VIDEO: Black European music (women) - Black History Month special > AFRO-EUROPE

Saturday, February 9, 2013

Sara Tavares

 

 

Video:

Black European music

(women)

- Black History Month special

 

Because it's Black History Month a special Black History compilation of chart-topping Afro-European female singers who have made their mark nationally and internationally. Next week the men. Best way to start is with a video of Sade - Nothing Can Come Between Us (UK) of 1988.

Mica Paris - My One Temptation (UK) - 1988

Melis Sökmen - "Özlediğim" ("The one that I miss") (Turkey) - 1992

Native - Si la vie demande ça (France)- 1993

Zap Mama Adventures to Afropea I (Belgium) - 1993

Des'ree - You Gotta Be (UK)- 1994

Les Nubians - Makeda (France) - 1998

Awa Manneh - Shook Shook Shook (Sweden) - 2002

Buika - New Afro spanish generation (Spain) - 2005

Joy Denalane - Born & Raised (Germany) - 2005

Noah Sow & Das Heimlich Maneuver - Es brennt hier drin (Germany)- 2005

Tasha's world "glowing growing" (The Netherlands)- 2005

Sara Tavares "Bom Feeling live" Vrije Geluiden (Portugal)- 2007

 

 

 

VIDEO: Yoon Mi-rae aka Ms. T (Tasha)

#1 FEMALE EMCEE/RAPPER/HIP HOP QUEEN OF KOREA!
Biography
Tasha Reid (also known as Natasha Shanta Reid) is a Korean American R&B singer and rapper born in Portland, Texas on May 31, 1981 to an African American father and a Korean mother.

She is one of the leading female hiphop/R&B/Soul singers in Korea. Known as Queen of Soul in Korean music industry, she has been appointed as the ambassador/spokeswoman for DaMoonWha(Muti-Cultural Youth Organization). Making her debut at an early age of 16, she later formed Tashannie, a hip-hop and R & B duo in 1999 where she was the primary vocalist. In 2001, she started a solo career under the moniker T and was awarded in two categories at the Korea Music Awards, the prestigious music award in Korea. She monopolized the KMA by winning both the Best R&B/Soul album, and Best R&B/Soul song of 2008.

Tasha, who speaks Korean and English fluently, is one of the most influential rappers in Korea as well and is among the most influential female vocalists/rappers.

She is signed to Jungle Entertainment, the record company that releases hip hop/R&B/Soul records by Drunken Tiger. Tasha's new album was released in February 2007 via Jungle Entertainment.

Tasha is currently married to Drunken Tiger's, Tiger JK. Tasha gave birth in 2008 to a healthy baby boy named Jordan Seo.

Reid is part of Movement, a Korean hip-hop organization.

http://en.wikipedia.org/wiki/Tasha_Reid
20110920_beauty3

A little love for Ms. Tasha

 

With the news that Tasha and Tiger JK are coming back to the music scene this fall, we thought we’d give Tasha a little love.

I am a huge fan of Yoon Mi-rae, also known as Tasha Reid. Praised as one of the greatest hip-hop artists in Korea (along with her pioneer husband, Tiger JK) she’s long earned the respect of such fans worldwide for her poise, talent and determination to show the world her refined expertise and lifetime experiences. Tasha‘s background also intrigues me, since I can relate to nearly every single aspect of it. Being born to a South Korean mother and African-American father within the military, she was raised around racism and had major issues with it while growing up. While watching and listening to her song “Black Happiness”, I sympathized and my haunting memories of growing up with an eerily parallel childhood painfully began to resurface.

While I’ve only discovered her in 2009, her music and message immediately struck me as raw, pure, and full of passion and meaning. Unlike other foreigners in the Korean music scene, Tasha wasn’t afraid to discuss her past, to tell the truth, and to expose the hardships growing up was for her – simply because her of race, something she couldn’t change. In “Black Happiness”, she rapped her heart out with her natural hair, and the emotion was undeniable. Images of her as a child flashed by and you could even hear her father’s encouraging voice combined with her mother’s carefree and approving one. Tasha took both the good and bad experiences and turn them into an uplifting message of hope. Things will get better, her father said – and they certainly did.

 When she debut at 19, she was told that her mother’s race was all right, but her father’s was unacceptable. This too mirrors my own experiences – while raised in Hawai’i, Asians were everywhere and being half Korean was fine. However, I still got the occasional glare from older folks when my Mom and I walked into Korean supermarkets or restaurants because my other half was not. Music was her medicine, her way of dealing with the objections and alienation. Tasha’s father encouraged her to keep going and to push past the prejudices, and with a little luck and a lot of work, she eventually reached the stardom and respect she has today.

Tasha‘s journey to being referred to as the “Queen of Hip-Hop and Soul” in Korea wasn’t easy. Her talent is undeniable and her determination is refreshing and inspiring. However, I can’t help but feel a little sad for her. As much as I admire her for working so hard, it seems she’s still had to conform to the music industry’s beauty standards so she could be taken seriously.

 

What I’m talking about is her skin color, the very thing she was ridiculed for as a child.

Earlier images of Tasha’s debut in her late teens showed her as a tanned biracial girl with large, bouncy curls. She looked distinctly mixed, plain and simple. Today, her skin color’s very light, the shade made brighter by more than a few notches. Even her curls have mostly gone away, replaced by shiny, pin-straight locks. US fans have commented  that she doesn’t look Black at all, or that her heritage is hard to distinguish. People wonder if she’s had to use skin whitening techniques to lighten her skin to an acceptable pale requirement by the entertainment industry in Korea.

Nevertheless, she is beautiful and she shines brightly as someone who deserves the titles she’s been bestowed. However, I can’t help but wonder just how painful it may have felt to still have to conform to standards she fought hard to rebel against. Maybe it’s a necessary evil that had to be done so people could listen to her message and hear her voice without putting her skin color on the table. I wonder – would Tasha be able to get The Body Shop and Adidas endorsements, even with her husband, if she kept the tanned skin?

Racial issues in Korea apparently still exist, albiet very quietly and remain mostly unspoken. Tasha is gorgeous no matter what, and I will keep cheering her on and supporting her and her family’s message. I’m just shaking my head at the extreme pressure she and many other foreign celebrities in Korea had to face. These people had their hook, their reason for standing out and being different – yet, they still have to conform to looking like everyone else anyway.

I don’t know. Maybe it’s a good thing. Maybe looking like everyone else, yet using your voice to make you stand out is the intention. If your music is great, that should be enough to have you become the star you were aiming to be, even if your appearance is mainly undistingishable from the rest by the majority.

I’m looking forward to Tasha and Tiger JK‘s upcoming album releases, and I’ll watch their son Jordan and see if he follows in their footsteps. If so, he’s going to be a powerhouse, a force to be reckoned with, and I can’t wait to see him take the haters by the throat and make them eat their words.

(Chosunilbo)

 

PUB: Guidelines « Campbell Corner

Campbell Corner Poetry Contest 

The Campbell Corner Poetry Contest announces its fifteenth Annual Poetry Prize. Poems that treat larger themes with lyric intensity are especially welcomed by the judges.

The Campbell Corner Poetry Contest offers a prize of $3,000. Winners are invited to give a public reading, and their poems will be published on the Campbell Corner website.

To enter the poetry competition, submit poems to:

Campbell Corner Poetry Contest
Sarah Lawrence College
1 Mead Way
Bronxville, NY 10708-5999

All entries for Campbell Corner’s fifteenth Annual Poetry Prize must be postmarked by March 15, 2013. Omit author’s name on manuscript and include a cover sheet with name, address, phone, and e-mail.

Maximum length for submitted manuscripts, excluding cover sheet, is 20 pages total.

Entrants must submit three printed copies of their submission.

The entry fee is $25; checks should be made payable to Sarah Lawrence College.

Previously published work is accepted, but when and where published should be noted on the cover sheet.

Winners are announced on the website in July of the contest year.

 

PUB: The 2013 Eludia Award Guidelines « Hidden River Arts

NOTE: Please see “News” for the announcement of the winner of the 2012 Eludia Award.

Hidden River Publishing announces the opening of our second Eludia Award, for a first book-length unpublished novel or collection of stories. The prize is open to women writers age 40 and older, who do not yet have a book-length publication of fiction. (Book length publications in other genres are fine.) The winning manuscript will be published on our imprint, Sowilo Press, and will receive $1000 plus ten copies of the book. Manuscripts accepted from November 1, 2012. Deadline March 15, 2013. Winner will be announced October 8, 2013. Entry fee $25.

All submissions must include name, address, telephone number, email, website (if you have one), a biography (including birthday) and resume, full synopsis and full manuscript. Online submissions strongly encouraged. Please note that, when submitting online, all materials must be combined into ONE document before uploading. Be sure to upload all required materials, including the synopsis BEFORE the manuscript, which should be uploaded last. To submit online please go to Submittable. and submit to the category “Eludia Award”.

All awards are decided by Hidden River staff, and decisions are final.

Deadline: March 15, 2013. Winning manuscript will be announced October 8, 2013.

Note: All submissions will be considered for regular publication by Sowilo Press in addition to consideration for The Eludia Award.

PAYPAL: We accept PayPal for the Submission Fee for email submissions ONLY. If you pay through PayPal, please be sure to include a copy of your PayPal receipt in your emailed submission packet, OR a confirmation number in your email submission packet.

 

 

PUB: 2013 Poetry Prize > Indiana Review

Indiana Review’s 2013 Poetry Prize Guidelines

$1,000 Honorarium and Publication

Final Judge: Nikky Finney

 


POSTMARK DEADLINE:  February 1-April 1, 2013

Reading Fee: $20 USD—Includes a one-year subscription

 

The winner of our contest will receive $1,000 and publication in Indiana Review.
All entries are considered for publication.
All entries are considered anonymously.
 
Previously published works and works forthcoming elsewhere cannot be considered.

Simultaneous submissions are okay, but the fee is non-refundable if accepted elsewhere.

Multiple entries are okay, as long as a separate reading fee is included with each entry.

Further, IR cannot consider work from anyone currently or recently affiliated with Indiana University or the prize judge.


TO SUBMIT:

  • Send no more than three poems per entry, 8 pages maximum.  Entrant’s name must not appear on the submission.
  • Cover letter must include name, address, phone number, and titles. Entrant’s name should appear ONLY in the cover letter.

  • Each fee entitles entrant to a one-year subscription, an extension of a current subscription, or a gift subscription. Please indicate your choice and enclose complete address information for subscriptions. International addresses, please add $12 for postage ($7 for addresses in Canada).

  • Click here for our submission manager. Be sure to select the genre “Poetry Prize 2013.”
  • We prefer that you pay online. If online payment is impossible, please make checks payable to Indiana University. Please note that we cannot accept money orders or checks from foreign banks. We cannot accept checks made out to Indiana Review.
    Send checks to:
    Poetry Prize
    Indiana Review
    Ballantine Hall 465
    1020 E. Kirkwood Ave.
    Bloomington, IN
    47405-7103

 

 

Nikky Finney was born in South Carolina, within listening distance of the sea. A child of activists, she came of age during the civil rights and Black Arts Movements. At Talladega College, nurtured by Hale Woodruff’s Amistad murals, Finney began to understand the powerful synergy between art and history. Finney has authored four books of poetry: Head Off & Split (2011); The World Is Round (2003); Rice (1995); and On Wings Made of Gauze (1985). The Guy Davenport Endowed Professor in the Department of English at the University of Kentucky, Finney also authored Heartwood (1997), edited The Ringing Ear: Black Poets Lean South (2007), and co-founded the Affrilachian Poets. Finney’s fourth book of poetry, Head Off & Split was awarded the 2011 National Book Award for poetry.

 

VIDEO: Happy Birthday Alice Walker - February 9, 1944

ALICE WALKER

unhistorical:

February 9, 1944: Alice Walker is born.

Alice Walker, best known for her 1982 novel The Color Purple, was born in Georgia - the youngest of eight children - to a sharecropper and a maid. She began writing at age eight and, despite living in an area where Jim Crow laws existed until the mid-1960s, she attended Spelman College and later Sarah Lawrence College; at Spelman, she met Howard Zinn (A People’s History of the United States) and Martin Luther King, Jr, who inspired her to take part in the Civil Rights movement; she participated in the 1963 March on Washington and, after graduating, Walker volunteered to help disenfranchised black voters in her home state register to vote.

In a 1975 essay, Walker helped revive interest in an overlooked black, female author of the Harlem Renaissance - one who, liked herself, wrote on the experiences of black women in the South - Zora Neale Hurston. In 1982, she published The Color Purple, and, like many of her other novels, short stories, and poems, it explored the double barrier of prejudice faced by women of color. In 1983 The Color Purple won its author the Pulitzer Prize for Fiction and the National Book Award for Fiction. Walker has also received an O. Henry Award and several awards from humanist organizations, and she was inducted into the California Museum’s Hall of Fame for both her literary accomplishments and for her “advocacy on behalf of the dispossessed”. 

(via black-culture)

 

VISUAL ART + VIDEO: IN THE EYE OF THE SPIRAL > Vimeo

IN THE EYE OF THE SPIRAL

Short Film

In The Eye of the Spiral is a documentary film project featuring seven of Haiti’s most prominent living artists. Taking as its point of departure the notion of dynamic chaos incarnated by the incomparable writer-painter-philosopher Frankétienne, this film proposes a new narrative for the embattled Haitian Republic – a narrative steeped in the vitality, the mysticism and, ultimately, the hopefulness of artistic creation. Frankétienne has been on the shortlist for the Nobel Prize in literature and is a co-founder of a philosophical movement called Spiralism.

Each one of the artists who lends his voice to this production seeks to make plain his persistent faith in Haiti’s capacity to build an extraordinary future. Each understands clearly the essential contribution that the individual – the painter, the writer, the musician, the artisan – can make to establishing a positive global presence for this island nation.

It is our aim with In the Eye of the Spiral to sustain and nourish this vision by providing a platform – by circulating Haiti’s contemporary artistic perspectives into the wider world. To realize this objective, we must now build on the momentum we have already generated by garnering additional funding for the editing of the more than thirty hours of footage filmed during our most recent trip to Port-au-Prince.

The movie will feature Annie Lennox as the Principal Narrator.

We ask that you visit the website of the Haitian Cultural Foundation (haitianculturalfoundation.org ) for further information on this ambitious and timely project.

It is our sincere hope that you will help to support this journey.

Raynald Leconte
CEO and Director – Haitian Cultural Foundation

Haitian Cultural Foundation (HCF) haitianculturalfoundation.org

HCF is a volunteer organization and no executive officers or board members have received a fixed salary since the organizations inception.

HCF is a US IRS registered 301-(C)-3 charity, and all donations are tax deductible to the full extent of the law.

Board Members

Current members: Raynald Leconte, Eve Blouin, Kaiama Glover, Robert Beevers, Isabel Hegner

“The principles of reflexivity argue that patterns can be broken. We believe that the art of this nation can be the catalyst to begin a positive and expanding spiral for the people of Haiti.” Haitian Cultural Foundation April 2012

From: Annie Lennox
Sent: Friday, April 13, 2012 3:17 PM
To: Raynald
Subject HCF Haiti Teaser Synopsis Film Doc

Hi Raynald..Thank you for sending me your film. You should feel very proud!
It is wonderful to connect with these artists, who have so much to offer the world.
With dignity, profundity and clear sighted visionary power and wisdom, they uphold the cultural/ spiritual identity of an incredible country that has been ravaged by exploitation, poverty, corruption, violence and catastrophe… consistently and in every sense. Nature just dealt the most brutal stroke after mankind did their worst..in my limited view.
I'd be very happy to lend my voice in terms of support for what you're doing…If a quote would be useful..please use the above..
Sending lots of love for now from Annie xxx

via vimeo.com

 

VIDEO: Debate on Being Black in Canadian culture > AFRO-EUROPE

Video: Debate on being Black

in Canadian culture

 

   

A great video on Being Black in Canadian Culture. The invited guests talk about the comparison between the African-American and the Black Canadian experience, why some young people don't like Black History Month and about the pros and cons of Tyler Perry.

The guest are:
  • Ato Quayson, professor of English and director of the Centre for Diaspora and Transnational Studies at the University of Toronto
     
  • Esi edugyan, author of "Half-Blood Blues" 

  • Donna Baily Nurse, literary journalist 

  • Kwame McKenzie, psychiatrist at the Centre for Addiction and Mental Health and a professor in the Department of Psychiatry at the University of Toronto 

  • Dwayne Morgan, Poet 
It could have been a discussion about the Afro-European experience.

 

 

HISTORY: 1967-1973: GI resistance in Vietnam - a personal account by Dave Blalock > libcom-org

1967-1973:

GI resistance in Vietnam

- a personal account

by Dave Blalock


1967-1973: GI resistance in Vietnam - a personal account by Dave Blalock

Vietnam veteran Dave Blalock was one of the defendants whose Supreme Court legal challenge overturned Pres. Bush's law prohibiting the burning of the U.S. flag. The following piece details his experiences in Vietnam.

 

Ain't Marchin' Anymore:
GIs Revolt in Vietnam

 

by Dave Blalock

 

I grew up in Western Pennsylvania, in a coal mine/steel mill region. I graduated from high school in '67. At that time, you couldn't really get a job in the mills or mines unless you had a draft exemption. About the only way to get a draft exemption was going to college or getting married. I got lousy jobs, flipping burgers and that sort of thing, but I didn't have an exemption. A couple of us decided we might as well go in the Army. There was a little of that patriotism and it was the traditional thing anyway. Everybody went in the army, everyone's father and uncle had been in the army. It seemed like the only thing to do, so I went and saw the recruiter and signed up to be a communication specialist. While I was in basic training, I went AWOL and ended up in the Fort Jackson stockade. Shortly after I got sent to the stockade there was a stockade uprising after the guards blew away a couple Black dudes. The MPs came in with gas and dogs. That was an eye opener. Because of where I grew up, I hadn't really known any Black people and didn't know what they were up against. The Army, and this stockade experience, was my first glimpse of what life was like for them.

Eventually I was released from the stockade and sent back to complete basic training. My Company Commander told me that since I had been to the stockade, and now had a "record," I probably wouldn't be allowed to keep my MOS (military job category). He said I would have to prove to the government that I was sincere and loved my country. He told me the only way I could prove myself was to volunteer for Vietnam. I said, "OK" and was sent to Fort Gordon, GA for communication school.

One day we came back to the company area from training classes, and on all the bunks were copies of an underground GI newspaper called the Last Harass. The officers were running around trying to snatch them up, but one guy managed to save a copy of it. That copy was passed around through the whole barracks, hand to hand. "Wow," I thought, "this is really cool." After the stockade and basic training, I hated the whole set-up with a passion. The underground paper had an anti-war edge and was definitely anti-military, almost like a union paper would be. And since the officers really hated it, I liked it even more. The paper was my introduction to the underground movement of GIs, but I never really hooked up with it before I got my orders to go to Vietnam.

I arrived in Vietnam right around the Tet holiday, 1969. The first thing I noticed, besides the fact that everyone was nervous about Tet, was that everyone was wearing peace signs. Black Power stuff was everywhere, and everybody seemed to have a FTA ["Fuck The Army"-Ed.] attitude. I was assigned to a communications unit on a little camp called Long Than North. At least I wasn't in the infantry, so I figured I didn't have it too bad.

But after about two months, they decided to set up a Security Platoon to do guard duty as the gate guard, tower guard, and to do short range patrols. Every company in our little complex had to provide 4 or 5 people to be part of this Security Platoon. I was the new guy in my unit, so I ended up in the Security Platoon. I didn't know what to expect. I had enlisted and then volunteered for Viet Nam to be a communications specialist, and here I was in this. But the security platoon turned out to be a very loose sort of unit. The Commanding Officer was from S-2, Intelligence, but he never came around. The Sergeant that ran the show was this Black dude named Sugar-Bear. Right after I arrived, Sugar-Bear pulled me aside and said, "Blalock, we ain't here to kill no VC, we're here to fuckin' survive. If you want to be gung-ho, you're gonna die quick." I said "Hey, no problem, man, I ain't gung-ho, I don't even want to do this shit." We got along fine. The security platoon did what we called "Search and Avoid" patrols, instead of "Search and Destroy." When we were supposed to go out on night patrol, we'd go out about a quarter of a mile to this rubber plantation, and hang out there all night. There wasn't much action because generally there was an unofficial truce with the local VC. We didn't mess with them and they didn't mess with us. The only time we even went by the village was when we'd drive the deuce-and-a-half into the ville each morning to pick up the house girls who we had hired to clean our hooches. Each evening we'd drive them home again. Whenever we went by the ville, it was a friendly scene, we'd go by, say "Hi," and we'd split.

I remember one time when Sugar Bear asked me if I knew what imperialism was. I said "What, you mean Chrysler Imperial?" He just about fell over laughing, but he invited me to join these discussion groups they were having. He was getting the Panther Paper in the mail. We'd have these discussion groups about the paper, most all the Black guys, and quite a few of the whites too. That's where I learned the accurate spelling of "Amerikkka."

This was about the same time that this other incident occurred. I came in from a night patrol and went into the hooch and flopped down on the bunk. I noticed the house girls were unusually quiet, and one was crying. I thought for a minute one of the guys had given one of them a bad time or something. I kept asking "What's wrong, what's wrong?" Finally one of them told me: "Ho Chi Minh died." "So what, he's a communist," I replied. "What's the big deal?" She went into this whole rap. She knew American history better than I did, and she told me how "in the U.S. when you had your revolution against the British imperialists, a third of your population were for the revolution, a third didn't care and about a third backed the British. Here in Vietnam, 75% of the people back the revolution against the imperialists. Ho Chi Minh is our national leader, everybody loves Ho Chi Minh." She went on to compare the Vietnamese war against imperialist domination to what had gone on in the U.S. against the British. That conversation shocked me. There she was, in our barracks, and she was sympathetic to the revolution and saw it as an anti-imperialist struggle! I knew the VC were all around, but until then I hadn't really known the VC first hand. Here was this woman who shined our boots and did our laundry and all of a sudden I realized that she was who we were supposed to be fighting against. I realized right then that the U.S. was on the wrong side of a terrible war of aggression.

Frag!

In August, '69, we got some new guys in the Security Platoon, burn-outs from the First Cav. I think they were supposed to be on easy duty for a while to try to get themselves back together. I remember one day we went out on patrol. We told them, "Just take it easy, tag along, we're just going into the ville to pick up some stuff." As we're leaving the ville we hear these burn-outs open up. They blew away a bunch of people, couple kids. We all ran back there and immediately a big debate broke out among the other guys. Some thought we ought to kill these assholes right on the spot for what they had done. Maybe we should have, because after that we started getting hit by the VC. But before we could decide, the Commander caught a chopper out into the field-he was so happy to finally be getting a body count. There were 6 or 7 civilians who were killed. But in the report that went from Battalion to Brigade level, they doubled the numbers. It must have kept getting pumped up all the way up the chain of command because by the time the incident was reported in my home town paper, which I got in the mail, the count was two hundred VC killed.

Our side had broken the unofficial truce and now we started getting hit. The guys wanted to get back to "Search and Avoid." Unfortunately the Brass, from the comfort of their desks, had the scent of blood. Our Company Commander started putting a lot of pressure on us to get some body count. We started getting harassed about our hair, the Black guys were getting harassed about their Black Power symbols and their Afros, and generally life was getting miserable.

After putting up with an awful lot of this constant harassment, the GIs had this big gathering in the bunkers one night. The debate was over whether to frag the Company Commander. The Brothers were mainly the ones who wanted to waste him. We all hated him, but some people didn't think we ought to kill him. To settle the thing, somebody put forward that maybe we could unite around giving him one more chance, just give him a warning, and everyone generally agreed. Somebody left a grenade on the CO's bunk with a note tied to it, "Quit fucking with us."

The CO flipped out, and intensified all the shit he was bringing down on us. So about two weeks later, there was another meeting of the GIs in the bunkers. There was even more sentiment to waste the CO, but one guy had worked in a union shop before the service, and he said "Look, we'll give him a final warning," so that's what happened. This time the pin was pulled part way out of the grenade. You give a guy a chance, you bend over backwards, show good faith, and try to be reasonable.

But instead of getting a clue, the CO heaped it on everybody even more, with even more intensified harassment and bullshit. The CO must have thought that the warnings were coming from the Security Platoon, because all of a sudden there were all these new guys in our Platoon, obviously Military Intelligence. But we were just a small Platoon in the whole place, and we were being real cool, because we weren't the ones anyway. About a week later, the CO opened the door to his hooch and a charge went off and blew him away. For a while after that, everybody was nice to us, everybody was friendly-it was like a fresh breeze blowing in the air. None of us ever figured out who fragged the CO.

GI Strike

The next CO they brought in was a lot slicker than the old one. Everything was going pretty well, but then a guy in our Platoon went to Hawaii for R&R and met his girlfriend there. When he came back, we were hanging out in the bunkers partying. He walks in and pulls out a full page ad from the New York Times, signed by 1500 active duty GIs denouncing the war, and supporting the big moratorium demonstration that was going to happen. The talk started going around and we all thought it was pretty neat. We started talking about what could we do here to add to the anti-war protest. Finally we decided to use our boot strings as black armbands, and on a certain day we would wear them and refuse to go on patrol. Then one sergeant said, "Let's shut the whole base down, let's not keep this just in our own unit." We knew guys in the First Cav, and in the Engineers and pretty much all over base. We spread the word around to the other units and when that day happened, it was 100% in my company. The CO was pretty slick though, so rather than make a big deal out of it, when he saw all the black armbands, he said, "Hey, you guys have been working pretty hard, and I'm going to give you guys a break today. You don't have to go on patrol, take a day off." We jumped into a vehicle and drove around to the other units to see how it was going with them. It was pretty wide spread in the other units too. The guys in the First Air Cav, were pretty much 100%. Even some of the Warrant Officers were wearing the black arm bands. But it had only been partially successful over at the Engineers. As we drove up, their CO was standing in front of the formation, with his pistol out, holding it up to one guy's head, saying that he was going to give the guy a summary court martial right on the spot if anybody didn't go to work that day. The CO said he would charge the guy with mutiny and shoot him on the spot. We could see that only part of the formation was wearing the arm bands, and it looked like the CO was scaring everybody pretty bad. We were pretty bummed out, but then the formation was dismissed and one guy came over to us and said slyly, "Don't worry, nobody around here will work for weeks, we fucked up all the bulldozers!"

But probably the wildest thing that happened that day was the MPs. There was a small MP detachment-dog handlers. They ran the sound system on base. We didn't even think of going to them, we figured, "Oh they're MPs," but they got wind of the thing somehow. That morning, instead of playing reveille over the loudspeakers, they played Jimi Hendrix's "Star Spangled Banner." That's how we woke up, all over the base that morning.

Bringing the War Home

When I got back to the world, I still had a year and a half left before discharge. What I had to show for being in Vietnam was a piece of shrapnel that cut me right above my eye, messed up knees from when a guy landed on them backwards during a mortar attack, and a new and strong understanding of the ugly face of America. The GI anti-war movement was flourishing, and I was glad to join right in. I was determined to bring the war home. We had a GI organization, put out leaflets, underground papers, did all sorts of things to harass the military, pushed real hard on the anti-war stuff, linked up with the local civilian Black rights movement there in Anniston, Alabama, linked up with striking hospital workers locally, and generally used our remaining time in the military to act on the understandings we had gotten in Nam.

For me the GI movement was a big and very positive thing. All my patriotism was blown away in Vietnam. I loved the rebelliousness of the GI movement. It concentrated the spirit of so many people and really, that spirit carried me for years even after I got out of the service. Of course, like so many others, I found myself getting a job, having kids and everything that goes with that. But reality has a way of forcing itself back in your face. The images never leave my mind about the war and what we did to people over there. But I always think about how many of us stood up to all that bullshit and helped turn it around, too. That hasn't happened very often in history.

After I got arrested in DC for burning the flag, the press asked my brother was he embarrassed by me burning the flag. My brother says, "Hell no, he wanted to burn a flag from the day he came back from Vietnam. I'm surprised it took him 20 years to decide." That's where I'm coming from, my experiences. I came back, eyes open very wide. Now I'm saying "enough is enough."