VIDEO: What Inspires Tiye Phoenix « People & Blogs

What Inspires

Tiye Phoenix

Tiye Phoenix is an emcee and classically trained musician from East Orange, NJ. She began playing piano by ear as a child and studied classical piano between from ages 7 and 13. In the late 90s, Tiye formed S.O.U.L. Food Symphony, a DC-based all female collective with an ethereal sound from emcees, singers, and musicians. SFS performed with Nas, Black Moon, and Gil Scot Heron. Tiye went on to write with Public Enemy and work with classic hip-hop producers Hank & Keith Shocklee. Tiye has toured and performed with soul songstress Tina Marie and the late Rick James, and recorded with the UK group, The Runaways. While signed to Rawkus Records, Tiye worked with Mos Def, The Last Emperor, and appeared on Reflection Eternal’s debut album Train Of Thought. In 2006, Tiye released a self-produced mix CD on the Internet called Black Athena. That same year, Tiye’s producing skills were put to the test as she won the 2006 Meet The Producers All-Female Beat Battle Invitational, and went on to win the championship for 2006, competing as the only female alongside 8 other previous male champions. Also a member of The Polyrhythmaddicts with DJ Spinna, Shabaam Sahdeeq, and Mr. Complex, the group’s album Break Glass released in 2007 with much critical acclaim. In 2012, Tiye released a music video for the single “Skybound” off the upcoming Transit To Illumination EP. The EP will release this year with a full-length album to follow. Support quality hip hop and purchase Tiye Phoenix’s music and be sure to watch “Skybound”.

Follow Tiye Phoenix on Twitter
Follow Tiye Phoenix on Facebook
Follow Tiye Phoenix on TiyePhoenix.com

Tiye Phoenix Albums

Tiye Phoenix – Transit To Illumination (2012)
Tiye Phoenix – Half Woman Half Amazin’ (2012)
Tiye Phoenix – Black Athena (2012)

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Tiye Phoenix Freestyles

On MTV 2's Sucker Free

» By Latifah Muhammad July 2, 2012

RapperTiye Phoenix took her skills to MTV's Sucker Free, unleashing the furious flow that she's become known for. The “Skybound” MC uses her knack for powerful wordplay and metaphors in the one-minute video. “When the ink from the pen is splattered I kill ‘em with versus that's cinematic/Your logo should be the jacka--/ Democratic,”she rhymes.

Phoenix, also spits on her reputation for raps that may be incomprehensible to the average person. “They say I'm over the head of ninja's can't mentally grasp it, I say I'm doper than you, watch me steal your demographic.”

Check out her entire flow after the jump. 

 

Get More: Sucker FreeFull Episodes

>via: http://hiphopwired.com/2012/07/02/tiye-phoenix-freestyles-on-mtv-2s-sucker-fr...

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INTERVIEW + VIDEO + AUDIO: Mutabaruka > United Reggae

Interview: Mutabaruka

Interview:

Mutabaruka

http://unitedreggae.com/articles/n1004/061712/interview-mutabaruka
By Ras Morgan on Sunday, June 17, 2012
- Photos by Steve James 

"Rastafari started out as a resistance against imperialism and colonialism"

 Mutabaruka - Everytime A Ear De Soun
 Mutabaruka - Spirituality

Mutabaruka is one of the emblematic character, in Jamaica who knew, through the year, how to keep his presence and his Rastafari beliefs in front of the scene! This can be through the music that he spread, through his radio show on Irie FM, or even through his TV show 'Simply MUTA'.

In this interview, done on Irie FM compound in Kingston, Mutabaruka talks about Rastafari and it’s spreading, but he also make a statement about the present Jamaica and it’s dancehall music culture. As usual he is not going around the corners to express his vision and understanding of what is taking place in this world!

MutabarukaWhen did you find yourself as a rasta?

 Well, from my teenage.

Could you tell people what is Rastafari about?

Rastafari is liberation, a black power movement, spiritual nucleous, started out as a resistance against imperialism and colonialism. The former slave were taught that England was the mother land, and Rastafari help to shape a consciousness into a liberation through Pan-Africanism. Evolve from Marcus Garvey to Leonard Howell who is the founder. It's a liberation movement and a lot of people who find  themselves in an oppressive state take on themselves that Rastafari is living, so you have people all over the world who can identify Rastafari.

How did Rastafari movement evolved from then to now? 

It evolve through we have more informations, now we have other things that confront us inna this system ya, and through what we say, informations coming to us, so we can move and evolve from them time, 40’s, 50’s.

We fight for a recognition where Rasta was never recognized, them say we are fool and stupid, so we use a seculiar music Reggae music, to project Rastafari culture and philosophy, so even though we have no church, we use the music, we don’t have no school, we use the music and though we no have nowhere to go and learn about Rastafari, but through the the cultural expression, people gravitate toward it and recognize themselves in it. So we move to an international level where people all over the world gravitate toward Rastafari, so Rastafari mind set and consciousness lend itself to new ideas, new thinking, and what was inside of Jamaica is now, all over, seen and recognized as what they call a “new religion”, and we give the world a certain form of cultural expression that a lot of people in the western world never have I mean, like locks, locks is not unique to Rasta but Rasta help to shape that mind set into people so that people now locks and feel no way, even some people now locks and have no connection to Rastafari, but it coming through that evolution of Rastafari outhere, because there was a time in Jamaica when the only people who had locks were Rasta.

So we give Jamaica a brand, even though they try to go around it, because Rastafari is the Jamaica’s brand through the work of certain man like Bob Marley who allow people to come to Jamaica, and to look again to Jamaica, even though a lot try to shift out of it and don’t recognize it, but we rise and rise to a level to what we could call visibility so that nobody can now ignore! So we have a lot to project and we examine Africa, because when we were going to school, it was just “black people came here as slave” but we never did know nothing about Africa so we though that Africa start at slavery, but now everyone know that Africa much more older than Europe or any other places, Africa gave birth to mankind, Itiopia, even the Bible tell you that the River Nile coming from the garden of eden is running through Ithiopia.

Africa is the birth place and that is what Rastafari come to expose to the world now and we move to that information gathering! So Rasta tells the people  about Africa, tell the people about food and what to eat, there was a time when they use to call us rabbit and mock we, but now a lot of people trying to become vegetarians because they see it valuable. Rasta during a time was the only man in Jamaica that don’t eat meet! So it’s e who came and show the people the livity about how to live and be healthy!

And when political party divide people over the years, it’s Rasta who came and give them a slogan, one love, one heart, to bring them together again and now that slogan is well recognized, it’s I and I, not me and you, because me and you are two people but I and I is one! You see there is no manifestation of life which is not of the one, the tree, the bird, the bee, they all are the manifestation of that same life! So Rasta tell them it’s I and I now!
So when man connect to I and say Haile Selassie I, now some say, ”but Haile Selassie is a man”, yes and man is God, you see, we nah believe in a supernatural power who sit on the sky and come pon earth and and that you can see only when you die! What we say is that it is now, because when you dead, you dead; and nobody can tell you what happen to you
when you dead!

So we have to make use of the life we have now, I mean if you can’t love when you are alive, who you gonna love when you dead? That is what Rastafari come to show and it still manifest the same thing His Majesty Selassie I. Africa, Africa for Africans, Itall livity, recognisation of I and I. So Rastafari don’t change!!

What do you think of the Jamaican music of today?

All right, you see, from the music change, from Reggae music to Dancehall, there is an element in dancehall that seem to step back instead of go forward!
So where Rastafari did dominate the Reggae scene, Rastafari don’t dominate the Dancehall scene! So the consciousness that was reggae and the consciousness  that allow people like you to come to Jamaica, is not necessarily in the dancehall, the dance hall is more a materialistic perspective of the Jamaican culture; and when Reggae offering something of
liberation, the dancehall offering something of materialisation, materialism.

So now you have a hole heap of youth who are so misleaded, again the nearly of America, a lot of it come from the influence of  America, where them divert the consciousness from Rastafari into the materialism of America so the influence of America is deeply embodied in the dancehall music, you can see it by the way the youth them dressed, the mannerism and even the beat, it’s not straight dancehall, it’s kind of hip hop dance hall fusing, nothing wrong with the fusion cause Jamaican music always mix from them time.

Luciano and Mutabaruka

But now, the lyrics, which pushed Jamaica outside is not here anymore so people outside of Jamaica are very disappointed, Jamaican music was like a beam of hope and a light to the world. So when people reach a certain state of depressive, them could look to Jamaican reggae and feel uplifted and powerful, but now it more carry you down! So now, it’s mostly foreigners like African and Europeans  who keep that Reggae beat, even if dance hall penetrated there, them still to hear the original roots music! Look, 30 years Bob Marley left and he still sound like a new artist, when you play Bob marley in a dance, him don’t sound like an old sound? But you see, you can hardly play old dance hall music, it comes like toilet paper and that why so muchof it come out one time. You see now, one artist have so much tune 
coming out at the same time, that as a radio DJ, I feel embarrass, I don’t know which one to play, and now, there is a follow thing that is happening, if one sing about money, everybody sing about money, if he sings about bad mind, everybody sing about bad mind.

Now it look like there is no experience,when the artist them were singing about a certain level of consciousness, and, a level of speech, experience of environment, well, the dancehall artist is going through his experience but he don’t think about that, he more think about how he’s gonna burst, and whatever make him burst, he will sing pon it! So there is a difference between Reggae and dancehall, beat different and we see some young youth that don’t know the value of Word Sound and Power, because what you say define you, so you don’t have  to talk no foolishness. So now many people outside and inside of Jamaica are disappointed, but still you have youth that hold unto the real roots!

What would be your statement concerning Jamaica? 

American thinking with a third world living! So you see people dress up out there, fashion clothes and thing, but when you see how them leave it needs more to be desired, cause they are so materialistic that they don’t think about their spirit, they think about their body, so many people out there are just like cimetary, scepulturs, where people put flowers upon the dead body! Nuff people look happy because a lot of party going on, but when they come from dance, go home and lock the door, it’s pure ignorance and vexation. Plus the two political parties has not been able to give the people what they want because they still maintain the euro centric system of governance. Look we have independence since 50 year and we still have a governor general that represent the Queen of England! They think that Jamaican, and rasta are a set of ignorant people and they try to hold we with a certain system and hold we under a certain order and discipline to satisfy the neo colonialism mentality!

You see the neo colonialism is well embodied in the political system of Jamaica! Even if 85 or 90% of the people in power are originated from Africa, none of them never go study to Africa, in order to develop a political system that can fit the people in them consciousness, but instead of that they go Europe and try to bring a democratical thing that don’t even work in England!Everyday we hear things a gwaan in England and still we a try to keep the same system pon a majority of people to are rebelious against that system, and  them don’t know how to put it pon the people, so they use some oppressive ways,you can see it on TV, you can see it at church, because church is one of the most oppressive way them use, politique tell the
people that if them behave good, they will have a good life, and pastor tell you that if you live good, you will a have a good death! So that is the tricks they use to them Christianity and democracy! so them set the thing in a circle, and nobody can show them nothing out of the
circle and when you try, like Rasta do, they say you mad!

So when you tell them to look to Africa, they say that "no you have to look something of the day", but Marcus Garvey done tell them already "a tree without knowledge of their history is like a tree without roots"!

MutabarukaWhen they look to Africa they see sufferation and all thing, so they are afraid to look forward to it, but they have to understand that Africa is a continent composed of 53 countries,and that not so long ago, Europe was devastated by war and killed one another! Every continent have their time! But now them corrupt everywhere with them politics, but still you have people that wake up because people don’t have no trust in this political system! So I don’t know but Jamaica is in a position that it need someone to rock the boat so that we not going to make the same mistake again and again! So now when Rasta use to say they don’t mix with politic, now you have Rasta who start create their own political parties because that is a necessity! Like now you have Rasta that teach at school when our children could not go school! So the change is here with the silent revolution, cause it’s not with bomb and gun but through culture! So them embarrass because Rasta don’t have no leader so them don’t know who to kill to stop it! Rastafari Haile Selassie I is our leader and them say he’s dead so them can kill him again to stop this revolution!

What vision would you have for Jamaica?

Well, I don’t have really no vision, all I could say is Rastafari and Marcus Garvey!

What is your favorite reggae song?

Well it’s not one, Babylon System of Bob Marley, Bunny Wailer, the Black Heart Man, Babylon Burning of Bob Andy, She’s Royal by Taurus Riley... Nuff of them.

Do you still tour?

Yeah man, during the Olympic I will be in England for 12 nights of reggae, I will tour in Europe too in August, I was in Austria last December! so we still tour, not as often as before but we here pon the road!

 

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HISTORY + VIDEO: Lecture: Slick Rick (RBMA World Tour 2011) > Vimeo

Lecture:

Slick Rick

(RBMA World Tour 2011)

GO HERE TO VIEW LECTURE

You can divide storytelling in hip hop into two eras – before Slick Rick and after Slick Rick. A UK ex-pat who moved to the Bronx as a pre-teen, Ricky Walters’ narrative-weaving artistry has influenced whole generations of MCs, from Ghostface Killah to Andre 3000. In this video he sits down with ego trip's Chairman Mao to discuss his classic '88 debut album, 'The Great Adventures Of Slick Rick', as part of the Red Bull Music Academy World Tour's NYC stop, 'Five Out Of Five'.

VIDEO: Issue No. 10: Supreme Sonacy | The Organ Issue > The Revivalist

Issue No. 10:

Supreme Sonacy

| The Organ Issue


Design by Sweden10

Letter from the Editor

No other instrument has the same effect on the soul. From Sunday morning church to the Friday night clubs and some of your favorite recordings, the organ has tied itself both emotionally and musically with varying genres and styles, and as such has become one of the most unmistakeable sonic elements within music.

Organs are composed of two 61-key layers referred to as the swell (top) and the great (bottom). Consequently, organ players are truly a different breed of musician frequently exploring the funkdom of the low end as well as laying down chord changes and layers on top all at the same time. “Pulling out all the stops” isn’t just an expression; organists alter their drawbars or “stops” to hand craft the perfect sound for each occasion, literally pulling out all the stops to make a statement. In this issue we seek to explore these intricacies as well as the evolution of the Hammond B-3 Organ in jazz. We will leave no stone unturned as we explore every twist and turn in the history from Fats Waller recording the first pipe organ in jazz to Jimmy Smith defining the B-3 organ sound, and all the way to today’s integration of both analog and synth organ textures within popular music.

Eric Sandler
Editor @ The Revivalist
eric@revivalistmusic.com

Here are a few recordings to contemplate as we launch into Issue No. 10 of The Revivalist entitled Supreme Sonacy | The Organ Issue:

Fats Waller was the first musician to record the pipe organ on a jazz record. Check out this early recording.

 

 

Jimmy Smith on The Champ, his second record and one which cemented him as a rising talent in the jazz scene. 

 

 

Remember that organ solo in the middle of Michael Jackson’s hit “Bad”? That was Jimmy Smith rocking the  B-3 Organ Synth. Listen for him at around the 2:30 mark.

 

 

Joey DeFancesco is billed as “The Finest Jazz Organist on the Planet.” He’ll have some competition on this list, but definitely a contender for one of the top organ innovators.

 

 

Tony Monaco was mentored by Jimmy Smith and ultimately refined his own sound and style in recordings and performances with the likes of Mel Lewis, Jon Faddis, Peter Berstein, Faqreed Haque, George Benson, Victor Lewis, and more.

 

 

Here is Neal Evans (Soulive, Lettuce) jamming out on a B3MK2.

 

PUB: Call for Submissions from LGBT Writers of Color: 'Pride' Issue of Shuomii Magazine > Writers Afrika

Call for Submissions from

LGBT Writers of Color:

'Pride' Issue of

Shuomii Magazine


Deadline: 30 July 2012

ShuoMii is a dynamic, responsive and collaborative not-for-profit based media Mega-source set with the purpose of changing the LGBT dynamic within itself and society. ShuoMii’s goal is to revolutionize the stereotypical opinion of our community by enabling a platform that will facilitate a positive image by influencing people with art poetry, film, photography, music and other literary works. Through empowerment ShuoMii plans to create a safer environment dedicated to promoting a positive image for the LGBT POCC, so that we may promote acceptance and understanding. At this moment, there is no major magazine which brings LGBT People of Color writers and artists to the forefront. We believe it is time to publish such a magazine!

TOPIC: Pride

ITEMS REQUESTED: Art, Poetry, Fictional stories, Coming out stories.

GUIDELINES:

  • Prose and Poetry: Submit up to 3 pages of work(double-spaced, 12 pt.). It is best to send all of your work in one Microsoft Word (.doc) or text (.rtf) attachment.

  • Graphic files: Submit up to 5 visual art images or photographs. Photography and visual art should be sent using .tif files ( at least 300 dpi /300 pixels per inch resolution) or .jpeg files. Please include a short artist’s statement about the work submitted. Please zip the files when submitting.

  • Songs and Sound Art: Submit up to five MP3 files. Please include a short artist’s statement about the work submitted. All sound art and music will be featured mostly on our website.

  • Video Art/Movies: Please send a URL to the work if it is online. If not, fill out the submission form and we will contact you about how to submit your video. Please include an artists statement about the work.

ALL submissions: Please include a short bio (two sentences) with your name (as you want it to appear in print), email, phone, and mailing address.

CONTACT INFORMATION:

For queries: contactus@ShuoMii.com

For submissions: via the online submission page

Website: http://www.shuomii.com

 

PUB: The African Liberty Essay Competition ($1,000 top prize | Africa-wide) > Writers Afrika

The African Liberty

Essay Competition

($1,000 top prize

| Africa-wide)


Deadline: 20 July 2012

In not more than 1500, words write on any of the three:

(1) The Predatory State: Its Origins and Implications for Economic Growth.

(2) Statism (State Interventionism) or Free Markets: An essential ingredient in Africa’s Economic growth? (3). Protectionism or Trade: Alternatives for Africa's economic growth.

The essay competition is open to all students in African tertiary institutions. Background materials for the essay can be accessed here OR requested from Adedayo at adedayo.thomas@gmail.com and copy Ngozi atnnwozor@yahoo.com

Your essay should be in MS Word format with your names and other details, sent on or before July 20, 2012 to adedayo.thomas@gmail.comand copy nnwozor@yahoo.com. Announcement of Winners: Aug 2, 2012. All entries will get a free CD “Ideas for a Free Society” containing 100 textbooks on various field of studies.

This essay competition is a project of AfricanLiberty.org and Network for a Free Society in collaboration with Campus Life-The Nation Newspaper. Nigeria

PRIZES:

-1st Prize = $1000 AND Scholarship to 2012 Students and Young Professional African Liberty Academy at the Catholic University in Quelimane, Mozambique from August 8- 11, 2012

-2nd Prize=$700 AND Scholarship to 2012 Students and Young Professional African Liberty Academy at the Catholic University in Quelimane, Mozambiquef rom August 8- 11, 2012

-3rd Prize=$500 AND Scholarship to 2012 Students and Young Professional African Liberty Academy at the Catholic University in Quelimane, Mozambique from August 8- 11, 2012

-4th Prize =$300 AND Scholarship to 2012 Students and Young Professional African Liberty Academy at the Catholic University in Quelimane, Mozambique from August 8- 11, 2012

-5th Prize=$100

-8 Consolation Prizes of $50 each

This competition is organised in conjunction with The Nation Newspapers.

CONTACT INFORMATION:

For queries/ submissions: adedayo.thomas@gmail.comand copy nnwozor@yahoo.com

Website: http://www.africanliberty.org/

 

PUB: Deadline July 20 | Uganda Youth Network National Essay Writing Competition 2012 (UGX 200,000 top prize) > Writers Afrika

Uganda Youth Network

National Essay

Writing Competition 2012

(UGX 200,000 top prize)


Deadline: 20 July 2012

As part of celebration to mark Uganda@50, the Uganda Youth Network is organizing a “National Youth Essay Writing Competition 2012" under the following three categories.

CATEGORY-I (15-19 YEARS):

  • The role of young people in building Social and National Cohesion.

  • A peaceful political transition – the role of the youth

CATEGORY-II (HIGHER INSTITUTIONS OF LEARNING):
  • Embracing Uganda’s patchwork heritage for National Cohesion.

  • A peaceful political transition in Uganda – a pillar for National Cohesion

CATEGORY- III (OUT OF SCHOOL YOUTH):
  • Political overview of Uganda over the last 50 years; the challenges and strategies for National Cohesion.

  • The creation of more districts and its implication to the EAC regional integration agenda.

ELIGIBILITY:
  • All the youth who fall under the above mentioned categories are eligible to participate in this competition.

  • All writers should not exceed 32 years of age.

GENERAL GUIDELINES FOR THE WRITERS:
  • The essay should be written in English language with a total length of 1500 to 2000 words on one topic only.

  • The essay should be on A4 size paper typed in font size 12 and double spaced.

  • Preference will be given to the work exhibiting good knowledge and understanding of the relevant topic.

  • The essay should be well structured, focused with coherent arguments.

  • The essay should reflect analytical thinking and critical insight.

AWARDS:
  • The three best winners from each category shall be rewarded with:

  • Cash award and a certificates as follows;

  • UYONET will reward the first position with UGX: 200, 000 second position with UGX: 150,000 and third with UGX: 100, 0000.

  • All the three winners in each category will be fully sponsored to attend the inaugural East Africa Regional Youth Conference scheduled for August 10 – 11, 2012 at Commonwealth Resort Munyonyo.

  • Best overall essay to be published in UYONET’s 10th anniversary magazine and an opportunity to be interviewed for the National Cohesion audiovisual Documentary set to lay foundation for dynamic discussions and actions on the subject.

SUBMISSION

The essay should be submitted latest 5:00pm on 20th July, 2012, along with the following: all the contact details of the writer including e-mail address, Phone number and physical location.

The essays can be posted, hand delivered or emailed to:

The Executive Director
Uganda Youth Network
Plot 378, Mosque Road - Off Nsimbiziwome- Bukoto
P.O Box 28611, Kampala
Tel; +256-312-276944
info@uyonet.or.ug

CONTACT INFORMATION:

For queries/ submissions: info@uyonet.or.ug

Website: http://www.uyonet.or.ug

 

ACTION: Zimmerman's Cousin Alleges Sexual Abuse + Cops Helped Zimmerman - What Next?

Cousin alleges

Zimmerman sexually

abused her as a child

 

By Douglas Stanglin, USA TODAY

 

The Florida State Attorney's Office today released audio of a police interview with a woman identified as Witness #9 who accuses George Zimmerman of molesting her when she was a child. The defense later identified her as his cousin.

Update at 5:03 p.m. ET: Responding to the prosecution's release of the allegations of sexual abuse, Zimmerman's attorneys identify the woman as a cousin and note the claims he "inappropriately touched her beginning when she was 6 and Mr. Zimmerman was almost 8, and that it continued on occasion until she was 16 and Mr. Zimmerman was 17."

"Now that this statement is part of the public record, the defense will vigorously defend Mr. Zimmerman against the allegations," the defense says in a statement forwarded by USA TODAY's Marisol Bello. "In the next several weeks, there will be reciprocal discovery filed regarding Witness #9's statement."

The defense says it objected to the release in a June 18 motion, arguing the "content of this statement is not relevant to the issues of this case, and it would not be admissible in the State's case in chief."

"The motion further contends that this irrelevant statement should be withheld from public dissemination because of the substantial risk that public disclosure will lead to widespread hostile publicity which would substantially impair the Defendant's fair trial rights, and would pose a serious threat to the administration of justice," the statement says.

Original post: Taped recordings released today by the Florida State Attorney's Office include an explosive police interview with a woman identified as Witness #9 who accuses George Zimmerman of sexually assaulting her as a child.

The woman, identified as Witness 9 by prosecutors, is not a witness to Trayvon's shooting. She came forward and spoke with police after the shooting and media attention to the case.The interview is part of another round of recordings related to the case of Zimmerman, the neighborhood watch volunteer who shot and killed unarmed teen Trayvon Martin in February.

The woman also told police that Zimmerman and his family are racist against blacks.

"Growing up he and his family always made statements that they did not like black people unless they act white," she told police. "They like black people if they act white."

Zimmerman's attorney, Mark O'Mara, had argued that the interview should not be released. O'Mara wrote in a motion that the statement "is not relevant" to the shooting death of 17-year-old Trayvon Martin and would "serve to reignite and potentially enhance the widespread public hostility toward Mr. Zimmerman," according to the Orlando Sentinel.

The recordings also included 145 jail calls Zimmerman had while in jail.

The woman says in the taped interview that the alleged sexual assaults began when she was 6 years old and she and her sister went to stay with Zimmerman, then 8, and his family.

She says Zimmerman assaulted her numerous times, groping her with his hands, kissing her, fondling her under her pants and inserting his fingers in her vagina.

The woman -- whose identity has not been disclosed -- says her family and Zimmerman's family were always together.

She says the last incident occurred when she was 16 and they were both in a house his family owned in Lake Mary, Fla. She says he told her to lie down on a bed, then he laid down next to her and tried to massage her. She says they were clothed, but she says she felt his erection. She says she ran out of the room and out of the house.

"I wanted to make it stop, but I didn't know how," the woman tearfully tells Sanford, Fla., detectives in the interviews. She says she never said anything about the abuse because she was scared.

The witness says that when she was 20 in 2005 she told her sister that "something happened," but didn't give her details. Her sister told her parents, who allegedly confronted Zimmerman. At the time, he is alleged to have said, "I'm sorry," but they never discussed it further, the woman claims.

Zimmerman's family allegedly wanted to sweep everything under the rug, the woman says. The families still got together, but she says Zimmerman no longer attends many of those functions.

She says she came forward now because, "For the first time in my life, I'm not afraid of him."

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Zimmerman’s Lawyer

Outs Witness #9

Witness 9’s first call to police. She mentions several times on the call that she would like to remain anonymous.

 

New documents in the Trayvon Martin case released by the Florida State Attorney’s Office on Monday morning included testimony from a witness that claims George Zimmerman molested her from the age of 6 on through her teenaged years. The witness known only as “Witness #9” made it clear she wanted to remain anonymous and she was able to until Monday afternoon when Zimmerman’s lawyers outed her.

The court redacted any identifying information from the records released on Monday but lawyers outed “Witness #9” as Zimmerman’s cousin.

Zimmerman’s lawyer, Mark O’Mara, released the following statement on Gzlegalcase.com in which he outs “Witness #9.” His statement published in it’s entirety:

Today the State released Witness #9’s Statements along with Mr. Zimmerman’s phone calls from jail in response to the Court’s July 13 order.

In her statements, Witness #9, who is George Zimmerman’s cousin, alleges that Mr. Zimmerman inappropriately touched her beginning when she was 6 and Mr. Zimmerman was almost 8, and that it continued on occasion until she was 16 and Mr. Zimmerman was 17.

The defense moved to block the public release of Witness #9’s statement in a motion filed on June 18, 2012 contending “The content of this statement is not relevant to the issues of this case, and it would not be admissible in the State’s case in chief.” The motion further contends that this irrelevant statement should be withheld from public dissemination because of the substantial risk that public disclosure will lead to widespread hostile publicity which would substantially impair the Defendant’s fair trial rights, and would pose a serious threat to the administration of justice.

That request was denied on July 13, 2012 by Judge Lester. Because there is a Motion for Disqualification pending, this morning, we asked the prosecution not to release Witness #9’s statement until there was a ruling on the Motion for Disqualification. This is an appropriate request as, should the motion for disqualification be granted, reconsideration of recent rulings by the judge is appropriate. However, the prosecution elected to make the public disclosure anyway.

Now that this statement is part of the public record, the defense will vigorously defend Mr. Zimmerman against the allegations. In the next several weeks, there will be reciprocal discovery filed regarding Witness #9’s statement.

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Zimmerman’s Police

Inside Connection

Has Been Revealed:

A Former Cop Coached Him

on What to Say

The public has often wondered how George Zimmerman was able to escape prosecution for his crimes in the past.  There seemed to be a connection that he had inside the Sanford police department that kept him safe from the consequences of his poor choices.  Some thought that it was his father, the retired judge.   It turns out that it may be deeper than that.

Zimmerman, who shot Trayvon Martin after seeing him to be a suspicious looking black male, was allowed to evade arrest and remain free for 44 days after the initial incident.  New evidence is showing that the early decision not to charge Zimmerman was the result of scripted coaching he received from someone inside the Sanford Police Department.

Documents from the FBI and Florida Department of Law Enforcement are claiming that a strong Zimmerman supporter throughout the case might have been Mark Osterman, a federal agent and former Seminole County Sheriff’s deputy.  Osterman was with Zimmerman as they returned to the scnee of the crime to determine what happened on the previous day.

The Herald has reported that Zimmerman and Osterman often went shooting together, and that Zimmerman even hid in Osterman’s house as the publicity from the case shot through the national media.

Previously, some had wondered if Zimmerman was getting inside help from Seminole State Attorney Norm Wolfinger, who released Zimmerman initially.  Wolfinger was removed from the case when a special prosecutor was assigned to handle the rest of the process.

There was also an interesting email between between Zimmerman and former Sanford Police Chief Bill Lee.  The two exchanged pleasantries about a case in which a homeless black man was beaten by the son of a police lieutenant.  The lieutenant’s son was never charged for the beating.

“Zimmerman is very concerned with all the negative reaction from the press and others and wants more evidence released to show what really happened,” Osterman told the FBI.

Of course, Osterman is denying that he ever gave Zimmerman advice.  But we didn’t exactly expect a confession.

>via: http://www.kulturekritic.com/2012/07/news/zimmermans-police-inside-connection...

 

 

VIDEO: Five alternative filmmaking collectives > Africa is a Country

Five alternative

filmmaking collectives

The Mosireen Cinema

Theatrical release is the holy grail of filmmaking. Well, it was until relatively recently. But, since the internet, dvds, digital files and all the other ethereal modes of sharing and circulating became available to the masses, alternative modes of film production and distribution began to challenge the studio system, the distribution system, and perhaps even cinema itself. We’re all well aware of the nearing doomsday of celluloid, the ‘end of film’. Yet, this is only a fraction of what constitutes ‘film’.

The challenge to the cinematic system comes, arguably, and perhaps most provocatively from the African continent, where whole industries, most notably Nollywood, have both anticipated – and eclipsed – a future of moving image circulation that Western countries are still approaching with fear, still scrabbling, prosecuting and asserting copyright, when clearly the way in which we consume images and film is changing radically.

In the light of these changes, I assembled five filmmaking collectives that are reinterpreting and reinvigorating notions of collaboration and distribution.

Chop Cassava, Nigeria

Marie Antoinette declared ‘let them eat cake!’ (apparently), thereby revealing her obliviousness to the plight of normal people in 18th century France. Chop Cassava, a filmmaking collective in Nigeria, attribute their name to the same sentiment; implying that the removal of fuel subsidies by Minister of Finance Okonjo-Iweala, revealed a similar such obliviousness, ‘let them chop cassava!’

Chop Cassava was a series of web films and a blog that documented the January 2012 fuel subsidy protests in Lagos, Nigeria. Where the rest of the worlds media were either woefully ignorant, or hesitant to report on the protests, Chop Cassava documented marches and interviewed individuals, providing in-depth and consistent coverage.

Each day, they compiled footage from various mobile phones, video cameras, and their own film crew. Their coverage was dispersed, meandering, at times polemic and others entirely observational. They provided immediate documentation of the protests where elsewhere, this – the largest peaceful protest in Africa for many year – was ignored.

This powerful statement from their website captures their aims as a media collective:

It was clear that something had shifted in the Nigerian consciousness, which requires a different sort of documentation. Our challenge was, shall we just stand back and document or shall we have an opinion. Should we editorialize history as it unfolds?

The Mosireen Collective, Tahrir Square, Egypt

Mosireen is a non-profit media collective born out of the explosion of citizen journalism and cultural activism in Egypt during the revolution in 2011.

Similarly to Chop Cassava, Mosireen assembled footage from mobile phone and video cameras throughout the protests, editing short films together that documented the vast protests that were gripping Cairo, indeed the whole of the Arab world at the time. And again, where news agencies and journalists were hesitant to enter the crowds, or were offering neutered, Mosireen grouped together to produce their own documentation of events.

One of the key members of the media collective, filmmaker Khalid Abdalla says of the project;

The majority of the footage is amateur, but a lot of it is filmed by us or by our friends

It’s part of the culture of creative commons, an open sourcing for film that allows us to share our stories. We did an open call for people to make films which we were planning to have screened on TV but then the sit-in started again and three days ago we decided to start screening in the square.

The Mosireen collective is vital for it addresses ideas and practices of archiving, open source filmmaking, collaboration and cooperation in a cinematic and political context.

[The] archive we’ve built is not ours, it’s the Egyptian peoples; it was filmed by the Egyptian people, it’s their story and it’s our story but a lot of people haven’t seen it. This country is going to be unpacking what happened here for generations and you never know what’s important and what isn’t. There are two things happening- there’s a duty to the present and a duty to the future and we’re trying to fulfil both.

Mosireen on Youtube, Twitter and facebook.

Slum TV

 Slum TV are a media collective that ‘provide a means of expression to informal settlement communities in Kenya by providing the pertinent tools for this.’ They predominantly work in the Mathare slum in Nairobi, providing training and production support for residents wishing to make films. As a result, Slum TV has helped to develop a new visual culture, one that is both entertaining and educational; the narratives always feeding back into the community and offering some light and perspective on the lives lived in informal settlements like Mathare.

You can watch many of the films on the Slum TV website, here.

In August, the Slum Film Festival will run in both the Kibera and Mathare.

Sam Hopkins, one of Slum TV’s founding members describes the screening process:

The material is collated and screened on a monthly basis in public space in Mathare. Thus it functions like a ‘newsreel’ and affords the slum dwellers a form of local news. Having been screened locally, the content is then uploaded onto the website, which functions both as an archive of this oral history and a means to access a secondary, international audience.

ZaLab

ZaLab is a filmmaking collective that ‘hosts participatory video and documentary workshops in intercultural contexts and situations of geographical and social marginalization.’

Particularly powerful is their commitment to telling the stories of migrants who cross the Mediterranean from North Africa to Italy and Spain, and their dedication to outing the horrific practices of the Libyan police when migrants are returned.

I initially came across ZaLab after reading this wonderful article by Maaza Mengiste, the Ethiopian writer, who published a moving article in Granta magazine about the journey of one particularly man, Dagmawi Yimer. Mengiste writes about the torturous journey that finally led to Dagmawi’s arrival to the Italian island of Lampedusa, over a year after he set out from Addis Ababa. Since settling in Italy, Dagmawi became a member of ZaLab, making documentaries collaboratively with other migrants about their experiences, to drawn attention to the journeys that are made.

In a year when reports of the dehydrated dead, exploited and left floating at sea have dominated headlines, the activity of ZaLab is all the more important. Their films are engaging, moving, informative and a vital resource to make known what people will endure for the hope of a better life in Europe. Dagmawi also helped to found The Archive of Migrant Memories, in Rome.

The Otolith Group

The otolith is the part of the inner ear that establishes the body’s sense of gravity, orientation and balance. Taking its name from this bodily compass, The Otolith Group seek to use moving image to orient themselves, and us, within a wider cultural and theoretical context.

They want to ‘build a new film culture’. At times their films are difficult to penetrate and draped in theoretical references that escape many viewers, however their work that deals with Africa, particularly the work of John Akomfrah (formerly of the Black Audio Film Collective), militant filmmaking, ‘audio poverty’ and migration is powerful, thought provoking visual art.

You can see an inventory of their work here.