PUB: The Betty Award - A Writing Contest for Children Ages 8-12

The Betty Award - A Writing Contest for Children Ages 8-12

 

 

Win Cash Prizes With The Betty Award Writing Contest


Contact Us With Questions About The Betty Award

In honor of my Mother, Betty, who taught all of her 6 children
to love reading and writing at an early age.

AND THE 2010 WINNERS OF THE
5TH ANNUAL CONTEST ARE …

First Place: Marah Herreid, Age 10
Once Upon a Memory
Denver, CO

Second Place: Jaya Alagar, Age 9
Science Fair Disaster
Pittsburgh, PA

Third Place: Bridget Maston, Age 9
I Thought I Knew You
Wheaton, IL

Honorable Mention: Miles Rubalcava-Cunan, Age 9
Lost in the Wild
Quincy, CA

Honorable Mention: Emma Clinton, Age 11
How Owl Got His Wisdom
Red Lodge, MT

Honorable Mention: Sheby Spurgin, Age 10
Helping My Papa
Tyler, TX

Honorable Mention: Brooke Stufflebeam, Age 9
Miracle Mouth
Coweta, OK

Honorable Mention: Hannah Larson, Age 9
The Scaredy Cat
South Burlington, VT

Honorable Mention: Nora Steinmetz, Age 10
Read Nora's story
Stillwater, MN

Honorable Mention: Cami Hedstrom, Age 12
All Alone
Bentonville, AK

 

 

How to Enter the Writing Contest:

Simply download The Betty Award Entry Form, type your story and mail it to us with the Reading Fee.

Deadline for 2011 Entries:

All entries must be postmarked no later than May 16, 2011. Winners will be notified by July 15, 2011.

Publication:

Winning 2011 entries will be published on this website
after July 15, 2011.

Reading Fee:

There is a $15 US reading fee per story.
Please make check or money order payable to
The Betty Award.

Contest Rules:

  • Stories must be submitted on the attached form.
  • Entries must be typed and in English.
  • Maximum story length is 1000 words.
  • Contest is open to all children, worldwide, ages 8-12.
  • Entries must be the original unpublished work of the child entering the contest.
  • Stories will not be returned.
  • More than one entry per child is allowed (be sure to include the $15 reading fee for each story submitted).
  • Entries are automatically disqualified if a reading fee check is returned for insufficient funds.

Mail Entries & Reading Fee To:

The Betty Award
P.O. Box 1826
Oak Park, IL 60304

 

 

INFO: Breath of Life—Fats Waller, Dajla, 13 versions of "Jitterbug Waltz"

Fats Waller has got the join jumpin’ and from France we continue with funk from Dajla. We wrap up with 13 versions of "Jitterbug Waltz" featuring the composer Fats Waller on organ, plus Bobby Battle Quartet, Abbey Lincoln, Bobby Hutcherson, Zoot Sims, Dinah Washington, Brooklyn Sax Quartet, Oliver Jones, Randy Weston, Pyeng Threadgill, Marcus Roberts Trio, Santi Debriano, and Nat Yarbrough.

http://www.kalamu.com/bol/

 

 

__________________________

 

 

His talents, like his personality and physique, were far larger than average. The sobriquet ‘Fats’ accurately described Waller’s appetite for the pleasures of life. Indeed, his prodigious ability to invoke pleasure was his signature on the music he chose to make.

While Waller always seems to be having a ball, we should not be fooled. Impromptu asides and manic one-liners were mere sparkles on a truly impressive musical tree. Although Fats was a master of stride piano in addition to his entertainment prowess, what has stood the proverbial test of time has been his skill as a composer.

Thirty-five years after Waller’s untimely death, a revival of Waller’s famous compositions in the form of a 1978 musical won four Tony Awards. A London production was a nominee for musical of the year. A 1982 NBC broadcast won two Emmys along with an additional six nominations in various categories. A 1988 Broadway revival received a Tony nomination. That’s an impressive posthumous track record and it’s well deserved.

The Thomas Wright "Fats" Waller trademark is irrepressible joie de vivre. Think about not just his legendary breadth but also his musical depth, seldom does highly entertaining music have the serious and long-lasting impact as does the music of Thomas “Fats” Waller and for that we should be thankful. Fats Waller seriously makes us feel good.

—kalamu ya salaam

 

VIDEO: Faubourg Treme - The Untold Story of Black New Orleans

FAUBOURG TREME

The Untold Story of Black New Orleans

Lolis Eric Elie, a New Orleans newspaperman, takes us on a tour of the city – his city – in what becomes a reflection on the relevance of history folded into a love letter to the storied New Orleans neighborhood, Faubourg Treme. Arguably the oldest black neighborhood in America and the birthplace of jazz, Faubourg Treme was home to the largest community of free black people in the Deep South during slavery and a hotbed of political ferment. Here black and white, free and enslaved, rich and poor cohabitated, collaborated, and clashed to create America's first Civil Rights movement and a unique American culture. Faubourg Treme: The Untold Story of Black New Orleans is a riveting tale of heartbreak, hope, resiliency and haunting historic parallels.

While the Treme district was damaged when the levees broke, this is not another Katrina documentary. Long before the flood, two native New Orleanians—one black, one white—writer Lolis Eric Elie and filmmaker Dawn Logsdon, began documenting the rich living culture of this historic district. Miraculously, their tapes survived the disaster unscathed. The completed film, Faubourg Treme: The Untold Story of Black New Orleans, which critics have called "devastating", "charming", and "revelatory" is a powerful testament to why New Orleans matters, and why this most un-American of American cities must be saved.

Elie and director Dawn Logsdon make clear the city's present, up through Katrina, remains steeped in its past- one that, for New Orleans, naturally includes an emphasis on music, heightened here by Derrick Hodge's original jazz score and over a hundred years of New Orleans music. This is a film of ideas, a historical film, a personal film and a celebration of place.

  • Directed by Dawn Logsdon
  • Co-Directed & Written by Lolis Eric Elie
  • Produced by Lucie Faulknor, Dawn Logsdon, & Lolis Eric Elie
  • Edited by Dawn Logsdon, Sam Green & Aljernon Tunsil
  • Directors of Photography: Diego Velasco, Keith Smith & Bobby Shepard
  • Executive Producers: Stanley Nelson & Wynton Marsalis
  • Original Score by Derrick Hodge

 

__________________________

 

 

Faubourg Treme:
The Untold Story of Black New Orleans
Preview of the Month

The neighborhood of Faubourg Tremé gave the world much of what is special about New Orleans' rich expressive culture. Take an eye-opening journey through three centuries of African American history in this eye-opening and poignant film.

GO HERE TO VIEW THE FULL DOCUMENTARY - FOR A LIMITED TIME ONLY

To add the film to your personal collection or to suggest your public or school library purchase a copy of the film, please visit the Faubourg Tremé page.

 



Winner of the Award of Commendation from the Society for Visual Anthropology

Winner of the Peter C. Rollins Award for Best Documentary, Popular Culture Association/American Culture Association 

Long ago during slavery, Faubourg Treme was home to the largest community of free black people in the Deep South and a hotbed of political ferment. Here black and white, free and enslaved, rich and poor co-habitated, collaborated, and clashed to create much of what defines New Orleans culture up to the present day. In so many ways its story reflects the tortuous path taken by African American history over the centuries. 

Faubourg Treme: The Untold Story of Black New Orleans was largely shot before the Katrina tragedy but edited afterward, giving the film both a celebratory and elegiac tone. It is a film of such effortless intimacy, subtle glances and authentic details that only two native New Orleanians could have made it.

Our guide through the film, three centuries of black history and the fascinating neighborhood of Faubourg Treme is New Orleans Times-Picayune columnist Lolis Eric Elie (now a writer for David Simon's new HBO TV series, Treme) who decided that rather than abandon his heritage after Hurricane Katrina he would invest in it by rehabilitating an old house in the Treme district.

His 75 year-old contractor, Irving Trevigne, whose family has been in the construction business there for over 200 years, becomes a symbol of the neighborhood’s continuity and resourcefulness; Irving Trevigne represents a man who, unlike many Americans, is deeply rooted in his community and its traditions. 

Louisiana Poet Laureate Brenda Marie Osbey and noted historians John Hope Franklin and Eric Foner explain on the DVD what made Treme different, and such a fertile ground for African American life. New Orleans was a French and Spanish city before it was incorporated into the United States as part of the Louisiana Purchase of 1803. Latin and urban attitudes towards slavery tended to be more relaxed than in the plantation South; slaves were allowed to walk freely through the city, to work for themselves and hence often to buy their freedom. New Orleans had the largest number of free people of color in the South, a dangerous anomaly in a slave society. 

As the city outgrew its walls, a new district, Faubourg (suburb in French) Treme was constructed, a mixed neighborhood, a majority of whose residents were free people of color. The district developed its own institutions, for example, St. Augustine’s Church, the oldest predominantly black Catholic parish in the country. The district grew up around Congo Square where African American commerce flourished and a unique Creole culture emerged. Even today when Treme’s children go ‘second lining’ behind one of the city’s storied brass bands, their dances immediately reveal their African origins.

A century before the Harlem Renaissance and the modern Civil Rights Movement, Treme was a center of black cultural and political ferment. In 1862, after Northern troops captured the city, Paul Trevigne, an ancestor of Irving, edited the oldest black-owned daily newspaper in the U.S., The Tribune, which became an eloquent advocate for African Americans’ civil rights. Before the 14th,15th and 16th Amendments, it demanded the right to enlist in the Union army, to vote and to be subject to equal treatment under the law. During the heady days of Reconstruction, black New Orleanians employed sit-down strikes to integrate the city's streetcars; it became the only city in the South with desegregated schools. At one point, more than half the state legislators were African Americans, as well as the governor. 

With the withdrawal of Federal troops in 1877, however, white supremacists rapidly rolled back black gains. Separate and unequal schools were re-established and 99% of black citizens were purged from the voting rolls; anyone who protested was likely to be lynched by the Ku Klux Klan. As a last stand in 1892, a ‘Citizens Committee’ deliberately challenged a law resegregating all public transportation, the infamous Plessy vs. Ferguson case. There the Supreme Court upheld the law as constitutional, legalizing 60 years of American-style apartheid. 

The black population was devastated but precisely during this dark period, a new kind of music was born in Faubourg Treme: jazz. Legendary jazz great and New Orleans native, Wynton Marsalis observes on the DVD that this music gave African Americans, excluded once again from mainstream American society, a free cultural space to voice their grief and hopes. The film pulsates with the resilient spirit of the residents of this quintessential New Orleans neighborhood, which has swept the world as America’s most lasting contribution to music. 

Treme was a hotbed of New Orleans’ civil rights struggles in the ‘50s and ‘60s but with its success prosperous residents began to move out. The familiar pattern of inner city urban decay set in poverty, crime, drugs. Urban re-development rammed an interstate highway through the business center of the neighborhood and historic homes were replaced by demoralizing segregated housing projects. Faubourg Treme even lost its name; now it was simply known as the Sixth Ward. 

Then in late August, 2005, Katrina hit. The filmmakers revisited Treme to survey the destruction and find out what had happened to the characters they had met during the film. The indifferent, incompetent federal response to the catastrophe left many residents angry and discouraged; once again, as with slavery and Jim Crow, America seemed to have rejected its African American residents. Some, like Lolis Eric Elie, returned and rebuilt. But Irving Trevigne, his life’s work in ruins, moved to Vermont where he died the next year. St. Augustine’s church was given 18 months to recover its congregation or close. 

A deeply moved but defiant Brenda Marie Osbey concludes Faubourg Treme: “This catastrophe is not greater than we as a people. Everywhere we go we must take with us the spirit of this city, the spirit of its heroes and the will to live and fight again.”

Faubourg Treme does not just commemorate, it reminds us that American society still confronts the same battles that the residents of Treme have waged through two centuries - demands for economic justice, voting rights, equal education, decent public services, in short, full citizenship for African Americans.

Chapter Listing
1. Intro - Spirit of Treme 
2. Resistance: Slavery & Free Black People
3. First Black Daily in the US 
4. Reconstruction: From Promise to Defeat
5. Plessy Court Case
6. Jazz is Born
7. Urban Renewal and Displacement
8. Katrina and Its Aftermath

With 20 years of experience in arts administration, Lucie Faulknor has worked with and produced several projects such as Ireland’s Women in Film and Video film festival, and San Francisco’s Artists Up-Close series. 

Dawn Logsdon was an acclaimed editor in the San Francisco Bay Area for many years until she returned to her New Orleans hometown in 1999 to begin work on her first feature-length directing debut. She has previously edited The Weather Underground and The Castro: Hidden Neighborhoods of San Francisco, and has directed and produced several short documentaries.

Lolis Eric Elie is a writer and filmmaker based in New Orleans who is a respected food and culture critic, having published several anthologies on Southern food as well as a thrice-weekly column in theNew Orleans' Times-Picayune for 14 years. He is currently writing for the HBO series, Treme.

Faubourg Treme is a co-production of Serendipity Films, LLC, Independent Television Service (ITVS), WYES TV12 New Orleans, Louisiana Public Broadcasting (LPB) and National Black Programming Consortium (NPBC). Major funding for this program was provided by the Corporation for Public Broadcasting, State of Louisiana Department of Culture, Recreation and Tourism, The Ford Foundation, Southern Humanities Media Fund, Open Society Institute, LEH & others. For a complete list please go to www.tremedoc.com 

The Faubourg Treme filmmakers are available for speaking engagements. Please visitwww.tremedoc.com for contact information.

>via: http://newsreel.org/video/FAUBOURG-TREME


 

 

EVENT: Bronx, New York—Until We Win

Until We Win

 


 

Time
Thursday, May 19 at 8:00pm - May 22 at 3:00pm

Location
Pregones Theater
575 Walton Avenue
Bronx, NY

Created By

More Info
UNTIL WE WIN
A theater jam like no other... guaranteed!

We fall, we rise. We dance, we cry. We struggle, we jam! That's the universal message and irresistible motion of Pregones Theater's Until We Win, fueled by the award-winning poetry of Sandra María Esteves. First seen in 2010 as a tribute to the poet's extraordinary career and lasting influence, the show is now presented as a full-on musical theater jam: Ten landmark poems fie...rcely performed by one of the leading Latino ensembles in the nation. Get your jam on!

"This amazing performance is coming together beautifully, blessed by the directorial skills of Rosalba Rolón and a superb company of artists. I am in awe and blessed beyond words..." Sandra María Esteves.

Pregones Theater's UNTIL WE WIN
A Musical Theater Jam
Poems by Sandra María Esteves
Directed by Rosalba Rolón
Music & Arrangements by Desmar Guevara
Featuring: Shadia Fairuz • Maylin Castro • Yaraní Del Valle • Omar Pérez • Antonio Vargas
and musicians Nicky Laboy & John Benítez.

Performed in English and Spanish.
ONE WEEK ONLY

PURCHASE YOUR TICKETS at www.pregones.org
or call us at 718-585-1202

PERFORMANCE DATES:
Thursday May 19 @ 1:30 PM
Thursday May 19 @ 8:00 PM
Friday May 20 @ 8:00 PM
Saturday May 21 @ 8:00 PM
Sunday May 22 @ 3:00 PM

 

INTERVIEW: Nas and Damian Marley Talk Pan-Africanism > HipHop DX

Nas and Damian Marley

Talk Pan-Africanism

posted May 03, 2011

 

While chatting with Tim Westwood, Nas and Damian Marley discuss the issue of pan-Africanism and how it applies to 'Distant Relatives'.

While touring in London, Nas and Damian Marley stopped in with Tim Westwood to discuss their most recent project together Distant Relatives. During the interview, the QB emcee and the son of the legendary Bob Marley discussed the pan-African approach they took their critically acclaimed album. Nas said that the LP grew out of the conversations that they had together about history and how little schools teach students about African culture. 

"Me and Damian, we're both into history, and African history is topic of [Distant Relatives], but world history at the end of the day," explained Nas. "There's so much to learn because you don't get it in school, so we learned a lot on our own and we shared those...stories when we started working on the album. We just wanted to take that conversation and share that with everybody because it's intruiging. It's like, there's so many lies, so much corruption...it's amazing. Mansa Musa, the Mau-Mau warriors, Queen Nzinga, stories that you don't hear about we talked about [them]...the album's a little bit of that. It's not like preachy, talkie talk; it's just Hip Hop/Reggae on an African vibe."

Damien Marley also discussed the relevance behind the title Distant Relatives. He explained that because of the fact that life began on the African subcontinent, he and Nas wanted the project to be an inclusive experience for all listeners of every race and origin.

"The most important thing is you, man," said Marley. "Even within the album that is one of the points we're trying to get across, not because we're talking about Africa. Africa is the cradle of civilization, so we don't care where you come from, you come from Africa, too. It's not an exclusive thing...it's all-inclusive of all people, all races, all classes...we're just trying to leave you the truth: the truth is that Africa is the cradle of civilization, the motherland of all of it."

The full interview can be seen below.

 

__________________________

Damian Marley & Nas - Nah Mean [Official Video 2011]

 

EVENT: Beijing, China—“AFRICA: SEE YOU, SEE ME!”

“AFRICA: SEE YOU, SEE ME!”

Time2011/4/23---2011/5/22
Venue:Li-Space,Red No.1-F,Caochangdi,Beijing.
Artist(s):  

 

      AFRICA: SEE YOU, SEE ME! portrays the history of African photography and also its influence on non-African imaginings of Africa and the African diaspora in all their diversity. Together, the photographs are texts of African subjectivities, archives of history and societies in the making, and methods for understanding how images contribute to emancipation. They critique the pathologies of postcolonial and neocolonial Africa by depicting the continent’s communities disentangling themselves from repressive nation states. While some of the photographs document the participation of Africans in state affairs, others portray the formation of post-national voluntary communities as tools of empowerment. Africa is more than a place. It is also in the many spaces of sensibility within and beyond the continent – in Europe, the Americas, and Asia -- that African artists pry open to install their presence. Their interventions in exhibition halls beyond the continent of their heritage have made a mark on recent photographs of Africa and Africans by non African photographers. Moreover, they have spurred intra-African, inter-textual dialogues about self-representation in Africa itself.

     AFRICA: SEE YOU, SEE ME! Portrays the history of African photography and also its influence on non-African imaginings of Africa and the African diaspora in all their diversity. The exhibition was the result of a proposal made by Lisbon’s centre of contemporary arts, AFRICA.CONT to Awam Amkpa, the exhibition’s curator, and professor at Tisch School of the Arts at the New York University. After touring New York, Lisbon, Accra, Lagos and Florence, the Macau- Angola Association invited Awam Amkpa to bring the exhibition to Li-Space as part of the 2011 Caochangdi PhotoSpring of Arles in Beijing. The Macau – Angola Association, believes that it is important to promote a cultural exchange between Africa and China given the today’s ever more strong economical relation.

Poster

 

 

 

 

__________________________

Insomni-Art.Com

“AFRICA, SEE YOU, SEE ME!” LISBON

This exhibition is promoted by Africa.Cont and curated by Professor Awam Amkpa from New York University.Speacks about “the experience of the african emigrants in Europe, the history of African photography and its influence on African and non-African imaginaries of Africa. It critiques the pathologies of postcolonial and neocolonial Africa by depicting the continent’s communities disentangling themselves from repressive nation states.”

In the Black Pavillion (Pavilhão Preto) of the City Museum (Museu da Cidade) in Lisbon until December 19. Then will continue its tour in Accra (Ghana) and Lagos (Nigeria).

There are three sections.

The first shows the stories of african emigrants from their absurde voyage from Africa to Europe, the hard life in the european society. “A tense dialogue between the photographer and the photographed as they collaborate in inscribing African spaces”.

The second section shows etnographic portraits :Africa as a wild land colonized by european settlers.

 
The final section is “the contemporay photos of Africa by non African photographers who share experiences with African artists and the spaces in which Africans are photographed as subjects of history”.

africa see you see me2 “AFRICA, SEE YOU, SEE ME!” LISBON

africa see you see me11 “AFRICA, SEE YOU, SEE ME!” LISBON

africa see you see me21 “AFRICA, SEE YOU, SEE ME!” LISBON

africa see you see me3 “AFRICA, SEE YOU, SEE ME!” LISBON

africa see you see me4 “AFRICA, SEE YOU, SEE ME!” LISBON

africa see you see me5 “AFRICA, SEE YOU, SEE ME!” LISBON

 “AFRICA, SEE YOU, SEE ME!” LISBON africa see you see me81 “AFRICA, SEE YOU, SEE ME!” LISBON

africa see you see me71 “AFRICA, SEE YOU, SEE ME!” LISBON africa see you see me92 “AFRICA, SEE YOU, SEE ME!” LISBON

 

VIDEO: Black Coffee > AFRICA IS A COUNTRY

Music Break

Black Coffee

 

I can’t think of any other South African artist right now who’s got a bigger following outside of South Africa than DJ and producer Black Coffee. Kwaito might sell in South Africa and its neighboring countries, Black Coffee really delivers his house music also beyond the continent’s borders. Reasons for his success are obvious. These two new videos pretty much sum it up: smart collaborations, clean production, catchy hooks, breezy vibes.

 

Tom Devriendt

 

VIDEO: Marlena Shaw ... Eleanor Powell ... Wade in the water.

Marlena Shaw
Marlena Shaw ... Eleanor Powell ... Wade in the water.

 on Mar 30, 2008

Eleanor Powell and the Berry brothers to Marlena Shaws up beat vocal version of Ramsey Lewis' Wade in the water.

Originally one of the 'Songs of freedom'
(Wade in the water) was sung by way of instruction to escaping slaves .. travelling along the water's edge or across a body of water, would throw dogs and their keepers off the scent.

Wade in the water,
Wade in the water children.
Wade in the water
God's gonna trouble the water

Who's all those children all dressed in Red?
God's gonna trouble the water.
Must be the ones that Moses led.
God's gonna trouble the water.

What are those children all dressed in White?
God's gonna trouble the water.
Must be the ones of the Israelites.
God's gonna trouble the water.

Who are these children all dressed in Blue?
God's gonna trouble the water.
Must be the ones that made it through.
God's gonna trouble the water.


The Twisted Wheel is a non commercial, interest site only. Should any copyright owner feel this offends, infringes or interferes in any way with legitimate
rights of use, I will remove the item from display.

 

PUB: Faces of the Future: National Student Writing Contest

Faces of the Future:

National Student Writing Contest

It's a contest just for you! ADVANCE for Respiratory Care & Sleep Medicine announces its first ever student writing contest. Judged by respected educators in respiratory care, The Faces of the Future: National Student Writing Contest highlights the new class of thought-leaders in the field. 

Students and recent graduates are invited to submit an article on a topic of their choice related to respiratory care or sleep medicine. The winning entry will receive $250 and be published in August. 

Submit an essay for a chance at the cash prize (and to plump up your resume.)


Deadline: June 20 


Contest Rules

  • Undergraduate or graduate students may apply.
  • More than one student can collaborate on the paper.
  • Entries must be unpublished, with the exception of self-published material.
  • Maximum length is 1,400 words.

Judging Criteria

  • Degree of difficulty in subject matter
  • Demonstrates full understanding of content
  • Completeness of research
  • Applicability of subject matter to the profession
  • Organization, clarity, and focus
  • Creativity
  • Conclusion
  • References

Sample Article

Breath by Breath - High frequency oscillatory ventilation (HFOV) and conventional mechanical ventilation have their advantages and disadvantages. Students from University of Alabama at Birmingham will discuss how conventional ventilation and HFOV operate, the uses of each, and a comparison of the two.

 

 

PUB: Call for Contributors - "Lesbians, Sexuality and Islam" Issue of The Journal of Lesbian Studies

Call for Contributors

- "Lesbians, Sexuality and Islam" Issue

of The Journal of Lesbian Studies

 

Deadline: 1 July 2011

The Journal of Lesbian Studies will be devoting a special issue to the topic of LESBIANS, SEXUALITY, AND ISLAM, edited by Huma Ahmed-Ghosh, ghosh@mail.sdsu.edu.

There has been very little published work on lesbians and Islam. Possible topics and methods include, but are not limited to religion, Quran, Hadith, Sharia, personal experiences of Muslim women, ethnic and regional diversities, oral histories, feminist theory, research, fiction, and poetry. Authors may use a pseudonym if they prefer.

Please send a one-page abstract of your proposed contribution to Huma Ahmed-Ghosh at ghosh@mail.sdsu.edu by July 1, 2011. Proposals will be evaluated for originality and writing style, as well as how all the contributions fit together. Potential authors will be invited to write full articles in the range of 5,000 to 7,500 words.

We hope you will consider writing about your scholarship or experiences, so that this important topic receives the attention it deserves.

Huma Ahmed-Ghosh, Professor
Department of Women's Studies
Center for Islamic and Arabic Studies, Advisory Board
Center for Asian and Pacific Studies, Advisory Board
San Diego State University
5500 Campanile Drive
San Diego, CA 92182
Tel: 619-594-3046
Fax: 619-594-5218

Contact Information:

For inquiries: ghosh@mail.sdsu.edu

For submissions: ghosh@mail.sdsu.edu

Website: http://www.tandf.co.uk/journals/WJLS