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Showing posts from April, 2018

CREE SF FILMMAKER DANIS GOULET ON MAKING WAKENING (MF GALAXY 162)

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COMEDIAN ALI HASSAN ON HOW IMPROV ARTISTS KNOW THE SECRET OF LIFE AND COMEDIANS DON’T (MF GALAXY 161)

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HOW BIZARRE CAREERS BEFORE COMEDY MADE HIM READY, WHY HOSTING CANADA READS WAS THE IDEAL TRAINING GROUND TO HOST CBC Q, WHEN A COMEDY MC SHOULD PURPOSEFULLY TANK HIS OWN PERFORMANCE

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I am a pernsnicketty cat—some would say difficult—and I have been known to argue at length that no one should ever use the expression “laughed out loud” because all laughter is out loud, by definition. So that means if I can overcome my boundless rage enough to invite the host of a national radio programme called Laugh Out Loud, I must really be impressed. And I am.

But Ali Hassan actually grabbed my attention not by MCing that showcase for Canadian comedians, but rather for his excellent work as an interviewer and guest host on CBC Radio’s q. I liked his voice, I liked his rapport with guests, and I liked his questions—but what totally floored me was that he easily and accurately dropped a reference to KRS-One during an interview without explaining it. I thought, I have got to cont…

DEIDRA RAMSEY MCINTYRE ON SCIENCE VS. WHITEWASHING EGYPT (MF GALAXY 160)

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It’s been well over two thousand, three hundred years since an actual Egyptian sat on the throne of the Nile Valley’s greatest civilisation. Since then, only foreigners have controlled Kemet, the true name for Egypt. And yet control over Kemet remains a fierce battle to this day.

On the one side are Eurocentrists who, to build their racial self-esteem, and to justify the massive crime of imperialism against Africa, have spent the last three hundred years Whitewashing the civilisation into something that their own Greek and Roman ancestors never claimed.

On the other side is everyone who embraces the historical record, physical anthropology, comparative linguistics and culture, and, of course, DNA. They recognise what most of Hollywood, Arabs in Egypt, and the Western academic establishment refuse to: that Kemet was an African civilisation from its farmers to its pharaohs.

Previously on MF Galaxy I’ve had a range of guests discussing African Egypt, including M…

REX SMALLBOY ON NO JUSTICE FOR TINA FONTAINE AND COLTEN BOUSHIE (MF GALAXY 159)

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Many Canadians, Indigenous and settler alike, were furious to learn the back-to-back verdicts in two murder cases. Juries declared Gerald Stanley not guilty of killing 22-year-old Colten Boushie, and Raymond Courmier not guilty of killing 14-year-old Tina Fontaine. The cases exposed how our colonial justice system makes it easy to exclude Indigenous citizens from juries and how rarely families can expect those who kill their loved ones to go to prison.

Some people protested in the streets. Some people protested with their art. Some people wept for the dead and for the future of their children. And some people did all three.

One such man is Rex Smallboy, the former leader of War Party, one of the country’s most successful hip hop bands ever. The motivational speaker and award-winning artist from Alberta’s Maskwacis Cree reserve released the song “Hey They Killing Us” immediately after the jury freed Tina Fontaine’s killer. You’ll hear it later in this show in…

BLACK PANTHER REVIEWED! THE PAN-AFRICAN PANEL OF ARTISTS, ORGANISERS, AND ACADEMICS RESPOND (MF GALAXY 158)

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Marvel’s Black Panther is a global sensation. As of Saturday, March 3, 2018, only two weeks and two days into its release, the Ryan Coogler/Joe Robert Cole film has grossed $US898 million worldwide. Within its first week it had outgrossed what DC’s Justice League took three months to earn, and the entire US runs of Ant-Man, Doctor Strange, The Incredible Hulk, the first Captain America, and the first two Thor films. It had the fifth-highest opening of all time and the third-highest four-day opening ever.

Of course, money isn’t everything, but the astonishing success of a film that is 100% obviously Africentric, starring African characters played by African actors, written by two African writers and directed by an African director, is game-changing. It negates in sky-writing every Hollywood executive who ever claimed that US-made movies about and by Africans could not make money outside the US.

And this is within the same 12-month period in which the African-mad…