Meshell Ndegeocello:

un nouvel album tribute

à Nina Simone

par Superfly le 7/06/2012

La chanteuse bassiste Meshell Ndegeocello vient de révéler la teneur de son dixième album, le successeur de Weather sorti l’an dernier. Après avoir rendu hommage à ses idoles Prince et Gil Scott-Heron sur scène, Meshell rendra hommage à Nina Simone sur disque avec Pour une âme Souveraine – a Dedication to Nina Simone, un album de reprises enregistrées avec des invités. Un hommage entrevu à La Cigale lundi soir où la musicienne a interprété une version cosmique de dix minutes de « See-Line Woman », un classique de la musique américaine popularisé par Nina Simone en 1964. Sortie prévue le 9 octobre.

via funku.fr

__________________________

"Unsung" Episode: Lou Rawls

 

He was the "Gentleman of Soul." Unfortunately maligned at times by both Jazz and Soul purists, Lou Rawls enjoyed a 40-plus year career that would be the envy of the vast majority of artists in either genre.  His longevity and his accomplishments - both musically and socially - were among the most impressive in the Soul Music world. 

Biography

Unfortunately maligned at times by both Jazz and Soul purists, Lou Rawls enjoyed a 40-plus year career that would be the envy of the vast majority of artists in either genre.  His longevity and his accomplishments - both musically and socially - were among the most impressive in the Soul Music world.

 

Born on the rough South side of Chicago in the mid 1930s, Rawls cut his musical teeth on Gospel music.  But the '50s secular stylings of the rising doo-wop movement as well as jazz artists such as Billy Eckstine and Joe Williams appealed to him, and as a teen he joined classmate Sam Cooke in the group Teenage Kings of Harmony.  After a stint in the Army, he moved back to Gospel, working as part of the Pilgrim Travelers in Los Angeles.  He was sidelined for several months in the late 50s by a tragic auto accident that almost killed him, and after recovering he left the Travelers and became a solo secular artist on the L.A. jazz nightclub scene.  He ultimately came to the attention of Capitol Records and was signed in 1960. 

Rawls' Capitol debut, Stormy Monday, performed with pianist Les McCann, was a rather slick, uptempo mixture of jazz, blues and soul that resonated with young, urban African American audiences.  His interpretations of the title cut, "God Bless the Child" and "Willow Weep For Me" were memorable, sounding like those of a seasoned song stylist rather than a recording newcomer.  Rawls continued to develop a substantial following over the next few years with a mixture of new songs and covers of jazz and pop standards.  He then scored big in 1966 with his excellent Live album.  In addition to including his most popular cut to date ("Tobacco Road"), the disc also captured the storytelling and amusing stage banter that would become a Rawls trademark.  His seven-minute working of "World of Trouble" (including three minutes of rapping) was marvelous, clearly demonstrating his strong rapport with the live audience.  The album's highlight, however, was his midtempo reading of the oft-covered "St. James Infirmary," which stands to this day as the definitive version of that great song.

As the 60s wore on, Rawls continued to grow in popularity, and he began to reach a broader crossover audience with hits such as "Love Is A Hurtin' Thing," "Dead End Street" and "Your Good Thing (Is About To End)." However, the quality and soulfulness of his recordings diminished significantly in this period, as jazz instrumentation gave way to MOR string sections and Vegas-style pop arrangements.  Things got even worse in the early 70s, as he signed with MGM Records for a couple of dreadful pop albums that further took him away from his Jazz and Soul foundation.

By 1975 Lou Rawls was no longer a "hip" singer and his forays over the previous half decade had effectively removed his jazz credentials.  He smartly signed with Gamble & Huff's Philadelphia International Records and recorded a series of top notch urban adult contemporary discs that meshed his deep, smooth voice with PIR's typically strong songwriting and classy arrangements.  He scored immediately with what would become his signature song, the light disco "You'll Never Find Another Love," and continued over the next half decade with adult hits such as "Lady Love," "See You When I Git There" and "Groovy People." 

By the end of the 70s, Rawls had accumulated a catalog of songs and a strong stage presence that made him an in-demand performer internationally.  He was also beloved in the African American community for his unceasing support of higher education, most notably through his annual telethon for the United Negro College Fund, which raised millions for traditional black colleges around the US.

When the hits stopped coming at PIR in the early 80s, Rawls signed with Epic Records for a series of enjoyable, if not spectacular, albums.  This period was most notable for his recording of "Wind Beneath My Wings," still the best version of that song (it was subsequently remade dozens of times, including the dreadful smash cover by Bette Midler).   Later in the decade, he moved to Blue Note, where he recorded some very nice albums aimed at jazz audiences, generally working with producer Billy Vera.  His recordings "You Can't Go Home No More," "Don't Let Me Be Misunderstood" and duets with Dianne Reaves on "At Last" and "Fine Brown Frame" highlighted a productive renaissance period for him. 

After 1993's Portrait of the Blues, Rawls ended his tenure with Blue Note and stopped actively recording for several years.  He returned in 1998 with the quickly forgotten theme album, Seasons For U (which he independently released).  Then in 2003, at age 70, he surprised the music world by releasing the tribute disc, Rawls Sings Sinatra, which hit the top 5 on the Jazz charts.

Sadly, Mr. Rawls died of cancer on January 6, 2006. Much of his best work has since been reissued on CD (of particular note is his early 60s Live album) and his biggest songs remain popular well into the second decade of the 21st century.

By Chris Rizik

Posted February 14th, 2013 by administrator

CFP:

ASAUK Biennial Conference 2014

– Call for Panels and Papers

(deadline 20 Sept 13)

By africainwords on 21 February , 2013 

The ASAUK biennial conference will be held at the University of Sussex and will run from 2pm on Tuesday Sept 9th to 3.30 pm on Thursday 11th September 2014.

While we are not attempting to give the conference an overarching ‘theme’, we would encourage individuals, journals, centres and networks to offer a single or series of panels on particular topics so that there can be sequential debate through the conference.

Panels

The call for panels (symposia) is now open. Panels at the conference will be an hour and a half long and we would recommend no more than 3 papers per panel to allow time for questions and debate.

Please note that the only way to submit a panel for the conference is via the online link below. We would encourage all those wishing to suggest a panel to have done so by the 20^th of September 2013 after which a call for papers will be circulated. It will only be possible for scholars to submit papers to your panel once it has been submitted onto the online system.

https://asauk.conference-services.net/authorlogin.asp?conferenceID=3630&language=en-uk

Guidance

To submit a panel you will then need to register on the online system via the link above. Once you have registered you can then log into the online submission system and set up a panel. Panels are referred to as symposia and so to register your panel please go to the “set up a new symposium” section of the system. To submit a panel you will require a panel abstract of maximum 400 words.

Once you have submitted your panel/symposium it will appear on the online system and papers can then be submitted to your panel via the online system. Each time a paper is submitted for your panel you will receive an email notifying you and will be able to log into the online system and review the papers for your panel.

It is worth noting that you can use your one email and password to propose several panels / symposia. Should you wish to amend your personal, panel or paper details you can this by logging into the system at any time up until the close of submissions.

Papers

It is also possible to submit papers via the above link. If you submit a panel and wish to solicit papers this can be done straight away.

We will circulate a call for papers once the call for panels is closed to enable those submitting papers to see a full list of panels.

We do not require you to submit a full paper in advance, please submit an abstract of 250 words. The call for papers will close in April 2014.

We very much hope to see you at the conference!

If you have any queries please contact David Kerr: d.kerr@bham.ac.uk

Call for Entries:

'Some Like it Hot'

Romantic Fiction Competition

($1,500 top prize | worldwide | no entry fee)

 

 

Deadline: 31 May 2013 (5pm ACST)

Good news for book-length romance writers! Vicki Sly, the Publicity Manager of Steam eReads, sent these details to us to solicit submissions from writers in our network. Steam eReads is based in Australia but the competition is open to writers worldwide. The winner will receive S1,500 AUD and a publishing contract with Steam eReads.

“SOME LIKE IT HOT” ROMANTIC FICTION COMPETITION

In celebration of our launch and all things romance, Steam eReads is calling for entries to the 2013 “Some Like it Hot” Romantic Fiction Competition. We are looking for original, previously unpublished works of 50,000+ words. Entry is free, and open to Australian and international writers aged 18 and over.

PRIZES: Three cash prizes and a publishing contract with Steam eReads.

• 1st: $1,500 AUD

• 2nd: $1,000 AUD

• 3rd: $500 AUD

TO ENTER: Entries by email only. Please make sure your covering email contains:

• Your real name (and pen name if applicable)

• A contact telephone number

• Your email address

• The title of your work and approximate word count.

Multiple entries are permitted.

Steam eReads may accept other entries suitable to our catalogue for publication under our normal terms ($100AUD signing fee, plus royalties).

GENERAL SUBMISSION GUIDELINES:

We are currently accepting submissions in the following categories:

• Contemporary

• Historical

• Fantasy/Supernatural

• Fetish

• Country/Outback

• Mystery/Thriller

• MM/FF

• Short n Spicy.

WHAT WE WANT:

We accept manuscripts between 50,000 to 90,000 words for our full length fiction.

Your story can be as modern or as far fetched as your imagination takes you. As long as it’s hot (and legal!) we want to read it.

The primary focus of your story should be the developing romantic relationship between the characters with sexual tension paramount from the get go. We are interested in sex scenes however they must be integral to the plot and development of the story. The story must come to a satisfying conclusion with nothing left to the reader’s surmising. A well structured plot is integral.

HOW TO SUBMIT YOUR MANUSCRIPT:

• We welcome submissions of entire previously unpublished manuscripts by authors over the age of 18, as an email attachment to:

• The work must be entirely your own, original creation.

• Submit in .doc or .rtf format.

• Use a legible font (i.e. Times, Courier, Arial) and black, 12 point size type.

• Double space your manuscript.

• Please do not use any additional formatting i.e. borders, backgrounds or images.

• Please send the entire manuscript as one document (as an attachment); do not send individually saved chapters.

• In your email please include your real name, pen name if applicable, valid email contact details and a phone contact. Our preferred method of contact is by email.

• In your email please state the title of your work, what category you are submitting for, the approximate word count of your manuscript and a brief synopsis of the story. We also welcome a short author biography.

Please allow at least 4 to 6 weeks for review by our editorial team before we notify you regarding the outcome of your submission. We will respond to all submissions and your patience is appreciated.

As we are a publisher of ebooks, all our communication is done via email. We do not accept hardcopy (paper) submissions.

We are happy to accept multiple submissions but request that you do not send any previously published work or material that is currently being considered by another publisher.

Link: complete submission guidelines

CONTACT INFORMATION:

For queries/ submissions: competition@steamereads.com.au

Website: http://steamereads.com.au/

 

 

Center for Fiction

Flaherty-Dunnan First Novel Prize

Deadline:

March 15, 2013

Entry Fee: 

$50

Website: 

http://www.centerforfiction.org/awards

A prize of $10,000 is given annually for a first novel published in the United States during the current year. Finalists receive $1,000 each. Publishers may submit eight copies of a novel published in 2013 (or bound galleys) with a $50 entry fee by March 15. Visit the website for the required entry form and complete guidelines.

Center for Fiction, Flaherty-Dunnan First Novel Prize, 17 East 47th Street, New York, NY 10017. (212) 755-6710. Kristin Henley, Programs Director. kristin@centerforfiction.org

8 Women

• Developed by Joy Conway

++++++++++++++++

from Terence Nance • Terence Etc.

'The Bastard Sings

The Sweetest Song'

A Subtle But

Strikingly Moving Doc

by Vanessa Martinez

 

 

January 23, 2013

Muscle and his mother Mary in a still from "The Bastard Sings The Sweetest Song"  

 

Currently screening at the Royal Cinema in Toronto since last Friday is Christy Garland’s documentary The Bastard Sings the Sweetest Song, which revolves around a family from Georgetown, Guyana in South America. The family’s matriarch, 75-year old Mary, is an alcoholic in denial. She’s also a talented poet who once set out to write a book of poems.

The documentary takes its time to reveal what has caused Mary to become dependent on alcohol. One can assume is perhaps out of boredom, or because of her forgone dream of becoming a published author. After all, Mary has a loving family, which includes three other daughters and several grandchildren. Why couldn’t she find peace and joy in her family? Why is she so restless? Why does she fear being alone at night?

Bastard also centers around Mary’s son Muscle, who is most likely in his late 30’s or early 40’s. We watch Muscle raise cocks for fighting and birds for singing competitions. The documentary’s “bastard” title refers to Muscle’s winner songbird.  Muscle, who aims to reach a stable, secure economic middle class in this tight-nit Caribbean community, keeps a very close eye on his mother.  He fears for her safety, especially since she has fallen and hurt herself before on the streets, as she goes on daily walks and begs for money to buy alcohol.

Muscle makes concessions with his mother to keep her inside their compound and safe. He rations her alcohol in order to prevent her from venturing outside. He begins to keep her locked in her room for her own good. But he’s hardly cruel with his mother. There are several tender sequences of Muscle complementing Mary to his friends about her writing talents; and are other several scenes of family members enjoying a more upbeat, affectionate Mary.

Once Mary begins recounting her traumatic experiences, dispersed in different confessional scenes with the camera, the documentary becomes genuinely affecting. You begin seeing Mary through different eyes. You ponder upon the resilience of this elder’s spirit. These sequences are compelling and subtly powerful. She’s been through abuse at the hands of her late husband, who also abused her children.

Without giving much away, there is much more pain to her story. However, the documentary’s nuanced and humane direction prevents the film going into over the top sentimentality or aiming to shock just for the sake of.  There is also a much-needed sense of hope and redemption for this family through Muscle’s testimony. He’s determined to succeed and provide for his family, but most importantly, to break the cycle of abuse.

Christy Garlands’ direction augurs a genuine and compassionate must-see portrait of alcoholism, loving familial ties, trauma, breaking the abuse cycle, and ultimately of endurance and hope.

Virgin Soul, a novel

by Judy Juanita

 

We are happy to announce the publication of Judy Juanita's novel, Virgin Soul, a story about those turbulent 60s, the student movement for black consciousness and liberation, especially a woman's life in the Black Panther Party. Judy was a fellow student at San Francisco State University, scene of the longest and most violent student strike in American academic history. --Marvin X

Download Judy_Juanita_reading.mp3

 

Stephen G. Hall

 A Faithful Account of the Race:

African American

Historical Writing in

Nineteenth-Century America

University of North Carolina Press, 2009

by Arika Easley-Houser on February 8, 2013

Stephen G. Hall

Historian Stephen Hall passionately engages in the history of nineteenth-century African American intellectual life in his first monograph, A Faithful Account of the Race: African American Historical Writing in Nineteenth-Century America (University of North Carolina Press, 2009). This work traces the long nineteenth-century and how black historical writers evoked various themes at different moments, including ancient African history, biblical history, the paradox of American slavery, and challenges to black citizenship during the Reconstruction era.  He unearths of a plethora of black historical sources in the nineteenth century in various forms, including speeches, sermons, newspapers, and literary texts,  which each serve as precursors to the black historical writing of the twentieth century.  His work reveals the complexities of African American intellectual history, and would be a great inclusion for undergraduate or graduate course, or for a general audience of readers who would be interested in learning more about the important history he illuminates. Listen in.

Download stephen_hall_interview.mp3

THE MIS-EDUCATION

OF THE NEGRO

The Mis-Education of the Negro by Carter Godwin Woodson (full text)

Originally released in 1933, The Mis-Education of the Negro by Carter G. Woodson continues to resonate today, raising questions that readers are still trying to answer.

 

Attached as an Adobe Acrobat PDF is a full copy of this African-American classic. This book is must reading for all Black people, especially the educators among us. You can also access a full HTML copy of this book by clicking on the link above which will take you to a website where you can read and/or print a full copy.

 

The #1 Site for African American Literature

 

Dr. Carter Godwin Woodson

 

DR. CARTER GODWIN WOODSON AND THE OBSERVANCE OF AFRICAN HISTORY

http://aalbc.com/authors/carterg.htm#.TvjwdDX-9ip

BY RUNOKO RASHIDI

"Only when lions have historians will hunters cease being heroes."
--African Proverb

Carter Godwin Woodson has been called the father of Black History Month. Carter G. Woodson (1875-1950), the son of former slaves James and Eliza (Riddle) Woodson, was born on a small farm in New Canton, Virginia. From an early age he possessed an unquenchable thirst for learning. When he could, he attended the local school, and eventually went to Berea College in Kentucky. Ultimately, he obtained a B.A. from the University of Chicago in 1907. In 1908 he attended Sorbonne University in Paris where he became fluent in French. He received a Ph.D. in History from Harvard University in 1912, becoming only the second African-American to earn such a degree. Woodson taught briefly and held educational administrative posts in the Philippines, at Howard University (where he was Dean of the School of Liberal Arts), and West Virginia State College.

Dr. Woodson was a member of the Niagara Movement and a regular columnist for Marcus Garvey's weekly publication--the Negro World. He was the founder, in Chicago in 1915, of the Association for the Study of Negro Life and History. In the same year he founded the Journal of Negro History--a publication still in existence. As a contributing writer for the Journal of Negro History, Woodson wrote more than a hundred articles and 125 book reviews.

 

Carter Godwin Woodson was the founder of Associated Publishers, founder and editor of the Negro History Bulletin, and the author of more than thirty books. Probably Woodson's best known book is The Mis-Education of the Negro, originally published in 1933 and still relevant today. In the Mis-Education of the Negro Dr. Woodson stated that:

 

"When you control a man's thinking you do not have to worry about his actions. You do not have to tell him not to stand here or go yonder.

He will find his 'proper place' and will stay in it. You do not need to send him to the back door. He will go without being told. In fact, if there

is no back door, he will cut one for his special benefit. His education makes it necessary."

 

In 1926 Woodson initiated the annual February observance of Negro History Week. He chose February for the observance because February twelfth was Abraham Lincoln's birthday and February fourteenth was the accepted birthday of Frederick Douglass. By the 1970s, Negro History Week had expanded to become Black History Month.

 

Dr. Carter G. Woodson was truly a great man; an intensely dedicated soldier in the cause of African freedom and redemption. We proudly salute and praise him, and … we dedicate ourselves to extending Black History Month to the entire year and the unending and unceasing celebration, recognition and commemoration of the global history of African people.

[1998] Runoko Rashidi. All Rights Reserved.