“It is difficult to listen to [Michael Jackson’s] ‘Do You Know Where Your Children Are’ without thinking about the ongoing #BringBackOurGirls campaign.” –Article Excerpt (Aberjhani) What television audiences experienced with the debut of “Slave to the Rhythm” was Mr. Jackson as transhumanist art in its more positive and inspiring holographic form. Anyone who finds that statement unsettling probably should not. At least one potential definition of transhumanist art is the creative representation of a person, such as in a work of visual art or literature, which utilizes advanced technologies (or allusion to such technologies) to symbolize humanity as an enhanced species closer to cyborgs or angels than to apes. In its broader philosophical framework, transhumanism is a futuristic ideology that studies both the likely pitfalls and potential benefits of employing technology to enhance the physical, intellectual, and overall psychic capacities of human beings. If you accep

                 ( Postered Poetics Xscape graphic derived from original art by Mat Maitland ) “He talked always about giving love. It was never about how much love he got back.”––Antonio “L.A.” Reid discussing Michael Jackson , Xscape Documentary DVD Any announcements of “new music” from Michael Jackson must necessarily and rightly be met with a healthy amount of skepticism. Important questions have to be answered: Is this new music going to be something dug out of once-private vaults simply because of its guaranteed ability to stimulate cash-flow for all those who manage to attach their names to it?  Or will it emerge and stand as a true representation of Jackson’s certified brilliance and successfully extend the incandescent legacy of soul-nourishing rhythms and altruistic service he spent a lifetime creating? The now much-discussed 17 tracks on the “deluxe edition” of the Xscape album allow listeners to consider such questions in depth. Eight “contemporized” v

                     Nigeria and Mother's Day illustration by John Cole for The Times-Tribune . When confronted by something too painful, incredulous, or monstrous to believe, a person will sometimes say, “I  couldn't  even wrap my head around that!” Such was probably one of the main reasons the international community took so long to respond in any meaningful way to the abduction of the almost 300 Chibok school girls in Nigeria. The emotional impact was, and is, not completely unlike that of seeing for the first time a film clip of the aircraft exploding against the Twin Towers on 9/11. It was an image unprecedented in one’s mental model of what reality is supposed to be and therefore an image one was not able to immediately process.   Who could believe that an army of armed adult men would attack and abduct nearly 300 school girls in the middle of the night? Moreover, in retrospect, why were the girls left in such a vulnerable position in the first place?  F

                    Cover of new biography Visible Man: The Life of Henry Dumas by Jeffrey B. Leak Among the greatest gifts that poets bestow upon each other’s lives are those of identity and validation. It is often through the mirror of words, meaning, and soul created by one poet that another begins to recognize the true significance of his or her nature. It is also, sometimes, by virtue of the labors of one poet that the stylized reverberations of another is amplified and takes its rightful place within the larger chorus of such voices. When considering the last scenario, the following are but two notable examples: the first is that of author, editor, and photographer Eugene Redmond, whose efforts to preserve the literary legacy of poet and fiction writer Henry Dumas made it possible for many to enjoy Dumas’ formidable works after he was shot to death in 1968. The second is Coleman Barks, the well-known educator and author whose translated interpretations of the life and w

“The music of your vision and purpose came early, composing your destiny while you were still a boy. Laughing at how sweetly the muse kissed your dreams.” --from the poem Gullah-Gospel Griot Allen Fireall What would you call it if you heard about an artist who had been declared legally blind and whose heart had lost the greater percentage of its strength but whom somehow continued to produce masterful paintings in brilliantly-colored detail? The word miracle may not be too extreme at all and it certainly should not be ruled out in the case of Gullah artist Allen Franklin Fireall , who passed away in Savannah, Georgia, on March 31, 2014. Fireall described himself as an “artist historian” who dedicated his talents to preserving the culture and history of his people. In that sense, his work might be described as historical realism. The images he produced support that assessment in bold hues depicting scenes from African-American island and rural life in the Southeast. P

                  Poster featuring iron cast of Walt Whitman's hand courtesy of Academy of American Poets . “Stars ink your fingers with a lexicon of flame blazing rare knowledge.” --from The River of Winged Dreams (Aberjhani) Every year the Academy of American Poets produces a fascinating poster in celebration of National Poetry Month  in April. The Academy, along with such partners as The Poetry Foundation, American Booksellers Association, and American Libraries, very generously makes the poster available for free as a digital download and as a hard copy poster via the U.S. postal service. The posters are always unique in their visual style and feature quotes, from works by famous authors, which are often both compelling and inspiring. Last year’s poster featured a collage of envelopes, stationery, and writing utensil with the following words from the Prague-born poet Rainer Maria Rilke’s   classic book Letters to a Young Poet : “Write about your sorrows, you

Cover of Jail Verse Poems from Kondenquin Prison by Cameroon author and political prisoner Enoh Meyomesse . (PEN International) “Sometimes: the struggle and willingness to say the unsayable –– has cost poets and artists their lives.”––from Journey through the Power of the Rainbow Each year the value, presence, and volume of poetry in the world intensifies after spring arrives largely because the international community celebrates March 21 as World Poetry Day and people in the United States celebrate National Poetry Month in April. Both of these events since their establishment––National Poetry Month by the Academy of American Poets in 1996 and World Poetry Day by UNESCO in 1999––have served to magnify the focus on, and respect for, poetry as a universal cultural legacy. People around the globe felt World Poetry Day significant enough that they celebrated it (some are still doing so) in a number of notable ways, from individual blog posts and the publication of new books

                     Yusef Lateef Gold digital graphic courtesy of Bright Skylark Literary Productions .                             (based on original 1968 Atlantic Records album for "The Blue Yusef Lateef) “ When the soul looks out of its body, it should see only beauty in its path. These are the sights we must hold in mind, in order to move to a higher place.” Yusef Lateef, from “A Syllogism”   How could I have known, as a nine-year-old child growing up in Savannah’s Hitch Village project, that Yusef Lateef was speaking light in the form of music directly to my soul through his saxophone and flute when I first heard his masterpiece of an album The Blue Yusef Lateef ? I could not have imagined that years later, while seeking the timbres of my own creative voice out in the world, his would find me again. It happened this time as I sat in the window of a hotel in San Francisco’s Tenderloin District, the haunting blues-heavy moans of “Juba Juba” swelling the room as t

                      Author Albert Camus (photography by Henri Cartier-Bresson (1908-2004 ) "The struggle itself towards the heights is enough to fill a man’s heart. One must imagine Sisyphus happy.” –– Albert Camus , The Myth of Sisyphus Albert Camus may have died tragically when the car in which he was a passenger crashed on January 4, 1960, but the novels, plays, essays, articles and notebooks he left behind continue to help lend clarity to individual and collective conflicts within the world in 2013. November 7 marks the 100th anniversary of the author’s birth and even though his works are already taught in high schools and universities around the world, the occasion of his centennial has prompted numerous events that have been taking place throughout the year. On November 7 and 8, the Albert Camus Society will host a Centennial Conference from 9:30 a.m. until 5:30 p.m. on both days at the Swedenborg Society Building in London. Tickets to the event, which will

Crowd celebrating life of Michael Jackson after his death during Black Music Month 2009.  (Getty image) The basic idea underlying the concept of Pan Africanism is that of cultural awareness and connection leading to mutually beneficial cooperation between people of African descent throughout the Global Village . It is a concept which those who are possibly more politically, philosophically, and economically motivated have promoted at least since the year 1900. One of the ways this powerful theory has met with notable success in practice has been in the area of music. To help ensure the viability of African-American music in particular, famed music producer Kenny Gamble and broadcast executive Ed Wright in 1979 persuaded then President Jimmy Carter to declare June as Black Music Month. The crowning event that year was a celebration concert held on June 7 at the White House. Featured on that occasion were representatives of the broader spectrum of black music, from the rock and

Not far from the scene of the Boston Marathon bombing, a toddler kneels before a memorial to the victims of the atrocity.  ( Photo by Jim Bourg and Reuters ) For those so inclined, it was and is natural in the aftermath of the Boston Marathon bombing to share prayers and thoughts for healing on behalf of victims and their families. Many have conditioned themselves to respond in such a manner partly because it is within their power to do so and partly because they hope others would feel moved in the same way toward them if they were the ones whose bodies and sanity had been shattered so brutally. Victims, after all, within the context of terrorism––whether homegrown or imported––are much like newborn innocents simply because they have not signed up for a war. In this particular case, they had simply stepped out into the light of day intending to honor, preserve, and celebrate a long-standing tradition. Some might argue (and in fact some do) that America, like much of the re

          “The Universe said, ‘let me show your soul something            beautiful.’”                  ––Aberjhani (from ELEMENTAL, The Power of                      Illuminated Love) If emergent expressionism lends chromatic form and substance to in-between states of metamorphosis, then transformative impressionism may be described as endowing such stages of transition with metaphorical narrative. These are images by Jaanika Talts in which her literary inclinations are most apparent and they evoke a clear theme, scene, symbol, or principle. The artist’s depictions of mythology’s (as well as history’s and literature’s) Venus and Cupid , The Siren’s Dream , Ophelia , and Salome are a few of the canvases and digital art compositions which borrow cues from classic stories. What makes them uniquely engaging is her own finely-honed perspective, which seems as culturally expansive as it is aesthetically versatile. She is equally comfortable with more contemporary reference

                                         (Photographed self-portrait of the artist Jaanika Talts) Consider Jaanika Talts of Dublin, Ireland, one of those contemporary visual artists empowered by an instinct for classic literary style. As she puts it, “I mostly paint when I feel like I need to write a book (and it happens often) but painting my thoughts and stories on the canvas is so much easier for me.” Visitors to Talts’ Facebook timeline can see for themselves that the literary company she keeps is one of cross-culture diversity.  A range of quotes from such powerhouses as African-American authors Maya Angelou and Toni Morrison to Canada’s as well as Sri Lanka’s Michael Ondaatje and famed American diarist Anais Nin (1903-1977) help to introduce and interpret her generously shared art. The same literary sensibility is apparent in her 2013 calendar, Camouflages . In it, she quotes the following from English novelist D.H. Lawrence (1885-1930): “A woman unsatisfied must

                   Cover of Talking Back to Dr. Phil by love-based psychology advocate David Bedrick . You can catch the previous segment of this 4-part series by Aberjhani by clicking right here . Part 3 starts now : Another principle derived from David Bedrick’s meditations on process-oriented psychology suggests treating “the powers behind difficulties or disturbances as allies instead of enemies.” That could be a tough sell for people dealing with issues such as spouse abuse or drug addiction, but the author makes his case well enough. Moreover, the debatable nature of his love-based manifesto in its entirety is not lost on Bedrick. In his own defense and that of those he would help to heal themselves and their communities, he notes the following: “Like the US Constitution, I do not adhere to majoritarianism, but rather protect marginalized people and forms of expression from being seen as ‘problems’ and subjected to the shame of psychological labeling and cultural

“We each have lessons to learn and to teach, and healing is something we all do together.”—David Bedrick ( Talking Back to Dr. Phil ) Black History Month is a time I usually reserve for purchasing and reading books by and about African Americans to help add functional substance to the month’s cultural and educational value .  It therefore was unlikely that I would read David Bedrick’s Talking Back to Dr. Phil ––after receiving a copy as a gift––any time soon.  This is what happened to change my mind: Just as I was preparing to place the book halfway between a stack of titles waiting for my attention, I took a quick look inside at the acknowledgments page and read this opening sentence: “About twenty-five years ago, I had the privilege of hearing the music and poetry of Etheridge Knight, a freedom-loving black poet living in Boston.” Since Knight was one of my all-time favorite tortured-soul scarred-radical-genius explosively-complex literary heroes, I knew well

                                President Barack Obama on the cover of TIME Magazine . “Beneath the armor of skin/and/bone/and/mind most of our colors are amazingly the same.” --from ELEMENTAL, The Power of Illuminated Love (Aberjhani) Despite the Associated Press’s recent gloomy poll on racial attitudes in the United States, most Americans would probably agree that race should not have played as powerful a role as it did in the 2012 presidential election campaign resulting in the ultimate re-election of Barack Obama . But there are at least two good reasons that it did. First, consider the approximately one million African-American men and women currently either imprisoned, on parole, or rushing blindly down a path likely to lead to prison. Too many of them grew up, during any given decade of the last half century, believing they were either destined to go to prison as some form of rites of passage, or they should expect to die ––as Trayvon Martin and my brother

Reuters poll indicating viewer responses to the second 2012 presidential debate . “I really think that one of the profound decisions the American people have to make now is whether they want to be governed by a president, or a boss. And I mean a boss!”   ––Bravo Television’s James Lipton in conversation with Chis Matthews on MSNBC’s Hardball Show. Halloween is close enough to the date of the 2012 American presidential election that the idea of the country waking up to either a trick or a treat on November 7 serves as an appropriate metaphor for the intense anxiety that has characterized much of the current campaign for the White House’s Oval Office. Critics of Democrats have accused them of guerrilla decontextualization trickery in the form of a presidential administration that has delivered less that they believe it should have over the past four years. Likewise: critics of Republicans have charged them with attempting to force upon the country a potential leade

                        Republican presidential nominee Mitt Romney . (Reuters photo by Jim Young) Supporters of Republican presidential candidate Mitt Romney at this point can claim with some justification that the media’s treatment of his “47 percent” comments, made at a private fundraiser in May in Florida, fall solidly in the category of guerrilla decontextualization. Yet, of all those powerful men and women who might have flocked to Mr. Romney’s defense in the wake of the PR nightmare that followed, only his running mate Paul Ryan did so with any kind of half-way convincing persuasive immediacy. Many former allies of Mr. Romney are now in fact performing that odd horizontal shuffle called “distancing” that politicians sometimes do so well when the word “stigma” threatens to attach itself to a colleague.  Such tends to be the case whether said colleague is wealthy, powerful, handsome, ugly, or none of the above. Please click the link to read the full article by Abe

Poster commemorating 1st anniversary of execution of Troy Anthony Davis . (courtesy of NAACP) From the time he was first placed on trial for the murder of Savannah police officer Mark Allen MacPhail in 1989 until his death by execution one year ago, September 21, 2011, more questions than answers have tended to accumulate where the case of Troy Anthony Davis was and is concerned. As far as any observers––including such trained onlooker as the National Association for the Advancement of Colored People (NAACP), Amnesty International, and Color of Change–– have been able to tell, Davis was not executed because he was proven guilty.  He was executed because technicalities of applied legal practice and questionable choices in regard to his defense failed to confirm his innocence. For the average person, such a distinction is murky at best. For Troy Anthony Davis––and for an as yet undetermined number of individuals––it literally meant the difference between life and death. The

                               ( Photo of late actor Michael Clarke Duncan by Ethan Miller for WireImage ) Since his emergence during the 1980s and 1990s as a master of horror and suspense, author Stephen King has enjoyed popularity among a racially diverse reading audience. His popularity among African Africans likely ticked up a notch when his novel The Green Mile was made into a movie in 1999 and the late Michael Clarke Duncan brilliantly brought King’s character, John Coffey, to awe-inspiring life. Duncan, who died September 3, 2012, at the age of 54 from complications following a heart attack suffered in July, received an Academy Award nomination for the role. Moreover, he actually won the Saturn Award, Black Reel Award, Broadcast Film Critics Association Critics’ Choice Award, and Southeastern Film Critics Association Award for his performance. The accolades that rained upon Duncan and the fact that he earned himself a spot among Hollywood A-listers di