For those members of a given demographic made uneasy by the idea of eventually becoming just one more minority in America, an abbreviated mind taking note of the evolving dynamics could react with overwhelming fear. The carnage inflicted by Dylann Roof in Charleston, SC, just last month may be considered one such case. That demonstrated by the Norwegian Anders Behring Breivik in 2011 illustrates how analogous scenarios are playing out across the globe. The idea and reality of losing  previously-held political power and privileged authority based on racial domination could (some would say apparently does) encourage violence against  those perceived of as a threat. Certainly the ongoing violence inflicted upon  unarmed African-Americans by armed White-American policemen ––the latest most  visible cases being that of Sandra Bland in Waller County, Texas, and Sam Dubose in Cincinnati, Ohio, does very little to suggest otherwise.   From the opposite end of the  undulatin

Year in review collage featuring images from top stories of 2014 written by Aberjhani. Includes photo by Aberjhani and quotation art by Timadae. (by Postered Poetics) Most professional creative artists are familiar with the challenge of having to sometimes divide their inspired energies between remaining focused on one area of productivity while occasionally, simultaneously, completing work in another. It was that kind of cognitive agility that allowed the music of Michael Jackson’s Xscape  album compilation to reconfirm his genius in 2014, five years after his death in 2009. It was also that kind of determined flexibility which allowed this author to remain on track with research for current literary works in progress while also publishing more articles, essays, poems, books, and blog posts throughout 2014 than previously realized. Their titles and headlines confront some of 2014’s most compelling issues, any number of which is likely to continue challenging humanity in 2015

“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

“He got kicked in the back He say he needed that He hot willed in the face Keep daring to motivate…” –– from the song History by Michael Jackson Upon the launch of the Guerrilla Decontextualization website in August 2012, the concept that inspired it was defined primarily in ultra-modern technological terms. Examples of the practice included the following: short clips from longer videos presented as definitive statements of an individual’s beliefs, photographs of private moments marketed for public entertainment, and statements made decades ago reported on the evening news as though they were made just a few hours earlier. All were instances of events removed from their original context for the purpose of fulfilling an undisclosed agenda. The result often went beyond simple defamation of character, which is generally defined as any knowingly erroneous communication that damages an individual’s or organization’s reputation. By insidious contrast, guerrilla decontextualiz

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

Cover of first edition of I MADE MY BOY OUT OF POETRY featuring original art by celebrated New Orleans and New York artist Gustave Blache III . Recently I found myself on the verge of crossing over from ambivalence into guilt due to the amount of time and creative energy devoted this year to online journalism and other forms of prose-writing as opposed to a more luxurious immersion into the rich flow of poem-making. There were actually at least two instances in 2012 when I managed to combine the genres: the first came in February when writing about the death of WhitneyHouston and the second came, ironically enough, in August when writing about the life of one Michael Joseph Jackson. Although the poems included with the stories can stand well enough on their own, the fact that they were generated by journalistic concerns instead of employed as an initial means to a necessary end in themselves made me feel somewhat negligent. After all, where journalism was concerned I had

Image still from the video-poem Notes for an Elegy in the Key of Michael . “It’s very important to keep the historical context in mind as you contemplate the nature of love and service required in the 21st century.” –Cornel West, Hope on a Tightrope To what extent might the phenomenal entertainer and humanitarian Michael Joseph Jackson have been the target of an extended guerrilla decontextualization campaign throughout the second half of his life? Hardcore devotees to Jackson’s music and altruistic humanitarian vision would say there can be no question that he was targeted in such a manner. Hardcore doubters might say maybe he was the one doing the guerrilla decontextualizing through the evolving manipulations of his public profile as a performance artist. They point to his chameleon-like shift from a distinctly afrocentric appearance in one decade to androgynously multi-ethnic in the next, and in his final years to an almost ethereal projection––a figure solidly in

                         C lassic silhouette of "King of Pop" Michael Jackson . (public domain) Assistant program director “Lady Grace" at Savannah State University’s WHCJ radio station (90.3 FM) pointed out during one of her shows at the beginning of June that June and August represented the station’s “Michael Jackson time.” By that, she meant listeners could expect to hear during these months an occasional extended broadcast of music by the late enduringly great Mr. Jackson . She then launched into an uninterrupted set that lasted for longer than I could stay tuned in to listen. The music spanned every period of the creative genius’s exceptionally prolific career and included a variety of samplers from innovative mixes by diverse musicians and producers. In contrast: I recalled a fellow author informing me that she was “burned out” on Michael Jackson and didn’t see the point of different people’s continued expressed devotion to him or his work.  I u

"Man in the Music" by Joseph Vogel S ome philosophies claim that the eyes symbolize such qualities as the gift of prophecy, intelligence, and conscious awareness. In her book Chakra Bible , Patricia Mercier describes the eye “chakras,” or centers of spiritual energy, as those which “feed the brain but can develop to detect extra-sensory information or send healing to others.” That’s a pretty heavy thought. But as heavy as it is, it’s not all that difficult to entertain such luminous possibilities when considering the life and legacy of Michael Joseph Jackson . Why? Because the life he challenged himself to live turned so many dreamed theories––both his own and that of others–– into material reality. It happened while he lived until his death on June 25, 2009 and it is happening now in the year of what would have been his fifty-third birthday. To continue reading please click the following link: Looking at the world through Michael Jackson's left eye (part 1

Michael Jackson and summertime from this point on - National African-American Art

(Michael Jackson on stage circa 1995. Photographer unknown.) You probably can’t read the words on the note next to the accompanying photo of Michael Jackson, but they were handwritten by the singer himself during the mid 1990s when he was constantly on tour and just as constantly a subject of much public ridicule and condemnation. This note was composed on hotel stationery and, complete with original spellings, grammar, and format, reads as follows : “like the old Indian proverb says do not judge a man until you’ve walked 2 moons in his moccasins. Most people don’t know me, that is why they write such things in wich most is not true I cry very very often because it hurts and I worry about the children all my children all over the world, I live for them. If a man could say nothing against a character but what he can prove, history could not be written. Animals strike, not from malice, but because they want to live, it is the same with those who criticize, they desire our blood, not our