Podcasts about Ebro Darden

Ep. 84 Drake and PARTYNEXTDOOR just dropped their new album $$$4U—is it a hit or a miss? Meanwhile, Ebro Darden sparks debate by calling Drake a “sickness” in hip-hop, and Jay-Z scores a legal victory as his rape lawsuit gets dismissed.Cole Jackson breaks it all down on The Stem Society. Tap in for the latest hip-hop news and reactions!Chapters(4:22) $$$4U album(15:27) Ebro's rant(27:56) Jay ZSupport the ChannelFollow the Patreon for bonus contenthttps://www.patreon.com/TheStemSocietyFollow Cole on social mediaIG: https://www.instagram.com/colejackson_bynk/X: https://twitter.com/ColeJackson12Follow BYNK Media on IG: https://www.instagram.com/bynkmedia1/X: https://x.com/bynkmedia1

Her name is Thandiswa, but if you're from her native country of South Africa, you might know her better as King Tha. She's a singer and songwriter with a new album called Sankofa, a Ghanaian word that means "to go back and fetch what has been left behind." In this brand new conversation, she joins Ebro Darden to talk about Sankofa, and what it means to her in the context of post-apartheid South Africa.Listen to Thandiswa's Message playlist only on Apple Music

Join Andre, Evan and Hot 97 DJ and Apple Music host Ebro Darden as they discuss the New York Knicks, Apple Music, and the future of hip hop. Ebro shares insights on the Knicks' performance, his music industry journey, and the importance of understanding and catering to the audience. The conversation also delves into advertising and media consumption trends, exploring ways to enhance the NBA All-Star game and dunk contest. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Para quienes crecimos escuchando la radio, las canciones presentadas por una voz son quizá más importantes que las piezas mismas. Ebro Darden desentraña este viejo arte, y nos cuenta cómo sucede actualmente en Estados Unidos un oficio que sigue construyendo a la cultura popular...

V5EP37: "Art Official Intelligence (Age Of Dull-Tron)"  Hip Hop Marvels Podcast is back with another great episode!  Dub, E-Ray and Pat dive right into the "Time Line Tings" segment to talk about the latest Hip Hop deaths (Magoo, DopeBoy Ra and Chico Del Vec).  They discuss Sony halting production on movies due to the strike,  Ebro Darden's comments on the state of Hip Hop and Jonathan Majors trial gets moved to September.  They also discuss Hip Hop's 50th Birthday celebration at Yankee Stadium and the many affects A.I. has on Hip Hop.  All of that and much more on an all new episode of Hip Hop Marvels Podcast!  "WE GOT IT LOCKED FROM THE BLOCK TO THE COMIC SHOP!"FANTASTIC 4:1. Quavo & Takeoff - Patty Cake2. Cory Gunz - Super Goblin (Prod. by Khardier Da God)3. Young Deuces ft. Dear Silas  - No Mercy (Prod. by K.Mel Beatz)4. Russ - EnoughSPONSOR:Hook & Kee Creations LLC. (Sanford, NC)"Bringing You A Little Taste Of New Orleans, One Bite At A Time!"https://www.facebook.com/hookandkeecreationsHookandKee@gmail.com(919) 537-9676LISTEN-SHARE-RATE-SUBSCRIBE: Pandora, Apple Podcasts, Amazon Music, Spotify, Google Podcasts, Audible, TuneIn, iHeartRadio, Castbox, Stitcher, Podcast Addict & anywhere else you get your podcasts!Have a question,  comment or suggestion? Email us: hiphopmarvels@gmail.comHIP HOP MARVELS is movement focusing on the impact Marvel Comics/Entertainment has on the culture of Hip Hop and vice-versa. Your friendly neighborhood plug for all things Hip Hop and Marvel! "WE GOT IT LOCKED FROM THE BLOCK TO THE COMIC SHOP!"Creator/Executive Producer/Host: DJ Dub Floyd (@djdubfloyd)Co-Host: Rick 0378 (@braille378)Co-Host: E-Ray (@lionheadcircle)Co-Host: Double T (@t91t91)Co-Host: JigPool (@jigpoolnc) Correspondent: Brandess (@8tiesbaby82)Asst. Director/Correspondent: Pat Mulli (@southerndrawl_410_side_ent)HHMP Intro: Bash Brothers - Precyce Politix (@cyceboogie), Mallz (@mallzini), Sharp Cuts (@sharpcutsofficial)Music: Sharp Cuts (@sharpcutsofficial), Tecknowledgy (@teckbeats), Kreatev (@kreatev)www.hiphopmarvels.comTwitter: @hiphopmarvelsIG: @hiphopmarvelsFB: https://www.facebook.com/hiphopmarvelsYouTube: https://www.youtube.com/@hiphopmarvels

Ebro, Rosenberg and Laura Stylez star in HOT97's flagship program Ebro in the Morning - this episode aired on 7/28/2023. A VERY SPECIAL EPISODE Find New HOT 97 Podcasts: https://www.hot97.com/podcasts See omnystudio.com/listener for privacy information.

By 2010, so many of the bloggers who'd set out to subvert the gatekeepers had become them. Resentment grew: from a new generation of artists, from heavily-financed competition and especially from the labels. More money - spent on building websites, growing networks, signing acts and retaining lawyers - meant closer scrutiny on what started out as passion projects. And it all would come to a head as families gathered around the dinner table.

We weigh in with our thoughts...-----------------------------New York, NY – May 3, 2023 – The Rock & Roll Hall of Fame Foundation announced its 2023 Inductees in the following categories: Performer Category Kate Bush Sheryl Crow Missy Elliott George Michael Willie Nelson Rage Against the Machine The Spinners Musical Influence Award DJ Kool Herc Link Wray Musical Excellence Award Chaka Khan Al Kooper Bernie Taupin Ahmet Ertegun Award Don Cornelius The announcement was streamed on Apple Music 1 during a one-hour special with hosts Ebro Darden, Rebecca Judd, Matt Wilkinson, Brooke Reese, and Kelleigh Bannen with special guests Sheryl Crow and Bernie Taupin. Every Friday, Live at 5PM from Los Angeles https://www.youtube.com/c/ROCKTAILSwithAhmetZappahttps://rocktailsradio.com

MSNBC's Ari Melber hosts “The Beat” on Friday, February 3, and reports on President Biden's historic jobs surge, and the GOP's latest Donald Trump problem. Plus, a special conversation on accountability in America with New York radio icon Ebro Darden. John Marshall, Juanita Tolliver, and Neal Katyal also join.

Welcome to The Message, a new interview hosted series hosted by Ebro Darden about music, culture, mental health, and politics. Stay tuned for the first episode with guest Jon Batiste, releasing in January. Brought to you by Apple Music.

In this episode, we're taking a look back at our Fast Company Innovation Festival. Fast Company Multimedia Editor KC Ifeanyi sat down with Tracy Sherrod, VP and executive editor of Little, Brown publishing; Ebro Darden, global editorial head of hip hop and R&B at Apple Music, and Orion Pictures President Alana Mayo, to discuss the future of inclusive storytelling and rethinking representation.

ALL THE SMOKE is back for another great episode as the boys are joined by radio personality and former media executive, Ebro Darden. Darden opens up about his radio career and the growth of hip hop since he began. Plus, he talks about current rap artists and societal issues plaguing the country.  See omnystudio.com/listener for privacy information.

In 2012 - HOT 97's signature concert Summer Jam was turned on it's head when HOT 97 talent Peter Rosenberg criticized "Starships" by Nicki Minaj, and Young Money pulled out of the show. Hear about the year artists like A$AP Rocky and Kendrick Lamar made names for themselves on the festival stage, and Maino & DJ Drewski opened up the main stage  - learn the stories behind those moments & so much more. On this episode of "Summer Jam: Through The Years" HOT 97 personality Laura Stylez from Ebro In The Morning narrates a series of interviews with the people and artists who were at Summer Jam 2012 conducted by HOT 97 in-house reporter Jason N. Peters. Guests on this episode include: Summer Jam Producer Carl Freed, hip-hop historian Ralph McDaniels of Video Music Box, DJ Juanyto, DJ Drewski, Maino, Peter Rosenberg and Ebro Darden! BUY YOUR SUMMER JAM TICKETS TODAY! See omnystudio.com/listener for privacy information.

In 2012 - HOT 97's signature concert Summer Jam was turned on it's head when HOT 97 talent Peter Rosenberg criticized "Starships" by Nicki Minaj, and Young Money pulled out of the show. Hear about the year artists like A$AP Rocky and Kendrick Lamar made names for themselves on the festival stage, and Maino & DJ Drewski opened up the main stage  - learn the stories behind those moments & so much more. Subscribe to "Summer Jam: Through The Years" - hosted by Laura Stylez! Amazon: https://music.amazon.com/podcasts/6dfef9f3-4ff5-4d05-a857-6689c99aa999/summer-jam-through-the-years Spotify: https://open.spotify.com/show/7MP62llakMJSXkJzwFclgq Apple: https://podcasts.apple.com/us/podcast/summer-jam-through-the-years/id1627066431 On this episode of "Summer Jam: Through The Years" HOT 97 personality Laura Stylez from Ebro In The Morning narrates a series of interviews with the people and artists who were at Summer Jam 2012 conducted by HOT 97 in-house reporter Jason N. Peters. Guests on this episode include: Summer Jam Producer Carl Freed, hip-hop historian Ralph McDaniels of Video Music Box, DJ Juanyto, DJ Drewski, Maino, Peter Rosenberg and Ebro Darden! See omnystudio.com/listener for privacy information.

June is the annual celebration of Black Music Month. We spoke with Ebro Darden, Apple Music's global editorial head of Hip-Hop and R&B and host of The Ebro Show on Apple Music 1, about their efforts to highlight Black Music and Black music's lasting and continuing impact on our collective, cultural landscape.  

June is the annual celebration of Black Music Month. We spoke with Ebro Darden, Apple Music's global editorial head of Hip-Hop and R&B and host of The Ebro Show on Apple Music 1, about their efforts to highlight Black Music and Black music's lasting and continuing impact on our collective, cultural landscape.  

Justin Bieber is back once again, with his second music drop this week. Following close on the heels of “I Feel Funny,” which arrived in recent days with a music video shot by Cole Bennett and featuring a cameo from Don Toliver, Bieber does the double with “Honest,” on which Toliver contributes guest vocals. An upbeat number, “Honest” has its own visual, another Bennett-cut clip that sees the two artists cutting up the slopes in pimped-out snowmobiles, as if they were in a James Bond film. Like “Funny,” “Honest” keeps its musical feet planted firmly in hip-hop territory. The Canadian pop singer caught up with Ebro Darden on New Music Daily on Apple Music 1 to chat about the new track, and his collaborators, who include BEAM, the Jamaican-American rapper, songwriter and producer. According to Universal Music, “Honest” is Bieber's first official single since “Ghost,” the finale to the Canadian pop star's Billboard 200 chart leader Justice and itself a No. 1 on the Billboard Pop Airplay Chart. Biebs has multiple chances to add to his silverware collection when the 2022 Billboard Music Awards roll around Sunday, May 15, where he's up for 13 trophies. He's the third-most decorated artist in BBMA history, with 21 previous wins. Currently, Bieber is working his way across North America with his Justice World Tour, dropping into Toyota Center in Houston Friday (April 29). --- Support this podcast: https://anchor.fm/masseffect/support

When you think about Alternative music Oxymorrons undoubtedly come to mind. The New York-based boundary-pushers have made a name for themselves in the spirit of change - building a movement from years of being told they were too rock for hip-hop, too hip-hop for rock. They boldly committed to creating music that defies arbitrary rules of classification, cementing the band as early pioneers of the modern genre-blending revolution and receiving co-signs from Billboard, The Fader, Complex, VIBE, Hypebeast, Highsnobiety, Ebro Darden's Beats 1. As the newest addition to Jason Aalon Butler's (Fever 333) Artist Collective ‘333 Wreckords Crew', Oxymorrons expanded their sound with their first releases under the collective, “Justice" and “GREEN VISION”. they're finally getting the recognition they deserve in the Alt-Scene with support from Kerrang!, Revolver, Discover Mag, Hot Topic and BBC1's Jack Sanders & Daniel Carter. Although 2020 was the year of the pandemic Oxymorrons solidified their base, finished a EP, Booked Two US TOURS and are in prime position to bring the noise in 2022. Oxymorrons will be playing Welcome to Rockville in May 2022! Oxymorrons.com Black Rose Media (theblackrosemedia.com) @suckitpodcast is on Instagram • 13.1k people follow their account Suck It Podcast - Home | Facebook --- Send in a voice message: https://anchor.fm/thedarksideofmusic/message Support this podcast: https://anchor.fm/thedarksideofmusic/support

Alicia Keys - ‘KEYS,' - New York Roots and Honoring Black Musical Icons | Full Interview All uploads on this channel are for promotional purposes only! The music has been converted before uploading to prevent ripping and to protect the artist(s) and label(s). If you don't want your content here (that goes for audio or images) please contact me immediately via email: unpluggedtube@outlook.it and I WILL REMOVE THE EPISODE OR ARTWORK IMMEDIATELY! ---------------------------------------------------------------------------------------------------- Ebro Darden sits down with Alicia Keys to discuss her eighth studio album, ‘KEYS.' The record combines Alicia Keys' original sound with the new styles she has been waiting to share with the world and features the production of icons like Mike WiLL Made-It. Together the pair go song by song, talking about the inspirations behind tracks like “Plentiful," “LALA,” and “Nat King Cole.” Alicia Keys explains that this album is meant to encapsulate the energy of New York, and embodies her spirit as an artist. Reshared by Team UNPLUGGED.

In this installment of Rap Life, Don Toliver sits down with Ebro Darden to discuss his debut album ‘Heaven or Hell'. He talks about the flow of the album, working on “Euphoria” with Travis Scott and making an R&B record in the future. Don also talks about going on the ‘After Hours' tour with The Weeknd and Sabrina Claudio. Team UNPLUGGED.

Episode #88 is the first live Bucked Up ever recorded at The Tiny Cupboard in New York City! It features rappers UFO Fev & Big Mont. UFO has worked with such artists as Fat Joe, DJ Premier, Big Ghost LTD, Statik Selektah and more. His newest project "Enigma of Dali" with producer Vanderslice comes out tomorrow. Big Mont is an amazing rapper who has been featured on "Soundcloud's Artist To Watch" and on Ebro Darden's "Discover Playlist". His newets proect "The Green Tape" just dropped. You can folloe them on social media @ufofev & bigmontsamo. 

Together with American Songwriter and Sean Ulbs of The Eiffels, we had the pleasure of interviewing Oxymorrons over Zoom video! When you think about Alternative music Oxymorrons undoubtedly come to mind. The New York-based boundary-pushers have made a name for themselves in the spirit of change - building a movement from years of being told they were too rock for hip-hop, too hip-hop for rock. They boldly committed to creating music that defies arbitrary rules of classification, cementing the band as early pioneers of the modern genre-blending revolution and receiving co-signs from Billboard, The Fader, Complex, VIBE, Hypebeast, Highsnobiety, Ebro Darden's Beats 1.As the newest addition to Jason Aalon Butler's (Fever 333) Artist Collective ‘333 Wreckords Crew’, Oxymorrons expanded their sound with their first release under the collective, “Justice". With the recent signing to 333 Wreckords and release of “Justice”, they’re finally getting the recognition they deserve in the Alt-Scene with support from Kerrang!, Revolver, Discover Mag, Hot Topic and BBC1's Daniel Carter.Although 2020 was the year of the pandemic Oxymorrons solidified their base, finished a new album and are in prime position to bring the noise in 2021.Oxymorrons set the tone for 2021 with their single "Green Vision" - a blended hip-hop x hard-rock vibe that makes you want to hit the mosh pit and the dance floor.We want to hear from you! Please email Tera@BringinitBackwards.com.www.BringinitBackwards.com#podcast #interview #bringinbackpod  #foryou #foryoupage #stayhome #togetherathome #zoom #aspn #americansongwriter #americansongwriterpodcastnetworkListen & Subscribe to BiBFollow our podcast on Instagram and Twitter! 

To celebrate the release of his film On The Rocks on Apple TV+, Wayans tells Ebro Darden about the ten songs that have soundtracked the key moments in his life.

Episode eighteen's guest is rapper, Big Mont! He's one of Soundcloud's Artist to Watch and has been featured on Ebro Darden's Discover on Apple Music. You can check him out on social media @bigmontsdot. You can also listen to his newest EP here: https://music.apple.com/us/album/the-melo-pack-ep/1526403368.

We talk with Marco Pavé about the history of Southern Rap, his career in the often misunderstood music industry, and how to take control of your life and music. Marco is incredibly knowledgeable on a ton of subjects, and we loved this conversation. Born and raised in North Memphis, Pave started rapping seriously to articulate the dangerous day-to-day realities of his neighborhood. Pavé has built an unprecedented career that uses hip hop culture not only as a means of personal expression, but also as an educational tool designed to make an impact on both individuals and systems of power. In 2013, Pavé was a 20-year-old budding rapper and community activist working a demoralizing dead-end security job at Kroger to make ends meet. When his son was born at the end of the year, he made a choice that would change the course of his life: to define success entirely on his own terms and build a wholly independent career in the arts. Since 2013, he has forged a twin identity as a champion of indie Southern rap and as an educator working to stimulate community activism and entrepreneurship through the lens of hip hop music and culture.  During the same period, Pavé blossomed as a recording artist. He opened for Mobb Deep, Waka Flocka Flame, and Young Dolph and worked with GRAMMY Award-winning producers like Carlos Broady. In 2015, “Black Tux,” the Mike Brown-inspired lead single from his EP Perception, aired on Ebro Darden’s Beats 1 Radio show and MTVU, paving the way for press coverage from The Source, The Root, and MTV News. In 2017, he released his debut album Welcome to Grc Lnd, which cast a documentarian lens on Memphis’s grassroots activists who were raising their voices in protest of the city’s endemic racism and poverty. In 2018, he was commissioned to turn the album into Memphis’s first-ever rap opera.  Check out Marco's new single, 'Dirty Benz', wherever you listen to music. It's as serious banger. Find Marco online at kingofmarco.comFollow Marco on IG: @kingofmarco Deyus Life is a show about interesting people and interesting conversations. Have a question or want to be featured on the show? Email deyuspod@gmail.com or visit deyuslifepod.com. We read and respond to EVERY email - including yours.

In her interview with Ebro Darden, Mallory shares the music that shaped her life—from learning what love means from Bell Biv DeVoe during her youth and motivating herself to Mary J. Blige before a big rally to listening to The Commodores when times are tough.

Hip-hop fans may know Rob Markman as an esteemed journalist who has interviewed artists like Kendrick Lamar, Jay Z, Nicki Minaj, Drake and Wiz Khalifa. But, the Brooklyn native refuses to be put in a box, breaking out and fulfilling his dream of becoming an artist himself. Markman’s music is a showcase of thoughtful lyricism, creative concepts and stellar wordplay. Since dropping his debut EP (Write To Dream) in 2017, Rob has drawn praise from industry voices like Charlamagne tha God, Ebro Darden and Sway Calloway. Hip-Hop’s biggest artists have taken notice too as Nicki Minaj, Pusha T, Royce da 5’9″ and 2 Chainz have all publicly supported Markman’s music. 

Monte Poole is joined by media executive and radio host Ebro Darden to discuss a number of different topics, including his reaction to George Floyd’s death and the different protests across the country. Plus, Ebro reveals his thoughts on racial inequality in the United States and shared how we should hold people accountable for their actions. (3:30) Ebro expresses his reaction to George Floyd’s death (9:51) Ebro shares how it was in New York as protests started(16:27) Ebro discusses the racial inequality in the USA (19:03) Ebro reveals his thoughts on the NBA protests (28:05) Ebro examines how we should hold people accountable

The British boxer tells Ebro Darden about the songs that mark significant events in his life—from listening to Fela Kuti during his youth to psyching himself up to Stormzy before the big fight

On this episode we have a special guest, Devin from the NoOneCares Podcast. We ask Devin a few questions about his time as a podcaster and why he chose this medium to express himself. We also share out thoughts on the new project by Mick Jenkins entitled “The Circus”. Lastly, we discuss the recent troll tweet from Ebro Darden, as well as what happens when black people are just living, being black. --- Send in a voice message: https://anchor.fm/through-the-crate/message Support this podcast: https://anchor.fm/through-the-crate/support

Day 1 Radio keeps our "day one" tradition going by sitting down with an artist that is sure to be on your radar very soon if he isn't already. Atlanta-based artist Grip is winning new fans daily with his penchant for storytelling and attention to detail. In one of his first interviews since dropping his dope album Snubnose back in October, Grip shares some stories about his life and creativity. Enjoy.   2:45 - Grip's Background:Grip talks about growing up in Decatur and Stone Mountain (east of Atlanta). He describes his upbringing as tough and a little more serious than the "average kid" he grew up with. He talks about how the area has taken a change for the worst over the last 10 years or so since this is where gentrification pushes poorer people to. He also gets into his brief stint in college.   7:50 - Grip the storyteller: Grip says he got into writing through storytelling and watching movies first, and then got into rapping and self-expression. He dropped his first project in high school and followed with a number of mixtapes online before he released his official debut "Porch" in 2017.    13:00 - The making of "Porch": Grip talks about his relationship with his producer Tu who produced 99% of the project. He talks about the concept of the album, telling stories from the porch with three different perspectives. He also gets into why is sticking to his own guns and not making typical "Atlanta-sounding rap."   16:00 - Concepts and covers: Grip has released two projects in three years but his face is on neither one. Here he reveals what has led to him using conceptual cover art instead of his own image. He also delves into the process of making his latest project "Snubnose" and explains why art is supposed to make you uncomfortable. Grip also talks about working with producers Beat Butcha and Daringer.   22:45 - Visuals: Grip hasn't dropped many visuals but the ones he has dropped are dope. Here he talks about the "Snubnose" short film directed by Mikayla Gamble. He also talks about the decision to put a gun on the cover of the album.   27:00 - European tour with J.I.D.: Grip went on a European tour at the end of 2019. He talks about the experience and how great the Hip-Hop audience is over there.    31:00 - Ebro comments and recording new music: NYC radio personality Ebro Darden called "Snubnose" the best album you never heard, but Grip doesn't take it as pressure or an insult. He also reveals that he hasn't written a full song since releasing "Snubnose" and that he doesn't make songs just to make them and release them.   40:00 - Hip Hop Trivia: We test Grip's knowledge on some Eastside ATL Hip Hop Trivia.   Day 1 Radio podcast is available on Apple Podcasts, Google Play, IHeartRadio, Spotify, Stitcher, Radio Public, and CLNS Mobile Media app. Follow us on Twitter, FB, and IG at @day1radio

Show Notes Moe Factz with Adam Curry for December 2nd 2019, Episode number 17 Shaft Stache Shownotes Robert Townsend (actor) - Wikipedia Mon, 02 Dec 2019 13:13 American actor Robert Townsend (born February 6, 1957) is an American actor, director, comedian, and writer.[1][2] Townsend is best known for directing the films Hollywood Shuffle (1987), Eddie Murphy Raw (1987), The Meteor Man (1993), The Five Heartbeats (1991) and various other films and stand-up specials. He is especially known for his eponymous self-titled character, Robert Peterson as the starring role as on The WB sitcom The Parent 'Hood (1995''1999), a series which he created and of which directed select episodes. Townsend is also known for his role as Donald "Duck" Matthews in his 1991 film The Five Heartbeats.[3] He later wrote, directed and produced Making The Five Heartbeats (2018), a documentary film about the production process and behind the scenes insight into creating the film. Townsend is also known for his production company Townsend Entertainment [4] which has produced films Playin' for Love,[5] In the Hive and more. During the 1980s and early''1990s, Townsend gained national exposure through his stand-up comedy routines and appearances on The Tonight Show Starring Johnny Carson. Townsend has worked with talent including Halle Berry, Morgan Freeman, Chris Tucker, Beyonc(C), Denzel Washington and many more.[6][7][8] Early life and career [ edit ] Townsend was born in Chicago, Illinois, the second of four children[9] to Shirley (n(C)e Jenkins) and Ed Townsend. His mother ended up raising him and his three siblings as a single parent. Growing up on the city's west side, Townsend attended Austin High School; graduating in 1975.[10] He became interested in acting as a teenager. During a reading of Sophocles' Oedipus Rex in high school, Townsend captured the attention of Chicago's X Bag Theatre, The Experimental Black Actors Guild. Townsend later auditioned for parts at Chicago's Experimental Black Actors' Guild and performed in local plays studying at the famed Second City comedy workshop for improvisation in 1974. Townsend had a brief uncredited role in the 1975 movie Cooley High. After high school, Townsend enrolled at Illinois State University, studied a year and later moved to New York to study at the Negro Ensemble Company. Townsend's mother believed that he should complete his college education, but he felt that college took time away from his passion for acting, and he soon dropped out of school to pursue his acting career full-time. Career [ edit ] Townsend auditioned to be part of Saturday Night Live's 1980''1981 cast, but was rejected in favor of Eddie Murphy. In 1982, Townsend appeared as one of the main characters in the PBS series Another Page, a program produced by Kentucky Educational Television that taught literacy to adults through serialized stories. Townsend later appeared in small parts in films like A Soldier's Story (1984), directed by Norman Jewison, and after its success garnered much more substantial parts in films like The Mighty Quinn (1989) with Denzel Washington.[11][12][13] In 1987, Townsend wrote, directed and produced Hollywood Shuffle, a satire based on the hardships and obstacles that black actors undergo in the film industry. The success of his first project helped him establish himself in the industry.[6][14] Another of his films was The Five Heartbeats based on 1960s R&B male groups and the tribulations of the music industry. Townsend created and produced two television variety shows'--the CableACE award''winning Robert Townsend and His Partners in Crime for HBO, and the Fox Television variety show Townsend Television (1993). He also created and starred in the WB Network's sitcom The Parent 'Hood which originally ran from January 1995 to July 1999. In 2018, Townsend also directed 2 episodes for the B.E.T. Series American Soul which began airing in 2019. The show is about Don Cornelius and Soul Train. Townsend was programming director at the Black Family Channel, but the network folded in 2007. Townsend created The Robert Townsend Foundation, a nonprofit organization whose mission is to introduce and help new unsigned filmmakers. Awards and other credits [ edit ] Townsend directed the 2001 TV movie, Livin' for Love: The Natalie Cole Story for which Cole won the NAACP Image Award as Outstanding Actress in a Television Movie, Mini-Series or Dramatic Special. Townsend also directed two television movies in 2001 and 2002 respectively, Carmen: A Hip Hopera and 10,000 Black Men Named George. In 2013 Townsend was nominated for an Ovation Award in the category of "Lead Actor in a Musical" for his role as Dan in the La Mirada Theatre for the Performing Arts production of Next to Normal.[15] Personal life [ edit ] Townsend was married to Cheri Jones[16] from September 15, 1990, to August 9, 2001.[17] Together they have two daughters, Sierra and Skylar (Skye Townsend), both entertainers, and a son, Isiah.[6] Filmography [ edit ] Further reading [ edit ] Alexander, George. Why We Make Movies: Black Filmmakers Talk About the Magic of Cinema. Harlem Moon. 2003.Collier, Aldore. "Robert Townsend: a new kind of Hollywood dreamer. Actor-producer-director plans to make films that uplift and transform Black audiences". Ebony Magazine. 1 June 1991.Rogers, Brent. Robert Townsend Article in Perspectives. Sustaining Digital History, 12 November 2007.References [ edit ] ^ "Robert Townsend". The New York Times. ^ "As Robert Townsend Sees It : He's Fighting Stereotypes With 'Meteor Man' and New TV Show". Los Angeles Times . Retrieved 2010-10-10 . ^ The Five Heartbeats , retrieved 2019-09-16 ^ "Townsend Entertainment - IMDbPro". pro.imdb.com . Retrieved 2018-03-06 . ^ "Playin' For Love". Black Cinema Connection. 2014-11-05 . Retrieved 2018-03-06 . ^ a b c "About". Robert Townsend. Archived from the original on 2011-07-14. ^ "Carmen: A Hip Hopera", Wikipedia, 2019-08-09 , retrieved 2019-09-17 ^ B*A*P*S , retrieved 2019-09-17 ^ "Townsend, Robert (1957-)". BlackPast.Org. 2008 . Retrieved September 18, 2017 . ^ "1975 Austin High School Yearbook (Chicago, Illinois)". Classmates.com. 1975 . Retrieved September 18, 2017 . ^ Vincent Canby, "Review/Film; Tropical Murder", The New York Times, February 17, 1989. ^ The Mighty Quinn , retrieved 2019-09-17 ^ A Soldier's Story , retrieved 2019-09-17 ^ Hollywood Shuffle , retrieved 2019-09-17 ^ "2013 Ovation Awards Nominees '-- South by Southeast". thisstage.la. LA STAGE Alliance. September 16, 2013 . Retrieved 2017-04-21 . ^ "The Week's Best Photo". Google Books. JET Magazine. March 25, 1991 . Retrieved September 18, 2017 . ^ Gimenes, Erika (2001). "Robert Townsend to divorce". Hollywood.com . Retrieved September 18, 2017 . ^ "Jackie's Back! (1999)" at IMDb. External links [ edit ] Robert Townsend on IMDbRobert Townsend (Official Website) (9) Charles Woods (The Professor) - Hollywood's Tricknology: Mandingo To Malcolm X - YouTube Mon, 02 Dec 2019 12:59 Tyler Perry Mon, 02 Dec 2019 12:57 Tyler Perry is a world-renowned producer, director, actor, screenwriter, playwright, author, songwriter, entrepreneur, and philanthropist. Tyler Perry's Story Tyler Perry is a world-renowned producer, director, actor, screenwriter, playwright, author, songwriter, entrepreneur, and philanthropist. Read His Story Outreach Since 2006, The Perry Foundation's aim has been to transform tragedy into triumph by empowering the economically disadvantaged to achieve a better quality of life. We focus on health and clean water, education and technology, arts and culture, and globally-sustainable economic development. Get Involved Visit Website You are viewing Tyler Perry Entertainment. If you'd like to view the Tyler Perry Studios, click here. Black writers courageously staring down the white gaze '' this is why we all must read them | Stan Grant | Opinion | The Guardian Mon, 02 Dec 2019 12:46 The white gaze '' it is a phrase that resonates in black American literature. Writers from WEB Du Bois to Ralph Ellison to James Baldwin and Toni Morrison have struggled with it and railed against it. As Morrison '' a Nobel Laureate '' once said: Our lives have no meaning, no depth without the white gaze. And I have spent my entire writing life trying to make sure that the white gaze was not the dominant one in any of my books. The white gaze: it traps black people in white imaginations. It is the eyes of a white schoolteacher who sees a black student and lowers expectations. It is the eyes of a white cop who sees a black person and looks twice '' or worse, feels for a gun. Du Bois explored this more than a century ago in his book The Souls of Black Folk, reflecting on his conversations with white people and the ensuing delicate dance around the ''Negro problem''. Between me and the other world there is an ever unasked question'.... All, nevertheless, flutter around it ... Instead of saying directly, how does it feel to be a problem? They say, I know an excellent coloured man in my town ... To the real question '... I answer seldom a word. Baldwin was as ever more direct and piercing, writing in his book Nobody Knows My Name. I have spent most of my life ... watching white people and outwitting them so that I might survive. The flame has passed to a new generation. In 2015 three more black writers have stared down the white gaze. In their own ways Ta-Nehisi Coates, Claudia Rankine and George Yancy have held up a mirror to white America. These are uncompromising and fearless voices. Coates' searing essay Between The World And Me critiques America against a backdrop of black deaths at the hands of police. He says the country's history is rooted in slavery and the assault against the black body. In the form of a letter to his son, Coates writes: Here is what I would like for you to know: In America it is traditional to destroy the black body '' it is heritage. In Citizen '' An American Lyric, poet Rankine reflects on the black experience from the victims of Hurricane Katrina, or Trayvon Martin, a 17 year-old black youth shot dead by a neighbourhood watch volunteer who was acquitted, or black tennis star Serena Williams. In each case Rankine sees lives framed by whiteness. She writes: Because white men can't police their imagination, black men are dying. Philosophy Professor George Yancy just last week penned a letter in the New York Times addressed to ''Dear White America''. He asks his countrymen to listen with love, and to look at those things that might cause pain and terror. All white people, he says, benefit from racism and this means each, in their own way, are racist. '...don't run to seek shelter from your own racism'...practice being vulnerable. Being neither a ''good'' white person, nor a liberal white person will get you off the proverbial hook. Their unflinching work is not tempered by the fact a black man is in the White House '' that only makes their voices more urgent. Coates, Rankine, Yancy '' each has been variously praised and awarded, yet each has been pilloried as well. This is inevitable when some people don't like what the mirror reflects. It takes courage for a black person to speak to a white world, a world that can render invisible people of colour, unless they begin to more closely resemble white people themselves '' an education, a house in the suburbs, a good job, lighter skin. In Australia, too, black voices are defying the white gaze. We may not have the popular cut through of a Morrison or a Baldwin or a Coates, but we have a proud tradition '' Oodgeroo Noonuccal, Kevin Gilbert, Ruby Langford or more recently Kim Scott, Alexis Wright, Anita Heiss. I have spent some time recently reading some of the most powerful works of Indigenous writers. Their styles and genres are many and varied but there is a common and powerful theme of defiance and survival. This is a world so instantly recognisable to us '' Indigenous people '' but still so foreign to white Australia. Natalie Harkin's book of poetry, Dirty Words, is a subversive dictionary that turns English words back on their users: A is apology, B is for Boat People '... G is for Genocide ... S for Survival. ''How do you dream,'' she writes, ''When your lucky country does not sleep''. Bruce Pascoe's Dark Emu challenges the white stereotype of the ''primitive hunter gatherer''. He says the economy and culture of Indigenous people has been grossly undervalued. He cites journals and diaries of explorers and colonists to reveal the industry and ingenuity of pre-colonial Aboriginal society. He says it is a window into a world of people building dams and wells and houses, irrigating and harvesting seed and creating elaborate cemeteries. Pascoe's work demands to be taught in our schools. Tony Birch is an acclaimed novelist and his latest Ghost River is remarkable. It is the story of two friends navigating the journey into adulthood guided by the men of the river '' men others may see as homeless and hopeless. It is a work infused with a sense of place and belonging. Ellen Van Neerven's Heat and Light is a genre-busting mystical journey into identity: sexual, racial and national. It is provocative and challenging and mind bending, and altogether stunning. You won't find many of these titles in the annual best book lists. Occasionally they pop up, but not as often as they deserve. You probably won't hear much of Samuel Wagan Watson's Love Poems and Death Threats, or Ken Canning's Yimbama, or Lionel Fogarty's Eelahroo (Long Ago) Nyah (Looking) Mobo-Mobo (Future). That these works are not more widely read is a national shame. In our busy lives, try to find time for some of these books in 2016 '' read with the courage of these writers. George Yancy asks white Americans to become ''un-sutured'', to open themselves up and let go of their white innocence. Why is this important? Well, for white people it may simply be a matter of choice '' the fate of black people may not affect them. For us it is survival '' the white gaze means we die young, are locked up and locked out of work and education. We hear a lot about recognition '' acknowledging Indigenous people in the Australian constitution. But there is another recognition '' recognising the pervasive and too often destructive role of race in our lives, and the need to lift our gaze above it. Queen | Definition of Queen by Merriam-Webster Mon, 02 Dec 2019 12:40 To save this word, you'll need to log in. ËkwÄ'n 1 a : the wife or widow of a king b : the wife or widow of a tribal chief 2 a : a female monarch b : a female chieftain 3 a : a woman eminent in rank, power, or attractions a movie queen b : a goddess or a thing personified as female and having supremacy in a specified realm c : an attractive girl or woman especially : a beauty contest winner 4 : the most privileged piece of each color in a set of chessmen having the power to move in any direction across any number of unoccupied squares 5 : a playing card marked with a stylized figure of a queen 6 : the fertile fully developed female of social bees, ants, and termites whose function is to lay eggs 7 : a mature female cat kept especially for breeding 8 slang , often disparaging : a male homosexual especially : an effeminate one queened ; queening ; queens intransitive verb 1 : to act like a queen especially : to put on airs '-- usually used with it queens it over her friends 2 : to become a queen in chess the pawn queens Pan-Africanism - Wikipedia Mon, 02 Dec 2019 12:37 Worldwide movement that aims to encourage and strengthen bonds of solidarity between all people of African descent Pan-Africanism is a worldwide movement that aims to encourage and strengthen bonds of solidarity between all indigenous and diasporan ethnic groups of African descent. Based on a common goal dating back to the Atlantic slave trade, the movement extends beyond continental Africans with a substantial support base among the African diaspora in the Caribbean, Latin America, the United States and Canada and Europe.[1][2] It is based on the belief that unity is vital to economic, social, and political progress and aims to "unify and uplift" people of African descent.[3] The ideology asserts that the fate of all African people and countries[clarification needed ] are intertwined. At its core Pan-Africanism is a belief that ''African people, both on the continent and in the diaspora, share not merely a common history, but a common destiny".[4] Pan-Africanist intellectual, cultural, and political movements tend to view all Africans and descendants of Africans as belonging to a single "race" and sharing cultural unity. Pan-Africanism posits a sense of a shared historical fate for Africans in the Americas, West Indies, and, on the continent itself, has centered on the Atlantic trade in slaves, African slavery, and European imperialism.[5] The Organization of African Unity (now the African Union) was established in 1963 to safeguard the sovereignty and territorial integrity of its Member States and to promote global relations within the framework of the United Nations.[6] The African Union Commission has its seat in Addis Ababa and the Pan-African Parliament has its seat in Johannesburg and Midrand. Overview [ edit ] Pan-Africanism stresses the need for "collective self-reliance".[7] Pan-Africanism exists as a governmental and grassroots objective. Pan-African advocates include leaders such as Haile Selassie, Julius Nyerere, Ahmed S(C)kou Tour(C), Kwame Nkrumah, King Sobhuza II, Thomas Sankara and Muammar Gaddafi, grassroots organizers such as Marcus Garvey and Malcolm X, academics such as W. E. B. Du Bois, and others in the diaspora.[8][9][10] Pan-Africanists believe that solidarity will enable the continent to fulfill its potential to independently provide for all its people. Crucially, an all-African alliance would empower African people globally. The realization of the Pan-African objective would lead to "power consolidation in Africa", which "would compel a reallocation of global resources, as well as unleashing a fiercer psychological energy and political assertion...that would unsettle social and political (power) structures...in the Americas".[11] Advocates of Pan-Africanism'--i.e. "Pan-Africans" or "Pan-Africanists"'--often champion socialist principles and tend to be opposed to external political and economic involvement on the continent. Critics accuse the ideology of homogenizing the experience of people of African descent. They also point to the difficulties of reconciling current divisions within countries on the continent and within communities in the diaspora.[11] History [ edit ] As a philosophy, Pan-Africanism represents the aggregation of the historical, cultural, spiritual, artistic, scientific, and philosophical legacies of Africans from past times to the present. Pan-Africanism as an ethical system traces its origins from ancient times, and promotes values that are the product of the African civilisations and the struggles against slavery, racism, colonialism, and neo-colonialism.[8] Alongside a large number of slaves insurrections, by the end of the 19th century a political movement developed across the Americas, Europe and Africa that sought to weld disparate movements into a network of solidarity, putting an end to oppression. Another important political form of a religious Pan-Africanist worldview appeared in the form of Ethiopianism.[12] In London, the Sons of Africa was a political group addressed by Quobna Ottobah Cugoano in the 1791 edition of his book Thoughts and Sentiments on the Evil of Slavery. The group addressed meetings and organised letter-writing campaigns, published campaigning material and visited parliament. They wrote to figures such as Granville Sharp, William Pitt and other members of the white abolition movement, as well as King George III and the Prince of Wales, the future George IV. Modern Pan-Africanism began around the start of the 20th century. The African Association, later renamed the Pan-African Association, was established around 1897 by Henry Sylvester-Williams, who organized the First Pan-African Conference in London in 1900.[13][14][15] With the independence of Ghana in March 1957, Kwame Nkrumah was elected as the first Prime Minister and President of the State.[16] Nkrumah emerged as a major advocate for the unity of Independent Africa. The Ghanaian President embodied a political activist approach to pan-Africanism as he championed the "quest for regional integration of the whole of the African continent".[17] This period represented a "Golden Age of high pan-African ambitions"; the Continent had experienced revolution and decolonization from Western powers and the narrative of rebirth and solidarity had gained momentum within the pan-African movement.[17] Nkrumah's pan-African principles intended for a union between the Independent African states upon a recognition of their commonality (i.e. suppression under imperialism). Pan-Africanism under Nkrumah evolved past the assumptions of a racially exclusive movement associated with black Africa, and adopted a political discourse of regional unity [18] In April 1958, Nkrumah hosted the first All-African Peoples' Conference (AAPC) in Accra, Ghana. This Conference invited delegates of political movements and major political leaders. With the exception of South Africa, all Independent States of the Continent attended: Egypt, Ethiopia, Ghana, Liberia, Libya, Morocco, Tunisia and Sudan.[18] This Conference signified a monumental event in the pan-African movement, as it revealed a political and social union between those considered Arabic states and the black African regions. Further, the Conference espoused a common African Nationalist identity, among the States, of unity and anti-Imperialism. Frantz Fanon, journalist, freedom fighter and a member of the Algerian FLN party attended the conference as a delegate for Algeria.[19] Considering the armed struggle of the FLN against French colonial rule, the attendees of the Conference agreed to support the struggle of those States under colonial oppression. This encouraged the commitment of direct involvement in the "emancipation of the Continent; thus, a fight against colonial pressures on South Africa was declared and the full support of the FLN struggle in Algeria, against French colonial rule"".[20] In the years following 1958, Accra Conference also marked the establishment of a new foreign policy of non-alignment as between the US and USSR, and the will to establish an "African Identity" in global affairs by advocating a unity between the African States on international relations. "This would be based on the Bandung Declaration, the Charter of the UN and on loyalty to UN decisions."[20] In 1959, Nkrumah, President S(C)kou Tour(C) of Guinea and President William Tubman of Liberia met at Sanniquellie and signed the Sanniquellie Declaration outlining the principles for the achievement of the unity of Independent African States whilst maintaining a national identity and autonomous constitutional structure.[21][22] The Declaration called for a revised understanding of pan-Africanism and the uniting of the Independent States. In 1960, the second All-African Peoples' Conference was held in Addis Ababa, Ethiopia.[23] The membership of the All-African Peoples' Organisation (AAPO) had increased with the inclusion of the "Algerian Provisional Government (as they had not yet won independence), Cameroun, Guinea, Nigeria, Somalia and the United Arab Republic".[24] The Conference highlighted diverging ideologies within the movement, as Nkrumah's call for a political and economic union between the Independent African States gained little agreement. The disagreements following 1960 gave rise to two rival factions within the pan-African movement: the Casablanca Bloc and the Brazzaville Bloc.[25] In 1962, Algeria gained independence from French colonial rule and Ahmed Ben Bella assumed Presidency. Ben Bella was a strong advocate for pan-Africanism and an African Unity. Following the FLN's armed struggle for liberation, Ben Bella spoke at the UN and espoused for Independent Africa's role in providing military and financial support to the African liberation movements opposing apartheid and fighting Portuguese colonialism.[26] In search of a united voice, in 1963 at an African Summit conference in Addis Ababa, Ethiopia, 32 African states met and established the Organization of African Unity (OAU). The creation of the OAU Charter took place at this Summit and defines a coordinated "effort to raise the standard of living of member States and defend their sovereignty" by supporting freedom fighters and decolonisation.[27] Thus, was the formation of the African Liberation Committee (ALC), during the 1963 Summit. Championing the support of liberation movements, was Algeria's President Ben Bella, immediately "donated 100 million francs to its finances and was one of the first countries, of the Organisation to boycott Portuguese and South African goods".[26] In 1969, Algiers hosted the Pan-African Cultural Festival, on July 21 and it continued for eight days.[28] At this moment in history, Algeria stood as a ''beacon of African and Third-World militancy,''[28] and would come to inspire fights against colonialism around the world. The festival attracted thousands from African states and the African Diaspora, including the Black Panthers. It represented the application of the tenets of the Algerian revolution to the rest of Africa, and symbolized the re-shaping of the definition of pan-African identity under the common experience of colonialism.[28] The Festival further strengthened Algeria's President, Boumediene's standing in Africa and the Third World.[28] After the death of Kwame Nkrumah in 1972, Muammar Qaddafi assumed the mantle of leader of the Pan-Africanist movement and became the most outspoken advocate of African Unity, like Nkrumah before him '' for the advent of a "United States of Africa".[29] In the United States, the term is closely associated with Afrocentrism, an ideology of African-American identity politics that emerged during the civil rights movement of the 1960s to 1970s.[30] Concept [ edit ] As originally conceived by Henry Sylvester-Williams (although some historians[who? ] credit the idea to Edward Wilmot Blyden), Pan-Africanism referred to the unity of all continental Africa.[31] During apartheid South Africa there was a Pan Africanist Congress that dealt with the oppression of Africans in South Africa under Apartheid rule. Other pan-Africanist organisations include: Garvey's Universal Negro Improvement Association-African Communities League, TransAfrica and the International People's Democratic Uhuru Movement. Additionally, Pan-Africanism is seen as an endeavor to return to what are deemed by its proponents as singular, traditional African concepts about culture, society, and values. Examples of this include L(C)opold S(C)dar Senghor's N(C)gritude movement, and Mobutu Sese Seko's view of Authenticit(C). An important theme running through much pan-Africanist literature concerns the historical links between different countries on the continent, and the benefits of cooperation as a way of resisting imperialism and colonialism. In the 21st century, some Pan-Africanists aim to address globalisation and the problems of environmental justice. For instance, at the conference "Pan-Africanism for a New Generation"[32] held at the University of Oxford, June 2011, Ledum Mittee, the current president of the Movement for the Survival of the Ogoni People (MOSOP), argued that environmental justice movements across the African continent should create horizontal linkages in order to better protect the interests of threatened peoples and the ecological systems in which they are embedded, and upon which their survival depends. Some universities went as far as creating "Departments of Pan-African Studies" in the late 1960s. This includes the California State University, where that department was founded in 1969 as a direct reaction to the civil rights movement, and is today dedicated to "teaching students about the African World Experience", to "demonstrate to the campus and the community the richness, vibrance, diversity, and vitality of African, African American, and Caribbean cultures" and to "presenting students and the community with an Afrocentric analysis" of anti-black racism.[33]Syracuse University also offers a master's degree in "Pan African Studies".[34] Pan-African colors [ edit ] The flags of numerous states in Africa and of Pan-African groups use green, yellow and red. This colour combination was originally adopted from the 1897 flag of Ethiopia, and was inspired by the fact that Ethiopia is the continent's oldest independent nation,[35] thus making the Ethiopian green, yellow and red the closest visual representation of Pan-Africanism. This is in comparison to the Black Nationalist flag, representing political theory centred around the eugenicist caste-stratified colonial Americas.[36] The UNIA (Universal Negro Improvement Association) flag, is a tri-color flag consisting of three equal horizontal bands of (from top down) red, black and green. The UNIA formally adopted it on August 13, 1920,[37] during its month-long convention at Madison Square Garden in New York.[38][39] Variations of the flag have been used in various countries and territories in Africa and the Americas to represent Black Nationalist ideologies. Among these are the flags of Malawi, Kenya and Saint Kitts and Nevis. Several Pan-African organizations and movements have also often employed the emblematic red, black and green tri-color scheme in variety of contexts. Maafa studies [ edit ] Maafa is an aspect of Pan-African studies. The term collectively refers to 500 years of suffering (including the present) of people of African heritage through slavery, imperialism, colonialism, and other forms of oppression.[40][41] In this area of study, both the actual history and the legacy of that history are studied as a single discourse. The emphasis in the historical narrative is on African agents, as opposed to non-African agents.[42] Political parties and organizations [ edit ] In Africa [ edit ] Organisation of African Unity, succeeded by the African UnionAfrican Unification FrontRassemblement D(C)mocratique AfricainAll-African People's Revolutionary PartyConvention People's Party (Ghana)Pan-African Renaissance[43]Economic Freedom Fighters (South Africa)Pan Africanist Congress of Azania (South Africa)In the Caribbean [ edit ] The Pan-African Affairs Commission for Pan-African Affairs, a unit within the Office of the Prime Minister of Barbados.[44]African Society for Cultural Relations with Independent Africa (Guyana)Antigua Caribbean Liberation Movement (Antigua and Barbuda)Clement Payne Movement (Barbados)Marcus Garvey People's Political Party (Jamaica)Universal Negro Improvement Association and African Communities League (Jamaica)In the United Kingdom [ edit ] Pan-African FederationIn the United States [ edit ] The Council on African Affairs (CAA): founded in 1937 by Max Yergan and Paul Robeson, the CAA was the first major U.S. organization whose focus was on providing pertinent and up-to-date information about Pan-Africanism across the United States, particularly to African Americans. Probably the most successful campaign of the Council was for South African famine relief in 1946. The CAA was hopeful that, following World War II, there would be a move towards Third World independence under the trusteeship of the United Nations.[45] To the CAA's dismay, the proposals introduced by the U.S. government to the conference in April/May 1945 set no clear limits on the duration of colonialism and no motions towards allowing territorial possessions to move towards self-government.[45] Liberal supporters abandoned the CAA, and the federal government cracked down on its operations. In 1953 the CAA was charged with subversion under the McCarran Internal Security Act. Its principal leaders, including Robeson, W. E. B. Du Bois, and Alphaeus Hunton (1903''70), were subjected to harassment, indictments, and in the case of Hunton, imprisonment. Under the weight of internal disputes, government repression, and financial hardships, the Council on African Affairs disbanded in 1955.[46]The US Organization was founded in 1965 by Maulana Karenga, following the Watts riots. It is based on the synthetic African philosophy of kawaida, and is perhaps best known for creating Kwanzaa and the Nguzo Saba ("seven principles"). In the words of its founder and chair, Karenga, "the essential task of our organization Us has been and remains to provide a philosophy, a set of principles and a program which inspires a personal and social practice that not only satisfies human need but transforms people in the process, making them self-conscious agents of their own life and liberation".[47]Pan-African concepts and philosophies [ edit ] Afrocentric Pan-Africanism [ edit ] Afrocentric Pan-Africanism is espoused by Kwabena Faheem Ashanti in his book The Psychotechnology of Brainwashing: Crucifying Willie Lynch. Another newer movement that has evolved from the early Afrocentric school is the Afrisecal movement or Afrisecaism of Francis Ohanyido, a Nigerian philosopher-poet.[48] Black Nationalism is sometimes associated with this form of pan-Africanism. Kawaida [ edit ] Hip hop [ edit ] Since the late 1970s, hip hop has emerged as a powerful force that has partly shaped black identity worldwide. In his 2005 article "Hip-hop Turns 30: Whatcha Celebratin' For?", Greg Tate describes hip-hop culture as the product of a Pan-African state of mind. It is an "ethnic enclave/empowerment zone that has served as a foothold for the poorest among us to get a grip on the land of the prosperous".[49] Hip-hop unifies those of African descent globally in its movement towards greater economic, social and political power. Andreana Clay in her article "Keepin' it Real: Black Youth, Hip-Hop Culture, and Black Identity" states that hip-hop provides the world with "vivid illustrations of Black lived experience", creating bonds of black identity across the globe.[50] From a Pan-African perspective, Hip-Hop Culture can be a conduit to authenticate a black identity, and in doing so, creates a unifying and uplifting force among Africans that Pan-Africanism sets out to achieve. Pan-African art [ edit ] Further information on pan-African film festivals see: FESPACO and PAFFSee also [ edit ] Literature [ edit ] Hakim Adi & Marika Sherwood, Pan-African History: Political Figures from Africa and the Diaspora Since 1787, London: Routledgem 2003.Imanuel Geiss, Panafrikanismus. Zur Geschichte der Dekolonisation. Habilitation, EVA, Frankfurt am Main, 1968, English as: The Pan-African Movement, London: Methuen, 1974, ISBN 0-416-16710-1, and as: The Pan-African Movement. A history of Pan-Africanism in America, Europe and Africa, New York: Africana Publ., 1974, ISBN 0-8419-0161-9.Colin Legum, Pan-Africanism: A Short Political Guide, revised edition, New York: Frederick A. Praeger, 1965.Tony Martin, Pan-African Connection: From Slavery to Garvey and Beyond, Dover: The Majority Press, 1985.References [ edit ] ^ Austin, David (Fall 2007). "All Roads Led to Montreal: Black Power, the Caribbean and the Black Radical Tradition in Canada". Journal of African American History. 92 (4): 516''539 . Retrieved March 30, 2019 . ^ Oloruntoba-Oju, Omotayo (December 2012). "Pan Africanism, Myth and History in African and Caribbean Drama". Journal of Pan African Studies. 5 (8): 190 ff. ^ Frick, Janari, et al. (2006), History: Learner's Book, p. 235, South Africa: New Africa Books. ^ Makalani, Minkah (2011), "Pan-Africanism". Africana Age. ^ New Dictionary of the History of Ideas. The Gale Group, Inc. 2005. ^ About the African Union Archived January 29, 2011, at the Wayback Machine. ^ "The objectives of the PAP", The Pan-African Parliament '' 2014 and beyond. ^ a b Falola, Toyin; Essien, Kwame (2013). Pan-Africanism, and the Politics of African Citizenship and Identity. London: Routledge. pp. 71''72. ISBN 1135005192 . Retrieved September 26, 2015 . ^ Goebel, Anti-Imperial Metropolis, pp. 250''278. ^ Maguire, K., "Ghana re-evaluates Nkrumah", GlobalPost, October 21, 2009. Retrieved September 13, 2012. ^ a b Agyeman, O., Pan-Africanism and Its Detractors: A Response to Harvard's Race Effacing Universalists, Harvard University Press (1998), cited in Mawere, Munyaradzi; Tapuwa R. Mubaya, African Philosophy and Thought Systems: A Search for a Culture and Philosophy of Belonging, Langaa RPCIG (2016), p. 89. ISBN 9789956763016. Retrieved August 23, 2018. ^ "Pan-Africanism". exhibitions.nypl.org . Retrieved February 16, 2017 . ^ "A history of Pan-Africanism", New Internationalist, 326, August 2000. ^ The History of Pan Africanism, PADEAP (Pan African Development Education and Advocacy Programme). ^ Lubin, Alex, "The Contingencies of Pan-Africanism", Geographies of Liberation: The Making of an Afro-Arab Political Imaginary, Chapel Hill: University of North Carolina Press, 2014, p. 71. ^ Smith-Asante, E., "Biography of Ghana's first President, Dr Kwame Nkrumah", Graphic Online, March 8, 2016. Retrieved March 23, 2017. ^ a b Mkandawire, P. (2005). African Intellectuals: Rethinking Politics, Language, Gender and Development, Dakar: Codesria/London: Zed Books, p. 58. Retrieved March 23, 2017. ^ a b Legum, C. (1965). Pan-Africanism: a short political guide, New York, etc.: Frederick A. Praeger, p. 41. ^ Adi, H., & M. Sherwood (2003). Pan-African History: Political Figures from Africa and the Diaspora Since 1787, London: Routledge, p. 66. ^ a b Legum (1965). Pan-Africanism, p. 42. ^ Adi & Sherwood (2003). Pan-African History, p. 179. ^ Legum (1965), Pan-Africanism, p. 45. ^ Legum (1965). Pan-Africanism, p. 46. ^ Legum (1965), Pan-Africanism, p. 47. ^ Martin, G. (2012). African Political Thought, New York: Palgrave Macmillan. ^ a b Adi & Sherwood (2003), Pan-African History, p. 10. ^ "African states unite against white rule", ON THIS DAY | May25. BBC News. Retrieved March 23, 2017. ^ a b c d Evans, M., & J. Phillips (2008). Algeria: Anger of the Dispossessed, Yale University Press, pp. 97''98. ^ Martin, G. (December 23, 2012). African Political Thought. Springer. ISBN 9781137062055. ^ See e.g. Ronald W. Walters, Pan Africanism in the African Diaspora: An Analysis of Modern Afrocentric Political Movements, African American Life Series, Wayne State University Press, 1997, p. 68. ^ Campbell, Crystal Z. (December 2006). "Sculpting a Pan-African Culture in the Art of N(C)gritude: A Model for African Artist" (PDF) . The Journal of Pan African Studies. Archived from the original on June 1, 2015. CS1 maint: BOT: original-url status unknown (link) ^ Oxford University African Society Conference, Corpus Christi College, Oxford University, May 5, 2012. ^ "About Us". Csus.edu . Retrieved October 15, 2015 . ^ The M.A. in Pan African Studies Archived October 25, 2014, at the Wayback Machine, African American Studies at Syracuse University. ^ Smith, Whitney (2001). Flag Lore of All Nations . Millbrook Press. p. 36. ISBN 0761317538 . Retrieved October 7, 2014 . ^ Lionel K., McPherson; Shelby, Tommie (Spring 2004). "Blackness and Blood: Interpreting African American Identity" (PDF) . Philosophy and Public Affairs. 32: 171''192. ^ Wikisource contributors, "The Declaration of the Rights of the Negro Peoples of the World", Wikisource, The Free Library. (Retrieved October 6, 2007). ^ "25,000 Negroes Convene: International Gathering Will Prepare Own Bill of Rights", The New York Times, August 2, 1920. Proquest. Retrieved October 5, 2007. ^ "Negroes Adopt Bill Of Rights: Convention Approves Plan for African Republic and Sets to Work on Preparation of Constitution of the Colored Race Negro Complaints Aggression Condemned Recognition Demanded". The Christian Science Monitor, August 17, 1920. Proquest. Retrieved October 5, 2007. ^ "What Holocaust". "Glenn Reitz". Archived from the original on October 18, 2007. ^ "The Maafa, African Holocaust". Swagga. ^ Ogunleye, Tolagbe (1997). "African American Folklore: Its Role in Reconstructing African American History". Journal of Black Studies. 27 (4): 435''455. ISSN 0021-9347. ^ "Pan-African Renaissance". ^ Rodney Worrell (2005). Pan-Africanism in Barbados: An Analysis of the Activities of the Major 20th-century Pan-African Formations in Barbados. New Academia Publishing, LLC. pp. 99''102. ISBN 978-0-9744934-6-6. ^ a b Duberman, Martin. Paul Robeson, 1989, pp. 296''97. ^ "Council on African Affairs", African Activist Archive. ^ "Philosophy, Principles, and Program". The Organization Us. ^ "Francis Okechukwu Ohanyido". African Resource. ^ Tate, Greg, "Hip-hop Turns 30: Whatcha Celebratin' For?", Village Voice, January 4, 2005. ^ Clay, Andreana. "Keepin' it Real: Black Youth, Hip-Hop Culture, and Black Identity". In American Behavioral Scientist, Vol. 46.10 (2003): 1346''58. External links [ edit ] SNCC Digital Gateway: Pan-Africanism'--Digital documentary website created by the SNCC Legacy Project and Duke University, telling the story of the Student Nonviolent Coordinating Committee & grassroots organizing from the inside-outAfrican UnionAfrican Code Unity Through DiversityA-APRP WebsiteThe Major Pan-African news and articles siteProfessor David Murphy (November 15, 2015). "The Performance of Pan-Africanism: performing black identity at major pan-African festivals, 1966''2010" (Podcast). The University of Edinburgh . Retrieved January 28, 2016 '' via Soundcloud. Ebro Darden - Wikipedia Mon, 02 Dec 2019 12:36 Ebro Darden BornIbrahim Jamil Darden ( 1975-03-17 ) March 17, 1975 (age 44) NationalityAmericanOccupationMedia executiveradio personalityYears active1990''presentKnown forHot 97 radio personalityBeats1 DJChildren1Websitewww.EbroDarden.comIbrahim "Ebro" Darden (born March 17, 1975) is an American media executive and radio personality. Until 2014, he was Vice President of Programming for Emmis Communications' New York contemporary urban station WQHT (Hot 97). He is currently a co-host on the Hot 97 morning show, Ebro in the Morning, alongside Peter Rosenberg, and Laura Stylez. As of 2015, Darden also hosts a hip hop music-based radio show on Beats 1. Early life [ edit ] Darden was born to a black father and a Jewish mother. He attended a Pentecostal church and Hebrew school while growing up in Oakland and Sacramento.[1] Career [ edit ] Start in radio [ edit ] Darden began his career in radio in 1990 at KSFM in Sacramento, California, while he was still a teenager. At KSFM he worked in research and as a sales runner until moving into programming as an intern, and later co-hosting for KSFM's night and morning shows. In 1997, he worked at KBMB in Sacramento as Programming and Music Director, as well as an afternoon host. Eventually, Darden became Operations Manager at KBMB, while also co-hosting mornings at KXJM in Portland, Oregon, in 1999. Hot 97 [ edit ] In 2003, Darden became Music Director for WQHT, ultimately becoming the Program Director for the station in 2007.[2][3][4] Darden worked alongside several past WQHT Hot 97 morning show co-hosts including Star and Bucwild, Miss Jones, DJ Envy, Sway, and Joe Budden from 2004 to 2007, and introduced Cipha Sounds and Peter Rosenberg to the AM drive in 2009. He rejoined the Hot 97 Morning Show in 2012, alongside Cipha Sounds, Peter Rosenberg, and Laura Stylez. As Programming Director and on-air host, Darden was the main voice of several events at Hot 97 including Nicki Minaj's relationship with the station, and her alleged sexual relationship with the host; Hurricane Sandy; and Mister Cee's personal life.[5] In 2014, VH1 announced a new unscripted comedy series, This Is Hot 97, which featured Darden and fellow hosts including Angie Martinez, Funkmaster Flex, Peter Rosenberg, Cipha Sounds, Miss Info, and Laura Stylez.[6] Beats 1 [ edit ] In addition to his current on-air role at Hot 97, Darden is now one of three anchor DJs on Beats 1, an Internet radio service from Apple Music. Feuds and controversy [ edit ] A comedic rivalry between Darden and fellow accomplished radio personality Charlamagne Tha God of Power 105.1 has been ongoing for years. In May 2017, Darden clarified their relationship, stating, "The stuff we do on the radio is stupid. It's for fun. I make fun of you for fun. That's it. It's not that deep... me and that dude don't have a personal problem... a personal relationship".[7] Darden was mentioned in Remy Ma's "shETHER" diss track, on which Ma insinuated that he slept with Nicki Minaj by stating "Coke head, you cheated on your man with Ebro". After jokingly going back and forth with both Ma and her husband Papoose on social media, Darden denied the rumors, stating that he and Minaj had only a professional relationship.[8] Ebro has been in an ongoing feud with Brooklyn artist 6ix9ine. Ebro made fun of 6ix9ine as looking like a clown and criticized him for bragging about streaming numbers,[9] and 6ix9ine responded on the song "Stoopid" with the line "That nigga Ebro, he a bitch/Just another old nigga on a young nigga dick." [10] Personal life [ edit ] Darden has a daughter, Isa, who was born in 2014.[11] Recognition [ edit ] In 2013, he was recognized by Radio Ink as a future African American leader.[12] Filmography [ edit ] References [ edit ] Queen & Slim (2019) - IMDb Mon, 02 Dec 2019 12:13 3 nominations. See more awards >> Learn more More Like This Comedy | Crime | Drama 1 2 3 4 5 6 7 8 9 10 8.1 / 10 X A detective investigates the death of a patriarch of an eccentric, combative family. Director:Rian Johnson Stars:Daniel Craig,Chris Evans,Ana de Armas Action | Crime | Drama 1 2 3 4 5 6 7 8 9 10 6.6 / 10 X An embattled NYPD detective is thrust into a citywide manhunt for a pair of cop killers after uncovering a massive and unexpected conspiracy. Director:Brian Kirk Stars:Chadwick Boseman,Sienna Miller,J.K. Simmons Action | Biography | Drama 1 2 3 4 5 6 7 8 9 10 6.5 / 10 X The extraordinary tale of Harriet Tubman's escape from slavery and transformation into one of America's greatest heroes, whose courage, ingenuity, and tenacity freed hundreds of slaves and changed the course of history. Director:Kasi Lemmons Stars:Cynthia Erivo,Leslie Odom Jr.,Joe Alwyn Biography | Drama 1 2 3 4 5 6 7 8 9 10 7.9 / 10 X Based on the true story of a real-life friendship between Fred Rogers and journalist Tom Junod. Director:Marielle Heller Stars:Tom Hanks,Matthew Rhys,Chris Cooper Drama 1 2 3 4 5 6 7 8 9 10 7.2 / 10 X A young actor's stormy childhood and early adult years as he struggles to reconcile with his father and deal with his mental health. Director:Alma Har'el Stars:Shia LaBeouf,Lucas Hedges,Noah Jupe Drama | Romance | Sport 1 2 3 4 5 6 7 8 9 10 7.7 / 10 X Traces the journey of a suburban family - led by a well-intentioned but domineering father - as they navigate love, forgiveness, and coming together in the aftermath of a loss. Director:Trey Edward Shults Stars:Taylor Russell,Kelvin Harrison Jr.,Alexa Demie Comedy | Drama | War 1 2 3 4 5 6 7 8 9 10 8.1 / 10 X A young boy in Hitler's army finds out his mother is hiding a Jewish girl in their home. Director:Taika Waititi Stars:Roman Griffin Davis,Thomasin McKenzie,Scarlett Johansson Action | Crime | Drama 1 2 3 4 5 6 7 8 9 10 5.7 / 10 X A rookie New Orleans police officer is forced to balance her identity as a black woman after she witnesses two corrupt cops committing murder. Director:Deon Taylor Stars:Naomie Harris,Frank Grillo,Mike Colter Biography | Drama | History 1 2 3 4 5 6 7 8 9 10 7.3 / 10 X A corporate defense attorney takes on an environmental lawsuit against a chemical company that exposes a lengthy history of pollution. Director:Todd Haynes Stars:Anne Hathaway,Mark Ruffalo,William Jackson Harper Drama | Fantasy | Horror 1 2 3 4 5 6 7 8 9 10 8.3 / 10 X Two lighthouse keepers try to maintain their sanity while living on a remote and mysterious New England island in the 1890s. Director:Robert Eggers Stars:Willem Dafoe,Robert Pattinson,Valeriia Karaman Crime | Drama | Mystery 1 2 3 4 5 6 7 8 9 10 6.5 / 10 X Consummate con man Roy Courtnay has set his sights on his latest mark: the recently widowed Betty McLeish, worth millions. But this time, what should have been a simple swindle escalates into a cat-and-mouse game with the ultimate stakes. Director:Bill Condon Stars:Helen Mirren,Ian McKellen,Russell Tovey Crime | Drama | Mystery 1 2 3 4 5 6 7 8 9 10 7.1 / 10 X In 1950s New York, a lonely private detective afflicted with Tourette's Syndrome ventures to solve the murder of his mentor and only friend. Director:Edward Norton Stars:Edward Norton,Gugu Mbatha-Raw,Alec Baldwin Edit Storyline Slim and Queen's first date takes an unexpected turn when a policeman pulls them over for a minor traffic violation. When the situation escalates, Slim takes the officer's gun and shoots him in self-defence. Now labelled cop killers in the media, Slim and Queen feel that they have no choice but to go on the run and evade the law. When a video of the incident goes viral, the unwitting outlaws soon become a symbol of trauma, terror, grief and pain for people all across the country Written bystmc-25959 Plot Summary | Add Synopsis Motion Picture Rating (MPAA) Rated R for violence, some strong sexuality, nudity, pervasive language, and brief drug use. | See all certifications >> Edit Details Release Date: 27 November 2019 (USA) See more >> Edit Box Office Opening Weekend USA: $11,700,000, 1 December 2019 Gross USA: $15,810,000 Cumulative Worldwide Gross: $15,810,000 See more on IMDbPro >> Company Credits Technical Specs Runtime: 131 min Aspect Ratio: 2.39 : 1 See full technical specs >> Edit Did You Know? Trivia First feature film to be directed by Melina Matsoukas, who has previously only directed music videos and TV episodes. See more >> Quotes Slim :Are you tryin' to die? Queen :No. I just always wanted to do that. Slim :Well, don't do it while I'm drivin' Queen :You should try it. Slim :Nah, I'm good. Queen :Pull over. Slim :Na-ah. Queen :Come on! Pull over. Pull over! Slim :If I do, would you please, let me drive the rest of the way it is? Queen :Swear to God. [...] See more >> Explore popular and recently added TV series available to stream now with Prime Video. Start your free trial Music in this episode Intro: Puff Daddy - It's all about the benjamins Outro: Blue Magic - Sideshow Donate to the show at moefundme.com Search for us in your podcast directory or use this link to subscribe to the feed Podcast Feed For more information: MoeFactz.com

Show Notes Moe Factz with Adam Curry for December 2nd 2019, Episode number 17 Shaft Stache Shownotes Robert Townsend (actor) - Wikipedia Mon, 02 Dec 2019 13:13 American actor Robert Townsend (born February 6, 1957) is an American actor, director, comedian, and writer.[1][2] Townsend is best known for directing the films Hollywood Shuffle (1987), Eddie Murphy Raw (1987), The Meteor Man (1993), The Five Heartbeats (1991) and various other films and stand-up specials. He is especially known for his eponymous self-titled character, Robert Peterson as the starring role as on The WB sitcom The Parent 'Hood (1995''1999), a series which he created and of which directed select episodes. Townsend is also known for his role as Donald "Duck" Matthews in his 1991 film The Five Heartbeats.[3] He later wrote, directed and produced Making The Five Heartbeats (2018), a documentary film about the production process and behind the scenes insight into creating the film. Townsend is also known for his production company Townsend Entertainment [4] which has produced films Playin' for Love,[5] In the Hive and more. During the 1980s and early''1990s, Townsend gained national exposure through his stand-up comedy routines and appearances on The Tonight Show Starring Johnny Carson. Townsend has worked with talent including Halle Berry, Morgan Freeman, Chris Tucker, Beyonc(C), Denzel Washington and many more.[6][7][8] Early life and career [ edit ] Townsend was born in Chicago, Illinois, the second of four children[9] to Shirley (n(C)e Jenkins) and Ed Townsend. His mother ended up raising him and his three siblings as a single parent. Growing up on the city's west side, Townsend attended Austin High School; graduating in 1975.[10] He became interested in acting as a teenager. During a reading of Sophocles' Oedipus Rex in high school, Townsend captured the attention of Chicago's X Bag Theatre, The Experimental Black Actors Guild. Townsend later auditioned for parts at Chicago's Experimental Black Actors' Guild and performed in local plays studying at the famed Second City comedy workshop for improvisation in 1974. Townsend had a brief uncredited role in the 1975 movie Cooley High. After high school, Townsend enrolled at Illinois State University, studied a year and later moved to New York to study at the Negro Ensemble Company. Townsend's mother believed that he should complete his college education, but he felt that college took time away from his passion for acting, and he soon dropped out of school to pursue his acting career full-time. Career [ edit ] Townsend auditioned to be part of Saturday Night Live's 1980''1981 cast, but was rejected in favor of Eddie Murphy. In 1982, Townsend appeared as one of the main characters in the PBS series Another Page, a program produced by Kentucky Educational Television that taught literacy to adults through serialized stories. Townsend later appeared in small parts in films like A Soldier's Story (1984), directed by Norman Jewison, and after its success garnered much more substantial parts in films like The Mighty Quinn (1989) with Denzel Washington.[11][12][13] In 1987, Townsend wrote, directed and produced Hollywood Shuffle, a satire based on the hardships and obstacles that black actors undergo in the film industry. The success of his first project helped him establish himself in the industry.[6][14] Another of his films was The Five Heartbeats based on 1960s R&B male groups and the tribulations of the music industry. Townsend created and produced two television variety shows'--the CableACE award''winning Robert Townsend and His Partners in Crime for HBO, and the Fox Television variety show Townsend Television (1993). He also created and starred in the WB Network's sitcom The Parent 'Hood which originally ran from January 1995 to July 1999. In 2018, Townsend also directed 2 episodes for the B.E.T. Series American Soul which began airing in 2019. The show is about Don Cornelius and Soul Train. Townsend was programming director at the Black Family Channel, but the network folded in 2007. Townsend created The Robert Townsend Foundation, a nonprofit organization whose mission is to introduce and help new unsigned filmmakers. Awards and other credits [ edit ] Townsend directed the 2001 TV movie, Livin' for Love: The Natalie Cole Story for which Cole won the NAACP Image Award as Outstanding Actress in a Television Movie, Mini-Series or Dramatic Special. Townsend also directed two television movies in 2001 and 2002 respectively, Carmen: A Hip Hopera and 10,000 Black Men Named George. In 2013 Townsend was nominated for an Ovation Award in the category of "Lead Actor in a Musical" for his role as Dan in the La Mirada Theatre for the Performing Arts production of Next to Normal.[15] Personal life [ edit ] Townsend was married to Cheri Jones[16] from September 15, 1990, to August 9, 2001.[17] Together they have two daughters, Sierra and Skylar (Skye Townsend), both entertainers, and a son, Isiah.[6] Filmography [ edit ] Further reading [ edit ] Alexander, George. Why We Make Movies: Black Filmmakers Talk About the Magic of Cinema. Harlem Moon. 2003.Collier, Aldore. "Robert Townsend: a new kind of Hollywood dreamer. Actor-producer-director plans to make films that uplift and transform Black audiences". Ebony Magazine. 1 June 1991.Rogers, Brent. Robert Townsend Article in Perspectives. Sustaining Digital History, 12 November 2007.References [ edit ] ^ "Robert Townsend". The New York Times. ^ "As Robert Townsend Sees It : He's Fighting Stereotypes With 'Meteor Man' and New TV Show". Los Angeles Times . Retrieved 2010-10-10 . ^ The Five Heartbeats , retrieved 2019-09-16 ^ "Townsend Entertainment - IMDbPro". pro.imdb.com . Retrieved 2018-03-06 . ^ "Playin' For Love". Black Cinema Connection. 2014-11-05 . Retrieved 2018-03-06 . ^ a b c "About". Robert Townsend. Archived from the original on 2011-07-14. ^ "Carmen: A Hip Hopera", Wikipedia, 2019-08-09 , retrieved 2019-09-17 ^ B*A*P*S , retrieved 2019-09-17 ^ "Townsend, Robert (1957-)". BlackPast.Org. 2008 . Retrieved September 18, 2017 . ^ "1975 Austin High School Yearbook (Chicago, Illinois)". Classmates.com. 1975 . Retrieved September 18, 2017 . ^ Vincent Canby, "Review/Film; Tropical Murder", The New York Times, February 17, 1989. ^ The Mighty Quinn , retrieved 2019-09-17 ^ A Soldier's Story , retrieved 2019-09-17 ^ Hollywood Shuffle , retrieved 2019-09-17 ^ "2013 Ovation Awards Nominees '-- South by Southeast". thisstage.la. LA STAGE Alliance. September 16, 2013 . Retrieved 2017-04-21 . ^ "The Week's Best Photo". Google Books. JET Magazine. March 25, 1991 . Retrieved September 18, 2017 . ^ Gimenes, Erika (2001). "Robert Townsend to divorce". Hollywood.com . Retrieved September 18, 2017 . ^ "Jackie's Back! (1999)" at IMDb. External links [ edit ] Robert Townsend on IMDbRobert Townsend (Official Website) (9) Charles Woods (The Professor) - Hollywood's Tricknology: Mandingo To Malcolm X - YouTube Mon, 02 Dec 2019 12:59 Tyler Perry Mon, 02 Dec 2019 12:57 Tyler Perry is a world-renowned producer, director, actor, screenwriter, playwright, author, songwriter, entrepreneur, and philanthropist. Tyler Perry's Story Tyler Perry is a world-renowned producer, director, actor, screenwriter, playwright, author, songwriter, entrepreneur, and philanthropist. Read His Story Outreach Since 2006, The Perry Foundation's aim has been to transform tragedy into triumph by empowering the economically disadvantaged to achieve a better quality of life. We focus on health and clean water, education and technology, arts and culture, and globally-sustainable economic development. Get Involved Visit Website You are viewing Tyler Perry Entertainment. If you'd like to view the Tyler Perry Studios, click here. Black writers courageously staring down the white gaze '' this is why we all must read them | Stan Grant | Opinion | The Guardian Mon, 02 Dec 2019 12:46 The white gaze '' it is a phrase that resonates in black American literature. Writers from WEB Du Bois to Ralph Ellison to James Baldwin and Toni Morrison have struggled with it and railed against it. As Morrison '' a Nobel Laureate '' once said: Our lives have no meaning, no depth without the white gaze. And I have spent my entire writing life trying to make sure that the white gaze was not the dominant one in any of my books. The white gaze: it traps black people in white imaginations. It is the eyes of a white schoolteacher who sees a black student and lowers expectations. It is the eyes of a white cop who sees a black person and looks twice '' or worse, feels for a gun. Du Bois explored this more than a century ago in his book The Souls of Black Folk, reflecting on his conversations with white people and the ensuing delicate dance around the ''Negro problem''. Between me and the other world there is an ever unasked question'.... All, nevertheless, flutter around it ... Instead of saying directly, how does it feel to be a problem? They say, I know an excellent coloured man in my town ... To the real question '... I answer seldom a word. Baldwin was as ever more direct and piercing, writing in his book Nobody Knows My Name. I have spent most of my life ... watching white people and outwitting them so that I might survive. The flame has passed to a new generation. In 2015 three more black writers have stared down the white gaze. In their own ways Ta-Nehisi Coates, Claudia Rankine and George Yancy have held up a mirror to white America. These are uncompromising and fearless voices. Coates' searing essay Between The World And Me critiques America against a backdrop of black deaths at the hands of police. He says the country's history is rooted in slavery and the assault against the black body. In the form of a letter to his son, Coates writes: Here is what I would like for you to know: In America it is traditional to destroy the black body '' it is heritage. In Citizen '' An American Lyric, poet Rankine reflects on the black experience from the victims of Hurricane Katrina, or Trayvon Martin, a 17 year-old black youth shot dead by a neighbourhood watch volunteer who was acquitted, or black tennis star Serena Williams. In each case Rankine sees lives framed by whiteness. She writes: Because white men can't police their imagination, black men are dying. Philosophy Professor George Yancy just last week penned a letter in the New York Times addressed to ''Dear White America''. He asks his countrymen to listen with love, and to look at those things that might cause pain and terror. All white people, he says, benefit from racism and this means each, in their own way, are racist. '...don't run to seek shelter from your own racism'...practice being vulnerable. Being neither a ''good'' white person, nor a liberal white person will get you off the proverbial hook. Their unflinching work is not tempered by the fact a black man is in the White House '' that only makes their voices more urgent. Coates, Rankine, Yancy '' each has been variously praised and awarded, yet each has been pilloried as well. This is inevitable when some people don't like what the mirror reflects. It takes courage for a black person to speak to a white world, a world that can render invisible people of colour, unless they begin to more closely resemble white people themselves '' an education, a house in the suburbs, a good job, lighter skin. In Australia, too, black voices are defying the white gaze. We may not have the popular cut through of a Morrison or a Baldwin or a Coates, but we have a proud tradition '' Oodgeroo Noonuccal, Kevin Gilbert, Ruby Langford or more recently Kim Scott, Alexis Wright, Anita Heiss. I have spent some time recently reading some of the most powerful works of Indigenous writers. Their styles and genres are many and varied but there is a common and powerful theme of defiance and survival. This is a world so instantly recognisable to us '' Indigenous people '' but still so foreign to white Australia. Natalie Harkin's book of poetry, Dirty Words, is a subversive dictionary that turns English words back on their users: A is apology, B is for Boat People '... G is for Genocide ... S for Survival. ''How do you dream,'' she writes, ''When your lucky country does not sleep''. Bruce Pascoe's Dark Emu challenges the white stereotype of the ''primitive hunter gatherer''. He says the economy and culture of Indigenous people has been grossly undervalued. He cites journals and diaries of explorers and colonists to reveal the industry and ingenuity of pre-colonial Aboriginal society. He says it is a window into a world of people building dams and wells and houses, irrigating and harvesting seed and creating elaborate cemeteries. Pascoe's work demands to be taught in our schools. Tony Birch is an acclaimed novelist and his latest Ghost River is remarkable. It is the story of two friends navigating the journey into adulthood guided by the men of the river '' men others may see as homeless and hopeless. It is a work infused with a sense of place and belonging. Ellen Van Neerven's Heat and Light is a genre-busting mystical journey into identity: sexual, racial and national. It is provocative and challenging and mind bending, and altogether stunning. You won't find many of these titles in the annual best book lists. Occasionally they pop up, but not as often as they deserve. You probably won't hear much of Samuel Wagan Watson's Love Poems and Death Threats, or Ken Canning's Yimbama, or Lionel Fogarty's Eelahroo (Long Ago) Nyah (Looking) Mobo-Mobo (Future). That these works are not more widely read is a national shame. In our busy lives, try to find time for some of these books in 2016 '' read with the courage of these writers. George Yancy asks white Americans to become ''un-sutured'', to open themselves up and let go of their white innocence. Why is this important? Well, for white people it may simply be a matter of choice '' the fate of black people may not affect them. For us it is survival '' the white gaze means we die young, are locked up and locked out of work and education. We hear a lot about recognition '' acknowledging Indigenous people in the Australian constitution. But there is another recognition '' recognising the pervasive and too often destructive role of race in our lives, and the need to lift our gaze above it. Queen | Definition of Queen by Merriam-Webster Mon, 02 Dec 2019 12:40 To save this word, you'll need to log in. ËkwÄ'n 1 a : the wife or widow of a king b : the wife or widow of a tribal chief 2 a : a female monarch b : a female chieftain 3 a : a woman eminent in rank, power, or attractions a movie queen b : a goddess or a thing personified as female and having supremacy in a specified realm c : an attractive girl or woman especially : a beauty contest winner 4 : the most privileged piece of each color in a set of chessmen having the power to move in any direction across any number of unoccupied squares 5 : a playing card marked with a stylized figure of a queen 6 : the fertile fully developed female of social bees, ants, and termites whose function is to lay eggs 7 : a mature female cat kept especially for breeding 8 slang , often disparaging : a male homosexual especially : an effeminate one queened ; queening ; queens intransitive verb 1 : to act like a queen especially : to put on airs '-- usually used with it queens it over her friends 2 : to become a queen in chess the pawn queens Pan-Africanism - Wikipedia Mon, 02 Dec 2019 12:37 Worldwide movement that aims to encourage and strengthen bonds of solidarity between all people of African descent Pan-Africanism is a worldwide movement that aims to encourage and strengthen bonds of solidarity between all indigenous and diasporan ethnic groups of African descent. Based on a common goal dating back to the Atlantic slave trade, the movement extends beyond continental Africans with a substantial support base among the African diaspora in the Caribbean, Latin America, the United States and Canada and Europe.[1][2] It is based on the belief that unity is vital to economic, social, and political progress and aims to "unify and uplift" people of African descent.[3] The ideology asserts that the fate of all African people and countries[clarification needed ] are intertwined. At its core Pan-Africanism is a belief that ''African people, both on the continent and in the diaspora, share not merely a common history, but a common destiny".[4] Pan-Africanist intellectual, cultural, and political movements tend to view all Africans and descendants of Africans as belonging to a single "race" and sharing cultural unity. Pan-Africanism posits a sense of a shared historical fate for Africans in the Americas, West Indies, and, on the continent itself, has centered on the Atlantic trade in slaves, African slavery, and European imperialism.[5] The Organization of African Unity (now the African Union) was established in 1963 to safeguard the sovereignty and territorial integrity of its Member States and to promote global relations within the framework of the United Nations.[6] The African Union Commission has its seat in Addis Ababa and the Pan-African Parliament has its seat in Johannesburg and Midrand. Overview [ edit ] Pan-Africanism stresses the need for "collective self-reliance".[7] Pan-Africanism exists as a governmental and grassroots objective. Pan-African advocates include leaders such as Haile Selassie, Julius Nyerere, Ahmed S(C)kou Tour(C), Kwame Nkrumah, King Sobhuza II, Thomas Sankara and Muammar Gaddafi, grassroots organizers such as Marcus Garvey and Malcolm X, academics such as W. E. B. Du Bois, and others in the diaspora.[8][9][10] Pan-Africanists believe that solidarity will enable the continent to fulfill its potential to independently provide for all its people. Crucially, an all-African alliance would empower African people globally. The realization of the Pan-African objective would lead to "power consolidation in Africa", which "would compel a reallocation of global resources, as well as unleashing a fiercer psychological energy and political assertion...that would unsettle social and political (power) structures...in the Americas".[11] Advocates of Pan-Africanism'--i.e. "Pan-Africans" or "Pan-Africanists"'--often champion socialist principles and tend to be opposed to external political and economic involvement on the continent. Critics accuse the ideology of homogenizing the experience of people of African descent. They also point to the difficulties of reconciling current divisions within countries on the continent and within communities in the diaspora.[11] History [ edit ] As a philosophy, Pan-Africanism represents the aggregation of the historical, cultural, spiritual, artistic, scientific, and philosophical legacies of Africans from past times to the present. Pan-Africanism as an ethical system traces its origins from ancient times, and promotes values that are the product of the African civilisations and the struggles against slavery, racism, colonialism, and neo-colonialism.[8] Alongside a large number of slaves insurrections, by the end of the 19th century a political movement developed across the Americas, Europe and Africa that sought to weld disparate movements into a network of solidarity, putting an end to oppression. Another important political form of a religious Pan-Africanist worldview appeared in the form of Ethiopianism.[12] In London, the Sons of Africa was a political group addressed by Quobna Ottobah Cugoano in the 1791 edition of his book Thoughts and Sentiments on the Evil of Slavery. The group addressed meetings and organised letter-writing campaigns, published campaigning material and visited parliament. They wrote to figures such as Granville Sharp, William Pitt and other members of the white abolition movement, as well as King George III and the Prince of Wales, the future George IV. Modern Pan-Africanism began around the start of the 20th century. The African Association, later renamed the Pan-African Association, was established around 1897 by Henry Sylvester-Williams, who organized the First Pan-African Conference in London in 1900.[13][14][15] With the independence of Ghana in March 1957, Kwame Nkrumah was elected as the first Prime Minister and President of the State.[16] Nkrumah emerged as a major advocate for the unity of Independent Africa. The Ghanaian President embodied a political activist approach to pan-Africanism as he championed the "quest for regional integration of the whole of the African continent".[17] This period represented a "Golden Age of high pan-African ambitions"; the Continent had experienced revolution and decolonization from Western powers and the narrative of rebirth and solidarity had gained momentum within the pan-African movement.[17] Nkrumah's pan-African principles intended for a union between the Independent African states upon a recognition of their commonality (i.e. suppression under imperialism). Pan-Africanism under Nkrumah evolved past the assumptions of a racially exclusive movement associated with black Africa, and adopted a political discourse of regional unity [18] In April 1958, Nkrumah hosted the first All-African Peoples' Conference (AAPC) in Accra, Ghana. This Conference invited delegates of political movements and major political leaders. With the exception of South Africa, all Independent States of the Continent attended: Egypt, Ethiopia, Ghana, Liberia, Libya, Morocco, Tunisia and Sudan.[18] This Conference signified a monumental event in the pan-African movement, as it revealed a political and social union between those considered Arabic states and the black African regions. Further, the Conference espoused a common African Nationalist identity, among the States, of unity and anti-Imperialism. Frantz Fanon, journalist, freedom fighter and a member of the Algerian FLN party attended the conference as a delegate for Algeria.[19] Considering the armed struggle of the FLN against French colonial rule, the attendees of the Conference agreed to support the struggle of those States under colonial oppression. This encouraged the commitment of direct involvement in the "emancipation of the Continent; thus, a fight against colonial pressures on South Africa was declared and the full support of the FLN struggle in Algeria, against French colonial rule"".[20] In the years following 1958, Accra Conference also marked the establishment of a new foreign policy of non-alignment as between the US and USSR, and the will to establish an "African Identity" in global affairs by advocating a unity between the African States on international relations. "This would be based on the Bandung Declaration, the Charter of the UN and on loyalty to UN decisions."[20] In 1959, Nkrumah, President S(C)kou Tour(C) of Guinea and President William Tubman of Liberia met at Sanniquellie and signed the Sanniquellie Declaration outlining the principles for the achievement of the unity of Independent African States whilst maintaining a national identity and autonomous constitutional structure.[21][22] The Declaration called for a revised understanding of pan-Africanism and the uniting of the Independent States. In 1960, the second All-African Peoples' Conference was held in Addis Ababa, Ethiopia.[23] The membership of the All-African Peoples' Organisation (AAPO) had increased with the inclusion of the "Algerian Provisional Government (as they had not yet won independence), Cameroun, Guinea, Nigeria, Somalia and the United Arab Republic".[24] The Conference highlighted diverging ideologies within the movement, as Nkrumah's call for a political and economic union between the Independent African States gained little agreement. The disagreements following 1960 gave rise to two rival factions within the pan-African movement: the Casablanca Bloc and the Brazzaville Bloc.[25] In 1962, Algeria gained independence from French colonial rule and Ahmed Ben Bella assumed Presidency. Ben Bella was a strong advocate for pan-Africanism and an African Unity. Following the FLN's armed struggle for liberation, Ben Bella spoke at the UN and espoused for Independent Africa's role in providing military and financial support to the African liberation movements opposing apartheid and fighting Portuguese colonialism.[26] In search of a united voice, in 1963 at an African Summit conference in Addis Ababa, Ethiopia, 32 African states met and established the Organization of African Unity (OAU). The creation of the OAU Charter took place at this Summit and defines a coordinated "effort to raise the standard of living of member States and defend their sovereignty" by supporting freedom fighters and decolonisation.[27] Thus, was the formation of the African Liberation Committee (ALC), during the 1963 Summit. Championing the support of liberation movements, was Algeria's President Ben Bella, immediately "donated 100 million francs to its finances and was one of the first countries, of the Organisation to boycott Portuguese and South African goods".[26] In 1969, Algiers hosted the Pan-African Cultural Festival, on July 21 and it continued for eight days.[28] At this moment in history, Algeria stood as a ''beacon of African and Third-World militancy,''[28] and would come to inspire fights against colonialism around the world. The festival attracted thousands from African states and the African Diaspora, including the Black Panthers. It represented the application of the tenets of the Algerian revolution to the rest of Africa, and symbolized the re-shaping of the definition of pan-African identity under the common experience of colonialism.[28] The Festival further strengthened Algeria's President, Boumediene's standing in Africa and the Third World.[28] After the death of Kwame Nkrumah in 1972, Muammar Qaddafi assumed the mantle of leader of the Pan-Africanist movement and became the most outspoken advocate of African Unity, like Nkrumah before him '' for the advent of a "United States of Africa".[29] In the United States, the term is closely associated with Afrocentrism, an ideology of African-American identity politics that emerged during the civil rights movement of the 1960s to 1970s.[30] Concept [ edit ] As originally conceived by Henry Sylvester-Williams (although some historians[who? ] credit the idea to Edward Wilmot Blyden), Pan-Africanism referred to the unity of all continental Africa.[31] During apartheid South Africa there was a Pan Africanist Congress that dealt with the oppression of Africans in South Africa under Apartheid rule. Other pan-Africanist organisations include: Garvey's Universal Negro Improvement Association-African Communities League, TransAfrica and the International People's Democratic Uhuru Movement. Additionally, Pan-Africanism is seen as an endeavor to return to what are deemed by its proponents as singular, traditional African concepts about culture, society, and values. Examples of this include L(C)opold S(C)dar Senghor's N(C)gritude movement, and Mobutu Sese Seko's view of Authenticit(C). An important theme running through much pan-Africanist literature concerns the historical links between different countries on the continent, and the benefits of cooperation as a way of resisting imperialism and colonialism. In the 21st century, some Pan-Africanists aim to address globalisation and the problems of environmental justice. For instance, at the conference "Pan-Africanism for a New Generation"[32] held at the University of Oxford, June 2011, Ledum Mittee, the current president of the Movement for the Survival of the Ogoni People (MOSOP), argued that environmental justice movements across the African continent should create horizontal linkages in order to better protect the interests of threatened peoples and the ecological systems in which they are embedded, and upon which their survival depends. Some universities went as far as creating "Departments of Pan-African Studies" in the late 1960s. This includes the California State University, where that department was founded in 1969 as a direct reaction to the civil rights movement, and is today dedicated to "teaching students about the African World Experience", to "demonstrate to the campus and the community the richness, vibrance, diversity, and vitality of African, African American, and Caribbean cultures" and to "presenting students and the community with an Afrocentric analysis" of anti-black racism.[33]Syracuse University also offers a master's degree in "Pan African Studies".[34] Pan-African colors [ edit ] The flags of numerous states in Africa and of Pan-African groups use green, yellow and red. This colour combination was originally adopted from the 1897 flag of Ethiopia, and was inspired by the fact that Ethiopia is the continent's oldest independent nation,[35] thus making the Ethiopian green, yellow and red the closest visual representation of Pan-Africanism. This is in comparison to the Black Nationalist flag, representing political theory centred around the eugenicist caste-stratified colonial Americas.[36] The UNIA (Universal Negro Improvement Association) flag, is a tri-color flag consisting of three equal horizontal bands of (from top down) red, black and green. The UNIA formally adopted it on August 13, 1920,[37] during its month-long convention at Madison Square Garden in New York.[38][39] Variations of the flag have been used in various countries and territories in Africa and the Americas to represent Black Nationalist ideologies. Among these are the flags of Malawi, Kenya and Saint Kitts and Nevis. Several Pan-African organizations and movements have also often employed the emblematic red, black and green tri-color scheme in variety of contexts. Maafa studies [ edit ] Maafa is an aspect of Pan-African studies. The term collectively refers to 500 years of suffering (including the present) of people of African heritage through slavery, imperialism, colonialism, and other forms of oppression.[40][41] In this area of study, both the actual history and the legacy of that history are studied as a single discourse. The emphasis in the historical narrative is on African agents, as opposed to non-African agents.[42] Political parties and organizations [ edit ] In Africa [ edit ] Organisation of African Unity, succeeded by the African UnionAfrican Unification FrontRassemblement D(C)mocratique AfricainAll-African People's Revolutionary PartyConvention People's Party (Ghana)Pan-African Renaissance[43]Economic Freedom Fighters (South Africa)Pan Africanist Congress of Azania (South Africa)In the Caribbean [ edit ] The Pan-African Affairs Commission for Pan-African Affairs, a unit within the Office of the Prime Minister of Barbados.[44]African Society for Cultural Relations with Independent Africa (Guyana)Antigua Caribbean Liberation Movement (Antigua and Barbuda)Clement Payne Movement (Barbados)Marcus Garvey People's Political Party (Jamaica)Universal Negro Improvement Association and African Communities League (Jamaica)In the United Kingdom [ edit ] Pan-African FederationIn the United States [ edit ] The Council on African Affairs (CAA): founded in 1937 by Max Yergan and Paul Robeson, the CAA was the first major U.S. organization whose focus was on providing pertinent and up-to-date information about Pan-Africanism across the United States, particularly to African Americans. Probably the most successful campaign of the Council was for South African famine relief in 1946. The CAA was hopeful that, following World War II, there would be a move towards Third World independence under the trusteeship of the United Nations.[45] To the CAA's dismay, the proposals introduced by the U.S. government to the conference in April/May 1945 set no clear limits on the duration of colonialism and no motions towards allowing territorial possessions to move towards self-government.[45] Liberal supporters abandoned the CAA, and the federal government cracked down on its operations. In 1953 the CAA was charged with subversion under the McCarran Internal Security Act. Its principal leaders, including Robeson, W. E. B. Du Bois, and Alphaeus Hunton (1903''70), were subjected to harassment, indictments, and in the case of Hunton, imprisonment. Under the weight of internal disputes, government repression, and financial hardships, the Council on African Affairs disbanded in 1955.[46]The US Organization was founded in 1965 by Maulana Karenga, following the Watts riots. It is based on the synthetic African philosophy of kawaida, and is perhaps best known for creating Kwanzaa and the Nguzo Saba ("seven principles"). In the words of its founder and chair, Karenga, "the essential task of our organization Us has been and remains to provide a philosophy, a set of principles and a program which inspires a personal and social practice that not only satisfies human need but transforms people in the process, making them self-conscious agents of their own life and liberation".[47]Pan-African concepts and philosophies [ edit ] Afrocentric Pan-Africanism [ edit ] Afrocentric Pan-Africanism is espoused by Kwabena Faheem Ashanti in his book The Psychotechnology of Brainwashing: Crucifying Willie Lynch. Another newer movement that has evolved from the early Afrocentric school is the Afrisecal movement or Afrisecaism of Francis Ohanyido, a Nigerian philosopher-poet.[48] Black Nationalism is sometimes associated with this form of pan-Africanism. Kawaida [ edit ] Hip hop [ edit ] Since the late 1970s, hip hop has emerged as a powerful force that has partly shaped black identity worldwide. In his 2005 article "Hip-hop Turns 30: Whatcha Celebratin' For?", Greg Tate describes hip-hop culture as the product of a Pan-African state of mind. It is an "ethnic enclave/empowerment zone that has served as a foothold for the poorest among us to get a grip on the land of the prosperous".[49] Hip-hop unifies those of African descent globally in its movement towards greater economic, social and political power. Andreana Clay in her article "Keepin' it Real: Black Youth, Hip-Hop Culture, and Black Identity" states that hip-hop provides the world with "vivid illustrations of Black lived experience", creating bonds of black identity across the globe.[50] From a Pan-African perspective, Hip-Hop Culture can be a conduit to authenticate a black identity, and in doing so, creates a unifying and uplifting force among Africans that Pan-Africanism sets out to achieve. Pan-African art [ edit ] Further information on pan-African film festivals see: FESPACO and PAFFSee also [ edit ] Literature [ edit ] Hakim Adi & Marika Sherwood, Pan-African History: Political Figures from Africa and the Diaspora Since 1787, London: Routledgem 2003.Imanuel Geiss, Panafrikanismus. Zur Geschichte der Dekolonisation. Habilitation, EVA, Frankfurt am Main, 1968, English as: The Pan-African Movement, London: Methuen, 1974, ISBN 0-416-16710-1, and as: The Pan-African Movement. A history of Pan-Africanism in America, Europe and Africa, New York: Africana Publ., 1974, ISBN 0-8419-0161-9.Colin Legum, Pan-Africanism: A Short Political Guide, revised edition, New York: Frederick A. Praeger, 1965.Tony Martin, Pan-African Connection: From Slavery to Garvey and Beyond, Dover: The Majority Press, 1985.References [ edit ] ^ Austin, David (Fall 2007). "All Roads Led to Montreal: Black Power, the Caribbean and the Black Radical Tradition in Canada". Journal of African American History. 92 (4): 516''539 . Retrieved March 30, 2019 . ^ Oloruntoba-Oju, Omotayo (December 2012). "Pan Africanism, Myth and History in African and Caribbean Drama". Journal of Pan African Studies. 5 (8): 190 ff. ^ Frick, Janari, et al. (2006), History: Learner's Book, p. 235, South Africa: New Africa Books. ^ Makalani, Minkah (2011), "Pan-Africanism". Africana Age. ^ New Dictionary of the History of Ideas. The Gale Group, Inc. 2005. ^ About the African Union Archived January 29, 2011, at the Wayback Machine. ^ "The objectives of the PAP", The Pan-African Parliament '' 2014 and beyond. ^ a b Falola, Toyin; Essien, Kwame (2013). Pan-Africanism, and the Politics of African Citizenship and Identity. London: Routledge. pp. 71''72. ISBN 1135005192 . Retrieved September 26, 2015 . ^ Goebel, Anti-Imperial Metropolis, pp. 250''278. ^ Maguire, K., "Ghana re-evaluates Nkrumah", GlobalPost, October 21, 2009. Retrieved September 13, 2012. ^ a b Agyeman, O., Pan-Africanism and Its Detractors: A Response to Harvard's Race Effacing Universalists, Harvard University Press (1998), cited in Mawere, Munyaradzi; Tapuwa R. Mubaya, African Philosophy and Thought Systems: A Search for a Culture and Philosophy of Belonging, Langaa RPCIG (2016), p. 89. ISBN 9789956763016. Retrieved August 23, 2018. ^ "Pan-Africanism". exhibitions.nypl.org . Retrieved February 16, 2017 . ^ "A history of Pan-Africanism", New Internationalist, 326, August 2000. ^ The History of Pan Africanism, PADEAP (Pan African Development Education and Advocacy Programme). ^ Lubin, Alex, "The Contingencies of Pan-Africanism", Geographies of Liberation: The Making of an Afro-Arab Political Imaginary, Chapel Hill: University of North Carolina Press, 2014, p. 71. ^ Smith-Asante, E., "Biography of Ghana's first President, Dr Kwame Nkrumah", Graphic Online, March 8, 2016. Retrieved March 23, 2017. ^ a b Mkandawire, P. (2005). African Intellectuals: Rethinking Politics, Language, Gender and Development, Dakar: Codesria/London: Zed Books, p. 58. Retrieved March 23, 2017. ^ a b Legum, C. (1965). Pan-Africanism: a short political guide, New York, etc.: Frederick A. Praeger, p. 41. ^ Adi, H., & M. Sherwood (2003). Pan-African History: Political Figures from Africa and the Diaspora Since 1787, London: Routledge, p. 66. ^ a b Legum (1965). Pan-Africanism, p. 42. ^ Adi & Sherwood (2003). Pan-African History, p. 179. ^ Legum (1965), Pan-Africanism, p. 45. ^ Legum (1965). Pan-Africanism, p. 46. ^ Legum (1965), Pan-Africanism, p. 47. ^ Martin, G. (2012). African Political Thought, New York: Palgrave Macmillan. ^ a b Adi & Sherwood (2003), Pan-African History, p. 10. ^ "African states unite against white rule", ON THIS DAY | May25. BBC News. Retrieved March 23, 2017. ^ a b c d Evans, M., & J. Phillips (2008). Algeria: Anger of the Dispossessed, Yale University Press, pp. 97''98. ^ Martin, G. (December 23, 2012). African Political Thought. Springer. ISBN 9781137062055. ^ See e.g. Ronald W. Walters, Pan Africanism in the African Diaspora: An Analysis of Modern Afrocentric Political Movements, African American Life Series, Wayne State University Press, 1997, p. 68. ^ Campbell, Crystal Z. (December 2006). "Sculpting a Pan-African Culture in the Art of N(C)gritude: A Model for African Artist" (PDF) . The Journal of Pan African Studies. Archived from the original on June 1, 2015. CS1 maint: BOT: original-url status unknown (link) ^ Oxford University African Society Conference, Corpus Christi College, Oxford University, May 5, 2012. ^ "About Us". Csus.edu . Retrieved October 15, 2015 . ^ The M.A. in Pan African Studies Archived October 25, 2014, at the Wayback Machine, African American Studies at Syracuse University. ^ Smith, Whitney (2001). Flag Lore of All Nations . Millbrook Press. p. 36. ISBN 0761317538 . Retrieved October 7, 2014 . ^ Lionel K., McPherson; Shelby, Tommie (Spring 2004). "Blackness and Blood: Interpreting African American Identity" (PDF) . Philosophy and Public Affairs. 32: 171''192. ^ Wikisource contributors, "The Declaration of the Rights of the Negro Peoples of the World", Wikisource, The Free Library. (Retrieved October 6, 2007). ^ "25,000 Negroes Convene: International Gathering Will Prepare Own Bill of Rights", The New York Times, August 2, 1920. Proquest. Retrieved October 5, 2007. ^ "Negroes Adopt Bill Of Rights: Convention Approves Plan for African Republic and Sets to Work on Preparation of Constitution of the Colored Race Negro Complaints Aggression Condemned Recognition Demanded". The Christian Science Monitor, August 17, 1920. Proquest. Retrieved October 5, 2007. ^ "What Holocaust". "Glenn Reitz". Archived from the original on October 18, 2007. ^ "The Maafa, African Holocaust". Swagga. ^ Ogunleye, Tolagbe (1997). "African American Folklore: Its Role in Reconstructing African American History". Journal of Black Studies. 27 (4): 435''455. ISSN 0021-9347. ^ "Pan-African Renaissance". ^ Rodney Worrell (2005). Pan-Africanism in Barbados: An Analysis of the Activities of the Major 20th-century Pan-African Formations in Barbados. New Academia Publishing, LLC. pp. 99''102. ISBN 978-0-9744934-6-6. ^ a b Duberman, Martin. Paul Robeson, 1989, pp. 296''97. ^ "Council on African Affairs", African Activist Archive. ^ "Philosophy, Principles, and Program". The Organization Us. ^ "Francis Okechukwu Ohanyido". African Resource. ^ Tate, Greg, "Hip-hop Turns 30: Whatcha Celebratin' For?", Village Voice, January 4, 2005. ^ Clay, Andreana. "Keepin' it Real: Black Youth, Hip-Hop Culture, and Black Identity". In American Behavioral Scientist, Vol. 46.10 (2003): 1346''58. External links [ edit ] SNCC Digital Gateway: Pan-Africanism'--Digital documentary website created by the SNCC Legacy Project and Duke University, telling the story of the Student Nonviolent Coordinating Committee & grassroots organizing from the inside-outAfrican UnionAfrican Code Unity Through DiversityA-APRP WebsiteThe Major Pan-African news and articles siteProfessor David Murphy (November 15, 2015). "The Performance of Pan-Africanism: performing black identity at major pan-African festivals, 1966''2010" (Podcast). The University of Edinburgh . Retrieved January 28, 2016 '' via Soundcloud. Ebro Darden - Wikipedia Mon, 02 Dec 2019 12:36 Ebro Darden BornIbrahim Jamil Darden ( 1975-03-17 ) March 17, 1975 (age 44) NationalityAmericanOccupationMedia executiveradio personalityYears active1990''presentKnown forHot 97 radio personalityBeats1 DJChildren1Websitewww.EbroDarden.comIbrahim "Ebro" Darden (born March 17, 1975) is an American media executive and radio personality. Until 2014, he was Vice President of Programming for Emmis Communications' New York contemporary urban station WQHT (Hot 97). He is currently a co-host on the Hot 97 morning show, Ebro in the Morning, alongside Peter Rosenberg, and Laura Stylez. As of 2015, Darden also hosts a hip hop music-based radio show on Beats 1. Early life [ edit ] Darden was born to a black father and a Jewish mother. He attended a Pentecostal church and Hebrew school while growing up in Oakland and Sacramento.[1] Career [ edit ] Start in radio [ edit ] Darden began his career in radio in 1990 at KSFM in Sacramento, California, while he was still a teenager. At KSFM he worked in research and as a sales runner until moving into programming as an intern, and later co-hosting for KSFM's night and morning shows. In 1997, he worked at KBMB in Sacramento as Programming and Music Director, as well as an afternoon host. Eventually, Darden became Operations Manager at KBMB, while also co-hosting mornings at KXJM in Portland, Oregon, in 1999. Hot 97 [ edit ] In 2003, Darden became Music Director for WQHT, ultimately becoming the Program Director for the station in 2007.[2][3][4] Darden worked alongside several past WQHT Hot 97 morning show co-hosts including Star and Bucwild, Miss Jones, DJ Envy, Sway, and Joe Budden from 2004 to 2007, and introduced Cipha Sounds and Peter Rosenberg to the AM drive in 2009. He rejoined the Hot 97 Morning Show in 2012, alongside Cipha Sounds, Peter Rosenberg, and Laura Stylez. As Programming Director and on-air host, Darden was the main voice of several events at Hot 97 including Nicki Minaj's relationship with the station, and her alleged sexual relationship with the host; Hurricane Sandy; and Mister Cee's personal life.[5] In 2014, VH1 announced a new unscripted comedy series, This Is Hot 97, which featured Darden and fellow hosts including Angie Martinez, Funkmaster Flex, Peter Rosenberg, Cipha Sounds, Miss Info, and Laura Stylez.[6] Beats 1 [ edit ] In addition to his current on-air role at Hot 97, Darden is now one of three anchor DJs on Beats 1, an Internet radio service from Apple Music. Feuds and controversy [ edit ] A comedic rivalry between Darden and fellow accomplished radio personality Charlamagne Tha God of Power 105.1 has been ongoing for years. In May 2017, Darden clarified their relationship, stating, "The stuff we do on the radio is stupid. It's for fun. I make fun of you for fun. That's it. It's not that deep... me and that dude don't have a personal problem... a personal relationship".[7] Darden was mentioned in Remy Ma's "shETHER" diss track, on which Ma insinuated that he slept with Nicki Minaj by stating "Coke head, you cheated on your man with Ebro". After jokingly going back and forth with both Ma and her husband Papoose on social media, Darden denied the rumors, stating that he and Minaj had only a professional relationship.[8] Ebro has been in an ongoing feud with Brooklyn artist 6ix9ine. Ebro made fun of 6ix9ine as looking like a clown and criticized him for bragging about streaming numbers,[9] and 6ix9ine responded on the song "Stoopid" with the line "That nigga Ebro, he a bitch/Just another old nigga on a young nigga dick." [10] Personal life [ edit ] Darden has a daughter, Isa, who was born in 2014.[11] Recognition [ edit ] In 2013, he was recognized by Radio Ink as a future African American leader.[12] Filmography [ edit ] References [ edit ] Queen & Slim (2019) - IMDb Mon, 02 Dec 2019 12:13 3 nominations. See more awards >> Learn more More Like This Comedy | Crime | Drama 1 2 3 4 5 6 7 8 9 10 8.1 / 10 X A detective investigates the death of a patriarch of an eccentric, combative family. Director:Rian Johnson Stars:Daniel Craig,Chris Evans,Ana de Armas Action | Crime | Drama 1 2 3 4 5 6 7 8 9 10 6.6 / 10 X An embattled NYPD detective is thrust into a citywide manhunt for a pair of cop killers after uncovering a massive and unexpected conspiracy. Director:Brian Kirk Stars:Chadwick Boseman,Sienna Miller,J.K. Simmons Action | Biography | Drama 1 2 3 4 5 6 7 8 9 10 6.5 / 10 X The extraordinary tale of Harriet Tubman's escape from slavery and transformation into one of America's greatest heroes, whose courage, ingenuity, and tenacity freed hundreds of slaves and changed the course of history. Director:Kasi Lemmons Stars:Cynthia Erivo,Leslie Odom Jr.,Joe Alwyn Biography | Drama 1 2 3 4 5 6 7 8 9 10 7.9 / 10 X Based on the true story of a real-life friendship between Fred Rogers and journalist Tom Junod. Director:Marielle Heller Stars:Tom Hanks,Matthew Rhys,Chris Cooper Drama 1 2 3 4 5 6 7 8 9 10 7.2 / 10 X A young actor's stormy childhood and early adult years as he struggles to reconcile with his father and deal with his mental health. Director:Alma Har'el Stars:Shia LaBeouf,Lucas Hedges,Noah Jupe Drama | Romance | Sport 1 2 3 4 5 6 7 8 9 10 7.7 / 10 X Traces the journey of a suburban family - led by a well-intentioned but domineering father - as they navigate love, forgiveness, and coming together in the aftermath of a loss. Director:Trey Edward Shults Stars:Taylor Russell,Kelvin Harrison Jr.,Alexa Demie Comedy | Drama | War 1 2 3 4 5 6 7 8 9 10 8.1 / 10 X A young boy in Hitler's army finds out his mother is hiding a Jewish girl in their home. Director:Taika Waititi Stars:Roman Griffin Davis,Thomasin McKenzie,Scarlett Johansson Action | Crime | Drama 1 2 3 4 5 6 7 8 9 10 5.7 / 10 X A rookie New Orleans police officer is forced to balance her identity as a black woman after she witnesses two corrupt cops committing murder. Director:Deon Taylor Stars:Naomie Harris,Frank Grillo,Mike Colter Biography | Drama | History 1 2 3 4 5 6 7 8 9 10 7.3 / 10 X A corporate defense attorney takes on an environmental lawsuit against a chemical company that exposes a lengthy history of pollution. Director:Todd Haynes Stars:Anne Hathaway,Mark Ruffalo,William Jackson Harper Drama | Fantasy | Horror 1 2 3 4 5 6 7 8 9 10 8.3 / 10 X Two lighthouse keepers try to maintain their sanity while living on a remote and mysterious New England island in the 1890s. Director:Robert Eggers Stars:Willem Dafoe,Robert Pattinson,Valeriia Karaman Crime | Drama | Mystery 1 2 3 4 5 6 7 8 9 10 6.5 / 10 X Consummate con man Roy Courtnay has set his sights on his latest mark: the recently widowed Betty McLeish, worth millions. But this time, what should have been a simple swindle escalates into a cat-and-mouse game with the ultimate stakes. Director:Bill Condon Stars:Helen Mirren,Ian McKellen,Russell Tovey Crime | Drama | Mystery 1 2 3 4 5 6 7 8 9 10 7.1 / 10 X In 1950s New York, a lonely private detective afflicted with Tourette's Syndrome ventures to solve the murder of his mentor and only friend. Director:Edward Norton Stars:Edward Norton,Gugu Mbatha-Raw,Alec Baldwin Edit Storyline Slim and Queen's first date takes an unexpected turn when a policeman pulls them over for a minor traffic violation. When the situation escalates, Slim takes the officer's gun and shoots him in self-defence. Now labelled cop killers in the media, Slim and Queen feel that they have no choice but to go on the run and evade the law. When a video of the incident goes viral, the unwitting outlaws soon become a symbol of trauma, terror, grief and pain for people all across the country Written bystmc-25959 Plot Summary | Add Synopsis Motion Picture Rating (MPAA) Rated R for violence, some strong sexuality, nudity, pervasive language, and brief drug use. | See all certifications >> Edit Details Release Date: 27 November 2019 (USA) See more >> Edit Box Office Opening Weekend USA: $11,700,000, 1 December 2019 Gross USA: $15,810,000 Cumulative Worldwide Gross: $15,810,000 See more on IMDbPro >> Company Credits Technical Specs Runtime: 131 min Aspect Ratio: 2.39 : 1 See full technical specs >> Edit Did You Know? Trivia First feature film to be directed by Melina Matsoukas, who has previously only directed music videos and TV episodes. See more >> Quotes Slim :Are you tryin' to die? Queen :No. I just always wanted to do that. Slim :Well, don't do it while I'm drivin' Queen :You should try it. Slim :Nah, I'm good. Queen :Pull over. Slim :Na-ah. Queen :Come on! Pull over. Pull over! Slim :If I do, would you please, let me drive the rest of the way it is? Queen :Swear to God. [...] See more >> Explore popular and recently added TV series available to stream now with Prime Video. Start your free trial Music in this episode Intro: Puff Daddy - It's all about the benjamins Outro: Blue Magic - Sideshow Donate to the show at moefundme.com Search for us in your podcast directory or use this link to subscribe to the feed Podcast Feed For more information: MoeFactz.com

INTERNETS! On this episode of The Premium Pete Show, Pete sits down with Warrior, Radio Veteran, Entrepreneur: KARLIE HUSTLE! Karlie speaks Unfiltered on her journey from growing up in a small town in Oregon to working with some of the biggest names in the industry. She talks about working at Hot 97 in the past, her current position at Apple Music, how Ebro Darden has impacted her career path, the many artists that she helped come up thru 'Who's Next Live', (Travis Scott, Chance The Rapper, Dave East...) the ups and downs of the music industry why she left Hot 97 + so much more!   Karlie also goes into depth about getting abruptly diagnosed with breast cancer and the impact it has had on her and her family, the steps she has taken to help normalize cancer by utilizing Instagram (check out her Cancergrams on her highlighted stories), the positive and negative aspects of social media, how to cope with serious illness and also how people can properly support their loved ones who are diagnosed. So many LIFE gems on this one. RIP Combat Jack. F*ck Cancer, Combat Cancer!

The team begin by discussing Shane Eagle's 1st mixtape 'Dark Moon Flower", Ebro Darden's visit to South Africa and Champ Tile's upcoming release 'Before.I.Die". Based on his discography, is J.Cole's music evolving? Opening Track: DJ Kay Slay & Greg Street - In the Ghetto ft Fat Joe, Jim Jones, Shaq, Cassidy & Sheek Louch Closing Track: Royce Da 5'9 - Wisdom No Hidden Agenda Podcast Available on #iTunes #Spotify & #Soundclound smarturl.it/nhapodcastep

His name is top tier when it comes to Hip-Hop. He hosts the Hot 97 morning show as well as his own show on Apple Music / Beats1. Tino decided to interview the man that's responsible for some of his favorite radio interviews ever. This is one hell of a conversation for any fan of radio, hip-hop, or either one of these radio heavyweights. 

In this special Beat podcast extra, anchor Ari Melber leads discussions to mark the 25th anniversary of "Ready to Die," the classic debut album by The Notorious B.I.G., which revitalized East Coast hip hop.  Ari leads a discussion of Biggie's musical legacy with his collaborator Havoc (Mobb Deep); Lord Finesse, who produced the iconic final track on Ready to Die; and former Editor in Chief of The Source, Kim Osorio. Then Rep. Hakeem Jeffries and Hot 97’s Ebro Darden talk to Ari about the wider issues of hip hop, politics and civil rights. Part two of the discussion also includes Jeffries and Darden discussing the potential impeachment of President Trump, how the 2016 Trump campaign stoked racial tensions to get elected, and challenges facing both the Republican and Democratic parties to address racial discrimination in national policy. This is a recording is of a public event in Brooklyn, N.Y., and includes some explicit language.

On She Goes is the official podcast of the 13th Annual ADCOLOR Conference. The crew talks to Ebro Darden of Hot97 & Apple Music, Chantal Rochelle of Buzzfeed's Cocoa Butter, Shea Jackson McCann of Google, Carla Hassan of Citi, Diego Scotti from Verizon & on-air personality/journalist Tai Beauchamp; all about Taking A Stand!

Episode 12 sees the show flex it’s versatility. Instead of the normal format, episode 12 is a straight interview almost exactly akin to that of Beats 1. Crews does his best Zane Lowe, Ebro Darden or or Julie Adenuga impression while he introduces musician Daniel Ratliff into the fold. Ratliff ponders his music motivations, desires, his former success on the now dead app Vine, his experiences with Blake Griffin, Chris Brown’s body count and where music streaming can go next in this candid interview.

Ebro Darden made a list of his top 50 rappers. Here's what I think about it lol. Follow me on Twitter @theibgpodcast and Instagram @ibgpodcast to see my list lol.

For the first time, the ladies of Black Girl Podcast invite men to join the conversation; inspired by the incredible life and unfortunate death of Nipsey Hussle. Ebro Darden (@oldmanebro), Justin Carter (@jstnlamar) & Dawan Alford (@dawanalford) share their insights on mental health, emotion, ego, trauma and more. #TheMarathonContinues

I'm back! To kick off the new season, I sat down with Ebro Darden, legendary host of Hot 97's Ebro In The Morning radio show, and Apple Music Host & Executive. We talked about how he got his start in radio, Black empowerment and music, of course.

A short ramble on an interview between Hasan Minhaj and Ebro Darden from Hot 97. The two discus U.S American politics from to different points of views. Blackness is not a singular experience and it is evident by the language these two use to communicate. I think this is a dope example of communication that exhibits two different upbringing even though the two would still be labelled as 'coloured people' or 'people of colour', under US American paradigm norms. What do ya'll think? How have your environment shaped the way you perceive your experiences, you language and how you communicate with others? --- Support this podcast: https://anchor.fm/graciela-rodriguez-c/support

In the first Woke Bros of 2019 Big WOS and Michael Brooks come together once again to discuss some of the recent happenings going into the new year. The duo talks about the United States government shutdown, a new role for Ebro Darden at Apple Music, more drama from Kanye West and LeBron James facing scrutiny for some rap lyrics. Produced by: Rob Lopez   Subscribe to The Michael Brooks Show www.patreon.com/TMBS   Support us on www.patreon.com/countthedings Find us: www.countthedings.com Social: @back2backpod @countthedings Facebook.com/countthedings

In a special edition of “The Beat” Ari Melber speaks with hosts from Hot 97, the no. 1 hip hop radio in New York. The hosts debate the biggest stories in politics and hip hop, including Trump’s obsession with rap artists and how hip hop music responds to American issues like gun violence and criminal justice. Ebro breaks down the controversy surrounding NFL players kneeling during the national album, noting the acceptance of black men using “their bodies to entertain" but not to advocate for their communities.

Today on A Waste of Time with ItsTheReal, Day 4 of #12DaysOfPodcasts, we welcome radio veteran and host of the Brutally Honest podcast, Karlie Hustle to the Upper West Side! We talk about Karlie's youth in Eugene, Oregon, her early jobs at Kinko's and Applebee's, escaping to Portland after a short stint in college, and how finding her way into the hip-hop scene caught Ebro Darden's attention. Karlie discusses her climb up the radio ladder, starting with moving from a top-25 market to the 75th biggest market, and continuing moving down the West Coast, from Salinas to San Diego to Phoenix, what she learned from each stop about herself and the business, and what led her to into work with foster children and the homeless population. Karlie gets into the call from Ebro asking her to make the move to NYC's Hot 97, programming Hot 97's Who's Next series and Summer Jam Festival Stage, radio wars with Power 105, working with Funkmaster Flex and Angie Martinez, and why she ultimately left. All that, plus bigging up local acts, working with Rapsody and 9th Wonder, working for Beats 1 Radio, how motherhood has changed her perspective, why Kendrick Lamar should still do a Who's Next show at SOB's, and much more! PS: Be sure to check out JeezyShop.com for all things Jeezy: his tour, his merch and his new album, Pressure, available now! See acast.com/privacy for privacy and opt-out information.

Internets! This week on The Premium Pete Show, Pete is joined by Hot 97's own Ebro Darden. Old Man Ebro discusses everything from working alongside Funk Master Flex, Angie Martinez and Paul Allen to disagreements with Taxstone, his feelings towards Charlamagne The God, and much, much more. *Get to know one of the most opinionated and important voices in hip hop radio. Sit back and enjoy! Be sure to rate, subscribe, and check out the YouTube channel for behind the scenes footage and more Premium Pete Show content, CHEA!

A Look at the XXL 2017 Freshman Class On this episode of It’s a Rap, the guys discuss the Golden St. Warriors victory over the Cleveland Cavaliers in the NBA Finals, the XXL 2017 Freshman Class cover and give us their picks, XXXTentacion getting knocked while performing at a concert, and Ebro Darden versus Offset. Plus,... The post The 2017 Freshman Class! appeared first on It's a Rap.

This week on A Waste of Time with ItsTheReal, we welcome the host of Hot 97's Ebro in the Morning, Ebro Darden! Fresh off organizing his 13th Summer Jam concert, we spoke in great detail about what went into the decision to postpone the start of the show, why certain artists didn't perform, and what this annual event means to New York, to competing festivals, and to the fans. We also spoke about Ebro's journey from Bay Area high school athlete, to his heavy involvement in Northern California hip-hop, to working on the same radio station as Rasheed Wallace, to making the cross-country journey to the most-storied hip-hop station in the world: New York's Hot 97. Plus, his experiences with Kanye West, Janet Jackson, Lyor Cohen, Angie Martinez, Big Boy, and so much more! In addition, we sat down with our friend and photographer Ravie B to talk photoshopping laminates to sneak into Summer Jam, eating at Benihana's, obsessively watching The Office, playing video games about cooking, an lots more! See acast.com/privacy for privacy and opt-out information.

If you enjoy this podcast, consider buying me a coffee: https://adamstoner.com/support ‘Defying Conventions: Is Beats 1 Redefining Radio?' was originally submitted as part of a University of Gloucestershire Radio Production module. With the exception of two small typographical changes, this essay is posted exactly as it was submitted. Appendices have been redacted but bibliography and in-line references remain – get in touch if you need to chase anything. Apple's annual World Wide Developer Conference is a showcase of the company's latest software and technology. Described by CEO Tim Cook as the ‘epicentre of change', 2015 marked their ‘most global conference ever' (Apple, 2015), a fitting stage to announce their new ‘worldwide' and ‘always on' internet radio station, Beats 1. The announcement of Beats 1 came as a footnote to an addendum. The presentation mainly dealt with Apple's latest technological offering, ‘Apple Music' – a streaming service and social network combined, of which the radio station is merely a subsidiary – rather than with Beats 1 Radio directly. Nevertheless, speaker, record producer, and entrepreneur Jimmy Iovine painted it as a nod to the company's history; the minds behind the iPod and media software iTunes were returning to the grassroots of music sharing: radio. This essay will look at the early success and criticisms of Beats 1. It will do this by examining how the station defies established radio theory and is helping to evolve the medium both technologically and stylistically. It will contextualise these findings in the form of current industry practice, as well as what pressures the station may put on commercial and public service radio broadcasting in the United Kingdom. The essay aims to explore the timing and reasons behind the inception of the station and will raise questions behind its ideology. It will draw on a range of practitioner, academic and secondary sources as well as personal listening and theorisation in order to explore whether Apple's Beats 1 is ‘redefining radio'. Defining Radio From the offset, a couple of basic but important distinctions need to be made. As the Radio Advertising Bureau reflect in their 2014 report Audio Now (p.10), new forms of audio are continually emerging. The report highlights three main forms of consumer-level audio, with the latest — ‘on-demand' — being less than ten years old: ‘Owned audio': Here, the consumer owns the physical or digital audio format. This may include digital downloads, gathered legally or otherwise, or physical copies of the sound, such as CD, cassette or vinyl. ‘Live audio': This is the oldest of the three forms. The report refers to it as ‘live radio' but for the purposes of this essay we shall expand its definition to all audio consumed in real-time, as it is performed or transmitted. ‘On-demand': The newest of the three and the most complex to define due to its multifaceted nature. This encapsulates audio where the consumer does not have the original file and listens in isolation. Examples cited in Audio Now include streaming services, podcasts and YouTube videos. This notion of ‘owned audio' can be entirely discounted when discussing Apple Music as a standalone product; the user never gets physical access to the music files, just the right to stream them in exchange for a monthly membership fee of £9.99. The second and third definitions – ‘live audio' and ‘on-demand' respectively – are vital when addressing Beats 1 and Apple Music's other ‘radio'-esqué offerings, the definition of which has been somewhat corrupted by modern-day ‘on-demand' music streaming services. ‘Radio', as understood by the likes of Spotify, Deezer, Pandora, or similar, is intrinsically different from the traditional and well-established institution of radio broadcasting. This is not to say traditional radio is out-dated – far from it – but that ‘on-demand' services have appropriated the name of the medium and have used it incorrectly. There are multiple differences between the two, with the most notable being that the more traditional notion of radio broadcasting features human presence. Chignell (2009, p.33) explains people ‘add meaning' and context, and also provide a sense of co-presence. This is the complete antithesis of so-called ‘radio stations' on streaming services which strip broadcasting of its ‘essential element' (Priestman, 2006, p.36): human-to-human contact. As Corderio (2011, p.499) highlights, there is a long line of radio theorists who contend ‘music playlists, without human interaction, should not be confused with radio', and that radio can be easily defined as public, point-to-point_s_ broadcasting. Priestman describes the aforementioned, human-bare stations as ‘automated web “jukebox[es]”' and for the purposes of this essay, these on-demand web-jukeboxes will be called exactly that. iTunes Radio – the 2013 predecessor of Apple Music – was one such service. Allowing users to create ‘stations' around a single artist or band, algorithms mixed content from one band with similar material by similar artists. As Baldwin (2013) reports, iTunes Radio let users ‘rate the songs (…) as they stream[ed]', thereby learning individual preference in order to modify the output to better suit taste. While iTunes Radio was by no means a failure, algorithms, as Iovine himself admits, ‘can't do it alone' (Dredge, 2015). While movements in the realm of acoustic and computer science are moving in the right direction, machines currently fail to recognise mood, thus playing inappropriate or mismatched tracks sequentially, and cannot provide all important context. Enter Apple Music. While the newer service still contains web-jukeboxes, Apple makes a clear point of distinguishing Beats 1 Radio from them. In the native Music application on iOS, a graphic inviting people to ‘Listen Now' takes centre stage (appendix; a), occupying well over 50% of the screen space. Not only does this force automated-jukebox stations to exist several swipes away but it also separates Beats 1 from these lesser-refined services. The Beats 1 landing page on the Apple website makes a further point of highlighting this distinction by defining the true meaning of radio itself: ‘No matter where you are or when you tune in, you'll hear the same great programming as every other listener' (2015b). This reinforces a concept Chignell (2009, p.74) writes about, co-presence, a theory Scannell and Cardiff (1991) highlight, imagined community, and Marshal McLuhan's Global Village, ‘one world connected by an electronic nervous system' (Stewart, n.d.). Irrespective of scale, collective listening is precisely what radio is all about. As a technology company, there are technological considerations to take in to account when defining what ‘radio' means to Apple. As the smartphone market leader (Forbes, 2015), it is fitting of Apple to create a station that is marketed at, and primarily received on, mobile devices. According to a 2015 report from the International Federation of the Phonographic Industry, the digital music industry is worth $6.85 billion worldwide per annum (IFPI, p.6), with ‘music subscription services' accounting for 22.75% of revenue. On the other hand, ‘radio is a massive $20 billion industry' (Truong, 2015). At a time where physical format sales are declining (IFPI, 2015b), where the revenue share of music streaming is growing exponentially, and where radio is still ‘able to command the largest share of the listening ear' (Lloyd, 2015, p.293), Apple wants in. Moreover, there are some strong statistics to suggest mobile listening is quick becoming a force to be reckoned with. ‘31 minutes a day is the average amount of time spent listening to music on a phone', Global (2015) claims, and ‘65% of “digital audio” streamers' – both live audio and on-demand consumers – ‘listen with head[/ear]phones'. Undoubtedly, radio is an intimate and personal medium, esteemed by consumers (McLeish, 2016, pp.3 to 6). To further emphasise this, by interacting through earphones, listeners are choosing to place broadcasters in their ears, to make the broadcast a part of their body, a sacred trust and one only radio could garner. Global also claim ‘44% of 35-44 year-olds' stream music over tablet devices. Logically, what with early adoption rates and increased technological competence in younger generations who have grown up with this hardware from an early age, this number will only be higher in the 15 to 24 and 25 to 34 demographics, precisely the age of consumer Apple is attempting to capture with Beats 1 Radio. Defying Radio In the words of both Finer (2003, p.32) and Castelles (2003, p.17), the internet is the world's first international radio frequency. Apple not only advertise Beats 1 as being ‘worldwide', but as ‘a truly global listening experience', letting audience members discover ‘what's going on in the world of music'. While parts of this statement are correct – the station can be received in 100 countries around the world (Apple, 2015c), although that is only 51% of the planet – the overall sentiment could not be further from the truth. At present, the BBC World Service is the world's largest international broadcaster (House of Commons, 2010, ev.11) serving over 188 million people per week (BBC, 2009). Whilst the on-air content of each station cannot be compared – the BBC World Service is primarily a news and informational platform, while Beats 1 is purely a music station – there are, in terms of scale, many similarities. Evident from its marketing decisions and branding, Apple's goal is for Beats 1 to adopt an audience of ‘World Service' magnitude – ‘truly global', ‘worldwide'. However, in the same way Beats 1 broadcasts from exclusively Western locations – New York City, London, and Los Angeles – yet claims it is a ‘global' voice, the BBC World Service soldiers in a similar vein. The Operating Agreement of the World Service (BBC Trust, 2012, p.6) sets out English language services as their ‘core offer' and designates 75% of overall output worldwide to English language programming each week. Even the name of the BBC World Service contains a jarring juxtaposition, seating ‘British' and ‘World' two words apart. On the other hand, ‘beats' – acoustically speaking – know no borders and are not unique to any specific genre of music. Here, Beats 1's lack of cultural identity, as far as the name of the station and the simplistic graphical signifiers and branding it uses, allows the station to be transient in nature. However, as O'Malley (2015) reflects, this ‘ill-defined genre remit' hasn't come without criticism – He goes on to state ‘if you make content so broad, it becomes meaningless'. Beats 1 contradicts Priestman's (2006, p.233) argument that ‘web radio works best as a narrow-cast or niche medium' and Nyre's argument (2008, p.192) that music radio stations attempt ‘to attract niche audiences'. Roy Martin, managing editor of Radio Today, claims Beats 1 threatens ‘specialist music stations such as 1Xtra, Kiss [and BBC Radio] 6 Music' (2015). The breadth of music these stations play is replicated on Beats 1 without advertisements or pressures to fill remit goals. Contrasting Martin's sentiment, BBC Radio 1's controller Ben Cooper – who has lost two talents: Head of Music George Ergatoudis to Spotify (Lunden, 2015) and Lowe to Apple – claims ‘a rising tide lifts all boats' (Griffiths, 2015). Martin continues, ‘the likes of Radio Plymouth, The Bee [Lancashire] and Clyde 1 [Glasgow]' need not feel at risk, despite Beats 1 being billed as ‘the world's local station' (Quartz, 2015). Although Beats 1 can attempt to masquerade as local radio, when it comes to discussing truly local news and events, even at its closest level of inspection Beats 1 has to take a national view for fear of alienating other listeners. Locality is what makes radio work and Beats 1, with its syndicated, single, linear programming which never once breaks out in to local titbits, cannot possibly achieve the same effect on its desired scale. The on-air content of Apple's Beats 1 behaves as a BBC Radio 1Xtra and Radio 6 Music hybrid. The station is clearly attempting to promote ‘challenging, innovative' (BBC Trust, 2012b, p.2) music, with a distinctive focus on ‘contemporary black music (…) rarely heard elsewhere' (BBC Trust, 2015, pp.2 to 4), as the aforementioned BBC stations also reflect in their respective remits. Introducing challenging music comes with the need to reason track selection and explain why the creation deserves respect. BBC Radio 6 Music achieves this through interviews and technical discussions, many of which deconstruct musical theory, and through detailed back-announcements that may include the name of record labels, similar musicians, and artist influences. BBC Radio 1 Xtra achieves the same effect by discussing the artists' potential influence in relation to black British culture. This form of education, required by remit, is evident in the plays-per-day of each station, with BBC Radio 6 Music totaling an average of 172 plays per day and 1Xtra averaging 159 (Last FM, 2016, 2016b). The breaks are filled with news, documentaries and interviews. This is a stark contrast to Beats 1, a station that plays an average of 300 songs per weekday, peaking to 600 on weekends due in part to ‘high-track-turnover DJ mix shows that play during prime party hours' (Quartz, 2015). The on-air schedule of Apple's Beats 1 Radio is unlike any other station. Those familiar with radio will be aware of dayparting, ‘the practice of segmenting the broadcast schedule in to blocks (…) programmed for unique audience demographics and listeners' daily habits' (Piasek, 1998). Dayparting helps broadcasters provide more of that all-important context Chignell (2009, p.33) discusses. Nielsen Audio (2015, p.23), one of several U.S. audience rating services, divides a weekday into five such parts. Having slightly adjusted the times for an audience based in the United Kingdom, those dayparts are as follows: 0600 to 9000: Breakfast 0900 to 1600: Daytime 1600 to 1900: Evening Drive Time 1900 to 2300: Late Night 2300 to 0600: Overnight (colloquially known as the ‘graveyard slot') James Cridland believes (2015) ‘it makes no sense putting the money into a great breakfast show (…) because the timezones mean it's always breakfast somewhere'. Beats 1 replays its three flagship programmes – Zane Lowe, Ebro Darden, and Julie Adenuga – on a twelve-hour loop, thus hitting both eastern and western-based audiences with all three shows in any given 24-hour period. The rest of the schedule is comprised of irregular and one-off programmes fronted by musicians from Elton John to HAIM, and organisations like Noisey and Pitchfork. This pre-recorded content, masquerading ‘as live', is broadcast at times relevant to the market Apple is attempting to target. For example, St. Vincent's programme is played at 3 a.m. GMT, 7 p.m. PST (American East-Coast) and 11 a.m. CST (Mainland China), evidently targeting listeners in the Americas and Asia rather than the United Kingdom. Whilst this may seem a strange idea, it works. One of radio's early strengths, the art of ephemeral broadcasting, is being eroded in the age of podcasting, ‘owned audio' and ‘on-demand'. With this comes a pressure for more refined content – producers now must craft sound not only for initial impact, but also for replay value. Transmitting great content once then losing it to the ether is neither cost effective nor clever. LBC – a commercial, London-based news and talk station – is one of the first in the United Kingdom to implement pay-for catch-up services. Subscription services on a rolling monthly basis cost £3.99 (AudioAgain, 2014). In comparison, Beats 1 offers the same catch-up method: pay to become an Apple Music member. ‘While it doesn't quite provide the experience of listening to the show live, (…) every DJ will post a set playlist for their show a few hours after it ends' (iMore, 2015). Most commercial radio stations are yet to offer on-demand catch-up services at all, but some, like Fun Kids – the UK's only radio station aimed at under-12s – have in excess of 80 podcast channels (Think Fun Kids, n.d.). It is as-of-yet unclear whether the pay-for catch-up model works well enough to warrant the long-term investment required by commercial radio stations in order to develop distribution platforms. However, empowering the consumer through this medium provides another point-of-entry to the station and rewards active consumers with the opportunity to replay their favourite moments from past programmes, or to store the show for posterity. Given the high profile musicians Beats 1 has access to and the respective fan-bases of those musicians, Apple's move is clearly another call to subscribe. Once an interview or programme has been broadcast, the only way for dedicated fans to hear that content again – or catch-up, if they missed it first time around – is to pay. Apple know many fans have a fear of missing out, desperate to hear content from their favourite creators, therefore can reasonably assure themselves a select number of subscribers by providing exclusive content hidden behind paywalls. Redefining Radio Being owned by a multinational, technological giant has its advantages. While the equipment Beats 1 uses to broadcast is the same as any other digital radio station, the techniques are certainly groundbreaking. Beats 1 is available in two stream formats, 64 kbps and 256 kbps (Painter, 2015) AAC, superior to DAB's MP2 streams which vary from 64 kbps – for stations including Absolute Radio, Amazing Radio and BBC Radio 5 Live – to 192 kbps – used exclusively by BBC Radio 3 (Laird, 2015). With concern to mobile devices, where the vast majority of stations stream second-by-second, Beats 1 utilises the new HLS streaming format. HLS is HTTP Live Streaming, a new communications protocol developed and implemented by Apple (2014). Designed to be adaptive, devices request stream information in packets of varying quality, and, if at any point diminished bandwidth or download speed causes stress to the stream, devices will request the next packet in a lower quality. This creates the effect of zero buffering, allowing for a smooth and more dynamic listening experience. The highly customisable nature of mobile phones makes this next statistic hard to measure but assuming a couple of reasonable conditions – that a user has biometric Touch ID enabled and has not moved the Music application from the factory default setting in their iPhone's docking bar – an ordinary mobile user can become a Beats 1 listener in only four taps. If Siri's newer hands-free function – ‘Hey Siri' – is enabled, a user can become a listener without even having to touch their device (appendix; b). In stark contrast to popular radio streaming applications such as TuneIn or RadioPlayer – two of numerous for desktop and smartphone – Apple forces consumers to use their dedicated Music application in order to hear Beats 1. The reason behind this decision is simple: Apple is a lover of control; proven by the fact Beats 1 audio steams are encrypted. The keys to decrypt the audio streams lay within the Music application itself. When addressing Apple's design decisions, the company has previously been accused of attempting to create a ‘totalitarian monoculture' (Bissell, 2008), a statement that is hard to defend Apple against. Indeed, in order for a listener to switch from Apple's Beats 1 to a potential rival – say, BBC Radio 1 or Capital FM – they would have to conduct at least eighteen further interactions with their device, first by launching a non-native iPhone application, then by having to search for the station before launching it, an overwhelming contrast in user-friendliness from the potential hands-free starting of Beats 1. Matt Deegan – radio practitioner and Creative Director of Folder Media – emphasised this, explaining the inception of Beats 1 is a move to ‘keep people in the Apple Music ecosystem' (University of Gloucestershire, 2015). On December 29th 2015 it was reported (RadioToday) Beats Electronics LLC., a division of Apple and the owners of the Beats brand, had put in a bid to internationally trademark the names of four potential new stations, Beats 2 through 5 and respective station logos ‘B2' through ‘B5'. Whilst Apple has made their intention to expand its radio arm clear (Billboard, 2015), it is unknown whether the filings are just a protective measure to prevent others piggybacking the Beats Radio brand. In the United Kingdom, the government-approved communications and competition regulator Ofcom, can step-in to ensure monopolies of broadcasting remain fair. If a station like Beats 1 wanted to broadcast on FM, AM, or even DAB, there's a high likelihood that Apple – with their marketing budget in excess of $1 billion USD (United States Securities and Exchange Commission, 2012) and end-goal of creating several ‘Beats'-branded stations – would not be in receipt of an license. This is where broadcasting solely online has measureable advantages, namely in the lack of regulation. Under the sole condition Apple pays for the rights to stream music in the 100 countries Beats 1 is playable from, there are no further restrictions. Although indecency regulations do not apply to its online streams, Apple still chooses to play non-explicit, clean, radio-edited versions of tracks 24/7. ‘[C]ensoring explicit language could be a matter of playing it safe rather than hoping the content flies everywhere it's played,' Kastrenakes (2015) believes, ‘it's likely a way to stay in advertisers' good graces — and it's certainly possible that ads will show up on Beats 1 eventually, especially since it's available for free', he adds. Where a track has a particularly high number of expletives, presenters signpost the non-censored version as ‘now streaming on Apple Music', a call to subscribe to the service for uncensored content ‘as the artist intended'. As Priestman (2006, p.3) reminds us, ‘[r]adio was supposed to mean the end of newspapers [and] television was supposed to mean the end of radio', but as is now evident, newer mediums change their predecessors but do not replace them. Criticism aside, Apple has made some logical additions to the visual and multimedia assets accompanying radio. Beats 1's metadata – ‘data that provides information about other data' (Merriam Webster, n.d.) such as what is playing on the station – is visualised on the iPhone lock-screen (appendix; c, d). If users are Apple Music subscribers they can ‘favourite' tracks, add them to personal playlists for offline ‘on-demand' streaming, and share the station via social media channels. Moreover, the synergy Apple's Beats 1 manages to achieve by embedding its content within the native Music application is unrivalled. Presenters regularly direct listeners to their ‘Connect' pages – the social networking arm of Apple Music – to see content complimentary to on-air discussions. Apple's monopolistic attitude over its content pays-off here, where the dynamo and fluidity of content publishing aids the sense of liveness. While it is clear to see Apple have brought many innovations to the worlds of technology and of music – and is continuing to experiment, along with on-demand streaming services, with the power of radio – I am unconvinced Beats 1 poses a threat to traditional notions of radio broadcasting. I believe Apple has missed a trick by failing to make the station more revolutionary. The stream is ‘live' but its DJs are not, the station is ‘global' but radio works best locally. It is entirely within Apple's capabilities to syndicate international programming with local break-offs, in the same way Heart FM syndicates a national breakfast show with regional news and travel. Similarly, Apple could easily syndicate its presenters across several genres of station, unifying links but playing different tracks, thus narrowcasting to niche audiences while still maintaining an overall brand identity. Absolute Radio's ‘Project Banana', piloted during Christian O'Connell's breakfast show, adopts this method, handing consumers the power to ‘choose the music to suit their tastes, while enjoying and interacting with the show's hosts' live (MediaWeek, 2014). While the station certainly has had success in marketing itself as a ‘breakthrough', in the words of James Cridland (2015) ‘I'm not sure it'll set the world on fire'. Moreover, the move to launch a radio station has attracted many critics, one of which stated it was ‘a terribly exclusive vanity project' (O'Malley, 2015), a statement I'm inclined to agree with. Matt Deegan is correct; Beats 1 is an advertising space for Apple Music, and contains measureable disadvantages for non-subscribers. Nevertheless, Beats 1 does pose serious questions for Station Managers and Radio Futurologists alike, namely around sharing multimedia content, ideas of exclusivity and privilege, and scheduling for maximum impact. Where Beats 1 excels, such as in technological competence and innovation, it is my opinion more traditional stations fall far behind. Here, they really are ‘redefining radio'. In this digital age, stations need to strive for technological excellence and Beats 1 is a prime example. This is not shocking, as the biggest and most valuable technology company in the world owns Beats 1. It is just a shame that, as far as content is concerned, where other stations excel, Beats 1 misses the boat. 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In Episode 9, the guys of Macnificent discuss Apple's newest service, Apple Music. We take a look at Beats 1, Apple Music Connect, and the music curation and DJ's of Beats 1 - Zane Lowe, Julie Adenuga, and Ebro Darden.  We talk more about Apple Music. Ian talks about the experience of using an iPad as a computer replacement. Somethings of the Week: Waze Dreaming with Jeff Bridges Dark Sky Weather App