Podcasts about afram

TOP 3: Headliners for AFRAM Festival Announced, How to Get Paid $1K to Eat Peeps, and How to Win Cowboy Carter Tickets! full 264 Wed, 09 Apr 2025 15:53:47 +0000 MkvHtUVngDZbfIBq9MgkjNtblnRjeODR baltimore,pop culture,beyonce,culture,music festival,patti labelle,cowboy carter,saweetie,afram festival,afram,music,society & culture,news Kramer & Jess On Demand Podcast baltimore,pop culture,beyonce,culture,music festival,patti labelle,cowboy carter,saweetie,afram festival,afram,music,society & culture,news TOP 3: Headliners for AFRAM Festival Announced, How to Get Paid $1K to Eat Peeps, and How to Win Cowboy Carter Tickets! Highlights from the Kramer & Jess Show. 2024 © 2021 Audacy, Inc. Music Society & Culture News False

The Presidential Candidate of the National Democratic Congress (NDC), John Dramani Mahama has pledged to revive the construction of a bridge over the Afram River in the Eastern Region, if elected President. This project aims to facilitate the easy and quick transportation of foodstuffs from one of the country's key food-producing areas, the Afram Plains. John Mahama questions why government has neglected the project after contracting loans for its development.

Hip hop legend Beanie Sigel stopped by the show on the way to AFRAM in Baltimore. The Philly-native is well-versed in what the culture needs at this pivotal time in society. He shared about what him and his team are cooking up to create impactful change in the community and how service is the true power of the music and entertainment industry. --- Support this podcast: https://podcasters.spotify.com/pod/show/briansworld/support

This edition of MD. Transit Times is dedicated to AFRAM Saturday, June 22nd and Sunday, June 23rd at Baltimore's Druid Hill Park. Baltimore Department of Recreation and Parks Deputy Director of Administration Nicole Green discusses this annual celebration of African American culture, history and art.

“My main goal is to get better every day.” FFL Luxe's Silvar Afram has a goal of creating the biggest insurance agency in FFL! Why not you, Silvar?! Check out his Tri-State Trends interview!

Update of canoe capsizes on Afram River : We need life jackets in Afram plains to save lives..... Assembly Member

Afram plains south : 6 dead as boat capsize in the Afram river.

Aaron interviewed Sonjie DeCaires the CEO of Sonjè Productions. Her production company has produced for AFRAM, Congressional Black Congress, CIAA to Star Island South Beach Miami. She has a successful business that has been around for 17 years! We discuss how she wanted to be a entertainment lawyer but had a passion for production and event planning. This is an episode you don't want to miss!  Sonjie DeCaires, CEO of Sonjé Productions. I started my career in Television and Radio before making the transition to entrepreneurship. My first client was the Simmons Lathan Group, which was launching a new channel called "Hip Hop on Demand" , on this new technology called "on demand" with Comcast, and they needed content for their channel. Because I worked in radio, we had access to artists' interviews, so we were able to form a partnership. After working as the on air talent and morning show producer for the #1 morning show in Baltimore, I ventured out on my own and never looked back. My company, Sonjé Productions, is a full service events, promotions, and marketing company. 15+ years in business and it keeps getting better. www.sonjieproductions.com   Sponsors of the Show United Way of Central Maryland https://uwcm.org/ Zekes Coffee https://zekescoffee.com/ For All Seasons Inc. https://forallseasonsinc.org/ WSI Maryland https://www.wsiworld.com/katheryne-womack? Baltimore Peninsula https://baltimorepeninsula.com/    

Diamond K talks about receiving an award for his contributions to Baltimore Club Music at the AFRAM festival in Baltimore.

MESS Report: Dwayne Wade and Gabrielle Union going 50/50 in their household, Gun Play, Rick Ross and DJ Envy go at it and GoFund me donations are involved, and Jackie Oh's funeral was this week and DC Young Fly expresses how this tragedy will not have him waiver in his faith.   This MESSage is sponsored to you by Baltimore AFRAM. Meet MESS at AFRAM, this Juneteenth/ Father's Day weekend and celebrate with us.   MESSage: Sometimes we expect more from others because we would be willing to do that much for them.   ReCap: Kalilah is having a difficult week because she feels like her friends are not showing up for her in the way she needs. Business is difficult and she feels like she is always there to support others and now that she needs the support, she isn't receiving it. She is navigating having staff shortages, moving her company's fulfillment center, and going back to doing most of the production and fulfillment in-house. This is causing a lot of stress on Kalilah who is a little over 5 months pregnant. This conundrum of a MESS leaves her wondering, is it worth it?

Fri, 05 May 2023 01:00:00 +0000 https://podcast989e17.podigee.io/59-beckenboden-expertin-juliana-afram-uber-frauengesundheit-schwangerschaft-beckenboden-huften-und-emotionen 4860e128e00abf73039ef6330f9eecc7 In dieser Folge spreche ich mit meiner Freundin, Beckenboden-Expertin, Physiotherapeutin, Pilates- und Yogalehrerin sowie Mama zweier Söhne Juliana Afram, Juliana ist für mich die Expertin, wenn es um den Frauenkörper geht. In dieser Folge sprechen wir über ihren eigenen Weg, wie sie sich vom international gefeierten Pilates-Star sich mehr und mehr dem Thema Frauen verschrieben hat. Sier erzählt über ihre zwei Schwangerschaften, die herausfordernd waren und sie mit Symphysenriss und Rektusdiastase konfrontieren, darüber, wie häufig Ärzte noch nicht genug über das Thema Beckenboden und Schwangerschaft informiert sind und wie sie heute und bei welchen problemen Frauen in ihrer Praxis hilft. Aus dem Gerspräch nimmst du mit: Wissen über den Beckenboden Was passiert mit Beckenboden, Hüften und co. in der SChwangerschaft? Wieso ist es für mich wichtig den beckenboden zu entspannen Wie Beckenboden / Hüften mit Emotionen zusammenhängen Juliana arbeitet in Hamburg, hat aber auch Bücher und Online-Kurse veröffentlicht. Ihr aktueller Live-Kurs Mama-Ftness in hamburg findest du hier: https://thecenter.tv/kurse-trainings-ruckbildungsgymnastik/ Und hier ihre Website, die Praxis Website und Social Media: https://thecenter.tv https://www.osteopathie-praxis-hamburg.de https://www.instagram.com/juliana_afram/?hl=de Juliana ist natürlich auch als Beckenboden-Expertin beim Feminine Awakening Training dabei: https://www.house-of-grace.de/feminineawakening Meinen Weg zur Weiblichkeit findest du in meinem Buch: „Tantra – der Weg des mutigen Herzens. Die sinnlich-transformierende Praxis für eine neue Weiblichkeit“: https://amzn.to/3msYgDh Mehr zu mir und alle aktuellen Angebote findest du unter www.house-of-grace.de und bei Instagram: https://www.instagram.com/sandravonzabiensky full yes träume,weiblichkeit,feminine,feminineenergy,shakti,tantra,frausein,beckenboden,juliana afram,rückbildung,schwangers

Hohe Profitabilität gibts nur mit guten Zahlenmaterial und regelmäßigen Auswertungen. Deshalb ist heute Yaw Afram von der Clinton Großhandelsgruppe zu Gast, der sich so gut wie alle Reportings seines E-Commerce-Geschäfts selbst gebaut hat und den DB III bis auf Produktebene im Griff hat. Da fehlen sogar Ingrid und Valerie zwischendrin vor Staunen die Worte.

NoPixAfterDark Podcast was live at AFRAM 2022 this year. I will be releasing interviews from the festival this week and next week. This week Aaron interviewed Morgan (Union Craft Brewing) Comedian Ivan Martin (Baltimore Comedy Festival) and Chef Saon Brice (BLK SWAN).  Thank you to all the guest that helped make this a memorable experience. Thank You AFRAM! This episode will be on Youtube https://youtu.be/s9MegeW0vAI    

Muñoz is taking the month of July off but never fret as Muñoz has created The Summer Throwback Series! All month long Muñoz is bringing back some of his favorite episodes of the past four and a half years! This fourth episode of the Summer Throwback Series features the very beautiful and talented Chef Marcelle Afram and their amazing story.This week Chef Marcelle Afram joins Muñoz for a most epic Queer Food Discussion. Join them for a grand ol' kiki as they talk about what it's like being a chef who happens to be Trans, guilty pleasures, restructuring kitchen culture, gay food, Wiener Mobiles, and of course chicken! This episode is a beautiful glance into a side of the food world we rarely get to see and you don't want to miss it!You can show all the love to Marcelle on Instagram @Marcelle_GMouth Merch is where you go from fan to super fan! For the months of May, June, & July Muñoz will be donating all proceeds of any PRIDE merch purchased to the Ali Forney Center here in NYC.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

I enjoy moments like these. They remind me of finding a gem buried in the sand. Or, reaching into your pocket and being surprised with 20 bucks. It's an exciting time when you get the call that a superstar is on the way for an interview. Even better when they're as open and warm as Ne-Yo.  His talent is just the beginning of what makes him great. His glowing spirit introduced himself before he even sat down and it reminded me of what it takes to authentically smile. Peace covered him and it was contagious. I felt the need to let go of the past. He was in town for Baltimore's AFRAM celebration and in promotion for his 8th studio album, Self Explanatory. He shared that this project was the longest he's ever spent creating and he speaks of the self-reflection he had to endure to make it.  "I had to kinda find myself again," Ne-Yo began, "when I first got into the game, it didn't look the way it looks now. It didn't sound the way it sounds now. Things have changed and I was really trying to figure out where I fit in this primarily hip-hop, secondarily R&B type of situation that we in right now. What I had to realize is that, man, at the end of the day, my job is to make music. My job is to make art; and that's the only real obligation that I have to this whole thing, is to be genuine and honest with my art. And, make it come from the heart." I appreciated his transparency. It was especially refreshing to hear that from someone who has been the places he's been and seen the things he's seen. The multi-platinum, Grammy award winning singer/songwriter spoke on the power of re-invention and what it's done for his career. It's why he's been able to work with such a wide range of artists, spanning multiple generations.  We think these people don't face any issues but he introduced us to some of his demons and shared what he learned from them. This conversation was a refreshing reminder that your best work is on the other side of the best you. I hope you get the same vibe. Stick around for some commentary at the end and connect with me on Instagram and Twitter. Would love to hear your thoughts.  --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/livebw/support

This episode is also available as a blog post: https://jabongjames.wordpress.com/2022/04/18/basic-schools-in-deplorable-state-at-afram-plains-north-e-r-of-ghana/ --- Send in a voice message: https://anchor.fm/jabong-james-liiman/message

This episode is also available as a blog post: https://jabongjames.wordpress.com/2022/03/20/pentecost-university-sends-its-students-to-support-schools-in-afram-plains-north/ --- Send in a voice message: https://anchor.fm/jabong-james-liiman/message

(Get Surfshark VPN at https://surfshark.deals/MOXIE - Enter promo code MOXIE for 83% off and 3 extra months free!) T-shirt for Ukraine Why did no one tell me about Moms Mabley?!!  Hear about her and other 'living loud and proud' ladies (Dorothy Parker, Mae West, Tallulah Bankhead) on this International Women's Day. 01:00 Tallulah Bankhead 13:00 Mae West 23:00 Moms Mabley Links to all the research resources are on the website. Hang out with your fellow Brainiacs.  Reach out and touch Moxie on Facebook, Twitter,  or Instagram.  Become a patron of the podcast arts! Patreon or Ko-Fi.  Or buy the book and a shirt. Music: Kevin MacLeod, David Fesilyan, Dan Henig. and/or Chris Haugen. Sponsors:  Dumb People with Terrible Ideas, History Obscura, Sambucol Want to start a podcast or need a better podcast host?  Get up to TWO months hosting for free from Libsyn with coupon code "moxie." Dorothy Parker was a famously wry, witty, and acerbic writer and critic, with a low opinion of relationships.  Her wit was apparent from an early age, referring to her father's second wife as “The Housekeeper.”  She was described by journalist and critic Alexander Woolcott as “a combination of Little Nell and Lady MacBeth.”  As a literary critic, she said of one book, "This is not a novel to be tossed aside lightly. It should be thrown with great force." The author of the book?  Italian dictator Benito Mussolini.  My name's Moxie….   This episode drops on Intl Womens Day, and I've covered a lot of remarkable women on the show, for a number of remarkable reasons, but today we focus on ladies for their remarks, for their wit and their wild ways.  Tallulah Bankhead is a name I've known for many years, but never really knew anything about her.  Back in the day, going to the big “computer show and sale” at the raceway complex with my dad, circa 1996, I picked up some cd-roms of FVM video games and some educational stuff like Microsoft Encarta Musical Instruments and some reference that included hundred of famous quotes.  Some of you I realize will have no idea what I just said, a few of you will be unclear what a cd-rom is, but a few of you just got a cold chill like someone walking across your grave.  Tallulah Bankhead's wit featured prominently with quotes like, "If I were well behaved, I'd die of boredom," “I read Shakespeare and the Bible, and I can shoot dice. That's what I call a liberal education," and "I'll come and make love to you at five o'clock. If I'm late, start without me."  ‘I like her,' I thought, but didn't look into who she actually was until this week.  Considering she's the inspiration for one of Disney's most iconic villains, you'd think I'd have come across something between then and now, but not.   Bankhead, the daughter of an Alabama congressman and future speaker of the House, was named after her paternal grandmother, whose name was inspired by Tallulah Falls, Georgia.  That grandmother would raise her when her mother died a few days after her birth and the loss sent her father into a pit of depression and alcoholism.  Little Tallulah was… difficult.  Tallulah discovered at an early age that theatrics were a viable outlet for gaining the attention, good or bad, that she craved.  A series of throat and chest infections as a child had left her with a raspy voice which would later become her trademark.  It also made her stand out from her classmates, but Tallulah was not the type to be bullied and soon became the terror or students and the bane of teachers.  She would find herself sent to, and expelled from, two different convent schools, the first for once for throwing ink at a nun and the next time for making a pass at one.   At 15, Bankhead submitted her own photo to film industry magazine Picture Play, winning a small part in a movie and a trip to New York.  She was allowed to go only by promising her father, a Congressman, she'd abstain from men and alcohol, but as she famously put it in her autobiography, "He didn't say anything about women and cocaine."  She was a self-described "technical virgin" until 20.  Though she lacked training and discipline, she possessed a dazzling stage presence, her husky voice providing fascinating contrast with her good looks.  Quickly ascending to stardom, she just as easily gained renown for her quick-witted outspokenness and indefatigable party going.  In New York, Bankhead moved into the famous Algonquin Hotel, a hotspot for the artistic and literary elite of the era, and was quickly rubbing shoulders with the rich and famous.   After several years starring in films and on stage in New York, Bankhole's acting was praised, but she had not yet scored a big commercial hit.  So, she moved to London in 1923, where her stardom grew. Her fame heightened in 1924 when she played Amy in Sidney Howard's They Knew What They Wanted. The show won the 1925 Pulitzer Prize.     But Bankhead was best known for her antics off-stage.  She'd drive her Bently recklessly through London and if she got lost, she'd hire a black cab to drive to where she was going and she'd follow him.  She spent her nights at booze and drug-filled parties, partaking liberally, and reportedly smoked 120 cigarettes a day, which is kind of dubious because how would you have time for anything else.  She also openly had a series of relationships with both men and women, including some very famous female personalities of the day.  Names attached to her, with or without facts to back it included Greta Garbo, Hattie McDaniel, the first AfrAm actress to win an Oscar, and singer Billie Holiday.   One thing that's known with great certainty is that she talked openly about her vices, and women just weren't supposed to do that.  Hell, they weren't supposed to *have vices.  She found herself included in Hays' "Doom Book", which would help her inspire a Disney villain, since only the worst of the worst were in the Doom Book, but it didn't do much for her career.  Brief refresher on the Hays Code, and you can hear lots more about it in the episode Words You Can't Say on TV or Radio, way back in Oct 2018 before I started numbering episodes, the Hays Code a set of strict guidelines all motion pictures companies operated under from 1934 to 1968.  It prohibited profanity, suggestive nudity, sexual perversions like homosexuality, interracial relationships, any talk of reproductive anything, and, in case you were unclear where all this came from, it banned ridicule of authority in general and the clergy in particular.  This is why married couples in black&white sitcoms slept in separate beds.  The Doom Book, which was either a closely guarded secret or never physically existed, was said to have contained the names of over 150 thespians considered too morally tumultuous to be used in movies.  So this is the law of the land when a gal like Tallulah Bankhead is running around in cursing like a sailor in hedonistic, drug-fueled, openly-bisexual glee.     Giving up on Hollywood, Bankhead returned to Broadway for a decade or so, where she reached her zenith with her performances in The Little Foxes and The Skin of Our Teeth, both of which earned her the New York Drama Critics Circle Award, and was briefly married to actor John Emery.  [a la Sam O'Nella] Never heard of him?  Me neither.  What's his story?  I didn't bother.  In 1943 she decided to give Hollywood a second try, but Hollywood hadn't had the same thought about her.  There was one bright spot, being cast in and praised for Alfred Hitchcock's Lifeboat in 1944.   By the late 1940s and early 1950s, Bankhead's hedonistic lifestyle and excessive drinking had taken its toll.  Critics complained that she had become a self-caricature, which feels like a real oof.  She kept her career afloat by publishing a best-selling autobiography, touring in plays like Private Lives and Dear Charles, before headlining her own nightclub act.  In 1965 she made her last *film appearance, playing a homicidal religious fanatic in the British thriller Die! Die! My Darling!  Tallulah Bankhead's final acting assignments included a “Special Guest Villain” stint on the TV series Batman.  When she was advised that the series was considered “high camp,” her response was vintage Tallulah: “Don't tell me about camp, dahling! I invented it!”   Am I ever going to tell you which Disney villain she inspired?  I supposed, if I must.  Disney animator Marc Davis once told of his creative process when tasked to create the villain for an upcoming film.  (It was 1961 if you want to try to guess.)  The chaaracter would become iconic, instantly recognizable whether cartoon or real life.  Davis looked to real-life "bad" women, and while he said there were a number of different people who he kept in mind while drawing her, one name rose to the top – Tallulah Bankhead.  So no matter if her movie or Broadway career is forgotten, Bankhead will always live on as Cruella de Ville. Mae West   When she was good, she was very good. But when she was bad, she made film history. Whether making films, writing plays or flirting with the camera, Mae West was undisputedly the most controversial sex siren of her time and she even landed in jail because of it.  She was the queen of double entendres on and off screen, delivering some of the best-remembered quips in movie history.  You know the line, "Is that a gun in your pocket, or are you just happy to see me?", yeah, that was West In "She Done Him Wrong." in 1933.   Mary Jane West was born on Aug. 17, 1893 in Queens, NY to a boxer turned cop and a former corset and fashion model.  The acting bug bit the heck out of West when she was tiny, bringing home talent show prizes at age 5.  At age 12, she became a professional vaudeville performer.  She was secretly married at age 17, but only lived with her husband for a few weeks, though they didn't legally divorce for 31 years. The adult West was rumored to have secretly married another man, but on the whole she preferred younger men. Her long-term partner Paul Novak was 30 years her junior.   West was also rumored to have worn custom 8 in platform shoes, because she was only 5'2”.  Two tangents, I would have *massive respect for anyone who could even walk in 8in platform, and that's something all the women in today's discussion have in common - they're all my size.   In 1926, under the pen name "Jane Mast," West wrote, produced and starred in a play called Sex, about a sex worker named Margie La Monte who was looking to better her situation by finding a well-to-do man to marry well if not wisely.  Mae West was sentenced to 10 days in prison and given a $500 fine, charged with “obscenity and corrupting the morals of youth.”  The rumor mill went into overtime when she was behind bars –  she was permitted to wear silk underpants instead of prison-issue or the warden wined and dined her every night.  West was set free after serving eight of the ten days and remarked to reporters that it was “…the first time I ever got anything for good behavior.”  Before the show was raided in February of 1927 around 325,000 people had come through the turnstiles.  Buns in seats, laddie, buns in seat.   Not bothered in the slightest, and probably keenly aware of all the free publicity she just got, West appeared in a string of successful plays, including "The Drag," a 1927 play that was banned from Broadway because of its homosexual theme.  If you think people try to tell you what to say these days, imagine having to deal with the likes of the Hays Code or the Catholic Legion of Decency, which I maintain sounds like a pro-wrestling tag team.  She was an advocate of gay and transgender rights, which were at the time generally throught to be the same thing, and her belief that "a gay man was actually a female soul housed in a male body" ran counter to the belief at that time that homosexuality was an illness.  Her next play, The Pleasure Man ran for only one showing before also being shut down with the whole cast being arrested for obscenity, but this time getting off thanks to a hung jury.  West continued to stir up controversy with her plays, including the Broadway smash "Diamond Lil" in 1928, about a loose woman of the 1890s.     Dominating the Broadway scene was nice, but West had her eyes set to the, well, to the west and Hollywood.  West was 38 years old at the time, which is the age when the phone stops ringing for many actresses, but Paramount Pictures offered West a contract at $5000 a week ($80,000 now) and –luckily for all of us or I might not be talking about her right now– they let her re-write her lines.  Her first film, Night After Night, set the tone for her on-screen persona right from jump street, from her first line where a hat check girl says to her “Goodness, what beautiful diamonds.” To which West replied, “Goodness had nothing to do with it, dearie.”  Within three years she was the second highest paid person in the United States.  The only person earning more was the publishing magnate friggin' William Randolph Hearst.     West not only made her own career, she insisted a young Cary Grant be cast opposite her, putting Grant on the road to his Golden Age icon status.  That was ‘33's "She Done Him Wrong," which contained her most famous quote, but I'm sorry to tell you that you've been saying it wrong your whole life.  Yes, your whole life.  You've seen it parodied in cartoons.  The line isn't  "Why don't you come up and seem me sometime?" "Why don't you come up some time and see me?"  Am I being painfully pedantic to point this out?  Yes. …. That's all.   The public loved Mae West, but her blunt sexuality onscreen rubbed censors the wrong way.  In 1934, they began deleting overtly sexy lines and whole scenes from her films. Not about to take that lying down, West doubled up on double entendres, hoping that the censors would delete the most offensive lines and miss the subtler ones.  More controversial films followed.  West was already 50 when she made "The Heat's On," but her youthful look and performance made the film a cult favorite.  She also got banned from the radio for a sketch about Adam and Eve opposite Don Ameche, was on TV a few times, and even recorded two successful rock albums, decades before the late Christopher Lee.  Bonus facts: Cassandra Peterson, aka Elvira Mistress of the Dark, was once the lead singer of an Italian punk rock band.     MIDROLL   The script for this episode started with Bankhead, West, and Dorothy Parker.  I recognized that they were demographically pretty similar, though Parker was Jewish and there's a wild theory out there that West was mixed-race, so I started asking around for WOC/LGBT of that same era and one name came up again and again, a name I'd never heard of, an oversight I now know to be a damn shame if ever there was one.  Presenting for the elucidation of many listeners, Moms Mabley.  Moms, plural not possessive, had been a vaudeville star for half a century on what was called the Chitlin Circuit, before white audiences began to discover her.  Her trademarks were her old lady persona, complete with house coat, dust cap and waddling shuffle, and her raunchy, man-hungry humor, which is funny in a few ways when you consider she was an out-and-proud lesbian.   Although Moms spent her professional life making people laugh, her personal life had more than its share of grief.  If you're not in the mood for tragic backstory, I totally understand if you want to hit your jump-30 button.  Born Loretta Mary Aiken in North Carolina in 1894, Moms was the grandaughter of a slave and one of 16 children.  She was the victim of rape twice before the age of 14, once by an older black man and the other by the town's white sheriff.  Both rapes resulted in pregnancies; both babies were given away.  Loretta's father, a volunteer fireman, had been killed when a fire engine exploded, and her mother was run over and killed by a truck while coming home from church on Christmas Day.  Her stepfather forced her to marry a man she didn't even like, one assumes to pare down the number of dependent minors in the house.  At the age of 14, Loretta ran away to join a minstrel show.  A young girl out in the world on her own would normally be a recipe for disaster, heartache and suffering, but Moms had already had enough of all those, thank you very much.  She took the name Mabley from her first boyfriend and acquired the nickname Moms later on, though none of my sources, and they are regrettably few and superficial, recounted why.  She was only in her early 20's when she devised the old lady character and kept her persona up until her actual age exceeded the character.   Like all who played vaudeville, she had multiple talents: dancing, singing, jokes. Unlike many of her contemporaries, she had a gift for crafting original material far stronger than the stock routines others toured with. At the prompting of the vaudeville team Butterbeans and Susie, she moved to New York City in the early 20's and found herself in the the Harlem Renaissance. "I never went back across the Mason-Dixon line," recalled Mabley. "Not for another thirty years."  Toward the end of her life, Moms would say “There were some horrible things done to me.  I played every state in the Union except Mississippi.  I won't go there; they ain't read.”  She hardly needed to back then anyway, playing the Apollo so often she could probably have gotten her mail forwarded there.   There used to be a showbiz expression, “It won't play in Peoria,” meaning something will not be successful for a wide, Joe Everyman (read: white) audience, and Moms certainly fit that bill.  Moms talked about sex constantly.  That's not surprising from female comics these days, though it still isn't as acceptable as it is for male comics.  But unlike the male comics of Mom's day, she slid into the jokes sideways with a double-entendre or a well-placed pause, rather than the straightforward use of obscenity that would become popular with such later black comedians as Richard Pryor.  Although Loretta herself was a lesbian, Moms was that of ''dirty old lady'' with a penchant for younger men.  She made fun of older men, subtly ridiculing the ways they wielded authority over women as well as the declining of their sexual powers. Her signature line became: ''Ain't nothin' an old man can do for me but bring me a message from a young man.''   She moved from vaudeville into films, but Hollywood wasn't exactly rolling out the red carpet for black actors and film-makers.  That's okay, they said, we'll just do it ourselves.  As early as 1929 there were over 460 "colored movie houses" across America. owned and operated by, and catering specifically to, African-Americans, with all-Black cast films, shorts, and even newsreels.  But it would be fair to say that these were B-movies, filmed in a couple of days, with whatever equipment and people you could cobble together.  Hell, scenes were usually shot in one take, because editing requires more time and money.  Where they shone was in the musical numbers, crafting scenes that would have shamed MGM or Warner Brothers, if only they'd had any budget at all.  Comedian Slappy White remembered, "It wasn't hard casting the actors. All of us were out of work before the picture started [and we] would all be out of work again as soon as it was finished."   Moms starred in 1948's Boarding House Blues where she played landlord to a building of rent-dodging vaudeville performers, which is an amazing premise. The film also showcased "Crip" Heard, a tap dancer with only one arm and one leg. And the best thing about Boarding House Blues?  You can actually see it!  It's on the free Tubi app, link in the show notes, not a sponsor, and I plan to watch it as soon as I can make myself sit still for 1.5 hours.  Watch-party anyone?   Film was nice and everything, but it was vinyl records that gave Moms the boost she needed to expand her audience.  Comedy records were *the thing in the early 60's.Her first vinyl appearance came a few years prior with the 1956 Vanguard Records release A Night at the Apollo. The album is a fascinating social document with liner notes written by Langston Hughes.  Of the many other noteworthy things about that album is the fact that Moms wasn't paid for her part in it.  So she was understandably reluctant when the Chess brothers asked her to cut an album with them.  Phil and Leonard Chess were Jewish immigrants who arrived in Chicago a few months prior to the stock market crash who were able to buy some South Side bars after the end of prohibition.  Their Macomba Lounge became a hot spot when they started booking live music, mostly rhythm and blues, which drew in the biggest crowds.  The brothers noticed this, and that the acts who had people lining up around the block, weren't available on records, so they started a record company.  Chess Records signed names like Muddy Waters, Howlin' Wolf, Bo Diddley, and Chuck Berry.  These records delivered new found joys for the white public and offered posterity for Chicago's African-American crowd.  Always on the lookout for what was popular with their original Black audience, Chess Records asked Moms Mabley to sign, but she understandably didn't want to get screwed again.  Luckily her manager was able to persuade her and Moms Mabley on Stage (also known under the name Moms Mabley: The Funniest Woman Alive) was produced.    Chicago was host to Hugh Hefner's Playboy Club, a venue that always featured a strong roster of Black performers and plenty of white bohemians, and that's where she recorded Moms Mabley at The Playboy Club.  Y'all gotta see this album cover, link in the shownotes.  If you were to listen to On Stage and then Playboy Club, you'd notice something…different between the two albums.  On Stage was recorded at The Apollo and opens with a thunderous cacophony of cheerings.  Playboy Club, not as much, because that album was recorded in front of an all-white audience.  It was time for a cross-over.  It was also the time for civil rights –lunch counters, fire hoses, marches.  Mabley's act became increasingly political, but her benevolent old grandma persona made her non-threatening and more accessible to white crowds. Moms knew white audiences needed to hear her message now, and that they might actually hear her.  She was just a little old lady, shuffling onto the stage, how threatening could she be?  Plus she was on the biggest TV shows of the day –Merv Griffin, Johnny Carson, Flip Wilson, Mike Douglas, the Smothers Brothers– and they were okay, so she must be okay.   Moms had crossed over.  She played Carnegie Hall and the Kennedy Center.  She put out more albums, including my favorite title, Young Men Si, Old Men No.  She began acting in big studio films, like The Cincinatti Kid, with Steve McQueen.  In 1966 Moms returned to the South for the first time in over three decades.  It, uh, didn't go great.  In the middle of her show, five shots rang out in the theater and Moms scrambled off-stage.  Thankfully, the shots went nowhere near her, originating apparently from a fight between audience members.  Regardless, a story made the rounds that one of the bullets went straight through her floppy hat.  "I hadn't been in Columbia, South Carolina, for thirty-five years," explained Moms, "and [now] bullets ran me out of town."    Music became a regular part of her act, and a cover version of "Abraham, Martin and John" hit No. 35 on the Billboard Hot 100 on July 19, 1969, making Mabley, at 75, the oldest living person to have a U.S. Top 40 hit.  Mabley continued performing in the 1970s. In 1971, she appeared on The Pearl Bailey Show. Later that year, she opened for Ike & Tina Turner at the Greek Theatre and sang a tribute to Louis Armstrong as part of her set.[24] While filming the 1974 film Amazing Grace, (her only film starring role)[1] Mabley suffered a heart attack. She returned to work three weeks later, after receiving a pacemaker.  She is survived not only by her children (she had four other children as an adult), but by more contemporary comedians who remember her and want to keep her story alive.  She was the subject of a Broadway play by Clarice Taylor, who played one of the grandma's on the Cosby Show; two projects from Whoopi Goldberg, one being the comedy show that put Goldberg on the map in 1984 and a documentary in 2013, and in season 3 of The Marvelous Mrs. Maisel, where she was portrayed by lifelong fan Wanda Sykes.   And that's… Dorothy Parker's wit was, deservedly, the stuff of legend.  Of the Yale prom, she said, “ If all the girls attending it were laid end to end, I wouldn't be at all surprised.”  It was that saucy humor that got her fired from her job as a staff writer at Vanity Fair.  Parker spoke openly about having had an abortion, a thing that simply was not done in the 1920's, saying, “It serves me right for putting all my eggs in one bastard.” A firm believer in civil rights, she bequeathed her literary estate to Dr. Martin Luther King, Jr.  Remember   Sources: https://www.tcm.com/tcmdb/person/204532%7C103917/Mae-West/#biography https://www.britannica.com/biography/Mae-West https://www.mentalfloss.com/article/52283/13-things-you-might-not-know-about-mae-west http://www.todayifoundout.com/index.php/2012/04/this-day-in-history-mae-west-is-sentenced-to-10-days-in-prison-for-writing-directing-and-performing-in-the-broadway-play-sex/ https://www.britannica.com/biography/Tallulah-Bankhead https://www.vanityfair.com/hollywood/2021/05/real-cruella-de-vil-tallulah-bankhead https://www.nytimes.com/1987/08/09/theater/theater-the-pain-behind-the-laughter-of-moms-mabley.html https://dorothyparker.com/gallery/biography https://bookshop.org/books/your-brain-on-facts-things-you-didn-t-know-things-you-thought-you-knew-and-things-you-never-knew-you-never-knew-trivia-quizzes-fun-fa/9781642502534?aid=14459&listref=books-based-on-podcasts https://www.mamamia.com.au/tallulah-bankhead-cruella/  

Aaron sat down with Baltimore Mayor Brandon Scott for a follow up interview from 2020. In this interview Aaron asked his listeners to submit questions for Mayor Brandon Scott. We covered topics such as crime, ARTSCAPE, AFRAM, illegal ghost guns, police budget and more. Thank you Mayor Brandon Scott for coming on the show. Thank you to my sponsors:                 Zeke's Coffee        www.zekescoffee.com                           Maggies Farm  www.maggiesfarm.com                                 FoundStudio Shop  www.foundstudioshop.com                                 Charm Craft City Mafia  www.charmcitycraftmafia.com               Siena Leigh https://www.sienaleigh.com                     Open Works https://www.openworksbmore.org               Baltimore Fiscal                https://www.baltimorefiscal.com  

This week Chef Marcelle Afram joins Muñoz for a most epic Queer Food Discussion. Join them for a grand ol' kiki as they talk about what it's like being a chef who happens to be Trans, guilty pleasures, restructuring kitchen culture, gay food, Wiener Mobiles, and of course chicken! This episode is a beautiful glance into a side of the food world we rarely get to see and you don't want to miss it!You can show all the love to Marcelle on Instagram @Marcelle_GSend Muñoz some love on Instagram & Twitter @inyomouthpodMouth Merch is where you go from fan to super fan!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Episode 148 - Afram Yakoub is an Assyrian born in Qamishli, Syria. He migrated to Sweden in 1989, where he has been living since. Afram has been an Assyrian activist for over 20 years; his activism leading to being President of the Assyrian Federation of Sweden. Since leaving the position, Afram has written about his experiences and learnings, with the book Vägen till Assyrien - en uppmaning till nationell förnyelse published in Sweden last year (Tigris Press ISBN: 978-9198154160), before being published in English late 2020, titled The Path to Assyria - A Call For National Renewal (Tigris Press ISBN: 978-9198154160). Support for this week's episode of The Assyrian Podcast is brought to you by Tony Kalogerakos and the Injury Lawyers of Illinois and New York. If you know anyone that has been in a serious accident, please reach out to Tony Kalogerakos. Tony has been recognized as a Top 40 lawyer, and a Rising Star by Super Lawyers Publication and has obtained multiple multi-million-dollar awards. Tony can be reached at InjuryRights.com or 847-982-9516.  This episode is sponsored by The Oushana Partners-- a husband and wife real estate team. Are you considering purchasing or selling a home in Arizona or California? John and Reata are available to help make your next real estate decision into a seamless transaction. Contact the Oushana's at 209-968-9519. Get to know them a bit more by checking out their website TheOushanaPartners.com.

EP 140: Alanah Nichole Baltimore's GodMother This episode Aaron talks about AFRAM and how is happy to be working with this amazing festival. Comedian Ivan Martin talks about AFRAM and the Baltimore Comedy Festival. Amber the Urban planner talks about the new Census, that came out and what it means for Baltimore and Beyond. Charmyra gives us her inspirational quotes of the day. The Guest of this week is... Alanah Nichole Davis is a mother, essay & columnist, cultural worker, social designer, and philanthropist from The Bronx, NY based in Baltimore MD. Davis earned her Master of Arts in Social Design at Maryland Institute College of Art in 21' and is affectionately referred to as Baltimore's Godmother for her ability to foster, support, love, and build everything she touches. Davis is a Leslie King Hammond Graduate Fellow a 2020 Maryland Delaware and DC Press Association awardee and a 2021 recipient of the Fred Lazarus Leadership for Social Change award.   IG: alanahasenteredthechat www.alanahasenteredthechat.com     www.nopixafterdark.com Contributors  Amber: Urban Planner Ivan Martin Charmyra E Fleming     www.nopixafterdark.com Sponsors: Zeke's Coffee  www.zekescoffee.com                    Pipe Wrench Mag: www.pipewrenchmag.com                                Indu Wellness  www.induwellness.com                                     Maggies Farm  www.maggiesfarm.com                                 FoundStudio Shop  www.foundstudioshop.com                                 Charm Craft City Mafia  www.charmcitycraftmafia.com               Siena Leigh https://www.sienaleigh.com                Fishnet.     www.eatfishnet.com                RYKMS:      https://www.facebook.com/RYMKSBaltimore/  

Conversamos com o Guitarrista e Vocalista do Oficina G3: Juninho Afram!!

In today's #ConsciousConversations on the Bitstocks Podcast, Michael Hudson (Bitstocks CEO-Founder) sits down with Eli Afram of Bitcoin Association Australia, contributor to CoinGeek.com & CTO of Layer2 Technologies. Eli has been a professional in the Bitcoin space since 2015 and an advocate of using this technology for the greater good of humanity.    Michael & Eli open the podcast by discussing a crucial limitation for mainstream adoption in Bitcoin SV - its branding crisis. This sets the tone of the conversation, making it clear that they align in their goals for the future of this blockchain to provide an invisible ‘plumbing' system that can be used to improve business infrastructure, without the customer even knowing that they're using Bitcoin technology.   Other topics include the recent double-spend attacks on BSV, why Blockchain is a ‘Time-Chain' & Eli goes into detail about his work with Amleh Gold -  a blockchain-based Gold token project.

On this episode of the Urban Oppositions podcast, Jen is all the way outside. Ok maybe not but, the crew discuss the NFL schedule release, the State of Maryland lifting covid restrictions, No artscape, no AFRAM but Preakness is on and poppin, The Makhia Bryant case and violence in our communities, the new DJ Khaled album, lastly Portia Williams fine ass taking someone's man.

Part 2 of our interview with Helen Collen, Kerika Fields, & Sancha McBurnie Helen L. Collen is a Photographer, theatrical/film costume designer, seamstress and wardrobe supervisor of 24 years. She is also a painter, crochet artist and writer (including poetry and songwriting). Find out more about Helen on Tales From The Pit Episode 22 & 23. Kerika Fields Nalty is a Brooklyn-based writer and photographer whose work has been published and exhibited widely. Her articles have appeared in various print and online publications including Essence, The Source and Bust.com, Curlynikki.com, Essence, MsXfacor.com and Soulhead.com. She is the author of the author of “He’s Gone…You’re Back! The Right Way to Get Over Mr. Wrong” (Kensington Publishing, 2009). Her images appear in the Deborah Willis photography book, “BLACK: A Celebration of a Culture” (Hylas Publishing, 2008), “I GOT YOUR BACK: A Father and Son Keep It Real About Love, Fatherhood, Family, and Friendship” by Eddie Levert, Sr. and Gerald Levert with Lyah Beth LeFlore (Harlem Moon, 2007), “Adrenalized: Life, Def Leppard, and Beyond” by Phil Collen and Chris Epting (Simon & Schuster, 2015) and in the compilation book “Mfon: 100 Women Photographers of the African Diaspora” (2018). Her photographs have been exhibited at The African American Museum of Philadelphia, The Brooklyn Historical Society, The Brooklyn Public Library at Grand Army Plaza, Brooklyn Moon Café, Corridor Gallery in Brooklyn, Five Myles Gallery in Brooklyn, 40 Acres Art Gallery in SanFrancisco, The McKenna Museum in New Orleans, and the RUSH Arts Gallery and Leica Gallery in Manhattan. She is currently working on a photo essay book called "Flash and Circumstance: How I Got That Shot" and can be found on Instagram @flashandcircumstance and online at withyourbadself.com Sancha McBurnie is a photographer and fine artist based in Virginia. While attending Morgan State University in Baltimore, where she earned a B.A. in Fine Art/Graphic Design, she began frequenting open mic events and discovered her love for photography by capturing artists on stage. From there, she began photographing local events and festivals such as AFRAM and Artscape. Eventually, she moved on to even larger stages, with a wide community of poets and musicians. Since then, her passion for music and art has expanded her work to include the global dance community where she worked with Step X Step Dance; covering events such as the (now televised) World of Dance competition, Hip Hop International, RedBull BC One, UDEF, and Juste Debout among many others. In addition to being published in several magazines, websites, blogs, and books, her work has also been featured in museums and public forums for its social commentary. She has worked on similar projects for the Black Girls Rock! organization, as well as for the National Museum of Women in the Arts in Washington, D.C. Sancha continues to create work that celebrates human expression both inside and outside of the Black community. Find Helen Collen: www.helencollenphotography.com Find Kerika Fields: www.withyourbadself.com Find Sancha Mcburnie: www.sanchamphoto.com Send your Concert Questions to NHCONCERTPHOTOGS@GMAIL.COM www.TalesFromThePit.net Def Leppard

Part 1 of our interview with Helen Collen, Kerika Fields, & Sancha McBurnie Helen L. Collen is a Photographer, theatrical/film costume designer, seamstress and wardrobe supervisor of 24 years. She is also a painter, crochet artist and writer (including poetry and songwriting). Find out more about Helen on Tales From The Pit Episode 22 & 23. Kerika Fields Nalty is a Brooklyn-based writer and photographer whose work has been published and exhibited widely. Her articles have appeared in various print and online publications including Essence, The Source and Bust.com, Curlynikki.com, Essence, MsXfacor.com and Soulhead.com. She is the author of the author of “He’s Gone…You’re Back! The Right Way to Get Over Mr. Wrong” (Kensington Publishing, 2009). Her images appear in the Deborah Willis photography book, “BLACK: A Celebration of a Culture” (Hylas Publishing, 2008), “I GOT YOUR BACK: A Father and Son Keep It Real About Love, Fatherhood, Family, and Friendship” by Eddie Levert, Sr. and Gerald Levert with Lyah Beth LeFlore (Harlem Moon, 2007), “Adrenalized: Life, Def Leppard, and Beyond” by Phil Collen and Chris Epting (Simon & Schuster, 2015) and in the compilation book “Mfon: 100 Women Photographers of the African Diaspora” (2018). Her photographs have been exhibited at The African American Museum of Philadelphia, The Brooklyn Historical Society, The Brooklyn Public Library at Grand Army Plaza, Brooklyn Moon Café, Corridor Gallery in Brooklyn, Five Myles Gallery in Brooklyn, 40 Acres Art Gallery in SanFrancisco, The McKenna Museum in New Orleans, and the RUSH Arts Gallery and Leica Gallery in Manhattan. She is currently working on a photo essay book called "Flash and Circumstance: How I Got That Shot" and can be found on Instagram @flashandcircumstance and online at withyourbadself.com Sancha McBurnie is a photographer and fine artist based in Virginia. While attending Morgan State University in Baltimore, where she earned a B.A. in Fine Art/Graphic Design, she began frequenting open mic events and discovered her love for photography by capturing artists on stage. From there, she began photographing local events and festivals such as AFRAM and Artscape. Eventually, she moved on to even larger stages, with a wide community of poets and musicians. Since then, her passion for music and art has expanded her work to include the global dance community where she worked with Step X Step Dance; covering events such as the (now televised) World of Dance competition, Hip Hop International, RedBull BC One, UDEF, and Juste Debout among many others. In addition to being published in several magazines, websites, blogs, and books, her work has also been featured in museums and public forums for its social commentary. She has worked on similar projects for the Black Girls Rock! organization, as well as for the National Museum of Women in the Arts in Washington, D.C. Sancha continues to create work that celebrates human expression both inside and outside of the Black community. Find Helen Collen: www.helencollenphotography.com Find Kerika Fields: www.withyourbadself.com Find Sancha Mcburnie: www.sanchamphoto.com Send your Concert Questions to NHCONCERTPHOTOGS@GMAIL.COM www.TalesFromThePit.net

Juninho Afram é músico, compositor, um dos fundadores da banda Oficina G3 e considerado um dos maiores guitarristas da história. Filho de mãe missionária, sua paixão pela música começou na igreja, primeiramente através da flauta e depois com o violão. Seu gosto pela guitarra veio de observar seu primo tocando, como também um músico do rock internacional. Neste podcast Juninho contou inúmeros testemunhos, suas experiências incríveis com Deus e o quanto ele acredita na verdade de uma música. De fato, Ele entendeu quem é em Deus, qual a sua missão e prosseguiu naquilo que o Pai tinha para sua vida, levando-o a fazer Sua vontade. Juninho Afram também contou sobre os desafios e vitórias com a banda Oficina G3, e o quanto isso o fez amadurecer em Cristo Jesus!

 Brian Melford was born to two loving parents, Joan and Vincent from Kingston, Jamaica W.I. He attended local schools PS76, MS135, and Harry S Truman in Coop City. Brian was President of the Bronx Youth Empowerment Program founded by NYC Council Member Andy King and his wife Neva Shillingford-King. He is also a member of Bronx Miracle Gospel Tabernacle Word of Faith Ministries under the leadership of Rabbi Keith Elijah Thompson. He attended John Jay College where he earned his Bachelor’s Degree in Criminal Justice. While he was attending college Brian worked at 32BJ as a youth organizer where he also studied formal labor history with a CUNY professor. With that passion he started working at SEIU in the communications department where he was instrumental on several phone banking campaigns. Brian’s mother was a member of 32BJ and his grandmother, to this day, is a proud dues paying member of the mighty mighty 1199SEIU. Labor runs through his veins and he was fortunate to be a member of AFRAM and President of FAS Future AFRAM Stars, the youth arm of the NYC Chapter. For the past 8 years he has been on Council Member Andy King’s staff where he started as his special assistant and now transitioned into serving as his budget director. Brian volunteered with a number of organizations, planned and executed their annual youth forums with the Bronx Youth Empowerment Program(YEP), worked with the NYPD to meet with youth of the community, and helped put together many neighborhood parades. He has helped repair a number of our schools including PS41, MS113, PS111, and MS181. Brian was also instrumental in the construction of the Sydney House on Bronxwood, reconstruction of Agnes Haywood Playground, renovation of RAIN Gun Hill, and renovation of his community’s libraries. Service is in his blood and he knows that his hard work lives as a testament to all his accomplishments and he pray that the community he knows and loves agrees. Website: https://www.nycvotes.org/campaigns/brianmelford/contributions/new; Social Media Instagram @brianmelford ; Facebook: Brian Melford; Shout out: Mauleen Pitterson. Closing Word by Michelle Obama --- Send in a voice message: https://anchor.fm/whataword/message Support this podcast: https://anchor.fm/whataword/support

Herzlich Willkommen zum Complete Pilates Podcast Toll, dass du wieder dabei bist! Heute hat Susanne Juliana Afram zu Gast. Juliana erzählt von ihrem speziellen Fokus auf den Beckenboden. Warum genau sie hier ihren Schwerpunkt gesetzt hat, erfährst du heute! Sei gespannt! Viel Spaß! Mehr aus Susannes Welt: 1. Zur Website vom Complete Pilates Studio in Hannover → https://www.completepilates-yoga.de/ 2. Folgt Susanne auf Instagram → https://www.instagram.com/completepilatesandyoga/ 3. Folgt Susanne auf Facebook → https://de-de.facebook.com/CompletePilatesundYoga/ 4. Schreib Susanne eine E-mail → info@completepilates-yoga.de Produziert und betreut von we3 - Die Markenberatung → https://de.linkedin.com/company/we-111

Es ist mittlerweile die 2. Podcastfolge mit der wunderbaren Sportmanagerin, Beckenbodenexpertin und angehenden Physiotherapeutin Juliana Afram. Als ich in Hamburg war, habe ich sie nach einem weiteren Interview gefragt und wir haben uns im Hotelzimmer vorm Mikrofon getroffen. Hach...schön war das und vor allem vertraut und sehr lustig. Wir haben direkt im Intro herzlich gelacht und ich musste schon lange nicht mehr so viel schneiden wie in dieser Folge. Das Ergebnis kann sich aber durchaus sehen lassen wie ich finde und wir haben das Thema „Schwangerschaft und Beckenboden“ schön durch die Mangel genommen. Das Beste: ich musste Juliana nur fragen „Was genau meinst du damit“ und schon hat sich mein Expertinnengehirn wundervoll gefüllt mit ihren Ansichten und Gedanken zu den Themen im Podcast! Ich kann wirklich sagen, dass ich diese Frau einfach sehr sehr schätze und sie die Dinge schlau und verständlich auf den Punkt bringt! Mit ihrem Buch und Onlinekurs „Vom Wochenbett zum Workout“ begleitet sie viele Frauen in dieser besonderen Phase. Danke, dass du für mich und den Podcast quer durch Hamburg gedüst bist und deine Kids... na du weißt schon was durften...! Die Highlights dieser Folge: warum ist das Beckenbodentraining und die Wahrnehmung in der Schwangerschaft wichtig was ist eigentlich mit der Atmung am Start? Welche Übung du wartend an der Supermarktkasse direkt umsetzen kannst Alle Infos zu Juliana Afram und ihrer wunderbaren Arbeit findest du hier: Instagram: @juliana_afram Website: https://thecenter.tv Weitere Tipps rund um dein Mama-Dasein findest du hier: Instagram: @gluecksmamaberlin Website: https://gluecksmama.de YouTube: https://www.youtube.com/user/Gluecksmama100 Unser wunderschönes Studio findest du hier: Döringstraße 2, 10245 Berlin Für alle Fragen und Anregungen, schreib mir gern eine Mail an: hallo@gluecksmama.de Alle Kurse in der GLÜCKSMAMA Onlinewelt https://ok.gluecksmama.de/: 1. Babybauch Vital -> 8 wöchiger Präventionskurs in der Schwangerschaft (mindestens 75€ bezuschusst die gesetzliche Krankenkasse dazu) 2. Rückbildung -> 8 wöchiger Präventionskurs in der Schwangerschaft (mindestens 75€ bezuschusst die gesetzliche Krankenkasse dazu) 3. Rückbildung mit Baby -> 120 minütiger Mattenrocker 4. Bodyshape mit Baby -> 120 minütiger Mattenrocker 9. NEU! Livestream mit Mamakursen und einer großen Mediathek -> Infos & Anmeldung bei meiner lieben Assistentin Anja unter mail@gluecksmama.de

The Classic Upward Bound students end the summer session of the the Social Investigations and World Issues podcast with guests Desi Moore, Terence Moore, and Dara Savage. Educational insights during this pandemic come to light for both educators and students alike! Desiree and Terence Moore are members of the Seaford community and have both chosen education as their career fields. Coming from a family of educators, Desiree works for Jobs for Delaware Graduates, also known as JDG, as a training coordinator, where she equips JDG teachers throughout the state with best practices to deliver engaging curriculum to students in JDG programs. Prior to her current position, she was a classroom JDG teacher at Seaford High School for many years. Her husband, Terence Moore is a library media specialist for the Capital School District and has been an educator for 28 years, teaching natural science and library science for many years at the middle and high school levels. For the past 5 years he has been a school library media specialist and gifted and talented teacher at South Dover Elementary School. Ms Moore is the President of the AFRAM Festival and Mr Moore has always been a major aspect of the AFRAM planning as well. ~ Dara Savage – Seaford High School Board Member Life-long Seaford resident , I am a National Faculty Member for PBL Works, Lead Mentor teacher and Instructional Coach at the Early College High School at Delaware State University, member of the Budget Oversight Board, member of the Delaware Secretary of Education’s Teacher Advisory Board, serve on the Department of Education Literacy Cadre and Digital Learning Cadre, former English teacher at Seaford High, and collaborator with planning the AFRAM festival.

In dieser Folge spricht Kristin Rübesamen mit der Yoga- und Pilateslehrerin Juliana Afram über Rassismus in Deutschland und die weiße Yogawelt. Du erfährst außerdem… … wie es für Juliana ist, als Schwarze in Deutschland zu leben … wie es für sie war, in einer weißen Familie aufzuwachsen … wie Juliana es findet, dass auf ihrem Buch eine weiße Frau abgebildet ist … warum positiver Rassismus besonders wehtut … warum die Yogawelt so auffällig weiß ist … warum der Rassismus heute so viel sichtbarer ist Teste YogaEasy jetzt 14 Tage gratis: https://www.yogaeasy.de/coupon/podcastgutschein YogaEasy ist Deutschlands erstes und führendes Yoga-Online-Portal für alle, die Yoga lernen oder ihre Yoga-Übungspraxis vertiefen möchten. Jederzeit, überall, auf Computer, iPhone oder iPad. Die große Auswahl an über 1000 professionellen Yoga-Unterrichtsvideos mit unterschiedlichen Schwierigkeitsgraden und den 50 besten Yoga-Lehrern Deutschlands kann per Abo gebucht werden. Werde Teil der großen YogaEasy-Community. Abonniert unseren Podcast! Folgt uns auf Facebook: https://www.facebook.com/yogaeasy oder Instagram: https://www.instagram.com/yogaeasygermany Auch als App erhältlich: https://goo.gl/bsohFR

In dieser 2. Podcastfolge spreche ich mit der wunderbaren Juliana Afram, deren Arbeit ich sehr sehr schätze und die ein unglaubliches Fachwissen rund um das Thema Rückbildung und Beckenboden hat. Wir haben uns in Berlin im GlücksmamaStudio vor der Kakadutapete getroffen und so einige spannende Fragen gewälzt! In dieser Folge erfährst du: - Warum es NIE zu spät für Rückbildung ist! - Welche Übungen schon im frühen Wochenbett gemacht werden dürfen! - Wie können wir den Beckenboden noch besser erfahrbar machen! - Was ist Beckenboden-Physiotherapie? - Warum du dich IMMER um deinen Beckenboden kümmern solltest! - Warum die Körperhaltung so turbomäßig wichtig ist! Im Grunde, ist es eine lebenslange Aufgabe am Beckenboden und an der Körperhaltung dran zu bleiben. Für einige Bewegungsmuffel ist das sicher nicht ganz einfach, ABER es geht um deine Gesundheit! Auch nach einem abgeschlossenen Rückbildungskurs geht es weiter...immer weiter...! Vorallem beim Heben und Tragen des Kindes oder der Kinder ist es so gut, wenn du deinen Beckenboden aktiv mitarbeiten lässt! Denn: diese wundervolle 3 schichtige Muskulatur ist ein Halte-Hebe-Trage-Muskel. Am Ende dieser Folge gibt es noch eine schöne Übung für dich, die du direkt mitmachen kannst! Danke liebste Juliana für dieses schöne Gespräch! Alle Infos zu Julianas Arbeit findest du hier: Instagram: @juliana_afram Website: https://thecenter.tv Alle Infos zu meiner Arbeit findest du hier: Instagram: @gluecksmamaberlin Website: https://glücksmama.de Coming soon: Mein 8 wöchiger online Rückbildungskurs, welcher als Präventionskurs "Glücksmama Fitness - Ganzkörperkrafttraining nach der Geburt" von den gesetzlichen Krankenkassen mit 75,00€ bezuschusst wird. Der Kurs kostet: 139,00€. Hier kannst du dich unverbindlich auf meine Warteliste eintragen und erfährst direkto-manto, sobald ich die Zertifizierung in den Händen halte :-) Hier gehts zur Warteliste: https://mailchi.mp/gluecksmama.de/rueckbildungonline Alles alles Liebe und bis bald, deine Kristina

We’re delighted to have a second chat with Terry Afram. The now founder of Bridge Partners talks on how he started his journey as a returnee as MD at Jumia Foods and how he is now passionately and fully bridging a gap between Ghana and the Diaspora. We’re getting ready for the second edition of The Ghanaian Dream on Saturday the 7th of December: a conference in Amsterdam established to inform, inspire and equip professionals and investors in the Diaspora to contribute to the development of The Ghanaian private sector.

Diese Podcastfolge ist real Talk! Ich unterhalte mich mit meiner liebsten Freundin Juliana Afram, Beckenbodenexpertin, internationaler Pilates-Star, renommierte Yogalehrerin, Mama, Ehefrau, über die Liebe, die Zweifel am Körper, das erste Mal Sex nach der Geburt, über Gott, über ihren Weg aus, wie sie selbst sagt "Ghetto", und über Snoop Dogs neues Album "I wanna thank me for me". Viel Spaß!

In dieser Folge spricht Kristin Rübesamen mit Juliana Afram, Pilates-Trainerin und Yogalehrerin, unter anderem für Prä- und Postnatal-Yoga. Es geht um Julianas Spezialgebiet: den Beckenboden. Du erfährst in dieser Folge… ... warum auch Männer sich mit ihrem Beckenboden auseinandersetzen sollten … was der Beckenboden alles leistet … wie genau du deinen Beckenboden und seine Muskeln ansteuerst … wieso du einen verspannten Beckenboden manchmal auch im Rücken oder im Nacken spürst … wie wichtig regelmäßige Entspannung für den Beckenboden ist … was eine Schwangerschaft dem Beckenboden abverlangt … wie du deinen Beckenboden während der Schwangerschaft stärkst und schützt … was du gegen eine Rektusdiastase nach der Schwangerschaft tun kannst Hier geht’s zum Mamasté-Programm für die Rückbildung nach der Geburt: https://www.yogaeasy.de/programme/mamaste-yoga-nach-der-geburt-dein-rueckbildungsprogramm-ab-dem-wochenbett Hier findest du Julianas Buch „Vom Wochenbett zum Workout: Fit nach der Geburt“: https://www.thieme.de/shop/Schwangerschaft--Geburt/Afram-Vom-Wochenbett-zum-Workout-9783432107318/p/000000000304130101 Teste YogaEasy jetzt 14 Tage gratis: https://www.yogaeasy.de/coupon/podcastgutschein YogaEasy ist Deutschlands erstes und führendes Yoga-Online-Portal für alle, die Yoga lernen oder ihre Yoga-Übungspraxis vertiefen möchten. Jederzeit, überall, auf Computer, iPhone oder iPad. Die große Auswahl an über 700 professionellen Yoga-Unterrichtsvideos mit unterschiedlichen Schwierigkeitsgraden und den 50 besten Yoga-Lehrern Deutschlands kann per Abo gebucht werden. Werde Teil der großen YogaEasy-Community. Abonniert unseren Podcast! Folgt uns auf Facebook: https://www.facebook.com/yogaeasy oder Instagram: https://www.instagram.com/yogaeasygermany Auch als App erhältlich: https://goo.gl/bsohFR

Let’s talk to Terry Afram, Dutch-Ghanaian and managing director of Jumia Food in Ghana. He took on the step to relocate to Ghana for his current professional career. His experiences prompted him to start the Ghanaian Dream in the Netherlands, a seminar to discuss entrepreneurship in Ghana and empower Ghanaians in the Diaspora to take part in the business development of Ghana.

  Welcome to episode thirteen of A History of Rock Music in Five Hundred Songs. Today we're looking at "(Mama) He Treats Your Daughter Mean" by Ruth Brown. Click the full post to read liner notes, links to more information, and a transcript of the episode. ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. I used a few books for this podcast. One I haven't talked about before is Blue Rhythms: Six Lives in Rhythm and Blues by Chip Defaa. The information on "Drinking Wine Spo-De-O-Dee" comes in part from Unsung Heroes of Rock 'n' Roll by Nick Tosches. This book is considered a classic, but a word of caution -- it was written in the 70s, and Tosches is clearly of the Lester Bangs/underground/gonzo school of rock journalism, which in modern terms means he's a bit of an edgelord who'll be needlessly offensive to get a laugh.  Much of the information I've used comes from interviews with Ruth Brown and Ahmet Ertegun in Honkers & Shouters: The Golden Years of Rhythm and Blues by Arnold Shaw, one of the most important books on early 50s rhythm and blues. Ruth Brown also wrote an autobiography. And there are many good compilations of Brown's R&B work -- this one has most of the important records on it. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript While I've often made the point that fifties rhythm and blues is not the same thing as "the blues" as most people now think of it, there was still an obvious connection (as you'd expect from the name if nothing else) and sometimes the two would be more connected than you might think. So Ruth Brown, who was almost the epitome of a rhythm and blues singer, had her first hit on the pop charts with a song that couldn't have been more blues inspired. For the story of "Mama, He Treats Your Daughter Mean", we have to go all the way back to Blind Lemon Jefferson in the 1920s. Jefferson was a country-blues picker who was one of the most remarkable guitarists of his generation -- he was a blues man first and foremost, but his guitar playing influenced almost every country player who came later. Unfortunately, he recorded for Paramount Records, notoriously the label with the worst sound quality in the 20s and thirties (which, given the general sound quality of those early recordings, is saying something). One of his songs was "One Dime Blues", which is a very typical example of his style: [excerpt "One Dime Blues" by Blind Lemon Jefferson] See what I mean both about the great guitar playing and about the really lousy sound quality? That song was later picked up by another great blind bluesman, Blind Willie McTell. McTell is an example of how white lovers of black music would manage to miss the point of the musicians they loved and try to turn them into something they're not. A substantial proportion of McTell's recordings were made by John and Alan Lomax, for the Library of Congress, but if you listen to those recordings you can hear the Lomaxes persuading McTell to play music that's very different from the songs he normally played -- while he was a commercial blues singer, they wanted him to perform traditional folk songs and to sing political protest material, and basically to be another Leadbelly (a singer he did resemble slightly as a musician, largely because they both played the twelve-string guitar). He said he didn't know any protest songs, but he did play various folk songs for them, even though they weren't in his normal repertoire. And this is a very important thing to realise about the way the white collectors of black music distorted it -- and it's something you should also pay attention to when I talk about this stuff. I am, after all, a white man who loves a lot of black music but is disconnected from the culture that created it, just like the Lomaxes. There's a reason why I call this podcast "A History of Rock Music..." rather than "THE History of Rock Music..." -- the very last thing I want to do is give the impression that my opinion is the definitive one and that I should have the final word about these things. But what the Lomaxes were doing, when they were collecting their recordings, was taking sophisticated entertainers, who made their living from playing to rather demanding crowds, and getting them to play music that the Lomaxes *thought* was typical black music, rather than the music that those musicians would normally play and that their audiences would normally listen to. So they got McTell to perform songs he knew, like "The Boll Weevil" and "Amazing Grace", because they thought that those songs were what they should be collecting, rather than having him perform his own material. To put this into a context which may seem a little more obvious to my audience -- imagine you're a singer-songwriter in Britain in the present day. You've been playing the clubs for several years, you've got a repertoire of songs you've written which the audiences love. You get your big break with a record company, you go into the studio, and the producer insists on you singing "Itsy-Bitsy Spider" and a hymn you had to sing in school assembly like "All Things Bright and Beautiful". You probably could perform those, but you'd be wondering why they wouldn't let you sing your own songs, and what the audiences would think of you singing this kind of stuff, and who exactly was going to buy it. But on the other hand, money is money, and you give the people paying you what they want. This was the experience of a *lot* of black musicians in the thirties, forties, and fifties, having rich white men pay them to play music that they saw as unsophisticated. It's something we'll see particularly in the late fifties as musicians travel from the US to the UK, and people like Muddy Waters discovered that their English audiences didn't want to see anyone playing electric guitars and doing solos -- they thought of the blues as a kind of folk music, and so wanted to see a poor black sharecropper playing an acoustic guitar, and so that's what he gave those audiences. But McTell's version of "One Dime Blues", retitled "Last Dime Blues", wasn't like that. That was the music he played normally, and it was a minor hit: [excerpt: “Last Dime Blues” by Blind Willie McTell] And that line we just heard, “Mama, don't treat your daughter mean”, inspired one of the most important records in early rock and roll. Ruth Brown had run away from home when she was seventeen -- she'd wanted to become a singer, and she eloped with a trumpet player, Jimmy Brown, who she married and whose name she kept even though the marriage didn't last long. She quickly joined Lucky Millinder's band, as so many early R&B stars we've discussed did, but that too didn't last long. Millinder's band, at the time, had two singers already, and the original plan was for Brown to travel with the band for a month and learn how they did things, and then to join them on stage. She did the travelling for a month part, but soon found herself kicked out when she got on stage. She did two songs with the band on her first night performing live with them, and apparently went down well with the audience, but that was all she was meant to do on that show, so one of the other musicians asked her to go and get the band members drinks from the bar, as they were still performing. She brought them all sodas on to the stage... and Millinder said "I hired a singer, not a waitress -- you're fired. And besides, you don't sing well anyway". She was fired that day, and she had no money -- Millinder refused to pay her, arguing that she'd had free room and board from him for a month, so if anything she owed him money. She had no way to make her way home from Washington. She was stuck. But what should have been a terrible situation for her turned out to be the thing that changed her life. She got an audition with Blanche Calloway, Cab's sister, who was running a club at the time. Well, I say Blanche Calloway was Cab's sister, and that's probably how most people today would think of her if they thought of her at all, but it would really be more appropriate to say Cab Calloway happened to be her brother. Blanche Calloway had herself had a successful singing career, starting before her brother's career, and she'd recorded songs like this: [excerpt "Just a Crazy Song": Blanche Calloway and her Joy Boys] That was recorded several months *before* her brother's breakout hit "Minnie The Moocher", which popularised the "Hi de hi, ho de ho" chorus. Blanche Calloway wasn't the first person to sing that song – Bill “Bojangles” Robinson recorded it a month before, though in a very different style – but she's clearly the one who gave Cab the idea. She was a successful bandleader before her brother, and her band, the Joy Boys, featured musicians like Cozy Cole and Ben Webster, who later became some of the most famous names in jazz. She was the first woman to lead an otherwise all-male band, and her band was regularly listed as one of the ten or so most influential bands of the early thirties. And that wasn't her only achievement by any means -- in later years she became prominent in the Democratic Party and as a civil rights activist, she started Afram, a cosmetic company that made makeup for black women and was one of the most popular brand names of the seventies, and she was the first black woman to vote in Florida, in 1958. But while her band was popular in the thirties, it eventually broke up. There are two stories about how her band split, and possibly both are true. One story is that the Mafia, who controlled live music in the thirties, decided that there wasn't room for two bands led by a Calloway, and put their weight behind her brother, leaving her unable to get gigs. The other story is that while on tour in Mississippi, she used a public toilet that was designated whites-only, and while she was in jail for that one of the band members ran off with all the band's money and so she couldn't afford to pay them. Either way, Calloway had gone into club management instead, and that was what she was doing when Ruth Brown walked into her club, desperate for a job. Calloway said that the club didn't really need any new singers at the time, but she was sympathetic enough with Brown's plight -- and impressed enough by her talent -- that she agreed that Brown could continue to sing at her club until she'd earned her fare home. And it was at that club that Willis Conover came to see her. Conover was a fascinating figure -- he presented the jazz programme on Voice of America, the radio station that broadcast propaganda to the Eastern bloc during the Cold War, but by doing so he managed to raise the profile of many of the greatest jazz musicians of the time. He was also a major figure in early science fiction fandom -- a book of his correspondence with H.P. Lovecraft is now available. Conover was visiting the nightclub along with his friend Duke Ellington, and he was immediately impressed by Ruth Brown's performance -- impressed enough that he ran out to call Ahmet Ertegun and Herb Abramson and tell them to sign her. Ertegun and Abramson were the founders of Atlantic Records, a new record label which had started up only a couple of years earlier. We've talked a bit about how the white backroom people in early R&B were usually those who were in some ways on the borderline between American conceptions of race -- and this is something that will become even more important as the story goes on -- but that was certainly true of Ahmet Ertegun. Ertegun was considered white by the then-prevailing standards in the US, but he was a Turkish Muslim, and so not part of what the white culture considered the default. He was also, though, extremely well off. His father had been the Turkish ambassador to the United States, and while young Ahmet had ostensibly been studying Medieval Philosophy at Georgetown University, in reality he was spending much of his time in Milt Gabler's Commodore Music Shop. He and his brother Neshui had over fifteen thousand jazz records between them, and would travel to places like New Orleans and Harlem to see musicians. And so Ahmet decided he was going to set up his own record company, making jazz records. He got funding from his dentist, and took on Herb Abramson, one of the dentist's proteges, as his partner in the firm. They soon switched from their initial plan of making jazz records to a new one of making blues and R&B, following the market. Atlantic's first few records -- while they were good ones, featuring people like Professor Longhair, weren't especially successful, but then in 1949 they released "Drinking Wine Spo-De-O-Dee" by Sticks McGhee: [excerpt "Drinking Wine Spo-De-O-Dee"] That record is another of those which people refer to as "the first rock and roll record", and it was pure good luck for Atlantic -- McGhee had recorded an almost identical version two years earlier, for a label called Harlem Records. The song had originally been rather different -- before McGhee recorded it for Harlem Records, instead of singing spo-de-o-dee he'd sung a four-syllable word, the first two syllables of which were mother and the latter two would get this podcast put in the adults-only section on iTunes; while instead of singing "mop mop" he'd sung "goddam". Wisely, Harlem Records had got him to tone down the lyrics, but the record had started to take off only after the original label had gone out of business. Ertegun knew McGhee's brother, the more famous blues musician Brownie McGhee, and called him up to get in touch with Sticks. They got Sticks to recut the record, sticking as closely as possible to his original, and rushed it out. The result was a massive success,and had cover versions by Lionel Hampton, Wynonie Harris, and many more musicians we've talked about here. Atlantic Records was on the map, and even though Sticks McGhee never had another hit, Atlantic now knew that the proto-rock-and-roll style of rhythm and blues was where its fortunes lay. So when Herb Abramson and Ahmet Ertegun saw Ruth Brown, they knew two things -- firstly, this was a singer who had massive commercial potential, and secondly that if she was going to record for them, she'd have to change her style, from the torch songs she was singing to something more... spo-de-o-dee. Ruth Brown very nearly never made it to her first recording session at all. On her way to New York, with Blanche Calloway, who had become her manager, she ended up in a car crash and was in hospital for a year, turning twenty-one in hospital. She thought for a time that her chance had passed, but when she got well enough to use crutches she was invited along to a recording session. It wasn't meant to be a session for her, it was just a way to ease her back into her career -- Atlantic were going to show her what went on in a recording studio, so she would feel comfortable when it came to be time for her to actually make a record. The session was to record a few tracks for Cavalcade of Music, a radio show that profiled American composers. Eddie Condon's band were recording the tracks, and all Brown was meant to do was watch. But then Ahmet Ertegun decided that while she was there, they might as well do a test recording of Brown, just to see whether her voice sounded decent when recorded. Herb Abramson -- who would produce most of Brown's early records -- listed a handful of songs that she might know that they could do, and she said she knew Russ Morgan's "So Long". The band worked out a rough head arrangement of it, and they started recording. After a few bars, though, Sid Catlett, the drummer -- one of the great jazz drummers, who had worked with Louis Armstrong, Dizzy Gillespie, Duke Ellington and Benny Goodman, among others -- stopped the session and said "Wait a minute. Let's go back and do this right. The kid can *sing*!" And she certainly could. The record, which had originally been intended just as a test or, at best, as a track to stick in the package of tracks they were recording for Cavalcade of Music, was instead released as a single, by "Ruth Brown as heard with Eddie Condon's NBC Television Orchestra" "So Long" became a hit, and the followup "Teardrops From My Eyes" was a bigger hit, reaching number one on the R&B charts and staying there for eleven weeks. "Teardrops From My Eyes" was an uptempo song, and not really the kind of thing Brown liked -- she thought of herself primarily as a torch singer -- but it can't be denied that she had a skill with that kind of material, even if it wasn't what she'd have been singing by choice: [excerpt: Ruth Brown "Teardrops From My Eyes"] While the song was picked for her by Abramson, who continued to be in charge of Brown's recordings until he was drafted into the Korean War, the strategy behind it was one that Ertegun had always advocated -- to take black musicians who played or sang the more "sophisticated" (I don't know if you can hear those air quotes, but they're there...) styles and to get them instead to record in funkier, more rhythm-oriented styles. It was a strategy Atlantic would use later with many of the artists that would become popular on the label in the 1950s. In the case of "Teardrops From My Eyes", this required a lot of work -- Brown spent a week rehearsing the song with Louis Toombs, the song's writer, and working out the arrangement -- and this was in a time when most hit records were either head arrangements worked out in half an hour in the studio or songs that had been honed by months of live performance. Spending a week working out a song for a recording was extremely unusual, but it was part of Atlantic's ethos -- making sure the musicians were totally comfortable with the song and with each other before recording. It was the same reason that for the next few decades vocalists on Atlantic also played instruments on their own recordings, even if they weren't the best instrumentalists -- the idea was that the singer should be intimately involved in the rhythm of the record. But it worked even better for Ruth Brown than for most of those artists. "Teardrops From My Eyes" became a million seller -- Atlantic's first. Or at least, it was promoted as having sold a million copies -- Herb Abramson would later claim that all the record labels were vastly exaggerating their sales. But then, he had a motive to claim that, just as they had a motive to exaggerate – if the artists believed they sold a million copies, then they'd want a million copies' worth of royalties. But Brown's biggest hit was her third number one, "Mama He Treats Your Daughter Mean", which was also one of the few records she made to cross over to the pop charts, reaching number twenty-three. This was not a record that Brown thought at the time was particularly one of her best, but twenty years later in interviews she would talk about how she couldn't do a show without playing it and that when she said her name people would ask "the Ruth Brown who sings 'Mama He Treats Your Daughter Mean'?" The song also made a difference to Brown because it meant she had to join the musicians' union. Vocalists, unlike instrumentalists, didn't have to be union members. But "Mama, He Treats Your Daughter Mean" had a prominent tambourine part, which Brown played live. That made her an instrumentalist, not just a vocalist, and so Brown became a union member. [excerpt: "Mama He Treats Your Daughter Mean", Ruth Brown] Johnny Wallace and Herbert Lance wrote that song after hearing a blues singer playing out on the street in Atlanta. The song the blues singer was playing was almost certainly “Last Dime Blues”, and contained a line which they heard as “Mama, he treats your daughter mean”. Brown didn't want to record the song originally -- the way the song was originally presented to her was as a much slower blues -- but Herb Abramson raised the tempo to something closer to that of "Teardrops From My Eyes", turning it into a clear example of early rock and roll. You can hear the song's influence, for example, in "Work With Me Annie" by Hank Ballard and the Midnighters from two years later: [Excerpt: "Work With Me Annie", Hank Ballard and the Midnighters] But Brown always claimed that the reason for the song's greater success than her other records was down to that tambourine -- or more precisely because of the way she played the tambourine live, because she used a fluorescent painted tambourine which would shine when she hit it. That apparently got the audiences worked up and made it her most popular live song. Brown continued to have hit records into the sixties, though she never became one of the most well-known artists -- in the seventies she used to talk about adults telling their children "she was our Aretha Franklin", and this was probably true. Certainly she was the most successful female rhythm and blues artist of the fifties, and was popular enough that for a while Atlantic Records became known as "the house that Ruth Brown built", but like many of the pioneers of the rock and roll era, she was largely (though far from completely) erased from the cultural memory in favour of a view that has prehistory start in 1954 with Elvis and history proper only arrive in 1962 with the Beatles. Partly, this was because in the mid fifties, just as rock and roll was becoming huge, she had children and scaled down her touring activities to take care of them, but it was also in part because Atlantic Records was expanding. When they only had one or two big stars, it was easy for them to give each of them the attention they needed, but as the label got bigger, their star acts would have the best material divided among themselves, and their hit rate -- at least for those who didn't write their own material -- got lower. So by the early sixties, Ruth Brown was something of a has-been. But she got a second wind from the late seventies onwards, after she appeared in the stage musical Selma, playing the part of Mahalia Jackson. She became a star again -- not a pop star as she had been in her first career, but a star of the musical stage, and of films and TV. And she used that fame to do something remarkable. She had been unhappy for years with Atlantic Records not paying her the money she was owed for royalties on her records -- like most independent labels of the fifties, Atlantic had seemed to regard honouring its contracts with its artists and actually giving them money as a sort of optional extra. But unlike those other independent labels, Atlantic had remained successful, and indeed by the eighties it was a major label itself -- it had been bought in 1967 by Warner Brothers and had become one of the biggest record labels in the world. And Ruth Brown wanted the money to which she was entitled, and began a campaign to get the royalties she was owed. But she didn't just campaign for herself. As part of the agreement she eventually reached with Atlantic, not only did she get her own money back, but dozens of other rhythm and blues artists also got their money -- and the Rhythm and Blues Foundation was founded with money donated by Atlantic as compensation for them. The Rhythm and Blues Foundation now provides grants to up-and-coming black musicians and gives cash awards to older musicians who've fallen on hard times -- often because of the way labels like Atlantic have treated them. Now of course that's not to say that the Rhythm and Blues Foundation fixed everything -- it's very clear that Atlantic continued (and continues) to underpay the artists on whose work they built a billion-dollar business, and that the Foundation is one of those organisations that exists as much to forestall litigation as anything else, but it's still notable that when she had the opportunity to do something just for herself, Ruth Brown chose instead to also help her friends and colleagues. Maybe her time in the union paid off... Brown spent her last decades as an elder stateswoman of the rhythm and blues field, She died in 2006.  

  Welcome to episode thirteen of A History of Rock Music in Five Hundred Songs. Today we’re looking at “(Mama) He Treats Your Daughter Mean” by Ruth Brown. Click the full post to read liner notes, links to more information, and a transcript of the episode. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. I used a few books for this podcast. One I haven’t talked about before is Blue Rhythms: Six Lives in Rhythm and Blues by Chip Defaa. The information on “Drinking Wine Spo-De-O-Dee” comes in part from Unsung Heroes of Rock ‘n’ Roll by Nick Tosches. This book is considered a classic, but a word of caution — it was written in the 70s, and Tosches is clearly of the Lester Bangs/underground/gonzo school of rock journalism, which in modern terms means he’s a bit of an edgelord who’ll be needlessly offensive to get a laugh.  Much of the information I’ve used comes from interviews with Ruth Brown and Ahmet Ertegun in Honkers & Shouters: The Golden Years of Rhythm and Blues by Arnold Shaw, one of the most important books on early 50s rhythm and blues. Ruth Brown also wrote an autobiography. And there are many good compilations of Brown’s R&B work — this one has most of the important records on it. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript While I’ve often made the point that fifties rhythm and blues is not the same thing as “the blues” as most people now think of it, there was still an obvious connection (as you’d expect from the name if nothing else) and sometimes the two would be more connected than you might think. So Ruth Brown, who was almost the epitome of a rhythm and blues singer, had her first hit on the pop charts with a song that couldn’t have been more blues inspired. For the story of “Mama, He Treats Your Daughter Mean”, we have to go all the way back to Blind Lemon Jefferson in the 1920s. Jefferson was a country-blues picker who was one of the most remarkable guitarists of his generation — he was a blues man first and foremost, but his guitar playing influenced almost every country player who came later. Unfortunately, he recorded for Paramount Records, notoriously the label with the worst sound quality in the 20s and thirties (which, given the general sound quality of those early recordings, is saying something). One of his songs was “One Dime Blues”, which is a very typical example of his style: [excerpt “One Dime Blues” by Blind Lemon Jefferson] See what I mean both about the great guitar playing and about the really lousy sound quality? That song was later picked up by another great blind bluesman, Blind Willie McTell. McTell is an example of how white lovers of black music would manage to miss the point of the musicians they loved and try to turn them into something they’re not. A substantial proportion of McTell’s recordings were made by John and Alan Lomax, for the Library of Congress, but if you listen to those recordings you can hear the Lomaxes persuading McTell to play music that’s very different from the songs he normally played — while he was a commercial blues singer, they wanted him to perform traditional folk songs and to sing political protest material, and basically to be another Leadbelly (a singer he did resemble slightly as a musician, largely because they both played the twelve-string guitar). He said he didn’t know any protest songs, but he did play various folk songs for them, even though they weren’t in his normal repertoire. And this is a very important thing to realise about the way the white collectors of black music distorted it — and it’s something you should also pay attention to when I talk about this stuff. I am, after all, a white man who loves a lot of black music but is disconnected from the culture that created it, just like the Lomaxes. There’s a reason why I call this podcast “A History of Rock Music…” rather than “THE History of Rock Music…” — the very last thing I want to do is give the impression that my opinion is the definitive one and that I should have the final word about these things. But what the Lomaxes were doing, when they were collecting their recordings, was taking sophisticated entertainers, who made their living from playing to rather demanding crowds, and getting them to play music that the Lomaxes *thought* was typical black music, rather than the music that those musicians would normally play and that their audiences would normally listen to. So they got McTell to perform songs he knew, like “The Boll Weevil” and “Amazing Grace”, because they thought that those songs were what they should be collecting, rather than having him perform his own material. To put this into a context which may seem a little more obvious to my audience — imagine you’re a singer-songwriter in Britain in the present day. You’ve been playing the clubs for several years, you’ve got a repertoire of songs you’ve written which the audiences love. You get your big break with a record company, you go into the studio, and the producer insists on you singing “Itsy-Bitsy Spider” and a hymn you had to sing in school assembly like “All Things Bright and Beautiful”. You probably could perform those, but you’d be wondering why they wouldn’t let you sing your own songs, and what the audiences would think of you singing this kind of stuff, and who exactly was going to buy it. But on the other hand, money is money, and you give the people paying you what they want. This was the experience of a *lot* of black musicians in the thirties, forties, and fifties, having rich white men pay them to play music that they saw as unsophisticated. It’s something we’ll see particularly in the late fifties as musicians travel from the US to the UK, and people like Muddy Waters discovered that their English audiences didn’t want to see anyone playing electric guitars and doing solos — they thought of the blues as a kind of folk music, and so wanted to see a poor black sharecropper playing an acoustic guitar, and so that’s what he gave those audiences. But McTell’s version of “One Dime Blues”, retitled “Last Dime Blues”, wasn’t like that. That was the music he played normally, and it was a minor hit: [excerpt: “Last Dime Blues” by Blind Willie McTell] And that line we just heard, “Mama, don’t treat your daughter mean”, inspired one of the most important records in early rock and roll. Ruth Brown had run away from home when she was seventeen — she’d wanted to become a singer, and she eloped with a trumpet player, Jimmy Brown, who she married and whose name she kept even though the marriage didn’t last long. She quickly joined Lucky Millinder’s band, as so many early R&B stars we’ve discussed did, but that too didn’t last long. Millinder’s band, at the time, had two singers already, and the original plan was for Brown to travel with the band for a month and learn how they did things, and then to join them on stage. She did the travelling for a month part, but soon found herself kicked out when she got on stage. She did two songs with the band on her first night performing live with them, and apparently went down well with the audience, but that was all she was meant to do on that show, so one of the other musicians asked her to go and get the band members drinks from the bar, as they were still performing. She brought them all sodas on to the stage… and Millinder said “I hired a singer, not a waitress — you’re fired. And besides, you don’t sing well anyway”. She was fired that day, and she had no money — Millinder refused to pay her, arguing that she’d had free room and board from him for a month, so if anything she owed him money. She had no way to make her way home from Washington. She was stuck. But what should have been a terrible situation for her turned out to be the thing that changed her life. She got an audition with Blanche Calloway, Cab’s sister, who was running a club at the time. Well, I say Blanche Calloway was Cab’s sister, and that’s probably how most people today would think of her if they thought of her at all, but it would really be more appropriate to say Cab Calloway happened to be her brother. Blanche Calloway had herself had a successful singing career, starting before her brother’s career, and she’d recorded songs like this: [excerpt “Just a Crazy Song”: Blanche Calloway and her Joy Boys] That was recorded several months *before* her brother’s breakout hit “Minnie The Moocher”, which popularised the “Hi de hi, ho de ho” chorus. Blanche Calloway wasn’t the first person to sing that song – Bill “Bojangles” Robinson recorded it a month before, though in a very different style – but she’s clearly the one who gave Cab the idea. She was a successful bandleader before her brother, and her band, the Joy Boys, featured musicians like Cozy Cole and Ben Webster, who later became some of the most famous names in jazz. She was the first woman to lead an otherwise all-male band, and her band was regularly listed as one of the ten or so most influential bands of the early thirties. And that wasn’t her only achievement by any means — in later years she became prominent in the Democratic Party and as a civil rights activist, she started Afram, a cosmetic company that made makeup for black women and was one of the most popular brand names of the seventies, and she was the first black woman to vote in Florida, in 1958. But while her band was popular in the thirties, it eventually broke up. There are two stories about how her band split, and possibly both are true. One story is that the Mafia, who controlled live music in the thirties, decided that there wasn’t room for two bands led by a Calloway, and put their weight behind her brother, leaving her unable to get gigs. The other story is that while on tour in Mississippi, she used a public toilet that was designated whites-only, and while she was in jail for that one of the band members ran off with all the band’s money and so she couldn’t afford to pay them. Either way, Calloway had gone into club management instead, and that was what she was doing when Ruth Brown walked into her club, desperate for a job. Calloway said that the club didn’t really need any new singers at the time, but she was sympathetic enough with Brown’s plight — and impressed enough by her talent — that she agreed that Brown could continue to sing at her club until she’d earned her fare home. And it was at that club that Willis Conover came to see her. Conover was a fascinating figure — he presented the jazz programme on Voice of America, the radio station that broadcast propaganda to the Eastern bloc during the Cold War, but by doing so he managed to raise the profile of many of the greatest jazz musicians of the time. He was also a major figure in early science fiction fandom — a book of his correspondence with H.P. Lovecraft is now available. Conover was visiting the nightclub along with his friend Duke Ellington, and he was immediately impressed by Ruth Brown’s performance — impressed enough that he ran out to call Ahmet Ertegun and Herb Abramson and tell them to sign her. Ertegun and Abramson were the founders of Atlantic Records, a new record label which had started up only a couple of years earlier. We’ve talked a bit about how the white backroom people in early R&B were usually those who were in some ways on the borderline between American conceptions of race — and this is something that will become even more important as the story goes on — but that was certainly true of Ahmet Ertegun. Ertegun was considered white by the then-prevailing standards in the US, but he was a Turkish Muslim, and so not part of what the white culture considered the default. He was also, though, extremely well off. His father had been the Turkish ambassador to the United States, and while young Ahmet had ostensibly been studying Medieval Philosophy at Georgetown University, in reality he was spending much of his time in Milt Gabler’s Commodore Music Shop. He and his brother Neshui had over fifteen thousand jazz records between them, and would travel to places like New Orleans and Harlem to see musicians. And so Ahmet decided he was going to set up his own record company, making jazz records. He got funding from his dentist, and took on Herb Abramson, one of the dentist’s proteges, as his partner in the firm. They soon switched from their initial plan of making jazz records to a new one of making blues and R&B, following the market. Atlantic’s first few records — while they were good ones, featuring people like Professor Longhair, weren’t especially successful, but then in 1949 they released “Drinking Wine Spo-De-O-Dee” by Sticks McGhee: [excerpt “Drinking Wine Spo-De-O-Dee”] That record is another of those which people refer to as “the first rock and roll record”, and it was pure good luck for Atlantic — McGhee had recorded an almost identical version two years earlier, for a label called Harlem Records. The song had originally been rather different — before McGhee recorded it for Harlem Records, instead of singing spo-de-o-dee he’d sung a four-syllable word, the first two syllables of which were mother and the latter two would get this podcast put in the adults-only section on iTunes; while instead of singing “mop mop” he’d sung “goddam”. Wisely, Harlem Records had got him to tone down the lyrics, but the record had started to take off only after the original label had gone out of business. Ertegun knew McGhee’s brother, the more famous blues musician Brownie McGhee, and called him up to get in touch with Sticks. They got Sticks to recut the record, sticking as closely as possible to his original, and rushed it out. The result was a massive success,and had cover versions by Lionel Hampton, Wynonie Harris, and many more musicians we’ve talked about here. Atlantic Records was on the map, and even though Sticks McGhee never had another hit, Atlantic now knew that the proto-rock-and-roll style of rhythm and blues was where its fortunes lay. So when Herb Abramson and Ahmet Ertegun saw Ruth Brown, they knew two things — firstly, this was a singer who had massive commercial potential, and secondly that if she was going to record for them, she’d have to change her style, from the torch songs she was singing to something more… spo-de-o-dee. Ruth Brown very nearly never made it to her first recording session at all. On her way to New York, with Blanche Calloway, who had become her manager, she ended up in a car crash and was in hospital for a year, turning twenty-one in hospital. She thought for a time that her chance had passed, but when she got well enough to use crutches she was invited along to a recording session. It wasn’t meant to be a session for her, it was just a way to ease her back into her career — Atlantic were going to show her what went on in a recording studio, so she would feel comfortable when it came to be time for her to actually make a record. The session was to record a few tracks for Cavalcade of Music, a radio show that profiled American composers. Eddie Condon’s band were recording the tracks, and all Brown was meant to do was watch. But then Ahmet Ertegun decided that while she was there, they might as well do a test recording of Brown, just to see whether her voice sounded decent when recorded. Herb Abramson — who would produce most of Brown’s early records — listed a handful of songs that she might know that they could do, and she said she knew Russ Morgan’s “So Long”. The band worked out a rough head arrangement of it, and they started recording. After a few bars, though, Sid Catlett, the drummer — one of the great jazz drummers, who had worked with Louis Armstrong, Dizzy Gillespie, Duke Ellington and Benny Goodman, among others — stopped the session and said “Wait a minute. Let’s go back and do this right. The kid can *sing*!” And she certainly could. The record, which had originally been intended just as a test or, at best, as a track to stick in the package of tracks they were recording for Cavalcade of Music, was instead released as a single, by “Ruth Brown as heard with Eddie Condon’s NBC Television Orchestra” “So Long” became a hit, and the followup “Teardrops From My Eyes” was a bigger hit, reaching number one on the R&B charts and staying there for eleven weeks. “Teardrops From My Eyes” was an uptempo song, and not really the kind of thing Brown liked — she thought of herself primarily as a torch singer — but it can’t be denied that she had a skill with that kind of material, even if it wasn’t what she’d have been singing by choice: [excerpt: Ruth Brown “Teardrops From My Eyes”] While the song was picked for her by Abramson, who continued to be in charge of Brown’s recordings until he was drafted into the Korean War, the strategy behind it was one that Ertegun had always advocated — to take black musicians who played or sang the more “sophisticated” (I don’t know if you can hear those air quotes, but they’re there…) styles and to get them instead to record in funkier, more rhythm-oriented styles. It was a strategy Atlantic would use later with many of the artists that would become popular on the label in the 1950s. In the case of “Teardrops From My Eyes”, this required a lot of work — Brown spent a week rehearsing the song with Louis Toombs, the song’s writer, and working out the arrangement — and this was in a time when most hit records were either head arrangements worked out in half an hour in the studio or songs that had been honed by months of live performance. Spending a week working out a song for a recording was extremely unusual, but it was part of Atlantic’s ethos — making sure the musicians were totally comfortable with the song and with each other before recording. It was the same reason that for the next few decades vocalists on Atlantic also played instruments on their own recordings, even if they weren’t the best instrumentalists — the idea was that the singer should be intimately involved in the rhythm of the record. But it worked even better for Ruth Brown than for most of those artists. “Teardrops From My Eyes” became a million seller — Atlantic’s first. Or at least, it was promoted as having sold a million copies — Herb Abramson would later claim that all the record labels were vastly exaggerating their sales. But then, he had a motive to claim that, just as they had a motive to exaggerate – if the artists believed they sold a million copies, then they’d want a million copies’ worth of royalties. But Brown’s biggest hit was her third number one, “Mama He Treats Your Daughter Mean”, which was also one of the few records she made to cross over to the pop charts, reaching number twenty-three. This was not a record that Brown thought at the time was particularly one of her best, but twenty years later in interviews she would talk about how she couldn’t do a show without playing it and that when she said her name people would ask “the Ruth Brown who sings ‘Mama He Treats Your Daughter Mean’?” The song also made a difference to Brown because it meant she had to join the musicians’ union. Vocalists, unlike instrumentalists, didn’t have to be union members. But “Mama, He Treats Your Daughter Mean” had a prominent tambourine part, which Brown played live. That made her an instrumentalist, not just a vocalist, and so Brown became a union member. [excerpt: “Mama He Treats Your Daughter Mean”, Ruth Brown] Johnny Wallace and Herbert Lance wrote that song after hearing a blues singer playing out on the street in Atlanta. The song the blues singer was playing was almost certainly “Last Dime Blues”, and contained a line which they heard as “Mama, he treats your daughter mean”. Brown didn’t want to record the song originally — the way the song was originally presented to her was as a much slower blues — but Herb Abramson raised the tempo to something closer to that of “Teardrops From My Eyes”, turning it into a clear example of early rock and roll. You can hear the song’s influence, for example, in “Work With Me Annie” by Hank Ballard and the Midnighters from two years later: [Excerpt: “Work With Me Annie”, Hank Ballard and the Midnighters] But Brown always claimed that the reason for the song’s greater success than her other records was down to that tambourine — or more precisely because of the way she played the tambourine live, because she used a fluorescent painted tambourine which would shine when she hit it. That apparently got the audiences worked up and made it her most popular live song. Brown continued to have hit records into the sixties, though she never became one of the most well-known artists — in the seventies she used to talk about adults telling their children “she was our Aretha Franklin”, and this was probably true. Certainly she was the most successful female rhythm and blues artist of the fifties, and was popular enough that for a while Atlantic Records became known as “the house that Ruth Brown built”, but like many of the pioneers of the rock and roll era, she was largely (though far from completely) erased from the cultural memory in favour of a view that has prehistory start in 1954 with Elvis and history proper only arrive in 1962 with the Beatles. Partly, this was because in the mid fifties, just as rock and roll was becoming huge, she had children and scaled down her touring activities to take care of them, but it was also in part because Atlantic Records was expanding. When they only had one or two big stars, it was easy for them to give each of them the attention they needed, but as the label got bigger, their star acts would have the best material divided among themselves, and their hit rate — at least for those who didn’t write their own material — got lower. So by the early sixties, Ruth Brown was something of a has-been. But she got a second wind from the late seventies onwards, after she appeared in the stage musical Selma, playing the part of Mahalia Jackson. She became a star again — not a pop star as she had been in her first career, but a star of the musical stage, and of films and TV. And she used that fame to do something remarkable. She had been unhappy for years with Atlantic Records not paying her the money she was owed for royalties on her records — like most independent labels of the fifties, Atlantic had seemed to regard honouring its contracts with its artists and actually giving them money as a sort of optional extra. But unlike those other independent labels, Atlantic had remained successful, and indeed by the eighties it was a major label itself — it had been bought in 1967 by Warner Brothers and had become one of the biggest record labels in the world. And Ruth Brown wanted the money to which she was entitled, and began a campaign to get the royalties she was owed. But she didn’t just campaign for herself. As part of the agreement she eventually reached with Atlantic, not only did she get her own money back, but dozens of other rhythm and blues artists also got their money — and the Rhythm and Blues Foundation was founded with money donated by Atlantic as compensation for them. The Rhythm and Blues Foundation now provides grants to up-and-coming black musicians and gives cash awards to older musicians who’ve fallen on hard times — often because of the way labels like Atlantic have treated them. Now of course that’s not to say that the Rhythm and Blues Foundation fixed everything — it’s very clear that Atlantic continued (and continues) to underpay the artists on whose work they built a billion-dollar business, and that the Foundation is one of those organisations that exists as much to forestall litigation as anything else, but it’s still notable that when she had the opportunity to do something just for herself, Ruth Brown chose instead to also help her friends and colleagues. Maybe her time in the union paid off… Brown spent her last decades as an elder stateswoman of the rhythm and blues field, She died in 2006.  

On today’s episode, Edi (@Kekeli_E) and Peaches (@musingatmidnite) discuss:In The News (01:00):A new government cattle ranch in Afram hopes to curb violence between farmers and herdsmen, and maize from an illegal farm is donated to a Sunyani prison + addressing food wastage problems.Song(s) Of The Week (16:10): featuring music from Juan Luis Guerra, Ernesto Djedje, Gee Man, Namika and Johnny Drill.WTF?! (25:00): Blac Chyna visits Lagos to promote the bleaching cream she is the new face of, and a British woman who identifies as objectum sexual gets engaged to a chandelier.Two Pesewas (40:25): Discussing Conversational Narcissism, and Alexithymia.website: https://2pesewas.wixsite.com/2pesewaspatreon: https://www.patreon.com/2pesewas

Quick chat in a parking lot under I-83 about romance novels and the upcoming Baltimore Afram festival. --- Send in a voice message: https://anchor.fm/baebaltimore/message Support this podcast: https://anchor.fm/baebaltimore/support

Baltimore’s annual festival that celebrates African American art, music and culture, known as AFRAM , takes place tomorrow at Druid Hill Park. The festival is in its 41st year and free to the public. It features performances from local artists, interactive exhibits, children’s activities, as well as job training and health and wellness information. Afra White , the planner of AFRAM festival, joins us on the line from City Hall today. She’s the director of external affairs for the Office of the Mayor . The Baltimore festival is presented this year by Mayor Catherine E. Pugh and the City of Baltimore with the support of the advisory board and steering committee.

Terry Afram is Vice-President van ASAH, de Association of Students of African Heritage van de Erasmus Universiteit in Rotterdam.“De vereniging is breder dan alleen de Erasmus, we willen een link leggen met het continent Afrika.”Want er is een te eenzijdig beeld van het continent vindt Afram. “Er heerst nog teveel een beeld van armoede, ziekte en ellende.”ASAH doet verschillende projecten in Afrika, waaronder in Ghana met mensen die zijn teruggekeerd naar Afrika na een studie in Europa of Amerika. “Ghana is politiek stabiel, er zijn veel jongeren, dus een goede work force.”KennisVeel Afrikanen doen volgens Afram kennis op in het Westen om thuis een bedrijf te beginnen. Maar het land en het continent kennen ook problemen.“De infrastructuur is niet on point”, weet Afram. “En Sommige landen zijn politiek instabiel. Energie is bovendien ook een probleem.”Maar er zijn ook steeds meer hoogopgeleiden die de problemen kunnen aanpakken.

Terry Afram is Vice-President van ASAH, de Association of Students of African Heritage van de Erasmus Universiteit in Rotterdam.“De vereniging is breder dan alleen de Erasmus, we willen een link leggen met het continent Afrika.”Want er is een te eenzijdig beeld van het continent vindt Afram. “Er heerst nog teveel een beeld van armoede, ziekte en ellende.”ASAH doet verschillende projecten in Afrika, waaronder in Ghana met mensen die zijn teruggekeerd naar Afrika na een studie in Europa of Amerika. “Ghana is politiek stabiel, er zijn veel jongeren, dus een goede work force.”KennisVeel Afrikanen doen volgens Afram kennis op in het Westen om thuis een bedrijf te beginnen. Maar het land en het continent kennen ook problemen.“De infrastructuur is niet on point”, weet Afram. “En Sommige landen zijn politiek instabiel. Energie is bovendien ook een probleem.”Maar er zijn ook steeds meer hoogopgeleiden die de problemen kunnen aanpakken.