SATURDAYmoe.’s day set has traditionally been all about the next generation. The Kids Tent All-Stars once again made an appearance, though now some of the children have grown up enough to take their place alongside the adults on actual, non-inflatable instruments. Check out the next generation of rockers as the proudly proclaim the “We are famoe.ly” Bleow:“Spine Of A Dog>Buster”“We Are Famoe.ly”Directly after moe.’s day set, one of the best sights of the weekend wasn’t on any stage, it was on the mud slicked hills and foot path. A ton of hay was delivered to help solidify the grounds, and after a plea from moe. for volunteers to help spread it over, hundreds of fans swarmed the pile and quickly had the field on the path to recovery.Blackberry SmokeAtlanta, Georgia’s southern rock rising stars Blackberry Smoke are being talked about as the next big thing in a genre in need of fresh blood. Check out highlights from their stellar set below:Blackberry Smoke, “Ought To Know”Blackberry Smoke, “Six Ways to Sunday>Good One Comin’”Blackberry Smoke, “Sleeping Dogs Lie>Come Together>Sleeping Dogs Lie”moe. Night SetAnother night set saw another round of incredible visitors. Long time friends Fishbone came back out to help moe. get nice and funky, while Blackberry Smoke’s Charlie Starr brought a southern rock swagger to an epic “Opium” before Otto Schrang from The Mike Dillon Band took “Recreation Chemistry” to new places with his stellar visit to Loughlin’s percussion world.moe., “Freddies Dead” With Fishbonemoe., “Opium” with Charlie Starrmoe., “Recreational Chemistry” with Otto Schrang SUNDAYThe last day featured some of the wildest variances in music, as the anarchic Mike Dillon was followed by the Americana stylings of Railroad Earth. Both acts have worked with moe. in the past and show the dynamic diversity the band is capable of. If you can comfortably go from punk rock lunacy to string salutes to mother earth, it is safe to say you can pretty much do anything musically.The Mike Dillon BandMike Dillon welcomed moe.’s Jim Loughlin for some intense mallet madness during his day opening set in the tent. Check out some of the furious percussion below:Mike Dillon Band, “Insanity” with Jim LoughlinTwiddleVermont’s beloved Twiddle won themselves new fans and delighted their faithful with one of the strongest sets of the weekend. Check out some of the love below:Twiddle, “Polluted Beauty”Twiddle, “Orlando’s”Twiddle, “The Fantastic Tale of Ricky Snickle”moe.When you have been doing the whole “traveling rock star” thing for 27 years, the chances your memoe.ry might get a little hazy are increased exponentially over the standard deterioration brought on by simple aging. That said, the brain freeze suffered by bassist Derhak during the tune “New York City” in the clip below is likely one of the most epic suffered on a stage this year. Anytime you are forced to Google your own lyrics during a track, you have to worry you may have a problem. I’m chalking this one up to an early morning Lacrosse pick up match he participated in with the fans though…those games can get kind of rough.moe., “Crab Eyes>New York City”Before the band could return for their second set there was one vitally important task to be taken care of…the election of the next “mayor of moe.down.” As I mentioned earlier, for the last three years I have had the honor of serving as the vital link between the fans and the band. It’s one of the highest positions of power in the festival world, and I have striven to uphold this lofty audience. Though I was more than happy to finally relinquish the title, some sneaky soul snuck me onto the ballot at the last minute.I could go on and on about the reasons I spent so much time, energy and mental health seeking the office and serving, but in the end it was all about love. The love I feel, the energy I get from the band’s music, the smiles and blissful expressions of my fellow .rons, the hard work put in by the most dedicated crew in the business…it all comes from the same place. Whatever it is in the combination of the five members of moe., their instruments and gear, and a shit ton of electricity that makes my very soul smile, I know that it was easily the smartest thing I ever did, running for and winning my coveted title.The mayoral election is different than most, as it is not limited to humans. Heck, I lost to persons, places and even things in my years pursing the office. After multiple rounds of voting, at long last a new mayor was crowned…bass player Derhak’s…uhm…”.bulge.” I want to congratulate the .bulge on running such a stiffly competitive race. I for one am proud to be followed by as impressive a candidate as the .bulge, though hopefully not to closely. Check out the fun of the election hi-jinks below:“Election”moe., “Mexico” with Mihali Savoulidis & Ryan DempseyThe weekend ended with a bang, thanks to the fireworks that marked the finale with a suitable element of finality. We had all been scared that our beloved weekend getaway with moe. might not ever return, and now, at last, we were all experiencing the warm after glow of the return. The music moe. made over the weekend was exactly the reason why we had all been so saddened by the temporary hiatus. In fact, the incredible skill, dexterity, and passion moe. showed over the 7 sets they played, rain or shine, provided a perfect example of why we all fell in love with the band in the first place.Few bands manage to last as long as moe. has, and fewer still remain as vital and as relevant. The secret seems to be the band’s willingness to evolve and to never take themselves too seriously. Humor has always been a strong component in the band’s sound and it has been said that laughter is the best medicine. As long as there are sources of joy from the music of moe. in our lives, it is obvious that we can make it through any dark times until the sun shines once again.Oh, and if you enjoyed the melding of moe. and Twiddle then don’t forget the upcoming Colorado run that will feature three epic nights of music from the two bands at the Boulder Theater and Red Rocks! After a two year hiatus, the moe.down music festival returned with seven blistering sets from jam band icons moe. along with stellar support from Fishbone, Railroad Earth, Twiddle, Kung Fu, Mike Dillon and more. The mountainous back drop of the Snow Ridge Ski Resort was echoing with the sounds of soaring guitar jams, wild percussive freakouts, and most importantly, the heartfelt cheers of an elated fanbase. More than anything else, moe.down is about family, or famoe.ly….we’re a very punny bunch.When I write the word “We” in the context of moe. fans, or moe.rons as we are more generally known, I mean that in the most sincerely personal way. If you’re looking for an unbiased and journalistic review I’m afraid you are out of luck because I am probably the most biased reviewer this event could possibly have. I love moe.down so much I spent five years of my life trying to capture it’s highly coveted “Mayoral” office–and then spent the last three years doing my best to see it return. My name is Rex Thomson and I’m addicted to moe.Hear Ye, moe.rons: An Open Letter From The Mayor Of moe.down In The Twilight Of His Termmoe.down was founded on a fairly simple premise: a small festival dedicated to the band’s hardcore fans and their love of moe. and music in general. If music is emotionally-installed, then the music these moe.rons hear translates to pure joy in their hearts and minds. I know that when the guitar duo of Chuck Garvey and Al Schnier are weaving their slinky guitar lines, or Jim Loughlin and Vinnie Amico are twisting and turning the beats in on themselves, or Rob Derhak is slapping his bass with his trademark manic intensity, the rest of the world falls away and I am lost in a world of pure sonic bliss.Of course, after being forced to wait two extra years for our return to Turin, New York and the mayhem on the mountain, this year felt especially new. After such a long build up, thousands poured into the small ski resort, gleefully ignoring the rain showers that were forecast and were, indeed, falling intermittently already. The early arrivers showed the first sparks of what was to be a weekend-long parade of the cooperative community by helping cars get through the mud to get everyone in safely. Neighbors helped pound in tent stakes and stretch tarps to prepare for a wet and wild weekend with wide smiles and hearty laughs.FRIDAYThe approach to the main stage was slippery, and as fans slid their way in to watch sets in the tent from bands like Hayley Jane and the Primates and Kung Fu, it was easy to see who had started their party early by the amount of mud on their backsides. As moe. guitarist Schnier brought his side band Al & The TransAmericans to the main stage, most everyone had made it in and the front of the stage was full of emotional reunions and heartfelt hugs as people from far and wide came together again to bask in the music being made. Even the sun popped back out to give the audience a much needed chance to warm up for a long night to come.Al & The TransAmericans, “Everything Here”Al & The TransAmericans, “Guitar”Al & The TransAmericans, “Ain’t Wastin Time No More”moe.One of the best parts of any moe.down is the unique collaborations that come from it. moe. hand selects their lineup with purpose. The musicians they invite to share the stages are friends and people whose work they also enjoy, and the spirit that comes from that mutual admiration infects everything that goes on during moe.down.moe., “The Chain” with Ryan Montbleau, Haley Jane & Kirk Juhasmoe., “San Bernadino” with Kung Fu’s Tim Palmieri, Beau Sasser and Robert Somerville moe., “Billy Goat”moe. returned to the stage for a special night one treat, a five song acoustic-tinged encore that featured a mix of covers and classics. Check out a couple of tunes from their final Friday moe.ments below:moe., “Raise A Glass”moe., “Blister In The Sun”
continue reading » 9SHARESShareShareSharePrintMailGooglePinterestDiggRedditStumbleuponDeliciousBufferTumblr NAFCU’s Alexander Monterrubio, during a recent interview with CUbroadcast’s Mike Lawson, said the current regulatory outlook seems positive for credit unions as the CFPB and NCUA focus on reviewing and tailoring regulations.Monterrubio, NAFCU’s director of regulatory affairs, provided an update on efforts at the CFPB with Acting Director Mick Mulvaney now in charge. Monterrubio told Lawson he expects the bureau to offer more substantive guidance on regulations, and for it to “take into account credit unions’ and other financial institutions’ feedback on rulemakings.”He also noted the series of requests for information (RFI) the bureau is issuing in order to review its functions. Monterrubio encouraged credit unions to provide input on the RFIs to the CFPB and NAFCU to help the bureau improve and make sure credit unions’ concerns are heard.
Panic buying has triggered a price surge for the items both online and offline in the last two days. A box of face masks now selling for an average of Rp 300,000 (US$ 21) – a whopping 1,500 percent increase from the original average of Rp 20,000 per box.Read also: Panic buying hits Jakarta supermarkets as govt announces first COVID-19 cases Following the rationing action, one person can only buy two masks at Kimia Farma outlets at a price point of Rp 2,000 per piece and a 500-ml bottle of antiseptic gel at a price of Rp 50,200 per bottle. Kimia Farma president director Verdi Budidarmo said the company had 4,000 boxes or 215,000 masks, adding that it had ordered more. “We are currently ordering as many as 7.2 million masks for future needs,” said Verdi. Masks and hand sanitizers are among the most-sought after items in the country. Customers have been swarming supermarkets and drugstores following President Joko “Jokowi” Widodo’s announcement of the country’s first two confirmed cases of COVID-19 on Monday.Erick called on the private sector to participate in maintaining the stock and availability of masks and hand sanitizer in the market by not hoarding goods or trying to mark up the prices amid the increasing demand. Topics : State-owned pharmaceutical company PT Kimia Farma has limited the number of masks and hand sanitizer available for purchase at its 1,300 stores nationwide to ensure the products’ availability in the long run amid panic buying prompted by the COVID-19 spread in Indonesia.”Kimia Farma carried out the measure starting Jan. 10 to anticipate the coronavirus outbreak,” State-owned Enterprises Minister Erick Thohir said during a site visit to a Kimia Farma outlet in Menteng, Central Jakarta, on Wednesday. “I have checked that both masks and hand sanitizer are available in Kimia Farma stores but they have started to limit the products.”Erick said he wanted to make sure that stores do not inflate the price of the products.
21 Kenny Street, Fig Tree Pocket.The four-bedroom, two-bathroom property at 21 Kenny St, Fig Tree Pocket, is being sold by Room Property Agents — Kenmore’s Lucas Chisari for offers over $815,000.Features of the home include a covered patio with an outdoor kitchen alongside the pool. 21 Kenny Street, Fig Tree Pocket. 21 Kenny Street, Fig Tree Pocket.Mr Chisari said: “Located adjacent to Biambi Yumba Park this family home has several room configurations and all the essentials modern families need without a large lawn that needs mowing”. 21 Kenny Street, Fig Tree Pocket.Built with outdoor entertainment in mind, this low maintenance Brisbane home is worth a look inside. FREE: Get the latest real estate news direct to your inbox here. 21 Kenny Street, Fig Tree Pocket.More from newsDigital inspection tool proves a property boon for REA website3 Apr 2020The Camira homestead where kids roamed free28 May 2019 21 Kenny Street, Fig Tree Pocket.Other features within the home include an euro inspired open-plan kitchen with bi-folds and views of the pool.Currently tenanted until July 2017, the home is air-conditioned and has polished timber floors.
Statewide—Versailles State Park pool along with all the pools at Indiana State Parks will remain closed for the 2020 summer season due to limitations in the ability for social distancing on enclosed pool decks.While the parks’ officials know that campers and the local community look for opportunities to cool off on hot summer days with water-based recreation, beaches at Indiana State Parks, big lakes, and state forest properties are open, and have adequate space for guests to practice social distancing on the sand and in grassy areas in most locations. Property and concession operated boat rentals are available that can get you out on the water in many locations as well. To see where beaches and boat rentals are located, check out the facilities chart in the Indiana Recreation Guide, which is available at gates, offices, and nature centers, or download the guide by clicking here.
Join us Thursday at 7:30 p.m. for live news and analysis when the Warriors face the Lakers in Los Angeles as LeBron James remains sidelined.The Warriors (53-24) take a Magic Number of 3 into the game and need a combination of three Warriors wins or Denver losses to clinch the top seed in the Western Conference. Golden State has just five games remaining in the regular season.The Lakers (35-43) have long been eliminated from the playoff hunt and will finish their highly disappointing …
The attorney for Luke Walton on Tuesday emphatically denied accusations of sexual assault on the part of the one-time Warriors assistant coach and newly hired head coach of the Sacramento Kings.“The accuser is an opportunist, not a victim, and her claim is not credible,” Mark Baute said in a statement to several media outlets. “We intend to prove this in a courtroom.”TMZ broke the news Monday afternoon, reporting that a sports journalist had filed a civil lawsuit against Walton for assault …
An overview of the main currents in South African literature, from Olive Schreiner’s depiction of life on isolated Karoo farms to more recent work that tackles the aftermath of apartheid and pushes into the post-apartheid future.South Africa has a rich and diverse literary history. (Image: Okay Africa)Brand South Africa reporterSouth Africa has a rich and diverse literary history, with realism, until relatively recently, dominating works of fiction.Fiction has been written in all of South Africa’s 11 official languages – with a large body of work in Afrikaans and English. This overview focuses primarily on English fiction, though it also touches on major poetic developments.Sections in this article:The colonial adventureTruly South African voices Emergence of black writing Between the wars The 1940sThe Drum decade: urban black life Gordimer: liberalism to radicalismFigures of the 1960s The Soweto poetsThe emergency years After apartheidThe colonial adventure The first fictional works to emerge from South Africa were produced by colonial writers whose attitude to indigenous South Africans was, at best, ambivalent, if not outright hostile. This is especially true of the writers of adventure-type stories, in which colonial heroes are romanticised and the role of black South Africans was reduced to that of enemy or servant.One such writer, Rider Haggard, wrote many mythical and adventure stories, beginning in the early 1880s. His most famous book is King Solomon’s Mines (1886), a bestseller in its day (and filmed several times up to the 1980s). Like subsequent novels such as Allan Quartermain and She (both 1887), its central character is the hunter Allan Quartermain, Haggard’s ideal of the colonial gentleman.Although Haggard wrote many other adventures and fantasies, it is his highly coloured African works that are still read today.Back to topTruly South African voices Olive Schreiner’s novel, The Story of an African Farm (1883) is generally considered to be the founding text of South African literature. Schreiner was born on a mission station and worked as a governess on isolated Karoo farms, an experience that informed the novel.The novel draws on the post-romantic sensibility of Emily Bronte’s Wuthering Heights, and is still a key text in the formation of a truly South African voice. However, it has been criticised for its silence with regard to the black African presence in South Africa. Schreiner’s other work includes a critique of Cecil John Rhodes’s brutal form of colonialism, Trooper Peter Halkett of Mashonaland (1897), and the polemical Women and Labour (1911).Douglas Blackburn, a maverick British journalist who came to South Africa when the Transvaal was still a Boer republic, had something in common with Schreiner. In several newspapers, he denounced British colonial attitudes as well as satirising Boer corruption. He wrote two novels set in this world, Prinsloo of Prinsloosdorp (1899) and A Burgher Quixote (1903), capturing with a great deal of sly humour the personality and situation of the Boer at the time. His later novel Leaven (1908) is a moving denunciation of “blackbirding” (the recruitment of people through trickery and kidnappings to work on farms) and other iniquitous labour practices, and Love Muti (1915) attacks British colonial attitudes.Emergence of black writing Literature by black South Africans emerged in the 20 th century. The first generation of mission-educated African writers sought to restore dignity to Africans by invoking and reconstructing a heroic African past.The first novel by a black South African was Mhudi (completed in 1920 but only published in 1930), by Solomon (Sol) Thekiso Plaatje. This epic story follows the trajectory of the Tswana people during and after their military encounter with the Zulus under Shaka, the Zulu conqueror of the 19th century, and encompasses their earliest encounters with the white people moving into the interior.Viewed as the founding father of black literature in South Africa, Plaatje was also the first secretary general of the then South African Native National Congress (now the African National Congress) at its foundation in 1912. His Native Life in South Africa (1916) was a seminal text in the study of land dispossession in South Africa. He also wrote a diary of the siege of Mafeking during the Boer War, and translated Shakespeare into seTswana language.While Plaatje’s Mhudi related the history of the Tswana people in South African literature, Thomas Mofolo’s Chaka reinvents the legendary Zulu king, Shaka. Mofolo portrays him as a heroic but tragic figure, a monarch to rival Shakespeare’s Macbeth. Mofolo, however, also invests Shaka with a complex personality, in which good and evil are at war – in contrast to white colonial historians who made him a simplistic monster of tribal savagery. Completed in 1910, the novel was published in 1925 and the first English translation came out in 1930.Between the wars Perhaps the dominant figure of South African literature in the period between the two world wars was Sarah Gertrude Millin, whose reputation has faded considerably since her death. This can be predicated on her politics: she was initially a devout supporter of Jan Smuts’ government, but later became something of an apologist for apartheid.Her views on the “tragedy” of racial miscegenation were put forward in God’s Stepchildren (1924). Seen in terms of racial hierarchies, with whites at the top and blacks at the bottom, Millin’s views represented those held widely at the time.Her later novels continued to deal with the predicament of coloured (mixed-race) people in South Africa, or attempted to describe the world of indigenous peoples.Back to topThe 1940s The 1940s saw the beginnings of a flowering of literature by black South Africans such as HIE Dhlomo whose work preached a “return to the source” – the wisdom of finding traditional ways of dealing with modern problems. His work includes several plays and the long poem The Valley of a Thousand Hills (1941). Poets such as BW Vilakazi, who wrote in Zulu, gave new literary life to their indigenous languages.Peter Abrahams, a writer of mixed race descent, published his first novel Mine Boy in 1946, the same year a large miners’ strike was violently suppressed by Smuts’ government. Mine Boy depicts life in black urban areas of the time, and dramatises the problems of rural people in a depressed urban environment – a theme that was referred to as the “Jim comes to Jo’burg” phenomenon in South African literature.Later works by Abrahams (who left South Africa and settled in Britain before finally moving to Jamaica) include The Path of Thunder (1948), which deals with interracial love; Return to Goli (1953), about his journey back to report on life in Johannesburg; and his autobiography Tell Freedom (1954).Another South African writer who emerged in the 1940s, Herman Charles Bosman, is best known for his tales, a portrait of Afrikaner storytelling skills and social attitudes. The first collection of stories was published in Mafeking Road in 1947. Among the most famous are Unto Dust and In the Withaak’s Shade. Bosman, who was once jailed for the mysterious murder of his half-brother, also wrote poetry, novels, and much journalism, often satirical. One of his best works, Cold Stone Jug (1949), is a semi-fictionalised account of his time in jail. All his books have been reissued in new 2001 editions to coincide with the 50th anniversary of his death.Bosman had satirised social attitudes in South Africa, but it was the work of a former white schoolteacher, Alan Paton, that brought the world’s attention to the situation of black people in South Africa. Cry, The Beloved Country (1948) is possibly the most famous novel to have come out of South Africa. When it was first published, it was an international bestseller, launching Paton, to worldwide fame. The novel put South Africa on the map of international politics by making visible to Western audiences the effects of racial prejudice and the oppression of black people. The novel was turned into a movie in 1995.It is the story of a black priest who travels to Johannesburg in search of his son, who had fallen victim to the corrupting influence of the city. The novel explores themes of corruption and forgiveness, putting forward a liberal-humanist view of South Africa’s racial politics – as well as Paton’s deeply felt Christianity. The novel has a lovely poetic language, with extensive use of Biblical cadences, though Paton has also been criticised for a possibly condescending portrayal of black people.Back to topThe Drum decade: urban black life The 1950s also saw a new generation of black writers talking about the conditions of their lives in their own voices – voices with a distinctive stamp and style. The popular Drum magazine in the 1950s was their forum, and encouraged their emergence. It depicted a vibrant urban black culture for the first time – a world of jazz, shebeens (illegal drinking dens), and flamboyant gangsters (tsotsis).These Drum writers, whose style will be later described by renowned writer Es’kia Mphahlele as “racy, agitated, impressionistic, it quivered with a nervous energy, a caustic wit”, depicted urban deprivation, and also the resilience of people who survived “without visible means of subsistence”. They recorded satirical stories ridiculing the discriminatory and repressive policies of the state, while others provided harrowing details of the effect of apartheid legislation on people’s lives.Their work ranged from the investigative journalism of Henry Nxumalo to the witty social commentary of Todd Matshikiza; others such as Nat Nakasa, Can Themba and Mphahlele moved toward embodying their visions of black South African life in poetry or fiction.Later, Nakasa edited a literary journal, The Classic, that published work such as Themba’s story “The Suit” (1963), now regarded as a classic of South African literature. Themba was banned by the apartheid state and died in 1968 in exile, but others such as Mphahlele pursued their literary careers.Lewis Nkosi became a noted literary critic in Europe and the United States. Other notable writers connected in some way to Drum include William Bloke Modisane, Arthur Maimane, Dyke Sentso, James Matthews, Peter Clarke, Richard Rive, Jordan Ngubane, Alex La Guma and Casey Motsisi. Modisane wrote the autobiography Blame Me on History (1963), Matthews has written much poetry and a novel, and Rive wrote Buckingham Palace, District Six (1986), about life in that coloured Cape Town area, and two novels about South African states of emergency, decades apart, Emergency (1964) and Emergency Continued (1989).The Drum Decade , edited by Michael Chapman, and A Good Looking Corpse , by Mike Nicol, anthologise and comment on key works of this era.Professor E’skia Mphahlele’s autobiographical Down Second Avenue (1959) is a landmark in the development of South African fiction. Set in a village and a township near Pretoria, the text records in evocative language the resilience of various female characters in Mphahlele’s life, women who defied poverty and urban squalor to bring him up. At the same time, they are presented with complexity and depth – his grandmother, for one, is a rather tyrannical figure.Mphahlele went on to write critiques The African Image (1962), short stories Man Must Live (1946), In Corner B (1967), as well as further novels, including The Wanderers (1971), in some ways an extension of the autobiographical form of Down Second Avenue . He also wrote poetry and autobiography. Taken as a whole, Mphahlele’s oeuvre represents one of the most important views of the life experience and developing views of a politically aware South African.In 2007, actor and theatre director James Ngcobo reworked Mphahlele’s poignant and emotional story The Suitcase into a highly successful play.Back to topGordimer: liberalism to radicalism At the same time as the Drum generation was creating the first urban black voice, one of South Africa’s most important white writers was beginning her long, distinguished career. Nadine Gordimer published her first short stories in the early 1950s and in 1991 she was awarded the Nobel Prize for Literature. Between those two dates, her many novels and short stories articulated key issues for white South Africans sympathetic to the plight of disenfranchised blacks, as well as providing for the outside world a devastating picture of what it was like to live under apartheid.In her first published novel The Lying Days (1953), Gordimer charts the growing political awareness of a young white woman, Helen, towards small-town life and South African racial divisionHer second novel, A World of Strangers (1958), shows the first fruitful but often frightening encounters between white and black people in the heady days of Sophiatown. By the time of The Late Bourgeois World (1966), Gordimer is dealing directly with the effects of the black liberation movement on white South Africans, showing the divided soul of the white liberal in a morally ambivalent situation. The Conservationist (1974) pits Afrikaner land hunger against the indigenous population in an often phantasmagoric narrative. Burger’s Daughter (1979) depicts the involvement of radical white activists in the liberation struggle. July’s People (1981), perhaps Gordimer’s most powerful novel, projects into the future the final collapse of white supremacy and what that might mean for white and black people on an intimate level. Her other works (and her short stories are regarded as among her finest work) deal with issues such as love across the colour line and, more recently, the emergence of South Africa into a democracy after the release of Nelson Mandela in 1990 – a society still dealing with a myriad contradictions.Back to topFigures of the 1960s In the early 1960s, the State of Emergency used by the apartheid state to crack down on dissidents and the banning of political organisations sent many black writers into exile. Among them was Alex la Guma, a Marxist and ANC leader who saw the purpose of his work as the exposure of the dreadful conditions of South Africa’s oppressed.His novella A Walk in the Night (1962) shows the life of crime to which slum inhabitants are driven, and And a Threefold Cord (1967) contrasts the existence of a black worker in a white home with her employers’ affluent life. The later novel, In the Fog of the Season’s End (1972), possibly his best, shows the developing consciousness of a man dedicated to the underground struggle for freedom. As a “listed person”, little of La Guma’s work was available in South Africa until 1990, when the liberation movements were unbanned.At the same time, in the 1960s, the Afrikaans literary scene had a rush of new blood, as literary writers such as Jan Rabie, Etienne Leroux, Breyten Breytenbach and Andre Brink emerged. Publishing first in Afrikaans, these writers were increasingly politicised by the situation in South Africa and their contrasting experiences overseas.Breytenbach, who began as one of the most linguistically radical new poets in Afrikaans, left South Africa for France in 1960, where he became a vocal critic of the apartheid state. Later, in the 1970s, he returned to South Africa and was arrested and jailed for work he was doing for the liberation movement. From this experience came his extraordinary prison memoir, True Confessions of an Albino Terrorist (1996). His prison poetry was published in English in Judas Eye (1988). Breytenbach’s return visits to South Africa are recorded, mixing reportage and imaginative commentary, in A Season in Paradise (1976) and Return to Paradise (1993). His essays have been published in The Memory of Birds in Times of Revolution (1996). Even under an ANC government as he was under a Nationalist one, Breytenbach remains caustic about politics and power.Andre Brink stayed in South Africa to see his novels become the first Afrikaans works banned by the government. Written in English as well as Afrikaans, his novels have become as important a part of South African English-language literature as they are in Afrikaans. Having published several novels in Afrikaans during the 1960s, it was his novel Looking on Darkness (1973) that was first banned.His immensely powerful novel A Dry White Season (1982), focused on the death in detention of a black activist, and caused great irritation to the apartheid state, while conscientising many white South Africans. It was also banned, then unbanned. Later novels by this prolific novelist include An Act of Terror (1991), dealing with an Afrikaner dissident turned “terrorist”, and On the Contrary (1993), a playful reworking of South Africa’s colonial history.During this period, Bessie Head emerged as a leading South African woman writer. Of mixed blood, and with a traumatic family history, Head left South Africa to avoid its racial policies and lived in Botswana, where she felt more at ease. Her novels show a marked sympathy with ordinary peasant women; her heroines are poor but strong-willed, women who have to face up to various forms of prejudice.Her first novel was When Rain Clouds Gather (1968), followed by Maru (1971), The Collector of Treasures (1977), and A Question of Power (1973). The Collector of Treasures is her most autobiographical work, dealing with the traumas of her own illegitimate mixed-race birth, her mother’s suicide and her own nervous breakdown.Another writer to make his name in the 1960s was Wilbur Smith, South Africa’s a worldwide best-selling author. In many ways he is the heir to the tradition of Rider Haggard – some would say politically as well.His earliest novels are probably his best: Where the Lion Feeds (1964) and The Sound of Thunder (1966) are set in the era of the foundation of gold-mining in South Africa. Others go as far afield as the state of Israel, Ethiopia during the Italian invasion, piracy in the age of sail, or, more recently, investigate the pharaonic times of Ancient Egypt. His latest novel, The Quest (2007), is New York Times’s best seller as well as best seller in several European countries.The 1960s also saw the emergence of a new generation of white South African poets, among them Douglas Livingstone, Sidney Clouts, Ruth Miller, Lionel Abrahams and Stephen Gray. Their work ranges from powerful apprehensions of natural life (Livingstone) to more interior, meditative considerations (Abrahams), and a sardonic socio-political sensibility (Gray).Gray has also written novels, plays and much criticism. Abrahams has written two semi-autobiographical novels, The Celibacy of Felix Greenspan (1977) and The White Life of Felix Greenspan (2002).Back to topThe Soweto poets The 1970s are widely regarded as a defining period for the development of political consciousness among black South Africans. With the rise of the Black Consciousness (BC) movement, of which the martyred Bantu Steve Biko was a leading figure, and the school children’s revolt of 1976, literature became a vehicle to promote the political ideals of anti-apartheid popular movements. The genres of drama and poetry were utilised for their immediacy of impact.The most notable writers from this period are Mongane (Wally) Serote, Sipho Sepamla, Oswald Joseph Mbuyiseni Mtshali, Christopher van Wyk, Mafika Gwala and Don Mattera. Couched in graphic language designed to arouse the emotions of listeners, their poems were often performed at political rallies.While Mtshali’s poems, first published in 1971 in The Sound of a Cowhide Drum , asked for generalised sympathy for the plight of poor black people, and Sepamla was at first considered a “contemplative” poet, the tone soon changed. By the time of The Soweto I Love (1977), Sepamla’s poetic persona is fully identified with the oppressed. Sepamla also wrote a novel of this turbulent time, A Ride on the Whirlwind (1981). Sepamla, apart from being a leading arts teacher, has written several other novels, and his Selected Poems were published in 1984.Serote’s early poems, in volumes such as Yakhal’inkomo (1972) and Tsetlo (1974), deal with the life and attitudes of a politically aware black person, looking at his society and its discontentment. In later volumes, Serote begins to develop an epic, incantatory voice, with the long poems of Behold Mama, Flowers (1978) and Come and Hope with Me (1994), winner of the Noma Award for Publishing in Africa.Serote (who became an ANC leader) is also the author of the novel To Every Birth Its Blood (1981), a remarkable account of political activity in the 1970s. Serote’s later novel, Gods of our Time (1999), reconstructs civil and military campaigns which led to the demise of apartheid.Other interesting fiction to deal with the Soweto revolt and subsequent political activity include Miriam Tlali’s Amandla (1980) and Mbulelo Mzamane’s The Children of Soweto (1982). Don Mattera has written an account of life in Sophiatown, and its destruction, Memory is the Weapon (1987).The emergency years A mass democratic movement, based on the ideals of the Freedom Charter, arose within the country in the 1980s and the state responded with successive states of emergency that brought white troops to the townships.In the face of this, poets such as the orator Mzwakhe Mbuli reached vast audiences, while novelists such as Menan du Plessis and Mandla Langa engaged with the business of resistance to apartheid.Yet, at the same time, some felt the need for a move away from rhetoric and toward the depiction of ordinary life and Njabulo Ndebele, in his 1986 essay, The Rediscovery of the Ordinary expressed this view, seeing politically determined work as inimical to a full depiction of rounded humanity in fiction. His own fiction, in the award-winning collection, Fools and Other Stories (1983), demonstrated that it could be done with grace. The main story, Fools was later reworked into a movie with an all-South African cast.Like Ndebele, JM Coetzee, one of South Africa’s most lauded writers in the 1970s, dealt in subtle ways with issues of power, authority and history. One of the key works of recent South African writing, Coetzee’s novel Waiting for the Barbarians (1980) tackles issues germane to South Africa. His next novel, Life and Times of Michael K (1983), a story of a poor man of colour trying to survive in a civil-war situation, won the Booker Prize in Britain. Age of Iron (1990) takes the perspective of a white academic who is dying even as the townships explode with violence.Coetzee’s next novel, Disgrace (1999), won him a second Booker Prize and caused huge debate in South Africa over its depiction of a post-apartheid reality in which the wounds of the past have not been healed – and new ones are being inflicted. A film of the book, starring John Malkovitch, had its world premier at the Toronto Film Festival in 2008, where it won the International Critics’ Award.An illustrious literary academic, Coetzee published Doubling the Point (1992), and has published a memoir of growing up in South Africa, Boyhood (1998).His more recent works include The Lives of Animals , edited and introduced by Amy Gutmann (1999); The Humanities in Africa – Die Geisteswissenschaften in Afrika (2001); Stranger Shores: Essays, 1986 to 1999 (2001); and two more novels, Youth (2002) and Slow Man (2005).Coetzee was awarded the Nobel Prize for Literature in 2003 and the Order of Mapungubwe by the South African government on 27 September 2005 for his “exceptional contribution in the field of literature and for putting South Africa on the world stage.”Back to topAfter apartheid The most prominent question asked of South African writers after the end of apartheid and the release of Nelson Mandela in 1990 was: what will you write about since the primary topic has gone?Well, apartheid may have died, but its effects linger on, and as writers such as Coetzee have demonstrated, the issues of power that haunted the apartheid era are still in many ways with us. The early years of democracy were characterized by a new form of writing which literary critic Stephane Serge Ibinga describes as ‘honeymoon literature’ or ‘the literature of celebration’.One of the most acclaimed of these post-democracy writers is Zakes Mda, who worked for many years as a playwright and poet before publishing his first novels in 1995. He started with two novels, She Plays with the Darkness and Ways of Dying . The latter, the story of a professional mourner, won the M-Net Book Prize. His next novel, The Heart of Redness (2001), won the Commonwealth Prize; it contrasts the past of the 19th century, when the prophetess Nongqawuse brought ruin to the Xhosa people, with a present-day narrative.Ivan Vladislavic is another author pushing into the post-apartheid future, with distinctly post-modern works that play with the conventions of fiction as much as they speak about contemporary realties in South Africa today. He has published two collections of stories, Missing Persons (1990) and Propaganda by Monuments (2000), and two novels, The Folly (1993) and The Restless Supermarket (2001).One of the most irreverent voices to hit the South African literary scene over the past decade is poet Lesego Rampolokeng. His poems are published in Horns for Hondo (1991) and End Beginnings (1993). A powerful live performer of his work, he has collaborated with musicians as well.K Sello Duiker is a young novelist who has recently made a splash in South Africa with two novels that have won him awards and critical acclaim, Thirteen Cents (2000) and The Quiet Violence of Dreams (2001). Set in the urban landscape of Cape Town, the two novels see the world through the eyes of the underdog, a street kid in the first and an ostracised gay student in the second.Mark Behr has been one of the most compelling and controversial additions to the South African literary canon. His first novel, The Smell of Apples (1997), tells of white South Africans who were brainwashed by the apartheid system. Soon after that, Behr admitted that he had been a spy for the apartheid police while a student activist; a graphic illustration, if one were needed, of the divided loyalties felt by many whites in that period. Behr’s second novel, Embrace (2000), deals with the formative experiences of a young homosexual.There are many South African writers still dealing with the legacy of apartheid and the struggle against it, as South Africa finds a new national – and hybrid – identity. One is Zoe Wicomb, whose new novel, David’s Story (2001, winner of the M-Net Book Prize), interrogates the past and present of an anti-apartheid activist, as does Achmat Dangor’s Bitter Fruit (2001).Mike Nicol’s first novel, The Powers That Be (1989), brought a magic-realist sensibility to South African literature, and his latest, The Ibis Tapestry (1998) is a post-modern take on the secrets of South Africa’s apartheid abuses. Among Afrikaans writers now translated into English, notable works have come from Etienne van Heerden, particularly the marvellous Ancestral Voices (1989), and from Marlene Van Niekerk, with the hilarious and horrifying Triomf (1994).Phaswane Mpe’s Welcome to Our Hillbrow (2001) is a critically acclaimed view of the physical and moral decay in both the rural areas of Tiragalong and the urban ghetto of Hillbrow. Kgafela wa Magogodi is a poet who probes issues such as Aids in his collection Thy Condom Come (2000).Some quarters have observed that post-liberation writing has shifted from the representation of racial division to that of class difference, reflecting the new social fabric. In fact, writers have become interested in class relationships rather than race since the government’s black empowerment policy began to help black people join the circle of the white bourgeoisie, while the poor comprise both races even though blacks still dominate this group.Also, a common feature in post-apartheid literature is a concern with nation-building projects. Various authors have explored the possibility of re-assessing past identities in order to construct a new national identity based on a transcultural perspective.Back to topWould you like to use this article in your publication or on your website? See Using Brand South Africa material.
Share Facebook Twitter Google + LinkedIn Pinterest Take a whole class or just take the test, which is better? Farmers will get to decide.Those who apply fertilizer on 50 or more acres now have the option to take an exam or attend a three-hour course to get the required certification aimed at protecting water quality.The exam is a new option the Ohio Department of Agriculture will offer to make it easier for farmers to get certified and yet ensure that those who are applying fertilizer know the safest measures. The exam option was one of the rule changes on fertilizer certification that went into effect Oct. 1.The other changes include the following:Those renewing their fertilizer certificate, which must be done every three years, must either pass a fertilizer exam or take a one-hour class. Previously, the recertification class was two hours.Two new items were added to the required records that certified fertilizer applicators must keep: Now they must record the number of acres where they applied fertilizer and the total amount of fertilizer applied.Only one person at a farm or business needs to be certified to apply fertilizer. A family member or employee of the certificate holder can apply fertilizer under their direct supervision, meaning the certificate holder has instructed that person where, when and how to apply fertilizer, and is no farther than 25 miles away or within two hours travel of the applicator working under their direct supervision. The rule change clarified that provision.Certificate holders who do not also hold a license to apply pesticide will see their fertilizer certificate period change to April 1 to March 31. Previously, it was June 1 to May 31. The new cycle is aimed at ensuring that certifications will generally be in place prior to the planting season.A grace period of 180 days is offered to certificate holders who do not send in their application and payment prior to the date their certificate expires. However, in renewing their certificate, the applicant has to have completed the required training or test before March 31.Since Sept. 30, growers who apply fertilizer to more than 50 acres have been required to be certified, a measure aimed at keeping nutrients from farm fields from contributing to algal blooms in Lake Erie and other bodies of water. Phosphorus and nitrogen in fertilizer can trigger the growth of algal blooms. Those blooms produce toxins in the water, making it unsafe to swim in or drink. And as the blooms decompose, they take oxygen from the water, depleting the supply available for other aquatic life. The extent of 2017 algal blooms in Lake Erie was the fourth most severe in recent history, according to a November report from the National Oceanic and Atmospheric Administration.All the recent changes are aimed at making the certification process less burdensome on farmers, said Peggy Hall, agricultural and resource law field specialist for Ohio State University Extension.OSU Extension provides training for applying fertilizer, focusing on teaching how to apply fertilizer at the correct rate, time and location in the field, to keep nutrients in the field and available to crops while increasing stewardship of nearby and downstream water resources.“The goal of the entire program is that we constantly educate ourselves about how we are applying these fertilizers and make sure we understand the science behind it,” Hall said.“Hopefully more education, more understanding and continued research will help with the runoff issue.”Across Ohio, an estimated 3,700 private fertilizer applicators have certificates expiring in March 2018, according to records from the Ohio Department of Agriculture.OSU Extension will begin offering recertification programs in nearly every county this fall and winter, said Mary Ann Rose, program director for OSU Extension’s Pesticide Safety Education Program.“Most of the fertilizer recertification programs will be offered in combination with pesticide recertification meetings; farmers will have the option to attend either or both,” Rose said.For more information, visit agri.ohio.gov/apps/odaprs/pestfert-PRS-index.aspx and nutrienteducation.osu.edu