Monday, May 2, 2011

Obama and Osama




As a fledgling politician in Chicago, Barack Obama was advised more than once by consultants that he might want to consider changing his name—all three of them, in fact. “Barry” would be a great deal less foreign-sounding than Barack, one media consultant told him, and “Hussein” was a middle name reminiscent, for many, of an Iraqi tyrant and worth consigning to oblivion. As for his last name, well, to carry around a perfect rhyme for the most notorious terrorist in the world was a political liability beyond imagining. In the post 9/11 world, “Obama” was a cheap tabloid pun waiting to happen. Nevertheless, the young South Side politician ignored the advice, won a U.S. Senate seat, in 2004, and took the oath of office as President on January 20, 2009 using the same name that appears on his Hawaiian birth documents (both the long and short versions): Barack Hussein Obama, II.

As Obama said Sunday night from the East Room of the White House, he had long ago promised to make a priority of bringing Osama bin Laden to justice. Now “justice has been done,” the President said as he announced that a team of American intelligence operatives killed bin Laden in a firefight in Pakistan. His late-night statement—sober, direct, even, at times, thick-tongued with nervousness—rightly avoided any note of triumphalism, any hint of the “U.S.A! U.S.A.!” “Yes We Can!” cheering coming from the crowd outside the White House gates in Lafayette Park. But there could be no mistaking his relief, the national relief, that the symbolic and ideological head of a hideous multinational terror organization, responsible for the deaths of many thousands, was gone at last.

Steve Coll has brilliantly outlined the life of bin Laden and his family in his book “The Bin Ladens: An Arabian Family in the American Century” and Lawrence Wright has done no less in describing the rise of Al Qaeda and bin Laden’s Egyptian deputy Ayman al-Zawahiri in his “The Looming Tower.”

But what of Obama’s history with Osama bin Laden?

In September, 2001, Obama was an obscure state senator from Hyde Park. He had just lost badly in an attempt to win away a congressional seat from the former Black Panther and local favorite Bobby Rush. In the wake of that humbling, Michelle Obama was hoping that her husband would quit politics once and for all, and Obama was thinking about it.

On September 19, 2001, little more than a week after the attacks on the Pentagon and the World Trade towers, Obama’s local paper, the Hyde Park Herald, published a series of reactions to the events from the two U.S. senators from Illinois, Richard Durbin and Peter Fitzgerald; Bobby Rush; and minor local pols like Obama.
In his brief article for the Herald, Obama started out by writing some routine lines about renewing security standards at airports, strengthening intelligence networks, and “dismantling” the networks of those who carried out “these heinous attacks.” Ordinary stuff. But he also talked about “the more difficult task of understanding the sources of such madness.”

“The essence of this tragedy, it seems to me, derives from a fundamental absence of empathy on the part of the attackers: an inability to imagine, or connect with, the humanity and suffering of others,” he wrote. “Such a failure of empathy, such numbness to the pain of a child or the desperation of a parent, is not innate; nor, history tells us, is it unique to a particular culture, religion, or ethnicity….”
“We will have to make sure, despite our rage, that any U.S. military action takes into account the lives of innocent civilians abroad,” he went on. “We will have to be unwavering in opposing bigotry or discrimination directed against neighbors and friends of Middle Eastern descent. Finally, we will have to devote far more attention to the monumental task of raising the hopes of embittered children across the globe—children not just in the Middle East, but also in Africa, Asia, Latin American, Eastern Europe, and within our own shores.”

It was precisely that kind of talk that was branded as “soft” in the wake of 9/11 and throughout the Bush years, straight through the 2008 election campaign. It was precisely that sort of attempt to talk not merely in the register of prosecution and military aggression, but also of understanding root causes, whether at an anti-Iraq war rally in Chicago or at a Presidential speech in Cairo, that left so many wondering if Barack Obama would have the strength to “go after” Osama bin Laden. Now there is an answer.

There is no getting around the fact that Osama bin Laden—a murderer of the most vicious sort—succeeded on his own terms in so many ways. He was the inspiration not only for the most catastrophic attack on American shores since the Second World War, as well as many other bloody attacks around the world; he also managed in his ugly lifetime to distort, confuse, and undermine the course of political history all over the world, not least in the United States. The day of Osama’s death is a great relief, a moment of real justice. It is no less joyful to know that at the root of the “Arab Spring” is a yearning to end tyranny, not to bring it on in its most fundamentalist forms. But the work of conquering bin Ladenism does not end with the work of killing bin Laden. The fight against obscurantism and terror remains infinitely complex and demands, among other things, political leadership that acknowledges the importance of mind and heart, as well as muscle.

http://www.newyorker.com/online/blogs/newsdesk/2011/05/obama-and-osama-bin-laden.html#ixzz1LEvr2lOL

Monday, March 28, 2011

Why Is It?

Why is it that a Black Man can create a tiny piece called a filament (electric light - Lewis Latimer) that allows people to see in the dark? But can't be seen as fit to lead a country to the true light.

Why is it that a Black Man can create an instrument (clock - Benjamin Banneker) that all people use to tell time? But people don't think it is time for him to run a country.

Why is it that a Black Man can design a place for the high authorities to meet in and a place for the president to live in (The Capital and the White House Phillip Reid (a slave) and Pierre L'Enfant)? But not good enough to lead these meetings or live in himself.


Why is it that a Black Man was brilliant enough to do the first open heart surgery (Dr. Daniel Hale Williams) and show the world how to get and preserve plasma (Dr. Charles Drew)?But not good enough to put a program in place where everyone can afford this surgery.


Why is it that a Black Man was creative enough to design an instrument (traffic light - Garrett Morgan) to bring multiple people (traffic) to a halt? But not seen creative enough to design a plan to bring all this unnecessary and worthless fighting between countries, to an end.

Why is it that a Black Man could create the soles (shoes - Jan Matzeliger) that people walk on every day? But not seen good enough to fill the shoes of a bad president.

Why is it that a Black Man was smart enough and brave enough to teach himself (Fredrick Douglas and Thomas Fuller - both slaves) and others how to read, write and/or calculate math? But not seen smart enough and bold enough to calculate a platform to be President to a country that sure needs another first by us.

So you see my Brothers and Sisters, what I am saying is, let us not forgot our past which led us to our present and can definitely be the backbone to our future. We were good enough, smart enough, creative enough, and bold enough then, so let us all give Obama the chance to show that we are still these things and more. We all are as strong as our weakest link, so do not be that weak link that denies our people that chance to show we still can OVERCOME AND BE THE FIRST!

THE PRESIDENT OF THESE UNITED STATES OF AMERICA !

LET US ALL CONTINUE PRAYING THAT THIS PRESIDENT WILL ADHERE TO AND BE LED BY FAITH.

Friday, February 4, 2011

Singer Angela Bofill makes a comeback without voice that made her famous VOICE!

Angela Bofill waits in a plain, beige dressing room at the Birchmere, preparing to go onstage without something she has lost. It's not a small thing.
Most people, says one fan of the '80s R&B balladeer, would shut down, would be content to live out their lives offstage, out of the spotlight, wherever it is that old singers go to fade away. The music business demands perfection. A certain look. At the least, it demands a voice.

"I love perform," says Bofill, 56, her syntax fractured, her rhythm stop-and-start. She's illuminated by bright lights but not an ounce of glitter or sequins. Instead, she wears a black-print blazer. A cane leans against the dressing table. "I used to study opera. Used to teach voice.
I Used to have perfect pitch. Now, no pitch. Bad pitch. Frustrated - little bit. Half my life, singing. First time. No sing." She says she sounds like an old movie. "Me, Tarzan. You, Jane," she jokes.Jazz singer Angela Bofill makes a comeback without voice that made her famous.
In case You hadn't Guessed by now Angela Bofill suffered a Major Stroke

This is a tribute to her courage. I don't know when that stroke happened. Some time ago I suspectbut she has recently staged a comeback in a most unique way. The story is an inspiration to me and I hope it will be to you as well. But first some music from the fabulous voice!!


"I used to study opera. Used to teach voice. Used to have perfect pitch. Now, no pitch. Bad pitch. Frustrated - little bit. Half my life, singing. First time. No sing."
She says she sounds like an old movie. "Me, Tarzan. You, Jane," she jokes.
Outside in the dark, cold parking lot, a sold-out crowd lines up for Sunday night's show: "The Angela Bofill Experience." After two strokes and a five-year absence from the stage, Bofill's name is again on the marquee. Fans have come from as far away as New Jersey, some cradling Bofill's original albums, which show an absolutely gorgeous woman.



Outside in the dark, cold parking lot, a sold-out crowd lines up for Sunday night's show: "The Angela Bofill Experience." After two strokes and a five-year absence from the stage, Bofill's name is again on the marquee. Fans have come from as far away as New Jersey, some cradling Bofill's original albums, which show an absolutely gorgeous woman.
Bofill closes her eyes as a makeup artist paints on thick black liner. Not many entertainers would have the courage to do what Bofill is about to do. Not many would be so bold.

"I feel happy performing again," Bofill says. "I need crowd. In the blood, entertain. Any time a crowd comes to see me, I'm surprised. No sing no more and still people come. Wow. Impressed." She laughs. But before she will get to the stage, she has to get out of the chair. She leans forward. No. She leans forward again. "I conquer my chair - damn it! Nose over the toes. Nose over toes." Up. She grabs her cane, covered in butterflies. "I love the cane. Mother told me J. Lo uses cane dancing. Sweet!



Behind the wall, she can hear the singer Maysa onstage performing Bofill's signature hit, "Angel of the Night." Maysa's voice is big and powerful, blowing through the thin walls of the dressing room.

There is a flash of envy from Bofill. "Used to play timbale to that song before the stroke," Bofill says. "Now, cowbell." Her big brown eyes look down. "Oh, well. One day, this arm awake. I don't know. Strange disease, stroke. Before no idea why person walk funny. Now, I get it - stroke." "It really slows my roll up, you know. But grace, still alive. Some people no make it. No eat a long time. Need a feeding tube. Awful. Only good thing I lose weight. A stroke diet. It works!"
Eventually, she began talking again. "But my voice no sing. I rather not sing. Awful. Crack me up! Funny! I laugh about it. But very grateful - still living. Never take things for granted. I think a stroke - no joke. Yes. But, I think a better a person."

She is laughing now, but a few years back, she was severely depressed. She had no voice and no health insurance. Her hospital bills piled up. Celebrities held benefit concerts across the country to raise money for her. Some singers she thought were friends called with empty promises of help. She had to sell her house in California. She moved in with her sister. Despondent, she spent most days in front of the television, flipping channels.

"First time very depressed," Bofill says. "Crying all the time. Turns out a side effect of the stroke. Made me depressed." Still, she seemed to be recuperating. Doctors said she might sing again. But a year later, she had another stroke that left her without the one thing a singer needs.

"It was devastating to lose her singing voice," Engel said. "When you take a voice away from a singer, nothing is worse. A lot of it was like, 'What do I do now, now that I can't sing?' That was her life. Her livelihood was being onstage."
Engel used to call her daily. "She was just down," he said. "That is all she did was hang around and watch TV. She didn't try writing any music. She didn't try writing any stories. I'd say, 'How you doing, Angie?' She would say, 'I'm bored.' " Engel would make suggestions.

"Finally, I said, 'You got to get off your ass, Angie! You are a good-looking woman. It's not like you are dead!' "

That's when the idea came to him. He would create a show starring Bofill. Just like old times. She wouldn't be able to sing, but she could tell her stories. He called members of her old band. They were game. He called Dave Valentin, the legendary flutist who helped Bofill get her first record deal.




He said, 'Angie wants you. Without Dave Valentin, I'm not doing the show,' " Valentin recalls. "I told him, 'Of course, I'm doing it.' "
Engel sought soul and jazz singer Maysa, who grew up in Baltimore listening to Bofill. Maysa, who was a member of the British band Incognito, agreed to join the show.

"I have been listening to her since I was 12 or 13 years old," Maysa says of Bofill. "That is how I cut my teeth. Mother had to buy new albums, because I would wear them out. When you listen to someone so long, it is amazing to be onstage. She is looking at me singing her music. It's like a student getting approval from the teacher.

"At first, I was nervous. I wanted her to be proud. I don't know if I could have the strength to sit there and watch someone singing my songs. But she is happy."
The first five "Angela Bofill Experience" shows sold out in San Francisco. Fans came, knowing Bofill couldn't sing. They just wanted to see her again. The show - even without her voice - drew rave reviews. Engel says he wants to get a movie made of Bofill's life. "Ultimately, I'd like to take the show to Broadway."
At the Birchmere, Bofill is wheeled up a ramp. She doesn't like the wheelchair. When she gets to the edge of the stage, she rises and the crowd applauds - an ovation that grows louder as she walks haltingly across the stage. The house lights go up. She sits in a chair and tells stories. Maysa sings.

Bofill moves her mouth. "Lip-syncing," she tells the crowd.
The audience laughs. Videos flash of Bofill in her heyday. The crowd is quiet. The show is like a memorial concert, except Bofill is still very much alive. Laughing but unable to sing.

"Sometimes," Bofill says, "I crack me up. Better to laugh than cry. Turned out, me a comedian." She laughs. "Instead of a stand-up comic - a sitting-down comic."



I INTEND TO SHARE MORE INFORMATION ABOUT HER and HER MUSIC ALL MONTH LONG!I Hope your comments will post your favorite music by her as well. Come on everybody, LETS CELEBRATE ANGELA'S COURAGE!