AUDIO: [Some] Jazz (Compilation) > BamaLoveSoul

BamaLoveSoul.com

presents

[Some] Jazz (Compilation)



The storied American music, Jazz holds a special place in the hearts of many. Long considered a dead or dying scene, it’s pleaurable to watch as new players crop up and add their flavor to the century old artform. Here’s a compilation of some of our favoritenewcomers”. Enjoy
Want more? Check our Robert Glasper mix HERE

iTunes | Mixcloud | Download 1 | Download 2

<div> <div style="clear:both; height:3px;"></div><p style="display:block; font-size:12px; font-family:Helvetica, Arial, sans-serif; margin:0; padding: 3px 4px; color:#02a0c7; width:472px;">BamaLoveSoul.com presents [Some] Jazz (Compilation)<span> by </span>Bama Lovesoul<span> on </span> Mixcloud</p><div style="clear:both; height:3px;"></div></div>

Behr – Offhand

Gregory Porter – Illusion

Diggs Duke – Long Lost

Laika Fatien – Lady’s Back in Town

J.A.M. – Jazzy Joint feat Jose James

Zara McFarlane – Waking Sleep (Thoughts)

Richard Spaven – Network

Scrimshire – 1000 Lost Letters

re:jazz – Tears feat Mediha

Brandee Younger – Oriental Folk Song

Seth Williams – Yaaay

Lauren Desberg – Come Running to Me

Christian Scott – Kuro Shinobi

Esperanza Spalding – Cinammon Tree

Darryl Reeves – Everytime I See you

Khari Cabral – Coolamon Waltz

artwork by urban-barbarian

BamaLoveSoul.com presents [Some] Jazz (Compilation)

 

 

PUB: Sixfold Fiction and Poetry

Win $1000, $200, $100 for your short story or poems

 
Vote online to create the next issue of Sixfold

 
Enter by Jan. 24

Upload your own short-story or poetry manuscript PDF for a $6 entry fee by Jan. 24, 2013. Then, vote within your genre to select the three prize-winning manuscripts and all the manuscripts published in each issue of Sixfold.

Sixfold is a collaborative, democratic, completely writer-voted journal. The writers who upload their manuscripts vote to select the prize-winning manuscripts and all the short stories and poetry published in each issue. All participating writers’ equally weighted votes act as the editor, instead of the usual editorial decision-making organization of one or a few judges, editors, or select editorial board.

In addition to voting manuscripts into publication, you give and receive workshop feedback on your and your fellow writers’ work. By the end of three rounds of voting, you read, evaluate, vote, and write comments on 18 other writers’ manuscripts, and receive up to 6, 24, or 78 votes and comments on your own manuscript from other writers, depending on how far it progresses through the three voting rounds.

Join a community of writers engaged in a fair manuscript judging process. Read your fellow writer and the variety of short stories and poems out there. Read, vote, give comment, get comment, and so better your own writing. And connect! If you wish. Be anonymous during the entire voting process, or opt-in to connect and network with other writers after the secret-ballot voting rounds are over.

Opt-in to make your name, profile, and/or manuscript publicly viewable on a post-voting results page that lists all participants’ manuscripts ranked by voting score. If you like, give your e-mail, Facebook, or other link to the writers you vote for and give feedback to, made available to them only after voting is over.

 

FULL DETAILS | HOW IT WORKS     HOW IT WORKS PICTURE TOUR

 

PUB: Thomas Wolfe Fiction Prize - The North Carolina Writers' Network

Thomas Wolfe Fiction Prize

Now Open for Submissions

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Written by Administrator   

 

The North Carolina Writers' Network is now accepting submissions for the 2013 Thomas Wolfe Fiction Prize. This annual award is administered by poet Anthony S. Abbott, the Charles A. Dana Professor Emeritus of English at Davidson College in Davidson, NC.

 

The Thomas Wolfe Fiction Prize honors internationally celebrated North Carolina novelist Thomas Wolfe. The winner receives $1,000 and possible publication in The Thomas Wolfe Review. The competition is open to all writers regardless of geographical location or prior publication. The postmark deadline is January 30, 2013.

Ruth Moose will be the Final Judge. Moose served on the faculty of the University of North Carolina at Chapel Hill's Creative Writing Department from 1996-2010. She has published two collections of short stories, including Neighbors and Other Strangers (Main Street Rag), and four books of poetry. Individual stories have appeared in Atlantic, Redbook, Alaska Quarterly Review, North American Review, and other places. Her work has been included in several anthologies, including Stories about Teachers and Teaching. Her poems have appeared in The Nation, Prairie Schooner, Yankee, Christian Science Monitor, and other places. Recently, she was awarded a Chapman Fellowship to compile a work on North Carolina writers.

The 2013 guidelines are as follows:

Postmark deadline: January 30 (annual)
Submissions accepted: December 1 – January 30

  • The competition is open to all writers regardless of geographical location or prior publication.

  • Submit two copies of an unpublished fiction manuscript not to exceed 12 double-spaced pages (1" margins, 12-pt. font).

  • Author's name should not appear on manuscripts. Instead, include a separate cover sheet with name, address, phone number, e-mail address, word count, and manuscript title.

  • An entry fee must accompany the manuscript: $15 for NCWN members, $25 for nonmembers. Checks should be made payable to the North Carolina Writers' Network.

  • You may pay the member entry fee if you join the NCWN with your submission. Checks should be made payable to the North Carolina Writers’ Network.

  • Entries will not be returned.

  • The winner is announced each April.

  • Send submission to:

Professor Tony Abbott
PO Box 7096
Davidson College
Davidson, NC 28035

 

Laurel Ferejohn

Laurel Ferejohn of Durham, NC, won the 2012 Thomas Wolfe Fiction Prize for her story, "That Other Story." Elizabeth Brownrigg, Kathryn Shaver, and Kermit Turner received Honorable Mentions.

The nonprofit North Carolina Writers’ Network is the state’s oldest and largest literary arts services organization devoted to writers at all stages of development. For additional information, visit www.ncwriters.org.

 

PUB: CFP: Transatlantic Africas – Special Issue of Matatu: Journal for African Literature and Society « Africa in Words

CFP: Transatlantic Africas – Special Issue of Matatu: Journal for African Literature and Society

Proposals for papers/abstracts should reach the editors by 1 April, 2013.

The editors of Matatu: Journal for African Literature and Society invite contributions for a special issue on “Transatlantic Africa” to be published in 2014. The special issue will focus on recent literary and cultural interactions between Africa and North America (USA, Canada, the Caribbean) and will explore the transnational, transcultural and transregional dimensions of contemporary African literature. While special emphasis is to be placed on the emergence of new, late 20th and 21st century African diasporas in North America and their significance for African literature and culture, the editors also invite contributions highlighting the relationship between ‘older’ African diasporas that emerged in the wake of transatlantic slavery and contemporary African diasporas based on 20th and 21st century transmigration. African/North American interactions to be addressed in the Matatu special issue include:

  • Imagined Africas in the literature of the new African diaspora

  • Imagined Americas in African literature

  • Literature, migration and exile

  • Transnational/transcultural/transregional? Understanding the deterritorialized dimensions of African Literature

  • Transatlantic lifeworlds in contemporary African literature and culture

  • Transatlantic Africa and the medialisation of texts: web technologies and the creation of new literary communities

Proposals for papers/abstracts should reach the editors by 1 April, 2013 and should be sent to: Gordon Collier (Gordon.R.Collier@anglistik.uni-giessen.de), Geoffrey Davis (davis@anglistik.rwth-aachen.de), Christine Matzke (christine.matzke@uni-bayreuth.de), Aderemi Raji-Oyelade (remraj1@yahoo.com) and Frank Schulze-Engler (schulze-engler@nelk.uni-frankfurt.de).

 

ECONOMICS: Equal Education Unequal Pay > LearnStuff

Equal Education Unequal Pay

Infographics
Equal Education Unequal Pay

It’s 2012 and close to four years after the Lilly ledbetter Fair Pay Act was signed into law. Surely, the gender wage gap has been closed, right? Wrong.

Even with moves toward equalizing pay between men and women, men still make almost 20% more than women in nearly all industries. This is despite the fact that women receive the same education, with the same tuition price tags and levels of debt upon graduation. The only major differences are that there are more ladies in college and they have better average GPAs to boot. The benefits of paying women their fair share include increasing the GDP while reducing the poverty rates for families.

Check out the infographic below to see what else the gender wage gap affects.

Creative Commons License
Equal Education Unequal Pay by LearnStuff.com is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

 

HEALTH: s.e. smith - i hide my mental illness « blkcowrie ❀

s.e. smith:

i hide my mental illness

01/13/2013

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Being mentally ill means that I am more likely to be shot by police. I am more likely to be raped or assaulted. I am more likely to be institutionalized, to be condemned as an unfit parent, to be denied employment or fired.

*

At least once a week, there’s a story about someone with my diagnosis in the news being shot by police. Either it’s a new story, a new shooting, or it’s a story about the outcome of an earlier shooting; usually an internal investigation confirming it was justified, or a followup on how mental health services haven’t improved at all since the shooting1.

I’ve been seeing stories like this my entire life, since long before I knew I was mentally ill, but they, along with other depictions of mental illness in pop culture2, took on new meaning after I found out I was crazy. Looking at those stories is a reminder of what could happen to me if I set a toe out of line. If, in other words, I “act crazy.”

Like a lot of people with mental illness, I spend a lot of time fronting. It’s really important to me to not appear crazy, to fit in, to seem normal, to do the things “normal people” do, to blend in. It’s a form of assimilation for safety, but something deeper than that, where hiding my own identity for survival is also tearing me apart.

I often feel like a Cylon.

The other morning was one of those days where I could not get out of bed. I lay there for several hours, staring at the ceiling, awake but unmoving. I knew I needed to pee but I couldn’t care enough to actually do anything about it. I just lay, and stared, and lay, and stared. But I also knew that I needed to front, to put on the happy face, to be “productive.”

chokwe masque - pwo - with chingelyengelye cross motif - ex belgium congo.

chokwe masque – pwo – with chingelyengelye cross motif – ex belgium congo.

So I hauled my ass out of bed and peed and then slithered back under the covers with the laptop to be jaunty on Twitter and make sure I posted something on my Tumblr.

To an outside observer, my Internet persona was enjoying a perfectly regular, ordinary day. One like any other, where everything was beautiful and nothing hurt.

Inside, I was screaming.

As a defense mechanism, fronting makes a lot of sense, and you hone that mechanism after years of being crazy. Fronting is what allows you to hold down a job and maintain relationships with people, it’s the thing that sometimes keeps you from falling apart. It’s the thing that allows you to have a burst of tears in the shower or behind the front seat of your car and then coolly collect yourself and stroll into a social engagement. You flash a grin at a friend.

“Sorry I’m running late,” you say, thinking up a funny story to serve as a distraction. “I had to stop for some goats to cross the road.”

“You don’t seem crazy,” people say about fronters. Or “your mental illness must not be that bad.”

We are rewarded for hiding ourselves. We become the poster children for “productive” mentally ill people, because we are so organized and together. The fact that we can function, at great cost to ourselves, is used to beat up the people who cannot function.

Because unlike the people who cannot front, or who fronted too hard and fell off the cliff, we are able to “keep it together,” whatever it takes.

Ferocious organization and minute to minute daily scheduling are how I deal with it, forcing myself to go and go and go until I crash at night. Because if I stop, for a second, everything starts to fall apart. And some days I wake up and realize that I just cannot go.

michael parkes.

michael parkes.

And I don’t want to tell anyone, because that cracks the facade and alerts everyone to the fact that I am fronting. I know my fellow fronters when I see them and we nod at each other, aware that behind every light-hearted Tweet and friendly email may lie acute emotions, stuffed down deep inside so they don’t explode.

It leaves you raw and prickly a lot of time because you spend so much energy controlling and suppressing that when something disrupts you, you are totally unequipped to handle it.

I couldn’t find the baking soda the other day because I had put it away two inches to the left of where I usually do and it sent me on a cataclysmic spiral around the kitchen that stopped only when I realized Leila was cowering in fear under the chair.

It also means that in those rare venues where you feel like you can be yourself, you tend to become larger than life, more stagey, more exaggerated, because you spend so much time with your wings clipped.

I am tempestuous in emails to close friends, furious with the fire of my keyboard, letting out all my frustration and rage and pent emotions. It’s like turning on a fire hose at full pressure and expecting a toddler to hold it.

Fronting is also deeply damaging, because it means you don’t really have a way to process your emotions productively or in a healthy fashion.

People often say that I react oddly to emotional situations, and it’s a legacy of years and years of fronting, of training myself to demonstrate a narrow and acceptable range of emotionality. There’s never time to actually process life events because I am always going.

Constantly teetering at the brink, you eventually run out of gas with fronting, and then you realize you’re like the roadrunner, suspended in midair, legs still churning. By then it is absolutely too late to do anything about it and you just have to fall, hit bottom, and wait to see what happens next.

Breaking out of these patterns is incredibly hard to do, especially when you’re constantly reminded that they are desirable.

Those stories in the news that I read every week remind me that outward expressions of mental illness can endanger me, and that having large numbers of people aware that I am mentally ill could also be dangerous to me.

Being mentally ill means that I am more likely to be shot by police. I am more likely to be raped or assaulted, and ignored when I file a report. I am more likely to be institutionalized, to be condemned as an unfit parent (if I wanted to parent), to be denied employment or fired because my workplace refuses to accommodate me. To be falsely convicted of a crime.

These are the things I think about when I tell myself I should stop fronting, the reminder that being mentally ill already means I have a target on my back. That the only thing saving me may be my ability to compartmentalize, to front like it’s going out of style, to convince everyone around me that everything is just fine.

1. This is usually primarily framed as being a problem for the not-crazy people endangered by the crazy people. Return

2. Spoiler: Crazy people are scary and evil! We will steal your boyfriend, boil your bunny, and unravel your knitting. Return

 

DANCE: Appiah Annan - Afro-contemporary Dance Practioner > ArtsHub Australia

Appiah Annan

- Afro-contemporary

Dance Practioner

By artsHub | Wednesday December 12 2012

Sidney Myer Creative Fellowship recipient Appiah Annan is a rare talent from Ghana, West Africa, who specialises in many forms of dance including traditional African, freestyle, hip hop, contemporary and acrobatics and is also an expert stick and hand drummer.


By 16 he was competing against Ghana’s finest and had worked with many international artists and companies including Slim Buster, Agoro, Ghana National Dance Ensemble and Afro Moses. Having little material resources of his own, the entrepreneurial minded Appiah had a vision to make a difference for his community. He initiated Asanti Dance Theatre in 2003. This project grew from a few artists living and training together on the beach to an internationally recognised 15-piece drum and dance theatre company. On coming to Australia in 2007, he initiated Asanti Australia where he is currently working on a new afro-contemporary dance style.


Appiah is completing a post graduate diploma in Community Cultural Development at the Victorian College of the Arts on a full scholarship. Appiah has also initiated ‘Nkabom’, his NGO project in Ghana, West Africa, which draws upon the arts and community cultural development to help educate locals and create a more sustainable community.


What did you want to be when you grew up?

A dancer.


When did you know you would work in the arts?

I started dancing on the streets in Ghana at 10 years old and from then I knew that was what I wanted to do. I would get in trouble with my family and teachers for being out late dancing and falling asleep in class because I had been out at competitions and rehearsals. Then I started to win and people in the community saw me on the TV. Then they started to see why I wanted to dance and my school even made me the dance teacher. I still got in trouble for falling asleep in class though!


How would you describe your work to a complete stranger?

At the moment my work draws on my knowledge of traditional African dance, particularly from Ghana and West Africa. I am exploring how I can adapt the movement and transfer it into something that is more contemporary and accessible for an Australian audience. This process is very interesting for me because it reflects the concept of an ancient Adinkra symbol from Ghana called Sankofa. Sankofa teaches before one can move forward, one must look back to the past. I think this makes the movement very rich because it is infused with the traditional movement of our ancestors and at the same time brings it into a modern context. I have been exploring this concept over the past 12 months and am now working on the a show with my company that explores this idea.


What's your background – what did you study to get to where you are?

I trained under my master Omari Oppong and his group Miracle Dancers – a kids youth street dance group when I was a teenager. That was where I learnt freestyle and hip hop. I then gained a position with one of Ghana’s leading dance companies of the time, Agoro. While there I trained in traditional and contemporary African dance techniques. When the company collapsed I along with many of the countries finest dancers and musicians was out of work. It was then that I decided to initiate my own company, Asanti Dance Theatre. We started with nothing and were living and training on the beach. With our talent and dedication the group grew to be one of the countries leading dance companies and is still operating today.


What's the first thing career related you usually do each day?

Check my emails. That’s part of working in the Western culture!


Can you describe an "average" working day for you?

Usually I have a mix of meetings, rehearsals, performances and admin. Each day is different depending on what I am working on and how much work I have on gigs wise.


What's the one thing - piece of equipment, toy, security blanket, – you can't work without?

My musicians. They are essential to my practice. The music is a very important part of the artistic and creative development. The dancer and the musician need to understand each other for the work to reach its potential. I get inspired by music and find if I can’t connect to the sound, its very difficult to create new work. Live music is a large part of traditional dance around the world and I believe  that we need to embrace the link that dancers and musicians share.


What gets you fired up?

When people throw themselves into something. As a choreographer I find it inspiring to see dancers give it a go. Seeing them fire up, fires me up.


Who in the industry most inspires you?

I saw Sidi Larbi Cherkaoui’s Babel at the Sydney Festival this year. I loved it. Every moment was inspiring. It was full of moments that resonated with the audience and it had guts. I like choreographers that create movement that speaks to an audience. I really liked Anouk Van Dijk’s new work with Chunky Move. It brought a new feel to contemporary dance in Melbourne and I was inspired to see someone creating something this physically powerful.  

What in the industry do you despair about?

As a dancer from a cultural background I have experienced how difficult it is for dancers who arrive here from other nations to settle and navigate the Australian arts scene. I know many talented people who have given up trying to make it here as an artist simply because they didn’t know where to start. I am very thankful to Multicultural Arts Victoria who have helped guide me, and I am fortunate that my partner is a dancer and was able to support me to find my way. I believe that Victoria needs a place where artists from CALD backgrounds can go to access space, mentors and support in navigating the scene here.


What is the best thing about your job?

That I get to do what I love every day.


What’s the most challenging aspect?

Juggling the financial side. I have a family here to support and my family in Ghana are very poor and rely on my to support them. As an artist I don’t have a regular wage and this makes it difficult to meet all the costs of living both here and Ghana.


What are the top three skills you need in this industry?

Innovation, ability to get people to believe in you, determination.


What advice would you give anyone looking to break into your field?

Follow your heart and do whats right for you. But, you also need to know the industry and be prepared to do more then just dance!


How do you know when you missed the mark?

I think there comes a point in every project where you know if you have missed the mark. Infact I think you need to miss the mark before you can reach it. Sometimes you try something and it is terrible but through trying it something else eventuates that is even better then your first idea. Its important not to be too stuck on an idea and allow yourself to just give it a go.


 

When do you know you’ve made it?

I will let you know when I get there!

 

EDUCATION: The Black College is Dead > Urban Cusp

The Black College is Dead

By Jamall Calloway

UC Columnist

The black college is dying. In my opinion, the preference for Historically Black Colleges and Universities (HBCUs) seems to be waning. HBCUs were once the home of our educational investments, but are now likened to the land of Reconstruction Era relics. In contrast to my viewpoint, in the Black Enterprise article The HBCU Debate: Are Black Colleges & Universities Still Needed?, the author states that “HBCUs represent about 3 percent of colleges in the U.S. but enroll 12 percent of all Black college students and produce 23 percent of all Black college graduates.”

I can understand that many may disagree with my opinion, but personally, it is less of a concern that I hear about stories of exceptionalism, as presented in some of the studies I’ve read. I am more concerned about the areas of failure contributing to the slow demise of HBCUs such as relying on a few successful graduates to prove the efficacy of HBCUs, the lack of alumni support, or the disappointing and declining retention rates.

According to a report in the Journal of Blacks at Higher Education, “At nearly half the HBCUs in our survey, the Black student graduation rate is 33 percent or lower.” As a proud graduate of an HBCU (Tougaloo College), these statistics concern me. If alumni do not start caring more about their alma mater, if HBCUs do not start caring more about their faculty, and if students do not start caring more about the culture of their campuses, HBCUs may become nothing more than post-Civil War antiques. Things need to change — now.

The HBCU retention rate is low. This is caused by a myriad of reasons, but largely because the students it retains are not actively involved in the affairs of their alma mater. We are not involved financially or as attentively as we need to be. It is no secret that African American history is filled with countless examples of black people who benefited from a community they never supported in return. Therefore, if the various statistics are correct, and HBCUs are mostly responsible for the growth of black doctors, lawyers, engineers and PhDs, then why is that not reflected in the donations? Either the statistics are incorrect or graduates are not returning the favors. Alumni need to show support financially and not just by attending homecoming events, sporting college apparel in representation of their alma mater, and engaging in unnecessary arguments with graduates of rival institutions. Donations, however, are not the only way to show support. HBCU graduates can join alumni associations, help host college fairs, join recruitment efforts and most importantly, sponsor a student.

The low retention rates and overall lack of funding contributes to the mistreatment of HBCU faculty. HBCUs will remain in their current state they fail to change the way members of the faculty are treated. Most of the faculty members are extremely overworked. Long office hours, an extensive course load, unappreciative students and quasi sabbaticals are a lot harder to handle when the school does not always have the funds to confer tenure. Many times I have seen distress on the faces of my professors as they spent countless hours grading half decent papers or returning from last minute faculty meetings. I am aware, of course, that this is not exclusive to HBCUs.

The assertion that students and professors at HBCUs are like family members and not just numbers or statistics comes into question when professors are not valued for the work that they do. Improved treatment of instructors would include allocating lighter coarse loads, providing the option for more sabbaticals and creating a better support system for their development as educators.

Finally, I believe the HBCU is in its current state because the cultures of the campuses are not conducive for student retention. The things that once made HBCUs special are the same things that are causing them to suffer. HBCUs are known for boisterous homecomings, marching bands and Greek life, but not as much for academic rigor, leadership training or character development. I am not implying that the latter is not present, but I am stating that the latter is not expected as much as the former. Historically, homecomings served as a time to boast about how our alma mater helped us accomplish our goals, now they are the only times that alumni donate money. Historically, marching bands and Greek letter organizations were inspirations for grade improvement and character enhancement, but are now pursued at the expense of those things. We have to — no we must — switch the priorities on our campuses to other aspects of campus life. I am not implying we should rid ourselves of Greek letter organizations and marching bands, but suggesting we cease privileging them to the extent that we currently do. Let us start focusing on the values once underpinning homecomings, marching bands and Greek life: social solidarity and enhancement.

HBCUs were once places where the black community protected its raisins from the sun, but it now appears to be a locale where grapes are no longer planted. Since President Obama signed an executive order to allocate $228 million in grants to 97 HBCUs, much discussion has taken place regarding the relevance of and need for HBCUs. Some exaggerate its need, while most disregard its importance. I believe HBCUs are vital to American life, but like Dr. Eddie Glaude said about the Black Church, this death “occasions an opportunity to breathe new life into what it means to be black.” This death is an opportunity for HBCUs to (re)define what it means to be an institution in the 21st century that addresses the beautiful and the ugly in the age of Obama, the New Jim Crow, issues of poverty, and so forth. This is a sad time, but it is also a time to change, to care, and to improve so that HBCUs can continue the legacy of creating some of the best leaders the world has ever seen.

Do you agree that "the black college is dead"?

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

Jamall Andrew Calloway is from Oakland, CA. He is a summa cum laude graduate of Tougaloo College, Jackson, MS. He is currently a Masters of Divinity Candidate at Yale Divinity School in New Haven, CT and an associate minister at Mt. Aery Baptist Church in Bridgeport, CT. You can follow him on Twitter @JACalloway1940 and his blog heartofandrew.

 

HISTORY + VIDEO: Medgar Evers - Mini Bio

MEDGAR EVERS

Mini Bio

A short biography of Medgar Evers. In 1954, he became the first state field secretary of the NAACP in Mississippi. As such, he organized voter-registration efforts, demonstrations, and economic boycotts of companies that practiced discrimination. He also worked to investigate crimes perpetrated against blacks. On June 12, 1963, Evers was shot dead.

>via: http://www.youtube.com/watch?feature=player_embedded&amp;v=VA6QFbDGfDM#if...

VIDEO + AUDIO: Amu (South Africa) - The Principal

Amu — Don't Call It A Comeback

16H23 FRIDAY, 11 JANUARY 2013

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I Like the idea of the video, the first shot is actually very nice - im just sad they didn't shoot Lost In It — featuring Kabomo I really love that track.

hattip via Songezile

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Amu – The Principal

July 15th, 2011

Yes, this dropped last year, we know; Amu however decided to put full length tracks from the project up onSoundcloud two days ago. If you never got your hands on it; you now know what you’ve been missing out on.
If you like what you hear, it’s not even too late to show your support for the project because it’s still available on iTunes here. Go on, you know you want to buy some African Hip-Hop.

The Principal by Buvground Entertainment

Oh and of course he’s on Twitter: @amunishn

>via: http://www.25tolyf.com/2011/07/amu-the-principal.html

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