BCP READS @ WE ARE WHO WE ARE

We Are Who We Are was one of the best events I have ever participated in.

The ultra diverse group of performers read poems, danced burlesque, sang songs in their languages, and much more.

To say We Are Who We Are was awesome would be an understatement.

I read 4 poems at We Are Who We Are:

1. I Don’t Use Your Last Name (about my identity)

2. If At All (about how Native women and women of colour are treated different by Dr.’s)

3. Water Was Not Enough (about losing my best friend to addiction)

4. I Use My Mother’s Last Name (my mom is my #1)

Thanks to Vero Diaz for taking this photo of me, and to the ASL interpreter in the video!

Enjoy my poems and SHARE the video.

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poetry, song, interviews, VLOGs, workshops, readings, and roundtables.

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WE ARE WHO WE ARE

We Are Who We Are

By Jorge Antonio Vallejos

Photo by Tanis Dejarlais

“I am my mother!” I said to the crowd before I read my poems at George Brown College last Wednesday. 

I was performing at an event called We Are Who We Are.  Many performers were on the bill and we all identified differently.

The Face Book description for We Are Who We Are read:

We are Trans, Women, from the Caribbean, Indigenous, Queer, Deaf, International students, bisexual, Inuit, feminist, genderqueer, hard-of-hearing, First Nations, from Central America, lesbian, intersex, from Europe, Two-Spirit, Native, pansexual, from Australia, stud, Gay, transfeminist, from Africa, Butch, Métis, from South America, Aboriginal, femme, asexual, from Asia, and more… and we all deserve to be celebrated!

Now that’s a description!

When asked by Tanis Desjarlais to be part of the event I jumped at the occasion. 

How many times in life are we labeled in ways that we feel uncomfortable with, disagree with, and feel violated with? 

The stage at George Brown was set for false notions to be challenged, corrected, and tossed.

I was honoured to partake in the challenging, corrections, and tossing with

Dainty Box

Rosary Spence

Stefoknee Wolscht

Kitsune Soleil

Lena Recollet

Milo D’Milo

Kumari

Rachel Small

Tanya Neumeyer

Before the event I hung with spoken word artist Lena Recollet who read Pitch Black and Single Mother for future dates on blackcoffeepoet.com.  Her spirit helped set the mood for the evening.  We laughed a lot while hanging in the makeshift performers room.  After a little catch up talk we got to business: camera setup and videotaping. 

It’s a pleasure seeing Lena Recollet recite poems.  She inhales relaxation breaths, closes her eyes, and then brings the thunder!  Single Mother left me in awe.

After Lena was done I started taping Stefoknee Wolscht.  Take after take after take was filled with laughter.  It felt like Hollywood minus the yelling of “Cut!”  

We got the job done and then it was time for the live performance.

A crowd of about 20 people came out to support.  Three events were happening that night around the city so 20 was a great number.  You could feel the love in the room.  All the performers got claps and hoots from the crowd.  And although many of the poems were serious much laughter was spread.

Dainty Box showed her style and poise via burlesque; her shoulders and hips never missing a beat as she had all eyes glued on her from beginning to end. 

Milo D’Milo asked the crowd to be vulnerable while leading the procession of heartfelt transparency by sharing words about heartbreak and identity. 

Stefoknee shared a Cherokee proverb and her experience with dating the Ford brothers after she challenged society’s transphobia via her brilliant poem Hey Looky Looky.

Lena Recollet brought laughter to he mic before her poems had some tear-up from the beautiful images her words formed.

All the performers brought it! 

All the performers left themselves on stage and had the crowd leave with something. 

All the performers showed who they were and why.

“I feel full” said Recollet after the show. 

There was no better way to put it. 

Big thanks to the ASL interpreters and Trey for awesome MCing!

Tune into Black Coffee Poet Friday October 26 for a video of BCP reading at “We Are Who We Are”.

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OP ED: THE ROMNEY DOCTRINE

The Romney Doctrine

By Dr. Gene Grabiner

In May of 2012, Mitt Romney made his now famous 47% speech to a secret group of very wealthy donors. In this presentation, we see the “Romney Doctrine” in full relief. In fact, we rarely, (perhaps never), have seen a more open class analysis of our country made by a presidential candidate. In it, Romney has laid bare the fundamental contradictions in American economic life for the past 35 years. His view of the broad masses of the American middle class, working class and poor people can only be seen as one of disdain and condescension. His analysis offers rare insight into the world of the so-called “job creators,” and begs an answer to the issue, “how is wealth actually produced?”

Take my father, for example. He was a small businessman, a jobber or factor in the New York City garment industry. In the 1950’s, he employed a number of women to create innumerable sample cards of buttons and ornamental pocketbook snaps which would then be offered to various coat houses and pocketbook manufacturers for their fall and spring lines. Deals were struck, contracts signed, and my dad would put these deals together with other large manufacturers for thousands of pieces at a time, which they would deliver to the coat and pocketbook firms.

He paid the women in his shop the 1955 75¢ per hour minimum wage. He paid them for control of their life’s activity for eight hours per day. But he didn’t pay them for eight hour’s work; he paid them for working eight hours. And that’s a big difference.

What my dad paid Adelaida and her co-workers, for example, helped her to just barely reproduce her daily needs in terms of food, clothing, and rent so she would be roughly in the same shape to come to work on Tuesday, as on Monday. What she created in my dad’s shop was sold for far more than her wages, but not for more than it cost to produce. Adelaida was actually paid less than the full value of the product she produced for my dad. So, like all workers, she was a wealth creator. Without her and her co-workers in the shop, my dad would never have been a “job creator.”

This same relationship is shot throughout the world economy anywhere someone works for another for a wage, whether in a small business like my dad’s, or my uncle’s oil heating business, or in large-scale industry, like longwall bituminous coal mining.

In a unionized West Virginia underground longwall coal-mining situation, a typical miner works for pay ranging from $24.75-$26.41 per hour. Using the higher rate, our miner receives $211.28 pay per 8-hour shift. Pretty good pay.

Working with some highly sophisticated machinery in a crew of 12 at the coal face, this miner can extract 67.63 tons of bituminous coal per hour, or 541 tons per day, (a somewhat conservative estimate). The coal is sold in the market at $59.17 per ton, (2010 prices), for a total day’s value of $32,010.97.

Clearly, the miner is not paid for 8 hour’s work or $211.28. No, he is paid for working 8 hours, during which time he creates new wealth far exceeding his wages; he creates an additional value of $31,799.69. Sure some of this pay goes for the unionized miners’ pensions and benefits, financing and paying for the longwall machine and other equipment, or for shipping coal, or for the computers and paper in the office, or for foremen’s, managers’ and executives salaries, or for stockholder dividends etc. etc.

But the point is this; apart from nature, it’s the workers who have created all the wealth. This stretches from the miners to those who build the longwall machines themselves, or who make the steel for the machine, who mine the iron for the steel, or those who cut trees for paper pulp, who make the pulp into paper, or those who stitch buttons to sample cards or paste rhinestones into sample pocketbook snaps etc. etc. So, the wealth creators come before the “job creators,” those who could do nothing without labor and all the wealth created by labor.

Speaking of wealth creators, most of Mitt Romney’s despised 47% are: active duty military, veterans who would like to be wealth creators when they return home, former wealth creators now collecting social security, current wealth creators paying payroll taxes and state income taxes, underemployed or unemployed wealth creators, or students, just yearning to become wealth creators. There are also plenty of wealth creators among the other 53% of Americans. And, contrary to Paul Ryan, wealth creators do not live off the fruits of the labor of others. They are makers, not takers. In fact, before they ever became small business people, even most small business people were once wealth creators themselves; something they should never forget.

Now, in an act of the crassest opportunism and deceit, Mitt Romney is reversing his position on everything, most significantly his 47% dictum. Regardless of his sweet talk, however, the corporate raider of Bain fame really has only one commitment— to the “job creators,” not to the wealth creators.

Yet, that very first Republican president, who today’s “Republicans” have abandoned, was well aware of the role of the wealth creators. Lincoln said:

Labor is prior to, and independent of, capital. Capital is only the fruit of labor, and could never have existed if labor had not first existed.  Labor is the superior of capital, and deserves much the higher consideration. 

Gene Grabiner, PhD, is a SUNY Distinguished Service Professor Emeritus.  He has published many articles, book chapters, and reviews and has numerous lectures, conference, and popular presentations on his CV. A Berkeley-educated scholar, (M.Crim., PhD).  Grabner has been vice-president and grievance chairperson of the Faculty Federation of Erie Community College. Dr. Grabiner is also a published poet.

Interested in writing an Op Ed or Letter to BCP?  Click for details!

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BCP READS AT INTERNATIONAL FESTIVAL OF POETRY OF RESISTANCE #4

Last Sunday I had the honour of reading at the 4th International Festival of Poetry of Resistance alongside some very fine poets.

Some of the poems I read were never read in front of an audience before.

Other poems were older but were the perfect fit for the event.

See my last post about how I put myself out there!

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PUTTING YOURSELF OUT THERE: ADVICE FROM CHRYSTOS ON PUBLIC READINGS, AND A POEM BY BCP

Putting Yourself Out There: Advice from Chrystos on Public Readings, and a Poem from BCP

By Jorge Antonio Vallejos

Photo by Jeannine Pitas

I participated in the International Festival of Poetry of Resistance #4 last Sunday.  And I’m participating in We Are Who We Are a night of performance tomorrow.  The opportunities just keep coming!

It feels good to be asked to perform my poems.  Validation is a good thing.  You gain self-confidence and you feel a sort of compensation for all the work you do as a writer.  But there is more to being asked to read than being validated.  It’s a chance to put your self out there.

In my first ever interview for blackcoffeepoet.com my favorite poet, Chrystos, shared her thoughts on the importance of reading in front of people:

Read your work publicly, an audience will teach you what is boring, scary, unnecessary, & so on. 

Lets break that down.

Boring: That is the last thing you want to be.  How many times have you stopped reading a book because you can’t get past the first chapter?  You don’t want people to be looking at their watch or phones as you read.

Scary:  There is always some fear when performing in front of people.  Whether you are a poet, actor, or fighter, getting up in front of an audience always has an element of fear.  You just have to push through, keep doing it, and it gets easier.

Unnecessary:  Now that is important.  Editing things by looking at them is one thing.  But when you hear yourself read out loud, whether alone or in front of others, your ear catches things that your eye doesn’t.  This is why Chrystos also advised:

Find an isolated bathroom (parks can be good), with tile walls above shoulder height in which to practice. Old gun bunkers also work –whatever will echo your voice to you. Use an old fashioned tape recorder to listen to yourself. Get a friend to video you.

I had not read in a while before last Sunday.  I don’t hit enough open mics.  I’m not into spoken word; being in a room dominated by men talking about their sexual exploits is of no interest to me.  I’m a book poet.  But part of being any type of poet is reading in front of folks.

So, as I stood in front of the small crowd this Sunday at IFPOR #4 I put my poems to the test.  I read poems that had not been read in front of anyone before, and one old poem that has.  As my eyes moved across the page with my voice following I messed up, but I kept on reading.  The show must go on!  When you watch the video of me reading that comes up this Friday you might not notice my mess up, but my brain has now registered where my stumble happened and what I have to work on for next time.

One poem I read, The Great Crime, was published a few years ago in the YU Free Press, a lefty newspaper that came out of York University.  I messed up while reading.  Still, I got a beautiful email from an attendee about my poem:

I’ve walked down Bloor twice now since Sunday and have seen it a lot differently since your poem!

Validation!

Knowing that I can’t rest on my past success, I’m back to writing, re-writing, reading, re-reading, and I want to start hitting up open mics as well as reading my work out loud in different places like Chrystos suggested.

If you do not know Chrystos’ work see a review I wrote of her book, the book why I’m now a poet: Not Vanishing.

Enjoy reading my poem below and see the video of me reading it in my next post.

The Great Crime

By Jorge Antonio Vallejos

I think of Balzac’s words—

“Behind every fortune lies a great crime”—

When I remember seeing my Indigenous brother jaywalk North across Bloor Street.

Dressed in black,

Facing West,

Hair flying in the wind,

His feet danced across the asphalt,

Like the ancestors on grass,

When:

ROOTS were for nourishment,

PEOPLES didn’t care or kill for diamonds,

HARRY ROSEN hadn’t stepped on a boat yet,

H & M and the 24 other letters in the english alphabet didn’t exist,

WINNERS meant all members of a tribe.

Tune into Black Coffee Poet Friday October 19, 2012 for a video of BCP reading at International Festival of Poetry of Resistance #4.

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NEW CHANGES TO BLACKCOFFEEPOET.COM

Monday October 15, 2012

Dear Readers,

At the request of many of you I have been writing more of my own stuff and publishing them here on my website.  

“I like your reviews and interviews but I want to see more of you,” wrote one reader.  

“It’s blackcoffeepoet.com but we never see the Black Coffee Poet,” wrote another reader.  They meant that me featuring other writers dominated the website.  Which it has.

The format that I held strong to in the first year of the website and most of the second year were review, interview, and video of a poet or writer every Monday, Wednesday, and Friday.

At least half of Year 3 will be features of other writers. The rest will be my own writing and special projects coming up.

Thanks for your continual support.  And please help spread blackcoffeepoet.com to all your friends and networks.

Peace,

Jorge Antonio Vallejos

Black Coffee Poet

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VLOG: LETTERS AND OPINION EDITORIALS

In my last post I wrote about how I am accepting Letters to BCP and Opinion Editorials.

This VLOG is the companion to my last post.

I look forward to your letters and Op Eds.

Watch, SHARE, Tweet, and enjoy.

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Poetry, song, interviews, VLOGs, workshops, readings, and roundtables.

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ACCEPTING LETTERS AND OPINION EDITORIALS

Wednesday October 10, 2012

Dear Readers,

Over the last two years I have received many letters and comments from you.  Now that blackcoffeepoet.com is in its third year I would like to start publishing Letters to BCP and Opinion Editorials.  

Do you have something to say about activism, academia, blackcoffeepoet.com, current events, literature, life, or politics?  Is there something on your mind that mainstream media is not covering?  Have you written something that has not found a home?

There is no need to pitch a Letter or Op-Ed as they are not articles.  Keep in mind that not all Letters and Op-Eds submitted will be published, and they are their own genres of writing to be written with care, respect, and thoughtfulness like any other genre.

If you are new to blackcoffeepoet.com read the publication and find out what it’s about before submitting.  Here at three resources for that: ABOUT and Black Coffee Poet and Popular Posts.

Submit to blackcoffeepoet@gmail.com with Letter to BCP or Opinion Editorial in the subject line.  

Submissions must include full name, phone number, and address of sender.  Home addresses and phone numbers will not be published.  I reserve the right to edit letters and opinion editorials.  Letters run from 50 to 30o words.  Opinion Editorials run from 700 to 800 words.  Due to the volume of submissions I can not acknowledge or publish every submission.

Thank you for your support, time, and consideration.

Peace,

Jorge Antonio Vallejos

Black Coffee Poet

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J. FISHER READS POEMS FROM HIS NEW BOOK “iii”

Meeting J. Fisher to tape him reading these poems and take some photos of him was fun!

We headed to an alley, chatted poetry and music, and got to work fast.

 His book iii blew me away.  So will this video.

Watch, enjoy, SHARE, Tweet, and comment.

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INTERVIEW WITH J. FISHER

Born in Edson, Alberta Fisher currently lives and works in Victoria, B.C’s downtown core.  His first short story–for what it’s worth–was published when he was 19.  

Fisher has written three collections of poetry: Bulletin From The Low Light, Death Day Erection, and iii.  

His pieces have appeared from Balzac to Berlin in ezines, indy rags, and some of the finest trade publications.

Read a review of Fisher’s most recent book iii.

BCP: Why did you start writing poetry?

JF: Probably around age 10, when i started all my other vices…

BCP: What is your writing process?

JF: It’s all over the place…sometimes it’s in the old Hilroy notebook, sometimes it’s on the phone, sometimes it’s in the tub. Whatever the medium, it’s always compulsive, often uncomfortable, and constantly a dance.

BCP: Who are your favourite writers?

JF: Selby Jr., Algren, Miller, thousands really.

BCP: Many of your poems have elements of early Rolling Stones songs: criticism of cops, open drug use, mention of Pontius Pilot and GOD, and naming a poem “Can’t You Hear Me Knocking”.  Are the Rolling Stones a big influence on you?

JF: Huge. Music was the first great love of my life. You could name artists from Monk to Moby, and i could point you a line i stole, riffed, reworked or revamped.

BCP: Much of your poetry is about raw sex—men dominating women sex—as well as drug and alcohol abuse.  Do you fear that this will turn some readers away or have you recieve criticism?

JF: I can’t do what I do without incurring criticism. Readers bring to the work exactly what they get out of it. I’ve been accused of all kinds of things. My job is carving the lines, I don’t lose sleep about its reception. Life is messy, I’m simply describing the carnage at the wet-end hour.

BCP: Are you compared to Charles Bukowski often?  Do you see that as a compliment?

JF: I was in the early days. It was a fair accusation back then. I had to move thru it, like Lennon aping Presley. It’s an enormous compliment. Can you fucking imagine what this interview would be like, the state of poetry, without his affect? Id probably be a dental assistant or a physical therapist. Buk turned on the light in the shit house. He was the first indication that what i was doing, had been doing for decades, had a place in the pantheon.

BCP: Many of your poems are minimalist poems. Is this form of poetry your favorite?

JF: I have no favorite form. I’m not a big poetry fan. Too soft. I love lyrics, and I eat words.  98% of what I read is in the traditional novel format.  Poetry is simply the way it comes out. It was never by design.

BCP: There seems to be a divide between book poets and spoken word artists. Your awesome poem stupid poet tricks seems to mock spoken-word.  Care to comment?

JF: There is an obvious divide, yes. That piece mocks so many of today’s conventions, id be hard pressed to address them all. It wasn’t aimed at spoken word (which, along with all things hip-hop related, I stand in awe of).

BCP: iii is your third collection. What have you learned since your first collection? How do you think you have grown as a poet?

JF: I’ve learned to say more with less. As for growth, that can be a kind of death. I’m sure its there, but its for the reader to decide. I’m certainly having more fun than I was when I started. I’m getting away with more. My inspirations, the sources, the meat, they are getting older, tighter, more damaged. A kind of tortured brilliance has come at the cost of so much life. I find it impossible not to celebrate that decreptitude. Maybe that’s made me more sensitive, cynical, or, as many have commented, just a total fucking prick. As long as I’m spitting out lines, I’m moving forward. Maybe that’s growth, or just a fancy sickness…

BCP: Much of iii is about people of the down.  Do you have a soft pot for people having a hard time in life or are you just writing what you know, or both?

JF: Both.

BCP: During our interview you shared having three books in your bag.  Do you prefer the real book to the E-Book?  Do you see the E-Book benefiting or hindering poetry?

JF: I’m for anything that gets the words out.  I’ll read anything anywhere anytime.

BCP: I really enjoyed iii.  When does your next collection come out?

JF: That’s unknown. There’s enough material for 20 collections. Will they find a home? I just don’t care. I can’t afford to. If I get hung up in that, I might as well go to work for Pepsi, or Hallmark.

BCP: What advice do you have for young poets out there?

JF: Don’t take advice. You either know all you need, or you’re fucked.

Tune into Black Coffee Poet October 5, 2012 for a video of J.Fisher reading from iii.

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