VIDEO: Santigold

SANTIGOLD

New Video: Santigold "Girls"

Jessica Wunsch Posted January 14, 2013

To all our lovely VIBE ladies, we've got the next girl power anthem and it's in the form of Santigold's hard-hitting single, "Girls."

From the new GIRLS - Volume 1 soundtrack, this video couldn't have come at a better time with the season two premiere of the Golden Globe winning series of the same name, dropping fresh off HBO last night, and offers everything we love in having that extra X chromosome. Showcasing New York girls in all shapes, sizes, ages, and personal styles lip-synching Santigold's smooth-talking, thought-provoking lyrics is enough to make you want to scream at the top your lungs "I AM WOMAN, HEAR ME ROAR" while dancing alone in your room, embracing the full essence of female empowerment and independence. Take a listen, and just try not to replay it 10 times in a row.

Get the track for your playlist today on iTunes.

via vibe.com

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PUB: Romantic Flash Fiction Writing Competition > The Creative Competitor

Romantic Flash Fiction

Writing Competition

1st Prize: £100.00

2nd Prize: £75.00

3rd Prize: £50.00

Closing date: February 14th

Entry Fee: £2.00 per entry

Using the photo for inspiration, write a story that has an integral romantic element and leaves us gripped by every word. There is no set word count, the story can be as long or as short as you  like, but it must have the ring as a core element.

You can enter as many times as you like but each entry must be supported by the appropriate fee – payable via PayPal.

Submissions must be in English

Submissions must be previously unpublished

Submissions must be received on or before the closing date.

To enter, send your submission – preferably within the body of the email – to info@creative-competitor.co.uk and mark Romantic Flash Fiction Writing Competition in the subject line.  From 2013 our competitions are now judged and awarded including publication of the overal winner within 12 weeks from the closing date. So get writing and a nice £100 could be winging its way to you.

 

PUB: the madison review

Submit here

Phyllis Smart Young Prize in Poetry

Size limit: 15 page max

The finest triad of poems are awarded $1,000 and publication in the fall issue of The Madison Review!

Submissions accepted December 1st–February 1st

Manuscripts must be previously unpublished and should be double-spaced, with standard 1" margins and 12-pt font.

15-page maximum for combined 3 poem.

Only one submission is allowed per person per contest. $10 fee to enter contest.

Chris O'Malley Prize in Fiction

Size limit: 30 page max

The finest unpublished short story is awarded $1,000 and publication in the fall issue of The Madison Review!

Submissions for the prize are accepted December 1st–February 1st.

30-page maximum for short stories.

Only one submission is allowed per person per contest. $10 fee to enter contest.

Manuscripts must be previously unpublished and should be double-spaced, with standard 1" margins and 12-pt font.

 

PUB: Long Poem Prize > Malahat Review Writing Contest

2013 Long Poem Prize

The Malahat Review, Canada’s premier literary magazine, invites entries from Canadian, American, and overseas authors for the Long Poem Prize. Two awards of $1,000 CAD each are given. Poets contributing to The Malahat Review have also won or been nominated for National Magazine Awards for Poetry and the Pushcart Prize. The Long Poem Prize is offered every second year, alternating with the Novella Prize.

2013 Deadline

The deadline for the 2013 Long Poem Prize is February 1, 2013 (postmark date).

This year's judges will be: Lorri Neilsen Glenn, Dave Margoshes, and Elizabeth Bachinsky.

Read interviews with this year's judges to find out what they're looking for in a winning entry: Lorri Neilsen Glenn, Dave Margoshes, and Elizabeth Bachinsky.

Read interviews with the winners of our 2011 Long Poem Prize to see what life has been like for them post-win: Maggie Schwed and Julie Joosten.

Guidelines

  • A single poem or cycle of poems that is between 10 to 20 pages long. A page is up to 36 lines (or less), including breaks between stanzas. In a cycle of poems, each poem must begin on a new page. In a multi-part poem, it is up to the author whether or not each section begins on a new page.

  • No restrictions as to subject matter or aesthetic approach apply.

  • 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 already published, accepted, or submitted elsewhere are ineligible.

  • Previous publication is considered to be any appearance in print or online, including on or in a newspaper, newsletter, magazine, anthology, chapbook, book, website, electronic magazine, personal blog, Twitter, or Facebook. Please note that even if the print run or circulation of the print publication where the work has previously appeared is small, this is still considered previous publication. No work that has been excerpted elsewhere is eligible for submission; nor is a work that has been revised since its original publication.

  • 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.

  • No entries will be returned.

  • Entrants will not be notified by separately by letter about the judges’ decisions even if a SASE is included for this purpose.

  • Winners and finalists will be notified via email.

  • Winners will be announced on the Malahat web site and facebook page in April 2013, with the publication of only the winning entries in The Malahat Review’s Summer 2013 issue.

  • Both winners will be interviewed. Interviews will be published in the magazine's electronic newsletter, Malahat lite and on our website in June 2013.

  • 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

Contest Entry Fees

  • All entries must be mailed. See guidelines.

  • You can pay online or mail your payment with your entry.

Pay Online

  • Please enclose your receipt with your contest entry so we can identify your online payment.
Pay Contest Fees ➔ Canadian Entries ($35 CAD) US Entries ($40 CAD) Entries from Outside Canada and the US ($45 CAD)

Pay by Mail

  • By Cheque or Money Order: Enclose a cheque or money order in Canadian or US funds with your entry.

  • By Credit Card: Complete our Credit Card Payment Form and enclose it with your entry.

 

VIDEO: Friday Bonus Music Break > Africa is a Country

Friday Bonus Music Break


Let’s start our weekly round-ups of new music videos this year with some bangers. Representing Congo this week, rapper (and professional dancer) Dinozord: above. Next up, there’s new music and visuals from Art Melody (representing Burkina Faso):  

“Lefteneh” by Bajah and the Dry Eye Crew — by the way, about the meaning of that Sierra Leonean “dry eye”:

Ty (born Ben Chijioke — Nigerians claim him) has a new video out as well:

From Liberia (Alloysious Massaquoi) and Nigeria (where Kayus Bankole’s parents come from) via Scotland (Graham Hastings’s place): Young Fathers:

Lee Fields played a set in a Dutch church last year. Yes, we’ll feature all of his videos:

Another acoustic performance; by France-based Oxmo Puccino (né Abdoulaye Diarra):

Judging by the rate at which Laura Mvula is putting out quality videos recently, it seems she’s intent on making the year 2013 hers. We don’t mind:

And in response to what’s happening in Mali, Fatoumata Diawara and her label have brought together a big group of musicians to record the song below. Artists performing on the track include (I’m copy-pasting) Amadou and Mariam, Oumou Sangare, Bassekou Kouyate, Vieux Farka Toure, Djelimady Tounkara, Toumani Diabate, Khaira Arby, Kasse Mady Diabate, Baba Salah, Afel Bocoum, Tiken Jah, Amkoullel and Habib Koite:

 

 

 

PHOTO ESSAY + INTERVIEW: The ‘Promised Land’ in Mozambique > Africa is a Country

The ‘Promised Land’

in Mozambique



Sadira Joaquim works on her family’s farmland. Instead of the initially promised two hectares of productive farmland, families were given only one hectare of unproductive farmland—hardly enough to support a family, let alone sell produce on the far away markets. Sadira is only 20 years old and has no other possibilities to work, unlike in Moatize.

Promised Land is the title of the German photographer Gregor Zielke’s feature about the relocation of 700 families in Mozambique’s Tete province to make space for the Brazilian company Vale’s construction of the Southern Hemisphere’s second largest coalmine. The New York Times recently covered the plight of the people in Cateme following relocation. Gregor Zielke’s photos capture the company’s broken promises—unproductive farmland and poorly constructed settlements—but also the communities’ resilience. Gregor Zielke is part of a cooperative of photographers that have been working in Mozambique for some time and seek to advance dialogue and better understanding between Germany and Mozambique by producing media reports and developing educational projects.

Why did you call your photo feature “Promised Land”? 

“Promised Land” refers to the fact that people lose their land, the land they had inhabited for generations, to a company which promised better living conditions and farmland for self-sustainment through resettlement—and the people there are very tied to their land. But looking at the conditions now you recognize that it is a promise that has not been fulfilled. For example, people were promised two hectares of productive farmland but only received one hectare of unproductive farmland hours away from their houses, which isn’t even enough to feed their own families. Houses are built cheaply and show cracks after only one or two years. Of course, at first glance they seem better than mud huts, but they’re just not suited for the area and the families. The communities’ infrastructure is completely gone, at least so far away that they simply cannot afford going there on a regular basis. The land is unbelievably hot and dry, even for Tete Province where life has always been hard anyways. Obviously, “Promised Land” also plays with the biblical term and how much of an odyssey the whole resettlement process is that people go through.

This is a typical street in Cateme, wide and dusty. Walks to the wells are far, especially when carrying 20 liters of water. The whole area is more or less deserted, ground water has to be pumped by electrical pumps because it's so deep, so when the electricity goes down there is also no water.

This is a typical street in Cateme, wide and dusty. Walks to the wells are far, especially when carrying 20 liters of water. The whole area is more or less deserted, ground water has to be pumped by electrical pumps because it’s so deep, so when the electricity goes down there is also no water.

What sparked your interest in Mozambique, and in Cateme in particular?

I think that Mozambique is a good example of how the local population doesn’t benefit from the current resource boom in Africa, similar things are happening in many other countries too. Kind of like the return of the colonial era. I think it’s an important issue to talk about and raise international awareness, on the other hand it’s just as important to inform the displaced communities about their rights and raise resistance so that there at least can be better consultation with the local communities in the future. You can’t really blame the government for exploring the resources; but they should be used to generate sustainable development on a local and national level. That’s just not happening. Living conditions worsened.

How did you prepare for the trip?

I worked with the Mozambican NGO Justiça Ambiental/Friends of the Earth Mozambique (JA!) that made it possible to work in the resettlement. They have very good contacts and work in the region in the field of human rights and environmental issues. Without them, the work simply wouldn’t have been possible. There’s a lot of red tape, and getting permission from the local administration and local leaders to work in Cateme was uncertain until the last minute. In fact, we spent quite a bit of time of the two weeks we were there getting permission before we could even start working in the area. JA! also opened the doors to the families in Cateme; of course there is a lot of distrust and also fear. The families in Cateme needed to understand what we were about to do, what side we were on. They were suspicious of what we were going to report from Cateme, afraid we could make it look beneficial for the people, favorable for Vale and the government. Some even thought that we had been hired by Vale. But after initial concern they were very giving and open.

This man works in a brick manufacture near Moatize. Along with his colleagues, he was resettled to Cateme and went back to Moatize because otherwise he is simply unable to support his family. They stay in the mud pit five days a week and only return to their families on the weekends because their workplace now is 40 kilometers from their homes. They sleep in the mud pit or by the ovens. They have no choice. This illustrates quite clearly how little care is being taken in the whole resettlement process.

This man works in a brick manufacture near Moatize. Along with his colleagues, he was resettled to Cateme and went back to Moatize because otherwise he is simply unable to support his family. They stay in the mud pit five days a week and only return to their families on the weekends because their workplace now is 40 kilometers from their homes. They sleep in the mud pit or by the ovens. They have no choice. This illustrates quite clearly how little care is being taken in the whole resettlement process.

What did you plan on capturing with your photos?

My aim was to document people’s struggle in daily life and how they deal with these difficult circumstances—I was amazed at how people still make the best of their situation and try to cope with it. The problems these communities face are on so many different levels and not always very obvious—they’re basically sent to the desert without adequate housing, health care and—most importantly—no possibilities for self-sustainment. Most of them are farmers, they live off their land and sell their produce on the markets, now the markets are more than 40 kilometers away and people don’t have any surplus produce to sell due to the unproductive farmland they were given. They depend on their land. That really robs them of their existence.

What impressed you most about how the people dealt with their worsened living conditions? 

The most amazing moment for me was to see people dancing on a Sunday afternoon a few kilometers from Cateme in Mwaladzi, a community resettled by the British mining company Rio Tinto. There is no electricity and no water supply and people have to rely on a water truck that comes once a week. Two boys had put up some kind of karaoke machine blasting music, powered by a solar panel they got somewhere. Adults and children alike were dancing and enjoying themselves inviting me to join them.

Students hang around after school at Armando Guebuza School in Cateme. The school is a so-called "white elephant": theoretically it brings education and infrastructure to the resettlement, but in reality not many families can afford the high school and examination turning the school into a de facto boarding school for students from other communities. Only approximately 10 percent of students come from Cateme resettlement.

Students hang around after school at Armando Guebuza School in Cateme. The school is a so-called “white elephant”: theoretically it brings education and infrastructure to the resettlement, but in reality not many families can afford the high school and examination turning the school into a de facto boarding school for students from other communities. Only approximately 10 percent of students come from Cateme resettlement.

How do you aspire to influence political debates with your work? 

My aim is simply to put faces to the displaced communities, to show that the big companies are not moving around figures and a nameless “population.” They have names, they are mothers, fathers, grandparents and kids, all they want is to raise their families. That’s not asking much, is it?

You also conducted a project on the urbanization process of villages in eastern China. Do you see any parallels between the transformation processes in Mozambique and those you observed in eastern China? 

The process of resettlement in China is very different to Mozambique, the reasons and circumstances are very different. However, any kind of imposed resettlement usually means a drastic change in the living conditions. In China as well as in Mozambique people have to adapt to the changes and eventually find new ways of self-sustainment. You see many people in China’s rapidly growing cities still fishing in rivers and canals and using other natural resources they find by the roadside, mostly because they just do the things they’re used to and might have difficulties adapting to a new lifestyle. In Mozambique such things may even be a matter of survival.

The Joaquim family enjoys a little cooling down after sunset. Houses are not built to people's needs and are of poor quality. The tin clad roofs heat up the houses to temperatures of over 60°C inside and show cracks after only one or two years. Though the area is very dry, occasional rains leak in the houses, leaving inhabitants to seek shelter in the school.

The Joaquim family enjoys a little cooling down after sunset. Houses are not built to people’s needs and are of poor quality. The tin clad roofs heat up the houses to temperatures of over 60°C inside and show cracks after only one or two years. Though the area is very dry, occasional rains leak in the houses, leaving inhabitants to seek shelter in the school.

* All photo captions written by the photographer.

 

ECONOMICS: Restaurant Opportunities Centers United’s (ROC United) > Racialicious

By Andrea Plaid

What do you think?

You know I love the hell out of something or someone when I have to write a second post about it/them.

What do you think?

In my interview with Crush alum Yvonne Yen Liu, I posted this video ROC United co-founder Saru Jayaraman showed at Facing Race’s “No Justice, No Peas” panel that Liu moderated:

What do you think?

What do you think?

 

The warm, almost saturated colors suggest the intimate, inviting ambiance one would expect at a place where the person and their dining partner would drop $150 for a meal. The pushed colors also suggests a halo effect from “ethical eating”–e.g. eating at an organic-food restaurant–that some diners may feel because they’re “doing the right thing”…until you read the stories of the people, mostly people of color, serving the food. And the soft halo become a harsher glare as we reasd the synopsis of each worker’s story while the camera goes deeper into the kitchen.

What do you think?

This video, directed by Sekou Luke, is a genius bit of what I call “media interruption,” in this case, utilizing the medium of video to expressly check a dominant narrative about a deeply held popular idea but not necessarily a corporate enterprise–in this case, the notion of eating at an organic restaurant is inherently a non-exploitative situation.

What do you think?

Luke and his team again “media-interrupt” in this ROC United vid–using saturated colors, peppy music, and multi-culti casting–with teaspoon-of-sugar effectiveness in order to bring attention to the dire economic, healthcare, and labor issues keeping restaurant workers from using sick leave:

What do you think?

 
 

The above-mentioned vids serve as book trailers for Jayaraman’s book, Behind The Kitchen Door. Most recently, ROC United and Luke went for full-on culture-jamming with their latest, using Red Lobster’s pop-music cheerful commercials to demand that the restaurant’s parent company, Darden, give their employees decently paid sick days.

What do you think?

According to the January 11, 2013, blog post at Miami New Times:

What do you think?

Darden is the parent company of Red Lobster, The Capital Grille, Olive Garden, Seasons 52, Bahama Breeze, Yard House, LongHorn Steakhouse, among others. The Orlando-based restaurant giant employees around 180,000 people nationwide and was listed as one of the 100 Best Companies to Work For by Fortune magazine, mostly for their diversity program, which seeks to employ women and minorities.

What do you think?

ROC United claims that Darden’s hourly employees have no paid sick days. Orlando-based Darden, which employees around 180,000 people nationwide, lists a variety of employee perks on its website like health insurance, training, flexible work hours, and weekly pay, but there is no mention of accrued sick days. We contacted media relations for both Darden and Red Lobster to clarify their sick days policy, and have not received a response yet.

What do you think?

Saru Jayaraman, co-executive director of ROC United, a non-profit organization, told Short Order that her organization chose to send their message as a spoof of the popular Red Lobster commercials because, “we felt the company is not living up to the image it portrays. Their commercials focus on particular workers, showing how happy they are, but the irony is that many workers have contacted us with complaints about the company. The fact that they focus on workers being happy is ironic.”

What do you think?

Jayaraman said she does not want this video to lead to a boycott of the restaurant giant.  Instead, she suggests that after enjoying a meal, “Tell management as a consumer, you feel they should give their workers sick days. As a leader in the restaurant industry, they have the responsibility and the resources to set a good example.” In addition, ROC United has started an online petition, stressing the need for paid sick days for restaurant employees.

What do you think?
What do you think?

Like I said, I can’t love ROC United’s video workand overall activism–enough. Enough for second helpings.

What do you think?

 

 

VIDEO: "Ebony Towers" - Black academia versus authentic street black in US and UK > AFRO-EUROPE

Video:

"Ebony Towers"

- Black academia versus

authentic street black

in US and UK

 

Photo: Black American academic Cornel West

"You can can get more love and consideration in black culture by going out of prison and being a recent ex convict than you can by getting a master's degree," says African-American academic Eric Dyson in the BBC documentary "Ebony Towers: The New Black Intelligentsia" by David Olusoga. A documentary which compares the state of black academia in the US and the UK and its relationship with the young urban Hip Hop generation.

The documentary shows how the American Civil Rights generation fought its way in America's prestigious Universities and how it's now dominating the debate on race and identity in the US. But it concludes that in Britain this process has not taken place, black Britons are at the margins of intellectual life, according to documentary. 

But the new American black intelligentsia is now confronted with an urban generation which is left behind.  Although this generation created the Hip Hop and the black street culture, this black urban culture unfortunately has a dangerous anti-intellectual component which now threatens the black intellectual tradition of the past. In Hip Hop it's not it not considered authentic black to get an education, or reading a book . In the UK 10 year old Damilola Taylor was killed because he was considered gay because he frequently visited the the library, according to the documentary.

It's a great documentary, but I sometimes wonder if anti-intellectualism is a urban black problem,  anti-intellectualism is also seen in some white "working-class" communities, as the English call it.

Check out the one-hour documentary below. 

Part 1: This is the first part of "Ebony Towers: The New Black Intelligentsia" by David Olusoga comparing the state of Black Academia in the US and with us here in the UK.

Part 2:   This part remembers the struggles that African-Americans went through just to be able to go to University in the US. It also starts telling the story of black people who came to the UK especially from the Caribbean in the 50s and 60s and their children's experience in the education system.

Part 3:  This section looks at how black children in Britain in the sixties and seventies were pushed into certain kinds of blue-collar jobs. It also looks at the rise of black America in the radical late sixties in the US.

Part 4:  This section looks at some of the influence of those who came into Higher Education in the US in the post-Civil Rights era and the rise of the Black Studies programs. In The UK this process has not taken place. The UK is actually experiencing a black brain drain, many academics and intellectuals are heading abroad.

Part 5: This section discusses the influence of music and urban culture on perceptions of education among young black people on both sides of the pond.

Part 6:  This last part continues on the anti-intellectual mentality that plagues young black people and also makes the call for academics and intellectuals to do their bit to address the socioeconomic deprivation within many black communities.

 

 

 

 

HISTORY + VIDEO: The Atlantic Slave Trade - It Ain't Funny

THE ATLANTIC SLAVE TRADE

 

Published on Jul 5, 2012

In which John Green teaches you about one of the least funny subjects in history: slavery. John investigates when and where slavery originated, how it changed over the centuries, and how Europeans and colonists in the Americas arrived at the idea that people could own other people based on skin color. 

Slavery has existed as long as humans have had civilization, but the Atlantic Slave Trade was the height, or depth, of dehumanizing, brutal, chattel slavery. American slavery ended less than 150 years ago. In some parts of the world, it is still going on. So how do we reconcile that with modern life? In a desperate attempt at comic relief, Boba Fett makes an appearance.

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@saysdanica
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Resources:

Inhuman Bondage by David Brion Davis: http://dft.ba/-inhumanbondage

Up From Slavery by Booker T Washington: http://dft.ba/-upfromslavery

 

VIDEO: Hommage à Nina Simone "Sing the Truth" (Dianne Reeves, Lizz Wright, Angelique Kidjo & Simone) - Jazz à Vienne 2009

SING THE TRUTH 
Hommage a Nina Simone
(Dianne Reeves, Lizz Wright, Angelique Kidjo & Simone)

HOMMAGE À NINA SIMONE "Sing the Truth" - Jazz à Vienne 2009

Musicians:
DIANNE REEVES - chant
LIZZ WRIGHT - chant
ANGÉLIQUE KIDJO - chant
SIMONE - chant
The Original Nina Simone Band (feat.) Al Schackman
AL SCHACKMAN - guitare et vibraphone
CHRIS WHITE - basse
PAUL ROBINSON - batterie
JEREMY BERLIN - piano

Track List:
- Old Jim Crow
- Work Song
- See-Line Woman
- Be My Husband
- Do I Move You
- Lilac Wine
- Keeper of the Flame
- Feelin' Good
- My Baby Just Cares for Me
- To Be Young Gifted and Black
- I Put a Spell on You
- Four Women