VIDEO: African Rhythms: Randy Weston


African Rhythms: The Autobiography of Randy Weston


JazzVideoGuy | August 03, 2010

To purchase: http://tinyurl.com/randyweston Composed by Randy Weston, arranged by Willard Jenkins.

The pianist, composer, and bandleader Randy Weston is one of the world's most influential jazz musicians and a remarkable storyteller whose career has spanned five continents and more than six decades.

Packed with fascinating anecdotes, African Rhythms is Weston's life story, as told by him to the distinguished music journalist Willard Jenkins. It encompasses Weston's childhood in Brooklyn's Bedford-Stuyvesant neighborhood, where his parents and other members of their generation imbued him with pride in his African heritage, and his introduction to jazz and early years as a musician in the artistic ferment of mid-twentieth-century New York.

His music has taken him around the world, where he has performed in eighteen African countries, in Buddhist temples and Shinto shrines in Japan, and for the Princess of Morocco, the Archbishop of Canterbury, and the grand opening of a new library in Alexandria, Egypt. Africa is at the core of Weston's music and spirituality. He has traversed the continent on a continuous quest to learn about its musical traditions, produced its first major jazz festival, and lived for years in Morocco, where he opened a popular jazz club, The African Rhythms Club, in Tangier.

Weston's narrative is replete with tales of the people he has met and befriended, and with whom he has worked. He describes his unique partnerships with Langston Hughes, the musician and arranger Melba Liston, and the jazz scholar Marshall Stearns, as well as his friendships and collaborations with Duke Ellington, Dizzy Gillespie, Coleman Hawkins, Thelonious Monk, Billy Strayhorn, Max Roach, Charlie Parker, Miles Davis, the Cuban percussionist Candido Camero, the Ghanian musicians Kofi Gnaba and Kwabena Nketia, the Gnawa musicians of Morocco, the novelist Paul Bowles, the photographer Henri Cartier-Bresson, and many other artists.

A full discography of Weston's recordings includes song titles and the names of all of the musicians who performed on the records. With African Rhythms, an international jazz virtuoso creates cultural history again.

Randy Weston: Brooklyn community spirit


Randy Weston discusses community spirit in Brooklyn with La-Verne Cody Gittens. He talks about his parents, Max Roach, Duke Ellington, Art Blakey, Charlie Parker and the relationship between jazz and dance.

Randy Weston's African Rhythms


Randy Weston was honored this [ast October at the Annual Giants of Jazz Concert held in SOuth Orange N.J. He is joined by his core band, Benny Powell- Trombone, TK BLue- ALto Sax., Alex Blake- Bass, Neil Clarke- African precussion

Randy Weston interview 1 - "African Rhythms - Autobiography"


underyourskindvd | June 11, 2010

A conversation with Randy Weston about his new book "African Rhythms - Autobiography of Randy Weston". 

Composed by Randy Weston, Arranged by Willard Jenkins (http://www.dukeupress.edu)

http://www.randyweston.info/randy-wes...
http://www.facebook.com/pages/Randy-W...

 

VIDEO + REVIEW: Rox - Memoirs | Album Review | SoulCulture

Rox – Memoirs | Album Review

July 27, 2010 by Tola Ositelu  
Filed under Music, Reviews

The debut album from UK sensation Rox Tataei truly lives up to its name. This is indeed a warts-and-all exposé of her romantic history so far.  From regret over the one that got away (‘Heart Ran Dry’) to recounting the unhinged antics of her current beau’s ex-girlfriend- a menace to the happiness of her relationship (hidden track ‘Gallais’), Rox does not hold back.

Such honesty can provoke one of two reactions from the listener-either it isolates us because it’s all a little too personal or it endears us to the artist, as if we’re being let into their confidence.  In this instance it’s a case of the latter, thanks to Rox’ lovely alchemy of memorable melodies and well-crafted lyrics.

This is a pop/soul record with emphatic stress on the ‘pop’.  However this is good, splendidly arranged pop, pop with substance-an increasingly rare occurrence these days.  Several of Memoirs songs could be released as singles; not an easy feat to achieve.

Lyrically, Rox displays sagacity beyond her years; there’s very little in the way of trite, throwaway lines. The poetic astuteness of tracks such as ‘Page Unfolds’, ‘My Baby Left Me’ and ‘Forever Always Wishing’ give rise to a few, ‘Wow, I wish I wrote that’ moments.  Vocally, she is quite the powerhouse too.

It’s reassuring to hear a strong female vocalist from the UK who isn’t going the way of the bland, forgettable pop that Leona Lewis churns out most of the time.  Rox demonstrates that there is an alternative route for young women with powerful voices who have their sights set on mainstream success but don’t wish to specialise in the anodyne ballad.

Miss Tataei is blessed to have a soprano that behaves so consistently throughout its range; her chest voice has a lot of body whilst her falsetto/head voice retains such clarity and nimbleness.  Rox also brings theatricality to her singing that harks back to a time when the likes of Sarah Vaughan and Barbra Streisand were doing the same.  The lyrics tell only half the story; she colours in the rest of the detail with nuance of tone and expressive vocal quirks.

The bleak subject matter of most of Memoirs coats the album in a layer of tristesse that is difficult to shake.  I had to resist the urge to sob on the first few listens of gorgeous ’90s-style heart breaker ‘Oh, My’.  But perhaps it’s this sincerity and openness that will help set Rox apart from some of her peers.  After all, for better or for worse, the likes of Mary J Blige and Amy Winehouse have carved out very successful careers peddling tales of woe so why not Rox?

Still, it might be too early to label her as just another chanteuse of misery; there’s every indication on Memoirs that she could go any direction she chooses.  Rox makes a very strong impression with her debut without it threatening to eclipse everything she does in future; it’s simply a taste of what’s to come.  As she continues to tap into her potential, I for one eagerly await what she’ll do next.

–Tola Ositelu

Memoirs is out now via Rough Trade Records.

Clue yourself up on ROX in our interview:

PUB: Contests - The Aurorean

Aurorean

THE AUROREAN
P. O. Box 187, Farmington, ME 04938
207-778-0467 E-mail: aurorean@encirclepub.com

The Aurorean offers four contests each issue.

 

  1. Seasonal Poetic Quote: in each issue, you’ll find a short seasonal quote submitted by an Aurorean reader to get you in the spirit of the season (Spring/Summer; Fall/Winter). The hope, too, is that perhaps you’ll be inspired to read more of the poet to whom the quote is attributed.  Best of all, if your quote is chosen, you’ll receive two copies of the issue in which your quote appears!

    To submit a quote:  submit four lines maximum from not-too-obscure poet. Cite source for verification. Seasonal (Spring/Summer; Fall/Winter) quotes please.  Deadlines:  2/15 and 8/15 respectively. Winner each issue receives two copies. Entries cannot be returned/acknowledged.

  2. Editors' Chapbook Choice: In each issue, the editors picks one poetry chapbook or book of poetry to recommend as “Editor’s Choice.” Authors of poetry books/chapbooks are invited to submit for consideration. (The editors do not review books; please do not send books for review; materials sent in error cannot be returned).

    Submit: your chapbook/book of poetry published in the last 6 months with ordering and contact information. To give everyone a fair read, we prefer those under 50 pages. Deadlines: 2/15 and 8/15 for Spring/Summer or Fall/Winter, respectively. Editors pick one per issue to recommend (not a review). Entries cannot be returned or acknowledged.

  3. Best-Poem-of-Last-Issue. For each issue, an independent judge chooses the “Best Poem” from the previous issue. “Best Poem” winners receive $30. 

  4. Creative Writing Student Outstanding Haiku Contest. Undergraduate and graduate Creative Writing Students (across the U.S.) are invited to submit haiku for this student-only contest. One winner will be chosen each issue. Submissions welcome on ongoing basis; same deadlines as above. Submissions do NOT have to be received during academic semesters. To be eligible, entrants MUST be Creative Writing majors.

    There is no fee to enter.

    Submitters are encouraged to be as familiar as possible with the haiku form and its history by perusing contemporary literary journals that publish haiku and other resources. (We recommend How to Haiku by Bruce Ross, 2002, Tuttle Publishing).

    Winner each issue receives $10, publication of his/her haiku in the Aurorean as well as three copies of the issue, and an award certificate.

    Deadlines: February 15th and August 15th, respectively for Spring/Summer and Fall/Winter issues. (Entries must be received—not postmarked—by deadline dates.)

    To be eligible, entries of one to five haiku (you may include more than one haiku per page), typewritten, must:

    • be sent to The Aurorean, P.O. Box 187, Farmington, ME 04938, ATTN: CWSOHC;
    • be received by deadline dates for consideration in respective issues;
    • include a signed, short cover letter stating where you are enrolled in a Creative Writing Program and that you are submitting your original, unpublished poetry;
    • not be submitted elsewhere while under this contest consideration;
    • include name, mailing address, phone number and e-mail on each page.

    Winners are notified by March 1st and September 1st respectively. If you would like to know that your entry has been received, state that in your cover letter and be sure to include your e-mail address, or a self-addressed stamped postcard. If you don’t receive winning notification by March 1st or September 1st, you may assume you are free to submit your work elsewhere. Entries cannot be returned. Submissions do not have to arrive during college semesters, but you MUST be enrolled in a Creative Writing degree program at the time of submission.

*Editor's tip: in my long experience judging poetry contests (Writer's Digest writing competition, unrhymed division, for example), it is more often than not lack of following contest rules to the letter that disqualifies entries rather than the content of entries.

Follow each contest's guidelines carefully

to give your entry its best chance!

 

PUB: Call for submissions—The Poetry Explosion Newsletter

THE POETRY EXPLOSION NEWSLETTER

(P.E.N.)

GUIDELINES

 

Dear Literary Artist,


The Poet Band Company is asking for poetry(maximum,40 lines and prose (maximum,300 words) to be submitted for possible publication in “THE POETRY EXPLOSION NEWSLETTER”(THE PEN), issued quarterly (January, April, July and October).  JULY’S ISSUES ARE DEDICATED TO ROMANTIC POETRY!!!

 

We published poems and prose pertaining to all subjects(love, holidays,etc.) and in any form(sonnets, haiku, rhyme, non-rhyme, free and blank verse).  Simultaneous and pre-published submissions are accepted.  Bio-sketches are optional.  Presently, we are not paying monetarily, but if your works are selected, we’ll mail you a free copy of the issue in which they appear.

Send us your best!!! All submissions must be typed and of “camera ready” quality. Submit a maximum of five works(and a L.S.A.S.E. with the correct postage if you want your works that are not accepted for publication to be returned). Also enclose a $1.00 reading fee(good for up to five submissions). Make your Check or Money Order payable to :

Arthur C. Ford

P.O. BOX 4725

Pittsburgh,Pa. 15206-0725

E-MAIL:    wewuvpoetry@hotmail.com

 

 

Note:   If sending currency from another country, please send International Coupons(2 per dollar amount) or a Money Order or Check written in U.S. dollars from a U.S. bank.

 

If you have never been published, this may be your chance!!

Thanks for your love of the written word!!!!

 

Subscriptions: $20.00 yearly (4 issues) or $38.00 for two years. Send $4.00 for a sample issue. Outside the U.S.A. and Canada, $30.00 U.S. Dollars for 4 issues or $58.00 for two years.

POEMS ARE CRITIQUED AT 15 CENTS PER WORD!!!

Advertising Rates:

Size                    One issue                  Four Issues

1/8 page                 $10.00                        $35.00(Save $5)

¼ page                     20.00                        $60.00(Save $20)

½ page                     40.00                        $120.00(Save $40)

Full page                  80.00                       $270.00(Save $50)

Ads must be “camera ready” and printed in black and white. Logos are accepted.

 

Yours in Words,

ARTHUR

TOLL FREE NUMBER-1-866-234-0297

PUB: Still - The Journal Literary Contest

Contest

Fiction Judge

Ann Pancake is the author of the acclaimed novel Strange As This Weather Has Been, which won the 2007 Weatherford Award and was named one of Kirkus Review's Top Ten Fiction Books of 2007. Pancake's collection of short stories, Given Ground, won the 2000 Bakeless award, and she has also received a Whiting Award, an NEA Grant, a Pushcart Prize, and creative writing fellowships from the states of Washington, West Virginia, and Pennsylvania.

 

Poetry Judge

Maurice Manning, the author of four collections of poetry, was awarded the 2009 Hanes Poetry Award from the Fellowship of Southern Writers. His first book, Lawrence Booth's Book of Visions, was selected by W. S. Merwin for the Yale Series of Younger Poets. Manning, a former writing fellow at the Fine Arts Work Center in Provincetown, Massachusetts, teaches at Indiana University and Warren Wilson College.

 

Nonfiction Judge

Janisse Ray, a writer, naturalist, and activist, is the author of three books of literary nonfiction, including the critically acclaimed Ecology of A Cracker Childhood. She is on the faculty of Chatham University’s low-residency MFA program, and is a Woodrow Wilson Visiting Fellow. She holds an MFA from the University of Montana, and in 2007 was awarded an honorary doctorate from Unity College in Maine.

 

 

Contest Guidelines

Still: The Journal announces the first annual Still Writing Contests in Fiction, Poetry, and Nonfiction.  Contest entries should follow our normal submission guidelines, which state that “we want to feature writing that exemplifies the Mountain South or that is written by an author with an established connection to the region.” 

  

Rules: 

Submitted entries must be unpublished.  

Simultaneous entries are accepted as long as you let us know if your submissions will be published elsewhere before the contest ends.   

The contest reading fee is $8 PER ENTRY, payable to Still’s PayPal account, which you can access below.  An entry is defined as one short story, or one nonfiction piece, or one poem.  You may submit multiple submissions in multiple genres, as long as you pay a separate entry fee for each submission. Contest entry fees cannot be refunded under any circumstances.  

Manuscripts should be typed in a standard 12-point font (Times New Roman is preferred) and should have numbered pages.  Prose must be double spaced.  Poetry must be single spaced. Prose entries must not exceed 6,500 words. Poetry entries should not exceed 100 lines. 

Make sure that your name or any other identifying information does not appear anywhere on the manuscript entries. 

Deadline for email postmark is 12:00 a.m., August 15, 2010. Any entry that is not sent on or before that date will not be processed and entry fees will not be returned.   

Winners will be notified by September 15, 2010. Winning entries will be announced publicly in the 4: Fall 2010 issue of Still: The Journal. 

  

Prizes: 

$100 for winners of fiction, poetry, and nonfiction, and publication in Still: The Journal, 4: Fall 2010. All other contest entrants will be considered for possible publication.

  

Submissions:

We prefer electronic submissions and fee payment. Submissions should be saved as a word document, rich text file or plain text file only (doc, docx, rtf, or txt ONLY) and attached to an email.  Multiple submissions must be sent separately (in other words, if you are submitting a short story, an essay, and three poems, for instance, you would have five different electronic submissions and five different entry fees). The subject line for each entry should include “Still Contest” and the category; for example: Still Contest Fiction, Still Contest Poetry, or Still Contest Nonfiction.  Include with each entry a title page which contains this information:

    • Title of entry
    • Category listed in parentheses next to title
    • Name
    • Mailing address
    • Telephone number
    • Email address

    Please do NOT include your name or any other identifying information on the contest manuscript. Please number all pages.   

    All entries must be sent to contest@stilljournal.net. Contest entries will not be processed until the $8 entry fee is also paid. Click below on the PayPal button to pay the entry fees for each submission.   

     

    Contest Entry Fee
    Fiction $8.00 Poetry $8.00 Nonfiction $8.00

     

    Mail submissions can be accepted, although electronic submissions are preferred. Follow the above guidelines for manuscript and title page preparations, include an $8 fee per entry and mail checks payable to Still to: 

                Still

                P.O. Box 1121

                Berea, KY 40403 

    Mailed entries must be postmarked by August 15, 2010. 

    Failure to follow any of the above guidelines will result in disqualification.

    Inquiries or questions should be directed to contest@stilljournal.net.

      

     

    INFO: The Voices of Young African Leaders Heard Loud and Clear at The President’s Forum > from Global Voices in English

    Global Voices in English - The world is talking. Are you listening?

    The Voices of Young African Leaders

    Heard Loud and Clear at

    The President's Forum


    When the President of the United States Barack Obama opened his remarks at the White House Town Hall meeting by telling the Ghanaian delegates that “they will see each other” again for a rematch at the 2014 World Cup, the delegates gladly accepted the challenge. They also accepted a more significant challenge, that the development of their nation and as a matter of fact, of the continent as a whole rested primarily on the shoulders of African youth. The three-days-long get together in Washington DC was remarkable because of the dynamism and fearlessness of the young African delegates. The meeting were filled with passionate pleas for more collaboration between African nations, calls for holding political leaderships more accountable, boosting innovation, promoting tolerance towards diverging political or religious point of views and the role of internet in making their goals achievable.

    delegates from Madagascar, Mali and Niger- Under CC license 3.0 share alike

    All the delegates were well-versed in the intricacies of information technology but many of them expressed the worries that most of their compatriots still did not have access to internet and were therefore shunned from the exchange of ideas that take place online.
    Halilatou Issoufou Mamane is a Graduate student from the University of Niamey Abdou Moumouni who also completed a degree in international relations/economics from Wellesley College. She is a member of Harambe Endeavor Alliance, a group of African students and young professionals who strives to push the African Intellectual pool worldwide to reinvest into the economic development of Africa. She states in the following video her hopes for her country, the changes she would like to make happen to remedy the status quo and her disappointment at the incomplete portrayal of Niger in international media and [Fr]:

    “C’est vrai que l’on a la famine et que les retombées de l’uranium ne sont pas distribuées equitablement. Mais il y a tellement de gens qui essayent de faire bouger des montagnes au Niger mais on en parle pas parce que soit ils sont dans des regions éloignées, mais aussi parce que les medias ne sont intéressé que par le sensationel. [..] Nous avons besoin que les histoires positives sont mieux connues pour ne pas sombrer dans le pessimisme. Je pense que grace aux resources naturelles, le Niger peut-être un des tigres de l’Afrique dans 20 ans et que l’on parlera du miracle nigérien. “

    “it is true that we have famine and that the benefits of Uranium are not equitably redistributed. Still, there are so many people who are trying to move mountains in Niger but we don’t hear about them because either they are located in remote regions or because media is just interested in the sensational news [..] We need positive stories to come out so that we don’t dwell into pessimism. I think that thanks to our many natural resources, Niger could very well be the next Tiger of Africa and that we will be speaking of the Nigerien miracle in 20 years”.

    Mamame adds that her relative who sells tomatoes in Southern Niger does not have access to internet. He sells his tomatoes to larger corporations who take advantage of the fact that he is not aware of the latest market price for his goods and results in substantial loss of income.
    In Chad, Jareth Beain is the Head of Program on Public Resource Management, Group for Alternative Research and Monitoring of the Chad-Cameroon Petrol Project. He argues that African inventors would gain to be more supported and recognized outside of their country. He explains the principle of an invention by his colleague Djerassem Bemadjiel in Ndjamena that aims to provide enough electrical power for a village with just one liter of gas [fr]:

    “The idea is to combine a foraging device to drill a wellbore for water with a fluid pumping system that will create a pressure gradient that will feed the generator in energy.”

    The invention is currently under examination for a patent and the details of the invention can be found here. Djerassem Bemadjiel hopes that better internet access will facilitate the sharing of their local inventions and collaboration with other engineers.

    Real time and fact-based news about Togo are the main goals of Eric Nopklim Kaglan and his agency Savoir News. He argues that press freedom and a reasonable conversation cannot take place if there is no consensus on the basic facts. He is reassured by the fact that all sides of the Togolese political scene as well as the international community have approved of the integrity of their journalistic work. He is also proud of the fact that his agency is the only private online news provider in Togo, it maintains its sustainability by providing rapid fact-checked information to subscribers for a fee.

    Antoine Assalé Tiémoko from SOS Justice Cote d'Ivoire and Eric Nopklim Kaglan, Head of English Desk of Savoir News

    For Ivorian Journalist Assale Tiemoko Antoine, governance, transparency and freedom of the press are the key to development in Africa. Assale knows this from personal experience. Not unlike his colleagues from Le Nouveau Courier a few weeks ago, Assale spent 12 months behind bars from December 2007 to December 2008 for his reporting on government corruption. He promotes transparency through his association SOS Justice Côte d’Ivoire and his blog. Other activists for press freedom in Africa are highlighted in this article by Mohamed Keita for the Committee to Protect Journalists.

    Internet can also be a vehicle for better communication between communities who are sometimes at odds. Aminatou Daouda Hainikoye is adamant that the women’s rights movement in Niger needs to take into account both the important cultural specificity of her country but also embrace the basic principles recommended by international human rights organizations [fr]:

    She argues that an exchange of point of views between religious leaders, defenders of Nigerien’s identity and human rights activists must continue on a regular basis for women’s rights to make progress in Niger. Being an advocate of both her faith-based community and women’s rights organization, Aminatou Daouda Hainikoye hopes to be the bridge between the two communities.

    Statement by Young African Delegates at Newseum read by Marie Tamoifo Nkom from Cameroon ,Nadja Gomes from Mozambique, Najma Ahmed Abdi from Somalia

    The forum appropriately concluded with a statement read by three women delegates in English, French and Portuguese in which they reasserted that they are ready to lead and change the narrative about the African continent [Pt]:

    Many delegates also  made it clear that they saw the United States as a partner but not as a savior in their task of taking their regions through the next 50 years of their independence.  A group of delegates spontaneously came together in a song to put the final touch on a busy but hopeful trip.

    Lova Rakotomalala

    Contributor profile · 138 posts · joined 22 February 2007

    Currently the editor of the Francophone region for Global Voices, I am a researcher in biomedical engineering for low-cost mobile diagnostic tools in resource limited settings. Raised in Madagascar, I have a strong interest in international development and digital media as a tool to promote social change and transparency in the developing world. I am currently attending the Woodrow Wilson School of International Affairs and Public Policy at Princeton U to further that specific interest. I am also part of the core team of the Foko , an NGO driven to promote the online exposure of social grassroots projects based in Madagascar. I can also be found at twitter.com/lrakoto and on my personal blog.

     

    REVIEW + INTERVIEW: Patricia Powell - The Fullness of Everything

    The Caribbean Review of Books

    The trip to bountiful

    By Geoffrey Philp

     

    The Fullness of Everything, by Patricia Powell
    (Peepal Tree Press, ISBN 978-1845231132, 240 pp)

    Simple acts. They add up. They add up until they become a life. A life filled with complications, setbacks, betrayals, and sometimes a little happiness. And from birth, this one life joins a web of family, friends, and acquaintances which extends to those who have yet to come and those who have joined eternity. “The unity is submarine,” as Kamau Brathwaite said in another context, the closest description I can apply to Patricia Powell’s fourth novel, The Fullness of Everything, a meditation on the intimate connections among relationships of blood and compassion, rendered in exquisite prose.

    There are so many things I could say about The Fullness of Everything. I could say that the novel is about a history professor, Winston Rowe, who upon receiving news of his father’s imminent death, returns to Jamaica after a twenty-five-year absence only to discover that his father is still alive and has sired an “outside” child. And that the child, Rosa, possesses psychic abilities that allow her to sense the thoughts and feelings of those around her — including her dead father:

    The plane had barely left the ground, had barely settled itself more firmly in the sky and levelled off, her ears had only just stopped popping when their father appeared wearing the same light blue bush-jacket with red embroidery on the pockets that he used to wear on Sundays for the afternoon meal.

    I could also say that the novel’s overlapping narratives seamlessly exploit the differing points of view of Winston and his brother, Septimus, who has never recovered from the death of Althea, his twin sister, and is dealing with his wife’s infidelity:

    In the hotel at Treasure Beach they make love, as this is the only language he knows, but when they are done, the chasm between them is even wider than before and he doesn’t know what to do with his wife, with his marriage, with his own damn self, with the disgust away in his chest.

    But I would be telling only half of the story. Or, rather, it would be a pedestrian reading of the novel.

    The Fullness of Everything is one of those rare novels that can be read for a well-told story, expertly plotted and developed, and which will leave you feeling good, not just because of the seemingly effortless resolution of the essential conflicts, but also for Powell’s masterful strokes of characterisation that lull the reader into identifying with the main characters, or at the very least into thinking that she knows people like the ones in the novel. Add to this gorgeous prose:

    In the middle of the day when the sun is at its zenith, the light at its whitest, when there is no breeze at all stirring the world and all God’s creatures have come to a complete full stop — the dog is fast asleep under the mango tree, its mouth bubbling with foam; the cat is curled up underneath the bed licking herself slowly and yawning; the birds have taken refuge down by the river; the rooster is too stunned to crow; the cows have fallen to their knees in the fields; the flies don’t even bother to move out of the way of the swatter; the mosquitoes land on your arm and forget to sip — this when they come to the willow trees at the bottom of the garden, his mother periodically dozing off and then picking up the conversation again, mid-sentence.

    If it seems I am overly enthusiastic (which no self-respecting critic should be), I am. Patricia Powell has written — yes, I’ll say it — a beautiful novel in every sense of the word. Against the background of her previous novels — Me Dying Trial (1993), The Pagoda (1998), and A Small Gathering of Bones (2003) — The Fullness of Everything continues the theme of healing to its logical conclusion. It’s an apt gift for a reader who has poured passion, tears, and laughter into this life, for she will be rewarded with well-crafted sentences and sensuous images in that other life of the imagination. Every word is measured, every emotion is earned without a hint of sentimentality — yet a sense of bounty remains. Sometimes I feel as if Powell is trying to tell the whole human story in these 240 pages, “pressed down, shaken together, and running over.” And sometimes, I believe. I believe.

    •••

    The Caribbean Review of Books, July 2010

    Geoffrey Philp is a Jamaican writer based in Miami. His next collection of poems, Dub Wise, will be published by Peepal Tree Press in September 2010.

    ___________________________________

    Coming home with Jamaican author Patricia Powell

    Published: Saturday | September 12, 2009


    Barbara Nelson, Gleaner Writer


    Powell

    It is almost impossible to believe that as a child, Jamaica-born Patricia Powell did not have a deep yearning to become a writer. But she says she did not. When she moved from Jamaica with her family to live in the United States in 1982, she was just 16 years old and very much in survival mode. "Becoming a writer was the last thing on my mind," she said.

    Today Powell is an award-winning author. Her most recent work is The Fullness of Everything and her other novels are Me Dying Trial (which was her first novel), The Pagoda and A Small Gathering of Bones.

    Powell was born in Spanish Town and grew up in Manchester. When she moved to Boston, Massachusetts, in the USA, she finished high school then went on to WellesleyCollege.

    From 1984 to 1988 she majored in creative writing and English literature then went on toBrown University in 1989. There she did graduate studies in creative writing until 1991.

    "Even after I finished a novel/manuscript for my senior thesis and another one at graduate school, it still didn't occur to me that I was a writer," she said.

    Very Fortunate

    "Derek Walcott was a writer, V.S. Naipaul was a writer, Louise Bennett was a writer. These were all authors that I read as a young girl at school. It was impossible to imagine myself among them, so I just didn't," she continued. "Becoming a university professor was a very natural step after graduate school. I have to admit I have been very fortunate. Time and again I've felt led in my life as if there were an invisible cord pulling me to the next best thing, to the next best set of circumstances. I'm often humbled by this."

    Powell has been teaching in the United States since 1991. At first she found the experience rather challenging. She was young, just 24 years old, and inexperienced. But today she says she really enjoys teaching.

    "I love getting students excited about language, about ideas, about the possibilities inside their stories; I love watching them access knowledge they didn't know they know, I love watching them explore the dark heart of their character's humanity, I love watching them get to know themselves," she said.

    The Fullness of Everything took at least eight years to write and it dragged me through every awful emotion imaginable. For several months I had to put it aside, it was just too intense," said Powell.

    "But it's such a beautiful thing to have some feedback after that very long and solitary and arduous journey. It's a beautiful thing to look up from the work once it's completed and know that there are readers who have been waiting, that there are readers who value what you do, who are curious about the next thing. In that moment you recognise that you are not alone, that your work is important, that your work is part of an ongoing conversation about how we live and love in the world and walk through fear and learn courage and bring gifts of understanding to each other."

    Favourite Country

    Patricia has travelled widely - mostly to Western Europe, but she has also visited Lebanon in the Middle East.

    "My favourite country is Spain. So much of rural Spain reminds me of rural Jamaica," she said. "I love the tiny bars where the men hang around the counters and talk and drink and grow boisterous and litter the floor with peanut shells. I'm often reminded of the little shop my family owned in Manchester and where the men behaved in just this fashion. In those bars in Spain, when they serve tapas, I'm always excited that no part of the pig or cow is wasted. Even the ears are tasty."

    Powell says many writers have influenced her.

    "It's impossible to name them or even to explain how they've influenced me, except to say that reading is an essential part of my writing. It's as if I'm in constant conversation with other writers. There is so much to learn about style, about language, but also about place and ideas."

    As a child growing up in Jamaica, there were some early influences on her life. She was an avid listener of Dulcemina, a once popular radio play. She also loved Miss Lou and Mass Ran.

    She added, "We had a church and I often dreamed of being a minister so I could deliver those long-winded sermons and prayers to rapt attention. We also had a shop, which was the centre of our little district, and whenever that rum flowed, there were stories galore.

    Do you draw much from your own life experiences for your books? Can you mention any such experiences?

    "The books are fictionalised experiences and again they are not," she said. The Pagodais about Chinese immigration to Jamaica, but I used my experiences as a Jamaican immigrant to the US to help me write it. By researching and learning about the history of the Chinese and the ordeals they suffered on those boats during the crossing and again on the plantations, I was able to come to some understanding of my own situation as an immigrant."

    Do you visit Jamaica often? What are your thoughts on the many changes that have taken place there since you left in 1982?

    "Like the character Winston in the The Fullness of Everything, for many years I did not come home. There were many things that made me uneasy, especially our treatment of gay people. I wrote about some of those issues in my second novel, A Small Gathering of Bones."

    In the last year, however, she has spent more time in Jamaica than ever before.

    "I've fallen in love with Jamaica all over again, everything, the sun, the heat, the sky, the mosquitoes, the mountains, the food, the bad roads, our laughter, our stories, people's kindness, their infinite goodness," she continued.

    "I've decided that Jamaica is home after all, that she produced me, and in producing me she also gave me a voice to adore her wild beauty and also to speak out against injustice."

    >via: http://www.jamaica-gleaner.com/gleaner/20090912/life/life2.html

     

    VIDEO + INFO: Etheridge Knight



    Etheridge Knight at Stone Soup 2, 4-25-87

    ____________________________________

    The Bones of My Father

    BY ETHERIDGE KNIGHT

    1
    There are no dry bones
    here in this valley. The skull
    of my father grins
    at the Mississippi moon
    from the bottom
    of the Tallahatchie,
    the bones of my father
    are buried in the mud
    of these creeks and brooks that twist
    and flow their secrets to the sea.
    but the wind sings to me
    here the sun speaks to me
    of the dry bones of my father.

          2
    There are no dry bones
    in the northern valleys, in the Harlem alleys
    young / black / men with knees bent
    nod on the stoops of the tenements
    and dream
    of the dry bones of my father.

    And young white longhairs who flee
    their homes, and bend their minds
    and sing their songs of brotherhood
    and no more wars are searching for
    my father’s bones.

          3
    There are no dry bones here.
    We hide from the sun.
    No more do we take the long straight strides.
    Our steps have been shaped by the cages
    that kept us. We glide sideways
    like crabs across the sand.
    We perch on green lilies, we search
    beneath white rocks...
    THERE ARE NO DRY BONES HERE

    The skull of my father
    grins at the Mississippi moon
    from the bottom
    of the Tallahatchie.

    FOOTNOTES: Connecticut 
    February 21. 1971

    Etheridge Knight (1931 - 1991)

    BIOGRAPHY

    Etheridge Knight

    Etheridge Knight began writing poetry while an inmate at the Indiana State Prison and published his first collection, Poems from Prison in 1968. "His work was hailed by black writers and critics as another excellent example of the powerful truth of blackness in art," writes Shirley Lumpkin in theDictionary of Literary Biography. "His work became important in Afro-American poetry and poetics and in the strain of Anglo-American poetry descended from Walt Whitman." Since then, Knight has attained recognition as a major poet, earning both Pulitzer Prize and National Book Award nominations for Belly Song and Other Poems as well as the acclaim of such fellow practitioners as Gwendolyn Brooks, Robert Bly, and Galway Kinnell. 

    When Knight entered prison, he was already an accomplished reciter of "toasts"—long, memorized, narrative poems, often in rhymed couplets, in which "sexual exploits, drug activities, and violent aggressive conflicts involving a cast of familiar folk . . . are related . . . using street slang, drug and other specialized argot, and often obscenities," explains Lumpkin. Toast-reciting at Indiana State Prison not only refined Knight's expertise in this traditional Afro-American art form but also, according to Lumpkin, gave him a sense of identity and an understanding of the possibilities of poetry. "Since toast-telling brought him into genuine communion with others, he felt that poetry could simultaneously show him who he was and connect him with other people." In an article for the Detroit Free Press about Dudley Randall, the founder of Broadside Press, Suzanne Dolezal, indicates that Randall was impressed with Knight and visited him frequently at the prison: "In a small room reserved for consultations with death row inmates, with iron doors slamming and prisoners shouting in the background, Randall convinced a hesitant Knight of his talent." And, says Dolezal, Randall feels that because Knight was from the streets, "He may be a deeper poet than many of the others because he has felt more anguish." 

    Much of Knight's prison poetry, according to Patricia Liggins Hill inBlack American Literature Forum focuses on imprisonment as a form of contemporary enslavement and looks for ways in which one can be free despite incarceration. Time and space are significant in the concept of imprisonment, and Hill indicates that "specifically, what Knight relies on for his prison poetry are various temporal/spatial elements which allow him to merge his personal consciousness with the consciousness of Black people." Hill believes that this merging of consciousness "sets him apart from the other new Black poets . . . [who] see themselves as poets/ priests. . . . Knight sees himself as being one with Black people." Randall observes in Broadside Memories: Poets I Have Known that "Knight does not objure rime like many contemporary poets. He says the average Black man in the streets defines poetry as something that rimes, and Knight appeals to the folk by riming." Randall notes that while Knight's poetry is "influenced by the folk," it is also "prized by other poets." 

    Knight's Born of a Woman: New and Selected Poems includes work from Poems from Prison, Black Voices from Prison and Belly Song and Other Poems. Although David Pinckney states in Parnassus that the "new poems do not indicate much artistic growth," a Virginia Quarterly Review contributor writes that Knight "has distinguished his voice and craftsmanship among contemporary poets, and he deserves a large, serious audience for his work." Moreover, H. Bruce Franklin suggests in the Village Voice that with Born of a Woman,"Knight has finally attained recognition as a major poet." Further, Franklin credits Knight's leadership "in developing a powerful literary mode based on the rhythms of black street talk, blues, ballads, and 'toasts.'" 

    Reviewing Born of a Woman for Black American Literature Forum Hill describes Knight as a "masterful blues singer, a singer whose life has been 'full of trouble' and thus whose songs resound a variety of blues moods, feelings, and experiences and later take on the specific form of a blues musical composition." Lumpkin suggests that an "awareness of the significance of form governed Knight's arrangement of the poems in the volume as well as his revisions. . . . He put them in clusters or groupings under titles which are musical variations on the book's essential theme—life inside and outside prison." Calling this structure a "jazz composition mode," Lumpkin also notes that it was once used by Langston Hughes in an arrangement of his poetry. Craig Werner observes in Obsidian: Black Literature in Review: "Technically, Knight merges musical rhythms with traditional metrical devices, reflecting the assertion of an Afro-American cultural identity within a Euro-American context. Thematically, he denies that the figures of the singer . . . and the warrior . . . are or can be separate." Lumpkin finds that "despite the pain and evil described and attacked, a celebration and an affirmation of life run through the volume." And in the Los Angeles Times Book Review Peter Clothier considers the poems to be "tools for self-discovery and discovery of the world—a loud announcement of the truths they pry loose." 

    Lumpkin points out that "some critics find Knight's use of . . . [language] objectionable and unpoetic and think he does not use verse forms well," and some believe that he "maintains an outmoded, strident black power rhetoric from the 1960s." However, Lumpkin concludes: "Those with reservations and those who admire his work all agree . . . upon his vital language and the range of his subject matter. They all agree that he brings a needed freshness to poetry, particularly in his extraordinary ability to move an audience. . . . A number of poets, Gwendolyn Brooks, Robert Bly, and Galway Kinnell among them . . . consider him a major Afro-American poet because of his human subject matter, his combination of traditional techniques with an expertise in using rhythmic and oral speech patterns, and his ability to feel and to project his feelings into a poetic structure that moves others." 

    Knight once told CA he believed a definition of art and aesthetics assumes that "every man is the master of his own destiny and comes to grips with the society by his own efforts. The 'true' artist is supposed to examine his own experience of this process as a reflection of his self, his ego." Knight felt "white society denies art, because art unifies rather than separates; it brings people together instead of alienating them." The western/European aesthetic dictates that "the artist speak only of the beautiful (himself and what he sees); his task is to edify the listener, to make him see beauty of the world." Black artists must stay away from this because "the red of this aesthetic rose got its color from the blood of black slaves, exterminated Indians, napalmed Vietnamese children." According to Knight, the black artist must "perceive and conceptualize the collective aspirations, the collective vision of black people, and through his art form give back to the people the truth that he has gotten from them. He must sing to them of their own deeds, and misdeeds."

    CAREER

    Poet. Writer-in-residence, University of Pittsburgh, Pittsburgh, PA, 1968-69, and University of Hartford, Hartford, CT, 1969-70; Lincoln University, Jefferson City, MO, poet-in-residence, 1972. Inmate at Indiana State Prison, Michigan City, 1960-68.

    BIBLIOGRAPHY

    • (Contributor) For Malcolm, Broadside Press, 1967.
    • Poems from Prison, preface by Gwendolyn Brooks, Broadside Press, 1968.
    • (With others) Voce Negre dal Carcere (anthology), [Laterza, Italy], 1968, original English edition published as Black Voices from Prison, introduction by Roberto Giammanco, Pathfinder Press, 1970.
    • A Poem for Brother/Man (after His Recovery from an O.D.),Broadside Press, 1972.
    • Belly Song and Other Poems, Broadside Press, 1973.
    • Born of a Woman: New and Selected Poems, Houghton, 1980.
    • The Essential Etheridge Knight, University of Pittsburgh Press, 1986.

    Work represented in many anthologies, including Norton Anthology of American Poets, Black Poets, A Broadside Treasury, Broadside Poet,Dices and Black Bones, and A Comprehensive Anthology of Black Poets. Contributor of poems and articles to many magazines and journals, including Black Digest, Essence, Motive, American Reportand American Poetry. Poetry editor, Motive, 1969-71; contributing editor, New Letters, 1974.

    FURTHER READINGS

    BOOKS

    • Contemporary Literary Criticism, Volume 40, Gale, 1986.
    • Dictionary of Literary Biography, Volume 41: Afro-American Poets since 1955, Gale, 1985.
    • Randall, Dudley, Broadside Memories: Poets I Have Known,Broadside Press, 1975.

    PERIODICALS

    • Black American Literature Forum, fall, 1980; summer, 1981.
    • Black World, September, 1970; September, 1974.
    • Detroit Free Press, April 11, 1982.
    • Hollins Critic, December, 1981.
    • Los Angeles Times Book Review, August 10, 1980.
    • Negro Digest, January, 1968; July, 1968.
    • Obsidian, summer and winter, 1981.
    • Parnassus, spring-summer, 1981.
    • Village Voice, July 27, 1982.
    • Virginia Quarterly Review, winter, 1981.

     

    INTERVIEW: Pierre Labossiere: The Kidnap & Exile of President Aristide > from The Official Website of Kiilu Nyasha

    Pierre Labossiere: The Kidnap & Exile of President Aristide

     

    Freedom is a Constant Struggle TV show, March 14, 2008.

    Pierre Labossiere, a Haitian national, co-founder of the Haiti Action Committee, has been a long-time social-justice activist and advocate for the Lavalas Party of President Jean-Bertrand Aristide, currently exiled in South Africa. Pierre has also been active in the campaigns to free political prisoners in Haiti and the U.S.

    Learn more at: www.haitiaction.net and www.haitisolidarity.net

     

     

    INFO: Five years later: Katrina Pain Index 2010 New Orleans | San Francisco Bay View

    Five years later:

    Katrina Pain Index 2010 New Orleans

    August 6, 2010

    by Bill Quigley, Davida Finger and Lance Hill

    Great expanses of New Orleans Lower 9th Ward, 98.3 percent Black before Katrina, are still a mostly empty ghost town in 2010. – Photo: ChrisBickford.com
    It will be five years since Katrina on Aug. 29. The impact of Katrina is quite painful for regular people in the area. This article looks at what has happened since Katrina not from the perspective of the higher ups looking down from their offices but from the street level view of the people – a view which looks at the impact on the elderly, the renter, people of color, the disabled, the working and non-working poor. So, while one commentator may happily say that the median income in New Orleans has risen since Katrina, a street level perspective recognizes that is because large numbers of the poorest people have not been able to return.

     

    Five years after Katrina, tens of thousands of homes in New Orleans remain vacant or blighted. Tens of thousands of African American children who were in the public schools have not made it back, nor have their parents. New Orleans has lost at least 100,000 people. Thousands of elderly and disabled people have not made it back. Affordable housing is not readily available, so tens of thousands pay rents that are out of proportion to their wages. Race and gender remain excellent indicators of who is underpaid, who is a renter, who is in public school and who is low income.

    In short, the challenges facing New Orleans after Katrina are the same ones facing millions of people of color, women, the elderly and disabled and their children across the U.S. Katrina just made these challenges clearer in New Orleans than in many other places. Here is where we are five years later.

    Overall population

    Five years after Katrina, the most liberal estimates are that 141,000 fewer people live in the metro New Orleans area. The actual population changes will not be clear until official Census Bureau findings are released in November, but it is safe to say that over 100,000 fewer live in the City of New Orleans.

    Out of Katrina’s devastation comes hope. These students at Martin Luther King, a school restored after the flood by Common Ground Relief, founded immediately after Katrina and headed by former Black Panther Malik Rahim, and now the only school operating in the Lower 9th Ward, work in the Garden of Eatin’, a Common Ground project at the school. – Photo: Common Ground Relief
    The New Orleans metro area is made up of several parishes, primarily Orleans, Jefferson, Plaquemines, St. Bernard and St. Tammany. Orleans had 455,000 people before Katrina; now they have 354,000. Jefferson had 451,000 before Katrina; now they have 443,000. Plaquemines had 28,000 before Katrina; now they have 20,000. St. Bernard had 64,000 before Katrina; now they have 40,000.

     

     

    Displaced people

    Louisiana residents are located in more than 5,500 cities across the nation, the largest concentrations in Houston, Dallas, Atlanta and San Antonio. A majority of displaced residents are women – 59 percent compared to 41 percent men. A third earn less than $20,000 a year.

    Lost housing

    More than one in four residential addresses in New Orleans is vacant or blighted – by far the highest rate in the U.S. Though the numbers have been reduced somewhat in the last three years, 50,100 residential properties in New Orleans remain blighted or have no structure on them.

    About 58 percent of city renters and 45 percent of suburban renters pay more than 35 percent of their pre-tax household income for housing. Households should spend less than 30 percent of income on housing. Anything over 30 percent means that housing is not really affordable for that family and they are likely to cut back on other necessities.

    Over 5,000 families are on the waiting list for traditional public housing and another 28,960 families are on the waiting list for housing vouchers – more than double what it was before Katrina and the government destruction of thousands of public housing apartments. Since the post-Katrina bulldozing of several major public housing developments, there has been more than a 75 percent reduction in the number of public housing apartments available.

    Rebuilding

    Under Louisiana’s “Road Home” program to rebuild storm-damaged housing, rebuilding grants for homeowners on average fell about $35,000 short of the money needed to rebuild. The shortfall hit highly flooded, historically African-American communities particularly hard.

    This photo, taken April 8, 2010, shows Common Ground’s hurricane-resistant model home, just completed, built high to avoid damage in case of another flood. See more photos at CommonGroundRelief.org. Brad Pitt’s Make It Right project is also building similar homes in the Lower 9th. – Photo: Common Ground Relief
    The Greater New Orleans Fair Housing Action Center filed suit in 2008 against state and federal agencies charging that the grant policy was racially discriminatory and that Black homeowners received far smaller grants than white homeowners. The judge in that case has opined that “on average, African-American homeowners received awards that fell farther short of the cost of repairing their homes than did white recipients” and, while noting the parties’ commitment to rebuilding New Orleans, found it “regrettable that this effort to do so appears to have proceeded in a manner that disadvantaged African-American homeowners who wish to repair their homes.”

     

    At least 19,746 applications for rebuilding homes that are eligible for funding have not received any money from the Road Home Program grant program.

    Economic health

    The metro area has 95,000 fewer jobs than before Katrina, down about 16 percent.

    Black and Latino households earn incomes that are $26,000 (44 percent) and $15,000 (25 percent) lower than whites. White household income is $56,000, Latino household income is $41,000 and African American household income is $35,000 in the metro New Orleans area.

    New Orleans has a poverty rate of 23 percent, more than double the national average of 11 percent. But because of the loss of people in New Orleans, there are now more poor people living in the surrounding suburban parishes than in the city.

    Within New Orleans, the majority of households are lower-income.

    Public and private education

    The number of students in public schools in New Orleans, which are over 90 percent African American, has declined by 43 percent since Katrina.

    But an average increase of 5 percent a year in enrollment for the last two years – 35,976 to 38,051 from 2008-2009 alone – indicates that people whose children attend public schools continue to return as housing and employment opportunities allow.

    In 2008, 85 percent of white students in New Orleans attended private schools, one of the highest percentages in a major city in the U.S.

    New Orleans now has more charter schools than any other public school system in the country. Of the 89 public schools in New Orleans, 48, more than half, are charter schools. Sixty percent of students now attend privately managed but publicly funded schools.

    Metro area has recovered 79 percent of public and private school enrollment.

    People receiving public assistance

    Over one-third of Social Security recipients who lived in New Orleans have not returned. There were 74,535 in 2004 and 47,000 in December 2009.

    Medicaid recipients have declined by 31 percent: Pre-Katrina enrollment in Medicaid in New Orleans was 134,249. December 2009 enrollment was 93,310.

    Supplemental Security Income recipients are down from pre-Katrina 26,654 to 16,514 – a 38 percent decline.

    Public transportation

    Total ridership declined 65.7 percent, from over 33 million in 2004 to about 13 million projected for 2010.

    Crime

    Violent crimes and property crimes have risen in New Orleans since Katrina and remain well above national rates.

    Oil damage

    Speaking of crime, there have been at least 348 intentional fires set in the Gulf of Mexico – controlled burns, they call them – since the BP spill.

    Wetlands restoration is another project of Common Ground, with students from Martin Luther King School joining volunteers in the hard work, all the more crucial since the BP disaster. Current Common Ground projects include a free legal clinic, volunteer construction and rebuilding assistance to returning residents, paid construction jobs for residents, the Meg Perry Healthy Soil Project to test and rid soil of contaminants, the Garden of Eatin’ and wetlands restoration. – Photo: Common Ground Relief
    About 1.8 million gallons of chemical dispersant have been dumped into the Gulf, over a million on the surface and about 750,000 gallons sub-sea.

     

    About 210 million gallons of oil (5 million barrels) were released by the BP spill. About 800,000 barrels were captured by BP – making it by far the largest oil spill into marine waters in world history.

    Wetland destruction

    Since 1956, when measurements began, 23 percent of the coastal wetlands have converted to open water.

    The challenges of post-Katrina New Orleans reflect the problems of many urban and suburban areas of the U.S. – insufficient affordable rents, racially segregated schools with falling populations, great disparities in income by color of households, serious pollution from remote uncaring corporations, and reductions in public services like transportation. Katrina made these more visible five years ago and continues to make a great illustration of the U.S. failures to treat all citizens with dignity and our failure to achieve our promise of liberty and justice for all.

    Bill Quigley is legal director of the Center for Constitutional Rights. Bill and Davida Finger are law professors at Loyola University New Orleans. Lance Hill is executive director of the Southern Institute for Education and Research at Tulane University. You can reach Bill at quigley77@gmail.com, Davida at dfinger@loyno.edu and Lance at lhill@tulane.edu.

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