Monday, June 26, 2006

We’re Here! We’re Queer! Get Used to It?

The atmosphere was merry as I walked along 7th Ave yesterday with my brother who was back from Indiana for the summer. Now a vegan and unable to chow down on the customary college kid cuisine (burger n’ fries, pizza, et al), he required more humane, meatless fare. So we chose Gobo, a vegetarian joint right smack in the middle of all the gay festivities.

We left the serene confines of the West Village restaurant for the raucous street atmosphere, and immediately I was annoyed. This was not at all like me as I normally enjoy a good party. In fact, six years earlier I had marched in PrideFest
2000 along side the God’s Love We Deliver float. My sister had been volunteering for the AIDS relief organization and I gladly joined in, pleased that I could simultaneously let loose and support a worth while organization’s efforts.

But this year’s queens were getting on my damned nerves. Ironic as it may be, they just seemed so contrived. Was I getting fag fatigue? Or worse still, becoming a republican?!!! No, no my progressive credentials were still intact. Something else was amiss. It was the fags themselves that were wrong.

All that gender-bended sashaying may once upon a time have been a revolutionary challenge to mainstream sexuality and gender roles. But when straight men willingly allow five men’s queer eyes
to give them the once over on cable TV, when a primetime sitcom about a gay-straight couple who shack up and play married tops the ratings year after year, and when those three annoying little words “you go girl” refuse to evaporate from the national lexicon, you know that gay culture is in no fear of disappearing.

Co-opted by the corporate powers-that-be for mainstream consumption, gayness has been thoroughly diluted and is loosing its edge. The empire has struck back folks and unlike Luke, many of those gay boys are joining their fathers. Plagued by the same bugaboos of the 60s feminist movement, racism and classism, the gay rights movement fell prey to the Faustian bargain
of mainstream acceptance: a place at the table in exchange for adopting the values of America’s patriarchal, supremacist majority.

Mainstreamed gay culture is extremely elitist and subtly racist. The popularity of the show Will & Grace can no doubt be attributed to their fantastic Manhattan living. Could you imagine TV viewers being as interested in Billy Bob & Grace, the story of a closeted middle American high school drop out who shacks up with his pregnant teenaged friend as cover for his “alternative” lifestyle? And how about the “Fab Five”? African Americans have consistently been at the forefront
of cutting edged fashion in the US. Yet, how is it possible to have five gay male leads on a show about fashion tips and not one be black? The coding is all there – to be gay and fabulous one must not be black, or poor (hell not even middle class!). So much for that famed Stonewall "rebellion against the powers-that-be.

And the propaganda is clearly working, as evidenced in the instructive documentary Flag Wars
about the gay-driven gentrification of the working class black community of Columbus, Ohio. In one memorable scene a wealthy white realtor, Nina Masseria, rails on camera in a drunken fit about the local blacks’ unworthiness to own property. In real life, it appears that this dike’s racism isn’t so subtle (Oh Oscar Wilde, you genius you). This same situation has replicated itself in other formally black neighborhoods like Boston’s South End, where now in an ironic twist gays are being priced out by even more upwardly mobile (mostly white) breeders. Faustian bargain, indeed.

In short, gays have ARRIVED and all the tactics they put into place to get themselves here now seem unnecessary, passé even. We know you’re here, and we’ve gotten used to it. Now what?

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Friday, June 23, 2006

Engulfed by Katrina: Photographs Before And After The Storm

Curated by Deborah Willis Ph.D. and Hank Willis Thomas

Artists: Marc Asnin * Harold Baquet * Nathan Bassuouni * Charlene Braud * Keith Calhoun * Gerald Cyrus D. Michael Cheers * Cheryl Finley * Vangy Franklin * Russell Frederick * Delphine Fawundu-Buford Lonnie Graham * Wyatt Gallery * William Greiner * Jessica Ingram * Chester Higgins Jr. * Eric Julien Melvina Lathan * Chandra McCormick * John Pinderhuges * Joe Rodriguez * Benjamin Orion Rush * Sophia Schechner * Will Steacey * Frank Stewart * Eric Waters * Lewis Watts * Carla Williams Clarence Williams * Nathaniel Ward

On View: June 15 – September 22, 2006

Opening Reception: June 29, 2006, 6-9pm

The Nathan Cummings Foundation
475 Tenth Avenue (14th Floor) Between 36th & 37th Streets
New York, NY 10018
RSVP – (646) 485-1284
For private viewing please contact Karen Garrett (212) 787-7300, ext.206.

This exhibition project examines and interprets the experience of Katrina on the Gulf Coast. Featuring more than 80 photographs, this thematic exhibition will explore the devastation of cities within the Gulf Coast, as well as life before and after the storm. The focus of the show is to fulfill the promise made by everyone almost immediately after the event which was to not let the impact of this horrific experience be forgotten. The exhibition will invite viewers to recall their own experiences of watching the events unfold on television, and attempt to counter the complacency that has already set in the aftermath of this on-going tragedy and to "re-member" images of the city.

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Thursday, June 22, 2006

Some Happenings on the Other Side of the Pond...

What: RISE short film festival
When: Sun 2 July 1-3pm
Where: Tricycle Cinema

The Tricycle Cinema is screening a selection of shorts celebrating London's cultural diversity, made by members of London's black and ethnic minority communities as part of the RISE FESTIVAL (formerly RESPECT). Including films by Lawrence Coke (winner of the BFM Best Short Film 2005/Images of Black Women Film Festival), Julius Amedume and Wayne Campbell. Q & A with a panel that includes some of the writers, directors and performers featured will follow the screening. Tickets are FREE and are available from the Box Office 020 7328 1000.

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Upcoming African shows: NYC

JUNE 2006
Date: Thursday, June 22
Artist: The Refugee All Stars from Sierra Leone
Details: Human Rights Watch International Film Festival - NYC Festival Info
Location: Lincoln Center

Date: Friday June 23, 7-10 PM
Artist: The Refugee All Stars from Sierra Leone
Details:
The Refugee All Stars of Sierra Leone
Location: Central Park Summer Stage

Date: Thursday, June 29, 12 noon
Artist: Salif Keita
Details: http://www.bam.org/events/metrotech.aspx

Location: MetroTech Center, Downtown Brooklyn

Date: Friday, June 30, 8:00 PM
Artist: Salif Keita
Details: http://www.ticketmaster.com/event/00003C951AFFB763
Location: Apollo Theater

JULY 2006
Date: Saturday, July 1 st 3:00-6:00 PM
Artist: Antibalas, Balkan Beat Box, Ska Cubano
Details:
Antibalas Afrobeat Orchestra * Balkan Beat Box * Ska Cubana
Location: Central Park Summer Stage

Date: Saturday, July 1
Artist: Angelique Kidjo, Vusi Mahlasela & more!
Details: http://www.celebratebrooklyn.com/celebrate/schedule.asp

Location: Prospect Park

Date: Sunday, July 2
Artist: Baba Maal
Details: www.irvingplaza.com/calendar/

Location: Irving Plaza

Date: Sunday, July 2, 3:00-6:00 PM
Artist: Seu Jorge, Jose Gonzalez, Alex Cuba Band
Details:
Seu Jorge * Jose Gonzalez * Alex Cuba Band
Location: Central Park Summer Stage

Date: Saturday, July 8, 3:00-6:00 PM
Artist: Hakim, The Lion of Egypt and his Egyptian Orchestra
Details:
Hakim, The Lion of Egypt and his Egyptian Orchestra
Location: Central Park Summer Stage

Date: Thursday, July 13, 12 noon
Artist: Amadou & Mariam
Details: http://www.bam.org/events/metrotech.aspx

Location: MetroTech Center, Downtown Brooklyn

Date: Sunday, July 16, 3:00-6:00 PM
Artist: Amadou & Mariam, Daby Toure, Birdy Nam Nam
Details:
Amadou & Mariam * Daby Toure * Birdy Nam Nam
Location: Central Park Summer Stage

Date: Saturday, July 22, 11:30pm
Artist: Daara J
Details: http://www.joespub.com/caltool/index.cfm?fuseaction=detail&performanceID=2036

Location: Joe's Pub

Date: Sunday, July 23, 3:00-6:00 PM
Artist: Konono No. 1 * Daara J * Maldita Vecindad
Details:
Konono No. 1 * Daara J * Maldita Vecindad
Location: Central Park Summer Stage

Date: Monday, July 24, 8pm & 10:30pm
Artist: Konono #1
Details : http://www.sobs.com/african/2006/0724.html

Location: S.O.B.s

Date: Tuesday, July 25, 8pm & 10:30pm
Artist: Tomas Mapfumo & The Blacks Unlimited
Details: http://www.sobs.com/african/2006/0725.html

Location: S.O.B.s

Date: Wednesday, July 26, 8pm & 10:30
Artist: Kekele
Details: http://www.sobs.com/african/2006/0726.html
Location: S.O.B.s

Date: Thursday July 27, 8pm
Artist: Jump N' Funk feat. Brooklyn Funk Essentials
Details: http://www.sobs.com/african/2006/0727.html
Location: S.O.B.s

AUGUST 2006
Date: August 5, 2:00 PM- 9:00 PM

Artists: "African Festival!" Kékélé, Lágbájá & more!
Details: http://www.celebratebrooklyn.com/celebrate/schedule.asp
Location: Prospect Park

Date: Tuesday August 8, 7:30 & 9:30
Artist: Lenine
Details:
http://www.joespub.com/caltool/index.cfm?fuseaction=detail&performanceID=2144
Location: Joe's Pub

Date: Wednesday August 16, 9pm
Artist: Brook's Qawwali Party / American Ghazal
Details: http://www.joespub.com/caltool/index.cfm?fuseaction=detail&performanceID=2161
Location: Joe's Pub

Date: Wednesday, August 16, 7:00 PM
Artist: Antibalas
Details:
http://www.antibalas.com/pages/index3.html
Location: Jackie Robinson Park

Date: Thursday, August 17, 7:00 PM
Artist: Antibalas
Details:
http://www.antibalas.com/pages/index3.html
Location: Marcus Garvey Park

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Take Ur Spankin' like a Good Lil' (Cow)Boy





Haminu Dramani takes out American goalkeeper Kasey Keller

Photo: Reuters







Ghana Boots US from World Cup




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Danny Simmons Corridor Gallery presents:








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Wednesday, June 21, 2006

A Reflection on Our Reflections on Slavery

This evening I attended an opening reception for the NY Historical Society's exhibit Legacies: Contemporary Artists Reflect on Slavery. Kara Walker, Willie Birch, Whitfield Lovell and Betye Saar were among the many talented artists whose work was presented. It was like most other art openings - a mix of the high class, the art set and a few politicians here and there. It was mostly pretentious in its make up, but some interesting and well-meanging folks were there nonetheless.

What was different, however, was the surreal mix of this business as usual behavior with the somber works on display. Lifeless silhouettes hung from branches against a plain white backdrop. Frederick Douglass' matter-of-fact description of how he came to name himself as a freed man sat ensconced in a glass case. The haunting cut-out image of a slavemaster's sexual taunting of a young slave girl laid bare all its ugliness. The whole thing was disturbing.

But what was most unsettling was my experience at the simulated slave ship with two well-to-do, older black women. The three of us waited patiently as an Hispanic gentleman entered the cylindrical wooden tomb. Of all the entrants we had watched up until this point, he had been the first to actually close the door behind himself. He spent what seemed like an eternity in there, when finally one of the two ladies knocked and opened the door. He came out obviously not ready to end his experience, but we entered anyway. The space was quite small, yet still large enough for the three of us to stand somewhat comfortably together. One more would have been just enough to make us feel like sardines in a can...or slaves on a ship. (But no one was really interested in that experience. We were the first to go in as a group, making it possible to replicate that kind of constriction. But still not enough to truly feel trapped.)

As our eyes adjusted to the light, we could see the the reflection of the objects hanging outside through the tiny hole at the center front of the cylinder. The women chattered on incessantly about the light, the space, etc. Then one commented to the other, "my goodness isn't this just fabulous?" Blithely affirming, the other responded, "why yes it's just like the bowels of a slave ship!" I began to feel dizzy. I told the two women that it was too much for me and immediately turned for the door. The near total lack of light was disorienting, especially after twisting so quickly. I couldn't find that handle fast enough to get outta there.

I looked around for my white co-worker who invited me to the opening, and found him edging toward the exit. He commented on how the whole thing was so unsettling. All the chatty interaction seemed incongruent with the gravity of the subject matter. He would need to come back for a more private viewing to fully appreciate and respect the work. I agreed, and then wondered how my two partners in the "bowels of the slave ship" didn't as well.


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Monday, June 19, 2006

The African Game

When you see more and more folks rockin' those neon yellow Brazil t-shirts, you know that World Cup fever is in the air! I admit that like most Americans I was only nominally interested, until last week when Ghana put the smack down on Czech Republic. Did he really score that goal in just over a minute into the game? Damn!

Those with real love in their hearts do a far better job than me at sharing why football (ahem...soccer) is such a kick-ass sport - no pun intended. There is of course the classic autobiography Pele, My Life and the Beautiful Game by the Afro-Brazilian legend. But there are two more recent additions that look like a good read regardless of one's level of interest in the sport itself. Franklin Foer of New Republic fame penned How Soccer Explains the World: An Unlikely Theory of Globalization, which blends his lifelong love for the sport with his career interest in international politics.

The second, The African Game, is a book of photography and essays that delves into contemporary life in the continent using football (ahem...soccer) as a medium. Nigerian-born filmmaker/photgrapher Andrew Dosunmu and Brooklyn-based writer Knox Robinson collaborate to bring much-needed, modern stories of African people to life. An exhibit of Dosunmu's work is coming up on June 22 at Brooklyn's Rotunda Gallery.





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Al Gore is a Marketing Genius

Check out An Inconvenient Truth’s MY SPACE page for the “artist on artist” interview. Mos Def interviews Al Gore about global warming, and asks why the former presidential hopeful thinks it’s the most important domestic and foreign policy issue for the 21st century.

At one fell swoop not only does Gore recast himself as an “artist” as opposed to a failed political figure, but he does it on MY SPACE, which even with the flap over their fine print
is the (virtual) place to see and be seen. Everybody who is anybody is on MY SPACE. Guess it comes easy for the man who invented the internet to know how to exploit it.

Not to mention, Gore’s hipness factor increased about 500% by appearing with hip hop icon Mos Def. (Hmmm…seems straight outta the Clinton playbook, yet slightly modified. Ditch the triangulation
, but keep the miscegenation.) The “Mighy Mos” is hands down the most important hip hop artist today. Through his various film and TV roles he’s garnered mainstream cross-over appeal, while maintaining mad street cred among EVERY segment of the notoriously divergent hip hop community. (Remember East Coast vs. West Coast?).

Whether Mos’ mass appeal translates over to Gore is yet to be determined, but it’s a safe bet that a lot more young people, black and non-black alike, will see the film. Fan or not, hip hop is where it’s at! Those who ignore its power as the race-crossing (or class, or gender, or fill-in-the-blank) worldwide cultural force that it is risk going the way of the Dodo bird. Perhaps Al got hip to the game after he read this?

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Monday, June 05, 2006

Hot Fun in the City

For Brooklynites and other city dwellers in the know, the annual Dance Africa Festival at Brooklyn Academy of Music (BAM) is the unofficial kick-off to the summer. With movies, music, street fair and dance performances, this Memorial Day weekend event is a 4-day smorgasbord of culture from around the Diaspora.

As I walked the fair with my buddy George who was in town for a few weeks, I saw folks I hadn't seen, well, since last year's festival. We exchanged hellos while we chowed down on a coupla corns on the cob before making our way into the Saturday nite dance performance.

And my how it was spectacular! Baba Chuck Davis started off the festivites with his usual respectful dedication to those who had passed on to the ancestral realm. An elder was escorted to the customary spot on the stage where performers could offer up dance in his honor. (And as usual this all took too long!)

The Peruvian dancers Peru Negro were the final act, and they were wonderful. But I had been dazzled by the group who performed just before intermission, the Universal African Dance & Drum Essemble. Stilt dancers, an all female drumming troupe (spectacular in its own right as I have rarely seen a female African drummer much less a whole troupe!), "afrobats" and children no older than 4 or 5 years of age took over the stage in a whirlwind of motion. It is hard to describe the feeling that came over me while watching, the sense of kinship. It stirred something in my core, something rooted deep in the familiar. I was proud to see so many black people unapologetically taking part in an expression of their own cultural heritage.

Watching the young children on stage reminded me of the performances I had just seen at the New Orleans Jazzfest a month back. The Creole Wild West Mardi Gras Indians, too, had their tiny young children singing along on stage. And Sunpie Barnes (hmm that's my family name...) of Sunpie & the Louisiana Sunspots had his young son playing along on the accordian to their funky Afro-Caribbean inspired zydeco tunes. The children looked so free and natural and happy playing up there with their parents. I knew those kids, both here in Bklyn and there in NOLA, would have no doubt who they were when they grew up. In what seems like the endless sea of bad news we have to deal with about the possibilities for our children's future, watching them I felt hopeful for the first time in a long time.

------------------------------------------------------------------------

When I'm feeling overwhelmed by the rat race and wondering why the hell I live in this overcrowded, overdeveloped city I remember Dance Africa, and all the wonderful cultural events in store for the next three months. There is nothing like summer in New York City.

Central Park Summerstage


Celebrate Brooklyn at Prospect Park


World Financial Center concerts

City Parks Foundation concerts


Wingate Park concerts

Asser Levy Park seaside concerts

Charlie Parker Jazz Festival


Brooklyn Museum 1st Saturdays

"NYC For Free"


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Saturday, June 03, 2006

Life Drawing Classes: Sundays in Downtown Brooklyn

Brooklyn jewelry designer Masani Mulraine hosts life drawing art classes at her Fort Greene studio every Sunday from 1 - 3 p.m. Masani is a Pratt Institute graudate who has distributed her work to various retail stores and boutiques including Canal Jeans Co., Charivari, Knapps, Pieces and Redberri. Her jewelry is featured in the June 2006 edition of Essence Magazine.

Light refreshments served. Classes are $20, materials (drawing pad, paints, ink, etc) not included. Seating is limited to 10 people per class. For more information or to RSVP, please email masanidesigns@aol.com.

G train to Clinton-Washington or C train to Lafeyette Ave.


Essence June 2006, p. 151
necklace by
Masani Wearable Scupltures




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Brooklyn Photo Exhibit: Images from PK NOLA

Harriet's Alter Ego is pleased to present…

Muddy Water Gumbo & High Tide Blues
Images from New Orleans, Post-Katrina

A Photography Exhibit by Award-Winning Photojournalist Delphine Fawundu-Buford

Opening Reception & Artist Talk
Sunday, June 4, 2006, 4-7pm

Exhibition Dates: June 4 - 30, 2006
Harriet's Alter Ego Boutique & Gallery
293 Flatbush Ave. bet. St. Marks & Prospect Place
Brooklyn, New York
2, 3, 4, 5, Q, B, N, R, D to Atlantic Avenue

For more info: 718-783-2074 or Harriet's Alter Ego

Photographer Delphine A. Fawundu-Buford latest series is a collection of riveting images of the Big Easy, post-Katrina. Muddy Water Gumbo & High Tide Blues is a photo-essay created during her 2006 trip to New Orleans as a NABJ Gulf Coast Fellow. A large part of her mission was to document the lives of the everyday people who were affected by Katrina. The images largely excerpt Crescent City and its inner communities that have been ravaged by Katrina with emphasis on the 9th Ward. Muddy Water Gumbo & High Tide Blues consists of five smaller series "The 9th Ward Remains," "Blues Soldiers" "2nd Line" "Infatuation with Mammy?" and "We Still Here."

"As I photographed these remains, it felt as if I were at an archaeological dig," Delphine explains of "The 9th Ward Remains" series, "getting a more personal perspective of everyday people who lived in the 9th Ward, some who listened to music, read books, wore under-wired bras, used silver metal forks, and earned degrees just like me."

Delphine has gained wide recognition from her image "Patiently Waiting," which graced the cover of the catalog for the memorable 'Committed to the Image: Contemporary Black Photographers' exhibition at the Brooklyn Museum of Art in 2000. Her career that spans over a decade includes publications such as Black: A Celebration of a Culture and Reflections in Black: A History of Black Photographers from 1840 - Present by Deborah Willis. Some of her editorial credits include RollingStone, Essence, Honey and Vibe. Delphine has exhibited locally and nationally and has participated in critically acclaimed exhibitions 'Only Skin Deep' at the International Center of Photography and 'Open: Artist Working in Brooklyn' at the Brooklyn Museum of Art. Her works are in the private collections of Danny Simmons (NYC), The Brooklyn Museum of Art, and the New York Coalition of Creative Art Therapies just to name a few.


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The Iraq War, Journalist Killings and the Problem of Leftwing Media

As I got ready for work Friday morning I engaged in my regular routine, which is to get dressed while listening to WBAI's Wake Up Call morning show with Mario Murillo. He had a guest on from some association dedicated to protecting the rights of journalists, especially during wartime. The interview was sparked by the recent news that two CBS news crew members had been killed with a third seriously injured while reporting in Iraq.

The representative of the association (I think it was Reporters Without Borders, but don't quote me on that) said that the number of journalist deaths over decades of the Vietnam War was far less than the close to 100 who have been killed in Iraq the last three years. She then recounted the plight of an Italian journalist who was held hostage by an Iraqi terrorist group. As a condition of the journalist's release, the terrorist group demanded the release of Iraqi women imprisioned at Abu Ghraib and the ouster of Italian troops from Iraq. The representative opined how this situation was such a shame because the journalist had lost her objectivity in the eyes of the Iraqis, and had now become a symbol of the Italian government. The host Murillo signaled his agreement.

At that moment I was suddenly pulled out of the conversation, and my mind began to ponder the exchange a little closer. Something didn't seem right to me. In fact, wasn't the kidnapped journalist a symbol of the Italian government?

This discussion was taking place on a leftwing, American alternative media outlet. One of the very groups that criticizes the "embedded" mainstream journalists riding around with US troops in Basra. One of the very groups that regularly denounces these corporate-funded, mainstream journalists precisely because they become the defacto propaganda arm of their government.

If the American alternative news media can recognize mainstream news journalists for the purveyors of propaganda that they are, what makes them think that Iraqis can't? Sure, it's easy to wax poetic about the imperative of protecting journalists during wartime from the safety of your Wall Street studio, but the embattled Iraqis who are experiencing an illegal US-led occupation, neo-colonial style, don't have that luxury. Most Iraqis can't start up their own grassroots radio to offer an alternate version of events. They're too busy trying to survive being massacred by US marines.

By no means do I advocate the killing of journalists. But the leftwing alternative news media can't have it both ways. With this logic, Iraqis can challenge the official story (and by extension the occupation) only if it's done by the rules as laid out by the West. The whole thing stinks of a paternalism that is endemic to the Left, and explains why leftwing groups continue to find it hard to build enduring coalitions across race and class lines.

Cuz the bottom line is this: if an NYPD swat team invaded my apartment building to root out the gang members that were allegedly hiding out there and then 1) bombed out the first floor 2) killed all the women and children on the next three floors 3) rounded up and tortured the men on the fifth floor, and then finally came knocking on my door - cop, embedded journalist or whatever - I'd shoot first and ask questions later. And anyone else fearful for their life would, too.


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