VIDEO: 'The Savoy King: Chick Webb & The Music That Changed America' > Shadow and Act

Preview: Doc

'The Savoy King:

Chick Webb & The Music

That Changed America'

 

by Vanessa Martinez

 

August 20, 2012

Screening at the New York Film Festival this October as part of the fest's "On The Arts" Special Events, the Swing-era feature documentary The Savoy King: Chick Webb & The Music That Changed America, follows the short life of drummer Chick Webb, who suffered from Spinal Tuberculosis since he was a child, as he built the hottest American Jazz orchestra based at the Savoy Ballroom in Harlem, NY.

Described as "a meditation on the transformative power of art," the New Heritage Theatre Group co-production is directed/produced by Jeff Kaufman and edited by Jamal El-Amin. The Savoy King, which also tells the story of Ella Fitzgerald, quotes the greatest legends in the history of Jazz, and features the voices of Bill Cosby as Chick Webb, Tyne Daly as Jazz publicist Helen Oakley Dance, Ron Perlman as Gene Krupa, Andy Garcia as Mario Bauzá, and Danny Glover as Count Basie.

Here's more about the film:

The Savoy Ballroom was the home of the amazing Hop dancers, and the first venue in America where Blacks and Whites could dance and socialize together. It had a huge, but largely unheralded social impact. Born fatherless and poor, Chick Webb developed spinal tuberculosis and was a hunchbacked dwarf in constant pain, yet he virtually invented modern drumming and built the hottest band of the 1930s (it was the Savoy Ballroom’s “house band”).

Chick was mentored by Duke Ellington, toured with Louis Armstrong, argued with Jelly Roll Morton, jammed with Artie Shaw, married a beautiful dancer, discovered and practically adopted Ella Fitzgerald, beat Benny Goodman and Count Basie in legendary battle of the bands, befriended Mario Bauzá (“The Father of Afro-Cuban Jazz”), encouraged a struggling Dizzy Gillespie, and helmed the first Black band to host a national radio show . . . all before drumming himself to death at age 30.

We’ve been privileged to film with people who could each could warrant their own documentary. They include: drummers Louie Bellson and Roy Haynes, trumpeter Joe Wilder, playwright-actress Gertrude Jeannette, Swing dance masters Frankie Manning and , Harlem Rens basketball star John Issacs, composer-arranger , longtime Harlem physician Dr. Muriel Petioni, and childhood friend Rev. Edward Wilson, Ella’s son Ray Brown Jr., the son of the Savoy Ballroom’s owner Dr. Richard Gale, and Chick’s jazz-loving nephew Brad Rowe.

Chick’s brief, inspiring life illuminates the society-changing power of music, the life-lifting effect of mentoring, a hard-fought breakthrough in racial understanding that reverberates today in many ways, and the ability of everyone (with or without disabilities) to reach beyond their apparent limits.

Watch the very engaging preview clips below:

 

VIDEO: Lil Buck: Aria > NOWNESS

Lil Buck: Aria

<p>Lil Buck: Aria on Nowness.com.</p>

Benjamin Millepied Hails the Dancer’s Mastery in Part Two of Our Jookin’ Double Bill

French ballet dancer and Black Swan choreographer Benjamin Millepied captures the freeform movement of rising dance star Lil Buck in his new short. Set to an electric guitar rendition of Bach’s 1741 “Aria” from the Goldberg Variations, performed by Millepied’s brother Laurent, the film showcases the richness of Jookin’ as a dance form and Buck’s ability to navigate different melodies and rhythms. While shooting another film together, Bacchanale, the classically trained Millepied invited Buck to collaborate on the unscripted piece, shot over an afternoon and evening against the backdrop of downtown Los Angeles. Millepied played “Aria” to Buck in the car on the way to the location, before allowing the Memphis native the freedom to simply improvise on the street. “He knew the mood, and improvised in a naturalistic manner,” says Millepied, who has previously worked with the likes of David Lang, Nico Muhly, Thierry Escaich and Philip Glass. Leading his own dance troupe called the New Styles Krew, Buck sprang to fame through a series of viral videos to perform with Madonna at the Super Bowl XLVI halftime show and feature on her new MDNA tour. “Lil Buck's dancing embraces all styles. He does steps that can be baroque, Indian or Russian, without ever having been exposed to those styles. There's a complete physical freedom in his body,” says Millepied. “Buck makes me want to dance. He opens doors to my imagination.” Here the rubber-limbed Buck shares his discovery of carpet-gliding moves and the rib-tickling joys of touring with Madonna.

How did you first get into ballet?
A hip-hop choreographer who was teaching me introduced me to ballet. She saw some of my movements as being similar to ballet and got me a scholarship to train in it. I was always an open-minded kid when it came to dance. I saw something that I thought could help me out in my own dance style.

What was your first experience of Jookin’?
There was a guy named Harlan Bobo who I saw at a place called the Crystal Palace Skating Rink in Memphis. He was gliding across the carpet like Michael Jackson, but better. Everyone was looking at him in amazement and I'd never seen anything like it. It was the first time I had ever come across it. From then on I knew that that was what I had to do, I was about 12 years old.

Where do you find your inspiration?
Back in Memphis it really was about the other dancers. Jookin’ was the only dance style that we had that was original. It was started there and it was our own. So we just learned from watching each other, I learned from the other people we saw. Watching my fellow Jookers, my peers and learning from the original people.

Do you preconceive what you're going to do or is it improvised?

It is genuinely spontaneous. I like to act in the moment, that is kind of how my life is. Quite often I am dancing to something I have only heard once and I just let myself go. I'm quite an experimental dancer, so if my body feels like a project is a good one, I go with it.

What have you learned from working with Madonna?
Never stop being humble and never forget where you came from. And love your fans, because they are the people that have put you where you are. We talk a lot actually, we all go out with her on day trips, kind of like her entourage going out to museums with her. She is quite a joker as well, she cracks a lot of jokes and keeps you smiling. She gives you a lot of energy. It really is a lot of fun being on tour with Madonna.

See part one of our Lil Buck double bill, directed by Jacob Sutton, here.

 

VIDEO: Preview 'No No: A Dockumentary' (Legend Of Dock Ellis, LSD No-Hitters, Hair Curlers & Beaning Batters) > Shadow and Act

Preview

'No No: A Dockumentary'

(Legend Of Dock Ellis,

LSD No-Hitters, Hair Curlers

& Beaning Batters)

by Tambay A. Obenson

 

August 20, 2012

I believe it was 3 years ago that we featured a short film based on this very subject - Dock Ellis & The LSD No-No, which was based on a colorful recording by former baseball pitcher Dock Ellis, describing how he pitched a no-hitter in 1970 while under the influence of LSD. Ellis, for his part, became an anti-drug crusader before he passed a few years ago.

Skip ahead to the present, as I've learned that a feature-length documentary on the life of Dock Ellis and that legendary LSD-influenced no-hitter, is in production.

First some quick back-story...

On June 12, 1970, Dock Ellis threw a no-hitter for the Pittsburgh Pirates. In 136 years of baseball history, only 276 no-hitters have been recorded. Dock is the only pitcher to ever claim he accomplished his while high on LSD. During his 12 years in the major leagues, Dock lived the expression "Black is Beautiful!" He wore curlers on the field. He stepped out of his Cadillac wearing the widest bell bottoms and the broadest collars. When he put on his uniform, he was one of the most intimidating pitchers of the 1970s. Dock was often at the forefront of controversy and has been called the “Muhammad Ali of Baseball.” He was an outspoken leader of a new wave of civil rights in sports, when black athletes were no longer content to accept second-class treatment or keep their mouths shut about indignities. For this, the press labeled him a militant. But that’s only half the story…

For the rest of the story, director Jeffrey Radice, and producers Mike Blizzard and Chris Cortez, are in production on a feature length documentary titled No No: A Dockumentary, which will explore the legend of Dock Ellis (including the LSD, hair curlers & beaning batters), the man behind the legend and his legacy.

Currently in post-production after raising $38,000 in finishing funds, just last month, the collected footage includes a comprehensive library of photos, news clippings, memorabilia and film surrounding Dock’s story, as well as more than 50 hours of interviews with over 35 of Dock's family members, lifelong friends, former teammates and journalists, his long-time agent Tom Reich, fellow counselors and those he counseled.

No No: A Dockumentary will be the first feature-length film to tell the full life story of Dock Ellis; the filmmakers expect to debut the film on the film festival circuit in 2013.

Here's a promo:

 

A LUTA CONTINUA: Occupy Guyana

Occupy Guyana

– Diary update


by Sherlina Nageer on August 20, 2012

 

 

I

I stink. We have been peeing in the street, behind trees and in dank corners. I’ve had less than 5 good hours of sleep in the last 2 days and am fighting to keep my eyes open. The sun is white hot and even though I’m under an umbrella, I can feel my skin parching. My tongue is dry and heavy in my mouth and my lips are cracked. It’s an effort to speak. I’m dying to drink some water, juice, beer, coconut water, peanut punch, swank, Guinness, but it’s still Ramadan, damn it. I just had a conversation with a woman who went on and on about how horrible it was that a school was burned but who said nary a word about the three men who were killed. You can build back a school (they’re starting tomorrow actually), but you can’t bring the dead back to life! Don’t tell us that Ramotar has to go, that you’re in support of us, that we’re doing a good job and then wave and go along your way. I need you to sit here with me. Yes, the sun is fucking hot. Yes, there is nowhere proper to relieve yourself. Yes, most people just pass us straight, on their way to and from work, shopping, or drinking/partying session. Yes, we have mad people within our midst and sometimes you will look around and wonder what the hell you’re doing, if you are not mad yourself. Yes, sometimes people will walk or drive past and tell you that you should go to hell, that you need a good choking, that you are wasting your time, that nothing will ever change. Yes, sometimes in talking to people, or in not talking- as they pass you straight, you will feel the tears pricking in your eyes and the howls gathering at the back of your throat. Yes, the same police who pulled your shelter down around you, making you now sleep on cardboard in the park, and huddle under insufficient umbrellas under the tropical weather will pass by again to snicker and harass you some more. Yes, the ‘politicians’ who say they care will come and sit and talk among themselves- they will not offer to help you light the diyas- a slippery, frustrating process that leaves you with ghee all over your hands and every other diya being blown out by the wind. Nor will they talk with the people passing by, asking them what they think. Instead, they will leave and go pick up the mic in the usual spot and tell people what they should do. A luta continua..


II

The park we are occupying is just around the corner from Leopold st- home of many trans Guyanese. I don’t know exactly how they ended up there, just that trans folks often get rejected and thrown out by their families, and that there are several (unofficial) ‘group homes’ in that area. The neighborhood is not a welcoming one at all- with a plethora of ‘junkies’, pimps, choke and robbers, hustlers, etc. But it’s not sleeping on a cardboard box on a piss and shit stink pavement in front of Parliament. Still, the ‘girls’ have to navigate this hostile terrain every day, on their way to and from work. “Eh! You is a man or a woman?” “Look, she walking on her hands. Ey- why you walking like that?” Even the more innocuous ones “Hey girl, how was work tonight?” or comments about clothes, hairstyle, etc, reveal a level of homophobia and transphobia that disturbs me. These are my comrades in the struggle after all, passionate revolutionaries for justice and freedom but here they are exhibiting intolerance and advocating hate. Can I really tie my bundle with these people? Will I ever find true community? Or will I have to add this to the list of battles I’m already fighting? “Hey, that’s my community you’re talking about. Those people are my friends. Hearing this kind of talk from you all bothers me. I am fighting for human rights and freedoms for all.” The newspaper article already outed me- LGBT activist. On this they were right, even if they got other key facts wrong- we were not evicted- the state tried but failed and our occupation continues. I vow to bring my rainbow flag the next time I go home to bathe and plant it next to the Guyana flag and Linden solidarity banner. PS- Eid Mubarak!

 

III

We are a motley crew. Aside from the Red Thread stalwarts, we are a horse cart man, an Ayotallah Khomeni admirer, an alarmingly thin woman and her pregnant 17 yr old daughter, one mad professor, one half cracked girl who daringly confronts hypocritical politicians, police, and pimps, but wails at the loss of her sister, mother’s love, and children, a sweetie vendor, several taxi men, a female bus driver, several bicyclists and former police/army men, a PhD or two, lawyer, a newspaper columnist in fear of his life, an unemployed youth man, a tall mechanic man, a recovering alcoholic counselor, an unrepentant sleepyguard with a love for rum and learning, several church women, several party people, and me. We are mothers, daughters, fathers and sons, fighters and dreamers. We are the 1%. We do yoga and stretches in the morning dew, tell jokes at midnight, and watch each other’s back. A woman donates a tray of eggs. A man drops off candles and stays to gaff til dayclean. Others come and go. We need you to stay. We need to work together to bring change to Guyana. We need revolutionary love. JOIN US. Together we can make this a reality.

 

Follow Occupy Guyana on Facebook 

 

 

__________________________

 

Towns of Guyana

 

Guyana:

Backstory to

Linden protests

 

 

 

 

by SOKARI on AUGUST 20, 2012

 

 

Over the weekend I spoke with Guyanese activist Mark Jacobs * in order to contextualise the uprisings and occupy movement taking place in Guyana this past five weeks.

 

SE:  We are well into the 5th week of the Linden uprising.  Could you start by giving readers some background on the importance of Linden to the Guyanese economy? Where is it located, the population and racial dynamics of the town.

MJ: Linden is central to the economy of Guyana because of it’s central location. It’s approximately 60 miles south of the capital. Readers would do well to look at a map to better understand as Guyana sits on the coast of South America.  The only road connecting Guyana to the rest of South America passes  through Linden.  This road eventually ends at the Takatu bridge in south west Guyana on the border with Roraima state Brazil. This is about a 208 mile journey.  To get to all the major gold mining regions of Guyana you also have to pass through Linden. Recently gold has surpassed sugar and sea food to become the number one export.

Most of the information in Guyana are state secrets but in 2008 the government reported that gold production was 286,812, 288,646 in 2009, 363,883 in 2011. These numbers are for small and medium scale mines but even the government admits that they do  believe mining companies fail to report 25% of their total production.  As for the larger producers Omai pulled out one million ounces of gold out of a concession which they then closed after a massive cyanide spill that polluted rivers used by river communities. No one was ever punished for this.  You can find information on gold companies in Guyana at publications like Buillionstreet.com.   ETK Incestimated  annual production of 250,000 to 300,000 at a new mine it is developing and a company called Guyana Goldfield just invested $1 billion in a mine named Aurora [none of these companies are owned by Guyanese].

It’s been a while since the government conducted a census in Guyana and they’ve refused to release the last results but the best estimates say there are about 20-30,000 people living in Linden. It is predominantly Afro Guyanese but there are also east Indians, Amerindians, Chinese and mixed people.   Timber is another major foreign exchange earner for Guyana and most timber producers have to access their concessions by passing through Linden.  Because of the large sums of money the Guyana government receives in the name of
indigenoous development [carbon trading, eco tourism etc] blockage of the road has been a major headache.  Travel warnings have been issued by the USA, Canada and the European Union.   For more information on Guyana’s mining industry – gold, diamonds, and bauxite see here.   Suffice it to say in addition to gold production as stated above, diamond output in 2010 was 49,920 carats which is down 6% over 2009.  This was due to a transfer in mining focus from diamonds to the more profitable gold market.  Bauxite output in 2010 was  2010 was 1,099,880 metric tonnes.  Again a decline due to mining conditions.

SE:  When and why did the people of Linden decide to hold protests and what happened? Give us an overview of the timeline

MJ: The government has been threatening electricity increases for a while now and they finally set the date to implement it on July 1st.  There were a few protests by Lindeners and their supporters in the capital against the increase because of the 70% unemployment in the town. These were all ignored and ridiculed by the government.  Lindeners set July 18 as the date to begin a one week protest and shut
down the town to all vehicular traffic.  Later that day as the place got dark someone shut off the lights of the town and the police, soldiers and unknown men began shooting at unnarmed citizens who had blocked the Wismar/Mckenzie bridge.  Background: To get to Linden you are basically travelling on the eastern side of the Demerara river. To get to the other side and continue on the road to the Amazon and Brazil you cross the Demerara river into Wismar.  The bridge the people were blocking is called the Wismar/Mckenzie bridge. Mckenzie is the old name for Linden and is sometimes used alternatively by older Guyanese.

The next day more people came out into the streets and Lindeners vowed to continue the protest indefinitely. The Guyana government over the past 20 years has used the police and soldiers to shoot people and intimidate them into silence.  From the beginning, their stance was they will not talk or visit Linden until the protesters cleared the roads.  Many attemnpts were made by the army and soldiers over the past weeks to clear the blockade but as fast as they removed them the people replaced them.  A few late night raids were made into the town hoping to catch citizens off guard.  Negotiations of a sort have been ongoing between the office of the President, the regional chairman of region 10, Sharma Solomon and representatives from Linden and the region.  [Guyana has 10 regions and three counties.]  For admin purposes there are elected regional chairmans. Linden is the ‘capital’ of region 10 – Upper Demerara- Berbice]

In the early morning of August 15 men dressed in police and army uniforms invaded Linden again. This is hours after a concluded negotiation between the government and region 10 representatives. On this  occasion a few more citizens were shot. Randy Tello a former boxer was shot through the jaw and in the back.   The government say they are unclear as to who did this shooting.  The one mile primary school was also set on fire. Citizens caught two men who admitted that they were being paid $1000 for each building they burnt by known government agents. Within 24 hours the police released those men claiming to have no evidence to charge them. The Guyana government is no stranger to arson. Four government ministries have  gone up in flames over the years with billions disappearing up in smoke.  On August 16 the president [Donald Ramotar] popped into Linden for a photo pop and about 30 people went to go see him. The rest stayed on the streets and protested his presence.

SE: The government have killed protestors, what has been the response to these acts of violence by Guyanese people?

MJ:  The reaction of most Guyanese to the shootings are hard to guage. One would like to assume that most are horrified, but outside of Linden, rallies and protests rarely have more than 50 people.   Beginning a few years ago the govermment employed the services of a cocaine dealer to eliminate hundreds of ‘criminals’.  This and many other outrageous crimes against the people have left most people wary of putting their necks on the line and joining in protests.

SE: Shirlina wrote a moving article about the failure of elite women’s organisations to support Linden. She  and Red Thread (an organisation of grassroots women) are involved in the occupy camp and we have updated reports from occupiers.   Could you tell us the importance of the occupy movement and the role of women and what you all hope to gain.

MJ: Linden has thousands of single mothers as does Guyana. Women are under constant attack in all forms in Guyana. Domestic violence is at epidemic proportions with hardly a week going by without murders,stabbings, beatings etc. and these are the ones that make the newspaper.   Women have also seen their sons, husbands, brothers etc murdered and brutalised over the years  by the Guyana government. Remember men are still the primary breadwinners for most families in Guyana so either way you cut it,  women loose and they understand that Occupy Guyana is important because government repression has beaten most people into submission. Most people are of the opinion that there is nothing you can do to stop the government atrocities. The appearance of this movement hopefully is a spark that brings more people out in protest against govt crimes and atrocities.  Because it would take up too much time we wont get into rampant corruption and nepotism by the Guyana government and this is a country the size of the UK with a population of 700,000 people.

SE: What are the implications of the Guyanese uprising to other parts of the Caribbean/ South America?

MJ: I cannot say what implications these protests will have in the Caribbean or South America because Guyana for the most part is
isolated from both regions. We’re not an island but part of the Caribbean because of our colonial past and we’re not quite part of
South or Latin America because the majority of Guyanese speak English.  We have  maintained the attachment to the ‘home ‘country European colonialism established. So you would find Guyanese lean more towards England, Canada and the USA.

More updates from the Occupy Georgetown movement which is predominately led by women and the Red Thread organization.

*Mark Jacobs is a political and agricultural activist who has spent the last 18 months in Haiti working with Haitian women in setting up urban gardens and raising funds to rebuild a free school in Cite Soleil, Port-au-Prince.

>via: http://www.blacklooks.org/2012/08/guyana-backstory-to-linden-protests/?utm_so...

 

 

 

HISTORY: Walter Rodney - Forty years of How Europe Underdeveloped Africa > biasmagazine

WALTER RODNEY

Forty years of

How Europe

Underdeveloped Africa

 

June 13, 2012



By Stabroek News  |    | Sunday, June 10, 2012

By Nigel Westmaas

 

This year marks the 40th anniversary of the publication of Walter Rodney’s How Europe Underdeveloped Africa. Every now and then in history a scholarly enterprise emerges that breaks new ground and provokes an impact that exceeds the confines of narrow academia. Walter Rodney’s seminal work in combination with his other projects performed precisely this function for Africa and beyond. Its publication and reception exemplified the strains and fissures in the scholarship focused on the continent at the time. It would go on to become one of the most influential books in the “Third World.”

When it emerged in 1972 the book was hailed in Dar-es-Salaam as “probably the greatest book event in Africa since Frantz Fanon.”  Wole Soyinka, the African novelist went further.  He suggested that Rodney was one of the first “solidly ideologically situated intellectuals ever to look colonialism and exploitation in the eye and where necessary, spit in it.”

The book’s publication led to a veritable revolution in the teaching of African history in the universities and schools in Africa, the Caribbean and North America. Its content became contagious and was an element in the developing world historical sociology stream in embryo in the USA in the 1970s – more specifically the “world systems analysis” framework. Rodney’s doctoral thesis – A History of the Upper Guinea Coast  had earlier set the parameters and standard for this later decisive intervention in African historiography.

Rodney compiled How Europe Underdeveloped Africa from extensive archival research systematically identifying causes and outcome of the historical turbulence on the African continent. In doing so he identified the world capitalist system, both mercantile and modern, as the principal agency of underdevelopment of the African continent for over five centuries.

The book covers a wide range: an introductory discussion on the concepts ‘development and underdevelopment’;  the state of Africa prior to European entry;  Africa’s contribution to capitalist development; the effects of colonial education and  impact of missionary activity; the collective nature of African organisation; and of course the exploitation of African resources during the colonial era and consequent ‘underdevelopment.’

Africa’s contribution to European capitalist development

According to Rodney, Europeans went through several phases of desire in Africa: first it was gold, through  ivory and camwood to human cargo (slavery). He sketches the slow conquest and penetration due to shipping superiority and the slow breakup of African kingdoms and states in the 16th-17th century leading to the Portuguese slave trade and decision-making role for Europeans in Africa. While dissecting the slave trade he drew parallels between the rise of the European seaport towns of Bristol, Liverpool, Nantes, Seville and the Atlantic slave trade.

In a passage that vividly explains the impact of Europe on Africa and its subsequent underdevelopment Rodney asserted that:  “the European slave trade was a direct block, in removing millions of youth and young adults who are the human agents from whom inventiveness springs. Those who remained in areas badly hit by slave capturing were preoccupied about their freedom rather than with improvements in production.”

Rodney pursues the notion that colonization gave Europe a technological edge and addresses the exploitation of African minerals important for making steel alloys, manganese and chrome, including columbite – critical for aircraft engines.  Significantly, in  the course of this orbit of exploitation there was incessant African resistance.  But European firearms, after reaching a certain phase of effectiveness, as in the use of the Maxim (machine gun) against the Maji Maji and the Zulus and others, in concert with the use of Africans in colonial armies tipped the military balance in favour of Europe and subjugated a continent.

Throughout the text Rodney provides compelling evidence of European greed, naming traders and businessmen whose titles would later became associated with global conglomerates. David and Alexander Barclay were 18th century slave traders who Rodney said were “engaging in the slave trade… and who later used the loot to set up Barclays bank.” Today Barclays is one of the most powerful banks in the world yet its website sanitises its past role with little or no acknowledgement that its founding profits stemmed from the African slave trade.  Contemporary corporate culture with its beneficent public relations outlook took generations to perfect. As Rodney eloquently describes, there was a point in time when colonialists and settlers held nothing back in their language of domination.  Colonel Grogan, a white settler in Kenya, bluntly said of the Kikuyu: “We have stolen his land. Now we must steal his limbs. Compulsory labour is the corollary of our occupation of the country.”
Rodney also attacks the notion, which unfortunately still persists, that there is some universal nexus or equal relationship between “hard work” and great wealth, a myth peddled in the West today. In his tome Rodney swats away this “common myth within capitalist thought that the individual through hard work can became a capitalist.”

Unilever, Firestone and the exploitation of a continent

In like vein Rodney connects America to the exploitation of Africa, especially with the links between Firestone company and Liberian rubber. According to Rodney, “between 1940 and 1965 Firestone took 160 million dollars worth of rubber out of Liberia; while in return the Liberian government received 8 million dollars.”  He traces the evolution of companies like Unilever as major beneficiaries of the exploitation of the African continent. Beginning with soap, William Lever began to produce Lifebouy, Lux and Vim and margarine. A merger in 1929-30 resulted in Unilever taking its current title and expanding with the material coming from products such as copra, groundnut oil, palm oil, and oils and the fats of animals. Today Unilever is one of the biggest corporations in the world now responsible for everyday indispensable brand name products such as Dove, Closeup toothpaste, Lipton’s tea, Q tips, Vaseline, Cutex, Slimfast, Klondike, Ben & Jerry’s ice cream, Ponds, Sunlight, Breeze, and Vim of old.

Criticisms

Even as How Europe Underdeveloped Africa struck a chord among many academics, students and general readership on several continents it has been subjected to several critiques over time.  It is certainly evident that the text is short on gender analyses and the role of women – only a few pages bear on women in Africa and the context of their exploitation and resistance.

One critic suggested that despite its pretensions to be Marxist analysis the text actually fails on that count. This critique explains that How Europe Underdeveloped Africa “fails because it tries to persuade an African audience of the relevance of dependence theory by making it mesh with the simplistic version of the past already popularized by nationalist historians.” Another critic Caroline Neade, argues that Rodney identified Africa as ‘passive victim’ of European colonisation. But there is a lot in the book which would render this criticism unfair. Rodney quite conspicuously emphasised African technological development at a given point in history prior to European intervention and African resistance to European penetration is given vigorous treatment and agency in the text.

Other scholars generally sympathetic with Rodney nonetheless find fault with some of his other arguments. Lansine Kaba for example, whilst hailing the importance of the work for African scholarship, is critical of the “sweeping generalization” and placement of “Sudanic kingdoms as feudal states and Rodney’s description of traditional African economies as subsistence economies. Similarly, others have decried Rodney’s 1972 book as too “polemical.” Yet Rodney was the non-traditional historian and ‘polemic’ that reached a wider, popular audience was essentially his goal. In his own words Rodney declared that the main purpose of the text was to “try to reach Africans who wish to explore further the nature of their exploitation rather than to satisfy the “standards” set by our oppressors and their spokesmen in the academic world.”

Living history and Rodney’s method

One of the more important themes that distinguished Rodney as an historian with a difference was the issue of ‘living history’ a concept apparent in the methodology of How Europe Underdeveloped Africa. Rodney explains: “Many historians are afraid to deal with living history and I can understand why, because sometimes it is dangerous, especially in Africa. The moment that the social scientist begins to reflect too closely on the present, he or she is subversive in the Third world. It is safer to be with the mummies and the bones.”

Rodney’s productive and activist zeal for history is well established. Andaiye reflected on his  propensity for writing: “He wrote everywhere –  in the car if he wasn’t driving, standing on the street corner, on the stelling waiting to board the Berbice ferry, waiting for public meetings to begin in Linden, on the Corentyne, in Leonora, in Buxton, often surrounded by police.” This anecdote gives an indication of the type of historian Rodney was: a living breathing embodiment of the seamless collusion between work and activism, people’s causes and the use of history as clarification and intellectual armour and not restricted to an inert academic excursion.

This makes Rodney one of the main critics of the positivist tradition in historiography. The positivists consider humanities or the natural and social sciences as solely derived from sensory experience. Consequently, the logical and mathematical treatment of any data is seen as exclusive and authentic. Positivism, which prevailed in the humanities, and in the social and natural sciences, remained dominant until historians like Rodney, the feminist movement and oral history advocates among others punctured its limitations and pretensions.

Rodney’s book today

After Rodney’s assassination in 1980 his work continued to grip the imagination of Third World and Pan-African scholarship.  Evidence of the book’s lasting value is the fact that at least eight editions have been published over time. Furthermore it is still widely utilized, even with academic challenges to its content, as a critical reference point on the historiography of Africa.

But there is still difficult road ahead as memories are short even in the age of express communication. More and more we are hearing from young people in Guyana, the Caribbean and Africa, who, on being introduced to his life and work typically come up with the refrain: “Who is Rodney”?  Issa Shivji, Professor of Law at Dar University placed this amnesia in context as he reflects on today’s reality. During Rodney’s time, he said, “we swore by wafanya kazi na wakulima (workers and peasants); now we all aspire to become wawekezaji na walaji (investors and consumers). Or more correctly wakala na wawekezaji (investors’ agents or compradors).”

In the final analysis, for the Guyanese historian, writing and activism was a strategic and heartfelt response to the need for history, while maintaining academic rigour, to break with certain conservative traditions.  In other words, history was a liberating tool. Like Frantz Fanon’s Wretched of the Earth and Paulo Freire’s Pedagogy of the Oppressed,  How Europe Underdeveloped Africa remains one of the most compelling and persuavive books to emerge from the bowels of critical resistance to the exploitation of small countries.

If Rodney were to rewrite How Europe Underdeveloped Africa he would doubtless, given the scholar within, reconfigure sections, tighten certain arguments and perfect the narrative. But his overall thesis would stand. The overt fangs that slave traders and corporate giants like Barclays, Unilever and Firestone openly displayed in early profiteering and exploitation of the continent have been  replaced by charming corporate public relations smiles and handouts. Yet the profits sequestered from Africa over several centuries, as effectively argued by Rodney, still stand as a foremost if not exclusive source and substance of Africa’s underdevelopment. In short, Europe and North America assisted substantially in the rape and underdevelopment of a continent rich in human and natural resources.

Walter Rodney’s classic study, How Europe Underdeveloped Africa has just been republished by Pambazuka Press.

 

VIDEO: J. Cole live at Rock The Bells 2012 | Full Concert Video > SoulCulture

| Full Concert Video

J. Cole

live at Rock The Bells 2012 

by Andy Bustard
August 19, 2012

This year’s Rock The Bells hip-hop festival, which is currently underway this weekend in San Bernardino, California for its first of three instalments, shapes up to be as incredible as ever. Among the likes of Kid Cudi, Common, Black Hippy, 2 Chainz, Method Man & Redman and KRS-One kicking things off yesterday (August 18th) was J. Cole, who blessed the main stage towards the end of the night.

You’ve already seen a portion of the performance, which just so happened to be a live debut of a brand new song, “I’m a Fool“, but now you can enjoy Cole’s nearly-50-minute-long set in its entirety below. Stay tuned for much more footage to come from Rock The Bells.

 

 

__________________________

 | Official Music Video

Melanie Fiona ft. J. Cole

– This Time 

I love J Cole, love Melanie Fiona and they are both even in the site’s header so when they come together for a collaboration, it should be amazing, right?

Both being signed to Roc Nation, it only made sense that they’d hook up for the second time (after both featuring on Wale’s Beautiful Bliss back in 2009) on at least one of their albums and even though the track isn’t anywhere near the potential that a collaboration between the pair has, it’s still a very hot track and is bringing back those early 2000s Mary J Blige vibes!

Check out the video below and shout out to Colin Tilley on the visuals, killing it as always! 


Rating: ★★★★

What do you think?

>via: http://lozzamusic.com/2012/melanie-fiona-ft-j-cole-this-time-official-music-v...

 

__________________________

 

J. Cole talks Kendrick Lamar

collaboration album,

death of Free Mixtapes

& Mike Posner

Whilst on Drake’s Club Paradise tour, J Cole caught up with Bootleg Kev to discuss the criminality of free mixtapes, what he’s learned from Mike Posner and officially confirm that HIM KENDRICK LAMAR ARE WORKING ON A COLLABORATION ALBUM!

As the interviewer says, it does sound like one of those things that never comes to light but we can always hope and either way, it’s always good to hear from J Cole and especially that his 2nd album seems to be shaping up nicely.

Listen to the interview below. 


What do you think?

>via: http://lozzamusic.com/2012/j-cole-talks-kendrick-lamar-collaboration-album-de...

 

 

 

 

 

 

VIDEO: Busta Rhymes - 'Life & Rhymes' | Documentary > SoulCulture

| Documentary

Busta Rhymes

– ‘Life & Rhymes’ 

by Andy Bustard

August 14, 2012

 

In addition to helping distribute his forthcoming free album, Year of the Dragon, Google Play have teamed up with Busta Rhymes to put together a mini-documentary entitled Life & Rhymes. In the 20-minute film, fans get an in-depth look at the evolution of one of hip-hop’s most unique emcees, from his early love for rap as a child and dubbing old school battles, to the star known for his double-time flow wowing crowds over today.

Commentary comes from Busta himself, as well as some of his closest collaborators including Q-Tip, Spliff Star, Sadat X, Phife Dawg and J-Doe. Additional footage comes from his performance at this year’s Brooklyn Hip-Hop Festival. Happy viewing below, and do remember: Year of the Dragon drops August 21st.

 

 

PUB: Les Figues Press: NOS Contest

NOS Contest

We are now accepting submissions for the Second Annual Les Figues NOS Book Contest. All entrants receive a TrenchArt Series title of choice. Deadline: September 15, 2012.


2012 Les Figues Press NOS Book Contest—

(NOS = not otherwise specified)

A prize of $1,000 and publication by Les Figues Press will be given for the winning poetry or prose manuscript. Sina Queyras will judge. Submit a manuscript of 64-250 pages with a $25.00 entry fee by September 15th, 2012. Electronic submissions only. All entrants will receive one copy of a Les Figues TrenchArt Series title of their choosing.

Eligible submissions include: poetry, novellas, prose poems, innovative novels, anti-novels, short story collections, lyric essays, hybrids, and all forms not otherwise specified.

Please note: The winning manuscript will be published in a design and format reflective of its content, i.e., it will not be part of the TrenchArt series, with its tall and slim format.

The winning manuscript will be announced in December 2012, with a fall 2013 publication date.

Manuscripts by current and past students of Sina Queyras will not be considered.

Link to Submission Manager

GUIDELINES:

1) Submit a 64-250 page unpublished manuscript through our electronic submissions manager. Include acknowledgement page for published excerpts.

2) Prose manuscripts should be double-spaced; poetry manuscripts can be single- or double-spaced. Include manuscript title on each page; pages should be numbered. Files should be uploaded as a MS Word document or PDF. Please include a cover page with your contact information. Do not include your name anywhere on the manuscript; all submissions will be judged anonymously.

3) Cover page should include the following information: Name; Contact Information (mailing address, email, phone); Manuscript Title; and TrenchArt Series title of your choice. Upload your cover page as a separate file.

4) Include a $25.00 submission fee.

SUBMIT HERE

 

 

PUB: The New Writer Prizes : Writing contests for writing people!


This is the 13th year of the Prose & Poetry Prizes sponsored by The New Writer magazine, although it is the 16th consecutive year of the Poetry Prizes - previous winners include Judi Moore, Sharon Black, Wes Lee, Alexandra Fox, Cathy Whitfield, Mo McAuley, Alesha Racine, David Grubb, Katy Darby and Graham Clifford, whose award winning entries appeared in our anthologies - find details on this website. Prizes are awarded in the following categories:

FACT

Essays, Articles, Interviews - covering any writing-related or literary theme in its widest sense up to 2,000 words. 1st prize £150, 2nd £100, 3rd £50.

FICTION

Short Stories, Micro Fiction - short stories 500 to 5,000 words, micro fiction up to 500 words; on any subject or theme, in any genre (not children's). Previously published work is not eligible. Short Stories: 1st prize £300, 2nd £200, 3rd £100. Micro Fiction: 1st prize £150, 2nd £100, 3rd £50.

POETRY

Single Poems and Collections - Single Poems up to 40 lines; Collections of between 6 - 10 poems - no restriction on length of poems in the Collection category. Single poem entries must be previously unpublished; previously published poems can be included as part of a Collection. Collection: 1st prize £300, 2nd £200, 3rd £100. Single: 1st prize £100, 2nd £75, 3rd £50.

Total Prize Fund £2,500

How to Enter the Prose & Poetry Prizes

If sending poetry by email please send as an attachment - either Microsoft Word (.doc) or plain text (.txt) formats. However, we would prefer to receive longer MSS of poetry collections, short stories and features in the post to The New Writer at the address at the foot of this page along with a covering sheet with your name, address, tel/fax/email, and the title(s) of your work.

Short stories of 500 to 5,000 words and Micro fiction up to 500 words on any subject or theme, in any genre (not children's). Previously published material is not eligible for entry. Entry fees: £5 per short story (TNW subscribers two stories at same fee); £5 for up to two Micro fiction entries (TNW subscribers three for £5).

Single poems must be previously unpublished with a limit of 40 lines. Entry fee: £5 for up to 2 single poems (TNW subscribers 3 poems for £5).

Collection of poems (6-10 poems) can be previously published. No line limit. Entry fee £12 per collection.

Essays, articles and interviews up to 2,000 words covering any writing-related or literary theme in its widest sense. Previously published material is not eligible. Single entry £5 (TNW subscribers two entries at same fee).

All work should be clearly typed, double-spaced (poetry should be single-spaced), on white A4 paper and paperclipped. Entrants may make as many submissions as they wish but please include your name, address, title of entry, word count (fiction only) and category on a separate cover sheet with every entry. Preliminary judging will be carried out by The New Writer editorial board with guest judges making the final selection so there should be no identifying marks - apart from the title - on the entries. Entries are non-returnable. A full list of winners will be sent provided SAE is enclosed.

http://www.thenewwriter.com/
http://www.thenewwriter.com/prizes.htm
http://www.thenewwriter.com/entryform.htm

Click on the link above and go to the contest official site

 

PUB: Screenplay Contest Submissions - SUBMIT your Screenplay TOD

International Screenplay Contest
 

SUBMIT by August 31st

WILDsound Monthly Screenplay Festival
Screenplay Submissions and Competitions

FULL FEEDBACK on your screenplay from our committee of Professional Screenwriters, Production Heads and Script Consultants.

SUBMIT your FEATURE or SHORT SCREENPLAY today

Submissions take 3-5 weeks for evaluation. Looking for screenplays from all over the world.

 

CLICK HERE to submit your film.


CLICK HERE to submit your TV Pilot or TV Spec Script

Or scroll below and submit your screenplay!



- Then after the script is read, they get to hear feedback from a selected INDUSTRY PROFESSIONAL who will moderate the event and facilitate a Q&A with the audience:

WATCH Short Screenplays of the past winning scripts!

 
WATCH Feature Screenplays of the past winning scripts!

- One of the best places in the world for the writers to sell their script.

- No matter what happens, you will receive full feedback on your script by our established WILDsound Reading Committee. No other place in the world will you get coverage for the price you pay.

- Even if you're just looking for feedback of your script, this is the festival for you.

- If you make the event, it's a great place to network and meet people in the industry to help push your career.

- If you can't make the event, no problem. As you be able to see the video and reactions of your works online. And it's there for all to see! And these videos garner 1000s of views online. Some of the screenplay readings are more popular than actual studio films made!

- Also, all winners get to be a guest on WILDsound's popular coast to coast radio show and promote your script and your career to the world!

 

SUBMIT your FEATURE or SHORT
Screenplay TODAY
You will receive feedback
on your script in 3-5 weeks
 
The RULES are simple:

 

1. Write a script. Edit the heck out of it. We accept features and shorts of any genre, as well as original TV pilots and spec scripts for existing shows.

2. Email your script to info@wildsound.ca in .pdf, .doc, .wpd, .rtf, or .fdr format.

In the body in the email please add your:
- FULL NAME
- CITY AND COUNTRY
- TITLE OF SCRIPT
- TYPE OF SCRIPT (feature, TV, short)
- (optional) and a 1-2 line synopsis of your screenplay.

 

OR send your submission with a check of $45 to: WILDsound Film Festival, 77 St. Clair Avenue East, Toronto, Ontario, Canada M4T 1M5.

PLEASE ADD YOUR FULL CONTACT INFO (especially email address) on the title page of your script!

 

 

3. Pay the $45 submission fee via the green button below (credit card or payment account) or include a cheque payable to WILDsound Film Festival. Please put your full contact info (name, email address) on a title page

We also accept online submissions through Withoutabox. Click on the link BELOW to submit online through Withoutabox

 

ALL SUBMITTED SCRIPTS GET FULL FEEDBACK - The goal of the WILDsound Film and Screenplay Festival is to help everyone involved grow as an artist, so we will offer feedback to jump start you to your next draft. Cut your printing costs by up to 80% - try an ink cartridge from Castle Ink.

To see firsthand what our festival is all about:

WATCH Short Screenplays of the past winning scripts!

WATCH Feature Screenplays of the past winning scripts!

There is no reading series like it!

Over the last two years WILDsound has given many screenwriters the opportunity to network with other filmmakers, distributors, agents and producers. We have read over 320 scripts, 75 of which have been produced and are now appearing at various film festivals, theaters and TV networks all over the world.

But mainly what this contest does is give exposure to the writer. They will be able to obtain a solid agent, plus get notice by producers looking for writers to work on their scripts.