Ghana's President speech during the United Nations Climate Change Conference #COP26
#AfricaSpeech #AfricaUN

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The Democratic Republic of the Congo produces nearly three-quarters of the world's cobalt, an essential component in rechargeable batteries powering laptops, smartphones and electric vehicles. But those who dig up the valuable mineral often work in horrific and dangerous conditions, says Siddharth Kara, an international expert on modern-day slavery and author of _Cobalt Red: How the Blood of the Congo Powers Our Lives_. In an in-depth interview, he says the major technology companies that rely on this cobalt from DRC to make their products are turning a blind eye to the human toll and falsely claiming their supply chains are free from abuse, including widespread child labor. "The public health catastrophe on top of the human rights violence on top of the environmental destruction is unlike anything we've ever seen in the modern context," says Kara. "The fact that it is linked to companies worth trillions and that our lives depend on this enormous violence has to be dealt with."

Transcript: https://www.democracynow.org/2....023/7/13/cobalt_red_

Democracy Now! is an independent global news hour that airs on over 1,500 TV and radio stations Monday through Friday. Watch our livestream at democracynow.org Mondays to Fridays 8-9 a.m. ET.

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Jake Blount, a banjo scholar, explains.

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Jake Blount has built a career out of understanding the banjo’s connection to Black American folk music. In this video, he walks us through the instrument’s history — from West Africa to enslaved people in the US to the early record industry — to explain how Black folk music has evolved.

For example: The early record industry confined Black musicians to “race records” and white musicians to “hillbilly records.” Hillbilly music would have been early country and string band music. Race records restricted Black musicians to blues and jazz genres. Which meant Black musicians playing bluegrass-style banjo weren’t recorded — even if they were responsible for teaching white musicians.

Using field recordings, their own banjo and fiddle skills, and a deconstructed version of one of their own songs, Jake explains how Black musicians have long been left out of the current canon of folklore recordings and American folk music history. And what he’s doing to keep the tradition alive, with fresh observations and a musical style that looks both forward and backward.

This video was filmed on location at Hancock Shaker Village in Pittsfield, Massachusetts.

Listen to Jake Blount’s music and find his album The New Faith, here: https://jakeblount.com/

Jake’s website also lists resources for Black string band music. You can find free online resources, discover contemporary black artists, and listen to source recordings here: https://jakeblount.com/black-stringband-resources

Gribble, M., Lusk, J., York, A. “Altamont” Black Stringband Music from the Library of Congress
Blount, J. “Once There Was No Sun” The New Faith
Jones, B. “Once There Was No Sun”

Smithsonian Music, “Roots of African American Music”
https://music.si.edu/spotlight..../african-american-mu

Smithsonian Music, “Banjos”
​​https://music.si.edu/spotlight/banjos-smithsonian

PBS, “Blackface Minstrelsy”
https://www.pbs.org/wgbh/ameri....canexperience/featur

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