‪Wanda Sykes: I'ma Be Me ‬‏> YouTube

Wanda Sykes

 on Feb 1, 2010

Wanda's take on how it would be if you had to come out black. For more information, go to http://itsh.bo/eLK5C7.

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PUB: Call for Shorts Stories/ Poems - AMKA Literature Forum: Stories Spoken (Goethe Institute, Nairobi) > Writers Afrika

Call for Shorts Stories/ Poems - AMKA Literature Forum:

Stories Spoken (Goethe Institute, Nairobi)

Deadline: 30 July 2011

This is a forum for upcoming, unpublished as well as established women writers and literary critics to share stories, poetry ideas and ideals with the aim of enhancing women’s creativity.

Interested participants may send their short stories and poems to Symbolamkaspace@yahoo.com. The forum takes place every last Saturday of the month. In cooperation with AMKA – Space for Women’s Creativity.

Literature Forum:

Stories Spoken
Reading & Discussion
10.00 a.m. - 1.00 p.m.
Goethe-Institut Library
+254 20 2224640

Contact Information:

For inquiries: bl@nairobi.goethe.org or Symbolamkaspace@yahoo.com

For submissions: Symbolamkaspace@yahoo.com

Website: http://www.goethe.de/ins/ke/nai/enindex.htm

 

 

PUB: Coffee-House Poetry : Troubadour Poetry Prize

£2,500 Troubadour International Poetry Prize 2011

judged by susan wicks & david harsent
with both judges reading all poems

sponsored by cegin productions

prizes: 1st £2,500, 2nd £500, 3rd £250
& 20 prizes of £20 each
plus
a spring 2012 coffee-house-poetry season-ticket
and
a prizewinners’ coffee-house poetry reading
with susan wicks & david harsent
on mon 28th nov 2011
…for all prize-winning poets

submissions: by mon 17th oct 2011

judges:

  • Susan Wicks has lived and worked in France, Ireland and America and has taught at University College Dublin and University of Kent; she is the author of five collections of poetry including Singing Underwater (1992), which won the Aldeburgh Poetry Festival Prize, and The Clever Daughter (1996), which was shortlisted for both T.S. Eliot and Forward Prizes, and she was a Poetry Society ‘New Gen’ poet in 1994. A short memoir, Driving My Father, was published in 1995, she is the author of two novels, The Key (1997) and Little Thing (1998), and Roll Up for the Arabian Derby, her collection of short stories, was published in 2008. Her latest collection of poetry is House of Tongues (Bloodaxe, 2011).
  • David Harsent, a Visiting Professor at Sheffield Hallam University and Fellow of the Royal Society of Literature, has published ten collections of poetry and several limited editions, and has received a number of awards, including the Eric Gregory Award, the Geoffrey Faber Award and the Cheltenham Festival Prize. His most recent collection, Night (Faber, 2011) was a PBS choice and shortlisted for the T.S. Eliot Prize. His previous book, Legion, won the Forward Prize for best collection 2005 and was shortlisted for both the Whitbread Award and the T.S. Eliot Prize. His Selected Poems was published in June 2007, and was shortlisted for the Griffin International Poetry Prize.
  • Both judges will read all poems submitted.

rules:

  • General: Entry implies acceptance of all rules; failure to comply results in disqualification; submissions accepted by post or e-mail from poets of any nationality, from any country, aged over 18 years, and writing in English; no poet may win more than one prize; the judges’ decision is final; no correspondence will be entered into.
  • Poems: Poems must be in English, must each be no longer than 45 lines, must be the original work of the entrant (no translations) and must not have been previously broadcast or published (in print or online); winning & commended poems may be published (in print or online) by Troubadour International Poetry Prize, and may not be published elsewhere for one year after Monday 17th October 2011 without permission; no limit on number of poems submitted; no alterations accepted after submission.
  • Fees: All entries must be accompanied by fee of £5/€6/$8 per poem; payment by cheque or money order (Sterling/Euro/US-Dollars only) payable to Coffee-House Poetry with Poet’s Name (and e-mail Entry Acknowledgement Reference, if paying for earlier e-mail submission) written clearly on back.
  • By Post: No entry form required; two copies required of each poem submitted; each poem must be typed on one side of A4 white paper showing title & poem only; do not show poet’s name or any other identifying marks on submitted poems; include a separate page showing Poet’s Name, Address, Phone No., E-Mail (if available), List of Poem Titles, Total Number of Poems and Total Fees at £5/€6/$8 per poem; no staples; no Special Delivery, Recorded Delivery or Registered Post; we recommend folding A4 poems in half in C5 envelope as this does not incur ‘large letter’ charge if less than 5mm thick (UK); entries are not returned.
  • By E-mail: No entry form required; poems must be submitted in body of e-mail (no attachments) to CoffPoetry@aol.com; entries should be preceded by Poet’s Name, Address, Phone No., List of Poem Titles, Total Number of Poems and Total Fees at £5/€6/$8 per poem; acknowledgement will be sent to entrant’s e-mail address showing Entry Acknowledgment Reference; send payment by post within 14 days quoting Poet’s Name and Entry Acknowledgement Reference; e-mail entries will be included only when payment received by post; no Special Delivery, Recorded Delivery or Registered Post.
  • Acknowledgement/Results: Postal entrants may include stamped, addressed postcard marked Acknowledgement and/or stamped, addressed envelope marked Results if required; results will be sent to all e-mail entrants after winners announcement; no correspondence will be entered into.
  • Deadline: All postal entries, and postal payments for e-mail entries, to arrive at Troubadour International Poetry Prize, Coffee-House Poetry, PO Box 16210, LONDON, W4 1ZP postmarked on or before Monday 17th October 2011. Prizewinners will be contacted individually by Monday 21st November 2011. Prizegiving will be on Monday 28th November 2011 at Coffee-House Poetry at the Troubadour in Earls Court, London.
  • Previous winners: see our Poems page for 2007-2010 prizewinners and prizewinning poems.

 

PUB: Call for Submissions/ Academic Articles: Africa Peace & Conflict Journal (December 2011 issue) > Writers Afrika

Call for Submissions/ Academic Articles:

Africa Peace & Conflict Journal (December 2011 issue)

Deadline: 1 September 2011

The Africa Peace & Conflict Journal, published by the UN Mandated University for Peace, is now accepting full length articles, on all subjects related to peace and conflict studies, for its upcoming December 2011 publication. The deadline for receipt of full-articles for this issue is September 1st 2011.

Guide for Contributors

The APCJ is a refereed journal with a panel of international editorial advisors and readers. All articles are anonymously peer reviewed by at least two referees. We welcome the following types of contributions year round and will periodically issue calls for papers on specific topics:

Articles and case analysis-critical case studies or thematic discussion and analysis of topical peace and conflict themes (7,000 words maximum, including endnotes; abstract, 150 words or less).

Briefings/practice-training or intervention strategies, outcomes and impacts, policy review and analysis, country situational updates, and so on (2,000 words maximum).

Book reviews-critical assessments of new books that integrate peace and conflict concerns (1,500 words maximum).

Resources-reports, upcoming conferences and workshops, notices of new books and videos, e-communications, and Web sites that link peace and conflict studies (150 words maximum); documents, declarations, communiqués, and other relevant nongovernmental or multilateral organizational statements (1,000 words maximum).

The editors will consider only material that meets the following requirements:

• The submission must be original and not under consideration for publication by another journal or organization or have been published previously.

• For notes and references, use the short-title system (not the author-date system) as per Butcher's Copy-editing: The Cambridge Handbook for Editors.

Submit to editor@apcj.upeace.org and assted@apcj.upeace.org

Contact Information:

For inquiries: editor@apcj.upeace.org, assted@apcj.upeace.org

For submissions: editor@apcj.upeace.org, assted@apcj.upeace.org

Website: http://upeace.org/

 

 

OP-ED: Black Gay Men Confronting Black Homophobia > Black Gay Men's Blog

Black Gay Men Confronting

Black Homophobia

Black Gay Men‘s Blog looks at the way we react, when faced with blatant homophobia, in the midst of  members of the black community. It is one thing to voice our opinions online, on blogs and social network sites, but how do we REALLY behave when homophobia stares us in the face. As black gay men, do we care if the homophobic abuse is directed at other black gay men? What about when we are faced with homophobia directed towards white gay men, by one of our own – do we react or say nothing? When faced with homophobia from members of the black community, is it more important for black gay men to appear to be straight/in cahoots, at the expense of our self-esteem, or should we stand up and say something? As they say on the New York City subway, if you see something, say something – does this apply to black gay men, when dealing with homophobic members of the black community?

What brought this all on was a trip on the G train(nyc subway) last Monday. I was heading to the Boerum Hill neighborhood of Brooklyn and I got on the G train at Bedford-Nostrand, minding my own business, as most New Yorkers do. I noticed a somewhat attractive brother and we did the black man acknowledgement, “I see you” nod thing. Before we even got to the next stop, I noticed he was getting increasingly agitated, his body language was all tense and weird and he was visibly shaking. I looked towards the direction he was facing and saw that he was staring at a gay couple – white. The brother became increasingly agitated and his body language became quite intimidating, to the extent that I decided to move a few seats over. At this point, he had ceased being attractive, in my eyes. I knew some madness was about to happen and I didn’t wish to be tarred with the same brush, because he kept looking at me, like I was supposed to join in the intimidation. He hadn’t said anything to the gay couple at this point, just grunting and staring, but let’s be honest, some of us(black men) know how to intimidate without saying a word. Especially, when it comes to white folks (yeah I said it, what?). Some of us have mastered the art of putting the fear of God in them, when it suits us. We know they often see us as aggressive and sometimes, we play on it. This was one of those times, so I moved, I wasn’t going to sit there and be part of the let’s make white gay men terrified brigade.

The homophobe continued his almost silent reign of terror for a few minutes(still looking back and forth at me) and then……..(dramatic pause) the ignorance was really unleashed! “Y’all can be whatever y’alls wanna be and I don’t give a damn what y’all do when you in your bedroom, but I don’t need to see this shit on the train! Y’all can keep that shit to yourself, that’s just wrong, that’s nasty! Ain’t nobody need to see that in public, keep that shit to yourself! ” Then he looked at me, obviously for support, because I guess I don’t “look gay” and how dare these white gays sit so close to one another? They weren’t even kissing, they were just leaning close to one another and one of them might have touched his  man’s shoulder. That was the extent of their filthy, nasty, homosexual crime. Personally, I’m not into too much PDA, but  New Yorkers are known to not even look up from their newspapers, mags and books on the train. There could be a naked person on the train and New Yorkers would act like it was just an everyday occurrence, the most you might get would be an “only in New York”. That’s what made his outburst so shocking. It was so shocking that said New Yorkers actually looked up in horror. Mr homophobe, once again looked at me for support – there were only 3 black men and in our car, at the time, and I was the closest “ally” to him.

I’m not really sure what came over me, I think it was a combination of disgust, the heat and the look of helplessness of the faces of the white gay couple, but it was time for ME to have my say. He obviously wanted me to say something, but he wasn’t prepared for what I had to say. I asked what the guys had done to him and what gave him the right to tell them how to behave on a train in NYC? To which, stunned, he replied that it was because there were kids on the train and they shouldn’t be exposed to “such things”. I told him he was a liar, because he had been obviously agitated from the start and I pointed out to him that if the kids parents had thought it was a problem, they would have moved to another car. I also pointed out that we had all seen worse on the subway in NYC between heterosexual couples and it’s never an issue, the guys weren’t even kissing I said and I’ve seen a chick blow a dude on the train(they really should have gotten a room), so what’s the big deal? His pathetic response was that they “looked like they were about to kiss”. I went into it:  “so what, I’m tired of the fact that when I do encounter homophobia in NYC, 9 times out of ten it is coming from black people, we have enough problems to deal with, people are hungry and dying, our kids have no fathers(none worth speaking of anyway), AIDS is killing us, excessive weed smoking is holding many of us back, are u current on your child support? come talk to me, when you, your friends, your cousins and your next door neighbor are all current on your child support from numerous baby mommas, then maybe I’ll understand why two men who looked like they were going to kiss is any of your damn business! Do you think it is more traumatic for boys to see two men showing affection, than it is for them to have absent fathers, who can’t even buy diapers, let alone be there for their birthdays? “

As I said, I’m not sure what came over me, but the entire car turned into one big debate. The only other black man was(shock horror) on the side of the homophobic brother, but I had one of my don’t mess with me looks in my eyes, so although he moved to sit beside me to get his point across he soon shut up. A plus-size  very butch looking sister(looked like a closet lesbian if you ask me, so she might have been battling her own demons), joined in, she thought it was nasty too. Another black female joined in. A white female became the most vocal, apart from me, she was firmly on my side. A more mature white gentleman thanked me for speaking up. One half of the gay couple found his voice and began defending their right to show affection. I almost missed my stop and if I didn’t have to run back in for a business call, I would have stayed on that train until the last stop, but I had to get off, leaving the black folks with a few choice words about what we really ought to be worried about.

I walked off the train and I have been thinking about that incident all week. I didn’t speak up because I wanted to be seen as some kind of hero or any of that BS. In fact, at the time, I didn’t really think about, I just knew that I had to say something. Upon reflection, I felt that maybe the Universe had done it to test me – practice what you preach and all that. I mean, here I am, spouting all this stuff on Black Gay Men’s Blog, so why not test me? If that was the case, I hope I passed the test, but I couldn’t help wondering how most of us would have reacted in similar situations. I’m not suggesting everyone cause a mini-riot on the G train, you have to know when it is safe to speak out, but after my heart stopped beating, I have to say I felt really good. I was the only black person in that car without homophobic views, which is sad in 2011(even though the car was mainly white) and I noticed the looks the black people, especially the two other men were giving me, like you traitor, you should be on our side, you don’t even look gay, so what the hell is wrong with you? Had there been more black people in that car, especially young black women, I’m sure more would have been on the side of right.  I wondered if my crime was that I had spoken out in support of gays, or that I had spoken out in support of white gays. Would Mr Homophobe have been so homophobic if it had been 2 black gay men? Was I expected to turn a blind eye because they were white? Should my blackness and solidarity have come before what is right?

When I got home, I almost rushed to write this all down and publish a heated rant on the blog. However, I decided to wait a few days and grab some opinions from fellow black gay men. I wanted to know what they would have done in a similar situation and what they thought about the incident. I focused on New Yorkers, because I thought they would understand the added layer of being a New Yorker on the train and how, generally, no matter how outrageous the behavior, New Yorkers tend to say nothing. The reviews where quite mixed, while most applauded me for taking a stance, the general consensus was that they probably wouldn’t have said anything, because it was a white gay couple and the homophobes were black. Some didn’t want to be seen as sell-outs, but said they might have said something like “chill bruh”. Others felt we really should only be looking out for each other and they would have spoken up if black gay men were being attacked/persecuted. Then there were the few who simply said they would never speak out about homophobia, int he presence of black people, because then they would be considered gay. Two black gay men thought it was dumb of me, because the black man could have taken out his anger on me and shot me. I just want to say that at no time did I feel I was in any real danger, if I did I would have been off that train. I was quite sure that the guy beside was too chicken and I could have taken Mr Homophobe down(not advocating violence, I’m just saying, if I had to protect myself and there were no weapons involved)

These days, I try to live my life by doing what works best for me and my physical, spiritual and emotional well-being. By that, I mean I look at the deeper implications of my actions. How would I have felt, if I had said nothing? Would I have held that anger in and exploded at the wrong person or maybe drank some wine, instead of working that night, as was the plan? I am greatly affected by injustice, so I do have to think about these things. A lot of the time, we go through life not realizing the impact not speaking out can have on our psyche. Why do we care so much what black people we’ll probably never see again think about us? A few years ago, I might have said nothing, depending on the circumstances(if I thought they weren’t in any real danger), but I would definitely have held it in and been deeply affected by it. I have learned to deal with things and then let them go.  As black gay men(and gay men in general), when we don’t stand up for what we believe in, it affects our psyche, especially as we get older. We should encourage one another to find the strength to speak out, to find the strength to break free from the fear of being seen as “not a real man” by the black community. Many of us have convinced ourselves that it is okay to go through life with a “as long as it ain’t me” attitude, but whether we like it or not, these things affect us. Next time you are about to binge, whether it be on food, liquor, weed or other chemicals, try and pinpoint exactly what brought it on. Or next time you encounter homophobia and say nothing, pay attention to your behavior over the next week or two. You might notice something, however subtle.

So, my fellow black gay men, New Yorkers and otherwise, I want to know what you think you would have done in a similar situation. I understand not wanting to “out yourself” and don’t advocate putting yourself in physical danger, so that’s not where I’m coming from. Let’s not forget that one doesn’t even have to be part of the oppressed group to fight for what is right. There were white people in the civil rights movement, neither Princess Diana, nor Dame Elizabeth Taylor were HIV positive, yet they both fought to end the stigma and find a cure, Sheryl Lee Ralph is a HIV negative heterosexual woman, yet she tirelessly raises awareness about HIV and is against homophobia – and countless others. Should black gay men only be concerned when homophobia is directed at one of us? When faced with the decision to either confront homophobia or be seen as a “real black man”, which do we choose? Why are black gay men so concerned that speaking out against homophobia would label them as gay, thereby outing them to the entire black community(which, in reality, is usually just one or two people)? In a city, like New York, where having so-called liberal views is no indication of one’s sexuality(the white people who spoke out on the train were not obviously gay and most seemed definitely straight, or at least what society would deem straight), what does not speaking out against homophobia say about black gay men?

 

INTERVIEW + VIDEO + REVIEW: BEATS RHYMES & LIFE

BEATS RHYMES & LIFE

[REVIEW]

I was supposed to write this review days ago, but when I sat down to write it no words would come. Why? Because I didn’t really know what to say about it definitively. In other words, I couldn’t say if I liked it or not. I still don’t know.

Part of the issue is that I am close to the subject matter at hand. I was around when a lot of the things that were featured in the early part of A Tribe Called Quest’s career were going down. That, coupled with the fact the I have been giving the monumental side-eye to Michael Rapaport’s beef with Q-Tip made it hard to be objective.

So what I can say honestly, though it may seem like a cop out, that there were things I liked about the film, things I hated, and even a couple of things I actually loved. Let’s start with the love, always the best part of anything…

The very early days of ATCQ are a mystery to many, so the illumination of how Phife, Ali, and Tip met in high school is a gem. They relay on film how they starting rhyming just as a passing thought, not really being serious or thinking it would really take them anywhere. At this same school went the members of the Jungle Brothers, and their mutual interests lit up all of their creativity like a match to a flame. There is a thorough explanation of how they came up with their name, The Native Tongue cipher and it’s philosophy, and how each member of the Native Tongue crew was added; De La Soul, Queen Latifah, etc. You know that kismet brought them together, and all of them being in the same place, at the same time, with the same mind-set was no mistake. Their very obvious, honest love of the music and each other is deeply touching and inspirational.

The viewer gets to see footage of ATCQ’s early performances, and while they were trying to find their place in the world and what “fit” them, I was reminded of the early scenes of Chris Rock’s “CB4″ when they went through different rap genres, including the “peace and love” hippie phase. These scenes were interspersed with reflections of many rappers who knew or toured with them in their early phases, including The Roots’ Black Thought, who remarked on their “questionable fashion choices” to which I laughed knowingly. There were a few laughs to be had during this segment.

Those were the best parts of it; almost like watching an episode of TV One’s “Unsung”.

On to the likable parts, for lack of a better phrase:

We get insight into what Tribe was like as a dynamic, with Q-Tip being a super-perfectionist. It’s now understood why Tip’s solo projects take so long to be released, as their former manager, Chris Lighty said, “if you don’t pull away the music from Tip by force, he would be what would amount to another D’Angelo or an Axl Rose from Guns N Roses”. You get to hear the music, if you’re a fan of Tribe, that you know and love so well like “Bonita Applebaum” (for those who don’t know, it was really just a sweet ode to the hood girl with the fat *ss) and the stories behind such hits as “Lyrics To Go”. There is a Q-Tip impression of Redd Foxx (!) and some sweet eye candy, as Ali Rasheed Muhammed has morphed into almost super-human handsomeness. Also brought to light was how Phife had to deal with being ill while performing, sometimes to the point of almost passing out on stage. Which brings me to the things I hated about this movie, and made it seem much longer than it’s 93 minutes.

 

No disrespect, and I’m glad Phife is doing well, but entirely too much time and focus is given to Dawg’s battle with diabetes. While that is an integral part of what led to the trials and tribulations of the group, I’m guessing that so much focus is given as Phife was the only member of the group the fully cooperated with the film from it’s inception, to the end, to the screenings. It takes up a good third of the movie, and drastically slows and weighs it down. These parts were begging to be edited, and a shorter film would have made the movie more arresting, that or replacing it with more reflections from rappers that were around them at their height. Then again that probably would, or did, prove a difficult task, as New York rappers are a tightly knit force, and certainly wouldn’t side with Rapaport over Tip.

Stylistically there were problems as well. Tribe is in my top three rap groups of all time, but I felt this film was premature. Or maybe it was just put in the wrong hands, I dunno…Rapaport’s too often repeated slow-mo shots of them doing simple things like just walking brought to mind the filmmaking idolatry of a RollingStones or a U-2 type documentary, which is hardly warranted. Just as unwarranted was the high placement and emphasis on Jarobi, at one time a member of ATCQ. While he was an important part of their early dynamic, he was not on the albums that made ATCQ rap legends, and the continued focus on him is distracting, and brings one to think “what is going on here?”. Again, I believe cooperation with the filmmakers played a huge part. The strife Q-Tip and Phife have had for the past few years and the circumstances surrounding it are made crystal clear, but at the same time there seems to be an almost underhanded attempt to make Tip seem like a Diana Ross who left The Supremes. This is a lopsided viewpoint, and again a problem.

Are there more problems than things to like or love about this film? I would say it is at an even 50/50, and to that end, 50 percent of the people seeing it will hate it, and 50 percent will love it (probably the die hard fans). Scratch that, lets say 40 percent will love it, 40 percent will hate it, and 20 percent (me included) can’t decide either way, but will ultimately forget about why they even bothered to think so hard about it in the first place.

 

 

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MOVIE REVIEW:

‘Beats Rhymes and Life’

Hip-hop ‘feud’ gets bad rap in documentary

Sony Pictures Classics The documentary "Beats Rhymes & Life: The Travels of a Tribe Called Quest" chronicles how (from left) rappers Phife Dawg, Q-Tip and Jarobi White came together, along with DJ Ali Shaheed Muhammad, to form the pioneering hip-hop group known by the acronym ATCQ.Sony Pictures Classics The documentary “Beats Rhymes & Life: The Travels of a Tribe Called Quest” chronicles how (from left) rappers Phife DawgQ-Tip and Jarobi White came together, along with DJ Ali Shaheed Muhammad, to form the pioneering hip-hop group known by the acronym ATCQ.

For a band documentary, there is precious little music in “Beats Rhymesand Life,” the film about pioneering hip-hop act A Tribe Called Quest. Directed by actor and avowed ATCQ fan Michael Rapaport, the film shuttles between a history of the band, appreciation of its music and an exploration of the tensions between co-founders and childhood friendsQ-Tip (born Jonathan Davis) and Phife Dawg (Malik Taylor) as they navigate the group’s reunion tour.

The most interesting parts of “Beats Rhymes & Life” focus on the founding of the band, its early history and impact. Q-Tip and Phife grew up together in Queens, N.Y., in the 1980s, and came of age as the nearby hip-hop act Run-D.M.C. were breaking as a nationwide sensation. The group they founded, along with DJ Ali Shaheed Muhammad and Jarobi White (who left the band), broke new ground in hip-hop, unifying the genre with jazz and soul through the use of samples and innovative beats.

More than that, the rappers pioneered a brand of hip-hop that contrasted starkly with the gangster style that was gaining popularity on the West Coast in the early 1990s. Along with De La Soul, Jungle Brothers, Queen LatifahBusta Rhymes and others, ATCQ propounded a gentle, more humanistic emceeing style, with less braggadocio and more romantic lyrical content. Interviews with Q-Tip and Phife about how their sound came together - especially recollections of an unexpected explosion of creativity at Manhattan's Murry Bergtraum High School - are compelling.

But Mr. Rapaport errs in trying too hard to impose a narrative on his subjects. It’s well known that ATCQ was not a Lennon-McCartney-style partnership. Q-Tip is regarded, rightly, as the musical pioneer. As a lyricist and producer, Q-Tip set the tone for hip-hop in the early 1990s, and helped situate the genre in the continuum of black music. Phife has a more accessible stage presence, with his distinctive high voice and unforgettable rhyming style, but he just doesn’t have Q-Tip’s musical chops. Still, Mr. Rapaport tries to play up creative tensions between Q-Tip and Phife, accentuating the conflict between the two as they share the stage on a reunion tour.

The film also makes it seem as if the pair’s friendship is in a shambles during a crucial moment in Phife’s life, as he confronts worsening diabetes and requires a kidney transplant. Much of this, however, is just Phife venting for the camera.

It’s clear that Phife had more time to spare for Mr. Rapaport’s cameras than did Q-Tip, who is a fleeting presence. Probably the single most satisfying scene is a casual trip record-shopping with Q-Tip. In some ways, a 90-minute excursion with Q-Tip through some moldering LP library would’ve been a more fitting tribute to the band’s legacy than the choppy morass of “Beats Rhymes & Life.”

Quibbles aside, fans of ATCQ won’t want to miss “Beats Rhymes & Life.” But they might have preferred a different movie: one with archival concert footage with at least a few songs that play all the way through, instead of the snippets we get here.

★★½

TITLE: “Beats Rhymes & Life: The Travels of a Tribe Called Quest”

CREDITS: Directed by Michael Rapaport

RATING: R, for language

RUNNING TIME: 95 minutes

MAXIMUM RATING: FOUR STARS

 

 

>via: http://www.washingtontimes.com/news/2011/jul/14/movie-review-beats-rhymes-and...

__________________________

Beats, Rhymes and Life (2011)

 NYT Critics' Pick 
Janette Beckman/Sony Pictures Classics

From left, Q-Tip, Jarobi White, Phife Dawg and Ali Shaheed Muhammad in Michael Rapaport's “Beats, Rhymes & Life.”

A Group’s Formation

and Dissolution

Countless musical groups have been built on a complementary pair: John Lennon and Paul McCartney, say, or Mick Jagger and Keith Richards. A Tribe Called Quest, the influential 1990s hip-hop ensemble, had Q-Tip and Phife Dawg. With “Beats, Rhymes & Life,”the actor Michael Rapaport (Brad Pitt’s roommate in “True Romance”), in his feature directorial debut, does an admirable job recounting the group’s formation and dissecting its dissolution.

Q-Tip and Phife were childhood friends who grew up in Queens following pioneers of East Coast rap like Run-D.M.C. and LL Cool J. What they brought was a smoother, more sophisticated flow incorporating jazz influences. Part of the Native Tongues, a collective comprising De La Soul and the Jungle Brothers, among others, A Tribe Called Quest struck gold with albums like “The Low End Theory” (1991) and hits like “Bonita Applebum” and “Check the Rhime.” The likes of the Beastie Boys and Questlove of the Roots testify to its place in the pantheon.

Q-Tip — dapper, handsome, business savvy — is the McCartney here; Phife — short, scrappy, astringent — the Lennon. Phife brought the street; Q-Tip, in Phife’s words, “the paper.” The other members, Ali Shaheed Muhammad and the thoughtful Jarobi White, assumed recessive roles. Mounting tension over control and frontman status eventually proved insurmountable, aggravated by Phife’s struggles with diabetes (his patient wife donated a kidney to him), and the group disbanded in 1998. (Q-Tip is a solo headliner at this year’s Brooklyn Hip-Hop Festival, which starts Monday.)

The film catches up with the still-bickering Tribe on the Rock the Bells reunion tour in 2008, offering faint hope: one more album remains in its record contract.

“Beats, Rhymes & Life” is rated R (Under 17 requires accompanying parent or adult guardian). Profanity.

BEATS, RHYMES & LIFE

The Travels of a Tribe Called Quest

Opens on Friday in New York and Los Angeles.

Directed by Michael Rapaport; director of photography, Robert Benavides; edited by Lenny Mesina; music by Madlib; produced by Edward Parks, Frank Mele, Mr. Rapaport, Eric Matthies, Mr. Benavides, Debra Koffler and ATCQ; released by Sony Pictures Classics. Running time: 1 hour 35 minutes.

 

>via: http://movies.nytimes.com/2011/07/08/movies/beats-rhymes-and-life-review.html

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Michael Rapaport Speaks

To Carson Daly About

‘A Tribe Called Quest’

Documentary (Video)

February 18, 2011 

by    

Actor/Director Michael Rapaport speaks with TV show host Carson Daly on NBC’s late night talk show Last Call with Carson Daly about Beats Rhymes & Life: The Travels of a Tribe Called Quest - the documentary Rapaport directed about the legendary and groundbreaking Hip-Hop group A Tribe Called Quest and it’s recent debut at the Sundance Film Festival last month where it was met with rave reviews.

Watch the interview with Daly below where Rapaport explains his reason for making a documentary on the legendary Hip-Hop group, why more documentaries on Hip-Hop should be made and so much more.



Video courtesy MWP

>via: http://www.soulculture.co.uk/blogs/michael-rapaport-speaks-to-carson-daly-abo...

 

 

 

 


 

 

 

VIDEO: Sudan: History of a Broken Land + PHOTO ESSAY: And Then They Did It

Sudan:

History of a Broken Land

It is already a fractured country and, in the longer term, this is unlikely to be an isolated matter of north and south breaking apart following the referendum on southern secession.

Separatist movements in regions such as Darfur and the Nuba Mountains are watching with more than curiosity. And it is not just Sudan: in other African and Arab countries independence factions are eying developments with a view to making their move either through the ballot box or the gun.

In the run-up to the referendum, I traveled to Sudan to make the film. I have been fortunate enough in my life to have visited most of the world’s countries and yet, this would be the first time I had set foot in Africa’s largest.

To say that the northern Sudanese people are enormously friendly may be clichéd, but it is also very true. Soon after our arrival, the car we had hired in Khartoum broke down and we quickly found ourselves surrounded by young men, all of them trying to help discover and rectify the fault. No-one was looking for money; it simply came naturally to them to help out and was just one example of many we would discover in the following weeks.

Unfortunately though, I also discovered self-delusion: in the coffee shops, restaurants and streets, the vast majority of people I spoke with wanted desperately to believe that it was not too late and that, surely, the South will never leave the union. It will.

Watch the full documentary now

 

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And Then They Did It.

At the end of May, just weeks ahead of south Sudan’s declaration of independence, the northern Sudanese military made a strategic move to grab the disputed territory of Abyei. I ran ragged trying to cover the extent of human flight from the area. When I look at it retrospectively, I feel so devastated. I was partially shielded by this box I put in front me. On occasions, some of which are captured by these pictures, I was torn to my core. I need to sit down and articulate the human devastation that the offensive caused. The writing is essential but I hope, in the mean time, that the pictures will express the feeling. I’m sorry that this is coming so late.

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HAITI: As Cholera Surges In Haiti, Aid Withers Away : Shots > Health Blog : NPR

AS CHOLERA SURGES IN

HAITI, AID WITHERS AWAY

By Richard Knox

 

Mourners attend a memorial service for recent cholera victims in Haiti that took place Wednesday in Savanette, an isolated community in the mountains outside Mirebalais, Haiti. / Cate Oswald/Partners in Health

Cholera is back in Haiti.

Well, in truth, cholera hasn't gone away since it was introduced last October, possibly by infected U.N. peacekeepers from South Asia. And undoubtedly cholera will plague Haiti for many years to come because it's nearly impossible to eradicate from the environment.

But new numbers show an upsurge in cholera since the rainy season arrived this spring. Between April and June, the Haitian health ministry reports more than 86,000 new cholera cases – one-quarter of all the cholera reported since the beginning of the epidemic.

In 11 largely rural communities, Shots has learned, cases nearly quadrupled between April and June, from 3,932 to 14,425. Cholera hospitalizations in these areas went up nearly six-fold.

Meanwhile, health workers say the international support that came to Haiti's aid during the peak of the cholera epidemic last fall and winter has withered.

 

"We have a smaller pool of people responding and similar caseloads to what we were seeing the later part of last year," Cate Oswald of the medical aid group Partners in Health told Shots. "So we're working double- and triple-time with very limited resources. We're quickly going through dedicated cholera funds."

Speaking from Mirebalais, a town 40 miles northeast of Port-au-Prince, Oswald says the latest surge in cholera cases has been relatively invisible in the most remote towns and villages, sometimes inaccessible to cars or trucks.

"In areas where there are zero latrines and no effort to improve water hygiene, we're seeing caseloads as high as the early days," Oswald says. "When the rains come, as people defecate in the fields out of necessity, all this is running into rivers. So it's just this ongoing cycle."

Recently, Oswald says, she got a call from a health worker in Petite Montagne, a hamlet five hours by foot on a rutted mountainous road from the nearest clinic in the Boucan Carre region. The health worker reported 14 people who needed to get to a cholera treatment center immediately.

Untreated, cholera can kill within eight hours from overwhelming fluid loss. Timely treatment with rehydration is cheap and life-saving.

The Partners in Health clinic in Boucan Carre had been aware of a cholera outbreak in Petite Montagne because dehydrated patients had been arriving by stretcher, carried for hours by family members over the rutted road. In the past two weeks, the group realized it had to get more help to the mountain town.

"Petite Montagne has needed help for months," Oswald says. "But when we realized how many people are being infected in this new wave, we said there's no way we can't do this."

It took a day and a half to mobilize supplies and workers and walk them to Petite Montagne.

In responding to cholera, time equals lives saved. So Partners in Health recently purchased 120 cell phones for about $10,000 and is distributing them to its far-flung community health workers.

The phones have been programmed (in Creole) to allow easy input of cholera cases and deaths, how much oral rehydration and intravenous fluid packs are on hand, where trucks are needed to take the most severely ill to treatment centers, and how much water-purifying tablets and bars of soap are available.

"As the rains have come, it's been incredibly hard to get this data," Oswald says. The cellphones will help speed the response and give the Haitian ministry of health a better picture of what's happening in rural areas.

Meanwhile, debate is still grinding on about whether to deploy cholera vaccine to reduce the accumulating numbers of cases and deaths. So far Haiti has counted nearly 380,000 cases and more than 5,500 deaths since mid-October.

Earlier this month, a meeting of vaccine advisers to the Pan American Health Organization in Buenos Aires recommended small-scale projects in Haiti to vaccinate against cholera in "underserved urban and rural areas."

Last December, a high-level meeting of the Pan American Health Organization in Washington concluded that large-scale cholera vaccination should be considered in Haiti.

But the Haitian government, worried about civil unrest among people who couldn't get vaccine, turned down one manufacturer's offer to donate tens of thousands of its vaccine. And this month, PAHO's expert advisers worried about competition between vaccination against cholera and other diseases.

Meanwhile, health workers are trying to cope, anticipating that cholera caseloads will continue to increase.

"August and September are the peak hurricane months, and we notoriously have very heavy rains in that time," Oswald says. "So we're preparing ourselves. We're putting cholera treatment centers under tin roofs with plywood walls and concrete floors instead of tarps and tents. We know cholera is not going away."

 

PHOTO ESSAY: London African Art Scene

African Art Rocks London

There's an explosion of African art in the city. Check out some of the best.

Leonce Raphael Agbodjélou, No. 101

COURTESY OF JACK BELL GALLERY

Agbodjélou photographs the people of Porto-Novo, Benin (formerly the Republic of Dahomey), in a studio that has been the family business for decades. He chooses as his subjects friends, family and studio customers. Using only daylight, he often poses them against backgrounds of locally designed, brightly patterned Dutch imported textiles. For many of the subjects, having him take their photograph is part of a family tradition.

Captions by Valerie Gladstone

 

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Leonce Raphael Agbodjélou, No. 311
COURTESY OF JACK BELL GALLERY

Agbodjélou's subjects take great care with their dress and, as this woman has done, bring items associated with their lives, like the plates in which she serves food. Instead of posing her against a patterned background, he chooses to have her sit in front of a rose-colored wall where natural light plays off her skin and allows the rooster pattern on her dress to stand out.

 

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Leonce Raphael Agbodjélou, No. 130

COURTESY OF JACK BELL GALLERY

These two children display a great seriousness because their family has impressed on them the honor of being photographed by so important a man as Agbodjélou. Either he or their parents dressed them in white skirts, to offset the fabric worn around their necks and chests. The design in the background is especially striking with its patterns of eyes.

 

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Aboudia Abdoulaye Diarrassouba, No. 025

COURTESY OF JACK BELL GALLERY

The Ivorian painter was living in Abidjan when civil war broke out in 2010 and 2011. Diarrassouba spent much of his time hidden in a basement studio. In his brutal and tumultuous paintings, he captures the violence and insanity that engulfed his country. Hollow-eyed figures stare out from this canvas, in their hands guns and on their heads helmets. The blood-red background indicates the ramifications of their rage.

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Aboudia Abdoulaye Diarrassouba, No. 01

COURTESY OF JACK BELL GALLERY

Diarrassouba's figures have some resemblance to those of Jean-Michel Basquiat, but they exist in his own distinctive world, where no man can count himself safe and every semblance of ordinary life has been thrown to the wind. With bright colors and wildly juxtaposed shapes and letters, he conveys the loneliness and fear that are a consequence of that chaos, not unlike that depicted by Picasso inGuernica.

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Nnenna Okore, 'Echi Di Ime'

COURTESY OF OCTOBER GALLERY

Okore employs ordinary media, like magazines and newspapers, to highlight consumerism and the excessive wastefulness in today's society. Inspired by the concept of growth and metamorphosis, she also uses fabric. "I am fascinated and often surprised," the Nigerian-born artist says, "by material transformations that result from amassment, layering and multiplicity of smaller parts and units." She created the brilliantly colored Echi Di Imewith clay and burlap, an explosion of raw energy.

 

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Nnenna Okore, 'Emissaries'

COURTESY OF OCTOBER GALLERY

In Emissaries, a row of dyed red-and-black burlap and yarn hangs suspended from the ceiling, each one like a mysterious, delicate and lacy figure. One would love to see them caught in a breeze. Made with repetitive and labor-intensive techniques, like weaving, twisting, sewing, dyeing, waxing and rolling, Okore's sculptures explore rich earthly colors, textures and formations and often resemble architectural structures. 

 

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Owusu-Ankomah, 'Back Into the Future'

COURTESY OF OCTOBER GALLERY

Now based in Germany, Owusu-Ankomah studied fine arts at Ghanatta College in Accra. In his new show, "Microcron -- Kusum (Secret Signs -- Hidden Meanings)," he returns to his central motif, where monumental figures move within a maze of symbolic signs. Buried beneath the symbols in his black-and-whiteBack Into the Future, a powerful muscled man quizzically takes in his surroundings. 

 

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Owusu-Ankomah 'Kumum No. 1'

COURTESY OF OCTOBER GALLERY

In the brilliant-blue Kumum No. 1, the hero appears to be moving forward through the symbols, his hand out as if wishing to touch and understand their mystery. He combines visual signs of his own invention with the lexicon of adinkra symbols, which represent particular concepts used by the Akan-speaking peoples of Ghana. In the Akan language, kusum refers to sacred sites involved in the secret performances of mystery rites.

 

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Baudouin Mouanda, Untitled No. 1
COURTESY OF GASWORKS GALLERY

Mouanda photographs the subcultures of urban Congo in the cities of Libreville and Brazzaville. In the series La Sapologie (2008), Mouanda examines the lives of sapeurs(members of the Société des Ambianceurs et des Personnes Élégantes, or Society of Tastemakers and Elegant People), who have emerged in Africa and the Diaspora over the past 25 years. Mostly young men, they have been compared to Parisian dandies of the late-18th and early-19th centuries.

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Baudouin Mouanda, Untitled No. 2
COURTESY OF GASWORKS GALLERY

Sapeurs dress flamboyantly in expensive designer clothes and affect outrageous mannerisms, their lifestyles in stark contrast with the poor circumstances in which they live. Their fantasies are not simply a way to escape reality but a rebuke to a society beset by adversities. Unafraid to break with tradition, they find in their playacting a way to challenge the status quo.

 

 

 

 

 

VIDEO: Introducing: The Break Up Series, A Show About Love, Sex, and the End of Relationships « Clutch Magazine

Introducing:

The Break Up Series,

A Show About Love, Sex,

and the End of Relationships

Friday Jul 22, 2011 – by

 

 

With our television screens overrun with scripted “reality” show drama which make Black folks look more like caricatures than real people, whenever I come across a film or a show that depicts us as complex individuals I want to share it.

Like “The Misadventures of Awkward Black Girl,” “12 Steps to Recovery,” and my latest obsession, the British cop drama “Luther,” well-written and well-acted shows featuring Black characters are a treat.

Recently, I was hipped to the show, “The Break Up Series.” Created by filmmaker Dui Jarrod, “The Break Up Series” follows couples as their relationships are unraveling. The first episode in the series, “Lights, Camera, Action” shows what happens when couples try to keep secrets from one another.

I’ll be sharing an episode of “The Break Up Series” each Friday, so stay tuned and tell us what you think!