VIDEO: Israeli Commandos Execute American Citizen . from Information Clearing House

Israeli Commandos Execute American Citizen

Video

Israeli soldiers allegedly killing Furkan Dogan 19 years

 See also: American, 19, Among Gaza Flotilla Dead: Furkan Dogan Was Shot Five Times, Including Four Times in Head

Posted June 09, 2010

 

EXCLUSIVE: New Video Smuggled Out from Mavi Marmara of Israel’s Deadly Assault on Gaza Aid Flotilla

By Democracy Now!

In a Democracy Now! exclusive, we bring you a sneak preview of previously unseen raw footage from the Mavi Marmara that will be formally released at a press conference at the United Nations later in the day. The footage shows the mood and the activities onboard the Mavi Marmara in the time leading up to the attack, and the immediate reaction of the passengers during the attack. We are joined by filmmaker and activist Iara Lee, one of the few Americans on the Mavi Marmara ship. Her equipment was confiscated, but she managed to smuggle out an hour’s worth of footage.

 

 

 

 

 

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Israel’s “self-defense” narrative falls apart — Updated

by PAUL WOODWARD on JUNE 10, 2010

(See this post to read an important update on the video that appears below.)

On May 31, Israel’s Prime Minister Benjamin Netanyahu described the actions of IDF soldiers who had conducted the raid on the Mavi Marmara, killing at least nine of its passengers, as “a clear case of self-defense because as our soldiers were inspecting these ships, they were attacked – they were almost lynched. They were attacked with clubs, with knives, perhaps with live gunfire, and they had to defend themselves – they were going to be killed.”

That was before video emerged appearing to show two Israeli soldiers first pummeling with their boots and then shooting one of the victims as he lay at their feet. To stand above an injured man and then finish him off with rounds from an assault rifle can by no ones estimation be described as an act of self-defense.

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paulswoyt  June 10, 2010 — Video broadcast by Turkey's Cihan News Agency appears to show two Israeli soldiers on board the Mavi Marmara on May 31, 2010, kicking and then shooting one of the activists. The broadcaster identifies the victim as Furkan Dogan, a nineteen year old Turkish young man who was also a US citizen. An autopsy has already revealed that Dogan was shot five times from less that 45cm in the face, the back of the head, twice in the leg and once in the back.

__________________________________

I have asked the IDF Spokesman’s office for comment on the video and been told that they will get back to me in due course.

An explanation from the IDF is unlikely to be swift because a decision on how to handle this matter is now likely to rise above the military ranks to the highest political level.

The Netanyahu government’s political strategy for grappling with the latest international crisis it has triggered has been rooted from its inception in the outlook that molds the Israeli psyche:whatever happens, Israel is always the victim.

Out of a national unwillingness to rise above this unremitting sense of victimization, Israel’s leaders and its population have rendered themselves incapable of accepting responsibility for their own actions.

Right now, there are at least two Israeli soldiers who could step forward, break their silence and act in the greater interest of the country they have pledged to defend.

But I don’t see that happening. Firstly, this would require an unusual amount of personal courage, but anyone who shoots an injured man who is lying helplessly at his feet seems lacking in courage. And secondly, most individuals who follow military commands do so on the assumption that it’s not for them to determine the national interest. Indeed, the orders these particular soldiers have been instructed to follow almost certainly include that they now maintain their silence.

As soon as it became apparent that some kind of investigation of the massacre would be inevitable, Israel’s minister of defense, Ehud Barak, was quick to say that in any investigation of the massacre, no individual commandos would face questioning. In other words, no one who pulled a trigger would be placed in legal jeopardy by being compelled to explain their own actions. The Israeli government has in effect promised legal immunity for its defense forces, in the hope presumably that the government itself will thereby ensure its own legal and political protection.

Turkey’s Prime Minister Recep Tayyip Erdogan, however, has said: “Israel must pay the price of the blood it shed and the lives of the martyrs. It will do so. We will pursue this within the framework of law.”

So far, the United States, under President Obama’s morally drifting leadership, has maintained its traditional role in acting like Israel’s lawyer. But even the best defense lawyer realizes when the evidence against their client makes a “not guilty” plea untenable. Moreover, every lawyer knows that they can only go so far in loyally defending their client. Past a certain point, a loyal attorney becomes a criminal accomplice.

It’s time for Washington to tell Tel Aviv that it needs to get ready to tell the truth, the whole truth, and nothing but the truth about the Mavi Marmara massacre. Israel cannot escape facing legal scrutiny from an international investigation.

 

AUDIO: Fela!’s Original Cast Recording of ‘Zombie’ > from Vulture + Fela Zombie Original

Vulture Exclusive: Fela!’s Original Cast Recording of ‘Zombie’

Vulture Exclusive: Fela!’s Original Cast Recording of ‘Zombie’

Photo: Monique Carboni

Ahead of this Sunday's Tonys — at which Fela! is nominated for a competition-best eleven awards, including a biggie, Best Musical — the show has just released its original cast recording. That includes the cast's version of "Zombie," Fela Kuti's infamous 1977 protest song, which sparked the Nigerian army's deadly attack on Kuti's Kalakuta Republic commune. Now Vulture's got the exclusive stream for you right here. Take a listen and let us know what you think.

Hear "Zombie," by the cast of Fela:

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"Zombie" by Fela

 

PUB: Student Writing Contest | The Nation

Nation Student Writing Contest, 2010


We're looking for original, thoughtful, provocative student voices to answer this question: How has your education been compromised by budget cuts and tuition hikes? Essays should not exceed 800 words and should be original, unpublished work that demonstrates fresh, clear thinking and superior quality of expression and craftsmanship. We'll select five finalists and two winners—one from college, one from high school. Each winner will be awarded a $1,000 cash prize and a Nation subscription. The winning essays will be published and/or excerpted in the magazine and featured at TheNation.com. The five finalists will be awarded $200 each and subscriptions, and their entries will be published online. Entries (only one per student) will be accepted from May 15th through June 30th, 2010. A winner will be announced by September 15. Please send entries to studentprize@thenation.com.

Eligibility

The contest is open to all matriculating high school students and undergraduates at American schools, colleges and universities as well as those receiving either high school or college degrees in 2010. Submissions must be original, unpublished work (the writing can have been published in a student publication). Each entrant is limited to one submission. Entries will be accepted through June 30, 2010. Submissions can be e-mailed to studentprize@thenation.com. Please include the essay in the body of the e-mail. All e-mailed submissions will be acknowledged. Each entry must include author's name, address, phone number, e-mail and short biography and school affiliation—and say "student essay" in the subject line. Please email studentprize@thenation.com for questions.

 

PUB: 2010 Flash Fiction contests - www.scobba.com

2010 Flash Fiction contests:

The Intersection of . . . .


Call for submissions:

“The Intersection of . . . “ Flash Fiction contest offers four subjects for your contemplation and asks you to submit your most interesting 300 words, new or previously published, for any/all.  The winner each quarter will receive $25.00 (US) and a signed copy of Intersections/Fast Forward , by Sheila Scobba Banning.  Winners will be posted at www.scobba.com.

Guidelines:  Up to 300 words, one entry per quarter sent within the given submission period.  Send stories to webmaster@lastwrites.net in an e-mail with the topic (The Intersection of . . .) as the subject line, no attachments except PDF.  We are not responsible for lost/unreadable submissions and reserve the right to award more than one prize in the case of rampant indecision.  Entries sent outside the submission period will be deleted unread.  Author retains all rights.  Winners will be contacted by e-mail from scobba@aol.com for mailing/payment instructions.


Topic Schedule:
               January 1 - March 15, 2010

The Intersection of . . . Food and Sex

               April 1 - June 15, 2010

The Intersection of . . . Obligation and Passion

               July 1 - September 15, 2010

The Intersection of . . . Creation and Sorrow

               October 1 - December 15, 2010

The Intersection of . . . Loss and Desire

GRANT: Gris Gris Lab: Gris Gris Lab's 2 New Programs- Applications Available Now! Pass it on!

Gris Gris Lab's 2 New Programs- Applications Available Now! Pass it on!
 Share
Greetings Gris Gris Lab Family,

We are excited to share our two new programs with you. Gris Gris Lab's signature residency program and our Intentional Living and Community Building Program featuring the Food Justice Course starting this fall.

Applications are available now on the website or via email, info@grisgrislab.com.


Who wants to live and play in a supportive community? YOU DO!


Program-a-Playshop Residency allows an artist, healer,farmer, educator, advocate or progressive thinker to live and play at Gris Gris Lab in a private room with access to our Magic Garden, Healing Room, Studio, Urban Farm and be a part of our magical community. Residencies will take place quarterly from 6-8weeks. The work must center around community building, women, children or families, social change and social justice or intentional living.

Program_a_Playshop_Residen cy_app.pdf

AND

 

The Food Justice Course through Gris Gris Lab's Intentional Living and Community Building Program will explore how communities can grow stronger through the cultivation,distribution and sharing of food. This course will introduce participants to a wide variety of skills including community ethnography, urban farming, permaculture, social justice work,community organizing and resource redistribution.


Food_Justice_application_f all.pdf


Applications for "A MODERN LONG HOUSE Course -a womanist approach to living" coming July 1st.


Gris Gris Lab is an International Healing Arts Space located at 2245 Brainard Street New Orleans, LA 70113 504.872.0577 www.grisgrislab.com info@grisgrislab.com

Think you may know someone who is interested in what we are doing? Pass it on!

Become a member for $20 for the year and Join The Magic!!!

 

PUB: CALLING ALL WRITERS!!! • I WRITE TO BE FREE

 

CALLING ALL WRITERS!!!

AZIZA PUBLISHING is having an open call for all authors. We are currently accepting manuscripts (fiction only) to be reviewed and some authors will receive an invitation to sign with Aziza Publishing based on the review of their manuscript.

Please keep in mind that AZIZA PUBLISHING is NOT a self-publisher. We are a full service publishing company meaning there are no up front costs for you as an author.

Please send all manuscripts with a cover letter as an MS word document to submissions@azizapublishing.com.

If you have any questions please email: Info@azizapublishing.com

Lastly you can check out our site here: www.azizapublishing.com or find us on FACEBOOK

Instructions for formatting your manuscript:

  • Your manuscript should look as though you typed it. Neither handwritten manuscripts nor ones that use a dozen amazingly nifty fonts are likely to be well received. If you are using a word processor try to select a non-proportional font (one where every character has the same width).
  • Do not justify the text. By this I mean don’t select the option from your word processor that makes every line of text end exactly at the right margin. Remember, you want your manuscript to look as though you typed it, even if you are printing it on the world’s most expensive laserwriter.
  • Use high quality 8 1/2 x 11 inch white paper.
  • Only print on one side of the paper.
  • Do not staple the pages together.
  • Use wide margins — at least an inch all around the text.
  • Double space the text.
  • Show new paragraphs by indenting the first line of the new paragraph by five spaces. Thus:
    1 This is the end of one paragraph.
    2 
    3      And this is the start of the next paragraph.  Note
    4 
    5 that the text is double-spaced, and non-justified.
  • The top of the first page: Put your name, address, and telephone number at the top left of the first page. Put the word count to the nearest 100 words at the top right of the first page. Something like this:
    1 Jane Smith                                  3200 words
    2 123 Home Lane
    3 Writers' Ville PA 15206
  • The rest of the first page: The story’s title and your name should appear a little less than halfway down the first page. Then leave a couple of blank lines, and start the story. The title and your name should be centered:
    1                    GREAT STORY
    2 
    3                        by
    4 
    5                    Jane Smith
  • Put the page number, your surname, and a keyword or two from the title on the top right of every page after the first one. Something like this:
    1 Smith/Great Story/20
  • To show a scene break, leave a blank line, then have a line with a single asterix centered in the middle, then have another blank line. Thus:
    1 With a whimper, Bob died.
    2 
    3                       *
    4 
    5      It was a dark and stormy night, very dark, very
  • Do not use italics. To show text that should be italicized in the final published version of the story, underline that section of text.
  • At the end of your story, leave a couple of blank lines, then write “THE END” or “###” centered on a line.
  • And that’s all there is to it.

 

PHOTO ESSAYS: A Marriage of Words and Images > from DMKW

DMKW

Diary of a Mad Kenyan Woman: a refuge for disorderly and disobedient thoughts.

 

AUDIO: Africa Makes Some Noise - documentary on contemporary music from Africa > from AFRICA IS A COUNTRY

Africa Makes Some Noise

June 8, 2010 · 3 Comments

Last night, BBC Radio One premiered an hour-long documentary on the story of modern “African” music, hosted by UK-based Kenyan DJ Edu (whose weekly show, Destination Africa on Radio 1Xtra, I’ve been listening to for a few years now).

An hour obviously isn’t a lot of time, but Edu manages to cover a fair amount of ground, starting with such standard bearers as Fela and Miriam Makeba and ending with newcomers like Nigerian-German Nneka. In between those are interviews with a veritable list of big name artists from the continent, including the obvious ones, K’naan and Akon. Also making appearances are Kenyan singer Amani, Sudanese rapper Emmanuel Jal, UK rapper Sway, Nigerian singer D’banj, Ghanian singer Samini, South African rapper HHP and house DJ/producer Black Coffee, and Angolan/Portuguese outfit Buraka Som Sistema. For good measure, Edu also throws in interviews with Mos Def and Wyclef.

He covers even more ground when it comes to the different styles on music now coming out of the continent. Beyond the rock, hip hop/rap, and house that can be found across Africa, Edu highlights other forms, including genge in Kenya, kuduro in Angola and coupé decalé in Côte D’Ivoire. Unfortunately, besides passing references to Sénégal and the Congo, this is as far as his focus on Francophone Africa goes (unless I overlooked something). Also missing is an engagement with North Africa, which is odd considering Edu routinely plays songs from that region on his weekly show.

Nevertheless, this is a great introduction for those unfamiliar with contemporary popular music across various parts of Africa. There are some interesting questions and issues raised, including an extended discussion about money (according to D’banj, everyone is coming to Africa now because that’s where the money is), thoughts on the lack of a regional regulatory mechanism to control music piracy, and the role of the internet (which of course brings up the Kenyan viral sensation that none of us could get enough of recently) and mobile phones (currently everyone’s favorite buzzword in Africa).

Other highlights include mentions of Get Mziki (another great music site) and Africa Express, as well as more interviews with DJs, producers and radio and other personalities, including Afripopmag‘s Phiona Okumu who ends the documentary by considering what exactly is meant by “African” music—right before K’naan starts singing over a sample of Vampire Weekend. Worth a listen.

– Sonja Uwimana

INTERVIEW: 10 Questions with Helena Andrews, Author of ‘Bitch is the New Black’ | Clutch Magazine

10 Questions with Helena Andrews, Author of ‘Bitch is the New Black’

Wednesday Jun 9, 2010 – By Geneva S. Thomas

Black women have been the unmelting chocolate centerpiece in the media for the some time now. We have been picked at, bitten off, suckled up and pass around for the world to snack on. I don’t know about you, but I’m ready for a book called Bitch is the New Black.

There has been a hype around writer Helena Andrews since the controversial Washington Post article “Successful but lonely black women.” Published December 2009, the piece introduced us to a 29-year-old single D.C. Black woman on the rise, who like many of us are playing by a new set of dating rules in our very own metropolis. An author of a new book apparently so fly and juicy, Shonda Rhimes, the creator of ‘Grey’s Anatomy’ plans to adapt it into a feature film. In between Andrews’ Root articles and standing up to Steve Harvey, we couldn’t wait to see just how real the hype was.

Well, after reading Andrews’ memoir Bitch is the New Black, I can say with a straight face, believe the hype. Helena is the kind of bossy chick never afraid to speak her mind, any given time of the day, and unlike most, she can back it up. The highly anticipated memoir or as Andrews describes a ’start to middle’ story is a honest and witty tale about a young Black woman in America navigating a lesbian mother, abortion, Capital Hill men and a racist media industry. While many of us were unprepared for the title, thinking it appropriated a nasty term that degrades rather than lifts Black women. I assure you, Bitch is the New Black is our kind of tasty centerpiece that we can have and eat too.

CLUTCH caught up with the new author to talk the politics of being honest, ‘Single Black Woman’ overload, and why Bitch Is The New Black is her life, so far.

Clutch: So I loved the book. Read it over night. I paused a lot thinking, wow, it’s fascinating she wrote a memoir at 29. Most people ‘tell their story’ at 80 or something. But then I thought, so many of us have some much to tell right now. What made telling your story at this moment in your life right for you?

Helena: I always say that this is my story from start to middle. I think it’s sad that folks assume you “shouldn’t” write your memoirs until you’re like on your deathbed or something. Boo to that. The definition of memoir is a narrative about personal experience. So in a time when everyone seems so obsessed with the personal experiences of black women with a certain tax filing status (namely single, head of household) why wouldn’t one such black woman step up and tell her story in her own words? My story is hardly universal and it’s hardly unique (well some of it is anyway). It’s simply my journey so far. The ending has yet to be written.

Clutch: The book is so honest. Were you nervous about being this transparent or is this you on a regular day?

Helena: Shockingly, this is really me on a regular old day. I’ve always been more than comfortable with putting it all out of the table, which I’m sure has something to do with the way my mother raised me. She always tells the story of how as a child I used to rip my clothes off (diapers and all) and run around the beach naked. My grandmother was always scandalized by it—“Put some clothes on that child!”—but my mother figured, “Hey, if she likes it, then fine.” In Bitch is the New Black, I’m pretty much pants-ing myself, revealing the holy Hanes of my life for the world to see. That can be dangerous, of course, because once you put yourself out there, who the heck knows what you might get back. But that’s just me. I’m confident in my own skin—as long as I got lotion on.

Clutch: Did you get any angry calls from folk mentioned in the book?

Helena: I’ve gotten one or two random “Oh, I don’t think I said it like that” calls from folks who don’t even play supporting roles in the book, they’re more like unpaid extras. I don’t get into arguments over syntax. Those whose opinions actually mean something to me—my mother, my family, my sorority sisters and besties—all loved the book and understood that it was my story, my memory. But “angry calls” definitely come with the territory. If you’re writing about real people then most of those real people will most likely not like something you’ve written about them. The trick is to stick to the truth.

Clutch: For those who haven’t read your book yet, what does Bitch is the New Black have to do with your story? Why this title?

Helena:
The title isn’t necessarily a celebration of bitchiness. It’s more of a question really (but obviously without the proper punctuation—my bad). I was interested in poking at the stereotype that being a “successful” woman and bitchy are not mutually exclusive. Can you be one without the other? Or does one inherently negate the other. Being a bitch is sometimes the best way to be—of course, when it’s so not.

Clutch:
We were introduced to you in the Washington Post article where you were described as “black, single, successful and lonely.” How do you feel about the article now? Do you feel in some way the piece help usher in the ‘Single Black Woman’ controversy?

Helena: I think black women were under a microscope long before that “profile,” but it definitely didn’t do the “debate” any favors. I would never describe myself as “desperately seeking love” or “lonely” as a result of being without a husband. What’s funny (or really sad when it comes to reading comprehension stats) is that people will refer to that story as “Bitch is the New Black” or as “that story Helena Andrews wrote for the Washington Post.” Ummm no. I was being written about and the reporter hadn’t read my book, which is what contributed to misinformation about BITNB being “about successful but lonely young black women.” Who the hell wants to read that? Not me. The reason I wrote BITNB was to get out from under the written about rock and to do the writing my damn self—something like the “FUBU of summer reads.”

Clutch: You were like the only woman in public ‘SBW’ commentary that we could identify with– a 29-year-old educated Black woman. You held us down well, so thank you. A lot of reports were unbalanced, almost exclusively chronicling the ‘tragic’ successful and lonely 40-something woman with older married men like Steve Harvey and seemingly relationship-phobic men like Hill Harper talking at her. Many of us are now exhausted with the mere thought of the topic. Where do you see the conversation going in the next few years?

Helena: I’ve spoken to a lot of happy women about the “single sad black woman” debate and we’re all sooooo bored of it now. It’s like an annoying arc on a Saturday morning teen soap opera. Alright, alright we get! These two crazy kids are never going to make it! Next story line please. Personally, I applaud the fact that black women are getting together and talking to one another. But if all we’re talking about at Sunday brunch is who hasn’t decided to marry us this week then our lives must really suck. Fortunately, I don’t see that in my own circle of single ladies. And I’ve got a lot of married friends. Folks always assume that single women can only hang out with other single women, like we’re in some cult or something. Don’t drink that Kool-Aid. The conversation should be about womanhood in general. What does it mean to be a successful woman for you personally? For me, I’m not positive that my success as a woman or even a human being is wrapped up in a wedding or in my womb. Let’s sit down and start talking about ourselves, not what’s happening outside of ourselves.

Clutch: I get the No Disrespect by Sister Souljah feeling when reading Bitch is the New Black. You know N.O was like the coming of age must-read in undergrad and 15 years later it still is. Like N.O, BITNB largely chronicles your experience in college, your relationship with your mother, men and it’s a general criticism of how the world imagines young Black women. How do you want young Black females to receive the book?

Helena: I want people to just let go and take the book as it is. It isn’t a manifesto or dissertation. It isn’t the Single Black Woman’s Bible, the Secret Life of Bitches, an instruction manual or the next great American novel. It’s the story of this black woman’s life—so far. And if someone (anyone) can learn from my triumphs and my trials then I’ve done what I set out to do three years ago when a space cowgirl named Lisa Nowak rocked my world. I figured a woman who worked for NASA would know better than to try to “talk” to her lover’s lover with a mallet and gloves. But maybe folks figured a woman like me with an Ivy League degree and a decent career would know better than to curse out some dude in the middle of the club.

Clutch: You know how some authors publish a book, and they receive the first copy in the mail, and they get this warm and fuzzy feeling inside? This is your first book, how did you feel when you first saw the copy? How do you feel about all the wonderful things that are happening for you now?

Helena: I’m an over achiever with under achiever expectations and a private celebrator. So when I saw the real book for the first time at my agent’s office I was like, “Oh, that’s cool” in front of everyone else and then I ran to the bathroom to do my happy dance. As a kid I was always super superstitious like, “If I hold my breath for 22 seconds, Justin Ramirez will pick me first for kick ball,” so even now I figure good things happen to those who play it cool. But I was excited as hell! I mean I wrote a friggin’ book! It still weirds me out to have a physical thing that I made that I can I hold in my hands. If that sounds like a play on words that’s because it’s supposed to. The book is exactly like my baby and thankfully most people don’t think it’s ugly.

Clutch: Bitch is the New Black will be adapted into a film by Shonda Rhimes, the creator of ‘Grey’s Anatomy.’ That’s super dope! Can you tell us any juicy details? Possible cast members? Projected release date? Will you appear in the film?

Helena: The movie is still in the pre-pre-pre development stages, so no juicy details yet. Our biggest concern is lifting my voice from the book to the big screen. Someone recently told me that adapting your own book into a screenplay is like circumcising your own child. Here’s hoping it won’t be that bloody.

Clutch: What’s next for you? Anymore books in the works?

Helena:
Ha! I’ve got a few ideas up my sleeve, but for now my entire life is Bitch is the New Black. Let’s get this baby walking and talking on its own before I give it a little sister.

Order your copy of Bitch Is The New Black on Amazon.com. Follow Andrews on Twitter @helena_andrews