I want to make sure this gift from neoafrican reaches you. The above video is the video link they included in the previous post. Ee’da’s “Fade to White” is on repeat in my headphones. Please take some time in your day to absorb Ee’da’s powerful self-love message <3 <3 <3
Deep love and gratitude for your solidarity, neoafrican. I can’t believe I never knew this genius existed until right now. I am so grateful I now know Ee’da and this video exists & now you do too… <3 <3 <3
Sisters for Sisters is a collective of of Melbourne-based female artists, singer-songwriters, dancers, DJs, visual artists, spoken word artists and designers from diverse cultural backgrounds volunteering their time to perform and fundraise to support Womens' Empowerment programmes in third world countries and locally. It started of as an event to support, promote and bring awareness to the several charity groups that are working tirelessly to end sex-trafficking, to empower trafficked and at-risk women and children, but has since evolved to cover a whole range of women's empowerment programmes.
A presentation by Dr. Zandria F. Robinson, Assistant Professor of Sociology and James and Madeleine McMullan Assistant Professor of Southern Studies, University of Mississippi
Pinellas Park, Florida -- Cheryl Maudsley has seen the image too many times.
The FHP cruiser dash cam images show her 19-year-old daughter, Danielle, falling motionless to the pavement in front of the Florida Highway Patrol's substation in Pinellas Park.
In September, Trooper Daniel Cole shot Danielle Maudsley in the back with a Taser. Maudsley, who was trying to flee, is clearly still in handcuffs. She hits her head on the pavement and has been in a vegetative state since the incident.
"He knows what he did to my daughter and he has to live with that every day to his death," she said.
Interviewed by and investigator after the incident, Trooper Cole can be heard trying to explain his decision and his actions.
"Prior to deploying your Taser, did you give a verbal warning that you were going to use it?" he was asked.
"No, I did not," says Trooper Cole.
In the exchange between the investigator and Cole, which has been published by the FHP, he's also asked about his decision not to tackle Maudsley, as some have suggested might have been a better alternative.
"I know that I can't just jump on her. I'm three times her weight," says Cole, "If we go down, one or both of us is going to get hurt. The taser is the immediate weapon of choice."
He goes on to say, "It's so quick, short timespan. It happened very fluid. There was an immediate... that I needed to stop her."
"And did you consider that she might fall on the hard asphalt and injure herself?" asks the investigator.
"No," replies Cole.
Although the video clearly shows Maudsley is barely a step ahead of Trooper Cole as they leave the substation's south door -- and he has clearly already had time to pull and point his taser -- he says Maudsley would have gotten away.
"Did you think she was capable of outrunning you?" asks the investigator.
"Yes, she was already outrunning me," replies Cole.
That's not the way Cheryl Maudsley sees it, no matter how many times she's watched.
"And to say he would do it again," she says, "makes me want to puke."
Danielle Maudsley was in custody to begin with because she had been arrested on a misdemeanor charge of fleeing the scene of an accident.
The FDLE found Cole's actions justified, because troopers said Maudsley was running toward traffic along Highway 19, and might have caused an accident.
“That Addie Mae’s fate is far from unique was driven home by a grisly 1989 discovery during a breathlessly hot August in Augusta, Georgia. Construction workers renovating a stately 154-year-old Greek Revival structure that once housed the Medical College of Georgia (MCG) stumbled upon a nightmare cached beneath the building. Strewn beneath its concrete floor lay a chaos of desiccated body parts and nearly ten thousand human bones and skulls, many bearing the marks of nineteenth-century anatomy tools or numbered with India ink.
The cool sunless basement had preserved the remains remarkably well. Bones and human “dissected material” littered the floors, metal tubs, and even latrines. Ossified human remains spilled from broken vats that had once held cadavers preserved in alcohol. jars held fetal organs in vanishing lakes of whiskey—an indication that scientists had displayed the purloined bodies, using alcohol as a preservative, in addition to dissecting them. Because not only grave robbing but also anatomical dissection were illegal in Georgia in 1887, there was no legal source of such bodies: They were stolen, and in a manner that outraged decency and violated the law.
This disarticulated nightmare was all that remained of faceless people whose bodies had been dissected, then unceremoniously scattered in the basement amid a jumble of broken syringes, microscope slides, scalpels, old pill bottles, and other medical detritus. As years passed, medical personnel covered each stratum of human refuse with quicklime to quell the stench, and later the basement was cemented over. Scientists determined that most of the remains dated from the nineteenth century, and detailed analyses of the bones and surrounding materials revealed that 75 percent of the bones in the basement were those of African Americans, although blacks constituted only 42 percent of the area’s population.”
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“The basement was filled with mostly black bodies not by accident, but by design. As the nineteenth century progressed, doctors’ needs for cadavers for medical education and training surged, but dissection was abhorrent, a shameful fate reserved for the most heinous criminals, who received a double sentence of execution and dissection. As a result, physicians appropriated the bodies of enslaved persons with no legal rights or those of free blacks with no rights that a white man was obligated to respect.
The bodies in the basement had been spirited by night from the graveyard—but not from just any graveyard: Most were taken from Cedar Grove Cemetery, an African American burial ground…”
Each summer, a new raft of dance compilations stake claim to represent ‘the real Ibiza’. But, if anyone deserves that accolade, it is José Padilla, who first arrived on the White Island in 1975 and who has been DJling there ever since. With the ‘Café del Mar’ series he is the spiritual father of Chill-out, a title that’ll be reaffirmed with the re-releases of the first three volumes this summer.
José’s celebrated ‘Café del Mar’ compilation series introduced eccentric English pastoral groups like Penguin Café Orchestra, maverick singer-songwriters like John Martyn, flamenco and bossa nova into a seamless sonic canvas of more modern ambient, dub and breaks. 2010 saw the release of his sell-out CD for Cafe Mambo's 15th Anniversary and "Ibiza Classic Sunset". In 2011 the new Bella Musica Vol.6 came out as well as his single "Dragonflies". He is currently working on his new album with Kirsty Keatch and finishing a compilation for Blue Note, plus bringing his dj bag all around the globe.
Compilatoin by Jose Padilla for the 10th anniversary of Singita Miracle Beach. It includes new track by Jose Padilla "Singita" done exclusivey for this occasion. Sit back and enjoy!
10) Sade - By your Side (cottonbelly's Fola Mix Edit)
11) Flora Purim - portal da cor
12) Outro _________________________________________________________________
Tues.day - The day of the week before Wednesday and following Monday.
Love - is a virtue representing all of human kindness, compassion, and affection.
National Women's Day is an annual public holiday in South Africa on 9 August. This commemorates the national march of women on this day in 1956 to petition against legislation that required African persons to carry the "pass", special identification documents which curtailed an African's freedom of movement during the apartheid era.
On 9 August 1956, 20,000 women staged a march on the Union Buildings in Pretoria to protest against the proposed amendments to the Urban Areas Act (commonly known as the pass laws) of 1950. They left bundles of petitions containing more than 100 000 signatures at prime minister J.G. Strijdom's office doors. Outside they stood silently for 30 minutes, many with their children on their backs. The women sang a protest song that was composed in honour of the occasion: Wathint'Abafazi Wathint'imbokodo!(Now you have touched the women, you have struck a rock.). In the 54 years since, the phrase (or its latest incarnation: "you strike a woman, you strike a rock") has come to represent women's courage and strength in South Africa.
The march was led by Lilian Ngoyi, Helen Joseph, Albertina Sisulu and Sophia Williams-De Bruyn. Other participants included Frances Baard, a statue of whom was unveiled by Northern Cape Premier Hazel Jenkins in Kimberley (Frances Baard District Municipality) on National Women's Day 2009. Since 9 August 1994, the day has been commemorated annually and is known as "Women's Day" in South Africa. In 2006, a reenactment of the march was staged for its 50th anniversary, with many of the 1956 march veterans.
This collection of short fiction seeks to explore the role and effect of the traditional five senses in our lives—sight, hearing, taste, smell, and touch. Good writing engages our senses and this short story anthology aims to reflect not only the art of evoking sense in written form, but also takes ‘sense’ as its main theme. How is sense experienced and what does it mean to individuals, families and societies? Does the perception of sense (or of conditions that affect sense) differ across generations or cultures? Consider how sense can change over one’s lifetime. What is the relationship between sense and identity, or memory? What do people with synaesthesia experience?
We are looking for a broad range of submissions that are unique, evocative and sensual. Stories should be around 2000-2500 words, well written and well structured.
Multiple submissions are not accepted; please polish and send only your best work.
Simultaneous submissions are not accepted; we need to know that if we love your piece, we can use it. Finding out that it has already been accepted elsewhere can create hassles for all parties.
Please only send work that is original, previously unpublished and for which you hold copyright.
We pay £8.00 per short story. Payment is made, upon publication, via PayPal.
"No, you should have picked one from a poem Being written softly with a brush- The breathless ideogram for love we writers hunt." -Lawrence Durrell, "A Bowl of Roses"
A Call for Poems on THE CITY
First Prize: $100. Second Prize: $50. Honorable Mentions: Publication. The winning poems will be published in Deus Loci:, the journal of the International Lawrence Durrell Society.
Deadline: October 1, 2012. Submit one to three poems, all previously unpublished (and not to be published during the course of the contest), and a brief biography. All poems will be considered for publication. Your name and address (including e-mail) must appear on the top of each page submitted. Include an SASE for contest results only. Manuscripts cannot be returned.
Reading Fee: $10. Special Subscription Offer: $15. This includes the reading fee plus a one-year subscription to Deus Loci (normally $10).
Send entries (and checks payable to Deus Loci) to:
Deus Loci White Mice Poetry Contest David Radavich 6216 Glenridge Road Charlotte, NC 28211 radavich@earthlink.net
"Words I carry in my pocket, where they breed like white mice." -Lawrence Durrell to Henry Miller
The Hollick Arvon Caribbean Writers Prize is an annual award which allows an emerging Caribbean writer living and working in the Anglophone Caribbean to devote time to advancing or finishing a literary work, with support from an established writer as mentor. It is sponsored by the Hollick Family Charitable Trust and the literary charitable trust the Arvon Foundation, in association with the non-profit organisation the Bocas Lit Fest.
The Hollick Arvon Caribbean Writers Prize will be offered annually, initially for the next three years, and across three literary genres: fiction in 2013, non-fiction in 2014, and poetry in 2015.
The Prize
The Hollick Arvon Prize, with a total value of £10,000 (approx. US$16,000), consists of:
1. a cash award of £3,000 (approx. US$5,000)
2. a year’s mentoring by an established writer
3. travel to the United Kingdom to attend a one-week intensive Arvon creative writing course at one of Arvon’s internationally renowned writing houses
4. three days in London to network with editors and publishers, hosted by Arvon, in association with the Free Word Centre and the Rogers, Coleridge & White literary agency.
The winner of the 2013 Hollick Arvon Caribbean Writers Prize will be announced in April 2013 at the NGC Bocas Lit Fest.
Eligibility
To be eligible for entry, a writer must:
1. be of Caribbean birth or citizenship, living and working in the Anglophone Caribbean and writing in English
2. be over the age of 18 by 30 September, 2012
3. have had at least one piece of creative writing of no less than 2,000 words published.
How to enter
Each entrant may make only one submission for the 2013 Hollick Arvon Prize. Each submission must include:
1. a maximum of 3,000 words from a work in progress which the Prize will allow the writer to advance or complete. This may be an excerpt from a novel or from a series of short stories
2. an outline of the entire work in progress and how the writer plans to develop it
3. a statement of no more than 500 words about why your work should be supported by this Prize
4. a copy of up to two pieces of previously published creative writing (not exceeding 2,000 words each). An extract from a longer work is acceptable. State the date and place of publication and the name of the publisher
Note: all submissions should be typed with double spacing.
Submissions must be made electronically. Please send all submission materials attached to a single email addressed to info@bocaslitfest.com. The email subject line should read “Hollick Arvon Prize”.
Deadline
The 2013 Hollick Arvon Prize opens for entries on 30 June, 2012. The closing date is 30 September, 2012, at 6 pm TT time. No late entries will be accepted.
Judging
The Hollick Arvon Prize will be judged by a panel comprising representatives of the Hollick Family Charitable Trust and the Arvon Foundation, an agent from the Rogers, Coleridge & White literary agency, and up to three representatives of the NGC Bocas Lit Fest. The Prize will be administered by the Arvon Foundation and Bocas Lit Fest, in conjunction with the Hollick Family Charitable Trust.
For any queries about eligibility requirements or the submission process, please contact the prize administrators at: info@bocaslitfest.com
Download the Prize guidelines and entry form here.
The upcoming new film from documentary master Ken Burns, titled,The Central Park Five, which Burns co-directed with his daughter Sarah Burns, and his son-in-law David McMahon, will have its North American premiere at the Toronto International Film Festival in September, and we've got a trailer and poster for the film.
A quick recap...
The documentary, a tale of racial injustice, examines the case of the Central Park rape, in the late 1980s, that triggered strong emotions in New Yorkers, and the sensational media storm across the US that followed.
Five black and Latino teenagers were arrested and convicted for the brutal rape and assault of Tricia Meili, only to be released after the real attacker confessed in 2002.
The film made its world premiere at the Cannes Film Festival in May, where Burns expressed his hopes that the film gets a theatrical release (before heading to PBS) unlike his past documentaries, stating, "We want to release it theatrically because the running time makes it managable and there's something urgent aboutit."
Indeed.
The documentary is scheduled to be later broadcast on PBS in 2013. A long time to wait for it, so let's hope that sometime before then, it'll get a theatrical relaese (in the USA to start).
Check out the film's trailer and new poster below (this is a film I'm really interested to see; Burns' films are always engaging, no matter the subject):
