27/08/2018

London Calling: 62nd BFI London Film Festival


The 62nd BFI London Film Festival will take place 10-21 October 2018 at cinemas across London. 

The full programme will be revealed on 30 August 2018. 


Trailer:

The 62nd BFI London Film Festival is coming soon! | BFI








BFI Film Fund trailer: the hottest National Lottery–funded films of 2018 | BFI






To enjoy priority booking, become a BFI Member by visiting https://www.bfi.org.uk



An Autumn Between Paris and London


Summer is entering its last phase... But luckily we should have a beautiful Indian summer this year.
I'll be back in England soon and spending most of the season there. Between Bristol and London.

A few events on the way, firstly:

Frieze London

Regent’s Park

4–7 October 2018


Frieze has announced the participants for the 2018 editions of Frieze London and Frieze Masters, both of which run from October 5 to 7 in the English capital’s Regent Park. Some 160 galleries will bring their wares to the Frieze London fair, with some 130 more showing at Frieze Masters.




Frieze London 2018 

Announcing New Curators and Innovative Programming

Press release

The 16th edition of Frieze London takes place from 5–7 October, with two Preview Days on Wednesday 3 October and Thursday 4 October
A new themed section, Social Work, will be selected by a panel of leading women art historians and critics

Frieze London 2018 will showcase the best of international contemporary art, with a discerning selection of around 160 galleries presenting their most forward-thinking artists and imaginative presentations. Opening for the rst time with a two-day Preview, Frieze London coincides with Frieze Sculpture and Frieze Masters in The Regent’s Park, together forming the most signi cant week in London’s cultural calendar. Global lead partner Deutsche Bank supports Frieze London for the 15th consecutive year, continuing a shared commitment to discovery and artistic excellence.

New collaborations with international curators, institutions and galleries will respond to contemporary issues – from the lack of visibility of women in the marketplace to hidden systems of communication and control – and create an exceptional environment for creativity and discovery.

New Themed Section

Following the success of Sex Work: Radical Art & Feminist Politics at Frieze London 2017, which focussed on artists from the 1960s and ‘70s, the fair this year will feature Social Work, celebrating artists who challenged the male-dominated art market of the 1980s. A panel of 11 women art historians and critics from UK institutions, including Iwona Blazwick, Katrina Brown, Louisa Buck, Amira Gad, Jennifer Higgie, Melanie Keen, Polly Staple, Sally Tallant, Fatos Üstek and Lydia Yee, will select a group of artists who challenged the status quo, embracing an activist approach in their art making and confronting social and cultural norms. The section will include both well-known and overlooked female artists, who address questions of identity, labour and visibility in their work. The participating artists and galleries will be announced in the coming months. 


New Curators

Diana Campbell Betancourt
joins the fair to oversee Frieze Projects — programming beyond the gallery booths, including Frieze Live installations and performances, and new Frieze Artist Award and Frieze Film commissions. Artistic Director of Dhaka-based Samdani Art Foundation and Chief Curator of the Dhaka Art Summit, Campbell Betancourt also managed the Bellas Artes Projects programme in the Philippines, overseeing critically acclaimed exhibitions, including Bruce Conner’s first major solo exhibition in Asia. 


In addition, Andrew Bonacina (Chief Curator, The Hepworth Wake eld) and Laura McLean-Ferris (Curator, Swiss Institute, New York) will advise ambitious shows by emerging galleries from across the world in Focus. And Matthew McLean (Senior Editor, Frieze Studios) and Lydia Yee (Chief Curator, Whitechapel Gallery, London) will co-programme Frieze Talks.


The World’s Most Signi can't Galleries

Frieze London welcomes the return of world-class galleries including international galleries who have partipated since the fair’s inception, such as Galerie Gisela Capitain, Gagosian, Greene Naftali, Hauser & Wirth, Lisson Gallery, Galerie Thaddaeus Ropac, Salon 94, Sprüth Magers, White Cube and David Zwirner, among others; alongside also returning Gavin Brown’s enterprise, Marian Goodman Gallery, kurimanzutto, Matthew Marks Gallery, kamel mennour, Pace Gallery, Esther Schipper, Galeria Luisa Strina and The Box; and major newcomers including, among others, Xavier Hufkens, Galerie Lelong & Co. and Galleri Nicolai Wallner.


Solo and Themed Presentations by International Artists

Galleries throughout the fair will showcase their most exciting artists, including debut exhibitions and exceptionally ambitious new projects. Highlights in the main section include:
  • A solo by Paris-based artist Tatiana Trouvé with kamel mennour (Paris);
  • A solo by Liu Wei, presented by White Cube (London)
  • A solo by Rana Begum with Kate MacGarry (London) – coinciding with
    the artist’s Frieze Sculpture presentation;
  • Stevenson’s (Cape Town) two-artist presentation featuring Viviane
    Sassen, following her solo exhibition at The Hepworth Wake eld and
    Moshekwa Langa, featured in the 13th Dakar Biennale (2018);
  • Marian Goodman’s debut presentations of John Baldessari and Kemang
    Wa Lehulere, coinciding with the latter’s Frieze Week exhibition at the
    gallery’s London space;
  • Celebrating the gallery’s tenth anniversary, Pilar Corrias (London) will
    present an all-women stand of leading artists including Sophie von Hellermann, Cui Jie, Helen Johnson, Koo Jeong A, Tala Madani, Sabine Moritz, Christina Quarles, Mary Ramsden and Tschabalala Self. 


  1. Focus section: Emerging Talents

    Bringing together 33 galleries representing young art scenes from Cape Town to Los Angeles, Focus features galleries aged 12 years or younger. Advised for the rst time by Andrew Bonacina (Chief Curator at The Hepworth Wake eld) in collaboration with Laura McLean-Ferris (Curator at Swiss Institute, New York), highlights include, among many others: 

  • Edouard Malingue Gallery (Hong Kong) will present an immersive installation by celebrated emerging Hong Kong artist Wong Ping, whose animations and video works were a highlight of the New Museum Triennial in January;
  • Arcadia Missa (London) will present an immersive exhibition of new paintings and sculpture by Penny Goring, known for her vibrant yet melancholic visual world;
  • Jhaveri Contemporary (Mumbai) will show ink drawings, knitted jumpers, sculptures and video by Hardeep Pandhal, who uses humour to interrogate perceptions of British Asian identity;
  • Galerie Emanuel Layr will present a two-artist show by Anna-Sophie Berger and Cécile B. Evans, exploring how we create meaning through the stuff we use, the things we wear and the places we live;
  • 47 Canal will showcase Bronx-born photographer Elle Pérez, with works exploring sexuality, queerness and the cultural identity of minorities in contemporary America; and
  • blank (Cape Town) will present the work of three artists from South Africa: Bronwyn Katz, Donna Kukama, and Cinga Samson exploring the politics of place, history and memory. 

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More soon!


Histoire coloniale française


À paraître:


 Le trauma colonial. Une enquête sur les effets psychiques et politiques contemporains de l’oppression coloniale en Algérie de Karima Lazaliaux éditions de La Découverte

Le 27 août 2018 à 12h13
À paraître (13 septembre 2018) Le trauma colonial. Une enquête sur les effets psychiques et politiques contemporains de l’oppression coloniale en Algérie de Karima Lazali aux éditions de La Découverte, "Sciences humaines", 2018, 250 p. ISBN : 9782707199164 Prix : 20 € (existe aussi en version électronique).


"Psychanalyste, Karima Lazali a mené une singulière enquête sur ce que la colonisation française a fait à la société algérienne, enquête dont elle restitue les résultats dans ce livre étonnant. Car elle a constaté chez ses patient∙e∙s des troubles dont rend mal compte la théorie psychanalytique. Et que seuls les effets profonds du « trauma colonial » permettent de comprendre : plus d’un demi-siècle après l’indépendance, les subjectivités continuent à se débattre dans des blancs de mémoire et de parole, en Algérie comme en France.
Elle montre ce que ces « blancs » doivent à l’extrême violence de la colonisation : exterminations de masse dont la mémoire enfouie n’a jamais disparu, falsifications des généalogies à la fin du XIXe siècle, sentiment massif que les individus sont réduits à des corps sans nom... La « colonialité » fut une machine à produire des effacements mémoriels allant jusqu’à falsifier le sens de l’histoire. Et en cherchant à détruire l’univers symbolique de l’« indigène », elle a notamment mis à mal la fonction paternelle : « Leurs colonisateurs ont changé les Algériens en fils de personne » (Mohammed Dib). Mais cet impossible à refouler ressurgit inlassablement. Et c’est l’une des clés, explique l’auteure, de la permanence du « fratricide » dans l’espace politique algérien : les fils frappés d’illégitimité mènent entre frères une guerre terrible, comme l’illustrent le conflit tragique FLN/MNA lors de la guerre d’indépendance ou la guerre intérieure des années 1990, qui fut aussi une terreur d’État.
Une démonstration impressionnante, où l’analyse clinique est constamment étayée par les travaux d’historiens, par les études d’acteurs engagés (comme Frantz Fanon) et, surtout, par une relecture novatrice des œuvres d’écrivains algériens de langue française (Kateb Yacine, Mohammed Dib, Nabile Farès, Mouloud Mammeri…). "

Karima Lazali, psychologue clinicienne et psychanalyste, exerce à Paris depuis 2002 et à Alger depuis 2006. Elle est l’auteure de nombreux articles et de La Parole oubliée (Érès, 2015).1912-2018 Société française d’histoire des outre-mers





26/08/2018

Light by David Lynch



David Lynch on cinema, consciousness, creativity and meditation, but also on artists fighting negativity to find more into themselves, i.e. "enlightenment"...


In "Curtain's Up", from Stella McCartney





Face illuminated by the rippling light of a film's projection, genre-defying American filmmaker David Lynch opens up about the magic of the cinema in this profile from Stella McCartney. Created by Austin Lynch and Case Simmons, the creative duo behind Los Angles-based studio Tête-à-Tête, this singular profile of the mind behind Twin Peaks offers us a rare insight into Lynch behind the lens, teaching us about his theory of film as well as his lifelong pursuit of transcendental meditation.



22/08/2018

About "colours" and relationship: The story of Kelechi Okafor



Actress and dancer Kelechi Okafor has a large audience writing about black British women. She shares in the article below her experience having a white fiance.

It'll open some people's eyes, I hope. But it's also a bit sad that skin colors weight so heavily in people's relationship still until this day.

This is also the main topic of my first novel indeed.

Unfortunately, that story is a total taboo for the French audience and many publishers have told me that that novel was:
 - too intellectual
 - too complicated
 - not eventful enough...

I'm pretty sure it is on the contrary too blunt on our society.

The book deals with many other contemporary issues. It is also a love declaration to literature and travels as eye-opening experiences, especially English-speaking literature from the African continent.

 If you know anyone , any publisher, who could be interested in such a story... let me know.

I'm thinking about rewriting it in English. Maybe the French-speaking market is not ready...

Thank you.

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Now the column by Kelechi Okafor:





'I'm not hiding my white boyfriend'


Actress and dancer Kelechi Okafor has built a large online following talking about issues affecting black British women. But recently, she has been under attack on social media for having a white fiance - which some have accused her of hiding.

A while ago I thought, why does it seem that most prominent black female activists seem to be dating white men? Then I had a moment of introspection where I thought, hang on, I'm one of those women.
I speak up about racism and sexism affecting black women. I have an online following. And I have a white fiance who rarely features in my social media spaces.
To explain where I stand, I need to tell you about my childhood.
I was born in Nigeria but moved to south London when I was five. I grew up in Peckham in a predominantly black neighbourhood - they call it Little Lagos. 
It was almost as if I hadn't left West Africa. I saw so many people who looked like me in Peckham, they were calling out to each other in the street. There were people there my mum had grown up with in Lagos. The streets looked different. The buildings looked different but it all felt very familiar.

I had left my father in Lagos to move in with my mother, but by the time I got here she had a new partner and was pregnant. I was moving into a family unit that I wasn't part of. Often, I felt like an outsider in my own home.
I thought about my identity from a very young age. When I got to this country one of the first things I remember is speaking Yoruba in the car with my mum. My stepdad, who was also Nigerian, turned to me and said: "Start speaking English. You're in England now, you're not a Bush Girl." I knew it wasn't malicious but I understood then that he had a desire to assimilate to British culture. I started thinking: "I better start speaking like an English girl."
But around young people my own age there was a different set of challenges. 
Around my black friends, if I enunciated my words I was asked: "Why do you speak like a white girl?"


I went to a school with a mixture of students - Jamaican, Ghanaian, white British - and I excelled academically and at sport. And there, some white children would laugh at my pronunciation. These things started making me realise that I didn't sound like everybody else. 
But there were also times when I felt very welcome.
There was an Irish woman, an informal babysitter, who would pick me up from school. I'd eat Nutella on toast with her children at her home while I waited for my mum to come and collect me. I felt comfortable with them. 
When we got to the age of dating, my attraction to people wasn't based on ethnicity. But it was for some of my friends. If I said that I found a white guy cute some of my black friends would go: "Ugh! No way! Yuck!" I would think: "Why is that their reaction? We're all in the school together. We're all in it together."

My first white boyfriend was when I was a teenager. We didn't talk about race. I think that was mainly because we talked on MSN messenger. I lived online. A lot of my growing up, development and expression happened online. It was a different kind of connection. In some ways, a more honest form of communication.
But going out with a white guy was a whole new cultural experience. So different to my Nigerian upbringing. Culturally, my home was Nigerian, it wasn't British.
While I dated both black and white boys, I couldn't ignore the fact that I felt more comfortable with black boys. Dating them felt more familiar. It was like home. We had a shorthand.
I didn't have to explain what okra or a plantain was or why they needed, out of respect, to call my mum Aunty.
With the white English men I dated, I often felt sexually fetishised and often patronised. With one serious boyfriend it bothered me that he called my mum "Christine", even when I specifically told him to call her Aunty. He wasn't respectful enough to adapt to that part of my culture. 
The same guy often put me down. One day he and I were at a pond, and I said: "Oh wow, look at that duck!" and he turned to me and replied: "That's a Canadian Goose. I can't believe you haven't been taught that." It was the way he said it. There was an undercurrent to his words. A superiority. That was a big moment for me.
I made a decision to stop dating white English guys.
I met my fiance online, on a dating site. On my profile I had put an instruction to not contact me unless they had closely read my bio and understood my passions and hobbies. He sent me a message saying: "Would you like to go for a coffee sometime?" I replied saying: "I specifically said 'Read my profile and reply only if you share my interests'." He replied: "But I did read your profile. I liked it. I want to meet you for a coffee." He told me that as he's Polish, he speaks directly. He wasn't going to woo me with a War and Peace-length love letter.

From our first date we got on. I thought: "Oh he's so handsome." But it was more than that. We could talk so easily with each other. His colour didn't factor into my attraction. But there is a huge difference between going out with a white Polish man and a white English man.
When people think about interracial relationships, very rarely do they think of the nuance. Poland didn't have independence for more than a hundred years before 1918. Historically it's a country with people that know what it's like to be governed by outsiders.
In my experience, many of the white English guys (and I say English because I haven't had experience around Welsh, Scottish or Irish men) I knew didn't know their true history. They don't know about much about the transatlantic slave trade or colonisation. These parts of history aren't delved into in secondary schools. If they were, many people might have a better understanding of the minority experience. 

But what I've found with my fiance, and many Polish people I've met through him, is a deep understanding of being a minority and facing prejudice in this country. That way we can relate to each other. My partner grew up under communism in a working class family, and that place of scarcity is something I can relate to as well. He's a migrant like me. He came here to build a life for himself. I wouldn't have that level of compatibility with a white English man.
This doesn't mean I haven't experienced racism from Polish people. I was at the beach in Poland when a man called me the Polish version of the N-word. Luckily for me I'm not dating those people, I'm dating this person.
Love is not colour blind. I worry for people in interracial relationships who say, "I don't see colour." Because at some point you will have to face it. Your kids will have to face it. It's exhausting having to explain your life and culture to someone who hasn't lived it. There's no shorthand. You often have to explain certain cultural ways before you can enjoy it. 
But we like each other so much that we have decided to tackle these differences together.

Interracial relationships aren't groundbreaking. But interracial couples are popular on YouTube. They call them "swirl" couples and they amass big followings by documenting their day-to-day lives. But it's lazy to say that these visible relationships are single-handedly changing the tapestry of our society. I often think they're a marketing ploy. I didn't want to do that with mine.
There's another reason I rarely show my partner on social media. 
I get a lot of trolls online. As a black woman who has chosen to speak up about issues affecting black British women, I know I signed up for that. But I didn't sign up for my family and friends to be under attack. And I definitely didn't sign up for my relationships to be under scrutiny. But I need to be clear that I'm not hiding him or our relationship.
And while in some ways I understand that it's natural for people to be interested in other people's relationships, the accusations of hiding my white partner - which blew up when I appeared on the panel of an American YouTube show - are a case of misogynoir.
Misogynoir is misogyny aimed specifically at black women where race and gender both play roles in bias. It's come more into our lexicon, especially online, recently when a study found that politician Diane Abbott alone received almost half of all the abusive tweets sent to female MPs in the run-up to our last general election. The language used was a marriage of sexism and racism, and it was even perpetuated by many people of colour, who saw her as an easy target. Serena Williams is also the recipient of this kind of abuse.

A lot of attacks on black women are overlooked because it's seen that our lives are less important. 
I'm aware of discourse that says that black women who date outside their race do so because of internalised self-loathing, that somehow they think the approval of a white man makes them more valid in a society that traditionally doesn't amplify black women as desirable. 
Others say that people date outside their race because more education and career success means that you're around people of different races - more than you would be in Little Lagos. There may be some truth in that but not entirely. I met my partner online, as many people do these days. The digital arena has changed a lot for us. 
In terms of black influencers "hiding" their white boyfriends, I have to say that I can't and won't speak for all other black women, just like I wouldn't want them to speak for me. We are not a singular. Our stories are more individual. 
For me, I date a white man and I don't document our daily life on social media purely because that is my choice.
Society's standards for what's acceptable for black women are impossible to meet. You have to be funny. And accessible. And sexual. But not too sexual. Honest. But not outspoken. And also date who people think you ought to date.
I decided a long time ago that I'm not doing that for anybody.




21/08/2018

About Colston, Bristol, Robert E. Lee and the statues of slave traders



The more I learn about Colston's statue, the more I think certain places in bristol should just give up his name...
Listen if you care:

Good People, Hate Groups, and History | Madge Dresser | TEDxBristol





Published on 19 Dec 2017


'Public statues are a lighting rod for racial division and social tension'. From Bristol, UK to Charlottesville in the U.S, Dr Madge Dresser takes us through the polemic expressions of outrage and ‘fake history’ at play when it comes to dealing with public relics of the past. This is the tale of two statues, two old white men: cast as heroes and villains in the same moment, whose statues have been vandalised and campaigns launched to tear them down from their perches all together. In a time where complex and emotive narratives surrounding racial equality and white supremacist ideologies have dominated news headlines, social media feeds and on-street activism in both the U.S and the UK, she asks how a measured look at history can help us reconcile some of the deep divides and opinions that are now emerging and colliding around the globe. This talk is from TEDxBristol 2017: Dare To Disrupt. In a world of constant change and uncertainty, these are the ‘positive disruptors’ ripping up the rule book to challenge received wisdom, demand better, and transform seemingly insurmountable problems into break-through possibilities and new beginnings. From making a big splash on single-use plastics, to a global campaign to end unwanted hair-touching, or a revolutionary approach to combining robotics with human creativity, we hope you’ll enjoy and feel inspired by these talks. Watch all our talks here https://tedxbristol.com/talks Our talks were produced, filmed and edited by a brilliant team of talented volunteers and pro-bono partners: Produced by: Mel Rodrigues, Curator TEDxBristol Daniel Edmund, Assistant Curator, TEDxBristol Samuel Williams, Hodos Consultancy Barney Grenfell, Hodos Consultancy Filmed and edited by Floating Harbour Films: Richard da Costa Ben Scrase Tom Young Dan O’Connell Gareth Croft With camerawork and production support from: Steve Webb Giles Edwards Bath Spa University


Palermo, in pictures


Hello people!
Back from a second round of travels this month of August, I finally have to upload a few pictures from Palermo, Sicily, one of my favourite place in the world!

Palermo is hosting the art biennale Manifesta this year, 12th edition, and is also the Italian Capital of Culture for 2018. A great time to be around.

I was also lucky to be involved in the programme organized by CCT-SeeCity in Italy and met with wonderful people from all over the world - Brazil, Britain, France, Italy, etc. - to explore the city a bit differently...

More soon!

Here is a visual introduction, all pictures by myself:


Palermo's cathedral






Chiesa San Cataldo

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Streets and walls:





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Manifesta 12:



Botanical Garden:































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More soon about the rest of Sicily!!


--

About CCT-SeeCity:

http://www.cct-seecity.com/en/

WHO? | The most beautiful COMMUNITY in the World!

CCTzens are creative people who explore the world and share STORIES according to their cultural interests and passions. When CCTzens are invited from CCT + our Partners/Sponsors to move somewhere with the mission to explore a specific TERRITORY and share beautiful stories about… they become CCTravellers.

16/08/2018

"The Uniqueness Of Massive Attack": Book release for 2019



Hello people, while I'm touring England to perfect my book on Massive Attack, I have to announce that the publisher, the band and myself have decided to postpone the release to early 2019.

The good news is that we'll be able to add pictures in the book...

Stay tuned!

In the meantime, here is my little introduction, for Classic Album Sunday:



The Uniqueness Of Massive Attack – Melissa Chemam




Over the past four years, as a freelance journalist, I have been travelling between Bangui (Central African Republic), Paris, Istanbul, Calais, Erbil (Iraqi Kurdistan), the South of France and Ventimiglia in Italy, London and… Bristol. I have mostly been covering post-conflict issues and the refugee crisis for different European radio stations and magazines. So I went to Bristol to write about a brighter, engaging and inspirational story. To explore the culture of England’s West Country, retrace the history of my favourite music, a fascinating journey through an artistic and social explosion.

I decided to write about the band Massive Attack when I read they were travelling to Lebanon, in July 2014. They were about to perform at the Byblos International Festival and to visit Palestinian youth they help, in a refugee camp in Burj El Barajneh, in the southern suburbs of Beirut. I contacted a friend who is a writer and music journalist to convince him I could write a book about them…

I had always loved their music and I know all of their albums by heart. Their engagement suddenly seemed very authentic to me; it completely stands out in the current music business. I started to think of a way to reach out to them, especially to 3D, also known as Robert Del Naja, the heart and soul behind Massive Attack’s writing process and social involvement. After months of preparation and once he agreed to meet me, I packed my bag for Bristol in February 2015.


Listen: Massive Attack ‘Mezzanine’ Musical Lead-Up Playlist


I immediately liked the journey from London (where I had lived for two years) to the West country, the murals in Stokes Croft, the contrast between Saint Pauls and Clifton, the way art and music are present all around the city. I first stayed in Saint Pauls, walking everywhere, writing at the Watershed’s welcoming café and helloing Banksy’s famous ‘Mild Mild West’ and naked ‘Well Hung Lover’. 

After meeting with 3D, I contacted a snowballing list of Bristolians: some of 3D’s co-workers including sound-engineer and co-writer Neil Davidge, talented instrumentalists, rappers and vocalists like Mike Crawford, Sean Cook, Andy ‘Spaceland’ Jenks, Krissy Kriss, Mark Stewart and, six months later, Adrian Utley, Portishead’s guitarist. 

I also spent a lot of time in venues and art galleries, in Bristol – spending a day with Inkie or listening to Roni Size at the Hamilton House. In London too, in Paris – where I interviewed Tricky and met Nick Walker, then in Dublin and further, to see Massive Attack on stage. All these meetings and events helped me recreating the key moments that made possible The Wild Bunch then Massive Attack and the scene that followed.

My book therefore retells the story of a rare group of unconventional and politically aware musicians and artists. The story starts with Massive Attack’s first album, the remarkable and inimitable Blue Lines, then goes back to their first influences. The Beatles, reggae, punk, soul music, hip-hop, Jean-Michel Basquiat and the graffiti stars of the film Wild Style. These include their very own hometown’s history, from the slave trade to recent riots… Then the book evolves until Massive Attack’s homecoming show in September 2016 and their coming projects.
It digs into the making of their groundbreaking albums, especially Mezzanine, which turns 20 year-old this year, described by many critics as the best thing that ever came from Bristol… It follows Massive Attack’s evolution as extraordinary performers, whose shows rival with the best acts in the world, and 3D’s artistic transformations, collaborating with Banksy, United Visual Artists and Adam Curtis. This very rich and fascinating path took them around the world, from Japan to America, Mexico and Turkey, Lebanon and the Congo…

Writing about them and about Bristol’s music and art scene, led me to write this parallel history of British culture, with underground origin, always pushing boundary and keeping an aware and open gaze on our fast-changing world.


Massive Attack: Out Of The Comfort Zone 
by Melissa Chemam 
will be available early 2019.



Aretha Franklin



Saying a little prayer for her...


Aretha Franklin - I say a little prayer






Lyrics:

The moment I wake up Before I put on my makeup I say a little pray for you While combing my hair now, And wondering what dress to wear now, I say a little prayer for you Forever, and ever, you'll stay in my heart and I will love you Forever, and ever, we never will part Oh, how I love you Together, forever, that's how it must be To live without you Would only meen heartbreak for me. I run for the bus, dear, While riding I think of us, dear, I say a little prayer for you. At work I just take time And all through my coffee break-time, I say a little prayer for you. Forever, and ever, you'll stay in my heart and I will love you Forever, and ever we never will part Oh, how I'll love you Together, forever, that's how it must be To live without you Would only mean heartbreak for me. I say a little prayer for you I say a little prayer for you My darling believe me, ( beleive me) For me there is no one but you! Please love me too (answer his pray) And I'm in love with you (answer his pray) Answer my prayer now babe (answer his pray) Forever, and ever, you'll stay in my heart and I will love you Forever, and ever we never will part Oh, how I'll love you Together, forever, that's how it must be To live without you Would only mean heartbreak for me (oooooooooh)