JAM Aiwuyor Academic Articles: Black Voices on the Hill

The Good Shepherds: African American Museums

The Good Shepherds

by Henry Duncan

I have to thank Dr. Joanne Martin, co-founder of the National Great Blacks In Wax Museum and Mr. Ivan Henderson, curator of education & public programming of the African American Museum of Philadelphia for helping me with this article. Without their assistance this article would not be possible. Many of the names, dates and, statistics quoted in this article came from information given to me by Mr. Henderson and Dr. Martin. Many thanks for your help.

There are about 200 museums that specialize in the history of Black people here in America. However, these museums had very humble beginnings. Many of these museums started in the houses of their respective founders. For example, Dr. Margaret Burroughs who, along with her husband, founded the DuSable museum of African American History in Chicago on the ground floor of their house in 1961. Drs. Elmer and Joanne Martin did the same when they founded the National Great Blacks In Wax Museum, in Baltimore, MD in 1983. They only had 4 wax figures constructed with wax heads and mannequins as the body. Now these museums have evolved into institutions that have great exhibits that preserve our history. Though these museums have far surpassed there origins, they need our help before they are on par with museums that don’t specialize in Black history.

These museums have taken on the awesome task of gathering and preserving, not only our history in America, but our African history as well. The National Great Blacks in Wax Museum has over 135 wax figures and features the exhibit Into the Hold: The Slave Ship Experience which replicates the slave experience of the Middle Passage and includes a replica of a slave ship. The African American Museum of Philadelphia (AAMP) features an interactive exhibit called Audacious Freedom. This exhibit examines the history of Black people in Philadelphia and the surrounding areas from 1776 to 1876. African American museums also host many traveling exhibits like 381 Days: The Montgomery Bus Boycott Story currently at the AAMP which features a timeline of events that surrounds a small seating area that shows a documentary of the Civil Rights Movement.

Dr. Joanne Martin sent me an excerpt of an article by her late husband Dr. Elmer Martin; written around 2001 entitled Black Museums that articulates the past and current problems that Black Museums face. In this article, Dr. Martin identifies the problems Black Museums faced in their early stages and the problems they face today. After reading Dr. Martin’s article, it is evident that there are three major problems that Black museums face 1.) generating interest in black museums, 2.) acquiring the necessary funds to maintain themselves and, 3.) fighting the invasion of larger institutions into the realm of Black history. Though this article was written nearly 10 years ago you still find examples of this today. For example, here in Philadelphia, the Franklin Institute, a museum that doesn’t specialize in Black history, is currently showing the Cleopatra exhibit which The Franklin Institute estimates will generate 1.5 million visitors. Cleopatra was the queen of Egypt which means she is a part of our history, but how many Black museums have the resources and connections to host such a grand exhibit? The cheapest ticket to view the Cleopatra exhibit costs $19.50, which means this exhibit will potentially generate $29,250,000 in revenue. Let’s compare those numbers of the AAMP. According to Mr. Henderson, the African American Museum in Philadelphia averages about 60,000 visitors annually. Adult admission into this museum is $10 which gives them $600,000 in potential revenue. In other words, it would take 25 years for the African American Museum in Philadelphia to match the visitors of one exhibit of the Franklin Institute and about 49 years to generate the equivalent revenue. There is no lack of effort and sacrifice on the part of the staff of these museums, as mentioned earlier, many of these museums were started in personal residences and with personal funds. With so much dedication on their part why don’t we show more support? With over 40 million Black people in America the least we can do is pay the $10 – $15 admission and help to support the institutions that have sacrificed so much to preserve our history.

Written by Henry Duncan

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JAM Aiwuyor Academic Articles: Black Voices on the Hill, Race Ethnicity & Culture

The Drum As An Indicator of Cultural Unity In The African World

The Drum as indicator of cultural unity in the African World: from Hip Hop to Africa

By Remy Johnson

 

Introduction

Cultural unity exists throughout the African World. The cultural diversity in the African World can be contributed to regional conditions such as lifestyle, resources, and environment. In this way cultural diversity is closer to regional variations of ‘African culture’ rather than differences. It is imperative to focus on cultural unity in the African World to create the foundation for Pan African consciousness in the African World. To test this theory of “regional variations” in the African World I will compare the role of the drum in indigenous West/Central African cultures and Hip Hop in the United States.

Talking Drum in Africa  

            The drum is the oldest known instrument in the world dating back to 4000 BCE in Kemet on the northeast corner of Africa (Sowande, 1969). It is present throughout every region of Africa playing different roles amongst the various peoples (Bebey, 1975). Perhaps, more than any other object the drum has become a ‘cultural emblem’ of the African World culture. This is not a mistake, as Leonard Barrett states, “the drum is Africa” (Ani,1980). To understand the profound role of the drum in the African World we must consider it a tool of communication. The loud boom of a drum draws the attention of any person, but the ‘talking drum” speaks ‘to’ and ‘for’ African peoples.

The drum is used to communicate with the “supernatural” world as in the case of the Yoruba of Nigeria (Bebey,1975). Davis (1992) wrote, “Drums are known to transmit messages between God and people, and also an essential instrument in the ritual healing” (34). It is plays a prominent role in ceremonies, rituals, and rites as pace setter for dance and praise. The people follow the drum’s rhythm and their collective energies creates a ‘unseen’ link with the ancestors (Sowande, 1969).

Practical uses of the drum included signaling the start of the day, lead celebrations, and notifying the public of important information (Bebey,1975). The jeli (teacher/griot) uses the drum as musical backdrop to recite ‘historical poetry’ to educate the masses. The rhythm of the ‘drum’ forms a link between the listener and the griot while making learning as the child associates the knowledge with a particular rhythm. This is an effective form of education because children of African descent tend to retain information as result of their right brain cognitive learning style. (Hale, 1982).

Drums were used to communicate between villages and towns. This form of communication was not just random beats, but a ‘drum language’. Each group’s ‘drum language’ is influenced by the geographic topography, the style of drum, material, number of drums, size of the drum, and rhythm/beat pattern (Bebey,1975). Regional variations can be seen in the drum languages of African culture that are influenced by the peoples struggle with environmental conditions (Bebey,1975).

Talking Drum in the ‘New World’

Africans brought the knowledge of the “drum” to the Americas via the Maafa/Trans-Atlantic Slave Trade (Ani,1980). As a result many Diasporic traditions share fundamental cultural values with Africans from Sengambia, Central and Southern Africa (Bebey,1975). This includes the Oyo, Yoruba,, Dahomey, Fon, Bantu, and Ewe all of which are recognized by scholars as being the majority of enslaved Africans (Bebey,1975). The drum’s cultural “paper trail” is a virtual “Hansel and Gretel” type of deal where the Ancestors left cultural indicators as an inalienable way back to our origins.

Africans in the Diaspora also have practical uses for the drum similar to those on the continent. Maroon societies in the Caribean and Brazil used drums to notify, start a charge, and over long distances to synchronize guerilla operations (Rath, 2005). Africans in the U.S. played drums in public displays of dance, relief, praise, and expression the most notable of these places is Congo Square. The importance of the drum in communication is perhaps best judged by the establishment of the ‘drum laws’ in the 16th and 17th throughout the Americas as Europeans began to fear the ‘talking drum’ (Rath, 2005).

Diasporic religions worship similarly to African religions. Both use the drum to tap the participant’s inner spirit to induce a trance like state that culminates with a danced expression. The use of the drum to induce spirit possession is present throughout the diaspora: ‘Voodoo’ (Haiti, and Americas), Santeria (Cuba), Canbomble (Brazil), and Rastafari (Jamaica) (www.wikipedia.com). This phenomenon can also be seen in the southern Black church in the U.S. where it is known as catching the ‘holy ghost’, but similar it is brought on by a combination of drums and praise songs.

Diasporic music traditions including ‘Reggae’ in Jamaica, ‘Samba’ in Brazil, and Ramba in Cuba use the drum for similar purposes of African traditions. These genres share the basic musical concepts with African music traditions including the “2 – 4” beat pattern; syncopated beat rhythm that aims to emphasizes the lyrics; drum/beat maintain ‘timing’ relationship with vocals; initiating and synchronizing dancer; leads call and response; and repetition throughout the track (Sowande,1969;Davis,1992). This is known as the “heterogeneous ideal” where the core underlying concepts of the African world music are apparent in Diasporic music (Greenwald, 2002). If these core concepts survived in the ‘New World’ it is possible that knowledge of the drum as a tool of communication may have transmitted to the Hip Hop generation.

The Talking Drum in Hip Hop

Hip Hop was created on the streets of the South Bronx, NY in the 70s (George, 1998). Hip Hop developed as a cultural expression and medium for marginalized urban youth in the United States to express their disapproval of the government, poverty, police, violence, and as a means of collective resistance (George,1998). The genre has spread like wildfire as youth all over the world realize the source of their struggles, the system, and begin to communicate with each other across national and racial boundaries.

It follows the African American (e.g. B.A.M) artist/oratory tradition that demands the “orator” express personal and communal convictions while maintaining African aesthetic forms (Keyes, 1996). The godfathers of this genre are Kool Herc, Afrika Bambaata, and Gil Scott Heron (George,1998). It is important to note that each ‘god father’ employed drums in their performances. Kool Herc brought the drum knowledge from Jamaica, Gil Scott Heron contributed drum knowledge as a Griot of the B.A.M, and Afrika Bambaata ‘consciousness’ of African heritage as a historian are the material “links” of drum knowledge. These links forms the basis for the use of the drum as tool of communication in Hip Hop.

There are four elements of Hip Hop: (1) the emcee (MC); (2) the DJ (Producer); (3) graffiti (visual art); (4) and breaking (dancing). The most influential is the DJ. He is responsible for communicating with the remaining three elements (Greenwald,1996). He also initiates moments of call and response with the crowd. The DJ is able to accomplish this through the administering of the beat similar to the drummer in Africa (Greenwald, 1996).

It is important to understand the transformative process that the drum under went in the United States. Conditions in the U.S. were not accepting of African cultural forms. This is seen in the establishment of “drums laws”, lack of access to natural resources, and various forms of racism. Perhaps the skill of making drums was lost, or simply phased out during these times of infamy. However, technology has filled this gap by transforming drum into the ‘beat’ via the beat machine, e.g. 808 (George, 1998). Hip Hop share concepts and musical forms with the drum in Africa including: 2/4 beat pattern; syncopated rhythm to pace dancers; repeats in integral parts of songs; signal call and response; repetitive beat pattern, and relationship to emphasizing the words of the orator (Keyes, 1996).  

The DJ uses the beat machine, a keyboard shaped machine with hundreds of drum sounds, to make the ‘beat’. The beat machine allows the DJ/Producer to make an overlapping rhythm pattern that is guided by a variety of percussion instruments usually the bass, snare drums, and cymbals. The beat then forms the foundation for other instruments, sounds, and/or ad-libs that act as the musical backdrop of the Rap lyrics (Greewald,1996). The beat communicates to and for the MC as it serves to accentuates his lyrics/ punch lines and paces him throughout the song. This all contributes to Hip Hop’s reputation as percussion heavy music (Greenwald, 1996).

It is through the beat the DJ communicates with concert participants. This seen in ‘call and response’ moments that also allows the MC to rest. The ‘beat’ is also used to communicate by persons of the Hip Hop culture. ‘Hip Hop heads’ place huge speakers in their cars and the bass produced by the beat in the song signals their arrival at parties, events, clubs, concerts, etc. Telling the public ‘I’m here’.

The beat also communicates with the subconscious of listeners. This is accomplished through the implementation of excerpts from hit songs looped over a new beat. This is called sampling (Greenwald, 1996). The familiar ‘beat’ forms sparks ‘memory’ and forms an unseen link between the DJ and the listener. The DJ exploits this link as he wields power of suggestion over the crowd. He is able to coerce the crowd to the dance floor or settle a riled up crowd waiting for a late performance (Greenwald, 1996). Sampling used properly is very effective as it works as a Trojan Horse method of introducing new artist to fans under the past success of a predecessor. This is an affective method of communicating to the subconscious via the beat.

Conclusion

As a tool of communication the drum is Africa’s telegraph system (Bebey,1975). It is through the implementation of the drum via the beat that makes Hip Hop the CNN of Black community (Chuck D, 1997). The drum has allowed and continues to allow African peoples all over the world to communicate. In Hip Hop culture it’s called from ‘hood to hood’ (neighborhood) as the Ghetto Boys state, ‘the world is a ghetto’. Our ancestors used the drum to communicate from village to village across the savannahs, mountains, and deserts of Africa. Now the urban youth in the Diaspora use the beat to talk across the oceans, hills, prison bars, and urban concrete jungles throughout the world.

Works Cited

1. Ani, M. (1980). Let the Circle be Unbroken: The implications of African Spirituality in the Diaspora. New York: Nkonimfo Publications.

2. Bebey, F. (1975). African Music: A People’s Art. New York: Lawerence Hill Books.

3. Cullen-Rath, R. (2005). How Early America Sounded. New York: Cornell University Press.

4. Chuck D. with the assistance of Yusuf Jah. (1997). Fight the Power. New York: Delacorte Press.

5. Davis, S. (1992). Reggae Bloodlines: In search of the music and culture in Jamaica. New York: De Capo.

6. George, N. (1998). Hip Hop America. London: Penguin Books.

7. Greenwald, J. (2002). Hip Hop Drumming: The Rhyme may define, but the Groove makes you move. Black Music Research Journal. Vol. 22, No. 2. Autumn. pp. 259 – 271.

8. Hale-Benson, J. (1982). Black Children, Their Roots, Culture, and Learning Styles. Maryland: Brigham Young University Press.

9. Keyes, C. (1996). At the crossroads: Rap music and its African Nexus. Ethnomusicology, Vol. 40, No.2. Spring-Summer. pp. 223 – 248.

10. Sowande, F. (1969). The Role of Music in African Society. A speech given at Howard University in Washington, D.C.

Introduction

Cultural unity exists throughout the African World. The cultural diversity in the African World can be contributed to regional conditions such as lifestyle, resources, and environment. In this way cultural diversity is closer to regional variations of ‘African culture’ rather than differences. It is imperative to focus on cultural unity in the African World to create the foundation for Pan African consciousness in the African World. To test this theory of “regional variations” in the African World I will compare the role of the drum in indigenous West/Central African cultures and Hip Hop in the United States.

Talking Drum in Africa  

            The drum is the oldest known instrument in the world dating back to 4000 BCE in Kemet on the northeast corner of Africa (Sowande, 1969). It is present throughout every region of Africa playing different roles amongst the various peoples (Bebey, 1975). Perhaps, more than any other object the drum has become a ‘cultural emblem’ of the African World culture. This is not a mistake, as Leonard Barrett states, “the drum is Africa” (Ani,1980). To understand the profound role of the drum in the African World we must consider it a tool of communication. The loud boom of a drum draws the attention of any person, but the ‘talking drum” speaks ‘to’ and ‘for’ African peoples.

The drum is used to communicate with the “supernatural” world as in the case of the Yoruba of Nigeria (Bebey,1975). Davis (1992) wrote, “Drums are known to transmit messages between God and people, and also an essential instrument in the ritual healing” (34). It is plays a prominent role in ceremonies, rituals, and rites as pace setter for dance and praise. The people follow the drum’s rhythm and their collective energies creates a ‘unseen’ link with the ancestors (Sowande, 1969).

Practical uses of the drum included signaling the start of the day, lead celebrations, and notifying the public of important information (Bebey,1975). The jeli (teacher/griot) uses the drum as musical backdrop to recite ‘historical poetry’ to educate the masses. The rhythm of the ‘drum’ forms a link between the listener and the griot while making learning as the child associates the knowledge with a particular rhythm. This is an effective form of education because children of African descent tend to retain information as result of their right brain cognitive learning style. (Hale, 1982).

Drums were used to communicate between villages and towns. This form of communication was not just random beats, but a ‘drum language’. Each group’s ‘drum language’ is influenced by the geographic topography, the style of drum, material, number of drums, size of the drum, and rhythm/beat pattern (Bebey,1975). Regional variations can be seen in the drum languages of African culture that are influenced by the peoples struggle with environmental conditions (Bebey,1975).

Talking Drum in the ‘New World’

Africans brought the knowledge of the “drum” to the Americas via the Maafa/Trans-Atlantic Slave Trade (Ani,1980). As a result many Diasporic traditions share fundamental cultural values with Africans from Sengambia, Central and Southern Africa (Bebey,1975). This includes the Oyo, Yoruba,, Dahomey, Fon, Bantu, and Ewe all of which are recognized by scholars as being the majority of enslaved Africans (Bebey,1975). The drum’s cultural “paper trail” is a virtual “Hansel and Gretel” type of deal where the Ancestors left cultural indicators as an inalienable way back to our origins.

Africans in the Diaspora also have practical uses for the drum similar to those on the continent. Maroon societies in the Caribean and Brazil used drums to notify, start a charge, and over long distances to synchronize guerilla operations (Rath, 2005). Africans in the U.S. played drums in public displays of dance, relief, praise, and expression the most notable of these places is Congo Square. The importance of the drum in communication is perhaps best judged by the establishment of the ‘drum laws’ in the 16th and 17th throughout the Americas as Europeans began to fear the ‘talking drum’ (Rath, 2005).

Diasporic religions worship similarly to African religions. Both use the drum to tap the participant’s inner spirit to induce a trance like state that culminates with a danced expression. The use of the drum to induce spirit possession is present throughout the diaspora: ‘Voodoo’ (Haiti, and Americas), Santeria (Cuba), Canbomble (Brazil), and Rastafari (Jamaica) (www.wikipedia.com). This phenomenon can also be seen in the southern Black church in the U.S. where it is known as catching the ‘holy ghost’, but similar it is brought on by a combination of drums and praise songs.

Diasporic music traditions including ‘Reggae’ in Jamaica, ‘Samba’ in Brazil, and Ramba in Cuba use the drum for similar purposes of African traditions. These genres share the basic musical concepts with African music traditions including the “2 – 4” beat pattern; syncopated beat rhythm that aims to emphasizes the lyrics; drum/beat maintain ‘timing’ relationship with vocals; initiating and synchronizing dancer; leads call and response; and repetition throughout the track (Sowande,1969;Davis,1992). This is known as the “heterogeneous ideal” where the core underlying concepts of the African world music are apparent in Diasporic music (Greenwald, 2002). If these core concepts survived in the ‘New World’ it is possible that knowledge of the drum as a tool of communication may have transmitted to the Hip Hop generation.

The Talking Drum in Hip Hop

Hip Hop was created on the streets of the South Bronx, NY in the 70s (George, 1998). Hip Hop developed as a cultural expression and medium for marginalized urban youth in the United States to express their disapproval of the government, poverty, police, violence, and as a means of collective resistance (George,1998). The genre has spread like wildfire as youth all over the world realize the source of their struggles, the system, and begin to communicate with each other across national and racial boundaries.

It follows the African American (e.g. B.A.M) artist/oratory tradition that demands the “orator” express personal and communal convictions while maintaining African aesthetic forms (Keyes, 1996). The godfathers of this genre are Kool Herc, Afrika Bambaata, and Gil Scott Heron (George,1998). It is important to note that each ‘god father’ employed drums in their performances. Kool Herc brought the drum knowledge from Jamaica, Gil Scott Heron contributed drum knowledge as a Griot of the B.A.M, and Afrika Bambaata ‘consciousness’ of African heritage as a historian are the material “links” of drum knowledge. These links forms the basis for the use of the drum as tool of communication in Hip Hop.

There are four elements of Hip Hop: (1) the emcee (MC); (2) the DJ (Producer); (3) graffiti (visual art); (4) and breaking (dancing). The most influential is the DJ. He is responsible for communicating with the remaining three elements (Greenwald,1996). He also initiates moments of call and response with the crowd. The DJ is able to accomplish this through the administering of the beat similar to the drummer in Africa (Greenwald, 1996).

It is important to understand the transformative process that the drum under went in the United States. Conditions in the U.S. were not accepting of African cultural forms. This is seen in the establishment of “drums laws”, lack of access to natural resources, and various forms of racism. Perhaps the skill of making drums was lost, or simply phased out during these times of infamy. However, technology has filled this gap by transforming drum into the ‘beat’ via the beat machine, e.g. 808 (George, 1998). Hip Hop share concepts and musical forms with the drum in Africa including: 2/4 beat pattern; syncopated rhythm to pace dancers; repeats in integral parts of songs; signal call and response; repetitive beat pattern, and relationship to emphasizing the words of the orator (Keyes, 1996).  

The DJ uses the beat machine, a keyboard shaped machine with hundreds of drum sounds, to make the ‘beat’. The beat machine allows the DJ/Producer to make an overlapping rhythm pattern that is guided by a variety of percussion instruments usually the bass, snare drums, and cymbals. The beat then forms the foundation for other instruments, sounds, and/or ad-libs that act as the musical backdrop of the Rap lyrics (Greewald,1996). The beat communicates to and for the MC as it serves to accentuates his lyrics/ punch lines and paces him throughout the song. This all contributes to Hip Hop’s reputation as percussion heavy music (Greenwald, 1996).

It is through the beat the DJ communicates with concert participants. This seen in ‘call and response’ moments that also allows the MC to rest. The ‘beat’ is also used to communicate by persons of the Hip Hop culture. ‘Hip Hop heads’ place huge speakers in their cars and the bass produced by the beat in the song signals their arrival at parties, events, clubs, concerts, etc. Telling the public ‘I’m here’.

The beat also communicates with the subconscious of listeners. This is accomplished through the implementation of excerpts from hit songs looped over a new beat. This is called sampling (Greenwald, 1996). The familiar ‘beat’ forms sparks ‘memory’ and forms an unseen link between the DJ and the listener. The DJ exploits this link as he wields power of suggestion over the crowd. He is able to coerce the crowd to the dance floor or settle a riled up crowd waiting for a late performance (Greenwald, 1996). Sampling used properly is very effective as it works as a Trojan Horse method of introducing new artist to fans under the past success of a predecessor. This is an affective method of communicating to the subconscious via the beat.

Conclusion

As a tool of communication the drum is Africa’s telegraph system (Bebey,1975). It is through the implementation of the drum via the beat that makes Hip Hop the CNN of Black community (Chuck D, 1997). The drum has allowed and continues to allow African peoples all over the world to communicate. In Hip Hop culture it’s called from ‘hood to hood’ (neighborhood) as the Ghetto Boys state, ‘the world is a ghetto’. Our ancestors used the drum to communicate from village to village across the savannahs, mountains, and deserts of Africa. Now the urban youth in the Diaspora use the beat to talk across the oceans, hills, prison bars, and urban concrete jungles throughout the world.

Works Cited

1. Ani, M. (1980). Let the Circle be Unbroken: The implications of African Spirituality in the Diaspora. New York: Nkonimfo Publications.

2. Bebey, F. (1975). African Music: A People’s Art. New York: Lawerence Hill Books.

3. Cullen-Rath, R. (2005). How Early America Sounded. New York: Cornell University Press.

4. Chuck D. with the assistance of Yusuf Jah. (1997). Fight the Power. New York: Delacorte Press.

5. Davis, S. (1992). Reggae Bloodlines: In search of the music and culture in Jamaica. New York: De Capo.

6. George, N. (1998). Hip Hop America. London: Penguin Books.

7. Greenwald, J. (2002). Hip Hop Drumming: The Rhyme may define, but the Groove makes you move. Black Music Research Journal. Vol. 22, No. 2. Autumn. pp. 259 – 271.

8. Hale-Benson, J. (1982). Black Children, Their Roots, Culture, and Learning Styles. Maryland: Brigham Young University Press.

9. Keyes, C. (1996). At the crossroads: Rap music and its African Nexus. Ethnomusicology, Vol. 40, No.2. Spring-Summer. pp. 223 – 248.

10. Sowande, F. (1969). The Role of Music in African Society. A speech given at Howard University in Washington, D.C.

JAM Aiwuyor Black Artist Spotlight

Abandonment In A Storm

Abandonment In A Storm
 By Vivian Dixon Sober

I lay in bed in a deep sleep well into the night, or early morning after midnight.  Suddenly awakened by a moving force starting inches below my belly button but creeping toward my esophagus slamming my air canal shut tightly like steel doors that couldn’t be opened.  My legs ached and I knew death had come for me.   “Let me take you to the hospital,”  daughter asked softly.”  She had come to spend the night with me, slept in the same bed with me; awoke simultaneously with me.  Knowing I’d never make it to the hospital, I said call 911.  I will save her from the realization of my death.  I ran outside to die as I did not want to die in the house.   Looking up, I thought, I can’t believe I died this way.  
I awoke confused.  It seemed like I was looking through a screen.  Drugged heavily I didn’t know it was me.  I breathe by machine.  With tubes down my throat and hands tied down–a mental hospital it had to be.  I spoke in complete sentences, though—I do believe.  Intensive care they call it. I see people staring at me.  I recognize one of them; why is my husband forcing me to watch science fiction it is not my scene.  I’d rather read my obituary as painful as it will be. 
Off the machine.  Peering in the mirror, I see the whites of my eyes; blood-red–no white at all.   I have no conception of time.  Where is my mind? 
Husband said, “He was there as a friend,” after, which, he abandoned me—emotionally–off with his kids and the child I, myself, bore but not before his kids knew their worth—they had drained the breath out of me.  I was hurt and lonely, but I could see the backstabbing users ’didn’t give a hoot about me.  They left me for dead and wouldn’t help me, instead, they including their father persecuted me.  All I wanted was a sparkling house, which I was too sick to achieve—those 3 kids lied on me, rejected me and 2 gave my mother-child dance to someone else at their graduation who did not help, did not support, or even take them there. 
I was good enough to raise his neglected kids; he destroyed the relationship I had built with them.  Now he has to protect them from me–the woman who raised them,  and  they stood  as four against me and watched as their father ranted and raved and called me names.  He put his kids before me.  The end I should have seen 
I hope you can see why I was in need.  With lack of oxygen to my brain, I wasn’t the same, but I prayed and I prayed and soon an angel came; two years or more he listened to me.  I needed him so desperately.  He rescued me and taught me many lessons I shall never forget.  I was down on my back looking up.   He talked me sensibly though this storm and helped me put fear behind, made me realize that I am alive and so is my mind, “Don’t believe what they say it’s not true. It will hinder you.” 
My mind in no shape for work, I went back to school, first angel is patient with wisdom backstabbing users will never receive as they are too busy trying to get rid of me–a negative experience, indeed, with positive results. People need people and sad to say, angel helped me up, and I don’t feel the same. 
Husband abandoned me in my time of need—with his thankless kids I, myself,  raised—good time wasted.  A pack of ingrates; I feel raped.  No one stopped to help those kids. Their family was too busy helping others and avoiding them as it was for too painful for them to grip–so you abandon your sister’s kids, and what happened to all of their friends?  Why did they run as though the kids had a gun?  I stepped up to the plate and accepted them with grace.  No one can raise them better than me.  My heart began to bleed, and now they can’t accept me. 
I hate my heart. I want one of steel, and then I can be cold and calculating  just like them.  Husband says he doesn’t feel the same—what am I suppose to say?  I’ve seen his play–close your eyes and you can’t see how you have humiliated me with your vicious scheme; watching TV and ignoring me emotionally. 
He left me when I was afraid to live. Yelled and screamed about everything I did and challenged my confidence in front of his three kids—which will end!  
I  was there for him in his time of need. I raised three kids and could have left him in the street.  He would be dead,  if I did to him, what he did to me. 
Thank you God for blessing me.  I’m up now and it’s a brand new day. I am up and well on my way. I don’t care if they stare at me.  I didn’t die.   I am Victorious in God’s eyes.  So when they stare at me, they see an eye full.  I’m what you call getting an eyeful. Their stares become glares, and who cares?   
I don’t need them to understand me.  They are not of my sort.  They abandoned me, and I found love in a special place.  Now!  I must identify I am a prisoner of my own deceits, and I will not obey because prison is not for me.  I will only be me.  That’s all I can be. 
Peering through the rearview, I see I was carried through my deluge.
I have come a long way, and must say, angels come in many ways.  Sometimes I wonder am I living life or is life living me for I am guided you see.   But angels can be people too. I know this to be true.  Human angels never kick you when you are down; they help you to get up when you want to drown, and they absolutely will not let you sit down 
Abandonment in a Storm something  I thought was the worst thing that ever happened to me turned out to be a blessing in disguise–’cause through it all–I want you to know; I saw you, I felt you; I know you; and I thank you.  I didn’t die.  I am Victorious in God’s eyes.
I see the light and choose to be an angel whom the truth sets free
Another Beginning
 
Vivian Dixon Sober
All rights Reserved
 
This is an editorial and black love speaking.
 

Visit Vivian’s blog at
http://victoriouswomen.wordpress.com

JAM Aiwuyor Healthy

The Rebellious Vegetarian

The Rebellious Vegetarian

“if You Re-Bel With A Cause, You won’t be a Rebel Without a Cause” – Last Chance Charlie

‘Eat organic’; ‘Free Range & Cage Free’; ‘Grass fed – no steroids’; ‘wild caught – no nets – on lines‘. 

‘Cramped enclosures‘; ‘de-beaked and abused’; ‘over-farmed &; over-fished’; ‘outbreaks of disease’; ‘Tyson and Monsanto’.

Am I the only one that is getting a little weary of all the Preaching and the Guilt that pervades the Medias’ coverage of, ‘Food – Its Evils and Horrors’. 

That might as well be the Headlines.

Or why do they say things like, “Caught in the dastardly clutches of President Bar-Sinister, Food is the hapless victim in the battle of Good vs. Evil”…

… if what they really mean is “Bi-Partisanship, Cooperation, Compromise and Consensus”?

When they’re not making you feel Guilty, you are made to feel Un-Educated. I’ve heard people with advanced degrees say, “I have a PhD and I couldn’t even figure it out”, about normal everyday things.

That’s the real conspiracy, make everyone dependent on Them.

That is why you hear words like, “We Know that You are having a Difficult time adjusting to this change in Dietary Life-Style, which is why We are providing You with Prepared [pre-selected, pre-tasted, pre-tested, pre-demographed, pre-TradeMarked, pre-packaged and pre-sented] meals for your… entire Week/entire Month/entire Year/entire… Life

It is the same thing when I go grocery shopping. The media and mainly my wife, have me so paranoid and programmed, that I find myself doing the same things that I used to think only ‘fanatics’ do: 

Freak out over the news – Go to the library and read every book about it – Throw out all the meat in the freezer – Eat corn on the cob without butter – Map out a route of at least 5 different stores and 2 of those are Farmers markets – Tell Everyone that they Did and Do. 

So My resolution to reclaim my sanity, for the remainder of this year and into the next, and for ever long this lasts, is to stop listening and start enjoying. 

I have heard enough to make up my own mind and I agree with the things I agree with. I’ll reserve judgment on other things as the information becomes clearer, but that doesn’t mean I’ll be careless and overindulgent. Give me some credit for good sense.

But if I have to eat ‘wood chips’, I’ll eat them the way I want to eat them – with roasted red peppers, garlic and goat cheese – thank you very much.

It doesn’t cost more either with all the money we save annually buying our beans, rice and cereal in bulk – I’m talking 50lb bags.

Fresh local fruits and vegetables on par with major chain prices. The only things I pay a little bit extra for are ‘accoutrements’ like:

Mango salsa and powder, eggplant and garlic spread, feta with herbs, cumin seeds, Jamaican Curry powder and apple-wood smoked, salt and pepper.

I love to eat and I need to be happy about what I’m eating; and I am happiest when I can be creative.

So if you don’t mind, I’d like shaved Pecans, sliced Strawberries and Bosc Pears with my Pan-Seared Wild Alaskan Salmon salad: 

A skinless fillet, 

Marinated in a blend of extra virgin olive oil, fresh rosemary, basil, oregano, garlic, cracked pepper and sea salt, 

The garlic and herbs chopped and mixed together, blended with the olive oil, salt and pepper,

Rub into the flesh side only,

Let sit for 20 – 30 minutes in the refrigerator,

 Then place flesh side down in a hot nonstick pan for 45 – 60 seconds, 

 Until you get a nice golden brown searing and caramelizing of the fresh garlic and herbs; 

 Turn over and cook for another 90 seconds and remove. 

Cooked to perfection, the flesh flaky and moist, it is ready to be served on a tossed bed of mixed greens and spinach, mixed with Feta, red and yellow peppers, broccoli, cucumber, sliced cherry tomatoes and baby carrots, red onion, cilantro and avocado, then garnished with shaved Pecans, sliced Strawberries and Bosc Pears.

As an alternative to either a Raspberry Vinaigrette or Light Poppy-seed dressing, try a tablespoon or two, of Mango Salsa from Trader Joes.

I think I feel a cookbook coming on.

 Copyright ©2010 Anthony Hall

JAM Aiwuyor Black Artist Spotlight

A Rose That Grew From Concrete: Singer/Songwriter Jarell Johnson

A rose that grew from concrete: Singer/Songwriter-Jarell Johnson

Written by: k-la

Baltimore, Maryland is where I resided for three years of my life. My apartment was in the middle of two different worlds.  Two blocks north of my apartment you would see beautiful brownstones and freshly cut lawn. Michael Phelps grew up not too far from here. Two blocks south of my apartment the people who could have inspired HBO’S “The Wire” resided in row homes that once were big and beautiful.   The one thing I found evident on both sides was that there was so much talent among the people. Some people I will never forget, because of their story alone or just because their voice told a story on its own.

While living in Baltimore looking for talent I came upon Jarell Johnson, who is a singer/songwriter, I thought about Tupac’s poem ‘’A rose that grew from concrete”.  Sometimes you find beautiful things in unexpected places.  It’s only right that I give you some insight on this talented singer/songwriter, so you can get a chance to see who he is and to hear what the world of music is missing.

The Legaci: Are you originally from Baltimore?

Jarell: Yes I am, I did grow up in North Carolina but I came back, and this is where most of my musical experience comes from.

The Legaci:  When did you know that singing and writing is what you wanted to do?

Jarell:  Around 10 or 11 I started to find my voice and I started writing poems it was between law and singing (laugh)

The Legaci:  Do you think it’s important for singers to be songwriters?

Jarell:  Well for me I think it adds a texture and honesty to your work I think if you can apply things that happened in your life to your writing it becomes more personable.

The Legaci:    I have talked to people that say some people from Baltimore have a defeated attitude and they don’t think they can achieve more… but I don’t see this with you. What or who inspires you to keep going?

Jarell:  I think it’s my passion and attitude… If it’s something you want to do you have to blaze the trail.

The Legaci:   I believe what you put out in the universe comes back to you, with that being said if you had your choice of record labels to be signed to  what label would that be? If you could collaborate musically with anyone in the industry presently who would it be?

Jarell: oh man! That’s hard, you know.  I don’t have a specific label but any label that will allow me to do what I want and be myself would be the right choice for me. You know, I want to be successful. I don’t want to be necessarily a superpower. I just want my work to have meaning. Ok so,  wow, who would I collaborate musically with?  (laughs )There is list I have  (ok then give me a few  ) …writing wise, Teedra Moses, Tank … Artist  with sick harmonies that I would love to work with  Brandy , Tweet, Bilal these are just a few.

The Legaci: Name one song that you could listen to everyday until the day you died?

Jarell:  OK! OK! Let me see… Maybe” Ready for love” by India Arie or “You love me” by Jill Scott.  These songs are beautifully written and honest, very honest. They have an amazing mood and ambiance. Admitting that you are ready to love is honest, but saying I need you AND I’m ready to love is something so pure about that. (I totally agree, Ready for love is one of my favorite songs the lyrics are so deep and honest!)

The Legaci: I took a listen to your song “Not interested” and I felt every word tell me a little about it?

Jarell: Thank you. I wrote that song about an older relationship and its basically straightforward. Sometimes you leave a relationship and you realize you’re not interested anymore and it’s ok. (AMEN! It’s a great thing to realize)

The Legaci :  Last but not least what do you want people to know about you as an artist?

Jarell: Just that I am an artist. I try to make music that I’ll be proud of.  I want to make lasting music. What’s hot for the moment might not be hot forever, so lasting music that people can feel.

Jarell’s truly a talent. I have seen him create from scratch while he worked with Kalada productions, a talented producer out of Baltimore. Currently he is working with another set of talented people, Firestarter Productions. He is also working on his album which is almost complete and working on a soundtrack with Derrick L. Gray. It is always refreshing to speak to an artist who has so much passion.

Contact Jarell at : Facebook.com/Jarell.johnson

jarell.johnson@yahoo.com

JAM Aiwuyor Relationships

The Power of Black Love

The Power of Black Love

By Guest Writer Dr. Shanessa Fenner 

There is nothing more beautiful than the love between a Black man and a Black woman.  The security and love that a Black man gives the Black woman is breathtaking. 

We are living in a society that focuses on the breakdown or dismantling of the Black Family structure instead of focusing on the positive aspects.  Black love does exist and will live forever despite the depiction of what society says about Black love. 

Black love exemplifies strength, forgiveness, communication, growing together, trust, reciprocity, unconditional love, and loving each other until your very last breath.  There are couples that are the epitome of Black love such as Bill and Camille Cosby, Will and Jada Smith, Ossie Davis and Ruby Dee, President Barack and Michelle Obama, and the list goes on.  There is a certain chemistry that Black love emits and others can see and feel it too.

It is important for our children to see the power of Black love so they can have a healthy knowledge of what true love represents.  With 60% of Black households being led by Black women, many children are not able to see healthy relationships between a man and a woman.  Healthy relationships are comprised of trust, honesty and respect.     

Some Black men are reaching out and marrying women of other ethnicities for various reasons.  This action decreases the chance of the Black woman to love and marry a Black man.  It also poses the question is our race giving up on Black love?  Is there a feeling that love and happiness is found elsewhere as in other races?   

We are a beautiful race with a history that should have cemented our people to learn how to stand together, support, and love our own.  The power of Black love is amazing and I do believe it will stand the test of time.         

Dr. Shanessa Fenner is an educator, writer, radio personality, and has her own TV show.  She is a multifaceted Black woman who is motivated and cares about her people.  Her passion is motivating our future youth to be all they can be.     

JAM Aiwuyor Commentary, Race Ethnicity & Culture

How Gay is Your Black?

How Gay is Your Black?

By J.L. Glenn

Both before and after the shackles came off, African Americans have been fighting the battle to learn, love, and even drink water freely. The struggle for freedom through nonviolent protest continues on even today.  However, on this path to freedom, it seems as if some have forgotten what the Civil Rights Movement was all about and what the word equality really means. They have forgotten that discrimination does not just apply to race; it applies to all other human rights as well.

On Monday, March 8, 2010, Time Magazine Online published an article entitled, “Being Gay in Uganda: One Couple’s Story,” written by Glenna Gordon. The article is about one lesbian couple’s struggle to be themselves in Uganda, where the social and political climate is hostile towards its GLBT citizens.  Gordon writes, “Last year a member of Uganda’s Parliament, David Bahati, introduced a bill that, if it becomes law, will further criminalize homosexuality in Uganda. ‘Aggravated homosexuality,’ according to the bill, will become a capital offense and anyone who doesn’t report a known homosexual within 24 hours will be subject to punishment of up to seven years in jail.”

When did it become socially acceptable for us, as a people, to ignore injustice and allow discrimination?  When did it become tolerable for we who were drowned by the firefighter’s hoses, tackled by the bloodhounds, and hung from trees by bigoted men, to stand by and do nothing as others lose their birthright of freedom? At what point, after we gained our freedom, did we decide that it was all right for anyone outside of what we individually deem as “normal” to be subjected to mistreatment? We are all worthy of the same constitutional truths. When did love—the one thing that has brought this world together after war, slavery, genocide and terrorism—become so terribly immoral?  When did love become an insufficient fund?

Discrimination is Discrimination and it’s criminal.  So the question remains: How Gay is Your Black?

Works Cited

http://www.time.com/time/world/article/0,8599,1969667,00.html Monday March 8 2010, Glenna Gordon.

Time magazine in partnership with CNN.

J.L. Glenn is a poet and playwright living in Washington D.C.

JAM Aiwuyor Commentary

Daddy’s Journey…

Daddy’s Journey… By Timothy Aaron-Styles

If it were possible, many—possibly most—of us would revisit days gone by in order to change past experiences. Armed with the benefits of life lessons learned and wisdom gained from tripping, falling, slipping, stumbling, hurting, being hurt, losing and suffering. I’d go back to make different choices, select different paths, undo certain actions and do many of those things not done—things I really should have done.

Case in point: if I could go back, I would be there for my daughter. I know “be there” is such an abstract term. However, my “be there” has real definition and criteria now. Way back then, back in the days, my concept of “be there” was skewed. Maturity and wisdom arrived at by living and learning hadn’t really manifested itself to me then. Simply put, in other words, I was young and immature.

Of course, I didn’t know it then and I wasn’t listening to those wise elders—some friends, some relatives, some associates and sometimes even strangers—who constantly advised me about how and why I should “be there” for my daughter. Somewhere in my then warped mind, I believed that an occasional phone call made to her or a period African doll sent as a gift was enough for “my little African girl”. Sad.

My daughter needed me to be there to love her. Not in some pseudo-intellectual way nor with mere lip service but by taking care of her. By contributing positively to her unfolding. Her growth. Her development.

Be there. There’s that phrase again. But it’s not the skewed “be there” I refer to. It’s the one whose understanding I have arrived at, finally, through prayer, reflection, tears, struggle, and contemplation.

I should have been there to meet my financial obligations. That’s one of the first and most important responsibilities owed to a child by an absent parent. Money helps provide comfort, joyful experiences, clean and fitting clothes, mind-expansive books, train or bus fare to Nana and Poppy’s house, cultural exposure, a full belly and other creature comforts essential to a healthy and wholesome life experience for a growing child.

I should have been there for my daughter for guidance, protection, support, laughter, encouragement and advice.

I should have been there to listen, cry, tease and joke—To offer my shoulders, my back, my arms and my chest.

I should have been there to hold, snuggle, run, jump, skip and play.

I should have been there, during those formative years, to admonish, discipline, consult or shame (in the African sense of the word where shame is used to enlighten and correct not to demean).

I should have been there like my father and mother were. However imperfect they were.

I should have been there silently if need be. Just to be there so she can see me.
Little girls—and big daughters—need their daddy’s ya’ll.

I can’t go back and recapture that invaluable time although I want to so desperately. Strangely I have fond and precious memories of times and situations between she and I that are non-existent. Is that my mind’s way of rationalizing my absence? Or is it my imagination helping me to not be so sad, guilty and self-condemnatory?

Knowing full well that the past is irretrievable, I’d settle for my twenty-something daughter to embrace me now. To speak with me openly and freely. Hold me—kiss me and affectionately refer to me as “daddy” or “Baba” instead of by my first name.

However, her reluctance to, and the likelihood that a relationship between us will never be, are the fruits of my deeds and misdeeds. All results of my actions and inactions. Products of my immaturity and stupidity. Life’s wisdom has enlightened me.

All I can do now is hope one day my little girl—I’m sorry—my grown daughter can somehow find it in her heart and mind to understand and forgive me. Then maybe she’ll bless me with her time and her love.

All I can do now is share with others and say: daughters need their daddy’s ya’ll. To my brothers—love your daughters and be there for them for real. They need you and you need them.

Maybe, just maybe, I’m on the road now to being a wise elder myself. Somebody tell my daughter.

Daddy’s Journey…
By Timothy Aaron-Styles


If it were possible, many—possibly most—of us would revisit days gone by in order to change past experiences. Armed with the benefits of life lessons learned and wisdom gained from tripping, falling, slipping, stumbling, hurting, being hurt, losing and suffering. I’d go back to make different choices, select different paths, undo certain actions and do many of those things not done—things I really should have done.

Case in point: if I could go back, I would be there for my daughter. I know “be there” is such an abstract term. However, my “be there” has real definition and criteria now. Way back then, back in the days, my concept of “be there” was skewed. Maturity and wisdom arrived at by living and learning hadn’t really manifested itself to me then. Simply put, in other words, I was young and immature.

Of course, I didn’t know it then and I wasn’t listening to those wise elders—some friends, some relatives, some associates and sometimes even strangers—who constantly advised me about how and why I should “be there” for my daughter. Somewhere in my then warped mind, I believed that an occasional phone call made to her or a period African doll sent as a gift was enough for “my little African girl”. Sad.

My daughter needed me to be there to love her. Not in some pseudo-intellectual way nor with mere lip service but by taking care of her. By contributing positively to her unfolding. Her growth. Her development.

Be there. There’s that phrase again. But it’s not the skewed “be there” I refer to. It’s the one whose understanding I have arrived at, finally, through prayer, reflection, tears, struggle, and contemplation.

I should have been there to meet my financial obligations. That’s one of the first and most important responsibilities owed to a child by an absent parent. Money helps provide comfort, joyful experiences, clean and fitting clothes, mind-expansive books, train or bus fare to Nana and Poppy’s house, cultural exposure, a full belly and other creature comforts essential to a healthy and wholesome life experience for a growing child.

I should have been there for my daughter for guidance, protection, support, laughter, encouragement and advice.

I should have been there to listen, cry, tease and joke—To offer my shoulders, my back, my arms and my chest.

I should have been there to hold, snuggle, run, jump, skip and play.

I should have been there, during those formative years, to admonish, discipline, consult or shame (in the African sense of the word where shame is used to enlighten and correct not to demean).

I should have been there like my father and mother were. However imperfect they were.

I should have been there silently if need be. Just to be there so she can see me.
Little girls—and big daughters—need their daddy’s ya’ll.

I can’t go back and recapture that invaluable time although I want to so desperately. Strangely I have fond and precious memories of times and situations between she and I that are non-existent. Is that my mind’s way of rationalizing my absence? Or is it my imagination helping me to not be so sad, guilty and self-condemnatory?

Knowing full well that the past is irretrievable, I’d settle for my twenty-something daughter to embrace me now. To speak with me openly and freely. Hold me—kiss me and affectionately refer to me as “daddy” or “Baba” instead of by my first name.

However, her reluctance to, and the likelihood that a relationship between us will never be, are the fruits of my deeds and misdeeds. All results of my actions and inactions. Products of my immaturity and stupidity. Life’s wisdom has enlightened me.

All I can do now is hope one day my little girl—I’m sorry—my grown daughter can somehow find it in her heart and mind to understand and forgive me. Then maybe she’ll bless me with her time and her love.

All I can do now is share with others and say: daughters need their daddy’s ya’ll. To my brothers—love your daughters and be there for them for real. They need you and you need them.

Maybe, just maybe, I’m on the road now to being a wise elder myself. Somebody tell my daughter.

 

Timothy Aaron-Styles is an innovator in the field of media and communications. He graduated from Georgia State University with a Bachelor’s in Film/Video while minoring in Marketing. He has worked with CNN Headline News, 16 The Library Channel, and City 5: Atlanta City Hall’s cable television station (which he also co-named).

Contact Timothy at timothyaaronstyles@gmail.com

JAM Aiwuyor Healthy, Popular Discussions

The REAL Soul Food: The Benefits Of A Vegan Diet For African-Americans

Fried chicken, ribs, chitterlings, collard greens, sweet potatoes, macaroni and cheese, these are common staples of what most like to call “soul food”. You can find these foods showing up at many Sunday dinners, barbeques, weddings and church functions. The African-American community especially takes pride in providing some of the best soul food cooking around. The problem is that most of this food that people call good for the soul, is not so good for the physical body. Heart disease, stroke, obesity and diabetes disproportionately affect those in the African-American community. Of course, African-Americans are not the only race of people that partakes in “soul food”, but the price that we pay according to statistics seems to be far greater than other races.

On Medicinenet.com, Daniel DeNoon uncovers these startling statistics in the article, “Why 7 Diseases Strike Blacks Most”:

  • Diabetes is 60% more common in black Americans than in white Americans. Blacks are up to 2.5 times more likely to suffer a limb amputation and up to 5.6 times more likely to suffer kidney disease than other people with diabetes.
  • Strokes kill 4 times more 35- to 54-year-old black Americans than white Americans. Blacks have nearly twice the first-time stroke risk of whites.
  • Blacks develop high blood pressure earlier in life — and with much higher blood pressure levels — than whites. Nearly 42% of black men and more than 45% of black women aged 20 and older have high blood pressure.
  • Cancer treatment is equally successful for all races. Yet black men have a 40% higher cancer death rate than white men. African-American women have a 20% higher cancer death rate than white women.

Additionally, according to the Center for Disease Control, heart disease is the leading cause of death for people of most ethnicities in the United States. However, African-Americans have the highest death rate percentage at 25.8.

I’m quite sure this is not the first time you have read alarming statistics about the health of African-Americans, however it is now important to examine alternative lifestyle choices to turn these numbers around in our favor. Through my own extensive research, I learned that the cause of many diseases is linked directly to what we eat. According to research done on vegan.org, consuming animal fats and proteins has been widely linked to heart disease, colon and lung cancer, osteoporosis, diabetes, kidney disease, hypertension, obesity, and many other debilitating conditions. The milk from cows has ideal amounts of protein and fat for young calves, but too much for humans. Eggs are higher in cholesterol than any other food. The American Dietetic Association reported that vegetarian/vegan diets are associated with reduced risks for these conditions. So, based on the health statistics of African-Americans and the benefits of a plant-based diet, it seems only natural to think twice before frying up some bacon!

I went vegetarian in 2001 and became a full-fledged vegan in 2006. The major difference between the two is that a vegan diet eliminates the consumption of all animal products. Many vegetarians still consume fish, eggs or dairy. Most people believe if they stop consuming animal products, they will be relegated to a boring eating lifestyle. There are so many resources, websites and cookbooks now available for vegan eating, that it would be impossible to get bored! I thoroughly enjoy what I eat and as an added bonus, know I am being kind to my body.

Many are also concerned they will not get all the vitamins and nutrients they need on a vegan diet and this is also a myth. Whole grains, vegetables, fruits and beans provide all of the protein and nutrients your body needs. It’s all about education, planning and experimentation. I feel it’s time that African-Americans step outside of the box and take control of our health and in turn educate others on making healthy lifestyle choices. I realize that going vegan is a bit extreme for most, but I hope to be an example to show people that it is attainable and beneficial on many levels. Fresh fruits, vegetables, whole grains and beans are foods that are best for your body and in turn make them good for your soul!

Christa R. Shelton currently resides in Atlanta, Ga and blogs daily on veganism. You can check out her blog at www.vegginoutwithchrista.blogspot.com for more information on veganism and health.

JAM Aiwuyor Politics

Michelle Obama in Haiti…A Necessary Journey to Black Land

Michelle Obama’s Surprise Visit to Haiti

 This Tuesday, Michelle Obama made a surprise visit to Haiti. For security reasons, this trip was not made public but it was a pleasant surprise nonetheless. She has haters of course but who cares? I’m rebuking their hate and replacing it with our love. Why does this trip matter so much? Because like many disasters, people worldwide rush to aid a cause but over time donations begin to become less and less. We need to remember that the devastating earthquake that took and ravaged the lives of many Haitians was only 3 months ago. Although, U.S. citizens donated approximately $1 billion of aid for Haiti, there is still much more that needs to be done.

As Michelle Obama pointed out, the rainy season is nearing and Haitian people are still camping out in Port-au-Prince. Many people are living in tents and are in need of food and water. The devastation is not over. We can not let this escape our minds just because it isn’t getting the same amount of television time. The citizens of Haiti still need basic life necessities like food, shelter, and water. Some organizations like Syracuse University’s Black Graduate Student Association raised money to purchase tents for people before rainy season begins. Providing a source of shelter could prevent the spread of diseases like the flu and pneumonia. This could prevent unnecessary deaths in the near future.

Pastor Shaun King of the Courageous Church in Atlanta, GA has also started a campaign to provide shelter to Haitians. In response to the devastation, he launched a website called http://www.ahomeinhaiti.org.  By mid February of this year he raised enough money to send over 1100 tents to Haiti. He stated, “We’ve provided over 1100 tents, and let me tell you how big of a deal that is. The entire country of France pledged to send 1000 tents.” So the efforts of this Atlanta church family has already exceeded far beyond an entire “first” world country. His ultimate goal is to send 200,000 waterproof tents. Pastor Shaun King and his congregation is just one example of the work that is still going on.

Over 230,000 people died and many survivors suffered traumatic injuries. About 200,000 lost limbs and have undergone amputations. Now they are in need of further medical attention and prosthetic limbs. Members of the medical community are already starting to take notice. For example, The Shriners hospital in Philadelphia is currently offering free medical care to 3 Haitian girls that lost limbs during the earthquake.

In response to other needs, Wyclef Jean’s Yele Haiti has given out approximately 84,000 hot meals and 700,000 gallons of clean water. Wyclef is also building what he calls Yele village. He told the Philadelphia Inquirer that it will include a school, medical center, orphanage, kitchen, and job search assistance. This is a great start! But with all of our help more and more can be done everyday. 

I know that times are hard for everyone but we have to remember our Haitian brothers and sisters. They still need our help. So please find a way to continue donating or sending things they need. Find a local Haiti food or tent drive and be sure to participate in it. If not, start your own or donate to Haiti relief organizations online. I am definitely going to be putting some of my money aside for http://www.yele.org or www.ahomeinhaiti.org.

Love,

 Jam-the-lbg