The Apocalypse of Settler Colonialism

Gerald Horne Monthly Review
What is euphemistically referred to as “modernity” is marked with the indelible stain of what might be termed the Three Horsemen of the Apocalypse: Slavery, White Supremacy, and Capitalism, with the bloody process of human bondage as the driving and animating force of this abject horror.

Racial Wealth Divide Snapshot: Women and the Racial Wealth Divide

Dedrick Asante-Muhammad Prosperity Now
The historical legacy of the racial wealth divide when combined with gender inequality makes women of color uniquely economically insecure. The greatest socio-economic disparities for most women of color are rooted in racial inequality, which is then worsened by smaller but significant gendered disp

The Many Layers of Atlanta’s ‘Teddy Perkins’

Matt Zoller Seitz New York Magazine
Packing in as much raw emotion and as many twists and turns as a feature-length thriller, “Teddy Perkins” is a gothic funhouse of an Atlanta episode, filled with warped mirrors reflecting different aspects of American and African-American experience.

Friday Nite Videos -- Dec 6, 2013 (Mandela)

Portside
Music has always been a powerful expression and organizing tool of the oppressed people of South Africa. Here is music inspired by and supporting their struggles, including the artists Hugh Masakela, Abdullah Ibrahim, Johnny Clegg and Gil Scott-Heron.

Coal Train

South African jazz musician Hugh Masakela tells the story of the life and labor of the immigrant coal and gold miners of South Africa, so hard that they curse the coal trains that brought them.

Asimbonanga

Nelson Mandela makes a surprise appearance in this Johnny Clegg performance of Asimbonanga after the unbanning. The lyrics are powerful protest against the imprisonment of Mandela and his comrades a sense of loss for the murdered Steve Biko and others.

Soweto

Abdullah Ibrahim (formerly Dollar Brand), a founder of the African jazz movement, dedicated this composition to the 1970s youth-led uprising in Soweto, South Africa. It opens with the faint cry of a child. The accompanying images draw on both the apartheid era and the triumph over it.