ALEX HALL is disgusted by the misuse of ‘emotional narratives’ to justify uninformed geo-political prejudice
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The sound of liberation in Zimbabwe
How underground bands formed a vital part of the struggle against white supremacy
SUE TURNER welcomes a thoughtful, engaging book that lays bare the economic realities of global waste management
JOHN GREEN welcomes an insider account of the achievements and failures of the transition to democracy in Portugal
SIMON PARSONS applauds an imaginative and absorbing updating of Strindberg’s classic
PETER MASON is enthralled by an assembly of objects, ancient and modern, that have lain in the mud of London’s river
MICK McSHANE rubs shoulders with Mod legend Steve Craddock and joins in with the joyous Glasgow choir
DENNIS BROE sifts out the ideological bias of the newest TV series offerings, and picks out what to see, and what to avoid
WHEN Samy Ben Redjeb of Analog Africa Records fell in love with African music in the 1990s it was music from Zimbabwe he admired the most — travelling to the country as much as he could, collecting records on sale in almost every shop and store.
His new album, Roots Rocking Zimbabwe — The Sound Of Harare Townships 1975-1980 features 25 tracks cut during the war of liberation in Zimbabwe (previously Rhodesia).
Under Rhodesia’s white-owned press, black people didn’t feature much — unless they were described as “dead terrorists.” But in 1972 The Rhodesia Herald printed a front-page photo of Manu Kambani, guitar player of the band Dr Footswitch (who could mimic Jimi Hendrix) with the caption “Jimi Hendrix is dead but Manu is alive.”
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A horn of plenty, no less!
