Blog Archives

Rock Hard: Chord Brothers

Rock Hard: Chord Brothers, Book 1 by [Roberts, Mariah J., Roberts, M. J. ]

Ryder is the drummer in a popular band along with his best friend and his bestie’s hot sister, Lexi, and a few other colorful members. I love this great cast of characters. The dynamic among the group is unique yet believable. I’ve never been in a band but it seems like a realistic portrayal of life as a band on the road.

The action in the story starts when Ryder and Lexi break the number one rule of band membership… do not hook-up with anyone in the band. Ryder is doubly nervous because she is also his best friend’s sister!

This story starts with some excellent sexual tension that builds slowly and enticingly! The reader has to wait patiently for the first physical experience between the two. The author does a fantastic job with erotic descriptions. The sex scenes are lusty but not trashy. The strength of desire between the two is palpable. I do admire Ryder’s dedication to making sure Lexi was sufficiently satisfied! He even does research!

We also learn about deep pain and loss in our characters’ lives. The author weaves in nicely these back stories that then helps explain these characters’ drives and motivations.

This is a great book about relationships, love, loss and the power and importance of human connection. There is a good amount of erotic scenes however the author sets the tone as romantic and loving, never vulgar. I love the modern music and movie references. It gave it a very up-to-date and realistic feel. I Also loved the inside look at life on the road in a band.

The writing is fluid and easy to read without feeling juvenile. There are some great moments of humor but also real moments of pain and struggle. There were some points I wanted more action or was waiting for something to happen but overall I was engaged throughout.

This is a fun and sexy read for anyone looking for something quick and enjoyable with great characters and a romantic and interesting story line.

Pages: 399 | ASIN: B07MDHXT8C

Buy Now From Amazon.com

Crimes of Rumba – Trailer

Crimes of Rumba is the hottest, epic combination of business, politics, music, and of course, crimes behind the predatory conduct culture that has glamorized the worst corporate malpractice in US cultural history. As a matter of law, order, and economy, the state administrations intolerance and crackdown on musicians dissent and opposition to the colonial music cash crops production is authoritarianism at best and without precedent in the worlds history of colonization and music. This legal truth and material facts-checkings operation is the blunt, exclusive disclosure of the sources and methods used for the cultivation and autocratic harvest of music cash crops in the Belgian Congo, which were economically engineered from and back to America for its consumption through misinformation, disinformation, deceit, and fraud. Not only is this the tale of the utmost scam that has been very fully funded to defraud the worlds collective memory of rumba, it is the hefty price that our humanity has dearly paid for without consent for Foniors crimes of rumba for decades. Silence has been complicity at worst from the people with knowledge of the case against rumba. Not only are the material facts and consumers rights violated and suppressed, along with musicians copyrights for decades, the morally repulsive glamorization of the fraud has brought creative freedom in the worlds music into disrepute. A lot of readers will discover Thierry Antha with the publication of Crimes of Rumba, Volume I of Congo Music. But this international journalist carried decades of excellence in covering the Congo and Haitis politics, business, and entertainment. His professional and personal ties with all the most famous Congolese musicians in advocacy, promotion, and production of their musical works have crowned him the best authority with respect to the Congo musics history. Contrary to all the spinning, posturing, and work of fiction for rumba, Thierry Anthas expertise and dedication to exposing the truth behind material facts and laws related to Congo music from the Belgian Congo to the Congo is second to none. Embark in this riveting literary journey to discover how Socit Gnrales authoritarian harvest of music cash crops has shattered and destroyed lives and careers for its economic gain in the Americas. Without censorship, Crimes of Rumba, Volume I of Congo Music exposes Foniors victims long overdue rebuttal, which is long way apart from the reality of its predatory conduct culture and its propaganda of rumbas fake-outs.

Buy Now From Amazon.com

Sacrifice and Know-How

Thierry Antha Author Interview

Thierry Antha Author Interview

Crimes of Rumba discusses and dissects the crimes behind the worst corporate malpractice in US cultural history. Why was this an important book for you to write?

From 1983 to 1995, it took us almost fifteen years of commitment, sacrifice and know-how to build up awareness about the greatness of Congo music’s modernity in American pop culture. Credits should be given to promoters such as Victor Kibunja, Verna Gillis, Paul Trautman and my company’s tour with Tabu Ley Rochereau-Alive and Well in North-America in 1992, which made Congo music a runaway hit in North America until 1995.

Unfortunately, with little to no precision, 22 years after the Congolese government and musicians’ outright rejection of Fonior’s crimes of rumba, handful writers went off the script and managed to inadvertently slip in Fonior’s fraud of Cuban music. It was disheartening to realize that even few colleagues in the media were still living in the clouds of Fonior’s crimes of rumba. As promoters, time was more of the essence to promoting tours than pressing the matter further why it was a horrific danger to associate Franco Luambo and Tabu Ley Rochereau with Fonior’s post-colonial fraud for America, in the lens of the Congo’s politics from the 1970s to 1990s.This brought up the above headliners’ urgency and request to me to educating their consumers with the absolute truth beyond the fraud of rumba.

Moreover, as journalist and promoter, this is book is mostly important because it connects the dots between King Leopold’s atrocities of red rubber to the crimes of rumba for America by his very own international conglomerate, Societe Generale. Simply put, the fraud of rumba music is the universal and everlasting legacy from King Leopold’s politics and economics in music for America, first, and the world later. It’s never been about the presence of Cuban music in the midst of the state administration’s classified South American music’s mandatory production. But it is all about how, wanton malice, Fonior abused and misused Cuban music to commit fraud and defraud Congolese musicians’ copyrights and consumers’ human rights in America.

You cover a number of topics in this book, but the one that stuck out to me was rumba music. How do you feel music affects the political landscape?

Human life is rhythm. Rhythm is music. And music also controls mankind’s political landscape from singing Nero setting Rome on fire, Herod decapitating John the Baptist in Israel to any election campaign chanting of USA, USA, USA.

In Belgian Congo, for instance, the rhythm of atrocity behind the harvest of red rubber to the germination and criminalization of the state administration’s legal diversity of South American music, in the late 1950s, was controlled by King Leopold’s politics for Societe Generale’s monopoly. The politics behind the abrogation of Copami’s mission to legalize the harvest of “music cash crops” for export created a super culture of dichotomy for the equal production of Congo music and South American music under the law. And this colonial autocracy paved the way for Congolese musicians’ resistance and sabotage, which empowered Patrice Lumumba to ascend to the highest sky of the Belgian Congo’s nascent political parties.

In 1948 president Rafael Trujillo made Merengue the official music of Dominican Republic, while in 1959, Fidel Castro nationalized Rumba as the official music of Cuba for all music of African descent. In 1965, after his coup d’etat, president Mobutu rode the wave of Congo music to install his dictatorship in the Congo DRC. Francois Duvalier used Kompa music to numb the mass’s brain for his dictatorship in Haiti. Bob Marley performed his One Love Concert to defuse the brutal turf war among political nemesis in Jamaica. Bill Clinton’s campaign in the 1990s banked on the success of Macarena to promote his progressive agenda for America’s cultural diversity. And that is the same spirit of music in the politics of King Leopold’s international conglomerate that still captures rumba operatives’ politics for Fonior’s crimes of rumba that have been debunked and rebuked in the Congo DRC and exposed in this book.

What kind of research did you undertake to ensure the book was accurate and detailed?

First, as American of Congolese origin, I have lived Congo music my entire life. As a professional journalist, I covered the Congo DRC’s national rebuke of Fonior’s crimes of rumba for the national radio and television until I migrated to the USA. As co-host of the most famous Congo music radio and television shows, I humbly confessed that my expertise in Congo music is second to none because of my personal and business ties with Congolese musicians. As a young record producer, I have also rubbed elbows with all the who’s who in the music industry. My coverage of Samuco and Umuza, Congolese musicians’ union, are the most inside information that the average journalist has never searched before. From 1983 to 2000, as a promoter and consultant, I have closely worked with all Congolese musicians who have come on tour in North America for others as well as for my own company.

Second, to ensure that the book was accurate and detailed, my documented evidence are based on Belgian Congo’s laws, policies, institutions and corroborated by Congolese musicians’ personal testimonies throughout colonialism and their outright rejection and class action lawsuit against Fonior. The restrictive provision and scope of laws and policies from Belgian Congo to the Congo DRC’s national rebuke of Fonior’s crimes of rumba certify the accuracy of the Royal Decree of 1925 behind the Copami’s mission and its related institutions, coupled with the Royal Decree of 1952 aborting the old mission and its institutions under Societe Generale’s mission. These irrefutable evidence within La Territoriale provide all material facts and detailed events. And this exclusivity makes Crimes of Rumba the best encyclopedia of Congo music ever in terms of chronology of specifics in laws, policies, institutions and events from 1925 to September 1960.

I thought this book was informative and engaging. What do you hope readers take away from this book?

Readers’ takeaway is to know that Fonior’s crimes of rumba are real. Consumers have the right to know that they have been defrauded for decades. Even though, this crime spree was launched from America, in September 1960, its universality has outreached the world. It is based on Fonior’s violation of Congolese musicians’ copyrights. That’s why, as early as 1970s, president Mobutu stood up shoulder to shoulder with them to nationally reject, debunk and rebuke Fonior’s fraud. Unfortunately, after 47 years, the coverage of the Congo DRC’s rebuke has been blocked by King Leopold’s rumba operatives through fake movies, books and theories, who have turned a blind eye to telling the truth for the sole purpose to monetize on it. Not only consumers have the right to be set free from the bondage of Fonior’s crimes of rumba, they have the right to know that rumba operatives still provide a fraudulent, safe home for re-litigation and revisionism of Belgian Congo’s laws, policies, institutions, and against the Congo DRC’s national rebuke of Fonior’s fraud.

This book simply certifies that one can’t explain the complexity of the state administration’s legal diversity and production of South American music under the law, in the Belgian Congo, in complicity with Fonior’s fraud and based on the simplicity of its crime of opportunity on Cuban music for America, first. The engraved musical evidence of South American music’s legal diversity in Fonior’s Congolese re-editions represent self-incriminating evidence, among many others, against its crimes of rumba. One can’t celebrate Congo Rumba’s illegality by hiding Congo Latino from the same Fonior’s fake-outs spree. This case is all about King Leopold’s international monopoly misused Cuban music to commit fraud. Simply put, the fraud of rumba music has been the universal and everlasting legacy from King Leopold’s politics and economics in music for America, first, and the world later. Thanks to Crimes of Rumba the era of defrauding musicians and consumers’ human rights is over now.

Author Links: GoodReads | Twitter | Website

Crimes of Rumba is the hottest, epic combination of business, politics, music, and of course, crimes behind the predatory conduct culture that has glamorized the worst corporate malpractice in US cultural history. As a matter of law, order, and economy, the state administrations intolerance and crackdown on musicians dissent and opposition to the colonial music cash crops production is authoritarianism at best and without precedent in the worlds history of colonization and music. This legal truth and material facts-checkings operation is the blunt, exclusive disclosure of the sources and methods used for the cultivation and autocratic harvest of music cash crops in the Belgian Congo, which were economically engineered from and back to America for its consumption through misinformation, disinformation, deceit, and fraud. Not only is this the tale of the utmost scam that has been very fully funded to defraud the worlds collective memory of rumba, it is the hefty price that our humanity has dearly paid for without consent for Foniors crimes of rumba for decades. Silence has been complicity at worst from the people with knowledge of the case against rumba. Not only are the material facts and consumers rights violated and suppressed, along with musicians copyrights for decades, the morally repulsive glamorization of the fraud has brought creative freedom in the worlds music into disrepute. A lot of readers will discover Thierry Antha with the publication of Crimes of Rumba, Volume I of Congo Music. But this international journalist carried decades of excellence in covering the Congo and Haitis politics, business, and entertainment. His professional and personal ties with all the most famous Congolese musicians in advocacy, promotion, and production of their musical works have crowned him the best authority with respect to the Congo musics history. Contrary to all the spinning, posturing, and work of fiction for rumba, Thierry Anthas expertise and dedication to exposing the truth behind material facts and laws related to Congo music from the Belgian Congo to the Congo is second to none. Embark in this riveting literary journey to discover how Socit Gnrales authoritarian harvest of music cash crops has shattered and destroyed lives and careers for its economic gain in the Americas. Without censorship, Crimes of Rumba, Volume I of Congo Music exposes Foniors victims long overdue rebuttal, which is long way apart from the reality of its predatory conduct culture and its propaganda of rumbas fake-outs.

Buy Now From Amazon.com

Imaginary Offshoots

Terry Tumbler Author Interview

Terry Tumbler Author Interview

Future World Rolls follows two FBI agents with psychic abilities as they start recruiting for a mission that will change human history. What was the inspiration behind the setup to this fascinating story?

Research into the 19-year-long career of one individual, a remote seer for the US government. He reported on the existence of ‘buck naked’ green men on the moon and its irregular placement as a protective screen against the solar flares of the sun. By whom? One may well ask.

As always, your characters are unique and fun to read. What is your process like to create such lively characters?

I always loosely base them on real, memorable people like Stan Laurel and the Big Bopper. Disparate? Maybe.

You masterfully imbue your work with music throughout the story. What were some key themes in your choice of music for this book?

Pure relevance to the storyline, plus hefty research into the ways in which these series of songs originated. I used this method to carry on the themes they might have used if they’d stayed on course, like Buddy Holly staying with The Crickets. In some instances, I began writing original tunes as imaginary offshoots. A classic example is the 2190 Overture, which could be sung by the likes of Queen in the same vein as Bohemian Rhapsody.

What is the next book that you are working on and when will it be available?

I am well into the first few chapters of book 3 of the Carousels of Life, Simply Spiffin’, Future Criminologist. It is all in my mind, to keep on track.

Author Links: Twitter | Facebook | Website | Blogspot

FUTURE WORLD ROLLS!: We Are Family (Carousels of Life Book 2) by [Tumbler, Terry]This Space Opera is set to Rock n’ Roll and classical music, many of the songs being entirely original and composed by the author.

It starts in the mid-20th century with two talented FBI Special Agents being tasked with recruiting people to undertake a really unusual mission. In the process, they are themselves abducted to take a leading role in that mission, which is intended to save the human race from alien conquest.

It involves time travel into the future, as they lead their hostile hunters on a merry chase across the centuries. They have the full support of other sympathetic races in their imaginative survival techniques, allowing them to go on the offensive.

The characters within embark on a series of adventures that are truly moving in their significance. Based initially on our own Planet Earth, the story employs reported alien sightings and events.

Future World ROLLS to its very core!

Buy Now From Amazon.com

Mall Hair Maladies

Mall Hair Maladies by [Volchko, Kristy Jo]

Mall Hair Maladies by Kristy Jo Volchko is a delightful throwback story that will take 80’s kids down memory lane. The book follows Tanya, the new kid in school, Randi, and their single parents. The two meet and quickly become inseparable best friends. Volchko describes a year in the life of two 13 year old girls in 1980’s America. Volchko delves into “a day in the life” right down to big, crimped, hair-sprayed hair, fingerless gloves, and arms lined with multi-colored jelly bracelets. The biggest obstacle in the girls’ lives is finding a way to go to the local Madonna concert. She’s their idol, and they will do just about anything to hear her belting her songs in person.

Volchko writing feels like a genuine first-hand account of crazy events told across a dinner table. Grammar and spelling are impeccable. Everything flows perfectly. Characters were well developed, with each one having enough background story for readers to get a good grip on who they are. The setting and different scenarios were described well. Volchko has a way of making you feel like you are right there with the characters mixing up things in the kitchen, having an awkward dinner with an uptight relative, or smoking in the girls room. I felt invested in her characters and their lives.

I loved the throwbacks to the 1980’s. I lived them, and the essence of that era was captured perfectly. Readers from that time will relate to the characters. They will see themselves and reminisce over their own 80’s stories. I love the real references to the music and fashion of the time. It was a simpler time in many ways, but pop culture, music, and fashion were anything but simple.

The story is a nice throwback to a safer time for kids. They could hop on a bus unattended and go all over town and return relatively unscathed. They had little fear of anything bad happening to them at all. Bad things happened, of course, but they didn’t seem so frequent. Volchko conveys that time of simplicity and relative safety very well. I’m not so sure the story would have played out the same if it was set in today’s world. It was nice to escape back to that time for a little while.

I love how easily the girls become best friends. I think we sometimes forget how simple that was as children. Two strangers implicitly trusted and loved each other without the bat of a fake eyelash, just because they did. They met. They liked each other. Simple.

Without getting too heavy, Volchko exposes some problems that commonly arise in families. These aren’t 80’s problems, but timeless problems. Tanya has an absent father, and Randi has an absent mother. Tanya’s grandmother is judgmental, hateful, and a huge source of stress for the family. Volchko shows how the characters deal with those issues. She gives examples of difficult family dynamics and how the characters navigate those storms. She also gives some hope with the introduction of a less dysfunctional family toward the end.

I’d recommend this book to anyone in middle school and up, though 80’s kids may appreciate it the most. I couldn’t have asked for more out of this book. Volchko has made me a fan. I loved the story. I loved the characters. I loved the writing. I would love to read more of her work.

Pages: 265 | ASIN: B079SQYLRZ

Buy Now From Amazon.com

Future World Rolls!

FUTURE WORLD ROLLS!: We Are Family (Carousels of Life Book 2) by [Tumbler, Terry]Charles Bone and Stan Loren are two FBI agents with quite the special set of skills. The least of which is their ability to communicate without vocalizing their thoughts. As two men with psychic abilities, they have been given the job of heading up a recruitment drive unlike any other in history. Charles and Stan, in the early 1970s, manage to pinpoint over 3,000 individuals exhibiting the qualities making them the perfect candidates for the job. Little do the recruits know the mission for which they have been chosen is one that could change the course of human history.

Terry Tumbler’s Future World Rolls (We Are Family) Book 2 in the Carousels of Life series has one of the most unique settings of its genre. Spanning centuries and with locations varying from Winter Park Florida in the 70s to vessels in space including the Voyager 6, Tumbler carries the reader on quite the raucous ride through time and space via Charles and Stan and the plethora of alien life forms peppered throughout this second in a series.

There is a Men in Black feel about the novel that gives the book a light, fun air. Fans of this type of science fiction will appreciate Tumbler’s alien beings, their idiosyncrasies, and the banter between the main characters as they go about the task set before them.

As with Tumbler’s first book in the series, Future World Rolls is laden with song lyrics, references to artists’ best-known works, and well-timed and perfectly-placed excerpts of the world’s best (my own humble opinion) music. Tumbler’s characters are more than capable of standing on their own, but these song references help to add another light note to the text. I thoroughly enjoy the opportunity to hum along to the tunes Tumbler sets as pleasant little earworms from the beginning to the end of the book. I mean who doesn’t love to be reminded of George Harrison’s “Here Comes the Sun” and “All Day and All of the Night” by the Kinks? Tumbler doesn’t just incorporate music from the 1960s. He takes readers on a nostalgic journey through music history, hitting all the right notes–so to speak.

To say Future World Rolls is fast-paced would be a gross understatement. Tumbler keeps the reader engaged from one jam-packed chapter to the next. Billed as a space opera, this book hops, skips, and jumps from one scene to the next introducing new and engaging characters while building on the already well-developed Charles, Stan, and the just-short-of-amazing green giants.

Science fiction fans who enjoy lively plots and bigger-than-life characters will find Tumbler’s works meet all of their expectations and more. Tumbler writes beautifully and manages to pull off humor in the most eloquent of ways possible. Some science fiction books are fraught with terminology and processes that overwhelm the reader. Tumbler combats all of that with his stunning cast of characters and an upbeat tone that is set from the first chapter.

Pages: 314 | ASIN: B07H4QQR8K

Buy Now From Amazon.com

Inspired by my Love of Art and Music

Mallory O'Connor Author Interview

Mallory O’Connor Author Interview

American River: Tributaries follows three immigrant families struggling to pursue their dreams during the turbulent 1960’s. What served as your inspiration while writing this book?

My love of Northern California, the place where I grew up, and the wonderful history of the area. I was also inspired by my love of art and music and my passion for social justice issues.  Immigration and ethnic diversity are the cornerstones of the story.

This book has so many fascinating characters that are well developed. What were some themes you wanted to capture in your characters?

Basically, the story focuses on the creative search for meaning, knowledge, compassion and understanding in a tumultuous world filled with prejudice, obstacles, jealousy, and betrayal. As my characters encounter these obstacles, they discover their own strengths and weaknesses and grow beyond their self-centered ambitions.

I thoroughly enjoyed the historical backdrop to the story and how well researched it was. What historical milestones were important for you to highlight in this book?

The Gold Rush had a tremendous impact on the population and culture of California. Before the Gold Rush, the population consisted mainly of Native Californians and Californios (settlers and landowners of mixed Spanish, Native Californian, and African descent). But gold fever brought people to California from all over the country and the world. The Anglo Americans (of English, Irish, or Scots descent), other Europeans (including Italians, Russians, Greeks and East Europeans), Chinese, Japanese, African Americans, and many more who came and stayed. This changed the makeup of the state’s population making it one of the most ethnically diverse in the country. So, this cultural diversity sets the scene for later entanglements.

 Most of the story takes place in the 1960s, that decade that Time Magazine recently termed “The decade that changed a generation.” So, I take the reader down memory lane as my characters encounter the major issues of the time: immigration, racial prejudice, migrant workers, gay rights, women’s rights and the Vietnam War.

This is book one in the American River Trilogy. What can readers expect in book two, American River: Currents?

In Book Two, American River: Currents, a cavalcade of disasters—both personal and public—threatens to overwhelm the scattered members of the McPhalan, Ashida, and Morales clans. Alliances fray, relationships dissolve, divisive secrets are revealed, and promises are broken as the members of three California families struggle to salvage their shattered dreams.  The story follows the character’s journeys to places as distant as Cleveland, Ohio, Venice, Italy, and Kyoto, Japan. From the concert halls of Europe to the artist’s lofts of Manhattan, American River: Currents is filled with passionate and resolute characters who refuse to let go of their unique visions of success—even as life’s tumultuous currents threaten to sweep them all away.

Author Links: GoodReadsFacebookWebsite

American River: Tributaries: Book One of the American River Trilogy by [O’Connor, Mallory M.]In the mid-1800s, three immigrant familiesIrish, Japanese, and Mexicansettle along the American River in Northern California. A century later, only one family remains.

Owen McPhalans Mockingbird Valley Ranch is still a thriving family business in 1959. But when his wife, Marian, leaves Mockingbird to follow her dream of becoming a successful artist, she ignites a firestorm that impacts the descendants of all three families. As artists, musicians, writers, and politicians inherit their immigrant parents hopes, they are torn apart by ambition, prejudice, and deception while struggling through the turbulent 1960s. From the concert halls of Europe to Kyotos ancient avenues, and Manhattans artists lofts to San Franciscos North Beach, they each learn the price they must pay in order to realize their dreams. But just as the river is drawn to the sea, they eventually find themselves pulled back to the place that forged the original link between their destiniesa place called Mockingbird.

American River: Tributaries follows three California families as the descendants of Irish, Japanese, and Mexican immigrants embark on unique journeys to pursue their dreams amid an unsettled 1960s world.

Buy Now From Amazon.com

Crimes of Rumba: Volume I Congo Music

Crimes of Rumba: Volume I Congo Music by [Antha, Thierry]The book starts with a little history of the Congo under Belgium rule during the colonial days. This gives the reader an insight into how things were in Belgian Congo, and how ‘La Territoriale’ was made to get rid of King Leopold’s cruelty and brutality in the CFS regime. The first chapter gives a lot of information about Belgian Congo and all that happened. I had the impression that I was attending a history class, as the author wrote about events I had never heard of. It was agonizing to read about King Leopold, as his inhuman acts against the Congo people led to a lot of loss.

Politics in Congo, the formation of political parties, King Leopold’s atrocities and the influence of Rumba are all covered in the book. Reading about natives who were killed as directed by King Leopold in the harvest of red rubber in the era of CFS regime was one of the moments I almost broke down. Natives’ hands were chopped and others left with permanent wounds and under the CFS regime. Just how cruel could one man be? The worst thing was that even as he committed all these crimes, King Leopold received backing from his country, and even had support from his followers.

The author covered a number of themes in the book. Politics, music, law, human rights violation, business, and trade were all covered. This book highlights the use and impact of Congo music in Africa and other continents like America and Europe. Thierry Antha extensively writes about the brand associated with Congo Rumba and Rumba Lingala, Congo music that is known by just a few, how the Flemish administrators took Rumba, the industrialization of Congo music during the colonial days and much more.

Thierry Antha extensively writes about the brand associated with Congo Rumba and Rumba Lingala, Congo music that is known by just a few, how the Flemish administrators protected Congo music’s exceptionalism, while Walloons industrialized it with the addition of the legal diversity of South American music for export in the late 1950s and much more. And mostly how Fonior, the Belgian company, misused its monopoly to commit fraud and defraud Congolese musicians’ copyrights and consumers’ human rights in America, first, after the colony’s independence.

Rumba music, as allegedly sold in the West, is beautiful to the Soul. When played in clubs, the radio, and other public media, one can feel how passionately the artists feel the music they create. As you enjoy “Rumba” music, do you know a little history about Fonior’s fake-outs and how the genres were born? Do you know the challenges they faced and how the music they made affected them and the people around? If not, then you need to read this book. It has all the good, bad, fantastic and ugly stories about Belgian Congo, the natives, Congolese musicians and the exploitation of Congo music.

Pages: 598 | ASIN: B07CH9M9BR

Buy Now From Amazon.com

%d bloggers like this: