Saturday, June 25, 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

KPOO FM Radio's DJ 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

17 Marvin x (2).mp3

don lacy shared from Dropbox


Wednesday, June 22, 2016

Rosewood Massacre

Rosewood massacre

From Wikipedia, the free encyclopedia
Rosewood massacre
Part of Racism in the United States
=A photograph of ashes from a burned building with several people standing nearby and trees in the distance
The remains of Sarah Carrier's house, where two African-Americans and two whites were killed in Rosewood, Florida in January 1923
Levy County
Levy County
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]
The Rosewood massacre was a violent, racially motivated massacre of blacks and destruction of a black town that took place during the first week of January 1923 in rural Levy County, Florida. At least six blacks and two whites were killed, and the town of Rosewood was abandoned and destroyed in what contemporary news reports characterized as a race riot. Racial disturbances were common during the early 20th century in the United States, reflecting the nation's rapid social changes. Florida had an especially high number of lynchings of black males in the years before the massacre, including a well-publicized incident in December 1922.

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

Marvin X at the San Francisco's Juneteeth 2016 in Fillmore

Black Bird Press News & Review: Don't miss the discussion by Black Hollywood unChained contributors at the SF Main Library, July3, 1:30PM

Black Bird Press News & Review: Don't miss the discussion by Black Hollywood unChained contributors at the SF Main Library, July3, 1:30PM

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
Email
(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.
 
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.
 
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.
 
Civic Dialogue: “The Construction of Gender: Actualizing Women’s Empowerment”, Impact Hub in Oakland;
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.
 
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.
 
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.
 
###
 
 
Marilyn Langbehn
Marketing and PR Manager
California Shakespeare Theater
510.809.3290
 
 
 
 
 
MUCH ADO ABOUT NOTHING
AUGUST WILSON’S FENCES
YOU NEVER CAN TELL
OTHELLO
Shakespeare’s sharpest comedy
Cal Shakes debut of Pulitzer-prize winning playwright
Shaw’s romantic farce for modern audiences
Eric Ting’s Cal Shakes directorial debut
May 25–June 19
July 6–31
Aug 10–Sept 4 
Sept 14–Oct 9
 
 
 
 
 
 
 
 


Monday, June 20, 2016

Save the date: Memorial for Kamau Amen-Ra and Photo Exhibition, Friday, July 15, 5-9PM

Memorial for Kamau Amen-Ra and Photo Exhibition honoring his work.  FRIDAY, JULY 15 EASTSIDE CULTURAL CENTER,  2277 International Blvd, 5-9PM.  Bring a dish to share. - Please spread the word!



The family of Kamau Amen-Ra has given his archives to Eastside Cultural Center.


Photos by Kamau Amen-Ra
Marvin X archives








A student reflects on the Wild Crazy Ride of the Marvin X Experience

Reflections of a "Human Earthquake" Victim who suffered the wild crazy ride of the Marvin X Experience and survived!


Meet Marvin X

I’m sure we all have those teachers from our past who have impacted our lives. Some have encouraged us to dig deep within and unleash untapped potential. Some have inspired us to think beyond our little world and reach new heights. I can’t remember, though, very many teachers who have shocked me into a dizzying stupor, made me laugh, then ultimately made me love them for their unbridled “Hootspa” (or as we were fond of saying in my hometown….“Huevos”)

Meet Marvin X
 
I believe it was the fall semester of 1982 when I walked into the first day of my English class. I was attending Kings River Community College in the small, heavily Mennonite town of Reedley, CA. Our quaint little town was your typical white-bread, very conservative, farming community. So when we all took our seats and noticed that our instructor was not your typical white, middle-aged teacher with patches on his jacket sleeves, but was in fact an african american man, staring us down, we were all a bit off of our game.

“Hello, welcome to my English class. My name is Marvin X. My legal name is Marvin Jackmon, but I don’t use that name because that was given to me by some white slave owner”! The classroom did a collective head scratching, while some more disturbed students got up and walked into the wall several times, then returned to their seats and joined the head scratching asking panically “Um…your just a sub, right??”
 
 Everyday in Marvin X’s class was like a field trip though a box of Cracker Jacks. There was always some prize waiting for our small town J.C. minds to grapple with. Mr. X always encouraged lively conversation and I took full advantage of that, because we all know that asking a thousand questions equals a passionate interest in the subject which equals a passing grade!!!!
   
The thing I love most about him was that he loved…no, he fed on tossing little “shock and awe” bombshells our way. Which was always followed by that jubilant grin and sparkle in his eye’s. He kept taunting us that some day he would share some of his poetry with us. But he warned us, “My poetry is really “street” …so I’m not sure your ready for it”.
 
Several more weeks passed, full of lively conversations, debate and complete pandemonium swirling through our young impressionable little minds. Finally, one day he came to class and announced that we were now officially ready for one of his poems. Once again, he reiterated that his poetry was pretty “street” and not for the faint of heart. We did a collective gulp and nodded our heads.
This poem is called…
(wait for it)
Confession of a Rapist”
(Oh dear Lord!!….um…uh…OK,, I can handle this! I can be street…or at least avenue)
He looked up with that sly grin and glimmer in his eyes, then proceeded with the opening line…
I took the P***Y”
(we’re not talking about sweet little kittens here, folks.)
   He just piloted his Enola Gay B-29 and dropped a bomb (a “P” bomb at that) amongst us citizens of Hiroshima Junior College!
   Visualize those old black & white films of Atomic bomb testing somewhere in the deserts of Nevada. The “Shock Wave” was so insanely intense, our faces were wobbling and contorting to the massive G-forces, that I’m pretty positive not one person heard another line from that poem. Outside, after class, we quickly and hastily put together an emergency Triage unit to asses the damages and re-attach any limbs or brain matter that may have needed attending to.
   Some fellow Christian students from the class were discussing the possibility of assembling a mob with torches and pitch forks, the likes of your typical Frankenstein movie. We soon realized that we were all fine. A little shaken, but fine.
   Oddly enough, there was maybe one complaint in class from a student, and he very patiently and lovingly discussed it with us. In the end, we all came through it like old trench buddies. Mr. X helped lift, perhaps rather firmly, us out of our little comfort zones.
   In the last few remaining weeks of class, we had several more great conversations and debates. One sunny day he even held class outside under a tree and we studied the book of Job from the Bible. I believe he said he loved it because it read like a screenplay. He had lots of great insight and challenged us daily.
   There are only a handful of teachers from my two and a half years of college (and no degree to show for it) that I have maybe a millisecond of memory of them. Mr. X, however, made such an impact on me that his memory is burned into the synapses of my brain. Was he shocking? Yes! However, even more, he loved reaching through to us. He made us think….really think!
Before I began writing this, I Googled him. Sure enough, there he was…
 
with that sly grin and glimmer in his eyes!
Thank you, Mr. X!


Comment Marvin X:

Let me thank all those beautiful students who attended my English class at Kings River College, 1982. I had the time of my life, but my academic career ended there, even though I received a 97% retention rate. I simply no longer desired to teach again. It is indeed ironic that my career ended not far from where my life began in Fowler, Ca., a few miles down the road from Reedley. My mother was also born in Fowler but never went to Reedley because the town was too racist. But during my brief tenure at Reedley, the students treated me royally, bringing me gifts of fruits, vegetables and herbs from their farms. Two of my greatest poems were written during this time, i.e., For the Women and Black History is World History. My students, nearly all White and/or Chicano, did research papers on Black History is World History. One of my Black students was from an Alabama town that hanged  his friend from a light post during the semester. Yes, the more things change, the more they stay the same.