PA GEN DLO
PA GEN DLO is a short video created by Kevin Mason, PhD candidate in UBC's School of Music, after spending five weeks in Haiti in the summer of 2013, working alongside traditional musicians on a new video archive for the National Bureau of Ethnology in Port-au-Prince. This video received an Honourable Mention by the Peter Wall Institute for Advanced Studies at The University of British Columbia in Vancouver, as part of a Students-Based Arts Competition on the theme of Water. The work was showcased during an international conference, which brought together representatives from University-Based Institutes for Advanced Study across the globe. Learn more about the video below:
The neighborhood of Carrefour-Feuilles in Port-au-Prince, Haiti, is known for its location behind the cemetery. Once it was known for its reservoir that provided clean water to homes there; now only the cemetery is still in use.
This video piece, Pa Gen Dlo, uses this neighborhood, as well as the sacred site of SoDo, to observe how Haitians view water as the karfou -- or crossroads -- between reality and the divine.
By utilizing scenes of both scarcity and abundance, the video depicts the deep spiritual connection Haitians have with water. The piece captures how instances of insecurity inform daily discourses of lament, which manifest in the phrase pa gen dlo: meaning there's no water.
These discourses shift blame into realms outside an individual's control, where issues can only be remedied with divine intervention. The phrase cues not only the absence of water, but also the other effects of its inaccessibility.
Many of the musicians call Carrefour-Feuilles home, which led me to avoid depictions of their dry reservoir, instead focusing on a presentation in which water insecurity is a daily reality for them. Combining techniques of video archiving and radio broadcasting, Pa Gen Dlo observes the contemporary crossroads of security and spirituality in Haiti in which water metaphors play a major role.
To learn more about the Peter Wall Institute, please visit: pwias.ubc.ca.
Rehearsal for the video 'Jistis pou yo' in Port-au-Prince
Special thank to the biwo etnoloji and Erol Josue for the opportunity to shoot in the garden of the office of the ethnological university in Port-au-Prince. If you want to see the video of the song Jistis pou yo by Renes Bbwi just click here
Direktè jeneral Biwo nasyonal etnoloji a Erol Josué anonse gen gwo jefò kap fèt pou konsève memwa pe
Etnoloji lakou granmou
Le vaudou un art une culture ancestrale
Erol Josué - Vodou
#Haïti #Culture #Vodou #Spiritualité #Racines #Chant #Danse
Quel artiste! Quelle énergie! Très beau spectacle qui fait honneur à notre culture, à nos racines « Vodou »!
MESI PASKE OU DESIDE GADE, TANDE, PATAJE, ABONE EPI TELECHAJE AK CHANEL SA KAP BA OU: BON SON, BON IMAJ CHAK JOU. BON IMAJ AK BON SON SE OBLIGASYON CHANEL SA A...
Entèvansyon Sitwayen Erol Josué
Intervention du citoyen Erol Josué, Artiste / Houngan, en marge de la rencontre de consultation des États Généraux Sectoriels de la Nation, le mardi 26 juin 2018.
—————-
Entèvansyon Sitwayen Erol Josué, Atis / Oungan, nan koulis rankont konsiltasyon Eta Jenewo sou Sitiyasyon Jeneral tout Sektè Nanchon an nan Dat madi 26 Jen 2018. #Haiti #EtatsGenerauxSectorielsdelaNation
Afro-Haitian Experimental Orchestra - Wongolo
Taken from AFRO-HAITIAN EXPERIMENTAL ORCHESTRA - S/T
Order:
glitterbeat.com
Seven-and-a-half thousand kilometres of cold ocean separate West Africa from Haiti. But music can cover that distance in a heartbeat, crossing the Atlantic to reunite the rhythms and religion of people torn from their homes to be sold into slavery on the Caribbean island. And on its self-titled album, the Afro-Haitian Experimental Orchestra honours those ghosts of the past even as it walks steadfastly and hopefully into the future.
Experimental by name, the band was definitely experimental by nature. The concept started with Corinne Micaelli, the director of the French Institute in Haiti. She wanted to bring drummer Tony Allen, the power behind Afrobeat and one of modern music’s towering figures, to the island. A performance with Haitian musicians at a major public concert would be perfect. Allen agreed, and Erol Josué, a singer, dancer, voodoo priest, and director of the Haitian National Bureau of Ethnology, helped to recruit local percussionists and singers. They decided, in order for different strands of Haitian music to be represented, that the musicians would be drawn from a cross-section of the country’s foremost bands, including Racine Mapou de Azor, RAM, Erol's own band, the Yizra'El Band and Lakou Mizik, the group of Sanba Zao, one of Haiti's leading percussionists and traditional singers.
Together, the musicians had just five days to compose and rehearse the set they’d play in the main square of Haiti’s capital, Port-au-Prince, and broadcast live throughout the country.
What emerged from those long, hot sessions were a series of tracks with roots on both sides of the Atlantic, compelling layers of subtle polyrhythms that bridge centuries and cultures. Relentless grooves become the foundation for soaring, utterly modern melodies like the swirling, electronica-fuelled “Salilento” or the Afro Vocoder ritual sound of “Yanvalou” that’s inspired as much by Krautrock and Sun Ra as Lagos or Port-au-Prince. Flying on inspiration and adrenaline,
it’s roots music for a global future.
Afro-Haitian Experimental Orchestra - Salilento
Taken from AFRO-HAITIAN EXPERIMENTAL ORCHESTRA - S/T
Order:
glitterbeat.com
Seven-and-a-half thousand kilometres of cold ocean separate West Africa from Haiti. But music can cover that distance in a heartbeat, crossing the Atlantic to reunite the rhythms and religion of people torn from their homes to be sold into slavery on the Caribbean island. And on its self-titled album, the Afro-Haitian Experimental Orchestra honours those ghosts of the past even as it walks steadfastly and hopefully into the future.
Experimental by name, the band was definitely experimental by nature. The concept started with Corinne Micaelli, the director of the French Institute in Haiti. She wanted to bring drummer Tony Allen, the power behind Afrobeat and one of modern music’s towering figures, to the island. A performance with Haitian musicians at a major public concert would be perfect. Allen agreed, and Erol Josué, a singer, dancer, voodoo priest, and director of the Haitian National Bureau of Ethnology, helped to recruit local percussionists and singers. They decided, in order for different strands of Haitian music to be represented, that the musicians would be drawn from a cross-section of the country’s foremost bands, including Racine Mapou de Azor, RAM, Erol's own band, the Yizra'El Band and Lakou Mizik, the group of Sanba Zao, one of Haiti's leading percussionists and traditional singers.
Together, the musicians had just five days to compose and rehearse the set they’d play in the main square of Haiti’s capital, Port-au-Prince, and broadcast live throughout the country.
What emerged from those long, hot sessions were a series of tracks with roots on both sides of the Atlantic, compelling layers of subtle polyrhythms that bridge centuries and cultures. Relentless grooves become the foundation for soaring, utterly modern melodies like the swirling, electronica-fuelled “Salilento” or the Afro Vocoder ritual sound of “Yanvalou” that’s inspired as much by Krautrock and Sun Ra as Lagos or Port-au-Prince. Flying on inspiration and adrenaline,
it’s roots music for a global future.
A Call to STAND WITH HAITI
Afro-Haitian Experimental Orchestra - Pa Bat Kòw
Taken from AFRO-HAITIAN EXPERIMENTAL ORCHESTRA - S/T
Order:
glitterbeat.com
Seven-and-a-half thousand kilometres of cold ocean separate West Africa from Haiti. But music can cover that distance in a heartbeat, crossing the Atlantic to reunite the rhythms and religion of people torn from their homes to be sold into slavery on the Caribbean island. And on its self-titled album, the Afro-Haitian Experimental Orchestra honours those ghosts of the past even as it walks steadfastly and hopefully into the future.
Experimental by name, the band was definitely experimental by nature. The concept started with Corinne Micaelli, the director of the French Institute in Haiti. She wanted to bring drummer Tony Allen, the power behind Afrobeat and one of modern music’s towering figures, to the island. A performance with Haitian musicians at a major public concert would be perfect. Allen agreed, and Erol Josué, a singer, dancer, voodoo priest, and director of the Haitian National Bureau of Ethnology, helped to recruit local percussionists and singers. They decided, in order for different strands of Haitian music to be represented, that the musicians would be drawn from a cross-section of the country’s foremost bands, including Racine Mapou de Azor, RAM, Erol's own band, the Yizra'El Band and Lakou Mizik, the group of Sanba Zao, one of Haiti's leading percussionists and traditional singers.
Together, the musicians had just five days to compose and rehearse the set they’d play in the main square of Haiti’s capital, Port-au-Prince, and broadcast live throughout the country.
What emerged from those long, hot sessions were a series of tracks with roots on both sides of the Atlantic, compelling layers of subtle polyrhythms that bridge centuries and cultures. Relentless grooves become the foundation for soaring, utterly modern melodies like the swirling, electronica-fuelled “Salilento” or the Afro Vocoder ritual sound of “Yanvalou” that’s inspired as much by Krautrock and Sun Ra as Lagos or Port-au-Prince. Flying on inspiration and adrenaline,
it’s roots music for a global future.
Afro-Haitian Experimental Orchestra - Bade Zile
Taken from AFRO-HAITIAN EXPERIMENTAL ORCHESTRA - S/T
Order:
glitterbeat.com
Seven-and-a-half thousand kilometres of cold ocean separate West Africa from Haiti. But music can cover that distance in a heartbeat, crossing the Atlantic to reunite the rhythms and religion of people torn from their homes to be sold into slavery on the Caribbean island. And on its self-titled album, the Afro-Haitian Experimental Orchestra honours those ghosts of the past even as it walks steadfastly and hopefully into the future.
Experimental by name, the band was definitely experimental by nature. The concept started with Corinne Micaelli, the director of the French Institute in Haiti. She wanted to bring drummer Tony Allen, the power behind Afrobeat and one of modern music’s towering figures, to the island. A performance with Haitian musicians at a major public concert would be perfect. Allen agreed, and Erol Josué, a singer, dancer, voodoo priest, and director of the Haitian National Bureau of Ethnology, helped to recruit local percussionists and singers. They decided, in order for different strands of Haitian music to be represented, that the musicians would be drawn from a cross-section of the country’s foremost bands, including Racine Mapou de Azor, RAM, Erol's own band, the Yizra'El Band and Lakou Mizik, the group of Sanba Zao, one of Haiti's leading percussionists and traditional singers.
Together, the musicians had just five days to compose and rehearse the set they’d play in the main square of Haiti’s capital, Port-au-Prince, and broadcast live throughout the country.
What emerged from those long, hot sessions were a series of tracks with roots on both sides of the Atlantic, compelling layers of subtle polyrhythms that bridge centuries and cultures. Relentless grooves become the foundation for soaring, utterly modern melodies like the swirling, electronica-fuelled “Salilento” or the Afro Vocoder ritual sound of “Yanvalou” that’s inspired as much by Krautrock and Sun Ra as Lagos or Port-au-Prince. Flying on inspiration and adrenaline,
it’s roots music for a global future.
Afro-Haitian Experimental Orchestra - Yanvalou
Taken from AFRO-HAITIAN EXPERIMENTAL ORCHESTRA - S/T
Order:
glitterbeat.com
Seven-and-a-half thousand kilometres of cold ocean separate West Africa from Haiti. But music can cover that distance in a heartbeat, crossing the Atlantic to reunite the rhythms and religion of people torn from their homes to be sold into slavery on the Caribbean island. And on its self-titled album, the Afro-Haitian Experimental Orchestra honours those ghosts of the past even as it walks steadfastly and hopefully into the future.
Experimental by name, the band was definitely experimental by nature. The concept started with Corinne Micaelli, the director of the French Institute in Haiti. She wanted to bring drummer Tony Allen, the power behind Afrobeat and one of modern music’s towering figures, to the island. A performance with Haitian musicians at a major public concert would be perfect. Allen agreed, and Erol Josué, a singer, dancer, voodoo priest, and director of the Haitian National Bureau of Ethnology, helped to recruit local percussionists and singers. They decided, in order for different strands of Haitian music to be represented, that the musicians would be drawn from a cross-section of the country’s foremost bands, including Racine Mapou de Azor, RAM, Erol's own band, the Yizra'El Band and Lakou Mizik, the group of Sanba Zao, one of Haiti's leading percussionists and traditional singers.
Together, the musicians had just five days to compose and rehearse the set they’d play in the main square of Haiti’s capital, Port-au-Prince, and broadcast live throughout the country.
What emerged from those long, hot sessions were a series of tracks with roots on both sides of the Atlantic, compelling layers of subtle polyrhythms that bridge centuries and cultures. Relentless grooves become the foundation for soaring, utterly modern melodies like the swirling, electronica-fuelled “Salilento” or the Afro Vocoder ritual sound of “Yanvalou” that’s inspired as much by Krautrock and Sun Ra as Lagos or Port-au-Prince. Flying on inspiration and adrenaline,
it’s roots music for a global future.
Afro-Haitian Experimental Orchestra - Poze
Taken from AFRO-HAITIAN EXPERIMENTAL ORCHESTRA - S/T
Order:
glitterbeat.com
Seven-and-a-half thousand kilometres of cold ocean separate West Africa from Haiti. But music can cover that distance in a heartbeat, crossing the Atlantic to reunite the rhythms and religion of people torn from their homes to be sold into slavery on the Caribbean island. And on its self-titled album, the Afro-Haitian Experimental Orchestra honours those ghosts of the past even as it walks steadfastly and hopefully into the future.
Experimental by name, the band was definitely experimental by nature. The concept started with Corinne Micaelli, the director of the French Institute in Haiti. She wanted to bring drummer Tony Allen, the power behind Afrobeat and one of modern music’s towering figures, to the island. A performance with Haitian musicians at a major public concert would be perfect. Allen agreed, and Erol Josué, a singer, dancer, voodoo priest, and director of the Haitian National Bureau of Ethnology, helped to recruit local percussionists and singers. They decided, in order for different strands of Haitian music to be represented, that the musicians would be drawn from a cross-section of the country’s foremost bands, including Racine Mapou de Azor, RAM, Erol's own band, the Yizra'El Band and Lakou Mizik, the group of Sanba Zao, one of Haiti's leading percussionists and traditional singers.
Together, the musicians had just five days to compose and rehearse the set they’d play in the main square of Haiti’s capital, Port-au-Prince, and broadcast live throughout the country.
What emerged from those long, hot sessions were a series of tracks with roots on both sides of the Atlantic, compelling layers of subtle polyrhythms that bridge centuries and cultures. Relentless grooves become the foundation for soaring, utterly modern melodies like the swirling, electronica-fuelled “Salilento” or the Afro Vocoder ritual sound of “Yanvalou” that’s inspired as much by Krautrock and Sun Ra as Lagos or Port-au-Prince. Flying on inspiration and adrenaline,
it’s roots music for a global future.
Un groupe d’étudiants de la Faculté d’Ethnologie a tenu un mouvement de protestation
Un groupe d’étudiants finissants de la Faculté d’Ethnologie, a organisé un mouvement de protestation, au local de la faculté, ce mardi 7 juillet 2015, afin de réclamer des stages, et une intégration comme sociologue, psychologue, travailleur social au sein de l’administration publique et du secteur privé.
Pawòl Sitwayen Erol Josué...
Paroles du citoyen Erol Josué, Artiste / Houngan, en marge de la rencontre de consultation des États Généraux Sectoriels de la Nation, le mardi 26 juin 2018.
—————-
Pawòl Sitwayen Erol Josué, Atis / Oungan, nan koulis rankont konsiltasyon Eta Jenewo sou Sitiyasyon Jeneral tout Sektè Nanchon an nan Dat madi 26 Jen 2018. #Haiti #EtatsGenerauxSectorielsdelaNation
Afro-Haitian Experimental Orchestra - Chay La Lou
Taken from AFRO-HAITIAN EXPERIMENTAL ORCHESTRA - S/T
Order:
glitterbeat.com
Seven-and-a-half thousand kilometres of cold ocean separate West Africa from Haiti. But music can cover that distance in a heartbeat, crossing the Atlantic to reunite the rhythms and religion of people torn from their homes to be sold into slavery on the Caribbean island. And on its self-titled album, the Afro-Haitian Experimental Orchestra honours those ghosts of the past even as it walks steadfastly and hopefully into the future.
Experimental by name, the band was definitely experimental by nature. The concept started with Corinne Micaelli, the director of the French Institute in Haiti. She wanted to bring drummer Tony Allen, the power behind Afrobeat and one of modern music’s towering figures, to the island. A performance with Haitian musicians at a major public concert would be perfect. Allen agreed, and Erol Josué, a singer, dancer, voodoo priest, and director of the Haitian National Bureau of Ethnology, helped to recruit local percussionists and singers. They decided, in order for different strands of Haitian music to be represented, that the musicians would be drawn from a cross-section of the country’s foremost bands, including Racine Mapou de Azor, RAM, Erol's own band, the Yizra'El Band and Lakou Mizik, the group of Sanba Zao, one of Haiti's leading percussionists and traditional singers.
Together, the musicians had just five days to compose and rehearse the set they’d play in the main square of Haiti’s capital, Port-au-Prince, and broadcast live throughout the country.
What emerged from those long, hot sessions were a series of tracks with roots on both sides of the Atlantic, compelling layers of subtle polyrhythms that bridge centuries and cultures. Relentless grooves become the foundation for soaring, utterly modern melodies like the swirling, electronica-fuelled “Salilento” or the Afro Vocoder ritual sound of “Yanvalou” that’s inspired as much by Krautrock and Sun Ra as Lagos or Port-au-Prince. Flying on inspiration and adrenaline,
it’s roots music for a global future.
Afro-Haitian Experimental Orchestra - Mon ami Tezin
Taken from AFRO-HAITIAN EXPERIMENTAL ORCHESTRA - S/T
Order:
glitterbeat.com
Seven-and-a-half thousand kilometres of cold ocean separate West Africa from Haiti. But music can cover that distance in a heartbeat, crossing the Atlantic to reunite the rhythms and religion of people torn from their homes to be sold into slavery on the Caribbean island. And on its self-titled album, the Afro-Haitian Experimental Orchestra honours those ghosts of the past even as it walks steadfastly and hopefully into the future.
Experimental by name, the band was definitely experimental by nature. The concept started with Corinne Micaelli, the director of the French Institute in Haiti. She wanted to bring drummer Tony Allen, the power behind Afrobeat and one of modern music’s towering figures, to the island. A performance with Haitian musicians at a major public concert would be perfect. Allen agreed, and Erol Josué, a singer, dancer, voodoo priest, and director of the Haitian National Bureau of Ethnology, helped to recruit local percussionists and singers. They decided, in order for different strands of Haitian music to be represented, that the musicians would be drawn from a cross-section of the country’s foremost bands, including Racine Mapou de Azor, RAM, Erol's own band, the Yizra'El Band and Lakou Mizik, the group of Sanba Zao, one of Haiti's leading percussionists and traditional singers.
Together, the musicians had just five days to compose and rehearse the set they’d play in the main square of Haiti’s capital, Port-au-Prince, and broadcast live throughout the country.
What emerged from those long, hot sessions were a series of tracks with roots on both sides of the Atlantic, compelling layers of subtle polyrhythms that bridge centuries and cultures. Relentless grooves become the foundation for soaring, utterly modern melodies like the swirling, electronica-fuelled “Salilento” or the Afro Vocoder ritual sound of “Yanvalou” that’s inspired as much by Krautrock and Sun Ra as Lagos or Port-au-Prince. Flying on inspiration and adrenaline,
it’s roots music for a global future.
THE 2012 FRENCH HAITIAN ARISTOCRACY COUPS D'ETAT VS. NYC & THE NYS GOVERNOR ANDREW CUOMO # 2
THE 2012 FRENCH HAITIAN ARISTOCRACY COUPS D'ETAT AGAINST NYC & THE NYS GOVERNOR ANDREW CUOMO - A DOCUMENTARY OF HAITIAN BRAVERY PART # 2 & MY MAIN MAN MIKE BLOOMBERG & company are due to be in court August 7th , 2012 in Queens County, NYS SUPREME COURT, ROOM 43, BEFORE NYS SUPREME COURT PHYLLIS ORLIKOFF FLUG @ 9:30 A.M & I GOTTA SAY I LOVE YOU SO MUCH FOR MAKING ME SO FAMOUS mike Bloomberg & you idiot Black elected officials of S E Queens, N.Y & IT'S MAYOR MIKE BLOOMBERG, THE FATEHR OF THE KING OF HOMELESSNESS & MESSIAH OF HE HOMLESS TALKING ABOUT THERE'S EVIDENCE OF A SUSPICIOUS DEATH OF MY WITNESS ROBERT HUNTLEY WHO IS THE SON OF NEW YORK STATE SENATOR SHIRLEY L. HUNTLEY & IT WAS COVERED UP & WE WANNA KNOW WHY? MAYOR WAS IT A MURDER COVER-UP OR WHAT/ JUST LIKE Mrs. PHRONIE GREE OF THE NAZI-COPY-CAT CRIME COVER-UP @ YOUTUBE.COM/PHILDRICE1 & LOOK FOR THE THOUSANDS OF VIDEOS ON YOUTUBE.COM/PHILDRICE
in The Matter of:
SUPREME COURT OF THE STATE OF NEW YORK
COUNTY OF QUEENS
__________________________________
PHILIPPE EDOUARD DRICE Index No. 28741-2011
Plaintiff,
VERIFIED COMPLAINT
-against-
MAYOR MICHAEL R. BLOOMBERG, Queens District Attorney RICHARD A. BROWN,
NYPD, BERNIE PORTER
NEW YORK CITY HOUSING AUTHORITY, JOHN B. RHEA, MICHAEL P. KELLY
NYCHA TENANT ASSOCIATION, HOLSIA MITCHEL,
NEW YORK CITY HUMAN RESOURCES ADMINISTRATION,
NEW YORK CITY ADULT PROTECTIVE SERVICES,
CREEDMOOR PSYCHIATRIC LEGAL SERVICES, JAMIE BUTCHIN,
GREGORY W. MEEKS, IDA M.SMITH, KIM FULLER,
SHIRLEY L. HUNTLEY, LESTER MUSE,
MALCOLM A. SMITH, VIVIAN E. COOK,
LEROY COMRIE & RANCE HUFF,
BILL THOMPSON, DONNA FUREY
ARE THE Defendant(s)
I SAID EVERY ONE WHO HAD A HAND IN THE HONEY DEW BUCKET OF THE DESTRUCTION OF MY LIFE SHALL BE MADE OT ANSWER; SO HELP ME GOD! I BELIEVE AT THE END OF THE PROCESS OF WHY TO HOW WE CAN COME TO A REASONABLE CONCLUSION OF THE INITIAL ALLEGATIONS THAT NYCHA, HRA & APS ARE CONDUCTING A FORM OF REDLINING WHICH IS A FINGER POINTING LOUDLY AT MAYOR BLOOMBERG MISUSING HIS COMMISSIONERS TO CIRCUMVENT FEDERAL LAWS BY GETTING THESE MINORITY COMMISSIONERS TO HAVE CAREER POLICY PERSONNEL WRITE STUFF THE POOR COLOREDS CAN'T FIGHT IN ANY SHAPE OR FORM WHETHER IT BE INTELLECTUALLY OR FINANCIALLY WHICH ARE THE ONLY METHODS ACCEPTABLE IN NYS SUPREME COURT TO DO IT YOURSELF LIKE I DID FOR ME AND FOR ROSINA LOR OR PAY A LAWYER MORE MONEY THAN YOU NEED OT BUY A HOUSE IN TODAY'S MARKET. THAT IS HUMAN RIGHTS VIOLATIONS & A WAR AGAINST THE POOR AND LESS EDUCATED A WAR OF THE INTELLECTUALS AGAINST THE POOR & LESS EDUCATED. THAT'S MY STORY AND I AM GOING TO SELL IT RIGHT AFTER I GET THESE AFOREMENTIONED IN A LEGAL MATTER THEY CAN'T GET OUT OF BEFORE NOVEMBER 2012 & THAT IS ESPECIALLY FOR BILL THOMPSON FOR HIS MAYORAL RUN IN 2012 TO TAKE CITY HALL IN JANUARY 20, 2013. IT MAY NOT OCCUR WHEN EVERYONE FINDS OUT HOW CROOKED THE DEMOCRATS WERE IN 2009 AND I DID IT FOR THEM AND I AM SNITCHING! SO FUCK OFF IF YOU DON'T LIKE IT.
THIS IS AN 9 MILLION DOLLAR LAWSUIT AGAINST
THE QUEENS D A - APPROVED BY NYC COMPTROLLER 1 MILLION
NYPD - APPROVED BY NYC COMPTROLLER 1 MIL
THE CONGRESSMAN, THE 2 NYS SENATORS, THE ASSEMBLY WOMAN, THE COUNCILMAN, THE NYS SUPREME COURT, INCAPACITATED HEARING COURT EVALUATOR THE SHARK Ms. DONNA FUREY, THE QUEENS, COUNTY, N.Y L & T COURT JUDGE IS THE MARIA RESSOS, BILL THOMPSON $ 75,000, S E QUEENS PRESS & REPORTER WHO HELPED SHIRLEY HUNTLEY COMMIT ELECTION FRAUD 1 MIL.
SEE ME PLAY WITH THE BOOK AS WE ASK MAYOR BLOOMBERG & THE BLACK MAFIA - DO YOU GUYS STILL THINK IT'S FUNNY MAKING ME HOMELESS & TOOK ALL FROM ME TO COVER THIS UP ALL THE WAY TO TRYING TO KILL ME WITH THE POLICE out of the Queens County New York District Attorney's office?
DAMN!!! that's what you call AMERICAN TORTURE IN AMERICA BY AMERICANS AGAINST IMMIGRANTS & I'M GETTING OUT AFTER TELLING THE STORY TO A JUDGE FOR MONEY DAMAGES. I AM TEACHING CIVILIANS TACTICS LIKE AMERICA USE TO TEACH IN THE SCHOOL OF THE AMERICAS THAT WAS IN PANAMA (I WAS THERE TOO) & TELLING THE STORY OF AMERICAN TORTURE BY AMERICANS IN THIS COUNTRY & BY AMERICAN GOVERNMENT AGENTS & THE GOVERNMENT AGENTS. AS MUCH AS I LOVED AMERICA I NEED TO LEARN TO LOVE QUEBEC OR AUSTRALIA TO GET OUT FROM UNDER AMERICAN IMPERIAL OPPRESSION IN THE CONTINENTAL U.S AGAINST HAITIANS.
CIVIL LITIGATION WITH OWN FUNDS 250 PAGE summons & complaint & 2 DVD OF SUPPORTIVE VIDEO EVIDENCE = 30 ENTITIES INVOLVED IN A MATTER THEY MAY NOT GET OUT OF & DRICE GETS THE TROPHY OF PUTTING NYS SENATOR SHIRLEY L. HUNTLEY OUT OF BUSINESS AS PROMISED
10 Creepy Unsolved Mysteries You Haven’t Heard Of
Hope everyone enjoy it, Please give me a review to make me more urge to do the best videos for you ! Many thanks!
???? Thank for watching! If You enjoy it, please Like and Subcribe this Chanel. ????
This list covers mysteries that are, hopefully, not well known to most of you (but including one previously published item with updated information), and ones that have something creepy about them. I hope you enjoy the list and be sure to mention other creepy mysteries in the comments.
10 Creepy UNSOLVED MYSTERIES You Haven’t Heard Of
10. Shanti Deva
9. Creepy Gnome
8. Freddy Jackson’s
7. Overtoun Bridge
6. James Worson
5. THE GREAT DEVON MYSTERY OF 1855
4. Felicia Felix-Mentor
3. Chupas
2. The Ourang Medan Mystery
1. Gef
Music: Kevin Macleod
Artist:
Starr Forum: Rebuilding Haiti
Tuesday, February 23, 2010
Starr Forum: Rebuilding Haiti
Speakers: Cherie Miot Abbanat, Michel DeGraff, Erica James, & Dale Joachim
MIT experts discuss how to help Haiti create a future different from the generations of misery it has known. This event is free and open to the public. About the speakers: Cherie Miot Abbanat is a lecturer in the Department of Urban Studies and Planning and the Department of Architecture, and co-chair of DUSP's Undergraduate Committee. Michel DeGraff, a native of Haiti, is associate professor of linguistics at MIT. Erica James is associate professor of anthropology at MIT. Dale Joachim is a visiting scientist at the MIT Media Lab, where he currently co-teaches the special project class New Media Projects for Haiti.
Speakers:
Cherie Miot Abbanat is a lecturer in the Department of Urban Studies and Planning and the Department of Architecture, and co-chair of DUSP’s Undergraduate Committee. She specializes in cities, technical policies, and planning issues. Prior to MIT, she worked in the regulatory policy field and later as a senior consultant to state, federal and international policy makers. In response to the Haiti earthquake and because she is a Haitian American, she co-founded a non-profit, Hearts and Hands to Haiti, that utilizes networks already on the ground in Haiti to help deliver food and medical supplies to aid workers. Hearts and Hands to Haiti has delivered two tons of food and medical supplies to medical teams in three locations.
Michel DeGraff, a native of Haiti, is associate professor of linguistics at MIT. His research focuses on the grammars of Creole languages, Haitian Creole in particular, and how all languages change over time through the mental mechanisms whereby children and adult learn languages. Some of DeGraff's recent writings militate against the widespread practice in Haiti to teach and test students mostly in French, when the general population speaks only Haitian Creole (Haiti's national language). This practice is at the root of the miserable failure of Haiti's traditional school system vis-à-vis the general population.
Erica James is associate professor of anthropology at MIT. Her research interests focus on medical and psychiatric anthropology, gender and violence, religion and healing, and issues of race, human rights, and the ethics and politics of democratization projects. One of her projects involves examining US foreign policy toward Haitian refugees as an index of the changing nexus of global concerns for sovereignty, security, and liberty. Her forthcoming book, Democratic Insecurities: Violence, Trauma, and Intervention in Haiti, will be published in May 2010 by the University of California Press.
Dale Joachim is a visiting scientist at the MIT Media Lab, where he currently co-teaches the special project class New Media Projects for Haiti. He headed the Media Lab's Ecology Media research group in exploring new roles sensor networks might play in enhancing human interactions with natural environments. He has taught computer architecture and speech-processing courses at Tulane University while pursuing research in set-membership filtering theory, sound classification, and spatial tracking. Prior to Tulane, he was principal investigator of speech keyword spotting and unattended distributed sensors R&D projects at Sanders/Lockheed Martin, as well as lead hardware design engineer of PC subsystems at Zenith Data Systems. Joachim earned his PhD in electrical engineering at Michigan State University.