World Humanitarian Day (Aug. 19, 2010)

http://ochaonline.un.org/whd
StumbleUpon® by QHereKidSF

This single well-conceived, well-structured, and well-designed Web-page introduces myriad discussions and debate around Humanitarianism world-wide, by articulating in simple, pointed headers and paragraph explanations the key "humanitarian principles which represent the foundation of humanitarian action," as defined by the United Nations:

1.) HUMANITY: Human suffering must be addressed wherever it is found. The purpose of humanitarian action is to protect life and health and ensure respect for human beings.

2.) NEUTRALITY: Humanitarian actors must not take sides in hostilities or engage in controversies of a political, racial, religious or ideological nature.

3.) IMPARTIALITY: Humanitarian action must be carried out on the basis of need alone, giving priority to the most urgent cases of distress and making no distinctions on the basis of nationality, race, gender, religious belief, class or political opinion.

4.) OPERATIONAL INDEPENDENCE: Humanitarian action must be autonomous from the political, economic, military or other objectives that any actor may hold with regard to areas where humanitarian action is being implemented.

This page is easy-to-navigate, and chock full of video links and "Supporting Documents," such as those entitled, "Security Trends," "Q&A," "Leaflet," and "Key Messages."

 

United Nations Office for the Coordination of Humanitarian Affairs
2010 World Humanitarian Day POSTER (August 19) - v.English
(cc) CreativeCommons Attribute 2010 | creators: UNOCHA, et al.
http://ochaonline.un.org/whd/posters.html

What's best about this entire social marketing campaign is, in my opinion, their poster and video campaigns. Their brand identity, imagery and messaging are all captured in a way that definitively illuminates that countless lives affected by and involved with humanitarian work across the globe.

I HIGHLY RECOMMEND THAT YOU EXPLORE THIS PAGE, if in fact you have any interest or involvement in international development and humanitarian aid work!!

I know that, as a global HIV/AIDS advocate and activist based in and around San Francisco, CA and the District of Columbia, but doing working that is of integral importance to the Government and peoples of The Republic of Sierra Leone, I was immensely captivated and profoundly moved especially by the video PSAs & the full length feature film available for viewing on this page!!

All that I have seen here makes me exceedingly proud to be a HUMANITARIAN AID WORKER on WORLD HUMANITARIAN DAY : August 19, 2010!!




http://youtu.be/Yy7lnXG5U9Q, posted by ochafilms (August 11, 2010)

The 2010 World Humanitarian Day project is a collaborative film shot in over 40 countries in under 9 weeks, on a shoestring budget - with the goal of showing the enormous diversity of places, faces and endeavors of humanitarian aid workers in 2010. It was filmed by humanitarian staff and freelance filmmakers from around the globe (over 50 contributors in total) with all time donated. Please help us by linking, embedding, tweeting and sharing this message with your friends, colleagues and contacts. Our sincere thanks to all those who contributed to the film, and to it's dissemination.

Credits:
Music by Krister Linder kristerlinder.com
2D animation by Anu Nagaraj at massmarket.tv
Title design by David Rasura

Produced by David Ohana/AVMU at
UN Office for the Coordination of Humanitarian Affairs
worldhumanitarianday.info

This film is a subtly potent portrayal of countless individuals around the globe who dedicate their lives to the good, well-fare, well-being, safety, health, and humanity of all mankind. What poignantly gripping and emphatically simple cinematography and music!!

The worldly rhythm of the score syncopates in Diasporic beats the quintessential individuality of all Humanitarian Aid Workers, while capturing in a no less than captivating fashion, frame after frame, a unified front of humanitarians one in the same, albeit all of them of different colors, races, ethnicity, gender, locations, etc.

We are ALL HUMANITARIAN AID WORKERS!! No matter where we do our work nor how, as long as we are pursuing the greater cause of the key humanitarian principles: HUMANITY, NEUTRALITY, IMPARTIALITY & OPERATIONAL INDEPENDENCE.

I am a humanitarian HIV/AIDS advocate and activist working with and for the most beleaguered and needy populations of youth (primarily of color) infected and affected by HIV/AIDS in the San Francisco Bay Area. But, I also contribute substantially to a government affairs and international development nonprofit based out of the District of Columbia and serving the government and peoples of Sierra Leone.

Through Social Media platforms such as Facebook®, Twitter®, YouTube®, StumbleUpon®, Blogger®, Windows® Live™ Spaces™, etc., I also have the opportunity to contribute my voice to the global humanitarian movement that has taken root within the USA and which is spreading ironically as rampant as a pandemic of myriad infectious diseases across the globe.

That's well said: HUMANITARIANISM IS INFECTIOUS!! Or, so this 60 sec. World Humanitarian Day PSA demonstrates so well; the cause is CONTAGIOUS!! Hallelujah! Cheers! Ciao! Namaste...

Respectfully Submitted,
Matt(e)o | QHereKidSF
Matthew D. Blanchard

Fund-Raising Co-Chair
Board of Directors
Bay Area Young Positives, Inc.
baypositives.org [baypositives.org]
twitter.com/BAYPositives [twitter.com]
facebook.com/BAYPositives [facebook.com]

Board Associate of Communications | Webmaster
Int'l. Professional Partnerships for Sierra Leone, Inc.
communications@ippsl.org
ippsl.org [ippsl.org]

Young Social Worker's Selfless ALTRUISM!!

A VICTIM TREATS HIS MUGGER RIGHT : NPR

JULIO DIAZ, MSW (age: 33)

Julio Diaz has a daily routine. Every night, the 31-year-old social worker ends his hour-long subway commute to the Bronx one stop early, just so he can eat at his favorite diner. But one night last month, as Diaz stepped off the No. 6 train and onto a nearly empty platform, his evening took an unexpected turn. He was walking toward the stairs when a teenage boy approached and pulled out a knife. "He wants my money, so I just gave him my wallet and told him, 'Here you go,'" Diaz says. As the teen began to walk away, Diaz told him, "Hey, wait a minute. You forgot something. If you're going to be robbing people for the rest of the night, you might as well take my coat to keep you warm." The would-be robber looked at his would-be victim, "like what's going on here?" Diaz says. "He asked me, 'Why are you doing this?'" Diaz replied: "If you're willing to risk your freedom for a few dollars, then I guess you must really need the money. I mean, all I wanted to do was get dinner and if you really want to join me ... hey, you're more than welcome. "You know, I just felt maybe he really needs help," Diaz says. Diaz says he and the teen went into the diner and sat in a booth. "The manager comes by, the dishwashers come by, the waiters come by to say hi," Diaz says. "The kid was like, 'You know everybody here. Do you own this place?'" "No, I just eat here a lot," Diaz says he told the teen. "He says, 'But you're even nice to the dishwasher.'" Diaz replied, "Well, haven't you been taught you should be nice to everybody?" "Yea, but I didn't think people actually behaved that way," the teen said. Diaz asked him what he wanted out of life. "He just had almost a sad face," Diaz says. The teen couldn't answer Diaz — or he didn't want to. When the bill arrived, Diaz told the teen, "Look, I guess you're going to have to pay for this bill 'cause you have my money and I can't pay for this. So if you give me my wallet back, I'll gladly treat you." The teen "didn't even think about it" and returned the wallet, Diaz says. "I gave him $20 ... I figure maybe it'll help him. I don't know." Diaz says he asked for something in return — the teen's knife — "and he gave it to me." Afterward, when Diaz told his mother what happened, she said, "You're the type of kid that if someone asked you for the time, you gave them your watch." "I figure, you know, if you treat people right, you can only hope that they treat you right. It's as simple as it gets in this complicated world."

Produced for Morning Edition by Michael Garofalo. 

http://n.pr/DiazSW

As an aspiring Social Worker, who knows he's desperately got to work on treating people better (all people! all MANKIND!!), I am very moved by this story. Perhaps Diaz's faith in his fellowman, his uncommon generosity, empathy and understanding, could be misconstrued as a bit of 1/4-Life naivete, but I'd like to think that for as long as Diaz can and will cultivate, nurture, maintain, and grow his sense of altruism, then in fact all those possibly misconstrued character traits could be genuinely real and honest, and in fact, perhaps these traits could hang around for quite some time.

I've witnessed so much "BURN OUT" in the Social Services sector: MSW/LCSWs who just can no longer hack the pressure of daily on-the-job disappointments, letdowns and tragedy, and who have abandoned their careers after some 15 odd years, only to find themselves stranded.

Or, the other usual scenario, is that ground-zero in-the-trenches Social Service providers usually hack it for as long as they have to before a nice cushy desk-job comes their way, as Administrator of this, Coordinator of that, Manager of this, or Director of that. Then, that's when they lose sight of the human element that kept them so close to the streets at the beginning of their careers, and they grow cold and insensitive and money hungry, as most people do sooner or later.

I've known one or two people who have followed a different paradigm, and who have stuck to their guns in the trenches. Granted, these people could be painted in bizarrely radical and cacophonous timbres and hues, but they are REAL people, with REAL HONEST TO GOODNESS love for their fellowman. It's those type of people, 40 and 50 (and 60 or 70) year old men & women who still walk the streets looking to save a kid's life, that I find most heroic!! We'll have to see how Diaz turns out when he's a bout 20 years further into his career!!

Not cynical, but admiringly pleased...
Respectfully submitted,

Matt(e)o | QHereKidSF
Matthew D. Blanchard
San Francisco, CA USA
[20100814T154013PST]

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WE MAKE A LIVING BY WHAT WE GET;

WE MAKE A LIFE BY WHAT WE GIVE.

— Winston Churchill 

YouTube® - WILDLY PULCHRITUDINOUS!!

Animal Behaviorist "PLAYS" with Wild Lions

What seems like stock new footage may be a hoax! Is this man real? Is what he is doing real? And if so, who's to say that what he is doing is good for these animals? Arguments vary! What doesn't go unnoticed is how beautiful these interactions are to behold. Thank you, YouTube!!


http://youtu.be/Wso13n4kHZ4, posted by PHARMART (March 19, 2009) 

Something seems dubious about these scenes in this YouTube video I just happened to "StumbleUpon," as if they were contrived and happened actually to take place in some Western Safari Amusement Park (à la Busch Gardens Tampa Bay). However, much of me wants to invest a good deal of admiring trust into what is portrayed here as legitimate news footage. If this man is real -- if what he is doing is real -- then I commend him not only for his bravery, but for his innate gifts as an animal behaviorist! Ouais! T'as raison! C'est étonnant, ce qu'il fait. BRAVO!!

 "...Étonnant," reads the original title of this video on YouTube; hence, my remarks "en français!" 

That said, I'd like to lean to the side of the fence that believes that this footage and these mesmerizing acts of human-animal interaction are turly genuine. It'd be like the "Crocodile Hunter" returned; only this time, with the soul & stature of a WILD LION!! What a beautiful thought...

Respectfully submitted, 
Matt(e)o | QHereKidSF 
Matthew D. Blanchard 
San Francisco, CA USA 
[20100814T081747PST]

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IF ONE ADVANCES CONFIDENTLY IN THE DIRECTION
OF HIS DREAMS, AND ENDEAVORS TO LIVE THE LIFE
HE HAS IMAGINED, HE WILL MEET WITH A SUCCESS
UNEXPECTED IN COMMON HOURS.

— Henry David Thoreau

FOR THE EXISTING WORLD IS NOT A DREAM, AND
CANNOT WITH IMPUNITY BE TREATED AS A DREAM;
NEITHER IS IT A DISEASE; BUT IT IS THE GROUND ON
WHICH YOU STAND, IT IS THE MOTHER OF WHOM
YOU WERE BORN.

— Ralph Waldo Emerson 

Star-Spangled KITSCH, by C. BROWN (1975)

"Camp mocks bad taste..." | Dictionary.com

In short, camp mocks bad taste; kitsch exploits it. Camp arouses our sense of the ridiculous, and we respond with amused tolerance. When we see Bette Davis or Ruth Gordon, fine if sometimes flamboyant performers relax their self-discipline and over-extend their acting technique in a superfluity of ineffective gestures �— finger-twitching and hip-switching, hand-rubbing or hip-protruding — we label the sum total as camp. Mae West, whose nasally provocative delivery, eye-rolling, lip-pursing, and pelvic tics parody the conventional invitation to dalliance, is never out of control and is camp, pure and simple.... Camp was also the stock-in-trade of Carmen Miranda, whose retina-searing Technicolor® get-ups, skyscraper headdresses bearing a season's fruit harvest, clomping platform shoes and garbled English projected in a voice that could be heard on Mars, all came together beautifully in her campy personification of Exaggeration. Had we been blessed with the Brazilian Bombshell's own blazing interpretation of Joan of Arc, the grotesque, if fascinating, result would surely have been kitsch.

CURTIS F. BROWN, "Is It Kitsch or Is It Camp?"

Star-Spangled Kitsch (Universe Books, 1975)

STAR-SPANGLED KITSCH
[Universe Books, 1975]

In his essay entitled, "Is It Kitsch or Is It Camp?" from his collection of short works entitled Star-Spangled Kitsch (Universe Books, 1975), Curtis F. Brown eruditely elucidates the defining distinction(s) between that which is "KITSCH" and that which is "CAMP," all in one cohesively concise construct of written communication, saying, "In short, camp mocks bad taste; kitsch exploits it."

Brown buttresses his thesis with reinforcing remarks and observations about four infamously celebrated female film performers of the early B&W turned Technicolor® era of American cinema: Betty Davis, Ruth Gordon, Mae West and Carmen Miranda.

The "kitsch/camp" theorist discusses in a mellifluously colorful and contemporary manner the conventions of that which is most distinctly "CAMP," pointing out that the flamboyant, quizzically quixotic & chimerical (Oh! Just call it straight up as it is: QUEER!) gesticulations and glaringly gaudy "get-ups" (i.e., accouterments, accessories, costumes, clothing, etc.) of these brazenly garish gals often served as parodic personifications and pasquinade of archetypal character traits, concepts, customs, behaviors or mores.

Mae West, for example, "whose nasally provocative delivery, eye-rolling, lip-pursing, and pelvic tics parody the conventional invitation to dalliance, is never out of control and is camp, pure and simple....," writes Brown, in his deliberately descriptive and constatively conclusive manner.

These parodist-performers personify not real or fictitious characters, personalities or people, but caricature in a conspicuously comedic fashion, with flagitiously flamboyant, frivolous fervor and right raucous, rambunctious repugnance, the conventions contrived of by our own seemingly sophisticated society, thus satirized it/us on stage and screen as "CAMP."

Were the performers actually in fact meant to interpret an historical personage, character or role writ from real life, the resultant (re)presentation would be ultimately defined as "KITSCH." Brown explains this distinct concept explicitly by referencing Carmen Miranda: "Had we been blessed with the Brazilian Bombshell's own blazing interpretation of Joan of Arc, the grotesque, if fascinating, result would surely have been kitsch."

Thus, then, and therefore, Brown describes two definitively dueling depictions of parodic satire "à la burlesque" and deems the two archetypal performance styles either distinctly "CAMP" or distinctly "KITSCH" (i.e., Brown's "kitsch/camp" thesis or theory).

I highly recommend to anyone interested in the study and/or performance of parodic satire "à la burlesque" by the infamously venerated female celebrity actors of the "Old Film" era or otherwise in the dichotomically "camp/kitsch" performances of contemporary female celebrity impersonators (i.e., drag queens!!) of the "Old School," at least to link to this abstracted quotation from Curtis F. Brown's definitive discourse on the dichotomic binary between all that is "CAMP" and all that is "KITSCH."

I myself find that this quotation intrigues the mind enough to motivate the reader immediately to seek out the source-text for further reading. I myself am going straight to the library today to check out Star-Spangled Kitsch, by Curtis F. Brown, so that I might completely immerse myself in the study of this profoundly erudite performance discourse; thus, then, and therefore, to inaugurate finally my fanatically fervid, right reasonably well-directed and derived research into the art of drag performance and of female impersonators as entertainers, both historically and contemporaneously, or could be possibly even maybe more.... We'll see!!

Thanks Dictionary.com for having serendipitously set my path of discovery in the direction of this dichotomic "kitsch/camp" discourse, so that I might delve deliberately even deeper into the subject matter as it relates to the art(s) of DRAG!! I never knew nor thought that this so easily navigable virtual reference library would spur on my determined effort to educate myself so thoroughly, dutifully and delightfully, all at once...

"In short, camp mocks bad taste; kitsch exploits..." Columbia World of Quotations, Columbia University Press, 1996. 10 Aug. 2010. Dictionary.com http://quotes.dictionary.com/In_short_camp_mocks_bad_taste_kitsch_exploits.
 
Respectfully submitted,
Matt(e)o | QHereKidSF
Matthew D. Blanchard
San Francisco, CA USA
[20100810T094249PST]  

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Quotation by JOHN MILTON (1608-1674)

"What needs my Shakespeare..." | Dictionary.com

What needs my Shakespeare for his honored bones

The labor of an age in piled stones?

Or that his hallowed relics should be hid

Under a stary pointing pyramid?

Dear son of memory, great heir of fame,

What need'st thou such weak witness of thy name?

Thou in our wonder and astonishment

Has built thyself a livelong monument.

For whilst, to the shame of slow-endeavoring art,

Thy easy numbers flow, and that each heart

Hath from the leaves of thy unvalued book

These Delphic lines with deep impression took;

Then though, our fancy of itself bereaving,

Dost make us marble with too much conceiving,

And so sepulchred in such pomp dost lie

That kings for such a tomb would wish to die.

JOHN MILTON (1608-1674), On Shakespeare (ll. 1-16),
The Complete Poetry of John Milton, John T. Shawcross, ed. 
(1963, rev. ed. 1971) Doubleday.

JOHN MILTON (1608-1674)
www.rightwords.eu
[Artist/Date Unknown]

These few first lines of Milton's poignant, telling tribute to the pomp & circumstance in which Shakespeare's fanatic followers celebrate the canon of his creative works, argue in closing "that kings for such a tomb would wish to die" (l. 16). How properly and poignantly put!! Any latter icons of cultural and/or literary achievement sh/would find immense honor were they to acquire nearly just an ounce of the same sort of literary acclaim, stature or prestige as that right noble playwright, the irrefutably genius author of the Elizabethan classics in dramatic literature: Will. Shakespeare!!

Few have, can or could contrive to match the magnitudinous immensity of impact imparted by him, the superhuman hallowed hero of the written stage (dites: "SHAKESPEARE!!"), onto not his culture & society alone, but as well upon each and every dutifully devout and dioramic disciple cultures deliberately deemed admiring adherents or analogues to this genius progenitor to such sumptuously sophisticated literary style(s) of global generic scale.

Shakespeare was, has been, is still to this day, and for ever into the distant future will be considered by many (or else by all!!) not merely didaskalos of the dramatic literary canon, but the one true universally esteemed, accepted...and thus, unto vehemently adhered...argon eponymous (i.e., "patriarch" or "patron [saint]") of all obviously occidental traditions of theatrical poetry in performance.

John Milton succeeds so very well at eloquently enunciating the elaborately evocative and immeasurable magnitude of Shakespeare's influence on more than just the Theatre World, but on the entire Elizabethan (and post-Elizabethan) polis, in general, as well. Society would ne'er so well be such the same without the heavenly hallowed, consecrated contributions of our heuristically humble and unhubristic, sophron hero of the stage: Shakespeare.

And Oi!! Does Milton do him justice better than I!! ME? I.E., the garishly garrulous and spuriously specious simpleton, who here cites such less than simple sophistry as propitious pontification or mere petty platitudinous parlance of opinion on the matter!! How plainly plebeian and frivolous!! How flagrantly, flagitiously mundane my motivations be to ignominiously inculcate the already willfully well-educated multitudes in cyberspace, who, wincing at my execrably desolate, dissipated and laboriously loquacious declarations, want nothing of my nominally nefand expiation and atonement for the pseudo-propitiation of the quasi-eloquent (or far from so!), proudly pompous putridity of my pedantic prosaicism.

Pardon! Habit harangues me for the unfettered fetid fervor with which I phrase my constatively contrived conclusions. Lest Will Shakespeare would have been less loquacious, and if so, then far less stoically spurious in spirit and in saying as myself. So be it! Should anyone deem my licentious elocution worthy of two to three trite triflingly thoughtful remarks, then I unwincingly welcome ferociously fervid (better yet, much less flagrantly fallacious!) imprecation.

Bedamn me my blasphemy!! Deserved be I of your astutely acute abhorrence and anathemas against my arguably ill-aligned, airish and asininely alliterative assertions. I patiently await your counterpointed arguments, observations and/or opinions of my OH! SO! petulantly obsequious, sycophantic remarks.

"What needs my Shakespeare for his honored bones." Columbia World of Quotations. Columbia University Press, 1996. 09 Aug. 2010. http://quotes.dictionary.com/What_needs_my_Shakespeare_for_his_honored_bones>.

Abhorrently proud of my pedantry, yet still so...
Respectfully submitted,

Matt(e)o | QHereKidSF
Matthew D. Blanchard
San Francisco, CA USA
[20100809T235056PST] 

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WE MAKE A LIVING BY WHAT WE GET;

WE MAKE A LIFE BY WHAT WE GIVE.

— Winston Churchill 

YouTube® - DIRTY LITTLE MERMAID!!

UP WHERE THEY BANG. UP WHERE THEY BONE.

This ludic, lascivious and salaciously sex-ified, unadulterated pornographic version of Alan Mencken's Part Of That World from Disney's animated masterpiece "The Little Mermaid," is rife with explicitly raunchy content that is only tempered by the calm, quaint, quintessentially Mencken balladry of its melodic serenade, its tender timbres and tonalities. 

The new lyrics, apparently written and performed by a Brown University sketch comedy group "Out Of Bounds," strike the perfect chord contrary to the adolescent nature of the music, to create something quite perturbing, post-pubescent and like was said, pornographic. The explicit nature of the lyrics juxtaposed with the original score is strikingly hilarious, riotously ridiculous; it soils the tongue and wounds the ears with perfect antitheses... What an amazing PARODY!! I'd recommend it to anyone!!



http://youtu.be/sNYDpH0Jors, posted by Nuclearknight77 (Oct. 23, 2006)

"Betcha on land they'd understand, and they don't f*ck over their daughters!
Wouldn't I love, love to f*ck like they do up above!... What is gonorrhea and why does it (what's the word?) -- BURN?... What would I give if I could have a VAGINA?..." 
A perverse, ludic, lascivious rendition of Alan MENCKEN'S  Part Of That World, from Disney's animated masterpiece "The Little Mermaid," with parodic lyrics by Boston University's sketch comedy group "Out Of Bounds."

Care to catch a glimpse of / listen to a right ridiculously point-on teaser to my Sins Invalid A.I.R. performance piece?? While the "Out Of Bounds" version of Part Of That World remains loyal to the balladic tempo, rhythm, melody and tune of the original, my deconstruction of the song will be resoundingly more punk-rockish, given the background, proclivity & inclinations of my accompanist & composer: Colleen Nagle. Check her out at http://subamerica.org or @subamerica on Twitter®!!! 

Can't wait to debut Phoenix a'Fire!! Our even more ludic, lascivious, salacious, sickeningly perverse and pornographic version of this song. Wait for it!! We'll be showcasing our work at Theatre Artaud (San Francisco, CA) sometime in December 2010...

Respectfully submitted,
Matt(e)o | QHereKidSF
Matthew D. Blanchard
San Francisco, CA USA
[20100807T030327PST]

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