Consequence’s Origins is a recurring series that gives artists a place to break down everything that went into their latest release. Today, Sinkane dissects his new song, “How Sweet Is Your Love.”
Sinkane (aka multi-instrumentalist Ahmed Gallab) has announced his fifth studio album, We Belong, out on April 5th via City Slang Records. In addition, the pop and funk artist has announced a US tour and released the new single, “How Sweet Is Your Love,” along with its accompanying music video
In a compelling preview of what is sure to follow on We Belong, the song is dancy and fun. It’s in part inspired by the American punk scenes of the ’70s and ’80s, as well as the soul music of Gallab’s native Sudan.
“‘How Sweet Is Your Love’ is about remaining in the present and feeling all of your feelings as fully as possible,” Gallab tells Consequence about the tune.
Sinkane (aka multi-instrumentalist Ahmed Gallab) has announced his fifth studio album, We Belong, out on April 5th via City Slang Records. In addition, the pop and funk artist has announced a US tour and released the new single, “How Sweet Is Your Love,” along with its accompanying music video
In a compelling preview of what is sure to follow on We Belong, the song is dancy and fun. It’s in part inspired by the American punk scenes of the ’70s and ’80s, as well as the soul music of Gallab’s native Sudan.
“‘How Sweet Is Your Love’ is about remaining in the present and feeling all of your feelings as fully as possible,” Gallab tells Consequence about the tune.
- 1/23/2024
- by Venus Rittenberg
- Consequence - Music
Exclusive: As George Clinton is preparing to get his own star on the Hollywood Walk of Fame, a new documentary about the Parliament-Funkadelic founder is in the works.
Clinton, a funk pioneer, is the subject of Mommy, What’s a Funkadelic?.
The documentary is written by Ishmael Reed, the author behind novels including Mumbo, Jumbo and known as the father of Afrofuturism, and co-directed by Alan Elliott, director of Aretha Franklin film Amazing Grace, and Christopher Harris, director of films including Reckless Eyeballing and Still/Here.
CAA and 3Arts are helping the filmmakers find financing. You can watch a trailer, narrated by Harry Lennix and introduced by Presidential candidate Dr. Cornel West, below.
Mommy, What’s a Funkadelic? tells the story of Clinton, his alter egos and friends. It is a somewhat absurdist take on the history of Parliament-Funkadelic featuring never-before-granted access to his archive.
It comes as...
Clinton, a funk pioneer, is the subject of Mommy, What’s a Funkadelic?.
The documentary is written by Ishmael Reed, the author behind novels including Mumbo, Jumbo and known as the father of Afrofuturism, and co-directed by Alan Elliott, director of Aretha Franklin film Amazing Grace, and Christopher Harris, director of films including Reckless Eyeballing and Still/Here.
CAA and 3Arts are helping the filmmakers find financing. You can watch a trailer, narrated by Harry Lennix and introduced by Presidential candidate Dr. Cornel West, below.
Mommy, What’s a Funkadelic? tells the story of Clinton, his alter egos and friends. It is a somewhat absurdist take on the history of Parliament-Funkadelic featuring never-before-granted access to his archive.
It comes as...
- 1/19/2024
- by Peter White
- Deadline Film + TV
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSFollowing the launch of the English-language podcast earlier this month, yesterday we revealed our upcoming original Spanish-language podcast! In the first season of the Mubi Podcast: Encuentros, co-produced by Mubi and La Corriente del Golfo Podcast, leading voices in Latin American film and culture come together to think about their own methods and processes for approaching the craft, talk about personal experiences, and reflect on films and filmmakers that have inspired their work. We begin with Gael García Bernal (Mexico) and Carolina Sanín (Colombia) as the guests of the first episode, entitled The Ritual of the Masks. The first season of Encuentros consists of in-depth conversations among colleagues, an encounter between two people who share their love for cinema. Check out the trailer above and subscribe wherever you listen to podcasts here.Andrea Arnold...
- 6/16/2021
- MUBI
Mubi's series Double Bill: Bill Gunn is showing July - December, 2020 in the United States.How daring to make a Black picture without a race problem. So daring that the critics stateside assailed Ganja & Hess (1973), so befuddled were they by the vision of director Bill Gunn. He took them famously to task in a New York Times op-ed, which pointedly condemned the whiteness of film criticism. Gunn died in 1989, but his gripe remains unfortunately pertinent today, and at this moment, when much of mainstream media attention afforded to Black films has taken the shape of anti-racist watch lists. These are useful as educational fodder, but less so on the front of appreciating and valuing films from Black directors absent from conversations about art and cinema today—including Gunn’s.Gunn acted in Kathleen Collins’s Losing Ground (1982) and rubbed elbows with James Dean and Marlon Brando. He wrote the...
- 8/5/2020
- MUBI
Hamilton is having a moment. Again. After being the toast of Broadway and pop culture five years ago, Lin-Manuel Miranda’s tour de force musical is back in the spotlight and in a different context. When it premiered at the Public Theater and then on Broadway in 2015, Hamilton was heralded as a masterpiece that broke into the mainstream with its infinitely catchy and layered original soundtrack, which fused rap and hip hop rhythms with traditional Broadway melody, jazz, and other American influences. And with its color-blind and diverse casting, it also reframed the American experiment’s founding for all Americans. At the time, it was embraced as the definitive work of art of the Obama years, with Michelle Obama herself calling it the best art “I have ever seen in my life.”
Yet five years later and after receiving a relatively rapturous reception by a new audience this Fourth of...
Yet five years later and after receiving a relatively rapturous reception by a new audience this Fourth of...
- 7/7/2020
- by David Crow
- Den of Geek
For our most comprehensive year-end feature, we’re providing a cumulative look at The Film Stage’s favorite films of 2018. We’ve asked our contributors to compile ten-best lists with five honorable mentions–those personal lists will be shared in the coming days–and, after tallying the votes, a top 50 has been assembled.
It should be noted that, unlike our previous year-end features, we placed no requirement on a selection being a U.S theatrical release, so you may see some repeats from last year and a few we’ll certainly be discussing more during the next twelve months. So, without further ado, check out our rundown of 2018 below, our ongoing year-end coverage here (including where to stream many of the below picks), and return in the coming weeks as we look towards 2019.
50. Ash is Purest White (Jia Zhangke)
For over two decades the filmmaker Jia Zhangke has, through his movies,...
It should be noted that, unlike our previous year-end features, we placed no requirement on a selection being a U.S theatrical release, so you may see some repeats from last year and a few we’ll certainly be discussing more during the next twelve months. So, without further ado, check out our rundown of 2018 below, our ongoing year-end coverage here (including where to stream many of the below picks), and return in the coming weeks as we look towards 2019.
50. Ash is Purest White (Jia Zhangke)
For over two decades the filmmaker Jia Zhangke has, through his movies,...
- 12/21/2018
- by The Film Stage
- The Film Stage
Sffilm executive director Noah Cowan knows how to play awards season. He moved the San Francisco Film Society’s annual awards fundraising night from April to December — in the awards corridor — knowing he could lure some awards players to San Francisco. What’s in it for them? Bay Area Academy members, who showed up for a Monday night pre-event cocktail party at The Palace of Fine Arts, including documentary filmmakers, costume designers, sound editors, animators, and visual effects artists. With Pixar and Lucasfilm based in San Francisco, it’s a crafts mecca.
This awards night belonged to Oakland filmmaker made good, Boots Riley, whose father beamed with pride along with novelist Ishmael Reed, who presented the Kanbar Award for Storytelling to the rookie director. Riley thanked Sffilm for making him a filmmaker in residence in 2014 and helping him to develop Sundance breakout “Sorry to Bother You,” which Annapurna turned into a summer hit.
This awards night belonged to Oakland filmmaker made good, Boots Riley, whose father beamed with pride along with novelist Ishmael Reed, who presented the Kanbar Award for Storytelling to the rookie director. Riley thanked Sffilm for making him a filmmaker in residence in 2014 and helping him to develop Sundance breakout “Sorry to Bother You,” which Annapurna turned into a summer hit.
- 12/4/2018
- by Anne Thompson
- Thompson on Hollywood
Personal Problems. Image courtesy of Kino Lorber, Inc.In films, there are “Black people problems,” wherein one person’s moral flaws are taken to stand in for a moral flaw with the whole race. These are usually related to drug abuse, extreme violence and a general degeneration of the values that make up the social codes. In his editorial for The New York Times on the Oscar-nominated film Precious (2009) and its theme of incest, the poet Ishmael Reed writes, “This use of movies and books to cast collective shame upon an entire community doesn’t happen with works about white dysfunctional families. It wasn’t done, for instance, with Requiem for a Dream, or with The Kiss.” When scripting Bill Gunn’s Personal Problems (1980), Reed wrote about the daily life of the nurse aide, Johnnie Mae Brown, who is not a drug dealer or a coke-snorting bad mother or even...
- 3/29/2018
- MUBI
Welcome to The Night Of's day after, when viewers are undoubtedly experiencing the slightly woozy, vaguely hungover sensation that accompanies eight weeks of investment in a TV show and the promise of a potentially earth-shaking pay-off that, in the end, can be filed under mileage-may-vary. To be fair, it was apparent very early on that this HBO miniseries wasn't likely to dominate the modern equivalent of water-cooler discussions in a way that, say, the true-crime phenomenon Making a Murderer did last winter, or the spot-the-Reagan-era-reference game that was Stranger Things...
- 8/29/2016
- Rollingstone.com
"If John O. Killens was the soldier of darkness, James Baldwin the prophet of darkness, then Bill Gunn was the prince of darkness…" – Ishmael Reed, "Airing Dirty Laundry" (1990) I have not seen Spike Lee's "Da Blood of Jesus" (a remake of Bill Gunn's "Ganja & Hess"), and I doubt if I will for some time. I already wrote last month when I went public with development plans for my latest work, "Octavia: 'Elegy for a Vampire" that I felt it was odd that Jim Jarmusch and Spike Lee had both released vampire films as I was just about to start one. I thought I might have gone the way of “fashion.” But of course I realized...
- 7/18/2014
- by Dennis Leroy Kangalee
- ShadowAndAct
Influential African Americans have attacked Quentin Tarantino's film for what they say is an inappropriate tone. Author and director Candace Allen explains why she disagrees
In the mid-1990s when my sister and I were nursing an A-list star's film project through what I came to term "Hollywood Nightmare No 1" and I, the writer, became daunted by the madness, my sister sought to steel my nerve by quoting sacred text from the La-la Land bible: "Remember, it ain't show art. It's show business."
As we consider the trajectory of Quentin Tarantino's much-anticipated Django Unchained this is a, if not the, salient thought to keep in mind. Irreverent, B-movie and grotesquerie devotee, n-word bandying, sometimes brilliant, usually outrageous, Tarantino directs his talents towards slavery. Cue the claque and all the usual suspects. From the film's announcement in early 2011, when copies of the 166-page Qt-annotated script first began to circulate in the film blogosphere,...
In the mid-1990s when my sister and I were nursing an A-list star's film project through what I came to term "Hollywood Nightmare No 1" and I, the writer, became daunted by the madness, my sister sought to steel my nerve by quoting sacred text from the La-la Land bible: "Remember, it ain't show art. It's show business."
As we consider the trajectory of Quentin Tarantino's much-anticipated Django Unchained this is a, if not the, salient thought to keep in mind. Irreverent, B-movie and grotesquerie devotee, n-word bandying, sometimes brilliant, usually outrageous, Tarantino directs his talents towards slavery. Cue the claque and all the usual suspects. From the film's announcement in early 2011, when copies of the 166-page Qt-annotated script first began to circulate in the film blogosphere,...
- 1/11/2013
- by Candace Allen
- The Guardian - Film News
Written by Darius James and Oliver Hardt and directed by Hardt, the documentary The United States of Hoodoo explores the influence of African spirituality and religious customs, brought to the Americas by the Trans-Atlantic Slave trade centuries ago, in American popular culture. The 100-minute documentary features Darius James and Ishmael Reed, Nick Cave, Val Jeanty, Shantrelle P. Lewis, Danny Simmons, Kanene Holder, David "Goat" Carson, Hassan Sekou Allen, Sallie Ann Glassman and others. Hoodoo is set for a theatrical release in Germany next month and for an international release afterwards on autumn of this year. Official synopsis: A spiritual...
- 6/12/2012
- by Vanessa Martinez
- ShadowAndAct
“I’ve liked every script I’ve ever written,” Bill Gunn told an interviewer in 1971, “I’ve hated every movie made from them.” It’s a prickly statement for a screenwriter, especially one with such a precarious reputation: fresh off two box-office failures, Gunn had already scandalized Warner Brothers with the wildly pan-sexual “Stop,” which the studio funded but then refused to release. Two years later Gunn would write and direct the gonzo vampire freak-out “Ganja and Hess,” making his greatest cinematic contribution while functionally ending his film career.
The quotation feels especially prescient now, more than 20 years after Gunn’s death, from encephalitis at age 54. His résumé is dismally short, filled with broken projects that range from the entirely ruined (prior to release, “Ganja and Hess” was carved up by the studio, reduced to a cheesy Blaxpoitation flick called “Blood Couple”) to the slightly mussed (Hal Ashby’s “The Landlord”). “Ganja,...
The quotation feels especially prescient now, more than 20 years after Gunn’s death, from encephalitis at age 54. His résumé is dismally short, filled with broken projects that range from the entirely ruined (prior to release, “Ganja and Hess” was carved up by the studio, reduced to a cheesy Blaxpoitation flick called “Blood Couple”) to the slightly mussed (Hal Ashby’s “The Landlord”). “Ganja,...
- 6/16/2010
- by Jesse Cataldo
- The Moving Arts Journal
"God save us from the good intentions of well-meaning white liberals." That was Morgan Freeman years ago at the press junket for "Driving Miss Daisy" explaining to some concerned Caucasian that, no, it wasn't retrograde to depict an elderly black character in the American South of the '50s and '60s not acting like Huey Newton.
God didn't do such a hot job for Bruce Beresford's movie -- that graceful, sly two-hander is still talked about as if it were some antebellum fantasy of black servility.
But if, as Pauline Kael said, there's a separate God for the movies, then perhaps He or She will some day explain how "Precious," a racist freak show, has been widely embraced as a gritty, unsparing film about black inner-city life, while "The Blind Side," a tough-minded, unresolvable picture about the contradictions that occur when race and class and talent collide in America,...
God didn't do such a hot job for Bruce Beresford's movie -- that graceful, sly two-hander is still talked about as if it were some antebellum fantasy of black servility.
But if, as Pauline Kael said, there's a separate God for the movies, then perhaps He or She will some day explain how "Precious," a racist freak show, has been widely embraced as a gritty, unsparing film about black inner-city life, while "The Blind Side," a tough-minded, unresolvable picture about the contradictions that occur when race and class and talent collide in America,...
- 3/4/2010
- by Charles Taylor
- ifc.com
Oscar nominations for Precious and The Blind Side seem to have increased nonsensical attacks that the films are racist
As someone who did voter registration in the South during the 1960s, I am dismayed at the negative criticism now being voiced against two films, Precious and The Blind Side, that deal with the problems of growing up as a black person in America. The multiple Oscar nominations that both films have received have, if anything, increased the attacks on them.
Sadly, the attacks represent a racial step backwards rather than forward. If such criticism had been heeded in the 1960s, when "We Shall Overcome" was the anthem of the civil rights movement, it would have been fatal to a political movement that depended on black-white alliances for its successes.
The boldest civil rights undertaking of the era, the Mississippi Freedom Summer of 1964, in which white and black college students ran...
As someone who did voter registration in the South during the 1960s, I am dismayed at the negative criticism now being voiced against two films, Precious and The Blind Side, that deal with the problems of growing up as a black person in America. The multiple Oscar nominations that both films have received have, if anything, increased the attacks on them.
Sadly, the attacks represent a racial step backwards rather than forward. If such criticism had been heeded in the 1960s, when "We Shall Overcome" was the anthem of the civil rights movement, it would have been fatal to a political movement that depended on black-white alliances for its successes.
The boldest civil rights undertaking of the era, the Mississippi Freedom Summer of 1964, in which white and black college students ran...
- 2/22/2010
- by Nicolaus Mills
- The Guardian - Film News
In response to the six Academy Award nominations received last week by Precious: Based on the novel ‘Push’ by Sapphire, the New York Times editorial page decided to honor the movie by publishing… another blistering attack on it. In theory, that’s okay with me: Precious, in the very spotlight of its success, has been a movie of genuine controversy, and there's no reason that it can't continue to bear criticism along with praise. But this particular piece of invective, by Ishmael Reed, the venerable poet, novelist, and essayist (he was born in 1938), was notably revealing in the recklessness of its venom.
- 2/8/2010
- by Owen Gleiberman
- EW.com - The Movie Critics
The blacks who are enraged by “Precious” have probably figured out that this film wasn’t meant for them. It was the enthusiastic response from white audiences and critics that culminated in the film being nominated for six Oscars by the Academy of Motion Picture Arts and Sciences, an outfit whose 43 governors are all white and whose membership in terms of diversity is about 40 years behind Mississippi.
In fact, the director, Lee Daniels, said that the honor would bring even more “middle-class white Americans” to his film.
[...]
Black films looking to attract white audiences flatter them with another kind of stereotype: the merciful slave master. In guilt-free bits of merchandise like “Precious,” white characters are always portrayed as caring. There to help. Never shown as contributing to the oppression of African-Americans. Problems that members of the black underclass encounter are a result of their culture, their lack of personal responsibility.
In fact, the director, Lee Daniels, said that the honor would bring even more “middle-class white Americans” to his film.
[...]
Black films looking to attract white audiences flatter them with another kind of stereotype: the merciful slave master. In guilt-free bits of merchandise like “Precious,” white characters are always portrayed as caring. There to help. Never shown as contributing to the oppression of African-Americans. Problems that members of the black underclass encounter are a result of their culture, their lack of personal responsibility.
- 2/5/2010
- by Tambay
- ShadowAndAct
"Ali, write me 20 pages about a family - a Muslim American family. You ever read Long Day's Journey into Night or Death of a Salesman? Yeah, something like that. I'm tired of seeing Muslims pummeled by the media as caricatures and stereotypes. I want to hear their story. Ok? Great. Give me 20 pages and you can pass my class," ordered my Uc Berkeley Short Story Professor, Ishmael Reed, in 2001. A play that originally started as a student assignment premieres on 9-11 in New York, Off-Broadway, at the landmark Nuyorican Poets Café for a historic 5 week run. "The Domestic Crusaders" has been hailed as "one of the first major Muslim American plays" and compared to "A Raisin in the Sun" and works by Tennessee Williams and Eugene O'Neill. Such praise is humbling, gratifying and utterly terrifying. It...
- 9/4/2009
- by Wajahat Ali
- Huffington Post
By Maud Newton
Adapting fiction for the screen has always been a tricky endeavor. For every "Apocalypse Now," "The Big Sleep" or "Rebecca," there are scores of butchered classics and box office duds, and in recent years, Hollywood has only continued to perfect its reverse-alchemy process, transforming narrative gold into the dullest, heaviest lead, topped off with a giant packet of saccharine.
For details, see Roland Joffe's "The Scarlet Letter," featuring a pearl-bedecked, shiny-bodiced, utterly vacuous Hester Prynne, or the soul-sucking "Love in the Time of Cholera," which drove the Guardian's John Patterson to call for a ban on the making of all movies based on books. It's easy to sympathize. We're talking, after all, about the machine that reduced Zoë Heller's brilliantly satirical "Notes on a Scandal" -- a teacher's obsessive chronicle of her female colleague's affair with her young male student -- to a cautionary tale with...
Adapting fiction for the screen has always been a tricky endeavor. For every "Apocalypse Now," "The Big Sleep" or "Rebecca," there are scores of butchered classics and box office duds, and in recent years, Hollywood has only continued to perfect its reverse-alchemy process, transforming narrative gold into the dullest, heaviest lead, topped off with a giant packet of saccharine.
For details, see Roland Joffe's "The Scarlet Letter," featuring a pearl-bedecked, shiny-bodiced, utterly vacuous Hester Prynne, or the soul-sucking "Love in the Time of Cholera," which drove the Guardian's John Patterson to call for a ban on the making of all movies based on books. It's easy to sympathize. We're talking, after all, about the machine that reduced Zoë Heller's brilliantly satirical "Notes on a Scandal" -- a teacher's obsessive chronicle of her female colleague's affair with her young male student -- to a cautionary tale with...
- 8/1/2008
- by Maud Newton
- ifc.com
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