Friday, August 29, 2014

Douglas McCain, Black American Jihadist killed in Syria

News / Middle East

Details Emerge About Douglas McCain, American Jihadist Killed in Syria

Douglas McAuthur McCain appears in a 2008 photo provided by the Hennepin County, Minn., Sheriff's Office.
Douglas McAuthur McCain appears in a 2008 photo provided by the Hennepin County, Minn., Sheriff's Office.
VOA News
Douglas McAuthur McCain, the first known American to be killed while fighting alongside Islamic militants in Syria, was an undistinguished 33-year-old raised in Minnesota who most recently worked as a caregiver in California.
So what compelled him to leave for the Middle East this spring and to take up arms on behalf of religious extremists?
The U.S. National Security Council confirmed McCain's death on Tuesday. The State Department said U.S. officials had been in contact with McCain's family.
The issue of Americans joining radical forces in places like Syria, getting training and even indoctrination in terrorist ideology, has pushed to the forefront concern among U.S. officials, who fear one or more might try to return and commit terrorist acts on American soil.
McCain had reportedly made his way from the United States to Turkey, and then into territory controlled by the Islamic State, the radical organization that has swept through northern Iraq terrorizing many with its brutal version of Islamic law. Over the weekend, McCain took part in an attack on a Syrian opposition checkpoint near Aleppo, according to NBC News, which first reported the story.
Rebels in the Free Syrian Army, one of groups fighting the regime of Syrian leader Bashar al-Assad, retaliated, killing McCain. They beheaded six other Islamic State fighters, but not McCain, and posted photos on Facebook, NBC reported, attributing the information to the rebel army. The rebels reportedly found McCain with his U.S. passport and $800 in his pocket.
Douglas McCain is shown with an unidentified woman in an undated photo retrieved from his Facebook account.Douglas McCain is shown with an unidentified woman in an undated photo retrieved from his Facebook account.
The FBI also is investigating. The bureau's field office in Minneapolis for almost a decade has looked into the cases of several young Somali-Americans joining the terrorist group al-Shabab in Somalia.
E.K. Wilson, spokesman for the field office, told The Associated Press: "We have done extensive outreach recently, as we have the last seven years, but we've had a concerted effort ... over the last few months" involving travel to Syria.
On a watch list
U.S. officials said McCain's posts to Facebook, Twitter and other social media had put him on a watch list for international flights.
"We continue to use every tool we possess to disrupt and dissuade individuals from traveling abroad for violent jihad and to track and engage those who return," said Caitlin Hayden, a spokeswoman for the National Security Council. 
Thousands of foreign fighters have flooded into Syria in recent years, joining rebel groups, of which many are far more radical than the Free Syria Army. Most of the fighters are Europeans. The FBI and other U.S. officials estimate anywhere from several dozen to more than 100 Americans have gone to fight in Syria.
Australian intelligence chief David Irvine said Wednesday that 15 Australians are believed to have died fighting in Syria and Iraq, and that about 60 Australians are fighting with jihadist groups such as IS.  
The U.S. government's "largest concern is the regional and even global aspirations" of the Islamic State," said Pentagon spokesman Rear Adm. John Kirby.
"Obviously, we’re concerned about Americans that become attracted," Kirby said. If they join forces with a terrorist group, they become enemies of the state, he said: "They take on those actions at their own peril."
Lost identity
McCain was born in Illinois and raised in the Minneapolis suburb of New Hope, where he attended Robbinsdale Cooper High School. He ran into some trouble with the law, with convictions for theft, drug possession, disorderly conduct and driving after his license had been revoked, the Minneapolis Star Tribune reported.    
Later, he moved to San Diego, California, as did his mother and a sister. McCain worked for a Somali-operated African Spice market, now closed, and attended a local community college. He also had a daughter, almost 1 year old, family members told the Star Tribune.
According to McCain's social media accounts, which were taken down Tuesday, he converted from Christianity to Islam in 2004.
"I will never look back the best thing that ever happened to me," he tweeted in May. He identified himself on Facebook as "Duale ThaslaveofAllah" and on Twitter as Duale Khalid, "iamthetooth."
selection of Twitter posts, reported by the San Diego Union-Tribune, reflect McCain's changing attitudes and circumstances.
A screen grab from Douglas McAuthur McCain's Facebook pageA screen grab from Douglas McAuthur McCain's Facebook page
In December 2012, he tweeted that the film "The Help" – about black maids working for white families in Mississippi in the 1960s – was "starting to make me hate white people."
Along with racist and sexist views, the posts show McCain's enthusiasm for basketball, rap music and, especially, his faith.
"To all my Muslim out there stand strong we will soon be 1... In sha Allah," he tweeted in May.
McCain’s cousin, Kenyata McCain, described him as a "humble, caring man" who "lost his identity" after becoming involved with Somali Muslims in the Minneapolis area. Minnesota has the country's largest community of Somalis, with an estimated 32,000 people of that ancestry. 
"I know that he had strong Muslim beliefs," the cousin told the Star Tribune, "but I didn't know that he was in support of ISIS [an earlier acronym for the Islamic State]. I didn't think he would be." 
Minnesota Public Radio also reported that, from McCain's Facebook page, it appears he knew Abdirahman Muhumed, "a Minneapolis man who went to Syria and joined the Islamic State."
Muhumed had posted a photo of himself holding a rifle and a Qur'an, eliciting negative responses from Facebook "friends," MPR said. But McCain, in a Feb. 19 post, encouraged Muhumed to "continue protecting our brothers and sisters."
Kenyata McCain said she was in regular contact with her cousin and exchanged messages with him as recently as last Friday. "He was telling all of us he was in Turkey," she told the Star Tribune.
Government Responses
State Department spokeswoman Jen Psaki said the threat of terrorism by people training with religious extremists is a priority for policymakers in the U.S. and other Western nations.
"The issue of foreign fighters and the concern of individuals with Western passports or passports that would enable them to travel into countries where they can do harm is certainly at the top of our agenda and the top of the agenda of many countries," she said at a briefing Tuesday.
FILE - U.S. Attorney General Eric Holder
FILE - U.S. Attorney General Eric Holder
Last month, Attorney General Eric Holder said he was concerned fighters from Europe and the United States were supporting violent insurgents in Syria and joining forces with Yemeni bomb makers.
In July, FBI Director James B. Comey addressed an international law enforcement conference in Miami, saying he was "especially concerned about Syria."
"Syria serves as a breeding ground, a training ground, and a networking ground for thousands of jihadis all over the world," he said. "They have gone there in huge numbers to join the fight with groups like al Nusra or ISIL. The going is very worrisome. It is the coming out that worries me even more.
"We’re trying to build effective relationships with the private sector and our government partners," Comey said. "We are trying to train so we learn to play well. We are engaged in simulations that as best we can are intended to duplicate what we face in real life."
Serious threat
Jonathan Adelman, associate professor at the University of Denver’s Korbel School of International Relations, said foreign fighters pose a serious threat to Western nations, including the United States.
He estimated roughly 100 Americans, between 400 to 500 British citizens and several hundred French are among the 2,000 Westerners fighting on behalf of the Islamic State.
"I think this is something that really we have to take very seriously," Adelman said. The threat "isn’t as remote as we thought it was after Osama bin Laden was killed."
Many of these foreign fighters are being recruited through social media, he said.
"I think for a lot of these kids ... there's a level of excitement about this. 'We’re going to have foreign adventure. We are going to stand up against all the evils of this world,' " Adelman said. "But, it’s frightening. We’re a country of 315 million people. All it’s going to take is a dozen of these people, with the fighting experience they’re getting in Syria and Iraq, and all the training they’re getting, to be able to come in here quite legally, and we’re fairly vulnerable."
Three types of people are most susceptible to involvement with terrorist organizations, according to Clifford May, a national security specialist and president of the Washington-based Foundation for the Defense of Democracy: sociopaths, those searching for meaning, and highly educated people with a misguided sense of mission.
The last category, he said, includes the Islamic State’s leader, Abu Bakr al-Baghdadi. He claims to hold a doctorate from Islamic University in Baghdad and degrees in Islamic studies and history. Al-Baghdadi, for whom the U.S. has offered a $10 million bounty, "believes that Americans don’t deserve the power they wield" and is willing to take it by force, May said.
May speculated McCain might be one of "what you might call ‘lost boys’ who are desperate for meaning and a transcendent cause."
Journalist released 

The renewed concern over foreign fighters came as American journalist Peter Theo Curtis returned to the United States late Tuesday, just two days after being freed from nearly two years captivity at the hands of the Islamist Jabhat al-Nusrah group in Syria. 
In a statement, Curtis thanked U.S. officials and the Qatari government for intervening on his behalf.

The Gullah Sentinel Newspaper

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Thursday, August 28, 2014

Miles Davis - Sketches of Spain (Original Full Album)

Marvin X poem: Apology to my Higher Self and Miles Davis - Time After Time (Live 1985)









Apology to My Higher Self

Oh, Higher Self
I apologize to you
Greater Self
Holy Self
Righteous Self
I  seek to harm no one
but to glorify You always and forever
Have mercy on me
have mercy on myself
Oh, Higher Self
pleae forgive me for allowing my lower self to rule
Please have mercy on me Higher Self, Divine Self
If I will only flow in the flow of You
pick me up Higher Self
when my lower self comes to call
the whispering devil whispers into the hearts of men
and women and children

to take us all  down under
to the thrashing floor
the road where wise men fear to tread
down in the dungeon
rat hole
I become the rat
associating with the rats
dwelling in the dungeon
of my mind

Lift me up Highter Power
let me dwell with You forever

in the Upper Room

surely I know truth from lies
surely I know fire from water
yet I walk into the fire
I am burned again again again
easy to lead in the wrong direction
hard to lead in the right direction,
the Elijah lesson teach  us

And why do we love the devil
because he gives us nothing!
Take me Higher Power
into your loving hands
save me from the fire
whose fuel is men and stones,
Qur'an.



let not the weakness of my lower self
ontrol me
let me cast away illusions
a donkey is not a stalion



Oh Higher Power
catch me if I fall
take me forward faster
time after time
time after time.

--Marvin X

9/28/14


Bob Holman says Marvin X is the USA's Rumi. The humor of Pietri, politics of Baraka, the wisdom of Saadi, the ecstasy of Hafiz.....

Ishmael Reed says Marvin X is Plato teaching on the streets of Oakland. His play One Day in the Life is the most powerful drama I've seen. 

Dr. Nathan Hare says Marvin X is still the undisputed champion of Black Consciousness.


On Monday, September 1, Marvin X will receive the Elders Award from the Pan African festival, at Oakland's Mosswood Park.

On Septemer 13, he will receive the Humanitarian of the Year Award from the Los Angeles Black Books Expo.

Earlier this year, Feb/March, 2014, Marvin X (with Kim McMillan) produced a conference on the Black Arts Movement at the University of California, Merced. He is now planning a Bay Area Celebration of the Black Arts Movement, tentatively for February 2015. Paul Cobb, Publisher of the Post Newspaper Group is a co-planner, along with Eastside Arts and the City of Oakland. Stanford University African American Studies  and Laney College want to be sponsors also. We have the support of Dr. Ayodele Nizinga's Lower Bottom Players, Geoffery Grier's San Francisco Recovery Theatre. If you or your organization would like to participate on any level, especially as possible funders, sponsors, participants. Contact Marvin X: 510-2004154


Wednesday, August 27, 2014

Mark your calendars, friends!  (See the attached flyer ) 
The long-awaited Fred Ho West Coast Tribute Memorial is only two weeks away!

Struggle for a New World: Fred Ho Memorial Tribute
Sunday, Sept. 7, 2014, 2:00-4:30 p.m.
Oakland Asian Cultural Center, Oakland, CA. 2 p.m.

This remarkable landmark gathering of Fred Ho's artistic collaborators, ranging from composers, musicians, poets, singers, storytellers and activists, have come together to pay homage to this great baritone saxophone-composer, cultural activist, teacher, author, pioneer and legend.

The event is open and free to the public with a suggested donation of $10 or more to help defray the cost of the event.

Hope to see many of you there!
Genny

Tuesday, August 26, 2014

Dr. Anthony Montiero teaching Liberation and Ownership Course










Date: Mon, Aug 25, 2014 at 4:10 PM
Subject: Fwd: LIBERATION & OWNERSHIP course with Dr. Anthony Montiero
To: mstanfrd@temple.edu





-----Original Message-----
From: Aissia Richardson <aissia.richardson@gmail.com>
To: barbaracoxeasley <barbaracoxeasley@aol.com>; Black Love
<prodeternal@hotmail.com>; Linda Richardson
<lrichardson.uptown@gmail.com>; Andrea Brown <suni44andi@yahoo.com>;
Yumy Odom <yumyodom@thefratorheruinstitute.org>
Sent: Sat, Aug 23, 2014 3:37 pm
Subject: LIBERATION & OWNERSHIP course with Dr. Anthony Montiero



---------- Forwarded message ----------
From: Andrew Lamas <atlamas@sas.upenn.edu>
Date: Sat, Aug 23, 2014 at 2:21 PM
Subject: Re: Andy Lamas -- important
To: "lamarphil4@aol.com" <lamarphil4@aol.com>, Gregory Johns-Miller
<g.johns21@yahoo.com>, Seongho An <anseong@sp2.upenn.edu>, Rapheal
Randall <raphealrandall1@gmail.com>, Penny Jennewein
<pennycjennewein@gmail.com>, Sara Schwartz <schwartz.sl@gmail.com>,
Sara Blazevic <sara.blazevic@gmail.com>, Brendan Sculley
<sculleyb@gmail.com>, ANNAMARIE MARQUET <marqueta@sas.upenn.edu>,
Wanda Bailey <wandabailey28@gmail.com>, Madeleine Wattenbarger
<madeleine.wattenbarger@gmail.com>, JULIA GRABER
<becamebird@gmail.com>, Daniel Cooper <dcooper2408@gmail.com>, JAVIER
GARCIA HERNANDEZ <javg@sas.upenn.edu>, Kate Aronoff
<karonoff18@gmail.com>, Sachie Hopkins Hayakawa <sachiehh@gmail.com>,
Will Lawrence <lawrence.will@gmail.com>, Chloe Wayne
<chloewayne@gmail.com>, Mahfuz Sultan <mahfuz.sultan@gmail.com>,
Caroline Cohn <caroline.p.cohn@gmail.com>, "Athanasia (Nantina)
Vgontzas" <nvgontzas@gmail.com>, Meghna Chandra
<chandra.meg@gmail.com>, Nicole Griffin Ward
<nicogriffinward@gmail.com>, Luna Nguyen <lunanguyen3@gmail.com>,
Fabricio Rodriguez <frodriguez@powerphiladelphia.org>, John Gilmore
<johngilmore@dswellness.com>, Eliana Machefsky <emachefsky@gmail.com>,
Katera Moore <katera.moore@gmail.com>, Yuyuan Liu
<liuyuyuan1988@gmail.com>, Aissia Richardson
<aissia.richardson@gmail.com>, "양준호 Dr. Jun-Ho Yang"
<junho@incheo>


FYI:

We will make the focus of the course issues at the intersection of
race and class in the context of capitalism.  We will study Hegel,
Marx, Du Bois, Marcuse, Angela Davis, Critical Theory, Critical Race
Theory and other significant theoretical positions (including feminist
theory, queer theory, subaltern studies) ... along with specific
anticapitalist material.

The course will be lively, nonconformist, counter-conventional,
critical, and deeply intellectual in both pedagogy and content.  It
will be grounded in the realities and struggles of our time. A
Syllabus will be sent out before the course begins (but the Syllabus
will be modified as we proceed through the course ... based on the
needs and interests of the those assembled in the class).

Warmly,
Andy

___________________________


On Sat, Aug 23, 2014 at 2:05 PM, Andrew Lamas <atlamas@sas.upenn.edu> wrote:
>
> Hey, folks.
>
> Dr. Anthony Monteiro, one of the most important scholar-activists on the Black Left and one of the world's leading scholars on W.E.B. Du Bois, was recently fired -- for political reasons -- from Temple University.  He has accepted my invitation to co-teach with me this Fall Term in the Monday evening LIBERATION & OWNERSHIP course (5-8pm / McNeil Building, Room 167-68) beginning September 8th and ending December 8th).  Because of Dr. Monteiro's presence (and that of a number of his friends, colleagues, and comrades who will be sitting in on the class), this is going to be an incredibly exciting course.
>
> I want to invite each of you to join the class as well and to share your own important insights, analysis, and contributions.  As always, I am very open to arranging classes around your own presentations and interventions; so, if you have ideas please let me know. In the hopes that you will be attending, I will be sending you an initial set of emails later today ... in case you decide you would like to begin preparing for our course.
>
> Please seriously consider attending. You will be warmly welcomed.  Nothing would make me happier than to see you again ... and to continue to learn with you! It is through these extended interactions and dialogues that our intellectual community is made wiser, more loving, more powerful (and more dangerous).
>
> Warmly,
> Andy
>


--
Prof. Andrew T. Lamas
Faculty / Urban Studies Program
University of Pennsylvania
3718 Locust Walk / McNeil Building 130
Philadelphia, PA 19104
cell-tel: 215-565-5850  /  h-tel: 215-242-0523
email: atlamas@sas.upenn.edu
Penn Faculty Bio
Academia.edu Postings
Wordpress: Refusals Critiques Alternatives
Tumblr: Critical Refusals, Creative Praxis, Cooperative Alternatives





--
Aissia Richardson
2227 N. Broad Street
Philadelphia, PA 19132-4502
215-236-1878
215-454-2583

SUMMER Hours: Tuesday, Wednesday and Thursday 10:00 AM to 4:00 PM.

Upcoming Events:

Fri., Sept 12-Sun., Sept. 14 - Philadelphia HomeGrown Music Festival,
various Phila. locations
http://philadelphiahomegrownmusicfestival.com/

Fri., NOV. 7, Uptown Youth Got Talent Show. Call 215-236-1878 for
audition schedule.

Ishmael Reed on the Black Arts Movement: the Good, the Bad, the Ugly






Bay Area black artists, left to right: painters Dewey Crumpler, Arthur Monroe; poets Ishmael Reed, Conyus, Marvin X and Al Young
photo Tennessee Reed



If not for the Black Arts Movement, Black culture would be extinct.--Ishmael Reed

We appreciate Ishmael Reed for his belated blackness. He was a keynote speaker, along with myself, at the Black Arts Movement Conference, University of California, Merced earlier this year, and he has been a supporter of my work for many years. He described me as "Plato teaching on the streets of Oakland."--Marvin X

Yes, there was also a nutty side to The Black Arts movement in New York. You had some of the  smartest of black intellectuals subscribing to the notion that white people were an evil race that was created by a black scientist. They got that from Elijah Muhammad, who apparently didn’t believe it because he had some of these evil beasts at his dinner table.He said that he was referring to white men who lived in the south. When found partying with some English girls, and asked why by Jim Brown, Muhammad Ali said that Elijah Muhammad had made an exception for the English.But the Black Arts in New York wouldn’t be the first movement in the arts to have a whack job side.Moreover, instead of engaging in physical combat with these beasts, some of whom gave money to the Black Arts movement,they assaulted each other. Indeed, the Black Arts Repertory theater became a black on black crime scene. Not only did they commit or threaten each other with violence but those whose lifestyles they didn’t approve of. They didn't approve of my lifestyle, but in this regard they were hypocrites.

Amiri Baraka wrote  articles in The New York Times  that were meant to intimidate black theater people who were involved in interracial relationships. Of course some of the key personnel at the Times date out and marry out ,but their behavior hasn’t been treated with this kind of ridicule. Nor has any other ethnic group had women writers as a class pitted against  male writers as class as Henry Louis Gates,Jr. on the orders of Rebecca Penny Sinkler, the kind of feminist critic who uses black men as a substitute for whatever abuses men of her ethnic background commit against women; community mores require that such abuses be kept a secret. She’s not the only one. Irish American feminist Catlin Flannagan  writes about how cruel black men are toward black women. Maybe Irish American men ought to write guidelines for the fellas to follow. Maybe members of The Westies gang can do an anthology.Ms. Sinkler got into trouble when she tried a feminist experiment on Norman Mailer, who, for The New York Intelligentsia, was more important than all of the black male writers combined, of course they’ve only read a few. ( Former go-between, Irving Howe believed that the black tradition began with Richard Wright.)

  Gates was forced to throw the brothers overboard because he was under pressure from feminists like Michele Wallace,who, writing in the black male hating Village Voice, recently in trouble for running prostitution soliciting ads on its “back page,” said that he was hogging all of the black women studies loot.Yes, Gates has made a career of pointing out the flaws in the Black Arts movement, but is his judgement to be trusted after the African American Studies Dept. endorsed the Neo Nazi series,”The Wire,” or his own backing of Tarantino’s wretched “ Django Unchained” on NPR,without informing NPR that the post-racial zine that he fronts for The Washington Post, called TheRoot, received ad revenue from the producers of “Django Unchained?”It remains to see whether Gates will give the Black Arts movement the same kind of consideration that he gives to “Django Unchained,” a project that accepts the discredited “Sambo Thesis” of black history ,or that his department accords “The Wire.” He has an opportunty to revise his notion that Black Arts was “short-lived” and that Baraka, Bullins, Sanchez , and Marvin X have done some of their best work post sixties.We’ll see whether he changes his mind in the
forthcoming Norton Anthology of African American Literature 3.

 Black Arts did more to reach black audiences than any of its critics, sheltered academics who know very little about the day to day lives of black citizens.

 The good black arts brought Jazz, literature to the masses of people. Ed Bullins, Aishah Rahman and Amiri Baraka introduced theater to people who had never seen a play.

Though the Black Arts Repertory theater received government funds, its existence made

the New York cultural establishment , an establishment that had been directing trends

in African American culture at least since the 1920s, when writers fought each other over uptown patronage; for once, an independent movement had arisen.

Though i’ve been associated with the Black Arts, with the exception of two fund raising events, I didn’t participate. I was living in Chelsea at the time at work on my first novel, “The Free Lance Pallbearers.” I’d also shared an apartment with three of the Black Arts founders before they moved up town. My associating me  with Black Arts, they are giving me credit with work I had no part in creating.

Moreover,how they treated each other or outsiders didn’t matter to those “entrenched interests” as Irving Howe put it, one of those explainers-of-blacks to mainstream readers.( He was put out of business by black critics like Larry Neal.) Amiri has a record of being harder on black writers than his beat friends. Because Steve Cannon and I  suggested that there might be a more critical examination of Malcolm X,’s legacy than  laying prostrate hero worship, he suggested that Steve and I could be "iced," causing us to be targets of all of the loose nuts associated with black nationalism.The editor of this black magazine, The African American Review, which received more grants than any black magazine in history didn't know what "iced "meant.In that essay, a number of gifted black writers were condemned for their lack of revolutionary fervor.

   He doesn’t understand that the current crop could not advance to mainstream acceptance without disassociating themselves from Black Arts,which was despised by those who set trends in black literature New York,where trends in black culture are managed by over fifty year old white men and women. Plus the Black Arts professed  alliance with Malcolm X, who was tainted with the reputation of anti Semitism by the media of the time; this didn’t make them any friends downtown,except for those on the bohemian fringes..One remembers the gnashing at the teeth,viscous hair- tearing- out Times editorial on the occasion Malcolm’s death.

For the American media, black men don’t even have a first act and so his evolution wasn’t noticed by The New York media which celebrated his murder.

The trend setters of black literature, theater and the other arts  are usually outsiders. Bell hooks says that white feminists told her that in order to get over she had to write for them, which explains the flurry of what... calls “black boogeyman”products,books film and theater that have made some white men rich and puts the issue of racism in the background.
  Gates,who even used an essay about Philiss Wheatley to condemn the black arts  is inconsistent in another way. He says that a discovery of a novel by Claude McKay extends the Harlem Rennassiance into the 1930s; why doesn’t the fact that some of those who have been associated with Black Arts continue writing well and publishing extend Black Arts into the present?, By 1975, with the Black Arts Movement dead, His Norton Anthology asserted that Black Arts was “short lived,” which set the pattern followed by Charles Rowell that in order to get a Norton anthology a black anthology one has to denounce black nationalism ,a standard that doesn’t apply to white editors. Most norton anthologies are Eurocentric, or white nationalist anthologies with minorities arbitrarily sprinkled here and there,which explains why white editors don’t have to denounce white nationalism.White supremacy is a given.This is nothing new. Even Amiri’s hero, Langston Hughes ,had to renounce his earlier radical poetry when the House Un American Activities Committee was breathing down his neck.Ellison’s anti Communist testimony came in the form of his novel,” Invisible Man,” which became mainstream as a result of his cutting out a radical character. He had to stab Richard Wright, his mentor, in the back, and even cut some of his “Literary Sons,” in order to maintain his status as The Only One. Baraka has witnessed enough cultural wars over the years to understand why some of those whom he criticizes in his review of Rowell’s anthology, for the sake of career moves, had to renounce the Black Arts in order to receive academic and publishing acceptance.

But he’s a little harsh in his assessment of their poetry. These are excellent writers.He should give them that. The difference between him and they is that he is an original. Baraka is also in

the tradition of Richard Wright and Langston Hughes and his contemporaries, Quincy Troupe and Eugene Redmond. That of encouraging new talent. Wright aided an ungrateful Baldwin and Hughes helped Ellison who eventually betrayed his mentor. Baraka identifies new talent in the course of his review. In the old days writers would not only discover new talent but had enough patronage to get them money so that they could take time off from crummy jobs in order to write.  That role has been transferred to a black literary Czar. He has a foundation that’s suppose to support writers. So far the grants have gone to his friends.He decides who gets Fletcher awards and directs patronage to writers from a foundation based in Cleveland.

  Maybe as a result of Barka’s review, originally published in Poetry magazine, The Norton company will end its feud with the Black Arts Movement.
  Finally, how long can Amiri behave as an outsider raging against the Establishment as though it was 1965 outside. He is a member of the most select establishment club in the United States .The 250 member American Academy of Arts and letters. You can’t get anymore Establishment than that. Can’t he understand that members of the younger generation want their shot? I know what this curmudgeon is going to do. I’m going to help them get through.

 I mentioned that publishers are insisting upon “Black Boogeyman” and “Gangsta Books.” They even gave $100,00 advance to a white girl for a gang memoir. ” Turns out, she made it up. They said that they were going withdraw the book. It’s still on sale.What happens when you don’t give cross over mall audiences the side of the black experience for which they will put out hard cold cash? Mr. or the child molester in “Precious” or Leroy in” The Help.Why was Alice Walker’s remarkable book, “ The Temple of my Familiar” hated by the same critics who praised “The Color Purple.”   So what happens to a black woman who dares tackle male members of the ruling class and its subsidiaries. The kind of men who publish,stage and film "black boogeymen" products. Who are mentors for playwrights who stage a theater that show Martin Luther King,Jr. as a hapless, lecherous buffoon.Who dole out hundreds of thousands dollar to a "poet" who help to fuel the hysteria that got the Central Park Five committed to prison on the testimony of lying detectives and, innocent boys who were railroaded by a feminist district attorney and prosecutor.

  Jamaica Kincaid has risked her career by taking on the men who are part of the ruling class’s subsidiary:members of the patriarchal cultural elite of New York.One of their friends, a powerful critic, said that the book should have remained unpublished. Fortunately the book was published. It is a remarkable book. It is a book that will be regarded as a classic when all of the fuss dies down....
 

Monday, August 25, 2014

Dr. Tony Montiero and Temple U's din of iniquity directed by the Afrocentric Nigguh, now Afrocologist

 
August 24, 2014
To Donors and Signers of the Call for Monteiro:
You are receiving this because you are a signer or a donor to the struggle for Dr. Anthony Monteiro. We send out a hearty thank you to all, especially to those of you who have contributed financially. All of you played a crucial role in Dr. Monteiro’s struggle and the contributions you made are still having impact.
We have two purposes in writing you now: first, to announce a change in the Monteiro coalition’s way of deploying the funds raised on his behalf through the Indiegogo campaign, in the amount of $1045 (far short of our needed $17,000 for a summer time ad in the Chronicle of Higher Education), and second, to provide you important information on the current state of the struggle for Dr. Monteiro.
This has always been about more than Dr. Monteiro; it is about the health of a vigorous and needed and historic African American Studies program at Temple, and about university relations to gentrifying dynamics in urban communities. Consequently, Dr. Monteiro, student activists, community leaders, and politicians at the highest levels of Philadelphia and Pennsylvania politics are still in vigorous struggle to pressure TU to reinstate Dr. Monteiro. This struggle is far from over, and because of Dr. Monteiro’s organic connection to his community and to Pennsylvania politics, this is a long-term political effort. It will take time to play out. It will certainly continue into the next academic year.
Dr. Monteiro’s contract has now expired, but even as he looks for alternative employment, he and his supporters in Philadelphia have been planning both summer and Fall activities on his behalf. 
On Redeploying the Funds 
It is clear now that the fundamental need for funding is at the local Philadelphia and Pennsylvania levels. The Chronicle ad would have been nice, but a summer ad does not have the greatest impact. Moreover, we feel that national and world scholars have already weighed in with significant influence with the “Call for Monteiro.” The primary need now is to deploy funds in an aggressive local and state effort on behalf of Dr. Monteiro and the issues of scholarship and social justice he represents.
The bulk of the Indiegogo funds will be re-deployed locally for hiring artists to work up a logo for the Coalition to Reinstate Dr. Monteiro. The company, Reclaim, will also be paid for producing T-shirts for the movement which, again, will highlight Dr. Monteiro’s struggle for reinstatement at Temple but as related to the broad campaign in Philadelphia and the Pennsylvania legislature for community justice against gentrification and amid Temple University’s often blatant disregard for Black Philadelphians and their community needs. As a sign of how vibrant the local campaign is, a Philadelphia jazz event sponsored by the Coalition brought in additional funds that community members will use to augment the Indiegogo funds. So know that our funds are being put to first-rate use, as community social movements continue to put legs on the national campaign that we have built for Dr. Monteiro. 
The Monteiro Struggle Today 
at Temple, and in Philadelphia & Pennsylvania
Perhaps the dramatic nature and complexity of the struggle for Dr. Monteiro is best exemplified by remarks offered on the floor of the Pennsylvania legislature by State Representative W. Curtis Thomas.  Rep. Thomas is the Pennsylvania legislator for the Philadelphia District in which lies the majority of the campus of Temple University and for communities strongly affected by Temple University policies. The remarks by Rep. Thomas suggested putting a hold on some funds for Temple University (TU), which the University normally receives, if TU administrators do not respond positively to the following four conditions:
(1) Reinstate Dr. Anthony Monteiro to his post in TU’s African American Studies Department, not only because of his excellence as teacher and scholar, but also as a voucher of good faith commitment to high quality relationships between the North Philadelphia black community and the University.
(2) Reinforce Temple’s commitment to educational opportunities afforded North Philadelphia. These were significantly undermined when Temple seemed to proceed with an illegal purchase of William Penn High School, in order to build at its location its own university stadium and athletic facilities for TU students. (Under pressure from Rep. Curtis and the Monteiro movement, TU has now announced that it will work with the community to establish an educational center for the neighborhood at the former high school site, complete with a new Career Educational Technical Center.) 

(3) Redress the increasing problem of a severe “lack of diversity” at Temple University, both in the ranks of its faculty and also in the upper level of its administrators.
(4) Reverse TU’s ongoing neglect of the basic needs of North Philadelphia communities that border the University. Showing good faith, here, would mean admitting more of the graduating honors students from neighboring black Philadelphia high schools and redressing students' needs in those neighborhoods.
At present, Rep. Thomas and others are working every possible political and community angle on behalf of Dr. Monteiro, together with these broader issues. The funding from the Pennsylvania legislature to TU is not automatic, and Rep. Thomas seems to have support from both Republicans and Democrats to hold up the dispersal of these funds.
Indeed, the power of the purse-strings has been evident, as Rep. Curtis has had personal meetings with the President of Temple University, Neil Theobald, on all these matters, and especially on the firing of Dr. Monteiro.
We are upbeat, and so is Dr. Monteiro. He has reports that TU administrators have had up to 3-hour meetings on his case, and that TU knows that its reputation on these matters is not strong, in the media or in the local urban community. Dr. Monteiro’s case is at the heart of the deep concerns over urban gentrification in the TU area, and has stimulated renewed organizing around whether black folk will be allowed to live in North Philly near to Temple University.
Moreover, since Dr. Molefi Kete Asante’s independently initiated role in the firing of Dr. Monteiro (and we now know that this is the case from the highest level of Temple administrators), the African American Studies Department remains in a state of seeming chaos. Dr. Asante is trying to have it renamed Department of “Africology,”organizing it around his own version of Afrocentrism. Significantly, though, one promising young scholar in the Department just submitted last week – unannounced and just weeks before start-up of classes – her resignation from the Department. Dr. Monteiro’s stabilizing influence is still needed in the Department – now more than ever – as is his commitment to principles of community justice that he combined with rigorous scholarship in the Black radical tradition of W. E. B. Du Bois and Angela Y. Davis.
It is for the purpose of supporting these powerful local and state efforts that we now are suggesting that the funds raised for the Chronicle ad, be released to activist in the Philadelphia and Pennsylvania organizing work.
Thank you everyone for your support. We will continue to keep you updated.
Sincerely,

Mark Lewis Taylor, Professor, Religion and Society, Princeton Theological Seminary
Johanna Fernandez , Professor, Dept. of History and Black and Latino/a Studies
Jamila K Wilson, Campaign to Bring Mumia Home
Patrice K. Armstead, Coalition for the Reinstatement of Dr. Anthony Monteiro/Philadelphia

Sunday, August 24, 2014

The Mythic Afro Horn of Francisco Mora Catlett

art by David Mora Catlett

Note: Marvin X performed with Afro Horn at the memorial for Elizabeth Catlett Mora, Schomburg library in Harlem. He reunited with her sons, Francisco and David, after thirty years during his Mexico City exile after refusing to serve in Vietnam for American imperialism. It is his desire to connect his Black Arts Movement Poets Choir and Arkestra with Afro Horn, especially when he arrive on the east coast. Francisco and Marvin X both worked with Sun Ra's Arkestra.
--Black Bird Press News & Review

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Francisco Mora-Catlett and Afro Horn
Zinc Bar
Greenwich Village, NY
January 8, 2014

There was a moment during Afro-Horn's performance at the Zinc Bar where the lines between reality and fiction became a blur. It occurred when Sam Newsome, an imposing figure of a man and a consummate reed player, appeared to be possessed by the spirit of Probe, the protagonist and wielder of the Afro Horn, a rare object of power in Henry Dumas's short-story, "Will the Circle Be Unbroken." In the midst of an intense and passionate solo, Newsome's ..." lips swelled over the reed and each note fell into the circle like an acrobat on a tight rope stretched radially across the center of the universe."


For the uninitiated, Afro Horn is a multicultural, multigenerational ensemble created by the Mexican-American drummer, composer and visionary Francisco Mora-Catlett, who was introduced to the writings of Henry Dumas and the legend of the Afro Horn during his tenure with Sun Ra. Mora-Catlett was so moved with Dumas's message and the concept of an instrument with the power to unite people and "clear out" unfounded notions and misconceptions, that he formed an ensemble around the idea.

The ensemble opened with an invocation praising the ancestors, then wasted no time in plunging into a wildly progressive interpretation of the gospel hymn, "When the Saints Go Marching In," followed by "Afra Jum," a play on the words, "Afro Jam," an open invitation for everyone to participate in the festivities. "Barasuayo Mamakeña" is a praise song dedicated to the West African deity, Elegua. The set concluded with "5XMax," a tribute to the legendary drummer, Max Roach. The music was in the moment, fluid and true to its intrinsic nature, free.

As the evening came to a close there was an eerie silence, a collective feeling of, "What just happened?" and smiles all around. Afro Horn is: Rashaan Carter, bass; Aruan Ortiz, piano; Sam Newsome, reeds; Roman Diaz, percussion/vocals; and Francisco Mora-Catlett, drums, leader. Absent was saxophonist Alex Harding.

Francisco Mora Catlett: Afro Horn MX

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Francisco Mora Catlett

Afro Horn MX

AACE Records

2012

When Afro-Mexican Drummer Francisco Mora Catlett first came to this country in the1970s, he dreamed of playing drums for the Sun Ra Arkestra. Not only did Mora achieve his dream, he also forged a lifelong relationship with drum legend Max Roach, which resulted in his performing in Roach's seminal drum ensemble, M'Boom. As a composer and bandleader in Detroit, Mora focused on creating Music of "The Afro-Americas," a vision which encompassed fusing the music of Cuba, Brazil with American modern jazz.

For the highly-anticipated double-disc Afro Horn MX, Mora draws inspiration from the legend of the Afro Horns, with Henry Dumas (1934-1968) writing, in his short story "Will The Circle Be Unbroken?," that there are only known to be three actual "Afro Horns" on the planet. The horns are forged in a rare metal only found in Africa and South America. No one knows who forged the horns, but some think that it was the Egyptians. There is one in a heavily-guarded European museum and another on the west coast of Mexico, amongst a tribe of Indians. MX also stands for Malcolm X and Mexico.

To advance his vision, Mora put together a crack team of players which includes three of the baddest reedmen to come out of Detroit—JD Allen and Vincent Bowens on tenors, andAlex Harding on baritone. The rhythm section is superb, too, including master Afro-Cuban drummer Roman Diaz , who performed with the legendary group Yoruba and Puntilla Rios, and here handles congas and bata.

The music seems to revolve around a central theme: the journey of the Africans to what is now the Americas and the diverse musics they created. The set begins with an invocation to the Yoruba orishas with Mora and Diaz playing bata drums. "Saints at Congo Square" follows, commemorating the first City of Afro-American culture, New Orleans, and is also an homage to Mora's mother, renowned sculptor Elizabeth Catlett, who created the statue ofLouis Armstrong in Congo Square. The music uses "When The Saints Go Marching In" as a recurring theme while the horns create a swirling ethereal mist of sound.

"Barasuayo" features all three horns playing a mournful melody over a base of ritual bata drums, segueing into "Quinto Regimiento," which starts off with Mora evoking Roach, as Allen and Bowens engage in some sax talk that brings to mind John Coltrane,Pharoah Sanders, and Archie Shepp. Bowens, who possesses that rougher Detroit edge, comes out with guns blazing. Pianist Aruan Ortiz (someone to watch for) has a thundering attack, whose use of arpeggios brings to mind Don Pullen in his younger days.

The highlight of the set is "Los Consejos Del Olumo," a mashup of Yoruba ritual and coffeehouse slam, with Roman Diaz reading the poem on which the song is based, and a turn by Allen. The date ends with "Cultural Warrior," a dedication to the late Detroit pianistKenny Cox (of Contemporary Jazz Quintet fame), and immediately brings to mind 'Trane and his 1960s quartet.

Even though this is an extended outing, there isn't a boring moment on Afro Horn MX. Mora is one of the most versatile percussionists in jazz and Afro-Latin music, as well as an original composer. Allen and Bowens stack up against any tenor man in jazz (including the 2012 Downbeat Rising Tenor Star, Anat Cohen), while Harding is a blaster who displays complete mastery of his instrument. Here's hoping that word of this dynamic ensemble gets out beyond the island (Mahattan) and reaches the hinterlands.

Tracks: CD1: Egun Moyuba; Saints at Congo Square; Barasuayo; Quinto Regimento; Hush Rush; 125th & Lenox. CD2: 125th & Lenox; Los Consejos Del Olumo; Wemilere; Afro Horn MX; Cultural Warrior.

Personnel: JD Allen: tenor sax; Vincent Bowens: tenor sax; Alex Harding: britone sax; Aruan Ortiz: piano; Francisco Mora Catlett: drums, bata; Roman Diaz: congas, bata, voice.

Track Listing: CD1: Egun Moyuba; Saints at Congo Square; Barasuayo; Quinto Regimento; Hush Rush; 125th & Lenox. CD2: 125th & Lenox; Los Consejos Del Olumo; Wemilere; Afro Horn MX; Cultural Warrior.
Personnel: JD Allen: tenor sax; Vincent Bowens: tenor sax; Alex Harding: britone sax; Aruan Ortiz: piano; Francisco Mora Catlett: drums, bata; Roman Diaz: congas, bata, voice.
Record Label: AACE Records

Black Bird Press News & Review: Race in America: The Grand Denial

Black Bird Press News & Review: Race in America: The Grand Denial





Denial is quite simply the evasion of reality. Denial can be personal or communal, for sometimes an entire nation can be in denial about its abominations, for they are too painful to make adjustments in the collective psyche and the personal reality, for to do so would incriminate the mythology and ritual of said society, and thus the normal daily round would be disrupted and dysfunctional, for painful adjustments would be in order, and as long as we can avoid the painful the better, after all, the status quo can be maintained.