VIDEO: Watch "Ali Speaks" Now (Short Film On The Incredible Force Muhammad Ali Was) > Shadow and Act

Watch "Ali Speaks" Now

(Short Film On

The Incredible Force

Muhammad Ali Was)

Blogs by Sergio | May 30, 2012

Last week, here on S & A, I posted an item about this new short titled Ali Speaks, made by actor Eddie Goines III, and filmmaker Foley, which made to honor and document the legendary Muhammad Ali. 

As Goines, who plays Ali in the film, said about the short, "I wanted to collaborate with a great visionary artist like Foley and really make something powerful on this incredible force that Muhammad Ali was and is. I just don't think we've ever had anything really evoke his impact on society and we're excited about what this piece is going to display to the world."

The short made its exclusive online premiere last week, and you can watch it here:

 

HISTORY + VIDEO: Muhammad Ali > LIWI68

Muhammad Ali

In his most famous words, “fight like a butterfly, sting like a bee,” Muhammad Ali became one of the greatest boxers in world history. With no other fighter before him as heavily promoted, he had the attitude, spunk, and rhymes to create hot anticipation even before he stepped into the ring.

 

Born Cassius Clay Jr., Ali started with his first coach who led him all the way to the Rome Olympics. While there, Muhammad won a Gold Medal in the light, heavyweight division – an event that solidified his path to the professional boxing ring in the United States. He would later throw his Gold Medal into a river because he could not stand representing a country full of racism. It was this act and his public presence that intrigued Malcolm X to invite Ali into the Nation of Islam.

 
Before changing his name to match the will of the founder of the Nation of Islam, Ali was ranked in the top ten fighters in the country. As Ali climbed the rank in the boxing circuit, he also received more coverage than any of the other boxers. Some claim it was Muhammad Ali alone who revitalized a sport many sports enthusiasts stopped watching. With such attention and a public profile, he was offered a 50 – 50 split of his fights – the highest ever offered in boxing history.

 
In his first battle for the heavyweight championship of the world, Ali fought Sonny Liston in Miami. Claiming he was destined to win the fight, Muhammad came into the ring as sharp, strong, and pumped as ever. Although Liston was the more powerful contender, he couldn’t keep up with Ali who maintained his endurance and eventually outsmarted Liston to become the World Champion at only 22 years of age.

As the Vietnam war led to the draft in the United States, Muhammad Ali, being of a member of the Islamic faith, was a conscientious objector. With his quick and witty tongue, Ali revealed, “I ain’t got no quarrel with those Vietcong … no Vietcong ever called me nigger.” Due to his anti-war status and refusal to enter the draft, Ali was stripped of his boxing title and was sentenced to five years in prison – a decision that was later reverted in the appeals process. During this time, Ali fought abroad and gave talks at different public institutions against racism and fought hard to teach others about equal rights. Only in 1970 was Ali allowed to fight in the United States, an act granted by a senator of Georgia, as the state had no boxing commission.

 

The Fight of the Century, as it was later dubbed, saw Ali versus Frazier at their best. The fight went until the last round when Ali was knocked to the ground. This was Ali’s first loss as a professional fighter. In his next, highly advertised fight, Ali fought George Foreman in The Rumble in the Jungle, which was created by none other than Don King. Ali knew Foreman didn’t have the same endurance he did so he let Foreman pulverize him against the ropes in the early rounds, which wore Foreman out. By the eighth round, Ali came back to knock-out Foreman with one striking blow.

 
Currently, Muhammad Ali is retired and has two battles which he faces daily; his own long-lasting fight against Parkinson’s disease, and helping those less fortunate in the world – especially in Africa. Ali published an oral autobiography of his life in the early 1990s. And, in the acclaimed movie Ali in 2001, Will Smith portrayed the fighter’s life, his fights, and his personal and religious battles on the big screen. Along with many other awards given to him for his humanitarian deeds, Ali received the Presidential Medal of Freedom at the White House in 2005
 
He once said: “’cause I’m free. I’ve made the stand all black people will have to make sooner or later: whether or not they can stand up to the master.’”

 

PUB: Creative Writing Competition > Aesthetica Magazine

Creative Writing Competition

 

Win £500 and publication with the Aesthetica Creative Writing Competition!

Aesthetica Magazine is inviting all writers and poets to submit their work into the Creative Writing Competition.
The Creative Writing Competition has developed from the Creative Works Competition, which ran for four years, and is hosted by Aesthetica Magazine, the international art and culture publication.

The Creative Writing Competition is a fantastic opportunity for existing and aspiring writers and poets to showcase their work to a wider, international audience: previous entrants have gone on to achieve success and recognition across the world. There are two categories for entry: Poetry and Short Fiction.

Deadline for entries: 31 August 2012
Winners and Finalists will be announced on the 31 October.

 

Prizes

 

  • There will be two winners; one Poetry winner and one Short Fiction winner.
  • Each winner will receive £500.
  • Each winner will receive a selection of books from our competition partners.
  • Winners and finalists will be published in the Aesthetica Creative Writing Annual.
  • Click here to purchase a copy of last year’s Creative Writing Annual.
  • Winners and shortlisted finalists will receive a complimentary copy of the Aesthetica Creative Writing Annual.

How to Enter

 

The Creative Writing Competition has two categories for entry: Poetry and Short Fiction.

Entry is £10 +VAT and this permits the submission of two works into any one category.
You may enter as many times as you wish.

     

     

  • Step One
    To enter the competition, please select a category below to make your payment.

     

    Poetry Entry Fiction Entry

  •  

     

  • Step Two
    Upon receipt of payment, a unique Order Reference number will be automatically emailed to you.
  •  

     

  • Step Three
    Attach your submission to an email and send it to writing@aestheticamagazine.com.
    Please make sure that you write your unique Order Reference Number in the subject line
    and your full name, address and the title of your work in the body of the email.

     

    No work sent after 31 August 2012 will be accepted into the competition.

    For more information, please read our Frequently Asked Questions page.

  • Guidelines

     

    • Fiction entries should be no more than 2,000 words each.
    • Poetry entries should be no more than 40 lines each.
    • Both Fiction and Poetry entries should be written in English.
    • Winners and Finalists will be announced on the 31 October.
    • For any questions, please see our Frequently Asked Questions page.

     

    Refund Policy

     

    For information regarding our cancellation and refund policy, please click here.

     

    The winners and finalists

     

    The finalists of the 2011 competition are listed below. The winner of the Poetry section was Charlotte Lydia with Coppe. The winner of the Short Fiction section was Mark Wagstaff for Riding Without a Ticket.

    The Poetry and Short Fiction Finalists of the 2011 Creative Works Competition were:


    Abeer Hoque
    Abegail Morley
    Alex Howard
    Amy Wright
    Andy Ferguson  
    Angela Bridge 
    Angela Croft 
    Anne Welsh
    Anthony White  
    Arlene Humphrey  
    Beverly Akerman  
    Bruce Turnbull  
    Carol Carpenter  
    Charles Wilkinson 
    Charlotte Lydia
    Christian Wethered  
    David Mark Williams
    Dorothy Fryd  
    Edward Nudelman  
    George Amabile  
    Greta Ross  
    Henry Spottswood  
    Ian Crockatt 
    Jacqueline Winn  
    Jeanette O’Shea  
    Jendi Reiter  
    Jenifer Lawrence
    Joan Kunsch 
    John Darley  
    Joyce Youmans 
    Julie Chilver  
    Kathrine Sowerby 
    Leland James 
    Lisa May
    Lucy Dougan  
    Mari-Lou Rowley  
    Mark Wagstaff 
    Martina Newberry  
    Ren Warom  
    Rod Usher
    Ronan McDonnell
    Ruth Furness
    Sarah Reilly
    Sarah Stutt
    Sharon Black
    Sinead Rooney
    Susan Kelly-DeWitt
    Theo Greenblatt
    Wendy Klein
    Wes Lee
    Zelda Chappel

    The work of the winners and finalists is published in the 2012 Aesthetica Creative Writing Annual available now.
    To find out more click here.

     

     

     

     

     

     

     

    PUB: Call for Papers: Evolving African Film Cultures « Black Film Center/Archive

    Call for Papers:

    Evolving African Film Cultures

    The African Media Center at the University of Westminster has issued a call for papers for their November, 2012 conference ‘Evolving African Film Cultures: Local & Global Experiences.’  The conference will focus on “changes in African film and television production and, of equal importance, the transformation of African film audiences in local and global contexts.”

    Kunle Afaloyan’s ‘Araromire’


     

    **************************

    CALL FOR PAPERS

    Evolving African Film Cultures: Local and Global Experiences

    Conference organised by the

    Africa Media Centre, University of Westminster

    Date: Saturday 10 and Sunday 11 November 2012

    Venue: University of Westminster, Regent Campus

    309 Regent Street, London, W1B 2UW

    This is the first call for papers for a two-day conference on changes in African film and television production and, of equal importance, the transformation of African film audiences in local and global contexts. African film production, distribution and consumption have been more noticeable in the West African region, as showcased by biennial exhibitions at the FESPACO festivals in Burkina Faso. Arguably, such festivals have encouraged a type of production that is admired by Europeans, but which is rarely available to, or appreciated widely by audiences in those productions’ countries of origin. Portuguese and Arab-speaking regions in Africa have also developed diverse and high quality film cultures, but their experiences need to be debated within a wider context. More recently, Anglophone regions, led by Nigeria, have developed popular commercial film models which have been enthusiastically received by African audiences. One could say that African film markets have been rapidly expanding, with many implications for film and policy makers, distributors and audiences.

    Since 2000, audiences for African film elsewhere in the world have grown in size. Such expansion has implications for film content, form, production strategies, distribution mechanisms and policy frameworks. African filmmakers have to delicately negotiate widening markets, for instance, by paying  more attention to the political economy of film consumption in the rapidly changing local and global contexts. The digital economy, especially the internet, has opened up huge opportunities for the wider distribution of African film. Papers may focus on, among other topics, the following:

    •             Production cultures and circulation of film;

    •             History, myth and identity in African film;

    •             The representation of African cultures in film;

    •             Audiences, reception and sites of spectatorship;

    •             Indigenous language films and the problems of subtitles and illiteracy.

    •             Morality and spirituality in African cinema;

    •             Exhibition, financing and distribution of African film;

    •             Cinema and digital technologies;

    •             Film festivals and the development of national cinemas in Africa;

    •             Revenue, business models and piracy

    •             Auteur, film genres and form

    •             Collaborative filmmaking in the global north/trans-national collaborations

    •             African film philosophy

    •             The image, sound, written and spoken word in filmic narratives

    •             Institutions, policies and film agencies

    DEADLINE FOR ABSTRACTS

    The deadline for submission of abstracts is Friday 8 June, 2012. Successful applicants will be notified by Monday 18 June, 2012. Abstracts should be 300 words long. They must include the title of the conference, presenter’s name, affiliation, email and postal address, together with the title of the paper. Please ensure when saving your abstract that your name is part of the file name. Please email your abstract to Helen Cohen, Events Administrator at: (journalism@westminster.ac.uk).

    PROGRAMME AND REGISTRATION

    This two day conference will take place on Saturday 10 and Sunday 11 November, 2012. The fee for registration (which applies to all participants, including presenters) will be £140, with a concessionary rate of £60 for students, to cover all conference documentation, refreshments and administration costs. Registration will open in September 2012.

    Dr. Winston Mano

    Communication and Media Research Institute (CAMRI)

    Department of Journalism and Mass Communication

    School of Media, Arts and Design

    University of Westminster

    Harrow Campus

    Watford Road

    Harrow, Middlesex, HA1 3TP, UK

    Tel: +44(0)2079115000  ext 4427

    E-mail: manow@wmin.ac.uk

    Fax:+44(0)2079115942

     

    PUB: HNS Award > Historical Novel Society

    The Historical Novel Society 

    International Award 2012/13

    Key Points

    • £5000 ($8000) prize plus e-publication (to include professional copy-editing and cover design)

    • For an unpublished novel that is neither under contract nor option

    • International and open to all (previously published or unpublished authors)

    • HF of any kind admissible

    • Electronic submission only (here)

    • Initial submission of synopsis and first chapter(s) up to 5000 words by 30 September 2012

    • Entry fee: $25 for non-members, $15 for HNS members (Pay here)

    • Long list of 15 selected by experienced HNS reader panel, moderated by Richard Lee (see guidelines)

    • Long list announced by 30 November 2012 and authors asked to enter full manuscripts

    • Shortlist of 3 selected by reader panel for announcement by 31 January 2013

    • Winner chosen by three international top judges

    • Winner announced by 11 March 2013

    • Complete rules of entry here

     

    HEALTH + VIDEO: The stunning truth about healthcare pricing > Daily Kos

    by Deep HarmFollow

     

    Photo credit: "Healthcare Costs" by Images of Money, Flickr Creative Commons

     

    A story in today's LA Times describes in rare detail why US healthcare is insanely expensive.  It's not due to malpractice lawsuits, patients who expect too much, high-tech medicine or burdensome regulations. No, it's the result of insurance industry bureaucracy and greed. While many consumers have long suspected that, hard evidence has been elusive.  Now, an investigation by the Los Angeles Times has turned up that hard evidence.

     

    Evidence shows that healthcare costs are arbitrary and capricious.

    The LA Times article, "Healthcare's High Cost: Many hospitals, doctors offer cash discount for medical bills," provides data showing that healthcare costs are neither realistic nor consistent. Americans purchase insurance with the expectation of getting reduced out-of-pocket healthcare costs, but instead pay more than they would if they just paid cash--sometimes, much, much more.  Example:

    Los Alamitos Medical Center, for instance, lists a CT scan of the abdomen on a state website for $4,423. Blue Shield says its negotiated rate at the hospital is about $2,400.

    When The Times called for a cash price, the hospital said it was $250. [LATimes]

    Similar cost disparities exist at other hospitals, according to the Los Angeles Times and Dr. David Belk, MD, and insurance companies pocket the difference.

    Healthcare reforms passed in the Obama administration require hospitals to disclose  their standard charges, i.e., list prices.  But, only a sucker pays the list price. The real cost of medical procedures remains hidden to most consumers.

    The insurance industry can make exorbitant demands because it has full control of healthcare

    Dr. Belk gives free talks around the country about the true costs of healthcare. The following video of one such talk is available on his website, along with a treasure trove of related information.

    In his video, Dr. Belk counters insurance industry propaganda with facts and figures, concluding, "Every price is jacked up...we're looking at 10 times on average." There is no reason, he says, why a CT scan should cost more than a plane ticket or a transmission overhaul.

    "How many of you use your car insurance to pay to fill your gas tank or change your oil?  How many of you use your homeowner's insurance to pay your electric bill? Why is it that healthcare is the only industry in which we use our insurance for absolutely every expense, no matter how mundane? And, in a sense, we're forced to because if we say, "I'd rather pay for it myself," you're fined...you're fined ten times the actual value of the service you're getting." Moreover, the system limits what the physician can do even when a patient offers to pay cash.
    "We're both stuck in this system where the insurance companies dictate everything we do. They control every dollar that goes into medicine--and not only do they control every dollar that goes into medicine, they can have complete control of the message. They can tell us whatever they want, and who are we to argue with them, because we have no understanding of what these costs are."
    Thus, "They have us all looking in the wrong direction, and all talking about the wrong thing."  

    Overpriced healthcare undermines health and the economy

    One of the implications of exorbitantly priced healthcare is that many people do not receive needed care, and some die as a result.  Another implication is that huge expenditures on healthcare reduce our ability to pay for other things.

    The average healthcare cost for a family of four is $20,728 a year.  The same amount of money would buy a new, mid-priced car, the LA Times points out--or a year's college tuition. No wonder many college students rack up massive student loan debt.

    Were it not for the high cost of healthcare, the average American could purchase vastly  more non-healthcare goods and services. By co-opting consumer dollars, over-priced healthcare destroys jobs in other parts of the economy.

    Conclusion

    With new evidence in hand, consumers are empowered to demand a better healthcare system. That might be a private system combining high-deductible major medical insurance with patient direct pay for routine expenses, or a "single payer" government program, or something else entirely. In any case, the healthcare casino must be shut down. But, that will not happen until Americans demand it, insisting that politicians address it in their campaigns and pass reforms in their terms of office.

    The time for change is now.

    Originally posted to Deep Harm on Sun May 27, 2012 at 11:18 AM PDT.

    Also republished by Single Payer California.

     

    SCIENCE + VIDEO: Neil deGrasse Tyson Delivers the Greatest Science Sermon Ever > Open Culture

    Neil deGrasse Tyson

    Delivers the Greatest

    Science Sermon Ever

    Just when you think you’ve had enough Neil deGrasse Tyson, another not-to-miss video comes along. This one comes from the 2006 Beyond Belief Conference, and it features the astrophysicist giving what’s been called the “greatest science sermon ever.” As a youngster, Tyson stepped into the Hayden Planetarium (the institution he now runs) and he felt an unshakable calling to study the universe. It wasn’t unlike the feeling someone undergoes when they’re religiously born again. And ever since, Tyson has experienced revelation after revelation, epiphany after epiphany, when studying the universe, and especially whenever he’s reminded that, chemically speaking, we are in the universe, and the universe is in us. We’re all made of the same stardust. How can that not leave us with an incredibly spiritual feeling?

    Related Content:

    Neil deGrasse Tyson Lists 8 (Free) Books Every Intelligent Person Should Read

    Stephen Colbert Talks Science with Astrophysicist Neil deGrasse Tyson

    Neil deGrasse Tyson & Richard Dawkins Ponder the Big Enchilada Questions of Science

     

    VISUAL ARTS + VIDEO: Archibald J Motley

    ARCHIBALD J. MOTLEY, JR.

    1891 - 1981

     

    1891: Born October 7 in New Orleans, LA into a Creole home

    1924: Married: February 14th to Edith Granzo

    1928: Wins the Harmon Foundation gold medal for The Octoroon Girl

    1929: Wins a Guggenheim Fellowship for a year of study in Paris

    1933: hired by easel division of the Public Works of Art Project (PWAP)

    1935: Completed murals for music room at Nichols School, Evanston, IL

    1948: Death of Edith Motley on December 17

    1949: Due to financial problems, accepted a job painting shower curtains for Styletone, maker of hand-painted shower curtains

    1957: Worked for Artistic, Inc. painting shower curtains

    1981: Died January 16 in Chicago, IL


    References:

    • Archibald J. Motley Jr., by Amy M. Mooney, Pomegranate Communications, Inc., San Francisco, CA (2004)

    • Archibald J. Motley, Jr.: American artist of the Afro-American people, 1891-1928, by Elaine D. Woodall, M.S. Thesis, Pennsylvania State University (1977)

    • The Art of Archibald J. Motley, Jr., Jontyle Theresa Robinson and Wendy Greenhouse, Chicago Historical Society, Chicago, IL (1991)

    • The Crisis of Crossing: Race and Identity in the Work of Archibald J. Motley, Jr., by Amy M. Mooney, Ph.D. Dissertation, Rutgers, The State University of New Jersey (2001)

    • "An Early Portrait by Archibald J. Motley, Jr.," by Wendy Greenhouse - in The American Art Journal, Volume XXIX, Numbers 1 and 2 (no date)

    • "Looking Backward - Archibald J. Motley" by Elaine D. Woodall in Chicago History, Volume VII, Number 1, Chicago Historical Society, Chicago, IL (Spring 1979)

    __________________________

    Archibald Motley

    | Terra Foundation

    Artbeat Special

    >via: http://chicagotonight.wttw.com/2010/05/11/archibald-motley-terra-foundation-a...

     

    __________________________

    Archibald J. Motley, Jr.:
    Painter

    Biography

     
    Archibald John Motley, Junior (September 2, 1891, New Orleans, Louisiana – January 16, 1981, Chicago, Illinois) was an American painter. He studied painting at the Art Institute of Chicago during the 1910s. He is most famous for his colorful chronicling of the African-American experience during the 1920s and 1930s, and is considered one of the major contributors to the Harlem Renaissance.

    Unlike many other Harlem Renaissance artists, Archibald Motley, Jr. never lived in Harlem—-he was born in New Orleans and spent the majority of his life in Chicago. His was the only black family in a fairly affluent, white, European neighborhood. His social class enabled him to have the benefit of classical training at the Art Institute of Chicago. He was awarded the Harmon Foundation award in 1928, and then became the first African-American to have a one-man exhibit in New York City. He sold twenty-two out of the twenty-six exhibited paintings--an impressive feat for an emerging black artist.

    In 1927 he had applied for a Guggenheim Fellowship and was denied, but he reapplied and won the fellowship in 1929. He studied in France for a year, and chose not to extend his fellowship another six months. While many contemporary artists looked back to Africa for inspiration, Motley was inspired by the great Renaissance masters available at the Louvre. He found in the artwork there a formal sophistication and maturity that could give depth to his own work, particularly in the Dutch painters and the genre images of Delacroix, Hals, and Rembrandt. Motley’s portraits take the conventions of the Western tradition and update them--allowing for black bodies, specifically black female bodies, a space in a history that had traditionally excluded them.

    Motley was incredibly interested in skin tone, and did numerous portraits documenting women of varying blood quantities ("octoroon," "quadroon," "mulatto"). These portraits celebrate skin tone as something diverse, inclusive, and pluralistic. The also demonstrate an understanding that these categorizations become synonymous with public identity and influence one's opportunities in life. It is often difficult if not impossible to tell what kind of racial mixture the subject has without referring to the title. These physical markers of blackness, then, are unstable and unreliable, and Motley exposed that difference.

    His night scenes and crowd scenes, heavily influenced by jazz culture, are perhaps his most popular and most prolific. He depicted a vivid, urban black culture that bore little resemblance to the conventional and marginalizing rustic images of black Southerners so popular in the cultural eye. It is important to note, however, that it was not his community he was representing--he was among the affluent and elite black community of Chicago. He married a white woman and lived in a white neighborhood, and was not a part of that urban experience in the same way his subjects were.
     
    All Images are copyrighted and strictly for educational and viewing purposes.

     
    Nightlife

    Oil on canvas
    1943
     
     
      Barbecue
    Oil on canvas
    1937
     
     
     
    Black Belt
    Oil on canvas
     
     
     


    Blues
    Oil on canvas
    1929
     
     
     

    Brown Girl (After the Bath)
    Oil on canvas
    1931
     
     
     



    Cocktails

    Oil on canvas
    1926
     
     
     


    Mending Socks
    Oil on canvas
    1924
     
     
     


    Old Snuff Dipper
    Oil on canvas
    1928
     
     
     

    The Picnic
    1936
     
     
     

    Barbecue
    1960
     
     
     

    The Liar
    1936
     
     
     

    Jockey Club
    1929

    >via: http://www.areaofdesign.com/americanicons/motley.htm

    __________________________