The Center for Book Arts offers many opportunities for artists and writers.   Letterpress Printing & Fine Press Publishing Seminar For Emerging Writers The Center for Book Arts invites applications for Letterpress Printing & Fine Press Publishing Seminar For Emerging Writers. The next section of this seminar is scheduled for Wednesday through Sunday, November 10-14, 2010. The seminar is tuition free for participants and includes the cost of materials. Those selected must attend the entire four-day workshop. Deadline October 1, 2010. details and application (PDF file)     Artist-in-Residence The Center for Book Arts is pleased to continue the Artist-in-Residence Workspace Grant for New York Emerging Artists program in 2011. Up to five New York-based emerging artists will be offered space, time and support to explore the production and exhibition of artist's books and related work in year-long residencies. The purpose of this program is to promote experimentation in making book art, thus artists from all disciplinary backgrounds are encouraged to apply. The Center especially encourages applications from artists of culturally diverse backgrounds. details and application (PDF file) Click here for details.-->   Poetry Chapbook Competition The Center for Book Arts invites submissions to its annual Poetry Chapbook Competition. The deadline for the 2011 competition is December 1, 2010. The winning manuscript will be chosen in May 2011 and will be awarded with the publication of a beautifully designed, letterpress-printed, limited-edition chapbook printed and bound by artists at the Center for Book Arts. The edition is limited to 100 signed and numbered copies, ten of which are reserved for the author and the remainder of which will be offered for sale through the Center. The winning poet will also receive a cash award of $500, and a $500 honorarium for a reading, to be held at the Center in the fall of 2011, as well as an exclusive opportunity to stay at the Millay Colony for the Arts in Austerlitz, New York as one of their Winter Shakers. This year's judges will be Kimiko Hahn & Sharon Dolin. guidelines and entry form (PDF file)     Artist Membership The Center for Book Arts provides artists with special services and opportunities in addition to the benefits of their membership category. Artist Members are included in the Artist Slide Registry, a resource devoted to artists working in the book format, which is used by curators, researchers, collectors, writers and other artists as a reference tool. They also enjoy the opportunity to submit works to The Center's annual summer exhibition, a juried show which features works by members, as well as the opportunity to apply to be our Featured Artist. details and application (PDF file)     Studio rental is available to any person who is qualified to use the equipment, including a 36" guillotine paper cutter, a 3-ton Kensol hot stamping press, five Vandercook proof presses, a treadle platen press and several hand platen presses from 5" x 8" and up, including a newspaper size Washington Hand Press, many cases of hand type, and all the usual equipment you expect to find in a letterpress printshop and hand bindery. Rental fees are $25 per hour ($15 for members). Monthly rates available as well.   Edible Book Festival The Center for Book Arts invites artists to submit proposals to the Sixth International Edible Book Festival, an appetizing event celebrated annually by artists worldwide on Friday, April 1, 2005. The deadline for proposals is March 1, 2005 At the Center for Book Arts in New York, the event is planned as a 30th Anniversary Benefit to help fund education and outreach programs. Accepted proposals will match each artist with a chef to create an artfully tasty morsel. call for entries (PDF file) --> Call for Entries: Books That Kill, Edible Mystery Thrillers The Center for Book Arts is proud to announce the Seventh International Edible Book Festival, an appetizing event celebrated annually by artists worldwide on April Fool's day, the birthday of famous cook and writer Brillat-Savarin. The event is planned as the annual benefit on April 5, 2006, to help fund the Center's programs. Artists are invited to submit a concept for their creation based on the theme Books That Kill: Edible Mystery Thrillers. We will match each accepted proposal with a chef who will create the edible book based on the artist's concept. Projects should result in a sculptural edible book with a clear reference or tribute to any mystery novel title, character, plot, icon or key idea. Deadline for proposals is March 1, 2006. details and application (PDF file) -->     Exhibition Guidelines The Center for Book Arts invites curators to submit exhibition proposals for our Main Gallery. There is no deadline: proposals are reviewed by the Center's Exhibition Committee three or four times a year, however, the exhibition schedule is planned at least 15 months in advance. guidelines and entry form (PDF file)   Featured Artist Projects The Center for Book Arts invites artist members to submit proposals for its Featured Artist Projects Exhibition Program. There is no deadline: proposals are reviewed three or four times a year by the Exhibitions Committee. There is no entry fee but only current Artist Members may apply. call for entries (PDF file)     Sally R. Bishop Master Faculty Fellowship This program provides an artist/ instructor from outside of New York an opportunity to teach a master class and to give a formal lecture in New York City. Although this program is by invitation only, artist/instructors can submit proposals and credentials to be reviewed by the Education Committee.     Internships The internship program offers hands-on training in arts administration and management and book arts techniques. Participants receive a comprehensive overview of not-for-profit operations and are able to take classes and use the workspace for their own projects. Internships, although on-going, usually coincide with one of the three semesters of the Center's classes. The lengths of internships vary from one month to several months, depending on the student's needs as well as the Center's scheduled activities. Internships are throughout the year. details and application (PDF file) Click here to learn more about the internship program.--> Work/Study A limited number of work/study positions are available for students or artists who want to work to pay for workspace rental or the tuition for CBA courses. In this program, students can study tuition-free by working a pre-set number of hours at CBA. At least 50% of these hours must be completed before the start of the class and a materials fee must be paid prior to the first class. The Center offers both temporary and semi-permanent positions. Temporary work study can be completed with seasonal or special projects such as the annual Holiday Sale or other scheduled events or CBA projects. Semi-permanent work study students work on projects that include office administration, gallery reception, archive management and general building maintenance. details and application (PDF file) Click here to learn more about the work/study program.-->       Information coming soon about opportunities at The Center for Book Arts, including: chapbook competition artist-in-residence grants intern/workstudy studio rental -->

 

© 2008 Center for Book Arts, Incorporated 1974 28 West 27th Street, 3rd Floor. New York, NY 10001

 

About Poet Lore

Established in 1889, Poet Lore is the oldest continuously published poetry magazine in the United States. Under the stewardship of its present publisher, The Writer's Center, Poet Lore publishes semi-annual installments of the finest contemporary poetry both by established writers and by those breaking into print. Poet Lore also prints reviews of new poetry books and books about poetry and poets. 

Inviting all types of poetry, the editors of Poet Lore look for a high level of craftsmanship and imaginative use of language and image. 

Poet Lore is edited by Jody Bolz and E. Ethelbert Miller.

Jean Nordhaus is the Review Editor.

Caitlin Hill is the Managing Editor.

The contributing editors are Cornelius Eady, Tony Hoagland, David Lehman, Alberto Rios Jane Shore, David Wagoner, and Michele Wolf. Internships with Poet Lore

____________________

Poet Lore Blog Entries

New Web Site   Posted by Caitlin on June 30, 2010

The Writer’s Center, Poet Lore’s publisher, is getting a new Web site! Starting tonight, if you have any trouble with links leading out of poetlore.com and to the new site, I’ve provided the proper links below.

Click here to check out TWC’s exciting catalog of classes, including poetry workshops.

Click here to donate to Poet Lore, via The Writer’s Center.

And click here to subscribe to Poet Lore, or to purchase individual issues, such as our gorgeous Spring/Summer issue that came out this April!

Poet Lore, Vol. 105 No. 1/2

Spring/Summer 2010

Includes poems from Bronwen Butter Newcott, Matthew Thorburn, Martin Lammon, Dwayne Betts, Ladan Osman, D. Nurkse, Stephen Lackaye, and others.

Our special Poets Introducing Poets features a collection of poems by Kate Angus, as introduced by David Lehman.

This issue also includes reviews of 67 Mogul Miniatures by Raza Ali Hasan; Habeas Corpus by Jill McDonough; Spare Parts by Anne Harding Woodworth; Temper by Beth Bachmann; and The Royal Baker’s Daughter by Barbara Goldberg; and an essay on “Writing About Writing” by Linda Pastan.

Folger celebrates Poet Lore’s 120th   Posted by Caitlin on January 8, 2010

From Executive Editor Jody Bolz to all locals!

 

Happy icy, windy 2010!  Hope you’ll bundle up and join us at the Folger Shakespeare Library at 7:30 pm on Monday, January 11th, for a celebratory reading in honor of Poet Lore’s 120th anniversary and Beltway Poetry Quarterly’s 10th.

 

 

Kim Addonizio, whom Poet Lore first published 25 years ago, will read with Washington poet Kyle Dargan. After the reading, Jon West-Bey, director of the American Poetry Museum, will moderate a conversation with those of us who edit the journals being honored. Poet Lore’s special 120th anniversary issue will be on sale at the reception afterwards, along with a new anthology by Beltway (Cash and check requested for payment).

 

 

Tickets available at www.folger.edu or (probably) at the door. Call (202) 544-7077 for more information.

 

Hope to see you there!

A Sweet Note   Posted by Caitlin

from our own Kerrin McCadden:

Dear Caitlin,

I just want to say what an astonishing read this issue of Poet Lore is. The arc of the poems is stunning.

I love to see if I know anyone else in whatever journal I’m in, and who my neighbor is on the facing page, and what they wrote. I was knocked down to see my roommate from Bread Loaf, and now longtime friend, Ilyse Kusnetz on the facing page! Now we are roommates in a book. I just wanted to let you know how weird and wonderful that was for both of us.

I see Poet Lore is having a reading at AWP. I will look forward to saying hello.

Again, great issue. So pleased to be a part of it.

Cheers, Kerrin

It’s notes like these that remind me why I love what I do!

Read Kerrin’s and Ilyse’s new works in our 120th Anniversary issue.

Poet Lore’s 120th Anniversary Celebration   Posted by Caitlin on October 14, 2009

Please note that this event is free, and do email us to reserve a space.  The RSVPs are already comin in!  Caitlin.Hill at writer.org!

Upcoming POET LORE Events!   Posted by Caitlin on August 14, 2009

I know you’re all chomping at the bit for our special 120^th Anniversary issue. I’ll post more on that later, as we get closer to printing time. Suffice it to say, every time I open up Quark to edit it I get a little thrill up my spine.  Executive editor Jody Bolz and I have been digging through Library of Congress archives, and coming up dusty, tired, and even more impressed by Poet Lore’s astounding history. It’s going to be a fantastic issue.

So, while you await Volume 104, No. 3/4, I thought I’d let you know what the editors of Poet Lore will be up to this year.

If you are a DC Metro local, and you don’t subscribe to Bethesda Magazine, pick up an issue this fall. Jody Bolz is featured in an article about her neighborhood and she talks about working for Poet Lore and the role poetry plays in her life.

On September 26^th I will be representing Poet Lore in Silver Spring, MD at the Magical Montgomery festival from noon to 6pm. Magical Montgomery is put together by the Arts & Humanities Council of Montgomery County, and is only a few years old. It’s been lots of fun each year, with booths from local arts and humanities organizations and folks taking the stage near the Silver Spring fountain to sing, dance, and play music. As an added bonus, the festival stretches across a lovely couple of blocks surrounded by restaurants, shops, and movie theaters, so you really can’t go wrong spending the afternoon there.

Visit http://www.creativemoco.com/calendar/event/8 for more info.

 

On November 14th we will have our 120th birthday party at the Historical Society of Washington DC.  It’s going to be a wonderful event with readings by poet John Balaban and others, TBA.  We will have cake and drinks and, of course, the newest issue of Poet Lore, hot off the press.  I will have lots more information as that gets closer.

 

This January, Folger Shakespeare Library is sponsoring an evening reading to celebrate Poet Lore’s birthday in conjunction with Beltway Poetry Quarterly’s 10th anniversary. Poets Kim Addonizio and Kyle Dargan will read, and E. Ethelbert Miller and Jody Bolz will be on a panel with Beltway editor Kim Roberts to discuss the publications.  We haven’t quite nailed down the date, but keep an eye on the Folger Calendar: http://www.folger.edu/calendar.cfm?calDate=2010,01,09 and this blog for updates.

 

In March of 2010, Jody and Ethelbert will be on a panel at Split This Rock with the editors of Beloit Poetry Journal talking about poetry with historical/political substance: http://www.splitthisrock.org/

 

And, finally, this April we will be in Denver for AWP, with another lovely booth, awesome swag, free archived issues to give away, and new issues for sale.  AWP is a fantastic way to network with other writers and editors, as well as a chance to surround yourself with like-minded people and to attend readings and panels and remind yourself what you love about literature and the craft of writing.

 

I think that should just about do it for now.  Make sure your subscription to Poet Lore is current!  If you need to join or renew, click the subscription link on the right.  You do not want to miss this upcoming issue.  You won’t see its like anytime soon

 

 

Happy Writing!

POET LORE & Love in Chicago   Posted by Caitlin on February 10, 2009

Poet Lore will have a booth in the bookfair exhibit at the upcoming AWP Conference in Chicago, where we’ll be celebrating our 120th year in print. 

When Charlotte Porter and Helen Clarke started their 25 cent journal on “Shakespeare, Browning & Contemporary Literature” in 1889, I don’t think they could have imagined what Poet Lore would become. 

Over a century later, thanks to The Writer’s Center, Poet Lore is still going strong, with fabulous established and emerging voices coming together in every issue.  Dedicated to contemporary poetry, Poet Lore celebrates innovative and evocative form, style, tone, and language.  To honor Poet Lore’s beginnings, we will be selling individual issues for the original cover price of 25 cents at AWP in Chicago.

If you’re there, we hope you’ll stop by to see us in Booth 238.  Those of you who’ve been published in our pages before, we’d be proud to have you sign the issue in which your work appeared for our archives.  Those of you who have not yet appeared in our journal, send us your work!  We hope to see you in sunny Chicago for Valentine’s Day.

Theodore Roosevelt Told Me To   Posted by Caitlin on October 22, 2008

Teddy “Trust-Buster” Roosevelt might’ve taken a great interest in this year’s election.  In 1901, he became the first President* to invite an African American, Booker T. Washington, to dine with him at the White House.  The historical weight this Presidential and Vice Presidential race brings with it is inspiring.  Our most recent issue portrays Roosevelt in Wyoming looking entirely “presidential,” with his striking pose, dapper attire, right hand aloft in gesticulation, left hand comfortably tucked in his pocket, his expression mirrored in the framed self-portrait that hangs just next to him.  In the lower right-hand side of the frame, we see the serious faces of women who’ve caught the picture taker in action.

In 1869 the Wyoming territory constitution granted women the right to vote and to hold public office, and thus 1892** was the first United States presidential election in which women cast legal votes, though we all recall that it wasn’t until 1920 that all American women of age were granted the right to vote.

With a female Vice Presidential candidate and a bi-racial Presidential candidate just weeks away from possible election, the excitement in this country is palpable.  Poet Lore honors this historical time by reminding us how we got here, and how far we’ve come.

I encourage you to check out the newest issue of Poet Lore, available now for purchase.  Inside are poems about past figures, present tensions, future predictions.  Consider it an investment in your literary future.  Its value is not measured by the Dow Jones,  nor will its worth fluctuate with the market.  Poet Lore is here to share the voices of poets yet unread, as well as new thoughts by those we’ve grown to love.  The literary discourse in America seems to thrive only in University settings, but it is important to spread the joy, the perspective, and the vision that is found in tremendous poetry throughout the world.

All you have to do to become a part of the international poetry scene is to open the magazine and take it in, for, as Theodore Roosevelt so aptly put it: I am a part of everything that I have read.

*There were rumors that Grover Cleveland is the first President to have an African American guest at the White House, but Teddy gets the credit for doing it publicly, with the stipulation that you include some mention of dinner.

**Interestingly, 1892 was the year Grover Cleveland was elected, to bring him back again.

Poems, Poems Everywhere   Posted by Caitlin on September 16, 2008

As our Fall/Winter 2008 issue winds its way to galley form, the editors of Poet Lore are splitting their attention between selecting poems for the Spring/Summer 2009 issue, and the upcoming 119th Birthday of Poet Lore.  The celebration will be in November, and we will have more information as the event draws near.  We have confirmed DC’s own A. B. Spellman (http://indefenseoftheblue.blogspot.com), as well as NYC’s Gardner McFall, a poet who is being featured by Contributing Editor, Jane Shore in our Poets Introducing Poets section in our upcoming issue.

Keep your eyes peeled for Vol. 103, No’s 3&4 this fall.  The cover features a wonderful image from the Library of Congress of Theodore Roosevelt, reminding us of this historical election year:

It’s still not too late to renew your subscription to Poet Lore, and receive this fantastic issue hot off the press.

Poet Lore has a new website!   Posted by Caitlin on June 3, 2008

As Poet Lore approaches its 120th year, it’s finally getting the space it needs to promote its poets and celebrate its legacy. Visit us here regularly to read samples from past issues, get information about submitting your own poetry, subscribe to this incredible journal, read news on our poetry blog, learn more about our editors, and much more.

You can still order copies of Poet Lore through the Writer’s Center, and our next issue comes out this fall, so subscribe early to be sure you receive yours hot off the press.

Able Muse Write Prize

Able Muse Write Prize (for Poetry & Flash Fiction)

 $500 prize for the best poem, and $500 prize for the best short story (flash fiction), plus publication in Able Muse (the print journal).
Finalists in each category will also be considered for publication.

Entry deadline: February 15, 2011

Final Judge - Poetry:

Rachel Hadas

 

Final Judge - Fiction:

Alan Cheuse

 

Guidelines:

• Blind Judging by the Final Judges (Rachel Hadas for poetry, Alan Cheuse for flash fiction).
• Initial screening by the Able Muse Editors.
• Entries may not be previously published.
• Simultaneous submissions accepted as long as we're immediately notified if your work is accepted elsewhere.
• Unlimited entries per person for one or both categories
• For poetry entries, all styles are welcome (metrical or free verse).
• We prefer online entries, however, paper/snail mail entry is available for those who insist on the traditional submission method.
• If you wish to enter in both cateogries or if you enter more than once in one or both categories, then a separate entry fee and submission form must be completed for each entry.
• If you're entering by paper/snail mail, the manuscripts cannot be returned so, do not send us your only copies.
• For paper/snail mail entries, include an SASE (self-addressed stamped envelope) to receive the announcement of the winners.
• The contests will be judged blind by the final judge, so:
  • Author's name should only appear on cover page and nowhere else.
  • Initial screening will be done by the editors of Able Muse.
  1. The final judges will received anonymized manuscripts (five to ten each depending and the number of total entries and their quality).
  2. The final judge will be instructed to disqualify any work that he recognizes. The entry fee the work thus disqualified will be refunded.
• Include on your cover page ONLY:
  1. the category of your submission— i.e. "poetry contest" or "fiction contest"
  2. the poems/stories titles
  3. the total number of lines for all poems combined / total word count for all stories combined.
  4. the poet's/writer's name
  5. address
  6. phone number, and
  7. email address.
• For paper/snail mail entries, send manuscripts in duplicate.

Final Judge (Poetry): Rachel Hadas

Final Judge (Flash Fiction): Alan Cheuse

Entry Methods:

1. Preferred method is our online entry form—
   1. DO NOT type or copy and paste your entry in the poem/fiction text box. Rather, upload your submission file from the upload field (accepted formats are: Text, RTF, Word, Wordperfect, PDF, HTML).
   2. Only send one file attachment with 1 to 5 poems or 1 to 2 stories in a single file, with the cover page prepared as described in the blind judging section above (do NOT attach a separate file for each poem or story!)
   3. There should be no identification in the manuscript file itself as described in the blind judging section above.
   4. Enter at http://www.ablemuse.com/enter-contest online.
2. Second favorite entry method is via e-mail—
   1. Again, do not type your submission in the body of the email. Rather, attach your submission file to the email (accepted formats are: Text, RTF, Word, Wordperfect, PDF, HTML).
   2. The subject of the email should be: "<Your Name>: Poetry Contest" for poetry entries, or "<Your Name>: Fiction Contest" for fiction entries.
   3. Email your entry to submission@ablemuse.com without any identification in the manuscript file itself as described in the blind judging section above.
3. Least favorite entry method is paper by snail mail—
   1. The manuscript should be without any identification as explained in the blind judging section above.
   2. The cover page should be prepared as explained in the blind judging section above.
   3. The manuscript should be in duplicate as explained in the blind judging section above.
   4. Send your entry to:

      Able Muse Review
      (Poetry or Flash Fiction) Contest
      467 Saratoga Avenue #602
      San Jose, CA 95129
      USA

Entry Fees:

• $15 for a minimum of 1 poem, maximum of 5 poems per entry (total submission cannot exceed 10 pages).
• $15 for a minimum of 1 story, maximum of 2 stories (stories should be flash fiction/short-short-short under 1,500 words each, typed double-spaced).
• No matter how you choose to enter (online or email or snail mail) you may choose to pay:
  1. Online at http://www.ablemuse.com/enter-contest (or right below!), OR,
  2. By check: Able Muse Review, and sent to the contest address indicated above.
  3. To enable us to match your payment to your entry, be sure to indicate the name you entered with (i.e. your pen name, etc), if it's different from the one under which payment was made, and this applies for online or check payment by snail mail.
     

Pay Entry Fee & Enter Contest Now:

ENTER THE ABLE MUSE WRITE PRIZE CONTEST NOW:

After payment, submit your poetry or fiction online at:
http://www.ablemuse.com/enter-contest .
Or, enter by email/snail mail as explained above:

C-SPAN Video

Curtis Mayfield and the Civil Rights Movement The music of singer-songwriter Curtis Mayfield spoke to a generation struggling for civil rights in the nineteen- sixties. While recording with the Impressions, songs such as "People Get Ready," "We’re a Winner" and "Keep on Pushing" appealed to an entire movement demanding change. Mayfield’s impact on the civil rights movement was discussed at the Carter Library.   Washington, DC  GO HERE TO VIEW VIDEO OF ENTIRE PROGRAM

Curtis Mayfield & Civil Rights    Jimmy Carter Presidential Library & Museum Preview

Verbalized Poets UK Tour

Posted by Paul Boakye on Sep 27th, 2010 and filed under Stage. You can follow any responses to this entry through the RSS 2.0. You can leave a response or trackback to this entry

 

Verbalized was developed in the wake of the astounding success of the Beyond Words UK tour in November 2009, featuring South African poet laureate, Keorapetse Kgositsile alongside Lebo Matshile, Philippa Yaa De Villers and Donata Mattera.

Continuing the creative impetus of Beyond Words, the British Council and Sustained Theatre asked Zena Edwards (Verse In Dialog) and Segun Lee-French (Speakeasy) to produce a tour of emerging UK poets to South Africa, which became Verbalized, a collaborative performance featuring 9 outstanding poets from SA & the UK.

Verbalized is a unique performance full of rich soul stirring song & explosive lyrical injection. From the UK, curator Zena Edwards features alongside Khadijah Ibrahiim, Kayo Chingonyi, Dzifa Benson & Avaes Mohammad. From South Africa, featured poets are Mpho ya Badimo, Mbali Vilakazi, Masana Mulaudzi, Naima Mclean & Bulelwa Basse.

What South African audiences have been saying:

“Amazing, this show moved me so much. I was crying by the end.”

“I’ve never seen poetry like this before, so many powerful voices on one stage.”

 

 

 

VERBALIZED – UK TOUR DATES

 

THU 7 OCTOBER
In association with Afrovibes
THE ALBANY, Douglas Way, Deptford, LONDON SE8 4AG
9pm. FREE ENTRY
Further info: 020 8692 4446
www.thealbany.org.uk

 

THU 14 OCTOBER
In association with Word Of Mouth
BRISTOL OLD VIC, King Street, BRISTOL BS1 4ED
8pm. Tickets: £10/£7 concessions
Box office: 0117 987 7877
www.bristololdvic.org.uk

 

FRI 15 OCTOBER
In association with Afrovibes
THE DRUM, 144 Potters Lane, Aston, BIRMINGHAM B6 4UU
9.30pm. FREE ENTRY
Further info: 0121 333 2444
www.the-drum.org.uk

 

MON 18 OCTOBER
In association with Kala Sangam & Word Life
THEATRE IN THE MILL, Univ. of Bradford, Richmond Road, BRADFORD BD7 1DP
Workshop: 6-7.30pm. Performance: 8.30pm
Tickets: Workshop £5. Performance £5. Combined ticket: £8
Box Office: 01274 233200
www.brad.ac.uk/theatre

 

WED 20 OCTOBER
In association with Signposts & Word Life
CAFE EURO, 72 John Street, SHEFFIELD, South Yorkshire S2 4QU
8.30pm. Tickets: £6/£5 concessions
Box Office: www.seetickets.com

 

THU 21 OCTOBER
In association with Afrovibes
CONTACT THEATRE, Oxford Road, MANCHESTER M15 6JA
10.30pm. FREE
Further info: 0161 274 0600
www.contact-theatre.org

 

Extra Credit

Parents Occupy Chicago Elementary School Building

Laurie Rojas

September 22, 2010  

 

 

For seven days straight, parents and students have occupied the field house of Chicago’s Whittier Dual Language Elementary School. Their demand: the field house should be turned into a much-needed library.

Chicago’s Gapers Block reported that “the sit-in has withstood several visits by the police” including an arrest threat that was averted “after more than 100 students, parents and community members pushed past barricades to support the protesters.”

A Chicago Public Schools (CPS) spokesperson responded by saying the building is structurally unsafe, and that the district lacks the money to renovate the structure. In conclusion: "That building has to come down."

But as the Chicago Tribune reported on Monday September 20th, when the parents hired an engineering firm, Ingenii LLC, to assess the building, they came to the opposite conclusion. "With the exception of the roof, the structure is in good condition and suitable for continued use."

CPS administrators rebutted with their own engineering firm, Perry & Associates LLC, who backed up their claim.

According to The Socialist Worker, CPS claims it will cost $354,000 to demolish the field house, but the parents’ own engineer estimated that for a fraction of that cost the building could be salvaged. More than that, protesters told a Chicago Sun-Times reporter that they have union workers who have volunteered to work for free—yes, for free—to help transform the building into a library.

The Socialist Worker’s Elizabeth Lasasz argues that behind the conflict over one school’s field house is a larger conflict over the fate of American schools, with undercurrents of racial and class tensions running through it:

"We want this school to be for us, for the community," said one mother. "In order to better educate the children, we need to educate the parents, too. Many of them are first-generation immigrants to the U.S. When they come to the meetings and computer classes in the field house, their confidence is built, and they become stronger voices in this school. We want that and need that in our parents."

Parents were initially given a room in the school for meetings, but it was the size of a closet—it held only about 10 people at a time. Saving the field house is about providing a vital resource in this community.

Lalasz outlines the parents' future plans for developing the school, beyond adding a new library, and how these plans conflict with CPS's plans for budget cuts and putting more emphasis on charter schools. She concludes:

The fight over this little field house is an important one in the larger struggle around educational rights, community self-determination and control over public land and institutions.

The online petition for “Solidarity with the Whittier Parents Sit-In” also calls attention to bad faith from the school board in earmarking funds for the field house’s demolition, and argues that more than just an old structure will be lost if it goes:

The Whittier Parents’ Committee has been organizing for seven years to push Pilsen alderman Daniel Solis to allocate some of the estimated $1 billion in Mayor Daley’s TIF coffers to their school for a school expansion. Cynically, Chicago Public Schools (CPS) has earmarked a part of this money for the destruction of the school’s field house, which has been used for years as a center for community organizing and services. This would directly undermine the ability of the Whittier community to organize and struggle for educational rights.

ABC local news reported yesterday that parents are continuing to sit-in, even though CPS conceded the field house "will not be immediately demolished.”

 

Image credit: sarah-ji

Laurie Rojas

September 22, 2010  

 

	The AIDS and Rights Alliance for Southern Africa (ARASA) has drafted this equal rights manifesto in conversation with civil society, cultural and religious leaders from around the continent. It presents the arguments for why equal rights for lesbian, gay, bisexual, transgender and intersex people are a crucial element of African culture and Christian philosophy, in addition to being a public health and human rights imperative.   Please share your thoughts on this draft with us, which can easily be posted below OR emailed to equalrights4all@arasa.info. Please CLICK HERE to post comments until 14 October 2010. We would appreciate your assistance in disseminating this widely to your friends and networks.       African Cultures and Homophobia Christianity and Homophobia Public Health and Homophobia Human Rights and Homophobia   Over the next month, we shall integrate these comments before publishing a final version that we shall invite individuals and organisations from across the African region to endorse and make use of. We hope that this manifesto will serve as a tool to catalyse dialogue on equal rights, with a long term view to shifting public opinion and creating a network of organisations and individuals who are committed to supporting equal rights in their communities. A more comprehensive advocacy strategy on equal rights will be developed with partners in the months to come.
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	ADD YOUR COMMENT Are same-sex relationships “un-African”? We examine this frequently asserted claim critically in the light of key African philosophies such as “Umuntu ngumuntu ngabantu” – “A person is a person through persons”. We also look at historical records and contemporary experiences of LGBTI in the African region, which suggest that homophobia is in fact the “un-African” phenomenon that was imported with the influx of missionaries in the 19th century. Read more What would Jesus do? The issue of same-sex relationships is one of many controversial matters that arise in relation to Christianity. There might never be consensus on such matters, which often hinge on several verses in the Bible that seem fundamental to some but outdated to others.  We pose the question, “ why have LGBTI in particular been singled out for abuse, violence and state-sanctioned hatred – all in the name of a God whose first and foremost law was Love?” Read more The stigma caused by homophobia generates barriers to accessing health services. “The HIV/AIDS community now has considerable challenges in clarifying and addressing the needs of MSM in sub-Saharan Africa; homosexuality is illegal in most countries, and political and social hostility are endemics. An effective response to HIV/AIDS requires improved strategic information about all risk groups, including MSM. The belated response to MSM with HIV infection needs rapid and sustained national and international commitment...” the Lancet   Read more   ADD YOUR COMMENT In numerous regional treaties, African states have affirmed their respect of the right to equality and dignity of all peoples. Most countries have ratified the African Charter on People’s and Human’s Rights. The charter guarantees the “the unquestionable and inalienable right to self-determination”, which includes the freedom to pursue one’s social development according to whatever policy he or she has chosen.   Read more   ADD YOUR COMMENT

Friday, September 24, 2010

Haiti storm

 

We had a huge storm here this afternoon. We drove to Double Harvest Hospital this morning to pick up some post-op patients. On the drive back I noted the bright blue, nearly cloudless sky. We unloaded the patients and got them settled. I worked on making charts for the 7 new patients we'd received. A couple hours passed. Then Chris came in and said, "Hey, it's going to rain hard." I looked at the sky and it was dark. Then the wind started blowing. There were only a few raindrops at first. But I (we) could tell right away this was going to be bad. We ran around quickly and closed all the windows and doors in the tents that are housing our patients. Within seconds the sky opened up and sheets of rain began pouring down.

Then the wind really picked up. We have about 12 people, mostly former patients who are currently living at the hospital, whose beds are under a large concrete overhang outside. When the wind started the people whose beds were closest to the edge of the overhang were quickly drenched. With the other patients (mostly) protected by the huge, sturdy tents we're borrowing from MERLIN, we focused our attention on protecting our other patients from the storm. This was quite a task. Someone ran in back and grabbed a few extra tarps. We already had some tarps set up, but the one hanging over us filled with a huge amount of water more quickly than I could have ever imagined. With 100s of pounds of water hanging precariously over our heads (and being held up by who knows what---the tarps were "secured" by something on the roof sitting on them--I'm still not sure what), some started to push at it with crutches (this is how we roll here when it rains...degage). They weren't able to generate enough force with the crutches to force the water out. With the huge bowl of water growing and me worrying that we'd all be in trouble soon when the whole tarp system collapsed, we decided to cut a big hole in the bottom. What happened next is the definition of a deluge. But at least we no longer had the 100s of pounds of water hanging over our heads.

Then we focused on holding up one large tarp to shield the patients. This was easier said than done. At the height of the storm, it took about 4 of us holding it and leaning against it with our full weight to keep the rain and wind from coming in. Even then it almost blew us over several times. There were these intermittent, frequent, intense wind gusts that would go on for about 30 seconds at a time. This went on for maybe an hour--I don't really remember. Every minute or so the tarp above us would shift as the rain collected and huge boluses of water would pour through the now severed tarp onto all of us below. At one point fairly early on I realized this was different from other storms. One of our new volunteers was standing next to me, holding a large piece of plywood to block more of the rain. I kept telling her this was an anomaly, and that I'd never seen anything like it here (I was in Haiti for a tropical storm once, and this was far worse. I've never been in a hurricane in Haiti).

As I held up the tarp and threw the full weight of my body against it, I continually thought of those living in the tent cities. I knew there was no way that flimsy tents and tarps could withstand this kind of wind and rain. Pictures taken after the storm have shown this to be true. How unfair, and unjust--as many have said, it's been over 8 months since the earthquake. Hurricane season is not a big mystery--it happens at the same time every year. And while this wasn't a hurricane, it might as well have been (though a hurricane or severe tropical storm would definitely be worse, as it would go on for much longer). There has been time to prepare for something like this. People shouldn't be suffering because of the weather.

As the storm subsided, I stood there freezing cold and soaked. But then I went inside and found a towel and a change of clothes. We helped our patients dry off and provided dry sheets and clothing as needed. Within a few hours things were basically back to normal at the hospital. Tomorrow there will be some more cleaning up to do as several of our smaller tents flooded. But all in all, it wasn't all that difficult for us once the storm was over. But life outside our walls it is a different story. Trees and power lines are down. Streets are flooded. Tent cities are a mess of ripped tarps and collapsed tents. As the rain continues to intermittently sprinkle down tonight, many are again homeless, now without even a piece of plastic to protect them from the elements. I don't have a lot of answers--but what I do know is that this is an injustice that didn't need to happen.

Pa bliye Ayiti~~Don't forget Haiti~~pray/hope/give/remember

**Update: apparently this type of storm is called a "microburst". You can read more about it here. The organization mentioned (JP HRO) is doing amazing work in Haiti. They've helped us out on numerous occasions. The people working there are compassionate and incredibly hard working. Please pray for them as they rebuild, and for all the people they're serving in their camp.

saturday, september 25, 2010

I guess it wasn’t a hurricane but I h...

I guess it wasn’t a hurricane but I have never seen anything like it and I have been through at least three hurricanes in the last five years. Wind was whipping everything in every which direction. The roof off of our gazebo is in pieces all over our yard. The bathtub is full of mud from the rain and dirt coming in the window in the bathroom. The upstairs of our guest house flooded and soaked every bed from the water pouring in off of the balcony- 30 feet in the air.

I was in our guest house pricing jewelry when it suddenly started. The tension in the house rose quickly. Moms were working in the house with their children and babies in nearby tents. It was obviously a dangerous situation. While my thoughts and heart quickly turned in the direction of helplessness and anger, the Haitians in my house quickly turned to worship and prayer. Hands in the air, songs broke forth again. “Merci Bondye. Merci Jezi.” How do they do that? Time after time, their hearts fall right in line with everything I would aspire to be but am not. Me. I cried. I cried for the babies and children who were crying and cold and scared. I cried for the fathers who like me were helpless to help their little ones, and I cried for these people who have known nothing but being downtrodden and poor.

It stopped eventually and Adrien and I hopped in my car to assess the damage. Trees were down, almost all the electrical lines were down, tents were down, people were standing around in the cold wind shivering while everything they owned was soaked and muddy. We gathered up a couple of families whose mother works for the apparent project and brought them to the AP house. Chrislene put on a big pot of rice and beans for whoever needed it that night. They obviously wouldn’t be cooking for their families that night. We went back to the house and loaded up some sweaters and sheets for distribution. We maybe helped ten families in that way. It seemed like a drop in the bucket of need.

IT was a warning. I think. It wasn’t a hurricane. It lasted about 30 minutes maybe and it did some serious damage. IT showed me how much more important the need is to get these people out of tents and into houses. As of right now the Apparent Project is working on house # 7 and 8. We have 8 more ready to be built sitting in our driveway and are probably going to be able to put a total of 29 up by November if all the people who have pledged to help follow through. THIS IS GREAT! But it is not enough. Would you be willing to consider building a house for a Haitian as a Christmas gift, a Thanksgiving family offering, a school fundraiser, a church offering? For $1600 you can put up a house and get up to 8 people out of tents. Want to do more? I have my eye on some land for $40,000. For a total of $100,000 we could get thirty homes built for people who don’t own land and assign them the land ownership afterwards. Someone out there has this kind of money and is wanting to help….. Please help.

posted by the apparent project at 10:02 am 

>via: http://apparentproject.blogspot.com/2010/09/i-guess-it-wasnt-hurricane-but-i-...

CBS Sunday Morning, "Betty Carter: Jazz Ahead" 1996 (feat. Nate Smith)

beatpimp247 | November 19, 2009

A profile of Betty Carter's Jazz Ahead program, which brought together many young musicians from around the country. I had the great privilege of making music with Betty and being a part of this program for the last two years of her life. She is a legend and is truly missed.

BETTY CARTER "TIGHT" with Branford Marsalis

BETTY CARTER TIGHT SCAT with Branford Marsalis on The Tonight Show

"Droppin' Things" (Lisbon, 1990)

JNPDITV | May 24, 2009

Betty Carter live in Lisbon, October 1990.

Betty Carter (vocal), Marc Carey (piano), Dwayne Burno (bass), Gregory Hutchinson (drums).

Video courtesy of the jazz blog www.jnpdi.blogspot.com

 

"So What" - Jonh Coltrane and Miles Davis

DrThiMarques | May 09, 2008

"So What" is the first track on the 1959 Miles Davis and John Coltrane album Kind of Blue and is often credited as one of his best works.

It is one of the most well-known examples of modal jazz, set in the Dorian mode and consisting of 16 bars of D minor7, followed by eight bars of Eb minor7 and another eight of D minor7. This AABA structure puts it in the format of popular song structure.

The piano and bass introduction for the piece was written by Gil Evans for Bill Evans and Paul Chambers on Kind of Blue. An orchestrated version by Gil Evans of this introduction is later to be found on a television broadcast given by Miles' Quintet (minus Cannonball Adderley who was ill that day) and the Gil Evans Orchestra; the orchestra gave the introduction after which the quintet produced a rendition of the rest of "So What".

The distinctive voicing employed by Bill Evans for the chords that interject the head, from the bottom up three perfect fourths followed by a major third, has been given the name "So What chord" by such theorists as Mark Levine.

While the track is taken at a very moderate tempo on Kind Of Blue, it is played at an extremely fast tempo on later live recordings by the Quintet, such as Four and More.

The same chord structure was later used by John Coltrane for his standard "Impressions".