Global
No, Blues in the Night is not the new theme song that the post-Election Day Democrats are singing. Rather, it is a show starring that distinctly African American art form, the Blues, directed by Ebony Repertory Theatre’s Wren T. Brown and conceived by Sheldon Epps. In the Tony and Olivier award nominated Night four singers croon and belt out 26 songs, many of them created by luminaries of the genre such as Duke Ellington (“I’m Just A Lucky So-And-So”), Bessie Smith (“Blues Blues”), Benny Goodman (“Stompin at the Savoy”) and the eponymous “Blues in the Night” by Harold Arlen and Johnny Mercer. Happily, none of the music was lip synched and all the numbers were performed by a live quintet.
WHERE IS THE “FREEDOM TO VOTE” ACT & THE FUTURE OF RECOUNTS / AUDITS
In the Grassroots Emergency Election Protection Zoom #70, with up to 80 people present, we’re led by the great JOEL SEGAL as we confront what’s happening with the premier voter protection Acts of our time.
From Panama to Puerto Rico, the emerging struggle for independence from US imperialism continues in Latin America today. Puerto Rico is still a colony, called by the imperialists a common wealth, and although Jimmy Carter had us finally withdraw from the Panama Canal, the US continues to meddle in Panama, and maintain division between Panama and the rest of Latin America whether it be Central (Meso) or South America.
This struggle includes the resistance against economic coercion in all forms, including the guerra economica (economic war in Spanish) also known as sanctions. The imperial term sanction makes it sound like a surgical procedure, but it is far more harsh. The blockades or embargoes under international law are in fact a form of warfare. According to the UN, US imposed sanctions on the Venezuelan people have killed 10s of 1000s.
“Could China’s economy collapse?” was the title of an October 15 article published by QUARTZ magazine. The article makes an ominous case of a Chinese economic crash and its impact on China’s and global economies.
BANGKOK, Thailand -- Ancient Silk Road travelers cursed China's
largest desert as "Takla Makan," an ominous Persian-Turkic expression
which translates as "enter and you may never return."
Undeterred by its sandstorms and merciless terrain in the oblong basin
north of Tibet's glacier-packed peaks, China has announced completion
of the final section of a Taklamakan Desert railway loop line, the
world's first to encircle a desert.
Elsewhere, China is constructing maglev train systems, capable of
hurtling passengers and freight hundreds of miles per hour, including
an underwater route near Shanghai to reach tiny offshore islands.
These latest railways increase China's military, industrial,
agricultural and political prowess, amid escalating rivalry with the
U.S. over each nation's capabilities.
The Taklamakan Desert railway loop also allows Beijing greater access
to rebellious Kashgar, a distant southwestern city near vulnerable
borders with India, Pakistan, Afghanistan and Kyrgyzstan.
Kashgar and elsewhere in Xinjiang province comprise a large population
When Joe Biden was declared the winner in the US elections last November, expectations in Ramallah were high. A Biden Administration, compared to the brazenly pro-Israel Trump Administration, would surely be much fairer to Palestinians, was the conventional wisdom at the time.
Several million dollars’ worth of fiction exploded the other day, leaving cinematographer Halyna Hutchins — age 42, a wife, a mom — dead, and plunging Alec Baldwin, who accidentally shot her, into a state of unimaginable hell.
This happened on Oct. 21, in Santa Fe, New Mexico, on the set of the movie Rust. Despite the enormity of coverage the incident has gotten, I remain bewitched with incredulity over one unanswered question. Baldwin, the star of the movie, a Western, and one of its producers, was practicing his gun draw, using a prop gun he’d been given — except the gun wasn’t a prop. It was real. And it was loaded.
My question, of course, is: Why?
On October 26 I saw Tom Stoppard interviewed on PBS’ Amanpour & Company and the British playwright stated that “theater is a storytelling art form.” While I hold the bard who wrote 1966’s Rosencrantz and Guildenstern Are Dead in high esteem (see my review of A Noise Within’s 2016 production of Arcadia: “Arcadia”: Tom Stoppard’s complex Byronic drama to the manor born – People's World (peoplesworld.org)), there are some intrepid souls in the realm of the stage who’d beg to differ with Stoppard’s definition/description of theater.