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CULTURE/SOCIETY: Africa's Forgotten Soldiers

Heard this recently in a podcast from the BBC. When I was in Africa, I always thought a book about the African fighters in World War II would make an interesting book!

I first learned about this myself when I was teaching in southern Africa. I was waiting the Immigration office to open from lunch. And it was next to the city park so I was just hanging out there since it was a nice day.

And I checked out the sculpture in the middle on it. On it was listed all the countrymen who had died in World War I and II. Until then, I didn't know that Africans had fought in the World Wars!

I talked to the older folks in the country and they told me of relatives who fought in the north part of Africa and even in Europe!

So if that peaks your interest, give this show a listen! - OlderMusicGeek

Africa's Forgotten Soldiers

Seventy years after the start of the Second World War the overwhelming impression is of a conflict fought on the battlefields of Europe by white troops.

Britain’s war effort was bolstered by soldiers from the white Commonwealth – Australia, Canada and New Zealand and later by the United States.

The war in the Far East is often overlooked, as is the fighting that took place in Africa. Yet one million African troops participated in the conflict, fighting their way through the jungles of Burma, across the Libyan deserts and in the skies over London.

For Africa the war began in 1935, when Italian forces backed by Eritrean troops, invaded Ethiopia.



Ethiopian guerrilla forces, known as the Patriots, continued fighting even after Emperor Haile Selassie fled to England. After 1939 Britain began an intensive programme of recruiting soldiers from across its African colonies. Some were conscripted by force, others were only too keen to sign up.

An intensive programme of training got under way, to turn raw recruits, many of whom had never left their own village, into soldiers.

For a good number it was a real shock: the first time they had eaten processed food, the first time they had seen the ocean, the first time they had been taught to read and write. And all too soon they were transported thousands of miles from home, to fight on foreign soil.

It was years before they would come home, since home leave was almost impossible. When they did return they found little had changed, but their own experiences were entirely new and some went on to fight for their liberation of their own countries from colonial rule.

In this documentary, Martin Plaut hears first hand from the African troops who participated in the war – and who played a critical part in freeing the world from the threat of fascism.

First broadcast 13 November 2009

A link to the original website

POLITICS and ENTERTAINMENT: Moby's Take on Barack Obama

I got this from Moby's blog on MySpace. He talked about all the candidates, but I loved what he had to say about Barack Obama. - OlderMusicGeek

barack obama. first off, he has the single worst name anyone could ever have in the history of politics ever ever ever. barack(rhymes with iraq) hussein(like the guy who tried to kill gw's daddy) obama(one consonant away from bush family pal osama bin laden).

personally i see his terrible name as being kind of a plus, as it really couldn't be worse unless his name was satan hitler babyeater.

he's the least experienced of the candidates but he's also really smart and principled and telegenic. he seems like he would be fun at a barbecue but he'd also be good if you needed help doing your taxes and he'd definitely be nice to you if your goldfish died. ironically i think he's the democrats best chance to win. ironic, as he's:
a-inexperienced
b-1/2 muslim
c-possessed of the worst name in the history of politics

but gw was a coke addict with 2 dui's and a history of running companies into the ground(not to mention a last name that is colorfully and colloquially used to describe ladies baby making parts). so who knows? barack obama seems like the dem's best choice.

plus it would be awesome to have an african-american president. the rest of the world wouldn't be able to hate us as much, which would be nice.

and i hope that dennis kucinich runs every 4 years, because, not to sound shallow, it's great to have a healthy vegan with a beautiful wife running for president.

ENTERTAINMENT, CULTURE/SOCIETY and SPIRITUALITY/RELIGION: In Search of Superman's Inner Jew

Well, they've written about this topic in numerous American books on comics - and even in books on Jewish culture, and does it anyone take notice? No, of course not. But France does something and the mainstream media - Time in this case - finally notices! - OlderMusicGeek

The debate has raged for decades: is he Jewish, Methodist, Kryptonian Raoist? But finally, it's been settled: Superman is definitely... a non-Aryan Protestant. The complex origins of many a comic book character are deconstructed at the engaging and erudite exhibit, "From Superman to the Rabbi's Cat" — through Jan. 27 at the Museum of Jewish Art and History in Paris — which explores the impact of the Jewish experience on the evolution of the comic strip and graphic novel.

Comics are serious culture in France, where they were named "the Ninth Art" in 1964 by historian Claude Beylie. Today, the country hosts the preeminent annual international comic book festival in the town of Angoulême. And it is in that committed comic-book aficionado spirit that "From Superman to the Rabbi's Cat" presents some 230 American and European works dating back to 1890, including the 1940 strip How Superman Would End the War. "I'd like to land a strictly non-Aryan sock on your jaw," grumbles the Man of Steel as he drags Adolf Hitler off to be tried for crimes against humanity. For the late comic-book artist Will Eisner, the Jewish people, faced with the rise of fascism, "needed a hero who could protect us against an almost invincible force." Jerry Siegel and Joe Shuster's Superman in 1938 was only the first and — like Bob Kane's Batman in 1939, Jack Kirby's Captain America in 1940 and many more that followed — he was created by sons of Jewish immigrants living in New York.

Like their characters, many of these artists took on dual identities, says author and comic book historian Didier Pasamonik, a consultant on the exhibit: "There was a kind of diffused anti-Semitism at the time, and it was better to use a good American commercial name to reach the wider public." Even as Robert Kahn had become Bob Kane and Jacob Kurtzberg worked as Jack Kirby, their superheroes reflected some of the identity they were masking, evoking Jewish concepts such as tikkun olam (repairing the world through social action) and legends such as the Golem of Prague, the medieval superhero of Jewish folklore who was conjured from clay by a rabbi to defend his community when it was under threat.

Years later, some comic superheroes would actually be identified as Jews, like Auschwitz survivor Magneto and — the Golem myth incarnate — Ben Grimm (The Thing) of the Fantastic Four. But despite the rumors, the Man of Steel is no Supermensch, says Pasamonik. "Superman is not Jewish," he says. "When Superman gets married it's not at the synagogue!" Pasamonik has not missed the heavy dose of Jewish culture Siegel and Shuster instilled in their character: baby Superman's passage through space in a cradle-like vessel and subsequent adoption "is the story of Moses," he says, adding that El of Superman's given name Kal-El is a Hebrew word for God. But with a Methodist upbringing and extra-terrestrial origins, Superman, says Pasamonik, is best described simply as a "non-Aryan" hero.

And why not? Non-Aryan describes most of the southern and eastern European and Asian immigrants that crossed the oceans with the Siegels, Shusters, Kahns and Kurtzbergs in the late 19th and early 20th century. For the Pulitzer-prize- winning cartoonist Jules Feiffer, World War II-era superheroes embodied the American dream shared by the countless foreigners. "It wasn't Krypton that Superman came from; it was the planet Minsk or Lodz or Vilna or Warsaw," wrote Feiffer in his essay The Minsk Theory of Krypton. "Superman was the ultimate assimilationist fantasy."

After World War II, the comic book genre became an unlikely vehicle for civic protest and consolidation of memory. "The hour of immigrant assimilation gave way to the fight for minorities and civil rights," explains Pasamonik. Harvey Kurtzman used the medium to tackle racial segregation, the Cold War and McCarthyism in his satirical MAD magazine. In 1955, when popular awareness of the Holocaust was scant, Bernard Krigstein and Al Feldstein caused a shock by revisiting the concentration camps with the seminal graphic story Master Race. During the '60s and '70s the genre opened up to the banal and biographical, with Pekar and Crumb's darkly humorous American Splendor and Eisner's landmark graphic novel, A Contract with God.

"Eisner brought an absolutely revolutionary dimension to the graphic novel, which was to make it an instrument of memory," says Pasamonik. Finally, with a nod toward Edmond-Francois Calvo's 1944 La Bete est Morte (The Beast is Dead) — which uses animals to tell the story of World War II — Art Spiegelman brought the graphic novel worldwide recognition by winning a Pulitzer prize in 1992 for his Holocaust saga, Maus. Eisner and Spiegelman's heirs now litter the globe, from Frenchman Joann Sfar (The Rabbi's Cat) to Iranian Marjane Satrapi (Persepolis). "From Superman to the Rabbi's Cat" pays homage to these artists, inviting the viewer to consider the subtexts at work even in comic books about men in tights.

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