"2AM in Venezuela" (OFFICIAL VIDEO): https://youtu.be/GtvkwgbVKF8

BLACK WINTER (Full Album): https://youtube.com/playlist?list=PLJSMFuicKjJ46p1K9TlqZPRGFSd0M5z9U&si=4WG_YXCGJinM6XEN

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⁣Sankofa Journey Interest Meeting March 29, 2026

"2AM in Venezuela" (OFFICIAL VIDEO): https://youtu.be/GtvkwgbVKF8

BLACK WINTER (Full Album): https://youtube.com/playlist?list=PLJSMFuicKjJ46p1K9TlqZPRGFSd0M5z9U&si=4WG_YXCGJinM6XEN

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Anowa by Ama Ata Aidoo with subtitlesWritten by Ama Ata AidooProduced by Almasi Collaborative

Arts https://www.youtube.com/channe....l/UCnfrYQ3_HMQhy8XjG

https://www.r2gh.com

Morocco is literally on the African continent. On the map, there’s no debate. But talk to many Moroccans and you hear stuff like “We’re Arab, we’re Mediterranean, we’re Amazigh” anything but Africa. That gap is evident in how Black people are treated, whether they are Black Moroccans whose families have been there for centuries, or migrants from further south just trying to pass through the Maghreb and stay alive. So what is going on here? Is this just an identity crisis at the edge of the Sahara, or something much deeper, a long history of slavery, Arab supremacy, anti-Black prejudice and European racial thinking all fused into one? How does a country that is physically part of Africa end up with such a persistent rejection of Blackness, and what does that mean for the Black people who have no other home but Morocco itself?


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Purchase the full presentation here: https://www.abibitumi.com/crimeagainsthumanityIn this Asaase Radio interview recorded on Wednesday, March 25, 2026, Ɔbenfo Ọbádélé Bakari Kambon breaks down Ghana’s landmark UN resolution calling for the transatlantic chattel slave trade to be recognized as a crime against humanity.This important discussion explores what the resolution means, why it matters, what reparatory justice should look like in practice, and why symbolic recognition is not enough. Ɔbenfo also highlights the connection between reparations and repatriation, pointing to the importance of concrete pathways for restoration rather than empty words.If you are interested in Black history, justice, reparations, repatriation, and Ghana’s role in this global conversation, this interview is for you.Purchase the full presentation here:https://www.abibitumi.com/crimeagainsthumanity

⁣This is not just music.
This is a declaration!

Today, at the heart of a world that is going crazy, where sovereign leaders are being kidnapped right from their sovereign countries and wars being perpetrated through false pretence and condemnations, resulting in innocent human beings loosing their lives, we are taking our responsibility. We are calling for all our African leaders to make The United States of Afrika a reality.

So from today, March 4th (march forth) we are calling on all African consciences, whether at home or abroad to engage and ask our African leaders to STAND UP and DO THE RIGHT THING to save Africa and Africans from the madness and actual real threat to life anywhere on the planet,, let alone Africa.

So we here present an instrumental anthem — a proposed future national anthem for the upcoming United States of Afrika, that is now more than a must. IT IS URGENTLY A MUST!.

We have created an anthem, sound that represents OUR DEMANDS from all our African leaders:

We demand:

• One Nation
• One Economy
• One Passport
• One Army
• One Shared Currency
• One Voice in Global Policy
• One Flag
• One National Anthem
• Free Movement Across All Union States

Africa stands at a historic crossroads. With over 1.4 billion people, the youngest population in the world, and the largest emerging free trade zone under the African Continental Free Trade Area, the structural foundations for continental unity already exist.

The framework is present through the African Union.

What remains is collective will.

This instrumental piece is offered as an example — a sound that could one day represent a united, sovereign, powerful continental federation.

If you believe in:
A borderless Africa.
An economically integrated Africa.
A politically coordinated Africa.
A globally respected Africa.

Subscribe. Share. Participate.

Comment your country and write: ONE AFRICA.

The future is CONTINENTAL.
The time is NOW!

#unitedstatesofafrika #oneafrica #panafrican #africanunity #africarising #futureofafrica

“Instead of wishing you 'good luck', like the conventional agriculture that's poisoning us, we want to wish you 'bon appétit.” Meet Kokou Gligbe, an organic farmer from Togo helping train the next generation of farmers! 🇹🇬

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⁣Why do Africans proudly speak English, French, Arabic, or Portuguese, yet struggle to promote their native languages? In this thought-provoking video, we explore how colonialism shaped Africa’s linguistic priorities and why regional languages are often sidelined. Are we losing a vital part of our identity? Let’s discuss the importance of preserving and promoting African languages for future generations.

Nigeria is plagued by human trafficking. Young women are lured to Europe by false promises. When they get to the EU, they are violently forced into prostitution and kept in debt. An escape is almost impossible.

Many young Nigerian women are drawn to the European Union by promises of good incomes and secure work, but they often pay a high price. The young women and their families go into debt to pay human traffickers for the journey. Once they are in Europe, the women are forced into prostitution rather than working as hairdressers or maids. The organized crime cartels behind this grim trade not only coerce the women and force them to work off their debts, they also threaten to kill their families back in Nigeria. But human rights campaigners say that the trafficking could not survive at all without willing customers.

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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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#dizzygillespie #nightintunisia #jazzhistory

‼️WATCH THE FULL UNCENSORED REASONING WITH 'DR. TALAWA ADODO AND DEJAZMATCH KWASI'' NOW‼️
https://ineverknewtv.com/premium/

In this powerful and thought-provoking conversation, Dr. Talawa Adodo and Dejazmatch Kwasi engage in a deep reasoning session on the philosophies of Marcus Garvey and Haile Selassie.

Together, they explore a critical question: Whose teachings offer the most practical roadmap for the Rastafari movement to achieve self-sufficiency, unity, and collective growth in the 21st century?

With respect, scholarship, and cultural insight, this dialogue dives into history, identity, African liberation, and the future of Rastafari in a rapidly changing world.

Learn more about Dejazmatch Kwasi and his work at:
https://youtube.com/@thelionsv....oicenetwork?feature=

🎧 Catch 'I NEVER KNEW RADIO
for Roots, Rock, Reggae Music!
Hosted by Jr a.k.a 'The Bald Head' of 'I Never Knew TV'
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Melodic Redemption song intro, courtesy of the Honorable Robert Nesta Marley, play by Alpha (Ayi)

Patoranking returns with his second official single, “African Soldier,” from his upcoming album, a powerful collaboration with the legendary @bujubanton

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Listen To Audio: https://orcd.co/patoranking_bu....jubanton_africansold


Label: Amari Musiq LTD
Exec Producer/Management: Rickie Davies
Management: Obed Kaze, Yomi Ogunsola
Exec Producer/Commissioner: Kofi Jr

Director: UAX
Prod Company: Fatking Films
Producer: Omar Reynoso
Pre-Pro Producer: Nem Fisher
Prod. Coordinator: Dasha Gusarova
DOP: Parris Stewart
1st AC: David Lunsford
2nd AC: Kezjahree
Steadicam Op: Kyle Fasanella
1st AD: Fritz Valerus
2nd AD: Mike Lee
Editor: Motunde Yahaya
Grade: Cleyder Duque
Gaffer: Vladimir Dabovic
Best Boy Electric: Francisco Amaya
Key Grip: Alejandro Infante
Grip: Kurtis Pfingst
Talent Stylist: Alexander-Julian (AJ) Gibbson
SA Stylist: Maya Aisha
MUA & Hairstylist: Stacy Gray
Art Director: Rich Han

Audio:
Producer: Paul “Jazzwad” Yebuah
Vocal Recording Engineer: Kuuka - Philip Akinkuade
Mixing Engineer: James Bonzai Caruso
Mastering Engineer: Maor Appelbaum


#africansoldier #reggae #roots #1990s #afrobeats #dancehall #dance #afrodancehall #patoranking #bujubanton #africanmusic #africa #afro #nigeria #jamaica

2026 Amari Musiq LTD

#thenewblackmind
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The Oromo people are the largest ethnic group in Ethiopia, constituting about one-third of the country's population. Their culture is rich and diverse, with deep historical roots and vibrant traditions like Irreecha and the Gadaa system. Their language, Afaan Oromo, is one of the most widely spoken languages in Africa, with an estimated 30 to 65 million speakers primarily in Ethiopia, but also in parts of Kenya and Somalia.

Here are the main sources for this video:
https://www.ajol.info/index.ph....p/ejossah/article/do
https://globaljournals.org/GJH....SS_Volume15/7-The-Or
https://www.akem.org.tr/post/g....ada-system-indigenou
https://addisstandard.com/irre....echa-what-it-is-and-
https://aemeromedia.com/erecha-festival/


Let me know what culture you would like to see next!

[PART 1] EFO SELA ADJEI - HUNTER HUNTERED XHIBITION

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Some of these people who only upset about their own kind being terrorist by Western Eurasians then try to paint the America people as good people, they aren't good people, there is no elite, all these people Rocfellaers, Carnges, Bush, Clintons if they didnt exist another White family would repalce them and do the same.