VIDEO: Bettye LaVette Sings

Bettye LaVette Sings “Salt of the Earth” on “Good Morning, America,” July 6

from This Black Sista's Page

Finally found and was able to Vodpod this song. Absolutely stirring rendition, and very apt during these hard times. Because frankly, we have to care enough to do something ourselves, and not give up until it’s done.

“Salt of the Earth” comes from the Rolling Stones’ 1968 album, Beggars’ Banquet. Written by Mick Jagger and Keith Richards, it’s not necessarily a rousing anthem on behalf of working people, it’s rather a cynical observation that takes no sides and provides no answers, while toasting them all the same. Mick Jagger said as much in a 1970 interview. “[...] I’m saying those people haven’t any power and they never will have.”

The last four lyrics, sung twice, provide the tension–and the distance–that these by-now-rich, so-called working-class heroes really possessed for their audience, the year before Altamont closed the Sixties.

And when I search a faceless crowd/
A swirling mass of grey and black and white/
They don’t look real to me/
In fact, they look so strange/

Bettye LaVette added it to her interpretative album of songs popularized by British rock groups, which was released earlier this year. Included in this album is a studio version of her now-legendary performance of The Who’s “Love Reign O’er Me” at the Kennedy Center Honors show. The album is called Interpretations: The British Rock Songbook.

Some of you probably aren’t acquainted with Bettye LaVette. She’s in a class by herself. She’s not one of these manufactured songstresses who need a lot of technology just to get a point across. She defies trends. She’s worth it. Check her out.

 

 

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Kennedy Center Honors - Bettye LaVette - Love Reign

KayCeeHarter | January 08, 2009

Bettye LaVette's stunning take on The Who classic, "Love Reign O'er Me" at the 2008 Kennedy Center Honors. Music and arrangement by Rob Mathes.

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Bettye LaVette - Talking Old Soldiers

 

PUB: Christian Writers Guild Home - First Novel Contest

Attention Unpublished Authors

Jerry B. Jenkins Christian Writers Guild

announces

Operation First Novel 2010

Win $20,000

and Get Published

by Tyndale House


Journey to Riverbend

 

Henry McLaughlin

Enter our Operation First Novel Contest and you could find yourself holding both a check for $20,000 and a copy of your novel.  Tyndale House will publish the winner of our contest.  Any current Christian Writers Guild student or member is welcome to enter.

Read about previous contest winners

 

October 1 is the submission deadline for Operation First Novel Contest 2010!
Give your novel that extra edge by submitting 5 to 15 pages of your novel to our Critique Service, and receive an evaluation of your writing's strengths and weaknesses.

Or, take our 4-month Fiction that Sells concentrated course.


 

Rules for Operation First Novel 2010
Membership Deadline: September 15, 2010

Entry Deadline: October 1, 2010

Operation First Novel FAQ

 

  • There is no fee for entering the contest. However, you must be enrolled as a current member or student in good standing with the Jerry B. Jenkins Christian Writers Guild to submit your manuscript to Operation First Novel. Learn how to become an annual member. Find out about our courses.
  • Entrant may not have had a book (fiction or nonfiction) published or accepted for publication by a royalty publisher prior to the entry deadline. Having had a book produced by a self-publishing or print-on-demand company does not disqualify one from entering.
  • Semifinalist's entries must be available for review by Tyndale until contest results are announced.
  • If the submitted book is a collaboration, each entrant must be a member or student of the Jerry B. Jenkins Christian Writers Guild in good standing.
  • Submitted books must not have been previously published.
  • Poetry, song lyrics, scripts, and screenplays are not eligible.
  • Submitted books must be the original work of the entrant(s).
  • Submitted books must be written in English.
  • Submitted books must be a complete novel of at least 75,000 words and no more than 100,000 words.
  • Entries are limited to one per person.
  • All rights to submitted books remain the property of the entrants. Copyright will be registered in the name of the winning entrant.
  • Family members, mentors, officers, employees, contractors, advisors, and representatives of, and other persons affiliated with the Jerry B. Jenkins Christian Writers Guild, Tyndale House Publishers, and their affiliates are not eligible.
  • Contest judges reserve the right not to award a prize if no entries of suitable merit are received.
  • Submitted books will be reviewed and judged utilizing a high standard of excellence. The Christian Writers Guild will select the judges to review the submitted books. The judges will not know the identity of any entrant prior to deciding the winning submitted books. Entrants shall not have the right to request reconsideration of a submitted book. The judges' decisions will be final and binding on the entrants and not subject to challenge or appeal.
  • Judges or staff of the Jerry B. Jenkins Christian Writers Guild or Tyndale House Publishers will not offer a critique of non-winning manuscripts or enter into correspondence with entrants.
  • All CWG members are eligible to use the services of the CWG Critique Service before, during, and after the contest. However, paying for a critique will have no impact whatsoever on the judging of entries for the contest.
  • Tyndale House Publishers reserves the right to publish the Grand Prize winning entries as per the Tyndale House Publishers standard contractual agreement, with a $20,000 advance against royalties.
  • The grand prize winners are responsible for all resulting taxes. All awards shall be paid in full with no deductions for applicable taxes or withholding. Award-winning entrants shall be solely responsible for and shall timely pay all applicable state and federal income and other taxes due as a result of their winning awards, and are strongly encouraged to consult with their individual tax advisors in this regard.

Submission and Format

  • Contest entries must be submitted in Microsoft Word .doc or .rtf format.
  • Entries must be submitted on CD-ROM or 3.5" disk to:
    Operation First Novel
    Christian Writers Guild 
    5525 N. Union Blvd., Suite 200
    Colorado Springs, CO 80918
  • Submissions must include:
    1. a printout cover sheet with the entrant's name, Christian Writers Guild membership number, entrant's mailing address, telephone number, and email address, as well as the book title, number of pages, and approximate word count.
    2. a CD-ROM or 3.5" disc with the complete text of the book in Microsoft Word .doc or .rtf format.  Each chapter should be a separate file within the folder.
    3. a narrative synopsis of no more than three pages (750 words), summarizing the entire novel, including setting, major characters, scenes, and plot points, as well as the conclusion (in a separate file on the same CD-ROM or 3.5" disk).
  • Submissions must be received by the Christian Writers Guild officein Colorado Springs on or before the deadline.
  • Entries must be submitted in Microsoft Word .doc or .rtf format, with text in 12-point standard font (such as Times Roman or Arial), using 1.5 or double space, with pages numbered consecutively. (Do not send printouts of the book or synopsis.)
  • Text should contain no extra space between paragraphs, except for scene breaks. The first line of each paragraph should be indented.
  • Each chapter should be formatted as a separate, numbered file. (E.g. Ch01.doc, Ch02.doc, etc ...)
  • The entrant's name, Christian Writers Guild membership number, mailing address, telephone number, and email address should appear only on the printout cover sheet. Do not put this information on the CD-ROM or disk.
  • The entrant's name must not appear on any of the pages of the book or synopsis.  There must be no language, symbol, or other information in the book or synopsis that indicates the entrant's identity.
  • CDs or 3.5" disks should be labeled with only the book title.
  • Submissions must not contain any content or material which (i) infringes upon or otherwise violates the copyright, trademark, trade secret, or other intellectual property or proprietary rights of any person or entity, (ii) is defamatory or constitutes an invasion of privacy, (iii) is unlawful, (iv) would reasonably cause harm or injury of any kind to any person or entity, or (v) discriminates against any person or entity in any manner whatsoever.
  • Each winning entrant is responsible for obtaining all necessary permissions for use of excerpts and quotations from third party works. Excerpts and quotations must be properly credited.
    • For acknowledgment of receipt of contest materials, enclose a self-addressed, stamped postcard. No other acknowledgment will be offered.
    • Submissions not meeting all contest requirements will be disqualified.
    • Judges shall not be responsible for lost, unreadable, or defective disks.
    • Non-winning entries will be destroyed and not returned.
    • The entrant, for himself or herself and any person or entity claiming through or on behalf of the entrant, hereby indemnifies, defends, and holds harmless the released parties from and against any and all damages, claims, causes of action, liabilities, and expenses (including attorneys' fees and costs) incurred by the released parties arising from the entrant's (i) violation of these terms and conditions, (ii) submission of a manuscript for which the entrant does not possess the requisite legal or other proprietary rights (in whole or in part) or necessary permissions from third parties, and (iii) participation, or exclusion or disqualification from participation, in Operation First Novel.
    • Operation First Novel is governed by the laws of the State of Colorado, USA. The entrant hereby agrees that all transactions involving Operation First Novel, the Christian Writers Guild, and this website (including performance or nonperformance of these terms and conditions) shall be deemed to have occurred solely in Colorado. The entrant hereby agrees that the appropriate state or federal court in Colorado shall be the exclusive jurisdiction and venue for any kind of dispute or litigation between the entrant and the released parties. The entrant specifically consents to personal jurisdiction in Colorado and waives any right the entrant may have to remove or transfer any case or proceeding to any other jurisdiction, state, or country.
    • Manuscript excerpts may be used for educational purposes in any way deemed appropriate by the staff of the Christian Writers Guild.
    • Operation First Novel is void where prohibited by applicable law.
     
     

     

     

    PUB: Cheerios Spoonfuls of Stories - Children's Book Contest

    Cheerios® New Author Contest

    Cheerios® is searching for the next great children's book author. It could be you!

    Just enter your original children's book story by July 15, 2010. See contest rules below.

    Meet Laurie Isop. Her story, How Do You Hug a Porcupine?, won the Grand prize in the 2009 Cheerios® New Author Contest. She won $5,000 from Cheerios®, and will have her book published by Simon & Schuster Children's Publishing.

    You can see her book come to life on www.SpoonfulsofStories.com

    Laurie Isop One Zany Zoo

    How Do You Hug a Porcupine? will be featured inside specially marked boxes of Cheerios® in 2011.

     

    Look for the 2008 Grand Prize story, 1 Zany Zoo by Lori Degman, inside specially-marked boxes of Cheerios beginning March 2010.

     

    _________________________

    WHAT IS THE CONTEST?

    The Cheerios® New Author Contest encourages aspiring authors to write and submit an original story for a book for children ages 3 to 8.

    NO PURCHASE NECESSARY TO ENTER OR TO WIN. A PURCHASE DOES NOT IMPROVE YOUR CHANCES OF WINNING.
    What can I win?
    Grand Prize

    One (1) Grand Prize of $5000 cash will be awarded. In addition to the cash prize, the Grand Prize winning story submission will be offered to Simon & Schuster, Inc. for future publication. The $5000 will be awarded as a check made payable to the Grand Prize winner. Approximate value of the Grand Prize is $5000. Publishing terms and contract will be handled independently by Simon & Schuster; if there is any additional compensation it will be negotiated between the author and the publisher.
    First Runner-Up Prizes

    Two (2) First Runner-Up Prizes of $1000 each will be awarded. The $1000 First Runner-Up Prizes will be awarded as checks made payable to each of the two (2) First Runner-Up Prize winners. Approximate value of each First Runner-Up Prize is $1000.

    The stories of the First Runner-Up Prize winners will appear on www.SpoonfulsofStories.com.

    All contest prizes are not substitutable or transferable, except at the sole discretion of General Mills. One prize per person. All taxes and other expenses, if any, are the sole responsibility of the winners. This contest is void where prohibited or otherwise regulated. All federal, state and local laws apply.
    Who can enter?

    You are eligible if you are 18 years of age or older as of the date you enter and are a legal United States resident residing in one of the 50 United States or the District of Columbia during the competition. Entries originating from any other jurisdiction are not eligible for entry. This contest is governed exclusively by the laws of the United States.

    You are not eligible to enter and will be disqualified if:

    * You are a professional writer, such as a novelist, magazine, blogger or newspaper writer who writes books or articles for pay.
    * You have authored any work of fiction that has been published or is about to be published in exchange for payment.
    * You are a volunteer of the First Book Advisory Board or an employee of General Mills, Skybridge Marketing Group, Simon & Schuster, Inc., First Book or any of their respective parents, subsidiaries and affiliated companies, or a member of the immediate family (parent, children, siblings, spouse, regardless of where they live) or same household of such employees (whether related or not).

    How do I enter?

    Online entry only. Go to www.spoonfulsofstoriescontest.com and submit your story using the online entry form, filling in all requested information completely. Story must be 500 words or less, submitted in readable font (e.g.Times New Roman or Arial) in the English or Spanish language. Please note, stories submitted in Spanish will be translated into English and judged in English. Rhyming and other rhythmic writing may be lost when the story is translated into English for judging. All electronic entries must be received between 12:00 a.m. (Central Time) on March 15, 2010 and 11:59 p.m. (Central Time) on July 15, 2010. Each electronic entry should be submitted only once. No limit on number of entries per person. Use of automated processes and devices to submit electronic entries are not permitted. Contest Sponsor is not responsible for any changes or effects caused to the entrant's computer system as a result of submitting electronic entries.

    Only entries submitted via the website electronic form will be accepted. Entries submitted via facsimile or other express delivery services will NOT be accepted. Not responsible for lost, late, misdirected or otherwise undeliverable mail, or entries that cannot be processed due to phone, network, electronic or computer hardware or software failure, telephone or other communications malfunctions, errors or failures of any kind, lost or unavailable network connections, web site, Internet or ISP availability, unauthorized human intervention, traffic congestion, incomplete or inaccurate capture of entry information (regardless of cause), failed, incomplete, garbles, jumbled or delayed computer transmissions which may limit one’s ability to enter the Contest, or technical failures of any kind, including any injury or damage to participant’s or any other person’s computer relating to or resulting from participating in this Contest or downloading any materials in this Contest. General Mills reserves the right, in its sole discretion to cancel, terminate, modify or suspend the Contest should (in its sole discretion) virus, bugs, non-authorized human intervention, fraud or other causes beyond its control corrupt or affect the administration, security, fairness or proper conduct of the Contest. In such case, General Mills will select the winner from all eligible entries received prior to and/or after (if appropriate) the action taken by General Mills. General Mills reserves the right at its sole discretion to disqualify any individual that tampers or attempts to tamper with the entry process or the operation of the contest or website or violates the Official Rules.

    CAUTION: ANY ATTEMPT BY ANY ENTRANT TO DELIBERATELY DAMAGE ANY WEBSITE OR UNDERMINE THE LEGITIMATE OPERATION OF THE CONTEST MAY BE A VIOLATION OF CRIMINAL OR CIVIL LAWS AND SHOULD SUCH AN ATTEMPT BE MADE, GENERAL MILLS RESERVES THE RIGHT TO SEEK DAMAGES FROM ANY SUCH PERSON TO THE FULLEST EXTENT PERMITTED BY LAW.

    By submitting your story, you accept all contest rules and agree to be bound by the decisions of the judges, which will be final. You also agree that if you are a Grand Prize or First Prize Winner, your story becomes the sole property of General Mills, and General Mills reserves the right to edit, adapt, copyright, publish, transfer and use all or a part of your entry without further compensation. If you are not a winner, you retain the rights to your story.

    General Mills will be collecting personal data about participants online, in accordance with its privacy policy. Please review General Mills' privacy policy at www.spoonfulsofstoriescontest.com. By participating in the contest, entrants agree to General Mills collection and usage of their personal information and acknowledge that they have read and accepted General Mills' privacy policy.




    How will ENTRIES be judged?

    All entries must meet the contest requirements. All entries must be the fully original creations of the entrants. Judging will be conducted using the following criteria (weighted on an equal basis):

    * Appropriate story/content for children
    ages 3 to 8
    * Emotional connection
    * Writing quality
    * Uniqueness
    * Read-aloud potential

    Please note, stories submitted in Spanish will be translated into English and judged in English. Rhyming and other rhythmic writing may be lost when the story is translated into English for judging. Judges will disqualify previously published stories, such as, but not limited to, those in publication, in magazines, from publishing companies, on major book or children’s story websites and winners in national contests, unless the story features changes considered significant by the judges. Entrants will be required to certify, on information or belief, that the story is their own creation and has not been published or publicized and has not won a national contest. Final judging will be done by a panel of literary experts and representatives of Simon & Schuster, Inc., General Mills and a mother selected by General Mills. Decision of the judges is final in all matters relating to this Contest.

    By entering, all entrants warrant and represent that their respective entries are their own fully original creations, and their respective entries (including but not limited to any materials integrated into their entries) will not infringe or violate the rights of any third parties, including but not limited to copyrights, trademarks and/or rights of publicity/privacy. If General Mills, in its sole discretion, has reason to believe that any entry contains any material that may infringe or violate the rights of a third party, General Mills may disqualify such entry and take all other measures General Mills may deem appropriate to protect its interests.

    By participating, entrants and winners agree to release and hold harmless Sponsor, the book publisher, their respective advertising and promotion agencies and their respective parent companies, subsidiaries, affiliates, partners, representatives, agents, successors, assigns, employees, officers and directors, from any and all liability, for loss, harm, damage, injury, cost or expense whatsoever including without limitation, property damage, personal injury and/or death which may occur in connection with, preparation for, travel to, or participation in Contest, or possession, acceptance and/or use or misuse of prize or participation in any Contest-related activity and for any claims based on publicity rights, defamation or invasion of privacy and merchandise delivery. In case of dispute as to the identity of any entrant, entry will be declared made by the authorized account holder of the email address submitted at time of entry. "Authorized Account Holder" is defined as the natural person who is assigned an email address by an Internet access provider, online service provider, or other organization (e.g., business, educational, institution, etc.) responsible for assigning email addresses or the domain associated with the submitted email address. Any potential winner may be requested to provide Sponsor with proof that such winner is the authorized account holder of the email address associated with the winning entry.
    What happens if I win?

    If you are one of the winners, you will be notified on or about October 15, 2010 via phone. Winners will be required to sign an affidavit of eligibility and a liability release/assignment of rights and return it within 5 days of receipt of notification. Any winner who does not comply with this requirement or cannot be easily located at the phone number provided may forfeit prize and an alternate winner may be selected. Except where prohibited by law, each winner will be required to sign a release giving General Mills, the book publisher and their respective advertising and promotion agencies full rights to use the winner’s name, likeness, image and voice for Contest related advertising and publicity, including such usage on the Internet. After accepting prize, the Grand Prize winner will not be eligible to win another Grand Prize in subsequent Cheerios® New Author Contests. General Mills reserves the right to cancel this promotion at its sole discretion. Winners will be posted on the Internet at www.spoonfulsofstories.com by March 30, 2011, following the contest end date and after the winners have been notified.

    The Cheerios® New Author Contest is sponsored by General Mills Sales, Inc., One General Mills Blvd. Minneapolis, MN 55440.

    http://www.spoonfulsofstoriescontest.com/ 

    Click on the link above and go to the contest official site

     

    PUB: Red Hen Press Poetry Contests

    RED HEN PRESS

     

    Award Guidelines, Procedures, and Ethical Considerations

    Applicable to all literary awards given by Red Hen Press.

     

    Guidelines

     

    Eligibility: The award is open to all writers with the following exceptions:

     

    A) Authors who have had a full length work published by Red Hen Press, or a full length work currently under consideration by Red Hen Press;

    B) Employees, interns, or contractors of Red Hen Press;

    C) Relatives of employees or members of the executive board of directors;

    D) Relatives or individuals having a personal or professional relationship with any of the final judges where they have taken any part whatsoever in shaping the manuscript, or where, for whatever reason, selecting a particular manuscript might have the appearance of impropriety.

     

    Procedures and Ethical Considerations

     

    To be certain that every manuscript finalist receives the fairest evaluation, all manuscripts shall be submitted to the judges without any identifying material.

     

    Bios, acknowledgments, and other identifying material shall be removed from judged manuscripts until the conclusion of the competition.

     

    Red Hen Press shall not use students or interns as readers at any stage of its competitions.

     

    Red Hen Press is committed to maintaining the utmost integrity of our awards. Judges shall recuse themselves from considering any manuscript where they recognize the work. In the event of recusal, a manuscript score previously assigned by the managing editor of the press will be substituted. 

     

    Please submit materials to:

     

     

    Attn: _________Award

    Red Hen Press  

    P.O. Box 40820 

    Pasadena, CA 91114

    www.redhen.org

     

    Red Hen Press will only accept submissions that have been mailed to the above address; please no email attachments or faxes. 

     

    ****************************************************************************

     

    Benjamin Saltman Poetry Award

    Book Award

    $3000 Award

    Deadline: August 31, 2010

    Judge: Claudia Rankine

     

    Established in 1998, in honor of the poet Benjamin Saltman (1927-1999), this award is for a previously unpublished original collection of poetry. Awarded collection is selected through an annual competition which is open to all poets. This year's final judge will be Claudia Rankine.

     

    Award is $3000 and publication of the awarded collection by Red Hen Press. Entry fee is $25.00. Name on cover sheet only, 48 page minimum. Send SASE for notification. Entries must be postmarked by August 31.

     

     ****************************************************************************

     

    Ruskin Art Club Poetry Award

    for publication in the Los Angeles Review

    $1000 Award

    Deadline: September 30, 2010

    Judge: Elena Karina Byrne

     

    Established in 2003, the Ruskin Art Club Poetry Award is for an unpublished poem. Awarded poem is selected through an annual submission process which is open to all poets. This year's final judge is Elena Karina Byrne . 

     

    Award is $1000 and publication of the awarded poem in the Los Angeles Review published by Red Hen Press. Entry fee $20 for up to 3 poems, maximum 120 lines each. Name on cover sheet only. Send SASE for notification. Entries must be postmarked by September 30.

    INFO: Police officer convicted in California subway shooting > from BBC News

    Video of Grant's Murder by Police

    >via: http://www.youtube.com/watch?v=UXqGT74vBKk&feature=player_embedded

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

    Police officer convicted in California subway shooting

    Page last updated at 01:36 GMT, Friday, 9 July 2010 02:36 UK

    Johannes Mehserle Mehserle, shown in 2009, testified he thought Grant was reaching for a gun

    A former police officer for a California subway system has been found guilty of shooting dead an unarmed passenger last year.

    Johannes Mehserle was found guilty of involuntary manslaughter.

    He shot Oscar Grant in the back in Oakland, California, on 1 January 2009, while attempting to subdue him following a fight.

    Mehserle told the Los Angeles court that he had mistaken the pistol for an electric Taser weapon on his belt.

    The incident, recorded by onlookers on their mobile phones, sparked a period of violence in Oakland, a city on San Francisco Bay.

    The trial was moved to Los Angeles because of the tensions in Oakland.

    Speaking after the jury's finding, California Governor Arnold Schwarzenegger called on state residents "to remain calm in light of the verdict and not to resort to violence".

    Mehserle, 28, faces years in prison. He will be sentenced next month.

    He resigned from the 200-member Bay Area Rapid Transit (Bart) police force soon after the shooting.

    The Bart system serves cities in the San Francisco Bay area.

    On the night of the shooting, police officers identified Grant, a 22-year-old African-American man, as a participant in a fight on a train.

    'Racially divisive trial'

    Mehserle and another officer attempted to subdue him, and Mehserle testified that he saw Grant digging in his pocket and feared he had a gun.

    He told the court he had intended to use an electric Taser weapon but mistakenly pulled and fired his duty handgun instead.

    Mobile footage of events leading up to the incident

    Grant had recently been released from jail after serving time on a gun possession charge.

    The BBC's Peter Bowes in Los Angeles says the case proved to be one of the most racially divisive trials in California since four Los Angeles officers were acquitted in 1992 over the beating of black motorist Rodney King.

    Oakland erupted in violence after the shooting, with protesters clashing with police and rioters setting cars ablaze and damaging businesses.

    Mehserle fled to Nevada following the shooting and was arrested about two weeks later.

     

    VIDEO + INFO: Josephine Baker > from Black Atlantic Resource Debate

     

    “The Nefertiti of Now” – New Josephine Baker Profile

    July 5, 2010 · Leave a Comment

    A new profile exploring the life, work and legacies of Josephine Baker has been added to the Black Atlantic Resource. This profile includes links to online videos of Baker’s performances including her infamous ‘Danse Banane’ at the Folie Bergere in 1927, and also footage of her singing ‘Haiti’ in the 1934 film Zou Zou. Linked to this new profile are related research articles including, art historian, exhibition curator, writer and lecturer, Petrine Archer’s article exploring the associated avant-garde arts movement ‘Negrophilia’.

    Josephine Baker sent shockwaves throughout Europe and America when she began to perform in the 1920s, and has continued to provoke contrasting reactions ever since. Pablo Picasso called her ‘The Nefertiti of now’ representing her iconic status at the centre of the new craze, celebrating, but also often stereotyping, black cultures in early Twentieth Century Europe. One contemporary interviewer praised her performances with their new dance style as turning the established, ‘concept of rhythm and movement on its head’ while others have argued that Baker’s ‘initial success was achieved at the expense of her integrity and the principles of African Americans’ (Barnwell 1997).

    A controversial figure, nevertheless Baker’s international influence and appeal to the present day make her a key figure when communicating, considering and celebrating black Atlantic cultures.

    Take a look at our new Josephine Baker profile and continue the debate here…

    → Leave a CommentCategories: Black Atlantic Resource Updates
    Tagged: ,

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

    JOSEPHINE BAKER

     

    Josephine Baker 1951 (Library of Congress, Prints & Photographs Division, Carl Van Vechten Collection, [reproduction number, LC-USZ62-102157])

    Born Freda Josephine MacDonald, Josephine Baker (June 3 1906- April 12 1975) was an African American entertainer who is often considered to be the first black superstar. She enjoyed relative success in 1922 as she began her career in the first all black Broadway musical, Shuffle Along. However it was when she left for France that she experienced stardom and success that was unheard of for an African American in the 1920s. Baker spent the majority of her life and stardom in France, and has since become iconic in many ways.

    Initially Baker arrived in Paris in 1925 aged 19 to become a dancer in La Revue Nègre. Her comic, unique interpretation and performance made her an overnight sensation and soon she became a major celebrity throughout Europe. Baker was revolutionary in that she brought new comedy and eroticism to dancing, her moves were in direct contrast to the accepted classical lines of western dance. Phyliss Rose described her dancing in this way, “She was a revelation of possibilities in human nature they hadn’t suspected. The animal inside of every human being wasn’t dark, tormented, savage. It was good-natured, lively, sexy rather than sensual, above all funny.” Her most famous dance was Danse Banane, the banana dance, which involved her donning a skirt made of 16 artificial bananas. Such choices of costume and her mimickery of minstrel moves which demonstrated aspects of the stereotypes attached to black people have continued to make Baker a controversial figure in the debate on black agency.

    On the one hand, as Richard J. Powell argues, she was a ‘willing subject and participant’, in "the ‘race renewal agenda: one that probed uninhibitedly the more sordid and stereotypical terrains of a black identity.” Powell likens Baker to Claude McKay, Carl Van Vechten and other artists who also engaged in this ‘forbidden exploration’ of cultural primitivism and racist stereotypes. However, as Janet Flanner stated, “Her magnificent dark body, a new model to the French, proved for the first time that black was beautiful.” Arguably, this empowerment and level of acceptance was more important a stage for blacks at this time than attempting to reform whites views entirely.

    She also had an extremely successful career as a singer, recording for the first time in 1926 and this became central to her career and fame. Baker was also the first African American to star in a major motion picture, the silent film Siren of the Tropics (1927), she also starred in two movies in the 30s, Zou-Zou (1934) and Princess Tam-Tam (1935). Baker’s celebrity status brought with it legions of fans, who famously sent her lavish gifts and she received around 1,500 marriage proposals. As her official site states, ‘Josephine rivaled Gloria Swanson and Mary Pickford as the most photographed woman in the world, and by 1927 she earned more than any entertainer in Europe’. Baker was a muse to many artists, including Pablo Picasso, who said of her,  “She is the Nefertiti of now.”, comparing her to the glamorous, symbolic queen of Ancient Egypt.

    Baker was central in the introduction of the Harlem Renaissance and the Jazz Age to Europe which also contributed to the start of the craze known as ‘Negrophilia’ in 1920s Paris. Negrophilia, which literally means ‘love of the negro’, was a term used by avant-garde artists and bohemians and was a period of sudden and intense interest in black culture. It was interest in the Africa, the subject of ‘primitivism’ and black art, music and dance. To enjoy black culture was to be fashionable and modern. Baker’s shows epitomized all Negrophilia meant and she was the most popular entertainer of the period. Furthermore, she also reflected many aspects of the emerging 1920s movement, Exposition des Arts Décoratifs- ‘Art Deco’. The new angles and silhouettes brought by Baker to dance reflect and inspired the style of Art Deco, which is based around mathematical geometric shapes. Furthermore, the designers of this movement were influenced partially by ‘primitive’ African arts and also by modernism, two seemingly contradictory themes which Baker too encompassed.

    Whilst she was a superstar in Europe, white America refused to accept Baker as an entertainer.  In 1936 Baker went back to America with the Ziegfeld Follies but the trip was an unmitigated disaster. She was shocked by the way racism was still so central and pervasive in American culture. Her fourth husband, Jo Bouillon said “Josephine left Paris rich, adored, famous throughout Europe. But in New York, in spite of the publicity that preceded her arrival, she was received as an uppity colored girl.” Despite her worldwide stardom she still experienced racial discrimination, the show was heavily criticised and she was referred to in one newspaper as a ‘Negro wench’.

    On returning to France in 1937, she became a French citizen. Her view was that,  “It [the Eiffel Tower] looked very different from the Statue of Liberty, but what did that matter? What was the good of having the statue without the liberty?”. Despite her ever-increasing success in Europe, racism prevented her from being fully accepted and appreciated in America until 1973, when she returned to perform at Carnegie Hall and was treated equally and received rave reviews.

    Despite not being accepted into the mainstream as an entertainer in the U.S., Baker was an important figure in the Civil Rights Movement. She was a member of the NAACP and was the only woman to speak at the 1963 March on Washington. Baker also launched a very public media-battle with pro-segregation writers after she was refused service at the New York Stock Club. As a personal principle Baker refused to perform to segregated audiences, which helped towards integrating shows. Following the death of Martin Luther King she was even asked to become the new leader of the movement, which after much deliberation she declined.

    Another controversial aspect of Baker’s life was her choice to adopt twelve multi-national children whom she affectionately named them the ‘Rainbow Tribe’. Baker had a miscarriage in 1941 and never had any children of her own. From the 1950s she adopted children from different parts of the world to demonstrate that different ‘races’ could be brothers and sisters. As she said, “Surely the day will come when color means nothing more than the skin tone, when religion is seen uniquely as a way to speak one’s soul; when birth places have the weight of a throw of the dice and all men are born free, when understanding breeds love and brotherhood.” 
      
    During World War II Baker was an important contributor to the French Resistance as a morale-booster and as a sub-lieutenant in the Women’s Auxiliary Air Force. She sent presents and sang for the troops- as long as they weren’t segregated. She argued,“We’ve got to show that blacks and whites are treated equally in the army. Otherwise, what’s the point of waging war on Hitler?”. She even risked transporting resistance correspondance in her clothing in the hope that her celebrity would prevent her from being searched, using her job as an entertainer as an excuse to travel and deliver information and passports within France, to Spain, Portugal and Morocco. Following the war she received the Croix de guerre, the first American born woman to do so, and the Rosette de la Résistance, and was made a Chevalier of the Légion d’honneur.

    Baker starred in Joséphine aged 69 and died a few days after the 14th performance in 1975. 20,000 people attended her funeral in Paris. The legacy she has left can be traced through history, especially in the entertainment world: African American singers such as Shirley Bassey and Diana Ross have named her an important inspiration to their work. Many artists such as Kara Walker have depicted her as a symbol of African American history: the iconic image of her figure in a banana skirt is instantly recognisable. The sensation she caused in Europe and the effect she had on the black image in white mind makes her a crucial figure when discussing the Black Atlantic.  

    Contributed by HGF

     

    Related Articles:

    Petrine Archer: Negrophilia, Diaspora, and Moments of Crisis 

    Philip M. Ward: The electric body: Nancy Cunard sees Josephine Baker

     

     

    Click here to debate Continue the debate on Josephine Baker
     

     

    OP-ED: Rethinking Stripping: So Why Are So Many Men Paying Women to Take off Their Clothes? | | AlterNet

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    Rethinking Stripping: So Why Are So Many Men Paying Women to Take off Their Clothes?

    We need to talk about gender, sexuality, safety, pleasure, earning power, and choice when we discuss sex work.

     

    Alternet recently published a piece on sex and relationships titled "Should You Try Stripping?"

    The "you" in question is specifically female and author Lily Blau's suggestion that parading in the buff empowers women has rightfully ruffled the feminist blogosphere.

    These days, says Blau, "sex appeal has attained a status that no other quality shares. So the thought of making money from stripping, especially in these tough economic times, "is increasingly appealing." What sexy girl wouldn't want reassurance that she's hot enough for cash, Blau seems to say. But the real question is not a supply-side issue. It's about the demand.

    Yes, women go to strip clubs. We drink beer and eat wings at Hooters. We hire prancing men in Speedos for our bachelorette parties and Cardio Striptease is women's domain at the gym. But the primary market demand for stripping, lap dancing, and other forms of fleshertainment come from men.

    So why are so many men paying women to take off their clothes?

    This question is sure to elicit a Seth Rogen-esque snicker along the lines of, "Umm ... Cuz they're naked and we saw boobies."

    The allegedly more thoughtful among us will argue that men are visual creatures, hardwired to become aroused at the mere site of female flesh. Besides the fact that this doesn't explain women's arousal, or why some men aren't turned on by watching women work a pole, this pseudo-scientific reasoning is just a lame excuse for "boys will be boys." As I explain in my new book, Men and Feminism, this lets men off the hook for their decisions to purchase or rent women's bodies.

    In so many circles it's hip to strip. I count my friends among them. But as author and blogger Amanda Marcotte writes, we've got a "hipster culture that plays at men and women being equals, but still makes women tap dance and submit like performing monkeys begging for cookies." Let me add: makes women tap dance naked.

    Others suggest that in a capitalist society women are free to choose stripping (or teasing or sucking or fucking) for cash. A simple case of contractual agreement, they might say. Yes, we all make choices. But some choices are more freely made than others. And that still doesn't answer the question why men choose to buy women's bodies and whether it's time for them to stop.

    The thing is, this isn't just about stripping. Take away the pole, and we're still left with a host of problems and a crisis in masculinity: A culture that rewards men for being hyperaggressive and punishes those who can't or won't. We have pop culture films like I Love You, Man, which shows men bumbling through authentic interpersonal relationships. There's the Judd Apatow movie model that portrays guys as perpetual kidults who might not ever really grow up. Or Dito Montiel's new flick Fighting that suggests the way hard-bodied men stand tough is by kicking ass.

    Yet with tons of mixed messages and no good roadmap, it's still crucial for guys to achieve successful masculinity. Failure is not an option because the stakes are really high.

    In her April 2009 New York Times article, "Dude, You've Got Problems," journalist and author, Judith Warner, describes the recent suicides of two young men after being bullied at school, taunted, and called "gay."

    The fast route for guys to "prove" they're not gay is to show that they're tough, that they're not weak, that they don't back down -- whether on the playground, the bedroom, or the boardroom. Warner states, "Being called a 'fag,' you see, actually has almost nothing to do with being gay. It's really about showing any perceived weakness or femininity... It's what being called a 'girl' used to be, a generation or two ago." Though the paradigm is shifting slightly, gender expectations for young boys and men are more heightened than ever.

    As author Lindsay Beyerstein comments, "strip clubs are just a symptom of much larger inequities. If they were all eliminated tomorrow, the net effect on women's liberation would be approximately nil. It's not like men would suddenly respect women more." And it's not like men would instantly have masculinity figured out.

    The real issue, then, is not whether men keep watching naked women parade around in Lucite heels. The real point is that it's time for men to expand their repertoire, pay attention, and start watching something new. Like their kids growing up. Or our shifting attitudes about gender, work, and home life. Men can head over to YouTube and check Def Jam poet Rafael Casal spit some righteous words about women, men, and relationships. More men can get involved with projects like A Call to Men's National Speak Out, a conference about ending male violence against women.

    I'm not willing to tell men -- or anyone else -- to stop watching women strip. I'm not the G-string patrol. I refuse to bed-down with the conservative right. And censorship can only lead to trouble. I'm not going to debate whether women doing sex work is good, bad, sexy, or ugly.

    But I am going to insist that we keep asking hardcore questions about men's market demand for female flesh. We need more -- not fewer -- conversations about gender, sexuality, safety, pleasure, earning power, and choice. Because whatever we're watching, it's time we also time to start watching something new. Our culture needs it.

     

    GULF OIL DISASTER: Mitigating Annihilation > from t r u t h o u t

    by: Dahr Jamail and Erika Blumenfeld, t r u t h o u t | Photo Essay

    photo
    A series of barges are being set up, end on end, in a crude attempt to stop the spreading oil. (Photo: Erika Blumenfeld)

    From the air, the area north of Grand Isle, Louisiana, much of it around Barataria Bay, looks like scorched earth. This area has been and is heavily afflicted by BP's oil. The so-called cleanup efforts, including laying out booms to supposedly prevent oil from destroying more marsh and killing more wildlife, are a farce.

    Opaque, multi-color sheen stains much of the bay and is visible in countless inlets that snake their way into the marsh. The contrast between the green marsh area yet to be soiled and the marsh already blackened by the oil and the sheen covered Gulf water is stark. The afflicted water appears as a lifeless, dull, silvery fluid.

    Photo by Erika Blumenfeld © 2010

    Photo by Erika Blumenfeld © 2010

    While BP has put forth great effort in securing tax benefits acquired from leasing rigs like the sunken Deepwater Horizon,  it has also saved money by choosing not to pursue better cleanup methods and technologies. We live in a corporate world where profit is god. Profit rules. Showing a profit on the next quarterly earnings statement is everything. This is how a multi-billion dollar oil giant like BP (yes, we can include the others as well - Exxon/Mobile, ConocoPhillips, Royal Dutch Shell, Chevron, Total S.A.) spends vast troughs of money on developing the latest oil exploration and drilling technologies. But when it comes to cleaning up their toxic mess when disaster strikes, every expense is spared.

    Many people across varying industries working in the so-called cleanup effort understand that laying out boom to contain oil is largely an act designed primarily to impress politicians and uninformed media. The so-called cleanup work BP is engaged in on the soiled Gulf Coast has been shoddy, at best,  including allegations that BP has been dumping sand atop oil on beaches to cover it up. Controlled oil burns in the Gulf are also, needless to say, coming under criticism  for their devastating impact on the environment, in addition to negatively impacting the human health of residents on Louisiana's coast.

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    But this should not come as a surprise, given that one of the first things BP did in the immediate aftermath of the Deepwater Horizon disaster was to launch a campaign to strengthen its legal defense with the best attorneys money can buy, rein in legal teams and buy up experts who might otherwise work for plaintiffs in cases against the oil giant.

    The more we see of this so-called cleanup and containment plan of BP's, the more it appears to be the second largest contributing factor in destroying the ecology and culture of the Gulf region, behind, of course, BP's oil volcano at the floor of the Gulf.

    From the air, we see the same boom catastrophe as we did from our recent boat trip into the marsh. In some areas, boom does little more than outline the dead areas of the marsh, having gathered into piles and left to soak oil directly onto the land.

    Photo by Erika Blumenfeld © 2010

    Time after time, we fly over small marsh islands, their shores scorched by oil, the marsh grass immediately dying, surrounded by boom.

    Photo by Erika Blumenfeld © 2010

    Sheen covers the water, held against the islands by the booming.

    Photo by Erika Blumenfeld © 2010

    "It's as though the booms do nothing more than hold oil in the marsh, rather than keeping it out," I comment into my headphones as we fly low, just above the soiled islands. Charlie, our pilot, nods.

    Erika hangs out her open window, taking hundreds of photos of the destruction caused by BP's criminal negligence.

    Photo by Erika Blumenfeld © 2010

    Photo by Erika Blumenfeld © 2010

    The vile physical destruction of these fragile wetlands is an ominous precursor of worse that is to come. Wildlife experts recently reported that the toll on sea birds from the BP catastrophe will soon change dramatically for the worse.

    "Scientists warn that as shifting weather and sea conditions conspire with the dynamics of avian life cycles, a tremendous number of birds will soon be put in jeopardy," says an article in Scientific American. "In the coming weeks, millions of waterfowl and other birds that flock to the U.S. Gulf Coast on their annual fall migration will arrive in the region either to roost for the winter or to make brief stopovers en route farther south. With toxic crude still gushing from the floor of the Gulf of Mexico and streaks of the slick creeping inexorably farther inland, many more birds and other wildlife that nest, feed and find shelter on shore are likely to become casualties."

    This warning has sparked a desperate rush to try to find ways to lure tens of millions of migrating birds away from the oil-infested marsh that has historically served as their habitat.

    "The impact of the Gulf disaster on migrating birds will be like a train derailment during rush hour," Frank Gill, president of the National Audubon Society, said. "Not only will it affect the entire system, but its repercussions will be long-lasting."

    This concern has spurred the USDA's Natural Resources Conservation Service to launch a $20 million program that aims to pay landowners in the Gulf region to idle land, restore wetlands and enhance habitat.

    Will it work? This worsening disaster shows us how futile it is to tinker with nature - whether it be via drilling for oil in the depths, or then trying to mitigate the annihilation of nature and life in ways that often make the situation worse via unforeseen consequences.

    And this comes on the heels of destruction in this area caused by oil and gas companies that spans decades. "They dug these canals that have let the saltwater from the Gulf of Mexico into what used to be fresh-water marshes," Charlie, who has spent more than five years flying over this area, tells us while we fly over the remnants of what used to be a fertile, green carpet of a marsh, "that let all the saltwater in that killed the marsh. This land is now fractured. It's blown all to hell."

    Most of the small marsh islands we fly over are soiled black and brown by BP's oil. Some of the worst areas are surrounded by brand-new, pure white boom that has no oil on it. This boom, aside from possibly keeping more oil from reaching the already destroyed area, functions as little more than show, given that the oil has already contaminated the marsh island.

    Photo by Erika Blumenfeld © 2010

    Sheen covers most of the bay. As we fly low over shallower areas, ripples move across the sheen that are caused by schools of fish moving just below the surface.

    In another area, a pelican flies parallel to a red boom. I wonder if it will land in sheen-covered water, or if its rookery has already been destroyed.

    Photo by Erika Blumenfeld © 2010

    Photo by Erika Blumenfeld © 2010

     

    Charlie flies us out near the barrier islands that separate the bay from the Gulf of Mexico. Between two of the islands, just behind one of them, a series of barges are being set up, end on end, in a crude attempt to block off the pass between two islands.

    Photo by Erika Blumenfeld © 2010

    "Here's where they are trying to block a pass to keep the oil from getting into the bay," Charlie explains while banking the plane so Erika can get a clear view, "But the wolf is already in the hen house."

    It is impossible to articulate the futility of these cleanup and preventative efforts.

    Photo by Erika Blumenfeld © 2010

    We do not see one marsh island surrounded by boom that has actually kept oil or sheen from reaching it.

    Photo by Erika Blumenfeld © 2010

    But, again, we are looking at a company that only by threat of lawsuit by the Center for Biological Diversity agreed to stop incinerating endangered sea turtles alive.


    Erika Blumenfeld is an internationally exhibiting artist and Guggenheim fellow with a BFA in photography from Parsons School of Design. She is known for her Light Recordings series and her ambitious work The Polar Project, a series of environment-focused artworks that document the environment of Antarctica and the Arctic. Blumenfeld's installations have been exhibited widely in galleries and museums in the US and abroad and have been featured in Art In America, ARTnews and more than half a dozen books. She is posting her photographs of the Gulf Coast on her blog.

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    Dahr Jamail, an independent journalist, is the author of "The Will to Resist: Soldiers Who Refuse to Fight in Iraq and Afghanistan," (Haymarket Books, 2009), and "Beyond the Green Zone: Dispatches From an Unembedded Journalist in Occupied Iraq," (Haymarket Books, 2007). Jamail reported from occupied Iraq for nine months as well as from Lebanon, Syria, Jordan and Turkey over the last five years.

    Erika Blumenfeld is an internationally exhibiting artist and Guggenheim Fellow with a BFA in Photography from Parsons School of Design. She is known for her Light Recordings series, and her ambitious work The Polar Project, a series of environment-focused artworks that document the environment of Antarctica and the Arctic. Blumenfeld’s installations have been exhibited widely in galleries and museums in the US and abroad, and have been featured in /Art In America/, /ARTnews/ and more than half a dozen books. She is posting her photographs of the Gulf Coast on her blog.