We White People

New York, NY – March 13, 2011 – We White People by Martha Glinski available on Amazon.com’s Kindle edition and BarnesandNobles.com.

For Immediate Release | Contact: Hana Glinski | hanaassociatespr@gmail.com

Known by art communities and collectors around the world for her captivating oil paintings, artist and humanitarian, Martha Glinski, adds to her works-to-date debut book, We White People, a spellbinding address to the perpetrators of the insidious tradition of racism, which continues to plague our global community – and more specifically – the psyche of the American, White racist.

“Racism has been a taboo topic, making clear the absurdity of calling upon society’s current Black cultural critics to answer for Our errors, when this is Our responsibility. The hazy confusion on a national level that believes that all of the problems We spawn by our refusal to personalize the struggle, demonstrates how disconnected We really are to any semblance of maturity when it comes to this specific arena. This keeps Us in the safe position of spectator, (Oprah’s sympathetic ‘good’ audience) tsk-tsking, and shaking Our heads at those ‘nasty racists.’ All the while, the mirror stands before Us, as all around Us, mounting evidence of Our actions, of Our neglect, is there to behold,” said Glinski.

WWP [developed in 2007 until Glinski’s death in 2010] chronicle’s the author’s firsthand accounts of racism at the hands of her White neighbors, and was loosely based around the presidential election campaign of Barack Obama [2008].

Glinski, unabashedly indiscreet about the self-destruction of the White racist, recited a popular quote: “’Racism will never be cured in MY lifetime!’ When uttered by a White person, it doesn’t seem so much to be said in despair, but as a matter of fact, and a shrug. This means that whoever uttered it hasn’t much intention to make improvements in him or herself, in order to end racism.”

WWP is 192 pages at $10.95 and available at:

http://www.barnesandnoble.com/w/we-white-people-marthaglinski/1109453476?ean=2940014301084

http://www.amazon.com/We-White-People-ebook/dp/B007HQDL5G

Paperback copies and pre-order information to follow.

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The fact that We appear to be in charge this time around only means that we have the heaviest responsibility for having it this way; we are in charge because we have been ruthless, not because we are virtuous, better, or in any way superior to those we have merely outnumbered, or out maneuvered, unethically.  – Martha Glinski

We White People

At this moment in time, the pulse of America with regard to its own racism is bubbling just beneath the surface begging for an open forum that never quite seems to happen. The coming events will prove its absolute house–to-house reality, and the requirement of addressing this, with face-to-face diligence. We White People seeks the development of a new paradigm, arrived at by first looking at Ourselves – whereby truly seeing Them (African Americans). We White People - is that first – and so far, only – non-academic or religious attempt to deal with America’s contemporary, racial emotional climate. The book invokes a courageous personal effort to stop comparing one’s self with the more extreme expressions of self-proclaimed supremacists as a measure of one’s own relative innocence; the current state of affairs with virtually all “good” White people in America. It also aids in the important elimination of our terrible habit of withholding respect and trust from Them by using excuses that blame Them: “I won’t extend myself to them as long as they keep doing…” We must trust Their own leaders and social doctors; doing Our part with what is our culpability and responsibility will enable their leadership a freer hand in dealing with what is theirs to deal with – which is already well underway.

Finally, we will begin to foster the positive action of other White people who can be counted upon as our own “go-to” persons, who will be present and accounted for in media broadcasts, which until now has primarily been the role of Black figures/activists, who should not have to represent the voice of anti-racism, alone.  This will make for a powerful flow of those of Us who have long struggled for a way to emerge, the truly better character that is earned, and not a corrupt one, inherited.  Perhaps you think I have excessive ambitions for this book; I do.

While it may come as a shock to some, I am, myself, not at all surprised to learn how much, and how deeply so many of Us yearn to express an appropriate regret, and a desire to reach out to Our Black “brother from another mother” in a new paradigm that fits a more common sentiment than is now commonly evident. We share an urgency to shatter Our previous status as the deceitful, cruel, insensitive White “neighbor” to Black Americans. This is now making its way into popular culture in a number of ways, via movies and television – as explained in the book. Conversely, near the end of the McCain campaign’s efforts to win the presidency, the incendiary stirring up of the crowds at their rallies, especially by Sarah Palin’s use of phrases like, “He doesn’t see America the same way we do” and, “”…it’s so good to be here, in the part of this great nation where all the pro-Americans are”; and all the talk about Obama’s “paling around with terrorists” which worked to make racists more comfortable in calling Acorn, an agency under scrutiny, and in a single message, invoked the “N” word four times, including the one that declared that “Barack Obama should be hung.” Picking up on these sorts of blatant indicators, as well as through intuitive observations, I feel the urgency of getting this book out in front of those of Us who find it nearly impossible to sit still for this horror show of newly-surging racism; We need a handbook that puts words to the “music” now just re-surfacing that is the struggle for the ending of racism-as-acceptable.

As long as Our African American fellows have their backs against the wall through the imposition, by Us, of Their unearned “lower” status – by birth – WWP must likewise feel the same measure of pressure to reform, and resurrect our potential to actually live up to the self-image We have been able to assume – by birth. While the book itself cannot hope to revolutionize race relations all by itself, as a solid statement of direction that can be trusted to establish clarity where fuzzy thinking has been the rule, its value is unmistakable. Regardless of the inevitable discomfort a book like this will bring, it is Our destiny to work this out, and there has never been a more optimum moment in time to present WWP as the guide to, more safely than otherwise, commence the dialogue.

In more than one place in We White People, I have written about the different facets of fear, in racism. Yet, the fear We have of other White folks’ judgment for any ensuing increased association will be diminished as We find that it should be expected of us to move away from this hold (born of being terrorized ourselves) which We have over one another with respect to Our regard for people-of-color.  As it is, there are so many of Us on the precipice of movement toward a more realistic relationship with Them, but are still being held back by confusion and fear. Dialogue and “permission” are on the way, via the liberating pages of We White People, which will work to stem some of the increased polarization now taking place in America. There is no sparing of honesty, which might be deemed harsh in some sections, but the humor and compassion throughout should mitigate much of the stifled efforts to emerge with the courage of one’s convictions, and the reluctance to remain submerged in an unwanted, “old school” racial paradigm.

There are chapters designed to “lighten up” the conversation of the previous chapter; chapters designed to pose questions, chapters that indict the maintenance of the philosophies dedicated to the “unrepentant” racist,  and chapters encouraging those who suffer-by-proxy the destructive and painful results of racism on the people most affected by it. As an entity in itself, my hope is that We White Peoplestands as a “place to go,” a touchstone in the process of healing. As a widely-distributed, highly-promoted “handbook” on the topic of race relations –offered to Americans for the first time – We White People will be indispensable.

By Martha Glinski

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For more information about We White People [available first quarter of 2011] contact info@hanaassociates.com or check back here for updates on purchase availability.

Additional Press:   http://my.barackobama.com/page/community/blog/wewhitepeople

Media Dynamo

A diamond in the rough, Caktuz..?13 [pronounced Caktuz] is a witch’s brew of talent.  An accomplished author by the age of 18, he wrote and illustrated his first graphic novel noir ‘Futprintz’ for The American Red Cross. As the first urban graphic novel focusing on AIDS Awareness, the book was heavily distributed all over the U.S. and reprinted many times over. Since then, Cak..?13′s writing has advanced into screenplays, novels, animation, and storyboard production for commercial and theatrical scripts (Wesley Snipes’, Ford, Spike Lee).  Cak..?13 was commissioned by the legendary Melvin Van Peebles to illustrate the feature film adaption of his most recent movie, Confessions Of A Ex Dufus Itchy-Footed Mutha.

Cak..?13′s 2009 induction into the The Official Hip-Hop Tarading Card Company’s first inaugural collection, left hip-hop fans and industry incumbents baffled as to why they would honor an indie artist, who had never held a major deal. In short, “Who is Caktuz..?13 “…”Why him?”

Caktuz..?13, also known as AMAS Multi-Media, has worked with such artists as Bilal, dead prez, Boot Camp Clik, SA-RA, The Dey, Brand Nubian, M.O.P., Young Guru, Michael K. Williams aka Omar from HBO’s Emmy Nominated The Wire and many more.  He is a Carolina blues man by blood.  His first album,  (critically acclaimed) 2 Hevi 4 Heaven, established Caktuz..?13’s place in the industry as a musical and genre innovator. Creating his own ‘Carolina Bluez’ sound and weaving live performance art into his stage shows, set him apart from the rest.

From music and media – to gracing the Broadway stage with the legendary Melvin Van Peebles – his DRX art group performance raised the energy of the show.

Cak..?13  held the Music Director seat  for Wheat Bread Radio – a show he created and directed – for the lifestyle brand of Wheat Bread’s media division.

This country’s strange fruit is an award-winning graphic illustrator/designer, working with virtually all of the most relevant designers such as Ecko, Apple Bottoms, Parish, Timberland, Rocawear, Shady Ltd. Having laced celebs such as Wendy Williams, Queen Latifah and Chris Brown, his work has become heavily sought after by Hollywood’s finest.  Many corporate clients, such as Smirnoff, DC Comics, TBS, Pepsi, Wal-Mart, have called on Cak..?13 by name.

His on-air charisma catapulted him into the acting spotlight.  Cak..?13 (or his distinctive voice) has appeared in numerous film and television efforts, including his mentor Melvin Van Peebles’ new film, The Eddie Black Story (formerly titled Deceptz), the controversial, semi-biopic on the infamous NYC street gang The Decepticons, and even more films in production now.

With all this and still more to come… Caktuz..?13 is the poster boy for a multi-media revolution. Thus, a Media Dynamo, really.

For information on Caktuz..?13′s current project, “GODZ PORNO,” visit www.caktuztree.com where you can read the controversial reviews and download the 13-track album – deemed a masterpiece by fans.

Art of The Lauren Siblings in Stores Now!

Witness the outstanding art collection of Nick, David and Ruth Lauren in the Art of The Lauren Siblings, by Givi Lauren.

Published June 12, 2008; Xlibris Corporation

Picture Book $31.99; 64 pages; 978-1-4363-1542-5

Picture Book Hardcover; $41.99; 64 pages; 978-1-4363-1543-2

(New York, NY) November 12, 2009 – Witness the outstanding art collection of Nick, David and Ruth Lauren in “Art of the Lauren Siblings” by Givi Lauren. The picture book currently available on Amazon.com and Borders.com, is set for nationwide distribution this winter through Xlibris Publishing Corporation, in all commercial bookstores and retail stores, Target and Walmart.

The Lauren siblings were born with an innate gift for painting. At early ages their brushstrokes demonstrated artistic skill beyond their years. Through the use of pencil, acrylic, pastel and watercolor they were able to capture the daily occurrences of landscapes, still-life and portraits with great depth and maturity. For the first time ever, readers will discover the amazing art collection of three siblings in this reflective picture book.

The picture book, which contains a vibrant collection of pictures and artworks, renders the different works and life stories of the child prodigies, who showcased their works for the first time in the Grand Hall at Bnai’ Zion Cultural Center in Manhattan, New York on February 6, 2005. Attended by experts, various artists and media, the children (ages 9, 8 and 6-years-old at the time) showcased their works to 200 visitors. The exhibit was a huge success and fueled their decision later that year, to enter the World Wide Children’s Art Exhibition (competition) in Tel Aviv, Israel, where the siblings collectively took home the award for second place among over 150 entrants.

Readers and art enthusiasts will be fascinated at the countless, beautiful works and the threads that entwined each of the children’s lives. Parents will be encouraged to expose their own children to the world of art and imagination.

The book, authored by their father, was published to appreciate the Lauren siblings’s love of art; the parents collectively fostered an environment that supported their children’s pursuit of the arts. From supplies to private lessons – they supported their children’s gifts, skills and talents and encouraged them to continue exploring what lay beyond the horizon for them – not only in their pastimes (art and music), but in academics as well, for a broad foundation of awareness.

For more information on the siblings, email info@hanaassociates.com.

See samples of their work at http://www.youtube.com/watch?v=HOYGawW0uIs

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Bitter Sweet

Bitter Sweet is a plethora of vivid, urban short stories that leave nothing to the imagination. From the first to the last story, author Clifford Brown will abduct you and hold you hostage to the drama. Brown taps into his sub-conscious and feminine ego to authenticate the human experience of love and sexuality, while maintaining his masculine point of view.

Brooklyn native, C. Brown, is the type of author who is not afraid to venture into realms of existence that most people dare not go. He is skilled in the intricacies of the contemporary, human condition and lends credibility to his fictional stories with the depth of reality that exists in each of us. Readers will identify with one of his many works, if not all.

Bitter Sweet is currently available for purchase at Amazon.com.

NUMBERS

Classic hip-hopper, Dana Dane, has transformed his lyrics into new paperback banger, NUMBERS, presented by the Queen on hip-hop fiction, Nikkie Turner.  A storyteller at heart and wordsmith like no other, Dane continues to share his experiences and thoroughly entertain readers in this 256 page-turning, inspiring urban fairytale.

Is NUMBERS fiction or non-fiction?

Numbers is fiction. I wrote a previous book called Hip-Hop Sales, where I took all my previous rhymes and converted them into short stories. I took one of those short stories about a young hustler and gave it to Nikkie Turner, who has about 12 books out. She was initially going to incorporate the story into a collaborative project she’s working on with other writers, but she liked the story and pitched it to Random House and that’s how I got my book deal.

When did you begin working on the book?

I began in November of 2007 and finished it in 3 months. It’s a story about friendship, loyalty, young love and a young hustler, who enters the world of drug dealing after a family crisis.

Drugs are not your legacy, so what prompted you to write about it?

The story is loosely based on my life, the lives of those I grew up with, and ghettos all across the United States. A lot of young people view drug dealing as quick money and can’t give it up. They end up dead or in jail. Sometimes people, who grow up together, grow apart. When they get caught up in illegal activity, they find out who their true friends are.

Coming out of Fort Greene Projects [Brooklyn], I’ve seen many people come up from elementary school and turn on their friends as they got older and made more money. The story is basically about how people change, who they love, and who they’re loyal to.

Working in music for so long, did you ever think you’d write a book?

I’ve been writing rhymes forever. In 2006, I made a conscious decision to expand my craft and figured that if I could write rhymes, I could write screenplays and books, which I did, starting with my first screenplay “CinderFella.”

Hip-hop and books are the same in that they’re both storytelling, do you agree?

It depends on who the artist is: Some artists are abstract and their hooks may not go with what the lyrics are about. Artists like B.I.G., Slick Rick, and Jay Z write rhymes in chronological order, but not everybody does that.

Are you utilizing books as a means to educate others?

Yes, education is a process; I call myself educating young people, but young people are always educating me! My son was one of the people who inspired me to write because he wrote a one-act play and I thought, “I could have been doing that.”

Where can people get the book?

Visit Amazon.com, Barnes & Nobles, Random House, Borders, Danadane.com, and most of the urban American stores across the country will carry it.

What’s on the horizon for Dana Dane?

I’ve already drafted two other books: The follow up to NUMBERS and another book in the works, in addition to two screenplays. I’m the producer of a 6-part miniseries, “The Stuy,” written and directed by Joseph C. Grant Jr.; the trailor and dvd are available for purchase at his website ghettoeyezpub.com – click the film link.

 

Satisfied readers had this to say about NUMBERS:

“I grew up reading books by Donald Goines and actually named myself after the writer, Iceberg Slim. It’s nice to see Dana carry on the tradition of great, street-based novels! This book will sit right next to the other classics! Love it!”

—Ice T

“I’m proud of Dana! He has delivered a street classic! I could feel each character. A great story!”

—Slick Rick

“Dana Dane, take a bow. NUMBERS is fire…loved it!”

—T. N. Baker, author of Dice

“I couldn’t put NUMBERS down! I was able to relive my life in every page.  I once thought that only I understood the power of numbers in the projects. In NUMBERS, Dana Dane shows how numbers are the projects.  If you grew up in any ghetto or urban neighborhood, this is your story too. Thank you Dana, for bringing back the memories, the love, the fear and the luck, but mostly thank you for bringing back the numbers. My number was 810 on both tracks.”

—Dr. Roxanne Shante’

“Dana Dane has given a voice and soul to Fort Greene, Brooklyn with a story that calls to mind The Coldest Winter Ever and the works of James Baldwin and Donald Goines.”

—Joseph C. Grant, Film Director/Producer

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Hana G. for the Connex List 2009

HONOR AMONGST THIEVES

A.C. Clayton comes from a good family.  His adrenaline for life prompted him to participate in activities that led to the swift acquisition of his “street cred” at an early age. Clayton still has his street cred.

Clayton’s first trip to jail was for Graffiti. Soon after, he went for murder and was convicted of manslaughter in 1994. He was released in 2007. This is his story.

Clayton’s book Honor Amongst Thieves was a work in progress while behind bars, until he was released and able to publish it in 2007. His book is a narrative of the experiences he underwent in the streets, and during his incarceration.

The very title, “Honor Amongst Thieves,” begs explanation. Clayton says, “Yes… there is such a thing as honor amongst thieves despite popular belief. A code of conduct and decorum does exist in the street – similar to that of the mafia. There were taboos and rules that gave the streets it’s structure. For example: A stickup kid would never kill a simple civilian; they went after establishments, i.e. banks, liquor stores or other stickup kids. Drug dealers never sold to little kids or (visibly) pregnant women. The crack era eroded the fiber of this code, and created new laws that said anything goes and anybody is fair game, and so the concept of this book is, acknowledgment.”

Clayton went through a stage while incarcerated, in which he reflected on his crimes and became disgusted. He urged fellow inmates to turn their lives around, but due to his notorious reputation, which his peers respected, they were not convinced nor swayed to change their ways.

Clayton began to see people return to prison for different crimes, which prompted him to ponder capitalism. Clayton says, “With capitalism, there is someone who dictates and delegates, and there is someone who is dictated and delegated to. Racially speaking, impoverished minorities have one or two options: They can either face eviction, or they can get into crime to get over, and crime has unfortunately been a consistent option. These people cannot be convinced or lectured to, in prison.”

Clayton says, “What do you say to someone, to affect all the others in the street?” In HAT, Clayton selected an elderly character, a “lifer” inmate referred to as the The God to illustrate the role of the leader and subtle preacher. Through the wisdom of this character, Clayton re-introduced honor into the minds of men.  He goes on to say, “At the end of the day, everyone is fighting over crumbs – short money, and even more senseless, is a recent murder over a two-year-old argument on Myspace. If you’re going to live in the streets, understand there will always be repercussions.”

Clayton reflects on his life of crime and admits never committing a crime against an “honest john.” That would disrupt the code.

During his incarceration, Clayton facilitated the African and Latino History (criminal justice program), and Non-Traditional Approach to Criminal Justice, which dealt with the disproportionate number of Blacks and Latinos incarcerated in the New York prison system, and investigated what some of the mitigating circumstances were.

Clayton also initiated manhood class “Abandoned Nation” – a combination of the two (before-mentioned) classes. One of his brightest pupils was rapper, Saigon, a “wild adolescent responsible for starting a riot at a prison talent show,” says Clayton.  In time, Saigon was swayed by Clayton’s influence and in a year’s time, began teaching his own classes.

HAT is a continuation of Clayton’s ministry, designed to make readers reflect.

Demographically speaking, everyone is reading it, but readers are primarily comprised of the incarcerated, and concerned mothers seeking insight into what may or may not be taking place with their young boys, who are flirting dangerously with the streets.

Clayton’s life since his return from incarceration is a testament to the lessons he learned over the years. Once home, he immediately secured employment as an advertising manager at the Source Magazine, and is currently working with troubled youth through non-profit organization, Cases. Clayton also started Ammenta Publications, a book publishing company dedicated to improving the urban standard of literature.

HAT has been exclusively released through Barnes & Nobles and Borders.

Book two of  HAT is, The Center of Gravity, scheduled for release November, 2010. It is sure to be as captivating, suspenseful and full of ironic turns and twists, as it’s predecessor.

The code of ethics that Clayton lives by now, is have respect for all life.

A COLLABORATION OF ART AND LOVE

Native New Yorker and author, Tonya Smith’s latest work of art, Lovers’ Quarrels, is a meta-fi/sci-fi compilation of short stories [441 pages, tpb $19.95], written in three dimensions.  Smith effectively communicates a variety of perspectives, while remaining true to the underlying destination of her literary journey. She classifies her self as, “A bit avante guard,” as her explorative works are based primarily on art and otherworldly concepts, which solidify her as a science fiction writer, crossbreeding her sci-fi story plots with love.

The first of five of the short stories is The Art And The Ego, which explores an argument in an otherworldly art gallery between two mutant artists with different talents, who are steadfast in their opposition to each other regarding what is real in art (from the heart), and what is not. With superlative ease and skill, Smith communicates the point of views of the artists, spectators and the artwork itself in the gallery [via her 3-D writing style] that never strays from the focal point of the main characters’ differences and yet, quite common social experience; Viable Effects is about a pair of emotionally-designed robots whose experimental mission goes awry when one of them begins to desire more ardor from the unwilling other and will do whatever it takes to get it; Valora is a story within a story about an anxious but shy young man, who has one chance to win back his hostile ex-lover by giving her a magical potion before she marries another and leaves his life for good. But there is a surprise twist that he’s not prepared for; The Mystic & the Sophist (based in another realm) is about a spiritually challenged young woman who meets a charming and cunning man whom she believes to hold the key to her problem of spiritual ineptness – never knowing that she is in store for a wild ride with a man who has an agenda and misuses his secret magical powers; The Apex of Talise is a fantastic urban fairy tale of two betrothed lovers from another planet, who get stuck in a metropolis on Earth. When the Prince loses his mind and the mission, the Princess is ordered by their family of royal deities to locate and return him to their planet. But the change of dimensions alters their physical appearances and the Princess doesn’t know what the Prince looks like, and the Prince (in his drug-induced madness) believes that she is an apparition there to kill him.

Smith says of her writing, “…The majority of the stories that I write are considered to be ‘Outside the box,’ but writing is an art form and our experiences are metaphorical for life; everybody knows that a tree is Green and Brown, but an artist may find a way to make it Red, and people will say, ‘Show me how it’s Red.’ It’s the author’s job to illustrate that it is, and successfully doing so, is what makes a writer good.”

Currently, Smith is working on Book two [another compilation of short stories] entitled, The Black Romantic.  She says of the title, “Love isn’t always rosy and happy, sometimes it’s dark and gloomy,” thus the usage of the word “Black.”

The response Smith’s been getting from readers has been great.  She says, “As a writer, you can direct people to see the things that you intend for them to see.”

Readers have said that her conveyances are so vivid, that they feel they are inside the story.

A self-taught writer from Mount Vernon, Smith is also an acrylic-paint artist, avid lover of movies, books and storytelling of all mediums.  She is if nothing else, a brilliant navigator of her metaphysical imagination and grounded about marrying her ideas to the contemporary, human experience. This is an excellent beach read as we ease in to summer.

The next book signing for Lovers’ Quarrels will be held at the Mount Vernon Public Library on June 14^th from 2 – 4pm. To attend this event, please RSVP to info@hanaassociates.com.  The book can be purchased at Amazon.com.

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