In this book of poetry, Pietri writes about the harsh life of Puerto Ricans in NYC. This is the first published collection of poems by Pieri ncluding the title poem "Puerto Rican Obituary" - Pietri's best-known work, and something of an anthem for the Nuyorican Poetry movement. Pietri (1944-2004) was a co-founder, with Miguel Pinero and Miguel Algarín, of the Nuyorican Poets Cafe in 1973. -- Source of annotation: Marvin or Ruth Sackner.

This is the second printing by d.a. levy's press; the first printing had the imprint, The Free Lance Poets & Prose Workshop. The Renegade Press edition includes an abstract print and the cover that was made by levy. Billera had a Cleveland radio program on WCLV and editied "Podium" in the mid-1960's. Billera committed suicide in 1981 in his sealed automobile with the motor running from carbon monoxide poisoning. It is stored in a box labeled levy and Renegade Press. -- Source of annotation: Marvin or Ruth Sackner.

Billera had a Cleveland radio program on WCLV and editied "Podium" in the mid-1960's. He committed suicide in 1981 in his sealed automobile with the motor running from carbon monoxide poisoning. The Sackner Archive also holds the 2nd edition published by Renegade Press. Although this edition was not printed by da levy, it is stored in a box of Renegade Press publications with the 2nd edition that was published by d.a. levy. -- Source of annotation: Marvin or Ruth Sackner.

This is Baker's annual Valentine's gift to the Sackner Archive. It is shaped like a heart, trimmed with gold braid and stitched with 3 gold hearts, ribbon and a metal; a horizontal band across had gray stitched calligraphic markings. The text on the folded sheet reads, "A distinguished medal for those brave persons who have fought and were wounded in wars, tsunamis and elections this past year." -- Source of annotation: Marvin or Ruth Sackner.

Huth has made a postcard of an exhibition announcement for Jim Hodges installation piece at the Hirshhorn Museum. Hodges invited over 90 deligates to translate the phrase "don't be afraid" into their native handwritten language. He enlarged the handwritten phrases into billboard dimensions. -- Source of annotation: Marvin or Ruth Sackner.

This work was part of a portfolio entitled, "Quabel." -- Source of annotation: Marvin or Ruth Sackner.

The artist stencilled words concerning the decaying urban environment on buildings, trucks, overpasses etc. often assisted by young grafitti artists. -- Source of annotation: Marvin or Ruth Sackner.

This print depicts an image of an aged but still sharp-edged guillotine blade inscribed with a Latin line from Virgil's Aeneid. -- Source of annotation: Marvin or Ruth Sackner.

Racial names, one printed to the page in different font dimensions, from "European" to "Human," with every racial variant including slur names comprise this booklet. -- Source of annotation: Marvin or Ruth Sackner.

This issue features works of native indigenous writers and artists from Canada, the United States, Hawaii, and New Zealand. -- Source of annotation: Marvin or Ruth Sackner.

The cover photograph is by Alan Horvath. Includes several poems and polemics against the Vietnam war as handwritten manuscripts. -- Source of annotation: Marvin or Ruth Sackner.

Each page of this periodical depicts a reproduction of a collage from source material of periodicals and newspapers. -- Source of annotation: Marvin or Ruth Sackner.

Each page of this periodical depicts a reproduction of a collage from source material of periodicals and newspapers. -- Source of annotation: Marvin or Ruth Sackner.

Shirin Neshat's powerful and meaningful film was presented at the Chicago Art Institute. It was an installation of two synchronized black and white video sequences projected on large screens on opposite facing walls. In "Rapture," Neshat articulates the ways in which space and spatial boundaries are politicized in Islam. The men populate a stone fortress on one side of the room all wearing black pants and white shirts, and on the other wall the women move in a barren dessert wearing black full-length veils. The message by Neshat is that "both men and women are contained and controlled by a fortress mentality - women behind the veil, men behind the wall." The film was accompanied by music by Sussan Deyhim, blending Middle Eastern and North African folk traditions with contemporary sources using lyrics, abstract primal utterances, natural ambient sounds, electronic noise and percussion. -- Source of annotation: Marvin or Ruth Sackner.

This poem deals with recycling paper to preserve the environment. -- Source of annotation: Marvin or Ruth Sackner.