Songhay System has now become an award-winning digital media production company as the following lines from a Peabody Awards press release suggest:

HBO, a multiple award winner, was cited for “Beah: A Black Woman Speaks,” a loving biographical tribute to Beah Richards, cited by the Peabody Board as a giving “remarkable insight into her life as an actress, poet and teacher”…

Among many luminaries with Ms. Richards herself, this film features the direction and the graceful stage presence of the mother of my second child (sorry for my underhand way of name dropping but she is the mother of my son) and engaging commentary by Ruby and Ossie—previously respected in this Blog.

It also has insightful contributions by my old college professor, Dr. Gerald Horne, author of an excellent book (among many), Race War: White Supremacy and the Japanese Attack on the British Empire, which I should have reviewed a large time ago here in kintespace.com—but there are literally hundreds of reviews out there for this intellectual giant.

And, oh, of course this film was edited by none other than Academy Award winner Kate Amend. A very extensive technical article (that badly needs to be updated) on SonghaySystem.com mentions her—an indulgence that still does not go unappreciated. And speaking of mentioning, I do not find my name or company listed on the full credits of this film. I have a long and intimate history with shit like this. It is instructive. Almost all of it based on ignorance and injustice and not on the “bloated nothingness” of a fragile ego. Just look at the credits on this page! Go all the way down to “Other crew” where they have thanks to family members listed. Do you see me there? So you, reader, are not the teacher to teach me the lesson of what it means to be an insignificant person. How can I make a decent living when networking opportunities like these are continually squished?

Anyway… Let me calm down… There is nothing new under the sun… I have added the “new” visual effects company Songhay System to The Internet Movie Database along with the new digital compositor Bryan Wilhite. My reference number is 050409-031059-269000. Let’s see how this goes…

THREE-DAY POETRY FESTIVAL AT HIGHWAYS PERFORMANCE SPACE 15 Year Old Organization holds its 1st Festival Honoring National Poetry Month FOR IMMEDIATE RELEASE BEFORE APRIL 8, 2005: (Santa Monica, CA, March 16, 2005) In honor of National Poetry Month, Highways Performance Space, presents “In The Beginning Was The Word,” a 3-day festival merging poetry with performance, on Friday through Sunday, April 8, 9 and 10th. Tickets are $15 a night or $40 for a three-day festival pass. Reservations can be made at 310-315-1459. “In The Beginning Was The Word” is curated by LeVan D. Hawkins. Highways Performance Space is located at 1651 18th Street in Santa Monica, within the 18th Street Arts Center. There is a parking lot and street parking available Night One—Friday, April 8, 2005—8:30 p.m. Slam Poets—You Better Come Correct—Who will present their new show at Highways? Slam/Performance poets mollie angelheart, E. Amato, Jim Bolt, Robert Carroll, Mona Jean Cedar, Beatrice Hall, Kennon B. Kraines, Merilene M. Murphy, Miss Natalie, Shailja Patel, Ratpack Slim, & AK Toney compete for the opportunity to present a show at Highways, one of the country’s premier performance spaces. Say “WORD” at the door and admission is $10. Hosted by Marcus Kuiland-Nazario. Night Two—Saturday, April 9, 2005—8:30 p.m.—Performance Poets—Word On Fire—Regie Cabico, Michael Datcher, IN-Q, Rachel Kann, Ariel Robello, Tajarka, and Jaha Zainabu take the stage accenting their works with art, music and theater. Music and reception afterwards. “What we have on this night are some really talented writers who also excel at performing their poetry,” says LeVan D. Hawkins, curator. They have been encouraged to expand their poetry with other genres to entertain and share their messages with their audience.” Night Three- Sunday, April 10th, 7:30 p.m. Poets as Performers—PASSION (What Moves Us) Belly dancing, God, gadgets, caretaking, his penis. Peter J. Harris, LeVan D. Hawkins, Pat Payne, Bianca Taylor, and Imani Tolliver reveal their passions through music, props, and the WORD. “On this night, we present noted poets as performers; they embrace other art forms such as theater/performance while still being influenced by their poetic beginnings.” “Often literary poetry, performance and slam poetry are segregated and the three never meet, “ says Hawkins. “In The Beginning Was The Word” is an opportunity for all three forms to be under one umbrella. They each have their own night but on Saturday and Sunday, there is opportunity for the forms to merge and overlap. Audiences who enjoy good entertainment and thought-provoking content can get a nice sampling of what the Los Angeles poetry scene has to offer.” “We are bringing some very accomplished poets/performers under one roof,” says Hawkins. “We have three poets who have performed on HBO’s Def Poetry Jam, a nationally best-selling author whose book was a Today Show Book Club Selection and has been optioned by actor Will Smith; the two-time winner of the prestigious Taos Poetry Circus Heavyweight Championship; a former soap opera queen returning to the stage for the first time in over a decade; and poets who have worked with or opened for such cultural figures as the Dakah Hip-Hop Orchestra, actor/rapper Snoop Dog, former California poet laureate Quincy Troupe, and former candidate for Democratic presidential nomination Howard Dean. Our poets have played at numerous colleges and theaters and such venues as UCLA Hammer Museum, Disney Hall, Museum of Contemporary Art, Natural History Museum, LA County Museum, Getty Museum, Henry Miller Library and published in publications such as the LATimes, LA Weekly, LA & SF Frontiers, Washington Post and Vibe. They represent a wide range of styles and cultures.” Highways Performance Space (www.highwaysperformance.org) is Southern California’s boldest center for new performance. In its fifteenth year, Highways continues to be an important alternative cultural center in Los Angles that encourages fierce new artists from diverse communities to develop and present innovative works. This event is supported by Poets & Writers, Inc. through a grant it has received from The James Irvine Foundation. —Come alone, get entertained and get some culture. Bring a date and pretend you are cultured. Bring your love and remember that you have culture. Gather with your close friends, hang out and take in some culture. Call some friends you haven’t seen in a while, get some culture and act a fool.

Africanancestry.com

Africanancestry.com promises quite a bit. For $349US each you trace your mother’s and/or father’s blood back to Africa—down to a specific region. My interpretation of the genetic memories in me lead me back to Mali—one of the many non-Islamic reasons my company is called Songhay System. Should I verify this with white-lab-coat science?

BBC ‘Apologies’

In order to compensate (or apologize) for the propagandistic stories run quite frequently, the BBC also shows headlines like “Study highlights global decline,” and “Farm sea lice plague wild salmon.” These headlines are a bit more directed than those that feign ignorance like “Public ‘must engage with science’,” which pretends that young school children deliberately reject science education instead of exploring the possibility that young people are systematically undereducated by institutional forces put in place even before they were born. You can’t, say, trick an educated public into taking away their social security insurance. Dumb-ass wanna-be slaveholders need an “ownership society.”

The Hope for a Black Pope

The BBC post: “South African Anglican Archbishop Desmond Tutu expresses the hope that the next Pope will be African.” My unsolicited opinion: A Black pope can set up the Vatican for the treatment the United Nations has been getting from the U.S. with the strong African features of Kofi Annan at the helm. I don’t think it’s the black helicopters that has “the heartland” of American voters suspicious of the U.N.

So dig: I am trying to get rid of the small pile of full duplex, two-up, laser hard copies laying around my cube and my pad. I get intimidated and greedy when a new article comes out—especially articles covering aspects of the next release of .NET technologies. It’s time to beat down this fear and make it fit into my little fiefdom of reality where I rule with an iron paw. Meow. Hear me roar.

It’s All about DataSource Controls

Three guys from Infusion Development, Jayesh Patel, Bryan Acker, Robert McGovern, penned “Data Access in ASP.NET 2.0” for MSDN. The heart and soul of this article is made of two pieces, introducing the DataSource control and, as a consequence, introducing the new data-bound controls in ASP.NET 2.0. The ObjectDataSource thingy is quite interesting:

The System.Web.UI.WebControls.ObjectDataSource is used in scenarios where you need to implement a data access layer to provide better encapsulation and abstraction. Instead of binding to a database, the ObjectDataSource control lets you bind to a specific data layer in the same manner by which you bind to the database using other controls. The ObjectDataSource control can bind to any method that returns a DataSet or an IEnumerable object (for example, a DataReader or a collection of classes).

Great. And few paragraphs later, we find that the sequel to the DataGrid is the GridView control. Live with it.

Don’t Read about Migrating to 2.0 from 1.1, Watch the Movie Instead

You can read another Infusion Development article at MSDN, “Migrating from ASP.NET 1.x to ASP.NET 2.0,” and/or you can watch the movie, “Russ’ Tool Shed Webcast: Migrating to Visual Studio 2005 Series (Part 1 of 4): Moving from ASP.NET 1.1 to ASP.NET 2.0 (Level 200).” I’m pretty sure it was Russ that inspires the following ASP.NET 2.0 issues:

Dynamic Compilation issues: the platform will generate a random number of randomly named DLL files on the fly. This means that calls to types that do not derive from the namespaces of the platform will fail. This implies that “business logic” should be confined to a predefined folder (\app_code?) instead of scattered among ASPX files.

Debugging issues: Take advantage of Trace.Warn() and Trace.Write() to customize trace output.

The \aspnet_client folder should disappear in version 2.0. This is replaced by a custom HTTP handler that reads from a file called WebResource.axd.

Another Badly Written Article from CodeProject.com

A graduate of the University of Karachi, Sadaf Alvi, tries level best to let me know about “Attributes in C#.” For lack of another article, I depend on Sadaf Alvi for some insight. When I criticize the writing of others, there is no implication that I am the greatest writer in the world (and a bizarre racist xenophobe)—but damn!

When Love Calls, You Better Answer : A Novel Daniel Terdiman and company at Wired.com, in “Video Shills for Literary Stars,” writes:

With the advent of services like VidLit, which produces short, humorous, animated Flash films about books, authors have a new way to reach online readers. Because of the viral quality of online videos, some writers are finding success at the end of the broadband pipe.

The story also goes on to explain that some of these promotions cost up to $3,500/minute to produce. Here at kintespace.com, writers like Jaha Zainabu and visual artists like Michael Massenburg paid nothing for their multimedia broadband presence. And in spite of these relatively huge sums being thrown about, I will still keep on keeping on with the original idea behind kintespace.com with a view to celebrate talent that may otherwise go unnoticed. What I have learned along the way is that many of these creative folk are underrepresented because of choices they make instead of an outside force imposing upon them.

Bertice Berry is not one of these folk. Her four-minute Flash presentation at VidLit.com is nothing like what we currently have here at kintespace.com. This promotion of her book When Love Calls, You Better Answer is very entertaining. I want to see this multimedia market to explode to a size that is too big for a small cartel of established entertainment companies to dominate and strangle to death. There should be enough work for all of us.