Consumer Financial Protection Agency and Hip-Hop

From the strange, but cool file...

Professor of Law Elizabeth Warren, who is quite the authority in financial law and its cognates and who chaired the Congressional Oversight Panel overseeing the bank bailout, wrote a 2007 article in Democracy: A Journal of Ideas, entitled Unsafe at Any Rate, which called for the creation of something very similar to the CFPA. Prof. Warren is now the subject of a hip-hop song.

It's not the worst song I've heard, but the video could use a little work.




-- Nick J. Sciullo

President Wyclef Jean?

In a story that appears too good to be true, rumours are swirling that hip hop superstar Wyclef Jean is considering a run for the presidency of his home nation of Haiti. With the 2010 presidential election upcoming, many are watching Wyclef closely to see whether he will enter the political arena formally. For the past three years, Wyclef has represented Haiti as an "ambassador-at-large," a post to which he was appointed by current president René Préval.

As reported previously on HipHopLaw.com, Wyclef has been intensely involved in the reconstruction efforts ongoing in Haiti following the devastating earthquake that crippled the island nation.

In a statement to the press, Jean's family indicated that "Wyclef's commitment to his homeland and its youth is boundless, and he will remain its greatest supporter regardless of whether he is part of the government moving forward. . . . If and when a decision is made, the media will be alerted immediately." The deadline for declaring as a presidential candidate in Haiti is August 7, 2010.

Could President Wyclef Jean become a reality?

"It Ain't My Fault": Calling Out the Blame Politics of the BP Oil Spill

Much has been made of the following question from the BP Oil Spill: whom exactly do we blame? In the months since the Deepwater Horizon sank and the well began spewing oil, BP and its corporate partners went to great lengths in front of Congress to point fingers at each other for responsibility for the disaster. It was quite clear that this was meant to stake out positions for the lawsuits to come seeking to assess liability for the disaster.

In reaction to this Blame Posturing, the “Gulf Coast All-Stars” (including Mos Def, Lenny Kravitz, Trombone Shorty, the Preservation Hall Jazz Band, and actor Tim Robbins) performed an old New Orleans standard with new hip-hop lyrics that call out the hypocrisy of these blame politics: It Ain’t My Fault.

This song was written as part of the Gulf Aid benefit concert held this past May to benefit the thousands now facing the end of their livelihoods. Mos Def describes the motivation for the song this way:

[I]t’s an old New Orleans classic we use it to speak about the current situation that’s going on in the Gulf and . . . [to] speak up about the situation that prevails in the world today.

Even after the Gulf Aid concert, the Blame Posturing continues. It is a story we now know all too well: BP’s chief executive, Tony Hayward, in a series of gaffs, went from contrite to cagey about BP’s responsibility for the disaster. As the New York Times reported on June 23:

He initially minimized the impact of the disaster, then publicly wished he could “get my life back.” Most recently, he took a day off to watch a yacht race in Britain even as Louisiana shrimpers were kept off the water by a fishing ban because of the oil spill.

In a move that came as a surprise to no one, BP quickly completed its plan to remove Hayward from dealing with the crisis. (BP = Bumped Prez!) Hayward’s conduct ratcheted up the desire to make BP pay for the spill, and it is clear that its establishment of a settlement fund is BP’s effort to get ahead of the liability curve. Moreover, as has been discussed on the Corporate Justice Blog, the legal issues surrounding the liability for the spill (coupled with the ongoing financial crisis) potentially will transform the approach to corporate liability generally. (Indeed, BP took the remarkable step of withholding dividends from its shareholders in anticipation of having to pay for this disaster; a smart move, as Professor Dorothy A. Brown argued.)

Moreover, the blame game has become Blame Politics. It began with President Obama expressing his frustration at BP’s finger pointing. In the same breath, President Obama ordered the revamping of the regulatory scheme for oil drilling to attack the “cozy relationship between the oil companies and the federal agency that permits them to drill.”

Yet, as the response of the government unfolded from May to June, which included the role the President undertook to change regulation, reconsider drilling policy, and facilitate the creation of the BP Settlement Fund, pundits and polls blamed President Obama for not being angry enough. (Was the message to President Obama “Be Perturbed”?) At the same time, other pundits cautioned Obama to remain measured because he risked being perceived as “the angry black man.” (The contradiction here is worth further exploration in a later post.) Moreover, some Republicans defended BP and criticized Obama (while others objected to this “defense”) for running a “shakedown” of BP through helping to negotiate the $20 million settlement fund. (BP = Bad Politicians?)

The Blame Pastime of the last two months misses the larger point—the Gulf Coast has been Battered Plenty. It Ain’t My Fault is a pointed reminder of this fact. Mos Def reminds us that the BP oil spill, possibly the biggest oil spill ever (as well as the failed levies of Hurricane Katrina) is somebody’s fault, and the mechanisms for corporate and governmental accountability once again appear to be insufficient to solving the problem. While blame is passed around, it is the Besieged People of the Gulf Coast region that are suffering—through Katrina and now through the Deepwater Horizon disaster—while litigation and political posturing continue.

It is no surprise that the American people are near the Boiling Point.

Camille Nelson Chosen as Dean at Suffolk

One of our very own has made it to perhaps the pinnacle of the professoriate as the newly selected Dean of the Suffolk University Law School. The full announcement from Suffolk is here: http://www.suffolk.edu/42396.html.

This is a tremendous accomplishment and a great honor. Nelson is the first womyn and first person of color to hold this position in Suffolk's 104 year history.

You can view Professor Nelson's Hofstra faculty page here: http://law.hofstra.edu/directory/faculty/fulltimefaculty/ftfac_nelson.html.

Perhaps there's a correlation between presenting at The Evolution of Street Knowledge conference that gave birth to this blog and career advancement. It may be too early to tell.

Three cheers for Dean Nelson! This is truly a great accomplishment and I'm sure I speak for all HipHopLaw.com bloggers when I say, "Best of luck and congratulations."


-- Nick J. Sciullo

Dr. Dre Dealt Blow in WIDEawake Death Row Lawsuit

Dr. Dre's lawsuit against the bankrupt Death Row Records successor label WIDEawake Death Row Records has been dealt a blow. Following WIDEawake's re-release of The Chronic and Dre's greatest hits last year, Dre sued claiming that his trademark and publicity rights had been violated. Dr. Dre also claimed that he has not been paid royalties since he broke from the label and Suge Knight more than a decade ago. Last week, California District Court Judge Christina Snyder dismissed Dre's trademark infringement and publicity rights infringement claims ruling that the re-release did not violate Dre's rights under current trademark infringement law. Judge Snyder did allow the back royalties claim to go forward.

According to Billboard.com, In rejecting the trademark and publicity rights infringement claims, Judge Snyder reasoned:

"In analyzing the case, California District Court Judge Christina Snyder applied the so-called 'Monty Python' rule, after a 1976 case where a defendant extensively edited the TV comedy series in order to broadcast it on television. The question was whether the changes to Dr. Dre's album were more than 'cosmetic.'

Snyder ruled the alterations were 'minor and inconsequential.' She also pointed out that the image used on the cover jacket is the same photograph from the original album, instead of a more current photo, which may have gone further to imply some new endorsement."

While Dr. Dre's back royalties claim will go forward, he has lost his trademark infringement claim based primarily on the way he left Death Row in 1996, leaving most of his rights in the catelogue to Suge Knight and Death Row.

The Bar Exam

Artist: Joell Ortiz
Track: Slaughterhouse - Joe Budden (with Joell Ortiz, Nino Bless, Crooked I, Royce Da 5'9")
Album: Halfway House

I define gutter, everytime I rhyme I climb up another notch
Hip hop got my spine smothered
But I'll be fine brother
My mind hovers above all you jive suckers
Listen, that's word to my mother
You throw a shot at me
I'm throwing a shot back
Your's is on a joint
Mine's whistling by your top hat
Ya I'm cool, but you violate and I'll cock back
Open the mac's mouth and black out like I do not rap
I'm sick and tired of niggas lyin'
They fifth is lyin in they second drawer
Next door to some bullshit they ironed
Ya'll be makin up stories that them little kids be buyin'
I do everything my Penn State like a Nittany Lion
I ain't gotta mention the streets on this song
To get in a nigga ass on these beats like a thong, pause
Veterans co-sign me, the up and comers scared
The pretty girls go "Papi here's my underwear."
Never in a hundred years I thought I'd be a rapper
But in less than a hundred bars I knew I'd be a factor
I'm PS4 in HD and the screen is plasma
You're Atari 2600 with a weak adapter
Between us the gap's so crazy
I'm Gucci, Louis V, you're Gap, Old Navy
I get coochie in the V, you attract no ladies
You're suburb, I'm gutter where it make cat's go crazy

CFP: Rap and Hip Hop Culture

Who: PCA/ACA & Southwest/Texas Popular Culture and American Culture Associations Joint Conference

Dates: April 20-23, 2011

Where: San Antonio, TX

http://www.swtxpca.org

Proposal submission deadline: December 15, 2010

Conference hotel:
Marriott Rivercenter San Antonio
101 Bowie Street
San Antonio, Texas 78205
USA Phone: 1-210-223-1000

Proposals for both Panels and Individual Papers are now being accepted for the Rap Music and Hip Hop Culture Area. We had excellent representation in this Area for 2010, and we are looking to expand in both quantity and complexity for 2011. This year, we are particularly interested in proposals that address the following:
- Intersections of Hip Hop and Pedagogy
- Rap Music, Hip Hop Culture, and Space/Place
- Theoretical approaches to Hip Hop (i.e., Language Theory/Postmodernism/Social Theory)
- Rap, Hip Hop, and Academic Disciplinarity
- Rhetorical Approaches to Rap Music and Hip Hop Culture
- Rap, Hip Hop, and Film/Documentary
- Hip Hop Subjectivities/Agency
- Anthropological/Sociological approaches to Hip Hop Culture
- Economics and Hip Hop Culture
- Discussions of international Hip Hop
- Intersections of Hip Hop and Religion/Theology
- Hip Hop and Technology
- Latino Hip Hop
- Women and Hip Hop
- Hip Hop in the age of Obama

As always, papers and panels that consider the myriad ways that Rap Music and Hip Hop culture impact and feed upon Popular and American culture are encouraged. This Area should be construed broadly, and we seek papers that aren’t afraid to take risks. Proposals from Graduate Students are particularly welcome, with award opportunities for the best graduate papers.Please send abstracts of no more than 250 words with relevant audio/visual requests by December 15, 2010, to Robert Tinajero at the email below. Panel proposals should include one abstract of 200 words describing the panel, accompanied by the underlying abstracts of 250 words of the individual papers that comprise the panel.

Robert Tinajero, hiphopcfp@hotmail.com, www.swtxpca.org


-- Nick J. Sciullo

CFP: Examining Race in the 21st Century at Monmouth University

THEME: Examining Race in the 21st Century

DATE: Thursday, November 11 – Saturday, November 13, 2010

VENUE: Monmouth University, West Long Branch, NJ

The idea of race continues to be controversial. In spite of different historical developments in various parts of the world, the meaning of race and its significance remains an open issue.

Some of the questions this conference will address are:

Why do the issues that surround race continue to be important?
Is race a useful construct?
How are systems of racial classification and identity manifested in social institutions and relationships?

We seek individual papers, panels, workshops, and posters that can include but are not restricted to the following topics:

Race and identity in different cultures
Race, gender, ethnicity, color, and class
Race in the Obama era
Race and diversity in higher education
The concept of post-racialism in history and society
Race and popular culture
Race and urbanization
Race change[s]: Racial formation, then and now
Race and identity in local and global perspective
Race, continuity, and change
Implications of racial discourse
Race and ethnicity: similarities and differences
Race and power
Race, Gender, Class
Race and Labor
Race in Politics

Confirmed Speakers:

Dr. Robin D.G. Kelley (Keynote)
Professor of History and American Studies
Associate Director, Center for Diversity and Democracy
Department of Ethnic Studies and History
University of Southern California (USC)
Los Angeles, California

Dr. Isar P. Godreau
Researcher and Director
Institute for Interdisciplinary Research
University of Puerto Rico, Cayey
Puerto Rico

Dr. Paul Finkelman
Professor
President William McKinley Distinguished Professor of Law and Public Policy
Senior Fellow, Government Law Center
Albany Law School
Albany, New York

Dr. Irene Silverblatt
Professor
Department of Cultural Anthropology
Duke University
Durham, North Carolina

Dr. Rogers Smith
Christopher H. Browne Distinguished Professor of Political Science
Chair, Penn Program on Democracy, Citizenship, and Constitutionalism
Department of Political Science
University of Pennsylvania
College Park, Pennsylvania

Others-TBA

Please send 250 word abstracts to secondbiennialraceconf@gmail.com Please visit the website at www.monmouth.edu/race/ often for further updates.

FOR MORE INFORMATION
Hettie V. Williams, Lecturer, African American History, Department of History and Anthropology, hwilliam@monmouth.edu
Or
Dr. Catherine Duckett, Associate Dean, School of Science, at cduckett@monmouth.edu.


-- Nick J. Sciullo

CFP: Emerging Paradigms in Critical Mixed Race Studies at DePaul University

“Emerging Paradigms in Critical Mixed Race Studies,” the first annual Critical Mixed Race Studies Conference, will be held at DePaul University in Chicago on November 5-6, 2010.

The CMRS conference brings together scholars from a variety of disciplines nationwide. Recognizing that the diverse disciplines that have nurtured Mixed Race Studies have reached a watershed moment, the 2010 CMRS conference is devoted to the general theme “Emerging Paradigms in Critical Mixed Race Studies.”

Critical Mixed Race Studies (CMRS) is the transracial, transdisciplinary, and transnational critical analysis of the institutionalization of social, cultural, and political orders based on dominant conceptions of race. CMRS emphasizes the mutability of race and the porosity of racial boundaries in order to critique processes of racialization and social stratification based on race. CMRS addresses local and global systemic injustices rooted in systems of racialization.

Call for Papers - deadline May 7, 2010


http://las.depaul.edu/aas/About/CMRSConference/CallForPapers.asp

The 2010 CMRS is organized by Camilla Fojas and Laura Kina (DePaul University) and Wei Ming Dariotis (San Francisco State University) and is sponsored by DePaul University Global Asian Studies (formerly Asian American Studies) and Latin American and Latino Studies and co-sponsored by the College of Ethnic Studies at San Francisco State University, the MAVIN Foundation, and DePaul's Cultural Center, African Black Diaspora Studies and American Studies.

All queries should be directed to the conference chairs: cmrs@depaul.edu or 773-325-4048.

The conference is free and open to the public but we do ask that you preregister at:
http://condor.depaul.edu/~aas/CMRSconference/.


-- Nick J. Sciullo

Hip Hop as a Military Crime?

Specialist Marc Hall, a soldier in the 3rd Infantry Division, was jailed in December 2009 for writing and recording a hip-hop song that allegedly made threatening comments in connection with his commanding officers. The song, entitled “Stop-Loss,” what the military terms its policy of holding service members past their contracted enlistment dates, included the lyrics "round up all eventually, easily, walk right up peacefully" and rhymes "up against the wall, turn around . . . Ready to fire down, spray and watch the bodies all hit the floor." The Army interpreted these lyrics as veiled threats, jailed Hall and intended to court martial him.

"Until April 17, US Army Spc. Marc Hall sat in a military brig at Camp Arifjan, Kuwait, facing an imminent court-martial for challenging the US military’s stop-loss policy in a song. Saturday morning, Spc. Hall was granted a discharge by the military." The decision to arrest Hall was curious from the beginning as the arrest was carried out more than five months after Hall mailed a copy of the song to the Pentagon and shared the music with his unit. The military has commented on the case, saying “If a threat is communicated, it needs to be taken seriously.”

The case not only raises questions about freedom of speech but also the military’s treatment of what it deems potentially dangerous soldiers particularly after the tragic shootings by Nidal Hasan at Fort Hood in November 2009. Jim Klimanski, a civilian military lawyer argues that the song, rather than a threat to his commanding officers, is “political hyperbole” and describes the song as “his rant on stop-loss. It's political speech."

The song, which contains graphic lyrics, can be heard here.

R.I.P. Guru. R.I.P. GangStarr?

On Monday, April 19th, Guru, one of the truly talented MCs of all time, passed away after a long battle with cancer. He will, of course, be missed as an individual artist, but most of us were introduced to him as part of GangStarr, the group he performed in with DJ Premier for almost 15 years. The two parted ways, apparently acrimoniously, in 2003, after which Guru released a number of jazz/hip-hop fusion albums and then began collaborating with MC Solar. In a letter to his fans released after his death, Guru indicated a desire that Premier have nothing to do with any future use of Guru’s name or likeness, and he called himself the “sole founder of GangStarr.” According to the letter, Guru instructed his lawyers to allow only Solar to exploit his work. AllHipHop.com reported on Guru’s untimely passing and deathbed wishes: http://allhiphop.com/stories/news/archive/2010/04/20/22177912.aspx

For both lawyers and hip-hop fans, the Guru letter raises interesting questions. Putting aside technical questions about whether the letter accomplishes Guru’s legal purpose, to what extent do we want one member of a duo or group to restrict other members from using the work or image that was developed collaboratively? In a state that recognizes a post-mortem right of publicity, Guru’s heirs can limit Premier’s exploitation of Guru as an individual. But if Premier is a joint author of any copyrighted works developed by Gangstarr, or co-owner of any trademarks or other property of the duo, will Guru’s attorneys be able to give effect to his wishes? More importantly, in a creative community where collaborations create some of the richest music, and where beefs and splits are common, do we want any member to have veto power over the creative product, possibly limiting all of our enjoyment in it? Think of splits over the years between members of major groups such as EPMD and Eric B & Rakim, or, more recently, Dipset.

Guru dies; The loss of a legend

Guru passed away yesterday, the victim of cancer. Although many new hip-hop heads might not remember Guru of Gangstarr fame, Guru worked for years with many of the world's greatest artists producing a soulful and passionate hip-hop. Guru's exciting belnd of Hip-Hop and Jazz created the storied Jazzmatazz series. These four CDs contained guest appearences by Donell Jones, Angie Stone, Bilal, Craig David, Issac Hayes, The Roots, Damian Marley, Roy Ayers, Branford Marsalis, and more.

My favorite Guru product was "No More" featuring Craig David. Although many in the hip-hop community seemed to think Guru had fallen off from his earlier success, I remian convinced that some of his greatest work was with newer neo-soul artists. This record used to be a hit on my turntables and I even incorporated it into a song on my first mixtape. Also check out Guru's guest appearence on "Johnny Was" from Chant Down Babylon.






Guru released the following letter to fans:

I, Guru, am writing this letter to my fans, friends and loved ones around the world. I have had a long battle with cancer and have succumbed to the disease. I have suffered with this illness for over a year. I have exhausted all medical options.

I have a non-profit organization called Each One Counts dedicated to carrying on my charitable work on behalf of abused and disadvantaged children from around the world and also to educate and research a cure for this terrible disease that took my life. I write this with tears in my eyes, not of sorrow but of joy for what a wonderful life I have enjoyed and how many great people I have had the pleasure of meeting.

My loyal best friend, partner and brother, Solar, has been at my side through it all and has been made my health proxy by myself on all matters relating to myself. He has been with me by my side on my many hospital stays, operations, doctors visits and stayed with me at my home and cared for me when I could not care for myself. Solar and his family is my family and I love them dearly and I expect my family, friends, and fans to respect that, regardless to anybody's feelings on the matter. It is my wish that counts. This being said I am survived by the love of my life, my sun KC, who I trust will be looked after by Solar and his family as their own. Any awards or tributes should be accepted, organized approved by Solar on behalf myself and my son until he is of age to except on his own.

I do not wish my ex-DJ to have anything to do with my name likeness, events tributes etc. connected in anyway to my situation including any use of my name or circumstance for any reason and I have instructed my lawyers to enforce this. I had nothing to do with him in life for over 7 years and want nothing to do with him in death. Solar has my life story and is well informed on my family situation, as well as the real reason for separating from my ex-DJ. As the sole founder of GangStarr, I am very proud of what GangStarr has meant to the music world and fans. I equally am proud of my Jazzmatazz series and as the father of Hip-Hop/Jazz. I am most proud of my leadership and pioneering efforts on Jazzmatazz 4 for reinvigorating the Hip-Hop/Jazz genre in a time when music quality has reached an all time low. Solar and I have toured in places that I have never been before with GangStarr or Jazzmatatazz and we gained a reputation for being the best on the planet at Hip-Hop/Jazz, as well as the biggest and most influential Hip-Hop/Jazz record with Jazzmatazz 4 of the decade to now. The work I have done with Solar represents a legacy far beyond its time. And we as a team were not afraid to push the envelope. To me this is what true artists do! As men of honor we stood tall in the face of small mindedness, greed, and ignorance. As we fought for music and integrity at the cost of not earning millions and for this I will always be happy and proud, and would like to thank the million fans who have seen us perform over the years from all over the world. The work I have done with Solar represents a legacy far beyond its time and is my most creative and experimental to date. I hope that our music will receive the attention it deserves as it is some of the best work I have done and represents some of the best years of my life.

-- Nick J. Sciullo

Feed Your Mind: Hip-Hop Books for 2010

This is a somewhat complete list of books that might help readers as they pursue hip-hop study that have been published to date. If you've come across other books, post them in the comments. And, if you've read some of these books, post your reviews below as well.

How to Wreck a Nice Beach: The Vocoder from World War II to Hip-Hop, The Machine Speaks by Dave Tompkins
336 pages, Melville House, ISBN-13: 978-1933633886

Raw Law: Don Diva's Hip-Hop Guide to Criminal Justice by Muhammad Ibn Bashir, Esq.
256 pages, Grand Central Publishing, ISBN-13: 978-0446509350

City Kid: A Writer's Memoir of Ghetto Life and Post-Soul Success by Nelson George
288 pages, Plume, ISBN-13: 978-0452296046

Urban Science Education for the Hip-Hop Generation by Christopher Emdin
142 pages, Sense Publishers, ISBN-13: 978-9087909864

Hip Hop is Not Our Enemy: From A Preacher Who Keeps It Real by Dr. Kenneth T. Walum, Jr.
184 pages, AuthorHouse, ISBN-13: 978-1449074241

Tupac Shakur: The Life and Times of an American Icon by Tayannah Lee McQuillar
288 pages, Da Capo Press, ISBN-13: 978-1568583877

Political Poetry as Discourse: Rereading John Greenleaf Whittier, Ebenezer Elliott, and Hiphopology by Angela Michelle Leonard
374 pages, Lexington Books, ISBN-13: 978-0739122846

Why Are So Many Black Men in Prison? by Demico Boothe
160 pages, Full Surface Publishing, ISBN-13: 978-1425713973

Post Black: How a New Generation Is Redefining African American Identity by Ytasha L. Womack
224 pages, Lawrence Hill Books, ISBN-13: 978-1556528057

-- Nick J. Sciullo

Hip Hop and Law School Admissions?

At the Veritas Prep Blog, last month was “Hip Hip Month” which included a post on how hip hop can help law students in the admissions process. The post describes how “introspection, emotion, and brutal honesty” are qualities that elevate hip hop and these are the qualities of winning personal statements. These qualities are what makes hip hop memorable and relevant and cause people to become invested in it – exactly the reaction a potential law student wants to see from the person reading their personal statement.

Directly from the Veritas Prep Blog:

"By now, you HAVE to be wondering: what can you, the law school applicant, possibly learn from a rapper?

It's pretty simple, actually: what you can learn is how to tell a story. Rappers - the good ones at least - are ultimately storytellers. The hip hop album generally considered to be the best ever recorded - Nas' Illmatic - is basically a spoken word version of his life's journal. The late great Tupac Shakur transitioned easily from "gangsta rap" to books of poetry and back again. These guys gave us tales of their life, made the words rhyme, and put it all over produced beats and sounds. That was their way of telling a story within the confines of a particular form.

Law school applicants also have the challenge of telling their unique story within the confines of a form . . . the personal statement."

The post can be found here.

Call for Papers: Civil Rights, Social Justice, and the Midwest

Civil Rights, Social Justice, and the Midwest
THE SOCIETY FOR UTOPIAN STUDIES 35th Annual Meeting
Hilton Milwaukee City Center
Milwaukee, Wisconsin
October 28-31, 2010


Milwaukee in the 1960s and 1970s was a key site for civil rights marches, particularly around the open housing movement. From 1897 through much of the 20th Century, the city was governed by a succession of Socialist mayors, elected on their platform of practical, "sewer socialism." And Wisconsin itself and its Midwestern neighbors have long been home to experiments inintentional community.

We encourage papers, panels, presentations and performances on literary, political, social, and architectural aspects of the civil rights struggle, intentional communities, and practical socialism with a Midwestern focus for the 2010 conference. We also welcome papers on other aspects of the utopian tradition - from the earliest utopian visions to the utopian speculations and yearnings of the 21st century, including art, architecture, urban and rural planning, literary utopias, dystopian writings, utopian political activism, theories of utopian spaces and ontologies, music, new media, or intentional communities.

* * *

Milwaukee has a rich array of museums, restaurants, theaters, parks, and universities for conference attendees to visit. The city boasts the first U.S. commission by Santiago Calatrava, at the world-class Milwaukee Art Museum; Frank Lloyd Wright buildings; an excellent opera company; microbreweries galore; award-winning chefs; 19th Century beer baron mansions; Lake Michigan, and more.

Please send a 100-250 word abstract by June 1, 2010 to:

Brian Greenspan
Department of English
1812 Dunton Tower
Carleton University
1125 Colonel By Drive
Ottawa, ON, Canada K1S 5B6

Or e-mail submissions to: brian_greenspan@carleton.ca (please put "sus submission" in the subject line). As you submit your abstract, please indicate if you have any scheduling restrictions, audiovisual needs (overhead projector; DVD/VHS player), special needs, or a need for a written letter of acceptance of your proposal.

For information about registration, travel or accommodations, please contact the Conference Coordinator, Peter Sands, at: sands@UWM.EDU


-- Nick J. Sciullo