition, please consider exploring the work of the poets we have published. WeÕre drawn to technical virtuosity combined with abundant imagination; memorable, vivid imagery and strikingly musical approaches to language; willingness to take risks; and an ability to convey penetrating insights into human experience.

Tupelo Press endorses and abides by the Ethical Guidelines of the Council of Literary Magazines and Presses (CLMP), which can be reviewed here, along with more about Tupelo Press’s ethical considerations for literary contests.

Notifications
To confirm receipt of your manuscript, include a self-addressed stamped postcard.
The online Submissions Manager automatically confirms receipt.

To receive notification of the winner and finalists, include a self-addressed stamped envelope.
An email announcement will also be sent to all entrants.

Beyond these notifications, kindly refrain from requesting an individual response to confirm receipt of your manuscript and/or payment. Both the electronic submission manager and the PayPal system offer automated confirmations. We receive thousands of manuscripts each year and cannot offer individual acknowledgments. Thank you for your understanding.

Please do not enclose a SASE for return of manuscript. All manuscripts will be recycled at the conclusion of the competition, except those under consideration for future publication.

Deadline
All entries must be postmarked or certified by our online Submission Manager by midnight of December 31, 2012.
Results
Results will be announced in late April 2013. We notify all entrants in three ways:

1. Via postal mail to those who included a SASE with their manuscript.
2. Via email to those who included an email address with their contact information.
3. We post the results on our website.

Reading Fee
A reading fee of $28 (U.S.) must accompany each submission. Multiple submissions are accepted, so long as each submission is accompanied by a separate $28 reading fee. Why a reading fee? We are an independent, nonprofit literary press. Reading fees help defray, but do not entirely cover, the cost of reviewing manuscripts and publishing the many books we select outside of our competitions.

There are two ways to pay:

1. Send a check or money order, payable to Tupelo Press.
2. Pay via PayPal, either with your own PayPal account, or with your Visa or Mastercard.

 

Submit Your Manuscript Now
There are two ways to submit your manuscript:

1. Via postal mail. Be sure to include your check, money order, or copy of your PayPal receipt.

Mail your domestic submission to:
Tupelo Press Dorset Prize, PO Box 1767, North Adams, MA 01247

Mail your international submission to:
Tupelo Press Dorset Prize, 243 Union Street, # 305, North Adams MA 01247 USA

2. Via our online Submission Manager: Submit Now

Be sure that your document is complete and formatted correctly before uploading to the Submission Manager. Include cover pages, table of contents, and acknowledgments in the same document as your manuscript. Do not under any circumstance upload the same manuscript more than once unless you pay a separate reading fee for the second entry.

Please note, you may combine payment and submission methods as you wish. If you send your manuscript by mail you may pay by check (enclosed with your manuscript) or via PayPal (enclosing a copy of the receipt with your manuscript). If you submit your manuscript online you may pay by check (sent to the address above) or via PayPal.
Thank you for your participation and your support of Tupelo Press.
We look forward to reading your work!

 

 

HEALTH: Flare—Living With Lupus

My name is Ida Kolader. I’m a young woman who looks healthy on the outside, but as I have experienced now myself, one should never judge a book by its cover.

I have Systemic Lupus Erythematosus, in short SLE or Lupus. Lupus is an autoimmune disease, which means that the immune system over actively attacks the body's cells and tissue, resulting in inflammation and tissue damage. From inside I have constant severe joint and muscle aches and my nerve system in my legs has been down too.

My doctors say I’m a special case, but I do not take this for flattery. It’s been a lonely road to deal with the disease and try to make people understand. Now by telling my story and giving people a chance to see and feel what it’s like to live with Lupus, I hope to be able to help others like me for whom it has been a lonely journey in the fight against Lupus too.

My goal is to raise awareness and understanding of the disease not trough the traditional means. I am very honored and thankful that I was given the opportunity to tell my story through the powerful medium of film and would like to take you along into my life for a few minutes. These minutes deeply explore the influence Lupus has on my life and the experiences that shaped me into who I am today. I strongly believe that images are more powerful than only words and hope that this film will create a better understanding for all who suffer from Lupus, and those affected by Lupus.

 

FLARE—Living with Lupus

Flare 

An intimate look at the life of a Dutch-Surinamese woman, Ida, suffering from an extreme case of Lupus ( SLE ). We meet Ida and follow her through day to day life, from long train rides seeking medical help to the intimacies of her past in this monochromatic short film. As though from a first person observer, we hope to better understand a less than popular disease and the effects of its affliction.

Lupus is an autoimmune disease, in a nutshell the auto immune system attacks the body, causing damage to the cells because it's overactive/ It can be fatal.
The doctors say Ida is a special case but she doesn't take it for flattery.
Should she be more concerned with legacy or living ?

Ida started a foundation, Plum Blossom Foundation, to gain awareness for Lupus. Its sometimes a lonely road. There are a lot of celebraties who suffer(ed) from Lupus: such as Seal, Lady Gaga, Toni Braxton, Michael Jackson, Leslie Hunt, Mercedes Yvette, Kelly Stone, Pietra Thornton, Jasmine Guy, Nick Cannon, Cori Broadus, Anna Nicole Smith.
 

So Join Ida in the fight against Lupus just as Beyonce, Heidi Klum, Courtney Cox, Liza Manelli, Lil' Kim, Kim Kardashian, Aaron Carter, Julia Roberts, President Bill Clinton, Patti Labelle, Charlize Theron and Will Smith are doing.

Visit www.plumblossomfoundation.com and support!!

Sharing is caring.

>via: http://www.plumblossomfoundation.com/whoisida.html#about

PALESTINE: The war between Israel and Hamas has its roots in Britain's shameful betrayal of the Palestinians > The Independent

The war between

Israel and Hamas

has its roots in

Britain's shameful betrayal

of the Palestinians

95 years ago Lord Balfour backed a Jewish state. The price is still being paid

Israeli soldiers stand in front of a banner with a copy of a letter from the British Foreign Secretary Arthur James Balfour to Baron Rothschild (a leader of the British Jewish community) known as the Balfour Declaration of 1917, as Palestinians, Israeli and foreign protesters demonstrate in the Israeli-occupied West Bank on November 06, 2010. 

You’ve seen the pictures, read about the bloodshed, heard the accusations. The military head of Hamas was assassinated by Israel in Gaza. Rockets fired in retaliation killed three Israelis and Israel then went into overkill. The November anniversary of the Balfour declaration is marked not with wimpy fireworks but real bombs, big bangs.

It is exactly 95 years since Lord Balfour, the then Foreign Secretary, informed Baron Rothschild that Britain would back a new Jewish state on Palestinian territory as demanded by Zionists, some of them terrorists who had attacked British targets. Lord Edwin Montagu, the only Jewish member of the UK cabinet, objected vehemently to the decision: “All my life I have been trying to get out of the ghetto and you want to force me back there again”. He was overruled by his colleagues, some of them avowed anti-Semites.

Britain had no legal right to the land it breezily handed over and has never apologised for its disastrous decision. Palestinians paid for Europe’s massive, anti-Semitic killing project. Thousands of Muslim and Christian Palestinians were dispossessed and, since then, it’s been a story of endless conflict. And so here again is another horrendous conflagration breaking out in a volatile region. 

Recently, I have chaired and attended meetings on this never-ending crisis. Some people in the audience asked why Muslims obsess  incessantly about Israel and never about Syria and other Arab tyrants, or Hamas. A fair enough point. When Arab despots murder and torture their own people, their sins are not less heinous than those committed by outside adversaries. And the three recent victims of Hamas attacks weren’t simply collateral damage. The anti-Semitic prejudices of millions of Arabs and Iranians is repellent. But I would put this question to Israeli apologists too: why can’t they muster human sympathy for dead Palestinian babies and their howling parents? Don’t they feel anything for these innocents? This time, Palestinians have paid tenfold for those three Israeli lives. Israel’s uncontrolled, unmonitored, unaccountable power can overwhelm any resistors or enemies, or people unlucky enough to be born Palestinian.

On the web is a photograph of an old man in Gaza holding a placard with this message: “You take my water, burn my olive trees, destroy my house, take my job, steal my land, imprison my father, kill my mother, bombard my country, starve us all, humiliate us all but I am to blame: I shot a rocket back.” You may or may not agree with his rocket retaliation, but all his other accusations are verifiably true as witnesses – some Jewish – have been attesting for years. Even treacherous Balfour stipulated in that fateful letter of November 1917: “Nothing shall be done which may prejudice the civil and religious rights of existing non-Jewish communities in Palestine.” That bit has never been honoured.

While Western leaders avert their eyes, there is growing sympathy for the Palestinian cause and dismay that Israel flouts international law with impunity.

Remember too there was a time when Jews and Palestinians were not filled with poisonous odium for each other. Well all that is history now. Israel exists and must, as I have believed all my life. But it can’t expect to do as it damn-well pleases. Oh yes it can! says Obama’s administration. Not only is Israel free to carry out extra-judicial assassinations – a favourite Obama solution to crises but: “Israel has the right to defend itself... and make its own decisions about its military tactics and operations.” That is exactly what Assad says he is doing and in response William Hague rightly issues grave, moral condemnations. The same Hague and his diplomats are doing all they can to stop the UN recognising the Palestinian state and until this weekend censured only Hamas for this worsening situation. Now, with Israel threatening invasion, our Foreign Secretary (timidly) reproaches the nuclear-armed bully state. Just a month ago, the EU upgraded its trade agreement with Israel. These collaborators have not collectively asked Israel to back off. In contrast, Arab heads are, at least, trying to influence Hamas and get a ceasefire. 

While Western leaders avert their eyes, there is, among millions of European citizens, growing sympathy for the Palestinian cause and dismay that Israel flouts international law with impunity. The chasm between Europe’s ruling classes and the ruled can no longer be ignored.

Dr Izzeldin Abdullah, a Palestinian doctor found three of his daughters blasted to death in Gaza by Israeli shells in 2009. This week he wrote: “My family in Gaza are not safe; and the same can be said for all those innocent people in Israel.” He begged for a “ halt to this craziness” but his words will not be heeded and such voices from Palestine will disappear as hate consumes all hope. Hezbollah and the Iranian regime will pile in and unimaginable consequences will follow. For Israel’s own sake, it must stop being so boneheaded and halt this inferno. Obama needs to step up and use his power to save the world. It is that serious.  

 

HAITI: Shock-Doctrine Schooling in Haiti: Neoliberalism Off the Richter Scale > Common Dreams

Shock-Doctrine Schooling

in Haiti:

Neoliberalism

Off the Richter Scale


 

Two Days before the earthquake, my one-year-old son and I accompanied my wife to Haiti for an HIV training course she was to conduct. Two days after surviving the quake, we drove into the center of Port-au-Prince from the Pétionville district, where we had been staying, and passed a school that had completely collapsed.

 

What the 2010 earthquake in Haiti did to the island nation's education system may, in the long run, be less damaging than what privatization advocates, backed by powerful foreign interests, may do.

I remember successfully convincing myself as we drove by that not one student or teacher was struck by the chunks of drab-gray cinderblock that lay scattered in the courtyard. As a Seattle Public Schools teacher myself, I could not allow the image of being trapped with my students under the debris of the school to enter my thoughts, and I managed to become certain that no one had been in the building when it collapsed. After spending the prior two days wrapping countless children's bloodied appendages with bed sheets, I needed the peace of mind that these students lived.

But even teachers get the answers wrong. Upon returning to Seattle and reviewing the statistics, it seems increasingly likely that my confidence in the well-being of that school community was more coping mechanism than fact.

The Haitian government estimates that at least 38,000 students and more than 1,300 teachers and other education personnel died in the earthquake. As UNICEF reported, "80 percent of schools west of Port-au-Prince were destroyed or severely damaged in the earthquake, and 35 to 40 percent were destroyed in the southeast. This means that as many as 5,000 schools were destroyed and up to 2.9 million children here are being deprived of the right to education."

In the earthquake's aftermath, Haiti's Education Minister Joel Jean-Pierre declared "the total collapse of the Haitian education system."

The truth, however, is that the seismic activity of free-market principles had shattered the education system in Haiti long before January 12, 2010.

Some 90 percent of schools in Haiti are private schools, and according to UN statistics, primary school tuition can often represent 40 percent of a poor family's income--forcing parents, at the very least, to choose which of their children they'll send to school. Only about two-thirds of Haiti's kids were enrolled in primary school before the earthquake, and less than a third reach sixth grade.

Secondary schools enrolled only one in five eligible-age children, which is one reason why the illiteracy rate in Haiti is over half -- 57.24 percent. Poverty and lack of access to education has led to mass child servitude, known as the restavèk system, with an estimated 225,000 Haitian youth living in a state of bondage.

For most people, Haiti's broken school system -- now literally buried under tons of rubble -- is an incomprehensible horror. But for a few, the earthquake created a big break for business.

"There's a real opportunity here, I can taste it. That is why I've flown [to Haiti] so many times." Meet Paul Vallas. The 58-year-old Vallas is the former CEO of the Chicago and Philadelphia public school systems and was hired in the aftermath of Hurricane Katrina as superintendent of the Recovery School District of Louisiana that oversaw the transformation of the New Orleans school system.

Vallas' legacy in these cities of privatizing schools, reducing public accountability and undermining unions made him a shoo-in to take charge of the Inter-American Development Bank's (IDB) education initiative in Haiti.

To truly appreciate Vallas' epic dedication to letting the free market rip Haitian society apart, you have to consider the fact that he had to overcome a severe fear of flying to deliver the laissez-faire gospel to Haiti.

Vallas' disaster-as-opportunity comment cited above was clearly cribbed from U.S. Education Secretary Arne Duncan, who indirectly praised Vallas' work in New Orleans, saying, "I think the best thing that happened to the education system in New Orleans was Hurricane Katrina."

Duncan justified his statement by arguing that the destruction of the storm allowed education reformers to start from scratch and rebuild the school system better than before. However, as Naomi Klein, author of The Shock Doctrine: The Rise of Disaster Capitalism, pointed out about the New Orleans school system:

In sharp contrast to the glacial pace with which the levees were repaired and the electricity grid brought back online, the auctioning-off of New Orleans' school system took place with military speed and precision. Within 19 months, with most of the city's poor residents still in exile, New Orleans' public school system had been almost completely replaced by privately run charter schools... New Orleans teachers used to be represented by a strong union; now, the union's contract had been shredded and its 4,700 members had all been fired.

It should be apparent, then, that with Vallas at the helm of redesigning the Haitian school system, no child will be safe from an off-the-Richter-scale neoliberal quake.

Vallas' scheme for Haitian education centers on maintaining a system in which 90 percent of schools are private--with the one modification that the Haitian government finance these private schools, based on the charter school model he delivered to New Orleans.

To Vallas, education is a simple matter that shouldn't be made more complicated by considerations about students being multifaceted individuals with different learning styles, backgrounds and passions. Vallas summarized his educational philosophy at a May 2010 symposium on schools in Haiti:

Education is not a complicated business: you diversify the management models [read: move away from public management towards private management], you expand your pool of qualified teachers, you develop superior curricular instructional models with the training that goes with it, you come up with basic classroom modernization designs that can be implemented regardless of the condition of the facility, and you create a delivery system to go and implement these things--and believe me this is not rocket science.

Given that the IDB's development strategy in Haiti is dedicated to increasing low-wage jobs in garment-production sweatshops, it shouldn't come as a surprise that Vallas was hired to implement an education plan that seeks to reduce schools to a "delivery system" assembly line, where the purpose of education becomes the systematic and linear production of widget-students.

The IDB's proposed five-year, $4.2 billion plan for the remaking of the Haitian education system could be described as the "Trojan school": Using the promise of the day when there is reduced tuition in the bulk of Haitian schools as a means to permanently enshrine a private schooling system subsidized by the government. As the IDB explains of its proposal:

Under the reform, most Haitian schools will become publicly funded institutions, foregoing or drastically reducing tuition charges. The government will pay teacher salaries for schools participating in the plan.

But here's the catch:

To remain in the new system, schools will have to adopt a national education curriculum.

Eliminating tuition charges in Haiti is an essential prerequisite to providing education to all of Haiti's children. Yet a year and a half after the IDB introduced its plan, there has been little progress in making schools free to all.

Moreover, a national standardized curriculum established by powerful interests is likely to obscure important lessons for Haiti's youngsters.

For example, will this national course-map, financed by the IDB, examine how U.S. and Western foreign policy has, for generations, destabilized the Haitian government -- from Thomas Jefferson's refusal to recognize the newly established Black republic at the turn of the 19th century for fear that it would encourage slave rebellions in the American South, through to the cables uncovered by WikiLeaks revealing how the Obama administration manipulated the recent presidential election in Haiti?

Is this uniform curriculum more likely to include problem-posing lesson plans drawn from Paulo Freire's Pedagogy of the Oppressed -- or from the pre-packaged lessons that come shrink-wrapped with former D.C. Public Schools Chancellor Michelle Rhee's curriculum-narrowing tests?

Vallas' advocacy of a "drill-and-test" method for education should settle these questions, if there were ever any doubt.

But this approach to education is coming under increasing scrutiny in the U.S., as Stanford University education professor Linda Darling-Hammond said at the recent Save Our Schools rally in Washington, D.C.:

While many politicians talk of international test score comparisons, they rarely talk about what high-performing countries like Finland, Singapore and Canada actually do: They ensure that all children have housing, health care and food security. They fund their schools equitably...They organize their curriculum around problem-solving and critical thinking skills.

In this light, the struggle in Haiti for an education that develops the whole child must be coupled with broader struggles -- for permanent housing for the hundreds of thousands still in tent camps; for a sewage and water system to stem the spread of cholera; and for an agricultural policy that supports Haitian farmers in domestic food production.

As the secretary of the National Confederation of Haitian Educators, Lourdes Edith Delouis, put it, the union "draws attention to the fact that 130 communal sections are devoid of public schools 33 of which have no school, noting that the construction of these schools is a necessity, and it must be accompanied by the offer of basic public services, such as water, electricity, health care and recreation."

Ignoring these broader considerations, Vallas is nonetheless proud of the IDB's education initiative. "The plan is very ambitious," he said. "The funding goals may be too ambitious. But the bottom line is, if we achieve three-quarters or half of it, we'll have a profound impact on the country."

It would appear, however, that Vallas needs a remedial class in fractions -- because the world's governments, content with the morality of lowest common denominator, have delivered only a small portion of the money they pledged to help Haiti rebuild.

But that doesn't keep the IDB from bragging about its work in rebuilding the school system in Haiti. According to a May 31 statement on the IDB website:

Since January 2010, the IDB has financed the construction of 800 temporary classrooms in 57 school sites, and the distribution of 100,000 backpacks with books and supplies for students. It has also provided financial support to 1,200 schools, enabling some 70,000 children to resume their lessons.

The IDB's boasts about temporary classrooms and backpacks provide a powerful political science lesson for Haiti's youth: None of the world's governments care enough to give anywhere near what the schools need in aid.

The disregard for creating a quality school system in Haiti could not have been shown more forcefully than with Isabel Macdonald and Isabeau Doucet's Nation magazine investigative report on the Clinton Foundation's first project in Haiti, a reconstruction effort in the city of Léogâne.

The reporters discovered that the Clinton Foundation provided Léogâne with trailers from Clayton Homes -- the very company being sued in the U.S. for providing the Federal Emergency Management Agency with formaldehyde-tainted trailers following Hurricane Katrina.

As Macdonald and Doucet reported, the trailers were to be used as classrooms -- but they incubated mold rather than scholarship and were plagued with disturbing levels of formaldehyde:

As Judith Seide, a student in Lubert's sixth-grade class, explained to the Nation, she and her classmates regularly suffer from painful headaches in their new Clinton Foundation classroom. Every day, she said, her "head hurts, and I feel it spinning and have to stop moving, otherwise I'd fall." Her vision goes dark, as is the case with her classmate Judel, who sometimes can't open his eyes because, said Seide, "he's allergic to the heat." Their teacher regularly relocates the class outside into the shade of the trailer because the swelter inside is insufferable.

Two out of four of these classrooms provided by the Clinton Foundation couldn't be used to the end of the school year due to temperatures frequently exceeding 100 degrees inside the trailers. As student Mondialie Cineas said, "The class gets so hot. The kids get headaches. And we go to the teacher for him to give us painkillers."

As it turns out, Vallas has been a strong proponent -- both in New Orleans and Haiti -- of using trailers as classrooms, arguing, "There are ways to create a classroom learning environment that can be a superior learning environment, even if that classroom is in an inadequate building." Given that Bill Clinton is a close collaborator with the IDB, it's unsurprising that his model for rebuilding schools in Haiti follows Vallas' lesson plan.

Haiti and New Orleans have an inextricably linked history, including the 10,000 refugees that left Saint-Domingue (present-day Haiti) and arrived in New Orleans in 1809, doubling the population of the city. They brought with them the Creole culture and voodoo religion, elements of which persist in the bayou to this day.

But the nature of the relationship between these two cultures is currently being remade. From Paul Vallas and charter schools to the Clayton Homes trailers, the U.S. is unmistakably attempting to export its Hurricane Katrina response to Haiti and its schools--in a textbook case of Naomi Klein's concept of the "shock doctrine" in which disaster capitalists seek to profit from calamity.

When the shock doctrine is applied to schooling, it has the effect of both profiteering off children and denying them access to the knowledge that could help them escape subjugation. As the French colonial governor of Martinique wrote to a French minister in Haiti in the late 1700s, "The safety of the whites demands that we keep the Negroes in the most profound ignorance. I have reached the stage of believing firmly that one must treat the Negroes as one treats beasts."

Governments the world over owe a debt to Haiti that is long past due -- some from a history of direct colonial control or later economic subjugation, and some from failing to honor pledges made in the aftermath of the earthquake. If these debts were repaid, that would be the basis for constructing a world-class education system.

The balance owed should be deposited directly with the Haitian government to build a public school system accountable to the country's citizens, not private interests. Haitian schools must be built immediately, in permanent, earthquake-resistant, hurricane-safe, world-class facilities that are free for all to attend. In this vision for the country's public schools, they would serve as a focal point for Haitian society, where clean water and free meals could be organized and distributed to families.

Finally, Haitian educators must be given the autonomy to develop curricula that matches the needs of their students and the world into which they will graduate -- skills such as creativity, civic courage, leadership, teamwork and social responsibility, which will be needed to address the massive social challenges facing Haiti.

As we enter another school year, I hope teachers in trailers across Haiti are preparing lesson plans that engage students in a critical dialogue about Toussaint L'Ouverture, his Haitian slave revolution that overthrew Western colonialism, and the lessons it offers for the U.S. governments' current neo-colonial control over the island nation today.

Haiti has a lot to teach. It is time the world sat up straight.

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ECONOMICS + VIDEO: Why You Shouldn’t Line Up For Walmart’s Black Friday Deals [Video] > COLORLINES

Why You Shouldn’t Line Up

For Walmart’s

Black Friday Deals [Video]

Don’t call it Black Friday anymore. The kickoff to the national holiday shopping frenzy has now officially merged with Thanksgiving day itself, with Walmart leading the Thanksgiving evening creep by opening its doors at 10pm on Thursday this week. And the Thursday night opening has given workers at over 1,000 Walmart stores planning a Black Friday strike even more reason to walk out from work.

The planned action has been in the works for some time, long before Walmart announced its Thursday evening opening. The strike comes after months of such walkouts that started in Los Angeles area stores and spread to Maryland, then Texas, for a total of nine states this fall. Workers say they are upset over much more than just having to leave their families on Thanksgiving evening.

“It’s a real hardship for me to go on strike. For those of us who live paycheck to paycheck every hour counts. All we’re doing is speaking out for change,” said Sara Gilbert, a manager at a Seattle Walmart who is protesting what she says are the retail giant’s retaliatory measures to silence workers who’ve raised their voices about working conditions. Since workers with OUR Walmart, a United Food and Commercial Workers union-backed organization, have spoken up about bad pay and inconsistent and unfair hours, they say they’ve been excluded and punished. She joined other Walmart workers in Seattle, Dallas and Oakland who went on strike last week.

Last week Walmart took its first formal steps to cracking down on this next phase of worker organizing by filing an official labor practice complaint with the National Labor Relations Board, charging that the walkouts threaten to disrupt its business and scare away shoppers. The NLRB is working to address the issue quickly, but in the meantime OUR Walmart is keeping up the pressure.

 

Walmart employs 1.4 million people, and not only is staunchly anti-union, they’re also ruthlessly cutthroat in how they treat their workers. Walmart workers, OUR Walmart says, often have to choose between paying their rent and paying their health care bills, and have to borrow money from coworkers just to get through the month. But the real injustice is in how Walmart is sidelining those who’ve spoken up now.

“How is this happening? I work for one of the most successful companies in the world and we get subsidized housing and food stamps and my children are on state health care,” Gilbert said. Indeed, last year Walmart reported a net income of $15.4 billion, with a 24.7 percent gross profit margin. While Gilbert, a full-time store manager, is struggling to support her family on her $14,000 a year income, Walmart’s CEO Michael Duke took home $18.7 million in 2011.

“We smile for the customers but we’re going through a lot of turmoil and frustration,” said Colby Harris, a worker in a Lancaster, Texas Walmart store. “A lot of us who choose to speak up have been silenced.”

For more, check out the video above, as Columbia University professor Dorian Warren, who also sits on the board of Colorlines.com’s publisher the Applied Research Center, talks about Walmart’s treatment of its workers and shares more about the upcoming action.

 

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Walmart is Nation’s #1 Employer of Latinos, and Also Big Funders of Anti-Immigrant Efforts

Walmart employees strike outside of a Walmart store in Pico Rivera, California on Thursday October 4, 2012. (Photo by AURELIO JOSE BARRERA/Making Change) 

Walmart is the largest employer of Latinos in the United States. But the company and the founding family—the Waltons—have disproportionately supported politicians who have overwhelmingly anti -immigrant records, according to the United Food & Commercial Workers’s Making Change campaign.

Making Change compared the Walton family and Walmart PAC political contributions to Congressional candidates with the scorecard published in the William C. Velasquez Institute Immigrant Justice March 2010 Interim Report. They found the vast majority of recipients of funding voted against the DREAM Act, supported E-verify, immigrant detention, and militarization of the U.S.-Mexico border.

Read their report below. And then go watch this 2-minute video that explains why you don’t want to line up for Walmart’s black Friday deals this week.

The Disturbing Truth about Walmart, theWalton Family and the Latino Community

>via: http://colorlines.com/archives/2012/11/walmart_is_nations_1_employer_of_latin...

 

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HISTORY + VIDEO: Sierra Leone: Why the Name? « African Heritage

Sierra Leone: Why the Name?


Modern-day Freetown, the capital of Sierra Leone

I always thought the name of the country Sierra Leone was rather strange: how could a predominantly Muslim, English-speaking, African country have an Italian name?  There was never an Italian presence in that region of Africa.  So why in the world, is an ex-British colony with slaves returning from America, slaves who had fought on the British side during the American revolutionary war from 1775 to 1783, carrying an Italian name, and what does it mean?

Freetown, Sierra Leone, in 1856

Well, in 1462, the Portuguese explorer Pedro de Sintra sailing down the West African coast, saw the tall mountains rising from what is now Freetown peninsula or harbor, and named the area ‘Serra de Leão,’ which means ‘Lion mountains’, because of the shape formed by the hills surrounding the harbor.  The Italian rendering of this geographic formation is Sierra Leone, thus the name.  Sierra Leone has the third largest natural harbor in the world.  Archaeologically, that area has been inhabited continuously for the past 2500 years, from successive movements from other parts of Africa.  In 1495, the Portuguese established a port there, and were later joined by the Dutch and French, who used the area as a slave trading point.  In 1787, a first settlement of those called Black poors was founded in the Province of Freedom.  They were later decimated by the indigenous population.  A second settlement came in composed of Nova Scotian settlers, and Jamaican Maroons.  Sometime, at the beginning of the 19th century, Sierra Leone became a British colony.  Sierra Leone today is a true melting pot of Temne, Mende, Limba, Fula, Mandingo, Kono, and Krio (descendants of African American, West Indies slaves, etc) people.  In 2006, the country was featured in the movie Blood Diamond with Leonardo DiCaprio.

So there goes the story of a British colony, English-speaking country, predominantly Muslim, with an Italian name in an area where no Italian explorer had set foot.  Enjoy this video on Freetown, the capital of Sierra Leone.

 

 

VIDEO: Alicia Keys

Alicia Keys

“Brand New Me” | New Music

Nura Abdela November 9, 2012

With the surge of R&B acts going down the dance music route lately, it’s nice to have Alicia Keys back on the scene, flying the flag for good old rhythm & blues. We first heard new track “Brand New Me” performed live at the Roundhouse in London at the iTunes festival back in September, but now we finally have the full studio track to obsess over.

Taken from the album Girl On Fire, the song and was co-written by our very own British talent Emeli Sandé as they team up in a show of woman-power for the empowering song about finding your true self.

“’Brand New Me’ is about the journey it takes to get to a place where you are proud to be a new you,” the singer recently told The Boombox. “There is nothing wrong with growing. There may be people in your life that knew you for a long time and they think of you only as the person you used to be and not the person you now are.

“This song is a conversation introducing them to the new you. Where nothing can hold you back and no one can hold you down.”

Alicia Keys will be performing at the MTV EMA‘s on November 11th, while her new album Girl On Fire comes out November 27th.

 

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Alicia Keys x Maxwell

– “Fire We Make” | New Music

Verse November 20, 2012

With her fifth solo studio album Girl On Fire set for release in seven days, one of the most eagerly anticipated tracks from Alicia Keys latest long player has appeared online. 

The superstar singer, songwriter and pianist joins forces with the incredible soulman that is Maxwell for the 2012 baby-making anthem “Fire We Make” produced by Pop & Oak alongside Ms Keys, and this one is a serious temperature raiser. Press play below.

Listen To: Alicia Keys x Maxwell – “Fire We Make”

Alicia Keys Girl On Fire will be released on November 27th. Pre-Order it here.

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Alicia Keys: VH1 Storytellers

[Full Show] | TV Catch-Up

Sam Gould
November 13, 2012


For the latest instalment of VH1 StorytellersAlicia Keys brought her tremendous vocal talents to the intimate, Unplugged-style set, whilst inviting the audience to hear about her song-writing process and grand-scale ambition. 

Keys’ live performance was as stirring and smooth as we’ve come to expect from her. Her set-list encompassed everything from a band-backed, opening rendition of ’07′s mega-hit “No One” to stripped down performances of newer songs like “Brand New Me“, from her upcoming album Girl On Fire (out November 27th). One thing that’s clear is that, almost exactly five years on from As I Am, eleven years on from Songs in A Minor, the NYC-hailing superstar still loves performing, despite the powerful emotions she invests in her music.

In a number of detailed interludes, the singer reveals the stories behind singles such as “You Don’t Know My Name” (which I won’t ruin for you) and “Empire State of Mind”, and discusses the happy family life she now enjoys. She comes across as relaxed and comfortable, moving between her ordinary voice and her singing voice seamlessly, as she sometimes does on record.

Sit back and watch Alicia as talks and performs her way through her story below:

>via: http://www.soulculture.co.uk/culture-2/film-tv/tv-blog/alicia-keys-vh1-storyt...

VIDEO + AUDIO: Jeanne Lee

JEANNE LEE

<br />Ran Blake et Jeanne Lee  "jada" 1963 <i>by aldezabal</i>

Jeanne Lee, Jazz Singer

Who Embraced Avant-Garde,

Dies at 61

By on December 1, 2000

Jeanne Lee
Jeanne Lee
Photo courtesy Naima Hazleton

 

Jeanne Lee, one of the great jazz singers and composers in the avant-garde tradition, an author, and a teacher of singing, died on October 25, 2000, in Tijuana, Mexico. She was 61.The cause was cancer, said her daughter Naima Hazelton.

Born in New York City in 1939, Lee graduated from Bard College in 1961. At Bard, she met Ran Blake, a pianist, and the two of them began to work as a duo. After winning the Apollo Theater’s Amateur Night in 1962, they recorded an album for RCA Victor, The Newest Sound Around, and went on their first European tour. In Europe, Ran Blake remembers, “she created such a sensation – they called her the heir of Billie Holiday.”

The album included jazz standards and Thelonious Monk tunes, but Ms. Lee and Mr. Blake subtracted swing, but added intellectual coolness, abstruse piano harmonies and vocal influences from Billie Holiday and Dinah Washington. This landmark album was re-issued on RCA France in 1978, by Bluebird CD (USA) in 1988, by BMG France in 1994 and in 1997 by BMG Belgium as part of BMG’s Collection Jazz! Series. In 1989 she and Mr. Blake recorded a duet album in the same style called You Stepped Out of a Cloud an OWL/EMI.

“In all the years I knew her, she was one of the great human beings,” Blake commented in a telephone interview. “She had a wonderful warmth with people, and she was an extremely good listener – almost like a muse. She was no Polyanna, but she willed it upon her friends to look for optimistic solutions. She always talked about the dreams she had, and they gradually began to form what she did in her music.”

In the 1960s, Ms. Lee developed a new, inventive vocal style, approaching words as sounds and using her teeth, lips and tongue to wring drama out of each syllable. She wrote: “As an improvising singer, there was always the option to scat, thus imitating the jazz instrumental sounds. There were also jazz lyricists who set words to instrumental solos. Neither of these options allowed space for the natural rhythms and sonorities or the emotional content of words…”

Jazz singer/composer Sheila Jordan first met Jeanne Lee in the 1970s, when they collaborated on a workshop for Cobi Narita. They then made a recording together with the Italian jazz bassist Marcello Melis called Free to Dance. “Jeanne Lee was an original sound,” she reminisced. “I always felt that when she sang, she was always smiling, she sang with a smile, her sound was a smile…” Jordan collaborated most recently with Lee on the 1994 Jane Bunnett CD The Water is Wide. “To sing with Jeanne was a beautiful spiritual trip for me. I loved to sing with Jeanne because I never felt any kind of competition, I always felt a kind of closeness, a ‘oneness’, it was like we became one sound,” Jordan mused. “She had a wonderful sense of lyrics and sound, and she was inspiring to sing with. I think she brought out the best in everyone.”

Jeanne Lee recorded over 40 albums and performed with some of the leading contemporary composers and improvisers of the later 20th century, both avant-garde musicians like Marion Brown, Carla Bley, Archie Shepp, Cecil Taylor, Peter Kowald and Reggie Workman and more mainstream player-composers such as Bobby McFerrin and Chick Corea. She was active as a composer, combining vocal jazz with music and dance, working often with the choreographer Mickey Davidson.

Ms. Lee married sound-poet David Hazelton in 1964, but returned to Europe in 1967, where she began a long association with vibraphonist and composer Gunter Hampel recording with on his Birth label on number occasions over the next two decades (The 9th July, Spirits, Journey To The Song Within, Fresh Heat).  One of these, recorded in 1972, was an entirely improvised session with Anthony Braxton, Anthony Braxton at Town Hall.

In the mid-1960s, Lee composed music for the “sound-poetry” of Dick Higgins and Alison Knowles, among others, first at the Open Theater in Berkeley, California, as part of a multi-disciplinary company of artists, then in concert at Town Hall in New York. Lee was invited by John Cage to be one of four vocal soloists in his bicentennial work Renga and Apartment Building 1776, which she performed with several major American and European orchestras.

Working with Cage on Renga was a seminal experience for Lee. “I had attended opera, Broadway musicals and revues since childhood,” Lee wrote, “but I had never experienced the juxtaposition of freedom and organization, or diversity within unity, that Cage achieved in this composition. Since I had long been interested in combining improvised and composed music, poetry and dance into a unified whole, I was inspired by this experience to begin composing extended works.” With the assistance of a NEA grant in 1976, Lee adapted the 13th-century Persian poet Farid Ud-din Attar‘s Conference of the Birds into Prayer for Our Time, a two act, ten scene “jazz oratorio” with dance. She also collaborated with Diedre Murray and Pauline Oliveros on Flashes, written for dancer Blondell Cummings in 1993.

In the 1980s and 90s, Jeanne Lee made a number of important recordings, two of which she produced: Conspiracy, Travellin’ in Soul-Time, Ambrosia Mama, You Stepped Out of a Cloud, and Natural Affinities. The 1994 Lee/Waldron Duo album After Hours, released on Owl/EMI, received the Diapason D’Or among other awards. That same year, she recorded Nuba, which was co-composed with drummer Andrew Cyrille and saxophonist Jimmy Lyons. One track from this album, titled “Nuba One,” was included in soundtrack to the 1999 Jim Jarmusch film Ghost Dog: the Way of the Samurai. Lee’s performance of “Don’t Worry Now, Worry Later” was included in the Smithsonian collection The Jazz Singers 1919-1994, which was nominated for a 1997 Grammy.

Lee’s main focuses during the last ten years of her life were the Jeanne Lee Ensemble, featuring poetry, music and dance, and the Jeanne Lee/Mal Waldron Duo. The Ensemble has performed in festivals Europe, appearing at the 1997 Banlieue Bleues Festival in Paris. This past summer, Lee toured with the Orchestre National de Jazz and was the subject of a TV special focusing on a day in her life.

In 1998, Lee was named one of the “Hundred Most Influential in Jazz” by Jazziz magazine. She was included in the award-winning documentary film Femmes Du Jazz and the Women in Jazz documentary shown on A&E in the 1980s.

Lee earned a Masters Degree in Education from New York University in 1972, with the assistance of a Martin Luther King Fellowship for Urban Studies. Lee developed an integrated arts and education curriculum, and wrote the textbook Jam!: The Story of Jazz Music for students in grades 4 to 7. During the last five years of her life, she taught music and movement in the jazz departments at the Royal Conservatories in The Hague, Netherlands, and Antwerp, Belgium.

Two memorial services for Ms. Lee were held in New York in November, and services are planned in Belgium and France in coming months. In addition to Ms. Hazelton, Ms. Lee is survived by two children, Ruomi Lee-Hampel and Cavana Lee-Hampel, and a grandson.

 

 

PUB: Morehead State University Thomas and Lillie D. Chaffin Award for Appalachian Writing > Poets & Writers

Thomas and Lillie D. Chaffin Award

for Appalachian Writing

Deadline:
December 3, 2012

A prize of $1,000 is given annually for a book of poetry, fiction, or creative nonfiction by an Appalachian writer. Authors and publishers may submit five copies of a book of poetry or prose by December 3. There is no entry fee. Call or visit the website for complete guidelines.

Morehead State University, Thomas and Lillie D. Chaffin Award for Appalachian Writing, English Department, 150 University Boulevard, Morehead, KY 40351. (606) 783-2185. Tom Williams, Contact.

via pw.org