PUB:: Call for Stories/ Poems on Black Infertility (Infertility Press) > Writers Afrika

Call for Stories/ Poems

on Black Infertility

(Infertility Press)

 

Infertility Press, a division of Emperor Publishing, is looking for stories of Black People who were, or currently are struggling with Infertility. Pays in copies of books as well as discounted books to contributors. There are no guidelines, simply email your story, poem, or encouraging words to lena@infertilitypress.com. Please be sure to include your name and contact information. Pseudonyms are okay as well, as long as we have current contact info. A letter will be mailed or emailed to you upon acceptance.

PLEASE NOTE: Send your submissions as PDF's or pasted into the body of an email as attachments will not be opened.

CONTACT INFORMATION:

For inquiries: lena@infertilitypress.com

For submissions: lena@infertilitypress.com

Website: http://www.infertilitypress.com/

 

 

 

 

INfertility Press

Remember, it's not how you started, it's how you finish

that matters...TM

I was 12 years old in 1978 when Louise Brown, the first “test tube baby” was born. I clearly remember being fascinated about a baby being conceived in a tube. Already just beginning to understand the concept of reproduction, this new method was too much for me to fathom. As I grew into a young adult and learned more and more about the myriad forms of alternative conception I began to philosophize that these forms were somehow abnormal. Now as a young adult, who’d grown up on Christian theology I had a tendency to see things only in black and white. “There is only one way to conceive,” I thought, and though inherently I wasn’t opposed to In-Vitro fertilization I just theorized that it wasn’t for me. The concepts of sperm samples, sperm and egg donation, and surrogacy even more muddled the waters of my growing judgments. And when you mixed all that with court battles and ethics I simply chalked it all up as one big mess and that women with sense ought to just leave it all alone and accept whatever fate God dealt them. 

But then I was young, did not want children, and was naïve to the fact that I might someday become one of the desperate women I had previously scorned in my judgments...

For This Child We Prayed:

Living with the Secret Shame of Infertility
 

View Book Trailer

PUB: Lorian Hemingway Short Story Competition

$2,500 Awaits Winners of Lorian Hemingway Short Story Competition

Writers of short fiction are encouraged to enter the 2012 Lorian Hemingway Short Story Competition. The competition has a thirty-one year history of literary excellence, and its organizers are dedicated to enthusiastically supporting the efforts and talent of emerging writers of short fiction whose voices have yet to be heard. Lorian Hemingway, granddaughter of Nobel laureate Ernest Hemingway, is the author of three critically acclaimed books: Walking into the River, Walk on Water, and A World Turned Over. Ms. Hemingway is the competition’s final judge.

Prizes and Publication:

The first-place winner will receive $1,500 and publication of his or her winning story in Cutthroat: A Journal of the Arts. The second - and third-place winners will receive $500 each. Honorable mentions will also be awarded to entrants whose work demonstrates promise. Cutthroat: A Journal of the Arts was founded by editor-in-chief Pamela Uschuk, winner of the 2010 American Book Award for her book Crazy Love: New Poems, and by poet William Pitt Root, Guggenheim Fellow and NEA recipient. The journal contains some of the finest contemporary fiction and poetry in print, and the Lorian Hemingway Short Story Competition is both proud and grateful to be associated with such a reputable publication.

Eligibility requirements for our 2012 competition are as follows:

What to submit:

• Stories must be original unpublished fiction, typed and double-spaced, and may not exceed 3,500 words in length. We have extended our word limit for the first time in thirty years to 3,500 words rather than 3,000. There are no theme or genre restrictions. Copyright remains property of the author.

Who may submit:

• The literary competition is open to all U.S. and international writers whose fiction has not appeared in a nationally distributed publication with a circulation of 5,000 or more. Writers who have been published by an online magazine or who have self-published will be considered on an individual basis.

Submission requirements:

• Submissions may be sent via regular mail or submitted online. Please visit our online submissions page for complete instructions regarding online submissions. Writers may submit multiple entries, but each must be accompanied by an entry fee and separate cover sheet. We do accept simultaneous submissions; however, the writer must notify us if a story is accepted for publication or wins an award prior to our July announcements. No entry confirmation will be given unless requested. No SASE is required. • The author’s name should not appear on the story. Our entrants are judged anonymously. Each story must be accompanied by a separate cover sheet with the writer's name, complete mailing address, e-mail address, phone number, the title of the piece, and the word count. Manuscripts will not be returned. These requirements apply for online submissions as well.

Deadlines and Entry Fees:

• The entry fee is $15 for each story postmarked by May 1, 2012. The late entry fee is $20 for each story postmarked by May 15, 2012. We encourage you to enter by May 1 if at all possible, but please know that your story will still be accepted if you meet the later deadline. Entries postmarked after May 15, 2012 will not be accepted. Entries submitted online after May 15, 2012 will not be accepted. Writers may submit for the 2013 competition beginning May 16, 2012.

How to pay your entry fee:

• Entry fees submitted by mail with their accompanying stories may be paid -- in U.S. funds -- via a personal check, cashier’s check, or money order. Please make checks payable to LHSSC or The Lorian Hemingway Short Story Competition. Entry fees for online submissions may be paid with PayPal.

Announcement of Winners and Honorable Mentions:

Winners of the previous 2011 competition will be announced at the end of July 2011 in Key West, Florida, and posted on our website soon afterward. Only the first-place entrant will be notified personally. All entrants will receive a letter from Lorian Hemingway and a list of winners, either via regular mail or e-mail, by October 1, 2011. All manuscripts and their accompanying entry fees should be sent to The Lorian Hemingway Short Story Competition, P.O. Box 993, Key West, FL 33041 or submitted online. For more information, please explore this website or e-mail: shortstorykw@gmail.com

 

PUB: James Laughlin Award > Poets

James Laughlin Award

The James Laughlin Award is given to recognize and support a poet's second book. It is the only second-book award for poetry in the United States. Offered since 1954, the award was endowed in 1995 by a gift to the Academy from the Drue Heinz Trust. It is named for the poet and publisher James Laughlin (1914-1997), who founded New Directions in 1936.

Only manuscripts already under contract with publishers are considered for the James Laughlin Award. The Academy awards the winning poet a cash prize of $5,000 and purchases copies of the book for distribution to its members.

The judges for 2013 are yet to be announced.--->

The judges for 2012 are April Bernard, Cyrus Cassells, and Dana Levin.

Submissions are accepted each year from January 1 to May 15. An entry form, signed by the publisher, is required. To obtain the guidelines and an entry form for the James Laughlin Award, please follow the link below or send a stamped, self-addressed envelope to the Academy in January. Winners are announced in August.

 

James Laughlin Award Guidelines


The following guidelines are current and complete for the contest opening January 1, 2012. The judges for 2012 are yet to be announced.

  • The James Laughlin Award is given to honor a second book of original poetry, in English, by a living citizen of the United States. To be eligible, a poet must have published one book of poetry in a standard edition (40 pages or more in length and 500 or more copies). Additional books on a smaller scale, such as chapbooks and limited editions, will not disqualify a poet.

  • To be eligible, a book must have come under contract with a United States publisher between May 1, 2011, and April 30, 2012. Submissions are welcome from small presses, university presses, and trade publishers that have previously published at least four volumes of poetry.

  • Although an eligible book may already have been published, it must be submitted in manuscript form (or page proofs) so that the jury can compare entries without considering the books' appearance. Bound books or galleys will not be accepted.

  • Publishers must send four copies of each manuscript. The author's name should not be included in running heads or appear on any page, so that the manuscript can be read "blind." Suggested length is between forty and seventy-five pages.

  • Entries should be postmarked no later than May 15, 2012. Each entry must be accompanied by a completed entry form (or facsimile) signifying the publisher's acceptance of these guidelines.

  • The decision of the jury is expected by August 2012. The winning publisher agrees to publish the selected manuscript no later than June 1, 2013.

  • The Academy of American Poets will award the winning poet $5,000.

  • The Academy of American Poets agrees to purchase for distribution to its members copies of the winning book. The Academy may purchase additional copies of the book for its own use, but not for resale. No royalties will be paid to the author on the copies purchased by the Academy.

  • The publisher agrees to sell the books at a special discount based on a percentage markup of the PPB (printing, paper, and binding) costs.

  • The winning book will be announced and published as the "Winner of the James Laughlin Award of the Academy of American Poets," and will be so identified on the front of the dust jacket of the hardbound edition and on the front cover of the paperbound edition. The publisher will also print a description of the prize on the half-title page of each edition. The jacket and half-title copy must be submitted to the Academy for approval prior to publication.

  • If the winning book is published prior to the jury's decision, the publisher agrees to sticker all the books in its possession with a label that reads "Winner of the James Laughlin Award of The Academy of American Poets." Any subsequent reprintings of the book must comply with the stipulations set forth in the previous paragraph.

  • The decisions of The Academy of American Poets as to eligibility are final. Manuscripts will not be returned.
entry form

 

ACTION + VIDEO: Trayvon Martin—The Stakes Are High, The Battle Is Tough But Together We Will Win!

The Case to Be Made

Against George Zimmerman



By Ta-Nehisi Coates
Mar 28, 2012 

 

It will not be an easy one. I received the following note from a former homicide prosecutor in Florida. He is responding to the latest account given, in which Trayvon Martin, evidently for kicks, decks Zimmerman with one punch and starts ramming his head into the concrete:

A couple of thoughts: 

 

1.) I don't believe Mr. Zimmerman's story (presuming that what is in the report is truly what he told the police), but more importantly, 

 

2.) What prosecutors believe is not nearly as important as what they can prove. I can not stress this enough, and my mind is about to explode with all of nonsense being written about what the government can and cannot do. It is up to the government, not anyone else, to prove that Zimmerman is lying. 

 

The "self-defense" defense is one of the most difficult defenses for prosecutors to overcome, and the Florida statutes actually give immunity to individuals who believe that the use of deadly force was necessary to prevent what they believed was imminent death or great bodily harm. I know you've seen the actual statute (Fla. Stat. 776.013) but here is the relevant section 

(3): A person who is not engaged in an unlawful activity and who is attacked in any other place where he or she has a right to be has no duty to retreat and has the right to stand his or her ground and meet force with force, including deadly force if he or she reasonably believes it is necessary to do so to prevent death or great bodily harm to himself or herself or another or to prevent the commission of a forcible felony. (emphasis mine). 
Note, whether the use of force is reasonable rests in the mind of the accused, and the accused need not fear that death is imminent, only great bodily harm. This is a critical detail that almost all of MSNBC is overlooking. 

 

What Zimmerman did was bullshit, and he should be held accountable. But under the events he allegedly described to the police, the prosecution is going to need some strong evidence that Zimmerman is lying, not about small details but about the essence of the fatal encounter, if they wish to charge him. That could come from forensic evidence or the 911 calls, but short of that, Zimmerman will be presumed innocent.
We are now hearing reports that the police originally wanted to charge Zimmerman, but was waived off. This account is really at odds with everything Bill Lee said, and with his demeanor throughout the investigation.

 

Nevertheless, I think it's worth understanding how difficult it is going to be to prosecute Zimmerman. The point about reasonable use of force resting "in the mind of the accused" is really key.

 

But with that said I'm left with still more questions. For instance:

 

(2) The presumption set forth in subsection (1) does not apply if: 

 

(a) The person against whom the defensive force is used has the right to be in or is a lawful resident of the dwelling, residence, or vehicle, such as an owner, lessee, or titleholder, and there is not an injunction for protection from domestic violence or a written pretrial supervision order of no contact against that person; or 

 

(b) The person or persons sought to be removed is a child or grandchild, or is otherwise in the lawful custody or under the lawful guardianship of, the person against whom the defensive force is used;
I presume this to mean one's home, or one's vehicle, not a public street. But does a "gated community" qualify as a "dwelling?" I don't know. But whatever one thinks of the investigation, this is a really, really bad law which essentially incentivizes the Wild West. Again, had Trayvon Martin been older and armed this case could look a lot different.
Ta-Nehisi Coates

TA-NEHISI COATES - Ta-Nehisi Coates is a senior editor for The Atlantic, where he writes about culture, politics, and social issues for TheAtlantic.com and the magazine. He is the author of the memoir The Beautiful Struggle.

 

via theatlantic.com
__________________________

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 A Furious

Lawrence O’Donnell

Interrogates Empty Chair

After George Zimmerman’s

Lawyer Cancels


George Zimmerman‘s attorney, one Craig Sonner, seemed a bit out of his league when he tried to answer such difficult questions fromAnderson Cooper on Friday as “where is your client?” and “did he tell you what happened that night?” So it may not be that big of a shock that he canceled his appearance with Lawrence O’Donnell last-minute tonight. What may come as a surprise is that O’Donnell went on and did the segment anyway, interrogating an empty chair about who was paying its legal fees and what it feared it would have to argue to keep his client out of trouble.

RELATED: Hoodie-Clad Goldie Taylor And Mark Thompson Talk Trayvon Martin With Lawrence O’Donnell

The segment began with O’Donnell reporting first on some of the new developments of the Trayvon Martin story, including Zimmerman’s new claims of self-defense. He then noted that Sonner was meant to appear at the top of the hour, and not only canceled, but just “walked out of the studio”– a point that led O’Donnell into a five minute or so lecture consisting of reasons why, perhaps, Sonner wouldn’t want to appear, of assurances that he could not imagine Sonner rescheduling with O’Donnell, and O’Donnell’s assertions that Sonner could not feel particularly comfortable about his client’s chances if he wouldn’t go on the show. “He literally run away,” O’Donnell railed, “he is in our car right now taking him away from the studio.” Accusing him of “getting away with the craziest stuff any lawyer has attempted to get away with,” he warned his audience to watch him if he resurfaces anywhere else.

O’Donnell then turned to the segment his show planned with Sonner, showing the chair from which Sonner should have reported in Orlando. He did not, of course, but that did not stop O’Donnell from actually conducting his interview. He began asking questions passionately– “Who is paying you?,” “Did you represent Zimmerman in the domestic violence case in 2007?,” “Do you have photographs of your client’s broken nose that night?”– until he exhausted his list of questions, raising his voice dramatically at the empty wooden chair staring back at him helplessly from Orlando, bearing no answers.

The “interview” via MSNBC below:

__________________________

Lawrence O’Donnell

And Charles Blow

Give George Zimmerman Pal

Joe Oliver Epic Grilling

On Tuesday night’s The Last WordGeorge Zimmerman friend and former news anchor Joe Oliver finally ran into an interviewer who has beenwatching the game films, and the result was an epic two segments of television that left Oliver’s premise, that he knows Zimmerman well enough to know he couldn’t have killed Trayvon Martin in cold blood, in tatters.

This interview, with host Lawrence O’Donnell(possibly still steaming from last night’s walkout by Zimmerman’s lawyer) and The New York Times‘ Charles Blow, is amazing on many levels, and covers many of the points I’ve raised about themisleading, nonsensical things Oliver has been saying, and challenging the closeness of his relationship with Zimmerman. By the second segment, when WaPo’s Jonathan Capehart tagged in, Oliver began to actually dispute the characterization of him as a “close friend,” and told all three that “My role in this just doesn’t make sense.”

Some highlights include Oliver’s weird evasion of O’Donnell’s questions about whether Oliver and Zimmerman were ever co-workers. By the end of the second segment, Oliver acknowledged that “we’re co-workers.” He also made several stunning admissions, including volunteering that “George may have been drinking” the night he was arrested in 2005, then quickly adding that he’s never, ever known Zimmerman to drink.

Aside from the blistering barrage of questions, there were a few unrelated, priceless moments, like when O’Donnell is quizzing Oliver about anger management counseling, and looks like he’s about to slug some guy at the bar. Then, toward the end of the first segment, some of the lights go out in Oliver’s studio, leaving him in a sinister half-light. That should have been a clue to Oliver that things were not going to get better.

To be clear, there’s nothing wrong with a friend trying to help out a friend by attesting to his fine character, but what Oliver was doing went well beyond that.

I can’t figure out, for the life of me, why Oliver hung in there for two whole segments of this, but the result was as compelling as anything I’ve seen on cable news. I’ve seen O’Donnell do the pit bull thing before, with varying results, but tonight, he got a subject he could really sink his teeth into.

Here’s the interview, in two parts:

Part One:

 

Part Two:

 

 

__________________________

 

 

The killing of

Trayvon Martin:


More questions


 

Nothing makes sense in the killing of Trayvon Martin. Nothing. Last week, I posed 16 questions that should be answered. Today, I have more. Yesterday’s leaked report of George Zimmerman’s account from police of what happened on Feb. 26 only raises more questions for me. Again, they range from the mundane to the technical. We might not get answers to some of them. We might not like the answers we are given to some of them. And some of them might have simple explanations. But the questions must be asked.

It wasn’t until Trayvon’s father, Tracy Martin, called to file a missing-persons report on Feb. 27 that police went to his fiancee’s house with pictures of his son’s dead body. News reports have said that Trayvon’s body was tagged as a John Doe. But the “Partial Report Only” that was completed at 3:07 a.m. on Feb. 27 lists Trayvon’s full name, city of birth, address and phone number. How did police get that information? Was Trayvon carrying identification? Did police try to contact that home number?

Trayvon’s father called his cell phone several times. Why didn’t police answer Trayvon’s cell phone?

Zimmerman reportedly had a bloody nose, lacerations on the back of his head and was given first aid by a Sanford Fire Department rescue unit. Where is their report of his injuries? Were any photographs taken of Zimmerman’s injuries?

Did the officer who arrived on the scene and placed Zimmerman in handcuffs read him his Miranda rights?

That same officer who put Zimmerman in handcuffs reported, “While the SFD was attending to Zimmerman, I over heard him state ‘I was yelling for someone to help me, but no one would help me.’ At no point did I question Zimmerman about the incident that had taken place.” Why not?

Zimmerman was then taken to the Sanford Police Department and interviewed by an investigator. Was that interview recorded?

Was there blood splatter from Trayvon on Zimmerman’s clothing? Were any tests done on Zimmerman’s clothing? DNA? Gunpowder?

Were any photographs taken of Zimmerman’s clothing? Was the clothing taken into evidence.

Were there any signs of a struggle on Trayvon? Scratches, bruises? Were there any traces of Zimmerman’s hair or skin on Trayvon’s clothing or under his fingernails?

A drug and alcohol test was performed on Trayvon’s body. Were drugs and/or alcohol found in his system? There are reports that a similar test wasn’t done on Zimmerman? If not, why not?

You don’t have to be a devotee of “Law and Order” or “CSI” to come up with these questions. They’re pretty basic and common-sense. That they have to be asked one month and one day after the killing of Trayvon Martin is alarming.

By   |  10:43 AM ET, 03/27/2012 

 

>via: http://www.washingtonpost.com/blogs/post-partisan/post/the-killing-of-trayvon...

 

 

ECONOMICS: Do Children Harvest Your Food? - Helene York > The Atlantic

Do Children

Harvest Your Food?


By Helene York

 

The Harvest, U Roberto Romano's poignant film, forces us to think about where our food is coming from. Today, nearly 500,000 children as young as six harvest 25 percent of our crops.

Zulema Lopez, one of the three farmworker children featured in The Harvest U Roberto Romano

 

Knowing the farmer who grows your food has become an important tenet of the modern food movement, but precious little attention is paid to the people who actually pick the crops or "process" the chickens or fillet the fish. U Roberto Romano's poignant film, The Harvest/La Cosecha (2011), being screened across the country for Farmworker Awareness Week (March 24-29), informs us that nearly 500,000 children as young as six harvest up to 25 percent of all crops in the United States.

What's illegal in most countries is permitted here. Child migrant labor has been documented in the 48 contiguous states. Seasonal work originates in the southernmost states in late winter where it is warm and migrates north as the weather changes. Every few weeks as families move, children leave school and friends behind. If you've had onions (Texas), cucumbers (Ohio or Michigan), peppers (Tennessee), grapes (California), mushrooms (Pennsylvania), beets (Minnesota), or cherries (Washington), you've probably eaten food harvested by children.

This isn't a slavery issue, or an immigration issue per se. What's remarkable is that most of the migrant child farmworkers are American citizens trying to help their families. This is a poverty issue and it gets to the heart of what we, as consumers, see as the "right price" to pay for food.

Americans pay a fantastically low percentage of our income on food—less than in any other developed country.

Edward R. Murrow's brilliant documentary about the exploitation of farm workers, Harvest of Shame, was a revelation to TV viewers in 1960. Unfortunately, in 2012, little has changed in the fields. There are no minimum-wage requirements, overtime payments, or guaranteed days off. Farm wages are stagnant. As a result, many farm workers can't afford to eat the food they pick. (In his book Tomatoland, Barry Estabrook reported that the food pantry is busy every night in Immokalee, Florida, the winter tomato-picking epicenter.)

Children earn about $1,000 per year for working an average of 30 hours a week, according to the U.S. Department of Labor. When you consider that the average annual pay for a migrant family of four is $12,500-$14,500, it's apparent why some families feel they have no choice but to bring their children into the fields with them. Half of these kids will not graduate from high school because they're always moving around, perpetuating the cycle of poverty that caused them to be day laborers in the first place.

And despite an idyllic "back to the land" reputation, crop fields are not the safest work environments for anyone. They're stiflingly hot at times and are often sprayed with toxic pesticides that cause skin irritations, nausea, and breathing difficulties. Because of their size and stage of development, children are up to three times more vulnerable (PDF) to pesticide exposure than adults.

I first met Romano at TEDxFruitvale, the 2011 conference that Bon Appetit sponsored, which examined farm-labor problems; we talked again two weeks ago. He's a tireless advocate for children's rights and argues for enactment of the Federal Children's Act for Responsible Employment (CARE) Act, which would require that children be a minimum of 14 years old to work in the fields (exempting family farms). It would also increase penalties for child labor violations and strengthen provisions for pesticide exposure.

In 1938, Federal law extended protections to working children -- but it intentionally excluded agriculture. Romano points out the irony that a 13-year-old child is permitted to work in 100-degree heat in a strawberry field but not in an air-conditioned office. This exclusion may have had real validity when most food came from family farms. Today, when family farms produce less than 1.5 percent of the food we eat, it demands reconsideration.

As important as legal rights are, protective legislation may not be the best approach. Migrant families will lose their children's wages and would be unable to move with available work.

What's needed is more income paid to laborers for the really hard work. And that's a hard victory to achieve. It has taken the Coalition of Immokalee Workers' Campaign for Fair Food almost 20 years to achieve modest victories in persuading larger commercial purchasers to pay a penny per pound more for Florida tomatoes, and not all have agreed. (One cent equals a pay raise of 40 percent.) It's a huge start. Despite growers' complaints of foreign competition undercutting their sales, there's no evidence that one penny makes a difference to anyone -- except, of course, the harvesters.

Americans pay a fantastically low percentage of our income on food -- less than in any other country in the developed world and less than we did in 1960. Our very cheap food comes with enormous environmental, social, and public health costs. It's time to end child field labor by paying adult laborers a wage that is truly decent.

Helene York

HELENE YORK - Helene York is the director of strategic initiatives for Bon-Appetit Management Company, a national onsite restaurant company based in Palo Alto, CA.

 


 

WOMEN: In Memory Of Adilah Gaither, Tanganika Stanton, Mildred Beaubrun and Sakia Gunn: International Anti-Street Harassment Week > What About Our Daughters

In Memory Of Adilah Gaither,

Tanganika Stanton,

Mildred Beaubrun and

Sakia Gunn:

International

Anti-Street Harassment 

Week

 

I just learned that this week is International Anti-Street Harassment Week while reading a post named after the documentary "Black Woman Walking". She was memorializing Adilah Gaither:

I lived to tell about it, but 16-year-old Adilah Gaither wasn’t so lucky. Black Woman Walking is dedicated to the memory of young Adilah, who was shot and killed in 1998 while standing at a bus stop because she wouldn’t give a boy who was trying to holla her phone number. Chicago Now

For those of you who think this is funny or a compliment, It's not, it's deadly serious.

Take the case of Mildred Beaubrun.

Investigators said the men opened fire on a car full of teenage girls at John Young Parkway and Princeton Street two weeks ago. Mildred Beaubrun was removed from life support Tuesday, more than two weeks after she was shot at the Orlando intersection.

Investigators said Beaubrun and two of her friends stopped at a gas station after leaving Club Firestone. They were approached by a group of men asking for their phone numbers.

When the men didn't get what they wanted, they followed the girls to the intersection of John Young Parkway and Princeton (see map). One of them fired a shot. It hit Beaubrun, who was sitting in the back seat. WFTV

 

Not surprising in the case of Tanganika Stanton, her accused murdered is walking free. 

Prosecutors said a man had fired shots at the house after Stanton refused to give him her hamburger and her mother refused to cook him his own since he was a stranger.

Sakia Gunn was 15 when she was murdered:

A white station wagon with two men in it pulled up to the curb. According to one of Sakia’s closest friends, Valencia, the men started harassing the girls and asking them to come closer. The girls said no, they weren’t interested. They explained they were gay.

One of the men got out of the car. He attacked the girls, holding one of them in a choke-hold. Sakia and Valencia started fighting him. Sakia hit him. Then he stabbed her in the chest.

The man ran back to his car and sped away. The girls raced to a car that had stopped at a red light and asked the driver to take them to the hospital. He did. Sakia died in her friend Valencia’s arms in the emergency room. Democracy Now. 

This isn't about compliments, it's about dominance and control. I don't know why its a radical thought that a woman should be able to walk to work, school, and play unmolested. I don't know why there isn't an uprising from MEN demanding that their wives, daughters and sisters be able to travel freely without the cloud of DEATH hanging over their heads if they don't respond to unwanted sexual advances from men. 

Feel free to add the stories of other victims in the comments section. 

 

POLICE BRUTALITY: Protest outside Chicago police officer's home; friends, family of Rekia Boyd asking for justice after 22-year-old shot in head by off-duty detective > abc7chicago

Protest outside

Chicago police officer's home

Wednesday, March 28, 2012

Family and friends of a woman shot and killed by an off-duty Chicago police officer protested outside his home Tuesday night.

 

Rekia Boyd died after she was shot in the head. The off-duty officer says the man who was wounded during the shooting had a gun. That man denies having a weapon.

The officer's neighbors say tensions have been growing on the block for days. He was said to be angry about all the people and noise that came to the Douglas Park area near his home along with the unseasonably warm weather.

"Justice for Rekia! Justice for Rekia," protesters chanted Tuesday.

Chicago Police admit 22-year-old Rekia Boyd was an innocent bystander, an unintended victim of an off-duty detective's gunfire.

"I don't know. He was just a macho cop that night. He didn't have to do what he did to neither one of us," said Antonio Cross, who was also shot by the off-duty police officer.

For the first time Tuesday the man who police say sparked the confrontation is telling his side of the story. Cross, Boyd and others were near Douglas Park at 1 in the morning last Wednesday. That is when police say an off-duty detective who lives nearby pulled up in his car, rolled down his window, and told the crowd to quiet down.

The detective then says Cross pulled a gun. He drew his and opened fire.

"He fired plenty of shots," Cross said. "I think he was trying to kill me."

One of the bullets clipped Cross in the hand as he shielded his face. Another struck Boyd in the head. She died the next day.

Witnesses claim the officer fired nearly 10 shots.

Investigators never found the gun Cross allegedly had and prosecutors only charged him with assault, a misdemeanor.

"I want people to know I didn't have no gun. She didn't have no gun," said Cross. "I want people to know that girl was killed for nothing."

"Nobody's life should be taken. My sister was a young, black innocent woman," said Rekia Boyd's brother Martinez Sutton.

"She touched everyone she came in contact with," said Boyd's mother Angela Helton. "She loved everyone. My daughter, I'm going to miss her very much."

The off-duty officer did not comment Tuesday. He apparently was not home during the protest or did not come to the door.

The local alderman, Michael Chandler, says he feels police have only done a superficial job investigating this case. He met with police brass Monday to ask them to look into neighbors' claims that the officer told a crowd "What do I have to do around here to get some peace, quiet and respect? Shoot someone?" That statement was allegedly made the day before the shooting of Rekia Boyd.

 

(Copyright ©2012 WLS-TV/DT. All Rights Reserved.)

 

HISTORY: Video: Slavery in Brazil, an inconvenient Portuguese history > AFRO-EUROPE

Slavery in Brazil,

an inconvenient

Portuguese history

 

Copyright All rights reserved by carf

Brazil's history of slavery has always been overshadowed by the American and the Caribbean history of slavery. This documentary of BBC's Time Watch series won't change it, but it will show you how slavery shaped the lives of black people in Brazil. And how it shaped the country's social structure and ethnic landscape. And yes, it’s also the history of Portugal.

Part 1

Part 2

Part 3

Part 4

Part 5

 

 

 

 

VIDEO: Bi Kidude (Zanzibar, East Africa)

Bi Kidude

Bi Kidude bint Baraka is Zanzibar's most famous cultural ambassador and East Africa's legendary barefoot diva of taarab and unyago traditional music.

Bi Kidude's exact date of birth is unknown, much of her life story is uncorroborated, giving her an almost mythical status. Kidude started out her musical career in the 1920s, and learnt many of her songs with Siti bint Saad. She has performed in countries all around Europe, Africa, Middle East and Japan and finally recorded her first solo album Zanzibar only ten years ago, whilst already in her mid-eighties. Having contributed tracks to many international compilations (on Retro-Afric, Piranha, Globestyle, Jahazi, even EMI/Virgin record labels), only recently did she release her own second locally-produced album (Machozi ya Huba, Heartbeat Records) with her traditional singing and drums influencing the burgeoning Zenji Flava local hiphop scene in one of the most remarkable juxtapositions of musical style in modern world music.

As well as being East Africa's most famous taarab singer, Bi Kidude performs traditional unyago music. In her 90s, she is still very much the island's leading exponent of this ancient dance ritual, performed exclusively for teenage girls, which uses traditional rhythms to teach women to pleasure their husbands, while lecturing against the dangers of sexual abuse and oppression.

In October 2005, Bi Kidude was presented with the World Music Expo (WOMEX) lifetime achievement award. Renowned African music expert Banning Eyre delivered a moving tribute, in which he informed delegates that "the singer, well in her nineties yet still sporting a bone-crushing handshake, received the honours in recognition of her more than 80 years of singing and serving as a cultural mediator and advisor of the younger generations, including on matters of sex and marriage - a proper symbol of World Music's emancipatory, liberating and strengthening power."

 

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Bi Kidude is an institution on Zanzibar, and remains East Africa’s greatest living musical legend. The diva of Zanzibar taarab, she also plays other musical styles including more ngoma-based unyago and msondo.

 

Born Bi Fatuma Binti Baraka, Bi Kidude grew up in a family of seven in the Zanzibari village of Mfagimarigo. Her father was a coconut seller.

Bi Kidude?s exact date of birth is unknown, much of her life story is uncorroborated, giving her an almost mythical status. Kidude started out her musical career in the 1920s, and learnt many of her songs with Siti bint Saad. She has performed in countries all around Europe, Middle East and Japan and finally recorded her first solo album (Zanzibar, Retroafric Recordings) only six years ago, while in her mid-eighties. Recently she released a second locally-produced album (Machozi ya Huba, Heartbeat Records) with her traditional drums influencing the burgeoning Zenji Flava local hip-hop scene in one of the most remarkable juxtapositions of musical style in modern ?World Music?.

Since fleeing a forced marriage at the age of 13 and escaping her homeland of Zanzibar, Bi Kidude has led an extraordinary and varied career as a drummer, singer, henna artist and natural healer. Her first journey was to the mainland of Tanzania, where she walked the length and breadth of the country barefoot. 

With renewed confidence and a new attitude to tradition (by now Kidude had thrown off her veil and shaved her head!) she returned, slowly to Zanzibar where she acquired a small clay house in the 1940's and settled down to life grounded in the traditional roots of society. 

Her role as part of the Unyago movement, which prepares young Swahili women for their transition through puberty and excelled at the art of henna designing for young brides, manufacturing her own wanja application from age old recipes fit 'to make a rainbow shine.' To this day, Bi Kidude performs traditional unyago music and is still the island's leading exponent of this ancient dance ritual, performed exclusively for teenage girls, which uses traditional rhythms to teach women to pleasure their husbands, while lecturing against the dangers of sexual abuse and oppression.

Her many talents were acknowledged by Zanzibar International Film Festival (ZIFF) at the second Festival of the Dhow Countries in 1999, when she was awarded Lifetime Achievement Award for Contribution to the Arts. 

Bi Kidude's is a remarkable story, one which challenges our perception of age, and of the role of women in Islam. She has never conformed to the media stereotype of a Muslim woman ever since she removed her veil. To see a ninety-something year old Muslim woman drink, smoke, flirt, dance and drum is a unique experience. To witness the transformation as she reverses the aging process and changes from a wrinkled granny into a vital shining star is nothing short of revolutionary. 

In the summer of 2004 Bi Kidude toured Europe with Zanzibar's illustrious Culture Musical Club taarab orchestra. Midway through this tour, the whole of Zanzibar was thrown into shock and disarray when a rumor spread fast through the island that Bi Kidude had died. From the narrow streets of Stone Town to the barazas of N'gambo and throughout the villages this was the only topic of conversation as the island rapidly acquired the atmosphere of mourning. This rumor continued to spread even long after the offices of Busara Promotions had disseminated confirmation from Bi Kidude's European promoters that on the contrary, she was alive and very well. She was surprised to hear that people in Zanzibar think that she has died:

quot;Sijafa bado. Labda sababu watu hawajaonana nami sasa karibu mwezi. Lakini bado tunaendelea na safari na bado safari ndefu ya miezi miwili. Lakini sijambo, sina wasiwasi miye. Kuimba naimba na nguvu zote ambazo ninazo ili watu wafurahi." 

?I haven?t died yet. Maybe people are saying that because they haven?t seen me around for almost a month. But we are still continuing our tour which lasts for two more months. Me, I'm well, I have no problem. Me I sing with all my strength and continue to make people happy.?

In 2006 ScreenStation Productions with Busara Promotions produced a 66 minute video documentary titled As Old As My Tongue: the Myth and Life of Bi Kidude.

"Over the last three years we have filmed with Bi Kidude and her extended entourage," says director Andy Jones. "From her humble home in a township on the edge of historic Stone Town to the grandeur of the Theatre de la Ville in Paris we have captured moments of love, jealousy, protection and exploitation of a witty and humble woman. Musical moments combined with highly personal observation form the trunk of our story. The music is extraordinary. From the seemingly poetic but really biting satire of the grand Taarab orchestras to the telling rhythms of primal sexuality expressed in her x-rated Unyago the film is punctuated with sensational live footage."

This intriguing and inspiring woman is a repository and leading exponent of Swahili culture. (Bi Kidude) herself says,

“How can I stop singing? When I sing I feel like a 14-year old girl again.”

>via: http://worldmusiccentral.org/artists/artist_page.php?id=1146

 

 

 

 

 

VIDEO: A Vast Improvement On The Traditional One Man Band > The Creators Project

A Vast Improvement

On The Traditional

One Man Band

 

Abdullah Saeed 17. Feb.

You can’t say “one man band” without invoking the very image of ridiculousness, so let’s avoid the phrase when describing Nemoy, a multi-instrumentalist whom Ableton Live was absolutely made for.

Nemoy works off of sequenced and sampled beats, adding the melodics layers using keys, bass, vibes, and whatever else is hiding beneath his immense desk setup. From where we’re sitting, looks like he’s rocking an APC40, two eight by eight Novation Launchpads, an 88 key MIDI controller, a Fender jazz bass, a vibraphone, and there’s a Hammond organ and a couple of conga drums lurking in the background at his studio. His command of this spaceship-caliber array of buttons and lights allows Nemoy to build songs live from scratch, pleasing to hear and fun as hell to watch. See his performance at Dampfzentralu at the end of last year.

Have a look at Nemoy in the studio, where light and a steady shot reveal a bit more of what he’s up to. This is his rendition of Freddie Hubbard’s “Red Clay” with a slight variation on the bass line that A Tribe Called Quest cut for “Sucka Nigga” from the same song. In the end there, you hear a little sample from Roy Ayers’ “Everybody Loves The Sunshine” brought into the mix.

Nemoy will have an album out later this year, and he’s currently working on a visualization that responds to his actions on his live setup. All this movement is a refreshing change from the guy-with-laptop format that still prevails in this genre. If only they all knew how to play the vibraphone.