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Dance/Feminism/Workshops – The Window Sex Project – 9/16 + 10/14 *nyc

Highly recommended!!

Respond to Street Harassment: 9/16 + 10/14

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The Window Sex Project: Community Workshops

Saturdays, September 16October 14 | 10AM-3PM

The Langston Hughes House, 20 E. 127th Street (between Madison and 5th Avenues)

Dear Carlton,

We’re just one week away from our first The Window Sex Project Community Workshop of the season. We hope you will give yourself the gift of movement and fellowship with community by joining us on Saturday.

Wondering what we’ll be doing in the workshop? Check out the facilitators and speakers we have planned for September 16 and then REGISTER!

Love + Light,





Meet us at The Langston Hughes House! Check in, grab your goodie bag, and meet some new folks.


YOGA with Allegra Romita

Breathe, warm your body up, and set your intention for day. (Don’t forget your mat! If you don’t have one, we’ll have extras courtesy of Harlem Yoga.)

SOCA with Candace Thompson

Whine your waist and celebrate your body in this high energy dance class that will take you to Carnival!

12:00PM LUNCH +


Grab your lunch (provided!) and share your stories. Facilitators will guide participants in a story circle process that encourages listening and witnessing.

1:15PM CREATIVE MOVEMENT with Sydnie L. Mosley

From storytelling to movement making, Sydnie will guide participants in creating from their experiences.


with Nuala Cabral

Join us for a discussion with Nuala Cabral – educator, activist and award-winning filmmaker, who has taught media production, media advocacy and media literacy in high schools, colleges and community centers. Learn More about Nuala.


The Window Sex Project Community Workshops are presented in community partnership with I, Too Arts Collective, Five Boro Story Project, Harlem Yoga, and Sixth Street Wellness. The Community Workshops are made possible in part with public funds from Creative Engagement, supported by the New York City Department of Cultural Affairs in partnership with the City Council and administered by Lower Manhattan Cultural Council. They are also presented in marketing partnership with Stop Street Harassment, Hollaback!, The Laundromat Project, Barnard Center for Research on Women, and The Schomburg Center.

Consider making a monthly, tax-deductible gift that will sustain us through the end of year


September 8, 2017 Posted by | Uncategorized | , , , , , , , , , , , , , , , , , | Leave a comment


The Wire Conference

Friday, April 8, 2016 – Saturday, April 9, 2016


Panels 1-5: 301 Pulitzer Hall
Panels 6-7: 501 Schermerhorn Hall
Panels 8 and 9: Cowin Auditorium, Teachers College


Panels 1-7: Free and Open to the Public; No Registration
Panels 8-9: Purchase tickets here:


A consideration of the achievement, the afterlife, and the legacies of the HBO series The Wire—by some of the actors, writers, and musicians who created it, the academics who teach and study it, and those who in their communities continue to engage the issues it raises. The conference will culminate in a ticketed “Actors and Activism” panel, featuring actors from The Wire, and a performance by the Moving Mountains Theater Company, a nonprofit organization that trains inner city youth in the performing arts, founded by The Wire star Jamie Hector.

Although critically acclaimed from the start, the HBO series The Wire was far less widely viewed during its original presentation (2002-08) than it has been in the succeeding years.  It is one of the very few television series that has become both more popular and more revered over time–consistently ranking on top-ten lists as one of the best series in television history—despite never having been heavily publicized or available for viewing free of charge.  And it is the only series to have been so widely incorporated into the academic curriculum in both the US and abroad.  For almost a decade, The Wire has been showing up on the syllabi of courses in sociology, English, African-American Studies, anthropology, film, education, religion, law, urban studies, criminal justice, and media studies at Harvard, Yale, Columbia, Duke, UC Berkeley, Middlebury, Rutgers-Newark, University of Washington-Spokane, Syracuse, Loyola University New Orleans, University of Michigan (and the list of both disciplines and institutions goes on).

This two-day conference considers the afterlife and legacies of The Wire. For those involved with its creation, the experience of The Wire was unusually transformative.  The same might be said for those who study and learn from it.  What accounts for the unique status of The Wire as an object of multi-disciplinary inquiry?  Why does it appeal so strongly to those in the academy, and increasingly so as the years go by? In what ways has its unusual degree of creative collaboration led to other forms of collaborative work for creators and consumers (community activism, public humanities, team-teaching across disciplines)?  How does its status as a multi-part realist narrative (written as a whole rather than season by season) shape how we read it?  What effect does its subtly traversing the borderline between fact and fiction have on interpretation?

Friday panels address teaching The Wire and the issues it raises in different contexts; scholarship on The Wire, focusing on questions of seriality and narrative experience (including Linda Williams, Frank Kelleter, and Jason Mittell); a discussion about “immersive journalism” with June Cross, Leon Dash, Lynnell Hancock, among others, and the systemic urban problems that most affect the economically disadvantaged; and a “public square” panel, organized by Sheri Parks (University of MD), on Baltimore as a site for examining the interplay of race, racism, and the roles of the police, city officials, black youth (profiled as such), and other community actors.  There will be an early evening discussion and performance of music from The Wire, organized by the composer Blake Leyh, the music producer of The Wire.

Saturday sessions focus on mass incarceration and the school-to-prison pipeline (organized by the Center for Justice at Columbia); the intersection of race, religion, and politics in the inner city (organized by the Institute for Research in African-American Studies); actors and activism (a roundtable organized by Jamie Hector and including other Wire activist-actors).  There will be an early evening performance by the Moving Mountains Theatre Company.

Conference Schedule

Friday, 8 April 2016 – 8:30am-7:00pm 305 Pulitzer Hall | Free and open to the public

Coffee and Opening Remarks – 8:30am-9:30am

  1. Teaching The Wire – 9:30am-11:00am
    Organized by the Heyman Center for the Humanities
    Fran Bartowski, University of New Jersey, Newark Sherri-Ann Butterfield, University of New Jersey, Newark Toby Gordon, Johns Hopkins University
    Arvind Rajagopal, New York University
    Moderator: Marcellus Blount, Columbia University
  2. Break – 11:00am-11:15am
  3. Seriality and Narrative Experience – 11:15am-12:45pm Organized by the Film Division, School of the Arts Frank Kelleter, Freie Universität, Berlin
    Jason Mittell, Middlebury College
  4. Linda Williams, University of California, Berkeley

Lunch – 12:45pm-2:00pm

  1. Immersion Journalism – 2:00pm-3:30pm Organized by the School of Journalism June Cross, Columbia University Andrea Elliott, New York Times LynNell Hancock, Columbia University Others TBABreak – 3:30pm-3:45pm
  2. Baltimore Stories in the “Public Square” – 3:45pm-5:15pm Organized by Sheri Parks, University of Maryland
    Sheri Parks, University of Maryland
    Other panelists TBA
  3. Break – 5:15pm-5:30pm
  4. Music from The Wire – 5:30pm-7:00pm
    Organized by Blake Leyh, Musical Supervisor on The Wire Juan Donovan Bell, Darkroom Productions
    Blake Leyh, Musical Supervisor on The Wire
    Others TBA

Saturday, 9 April 2016 – Morning Panels 501 Schermerhorn Hall | Free and open to the public

  1. Mass Incarceration and the School-to-Prison Pipeline – 10:00am-11:30am Organized by the Center for Justice
    Mariame Kaba, Project Nia
    Desmond U. Patton, Columbia University Break – 11:30am-11:45am
  2. Carla Shedd, Columbia University Columbia JustArts program participants
  3. Religion, Race, Politics in the Inner City – 11:45am-1:15pm
    Organized and Moderated by the Institute for Research on African American Studies: Monica R. Miller, Lehigh University
    Michael Leo Owens, Emory University
    Josef Sorett, Columbia University
    Rev. LaKeesha Walrond, First Corinthian Baptist Church, New York City
    Joseph R. Winters II, Duke University
  4. Lunch – 1:15pm-3:00pm

Saturday, 9 April 2016 – Afternoon/Evening Panels Cowin Auditorium, Horace Mann Hall, Teachers College
GA Tickets: $15; Student Tickets: $7 | Click here to purchase tickets All proceeds support Moving Mountains Theater Company

  1. Actors and Activism – 3:00pm-4:30pm
    A roundtable featuring actors from The Wire, organized by Jamie Hector Jamie Hector
    Felicia Pearson
    Wendell Pierce
    Sonja Sohn
    Moderator: Jamal Joseph, Columbia University
  2. Intermission – 4:30pm-5:00pm
  3. Performance by the Moving Mountains Theater Company 5:00pm-6:30pm


Heyman Center for the Humanities; School of the Arts; Center for Justice; School of Journalism; Institute for Research in African-American Studies


March 28, 2016 Posted by | ART, CULTURE, LIFESTYLES, opportunity, We Recommend | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Poetry/Writing — Symposium — 13th Annual National Black Writers Conference -3/31 – 4/3/16 #MedgarEversCollege – Bklyn.

Conference Theme: “Writing Race, Embracing Difference” in the Literature of Black Writers

Conference Panels:

  • Afrofuturism: Reimagining the Past, Present, and Future
  • Decoded: Hip-Hop and Youth Culture
  • The Politics of Race and Psychology in the Literature of Black Writers
  • The Impact of War, Disaster, and Global Crises in the Literature of Black Writers
  • Creating Dangerously: Courage and Resistance in the Literature of Black Writers



THURSDAY, MARCH 31, 2016 – DAY 1
Location: Edison O. Jackson Auditorium
See Call for Papers Guidelines
11 a.m. – 12:15 p.m.
12:30 p.m. – 1:45 p.m.
2 p.m. – 3 p.m.


Location: Founders Auditorium
9:30 a.m. – 3 p.m.

Elementary School Program
Coordinated by Wade and Cheryl Hudson of Just Us Books

High School Program
Coordinated by Demel Collier and MK Lewis

Elders writing Workshop / “Tales of Our Times” Reading

Location: Edison O. Jackson Auditorium
3:15 p.m. – 5 p.m.

2016 NBWC Reading Series
Location: Edison O. Jackson Auditorium
5 p.m. – 7 p.m.

2016 NBWC Poetry Cafe
7:30 p.m. to 9:30 p.m.
Location: Central Brooklyn Public Library, Dweck Center
(lower level)
10 Grand Army Plaza
Brooklyn, NY 11238

Friday, April 1, 2016 – Day 2
2016 NBWC film program Presented by African Voices/reel sisters
11 a.m.–5 p.m.

  1. “The Long Night” by Woodie King Jr. (1976, 90 minutes; 11 -12:30 p.m.; panel, 12:30–1:15 p.m.);
  2. “August Wilson: The Ground on Which I Stand” by Sam Pollard (2015; 1:30 p.m.– 3 p.m.; panel, 3-3:45 p.m.)
  3. Film Shorts (4 p.m.– 5 p.m.)

Break: 5 p.m.–6 p.m.

Opening Program: Poets reflect on the state of poetry

6 p.m.: Welcome:
6:30–7 p.m.: Keynote speech by Rita Dove, Honorary Chair
7 p.m. –8 p.m.: Poets reflect on the state of poetry in today’s society

Saturday, April 2, 2016 – Day 3

Conference Panels, Roundtables, Readings by contemporary writers
 1. “Afrofuturism: Reimagining the Past, Present and Future”

10 a.m.–11:30 a.m.

The genre Afrofuturism emerged in the last two decades and is related to the term coined in 1992 by cultural critic Mark Dery. In his essay “Black to the Future,” Dery describes it as an African diasporic cultural and literary movement whose thinkers and artists see science, technology, and science fiction as a means of exploring the Black experience.” Author Walter Mosley, who also wrote an essay on “Black to the Future,” notes that this genre speaks clearly to the dissatisfied through its power to imagine the first step in changing the world. Panelists will discuss how these genres are represented in the literature produced by Black writers.

2. “Decoded: Hip-Hop and Youth Culture”
11:45 a.m.–1:15 p.m.

Elements of poetry and creative wordplay figure prominently in the language of hip-hop and in the various ways today’s youth express themselves.  In what ways is hip-hop culture connected to literature and the works of pioneering Black writers? In what ways can hip-hop raise awareness of the African-American literary canon? What are some of the components that would comprise a hip-hop literary movement? These are just a few of the questions that the panelists will address during this conversation.

Lunch and Readings 1:15 p.m.–2 p.m.

3. “Creating Dangerously: Courage and Resistance in the Literature of Black Writers”
2 p.m.–3:30 p.m.

In Edwidge Danticat’s acclaimed book Create Dangerously: The Immigrant Artist at Work, the author explores the passions and the tribulations that writers and artists face in their roles as chroniclers of cultural and political events and as the voices of opposition that strive to be heard under oppressive circumstances. In this discussion, the panelists will talk about the ways literature sheds light on the risks writers take when working under challenging cultural and political situations. They will also discuss the manner in which individual and collective truths are presented in those works for readers to interpret.

4. “The Politics of Race and Gender in the Literature of Black Writers”
3:45 p.m.–5 p.m.

In the age of President Obama, one prevailing question that comes to mind is this: Is the country more racially divided or less racially divided than it was 15 or 20 years ago? Have women honestly made significant strides in traditionally male-dominated fields? Narratives written and published today that focus on racial and gender challenges are emerging heavily in the fiction and creative nonfiction works by Black writers. How do the works of these writers impact the conversations about race in America? In this panel, the writers will discuss some of the key components in literary as well as academic writings that address issues of race and gender and examine whether the works impact the way people view race and gender.

6:45 p.m.–8 p.m. awards program
8 p.m.–9:30 p.m. Jazz Program & Benefit Reception

Sunday, April 3, 2016 – Day 4
 Panels and Talkshops – an additional fee of $25 per session separate from conference entry.

SPECIAL! Register for two (2) Talkshops and receive %15 off ticketed price!
Enter Promo Code: like2talkshop


Session I – 10 a.m.–11:30 a.m.:
A. Creative Nonfiction
B. Book Proposals
C. Poetry

Session II – Noon–1:30 p.m.:
D. Fiction
E. Online Publishing
F. Memoir

One-on-One Conversations with Industry Professionals – by appointment only.
Each session will be 30 min. and be an additional fee from conference entry.

5. “Creative Writing Programs and Writers of Color: Current and Future Trends”
Noon–1:15 p.m.

This roundtable on creative writing programs and workshops is an outgrowth of the essays, conversations, and concerns of writers of color in MFA programs and writing workshops.  Very few writing workshops focus on writers of color and both Junot Diaz and Honoree Fannone Jeffers have recently written essays on the lack of diversity in these programs and workshops. Students and workshops participants in creative writing programs make up a part of our audience.  With respect to MFA programs, we hope that participants on this roundtable would address topics such as:

(a) Should we view literature as color blind and not constructed by race and ethnicity?
(b) Are there cultural blind spots with respect to discussions of race and ethnicity?
(c) Does racial identity have an impact on writing?
(d) Is there an adequate presence of rhetorical, prose and poetic models represented by people of color?
(e) Is there a privileging of white faculty and workshop leaders?
(f) Do MFA Programs and writing workshops offer safe spaces for writers of color?
(g) Are writers of color marginalized in these programs and workshops?
(h) How can we address these concerns in MFA Programs and writing workshops?


6.  “The Impact of War, Disaster, and Exile in the Literature of Black Writers”
1:30 p.m.–2:45 p.m.

The panel discussion on war, disaster, and exile is in response to the growing body of prose, memoirs, and essays related to how we respond to natural and man-made disasters and tragedies in our lives.  Literature has always been a means to address this and to offer strategies for coping.  Literature helps readers to get into the interior lives of characters and paints very vivid portraits of the realities faced by those who confront disaster, war, and exile.


7. “Shaping Memories: The Odyssey to Adulthood”
3 p.m.–4:15 p.m.

This panel will address the various themes and moral values captured in coming-of-age stories. Although the theme is coming of age, many of the novels and memoirs in the genre attract a cross-generation of readers.


 8. “Black Writers in the Digital Age”
4:30 p.m.–6 p.m.

African-American writers have faced many hurdles in getting their works published. While the Digital Age, or New Media Age, has presented new outlets to submit works, what rewards and risks do the Digital Age offer Black writers? Has the Digital Age broadened the readership of works by Black writers? What are some challenges Black writers face in the new information age? Panelists will explore and examine these questions.


Major Funding Provided by the National Endowment for the Arts, Gladys Krieble Delmas Foundation, Con Edison


NBWC 2016

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Details for Advertisement Space. Scroll down to make a payment. 13th NATIONAL BLACK WRITERS CONFERENCE WRITING RACE, […]

January 4, 2016 Posted by | ART, avant-garde, CULTURE, ENTREPRENEURS, HOLIDAY GUIDES, LIFESTYLES, opportunity, We Recommend | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

We Recommend – Crowdfunding– Re-Discovering Fanon – the documentary — #IndieGoGo

Re-Discovering Fanon – the documentary

“Each generation must discover its mission, fulfill it or betray it, in relative opacity.” –FANON
Rico Speight
195 Facebook Friends
New York, New York
United States
5 Team Members

Contact See More Details


My interest in Frantz Fanon’s writings grew out of conversations in my family, as a youth coming of age in the South with incessant questions on the subjects of race and privilege. Early on, an uncle taught me the Law of Compensation, and from that I intuited that the enjoyments of privilege and entitlements—racial and otherwise, must not be without consequence.

Why Re-Discovering Fanon:

I was drawn to Fanon’s writings, like Black Skin and White Masks, because the idea of the global dimensions of racism mirrored experiences I had already lived, both in this country and abroad.  I viscerally understood Fanon’s axiom that the “fact of the juxtaposition of the white and black races has created a massive psychoexistential complex.”

So I always knew I wanted to work on a documentary on Fanon, long before I actually started doing it. After mulling it over for years, I finally made an initial preproduction visit to Fanon’s birthplace, Martinique, in December of 2005 and conducted extensive research at the Bibliotheque Schoelcher in Fort de France. The first shooting in Martinique took place in November of 2007, when I met Mikaella Rojas Fanon, a grand niece to Frantz.  She introduced me to her mother Dr. France-Lyne Fanon, a psychologist, and also to Fulbert Fanon, Frantz’s first cousin who had been his childhood playmate.

I also met Dr. Lewis Gordon, a philosopher and preeminent Fanon scholar at the Caribbean Philosophical Association (CPA) conference at the Malcolm Shabazz Center in Harlem in 2011.  He introduced me to Fanon’s daughter, Mireille Fanon-Mendès France, who was attending the CPA conference.

At that point the pieces finally began to fall together, and I felt strongly that creating a documentary about Fanon and his theories regarding race would shed light on current problems of race in the USA and elsewhere–from institutionalized anti-black discrimination to the continued killings of black people by police.

Our intent was that Re-Discovering Fanon  should go the distance toward unraveling the thorny issues of why racial problems persist, and why every black person from Fanon to a young Trayvon Martin will ultimately experience racism.  However this problem is not merely a “black problem” but a problem of society at large.  (Law of Compensation).

As did Fanon in his writings, the documentary incorporates diverse sources, including interviews, archives, and kinetic typography as it integrates personal accounts and historical perspectives. Visually, Re-Discovering Fanon will collage a variety of materials across different media platforms—interviews with Fanon’s family and colleagues, broadcast TV, cable, Internet, theatrical release –in a very hybrid technique intended to construct new meanings.

One of the primary strategies used in the production is the process of re-staging lived experiences from the past as well as period drama in the present. The production will also dramatize “les incidents racistes au quotidien.”


At the level of society, Fanon argued that ‘men change at the same time that they change the world.’

At the risk of seeming grandiose, I will admit that Re-Discovering Fanon is for us a small effort toward making real social change. So, yes, we want to help change the world!

Fanon tells us: “Each generation must discover its mission, fulfill it or betray it, in relative opacity.”

Realizing that making societal change is a generational mission, it makes perfect sense to make Re-Discovering Fanon a societal experience.

Won’t you join us on Indiegogo to fulfill a generational mission?

This documentary, already ten years in the making, is being shot in Martinique, France, Algeria and the USA.  It is a fully independent production.  It is an effort of love, and every dollar raised will be used to complete the documentary. Again, Re-Discovering Fanon has had a long period of gestation, and now the time is finally right to introduce it to the world–a powerful, documentary that speaks truth to power as Fanon did.

We have an incredible team of professionals and activists on our side. We have already completed 90% of the shooting and we have now begun editing. We need funds to purchase archival footage and for postproduction expenses. We are happy for the opportunity that Indiegogo provides to bring this campaign to you. Rest assured, whatever is the level of your contribution, it will be used and greatly appreciated.

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  • $10USD
    Interim Update on Production

    During post, you will receive updated information on the production and where we are in the editing process. +Email thanking you

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    FB shout out

    The shout-out is a Facebook thank you/shout out thanking you and telling all our friends that you are a contributor to our cause. + Email thanking you

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  • $50USD
    Behind-the-scenes video

    Get a peak at some of the bloopers from the cutting room floor. + Email thanking you. + Facebook shout out

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    “No incentive needed. I just want to help.”

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    You get to pick the director’s brain and ask any question relating to the project. + Email thanking you + Facebook shout out

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    You will receive a book by a Fanon scholar spotlighted in the film. The book title is WHAT FANON SAID by Lewis Gordon. + Email thanking you + Facebook shout out

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    You will receive a private streaming link to the finished video. + Email thanking you + Facebook shout out.

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    You will receive a signed DVD from the director of Re-discovering Fanon. + Email thanking you + Facebook shout out.

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    Invitation (for two) to gala screening (New York, Washington, Paris or Martinique) + Email thanking you + Facebook shout out

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    You and a friend are invited to the special VIP area at gala screening. + Email thanking you + Facebook shout out + WHAT FANON SAID (book) + Signed DVD

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    Lunch Time

    Have lunch in New York City or Paris with the director of the film. (10 New York dates and 5 Paris dates) + Email thanking you + Facebook shout out + WHAT FANON SAID (book) + Signed DVD + Two VIP tickets to the screening ( New York Premiere)

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    Your name will appear in the film’s end credits. + Email thanking you + Facebook shout out + WHAT FANON SAID (book) + Signed DVD + Two VIP tickets to the screening ( New York Premiere)

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    Conversation and screening

    Sit down with the director and a Fanon scholar for a private screening and Q&A. + Email thanking you + Facebook shout out + Autographed copy of WHAT FANON SAID + Signed DVD

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    Associate Producer Credit

    On screen credit as associate producer. + Email thanking you + Facebook shout out +Private stream Link + Autographed copy of WHAT FANON SAID + Signed DVD by director + Two VIP tickets to the screening ( New York Premiere)

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October 28, 2015 Posted by | ART, BUSINESS, CULTURE, ENTREPRENEURS, FILM, LIFESTYLES, opportunity, We Recommend | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

DANCE — INCEPTION TO EXHIBITION — 2015-2016 Season Features Theater Premieres, Film Screenings, Free Outdoor Concerts, 3rd Annual Dance Festival and 6th Annual Gala Celebration

Highly Recommended!

Inception to Exhibition (ITE) is launching their 6th season opening next week with a full calendar of collaborative theater, dance, film and festival events! Directors Tiffany Rea-Fisher, a major choreographer in her own right with Elisa Monte Dance, and Matthew Fisher aim to provide ample resources for artists to create and showcase new work throughout the year and provide audiences with close and personal looks at new and emerging artists and cultivating a sense of appreciation and support within the arts community.


2015-2016 Season Features Theater Premieres, Film Screenings, Free Outdoor Concerts, 3rd Annual Dance Festival and 6th Annual Gala Celebration

Inception to Exhibition (ITE), NYC’s only interdisciplinary arts organization fostering artist incubation, celebrates its sixth year with an evident mission to support outstanding artists through customized residencies and performance opportunities to further their creative ambitions. Curated and presented by ITE, the 2015-2016 Season will provide audiences with an up-close view of professional New York artists at the peak of their creative powers. The intimate and unique offerings showcase the journey a work takes from studio to stage. The season also features two festivals: the Annual ITE Dance Festival and the curating partners of Bryant Park’s Modern Dance Series.

“Inception to Exhibition is committed to working with the artist in a collaborative fashion to continue to bring new work to our audiences that is challenging yet tangible.” Remarks ITE’s Co-Founder and Artistic Director, Tiffany Rea-Fisher. “This year will yield a wide and diverse showing of innovative emerging artists in dance, music, theater, and film and provide them with the tools they need to propel their visions forward.”

ITE ‘s facilitators show a keen eye for discovering talent and helping those artists bring their work to the public through space grants, season performances, larger festivals and collaborative events. ITE space grants are an integral part of the organizations mission. This year’s winners include TOES FOR DANCE (Dance Education), Old Sound Room (Theater), and Stephanie Batten Bland (Dance). With boards composed of experienced artists from both the creative and performance sectors at the helm in addition to business professionals and other artistic advocates, ITE has supported 43 different organizations and 140 individual artists through programming and grant opportunities over their 6-year history of the organization.


October 4, 2015: TOES FOR DANCE
2015 Space Grant Winner TOES FOR DANCE will hold two exclusive ITE showcases featuring works from their upcoming international festival with a spotlight on the collaborative process between choreographer/rehearsal director and dancers from various younger contemporary companies from the New York and Toronto dance scene. With a 2-week intensive and immersive rehearsal process for these works, The TOES FOR DANCE festival draws upon each collaborators’ unique artistic visions and presents work that is accessible and physical in nature to evoke curiosity and interest about contemporary dance to a wide range of audiences.  Ailey Studios, 405 W. 55th Street, 5th floor. 4:30pm & 7:00pm shows, $10 tickets,

November 7th, 2015: Film screening of Blackenuf by filmmaker Carrie Hawks
Filmmaker Carrie Hawks’ work addresses gender, sexuality, and race. And her medium ranges from paintings, drawings, dolls, to video. Fresh of the heels of her Brooklyn Museum premiere ITE is thrilled to add this extremely talented filmmaker to our roster.

January 23rd, 2016: Old Sound Room Showcase
Theater collective Old Sound Room will hold their first ITE exclusive showing. Old Sound Room is a performance ensemble that builds new work and reveals stories that spark thought and inspire action. In honoring the past in order to reach the present and striving to remind audiences of their universal existence the work aims to celebrate a shared existence with courageous abandon.

March 9-13, 2016: 3rd Annual ITE Dance Festival
ITE’s third annual festival of emerging and established choreographers will feature solo, duet and trio works by noteworthy dance makers in NYC. This year’s daily themes are: “the Mad Men of ITE,” “Rosie the Riveter” and “Where the Wild Things Are.” Last year featured Sidra Bell, Francesca Harper, MADBOOTS, Daniel Gwirtzman, The Steps Repertory Ensemble, Renegade Performance Group to name a few and this year’s line up will not disappoint.

April 2016: ITE Annual Gala (date TBC)
In ITE’s most immersive event of the year, the evening will feature a 6-year audience favorite retrospective of stimulating artists and works. To raise funds for future artist programs, space-grants and artistic development initiatives, the night will offer a cash raffle, food and drinks and a chance to mingle with ITE’s diverse artists and patrons.

June-July 2016: ITE ModernDance Series in Partnership with Bryant Park
ITE will round out their 2015 season by curating and co-presenting the Modern Dance Series on the Bryant Park Stage in Summer 2016. Presenting some of the most exciting modern dance companies in the city to perform their latest works spread throughout the month of June and July, free for New York dance enthusiasts.

About Inception to Exhibition
Founded in 2009 it is the mission of ITE to provide a space where artists of diverse disciplines can freely conceive, rehearse, and perform their work, providing a holistic arts experience from inception to exhibition. It is the vision of Inception to Exhibition to grow into a high impact arts organization built around the creation of an environment where the unbridled sense of collaboration, which defines the conservatory experience, is, once again, available to those entering the professional performing arts community in New York City. To learn more about ITE and its programs please visit

September 29, 2015 Posted by | ART, BUSINESS, CULTURE, ENTREPRENEURS, HOLIDAY GUIDES, LIFESTYLES, opportunity, We Recommend | , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

It’s Time 2015! Women’s Leadership Initiative! A Partnership Summit Baltimore, MD May 1-3, 2015

It’s Time 2015

The Partnership Summit to Elevate Women’s Leadership

3-keynoters-2It’s Time 2015 is a cross-sector initiative bringing women and men together to achieve gender equity and empower women and girls at all levels to be leaders. Expected to draw attendees representing a full spectrum of social and economic diversity, the inaugural summit will take place May 1-3, 2015 in the host city of Baltimore, while satellite events occur simultaneously in partner cities across the U.S.

Please note that this is a tentative program, and all sessions are subject to change and further development. On Friday, Saturday and Sunday we will convene at the Baltimore Convention Center. We encourage you to sign up or check back here for exciting updates as we move forward!

It’s Time 2015 will be a  highly interactive, solutions-focused convening. Everyone is an important stakeholder at the summit, and we look forward to engaging with you using technology, through conversation, and for long after we complete our last session Sunday as we go forth to continue our work as agents of change in our communities.

May 1, 2015
12:00 PM – 5:00 PM

May 2, 2015
7:00 AM – 3:30 PM

7:00 AM – 8:00 AM

8:00 AM – 9:00 AM

12:30 PM – 1:30 PM

3:30 PM – 4:00 PM

5:45 PM – 7:30 PM

May 3, 2015
7:00 AM – 8:00 AM

1:00 PM – 2:00 PM


The speakers featured at It’s Time 2015 are a diverse group of women and men, representing a variety of ethnic, cultural, and spiritual traditions across an array of communities and sectors. They are grassroots activists, political leaders, educators, students, artists, business professionals, scientists, explorers and innovators. They are united by a common insight that the leadership of women and girls and men and boys in the pursuit gender equality is essential for our global community to flourish and prosper.



April 2, 2015 Posted by | ART, BUSINESS, CULTURE, ENTREPRENEURS, LIFESTYLES, opportunity, Uncategorized, We Recommend | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Get Ur Freak On: Music, Weirdness, and Transgression 2015 EMP Pop Conference #EMP Museum – Seattle April 16-19, 2015

The annual EMP Pop Conference, first held in 2002, mixes together ambitious music writing of every kind, in an attempt to bring academics, critics, musicians, and dedicated fans into a collective conversation.

Get Ur Freak On: Music, Weirdness, and Transgression
2015 EMP Pop Conference
April 16–19, 2015; EMP Museum

Exploding conventions has long put the bomp in pop: the uncontainable desire of those deemed sexually unnatural, racial impostors, gender outlaws, obsessed fans, willful bohemians, or just plain weird. This year’s EMP Pop Conference offers more than 125 presentations exploring the subject of music and transgression. Subjects range from panels on heavy metal and the underground rock legend Lou Reed to a roundtable on hip-hop and R&B pioneer Missy Elliott, whose “Get Ur Freak On” gives us our title and a session of talks on Aggro Asian Pop.

The conference begins Thursday night, April 16, with a conversation about pop and transgression featuring many notables from journalism and academia, including Ann Powers, Carl Wilson, and Jody Rosen. A range of panels fill up Friday and Saturday and conclude Sunday morning, with topics that include:  the recently departed Rod McKuen and Kim Fowley, “Joni Mitchell’s Pimp Game,” the erotics of Aretha Franklin (including a talk by her biographer, David Ritz), clowning Ella Fitzgerald and revisionist Billie Holiday, Jimmie Rodgers in Kenya, and a roundtable attempt to designate the worst song of all time. As always with the Pop Conference, the range of presenters is as important as the subject matter: critics for the likes of NPR, Slate, and Billboard in dialogue with academics and musicians.

For a full listing of presenters and panels, click on the links on this page.

Conference attendance is free, but space is limited, so those seeking to attend are strongly encouraged to register in advance. Registration will open soon. Information about hotels and other local arrangements can also be found on this page. Questions? Email

2015 Conference Information

  • Thursday, 7:00pm–8:45pm

    Keynote Panel: Can Pop Really Be Transgressive? Poptimism and Its Discontents

    Since the EMP Pop Conference began in 2002, it’s been connected to “poptimism”: celebrating the stylistic and demographic diversity of best-selling industry fodder. This started as a playful reaction to “rockism” and similar emphases—in hip-hop, jazz, Americana, and other genres—on great artists, surging undergrounds, and rebel genres. Many academics, too, have made mainstream music an object of study.

    But it’s time to challenge poptimism’s assumptions and limitations. What does a focus on commercially dominant hits imply toward musically innovative, socially transgressive, or politically provocative artists who are unlikely to achieve, and may not seek, mainstream success on the same scale—or toward the audiences and subcultures they serve? Has our increased awareness that “taste” is never universal or innocent inhibited the expression of dissenting critical judgments?

    Topics will include:

    • Poptimism, the marketplace, and aesthetics: To what extent is poptimism a manufactured, sanctioned perspective, shaped by the collapsing/restructuring of the recording and publishing industries? How should criticism work against listicles and click fodder? Can poptimists attack settled taste without repeating rockism?
    • Poptimism, identity, and politics: Poptimism originated to make room for women and people of color within discourses that privileged white men. Does a focus on the mainstream exclude those whose identities challenge social norms? Are diverse voices central as writers within these debates? If embracing the personal as political illuminates different pop publics, what of activism, protest, and resistance?
    • Poptimism in the present and past: Today, embracing the shiny, supposedly superficial, and accessible doesn’t feel so novel. If poptimism “won,” might our reclamation of people and sounds once easily dismissed—feminine and queer, nonwhite, European or Latin, young—confront pop’s conservatism? What insights derive from recent books and articles examining pop’s long, complicated history?

    Event Venue



    Ann Powers
    Eric Weisbard

    Franklin Bruno
    Maura Johnston
    Jason King
    Jody Rosen
    Julianne Escobedo Shepherd
    Karen Tongson
    Oliver Wang
    Carl Wilson

  • Friday, 9:00am–11:00am

    Insider Outsiders

    Robert Christgau, “Infectious Clowning: Huey Smith’s Rollicking Heyday and Long Sad Struggle to Get Paid”
    Andy Zax, “‘Get the Hell Out of My World!’: How Rod McKuen Became America’s Best-Known—And Least-Acknowledged—Outsider Artist”
    Evelyn McDonnell, “‘The Hustle Never Stops’: The Survival of Kim Fowley”
    Devon Maloney, “Multimillionaire Pop Stars, They’re Just Like Us: Taylor Swift and the Performance of Normalcy”

    Event Venue

    JBL Theater


    Oliver Wang

    Robert Christgau
    Devon Maloney
    Evelyn McDonnell
    Andy Zax

    Punky Good Times

    Paula Mejia, “Stay Sick: ‘Psychobilly’ and the Tenuous Relationship Between Disability and Mercurial Performance”
    Karl Hagstrom Miller, “Punk Was the Return of Tin Pan Alley”
    Tobias Carroll, “How Breakfast Violence Gave Hardcore Back a Sense of Humor”
    Ben Neill, “Keeping It Ill: Experimentalism in the 1990s Downtown NYC Electronic Music Scene”

    Event Venue

    Learning Labs


    Chris Estey

    Tobias Carroll
    Paula Mejia
    Karl Hagstrom Miller
    Ben Neill

    Black On a Different Path

    Jocelyn Brown, “Weird for a Black Girl: Upending Artistic Preconceptions and Changing Indie Culture When the Mainstream Won’t Make Room”
    La Marr Jurelle Bruce, “‘Out My Mind, Just In Time’: Black Genius, Madness, and Belated Art”
    Ethan Philbrick, “Resonant Militancy: The Music of Julius Eastman”
    Lia Bascomb, “Freakifying the Spectacle Space: Janelle Monae’s Remix of Royalty”

    Event Venue

    Gallery Room


    Emily Lordi

    Lia Bascomb
    Jocelyn Brown
    La Marr Jurelle Bruce
    Ethan Philbrick

    Women and Performative License

    Lori L. Brooks, “‘It Takes Two to Tango’: Pearl Bailey’s Comic Perversion of the Vocal Duet”
    Judith Tick, “Ella Fitzgerald, Berlin, 1968: ‘Clowning’ and the Art of Subversive Improvisation”
    J.D. Considine, “Cute and Its Discontents: Kyary Pamyu Pamyu Has Her Kawaii and Eats it, Too”
    Bonnie McConnell, “Ali nga soojaaroo baa neng (‘Let’s Insult the Soldier’s Mother’): Kanyeleng Musicians and Performative License in The Gambia”

    Event Venue

    Demo Lab


    Sonnet Retman

    Lori L. Brooks
    J.D. Considine
    Bonnie McConnell
    Judith Tick

  • Friday, 11:15am-12:45pm

    Work It: A Missy Elliott Roundtable

    Missy Elliott’s “Get Ur Freak On” is the title of this year’s Pop Conference. So it seems particularly appropriate to deconstruct the MC-crooner-producer-songwriter’s two-decades-plus creative output. Elliott rose to mainstream visibility crafting an innovative fusion of hip-hop and soul that helped explode the musical and sonic vocabulary of 21st century pop. Stylizing her body as a canvas, she accompanied her music releases with glammed-out, envelope-pushing videos. Elliott crafted an alternative and transgressive vision of divadom that opened cultural space for successive cohorts of rebellious creatives like M.I.A., Nicki Minaj, and Azealia Banks.

    Event Venue

    JBL Theater


    Jason King

    Patty Ahn
    Jayna Brown
    Aimee Cox
    Jody Rosen
    Julianne Escobedo Shepherd

    From Cock to Rock

    Elijah Wald, “Cocksucker Blues: A Respectful Exploration of Cunnilingus in African American Popular Song”
    Holly George-Warren, “Calamity Jane, Zelda Fitzgerald, and Bessie Smith: Janis Joplin and Her Transgressive Forebears”
    Chris Campion, “Maximum Orgasm: The Unfilmed Transgressions of the Rolling Stones”

    Event Venue

    Learning Labs


    Barry Shank

    Chris Campion
    Holly George-Warren
    Elijah Wald

    Madmen: The Strange Politics of Transnational Technologies

    Karen Tongson, “‘Karaoke Fascism’: From the Marcoses to Hun Sen”
    Nabeel Zuberi, “In Extremism: Vatican Shadow, Media and War/Terrorism”
    Rob Drew, “The Blank Generation: Trans-Atlantic Transgressions of the Cassette in the Early 1980s”

    Event Venue

    Gallery Room


    Karl Hagstrom Miller

    Rob Drew
    Karen Tongson
    Nabeel Zuberi


    Ryan Kailath, “Pimping out the Primitive: The True Story Behind ‘Chemirocha,’ an American Celebrity in Rural Kenya”
    Sofía Córdova, “El Cumbanchero Que Se Vá”
    Jessica Thompson, “But Can You Dance to It? Technological and Aesthetic (In)Correctness in Ata Kak’s ‘Obaa Sima’”

    Event Venue

    Demo Lab


    Shannon Dudley

    Sofía Córdova
    Ryan Kailath
    Jessica Thompson

  • Friday, 12:45pm-2:00pm, Break
  • Friday, 2:00pm-4:00pm

    When They Did That

    Franklin Bruno, “‘When You Did That to Me’: Recomposition as Transgression in Billie Holiday’s ‘My Foolish Things’”
    Jack Hamilton, “Reggae and Shout: Doing Over the Beatles in the Jamaican 1960s”
    Michaelangelo Matos, “Sleeping in Between the Two of Us: ‘When You Were Mine’”
    Ann Powers, “Britney Spears as Cyborg”

    Event Venue

    JBL Theater


    Evelyn McDonnell

    Franklin Bruno
    Jack Hamilton
    Michaelangelo Matos
    Ann Powers

    Aggro Asian Remodels

    Charles Aaron, “We Are X: How Japan’s Greatest Rock Band Transformed the Power Ballad with the Huge Screaming Pain Inside Their Hearts”
    Kat Bee, “Insect Woman: Gender, Sex, and Cultural Subversion in the Music of Jun Togawa”
    Hyunjoon Shin and Keewoong Lee, “Japanese Fanatics and Reinvention of Korean Rock”
    Jeff Treviño, “Musical Bullet Hell: Technology and Transgression in Black MIDI”

    Event Venue

    Learning Labs


    Julianne Escobedo Shepard

    Charles Aaron
    Kat Bee
    Keewoong Lee
    Hyunjoon Shin
    Jeff Treviño

    Voicing Transgression

    Ginger Dellenbaugh, “From Earth Angels to Electric Lucifer: Castrati, Little Joe Cook, and the Vocoder”
    John Rockwell, “From Farinelli to Anthony: The Seductive, Disturbing, Sexy, Androgynous Allure of the High Male Voice”
    Chris Estey, “Her Greatest ‘Hits’: The Top Songs of Dominatrixes While They Work”
    Tom Kipp, “From the Old Chisholm Trail to the Nearest Circle K and from Actionable Offenses to Metallic K.O.: Exploring ‘The Filthy Song’ in Recorded Music!”

    Event Venue

    Gallery Room


    Will Hermes

    Ginger Dellenbaugh
    Chris Estey
    Tom Kipp
    John Rockwell

    Towards a Brown Punk Commons

    Christine Bacareza Balance, “Brave New Worlds: The Civil Disobedience of Pinoy Punk”
    L. Shane Greene, “On Rotting Snobs: When Peruvian Punk Ripped Apart”
    Judith Rodriguez, “‘Repulsion, Rather Than Attraction’ in the Boricua Punk Rock Commons”
    Olga Rodrighez, “Ataque Frontal EP: Presenting Peruvian Hardcore in the International Independent Scene”

    Event Venue

    Demo Lab


    Michelle Habell-Pallan

    Christine Bacareza Balance
    L. Shane Greene
    Olga Rodrighez
    Judith Rodriguez

Friday, 4:15pm-6:15pm

The Holy Eroticism of Aretha Franklin

Emily Lordi, “‘You’ve Got a Friend’: Aretha Franklin, Donny Hathaway, and the Platonic Erotic”
David Ritz, “Survival Above All”
Mark Anthony Neal, “Spirit in the Dark: Aretha Franklin and the Erotic Life of Soul”
Scott Poulson-Bryant, “Under the Cover(s): The Erotics of the Aretha Remake”

Event Venue

JBL Theater


Rashod Ollison

Emily Lordi
Mark Anthony Neal
Scott Poulson-Bryant
David Ritz


Niko Taylor, “Radio Killed the Radio Star”
Phil Oppenheim, “The Weird at War: DJ Jim Hawthorne Puts the A in AFRTS”
Josh Ottum, “Listening to the Weather (Channel)”
Joe Gross, “Doin’ It Clean: The Pleasures of Radio Edits”

Event Venue

Learning Labs


Glenn McDonald

Joe Gross
Phil Oppenheim
Josh Ottum
Niko Taylor


Roshanak Kheshti, “A Jimi Hendrix Experience: Race, Space, and the Sonic Productions of Black Seattle”
Barry Shank, “The Enormous Collection: My Father’s 78s”
RXA Williams,
Kai Small, “Yoncé, Sasha Fierce, and the (Im)possibilities of Beyoncé’s Black Trans(feminine) Falsetto”

Event Venue

Gallery Room


Shana Redmond

Roshanak Kheshti
Barry Shank
Kai Small
RXA Williams

Transgressive Timbres in Improvisation

Jeff Schwartz, “Freak Sounds: On Extended Technique”
Dave Chokroun, “Sell Anything, Buy Anything, or Process Anything: Pathetic and Irrecuperable Aesthetics and Practice in Outside Music”
Charles Sharp, “Hermeneutics of the Honk and Squeal: Saxophones and Limit Experiences”
Pete Williams, “Jazz Weirdos of Kansas City”

Event Venue

Demo Lab


Travis Stimeling

Dave Chokroun
Jeff Schwartz
Charles Sharp
Pete Williams

  1. Pop Conference presenters Emily Lordi (University of Massachusetts, Amherst) and Aimee Cox (Fordham University) participate in a discussion focused on Beyoncé’s career and impact on contemporary female musicians in “Queen Bey and Her Court: A Critical Roundtable.” Other feminist cultural critics participated in the discussion, including Rachel Kaadzi Gansah, Daphne Brooks, Ann Powers, and facilitator Salamishah Tillet.Photo courtesy EMP staff.
  • Saturday, 8:00am, Breakfast and Registration
  • Saturday, 9:00am-10:30am

    Strange Fruits: At the Borders of Sex, Sound, and Sight

    Salamishah Tillet, “Nobody’s Business: Gender, Privacy, and a History of a Song”
    Josh Kun, “Which Way to the Donkey Show?: A Jukebox of Tijuana Vice”
    Gayle Wald, “Blacknuss and Blindness: Rahsaan Roland Kirk’s Freakish Performance”

    Event Venue

    JBL Theater


    Jody Rosen

    Josh Kun
    Salamishah Tillet
    Gayle Wald

    The Imp of Tradition in 1970s Pop

    Eric Lott, “Joni Mitchell’s Pimp Game”
    Kimberly Mack, “Big Mama Thornton, Esther Phillips, and Oral History’s Transgressions”
    Ivy Wilson, “The Elements; or the Ambient Transnationalism of Earth, Wind, and Fire”

    Event Venue

    Learning Labs


    Gustavus Stadler

    Eric Lott
    Kimberly Mack
    Ivy Wilson


    Kyle Barnett and Shawn VanCour, “Eat What You Hear: A Short History of the Gustasonic”
    Charles F. McGovern, “I Want a Lavender Cadillac: Excess, Transgression, and Labor in Black Popular Music, 1940-1970”
    RJ Smith, “‘Let the States Tremble/Let the Nation Weep’: The Word and Wichita”

    Event Venue

    Gallery Room


    Greil Marcus

    Kyle Barnett
    Charles F. McGovern
    RJ Smith
    Shawn VanCour

    Race, Mixed and Memed

    Brittany Spanos, “Drake and the Memeification of Rap Inauthenticity”
    Michael P. Jeffries, “Mixed Rap: How Drake, J Cole, and Logic Perform Mixed Race Identity”
    Jocelyn Brown, “Weird for a Black Girl: Upending Artistic Preconceptions and Changing Indie Culture When the Mainstream Won’t Make Room”

    Event Venue

    Demo Lab


    Jennifer Lena

    Jocelyn Brown
    Michael P. Jeffries
    Brittany Spanos

  • Saturday, 10:45am-12:15pm

    The Worst Song Roundtable

    In the spirit of EMP’s 2015 theme of “perversity,” our panel plans to identify the Worst Song in the World. We will ask participants in the conference to send us their list of “Worst Songs.” Drawing from this corpus and our own contributions we’ll select a small sample of both consensus and limit cases, and prepare to defend and rebut criticisms of each song. We expect what begins as a tour of unlistenable, unsavory, unprecedentedly awful music will transform into a secret search for the wonderful and bizarre and obscure. The presentation will be in a modified debate format, with opportunities for audience participation.

    Event Venue

    JBL Theater


    Jennifer Lena

    Katherine St. Asaph
    Joshua Clover
    Glenn McDonald
    Carl Wilson

    Proto-Punk Explosions

    Lisa Jane Persky, “X-Offenders: A Typical Day in the Life of a Proto-Punk, 1975”
    Kembrew McLeod, “Forget Absurd, It’s Ridiculous! New York’s Downtown Underground Theater Scene Sets the Stage for Punk”
    Ali Colleen Neff, “Mutilating Modernity: Iggy Pop’s Unstable Body and the Political Aesthetics of Punk”

    Event Venue

    Learning Labs


    Christine Bacareza Balance

    Kembrew McLeod
    Ali Colleen Neff
    Lisa Jane Persky

    Mothership Connections

    Rickey Vincent, “The Mothership on Top of the Mountain: George Clinton’s Afro-Futurism and His Mothership Connections
    Melissa A. Weber aka DJ Soul Sister, “A Vanilla Child for All Chocolate Cities”
    Graham Eng-Wilmot, “Bound by the Cosmos: Michael Jackson, Captain EO, and Race in the Late 20th Century”

    Event Venue

    Gallery Room


    Jasen Emmons

    Rickey Vincent
    Graham Eng-Wilmot
    Melissa A. Weber

    Country Music Fringes

    Mark C. Samples, “The Transgressive Aesthetic in the Music of Tom Waits”
    Stephanie Vander Wel, “The Aural Reception of Loretta Lynn’s Defiant Songs”
    Travis D. Stimeling, “Noam Pikelny, Transcription, and Bluegrass Postmodernism”

    Event Venue

    Demo Lab


    Jewly Hight

    Mark C. Samples
    Travis D. Stimeling
    Stephanie Vander Wel

  • Saturday, 12:15pm-1:30pm, Break

Saturday, 1:30pm-3:00pm

New Wave Invasions and Evasions

Sean Nelson, “Has the World Changed or Have I Changed: Revisiting Morrissey’s Artful Evasions”
Evie Nagy, “Nerds to the Front: Devo and the Geek Rock Revolution”
Alfred Soto, “The City is Quiet, Too Cold to Walk Alone: Marc Almond, Jimmy Somerville, Neil Tennant, and Queer Presentation in Eighties England”

Event Venue

JBL Theater


Chris Molanphy

Evie Nagy
Sean Nelson
Alfred Soto

Difference and Belonging in Southern Music

David Cantwell, “Just Like Real People: Rock ‘n’ Roll, Country Music, and the Freedom to Be Like Everybody Else”
Zandria Robinson, “Beyond Dirty: Rap Others in the Grotesque South”
Charles Hughes, “‘It’s Just Different Down Here’: Southern Landscapes and the Othering of Southern Music”

Event Venue

Learning Labs


Carl Wilson

David Cantwell
Charles Hughes
Zandria Robinson

Critical Transgressions Roundtable

This informal roundtable discussion will present weird or transgressive critical practices, ways of reading musical texts that self-consciously break with convention. We will collectively discuss a diverse and eccentric array of phenomena—lawn ornaments, “Thriller,” Joni Mitchell’s pimp alter ego, embodied spectatorship—in an effort to decenter critical tropes such as reparative reading, muted critical bodies, music-specific claims, and our own published arguments. Our aim is to unsettle standard methodologies, our own included, and thus to offer new ways of “doing what we’re doing,” to steal and simplify a phrase from Charles Wright’s “Express Yourself.”

Event Venue

Gallery Room


Emily Lordi

Miles Grier
Shana Redmond
Salamishah Tillet

Legal Limits

Njelle W. Hamilton, “‘Fly De Gate’: Piracy and the Reggae Aesthetic”
Nico Rosario, “Breaking the Beat: EDM’s Evolution After the Criminal Justice Bill”
Dan Booth, “Elonis v. United States: True Threats, Free Speech, and the Hip-Hop Defense”

Event Venue

Demo Lab


Hillary Crosley Coker

Dan Booth
Njelle W. Hamilton
Nico Rosario

Saturday, 3:15pm-4:45pm

Extra Sensory Perception

Damon Krukowski, “‘Proximity Effect’ (Re: Technology and the Estrangement of the Human in Pop)”
Katherine Meizel, “Two Voices: d/Deaf Performers Negotiating Singing and Signing”
Summer Kim Lee, “Video Girl: FKA twigs, Evasive Movement, and the Resonance of Glass”

Event Venue

JBL Theater


Joshua Clover

Damon Krukowski
Summer Kim Lee
Katherine Meizel

Early Rock Critics

Lara Langer Cohen, “Teenage Riot: Print Subcultures and the Invention of Adolescence, 1880-1993”
Richard Goldstein, “Upward Mobility and the Birth of Rock Criticism”
Carola Dibbell, “Let Us Now Praise Famous Death Dwarves: Revisiting Lester Bangs”

Event Venue

Learning Labs


John Rockwell

Lara Langer Cohen
Carola Dibbell
Richard Goldstein

Jesus Freaks Roundtable

Pop’s unholy marriage of art with commerce often sires music that’s bizarre enough, but when musicians add Jesus to the union, things can start getting really weird. How did the semi popular underground CCM of the ‘70s and ‘80s get swept away by today’s mega popular Praise and Worship music? How did the electric guitar evangelism coming from Southern black churches in the ‘60s influence both the Jesus Freaks and maverick Southern pop/rock artists? And how do the requirements for achieving weirdness change in all these different contexts?

Event Venue

Gallery Room


Josh Langhoff

Jonathan Bogart
Anthony Easton
Jewly Hight
Kandia Crazy Horse
Mike McGonigal

Studio Trickery

Evan Kindley, “‘Is It Art? Don’t Make Me Laugh’: Stan Freberg, Musical Parody, and Midcentury Capitalism”
Jeremy Braddock, “The Firesign Theatre’s Wax Poetics”
Kevin Bell, “Redd in the Shed: Performance, Competition, and Influence—Live at Redd’s Place, 1967–70”

Event Venue

Demo Lab


Andy Zax

Kevin Bell
Jeremy Braddock
Evan Kindley

Saturday, 5:00pm-6:30pm

Rooting Around

Greil Marcus, “No One Gets the Last Word: On the Travels of Geeshie Wiley’s ‘Last Kind Words Blues’”
Sonnet Retman, “Memphis Minnie’s Jukebox Blues”
Tom Smucker, “Transgression As Cover for Transgression: Vertically Integrated Billionaire Media Heir and Americana Blues-Rocker James Dolan, the Union-Busting Overlord of Hip-Hop Inspired Brooklyn Cable Techs”

Event Venue

JBL Theater


Jack Hamilton

Greil Marcus
Sonnet Retman
Tom Smucker

A Walk On The Wild Side: Lou Reed’s Polymorphous Aesthetic Perversity

Will Hermes, “The Poetics of Transgression: Lou Reed’s Liminal Button Pushing”
Jody Beth Rosen, “And Then the Colored Girls, They Walk Over: Lou Reed Works Blue on Live: Take No Prisoners
Seth Sanders, “The Channel of Distance”

Event Venue

Learning Labs


Sean Nelson

Will Hermes
Jody Beth Rosen
Seth Sanders

Queering Space for Sound

Micah Salkind, “‘Damn! Didn’t You Just Edit That?’: Queer Uses of Magnetic Tape in the Development of Chicago House Music”
Erin MacLeod, “Queering Carnival: Soca and Safe Spaces in Jamaica”
Jack Curtis Dubowsky, “Martin L. Gore: Race, Queerness, Sexuality, and Popular Music”

Event Venue

Demo Lab


Katherine Meizel

Jack Curtis Dubowsky
Erin MacLeod
Micah Salkind

Sunday, 9:00am-10:30am

Heavy Metal Fantasy

Buzzy Jackson, “Heavy Metal Fantasy: The Tauren Chieftains”
Glenn McDonald, “The Satan/Noise Ratio: Oblique Translations of Unintelligible Idioms of Occult Defiance in Epic-Cryptic Metal”
Stian Vestby, “Corpse Paint and Cowboy Carnivores (sic):The Parallel Emergence of a Norwegian Black Metal Gentry and Homegrown Hillbilly Hipsters”

Event Venue

JBL Theater


Eric Weisbard

Buzzy Jackson
Glenn McDonald
Stian Vestby

Black Women, Sexual Expression, and Performance in the 20th Century

K. T. Ewing, “‘If Your Mind’s Dirty, It’s a Dirty Song’: Alberta Hunter, Blues Aesthetics, and Black Sexuality”
Tyina Steptoe, “‘Big Mama’s Shuffle’: Willie Mae Thornton and Masculine Femininity”
Melissa “Nubian Sun” Green, “Welcome to Memphis, The Queen Edition: A Genuflection of Memphis Female Rappers of the 1990’s”

Event Venue

Learning Labs


Charles Hughes

K. T. Ewing
Melissa “Nubian Sun” Green
Tyina Steptoe

  • Sunday, 10:45am-12:45pm

    Mainstream Mutations

    Chris Molanphy, “UnLennon–UnMcCartney: Considering the Only Three Beatle Compositions to Hit No. 1 Without Lennon or McCartney”
    Stephen Thomas Erlewine, “Clones (We’re All): Paul McCartney and His Temporary Secretary Looking for Clues in the Fallout of Punk, Disco, and New Wave”
    Keith Harris, “The Mall Gaze: Tiffany’s ‘I Saw Him Standing There’ Looks Back at the Beatles”
    Maura Johnston, “The Buttons and the Pins and the Loud Fanfares: The Adoption of ‘Beatles-esque’ Elements by Late-80s Pop Outfits”

    Event Venue

    JBL Theater


    Michealangelo Matos

    Stephen Thomas Erlewine
    Keith Harris
    Maura Johnston
    Chris Molanphy

    Getting Under the Covers with Japanese Pop

    Michael Bourdaghs, “The Strangeness of the Peanuts: Cosmopolitanism and Geopolitics in Mainstream 1960s Japanese Pop”
    Jon Holt, “Transcending Japan’s Gender and Cultural Boundaries with Night-Cherry O-Shichi”
    John Whittier Treat, “Kasagi Shizuko and the Afro-Creolization of Postwar Japan”
    Nobuko Yamasaki, “Weird Reproductions of the Japanese Empire by Racialized Other Pop Stars”

    Event Venue

    Learning Labs


    J.D. Considine

    Michael Bourdaghs
    Jon Holt
    John Whittier Treat
    Nobuko Yamasaki


PDF Resources

2015 Call for Proposals

Program Committee Members

Will Hermes (Rolling Stone), Jennifer Lena (Columbia University), Emily Lordi (University of Massachusetts, Amherst) Greil Marcus (The Believer), Rashod Ollison (The Virginian-Pilot), Ann Powers (NPR Music), Shana Redmond (University of Southern California), Julianne Escobedo Shepherd (New York University), and Travis Stimeling (West Virginia University)

February 25, 2015 Posted by | ART, BUSINESS, CULTURE, ENTREPRENEURS, Uncategorized, We Recommend | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Justice Poetry: Readings and Discussion with Claudia Rankine, Dawn Lundy Martin, and Messiah — 2/24/15 *nyc

We have previously extolled the virtues of poet Claudia Rankine and her phenomenal book CITIZEN. Hear her for yourselves!

Public Humanities Initiative Justice Poetry: Readings and Discussion with Claudia Rankine, Dawn Lundy Martin, and Messiah
Tuesday, February 24
6:15-8:00 PM
Schapiro Center, Davis Auditorium
Columbia University
An evening of justice poetry featuring Claudia Rankine, Dawn Lundy Martin, and Messiah Ramkissoon. Poets read from their new and published works related to issues of justice and discuss the events and experiences that inspired them. Monica Miller, Associate Professor of English at Barnard College, opens the event, and a moderated discussion, led by Columbia School of the Arts professor and poet Timothy Donnelly, and questions from the audience follow the readings. Sponsored by the Heyman Center for the Humanities, The Center for Justice at Columbia University, and the Center for Race, Philosophy, and Social Justice.

Participants (Click on the links for bios)




Claudia Rankine


Henry G. Lee Professor of English

Pomona College

Claudia Rankine is the author of five collections of poetry: Citizen: An American Lyric (Graywolf Press, 2014); Don’t Let Me Be Lonely: An American Lyric (Graywolf Press, 2004); PLOT (Grove Press, 2001); The End of the Alphabet (Grove Press, 1998); and Nothing in Nature is Private (Cleveland State University Poetry Center, 1995), which received the Cleveland State Poetry Prize.

Rankine has edited numerous anthologies, including American Women Poets in the Twenty-First Century: Where Lyric Meets Language (Wesleyan University Press, 2002) and American Poets in the Twenty-First Century: The New Poetics (Wesleyan University Press, 2007). Her plays include Provenance of Beauty: A South Bronx Travelogue, commissioned by the Foundry Theatre and Existing Conditions, co-authored with Casey Llewellyn. She has also produced a number of videos in collaboration with John Lucas, including “Situation One.”

Of her book Don’t Let Me Be Lonely: An American Lyric, an experimental multi-genre project that blends poetry, essays, and images, poet Robert Creeley said: “Claudia Rankine here manages an extraordinary melding of means to effect the most articulate and moving testament to the bleak times we live in I’ve yet seen. It’s master work in every sense, and altogether her own.”

In 2013, Rankine was elected a Chancellor of the Academy of American Poets. Her honors include fellowships from the Lannan Foundation and the National Endowments for the Arts. In 2005, Rankine was awarded the Academy Fellowship for distinguished poetic achievement by the Academy of American Poets. She is the Henry G. Lee Professor of English at Pomona College.

Her latest book, Citizen, has been shortlisted for the 2014 National Book Award.


Dawn Lundy Martin

Essayist and Poet

Associate Professor

The Writing Program, Department of English, University of Pittsburgh


Black Took Collective

Dawn Lundy Martin, an essayist and award-winning poet, is author of A Gathering of Matter / A Matter of Gathering (2007) and DISCIPLINE (Nightboat Books 2011), which was selected by Fanny Howe for the Nightboat Books Poetry Prize and was a finalist for both Los Angeles Times Book Prize and the Lambda Literary Award. Her most recent collection is Life in a Box is a Pretty Life (Nightboat Books 2015). She wrote the libretto for a video installation opera, titled “Good Stock on the Dimension Floor,” which was scheduled to be featured in the 2014 Whitney Biennial, and is collaborating with architect Mitch McEwen on Detroit Opera House, “a project which stages an opera as a house, the house and its dramas of occupancy, vacancy, demolition, and re-purposing as an opera.” Her most recent essay, “The Long Road to Angela Davis’’s Library” was published on Martin is also a co-founder of the Black Took Collective, an experimental performance art/poetry group of three. She is Associate Professor of English at the University of Pittsburgh.


Messiah Ramkissoon

Poet, Emcee, and Youth Activist

Some might say Messiah Ramkissoon’s success started in his place of birth – Trinidad. Or perhaps it began in the US, in Annapolis then New York City, where Messiah was raised from the age of 11. Maybe Messiah owes his success to The Boys & Girls Club of Greater Washington, where he was named youth of the year in 1999-2000, a recognition that got news correspondent, Tim Russert’s attention and made Messiah the feature of one of Russert’s NBC news retrospectives. Or was it when Oprah took notice and awarded home-schooled Messiah a $25,000 college scholarship, which he used to attend Howard University?

All of these moments were epic, but without a doubt, young, urban America met Messiah on Harlem’s famous Apollo stage in 2005. Only 20-years-old at the time, Messiah performed his poem “Sharika Was a Champ”, a metaphorical fable about the importance self respect and safe sex. With “Sherika Was a Champ”, Messiah blended Hip Hop and spoken word in a way that had not been done before in mainstream Hip Hop. The Apollo audience recognized that something fresh and unique was before them, and responded. He won 3 consecutive shows.

Messiah was not done with television. Following his win at The Apollo, Messiah went on a 5-city tour with Grammy-nominated singer Kelly Price.Their final performance for Price’s “This is who I am” album release celebration was aired on BET Jazz.

In 2008, Messiah won a BET rap contest and opened up for Janelle Monae at the pre-event for the BET awards in LA that year. His performance was aired on BET Jazz. Following his performance at the BET awards, Messiah and director, Ron Brodie filmed “In the AM”. It was Messiah’s first music video and was recorded in Crown Heights, Brooklyn.

2010 was an impressive year for Messiah. In January, Haiti experienced a massive earthquake and Messiah made it a priority to join the platform to assist after the tragedy. Performing at several benefit concerts, he helped raise more than $15,000 for the survivors of the earthquake along with Wale and others at a Howard University concert. When Sudan had their first democratic election in 24 years, Messiah lent his voice to the cause, recording the song and video, “*BeSokta*”, (meaning ‘with your vote’) with Sudanese rappers in an effort to encourage Sudanese citizens to vote. CNN highlighted the making of the video.

Messiah also featured The Floacist from the renowned duo “Floetry” on one of his newest songs, “Tell me What you Want”, and the pair recorded a video for the song, which was directed by Opiyo Okeyo. His new video, “Come Back To Me”, also directed by Opiyo Okeyo, was featured on Vh1 Centric TV site, as well WKYS for Radio One. The song was also recently featured on Soundtrack for the “Milk and Honey” web series starring Lance Gross, Ms. Debbie Allen and directed by Idris Elba.

Messiah has shared stages with Lupe Fiasco, Stalley, Ledisi, Patti Labelle and also performed at Washington D.C.’s National Martin Luther King Memorial Dedication ceremony where President Obama, Stevie Wonder, Aretha Franklin and many others shared the program. Messiah has been also been serving as performing artist/moderator for the recent sequence of Celebrity Fatherhood panels organized by NBA veteran Etan Thomas and featuring names such as Styles P, Allan Houston and Amare Stoudemire of the NY Knicks. He also won the 2012 HOT 97 Voter Registration Jam performance contest at Lehman College in the Bronx, NY which was co-hosted by famed actress Rosario Dawson. For his fans in the NYC and DC area, Messiah began organizing a monthly live performance called Messiah & Friends which features live canvas painting, body painting, diverse genre vocal performances, a live band and gallery exhibitions.

Besides his love for his art and performing, Messiah has taught poetry at The Duke Ellington School, conducted regular workshops at Luke Moore Alternative High School, and mentored young men incarcerated at the New Beginnings juvenile detention center. He now does mentoring and facilitates cognitive behavior workshops for young men at Rikers Island jail in NYC. He also hosts a monthly talent showcase at Rikers via the arts, coaching incarcerated male writers between ages 16-19.

His album “The Mission Statement Vol. 2”, which is a marriage of rhyming with spoken word complimented by Brave Boi Band’s live instrumentation alongside some amazing vocalistsis, is now available on Itunes, Amazon, and Sony Digital.


Timothy Donnelly

Author, Associate Director of Writing

Columbia University

Timothy Donnelly is the author of Twenty-seven Props for a Production of Eine Lebenszeit (Grove, 2003) and The Cloud Corporation (Wave, 2010), winner of the 2012 Kingsley Tufts Poetry Award. With John Ashbery and Geoffrey G. O’Brien he is the co-author of Three Poets, published by Minus A Press late last year. His poems have been widely translated and anthologized and have appeared such magazines as Harper’s, The Nation, The New Republic, and The Paris Review, among others. He is a recipient of The Paris Review’s Bernard F. Conners Prize and fellowships from the New York State Writers Institute and the Guggenheim Memorial Foundation. He is the poetry editor of Boston Review and teaches in the Writing Program at Columbia University’s School of the Arts.


Monica Miller

Associate Professor of English

Barnard College

Professor Miller specializes in African-American and American literature and cultural studies. Her research interests include twentieth- and -twenty-first-century African-American literature, film, and contemporary art; contemporary literature and cultural studies of the black diaspora; performance studies; and intersectional studies of race, gender, and sexuality.

Her book, Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity, was published by Duke University Press in 2009.  It received the 2010 William Sanders Scarborough Prize for the best book in African American literature and culture from the Modern Language Association; it was shortlisted for the 2010 Modernist Studies Association book prize. Professor Miller is the recipient of grants from the Andrew W. Mellon Foundation (2012, 2001), the Schomburg Center for Research in Black Culture (2004), and Woodrow Wilson National Fellowship Foundation (2004). She served as a Term Fellow at Institute for Research in African American Studies, Columbia University (2011-13). She was the recipent of the Gladys Brooks Junior Faculty Excellence in Teaching Award, Barnard College (2008).

Her current work inlcudes Affirmative Actions: Ways to Define Black Culture in the 21st Century, which examines very contemporary black literature and culture from five vantage points (the novel, contemporary art, documentary film, museums/archives, and politics) in order to assess the consequences of thinking of black identity as “post-black” or “post-racial;” and Fyra nyanser av brunt (four shades of brown): Blackness, Browness, Diaspora and Belonging, a multi-genre investigation of multiculturalism, integration, and Afro-Swedishness and its relation to theories of diaspora and diasporic belonging. *Supported by a Andrew W. Mellon New Directions Grant, 2012-2015.*

February 11, 2015 Posted by | ART, CULTURE, LIFESTYLES, opportunity, We Recommend | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Paris — Literature — Evenings with an Author: Ta-Nehisi Coates, discussing his book-in-progress 04 February 2015, 19:30

Evenings with an Author: Ta-Nehisi Coates, discussing his book-in-progress

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Wednesday 04 February 2015, 19:30

 The American Library in Paris
Category  Adults


Visiting Fellow Ta-Nehisi Coates, reads from and discusses his new book which will be released next October. It is his attempt to talk to his teenage son about the killings of Trayvon Martin, Jordan Davis, Eric Garner, Tamir Rice and Michael Brown.

For this event the Library is suggesting a donation of 10€ (5€ for students) to help fund evening programs.


About the speaker

tncTa-Nehisi Coates is a national correspondent at The Atlantic, where he writes about culture, politics, and social issues. He is the author of the memoir The Beautiful Struggle: A Father, Two Sons, and an Unlikely Road to Manhood. He is the Library’s Visiting Fellow for most of January and part of early February. He lives in Harlem.



The American Library in Paris was established in 1920 under the auspices of the American Library Association with a core collection of books and periodicals donated by American libraries to United States armed forces personnel serving their allies in World War I.

February 4, 2015 Posted by | ART, CULTURE, LIFESTYLES, opportunity, Uncategorized, We Recommend | , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

A Reading and Discussion with Claudia Rankine and Marlon James 2/21/15 *Minneapolis

January 25, 2015 Posted by | ART, CULTURE, ENTREPRENEURS, LIFESTYLES, opportunity, Uncategorized, We Recommend | , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

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