Alvaro Uribe is found guilty of witness tampering and procedural fraud, reports NICK MACWILLIAM
Echoes of Robeson with creative fire
Chris Searle on Jazz
On the anniversary of the implementation of the 1833 Slavery Abolition Act, ROGER McKENZIE warns that the legacy of black enslavement still looms in the Caribbean and beyond
Starmer’s decision to recognise Palestine only as long as Israel continues to massacre its inhabitants has been met with outrage, writes LINDA PENTZ GUNTER
The creative imagination is a weapon against barbarism, writes KENNY COYLE, who is a keynote speaker at the Manifesto Press conference, Art in the Age of Degenerative Capitalism, tomorrow at the Marx Memorial Library & Workers School in London
RAMZY BAROUD explains why the world can no longer ignore Palestine
Starmer’s decision to suspend Diane Abbott yet again demonstrates a determination to maintain and propagate a hierarchy of racism, writes CLAUDIA WEBBE
Eric Reed
Groovewise
(Smoke)
IN MAY 1952 and again in August 1958, the great singer, actor and cultural militant Paul Robeson, having been denied a passport by his own US government and confined within the boundaries of the world’s most powerful imperial nation, gave historic concerts on the back of a flat-bed truck in Blaine, Washington state, under the Peace Arch, a few feet from the Canadian border.
He sang across the US/British Columbia frontier which he was forbidden to cross, to 40,000 US and Canadian citizens in a unique and defiant performance of international solidarity.
I thought of these momentous events and Robeson singing Joe Hill, No More Auction Block or Ol’ Man River as I listened to the first very evocative track, Powerful Paul Robeson on the live album by the Philadelphia-born (in 1970) pianist Eric Reed and his quartet, recorded at New York’s Smoke Jazz Club in 2014, and called Groovewise.
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CHRIS SEARLE speaks to Ethiopian vocalist SOFIA JERNBERG
