Sunday, June 26, 2016
Brexit, Texit, Blaexit! or The Republic of New Afrika
But Texit and Calexit, at least think about Blaxit, a nation of your own or do you desire to be forever under the domination of white supremacy. We who are revolutionary Black nationalists must never give up our desire for nationhood. But if you don't demand anything, you only get more of the same. Aren't you tired of treading water in a pitiful state, repeating the mistakes of the past leadership that has only led us into the political slave camp of the Democratic Party to be hoodwinked and bamboozled again and again? "Power concedes nothing without demands; it never has and never will!", said ancestor Frederick Douglas.
--Marvin X
6/26/16
For thousands of years, Black People in Africa had enjoyed Freedom, Independence, Self-Government and Self-Determination. When Black People came to the Americas as adventurers and explorers and established settlements here, they maintained their love for freedom, independence, self-government and self-determination.
And, when Black People were brought to this land as slaves, Our most powerful motive was to regain Our freedom, independence, self-government and self-determination. From day one, Black People rebelled and sought a way-of-life that was more rewarding and beneficial to Us. We did so in 1526 by rebelling against the Spaniards in South Carolina and running to the Indians, who helped Us drive the Spanish away and experience the self-governing process again. Thus began Our quest to establish a Black nation, a REPUBLIC OF NEW AFRIKA, in North America.
To the Black People who were forced to come to this land, Black Nationalism was a top priority. Self-government was what Blacks wanted more than anything else. Between 1850 and 1860, Blacks became more daring in their determination to rule themselves. For 250 years they had expressed their nationalistic desires by rebelling against whites, terrorizing whites and establishing camps that were governed by Black People.
Throughout the Civil War Black People demonstrated a preference for self-government by taking every opportunity available to govern themselves. Black People flocked in large numbers to areas where northern armies had won battles, and confronted the military officers with situations that could only be controlled if immediate governments were established. Black People would have to run those governments, and had a right to.
In 1864, Special Field Order #15 set aside for Black People a stretch of land from Charleston, S.C. to the country bordering the St. John's River in Florida. In this area, the official order read, "no white person whatsoever, unless military officers and soldiers detained for duty, will be permitted to reside; and the sole and exclusive management of affairs [of government] will be left to the free people [Black People] themselves."
Similar centers were established in Mississippi, where more than 70,000 Blacks established governments where all property was under Black government and control, and where all Black residents had the inalienable right to liberty. With such settlements as these, on land from South Carolina to Florida and Mississippi that had been declared Ours, We, Black People, settled down to manage Our affairs [and did a good job]." We wanted to continue managing Our affairs, too. For this reason We resisted efforts made later on by the federal government to take away Our land and oftentimes only gave it up after We had been defeated in battle by army troops.
In the late 1960s, a convention of Black delegates met in Detroit, Michigan and proclaimed that Black People in the United States were in fact a Nation of People separate from the American people. This convention of delegates, including Imari Obadele (who was later elected president of the Black Nation) gave that Nation of People a name, the Republic of New Afrika. The Republic of New Afrika took the concept of Black Nationalism to its ultimate stage when, in 1968, it declared Black People to be free and independent of the United States government.
The Republic of New Afrika declared Black People's independence because it "believes that Black People in Amerikkka make up a nation of people, a people separate and apart from the Amerikkkan people. The RNA also believes that as a nation of people, We are entitled to all of the rights of a nation, including the right to land and self-determination. The RNA further believes that all the land in Amerikkka, upon which Black People have lived for a long time, worked and made rich as slaves, and fought to survive on is land that belongs to Us as a People, and it is land We must gain control of because, as Malcolm X said, land is the basis of independence, freedom, justice and equality.
We cannot talk about self-determination without discussing it within the context of land. Therefore, the RNA [identified the five states of Mississippi, Louisiana, Alabama, Georgia and South Carolina as Black People's land and] believes that gaining control of Our land is the fundamental struggle facing Black People. Without land, Black Power, rights and freedom have no substance.
--Marvin X
6/26/16
For thousands of years, Black People in Africa had enjoyed Freedom, Independence, Self-Government and Self-Determination. When Black People came to the Americas as adventurers and explorers and established settlements here, they maintained their love for freedom, independence, self-government and self-determination.
And, when Black People were brought to this land as slaves, Our most powerful motive was to regain Our freedom, independence, self-government and self-determination. From day one, Black People rebelled and sought a way-of-life that was more rewarding and beneficial to Us. We did so in 1526 by rebelling against the Spaniards in South Carolina and running to the Indians, who helped Us drive the Spanish away and experience the self-governing process again. Thus began Our quest to establish a Black nation, a REPUBLIC OF NEW AFRIKA, in North America.
To the Black People who were forced to come to this land, Black Nationalism was a top priority. Self-government was what Blacks wanted more than anything else. Between 1850 and 1860, Blacks became more daring in their determination to rule themselves. For 250 years they had expressed their nationalistic desires by rebelling against whites, terrorizing whites and establishing camps that were governed by Black People.
Throughout the Civil War Black People demonstrated a preference for self-government by taking every opportunity available to govern themselves. Black People flocked in large numbers to areas where northern armies had won battles, and confronted the military officers with situations that could only be controlled if immediate governments were established. Black People would have to run those governments, and had a right to.
In 1864, Special Field Order #15 set aside for Black People a stretch of land from Charleston, S.C. to the country bordering the St. John's River in Florida. In this area, the official order read, "no white person whatsoever, unless military officers and soldiers detained for duty, will be permitted to reside; and the sole and exclusive management of affairs [of government] will be left to the free people [Black People] themselves."
Similar centers were established in Mississippi, where more than 70,000 Blacks established governments where all property was under Black government and control, and where all Black residents had the inalienable right to liberty. With such settlements as these, on land from South Carolina to Florida and Mississippi that had been declared Ours, We, Black People, settled down to manage Our affairs [and did a good job]." We wanted to continue managing Our affairs, too. For this reason We resisted efforts made later on by the federal government to take away Our land and oftentimes only gave it up after We had been defeated in battle by army troops.
In the late 1960s, a convention of Black delegates met in Detroit, Michigan and proclaimed that Black People in the United States were in fact a Nation of People separate from the American people. This convention of delegates, including Imari Obadele (who was later elected president of the Black Nation) gave that Nation of People a name, the Republic of New Afrika. The Republic of New Afrika took the concept of Black Nationalism to its ultimate stage when, in 1968, it declared Black People to be free and independent of the United States government.
The Republic of New Afrika declared Black People's independence because it "believes that Black People in Amerikkka make up a nation of people, a people separate and apart from the Amerikkkan people. The RNA also believes that as a nation of people, We are entitled to all of the rights of a nation, including the right to land and self-determination. The RNA further believes that all the land in Amerikkka, upon which Black People have lived for a long time, worked and made rich as slaves, and fought to survive on is land that belongs to Us as a People, and it is land We must gain control of because, as Malcolm X said, land is the basis of independence, freedom, justice and equality.
We cannot talk about self-determination without discussing it within the context of land. Therefore, the RNA [identified the five states of Mississippi, Louisiana, Alabama, Georgia and South Carolina as Black People's land and] believes that gaining control of Our land is the fundamental struggle facing Black People. Without land, Black Power, rights and freedom have no substance.
From Brexit to Texit? Renewed calls for Texas secession after EU vote
The state flag of Texas.
FORT WORTH, Texas -- Britain's startling vote to leave the European Union has reignited talks of secession in Texas, CBS Dallas-Fort Worth reported.
Daniel Miller, head of the Texas Nationalist Movement, sent a tweet to Gov. Greg About Friday morning calling on him to schedule a statewide referendum on "Texas independence."
The hashtag #Texit was trending locally, according to CBS DFW. People at the Fort Worth Stockyards had mixed reactions to the idea.
"It's worth a shot. I'd be happy," resident Tab Pigg told the station, saying the East and West Coasts "run everything."
"No one knows we're even here," Pigg continued. "Best thing we could do is let them have it. They want to make a wreck out of their part of the world, let 'em wreck it."
"I feel like that's almost a little arrogant," said Clavin Wiese, a tourist from Boston visiting Fort Worth. "What are you, too good to be part of the rest of us, the United States? I don't know."
Texas was an independent country from 1836 to 1845 and breaking away from the U.S. has been an age-old debate there.
In December, the Texas Republican Party rejected a proposed, non-binding ballot initiative that would have let voters consider secession during the March 1 primary.
The measure would have read: "If the federal government continues to disregard the Constitution" and Texas sovereignty, the state "should reassert the prior status as an independent nation."
State GOP leaders also abandoned a plank in the party's platform last month that would have supported a secession referendum.
Miller told Reuters his group has a quarter of a million supporters and will try again for a statewide vote in 2018.
"Texit is in the air," he said.
Former Texas Gov. Rick Perry is among those who have vaguely flirted with the idea of secession in the past, although a spokeswoman said in 2012 that while Perry "shares the frustrations many Americans have with our federal government," for the former GOP presidential candidate "believes in the greatness of our Union and nothing should be done to change it."
Daniel Miller, head of the Texas Nationalist Movement, sent a tweet to Gov. Greg About Friday morning calling on him to schedule a statewide referendum on "Texas independence."
The hashtag #Texit was trending locally, according to CBS DFW. People at the Fort Worth Stockyards had mixed reactions to the idea.
"It's worth a shot. I'd be happy," resident Tab Pigg told the station, saying the East and West Coasts "run everything."
"No one knows we're even here," Pigg continued. "Best thing we could do is let them have it. They want to make a wreck out of their part of the world, let 'em wreck it."
"I feel like that's almost a little arrogant," said Clavin Wiese, a tourist from Boston visiting Fort Worth. "What are you, too good to be part of the rest of us, the United States? I don't know."
Texas was an independent country from 1836 to 1845 and breaking away from the U.S. has been an age-old debate there.
In December, the Texas Republican Party rejected a proposed, non-binding ballot initiative that would have let voters consider secession during the March 1 primary.
The measure would have read: "If the federal government continues to disregard the Constitution" and Texas sovereignty, the state "should reassert the prior status as an independent nation."
State GOP leaders also abandoned a plank in the party's platform last month that would have supported a secession referendum.
Miller told Reuters his group has a quarter of a million supporters and will try again for a statewide vote in 2018.
"Texit is in the air," he said.
Former Texas Gov. Rick Perry is among those who have vaguely flirted with the idea of secession in the past, although a spokeswoman said in 2012 that while Perry "shares the frustrations many Americans have with our federal government," for the former GOP presidential candidate "believes in the greatness of our Union and nothing should be done to change it."
Saturday, June 25, 2016
How to Love a Thinking Woman, a poem by Marvin X, from Land of My Daughters, Black Bird Press
How to Love a Thinking Woman
by
Marvin X
Treasure that she has a mind
Precious and whole, holy
Up from slavery
from negrocities
Of every kind
Low life, rot gut, rat level
let her know
Lick her all over
thrill her with original thoughts/actions
Be revolutionary, radical, bodacious
Stay beyond the common
Have some class about yaself
With the classic lady
Wearing a mind of her own
So you too
Be unusual
Say unusual things
Beyond I love you baby
Pussy and dick kindergarten games
With bling bling on your minus brain brain
Say I love you too
But show it
talk is cheap
Better to show her your love
Or she will think about you and wonder
Say things
She's never heard before
Ihdhina sirata al mustaqim (guide us on the straight path)
Make her laugh til she comes in panties
With serious jokes to get her mind off the world
Never let her figure you out
Be always a mystery
When she figures you out you're through
Don't be that dumb
A thinking woman is not a man
Need not be lesbian or bisexual
but if she is lost and turned out
twisted, mannish, computer down
make her party with you and her girls
If she's really a thinking woman
She wants a man of superior thinking
Not a dummy
Unread, illiterate, ignut nigguh
Who wants her cause she fine
But don't have a clue bout her mind
And never will in a thousand years
So he gets her drawers
And babies come
But he never grows like the babies
And wants her to shut up
Don't think at all
Don't figure him out
Mr. Mystery who ain't no mystery
A very well known type
Easily cast for a B movie
Yet trying to ride first class
Without a ticket
Without a thought of his own
Holding on for dear life
With the thinking woman
Who tells him nightly of world events
He cares nothing about
Or even black art on the wall
He tears down before you call 911
After he punched a hole in the wall
Because he disagreed with your
Independent thought not from the Masjed
Since he's so sunni beyond sunni
Won't be a Shia to save his punk ass life
fundamental islam might make him the revolutionary man he vows never to be
since he might have to think beyond traditional myth and ritual.
Unless he goes to school somewhere
Besides the ignut barber shop and ignut prison
Although prison is no sin
Unless he makes it his home
And comes out with AIDS
Swearing he ain't gay.
The cellie who sucked his dick was a woman
He swears.
Listen to another thinking woman
Your other girlfriend maybe
Who might have a similar thought
And probably will
About the world
Don't be shocked she has the same thoughts
Your main woman has
Same spiritual ideas
Actually, they go to the same new thought church,
So yes, they think the same,
amazed
Surprised at this double trouble
Or is it double truth
Ain't but one thought, really
You simple minded rappin ass nigguh
Rhyming like you in kindergarten
Real poetry don't rhyme,
I thought you knew
One Mind, One Truth, One Thought
let her know you love her
As she ponders the universe
Don't disturb her quiet moments
In her study
her prayer and meditation
Searching new thought from old truths.
If you know everything she knows
Shut the fuck up and pretend
Learn how to act with the thinking woman
Walk her walk, talk her talk
If you know better, act like she's the genius
She ain't always wrong
And most of the time she right
If you touch her right
Even in her thinking mode
She will scream into the night
And be amazed at the reality of love
How in the hell did you figure out how to
Rock her world?
She had it all together til you came or made her come
As it were
Now her thoughts are all discomposed, shattered like glass
And when you want to beat her
Because her thoughts overlap her lips
Beat her with your mind
Or slap her with your penis even
Across her mouth
She will be amazed at your ingenuity.
We are merely free slaves
One generation away
My grandfather was a cotton picker
My mother was a cotton picker
Even I was a cotton picker
Up from slavery
Never forget the pain of ancestors
Distant and present
The whip, the rape of men and women
The bloody abortion of children
Never forget and always know
We are in the land of murderers
And the children of murderers
Think about it
and never think
This is some heaven on earth
For it is surely hell until
The hour of freedom
Until we think in unity
And rise
Man and woman
In unity
Beyond murder
Beyond hell
Beyond ignorance and fear
Beyond gender hatred
To the region forbidden to all but the true
So climb the mountain together
Man and woman thinking
Into the ripples of the pond
Climb atop the green hills
Sit by the ancient tree and consider
All the beauty, all the blessings
For all the labor and pain
And in enjoy the wealth
Of your woman's mind
Enjoy the pleasure of her womb
And be true to her and yourself
And welcome each other into the valley of peace
Where the lake of love awaits thinkers
Of every kind
Let the Lord know you know Him and serve Him
Let Him bless you and rain love upon you in His name.
As-Salaam-Alaikum wa rhamatulahi wa barakatuhu.
Peace be unto you and the mercy of Allah and His blessings.
In Memoriam, a poem for Donna Jackmon
Seattle Wa at a Chinese Restaurant. My sister was a great story teller and we shall miss her
but never forget her stories we call "lies"! Surely we are from Allah and to Him we return.
Donna left behind three children, Monte, Deedra and Wendy. Her siblings include Ollie,
Marvin, Judy, Ann, Debbie, Gail, Suzy and Tommy. Many grandchildren and great grand.
Death
As I think about death
See people passing away
Don't see life the same
People or things
Come and go
The fact that I know
Understand that my flesh
Will perish
Don't know how or when
What I leave behind
Shall flourish
Mysteries unlocked while
Present
Sin captured
Inner and outer beauty
Released
All that's buried
Shall awaken
No more burdens
Truth revealed
Time heals
Life is temporary
Baggage keeps you in jeopardy
Not taking hurt, guilt, shame, bitterness
To the grave
Refuse to die
Broken to pieces
People mourning
At my funeral
Tears shed
Things that needed to be said
Time took for granted
Hovered over me
Thinking about
If only she would still be here
With me
Us
Just want to feel her touch
Love
Hear the sound of her voice again
If only and when
Will be resting in peace
Back to where it all began
Filled with happiness
Warmth, joy, acceptance
Freedom and purity
Away from it all
Cycle of life
Goes on
When death comes
Knocking at my door
Speaking life
Until there is no more
Treasure your journey
Look beyond this world
Return to that place
You once was before
See people passing away
Don't see life the same
People or things
Come and go
The fact that I know
Understand that my flesh
Will perish
Don't know how or when
What I leave behind
Shall flourish
Mysteries unlocked while
Present
Sin captured
Inner and outer beauty
Released
All that's buried
Shall awaken
No more burdens
Truth revealed
Time heals
Life is temporary
Baggage keeps you in jeopardy
Not taking hurt, guilt, shame, bitterness
To the grave
Refuse to die
Broken to pieces
People mourning
At my funeral
Tears shed
Things that needed to be said
Time took for granted
Hovered over me
Thinking about
If only she would still be here
With me
Us
Just want to feel her touch
Love
Hear the sound of her voice again
If only and when
Will be resting in peace
Back to where it all began
Filled with happiness
Warmth, joy, acceptance
Freedom and purity
Away from it all
Cycle of life
Goes on
When death comes
Knocking at my door
Speaking life
Until there is no more
Treasure your journey
Look beyond this world
Return to that place
You once was before
-Prosperity Carter
May 6, 2016
May 6, 2016
Power to the People: Brexit delivers blow to the globalists aim of world domination and wage slavery
Brexit is a bad omen for world commerce
Friday , June 24, 2016 - Jim Tankersley
(c) 2016, The Washington Post.
The economic story of the past quarter-century was the rapid advance of globalization, the unleashing of trade and commerce among countries rich and poor - a McDonald’s in every European capital, “Made in China” labels throughout Toys R Us. The Brexit vote on Thursday ends that story, at least in its current volume. Voters will soon tell us what sort of sequel they’d prefer.
A slowdown in trade growth has already gripped the globe over the past several years, according to data from the World Trade Organization. Prospects now look bleak for completion of major new trade agreements, including the Trans-Pacific Partnership and a new accord between the United States and the European Union, no matter who wins the U.S. presidential election in November.
Political factions in other European countries are clamoring to follow Britain out the door of the European Union. Republican presidential candidate Donald Trump is promising to levy the highest set of tariffs in the past century for America against China, Mexico and other key trading partners. His presumptive Democratic opponent, Hillary Clinton, has vowed to renegotiate existing deals such as the North American Free Trade Agreement.
These developments come at the hands of an anxious working class across the West, whose members feel left in the cold by many developments of the rapid integration of foreign products and people into their lives.
It is clear from the results of the British vote, and from Trump’s rise in U.S. politics, that there is a large backlash against the results of globalization so far.
Native-born workers without college degrees are venting their frustrations with immigrants, with factory jobs outsourced abroad and with a growing sense of political helplessness - the idea that their leaders no longer respond to concerns of people like them.
University-educated voters in Britain overwhelmingly sided with the “remain” campaign in Thursday’s vote; those without college degrees powered the victory for “leave.” The top issue among those voting to go was Britain’s right to act independently. The second-highest was immigration.
In the United States, throughout the Republican primaries and into the general-election campaign, white voters without college degrees have formed the core of Trump’s support, and polls show they, too, are frustrated with immigration and economic integration (in the form of free trade).
The forces driving those populist uprisings, both against EU bureaucrats in Brussels and elected officials in Washington, are complex and intertwined. They include long-simmering racial tensions and increased political polarization.
But across the West, the economist Branko Milanovic argues, the rise of populism corresponds to a decline in the income share held by the broad middle classes of those countries.
Milanovic has studied global inequality trends extensively and is the creator of a semi-famous chart showing how the rise of global trade boosted incomes for the poorest and very richest workers in the world - everyone, really, except for the working class in the West.
In a recent blog post, Milanovic writes that in the United States and other rich countries, “populism is rooted in the failure of globalization to deliver palpable benefits to its working class.”
With the Brexit vote, the populist movement can already claim a victory: It has won a clear reversal from the economic-integration trend of the past decades.
Now the question is whether the movement will ultimately push the world into a more Western-worker-friendly form of globalization - or a full-fledged retreat to protectionism.
Either seems possible.
In the protectionist scenario, countries such as France and Spain could follow Britain out of the European Union. Trump could win and impose his 45 percent tariffs on trading partners, and China, Mexico and others could retaliate with WTO complaints and tariffs of their own. Economists worry about those possibilities. Some have warned that they could trigger a global recession. (If Brexit has not begun to, already.)
In the “reformed globalization” scenario, if you will, political leaders could re-engineer the terms of trade to better cushion workers against shocks and better ensure the gains from trade are broadly spread among workers in rich countries, and do not just flow to the rich.
This appears to be Clinton’s stated goal, for example. “I recognize we have to make some changes in trade agreements,” she told The Washington Post in an interview this week, “but I also believe we can’t shut our borders to trade.”
Last month in Washington, the first deputy managing director of the International Monetary Fund, a former Barack Obama economic adviser named David Lipton, gave a speech titled, “Can Globalization Still Deliver?” In it, he called for a “new form of globalization that works for all” - one that clearly shows working-class voters “the opportunities of collaboration and integration.”
“Too many people in the developed world see only a loss of jobs to lower-wage destinations,” Lipton said.
“Too many people fear that immigration is compromising their economic well-being. Too few see clearly the payoffs - poverty reduction, the innovation that comes from shared ideas, higher living standards from greater access to trade and higher returns to the wealthy world from investment partnerships with developing countries.”
But if they want to sell wary workers on the gains from integration - to salvage a new era of globalization, instead of launching a new dawn of economic retrenchment - public officials might need to be more honest with themselves about the trade-offs that come with deepening economic ties.
Harvard University economist Dani Rodrick dubs those trade-offs the “inescapable trilemma of the world economy.” What that means is that we can have any two of these three things, but never all three: democracy, national sovereignty and global economic integration. In other words, you can’t have people voting their own interests, in a country that always places its own interests above the shared interests of the global community, while also stitching everyone’s economies together seamlessly.
“If we want more globalization,” Rodrick wrote in a 2007 blog post that has only grown in relevance over the past eight years, “we must either give up some democracy or some national sovereignty. Pretending that we can have all three simultaneously leaves us in an unstable no-man’s land.”
A land of Big Macs, cheap toys and more and more Brexits.
brexit-globalization
Liberated Minds Black Homeschool and Education Expo
The Annual Liberated Minds Black Homeschool & Education Expo - Cultivate the Black Genius in Your Children - Atlanta
Dr. Claud Anderson Addresses Black Homeschoolers, Parents, and Educators on Rearing Black Children for Economic Power
On the weekend of July 15-17, one can experience Dr. Claud Anderson, one of the foremost sought-after speakers on entrepreneurship, author of Powernomics and president of The Harvest Institute, a nationally recognized think tank that does research, policy development, education and advocacy to increase the self-sufficiency of Black America. Dr. Anderson will do a first of its kind live web address to Black homeschoolers, parents, and educators on developing the economic empowerment of Black children at The 2016 5th Anniversary Liberated Minds Black Homeschool and Education Expo in Atlanta taking place at The Georgia Piedmont Technical College Conference Center.
According to Queen Taese, the founder of The Annual Liberated Minds Black Homeschool and Education Expo, "The future of Black people depends on how we mentally groom our children surrounding money and wealth. We cannot only focus on our great African legacy that once was; our children must be equipped with the necessary mindset and skills, in order to be completely prepared to bring economic wealth and Black cultural prosperity to our communities."
According to Queen Taese, the founder of The Annual Liberated Minds Black Homeschool and Education Expo, "The future of Black people depends on how we mentally groom our children surrounding money and wealth. We cannot only focus on our great African legacy that once was; our children must be equipped with the necessary mindset and skills, in order to be completely prepared to bring economic wealth and Black cultural prosperity to our communities."
Dr. Claud Anderson will give this live web address, which will also be broadcasted internationally via internet, over a Sunday Brunch at The 5th Anniversary Liberated Minds Black Homeschool and Education Expo, a proven Black economic hub of Empowerment for Black Businesses that services the educational needs of Black homeschoolers, parents, and educators. In addition, there will be some of the country's most prominent Black entrepreneurs and educators such as Delxino and Deborah Wilson de Briano of Tag Team Marketing, Chike Akua of Success Quest Bootcamp, Aunkh Aakhu of Better Marketing Mastery, Michael Imhotep of the African History Network, Samori Camara of The Warrior Start Up, and DJ Jordan from Us Lifting Us, all under one roof. The focus areas will be The Keys to Successful Entrepreneurship, Family Financial Abundance, and How to Rear Black Children into Conscious Millionaires.
The Liberated Minds Black Homeschool and Education Expo provides all weekend training and workshops that focus on how to best cultivate Black children, as well as powerful networking, and a multitude of Black exhibitors with everything from Black books, curriculum materials, enrichment programs, and other resources that assist in "Cultivating the Genius in Black Children", which is the theme of this year's expo. For more information, one can visit http://www.liberatedmindsexpo.com/ or call 678-368- 8593.
Thursday, June 23, 2016
KPOO's Donald Lacy interviews Marvin X on the 50th Anniversary of the Black Panther Party
Donald
Lacy of San Francisco's Black owned radio station KPOO FM interviews
Black Arts Movement co-founder poet/playwright Marvin X on the 50th
Anniversary of the Black Panther Party and Black Arts Movement and the
recent establishment of the Black Arts Movement Business District along
the 14th Street corridor, downtown Oakland.
download on Dropbox
|
Wednesday, June 22, 2016
Rosewood Massacre
Rosewood massacre
From Wikipedia, the free encyclopedia
| Rosewood massacre | |
|---|---|
| Part of Racism in the United States | |
The remains of Sarah Carrier's house, where two African-Americans and two whites were killed in Rosewood, Florida in January 1923
|
|
 |
|
| Coordinates | 29°14′0″N 82°56′0″W |
| Date | January 1–7, 1923 |
| Target | Blacks |
| Deaths | 8(official figure) 150 in some reports[1] |
Prior to the massacre, the town of Rosewood had been a quiet, primarily black, self-sufficient whistle stop on the Seaboard Air Line Railway. Trouble began when white men from several nearby towns lynched a black Rosewood resident because of unsupported accusations that a white woman in nearby Sumner had been beaten and possibly raped by a black drifter. When the town's black citizens rallied together to defend themselves against further attacks, a mob of several hundred whites combed the countryside hunting for black people, and burned almost every structure in Rosewood. Survivors from the town hid for several days in nearby swamps until they were evacuated by train and car to larger towns. Although state and local authorities were aware of the violence, no arrests were made for what happened in Rosewood. The town was abandoned by its former black residents; none ever moved back.
Although the rioting was widely reported around the United States at the time, few official records documented the event. Survivors, their descendants, and the perpetrators remained silent about Rosewood for decades. Sixty years after the rioting, the story of Rosewood was revived in major media when several journalists covered it in the early 1980s. Survivors and their descendants organized to sue the state for having failed to protect Rosewood's black community. In 1993, the Florida Legislature commissioned a report on the massacre. As a result of the findings, Florida became the first U.S. state to compensate survivors and their descendants for damages incurred because of racial violence. The incident was the subject of a 1997 feature film directed by John Singleton. In 2004, the state designated the site of Rosewood as a Florida Heritage Landmark. Officially, the recorded death toll of the first week of January 1923 was six blacks and two whites. Historians disagree about this number. Some survivors' stories claim there may have been up to 27 black residents killed, and assert that newspapers did not report the total number of white deaths. Minnie Lee Langley, who was in the Carrier house siege, recalls that she stepped over many white bodies on the porch when she left the house.[2] Several eyewitnesses claim to have seen a mass grave filled with black people; one remembers a plow brought from Cedar Key that covered 26 bodies. Others claimed as many as 150 people were killed.[1] However, by the time authorities investigated these claims, most of the witnesses were dead, or too elderly and infirm to lead them to a site to confirm the stories.[3]
Tuesday, June 21, 2016
Magazine for Black Parenting
BLACK IS BACK: The Incredible Story Behind the Relaunch of the First Parenting Magazine for Black Parents
Successful
Black Parenting magazine, originally founded in 1993 and launched in
1995 with 35,000 issues, debuted as the first national print magazine
for African American parents. The founders closed the magazine in 1997.
Twenty-one years later, they are bringing it back.
Continued after the jump ....
"The
time is right to connect with issues being addressed by Black Lives
Matter, like the way racism has resurfaced in our society, and to
respond to the concerns and aspirations Black parents have about
their children's future. There's also a vibrant spirit in our community
that continues to work for a better world, so it's the perfect time to
relaunch," said Janice Celeste, formerly Janice Robinson-Lopez,
one of the founders and editor-in-chief of the magazine. "We started
when my children were babies. Now, my three daughters are adults and
successful in their career and family lives. I'm even a grandmother
now." Success is key to everything Celeste does, right down to her own
children. Her oldest daughter has her master's degree, another is a
fashion designer and modeling agent, and her youngest daughter is
supermodel, Sessilee Lopez, seen on Victoria's Secret runways and on the
cover of Vogue. "All families need support. Black families are no
different. Children also have to see positive images of themselves in
the media," said Celeste, adding, "You cannot be what you cannot see.""Recently, Janice and I have been saying, 'If we had had the resources we have today, the magazine would still be on newsstands,'" said Marta Sánchez, the magazine's co-founder and managing editor. Celeste agreed, "Today we have more connections, contacts and access to social media that can get the word out." Sánchez recalled, "This publication was our baby, we saw it walk, then run. At that time, we had just enough money to fail. We financed the venture with our money and donations from family and friends, but what we really needed was a million-dollar budget. We were like two fleas holding on to a bucking bull!"
Celeste and Sánchez have a big plan. The digital launch comes first with a crowdfunding campaign for research and development for print issues, which will launch in 2018. "Print is evolving," said Celeste. "It's definitely not dead. We have to cater to the needs of different readers, those who prefer digital and those who want to feel the quality of paper in their hands."
On the website, there is something for everyone. There are columns for single moms to grandparents. "We are the voice of Black families," said Celeste, "Our magazine advocates for parents—all caregivers—and children. The magazine is just the start of much more to come."
For updates, sign-up on Successful Black Parenting's website atSuccessfulBlackParenting.com. The crowdfunding campaign is set to raise $20k for research and development. A second phase to raise $2m in venture capital is for the print publication. To contribute, visit Indiegogo.com or (http://bit.ly/SBPIndiegogo)
Contact: Janice Celeste
(424) 272-6717
SOURCE: Successful Black Parenting
NAPLES, Fla., June 21, 2016 /PRNewswire/ --
Cal Shakespeare presents August Wilson's Fences
Subject: FOR IMMEDIATE RELEASE: Cal Shakes presents August Wilson's Pulitzer Prize winner, FENCES, July 6-31
Press Contact: Marilyn Langbehn
Office: 510.809.3290
Cell: 510.910.3129
CALIFORNIA SHAKESPEARE THEATER PRESENTS
ITS FIRST-EVER PRODUCTION BY AUGUST WILSON
WITH THE PULITZER PRIZE-WINNING
FENCES
DIRECTED BY RAELLE MYRICK-HODGES, JULY 6-31
Berkeley, CA – California Shakespeare Theater’s 25th anniversary
season at the Bruns Amphitheater continues with August Wilson’s Pulitzer Prize-winning story of the American Dream deferred,
Fences, directed by Raelle Myrick-Hodges in her Cal Shakes debut.
Fences, which plays from
July 6 through July 31, marks
the first time Cal Shakes has presented August Wilson’s work on its
stage. For tickets and information, contact the Cal Shakes Box Office at
510.548.9666 or visit www.calshakes.org
Part of August Wilson’s monumental ten-play
Pittsburgh Cycle, and winner of the Pulitzer Prize and Tony Award for Best Play,
Fences is the playwright’s “finest and most credible portrait of a relationship between a man and a woman” (New York Times).
Set in 1950s Pittburgh, former Negro League
ballplayer-turned-sanitation worker Troy Maxson and his wife, Rose,
struggle to keep their marriage afloat as Troy battles to retain his
dignity and his family in the face of a rapidly changing America.
“I love Wilson; his work is ironic, painful, and sincere, but until recently, I ‘avoided’ working on it,” says director
Raelle Myrick-Hodges. “It felt to me as if the comment on his
work, coming mostly from white critics and white audiences, forced a
singular perception of the black experience. My mentor (Guthrie Theater
Artistic Director) Joseph Haj enlightened me to
the greatness of Wilson’s writing, so now I feel safe as an artist to
discuss a specific story without having to conjure an entire community’s
idea of black community.
I
have learned so much about myself as a black woman from working on
Wilson—as if the two of us are having our OWN conversation—and ANY
audience is merely over hearing our conversation.
I read what is on the page and feel joyous in serving Wilson, rather than the ‘idea’ of Wilson.”
The cast for
Fences features Bay Area powerhouses Aldo Billingslea as former Negro League ballplayer turned sanitation worker Troy Maxson (Cal Shakes’
Spunk, King Lear, A Winter’s Tale, and Lady Windermere’s Fan), and
Margo Hall as his wife, Rose (Cal Shakes’ A Raisin in the Sun, A Winter’s Tale, and
Spunk), whose enduring strength holds the family together. Also in the cast are
J. Alphonse Nicholson (Seven Guitars, Actor’s Theatre of Louisiana;
The Piano Lesson, Cape Fear Regional Theatre; Autumn Harvest, Lincoln Center Theater) as Cory;
Donald E. Lacy, Jr. (Cal Shakes’ Hamlet: Blood in the Brain and
Alleluia: The Road; Berkeley Rep’s The People’s Temple; The Miles Davis Experience, produced by Columbia Records) as Gabriel;
Guiesseppe Jones (title role in Othello, North Carolina Shakespeare Festival;
Race, CATF; Master Harold…and the Boys, The Weston Playhouse) as Bono;
Lance Gardner (most recently seen as Don Pedro/Ursula in Cal Shakes’ season opener,
Much Ado About Nothing), and Anaiya Asomugha and Kailynn Guidry,
sharing the role of Raynell. Nicholson, Lacy, Jones, Asomugha, and
Guidry are all making their Cal Shakes Main Stage debuts with this
production.
The creative team for
Fences includes set designer Michael Locher, whose previous designs for Cal Shakes
include Spunk and The Winter’s Tale; costume designer Alina Bokovikova,
resident costumer for North Coast Rep, whose work has been seen at The
Old Globe, La Jolla Playhouse, Theatreworks, and San Diego Rep, among
others; lighting designer
Xavier Pierce, whose work has been enjoyed at regional theaters
across the country, including the Guthrie, Long Wharf, Playmakers Rep,
and Arena Stage; and sound designer
Mikaal Sulaiman , an LA-based music producer who has
sound-designed numerous theatrical trailers for the Weinstein Company,
and created the soundscape for Raelle Myrick-Hodges production of
Two Trains Running at the Arden Theatre in Philadelphia.
At the request of director Myrick-Hodges, Cal Shakes worked with Community Partners
Allen Temple Arms and Berkeley Food and Housing Project to
gather a group of local African American women together to share their
stories in response to the character Rose’s journey in the play.
Excerpts of these stories (in addition to portraits
taken by photographer Sonjhai Meggette) will be featured in an
installation at the Bruns.
Born in North Carolina, raised in Washington, D.C. and educated internationally, Raelle
Myrick-Hodges (Director)
is
a graduate of Ealing College of Humanities (London) and the University
of Southern California. Artistically mentored by Mr. George C. Wolfe and
Joseph Haj respectfully, she is
the founder of Azuka Theater in Philadelphia (now in its 20th year) and the former Artistic Director of Brava Theater in San Francisco.
Raelle has
worked with artists such as Geoffrey Arend, Meryl Streep, Jeffrey
Wright, Mos Def, Tony Kushner,
April Mathis, and Keith David among others. Her work as a performance
art creator/curator has been seen at the DeYoung Museum, Red Poppy Art
House, Feroz Gallery (Germany), Theater Minnot (Beirut, Lebanon) and Ami
Gallerie (Paris). As a producer/curator, her
programming ranges from regional artists to high profile
internationally-known ensembles and performers in music, dance and
theater, including artists such as Denis O’Hare, The Rude Mechanicals,
Sam Green, Double Edge Theater, Arturo Sandoval, and Joey Arias
among others. She will present a new collaborative work with Urban Bush
Women this fall and is slated to present works for PACE University and
National Black Theater in the upcoming 2016-2017 season. She is
currently creating a new work with Elephant Room
entitled, “#BLKGRLSINGALONG” to premiere January 2018.
Playwright
August Wilson was born Frederick August Kittel in Pittsburgh,
Pennsylvania, on April 27, 1945. His mother, Daisy Wilson, was of
African-American heritage; his father was a German immigrant named
Frederick Kittel. When his parents divorced, he, his mother
and his siblings moved from the poor Bedford Avenue area of Pittsburgh
to a mostly white suburb in the Oakland section. After facing the
relentless bigotry of his classmates at Central Catholic High School, he
left and at age 15 began to pursue an independent
education at Carnegie Library of Pittsburgh, where he would earn his
high school diploma. Following his father's death in 1965, a 20-year-old
Frederick Kittel adopted the pen name "August Wilson"—reportedly as
homage to his mother—and declared himself a poet.
He wrote his first notable play, Jitney, in 1979, for which he earned a fellowship at the Minneapolis Playwright Center.
Jitney marked the beginning of his work on a ten-play series, known as
The Pittsburgh Cycle; each play is set in a different decade and depicts aspects of the African-American experience in the 20th century. In 1982
Ma Rainey's Black Bottom was accepted at the Eugene O'Neill
Playwright's Conference; in that same year he was introduced to Yale
School of Drama Dean Lloyd Richards, who went on to direct Wilson's
first six Broadway plays.
Fences premiered on Broadway in 1987, earning the playwright his
first Pulitzer Prize as well as a Tony Award for Best Play. The
remainder of the cycle followed in quick succession:
Joe Turner's Come and Gone (1988), The Piano Lesson (1990), for which he earned his second Pulitzer;
Two Trains Running (1991), Seven Guitars (1994), King Hedley II (2001), and
Gem of the Ocean (2004). August Wilson died of liver cancer on October 2, 2005, in Seattle, Washington. His tenth and final play of the cycle,
Radio Golf, had opened its pre-Broadway run in Los Angeles just a few months earlier.
As part of its commitment to exploring the intersection between theater and civic practice, Cal Shakes is hosting a
Civic Dialogue series, with topics designed to deepen the
connection between the theater’s Main Stage work and its ability to
highlight the voices of marginalized communities through partnerships
with community organizations and presentations by community-based
artists. On July 11 from 5-9pm, Cal Shakes will host “The Construction of Gender: Actualizing Women’s Empowerment” at the
Impact Hub in Oakland; this facilitated dialogue will explore
representation and societal expectations of women, (particularly within
the family structure), and the importance of self-determination in
creating depictions of women that better explore
the intersections of gender and race. This event is free and open to
the public; RSVP online at
http://bit.ly/1U4MqEX.
Single tickets for Fences
range from $20 to $84, with discounts available for seniors,
youth, students, military families, persons age 30 and under, and
groups. Prices, dates, titles, and artists are subject to change. For
information or to charge tickets by phone with VISA,
MasterCard, or American Express, call the Cal Shakes Box Office at
510.548.9666. Additional information and online ticketing are available
at www.calshakes.org.
California
Shakespeare Theater’s 2016 season is supported in part by the
generosity of The William and Flora Hewlett Foundation, The James Irvine
Foundation, the
Dean & Margaret Lesher Foundation, The Bernard Osher Foundation,
and The Shubert Foundation. Corporate partners include BART, City
National Bank, John Muir Health, Meyer Sound, Peet’s Coffee & Tea,
and
San Francisco magazine; production partner for August Wilson’s Fences is The Bay’s R&B 102.9 FM KBLX Radio.
Fences is presented by special arrangement with Samuel French, Inc.
ABOUT CAL SHAKES
California
Shakespeare Theater (Cal Shakes), under the leadership of Artistic
Director Eric Ting and Managing Director Susie Falk, is now in its 42nd
season as
a nationally-recognized leader in drawing on the power of authentic,
inclusive storytelling to create more vibrant communities. Serving more
than 43,000 people annually, Cal Shakes invites people from all walks of
life to make deeply-felt connections with
our shared humanity through its work onstage, in schools, and with
people in non-traditional settings throughout the Bay Area who have
little or no access to theater. Cal Shakes is also proud of its role as
an steward of the protected watershed that houses
its artistic home, the magnificent Bruns Amphitheater; in 2012 the
Bruns became one of the largest solar-powered outdoor professional
theaters in the country. In 2016, Cal Shakes celebrates its 25th anniversary at the Bruns, named “one of the most
beautiful outdoor performing spaces in America” by the Wall Street Journal. For more information, visit
www.calshakes.org.
FAST FACTS ABOUT
AUGUST WILSON’S FENCES
WHAT California Shakespeare Theater’s production of August Wilson’s Fences
WHO Directed by Raelle Myrick-Hodges
Designed
by Michael Locher (set designer), Alina Bokovikova (costume designer),
Xavier Pierce (lighting designer), and Mikaal Sulaiman (sound designer).
Featuring:
Aldo Billingslea, Margo Hall, J. Alphonse Nicholson, Donald E. Lacy,
Jr., Guiesseppe Jones, Lance Gardner, Anaiya Asomugha, and Kailynn
Guidry.
WHEN July 6-July 31, 2016
Previews Jul 6, 7, and 8 at 8pm
Press Opening Jul 9 at 8pm
Tuesdays through Thursdays at 7:30pm
Fridays and Saturdays at 8pm
Saturday Matinee July 30 at 2pm
Sunday Matinees at 4pm
Grounds open two hours prior to show time for picnicking. Café and full bar are available on site.
Press Opening Jul 9 at 8pm
Tuesdays through Thursdays at 7:30pm
Fridays and Saturdays at 8pm
Saturday Matinee July 30 at 2pm
Sunday Matinees at 4pm
Grounds open two hours prior to show time for picnicking. Café and full bar are available on site.
WHERE Bruns Amphitheater, 100 California Shakespeare Theater Way, Orinda, CA 94563
(just off Highway 24 at the California Shakespeare Theater Way/Wilder Rd. exit, one mile east of the Caldecott Tunnel.)
Complimentary shuttle from Orinda BART beginning 2 hours before curtain.
Complimentary parking onsite.
Complimentary parking onsite.
TICKETS
Single tickets range from $20 to $84, with discounts available for
seniors, students, persons age 30 and under, and groups. Cal Shakes
makes
twenty tickets available for $20 on a first-come, first-served basis
for every performance throughout the season. Call Cal Shakes’ Box Office
at 510.548.9666 between noon and 2pm to purchase. Prices subject to
change.
All
tickets are available through the California Shakespeare Theater Box
Office, 701 Heinz Avenue, Berkeley CA, 510.548.9666, online at www.calshakes.org,
or at the Bruns box office on the day of the performance (pending availability).
GROUPS
Groups of 10 or more save $10 off the adult single ticket price;
complimentary ticket available for groups of 15+. For more information,
call
510.809.3290.
INFO
www.calshakes.org
Fences Special Events
First Look, Saturday, July 2, 7-9pm, Bruns Amphitheater
Get
a First Look into the process of creating the production the week
before performances begin. Artistic Director Eric Ting will moderate a
Q&A with the director
and select designers, followed by an opportunity to observe a technical
rehearsal. Free and open to the public; to RSVP call 510.899.4840, or
email
FirstLook@calshakes.org.
Pay-What-You-Can Preview, Wednesday, Jul 6, 8pm
The
first preview of each show is a special Pay-What-You-Can performance.
Tickets are first-come, first-served, and available beginning at 6pm day
of show only;
to purchase, call the Cal Shakes Box Office at 510.548.9666 or visit
the Bruns Amphitheater Box Office. Supply is limited.
Opening Night Post-Show Party, Jul 9, following the performance
Experience the excitement of the opening night performance and then mingle with the cast and creative team at a complimentary post-show party.
Experience the excitement of the opening night performance and then mingle with the cast and creative team at a complimentary post-show party.
Civic Dialogue:
“The Construction of Gender: Actualizing Women’s Empowerment”, Impact Hub in Oakland;
Wednesday, July 11, 5-9pm
Wednesday, July 11, 5-9pm
A
facilitated discussion to explore representation and societal
expectations of women, particularly within the family structure), and
the importance
of self-determination in creating depictions of women that better
explore the intersections of gender and race. This event is free and
open to the public; RSVP online at
http://bit.ly/1U4MqEX.
Open-captioned performance, Wednesday, Jul 13, 7:30pm
Special
seating and opening-captioning for hearing-impaired patrons, who can
read the text and dialogue on a digital screen. Purchase tickets for
section A online
www.calshakes.org or call the Box Office at 510.548.9666. For groups of 10 or more, email
groups@calshakes.org or call 510.809.3290.
Meet the Artists, Sundays, Jul 10 and Jul 24, following the 4pm performance
Audience members enjoy an opportunity to engage in a lively discussion about the production with cast members following select 4pm matinee performances. Free and open to all.
Audience members enjoy an opportunity to engage in a lively discussion about the production with cast members following select 4pm matinee performances. Free and open to all.
InSight Matinee, Sunday, Jul 17, following the 4pm matinee
Explore the world of the play through an informal dialogue with the production’s dramaturg. Free and open to all.
Explore the world of the play through an informal dialogue with the production’s dramaturg. Free and open to all.
Grove Talks, 45 minutes before each performance
Led by resident Grove Talks speakers, these free, informal 20-minute talks are held on site 45 minutes before each and every performance in the ADA-accessible Grove Talk grove, offering invaluable insight into the play and the production.
Led by resident Grove Talks speakers, these free, informal 20-minute talks are held on site 45 minutes before each and every performance in the ADA-accessible Grove Talk grove, offering invaluable insight into the play and the production.
###
Marilyn Langbehn
Marketing and PR Manager
California Shakespeare Theater
510.809.3290
510.809.3290
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MUCH ADO ABOUT NOTHING
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AUGUST WILSON’S FENCES
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YOU NEVER CAN TELL
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OTHELLO
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Shakespeare’s sharpest comedy
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Cal Shakes debut of Pulitzer-prize winning playwright
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Shaw’s romantic farce for modern audiences
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Eric Ting’s Cal Shakes directorial debut
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May 25–June
19
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July 6–31
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Aug 10–Sept 4
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Sept 14–Oct 9
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