PUB: Textnovel - Writing Contest - $1,000 Cash Prize

$1,000 Cash Prize

 

Textnovel.com Writing Contest! No entry fee. And you might get published!

 

Here are the details:  

• Winner is picked by Textnovel.com Editorial Advisory Board.
• $1,000 Prize plus possible publishing or literary agency contract.
-->• Must have 50,000 words up by August 31st, 2010 (but more is fine)!
• Must be 13 years or older to enter.
• Can enter one free Basic Story per author (and as many Premium Stories as you want).
• Stories that were previous Finalists or Semi-Finalists in any contest on Textnovel are not eligible.


See Contest Rules for more details!
Please contact us if you have any questions. We don't currently have a landline or

mobile phone number but you can contact us through our contact us page and we will get back to you as soon as we can.

 

Bonus: Our 2008 winner Shannon Delany picked up a 3-book publishing deal with St. Martin's Press!  It is available for pre-order on Amazon.  Our 2009 winners are still finalizing their manuscripts to get them ready for submission to publishers.
TEXTNOVEL CONTEST RULES  

1. ELIGIBILITY

The Textnovel Contest (the "Contest") is offered by Textnovel, LLC ("Textnovel") and open only to residents of the United States, Canada and those countries where the Contest is allowed by law. By entering the Contest, you accept sole responsibility for determining whether your participation is legal in any jurisdiction that applies to you. You must be at least 13 years old (and if you are not of the age of majority in your jurisdiction of residence, you must have the consent of a parent) and have an active e-mail account and Internet access at the time of entry. By entering, you agree to these "Contest Rules" and that the decisions of Textnovel are final and binding in all respects. Textnovel reserves the right to disallow participation by the residents of any specific country in its sole discretion, either now or upon completion of the Contest, if Textnovel determines in its sole discretion that tax, jurisdictional and other issues make it infeasible or overly difficult to award the prize, calculate witholding taxes, or obtain publication rights from residents of that specific country.

 

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The Contest is for the "best" textnovel story or novel, as determined in the sole discretion of the Textnovel editorial advisory board. Eligible Textnovel stories must be in English and can be submitted and created online, by email or by text from a cell phone, and may include images and/or illustrations. The Contest begins on January 1, 2010 and runs until midnight Mountain Time (U.S.) on August 31st, 2010 (the "Contest Period"). Each participant may submit one Basic Story and an unlimited number of Premium Stories  during this period, each of which is deemed an entry. However, in order to qualify for the Contest, each story must have at least 50,000 words by Midnight Mountain Time on August 31st, 2010. To be eligible to win the Contest, your Textnovel account information must include your correct and full name and a valid e-mail address. You must also be in compliance with the Textnovel Terms of Use. If Textnovel determines, in its sole discretion, that your story contains content or images not in compliance, your story will not be eligible for the Contest. No particular format for the story is required for the Contest but authors are encouraged to include breaks between paragraphs and keep sentences and paragraphs reasonably short so that stories are easier to read online or by cell phone.

 

3. ENTRY

To enter the Contest, you must register as a Textnovel member at www.textnovel.com (the "Site"). You may then enter no more than one Basic Story in the Contest but you may enter an unlimited number of Premium Stories.  You can enter your stories from the My Library page (functionality for doing this will be available by January 1, 2010) and this must be done before August 31st, 2010. All submissions are subject to the submission requirements stated in the Terms of Use .

 

4. WINNER SELECTION

The winner(s) will be selected in the sole and absolute discretion of the Textnovel editorial advisory board, based on a combination of factors, including total views (page views), positive votes and subscriptions by readers and reviews by reviewers, as well as the subjective opinions of the Textnovel editorial advisory board. As part of the selection process, Textnovel may select semi-finalists and finalists and the final winner may come from the semi-finalists, finalists or not, at the discretion of Textnovel.  One of the key objectives is to find a novel that can be published and sold successfully in the U.S. market. Textnovel reserves the right to declare a tie between more than one winner, in which case the prize money will be divided equally among the tied contestants.

 

5. PRIZE

The prize for the Contest is $1,000 cash. The winner(s) will be notified by email and/or text message and/or phone call and must respond and accept the prize by signing and delivering an Affidavit of Eligibility and such additional agency and/or publication agreements as Textnovel or its partners may require within 5 business days of notification. It is currently contemplated that these agreements will either appoint Textnovel as the exclusive literary agent for the winning story for a period of not less than six (6) months or require that the winner grant the sole and exclusive right to publish the print and e-book versions of their story in the United States, Canada and the winner(s) country of residence within a period of 24 months after winning, in exchange for a royalty (specific amount to be determined based on partnership with publishing company and/or based on industry standard rates, in which case the $1,000 advance will be treated as an advance against future royalties or in the case of an agency agreement, as a reimbursable expense, but only reimbursable out of any advance or royalties received by the author from a publishing deal). The winner(s) will be announced on the Textnovel site after they are determined and have signed and delivered the appropriate documentation and been determined to meet all applicable criteria, at which time the prize will be paid as a lump sum. No assignment, transfer or substitution of the prize is permitted. The prize is expressed in U.S. Dollars. Taxes on the prize are the sole responsibility of the winner(s). Note that if your story wins and was created by multiple authors, Textnovel may require that each such author sign an Affidavit of Eligibility and additional agreements.

 

6. GENERAL CONDITIONS

Textnovel reserves the right, at its sole discretion, to disqualify any individual it finds to be tampering with the entry or voting process or the operation of the Contest or the Site; to be in violation of the Terms of Use; to be acting in violation of these Contest Rules; to be acting in an unethical or disruptive manner, or with intent to annoy, abuse, threaten or harass any other person, as determined by Textnovel in its sole discretion. Any use of robotic, automatic, macro, programmed or similar voting methods will void all entries by such methods and persons using any such methods will be disqualified. Repeated voting by a member for their own story will void that member's Contest participation. If for any reason this Contest is not capable of being conducted as planned due to infection by computer virus, bugs, tampering, unauthorized intervention, fraud, technical failures, or any other causes which, in the sole opinion textnovel, corrupt or affect the administration, security, fairness, integrity, or proper conduct of this Contest, Textnovel reserves the right to cancel, terminate, modify or suspend the Contest. Textnovel reserves the right to change the Contest Rules prior to August 31st, 2010.

 

 

PUB: call for papers—Prove It On Me: Ambivalent Lesbian Representation in the Harlem Renaissance (15 Sept. 2010, NEMLA 7-10 Apr. 2011) | cfp.english.upenn.edu

Prove It On Me: Ambivalent Lesbian Representation in the Harlem Renaissance (15 Sept. 2010, NEMLA 7-10 Apr. 2011)

full name / name of organization: 
Phillip Zapkin / NEMLA

contact email: 
pzapkin@uvm.edu

cfp categories: 
african-american
cultural_studies_and_historical_approaches
gender_studies_and_sexuality
international_conferences

The Harlem Renaissance tried to fill socially-constructed absences in African-Americans’ group identity (such as humanity, art, masculinity, morality) by creating a respectable black middle class. Bourgeois imperatives complicated middle class queer existence by enforcing heteronormativity, in contrast to working class Harlem's more open relationship to sexual expression. This panel explores representations, direct or ambivalent, of African-American lesbian desire and resistance in the arts, music, and literature of the Harlem Renaissance and the contemporary queer renaissance.

Please send 300-500 word abstracts to Phillip Zapkin, pzapkin@uvm.edu by 15 Sept. 2010. Please include your name, affiliation, e-mail address, and any A/V requirements.

 

PUB: call for papers—Extended Deadline: Manuscripts for Multi-Cultural Voices in Literature, History, and the Arts of the 1920’s | cfp.english.upenn.edu

Extended Deadline: Manuscripts for Multi-Cultural Voices in Literature, History, and the Arts of the 1920’s

full name / name of organization: 
Michael Sollars, Department of English, Texas Southern University

contact email: 

cfp categories: 
african-american
gender_studies_and_sexuality
general_announcements
interdisciplinary
journals_and_collections_of_essays
postcolonial
religion
theory
twentieth_century_and_beyond

Extended Deadline: New date September 10

World Literary Review
Interdisciplinary Approaches

Premiere issue: Multi-Cultural Voices in Literature, History, and the Arts of the 1920’s

The editors of World Literary Review, an interdisciplinary journal, are seeking scholarly papers for publication in the disciplines of literature, history, and art associated with the 1920s. The perspective is global and not limited to any particular geographic borders. Topics for this directed issue include but are not limited to the following:
The Harlem Renaissance
The Lost Generation
Modernism in Literature, Art, or Music
Post WW I Thought
Expatriate Artists
Literature and War
The Anti-war Novel
Revolution and Art
The Short Story
Surrealism and Others Isms
Poetic and Artistic Expression and Influences
Philosophy

Abstracts of 300 words or less are requested by September 10 to be considered. Completed papers should be submitted no later than November 15, 2010. Manuscripts should be from 2,500 to 6,000 words, in MLA style. World Literary Review, an on-line, peer-reviewed journal, is published by the Department of English at Texas Southern University, 3100 Cleburne, Houston, Texas 77004. For further information, contact the editors: Michael D. Sollars, at Sollars_md@tsu.edu, 713-313-7654; or Arbolina Jennings, at jennings_al@tsu.edu, 713-313-7661.

 

REVIEW: Book—Africa after Gender? > from H-Net Reviews

Africa After Gender?

Catherine M. Cole, Takyiwaa Manuh, Stephan F. Miescher, eds. Africa after Gender? Bloomington: Indiana University Press, 2007. 336 pp. $24.95 (paper), ISBN 978-0-253-21877-3.

Reviewed by Jacqueline-Bethel T. Mougoué (Purdue University)
Published on H-Africa (June, 2010)
Commissioned by Esperanza Brizuela-Garcia

Dialogues on the Changing Discourse about Gender within African Studies

Africanists have been challenging the easy assumption that African gender studies are mostly informed by Western gender ideologies, theories, and methods. The contributors of Africa after Gender? attempt to debunk this generalization by highlighting the ways in which African gender theories and methods can also influence and contribute to Western gender studies. The editors of the text argue that this can only be done if there are more dialogues about gender studies between scholars based in Africa and those situated in North America and Europe. Thus, the book’s overall purpose is to showcase such dialogues. The text has two main goals. The first is to “make a productive intervention in the dynamic of North-South relations, between scholars living and working in Africa and those who reside in Europe and North America.” The collaborators “wish to move the discourse on gender in Africa beyond simple dichotomies, entrenched debates, and the polarizing identity politics that have so paralyzed past discussions” (p. 3). The second goal is to present an interdisciplinary and transdisciplinary approach about gender in Africa. By following these two overarching concerns, the diverse authors of Africa after Gender? successfully speak to key debates in African gender studies.

The introduction sufficiently describes the framing arguments of the contributors’ works and their significance within African gender scholarship. The rest of the book is organized into four themes. The first devotes its attention to the volatility of new African gender identities. This section includes several well-written works, such as Lynn Thomas’s piece which emphasizes the historical narratives (and academic importance) of school girl pregnancies in Africa. The second theme is about African activism--its struggles and demands. This portion of the book includes Takyiwaa Manuh’s chapter on the complexities of undergoing gender research in Ghana. The third theme explores a myriad of African perceptions of gender. Nana Wilson-Tagoe’s work in this section stresses African women writers and the representation of their culture and identity in their literatures. Topics of gendered men/masculinity and issues of misogyny/seniority within African communities comprise the text’s last theme. Lisa Lindsay’s piece on the emergence of the male breadwinner in colonial Nigeria is one of the four essays worth highlighting in this last section.

A key strength of the book is embedded in its transcontinental, multidisciplinary, multiracial, and multi-gendered approach. For example, Sylvia Tamale is based in Uganda and Wilson-Tagoe writes from London. Contributors also come from a wide array of academic disciplines, such as history, drama, English, comparative literature, sociology, and social anthropology. This diversity reminds us of the evolving nature of the discourse of gender in Africa. Additionally, it supports the book’s main aim of promoting dialogues about African and gender issues that span across multiple academic and geographic regions.

It is difficult to list all the subjects addressed in this excellent book. However, several essays stand out from the rest. One is “Gender after Africa!” by Eileen Boris. This chapter reflects on three interventions African scholarship brings to the reconsideration of gender as a category of analysis. The three issues Boris analyzes are the “unsettling relationship between the biological and the social that reinforces trends within feminist thought; a questioning of the privilege of gender over social attributes, especially age, lineage, kinship, and wealth, thus complicating understandings of ‘intersectionality’; and a revealing of gender as an expression of power through historical struggles over colonization and liberation” (p. 192). The only shortcoming of this wonderful essay is that, at ten and a half pages, it is too brief.

A second chapter, “Dialoguing Women” by Nwando Achebe and Bridget Teboh, also exemplifies the strength of the book’s content. The essay is an example of studies conducted by a growing number of scholars who are doing field research in their countries of origin. Achebe and Teboh’s work outlines the complexities of such research. Hailing from different African countries (Achebe from Nigeria and Teboh from Cameroon), these scholars highlight critical issues and questions about doing research in their respective native countries, such as: What does it mean to be an African and female? What are the highlights, the joys, and the tribulations of conducting research among one’s own people? Using anecdotes from their own experiences, the scholars also reveal research methodologies they have utilized. This contribution clearly points to the empirically rich and theoretical and methodological importance of Africa after Gender?

A postscript in the book, “The Production of Gendered Knowledge in the Digital Age,” also showcases the text’s methodological and theoretical contributions. In today’s world, more researchers are using modern technology to inform their work (e.g., chat forums). This excellent addition to the end of the book speaks to the complexities and importance of using modern technology to inform African gender issues. For example, the piece stresses the significance of online African feminist journals, such as Jenda. The essay also emphasizes the ways in which African gender activism is informed by the use of technology. For instance, in Uganda, several organizations have used the Internet for community building and information sharing to address gender equality. This postscript reminds readers that African gender research methodologies and theories should expand beyond our physical realm and should also spill over into the world of technology, specifically the Internet.

A critical drawback of Africa after Gender? is the lack of greater regional diversity among the geographical regions of emphasis. Essentially, the essays focus mostly on African Anglophone countries. The countries that dominate the discourse on African gender issues are Ghana and Nigeria. Few Francophone African countries are addressed in the book, except for Teboh’s research experiences in Cameroon and Eileen Julien’s analysis of a French-language novel by a Senegalese woman (Scarlet Song [1981]). It is difficult to assert that this problem is unique to the book as it is also evident in other academic fields in the humanities. This is a problem even acknowledged by Marc Epprecht in his December 2009 article when he writes that Anglophone Africa dominates the production of knowledge and theorization about African sexualities in history.[1] The same can be said about African gender studies. More research from Francophone (and Lusophone) African countries would aid in redressing this problematic imbalance.

In sum, this is a truly remarkable and important book despite its drawbacks. This text offer a fresh and challenging analysis on African gender issues. Through dialogues, the collaborators are able to trace the significance of gender (as a concept and as a guide for action) within diverse African contexts. This book is very accessible and engaging for scholars and students at the graduate level. It should have widespread appeal to Africanists from all subfields, as well as scholars of women and gender studies. Africa after Gender? makes a significant contribution to African studies and illuminates the changing discourse of gender within African contexts.

Note

[1]. Marc Epprecht, “AHR Forum: Sexuality, Africa, History,” American Historical Review 114, no. 5 (December 2009): 1258-1272.

If there is additional discussion of this review, you may access it through the list discussion logs at: http://h-net.msu.edu/cgi-bin/logbrowse.pl.

Citation: Jacqueline-Bethel T. Mougoué. Review of Cole, Catherine M.; Manuh, Takyiwaa; Miescher, Stephan F.; eds., Africa after Gender?. H-Africa, H-Net Reviews. June, 2010.
URL: http://www.h-net.org/reviews/showrev.php?id=29450

 

OP-ED: Leviticus: words in sand or stone? > from naijablog

Leviticus: words in sand or stone?

 

[n791950376_5179280_3980.jpg]

By Jeremy Weate

Forwarded email:

In her radio show, Dr Laura Schlesinger said that, as an observant Orthodox Jew, homosexuality is an abomination according to Leviticus 18:22, and cannot be condoned under any circumstance. The following response is an open letter to Dr. Laura, written by a US man, and posted on the Internet. It's funny, as well as informative:


Dear Dr. Laura:

Thank you for doing so much to educate people regarding God's Law. I have learned a great deal from your show, and try to share that knowledge with as many people as I can. When someone tries to defend the homosexual lifestyle, for example, I simply remind them that Leviticus 18:22 clearly states it to be an abomination ... End of debate.

I do need some advice from you, however, regarding some other elements of God's Laws and how to follow them.

1. Leviticus 25:44 states that I may possess slaves, both male and female, provided they are purchased from neighboring nations. A friend of mine claims that this applies to Mexicans, but not Canadians. Can you clarify? Why can't I own Canadians?

2. I would like to sell my daughter into slavery, as sanctioned in Exodus 21:7. In this day and age, what do you think would be a fair price for her?

3. I know that I am allowed no contact with a woman while she is in her period of menstrual uncleanliness - Lev.15: 19-24. The problem is how do I tell? I have tried asking, but most women take offense.

4. When I burn a bull on the altar as a sacrifice, I know it creates a pleasing odor for the Lord - Lev.1:9. The problem is my neighbors. They claim the odor is not pleasing to them. should I smite them?

5. I have a neighbour who insists on working on the Sabbath. Exodus 35:2 clearly states he should be put to death. Am I morally obligated to kill him myself, or should I ask the police to do it?

6. A friend of mine feels that even though eating shellfish is an abomination, Lev. 11:10, it is a lesser abomination than homosexuality. I don't agree. Can you settle this? Are there 'degrees' of abomination?

7. Lev. 21:20 states that I may not approach the altar of God if I have a defect in my sight. I have to admit that I wear reading glasses. Does my vision have to be 20/20, or is there some wiggle-room here?

8. Most of my male friends get their hair trimmed, including the hair around their temples, even though this is expressly forbidden by Lev. 19:27. How should they die?

9. I know from Lev. 11:6-8 that touching the skin of a dead pig makes me unclean, but may I still play football if I wear gloves?

10. My uncle has a farm. He violates Lev.19:19 by planting two different crops in the same field, as does his wife by wearing garments made of two different kinds of thread (cotton/polyester blend). she also tends to curse and blaspheme a lot. Is it really necessary that we go to all the trouble of getting the whole town together to stone them? Lev.24:10-16. shouldn't we just burn them to death at a private family affair, like we do with people who sleep
with their in-laws? (Lev.. 20:14)

I know you have studied these things extensively and thus enjoy considerable expertise in such matters, so I'm confident you can help.

Thank you again for reminding us that God's word is eternal and unchanging.

Your adoring fan.

James M. Kauffman,
Ed.D. Professor Emeritus,
Dept. Of Curriculum, Instruction, and Special Education
University of Virginia

PS (It would be a damn shame if we couldn't own a Canadian)

 

 

INFO + VIDEO: World Cup inspires lesbian footballers to play with pride - CNN.com

World Cup inspires lesbian footballers to play with pride

By Ben Wyatt, CNN
June 22, 2010

STORY HIGHLIGHTS
  • South Africa's only openly gay female team formed by women expelled from township sides
  • "Chosen Few" club based in what was formerly a notorious Johannesburg prison
  • Its players say they have been inspired by the World Cup being played in Africa
  • Organizers hope the team offers a safe haven for players who have suffered discrimination

 

Johannesburg, South Africa (CNN) -- The training pitch is a dusty patch of ground used by the local police force as a car park, and the club house is located in a former women's prison that held Winnie Mandela captive during the apartheid era.

Two of the team's players have been victims of "corrective" rapes -- Soccer City, this is not.

The facilities of the Johannesburg-based "Chosen Few" lesbian football club could not be further from those of the glamorous teams that play in the 2010 World Cup, but the first such tournament to be held in Africa has proved inspirational to the members of this local squad.

Ntombi "Khampi" Futhi used to play defense for her side, but after South Africa's "Bafana Bafana" national team kicked off the opening game of soccer's biggest event at the city's new 90,000-seater arena a few miles away, she has turned her focus to netting goals.

Video: World Cup inspires lesbian footballers

"I watched many, many World Cup games. I'm really enjoying it [and now] I want to be like Siphiwe Tshabalala [the scorer of South Africa's sensational opening goal of the event]," she told CNN.

"The way he ran through the ball and struck the shot... I want to be like him, I want those skills -- I love that goal so much!

"I asked that my team try me in the striking force in the last game we played, and I scored! I was so happy. My teammate crossed the ball, I trapped it and took a shot and that was my goal. I was shocked. I shouted: "I scored!" It encouraged me to be a striker because now I want more goals."

Chosen Few, South Africa's only openly gay female football team, was created in 2004 by the Forum for the Empowerment of Women (FEW) to fill a void for many of the passionate, soccer-loving women who attended their sessions but who had been expelled from their township teams because of their sexuality.

Can soccer heal a scarred society?

Football is the only thing that kept me going when I was being hurt by what was happening at home and in my community
--Dikeledi Sibanda

From their base in what was the notorious Old Fort Prison -- a jail that incarcerated Mahatma Gandhi, Albert Luthuli, as well as Nelson and Winnie Mandela before it was converted for other uses -- the group is hoping to use sport as a tool to address the issues of homophobia by playing other women's sides in the area.

Chosen Few's coach Dikeledi Sibanda, 27, told CNN that soccer had helped to give her strength.

"I love football, it is the only thing that kept me going when I was being hurt by what was happening at home and in my community. Soccer is my life," she said.

Organizers hope that the all-lesbian team offers a safe haven for the players who previously suffered discrimination for being openly gay -- the worst manifestation of this being the "corrective rape" of two of the squad members.

Phindi Malaza, program coordinator of FEW, said that South African society had not always proved an easy place to live for those involved with the team.

"One of our players, Tumi Mkhuma, was attacked in her township. She was out with her friends and these boys followed her. They beat her up until she was unconscious and then they raped her," Malaza said.

From death row to defense: Soccer behind bars

"This happened in 2009 but the police have still been unable to find the guy. We're hoping they will keep pursuing the case as she stills lives in fear it will happen again."

Sibanda added: "They want to correct us, to show us what a man can do. They think that being a lesbian is immoral and uncultured. The corrective rapes are getting higher every day."

Pinkei Zulu, the 23-year-old captain of the side, said she had been affected by what had happened to her teammate.

"I don't walk at night now and I don't party unless it is a gay night. I walk hand-in-hand with my girlfriend, but we get called names. I just try to ignore them," she said.

History of the vuvuzela: Battle of the horn

Though the past of the players -- who warm up by singing protests songs as they walk to training every Tuesday and Thursday -- may be troubled, the coming of the World Cup to South Africa means they have their thoughts firmly focused on the future.

"We played in a tournament recently where we lost in the final 3-2. But after watching the World Cup I wish my team would play like Germany, Argentina and Brazil because they play as a collective, not as individuals," Zulu said.

Sibanda added: "We are going to Germany to play in the Gay Games World Cup in July. In 2006 and 2008 we won bronze medals but in 2010 we will win gold. Bafana Bafana may not win the World Cup but we will win ours!"

 

VIDEO: Oakland State of Mind > from OAKLAND YOUTH ROOTS


Oakland State of Mind

geraldtreyes | May 13, 2010

Official release of the Youth Roots single, Oakland State of Mind, from the album "Edit the Real". Edit the Real will soon be released on iTunes. To get a copy of the album, book Youth Roots for a performance, or learn more about Youth Roots, go to http://www.oaklandleaf.org/html/youth...

Lyrics:
JAMES
Yeah I'm out that Oakland
Coming from the East Side
Every body got dreams
So we gotta dream high
Wishing we could make it
Somewhere in our life time
So I beg to the lord
God let me get mine
People just thinking bout making money all the time
We only do the music cuz we love to rhyme
Ya it's like youth roots is on a major grind
So I'm reppin for the town
To keep me on a straight line

ERIC
We in Oakland streets born in fear
They say people always fucked up 
And niggas going nowhere
News report says every night it's pop, pop, pop
Little kids dreams down, shot shot shot
Yeah we in the town
Tryna make a change tho
Always let my rhymes loose
Go an let my brain flow
Never ever silent
Always out spoken
Guess where I'm from 
Yeah that's right

CHORUS
Oakland
So much oppression to blind you
We want to remind you
City of Oakland!
Love, strength, and spirit that shines through
The youth will inspire you
Let's hear it for Oakland, Oakland, Oakland

BIANCA
Catch me at the coliseum posted at the 
A's game
Kickin it with YR, under Oakland Leaf's name
The streets is in our blood homie,
But we ain't no bangers tho
But we got gang of banggers bangin for that change yo

LORENA
But when we on the block
Cops steady sweatin me
Maybe cuz my brown skin
Always tryna judge me

THALIA
Maybe it's the hat 
I like to flip to the back
Or is it the hoodie
Causin them to react

MIKE
Welcome to Oakland I'mma show you 
How we ride
Posting on the block
Selling knowledge to the young mind
Concrete Jungle
Beautiful dreams rise
Pass the mic on so we can get a beautiful chime
Sick Like Swine
So I'm feinded for the antidote
Let's change Oakland time to change to the 80s tho
Black Panthers come on put your fist up
Youth Roots Stand up
Universe Watch Us
Yes

CHORUS
Oakland
So much oppression can blind you
We want to remind you
City of Oakland!
Love, strength, and spirit that shines through
The youth will inspire you
Let's hear it for Oakland, Oakland, Oakland

YVONNE
Welcome to the flatlands
Get yourself some contraband
A symptom of a broken system
Economic badlands
Hella clean, hella tight, hella bad, holla back
Tell me why the hills is white
When the flats is brown and black

DIEGO
Caught up in the conscious
Like we BP's, Huey and Bobby for real
Catch a right, with ya chin out
The city of Raiders, eye patch, check the fader
Good brah's gone bad, went to smoke from now and laters
Oscar took a train trip, now he got a headstone
BART police rolling, catch you in the red zone
Hail Mary to the O, you're like a virgin
You either see the light, or ya PO or ya surgeon

TONY
Came here for change But you see the same casualties 
Press make it seem like we addicted to fatalities
Where my people's represent like we're champions
We spittin through the pen
Plus the mics and the amp again

CHORUS
Oakland
So much oppression can blind you
We want to remind you
City of Oakland!
Love, strength, and spirit that shines through
The youth will inspire you
Let's hear it for Oakland, Oakland, Oakland

BRIDGE
One fist in the air for the town ya'll
Everybody come together time to stand tall 
No place in the World that can compare,
Put ya fist up in the air, everybody say yeah

CHORUS
Oakland
So much oppression can blind you
We want to remind you
City of Oakland!
Love, strength, and spirit that shines through
The youth will inspire you
Let's hear it for Oakland, Oakland, Oakland

 

 

===================================================

 

 

What Is Youth Roots?

Youth Roots is a critical media program in East Oakland where high school students dare to do somethings different than the common perceptions of them are. They act as ARTivists to fight oppression By Any Medium Necessary. This short video is how some of the youth are making sense of their experiences within Youth Roots.

 

 

 

INFO: Oriana Bolden - young, radical, filmmaker

Oriana Bolden
ORIANA BOLDEN
Oakland, CA
reelchange.org
Reaction to Mehserle Verdict: Oakland, CA: 8 July 2010

Oakland, CA Protest/Picket of Israeli Ship: June 20, 2010

 
 
 
Oriana Bolden 101 - Cultural Worker
 

Oriana Bolden
I live in Oakland, CA.

I believe communication is a human right and I practice self-reliant cinema as often and where ever possible.


I run around with a JVC HM100 with a Letus Mini and a few lenses. Lately, I've been rockin' a T2i with a ultra fabulous Rokkor f1.2 lens. The minuscule amount of battery time that the T2i battery gives is painful, but the images thus far have been beautiful.

My film/video heroes are Marlon Riggs and Sara Gomez. They both died tragically young and I am too young to have had the opportunity to have met them, but their works have had a profound impact on me. Octavia Butler is also someone I look to for storytelling inspiration.