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Stealing Africa | The Aid Scam | The Dirty  Business of ‘Helping’ Africa
Stealing Africa | The Aid Scam | The Dirty Business of ‘Helping’ Africa Kwabena Ofori Osei 100 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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African Cosmology of the Bantu-Kongo (Bunseki Fu-Kiau) Chp 1 #wearereading African Philosophy
African Cosmology of the Bantu-Kongo (Bunseki Fu-Kiau) Chp 1 #wearereading African Philosophy AfroN8V 53 Views • 8 months ago

Join the #wearereading family at elywananda.substack.com to get full access to all live stream archives and to help support this African Centred Education project. This is a preview of the full live stream which is available for patrons only.

African Cosmology of the Bantu-Kongo (Fu-Kiau) Chp 3 #wearereading African Philosophy.

Bunseki Fu-Kiau, Ph.D. is one of the great scholars of the African religion, and the leading authority on the Bantu-Kongo civilization. He is also a genuine practitioner of the Kongo spiritual tradition. He is initiated into the three "secret societies" Lemba, Khimba and Kimpasi. Lemba is the foundation for several African based religious practices including Palo Mayombe (Cuba), Vodou Petro (Haiti) and Candomble Angola (Brasil). African cosmology of the Bantu-Kongo explores the Bantu-Kongo religious and philosophical teachings, as well as concepts of law and crime. It connects the reader with one of the most ancient and powerful spiritual traditions-explore "seven-direction walk" of our origin and links to society, nature and the universe.

Check the playlist for all episodes of the book: https://www.youtube.com/playli....st?list=PLb1pL6id3Sn

#wearereading live every weekend reading African Philosophy books. Check my channel playlists tab: https://www.youtube.com/@elywananda/playlists to see our previous in-depth studies covering the likes of Amos Wilson, Marimba Ani and Oyeronke Oyewumi. Upcoming authors include Frantz Fanon and Kwame Nkrumah.

It's been said that Black people don't read. Well, I am building a comprehensive African-centred education library called #wearereading of in-depth and interactive studies into African Philosophy, African Culture and African History.

If you like what you see, please join us live (see the "upcoming live streams" section) leave lots of comments and like and share widely. After each live stream finishes, the full session is archived for patrons. To become a patron and help support this mission, please go here: https://elywananda.subtack.com or https://www.patreon.com/ElyWananda 🙏🏿. See you soon!

African Cosmology of the Bantu-Kongo #wearereading28 African Philosophy [PREVIEW]
#africanphilosophy #africancosmology

We're Removing These Countries From Our Travel List After the UN Slavery Vote
We're Removing These Countries From Our Travel List After the UN Slavery Vote Baka Omubo 53 Views • 6 months ago

They just voted on slavery at the United Nations, and the results should change how every Black American thinks about moving abroad. In this video, we break down what that vote really signals, why “abstaining” is not neutral, and how we’re updating our travel and relocation recommendations for Black Americans based on the countries that stood up for our humanity and the countries that refused to.

We also highlight Ghana’s leadership on this historic resolution and share a practical framework you can use to research destinations through a deeper lens than cost of living and visa options.

TIMESTAMPS ⏰
0:00 Intro
1:41 What Happened At The UN
2:08 Why It Matters As Expats
6:06 What Countries Are Better Destinations

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Traore just helped Ghana make $12 Trillion by Collecting Their Gold from The West
Traore just helped Ghana make $12 Trillion by Collecting Their Gold from The West Nana 52 Views • 8 months ago

Ghana just made $3 billion in only four months—without discovering a single new gold mine. So how did they pull it off? Here's a hint: Captain Ibrahim Traoré had something to do with it. But what’s the real story behind this unexpected windfall? Let’s dive in.

Sitting firmly in Africa's Golden Triangle with South Africa and Sudan, it was a top-tier producer. But in spite of this natural wealth, the nation hardly ever benefited from its hidden gems. Year after year, billions of dollars' worth of gold left Ghana, but only remnants returned to the country's economy.

Lack of ownership was the issue, not a shortage of gold. With everything but no control, this has been the silent tragedy of Ghana's mining industry. Foreign multinational corporations with headquarters in Canada, the UK, South Africa, and Australia were primarily in charge of running the nation's gold mines.

Under private contracts, these businesses extracted the gold, processed it abroad, and then sold it to customers throughout the world. The role of Ghana? Take a little cut, supply the dirt, and avoid the boardrooms where the real money is earned. The gold wasn't the only thing that remained.

It leaves behind data, pricing control, and profit transparency. Numerous mining companies underreported their profits, took use of legal loopholes, or just set up their operations in ways that allowed for tax evasion. The riches had already vanished abroad, concealed in offshore accounts and business spreadsheets, by the time government officials became involved.

Ghanaians pondered for years how we could have so many resources and yet face unemployment, debt, and a weak currency. So far, the response has been silence. Silence thereafter became the norm. Early in 2025, however, numbers—rather than a protest or a politician—broke that stillness.

Silent, emotionless figures. Ghana's gold earnings soared to $2.7 billion between January and April. That is more than three times what it made during the same time frame only two years prior.

Furthermore, in just four months, the quantity of gold exported virtually doubled, rising from about 7,500 kilograms in early 2023 to over 30,000 kilograms. These were neither estimations or optimistic forecasts. These were actual transactions that were documented in Ghana's central bank's books and monitored by the country's customs department.

Naturally, people wanted to know where all of this originated. Was there a fresh gold deposit discovered by Ghana? Did the output of mining suddenly increase overnight? The response was much more significant and fascinating. There was always gold. Ghana simply stopped allowing it to disappear.

It was not the mines that changed. Who was in charge of the exits changed. Ghana wasn't allowing private corporations to control what was left on the ground or where it went for the first time.

Now a gatekeeper was present. A fresh idea that wasn't from Accra was standing outside that fence. It originated in Ouagadougou, a nearby capital.

The Ghanaian government had not simply happened onto a fortunate quarter, you see. They were no longer content to be a passive participant in the mining industry after studying something and observing someone. Motivated by fresh leadership on the continent, they had taken a very conscious decision.

However, we must examine the impact that led to that change in order to comprehend how a silent policy decision generated billions of dollars in unexpected revenue. Not even the African Union, not the International Monetary Fund, and not a think tank. It came from Captain Ibrahim Traoré, a man in a green beret, a soldier rather than a scholar, a leader who had seized a nation that was in disarray and dared to defy the laws of international economics.

The new model was not created in Ghana. But they didn't hesitate when they saw it. They modified it.

Dizzy Gillespie (1946) [NIGHT IN TUNISIA]
Dizzy Gillespie (1946) [NIGHT IN TUNISIA] Kwadwo Danmeara Tòkunbọ̀ Datɛ 78 Views • 3 years ago

Dizzy Gillespie and his Orchestra performing "Night in Tunisia", featuring Dizzy Gillespie - trumpet, Don Byas - tenor saxophone, Milt Jackson - vibraphone, Al Haig - piano, Bill DeArango - guitar, Ray Brown - bass, and J.C. Heard - drums . Recorded February 22, 1946 in New York.

For lead sheets complete with introductory verses, lyrics, and accurate chord changes, visit
https://www.jazzguitarcomprehensive.com/

The JGC History series features specifically curated playlists to help trace the lineage of some of the most influential jazz compositions of all time.

Some notes about the composition from the JGC Real Book,

Composer: Dizzy Gillespie

Year: 1942

Origin: Introduced by Sarah Vaughan in 1944 as "Interlude".

Style: A combination of straight and swing feels, typically played at brighter tempos.

Form: A-A-B-A (32 Bars) [8-8-8-8]
The A sections are played straight with the exception of the final 2 bars, while the B section is swung. This arrangement commonly used for the head only with the solo section entirely swung.

Intro: The bassline that moves from bII7 - Imi6 is usually used to begin the performance, and there is also a counter-melody that goes along with it.

Send-off: After the head in a 12 bar send-off is used to lead into the solos. This is then followed by a solo break which is commonly 4 bars long. It is typically only used the first time around, although it is sometimes used to introduce every new soloist. This section is played entirely swung.

Shout Chorus: After all the melodic soloists are finished a shout chorus is sometimes included. The shout played during the A sections while the B section is left open to the drummer. Sonny rollins offers a concise interpretation of this arrangement on his recording from A Night at the Village Vanguard.

Key: D minor

Harmony/Overview: The harmony of this composition is mainly functional. The main theme revolves around the constant arrival of bII7 - Imi, which is essentially V7alt - Imi (tri-tone substitution). The bridge is identical to that of "Alone Together", taking place in the relative Major and moving from II - V of II before a II - V - I.

Recordings: This song has been recorded over 400 times to date and is a widely popular standard. The first recording comes from Sarah Vaughan in 1944 and was originally entitled "Interlude", featuring lyrics written by Sarah Vaughan and Anita O'Day. One of the earliest instrumental recordings of Dizzy Gillespie performing the piece comes a 1945 session with Boyd Raeburn and his Orchestra. Dizzy would later record and perform this piece many times throughout his career, leaving several particularly legendary recordings behind.

JGC Top Picks:
Sonny Rollins, A Night at the Village Vanguard, 1957
McCoy Tyner, Today and Tomorrow, 1963
Dave Liebman, Besame Mucho and Other Latin Jazz Standards, 1993

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