VIDEO: Divesting from Israel one doc at at time | Art Threat

Divesting from Israel one doc at at time

Friday Film Pick: To Know is Not Enough

by Ezra Winton on October 8, 2010 · http://artthreat.net/?p=5408">View Comments

From the film’s official site: To Know is not Enough “is a short documentary about the Hampshire College campaign for divestment from the occupation of Palestine. Hampshire is often credited with being the first US college to divest for the occupation, and this video attempts to understand the group and the campaign that made it happen. The video is constructed from interviews with over a dozen student activists from Hampshire College’s Students for Justice in Palestine.” With many Boycott, Divestment and Sanctions (BDS) actions and conferences planned for the month of October, it seems like a fitting Friday Film Pick. The 2010 documentary was made by Will Delphia and runs at 30 minutes, all of which are available for streaming for your pleasure above. Enjoy.

__________________________

HEADLINE: Documentary Released on Hampshire College’s 2009 Divestment from
Occupation

“To Know is Not Enough” (runtime: 30 min)
watch for free online: http://toknowisnotenough.info

A new documentary highlights the story of Divestment at Hampshire College.

In the spring of 2009 news sources the world over reported that Hampshire College had become the first United States institution of higher learning to divest holdings from companies benefiting from the military occupation of Palestine. This victory in the international movement for BDS (Boycott, Divestment, and Sanctions), was the product of a 3+ year campaign by the Hampshire college student group, Students for Justice in Palestine. And though the board agreed to remove those assets involved in the occupation, the administration contested the political significance of the move and denied that the divestment was related to the occupation.

One year after divestment, Hampshire Students for Justice in Palestine worked with a student filmmaker to tell the story of their divestment campaign – the result is a 30 min documentary featuring interviews with a sampling of SJP’s membership and using footage of past SJP events and actions. It highlights the student campaign and this campus movement for Justice in Palestine. The film attempts to show links between SJP’s work and the history of social responsibility at Hampshire College, as Hampshire was also the first US School to divest from Apartheid South Africa in 1979.

“To Know is not Enough” is used in reference to Hampshire College’s official motto (Latin: Non Satis Scire). The school proudly holds this message to affirm that, as an educational institution, it attempts to reach beyond ‘mere’ knowledge, encouraging students to question accepted understandings and to put their knowledge to use for the betterment of our world. The story of SJP and divestment is only one among many student-led campaigns to hold Hampshire accountable to these founding values, and as part of that enduring legacy the film carries the school’s official slogan as it’s title: “To Know is Not Enough, How Hampshire Became the First to Divest”

The film is being released online, free of charge, and a blanket permission has been issued to hold public screenings of this documentary in any setting. Students are especially encouraged to use the film to educate and inspire, and to support many ongoing BDS campaigns happening throughout the country and world.

Enjoy!

-Hampshire College Students for Justice in Palestine
hsjp.org

###

>via: http://toknowisnotenough.info/

 

PUB: FENCE BOOKS contest guidelines | Motherwell Prize


  • The 2011 Motherwell Prize, for a first or second full-length collection of poems by a woman writing in English

     

To be judged by Fence Books editors, with a cash prize of $1000 & Spring 2011 publication by Fence Books. Manuscripts remain anonymous until a winner is selected.

General Terms:

Fence Magazine, Inc. Fee entitles entrant to a choice of one year subscription to Fence (to begin with the Spring 2010 issue) or a copy of the winning book. Send 8 x 10 SASE with postage good for up to 1 lb., media mail or first class, your choice, if you choose the book.
  • Multiple submissions are acceptable, but each manuscript must be entered under separate cover, with entry form and entry fee
  • Please let us know immediately if your manuscript is accepted by another publisher while under our consideration
  • No revisions to submitted manuscripts will be considered; the winning manuscript may be revised before publication
  • Translations ineligible

     

  • Manuscript Requirements:
    • between 48 and 80 pages, paginated
    • bound with a removable clip and nothing more
    • one cover page with title of manuscript only; entry form (pdf) will be used for identification. No other cover letter necessary. Manuscripts submittted without anonymous cover page will be discarded.
    • no acknowledgements page
    Notification:
    • Enclose an SAS-Postcard for confirmation of receipt of manuscript
    • Enclose an SASE for notification of winner if you wish; email announcements will be sent out.
    • Do not enclose an SASE for return of manuscript; all manuscripts will be recycled at end of contest term
    • International entrants will be notified by email; those who choose the winning book must include an IRC
    • TELL US IF YOU MOVE. Send new address to: fence.fencebooks@gmail.com.
    Deadline:
    Envelope must be postmarked on or between November 1st of 2009 and November 30th of 2009.

    Mail manuscript, entry form, and entry fee to:

    Motherwell Prize,
    Fence Books
    Science Library 320
    University at Albany
    1400 Washington Avenue
    Albany, NY 12222

     

     

     

    PUB: Bright Hill Literary Center

    BRIGHT HILL PRESS 17TH ANNUAL POETRY BOOK COMPETITION - 2010

    GUIDELINES FOR SUBMISSION

    • POSTMARK DEADLINE:  November 30, 2010. Submissions with a later postmark date will be discarded. 
    • FREE BRIGHT HILL PRESS FULL-LENGTH POETRY BOOK - Include sturdy padded 6 x 9 or sturdy 9 x 12 envelope with $2.50 postage, and we will send you a free, award-winning Bright Hill Press Poetry Book.
    • NOTIFICATION DATES: Results will be announced in 2011; publication 2012
    • MANUSCRIPT REQUIREMENTS - Send 48-64 pages, plus bio, table of contents, acknowledgments page, and title page. No dot-matrix, but good photocopies acceptable. Manuscript must be paginated and secured by bulldog or spring clip; no bound manuscripts or manuscripts in book form.
    • MANUSCRIPTS WILL BE JUDGED ANONYMOUSLY - Include 2 title pages: one with title only; one with title, author's name, address, and telephone. Poems may be published in journals or anthologies; attach acknowledgments page to title page with author's name, address, telephone, and e-mail.
    • Manuscripts will not be returned; include SASE for results only.
    • More than one manuscript may be submitted but each requires a reading fee.
    • Simultaneous submissions are acceptable but Bright Hill Press must be notified if the manuscript is taken elsewhere.
    • READING FEE:  $25; $22 Word Thursdays/Bright Hill Press members (for information on how to join the organization, e-mail us at wordthur@stny.rr.com
    • THE WINNING ENTRY:  Winner receives publication, $1000, and 30 copies of his/her professionally printed book; review copies will be sent to more than 20 reviewers. BHP will advertise the book in national publications and market it by retail and through distributors.
    • Send to: Bright Hill Press Poetry Book Competition, POB 193, Treadwell, NY 13846-0193
    • SOME BRIGHT HILL PRESS FULL-LENGTH POETRY BOOKS: Raven’s Paradise (Red Hawk); Infinite Beginnings (Lucyna Prostko); How the Brain Grew Back Its Own History (Liz Beasley); Need-Fire (Becky Gould Gibson); The Artist As Alice: From a Photographer’s Life (Darcy Cummings); The Aerialist (Victoria Hallerman); Strange Gravity (Lisa Rhoades); The Singer's Temple (Barbara Hurd); Heart, with Piano Wire (Richard Deutch); My Father and Miro & Other Poems (Claudia Reder); Traveling Through Glass (Beth Copeland Vargo); To Fit Your Heart into the Body (Judith Neeld); Blue Wolves (Regina O'Melveny); My Own Hundred Doors (Pam Bernard).
    • BRIGHT HILL PRESS ANTHOLOGIES: Out of the Catskills and Just Beyond: Literary and Visual Works by Catskill Writers and Artists, with a Special Section by Catskill High-School Students; Iroquois Voices, Iroquois Visions: A Celebration of Contemporary Six Nations Arts; Speaking the Words Anthology; On the Watershed, The Second Word Thursdays Anthology; others.

     


    BRIGHT HILL PRESS 17TH ANNUAL POETRY BOOK COMPETITION - 2010
    • GUIDELINES FOR SUBMISSION
    • POSTMARK DEADLINE: November 30, 2010. Submissions with a later postmark date will be discarded.
    • FREE BRIGHT HILL PRESS FULL-LENGTH POETRY BOOK - Include sturdy padded 6 x 9 or sturdy 9 x 12 envelope with $2.50 postage, and we will send you a free, award-winning Bright Hill Press Poetry Book.
    • NOTIFICATION DATES: Results will be announced in 2010; publication 2011
    • MANUSCRIPT REQUIREMENTS: Send 48-64 pages, plus bio, table of contents, acknowledgments page, and title page. No dot-matrix, but good photocopies acceptable. Manuscript must be paginated and secured by bulldog or spring clip; no bound manuscripts or manuscripts in book form.
    • MANUSCRIPTS WILL BE JUDGED ANONYMOUSLY: 1.Include 2 title pages: one with title only; one with title, author's name, address, and telephone. Poems may be published in journals or anthologies; attach acknowledgments page to title page with author's name, address, telephone, and e-mail. 2. Manuscripts will not be returned; include SASE for results only. 3. More than one manuscript may be submitted but each requires a reading fee. 4. Simultaneous submissions are acceptable but Bright Hill Press must be notified if the manuscript is taken elsewhere.

    READING FEE: $25; $22 Word Thursdays/Bright Hill Press members (for information on how to join the organization, e-mail us at wordthur@stny.rr.com

    THE WINNING ENTRY: Winner receives publication, $1000, and 30 copies of his/her professionally printed book; review copies will be sent to more than 20 reviewers. BHP will advertise the book in national publications and market it by retail and through distributors.

    Send to: Bright Hill Press Poetry Book Competition, POB 193, Treadwell, NY 13846-0193

    SOME BRIGHT HILL PRESS FULL-LENGTH POETRY BOOKS: Raven’s Paradise (Red Hawk); Infinite Beginnings (Lucyna Prostko); How the Brain Grew Back Its Own History (Liz Beasley); Need-Fire (Becky Gould Gibson); The Artist As Alice: From a Photographer’s Life (Darcy Cummings); The Aerialist (Victoria Hallerman); Strange Gravity (Lisa Rhoades); The Singer's Temple (Barbara Hurd); Heart, with Piano Wire (Richard Deutch); My Father and Miro & Other Poems (Claudia Reder); Traveling Through Glass (Beth Copeland Vargo); To Fit Your Heart into the Body (Judith Neeld); Blue Wolves (Regina O'Melveny); My Own Hundred Doors (Pam Bernard).

    BRIGHT HILL PRESS ANTHOLOGIES: Out of the Catskills and Just Beyond: Literary and Visual Works by Catskill Writers and Artists, with a Special Section by Catskill High-School Students; Iroquois Voices, Iroquois Visions: A Celebration of Contemporary Six Nations Arts; Speaking the Words Anthology; On the Watershed, The Second Word Thursdays Anthology; others.

    PUB: The Poetry Business : The Book & Pamphlet Competition

    The 2010 Book & Pamphlet Competition

    Sponsored by NAWE

     

    Entrants are invited to submit a short collection of poems (20-24 pages), for the chance to win:

    • book publication & six free copies (for the overall winner),
    • pamphlet publication & 20 free copies (for three/four first-stage winners),
    • a share of £2,000 prize money,
    • a poetry reading hosted by The Poetry Business,
    • and publication in The North magazine.

     

    JUDGE: Simon Armitage

    DEADLINE: Last posting on Monday 29th November 2010 (or for online entries, 1st December)

    ENTRY FEE: £25 — or £20 for Friends and subscribers. £1 surcharge is applied to entries submitted online.


    Terms and conditions

    Competition FAQs

    Contact us for more information

    * * * * *

    "One of the career milestones for very many poets of note has been winning the prestigious Poetry Business competition."

    — Anne-Marie Fyfe



    Allison McVety was the overall winner of the 2006 Book & Pamphlet Competition. Her collection, The Night Trotsky Came to Stay, was shortlisted for the Forward Prize in 2008, and a poem taken from the collection was shortlisted for the inaugural MMU Prize the same year.

    Allison's second collection, Miming Happiness, will be published by Smith/Doorstop Books later this year.

     

    "I still remember getting the call to say I’d won the Book and Pamphlet Competition and having to keep it secret until the announcement was made. But beyond the immense joy of winning and the knowledge that your poems have been read by a judge at the height of their skill comes the hard graft and close attention that shapes a manuscript into a pamphlet or full-collection. The help and editing I got from the Poetry Business really brought it all together, made it work."

    — Allison McVety, 2006 overall winner



    Michael Laskey was a winner in the 1988 competition, with his collection Cloves of Garlic. He has since received two PBS Recommendations (in 1991 and 1999) and was shortlisted for the T S Eliot Prize in 1999. He founded the Aldeburgh Festival in 1989 and Smiths Knoll magazine in 1991.


     

    "It was a wonderful boost of confidence for me, winning the Poetry Business Pamphlet Competition. It felt like a justification of the time I spent writing and an encouragement to keep going. It was the original and only pamphlet competition back then, and so it felt particularly significant — that being judged anonymously on a group of poems, not just a single one."

    — Michael Laskey, 1988 winner

     


    Catherine Smith was a winner in the 2000 competition with The New Bride, which was shortlisted for the Forward Prize for Best First Collection.

    Her first full-length collection, The Butcher's Hands, was a PBS Recommendation; and her second, Lip, was shortlisted for the Forward Prize for Best Collection.

     

     

    Daljit Nagra was a winner in the 2002 competition, with his pamphlet Oh My Rub! This collection was awarded the first ever PBS Pamphlet Choice the following year. Daljit has since won the Forward Prize twice (in 2004 and 2007), and was longlisted in the 2007 Guardian First Book Award.

     

    Notes on the experience of judging the competition:

    You have not seen the sky grown dark. You have not realised that you are hungry. You have forgotten to feed the cat. You are engrossed in the work of the finalists for the Poetry Business Book & Pamphlet Competition

    Be warned! Good poetry can seriously disrupt your life.

    Alison Brackenbury 

     

    * * * * *

    NAWE

    “NAWE is delighted to be sponsoring this highly distinguished competition, run by one of the UK’s foremost poetry development agencies.” — Paul Munden (Director, NAWE)

    NAWE (the National Association of Writers in Education) is the Subject Association for Creative Writing, supporting writers at all stages of their careers.

    The NAWE website has details of all the latest jobs, opportunities and events for writers throughout the UK – all of which can be emailed to you as a free e-bulletin every fortnight.

    All writers joining NAWE receive free copies of NAWE publications, benefit from reduced rates to NAWE events and have access to the extensive online Archive. For Professional Members, NAWE processes Enhanced Disclosure applications to the CRB and can assist in dealing with any other government clearance schemes. NAWE also offers free public liability insurance cover to members who work as professional writers in any public or educational arena.

    NAWE, PO Box 1, Sheriff Hutton, York YO60 7YU
    Tel: 01653 618429  •  Web: www.nawe.co.uk •  Email:info@nawe.co.uk

     

     

    INTERVIEW: Video—Ntozake Shange Talks About Tyler Perry and Bringing For Colored Girls to the Big Screen

    VIDEO: The Root Interview: Ntozake Shange

     

    INFO: Skin Deep Series 3: Life as an African Oyibo: Living as an Albino | Bella Naija

    Skin Deep Series 3: Life as an African Oyibo: Living as an Albino

    Posted on Friday, October 8th, 2010 at 5:11 PM

    By BellaNaija.com

    BN Skin Deep Series is a 3 piece series which aims to provide an intimate account into the lives of people with various skin conditions (Vitiligo, Psoriasis and Albinism). The aim of this series is to create awareness of these conditions and help people both understand and appreciate the realities of living with these skin conditions. This is the final part of the series. We hope you enjoyed it, please do leave feedback and let us know if you would like us to cover such topics in the future

    My Name is Yvonne Edozien and I am an Albino. Albinism is a congenital disorder (defects in or damage in a developing fetus) characterized by the complete or partial absence of pigment in the skin, hair and eyes due to absence or defect of an enzyme involved in the production of melanin. The primary cause of albinism is the inheritance of recessive gene alleles (particular type of DNA sequence). Thus I hope this corrects the popular belief that if a light person marries another light person they are likely to have albino children. This is quite incorrect.

    Sadly, being an albino sometimes comes with pretty severe sight issues and I wasn’t one of those lucky enough to escape that. I should however stress that not all albinos have this condition. For instance my older sister who is also an albino can see as clearly as the next person. In addition to being short sighted and having astigmatism, I suffer from something called Nystagmus, which in a nutshell is the involuntary wobbling/movement of the eyes which reduces the ability of the eye to focus thus decreasing visibility. I started struggling with my sight when I was about 17. I mean, its not like I could see any better before then but at this age, I think my sight stabilised. So I’d go for my annual eye test, complain about the fact that my glasses aren’t strong enough and I’d get told my prescription hadn’t changed from the previous year. I’d sit in the optician’s chair frustrated while they tried this lens and that and the longer this went on, the more my vision would blur (from the effort of figuring out what letters were now clearer, if any…glasses wearers know the drill) and the more confused and frustrated I’d get. I went through a difficult phase where I was constantly being advised to see one eye doctor or the other, family and well wishers wouldn’t accept ‘nothing could be done’. After getting my hopes raised…and dashed…more times than I care to remember, not to mention the embarrassment of crying at the end of an eye examination, I put an end to that.

    Being the odd one out is probably the last thing any child wants. As a young girl, the last thing you want is for conversations to stop when you walk into a room, to be stared at and pointed at constantly, to have people (old and young) stand outside your car staring in at you every time you so much as stop for 10 seconds in traffic. The last thing you want is to have younger kids burst into tears when they look at you, to not be able to find the person who has come to pick you up from school because you can’t see far enough to spot them, to not be able to do the things your friends can, because you are ‘special’. Growing up as an albino was all that and more.

    Truthfully, things haven’t changed much. I still get pointed at, stared at, and called all sorts. I still get asked why my parents are black and I’m white, and I definitely still get asked why I won’t get stronger glasses. The one difference is I’m now very ready, very willing, and very able to speak up.

    Life as an Albino: The challenges

    I think most of my challenges with living as an albino came during my time in secondary school. Fore instance, I struggled through every test in secondary school because my teachers couldn’t (or wouldn’t?) understand why someone who couldn’t see the board wouldn’t simply get stronger glasses. I guess I can’t blame them, I still get asked that all the time. Back then though, speaking up wasn’t an option…secondary school in Nigeria, need I say more? So, I suffered and smiled, and my dear friends did their best…copying test questions onto sheets of paper and sneaking them to me.

    I have come to accept that I’ll quite likely always see things in shapes and colours and while I’ve crossed the education hurdle, somehow going as far as a masters degree without being able to read off a black/white board, I am now dealing with the fact that I can have a car parked outside and have the car keys in my hand, and still not be able to go ANYWHERE if I can’t find someone to drive me. Having sight that’s so poor I’m unable to drive is probably the single biggest disadvantage of being an albino, for me. Someone has to take me to work, someone has to bring me home after work, I have to get someone to accompany me if I have to go places I’m unfamiliar with, and lets not even discuss the utter chaos my life becomes if I have to venture near an airport alone. As an otherwise independent person, it’s hard to have to structure my life around other people. Fortunately, I am surrounded by amazing people; my family, friends and colleagues make it so much easier to deal with this limitation…as grateful as I am to them, however, they do have their own lives, which they can’t always put on hold for me. As my friends often tease, this does mean I can only date “nice people”

    Aside from my sight issues, my complexion also meant facing a new day in school was a constant battle…one I only managed to get through after my amazing mother gave me her ‘you are special’ speech. On my 21st birthday, my mother reminded me that I’d at some point asked them to build a school for me at home. Naturally I don’t remember saying this but I’m not at all surprised that I did. I definitely remember wanting to hide at home, where I wasn’t such a strange person to look at. A few memories stand out, from that period in my life. When I was in secondary school, my younger sister and brother were in primary school, and I remember getting to the point where I stopped attending plays, interhouse sports, etc because I didn’t want them to have to deal with all the looks, questions and comments that came with having me as an older sister.

    When I was much younger, I felt the need to be like and do what everyone else was doing….to a reasonable extent of course. So, if my friends were going swimming at 2pm (you know what the sun is like in Lagos at 2pm), I simply wasn’t able to sit quietly in a shaded area and watch. I’d tell myself I’ll swim “only for a few minutes” and if I stayed under water mostly, the sun wouldn’t do much damage. After going home sunburnt and in pain numerous times, wisdom prevailed. Imagine having what feels like a hot water burn all over your arms, your legs, your face, your back…your skin is raw and the slightest touch causes a lot of pain. Needless to say, I’m now very comfortable watching from the sidelines. I love sitting on the beach, under an umbrella (wearing shades and a hat, of course), with a good book!

    Today, the slightest exposure to the sun gives me a headache, even when I’m sitting in a car. It’s like someone is shinning a really bright light straight into my eyes. To deal with this, I wear sunshades constantly during the day. I’ve since come to understand that this excessive sensitivity to light is called ‘Photophobia’ and happens because my eyes let in too much light.

    In addition to the related medical conditions, being an albino does have some effect on my social life, or at least on the perception people have of me. Back in secondary school, I was constantly being accused of ‘looking down at people’, something the ‘seniors’ didn’t find at all amusing. Years later, and thanks to the internet, I’ve discovered this funny head posture is my ‘null point’, and I automatically adopt this posture because in that position, my eyes don’t wobble as much and my vision is slightly clearer. I’ve come to accept that people who don’t know me too well will always think I’m a snob or unfriendly, because apparently they were waving to me from across a room and I didn’t wave back, or because they said hi to me and I didn’t recognise them (made far worse by the fact that I’m obviously easy to remember due to my complexion). Sadly, I can’t go around with an ‘I’m partially sighted’ sign on my forehead so that’s one battle I can’t do much about. 

    Misconceptions

    It is sad that even in the 21st century and even with much technological advancement people still have less than knowledgable understanding about albinism. I really have heard almost everything, from the insane to the downright ridiculous. A few years ago, I had an argument with a friend because he was adamant in his belief that I was unable to eat salt and pepper. Given how much I love spicy food, this argument was very amusing. He concluded by saying that if indeed it was true that I eat regular meals, I must be only partially albino.

    I recently found out that as far back as secondary school, it was rumoured that my family took annual holidays because my sister and I needed to take some special injection to keep our skin smooth, my mum apparently also had some special cream she used. I have people come up to me from time to time, within and outside Nigeria, asking how I keep my skin this way because they have a sister/friend/daughter who is an albino and has bad skin, and they look so hopeful, I’d wish that rumoured special injection/special cream was indeed real.

    Sadly, some of the misconceptions have grave/fatal consequences. It is heartbreaking to find out that this far into the 21st century, people are still being killed because it is believed their body parts hold the answer to wealth. While I often spend a bit of time reading about these incidents as they unfold, it’s quite difficult to accept that it’s real, and talk about it, so I won’t. 

     The Positive Side

    If nothing else, being an albino makes life interesting. With each new day, there’s a possibility I’d hear some very flattering comments, meet the most ignorant person or find out some myth about albinos I was previously unaware of. Sometimes I feel like I’m a bit of an experiment…to myself. Unlike with skin conditions one develops, I never think of the future, how things will unfold in the long run. I have grown to love being different and I’m pretty sure I wouldn’t change my skin colour even if I could.

    Unlike with vitiligo and psoriasis which were previously discussed in this series, I haven’t had to get used to a change in my life. I was born this way and I’ve had almost three decades to get used to it. You look in the mirror everyday and you see the same thing, sooner or later you stop seeing it. I stopped seeing my skin colour a long time ago and I know the same is true for my family and close friends. My siblings are constantly surprised when I relay derogatory comments because they can’t imagine that people “still think that way”. They are also very protective and more than willing to educate anyone who somehow thinks they are entitled to make these comments within earshot. Interestingly, my immediate elder sister, who is also “light skinned” is the most protective and is someone I definitely want to have in my corner when necessary.

    This is my life though and I’m completely comfortable with it. I truly like being different and if I were honest, while there are some people who will always see an ‘albino’ as opposed to seeing Yvonne, those people are outnumbered. I’m constantly getting complimented on my skin, my hair, even my eyes (which are constantly dancing around). My fiancé is very proud to have me on his arm and that’s been the case in every relationship I’ve been in. I live a very normal life; I have a pretty good job, my social life is as vibrant as I want it to be and I’m completely surrounded by amazing family and friends. My skin colour only affects my life today because of the medical/physical implications and not much else.

    Advice to Other Albino’s

    From a physical/medical perspective, I’d advise others to be careful, and look after themselves. Each one of us isn’t alone, and our experiences are not unique to us. Information is a lot more accessible with the internet and I’ve found that I’ve been able to deal with related issues, even at work, by sharing other people’s experiences with those who do not understand. The more people understand, the more capable they are of making life more comfortable for me, or at least the less likely they are to make life more difficult.

    Health issues like skin cancer are very real, and very unpleasant, and we should each take steps to ensure we guard against them. Recently, there’s been a lot in the papers about albinism and skin cancer. People are being educated about the very real danger of skin cancer as a result of constant exposure to the sun. Unfortunately, for a lot of people, this advice is coming too late. I stopped spending time in the sun many years ago but even I cannot boast of truly understanding the potential consequences. I stayed out of the sun simply because it hurt too much to do otherwise, and I was fortunate enough to have that option.

    Sunburnt arm

    Lastly, it is very important to surround yourself with supportive people, people who are comfortable with who you are and wouldn’t have you any other way. I’m able to admit a lot of my confidence comes from the way I’m treated by my family and friends. It is hard to feel like there’s something wrong with me when I’m constantly being complimented. I might have no control over my skin colour but everything that comes after that is up to me; my clothes, my hair, my make-up. When I step out of my house I feel good about myself and it shows. Yes, maybe I feel I have to make an extra effort, but even that’s my little secret. I was born this way for a reason and I know God wouldn’t give me more than I can handle. I read a quote recently that perfectly sums up the way I feel: “Do not wish to be anything but who you are, and try to be that perfectly” (St. Francis de Sales).

    Photo Credits: www.willandbeyond.com; Seyi Charles George Photography

    INFO: Coon Bidness > Blackadelic Pop

    Coon Bidness


    Cover Image: 'GOLDLICKS (Wangechi Mutu)" By Marilyn Minter

    "Is this a magazine CRITICAL of coonery, or is this some sort of avant-garde attempt at irony?" my friend Marcus asked when I told him about the new literary journal Coon Bidness. Indeed, twelve months ago when I received an invitation to contribute, I also had a problem with the name. On the otherhand, my Public Enemy loving-Black power spouting homegirl from Long Island thought it was the funniest thing she had ever heard. Yet, with editors Greg Tate and LaTasha N. Nevada Diggs overseeing the project, I was certain that Coon Bidness would be like nothing we had ever seen before.

    Although I've yet to see the final version of the "debutt issue," what I have seen is simply amazing. Overflowing with art, fiction, poetry and essays, contributors include Wangechi Mutu, Miles Marshall Lewis, Jessica Care Moore, Minister Faust, Iona Rozeal Brown, Siddhartha Mitter, Thomas Sayers Ellis, Laina Dawes, Arthur Jafa, Earl Douglass and many others. My own Black rock inspired short story "Daddy Gone Blues" (shout out to Stephanie McKay, Joi and Honeychild Coleman) also made the final cut.

    While I had planned on writing a blog essay about this exciting new magazine, invoking everything from Zip Coon to Stepin' Fetchit to how much Spike Lee's preachy Bamboozled got on my nerves, I decided to let Coon curators Diggs and Tate speak for themselves. This interview was conducted via email...

    1. There are a few people who find the title Coon Bidness offensive. What is the meaning behind it?

    http://www.ebonyjet.com/uploadedImages/EbonyJetcom/test/Greg%20Tate.jpgGreg Tate

    Greg Tate: Coon Bidness (CB) is in the fine colored tradition of reversing racialized polarities, negatives to positives. Many in our vicious circle actually find the name quite delightful. Funny thing is, only Black Americans feel like they can say it out loud without risking a beatdown or being exposed as a closet racist.

    But, CB was a well considered if knee-jerk artistic and political choice: LaTasha and I got disgusted over some younguns we know bickerin online about literary journals that published scant few-a-you people of de Negro persuasion. I went ballistic. I told Tasha, 'Man that's some coon bidness there; especially 160 years since self determined folk like Frederick Douglass, Martin Delany and David Walker were self-publishing anti-slavery when Dixie was king and a nickel could get shot just for showing off they literacy.’ Plus, we couldn't call it Emerge, Upscale, Black Enterprise or Black Tail; all the other good Black Progressive names were taken.

    CB is also our quiet homage to the late great jazz musician and conceptual dramatist, Julius Hemphill. He released a quite crackling avant-garde album by that name in the 70s. Whatever respectability CB has we've completely borrowed from the very refined and adventurous Mr. Hemphill.

    http://1.bp.blogspot.com/_1yQoATFY1TM/TGglTdmpPJI/AAAAAAAAClA/H_Lk_PUTjU0/s320/12410.jpg

    However, CB is also our oblique response to the Obama era. Thanx to Brother President, his gorgeous sensuous ebony Glamazon of a wife Michelle, and those precious kids, Blackfolk have never moved about this land feeling so proud and respectable.


    LaTasha N. Nevada Diggs: We did have a conversation about the name of this baby and came to an agreement that one, this was going to show out some folks while others would take the chance and support us with their work. I had folks – good friends – scold me about the name. They felt we (I in particular) was marginalizing/sabotaging myself especially since I am the youngster in this endeavor; that I do not have much suction anywhere and perhaps less resources that entities--be they those in some academic/publishing/programming power--don't know who I am or choose not to know who I am. I am, to a certain degree, taking the greater risk. They hated it. Some choose their petitions to be silent: politely so. Some just told me, ‘Hey I
    just don't see myself being associated with some thing called this.’ They did not get it nor did they want to engage.


    With that said, it highlighted an argument that is spoken in public when it comes down to our positions as writers of a browner hue. There is a presumed limitations of publications that exists and a an outer worldly desire desire to be accepted by the very publications that have denied us moderate access. That with this desire, we often rather complain and petition these very publications than create something new. The tradition of magazines, journals and chapbook series has always included one or several voices that decided they wanted to establish something ELSE and in doing so, they created yet another platform to feature WHAT they believe in.

    With the rise of African-American writers coming out of MFA programs, there seems to be a lapse in realizing and remembering just how much power they have. I remember a talk Al Young gave to a workshop some years ago about opening oneself to the types of publications you least expect publish creative works.

    Also, during the summer of 2009, I began researching the works of Al Young and Ishmael Reed.

    http://www.jazzrecordcenter.com/store/images/young1091.jpghttp://www.nathanielturner.com/sittingpretty.jpgbooks by Al Young

    In my research, their history on do-it- yourself (DIY) really jarred me in a positive way. Regardless of what one may assume of their work, they highlighted to me a somewhat forgotten history of DIY publications occurring in their prime. Jayne Cortez is in my opinion, the very person I look to as an inspiration for DIY. She doesn't wait on jack.We have much to learn from her consistency in this matter.


    If we turn to 2010, DIY still exists, often manifested in form of the urban novel, the chapbook created by the hottest slam poet, the young spoken word artist who had made a name on the college chitterlin circuit. Vanity publishing has for a moment, resided in the funny place. We celebrate those who can do it and yet, it can be looked down upon. There is an insistence that we can’t do for self without a major publishing house backing us up. And then every couple of months, the New York Times does a story on the cat who sells 10,000 copies of his joint on the subways.


    I understand the politics of the game and what that/this means and where it /he/she/they can take. Greg nor I, are not particularly set of following that jive. Perhaps I should. You tell me. Would we be talking about CB had I? We are also giving a big "wake the fuck up bitches" to those who've forgot.

    http://www.lauriebooks.com/laurie/images/items/25494.JPG

    2. How would you define the Coon Bidness aesthetic?


    GT: Highbrow but raunchy. Classy but nasty. Charming but racy. Vulgar but impeccable. Tart but smart. Radical but tactical. Militant but pretty like a mutha. We're calling our debutt (sic) 'The Critical Ass Issue' for some profoundly funkybutt reasons. All comedians and shake-dancers know The Ass has quite a mouth on it, a deeply probing intellect, and quite a raffish, roguish style in dress all it's own.


    LD: About this particular issue: Ass of all equations. Assed Out. Showing One's Ass. Hot Ass. Prophetic Ass.

    Ass Backwards. Sweet Ass. Lack of Ass. Linguistic Ass. About CB in general: Genuine. Intellectual. Young. Flexible. Political. Intimidating. Silent like a samurai.

    http://upload.wikimedia.org/wikipedia/en/0/03/Black_Samurai.jpg


    3. How is Coon Bidness different from other literary magazines?


    GT: Besides the obvious, as in being ill enough to BE a literary journal called 'Coon Bidness.' But, just know that when you compare CB to other journals, all I think of is Muhammad Ali. Like The Champ, CB is, ‘the loneliest of boxing’s poet laureates.’ CB is too pretty, too fast, too smart for those other rags to fight. Why, just last week CB, murdered a rock, injured a stone and hospitalized a brick.

    http://crossfitkitchener.files.wordpress.com/2009/07/muhammad-ali1.jpg


    LD: I don't if it's better than any at present. I don't know if it's a hot mess. All I can say is that CB may be considered an underdog. CB also scared the chitterlins out of a cab driver last week. When CB is mad, you really should take heed.


    4. What were some of the joys and pains putting together the debut issue?

    GT: First joy was realizing who among our contacts was too hoity-toity, too chickenchit or just too bored with us to bother consorting with some foolishness called Coon Bidness. Dem kinda proper folk sent us NO work, even after kindly repeated requests. Second joy was the high-cotton caliber of work we did receive from poets, writers and artists, some very well known, some all but unknown. Everybody brought their triple A game, some even brung their triple XXX game. Everybody brought the ruckus--The Bidness, as it were.

    Third joy was that some of the best and brightest work in the mag came from writers neither LaTasha nor I had even heard of before we began stockpiling literary weapons. Fourth joy is how pretty our triple-fab designer LaRonda Davis is making CB look. LaRonda got style and she versatile.

    Our biggest pain has been proofreading 123 pages of Certifiable Black Genius. Fortunately, our Research Queen/Copy Czar Sun Singleton is crawled up that 'Critical Ass' crack with a blowtorch, some pliers, and an optical speculum, all to insure we don't make a sloppy, medieval strobe-light ass of ourselves once the mag sees the light of day.


    LD: We fought. I think we fought because of many of things Greg has already pointed out when we first sent the word out. NO ONE RESPONDED. It was deep. It was painful. It was a WOW moment. And yes, some folks we personally sought sent nothing. Now the reasons for why they don’t know, but it did cause some frustration. So yeah, it hurt my feelings, it hurt Greg’s: not at much to give it up.


    When the submissions did start coming, CB began to look serious. We received a range of materials. In any case, we got enough to go blind over and whittle down to 123 pages. We changed the cover art several times because the women artists featured were throwing so many gems at us.


    5. From Wallace Thurman's 1926 periodical Fire!! to the more recent Miles Marshall Lewis edited Bronx Biannual, black literary magazines don't seem to last long. How do you hope Coon Bidness will change that cycle?

    http://www.philsp.com/data/images/o/opportunity_journal_192607.jpghttp://1.bp.blogspot.com/_s_FQyBVTqR4/Rg960bLW7RI/AAAAAAAABgc/BkaMlmyIg-g/s200/fire.jpghttp://www.akashicbooks.com/bronxbiannual1.jpg


    GT: Ha--one never knows do one? We could be a one-off too. Of course titles do fade and get revived all the time in the publishing world, so maybe all those you mentioned above are merely in limbo, incubating until the Fire Next Time or til the hiphop nation comes back. For the record though, we've already begun working on the sequel ‘Advanced Ebonics.’ Keeping vernacular hope alive since Toussaint wrote the Art of War in kreyol. Nuff said and It's clobberin' time.


    LD: Who really knows?. I’m enjoying the frustration and discovery of this endeavor and it’s going to go wherever it decides. We do have some pieces that did not make it to first one up in the second. However, as Greg knows already, I do not want give to this project a deadline or an ultimatum. I like to marinate. Let it be like Nathaniel Mackey’s Hambone and come out whenever we decide or let it be that one issue that set out to fuck with folks. We’ve achieved what we wanted to do.


    Coon Bizness will be released on October 14th

    Facebook:
    http://www.facebook.com/profile.php?id=646067716#!/pages/Coon-Bidness-Magazine/155793724450579?ref=mf

    http://ucblibraries.colorado.edu/musicimages/Rag/RagCoonCoon/RagCoonCoon01a.jpg


    VIDEO: Africa/ United States: Humor in the Context of Black Modernity, Cont'd > A BOMBASTIC ELEMENT

    Africa/ United States: Humor in the Context of Black Modernity, Cont'd

    Continuing our series of posts on the tragic but intermittently funny bone of racial history. Kendal wants his hilarious recollection of a school field trip to a cotton field (above), which has since gone viral, taken off the interwebs. We wish him luck. Commenting on "Kendal on Sharecropping," C*Notes blog gives us some insight into humor in the context of black modernity:

    It's sad that you could tell a story like this, and have it be 100% accurate-- no hyperbole required. Fortunately, many of us have learned to develop a sense of humor about these things that could otherwise be very scarring and painful. We have to. There's no way we could function if we carried a chip on our shoulder every time this type of shit happens. I think that's why many of these "we want our country back" White Folks that seem to be flocking to the tea party are having nervous breakdowns after the 2008 Presidential Election. It's a fear of a retribution that does not exist.

    VIDEO: Should we Reconsider Columbus Day? > kiss my black ads

    Should we Reconsider Columbus Day?

     

     

     

    Reconsider Columbus Day Presented by Nu Heightz Cinema and their message goes like this;

    This is not just about history. This is still a relevant issue today.


    By honoring Columbus with a federal holiday, our government continues to vehemently insult Native Americans
    and perpetuates a philosophy of racism and domination.

    So please....
    Please speak up, take a stand, and help eradicate Columbus' name from the federal calendar.

    Take time to honor the people who were really here first by petitioning for a nationally recognized Indigenous holiday.

    Pray for those around the world and right here in our own
    country who are victims of exploitation and racism.