Marco Benevento has announced the first batch of upcoming 2019 winter dates, as he will hit the road in late January and early February with his trio configuration, consisting of bassist Karina Rykman and drummer Andy Borger.The Marco Benevento trio will open the tour with a stop at Mobile, AL’s Soul Kitchen on January 23rd, before playing a show at Birmingham, AL’s Saturn on January 24th. The trio will then make stops in Atlanta, GA and Nashville, TN (January 25th and 26th), before hitting Asheville, NC; Charlotte, NC; and Charleston, SC (January 27th-29th). The tour continues with stops in Jacksonville, FL; Tampa, FL; and Orlando, FL; before wrapping the tour up at Miami, FL’s Blackbird Ordinary on February 2nd.In other Marco Benevento news, the keyboardist has a new studio album on the way, which will be produced by Leon Michels and act as a follow-up 2016’s The Story of Fred Short.Tickets for Marco Benevento’s upcoming winter tour go on sale Friday, November 2nd via Benevento’s website.For a full list of upcoming dates and ticketing information, head here.Marco Benevento Upcoming Tour Dates:November 1 – Burlington, VT – ArtsRiot *November 2 – Portland, ME – One Longfellow Square *November 3 – Albany, NY – The Hollow *November 23 – Brooklyn, NY – Brooklyn Bowl *November 24 – Brooklyn, NY – Brooklyn Bowl ^December 7 – Asheville, NC – Christmas JamJanuary 23 – Mobile, AL – Soul KitchenJanuary 24 – Birmingham, AL – SaturnJanuary 25 – Atlanta, GA – Aisle 5January 26 – Nashville, TN – Mercy LoungeJanuary 27 – Asheville, NC – The MothlightJanuary 28 – Charlotte, NC – The Neighborhood TheatreJanuary 29 – Charleston, SC – The Pour HouseJanuary 30 – Jacksonville, FL – Jack Rabbit’sJanuary 31 – Tampa, FL – CrowbarFebruary 1 – Orlando, FL – Will’s PubFebruary 2 – Miami, FL – Blackbird Ordinary* w/ Scott Metzger’s WOLF!^ w/ The ShacksView All Tour Dates
By April ReeseUniversity of GeorgiaEvery winter, many homes in Georgia fall victim to chimney fires.University of Georgia foresters say cleaning a chimney helpsprevent the risk of these fires.David Moorhead, UGA professor of silviculture, or commercialforestry, says it’s important to check your chimney and burn anefficient fire.Give your fireplace a winter checkup”Make sure all fireplace equipment is in good shape,” Moorheadsaid. That includes stoves, inserts and fireplaces. Pay closeattention to the flues, chimneys and stovepipe to make surethey’re clean and ready to go for the winter. Check the integrity of your chimney, stovepipe and any flamearresters, he said. And check the hearth in open fireplaces.”If you have an open fireplace, without a screen, it’s verylikely you could have things that may have nested in there overthe summer,” he said. “It’s good to clean out any nests that maybe in the chimney flu, because these could cause a flash firewhen you first light your fireplace.”If you use a fireplace with a pilot light or gas starter, checkthe fittings to make sure they’re working properly. “If you have anyquestions, contact someone who can come out and check theconnections,” Moorhead said.Proper firewood: hardwoods”One of the things that can really help in not only safety but inefficiency, too, is to use the right kind of firewood,” he said.The best wood is seasoned because its moisture content has been reduced throughdrying.Moorhead suggests splitting and stacking the wood and keeping acover over it. With normal Georgia temperatures, he said, thewood will air-dry sufficiently in three or four months.Don’t go out and cut living trees for firewood, Moorhead said.”You’ll be better off to work on some trees that have been cutpreviously and have dried out a little,” he said, “or to buy woodfrom a vendor.””Green wood is going to have a high moisture content that’s goingto allow a lot of the extractives in wood to go up in smoke andform residues on flues, chimneys and stovepipes,” he said. “Overtime, that’s where we get a buildup of creosote that could starta chimney or a flue fire.”Heat efficiency”Seasoned wood is particularly important for an efficient heatsource, as well as safety,” he said. “Hardwoods like oak,hickory, hard maple and pecan give a higher heat value and lastlonger.”Pine can be good starter wood but burns too quickly to be anefficient heat source. Moorhead recommends using only seasonedpine and in moderation.”You won’t want to go on a diet of 100-percent pine, but a littlewon’t hurt,” he said. Buildups in chimneys can cause fires. “You will get buildup ofmaterial and soot,” Moorhead said. “In some cases, this causescreosote, which is an oily deposit inside of a chimney or flue.In certain circumstances, that can cause a fire.”To help avoid a house fire, have your chimney cleaned.”A little bit of preventive maintenance can really save a lot ofproblems down the road,” Moorhead said. “Typically, you’ll needto thoroughly check all of the equipment, any electricalcomponents, the blowers or anything that might be associated withyour wood-burning units.”
African romance writers are creating waves from Lagos to Cape Town with a range of books that empower women. Ankara Press books offer readers alternative models of behaviour compared to those of traditional romances, which rely on ideas of male dominance. Cape Town author Amina Thula writes romance novels; she is one of a series of romance writers published by Ankara Press. The imprint aims to give a fresh spin on the genre, with books written by Africans, for Africans. (Image supplied) Priya Pitamber Forget Anastasia Steele and Christian Grey from Fifty Shades of Grey; Sindi Mali and Edward Boateng are steaming up the pages in Africa. Sindi and Edward are the main characters in The Elevator Kiss, written by Cape Town author Amina Thula. As the title suggests, the protagonists meet in a lift during Christmas, and kiss under the mistletoe. It is a kiss that changes both their lives.The Elevator Kiss is part of a group of novels published by the romance imprint Ankara Press; every one of its books is by an African author. Publisher Bibi Bakare-Yusuf first started Cassava Republic Press; a few years later, she started Ankara because “so many people read romance and it is also quite commercially viable”.Bakare-Yusuf said she felt the romance genre was an important vehicle for reconfiguring gender relations. “Not only just configuring gender relations but to show Africans in pursuit of love and erotic desire in a healthy and wholesome way,” she explained. “Romance is a genre that appeals to masses of women – and men – and it is therefore a good place to infuse transformative ideas about romance and desire.”According to the Ankara Press website, the imprint’s mission “is to publish a new kind of romance, in which the thrill of fantasy is alive but realised in a healthier and more grounded way”.No damsel in distress hereThula said most romantic sagas had a female character who, by the end of the story, had undergone a deep inner change. Her story of Sindi and Edward was different, however; it was “a personal journey for both of them and they both grow and change parallel to one another as their tale unfolds”.Edward did not have knight-in-shining-armour syndrome, and Sindi did not need rescuing. “When Edward does something for Sindi, it is normally the result of the situation and is not because he is trying to be her hero,” explained Thula. “Both main characters are well-rounded individuals who can deal with their own personal issues. They would never need a crutch because they are both very capable, have self-awareness and a healthy esteem.”Empower and enlightenThe books brought a fresh perspective compared to the more traditional romance novels. “We want to offer readers alternative models of behaviour from those provided by romances such as Mills and Boon,” explained Bakare-Yusuf. “In the past, romance novels have relied on dangerous notions of male dominance, control and manipulation that can be harmful to women. Many women tolerate abusive situations because they wrongly believe that this is what romance should look like.”She said Ankara’s titles aimed to empower women by showing what a healthy, balanced and passionate relationship could be. “It’s about giving women the permission to create the contours of their own sexual universe by providing them with representations of other women who have done it. And we felt it was equally important to give examples of men who are in touch with their own emotions and who are expressive.”Ankara stories feature young, self-assured and independent women who work, play and, of course, fall madly in love in vibrant African cities from Lagos to Cape Town. Ankara men are confident, emotionally expressive and not afraid of independent and sexually assertive women. “Our sensuous books will challenge romance stereotypes and empower women to love themselves in their search for love, romance and wholesome sex,” reads the website.Thula would also like to transform the romance genre and the portrayal of Africans in literature. “It’s about time we Africans dictated who we are and showed the world there is so much more to us than war, crime, famine and poverty,” she said. “I also think the romance genre has garnered an unfair reputation over the years. If there’s one thing we need more of in this world, it is love. We need to relearn how to love and relate to each other in a healthy and respectful manner.”A worthwhile readAinehi Edoro, writing on the lifestyle and entertainment website Bella Naija, described The Elevator Kiss as an effortless page turner. Sindi was not a typical romance heroine, she wrote. “She is not confused about her worth. She knows she is beautiful and smart. And most of all, she knows her body. She understands her desires and is not afraid or too shy to make a man satisfy them.“For those of us tired of romance stories where the woman has to wait for the man to make every move, Amina Thula has indeed given us a gift.”While reading the book, she also tweeted:Cant sleep. In bed reading Elevator Kiss. What do I think of it? Marvelous! *in bridget jones’ voice.* @jeremyweate pic.twitter.com/XKz2ReQAqT— BRITTLE PAPER (@brittlepaper) December 20, 2014I bought all @ankarapress new offerings because of the splendid covers, brilliant writers and yes I love romantic stories.— Agbonsbobo (@agbonsbobo) January 18, 2015Users who downloaded The Elevator Kiss also left their thoughts on the Ankara website. Lila described the story as “wistful, captivating and totally enthralling”. Another reader who went by the alias DL at first was hesitant to read it because of a disconnect in cultural experiences but “was pleasantly surprised to discover that was not the case”, and applauded the author: “Well done Amina, this was beautiful!”Bakare-Yusuf loved all six titles in the imprint, all for different reasons. “Each book provides a perspective and opportunity to enter into the interior world of the characters and go on a journey with them as they search for love and in the process come to terms with who they are as individuals.” Each book provided an alternative view of femininity and masculinity.Adventure and imaginationWhen Thula was a child, she wanted to become an historian or an archaeologist. “That dream was built on a lust for epic adventures, adrenaline-inducing action and high-level conspiracy and espionage – blame it on Wilbur Smith and Indiana Jones,” she joked. Now she is a student and author, even though she wrote the book with no expectation of it being published. In fact, she was certain Ankara would reject her manuscript.The book began with Thula testing her creativity. “After I finished the first three chapters, I emailed them to a friend who loved them so I decided to finish the story for her – it was going to be a gift for her,” she explained. “It took me almost a year before I sat down and wrote The Elevator Kiss because at first I couldn’t decide what genre to write. One day an innocent chance encounter with a neighbour in an elevator helped me decide on the genre and inspired the main characters’ meeting. The rest of the story flowed out from there on.”The other titles in the romance book series are:• A Tailor-Made Romance, Oyindamola Affinnih• Black Sparkle Romance, Amara Nicole Okolo• A Taste of Love, Sifa Asani Gowon• Love’s Persuasion, Ola Awonubi• Finding Love Again, Chioma Iwunze IbiamLooking to the future“We already have readers asking for more Ankara books, so the challenge is to keep up with them,” said Bakare-Yusuf. The publisher is working on the release of the next six titles, and while Ankara is concentrating on digital sales now, it also hopes to release audio and print books soon.“We are always looking for new authors, so if any readers think they have a romance novel inside them, I would encourage them to read the submission guidelines on our website and get in touch!” You never know, you could create the next Sindi Mali and Edward Boateng.”The e-books are available on the Ankara website.Would you like to use this article in your publication or on your website? See Using Brand South Africa material.
Crystal Palace launch bid for Everton striker Niasseby Paul Vegas10 months agoSend to a friendShare the loveCrystal Palace have launched a bid for Everton striker Oumar Niasse.The Sun says Palace have made a £6.5million bid for Niasse.Eagles boss Roy Hodgson has turned to the 28-year-old Senegalese international after a loan deal for Liverpool’s Dominic Solanke fell through.Hodgson is desperate for another striker to boost his team’s fight for Premier League survival.And he believes Niasse can supply the goal power he needs while record signing Christian Benteke continues to recover from knee surgery.Everton boss Marco Silva will not stand in the way of a player who has not started a single Premier League game this season or scored since last May. TagsTransfersAbout the authorPaul VegasShare the loveHave your say
Spain coach Moreno frustrated after Norway equaliserby Carlos Volcano13 days agoSend to a friendShare the loveSpain suffered a last gasp goal on Saturday, with Norway scoring a late equaliser to draw 1-1 and to leave coach Robert Moreno frustrated.Saul Niguez’s dipping second-half effort was cancelled out by Josh King’s injury-time penalty to ruin Spain’s 100% record in Group F.After the game, Moreno discussed the bad feeling in the dressing room.”When they equalise in the 93rd minute, you can’t feel good,” explained Moreno. “But that’s part of football.”We knew that they could be dangerous in that type of play.”In the final minutes we were a little nervous and we risked too much, but that can happen.”Despite the setback, Moreno chose to reflect on the positives from the game.”I liked the attitude of the team,” he said.”The players who played have done well.”I think we generated chances to score the second, but I wish we could have defended those plays better.” About the authorCarlos VolcanoShare the loveHave your say
D’Oliveira and Virgo both immigrated to Toronto in the ’70s (D’Oliveira from Guyana and Virgo from Jamaica), and they met in 1991 at the CFC’s inaugural Summer Lab. With support and resources from the CFC, they began working together on the award-winning short film “Save My Lost Nigga Soul” (1993) and then on Rude, which debuted at Cannes and helped put their newly-created production company on the map.The context of those early years of collaboration was a period in history (from the ’80s to the early ’90s) that Virgo describes as “a black film renaissance.” Hollywood was making movie stars out of black comedians like Richard Pryor and Eddie Murphy, the Sankofa Film and Video Collective was spearheading a black film movement across the pond in the U.K. and in 1986 Spike Lee opened the doors for black filmmakers with his feature film debut She’s Gotta Have it. It was an exciting time of possibility, and Virgo and D’Oliveira leveraged that moment to make bold artistic statements and craft a space for themselves in the Canadian film and television industry.These days Virgo serves as executive producer of the OWN series Greenleaf in addition to directing episodes of the show, and Conquering Lion is working on an adaptation of Laurence Hill’s latest novel The Illegal with the CBC.I spoke with Virgo and D’Oliveira last week by telephone and our interview quickly evolved into a rich conversation that covered an astounding array of topics. The two men gave hilarious anecdotes about their first meeting, told me about what it feels like to become pioneers and reflected on why they still hesitate with connecting to a Canadian identity.What were your first impressions of each other and why did you begin collaborating?Clement Virgo: I’m trying to recall the first time I saw Damon. I remember the hair.Damon D’Oliveira: (laughs)CV: It was very late ’80s, early ’90s kind of long, almost wannabe new wave, very feathered and long. But soon after that, I saw someone that was very focused and dedicated and ambitious. I recognized the same kind of ambitions I had. We became fast friends.DO: And I think I proved to him there was a brain under that head of hair. My impression of Clement was he was a fashion plate (laughs). Amanda Parris writes a weekly column for CBC Arts and is the host of Exhibitionists on CBC Television and Marvin’s Room on CBC Radio. In her spare time, she writes plays, watches too many movies and defends Beyonce against all haters. In her past lives she wrote arts based curriculum, attended numerous acting auditions, and dreamed of being interviewed by Oprah. Rude, the first ever feature film written and directed by a black Canadian, was released in 1995. A boldly experimental and stylistic movie, it explores the stories of three individuals who search for redemption over an Easter weekend, while a mysterious radio host sets the tone by waxing poetic on her philosophies of life.I watched Rude in university, and quickly realized that it was the first time I had ever seen a Canadian film that centred on the lives and experiences of black people. Not only that, those experiences informed its cinematic aesthetic. In class we read some of the numerous essays and articles that had been written in response to Rude, and that’s what first sparked my curiosity about the creative minds behind this landmark film: director/writer/producer Clement Virgo and producer Damon D’Oliveira. Twitter The Rude team at Cannes in 1995. (Courtesy of CFC)CV: Well, no. At the time you have to remember it was the beginning of a black film renaissance which kind of started a few years earlier with Spike Lee, and soon after that there were these films that came out of England by these black British filmmakers. It felt like we were kind of a wave of black diasporic films that were being made. We felt like we were part of a movement and we just happened to be one of the first in Canada. But I never saw it as we were making history. I looked at it as participating in a kind of movement.Damon, I know your background is in acting. Did you know that you would also decide to get into producing? How did that happen?DO: Acting can be a bit boring where you’re sitting around waiting for a phone to ring. For me it was always important to make my own work. And of course at that time, there were shit roles for people that looked like me. Nobody was writing culturally specific work at that time. So that’s always been my agenda with the stuff that I choose — to represent characters, stories, ideas that are true to my experience as a migrant to this country in the ’70s.I was watching an old interview with you, Clement, where you were talking about being at Cannes for the first time and you were going through the program and you saw your name and the name of the film and it said “From Canada.” And you stared at it for a long time and said, “Oh. I guess I’m Canadian.” (everyone laughs) Why was this a realization and did it change things for you?CV: The immigrant experience never leaves you. It’s very formative. It affects who you think you are nationally — even now. Every time I cross the border I think, “Are they gonna let me in?” It’s always in the back of my mind that I’m not gonna be let back into the country. It’s kind of irrational in some ways. But maybe not. It’s that sense of belonging. This idea around national identity is always something that I’ve struggled with.DO: The moment for me was when we took The Book of Negroes to Parliament Hill to show all the representatives in the House our work. For me that was like, “Wow. I guess I am Canadian now.” There was something almost metaphysical about that day. LEAVE A REPLY Cancel replyLog in to leave a comment About the Author Director Clement Virgo on the set of The Book of Negroes. Why have you both stayed in Canada? I know there’s work that you do in the U.S., but why do you both always return?CV: In terms of film and television, we can’t really think of Canada as a single market or the industry as a single place. We live in an integrated and global world. I live in Canada and I love living in Canada — I love living in Toronto. I feel at home there. But in terms of my career, I see my career as rooted around the world.. Actors Aunjanue Ellis (left) and Cuba Gooding Jr. appear in a scene from The Book of Negroes. (Joe Alblas/Conquering Lion Pictures/Out of Africa Pictures/CBC)For that to still be a question for two individuals who have helped to build this film industry in important and imperative ways is very fascinating.DO: Yeah, it’s weird. When you leave a country around 12, your memories are still there. I still have dreams of Guyana. But I suppose my identity as a Canadian is growing stronger as we make more work. CV: Yeah, I went to fashion school — I wanted to be a designer and I worked in fashion for about four years. Tom Ford has the exact career that I wanted. I’m thinking maybe as an older filmmaker now I should go back and experiment a little bit with fashion design. I feel like I’m going back to the things that I used to love.DO: I think in your filmmaking there’s a similar journey. Our short film “Save My Lost Nigga Soul” and Rude were really stylistic films that were made with a lot of emphasis on the style and the look of it. And then Clement started getting a little more puritan and sort of stripping away.CV: Yeah, my natural inclination is to be a bit theatrical but somewhere along the line I got it into my head that it shouldn’t be so self-conscious. I remember when we did our first film Rude there was a person that saw that film and dismissed it outright as being pure style. And a month later we were invited to Cannes.DO: Well actually what happened is — we invited a lot of Canadian distributors, a room of white faces, and the entire room dismissed the film on first viewing. And it was the same film that went in front of a Cannes jury and got in. So I feel like with our work we’re always pushing doors open.When you were making Rude, did you realize that what you were doing was pioneering? Advertisement Advertisement On Wednesday, both men and their company Conquering Lion Pictures were awarded in L.A. by the Canadian Film Centre (CFC) with the CFC Award for Creative Excellence. The honour celebrates their body of work in film and television, which includes the critically acclaimed mini-series The Book of Negroes(2015), as well as the films Poor Boy’s Game (2007) and Lie with Me (2005).. Facebook Login/Register With: Advertisement Amanda Parris
Laurie HamelinAPTN NewsChrystal Sparrow is an artist, but not just any artist.She’s a Coast Salish carver, which for a woman isn’t common.“There’s still that stereotype with men who are like ‘did you carve that or did your brother carve that for you?’ No I carved it and yes I use a chainsaw and yes I use power tools,” Sparrow says while laughing.(Chrystal Sparrow’s late father, Irving Sparrow. Photo courtesy: Chrystal Sparrow)Chrystal’s late father was a master carver who saw her talent as a child.“I am very proud to be a Coast Salish artist and more importantly that I was taught to be a Coast Salish artist,” says Sparrow. “I am third generation and my father, Irving Sparrow had decided when I was very young that I would become a female Coast Salish carver.“And I had the privilege of learning first hand his experience through him carving in our kitchen, him talking about art and stories he heard from elders.”(Musqueam artist Chrystal Sparrow taken in her A-frame studio residency. Photo by Laurie Hamelin/APTN)Sparrow has had an exciting year.She is finishing up her last week as the City of Vancouver’s inaugural artist chosen for their A-Frame Activation program in Stanley Park.The old wooden A-frame fieldhouse by Second Beach is her studio.The goal is for artists from either Musqueam, Squamish or Tsleil-Waututh Nations to engage the community on their unceded traditional territory.“This art residency has been a really good experience,” says Sparrow. “I have had visitors come who are non First Nations and who are First Nations and it’s really been an opportunity to share my work and my views as a Coast Salish artist.“But also it’s really been an opportunity to have conversations around what reconciliation is and more importantly awkward conversations around racism, around not knowing Coast Salish people were here or knowing little about Coast Salish people.”(Welcoming Figure carved by Chrystal and Christopher Sparrow. Photo by Laurie Hamelin/APTN)Sparrow also took part in carving one of three cedar poles outside the Vancouver school district’s education centre.It was unveiled on National Indigenous Peoples Day.Sparrow teamed up with her younger brother, Christopher Sparrow.He’s also a carver.Chrystal chose to carve a female welcoming figure in honour of her Coast Salish background.“The female for me was such an important way to represent Coast Salish people and women like myself who play such an important role in our communities and our culture,” says Sparrow. “But also non First Nations women as a way to build a relationship, as a way to honour that we are all women and we are all important.“And I have been told when people see her that she is such a calm presence, that there is a wisdom there and that is so neat to hear that.”(Sparrow and her brother Christopher teamed up to carve Welcoming Figure, one of three totem poles unveiled on National Indigenous Peoples Day. Photo: Chrystal Sparrow)Chrystal says the combination of her female figure and her brother’s killer whale is very powerful.“There’s this warrior represented in the killer whale and there is this warrior woman-like figure that is embodying this strength, this energy, it feels alive,” says Chrystal. “When I see her I feel this presence about her.“I feel like we’re connected and that she’s watching me.”Sparrow is proud of her achievements and takes her art very seriously.“I have this obligation, I have this opportunity to share my work,” she says. “Not only is it being seen as something important like house figures or panels or spindle whorls, but that it is a part of history, it’s living, it’s breathing. I am really honored to have a really important role in my community and that is being a Coast Salish artist.“I am very proud of that.”Sparrow’s next goal is to start her masters degree in expressive arts therapy in [email protected]