INFO: Affidavits: Witnesses ran cocaine, guns for Jamaican drug lord - CNN.com

Affidavits: Witnesses ran cocaine, guns for Jamaican drug lord

By Eliott C. McLaughlin, CNN
May 27, 2010 1:22 p.m. EDT
Christopher Coke, 41, rules part of Kingston via violence, corruption and philanthropy, experts say.
Christopher Coke, 41, rules part of Kingston via violence, corruption and philanthropy, experts say.
STORY HIGHLIGHTS
  • Witness says he cooked crack at Bronx restaurant after woman removed it from inside her
  • Extradition of Christopher Coke sparks diplomatic tussle between U.S., Jamaica
  • Second witness says he gave Coke's New York associate 800 pounds of marijuana
  • Affidavit: Women worked in Kingston's "Arcade," smuggled cocaine on business trips

(CNN) -- Christopher Coke's indictment has set off more than a firefight in the streets of Kingston, Jamaica; it's also sparked a diplomatic imbroglio that threatens U.S.-Jamaican relations.

The United States wants Coke extradited. Jamaica's ruling party has been slow to respond, and the country's opposition and other observers say the matter is an embarrassment that could hurt Jamaica's standing in the international community.

Affidavits from two confidential informants form the basis for charges that Coke, a 41-year-old accused drug kingpin, has pumped cocaine and hundreds of pounds of marijuana into the United States. One witness quoted in the affidavit said Coke used women to "body-carry," or smuggle internally, the cocaine and travel to New York under the guise of purchasing clothing for their shops in Kingston.

Coke's associates said they also sent him guns packed in refrigerators, according to documents CNN obtained.

A third affidavit, supplied by "John Doe," an anonymous Jamaican police officer assigned to wiretap Coke's phone conversations, has been a source of consternation for the Jamaican government.

Extradition tussle

"Jamaica wishes the United States to disclose the name of the witness 'John Doe,' " Justice Minister Dorothy Lightbourne wrote in a letter last year. "Jamaica notes that there should be no concern about interference with this witness."

The affidavits are part of the U.S. government's effort to have Coke extradited. The Jamaican government presented the affidavits in its own extradition proceedings, making the documents public.

Coke remains at large but his former lawyer, Jamaican Sen. Tom Tavares-Finson, has denied the allegations, saying Coke "is just an ordinary Jamaican going about his everyday business, looking about himself, trying to improve the lot of his children, his family and his community, with a recognition that he has an influence."

Read a profile on "Dudus" Coke

Prime Minister Bruce Golding recently issued a national apology for government involvement in hiring a lobbying firm to fend off a U.S. extradition request. He said he believed the matter was being "kept completely separate from the government," but it wasn't.

On Wednesday, Golding rejected reports by media outlets that he was "a known criminal affiliate" of the suspected drug lord. He called the accusations "scurrilous."

The bone of contention: Though a Jamaican court authorized wiretapping the phones of Coke and some of his associates, Jamaica says John Doe was not permitted to share information with the United States.

The U.S. resisted divulging the constable's name, saying he required protection. Lightbourne responded that John Doe should face charges in Jamaica and that Jamaica could request his extradition if he is still in the United States.

In his affidavit, signed May 14, 2009, John Doe says only that he had been part of a team intercepting calls between Coke and his associates since October 2004. He personally listened to calls, sometimes for eight hours a day, between April 2007 and October 2007, he said.

He also said the calls referenced in one of the affidavits -- that of Cooperating Witness 1, or CW-1 -- "were recorded in Jamaica pursuant to court authorization."

John Doe makes no reference to the second witness, who told authorities he was part of Coke's cocaine ring and saw nine Jamaican women make 20 drug-smuggling trips to the U.S. between 1996 and 1997.

Marijuana allegations

CW-1, who said he began cooperating with authorities in 2008 and pleaded guilty to firearms trafficking and drug charges, said in his affidavit that he met Coke in 2003 and knew him as "Presi," "Bossy" and "Little Wicked."

He was friends with one of Coke's lieutenants, who the informant knew as "Reaggie," and often chatted with Coke in the Tivoli Gardens garrison community where the alleged drug lord holds sway.

CW-1 said he entered the U.S. illegally in 2004 and went to New York. He spoke to Reaggie and Presi regularly and sent them gifts: cash, clothes, accessories, electronics and car parts among them.

Watch Jamaican drug lord expert explain this week's violence

"I sent these items to Presi because I knew that Presi was powerful and influential among drug traffickers in the United States. I understood and expected that if I ever had a problem with my drug business in New York -- such as a problem with my customers or suppliers -- Presi would help me fix the problem," CW-1 said in the affidavit.

By 2006, CW-1 said he was distributing "a few hundred pounds of marijuana" a week, and he offered to give one of Coke's "workers" marijuana at cost so profits could be sent to Coke in Jamaica.

"I made this suggestion out of respect for Presi and Reaggie and to further strengthen my relationship with them," the informant said.

Christopher "Dudus" Coke
Who is he?
Son of accused drug lord Lester Lloyd Coke. A New York grand jury indictment alleges that he has been involved with gun and drug trafficking since 1994.
What are the charges against him?
Coke was charged in August with conspiracy to distribute marijuana and cocaine, as well as conspiracy to traffic in firearms.
Is he involved in gangs?
The U.S. government alleges that Coke runs the Shower Posse, an outfit Coke's father was said to control before his death in 1992.
Is Coke his real name?
His real name is Michael Christopher Coke, but his aliases include "Paul Christopher Scott," "Presi," "General," "President," "Dudus," "Bossy," "Little Wicked" and "Shortman."
Where is he from?
He controls a Kingston neighborhood called Tivoli Gardens, which the U.S. government calls a "garrison community" barricaded and guarded by his gunmen. Coke's gang allegedly imports weapons at a wharf adjacent to the neighborhood.

Source: U.S. Department of Justice

 

According to the affidavit, authorities intercepted an April 2007 call between Coke and Reaggie in which they said a New York associate named "Sky" would receive marijuana for $450 a pound. He would then sell the marijuana and send the profits to Coke.

Instead, CW-1 said, he gave a second worker -- identified in the affidavit as "Rome" -- two 400-pound bundles of marijuana on consignment.

The following month, CW-1 wanted to retaliate against a man who failed to pay him for 20 pounds of marijuana. He said he called Coke first because the absconder hailed from Tivoli Gardens.

"Presi told me, in coded language, that I should do whatever I felt I needed to do to protect myself and my drug business," CW-1 said in the affidavit, adding that he later confronted "the customer" in the Bronx and "used violence against him in an effort to recover the money that he owed me."

Firearms allegations

CW-1 told authorities that because Coke needed weapons to protect himself, he purchased three handguns: a Ruger, Desert Eagle, a 9 mm Smith & Wesson and a .380-caliber. On April 3, 2007, he drove with a friend to Sky's Philadelphia, Pennsylvania, residence and handed over the guns so they could be shipped to Coke, he said.

CW-1 said in the affidavit he understood Sky would mail the weapons along with two AK-47 rifles. CW-1 said that in another conversation with one of his marijuana dealers, whom the affidavit identifies as "Kevin," they discussed how to get weapons to Coke.

"Kevin told me that he had in the past sent firearms to Presi in refrigerators," CW-1 said.

Watch scenes from Kingston's crippling violence

Court documents say Coke and Reaggie discussed the arrival of the weapons on a wiretapped call on May 8, 2007.

"On this call, Presi also discusses which guns he will keep and which ones will go to other people," an affidavit said.

The affidavit of Cooperating Witness 2, or CW-2, outlines the cocaine charges the U.S. has leveled against Coke. CW-2 said he considered himself "part of the American branch" of Coke's notorious Shower Posse.

CW-2, who said he pleaded guilty to charges that he conspired to distribute heroin, cocaine, crack and marijuana, began cooperating with U.S. authorities in 2005, according to an affidavit.

Cocaine allegations

CW-2 told police he and other Jamaicans sold crack in the Bronx between 240th and 241st streets, and he first saw Coke in the area in the early 1990s. Around 1994, he met a man identified as "Mikey" at a Bronx restaurant, and Mikey introduced him to a "mule," or drug smuggler, from Tivoli Gardens, he said.

"I then saw the young woman go to use the restaurant's bathroom," CW-2 told authorities. "Several hours later that same day when the restaurant was closed Mikey gave me cocaine and I cooked the cocaine into crack at the restaurant. Mikey told me that the young woman that I had seen go into the bathroom had removed the cocaine from her body."

The cocaine produced almost a half-kilogram of crack, CW-2 said.

About two years later, CW-2 was with a fellow crack dealer, his crack supplier (allegedly one of Coke's money handlers) and two women, one of whom sold clothes in Kingston's Arcade shopping area, allegedly controlled by Coke.

Mikey told me that the young woman that I had seen go into the bathroom had removed the cocaine from her body.
--Confidential Witness 1, in a U.S. government affidavit

"The dealer explained to me that [Coke] requires that the girls who have shops in the Arcade [and who travel to New York to purchase clothing] carry between one-quarter-and-one-half of a kilogram of cocaine when they come to the United States so that the cocaine can be sold here," CW-2 said. "The dealer said that if the girls refuse to do so, then their businesses will be threatened and the clothing they sell and the money that they earn will be stolen."

CW-2 continued in his affidavit, "Later that same day, the supplier provided me with approximately two to three ounces of uncooked powder cocaine. Earlier that day, when I had asked the supplier for cocaine, he didn't have any. Based on that, I concluded that he had just obtained the cocaine that he gave to me from the girl who was with the supplier when I had seen him earlier that day."

The affidavits of the confidential informants were provided to the Jamaican government in an effort to expedite the extradition process. For nine months, the Jamaican government balked at approving the extradition proceedings, as the U.S. Embassy in Kingston issued letters and diplomatic notes assuring no laws or treaties were violated during the investigation.

Watch how the U.S. is undeterred by the present violence

U.S. envoy Isiah Parnell assured Jamaican officials in December that Coke would receive a fair trial and have an opportunity to face his accusers. A February diplomatic note stated that Coke's case "is among the strongest extradition cases that the United States has made to the government of Jamaica."

After months of wrangling, Prime Minister Golding earlier this month said he would let the courts handle the matter, setting off this week's violent police clashes with Coke's gang members and their supporters in the Jamaican capital.

It appears Coke may have been aware that an indictment was coming well before its issuance last year.

According to an affidavit, an intercepted call in October 2007 caught Coke telling an associate, Omar, "They're coming out with an indictment. ... They're saying that one is going to be there for me, too."

via cnn.com

 

INFO: Smart Pig:BP’s OTHER Spill this Week > Greg Palast

Smart Pig:
BP's OTHER Spill this Week


Friday, May 28, 2010

by Greg Palast for Buzzflash.com

Oil spill residue, Chenega, Alaska©1997James Macalpine-PIF

With the Gulf Coast dying of oil poisoning, there's no space in the press for British Petroleum's latest spill, just this week: over 100,000 gallons, at its Alaska pipeline operation.  A hundred thousand used to be a lot.  Still is.

On Tuesday, Pump Station 9, at Delta Junction on the 800-mile pipeline, busted.  Thousands of barrels began spewing an explosive cocktail of hydrocarbons after "procedures weren't properly implemented" by BP operators, say state inspectors. "Procedures weren't properly implemented" is, it seems, BP's company motto.

Few Americans know that BP owns the controlling stake in the trans-Alaska pipeline; but, unlike with the Deepwater Horizon, BP keeps its Limey name off the Big Pipe.

There's another reason to keep their name off the Pipe:  their management of the pipe stinks.  It's corroded, it's undermanned and "basic maintenance" is a term BP never heard of.

How does BP get away with it?  The same way the Godfather got away with it:  bad things happen to folks who blow the whistle. BP has a habit of hunting down and destroying the careers of those who warn of pipeline problems.

In one case, BP's CEO of Alaskan operations hired a former CIA expert to break into the home of a whistleblower, Chuck Hamel, who had complained of conditions at the pipe's tanker facility. BP tapped his phone calls with a US congressman and ran a surveillance and smear campaign against him. When caught, a US federal judge said BP's acts were "reminiscent of Nazi Germany."

This was not an isolated case. Captain James Woodle, once in charge of the pipe's Valdez terminus, was blackmailed into resigning the post when he complained of disastrous conditions there. The weapon used on Woodle was a file of faked evidence of marital infidelity. Nice guys, eh?

Dan Lawn, Alaska state pipeline inspector who challenged BP.
photo: J. Macalpine 1997 (Palast Fund)

Two decades ago, I had the unhappy job of leading an investigation of British Petroleum's management of the Alaska pipeline system. I was working for the Chugach villages, the Alaskan Natives who own the shoreline slimed by the 1989 Exxon Valdez tanker grounding.

Even then, a courageous, steel-eyed government inspector, Dan Lawn, was hollering about corrosion all through the BP pipeline. I say "courageous" because Lawn kept his job only because his union's lawyers have kept BP from having his head.

It wasn't until 2006, 17 years later, that BP claimed to have suddenly discovered corrosion necessitating an emergency shut-down of the line.

It was pretty darn hard for BP to claim surprise in August 2006 that corrosion required shutting the pipeline. Five months earlier, Inspector Lawn had written his umpteenth warning when he identified corrosion as the cause of a big leak .

BP should have known about the problem years before that ... if only because they had taped Dan Lawn's home phone calls.

BP:  Red, White and Bush

I don't want readers to think BP is a foreign marauder unconcerned about America.

The company is deeply involved in our democracy. Bob Malone, until last year the Chairman of BP America, was also Alaska State Co-Chairman of the Bush re-election campaign. Mr. Bush, in turn, was so impressed with BP's care of Alaska's environment that he pushed again to open the state's arctic wildlife refuge (ANWR) to drilling by the BP consortium.

You can go to Alaska today and see for yourself the evidence of BP's care of the wilderness. You can smell it: the crude oil is still on the beaches from the Exxon Valdez spill.

Exxon took all the blame for the spill because they were dumb enough to have the company's name on the ship. But it was BP's pipeline managers who filed reports that oil spill containment equipment was sitting right at the site of the grounding near Bligh Island. However, the reports were bogus, the equipment wasn't there and so the beaches were poisoned. At the time, our investigators uncovered four-volumes worth of faked safety reports and concluded that BP was at least as culpable as Exxon for the 1,200 miles of oil-destroyed coastline.

Nevertheless, we know BP cares about nature because they have lots of photos of solar panels in their annual reports – and they've painted every one of their gas stations green.

The green paint-job is supposed to represent the oil giant's love of Mother Nature. But CEO Tony Hayward knows it stands for the color of the Yankee dollar.

In 2006, BP finally discovered the dangerous corrosion in the pipeline after running a "smart pig" through it.  The "pig" is an electronic drone that BP should have been using continuously, though they had not done so for 14 years. Another "procedure not properly implemented."

By not properly inspecting the pipeline for over a decade, BP failed to prevent that March 2006 spill which polluted Prudhoe Bay. And cheaping out on remote controls for their oil well blow-out preventers appears to have cost the lives of 11 men on the Deepwater Horizon.

But then, failure to implement proper safety procedures has saved BP, not millions but billions of dollars, suggests that the company's pig is indeed, very, very smart.

* * * * * * * *

Greg Palast investigated charges of fraud by BP and Exxon in the grounding of the Exxon Valdez for Alaska's Chugach Natives.

Palast's investigation of Chevron's oil drilling operations in the Amazon for BBC Television Newsnight is included in the DVD compendium Palast Investigates.

Palast's investigations are supported in part by the Puffin and Cloud Mountain Foundations and the Palast Investigative Fund, a 501c3 charitable trust.

Sign up for Palast's newsletter at GregPalast.com

VIDEO + AUDIO: Damian Marley & Nas (Distant Relatives) - Live @ Highline Ballroom, NYC 5-17-10 | All The Way Live

Ever since Nas & Damian Marley first collaborated on Welcome To Jamrock with the incredible “Road To Zion”, I had wished they would do an album together.  Now that day has arrived as Distant Relatives was released to the world earlier this month.  It’s absolutely my early candidate for album of the year, and their album release show at Highline Ballroom brought the music to life.  Damian’s band was on point, translating the tribal songs on the album perfectly to the live setting.  Here is our exclusive recordings of the night for a ton of songs from the evening and definitely catch the Distant Relatives tour this summer if it stops through your city.

 

Distant Relatives - As We Enter (Live @ Highline Ballroom)

Distant Relatives - Ancient People (Live @ Highline Ballroom)

Distant Relatives - Nah Mean (Live @ Highline Ballroom)

Distant Relatives - Count Your Blessings (Live @ Highline Ballroom)

Distant Relatives - Patience (Live @ Highline Ballroom)

Distant Relatives - One Mic (Live @ Highline Ballroom)

Distant Relatives - Land of Promise (Live @ Highline Ballroom)

Distant Relatives - Africa Must Wake Up (Live @ Highline Ballroom)

 

 

PUB: call for proposals—African Studies, AFS Program, UNCG

CACE Logo

UNCG's 21st Annual Conference on African American Culture and Experience (CACE)
UNCG, Elliot University Center (EUC)
Hosted by the African American Studies Program
The University of North Carolina at Greensboro
October 14-16, 2010

 

Theme: Exploring Black Masculinities Across Multiple Landscapes: A Global Perspective

In the spirit of the theme, we invite participants to share their scholarly, literary, and/or artistic expressions in any one or more of the following formats: Individual Paper, Poster, and Panels.

Topics may include, but are not limited to the following:

  • Theorized black masculinities
  • Multi-racial/multi-ethnic black masculinities
  • Black masculinities across the Global Diaspora
  • Comic & Fictional black masculinities
  • Queer, Feminist, and/or Feminized Black masculinities
  • Black masculinities and politics
  • Black masculinities and the Public Sphere
  • Popular Culture and black masculinities
  • Black masculinity and Education
  • Historical elements of black masculinity
  • Black masculinity and performance
  • Black masculinity and religion/spirituality
  • Black men and families/relationships
  • Black masculinity and music

Send proposed abstracts (100 words) in Word or RTF to afs@uncg.edu no later than August 13, 2010. Panel proposals are highly encouraged. Student panels are welcomed. Send inquiries to AFS@uncg.edu. For more information and registration, visit www.uncg.edu/afs.

Papers will be considered for inclusion in the new Journal of Black Masculinity.

--------------------------------------------------------------------------------------------------------
Call for Proposals

Conference Schedule

Registration

Accommodations

Directions
--------------------------------------------------------------------------------------------------------

For More Information, Contact UNCG's African American Studies Program:
336.334.5507
afs@uncg.edu

The annual Conference on African American Culture and Experience (CACE) examines critical and timely African American-related issues and perspectives to engage students, faculty, staff, and members of the community in the exploration and discussion of these topics and ideas. CACE was initiated in 1990 by the UNCG Department of Religious Studies and seeks to promote a better understanding of the various facets of African American culture and experience.

PUB: Music for Another World Anthology > from Anthology News and Reviews

Music for Another World Anthology

Submission Guidelines
Forgive the lengthy guidelines but I hope by being as specific as possible I'll save both my time and yours. If a story does not fit the submission guidelines it will be rejected without a second glance.

What I'm looking for
The obvious points:
I'm looking for Fantasy and Science Fiction Stories. I am quite broad with definitions, but a fantasy story must have an element of fantasy, and a science fiction story must contain an element of science/technology and speculation about science. I like merged-genre stories, but be warned that I don't want the anthology dominated by 'slipstream' stories.

Story length is ideally between 2000 and 6000 words. However, I will consider stories outside of this range.

The unique points:
Music must be integral to the story: for example, the story might be about music, or the life of musicians, or the effect of a musical instrument, or perhaps a piece of music -- or anything else that I haven't thought of!

This next requirement is equally important. I'm not only looking for great characters, great plot, great entertainment and great prose, but I'm also looking for stories that are intellectually exciting. This is something Science Fiction and Fantasy is best equipped to deliver, so I am going to be explicit about wanting this in the anthology.

What I'm NOT looking for:

  • A story where the author has changed the lead character from a schoolteacher to a musician, or where the magical object has been changed from a cursed handbag to a cursed violin. Music MUST be integral to the story. If the musical element can obviously be exchanged for something or someone else -- brilliant though the story may be -- it won't fit my anthology.
I'm also NOT looking for:
  • Gore-fests
  • Sword and Sorcery
  • Fan fiction
  • Mozart fighting zombies
Submission Format:
Electronic submissions only. In RTF format. Email to
mark.musicanthology'@'gmail.com

If you have an off-the-wall idea you would like to check out with me in advance, please do so. I can be contacted at

mark.musicanthology'@'gmail.com

Background info for submitters: What's 'Strange Fiction'?
I'm using it as a convenient term to lump together Fantasy and Science Fiction. 'Speculative Fiction' would also do, but it has acquired snobby associations. I'm happy to celebrate The Geek.

Background info for submitters: The Anthology

The book will be published to good standard in paperback, PDF and ePub. Sales will mainly be online as the cost of selling through the big retailers is exorbitant. I will send review copies to sites and associations that are likely to cover it. I will also invest in publicity activities when the anthology is near completion -- but the scope of this will depend on what is practical when I get to that point. The anthology will contain about 10 stories.

I'll give updates here on submission and book progress -- so if you are a story submitter follow this site for news.

PUB: Sentinel Literary Quarterly Short Story Competition July 2010

Sentinel Literary Quarterly Short Story Competition (July, 2010).

 

Competition Details 

Subject: Short Stories may be on any subject or style and MUST NOT have been previously published, posted to a website or blog. Stories posted to members-only writing groups for workshop purposes as part of the creative process are not deemed to have been previously published.

Length: Maximum 1,500 words per story.

Entry Fees: £5.00 per story, £9 for 2 stories or £12.00 for 3 stories.

First Prize: £150.00

Second Prize: £60.00

Third Prize: £40.00

First Publication: The top three stories will receive first publication in the July 2010 issue (Vol.3 No.4) of Sentinel Literary Quarterly (SLQ) online.

Competition Magazine: A total of 4 short stories from this competition will be published in The Sentinel Champions Magazine in November 2010.

Entries Deadline: 25th June, 2010

Results due: 31st July, 2010 announced in Sentinel Literary Quarterly magazine at http://www.sentinelquarterly.com

Judge: Laura Solomon

Competition Administration: Sentinel Poetry Movement

 

ENTER BY POST OR ONLINE

 

POSTAL ENTRIES

  1. Short Stories must be in English Language and typed.

  2. Author's name and address or any other identifying mark MUST NOT appear on any of your story pages.

  3. PRINT your Name, Postal Address, E-mail Address and if you wish, Telephone number on a plain sheet of paper and place the paper in a sealed envelope.

  4. Write "SLQ STORY JULY 2010" followed by the Title(s) of your Short Story(ies) on the back of the envelope.

  5. Make cheques or Postal Orders (in GB£ only) payable to SENTINEL POETRY MOVEMENT.

  6. Send your Short Stories, the envelope with your name inside, and your entry fee to: 

Sentinel Poetry Movement

Unit 136

113 – 115 George Lane

London

E18 1AB

United Kingdom

 

ONLINE ENTRIES*  

International/Online entrants may enter by e-mail and pay entry fees by Paypal. To enter by this method please follow these steps:

1. Select the option that matches your entry preference from the paypal drop-down button below and make the applicable payment.

2. After making your payment, you will be given a Transaction ID or Receipt Number by Paypal. Make a note of the Transaction ID.

3. Submit your short stories and a cover note with your Name, Postal Address, Optional Telephone Number and Titles of your stories to sentinelpoetry@gmail.com as a Word or rtf attachment. In the subject line, type SLQ STORY JULY 2010 Followed by your Transaction ID.

4. You will receive an acknowledgement of receipt of stories within 48 hours.

SLQ SHORT STORY JUL 2010

1 Story £5.00 2 Stories £9.00 3 Stories £12.00

Terms & Conditions:

1. You may enter as many short stories as you wish with the appropriate entry fees. 2. The decision of the judge is final, and no communication will be entered into. 3. If on the advice of the judge, the quality of entries is too low to produce worthy prize winners, or any other legitimate reason beyond our control arises which may affect a fair completion or conduct of the competition, we reserve the right to cancel the competition and refund all entry fees immediately by the same method we have been paid. 4. If you would like an acknowledgement of postal entries, please enclose an SAE marked "acknowledgement". 5. The Judge's Report will be published alongside the winning poems in SLQ July 2010. This publication is online, if you would like to receive the Judges' Report in the post, please enclose an SAE marked "Judges' Report". 6. All prizes won will be paid inside 30 days of the announcement of the results. * Online entries must be received by midnight on the 25th of June 2010 E&OE | SLQ

PUB: Sentinel Literary Quarterly Short Story Competition July 2010

Sentinel Literary Quarterly Short Story Competition (July, 2010).

 

Competition Details 

Subject: Short Stories may be on any subject or style and MUST NOT have been previously published, posted to a website or blog. Stories posted to members-only writing groups for workshop purposes as part of the creative process are not deemed to have been previously published.

Length: Maximum 1,500 words per story.

Entry Fees: £5.00 per story, £9 for 2 stories or £12.00 for 3 stories.

First Prize: £150.00

Second Prize: £60.00

Third Prize: £40.00

First Publication: The top three stories will receive first publication in the July 2010 issue (Vol.3 No.4) of Sentinel Literary Quarterly (SLQ) online.

Competition Magazine: A total of 4 short stories from this competition will be published in The Sentinel Champions Magazine in November 2010.

Entries Deadline: 25th June, 2010

Results due: 31st July, 2010 announced in Sentinel Literary Quarterly magazine at http://www.sentinelquarterly.com

Judge: Laura Solomon

Competition Administration: Sentinel Poetry Movement

 

ENTER BY POST OR ONLINE

 

POSTAL ENTRIES

  1. Short Stories must be in English Language and typed.

  2. Author's name and address or any other identifying mark MUST NOT appear on any of your story pages.

  3. PRINT your Name, Postal Address, E-mail Address and if you wish, Telephone number on a plain sheet of paper and place the paper in a sealed envelope.

  4. Write "SLQ STORY JULY 2010" followed by the Title(s) of your Short Story(ies) on the back of the envelope.

  5. Make cheques or Postal Orders (in GB£ only) payable to SENTINEL POETRY MOVEMENT.

  6. Send your Short Stories, the envelope with your name inside, and your entry fee to: 

Sentinel Poetry Movement

Unit 136

113 – 115 George Lane

London

E18 1AB

United Kingdom

 

ONLINE ENTRIES*  

International/Online entrants may enter by e-mail and pay entry fees by Paypal. To enter by this method please follow these steps:

1. Select the option that matches your entry preference from the paypal drop-down button below and make the applicable payment.

2. After making your payment, you will be given a Transaction ID or Receipt Number by Paypal. Make a note of the Transaction ID.

3. Submit your short stories and a cover note with your Name, Postal Address, Optional Telephone Number and Titles of your stories to sentinelpoetry@gmail.com as a Word or rtf attachment. In the subject line, type SLQ STORY JULY 2010 Followed by your Transaction ID.

4. You will receive an acknowledgement of receipt of stories within 48 hours.

SLQ SHORT STORY JUL 2010

1 Story £5.00 2 Stories £9.00 3 Stories £12.00

Terms & Conditions:

1. You may enter as many short stories as you wish with the appropriate entry fees. 2. The decision of the judge is final, and no communication will be entered into. 3. If on the advice of the judge, the quality of entries is too low to produce worthy prize winners, or any other legitimate reason beyond our control arises which may affect a fair completion or conduct of the competition, we reserve the right to cancel the competition and refund all entry fees immediately by the same method we have been paid. 4. If you would like an acknowledgement of postal entries, please enclose an SAE marked "acknowledgement". 5. The Judge's Report will be published alongside the winning poems in SLQ July 2010. This publication is online, if you would like to receive the Judges' Report in the post, please enclose an SAE marked "Judges' Report". 6. All prizes won will be paid inside 30 days of the announcement of the results. * Online entries must be received by midnight on the 25th of June 2010 E&OE | SLQ

INFO: Badilisha | Come Into This - Spoken Word in South Africa > from Mahala

Come Into This

Thursday, May 27th, 2010 by Tiisetso Molobi

I used to be into Slam Poetry a thousand years ago. It was right around the same time I was into my Afrocentric, Power-to-the-people phase. The first time I watched Lebo Mashile and Masello Motana live at the Bassline I thought, wow, these girls are rad. I followed Lebo’s rise with her all female poetry ensemble, Feel as Sistah. And I quickly lost interest when I started finding boys more interesting than words. For years now, I have been disappointed by boys, time and again, but have found that words seldom let you down. Poetry can get a bit tricky though, especially when the wordsmith speaks above or over their audiences’ heads. This is what I was afraid would happen as I briskly walked to City Hall on Friday evening. But boy was I wrong. I arrived at exactly 20h07. First up was D’bi (Jamaican), followed by Kwame Dawes (American), a 15minute interval then the duo Black Pearl & Croc E Moses (South African) and lastly Anis Mojgani (American). So, all in all 2 local poets and 3 international ones went head to head to claim the admiration of the audience. Having attended both nights, I was eager to see how different their acts would be from night to night.

D’bi Young describes herself as follows, “born in kingston Jamaica, raised in Whitfield Town, birthed from the womb of dub by Anita (poets iin unity) Stewart who raised her child at orality’s hub storyteller, D’bi. Young takes performance live is celebrated by the people on her way including receiving two Doras for blood.claat first of the Sankofa trio of plays the second and third are benu and word! Sound! Powah! Onewomban biomyth monodramas D’bi. is dubpoet, educator, soul-searching wombanist also aspiring rawfoodist played staceyann in da kink in my hair founded anitafrika! Dub theatre recorded six dub disks with two collections of poetry published new album set to blossom late 2010 watching her two sons grow while currently touring the world welcome to her wombanifesto!”

The way this is written is the way she delivers her stories. Her most famous piece, Blood Claat is intense in accent and content, to say the very least. Young performed it the first night with as much fervor as the message in the poem. It speaks of her troubled youth, molestation and the power of blood. In it, she questions why society is so afraid of blood, of the colour of blood, particularly in the adverts that sell sanitary goods, she asks why the colour used is blue and not red? She raised the same point that many of my girlfriends and I have asked when seeing similar ads. Why the shame? Blood is blood, it’s RED, not blue?! The poem questions all the subversive crap the media tries to feed us about the notion of woman, blood and what it means for her to be a woman, who bleeds. The delivery was very fluid, I enjoyed that. It was essentially one long 20 minute piece, with no more then a few tiny breaks to sip some water and continue her story. After watching and listening to Young, you feel exhausted, only because she gives it all when she performs. Each facial expression, glare, pause and exclamation is intentional and sincere. Not at all cheesy. Towards the end of her set, I really expected her to weep, I could have sworn I saw a shining glare in her eyes that threatened to end up trickling down her cheek… alas, she kept it together and ended tear-less, on this night. The Saturday night mood and show was alot more intense and my suspicion of her tears were proved right, as she did indeed break towards the end of her set.

” …yuh evah notice/see dem pon tv cotex tampax always or maxi dem nuh use red/a blue dem use instead and i’m wondering from where di shame / around my cunt came from like a covert operashun / more than half di populashun bleed
we used to have nuff nuff nuff nuff blood ritual where oomaan come togeddah/and bleed inna di land but now di blood naw flow/where did the rituals go manufactured shame/designed to keep me inna chains
I bleed
five nights of bleeding/blood inna mi eye five nights of bleeding/blood inna mi head five nights of bleeding/blood inna mi womb five nights of bleeding/blood inna mi cunt five nights of bleeding/blood deh pon di ground and when war come/whose blood run…”

Next up was one Kwame Dawes. This man is a fan and made it his literary life’s work to research and unpack the lyrics to all of Bob Marley’s songs. So much so that, his book Bob Marley: Lyrical Genius remains the most authoritative study of the lyrics of Bob Marley. Fact. So, having read that, a stupid part of me figured he would recite some of Marley’s tunes, but instead, he read poems about all the women in his life, from an iPad I might just add. That kinda put me off, and honestly distracted me most of all. I did not like his delivery at all. I suspect he is most comfortable penning his poems in the privacy of his study somewhere away from the world’s stage. Unlike Young, Kwame was far more rigid in presence, and visibly slightly nervous. Well into his third poem, he managed to ease up a bit. So much so that by the second night, Dawes started his set by strumming a guitar and belting out a tune by his muse, Bob Marley. I actually don’t know the song he sang. Before I could get excited at the hope that he wouldn’t use the iPad again, he put down his guitar, and picked up the damn thing. Made me wonder, isn’t he kinda defeating the purpose here? A poet reading from an electronic device? Is he not making a contradictory statement, that perhaps books will vanish as a medium? I’m just saying. While his first performance was dry, his second was alot more palatable. I noticed he dedicated all his pieces that night, to the various women in his life. From his piece “Sela” about his little daughter, who isn’t so little anymore, it speaks of a father’s love for his child and his trepidation of doing the inevitable letting go, which ends abruptly, followed by “Goma” about the biblical character form the bible. As we know, Goma was the bad ass whore in the Bible that all the men had their way with. In his piece, he paints the other side of the story, from her point of view. It was refreshing to get that other imagined perspective. From playing the devil’s advocate in “Goma” to taking us on a mind’s journey through “How the Wedding laughed”, yes you guessed it, a piece on a wedding about this and the other, it didnt really speak to me, maybe because I found myself drifting between boredom and distraction from all the gasps, the oohs and aahs from audience members. Clearly the crowd was feeling a brother.

What followed was a 20 minute break, the second night, of which I opted to stay seated for, and wait for the next act to come on. Black Pearl together with Croc E Moses performed a piece called “Circuit Tree”. An odd couple, on stage. a very tall white tongue twisting male with a very short bald coloured woman with an audible and almost annoying lisp, who’s poems are mostly in Afrikaans. Already that, made me want to see the end of their piece. I was growing impatient with them. Moses, is strange, wonder what he is like in real life. Wonder if he talks the way he writes? I mean honestly, the man should be crowned the king of alliteration.
“Free as a free range moth blinded by de-light It’s a crash course in wake up calls… where there’ s no peace of mind, just price of mind It’ s called prisis… did you get that it’ s a criss cross crisis. It’s still a crash course in wake up calls. We’re shitting our minds because our minds have a long way to fall It’ s hectic, hectic, hectic… It’s beyond poetic. Hmmm I guess we all get to be dumfounded in the fun folded flippant times. Hopefully everybody downloading mind. Searching like a little sniff snoop snoof… sniff snoopy snoof… oh there we are juggling curveballs. Connecting dot to dot déjà vu, déjà vu, danger vu… it’ s still a prisis, criss cross crisis…”

This is a taste of what I mean from his piece “Fire is our favourite Colour”.
I would have to note that both this piece “Circuit Tree” and D.Bi Young’s content, is very political with loads of social commentary to be picked up in between the lines.Their performances were far tighter the first night. I also did not like that Black Pearl wore the exact same outfit she had on, the night before. That is a no-no, only because her outfit was not in anyway a costume or part of the act. I dont want to write much more about this act.

The one that stole the show however is tiny by frame but huge on perfomance and even bigger in telling his stories. Anis Mojgani did not win the World Slam Poetry title by mistake. With a bottle of water in hand, he climbs the stage only to blow it up into tiny lyrical pieces with each penned poem. The first time I heard him I was snapping photographs and I must be honest, I had to remind myself to keep shooting. The man has cadence. I just don’t know how to describe the guy’s skills. Maybe I should insert a sound bite, > right here < , well let me insert the words to a piece of his that one has to witness live in order to fully appreciate it. No theatrics, no gimmicks, just words. Words came out his mouth dancing merrily and landing softly in our ears, to an array of more and even louder gasps, ooohhs and aaaahs than Dawes’ words could muster. The man is talented and writing and even performance is in his blood. Looking natural and comfortable in front of us, you could tell, Majgani gets along well with words, sentences, metaphors and the like. The passion for his craft is unquestionable.

“Come into this. come closer.
you are quite the beauty. if no one has ever told you that before know that now. you are quite the beauty. there is joy in how your mouth dances with
your teeth. your mouth is a sign of how sacred your life truly is. come into this. true of heart come into this. you are true of heart. come closer. come
closer. know that whatever God prays to He asked it to help Him make something of worth. He woke from His dreams scraped the soil from the spaces inside Himself made you and was happy. you make the Lord happy. come into this.
come closer.
know that something softer than us but just as holy planted the pieces of Himself into our feet that we might one day find our way back to Him. you
are almost home.
come closer come into this. there are birds beating their wings beneath your breastplate gentle sparrows aching to sing come aching hearts come soldiers
of joy doormen of truth come true of heart come into this.
my heart was too big for my body so I let it go and most days this world has thinned me to where I am just another cloud forgetting another flock of swans but believe me when I tell you my soul has squeezed into narrow spaces. place your hand beneath your head when you sleep tonight and you may
find it there making beauty as we sleep as we dream as we turn over when I turn over in the ground may the ghosts that I have asked answers of dothe turning kneading me into crumbs of light and into this thing love thing called life. come into it!
come you wooden museums you gentle tigers negro farces in two broken scenes. come rusting giants!
I see teacups in your smiles upside down glowing. your hands are like my heart. on some days how it trembles. let us hold them together. I am like
you. I too at times am filled with fear. but like a hallway must find the strength to walk through it. walk through this with me. walk through this with me. through this church birthed of blood and muscle where every move
our arms take every breath we swallow is worship.
bend with me. there are bones in our throats. if we choke it is only on songs.”

All in all, Baldilisha revived my appreciation for the spoken word, well, Anis Mojgani single handedly did that. But honestly, three years since its inception, Badilisha is moving in the right direction. More marketing of their events would be welcomed. This relevant culture. But seeing the pseudo intellects with their blazers and khaki pants holding their glasses of wine at a poetry festival, is, well, a little too cliched. Younger folks would dig this.

All images © Tiisetso Molobi. Check out her blog here.

REVIEW: book—Disturbing the Peace: Black Culture and the Police Power after Slavery

Bryan Wagner. Disturbing the Peace: Black Culture and the Police Power after Slavery. Cambridge: Harvard University Press, 2009. 320 pp. $35.00 (cloth), ISBN 978-0-674-03508-9.

Reviewed by Seth Kotch (University of North Carolina at Chapel Hill)
Published on H-Law (May, 2010)
Commissioned by Christopher R. Waldrep

Black Culture and the Law

Bryan Wagner’s Disturbing the Peace is a re-imagination of the possibilities of cultural history. Rather than subjecting his source material--early twentieth-century popular music, the recordings of folklorists, novels, and newspaper articles, all supplemented by prodigious secondary reading--to the traditional analytical methods of social history, Wagner uses them to experiment with voice and temporality in a way that troubles our understanding of folklore, black culture, and the construction of history itself. He admits a degree of “speculation, and even presumption” in his work, but believes it is worth it if “the book succeeds in making otherwise unimaginable connections appear indelible, even for a moment” (p. 237).

I hope that a historian ignorant of the contemporary academic study of literature can credibly claim that Disturbing the Peace is a genuinely multidisciplinary work at a time when lots of lip service is given to the idea, but little seems to come of it. Wagner dips into his expertise in textual analysis, using both fiction and song lyrics; he analyzes court cases like a legal historian; he has done his archival research in historic newspapers and other documents; and he has read his theory. The result blends critical theory, cultural history, legal history, black studies, performance studies, and even folklore, not to mention oral history, as Wagner listens closely to the voices of his subjects. The complex outcome means that the historian-as-reviewer must focus on questions of history and leave the engagement with Wagner’s critical interpretation of literature to others.

A key premise of this book is that we can best understand unresolved issues of race and identity at their point of conjunction with the police power, the power of the state to defend itself against specific threats. The result, in Wagner’s words, is “a possible history of the black tradition” (p. 237). Much of this fresh understanding springs from Wagner’s interpretation of the law’s vagaries. From the perspective of police power, it does not matter very much whether a slave is “thinking property,” as Aristotle put it, or “persons made things,” Harriet Beecher Stowe’s formulation. Whatever you want to call him, the fugitive must be dealt with. Judges wrestled with the boundaries of personhood in countless cases, but as Wagner demonstrates, when they considered their subjects only as “police objects,” they were able to resolve troubling ambiguities (p. 74).

Contributing to this ambiguity was the fact that blackness, which Wagner understands as a kind of invisibility, is necessarily an inexpressible condition because speech makes the speaker visible. Open your mouth, and you are no longer invisible, no longer a vagrant, and no longer black. How, then, to sing out about blackness when that very singing elevates you into a social and political position your blackness denies you? “As Du Bois says, it is a problem,” writes Wagner (p. 21). A legal history allows us to unpack this problem using our awareness of statement and counterstatement, a kind of appreciation that the tradition must “mimic the conditions of its alienation” before growing itself (p. 21). It requires a willingess to read tradition in new ways, accepting that it can move, for example, “from the newspapers to the oral tradition” (p. 236). 

African Americans in the 1920s, though, might have disagreed that blackness meant a kind of statelessness. Many African Americans during this time, especially in the Jim Crow South, were comfortable passing in a variety of ways, including from visibility to invisibility and back again. Head down and hands thrust into pockets in a majority-white area, the black laborer uses white assumptions about his insignificance to protect himself. Among friends, he casts off this cloak and becomes, dare I say it, his authentic self. Blackness, as perceived by those who do not own it, may be a form of vagrancy. But blackness, as expressed by those who are black, might indicate more duality than invisibility. Here, the reader learns less about black culture as experienced by black Americans than about a point of cultural contact important to cultural theorists. Wagner does not promise the former, but its absence is felt.

Wagner opens his book with a provocative critique of folklore, not just as practiced by its originators in the American South, but also as a practice. He suggests that folklorists and cultural scholars--like John Lomax and his son Alan, Walter Prescott Webb, Howard Odum, and Zora Neale Hurston--were not gathering authentic black voices. By the time they turned on their recorders, they had settled on an idea of what constituted authenticity, deciding that the ragged drifter or prison inmate fit the bill. After all, the song sounded like the singer and the singer looked like the sound. And when a Lomax showed up in your neighborhood, it was foolish to pass up the opportunity to play the part. Or, as Wagner puts it, folklorists “facilitated not the discovery but the artificial instigation of folk expression through their fieldwork” (p. 34). Folklore was fantasy made real.

Similarly challenging are Wagner’s suggestions that to the folklorists of the early twentieth century, the value of preserving black culture lay in its impending extinction. Folklorists likely would not disagree with the idea that their mission is to a large extent preservation. But Wagner’s argument stems from his reading of author and scholar George Washington Cable, for whom the “cultural value of ... slave-made songs and stories was predicated upon their growing irrelevance to contemporary society” (p. 82). Similarly, Joel Chandler Harris, the creator of the Uncle Remus stories, whom Wagner calls the “immediate inspiration” for the professional interest in black folklore around the turn of the twentieth century, according to one history did a great service when he “‘perpetuated a vanishing civilization’” (p. 117).  Following this line of thought, African American music and legend interested folklorists because in sum they served as a kind of memento of a vanished, primitive civilization--as interesting, but maybe as useless, as artifacts in a museum.

To the legal historian, this book is most valuable when it addresses the place of blackness in the law, the role of police and police power in the lives of African Americans, and the career of Uncle Remus. Wagner considers the figure of Uncle Remus as sectional healer, the broker of a post-Civil War compromise that eased aggrieved southerners back into the national fold by allowing their nostalgia for the slave South to become part of a shared American character. Harris adapted an early story in which Remus killed a northern soldier to defend his master to one where the soldier lives, marries Remus’s master’s sister, and takes Remus with him to Atlanta. The son of this Union veteran and his Confederate wife grows up on Uncle Remus’s knee, both a symbol of and receptacle for reconciliation. Wagner argues that furthermore, Remus played a role in redefining culture and politics in the modernizing nation. This redefinition matured in Atlanta, where Harris wrote his Uncle Remus columns for the Constitution. Atlanta, then and now a symbol of the economic potential of the South, was also the site of a contest over the role of the police force in the post-emancipation South.

If the future of the New South was dependent on Atlanta, Atlanta’s future was, at least in the opinion of the paper’s New South boosters, dependent on a civilizing process secured by a professional police force. One service police could provide Atlanta was labor to build the city’s industries. They did not provide this labor themselves, but rounded up ex-slaves (“vagrants”) to provide convict labor for industrialists with few regulations to keep them healthy, let alone alive. The police acted against a backdrop of Constitution propaganda that howled about the vicious black migrants who lounged on Atlanta’s streets, waiting for the chance to harm God-fearing Atlantans. The Constitution’s zeal inflamed whites who were not policemen, too, and worried black journalists, who did their best to rebut the Constitution’s claims in their own papers, including the Atlanta Tribune. But the Constitution was a formidable opponent, so much so that its claims about black criminality, intended to aid the police force, ended up inventing a local tradition of black lawlessness that crept back in time so as to feign earlier roots.

Wagner concludes his book with a study of “coon song” singer George Johnson and the recordings made by Lomax and his son, Alan, of imprisoned blues singer Ozella Jones. Johnson, the vastly popular performer of such hits as “The Laughing Song” (1894) and “The Whistling Coon” (1891) sounded to white listeners just as they expected. Recording technology was advanced enough by the 1890s that Johnson could bark and slur his way through his performances without reducing them to total illegibility to whites, who desired from black performers something messy and edgy, but also accessible. Here was a marriage between performer and technology that gave whites the proof they were looking for of the simple character of African Americans. It is for this reason--because he was willing to play the minstrel, and because of his success, argues Wagner--that Johnson was largely excluded from folklorists’ construction of the vernacular tradition.

Two such folklorists Wagner examines in this chapter are the Lomaxes, who in 1933 loaded an impressive three hundred-pound recording device into their Ford and set off on the first of many research trips. Lomax reinvented the apocryphal chance encounters that defined the recording of black music, from W. C. Handy’s tale about a ragged bluesman at a train station, to Thomas Edison’s alleged discovery of George Johnson. Lomax’s need for financing meant that he defined the parameters of his recordings before encountering his subjects. The prison, Lomax decided, was the best place to discover “‘unsophisticated ballad-singing Negroes in considerable numbers’” (p. 216). Embarking on a tour of southern penitentiaries, Lomax made his research a testimony that “prisons were the last remaining repositories for black cultural authenticity” (p. 216). Lomax’s high-fidelity recording offered listeners what they thought was objective truth about black culture.

Disturbing the Peace will be of use to instructors planning courses, though it is likely suitable reading only for graduate students not only because of the sophistication of Wagner’s ideas, but also because his prose sometimes requires familiarity with academic language to decode. Wagner’s many points of incursion into his subject would have made a more detailed index helpful, but readers should have no trouble sampling from the work if they wish. It should be said, too, that there is something odd about such an erudite book, so obviously written for an academic audience, that uses endnotes rather than footnotes. To truly appreciate this book, the reader must flip back and forth, searching out notes. The publisher would have been wiser to acknowledge the complex lattice of knowledge on which the book rests and use footnotes instead. These are minor deficits in a fine book.

Among Wagner’s accomplishments is that he privileges the thinkers of the period about which he writes. He has read extensively in the secondary material, but his background in literature (if I may make an assumption) leads him to believe, or at least write like he believes, that the voices of an era are to be trusted. This lesson is an important one for historians, who despite their fealty to discoverable truth in archives, in their desperate quest for new niches to win them tenure (or, at this point, even just an adjunct position), sometimes discard old books for ones making new claims, whatever their merit. Thus figures like T. Thomas Fortune and Ida B. Wells-Barnett, as well as blues singers and novelists, make welcome appearances. By engaging in such depth with these voices, Wagner successfully inverts and challenges the concept of tradition, and with it, the creation of history and the creations of historians.

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: Seth Kotch. Review of Wagner, Bryan, Disturbing the Peace: Black Culture and the Police Power after Slavery. H-Law, H-Net Reviews. May, 2010.
URL: http://www.h-net.org/reviews/showrev.php?id=25916