VIDEO: Tribute to Roy Ayers f. The Robert Glasper Experiment, Pete Rock & Stefon Harris at Jazz a La Villette

Tribute to

Roy Ayers featuring

The Robert Glasper
Experiment,

Pete Rock & Stefon Harris

at Jazz a La Villette Pt. 1


• Director: Reza Ackbaraly & Stéphane Maurice • Cameramen: Jeremy Clement, Giuseppe De Vecchi, Patrick Berthou, Ugo Gillino, Raul Fernandez • Sound: Pierrick Saillant • Production: Oleo Films (Samuel Theobald) - Mezzo - Jazz à la Villette • Branch Production: Melanie Golin; Engineer vision and technical direction by Benjamin Dewalque - Event produced & curated by Revive Music Group

Date: Sept. 11th 2010
Location: Paris, France
Event: Jazz à la Villette / Cabaret Sauvage

Revive Music Group's tribute to the legendary jazz musician Roy Ayers features an amazing lineup of music pioneers including legendary hip hop producer Pete Rock, jazz trailblazer The Robert Glasper Experiment and vibraphonist Stefon Harris. For this very unique event, the featured artists will collaborate in tribute to the extraordinary career of Roy Ayers and his influence and contributions to contemporary urban music.

Featured artist, Pete Rock, has produced many hip hop milestones from Ayers' source material, inspiration and influence. This event is focused on revealing the roots of music culture by uniting two legends, two genre's of music, two generations and examining the foundations of emerging and established artists.

 

 

 

VIDEO: Tribute to Roy Ayers f. The Robert Glasper Experiment, Pete Rock & Stefon Harris at Jazz a La Villette

Tribute to Roy Ayers f. The Robert Glasper Experiment, Pete Rock & Stefon Harris at Jazz a La Villette Pt. 1
1 year ago 1 year ago: Sat, Nov 6, 2010 11:14pm EST (Eastern Standard Time)

• Director: Reza Ackbaraly & Stéphane Maurice • Cameramen: Jeremy Clement, Giuseppe De Vecchi, Patrick Berthou, Ugo Gillino, Raul Fernandez • Sound: Pierrick Saillant • Production: Oleo Films (Samuel Theobald) - Mezzo - Jazz à la Villette • Branch Production: Melanie Golin; Engineer vision and technical direction by Benjamin Dewalque - Event produced & curated by Revive Music Group

Date: Sept. 11th 2010
Location: Paris, France
Event: Jazz à la Villette / Cabaret Sauvage

Revive Music Group's tribute to the legendary jazz musician Roy Ayers features an amazing lineup of music pioneers including legendary hip hop producer Pete Rock, jazz trailblazer The Robert Glasper Experiment and vibraphonist Stefon Harris. For this very unique event, the featured artists will collaborate in tribute to the extraordinary career of Roy Ayers and his influence and contributions to contemporary urban music.

Featured artist, Pete Rock, has produced many hip hop milestones from Ayers' source material, inspiration and influence. This event is focused on revealing the roots of music culture by uniting two legends, two genre's of music, two generations and examining the foundations of emerging and established artists.

PUB: ABQ Writers Co-op: Writing Contest

ABQ Writers Co-op
announces the second annual
bosque Fiction Prize
this year, for writers 45+!

First Prize: $1000 honorarium + publication in bosque (the magazine), issue 2
Final Judge: Beverly Lowry*

Entries accepted March 1 - 31, 2012 only • Reading fee $20

  • All entries will be considered for publication.
  • Send no more than one story per entry. Each story must not exceed 5000 words. Multiple entries are acceptable, provided that a separate reading fee is sent for each.
  • Simultaneous submissions are acceptable, but the contest fee is non-refundable if the submission is withdrawn. Please notify AWC as soon as possible if a submitted story is accepted elsewhere.
  • Previously published works and works accepted for publication elsewhere cannot be considered. bosque's definition of publishing includes electronic publication.
  • Electronic submissions only. Please read the following instructions carefully before submitting.
Instructions for submissions:
  1. Between March 1st-31st only, please email your manuscript and separate information page, as .doc, docx, or .rtf attachments, to contest(at)abqwriterscoop(dot)com. The info page doc should contain the following:
    • name,
    • address,
    • email,
    • birthdate (include year for verification of 45+ requirement), and
    • story title.
    Name this doc {yourname}.infopg.doc.

    The manuscript doc should NOT contain any identifying data. Standard ms format:

    • double spaced,
    • 1” margins,
    • no fancy fonts,
    • numbered pages only.
    Name this attachment {yourname}.{msname}.doc.

    All ms docs will be assigned numbers for anonymity.

    Please note that your submission will not be processed until you have completed step 2, below.

     

  2. Your $20 contest fee can be paid online via the PayPal button below, or you may mail your check to:
    ABQ Writers Co-op • 163 Sol del Oro • Corrales NM 87048


  3. Once you have completed steps (1) and (2), confirmation of receipt of your ms and fee will be emailed to the e-dress from which you sent your ms.


*Beverly Lowry is the author of six novels and several works of nonfiction. She teaches writing at George Mason University.

Info: contest(at)abqwriterscoop(dot)com

 

PUB: Educe Journal of Literature Seeks Multicultural Submissions (worldwide) > Writers Afrika

Educe Journal of Literature

Seeks Multicultural Submissions

(worldwide)

 

 

Educe is a journal of queer literature. Our goal is to publish and showcase quality literary fiction, nonfiction, and poetry. Publication will be electronic with limited print.

We are looking for LITERARY fiction/nonfiction/poetry submissions from queer folk across the Globe. We encourage multicultural submissions.

  • No length restrictions. Looking for quality.
  • Poetry: No more than 3 poems at a time
  • Fiction: No more than one story, 8K word max
  • Nonfiction: No more than one essay, 8K word max
  • Deadline: Ongoing

Send submissions, including name, address, phone, and email to: educejournal@gmail.com

CONTACT INFORMATION:

For inquiries: educejournal@gmail.com

For submissions: educejournal@gmail.com

Website: http://educejournal.com/

 

 

PUB: Interested in "African Culture" Fiction Manuscripts: TU BOOKS Publisher > Writers Afrika

Interested in

"Afican Culture" Fiction Manuscripts:

TU BOOKS Publisher

 

 

TU BOOKS publishes speculative fiction for children and young adults featuring diverse characters and settings. Our focus is on well-told, exciting, adventurous fantasy, science fiction, and mystery novels featuring people of color set in worlds inspired by non-Western folklore or culture. We welcome Western settings if the main character is a person of color.

We are looking specifically for stories for both middle grade (ages 8-12) and young adult (ages 12-18) readers.

(We are not looking for picture books, chapter books, or short stories. Please do not send submissions in these formats.)

For more information on how to submit, please see our submission guidelines below. We are not accepting unagented email submissions at this time.

What we’re particularly interested in seeing lately: Asian steampunk, any African culture, Latino/a stories, First Nations/Native American/Aboriginal fantasy or science fiction written by tribal members, original postapocalyptic worlds, historical fantasy or mystery set in a non-Western setting.

SUBMISSION GUIDELINES

TU BOOKS, an imprint of LEE & LOW BOOKS, publishes speculative fiction for children and young adults featuring diverse characters and settings. Our focus is on well-told, exciting, adventurous fantasy, science fiction, and mystery novels featuring people of color set in worlds inspired by non-Western folklore or culture.

We are looking specifically for stories for both middle grade (ages 8-12) and young adult (ages 12-18) readers. (We are not looking for picture books, chapter books, or short stories at this time. Please do not send submissions in these formats.)

MANUSCRIPT SUBMISSIONS:

  • Manuscripts should be typed doubled-spaced.

  • Manuscripts should be accompanied by a cover letter that includes a brief biography of the author, including publishing history. The letter should also state if the manuscript is a simultaneous or an exclusive submission.

  • Please include a synopsis and first three chapters of the novel. Do not send the complete manuscript.

  • We're looking for middle grade (ages 8-12) and young adult (ages 12 and up) books. We are not looking for chapter books (ages 6 to 9) at this time.

  • Be sure to include full contact information on the cover letter and first page of the manuscript. Page numbers and your last name/title of the book should appear on subsequent pages.

Only submissions sent through regular post will be considered. We cannot accept submissions through email or fax.

We will respond to a submission only if we are interested in the manuscript. We are not able to return manuscripts or give a personal response to each submission, so please do not include a self-addressed stamped envelope or a delivery confirmation postcard, or call or email about the status of your submission. If you do not hear from us within six months, you may assume that your work does not fit our needs.

PLEASE SEND ALL SUBMISSIONS TO: Submissions Editor, Tu Books, 95 Madison Avenue, Suite 1205, New York, NY 10016. If you require confirmation of delivery, please send the submission with a U.S. Postal Service Return Receipt.

CONTACT INFORMATION:

For submissions: Submissions Editor, Tu Books, 95 Madison Avenue, Suite 1205, New York, NY 10016

Website: http://www.leeandlow.com/

 

 

VIDEO: ‘Still Standing,’ A New Film About Lasting Black Marriages > Clutch Magazine

Watch:

‘Still Standing,’

A New Film About

Lasting Black Marriages

Monday Mar 12, 2012 – by

 

One look at the headlines and you’ll think that black folks don’t get married. From the media’s fixation on the so-called single, black woman meme to books and articles wondering if Marriage is for White Folks, positive images of black people in love and married are few and far between.

Because of this Lamar and Ronnie tyler took it upon themselves to shine the spotlight on black married couples and shed light on what really happens in marriage. In their newest film, Still Standing, the Tylers decided to create a film that covers a subject near to their heart: marriage.

According to a press release, Still Standing profiles couples who “provide transparent, insightful conversation about what it takes to have lasting power in current day marriages. Through infidelity, chronic illness, financial crisis, blended families and more these couples explain WHY and more importantly HOW they are STILL STANDING.”

The film feature Speech of the group Arrested Development, Kindred the Family Soul, Yolanda Thomas and Dr. Sherry L. Blake.

Check out the trailer for the film which will go on sale May 1st. 

 

 

POV: The White Savior Industrial Complex - Teju Cole > The Atlantic

Teju Cole

TEJU COLE - Teju Cole is the author of Open City, which won this year's PEN/Hemingway Award and was a finalist for the National Book Critics Circle Award.

The White Savior

Industrial Complex


By Teju Cole
Mar 21 2012

 

If we are going to interfere in the lives of others, a little due diligence is a minimum requirement.

 

Left, Invisible Children's Jason Russell. Right, a protest leader in Lagos, Nigeria / Facebook, AP

A week and a half ago, I watched the Kony2012 video. Afterward, I wrote a brief seven-part response, which I posted in sequence on my Twitter account:

These tweets were retweeted, forwarded, and widely shared by readers. They migrated beyond Twitter to blogs, Tumblr, Facebook, and other sites; I'm told they generated fierce arguments. As the days went by, the tweets were reproduced in their entirety on the websites of the Atlantic and the New York Times, and they showed up on German, Spanish, and Portuguese sites. A friend emailed to tell me that the fourth tweet, which cheekily name-checks Oprah, was mentioned on Fox television.
What Africa needs more pressingly than Kony's indictment is more equitable civil society, more robust democracy, and a fairer system of justice.

These sentences of mine, written without much premeditation, had touched a nerve. I heard back from many people who were grateful to have read them. I heard back from many others who were disappointed or furious. Many people, too many to count, called me a racist. One person likened me to the Mau Mau. The Atlantic writer who'd reproduced them, while agreeing with my broader points, described the language in which they were expressed as "resentment."

This weekend, I listened to a radio interview given by the Pulitzer Prize-winning journalist Nicholas Kristof. Kristof is best known for his regular column in the New York Times in which he often gives accounts of his activism or that of other Westerners. When I saw the Kony 2012 video, I found it tonally similar to Kristof's approach, and that was why I mentioned him in the first of my seven tweets.

Those tweets, though unpremeditated, were intentional in their irony and seriousness. I did not write them to score cheap points, much less to hurt anyone's feelings. I believed that a certain kind of language is too infrequently seen in our public discourse. I am a novelist. I traffic in subtleties, and my goal in writing a novel is to leave the reader not knowing what to think. A good novel shouldn't have a point.


But there's a place in the political sphere for direct speech and, in the past few years in the U.S., there has been a chilling effect on a certain kind of direct speech pertaining to rights. The president is wary of being seen as the "angry black man." People of color, women, and gays -- who now have greater access to the centers of influence that ever before -- are under pressure to be well-behaved when talking about their struggles. There is an expectation that we can talk about sins but no one must be identified as a sinner: newspapers love to describe words or deeds as "racially charged" even in those cases when it would be more honest to say "racist"; we agree that there is rampant misogyny, but misogynists are nowhere to be found; homophobia is a problem but no one is homophobic. One cumulative effect of this policed language is that when someone dares to point out something as obvious as white privilege, it is seen as unduly provocative. Marginalized voices in America have fewer and fewer avenues to speak plainly about what they suffer; the effect of this enforced civility is that those voices are falsified or blocked entirely from the discourse.

It's only in the context of this neutered language that my rather tame tweets can be seen as extreme. The interviewer on the radio show I listened to asked Kristof if he had heard of me. "Of course," he said. She asked him what he made of my criticisms. His answer was considered and genial, but what he said worried me more than an angry outburst would have:

There has been a real discomfort and backlash among middle-class educated Africans, Ugandans in particular in this case, but people more broadly, about having Africa as they see it defined by a warlord who does particularly brutal things, and about the perception that Americans are going to ride in on a white horse and resolve it. To me though, it seems even more uncomfortable to think that we as white Americans should not intervene in a humanitarian disaster because the victims are of a different skin color.

Here are some of the "middle-class educated Africans" Kristof, whether he is familiar with all of them and their work or not, chose to take issue with: Ugandan journalist Rosebell Kagumire, who covered the Lord's Resistance Army in 2005 and made an eloquent video response to Kony 2012; Ugandan scholar Mahmood Mamdani, one of the world's leading specialists on Uganda and the author of a thorough riposte to the political wrong-headedness of Invisible Children; and Ethiopian-American novelist Dinaw Mengestu, who sought out Joseph Kony, met his lieutenants, and recently wrote a brilliant essay about how Kony 2012 gets the issues wrong. They have a different take on what Kristof calls a "humanitarian disaster," and this may be because they see the larger disasters behind it: militarization of poorer countries, short-sighted agricultural policies, resource extraction, the propping up of corrupt governments, and the astonishing complexity of long-running violent conflicts over a wide and varied terrain.

I want to tread carefully here: I do not accuse Kristof of racism nor do I believe he is in any way racist. I have no doubt that he has a good heart. Listening to him on the radio, I began to think we could iron the whole thing out over a couple of beers. But that, precisely, is what worries me. That is what made me compare American sentimentality to a "wounded hippo." His good heart does not always allow him to think constellationally. He does not connect the dots or see the patterns of power behind the isolated "disasters." All he sees are hungry mouths, and he, in his own advocacy-by-journalism way, is putting food in those mouths as fast as he can. All he sees is need, and he sees no need to reason out the need for the need.

But I disagree with the approach taken by Invisible Children in particular, and by the White Savior Industrial Complex in general, because there is much more to doing good work than "making a difference." There is the principle of first do no harm. There is the idea that those who are being helped ought to be consulted over the matters that concern them.

 

I write all this from multiple positions. I write as an African, a black man living in America. I am every day subject to the many microaggressions of American racism. I also write this as an American, enjoying the many privileges that the American passport affords and that residence in this country makes possible. I involve myself in this critique of privilege: my own privileges of class, gender, and sexuality are insufficiently examined. My cell phone was likely manufactured by poorly treated workers in a Chinese factory. The coltan in the phone can probably be traced to the conflict-riven Congo. I don't fool myself that I am not implicated in these transnational networks of oppressive practices.

And I also write all this as a novelist and story-writer: I am sensitive to the power of narratives. When Jason Russell, narrator of the Kony 2012 video, showed his cheerful blonde toddler a photo of Joseph Kony as the embodiment of evil (a glowering dark man), and of his friend Jacob as the representative of helplessness (a sweet-faced African), I wondered how Russell's little boy would develop a nuanced sense of the lives of others, particularly others of a different race from his own. How would that little boy come to understand that others have autonomy; that their right to life is not exclusive of a right to self-respect? In a different context, John Berger once wrote, "A singer may be innocent; never the song."

One song we hear too often is the one in which Africa serves as a backdrop for white fantasies of conquest and heroism. From the colonial project to Out of Africa to The Constant Gardener and Kony 2012, Africa has provided a space onto which white egos can conveniently be projected. It is a liberated space in which the usual rules do not apply: a nobody from America or Europe can go to Africa and become a godlike savior or, at the very least, have his or her emotional needs satisfied. Many have done it under the banner of "making a difference." To state this obvious and well-attested truth does not make me a racist or a Mau Mau. It does give me away as an "educated middle-class African," and I plead guilty as charged. (It is also worth noting that there are other educated middle-class Africans who see this matter differently from me. That is what people, educated and otherwise, do: they assess information and sometimes disagree with each other.)

In any case, Kristof and I are in profound agreement about one thing: there is much happening in many parts of the African continent that is not as it ought to be. I have been fortunate in life, but that doesn't mean I haven't seen or experienced African poverty first-hand. I grew up in a land of military coups and economically devastating, IMF-imposed "structural adjustment" programs. The genuine hurt of Africa is no fiction.

And we also agree on something else: that there is an internal ethical urge that demands that each of us serve justice as much as he or she can. But beyond the immediate attention that he rightly pays hungry mouths, child soldiers, or raped civilians, there are more complex and more widespread problems. There are serious problems of governance, of infrastructure, of democracy, and of law and order. These problems are neither simple in themselves nor are they reducible to slogans. Such problems are both intricate and intensely local.

How, for example, could a well-meaning American "help" a place like Uganda today? It begins, I believe, with some humility with regards to the people in those places. It begins with some respect for the agency of the people of Uganda in their own lives. A great deal of work had been done, and continues to be done, by Ugandans to improve their own country, and ignorant comments (I've seen many) about how "we have to save them because they can't save themselves" can't change that fact.

Let me draw into this discussion an example from an African country I know very well. Earlier this year, hundreds of thousands of Nigerians took to their country's streets to protest the government's decision to remove a subsidy on petrol. This subsidy was widely seen as one of the few blessings of the country's otherwise catastrophic oil wealth. But what made these protests so heartening is that they were about more than the subsidy removal. Nigeria has one of the most corrupt governments in the world and protesters clearly demanded that something be done about this. The protests went on for days, at considerable personal risk to the protesters. Several young people were shot dead, and the movement was eventually doused when union leaders capitulated and the army deployed on the streets. The movement did not "succeed" in conventional terms. But something important had changed in the political consciousness of the Nigerian populace. For me and for a number of people I know, the protests gave us an opportunity to be proud of Nigeria, many of us for the first time in our lives.

This is not the sort of story that is easy to summarize in an article, much less make a viral video about. After all, there is no simple demand to be made and -- since corruption is endemic -- no single villain to topple. There is certainly no "bridge character," Kristof's euphemism for white saviors in Third World narratives who make the story more palatable to American viewers. And yet, the story of Nigeria's protest movement is one of the most important from sub-Saharan Africa so far this year. Men and women, of all classes and ages, stood up for what they felt was right; they marched peacefully; they defended each other, and gave each other food and drink; Christians stood guard while Muslims prayed and vice-versa; and they spoke without fear to their leaders about the kind of country they wanted to see. All of it happened with no cool American 20-something heroes in sight.

Joseph Kony is no longer in Uganda and he is no longer the threat he was, but he is a convenient villain for those who need a convenient villain. What Africa needs more pressingly than Kony's indictment is more equitable civil society, more robust democracy, and a fairer system of justice. This is the scaffolding from which infrastructure, security, healthcare, and education can be built. How do we encourage voices like those of the Nigerian masses who marched this January, or those who are engaged in the struggle to develop Ugandan democracy?

If Americans want to care about Africa, maybe they should consider evaluating American foreign policy, which they already play a direct role in through elections, before they impose themselves on Africa itself. The fact of the matter is that Nigeria is one of the top five oil suppliers to the U.S., and American policy is interested first and foremost in the flow of that oil. The American government did not see fit to support the Nigeria protests. (Though the State Department issued a supportive statement -- "our view on that is that the Nigerian people have the right to peaceful protest, we want to see them protest peacefully, and we're also urging the Nigerian security services to respect the right of popular protest and conduct themselves professionally in dealing with the strikes" -- it reeked of boilerplate rhetoric and, unsurprisingly, nothing tangible came of it.) This was as expected; under the banner of "American interests," the oil comes first. Under that same banner, the livelihood of corn farmers in Mexico has been destroyed by NAFTA. Haitian rice farmers have suffered appalling losses due to Haiti being flooded with subsidized American rice. A nightmare has been playing out in Honduras in the past three years: an American-backed coup and American militarization of that country have contributed to a conflict in which hundreds of activists and journalists have already been murdered. The Egyptian military, which is now suppressing the country's once-hopeful movement for democracy and killing dozens of activists in the process, subsists on $1.3 billion in annual U.S. aid. This is a litany that will be familiar to some. To others, it will be news. But, familiar or not, it has a bearing on our notions of innocence and our right to "help."

Let us begin our activism right here: with the money-driven villainy at the heart of American foreign policy. To do this would be to give up the illusion that the sentimental need to "make a difference" trumps all other considerations. What innocent heroes don't always understand is that they play a useful role for people who have much more cynical motives. The White Savior Industrial Complex is a valve for releasing the unbearable pressures that build in a system built on pillage. We can participate in the economic destruction of Haiti over long years, but when the earthquake strikes it feels good to send $10 each to the rescue fund. I have no opposition, in principle, to such donations (I frequently make them myself), but we must do such things only with awareness of what else is involved. If we are going to interfere in the lives of others, a little due diligence is a minimum requirement.

Success for Kony 2012 would mean increased militarization of the anti-democratic Yoweri Museveni government, which has been in power in Uganda since 1986 and has played a major role in the world's deadliest ongoing conflict, the war in the Congo. But those whom privilege allows to deny constellational thinking would enjoy ignoring this fact. There are other troubling connections, not least of them being that Museveni appears to be a U.S. proxy in its shadowy battles against militants in Sudan and, especially, in Somalia. Who sanctions these conflicts? Under whose authority and oversight are they conducted? Who is being killed and why?

All of this takes us rather far afield from fresh-faced young Americans using the power of YouTube, Facebook, and pure enthusiasm to change the world. A singer may be innocent; never the song.

 

ACTION: Be Vigilant, Stand Strong -Move the Struggle On Up A Little Higher

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. More

By Ta-Nehisi Coates

Mar 20 2012, 8:15 AM 

 

The Sham Investigation Into

Trayvon Martin's Killing

 

As it happens, Trayvon Martin was on the phone when George Zimmerman was following him. The young lady with whom he was speaking, through her lawyer, talked to ABC News:
"He said this man was watching him, so he put his hoodie on. He said he lost the man," Martin's friend said. "I asked Trayvon to run, and he said he was going to walk fast. I told him to run but he said he was not going to run." 

 

Eventually he would run, said the girl, thinking that he'd managed to escape. But suddenly the strange man was back, cornering Martin. "Trayvon said, 'What, are you following me for,' and the man said, 'What are you doing here.' Next thing I hear is somebody pushing, and somebody pushed Trayvon because the head set just fell. I called him again and he didn't answer the phone." 

 

The line went dead. Besides screams heard on 911 calls that night as Martin and Zimmerman scuffled, those were the last words he said.
ABC News verified that Martin did talk to the young lady by looking at his phone records. I don't know that they can corroborate the exact contents of the conversation.

 

Nevertheless, when you read this, it's worth remembering the tale Zimmerman told the cops:
Zimmerman said he had stepped out of his truck to check the name of the street he was on when Trayvon attacked him from behind as he walked back to his truck, police said. He said he feared for his life and fired the semiautomatic handgun he was licensed to carry because he feared for his life.  
This tale was broadly repeated by Zimmerman's father who claimed that his son had neither pursued nor confronted Martin.

 

We know that this is almost certainly fiction. We have Zimmerman's on the 911 call explicitly stating that he was pursuing Martin because, "These assholes. They always get away."And we now have someone on the phone claiming a "strange man" was following Martin. 

 

Again, I don't know that Zimmerman will ever do a lick of jail time, or even see a court room. But what angers people is not simply that Zimmerman might get off, but that the Sanford police would conduct a shoddy investigation, claim it was thorough, and then claim that all who objected were compromised by prejudice:
Our investigation is color blind and based on the facts and circumstances, not color. I know I can say that until I am blue in the face, but, as a white man in a uniform, I know it doesn't mean anything to anybody.
This investigation wasn't one. It was a sham, an homage to the bad old days of Southern justice. Lee should resign. 

 

Emily Bazelon has more on the actual laws in Florida, though the more I see of this, the less I think "Stand Your Ground" will save Zimmerman.

 

__________________________

 

 

>via: http://instagr.am/p/IcwM_bPXT1/

 

__________________________

 

Trayvon Martin case:

Sponsors of Florida

‘Stand Your Ground’

law say George Zimmerman

should be arrested

‘They got the goods on him. They need to prosecute whoever shot the kid,’ former GOP state lawmaker says

Wednesday, March 21, 2012

 

Florida state Rep. Dennis Baxley in 2005. Baxley and Former state Sen. Durell Peaden sponsored the state’s ‘Stand Your Ground’ law, which has come under fire in the wake of the shooting of Trayvon Martin.

PHIL COALE/AP

Florida state Rep. Dennis Baxley in 2005. Baxley and Former state Sen. Durell Peaden sponsored the state’s ‘Stand Your Ground’ law, which has come under fire in the wake of the shooting of Trayvon Martin.

 

Former Florida state Sen. Durell Peaden in 2005.

PHIL COALE/AP

Former Florida state Sen. Durell Peaden in 2005.

 	In this undated family photo, Trayvon Martin poses for a family photo. The family of the black teenager fatally shot by a white neighborhood watch volunteer arrived at Sanford City Hall Friday evening March 16, 2012 to listen to recordings of 911 calls police previously refused to release. Police agreed to release the recordings earlier that afternoon. Officials are allowing the family of 17-year-old Trayvon Martin to hear the recordings before making them public. Martin's parents previously sued to have the recordings released. A hearing for the case was scheduled for Monday. Martin was fatally shot last month as he returned to a Sanford home during a visit from Miami. His parents, Tracy Martin and Sybrina Fulton, accused Sanford police of botching the investigation and criticized them for not arresting 28-year-old George Zimmerman, who says he shot Trayvon Martin in self-defense. Martin was not armed. They say the police department hasn't arrested Zimmerman because he is white and their son was black. (AP Photo/HO, Martin Family Photos)

MARTIN FAMILY PHOTOS VIA AP

Trayvon Martin

The Florida lawmakers who crafted the state's controversial "Stand Your Ground" law said neighborhood watch volunteer George Zimmerman should be arrested for shooting and killing unarmed teen Trayvon Martin.

Former state Sen. Durell Peaden and current state Rep. Dennis Baxley said the law they wrote in 2005, which allows someone who feels threatened to "meet force with force" without backing down first, was being misapplied in the shooting death of the 17-year-old, the Miami Herald reported.

"They got the goods on him. They need to prosecute whoever shot the kid," Peaden, a Republican, told the Herald. "He has no protection under my law."

EARLIER: MARTIN'S PARENTS SAY ZIMMERMAN IS GETTING AWAY WITH MURDER

Under the “Stand Your Ground” law, someone who feels threatened can used 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."

Self-defense laws in other states say that a victim has to make an attempt to retreat before resorting to killing, unless they are at home, under the so-called "castle doctrine."

DAILY NEWS EDITORIAL: MARTIN CASE REVEALS OUR OBSESSION WITH GUNS

Zimmerman has said he fired in self-defense because the teen came after him.

But Peaden and Baxley said that 911 tapes showing that Zimmerman followed Martin despite a dispatcher's request to stay away appeared to show that the 28-year-old crime watch volunteer was the aggressor.

"The guy lost his defense right then," Peaden told the Herald. "When he said, 'I'm following him,' he lost his defense."

The pair noted, hwoever, that they didn't know all the facts of the case and their opinions could change if new details were uncovered.

In recent days, as attention to the case has exploded around the country, the "Stand Your Ground" law has come into the crosshairs of activists, celebrities and political opponents calling for its repeal.

But Peaden said the policy was misunderstood and didn't provide protection for vigilantes who take the law into their own hands.

"He's kind of stretching a whole bunch of things," Peaden said of Zimmerman's self-defense claim. "And if he has a gun, that's premeditated. There's nothing in the Florida law that allows him to follow someone with a damn gun."

 

Read more: http://www.nydailynews.com/news/national/trayvon-martin-case-sponsors-florida-stand-ground-law-george-zimmerman-arrested-article-1.1048164#ixzz1pnrwjBVP

>via: http://www.nydailynews.com/news/national/trayvon-martin-case-sponsors-florida...

 

 

 

HISTORY: A History of Black people in Europe > AFRO-EUROPE

A History of

Black people in Europe

 

It is generally known that black people have been residing in European countries since the early colonial times. But even before the 15th century and during Roman times, a time when colour of skin still wasn’t a racist stigma but just another physical feature, black people lived in Europe. Remains of a man with black African features were found in England recently, dating his life back to the 13th century. Read this article for more info.

Besides that, facts have been found of black people living in different parts of Europe, although I don’t want to overstate their presence or influence. But it is generally known that during the Muslim era of the Iberian Peninsula (from the 8th century AD until the 15th century AD) people with dark skin were part of daily live. The Muslims who invaded Spain and Portugal around 700 AD were a mixture of black and dark people from North-Africa. They were often referred to as Maures, wrote about and painted, way before the dehumanization of black people started.

I added above Jan Mostaert's portrait of a nobleman, guest of the Queen of Austria. This painting dates back to the early 1500's in what we now call Belgium, then part of the Duchy of Brabant. There is no doubt this man has African roots while being a respected member of European culture. We can only guess that this man is of Maure origin, i.e. a Muslim having converted to Christianity or even the second or third generation of converts.

Below I will go deeper into the subject. I will give you some internet links, book references and a list of early Europeans of African descent, each time linked to their wiki page. If you know more about the subject I invite you to add information in a comment.


Al Andalus

Many blacks who were Muslims converted to Christianity after the emirate of Al Andalus was abolished (end of 15th century). But the Reconquista took centuries (8th-15th century) and during those times black people gradually integrated the Christian and Northern European world. Among them were noble men and scholars. The negative image of blacks, as natural slaves, only gained prominence in the 18th century when the transatlantic slave trade became a central piece of European economical activity and later when European nation-states were being established.

Slavery and racism

Of course slavery existed before racism. In the 15th century blacks and whites were enslaved indiscriminately. Blacks in the America’s could become free men and own their own slaves and land (which was rather common in colonial Brazil for instance). It is only in later years that being black made you a slave forever and by birth, or at least a kind of human always inferior to white people. This racial perspective on identity and humanity only gained authority in later modern times. Read more on the subject here.

Coat of Arms

Black people were part of European imagination and reality from very early times. Read more here and here. We can say with certainty that there were black people in Europe before that white people reached the area south of the Sahara. North Africa, Iberia and the Middle East were the crossroad where black and white intermingled. In Europe references to blacks was a positive sign of strength and military power. Still today you can find many blacks in coat of arms for towns all over Europe, central, south and north, dating back to the middle ages.

Some Literature

After the 15th century, Portugal entered an intense relationship with African kingdoms in the Gulf of Guinea and the Congo coasts. Slave trade (although not based on race) and exchange between the kings led to the presence of Europeans on the West- and Central African shores, just as Africans in Portugal. Accounts from those days tell us that the sight of black people in the streets of Lisbon wasn’t a rarity during the Middle Ages, more on the contrary. I want to refer to following books for those who want to know more about this topic:
Black Africans in Renaissance Europe, Thomas Foster Earle,K. J. P. Lowe(eds.)
Africa's discovery of Europe, David Northrup

As a consequence of the slave trade free blacks also arrived in Europe between the 16th and 19th century. Blacks lived in London, Liverpool, Lisbon, Seville, … during the 17th and 18th century. Other historical books with scientific authority give you in depth knowledge of this:
Hugh Thomas’s ‘The Slave Trade’
Ivan Van Sertima’s ‘African Presence in Early Europe’
All this publications teach us something about this hidden part of European history.

Leo Africanus

Leo Africanus is often stated as one of these black and European noble men and scholars. But it is rather speculation to state if he was black or white. He was definitely a Maure but as racism, whiteness and blackness were unknown concepts as we know it today, we can’t know his ‘race’ for sure. This shouldn’t surprise anyone. Even very common socio-cultural concepts of today such as ‘French’, ‘German’ or ‘English’ didn’t exist in those days such that it would be silly to argue whether historical figures of those days were German or French. Same thing is valid for the white and black race as defined today.

Famous Europeans with African ancestry (1500-1900)

Below I will list some of the most famous figures of European modern history (after 1500) who happened to be black or have African ancestry, but were integral parts of European (high) society. Most of the time the African ancestry of these people is ignored by history books although acknowledged and accepted by most history scholars. I think it throws a new light on the concepts of race and the meaning of blackness in the 21st century.

Alessandro ‘il Moro’ de Medici 1510-1537
Duke of Florence


Abram Petrovich Ganibal 1696-1781

Major-general, military engineer, governor of Reval and nobleman of the Russian Empire


Anton Wilhelm Amo 1700-1775

German Philosopher


Ignatius Sancho 1729–1780

Author and abolitionist, UK

Olaudah Equiano a.k.a. Gustavus Vassa 1745-1797 Author and abolitionist, UK

Chevalier de Saint Georges 1745-1799 A famous musican, composer and swardsman of his times
Listen to his music here.

Thomas Alexandre Dumas 1762-1806 A general of the French Revolution

George Polgreen Bridgetower 1780-1860 Musician and composer
Listen and watch here


Alexandre Pushkin 1799-1837

Famous author, great-grandson of Abraham Petrovich Ganibal

Alexandre Dumas 1802-1870
French author of the world famous tale of ‘The Three Musketeers’, Thomas Alexandre Dumas’s son

John Archer 1863-1931
Presumably UK’s first black mayor, political activist

Samuel Coleridge-Taylor 1875-1912 Musician and composer
Listen to his music here

 

 

VIDEO + INTERVIEW: K’naan on Nas, Transnational Identity, and His New EP

Video:

K’naan x Nas

‘Nothing To Lose

(Will.i.am Remix)

K’naan gets mega-star producer will.i.am to rework his Nas-featuring More Beautiful Than Silence standout “Nothing To Lose”. Will.i.am flips the beat for a laidback, guitar-driven progression coupled with blues-man samples. K’naan adds a new end verse (2:50) while Nas’ bars remain untouched — as do the original Toronto-streets visuals. Watch above.

>via: http://www.okayafrica.com/2012/03/20/video-knaan-x-nas-nothing-to-lose-will-i...

__________________________

 

 

Interview:

K’naan on Nas,

Transnational Identity,

and His New EP

 

Okayafrica sat down with Somalia’s troubadour K’naan to speak about transnational identities, the after-effects of having the most popular song in the world, and his new More Beautiful Than Silence EP.

I read that you grew up looking up to rappers like Nas, how did you come to get him on the new EP?

I’m definitely a huge fan of Nas. He was kind of one of the epic idols to me. He still is. He’s one of the greatest of all time to me. Not only as far as rap goes, but as far as art goes. Our relationship started out of the Distant Relatives project with Damian Marley. Damian and I had been around each other heavily during the Troubadour album that I was making. He really liked some of the Ethiopian and jazz sample ideas I was using. So some of those records that you hear with him and Nas have some of those samples also. Damian is a real close friend of mine and called me when him and Nas were getting in. He asked if I wanted to do a couple of joints and be a part of it. And, in fact, “Africa Must Wake Up” is really an old Damian and K’naan song that never came out and we ended up putting on the Distant Relatives album.

You and Nas linked back up for “Nothing To Lose.”

Yeah, I was working finishing up the album in New York. Nas and I had been talking over the past year trying to do something, trying to get in. And I actually got a text message from him just asking what was up and what I was doing these days. I tell him about the project and said, ‘matter of fact, there’s a song I’m working on right now that I want you to be a part of. He said, you know I’m in. So I hit him and he came through the studio and we just vibed and wrote the song.

There’s a track on the EP called “Coming To America,” any relation to the film?

[laughs] Yeah there’s definitely a relation to the film. That’s where the Prince of Zamunda reference comes from. We were in the studio, me and Chuck Harmony, messing around talking about Eddie Murphy’s flick. And I mentioned to him I have this idea of doing a song about that. Kind of the non-comedy version of it, the real serious version of it. Then he pulled out some samples and we used that real prominent sample. That stereotype of Africa, what they hear when they think Africa — that Paul Simon Graceland, you know. That kind of sound. I wanted to slip that in, so we made that song.


K’naan, “Coming To America”

You and your music live in a particular space of the diaspora. Being that you grew up in Somalia but have also lived in Canada and the States, how do you identify your music?

My music is mostly about identity and, you know, the position that a person holds in the universal context. I’ve always written about the question of why am I here? And, who am I? Thats been the theme of most great artists that I follow. It’s just been particularly more complex for me, having lived half of my live in Africa in Somalia and the other half in North America —Canada and the US. But, I think that’s the kind of question we’re figuring out right now. We’re in a particularly engaged world, we’re in a particularly diverse world, we’re in an economic -driven world. That’s beginning to determine identity also. Whereas in the past it was the human being’s ancestral and spiritual history which determined identity, now its becoming economics. I’m just a part of that journey and those are the kind of questions that I address in my music and those are the kind of feelings that I think my songs bring up.  You know, songs like “Coming To America”

Your songs definitely have a transnational and transcultural feel.

Yeah, I think that’s actually more of the world too than saying “I am exactly this.” Specially for me. I’m someone who always holds up the African representation. I always hold that up. And rightfully so because it’s kind of the place that made me. It’s where I’m born, it’s where I find my philosophies, my history. But it wouldn’t be fully true to say that I’m also not from here [North America].

Would you ever classify your music as African?

I don’t know. I try to stay away from the game of classifying my music, because if I classified my own stuff what would other people be doing? I don’t want to take away people’s jobs. [laughs]

What are you listening to these days?

When I’m in the middle of making music I try to not listen to things that I can be influenced by, so I end up listening to music that’s very distanced from what I’m doing. But, I don’t know, I really like J. Cole’s new record. I dig that one. I’m listening to Arcade Fire’s Funeral, Gil Scott-Heron I’m New Here. Those songs “New York Is Killing Me” and “Me and the Devil,” yeah I love that record. Then I’ve been listening to Coldplay’s record, some Bon Iver stuff, some Broken Bells. Some singer-songwriter stuff Brooke Waggoner. And some of my friends, this girl Jaymay who is an incredible singer-songwriter from New York. She’s a real wordsmith.

Do you feel having this incredible success after Troubadour and “Wavin’ Flag” [the Coca-Cola 2010 World Cup song] has affected you and your music?

I think it’s true that things like that change you as a person. And I think it’s true that when you change as a person your music changes. But I really hope it hasn’t changed me in a superficial sense. I don’t know, I don’t think I’m the kind of person that would be changed by experiences in the superficial way. At least I really hope I’m not. So I don’t think my music is influenced by success. But its influenced by the reach of it, you know.

Before I made Troubadour I never really imagined that I would be playing in China. I never imagined I would have one of the most popular songs around the world, you know in South and North Korea. It’s not something I would imagine. I don’t know what kind of subconscious effect that has on the human being, I’m not that analytical about my own self. I’m sure those things have had an effect. But the thing that had the most effect on me was on The World Cup Tour, I was able to do 22 countries in Africa back-to-back. That was one of the most eye opening experiences I’ve had as someone who makes music. And I think that may be what had the most changing effect on my work and my personal life.

K’naan’s More Beautiful Than Silence is available now on iTunes.

—killakam