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Stealing Africa | The Aid Scam | The Dirty Business of ‘Helping’ Africa Kwabena Ofori Osei 86 Views • 1 year ago

Africa is rich—rich in copper, oil, gold, diamonds, and people. But its wealth flows out while its people remain in poverty.

Stealing Africa
Release date: November 28, 2012 (Finland)
Director: Christoffer Guldbrandsen
Writer: Niels Borchert Holm
Stars: Christoffer Guldbrandsen, Bernhard Elsener, Ivan Glasenberg
Country of origin: Denmark
Language: English
Also known as: Plundringen av Afrika
Filming locations: Rüschlikon, Horgen, Kanton Zürich, Switzerland
Production companies: Guldbrandsen Film, The Why Foundation

Stealing Africa explores the mechanisms that keep the continent poor long after the end of formal colonial rule—revealing how modern multinational corporations, global tax havens, and unjust trade systems continue to extract resources and wealth on a massive scale.

At the center of the story is Zambia, home to the third largest copper reserves in the world, yet a country where 60% of the population survives on less than $1 a day and 80% are unemployed. Meanwhile, in the idyllic Swiss village of Rüschlikon, local government coffers overflow thanks to one resident: Ivan Glasenberg, CEO of Glencore, a commodities giant whose Zambian copper mines generate billions—but almost no tax revenue for Zambia.

Through extensive research and access to public financial records, the documentary uncovers how multinational corporations legally avoid paying taxes through transfer pricing, offshore shell companies, and favorable tax treaties. The result? For every dollar in aid Africa receives, ten dollars quietly vanish—spirited away through financial flows that benefit corporations and wealthy nations.

Stealing Africa is not just a film about economics—it’s about power, inequality, and accountability. It lays bare the modern architecture of plunder and asks the crucial question: What does it mean to be "post-colonial" when the money still flows in the same direction?

Produced by Steps International, this documentary is part of the “Why Poverty?” series and remains a vital watch for anyone interested in global justice, development, and the real cost of globalization.

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Why Blacks REALLY Love Jesus: SLAVE SERMONS "The Whipping Post" Kwabena Ofori Osei 55 Views • 3 years ago

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Those in power have always used religion as a transport system into the psychology of the people. Here is a very brief explanation of how the conquerors of the world used and continue to use religion to maintain dominance over the masses.

The conquerors of various cultures ultimately become the providers of resources to those cultures which overtime will appear as a "naturally superior" group over a "naturally inferior" group. Once this perception is established, it becomes easier for the conqueror to convince the conquered that their position has been divinely arranged and part of an omniscient plan. The conquered people on the bottom, in reality, have no fair way of reaching the top and are now at the mercy of those on the top to provide them with a liberating belief system, of which those on the top pretend to have experienced.

The dream of the conquered to be in the position of their conquerors becomes so great that the conquerors must provide a way to make their dreams come true without actually changing their collective position. This is achieved by creating the illusion that they can make it to the top. There are many ways this is done but the most efficient way of accomplishing this illusion is by creating a theology that offers the people on the bottom a way to get to the top (heaven)---virtually.

A monotheistic belief system is created and at its essence, is a loving, kind and all-inclusive savior that allows an opportunity for the conquerors to be forgiven for their transgressions. The conqueror's diabolical acts of enslaving, subjugating and decimating various cultures are willingly expunged by the conquered through the act of forgiveness. The conquered passively become bound, tied or fastened (Latin description of the derivation of the word religion/religare) to "god" and worship instead of freedom and liberation. Individual and personal relationships with provided deities take precedence over group goals and agendas, which is what constitutes a culture in the first place. The conquered pathologically rationalize their privation with the hope and faith that one day their predicament will change and they will ultimately be escorted to a place where unconditional love, wealth and peace abound.

Religious belief and imperialistic agendas go hand-in-hand. In order to break the cycle of ecclesiastical enslavement, one must be willing to challenge the status quo, particularly in areas pertaining to psychological bondage. As long as religion exists, there will be fear, powerlessness, dependency, separatism, imperialism and delusion. Until we (the conquered) understand how we arrived at where we are in terms of our beliefs and how our beliefs perpetuate social impotence, we will continue to be the bottom-feeders of the world. There is no divine plan behind the equation of conqueror over conquered. The meek have not inherited anything and the last have not finished first. It is only by recognizing that real liberation comes from knowing the conqueror's motives and strategies. Conquerors need victims and bible believing, "god"-fearing, church loving people are just the prey that keeps them in power. Religion must die so that we may live.

Authenticité : The Syliphone Years, Vol.1 (Full Album Audio) Ambakisye-Okang Dukuzumurenyi 19 Views • 5 years ago

↓TRACKLIST↓ Vol.1
1. Kélétigui & ses Tambourinis - Soundiata : 00:00
2. Balla & ses Balladins - Diaraby : 05:52
3. Kebendo Jazz - Soumba : 12:04
4. Horoya Band National - Karan-Gbegne : 16:20
5. Bembeya Jazz National - Djanfamagni : 20:25
6. Orchestre de la Paillote - Kankan-Yarabi : 24:34
7. Orchestre de Dabola - Semba : 27:41
8. Orchestre de Beyla - O.U.A : 31:54
9. Palm Jazz - R.D.A : 36:47
10. Bembeya Jazz National - Minuit : 41:55
11. Orchestre du Jardin de Guinée - P.D.G : 45:04
12. Orchestre de Beyla - Koukou Befo : 49:39
13. Kebendo Jazz - Information : 53:47
14. Orchestre de Kindia - La Guinée Wodi : 56:54
15. Super Boiro Band - Mariama : 01:00:15
16. Bembeya Jazz National - Boiro : 01:07:02

↓TRACKLIST↓ Vol.2 ▷▷ http://bit.ly/2zUGdt8

1. 22 Novembre Band - Kouma
2. Kélétigui & ses Tambourinis - Miri Magnin
3. Pivi & ses Balladins - Samba
4. Bembeya Jazz National - Bembeya
5. Horoya Band National - Were Were
6. Soumbory Jazz - Nana
7. Palm Jazz - Zimaï
8. Syli Authentic - Fabara
9. Camayenne Sofa - Karamoko
10. Tropical Djoli Band de Faranah - Soko
11. Nimba Jazz - Ziko
12. Le Simandou de Beyla - Festival

↻ ÉCOUTEZ / TÉLÉCHARGEZ la compilation "The Syliphone Years : Authenticité Vol.1" : http://smarturl.it/5q0coz
↻ ÉCOUTEZ / TÉLÉCHARGEZ la compilation "The Syliphone Years : Authenticité, Vol 2" : http://smarturl.it/rjj4eb

Pays : Guinée
Label : Syliphone
Production : Syllart Records / Sterns Music
Année : 2007

The Syliphone Years
Au lendemain de la décolonisation de la Guinée, le nouveau président Sékou Touré s'affirme comme le promoteur d'une réhabilitation de l'authenticité africaine face au déni colonial des cultures colonisées. Dans une perspective d'unité nationale et panafricaine, les artistes obtiennent le statut de fonctionnaire d'état et sont encouragés par le gouvernement à composer et écrire de nouvelles chansons dans un style plus moderne, tout en puisant dans le répertoire des récits historiques et des musiques ancestrales de l'aire Mandingue. Le fer de lance de cette politique n'était autre qu'un label d'état, le label Syliphone, dont les enregistrements sont de formidables témoignages du dynamisme et des richesses culturelles d'un peuple à l'aube de son indépendance qui porte au monde la voix de sa révolution.

► Authenticité : les orchestres nationaux et fédéraux guinéens (1965-1980)
Ce double album compile les merveilles du catalogue authenticité ainsi qu’un grand nombre d’enregistrements jamais édités en CD. Tous les grands orchestres de cette belle époque sont présents comme le Bembeya Jazz, Keletigui et ses Tambourinis, Balla et ses Balladins. Mais on y découvre également des orchestres moins connus, comme le Syli Autentic, le Kebendo Jazz ou le Palm Jazz, qui rivalisaient tout autant de leurs qualités propres lors des célèbres Festivals des Arts qui leur permettaient d'être promu au rang d'orchestre national et de s'assurer une carrière internationale et panafricaine.
(Texte : J.Dayan / Syllart Records)

↻ ÉCOUTEZ / TÉLÉCHARGEZ la compilation "The Syliphone Years : Authenticité Vol.1" : http://smarturl.it/5q0coz
↻ ÉCOUTEZ / TÉLÉCHARGEZ la compilation "The Syliphone Years : Authenticité, Vol 2" : http://smarturl.it/rjj4eb

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