Luther Season 2 Episode 4

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The final episode of the second season of Luther.

EYELANDS Short Story Contest!!

A 2011 STORY

The contest is open from April 14, 2011 to August 14, 2011

 

*
PRIZES & HONORABLE MENTIONS
• First prize: a Νotebook
• Second prize: a  Digital Video Camera
• Third prize: a Digital Photo Camera
* Plus 4 Honorable Mentions
* All the stories from the short list will be published in an book – an eyelands edition
* The writers of the sort list will also receive a book as a special gift and a free copy of the book with the winning stories.
* No entry fee is required!
**

RULES OF THE CONTEST  
*«A 2011 story» - This is the theme of our contest.
Your stories must somehow refer to this year (2011). It’s up to you to make the reference but you must remember we are not looking for a reportage or a chronicle of the year.
*Entries must be original, unpublished stories, of any genre, and maximum length 2,000 words and must be previously unpublished in a book, paper magazine or web-based magazine. Entries must be in Greek or English.
*You can submit only one story, per person.
*This is an international contest. There is no restriction such as nationality e.t.c of  the author.
* No www.eyelands.gr  editor or judge, or family member, is allowed to enter.
* Entries can be submitted either electronically or by post (see below).
* Manuscripts will not be returned.
* The short list will be announced on September 14, 2011
* Winners to be announced till the end of October 2011. Entry gives permission to include all the contest winners in the book which is published and available from our site. Every writer of the sort list will receive a notification.
* Copyrights to manuscripts remain with author.
* In addition to the story being published on www.eyelands.gr the author's acceptance of the prize gives eyelands.gr the right to include the story in the anthology «2011’s Stories» that will appear in book or magazine form.  
* The stories anthology will be published in Greek.
* Send e-mail with your story attached (in doc.) to: info@eyelands.grΑυτή η διεύθυνση ηλεκτρονικού ταχυδρομείου προστατεύεται από κακόβουλη χρήση. Χρειάζεται να ενεργοποιήσετε την Javascript για να τη δείτε.
with subject: Eyelands Short Story Competition,
* Postal Entries:
Those who would rather post their entries can send them to:
EYELANDS.GR,  Kassianis 20, 11471, Athens, Greece
with the indication:  Eyelands 2011 Short Story Competition
* You must include an email address even if send your manuscript by post. An email confirmation that your entry has been received will be sent.
* Name, address and a short biography (maximum 200 words) of the author are to be submitted on a separate file (or sheet of paper) to accompany the entry.

Call for Entries:

3rd Annual 'Media for Liberty' Journalism Award

$50,000 Prize for Winning Submission

ENGLEWOOD, Colo.--(BUSINESS WIRE)-- Liberty Media Corporation ("Liberty") (Nasdaq: LCAPA, LCAPB, LINTA, LINTB, LSTZA, LSTZB) is now accepting submissions for the annual "Media for Liberty Award." This award recognizes media contributions that explore the link between economic and political liberty. Eligible works must be originally published or broadcast via print or electronic media during the 2011 calendar year, and received by Liberty Media no later than January 9, 2012. There is a $50,000 prize for the winning entry.

The Media for Liberty Award is open to journalists worldwide whose original works bring new insights on societal issues, news events, economies, political structures and cultures that illustrate their prosperity or struggle in their pursuit of a free market environment and civil liberties uninfluenced by government agenda.

Sample topics and issues might include (but are not limited to):

• Government involvement in private enterprise (TARP, health and financial reform)
• Dependency on foreign oil
• Access to healthcare (universal care, rationing, Medicare)
• Sovereign debt
• Basic goods (food, housing, healthcare) becoming prohibitively expensive for the middle class consumer
• Ultimate cost of globalization from a societal, cultural, economic perspective
• True cost of ethanol and its impact on food and fuel
• Fair trade
• Global tax and regulatory changes

Submitted works will be reviewed by a jury panel and evaluated based on the degree to which the theme is addressed, inspirational and educational value, relevance to the public discourse, and mastery of media format.

Prior year's recipients were CBS 60 Minutes for a segment titled "Congo Gold" that traveled to the war-torn region of eastern Congo to investigate the connection between the mining of gold and other precious minerals, and an essay in The Atlantic titled "How a New Jobless Era will Transform America" that examined the likely lasting effects of the recent Great Recession on American society, culture and politics.

Eligibility Requirements

Eligible media outlets, including newspapers, magazines, journals, radio, television and websites, must be generally recognized in their markets and accessible to a broad audience in the United States.

• Length: Print entries may not exceed 20,000 words. Electronic entries may not exceed 120 minutes.
• Language: All entries must be in English, or submitted with an English translation or with English subtitles.
• Examples: Eligible entries may include news reporting, feature coverage, investigative reporting, articles, essays, editorials, commentaries, documentaries and educational works.
• Programs produced and intended for general theatrical motion picture release are not eligible.

The winner will be notified in February 2012. An awards ceremony will be held in the Spring of 2012 in Washington, D.C.

Entry forms, rules and judging criteria can be found at Liberty Media's website, www.mediaforlibertyaward.com or on Facebook. Entries should be sent to:

Media for Liberty Award
12300 Liberty Boulevard
Englewood, CO 80112
720-875-5400

About Liberty Media Corporation

Liberty Media owns interests in a broad range of electronic retailing, media, communications and entertainment businesses. Those interests are attributed to three tracking stock groups: (1) the Liberty Interactive group (Nasdaq: LINTA, LINTB), which includes Liberty Media's interests in QVC, Provide Commerce, Backcountry.com, BUYSEASONS, Bodybuilding.com, IAC/InterActiveCorp, and Expedia, (2) the Liberty Starz group (Nasdaq: LSTZA, LSTZB), which includes Liberty Media's interest in Starz Entertainment, and (3) the Liberty Capital group (Nasdaq: LCAPA, LCAPB), which includes all businesses, assets and liabilities not attributed to the Interactive group or the Starz group including its subsidiaries Starz Media, LLC, Atlanta National League Baseball Club, Inc., and TruePosition, Inc., Liberty Media's interest in SIRIUS XM Radio, Inc., and minority equity investments in Time Warner Inc. and Live Nation.

 

 

Liberty Media Corporation
Courtnee Ulrich, 720-875-5420
or
Press Contact:
Amanda Cheslock, 212-446-1884

 

Source: Liberty Media Corporation

 

 

News Provided by Acquire Media

Call for Submissions:

A Tribute to Aimé Césaire

The City of Fort-de-France calls for international projects or expressions of interest to design, to implement and monitor the installation of a monumental statue in tribute to Aimé Césaire. Born in Martinique, writer, humanitarian and politician Aimé Césaire (June 26, 1913 – April 17, 2008) was the mayor of Fort-de-France for 56 years. This call is open to all professional artists and artist collectives. The deadline for submission is Wednesday, July 20, 2011.

A monumental statue will be created and located on “La Savane” in Fort-de-France, Martinique, to preserve the memory and work of Césaire and his anti-colonialist struggle. La Savane, a former space for military ceremonies and displays, is now a walking park. Since the nineteenth century, it is a place of remembrance for the people of Martinique.

For submission information (in French), go to http://fortdefrance.forsup.net/XMain/ and click on the icon to the right of Conception, réalisation et suivi de l’installation d’une statue figurative en hommage à Aimé CESAIRE.

For more information, you may contact Suzy at suzy.landau@fortdefrance.fr or Myriam Etile by phone at (596) 596 72 84 27, by Fax at (596) 596 72 84 28 or via email at myriam.etile@fortdefrance.fr

[Many thanks to ARC’s Holly Bynoe for bringing this item to our attention.]

For original post, see http://arcthemagazine.com/arc/2011/07/fort-de-france-call-for-projects-tribute-to-aime-cesaire/

For New York Times tribute/article (and photo), see http://www.nytimes.com/2008/04/18/books/18cesaire.html

 

Evolution of the Instrument:

Djembe

“Anke dje, Anke be” translates from Bambara to English as ” Everyone gather together in peace”. This phrase is where the djembe gets its name and can help describe its purpose. The djembe made its way from the West African country of Mali and is now heard anywhere from coffee shops of Seattle to drum circles in Central Park and everywhere else in between. The Djembe is one of the most dynamic drums ever made that is played with bare hands. It has a very deep bass tone, and a full round open tone, yet a high slap pitch can be achieved on the same head. To continue with the theme of this Africa issue we are going to show you how the djembe, though it has gone through many changes from Mali to the Western world, still accomplishes what it was made to do since its creation: bring everyone together in peace.

Diansa (Dance ) music of Mali (1200s- present)

* Diansa is a type of dance music from Mali which uses the djembe as a very integral part of the music. Here you see women dancing and the main djembe player in the center background of the video.

*In this video you find a djembe solo that is typical in Diansa music. Its very interesting to see how the rhythms of the Diansa is similar to some modern hip-hop rhythms.

Babatunde Olatunji (1927-2003)

 

 

* Babatunde Olatunji was one of the pioneers in the westernization of the djembe. He was granted scholarship in his native Nigeria to study in the states, and when he came he got a great following from Jazz musicians (especially John Coltrane), which also lead to his first of many record deals with Columbia. This track is from his first album. He’s played with Carlos Santana, Stevie Wonder, Cannonball Adderly and many more.

Famoudou Konaté (1940- present)

*Famoudou is known as one of the worlds premier master drummers and in this video you can see why. At about 48 seconds in he plays in one tempo with one hand and another tempo with the other. He is dedicated to preserving  and performing the music of his Mandinke people and is one of the djembefolas responsible for bringing djembe music to such popularity around the globe. He played with Les Ballets Africains in the 60′s which introduced America to the instrument and attracted many hippies to start drum circles with it.

Mamady “Wadaba” Kourouma (1963- present)

*Mamady Kourouma got his nickname “Wadaba”  which translates to “The Great Panther” because of his powerful and fierce sound on the drum resembles that of the great cats scream. In 1993 he began to study under Famoudou Konate which helped improve his skills as a drummer.

Paul Simon uses djembe in songs (1980-present)

 

 

*Paul Simon is a prolific songwriter and has embraced African Music and integrated it to his music for over 30 years.

Jason Mraz uses djembe in acoustic performances (2000- present)

* Jason Mraz has done acoustic performances for years with just a guitar and a djembe which is another example of the westernization of the drum and helped bring tit to the local coffee shops and open mics.

A scene from The Movie The Visitor (2008)

 

 

* This whole movie is about a djembe player in NYC and how he creates this relationship with a doctor by teaching him to drum. This is a scene where the djembe player invites the doctor to a gig he has playing jazz with a djembe and the doctor first is attracted to the instrument.

We hope you enjoyed this article and how the djembe has come to our ears more than we realize. As always we appreciate your feedback and any additions to the list.

Words by Cesar Toribio

Colin Grant

Download colin_grant_interview.mp3

Wail On:

Marley, Tosh and Wailer

Tuesday, July 05, 2011

• Cover of "The Wailing Wailers" - the 1965 debut by The Wailers (Teklund/Wikipedia Commons)

They were known as The Teenagers, The Wailing Rudeboys, The Wailing Wailers and finally -- The Wailers. Today: the origins of the iconic Jamaican reggae group. Plus: Bela Fleck and the Flecktones play live in our studio.

The Boys of Reggae

Bob Marley wasn’t a lone hero of Jamaican music. The three original Wailers - Peter Tosh, Bunny Wailer and Bob Marley - were a resilient Rasta trio that rose out of the Trench Town housing project in Kingston, Jamaica. We’ll speak with Colin Grant, author of “The Natural Mystics: Marley, Tosh and Wailer” about the three original Wailers and the Jamaican political history that influenced their music.

 Comments [4]

Clementine Katungu Kalenjya

Download child_soldier.mp3

Why a Congolese Girl

Volunteered to Become

a Child Soldier

By The World ⋅ July 6, 2011  

The schools in eastern Congo send children of all ages to help build the classrooms. (photo: Dennis Porter)

by Dennis Porter

The war in the Democratic Republic of Congo has officially been over for several years now. But there are still more than a dozen armed groups fighting amongst themselves throughout the eastern part of the country. Many of them use child soldiers.

Sometimes those children join voluntarily – including girls.

Clementine Katungu Kalenjya isn’t what you’d expect of a former child soldier. She’s soft-spoken, shy and she’s constantly laughing, even when she describes her first battle against government soldiers. She was 15 at the time.

“They began to shoot,” Kalenjya said. “We heard shooting down at the roadblock and we were asking whose shooting?”

She said she and other girls were armed only with rocks, but a sorcerer put a magic potion on the rocks so they exploded like grenades.

Kalenjya became a soldier eight years ago, after she was kicked out of school because she couldn’t pay her school fees. With nothing else to do, she and four other girls and set off into the mountains to find the Mai Mai camp.

“I didn’t tell my family, I just left to join the Mai Mai,” she said. “I felt like being a fighter made me important.”

Her father, Jean Mutahinga, said when he came home that afternoon, he found out his daughter had gone.

“I was angry and afraid to hear that my daughter joined that group,” Mutahinga said.

The Mai Mai was set up by the Congolese government to protect against foreign militias.
Dozens of Mai Mai groups dot eastern Congo. They rob, and sometimes kill people. But other armed groups around here, including government soldiers, are often more brutal, so the Mai Mai sometimes have the reluctant support of villagers.

Masika Kasyoko, an elder in Kalenjya’s village of Lukanga, said she’s seen many children join the Mai Mai, often for food.

“Some of the children were hungry,” Kasyoko said, “and when they heard that in Mai Mai they had meat, they had breads, they said ‘oh, that’s where we have to go.’”

Kalenjya said it didn’t take long to realize she’d made a mistake joining the Mai Mai. In her first battle, her friend was shot dead in front of her. Kalenjya said she tried to leave, but Mai Mai leaders said her father would have to give them 10 goats in compensation — about five times her family’s annual income. So Kalenjya was stuck, fighting foreign militias and sometimes government troops.

“We were fighting against the national Congolese army, and Ugandan rebels and Rwandans,” she said. “We were just fighting because it was war. It’s the leaders who understood, but the rest of us, we didn’t know why.”

Kalenjya finally got to go home after the army raided the Mai Mai camp. But some Mai Mai fighters showed up at her hut and demanded her father compensate them for her release.

“They came here with knives and said ‘If you don’t have a goat, there’s going to be a problem. You better get a goat,’“ her father said. “If I gave them one goat, then she could go back to school.”

Kalenjya’s father managed to get them a goat. Then he sent her away for her own protection. She spent half a year in a rehabilitation program for former child soldiers.

“We were sent to a village and trained how to re-enter society,” Kalenjya said. “They told us that if we went to school, they’d help pay for our school fees, or else they’d train us to be a tailor or carpenter.”

In the past few years, things have been improving for the people in Lukanga. Fewer children are joining the ranks of the Mai Mai. But for many of the former child soldiers, life is difficult. Masika Kasyoko said many villagers don’t trust them.

“Men fear them very, very hard,” Kasyoko said. “They say ‘Ah, even if I marry this girl, perhaps in the future, she can kill me’.”

Kalenjya is now 23 and still trying to finish high school. However, she’s run into the same problem that drove her to join the Mai Mai in the first place. Her school funding ran out so she was kicked out of school — again.

“The teachers aren’t paid by the government, so if we don’t pay the fees, they don’t get their salary. That’s why I can’t go to school,” she said.

But Kalenjya said that even if she can’t finish school, she won’t go back to the Mai Mai.

June 17, 2011

The war on drugs has helped make the U.S. the world's largest incarcerator.

America’s criminal justice system should keep communities safe, treat people fairly, and use fiscal resources wisely. But more Americans are deprived of their liberty than ever before - unfairly and unnecessarily, with no benefit to public safety. Especially in the face of economic crisis, our government should invest in alternatives to incarceration and make prisons options of last – not first – resort.

>via: http://www.stumbleupon.com/su/2aIRDr/www.aclu.org/combating-mass-incarceratio...

Professor Clyde Woods | UC Santa Barbara

 

 

 

 

 

 

 

 

 

Remembering

Professor Clyde Woods

by Mark Anthony Neal

 

"These groups [the black poor of the Mississippi Delta] learned a painful lesson that many scholars have yet to learn; slavery and the plantation are not an anathema to capitalism but are pillars of it…Slavery, sharecropping, mechanization, and prison, wage, and migratory labor are just a few permutations possible within a plantation complex. None of these forms changes the basic features of resource monopoly and extreme ethnic and class polarization." -- Clyde Woods

 

I first read Professor Clyde Woods’ Development Arrested: The Blues and Plantation Power in the Mississippi Delta (Verso) shortly after it and my book What the Music Said were published. My immediate reaction was “damn, think I need to go back to the lab.” Thirteen years later, Development Arrested remains the most sophisticated analysis of the political economy of Black music that has been published in the last generation, in part because Woods never lost sight of the fact that the very economic engines that drove the degradation and exploitation of Black workers in the Delta, inspired a resistance to those engines in the music of the region—not simply through ideological retorts, but in creating something that soothed the souls of a people well beyond weary.

Yet the brilliance of the man’s work, paled in the light of the man’s humanity; He was simply “Good People.” Professor Woods and I crossed paths finally in 2003, in a way that bespeaks his good and supportive nature; he simply showed up to a reading that my  friend and journalist Esther Iverem hosted at her Washington DC home in support of my book Songs in the Key of Black Life. What I recall from that first encounter, is meeting a dude that I wished I had had the opportunity to connect with much earlier in my professional life. Still can remember talking to him about  Hip-Hop’s Blues aesthetic, as he reeled off lyric after lyric from Scarface to make his point. I never heard Scarface, or Southern rap for that matter, the same after that.

 

Over the past few years I was fortunate enough to run into Professor Woods fairly regularly at the annual American Studies Association meeting. Last time I saw him, was at the 2009 American Studies Meeting in Washington DC; he was holding court, fittingly, with a group of students and New Orleans poet and activist Kalamu Y Salaam. Months later his edited volume In the Wake of Hurricane Katrina: New Paradigms and Social Visions was published, putting a fine point on all of the scholarship that was produced in the wake of Katrina. Yet, as in all of his work, Professor Woods found that common thread to Black humanity, in what he regularly referred to as the “blues tradition of investigation and interpretation.”

 

There are many scholars who make lasting impressions with their work, but comparatively few that make those same impressions as simply good people. Professor Clyde Woods was the rare person who did both. He will be missed.

 

Posted by MAN