HEALTH: The Spam Factory's Dirty Secret - Do We Know What We're Eating?

The Spam Factory's Dirty Secret

First Hormel gutted the union. Then it sped up the line. And when the pig-brain machine made workers sick, they got canned.

HEALTH: The Spam Factory's Dirty Secret - Do We Know What We're Eating?

The Spam Factory's

Dirty Secret

First Hormel gutted the union. Then it sped up the line. And when the pig-brain machine made workers sick, they got canned.

 

VIDEO: Everyday Sunshine – The story of FISHBONE > Friends We Love

Docs We Love ::

Everyday Sunshine –

The story of FISHBONE

This joint is loooooong overdue.

Learn your history homies, because these streets under your feet have been paved by many talented half crazy brothers + sisters determined to shake the system- Fishbone is definitely no exception.

About the Film:
EVERYDAY SUNSHINE is a documentary about the band Fishbone, musical pioneers who have been rocking on the margins of pop culture for the past 25 years. From the streets of South-Central Los Angeles and the competitive Hollywood music scene of the 1980′s, the band rose to prominence, only to fall apart when on the verge of “making it.”

Laurence Fishburne narrates EVERYDAY SUNSHINE, an entertaining cinematic journey into the personal lives of this unique Black rock band, an untold story of fiercely individual artists in their quest to reclaim their musical legacy while debunking the myths of young Black men from urban America. Highlighting the parallel journeys of a band and their city, EVERYDAY SUNSHINE explores the personal and cultural forces that gave rise to California’s legendary Black punk sons that continue to defy categories and expectations.

At the heart of the film’s story is lead singer Angelo Moore and bassist Norwood Fisher who show how they keep the band rolling, out of pride, desperation and love for their art. To overcome money woes, family strife, and the strain of being aging Punk rockers on the road, Norwood and Angelo are challenged to re-invent themselves in the face of dysfunction and ghosts from a painful past.

You can find more about the film: HERE

 

VIDEO: Janelle Monáe performs "Tightrope" live at Glastonbury 2011 > | SoulCulture

Janelle Monae performs

“Tightrope” live at

Glastonbury 2011 

June 26, 2011 by Verse  


What can I say about Janelle Monáe really? Honestly.

We’ve been major fans of her’s since 2007′s Metropolis: Suite I (The Chase) EP and from back in November 2009 when she exclusively revealed to us the title of her now critically and commercially acclaimed The Arch Android album, we knew the project would cement her in the hearts and minds of millions around the world.

Yesterday the rebel android totally killed her performance at the Glastonbury festival and captured the attention of the UK, becoming a top trending topic in the United Kingdom. Check out her performance of the 1st single “Tightrope” from her debut album below.

All kinds of proud after watching that performance. Standing ovation for Miss Monáe. Now go and buy The Archandroid now!

SoulCulture.TV Bonus: Janelle Monae discusses the meaning of “Tightrope”.

 

PUB: Competitions « Nottingham Poetry Society

NOTTINGHAM OPEN POETRY COMPETITION 2011

.

PRIZES: 1st: £300 2nd: £150 3rd: £75
and Merit Prizes of One Year’s subscription to
‘ASSENT’

Adjudicator: Helena Nelson

Closing Date: 6th September 2011

1. The competition is open to anyone aged 16 or over.

2. Poems should be in English, unpublished, not accepted or submitted for publication elsewhere, and must be your original work.

3. Poems should not be entered in any other competition, or have previously been a prizewinner in any other competition.

4. Poems should be no longer than 40 lines.

5. Each poem should be typed on a separate sheet of A4 paper, and must not bear your name or any other form of identification. On a separate sheet of paper list your name, address, titles of poems submitted, and where you heard about this competition. No application form necessary.

6. Entry fee: £3.00 per poem or £10.00 for 4 poems.

7. Any number of poems can be submitted on payment of the appropriate fee. Cheques and postal orders should be made payable to Nottingham Poetry Society. No stamps, foreign currency or Irish P.O’s accepted

8.Winners will be notified by post in October 2011

9. Prizes will be presented at a public adjudication in Nottingham on 26th November 2011. All prizewinning poems will be published in ‘Assent’ and a selection on this website. The decision of the adjudicator is final.

10. Entries should be addressed to: The Competition Secretary, 38 Harrow Road, West Bridgford, Nottingham NG2 7DU

11. No entrant may be awarded more than one prize.

To request further details, please contact us .

 

PUB: The Malahat Review

Creative Nonfiction Prize

The Malahat Review, Canada’s premier literary magazine, invites entries from Canadian, American, and overseas authors for its Creative Nonfiction Prize. One award of $1,000 CAD is given.

2011 Deadline

The deadline for the 2011 Creative Nonfiction Prize is August 1, 2011 (postmark date).

This year's judge will be Terry Glavin.

Guidelines

  • The entry must be between 2,000 and 3,000 words. Please indicate word count on the first page. Please double space your work.
  • No restrictions as to subject matter or approach apply. For example, the entry may be personal essay, memoir, cultural criticism, nature writing, or literary journalism. (Read the Creative Nonfiction Collective's definition of creative nonfiction here.)
  • Entry fee required:
    • $35 CAD for Canadian entries;
    • $40 US for American entries;
    • $45 US for entries from Mexico and outside North America.
  • Entrants receive a one-year subscription to The Malahat Review for themselves or a friend.
  • Entries previously published, accepted, or submitted for publication elsewhere are not eligible.
  • Entrants’ anonymity is preserved throughout the judging. Contact information (including an email address) should not appear on the submission, but along with the title on an enclosed separate page.
  • No submissions will be accepted by email.
  • The winner and finalists will be notified via email.
  • Entrants will not be notified about the judges' decisions even if an SASE is enclosed for this purpose.
  • The winner and finalists will be announced on The Malahat web site and facebook page, with the publication of the winning entry in The Malahat Review’s Winter 2011 issue.
  • The winner will be interviewed. The interview will appear on our website and in Malahat lite, the magazine’s monthly e-newsletter, in December 2011.
  • No entries will be returned, even if accompanied by an SASE.
  • Send entries and enquiries to:
    The Malahat Review
    University of Victoria
    P.O. Box 1700
    Stn CSC
    Victoria, B.C. V8W 2Y2
    Canada

    Email: malahat@uvic.ca
    Telephone: 250-721-8524
    Fax: 250-472-5051

Entrants wishing to pay by credit card may download and complete our Credit Card Payment Form then enclose it with their entries.

 

PUB: Call for Poetry/ Essays from Writers of Color: PLUCK!: Journal of Affrilachian Arts & Culture 2011 Fall Issue (USA)

Call for Poetry/ Essays from Writers of Color:

PLUCK!: Journal of Affrilachian Arts & Culture

2011 Fall Issue (USA)

 

Deadline: 29 August 2011

PLUCK!: The Journal of Affrilachian Arts & Culture is looking for voices of color from the thirteen states touched by the Appalachian Region (Alabama, Georgia, Kentucky, Maryland, Mississippi, New York, North Carolina, Ohio, Pennsylvania, South Carolina, Tennessee, Virginia, and West Virginia) and work with a strong sense of place that addresses the writer's unique experience in this brook of the African Diaspora.

Please submit work in one of the following categories in an attachment of .doc or .rtf format (.jpg for images) and a bio of no more than fifty words to pluckjournal(at)gmail.com

POETRY: Up to five previously unpublished poems.

PHOTOGRAPHY: Up to five attached photos at 300 dpi or better.

ESSAYS: Creative non-fiction or academic essay of up to 1500 words

Multiple submissions accepted. Please advise if your submission is accepted elsewhere. Submissions accepted until August 29, 2011.

Contact Information:

For inquiries: pluckjournal@gmail.com

For submissions: pluckjournal@gmail.com

Website: http://www.pluckjournal.wordpress.com/

 

 

REVIEW: Book—The American Crucible: Slavery, Emancipation and Human Rights, By Robin Blackburn > The Independent

Verso, £20, 498pp. £18 from the Independent Bookshop: 08430 600 030

The American Crucible:

Slavery, Emancipation and

Human Rights, By Robin Blackburn

 

Reviewed by Stephen Howe

Friday, 24 June 2011

If the thousands of historians who have written about Atlantic slavery and its abolition, only a handful have ever given us a really original perspective on that vast subject. Even fewer have proposed a satisfying, or stimulating, general theory about it, an attempt at explaining the rise, fall and enduring consequences of the entire New World slave system across the centuries and continents. Robin Blackburn is prominent – even pre-eminent – among those few. He has tackled the task in a formidable body of work beginning in the late 1980s; but in a rather idiosyncratic way.

 

He began, in 1988, with The Overthrow of Colonial Slavery, then moved backwards to analyse the origins of the system whose demise he had already dissected, in The Making of New World Slavery in 1997. Now, in The American Crucible, he broadens the focus still further, surveying the whole career of modern slave systems from the 16th century to near the end of the 19th, embracing not only their demise in the British and French colonial worlds, but also the later course of abolition in Cuba and Brazil. It's too rarely remembered that slavery there only ended in 1886 and 1888 respectively.

Thus we can now see the three books, Overthrow, Making and Crucible, as a trilogy, a coherent and imposing unity – albeit not one apparently pre-planned. The achievement and originality lie in Blackburn's insistence on the crucial interrelation among slavery, colonialism and capitalism, seeking to map the different modes of production, of colonisation, and of enslavement on to one another. New World slavery was, Blackburn urges, a product – a central, not incidental, one – of the rise of capitalist modernity.

Insisting on the word "capitalist" here is not an empty political gesture, or a vague bow to Blackburn's Marxist background. However much Blackburn's work draws from and debates with a range of theorists and historians, including some conservative ones, he continues to maintain the indispensability of Marx's central insights.

Equally, the stress on modernity is not – as in so much social theory and political rhetoric – some contentless invocation of things-in-general-since-whenever, but an important reminder that even in their last stages, New World slave systems and their defenders were not archaic throwbacks but dynamic forces.

Not only was slavery at the heart of early modernity, but it was crucial to the global growth of commerce and industry. The argument first developed in the 1930s by Eric Williams, that profits from the New World plantations drove Britain's industrial revolution, has been much criticised if not wholly overturned ever since. Blackburn concedes that it can now be upheld only in radically modified form. Nonetheless, it was in the plantations of the Americas at least as much as the factories of Old or New England that contemporary forms of labour organisation and discipline were pioneered.

Among slaveholders and their apologists, seemingly antiquated ideologies of paternalism coexisted with innovation and experimentation, in warring contradictions. Their opponents too – whether white abolitionists or rebellious slaves – espoused an ever-shifting mix of ideas. Some strove to recover a lost past of imagined freedom, some upheld ideas of "free labour" - which to their critics like Marx simply meant substituting wage slavery for the chattel kind. Only a few believed in universal liberty, let alone human and racial equality.

It follows near-inevitably that there was no smooth or preordained progress towards general liberty, but a "spiral path" with partial and ambiguous victories, bloody setbacks, mixed motives, and clashing blocs of economic and social power. Emancipation came only through or after revolution – Blackburn's fourth keyword alongside capitalism, colonialism, and slavery itself – or, as in North America, through cataclysmic civil war.

Here Blackburn follows recent work by historians like Michel-Rolph Trouillot and Laurent Dubois, who have argued for a dramatic reappraisal of the significance of the Haitian revolution in the 1790s. However miserable Haiti's post-independence fate may seem – a story of poverty, dictatorship, instability, disaster both natural and man-made – it was in many ways just as important as America's and France's immediately preceding upheavals. In winning their freedom, Haiti's slaves, unlike American or French revolutionaries and equally unlike all but a tiny minority of European abolitionists, placed truly egalitarian ideals firmly on a global agenda.

There they remain, still contested, still to be attained – and not only because of the multiple forms of bondage and unfree labour which, as Blackburn rightly reminds us, persist and even proliferate today. The new conceptions of human rights and democracy forged in the era of Atlantic revolution and abolition continue to challenge us, from Detroit to Damascus to Dorking.

So Blackburn reconnects his historical argument with the contemporary political concerns which have always energised his other career as veteran New Left activist. His interpretation of Atlantic slavery and its end intertwines with current debates on democracy and discourses of human rights. Some of those connections are more disturbing than affirmative, challenging the acquisitive individualism of much "rights talk", or showing how the rhetoric of liberation can be betrayed in the service of power. This is perhaps the least fully developed of Blackburn's diverse arguments. His remarks on recent writings about human rights by figures like Samuel Moyn, Regis Debray and Slavoj Zizek seem almost like hastily inserted afterthoughts – but at least underlines that The American Crucible poses a challenge for the political future as well as a bold reappraisal of the historical past.

Stephen Howe is professor of post-colonial history and culture at Bristol University

__________________________

Hardback, 512 pages

ISBN: 9781844675692

May 2011

$34.95 / £20.00 

The American Crucible:

Slavery, Emancipation and Human Rights

A landmark history of the rise, abolition, and legacy of slavery in the New World.

This book furnishes a panoramic view of slavery and emancipation in the Americas from the conquests and colonization of the sixteenth century to the ‘century of abolition’ that stretched from 1780 to 1888. Tracing the diverse responses of African captives, The American Crucible argues that while slave rebels and abolitionists made real gains, they also suffered cruel setbacks and disappointments, leading to a momentous radicalization of the discourse of human rights. 

In it, Robin Blackburn explains the emergence of ferocious systems of racial exploitation while rejecting the comforting myths that portray emancipation as somehow already inscribed in the institutions and ideas that allowed for, or even fostered, racial slavery in the first place, whether the logic of the market, the teachings of religion, or the spirit of nationalism. Rather, Blackburn stresses, American slavery was novel—and so too were the originality and achievement of the anti-slavery alliances which eventually destroyed it. 

The Americas became the crucible for a succession of fateful experiments in colonization, silver mining, plantation agriculture, racial enslavement and emancipation. The exotic commodities produced by the slave plantations helped to transform Europe and North America, raising up empires and stimulating industrial revolution and ‘market revolution’ to bring about the pervasive commodification of polite society, work and everyday life in parts of Europe and North America. Fees, salaries and wages fostered consuming habits so that capitalism, based on free wage labor in the metropolis, became intimately dependent on racial slavery in the New World. 

But by the late eighteenth century the Atlantic boom had sown far and wide the seeds of subversion, provoking colonial rebellion, slave conspiracy and popular revolt, the aspirations of a new black peasantry and ‘picaresque proletariat’, and the emergence of a revolutionary doctrine: the ‘rights of man’. The result was a radicalization of the principles of the Enlightenment, with the Haitian Revolution rescuing and reshaping the ideals memorably proclaimed by the American and French revolutions. 

Blackburn charts the gradual emergence of an ability and willingness to see the human cost of the heedless consumerism and to challenge it. The anti-slavery idea, he argues, brought together diverse impulses—the ‘free air’ doctrine maintained by the common people of Europe, the critique of the philosophes and the urgency of slave resistance and black witness. The anti-slavery idea made gains thanks to a succession of historic upheavals. But the remaining slave systems—in the US South, Cuba and Brazi—were in many ways as strong as ever. They were only overturned thanks to the momentous clashes unleashed by the American Civil War, Cuba’s fight for independence and the terminal crisis of the Brazilian Empire.

>via: http://www.versobooks.com/books/126-the-american-crucible

 

 

 

INTERVIEW: GA Gardner - Jamaica: Collage Aesthetic

Collage Aesthetic

Black-faced
In a timely way I got to see some images from GA Gardner's portfolio recently that use collage technique to make simple statements and ask certain questions. The collages range from the iconic-political statement to more painterly tributes to collage and black arts and culture. He works in various media such as paint, mixed media and also CGI. The resulting images however are all driven by this method of approaching imagery where he cuts into it and rearranges and pulls out meaning where we queried nothing before. The images 'Black-faced' (above), and 'Foster Mother and Child' (below), in particular speak to this side of his artistic approach. The painterliness that meets magazine page cut-outs can be seen in 'Earthly' and 'Icon' below. 

 

Limbo - CGI print

 

ART:Jamaica: You began your career using CGI to make large format images. The CGI images are very painterly and you also make paintings, so what led you from pigment and brush to the computer as an creative tool? 
GA Gardner: I came to the USA in 1988 with the plans of becoming a graphic designer. I didn't really understand all that that entailed but I already had a background in fine art and commercial art in Trinidad.  I also had training as a woodworker. I enrolled in college in the US and took a animation course and from then on I was hooked.  I thought it was fascinating even back then.  I later transferred to a University in San Francisco where I studied more fine art, film and animation, then got accepted to the Ohio State University where I received a Ph.D. in art education and focused on computer graphics and animation.  We were using SGI workstations that were donated to OSU by Industrial Light and Magic after being used to create the movie 'Jurassic Park'.  So very early on I got involved with creating high end 3D graphics and animation. This was not too much of a stretch from what I was already doing in the traditional fine art and commercial art world. In fact traditional fine art and woodwork prepared me for the field of CGI.  Creating texture for digital surfaces is much like painting and building the geometry in 3D is much like building wood structures.  Also I drew on my knowledge in film when it came to lighting CGI subjects.  And being a naturally animated person, well, understanding movement on the computer was not too much of a challenge.  In essence I took all my knowledge of traditional art and brought it to CGI.  Perhaps this is why my CGI images look so painterly. After graduation I began working on large format CGI in print format. I printed on various surfaces with master printers in NYC.  I preferred printing on watercolor paper at the time. 

 

Earthly

 

ART:Jamaica: Does this difference in working method affect as well as enable your artistic process?
GA Gardner: Those of us who were born before the CGI era may find that it is better to sketch first before getting on the computer or to experiment with color using paint and brush before experimenting with digital colors. In essence the computer to me must mimic what I have in mind not vice versa.  I find that I always gravitated towards traditional fine arts methods to resolve issues in the CGI world.

 

ART:Jamaica: You also have quite a large body of collages that incorporate the act of painting and manual dexterity as well as editing. How have the collages allowed you to develop ideas that the CGI work didn't allow. Tell us about your process in making these collages.
GA Gardner: Doing CGI was a very long process for me.  I had to build the images and geometry of the figures, pose them, create texture, light them and spend all day at the printers working on getting them to look right color wise. It is rewarding but long. In that world I was more of a purist. I did not want any paint or traditional tools to meddle with the final print. It was purely an archival CGI print. It is somewhat of a sterile process.  I later begin working on collages and this to me was the opposite of the spectrum. It required me to get loose with the image to rip parts of a perfectly good photo or text, to incorporate hand written messages, and to most importantly paint on the surface.  I was breaking out of the box I was taught in school.  I was messing things up if only to focus on the message, as opposed to leaving things clean to the point where the technique often overrides the message. When I create a collage I am more free to do anything.  I may start with an underpainting or an abstract background. I then begin building on that surface from background to foreground. I love working on wood as it allows me even more freedom to add various elements to the surface such as nails or metal.  I don't alway go there but I like the idea that I can go there if if I wish. Ironically, I try to stay off the computer gathering my raw materials from magazines, posters, and printed material.  I try to cut them up, paying close attention to color, lighting directions, and scale. I cut across cultural, racial and ethnic lines, I am looking for what fits well together to tell my story.  Or in some cases what strongly opposes that creates tension. Selection is a big part of the process.

 

Idol


 ART:Jamaica: In the collages there can be seen influences of other contemporary artists such as Wangechi Mutu, Ellen Gallagher and also references to Romare Bearden. How do you see your work in relation to the work of these other artists? 
GA Gardner: Wow, I like them all. They are all doing great work. Each of them is using college to allow people to see the same thing differently.  We are all somewhat surreal in our approach to creating images. We are all so different yet still we incorporate similar elements. Romare Bearden made giant steps in validating collage as a fine art form and I am inspired by his success.   

 

ART:Jamaica: Having experience of working in painting, mixed-media and digital media how does the idea of a 'collage aesthetic' represent your ideas and content.
GA Gardner: Collage allows me to connect cross-cultural, cross ethnic forms and identities and blend them on the surface. It gives me freedom to transform and metamorphosis traditional visual perspectives in ways that create new and enriched interpretations of reality.

 

Foster Mother and Child
ART:Jamaica: Can you discuss some of the core stories and ideas behind your collage images: 'Black-faced' and 'Foster Mother & Child.'
GA Gardner: Opposing images often brings tension. It is the notion that one doesn't fit well with the other and looks out of place. In examining these image the two parts are equally strong thus the tension is greater. This is the same for "Black-faced" as it is with "Foster Mother & Child"  We have a figure that is full of history. It is somewhat disturbing for folks to see but if you don't see color then it is not complicated and there isn't any tension.  That is the problem and that is why it is gets in your head because we see color first and second you see an unconventional roll being played out.  "Foster Mother & Child" is more of a Madonna like figure with the moon behind her in an angelic position and she is nursing her foster child. In an ideal race free world there should be nothing questionable about that. 

 

GA Gardner is a Trinidadian artist and you can see more of his work and view his information here

What meaning do you find in these images?

 

 

 

OP-ED: Aishah Shahidah Simmons - "Reflecting Upon My Twenty-One Years Of Pride" > NewBlackMan

Saturday, June 25, 2011

Aishah Shahidah Simmons:

"Reflecting Upon

My Twenty-One Years Of Pride"

 "I AM A FULL WOMAN"~ Rachel Bagby

Julie Yarbrough - photographer,

Jennifer Ferriola - make -up,

Summer Walker - stylist

++++++++++++++++++++++++++++++++++++
by Aishah Shahidah Simmons | special to NewBlackMan

 

For Michael (Dad), Cheryl D., and Wadia...
In Memory of Toni and Audre...

 

On the eve of the Pride parade in New York City, I reflect upon my very first New York Pride, which was in 1990. I was a very 'wet behind the ears,' 21-year old OUT 'Baby Dyke.' Wadia Gardiner, who was my first girlfriend as an adult, took me to the big city to celebrate PRIDE. That experience changed my life forever.

 

My being out as a LESBIAN is not solely political. It is literally and metaphorically about my own survival in the entity known as Aishah Shahidah Simmons in this lifetime. I will never ever condone my rape, which resulted in my pregnancy and abortion. At the same time, I know that my rape was connected to my deep seated internalized homophobia where I was a frightened teenager who literally thought I was going to be struck down by Allah (God). I can very vividly remember literally looking at the sky wondering when the striking would happen because of my attraction to women. I went to a high school (Philadelphia High School for Girls '231) where there were many of us who were either comfortable with or struggling through our queer identities. Equally as important there were many straight identified girls who were staunch allies of those who were/are queer. And yet, I still was terrified.

 

When I was eighteen in my senior year in high school struggling with my sexuality, Michael Simmons, my father, asked Cheryl Dowton, an out Black lesbian to talk to me about being a lesbian. My father didn’t want me to think that being a lesbian was a bad thing. Equally as important he didn’t want me to think that becoming a lesbian would mean that I would have to give up my racial identity. So it was extremely important to him that I have the opportunity to talk with a Black lesbian about all of my questions, anxieties and fears. Having the opportunity to talk with Cheryl allowed me to literally see that Black and lesbian were not contradictory identities. Even with my having a girlfriend in my senior year in high school, I was SO afraid that my connecting with Cheryl, didn’t enable me to fully embrace my authentic self until three year later.

 

I had a boyfriend my first year at Swarthmore College whom I loved. We had a wonderful relationship, while it lasted, but I always knew my feelings for women. And, at the same time I wanted to be "normal" (aka Heterosexual)... I wanted to be as accepted as Black (presumed) heterosexual women could be in racist and sexist Amer-i-KKK-a.

 

During my second year at Temple University, I went on a study abroad program to Mexico. During that journey, I was raped. My rape from an acquaintance in Mexico was directly related to my thinking something was wrong with me because I hadn’t had (heterosexual, or homosexual, for that matter) sex in over a year (post my break up with my boyfriend). Clearly, as a woman, regardless of my sexual orientation, I could get raped at any point or time. This is based on the wretched global statistics about violence against women. However, in my specific instance, I was trying to prove that I was heterosexual and that’s why I made the poor choices I made. Again, I want to be explicitly clear, I'm not nor would I EVER condone my rape. Poor choices and poor judgement should never EVER equate rape. The rape probably resulted in my pregnancy, though I'm not sure exactly. In my quest to both deny what happened and anesthetize my pain, the following night, post my rape; I had consensual sex with another man. When I returned to the States, I was six weeks shy of my 20th birthday and pregnant. I'm one of the fortunate women who was able to have a safe and legal abortion about one week after my 20th birthday. Albeit, I had to cross vitriolic anti-choice/anti reproductive justice protesters to get into the Elizabeth Blackwell Health Center for Women in Philadelphia.

 

Fast forward to the following year when I was 21 years old and finally coming to terms with the fact that I was a lesbian and that I could no longer keep it a secret from myself foremost, and the world secondarily, I called my teacher/mentor/Big Sista Toni Cade Bmabara several times and talked to her about my internal struggle, my fears of rejection, isolation, and alienation. Toni listened to me. She affirmed me. She encouraged me to be true to my spirit and myself without regards for what anyone else thought, said, and or wanted. During this conversation, Toni taught me two of many invaluable lessons, one, that the word sistah was both a noun and a verb and two, that the responsibility of the artist/cultural worker is to use their art/cultural work to make revolution irresistible.

 

During that same time I read Sister Outsider by Audre Lorde, which was given to me by a Holli Van Ness a colleague of mine at the American Friend Service Committee. Prior to reading that book, I didn’t really know about Audre Lorde or her groundbreaking work. Audre Lorde’s words both invigorated and challenged me to break the vicious cycle of silence and shame around being a lesbian. I was literally transformed in my bedroom while reading Sister Outsider. I devoured every single word as if my very life depended upon it. It was as if Audre Lorde were speaking directly to me. In that book, she addressed all of my issues and concerns. Her written words taught me that I had a responsibility to not only be out, but to be engaged in the international struggles of the oppressed as an out Black Feminist Lesbian. I know a metaphysical transformation happened where I went from being an afraid, frightened, and ashamed Black lesbian young woman, to an out Black lesbian activist after reading Sister Outsider.

 

I am keenly aware that the metaphysical transformation that occurred was a gradual process that began with my father’s ongoing support, which commenced with his arranging for me to meet and talk with Cheryl Dowton as well as the conversations that I had with Toni. And yet, at the same time, Audre Lorde’s words gave me the initial tools that I needed to embark on my journey as an out Black feminist lesbian. It was in April 1990 that I came out with a vengeance and vowed never ever to go back in the closet again.

 

It was during this time that I met Wadia. Nine years older than me, she was, in my eyes, a Lesbian veteran. While the relationship barely made it slightly over a year, it was one of the most profound connections for several reasons. One, Wadia is a Muslim who didn't see any contradiction between her sexuality and her spirituality. This was critical for me because I was raised Sufi Muslim and yet I thought Allah had forsaken me because of my sexual orientation. Wadia's absolute clarity about her connection to her faith helped me to understand that like with my race and my sexuality, which are bound into one, my spirituality is an integral part of who I am. It was a transformational experience because prior to meeting and getting involved with Wadia, I made the decision that I would face and burn in Hell later and live my life now, which meant I would sever my relationship with my faith. It was profound to perform Salats (Prayer) and do Dhikr with my Black woman partner. I still get teary eyed when I think about that homecoming where all of mySelves were embraced and acknowledged. I'm most grateful that my first partner was/is a Black Muslim Woman.

 

Two, in addition to helping me reintegrate back into my Spiritual life, Wadia introduced to me to a world of Black, Latina, Asian, Indigenous, European (American) and Arab feminist lesbians who were/are cultural workers, musicians, scholars, jewelers, activists, healthcare practitioners, and organizers based in Philadelphia, New York, and other parts of the country. More often than not, I was by far one of the younger ones in the private and public spaces where we gathered. I have many fond memories of our tenure together, including a two month journey to Mexico where I reclaimed the space/place where I was raped. However, the one memory that will always hold a deep place in my heart is New York Pride. This was years before the police clamped down on the Pier where after marching in the PRIDE Parade, we (women, men, trans) gathered to pour libation, drum, perform spoken word, eat food, embrace, dance and BE IN ALL OF OUR (predominantly) COLORED LGBT PRIDE AND GLORY well into the wee hours of the morning… My Goddess that was a profound gift… Once I made peace with my lesbian identity, I was able to focus my attention on my life’s work, which was/is to use the camera lens and written word to (hopefully) make radical, peaceful, compassionate revolution irresistible. To this very day Wadia is one of my most trusted friends/confidantes/comrades. We are family.

 

June 2011 a different landscape from June 1990.

 

There’s marriage equality for all in NY, and yet for so many of us who are Queer identified, we’re still not safe and protected. I believe EVERYONE, regardless of their sexual orientation, who wants to get married, should have the right to get married. At the same time, I don’t want to have to get married to have rights and privileges, which should be made available to everyone, regardless of their marital status. I celebrate this Marriage Equality victory while not losing sight that the battle is SO far from being over that it’s not even funny.

 

Just ask my Black Lesbian sisters (The New York Four) who are (unjustly and inhumanely) incarcerated for protecting themselves against sexist and homophobic violence perpetuated against them in the (safe, White) queer friendly Village… You can read Imani Henry's poignant 2007 essay.

 

This is one of many countless examples of the ongoing assaults on Queer people of Color throughout NY and across the country… Just ask or check in with The Audre Lorde Project or Queers for Economic Justice, to name two radical and revolutionary NY-based Queer organizations. Also the recently released Queer (In)Justice The Criminalization of LGBT People in the United States by Joey Mogul, Andrea Ritchie, and Kay Whitlock is groundbreaking, sobering, and a must read. http://www.queerinjustice.com/

 

Twenty-one years later, I joyously celebrate PRIDE while I interrogate the various ways, at various junctures on my journey as an out lesbian; I colluded in my own invisibility. I recognize that there aren’t any clear-cut lines in the struggle to eradicate internalized and external oppression. Often times it’s a trial and error process, where hopefully we can learn to both have compassion and forgive each other and ourselves. 

 

***  

 

Aishah Shahidah Simmons is an award-winning African-American feminist lesbian independent documentary filmmaker, television and radio producer, published writer, international lecturer, and activist based in Philadelphia, PA. Simmons is the writer, director and producer of NO! the Rape Documentary, a ground-breaking film that explores the issues of sexual violence and rape against Black women and girls.