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                  <text>The Independent Press Association (IPA) translates articles from the ethnic press (when necessary) and distributes them via web and fax newsletter to mainstream and ethnic press, government offices, nonprofits, and interested individuals.  Voices That Must be Heard was designed by the Independent Press Association staff in New York City in response to the horrifying events of September 11.  After Sept. 11th, Voices focused on the South Asian, Arab and Middle Eastern communities in New York. Since February 2002, the project has expanded, selecting articles from the broad range of ethnic and community newspapers throughout the city. Here, the Archive has preserved the Voices collection from its inception until November 2002.</text>
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Emergency Medical Services battle rages between private and public</text>
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              <text>There is a war between public and private Emergency Medical Service (EMS) units in the city of New York. 

For-profit ambulances are companies which are loyal to a hospital, not to the public, says Patrick Bahnken, president of the emergency medical technicians and paramedics of Local Union 2507. Bahnken says, Emergency medical services are loyal to the city. For-profit ambulances companies are loyal to profit. He says that for-profit ambulance services were launched in February of this year. Bahnken claims that this is against the City Charter. There was a study conducted on this issue under the watch of former Mayor Lindsey. 

Several private ambulance companies were unavailable for comment.

The public EMS units are required to take a written examination along with extensive training, but private paramedics do not. Private EMS personnel earn more and do not have to physically train for their position. All private ambulance companies are sanctioned by the state of New York. 

It is not fair to us, says New York Fire Department EMS employee Edward Ortiz. Privatizing ambulance service means that the public is at risk while (EMS) employees suffer because we are not getting the pay we should be getting. Ortiz has been with a FDNY EMS unit for seven years and is a delegate for Local Union 2507. 

In order to drive a city-owned ambulance, there is an exam that one must pass, then there is the academy.

Just like the police and fire department, we must go into the academy, says Ortiz.

This academy is Fort Totten Academy in Queens, New York. Private ambulance companies do not put their employees through an academy.

Gerod Allas, a public affairs representative at the Fire Department says, The EMS unit has a high volume in calls. The privates, if anything, are helpful.

Mr. Ortiz does not deny his heavy workload. We get a lot of calls and we cannot be everywhere at once, but private ambulances may come to your aid without proper training. In which case, your life in is danger.

Chris Log, Ortizs partner, says, It is unfair that the privates pay more without physical training. Log has been in the EMS unit for a year. Log continues, The advantage of being with the public (EMS) is that there are good benefits, I will earn civil service status and we will always be here.

When we pick up someone we take em to the nearest hospital, says Bahnken. These (private) ambulance drivers take people to the hospital that is going to pay their check, and it does not necessarily mean to the nearest hospital.

Mr. Ortiz is dedicated to his job and to the people of New York City. I just want what should be fair. If the privates get more money and are state supported then we want more pay. And privates should attend Fort Totten as a state requirement.

Bahnken concludes, There are certain essential services the city must have control over. When you are talking about lives you need one cohesive emergency response system.
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Emergency Medical Services battle rages between private and public</text>
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Kukmin and Nara Bank merger discussed</text>
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              <text>It has been reported that Koreas largest bank, Kukmin, is interested in merging with Nara Bank in order to enter the American banking market. 

Last month, a fact-finding team, led by Kukmins international and administrative directors, met with Hanmi, Nara and Joong Ang Bank officers in Los Angeles to discuss the possibility of mergers. Even though Kukmin is interested in all three banks, it is said to favor Nara Bank because of its strong operations on both coasts.

In discussions between the Kukmin team and Nara Banks President and CEO Benjamin Hong, Kukmins offer was reported at two-and-a-half to three times Naras present market value. Nara Bank is already working with a Kukmin subsidiaryKukmin Cardto issue credit cards. Hong is currently in Korea on this matter. 

Following reports of discussions with Kukmin, Naras stock  rose in one week by 25 percent, from $16 a share. 

Naras U.S. CEO, Thomas Chung, said, Kukmin Bank wants to establish business in America and is looking at ways to purchase a local bank. Well look at any formal offer they make. 

However, the other banks officers said that Kukmins entry would shake the American market. They are extremely sensitive to this issue, which they see as a major deal. 

Huge Korean bankslike Kukminare able to push their way into the American market and purchase any local bank. Kukmin has the financial power to conquer the market by providing competitive service to the American customer, the officers nervously agreed. 

A Saehan Bank employee said that up to now, many Korean banks have tried unsuccessfully to enter the American market. Large Korean banks hoping to enter the American market need to adopt the American system of management. If they adopt local management style, then their competitive power can really shake up the American market.

Hanmi Banks Senior Vice President, Wun Hwa Choi, said, The Korean banking market in Los Angeles has no strong retail base. Even though large Korean banks try to establish themselves locally, they cannot easily achieve competitive power. He is convinced that local banks will be more successful commercially than the new Korean ones. 

Huh Hong Shik, vice president of Joong Ang Bank, said, Management strategy is the key to success for Korean banks entering the American market. He also pointed out that if the Korean banks adapt properly to the local market, they can pose a true threat to American banks.



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Kukmin and Nara Bank merger discussed</text>
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                  <text>Michael Ragsdale – a video producer in New York City – collected posters, letters, cards, brochures, event programs, press releases, and announcements from the city’s streets nearly every day from September 11, 2001 until September 15, 2002. This collection represents nearly a thousand of these items.  The scope of this collection is impressive in its size and diversity.</text>
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        <element elementId="65">
          <name>September 11 Email: Body</name>
          <description>The basic content, as unstructured text; sometimes containing a signature block at the end.</description>
          <elementTextContainer>
            <elementText elementTextId="46837">
              <text>This is cool, but you see stuff in clouds all the time.&lt;br&gt;</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="66">
          <name>September 11 Email: Date</name>
          <description>The local time and date when the message was written.</description>
          <elementTextContainer>
            <elementText elementTextId="46838">
              <text>Wed, 26 Sep 2001 07:58:34 -0500</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="67">
          <name>September 11 Email: To</name>
          <description>The email addresses, and optionally names of the message's recipients</description>
          <elementTextContainer>
            <elementText elementTextId="46839">
              <text>&lt;info@stellarimages.com&gt;</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="68">
          <name>September 11 Email: From</name>
          <description>The email address, and optionally the name of the author.</description>
          <elementTextContainer>
            <elementText elementTextId="46840">
              <text>Tommy Choate &lt;tdc0924@worldnet.att.net&gt;</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="69">
          <name>September 11 Email: CC</name>
          <description>The email addresses of those who received the message addressed primarily to another.</description>
          <elementTextContainer>
            <elementText elementTextId="46841">
              <text/>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="70">
          <name>September 11 Email: Subject</name>
          <description>A brief summary of the topic of the message.</description>
          <elementTextContainer>
            <elementText elementTextId="46842">
              <text>???</text>
            </elementText>
          </elementTextContainer>
        </element>
      </elementContainer>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="46843">
                <text>???</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
      <elementSet elementSetId="4">
        <name>911DA Item</name>
        <description>Elements describing a September 11 Digital Archive item.</description>
        <elementContainer>
          <element elementId="52">
            <name>Status</name>
            <description>The process status of this item.</description>
            <elementTextContainer>
              <elementText elementTextId="46844">
                <text>approved</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="53">
            <name>Consent</name>
            <description>Whether September 11 Digital Archive has permission to possess this item.</description>
            <elementTextContainer>
              <elementText elementTextId="46845">
                <text>full</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="54">
            <name>Posting</name>
            <description>Whether the contributor gave permission to post this item.</description>
            <elementTextContainer>
              <elementText elementTextId="46846">
                <text>yes</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="55">
            <name>Copyright</name>
            <description>Whether the contributor holds copyright to this item.</description>
            <elementTextContainer>
              <elementText elementTextId="46847">
                <text>yes</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="56">
            <name>Source</name>
            <description>The source of this item.</description>
            <elementTextContainer>
              <elementText elementTextId="46848">
                <text>born-digital</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="57">
            <name>Media Type</name>
            <description>The media type of this item.</description>
            <elementTextContainer>
              <elementText elementTextId="46849">
                <text>email</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="59">
            <name>Created by Author</name>
            <description>Whether the author created this item.</description>
            <elementTextContainer>
              <elementText elementTextId="46850">
                <text>yes</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="60">
            <name>Described by Author</name>
            <description>Whether the description of this item was submitted by the author.</description>
            <elementTextContainer>
              <elementText elementTextId="46851">
                <text>no</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="61">
            <name>Date Entered</name>
            <description>The date this item was entered into the archive.</description>
            <elementTextContainer>
              <elementText elementTextId="46852">
                <text>2001-09-26</text>
              </elementText>
            </elementTextContainer>
          </element>
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  </item>
  <item itemId="1484" public="1" featured="0">
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      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="17814">
                  <text>"Voices That Must Be Heard" Articles</text>
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              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="17815">
                  <text>The Independent Press Association (IPA) translates articles from the ethnic press (when necessary) and distributes them via web and fax newsletter to mainstream and ethnic press, government offices, nonprofits, and interested individuals.  Voices That Must be Heard was designed by the Independent Press Association staff in New York City in response to the horrifying events of September 11.  After Sept. 11th, Voices focused on the South Asian, Arab and Middle Eastern communities in New York. Since February 2002, the project has expanded, selecting articles from the broad range of ethnic and community newspapers throughout the city. Here, the Archive has preserved the Voices collection from its inception until November 2002.</text>
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              </elementTextContainer>
            </element>
          </elementContainer>
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    </collection>
    <itemType itemTypeId="24">
      <name>VTMBH Article</name>
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          <name>VTMBH Article: Edition</name>
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              <text>10</text>
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          <name>VTMBH Article: Article Order</name>
          <description/>
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              <text/>
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        <element elementId="84">
          <name>VTMBH Article: Title</name>
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              <text>?Que pasa Miguelito? (What's up, Mike?)</text>
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              <text>Fernando F. Rojas</text>
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          <name>VTMBH Article: Publication</name>
          <description/>
          <elementTextContainer>
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              <text>Resumen</text>
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          <description/>
          <elementTextContainer>
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              <text>Spanish</text>
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          <name>VTMBH Article: Translator</name>
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              <text>Luisa Pinto</text>
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        <element elementId="89">
          <name>VTMBH Article: Section</name>
          <description/>
          <elementTextContainer>
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              <text>budget</text>
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          <name>VTMBH Article: Blurb</name>
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              <text>Miguelito, what hurts most of all is that you are calculating your gains and losses like a street vendor, rather than a mayor. New York is not a product, to sell for a profit.</text>
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          </elementTextContainer>
        </element>
        <element elementId="91">
          <name>VTMBH Article: Keywords</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="24169">
              <text/>
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        <element elementId="92">
          <name>VTMBH Article: Body</name>
          <description/>
          <elementTextContainer>
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              <text>Miguelito:

Forgive me if I call you Miguelito; it's the Spanish nickname for Michael. Calling you Miguelito allows me to speak to you with greater confidence and ease.

When you, disguised as a Republican, won the election by outspending Mark Green, I was fine with it. Though I knew that you were a liberal multimillionaire, a friend to the Clintons whose wallet was always open for the Democratic Party, I believed that you would work harder than Green. After all, Green has spent his entire life aspiring to elected office while letting those around him do all the work.

But Miguelito, from what I can see, you have started to show your claws. The first sign was your story about the deficit and, then, your proposed budget cuts. What about the people whose livelihoods depend on their city jobs, especially now, at a time when jobs are scarce?

Then, something repugnant occurred to you, prompting you to suggest increasing penalties for traffic violations and towing, removing existing tolls from bridges and tunnels and creating tolls where there were none previously. It has also occurred to you to suspend recycling; cut street cleaning; reduce garbage collection; limit overtime hours for firefighters and police officers; slash funds for children, homeless and the arts; and reduce the hours of libraries, museums, zoos, cultural locations and other places of interest in the city.

Miguelito, what hurts most of all is that you are calculating your gains and losses like a street vendor, rather than a mayor. How did you manage to find a multibillion-dollar deficit in the city?s budget when President Bush and practically all of the senators who have visited this city have promised us $21.5 billion in aid?

What is wrong, Miguelito? Are we not to spend the $20 billion on reconstructing and maintaining the city? Why don?t you mention those billions when you cling to cuts in the services and aid the very poorest receive?

Miguelito, remember that a major source of income in this city is tourists, whom you frighten with your cries of poverty and your cuts in public services such as firefighters and police officers. The tourists will decide not to vacation here in New York City. You should also remember that Giuliani, by keeping a strong and active police force and reducing crime, brought in a significant flow of tourists, which has given us a strong economy.

Well, Miguelito, before I end this letter, I would like to tell you to be more careful in what you say and do. This city is not one of your radio stations. It cannot be managed like one of your businesses. New York is not a product, to sell for a profit.

Affectionately,

Fernando F. Rojas </text>
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        </element>
        <element elementId="93">
          <name>VTMBH Article: Line Breaks</name>
          <description/>
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              <text>1</text>
            </elementText>
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        <element elementId="94">
          <name>VTMBH Article: Date</name>
          <description/>
          <elementTextContainer>
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              <text>2002-02-28</text>
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        <element elementId="95">
          <name>VTMBH Article: Thumb</name>
          <description/>
          <elementTextContainer>
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              <text/>
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        <element elementId="96">
          <name>VTMBH Article: Article File</name>
          <description/>
          <elementTextContainer>
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              <text/>
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        </element>
        <element elementId="97">
          <name>VTMBH Article: Hit Count</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="24175">
              <text>82</text>
            </elementText>
          </elementTextContainer>
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        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>?Que pasa Miguelito? (What's up, Mike?)</text>
              </elementText>
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          </element>
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      <elementSet elementSetId="4">
        <name>911DA Item</name>
        <description>Elements describing a September 11 Digital Archive item.</description>
        <elementContainer>
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            <name>Status</name>
            <description>The process status of this item.</description>
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                <text>approved</text>
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          <element elementId="53">
            <name>Consent</name>
            <description>Whether September 11 Digital Archive has permission to possess this item.</description>
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                <text>unknown</text>
              </elementText>
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          <element elementId="54">
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            <description>Whether the contributor gave permission to post this item.</description>
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                <text>yes</text>
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            <name>Copyright</name>
            <description>Whether the contributor holds copyright to this item.</description>
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                <text>yes</text>
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          <element elementId="56">
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            <description>The source of this item.</description>
            <elementTextContainer>
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                <text>born-digital</text>
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          <element elementId="57">
            <name>Media Type</name>
            <description>The media type of this item.</description>
            <elementTextContainer>
              <elementText elementTextId="24182">
                <text>article</text>
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          </element>
          <element elementId="58">
            <name>Original Name</name>
            <description>The original name of this item.</description>
            <elementTextContainer>
              <elementText elementTextId="24183">
                <text>Miguelito, what hurts most of all is that you are calculating your gains and losses like a street ve</text>
              </elementText>
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          <element elementId="59">
            <name>Created by Author</name>
            <description>Whether the author created this item.</description>
            <elementTextContainer>
              <elementText elementTextId="24184">
                <text>yes</text>
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          <element elementId="60">
            <name>Described by Author</name>
            <description>Whether the description of this item was submitted by the author.</description>
            <elementTextContainer>
              <elementText elementTextId="24185">
                <text>no</text>
              </elementText>
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          <element elementId="61">
            <name>Date Entered</name>
            <description>The date this item was entered into the archive.</description>
            <elementTextContainer>
              <elementText elementTextId="24186">
                <text>2002-02-28</text>
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  </item>
  <item itemId="80340" public="1" featured="0">
    <fileContainer>
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        <src>https://911digitalarchive.org/files/original/60e424501d95726599782974eac66159.doc</src>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Buz Grover</text>
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            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="1026806">
                  <text>I'm writing in regard to the Eskrima Digest (ED) issues I submitted to&#13;
you for inclusion in the 9/11 archive site. Though I know you haven't&#13;
had time to look at them at great length, I think your excitement when&#13;
first viewing the ED material is justified: contained in the submission&#13;
is a very unique sampling of reactions to the events of 9/11.&#13;
</text>
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          <element elementId="50">
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            <description>A name given to the resource</description>
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                <text>._ED911.doc</text>
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        <name>911DA Item</name>
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            <name>Status</name>
            <description>The process status of this item.</description>
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            <name>Consent</name>
            <description>Whether September 11 Digital Archive has permission to possess this item.</description>
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                <text>unknown</text>
              </elementText>
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            <name>Posting</name>
            <description>Whether the contributor gave permission to post this item.</description>
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                <text>unknown</text>
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          <element elementId="55">
            <name>Copyright</name>
            <description>Whether the contributor holds copyright to this item.</description>
            <elementTextContainer>
              <elementText elementTextId="1026820">
                <text>unknown</text>
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          <element elementId="56">
            <name>Source</name>
            <description>The source of this item.</description>
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                <text>unknown</text>
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          <element elementId="57">
            <name>Media Type</name>
            <description>The media type of this item.</description>
            <elementTextContainer>
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                <text>unknown</text>
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            <name>Created by Author</name>
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                <text>unknown</text>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
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            <element elementId="41">
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              <description>An account of the resource</description>
              <elementTextContainer>
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                  <text>Michael Ragsdale – a video producer in New York City – collected posters, letters, cards, brochures, event programs, press releases, and announcements from the city’s streets nearly every day from September 11, 2001 until September 15, 2002. This collection represents nearly a thousand of these items.  The scope of this collection is impressive in its size and diversity.</text>
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        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="39278">
                <text>...might  have been exposed to anthrax...</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
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                <text>Anonymous [collected 2001 11/13-12/3] Personal Statement</text>
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      <elementSet elementSetId="4">
        <name>911DA Item</name>
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            <name>Status</name>
            <description>The process status of this item.</description>
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                <text>approved</text>
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            <description>Whether September 11 Digital Archive has permission to possess this item.</description>
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                <text>full</text>
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          <element elementId="54">
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            <description>Whether the contributor gave permission to post this item.</description>
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                <text>unknown</text>
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          </element>
          <element elementId="55">
            <name>Copyright</name>
            <description>Whether the contributor holds copyright to this item.</description>
            <elementTextContainer>
              <elementText elementTextId="39283">
                <text>yes</text>
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              <text>    Dear Mr. Phillips,         I was wondering how I could get a copy of the picture you took titled,''Satan in the Smoke''. It was in the newspaper a couple of days ago and as soon as I saw it I got chills up my back.  You did a wonderful job of capturing it.  I would greatly appriciate information on how to get it.                                                                             Thanks,                                                                           Natalie Wilson  angel1ga@lycos.com&lt;br&gt;</text>
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                  <text>15th Anniversary Collection </text>
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          <name>How has your life changed because of what happened on September 11, 2001?</name>
          <description>form question</description>
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              <text>lost family and friends.</text>
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                <text>'Look at this!'</text>
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                  <text>Michael Ragsdale – a video producer in New York City – collected posters, letters, cards, brochures, event programs, press releases, and announcements from the city’s streets nearly every day from September 11, 2001 until September 15, 2002. This collection represents nearly a thousand of these items.  The scope of this collection is impressive in its size and diversity.</text>
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                <text>'Perceptions of Terrorism Among Jews and Arabs' to be Discussed</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Truman Institute [collected 2001 12/18-12/31] Event Announcment</text>
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            <name>Original Name</name>
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                <text>n8.jpg</text>
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            <name>Created by Author</name>
            <description>Whether the author created this item.</description>
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                  <text>On the morning of September 11, immediately after two planes crashed into the World Trade Center in Manhattan, photojournalist Mark D. Phillips took a picture that would prove to be one of the most evocative and disputed images of that tragic day.  Many peple later construed the image of the smoke in his photo of the burning buildings to compose the face of Satan. These e-mails related to this picture provide a revealing portal into Americans' responses to the attacks in the immediate aftermath of 9/11.</text>
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              <text>Hi, Lou Schisler from Minot, ND here.  Saw your "devil face" image in smoke on your website and saw that you were selling some of your NY skyline prints.  Are you also offering the smoke print for sale?  If so what is the cost?   Thanks,   Lou S.&lt;br&gt;</text>
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              <text>"Lou Schisler" &lt;cheiflou@home.com&gt;</text>
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                  <text>On the morning of September 11, immediately after two planes crashed into the World Trade Center in Manhattan, photojournalist Mark D. Phillips took a picture that would prove to be one of the most evocative and disputed images of that tragic day.  Many peple later construed the image of the smoke in his photo of the burning buildings to compose the face of Satan. These e-mails related to this picture provide a revealing portal into Americans' responses to the attacks in the immediate aftermath of 9/11.</text>
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              <text>We first saw your photo in our local news paper the TIMES LEADER out of Wilkes Barre, Pa. Members of my family can see an image of an Angel in the smoke over the World Trade Center. I didn't believe them until the showed me. It is very faint and the picture in the paper was black and white, but I can see. It is not as noticable as the so called devils image but it is there. I know you are very busy, but if you have the time please let me know if anyone else has seen this image. You can email me at NPC@EPIX.Net.&lt;br&gt;&lt;br&gt;Thank you,&lt;br&gt;Nicole&lt;br&gt;Dallas, Pa&lt;br&gt;</text>
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                  <text>The Independent Press Association (IPA) translates articles from the ethnic press (when necessary) and distributes them via web and fax newsletter to mainstream and ethnic press, government offices, nonprofits, and interested individuals.  Voices That Must be Heard was designed by the Independent Press Association staff in New York City in response to the horrifying events of September 11.  After Sept. 11th, Voices focused on the South Asian, Arab and Middle Eastern communities in New York. Since February 2002, the project has expanded, selecting articles from the broad range of ethnic and community newspapers throughout the city. Here, the Archive has preserved the Voices collection from its inception until November 2002.</text>
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              <text>Now that the education crisis among African-American youth deepens, it is useful to look at history and try to repeat the good parts. Though we have failing schools and young people with commercialized minds, parents know are making it plain to politicians across the city, that education is where the politicians must make their stand. </text>
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              <text>Now that the education crisis among African-American youth deepens, it is useful to look at history and try to repeat the good parts. The first great mass movement for public education at the expense of the state, in the South, came from Negroes, writes W.E.B. DuBois in Black Reconstruction. It was only the other part of the laboring class, the black folk, who connected knowledge with power; who believed that education was the stepping-stone to wealth and respect, and that wealth without education, was crippled.And it was this demand that was the effective force for the establishment of the public school in the South on a permanent basis, for all people and all classes.

Dr. DuBois goes on to describe the building of schools, school systems and colleges, institutions that lifted the race up out of slavery and through Reconstruction. These were institutions created and run by African-Americans. These were people who counted few blessings, but one of the things these newly freed Africans had on their side was relative solitude. In an environment of land, crops, livestock and family, children could read at night, sometimes aloud to parents, and had only human distractions from lessons. Things are different today. 

The advertising industry in the United States is a $300 billion-dollar business. These billions of dollars spill all over our youth in a constant assault that is scientifically designed to attract their attention. They are joined by the billions spent on movies and videos, and music, the contents of which can be appalling. 

These campaigns are constant and created by very smart people using sound, color, light and texture, and sex whenever they can, to promote products and buying habits that last a lifetime. 

There is such a frenetic intensity to marketing today, it is a wonder that children have any mental time left at all to devote to quaint things such as reading, writing and arithmetic. So it is no surprise that in 2002, at a time when those struggling at the turn of the last century must have thought Africans would surely be scaling the heights of humanity, we have failing schools and young people with commercialized minds, redirected for corporate profit and political control. 

This is not news to the parents, it is an ongoing part of their everyday struggle and they are making it plain to politicians across the city, that this is where the politician is to make their stand. 

Assemblyman Roger Green, chair of the powerful Black, Puerto Rican and Hispanic Caucus, says they are unbending on this issue and hes right. Here is where they work with the governor, the speaker, the mayor and the rest of the legislature, so that first the children are cared for, then they can finish up on their budgets. 

And when the governor, senators or members of Congress appear at events and photo-ops, ask, Have you found more money for education? If the answer is no, ask What are you doing to get it? Make it uncomfortable for them. When they come by the church on Sunday morning, ask them, Have you found the money? Things sure look bad for you if you don't find that money. Don't be embarrassed, God knows they have it. 

Tell them to find it in the prison budget, find it in the military budget, find it in making the tax code and enforcement fair, find it in ending corporate welfare, find it in foreign aid. 

And while they're looking, let's tell Mayor Bloomberg if he wants to be remembered as the education mayor, hed ask Adelaide Sanford to be chancellor for education, appoint a crackerjack administrator, give them the resources they need and get this show on the road. </text>
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              <text>Hollywood has hit Latinos with another sucker punch in this disjointed and undeveloped portrait of a psychopath. Worse than West Side Story, Badge 353 and Fort Apache, Pi?ero takes us on a walk on the wild side of hell without so much as a whisper of the rampant rumors of pedophilia surrounding this twisted, demented sociopath, whom the film celebrates as an icon of Nuyorican creativity.

Miguel Pi?ero appeared on the New York artistic scene in 1974, with the presentation of Short Eyes, a play he wrote in a prison workshop while serving time in Sing Sing for armed robbery.  Presented first by La Familia, then Lincoln Center and Joseph Papps Public Theater, the play became a hit. It won the N. Y. Drama Critics Circle Award for best American play before it was turned into a movie.

The work was about someone who abused boys only to find himself in jail among prisoners who can forgive anything but. Piñero (who always told writers to write what they know, and surely knew this topic as both victim and predator) was tapped by Hollywood to write and act about crime and criminals for shows like Baretta, Miami Vice and others.

The film opens with the multilayered beats of Hector LaVoes salsa pulsating.  The beginning scenes slice through Piñero's black and white past with technical wizardry which masks the lack of infrastructure, stunted script and character development in the quick-paced, eye-blinking, MTV-ish frames.

We see a jive-time hustler spewing smart-alecky street rhymes in jail. We move to a troubled child, beset by poverty and incest. We then see a strung-out junkie in a dope den, pimping the talent that took him out of jail. Then were back to his mother, holding onto five children and calmly telling the father to leave, after witnessing his rape of her eldest son. Welcome to the avant-garde.

Actor Benjamin Bratts total possession of Piñeros spirit, however, is brilliant, electrifying and shocking. Bratt breaks through his previous papi chulo roles, bringing Piñero to life as vividly as the heroin that danced with Mikey through decadent degradation and debauchery. Like a lightweight boxer, Bratt pounces and punches his posse with words heard only in the deepest and most desperate layer of urban subculture.

I have to keep doing bad to keep the writing good, is how Piñero justifies his anti-social behavior.  But his writing was never all that to begin with. The topic of pedophile-as-underdog has been done many times over. The Quare Fellow, Brendon Behan's play about an imprisoned child molester murdered by his fellow inmates was produced here in New York before Short Eyes. And while Piñero's poetic rhetoric spoke of strength against the oppressor and societys hypocrisy, his soul was corrupted by his total weakness and enslavement to drugs and dereliction.

There were moments of lucidity as the Puerto Rican/Nuyorican poets encounter each other. Piñero comes face to face with Puerto Rican scholars on the Island who repudiate his art and lifestyle.  Piñero, the defiantly cool captive of his own dysfunction, outs the colonized slavery of the Islands academia as a sanctimonious identity not their own. By contrast, the scene where Piñeros play is presented by Papp to a packed audience is telling.  In his moment of triumph, Piñero shows his ass to the world. The sun was not always shining for this cool dude.

In his sickness and arrogance, Piñero never recognized his self-described junkie Christ as anti-Christ. Even in death, his unholy alliance with mainstream American media once again contemptuously maligns the hard working, self-sacrificing Latino artistic community that rises above its horrific childhood traumas to create works of true literary insight, craft and artistry as legacy of our pride and courage. Understandably, sensationalized commercial films sell tickets, but for a community still invisible on the screen, marginalized in society and misunderstood by its neighbors, this is one more attempt to show only the pus-infected canker sores of a debauched existence.

On some deeper level, maybe Piñero knew he was being patronized and displayed like a curious monkey with humanlike qualities by the cultural elite who saw him more as freak than peer. He may be laughing right now at how, in death, he can still steal ten dollars from everyone who sees his film.

The absence of real female characters in this contorted macho nightmare flies in the face of the founding of the Nuyorican Poets Café.  The Café was founded on the poems of Sandra Maria Esteves, one of the cultural warriors of the Nuyorican frontline never mentioned in this hallucination. Neither are other worthy soldiers such as Victor Hernandez Cruz, Papoleto, Eddie Figueroa, Tato LaViera, el Coco que Habla, et al. But it's just as well. Even comic John Leguizamo refused to play the role after he researched Piñeros life. ¡Vaya Juanito!

Clearly many of the new breed of poets look to the Nuyorican Poets Cafe as an alternative showcase for literary voices that relate to our reality. And there are many who answered the calling. Piñero was not one of them. And to claim that this was the precursor to hip hop and rap when The Last Poets had already carved a role as political griots of that particular social shift in time is bogus indeed.

This is not a film to take a sensitive young artist to. Nor is it a portrait of an exemplary Latino talent that survived New York's dark reality. This is a film that celebrates the reckless life of someone who was abused by his father, let down by his mother and everyone around him; a deviant who crashed and burned under the weight of living taking a few down with him. Some hero.

The Puerto Rican Legal Defense Fund, the Institute of Puerto Rican Policy and the National Hispanic Media Coalition presented the community screening I attended. The Village Seven Theater was packed with community leaders from the arts, education, social services and politics. The applause for the movies spokespeople, Miguel Algarin, Giancarlo Esposito, Nelson Vasquez and Tim Williams was lukewarm.

Questions about Hollywoods spotlight on negative Latino images and incest were glibly and smugly shrugged off or totally ignored by Algarin, who displayed the same self-delusional aplomb and cockiness as the film's protagonist. The response was polite curiosity from the crowd. But once everyone dispersed outside, the consensus was transparent. Miguelthe emperor has no clothes.
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    <collection collectionId="22">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="45191">
                  <text>"Satan in the Smoke" Emails</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="45192">
                  <text>On the morning of September 11, immediately after two planes crashed into the World Trade Center in Manhattan, photojournalist Mark D. Phillips took a picture that would prove to be one of the most evocative and disputed images of that tragic day.  Many peple later construed the image of the smoke in his photo of the burning buildings to compose the face of Satan. These e-mails related to this picture provide a revealing portal into Americans' responses to the attacks in the immediate aftermath of 9/11.</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="18">
      <name>September 11 Email</name>
      <description/>
      <elementContainer>
        <element elementId="65">
          <name>September 11 Email: Body</name>
          <description>The basic content, as unstructured text; sometimes containing a signature block at the end.</description>
          <elementTextContainer>
            <elementText elementTextId="49646">
              <text>&lt;br&gt; &lt;bold&gt;Would like to ask if this particular picture is for sale?  Would like to include in our Family Archieves as an item of historical information about this atrosity that has touched our Country.  &lt;/bold&gt;   &lt;bold&gt;          Thank you&lt;/bold&gt;   &lt;bold&gt;                Margie Blythe-Poland&lt;/bold&gt;&lt;br&gt;</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="66">
          <name>September 11 Email: Date</name>
          <description>The local time and date when the message was written.</description>
          <elementTextContainer>
            <elementText elementTextId="49647">
              <text>Wed, 19 Sep 2001 19:54:13 -0400</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="67">
          <name>September 11 Email: To</name>
          <description>The email addresses, and optionally names of the message's recipients</description>
          <elementTextContainer>
            <elementText elementTextId="49648">
              <text>&lt;sales@stellarimages.com&gt;</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="68">
          <name>September 11 Email: From</name>
          <description>The email address, and optionally the name of the author.</description>
          <elementTextContainer>
            <elementText elementTextId="49649">
              <text>"Marsali" &lt;mblith@wayxcable.com&gt;</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="69">
          <name>September 11 Email: CC</name>
          <description>The email addresses of those who received the message addressed primarily to another.</description>
          <elementTextContainer>
            <elementText elementTextId="49650">
              <text/>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="70">
          <name>September 11 Email: Subject</name>
          <description>A brief summary of the topic of the message.</description>
          <elementTextContainer>
            <elementText elementTextId="49651">
              <text>"Satan in the Smoke"</text>
            </elementText>
          </elementTextContainer>
        </element>
      </elementContainer>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="49652">
                <text>"Satan in the Smoke"</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
      <elementSet elementSetId="4">
        <name>911DA Item</name>
        <description>Elements describing a September 11 Digital Archive item.</description>
        <elementContainer>
          <element elementId="52">
            <name>Status</name>
            <description>The process status of this item.</description>
            <elementTextContainer>
              <elementText elementTextId="49653">
                <text>approved</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="53">
            <name>Consent</name>
            <description>Whether September 11 Digital Archive has permission to possess this item.</description>
            <elementTextContainer>
              <elementText elementTextId="49654">
                <text>full</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="54">
            <name>Posting</name>
            <description>Whether the contributor gave permission to post this item.</description>
            <elementTextContainer>
              <elementText elementTextId="49655">
                <text>yes</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="55">
            <name>Copyright</name>
            <description>Whether the contributor holds copyright to this item.</description>
            <elementTextContainer>
              <elementText elementTextId="49656">
                <text>yes</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="56">
            <name>Source</name>
            <description>The source of this item.</description>
            <elementTextContainer>
              <elementText elementTextId="49657">
                <text>born-digital</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="57">
            <name>Media Type</name>
            <description>The media type of this item.</description>
            <elementTextContainer>
              <elementText elementTextId="49658">
                <text>email</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="59">
            <name>Created by Author</name>
            <description>Whether the author created this item.</description>
            <elementTextContainer>
              <elementText elementTextId="49659">
                <text>yes</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="60">
            <name>Described by Author</name>
            <description>Whether the description of this item was submitted by the author.</description>
            <elementTextContainer>
              <elementText elementTextId="49660">
                <text>no</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="61">
            <name>Date Entered</name>
            <description>The date this item was entered into the archive.</description>
            <elementTextContainer>
              <elementText elementTextId="49661">
                <text>2001-09-19</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
</itemContainer>
