Eleanor Whitney

If It Ain’t Cheap, It Ain’t Punk: Fifteen Years Of Plan-It X Records

annette — Fri, 07 Jan 2011 08:00:00 +0000

Directed by Joe Biel

If It Ain’t Cheap, It Ain’t Punk is a sweet, well put together documentary film that captures the spirit and feel of the do-it-yourself, underground punk scene that has grown up around Plan-it X Records in Bloomington, Indiana. The film began as part of a filmmaking workshop at Plan-it X’s weeklong festival in Bloomington in 2006. In sixty concise minutes it documents the fifteen-year history of Plan-it X records and of the growth of the do-it-yourself, underground punk movement that it has helped foster. The film includes live footage of bands such as Operation: Cliff Clavin, Ghost Mice, Defiance, Ohio; Against Me, Soophie Nun Squad, Japanther, and This Bike Is a Pipbomb. It also includes interviews with important figures in the Plan-it X universe such as Chris Clavin, who runs the label, and Hannah Jones from Ghost Mice and Operation: Cliff Clavin, as well as many participants in the Plan-it X festival.

The tone of the film is positive, light, and respectful. It showcases the relaxed, friendly atmosphere created by the bands and fans and their commitment to the politics of do-it-yourself economies, punk community, and radical activism. It is clear that the filmmakers are a part of the scene and close to many of their interviewees. They capture the scrappy aesthetic of patched shorts, wild hair and silk-screened t-shirts and the sense of playfulness that infuses the scene through kickball games and quarry swimming, as well as participants’ dedication to freely exchanging skills, ideas, and resources.

The filmmakers also make a conscious effort to explain the scene to those who may not be familiar with it. They try to contextualize its emergence within the history of do-it-yourself hardcore, pop punk, and the ease of communication and information dissemination facilitated by rise of the Internet. While this makes for a balanced documentary, it also is where the film falters. It’s unclear whether the film is made for an audience that is already familiar with Plan-it X and will thrill to seeing their community captured on camera or if it aims to explain this sub-culture to a wider audience.

Because it is unsure of its audience, If It Ain’t, It Ain’t Punk’s only fault is that it does not analyze the scene very deeply. While the range of commentators includes men and women in nearly equally numbers and the filmmakers are sure to include some voices over the age of forty, including a very sweet dad who has come to the festival with his son, there is a lack of analysis about who exactly is able to participate in this sub-culture and feels welcome. Most of the faces are white and most of the bands are male and the demographic of participants is overwhelmingly young, most under twenty-five. While this is unfortunately inevitable in many rock-oriented scenes, because the filmmakers are so seeped in the culture of do-it-yourself punk, they would be in a good position to critique it while not loosing what makes it so special: the friendship, fun, and political commitment that the film highlights so handily.

Written by: Eleanor Whitney, January 7th 2011

Gone Are All the Days Remix

priyanka — Mon, 11 Oct 2010 08:00:00 +0000

By Mirah

K Records

It’s a hard to imagine releasing a 12” vinyl maxi singles in an MP3-obsessed world, but that’s what K Records have boldly done for Mirah’s remix of "Gone Are All the Days." While angel-voiced Mirah could hardly be compared to club-hit-making ladies such as Lady Gaga or Madonna, this remix tries to come close.

The main track, a disco remix of the song “Gone Are All the Days” from Mirah’s fourth record (a)spera, reworks the otherwise jazzy song into a floor burner. On the original Mirah’s breathy vocals and the piano and jazz bass supporting her make the song sound like it would be at home on a Feist record. Not this one.

According to several music blogs, when the song was performed live it began to take on a disco feeling and so Mirah and her band recorded it in Calvin Johnson’s Dub Narcotic studios as a full-on disco track. It begins with a bouncy beat that at first feels overly typical and almost amateurish, but as the track evolves, so does the beat and the feeling. The song, a dark meditation on times past, mistakes made and feelings changed and lost, becomes a joyous dance floor romp. As the beats pulse and Mirah’s vocals soar above them, the listener can easily picture a club full of sweaty, scantily clad dancers with their hands in the air.

While the indie rock crowd has been obsessed with Mirah since she broke onto the scene with her debut record You Think It’s Like This But Really It’s Like This, the Gone Are All the Days Remix might be her chance to cross over, if only surreptitiously, by a DJ in the know slipping the record onto the turntables for an otherwise unaware crowd. As if inviting further remixing, and providing an example of how to do so, the record also includes a remix by Hooliganship and an all-vocal version of the song. While the additional remixes are interesting in themselves, they tend to get repetitive if one was to listen to the single all the way through. That and it’s 12” vinyl format indicates it would appeal to hardcore Mirah fans, or DJs looking to expand their repertoire.

Written by: Eleanor Whitney, October 11th 2010

Le Refuge (The Refuge)

priyanka — Sun, 10 Oct 2010 08:00:00 +0000

Directed by Francois Ozon

France 2 Cinéma, FOZ, Eurowide

A film like Francois Ozon’s Le Refuge could only be French. It is beautifully shot, populated with complicated and not and entirely likable characters, and deals with taboo subject matters in a nuanced fashion. The film centers on Mousse (Isabelle Carré), a sharp-tongued young woman who struggles with heroin addiction. When her lover Louis (Melville Poupaud) dies from and overdose and she finds out she’s pregnant, she decides to keep the baby against the wishes of Louis’ aristocratic mother and escapes Paris for a beach-getaway in rural France. Later, Louis’ brother Paul (Louis Ronan-Choisy) joins her there and the movie evolves from that point.

While this subject matter sounds overly dramatic, Francois Ozon treats the story and his characters in a matter-of-fact manner and lets the movie center around the characters, their dialogue, and their internal struggles. This is what makes this film so French—there’s no drama and moralizing around subjects like sexuality, pregnancy, abortion and drugs. Mousse is allowed to develop into a multidimensional character, something that often feels like a luxury for American actresses.

Carré is glamorous and sullen. There are plenty of lingering shots on her heavily mascaraed eyelashes to recall French starlets of French New Wave films. Especially striking is the scenes of Mousse on the beach with a graffiti cover seawall behind her and dancing under pulsing strobes in a dance club. Ozon is an equal opportunity director and he also lets his camera linger on Paul and his lover Serge, whom he meets in the town. Music also serves to advance the plot of the film and key scenes are underscored with songs by Texas, Superpitcher, and Louis Ronan-Choisy.

This film is not one that would appeal to mainstream American audiences, which is why they should make an effort to seek it out. It is as unsettling as it is beautiful. It does not make a political or moral statement, but is daring, complex and unconventional and visually striking.

Written by: Eleanor Whitney, October 10th 2010

Lunch in Paris: A Love Story, with Recipes

admin — Thu, 01 Apr 2010 00:00:00 +0000

By Elizabeth Bard

Little, Brown and Company

While the memoir fad is nothing new, Elizabeth Bard’s new book confirms the emergence of a memoir subgenre to contend with: the memoir with recipes. In May 2009, the New York Times proclaimed these books as the brainchild of the “money-making imagination of the publishing industry.” Certainly, a spate of globe-spanning titles have followed, many born from blogs. However, the story of the American in Paris has long been a favored literary subject. It has sparked writers’ imaginations from Henry James to Anais Nin to Elaine Dundy to David Sedaris. Elizabeth Bard’s adventures in Paris have a more chick-lit feel to them than even Nin or Dundy, and have a liberal sprinkling of Julia Child and Peter Mayle throughout. In this recipe-infused book, Bard navigates a long-distance relationship with a French archivist, decides to move to Paris, and eventually gets married and builds her writing career.

At first, Elizabeth Bard’s life seems impossibly charmed, complete with buying the perfect apartment on the increasingly trendy Rue Oberkampf and negotiating cultural differences that seem more endearing and eye-opening than frustrating. However, what sets Bard’s writing apart from others of her nascent genre is her thoughtfulness and realism. She paints a very true and convincing portrait of herself as a driven, New York striver, bent on academic, artistic, and financial success at an early age and agonizing over why it has not yet arrived. While she is highly educated, she does not come from a place of easy breezy privilege, and in between recipes inspired by fresh finds at her Parisian market, Bard contemplates her family and personal history.

As much as it documents her courtship, relationship, and marriage to Gwendal, a digital archivist and entrepreneur, Lunch in Paris is about Bard’s acclimatization to a Parisian pace of life and ultimately, self-acceptance. Bard finds her stride by finally finding a peaceful balance between her Parisian and New York lives and selves. While this revelation is not particularly groundbreaking and her feminist-tinged reflections stay in safe mainstream territory, Lunch in Paris satisfies readers with a good story, intelligent and heartfelt reflections, and mouth-watering recipes. It’s not clear if these recipes have been kitchen tested the way one would for a professional cookbook, but they serve as solid guidelines for readers interested to add a French twist to their cooking.

While it may not become part of the Americans in Paris literary cannon, Lunch in Paris is a satisfying, straightforward read that feels like a good friend telling you a particularly tasty—and truthful—story.

Written by: Eleanor Whitney, March 31st 2010

Superstition

admin — Sat, 13 Mar 2010 01:00:00 +0000

By Christy and Emily

Big Print

Anyone who follows music press would agree that Brooklyn has been a hotbed of indie creativity during the past decade. The styles run the gamut from freak-folk to experimental noise, to sugarcoated pop, to singer-songwriter confessionals, to good old fashioned rock and roll. From this creative vortex emerge the duo Christy and Emily with a sound that is a pastiche of all of the above.

Christy Edwards and Emily Manzo have created a sweetly drone-y and sharply melodic record with Superstition. The vocal harmonies are pitch perfect and the songwriting, which could be classified as quietly psychedelic, is well developed. The songs, like fog, seem to creep in with plenty of reverb and quietly distorted guitar. On the title track and the lovely “Nightingale,” the mellow haze clears enough to reveal classic folk melodies. On others, such as “105 & Rising,” the buzzing thump of layered guitars and improvised instruments becomes distinctly sinister. The album’s closing track, “Tigers,” showcases the band at their more upbeat and successfully invokes folk rock vocal patterns. The track also features guest drums by Brooklyn drone master Oneida’s drummer, Kid Millions.

The world of Christy & Emily is layered and ethereal. Trying to pin them to one sound is difficult and, ultimately, fruitless. Those grasping for a comparison might point to Damon and Naomi, or perhaps Coco Rosie without the trust fund and fake, white girl rap. As its title implies, Superstition is best captured by an emotion. It is dreaming, reaching, and searching for a feeling that could be a false lead, but could a new revelation and understanding, for better or worse. The reverb drenched guitar and sunny to stormy vocals enable listeners to stretch and reach to touch with their finger tips—but not quite grasp—one strong feeling.

Written by: Eleanor Whitney, March 12th 2010

Ghosts

admin — Fri, 12 Mar 2010 01:00:00 +0000

By Nakatomi Plaza

Ghosts is a gripping, ten song, posthumous love letter from Brooklyn’s Nakatomi Plaza. Aptly named for a record released after the band’s break up, the album comes with a booklet of liner notes filled with blurry black and white photos and reflections from each of the members about their time in the band. Reading these, one might assume that Nakatomi Plaza was just another idealistic punk band trying to keep their teenage, DIY-revolution zeal alive in the face of New York City and the challenges of adulthood. However, this is too hasty of a conclusion. Nakatomi Plaza made high-energy, pop punk for years, and they have produced a slick record that will appeal to the lovers of homemade recordings and kids who have grown up on mainstream “emo” rock production alike.

Any listener for whom the discovery of punk rock helped them survive their formative years will relate to Nakatomi Plaza’s fervent songwriting and passion driven performance. After close listening it’s also clear that playing music also was a formative experience for the band members and this album serves as a tribute to their years together.

The songs are fit for dancing and the lyrics for soul searching. The guitars crunch and twang with references to 1990’s bands like the Promise Ring and Jawbreaker, but the sound stays down to earth. From the road anthem of “Bomb Shelter,” to the melodic, catchy emotional rock of “Artificial Light” to the driving beats and desperation of “Guards,” Nakatomi Plaza knew how to construct a song and capture a moment in their music and in their lives. It’s rare to find a punk record on which each song is distinctly crafted and committed to tape. Ghosts underlines that Nakatomi Plaza’s break up is a loss for Brooklyn’s rock scene, but at least they have left this record.

Written by: Eleanor Whitney, March 11th 2010

Rated O

admin — Wed, 14 Oct 2009 08:24:00 +0000

By Oneida

Jagjaguwar

Brooklyn’s noise rockers Oneida revel in not being able to be pinned down to a definition. They also are enormously motivated, as their newest offering, the triple album Rated O, can attest. While they have been classified as psych rock or krautrock, the influences on Rated O are wide ranging. The record gets started with a clear nod to Nigerian Disco Funk with “Brownout in Lagos,” and goes on to resemble the soundtrack to the soundtrack for a videogame from a dystopian future on “10:30 at the Oasis.”

The record captures Oneida’s hypnotic noisiness with plenty of loops, guitar hum, and feedback melodies. It also features bursts of vocals, though the function more as a layer of noise and atmosphere than singing, especially on “What’s Up Jackal” and “The Human Factor.” The band also reminds listeners they still know how to write a rock song on “I Will Haunt You.” Tracks on the album are long. About a third of them clock in at over ten minutes, and the epic feeling “Folk Wisdom” over 20, but it adds to the hypnotic nature, with one song displaying enough moods for an entire album, yet also carefully building on established melodies and themes.

Oneida certainly are not for the casual listener and Rated O’s triple album length requires commitment. However, the rewards for sticking around are great. Many bands set out to make multi-layered, atmospheric albums that show off their chops, but few succeed as well as Oneida.

Written by: Eleanor Whitney, October 14th 2009

Songs for Tuesdays

admin — Tue, 13 Oct 2009 23:43:00 +0000

By Summer Cats

Slumberland Records

As their name implies, Australia’s Summer Cats' new full length Songs for Tuesdays is full of catchy, sweet melodies that are reminiscent of beach weather. Thankfully, however, the Summer Cats are not too sweet for their own good and the record packs a pleasantly noisy punch and showcases occasional fuzzed-out feedback squeak.

With their chirpy vocal lines, crunchy rhythm guitars, melodies full of jangle, and pounding drums the Summer Cats recall the hey-day of 1990s indie pop. Outfits such as Talulah Gosh, Black Tambourine, and Henry’s Dress immediately come to mind, especially on tracks such as “Let’s Go!,” “Fulton Gurls,” “In June,” and “Paperweight.” It’s fitting, then, that Songs for Tuesdays is released on the newly revived Slumberland, which released similar bands in the 1990s.

Like many indie bands with similar tastes, the Summer Cats’ sound also reaches further back. Careful listeners can pick out references to sound and scene defining bands from Australia and New Zealand, such as The Go-Betweens and The Chills. The Summer Cats lyrics relish life’s simple pleasures, a tendency particularly evident on songs such as “Waking Up.” They also revel in the tendency of modern young people to travel, or dream of traveling, singing “I could be anywhere, anywhere but here,” on “St. Tropez.”

With a full sound that bounces and bubbles along and never looses energy, Songs for Tuesdays is a solid pop record and a pleasure to listen to. In addition, Summer Cats paid close attention to the album’s design. The cover is wallpapered with images of hand-painted birds. In an age of digital downloads, this is a record worth buying.

Written by: Eleanor Whitney, October 13th 2009

My Electric Family

admin — Wed, 24 Jun 2009 09:48:00 +0000

By Bachelorette

Drag City

Bachelorette is the electronic dream pop project of New Zealander Annabel Alpers. Her record, My Electric Family, is beautifully orchestrated and takes inspiration from its title to explore the lusher, melodic side of electronic music inhabited by the likes of Tortoise, Caribou, Asobi Seksu, and Lali Puna.

The album’s opener, “Instructions for Insomniacs,” showcases Alpers’ layered instrumentation and vocals, with verdant harmonies pushed forward with a loping snare beat and accented with a lap steel guitar. “Her Rotating Head,” a number just asking to be remixed as a dance track with a deeper bass line, directly embraces familiar feminist themes of women’s body image and media exploitation as sex objects with lyrics like, “She likes it that way, she’s programmed to say, ‘objectify me, degrade and revile me.’” These sensibilities set Bachelorette apart from her electronic contemporaries, who often prefer to hide their political sensibilities behind layers of feedback, effects, and laptop generated bleeps.

Alpers embraces and pokes fun at the technology she uses to create her art. During the opening lines of “Technology Boy,” Alpers sings, “Technology boy intends to live his life as a machine, but then his humanness experiences humanitarian resentment.” Alpers’ lyrics are clever and critical without being cynical or biting, making My Electric Family a fun and refreshing listen. She brings in a variety of collaborators to add instrumentation, including the Royal New Zealand Air Force Brass Band to play on “Dream Sequence.” The songs embrace a variety of pop styles, but the overall feeling of the album is engagingly upbeat. With each song contributing to the flow of the album—while also standing alone as a gem of glittering pop—My Electric Family deserves a place among the year’s best indie-pop records.

Written by: Eleanor Whitney, June 24th 2009

Selfish

admin — Thu, 18 Jun 2009 09:44:00 +0000

By A is for Accident

Le Garcon Sale Records

A is for Accident, a Portland-based duo of Andrew Klaus and Julie Baird, is driven by Baird’s song writing and reverence for 1980s bands like Joy Division, Depeche Mode, and The Cure. The band considers themselves a “Francophile art band,” and they collaborate frequently with French musicians Yves and Ys dans Paris. The song titles themselves such as “Rx” reveal the band’s gothic tendencies, reinforced by echoing keyboards; sparse, effects laden guitars; electronic drums; and pleading, distorted vocals.

Lyrics on Selfish turn toward the dramatics of selfishness in love and relationships, particularly those with a gay bent. They are peppered with familiar themes and refrains such as, “You were my only love,” on “Sonoma” or “Only time will tell if you were my heaven or will be my hell,” on “Larmoyant.” These sentiments are reflected by Klaus’ literary references to the romantic and southern gothic genres with references in song titles such as “The waiting in hell, looking up for the stars” (Oscar Wilde) and “The Heart is a Lonely Hunter” (Carson McCullers). These references also tie Klaus to the community of young, queer artists who take inspiration from these literary expressions, such as Miami-based painter Hernan Bas.

At an ambitious eighteen songs long, the record feels overstuffed and over serious, especially as most songs clock in longer than three minutes. On many tracks, the vocals are mixed loud and the supporting instrumentation too quiet to give the album a consistent, listenable feel. Klaus and Baird have highly trained artistic sensibilities, and the dancier tracks on the record, such as “L’Affair,” show the mix of seriousness and fun that the band is capable of. Perhaps on their next recording, the band can hone their editing skills and distill the latent goth-pop talent lurking behind the songs on this inconsistent record.

Written by: Eleanor Whitney, June 18th 2009

Detroit /Fabric 45 and Fabric 46

admin — Wed, 17 Jun 2009 23:41:00 +0000

By Omar S and Claude Von Stroke

Fabric Records

These two albums are the products of London’s Fabric nightclub’s monthly CD series. Fabric’s musical offerings span the electronic dance spectrum, and while they are super club with three distinct dance spaces, the sounds of Omar S on Detroit/Fabric 45 are refreshingly minimal. Referencing the famed early 1980s Detroit House scene, the album’s beats are loaded with reverb and recall the work of groups from the 1980s such as Liquid Liquid and ESG. It’s hard to imagine the tracks of this record reverberating on a huge dance floor, as the beats are accented with melodic electronic bleeps that sound like they could have been produced by a Nintendo Gameboy circa 1990.

In contrast to Omar S’ minimalism, Claude Von Stroke takes a more upbeat approach with his remixes, combining vocals and a variety of instrument and percussion samples which he layers over simple, danceable house beats. The album’s tracks flow together seamlessly, and each carries Claude Von Stroke’s distinctive techno touch. The disc could be a club-worthy dance party in itself if one wanted to recreate the Fabric experience at home. While neither album appears especially innovative, they are solid samplings of what is happening in contemporary, electronic dance music. As part of Fabric’s CD series and its FabricFirst program, where members get the monthly CD’s weeks before they arrive in stores, as well as discounts on club entry and a chance to skip the queue, club–bound Londoners should take note.

Written by: Eleanor Whitney, June 17th 2009

Lessons in Integration: Realizing the Promise of Racial Diversity in American Schools

admin — Sat, 11 Apr 2009 17:19:00 +0000

By Erica Frankenberg and Gary Orfeld

University of Virginia Press

This dense volume brings together a wealth of scholarly essays that address the topic of integration in American schools in the early twenty-first century. The book is the fruit of a collaborative research roundtable convened by the Southern Poverty Law Center and Harvard University in 2004.

2004 was also the fiftieth anniversary of the landmark U.S. Supreme Court decision Brown vs. Board of Education of Topeka that led to the end of legal segregation in American schools. However, fifty years after Brown the authors of these essays look deeply into what is working, what is not working, and what has been forgotten since the desegregating schools was a serious project. Many of the essays put the focus squarely on the damage wrought by President Bush’s education agenda and No Child Left Behind, particularly the lack of bilingual education and the focus on high stakes testing.

Written by a range of researchers from developmental psychologists to education professors the essays in Lessons in Integration provide a range of scholarship that supports education policy makers and practitioners who are advocating for strategies that value students cultural backgrounds and make schools and classrooms welcoming, safe learning environments for all. Many of the chapters, with their charts, graphs, and formulas, may be overly scientific and dry for the casual reader, but this book will be a valuable resource for those in education studies.

Two of the most compelling essays break out of the scientific style employed by the other authors and focus on case studies. "Desperate to Learn: The Schooling Experience of Latinas in North Carolina" by Maria Teresa Unger Palmer documents the mismatch between secondary schools structure and the needs and expectations of immigrant students. It does so by documenting the experiences of thirteen Latina students over the course of several years. The students’ voices in Palmer’s piece remind readers what the authors of the book aim to do: better serve students from a range of backgrounds and provide quality education for all.

"Preparing Teachers for Multiracial and Underserved Schools" by Christine E. Sleeter focuses on the need to train a more diverse group of teachers and teachers who are prepared for the challenges for the multicultural classroom. She argues that novice teachers must be in training programs that are diverse and that these programs should admit students that want to pursue cross-cultural learning experiences, have maturity to fully consider their students backgrounds and learn from them, and possess academic ability.

Taken together, this volume provides a framework for educators, administrators and researchers to take leadership roles in ensuring that American schools live up to the promise of high-quality, accessible education for all. While much lip-service has been paid to the multicultural vision of America perhaps best represented by the election of President Barack Obama, Lessons in Integration provides strong research of what schools and educators must do to actively serve and support America’s diversity.

Written by: Eleanor Whitney, April 11th 2009

Black Male Outsider: Teaching as a Pro-Feminist Man

admin — Fri, 10 Apr 2009 23:16:00 +0000

By Gary L. Lemons

SUNY Press

In this compelling, readable volume that is part memoir, part classroom case study Dr. Gary L. Lemons employs the theme of moving from silence to voice, and what this means for anti-racist, feminist pedagogy. He eloquently writes about his experiences teaching and learning in majority white classrooms as a pro-feminist, African American man.

Filled with the citations from work that has inspired and supported his pedagogy—such as bell hooks, Audre Lorde, Marlon Riggs, and Patricia Hill Collins, as well as quotes from the many critical autobiographical writings Lemons assigned to his students—Black Male Outsider is a powerful memoir and teaching tool. He offers educators at all levels effective strategies they can adapt to their own classrooms to teach and learn across difference and is one of the most compelling books on this subject to come out in some time.

For thirteen years Lemons was a professor at a small, progressive, liberal arts college in New York City. His book highlights his classroom strategies to challenge students to confront the interrelated forces of racism, sexism, classism, and homophobia, often through teaching black, feminist literature. He also highlights how he worked to encourage students to come to a deeper understanding of the ways white supremacy has shaped American culture. To further illuminate his path to being a pro-feminist educator, Lemons also delves deeply into his own personal history of growing up in Arkansas and surviving domestic violence perpetrated by his father.

Lemons, whose doctorate is in English literature, is adept with language, and he plays with it throughout the book. Unfortunately, his many italics, parentheses, and quotation marks—while making a strong point about how institutionalized power inhabits the very language we speak—become a distraction from his otherwise clear prose. They threaten to become too cutesy for the depth with which he addresses his subjects.

Fortunately, Lemons and the students whose work he quotes provide powerful examples and testimony of the possibilities teaching across difference offers. He demonstrates how one can find strength in difference that resists a banal, depoliticized celebration of multiculturalism. He also powerfully makes the case that men can and must be feminist advocates and allies.

As Lemons writes in the conclusion, his book "promotes black feminist memoir-writing pedagogy that opposes all forms of domination, and it promotes the critical necessity of one’s movement from silence to voice about the effects of its dehumanization—personally and politically." Lemons bravery in confronting the violence social injustices wreak on society in his teaching and in his writing will serve his readers alike and equip them with knowledge a theoretical framework in which they can formulate their own ideas of how to heal from the wounds of white supremacy in their own lives.

Written by: Eleanor Whitney, April 10th 2009