PUB: Sunken Garden Poetry Prize > Writing contests for writing people!

Sunken Garden Poetry Prize
First Prize: $1,000. Chapbook publication by Hill-Stead Museum, 15 free copies and a 20-minute introductory reading preceding the evening's featured poet in the Sunken Garden Poetry Festival, summer 2012.

Second Prize: $350. Brief introductory reading in the Sunken Garden Poetry Festival, summer 2012.

Competition Judge: Tony Hoagland, poet, National Book Critics Circle Award Finalist, and professor at the University of Houston.

Deadline: Entries must be postmarked between July 15 and October 15, 2011. Winners to be announced January 1, 2012.

Reading fee: $30 payable by check to Hill-Stead Museum, to benefit the 2012 Sunken Garden Poetry Festival.

Eligibility
• Previous winners of the Sunken Garden Poetry Prize are ineligible
• Poets featured in the Festival 1999–2011 are ineligible
• Translations and previously published or self-published books are ineligible
• Previously published poems with proper acknowledgment are acceptable.

Guidelines:
• Submit 20–32 pages (no more than one poem per page) and $30 reading fee

• Manuscripts should be paginated consecutively, with a table of contents and acknowledgements page, and bound with a clip.

• Include two cover pages, one with title only, and a second with your name, address, telephone number(s), email address, and title of the manuscript. Your name must not appear elsewhere on the manuscript.

• Manuscripts are judged anonymously.

• No manuscripts will be returned.

• Simultaneous submissions to other publishers are permitted. Notify Hill-Stead by email at poetry@hillstead.org if manuscript is accepted elsewhere.

Mail manuscript and entry fee to:

Artistic Director, Sunken Garden Poetry Festival
Hill-Stead Museum
35 Mountain Road
Farmington, CT 06032

Hill-Stead Museum, a non-profit 501(c)(3) corporation, adheres to the Contest Code of Ethics adopted by the Council of Literary Magazines and Presses.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

VIDEO: Celebrating Steve Biko

Steve Biko


<br />Steve Biko - A Story of Hope and Triumph <i>by jasonwriter</i>

>via: http://www.dailymotion.com/video/x9644b_steve-biko-a-story-of-hope-and-triu_c...

__________________________ 

Steve Biko Died Today…

(“Cry Freedom”)

biko

Today in history… September 12th, 1977, South African black student leader Steve Biko died while in police custody, triggering international outrage.

In 1987, Richard Attenborough directed the movie Cry Freedom, a biographical drama about Biko starring Denzel Washington and Kevin Kline.

The film, while certainly well-intentioned, was essentially a Hollywood white-washing of the Apartheid-set story (business as usual). For his efforts, Denzel was nominated for the Best Supporting Actor Academy Award.

Also worth noting, in 1980, Peter Gabriel told the Steve Biko story in the track titled Biko, from his album, Peter Gabriel. Watch the music video for it below (and the trailer for Cry Freedom underneath):

__________________________

Steve Biko speaks on

The Black Consciousness Movement

 on Nov 23, 2009

This is a rare interview which took place just before his assasination.

 

>via: http://www.youtube.com/watch?v=6ZHDPTE4TXk

 

 

__________________________

 

 

 

 

 

A Tribe Called Quest 

- Steve Biko stir it up

 

[Q-Tip]
Queens is in the house represent, represent
A Tribe Called Quest represent, represent
No tamin of the style cuz it gets irreverent
A Tribe Called Quest represent, represent

Huh-huh, here we go
You know that I'm the rebel
Throwin out the wicked like God did the Devil
Funky like your grandpas drawers, dont test me
We in like that, youre dead like Presley
When we comin through get tickets to see me
We work for the paper so therell never be a preemie
Lyrics are abundant cuz we got it by the mass
Egos are all idle cuz the music is the task
Valenzuela on the pitch, curveball, catch it
I think I got it locked, just smooth while I latch it
Right
Now I must move with the quickness
Here comes Shaheed so we must bear the witness

Chorus

Stir It Up x3
Steve Biko

Stir It Up x3
Steve Biko

Verse 2

[Phife]
New York City represent, represent
A Tribe Called Quest represent, represent
The Dawg is scientific with the styles I invent
A Tribe Called Quest represent, represent

MCs like to meddle, but heres my proposition
I let my lyrics flow, and jumped your whole position
I'm radical with this like the man this song is after
Yo Tip settle down, whats the reason for the laughter?

[Q-Tip]
I really cant say, I guess I laugh to keep from cryin
So much goin on, people killin, people dyin
But I wont dwell on that, I think I'll elevate my mental
Thanks for these bars on the Biko instrumental

[Phife]
Yo I take it back, Im the Indian giver
MCs take notes as I stand and deliver
Percussion isnt less, D's wear the vest
While they dodgin bullets, you should be dodgin Quest
Dont get me wrong, violence is not our forte
I just like to rhyme, kick the lyric skills like Pele
Tip educateem, my rhymes are strictly taboo
Fill em with some fantasies and I'll look out like Tattoo

[Q-Tip]

Okay
I am recognizing that the voice inside my head
is urging me to be myself but never follow someone else
Because opinions are like voices
we all have a different kind
So just clean out all of your ears
these are my views and you will find that
we revolutionize over the kick and the snare
The ghetto vocalist is on a state-wide tear
Soon to be the continent and then the freakin globe
Theres room for it all as we mingle at the ball
We welcome competion cuz it doesnt make one lazy or worn
We gotta work hard, you know the damn card
Try to be the fattest is the level that we strive
Try to be the fattest also to stay alive

 

>via: http://www.youtube.com/watch?v=NkTHdPI3HQQ


 


 

VIDEO: Film "Le bonheur D'Elza" - Afro-Caribbean Arts Awards Nominee on 12 Sept 2011 > AFRO-EUROPE

Film "Le bonheur D'Elza"

- Afro-Caribbean Arts Awards

Nominee on 12 Sept 2011

 

Photo: Stana Roumillac and Vincent Byrd Le Sage

The French film Le bonheur D'Elza, directed by Mariette Monpierre, is nominated for the French "Trophées des Arts Afro-Caribéens (FAAC) 2011" ("Afro-Caribbean Arts Awards") in the category Cinema.

The awards ceremony will be held at the Théâtre du Châtelet in Paris France on September 12.



Synopsis
A single mother in Paris, Bernadette tried hard to give her daughters everything. She is thrilled when her eldest, Elza, the first college graduate in the family, completes her master's degree summa cum laude. But, Elza breaks her mother's heart by running away to their native Guadeloupe in search of a distant childhood memory: the father she barely remembers.

This feature debut by writer/director Mariette Monpierre offers an unusual insider's view of lush island culture as she captures the passion and contradictions of this family.

Website film at www.lebonheurdelza-lefilm.com

Website Trophées des Arts Afro-Caribéens (FAAC) at www.lestaac.com

 

 

 

 

VIDEO: Youssef Chahine’s Cairo « AFRICA IS A COUNTRY

Youssef Chahine

Youssef Chahine’s Cairo

September 12, 2011

by Sophia Azeb

The late, great Egyptian director Youssef Chahine shot this drama/documentary/biography on Cairo for television in 1991. As brilliant and beautiful a depiction of the city as any, Chahine infused the story with his usual political narratives–power, wealth, poverty, racial diversity, corruption and love. It is truly the most fantastic portrayal of Cairo ever produced.

Chahine was also well known for his sense of dark humour. Enjoy, in the first part of the film*, his brainstorming with other filmmakers on what the French must want from a documentary on Cairo.

 

 

PHOTO ESSAY + OP-ED: A Deeper Look At 9/11

Alan Chin on

“the 9/11 Decade”:

Beyond Pushpins

On A Calendar


September 11th, 2011: The 10th anniversary in Lower Manhattan.

I lived on the Lower East Side, but I slept through the impacts of the planes striking the Twin Towers, and only the ringing telephone woke me up. My brother in Michigan told me the news, and as he spoke I noticed that the normal sounds of street traffic were entirely gone, in their place the wail of sirens from emergency vehicles barreling downtown at very high speed. I switched on the TV, but couldn’t get any reception except for one faint, fuzzy station; the antenna had been on top of the World Trade Center. But that was enough.

Approximately 9:50 AM, September 11, 2001, on the corner of Church and Vesey Streets.

I rushed there and shot one roll of film before the South Tower exploded and I ran with a few police officers and firefighters into the basement of an office building, thinking that the tower might fall on top of us. When we emerged, the entire world had changed. My father, who knew I had gone to the scene, told me later that he was sure I was dead, watching the explosion from the coffee shop in Chinatown where he went for breakfast.


Approximately 11 AM, Broadway and Liberty Street.

Day became twilight gloom with smoke and ash, and for the next minutes and hours, I photographed on autopilot, unable to comprehend what had happened: One plane might be a horrific accident; two made no sense whatsoever.

I wasn’t the only one to revert to Cold War thinking, imagining a Soviet or Chinese pre-emptive strike even though the Soviet Union didn’t exist any more and China didn’t have the range. If World War Three was beginning, why wasn’t it nuclear, and all of us dead, or at least a steady stream of cruise missiles raining down upon the city? Only later in the day, as more details emerged, did I understand that I had just witnessed the most murderous, and hence effective, terrorist attack in history.


December 3, 2001: Northern Alliance soldiers wait in a snowstorm while their commanders negotiate the surrender of a group of Taliban still holding out in Balkh, Afghanistan.

Two months later, flying from JFK for Afghanistan, we could see Ground Zero still burning. It was a just war with universal outrage and support. The Uzbek navy ferried journalists across the Amu Darya River into northern Afghanistan, French paratroopers held the Mazar-i-sharif airfield, and small American teams were attached to each Northern Alliance unit. The conventional fighting was easy, and six thousand Taliban, Pakistanis and other foreigners of Al-Qaeda’s Islamist international brigade surrendered in Kunduz.



December 2, 2001: Thousands of Taliban soldiers were transported to a prison in Seberghan controlled by Northern Alliance general Abdul-Rashid Dostum. A prisoner looks out of the rear gate of a container truck as it enters the prison gates.

That was when I first began to realize that something was going seriously wrong in George W. Bush’s America, when at least a thousand of those prisoners died en route to prison, either suffocated in overcrowded trucks or helplessly massacred by vengeful Northern Alliance soldiers. The Geneva Convention was discarded, selected captives whisked away to Guantanamo Bay, and the United States was participating in or silently complicit to war crimes, under the exculpatory claim that we were fighting neither proper national states nor could our enemies then be considered simple, if arch, criminals. In that gray area, the laws of war and due process disappeared down a black hole.

But still, I could not come to those conclusions quickly. Bosnia and Rwanda had taught many of my generation to distrust pacifism and embrace humanitarian intervention. The America I grew up in had checked a previous era’s excesses by impeaching Nixon and welcoming cultural, racial, gender diversity in gradual, but meaningful ways. It was hard to believe and accept that with no evidence linking 9/11 to Saddam Hussein’s Iraq, President Bush would lead the nation into another, entirely unnecessary, war. Osama Bin Laden remained at large and the Taliban a threat.


March 30, 2003: The British Army attacking Basra, Iraq’s second largest city.

In my own life, my father died suddenly of a medical error in December 2002 and for me the rush to war receded into the background, a charade of brinkmanship. But like my personal tragedy, the invasion of Iraq was brutally, unequivocally real. No amount of over-thinking analysis could wish it away. Ascribing wisdom and complexity to our leaders did not endow them with such traits. I found myself once again covering an American war, and this time the breakdown of logic was glaring and obvious from the get-go. There were no weapons of mass destruction, and if Saddam Hussein’s totalitarian regime was truly on a different order of evil and murderousness — and, it was — then the only redemption for waging aggressive war to destroy it would be to quickly and decisively establish the conditions for civil society. But that could not be a lower priority on the war plan.


May 2005: American and Iraqi officers plan operations in the headquarters of an American brigade in Mahmudiyah south of Baghdad.


May 5, 2005: Remains of suicide bomber who killed 15 potential recruits awaiting entry to an Iraqi Army base, Baghdad, Iraq.

There is no need to repeat the litany of mistakes, miscalculations, and moral failures of America’s intervention in Iraq. On my second trip there in 2005, the sectarian civil war flared out of control with daily suicide bombings and heavy-handed American counter-insurgency in riposte. I came home and Hurricane Katrina unfolded from a terrible natural disaster into a collapsed response, starting with the incompetence of coping with the tens of thousands of survivors at the Superdome, and continuing through the protracted ordeal of FEMA trailer parks and a major American city still not entirely restored six years later.


September 3, 2005: Hurricane Katrina, New Orleans. 84-year old Milvertha Hendricks wrapped in an American flag blanket after spending five days on the street at the Convention Center. She was not evacuated until the next day.

The same cultural and political attributes that led to quagmire in Afghanistan and Iraq were on display domestically in Louisiana. What I thought were much vaunted and celebrated American virtues of the can-do spirit, practicality, and civic idealism – virtues tarnished but not, I thought, vanquished by Vietnam – or perennially cynical evocations of decline, turned out to be corroded and hollow indeed. Fear mongering, an exaggerated sense of entitlement, nativism, and naked partisan lust dominate the discourse, and the soaring idealism of the Obama campaign and presidency have turned out to be brittle and shallow in practice.


September 11, 2004: The Towers of Light memorial as seen from Jersey City, New Jersey.

Each September 11th at Ground Zero in Lower Manhattan, the ceremony expressing the heartfelt emotion of New Yorkers in mourning slowly became overshadowed by the World Trade Center site as a stage for chest-thumping and jingoistic expressions of nationalist excess. Last year, something that should never have become controversial became a contentious circus over the proposed construction of the Park 51 Islamic center. This devolution has been heartbreaking.


September 11, 2010: A crowd of several thousand right-wing protestors gathered against the planned Islamic Cultural Center on Park Place.

This year, the people of New York were encouraged to stay away. A massive security operation closed off much of Lower Manhattan. President Obama spoke, but essentially only to television cameras. In a different America, a million people might have come out to hear him and memorialize our dead, regardless of politics, class, or any other points of identification. Unity, contemplation, and grief are crucially appropriate at such a moment. Instead, the atmosphere was subdued in the extreme, with only tourists, the usual 9/11 conspiracy theorists, and local residents going about their daily business apart from the uniformed services and the families of the victims. Reserving the prime focus for their quiet and somber pain is absolutely right. We do some things well. But caving in to the fear of another attack, and allowing this universal tragedy to be appropriated by poisonous culture war speaks volumes to the cowardly and darker sides of the American character.


September 11th, 2011: The 10th anniversary in Lower Manhattan.

Though anniversaries may just be pushpins on a calendar, they are key markers of our individual and collective lives. The tenth has particular meaning by the measures through which we assess aging and change. My mother passed away several days ago after a long, terrible illness. I was thirty years old in 2001, I am forty now, and for me, September 11 will forever be book-ended by my parents: my father’s trepidation for me when he, unknowingly, had not long to live, and my mother’s death this past week. They may not be directly connected, but each of our experiences is entwined with the greater society to which we all belong.

The American Dream was not killed on September 11, 2001. As many said at the time, it was an opportunity, tragic and momentous, for the finer aspirations of American idealism to reemerge with passionate exceptionalism. Ten years later, those hopes lie shattered in the dust not of the towers, but of water-boarding, Predator drones, kill teams, rendition, and a national security state.

September 11, 2011: The USS New York, an amphibious assault ship built partially with the steel from the destroyed World Trade Center, anchored in the Hudson River next to Ground Zero.

–Alan Chin

PHOTOGRAPHS by ALAN CHIN / facingchange.org

 

__________________________

 


09/09/2011
 

Bush's Tragic Legacy

How 9/11 Triggered

America's Decline

A Commentary by Gregor Peter Schmitz in Washington

Photo Gallery: A Day of Horror
Photos
AFP

 

 

 

 

 

 

The events of Sept. 11, 2001 led to a wave of solidarity with the US. But the superpower has lost that goodwill over the course of the wars it subsequently waged. Now America is mainly seen not as the victim of terrorism, but as a perpetrator of violence itself.


In the coming decade, Armitage would turn out to be right -- except the politician could not have foreseen how tragic the history would be following the epochal event.The smoke was still rising from the rubble of the World Trade Center when Richard Armitage, at the time the US deputy secretary of state, spoke in the aftermath of the 9/11 attacks. "History begins today," he said.

It is the history of the decline of the USA as a superpower.

Immediately before the attacks, this country was in full bloom -- like Rome at its peak, as TV host Joe Scarborough recalls today.

The Republican President George W. Bush had inherited a fat budget surplus from the Democrat Bill Clinton. In Kosovo, the US, which Madeleine Albright dubbed "the indispensable nation," had just shown the Europeans how it could resolve conflicts, even in their own backyard. Bill Gates and Microsoft were still cool.

Then came the planes, piloted by the followers of Osama bin Laden -- and for a brief moment, the superpower seemed even more powerful than ever. Palestinian leader Yasser Arafat had himself photographed donating blood for the victims. Even the French all suddenly wanted to be Americans. German Chancellor Gerhard Schröder promised "unlimited solidarity."

What followed was an unlimited mistake. Bin Laden had hoped to entangle the Americans in bloody wars. How well he would succeed in doing this, he probably could not have imagined himself.

 

INTERACTIVE GRAPHIC

AP

9/11: The Darkest Day

INTERACTIVE GRAPHIC

SPIEGEL ONLINE

10 Years at Ground Zero

 

 

Bush's Tragic Legacy

America was trapped in Iraq for years, where a victory was a long time coming and was never a real one. It is currently trapped in Afghanistan, where victory no longer even seems possible. And it is trapped in an embrace with its ally Pakistan, which it does not trust and yet cannot release.

These are costly defeats for America and the rest of the world. According to a conservative estimate by Brown University, there have been almost 140,000 civilian casualties in Afghanistan and Iraq. The massive retaliation cost more than $3 trillion (€2.2 trillion) -- dollars that would have been better used in America's schools or in the wallets of US citizens.

For a short time after the attacks, the country seemed united. Americans embraced each other. Even the cold city of New York suddenly seemed warm. But instead of cultivating public spirit, President Bush sought to find a pretext -- any pretext -- to invade Afghanistan and Iraq. This is his most tragic legacy, the fact that America can no longer even mourn its victims properly -- because Americans have long been not just victims, but also perpetrators.

But the decade of terror did in fact traumatize Americans and turn them into victims -- even those who only experienced the attacks on television.

A Country at War with Itself

Today, following all the Bush-era tax cuts, the US is a deeply divided country in social terms. The gap between rich and poor is almost as great as it was in the days of oil barons and steel magnates in the last century. Five percent of Americans buy almost 40 percent of all consumer goods sold in the country.

The country is at war with itself. It has a Congress where there is perpetual conflict between the right and the left -- and where they don't even want to talk to each other when the threat of a national bankruptcy looms.

Like no other country, the US became great because of its openness. Now, it has become distrustful, fearful and defensive -- against Muslims, against foreigners, against anyone who is different. Citizen militias hunt down illegal immigrants, and many people can still not accept having a black president in the White House.

"American exceptionalism" was always the US's trump card. The new candidates for the White House still refer to it in the election campaign, but it sounds like a hollow mantra -- one of those election promises that shouldn't be examined too closely.

Because if it was, then people might realize that many things in America are only exceptional because they are exceptionally bad. The country has lousy health statistics despite having one of the most expensive health care systems in the world. Then there are the billions wasted in the education system, not to mention the armaments madness -- the US spends almost as much on defense as the rest of the world put together.

And then there is the fixation on a financial system that rewards gamblers, where the country's most talented young people no longer work on developing new patents, but devote themselves to financial wizardry. Meanwhile, China and other emerging economies can happily concentrate on their own ascent.

Estranged from the Rest of the World

Where has that one-of-a-kind America gone? New York Magazine sums it up: "Ten years later, America now looks a bit more like other countries do -- our embrace of capitalism has grown more complicated, our class mobility less certain, our immigrants and our diversity less unique."

Even in foreign policy, the world power is no longer seen as the world's role model. "Leading from behind" is the maxim of the current president, Barack Obama. He says it out of necessity, because stateside a strange alliance has formed, between those on the fringes of mainstream politics both on the left and on the right.

They want to turn America into a tight-fisted world power. They only want one thing: US troops should come home, and then other countries should see how they fare. After all, the isolationists argue, these other countries don't understand America anyway.

The US has become estranged from the rest of the world. It is partly its own fault, but the rest of the world also shares some of the blame -- because many only see America as a perpetrator, and no longer regard it as a victim.

This was most evident on the day that bin Laden was killed. Americans cheered spontaneously on the streets when they heard the news. But many people in other parts of the world did not want to celebrate with them. They reacted with agitation to the openly flaunted joy over the terrorist's death. The alienation of the others often sounded patronizing and self-satisfied.

But it underlined the fact that the victims of the attacks were no longer in the foreground. Instead, the sins of the original victim were brought into focus -- America's sins. The superpower, to a large extent, only has itself to blame. But that is still sad nonetheless.

>via: http://www.spiegel.de/international/world/0,1518,785405,00.html

 

 

 

HISTORY: The Revelation of the Pyramids - Full Documentary

The Revelation of the Pyramids

The Revelation Of The Pyramids takes an in depth look into one of the seven wonders of the world, the Great Pyramids of Egypt. Mystery has surrounded these epic structures for centuries with theories varying from the scientific to the bizarre.

However with over thirty-seven years of in depth research taking in sites from China, Peru, Mexico and Egypt, one scientist has as at last managed first to understand and then to reveal what lies behind this greatest of archaeological mysteries: a message of paramount importance for all mankind, through time and space.

Watch the full documentary now (playlist – 1 hour, 42 minutes)

 

VIDEO: V4YS Concert Review - La Villette Jazz Festival 2011, Part 2 - Roy Hargrove RH Factor > Vibes4YourSoul

V4YS Concert Review

- La Villette

Jazz Festival 2011, Part 2 -

Roy Hargrove RH Factor

- Paris, 090911

 

L'an passé l'équipe de Jazz à La Villette avait proposé au pianiste Robert Glasper de dévoiler les multiples facettes de son talent lors de deux dates, l'une en formation groove et l'autre en formation jazz. Même (riche) idée cette année avec cette fois le trompettiste Roy Hargrove à l'affiche de deux concerts.

Si je n'ai malheureusement pas pu assister à la soirée jazz, je me suis rattrapé hier soir avec l'énorme prestation de son "RH Factor" qui a enflammé un Cabaret Sauvage rempli à ras-bord.

Look excentrique et funky tranchant avec sa relative retenue sur scène, un peu à mi-chemin entre Miles et Spike Lee, Roy Hargrove avait sorti l'artillerie lourde pour cette soirée. Trois claviers, dont l'excellent Bobby Sparks qui jongle brillamment avec un Hammond, un Moog et un Rhodes, une redoutable ligne de cuivres avec les sax de Keith Anderson et Bruce Williams entourant sa trompette, et une section rythmique impeccable emmenée notamment par la basse ultra funky de Lenny Stallworth.
Après deux ou trois morceaux instrumentaux issus des deux albums références du groupe Distractions et Hard Groove, la soirée s'est emballée avec l'enchaînement de titres chantés par Renee Neufville, le batteur Jason Thomas ou Roy lui-même. On The One, Hold On, I'll Stay, un medley énorme entre le classique de George Clinton Give Up The Funk et le morceau A Place...rien ne nous a été épargné, pas même les multiples solos démetiels de chaque musicien. Bref 2h de groove/funk de grande, grande classe!

Ci-dessous quelques extraits vidéos, On The One, Give Up The Funk/A Place & I'll Stay qui contient notamment un solo de guitare sublime au milieu du morceau.


Last year the La Villette Jazz Festival artistic direction had offered american pianist Robert Glasper the opportunity to present his two different projects with one jazz concert and one groove/funk night. Same great concept this year with trumpet legend Roy Hargrove who therefore starred twice in this year festival line-up. If I could not go to his jazz gig I made up for this omission by attending yesterday his mind-blowing RH Factor night at the Cabaret Sauvage.

Excentric & funky look contrasting with his relative inhibited scene attitude (a kind of "Miles meets Spike Lee" feeling), Roy had displayed the heavy artillery fot this concert : three keyboards players, among them the excellent Bobby Sparks mastering a Hammond, a Moog and a Rhodes, a powerful brass line with Keith Anderson and Bruce Williams' saxophones escorting his trumpet, and a perfect rythmic section notably led by the ultra funky bass from Lenny Stallworth.

Following a couple of instrumental tracks taken from the band's reference LPs Distractions and Hard Groove, the night really took off when they started a serie of sung cuts with alternatively Renee Neufville, drummer Jason Thomas or Roy himself on the vocals. On The OneHold OnI'll Stay, a massive medley joining the dots between George Clinton' classic Give Up The Funk and their song A Place...nothing was spared a red hot audience! Not even a serie of stunning solos by each and every musician. 
In short : 2h of world-class groove/funk!


Please find above three video extracts  On The One, Give Up The Funk/A Place & I'll Stay (featuring a stunning guitar solo starting at the 5mn point).

 

 

 

 

VIDEO: 5 Videos We Love by African Artists… - AfriPOP!

5 Videos We Love

by African Artists…

 

We may be late on some of these, but here are 5 videos (released this year) by African artists that we can’t get enough of…

“If You Ask Me” — Omawumi (Nigeria)

“Lookie Lookie” — Stella Mwangi (Kenya)

“Tenere Taqhim Tossam” — Tinariwen feat. TV on the Radio (Mali/US)

“Whowa” — Oum (Morocco)

“Lead” — Purple Hearts (South Africa)

 

 

 

PUB: Accepting Submissions: Sliver of Stone > Geoffrey Philp's Blog

Accepting Submissions: Sliver of Stone

 



We are a bi-annual, online literary magazine dedicated to the publication of work from both emerging and established poets, writers, and visual artists from all parts of the globe. Authors featured in this issue include Lori Jakiela (nonfiction), Geoffrey Philp (poetry), and Preston Allen (fiction). Interviews with Louis Lowy and Lynne Barrett.

Check out our past contributors, such as Kim Barnes, John Dufresne, and Denise Duhamel (Issue One); Allison Joseph, Matthew Sharpe, and Dan Wakefield (Issue Two); and many talented others. Past interviews with Susan Orlean, Les Standiford, Mark Vonnegut, and Dan Wakefield.

 We're now looking for submissions for our fourth issue!

 http://www.sliverofstone.com/

 DEADLINE: December 15, 2011

 

 

PUB: Call for Papers: Special Issue of the Latino(a) Research Review « Repeating Islands

Call for Papers:

Special Issue of the Latino(a) Research Review

The Latino(a) Research Review (LRR) announces a call for papers for a special issue on “The Legacies of Puerto Rican Social, Cultural, and Political Activism in the United States.” The deadline for manuscript submissions is February 1, 2012. This special issue will be published in Fall 2012.

Description: For this special issue, LRR invites articles that document and analyze different forms of social, cultural, and political activism that have engaged Puerto Ricans at the various U.S. geographic locations where they have settled since the latter part of the nineteenth century through the present.  

Particularly welcome are manuscripts focusing on the activities of émigré separatists during the second half of the nineteenth century, the struggles of migrant pioneers during the first half of the twentieth century, the Puerto Rican civil rights movement, leading figures and landmark events, cultural and artistic expressions, pan-ethnic alliances, the founding and role of community-based organizations and newspapers, educational advocacy, the emergence and development of Puerto Rican Studies, different forms of engagement and challenges to white racial, gender, sexual, and class ideologies, anticolonial struggles and nationalism, the construction of diasporic identities, political participation and representation, and new forms of social consciousness and struggle for equality, social justice, and empowerment.  

Manuscripts should not exceed 30 typed-double spaced pages in length. Potential contributors should submit three hard copies and a CD or disk copy to: LRR/CELAC, SS-250, University at Albany, SUNY, Albany, NY 12222.

For questions, please email Dr. Edna Acosta-Belén, LRR Editor at eab@albany.edu

Photo: The Young Lords, from http://cityroom.blogs.nytimes.com/2009/08/24/the-young-lords-legacy-of-puerto-rican-activism/