PHOTO ESSAY: Art Spotlight:Black Poverty From Past to Present -Big Momma and Boy > theblackbottom

Gordon Parks’s compelling photograph of Bessie Fontenelle and her youngest son Richard, Jr., was published by Life magazine on March 8, 1968, as part of a special feature on blacks and poverty called A Harlem Family (or At the Poverty Board). Parks’s essay and twenty-five photographs vividly depict the hardships of a Harlem family living under deplorable conditions. Taken shortly after Bessie violently retaliated against her husband’s abuse, this image, which appears on the opening spread, captures both her love for her son and her deep frustration and exhaustion—the dichotomy of a life torn between hope and despair. Her sadness is tempered by her child’s wide-eyed innocence. The article begins with this admonition: “What I want/What I am/What you force me to be/is what you are,” suggesting that we are all part of one global family. Sadly, only young Richard survived the family’s hardships and grew up to escape poverty.

When the subject of the Fontenelle family comes up, Parks becomes somber. “The problem in documenting a family like that,” he explains, “is that, you wonder, in the end, whether you should have touched the family, or just left them alone.” Parks questions the issue of altering lives, such as the Fontanelle family’s, because of the tragic outcome of their story. Parks assignment began when LIFE managing editor Philip Kunhardt asked Parks why black people were rioting throughout urban areas of America. Parks answered Kunhardt by going to live with a black family for one month in Harlem. After assuring Bessie Fontanelle, the family matriarch, that Parks’s essay would benefit the community, she welcomed him into her family’s home in a decrepit Harlem tenement building. Here, the family is shown at a Harlem welfare office. “It was difficult,” Parks admits. “The husband was unemployed, the family had no food, it was wintertime but the kids couldn’t attend school because they had no winter clothes. And it was difficult not to immediately, being in my position, take money in, take food in, to ease their situation. Because the minute you do that you’ve lost your story. So you pray and hope that you can get your story over as quickly as possible, and that there will be a response from the public.” Which is what happened, but before money poured in from the public, Parks had to stand back and watch the family suffer. With the funds LIFE and its readers contributed to the Fontenelles, a small house was bought on Long Island as a refuge for the family from the filth and chaos of the Harlem tenement. Three months after they moved in, the father [drunk at the time] burned down the house by dropping a lit cigarette on the family’s new sofa. “The father died in the fire, little Kenneth, one of my favorites, died in the fire. Little Norman died mysteriously two years later, the other girl [sucking her thumb in the image shown here] died from AIDS, as did two of her sisters. The whole family was destroyed,” Parks sighs.

 

HISTORY: Malcolm X - By Manning Marable (Excerpt) > NYTimes.com

Excerpt

‘Malcolm X’

From Chapter 7, “As Sure as God Made Green Apples”

Malcolm may have publicly commanded his followers to obey the law, but this did little to lessen suspicion of the Muslims by law enforcement in major cities. Nowhere did tensions run hotter than in Los Angeles, where Malcolm had established Temple No. 27 in 1957. For most whites who migrated to the city, Los Angeles was the quintessential city of dreams. For black migrants, the city of endless possibilities offered some of the same Jim Crow restrictions they had sought to escape by moving west. As early as 1915, black Los Angeles residents were protesting against racially restrictive housing covenants; such racial covenants as well as blatant discrimination by real estate firms continued to be a problem well into the 1960s. The real growth of the black community in Southern California only began to take place during the two decades after 1945. During this twenty-year period, when the black population of New York City increased by nearly 250 percent, the black population of Los Angeles jumped 800 percent. Blacks were also increasingly important in local trade unions, and in the economy generally. For example, between 1940 and 1960, the percentage of black males in LA working as factory operatives increased from 15 percent to 24 percent; the proportion of African-American men employed in crafts during the same period rose from 7 percent to 14 percent. By 1960, 468,000 blacks resided in Los Angeles County, approximately 20 percent of the county’s population.

These were some of the reasons that Malcolm had invested so much energy and effort to build the NOI’s presence in Southern California, and especially the development of Mosque No. 27. Having recruited the mosque’s leaders, he flew out to settle a local factional dispute in October 1961. Such activities were noticed and monitored by the California Senate Fact-Finding Committee on Un-American Activities, which feared that the NOI had “Communist affiliations.” The state committee concluded that there was an “interesting parallel between the Negro Muslim movement and the Communist Party, and that is the advocacy of the overthrow of a hated regime by force, violence or any other means.” On September 2, 1961, several Muslims selling Muhammad Speaks in a South Central Los Angeles grocery store parking lot were harassed by two white store detectives. The detectives later claimed that when they had attempted to stop the Muslims from selling the paper, they were “stomped and beaten.” The version of this incident described in Muhammad Speaks was strikingly different, with the paper claiming that “the two ‘detectives’ produced guns, and attempted to make a ‘citizen’s arrest.’ Grocery packers rushed out to help the detectives . . . and black residents of the area who had gathered also became involved. For 45 minutes bedlam reigned.” About forty Los Angeles Police Department officers were dispatched to the scene to restore order. Five Muslims were arrested. At their subsequent trial, the store’s owner and manager confirmed that the NOI had been given permission to peddle their newspapers in the parking lot. An all-white jury acquitted the Muslims on all charges.

Following the parking lot mêlée, the LAPD was primed for retaliation against the local NOI. The city’s police commissioner, William H. Parker, had even read Lincoln’s The Black Muslims in America, and viewed the sect as subversive and dangerous, capable of producing widespread unrest. He instructed his officers to closely monitor the mosque’s activities, which is why, just after midnight on April 27, 1962, when two officers observed what looked to them like men taking clothes out of the back of a car outside the mosque, they approached with suspicion. What happened next is a matter of dispute, yet whether the police were jumped, as they claimed, or the Muslim men were shoved and beaten without provocation, as seems likely, the commotion brought a stream of angry Muslims out of the mosque. The police threatened to respond with deadly force, but when one officer attempted to intimidate the growing crowd of bystanders, he was disarmed by the crowd. Somehow one officer’s revolver went off, shooting and wounding his partner in the elbow. Backup squad cars soon arrived ferrying more than seventy officers, and a full-scale battle ensued. Within minutes dozens of cops raided the mosque itself, randomly beating NOI members. It took fifteen minutes for the fighting to die down. In the end, seven Muslims were shot, including NOI member William X Rogers, who was shot in the back and paralyzed for life. NOI officer Ronald Stokes, a Korean War veteran, had attempted to surrender to the police by raising his hands over his head. Police responded by shooting him from the rear; a bullet pierced his heart, killing him. A coroner’s inquest determined that Stokes’s death was “justifiable.” A number of Muslims were indicted.

News of the raid shattered Malcolm; he wept for the reliable and trustworthy Stokes, whom he had known well from his many trips to the West Coast. The desecration of the mosque and the violence brought upon its members pushed Malcolm to a dark place. He was finally ready for the Nation to throw a punch. Malcolm told Mosque No. 7’s Fruit of Islam that the time had come for retribution, an eye for an eye, and he began to recruit members for an assassination team to target LAPD officers. Charles 37X, who attended one of these meetings, recalled him in a rage, shouting to the assembled Fruit, “What are you here for? What the hell are you here for?” As Louis Farrakhan related, “Brother Malcolm had a gangsterlike past. And coming into the Nation, and especially in New York, he had a tremendous sway over men that came out of the street with gangster leanings.” It was especially from these hardened men that Malcolm demanded action, and they rose to his cry. Mosque No. 7 intended to “send somebody to Los Angeles to kill [the police] as sure as God made green apples,” said James 67X. “Brothers volunteered for it.”

As he made plans to bring his killers to Los Angeles, Malcolm sought the approval of Elijah Muhammad, in what he assumed would be a formality. The time had come for action, and surely Muhammad would see the necessity in summoning the Nation’s strength for the battle. But the Messenger denied him. “Brother, you don’t go to war over a provocation,” he told Malcolm. “They could kill a few of my followers, but I’m not going to go out and do something silly.” He ordered the entire FOI to stand down. Malcolm was stunned; he acquiesced, but with bitter disappointment. Farrakhan believes Malcolm concluded that Muhammad was trying “to protect the wealth that he had acquired, rather than go out with the struggle of our people.”

A few days later Malcolm flew to Los Angeles, and on May 4 he held a press conference about the shootings at the Statler Hilton. The next day he presided over Stokes’s funeral. More than two thousand people attended the service, and an estimated one thousand joined in the automobile procession to the cemetery. Yet the matter was far from resolved. If Malcolm could not kill the officers involved, he was determined that both the police and the political establishment in Los Angeles should be forced to acknowledge their responsibility. The only way to accomplish this, he believed, was for the NOI to work with civil rights organizations, local black politicians, and religious groups. On May 20, Malcolm participated in a major rally against police brutality that attracted the support of many white liberals, as well as communists. “You’re brutalized because you’re black,” he declared at the demonstration. “And when they lay a club on the side of your head, they do not ask your religion. You’re black — that’s enough.”

He threw himself into organizing a black united front against the police in Southern California, but once more Elijah Muhammad stepped in, ordering his stubborn lieutenant to halt all efforts. “Brother, stay where I put you,” ran his edict, “because they [civil rights organizations] have no place to go. Hold your position.” Muhammad was convinced that integration could not be achieved; the civil rights groups would ultimately gravitate toward the Nation of Islam. When desegregation failed, he explained to Malcolm (and later to Farrakhan), “they will have no place to go but what you and I represent.” Consequently, he vetoed any cooperation with civil rights groups even on a matter as contentious as Stokes’s murder. Louis X saw this as an important turning point in the deteriorating relationship between Malcolm and Muhammad. By 1962, Malcolm was “speaking less and less about the teachings [of Muhammad],” recalled Farrakhan. “And he was fascinated by the civil rights movement, the action of the civil rights participants, and the lack of action of the followers of the Honorable Elijah.”

At heart, the disagreement between Malcolm X and Elijah Muhammad went deeper than the practical question of how to respond to the Los Angeles police assault. Almost from the moment Muhammad had been informed about the raid and Stokes’s death, he viewed the tragedy as stemming from a lack of courage by Mosque No. 27’s members. “Every one of the Muslims should have died,” he was reported to have said, “before they allowed an aggressor to come into their mosque.” Muhammad believed Stokes had died from weakness, because he had attempted to surrender to the police. Malcolm could hardly stomach such an idea, but having submitted to the Messenger’s authority, he repeated the arguments as his own inside Mosque No. 7. James 67X listened as Malcolm told the congregation, “We are not Christian(s). We are not to turn the other cheek, but the laborers [NOI members] have gotten so comfortable that in dealing with the devil they will submit to him. . . . If a blow is struck against you, fight back.” The brothers in the Los Angeles mosque who resisted had lived. Ronald Stokes submitted and was killed.

Some of Malcolm’s closest associates were persuaded that Elijah Muhammad had made the correct decision, at least on the issue of retaliation. Benjamin 2X Goodman, for one, would later declare, “Mr. Muhammad said, ‘All in good time’ . . . and he was right. The police were ready. It would have been a trap.” But Malcolm himself was humiliated by the NOI’s failure to defend its own members. Everything that he had experienced over the previous years — from mobilizing thousands in the streets around Hinton’s beating in 1957 to working with Philip Randolph to build a local black united front in 1961–62 — told him that the Nation could protect its members only through joint action with civil rights organizations and other religious groups. One could not simply leave everything to Allah.

The Stokes murder brought to a close the first phase of Malcolm’s career within the NOI. He had become convinced that Elijah Muhammad’s passive position could not be justified. Malcolm had spent almost a decade in the Nation, and for all his speeches, he could point to no progress on the creation of a separate black state. Meanwhile, in the state that existed, the black men and women who looked to him for leadership were suffering and dying. Political agitation and public protests, along the lines of CORE and SNCC, were essential to challenging institutional racism. Malcolm hoped that, at least within the confines of Mosque No. 7, he would be allowed to pursue a more aggressive strategy, in concert with independent black leaders like Powell and Randolph. In doing so, he speculated, perhaps the entire Nation of Islam could be reborn.

 

 

From "MALCOLM X: A Life of Reinvention" by Manning Marable. Excerpted with the permission of Viking Books, the publisher.

 

VIDEO: Marvin Gaye Died Today… 4 Films In Development + Rare Interview Footage W/ Father & Son > Shadow And Act

Marvin Gaye Died Today… 4 Films In Development + Rare Interview Footage W/ Father & Son

Today in history April 1, 1984, Marvin Gaye was shot to death by his father, in Los Angeles.

Like Bob Marley, Marvin Gaye is another famous legendary black musician whose story has interested many moviemakers, though none of the many projects announced in recent years has seen the light of day.

The rundown… We know that F. Gary Gray has long been trying to get his Marvin Gaye project off the ground; and we also know that Jesse L Martin is attached to star as the soulful singer in a film directed by newcomer, Lauren Goodman; and director Cameron Crowe has been working on a Marvin Gaye project for almost 4 years, with most recent news stating that Terrence Howard was in talks to play the man (previously offered to Will Smith); and lastly, a 4th Marvin Gaye project is to be directed by Brit Julien Temple is, tentatively titled Midnight Love (named after the album Marvin Gaye recorded in Brussels in the early 80s), and will focus on the making of the Midnight Love album, while Gaye was living in Belgium – a drug addict, essentially considered something of a has-been.

 

And of those 4 Marvin Gaye films in development, the last one by Julien Temple is the most likely to be completed first, as it’s been given a greenlight, and financing for its $8 million budget; though no word on who is being considered for the title role (recall you all heavily-debated the choices in a previous post).

Principal photography is scheduled to begin in Belgium later this year.

And, in a flashbackk to 1977, watch the below rare interview with Marvin Gaye Sr And Marvin Gaye Jr. Of course, roughly 7 years later, father shot son twice, killing him instantly. It’s quite sad watching the below video, actually, observing the way they related to one another at the time, knowing what would later happen.

 

PUB: Aesthetica Magazine - The Art & Culture Publication

Creative Works Competition

The Aesthetica Creative Works Competition is internationally recognised for identifying new artists and writers and bringing them to international attention. Previous finalists have achieved success and recognition with accolades including: writing commissions from Channel 4, selection to represent Australia in the Florence Biennale, exhibitions at DACS (London), John Martin Gallery (London), Flores Fine Art Gallery (New York), inclusion in the International Drawing Competition exhibition (Poland) and the National Geographic International Photographic exhibition. The Aesthetica Creative Works Competition represents the scope of creative activity today, and provides an opportunity for both new and established artists to nurture their reputations on an international scale.


The categories
There are three categories: Artwork & Photography, Fiction and Poetry.


Winners


  • There will be three winners. One from each category.
  • Each winner will receive £500.
  • Each winner will receive an additional prize from our competition partners.
  • Winners will be published in the Aesthetica Creative Works Annual.
  • Winners will receive a complimentary copy of the Aesthetica Creative Works Annual.


Finalists


  • Finalists will be published in the Aesthetica Creative Works Annual.
  • Finalists will receive a complimentary copy of the Aesthetica Creative Works Annual.

 

Deadline


Deadline for submissions is 31 August 2011. All winners will be notified by 31 October 2011 and the Aesthetica Creative Works Annual will be published 1 December 2011.

What are you waiting for? Send us your creative works today!

  • Click here to purchase a copy of last year's Creative Works Annual.
  • Click here to see the winners and finalists of last year's competiton.
  • Click here to see the Frequently Asked Questions page.


Artwork & Photography Guidelines


  • Submit up to 2 images.
  • All works must be at least 300dpi.
  • Please send all images as JPG, TIF or PDF files.
  • Please include in the email your name, email address, home address, phone number, your full name, title of your works, and your Order Reference number.
  • Please mark your entry in the subject line with 'Aesthetica Creative Works Competition Artwork'.
  • No alterations can be made once the submission has been received.


Fiction Guidelines


  • Submit up to 2 short stories.
  • Word count up to 2000 words per piece.
  • Please include in the email your name, email address, home address, phone number, your full name, title of your works, and your Order Reference number.
  • Please mark your entry in the subject line with 'Aesthetica Creative Works Competition Fiction'.
  • No alterations can be made once the submission has been received.


Poetry Guidelines


  • Submit up to 2 poems.
  • No more than 40 lines each.
  • Please include in the email your name, email address, home address, phone number, your full name, title of your works, and your Order Reference number.
  • Please mark your entry in the subject line with 'Aesthetica Creative Works Competition Poetry'.
  • No alterations can be made once the submission has been received.


Eligibility


  • The competition is open to anyone in the world.
  • Creative works should be written in English.
  • Please inform us if your work has been published elsewhere.
  • You may submit more than once.


Terms & Conditions


  • A £10 + VAT entry fee is required to enter the Aesthetica Creative Works Competition.
  • Only the winners and finalists will be published in the Creative Works Annual.
  • Deadline for submissions is 31 August 2011.
  • You will be notified of the results by 31 October 2011.


How to Enter


Step One
Click the 'Add to Basket' button to pay the £10 + VAT entry fee.

 


Step Two
Upon receipt of payment, a unique Order Reference number will be automatically emailed to you.


Step Three

Attach your submission to an email and send it to submissions@aestheticamagazine.com. Please make sure that you include your unique Order Reference Number in the subject line and your full name, address and the title of your work in the body of the email.

 

Frequently Asked Questions


If you have any enquiries, we have complied a list of questions and answers that you may find helpful. Please visit our Frequently Asked Questions page by clicking here.

 

 

PUB: Liberated Muse Volume II

Call for Submissions for Liberated Muse Volume II:

Betrayal Wears A Pretty Face

by Liberated Muse on Friday, April 1, 2011 at 10:10am
'Obama Has Betrayed Us'...'My Love Has Betrayed Me'...'Religion Has Betrayed Me'...'I've Betrayed Myself'...

 In 2009, Liberated Muse presented our first anthology How I Freed My Soul-- an anthology that featured the literary and visual art from members of our network and others from around the world. Our first anthology, edited by Liberated Muse's Khadijah Ali-Coleman, featured the visual art of Liberated Muse members and renowned artist Turtel Onli, mixed media artist Shanta Monroe, singer/photographer Angela Ballard and painter Mars Davis. Writers Serena Wills, Farah Lawal, Amy Blondell, DJ Gaskin, Margaux Delotte-Bennett and whole host of other phenomenal talents were featured as well. We had numerous events celebrating our book in 2009 that took place throughout the DC area and beyond. Now, we are back at it again.
 
We are now putting out a call for writers and visual artists to submit work for consideration for our upcoming anthology Betrayal Wears a Pretty Face. The theme of betrayal must be implied in your submission-- whether it is betrayal of trust, love or expectation. Your story or artwork of betrayal can lead to a story of triumph or lend a heavy lesson to bear. The idea of betrayal is not merely something that we feel within relationships of friendship and love. Our political leaders may betray us. Our teachers may betray us. We may betray ourselves.
 
Your submission of betrayal can be in the form of original essay, short story, poetry or prose. Your entry can not exceed 5, 000 words and may be edited if selected for inclusion. Visual art submissions must be submitted in jpeg form and be your original work.
 
There is no submission fee. Entries selected for inclusion will not be paid, however authors and artists will receive a free copy of the anthology* and free tickets to Liberated Muse events. Selected authors and artists will also be included in upcoming performance tours promoting the book.


Submit your work to LiberatedMuseProductions@gmail.com for consideration. Submission deadline: June 15, 2011.

PUB: OBAC Writers Workshop Anthology - Reclamation: Black Writing from the Black Arts Movement to 2011

Angela Jackson

                                   OBAC - WW

The OBAC Writers Workshop is accepting submissions in all genres for its upcoming anthology: RECLAMATION: Black Writing from the Black Arts Movement to 2011. Deadline for submissions is May 10, 2011.

This neo-realism period represents over 40 years of literature, politics, arts and cultural history, historical events and social changes in our society and world. OBAC-WW has deliberately not chosen a theme in order to give writers a wide range of topics from which to submit their work.

       SUBMISSION   GUIDELINES

1. Writers must include a two (2) paragraph brief biography.

2.  Literary criticism, essays, creative non-fiction, short stories, and plays should not exceed ten (10) pages and should be double-spaced.

3.  Poems should not exceed five (5) pages and all poems should be double-spaced.

4.  Font size for all submissions is 12 to 14.

5.  All submissions must be double spaced.

6.  Although we would prefer unpublished material, previously published material is acceptable. Please indicate if the submitted material has been previously published, when, where, and who owns the copyright. Copyright ownership must be indicated on all submissions.

7.  Submissions can be emailed or snail mailed. Email submission send to: www.2011.reclamation@gmail.com

8.  Snail mail submissions should be sent to: OBAC-WW, P.O. Box 15414, Chicago, 60615. These submissions must have a SASE and will not be returned without one.

9.  Writers must list all contact information including email address and daytime telephone number.

The OBAC (Organization of Black American Culture) Writers Workshop was founded in Chicago in 1967. It is an independent, community-based organization whose mission is the development of the highest quality literature from, to, and about African-Americans, and the development of critical standards by which that literature might be judged. Its founding Chair was Hoyt W. Fuller, editor of Negro Digest/Black World, and First World: An International Journal of Black Thought.

S. B. Barnes, Director, OBAC-WW
Angela Jackson, OBAC Advisory Board


INFO: Breath of Life—Maceo Parker, Fred Wesley, & The JBs; Joan Armatrading; 15 versions of "Feeling Good"

Funk forever with Maceo Parker, Fred Wesley, & The JBs. Two concerts thirty years apart, same classic music: Joan Armatrading at her best. We close with 15 versions of "Feeling Good" featuring Andy Bey & The Bey Sisters, Gene Ammons, Oleta Adams, Stanley Turretine, Nina Simone, Lynne Arriale, Billy Paul, John Coltrane, Meklit Hadero, Sammy Davis Jr., Dorothy Ashby, Joanne Griffith, Randy Crawford & Joe Sample, Joe Claussell, and Shaun Escoffery.

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

Funk is the further evolution of rhythm and blues to an ecstatic apogee of harmony and melody in the service of the beat—a pledge of allegiance to the groove. James Brown is the godfather of funk, the maestro and chief innovator but he didn’t create funk by himself. He had help. Plenty help, expert help from a band that eventually became known as The JBs, led by trombonist Fred Westley and saxophonist Maceo Parker.

—kalamu ya salaam

EVENT: Cave Canem April Events

April

April 1, 7 pm
Thirteen Ways of Looking at a Black Girl: An Evening of Poetry

JoAnne McFarland celebrates her latest poetry collection, Thirteen Ways of Looking at a Black Girl, and her art exhibit of the same title, opening at A.I.R. Gallery in DUMBO, Brooklyn on March 31. She is joined by Cave Canem poets E.J. Antonio, Rachel Eliza Griffiths, Robin Coste Lewis, Kamilah Aisha Moon and Aracelis Girmay. Co-sponsored with the Brooklyn History Society and A.I.R. Gallery.

Brooklyn Historical Society
Othmer Library
128 Pierrepont Street
Brooklyn, NY

April 4, 11:30 am - 2 pm
Cave Canem at Norfolk State University

Norfolk State University celebrates National Poetry Month with an afternoon of poetry readings & workshops featuring Cave Canem fellows Tara Betts, Remica L. Bingham, Randall Horton & Cave Canem faculty member Tim Seibles. For details and RSVP information, click here.

Norfolk State University
New Student Center
Norfolk, VA

April 10, 7 pm
Cave Canem Poets in Austin

Cave Canem fellows Roger Reeves, Jonathan Moody and Amanda Johnston read from their work. Co-sponsored by The John L. Warfield Center for African and African American Studies. Wheelchair accessible. Free & open to the public.

The University of Texas at Austin
The John L. Warfield Center for African and African-American Studies
Austin, TX

April 13, 6:30 pm
Poets on Craft: Tina Chang & Ross Gay

Join poets Tina Chang and Ross Gay as they read from their work and engage in a lively discussion of poetic craft, moderated by Camille Rankine. Reception and book signing to follow. Free and open to the public. Wheelchair accessible.

The New School
Wollman Hall
65 West 11th Street, 5th Floor (enter at 66 West 12th)
New York, NY

April 22, 5 pm
Friday Happy Hour: Cave Canem Fellows Read

Cave Canem fellows Shane Book, Kamau Rucker & Demetrice Anntia Worley share work from their new books of poetry. Shane Book's debut collection, Ceiling of Sticks, won the 2009 Prairie Schooner Book Prize. David Rigsbee calls the poems of Kamau Rucker's first collection, The Heat, The Day, and This Moment "wonderfully liberating." Nikki Giovanni describes Demetrice Anntia Worley's first book, Tongues in My Mouth, as full of "stark and beautiful truths." Reception to follow. Free & open to the public.

New York University
Lillian Vernon House
58 West 10th Street
New York, NY

April 29, 7 pm
Resistance is Fertile: A Conversation with Harryette Mullen & Barbara Henning

In celebration of the release of Looking Up Harryette Mullen: Interviews on Sleeping with the Dictionary and Other Works, Harryette Mullen speaks about her playful and deeply political poetry with fellow poet Barbara Henning. Admission: $10, $7 for students and seniors, free to Poets House Members. Co-sponsored with Belladonna & Poets House. Wheelchair accessible.

Poets House
10 River Terrace
New York, NY

April 30, 3 pm
Resistance is Fertile: Harryette Mullen with Niki Herd & Camille Rankine

Harryette Mullen continues the celebration of the release of Looking Up Harryette Mullen in a reading with emerging voices Niki Herd & Camille Rankine. The 2009 recipient of the Academy of American Poets Fellowship, Haryette Mullen's acclaimed collection, Sleeping with the Dictionary, was a finalist for the National Book Award, the National Book Critics Circle Award, and the Los Angeles Times Book Award in poetry. Cave Canem fellow Niki Herd's debut collection of poetry, The Language of Shedding Skin, was published by Main Street Rag in January 2011. Camille Rankine's chapbook Slow Dance with Trip Wire was selected by Cornelius Eady for Poetry Society of America's 2010 Chapbook Fellowship. Co-sponsored with Belladonna & Poets House. Suggested donation $5-10. Wheelchair accessible.

Cave Canem
20 Jay Street, Suite 310-A
Brooklyn, NY

 

VIDEO: “The Upsetter” – Documentary On Reggae Legend Lee Scratch Perry > Shadow And Act

Official Theatrical Trailer For “The Upsetter” – Documentary On Reggae Legend Lee Scratch Perry (Now Screening In LA)

Here’s the official theatrical trailer for the upcoming new documentary on the life of Jamaican reggae pioneer and legend Lee “Scratch” Perry, narrated by a man who claims to be one of his biggest fans, Benicio Del Toro – a film Perry himself called his “my movie,” and “the truth.

First featured on this site last month, The Upsetter, named after Perry’s 1969 album, and directed by indie filmmakers Adam Bhala Lough (The Carter, Bomb The System) and Ethan Higbee (The Anti-Fascist), took 7+ years to produce. It made its debut last week Friday, March 25th at Los Angeles’ Downtown Independent theater, where it’s play for a 1-week run, before traveling to Portland, Long Beach, New York, Boulder, Houston, Boston, Detroit, and a few other cities, in successive weeks, each also for 1-week runs. Visit the film’s website HERE for info.

We’ve got interviews with both directors coming up in the next week or so; stay tuned for that!

Watch the trailer new theatrical trailer below: