VIDEO: Yasiin Bey's 'N*****s In Poorest': Rapper Commemorates Malcolm X With Kanye West And Jay-Z

Yasiin Bey's

'N*****s In Poorest':

Rapper Commemorates

Malcolm X

With Kanye West And Jay-Z

(VIDEO)

First Posted: 02/22/2012 5:17 pm Updated: 02/24/2012

 

Formerly known as Mos Def, Yasiin Bey has rolled in with a remix video of Kanye West and Jay-Z's "N*****s In Paris," 'N****s In Poorest."

The track, off Bey's Top 40 Underdog series, hit last month and the video dropped on Tuesday in commemoration of the 47th anniversary of Malcolm X's death. In addition to featuring a moving Malcolm X speech clip, Bey highlights the socioeconomic crisis with political visuals and lyrics like "Poor So Hard" and "Ever winter landlord f****in' with my heat again."

This isn't the first time West and Jay-Z's Watch The Throne track has gotten the remix treatment. In a lighter spirit, a quirky mashup of Woody Allen's "Midnight In Paris" and the song was thrown together for "N****s In Paris At Midnight," which combines the original track, Owen Wilson, and literary figures who know how to break it down.

What do you think of Yasiin Bey's "N****s In Paris" Remix?

WATCH: Yasiin Bey's "N****s In Poorest" (CAUTION: GRAPHIC LANGUAGE)

 

via huffingtonpost.com

 

VIDEO: Angolan singer Aline Frazão > Africa is a Country

Introducing:

Angolan singer Aline Frazão

Angolan music has its share of famed female voices. Belita Palma, Lourdes Van Dunem, and Dina Santos from the golden years of semba in the 1960s and 1970s, Nany and Clara Monteiro from the 1980s, as Gingas do Maculusso from the 1990s, and in the 2000s Yola Araujo, Yola Semedo and Perola, among a long list of other contenders. The most recent debut, Aline Frazão, draws deeply from the earliest generation and from a wealth of other sources, trans and circum-Atlantic. Unlike her predecessors, she was born in Luanda but currently resides in Santiago de Compostela, in Galícia, Spain.

Her first CD, Clave Bantu, is an independent production of eleven songs, all but two written by Ms. Frazão. The other two, Amanheceu (Dawn) and O Ceu da Tua Boca (The Roof of Your Mouth) were written by the highly regarded Angolan writers Ondjaki and José Eduardo Agualusa, respectively. With Frazão on guitar and vocals, Carlos Freire (Galícia) on percussion and Jose Manuel Díaz (Cuba) on bass, Clave Bantu evokes and returns to patterns that structure the rhythms of African musics and those of the African diaspora.

This video is for the first song on the album Assinatura de Sal (Salt’s Signature). Shot in black and white, it nicely underscores the clarity of the arrangement and the brightness of Frazão’s voice and the percussion:

 

In January Ms. Frazão was interviewed on a Portuguese television program called “Ethnicities.” Her unflappable poise in the face of the interviewer’s flattery and leading questions says much more about her decision to move from Portugal to Spain than her direct answer to the interviewer’s query about re-locating to Portugal. As the album cover shows, with birds so easily alit on her tresses, why would she settle in Lisbon or thereabouts and subject herself to the pigeon-holing practices of post-colonial Portuguese paternalism?

__________________________

 

Assinatura de Sal

 

 

PUB: Call For Poets: International Women's Day

Call For Poets:

International Women's Day

Make Every Woman Count  is an organization dedicated to empowering women and girls in Africa, would like you to join its Women’s Day activities.


Women’s Day, celebrated on March 8th, first began at the turn of the beginning of the 20th century in industrialized countries born out of women’s struggle to be treated equally to men in society. Throughout the years it has grown to become a day of recognition and celebration of women’s achievements and struggles around the world.

Through poetry MEWC would like commemorate Women’s Day. And we would like you to be the poets! Through poetry let us reflect on this year’s Women’s Day, what it represents, and this year’s theme: “Connecting girls, inspiring futures.” According to International Women’s Day website, “if every International Women's Day event held in 2012 includes girls in some way, then thousands of minds will be inspired globally.”

MEWC will accept poems by African women and girls and those interested in women’s rights in Africa in a poetry style of their choosing. No prior experience with professional writing is necessary, however please familiarize yourself with the MEWC website and its mandate.

All submissions must be made to  info@makeeverywomancount.orgThis e-mail address is being protected from spambots. You need JavaScript enabled to view it by Thursday 1st  March. They should include a photo of yourself and a brief biography. The chosen poems will be published on Women’s Day, 8 March.

Please feel free to email us at the above address with any questions.

 

PUB: Call for Papers: The Caribbean Poetry Project

The Caribbean Poetry Project, is a pioneering collaboration between Cambridge University Faculty of Education, the Centre for Commonwealth Education, and the University of West Indies at Mona (Jamaica), St Augustine (Trinidad) and at Cave Hill (Barbados). Through a joint research and teaching programme, this three-year project will encourage engagement with Caribbean poetry, and improve the teaching and learning of Caribbean poetry in both British and Caribbean schools.


Peepal Tree Press is delighted to be a partner and associate member of the CPP team, collaborating on a poetry anthology. This will focus very much on contemporary caribbean poetry, the aim of the collection is to introduce young people to Caribbean poets and new work. Students and teachers taking the Teaching Caribbean Poetry Course in Jamaica, Trinidad, Barbados and the UK will participate in the selection of work. The anthology will be edited by Jeremy Poynting, Peepal Tree Press, and Dorothea Smartt, poet and Peepal Tree's CPP advisory panel representative.

CARIBBEAN POETRY PROJECT

The Power of Caribbean Poetry - Word and Sound
A conference on Caribbean poetry,
Homerton College, Cambridge University, Faculty of Education
Thursday 20 – Saturday 22 Sept 2012

Speakers / performers include: John Agard, Beverley Bryan, Kei Miller, Mervyn Morris, Grace Nichols, Velma Pollard, Olive Senior, Dorothea Smartt

The first two days of this international gathering will take the form of an academic conference, the final day having a more educational focus and therefore likely to appeal to teachers as well as scholars. Members of the Caribbean Poetry Project from Cambridge University Faculty of Education and the University of West Indies will be hosting the conference and disseminating its outcomes. Marilyn Brocklehurst’s bookshop will be available throughout the conference and some project partners, such as the online Poetry Archive and Peepal Tree Press, will be represented.

CALL FOR PAPERS

·      Caribbean poetry and the word
·      Origins and histories of Caribbean poetry
·      Particular poets e.g. appreciation of the work of Derek Walcott / Kamau Brathwaite
·      Re-reading Caribbean poetry
·      Caribbean poetry and music
·      Ecocriticism and Caribbean poetry
·      Caribbean landscapes
·      Poetry as emancipation
·      Caribbean British poetry
·      Approaches to learning and teaching Caribbean poetry
·      Migration and location in Caribbean poetry
·      Gender in Caribbean poetry
·      Caribbean poetry and postcolonial theory
·      Caribbean poetry and the curriculum

Abstracts (300 words approx.) should be sent to Bryony Horsley-Heather (bsjh2@cam.ac.uk) by the end of MARCH 2012.

Conference fees including lunch, dinner, tea & coffee will be £200. Day rate £75 for 20th, £100 for 21st and £70 for 22nd for bookings before May 1st 2012. Accommodation available at Homerton College at £60 per night. Online registration will be available via the website from November 2011 - See http://caribbeanpoetry.educ.cam.ac.uk/ for updates.

For further information, contact Morag Styles (ms104@cam.ac.uk) or Bryony Horsley- Heather (bsjh2@cam.ac.uk) or visit http://caribbeanpoetry.educ.cam.ac.uk

 

PUB: ASA (African Studies Association)

Welcome to the
African Studies Association

Promoting African Studies since 1957
 

 
   The Call for Proposals
   for the ASA's 2012 Annual
   Meeting is now open.

   March 15 Deadline


   ASA 55th Annual Meeting
  
Nov. 29 - Dec. 1, 2012
  
Philadelphia, PA


   Learn More About
   Becoming an ASA Member


   ASA Publications:
   African Studies Review &
   History in Africa

 

Interested in viewing photographs from the
2011 ASA Annual Meeting? Click here to access several
on-line photo albums hosted by PicASA.


cambria

 2011 ASA Sponsorship 
Cambria Press 

 

Cambria Press is an independent, innovative publisher of peer-reviewed academic research. As the publisher of choice for the world's top scholars, Cambria Press is dedicated to developing new works in established and emerging fields.


 

Deadline: 8 March 2012

The African Studies Association (ASA)-2012 Conference

Philadelphia, PA; November 29 - December 1, 2012

In 1962 at the Kampala conference, participants engaged the first major debate on the ‘language question’ in African literature. For African literary critics, that conference was the first defining moment in the development and study of contemporary African literature. The second moment occurred in 1983 with the publication of Chinweizu’s /Toward the Decolonization of African Literature /which//helped boost emerging discussions on post-colonial studies in African literary criticism. That moment generated the impetus that has sustained the different cultural and theoretical approaches that continue to sustain debates in African literary studies.

Now, as we enter the second decade of the 21st century and its global proliferation of entry points and exits in the context of information technology, we need to assess the extent African literary engagement and production will enable clearer definitions of the different aspects of African literary studies. This means that the quality and nature of African literature in the information age needs to be more carefully addressed in ways that reaffirm our efforts to bring African literary studies into full prominence on the global stage. As practitioners, acknowledging the strengths and limitations in our current understanding of African literature will also show how vibrant and powerful a tool African literature is in the study of African societies and cultures.

This Call for Papers solicits papers for ALA panel presentations on the topics indicated below at the African Studies Association 2012 conference. Please indicate your interest by submitting
a one-paragraph abstract on a topic based on one of the panels listed below.

1.Roundtable: “African Literary Studies Today.”

2.Panel: “The Future of African Literary Studies.”

3.Panel: “Women’s Contributions to African Literary Studies.”

It is expected that all papers accepted for presentation will have been fully written and sent to the panel chair and discussants of the papers (no exceptions, please!) at least one week before the conference. Please submit your abstracts through email:

On or before March 8, 2012

To: Anthonia Kalu at: kalu.5@osu.edu 
Anthonia Kalu, PhD
Professor
Department of African American and African Studies
486 University Hall
230 North Oval Mall
Columbus, OH 43210-1319
Phone: (614) 688-5779
Fax: (614) 292-2293
E-mail: kalu.5@osu.edu 

CONTACT INFORMATION:

For inquiries: kalu.5@osu.edu 

For submissions: kalu.5@osu.edu 

Website: http://www.africanstudies.org/

 

VIDEO: Leila Djansi's "Sinking Sands" (2011) - A Poignant Look At Spousal Victimization & Independence > Shadow and Act

Review:

Leila Djansi's

"Sinking Sands" (2011)

- A Poignant Look At

Spousal Victimization

& Independence

Reviews by Vanessa Martinez | February 23, 2012

I finally caught Leila Djansi’s sophomore feature film effort Sinking Sands last night. Unfortunately, it wasn’t available through Netflix; I opted to rent it via Amazon on Demand.

The Ghanaian psychological drama, which screened at last year’s Pan African and Cannes film festivals, was the winner of several awards at the African Movie Academy Awards (AMAA) including best actress and screenplay.

The film tells a story of Pabi and Jima, played by newcomer Ama K. Abrebese and Jimmy Jean-Louis (Toussaint L’Ouverture), a young couple in love who begin a life together as newlyweds.

Given the film’s domestic violence subject matter, I feared that it would veer into cliché hysterics and over the top melodrama. Thankfully it doesn’t due to the performances, especially by Abrebese in the role of Jima's long-suffering wife. She embodies Pabi in a nuanced yet heartfelt and compelling performance; Abrebese, in her acting debut, truly anchors this film.

Pabi, a teacher and aspiring school principal, is in love with her husband Jima and hoping for a family.  You see, when we first watch Jima propose to Pabi and taking no for an answer, you get the gut feeling that, although she accepted, something isn’t quite right. Also, the scene when Pabi catches Jima flirting with a co-worker when she pays him a visit at his bank job, adds up to that uneasy feeling.

Aside from that, Jima seems to be in love with Pabi; Jean-Louis oozes charm in his role – at least initially. It’s easy to believe him. He’s handsome, funny, successful, and yes, maybe he was flirting with a co-worker, but, perhaps it was harmless; he was obviously committed to her.

While Pabi is preparing a meal and Jima is washing the dishes (a short amusing sequence), Pabi has an accident which causes Jima severe burns. When Jima’s face is unveiled after two months of recovery in the hospital, we see a horrible disfiguration on the left side on his face. I found it hard to believe second degree burns would cause such scarring. The make-up work took me out of the realism of the film, but I was soon immersed back in as the sequences of domestic violence began to unravel.

Pabi is guilt-ridden and distraught. She can’t concentrate at work. She needs time off from teaching to tend to her husband. She stays committed to Jima even when he begins taking out his anger and frustration on her. He apologizes after the first time he hits her. You want to believe it won’t happen again; although, you already know better in these situations. Both Jean-Louis and Abrebese showcase their characters transformations convincingly. Through this domestic abuse cycle; you can’t help but sympathize with Pabi’s dilemma – well, more like fell sorry for her. It’s hard for her to walk away; she knows she doesn’t deserve the abuse, but she’s also manipulated by her husband’s dire circumstances; she forgives the abuse because of feelings of guilt. Jean-Louis performance works here; he's able to convey remorse believably. The actor is able to exude a certain sensibility and tenderness in key scenes; hence, regardless of the obvious judgment against Jima, it makes Pabi's choices to endure this situation more plausible.

Ultimately, as it happens in life when it comes to domestic abuse situations, the abuse intensifies and becomes a matter of life or death. At a point of the film, the cycle becomes redundant; although, it never loses momentum until its unnerving culmination.

The rest of the supporting cast does a fine job in elevating this film; Nigerian actor Yemi Blaq brings integrity and subtlety to his character of Pabi’s doctor, Dr. Matthews. Pabi starts seeking the comfort and affection under this doctor’s care. The characters have palpable chemistry, one of the most enjoyable and intriguing aspects of the film. Despite their mutual attraction however, I appreciated the filmmaker’s choice not to succumb into a subplot of a predictable affair.

It is not a perfect film; I found myself questioning some of the filmmaker’s motivations. Did the film imply that Pabi’s husband Jima turned abusive as a coping mechanism to the psychological effects of his physical disfiguration? Although that is not implicit, there wasn’t any evidence of abuse history in Jima’s past, especially when he’s confronted by his father regarding Pabi.

To director Djansi’s credit, she’s crafted some well-orchestrated sequences here: the abuse and remorse/forgiveness, fights and love-making/reconciliations. The film effectively shows the destructive progression of a marriage due to abuse, and how women can lose themselves completely in these relationships. Ultimately, you will appreciate that there’s definitely a heroine in this story, and a message of strength and self-sufficiency here, masterfully delivered by Abrebese. In the hands of a less competent actress; the film could have easily failed.

When I finished watching the film last night I thought, “hmm.. that was alright.” This morning on my drive to work however, I realized just how thoroughly engaged and entertained I had been through the duration of the film; I then thought to myself, “damn, that movie was good!”

You are highly encouraged to check out the film for yourself. Besides Amazon on Demand, Sinking Sands is available via Itunes or for purchase through the film’s website.

Here’s the trailer:

 

PHOTO ESSAY: Parental Control: Photographs by Marlon James > ARC Magazine

Parental Control:

Photographs by Marlon James

Highly competitive and driven to leave his mark on society, photographer Marlon James discusses his work with ARC.

 

Friday, February 24th, 2012

 

Marlon James has set out to make his name known by showing the world as he sees it through his camera lens. Marlon aims to create powerful and thought provoking work that his fans will come to appreciate. He describes his own art as classic and iconic. His style is reminiscent of photographers like Robert Mapplethrope and Richard Aveon who both possess the ability to capture a story while pushing boundaries, ensuring that the audience takes note of what they are trying to do with their art.

 

So too does Marlon’s work push boundaries and tell stories, though admittedly some of his portraits don’t always have a story behind them, they are always interesting.

“Nothing is ever black and white…you have to make sure to look out for those gray areas”. And James’ photography is certainly packed with gray areas. At times you may linger over a photo wondering what is meant to be portrayed here and at other times the message is as clear as day. One thing that remains a constant is his ability to always manage to engage his audience. His message always subjective.

The Jamaican native has exhibited his work all over, from the Mutual Life gallery in Jamaica, Alice Yard in Trinidad, to the IDB Cultural Centre in Washington, D.C. and the Barge house in London. He is a perfectionist of sorts, his traditional dark room training has left little room for use of Photoshop to enhance his images “I don’t use a lot of Photoshop. My photography background started in the dark room…so I always shoot to get exactly what I want.” You see his strong point is his narrative everything else is secondary.

In his portfolio Marlon has included pieces in a three picture series he calls “Parental Control”. This is an example of Marlon’s more provocative work; he draws the viewer in with these controversial stills. The series was born out of Marlon’s childhood experiences. He relays the story of growing up being exposed to violent films. “Parental Control is personal because I grew up being exposed to violent films and mimicking things I saw with my friends. But when there was a lovemaking scene, I was told to cover my eyes or leave the room. Yet I could watch all the dancehall and hip hop videos with women dressing skimpy and shaking their booty.” He explores this contradiction in his stills forcing the viewer to wonder what is and isn’t acceptable. In arguably the most striking photograph of the series rifles can be seen in the background of a television program, while the viewer simultaneously holds a gun to the television. Immediately you are made to think. Marlon resurrects one of the most controversial and widely discussed issues with this single portrait .The Rifles captured on the television seems harmless and acceptable but not so much so the one that the television viewer is holding. The photographs do an excellent job of bringing to light society’s hypocrisy.

Though Marlon has been formally trained at the Edna Manley College of Visual and Performing Arts he feels that one can only get better with continued education. Thus he continues to educate himself by studying with photographers whose works he admires. Some of these photographers come from his homeland of Jamaica while others come from the United States.

Currently Marlon is trying to create works that will attempt to examine his cultural identity as a Jamaican. As he puts it, he wants to show that Jamaicans are more than what the world perceives them to be.

 From the Parental Control Series

It will be interesting to see what Marlon comes up with for his future projects. Like the great photographer Erwin Olaf who Marlon admires it will be sure to push boundaries reminding us that sometimes the narrative of the story is stronger than just aesthetics. To know more about Marlon’s work please visit: http://mjamestudio.com/home/

 

OP-ED: Empathy (The #Rihanna Post) > Nuñez Daughter

Empathy

(The #Rihanna Post)

Rihanna – You Da One Video Screenshot (:13)

 

I’m going to make this short and quick. And angry.

Every time you tell someone Rihanna deserves what she gets because [insert misogynistic and ignorant reason here], you are wrong.

Every time you tell someone, Rihanna is “publicly accepting her abuser–nothing more, nothing less” or “it’s so black and white,” you are wrong.

Every time you tell someone Rihanna should or should not have done whatever, whenever, wherever, and how dare she and (my favorite) how COULD she–Congratulations.

You’ve just silenced someone around you who is being abused.

And I’m not talking about Rihanna. This post isn’t about Rihanna.

This post is about the woman in the office next to you who says grace over her food. This post is about your personal trainer and his fantastic thighs. This post is about your best friend from college who you are meeting for drinks later. This post is about your professor. Or your student. Or the kid you babysit for.

This post is about your play cousin and your godchild and your niece.

This post is about your sister and your mother and the pastor’s wife.

Every time you decide to pass some abstract and sanctimonious judgement on Rihanna and her relationship with Chris Brown–man she loved, a man who beat her, a man who she is now collaborating with again–

 

Every time you do ANYTHING LESS THAN WALK WITH EMPATHY AND UNDERSTANDING WITH HER, you’ve just let someone in your life know that everything that happens to them–abuse, rape, psychological warfare–it is all their fault. If they go back, they are to blame. If s/he hits them next time, they are to blame. If s/he kills them when they leave, they are to blame.

You’ve let them know that there is no reason for them to come to YOU for help, should they decide that this time is too much and it is time to go. Worse, you’ve let them know that even if they are leaving, they can’t come to you because you are no longer–if you ever were–a safe space. A space where they don’t have to deal with the recriminations, the guilt, the pressure and fear and anger that is swimming around them because the society we live in is COMPLETELY UNFORGIVING of survivors of abuse and is especially unforgiving of “sassy,” “spicy,” “ratchet” women of color (I mean, don’t we all deserve what we get?).

Because you’ve let your judgement, your agenda, your own internalized misogyny erase safety from the picture, you’ve let someone you love know that they will not be able to rely on you in THEIR time of need.

Everytime you decide that it is fun or funny or provocative to recirculate pictures of Rihanna’s beaten face, you’ve just closed yourself off as a resource to someone who needs you. Not because you aren’t willing to help. I’m sure you are. But your actions have now shown someone around you, SOMEONE YOU LOVE, that asking you for help is also asking for ridicule. And in a situation that is already frightening and dangerous, you’ve confirmed what they already feared was true–that no one will believe them, that they are crazy, that it is all their fault and their problem, and that there is no support out there for someone like them.

Every time you decide to judge Rihanna in the Saturday Morning sitcom binary of leave/success or stay/fail, you are LETTING SOMEONE IN YOUR LIFE KNOW THAT YOUR LOVE HAS CONDITIONS, THAT YOUR AID COMES WITH STIPULATIONS AND CRITERIA THEY NEED TO MEET BEFORE THEY CAN BE DEEMED WORTHY

If not Rihanna, who is worthy? Sad faced white women? Puppies? Chris Brown who “apologized?”

The funniest part of this? Three years ago, half of y’all couldn’t even be bothered. She deserved it then too, so I guess I should be surprised that she deserves it now.

But I am.

Because, again, this isn’t about Rihanna.

But someone in your life who thought they could rely on you is hearing you. And they just unpacked their bags. Because you just closed the door in their face.

Shame on you.

(This post is dedicated to my boo, @dopegirlfresh)

 

HEALTH: Relaxing Our Natural Hair Is Making Us Ill

New Study Links

Relaxers To Fibroids

Scientist found rates of fibroids two-to-three times higher in Black women who used chemical relaxers.

Posted: 02/23/2012

 

new study in the American Journal of Epidemiology has linked hair relaxers to uterine fibroids, as well as early puberty in young girls.

Scientists followed more than 23,000 pre-menopausal Black American women from 1997 to 2009 and found that the two- to three-times higher rate of fibroids among black women may be linked to chemical exposure through scalp lesions and burns resulting from relaxers.


Women who got their first menstrual period before the age of 10 were also more likely to have uterine fibroids, and early menstruation may result from hair products black girls are using, according to a separate study published in the Annals of Epidemiology last summer.


Three hundred African American, African Caribbean, Hispanic, and White women in New York City were studied. The women’s first menstrual period varied anywhere from age 8 to age 19, but African Americans, who were more likely to use straightening and relaxers hair oils, also reached menarche earlier than other racial/ethnic groups.


While so far, there is only an association rather than a cause and effect relationship between relaxers, fibroid tumors, and puberty, many experts have been quick to point out that the hair care industry isn’t regulated by the FDA, meaning that there's no definite way to fully know just how harmful standard Black hair care products really are.


Fibroids are tumors that grow in the uterus. They are benign, which means they are not cancerous, and are made up of muscle fibers. Fibroids can be as small as a pea and can grow as large as a melon. It is estimated that 20-50 percent of women have, or will have, fibroids at some time in in their lives. They are rare in women under the age of 20, most common in women in their 30s and 40s, and tend to shrink after the menopause.


For more information on fibroids and their risk factors, visit BlackDoctor.org.

 

 

via bet.com

 

__________________________

 

Study: Hair Relaxer

Linked To

Uterine Fibroids

 

BY MAURICE GARLAND

12:33 PM Feb 24th, 2012

 

 

Hair relaxers are not regulated by the FDA

There may finally be a scientific reason why so many black women suffer from uterine fibroids. 

recent study in the American Journal of Epidemiology is linking hair relaxers to uterine fibroids.

[ALSO READ:

BET reports:

Scientists followed more than 23,000 pre-menopausal Black American women from 1997 to 2009 and found that the two- to three-times higher rate of fibroids among black women may be linked to chemical exposure through scalp lesions and burns resulting from relaxers.

The study also links hair relaxers to early puberty in young girls:

Women who got their first menstrual period before the age of 10 were also more likely to have uterine fibroids, and early menstruation may result from hair products black girls are using, according to a separate study published in the Annals of Epidemiology last summer.

Three hundred African American, African Caribbean, Hispanic, and White women in New York City were studied. The women’s first menstrual period varied anywhere from age 8 to age 19, but African Americans, who were more likely to use straightening and relaxers hair oils, also reached menarche earlier than other racial/ethnic group.

​Just For Me may not be best for you.  

Fibroids are tumors that grow in the uterus and its very likely that you have a friend or family member with them. Fibroids range in size and can be as small as a pea or as large as a melon. It has been estimated that 20 to 50% percent of women have, or will have, fibroids at some time in in their lives. They are most common in women in their 30s and 40s, and tend to shrink after the menopause. Adding insult to injury, hair relaxers are not regulated by the FDA so there's no telling what other damage it's doing to the body.

Ladies, it may be time to go natural.

>via: http://www.loop21.com/life/study-hair-relaxer-linked-uterine-fibroids

 

 

 

 

 

HISTORY: I am your fellow man, but not your slave > Letters of Note

Friday, 24 February 2012

I am your fellow man,

but not your slave

 

In September of 1848, the incredible Frederick Douglass wrote the following open letter to Thomas Auld — a man who, until a decade previous, had been Douglass' slave master for many years — and published it in North Star, the newspaper he himself founded in 1847. In the letter, Douglass writes of his twenty years as a slave; his subsequent escape and new life; and then enquires about his siblings, presumably still "owned" by his old master. He even asks Auld to imagine his own daughter as a slave.

It's a lengthy letter, but perfectly written and such a valuable read. The final paragraph is also exquisite.

(Source: The Frederick Douglass Papers; Image below via Library of Congress; Image above, of Frederick Douglass, c.1874, via Wikipedia.)

Transcript

TO MY OLD MASTER.

Thomas Auld,

Sir:

The long and intimate, though by no means friendly, relation which unhappily subsisted between you and myself, leads me to hope that you will easily account for the great liberty which I now take in addressing you in this open and public manner. The same fact may possibly remove any disagreeable surprise which you may experience on again finding your name coupled with mine, in any other way than in an advertisement, accurately describing my person, and offering a large sum for my arrest. In thus dragging you again before the public, I am aware that I shall subject myself to no inconsiderable amount of censure. I shall probably be charged with an unwarrantable if not a wanton and reckless disregard of the rights and proprieties of private life. There are those North as well as South, who entertain a much higher respect for rights which are merely conventional, than they do for rights which are personal and essential. Not a few there are in our country who, while they have no scruples against robbing the laborer of the hard earned results of his patient industry, will be shocked by the extremely indelicate manner of bringing your name before the public. Believing this to be the case, and wishing to meet every reasonable or plausible objection to my conduct, I will frankly state the ground upon which I justify myself in this instance, as well as on former occasions when I have thought proper to mention your name in public. All will agree that a man guilty of theft, robbery, or murder, has forfeited the right to concealment and private life; that the community have a right to subject such persons to the most complete exposure. However much they may desire retirement, and aim to conceal themselves and their movements from the popular gaze, the public have a right to ferret them out, and bring their conduct before the proper tribunals of the country for investigation. Sir, you will undoubtedly make the proper application of these generally admitted principles, and will easily see the light in which you are regarded by me. I will not therefore manifest ill temper, by calling you hard names. I know you to be a man of some intelligence, and can readily determine the precise estimate which I entertain of your character. I may therefore indulge in language which may seem to others indirect and ambiguous, and yet be quite well understood by yourself.

I have selected this day on which to address you, because it is the anniversary of my emancipation; and knowing of no better way, I am led to this as the best mode of celebrating that truly important event. Just ten years ago this beautiful September morning, yon bright sun beheld me a slave—a poor degraded chattel—trembling at the sound of your voice, lamenting that I was a man, and wishing myself a brute. The hopes which I had treasured up for weeks of a safe and successful escape from your grasp, were powerfully confronted at this last hour by dark clouds of doubt and fear, making my person shake and my bosom to heave with the heavy contest between hope and fear. I have no words to describe to you the deep agony of soul which I experienced on that never to be forgotten morning—(for I left by daylight). I was making a leap in the dark. The probabilities, so far as I could by reason determine them, were stoutly against the undertaking. The preliminaries and precautions I had adopted previously, all worked badly. I was like one going to war without weapons—ten chances of defeat to one of victory. One in whom I had confided, and one who had promised me assistance, appalled by fear at the trial hour, deserted me, thus leaving the responsibility of success or failure solely with myself. You, sir, can never know my feelings. As I look back to them, I can scarcely realize that I have passed through a scene so trying. Trying however as they were, and gloomy as was the prospect, thanks be to the Most High, who is ever the God of the oppressed, at the moment which was to determine my whole earthly career. His grace was sufficient, my mind was made up. I embraced the golden opportunity, took the morning tide at the flood, and a free man, young, active and strong, is the result.

I have often thought I should like to explain to you the grounds upon which I have justified myself in running away from you. I am almost ashamed to do so now, for by this time you may have discovered them yourself. I will, however, glance at them. When yet but a child about six years old, I imbibed the determination to run away. The very first mental effort that I now remember on my part, was an attempt to solve the mystery, Why am I a slave? and with this question my youthful mind was troubled for many days, pressing upon me more heavily at times than others. When I saw the slave-driver whip a slave woman, cut the blood out of her neck, and heard her piteous cries, I went away into the corner of the fence, wept and pondered over the mystery. I had, through some medium, I know not what, got some idea of God, the Creator of all mankind, the black and the white, and that he had made the blacks to serve the whites as slaves. How he could do this and be good, I could not tell. I was not satisfied with this theory, which made God responsible for slavery, for it pained me greatly, and I have wept over it long and often. At one time, your first wife, Mrs. Lucretia, heard me singing and saw me shedding tears, and asked of me the matter, but I was afraid to tell her. I was puzzled with this question, till one night, while sitting in the kitchen, I heard some of the old slaves talking of their parents having been stolen from Africa by white men, and were sold here as slaves. The whole mystery was solved at once. Very soon after this my aunt Jinny and uncle Noah ran away, and the great noise made about it by your father-in-law, made me for the first time acquainted with the fact, that there were free States as well as slave States. From that time, I resolved that I would some day run away. The morality of the act, I dispose as follows: I am myself; you are yourself; we are two distinct persons, equal persons. What you are, I am. You are a man, and so am I. God created both, and made us separate beings. I am not by nature bound to you, or you to me. Nature does not make your existence depend upon me, or mine to depend upon yours. I cannot walk upon your legs, or you upon mine. I cannot breathe for you, or you for me; I must breathe for myself, and you for yourself. We are distinct persons, and are each equally provided with faculties necessary to our individual existence. In leaving you, I took nothing but what belonged to me, and in no way lessened your means for obtaining an honest living. Your faculties remained yours, and mine became useful to their rightful owner. I therefore see no wrong in any part of the transaction. It is true, I went off secretly, but that was more your fault than mine. Had I let you into the secret, you would have defeated the enterprise entirely; but for this, I should have been really glad to have made you acquainted with my intentions to leave.

You may perhaps want to know how I like my present condition. I am free to say, I greatly prefer it to that which I occupied in Maryland. I am, however, by no means prejudiced against the State as such. Its geography, climate, fertility and products, are such as to make it a very desirable abode for any man; and but for the existence of slavery there, it is not impossible that I might again take up my abode in that State. It is not that I love Maryland less, but freedom more. You will be surprised to learn that people at the North labor under the strange delusion that if the slaves were emancipated at the South, they would flock to the North. So far from this being the case, in that event, you would see many old and familiar faces back again to the South. The fact is, there are few here who would not return to the South in the event of emancipation. We want to live in the land of our birth, and to lay our bones by the side of our fathers'; and nothing short of an intense love of personal freedom keeps us from the South. For the sake of this, most of us would live on a crust of bread and a cup of cold water.
Since I left you, I have had a rich experience. I have occupied stations which I never dreamed of when a slave. Three out of the ten years since I left you, I spent as a common laborer on the wharves of New Bedford, Massachusetts. It was there I earned my first free dollar. It was mine. I could spend it as I pleased. I could buy hams or herring with it, without asking any odds of any body. That was a precious dollar to me. You remember when I used to make seven or eight, or even nine dollars a week in Baltimore, you would take every cent of it from me every Saturday night, saying that I belonged to you, and my earnings also. I never liked this conduct on your part—to say the best, I thought it a little mean. I would not have served you so. But let that pass. I was a little awkward about counting money in New England fashion when I first landed in New Bedford. I like to have betrayed myself several times. I caught myself saying phip, for fourpence; and at one time a man actually charged me with being a runaway, whereupon I was silly enough to become one by running away from him, for I was greatly afraid he might adopt measures to get me again into slavery, a condition I then dreaded more than death.

I soon, however, learned to count money, as well as to make it, and got on swimmingly. I married soon after leaving you: in fact, I was engaged to be married before I left you; and instead of finding my companion a burden, she was truly a helpmeet. She went to live at service, and I to work on the wharf, and though we toiled hard the first winter, we never lived more happily. After remaining in New Bedford for three years, I met with Wm. Lloyd Garrison, a person of whom you have possibly heard, as he is pretty generally known among slaveholders. He put it into my head that I might make myself serviceable to the cause of the slave by devoting a portion of my time to telling my own sorrows, and those of other slaves which had come under my observation. This was the commencement of a higher state of existence than any to which I had ever aspired. I was thrown into society the most pure, enlightened and benevolent that the country affords. Among these I have never forgotten you, but have invariably made you the topic of conversation—thus giving you all the notoriety I could do. I need not tell you that the opinion formed of you in these circles, is far from being favorable. They have little respect for your honesty, and less for your religion.

But I was going on to relate to you something of my interesting experience. I had not long enjoyed the excellent society to which I have referred, before the light of its excellence exerted a beneficial influence on my mind and heart. Much of my early dislike of white persons was removed, and their manners, habits and customs, so entirely unlike what I had been used to in the kitchen-quarters on the plantations of the South, fairly charmed me, and gave me a strong disrelish for the coarse and degrading customs of my former condition. I therefore made an effort so to improve my mind and deportment, as to be somewhat fitted to the station to which I seemed almost providentially called. The transition from degradation to respectability was indeed great, and to get from one to the other without carrying some marks of one's former condition, is truly a difficult matter. I would not have you think that I am now entirely clear of all plantation peculiarities, but my friends here, while they entertain the strongest dislike to them, regard me with that charity to which my past life somewhat entitles me, so that my condition in this respect is exceedingly pleasant. So far as my domestic affairs are concerned, I can boast of as comfortable a dwelling as your own. I have an industrious and neat companion, and four dear children—the oldest a girl of nine years, and three fine boys, the oldest eight, the next six, and the youngest four years old. The three oldest are now going regularly to school—two can read and write, and the other can spell with tolerable correctness words of two syllables: Dear fellows! they are all in comfortable beds, and are sound asleep, perfectly secure under my own roof. There are no slaveholders here to rend my heart by snatching them from my arms, or blast a mother's dearest hopes by tearing them from her bosom. These dear children are ours—not to work up into rice, sugar and tobacco, but to watch over, regard, and protect, and to rear them up in the nurture and admonition of the gospel—to train them up in the paths of wisdom and virtue, and, as far as we can to make them useful to the world and to themselves. Oh! sir, a slaveholder never appears to me so completely an agent of hell, as when I think of and look upon my dear children. It is then that my feelings rise above my control. I meant to have said more with respect to my own prosperity and happiness, but thoughts and feelings which this recital has quickened unfits me to proceed further in that direction. The grim horrors of slavery rise in all their ghastly terror before me, the wails of millions pierce my heart, and chill my blood. I remember the chain, the gag, the bloody whip, the deathlike gloom overshadowing the broken spirit of the fettered bondman, the appalling liability of his being torn away from wife and children, and sold like a beast in the market. Say not that this is a picture of fancy. You well know that I wear stripes on my back inflicted by your direction; and that you, while we were brothers in the same church, caused this right hand, with which I am now penning this letter, to be closely tied to my left, and my person dragged at the pistol's mouth, fifteen miles, from the Bay side to Easton to be sold like a beast in the market, for the alleged crime of intending to escape from your possession. All this and more you remember, and know to be perfectly true, not only of yourself, but of nearly all of the slaveholders around you.

At this moment, you are probably the guilty holder of at least three of my own dear sisters, and my only brother in bondage. These you regard as your property. They are recorded on your ledger, or perhaps have been sold to human flesh mongers, with a view to filling your own ever-hungry purse. Sir, I desire to know how and where these dear sisters are. Have you sold them? or are they still in your possession? What has become of them? are they living or dead? And my dear old grandmother, whom you turned out like an old horse, to die in the woods—is she still alive? Write and let me know all about them. If my grandmother be still alive, she is of no service to you, for by this time she must be nearly eighty years old—too old to be cared for by one to whom she has ceased to be of service, send her to me at Rochester, or bring her to Philadelphia, and it shall be the crowning happiness of my life to take care of her in her old age. Oh! she was to me a mother, and a father, so far as hard toil for my comfort could make her such. Send me my grandmother! that I may watch over and take care of her in her old age. And my sisters, let me know all about them. I would write to them, and learn all I want to know of them, without disturbing you in any way, but that, through your unrighteous conduct, they have been entirely deprived of the power to read and write. You have kept them in utter ignorance, and have therefore robbed them of the sweet enjoyments of writing or receiving letters from absent friends and relatives. Your wickedness and cruelty committed in this respect on your fellow-creatures, are greater than all the stripes you have laid upon my back, or theirs. It is an outrage upon the soul—a war upon the immortal spirit, and one for which you must give account at the bar of our common Father and Creator.

The responsibility which you have assumed in this regard is truly awful—and how you could stagger under it these many years is marvellous. Your mind must have become darkened, your heart hardened, your conscience seared and petrified, or you would have long since thrown off the accursed load and sought relief at the hands of a sin-forgiving God. How, let me ask, would you look upon me, were I some dark night in company with a band of hardened villains, to enter the precincts of your elegant dwelling and seize the person of your own lovely daughter Amanda, and carry her off from your family, friends and all the loved ones of her youth—make her my slave—compel her to work, and I take her wages—place her name on my ledger as property—disregard her personal rights—fetter the powers of her immortal soul by denying her the right and privilege of learning to read and write—feed her coarsely—clothe her scantily, and whip her on the naked back occasionally; more and still more horrible, leave her unprotected—a degraded victim to the brutal lust of fiendish overseers, who would pollute, blight, and blast her fair soul—rob her of all dignity—destroy her virtue, and annihilate all in her person the graces that adorn the character of virtuous womanhood? I ask how would you regard me, if such were my conduct? Oh! the vocabulary of the damned would not afford a word sufficiently infernal, to express your idea of my God-provoking wickedness. Yet sir, your treatment of my beloved sisters is in all essential points, precisely like the case I have now supposed. Damning as would be such a deed on my part, it would be no more so than that which you have committed against me and my sisters.

I will now bring this letter to a close, you shall hear from me again unless you let me hear from you. I intend to make use of you as a weapon with which to assail the system of slavery—as a means of concentrating public attention on the system, and deepening their horror of trafficking in the souls and bodies of men. I shall make use of you as a means of exposing the character of the American church and clergy—and as a means of bringing this guilty nation with yourself to repentance. In doing this I entertain no malice towards you personally. There is no roof under which you would be more safe than mine, and there is nothing in my house which you might need for your comfort, which I would not readily grant. Indeed, I should esteem it a privilege, to set you an example as to how mankind ought to treat each other.

I am your fellow man, but not your slave,

FREDERICK DOUGLASS.

P. S. I send a copy of the paper containing this letter, to save postage. F. D.